Semnan UniversityJournal of Applied Arts2252-02604220240822Critical Review of Local Patterns of Urban Planning in the Laws and Approvals of Iran Using the Opinions and Ideas of Max WeberCritical Review of Local Patterns of Urban Planning in the Laws and Approvals of Iran Using the Opinions and Ideas of Max Weber524996810.22075/aaj.2024.32982.1198FASeyed HadiHosseiniPh.D Student, Department of Urban Planning, Faculty of Urban Planning, Fine Arts Campus, University of Tehran, Tehran, Iran.Seyed Mohammad HosseinMousavipourAssistant Professor, Department of Islamic Studies, Faculty of Literature and Humanities, Kharazmi University, Tehran, Iran.Journal Article20240115After the revolution of 1979 and considering the Islamic nature of the revolution, policy makers have been trying to introduce local models based on the Iranian-Islamic lifestyle by extracting criteria from religious texts and the lifestyle of the Iranian people. These models were gradually included in the documents of the country and entered the laws related to the specialized fields of urban planning. The purpose of this research is to use Max Weber's method in the studies of urban societies and to benefit from the process of Weber's understanding method and to provide Ideal Types for connection between the specific and the general for the statistics of a specific scientific circle, in order to criticize the urban planning models presented in the laws, and from this point of view, it is distanced from Weber's view of the eastern settlements and by using Weber's method in the study of different cities, criticism of the production mechanisms of local patterns of the country's urban planning are discussed in the form of current laws. For this purpose, the strategies of 8 official documents of the country analyzed and evaluated using the method of critical discourse analysis and in the context of Weber's theories. The results of this research show that most of the urban planning models introduced in the country's official documents have little positive content, and few positive and proof cases do not have common definitions and proper scientific methodology. Also, most of the cases mentioned in the documents are general and tend to be relativistic and they cannot provide a coherent Ideal Types of the native model in question. Benefiting from Weber's method in historical sociological studies of Iranian cities can become a new horizon in providing reliable models for the growth and promotion of the country's urban planning knowledge.After the revolution of 1979 and considering the Islamic nature of the revolution, policy makers have been trying to introduce local models based on the Iranian-Islamic lifestyle by extracting criteria from religious texts and the lifestyle of the Iranian people. These models were gradually included in the documents of the country and entered the laws related to the specialized fields of urban planning. The purpose of this research is to use Max Weber's method in the studies of urban societies and to benefit from the process of Weber's understanding method and to provide Ideal Types for connection between the specific and the general for the statistics of a specific scientific circle, in order to criticize the urban planning models presented in the laws, and from this point of view, it is distanced from Weber's view of the eastern settlements and by using Weber's method in the study of different cities, criticism of the production mechanisms of local patterns of the country's urban planning are discussed in the form of current laws. For this purpose, the strategies of 8 official documents of the country analyzed and evaluated using the method of critical discourse analysis and in the context of Weber's theories. The results of this research show that most of the urban planning models introduced in the country's official documents have little positive content, and few positive and proof cases do not have common definitions and proper scientific methodology. Also, most of the cases mentioned in the documents are general and tend to be relativistic and they cannot provide a coherent Ideal Types of the native model in question. Benefiting from Weber's method in historical sociological studies of Iranian cities can become a new horizon in providing reliable models for the growth and promotion of the country's urban planning knowledge.https://aaj.semnan.ac.ir/article_9968_9de83e5997ea42e140cbddf83e92e73a.pdfSemnan UniversityJournal of Applied Arts2252-02604220240822Analytical Approach to the Gilded Silver Door of Chahār-Bāgh school of IsfahanAnalytical Approach to the Gilded Silver Door of Chahār-Bāgh school of Isfahan2538999610.22075/aaj.2025.34169.1243FASepidehGoodarzianMaster's Graduate, Department of Objects Conservation and Archaeometry, Faculty of Conservation and Restoration, Art University of Isfahan, Isfahan, Iran.HamidrezaBakhshandehfardAssociate Professor, Department of Objects Conservation and Archaeometry, Faculty of Conservation and Restoration, Art University of Isfahan, Isfahan, Iran.MohammadMortazaviAssistant Professor, Department of Objects Conservation and Archaeometry, Faculty of Conservation and Restoration, Art University of Isfahan, Isfahan, Iran.Journal Article20240518Chahār-Bāgh school in Isfahan stands as one of the artistic masterpieces left from the Safavid period, employing a variety of arts in its construction. One of the important features of this historic building is its door of the portal, which adds to the beauty and grandeur of the school. Studies conducted on this artifact mostly include historical research, examination of patterns and epigraphy, and so far, the results of a technical and scientific study regarding it have not been published. The aim of this research is to identify the metal door facings of the portal of schools, its construction method, and also to study the gilding technique used in decorating parts of its surface. In this regard, the main question of this research is: what material was used to make the metal covering of the Chahār-Bāgh School door in Isfahan, by what method was it produced, and in what manner was the gilding of its decorative parts carried out?<br />For this purpose, a detailed examination of the surface of the door was carried out on-site with further magnifications. Laboratory studies were also conducted on selected samples using optical microscopy (OM), field emission scanning electron microscopy equipped with energy-dispersive X-ray spectroscopy (FESEM-EDS). The results showed that the door facings are made of almost pure silver metal. Very small amounts of copper and lead, around 1 wt%, were also identified in the composition of the silver sheet. This small amount facilitates hammering and sheet metal fabrication. Moreover, oxide inclusions in the silver sheet was identified in the EDS analysis. Such inclusions imply using heat treatment (annealing) during the production of metal sheet. In other word, silver sheets were manufacture by an alternative hammering and annealing process to achieve the desired thickness. In addition, the presence of mercury in the gold layer and also in the interface of gold layer and silver substrate indicated that the golden decorations on various parts of the silver facings were executed using amalgam gilding, similar to the technique used for gilding in the Masjid-i Shāh (Masjid-i Imām) of Isfahan, another example belonging to the Safavid period.Chahār-Bāgh school in Isfahan stands as one of the artistic masterpieces left from the Safavid period, employing a variety of arts in its construction. One of the important features of this historic building is its door of the portal, which adds to the beauty and grandeur of the school. Studies conducted on this artifact mostly include historical research, examination of patterns and epigraphy, and so far, the results of a technical and scientific study regarding it have not been published. The aim of this research is to identify the metal door facings of the portal of schools, its construction method, and also to study the gilding technique used in decorating parts of its surface. In this regard, the main question of this research is: what material was used to make the metal covering of the Chahār-Bāgh School door in Isfahan, by what method was it produced, and in what manner was the gilding of its decorative parts carried out?<br />For this purpose, a detailed examination of the surface of the door was carried out on-site with further magnifications. Laboratory studies were also conducted on selected samples using optical microscopy (OM), field emission scanning electron microscopy equipped with energy-dispersive X-ray spectroscopy (FESEM-EDS). The results showed that the door facings are made of almost pure silver metal. Very small amounts of copper and lead, around 1 wt%, were also identified in the composition of the silver sheet. This small amount facilitates hammering and sheet metal fabrication. Moreover, oxide inclusions in the silver sheet was identified in the EDS analysis. Such inclusions imply using heat treatment (annealing) during the production of metal sheet. In other word, silver sheets were manufacture by an alternative hammering and annealing process to achieve the desired thickness. In addition, the presence of mercury in the gold layer and also in the interface of gold layer and silver substrate indicated that the golden decorations on various parts of the silver facings were executed using amalgam gilding, similar to the technique used for gilding in the Masjid-i Shāh (Masjid-i Imām) of Isfahan, another example belonging to the Safavid period.https://aaj.semnan.ac.ir/article_9996_c2f7c68ccdb40de8125a51561ae7023a.pdfSemnan UniversityJournal of Applied Arts2252-02604220240822Classification and Typology of Designs and Motifs in the Qavarebori Decoration of the Buildings Built During the Qajar EraClassification and Typology of Designs and Motifs in the Qavarebori Decoration of the Buildings Built During the Qajar Era3950999810.22075/aaj.2024.34437.1258FABaharehTaghavinejadAssociate Professor, Department of Handicrafts, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran.SedighehMirsalehianMaster's Graduate, Group of Crafts, Faculty of Crafts School, Art University of Isfahan,
Isfahan, Iran.Journal Article20240614Identifying and classifying traditional motifs in all kinds of works of art and Islamic architectural arrays is one of the most important ways to preserve, protect and revive forgotten arts. One of these traditional arts is making and decorating doors, windows, and sashes with the technique of the Qavarebori of wood, the first examples of which are attributed to the buildings of the Zandiyeh period, but the best examples of this art can be seen in Qajar period. Buildings such as palaces and other royal and aristocratic buildings and luxurious houses. The elegance and diversity of motifs used in the design and construction of these works are the most important and obvious characteristics of this traditional art, which shows the high skill and experience of the masters of this profession in the mentioned period. This article is done with a descriptive-analytical method and is mainly based on field research and library studies, and its purpose is the typology and classification of motifs used in the Qavareboris of Qajar houses. In this research, an attempt is made to find out what are the types of motifs in the decorations of Qajar houses and which types are more useful. The studies showed that the motifs used in this technique can be classified into 5 general groups, which are mostly derived from abstract plant motifs. Paisley-like forms in different types (single, multiple, twin) are considered the most prominent and common motifs in the Qavareboris. In addition, geometrical shapes and some knots, plant motifs (flowers), birds and insects (peacocks and butterflies), and vase motifs are among the other designs that are used. The arrangement of the available colours and the way of repeating and combining them also add to the variety of designs available in the Qavareboris.Identifying and classifying traditional motifs in all kinds of works of art and Islamic architectural arrays is one of the most important ways to preserve, protect and revive forgotten arts. One of these traditional arts is making and decorating doors, windows, and sashes with the technique of the Qavarebori of wood, the first examples of which are attributed to the buildings of the Zandiyeh period, but the best examples of this art can be seen in Qajar period. Buildings such as palaces and other royal and aristocratic buildings and luxurious houses. The elegance and diversity of motifs used in the design and construction of these works are the most important and obvious characteristics of this traditional art, which shows the high skill and experience of the masters of this profession in the mentioned period. This article is done with a descriptive-analytical method and is mainly based on field research and library studies, and its purpose is the typology and classification of motifs used in the Qavareboris of Qajar houses. In this research, an attempt is made to find out what are the types of motifs in the decorations of Qajar houses and which types are more useful. The studies showed that the motifs used in this technique can be classified into 5 general groups, which are mostly derived from abstract plant motifs. Paisley-like forms in different types (single, multiple, twin) are considered the most prominent and common motifs in the Qavareboris. In addition, geometrical shapes and some knots, plant motifs (flowers), birds and insects (peacocks and butterflies), and vase motifs are among the other designs that are used. The arrangement of the available colours and the way of repeating and combining them also add to the variety of designs available in the Qavareboris.https://aaj.semnan.ac.ir/article_9998_267f8a9d86bb847818379368fc48d4a8.pdfSemnan UniversityJournal of Applied Arts2252-02604220240822The Impact of Climate on Contextual Architecture in Rural Architecture of Mountainous Regions (Case Study: Ghaleh Bala Village, Shahroud)The Impact of Climate on Contextual Architecture in Rural Architecture of Mountainous Regions (Case Study: Ghaleh Bala Village, Shahroud)5160828210.22075/aaj.2021.21428.1097FASaeidMoghimiAssistant Professor, Department of Architectural Engineering, Faculty of Art, Architecture and Urban Planning, Semnan University, Semnan, Iran.0000-0003-3757-8095LeilaSabriMaster's Degree Graduate, Department of Architecture, Faculty of Fine Arts, University of Tehran, Tehran, Iran.Journal Article20200922One of the critical contemporary debates in architecture is the concept of contextual design, with climatic contextualism recognized as a fundamental strategy for achieving sustainability. Climate, as a dominant environmental factor, profoundly shapes the formation and evolution of rural settlements, especially in Iran’s cold and mountainous regions. Vernacular architecture in such areas represents a body of accumulated local wisdom that responds directly to harsh environmental conditions, balancing energy efficiency, comfort, and effective use of resources over centuries. This research aims to examine the measurable impact of climate on contextual architecture within Iran’s mountainous villages, focusing on Ghaleh Bala in Shahroud as a representative and illustrative case study. The central research questions are: How do distinct climatic factors, such as temperature variation, solar orientation, cold winds, and precipitation, influence the development of contextual architecture in cold mountain environments? What are the defining architectural features that emerge in response to these climatic constraints? And to what extent have these characteristics been realized and adapted in the architecture of Ghaleh Bala village? A qualitative, analytical-descriptive methodology guides this work, drawing on field surveys, direct observation, photographic documentation, and literature review. The study evaluates both the morphological structure of Ghaleh Bala’s urban fabric and the design details of its individual buildings, highlighting the specific climate-adaptive strategies utilized. The findings reveal that Ghaleh Bala’s vernacular architecture is deeply and inseparably intertwined with its environment. The village has evolved a compact and stepped urban fabric, which minimizes exposure to cold winds and maximizes solar gain in winter months. Buildings are closely arranged to reduce thermal bridges, while the main streets and alleys follow topographical contours, providing shelter and optimizing sun exposure. At the building scale, thick stone and mud-brick walls are employed for their high thermal mass, absorbing heat during the day and releasing it at night to stabilize interior temperatures. Window and door openings are intentionally minimized, lowering heat loss and enhancing thermal comfort. Flat roofs, constructed with materials such as timber and earth, act as insulating layers, while their sun-facing surfaces aid in snowmelt and further energy conservation. Additionally, living spaces feature compact plans and low ceiling heights, which help retain heat and limit the need for fuels during the cold months of the year. These architectural solutions are rooted in local materials and traditional techniques, demonstrating the remarkable benefits of building with regional resources and indigenous knowledge. The stepped configuration of the village not only respects the mountain slope but also enhances communal resilience against the environment by enabling shared walls and reducing external exposure. This careful integration with the landscape also strengthens visual harmony, cultural identity, and long-term sustainability. In conclusion, the study affirms that the architecture of Ghaleh Bala provides an exemplary and practical model of climate-responsive design. By internalizing the principles of climatic contextualism at both the macro level (village layout) and micro level (building details), the community has achieved patterns of living that ensure energy efficiency and environmental comfort. The lessons embedded in Ghaleh Bala’s vernacular architecture offer valuable guidance for contemporary architectural practice and innovation, particularly in regions that share similar climatic challenges and sustainability goals.One of the critical contemporary debates in architecture is the concept of contextual design, with climatic contextualism recognized as a fundamental strategy for achieving sustainability. Climate, as a dominant environmental factor, profoundly shapes the formation and evolution of rural settlements, especially in Iran’s cold and mountainous regions. Vernacular architecture in such areas represents a body of accumulated local wisdom that responds directly to harsh environmental conditions, balancing energy efficiency, comfort, and effective use of resources over centuries. This research aims to examine the measurable impact of climate on contextual architecture within Iran’s mountainous villages, focusing on Ghaleh Bala in Shahroud as a representative and illustrative case study. The central research questions are: How do distinct climatic factors, such as temperature variation, solar orientation, cold winds, and precipitation, influence the development of contextual architecture in cold mountain environments? What are the defining architectural features that emerge in response to these climatic constraints? And to what extent have these characteristics been realized and adapted in the architecture of Ghaleh Bala village? A qualitative, analytical-descriptive methodology guides this work, drawing on field surveys, direct observation, photographic documentation, and literature review. The study evaluates both the morphological structure of Ghaleh Bala’s urban fabric and the design details of its individual buildings, highlighting the specific climate-adaptive strategies utilized. The findings reveal that Ghaleh Bala’s vernacular architecture is deeply and inseparably intertwined with its environment. The village has evolved a compact and stepped urban fabric, which minimizes exposure to cold winds and maximizes solar gain in winter months. Buildings are closely arranged to reduce thermal bridges, while the main streets and alleys follow topographical contours, providing shelter and optimizing sun exposure. At the building scale, thick stone and mud-brick walls are employed for their high thermal mass, absorbing heat during the day and releasing it at night to stabilize interior temperatures. Window and door openings are intentionally minimized, lowering heat loss and enhancing thermal comfort. Flat roofs, constructed with materials such as timber and earth, act as insulating layers, while their sun-facing surfaces aid in snowmelt and further energy conservation. Additionally, living spaces feature compact plans and low ceiling heights, which help retain heat and limit the need for fuels during the cold months of the year. These architectural solutions are rooted in local materials and traditional techniques, demonstrating the remarkable benefits of building with regional resources and indigenous knowledge. The stepped configuration of the village not only respects the mountain slope but also enhances communal resilience against the environment by enabling shared walls and reducing external exposure. This careful integration with the landscape also strengthens visual harmony, cultural identity, and long-term sustainability. In conclusion, the study affirms that the architecture of Ghaleh Bala provides an exemplary and practical model of climate-responsive design. By internalizing the principles of climatic contextualism at both the macro level (village layout) and micro level (building details), the community has achieved patterns of living that ensure energy efficiency and environmental comfort. The lessons embedded in Ghaleh Bala’s vernacular architecture offer valuable guidance for contemporary architectural practice and innovation, particularly in regions that share similar climatic challenges and sustainability goals.https://aaj.semnan.ac.ir/article_8282_03eae5aa0e5cd39bc943a26e08fc336e.pdfSemnan UniversityJournal of Applied Arts2252-02604220240822Investigating Safavid Plasterworks in Isfahan’s Historic MonumentsInvestigating Safavid Plasterworks in Isfahan’s Historic Monuments61701000210.22075/aaj.2021.107.0FAMaryamAsgari VesharehMaster's Student, Department of Archaeology, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran.Seyyed RasoolMousavi HajiProfessor, Department of Archaeology, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran.MasoumehAsgari VesharehMaster's Degree Graduate, Department of Painting, Faculty of Art and Architecture, Central Tehran Azad University, Tehran, Iran.Journal Article20201025As additive element, architectural ornaments are extraordinary regarded in Islamic architecture. Of architectural materials, plaster is highly considered in decorative arts, in addition to its static potential. Especial performance in every given periodwas effective in the art formation, flourishment, and decorative richness.<br />Plasterworks entered to new phase and styles in Safavid period, accordingly there can be seen cubical and semi cubical muqarnas with arabesque designs and various plaster scallops that decorated monuments such as AaliQӓpü, HashtBёhёsht, and ChehelSӧtün. New styles included Tongbiri (A style of Plasterwork: Drag the Stoup on plaster and paint it), Koshtebori (A style of Plasterwork: Creation of a shallow plaster and paint it), painting on plaster, coarsen plasterwork (calligraphic plasterwork or plaster epigraphy) are among decorative plasterwork techniques obvious in different parts of these monuments. The most important question of this research is: Was the Safavid plastering tradition a continuation of past traditions or did they invent new methods? Hypothesis: The Safavids, considering past traditions, addressed the practicality of plastering in addition to its beauty. The conclusionsof surveys on remained plasterworks testify that Safavid artists were well aware of functional aspects of plasterworks in addition to their decorative aspects. For example, geometrical designs of the plaster decorations of AaliQapu were applied to smoothingvocal reflections of musical instruments; furthermore to aesthetic and creative manifestations of the artists.<br />The authors attempt to investigate and describe common techniques in safavid plasterworks by studying remained plasterworks of Isfahan outlying monuments such as AaliQӓpü, HashtBёhёsht, Chehel Sӧtün, and Shah Mosque while researching motifs to understand their meaning.As additive element, architectural ornaments are extraordinary regarded in Islamic architecture. Of architectural materials, plaster is highly considered in decorative arts, in addition to its static potential. Especial performance in every given periodwas effective in the art formation, flourishment, and decorative richness.<br />Plasterworks entered to new phase and styles in Safavid period, accordingly there can be seen cubical and semi cubical muqarnas with arabesque designs and various plaster scallops that decorated monuments such as AaliQӓpü, HashtBёhёsht, and ChehelSӧtün. New styles included Tongbiri (A style of Plasterwork: Drag the Stoup on plaster and paint it), Koshtebori (A style of Plasterwork: Creation of a shallow plaster and paint it), painting on plaster, coarsen plasterwork (calligraphic plasterwork or plaster epigraphy) are among decorative plasterwork techniques obvious in different parts of these monuments. The most important question of this research is: Was the Safavid plastering tradition a continuation of past traditions or did they invent new methods? Hypothesis: The Safavids, considering past traditions, addressed the practicality of plastering in addition to its beauty. The conclusionsof surveys on remained plasterworks testify that Safavid artists were well aware of functional aspects of plasterworks in addition to their decorative aspects. For example, geometrical designs of the plaster decorations of AaliQapu were applied to smoothingvocal reflections of musical instruments; furthermore to aesthetic and creative manifestations of the artists.<br />The authors attempt to investigate and describe common techniques in safavid plasterworks by studying remained plasterworks of Isfahan outlying monuments such as AaliQӓpü, HashtBёhёsht, Chehel Sӧtün, and Shah Mosque while researching motifs to understand their meaning.https://aaj.semnan.ac.ir/article_10002_d4ab64c1dcdc8832d28caae36a79cbdf.pdfSemnan UniversityJournal of Applied Arts2252-02604220240822Examining Gender Differences in Residents’ Perception of Safety Based on the Incivilities ThesisExamining Gender Differences in Residents’ Perception of Safety Based on the Incivilities Thesis71891001210.22075/aaj.2021.11484.1063FAHabibullahRamezanzadehInstructor, Department of Urban Engineering, Faculty of Arts, Semnan University, Semnan, Iran.Mohammad JavadMaghsoodi TilakiAssistant Professor, Department of Urban Planning, Faculty of Art and Architecture, Payam Noor University, Tehran, Iran.Journal Article20200527The incivilities thesis posits that signs of incivilities increase fear of crime. Despite all the hoopla about the management of incivilities can make safer communities, the empirical literature on examining the indirect effect of the incivilities thesis is limited. Interventions require a better understanding of the neighbourhood correlates of both cognitive (perceived risk) and affective (fear of crime) responses to crime. This study examines the associations between disorder, perceived risk and fear of crime by considering gender as a control variable in a sample of 160 residents in Malaysia. The main research question is whether social disorders, both directly and indirectly through perceived risk, affect residents’ fear, and whether this effect differs between women and men? The results of structural equation modelling reveal that high disorder is positively associated with perceived risk and fear of crime. Likewise, perceived risk mediates the relationship between disorder and fear of crime. Consistent with prior research, women perceived higher levels of disorder, perceived risk and fear of crime. In addition, over time, the results provide empirical support for the initial classic theory, incivilities thesis. The incivilities thesis posits that signs of incivilities increase fear of crime. Despite all the hoopla about the management of incivilities can make safer communities, the empirical literature on examining the indirect effect of the incivilities thesis is limited. Interventions require a better understanding of the neighbourhood correlates of both cognitive (perceived risk) and affective (fear of crime) responses to crime. This study examines the associations between disorder, perceived risk and fear of crime by considering gender as a control variable in a sample of 160 residents in Malaysia. The main research question is whether social disorders, both directly and indirectly through perceived risk, affect residents’ fear, and whether this effect differs between women and men? The results of structural equation modelling reveal that high disorder is positively associated with perceived risk and fear of crime. Likewise, perceived risk mediates the relationship between disorder and fear of crime. Consistent with prior research, women perceived higher levels of disorder, perceived risk and fear of crime. In addition, over time, the results provide empirical support for the initial classic theory, incivilities thesis. https://aaj.semnan.ac.ir/article_10012_58a4cc9b830011753e650c0da84c411f.pdf