typology

Typology provides a simple and diagrammatic description of a group of phenomena and establishes a degree of connection or affinity between those phenomena. Many studies have addressed the typology of spaces of historical houses, but most of these studies have focused on one or more limited spaces, which reveal the absence of structural connection between different spaces and the lack of a specific method or framework that can be used to typify all spaces and explain the structural connection between them.

This study aims to establish a connection between different spaces in introverted historical houses located in the Central Iranian Plateau Iran and identify the formal-structural connection between the findings from previous studies on the typology of spaces of historical houses in Iranian architecture.

Using the shape grammar, the present study performed a typological analysis of micro-spaces of 64 historical houses from Kashan, Yazd, and Isfahan. This study also developed the initial typology of micro-spaces and established a coherent system of relationships between formal typologies in the historical houses located in these three cities.

Based on the findings from this study, a two-stage grammar was first developed for generating the formal structure and then establishing spatial relationships between components of the houses. With the help of this grammar, a triple structure was developed using a range of formal structures and spatial relationships identified in the studied samples. The developed typology can account for the structural relationships between different forms. In addition, it can pinpoint the differences between different typologies in other cities. Accordingly, the typological model developed in this study establishes a structural-form relationship between different spaces in introverted historical houses located in the Central Iranian Plateau.

The building envelope serves as a critical protective barrier that significantly influences energy performance, making façade design a crucial consideration in architectural planning. This study addresses the limitations of conventional optimization approaches by developing a practical methodology for early-stage design decision-making. Focusing on both opaque and transparent components of building exteriors, the research investigates key parameters affecting thermal behavior and energy efficiency. The methodology combines a systematic literature review with empirical analysis of District 15’s building stock, utilizing GIS mapping and field surveys to identify prevalent façade typologies. A comprehensive evaluation of wall composition, insulation properties, and window-to-wall ratios reveals their collective impact on heating and cooling demands. Simulation results, validated through field measurements, demonstrate a clear correlation between wall thermal conductivity and energy consumption. Comparative analysis shows optimal façade configurations can achieve substantial energy savings - reducing heating demand by 38.43 kWh/m² and cooling load by 1.48 kWh/m² compared to inefficient designs. These findings are particularly significant for cooling-dominated climates, where electricity savings directly translate to operational cost reductions. The study provides architects with evidence-based design guidelines for optimizing building envelopes during conceptual phases, bridging the gap between theoretical energy modeling and practical application. By quantifying the energy implications of various façade strategies, this research contributes to more sustainable building practices while establishing a replicable framework for performance-driven façade design in urban contexts.

The Purpose of this Article is to investigate the serialism in Conceptual art and its influence on contemporary photography. In the 1960s and 1970s, conceptual artists used countless strategies and arrangements to confront and turn away from established traditions and modernist approaches to the medium. All these strategies led to redefining the intrinsic concept of art (definition of art, role of artist, role of art economy, art object, etc.). The use of serialism, language and photos were among these strategies that sometimes interfered with each other. Although serialism, repetition and sequence were also seen in different arts before the 60s, but in conceptual art, it entered the field of ideas and concepts. By using serialism, it was possible to avoid the intuitive encounter. Pop art and minimal art movements also used this strategy at the same time as conceptual art, so the combination of serialism and photography had significant effects on photography as art. By focusing on serialism in the works of conceptual art artists, this article tries to show how contemporary photography has used this method to free itself from the shackles of photography and other modernist definitions of photography. On the other hand, from the semantic point of view, the serial repetition of a photo with a fixed image in a Grid installation (either sequentially or completely dependent and side by side) changes its meaning to a series of events or emphasizes the existing object. In fact, an icon of anything represents the same thing; But its repetition points to an epidemic that the Grid installation reinforces. Typology was one of the other key concepts of this discourse, which is in the works of most conceptual artists in a tangible way and was a mechanism that made methodical study possible for conceptual artists. The Grid installation was a form of presentation of the work of art that conceptual artists could use to address the plurality of the subject; It also allowed artists to explore the differences and similarities of a subject. The findings of this research show that repetition and sequence, which is an inseparable part of today's contemporary photography, has its roots in the arrangements of conceptual art artists, who used serialism, formula, sequence and repetition during the transition from modernism to support engineering order. They used to study logical relationships between things. In the current research, descriptive analytical method was used and library and documentary sources were used to collect data. In this research, an attempt has been made to present the importance of this attitude to the art object and subject by referring to various theories about serialism in conceptual art and contemporary photography, and on the other hand, to show how the artists of preparatory conceptual art adopted in which the conceptualism of art redefines its meaning in cycles of repetition and sequence. Olafur Eliasson, William Wegman, Wolfgang Tillmans and Hans Eikelboom are the sample research photographers of this article; who have used Serialism, Grid, Typology and Time in their works.

The study of the architectural history of the houses from the first Pahlavi period in western Iran, particularly in the city of Sanandaj, reveals that this topic has been largely underexplored. The changes and transformations in the city have also led to shifts in residential architecture, introducing various architectural influences. Contributing factors include the presence of immigrant groups such as Qajar princes, administrative and civil officials, as well as marriages between governors’ children and Qajar princes or government appointees. Architects and artists from other cities, notably Tehran, were also involved in the design and construction. According to research, no systematic or cohesive studies have been conducted specifically on the physical-cultural typology of Sanandaj houses. Given the importance of this subject, this article first examines the houses from various perspectives, followed by an analysis of the typology of Sanandaj houses from the First Pahlavi period, and finally discusses the physical-cultural characteristics of these homes. The aim of the article is to investigate and understand the cultural-physical characteristics of Sanandaj houses and their typology during the Pahlavi period. The aim of the article is to investigate and understand the cultural-physical characteristics of Sanandaj houses and their typology during the Pahlavi period. The research seeks to explore the relationship between the architecture of Sanandaj houses and the culture of the Kurdistan region, to understand the architectural styles of Sanandaj houses from the First Pahlavi period from a cultural perspective of the Kurdistan region, and to analyze the characteristics of the existing types of houses in Sanandaj based on the examination and analysis of their structures.

The present study, following a qualitative approach, falls within the interpretive paradigm in terms of its epistemological framework. It is considered a theoretical research in terms of research aim and it uses an inductive reasoning method. A historical method serves as the research strategy, and both descriptive and analytical methods are employed due to the nature of the subject. The descriptive method is applied in the review of theoretical perspectives and literature review. Initially, written sources such as domestic and international publications and journals were searched and selected. Using relevant content from these sources, and after consulting with experts, supervisors, and advisors, the structure of the theoretical and experimental sections was developed. In the next phase, to identify causal relationships and understand the correlations between variables and indicators, the analytical method was employed. Data was collected from the selected statistical population through a survey study, and after classification and extraction, the data was measured and scientifically analyzed.

Following the field investigations of residential typology in Sanandaj, the influence of central region architecture and its dominance over the form and design of native and foothill architecture becomes evident. A combination of principles from western Iranian mountain architecture and the use of pillared porches is present in the majority of houses. The research samples were evaluated based on the relationship between components and space functionality, facade decorations, volume, staircase placement, introversion and extroversion, orientation, identity, and privacy. The results from the analysis of ten houses are summarized below. A qualitative method was used to analyze the findings, incorporating various indicators. Physical indicators included spatial communication, view, volume analysis, and staircase location. Housing dimension indicators examined the overall shape (introversion and extroversion), orientation, and the location in relation to neighborhood scale and type. Cultural indicators focused on identity, privacy, and the social status of the homeowner.

The investigation of First Pahlavi period houses in Sanandaj reveals that these houses are relatively adapted to the climate and engage with nature. The courtyard is very respected and serves to organize different parts of the house, preserve interior views, and maintain privacy. It is evident in the surveys that architects emphasized the importance of courtyard as a key element in these houses. In some cases, the spaces were designed to incorporate nature and outdoor areas, which was not fully justified by Sanandaj climate. However, these spaces were created due to the demand of the residents and to observe the principles of visual privacy. These houses were not solely designed based on climatic factors; when cultural and climatic considerations conflicted, cultural factors were given more weight. Ultimately, the culture of the region played a direct role in shaping the interaction between indoor and outdoor spaces, such as the use of pillared porches. The analysis of First Pahlavi period houses in Sanandaj indicates two main types: Type A, which is heavily influenced by the architecture of the Kurdistan region, and Type B, which is influenced by the architecture of central Iran.

One of the most important factors influencing the construction of complexes is the climatic characteristics and climatic conditions, so that the study of how these elements and their feedback are inevitable and the importance of climate and its impact on the lives of their inhabitants is not hidden from anyone. The purpose of this study is to identify the typologies of residential complexes around the world and to introduce their dominant type and climate study of the complexes. This research has used analytical and comparative methods. The data collection tool is a library based on valid documents and sources such as articles, books, etc. By examining 1448 residential complexes built in the years 1960 to 2020 and using random sampling and Cochran system, the number of complexes was reduced to 303 after classifying them based on the year of construction and identifying other features of each residential complex such as Number of floors and number of residential units in each complex The number of complexes reached 95. Five types of single, strip, environmental and mixed species were identified among the residential complexes., the results indicate that the tendency to build single assemblies in most climates is more than other species. Also, the frequency of this type in humid areas has the most differences with other samples. Also, the frequency ratio of the environment to height 2 to 1 and length to width 2 to 1 is seen in the dimensions of all climates and types and has the highest frequency.

With the continuous growth of urban population and the development of cities, the demand for energy in the building sector, especially in residential areas, has significantly increased. The configuration and form of buildings, along with their architectural and structural features, have a noticeable impact on the energy consumption of buildings and environmental sustainability. The main objective of this research is to assess the thermal performance of buildings at the scale of the neighborhood unit.

This research was conducted using quantitative research methods and sensitivity analysis. The data collection methods included gathering information from credible library and online sources, as well as conducting field visits.

Research findings indicate that courtyard patterns are considered the most efficient, while linear patterns and discontinuous courtyard patterns are regarded as the least efficient residential block patterns in Zanjan. Furthermore, there is a significant correlation between energy consumption and layout and form indicators of the blocks, as well as moderate relationships with block proportions. The most efficient forms are octagonal and square shapes, and patterns with a length-to-width ratio ranging from 1 to 1.6 generally exhibit better energy performance.

studying and identifying efficient and inefficient patterns is important to reduce energy consumption in future design.

Apart from the fundamental and philosophical concepts of the Alam symbol, the subject of the evolution of its structure, from the number of blades and statues to the traditional arts used in it, has been less discussed. The creation of a special type of handiwork with the support of faith, which mostly consists of statues, is exceptional in a country. The aim is to determine the evolution of Alam in Iran, to examine the type and shape of statues and their symbolic concepts in the Safavid, Qajar and contemporary eras. The questions that the present research tries to answer are: 1- What do the structure of Alam, the type of statues and their symbolic concepts include during the Safavid, Qajar and contemporary eras? 2- What is the basis of the typology of statues in the mentioned periods based on and what details should be included? The current metal symbols that are called Alam which are used in the annual days of mourning of Imam Hossein, peace be upon him, are actually wide and elongated examples of the single-bladed Alams of the Safavid period. Before that, it was used in battle. In fact, we have seen the transformation of the form and concept from war symbols to religious symbols. This period and later the Qajar era and finally the contemporary era (the last four decades) are significant and referable periods in the construction of Alam in Iran. Among its main components are metal sculptures with animal symbols, which are embedded in a larger structure called Alam, which is rare and exceptional in the world. The research method is descriptive-analytical and the method of collecting library and field information, which was completed by examining more than 200 Alams and statues related to them. Of these, 30, 60, and 110 samples belong to the Safavid, Qajar, and contemporary periods, respectively. The results prove that the structure of Alam in the Safavid period has a single blade and an almond-shaped body, and brass metal has also been used a lot in making Alams of this period. The art of meshing and calligraphy is used a lot, and its only statue is the dragon's head, which has its roots in eastern cultures. Dragon is a symbol of protection and punishment of evildoers. In the Qajar era, Alam becomes 3 and 5 blades, the statues of peacock, dove, Morghe-Rokh and lion are added to it. Part of the beauty of the peacock statue as a bird of paradise is due to its always raised tail. In the Alam, the peacock is attributed to the Imam Mahdi (peace be upon him), the twelfth Imam of the Shiite Muslims. The tail of the pigeon statue is sometimes decorated with religious writings and mesh work. The pigeon is a symbol of the message. Morghe-Rokh, which is a legendary animal, was added to Alam during the Qajar era. This symbol is a metal statue with the body of a bird, the face and the head of a human, often with a crown, which is a legendary symbol and a belief that is related to the ascension of Prophet Muhammad (PBUH). Its body has few arrays in the Qajar period. Birds often have raised tails and the art of gilding on steel has been used a lot. Due to the technical possibilities of manufacturing, primary lions have a small size, which is called "cat-lion". In the Alams, the lion is attributed to Imam Ali (peace be upon him) and is a symbol of bravery. In the contemporary period and especially in the last four decades, the structure of the Alam has become wider and the statue of four-legged grazing animals has been used in its construction. The number of blades is 1, 3, 5, 7, 9 and more. This era is one of the significant periods of Alam-making, the reasons for which can be found in the following cases: 1- The increasing expansion of mourning processions and the increase in favor of the symbol of Alam 2- The emergence of  masterpieces of the steel and Alam making art, especially in Isfahan city and next in Tehran. 3- Revival of past styles, including Safavid style with an almond-shaped body. 4-Applying various fields of traditional arts in handicraft and artistic Alam as much as possible. In this period, we saw the expansion of the industrialization of statues. From the point of view of quantity, deer statues, then camels, rams, and sometimes horses are seen on the Alams. Deer is a sign of the soul and is the most Iranian symbol of Alam. The body of the camel is not very diverse. The typology of statues is based on the traditional arts and techniques used in them, and often includes the art of netting, gilding on steel, hammering, casting and acid work.

The history of the creation of mosques is synonymous with the history of the emergence of Islam and its expansion, which has been subject to the development and influence of this sacred building in different societies. Undoubtedly, throughout history, the combination of mosques with techniques, cultures and rich attitudes of various societies makes its architecture a symbol of Islamic architecture in such a way that it can be claimed that the transformation in other Islamic buildings has started following the development of the architecture of mosques. Here, the main question is whether in the present study, considering the importance of the architecture of the mosques of the historical city of Qazvin, both in terms of physical characteristics and in terms of historical transformations, is possible to achieve rules and frameworks that result in the evolution of the spatial types of mosques in this city from the point of view of physical aspects, functional aspects, and perceptual aspects. Based on this, it includes factors such as the understanding of chastity and how to construct and pay attention to the concepts obtained in the samples studied in the early Islamic, Seljuk, Safavid and Qajar schools of the historical city of Qazvin. The research method in the prospective research is qualitative, which is written in a combined form with interpretive-historical and descriptive-analytical methods, and the data collection is based on field studies and documents. In fact, this research rereads the course of evolution in 11 established and valuable species in the mentioned periods in Qazvin city, and how spatial organization and the way prayer space is connected and the ways of defining open and closed space in the spatial pattern of these mosques from a physical, functional and perceptual point of view. The results of the data analysis show the evolution of the mosques under investigation in the above periods in the historical city of Qazvin, expressing different commonalities and differences in the way of spatial organization and the way of communicating the prayer space and the ways of defining open and closed space in the spatial pattern of this area which can be seen in every era.

The pigeon house or pigeon tower, as the name implies, is a place for the living and offspring of the pigeons and as a kind of indigenous Iranian architecture and a functional, historical monument has gradually found its position in various parts of Iranian architecture. These monuments were initially constructed just as a very small part of a larger architectural complex with the purpose of military and security exploitation of the pigeons residing there to communicate or exchange messages and news in specific circumstances.Due to the location of a significant number of mentioned buildings in agricultural farms and the increasing risk of their destruction, it is necessary to conduct basic studies and explain their special place in the history of Iranian architecture in order to preserve and introduce them. Based on this, it seems that the mentioned buildings have been a kind of reflection of the social class and the conditions of the society around them in terms of form, structure, and dimensions. Therefore, in order to examine the relationship between architecture and the social class that governs each region, the authors have studied and classified them. In this regard, in the first stage, they have documented the mentioned works, including preparing photos, designs, required maps (plan, facade, section) and obtaining initial information from the mentioned buildings based on field visits to Dovecotes in the study area and then they have proceeded to prepare a scattering map and analysis of the architecture of the dovecotes. With the use of GIS science and its software, steps have been taken to achieve real scientific results. Based on the information obtained from the mentioned buildings and their location, the question arises that what is the relationship between different farming communities and the structure of dovecote formation? And how can this connection be explained? Given the existence of a class system governing society (master-peasant) in the Middle and Late Islamic periods, the authors plan to use archeological studies to study the formation of dovecotes in different areas, assuming that the creation of dovecotes in various dimensions and structures in different parts of the country depended on the ruling class in that region.

The construction of schools has a long history in Iran. But with the evolution of Islamic civilization and the development of literature and other sciences, it was not possible to be content with the circles of mosques where scattered debates took place. Therefore, the establishment of certain centers for this purpose seemed necessary. An institution in which higher education and traditional Islamic sciences such as hadith, commentary, jurisprudence and the like are established. Among the Islamic nations, the first people to feel this need were the Iranians, who for some time built simple, uninhabited schools, libraries, and the like, and then fully equipped schools such as the military. The city of Isfahan is one of the centers of Iranian architecture, which is known as Dar-ul-Alam Shargh, and the construction of religious schools next to its mosques began during the Al-Buwayh and Al-Ziyar periods. But over time, some of them have been lost or their faces have changed and no written information about the condition of their spaces is available. Previous studies on schools can be divided into several areas. Part of it is physical and functional analysis, other categories are typology and in the last part, studies have a historical aspect. According to studies, less research can be observed in the field of historical schools that has divided the functional structure of school spaces. Therefore, in this article, for the first time, by analyzing the functional characteristics, the historical schools of Isfahan have been analyzed. Leading research seeks to answer these questions: What are the most significant criteria in the plan of historical schools in Isfahan, which are included in the functional structure of their plan? And how can these criteria be examined in the micro-spaces of these schools? By answering these questions, one can recognize a part of the architectural identity of historical schools in Isfahan and reveal many meaningful repetitive principles and concepts in these uses. This research is fundamental in terms of what is qualitative and based on purpose. It also studies the samples with an analytical-descriptive approach. The present study is non-experimental in terms of data collection and retrospective in terms of time element. To achieve the objectives of this research, data collection has been obtained through library studies and field methods (plan capture, etc.). The tools used include manual meters and laser meters, as well as video documentation tools including photography. The statistical population of this study includes more mosque-schools (Rahim Khan, Sayyid, Rokna Al-Molk and Hakim) and some mosques such as Abbasi Mosque and Jame Mosque, which have Sulaimaniyah, Nasiri and Mozaffariyeh schools next to them, respectively. Of 23 pieces. Now, in order to provide a suitable measurement for the analysis, the seven mentioned samples have been removed from the statistical population. The samples are purposefully selected and correspond to the eighth to fourteenth centuries AH and their number is 16. The samples in this study are analyzed based on the five criteria mentioned and based on each criterion, different plan structures are presented in the form of tables. Data collection is based on authors' library and field studies. During this research, the criteria of the structural index of the plan of historical schools in Isfahan have been determined. These five index criteria that identify the commonalities and differences in the samples include, spatial diversity (outdoor, semi-open and closed), uses in schools and functions of different parts of the building (educational, Residential, prayer, cultural), building circulation (entrance device circulation, access to cells, access to prayer space in schools with prayer space and domes and movement circulation in the corners of the central courtyard), location and form of the device Stairs include, joining and enclosing the building and finally the type of space system (central-axial). These five criteria have created a different functional and spatial structure in the school plans of this city. These five criteria can be examined in different sections in such a way that in the analysis of spatial diversity, most of the samples have various open and semi-open spaces (in terms of multiplicity) that are formed with the center of the central courtyard. Also, the study of the place of prayer space in schools has placed them in three general categories. On the other hand, he pointed out that in schools attributed to the Safavid period onwards, the use of prayer has a special space, which before this use was shared with other uses in school spaces. Analyzes of the circulation criterion revealed that differences could be observed in different areas and sections of schools. On the other hand, access to the upper floors in the samples is done only with a stair device enclosed in the building. The stairwell is usually located next to the porches. This research can also provide an approach for other researchers to study buildings with similar uses, such as caravanserais.

During the Islamic era, one of the significant structures has been the grand mosques of each city. One of the distinctive features of Jame mosques is their minarets adorned with pinnacle finials. Minarets possess specific morphological, formal, and structural characteristics. Given the dominance of central of Iran and the historical significance of these cities, which were often the capitals of Iran, the hot and dry region of Iran has been selected for studying unique minarets. Single minarets were constructed before the construction of twin minarets and pinnacled minarets, thus possessing a longer history. This research aims to understand the morphological and formal characteristics of unique minarets in grand mosques and analyze the construction methods of these valuable structures. Overall, this study seeks to introduce the components of unique minarets, their geometric features in the final form, and their execution details. It utilizes library research, field observation, and interviews with traditional architecture experts. Subsequently, the study examines the construction of these minarets through 3D modeling software. Initially, it introduces the unique minarets constructed in the grand mosques of Iran and their constituent parts, then classifies them, and finally addresses the construction method of unique minarets. The findings indicate that in terms of plan shape, unique minarets are circular or polygonal, and the higher the minaret, the larger its outer wall diameter. Regarding volume, unique minarets are generally cylindrical or truncated cone-shaped, and two types of wooden cladding are used in their construction, with all stages of constructing the outer wall accompanied by constructing the stairs.

Problem statement: 

Caravanserais are among the most important types of historical architecture that have played a major role in trade. Among the main uses of Caravanserais, we can mention security about trips, temporary accommodation for passers-by, storage of goods for merchants, and taking care of their animals along their routes. Many researchers have paid attention to caravansaries structure, unless expanding cliodynamics in historical analysis, it wasn’t possible to find proportions between physical features of caravansaries and social behaviors about caravansaries. So this research tries to answer the current question: how can the physical spaces of Caravanserais influence preferences of business trips?

Therefore, the present article aims to propose a mathematical method that estimates business trip potentials relevant to caravansaries physical features.

This research is descriptive analysis method, using the library study and quantitative analysis. Also, in a case study, a quasi-experimental strategy was used with 3D simulations in 3D Max software and volumetric analysis in Rhino software. Within this context, an explanation of a formula, which has been tested in 16 case studies and 14 simulated trips. 

The results of this research have led to the explanation that Isfahan city in the Safavid era was the main destination of business trips, and the Kerman city was the origin of trips that lead to Isfahan. On the other hand, by paying more attention to the Silk Roadways, it became clear that the trade ring flowed from today’s Pakistan to Isfahan, and from this city to the northwest, northeast, and south of Iran.

The quality of the internal spaces and the impacts it has on the building's energy consumption depend critically on the right and optimal design of the building facade, which plays a significant function as the structure's envelope.Taking into account the facade's crucial function as the building's outer shell on On the other hand, new evaluation methods that designers and architects can utilize in the early stages of design must be replaced due to the time-consuming and challenging existing methods of optimization. The building's exterior envelope has an impact on both the outside environment and the urban environment in addition to shielding the inside environment from outside environmental conditions. Walls, ceilings, windows, doors, and other building elements are among its many parts. The goal of the current study is to create a thorough taxonomy of local structures while also examining the impact of building facade factors on their thermal behavior and energy usage. For this reason, the anatomical parameters of the façade are thoroughly studied in the first step by methodically studying sources and comparable research, and then the various types of facades in area 15 are examined. It should be noted that this article is only the first of a thorough investigation into facade design alternatives for energy consumption reduction. Following the completion of the investigations, the area's GIS map was extensively analyzed, and various and typical types were extracted using a field approach. According to the results of the field research and the components of the facade covering, the average area, orientation, length-to-width ratio, and frequency of parts are examined. The final types are extracted in the second stage after the buildings with the same length of view are classified in accordance with the map and the locations of the spaces in the main view.

Fars Province has always been known as one of the important political, social, and religious centers in Iran with many buildings with different uses constructed in it. In the Islamic era, the construction of mosques as religious foundations proliferated in the region. This even caused the conversion of some fire temples into mosques or the construction of mosques with simple to complicated layouts. With the passage of time and the lack of care for these buildings, some of them were either destroyed or lost their original formation due to inappropriate restoration, while some others are still preserved and registered. The purpose of the following article is to introduce and formulate a typology for the historical mosques registered in the province. Therefore, by using the descriptive-analytical method and logical reasoning, 63 registered mosques were examined. The samples were classified based on their constituent spatial elements and their type in terms of enclosure (closed, open, and semi-open). The findings of this research show that there are three main types of mosques in Fars, including mosques without open or semi-open spaces or “single shabestan,” mosques with closed and open spaces or “shabestan and courtyard,” and mosques with closed, open and semi-open spaces or “shabestan, courtyard and ravaq-iwan.” In addition to these three types, six of the studied mosques are considered exceptions due to their unique features, among them the Īj Mosque, Sangi Mosque in Darab, Jami‘ Mosque of Darab, Izad-khast, Sheedan Bowanat, and Khan Jahrom.

Throughout history, the land of Iran has been home to various ethnicities and religions. This proximity to the Armenian Christians, from the Safavid era onwards, has been well reflected in their Masonry art and has led to the creation of common artistic elements. Evidence to this claim is the Armenian historical and illustrative tombstones in the village of Khoygan Olya of Fereydounshahr in Isfahan. One of the most important things that always have secrets from the depths of history are the writings and drawings of the tombs that tell about beliefs and thoughts. Treasures, that like a written document, contain many hidden truths. In the village of Khoygan Olya in Fereydunshahr, there are four historical cemeteries in three places of the village; called the lower neighborhood, the middle neighborhood and the upper neighborhood, which is for the burial of the Armenians in the region. Of these four cemeteries that have been nationally registered, three cemeteries have the most tombstone motifs, many of which are common in the cemeteries, and in some cases, each cemetery has its own motifs. The existence of three churches in this village is one of the unique cases in Iran, which itself indicates the growth of art and architecture in this region. The time period and antiquity of the illustrated graves that are the subject of research is from the Qajar era onwards, and the date of some of the few examples, which often have only an inscription and do not have any painting, dates back to the Safavid period. The treasure of unknown motifs of the four historical Armenian cemeteries of this village can be divided into two categories: illustrations and inscriptions. The aim is to recognize the various signs and symbols of the past Armenians of the region. These signs in the form of engravings on tombstones contain unspoken facts from the depths of history. This research is an attempt to find answers to these questions: 1- What are the visual signs of Armenian tombstones in the Khoygan Olya’s cemeteries of Fereydunshahr? 2- What are the technical, aesthetic and conceptual features of the Armenian tombstones of Khoygan Olya? The research method is descriptive-analytical and the method of collecting information is a combination of library-documentary and field resources and the method of data analysis is qualitative. The results of the research show that the motifs of these tombs include all kinds of human, animal, plant, symbolic motifs and livelihoods of the people of the time. The theme of the motifs can be explored in several groups of decorative, religious and practical tools; decorative in order to beautify the tombstone, religious including motifs related to the religion of Christianity and practical tools such as tools and means of livelihood of the deceased. These motifs are surrounded by architectural elements. This architectural space includes elements such as columns, capitals and arches, which are rooted in Armenian art and architecture. In many cases, people stand on a flat platform in group formation. In fact, the cemeteries of the region can be called an exhibition of stone portraits. The motif of the couple (husband and wife) and the motif of occupations such as carpet weaving are also found in abundance. By the number of human images, the motifs show that the graves are one-person, two-person, three-person and sometimes four-person. Animal motifs are more limited in number and variety than other motifs and mostly include animals such as rams, horses, and pigeons. The pattern of the tree of life is the most significant plant of the tombs of the region. In terms of construction techniques, unlike most Muslim tombstones, these works are mostly horizontal; large monolithic cubic stones that are sometimes not more than half a meter high in the ground and are placed on it. Patterns are seen on the horizontal surface and sometimes on the vertical surface of the cube’s wall. The general characteristics of the Christian sculptural art of the region include: looking from the front or the whole image (full body and legs in profile), big eyes, joined eyebrows, showing hand gestures, attention to detail, gender distinction and induction of transcendental and religious atmosphere. Narration and showing jobs are of special importance in these graves. The types of concepts in the tombstones are inspired by the life of the deceased and in fact are a reflection of the worldly and otherworldly life of the person. For example, the most frequently carved carving on tombs is the cross, and after fringes, winged angels are the most important decorative element. These motifs are entirely modeled on the special Christian Armenian ornaments found in their churches. In general, it can be said that manifestations of the art of Christian Armenian painting in the church, book decoration and painting have been depicted in all their artistic elements, including the carvings of tombstones.

The study of historical houses has always been considered for various reasons.  Some researches, by studying a collection of buildings, try to identify a type or types, which increases the quality and quantity of architecture cognition and their results can be compared with other typological studies. Researchers use different approaches and methods based on their questions and objectives. It is especially used for recognizing the aspects of building sharing and designing a species or pattern for them. Focusing on the shape and its combinations is one of the approaches that is useful for recognizing the similarities  and identifying a type or pattern for them.
In order to study the Qajar houses in Kerman city, this research focuses on their shape and geometric aspects and tries to extract the commonalities and similarities of the houses base on the organization of elements and the layout of spaces and if possible, propose a model for them. For this purpose, first, the houses that remained from the Qajar period in Kerman city and their documents were available were identified, then, for a systematic review, two indices of mass (micro scale) and Courtyard structure (macro scale) were applied, and their components were defined. Mass index examines the organization and composition of the elements of the house in the plan to give a clear and measurable understanding of the possible order of the elements in the different sides of the courtyard. The courtyard structure index examines the central role of the courtyard in the organization of the house. Examining the samples based on the mentioned indicators showed that some commonalities can be observed such as how to expand and develop the house as well as spatial organization in the houses. The second spatial layer was mostly formed on the north side and the room-corridor combination was the dominant combination of the plan. The elements that were placed in the facades of the courtyard, although they may have been coordinated with each other in terms of number, but they were not the same in terms of dimensions, and as a result, the symmetry that existed in the facade could not be seen in the plan. In a general view, it is possible to point out the architects' freedom of action and lack of symmetry in the organization of elements in the plan. Examining the courtyard from the orientation point of view showed that the north-south direction is more common than the east-west direction with a slight difference, but this orientation (north-south) was dominant in the houses that were larger and the second layers of space were added to them.
Similarities that can be seen in the formation of the second layer and facade  is a sign of the regularity of the spatial organization of the plan, and also the façade symmetry, which is a sign of the geometric formation of the plan. These similarities show the existence of a type; however, a freedom of action can be seen in the arrangement of facades and opposite sides of the courtyard and the architect's non-commitment to apply a complete symmetry and a specific pattern. It is necessary to mention the number of samples as one of the limitations of the research which is an important in choosing the samples.  However, in the course of its efforts to identify and introduce a species for Qajar houses in Kerman, some indicators for the analysis of houses which are not constrained to the specific period or building can be used in further researches on a large scale for different types of historical buildings.