Comparative Analysis of Proportions and Ornaments of the Entrance of Houses from the Qajar and Pahlavi Eras in Dezful
Subject Areas : مطالعات محله در شهرهای ایرانی اسلامی
1 - Associate Professor, Department of Architecture, Jundishapur Dezful University of Technology, Dezful, Iran.
Keywords: Urban landscape, Dezful, golden ratio, Gestalt.,
Abstract :
Comparative Analysis of Proportions and Ornaments of the Entrance of Houses from the Qajar and Pahlavi Eras in Dezful
Behzad Vasigh*
Studying the facade provides information about aesthetic dimensions and its function. The facades of the Dezful texture have a special place due to the use of Xowoon. With the change in the way of urban structure during the Pahlavi era, the Myaneh texture was formed alongside the historical texture. This research attempts to compare the Geometric-Gestalt comparison of Xowoon in the facades of these periods. The research method is geometric analysis of the facades of houses from the Qajar and Pahlavi eras in Dezful. The information is based on field observation as well as documentary-library studies. The results show that the geometric proportion in the facades of houses had a different approach in the two periods. The Xowoon in both periods use similar Gestalt principles. Therefore, the facades of the Myaneh period, despite their differences with the historical period, are a continuation of the aesthetics of the historical period.
Keywords: Urban landscape, Dezful, golden ratio, Gestalt.
Introduction
The historical buildings of Iran have diversified according to climate, culture, or construction technologies. The entrance is one of the elements that has a special identity in every architecture, and by studying its plan and the proportion of the doorway, this element can be studied. The facade of the house in north of Khuzestan, both in terms of its structure and its arrays, has a different form and, unlike the central plateau areas, has many decorations. Brick is a tool for making decorations in the architecture of Dezful, and this type of brickwork is called Xowoonchini. In this research, the aesthetic values of the art of Xowoonchini and the proportions of the facade are discussed based on geometric and Gestalt analysis. The purpose of this research is to make a comparative comparison of the facades of historical Qajar and Pahlavi houses. Therefore, the definition of the golden proportions has been discussed based on the degree of matching of the selected samples. the question is "how proportions have been used in the design of the facades of traditional and myaneh houses in Dezful? One of the methods of examining proportions is to use the golden proportion measure. The golden proportions, which are related to the numbers and the square, have been used in historical and Islamic monuments in Iran; therefore, they are called Islamic-Iranian proportions.
Research Method
The method of conducting this research is descriptive-analytical of the output data from the input size calculations and geometric analysis of the facades of historical houses in Dezful. The works studied are located in the neighborhoods of Meyandareh, Qaleh, Bazaar, Loryan, Moghaddasyan, Siahposhan, Poladyan, Pirnazar, Masjed and Shah Rokn-o-din, as well as in the myaneh context section in the neighborhoods of Kalantryan, Kharatan and Sakyan, which are equivalent to eighty-five works. In selecting the case study, houses were selected that had intact facades and external walls and were also considered to have historical value by the Department of Cultural Heritage, Tourism and Handicrafts of Dezful. Information was obtained by photography and taking facades and decorations of the external walls, as well as library studies.
Findings
The golden ratio in the length and height of the facades of the houses has been examined. If the difference in the proportions of the facades of these houses is seen with the golden ratio, it is known that most of these facades were designed close to this ratio. In the Myaneh period or buildings of the Pahlavi period, geometric measurements can be used. In the general view of the houses of the Myaneh, some elements such as the Kaniseh have been omitted. The proportions of the facade in these houses are also in the range of 1.618 to 1.73. By comparing these two periods, it can be seen that the golden ratio was used in the historical period and the difference in the facade numbers with this ratio is significant in the Myaneh. In some houses, the proportions of the facade and the entrance are the same or very close, which is a sign of observing proportion in all components of the facade. In other words, the overall proportion of the facade is induced by raising and lowering and the amount of decorations in the facade of the entrance. The presence of two different numbers in the proportions of the facade of the historical and Myaneh houses indicate a break in the proportion of the facade between these periods. Despite the difference in the size of the piece or the breaks that occur in the facade due to the rotation of the passage. the proportions are mainly constant in the facade of the houses. The purpose of the Gestalt study is to identify visual proportions in addition to numerical proportions. It is observed that the only element of "completion" is not seen in some of these decorations. Consequently, where the xowoonchini did not use complex texture; the element of the relationship between form and background is not seen. This issue is seen in the xowoonchini of the myaneh Texture. However, due to the decrease in the diversity of xowoonchini in this period, the absence of the elements of completion, the relationship between form and ground, and overlapping is more prominent in the Myaneh period.
Conclusion
Historical facades are designed based on the principles of aesthetics, the function of the building, the intentions of the builders, and the cultural structures of the society. Meanwhile, houses can be more subject to diversity than other uses due to individual ownership. However, what is known as the historical architecture of Iran indicates an aesthetic continuity in the generalities of this architecture. Historical houses and the Myaneh period of Dezful in this research, with the aim of knowing to what extent the continuity of the past aesthetic tradition is seen in the contemporary era. A point that is received from other facade elements and determines the importance of using golden elements is that the ratio of length to height of the facade in these buildings does not follow a meaningful range, and each owner has determined the organization of the building based on his own finances and conditions; However, in the houses of the historical texture of Dezful, despite the expression of personal interests, the same principles can be expressed. In the houses of the myaneh texture; the gradual departure from the principles of traditional aesthetics has caused the only visible ratio to be the square ratio. The use of geometries and golden ratios decreased in the Pahlavi period, and mainly the equality of length and width replaced the previous rules. In the historical period, all the elements of Gestalt can be observed in the images, which is due to the use of xowoons. In the myaneh period, because less complex knots were used in Xowoonchini and mainly the artistic aspect of xowoon was weakened, the presence of the Gestalt elements of the form-ground relationship and integration also decreased. In general, the answer to the research question can be understood as follows: The perception of geometric proportion in the doorway as part of the facade, the xowoonchini decorations as an identity element and the facade of the entire external wall of the building, is seen as its urban landscape, which in the Qajar and Pahlavi periods, the geometric proportion of the doorway exists and the urban landscape is also observed, but in the decorations, a different approach to proportions arises in the Pahlavi period. What highlights the cultural aspect of these proportions is the continuity in maintaining the ratio between the size of the doorway to the facade and also the lintels in accordance with each other. In other words, despite the difference in the ratio number between the historical and myaneh periods, the component of continuity itself indicates continuity in each period despite the change in aesthetic taste. This continuity itself is evidence of the continuity of architectural culture and aesthetics among the artists and people of Dezful.
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* Associate Professor, Department of Architecture, Jundishapur Dezful University of Technology, Dezful, Iran.
vasiq@jsu.ac.ir
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