2026-07-17T00:34:05+03:30 http://mmi.aui.ac.ir/browse.php?mag_id=1&slc_lang=fa&sid=1

1-236 2026-07-17 10.1002

Journal of Conservation and Architecture in Iran mmi 2345-3850 2538-2624 10.52547/mmi 2015 4 8 ali shahabi nejad a.shahabinejad@aui.ac.ir reza aboie rabouei@yahoo.com mahmoud ghalenoei m.ghalehnoee@aui.ac.ir farhang mozafar f.mozafar@iust.ac.ir 2015 3 01 1 18 http://mmi.aui.ac.ir/article-1-236-en.pdf

1-159 2026-07-17 10.1002

Journal of Conservation and Architecture in Iran mmi 2345-3850 2538-2624 10.52547/mmi 2015 4 8 amir-Hossein Karimy ahkarimy@gmail.com Parviz Holakooei parvizholakooei@gmail.com Micro-Raman spectroscopy is recently advocated to be used for the identification of organic mediums of paintings although it is mainly used for identifying artists’ pigments. The current paper presents an effort for estimating the feasibility of micro-Raman spectroscopy for identifying Persian binding mediums used in historical paintings. To do so, samples were prepared in two main groups based on previous studies and the most popular Persian binding mediums i.e., pure binding mediums and binding mediums mixed with red lead. Pure samples were themselves divided in three groups of carbohydrates, proteins and drying oils and were studied in 800-1800 cm-1 and 2500-3300 cm-1 regions. Results showed that micro-Raman spectroscopy can be more efficient in 2500-3500 cm-1 zone as most of pigments exhibit no Raman signal in this region. Moreover, the Raman spectrum of sarcocolla gum is provided in this article for the first time. This paper strongly suggests micro-Raman spectroscopy for identifying binding mediums used in Persian paintings. Persian painting Binding medium micro-Raman spectroscopy pigments 2015 3 01 19 32 http://mmi.aui.ac.ir/article-1-159-en.pdf

1-49 2026-07-17 10.1002

Journal of Conservation and Architecture in Iran mmi 2345-3850 2538-2624 10.52547/mmi 2015 4 8 Ahmad Salehi Kakhaki Salehi.k.a@aui.ac.ir shadabeh azizpour Shadab_az@yahoo.com afrooz rahimi afroozariya@yahoo.com fatemeh bank fatima.bank@yahoo.com Abstract The Seljuk period is one of the most brilliant periods in the history of Iran architectural art. Many instances of such architectural works can be found in Isfahan, the political and cultural capital of Iran. Following the political and religious developments in capital, Ardestan considered as one major active center. This led to some changes in Jame Mosque of Ardestan over the time. Jame Mosque of Ardestan is one of the architectural masterpieces of Iran that has been experienced extensive changes during its life. The main objective of this study is to review Jame Mosque of Ardestan. This study analyzes and reviews the formation process of this mosque from the initial state to the present day. Interpretive-Historical research method was used to conduct this study using historical texts as well as contrastive and comparative analysis of related historical buildings. Therefore, this study is mainly based on providing documentaries of a journalistic nature and field studies. Reflection on opinions of researchers and extension of their view to existing building and eventually completion of prior information provided valuable conclusions regarding clearer building developments in different periods. Therefore, the ambiguity of historical layers is largely reduced in this study (parts of which have been ignored so far). Moreover, this study considers the space factor ( this factor has not been considered in most resources) to help understanding of the building formation process. Jame Mosque of Ardestan mosque historical era inscriptions and paintings space and body 2015 3 01 33 46 http://mmi.aui.ac.ir/article-1-49-en.pdf

1-235 2026-07-17 10.1002

Journal of Conservation and Architecture in Iran mmi 2345-3850 2538-2624 10.52547/mmi 2015 4 8 alireza koochakzaei Alireza.k.1989@gmail.com mohsen mohamadi mohsen.mohammadi@aui.ac.ir hamid farahmand farahmandhamid@gmail.com 2015 3 01 47 60 http://mmi.aui.ac.ir/article-1-235-en.pdf

1-172 2026-07-17 10.1002

Journal of Conservation and Architecture in Iran mmi 2345-3850 2538-2624 10.52547/mmi 2015 4 8 Abbasali Izadi aizadi@ut.ac.ir Alireza Fazel fazel_alireza@ut.ac.ir Ramtin Khalatbari khalatbari.ra@ut.ac.ir Sara Akoochekian Saraakoochekian@ut.ac.ir By introducing new digital fabrication techniques and robotic fabrication in the 20th century, architects were encouraged to use innovative materials and novel tools to solve problems not only in design, but also in construction. Robots allow architects to design a more complex machining process for on-site fabricating work, but they were very costly and complicated as well. Because of rapid development and adoption of Augmented Reality (AR) applications, there are numerous opportunities for integrating AR and improving conventional methods used in various fields such as architecture, engineering, construction, and facility management. This paper demonstrates a new method of digital fabrication based on “Augmented Reality” which can reduce construction cost using simple utilities, (digital camera, monitor and processor), as well as providing the ability of constructing free-form surfaces. All codes are developed in “Processing” scripting language and the form is developed in “Grasshopper”, a graphical algorithm editor integrated with “Rhino’s” 3-D modeling tools. Finally, the efficiency of this method is studied in two examples. Digital Fabrication Augmented Reality Virtual Reality- Robotic Construction Free Form Design 2015 3 01 61 74 http://mmi.aui.ac.ir/article-1-172-en.pdf

1-44 2026-07-17 10.1002

Journal of Conservation and Architecture in Iran mmi 2345-3850 2538-2624 10.52547/mmi 2015 4 8 mahmoud mohammadi m.mohammadi@aui.ac.ir zahra mahabadi zhrmhbdi@yahoo.com During the last decade, upon formation of the design-led planning approach, the necessity of simultaneous and interactive consideration of urban planning and design was proposed. Since organizing the physical form of the city is one of the main elements of urban design, the recognition of city's physical features and the design of the built form became a focus towards the elevation of the urban environment's quality. The implication of this paradigm shift in zoning, as the strongest planning executive tool, was the introduction of the transect approach in which, other physical elements of the built environment -as well as the land use- are taken into account. In Iran, all the efforts towards preparation of design-oriented urban development plans and realization of this quality-oriented approach are neutralized by the dominance of the conventional land use-led and quantity-oriented zoning approach. The present paper, aiming at explaining the concept of transect zoning and introducing it as an approach for Implementation of the design-led planning, applies the urban morphology analyses as an analytical method to determine transect zones and describes the defining elements of the zones according to local circumstances. Such defining elements of the zones can be prescribed for more appropriate and aware allocations on the basis of the objectives of the urban development plans. Finally, the transect zones of the study areas, in District 1 of Isfahan city, are determined on the basis of the above mentioned elements. Design-led Planning Approach Transect Approach Zoning Urban Morphology 2015 3 01 75 94 http://mmi.aui.ac.ir/article-1-44-en.pdf

1-204 2026-07-17 10.1002

Journal of Conservation and Architecture in Iran mmi 2345-3850 2538-2624 10.52547/mmi 2015 4 8 Razieh Labibzadeh r.labibzadeh@gmail.com abdolhamid noghrekar 1 2015 3 01 95 110 http://mmi.aui.ac.ir/article-1-204-en.pdf

1-126 2026-07-17 10.1002

Journal of Conservation and Architecture in Iran mmi 2345-3850 2538-2624 10.52547/mmi 2015 4 8 Somayeh Basiri saharbasiri@yahoo.com,s.basiri@aui.ac.ir Rasool Vatandoost arv@ysc-restauro.com Seyed Mohammad Amin Emami m.emami@aui.ac.ir Hosein Ahmadi h.ahmadi@aui.ac.ir Integrity is one of the fundamental moral and philosophic aspects of conservation and restoration of cultural heritage. Despite this concept has been discussed too much during the time, in different zone of cultural heritage, it still does not interpreted toward museums and museums works. However vagueness of this notion and diverse applications exacerbate more problems. So, it is important to recognize the hidden meanings of this concept and the position of “Integrity” in Historical process of conservation and then define this concept toward museum art works. This issue itself manifests that cannot be expected that what is known and explained as components of Integrity in the other parts of cultural heritages, could improve the quality of conservation of museum objects and enhance audience's understanding of the works. Accordingly, in this article that has been done in descriptive-analytical manner and with the purpose of explanation the Integrity in the field of museum works and recognition the Subdivision semantic of this concept. This issue based on review and analysis of documents, texts and data in three different zone such as “goals and mission of museums”, “Integrated Conservation Framework” and at the end “defining Integrity in other part of cultural heritage" and leads to extraction the affecting factors of integrity .Thus at the end with analysis the data that has been obtained from this three field and attention to the their common denominator, seven affecting factors of Integrity such as : “Spatial regularity”, “continuity of meanings”, “intactness”, “vitality”, “authenticity of materials”,” significance and buffer zone”, “environmental and social dynamics” presented .In order to achieve the correct understanding of integrity and as a result can explain this notion in museum. Explanation concept of Integrity museum works affecting factors. 2015 3 01 111 131 http://mmi.aui.ac.ir/article-1-126-en.pdf