Journal of Researches in Islamic Architecture

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Indigenous architectural masterpieces have broad dimensions that can be studied in different areas of focus and identified with their original patterns to transfer a new framework based on fundamental principles concerning the particular time and place. Architecture of each territory is the outcome of the beliefs, culture, climate, industry and the ways in which the land is built. Therefore, architecture is considered as the mirror to represent the interests, resources, knowledge and ability of its creators. An architectural work consists of forms and shapes in spatial framework the open and closed spaces and openings Shows, empty and full volumes and physical characteristics, hierarchies and measures. The color due to the extent of its role with psychological effects in social beliefs holds a special place playing an important role in the projection of an architectural expression. In the analysis of the different layers of the architectural works and the style of each architect, color has an important stance .The factor that relates architects` thoughts and emotions, on one hand and themes, theoretical principles and the cultural and social structures of the building, on the other hand. Therefore, investigating the type of color and its application in traditional architecture opens a window to recognize some of the features of this unique style of architecture and the artistic and architectural ideas, attitudes and abilities represented in the context. Although many articles and books have been edited and compiled on architectural history, building analysis, and stylistics amidst which there is a minor issue considering the color, in general, or the colors of the buildings, there is felt to be a great need to specialized researchers about painting and architecture in ecological aspects and its cultural roots in the historical civilizations. Color in architectural studies of West has been focused from psychological dimension since Bauhaus period, but in the social and ecological aspects, the most recent researches have been done on archetypes and indigenous and religious attitudes mixed with architecture. This research aims to identify and review the physical and emotional aspects of applying blue color in architectural practices of Uraman. Architecture in Kurdish territory has remained mysterious and full of legends so far in many ways, although its physical structure, more or less, has been paid attention to by many researchers but it cannot be said that researchers have been able to analyze its origin, particularly in semantic dimensions that require in-depth review. According to Uraman area, the research population is geographically widespread but considered proportional to the number of numbers required to include all aspects in order to achieve the validity. Therefore, five regions of Kamaleh, Uraman takht, palangan, naravi and hiravi were selected with suitable scattering. Among 40 aged people residing in these areas (55 to 90 years), questionnaires were filled in the form of interview. In addition in the initial evaluation and field studies, the presence of blue in the arrays, the window and Folk Literature endorses the need for research in this field. Although the present research is an effort to explore the beauty formation in the architecture based on the local culture and try to represent it in contemporary architecture, also to a large extent, it is located in the field of the fundamental studies. In this study, the influence of beliefs, geography, climate, literature and aesthetics as the independent variables on how and why to apply the paint and color in a traditional residential architecture, as the dependent variable is the focus of this paper. This research is descriptive and analytical. Part of the data has been collected through library research methods. Analysis and discussion have been on the psychology of color and hidden identity, the impact of lifestyle, climate and geography of the aesthetic and consequently, the selection of a specific color, covered in native tissue architecture and window applications. The other part of the data were collected through the field studies with architectural texture of the substrate, the distribution of questionnaires and interviews with older people of Uraman so that the obvious evidence of blue color application for residential windows becomes clear. Perhaps, what comes to mind in the first confrontation with mountain architecture is the minimal space of construction for a simple life. But in the deep investigations and comprehensive surveys, we find a collective power which analyzes the application of color in the windows from different angles and chooses the best one. Regarding the specific representation of color in architectural quality and anatomical texture, some researchers have had brief hints to color without any specific and coherent view to the issue in Uraman architecture. These points are one-dimensional and generalized. Ignoring the psychological, and belief effects and the fashion have not been mentioned with aesthetic or natural philosophy tendency. In the initial surveys and library studies, with the quality nature of the issue, there can be different views which are based on the hypotheses each research considers. But in this study, in order to obtain conclusive results and minimize the effect of researcher, by completing the questionnaire through interview and discussion with the audience of this architecture (target population), we tried to make research results clear free from vision of researchers based the current situation .Finally, according to field studies and interviews with older residents in Uraman (from the master carpenter, builders and ordinary people), opinions of scientists and psychologists and researchers in the field of architecture of Uraman, we can get the reason for the widespread application of blue in native architecture of Uraman homes to be expressed in this way that by accepting the dramatic role of geography, natural, climate and people in the unconscious memory formation followed by an indirect effect on aesthetics, it is the most important role in the widespread application of the blue traditional residential buildings of Uraman. Since each color finds value and the effect on the proximity of other colors combination of sharp blue in low area with great surface of light brown of walls brings about a beautiful color contrast. In addition, these colors also add to the comfort. Finally, the sacred hypothesis or removal of an eye sore has no originality in research findings and this view is no longer valuable in this field.

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Today, there are a few dozens of historical index houses in the city Sabzevar. Reviews show that up until now, despite the presence of their special characteristics, variety and role, there have not been comprehensive studies about them but through the presence of valuable samples from various historical periods (Teymouri, Safavid, Qajar, Pahlavi), their exposure to destruction through changing the method of living, multiplicity of owners, migration and generally loss of attractions for today's life, reviewing these houses is necessary. Since most of the historical houses in Sabzevar are from the Qajar period, the purpose of this article is to read and recognize Qajari houses. The used research method is combined and the results obtained from the study show that Sabzevar's houses, with architectural specifications such as semi-hot and arid climate, have mostly been made as introvert houses and they can be divided to three types of the first, second and third period based on the features of architectural space, structure and decorations. Discussion of architectural typology has been proposed in some of the European countries since the late 11^th century. At first, this topic was treated in a very clichéd way and they reviewed categorization of buildings based on a mutual feature. Another one of methods of categorization at this time was dividing the buildings with mutual feature of their map. This method has many advantages, but unfortunately, by being drawn in one way of thinking, being caught up in a deterministic framework and linking historical process with deterministic materialistic views, they came to conclusion and the result of it is predetermined by considering the mentioned framework whereas in a study, in addition to the overall review, the results shall be obtained after the study and research.

Accurate identification and classification of various architectural types can be useful in understanding the space better, protecting it and also in achieving new methods of designing.

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In contemporary times, the neglect of past architectural methods and their identity has impacted the quality of modern housing. However, understanding and studying the structure of historical houses can serve as a bridge linking traditional architecture with today’s residential design. Iranian historical houses were always constructed in harmony with their geographical context and in response to diverse cultural and livelihood needs. Among these, the historical houses of Isfahan stood out as some of the most prominent examples, warranting deeper analysis.
This study aimed to identify and analyze the construction patterns of houses in the city of Isfahan through a typological approach. The research focused on 33 Muslim-inhabited houses located in Isfahan's historical fabric, spanning from the Safavid era to the late Qajar period. The methodology was qualitative and based on typological classification.
The findings revealed that the historical houses of Isfahan could be categorized into three primary types based on the main spatial element located on the central courtyard’s main façade: Shekam-Darideh (cross-shaped plan), Talardār (with a central hall), and Iwandār (with a portico). Each of these types reflected distinct physical structures and spatial-constructional systems associated with specific lifestyles. In the Shekam-Darideh type, a cruciform space was located along the courtyard’s central axis, influencing the courtyard's overall appearance. The Talardār type featured a rectangular hall with a flat roof, placed on the main axis of the courtyard. In the Iwandār type, a columned portico dominated the main façade, typically flanked by adjacent rooms such as traditional three-door or two-door rooms. The Iwandār type was structurally simpler, incorporating three spatial categories: open, semi-open, and closed. Each typology offered unique capabilities to meet residents' needs under various conditions.