@article{ 
author = {Taghdir, Samaneh and Samimifar, Fatemeh},  
title = {The role of "memory" (treasury of meaning) and "imagination" (treasury of face) of the architect in shaping the process of creating and perceiving architectural works based on the view of transcendent wisdom}, 
abstract ={The role of "memory" (meaning treasury) and "imagination" (face treasury) of the architect in shaping theprocess of creating and perceiving architectural worksBased on the view of transcendent wisdom The issue of how the process of creating and perceiving architectural works and the factors affecting it is an important, multidimensional and interdisciplinary category. However, at present, the process of formation of architectural works in most studies is based on superficial perceptions of human perception and at best depends on the five human senses and, of course, usually limited to some of them. Therefore, it is necessary to address the aspects of this issue from the perspective of anthropological sciences (knowledge of his powers and perceptual tools), ontology (knowledge of the levels of existence) and psychology of theenvironment (study of the relationship between man and the environment). The present study intends to investigate how the stages of the process of creating and perceiving architectural works are formed by focusing on the esoteric forces, especially the "memory" and "imagination" of the architect and also by redefining the steps of decomposition, composition and evaluation in this process with a new look, this study intends to investigate the direct and indirect effects on the quality of formation and realization of these steps. The theoretical basis of this research is the principles of transcendent wisdom and to do it, the strategy of logical reasoning has been used. In the data collection stage, documentary and librarystudies have been used, and in the later stages, the deductive reasoning method has been used. The results of this research show that architecture, like other human actions, is influenced by the material and spiritual context of growth (lived experience) and the architect's perceptions during his lifetime until the moment of creating the work. On the one hand, the architect is influenced by his memory (treasury of meanings) and imagination (treasury of faces) that these items will be the source of his ideas, and on the other hand, by his actions, ethics and temperament ,he creates a level for his rational soul, which is the origin and creator of his actions. And of course the level of the soul also plays an important role in the efficiency of memory and imagination in human beings because the meanings and forms stored in them are the result of his level of interaction with the worlds. This approach can also pave the way for change in architecture education Be. Because he emphasizes that the architect must first go through the arc of ascending epistemology in his being and then try to create in the arc of the descent of the creation of thearchitectural work.},  
Keywords = {Memory, imagination, decomposition, composition, architectural process, transcendent wisdom},
volume = {10},
Number = {3}, 
pages = {1-18}, 
publisher = {Iran University of Science & Technology},
title_fa = {نقش «حافظه» (خزانه معنا) و «خیال» (خزانه صورت) معمار در شکل‌دهی به فرایند خلق و ادراک آثار معماری بر اساس دیدگاه حکمت متعالیه},
abstract_fa ={مسئله چگونگی شکل‌گیری فرایند خلق و ادراک آثار معماری و عوامل موثر بر آن مقوله‌ای با‌اهمیت، چند‌بعدی، و میان‌رشته‌ایست. این در حالیست که در حال حاضر فرایند شکل‌گیری آثار معماری در اکثر پژوهش‌ها با تکیه بر برداشت‌های سطحی از ادراک انسان و در بهترین حالت وابسته به حواس پنج‌گانه ظاهری انسان و البته معمولا محدود به برخی از آنها بررسی می‌شود. بنابراین لازم است جوانب این مسئله از منظر علوم انسان‌شناسی (شناخت قوا و ابزارهای ادرکی او)، هستی‌شناسی (شناخت مراتب هستی)، و روان‌شناسی محیط (بررسی رابطه انسان و محیط) پرداخته شود. پژوهش حاضر قصد دارد به بررسی چگونگی شکل‌گیری مراحل فرایند خلق و ادراک آثار معماری با تمرکز بر قوای باطنی به‌ویژه «حافظه» و «خیال» معمار بپردازد؛ و با بازتعریف مراحل تجزیه، ترکیب، و ارزیابی در این فرایند با یک نگاه نو، عواملی که مستقیم و غیرمستقیم موثر بر کیفیت شکل‌گیری و تحقق این مراحل هستند را؛ بررسی نماید. شالوده نظری این پژوهش مبانی حکمت متعالیه و برای انجام آن از راهبرد استدلال منطقی استفاده شده است. در مرحلۀ گردآوری داده‌ها از مطالعات اسنادی و کتابخانه‌ای، و در مراحل بعد، از روش استدلال قیاسی استفاده شده است. نتایج حاصل از این پژوهش نشان می‌دهد معماری مانند سایر افعال انسان متاثر از بستر مادی و معنوی رشد (تجربه زیسته) و ادراکات معمار در طول عمر تا لحظه خلق اثر است. معمار از یک طرف متاثر از حافظه (خزانه معانی) و خیال (خزانه صورت‌ها) خود است که خمیر‌مایه ایده‌های او خواهند بود؛ و از طرفی به‌واسطه افعال، اخلاق و مزاج خود مرتبه‌ای برای نفس ناطقه‌اش -که مبدا و خالق افعال اوست- رقم می‌زند؛ و البته مرتبه نفس هم نقش بسزایی در کارایی حافظه و خیال در انسان دارد؛ زیرا معانی و صورت‌ها ذخیره شده در آنها حاصل سطح تعامل او با عوالم هستی است. این رویکرد همچنین می‌تواند زمینه‌ساز تحول در حوزه تعلیم معماری و تربیت معماران باشد. زیرا تاکید می‌نماید معمار ابتدا باید قوس صعود معرفت‌یابی را در وجود خویش طی کند و بعد اقدام به آفرینش در قوس نزول خلق اثرمعماری نماید.},
keywords_fa = {حافظه, خیال, تجزیه, ترکیب, فرایند معماری, حکمت متعالیه},

doi = {10.52547/jria.10.3.5},
url = {http://jria.iust.ac.ir/article-1-1469-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1469-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2022}  
}

@article{ 
author = {ataeehamedani, mohammadrez},  
title = {The educational function of Hosseiniyahs in promoting and perpetuating the Shiite lifestyle (Case study: Hosseiniyahs of Kashan)}, 
abstract ={Many philosophers believe that lifestyle is fundamentally dependent on worldview and ideology. Thus, the emergence of a culture in the social dimension occurs when people's lifestyles are in line with common thinking.Using the concept of guardianship along with Islamic monotheism, the Shiite school offers a practical program for all individual and social aspects of Shiites.In this program, regardless of time and place, it creates a distinct identity. In the process of education, the theoretical foundations and individual and collective skills of the Shiite school are passed down from generation to generation. This study, while recognizing the role of education as a factor in promoting and perpetuating the Shiite lifestyle, expresses the importance of husseiniyahs as a place with the mentioned educational function and to prove the role of husseiniyahs in Kashan in the formation and continuation of Shiite lifestyle. The theoretical framework in this study is logical reasoningandthe findings of logical reasoning research are shown in case studies. Finally, the indicators of Islamic lifestyle and education have been adapted to architectural featuresincluding function, form and relationship with natural and urban context.},  
Keywords = {Hosseiniyahs, Kashan, Education, Lifestyle, Shiism},
volume = {10},
Number = {3}, 
pages = {19-41}, 
publisher = {Iran University of Science & Technology},
title_fa = {کارکرد تربیتی حسینیه‌ها در ترویج و تداوم سبک زندگی شیعی (موردپژوهی: حسینیه‌های شهر کاشان)},
abstract_fa ={بنا بر اعتقاد بسیاری از اندیشمندان سبک زندگی اساساً وابسته به مکتب و ایدئولوژی است. بدین ترتیب بروز و ظهور یک فرهنگ در بعد اجتماعی، زمانی رخ می‌دهد که سبک زندگی مردمان مطابق با مکتب حاکم باشد مکتب تشیع نیز با بهره‌گیری از مفهوم ولایت در کنار توحید اسلامی برای تمام شئونات فردی و اجتماعی شیعیان برنامه عملی ارائه می‌کند. در حقیقت نوع قابل تمایزی از سبک زندگی را در ادوار مختلف پیشنهاد می‌کند که فارغ از وابستگی به شرایط زمانی و مکانی، هویت متمایزی ایجاد می‌کند. در فرایند تربیت، مبانی نظری و مهارت‌های فردی و جمعی وابسته به مکتب تشیع از نسلی به نسل بعد انتقال می‌یابد. پژوهش حاضر ضمن شناخت نقش تربیت به‌عنوان عامل ترویج و تداوم سبک زندگی شیعی، اهمیت حسینیه‌ها را به‌عنوان ظرف مکانی با کارکرد تربیتی-آموزشی یاد شده بیان می‌کند؛ و برای اثبات این مدعا نقش حسینیه‌های شهر کاشان در شکل‌گیری و تداوم سبک زندگی شیعی را نشان می‌دهد. برای تدوین چارچوب نظری در پژوهش حاضر از راهبرد استدلال منطقی و برای نمایش مصداقی آن از راهبرد موردپژوهی بهره‌گیری شده است. بدین ترتیب شاخصه‌های برگرفته از سبک زندگی و تربیت اسلامی در انطباق با ویژگی‌های معمارانه شامل کارکرد، کالبد و ارتباط با بستر طبیعی و شهریِ حسینیه‌های کاشان، به‌عنوان مصداق قرار گرفته است.},
keywords_fa = {حسینیه, کاشان, تربیت, سبک زندگی, تشیع},

doi = {10.52547/jria.10.3.8},
url = {http://jria.iust.ac.ir/article-1-1577-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1577-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2022}  
}

@article{ 
author = {heidari, ali akbar and taghipour, malihe and emad, fatemeh},  
title = {Comparative comparison of mosques of different styles of Iranian-Islamic architecture based on the concept of hierarchy}, 
abstract ={The hierarchy in architecture is an attempt to express the concept of transition and the gradual aspect of the process of perception. This principle is well-known as one of the fundamental principles in traditional art and is consistent with the hierarchy of being above its material level. This principle proposes, in the order of reaching a space, the fundamental pattern of connection, transfer and acquisition, which expresses the aspect of exploiting the acquisition of space. In this regard, the mosque is one of the buildings in which the existence of the principle of hierarchy is very necessary in such a way that the concept of garment from the appearance to the inner part as the most important function of the mosque, is represented by the principle of hierarchy. However, during different periods and over time, the presentation of this principle has been made in mosques built in different styles of Iranian architecture in different ways. In this regard, the present study tries to examine various styles of mosques in the history of Iranian architecture. Accordingly, 16 mosques of four styles including Khorasani, Razi, Azari and Esfahani styles (each of the 4 mosques) are selected as case examples. By analyzing their spatial structure based on existing documents, three dimensions of the hierarchy include the hierarchy The shape, size, and location of each mosque in the style of these styles are discussed. The research method is descriptive-analytical based on historical documents. Using quantitative and qualitative methods including use of space syntax software, using scale meter to extract dimensions, and interviewing experts to analyze the facial features of the mosques in order to analyze the data. Has been used. Finally, the results of the research indicated that in Khorasani style, all three levels of hierarchy were at an elementary level in the mosques; in the mysterious style, the hierarchy of place was considered, but with time, this dimension in the styles Azeri and Esfahani; in the Azeri style, hierarchy of size was very much considered, and finally, in theIsfahan style, the hierarchy of form had the most visibility in the mosques.},  
Keywords = {mosque, hierarchy of form, hierarchy of size, location hierarchy, architectural styles},
volume = {10},
Number = {3}, 
pages = {42-68}, 
publisher = {Iran University of Science & Technology},
title_fa = {مقایسه تطبیقی مساجد سبک‌های مختلف معماری ایرانی اسلامی بر مبنای مفهوم سلسله‌مراتب},
abstract_fa ={سلسله‌مراتب در معماری نمودی از تلاش برای بیان مفهوم گذار و جنبه تدریجی فرایند ادارک است. این اصل به‌عنوان یکی از اصول بنیادی در هنر سنتی شناخته شده و با سلسله‌مراتب وجودی که بالاتر از مرتبه مادی مربوط به آن قرار دارد نیز؛ منطبق و هماهنگ است. این اصل در ترتیب رسیدن به یک فضا، الگوی بنیادی اتصال، انتقال و وصول را پیشنهاد می‌کند که بیان‌کننده جنبه استدراجی وصول به فضا است. در این ارتباط مسجد از جمله بناهایی است که وجود اصل سلسله‌مراتب در آن بسیار ضروری است به نحوی که مفهوم سیر از ظاهر به باطن به‌عنوان مهمترین کارکرد مسجد، به واسطه اصل سلسله‌مراتب نمود می‌یابد. با این حال در طول دوره‌های مختلف و با گذشت زمان، نمود این اصل در مساجد ساخته شده در سبک‌های مختلف معماری ایرانی به صورت‌های متفاوتی بروز یافته است. در همین ارتباط، پژوهش حاضر سعی بر آن دارد که با بررسی سبک‌های مختلف مساجد در تاریخ معماری ایران، نمودهای مختلف این مفهوم را مورد بررسی قرار دهد. روش تحقیق این پژوهش یک روش توصیفی-تحلیلی به منظور تحلیل نمونه‌های موردی می‌باشد. با توجه به سبک‌شناسی معماری ایران، مساجد تاریخی در قالب شش سبک پارسی، پارتی، خراسانی، رازی، آذری، و اصفهانی قابل تقسیم هستند که سبک پارسی و پارتی دارای مسجد نمی‌باشند. بر همین اساس از هر 4 سبک 8 مسجد (در مجموع 32 مسجد) به‌عنوان نمونه‌های موردی به صورت تصادفی انتخاب شد. هدف اصلی در پژوهش حاضر، تحلیل سبک‌های مختلف معماری مساجد ایران از منظر سلسله‌مراتب و وجوه مختلف نمودپذیری این مفهوم در آنها است. روش تحقیق در این پژوهش درسه گام است که در گام اول به بررسی وجوه مختلف سلسله‌مراتب و نحوه ارزیابی شاخصه‌های آنها به روش مطالعات کتابخانه، در گام دوم به تجزیه وتحلیل وجوه مختلف سلسله‌مراتب در مساجد سبک‌های مختلف، و در گام آخر به بحث و نتیجه‌گیری پرداخته شده است. در نهایت نتایج تحقیق حاکی از آن بود که در سبک خراسانی، هر سه بعد سلسله‌مراتب در یک سطح ابتدایی در مساجد نمود داشته است؛ در سبک رازی، سلسله‌مراتب مکان مورد توجه قرار گرفت؛ اما با گذشت زمان، این بعد در سبک‌های آذری و اصفهانی رو به تکامل نهاد. در سبک آذری، سلسله‌مراتب اندازه بسیار مورد توجه قرار گرفت؛ و در نهایت در سبک اصفهانی، سلسله‌مراتب شکل، بیشترین نمود پذیری را در مساجد داشته است.},
keywords_fa = {مسجد, سلسله‌مراتب شکل, اندازه و مکان, سبک‌های پیرنیا},

doi = {10.52547/jria.10.3.1},
url = {http://jria.iust.ac.ir/article-1-1185-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1185-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2022}  
}

@article{ 
author = {BahramiKian, Zohre and Akbari, Ali},  
title = {Analysis of the originality of subjectivity in semiotics of place as a basis for intervention in religious places  (Case study: Shrine of Hazrat Abdul Azim)}, 
abstract ={Since the sacred shrines are mainly located in the historical contexts of cities, preserving the historical identity of the context is one of the challenges in new developments. In some plans of developing holy places, it has been observed that the principles of planning, regardless of the existing spaces and the historical memory of pilgrims of the building and identity of the surrounding texture, has destroyed the intergenerational memories of individuals and cut off their mental connection with the building. Considering the social and cultural necessity of preserving the spacial and historical identity and mental relationship of people with the place in development planning, this study tries to base on the viewpoint of users in their lived experience of worship in the shrine of Hazrat Abdul Azim, define and examine the research hypotheses; Then interpret the data in a phenomenological way and offer operational solutions as the basis of intervention in holy places. The philosophical paradigm of research is critical discourse. Due to the nature of the variables, the research approach is qualitative; research method is the survey and research design is descriptive-analytical. Explaining the theoretical foundations of research and determining research variables has been done through library studies and field studies, including direct observation, interview and distribution of questionnaires. To analyze the originality of people's mentality in the face of space, three hypotheses were proposed: 1. it is assumed that the geometry of spatial relationships, the type of connection with the shrine (dome) increases the sense of place attachment in the users. 2. It is assumed that the use of spatial quality factors affecting the perception of users leads to greater presence in the place. 3. It is assumed that the signs of historical identity play a role in the meaning of space and place attachment among users. The contribution of each factor has been analyzed and effective in designing new spaces. In the first hypothesis, the result of Pearson correlation test between the components of spatial relations – connection with the shrine and the sense of belonging, the correlation coefficient is 0.377. The value of a significant number is less than 0.01 and therefore there is a significant relationship between these two variables at the 99% confidence level. In the second hypothesis, the result of Pearson correlation test between the component of spatial quality factors affecting users' perception and the presence of people in the place shows a coefficient of 0.311. The value of the observed significant number is less than 0.05, which is less than the standard significance level (α = 5%). Therefore, there is a significant relationship between these two variables at 95% confidence level. In the third hypothesis, the result of Pearson correlation test between the component of the sign and its structure and the component of meaning and memory in place shows a coefficient of 0.377. The observed significant number is less than 0.01, which is less than the standard significance level (α = 5%). Therefore, there is a significant relationship between these two variables at 99% confidence level. Finding results of the discussion show that the spatial hierarchy of the building, visual relationship with the dome, quality factors affecting users' perception in any space and the existence of meaningful signs have a direct, positive and significant effect on the components of place attachment in people mental identity of place and preserving them makes the place more identifiable. According to the analysis in this study, it can be concluded that the most important issue in the development plan of historical religious sites is the originality of the mentality of individuals towards spaces and places. The mental thing formed in the subconscious mind of the people remain the guarantor of the creation of the spiritual mentality of the people in the space and basically forms the subjective nature of the space. This is more important and fundamental than the objective nature of the building because meaning is the most essential element of being in spiritual situations. This issue was also indicated in the statistical tests of the research. Therefore, in the context of religious history, the presentation of the same and modified copies (which is also contrary to international rules and regulations) calls into question the value, efficiency and desirability of the initial model and reduces its historical significance. As a result, in development projects, giving a repetitive motif, pattern or elements can not solve the context problem, and this leads to the unification of anonymity. Depending on the potential of each field, the presentation of development plans will be numerous in cities. Citizens' dissatisfaction with the current development plans shows that the sense place attachment among the users is enormously important. Therefore, disturbing memorable situations under the pretext of development without effective planning will reduce the value of the place.},  
Keywords = {Originality of subjectivity, semiotics of place, sacred place, sense of place, development of the shrine of Hazrat Abdolazim},
volume = {10},
Number = {3}, 
pages = {69-85}, 
publisher = {Iran University of Science & Technology},
title_fa = {تحلیل امر ذهنی در نشانه‌شناسی مکان به‌مثابه مبنای مداخله در اماکن مقدس (نمونه موردی: حرم حضرت عبدالعظیم)},
abstract_fa ={از آن‌جاکه عمدتاً بقاع متبرکه در میان بافت‌های تاریخی شهرها واقع شده‌ است؛ حفظ هویت تاریخی بافت یکی از چالش‌های پیش‌رو در طرح‌های توسعه است. در برخی از طرح‌های توسعه اماکن متبرکه مشاهده می‌شود که اصول برنامه‌ریزی، بی‌توجه وجه ذهنی زیارت و خاطره تاریخی زائران از بنا و ماهیت و هویت بافت اطراف بوده و موجب تخریب بستر خاطرات بین‌نسلی افراد و قطع ارتباط ذهنی آنان با بنا شده است. با توجه به ضرورت اجتماعی و فرهنگی حفظ هویت مکانی و تاریخی و رابطه ذهنی افراد با مکان در برنامه‌ریزی‌های توسعه، هدف از انجام این پژوهش آن است که مبتنی بر مطالعات میدانی، دیدگاه کاربران را به اتکای تجربه زیسته‌شان از امر عبادت و زیارت در حرم حضرت عبدالعظیم(ع) احصا کند و ضمن آزمون فرضیات پژوهش، به روش پدیدارشناختی داده‌ها را تفسیر کند و راهکارهای عملیاتی را به‌مثابه مبنای مداخله در اماکن مقدس ارائه نماید. مطالعه حاضر از حیث هدف، کاربردی است. پارادایم فلسفی تحقیق مبتنی بر گفتمان تفسیری است. با توجه به ماهیت متغیرها رویکرد تحقیق کیفی است و روش تحقیق، پیمایشی و طرح تحقیق، توصیفی-تحلیلی است. تبیین مبانی نظری تحقیق و احصای متغیرها از طریق مطالعات کتابخانه‌ای و میدانی اعم از مشاهده مستقیم، مصاحبه و توزیع پرسش‌نامه انجام شده است. نتایج حاصل از بحث نشان می‌دهد که سلسله‌مراتب فضایی ساختمان، ارتباط بصری با گنبدخانه، عوامل کیفیت‌ساز مؤثر بر ذهنیت و ادراک کاربران در هر فضا و وجود ‌نشانه‌های معناساز و موقعیت‌های خاطره‌‌ساز، تأثیر مستقیم، مثبت و معناداری بر مؤلفه‌های حس تعلق، حضورپذیری، و خاطره‌سازی برای مردم در مکان مقدس دارند و حفظ آن‌ها موجب هویتمندی مکان می‌شود.},
keywords_fa = {اصالت ذهنیت, نشانه‌شناسی مکان, مکان قدسی, حس مکان, توسعه حرم حضرت عبدالعظیم},

doi = {10.52547/jria.10.3.6},
url = {http://jria.iust.ac.ir/article-1-1477-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1477-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2022}  
}

@article{ 
author = {rahravipoodeh, sanaz and tadayon, bahareh},  
title = {Explaining the effective factors on the sense of belonging to the place and evaluating the indicators of social stability in the historical context (Case study: Joybareh neighborhood of Isfahan)}, 
abstract ={Social sustainability is one of the controversial issues which has far-reaching implications for the realms of architecture and urban design. In this respect, Joubareh Neighborhood in Isfahan, considered as the oldest historical location of the city, is of considerable importance. Despite the various values of this neighborhood, its historical texture has been deteriorating in recent years. Accordingly, recognition and setting a set of social sustainability indices may play a major role in conserving the historical values of this neighborhood. Since Joubareh is being depleted of its native residents replaced by non-native ones, the utmost endeavor must be made in order to conserve the historical values of this neighborhood encouraging the native residents to stay. This research aimed to identify those social sustainability indices in this neighborhood in order to encourage the native residents, who have a strong sense of belonging towards their neighborhood, to stay so that the deteriorating trend can be reversed. Joubareh is in fact the oldest location of the city and in the vicinity of which are there several significant monuments, like Atigh Gathering Mosque. So far, extensive research has been conducted on social sustainability in the housing sector. Concerning historical textures, similar research has been done only scantily. Which social sustainability indices in the historical texture of Joubareh must be applied? How do these factors and variables interact with each other? The methodology is quantitative and the data were gathered by surveying. Questionnaires were distributed and analyzed in two stages. In order to analyze data, SPSS Software was used and the One-sample test and the Friedman test were used to assess and prioritize the variables. In the first questionnaire, the sense of belonging of the residents in Joubareh was studied in terms of gender, occupation, and age of the respondents. The sense of belonging among the tradesmen was stronger than that of the women and of other occupations. Similarly, in terms of age, the elderly showed a stronger sense of belonging than that of others. Generally, the aged male shopkeepers and the aged housewives had a stronger sense of belonging than that of others. Also, in the second questionnaire designed based on the needs of the aged housewives and the aged male shopkeepers, certain factors were taken into account for social indices such as the living quality index (respecting the individuals' privacy and peace), the quality of open spaces in the neighborhood, caring the historical features and revitalizing the lost identity and the quality of social interactions among the neighborhood's residents. The results indicated that the dimension of social interactions is significantly correlated with living quality as well as the quality of open spaces. By the same token, the dimension of social interactions is significantly correlated with the quality of open spaces in the historical textures. Likewise, the quality of open spaces and the dimension of historical textures are significantly correlated. In addition, the quality of open spaces is significantly related to historical texture. Finally, there is not a significant relationship between social interactions and historical textures. To the residents of Joubareh neighborhood, who feel a sense of belonging towards the neighborhood, the social sustainability indices, in terms of priority, include the living quality, the quality of open spaces, historical texture, and finally, social interactions. In brief, the results indicated that the residents of Joubareh neighborhood, including the elderly, both housewives, and the aged male shopkeepers, have a strong sense of belonging towards their neighborhood. The social sustainability indices for the residents were, in terms of priority, the living quality, the quality of open spaces, historical texture, and finally, social interactions.},  
Keywords = {Social Sustainability Indices, Sense of Belonging to Place, Quality of life, Historical Texture, Joybareh Neighborhood},
volume = {10},
Number = {3}, 
pages = {86-106}, 
publisher = {Iran University of Science & Technology},
title_fa = {تبیین عوامل موثر بر حس تعلق به مکان و ارزیابی شاخص‌های پایداری اجتماعی در بافت تاریخی (مورد مطالعه: محله جویباره اصفهان)},
abstract_fa ={امروزه پایداری اجتماعی یک از مفاهیم تأثیرگذار و قابل‌بحث در طراحی معماری و شهری محسوب می‌شود. ازآنجاکه محله جویباره اصفهان، قدیمی‌ترین بافت تاریخی این شهر به‌حساب می‌آید و این بافت ارزشمند با همه ویژگی‌های قابل‌توجه موجود در آن به سمت فرسودگی و انحطاط، نزول یافته است؛ شناخت و ایجاد شاخصه‌های پایداری اجتماعی در این بافت ارزشمند، می­تواند در حفظ ارزش‌های این محله و ثبات آن به‌عنوان بافت تاریخی، نقش به سزایی داشته باشد. ازآنجاکه ساکنین بومی این محله ارزشمند -که ترکیبی از تعداد محدودی از یهودیان و تعداد کثیری از مسلمانان هستند- در حال کوچ از آن هستند و ساکنین غیربومی جایگزین آن‌ها می‌شوند؛ حفظ بافت تاریخی آن ضرورت می‌یابد. شاخصه‌های پایداری اجتماعی در بافت تاریخی جویباره کدام‌اند و رابطه بین متغیرها و اولویت‌های آن‌ها به چه صورتی خواهد بود؟ هدف از این پژوهش، شناخت شاخصه‌های پایداری اجتماعی در جهت حفظ ساکنین بومی با حس تعلق زیاد به این بافت تاریخی است؛ به‌گونه‌ای که ایجاد این شاخصه‌ها در بین ساکنین بومی و محل زندگی آن‌ها، از انحطاط و فرسودگی این بافت جلوگیری کند. چراکه این بافت قدیمی‌ترین بافت شهر اصفهان محسوب می‌شود و بناهای تاریخی ارزشمندی در هم‌جواری آن همچون مسجد جامع عتیق وجود دارد. از طرفی تحقیقات گسترده‌ای در رابطه با پایداری اجتماعی در حیطه مسکن انجام‌شده است؛ اما در مورد بافت‌های تاریخی مطالعات انجام‌شده بسیار محدود است. روش تحقیق در مقاله پیش رو از نوع کمی است؛ و داده­ها با استفاده از روش پیمایش گردآوری‌شده است. پرسش‌نامه در دو مرحله توزیع و مورد تحلیل قرارگرفته‌اند. به‌منظور تجزیه‌وتحلیل داده­ها از نرم‌افزار SPSS، و آزمون­های آماری تک‌نمونه‌ای و فریدمن برای ارزیابی و اولویت­بندی متغیرها استفاده‌شده است. با توجه به مطالعات انجام‌شده در میزان حس تعلق در محله، که بر اساس جنسیت، شغل و سن در پرسش‌نامه اول موردبررسی واقع‌شده، احساس تعلق در بین مردان با شغل کاسب بیشتر از زنان و بقیه مشاغل بوده است. از نظر سنی گروه سنی سالمند، دارای حس تعلق مکان بیشتری به محله هستند. در توزیع پرسش‌نامه دوم شاخصه‌های پایداری اجتماعی که شامل کیفیت زندگی، کیفیت فضای باز، توجه به ویژگی‌های بافت تاریخی و میزان تعاملات اجتماعی افراد ساکن در محله بوده است؛ مورد بررسی قرار گرفت. این پرسش‌نامه در بین مردان با شغل کاسب و زنان با شغل خانه‌داری که هر دو از جنس گروه سالمند هستند و به ترتیب بیشترین حس تعلق مکان به محله را دارند؛ توزیع شد. بر این اساس مشخص شد که کیفیت زندگی، بیشترین میزان اهمیت و تعاملات اجتماعی، کمترین میزان اهمیت را در جهت رسیدن به شاخصه‌های پایداری در محله جویباره در بین ساکنین محله دارا است.},
keywords_fa = {شاخصه‌های پایداری اجتماعی, حس تعلق مکان, کیفیت زندگی, بافت تاریخی, محله جویباره اصفهان},

doi = {10.52547/jria.10.3.4},
url = {http://jria.iust.ac.ir/article-1-1447-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1447-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2022}  
}

@article{ 
author = {golestan, ameneh},  
title = {Comparative study of the paper inscriptions available in the museum of Abdolazim holy shrine and the tile inscriptions located in the veranda of Imamzadeh Taher’s shrine, by Mohammd Ebrahim Tehrani applying Nastaliq script}, 
abstract ={The Shrine of Abdolazim located in Ancient historical city of Ray is a complex including holy shrines of Immamzadeh Taher, Immamzadeh Hamzeh and Abdolazim Hassni. Immamzadeh Taher’s shrine is placed at the north side of the complex and at the east side of Abdolazim Hassni’s shrine and the museum of the complex also is at the south east of Mosalla (praying room for muslims) which is ornamented with decorative arrays. The complex is one of the most valuable treasures of architectural works and related arts. Its construction dates back to the second half of third Hijri century and it has been developed and evolved up to the present century. The complex has been greatly decorated with some artistic works. Some of the most significant of which are inscriptions by "Mohammd Ebrahim Tehrani known for Mirza Amo" who has been one of the outstanding and well-experienced inscription creators of Qajar era in Iran. The inscriptions were executed by applying Nastaliq script, and are considered important documents in the study of the development of Nastaliq scripts. They were written and made in two calligraphic and architectural methods, respectively, on papersand on seven-color tiles. Nastaliq as a favorite script has appeared in architectural designs attributed to Qajar era along with Thulth script. Thus recognition and awareness of prevalent Nastaliq inscriptions and their transformations are considered crucial needs for calligraphy and architecture communities, but the subject has been neglected by most researchers. Evaluation of calligraphic transformation through paper inscriptions which are directly written by calligraphers is an excellent and professional case study. Furthermore, since the quality of scripts undergo some changes or defects when transferring to tiles, stones or other things, analysis and comparison of paper inscriptions and seven-color tile inscriptions should be paid close attention to. Actually, it is a new look at epigraphy on seven-color tiles in which not only the calligrapher but the tileralso is involved. It can not be denied that production of calligraphic works specially Nastaliq script, is influenced by understanding transformations of scripts and manuscripts in form and structure over time; hence epigraphy and its transformation especially in holy places and the conformity of Nastaliq script with characteristics and requirements of epigraphy as well, have been overlooked by researchers. The purpose of this survey is to distinguish the differences between two methods of epigraphy, on papers and on tiles, and to realize transformations of Nastaliq letters and words when they were transferred from paper sheets to tiles. Library-based and field study resources as well as observational descriptive and analytical methods have been implemented to conduct the study. Some questions should necessarily be answered to obtain the aim of this study. Firstly, what are the differences between Mohammd Ebrahim Tehrani’s paper inscriptions kept in the museum of Abdolazim Hassani’s holy shrine and his seven-color tile inscriptions located in the veranda of Imamzadeh Taher’s holly shrine in terms of writing form of Nastaliq and its composition (tarkib)? Secondly, which attributes should be taken into consideration to classify these inscriptions? The result of evaluation in both types of epigraphy indicated some stylistic features and visual standards for the works available from second period of the Qajar era, namely, writing big sizes of words and letters plus relative structural coherence in Nastaliq writings. It was revealed that slight variations exist between the two types of epigraphy. In the tile inscriptions, for instance, letters and words were written smaller in size and they were also executed bolder in comparison to the paper inscriptions. Thestretched letters (kashidas)are noticed to be elongated shorter in this type of epigraphy, though. Individual letters Additionally, the angel between calligraphy ."ه" are not attached tothe letter of ha "و،ر" such as ra and vav pen and the paper while writing dots (noghte) varies between 36 and 50 degrees. Furthermore, fewer ‘seating’ lines (korsi) and the same type of gemination, the doubling of a consonantal sound, were conceived in composition (tarkib) of the tile inscriptions. It was observed that words and letters underwent minor changes when they were transferred from the papers to the tiles, due to direct supervision of the calligrapher and his expertise in writing on variety of surfaces in addition to theskillful tiler who neatly created the tile inscriptions. Tehrani also has signed his paper inscriptions (1291 Hijri), available in Abdolazim Hassani’s Shrine, as "Mohammd Ebrahim Tehrani" which is the calligrapher's full name. He has utilized black ink on the pale gold background papers to make the inscriptions. Another notable feature is that two types of curved and angular frames are perceived in his paper inscriptions. His tile inscriptions (1301 Hijri), however, have been signed as "Mohammd Ebrahim, Mashhor Be Mirza Amo" which includes calligrapher’s first and nick names. White ink, navy blue backgrounds and curved shape frames were noted as the characteristics of the tile inscriptions by Tehrani.},  
Keywords = {epigraphy, Nastaliq script, Abdolazim Hassani’s shrine, Imamzadeh Taher’s shrine, Mohammd Ebrahim Tehrani},
volume = {10},
Number = {3}, 
pages = {107-123}, 
publisher = {Iran University of Science & Technology},
title_fa = {مطالعه تطبیقی نگارش کتیبه های کاغذی محفوظ در موزه حرم حضرت عبدالعظیم(ع) و کتیبه های کاشی ایوان امام‌زاده طاهر(ع) به قلم  نستعلیق محمدابراهیم طهرانی},
abstract_fa ={مجموعه حرم حضرت ­عبدالعظیم­‌­(ع) در شهرری، یکی از گنجینه­های ارزشمند آثار معماری و هنرهای وابسته به آن است که شالوده­اش در نیمه دوم قرن سوم ﻫ.ق گذاشته شده و تا عصر حاضر توسعه و تکامل یافته است. از شاخص­ترین تزئینات این مجموعه، هنر کتیبه­نگاری «محمدابراهیم ­طهرانی مشهور به میرزاعمو» است که به دو شیوه خوشنویسانه بر روی کاغذ و معمارانه بر روی کاشی هفت­رنگ به قلم ­نستعلیق کتابت و اجرا شده­ است. از آنجا که تألیفات حوزه خوشنویسی در قلم ­نستعلیق عموماً بر شناخت تحولات شکلی قطعات و نسخ­خطی استوار است؛ کتیبه­نگاری و تحولات شکلی آن به ویژه در اماکن مذهبی، و هم­چنین چگونگی انطباق ویژگی­های شکلی این قلم با ویژگی­ها و اقتضائات کتیبه­نویسی کمتر مورد توجه پژوهشگران بوده است. هدف این پژوهش بنیادی، شناخت وجوه افتراق این دو شیوه از کتیبه­نگاری و تغییرات شکلی حروف و کلمات قلم­ نستعلیق در انتقال خط بر روی کاشی بود که با استفاده از منابع کتابخانه‌ای- میدانی و روش مشاهده­ای- تطبیقی و تحلیلی به آن پرداخته شد. برای رسیدن به هدف پژوهش، پاسخ به این پرسش­­ها ضروری است که 1. تفاوت­های شکلی در نحوه کتابت و ترکیب­بندی کتیبه­های کاغذی در موزه حرم حضرت عبدالعظیم(ع) و کتیبه­های کاشی هفت­رنگِ ایوان امام­زاده طاهر(ع) به قلم ­نستعلیق محمدابراهیم ­طهرانی کدام است؟ 2. بر اساس کدام مولفه­ها می­توان این کتیبه­ها را طبقه‌بندی نمود؟ نتایج بررسی­ها در هر دو نوع کتیبه­نگاری، اختلافات جزئی نظیر اجرایِ کوچک­تر، ضخیم­تر و اغلب با میزان کشیدگیِ کمتر در حروف و کلمات، عدم پیوستگی مفرداتی نظیر ر، و به حرف ه، زاویه نقطه­گذاری 36 تا 50 درجه، و نیز تعداد کرسی کمتر و یک نوع تشدیدگذاری در ترکیب­بندی کتیبه­های کاشی را نشان داد. علاوه بر تبحر کاشیکار، نظارت مستقیم خوشنویس و تسلط وی در کتابت بر روی انواع بوم،­ سبب کمترین تغییرات شکلی در انتقال خط بر روی کاشی شده است. هم­چنین کتیبه­های کاغذی این مجموعه به تاریخ 1291 ﻫ.ق و رقم محمدابراهیم طهرانی، به صورت متن سیاه بر زمینه نخودی رنگ در قالب دو نوع قاب­بندی منحنی و زاویه­دار طبقه­بندی شدند. حال آن­که کتیبه­های کاشی به تاریخ 1301 ﻫ.ق و رقم محمدابراهیم مشهور به میرزاعمو، به صورت متن سفید بر زمینه لاجوردی در قالب یک نوع قاب­­بندی منحنی قابل بررسی بودند.},
keywords_fa = {کتیبه‌نگاری, خط نستعلیق, حضرت عبدالعظیم‌(ع), امام‌زاده طاهر(ع), محمدابراهیم طهرانی},

doi = {10.52547/jria.10.3.7},
url = {http://jria.iust.ac.ir/article-1-1491-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1491-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2022}  
}

@article{ 
author = {rezaieeadaryani, sohila and azimi, nooreeddi},  
title = {Exploring the role of cultural and artistic factors in Iranian-Islamic creative city(8)}, 
abstract ={The Shrine of Abdolazim located in Ancient historical city of Ray is a complex including holy shrines of Immamzadeh Taher, Immamzadeh Hamzeh and Abdolazim Hassni. Immamzadeh Taher’s shrine is placed at the north side of the complex and at the east side of Abdolazim Hassni’s shrine and the museum of the complex also is at the south east of Mosalla (praying room for muslims) which is ornamented with decorative arrays. The complex is one of the most valuable treasures of architectural works and related arts. Its construction dates back to the second half of third Hijri century and it has been developed and evolved up to the present century. The complex has been greatly decorated with some artistic works. Some of the most significant of which are inscriptions by "Mohammd Ebrahim Tehrani known for Mirza Amo" who has been one of the outstanding and well-experienced inscription creators of Qajar era in Iran. The inscriptions were executed by applying Nastaliq script, and are considered important documents in the study of the development of Nastaliq scripts. They were written and made intwo calligraphic and architectural methods, respectively, on papers and on seven-color tiles. Nastaliq as a favorite script has appeared in architectural designs attributed to Qajar era along with Thulth script. Thus recognition and awareness of prevalent Nastaliq inscriptions and their transformations are considered crucial needs for calligraphy and architecture communities, but the subject has been neglected by most researchers. Evaluation of calligraphic transformation through paper inscriptions which are directly written by calligraphers is an excellent and professional case study. Furthermore, since the quality of scripts undergo some changes or defects when transferring to tiles, stones or other things, analysis and comparison of paper inscriptions and seven-color tile inscriptions should be paid close attention to. Actually, it is a new look at epigraphy on seven-color tiles in which not only the calligrapher but the tileralso is involved. It can not be denied that production of calligraphic works specially Nastaliq script, is influenced by understanding transformations of scripts and manuscripts in form and structure over time; hence epigraphy and its transformation especially in holy places and the conformity of Nastaliq script with characteristics and requirements of epigraphy as well, have been overlooked by researchers. The purpose of this survey is to distinguish the differences between two methods of epigraphy, on papers and on tiles, and to realize transformations of Nastaliq letters and words when they were transferred from paper sheets to tiles. Library-based and field study resources as well as observational descriptive and analytical methods have been implemented to conduct the study. Some questions should necessarily be answered to obtain the aim of this study. Firstly, what are the differences between Mohammd Ebrahim Tehrani’s paper inscriptions kept in the museum of Abdolazim Hassani’s holy shrine and his seven-color tile inscriptions located in the veranda of Imamzadeh Taher’s holly shrine in terms of writing form of Nastaliq and its composition (tarkib)? Secondly, which attributes should be taken into consideration to classify these inscriptions? The result of evaluation in both types of epigraphy indicated some stylistic features and visual standards for the works available from second period of the Qajar era, namely, writing big sizes of words and letters plus relative structural coherence in Nastaliq writings. It was revealed that slight variations exist between the two types of epigraphy. In the tile inscriptions, for instance, letters and words were written smaller in size and they were also executed bolder in comparison to the paper inscriptions. Thestretched letters (kashidas)are noticed to be elongated shorter in this type of epigraphy, though. Individual letters Additionally, the angel between calligraphy ."ه" are not attached tothe letter of ha "و،ر" such as ra and vav pen and the paper while writing dots (noghte) varies between 36 and 50 degrees. Furthermore, fewer ‘seating’ lines (korsi) and the same type of gemination, the doubling of a consonantal sound, were conceived in composition (tarkib) of the tile inscriptions. It was observed that words and letters underwent minor changes when they were transferred from the papers to the tiles, due to direct supervision of the calligrapher and his expertise in writing on variety of surfaces in addition to theskillful tiler who neatly created the tile inscriptions. Tehrani also has signed his paper inscriptions (1291 Hijri), available in Abdolazim Hassani’s Shrine, as "Mohammd Ebrahim Tehrani" which is the calligrapher's full name. He has utilized black ink on the pale gold background papers to make the inscriptions. Another notable feature is that two types of curved and angular frames are perceived in his paper inscriptions. His tile inscriptions (1301 Hijri), however, have been signed as "Mohammd Ebrahim, Mashhor Be Mirza Amo" which includes calligrapher’s first and nick names. White ink, navy blue backgrounds and curved shape frames were noted as the characteristics of the tile inscriptions by Tehrani.  },  
Keywords = {Cultural and artistic factors, Irani Islamic creative city, factor analysis, Isfahan metropolitan},
volume = {10},
Number = {3}, 
pages = {124-142}, 
publisher = {Iran University of Science & Technology},
title_fa = {شناسایی عوامل فرهنگی و هنری در شهر خلاق ایرانی – اسلامی},
abstract_fa ={یکی از جدیدترین استراتژی‌های توسعه شهری -که تأکید اصلی بر محوریت فرهنگ و هنر در روند توسعه شهری دارد- ایده شهر خلاق است. شهر خلاق رویکردی فرهنگی در توسعه شهر است که بر ارتقای کیفیت زندگی شهروندان از طریق جذب و پرورش استعدادها و خلاقیت افراد تأکید دارد. برای این منظور، شاخص‌های شهر خلاق با استفاده از روش کتابخانه‌ای و تحلیل اسناد و مدارک جمع­آوری شد؛ و جهت بررسی میزان انطباق شاخص‌ها با معیارهای اسلامی- ایرانی، از نظرات و دیدگاه‌های طلاب و اساتید علوم دینی و اساتید شهرسازی استفاده به عمل آمد. جمعیت نمونه در این مطالعه شامل 230 نفر از طلاب حوزه علمیه اصفهان برای تکمیل پرسشنامه و 15 نفر از متخصصین شهرسازی و اساتید حوزه برای مصاحبه عمیق بودند. از تکنیک تحلیل عاملی تأییدی جهت تجزیه‌وتحلیل اطلاعات استفاده شد؛ و در نهایت عوامل تحقق شهر خلاق ایرانی- اسلامی، در چهار گروه توسعه فرهنگ و هنر، ادبیات و هنرهای تجسمی، آزادی اجتماعی و فکری و آزادی سیاسی طبقه­بندی شد. نتایج پژوهش نشان داد که «افزایش سطح سواد مردم»، «دسترسی به منابع معتبر کتابخانه‌ای و تألیفات جدید» و «افزایش کمیت و کیفیت مطبوعات و نشریات» ازجمله مهم‌ترین شاخص‌های فرهنگی هنری، می‌باشند.},
keywords_fa = {عوامل فرهنگی هنری, شهر خلاق ایرانی- اسلامی, تحلیل عاملی, کلان‌شهر اصفهان},

doi = {10.52547/jria.10.3.9},
url = {http://jria.iust.ac.ir/article-1-1079-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1079-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2022}  
}

@article{ 
author = {omidvari, somayeh and hamzenejad, mehdi},  
title = {A Comparative Study of the Concept of "Privacy" in the House of Islamic Countries in the Middle East  (Case Study: Houses of Isfahan, Sanaa, Damascus)}, 
abstract ={Respecting family privacy, as well as guests, and separation of these two domains of life, is particularly significant in Islamic households, and its inception and manifestation in architecture have varied based on climatic, geographical, and cultural contexts. A study of privacy practices in the homes of different Islamic countries exemplifies this variability. With this aim, this study examines three patterns of houses in three cities with Islamic antiquity and origin. The descriptive-analytical method was employed in this paper to investigate the concept of privacy and the examination of how it displays itself in these three modules. This research seeks to determinehow the concept of «privacy» manifest various forms and appearances in different lands depending on different cultures and geographies. Hence, the concept of privacy has been investigated by researching the behavioral patterns and typology of dwellings in three Islamic cities including Isfahan, Sana›a, and Damascus.The separation of private and public spaces has been the most visible embodiment of privacy in these homes. Due to the extension of the home on one level, the separation of the visitors› spaces from the family occurred in the houses of Isfahan through the separation of the yards and spaces surrounding the yards. Owing to the peculiar climatic conditions in Damascus and the extension of spaces on the first floor to get the desired wind, it was feasible to divide the privacy in the main residences by dividing the different floors. According to the region›s unique geographical conditions, including the presence of rocky land, and, on the other hand, the region›s specific security conditions, privacy in Sana›as’ homes has been accomplished through the distribution of spaces on separate floors of the house. This article is based on the research hypothesis that there is a link between the emergence of privacy in Islamic homes and the status of «ecology - nature and man,» which includes various climatic, geographical, and cultural contexts; while testing the research hypothesis, it reveals that the region›s environment has played an important role in the emergence of various manifestations of privacy, and the extent of this privacy has also varied in these three case studies.},  
Keywords = {Privacy, Islamic houses, Isfahan, Damascus, Sana›a.},
volume = {10},
Number = {3}, 
pages = {145-168}, 
publisher = {Iran University of Science & Technology},
title_fa = {بررسی تطبیقی مفهوم «حریم» در خانه های کشورهای اسلامی حوزه خاورمیانه (مطالعه موردی: خانه‌های اصفهان، صنعاء، دمشق)},
abstract_fa ={جدا شدن حریم اهل خانواده از غیر و همچنین مهمان و تفکیک این دو عرصه از زندگی در عمده خانه­های اسلامی واجد اهمیت بسیار می‌باشد و ظهور و تجلیات آن در معماری بسته به بسترهای اقلیمی، جغرافیایی، فرهنگی متفاوت بوده­است .بررسی الگوهای حریم­گذاری در خانه­های کشورهای مختلف اسلامی به خوبی این تنوع را نشان می­دهد. این تحقیق با همین هدف سه الگوی خانه در سه شهر با قدمت و اصالت اسلامی را مورد بررسی قرار می­دهد. روش پژوهش از نوع توصیفی- تحلیلی و هدف، مطالعه مفهوم حریم و تحلیل نحوه ظهور تجلیات آن در این سه الگو می­باشد. این پژوهش به دنبال پاسخگویی به این سوال است که چگونه مفاهیمی مانند «حریم» متاثر از بوم و فرهنگ، تجلیات متفاوتی پیدا می­کند؟ لذا با انتخاب خانه از سه شهر­اسلامی اصفهان، دمشق، و صنعاء، و مطالعه الگوی رفتاری و گونه­‌شناسی خانه­‌ها در این سه شهر به بررسی مفهوم حریم در آنها پرداخته شده­است. بارزترین جلوه­های حریم در این خانه­ها، تفکیک عرصه­های خصوصی و عمومی بوده­است. در خانه­های اصفهان به دلیل گسترده ­شدن خانه در سطح، تفکیک حریم مهمان از اهل خانه از طریق تفکیک حیاط­ها، و از سویی تفکیک فضاها در جبهه­های مختلف یک حیاط بوده­است. در خانه­های دمشق به دلیل شرایط خاص اقلیمی و گسترده شدن فضاها در طبقه اول جهت دریافت باد مطلوب، تفکیک حریم در عمده خانه­ها از طریق تفکیک در طبقات مختلف حیاط خانه امکان پذیر بوده­است. در خانه­های صنعاء به دلیل شرایط خاص جغرافیایی منطقه و وجود زمین سنگلاخی و از سویی شرایط خاص امنیتی منطقه، تفکیک حریم از طریق توزیع فضاها در طبقات مختلف خانه بوده­است. این مقاله بر اساس فرضیۀ پژوهش مبنی بر وجود ارتباط میان نحوه ظهور حریم در خانه‌­های­اسلامی و جایگاه «بوم– طبیعت و انسان» که شامل بسترهای مختلف اقلیمی، جغرافیایی، و فرهنگی می­باشد؛ ضمن آزمون فرضیۀ پژوهش نشان می­دهد بوم منطقه نقش بسیار مهمی در ظهور تجلیات مختلف حریم‌­ها داشته­است و میزان این حریم­خواهی نیز در مناطق مورد مطالعه تفاوت بوده­است.},
keywords_fa = {حریم, خانه‌های‌ اسلامی, اصفهان, دمشق, صنعاء},

doi = {10.52547/jria.10.3.2},
url = {http://jria.iust.ac.ir/article-1-1427-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1427-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2022}  
}