Iranian architecture

Basically, relationship of the interior and exterior spaces of architecture, also, the relationship is always an indication of the architecture type. Corbusier believed that all historical background of the architecture just focus on osmium of the wall. Size of the opened space is an indication of its correlation with the adjacent environment; namely, entrance is a combination of differently structured spaces rather than just an opening and “Porch” is one of the mentioned elements of the Iranian architecture. It is multifunctional; the porch separates the entrance from the corridor and the courtyard; it is an independent space including stone benches for seating and social interactions. This paper is defining the porch, to know why and how the independent element is developed in Iranian residential architecture. The porch is analyzed for its function and form; some concepts are discussed in the process of porch development including: privacy, climate, joint and so forth.

The endurance of any type of architecture is contingent upon the study of the characteristics that led to its formation. Two general approaches have been adopted to study and analyze the Iranian architecture. A number of scholars have taken a historical approach, while others have merely considered a genre- based approach. Making use of many historical studies, these scholars have attempted to produce an exacting categorization of Iranian architecture. They focuse on outward form and embellishment to identify and distinguish various classes and sub-classes of architecture in Iran. The third approach, which is outlined in this article, tries to explain such architecture from a conceptual point of view. This essentially involves identifying and analyzing those features that have allowed it to endure. The article shows that there has been a precise and thought- provoking interaction between architects and the intellectual classes that led to the formation of an enduring and transcendent form of architecture in Iran.

In exploring the evolution of Iranian architecture from prototypes to the present day, Qajar architecture is an important part of Iranian architecture history. The importance of this era's architecture is because large changes in conceptual and physical context occurred slowly in Iranian architecture during this time. These changes, especially from the Nasserian period (the second Qajar era), have intensified and with the influence of Western architecture, Iranian architecture is gradually moving away from its traditional, rooted forms, manifestations and concepts, and blending European architectural patterns with Iranian models and styles to the extent that architecture progresses. These changes in Residential buildings (especially mansions) also appeared. Therefore, in this study, a comparison between the architecture of the residential buildings of the three periods of Qajar dynasties has been carried out to compare the changes of each period. The results showed that Qajar architecture has been influenced by western and European architecture from beginning to end.

The writing of Iranian architectural history has, from its start, followed the principles of western historiography. Portions of this history are well expected to be neglected or unattended when writing of it takes place outside its intellectual framework that essentially reflects the Iranian throught world. To have a truly Iranian architectural historiography, one has to find the theoretical principles which are deeply rooted in the Iranian Islamic culture. Although pre-modern Iranian historians never wrote a history of architecture, they were exponents of historiography during a millennium of cultural flourishing and vigor. Since any sort of historiography, as well as literature, usually is based on principles and ideological views about history and time, Persian historic texts can be considered as worthy sources regarding theoretical bases on which we can build the Iranian philosophy of architectural history. Persian prose of the early centuries of Islam is among these sources. One of the common, prominent themes in these texts is the nature of time or history. It is presented as a sensible, living being whose states relate to human events and phenomena across time. A new theory of periodization of Iranian architectural history can be drawn based upon this theory.

Light is one of the many wonders in the architecture Iranian houses. It is a major tool for space creation and design. An important consideration in the Iranian architecture, which takes a functional and conceptual approach to the extensive subject of light, has been that light should create a beautiful and spiritual space in addition to being functional. The light used in a house should be pleasing to the eye, and it should not be dazzling or bothersome. Optimal use of light plays a major role in creating mental peace and physical comfort and saving energy. This paper investigates different methods of exploiting natural light in the architecture of Iranian houses. For this purpose, three houses of historical interest in the city of Kashan in Iran (Boroujerdi-ha, Tabatabaei-ha, and عباسian) were studied for the position and role of natural light in them. A qualitative research method was used within an analytical-interpretative approach. First, the elements and components used to exploit natural light were studied, and then the strategies employed to manifest values, meanings, and concepts were explored within an analytical model.

The subject of geometry and proportions has been regarded as an issue which has a close relationship with architecture. Since the entire universe, living beings and the human geometry can be seen clearly, that’s why our unconscious essence has accustomed to these proportions whereby reflection of this mentality can be seen in the architect’s hands and thought in the architecture. It can witness a close linkage between nature and architecture at different levels in Iranian architecture which the linkage at architecture geometry has been regarded as one of these levels. Iranian geometry using plant and geometric forms in Islamic buildings seeks to prove a special continuity in the life to plant and human world. This continuity in the world of geometry has been known with fractal geometry. The present research seeks to examine dimensions of fractal geometry in Iranian architecture and motifs. In following, an attempt is made to examine what the fractal means in Iranian architecture and clarify the motifs and decorations of Iranian architecture after defining the issue of fractal, fractal geometry and fractal in architecture.

Traditional houses enjoy an organizing with inner spaces based on religious and traditional notions of Iranian families. Space flexibility, readability, introversion, spatial hierarchy and family privacy have had a special status in architecture of Iranian houses, replaced with an outward-oriented architecture. The traditional architecture which has had all the necessary spaces for any communication inside the house has converted to the hotel architecture that its residents have not expected the stability and comfort from it, to whom just the equipment and services at hotel architecture are of great importance to which they have no sense and attachment. Living at contemporary houses has raised the problems such as reduced sense of belonging, comfort and emotional and family problems. The present research intends to compare traditional houses with contemporary houses by study on architecture plans of Iranian traditional houses and emphasis on their spatial richness and quality so as to get familiar with spatial concepts of these houses and take an effective step on how to influence these neglected concepts on single-dimensional spaces of contemporary houses.

The political and social system involved in the limbo between tradition and modernity of the Qajar Era caused widespread and quick developments in Iranian culture, art, and architecture as well as a challenge between tradition and modernity. Relatively numerous palaces built in this era were signs of greatness and distinction-seeking of the Qajar kings and aristocrats, who embraced all transformations of architecture in their era and played a significant role in changing Iranian architectural values. Therefore the purpose of the present study is to investigate developments in architecture of the Qajar Era and their effects on the evolution of palaces in this era. Using case studies methodology and referring to historical sources, contemporary studies on Qajar architecture and field studies conducted on outstanding palaces of this era, it can be concluded that the continuation of Safavid architecture early in this period, Qajar kings' tendency to Iranian ancient architecture, and the culmination of the architectural influence of the West in the Nasserid Era were the main factors effective on the formation of Qajar palaces. Moreover, the evolution of these buildings has occurred in three pre, early and late Nasserid Eras with various traditional, eclectic and European characteristics regarding the construction period and the effects of the above factors on the evolution of plans and circulation systems, facades and sections, materials, decorations, and architectural elements. In addition to shedding more light on common features of architecture and decoration of Qajar palaces, the study tried to determine their general and specific differences.