فصلنامه اثر
پیاپی 85 (تابستان 1398)

The architecture of the Ilkhani period in terms of visual decorations is one of the most significant periods of Iranian architecture. The design and decoration of the altar is among the most important decorative parts of the Ilkhani architecture. Graphic designs and extraction of patterns used in engravings were studied to achieve the form and content of inscriptions and engravings. This causes the detection of the building’s decorative features and make it possible to compare it with the decorations of buildings with the same element. On the other hand, by reviving motifs and inscriptions, it is possible to create works with traditional-national values by modeling this valuable heritage in a modern idea. And one of the best sources for the application of architecture and decoration today is meditation on the art of the past. The purpose of this study was to acquaint researchers of the related fields to the decoration of the altars of the Ilkhani era in Iran. The research method is based on descriptive-analytical method. The tools used are based on library research. Findings of the research are the operational formulation of the stages of initial acquaintance with the subject of the decorations of altars in the Iranian Ilkhani era and the methodological techniques related to the discussion. The final results of the research according to the study of the dominance of ornaments showed that the most dominant ornaments is plant motifs in 8 altars of mosques and geometric motifs in 3 altars of mosques and inscriptions have been used relatively less than other ornaments. According to studies, about 64% of the dominance of the Kufic script was seen in the inscriptions and 36% of the dominance of the lines was related to the Sols script. The background color is pea and ocher cream in most altars due to the materials used in gypsum in this period. The background color is a combination of cream, pea, ocher, azure, cyan, turquoise and brown.

As the basis for the formation of settlements, culture has long been directly and indirectly affecting various dimensions of the city. Each building and each space in its specific situation and time is the narrator of the specific culture of the people of its region. The main purpose of designing spaces in the city is to create places that are in harmony with the needs, behavior, expectations and quality needs of their users, and this will be achieved only when is based on recognizing the characteristics of the users, (their culture) so it would be able to meet their needs. Also, considering that behavior and environment cannot be separated from each other and behavior is formed in the context of the environment, therefore, it is not possible to do a successful design without considering how humans and the environment interact. Therefore, in this research, we will first identify the various concepts and dimensions of culture, then by discovering these ideas, we will explain the cultural principles affecting urban design in physical and spatial dimensions. Finally, by exploring the concepts obtained in the case study, we introduce its examples. The method of the present research is based on an applied purpose and in terms of its nature is descriptive-analytical. The data required for the research were collected through library study and field survey. The purpose of this study is to find cultural principles and ideas that can be used in urban design of neighborhoods. The research results introduce the cultural principles affecting the body and space in the design of the neighborhood. Among the most important cases of these principles can be: considering the cultural pattern in functional interventions and uses, considering local traditions and events in the design of neighborhood urban spaces, paying attention to local colors, patterns and designs in the region Landscaping and etc.

All bases of Karbandies have their own exclusive geometrical features. Employing mathematics, one can proceed with reading geometrical proportions of Karbandi elements in different bases. Although in most of the researches in the field of Karbandies, the geometrical aspect is studied, in some cases, their structural aspect has been considered. In this paper, for the first time, arithmetic and geometric proportions in the plan and façade of Karbandies is studied. The drawing procedure is established on the rectangular dimensions and its peripheral circle divisions using graphic software. First, the Karbandies are drawn in different bases using AUTOCAD and 3D software. After the drawing is completed, Karbandies are classified based on their common dimensional features. as a result, Karbandies are categorized into two types: Karbandies with the same length, and Karbandies with the same width. After determining the characteristics of each category, the features of these two categories are compared to each other. The drawings presented in this study involved plan, vertical and horizontal sections of Karbandies. This research is based on documentary studies. In this comparative study, the relationship among the number of sides, the area of each Karbandi’s element and overall base through the analysis of geometric system and mathematical relations in Karbandies in different bases are determined (24, 20, 22, 18, 16, 14, 12, 10). Hence, the area and frequency of each element are calculated for each existing base and then they are compared in different Karbandies. The area of the Pa-Bariks, Toranjs, and Soosanies in Karbandies follows an inverse relationship with the area of Sanboosehs. The area of the central Shamseh is not necessarily be increased by increasing the number of sides in Karbandi and increasing the number of rows of Toranjs. In all of the mentioned Karbandies, the area of the consisting parts of the Karbandi is decreased by moving into the direction of the vault. In the cross-section of the Karbandies in which after dividing them by 2, the given number is even (Karbandies number 12, 16, 18, 20) there would be a single Toranj in the apex of the arc. However, in all other Karbandies, the position of Toranjs is on the two opposite sides of the arc’s apex. As the number of sides increases, the size of the shamseh increases. The higher the ratio of the span to the depth of the rectangle, the higher the height of the Karbandi. The height of the Karbandi is directly related to the connection distance of the points on the circle. As the distance increases, the dimensions of the karbandi ribs increase. The height of the Karbandi and the size of the shamseh are always inversely related. As the dimensions of the shamseh increase, the height of the Karbandi decreases.

Kāshan Kāshan is a city with remarkable houses. This paper provides a new consideration and analysis of composition of main spaces in Kāshan historical houses. There are common features in system of main space composition which comes to informative results. The conjunction of spaces together on one side establishes a coherent relationship between them, and in particular with the intermediate space. The spaces of each side that sit together are interconnected, but each segment is independent of others. This system is called "Spatial Composition" in this research. With this approach, and taking into account the main and important segments that have more spatial diversity, we arrive at the same spatial combinations that come around three major and most important spaces.
The paper is composed of 5 main parts. The first part examines the research background. In the second part, samples of Hall (Talar) and Covered space is considered. Following the third part, the base sample is selected from the samples. The fourth section considers the base sample. The last section, which is a summary of the three previous sections, examines the space composition, resulting in spatial patterns around the two main spaces of the Hall (Talar) and Covered space, and categorizes how the spaces are placed next to each other.

Cold and mountainous areas make up a large part of Iran. The urban fabric in these areas is similar to the cold and mountainous climate and is designed to meet the needs of its inhabitants. Climate and geographical considerations specific to a region is itself a major factor in shaping the urban fabric and architectural elements. The environment of cities and even the structures related to a particular climate acquire specific characteristics appropriate to that climate and geography. Bukan is also one of the cities located in the mountainous region of Iran and has a historical context appropriate and valuable to its conditions. This city is located in the south of West Azerbaijan province and in the Mokrian region. Due to its climatic features, biological geography, proximity to mountains and rivers, and its location along the road, it is a suitable place to live and this caused its rapid growth and development in the Qajar period. The present descriptive-analytical research, is based on field studies and library studies, and seeks to identify the historical context and the main physical elements and features of the city of Bukan, and in this regard seeks a logical answer to the following questions:1- In which historical period was the main and primary core of Bukan city formed?
2- What is the pattern and logic of the building layout in the historical context of Bukan and what are its main and physical elements?
3- How has the Bukan historical context changed during different periods?
The results of studies showed that the Islamic city of Bukan was formed in the Safavid period and the current remaining texture of it also belongs to the Qajar and Pahlavi periods. The presence of architectural elements such as citadels, mosques, bazaars, tombs, basins and various neighborhoods proves the dynamics of the historical context of Bukan in the past and shows the political, religious, administrative and commercial functions of the city during these periods.

The study of the architecture of prehistoric societies and the study of architectural findings is important as it provides us with valuable information about the rural spaces of the societies of the fifth to third millennia BC in eastern Central Zagros. Excavations at Tepe Godin, Qishlaq and Pisa drew light on a Chalcolithic site in the high region separating the east Central Zagros and the southern Lake Urmia Basin. Though cultural interface between the two regions that was alluded to in the earlier publications, nothing was known of the existence of intermediate sites between them.
Through cultural studies of the archaeological sites, regarded as the regional key site and a major settlement from the Chalcolithic period with clear evidence of Dalma traditions, the present work attempts to illustrate the origin and development of the Dalma culture in the region and to study the evolution in the eastern Central Zagros hinterlands. Also, the cultural developments that took place in these hinterlands will be elucidated and the role of sites as a key settlement site in this regard will be determined and the trend of the economic, social and cultural changes of the site’s inhabitants over time will be explained in light of archaeological data. In this context, absolute dates of ceramics would greatly facilitate the precise identification of the strata through providing a chronology for the region. With regard to the architecture, it is interesting that the 9-meter deposit contains four architectural phases, a sequence so far unattested at any other site. The most characteristic feature of indigenous architecture is the use of plaster in coating purposes. The major adaptation concerns the formation of architectural units. The houses orient southward, while winds prevail from the west during the winter. The observations outlined above are, as stated, all typical of the eastern Central Zagros. In this article, in addition to describing the structural features of rural communities of the fifth to third millennia BC in the east of Central Zagros, attempts have been made to examine the architectural techniques resulting from archaeological excavations.