فهرست مطالب سعید حسن پور لمر

Masouleh is one of the few historical and habitable spaces in Iran, where the continuity of Iranian Islamic arts has been common for many centuries. Masouleh is located in the mountainous part of Fuman city with a thousand year old history. This historical city was registered as a national monument in 1944 and is currently being registered in the UNESCO World Organization. Masouleh’s architecture has a stepped structure and the houses are extroverted. Masouleh has six neighborhoods, Reyhane-bar, Asad-mohalleh, Keshe-sar, Khanebar, Masjed-bar and Bazaar. Reyhane-bar neighborhood is the main entrance to Masouleh and is located in the southern part of the city. The formation of Reyhane-bar neighborhood and its buildings is deep-rooted in the Zandiyeh- Pahlavi period. Reyhane-bar neighborhood has 50 residential units, of which 26 buildings have a historical structure and were examined in the current research. The Reyhane-bar neighborhood has a variety of latticed openings made of enclosing decorative patterns. The aim of the research is to recognize the types of openings and ornamentations in the Reyhane-bar neighborhood. The research questions are as follows: 1- In how many levels are the openings of the historical building of Reyhane-bar neighborhood classified? 2- What decorative patterns are used in the openings and what is the frequency of new to old patterns in the ornamentation of the openings of Reyhane-bar neighborhood? The research method is descriptive-analytical and the information collection method is documentary and field study. The results of the research show that the ornamentations of the openings of Reyhane-bar neighborhood have been implemented using three methods Girih-tiling, Ghavarehbori and woodcarving. The openings of the Reyhane-bar neighborhood are classified in six levels: integrated openings, without Sarbarieh (opening above the window), inscribed openings without Sarbarieh, Sarbariehs without a border design (single), and inscribed Sarbariehs (single) and Orosi. This should also be noted that the Reyhane-bar neighborhood has the lowest number of Orosis in comparison with other neighborhoods and Orosis in the above-mentioned neighborhood are mainly observed in the economic constructions. A total of fifteen decorative patterns have been used in the openings of Reyhane-bar neighborhood, among which, 8-square Shamse girih patterns and Paisley Ghavarehbori are the most repeated patterns. Reyhane-bar neighborhood has 6 new patterns and 9 common (original) patterns in Masouleh. The results of the research show that 24% of the decorative arrays of the openings of the Reyhane-bar neighborhood was of new patterns and 76% of the original and common patterns in Masouleh neighborhoods. A noteworthy point in the construction of the ornamentation of the openings of the Reyhane-bar neighborhood is the common use of the Ghavarehbori method. Among the main reasons for the Ghavarehbori construction method in the decorations of the openings of the Reyhane-bar neighborhood, the following can be mentioned: Cost-effectiveness: The Ghavarehbori construction method is much more economical than the Girih-tiling method, but by implementing Ghavarehbori, more limited designs can be made in comparison with the Girih-tiling method. Ease of construction: Artists need to use soft wood to make Ghavarehbori ornamentations, and this causes less durability, more wear and tear, and a more unfavorable appearance in the building wall. For this reason, to solve the problems of corrosion and to prevent biological and environmental disintegration as well as turbidity of color, the residents are forced to use stabilizers and chemical colors that do not match the authentic and historical texture of Masouleh. The research results show that there are sixteen geometrical patterns in Reyhane-bar neighborhood. As already mentioned in the text, the ornamentations of Masouleh’s openings have been implemented in three forms: Girih-tiling, Ghavarehbori and woodcarving. Several researches have been recently conducted with regard to the subject of Masouleh, its neighborhoods, and the existing ornamentations of the openings of each of these neighborhoods due to the significance and importance of Masouleh, as one the few habitable historical places in Iran. This research and its results are only a small part of the wide and extensive topics that can be performed in the field of knowledge of traditional arts and how they work to meet the needs of users. In fact, it is possible to investigate the ornamentations of other places in Masouleh in future research, which would lead to the recognition and preservation of the architectural arrays of Masouleh.

Conformance with the principles of passive defense in architectural works and urban planning plays a decisive role in creating stability and protecting the life and financial interests of citizens. The research method is descriptive-analytical and field and library methods were implemented to investigate the statistical population. In this research, 564 buildings in the historical city of  Masouleh, being constructed based on passive defense concepts, have been investigated. The research question is as follows; How is passive defense observed in the architecture and urban planning of the historical city of Masouleh? And how can it be used for the architecture and urban planning of Iranian cities by rereading the concepts of passive defense in Masouleh? The research results indicate that the location of the city, dispersion of the buildings (vital to medium), city  camouflage, confusion in the eyes of the enemy, structural fortifications of the buildings, quick  repairability of the buildings, protection of urban facilities, design criteria of urban furniture,   materials used in the structure and facade, form of buildings, number of entrances and exits and the presence of multi-functional spaces on the floors, small and protected openings in the facade, safe space, shelter, protective walls, compliance with building height and scale based on the importance factor, privacy, access to vital and medical places, service centers, parking lots and infrastructure facilities of Masouleh have been in line with the concepts of passive defense.

Considering the rich history of Iran in the field of art and architecture, delightful doors with unique characteristics are found, each of which is derived from cultural, religious, and social interactions. Typology, recognition, and reproduction of antecedent motifs and designs in traditional doors could revive cultural identity in contemporary cities. Doors and windows are influential factors in shaping buildings in Iranian architecture. Having a thousand-year-old history with the presence of skilled blacksmiths and carpenters, Masouleh has treasured beautiful gates being formed in various buildings at different parts of the town. The purpose of the research is to determine the typology and knowledge of the types of traditional doors in the historical town of Masouleh. The research method is field and library studies. At first, 32 ancient doors in Masouleh were selected for field studies. In the next step, library and interview methods were used to identify the components and designs of the doors. The research results show that the doors in Masouleh are of three types: building, religious, residential and commercial. The doors of the religious buildings are classified into three levels: woodcarving, Girih, tiles, and geometric motifs. The most important factors shaping the decorations of religious doors is the praise of God, which is presented in the form of Islamic, animal, and calligraphy motifs. The doors of the residential buildings are classified into three levels: plain with no design, the ones with geometric design, and Girih tiles. Residential doors are formed based on a combination of the beautiful art of metalwork and woodwork, respect for the needs of the users, and the religious beliefs of the people of Masouleh. The doors of commercial buildings in Masouleh are in the form of collapsible and Girih tile designs. The flexible structure of the collapsible doors of commercial buildings allows for maximum coverage of the openings and visibility of handicrafts. The results indicate that the neighborhoods of Masjed-Bar, Khaneh-Bar, and Keshe-sar have the most classic traditional doors.

Decorations, as important components, have long been one of and the most stable characteristics of Islamic architecture and art. One type of these decorations is openings. In addition to practical aspects, openings have presented diversity and enclosing beauty in Iranian architecture. The surface of the openings has mostly been decorated with geometric and vegetal patterns. The city of Masouleh has various geometric openings that have been embedded in this city for many centuries. Masouleh is located near (55 km away from) Rasht in Gilan province and in the southwest of Foman in a mountainous area with a height of 1050 meters above the sea level. This city is registered in the list of national monuments under number 1090. In the present research, an attempt has been made to analyze the types of decorations in the openings, the abundance of decorations in each of the openings, the concepts of decorations, and the drawing of arrays in Masjedbar openings.

The current research aims to answer these questions: how many levels do the openings of Masjedbar neighborhood include? What concepts have been effective in the formation of arrays of openings in Masjedbar? In this research, an attempt has been made to analyze the decorations of the openings of 26 buildings in Masjedbar neighborhood, which are older than other residential buildings in this neighborhood. The method is descriptive-analytical and comparative. In the first step, the pictures of openings were prepared based on field surveys. In the next step, they were drawn by AutoCAD 2023 software. Also, to understand the proper amount of lighting, the dimensions of the openings, and the influence of the arrays on the lighting, optical simulation software "VELUX Daylight Visualizer 3" was used. In the last step, the results of the types of decorations in the openings, the abundance of decorations in each, the concepts of decorations, and the drawing method of the arrays in Masjedbar openings were presented.

The architecture of Masouleh has attracted the attention of many domestic and foreign tourists and researchers due to the use of authentic Iranian Islamic arts and its great compatibility with the nature and culture of society. The openings of the historical city of Masouleh, especially Masjedbar neighborhood, are one of the oldest and most beautiful arts where one can see the originality and artistic creativity of the artists of Masouleh and the province. Masjedbar neighborhood in Masouleh is considered one of the centers of the early formation of Masouleh; because of the presence of the mausoleum of Awn ibn Ali, it has earned special sanctity among the habitat of Masouleh. To meet the needs of its users, Masouleh’s buildings have various types of integrated openings, Sarbariahs with inscriptions (single), Sarbariahs without border design (single), openings without Sarbariah, and Orosies. The openings often consist of Girih-tiling and Ghavarebori decorations. Masouleh integrated openings have a two-part structure Sarbariah and bariah. These types of openings are the most common types of windows in Masjedbar neighborhood. The upper opening of the window, which is called Sarbariah, is fixed, and the bariah part consists of two parts that can be separated from each other. Sarbariahs are inscribed (single), have minimal decorations, and possess a minimum amount of space for light and ventilation. In the opening part of the bariah, a door without decorations is used, and the Sarbariah has two parts of girih-tiling decorations on the border and the middle inscription. Sarbariahs do not have a border design (single), have a similar structural and function similar to the windows of inscribed Sarbariahs (single) of Masjedbar neighborhood. Openings without Sarbariah in Masjedbar neighborhood have a surface with full light absorption capability in the bariah section and do not have Sarbariah or upper opening. The Orosies or rising windows of Masjedbar neighborhood have a structure with many Girih-tiling and Ghavarebori decorations. From the point of view of receiving light and natural ventilation of the interior, the Orosies are of a higher level than all other Masjedbar openings and have been used in the residential buildings and mosques of this neighborhood. The Orosies of residential houses have more decorations compared to the Orosies of mosques in Masjedbar neighborhood.

The research results show that Masjedbar openings are classified into five levels of integrated windows, openings without Sarbariah, Sarbariahs without inscriptions, Sarbariahs with inscriptions and Orosies. The present research results show that 19 geometric arrays of Girih-tiling and Ghavarebori were used in the structure of openings in Masjedbar. Ghavarebori arrays with checkered design, an eight-square shamseh knot, and a four-square knot are the most frequent patterns in the openings of Masjedbar neighborhood. The results of natural light reception analysis show that integrated openings, without Sarbariah and Orosies have a good performance in receiving light; Sarbariahs with inscriptions (single) and Sarbariahs without border design (single) have poor performance in absorbing natural light in Masjedbar neighborhood. The results of investigating the shapes of the geometric arrays of Masjedbar openings show that the plant shapes in the arrays of the openings are often taken from the designs and patterns of flowers and historical and mythological plants of Iran, which were very common in Iran's pre-Islamic buildings. Cypress tree, paisley, and lotus motifs are included in this category. Religious and cultural motifs and symbols are other effective factors in the formation of arrays of Masjedbar openings. Ghavarebori, chalipah, and chaharqol are more widely used in the openings of Masjedbar's religious buildings. The rhombus square knot is one of the few patterns native to Gilan in the arrays of Masjedbar openings. This pattern is often used in the openings of residential buildings and is a symbol of mat weaving in the plains of Gilan. The combination of numbers and basic geometric shapes is another effective concept on the formation of arrays of Masjedbar openings. These shapes, involving a combination of number eight, four and circular, rectangular and square motifs, are among the most used patterns in Masjedbar’s opening arrays.

Looking at traditional Iranian architecture, one can see the special place of ornamentations that have been a manifestation of the beliefs, customs and traditions of each society in the majority of residential buildings. Masouleh holds very rich ornamentations that have been formed over many centuries. This research seeks to investigate and analyze the ornamentations of residential buildings in Masouleh. The aim of the research is to identify and classify the motifs and main themes of the architectural ornamentations of Masouleh buildings and answer the following questions: Do the architectural decorations of the residential building of Masouleh include several types in terms of motifs and ornamentations? What factors have been effective in the formation of the architectural ornamentations of residential buildings in Masouleh? The current research is based on field surveys, library studies and also descriptive-analytical methods. The findings of the research show that the decorations of Masouleh residential buildings are classified at the level of doors, arches, windows, fences, doorbell and electric meter covers, Evil eye inscriptions, plant decorations and Āina-kāri. Also, the results show that the main effective factors in the formation of the decoration of Masouleh residential building are to create and increase security (door), reduce structural pressure against wind and earthquake (arch), meet the needs of spatial lighting (window), increase safety, create green and seasonal spaces (fence), meet the needs of users in order to facilitate and increase the well-being of users in the contemporary era and remove the undesirable appearance of electric equipment (doorbell and meter cover), derived from religious and cultural beliefs (inscriptions), derived from people's interest in flowers and plants being influenced by the geography of Guilan province (plant decorations) and taken from the religious and ritual beliefs of the people of Masouleh.

Arches are one of the most efficient innovations that architects have used to cover ceilings, wide openings, or as decorative elements in various structures. The purpose of the research includes the typology and the functioning of arches in the historical city of Masouleh during an earthquake. The research questions are as follows: Are several types of arches used in the architecture of the historical city of Masouleh? Which of the Masouleh arches shows a better structural performance during an earthquake? The research method is in the form of field studies, and Abaqus 2022 finite element software was used to analyze the earthquake resistance of Masouleh arches, which occurred in cities such as Bam (2003), Rudbar Manjil (1991) and Tabas (1978). The research results indicate that the historical city of Masouleh has 19 arches, and high-rise and low-rise Panjohaft arches are the most common types. The Roman arch construction method is the most common method used in Masouleh arches. The results show that 78% of Masouleh arches have adequate structural capacity against earthquakes, and Keshesar neighborhoods with 37% and Khanebar neighborhood with 21% have the most arches and Reyhanebar neighborhood with 10% have the lowest amount of arches in Masouleh. Also, the results of the seismic analysis of the 19 arches of Masouleh show that the low-rise Haftopanj arch, which is made using the Roman brick masonry method located in the Asad neighborhood, had the weakest structural performance against earthquakes, and the forty-five-degree arch with the Roman construction method, located in Masjedbar neighborhood, had the most appropriate structural performance in seismic simulation.

Concepts related to the category of awaiting, the savior and Mahdaviat have represented the Islamic-Shia art f this land. This research aimed to explain the architectural patterns and arrays of the historical city of Masouleh using concepts of awaiting, savior and Mahdaviat. The research uses descriptive-analytical as well as library methods in the theoretical section, while using field methods and objective presence to set an artistic stage through a survey method. The objective study was based on architectural patterns of the historical city of Masouleh. The research, as stated, seeks to reread the symbolic concepts related with the category of awaiting, savior and Mahdaviat within patterns, numbers, geometric shapes, plant shapes, lines, plasterwork, carving patterns, tiling patterns and architectural arrays of the said city. The research also seeks to read the Islamic architectural arrays and Shia art styles using interdisciplinary bodies of knowledge to better understand the category of awaiting, savior and Mahdaviat.

Considering the increase in the elderly population and the phenomenon of aging in the world population, understanding the quality solutions to improve the elderly lives seems to be essential. The proper design of architectural and urban spaces are among the most important components that can play an important role in improving the quality and quantity of comfort for the elderly in the society. For this reason, architects and urban designers need a fundamental revision of their principles of architecture and urban planning. With an age of more than 1000 years, the historical city of Masouleh is one of the limited living spaces in Iran, which has been able to provide a suitable platform for its elderly people, who constitute more than half of the population of this city. This research aims to review the components of the city that is desirable for the elderly with a case study of the historical city of Masouleh was conducted.

The present study implemented a qualitative approach to study the samples. The historical city of Masouleh has 564 buildings, out of which the statistical population of 151 buildings was investigated in the research by dividing to five neighborhoods of Khanebar, Masjedbar, Keshesar, Asadmahleh, Reihanehbar and Bazar. In order to analyze the spatial elements of Masouleh architecture, based on field studies, 151 building maps were taken and drawn by AutoCAD 2023 software. Sound Meter Pro 2.6.7 software was used to analyze the amount of noise pollution in Masouleh neighborhoods at different hours of the day and night. Also, in order to analyze the amount of light received in the interior spaces of the Masouleh buildings, 3D models of the Masouleh residential buildings were first drawn by 3D Max 2023 software. Afterwards, based on the 30–year climate data of the historical city of Masouleh, which was obtained from the Meteorological Organization of Guilan Province, the amount of light received was simulated by Vilox Dilat Visualizer 3 software. In the last step, the components of the desirable city for the elderly were introduced in the historical city of Masouleh.

Findings showed that the effective factors in creating a desirable city for the elderly from the perspective of the historical city of Masouleh were identified in the form of the following: creating a city with an urban garden model, eliminating noise pollution, increasing social interactions and vitality, increasing economic participation and welfare stability, urban image stability; peace stability, proper access to the buildings and flexible spatial layout, creation of interactive spaces, light passages and increased protection.

Based on the findings of this research, the effective components in creating a desirable city for the elderly from the perspective of the historical city of Masuleh are explained in increasing green environments per capita, the increase of social and economic interactions, flexible architecture, protection of the urban image, and historical and identity dimensions.

The role of cultural interactions in the formation of the architectural identity of each society is one of the topics that is of particular importance in scientific and artistic societies. Therefore, in order to recognize the architectural and artistic identity of any society, it is necessary to examine the social, religious, cultural, etc. concepts that were formed in the context of historical periods. The present article seeks to understand the cultural components affecting the identity formation of the ornamentations of the historical city of Masouleh using descriptive-analytical methods and field studies. The findings indicate that the Masouleh ornamentations are influenced by the cultural concepts of two historical periods before and after Islam. The pre-Islamic ornamentations in Masouleh are the result of the religious rituals of ancient Iran and in the Islamic era, they are the result of thoughts of the Ilkhanate, Safavid, Zandiyeh, Qajar, Pahlavi and Islamic Revolution governments. The most effective concepts in the formation of ornamentations are derived from religious beliefs, naturalism, and respect for nature, geometric and mathematical forms, and cultural and social interactions of non-native immigrants. The results show that Masouleh architecture had the least identity and cultural changes before the Qajar period. However, by entering the Qajar period and the increase of international interactions with European and Western countries, the architecture and artistic ornamentations of Masouleh have changed from the state of introverted architecture, which is one of the components of Iranian Islamic architecture, to extroverted architecture.

Japan and Guilan being located in similar climates have experienced same architectural and artistic characteristics such as Kumiko art and Gereh-Chini. Due to the fact that so far no research has been conducted on the similarities and differences between Kumiko and Gereh-Chini, the present study will try to investigate the components forming the two arts. With the aid of comparative studies, the authors aim to answer the following questions: What factors have been effective in the formation of Japanese Kumiko art and Masouleh's Gereh-Chini? Are the geometric motifs of the two arts categorized in several levels? What are the similarities and differences between the two arts? This investigation is based on descriptive-analytical and comparative studies, and library and field methods have been used in the recognition of Gereh-Chinis. The results of the research show that the most effective factors in the formation of Kumiko art are the existence of concepts such as plant forms, animals and cultural interactions with China and India, traditional clothes of China and Japan, elements of traditional architecture and the living environment of Japan. Concepts of Gereh-Chini include celestial objects, religious symbols, holy names and numbers, simple and complex geometric shapes, non-native patterns, animal motifs and native plants of Masouleh. Among the main differences and similarities between the two arts, we can point out the presence of complex geometric structures, simple materials and the more delicate framework of Kumiko compared to Gereh-Chini. Komikos are used in dividing spaces and Gereh-Chinis are used in openings. Kumiko joints are in the form of mortise and tenon and Gereh-Chinis are in the form of mortise and tenon and ghavarehbori. The results of the research show the existence of formal similarities, the influence of religious and historical concepts and the use of same plant forms and animal motifs in the two arts.

The art of Girih tiling is a collection of geometric shapes that are placed next to each other in a harmonious order. The city of Masouleh is one of the historical structures in Guilan province, which includes many decorative arrays used in the construction of openings. The purpose of this research is to recognize the decorative types used in the openings of Asad-Mahaleh of Masouleh. The research method is descriptive-analytical and the library method was used to identify the decorative types used in the openings. The research questions are as follows: In how many levels are the openings of Asad-Mahaleh building classified? What Girih tiling and Ghavarebari patterns have been used in the openings of Asad-Mahaleh Buildings? The results of the research show that the decorative arrays of the openings of Asad-Mahaleh buildings are classified in three levels: integrated windows, Sarbariah openings with inscriptions and Sarbariah openings without a border (single). The decorative arrays of the openings of Asad-Mahaleh consist of fifteen patterns of Girih tiling and Ghavarebari. Eight-square Shamseh Girih patterns and Ghavarebari with Paisley design are the most repeated patterns in the arrays of Asad-Mahaleh openings. Also, the results show that Sarbariah with inscriptions and integrated windows have the highest pattern of Girih tiling and Ghavarebari, and Sarbariah without a border design (single) have the least pattern of Girih tiling and Ghavarebari in the openings of residential buildings in Asad-Mahaleh of Masouleh.

Geometric patterns are one of the most important features of Islamic monuments that are formed based on Islamic codes and concepts. The use of geometry in arrays and works of art and Islamic architecture has been a gateway to the knowledge of unknown universal codes, the manifestation of which is derived from the concepts of God. Soltan Mohammad Khodabandeh (Oljaito), Ghazan Khan's brother, was born to an Uzbek father and an Armenian mother. During his lifetime, Oljaito chose different religions until he was finally influenced by the Shiite religion and became very devoted to the Shiite dynasty, so much so that he decided to build a great tomb with various sacred decorations of Islamic art in Zanjan (the capital of Iran during the Ilkhanate) and move the bodies of Imam Ali (AS) and Imam Hussein (AS) from Najaf and Karbala to that place. However, after completing the construction, he faced strong opposition from the imitators of that time and could not achieve his long-held dream, and at the end of his life, he turned to the Sunnis again. After him, during the reign of his son, who had a special devotion to the Sunnis, the interior decorations were tailored to his beliefs, which had the color and scent of the Sunni concepts. The construction of the historic city of Soltaniyeh began during the reign of Arghun Khan, the Mongol ruler, and developed during the reign of Soltan Mohammad Khodabandeh as one of the great Islamic cities. By the order of Oljaito, the dome of Soltaniyeh located in Zanjan city was introduced in 704 AH, in the city of Soltaniyeh, the capital of the Ilkhans at that period, and in 712 AH the tomb of Oljaito was erected in the central core of the city of Soltaniyeh by his order. It is known as the tallest building and the largest brick dome in the world and one of the most beautiful historical buildings in the world, which is the manifestation of the glory and art of Islamic architecture and the objective manifestation of the evolution of Iranian architecture. The height of the dome is 48.50 meters; the diameter of the opening is 25 meters with 1.60 meters thickness, constructed by the double-shell technique. The purpose of this study is to interpret the concepts and geometric codes hidden in the decoration and architecture of Soltaniyeh Dome based on an analysis of Islamic concepts from the perspective of Quranology, Hadithology, Numerology, Abjad, Al-Jafr, Asma al-Hassani along with symbolism of geometric shapes and color in decoration and architecture. Also in the analysis of golden proportions of the building, 2020 PhiMatrix 1.618 Pro, Atrise Golden Section 2018, 2018 Golden Ratio and PhiMatrix Golden Ratio Design 2020 software have been used. For this purpose, the research questions are: 1- In what geometric forms are the meanings and concepts used in the decoration and architecture of Soltaniyeh Dome reflected in the arrays of this monument with the aid of numbers? 2- What is the role of geometry in creating spiritual connections between material, mystical worlds and creating a single message in the decorative arrays of Soltaniyeh Dome 3- The effectiveness of the arrays can be classified into how many levels? The research method was historical-interpretive. The method of data collection was library-based and fieldwork, using comparative-analytical data analysis subsequently. The results show that the concepts and meanings are reflected in the arrays in physical forms (in the form of buildings and the hierarchy of formation of spaces), religious symbols (such as Shamseh, celestial bodies), linear shapes (divine names and verses), and colors (to create a sense of space). The use of sacred numbers, symbols and religious forms in the spatial and physical structures of the building has caused a spiritual connection between the earth (material) and light (spiritual) world. Monument arrays are also categorized into 5 levels: geometric shapes (square, octagonal, and circle), numbers (4, 5, 6, 8, 10, 12, 16, 23, 36, 40, 42, 60, and ... 110), holy names (Allah, Mohammad (PBUH), Ali (AS)) and Sunni religious concepts, use of spaces, Quranic verses and hadiths in the form of Bannai script. Also, the results of the research show that all the components of the Soltaniyeh Dome are based on Islamic concepts that are appropriate to its use, which was a place for the burial of Imams. In fact, the master artists and architects of Soltaniyeh Dome, with full knowledge of various sciences such as geometry (complete knowledge of formal and mystical concepts of geometric shapes), mathematics (recognizing sacred numbers and their use in structural elements), occult sciences, Abjad, Al-Jafr, proportions, symbolism and chromology, have tried to create a sacred building that can be the property of God and the eternal court of the Shiite Imams.

Due to rainfall and climatic conditions, Guilan province owns several bridges from past historical periods. The present study investigates the typology and recognition of factors affecting the formation of Safavid and Qajar historical bridges in Guilan province. The research seeks to answer the following questions; which factors have been effective in the formation of different types of Safavid and Qajar bridges in Guilan province? What are the differences between Safavid and Qajar bridges in Guilan in terms of structure, geometry, type of arch, materials and architectural decorations? Accordingly, based on library studies, the characteristics of 15 historical bridges of Safavid and Qajar eras in Guilan province were collected and in the next step, based on field studies, the factors affecting the formation of bridges were studied. For geometric analysis of bridges, manual drawing methods, PhiMatrix Professional, and Atris golden section software have been used. The research results show that religious and economic commonalities, development of Iran's political relations with the West, and the leisure of the Safavid kings were among the main factors in the formation of the Safavid bridges. Safavid bridges have three different types; single-span, two-span and four-span bridges. The use of sharp and slight panj-o-haft arches, multiple Karbandis, prominent brickwork, presence of accommodation space, circular-shaped buttress, two-stage sloping, rectangular-shaped bases and circular and rhombus breakwaters are common in Safavid bridges of Guilan. The most important factors in the formation of Qajar bridges include controlling the relationship and reducing tensions between the West and Iran, economic goals and establishing urban and rural connections. Qajar bridges include three different types of single-span, single central span and double side arches, and single central span and four side arches. The use of small arches, backward brickwork, single-sided slope and circular form in the breakwater, buttress and rectangular form in the bases and the lack of accommodation space, Minaret and Karbandi is common in Qajar bridges of Guilan province.

From the past to the present, the historical villages of Masouleh and Abyaneh have had many similarities in the fields of decoration and architecture despite the climatic, geographical and ancient differences, and the existence of such commonalities has always been of interest to many researchers. Considering that the use of decorations such as gereh-chini is being forgotten in contemporary times and also no comprehensive research has been carried out on the gereh-chini structures of Masouleh and Abyaneh villages, the present study is trying to preserve and record such a valuable heritage. The authors use comparative studies to answer the following questions: Have the use of gereh-chini decorations been effective in creating architectural spaces and climatic adaptation of the two villages? What are the differences and similarities in the visual structure of gereh-chini and functional patterns of the windows of the two villages? The research is descriptive-analytical and comparative, and library and field research has been implemented. Also, in the climatic analysis of the samples, VELUX Daylight Visualizer 3 2019 architectural software has been used. The results show that gereh-chini decorations in both villages have created spaces such as ground floor entrance corridors, mashrabiyas, pre-entrances and in the window openings as small and large windows and railings, and in the construction of gereh-chini in the historical village of Abyaneh, more diverse materials such as bricks, clays and more native and original woods have been used compared to the historical village of Masouleh. The results of climate analysis in the software environment also show the appropriate functional effects of gereh-chini in light control and entrance in winter and summer in both villages. The results of the analyzes in the patterns section of the two villages also indicate that there are 18 gereh-chini patterns in Masouleh village and 8 gereh-chini patterns in Abyaneh village, of which 11% of the patterns in the two villages have structural and nominal similarities.

Sash windows are windows where the glazed panels are opened by sliding vertically with colored glasses that can pass sunlight with different colors in proportion to the hours and intensity of radiation. Masouleh historical city is one of the areas with the most remarkable sash windows in its architecture. In this research, it is tried to categorize various types of sash windows in Masouleh historical city. It is also tried to analyze and evaluate the visual, structural, functional and light features of sash window. The present research has used field method and descriptive-analytic studies to achieve these goals. The results of the research indicate that sash windows in Masouleh can be categorized in 6 different types of diverse sash windows, such as non-porous market sash windows, double glazed one-Daraki sash windows, two-Daraki sash windows, three-Daraki sash windows, four-Daraki sash windows, and five-Daraki sash windows. Also, by reviewing and analyzing the visual and structural features of Masouleh's sash window, the main reasons for the appearance of different types of sash windows are as follows: creating more human dimensions in the dimensions of the openings, creating a suitable covering (Hijab) for users in the interior, creating visual visibility proportional to user-friendly conditions (Animating), increasing physical protection from older users and children, reducing energy consumption, as well as weight reduction in buildings in order to reduce vulnerability to earthquakes.

Geometry is one of the most prominent aspects of Muslim art that has dominated all the works of influential Islamic artists. In other words, geometry in the thought of Islamic art is the door to the spiritual word from the material world. If we want to point out the importance and the role of geometry in art and architecture, we can state that geometry can be considered as an asset of the work, and its various creations can be easily understood by its definition and limitation. In other words, with the dominance of geometry on any structure, from the structures of a simple atom to the components of a work of art, architecture, and urban, we can see a single order in all dimensions. The order, which has always been disrupted by geo-disciplinary principles due to the neglect of many urban architects and designers, and has caused many problems at many levels of life. It is undoubtedly one of the most successful examples in which geometric principles are of great interest at all levels of art and architecture. The historic village of Abyaneh, located in the central part of Natanz, Isfahan province, has become nationally recorded as a valuable and historic monument. The level of utilization of the geometric principles in this village is such that if we want to look at all the structures of art in a superficial way, we can see the same footprint of homogeneous geometric designs used in all their structures and architecture; so, in this research, we are confronted with the question of which geometric patterns exist in the Abyaneh historical village? Are the same geometric patterns repeated throughout the artistic, architectural, decorative, apparel, musical, and texture structures? According to the content mentioned in the present article, to meet the main questions and achieve the research purpose, the data collection by the historical-interpretive method with the phenomenological approach and the analysis of information will be analytic and adaptive. Therefore, the main objective of this paper is to recognize the geometric language in Abyaneh architecture by understanding the geometric structures that exist in all the arts of Abyaneh village. The most important results of this research are the use of geometric patterns, golden proportions, golden rectangles, golden spirals, golden polygons, the series of Fibonacci numbers and Pimon, which is a quarry used in all artistic structures such as architecture, handicrafts, rugs, carpets, textiles, traditional music, rural structures, and the way buildings are erected in the context of the Abyaneh village. In other words, it can be pointed out that geometric patterns and golden proportions are the common language among all the arts in the Abyaneh historical village, which are used continuously in all architectural structures. In other words, the use of geometry in this historical village creates the same beautiful and coherent structures in small artistic scales such as artistic, musical, ornamentation, textiles, carpets, cloths or on larger scale such as the general form of buildings and the way buildings are erected in Abyaneh village.

Geometric designs (both normal and abnormal) and purely geometric interlaced patterns involve mental imaginary forms which are essentially superior to the perception- based naturalistic images. The patterns were not aimed to capture the reality perceived through the eyes, but they were supposed to create a glimpse of astonishing beauty in the artist’s creative mind or soul. Due to avoiding utilization of human figures and abstaining from idolatry, decorations have specific geometry in Islamic art and architecture. One of the striking characteristics of the knots (girih) that has caused to dynamicity throughout its thousand-year history is its regeneration and diversification of the diverse geometric properties. Girih tiles are used in Islamic art and architecture. Iranian Chinese Knotting is one of is one of traditional fields and professions that depends on geometrical patterns and on the first encounter, the spectator, is subconsciously affected by its discipline. Geometrical patterns, which are the source for the art Chinese Knotting, usually contain a polygon star in
the middle (the Shamseh) and some other geometrical figures so that they can cover the remaining space. Chinese knotting is not specifically a certain decoration or a means of conveying the emotions of the artist, but also the point of making them regarding to two ways: acting on the basis of their own knowledge and guiding others towards this knowledge. When a spectator looks upon the works of Chinese Knotting, they’re first affected by its beauty and especially its discipline, but after some more contemplation they are driven into the art’s mystical meanings. Girih tile is a part of Islamic architecture and art while its different types are used in the following arts: Wood carving, tiling, plaster, Khātam , brick work, mirror work, stone work and in carpentry as fences, door and window, wooden decorations and wood carving of Minbar and in blacksmith Iranian architecture. Girih tile is an intelligent interaction of aesthetics and function. Islamic artists have applied local materials in accordance to the functional requirements and cultural issues of each region. The valuable examples of this art are observed in historical city of Masoule located in the mountainous area of Masoule in Gilan (Iran). Wood is one of the highly applied materials in traditional architecture of Gilan with its different types. One of the greatest arts is seen in the historical city of Masoule with Girih tiles. Wood is used in this region due to its climatic condition and the need to a good thermal isolation against heat and cold weather. Also, wood is the first material being
applied in openings. Girih tiles decorations in this historical city are abundant in the buildings while their main façade is to the south. One of the advantages of using Girih tiles in openings of this historical city is to control the direct light in
different seasons of year. The aesthetic aspect is on the second priority. The beauty of Girih tiles, their coordination and part to total tendency in all openings have improved the unity and beauty of the historical buildings of Masoule. Sash window, other meshes and Telar with combination of decorative plants in the façade of buildings in Masoule have increased the aesthetics of this city. Historical city of Masoule is a good model for sustainable architecture and its final aim is respecting the culture and friendly relationship with nature and improving the life style of its residents. In the current study, the effort was concentrated on categorizing the designs (Chinese Knotting) used in the neighborhood of upper Kash-e Sar in Masouleh. The factors that affect the designs have also been inspected. The results show that 13 types of Chinese Knotting exist and that the most used pattern in this decorations is the pattern of eight-and-four. These results also show that the four fundamental parts of Chinese Knotting of Masouleh have been modeled on cultural,
religious and natural elements. The four common elements of the Chinese Knotting of Masouleh are as follows: The Shamseh (the sun), the eight leaved lotus (symbol of the circle of nature), Chalipa (the symbol of the four main elements, existence) and the circe (symbol of eternity, although in this particular design it is the symbol of trees and nature). The methods of the study were a field-based and direct inspection of the structures. Also the inspection of the decorations (Chinese Knotting) was done using library research methods.

Due to avoiding utilization of human figures and abstaining from idolatry، decorations have specific geometry in Islamic art and architecture. One of the striking characteristics of the knots (girih) that has caused to dynamicity throughout its thousand-year history is its regeneration and diversification of the diverse geometric properties. Girih tiling decoration is part of geometric arts in the traditional buildings of the historic town of Masouleh dates back to eight hundred years. Traditional and local architects of this historical town have adopted special and intellectual plans for creating visual attractions in expression and creation of girih tiling in the walls of the monuments. One of these valuable solutions is diverse geometric decorations patterns. Since the main facades of the houses in this town are directly located in the sunrise direction and it is accepted landscape for the citizens of this historical town، so the artists have shown their art and style in this part of the monument and built beautiful and harmonic diverse wooden windows and variety of these patterns are seen in all five neighborhoods in this town. Girih tiling consists of straight and broken lines on a regular basis that could be reasonably expanded in the surface. In the present study، it has been tried to classify the decorations in girih tiling in the neighborhood of Masouleh and also investigate girih tiling including scrolls and edges، and also the role of decoration in this element. The methodology of the research is based on field study and direct observation of the monuments and decorations and taking image and converting into Auto CAD files with dimensional analysis. Also، for description of girih tiling، descriptive and library studies have been conducted. Questions that the research seeks to answer in this paper are: Can it be offered a defined pattern for opening girih tiling by analyzing of the decorations in neighborhood of Khanehbar in Masouleh? And also is the largest usage of the patterns seen in scrolls (middle or central plan)? Does scroll use most patterns in its margins? The girih tiling patterns of “gavarehbari” with “boteh jegeh” designs (paisley)، eight squares ornamental layout، rectangular، “hasht-chahr longeh tokhmedar”، and gavarehbari with the scales patterns are more common patterns. Fourteen patterns were seen in studying the girih tiling patterns employed in the combined windows that “alat jafari chokhati” and then rectangular tiling and seven and eight sides tiling patterns were common. The patterns used in the friezes are mostly eight squares layouts. The most common patterns in the margins are four- side tiling in all parts. Diverse patterns of girih tiling، besides with diverse combinations resulted from placing together and offering shapes in the friezes and marginal patterns have offered rich visual ornamentation in the historical city of Masouleh. Such studies aid reproduction of these patterns in the contemporary fine arts while preservation and documentation of the fine and visual patterns in the Iranian girih tiling.

The recognition and categorization of various types of architecture can lead to a better understanding of the environment, its conservation, and the establishment of new design methods. Gilan province is in the north of Iran and in the southern coasts of the Caspian Sea. High humidity and excessive rainfall are the major properties of Gilan province which are the main reasons for the formation of architecture and urbanization in this region. The human settlements on the Caspian sea coasts have special architectural features. Valuable instances of these complexes can be observed in Talesh city, which is 100 kilometres from Gilan province (Rasht), and especially in Khalehsara 57 village, which is 15 Kilometres from the county seat (Talesh city). This paper tries to investigate thearchitectural typology of Khalehsara 57 village. The data were collected by desk studies and field observations; and among the population of 495 residential buildings, 90 traditional houses with valuable architectural properties were analysed. Therefore, the status quo of the village was described first; then, structural elements of the buildings, existing environments in the buildings, and typology of the village were studies. The results of this study showed that the development of the buildings were formed in the village from east to west and then in high altitude based on climatic priorities. Generally, three architecture patterns are found in the texture of Khalehsara 57 village includinghigh-based houses, houses with Telar, and Gholam Gardeshi houses. Seventy three percent of the houses were high-based houses, and they were the most frequent pattern in the texture of Khalehsara 57 village. Twenty four percent of the houses were houses with Telar which were less accepted by the villagers due to high expenses of the execution. Three percent of the houses were Gholam Gardeshi houses which was the last type of the houses with regard to frequency in the typology of the buildings of the Khalehsara 57 village.