فصلنامه اثر
پیاپی 94 (پاییز 1400)

Non-destructive testing is one of the non-invasive and non-contact methods that allow us to ensure the correct operation of the structure without damaging it. Since non-destructive methods do not damage the structural components, it saves time and money. On the other hand, historic buildings have been exposed to considerable damages over time, and even after protective measures, they need constant monitoring and control. Therefore, using non-destructive methods, historical buildings can be preserved. Infrared thermography is one of the non-destructive methods that provide thermal images (thermograms) by thermal cameras to evaluate historic buildings and multiple structures without damaging the components of the structure in the shortest time. This research reviews some articles regarding non-destructive infrared thermography using the descriptive-analytical method. Also, this paper introduces the infrared thermography method, its types, and its application in historic buildings and the construction industry. Examination of the mentioned materials and examples showed that the researchers could use this method to determine the pattern of cracks in buildings, detect damage in the interior and exterior of the building, investigate the place of energy loss in the building, damage in the openings, and determine the texture of materials. It is also possible to distinguish between newly repaired parts and pre-existing parts with the help of surface thermometers and based on different thermal properties of materials.

Motifs and symbols have had a high status in Iranian art. These motifs contain the experiences, cultural and religious beliefs of their time, so they help to understand better the evolution of the thoughts of the people of their time. One of the important features of Achaemenid works of art is the decorative motifs used in it, affecting the art of different historical periods profoundly. One of the most frequent motifs used in Achaemenid art is the eagle, a bird associated with the sky and the sun. The Achaemenids always used motifs to emphasize their power and legitimacy in their works of art. The eagle's role has been depicted in the main artistic media of the Achaemenid period, namely flags, architecture, ornaments, and embossed designs. This research seeks to address the following questions: 1. Studying the Eagle's iconography, what items are seen as the symbolic value of these works? 2. Why has the eagle's role repeatedly appeared in the Achaemenid art media? 3. And why is it emphasized in most cultural data on the open wings of this bird? The research question focused on the relationship between this role in the Achaemenid period and its iconographic analysis. The present research is descriptive-analytical, and the method is iconography. Gathering information was done using libraries, mythological and field. In this regard, the designs are first described and then analyzed to explain the concepts behind this symbolic role and achieve its values and basic concepts relying on the iconographic method. The results showed that the eagle's role is universal, and according to the characteristics of the wide-winged eagle, it is the archetype of divinity. Thus the Achaemenid kings used an animal archetype to project power and legitimacy to their subjects.

The collective unconscious, ancient heritage, ancestral experiences, and memories were presented by Jung, considering them an archetype symbol for covering the gap between human's conscious and unconscious. Symbolic elements are for expressing the artist's desire and notion. This interaction has been maintained among generations in cultures, art, and architecture. Boundaries in different eras with different expressions should be passed to enter cities and buildings and move in built spaces. Apprehension of how archetype symbol affects pathways as a symbol of boundary, universe change, junction, and separation of inside and outside is significant. This analytical-qualitative historical research aims to study the symbolism of archetypes and the force of collective unconscious creation in pathways. What is the impact of archetypes on the history of pathways? How has the concept of passage in the collective unconscious affected the constructed spaces? The research was prepared in four general stages, theoretical foundations, finding common points of the archetype symbol in the pathways, related conceptual codes, and the repetitive pattern and different expressions of the research presentation and report. The results showed that an appropriate space for living, dwelling, and attaching could be created knowing the effect of archetypes on human beings. Archetype symbols of water, death, and life have been seen worldwide with familiar concepts, different images, and presentations in cultures and history. Hierarchically, a sense of presence, timelessness, and placelessness lead to the architecture's durability and effect on human beings. Pathways result from human beings' common models, eternal images, and the collective unconscious. It is presented in different shapes of a path, including bridge, gate, porch, and threshold. This study determines a path to create a stable space for living and dwelling. The findings of the current study can be utilized in designing pathways.

The Scythians were a nomadic and warrior tribe who settled in the western and eastern parts of the Caspian Sea in the early centuries of the first millennium B.C. They spoke the language of the Iranians of that period and became known as the Persian Scythians in ancient sources and texts. The culture and art of these people have been mainly in the field of metalwork, especially the making of golden works. The type of decorations, construction technique, and form of these works have special characteristics compared to other civilizations of the contemporary era. One of these features is the use of combined animal motifs that have influenced the art of different societies. The Hermitage Museum of Russia has an impressive collection of golden works from the Scythians and lacks specialized studies to identify the patterns and visual quality of the works. This collection shows a variety of high-quality gold works with different functionalities, decorated with motifs of combined animals. What were the visual features of these works? And with what quality are the designs of mixed animals designed and executed? The study population of this study is 22 golden works related to the Scythians. The results show the use of form, precise techniques, and various approaches in the design and execution of motifs of combined animals, making these works of exceptional visual value. Combined animals account for 31% of the total animal motifs, including animal-animal, animal-human, and human-animal motifs. Knowing the works of these people - as Iranian people and especially the influence of their combined animal motifs in important works of Iranian art can help us find and discover many mysteries of the works of the past. This research has been done in a historical-analytical method using library-documentary sources.

Traditional design is a term that is more common to refer to the drawing of traditional patterns and has not been much researched as a method of designing the products and tools in the traditional production system. Few studies and reflections on this subject themselves have problems arising from meta theoretical assumptions, contextual stimuli, and stereotypes. Given the importance of the subject of traditional design (in the field of understanding traditional crafts and arts, as well as its practical and educational aspects), it is necessary that extensive researches be devoted to the subject. But in the first step, understanding traditional design requires identifying superficial cognitions and assumptions (that have overshadowed research in this field) and making a cognitive rupture with them. Therefore, in this study, references, texts and unguided interviews about traditional design, were analyzed and categorized using content analysis method. Then, by reasoning method and based on causal relations, the extracted categories are classified into two levels that includes: 1. Meta theoretical factors and 2. Stereotypes. Then meta- theoretical factors are categorized in eight branches: 1. The conflict between tradition and modernity; 2. Biased and oriental studies; 3. Complications of the Industrial Revolution; 4. Intangible heritage and cultural identity protection policies; 5. Differentiation between domains in the academic space; 6. The dilemma of defining terms; 7. The dilemma of creatology; 8. Scientific gap in traditional design methodology. Then in the second level, three axial codes have been identified as the result of Meta theoretical factors. The core category in all these categories is the "negation of design in tradition”. Therefore, in the second phase of the research, the content validity of these categories and the core of them have been discussed and it has been answered with some reasons.

The Complex of Sheikh Ahmad-e Jam tomb has been among the great works of Iranian architecture over time, one of the main areas of mysticism and Sufism in eastern Iran and the land of Khorasan. This importance has been due to the charismatic personality of Sheikh-e Jam and his descendants, who play an important role in the prosperity of these buildings, especially in the 8th / 14th century and towards the Ilkhanid era. Despite the historical status, many architectural values have been neglected in connection with mysticism. Among the monuments in the tomb of Sheikh Ahmed-e Jam, the structure of the old Jame Mosque (Atigh Mosque), which has been affected by the architectural works of the eighth century A.H, who was the founder of the"Khajeh Radhi-aldin Ahmad" ; but far enough studies on historical cognition , architectural typology and comprehensive studies have not been conducted on this construct. The purpose of this study is to survey the paradigms of architecture and the stylistics of the Old Jaame Mosque and its decorative elements and compare the data using documents and evidence regarding restoration and reconstruction of the elements, from the archaeological point of view. Also, to recognize the structural patterns and function of the structure at the time of construction and accuracy in chronology. This research is fundamental in terms of purpose and has been done using a descriptive, analytical and comparative approach to collect data from library studies, observation and analysis of evidence. The results of the examinations and research with the archaeological approach to the old Jame Mosque, using remaining reports and documents restoration of the work, contained valuable structural points, in terms of its typology and history, which showed that Jame mosque was constructed differently from other monuments of the of Sheikh-e Jam Complex and with several applications in the first half of the 8th /14th century and has undergone spatial changes over time.

The foundation of any traditional architecture is undoubtedly the training of architects and its educational foundations. Especially Iranian architecture is a precious treasure that indicates the existence of rich architectural knowledge among them. Guild Fotovatnamehs written in this educational system are treatises that are a large part of the method for training craftsmen and artists about the character, ideas, rules, and customs of that guild and profession, and of course, these Fotovatnamehs clarify the training of applied industries in the Islamic period. Therefore, this research seeks to answer the question: How do Fotovatnames explain the foundation of traditional architecture education in Iran in three areas of ability, knowledge, and insight? The purpose of this study is to describe the educational foundation of traditional Iranian architecture with emphasis on the Fotovatnameh of the masons (Fotovatnameh-ye Banayan), which has been done in three areas of ability, knowledge, and insight. In terms of purpose, this research is fundamental, and in terms of type, it is qualitative. It has been performed using interpretive-historical texts and documents. Research findings show that ability and the creation of desirable traits are associated with physical and mental health. In the field of knowledge, teaching and learning are based on the teacher-student relationship, and the transfer of all skills is in the presence of a teacher who teaches architecture while practicing. He would professionally promote if he were worthy. In terms of insight, the master has wisdom and skill; during the teaching, emphasizing the presence of the heart and the sanctity of the practice, he also strives to train the student's soul.

As well the private life requires spaces with high privacy, also for social life requires suitable public space. Social interactions are an important part of human life and take place in public places and affect the quality of life of people in many ways. Due to the importance of social interactions and their impact on the quality of people's lives, it is necessary that researchers study this issue and its dimensions in the physical structure of today's cities. Bushehr is one of the cities that, despite the different cultures and the existence of people with different religions, has successfully created sustainable social interactions. In this historical texture, physical delicacy has made a favorable behavioral setting for the people in the past. The purpose of this study is to investigate the role of the physical spatial structure of Bushehr's historical texture on the social interactions of citizens to identify and analyze effective strategies in creating and strengthening social interactions and using them in today's urban planning and architecture. Now the question is, what is the relationship between the urban structure in Bushehr's historical texture and social interactions? Accordingly, the authors conducted this research using inductive and qualitative strategies. The research structure is organized in two parts: the theoretical part using library resources and the field section using historical images, valid internet sources, and direct observation of the historical texture of Bushehr. The results showed that the physical structure of Bushehr had been done in the classification of squares (small and big ones) and passages. With their characteristics, each of these has helped create the right conditions for establishing a desirable behavioral base and social interactions. The results showed that the physical structure of Bushehr's historical texture had been classified in squares, small roundabouts, and alleys, and each has helped to create the suitable conditions for making a favorable behavioral setting and social interactions through their characteristics.

On the southern hillside of the Central Alborz Mountains, in the province of Tehran, there are many castles, forts, and defense facilities from different historical periods that have not been studied much before this research, and little information is available about them. This research was done analytically to answer questions: What is the number and background of the construction of castles in Tehran? How many categories are they divided into according to Typology (archaeology)? What is the pattern of the spatial organization? It was assumed that in Tehran province, due to climatic conditions, geographical location, and political and social conditions, castles from pre-Islamic and Islamic eras were erected and divided into two main types, mountainous and pasture. Castles have particular spatial organization according to the place of construction and the builders' goals. In terms of form, they include two categories of regular and irregular geometry, and in terms of function, they are divided into residential and military types. The information needed for this research was collected using library and field studies. The field study was performed by surface surveying, remote evaluation, and the cultural data necessary were documented and recorded. In the present study, which led to the identification and documentation of 159 defensive constructions and buildings in Tehran province, it was found that castle construction in Tehran province began in the Median period and developed in the Parthian and Sasanian eras and bloomed in the Islamic period, especially the middle ages.

War tools are one of the most important designs that appear on the tombstones of different periods of Islamic Iran. These motifs are usually simple, and only the general and visual form of the weapon has been considered by stonemasons. The present study surveyed the designs of war tools on the tombstones and the reason for their use on the tomb of the deceased using a descriptive-analytical and historical method and according to field studies and library documents. It also compared these images with the weapons of the Islamic period in Iran. The findings showed that these motifs are mostly engraved on tombstones with the form of ram and lion and altar-shaped stones and include: sword, bow and arrow, dagger, mace, gun, shield and spear. The image of curved swords has been used the most. The general and apparent form of these weapons is depicted, as the weapons of the Islamic period, especially the Ilkhanid, Timurid, Safavid, and Qajar eras, and is probably a sign of the artist's knowledge of the metalworking industry of that time. On the other hand, these paintings are mostly engraved on tombstone due to the bravery of the deceased and show their greatness and respect, strength and courage, heroism and bravery.