year 13, Issue 36 (12-2023)                   mmi 2023, 13(36): 67-78 | Back to browse issues page

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noghrekar S, sekhavat M, Zareihajiabadi F. Designing Ornaments in Iranian Architecture (Learning and Using Iranian Architecture ornaments). mmi 2023; 13 (36) : 5
1- School of Architecture and Urban Design, ,
2- , Islamic Azad University, Ahvaz, Iran
3- IUST University, Tehran, Iran
Abstract:   (1620 Views)
Learning from the values of traditional Iranian architecture and architectural ornamentation is a way to improve the quality of our today's architecture. The first step of this way is to understand the appropriate method of reading architecture and architectural ornamentation. In recent decades there are various studies on Iranian architectural decorations with different methodologies and approaches. This study aims to seek a way of reading ornamentation in Iranian architecture through content analysis of existing studies. So, the main question is: How can we achieve a model for reading, learning, and creating ornamentation in Iranian architecture? In this qualitative research, we have followed an interpretive approach and used a content analysis method to analyze data obtained from a literature review. The results indicate that there are three sources for reading ornamentation: 1. through the examination of the works themselves, 2. the personality of the traditional craftsmen, and 3. reading non-architectural documents such as cultural sources or literature. There are also eight perspectives to consider ornamentation: 1. historical evolution, 2. ornamentation in a particular type of architecture (mosque, house, bazaar), 3. technical and restoration, 4. semantic-philosophical, 5. materials, 6. colors, 7. patterns, and 8. inscriptions. So, the model of reading and creating Iranian architectural ornamentation includes four layers; 1. material, 2. color, 3. pattern, and 4. inscription. All the layers together as a system create quality, beauty, and meaning for a place. Literature review shows that few studies have addressed all four of these components in an integrated manner. However, the spatial quality of Iranian architecture is the result of the synergy of all four components. This research suggests a comprehensive method of recognizing and using the four ornamentations by addressing both formal and semantic aspects.
Article number: 5
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