دانشگاه شهید بهشتی صفه 1683-870X 36 2 2026 05 22 Thermal Comfort in Vernacular Shavadans vs. Contemporary Above-Ground Rooms: A Two-Season Field Study in Dezful, Iran Thermal Comfort in Vernacular Shavadans vs. Contemporary Above-Ground Rooms: A Two-Season Field Study in Dezful, Iran 3 26 106784 10.48308/soffeh.2025.237689.1374 FA Faezeh Babaee Ph.D. Student, College of Fine Arts, Faculty of Architecture, University of Tehran, Tehran, Iran 0009-0007-5936-0632 Shahin Heidari Professor, College of Fine Arts, Faculty of Architecture, University of Tehran, Tehran, Iran (shheidari@ut.ac.ir) 0000-0002-2016-2256 Journal Article 2024 11 25 Background and Objectives: Shavadans—traditional underground spaces in Dezful, Iran—have long served as passive thermal spaces in a hot semi-humid climate. Despite their historical significance and recognised potential for moderating extreme temperatures, comprehensive two-season field studies comparing their thermal comfort performance with co-located above-ground mixed-mode rooms remain scarce. This study aims to provide empirical evidence on how Shavadans perform in both summer and winter, determine seasonal neutral temperatures, and assess their potential contribution to contemporary climate-responsive design. Method: A two-season field campaign was conducted in ten Shavadans during winter (December 2022) and summer (July 2023). Air temperature, relative humidity, and air velocity were measured every three hours from 06:00 to 18:00 at multiple depths. Simultaneously, Level-3 adaptive comfort questionnaires were administered to residents, yielding in 422 valid responses (102 winter and 109 summer datasets for both underground and above-ground spaces). Linear regression of TSV–temperature relationships and the Bin Method were used to derive neutral temperatures and acceptable comfort ranges for each season and space type. Findings and Conclusion: Summer results showed that Shavadans maintained significantly cooler indoor conditionsthan above-ground rooms. The neutral temperature decreased from 26.6 °C (above-ground) to 24.5 °C (Shavadan), and only depths greater than 5 m remained fully within the comfort range. The deepest zones (>7 m) were up to 16.1 °C cooler than the courtyard at peak heat, demonstrating the strong thermal buffering capacity of underground construction. In winter, both environments exhibited neutral or near-neutral conditions; however, the Shavadan maintained more stable temperatures and slightly warmer sensations due to its high thermal mass, with a neutral temperature of 23.1 °C compared with 22.5 °C above-ground. Overall, Shavadans mitigate heat stress effectively in summer and provide stable thermal conditions in winter, while above-ground rooms offer slightly better comfort during the cold season. These findings deliver the first dual-season empirical benchmark in Iran and highlight the potential of hybrid underground–surface strategies for low-energy, climate-responsive architectural design. Background and Objectives: Shavadans—traditional underground spaces in Dezful, Iran—have long served as passive thermal spaces in a hot semi-humid climate. Despite their historical significance and recognised potential for moderating extreme temperatures, comprehensive two-season field studies comparing their thermal comfort performance with co-located above-ground mixed-mode rooms remain scarce. This study aims to provide empirical evidence on how Shavadans perform in both summer and winter, determine seasonal neutral temperatures, and assess their potential contribution to contemporary climate-responsive design. Method: A two-season field campaign was conducted in ten Shavadans during winter (December 2022) and summer (July 2023). Air temperature, relative humidity, and air velocity were measured every three hours from 06:00 to 18:00 at multiple depths. Simultaneously, Level-3 adaptive comfort questionnaires were administered to residents, yielding in 422 valid responses (102 winter and 109 summer datasets for both underground and above-ground spaces). Linear regression of TSV–temperature relationships and the Bin Method were used to derive neutral temperatures and acceptable comfort ranges for each season and space type. Findings and Conclusion: Summer results showed that Shavadans maintained significantly cooler indoor conditionsthan above-ground rooms. The neutral temperature decreased from 26.6 °C (above-ground) to 24.5 °C (Shavadan), and only depths greater than 5 m remained fully within the comfort range. The deepest zones (>7 m) were up to 16.1 °C cooler than the courtyard at peak heat, demonstrating the strong thermal buffering capacity of underground construction. In winter, both environments exhibited neutral or near-neutral conditions; however, the Shavadan maintained more stable temperatures and slightly warmer sensations due to its high thermal mass, with a neutral temperature of 23.1 °C compared with 22.5 °C above-ground. Overall, Shavadans mitigate heat stress effectively in summer and provide stable thermal conditions in winter, while above-ground rooms offer slightly better comfort during the cold season. These findings deliver the first dual-season empirical benchmark in Iran and highlight the potential of hybrid underground–surface strategies for low-energy, climate-responsive architectural design.

https://soffeh.sbu.ac.ir/article_106784_df199a7d31b18e4f9aab0eb705cf296b.pdf

دانشگاه شهید بهشتی صفه 1683-870X 36 2 2026 05 22 Constrained Possibilities: Housing Typology, Regulation and Non Deterministic Evolution of Urban Form in Tehran Constrained Possibilities: Housing Typology, Regulation and Non Deterministic Evolution of Urban Form in Tehran 27 46 106790 10.48308/soffeh.2026.106790 FA Homeira Shayesteh Assistant Professor of Construction, Architecture and BIM, Department of Architecture and Built Environment, Middlesex University, London, United Kingdom 0000-0002-8256-2327 Journal Article 2026 02 22 Background and Objectives: The transformation of Tehran’s urban fabric throughout the twentieth century generated a wide spectrum of housing typologies shaped by shifting planning ideologies, regulatory frameworks, and socio-spatial conditions. Existing literature has often interpreted these changes through linear narratives of modernisation or Western influence, neglecting the mediating role of regulation and the significance of intermediate spatial scales. This study aims to examine the evolutionary trajectory of housing typology and urban morphology in Tehran between 1900 and 2000, focusing on the interaction between macro-scale planning mechanisms and micro-scale architectural form. The primary objective is to assess whether housing evolution followed a deterministic path or whether multiple typological outcomes emerged within constrained regulatory and spatial conditions. Materials and Methods: The research adopts a multi-scalar and interdisciplinary methodology integrating urban history, morphological analysis, and empirical spatial investigation. Three representative residential areas of 500 × 500 m, corresponding to distinct phases of Tehran’s urban development, are analysed using Geographical Information Systems (GIS). This is combined with archetypal modelling based on Steadman’s geometric principles to examine relationships between block structure, plot subdivision, density, site coverage, and housing layout. Architectural variables—including access systems, frontage conditions, day-lit depth, and spatial configuration—are systematically evaluated in relation to planning regulations, enabling comparative analysis across historical periods. Results and Conclusion: The results indicate that housing typologies in Tehran were strongly influenced by plot structure, block morphology, and regulatory constraints; however, these influences operated in a non-deterministic manner. Multiple spatial configurations emerged within similar regulatory frameworks, demonstrating a probabilistic relationship between planning rules and architectural form. The transition from inward-oriented courtyard houses to outward-facing row houses and later apartment buildings is therefore interpreted as an adaptive process shaped by functional requirements and regulatory negotiation rather than a direct transplantation of Western models. By foregrounding the intermediate scale of plots, blocks, and housing types, this study challenges reductive interpretations of Tehran’s urban transformation and highlights the coexistence of traditional spatial logics and modern planning systems. The research contributes a robust analytical framework for linking regulation to architectural form and offers insights relevant to contemporary housing policy and urban design. Background and Objectives: The transformation of Tehran’s urban fabric throughout the twentieth century generated a wide spectrum of housing typologies shaped by shifting planning ideologies, regulatory frameworks, and socio-spatial conditions. Existing literature has often interpreted these changes through linear narratives of modernisation or Western influence, neglecting the mediating role of regulation and the significance of intermediate spatial scales. This study aims to examine the evolutionary trajectory of housing typology and urban morphology in Tehran between 1900 and 2000, focusing on the interaction between macro-scale planning mechanisms and micro-scale architectural form. The primary objective is to assess whether housing evolution followed a deterministic path or whether multiple typological outcomes emerged within constrained regulatory and spatial conditions. Materials and Methods: The research adopts a multi-scalar and interdisciplinary methodology integrating urban history, morphological analysis, and empirical spatial investigation. Three representative residential areas of 500 × 500 m, corresponding to distinct phases of Tehran’s urban development, are analysed using Geographical Information Systems (GIS). This is combined with archetypal modelling based on Steadman’s geometric principles to examine relationships between block structure, plot subdivision, density, site coverage, and housing layout. Architectural variables—including access systems, frontage conditions, day-lit depth, and spatial configuration—are systematically evaluated in relation to planning regulations, enabling comparative analysis across historical periods. Results and Conclusion: The results indicate that housing typologies in Tehran were strongly influenced by plot structure, block morphology, and regulatory constraints; however, these influences operated in a non-deterministic manner. Multiple spatial configurations emerged within similar regulatory frameworks, demonstrating a probabilistic relationship between planning rules and architectural form. The transition from inward-oriented courtyard houses to outward-facing row houses and later apartment buildings is therefore interpreted as an adaptive process shaped by functional requirements and regulatory negotiation rather than a direct transplantation of Western models. By foregrounding the intermediate scale of plots, blocks, and housing types, this study challenges reductive interpretations of Tehran’s urban transformation and highlights the coexistence of traditional spatial logics and modern planning systems. The research contributes a robust analytical framework for linking regulation to architectural form and offers insights relevant to contemporary housing policy and urban design.

https://soffeh.sbu.ac.ir/article_106790_a1e6458db64e93a2acde93cc56f834e0.pdf

دانشگاه شهید بهشتی صفه 1683-870X 36 2 2026 05 22 The Role of Narrative in Design Frames: Demystifying Framing in Design Research through Narratives in the Architectural Design Process The Role of Narrative in Design Frames: Demystifying Framing in Design Research through Narratives in the Architectural Design Process 47 64 106791 10.48308/soffeh.2025.239859.1417 FA Amirali Alaie Ph.D. in Architecture, Faculty of Architectural Engineering and Urban Design, Iran University of Science and Technology, Tehran, Iran 0009-0007-2266-6769 Seyed-Abbas Yazdanfar Associate Professor, Faculty of Architecture and Urban Design, Iran University of Science and Technology, Tehran, Iran 0000-0002-0719-6961 Mohsen Faizi Professor, Faculty of Architecture and Urban Design, Iran University of Science and Technology, Tehran, Iran 0000-0003-1022-0990 Journal Article 2025 05 10 Background and Objectives: In response to criticisms of the rationalist approach to ill-structured problems, the design situation was viewed by some design researchers from a constructivist perspective, which led to the concept of framing and frame-making as one of the main activities in the design process. While there is a theoretical foundation for framing in design studies, its concrete understanding remains ambiguous. Meanwhile there is a history of using narratives and stories as a perspective for studying the design process in general. In these studies, narratives are tools that simultaneously guide the designer’s thinking and serve as reasoning devices that structure what should be done about the subject of the design. From this perspective, framing seems to be a context that allows different values to coexist in the design without being mutually exclusive, and in the form of co-construction of verbal stories in design. Thus, This research aims to examine the capacity of narrative in the concept of frames as representational constructs that embody designers’ situated knowledge and to find a model for demystifying them. Materials and Methods: Employing a fundamental-theoretical research paradigm with a qualitative strategy, and based on library-based studies and logical reasoning on top of a general review of design research, the present paper examines the concept of framing from a constructivist perspective. It then attempts to provide a structure for using an often-underexplored capacity of narrative in this context. Results and conclusion: The study demonstrates the significant potentials of the concept of design framing: a tangible, actionable narrative-based strategy in four interrelated activities. It starts with naming, which takes place in the form of interpreting the situation through constructing a story, followed by the creation of a frame as an inclusive narrative based on the superimposition of stories. The next step is to move towards frames, in the form of solution-oriented stories through the lens of these narrative frames. Finally, and continuously throughout the design process, there is a reflection on design that refines, removes, and adds stories. This process goes on until the inclusive narrative (the last frame) best manages the situation and complexities of the design. Background and Objectives: In response to criticisms of the rationalist approach to ill-structured problems, the design situation was viewed by some design researchers from a constructivist perspective, which led to the concept of framing and frame-making as one of the main activities in the design process. While there is a theoretical foundation for framing in design studies, its concrete understanding remains ambiguous. Meanwhile there is a history of using narratives and stories as a perspective for studying the design process in general. In these studies, narratives are tools that simultaneously guide the designer’s thinking and serve as reasoning devices that structure what should be done about the subject of the design. From this perspective, framing seems to be a context that allows different values to coexist in the design without being mutually exclusive, and in the form of co-construction of verbal stories in design. Thus, This research aims to examine the capacity of narrative in the concept of frames as representational constructs that embody designers’ situated knowledge and to find a model for demystifying them. Materials and Methods: Employing a fundamental-theoretical research paradigm with a qualitative strategy, and based on library-based studies and logical reasoning on top of a general review of design research, the present paper examines the concept of framing from a constructivist perspective. It then attempts to provide a structure for using an often-underexplored capacity of narrative in this context. Results and conclusion: The study demonstrates the significant potentials of the concept of design framing: a tangible, actionable narrative-based strategy in four interrelated activities. It starts with naming, which takes place in the form of interpreting the situation through constructing a story, followed by the creation of a frame as an inclusive narrative based on the superimposition of stories. The next step is to move towards frames, in the form of solution-oriented stories through the lens of these narrative frames. Finally, and continuously throughout the design process, there is a reflection on design that refines, removes, and adds stories. This process goes on until the inclusive narrative (the last frame) best manages the situation and complexities of the design.

https://soffeh.sbu.ac.ir/article_106791_374ad92e28ff7e130fb88205d8f49384.pdf

دانشگاه شهید بهشتی صفه 1683-870X 36 2 2026 05 22 A Conceptual Model of the Architectural Design Process Focusing on Geometric Knowledge within Design Thinking A Conceptual Model of the Architectural Design Process Focusing on Geometric Knowledge within Design Thinking 65 82 107111 10.48308/soffeh.2026.242519.1473 FA Hosein Naseri Ph.D. Candidate in Architecture, Faculty of Architecture and Urban Design, Art University of Isfahan, Isfahan, Iran 0000-0002-2426-8621 Mehdi Mahmoudi Kamelabad Assistant Professor, Faculty of Architecture and Urban Design, Art University of Isfahan, Isfahan, Iran 0000-0002-1904-0809 Enrico De Angelis Professor, Faculty of Architecture, Built Environment and Construction Engineering, Politecnico di Milano, Milan, Italy 0000-0003-2354-7095 Journal Article 2025 11 16 Background and Objectives: Geometry in architectural design has often been approached primarily as a formal and technical instrument for generating spatial configurations. However, its deeper cognitive, epistemological, and conceptual dimensions within the architectural design process have received comparatively limited attention. This study aims to investigate the role of geometric khnowledge in architectural design thinking and to formulate a conceptual framework that explains how this generative system contributes to the understanding, organisation, transformation, and realisation of architectural ideas. The research seeks to clarify spatial logic not merely as a representational tool, but as a foundational language embedded in the logic of design phases. Materials and Methods: This research adopted a qualitative methodology based on the Grounded Theory Method (GTM). Data were collected through semi-structured interviews with 20 prominent architects and university professors specialising in architecture and design studies. The collected data were analysed using ATLAS.ti software through three stages of coding: open coding, axial coding, and selective coding. This analytical process enabled the identification of key concepts, categories, and interrelationships, ultimately leading to the development of a conceptual model explaining the function of these structural principles in architectural design processes. Results and Conclusion: The findings demonstrate that spatial configuration beyond its conventional role as a form-generating tool and functions as a language for perception, cognition, organisation, and realisation in architecture. The study identified several influential dimensions shaping the role of geometry, including cultural-historical, philosophical-epistemological, aesthetic, educational-professional, and environmental factors. Based on the analysis, a five-stage geometric model was developed, consisting of geometric cognition, geometric perception, geometric organisation, geometric transformation, and geometric realisation. This model conceptualises architectural design as an iterative and evolutionary process through this spatial logic evolves from mental abstraction into spatial manifestation. The proposed framework positions it as a structural foundation integrating conceptual, functional, and spatial aspects of design. Furthermore, the model synthesises major architectural design theories—including design thinking, Lawson’s three-stage model, and Alexander’s pattern-based approach—within a coherent geometric logic. The study contributes a novel theoretical perspective on architectural design as a process of geometric transformation and provides a practical framework applicable to architectural education, geometry-based digital design tools, and contemporary architectural practice. Background and Objectives: Geometry in architectural design has often been approached primarily as a formal and technical instrument for generating spatial configurations. However, its deeper cognitive, epistemological, and conceptual dimensions within the architectural design process have received comparatively limited attention. This study aims to investigate the role of geometric khnowledge in architectural design thinking and to formulate a conceptual framework that explains how this generative system contributes to the understanding, organisation, transformation, and realisation of architectural ideas. The research seeks to clarify spatial logic not merely as a representational tool, but as a foundational language embedded in the logic of design phases. Materials and Methods: This research adopted a qualitative methodology based on the Grounded Theory Method (GTM). Data were collected through semi-structured interviews with 20 prominent architects and university professors specialising in architecture and design studies. The collected data were analysed using ATLAS.ti software through three stages of coding: open coding, axial coding, and selective coding. This analytical process enabled the identification of key concepts, categories, and interrelationships, ultimately leading to the development of a conceptual model explaining the function of these structural principles in architectural design processes. Results and Conclusion: The findings demonstrate that spatial configuration beyond its conventional role as a form-generating tool and functions as a language for perception, cognition, organisation, and realisation in architecture. The study identified several influential dimensions shaping the role of geometry, including cultural-historical, philosophical-epistemological, aesthetic, educational-professional, and environmental factors. Based on the analysis, a five-stage geometric model was developed, consisting of geometric cognition, geometric perception, geometric organisation, geometric transformation, and geometric realisation. This model conceptualises architectural design as an iterative and evolutionary process through this spatial logic evolves from mental abstraction into spatial manifestation. The proposed framework positions it as a structural foundation integrating conceptual, functional, and spatial aspects of design. Furthermore, the model synthesises major architectural design theories—including design thinking, Lawson’s three-stage model, and Alexander’s pattern-based approach—within a coherent geometric logic. The study contributes a novel theoretical perspective on architectural design as a process of geometric transformation and provides a practical framework applicable to architectural education, geometry-based digital design tools, and contemporary architectural practice.

https://soffeh.sbu.ac.ir/article_107111_7059ccaaf80cfe32ed9890356ff8c8ff.pdf

دانشگاه شهید بهشتی صفه 1683-870X 36 2 2026 05 22 Integrated Framework for IFC Model Generation and Structural Layout from Architectural Sketch Plans Integrated Framework for IFC Model Generation and Structural Layout from Architectural Sketch Plans 83 108 106785 10.48308/soffeh.2026.242295.1468 FA Shima Afshar M.Sc. in Architecture, Department of Architecture and Urban Planning, Shahid Beheshti University, Tehran, Iran Mohammad Tahsildoost Associate Professor, Department of Architecture and Urban Planning, Shahid Beheshti University, Tehran, Iran 0000-0002-9016-9429 Journal Article 2025 11 02 Background and Objectives: Recent advances in Artificial Intelligence (AI) and Building Information Modelling (BIM) have enabled closer integration between data-driven automation and architectural design processes. Nevertheless, current AI-based BIM modelling approaches—particularly in the plan recognition stage—remain heavily reliant on large labelled datasets, making data preparation time-consuming and labour-intensive. This dependency limits rapid iteration in early-stage architectural design, where speed and responsiveness are essential. To address these challenges, this study proposes an integrated automation framework that leverages hybrid computational methods to accelerate the translation of sketch-based floor plans into structured BIM models. Materials and Methods: The proposed workflow comprises three main components. First, 2D raster floor plans are converted into vector data using a hybrid approach that combines deep learning-based opening detection (YOLOv11) with rule-based wall extraction. Second, the framework automatically recommends initial column layouts optimised according to spatial and functional design criteria. Third, it programmatically generates Industry Foundation Classes (IFC)-compliant 3D models. Geometric information extracted from sketch plans produces an IFC file encompassing walls, floors, doors, windows, and preliminary structural column layouts, closely reflecting the original design intent. Results and Conclusion: Experimental evaluation demonstrates robust performance across all stages. The object detection model achieved a mAP50:95 of 81%, with an inference time of 0.0041 seconds per image. Wall recognition reached 100% accuracy, while the column layout algorithm attained 95.83% alignment with executed plans. IFC generation was completed in under one minute, ensuring efficiency and practicality. These results underscore the framework’s capacity to substantially reduce manual effort, minimise reliance on large labelled datasets, and expedite the transition from conceptual sketches to BIM. By integrating hybrid computational techniques, the proposed approach offers a reliable, automated, and scalable solution for early-stage architectural design, bridging the gap between manual plan interpretation and BIM workflows, and providing a foundation for future research in intelligent architectural modelling. Background and Objectives: Recent advances in Artificial Intelligence (AI) and Building Information Modelling (BIM) have enabled closer integration between data-driven automation and architectural design processes. Nevertheless, current AI-based BIM modelling approaches—particularly in the plan recognition stage—remain heavily reliant on large labelled datasets, making data preparation time-consuming and labour-intensive. This dependency limits rapid iteration in early-stage architectural design, where speed and responsiveness are essential. To address these challenges, this study proposes an integrated automation framework that leverages hybrid computational methods to accelerate the translation of sketch-based floor plans into structured BIM models. Materials and Methods: The proposed workflow comprises three main components. First, 2D raster floor plans are converted into vector data using a hybrid approach that combines deep learning-based opening detection (YOLOv11) with rule-based wall extraction. Second, the framework automatically recommends initial column layouts optimised according to spatial and functional design criteria. Third, it programmatically generates Industry Foundation Classes (IFC)-compliant 3D models. Geometric information extracted from sketch plans produces an IFC file encompassing walls, floors, doors, windows, and preliminary structural column layouts, closely reflecting the original design intent. Results and Conclusion: Experimental evaluation demonstrates robust performance across all stages. The object detection model achieved a mAP50:95 of 81%, with an inference time of 0.0041 seconds per image. Wall recognition reached 100% accuracy, while the column layout algorithm attained 95.83% alignment with executed plans. IFC generation was completed in under one minute, ensuring efficiency and practicality. These results underscore the framework’s capacity to substantially reduce manual effort, minimise reliance on large labelled datasets, and expedite the transition from conceptual sketches to BIM. By integrating hybrid computational techniques, the proposed approach offers a reliable, automated, and scalable solution for early-stage architectural design, bridging the gap between manual plan interpretation and BIM workflows, and providing a foundation for future research in intelligent architectural modelling.

https://soffeh.sbu.ac.ir/article_106785_655a24492da711cd2e13bcb95d76f855.pdf

دانشگاه شهید بهشتی صفه 1683-870X 36 2 2026 05 22 The Structure of Form: Le Corbusier’s ‘The Five Points of a New Architecture’ The Structure of Form: Le Corbusier’s ‘The Five Points of a New Architecture’ 109 126 106789 10.48308/soffeh.2026.106789 FA Mehrdad Hadighi Professor of Architecture Department of Architecture, Stuckeman School of Architecture and Landscape Architecture, The Pennsylvania State University, USA Journal Article 2026 02 22 Background and Objectives: Le Corbusier is predominantly recognised for his declarative and often dogmatic writing style, particularly regarding ‘The Five Points of a New Architecture’. This paper investigates the parallels between the recorded written histories of these points and Le Corbusier’s built works during the 1920s. The primary aim is to provide a nuanced perspective on the development of the ‘Five Points’, contextualising them within a body of architectural works rather than treating them as a sudden theoretical epiphany. By re-examining what appears to be a rigid doctrine, this study explores the architectural and aesthetic potential of reinforced concrete as a cohesive structuring system. Materials and Methods: The study employs a comparative methodology, juxtaposing written histories with built artefacts. Archival research at the Foundation Le Corbusier and historical analyses of various editions of the Œuvre Complète were combined with detailed case studies of four pivotal villas: Villa Besnus (1922), Villa Stein-de Monzie (1927), the Weissenhofsiedlung Houses (1927), and Villa Savoye (1929). The analysis involves comparing as-drawn and as-built drawings to identify incongruities between theoretical proclamations and constructive realities. The analysis reveals that the ‘Five Points’ were not formulated instantaneously but evolved through successive construction trials. In the 1922 Villa Besnus, while the ‘free plan’ was nascent, the other points remained uncodified, with columns concealed within perimeter walls. By 1927, Villa Stein-de Monzie demonstrated an advanced exploration of reinforced concrete, yet exhibited a ‘mis-alignment’ between technical necessity and aesthetic ideal; notably, Le Corbusier eliminated two structural columns from the published plans to preserve the appearance of geometric order. Full alignment was achieved in the Weissenhof houses, where the technical requirements of the reinforced concrete frame finally mirrored the aesthetic expression predicted by the ‘Five Points’. Results and Conclusion: The study concludes that the ‘Five Points’ emerged from a constant tension between systematic geometric organisation and the singularity of spatial experience. Rather than mere stylistic dogmas, these principles served to concretise the architectural possibilities afforded by the reinforced concrete frame. The findings suggest that Le Corbusier’s architecture was a persistent struggle to materialise plastic form within rationalised building systems. Background and Objectives: Le Corbusier is predominantly recognised for his declarative and often dogmatic writing style, particularly regarding ‘The Five Points of a New Architecture’. This paper investigates the parallels between the recorded written histories of these points and Le Corbusier’s built works during the 1920s. The primary aim is to provide a nuanced perspective on the development of the ‘Five Points’, contextualising them within a body of architectural works rather than treating them as a sudden theoretical epiphany. By re-examining what appears to be a rigid doctrine, this study explores the architectural and aesthetic potential of reinforced concrete as a cohesive structuring system. Materials and Methods: The study employs a comparative methodology, juxtaposing written histories with built artefacts. Archival research at the Foundation Le Corbusier and historical analyses of various editions of the Œuvre Complète were combined with detailed case studies of four pivotal villas: Villa Besnus (1922), Villa Stein-de Monzie (1927), the Weissenhofsiedlung Houses (1927), and Villa Savoye (1929). The analysis involves comparing as-drawn and as-built drawings to identify incongruities between theoretical proclamations and constructive realities. The analysis reveals that the ‘Five Points’ were not formulated instantaneously but evolved through successive construction trials. In the 1922 Villa Besnus, while the ‘free plan’ was nascent, the other points remained uncodified, with columns concealed within perimeter walls. By 1927, Villa Stein-de Monzie demonstrated an advanced exploration of reinforced concrete, yet exhibited a ‘mis-alignment’ between technical necessity and aesthetic ideal; notably, Le Corbusier eliminated two structural columns from the published plans to preserve the appearance of geometric order. Full alignment was achieved in the Weissenhof houses, where the technical requirements of the reinforced concrete frame finally mirrored the aesthetic expression predicted by the ‘Five Points’. Results and Conclusion: The study concludes that the ‘Five Points’ emerged from a constant tension between systematic geometric organisation and the singularity of spatial experience. Rather than mere stylistic dogmas, these principles served to concretise the architectural possibilities afforded by the reinforced concrete frame. The findings suggest that Le Corbusier’s architecture was a persistent struggle to materialise plastic form within rationalised building systems.

https://soffeh.sbu.ac.ir/article_106789_b50bc19d8482e64f0d7cee3b4cd3b3ae.pdf

دانشگاه شهید بهشتی صفه 1683-870X 36 2 2026 05 22 Evaluation of the effect of kinematic axes and the geometric model of the kinetic facade on providing natural lighting in an office building in Tehran Evaluation of the effect of kinematic axes and the geometric model of the kinetic facade on providing natural lighting in an office building in Tehran 127 148 106190 10.48308/soffeh.2024.236665.1349 FA Fataneh Sangtarash Ph.D. in Architecture, Department of Architecture, ST.C, Islamic Azad University, Tehran, Iran 0000-0002-4969-0191 Niloufar Nikghadam Associate Professor of Architecture, Department of Architecture, ST.C, Islamic Azad University, Tehran, Iran 0000-0003-0723-7396 Rima Fayaz Professor of Architecture, Department of Architecture and Urban Planning, Tehran University of Art, Tehran, Iran 0000-0002-0758-4171 Mohammad Reza Matini Assistant Professor of Architecture, Department of Architecture and Urban Planning, Tehran University of Art, Tehran, Iran 0000-0001-9217-1656 Journal Article 2024 08 24 Background and objectives: Kinetic façades represent a dynamic design approach that integrates movement to adapt to environmental conditions the concept of motion as a design input. One of the strategies of this facade is to control the light entering the interior. Fixed or dynamic horizontal shades are the best choice for south orientation, while vertical shades are usually used in east and west directions. Studies have shown that horizontal shading is more efficient than vertical shading. Indoor lighting conditions can affect the occupants’ visual comfort, satisfaction, thermal comfort, health, mood, motivation, performance, and productivity. Literature indicates that geometric and movement models play a role in controlling daylight and glare, although less attention has been given to movement axes in four directions. Also, it is unclear what kind of movement axis is appropriate for each façade direction. This research aims to utilize natural lighting using geometric models and rotational motion axes of the kinetic facade in the north, south, west, and east facades of an office building in Tehran. The novelty of this article is in examining the motion axes of the kinetic facade in response to Tehran's climate. For this purpose, the rotational motion axes in three horizontal, vertical, and diagonal modes in four directions have been measured to create optimal light in the interior space. The selection of samples is based on constructed examples that have not been used in previous studies, and the focus of this research is more on rotation motion axes and two geometric models, circle and rectangle. Methods:This study utilises an applied, quantitative research methodology and is quantitative in nature. Using the simulation tool, the rotational motion axes of the kinetic facade are analyzed and evaluated in four directions, considering both circular and rectangular geometric models, and in relation to daylight in an office building in Tehran. Rhino software version 6.32, Grasshopper plugin and Honeybee Plus plugin version 0.0.06, and Ladybug version 1.5.0 were used for simulation. The Python programming language has also been used to calculate averages. The first step is to simulate the movement of the sun with the Ladybug plugin according to the weather file of Tehran. In the next step, a sample office room with an open plan, measuring 4 m in width, 6 m in length, and 3 m in height, accommodating six employees, was evaluated according to the dynamic daylight indicators. The room had a window-to-wall ratio of 90% of the facade without shades. In the next step, the existing two geometric modes of the kinetic facade, circle and rectangle, have been measured and compared according to the rotational movement axes (horizontal, vertical, and diagonal) in four facade directions. Then, according to the responsiveness of the facade to natural lighting, the most optimal geometric model and movement axes based on angle and dimensions (length, width, and radius) are suggested for all four directions of an office building in Tehran. Results and conclusion :Recent research on kinetic facades in Iran and around the world indicates that kinetic facades are more responsive than fixed types in reducing glare and controlling daylight. Among them, geometric models, kinematic modes, movement axes, geometric model dimensions, room dimensions, the opening and closing angle of the geometric model of the facade in relation to the location of the sun, and the climate of the region play a significant role in optimising natural lighting in the interior space. According to the glare index (ASE) findings, the north facade does not require a shade, as the interior space receives sufficient daylight without one. Therefore, natural lighting simulation analysis with a kinetic facade has been done only for three directions of the south, east, and west facades. According to the simulation results, the two indicators, ASE and UDI, are of special importance. This is because when the shade opening or angle is half-closed, less light enters the space. As the percentage of useful light index decreases below 500 lux, the interior space may receive less than 500 lux of useful daylight at its far end. Additionally, when the aperture or angle of view is open, more light enters the interior space and the amount of glare (ASE) shows values above 10%, which means that indoor glare and visual discomfort may occur. Therefore, optimising these two indicators is necessary to receive useful daylight in the interior. In the next step, the values of the two indices ASE, UDI less and DGP were averaged using the Python programming language. The simulation results show that the geometrical models of rectangle and circle with a rotating movement model with the horizontal axis at the top in the south, west, and east walls and with the diagonal axis at the top, both geometrical models in the east and west facade of an office building in Tehran are appropriate for providing optimal dynamic daylight indices. After comparing the geometric models based on the ASE and UDI indices in three directions, it is evident that the rectangular geometric model with a rotating movement model on horizontal and diagonal axes outperforms the circle geometric model with a rotating movement model on horizontal and diagonal axes. Also, the most suitable rotational motion axes of the kinetic facade for the two western and eastern facades are the horizontal and diagonal axis at the top and for the southern facade the horizontal axis at the top. Among the limitations of this research is the lack of an office building built with a kinetic facade in the field, so that a comparison can be made between the simulated results and field measurements. On the other hand, natural lighting measurement devices in the indoor environment have limitations and cannot simultaneously measure the amount of daylight and glare in the indoor environment. In future research, it is possible to evaluate the kinetic facade with a rectangular geometric model and rotational movement model with horizontal and diagonal axes in four directions of the facade based on the amount of energy consumption, visual comfort, and thermal comfort using simulation or field observations. Furthermore, this facade can be studied in different climates and cities to determine its use with a geometric model and a proportional movement model in each city, according to the internal daylight. The results of this research can be applied to similar climates outside of Iran. Background and objectives: Kinetic façades represent a dynamic design approach that integrates movement to adapt to environmental conditions the concept of motion as a design input. One of the strategies of this facade is to control the light entering the interior. Fixed or dynamic horizontal shades are the best choice for south orientation, while vertical shades are usually used in east and west directions. Studies have shown that horizontal shading is more efficient than vertical shading. Indoor lighting conditions can affect the occupants’ visual comfort, satisfaction, thermal comfort, health, mood, motivation, performance, and productivity. Literature indicates that geometric and movement models play a role in controlling daylight and glare, although less attention has been given to movement axes in four directions. Also, it is unclear what kind of movement axis is appropriate for each façade direction. This research aims to utilize natural lighting using geometric models and rotational motion axes of the kinetic facade in the north, south, west, and east facades of an office building in Tehran. The novelty of this article is in examining the motion axes of the kinetic facade in response to Tehran's climate. For this purpose, the rotational motion axes in three horizontal, vertical, and diagonal modes in four directions have been measured to create optimal light in the interior space. The selection of samples is based on constructed examples that have not been used in previous studies, and the focus of this research is more on rotation motion axes and two geometric models, circle and rectangle. Methods:This study utilises an applied, quantitative research methodology and is quantitative in nature. Using the simulation tool, the rotational motion axes of the kinetic facade are analyzed and evaluated in four directions, considering both circular and rectangular geometric models, and in relation to daylight in an office building in Tehran. Rhino software version 6.32, Grasshopper plugin and Honeybee Plus plugin version 0.0.06, and Ladybug version 1.5.0 were used for simulation. The Python programming language has also been used to calculate averages. The first step is to simulate the movement of the sun with the Ladybug plugin according to the weather file of Tehran. In the next step, a sample office room with an open plan, measuring 4 m in width, 6 m in length, and 3 m in height, accommodating six employees, was evaluated according to the dynamic daylight indicators. The room had a window-to-wall ratio of 90% of the facade without shades. In the next step, the existing two geometric modes of the kinetic facade, circle and rectangle, have been measured and compared according to the rotational movement axes (horizontal, vertical, and diagonal) in four facade directions. Then, according to the responsiveness of the facade to natural lighting, the most optimal geometric model and movement axes based on angle and dimensions (length, width, and radius) are suggested for all four directions of an office building in Tehran. Results and conclusion :Recent research on kinetic facades in Iran and around the world indicates that kinetic facades are more responsive than fixed types in reducing glare and controlling daylight. Among them, geometric models, kinematic modes, movement axes, geometric model dimensions, room dimensions, the opening and closing angle of the geometric model of the facade in relation to the location of the sun, and the climate of the region play a significant role in optimising natural lighting in the interior space. According to the glare index (ASE) findings, the north facade does not require a shade, as the interior space receives sufficient daylight without one. Therefore, natural lighting simulation analysis with a kinetic facade has been done only for three directions of the south, east, and west facades. According to the simulation results, the two indicators, ASE and UDI, are of special importance. This is because when the shade opening or angle is half-closed, less light enters the space. As the percentage of useful light index decreases below 500 lux, the interior space may receive less than 500 lux of useful daylight at its far end. Additionally, when the aperture or angle of view is open, more light enters the interior space and the amount of glare (ASE) shows values above 10%, which means that indoor glare and visual discomfort may occur. Therefore, optimising these two indicators is necessary to receive useful daylight in the interior. In the next step, the values of the two indices ASE, UDI less and DGP were averaged using the Python programming language. The simulation results show that the geometrical models of rectangle and circle with a rotating movement model with the horizontal axis at the top in the south, west, and east walls and with the diagonal axis at the top, both geometrical models in the east and west facade of an office building in Tehran are appropriate for providing optimal dynamic daylight indices. After comparing the geometric models based on the ASE and UDI indices in three directions, it is evident that the rectangular geometric model with a rotating movement model on horizontal and diagonal axes outperforms the circle geometric model with a rotating movement model on horizontal and diagonal axes. Also, the most suitable rotational motion axes of the kinetic facade for the two western and eastern facades are the horizontal and diagonal axis at the top and for the southern facade the horizontal axis at the top. Among the limitations of this research is the lack of an office building built with a kinetic facade in the field, so that a comparison can be made between the simulated results and field measurements. On the other hand, natural lighting measurement devices in the indoor environment have limitations and cannot simultaneously measure the amount of daylight and glare in the indoor environment. In future research, it is possible to evaluate the kinetic facade with a rectangular geometric model and rotational movement model with horizontal and diagonal axes in four directions of the facade based on the amount of energy consumption, visual comfort, and thermal comfort using simulation or field observations. Furthermore, this facade can be studied in different climates and cities to determine its use with a geometric model and a proportional movement model in each city, according to the internal daylight. The results of this research can be applied to similar climates outside of Iran.

https://soffeh.sbu.ac.ir/article_106190_4aa7ab0e92d42b052e3e3a008df6d472.pdf

دانشگاه شهید بهشتی صفه 1683-870X 36 2 2026 05 22 Documenting A National Treasure: Ganj‑Nameh and the Iranian Built Environment Heritage Documenting A National Treasure: Ganj-Nameh and the Iranian Built Environment Heritage 149 170 107121 10.48308/soffeh.2026.107121 FA Keivan Jourabchi Assistant Professor, Faculty of Architecture and Urban Planning, Shahid Beheshti University, Tehran, Iran S. H. Iradj Moeini Assistant Professor, Faculty of Architecture and Urban Planning, Shahid Beheshti University, Tehran, Iran Journal Article 2026 06 20 Despite its several-millennia long history, it was only quite recently that systematic documentation efforts aimed at identifying and introducing of Iranian architectural heritage were undertaken. It is actually only a few decades since scholars and researchers first began their scrutiny of these works in order to wipe the dust from the face of this vastly neglected albeit invaluable heritage. Among these efforts Ganj-Nameh (An Anthology of Treasures) – SBU’s Faculty of Architecture and Urban Planning compilation of Iranian Architecture – arguably stands out for its gargantuan scope, scholarship standards and rigorous documentation accuracy. The reference to ‘treasure’ in the title reflects the driving forces’ belief in the values of The Iranian architectural heritage and how it can inspire a sense of identity for modern Iranians, whilst offering lessons to learn on a wider global scene. Ganj-Nameh is also a response to frustrations with previous accounts crafted by non-Iranian scholars whose efforts, whilst being valuable in their own right, are often seen as lacking the thoroughness and quality any such documentation requires. What is more, those accounts tend to be published sporadically, with occasionally less than noteworthy results, leaving researchers short of reliable references. Bringing together information-rich and legible plans, clear, telling images and a thematic history of about six hundred significant historic realisations – ranging from mosques and madrasas to houses and baths – the Ganj-Nameh series seeks to not only promote research in this domain, but also encourage researchers, experts and all those interested, to initiate their own research on this rich heritage. This is why a thematic order was adopted for the series – rather than the more common geographic alternative – in order to make it act as a handy tool for research. It is noteworthy that, wherever similar instances of a certain building type exceed a certain limit, a geographic, city-by-city, classification is introduced. For instance, wherever the number of documented houses has exceeded a certain number, a full volume is dedicated to the houses of that city. Alternatively, wherever the specimens of a type of building are scattered in various cities, they come as one collection, be it in one or more volumes. In this way, the thematic order is kept whilst the geographic order has been taken into consideration as a secondary measure. Another point to mention is the fact that the collection was compiled in a short period of time: some fifty years of relentless efforts by both tutors and students of the faculty is behind the anthology. It may therefore be said that a great number of the students of this major faculty, past and present, have contributed to its development. The final preparations for publication began in 1992, with the first volume published in 1995; after more than 20 years, it came to its conclusion in 2015. During this period, the first five volumes were revised and published in its second edition. The collection addresses almost every building type and introduces a total of 573 buildings in 98 towns and cities. Four volumes of the series are allocated to introducing historic mosques. Put together, they introduce 107 monumental structures in 57 cities. Among them 49 buildings are congregational mosques in 49 cities, which are represented in volumes VII and VIII; and 58 buildings are ordinary mosques of our cities which are depicted in volumes VI and II: due to the importance of Esfahan and its architecture and multiplicity of mosques in this beautiful city, 18 historic mosques of this city are represented independently in volume II and finally, volume VI contains 40 monumental structures from 25 different cities. The fifth volume introduces historic madrasas (schools) in different Iranian cities. In this volume, the reader becomes acquainted with 38 ancient madrasas belonging to various periods. Undoubtedly, many more ancient madrasas exist in our cities, but it may be boldly asserted that the most important ones are included here. Volumes eleven, twelve and thirteen are dedicated to yet another facet of Iranian Islamic architecture, that of ‘emamzadeh’s (shrines of Shia saints) and mausoleums, which they introduce through numerous examples. Innumerable shrines and mausoleums belonging to saints, mystics, scientists, writers, poets, governors, kings and political figures are scattered across Iran. Almost no region, city or village of this country is without a shrine dedicated to one or another great personality. In the popular mind, the mausoleums of these eminent individuals are considered secure havens against spiritual woes and revered as such. The very multitude of these mausoleums, which belong to different periods, bespeaks both the long history of this country`s rich culture and the ceaseless respect of successive generations of its people for their spiritual and secular leaders. The 128 buildings introduced in these three volumes represent but a small fraction of the remaining mausoleums; however, as they include the most important and the most famous among these, they present a relatively clear picture of the architectural characteristics of these buildings in the course of history. In geographic terms, they cover most of present-day Iran, and historically, they span a period of approximately 1,000 years, from the early 10th to the late 19th centuries. The ninth and tenth volumes have been allocated to introduce the bazaar buildings. These buildings which are one of the most important parts of the Islamic period heritage are rarely studied. Although our bazaars are widely renowned, one hardly finds books or articles dedicated mainly to their architectural aspects. Whilst being the spinal column of our cities, our bazaars are also a collection of different buildings interconnected in a special way. In general, each bazaar consists of a main body, or a main passage (Rasteh Bazaar) with several buildings attached to it. In some cases, the main passage is straight and in others takes a shape of a plant form leading to branches, but is always comprised of a simple four-vaulted space (Chahar-Taqi) with two chambers on either side. In contrast to this repeated symmetry, attached buildings to the main passage are very diverse including different kinds of governmental, commercial, religious, educational and service buildings. However, the commercial buildings are considered to be the essential part of the bazaar, and have been introduced thoroughly in the two Volumes of the Ganj-Nameh. Buildings like caravanserais, both urban and countryside, bathhouses, cisterns, mills, both water and wind mills, ice-houses, ‘chapar-khaneh’s (postal services) and so on that served people in their everyday life were essential components in Iranian civic life during last centuries. Because of their sophisticated architecture, countryside caravanserais and bathhouses attracted the attention of scholars. Two volumes of the Ganj-Nameh are dedicated to these building types. The seventeenth volume is dedicated to countryside caravanserais and the eighteenth volume introduces the historic bathhouses of Iran. Numerous books have been written about caravanserais, introducing almost every existing specimen. The caravanserais introduced in this volume represent a mere handful of the multitude of caravanserais scattered across this country. These twenty-two caravanserais date back to Safavid and Qajar times, the oldest being probably anterior to the reign of Shah Abbas the Great. The present volume, therefore, does not represent all types of caravanserais built in different periods; however, its detailed plans, ample illustrations and extensive architectural explanations fully describe the prevailing types of caravanserais, paving the way for a deeper, more accurate, understanding of the architecture of Iranian caravanserais As mentioned, the above volume focuses on countryside caravanserais. Urban caravanserais, which often occur in combination with bazaars, are introduced in the ninth and tenth Volumes of the Ganj-Nameh, titled Bazaar Buildings, alongside other auxiliary bazaar buildings. Built beside desert roads, countryside caravanserais bear essential differences with urban ones as regards their architectural features, spatial organisation, function and environment; hence, these two types of caravanserais should not be confused. Houses have always existed as part of human habitation, reflecting their culture and beliefs. No building better illustrates architecture as a response to the physical needs and spiritual desires of man than a house. Therefore, houses are unique entities in the context of cultural studies, or in terms of space creation and architecture of any ethnic group. They are also significant components of the history of architectural development. Despite this significance, information on house architecture is truly limited. This negligence is also present in architecture books. Fortunately, though, five volumes of the series introduce 135 houses in 25 cities: vol. I: 19 mansions in Kashan, vol. IV: 21 mansions in Esfahan, vol. XIV: 24 houses in Yazd and finally volumes XV and XVI also introduce traditional houses of 22 other cities, totalling 71 houses. Houses often lack precise construction dates. However, most of the houses presented in these five volumes can be estimated to be built in the 19th to the early-20th century, which is contemporary with the Qajar rule in Iran. A few may belong to before this era, especially Safavid period (16th and 17th centuries), as well as, some of them may be constructed during the early Pahlavi period (mid-20th century). Therefore, this collection of houses is, in fact, reflective of house architecture during the Qajar era, and highlights the tastes and trends in space creation and house design during the transformation period of Iranian architecture. Scrutinising the collection of houses presented in these five volumes reveals some essential connections and similarities beyond the differences in the initial encounter. It is as though they all speak the same word although in different forms, in different regions and cities which have their own specific conditions and characteristics. They are all the same in their principal essence, and the differences are in form and according to circumstances. This is like the common language of people across regions that varies according to their different conditions and preferences, and each form is called a dialect. As the defined set of words and certain rules of combination and word order in any language, there are defined sub-spaces in Iranian architecture, and clear rules governing their connections and compositions. Different architectural form of houses in different cities can be likened to dialects or branches of a main language, which is composed of intended yet limited changes in the form of sub-spaces or their combinations. These changes, however, do not cut the connection with the main language, but rather reorganise it according to new conditions and preferences. Volumes 19 and 20 of the series introduce the most significant among extant gardens and palaces of Iran. A sum of 33 gardens and palaces, plus one major ensemble comprising many buildings, are introduced in these two volumes. It is true that palaces and gardens are two different types of construction, and distinct examples of both types have remained. However, since palaces are usually accompanied by gardens, there are also many examples that are simultaneously a palace and a garden. If we take no notice of the original foundations of some of the introduced works presented here, however, most of the extant examples date from the 17th to the 20th centuries. The earlier examples have changed through centuries to match a figure according to the tastes of the time. The third volume of the series introduces religious buildings of Tehran, and is unique among other volumes in that it introduces several types of buildings. This is because the present volume was the first of the series to take shape in view of the 200th anniversary of Tehran’s adoption as capital. However, when the layout of the rest of the series was finalized, owing to the particular status of historic buildings of Tehran and the benefits the publication of this book was judged to bear, it was decided not to upset the present composition. The truth is that historic works (religious buildings in particular) are actually lost amid the turmoil of Greater Tehran, and that Tehran today appears as a rootless city with no particular sense of identity. The first outcome of the publication of this book can be to endow Tehran with a religio-historic prestige and restore its rightfulness as a city bearing a time-honoured historic past. Obviously, this book does not include all the religious buildings of Tehran, but the compilation of the most important among them within a single volume will show that Tehran boasts a varied and valuable collection of historic buildings ranging from mosques and madrasas to mausoleums, emamzadehs, and tekiehs, many of which remain unattended amid the large and small buildings of contemporary Tehran. Despite its several-millennia long history, it was only quite recently that systematic documentation efforts aimed at identifying and introducing of Iranian architectural heritage were undertaken. It is actually only a few decades since scholars and researchers first began their scrutiny of these works in order to wipe the dust from the face of this vastly neglected albeit invaluable heritage. Among these efforts Ganj-Nameh (An Anthology of Treasures) – SBU’s Faculty of Architecture and Urban Planning compilation of Iranian Architecture – arguably stands out for its gargantuan scope, scholarship standards and rigorous documentation accuracy. The reference to ‘treasure’ in the title reflects the driving forces’ belief in the values of The Iranian architectural heritage and how it can inspire a sense of identity for modern Iranians, whilst offering lessons to learn on a wider global scene. Ganj-Nameh is also a response to frustrations with previous accounts crafted by non-Iranian scholars whose efforts, whilst being valuable in their own right, are often seen as lacking the thoroughness and quality any such documentation requires. What is more, those accounts tend to be published sporadically, with occasionally less than noteworthy results, leaving researchers short of reliable references. Bringing together information-rich and legible plans, clear, telling images and a thematic history of about six hundred significant historic realisations – ranging from mosques and madrasas to houses and baths – the Ganj-Nameh series seeks to not only promote research in this domain, but also encourage researchers, experts and all those interested, to initiate their own research on this rich heritage. This is why a thematic order was adopted for the series – rather than the more common geographic alternative – in order to make it act as a handy tool for research. It is noteworthy that, wherever similar instances of a certain building type exceed a certain limit, a geographic, city-by-city, classification is introduced. For instance, wherever the number of documented houses has exceeded a certain number, a full volume is dedicated to the houses of that city. Alternatively, wherever the specimens of a type of building are scattered in various cities, they come as one collection, be it in one or more volumes. In this way, the thematic order is kept whilst the geographic order has been taken into consideration as a secondary measure. Another point to mention is the fact that the collection was compiled in a short period of time: some fifty years of relentless efforts by both tutors and students of the faculty is behind the anthology. It may therefore be said that a great number of the students of this major faculty, past and present, have contributed to its development. The final preparations for publication began in 1992, with the first volume published in 1995; after more than 20 years, it came to its conclusion in 2015. During this period, the first five volumes were revised and published in its second edition. The collection addresses almost every building type and introduces a total of 573 buildings in 98 towns and cities. Four volumes of the series are allocated to introducing historic mosques. Put together, they introduce 107 monumental structures in 57 cities. Among them 49 buildings are congregational mosques in 49 cities, which are represented in volumes VII and VIII; and 58 buildings are ordinary mosques of our cities which are depicted in volumes VI and II: due to the importance of Esfahan and its architecture and multiplicity of mosques in this beautiful city, 18 historic mosques of this city are represented independently in volume II and finally, volume VI contains 40 monumental structures from 25 different cities. The fifth volume introduces historic madrasas (schools) in different Iranian cities. In this volume, the reader becomes acquainted with 38 ancient madrasas belonging to various periods. Undoubtedly, many more ancient madrasas exist in our cities, but it may be boldly asserted that the most important ones are included here. Volumes eleven, twelve and thirteen are dedicated to yet another facet of Iranian Islamic architecture, that of ‘emamzadeh’s (shrines of Shia saints) and mausoleums, which they introduce through numerous examples. Innumerable shrines and mausoleums belonging to saints, mystics, scientists, writers, poets, governors, kings and political figures are scattered across Iran. Almost no region, city or village of this country is without a shrine dedicated to one or another great personality. In the popular mind, the mausoleums of these eminent individuals are considered secure havens against spiritual woes and revered as such. The very multitude of these mausoleums, which belong to different periods, bespeaks both the long history of this country`s rich culture and the ceaseless respect of successive generations of its people for their spiritual and secular leaders. The 128 buildings introduced in these three volumes represent but a small fraction of the remaining mausoleums; however, as they include the most important and the most famous among these, they present a relatively clear picture of the architectural characteristics of these buildings in the course of history. In geographic terms, they cover most of present-day Iran, and historically, they span a period of approximately 1,000 years, from the early 10th to the late 19th centuries. The ninth and tenth volumes have been allocated to introduce the bazaar buildings. These buildings which are one of the most important parts of the Islamic period heritage are rarely studied. Although our bazaars are widely renowned, one hardly finds books or articles dedicated mainly to their architectural aspects. Whilst being the spinal column of our cities, our bazaars are also a collection of different buildings interconnected in a special way. In general, each bazaar consists of a main body, or a main passage (Rasteh Bazaar) with several buildings attached to it. In some cases, the main passage is straight and in others takes a shape of a plant form leading to branches, but is always comprised of a simple four-vaulted space (Chahar-Taqi) with two chambers on either side. In contrast to this repeated symmetry, attached buildings to the main passage are very diverse including different kinds of governmental, commercial, religious, educational and service buildings. However, the commercial buildings are considered to be the essential part of the bazaar, and have been introduced thoroughly in the two Volumes of the Ganj-Nameh. Buildings like caravanserais, both urban and countryside, bathhouses, cisterns, mills, both water and wind mills, ice-houses, ‘chapar-khaneh’s (postal services) and so on that served people in their everyday life were essential components in Iranian civic life during last centuries. Because of their sophisticated architecture, countryside caravanserais and bathhouses attracted the attention of scholars. Two volumes of the Ganj-Nameh are dedicated to these building types. The seventeenth volume is dedicated to countryside caravanserais and the eighteenth volume introduces the historic bathhouses of Iran. Numerous books have been written about caravanserais, introducing almost every existing specimen. The caravanserais introduced in this volume represent a mere handful of the multitude of caravanserais scattered across this country. These twenty-two caravanserais date back to Safavid and Qajar times, the oldest being probably anterior to the reign of Shah Abbas the Great. The present volume, therefore, does not represent all types of caravanserais built in different periods; however, its detailed plans, ample illustrations and extensive architectural explanations fully describe the prevailing types of caravanserais, paving the way for a deeper, more accurate, understanding of the architecture of Iranian caravanserais As mentioned, the above volume focuses on countryside caravanserais. Urban caravanserais, which often occur in combination with bazaars, are introduced in the ninth and tenth Volumes of the Ganj-Nameh, titled Bazaar Buildings, alongside other auxiliary bazaar buildings. Built beside desert roads, countryside caravanserais bear essential differences with urban ones as regards their architectural features, spatial organisation, function and environment; hence, these two types of caravanserais should not be confused. Houses have always existed as part of human habitation, reflecting their culture and beliefs. No building better illustrates architecture as a response to the physical needs and spiritual desires of man than a house. Therefore, houses are unique entities in the context of cultural studies, or in terms of space creation and architecture of any ethnic group. They are also significant components of the history of architectural development. Despite this significance, information on house architecture is truly limited. This negligence is also present in architecture books. Fortunately, though, five volumes of the series introduce 135 houses in 25 cities: vol. I: 19 mansions in Kashan, vol. IV: 21 mansions in Esfahan, vol. XIV: 24 houses in Yazd and finally volumes XV and XVI also introduce traditional houses of 22 other cities, totalling 71 houses. Houses often lack precise construction dates. However, most of the houses presented in these five volumes can be estimated to be built in the 19th to the early-20th century, which is contemporary with the Qajar rule in Iran. A few may belong to before this era, especially Safavid period (16th and 17th centuries), as well as, some of them may be constructed during the early Pahlavi period (mid-20th century). Therefore, this collection of houses is, in fact, reflective of house architecture during the Qajar era, and highlights the tastes and trends in space creation and house design during the transformation period of Iranian architecture. Scrutinising the collection of houses presented in these five volumes reveals some essential connections and similarities beyond the differences in the initial encounter. It is as though they all speak the same word although in different forms, in different regions and cities which have their own specific conditions and characteristics. They are all the same in their principal essence, and the differences are in form and according to circumstances. This is like the common language of people across regions that varies according to their different conditions and preferences, and each form is called a dialect. As the defined set of words and certain rules of combination and word order in any language, there are defined sub-spaces in Iranian architecture, and clear rules governing their connections and compositions. Different architectural form of houses in different cities can be likened to dialects or branches of a main language, which is composed of intended yet limited changes in the form of sub-spaces or their combinations. These changes, however, do not cut the connection with the main language, but rather reorganise it according to new conditions and preferences. Volumes 19 and 20 of the series introduce the most significant among extant gardens and palaces of Iran. A sum of 33 gardens and palaces, plus one major ensemble comprising many buildings, are introduced in these two volumes. It is true that palaces and gardens are two different types of construction, and distinct examples of both types have remained. However, since palaces are usually accompanied by gardens, there are also many examples that are simultaneously a palace and a garden. If we take no notice of the original foundations of some of the introduced works presented here, however, most of the extant examples date from the 17th to the 20th centuries. The earlier examples have changed through centuries to match a figure according to the tastes of the time. The third volume of the series introduces religious buildings of Tehran, and is unique among other volumes in that it introduces several types of buildings. This is because the present volume was the first of the series to take shape in view of the 200th anniversary of Tehran’s adoption as capital. However, when the layout of the rest of the series was finalized, owing to the particular status of historic buildings of Tehran and the benefits the publication of this book was judged to bear, it was decided not to upset the present composition. The truth is that historic works (religious buildings in particular) are actually lost amid the turmoil of Greater Tehran, and that Tehran today appears as a rootless city with no particular sense of identity. The first outcome of the publication of this book can be to endow Tehran with a religio-historic prestige and restore its rightfulness as a city bearing a time-honoured historic past. Obviously, this book does not include all the religious buildings of Tehran, but the compilation of the most important among them within a single volume will show that Tehran boasts a varied and valuable collection of historic buildings ranging from mosques and madrasas to mausoleums, emamzadehs, and tekiehs, many of which remain unattended amid the large and small buildings of contemporary Tehran. https://soffeh.sbu.ac.ir/article_107121_a5ae1a2fc31aaf2fe03d88f383b120f3.pdf