Columns and their architecture have a major role in recognition of each architectural style in the history of world architecture. Persian architecture is not an exception and a simple glance towards the architecture reveals existence of huge diversity of columns in each era. This is while after ancient times, in contrast to their western rivals, not only column's diversity has not been studied in any major resources, but conducting research regarding their typology and structural components were also reduced. In fact, with the passage of time and manifestation of vault architecture in the Sassanid period and Parthian style, for various reasons such as advances in construction technologies and the increase of curved ceilings against flat roofs or the emergence of the first approaches and tendencies of introversion in Iranian architecture, the columns prominent role in architecture has decreased and hence vault and domes’ architectural study replaced the columns’ research. However, due to the travel of artists, intellectuals and architects to Europe in Qajar era, one can see the influence of European architecture in various aspects of architecture throughout Iran. The noble and aristocratic family houses started to imitate European palaces and mansions. Columns one more time started to play more important roles in Iranian architecture. The tendency towards extroversion in architecture and also the use of gables that were common at that time, provided the means for the re-appearance of columns in the facade of the buildings and as a result huge decorated columns in the villas and palaces of the rich appeared. This paper by stratified sampling with disproportionate allocation of 100 columns in Shiraz and their precise study tries to elucidate the evolution of columns within Shiraz from Safavids to mid-Pahlavi era. To conduct research, in the first stage, with reference to historical resources about Shiraz such as Shirazname reference books, a list of buildings that the architecture of their columns was described were extracted and studied (43 columns were surveyed). Then, by referring to the documents available in the Research Institute of Shiraz Cultural Heritage Organization, a separate list of registered buildings in Shiraz that has columns was extracted and their columns were surveyed (24 columns). Finally, in order to comprehensively study the morphology of Shiraz columns and considering the possibility that there are species of valuable columns that have been neglected in the previous lists, two of the oldest neighborhoods of Shiraz (namely Sang-e Siah and Sar Bagh) were visited house by house and if there existed a new column’s type in these houses, it was surveyed (33 columns). In the second stage a complete list of main characteristics and features of all surveyed columns –including their constitutional components’ dimensions, types, materials, structures, plans, sections and etc. - were provided and documented separately as unique identity data sheet for each column. Finally, these extracted ID data sheets were studied to provide a logical and comprehensive structure for classifying the Shiraz columns based on their constituent components. Accordingly, it tries to present a comprehensive framework for recognition of column's types based on their structural elements' typology as a main tool for classification of Persian columns. This framework can be used as a reference base for studying column's typology in Persian architecture. Accordingly, this paper by manipulation of the given framework reveals how each era's column architecture differs from the others due to the morphology of their structural elements - plinths, pedestals, bases, shafts, capitals and bolsters- in Shiraz. Finally, apart from depiction of wide diversity of columns with different classes in Shiraz, the paper also shows the frequency distribution of each element's types within the city.

Several factors affect the social and cultural identity of men and women and the relationship between gender and architecture, including religious, cultural and social beliefs, as well as norms, social values and gender freedom in the contexts of family and society. The present study tries to investigate the role of cultural and religious beliefs in the construction of gender and space to find the effect of gender-related religious and cultural issues on the characteristics of the architecture of religious places of different religions in the Safavid Period. It also makes an attempt to discover forms and spatial elements of the studied spaces that characterize gender differences corresponding to the component of religious beliefs. Therefore, the general hypothesis of the research is that different religious beliefs in different religions change the relationship between gender and space in different types of worship places in Isfahan and this issue can be seen in the form-plan structure of these religious places. To test this hypothesis, after reviewing the research literature, first the religious places of different religions in different historical periods were examined and then to explain and analyze the functional relationships, Safavid travelogues were perused. To investigate the problem, using a historical-interpretive and a descriptive-analytical method, a number of religious spaces of different religions, which mainly belonged to the Safavid historical period in Isfahan, were selected and their physical and spatial elements were analyzed. The samples were examined and those with analyzable documents, maps and feminine spaces were considered. The final samples were selected from the items with the characteristics of gendered spaces which mostly differed from the other ones. Accordingly, using the method of comparative research, the relationship between gender and space was evaluated and compared by examining the gender domain and the separation of physical privacy in the worship places of three religions. After collecting the required maps, the spatial relations analysis began. At this stage, first the plans were analyzed in general and then the physical and spatial elements of these religious places, including the entrances, the places of worship and the places where women sit were compared to each other. It was shown that in Jewish synagogues of Isfahan, the gendered spaces were more expanded, the spaces were segregated according to gender differences, and single-gender spaces were more common. In addition, it was found that gender boundaries in mosques were less than in synagogues. Religious beliefs have further reduced the physical and gender boundaries of churches. The results show that cultural and religious beliefs affected the relationship between gender and space and the differences in gendered structures in different religions caused significant changes in the formation of the framework of worship places. Moreover, religious freedom in Christianity caused the freer use of the religious spaces as an example of architecture following religious beliefs. In addition, in synagogues with more religious restrictions, the function of spaces was more limited and segregated. Mosques also had special restrictions according to the limits of Islamic rules and principles. Accordingly, the formal and spatial elements in the studied religious places indicated gender differences in accordance with religious beliefs. Therefore, the present study confirms the role of religion in creating gendered spaces and its relationship with the organization of architectural elements of religious places in different religions.

Historic houses are among the valuable architectural monuments of Iran. One of the main problems in realizing the design of the historical houses is to identify the arithmetic features of the plan and their interior court-yard façade.  appearance, correctly by analyzing the geometric and arithmetic proportions, the arrangement of openings, entrances, axes, the transfer of the geometric system of the plan to the facade can reveal the characteristic features of historic houses. It is necessary to know the position of these two components, the interior plans of the historical houses of Isfahan. According to the mentioned goal, we try to address two general questions in this regard. Extensive research has been done in the field of geometry and interior design of houses, but the geometric arithmetic role of the article throughout history has been mentioned to a limited extent. This article tries to arithmetically identify the geometric components of house facades. Analysis of geometric systems in facade components is a topic for further research. The present article examined the general systems and structures in the formation of the Isfahan indexes, as well as the proportions and shapes that gave rise to these systems. The approach of the research is geometric and arithmetic analysis. The data collection is based on field studies and mainly impressions obtained by comparing the geometric features of these facades. In the study of the geometric system of the facades of houses, in the rhythm of the arrangement of the openings, there are numbers 3, 5, 7, which these repetitive arithmetic properties have affected the shape characteristics of the facade length. Mainly, the horizontal axes in these facades of various historical houses in Isfahan were four or more and the number of their vertical axes was four. The division system was mainly such that the input was on the right and left; In the middle, there was a sash frame and in houses whose vertical axis is more than four, the division system is mainly such that the sash is in the middle, the two sides of the sash are in; And next to the door; There is also a sash or several doors. In traditional houses, the greater the number of vertical axes, the number of entrance doors, several doors and the number of sash shafts. The data analysis revealed; Frames have the same number of divisions in each floor and the framing in the middle opening is larger than the other openings. The research results indicated that the facade geometric results from the proportions of the dimensions and surfaces of the openings, their locations affected by the geometric of the facade which have led to the information of meaningful repetitive ratios in the facade. Although these systems may have changed throughout the history of historical homes, they have persisted until recent decades and could be used by architects as a set of indicators to design similar items in the future.

Serious efforts to understand the nature of Islamic art and architecture in the West began with the formation of the Age of Enlightenment in the eighteenth century and culminated in the nineteenth century. In the first half of the nineteenth century, researchers and historians looked at Islamic art with an ethnographic approach, emphasizing the role of climate, local geography, and racial characteristics as determining factors in the formation of art and architecture. In the second half of the century, they investigated Islamic art to find and determine general, universal, transhistorical, and timeless rules and ignoring climatic elements and ethnic characteristics. In the late nineteenth, Hegelian thought came to dominate the writing of art history, and Islamic art and architecture, based on the philosophical teachings of Hegel's history, were examined based on historical algebra and certainty. This approach emphasizes the unity of history and considers art and all human intellectual and cultural manifestations to come from a single spirit. Therefore, with such an approach, the works of Islamic art and architecture are considered as the continuation of Byzantine and Sassanid art based on the chronological sequence. From the middle of the twentieth century, in addition to the Sassanid and Byzantine roots of Islam art, the role of Islam and its connection with the works of art and architecture was also considered. Some researchers of Islamic art have considered it to be influenced by the ontology of Islam and have given its elements a religious and transcendent meaning. An example is Titus Burckhardt who explained the common values and characteristics of the traditional originated art, especially the Islamic tradition from the standpoint of religious revival called the traditionalism school; And the path of modern historians in the context of Orientalism, such as the Grabar model, which denies traditionalists disbelief in history and the existence of purely transhistorical truths in Islamic art. Now, since the mosque is the first and most important manifestation of Islamic buildings in which Islamic art has been formed; most of the studies by researchers and historians are about building a mosque. The present study deals with the comparative study of mosque architecture in the views of Titus Burckhardt of the traditionalist movement and Oleg Grabar of the historians. Despite the methodological differences in Burckhardt and Grabar's approaches and their interpretation and explanation of the architectural principles and elements of the mosque building, they explain Islamic architecture, especially elements of the mosque according to the role of religious component and both believe that the mosque is built on the foundations of other religions. Now the question is what influence their views have on the definition of Islamic architecture? Findings show that Burckhardt believes that the formation of architecture and its elements have been derived from the Islamic traditions while Grabar refers to Islam as a cultural component along with historical and social ones. The aim of this study is to find commonalities and differences between these two perspectives in Islamic architecture according to their specific approach.

The use of pavilions and geometric principles in the design and construction of buildings in Iran is one of its architectural principles, so that in most buildings from the past to the present it is well considered and buildings that lack it are considered worthless. The house is one of the most important man-made structures that meets various human needs. In the architecture of the center of the Iranian plateau, the house is composed of various components, the most important of which is the central courtyard as a small garden in the heart of the house. The central courtyard, while connecting all the spaces, meets a variety of needs as well. The city of Kashan is several thousand years old and has a rich historical context with valuable houses. According to research, it is likely that these houses have been formed with their beautiful and coherent architecture with special geometric thinking and systems, and geometric principles have been used to build them. Now the main issue of this research is what geometric proportions and architectural systems have been used in the design and implementation of the central courtyard and its walls. The purpose of this study is to extract the architectural systems and geometric proportions used in the design of the central courtyard of the Qajar period houses in Kashan and to investigate the frequency of each of them. This research is based on the method of analysis of architectural systems and geometric proportions of the courtyard and its walls in ten houses of the Qajar period in Kashan in order to extract the architectural systems and its geometric proportions. The statistical population has been selected based on the index of the building and the existence of sufficient data related to the research objectives. Also, in selecting the houses, an attempt was made to consider different scales of houses, from large-scale to small-scale in different parts of the historical area of the city. In terms of time, the studied samples are limited to the Qajar period. First, by examining the architectural systems and geometric proportions, three architectural systems, four, five, six and three geometric proportions √2, √3 and √4, were selected as the index geometric principles. Then, according to these principles, the map of the central courtyard of ten historical houses in Kashan was analyzed. The results of this study indicate that the entire yard is built with the previous design and follows the above architectural systems and geometric proportions. These systems and proportions can be seen in part and in general in the plans and wall constructions around the yard. Of course, this does not mean that all houses have all these six architectural systems and geometric proportions, but in some houses, some of these proportions and architectural systems have not been used. Architectural systems four and six with a frequency of 15 and proportion √3 with a frequency of 9 have been the most used and the courtyard of the Abbasid house with 14 architectural systems and geometric proportions is the richest house in terms of applying geometric principles.

Rethinking the concept of Iranian house in an Iranian house is the subject of the present study, which, based on the adaptation of historical descriptions and physical structure, evaluates the components that shape this concept and the physical approaches that affect it in cases of study. The research question is that the physical descriptions of the Iranian house represent which physical components in shaping the concept of housing? How does the adaptation of historical descriptions and the physical identity of the Iranian house prioritize the role of the components of the housing concept? The research approach includes both quantitative and qualitative aspects with a combination of descriptive analytical, historical, interpretive and logical reasoning methods that has been done in three main steps including theoretical studies of the housing concept, historical studies of the Iranian house and theoretical and syntactic indicators of research in selected house samples. Examples include 6 houses in 2 cities of Yazd and Isfahan from Safavid and Qajar periods. The results indicate that the five components of the concept of Iranian house corresponding to the syntactic indicators of the research in comparison with the houses of Yazd and Isfahan have different priorities; So that Isfahan houses with a small spatial depth and high axial view of the stages of entering the arenas, compared to Yazd houses have a lower level of internal / external confrontation and a higher rate of visual diversity and blending of natural / artificial arenas. Also, centralism or multiple functional centralities, formulation of cultural / ritual index spaces and blending of internal degrees in terms of the role of activity / semantic factors have differences in the formation of Yazd and Isfahan houses' bodies, which are discussed in the analysis of findings.
 

The Akhavan's writings are a collection of diverse and coherent topics about various sciences and skills including geometry and architecture. The remaining fifty-two treatises of scholars of these writings cannot be placed in a single framework. The Akhavan did not pursue a single issue and in accordance with social need, offered innovative and astonishing analyzes of various subjects such as geometry. The main goal has been the intellectual reform of society, especially in the field of reason, philosophy and religion and according to some thinkers, this group has advanced thinking. Geometry in Akhavan’s view of the science is the knowledge of quantities, dimensions, and quantity of types and properties. The origin of geometry is an important point in this view, and according to the Greek philosophers, geometry is divided into two parts of intellectual and sensory. The triangle has been used as a basis for entering into rational geometry and theoretical foundations. The purpose of prioritizing geometry over other sciences and placing it after number science is to guide students from the senses to the senses, as well as to promote students from the physical dimension to the spiritual dimension. Geometry is the structural basis of the universe in the metaphysical world. The Akhavan's view is manifested in the form of creating a geometric order between shapes in order to achieve a unified whole of geometry in architecture. This order can exist as a geometric order of squares, circles and rectangles. Creating visual order in the viewer's perception using points and lines as the axis of symmetry has been introduced as a solid thinking in creating basic order. Creating visual balance in vision and visual perception in vertical lines is important according to the criteria of placing the inherent nature of the human body in its dimensions and dimensions. According to the analysis and geometric studies performed in the research, it is clear that attention to mathematics as a logical and intellectual science has been of great priority to the Akhavan. According to the Akhavan's interactive approach in addressing the sciences and the needs of the day, mathematics and geometry have been one of the most practical and widely used sciences in relation to architecture and education. Mathematics and its sub-sciences, such as geometry, have been named by the intellect as the truth of existence, which is addressed in the philosophy of the perfect man. According to this view, paying attention to the skill of architecture in meeting the practical needs of individual and social life of the people of the time has been one of their main challenges. The teaching of geometry in this article has been done in a way that can be easily understood and followed by the literature of its time. This has been done better in dealing with architects who have also had a higher level of knowledge than ordinary people. In this study, by examining the architectural landmarks in the period before the fourth century AH, when the presence and formation of Islamic scholars such as the Akhavan were intensified, it was proved that based on the basic geometric principles obtained for use in architecture, buildings of the previous period were weak in this regard since the fourth century AH. Among other things, in most of these buildings, the models of the past, such as the Sassanid period, are strongly seen, which show the weakness of scientific computation in the uses and needs of the day. After the fourth century AH, with the presence of Islamic scholars such as the Akhavan in various skills such as architectural skills, recognizing the rise of geometric skills in creating architectural buildings in the field of design and execution can be completely analyzed geometrically. The results of the research include geometric principles that have been presented by the Akhavan Al-Safa to an industry such as architecture. According to the results of the research, the Akhavan Al-Safa has considered geometry theoretically to include philosophical sciences, jurisprudence and numerical laws of mathematics. In the practical part, in order to communicate with industries and the ability to respond to functional issues, the principles of drawing have been used in order to apply geometry and its learning by the architectural industry. These drawing principles are in the simplest proportional drawing modes for scale adaptation to architectural themes. The result of this applied geometry is order, integrity, readability, and a complete response to individual and social needs in the form of an architectural structure that the Akhavan Al-Safa, as Islamic mathematicians, has emphasized. 

According to the available documents, during the Safavid period, the kings of this dynasty, including Shah Abbas I, traveled to the city of Ahar many times and started to create some innovations works or completed the works left from the previous ages. Sheikh Shahabuddin Ahari Complex, as the only monastic-monument complex in the south of the city and the adjacent garden, is one of the most well-known among them, which has undergone significant changes in the development of its physical system from the 6th to the 11th century A.H. At first, this complex functioned as a monastery, and then, during its life, sections such as a tomb, madrasa, mosque and garden were added to it and developed and evolved in a meaningful connection with other elements. Dealing with the above topic becomes important when we notice the historical descriptions of the said garden under the construction measures of Shah Abbas I, which was interpreted as Garden of Paradise, but currently only the name of that garden and its annexes are mentioned. It has remained and like many other works of the same period in Ahar, under the influence of various events, especially during the Qajar and contemporary periods, it underwent destruction and serious changes. These destructions were mainly intensified in the 1320s and the creation of new uses. In such a way that only the main parts of the complex and some parts of the adobe fence around it remained in an area measuring 310×280 meters. In the present research, we tried to conduct this research by relying on descriptive and pictorial documents, through answering the following question: the initial design of the garden of Sheikh Shahab-al-Din at the time of its discovery during the reign of Shah Abbas I Safavid and the process of its evolution after its construction; how the representation of the body and the main structure of the garden of Sheikh Shahab-al-Din during its development should be discussed. In order to obtain the relevant model, library information and visual documents were studied using the descriptive-analytical method. Also, it was not possible to obtain some anatomical details of the collection except through field studies and explorations. Therefore, this approach was a complement to some of the unknowns of this garden over time. This kind of dealing with the building requires a deep and detailed understanding of the existing situation and a careful observation of the building. That is, every corner of the building and its surroundings can contain a message ready for the microscopic and mental look. In this way, the findings of the research were based on the four main systems of the Iranian garden - road, plant, building and water. Through the analysis, the details of the arrangement and spatial relationship of the various parts of the Sheikh's tomb garden, such as the division into four parts, the irrigation structure and the function of the buildings in the course of its creation and evolution, were obtained. Describing the physical features of the garden arranged on the Sheikh's tomb, while preparing the ground for future researches it can help to recognize some of the neglected values in Iranian horticulture in Azerbaijan region. 

The present study examines the relationship between the architecture of contemporary mosques and the historical traditions of mosque architecture and tries to formulate a special classification for the types of this relationship. At the beginning of this paper, some weaknesses of the existing categorization models for the general approaches of the architectural design of contemporary mosques are explained. Since in the existing classifications, the whole mosque is viewed as a single entity, the resultant classifications become ambiguous in many cases. For example, when a particular mosque is introduced as an example of the modern approach, it is possible that in the same mosque there are certain physical elements with a completely traditionalist approach, and vice versa, in mosques that are introduced as examples of traditionalist mosques, it is possible that certain elements and components of the mosque are designed in a modern way. Due to the generality and vagueness of the mentioned categories, it becomes difficult to explain issues such as the impact of the desired approach on qualities such as "recognizability" and "newness" of the mosque design from the audience's point of view. Another problem is that these categories generally do not have the ability to explain the homogeneity or heterogeneity of style in the design of the mosques in question, and usually when a term is used to describe a mosque, it is not yet clear whether the design of the mosque in question is original or eclectic. In this study, after an analytical review of the relevant scientific literature, four approaches to the historical traditions of mosque architecture are identified. Based on his expertise and professional views and the specific conditions of the project, an architect approaching the design problem of a contemporary mosque and in the face of the design of any of the main physical elements of the mosque can follow any of the traditions of mosque design (Imitation approach); the architect can somehow reconcile any of the historical traditions of mosque design with contemporary architecture and offer new interpretations of them (conservative approach); he/she can challenge some architectural traditions of mosque design (challenging approach); or one can wholly avoid these traditions and break from them (abandonment approach). In the present study, two modes are considered for each of the two conservative and challenging approaches: One is the case where the relevant approach is followed more intensely and the other is the case where the desired approach is followed with less intensity. In the present paper, each of these approaches is assigned a specific digit from zero to five. According to the specific field of the present study, which is dedicated to the exterior view of the mosques, for every mosque three main elements are examined consisting of the dome, minaret and other exterior surfaces. By assigning a digit to each of these three elements of the mosque according to its specific approach, a three-digit code is produced for each mosque. The code assigned to the examples of contemporary mosques can be a reliable indicator for explaining the physical characteristics of the mosque in question, explaining whether the mosque is recognizable or ambiguous from the point of view of the audience, whether the mosque design displays a homogeneous or eclectic style, and whether it is innovative or imitative. Next, the application of the proposed model to twelve examples of contemporary mosques, both in Iran and in the world, is described. In the present study, in describing the functions and properties of each of the afore-mentioned approaches, it is stated what issues and aspects are emphasized in each approach. Finally, it is stated that these four approaches are a set of possibilities that contemporary architects are equipped with in the face of the open problem of the contemporary mosque design and none of these approaches are inherently right or wrong, but it is important that they are used properly and appropriately. What is important is to face the design problem responsibly and self-consciously. If the architect decides to imitate some of the past traditions of mosque architecture, his decision must be based on awareness and wisdom, and if he decides to abandon some historical traditions, his decision must be a responsible and wise decision too.

The study of historical houses has always been of great interest for various reasons. Some researchers, when studying a collection of buildings, aim to identify distinct architectural types. This not only enhances our understanding of architecture but also allows for comparative analysis with other typological studies. Researchers employ various approaches and methodologies, guided by their specific research questions and objectives. A particularly useful approach involves examining the shape and its various combinations, as it helps uncover similarities and establish archetypal patterns. In the case of this research which delves into the study of Qajar houses in Kerman city, the focus is primarily on the houses' geometric aspects and shapes. The goal is to extract commonalities and similarities among these houses by analyzing the organization of architectural elements and spatial layouts, and potentially propose a model for them. To achieve this, the following steps were undertaken: First, the research team identified the Qajar-period houses in Kerman city along with available documentation. Subsequently, they applied two key indices for systematic analysis: the mass index (micro scale) and the courtyard structure Index (macro scale). The mass index assesses the arrangement and composition of elements within the house's plan, providing a clear and quantifiable understanding of how elements were likely organized around the courtyard. The courtyard structure index examines the pivotal role of the courtyard in the overall house layout.An examination of the samples based on these indicators revealed several commonalities. These included trends in house expansion and development, as well as spatial organization. Notably, the second spatial layer predominantly emerged on the north side, and the room-corridor combination was the prevailing plan arrangement. While elements on the courtyard facades exhibited a certain level of coordination in terms of quantity, their dimensions varied, resulting in a lack of symmetry between the facade and the plan. In a broader perspective, this suggests a degree of architectural freedom and asymmetry in element organization within the plan. Furthermore, an analysis of courtyard orientation revealed that the north-south direction was more prevalent than the east-west direction, with a slight variation. This north-south orientation was particularly dominant in larger houses with added second layers of space.The presence of similarities in both the formation of the second layer and the facade indicates a level of regularity in the spatial organization of the plan. Additionally, facade symmetry serves as evidence of the geometric structure of the plan. These commonalities suggest the existence of a distinct architectural type; however, it is important to note that there is also evidence of architectural freedom in the arrangement of facades and opposite sides of the courtyard. The architects did not strictly adhere to complete symmetry or a specific pattern, displaying a degree of creative expression.One noteworthy limitation of this research is the relatively small number of samples, which can significantly impact the selection process. Nevertheless, in the pursuit of identifying and characterizing a specific type of Qajar houses in Kerman, this study has developed indicators for analyzing houses that are not limited to a particular period or building. These indicators can be valuable for future research on a larger scale, encompassing various types of historical buildings. This broader perspective could lead to a more comprehensive understanding of architectural evolution and typologies beyond the Qajar era in Kerman.

Achieving spaces with high quality and efficiency to ensure the comfort of the human body and mind is one of the most important goals of sustainable architecture. Our country's history of climatic design dates back to several thousand years. By studying the indigenous buildings in each climate, it is clear that they are designed entirely based on climatic principles to maximize using natural energy and deal with unpleasant cold and hot situations. Studies on thermal comfort in traditional houses show that indoor thermal comfort conditions have remained favorable even after all these years. In dry climates, the use of water in architectural spaces is a response to harsh climatic conditions. The use of mechanical systems in today's architecture, although they provide thermal comfort, has created negative environmental and economic consequences. While looking at the experiences of our predecessors in indigenous architecture, their approach to improving the quality of architecture can be seen in creating spaces with the principles of climatic design. One of the climatic design strategies for achieving thermal comfort in summer has been the creation of howzkhâneh (pool house) spaces in traditional houses with dry climates. In this research, the effects of the "howzkhâneh" of Qadaki house in Tabriz and its relation to the thermal comfort of residents, have been investigated. The case is modeled based on the maps and the existing situation. The EnergyPlus simulation engine was used to estimate the study's results. In the first step, the geometrical model was created in the Grasshopper user interface, a graphical and parametric programming environment in Rhinoceros software. Subsequently, by utilizing plugins like Ladybug Tools, an energy model based on this initial design was generated, and precise specifications of the spaces were applied to this model. Subsequently using Ladybug Tools plugin, an energy model based on this initial geometric model was generated, and precise specifications of the spaces were applied to this model. Many details in the geometry made the simulation and achieving results more difficult and time-consuming, so simplification of the model's integrity was considered. In the modeling process, a simplified volumetric model of the summer residence part of Qadaki House was generated using Rhino software's tools and then converted into an energy model using the Ladybug tools plugin in the Grasshopper environment. The thermal comfort level was determined using temperature and relative humidity during the day, PMV comfort patterns, temperature sensation, PPD, and biological and thermal adaptation of individuals. Two different studies were done in separate simulation models: the presence and absence of water in the howzkhâneh. The results of the simulations indicated that the presence of water significantly reduces the temperature and increases the relative humidity, resulting in more biological adaptation of the inhabitants, allowing residents to enjoy better thermal comfort for extended periods. The results obtained indicate that the presence of water in the howzkhâneh, in addition to the main howzkhâneh area, through the utilization of natural ventilation, has also had an impact on improving the comfort conditions of other adjacent spaces. On the other hand, the presence of this space is noteworthy from an architectural perspective, aesthetic appreciation, and fulfilling psychological and spiritual needs. The presence of water during the heat of summer also has a perceptual and mental impact on the residents' perception and feelings, and it can evoke a sense of mental freshness and coolness.

Muqarnas, as one of architectural decorative arts, is an expression of Iranian culture and can represent the hidden parts of Iran's cultural landscape. The complex geometry of muqarnas is made of several basic structures in successive layers. The flexible language of muqarnas in creating various types has made it difficult to understand the geometrical order of this art and therefore, it has been labeled as authorship. In the meantime, the first computational and geometrical approach to muqarnas was presented by Ghiyasuddin Jamshid Kashani (758-808 AH) in the fourth article of the book Miftah al-Hisab. Today many compositions and interpretations of this book with different points of view which provides basic information in the field of muqarnas are available. In addition, the present research has searched for the constituent structure and the elements and units of this complex structure, by examining Kashani's approach and recognizing the productive components of muqarnas from his point of view. In this regard, we have tried to draw all the possible situations (modes) according to the realities of muqarnas, through logical reasoning.Accordingly, this research tries to present a more accurate understanding of Al-Kashi’s treatise using 3D techniques. To do so, in the first phase the original article in Arabic has been studied consulting with Arabic language scholars in Shiraz University to better comprehend the text. Secondly, the related literatures have been studied and compared. These phases helped us to know that the key point in misunderstanding and/or different interpretations of Kashi’s Muqarnas types lie on different comprehension of muqarnas fundamental units as were described by al-Kashi. This paper introduces the components as follows: outer shell, inner shell, lower roof, upper roof, facet and facet base.  That is preventing from inaccurate use of technical vocabulary for identification of Muqarnas structures and also resulting in more accurate and concise understanding of Al-Kashi muqarnas typologies.Furthermore, using the introduced muqarnas components in previous phase, a detailed identification of Al-Kashi muqarnas typologies is presented.  In his Article Al-Kashi classified Muqarnas into four main categories namely Simple (sazej/sade), clay-plastered (motayyan), curved (ghos) and Shirazi.In addition, the present research has searched for the constituent structure, the elements, and units of this complex structure, by examining Kashani's approach and recognizing the productive components of muqarnas from his point of view. In this regard, we have tried to draw all the possible situations and modes according to the realities of muqarnas, through logical reasoning.In total, 16 elements can be identified as compositional examples according to the principles of construction of muqarnas. Thirteen elements have been seen exactly in real examples in Iran, and the rest of the elements have been seen in other examples of muqarnas in the world or in later models of muqarnas, i.e., radial patterns. In addition, it was found that the muqarnas with checkerboard principles have precise principles and the existence of symmetry and the use of a series of fixed values and sizes (1.1/2 √(2), 1-√(2) and 0.765367) in total.

With the expansion of educational centers in various academic disciplines, especially architecture, and the unequal balance between academic education and the production of technical knowledge, the training of creative learners becomes necessary. Failure to pay attention to the different learning styles of students is one of the disadvantages of traditional architecture education systems. Considering the importance of creative education in today's pluralistic era, in the first step, a brief opinion on the importance of group formation in the development and strengthening of interpersonal skills and the learners themselves is provided. In the second step, Ned Herman's whole-brain model to provide a method for forming creative groups is introduced, and in the third step, creativity in class group work, individual home work, and the final project in three selected educational centers in Tabriz and Bonab in the modeling workshop and examining the role of groups is presented. Creative works on increasing the individual creativity of students based on statistical analysis and based on the HBDI scale (Hermann's Brain Mastery Instrument). In the fourth step, it is devoted to the analysis of thinking tendencies and creativity by making a comparison between education in the virtual and in-person classes. Among the three factors that affect education (individual, teacher and educational environment), the authors, by accepting the student management system, consider the importance of the teacher in controlling and directing creative workshops, and in setting the lesson plan, he considers the teaching method to be effective, which is the foundation, facilitator and incentive to lead to comprehensive and independent education. In this article, due to the importance of educating creative people, recent theories about the brain process were studied, and Ned Herman’s all-brain model was used considering that the latest model is more compatible with architectural workshops. In the fourth step, it is dedicated to the analysis of thinking and creativity by making comparisons between virtual and in-person education. It seems that in an activity like architecture that needs to be examined from different aspects or should have different activities in combination, teamwork experience is an effective version. Since the nature of the field of architecture, especially design, requires the provision of several skills, and in the professional future, this need will be felt more strongly in the work environment outside, so the practice and experience of teamwork during education, in the development of interactive skills, cooperation and coordination of people can be beneficial. Design in practice is a collaborative activity. According to the need for teamwork in architecture offices and group harmony, the need for the formation of creative groups is felt. The findings of the research indicate that by gaining knowledge of the distinctive skills of people, a creative group can be formed for collective learning, which increases creativity in individual work at home and provides a better basis for the formation of new combinations of people in groups for the final project. Also, virtual workshops and fewer opportunities for group work in the virtual era have reduced creativity and average grades.

Daylight factor (DF) is recognized as an important element in architecture and a beneficial strategy in designing energy-efficient buildings. In the meantime,  porches one of the influential factors in the amount of daylight received, which can be useful in reducing energy consumption. Daylight has positive physical and psychological effect on users and is one of the main aspects of design; therefore, the present study was conducted with the aim of evaluating the effect of the porches in traditional houses of Tabriz on the  changes in the daylight factor.  In this regard, Qajar-era architecture was chosen due to its proximity to the present time, the structural characteristic of houses from this period, i.e., having a porch, and a larger statistical population. Thus, the houses of Behnam, Ghadki and Ganjeizadeh in Tabriz were selected as a sample population. In this study, information was collected through library research and field study. Subsequently, the daylight factor level in the spaces behind the porches was evaluated using energy simulation software. Based on the selected index, the performance of porches was examined in different orientations and seasons. The results showed that the influence of porches on daylight factor levels is greater in summer with a reduction of 60-30% compared to a reduction of 1-30% in winter. Considering the results, it is concluded that traditional houses with porches perform more optimally in terms of controlling the lighting conditions in the space than houses without them and the quality of lighting in the spaces behind the porch in these houses in different seasons of the year is much closer to the standard level.