mohammadreza rahimzadeh

"Interior architecture" as a professional and academic discipline, despite having an independent position, is mixed and intertwined with “architecture”. It can be said that until about a century ago, when "interior architecture" and "interior design" had not been formed, the arrangement and design of interior spaces were mainly related to the specialty of "architecture" and architects had the main responsibility for this work.  But after the changes and transformations that took place over the last two centuries, especially in the social, professional, and academic systems, specialties were formed with the names of "interior decoration", "interior design", and "interior architecture" respectively, and its specialists became the main bearers of the responsibility related to the arrangement and design of interior spaces. Today, interior architecture or interior design has such an independent position in the professional and education system that few can ignore its legitimacy. However, it is important to consider that despite the formation of an independent position for "interior architecture" (or "interior design"), due to its common nature and institution, it has a close and intertwined relationship with "architecture". Therefore, the relationship between interior "architecture" and " architecture" is the subject of this research. This research has been carried out in four steps. Since this article is about the position of interior architecture in relation to architecture, the recognition of interior architecture has been first discussed with a brief overview. Therefore, in the first part, a review of the formation of this specialty has been done in order to gain knowledge of interior architecture through genealogy and examine the course of its evolution. In order to achieve this purpose, it was investigated how the three specializations "interior decoration", "interior design" and "interior architecture" emerged. In the second part, there is a review of opinions in the field of the relationship between "interior architecture" and "architecture" and an attempt has been made to categorize these opinions. To better achieve this, abstract models have been used to explain these opinions. In the third part, by examining and analyzing these votes, the relationship of these votes with each other in a comprehensive model structure was examined. Finally, in the fourth part, with a critical look at the mentioned models, a new conceptual model has been explained to analyze the relationship between "interior architecture" and "architecture". The type of research is qualitative, and its methodology is analytical interpretive, and logical reasoning. This research concludes that the relationship between interior architecture and architecture from the angle of the concept of inside and outside is in the form of a spectrum that interior architecture from inside to outside, and architecture from outside to inside, are intermingled and have no boundaries. At the same time, these two specializations form a whole in a complementary relationship. This research can contribute to a more accurate understanding of interior architecture and clarify its relationship with architecture.

Tectonics is one of the theoretical concepts and a method of studing the history of architecture which pays attention to both technical and artistic dimensions at the same time. A concept in which there are dual concepts of technique and aesthetics. In Islamic architecture of Iran until the end of the Qajar period, this attention to both the structure and the decorative surface was very evident in buildings whose main material was mostly brick, but its principles were not known. With the entry of new materials and construction methods  from the end of the Qajar period, tectonic methods and the interaction of art and technique were forgotten and Iranian architecture faced a crisis. This research question: What are the technical and artistic tectonic rules of bricks in Hakim mosque of Isfahan in the 10th to 13th )AH( centuries? This research seeks to know the technical and artistic tectonic characteristics of bricks in Isfahan in the 10th to 13th centuries in order to know Islamic architecture of Iran.
The researches on the tectonic of bricks in Iranian architecture have not been done, Therefore, in order to understand the tectonics of bricks based on the paradigm of interpretive epistemology, and qualitative content analysis with an explanatory orientation and based on the theory of Karl Betticher and Gottfried Semper, and with the method of collecting library information and gathering tools based on referring to documents and field research, the tectonic characteristics of bricks have been studied in Isfahan's Hakim mosque.
By analyzing the qualitative content of tectonic bricks in general(shaped and structural structure) the articulation and the decorative surface in Hakim Mosque, it was revealed: The brick architecture of Iran has been formed under the rules of structural and shape principles of tectonics in the whole architecture, articulation of surfaces in intermediate scale and decorative surfaces in  micro scale .The principles that show the characteristics of technical and artistic construction in brick architecture. The brick architecture is finished with jagged, domed, smooth and sloping surfaces and with stone and pyramids foundations and coping brick with Moaghali decorations is  started and  coping brick above and below the inscriptions and confined brick are used throughout the walls. Also, Articulations based on(connecting surfaces) in intermediate scale (such as wick corners in Jurgir Sardar) and Articulations based on(surface separator) in micro scale (such as border ,zigzag and strip, arched border, concave arched, and header brick edging) have been used. Also On a micro scale, decorative-structural brick surfaces(Jurgir Sardar Moaghali brick work, basket weave  brickwork and plinth Moaghali brickwork) and decorative(tile surfaces such as: Moaghali, Moarragh, seven colors and linear) with arrangements(striped, raking,alternating, head and straight) are used. In all three scales(general, intermediate and micro) technical and artistic features are related.  These relation under tectonic rules express technical and artistic costruction and the culture of Stereotomic construction in Hakim mosque brick architecture. The construction culture that has appears by adding and subtracting brick material and it is a confirmation of Karl Betticher and Gottfried Semper of tectonic theory.

"Interior decoration", "interior design", and "interior architecture" are known as three names that refer to specialties that are focused on the organization of interior spaces. The emergence of these three specialties takes place in a historical process; first "interior decoration" in the early nineteenth century, then "interior design" in the early twentieth century, and then "interior architecture" about four decades ago. The precedence and delay in the emergence and application of these specialties does not mean the complete replacement of the latter over the earlier one; however, in some cases and for some reasons, the former specialty has been replaced by the latter. In fact, these three specialties, despite their many similarities and commonalities, have different meanings and uses and in relation to each other, and they have created a relationship that is questionable and worth considering. So the main question of this research is what is the relationship between the mergence of "Interior decoration", "interior design", and "interior architecture".To answer the above question, first, the foundations and origins of each are examined and analyzed. This is because by finding the roots and recognizing the factors and conditions of each period, it is possible to identify the requirements and needs that have affected the emergence of each. These factors and conditions form a system in which they interact and are affected. As a result, their interaction leads to the formation and objectification of each of these specialties. After recognizing the way the three specialties are formed, their function and functional evolution have been studied in both the context of profession and education. In this way, the relationship between these three specialties is explained. Since the subject of this research is to know the origin of these professional areas and how it is formed, the main focus is on beginning to find the subject matter of these specialties that have lasted from the early nineteenth century to the late twentieth century. In the last two decades, these specialties have become more widespread in the profession and education, and so a careful study of this issue requires further opportunities. Therefore, the time period studied in this research is from around 1800 to 2000.So the goal of this study is to understand the relationship between these three titles. The methodology of this research is analytical, interpretive, and logical reasoning. This means that by searching, collecting, and organizing documents, and evaluating and interpreting data, a description of the origin and formation of these three specialties is provided. The findings of this study show how the factors influencing the formation and survival of "interior decoration", "interior design", and "interior architecture" operate and how they relate to each other. Since a relatively short time has passed since the introduction of these specialties, this research can help to understand each of these three areas of expertise more accurately and is effective in clarifying their position in relation to each other. Continuation of this research can help to develop the concepts and theoretical foundations of these specialties.

Our understanding of contemporary architecture and its relation to the past has formed historically against the backdrop of a complex network of various individuals and other contextual factors. A prominent figure representative of such an understanding is Vartan Hovanessian. His decades-long activities included diverse fields such as criticism and authorship, corporate activity, and architectural design. This article answers the question of his intellectual position regarding the relationship between the architecture of his time and that of the past. It examines the network of thoughts, individuals, events, interactions, and other factors to draw a comprehensive picture that goes beyond a scholarly monograph of the architect. The research mainly relies on primary sources especially his articles, using the historical method to construct a narrative of his intellectual positions on the relation of past and present architecture during the three decades of his professional activity in Iran. This research shows that “the past” appears in Hovanessian’s thinking in two distinct ways: the “distant past” and the “recent past”. The “distant past” in all of his writings includes all historical periods of Iranian architecture up to its peak, i.e., the Safavid era, while the “recent past” starts a few decades before the publication of his first articles. However, the works and the time frame he suggests for the architecture of the “recent past” vary in the articles he published during the 1320s and 1340s SH. His different intellectual positions towards the past in each period can be explained in relation to modern architecture and to his perspective of the future as manifested in the European and Western ideals of modernism.

Islamic architecture of Iran has passed one of the most prosperous periods in (10-13AH) centuries and the share of the geographical area of capital of Iran in most part of this period, that means the city of Isfahan, for many reasons in this glow has been very important. Although about this growth and prosperity and begin and end and its causes there is a difference of opinion, few people have doubted its existence. In this era until late Qajar period core form and art form were related and had common features in architecture and handicrafts and the coherence and harmony between them were evident. This relation is expressed with the concept of tectonic in the history of western architecture. The concept that theorists have defined it interaction between core form and art form in the context of historical culture. Gradually, this coherence and great thought with the arrival of new materials and construction methods were forgotten from late Qajar period and artistic and tectonic construction was reduced in buildings, and Iranian architecture faced a crisis. Criticism of Iranian today's architecture has been very pervasive in recent decades, Many researchers know the main cause of instability is in Lack of recognition of architectural history of Iran and its technical and artistic construction methods. On the other hand review of researches shows in the tectonic field less been paid to core form and art form of tectonics, so it is necessary to study it. The main research question is How tectonic conform and art form are related in architecture and handicrafts of Islamic Iran in (10-13H) centuries and their similarities and commonalities with the aim of understanding the tectonic rules of the Islamic architecture of Iran. for this reason in this article to recognize of wood tectonic based on interpretive epistemological paradigm, comparative reasoning and qualitative content analysis with explanatory orientation based on Gottfried Semper's theory has studied common wood tectonic features in architecture and handcraft in three levels, whole architecture (the whole building), intermedate level architectural components (column, roof edge and door and window) and small level in handcraft (pulpit, pen box, Kmanche, Tombak, mirror and boxes) in (10 – 13AH) centuries. Based on the theoretical basis of tectonics and considering that wood has been the most practical materials before the arrival of industrial steel in Iran and an important role had in the construction of load-bearing elements such as beams and columns and architectural and handicraft decorations. Wood tectonic is divided in terms of core forms to general forms and articulation and in terms of art forms to decorative surface. This tectonic features in the collection of wooden handicrafts of Metropolitan museum, Isfahan cultural heritage organization and Islamic art sites is study that have the most affinity in terms of technique and art with wooden architecture in the mentioned period.Wood handicrafts are two types: wood handicrafts which are part of the furniture like the pulpit of Hazrat Abolfazl in Aran and Bidgol of Isfahan and handicrafts that produced as movable objects such pen box, Kmanche, Tombak, mirror and wooden decorative boxes. In wooden architecture on a large scale and wooden architectural elements (beams and columns, ceilings, roof edges and doors and windows) in the middle scale are examined tectonic components from the collection of buildings and wooden elements of this period. In some cases due to the scarcity of pictorial resources inevitably has been used from examples outside the geographical area of Isfahan but attention has been paid that this samples are comparable to effects that notable similarity have with the effects of Isfahan. Because Isfahan has been the capital of Iran, many exchanges has had different geographical areas of Iran and in this regard this utilization does not harm the results of the research. Studies and surveys show that some wooden handicrafts on a large and medium scale are similar with non-wooden architecture and elements such as windbreaks and minarets that most of this heterogeneity is on a large scale and in buildings with masonry materials. These cases have been studied in the sense that in identifying wood tectonic rules are very important. Comparative study of wood tectonic features in handicrafts and architecture in the mentioned period reveals that among core form (general forms and articulation) and art form, there are important similarities in handicrafts and architecture. Wood tectonic harmony is notable in handicrafts and architecture not only in terms of core form but also art form. Tectonic subscriptions that indicate the characteristics of technical and artistic construction in Iranian architecture indicates in Iranian architecture how the building begins and ends, articulation of surfaces and decorative surfaces in terms of formal-structure is done under tectonic rules. Formal-structural similarities of wood tectonic in three scales (macro, medium and micro scale) under the tectonic rules: exposure of form and space (connect to earth and sky), articulation (different materials joint, tongue and groove, sliding joint, wick corner, bar joint and convex corner joint) are tectonic technical principles and the rule of covering surfaces(mosaic surface, border, carving, and negative surfaces) are artistic rules that expresses same tectonic culture. Tectonic culture had similar construction manifestations in similar culture and similar construction techniques have used in different materials.

"Interior architecture" and "interior design" are two titles that refer to the knowledge or profession that deals with the arrangement of interior spaces. The use of name "interior design" is about a century old, but only some decades have passed since the appearance of the name "interior architecture". Today, both of these titles are used both in the field of knowledge and in the profession. The purpose of this article is to address the relationship between interior architecture and interior design. To achieve this goal, the existing definitions of these two have been compared, and by analyzing the similarities and differences between interior design and interior architecture, the nominal or intrinsic difference between these two names has been examined. In the end, the pathology of using these two names has been discussed. The type of this research is qualitative and its method is analytical and interpretive. From this research, it has been concluded that It can be said that there are three types of opinions or three types of approaches regarding the relationship between interior architecture and interior design. The first group is the group that believes in distinguishing interior design and interior architecture. In the definitions provided by this category, interior architecture has a distinct meaning and function from interior design. As a result, the experts of this group, in addition to confirming the legitimacy of interior architecture, have given it an independent identity. The second group of opinions in this regard is related to the group that considers interior design and architecture to be the same. This group does not deny the legitimacy of interior architecture, but they believe that there is no distinction between interior architecture and interior design as if interior architecture was a title that had the desire to replace interior design in order to validate interior design, but it was not successful. As a result, both titles are used today. Therefore, the application of each of these two titles is based on an agreement that is different in different countries, and this matter has an agreement or contractual aspect. The third point of view in this regard is an approach that fundamentally questions the legitimacy of interior architecture and considers it a threat to the professional and academic position of interior design. The experts of this category believe that using the title interior architecture is ambiguous and confusing, because there is not enough distinction between this title and interior design. Considering the above conditions, it is necessary to form a consensus council and make a comprehensive and international decision to explain the definitions and functions of these two titles, which will be the benchmark for the actions of all professional organizations and educational centers; This can help to resolve the existing confusion and raise the status of this area.

The mainstream of the developments that have guided and shaped the contemporary human dwelling, has been the subject of concern and criticism by many diverse groups of thinkers. Many theorists have tried to re-think the concepts of dwelling and have created new perspectives. Human happiness is the center of attention of all religious traditions. With this premised, it seems that an effort from this point of view can explain things that -in the current view of architecture- have been neglected or forgotten. The purpose of this research is to find out what are the principles and criterions to the body and the container of human life by referring to religious texts, and what is the relationship between the human and the container of his dwelling. The research method is comparative and interpretative, and its resources are the texts of Zoroastrianism, Christianity, and Islam and some of their interpretations. In the first part of the article, human’s existential relation to his dwelling containorin the context of thinking based on the mentioned religions has been investigated, and in the second part, the comparative analysis of the basic differences and commonalities has been discussed. The findings of the research show that, despite the differences in categories and terms to human and the levels and scales of his dwelling, the studied religions have one thing in common, and is that they do not make a fundamental and essential distinction between city, home, and human body, as they do for the human soul, the home dweller and the city dweller and consider the same principles for all these. From the point of view of all three religions, the world in which a person lives, the body, the house, and the city, is a whole unit that consists of a metamaterial or heavenly area in addition to the material or earthly area.However, in modern thought, withthe domination of specialization and its expansion, has put forward a new approach in understanding and dealing with human and his dwelling, which is accurate but in comparison with religious thinking, in terms of the ranks are limited, different in terms of priorities, and inconsistent in terms of scales.

Reading vernacular architecture to understand values in architecture involves a variety of perspectives. One of these approaches is to consider vernacular architecture as related to the beginning of architecture and there are two common readings of it. The first reading sees vernacular architecture as genotypes in the architectural evolution map as the primary component. The second reading considers it as a subject that has not undergone many changes since the beginning of the history of architecture. It is a reference, therefore, to go to in case there are questions or ambiguities. On the other hand, attempts have been made in architectural theory to find the beginning of architecture in theory, and the concept of the primitive hut coined for it. But the unavailable primitive hut cannot communicate with the beginning of architecture. Due to the necessity of objectifying the conceptual primitive hut, this article tries to show the possibility of a third alternative regarding the connection between the vernacular and the beginning, which is verified by the previous two views, but those views do not take it as far as taking the vernacular to the contemporary and future eras. To achieve this, a three-stage study is conducted. The first stage is an investigation of the relation between the vernacular and the beginning. The second stage is in the form of studying the concept of the beginning and its various aspects in the work of thinkers. The third stage is about investigating the adequacy of the primitive hut as an example for architecture’s beginning. The next stage is about finding empirical representatives, in which vernacular architecture is surveyed as a source of inspiration for theorists about what the primitive hut is like. Finally, considering the features and potentials of the vernacular for this representation, it is argued that this alternative is theoretically and practically possible and has positive consequences. Because of its relation to Arché, this notion of vernacular architecture can reveal the profound epistemological values of its study, research, and experience. Therefore, both areas can benefit from this relationship.

The present study seeks to investigate and determine the relationships between the effective components in the sustainability of public culture and social sustainability of residential complexes in Zanjan as a field of study, to explore the relationship between the sustainability of public culture and social sustainability in complexes Achieve the social sustainability of residential complexes in Zanjan by relying on public culture. This research is applied in terms of purpose and qualitative. The statistical population of this research is 11 experts in architecture and sociology who were selected using the snowball sampling method. The data collection tool is a semi-structured interview based on theoretical foundations. Through adaptation of the data obtained from the analysis of interviews and observations, environmental variables and characteristics related to social and cultural sustainability in residential complexes were extracted and categorized. In the end, it is mentioned that solutions to create suitable spaces for children, creating welfare facilities for residents, giving importance and meeting the demands of residents, providing sufficient financial resources for cultural projects, teaching security to children, creating welfare access for the elderly, Creating justice in the distribution of resources, preventing class divisions, correct pricing of units, appropriate physical-social size of space, improving bio-comfort and visual diversity, play an important role in ensuring social and cultural sustainability and promoting the sustainability of residential complexes.

The data collection tool in this research is a researcher-made questionnaire and includes four dimensions of social, cultural, physical and economic sustainability and has 19 components and 67 indicators. For this purpose, first an attempt has been made to discover the comprehensive components of social sustainability of residential complexes in Zanjan and the components of public culture of this city with the help of library, field and inquiry studies, and in the next step the related components of public culture sustainability Check the social sustainability of residential complexes. This research is applied in terms of purpose and descriptive-survey type. The results of this study show that the total correlation and severity of the relationship between the variables of cultural stability and social stability is confirmed at a significant level of 0.05. The mean square of the errors of the model is 5.2, which is less than the value of 8.0 and is equal to 10.63 of the optimal level relative to the chi-square, so the values ​​of the indices of the independent variables can affect the dependent variables. According to Kolmogorov-Smirnov test, the variables were recognized as normal. To evaluate the stability factors, all test factors had a single sample t-test with 95% confidence. The results showed that participation, security, resilience, justice and equality and reducing the general cost of living in residential complexes in the Punak region of Zanjan are at a desirable level.

Architecture reflects the human perception of their existential relations with the world andtherefore it creates meaningful places. Every place with its boundaries concretizes a Harim, whichis the manifestation of such existential relations. This interrelation between the boundary (Marz)and the Harim may cause us to assume them both the same, but these two are different. Althoughevery Harim has its boundaries, not every demarcation concretizes Harim. In architecture, onthe one hand, which always entails demarcation; paying attention to these conceptions is provedto be essential. On the other hand, though, it may cause to demote the conception of Harim toanother thing; consequently, this conception is likely to be regarded as a nominal one without anyrelations between it and fundamental meaning of architecture and it is just related with the bodyof architectural works. This research intends to explain theoretically that Harim is an essentialconcept in architecture. To achieve the intended purpose, the research seeks to find the originof Harim. Here, the research methodology, which is in the qualitative sphere, is grounded inlogicality. The majority of its arguments are founded on scholars’ phenomenological theories ofarchitecture. Accordingly, after studying about the word Harim and examining its etymology,the relation between three conceptions of human, place, and harim has been investigated tounderstand its status in architecture. The results are Harim:Which is a formative theorem is originated from human existence and their relationswith otherness.Judgments about Place and its authenticity and rightness is founded on Harim and itsideal concreteness. The form of Harim is the consequence of the very existence of beings.It connects and disconnects.Its emergence is not an absolute geometrical concept but it reflects existential aspectsof beings;Based on hierarchies of human’s existential relations, is able to create a continuousspectrum from the out of outside to the inside of in. (the utter outside to the utter inside).

Mosque, Mirror of Islam (1985) is one of the most comprehensive and important books of the famous French philosopher Roger Garaudy on Islamic art and architecture and the mosques of the Islamic world, in the position of the full manifestation of Islamic beliefs. The characteristics of this book have given it a special and unique place in such researchs. However, this work, like many other works, is not free from ambiguities and content criticism. The present study intends to study and critique the content of the book through descriptive-analytical methods and documentary studies. The results of this study emphasize on the richness of the book in observing and interpreting details, and trying to explain the Islamic art in line with the concepts of the Holy Bible of Islam, the Quran, and also provide reviews in various sections of the book, and open new perspectives in the mind of the reader towards its chapters.

The master's degree program of architecture in Iran which has been a discontinuous program since 1999, has been developed based on the sub-division of previous continuous M-Arch program into two discontinuous “bachelor” and “master” programs. Since then the master’s degree program and the curriculum have been revised only a few times and the last revision was approved in 2013. The Ministry of Science, Research and Technology (MSRT) has developed the master’s degree program according to the coordinated education system and its prevailing restrictions. The department of architecture at the University of Art, after 14 years of offering the M.Arch program, decided to start developing its own curriculum with a series of research programs. This research aims to define the main goals and the general and specific characters in contemporary graduate education in architecture. In this article, a comparative study has been conducted to analyze the master's degree programs in selected universities and departments in the United States (2 programs), Europe (4 programs), and Asia (2 programs including Iran) with the highest ranks in Q. S world university rankings. Accordingly, the master of architecture program in high ranking universities of M.I.T, TU Delft, ETH Zurich, Harvard University, University of Manchester, Politecnico di Milano, and the National University of Singapore have been studied and analyzed. Also, the structure of the latest master’s degree program of architecture approved by MSRT in Iran has been reviewed and analyzed in comparison to the curriculum of architecture in the selected universities. This research is a developmental research with a qualitative methodology and is conducted based on logical analysis, comparison, and inference methods. The findings of this study demonstrate that the master's degree program of architecture in Iran can only be compared with the educational programs of the selected universities in terms of course length and overall structure. However, in terms of goal setting, educational areas and educational details further revisions are needed. Additionally, fundamental changes should be made in accordance with the architectural features of the country and the region, which should be considered in the development of educational programs. The areas in which further development in the M.Arch program in Iran can be recommended are: continuous revisions and updating of the program and curriculum through research; clarification of the educational goals in respect to the context; developing various educational fields in the program; redefining the structure of the courses in each semester to reach higher levels of integration; considering flexibility in the program based on the students’ potential; leveraging the spatial characteristics and capacities of the campus buildings and facilities; offering a more balanced combination of theoretical courses and studios in order to make it a coherent experience for the students; providing apprenticeship opportunities as an option for education.

The first capital of Sassanian Empire was Gour city located in Firuz Abad region. Passing the time, changing governments, and human’s interferences there only some ruins have remained. Two great ruins have still existed in the city, one of them is similar to a tower and the other has been built of dressed stone. Some historians have indicated them briefly and some researcher studied their function shortly. Nevertheless, their essence and function are not clear and no one has done comprehensive survey about them. Therefore, the main purpose of this essay is to reach sensible narration about the quality of living in these monuments in Sassanian era. Thus, the research method is historical – interpretative. The main questions are on the importance of Gour city and Firuz Abad region in early Sassanian period, the essence and names of the monuments, their functions, and the main aim of the establishment of the city and its buildings. Getting that, first, we will study the status of Pars province and Firuz Abad in early Sassanian period in order to reach the perspective of Gour’s status in that time. Next, in second part of the essay, we will study the texts of historians and geographers in Islamic period, between 9th and 19th century, about the city and its monuments to know the city’s structure and the monuments conditions in various periods and their famous names. At the end of this part, we analyzed their narrations and compare them together, because in some texts, we can see some vagueness and repetition. In the most important part of the essay, we study the functions of two central buildings of the city. Achieving this, we studied the contemporary researchers’ and travelers’ attitudes on these monuments and compare them together and analyze their reasoning. We want to get believable narrations about the story of living in these monuments in Sassanian era. To sum up, we found out some results. Gour or Ardeshir Khovarrah might have been the political and religious capital of Iran by the early Sassanian era. Islamic historians have named these ruined Terbal, Eyvan, Kiakhoreh, and Minaret. Maybe they wanted to suggest royal and religious function for these monuments, although it seems that they indicate a palace. According to archaeological and historical evidences, researchers’ attitudes, and sensible reasoning we can reach some narrations about living in these ruins when they were habitable. One of them is the monuments belonged to royal complex and the tower was the symbol of Sassanian kingdom and the other has been built of dressed stone was the space for royal or ritual ceremony. The other alternative for dressed stone building is the open space for ritual washing or even might have been Anahita temple. The last suggestion for this ruin is a place for ossuaries, because these places have not been recognized precisely yet. Finally, we think that these monuments were parts of the royal complex of the city. In this research, we used three main references; first group is historical and geographical texts. When we use these references, face some issues. If we do not investigate them carefully, we might make mistakes in our deductions. The first issue is the editors might have made mistakes in rewriting some words; second, the vague narrations which we don’t know the writer talks about which building; third, repetition of earlier historians’ word in later historians’ word .the other group of references is contemporary researches and diaries which is the source of third part of the essay. Moreover, knowing correct meaning of some words, we used encyclopedias and literary texts which have been mentioned in footnotes and references’ part.