Shahid Beheshti University Soffeh 1683-870X 34 4 2024 11 21 History of Colour History of Colour 5 16 105150 10.48308/soffeh.2024.105150 FA Athena Joshaghani PhD in Architecture, Faculty of Architecture and Urban Planning, Shahid Beheshti University, Tehran, Iran Zoheir Mottaki Assistant Professor, Faculty of Architecture and Urban Planning, Shahid Beheshti University.Tehran. Iran. Hamid Nadimi Professor, Faculty of Architecture and Urban Planning , Shahid Beheshti University. Tehran.Iran Journal Article 2021 11 20 Background and objectives: There is a body of historical evidence indicating the conscious use of colour in human lived spaces. However, today’s prevailing attitude is against colours, leaving spaces neutral and. The quest to understand the motivations behind usingcolours in the history of architectural thought has never brought definitive laws into light, as colours themselves have not held stable, cross-cultural meanings. Sparcehistorical studies on the presence of colour in architecture revolve around two approaches: understanding colour within a specific timeframe and tracking the presence of colour in the works of a particular architect. Ultimately, this has not led to a comprehensive knowledge regarding the historical role of colourin architecture. Given the substantial evidence of a correlation between colour and human emotions, developing knowledge in the field of colour is essential for empowering architects to manage visual forces and the emotional dimensions of architectural spaces. The present article serves as an introduction to establishing the knowledge about colourin architecture, and aimed at understanding the prevailing approaches in architectural thought and practice up to the modern era. Methods: The research can be categorised as interpretive-historical, as it reviews history while interpreting and analysing narratives and architectural works to present patterns governing the presence of colour throughout architectural history. The methodology is based on library studies, involving an in-depth examination of texts, images, and available films of buildings from various historical periods. . Results and conclusion: Available sources do not encompass all dimensions of colour-related thought throughout history, with the passage of time having distorted colours, and colour photography not always available. In this context, referring to statements and examining architectural works that reflect the presence of colourinpre-modern interiors, as well as in contemporary exteriors, indicates two general currents. The first is termed Chromophilia, itself comprising of three approaches: colour as symbolism, colour as ornamentation, and colour as a structural aspect of architecture. The second current is chromophobia, which results from a tendency towards whiteness and eliminating colour pigments from the architectural space, resulting in the emergence of white and grey spaces as neutral backgrounds for human life. While the history of colour in architecture thoroughly refutes the claim that colour can be reduced to general laws, managing the presence of colour in architecture requires principles that transform it from merely an ornamental perspective into an integral aspect of architectural form. At the conclusion of this research, a new perspective on architectural colour emerges, viewing it as a structural element of architecture. A history review partially clarifies the initial necessities of this viewpoint, and further development of this knowledge necessitates broader field studies, which could be the subject of future research. Background and objectives: There is a body of historical evidence indicating the conscious use of colour in human lived spaces. However, today’s prevailing attitude is against colours, leaving spaces neutral and. The quest to understand the motivations behind usingcolours in the history of architectural thought has never brought definitive laws into light, as colours themselves have not held stable, cross-cultural meanings. Sparcehistorical studies on the presence of colour in architecture revolve around two approaches: understanding colour within a specific timeframe and tracking the presence of colour in the works of a particular architect. Ultimately, this has not led to a comprehensive knowledge regarding the historical role of colourin architecture. Given the substantial evidence of a correlation between colour and human emotions, developing knowledge in the field of colour is essential for empowering architects to manage visual forces and the emotional dimensions of architectural spaces. The present article serves as an introduction to establishing the knowledge about colourin architecture, and aimed at understanding the prevailing approaches in architectural thought and practice up to the modern era. Methods: The research can be categorised as interpretive-historical, as it reviews history while interpreting and analysing narratives and architectural works to present patterns governing the presence of colour throughout architectural history. The methodology is based on library studies, involving an in-depth examination of texts, images, and available films of buildings from various historical periods. . Results and conclusion: Available sources do not encompass all dimensions of colour-related thought throughout history, with the passage of time having distorted colours, and colour photography not always available. In this context, referring to statements and examining architectural works that reflect the presence of colourinpre-modern interiors, as well as in contemporary exteriors, indicates two general currents. The first is termed Chromophilia, itself comprising of three approaches: colour as symbolism, colour as ornamentation, and colour as a structural aspect of architecture. The second current is chromophobia, which results from a tendency towards whiteness and eliminating colour pigments from the architectural space, resulting in the emergence of white and grey spaces as neutral backgrounds for human life. While the history of colour in architecture thoroughly refutes the claim that colour can be reduced to general laws, managing the presence of colour in architecture requires principles that transform it from merely an ornamental perspective into an integral aspect of architectural form. At the conclusion of this research, a new perspective on architectural colour emerges, viewing it as a structural element of architecture. A history review partially clarifies the initial necessities of this viewpoint, and further development of this knowledge necessitates broader field studies, which could be the subject of future research.

https://soffeh.sbu.ac.ir/article_105150_01bd45badddbd4d1a74d3f7b4c82f155.pdf

Shahid Beheshti University Soffeh 1683-870X 34 4 2024 11 21 An Analysis of the Representation of Iranian-Islamic Architecture and Urbanism in Iranian cinema Using Stewart Hall’s Theories An Analysis of the Representation of Iranian-Islamic Architecture and Urbanism in Iranian cinema Using Stewart Hall’s Theories 17 40 105151 10.48308/soffeh.2024.105151 FA Ali Osanlu MA of Cinema,, Faculty of Arts and Architecture, Tarbiat Modarres, University, Tehran, Iran Ali Sheikhmehdi Associate Professor, Faculty of Arts and Architecture, Tarbiat Modarres University, Tehran, Iran Journal Article 2023 07 16 Background and objectives: Many researches have been conducted on the relationship between cinema and architecture, often trying to understand why and how to show the history and style of buildings or urban spaces in the film. In the present research, the main goal is to reverse the trend and study the impact of architectural and urban spaces on the story and atmosphere of the film. Methods: In the past few decades in Iran, the term ‘Iranian-Islamic’has referred to a type of architecture and urban planning that is often derived from local elements, complete with traditional signs and built in line with Islamic and local thinking. On the other hand, one of the most important elements involved in the form of films is the scene or the location, which is selected and designed according to the genre and story of the movie. The location and the scenes in which the film sequences are processed, help to create an atmosphere and mood for the film and play an important role in providing the correct sense of the story to the viewer. What is addressed here, using categorical content analysis, is the ways of representing the Islamic-Iranian architecture and urban planning in Iranian post-revolutionary films; those which have used location and scene to create meaning and concept related to their story. This is discussed in terms of the six categories of representation, extracted from Stuart Hall’s theories and quantified and scored according to expert opinion in both cinema and urban planning. In other words, the analysis is focused on which of the examples has the strongest association between the architectural-urban space and the story. The research method is basic in terms of purpose and converting qualitative data into quantitative. Results and conclusion: According to the results, the location is one of the most important tools that helps the filmmaker in creating the desired mood and impact on the viewer. Therefore, an urban-architectural space based on the story logic and used with the right thinking and method, will create the desired feeling for the viewer, and create a better atmosphere. The analysis of the example showed that the films Hamoon, Pary andNar-o Ney in which all six aspects of the representation of the urban space are included scored higher in terms of qualities sought in this research. Background and objectives: Many researches have been conducted on the relationship between cinema and architecture, often trying to understand why and how to show the history and style of buildings or urban spaces in the film. In the present research, the main goal is to reverse the trend and study the impact of architectural and urban spaces on the story and atmosphere of the film. Methods: In the past few decades in Iran, the term ‘Iranian-Islamic’has referred to a type of architecture and urban planning that is often derived from local elements, complete with traditional signs and built in line with Islamic and local thinking. On the other hand, one of the most important elements involved in the form of films is the scene or the location, which is selected and designed according to the genre and story of the movie. The location and the scenes in which the film sequences are processed, help to create an atmosphere and mood for the film and play an important role in providing the correct sense of the story to the viewer. What is addressed here, using categorical content analysis, is the ways of representing the Islamic-Iranian architecture and urban planning in Iranian post-revolutionary films; those which have used location and scene to create meaning and concept related to their story. This is discussed in terms of the six categories of representation, extracted from Stuart Hall’s theories and quantified and scored according to expert opinion in both cinema and urban planning. In other words, the analysis is focused on which of the examples has the strongest association between the architectural-urban space and the story. The research method is basic in terms of purpose and converting qualitative data into quantitative. Results and conclusion: According to the results, the location is one of the most important tools that helps the filmmaker in creating the desired mood and impact on the viewer. Therefore, an urban-architectural space based on the story logic and used with the right thinking and method, will create the desired feeling for the viewer, and create a better atmosphere. The analysis of the example showed that the films Hamoon, Pary andNar-o Ney in which all six aspects of the representation of the urban space are included scored higher in terms of qualities sought in this research.

https://soffeh.sbu.ac.ir/article_105151_c390212a83a77f13b53076c3635cbae6.pdf

Shahid Beheshti University Soffeh 1683-870X 34 4 2024 11 21 Rhetoric and Persuasion: The Missing link in Educational Processes of Architectural Design Studios Rhetoric and Persuasion: The Missing link in Educational Processes of Architectural Design Studios 41 57 105152 10.48308/soffeh.2024.105152 FA Reyhane Khaghanpour Shahrezaee PhD Candidate in Architecture, School of Architecture and Environmental Design, Iran University of Science and Technology, Tehran, Iran. Fatemeh Mehdizadeh Saradj Professor, School of Architecture and Environmental Design, Iran University of Science and Technology, Tehran, Iran Journal Article 2023 09 05 Background and objectives: Architectural education at the undergraduate level is centered on architectural design studios, and the prevalent method for conducting studio sessions by tutors is through critique. Essentially, the teaching approach is based on the development of the work by the student, and its subsequent refinement by the tutor, creating a reciprocal process in which the student learns architectural design. Various research studies have explored teaching methods within studios, types of critique, and even the role of rhetoric (the science of persuasion) as a foundation for human interaction. Given that the cruciality of relationship between the tutor and student, there is a need for further examinations in this regard, particularly with a focus on rhetorical knowledge. The present research, therefore, investigates critique sessions in architectural design studios and the type of communication between the teacher and student, considering rhetorical knowledge, and aims to provide solutions for strengthening this relationship. Methods: The research is based on a literature review and employs a logical-reasoning approach; while providing a general overview of architectural design studios and their tutorial methods. Based on the theory of rhetorical situation and rhetorical techniques in persuasion, it suggests a mechanism for establishing a more effective critique in architectural design studio sessions. Results and conclusion: The investigations indicate that critique processes and the relationship between the tutor and the student can be conceptualised within the framework of a rhetorical situation comprising eight elements. When the tutor occupies the role of the message sender, these elements include rhetor (tutor), message (interpretation of the student’s work), context (architectural design studio/ tutor and student knowledge), audience (student), subject (critique, topics related to the student’s work), purpose (critiquing the student’s work and providing feedback, teaching architectural design), exigency (improving the teaching process, architectural design education), and genre (tutor’s discourseusing clear, comprehensible, and persuasive language, offering critiques and suggestions logically and transparently). Alternatively, considering the student as the message sender, these elements consist of rhetor (student), message (presentation of the student’s work), context (architectural design studio,tutor and student knowledge), audience (tutor), subject (critique, topics related to the student’s work), purpose (introducing the work most simply and clearly), exigency (correcting the design, improving the teaching process, and developing student skills, including communication skills), and genre (student’s expression effectively and persuasively manner, both verbally and visually). Effective communication between the tutor and the student during these sessions is fostered through the use of a clear and understandable expression, coupled with the presentation of critiques and suggestions lucidly and logically. This approach facilitates the creation of a persuasive context in the discourse between the tutor and the student, allowing them to comprehend each other’s thoughts and arrive at a consensus. Through this intellectual consensus, architectural students learn, improve their design, and more importantly, acquire and practise interaction and verbal communication, ultimately enabling them to effectively defend their design convincingly in various scenarios. The results of this research can assist tutors and students in conducting more effective critique sessions. However, for the practical implementation of these proposed solutions, further extensive research and the generalisation of results across various situations are necessary. Background and objectives: Architectural education at the undergraduate level is centered on architectural design studios, and the prevalent method for conducting studio sessions by tutors is through critique. Essentially, the teaching approach is based on the development of the work by the student, and its subsequent refinement by the tutor, creating a reciprocal process in which the student learns architectural design. Various research studies have explored teaching methods within studios, types of critique, and even the role of rhetoric (the science of persuasion) as a foundation for human interaction. Given that the cruciality of relationship between the tutor and student, there is a need for further examinations in this regard, particularly with a focus on rhetorical knowledge. The present research, therefore, investigates critique sessions in architectural design studios and the type of communication between the teacher and student, considering rhetorical knowledge, and aims to provide solutions for strengthening this relationship. Methods: The research is based on a literature review and employs a logical-reasoning approach; while providing a general overview of architectural design studios and their tutorial methods. Based on the theory of rhetorical situation and rhetorical techniques in persuasion, it suggests a mechanism for establishing a more effective critique in architectural design studio sessions. Results and conclusion: The investigations indicate that critique processes and the relationship between the tutor and the student can be conceptualised within the framework of a rhetorical situation comprising eight elements. When the tutor occupies the role of the message sender, these elements include rhetor (tutor), message (interpretation of the student’s work), context (architectural design studio/ tutor and student knowledge), audience (student), subject (critique, topics related to the student’s work), purpose (critiquing the student’s work and providing feedback, teaching architectural design), exigency (improving the teaching process, architectural design education), and genre (tutor’s discourseusing clear, comprehensible, and persuasive language, offering critiques and suggestions logically and transparently). Alternatively, considering the student as the message sender, these elements consist of rhetor (student), message (presentation of the student’s work), context (architectural design studio,tutor and student knowledge), audience (tutor), subject (critique, topics related to the student’s work), purpose (introducing the work most simply and clearly), exigency (correcting the design, improving the teaching process, and developing student skills, including communication skills), and genre (student’s expression effectively and persuasively manner, both verbally and visually). Effective communication between the tutor and the student during these sessions is fostered through the use of a clear and understandable expression, coupled with the presentation of critiques and suggestions lucidly and logically. This approach facilitates the creation of a persuasive context in the discourse between the tutor and the student, allowing them to comprehend each other’s thoughts and arrive at a consensus. Through this intellectual consensus, architectural students learn, improve their design, and more importantly, acquire and practise interaction and verbal communication, ultimately enabling them to effectively defend their design convincingly in various scenarios. The results of this research can assist tutors and students in conducting more effective critique sessions. However, for the practical implementation of these proposed solutions, further extensive research and the generalisation of results across various situations are necessary.

https://soffeh.sbu.ac.ir/article_105152_8805dbf3e0ef9ee18e8c0b8bf7a292e0.pdf

Shahid Beheshti University Soffeh 1683-870X 34 4 2024 11 21 A Study of Natural Daylight as a Health and Satisfaction Factor in Office Environments: The Case of Shiraz National Archives A Study of Natural Daylight as a Health and Satisfaction Factor in Office Environments: The Case of Shiraz National Archives 59 76 105138 10.48308/soffeh.2024.105138 FA Monireh Kazemi PhD Candidate in Architecture, Faculty of Art and Architecture, Bu-Ali Sina University, Hamedan, Iran Mohammad Didehban Associate Professor, Faculty of Architecture and Urban Planning, Jundi-shapur University of Technology, Dezful, Iran Journal Article 2022 11 21 Background and objectives: The main purpose of lighting in offices is to provide effective and comfortable working environments. Mental comfort and health in turn guarantee an increase in user motivation and lead to better performance and efficiency. Providing sufficient and appropriate light in the workplace increases the willingness to work in employees, the operational accuracy and efficiency, and output. It also results on ocular health, better protected eyes and less fatigued nerves work better, and eventually fewer workspace accidents. The purpose of this research is to investigate lighting from the perspective of operational satisfaction and well-being using the case of Shiraz National Documentation Center.In this research, it is assumed that in the space occupied by the users; while using artificial light in the space, they are not satisfied with the amount of natural light and its effective factors. Methods: In this regard, after using library resources, in the topic of space lighting, field data collection with a photometer and in the topic of employee satisfaction and well-being, a phenomenological and psychoanalytical approach to analyze the unconscious behavior of humans through questionnaires and software analysis in SPSS; Because the brightness of the space alone does not have the ability to express the pleasantness and desirability of the ambient lighting from the users’ point of view. Results and conclusion: According to the results, employees have an average of 50% or higher in terms of satisfaction, well-being and visual comfort. But it does not mean that those who are working in the space without natural light are satisfied with the conditions. According to field observations, these spaces do not even have substitutes for visual compositions and nature themes. In terms of satisfaction, well-being and visual comfort in the female group, the average values are higher than the male group; In the post-graduate class, it is more than other classes and the working position of expert is higher than other working positions. Background and objectives: The main purpose of lighting in offices is to provide effective and comfortable working environments. Mental comfort and health in turn guarantee an increase in user motivation and lead to better performance and efficiency. Providing sufficient and appropriate light in the workplace increases the willingness to work in employees, the operational accuracy and efficiency, and output. It also results on ocular health, better protected eyes and less fatigued nerves work better, and eventually fewer workspace accidents. The purpose of this research is to investigate lighting from the perspective of operational satisfaction and well-being using the case of Shiraz National Documentation Center.In this research, it is assumed that in the space occupied by the users; while using artificial light in the space, they are not satisfied with the amount of natural light and its effective factors. Methods: In this regard, after using library resources, in the topic of space lighting, field data collection with a photometer and in the topic of employee satisfaction and well-being, a phenomenological and psychoanalytical approach to analyze the unconscious behavior of humans through questionnaires and software analysis in SPSS; Because the brightness of the space alone does not have the ability to express the pleasantness and desirability of the ambient lighting from the users’ point of view. Results and conclusion: According to the results, employees have an average of 50% or higher in terms of satisfaction, well-being and visual comfort. But it does not mean that those who are working in the space without natural light are satisfied with the conditions. According to field observations, these spaces do not even have substitutes for visual compositions and nature themes. In terms of satisfaction, well-being and visual comfort in the female group, the average values are higher than the male group; In the post-graduate class, it is more than other classes and the working position of expert is higher than other working positions.

https://soffeh.sbu.ac.ir/article_105138_ff005cc7ca96e9a8fb4b58fae478436d.pdf

Shahid Beheshti University Soffeh 1683-870X 34 4 2024 11 21 The Shrine of Sultan Mir-Ahmad in Kashan and its Historical Evolution The Shrine of Sultan Mir-Ahmad in Kashan and its Historical Evolution 77 106 105149 10.48308/soffeh.2024.105149 FA Hamidreza Jayhani Associate Professor, Faculty of Architecture and Urban Planning, Shahid Beheshti University, Tehran, Iran Mohammad Mashhadi Nooshabadi Associate Professor, Faculty of Literature and Foreign Languages, University of Kashan, Kashan, Iran Farideh Farmanian Arani M.Sc. in Architecture, Faculty of Architecture and Art, University of Kashan, Kashan, Iran Journal Article 2021 11 07 Background and objectives: This article aims to study the shrine of Sultan Mir-Ahmad and propose a perspective on its historical changes and transformations. The shrine is in the Sultan Mir-Ahmad neighbourhood on Alavi Street in Kashan, near the historic city walls and the Jalali Castle. This complex may have played a significant role in the development of the Sultan Mir-Ahmad neighbourhood. The earliest date observed in the architectural elements of the shrine is 923 AH (1517 AD), which is inscribed on remains of a wooden door. The dates from the same period can also be seen on the inscriptions of the dome and several other wooden doors. However, it is not clear exactly when the primary core of the monument was originally constructed and how it evolved. Additionally, the complex has undergone some interventions in recent decades. Understanding its original plan and spatial dimensions is essential before undertaking any further modifications. Methods: This study applies a historical interpretive method, and the information gathered through surveys, field studies, and reviews of documents and historical texts. Initially, the study examines the architectural components of the shrine and related documents. Subsequently, by comparing the complex’s plan and especially its main part with similar examples, efforts are made to represent the original core of the building. Results and conclusion: The research indicates that the original core of the complex was a freestanding dome chamber situated within an old cemetery. After minor additions, it was expanded during the first half of the 10th century AH (16th century AD) into a more elaborate structure consisting of a central dome chamber surrounded by eight arches. With the growing importance of the courtyard and open spaces, the building underwent modifications in the early 12th century AH (18th century AD), during which the ivan and the courtyard were added, becoming significant parts of the shrine. During this period, some of the surrounding chambers were also demolished and reconstructed in a new way. Background and objectives: This article aims to study the shrine of Sultan Mir-Ahmad and propose a perspective on its historical changes and transformations. The shrine is in the Sultan Mir-Ahmad neighbourhood on Alavi Street in Kashan, near the historic city walls and the Jalali Castle. This complex may have played a significant role in the development of the Sultan Mir-Ahmad neighbourhood. The earliest date observed in the architectural elements of the shrine is 923 AH (1517 AD), which is inscribed on remains of a wooden door. The dates from the same period can also be seen on the inscriptions of the dome and several other wooden doors. However, it is not clear exactly when the primary core of the monument was originally constructed and how it evolved. Additionally, the complex has undergone some interventions in recent decades. Understanding its original plan and spatial dimensions is essential before undertaking any further modifications. Methods: This study applies a historical interpretive method, and the information gathered through surveys, field studies, and reviews of documents and historical texts. Initially, the study examines the architectural components of the shrine and related documents. Subsequently, by comparing the complex’s plan and especially its main part with similar examples, efforts are made to represent the original core of the building. Results and conclusion: The research indicates that the original core of the complex was a freestanding dome chamber situated within an old cemetery. After minor additions, it was expanded during the first half of the 10th century AH (16th century AD) into a more elaborate structure consisting of a central dome chamber surrounded by eight arches. With the growing importance of the courtyard and open spaces, the building underwent modifications in the early 12th century AH (18th century AD), during which the ivan and the courtyard were added, becoming significant parts of the shrine. During this period, some of the surrounding chambers were also demolished and reconstructed in a new way.

https://soffeh.sbu.ac.ir/article_105149_a97bfc4940e86429ddb24b7551e087de.pdf

Shahid Beheshti University Soffeh 1683-870X 34 4 2024 11 21 The study of the Characteristics of Clay in Four Historical Monuments in Kashan The study of the Characteristics of Clay in Four Historical Monuments in Kashan 107 137 105153 10.48308/soffeh.2024.105153 FA Fatemeh Parchebaf Motlagh Lecturer, Faculty of Architecture and Art, University of Kashan, Kashan, Iran Babak Alemi Associate Professor, Faculty of Architecture and Art, University of Kashan, Kashan, Iran Amir Hossein Sadeghpour Associate Professor, Faculty of Architecture and Art, University of Kashan, Kashan, Iran Journal Article 2024 01 14 Background and objectives: Clay is one of the main earth materials used in architectural works from the past, with Iran considered as having one of the oldest histories of using earth materials based on climatic criteria. Over time, the use of these materials fell into neglect despite the county’s hot, arid climate and clay being a cheap, recyclable and highly accessible material. The importance of knowing these materials and analysing them during history is, therefore,particularly high. In addition, the sustainability and durability of some historic mud-brick buildings make it necessary to analyse and examine their materials in order to take advantage of the valuable experiences of the past and reveal their underlying techniques. Using clay and providing new solutions, therefore, is arguably pointless without examining and analysing the past. This is why we need to examine characteristic features of their construction in different historical periods to devise new solutions for their strengthening. With the aim of knowing the quantitative and geometric aspects of clay used in Iran’s historical buildings, this research has investigated these materials in historical buildings from different periods in Kashan, a rich example of the country’s historical textures. This study concernstheir appearance, chemical compounds, physical characteristics and techniques used in them, through library and field studies and various experiments and analyses of them. The results of the research can help us better know the materials and structurally analyse buildingsin order to identify and strengthen clay structures. Methods: The research method is quantitative and based on field studies and laboratory experiments. The tests are divided into three categories. The first, basic tests, include density, specific gravity, moisture content, granulation and hydrometry and Atterberg limits. The second category includes compressive and bending strength, and the third category is the chemical analysis by XRD method. These tests were performed based on ASTM as well as the National Standards of Iran (ISIRI). Four clay samples were tested from Kashan historical buildings ranging from the Neolithic to the Qajar periods. The samples werenamed with the letter C (standing for’clay’) and numbered in the order of old to new. Results & Conclusion: According to the tests conducted, one of the physical characteristics that are effective in the strength and quality of the samples is the specific weight or density. In this test, sample C3 had the highest specific weight and sample C2 also had a high specific weight. Moisture content is the amount of moisture in the sample and the lower it is, the better it is for the sample. This is because water absorption in wetter seasons causes contraction and expansion and eventually cracks. According to the obtained results, sample C2 had the lowest and sample C3 had the highest percentage of moisture. According to the location of sample C3, originated from the Seljuk fence, with a green space and a fountain currently in its vicinity, more moisture has been absorbed by the sample. In the granulation and hydrometric test, all the samples had suitable and non-uniform soil and the amount of sand in C3 and C2 samples was more than other samples. In sample C1, the percentage of gravel was much higher than other samples and due to a lot of gravel in the clay, it can be said that the grading of this sample was more inappropriate than other samples. Also, in the Atterberg test, sample C1 had inorganic clay with medium pasting properties, and samples C2 and C3 had inorganic clay with low pasting properties. While the C4 sample had inorganic silt with low compressibility, it is better to use clay to prepare clay, because it has more adhesion and the soil grains are better placed next to each other. Therefore, the soil in C4 was not found particularly suitable for making clay. The results of compressive and bending strength tests on clay samples are relatively similar. Sample C3 had the highest compressive and bending strength, followed by sample C2. The lowest amount of mechanical resistance was for sample C1. The mechanical resistance of sample C4 was also low and the reason for this was the use of recycled materials and poor-quality soil. Considering this issue, it can be said that soil has a direct effect on the physical and mechanical characteristics of the clay. In fact, in samples C3 and C2, the distribution of grain size was more suitable and the percentage of sand was higher, and this issue had created a uniform and dense texture between the grains and a stronger connection between them. Samples C1 and C4 also had non-extensive granulation, and this had prevented the creation of a uniform texture and less compressibility of the clay mass. In other words, the grain size and type of soil had a direct effect on the structure and strength of clay made from it. In addition, the specific weight and moisture contentwere also related to the mechanical structure of clay. According to the examination of clay samples, in general, it can be said that with the increase in specific weight and decrease in moisture content, the mechanical properties of clay, including compressive strength and bending strength, increase. In addition, based on the results of chemical tests, there are quartz, calcite and albite phases in all samples, and the higher the albite content in the samples, the higher the mechanical resistance. Background and objectives: Clay is one of the main earth materials used in architectural works from the past, with Iran considered as having one of the oldest histories of using earth materials based on climatic criteria. Over time, the use of these materials fell into neglect despite the county’s hot, arid climate and clay being a cheap, recyclable and highly accessible material. The importance of knowing these materials and analysing them during history is, therefore,particularly high. In addition, the sustainability and durability of some historic mud-brick buildings make it necessary to analyse and examine their materials in order to take advantage of the valuable experiences of the past and reveal their underlying techniques. Using clay and providing new solutions, therefore, is arguably pointless without examining and analysing the past. This is why we need to examine characteristic features of their construction in different historical periods to devise new solutions for their strengthening. With the aim of knowing the quantitative and geometric aspects of clay used in Iran’s historical buildings, this research has investigated these materials in historical buildings from different periods in Kashan, a rich example of the country’s historical textures. This study concernstheir appearance, chemical compounds, physical characteristics and techniques used in them, through library and field studies and various experiments and analyses of them. The results of the research can help us better know the materials and structurally analyse buildingsin order to identify and strengthen clay structures. Methods: The research method is quantitative and based on field studies and laboratory experiments. The tests are divided into three categories. The first, basic tests, include density, specific gravity, moisture content, granulation and hydrometry and Atterberg limits. The second category includes compressive and bending strength, and the third category is the chemical analysis by XRD method. These tests were performed based on ASTM as well as the National Standards of Iran (ISIRI). Four clay samples were tested from Kashan historical buildings ranging from the Neolithic to the Qajar periods. The samples werenamed with the letter C (standing for’clay’) and numbered in the order of old to new. Results & Conclusion: According to the tests conducted, one of the physical characteristics that are effective in the strength and quality of the samples is the specific weight or density. In this test, sample C3 had the highest specific weight and sample C2 also had a high specific weight. Moisture content is the amount of moisture in the sample and the lower it is, the better it is for the sample. This is because water absorption in wetter seasons causes contraction and expansion and eventually cracks. According to the obtained results, sample C2 had the lowest and sample C3 had the highest percentage of moisture. According to the location of sample C3, originated from the Seljuk fence, with a green space and a fountain currently in its vicinity, more moisture has been absorbed by the sample. In the granulation and hydrometric test, all the samples had suitable and non-uniform soil and the amount of sand in C3 and C2 samples was more than other samples. In sample C1, the percentage of gravel was much higher than other samples and due to a lot of gravel in the clay, it can be said that the grading of this sample was more inappropriate than other samples. Also, in the Atterberg test, sample C1 had inorganic clay with medium pasting properties, and samples C2 and C3 had inorganic clay with low pasting properties. While the C4 sample had inorganic silt with low compressibility, it is better to use clay to prepare clay, because it has more adhesion and the soil grains are better placed next to each other. Therefore, the soil in C4 was not found particularly suitable for making clay. The results of compressive and bending strength tests on clay samples are relatively similar. Sample C3 had the highest compressive and bending strength, followed by sample C2. The lowest amount of mechanical resistance was for sample C1. The mechanical resistance of sample C4 was also low and the reason for this was the use of recycled materials and poor-quality soil. Considering this issue, it can be said that soil has a direct effect on the physical and mechanical characteristics of the clay. In fact, in samples C3 and C2, the distribution of grain size was more suitable and the percentage of sand was higher, and this issue had created a uniform and dense texture between the grains and a stronger connection between them. Samples C1 and C4 also had non-extensive granulation, and this had prevented the creation of a uniform texture and less compressibility of the clay mass. In other words, the grain size and type of soil had a direct effect on the structure and strength of clay made from it. In addition, the specific weight and moisture contentwere also related to the mechanical structure of clay. According to the examination of clay samples, in general, it can be said that with the increase in specific weight and decrease in moisture content, the mechanical properties of clay, including compressive strength and bending strength, increase. In addition, based on the results of chemical tests, there are quartz, calcite and albite phases in all samples, and the higher the albite content in the samples, the higher the mechanical resistance.

https://soffeh.sbu.ac.ir/article_105153_e0d932f4f0dc5fa6f6641af2311231c4.pdf