A Socio Cultural Attempt in Perceiving Urban Space: Chahar Bagh Street

Fereshteh Habib

Submitted to the Institute of Graduate Studies and Research in partial fulfillment of the requirements for the Degree of

PhD. of Architecture In Architecture

Eastern Mediterranean University October 2008, Gazimausa North Cyprus

Approval of the Institute of Graduate Studies and Research

_______________________________ Prof. Dr. Elvan Ylmaz Director

I certify that this thesis satisfies the requirements as a thesis for the degree of Doctor of Philosophy in Architecture.

________________________________ Assist. Prof. Dr. Munther Moh'd Chair, Department of Architecture

We certify that we have read this thesis and that in our opinion it is fully adequate in scope and quality as a thesis for the degree of Doctor of Philosophy in Architecture.

________________________________ Prof. Dr. Ibrahim Numan Supervisor

Examining Committee __________________________________________________________________ 1. Prof. Dr. Ibrahim Numan 2. Prof. Dr. Can M. Hersek 3. Assist. Prof. Dr. Ipek Akpinar ______________________________ ______________________________ ______________________________

ABSTRACT
This study interprets the urban space in respect of the role played by human perception of space and the impact, which social culture has on urban design and to communicate and analyses why modern-day cities lack identity and meaning and why the ancient cities still seem to be so alive. The main aim of this research at a macro level is to attain a strong theoretical basis through a multi-dimensional approach to the city. The method of analyzing and carrying out a critique of it at an applied level will clarify the impact which cultural factors have in the perception of urban space. The questions of the study are thus presented in line with this aims and objective, to present an original discussion. The methodology is based on hermeneutic method, because this study is searching and analyzing the design concepts of different eras to understand them in today's eyes. It is necessary to sum up the new solutions beyond existing models and ideas about urban space and to explore past experiences on important urban space such as the one in Iran. The second chapters contains the basic and conceptual definitions related to culture , urban space, and the role of culture in human understanding, as well as status of perception and culture in formation of the urban space. In Chapter three, as an example, Chahar Bagh Street has been introduced, because it possesses valuable traditional structure. These chapters analyze the theoretical concepts and viewpoints in order to make the required link between culture, perception and urban space and finally to understand the impact of culture on perceiving Chahar Bagh Street. Chapter four is an original discussion on impact of culture on perceiving Chahar Bagh Street as an Iranian urban space. As a conclusion ,cultural impacts creating symbolism was discussed as the base of perceiving the urban space.

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ZET
Bu alma, kentsel alan ve, insann alan kavramn alglayn sosyal kltrn kent tasarm zerindeki etkisi asndan incelemektedir.Ayn zamanda, modern kentlerin neden kimlik ve anlam fakiri olduunu ve antik kentlerin neden hala bu kadar canl durduunu incelemek iin gerekletirilmitir. Bu aratrmann makro dzeydeki esas amac, kente ok boyutlu yaklam yoluyla gl bir teorik temele ulamaktr. Analiz yntemi ve uygulamal dzeyde yrtlecek bir eletirel alma, kltrel etkenlerin kent kavramnn alglanna olan etkisini aa karacaktr.Birinci blmde genel kuram ve metodoloji zerinde durulmaktadr. Bylece, zgn bir tartma sunmak zere, aratrma konular belirtilen hedef ve amalarna parallel bir ekilde ortaya konmaktadr. Yntem hermeneutic metot esasna dayanmaktadr. nk bu aratrma, farkl alarn tasarm kavramlarn, onlara bugnn gzyle bakarak aratrmakta ve incelemektedir. Kent alan konusunda var olan modellerin ve fikirlerin tesinde yeni zmler aramak ve rnein ran gibi, nemli gemi deneyimleri kefetmek gerekmektedir. kinci blm kltr, kent alan ve kltrn insan anlay zerindeki etkileri ile kent alan oluturmada alglama durumu ve kltr ile ilgili temel ve kavramsal tanmlar iermektedir. nc blmde rnek olarak randa sfahanda Chahar Bagh Caddesi anlatlmaktadr, nk bu cadde deerli, geleneksel bir yap oluturmaktadr. Bu blmler kltr, alglama ve kent alan arasnda balantlar kurmak ve sonu olarak kltrn Chahar Bagh Caddesinin alglanna etkisini anlamak iin teorik kavramlar ve bak alarn incelemeketedir. Drdnc blm kltrn etkisinin Chahar Bagh Caddesinin bir ran kent alan olarak alglan hakknda zgn bir tartma sunmaktadr. Sonu olarak, sembolizmi yaratan kltrel etkilerin, kentsel alanlarn alglanmasnda bir zemin oluturduu tartlmtr.

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ACKNOWLEDGMENT
In this regard I would like to most thank and honor my supervisor, Prof. Dr. Ibrahim Numan, who, with his unlimited kindness helped me and my dear family who accompanied this period and always encouraged me, specially my dear father, also my dear mother who spend their life to educate and guide us, also my dear son, my dear sister and my brothers who encouraged me. All universities, faculties who helped me with my education; faculty of architecture, department of architecture of EMU, faculty of research and sciences, department of urban design ,faculty of post graduate student, department of urban planning of Islamic Azad university, faculty of architecture, department of architecture of Shahid Beheshti university (National University of Iran), who cleared my way with great interpretations, housing and city planning organization of Iran, my honorable jury members, whose direction in cultural scopes and whose opinions led me for better completion. And all friends whos their kindnesses and encouragement was my ways light.

TABLE OF CONTENT
ABSTRACT ............................................................................................................ III ZET....................................................................................................................... IV ACKNOWLEDGMENT .........................................................................................V LIST OF TABLES ............................................................................................... VII LIST OF FIGURES ............................................................................................ VIII CHAPTER I .............................................................................................................. 1 1.1 INTRODUCTION .................................................................................. 1 1.2 Aims, Objectives and limitations ......................................................... .4 1.3 Research Problem and Questions ......................................................... 9 1.4 Research Methodology.......................................................................... .9 CHAPTER II .......................................................................................................... 12 GENERAL CONCEPS AND DEFINITIONS ..................................................... 12 2.1 Culture .................................................................................................. 12 2.2 Perception ............................................................................................. 15 2.3 Urban Space.......................................................................................... 21 CHAPTER III ........................................................................................................ 39 BACK GROUND STUDY ON NAGHSH-I-JAHAN SQUARE ........................ 39 3.1 Introduction .......................................................................................... 39 3.2General information about Isfahan, Naghsh-I-Jahan Complex ....... 42 3.2.1 Culture, Cosmology and Beliefs ........................................... 94 3.2.2 Urban Spaces in Safavid era................................................. 99

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CHAPTER IV ...................................................................................................... 126 DISCUSSION ON IMPACT OF CULTURE ON PERCEIVING CHAHAR BAGH AVENUE AS AN IRANIAN SPACE ................................................................. 126 4.1 The indigenous impacts ..................................................................... 126 4.1.1Paradise Reproduction ......................................................... 127 4.2 The Religious Pattern ........................................................................ 130 4.2.1Cultural cosmology ............................................................... 130 4.2.2Islamic bases.......................................................................... 133 4.3 The Avant-garde interpretation of Safavids ..................................... 134 4.4Conclusion........................................................................................................ 138 REFERENCES ..................................................................................................... 140

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LIST OF TABLES

1. Aims and objectives ............................................................................................. 8 2. Research Methodology....................................................................................... 11 3. Culture ................................................................................................................ 14 4. Perception ........................................................................................................... 20 5. Culture, Perception, Urban form ..................................................................... 36

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LIST OF FIGURE

1. Iran in Safavid era (Pop, 1993) .......................................................................... 5 2. Isfahan, in Safavid era (Hedeck, 1995) ............................................................. 6 3. Isometric of Masjid I Jame (Gholamreza Zabeh) ....................................................... 44 4. Figures related to Jame Mosque ....................................................................... 45 5. Naghsh-I-Jahan complex (Herdeck, 1997) ....................................................... 50 6. Maydan -I-Naghsh -I-Jahan .............................................................................. 52 7 Maydan-I-Naghsh-I-Jahan (Shah or Imam) ................................................... 53 8. Naghsh-I- Jahan complex .................................................................................. 55 9. Axonometric, Plan and bird view of Chehel Sutun (Beheshti, 1973) ............ 56 10. Figures Related to Chehel Sutun .................................................................... 57 11. Painting on the wall of Chehel Sotoon ........................................................... 58 12. Plan of the ground floor of the Hasht Behesht Palace (Beheshti, 1973) ...... 58 13. Figures related to Hasht Behesht .................................................................... 59 14. Figures Related to Chahar Bagh avenue ....................................................... 63 15. Figures Related to Chahar Bagh avenue ....................................................... 64 16. Figures Related to Chahar Bagh avenue ....................................................... 65 17. Isometric of Chahar Bagh school Beheshti 1973) ........................................ 66 18. Figures related to Chahar Bagh School ......................................................... 67 19. Figures related to Chahar Bag School ........................................................... 68 20. Figures related to Sio-se-pole .......................................................................... 69

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21. Figures related to Sio-Se-Pole ......................................................................... 70 22. Figures related to Khaju. Bridge .................................................................... 71 23. Naghsh-I-Jahan square showing Dome of Sheikh Lotfollah mosque which is seen in eastern side of square and Shah Mosque located in southern side ...... 72 24. Front view of Mosque ...................................................................................... 73 25. Figures related to Sheikh Lotfollah Mosque ................................................. 74 26. Ali Quapu palace in Isfahan ............................................................................ 77 27. Figures related to Ali Quapu (Beheshti, 1973) .............................................. 78 28. Figures related to Ali Quapu (Beheshti, 1973) .............................................. 78 29. Figures related to Ali Quapu (Beheshti, 1973) .............................................. 79 30. Three dimentional view of the Royal Mosque (Beheshti 1973) .................... 81 31. Figures related to Royal Mosque ................................................................... 82 32. Map of the Great Bazaar of Isfahan (Beheshti, 1973.................................... 84 33. Entrance of Bazaar from Naghsh-I-Jahan Square ....................................... 88 34. Figures related to Great Bazaar ..................................................................... 88 35. Figures related to Great Bazaar ..................................................................... 89 36. Figures related to Great Bazaar ..................................................................... 90 37. Public garden a place for relaxation and hospitality .................................. 100 38. Narenjestan I Ghavam Shiraz ................................................................ 101 39. Persian garden, Bagh I Shazdeh Mahan ................................................ 106 40. A typical plan for an Iranian garden ........................................................... 108 41. Chahar Bagh Avenue and Bazaar within New City Center Complex ...... 109 42. View of the entrance to the Hezar Jerib garden ......................................... 110 43. Figures related to Chahar Bagh Avenue...................................................... 110 44. Kucheh ............................................................................................................ 111

Design of new city center

45. Eyvan as a vaulted hall or spare. .................................................................. 112 46. One of the Isfahan Great Bazaar Serais ...................................................... 115 47. Timchah Malek .............................................................................................. 115 48. Madreseh-I-Madare Shah ............................................................................. 117 49. Qaisariya ......................................................................................................... 117 50. Chahar suq...................................................................................................... 118 51. Naghsh-I Jahan Square ................................................................................ 119 52. Hayat as a microcosm indicative of macrocosm.......................................... 120 53. Khajoo Bridge ................................................................................................ 122 54. Khajoo Bridge ................................................................................................ 122 55. Khajoo Bridge ................................................................................................ 123 56. Sio-Se Pole .................................................................................................... 123 57. Areas around the Zayandeh-Rud as recreative space ................................ 124 58. Traces of Mandala on spatial layout of Persian art ................................... 128 59. Persian Chahar Bagh on the scale of a city ................................................. 129 60. The figure of the Chahar Bagh has been interpreted to denote the four quarters or directions of the universe .......................................................... 131 61. Evolution of central curt yard ...................................................................... 133 62. The first use of the concept of the street in Iran urban space (Pop, 1939) ... 137

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CHAPTER 1
1.1 INTRODUCTION

With the analysis of ways of perception and the emergence of various sciences and the separation of rational things from senses, i.e. separation of intuition from reasoning, gaps appeared in understanding and identifying the world. Symbolism was always there in everyday life of human beings even before the age of enlightenment' in the Western Civilization, known as the process of Renaissance. The positivistic thought of Conte1 formed the core of Western thought and deepened the gap. The break was translated to other aspects of life and naturally architecture and urban planning, as the containers of human life, were also affected. This break in relative knowledge on existence and understanding the existential status of man in the universe brought about a break in the relations and cultural affinities among the individuals and resulted in the loneliness and alienation of modern-day mankind. The result can be seen in lack of uniformity in city structures, lack of relations between architectural space and urban environment and nature, unconformity of architectural spaces and human psychological aspects, as well as lack of uniformity and continuity of architectural components and space with urban planning.

. August Conte (1798-1859) the founder of positivism(in the middle of the 19th century) which is a philosophy that states that the only authentic knowledge is scientific knowledge and that such knowledge can only come from positive affirmation of theories through strict scientific method(Broadbent,1996).

With the evasion of the symbolic aspects of mythical viewpoint, and with the dominance of the quantities, gradually was experienced separation of the formal aspects from the aspects of excellence. And neglecting the conceptual aspects, the process of formation of the architectural spaces and urban planning was undermined from a ritual action in mythical viewpoint to mere response to the physical and normal aspect, so that both became synonymous irrespective of the fact that wholeness is something beyond the collection of elements and urban planning wholeness like any system is definable by its associated elements relations. Art in its ancient definition and in ancient time was of mythical and praising nature carried out with intention of proximity to the sacred forces. The Greek word, Techne meant in no sense art and skill as it is used today, rather it was a sign of human wisdom. The terminology of aesthetics in Greek language was used in meaning sensory perception (Burkert, 1985). Heraclitus and Parmenides studied the concept from an epistemological viewpoint for the first time. Parmenides considered sensory perception opposite episteme and believed that sense can be misleading. Nothing changes and in general reality is a unique, motionless and stable essence. He used to prefer rational to sensible. On the contrary, Heraclitus believed that dynamic and changing is the major characteristic of nature. Everything is on the flux and God (rational divine power or common wisdom) is himself the flux of nature and coincidence of opposites. He believed in senses. The way of describing the world of being in the past had wisdom in it (Burnet, 1957). In the contemporary world, qualitative demands and in some cases the artistic, cultural, psychological and conceptual aspects have come under revision once again. Ancient architecture and urban design speaks to us, but how? This research urges readers to understand this language which speaks to all our senses.

This study observes the urban form in respect of the role played by human perception of space. One of the goals of this thesis is to document the recent phenomenon of cultural view points on urban space in order to contribute to a better understanding of the issues involved in the process. The questions of the study are thus presented in line with this aims and objective, to present an original discussion. The methodology is based on hermeneutic2 method, because this study is searching and analyzing the design concepts of different eras to understand them in today's eyes. It is necessary to sum up the new solutions beyond existing models and ideas about urban space and to explore past experiences on important urban space such as the one in Iran. The second chapters contains the basic and conceptual definitions related to culture, urban space, and the role of culture in human understanding, as well as status of perception and culture in formation of the urban space. In Chapter three, as an example, Chahar Bagh Street has been introduced, because it possesses valuable traditional structure. These chapters analyze the theoretical concepts and viewpoints in order to make the required link between culture, perception and urban space and finally to understand the impact of culture on perceiving Chahar Bagh Street. Chapter four is an original discussion on impact of culture on perceiving Chahar Bagh Street as an Iranian urban space.

Hermeneutics may be described as the development and study of theories of the interpretation and understanding of texts. In contemporary usage in religious studies, hermeneutics refers to the study of the interpretation of religious texts. It is more broadly used in contemporary philosophy to denote the study of theories and methods of the interpretation of all texts and systems of meaning. The concept of "text" is here extended beyond written documents to any number of objects subject to interpretation, such as experiences. A hermeneutic is also defined as a specific system or method for interpretation, or a specific theory of interpretation. In sociology, hermeneutics means the interpretation and understanding of social events by analyzing their meanings to the human participants and their culture. It enjoyed prominence during the sixties and seventies, and differs from other interpretative schools of sociology in that it emphasizes the importance of the content as well as the form of any given social behavior (Gadamer, 1960). Though the interpretation of buildings is clearly of abiding interest, there are several traditions of architectural scholarship that draw explicitly on the hermeneutics of Heidegger and Gadamer. Dalibor Vesely situates hermeneutics within a critique of the application of overly-scientific thinking to architecture (Vesely, 2004). Snodgrass values historical study and the study of Asian cultures by architects as hermeneutical encounters with otherness (Snodgrass, and Coyne 2006). He also deploys arguments from hermeneutics to explain design as a process of interpretation With Richard Coyne he extends the argument to a consideration of the nature of architectural education and design as a way of thinking.

1.2 AIMS, OBJECTIVES, LIMITATIONS

Until 1965, the comprehensive plan that was designed based on the population, economical and land use studies, was the final document and programme in view of the city planners. In respect of the drastic changes in the various scientific and artistic aspects of urban life, the considerations of city planners were revolutionized and the new ideas and approaches focused on surveying the city in its reality. The present study intends to take a special look at reviewing the basic concepts and visual manifestations of the city paying particular attention to the role and function of human socio-cultural influences in the formation of space. The research proceeds from a theoretical approach on cultural concepts in their structural form and survey the quality of their conformity to time and place. Under this scope, Chahar Bagh Street in Isfahan3, one of the capital cities of Iran (Fig.1) which

enjoy the opportunity to house many remarkable remains of historic and cultural heritage are chosen as case study. And the concepts underlying the design of it in the Safavid period (1535-1778) (Fig.1) are interpreted in connection with the concept of culture and its dynamic multi-dimensional aspects. This street was selected as case study because of several factors, Chahar Bagh Street is symbolically representative of the city Isfahan and the orthogonal intersection of Chahar Bagh Avenue and the
3

. The province of Isfahan (also spelled Esfahan) lies on the Zayandeh River, almost in the heart of Iran. This city, once the capital of Iran, is now only the administrative headquarters of the province. It lies about halfway between Tehran and Shiraz, at about 400km south of Tehran. Isfahan has been designated as a world heritage by UNESCO. It has some of the oldest architecture in the world that dates back to the 10th century. The cool blue tiles of Isfahan's Islamic buildings, and the city's majestic bridges, contrast perfectly with the hot, dry countryside around it The famous half-rhyme Esfahan nesf- Jahan (Isfahan is half the world) was coined by the French poet Renier in the 16th century. He believed that half the beauties of all the world is to be found in Isfahan, so overwhelmed was he by his experiences of the city.

river created a Chahar Bagh (four garden) pattern on the scale of a city, which produced a synthesis between Persian and Islamic concept of Paradise, Turkic nomadic traditions of ritual and social uses of gardens, and the principle of a royal capital city .

Fig.1: Iran in Safavid era (Pop, 1939)

The language of urban planning in an ancient part of Isfahan (Fig.2), like the language of any other work of art, transfers the cultural messages of its own period, that is to say, it creates symbolic cultural categories. The search for these concepts, more or less, resembles an archeological excavation, for these conventions are believed to be hidden in the unconscious mind and human perception, so to speak, of what is called the Iranian cultural heritage. It is clear that this study does not intend to idealize a period in the past; rather the goal is to learn from the past for the future. If we understand the reasons for past senses of urban integration, we may better comprehend the forces that have created the present segregation of parts, and brought decay to once whole some and vital places of activity and public pride. With this understanding it may be possible to direct the future forces of change in a more constructive direction (Fig.2).

Fig.2: Plan of Isfahan in Safavid era (Herdeck, 1995)

Among the theories about concepts underlying the semiotics of Safavid urban planning, we can propound; Pope (1939) and his followers who introduced the idea; that all Iranian arts have one basic concept; to reproduce and exhibit the Garden of Eden. Shariati (1991), Bahar (1997), and Habibi (1996) have led a mythical approach to the issue; they survey the basics of design in the myths of the Iranian tribe and believe that the basics of design must be sought in the ancient patterns of the Iranian tribe. Burkhart (1990), Nasr (1995) and his followers Ardalan and Bakhtiyar (1975) have analyzed the influence of the religious (Islamic) impacts relying on unity. Oliver, in his article Binarism in an Islamic City, presents duality as the base of design, as well as the aesthetic considerations and opinions on form of it (Oliver, 1990).Ashihara (1983) believed that the formation of space in this type of 6

architecture and urban planning is merely due to geographical, aesthetical and ecological conditions. From this point of view; this study is an attempt to define and clarify the impacts, which social culture has on perceiving urban spaces and its form. Thus cultural symbolism is considered as the base of perceiving Chahar Bagh Street and it has been carried out in three domains: Indigenous impacts, religious pattern and influences of Safavid periods contemporaries. As it will thoroughly be discussed in methodology part, the research rests upon a qualitative analysis based on observation and interpretation. Methodology is "basic research" rather than contradictory and the resultant theories are only hypothetical and have never been categorically proven. Since it analyzes the past, so it is "historical basic research" .Therefore, an eclectic method, a combination of the theoretical approach and the perceptive method, could prove to be appropriate. These theories and analysis of examples can then complement and support the aim of this research. In the process of devising theories, the study of the appropriate urban design and architectural texts and of the conclusion of the field study which was carried out in Chahar Bagh Avenue in the Safavid period played a key role in this issue in addition to the goals identified and questions posed.

This study has an array of macro (general) and applied goals (Table No.1): Macro Aims: To attain a strong theoretical basis through a multi-dimensional approach to the

urban spaces. Applied Aims: Identifying the socio-cultural impacts on the concept underlying the design of

Chahar Bagh Avenue in Safavid period with respect to human perception.

Macro Aims

To attain a strong theoretical basis through a multidimensional approach to the urban spaces.

Aims and Objectives

Applied Aims

Identifying the Sociocultural impacts on the concept underlying the design of Chahar Bagh Street in Safavid period with respect to human perception.

Aims and Objectives Table No.1

1.3 RESEARCH PROBLEMS AND QUESTIONS

The research question of the study is thus presented in line with these objectives. What is the concept underlying the design of Chahar Bagh Avenue in respect of the role played by human perception of space and the impacts of culture on it?

1.4 RESEARCH METHODOLOGY

Since this argument is very fundamental and has a special status either in relation with the basics of human perception or in relation with the formation of the urban space, thus cultural symbolism is considered as the base of perceiving Chahar Bagh Avenue and it has been carried out in three domains: Indigenous impacts, religious pattern and avant-garde interpretation of Safavids. In the first part, since the nature of the research subject is on the intellectual and theoretical basics in urban design, the issue is discussed in the domain of intellectual-mental arguments and in a scale beyond time and place boundaries. In the beginning, all related subjects were identified and according to these factors, a list of viewpoints and approaches presenting arguments on the subject of study were studied and the strong and weak points of each one were pinpointed. After selecting special areas of interest they were apportioned to the main goal and the comprehensive subject to ease access to and deepen the goals. After distinguishing the sub-goals, questions were introduced to lead an original discussion and to help clarification of the issue. This preliminary recognition is based on hermeneutic method that is special to intellectual sciences, because it is searching and analyzing

past through today's eyes. Since this method is realized by hermeneutic, the resultant theories are only hypothetical and have never been categorically proven. Therefore, a combination of documentary research and perceptive method could prove to be appropriate. These methods can then complement and support the aim of the thesis. In the process of devising theories, the study of the appropriate urban planning and architectural texts and of the conclusion of the field study, which was carried out in the Isfahan city, Chahar Bagh Avenue in Safavid period, played a key role in this issue in addition to the goals identified and questions posed. This methodology has been selected because discovering the fundamental is itself an interpretive category since it is related to the first concepts of formation of urban space. Additionally, the results of the present study will help identifying cultural identity in two fields of study of architecture and urban planning. Its meant to serve as a resource for the formulation of recommendations for future urban design and architectural projects, by paying particular attention to socio-cultural impacts on perceiving urban spaces (Table No. 2).

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Historical basic research

Perceptive

Empirical, as an example Analysis of basis of proof

This preliminary recognition is based on hermeneutic method

Identification of all related factors to the object separating the dependent and non-dependent factors

Studying a list of Architectural and Appointing Aims urban designs approaches presenting on research theoretic Codification frame the subject of argument work

Appointing research theoretic frame work

Aims Codification

Analyzing Architectural and urban designs Texts and pinpointing strong and weak points.

Codification of the Research questions

Analyzing an example Bringing Example and investigating the urban design Authenticities. Conclusion of field study

Original Discussion

Conclusion

Table No.2: Research Methodology

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CHAPTER II

GENERAL CONCEPTS AND DEFINITIONS

2.1 CULTURE

Dehkhoda (1941) has defined far hang (culture) as: It is made of far that is a prefix and hang as a suffix. Hang is of Avestan root meaning drawing and educating and in Latin it means drawing and education, upbringing (Borhans notes as edited by Dr. Moin). In Moin dictionary (1963) it has been brought as Farhanj meaning science and literature and wisdom. In Arianpour academic dictionary (1991) it means education, upbringing, illumination, magnificence and deliberateness, collection of the sciences and arts of a tribe, civilization, evolution, talent and mental ability and merit. English encyclopedia of Larousse (1972) has defined culture as education, social and religious and artistic and cognizance structure of a society, illumination, upbringing, agriculture and horticulture. In Oxford concise dictionary (1990) culture has been defined as customs, arts, and social institutions of a particular period or people. Culture has been defined in Persian language as the origin and root and in Latin; culture means growing of certain plants or rearing certain animals. But what do we mean by this brief reference: Culture needs time and it is something that is realized gradually. It must be reared and it has roots, deep roots. This is why Herbert Reed in his book of Popular Roots of Art talks about the inhabitants of Mali Island who 12

have no civilization but possess very high culture in art (Dibaii, 1992). Parviz Dibaii defines the bilateral impact of culture and civilization of the nations in facing one another as: To the extent that civilization depicts calmness and stability, culture is a sign of movement and development (Dibaii, 1992). Civilization revives the concept of power and culture infuses new life into the concept of freedom. Any culture evaluates its capabilities in contact with other cultures. One easy way for understanding culture is reading a book entitled Culture: Critical Review of Concepts and Definitions written by Kroeber and Kluekhohn (1952). The book contains over 150 definitions for culture. It should be noted that culture and civilization are often mistaken. People or nations with civilization do not necessarily possess the same cultures or subcultures. Culture: In a broad sense can be studied as a phenomenon closely related to such issues as economy, politics, society and environmental factors. It can be defined as a creative dynamic conceptual process, which is in direct relation with values and identity. It is inseparable mixtures of native and global or internal and external impacts. Its mans view and attitude towards the world, his(her) way of individual and social life, and a complex collection of the beliefs, and immortal modes of behavior, manifestation of art, music and literature, relying on indigenous, religious and contemporary patterns circumstances and conditions. Indigenous impacts: is a collection of all values, ancient and mythical patterns. Religious pattern: is the fruit of religious beliefs and traditions. Contemporary qualities: are meaningful in connection with other cultures and in the form of self critical approach and a commitment to deep thinking about ourselves (Table.3).

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Environment & Nature

Individual &collective ways of living

Formation Intellectual Structure Known as Culture

Humans physiological Characteristics

Culture as a creative dynamic conceptual process, which is in direct relation with, beliefs and traditions. . Inseparable mixtures of native and global or internal and external impacts. Humans view and attitude towards the world. . Individual &social ways of life. . As a complex collection of the values and immortal modes of behavior, Manifestation of art, music and literature. Relying on indigenous, religious and contemporary patterns circumstances and conditions. All cultures affect and are affected from each other

Political Factors Economical Factors Social Factors

Indigenous Impacts Religious Patterns Contemporary Qualities

Culture Table No.3 (Developed from Habib, 2002)

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2.2 PERCEPTION

Dictionaries (Arianpour, 1992) have defined perception as the act or faculty of apprehending by means of the senses or the mind. It also means understanding, perceiving and reaching a conclusion. Man is a sociable creature who cannot live without "communications". Man as a receiver, receives data through his senses and analyzes it in his mind. In this analysis, social and mental factors such as individual personality and personal experience play key roles. Generally, the sensing and perception processes are complicated in that these senses do not only exist as a result the biological and physiological faculties of the human being; rather they are related to personal experiences, cultural and historical circumstances and viewpoints. It should be noted that only some of the automatic perceptions of the human being rely on the biological processes, taking place as a result of the physical and physiological make up of the human body, it is not the same for all human beings although there are many commonalities. We should include the stages of memory (recalling and recognition), selectivity and deleting of repetitions, reformation, simplification, normalization and creation of meaning, of the mental process of perception. Memory is a mental capacity of the human being related to the preliminary stage of perception. It might be attributed to the stage of recognition before creating meaning in perception process. Human memory (and memory archive) is a very disciplined and complicated property that can be used in various forms to enable recalling. In more simple words, the keys to recalling are the means to reach memory. It is of various types such as sounds, images and the like all of which play key roles in the process of recalling. Any recalling key gives entry to a specific part of the memory in 15

which a series of information has been selected and archived. It is through this relation that man immediately stores many images of what is happening in the environment in his mind. These images are recalled and processed. Professor Harold Brown (1996) in his book (Perception Theory and Commitment), defines perception as: basically beliefs, recognition and theories we had had earlier, determine what to perceive. He then goes into details and writes: Undoubtedly if eyes are fixed on something, they are instigated and electrochemical currents enter the brain and then are transmitted to the nervous system to result in a type of conscious experience, but this does not give a meaningful information and identification of the surrounding world. In order to reach awareness by perception, we must recall and recognize the things we are encountering. To recognize these things we must have a set of appropriate and related set of information. He then emphasizes that: to watch, there is something more than what the eyes behold. Susanne Langer (1969): says All thoughts begin after seeing. She then expounds on her views in relation to seeing and continues to say that seeing is not only achieved by using our eyes, but by processing all the human senses, such as hearing, tasting and the other sensory experiences, which constitute the basis of perception. She stresses the fact that: the human mind is fundamentally a sign and symbol producer. She points to language as a tool for thought and says language itself is made up of signs that have been identified and classified in the mind. Indeed, she explains about a dual structure in human data processing, viz. the importance of thought and the power of thinking that this structure uses in order to recognize

classify, distinguish and recall the explanation and understanding of an experience (Langer, 1969). In her books: Philosophy in New Key and Feeling and Form Langer expounds more on this subject. She pays attention to the meaningfulness of

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the aesthetic form. She says forms are manifestations and symbols of sentiments because, according to her, they express life of feeling in an eloquent way without having such clear-cut meanings as do words in language. Prof. Grutter (1986) says the perception atmosphere depends upon the beholder. This is why it is perceived in different ways by different persons. Furthermore, in the case of a fixed beholder it changes according to his physical status. He indicates changes in time, personal dispositions and cultural impacts in this relationship with perception, and concludes that social-mental factors also play key roles in this process (Gruter, 1996). This is the same discussion, which Rudolf Ernheim (2005), in his book: Gestalt Psychology and Artistic Form, presents in relation to the issue of the perception of form by the beholder. Edward Hall (1997) in his book: Hidden Dimension proves that

Perception has cultural aspects. He clarifies the point that culture, basically, is an effective factor influencing any feeling. (Hall, 1997) Therefore, people of different cultures use their feelings in different ways. On this basis, as far as feelings are concerned, they live in quite different worlds of perception and feeling. In other words, their perception of their environment is different. Elsewhere in his book, he scrutinizes the point that this book wants to emphasize that whatever a human being may be and whatever he does depends upon his (her) perception of space. Mans perception is a combination of several senses such as: vision, hearing, motion, smelling, and temperature but the symbolization and the prototyping of each one takes place as a result of his (her) cultural experiences. He finally concludes that: People of different cultures in the world have different senses (Hall, 1997). In studying culture we become aware that the symbolization of the perceptive worlds is not only a cultural act but also it is a sensational, active, and emotional relation and

17

action. He concludes, Culture has penetrated into the human nervous system and determines the way of his perception of the world. Perception: In brief can be defined as a combination of several senses such as: vision, hearing, motion, smelling, tasting and temperature but the symbolization and the prototyping of each one takes place as a result of her (his) cultural experiences. Feeling is the basis of recognition. When feeling translates into awareness, i.e. it is distinguished and interpreted in the mind, it is called perception. In other words, each of the human sensory systems that are instigated by the environmental factors is interpreted in the mind after the process of recognition has occurred. This interpretation is interrelated with the past and present experiences of the individual human being, thus people of different cultures in the world have different senses according to capacity of perception, environmental condition, readiness to perceive and condition of perception (Table.4). Capacity of perception: Perception of the environment depends upon the physiological conditions of the human sensory organs. For instance; in the visual system perception depends upon the beholders range of vision, the power of that vision, and the speed of transmission by the individual. These factors are of special visual significance in the designing and changing of visual images (Trieb, 1974). Environmental condition: The appearance of the environment is attributed to the potential environmental factors that have turned to practical factors after perception showing off in the form of an image. It is a function of the individual creative aspect of perception and the perceptive conditions at the time of perception. The collection of environmental factors, type and the governing rules among them, as well as the situation of the beholder in this complex process determine the effective environment.

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Condition for perception: Conditions for perception seriously affect the conditions that have created the capacity of perception, on this bases, the conditions for perception are palpable facilities of perception, the degree of light available can overstate or understate contrast of color and visual contrast. Temperature and humidity are amongst others influential environmental factors and conditions (Joedicke, 1985).

Readiness to perceive: The capacity to perceive and conditions for perception determine the factors that a beholder must perceive in certain conditions. What beholder really perceives depends on the fact of how much he (she) is ready or prepared to perceive and what are the facilities for perception. The readiness to perceive can be interpreted as a mental facility and the preparedness of the beholder to comprehend. In this connection, the possibility of the individual for understanding depends upon experience, values, ideals, images, religion, talents, motives, ethics, language, art and science, race, criteria, priorities, experiences, goals and finally the spiritual wellbeing of the supervisor. But we must not forget that the existing conditions (conditions for perception) play a key role in this process, because the existing environment allows the beholder to see or not to see, even if the beholder is interested in perception (Joedicke, 1985).

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Perception
Sense of Hearing VoiceSound Sense of Optic SignPicture Sense of Sense of Sense of Sense of Touch Taste Smell Situation Texture Taste Smell Situation
Capacity Of Perception

Memory (recalling and identifying) Selection and omission of Repeated affairs and correction Simplification and normalization

Culture

Finishing Creating meaning

Perception Condition

Readiness to perceive

Experiences

Knowledge

Religion

Images

Values

Norms

Ethics

Ideals

Environmental Conditions
Goals Race

Perceiving information through senses

Perception Table No.4 (Developed from Habib, 2002)

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2.3 URBAN SPACE

Various approaches to urban space may have different emphases, which often allow them to explore one of the many aspects of a multifaceted phenomenon. In our understanding of urban space and the way it is structured, however, we will need to overlay these different insides to get a clearer picture of the city we intend to deal with. Learning about these theoretical bases, principles, rules can be effective in architects and urban designer interference in the urban spaces design. By introducing these approaches, we do not mean only creating a theoretical framework; rather we want to help boosting power of thinking in a bid to make use of them in practice. Some analysts of traditional architecture and urban spaces of ancient cities such as, Ashihara, Youshinoba (1983), Camillo Sitte (1986) and Cliff Moughtin (1992) believed that the formation of space in this type of architecture and urban spaces was merely due to geographical and ecological conditions as well as aesthetic considerations on the form of space, Thinkers like Kostof (1992), Morris (1989), and Mumford (1991) have had a historical approach to urban spaces and forms. Those who oppose these views and who analyze these categories from a spiritual and philosophical perspective and pay the least attention to environmental factors, such as Nasr (1995), Ardalan and Bakhtiyar (1975), Bemat, Hillenbrand (1998), Burkhart (1990) and Eliade (1989) have analyzed the influence of the religious impact on form of spaces. The contemporary thinkers have chiefly surveyed impact of modernist doctrines on urban spaces. In connection with the impact of culture on urban spaces, we can refer to Rapoport (1980), Gruter (1996), Hall (1997), Lynch (1993) and Krier (1996).

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Amos Rapoport: is among the thinkers who place special emphasis on the importance of cultural ground in city form and urban spaces, he writes (Rapoport, 1980): Organization of residential complexes takes place not based on special characteristics of its structure or even on a collection of elements, but based on a special goal that is useful for establishing order in a region and creating useful spaces. The selection of disciplinary solutions is based on conformity to culture which is itself a factor for distinguishing various places from one another. The very order, before becoming structural, is rather mental. He refers to architecture as a symbols' skill, a science of settlement of the gods as expressed through spiritual and divine cosmology model for the urban spaces, villages, temples and houses (Rapoport, 1982). He points to the courtyard of Isfahan Mosque as an example of the complexity and feeling of ability in perception. In this example, a work of art has been created in full ability and perfection as affected by such conceptual variables in feeling quality, color, materials, scale, light, shade, sound, beauty, temperature and smell all used in perfection to show a sample of the Heaven and a city structure with the conforming surroundings. Rapoport (1982) points to a special use of symbols. In his view, the symbols facilitate understanding the world. It is through the symbols that the world becomes a collection of the meaningful cultural patterns. These patterns can be expressed through words, phrases and visual images and can be also reflected in the built elements and spaces (Rapoport, 1982). As in the case of Middle Ages churches, the perceptual expressions, space, light, color and structure had certain meanings as scared symbols that time. In other words, in evaluating the qualities of that period, one must have enough knowledge on the encyclopedia of Divine sciences. In the majority of the traditional cultures the mental plans are sacred and meanings are among the most important elements and in

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those cultures cities can be understood by these words. In other cultures, health or healthcare, free times, humanism, type of monotheism or some instances that assure goodness and health, are some values that clarify the mental plans. Thus they have been reflected in organization of the urban living environments (Rapoport, 1982). Rapoport (1982) says the meaning of the environment can be studied at least through the following three ways: Using linguistic models especially based on the theory of meaning of expression that has been recently popularized. Reliance on studying the symbols that is chiefly traditional. Using models that have been constituted based on non-verbal relations taken from anthropology, psychology and ethics but used less in studying the meaning of the environment. Jorg Grutter (1996) refers to architecture and urban design as the cultural cornerstones. Societies, with any system of administration, have their own goals and ideals. The major duty of the culture is manifesting these mental ideas by palpable things and forms. Urban design plays a key role in the process of this metamorphosis (Grutter, 1996 and Bacon, 1967). The sort of system that decides upon the human interactions and lays the foundations of culture has been constituted based on a system of values that is not fixed in the course of history (Grutter, 1996 and Madanipour, 1996). Whatever we refer to it as style, is indeed a personified presentation of this system of values and consequently it is a presentation of the general overriding system. Culture influences and gives form to urban design which is a manifestation of the overruling system of values (Grutter, 1996; Hall, 1997; Krier, 1996; Lynch, 1997; and Schultz, 1974). In other words, culture creates a collection of rules that the created form is a reflection of it. People give meaning to

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their environment by culture, i.e. collection of values, beliefs, cosmology and common symbolic systems, and change a characterless space to a place (Gruter, 1996 and Rapaport, 1997). Jean Jacobs (1961) has a critical approach to the modernist's idea .According to her the essence of urban life lies in its colorful variety that must be accessible to all individuals .Indeed, a vast area of various spaces and colorful activities constitute the bulk of the urban life and these varieties can be presented by streets alone. Unlike Le Corbusier, who thinks of macro-scale design with high density and functional performance, Mrs. Jacobs thinks of micro-scale design. Her viewpoints toward town planning are romantic and artistic (Broadbent, 1990). But not like Camillo Sitte who pays attention to structural and aesthetical elements of urban spaces (Broadbent, 1990). She thinks of realities of life and the main owners of urban spaces. Jacobs romanticism is based on variety of public activities (Broadbent, 1990). Her thought is formed in contradiction to modernist city and abstract city of Le Corbusier For Le Corbusier, the lower-scale developments between the sky-scrapers of Wall Street and those of Midtown Manhattan were too mundane, too ordinary to be of any interest. Yet for many people these days they represent the essence of what makes life worth living in New York. Indeed, micro scale design gives identity to urban space and whatever presented in macro scale is of endless variety and character. Monotony and unilateral aspect of the modernist designs on urban spaces arouse her ire and hatred. She emphasizes (1961) on the role and importance of streets in urban spaces. Street is the main element in a city. A beautiful city has beautiful streets, and this beauty does not come from the urban form. The various activities and movements of the people give beauty to the city. Cultural activities become catalysts for economic activities and add to the attraction of the streets. She

24

proceeds with discussing urban centers and reiterating the positive economic, social, mental, and sentimental impacts of the crowded areas. She believes liveliness and meaningfulness of a city lies in the complicated and crowded urban centers. The city is a social organism with living units. She stresses on stopping separation of functions in designing the city and attaches great importance to the streets from the point of view of social, cultural and sentimental significance of these places. Arnold Vithick the British art historian in the encyclopedia of urban development introduced four parts in studying urban spaces that are effective in promoting the quality of urban beauty. Panorama that associates sense of beauty if it is possessed with the following specifications. Appropriate structure Harmony of urban with the surrounding environment Skyline of appropriate structure Enclosure, which has remained from agora of Greece and Rome, considers the following specifications for quality. Proportion of size in a way to show enclosure Taking patterns from the Middle Ages and agoras and forms of Greece and Rome Harmony of horizontal line Street, for which he has considered the following qualities: Beautiful vista Proportion between street width and the height of buildings on the sides to avoid creating a feeling of suffocation Furniture, for which he has considered the following quality: It must be in second degree of attention and must no affect urban atmosphere.

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Camillo Sitte, the Austrian architect and urban designer in his book entitled Urban Planning Based on Its Artistic Principles makes a critical approach to the theory of functional design of the cities and stresses on paying attention to the aesthetic aspects in urban spaces. He refers to urban design as the art of spacemaking and says the relation between construction mass and open space goes counter to the past. Today, the construction mass is designed and what remains on its environ is a deformed space. He places special emphasis on the importance of public spaces, squares, and streets in city form and studies the aesthetic aspects of the past cities for finding artistic principles (Shuay, 1996). His emphasis was on the style of natural and organic urban design in the Middle Ages. Emphasis on interconnected urban space elements that are created out of appropriate relations among construction units Emphasis on the role of squares and streets (urban space) as the space signifiers He talks about attraction of vistas and continuous urban landscapes. He says creating static attractions (squares) and dynamic attractions (streets) is the prerequisite for life and revival of the social life in the city either in terms of city form or function. Emphasis on general unity of the urban compounds is one of Sittes most preferred principles in urban design. Another characteristic of his proposed plan is using various land marks that are used to give character to the urban space. To reach this goal, he says science is not enough alone to give character to a city; rather the talent of the artist is also needed. He continues that beauty was always there in ancient times, in Middle Ages and in Renaissance period, where fine arts were popular. Acropolis in Athens is a perfect example of this kind of artistic creation and its temples and monuments are the stone myths of the people of Greece. In this square,

26

the city and a deep thought have been shaped. As a matter of fact, this square is a grand city for expressing the sentiments of a great nation (Shuay, 1996). He paid serious attention to seeing and stressed on the position of the observer and the direction he is watching. He also attached special significance to the visual enjoyment of the observer and believed that structural environment has strong influence on the spirit of the human beings and encompasses their social life. In consequence of that, he proposes creating a kind of environment to be efficient to meet the demands of the citizens both mentally and physically. Some other thinkers have tended to linguistics. They consider architecture as words and urban design as a text that is created based on combination of words and enforcement of rules. Indeed, they consider the city form as a communication tool and liken urban patterns to a visual language. The elements of city form like the words in a sentence are used to form a whole, or sentence, in such a way that it associates meaning. Peter Smith (1982) in his book of The Syntax of Cities is looking for rules to clarify the relation between architectural elements and city form. He writes (Smith, 1982): Syntax means making sentences and way of joining the words into a meaningful whole to convey information. The theory of the syntax of the cities believes that the elements of built environment constitute the words of the visual language and the way of placing them together signifies a special meaning. If there is sufficient unanimity among people on the meaning of forms and spaces, the city spaces will be able to establish relations with the people of the city (Smith, 1982)

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Mircha Eliade (1989) present sacred space and opine that the form of traditional city is manifestation of the religious thoughts and affinities to a sacred thing. Their interpretations and explanations of the form and space in the traditional cities immensely influenced some of the followers of the theory of lack of meaning in modern urban designing. According to Pieper (1994), this fact along with other elements caused the cities in the societies that had been less damaged by the manifestations of the modern life, such as the Asian cities especially in China, India and Islamic countries, and Buddhist settling regions, to become the focus of attention of architecture and urban planning students and researchers since mid 60s. On the other hand, Yongs (1960) ideas and theories had created a special theoretical ground for conceptual interpretation of a type of urban space. The idea of the collective unconscious and archetypes become the bases for analysis of the question of why some forms and spaces lay a deep impact on human being. The researchers who rooted their analysis on this theoretical basis believed that: Modern urban design is indifferent to the deep and in a sense very ancient need of human psyche (Smith, 1975). Youshinoba Ashihara (1983) emphasizes on the theory of form-context, to discuss the logic behind this theory. The form-context theory is similar to the Chinese yin-yang polarities. He believes reconciliation of the positive-negative yinyang polarities will create a positive energy. Ashihara used this theory to design the past spaces of the cities. In his view (Ashihara, 1983), the past urban spaces, according to gestalt view and conditions, possess a form. The urban spaces will come to the sight only when they are surrounded by attached or close buildings. If the distance in between the buildings is rather long, they will seem detached and there will be no chance for perceiving them as a continuous set. In this case, there will be

28

no chance for creation of a positive space and the relations between figure and ground will be eliminated. Indeed, the most desirable type of urban space is continuous and rhythmic, created by the buildings (Ashihara, 1983). Ashihara, in his book of The Aesthetic Townscape tries to give a definition of an architectural space under the domain of architectural design and draws a comparison between the West and Japan and concludes that Italian urban spaces have come to being as a result of social behavior in the West. In terms of urban spaces, he points to social ground. As in terms of the exterior of architectural works and their impact on townscape, considering the limited construction materials in the past, he says the harmonized appearance and the unity of form in the past cities have been because of the very limited materials while today, variety of construction materials reduce the degree of harmony in the cities. The other aftereffects of modernism in city forms he points out that today buildings do not show their internal functions. This is a key factor for lack of character in the modern cities. In his contemplation on space he moves from townscape to the small and memorable spaces of the old cities and becomes closer to Lynchs findings. The emphasis is on childhood memories on townscape and in admiration of the well-formed and integrated space he discusses Epolia of Aegean Islands and Isfahan. Ashihara stresses on form-texture theory and relies on artistic criteria and aesthetic discussions to create a special place and to provide memorable spaces. Spiro Kostof (1992) introduces identifying the urban spaces in the course of history. He believes the city planners must first gain enough knowledge on the past experiences if they want to learn from these lessons. In his book, City Form and City Procedure, he studies some elements and patterns of urban form and says urban design is an art that must consider social issues of the urban space and the human

29

behavior as well. He sees spaces as a container for meaning and finds meaning in historical and cultural grounds. We will be able to grasp the meaning correctly only when we are familiar with the historical conditions that have created it. As far as urban space is not influenced by a certain cultural goal, it is completely neutral in appearance (Kostof, 1992). Patrick Geddes (1968) believes history and the course of evolution have lessons for the contemporary town planners because the historical cut and ignoring the efforts of the ancestors takes us to where we observe today many problems resulting from this perspective. Being historical is indeed the material aspect of man on earth. In this connection Geddes believes unwise destruction of old structures destroys the cultural identity of man (Geddes, 1968). The more we are aware of the spirit of urban space and its historical essence and its evolution, the better we will be able to understand life in this city. Charles Jencks (1990) discusses communicative method of urban design and says its dominant characteristic is fast relations potentially. He says modernists were unable to establish relations with the users, thus they used communicative codes to give a functional relation to architecture to convey meanings directly to the people (Jencks, 1990). According to him, the achievements of the modernist architects are not in re-creation of the meanings but in way of revival and reproduction of the meanings, because meaning is implied in the manner of redisplay of the past. In his view, the failure of the contemporary urban planning is in perceiving the urban context and overemphasis on elements and details instead of fabric. Even in the cities where the fabric has been eliminated, there should be something to recall the memories and maintain the power of placing or influencing one text on another. Although retrieval of past and tradition is an important principle

30

in post modernism, Jencks introduces sort of traditionalism that has signs of awareness of the changes in contemporary world. Indeed, he introduces a combination of modern technology and tradition (Jencks, 1990). Robert Venturi (1966) father of the post modernism movement writes: As an architect I try to take past as my guide to future (Venturi, 1966). This approach is indeed in contradiction with the city-tool idea of the modernists that introduces dominance of the designer, attention to natural environment and geographical, historical and cultural properties. They propose that technology and attention to the movement of the vehicles is not sufficient for urban planning and stress on paying due attention to human and historical aspects and the issues of ecology, and that contemporary urban planning takes place by idea of continuation and connection to the past and taking aspirations from the past cities and its conformity with the contemporary city. At a time modernists introduced purity, simplicity and geometrical order, Venturi presented a very complicated and contradictory design. He replaced either this or that with both this and that with an intention of adding to complexity and variety that stemmed from his belief in richness of meaning against the idea of clarity of meaning (Venturi, 1966). His design was in contradiction with creation of fluid spaces of the modernists, emphasized on enclosure spaces and making sharp distinctions between the interior and the exterior. He was a strong supporter of complicated and contradictory architecture. He sought unity in pluralistic architecture and interpreted reaching to the meaning by complexity and variety as richness in meaning (Venturi, 1966).

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Aldo Rossi (1981) is looking after principles to restore the importance of morphology. Therefore, he considers the city as an integrated whole and tries to see how the elements of the city have been linked with one another to make a whole. In understanding the meaning of city he introduces certain buildings that are important for the social life and cultural memory of the societies. Juxtaposing creativity and memory he intends to recreate the city of cultural memory. He (Rossi, 1981) believes that historical species or types are there in the collective memory of the citizens. In other words, types are the main elements in his viewpoint that have remained to day and constitute the city as part of the collective memory. By reforming the building types that is important for cultural memory of an urban community he intends to make a space to promote the cultural meaning. He believes the city form re-displays the city that has spatially given form to collective mind. He introduces a complicated network of individuals psychological links with the places and their memories and tends to memorandums of collective memory to construct a unique place that has a social meaning. The sort of typology he (Rossi, 1981) introduces is not only a classification system; rather it includes a creative procedure that is reinforced in the course of historical experience and in collective life. He considered typology as a media tool for analysis of urban spaces. He presented typology in two ways: first, apparent typology for recognition of apparent differences; second, functional typology in the special types that do not chance with the alteration of the urban space. The latter is essential for a substantial understanding of urban space. In his belief, types are cultural elements and that by understanding the relations between building types and city form they can be transparent in the city and give better meaning to the city.

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Rob Krier (1996) in his book "Urban Space" says organization of the modern urban space is responsible for the appearance of spatial combinations comprising of sparse and scattered elements due to its inattention to creation of the urban spaces especially in the scale of pedestrian. He finds such modern pattern unable to meet the human demands and motifs. He then asks: What should be understood by development of urban space and what meaning is implied in the main structure of the city? Then in contradiction to the amorphous, ineligible, and useless public spaces in the cities he proposes construction of well-formed, confined and legible public spaces that go well with the modern use of these spaces. To realize this need, he proposes the categorizing the typology of urban spaces .He is looking after rules and regulations for proposing urban space based on historical surveys. He writes: The various styles that have been accepted in the history of art, such as baroque town planning, revolutionary architecture and the like, almost always find character by the overruling social structure in their time. He lists almost 350 examples of urban spaces in various cities of Europe and discusses fundamental ideas that aesthetic characters of the urban space rely on them. He has also classified urban spaces and their impact on human perception of the space into 24 different and sometimes similar types, then continues with explanation of the duty of the faade of the building. The bulk of his emphasis is on form and visual perception with double emphasis on reformation of the facades of the sections and views. Another important point in his viewpoint is his emphasis on social relations and social life. He points to the existence of a type of social rites and rituals and says they make the link between space and structure meaningful.

33

Leon Krier (1996) too, underscores return to the history in integrity of form and the function of cities and urban spaces. Therefore, he proposes elements and land uses in a body-like and connected order in reaction to zoning theory of the modernists. By this combination, he stresses on connection of various walks of social life in the neighborhoods and protecting collective memories. He believes in connection of the historical monuments, public places and general structure of the city as he says: Historical architecture and public places and urban spaces are like precious jewelry. It is chiefly pseudo accumulation than pseudo economy. He is of the opinion that a good city is made of streets and squares whose squares provide natural environment for the public visits. Similarly, square is the selected place of all public things. In other words, square is the best place for historical monuments and public memorandums. He points to cities without historical monuments and historical monuments without cities and concludes than a natural city should have both of them in equilibrium. Urban space: Whit respect theoretical approaches above, generally we can say; The wholeness of the urban space is worthy of study as a complex compound, a complex of symbols that is definable, as with any other system, through its elements, parts, external and internal relationships. The system that clarifies the mutual

relations of human beings and lays the foundations of culture has been rooted on a system of values that is not fixed in the course of time. Whatever we refer to it as style is indeed a palpable manifestation of this system of values, which is as a result, a manifestation of general governing system .Culture affects urban space, which is a sign of dominating system of values, and forms it. The process of formation of urban space is impossible without reliance on and attention to the role of human perception and indeed, based mans previously perceived experiences. In other words, culture

34

creates set of rules that form is a reflection of it. Sociocultural schemata are the primary determinants of form even on those scales and in turn affect the images and schemata that mediate between environments and people. Urban space (and whole landscape) can thus be interpreted. In many traditional cultures sacred schemata and meanings are the most important ones, and cities in those cultures can be understood only in such terms. The minimal parts of this combination, within the framework of man-made elements have been placed in an intertwined whole on which the natural environment, has a strong influence on the way the elements combine to produce the urban space. Additionally the urban space is in close and bilateral interaction with the functions of the city .It possesses both static and dynamic properties and this is an essential indicator of the transformation of the urban space. It can be purposeful (Table.5).

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Individual &collective

Environment & Nature

Political Factors

ways of living

Humans physiological Characteristics

Economical Factors

7 na

Social Factors

Ethics& morals

Art & Science

Language

Religion

Value

Urban Space

Culture, Perception, Urban Space Table No.5

36

Race

Perception

Culture

Summing up

Societies, operating in any system, have important special goals and ideals. The major duty of any culture is the demonstration of these mental ideals in a palpable form architecture and urban design, therefore plays a major role in the process of this transformation. Architecture and urban design is indeed the bedstead of culture. Cities are themselves cultural products. Culture affects urban design and is an indicator of the percepts attitudes and predominant value system. The process of formation of urban space is impossible without reliance on and attention to the role of human perception and indeed, based mans previously perceived experiences. In other words, culture creates set of rules that form is a reflection of it. Feeling is the basis of recognition. When feeling translates into awareness, i.e. it is distinguished and interpreted in the mind, it is called perception. People perceive their environment through their symbolization and the prototyping which takes place as a result of her (his) cultural experiences and vice versa, people give identity to their living environment through their particular culture, which is reflection of their own perception of environment; a conceptual, continual, dynamic process, i.e. collection of values, beliefs, cosmology method of behavior and joint symbolic systems, which will change an unidentified space into a place with a culture of identity which are inseparable mixtures of indigenous, religious and contemporary impacts. Whatever we refer to it as style is indeed a palpable manifestation of the system of values, which is as a result, a manifestation of general governing system. In a general sense, one can state that governing system of values in any given society is manifested in the structure of that society. Aesthetics is a variable and multi-dimensional

37

phenomenon that is interpreted by the public culture. An environment ideally contains or possesses features desirable to its culture which provide or offer a sense of well-being and comfort for its society. The culture in societies is affected by the degree of economic and social and political and environmental enlightenment. This is a bilateral procedure. Urban space is affected by the culture in societies and vice versa. Promoting the quality of urban space is effected throughout the promotion of a culture and vice versa.

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CHAPTER III

BACK GROUND STUDY ON KHIYABAN-I-CHAHA BAGH

3.1 INTRODUCTION

Shah Abbas, about four hundred years ago, in seventeen century, built a city center, in Isfahan, a major city in central Iran, was the splendid capital of the Seljuk and Safavid dynasties whose legacies established Iran (formerly Persia) as the cultural heart of the eastern Islamic world in terms of language (Persian), art, and architecture. The Safavid period (1502 1736) was particularly decisive for shaping the city, whose beauty was so great that world traveler purportedly dubbed it "Half the World," which, according to the proud 17th-century historian Iskandar Munshi (1978), was because "they only describe half of Isfahan. His accomplishment as called by Arthur Pop, "the renaissance in Iranian architecture and urban planning (Pop, 1939). What values did he bring back to life in this renaissance? History traces Iranians back to the main trend of Arian Race. Thus they share many cultural concepts with other nations with similar background, especially Indians. After Cyrus invaded Babylon, Iranians become acquainted with the life style of Babylonians and borrowed some aspects from it. By the time, Daryush inherited the kingdom of Cyrus and founded the Achaminids Empire; Iranian culture had become a combination of both, the Arian and the Babylonian elements (Pazargard, 1963).

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Sasanid, who boosted of being descendant of Achaminids, revived the national moral, which had suffered under the influence of Solokid reign and the polarity of Ashkanid dynasty. Their concentric and religious government in a form of an empire lasted until Arab invasion. Thus the pre-Islam history of Isfahan dates back to ancient times and the three kingdoms of Achaminids (549-329B.C.), Arsacides (248B.C.-226A.C.) and Sasanids (224-810A.C.).It was turned into a military quarter at the time of the Sasanid kings and in 7th century it was conquered by the Muslims who divided the city into the to Muslim and Jewish populated quarters (Pazargad, 1936). Isfahans strategic position at the center of the commercial transit routes from China to the Ottoman empire and Europe, and the Persian Gulf to Russia, as well as the dual base of both agriculture and commerce, provided the essential pillars for its survival as urban center. This position determined the recurrence of a historical cycle of decline and prosperity, its repeated rise and fall from imperial to provincial capital. Isfahan is most closely identified with the Safavids, but it had also been the political headquarters of the Buyids in the 10th and early 11th century, whose tenure, in spite of volatile political leadership, represented a period of prosperity for the city. Isfahan remained the center and political capital for most of Seljuk rule and regained this position five centuries later under the Safavids. The borders which outlined the domains of the Great Seljuk's placed Isfahan at the core of their empires territories. Seljuk Isfahans commercial and cultural prosperity reached its zenith during the reign of Malik Shah (1072-1092), when Isfahan also emerged as a leading center of Sunni theology. It was a period of internal architectural activity, which produced several great royal gardens including the Bagh-I-Falasan, the Bagh-I-Bakr, the

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Bagh-I Ahmad Siyah, the Bagh-I- Dasht-i Gur (Aryanpour, 1987). The presence of the Seljuk government was contingent upon the economic and cultural prosperity of the city and many of the paradigms of Isfahan as a unique city, its geographical advantages, its fertility, its beauty, its sophistication, its tradition as a chief center of learning, culture and trade. Its famous epithet nesf-i Jahan, meaning half the world, date to its position and aspirations as capital under Seljuk rule (Blunt, 1960). Isfahan remained in Mongol era an influential city and commercial center, but it regained its political pre-eminence only with the Safavids. In the 17th century, at the height of Safavid territorial domination, the empire stretched from Mesopotamia, Gorjestan and Daghestan along the Qaraqum desert to the Sulaymaniya Mountains in the east. Its territory replicated the geopolitical order of the Seljuk's, again placing Isfahan at the center of the empires crossroads(Ashraf,1974). The city's golden age began in1587 when Safavid4 dynasty transferred their capital from Qazvin to Isfahan. The Safavids (1501-1732) named after a Sufi

master, Sheikh Safi, the Safavids forged for themselves a genealogy that goes back to Ali, and proceeded to forcibly change Iran into a Shiite state. In the process they shaped the modern image of the Iranian nation. Historians credit the Safavids with being the first rulers to lay a foundation for a national consciousness in Iran, a land populated by diverse ethnic and linguistic
4

Safavids: were an Iranian Shia dynasty of mixed Azeri and Kurdish origins, which ruled Persia from 1501/1502 to 1732. Safavids established the greatest Iranian empire since the Islamic conquest of Persia, and established the Ithna ashari school of Shi'a Islam as the official religion of their empire, marking one of the most important turning points in the history of Islam. Unlike many other dynasties founded by warlords and military chiefs, one of the unique aspects of the Safavids in the post-Islamic Iran was their origin in the Islamic Sufi order called the Safaviyeh. This uniqueness makes the Safavid dynasty comparable to the pre-Islamic Sassanid dynasty, which made Zoroastrianism into an official religion, and whose founders were from a priestly class. It should be noted that the Safaviyeh was not originally Shia but it was from the Shafii branch of Sunni Islam. Safavid history begins with the establishment of the Safaviyeh Sufi Order by its eponymous founder Saf al-Dn Abul Fath Is'haq Ardabil (1252-1334). In 700/1301, Safi al-Din assumed the leadership of the Zahediyeh, a significant Sufi order in Gilan, from his spiritual master Sheikh Zahed Gilani who was also his father-in-law. Due to the great spiritual charisma of Sheikh Safi al-Din, the order was later known as the Safaviyeh. The Safavid order soon gained great influence in the city of Ardabil and Hamdullah Mustaufi remarks that most of the people of Ardabil are followers of Sheikh Safi al-Din (http://www.iranchamber.com/history/safavids.php).

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groups. They established Shiite Islam as the state religion, promoted Sufism, and instituted state capitalism to support wide-ranging political and social goals. Commerce was so important to the Safavid polity that it's most powerful dynast, Shah Abbas I (reign 1588-1629), effectively re-routed the Silk Road through Isfahan so that his empire would enjoy a trading monopoly. By the seventeenth century, Isfahan attracted not only European merchants but also missionaries and mercenaries, as it became a religiously tolerant hub of mercantile and diplomatic activity. The city fabric is significant as an embodiment of this religious, commercial, and political unity, and was exceptional in the early modern Islamic world. Shah Abbas I (1588-1629): The greatest Safavid monarch, he moved the capital to Isfahan in 1598 and built there a royal city that extended to the south of the old city and connected it with the Zayandeh river via the Chahar Bagh (Four Gardens) Avenue.

3.2 General information about Isfahan in Safavid period

Architecture and Urbanism:Shah Abbas I was the first Safavid ruler to make Isfahan his capital. His decision to move the capital from Qazvin to Isfahan in 1590 may have been motivated by the city's economic potential (the Zayandeh River and its fertile plain) and by concerns for security, given its central location at a safe distance from troubled borderlands. Favorable historical associations also set Isfahan apart from other Iranian cities. Isfahan had been the former capital of the great Seljuq empire (1038-1194) which stretched from Central Asia to Syria. By selecting Isfahan as his royal seat, Abbas associated his rule with an illustrious dynasty of the past, which was especially crucial in the early years of Abbas's rule when the survival of the Safavid dynasty was

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indeed questionable. A brief overview of Iranian architecture will establish the context for a better understanding of how Abbas remade the city to reflect Safavid ideology. Isfahan in Seljuki era: Iranian architecture was shaped by the building traditions of diverse ethnic groups which for centuries competed to rule the territory, mainly, Arabic, Turkish, and local Iranian peoples(Ashraf,1974). A uniquely Iranian, eastern Islamic, architecture emerges only in the 11th and 12th centuries with the arrival in Iran of the Seljuk Turks in 1038. The Salukis implanted creative and bold structural ideas in Iran, as well as new spatial concepts, which would later serve as a foundation for Safavid architectural developments. The Salukis replaced the traditional western Islamic hypostyle mosque layout (brought to Iran in 749 by its first Islamic rulers, the Arab Abbasids) with the Four-Eyvan plan. The Seljuk Turks excelled in the design of very large vaulted spaces and in the decorative articulation of buildings inside and out using complex brick patterns. They also promoted the custom of organizing important urban buildings around an open Maydan, a large rectangular piazza or town square. Most of these design schemas were unknown or eschewed in the Islamic west (Ashraf, 1974). When the Seljuqs took Isfahan as their capital, they transformed a pre-existing hypostyle mosque into the grand Four-Eyvan Great Friday Mosque (Masjid-i Jami). An Eyvan is a vast vaulted space open at one end. It was a symbol of absolutist authority dating back to pre-Islamic Persia, when Eyvans functioned as audience halls in royal palaces. Eyvans were also known in Islamic palaces, but it was the Seljuqs who introduced the Eyvan into mosque architecture(Ashraf, 1974). The introduction of a symbol of royal prerogatives into mosque architecture encouraged the viewer to associate earthly rule with divine authority. The Great Friday Mosque has four Eyvans, one centered in each of the courtyard's

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four sides. Thereafter, this Four-Eyvan plan became the dominant mosque type in eastern Islamic lands (Fig.3 , 4).

1 - Entrance Passage 2 - Soffe-ye Hakim 3 - Remains of the Fire Temple 4 - Corridor ends to Safavid Mihrab 5 - Courtyard 6 - Monumental Eyvan 7 - Pool imitating kaabeh 8 - Roof of the mosque 9 - Soffe-ye-Sahib Ibn Ebad 10 - Minaret 11 - Nezam-al-Molke Dome 12 - Southern prayer hall

13 - Prayer hall 14 - Prayer hall 15 - Soffe-ye-Dervish 16 - Prayer hall during Mozaffarid rule. 17 - Taj al Mark Dome 18 - Soffe-ye Ostad 19 - A splendid mosaic faced entrance leads to the small room of Sultan Oljeitu. 20 - Mihrab & Timurid winter prayer hall 21 - Timurid winter prayer hall 22 - Soffe-ye- shagerd 23 - Soffe-ye-Omar 24 - Restoration workshop.

Fig.3: Isometric of Masjed I Jame (Gholamreza Zabeh)

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A- Plan of mosque (Beheshti, 2005)

B-Jame Mosque from imam zade Harun roof (Drawn by A.Bayash)

E-Jame Mosque from imam zade Harun roof (Photo by F.Habib)

Fig. 4: Figures related to Jame Mosque

A- Plan of mosque. B-Jame Mosque from imam

zade Harun roof. C-A view of Soffe-ye-Hakim. D-Pool imitating kaabeh

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The Seljuqs also introduced large domed chambers into mosques in Iran. The domed chamber was known in the western Islamic mosques (Damascus, Cordoba, and others), where it usually served as a maqsura, a space reserved for the sultan and his court in the prime position in front of the mihrab niche. The mihrab niche provides the visual focus in a mosque, because it indicates the direction of prayer toward Mecca. The Seljuqs did not invent the domed maqsura, which altered the more egalitarian spatial qualities of hypostyle mosques, but they built extraordinarily large examples, the first of which was inserted in the Great Friday Mosque at Isfahan in 1086-7. Being large and rather high, Seljuq domes created a city skyline and externalized a symbol of royal power--something that was not as conspicuous in western Islamic cities of that poque(Pirniya,1991). Isfahan as the Safavid Capital: Safavid period in which the Naghsh-I-Jahan Complex was constructed is concurrent with the age of passing through darkness towards enlightenment in the Western Civilization, known as the process of Renaissance, and the age of Ottoman classicism (1535-1778). This period can also be described as the age of the renewal of political, social, economic and cultural reorganization in Iran. Nearly four centuries after the fall of the Seljuqs, Shah Abbas I selected Isfahan as the Safavid capital. The Safavids were a local, Iranian dynasty. Initially, Abbas did little to alter the physical appearance of Isfahan, preferring merely to associate his reign with pre-existing symbols of authority. He established his royal palace on the old maidan (city square) near the Great Friday Mosque, a legacy of Seljuq rule. Understandably concerned with preparing the foundations for the city's infrastructure, Abbas rebuilt and refurbished old bazaars and laid some foundations for new shops. He did not neglect the

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emperor's duty of providing public entertainments. He leveled the old maidan and spread sand on it so that it could be used for polo, horse racing, and wine drinking(Ashraf,1974). When restoring Seljuq buildings, Abbas left the Safavid mark in an unmistakable yet respectful manner. His renovation of the Great Friday Mosque, for instance, visually accentuated the features most associated with imperial authority using the brilliant colored tiles favored by Persian architects. He focused on the mosque's Eyvans and courtyard which he had sheathed in polychromatic patterned tile veneer. The Eyvan vaults were elaborated with muqarnas (applied ornament which looks like stalactites or honeycombs) to which glazed mosaic tile was applied. Two minarets were added to the main Eyvan and clad with colored tiles, creating a new iconographic symbol of authority in which the new (twin minarets) was grafted onto the old. In general, Abbas demonstrated sensitive, if self-serving, reverence for Isfahan's glorious past and concern for its fitting display(Falsafi,1955). The New City Plan -- Embodiment of Safavid Ideology The Safavid monuments for which Isfahan is famous were commissioned by Abbas I after 1602. Military victories between the years 1590 and 1602 had confirmed Abbas's capacity as an empire builder. More capital and labor were put into bridges, roads, and caravanserais to build and facilitate trade. Abbas I was now ready to supplant the city's past and construct a pristine arena of Safavid rule outside the historic center. He established his "new city" in Isfahan to the south of the old city center, to which he transferred the imperial household; merchants and artisans relocated there as well. In the design of the new city, Abbas mobilized certain elements of the architectural past to generate a new Iranian imperial identity in the name of Safavid religious, commercial, and political ideals(Ashraf,1974).

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Shah Abbas's royal city center: Abbas I's designers differentiated the new city from the old historical center by organizing the street patterns on orthogonal grids not oriented toward Mecca. The old city had narrow winding streets and the old maidan was oriented toward Mecca. The old and new maidans were connected by the winding covered street of the Great Bazaar (2 km long) covered by high stone and brick vaults by the order of Abbas I. English and Dutch traders lived near the bazaar, as Isfahan was home to one of the East India Company's warehouses. Where the Great Bazaar met the new maidan, a group of buildings was built that constituted the Qaisariya Bazaar (Imperial Bazaar--built and maintained by the emperor). They housed imperial manufactures (wholesale silks and fine textiles, goldsmiths, silversmiths, jewelers), the state mint, a hospital, public bath, and a caravanserai. Unlike the shops of the Great Bazaar, these were arranged on a regular grid and aligned with the new city. Their importance to the regime was represented by the Qaisariya Gateway on the new maidan; no other imperial bazaar in the Safavid realm had a monumental entrance(Ashraf,1974). The grand scale and inorganic mathematical order of the new city implied that the values embodied in the old capital had been surpassed and supplanted by Abbas's priorities: religious tolerance, capitalism, state Shiism, Sufi reverence for saintly teachers and concern for the welfare of the masses.The new meidan turned its back on the old center, creating instead an alignment with the new Chahar Bagh Avenue (1596-1602) and the multi-ethnic, multi-faith sacred sites and suburbs south of the Zayandeh River. The latter included Hindu cremation platforms, a Zoroastrian cemetery, and the suburbs of New Julfa (for silk-trading Christian

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Armenians) and Abbasabad Chahar Bagh (for Tabrizi war refugees) (Falsafi,1955). Many new bridges were built linking the northern city with the southern suburbs.. Operable flood gates on the lower level of the Khwaju Bridge (1650-51) celebrated Safavid technological control of nature, while on the upper level social amenities such as a promenade and pavilions invited passers-by to linger and enjoy the view of the river -- source of the city's pleasure and prosperity. By designing the avenue, bridges, and streets of the suburbs in alignment with the orthogonal layout of new city, the designers succeeded in embedding Abbas's ideology inescapably into the fabric of urban life. The design and implementation of the new centre of the city (Naghsh Jahan complex, which took 25 years to complete, is a clear and beautiful expression of symbolism and innovation in city planning that clearly demonstrated and fully adopted in a practical application the theoretical perspective and concepts

introduced in this study. Complex composed of Old Piazza, Masjed-I-Jame, Palace, Masjed-I-Ali, Bazaar, Naghsh-I-Jahan Square(Shah),Masjed-I-Imam (Shah),AliQuapu, Masjed-I Sheik Lotfollah,Chahar-Bagh Gardens,Chahar-Bagh Street,Pole-eAllahwardi Khan Bridge, Pol-e-Khwaju,Zayandeh River(Fig.5).

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1. 3. 5. 7. 9. 11. 13. 15.

Old Piazza Palace Bazaar Masjed-I--Imam (Shah) Bazaar Entrance Chahar-Bagh Gardens Pol-e-Allahwardi Khan Pol-e-Khwaju

2. 4. 6. 8. 10. 12. 14. 16.

Masjed-I-Jame Masjed-I-Ali Naghsh-I-Jahan Square(Shah) Ali-Quapu Masjed-I -Sheik Lotfollah Chahar-Bagh Street Chahar Bagh Zayandeh Rive

Fig.5: Naghsh-I-Jahan complex (Herdeck, 1997)

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The Maydan-i-Shah: (former Shah square) The center of the new city was a magnificent new Maydan (510 x 165 meters) exultantly called the "Design of the World" (Maydan-I Naqsh-I Jahan). Its design united all of the facets of the Safavid polity into one spatial diagram: worship (the Shah Mosque), commemoration (the Mosque of Sheikh Lotfollah), sovereign administration (the Imperial Palace), and trade (Qaisariya Bazaar). Before Shah Abbas I rebuilt this square there used to be a much smaller square called Naghsh-I-Jahan - The Design of the World. Built at the beginning of the 17th century and bordered on all sides by monumental buildings linked by a series of two-storied arcades, the site is known for its Royal Mosque, the Mosque of Sheikh Lotfollah, the magnificent Portico of Qaisariya and the 15th century Timurid Palace. All bear witness to Persian socio-cultural life during the Safavid era. In catacomb world of the bazaar there was no hint of this tremendous civic space-the focal point of the city-510m long and 165 m wide, seven times the size of the Plaza San Marco at Venice. Built 500 years ago by place of ruler and subjects it was designed as a place for ceremony and tournament, as a market and a polo field(Falsafi,1955). The first sight of it breathe taking, and it is so powerful a statement that it stays in the memory long after you leave the city. After the sinuous world of the bazaar with all its variety of experiences the servers order of this great civic gesture, which elsewhere could be too dictatorial, comes as a great relief. The magic lies in the immediate confrontation of the two worlds. Like a vast barrack square, the square is rectangular, its perimeter defined by a continuous flat-topped wall of buff brick in double arcades, with shops below and white plaster niches above. It is a splendidly restrained architectural statement, impressive in its serial rhythms and simplicity, against which is played off an urban drama of minarets and domes. There are four special buildings which claim attention, rising from the even, repetitive wall of the square; one to each of its remaining sides. At the south end gleam the four minarets and blue tiled dome of the

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great Shah mosque, to the west royal the royal palace of Ali Quapu, and on the east side facing it the smaller mosque of Sheikh Lotfollah. And northern part Qaisariya .Each confronts the square in a different manner with the shah mosque as the dominant element in the scene, its giant minaret-flanked portal inviting entry and answering the lesser bazaar gateway at the other end, like opposing goals (Fig. 6).

Fig 6: Maydan -I-Naghsh -I-Jahan (Beheshti, 2005)

Among the largest open squares in the world (1700 by 525 ft), it was the focal point of the Shah's plan. Its four sides were lined up with shops on two levels (the second was built slightly later than the first).

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Each side of the Maydan had a central structure in it: North: Naqareh Khane (Drum Tower): The monumental portal. East: Mosque of Sheikh Lotfollah: The royal private oratory. South: Masjed-i-Shah: The congregational mosque. West: Ali Quapu (High Gate) Pavilion, planned as the portal to the royal palaces area to the west of the Maydan, it was enlarged and extended at least four times in fifty year (1614-64). It has three stories, with two intermediate mezzanines, fronted by a raised talar overlooking the Maydan. The last level, cruciform in plan, is called the Music Room and its walls are covered with carved, lacquered niches in the shapes of music instruments and flasks (Fig. 7).

Fig. 7 Maydan-I-Naghsh-I-Jahan (Shah or Imam)

A-Maydan-I-Nagh-I-Jahan .B-Maydan-I-Nagh-I-Jahan C-Maydan from minaret .D-Maydan in night (Photos from:http://Isfahan.honar.ac.ir/en/news.htm)

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The design of the individual buildings surrounding the new Maydan was not shockingly innovative, but their organization into a legible spatial composition was unprecedented in Iran. The "Design of the World" Maydan was the heart of the new conception. The Imperial Palace occupied the entire west side of the double-storey, arcaded new Maydan, having one monumental gateway (the Ali Quapu or "Sublime Portal") and two unobtrusive minor gates there. One grand portal opened onto each of the remaining sides of the Maydan, giving access to the Shah Mosque (south), the Mosque of Sheikh Lotfollah (east), and the Qaisariya Bazaar (north). With one prodigious gateway on each of its sides, the new Maydan looked as if it were the courtyard of a Four-Eyvan mosque. Hence, the "Design of the World" was a sacralized one which nevertheless included two hundred shops occupying the arcaded perimeter of the Maydan. Many other services were located inconspicuously just behind the Maydan, including madrasas, factories, caravanserais, merchants' mansions, and artisans' dwellings. The Imperial Palace was a garden palace complex, a palace type with a long history in Islamic architecture. This palace was composed of elaborate independent pavilions set in the garden, such as the Chehel Sutun, which served as audience chambers, banqueting halls, and residential apartments for the royal family. Garden palaces were typically surrounded by a wall, but in Isfahan's case it was not a fortification wall. The Imperial Palace is also unusual in that the imperial treasury, arsenal, and cavalry were not located inside the palace complex.

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West of the Maydan extended the royal gardens with royal pavilions and residences scattered in them (Fig.8):

A-Naghsh-I-Jahan complex with Royal gardens

B-West of the Maydan extended the royal gardens with royal pavilions and residences scattered in them

Fig.8: Naghsh-I- Jahan complex (http://www.archnet.org/library/images) A-Naghsh-I-Jahan complex with Royal gardens. B-West of the Maydan extended the royal gardens with royal pavilions and residences scattered in them

The Chehel Sutun (Forty Columns) Pavilion: Started by Shah Abbas, its plan is a development of the cross-axial, Four-Eyvan, centrally-domed type, Hasht Behesht. The western block and the talar with its high twenty columns, reflected in the large pool in front of it, were added by Shah Abbas II (1642-67) (Fig. 9-10-11).

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1 The Palace 2 Pool 3 Throne Hall 4 Elegant Porch, Superb Mirror Hall and Mural Painting 5 Two Pillor that leads to the Throne Hall

6 Marble Basin highlighted by figures of four lions. 7- Large rooms 8 The galleries 9 Portal of Qotbiyeh Mosque 10 Portal of Darb e - Kushk

Fig. 9: Axonometric, Plan and bird view of the Palace-Museum of Chehel Sutun (Beheshti, 1973)

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Fig. 10: Figures Related to Chehel Sutun

A-Plan of pavilion .B-Isometric of pavilion C-Chehel Sotun palace within its garden D-Drawing from Iwan towards talar .E-Chehel Sotun palace F-Ceiling of Chehel Sotun Palace. G-Persian mirror work. H-Entrance of Chehel Sotun I-Column and Fountain of Chehel Sotun J-Sainted glass window. K-Inside of Chehel Sotun Palace (Photos by F.Habib)

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Fig.11: Painting on the wall of Chehel Sotoon (Photos by F.Habib)

The Hasht Behesht Pavilion: Built and incorporated within the royal palaces by shah Suleiman in 1669-70, it represents the classical example of the type. Its central, domed space is surrounded by four octagonal rooms on two stories (hence the eight paradises) along one cross-axis and Four Eyvan along the other cross-axis (Fig.12 13).

1. 2. 3. 4.

Octagonal and Rectangular rooms Open porches Edifice rises two stories with a dome and sky light Hidden staircase Fig. 12: Plan of the ground floor of the Hasht Behesht Palace (Beheshti, 1973)

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A-Site plan of the Hasht Behesht with gardens, B-Isometric, C-Plan and section of the Hasht Behesht after Pascal Coste (1955)

D-Interior view under the Central Dome after Pascal Coste (1955)

E-Hasht Behesht Palace

F-Interior of Palace

G-Dom of Palace

H-Interior roof

I-Water fall wall

Fig. 13: Figures related to Hasht Behesht A- Site plan of the Hasht Behesht with gardens. B- Isometric. C-Plan and section of the Hasht Behesht after Pascal Coste (1955). D-Interior view under the Central Dome after Pascal Coste. E-Hasht Behesht Palace. F-Interior of Palace.-Dom of Palace H-Interior roof I-Water fall wall. (Photos by F.Habib)

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Chahar Bagh Avenue: Chahar Bagh Boulevard is a historical boulevard in the city of Isfahan in Iran dating from the Safavid era. The avenue is the most historically famous in all of Persia. The famous Champs-Elysees Boulevard5 (Paris) was designed after this beautiful inner-city lane. It connects north of city to south and is about 15 kilometers long. Shah Abbas I laid out this magnificent avenue between 1596 and 1597. The Avenue runs from a district known as Hezar Jerib (The thousand acres) in the South up to a wide square near the palace of Chehel Sotoon, crossing the Zayandeh Rud at the Si-o-Seh Pole . The name means literally "Four Gardens" and this alludes to the four great parks which were laid out on either side of the road. The central path was originally a watercourse and the pathways on either side of it were set as present amongst double rows of chenar trees (platanus orientalis). When Coste (1955) visited Isfahan in 1840, the 250 years old plane trees in the Chahar Bagh had reached full maturity .There were four parallel rows, and they extended for the full length of the upper and the lower Chahar Bagh, north and south of the river respectively-a total distance of some 4 km. The central section of the avenue was for pedestrians, and down the middle ran a water channel which was intersected at intervals by other waterways or widened into pools. On either side were lanes for riders, separated from the central pathway by broad strips of planting.
5

Champs-Elysees (French for "Elysian Fields") is the most prestigious and broadest avenue in Paris. Its full name is "Avenue des Champs-Elysees". With its cinemas, cafs, and luxury specialty shops, the Champs-Elysees is one of the most famous streets in the world, its length is 1910m and width 70 m creation date 1670. The Champs-Elyses was originally fields and market gardens, until 1616, when Marie de Medici decided to extend the garden axis of the Palais des Tuileries with an avenue of trees. As late as 1716, Guillaume de L'Isle's map of Paris shows that a short stretch of roads and fields and market garden plots still separated the grand axe of the Tuileries gardens from the planted "Avenue des Thuilleries", which was punctuated by a circular basin where the Rond Point stands today; already it was planted with some avenues of trees radiating from it that led to the river through woods and fields. In 1724, the Tuileries garden axis and the avenue were connected and extended, leading beyond the Place de l'toile; the "Elysian Fields" were open parkland flanking it, soon filled in with bosquets of trees formally planted in straight rank and file. To the east the unloved and neglected "Vieux Louvre" (as it is called on the maps), still hemmed in by buildings, was not part of the axis. In a map of 1724, the Grande Avenue des Champs-Elise stretches west from a newlycleared Place du Pont Tournant soon to be renamed for Louis XV and now the Place de la Concorde (http://en.wikipedia.org/wiki /Champs-Elysees).

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Twenty pavilions still lined the two sides of the avenue, but they were no longer in use and falling into ruins. The middle section is still reserved for pedestrians, but the water channels have been filled in and the side lanes asphalted for vehicular traffic. The pavilions and their gardens have disappeared without a trace, and the two sides of the avenue are now lined with shops, cinemas and offices. The great processional route of Shah Abbas and the gardens of the Safavid court have become an architecturally undistinguished but lively commercial street (Brown, 1975). The asphalted roads on either side of the central reservation were originally flower beds. Today the avenue is very much the centre of life in the town. The shops abutting it and the principal hotels in the city are situated either on it or adjacent to it. The central reservation is screened from the ever-present traffic although you need to watch out for motor-cyclists, and at dusk it is full of people taking the air and talking. The urban area extended west and south of the royal gardens and was organized around this axis slightly tilted from the orientation of the Maydan. It terminated in the other side of the river Zayandeh in the new suburb of Julfa, which was reached by the bridge of Allah Verdi Khan. Reportedly the worlds first boulevard, Chahar Bagh Avenue was one of the earliest creations of Shah Abbas I in Isfahan. It started at the magnificent garden of Jahan Nama, which occupied the site of the citys present municipality until 1890, and stretched as far as the foot of the Soffeh Mountain(Ashraf,1974). The splendid Allah Verdi Khan Bridge connected the street at the point where it was interrupted by the Zayandeh Rud. The name of the boulevard (Persian: Four Garden) is derived from square orchards that originally bordered on the street. Also, four rows of tall plane trees were planted along both of its sides. During the reign of Shah Abbas I and his Safavid successors, Chahar Bagh Avenue (particularly at its lower section) was a promenade for the royal family and

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court. It was enclosed by wooden fretted walls of medium height, broken at even interval by gates. Most of the gates were topped with pavilions and led to shady orchards that stretched along the street. At the center of the avenue was a canal, and water dropped in little cascades from its wide tiers. Now and again, this water was collected in large basins, some of which also had fountains. In summer months, these tanks were often filled with the cut heads of roses, which floated on the water filling the air with their fragrance. On both sides of canal, wide sidewalks for pedestrians and horsemen were laid out, and flowerbeds enhanced the beauty of the street. As attested to by all the visitors to Safavid Isfahan, in its heyday Chahar Bagh Avenue was one of the worlds most magnificent streets. During the Safavid period, Chahar Bagh Avenue was reserved on Wednesdays for women. They strolled, picnicked, and went shopping here unveiled, while eunuchs prevented men from entering the street. All the shopkeepers and servants on those days were also women. Chahar Bagh Avenue is 5 km long and 47 m wide (Fig. 14-15-16) (Ameli, 1986).

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A and B-Entrance of Upper Chahar Bagh from Allah Verde Khan Bridge

C and D-Allah Verde Khan Bridge from Upper Chahar Bagh

E-Entrance of Upper Chahar Bagh

F-Entrance of Chahar Bagh - I - Abbassi

G and H-Chahar Bagh - I - Abbassi Fig.14: Figures Related to Chahar Bagh Avenue A and B-Entrance of Upper Chahar Bagh from Allah Verde Khan Bridge C and D- Allah Verde Khan Bridge from Upper Chahar Bagh. E-Entrance of Upper Chahar Bagh .F-Entrance of Chahar Bagh - I Abbassi G and H-Chahar Bagh - I - Abbassi (Photos by F.Habib)

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A and B Two views of Chahar Bagh I - Abbassi

C and D-Shops lined two sides of the Avenue

E-Entrance of formerly Hasht Behesht

F and G -Views of Side and central pedestrian of Chahar Bagh I - Abbassi

H-Another entrance of Hasht Behesht Fig.15: Figures Related to Chahar Bagh Avenue A and B Two views of Chahar Bagh I Abbassi. C and D-Shops lined two sides of the Avenue .E-Entrance of formerly Hasht Behesht. F and G -Views of Side and central pedestrian of Chahar Bagh I - Abbassi .H-Another entrance of Hasht Behesht (Photos by F. Habib)

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A-Madreseh I Chahar Bagh in one side of avenue

C and D-Two views of Chahar Bagh Avenue from minaret of Chahar Bagh School Fig. 16: Figures Related to Chahar Bagh Avenue A-Madreseh I Chahar Bagh in one side of avenue. B- Central pedestrian. C and D-Two views of Chahar Bagh Avenue from minaret of Chahar Bagh School (Photos by F.Habib)

Chahar Bagh Madreseh: The splendid complex of Chahar Bagh monuments marks the final achievement of the Safavid period in Iranian architecture. Although at the time of its construction the dynasty itself was almost in its death throes, the architectural style developed by Shah Abbas I seems to have been still thriving. The complex consists of a Madreseh, the Honar Bazar, and a caravanserai that has now been refurbished into the luxurious Abbassi Hotel. The Madreseh was the principal structure of the complex built upon the initiative and at the expense of Shah Sultan Hussein Safavids mother, whence its other popular name Madreseh-ye-Madare Shah (Seminary of the kings Mother).The construction was finished in 1706, but the decorative work was completed in 1714.The bazaar and the caravanserai were created to produce revenue for the Madreseh. The complex occupies a vast quadrilateral. Its architect succeeded in reproducing a truly organic ensemble that offered travelers a wide range of amenities. In addition to the

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sumptuous common rooms and the private apartments of the caravanserai, there were shady gardens, with fountain and benches, where travelers could talk far into the night, or listen to story-tellers and music. The bazaar was the place where supplies for the journey could be purchased. The mosque of the Madreseh served pilgrims as a place of prayer. That is why throughout the final years of the Safavid period the complex continuously prospered (Fig.17-18-19).

1- Great Entrance portal from Chahar Bagh Avenue 2- Hashti (Octagonal Hallway) 3- Main Courtyard 4 Patios 5 A long Marbled edge pool 6- Two Story Chambers

7 Roof 8 Dome 9 Eyvan 10 Minaret 11 Prayer hall 12 The north Eyvan

Fig. 17: Isometric of Chahar Bagh school Beheshti 2005)

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A-Entrance of Chahar Bagh School (Drawn by Bayash) 9(F.Habib),Developed from

B-The Chahar Bagh Madreseh (Coste, 1955)

C-Madreseh-ye-Madare Shah and Caravanserai (Hillenbrand, 1998)

D-Madreseh from Chahar Bagh Avenue

F-Bagh of Madreseh's Court Yard

Fig.18: Figures related to Chahar Bagh School A-Entrance of Chahar Bagh School (F.Habib) B-The Chahar Bagh Madreseh. C-Madreseh-ye-Madare Shah and Caravanserai D-Madreseh from Chahar Bagh Avenue. E- Court yard of school with pool. F-Bagh of Madreseh's Court (Photos by F.Habib)

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A-Entrance

B- Chahar Bagh School West Eyvan,

C-Abbassi Hotel from minaret of School

D- Bazaar Honar entrance from Chahar Bagh Avenue

E-East Eyvan, Madreseh-ye Chahar Bagh

F- West Eyvan

G- Prayer Hall Dome

H-Entrance

I- Ceiling of entrance

J-Mosque dome ceiling

K- Prayer Hall Dome

L-Courtyard with chambers

M- Courtyard

N- Patios where the officer of school were living

Fig. 19: Figures related to Chahar Bag School A-Entrance. B- Chahar Bagh School West Eyvan. C-Abbassi Hotel from minaret of School D- Bazaar Honar entrance from Chahar Bagh E-East Eyvan, Madreseh-ye Chahar Bagh F- West Eyvan .G- Prayer Hall .H-Entrance. I- Ceiling of entrance. J-Mosque dome ceiling. K- Prayer Hall Dome K- Prayer Hall Dome .L-Courtyard with chambers. M- Courtyard .N- Patios where the officer of school were living (Photos by F.Habib)

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The Si-o-se Pol :( which means 33 Pol, literally 33 Bridge) or the Bridge of 33 Arches, also called the Allah-Verdi Khan Bridge, is one of the eleven bridges of Isfahan, Iran. It is highly ranked as being one of the most famous examples of Safavid bridge design. Commissioned in 1602 by Shah Abbas I from his chancellor Allah Verdi Khan Undiladze, an Iranian ethnic Georgian, it consists of two layers of 33 arches. There is a larger base plank at the start of the bridge where the Zayandeh River flows under it, with a mounted tea house there. It crosses the Zayandeh Rud as a southern continuation of Chahar Bagh Avenue (Fig. 20-21).

A-Birds are inseparable attributes of autumn on the Zayandeh Rud.

B-row of delicate arches.

C-D-E- three views of entrance of the Bridge from Upper Chahar Bagh

F-G-H- Three views from Bridge toward Chahar Bagh-I-Abbassi Fig. 20: Figures related to Sio-se-pole A-Birds are inseparable attributes of autumn on the Zayandeh Rud. B- Row of delicate arches. C-D-E- three views of entrance of the Bridge from Upper Chahar Bagh F-G-H- Three views from Bridge toward Chahar Bagh-I-Abbassi (Photos by F.Habib)

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A-Pascal Coast drawing B-A view through arches C-Bridge

D,E and F- From Bridge toward Chaser Bagh-I-Abbassi

G-Toward Chahar Bagh - I - Abbassi

H-Entrance of Chahar Bagh - I - Abbassi

I-A view of Sio se - Pole

Fig.21: Figures related to Sio-Se-Pole A-Pascal Coast drawing. B-A view through arches.C-Bridge . D,E and F- From Bridge toward Chaser Bagh-I-Abbassi G-Toward Chahar Bagh - I - Abbassi I-A view of Sio se Pole (Photos by F.Habib)

Khaju Bridge:Shah Abbas the second of the Safavid dynasty on the ruins of Hassan Baik Bridge in 1650 or 1655.The bridge has been known with a variety of titles including Pol-e-Shahi, Pol-e-Khaju, Pol-e-Baba Rokneddin, and Pol-eGabrha built this bridge. The bridge is 105 meters long and 14 meters wide. The pass way of the bridge is 7.5 meters wide, made of bricks and stones with 21 larger and 26 smaller inlet and outlet channels. The pieces of stone used in this bridge are over 2

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meters long and the distance between every channel and the ceiling base is 20 meters. The existing inscriptions suggest that the bridge was repaired in 1873.

A and B-On sunny days the Khajoo Bridge is the favorite promenade of Esfahan residents (Photo and picture Drawn by F.Habib)

C and D-Vertical and Horizontal Crosse section of the Khajoo Bridge (Beheshti, 2005)

E,F and G-NowRuz fire work, The Persian calendar maintains the 622 year difference based on Mohammed's flight from Mecca in 622 AD The new Iranian year on 21 March 2006 is 1385; the difference is the Persian use a 365 day solar calendar starting at the spring equinox(http;//isfahan.honar.ac.ir/en/news/06/74.htm)

Fig.22: Figures related to Khaju. Bridge

A and B-On sunny days the Khajoo Bridge is the favorite promenade of Esfahan residents

C and D-Vertical and Horizontal Crosse section of the Khajoo Bridge .E,F and G-NowRuz fire work

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the most famous of Isfahan bridges, has roused the admiration of travelers since the 17th century.There was an earlier bridge across the river at the same spot, near the district of Khaju on the old Shiraz road; this was probably built in the reign of Timurian sovereign, one of the successors of Tamerlane (15th century). Shah Abbas II built the present structure round about 1650. It has 23 arch.It is also a dam; sluice gates between the piers closed the canals, raising the water level upstream so that large reserves could be collected for irrigating the surrounding gardens. With its two stories of arcades with intersecting arches, its stone steps downstream with the water cascading over them, and its two large pavilions in the center- (The Prince` Parlors)- this bridge is a masterpiece of balance and harmony. The outer side of the arcades is decorated with richly colored tiles, and the interior of the pavilions with more recent paintings (Fig.22). The Mosque of Sheikh Lutfallah:(1603-1619) was the first monumental building to be erected in Abbas's new city. Sheikh Lutfallah was an Arabicspeaking Shiite, an imam and teacher of Islamic law, whom Abbas made part of the imperial household. The sheikh resided in this mosque, a rather novel building in that its design is a conflation of two traditional architectural types. The entire mosque is a centrally planned domed space, which is typical of commemorative mausoleums, not mosques, but this building does not house a tomb. Inscriptions call it a mosque, but it lacks the typical courtyard, eyvans, and minarets. However, it does have the essential mihrab niche and is oriented toward Mecca. Multicolored tile veneer sheathes the exterior in a pattern which resembles prayer rugs applied to a vertical surface. Muqarnas faced with intricate mosaic work are suspended over the entrance arch. The interior is often recommended as the most perfectly balanced space in Persian architecture. Filtered light entering through windows in the drum 72

of the dome flickers across the mosaic-lined walls and dome. Eight pointed arches on the walls, outlined in turquoise, bring just enough geometric discipline to this numinous, coloristic space to keep worshipers from entirely losing their earthly bearings(Fig.23-24).

Fig.23: Naghsh-I-Jahan square showing Dome of Sheikh Lotfollah mosque which is seen in eastern side of square and Shah Mosque located in southern side (Drawn by F.Habib)

Fig.24: Front view of Mosque (Photos by F.Habib)

The mosque was once called the Womens Mosque, because there is apparently a tunnel between this mosque and the Ali Quapu Palace, allowing women from the old dynasties to attend prayers without being seen in public. Situated on the eastern side of Naghsh-i Jahan Square, Sheikh Lotfollah Mosque was constructed between 1602 to 1619 A.D. in Shah Abbas (I)'s era. The monument's architect was Mohammadreza Isfahani. He solved the problem of the difference between the direction of kaabeh and gateway of the building by devising a connecting vestibule between the entrance and the enclosure (Fig.13) (Pirniya, 1991). 73

The diameter of the inner dome is 12m laid on walls with the thickness of 170cm. One of the unique characteristics of the mosque is the peacock at the center of its dome. If you stand at the entrance gate of the inner hall and look at the center of the dome, a peacock whose tail is the sunrays came in from the hole in the ceiling could be seen. The mosque was named after Sheikh Lotfollah, a religious leader from what is now Lebanon who was invited to Isfahan and was paid special attention by the Safavid king (Fig.25).

A-Interior arcade of B- Interior of the dome Sheikh Lotfollah Mosque

C-Mihrab

Fig.25: Figures related to Sheikh Lotfollah Mosque A-Interior arcade of Sheikh Lotfollah Mosque. B- Interior of the dome. C-Mihrab (Photos by F.Habib)

Ali Quapu Palace: This palace was built in the 18th century as a functioning seat of government, and included a huge pavilion from where the Safavid rulers could watch the activities in the square below. Unfortunately the Palace today is devoid of any furniture, and many of the Murals have been destroyed. Ali Quapu (pronounced, ah-lee gah-pooh) is in effect but a pavilion that marks the entrance to the vast royal residential quarter of the Safavid Isfahan which stretched from the Maydan Naqsh-I-Jahan to the Chahar Bagh Boulevard. The name is made of two elements: "Ali", Arabic for exalted, and "Quapu" Turkish for portal or royal threshold. The compound stands for "Exalted Porte". This name was chosen by the Safavid to rival the Ottomans' celebrated name for their court: Bab-I Ali or the 74

"Sublime Porte"). It was here that the great monarch used to entertain noble visitors, and foreign ambassadors. Shah Abbas, here for the first time celebrated the NowRuz (New Year's Day) of 1006 AH / 1597 A.D. A large and massive rectangular structure, the Ali Quapu is 48 meters high and has six floors, fronted with a wide terrace whose ceiling is inlaid and supported by wooden columns. Ali Quapu is rich in naturalistic wall paintings by Reza Abbassi, the court painter of Shah Abbas I, and his pupils. There are floral, animal, and bird motifs. The highly ornamented doors and windows of the palace have almost all been pillaged at times of social anarchy. Only one window on the third floor has escaped the ravages of time. Ali Quapu was repaired and restored substantially during the reign of Shah Sultan Hussein, the last Safavid ruler, but fell into a dreadful state of dilapidation again during the short reign of invading Afghans. Shah Abbas II was enthusiastic about the embellishment and perfection of Ali Quapu. His chief contribution was given to the magnificent hall, constructured on the third floor. The 18 columns of the hall are covered with mirrors and its ceiling is decorated with great paintings. The chancellery was stationed on the first floor. On the sixth floor, the royal reception and banquets were held. The largest rooms are found on this floor. The stucco decoration of the banquet hall abounds in motif of various vessels and cups. The sixth floor was popularly called (the music room) as it was here that various ensembles performed music and sang songs. From the upper galleries, the Safavid ruler watched polo games, maneuvers and horseracing below in the Naqsh-i-Jahan square. The Ali Quapu has multiple connotations, but generally connotes entrance or supreme gate to the complex of palaces and public buildings of the Safavid Government.

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Construction Stages: The Ali Quapu building was founded in several stages, beginning from a building with a single gate, with entrance to the government building complex, and gradually developed, ending in the existing shape. The period of the development, with intervals lasted approximately seventy years. First Stage: The initial building acting as entrance to the complex was in cubical shape and in two stories, with dimensions measuring 20 x 19 meter and 13 meter high. Second Stage: Foundation of the upper hall, built on the entrance vestibule, with cubical shape, over the initial cubic shape structure with the same height in two visible stories. Third Stage: Foundation of the fifth story, the music amphitheater or music hall, built on the lower hall, using the central room for sky light, and thus the vertical extension being emphasized. Fourth Stage: Foundation of the eastern verandah or pavilion advancing towards the square, supported by the tower shaped building. By foundation of this verandah, the entrance vestibule was extended along the main gate and passage to the market, perpendicular to the eastern flank of the building. Fifth Stage: Foundation of the wooden ceiling of the verandah, supported by 18 wooden columns, and contemporaneous with erection of the ceiling, an additional stairway of the southern flank was founded and was called the Kingly Stairway. Sixth Stage: During this stage a water tower was built in the northern flank for provision of water for the copper pool of the columned verandah. Plaster decorations in reception story and music hall. The room on the sixth floor is also decorated with plasterwork, representing pots and vessels and one is famous as the music and sound room. It is certainly well worth visiting for the cut out decorations round the room, which represent a considerable artistic feat. These cut out shapes were not placed

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there to act as cupboards: the stuccowork is most delicate and falls to pieces at the highest touch. So we conclude that it was placed in position in these rooms for ornament and decoration. The rooms were used for private parties and for the King's musicians, and these hollow places in the walls retained the echoes and produced the sounds of the singing and musical instruments clearly in all parts. Ceiling decorations: The decoration of the large room on the third floor which opens out on the large pillared hall, and which was used by Shah Abbas for entertaining his official guests is the most interesting. Fortunately the ceilings, on which birds are depicted in their natural colors, have remained without interference in their original state from Safavid times, and these are the best roofs in the building (Fig.26-27-28-29).

Fig. 26: Ali Quapu palace, was the celebrated seat of the Safavid capital in Isfahan (Drawn by F.Habib)

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1-Entrance 2-Balcony (Portico) 3-Veranda (Portico) 4-Thorne Hall 5-Music Chamber

Fig.27: Figures related to Ali Quapu (Beheshti, 2005)

A-Ali Quapu palace B-Vertical cross section of the Ali Quapu

Fig.28: Figures related to Ali Quapu (Beheshti, 2005)

A-The chief gate of the palace and Hall of Audience

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A-Ali Quapu Palace

B-Exterior of the Palace

C-West view of the palace

D-Exterior of the palace

E-Interior view of palace

F-Interior view of the palace

G-The plaster ceiling of the music chamber

H-Fresco from the portico of the palace depicting Persian Woman

I and K-Music Chamber exhibit a remarkable Ceiling

Fig.29: Figures related to Ali Quapu- A-Ali Quapu Palace.B-Exterior of the Palace. C-West view of the palace.D-Exterior of the palace. E-Interior view of palace F-Interior view of the palace. G- Ceiling of the music chamber H-Fresco from the portico of the palace depicting Persian Woman.I and K-Music Chamber Ceiling(Photos by F. Habib)

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The Shah Mosque (1611-1666): on the new Maydan replaced the Great Friday Mosque as the center of Isfahani religious life; although the latter remained open for assembly and prayer. Compared to the Mosque of Sheikh Lotfollah, the Shah Mosque has a traditional Iranian design: a four-Eyvan courtyard, the main Eyvan flanked by minarets, and a towering 170-foot high domed chamber in front of the Mihrab niche. The importance of the control of education in the Shiite state is evident in the unusual presence of two madrasas (theological schools) flanking the prayer hall, each with its own arcaded courtyard. Because both the Mosque of Sheikh Lotfollah and the Shah Mosque had to be oriented toward Mecca, they are turned at an angle with respect to the Maydan on which each had its monumental entrance portal. In each case, the architects diminished the disorienting linkage between portal and mosque by locating the change of axis in an entrance corridor. Unprecedented use of color dominates the decoration of the entrance gateways, domes, minarets, and some interior spaces of both the Shah Mosque and the Mosque of Sheikh Lotfollah. The use of polychromatic tile as surface ornament was known in other periods of Iranian history, but it was the Safavids who established colorism as the most salient characteristic of Iranian architecture. Before the Safavids, colored tiles would be used to accent certain architectural elements, but artisans working for this dynasty would cover every surface of a building with colored tiles, marble, plaster, or painted wood. Architectural historians see this propensity for elaborate surface decoration as a triumph of Persian aesthetic purpose over Turkish structural values. The application of colored tile patterning (i.e. curvilinear arabesques, floral designs, kufic inscriptions, and imitation tile "carpets") hides a building's structure. It prevents the viewer from contemplating the workings of the physical laws which keep the building standing

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up. Thus, a huge building can be made to seem rather weightless, like an otherworldly miracle hovering on earth (Fig. 30-31).

1- Forecourt bordered on three sides by a majestic portal 2- Portal 3- Anteroom 4-The nothern Eyvan 5- The right corridor 6-The left corridor 7- Courtyarl 8-Two story Archades 9-Pool

10- The Southern Eyvan 11- Minaret 12- Dome 13- Two prager Hall 14- East Eyvan 15- West Eyvan 16- Southernwest Madreseh 17- Triangle Stone acts as a sundial for the noon prayers 18- The southeastem Naseriyeh Madreseh

Fig.30: Three dimentional view of the Royal Mosque (Beheshti 2005)

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Fig.31: Entrance of Masjed-I- Shah A-Entrance of Masjid-I-Shah and Great Bazaar(Drawn by F.Habib)

B and C-Sky line of Masjed I Shah Within the square (http://www.iranchamber.com)

D-Two pairs of minarets, the high dome. E- The pointed roof of maazeneh of the Royal Mosque dominate the arcades of the magnificent Maydan (photos by F.Habib) Fig.31: Figures related to Nagh-I-Jahan Square A-Entrance of Masjed-I-Shah and Great Bazaar B and C-Sky line of Masjed I Shah Within the square D-Two pairs of minarets, the high dome. E- The pointed roof of maazeneh of the Royal Mosque dominate the arcades of the magnificent Maydan

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Great Bazaar: The life of Eastern societies has been concentrated around the bazaar since ancient times. The name "bazaar" has its roots in the Old Persian language. This Persian word followed the trade routes and was borrowed by many European and Asian languages. In Iran, the earliest reference to the bazaar dates from the 8th millennium B.C. The legend of Jamshid that appears in the Avesta, the Zoroastrian Sacred book, tells of the bazaar already in existence. An archaeology-cal survey in the Sialk Mounds (pp 194-195) has revealed that the residents of Sialk traded with the countries of the Persian Gulf in about the 5th millennium B.C., and that they could purchase necessities at a permanent marketplace. The records of the Achaminids period include the costs of goods in the markets and the amounts of taxes levied on the merchants. During the Parthian period, the economy of the country was mainly based on agriculture and trade. Moreover, the Parthian, who actively traded with the countries of both East and West along the Silk Road, even had a monopoly over some specific goods such as spices and fabrics. The map of the Parthian town of Dura-Europos from 165-256 A. D. shows the exact place of the main bazaar of the town. During the Sasanid period, the traders and artisans were already organized into guilds, and each guild had a leader who usually worked as a mediator between the common people and the government officials. Starting from the early Islamic period, the bazaar has not been only the place where trade is concentrated; in fact, it has constituted the focal point of most city activities. People gathered in the bazaar not only to purchase, but also to communicate, to listen to the decrees announced by royal heralds, and to participate in festivities and other ceremonies. On religious mourning occasions, the bazaar was usually closed. Since the Safavid period, the Esfahan Bazaar has been the place of

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the most splendid ceremonies, particularly connected with the Moharram mourning rituals (Fig. 32).

Fig.32: Map of the Great Bazaar of Isfahan (Beheshti, 2005)

The bazaar has always had an important social power. The cancellation of a tobacco concession 1890, the Constitutional Revolution of 1906, the nationalization 84

of oil in 1951, and finally the Islamic Revolution of 1979, spurred on the closing of the bazaar. The merchants and artisans staged a walkout in objection to the governmental deeds, and all the life in the country came to a stop. In virtually all towns, the bazaar is a covered street, or series of streets and alleyways, lined with small shops grouped by service or product. In small towns, the bazaar might be the equivalent of a narrow, block-long street; in larger cities, the bazaar is a warren of streets that contains ware houses, restaurants, baths, mosques, and madresehs, in addition to hundreds and hundreds of shops. A bazaar usually consists of raste-ye asli, a main street that, in its simples from, is a road lined on either side by shops. In large bazaars, raste-ye fari, the auxiliary lanes, branch off the main road. The intersection of two major bazaar lanes is called chahar-suq. Usually the richest shops surround this point. Maydan, the square, most often precedes the entrance to any bazaar. The Esfahan Bazaar is confined between Naqsh-e Jahan Square at its southern end and Old Square at its northern end. Jelokhan is an area usually enclosed on three sides and fronting the main portal of a bazaar, Hojreh is a small shop specializing in particular goods. If the shop is two stories high, its ground floor is likely to be the shop itself, while the upper floor may serve as an office or a workshop. Caravanserai is usually the most decorated area inside any bazaar. It consists of an open courtyard surrounded on its four sides by rooms for serais outside the city proper; a large area was also reserved for stables. Timcheh was originally a small caravanserai. Today it is instead a roofed area surrounded by shops, mainly trading in carpets and other valuable goods. Esfahan boasts one of the richest bazaars in Iran. The first record of Esfahan's bazaar comes from the accounts of Naser Khosrow, who visited at in the early 12th

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century and described in enthusiastic terms. Although it had thrived throughout the Buyids and Seljuk periods, the bazaar of Esfahan was given new life during the Safavid rule. The grandiose plans of shah Abbas's redecoration of the capital were first and foremost aimed at securing its economic growth at this time, the original bazaar, which had been concentrated in the vicinity Congregational Mosque, was extended by building a new and larger commercial area to the north of Naqsh-e Jahan Square(Beheshti,2005). The entrance to the bazaar, fronting on the central square and in perfect keeping with its dimensions, was built in 1619 and is called Qaisariya. The name "Qaisariya" literally means "Caesarian" and is used to identify the Royal Bazaar Deeply recessed from the surrounding shops and very high, this majestic gateway is ornamented with tiles and exquisite mural paintings, now perfectly restorted. The tiles above the door depict Sagittarius; Oriental writers maintained that Esfahan was under the influence of the sign(Beheshti,2005). The frescoes attributed to Reza Abbassi show scenes referring to Shah Abbas's war with the Uzbeks, along scenes of hutting and feasting. The entrance to the bazaar was once topped by a large clock, which had been made for Shah Abbas by an Englishman named Festy. After Festy's death the clock stopped, and no one could repair it. Above the clock hung a big bronze bell, looted from a Portuguese nunnery at Hormoz. It was never sounded, and in about the year 1800 was melted down for cannon. At roughly the same period the clock also disappeared. At the time of the Safavids, orchestras in the Drum House on the upper galleries of the Qaisariya Portal used to drum and trumpet the sunrise and sunset, and they are also reported to have saluted Shah Abbas's victories in polo games. The Drum House was demolished during the Qajar period.

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The Esfahan Bazaar has sections from perhaps every period of the city's history. Its most import parts date from the Buyids, Seljuk, Mozaffarid, and Safavid periods. During the Qajar ad Pahlavi rules, about two-thirds of the bazaar disappeared. It happened primarily because of the erroneous governmental policy that allowed the import of foreign goods to the extent that it harmed and sometimes destroyed local producers. Secondly, during the 20th century, the majority of Iranian cities were replanned, and modern, straight streets were laid out. Very often this happened at the cost of ancient lanes and trade streets. Thirdly, modern factories tended to be built on the city outskirts, while modern trade centers were constructed along the new streets. All these factors have diminished the role of the bazaar as the main center of the city's manufacture and trade. However, although the Esfahan Bazaar has not remained unaffected by these events, it is still a very important center of Esfahan's commerce. It is a labyrinth of arcades, squares, courtyards depots, and caravanserais. The one third that is left still occupies an entire district of the city. Esfahan bazaar merits at least a half-day stroll, not necessarily for buying, but for the oriental atmosphere of haphazard activity. Light streams down into the bazaar's allays from apertures and windows so high that one could think one were in a Gothic cathedral if not for the insistent bargaining and animated conversation(Behashti,2005). Those who seek picturesque sights may be slightly disappointed, but here it is daily events rather that objects which are picturesque (Fig. 33-34-35).

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Fig. 33: Entrance of Bazaar from Naghsh-I-Jahan Square (Drawn by F.Habib)

Fig.34: Figures related to Great Bazaar (Drawn by A.Bayash)

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A-Entrance of Bazaar (http://en.wikipedia.org/wiki/isfahan)

B-View of the metalworkers street(Photos by K.Bozorgi)

C-Interior view (drawn by F.Habib)

D-Timcheh (photo by K. Bozorgi)

E-Interior view of Bazaar F-Interior view of Bazaar (photo E and F by F.Habib)

Fig.35: Figures related to Great Bazaar A-Entrance of Bazaar. B-View of the metalworkers street. C-Interior view D-Timcheh E-Interior view of Bazaar F-Interior view of Bazaar

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Mullah Abdullah Madreseh:

Located in the very beginning of the Great

Bazaar, this seminary is one of the earliest in Esfahan. It was built in the time of Shah Abbas for Mowlana Abdullah Shushtari, one of the most prominent theologians of that time. The layout of the Madreseh is quite typical for Iranian religious structures. It includes a courtyard that is enclosed by two-story arcades of student's lodgings. The facades of the arcades are decorated with tile work. The inscription on the portal indicates the repairs completed at the directive of Fathali Shah Qajar in 1803. Malek Timcheh: This section of the bazaar was built in 1904 during the rule of Mozaffar al-Din Shah Qajar. The building consists of three consecutive vaulted areas, two stories high and each surmounted by a skylight, through which light streams inside this beautiful area. In the middle of the hall lies a large pool. Brickwork is of exceptional quality, and it is highlighted sparingly by brightlycolored tiles. Through a short passageway, facing the entrance area, the Timcheh is linked to the rectangular courtyard of a small caravanserai. The caravanserai consists of multiple chambers, with the upper floor supported by a columned arcade in front of the ground floor. An oval pool, matching the elongated form of the yard, occupies its center.

A-Malek Caravanserai

B-Malek Timcheh

Fig.36: Figures related to Great Bazaar (Beheshti, 2005)

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Zayandeh-Rud (Zayandeh-River): The Zayandeh-Rud, the lifeline of Esfahan, originates in the Zagros Mountains and flows southeast, where it dissipates in the saline of Gavkhouni Swamp. The main river of the central Iranian plateau, it waters, along with its tributaries, an area of 27,570 sq. km. that constitutes roughly one-seventh of Irans territory. The river is about 270 km long, and its width varies from 10 to 800 meters. In Esfahan, it is 100 to 200 meters wide on average. During various historical periods, the Zayandeh-Rud was known under different names, among them Zandak-Rud ("the big river"), Zarin-Rud ("the golden river"), or Zendeh-Rud ("the live river"). Its present name, meaning "the life-giving river", best emphasizes the river's role in the very existence of Esfahan and the towns and villages situated in the fertile oasis watered by the river. The Zayandeh-Rud flows through four distinctive areas. It starts in the mountainous districts in Chahar Mahal-e Bakhtiari province, streams rapidly through the hilly area of Faridan and Lar, waters the valley of Esfahan, and terminates in the arid districts in the east. The soil of the Esfahan valley is very firm; water cannot penetrate deeply and soon returns to the river, thus preventing the river from drying up. Despite this, since ancient times, the water of the Zayandeh-Rud alone was not adequate for irrigation purposes. The first irrigation system on the Zayandeh-Rud is attributed to Ardashir Babakan. It is said to have been reorganized under the Seljuks. During this period, a first attempt was made to link up the river with the Karun, Iran's sole navigable river, an upper branch of which flows not far from the source of the Zayandeh-Rud, on the western slope of the Kuhrang range. Attempts always unsuccessful were taken under Shah Tahmasb and his successors. When Esfahan became a capital, Shah Abbas delegated Mohib Ali Beikollah to examine the possibilities of constructing a tunnel. When the first survey was completed, Shah

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Abbas appointed Imam Qoli Khan, a governor of Fars, Hussein Khan, a governor of Lorestan, and Jahangir Khan, a Bakhtiari chieftain, to head the construction. In 1621, Shah Abbas personally inspected the site. His death, however, interrupted the work on the project. The work was resumed under Shah Abbas II, when a French engineer was designated head of the tunnel's construction. Part of the work was done, but Shah Suleiman, who succeeded shah Abbas II, ordered the work stopped, as the dam was going to threaten agricultural lands. The remains from the construction of this period can still be observed. The project was finally accomplished in 1948-1953 by a British firm, which built a tunnel over 2 km long, about 150 m deeper than the Safavid structure. The tunnel has made it possible to regulate the outflow of the Zayandeh-Rud, particularly in autumn and in the beginning of winter, since the waters of the Karun River have a more sustained flow. The completion of the Kuhrang Dam in 1971 diverted one of the Karun's tributaries and made it empty into the Zayandeh-Rud. Six principal sets of canals with 33 main branches and a host of secondary channels are believed to have been designed by Sheikh Bahaii. Although some researchers deny his participation this project, the work is certainly that of a genius. The water was distributed among the towns and villages depended on the ZayandehRud according to the Jalali calendar. The use of water was limited during the second six months of the year, and 275 persons were designated as inspectors. They close the sluices of the dams according to a detailed plan and controlled the provision of water to the neighboring villages. The system of canals (1ocally called madi) starts behind the first bridge on the Zayandeh-Rud, the Zamankan Bridge, from where one of the most beautiful views of the river is provided. After the Falavarjan Bridge, the Zayandeh-Rud turns almost ninety degrees and changes its direction from

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northeasterly to southeasterly. It runs through Esfahan following west-easterly direction and turns southeast after the Shah-restan Bridge, beside which the Abshar Dam is located. One of the largest dams, the Zayandeh-Rud Dam, is situated about 80 km from the river's source. It creates a lake of about 56.000 sq. km (Beheshti, 2005).

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3.2.1 CULTURE, COSMOLOGY AND BELIEFS

The independent Iranian political and cultural identity that had been turned to an Islamic identity as a result of the influence the caliphs of Baghdad was revived. These kingdoms ruled an endless territory extending from India, Pakistan and Mesopotamia to Asia Minor, assuring unity and integrity throughout the empire. The past of the Iranians is intermixed with myths and epics and this has been eloquently manifested in Shahnameh6 of Ferdowsi. A large part of the Zoroastrian7 eschatology has found its way well into the metaphysics of the Iranian Shia (Corbin, 1979) (Bakhtiyar, 1979) (Nasr, 2006). Of course, there has always been more or less hidden conflict between the Persian monarchy, as presented in the Shahnameh and the Iranian Shiite verses as glorified by the blood of martyrs. These considerations, however, are considerably moderated in respect of such issues as eschatology and the belief in the coming of the Saviour. The concept of the Saviour in the Shia branch of Islam is manifested by the presence of the Imam of the Time Hazrat Mahdi after the conclusion of the prophetic lineage. The belief is very distinct and strong in the religious conscience of the Iranians. The disappeared Imam, like Soshiant (coming Zoroaster8) and Kay-Khosro, this hero of resurrection in Shahnameh, is obscured in this world, but is present elsewhere. The deep concept of this message, i.e. the final metamorphosis that Iranian objectivity has felt and experienced deeply, remains

Shahnameh is one of the greatest epic of all times, a mixture of, institution, rites, habits, attitudes, conducts, manners, beliefs, principles, myths and history, a resultant of all cultural values of Iran. This has been written by Ferdowsi the Iranian famous poet (329-411H.) 7 Iranian ancient religious before Islam. Ahuramazda means wise lord is god and created Sepand Minu which is manifestation of all goodness and existence and Ahriman which is manifestation of all badness and non-existence they are fighting with each other. 8 Zoroastrian prophet: -700: Life of Zoroaster of Persia, founder of Zoroastrianism. His holy book, Zend Avesta, contains many verses from the Rig and Atharva Veda.

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intact (Bahar, 2005). The relation of the mysticism of the Ibn Arabi9 with the school of Divine illumination of Sohrevardi10 and the mystical contemplation of Shiism, paved the way for the existence philosophy that was perfected by Molla Sadra11 in the School of Isfahan (11th and 12th H. centuries) (Shayegan, 2001). This school of thought was scattered across Iraq, Syria, and India, who maintained close relations
9

Ibn-I-Arabi (560-638H) Was Andalusian (Spanish) Islamic sage and Sufi. Mystic, philosopher, poet, sage, Muhammad b. 'Ali Ibn 'Arabi is one of the world's great spiritual teachers. Known as Muhyiddin (the Revivifier of Religion) and the Sheikh al-Akbar (the Greatest Master), he was born in 1165 AD into the Moorish culture of Andalusian Spain. His extensive writings provide a beautiful exposition of the Unity of Being, the single and indivisible reality which simultaneously transcends and is manifested in all the images of the world. Ibn Arabi shows how Man, in perfection, is the complete image of this reality and how those who truly know their essential self know God. Firmly rooted in the Quran, his work is universal, accepting that each person has a unique path to the truth, which unites all paths in itself. He has profoundly influenced the development of Islam since his time, as well as significant aspects of the philosophy and literature of the West. His wisdom has much to offer us in the modern world in terms of understanding what it means to be human (Corbin, 1979)(Nasr,1975). 9 Sohrevardi (549-587H.) was Iranian sage who inters mixed Islam with Iranian myth in Shiism and school of Divine illumination belongs to him who was affected from Iranian myths and neo-Platonism Suhrawardi's was unique in his deep insight into the origins of Iranian and Islamic teachings. He renewed the Ishraq philosophy which consisted of ancient roots. Also arising out of the peripatetic philosophy developed by Ibn Sina, Suhrawardi's illuminations philosophy is critical of several of the positions taken by Ibn Sina, and radically departs from the latter through the creation of a symbolic language (which is mainly derived from ancient Iranian culture or Farhang-e-Khosravani) to give expression to his hikma.The fundamental constituent of Suhrawardis philosophy is pure immaterial light, of which nothing is more manifest, and which unfolds from the light of lights in emanations through the descending order of the light of ever diminishing intensity; through complex interaction, then in turn give rise to horizontal arrays of lights, similar in concept to Platonic Forms, which govern the species of mundane reality. Sohrevardi also elaborated the idea of an independent intermediary world, the imaginal world (alam-e-mithal). His views have exerted a powerful influence down to this day, particularly through Molla Sadras adoption of his concept of intensity and gradation to existence, wherein he (Molla Sadra) combined peripatetic and illuminations description of reality. He is sometimes given the honorific title Sheikh al-Ishraq or "Master of illumination" .Sohrevardi has been called "The Master of Oriental Theosophy. In his writings, he attempted a synthesis of Zoroastrian, Platonic, and Islamic ideas. The "Orient" of his "Oriental Theosophy" is the symbolic Orient, the East and the dawn as the symbol of Spiritual Light and Knowledge. Sohrevardi taught a complex and profound emanations cosmology, according to which all creation is a successive outflow from the original Supreme Light of Lights (Nur al-Anvar).His teachings had a strong influence on subsequent esoteric Iranian thought, and there is a saying that this Oriental Theosophy is to philosophy what Sufism is to scholastic and legalistic theology. We can say that the idea of Decisive Necessity is believed to be one of the most important innovations of Sohrevardi in the history of logical philosophical speculation, which has been stressed by the majority of Muslim logicians and philosophers (Corbin, 1979)(Nasr,1975). 11 Molla Sadra Molla Sadra (980-1017H) also called Sadr al-Din al_ Shiraz Iranian sage.The foremost representative of the Illuminations, or Ishraghi School of philosopher-mystics, he is commonly regarded by Iranians as the greatest philosopher their country has ever produced. His school of philosophy is called Transcendent Theosophy or al-hikmah al-mutaliyah.Mulla Sadra's philosophy and ontology is considered to be just as important to Islamic philosophy as Martin Heidegger's philosophy later was to Western philosophy in the 20th century. Molla Sadra bought "a new philosophical insight in dealing with the nature of reality" and created "a major transition from essentialism to existentialism" in Islamic philosophy, several centuries before this occurred in Western philosophy. Expounding his theory of nature, Molla Sadra argued that the entire universe except God and his knowledge was originated both eternally and temporally. Nature, he asserted, is the substance of all things and is the cause for all movement. Thus, nature is permanent and furnishes the continuing link between the eternal and the originated. Much of his philosophy was also existentialist in nature(Corbin,1979)(Nasr,2006).

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with Iran and was named the School of Isfahan. The capital city, Isfahan, was one of the centers of this school and other major centers were in Shiraz, Qazvin and Tabriz. Scientists of the School of Isfahan like Molla Sadra, Mir Damad, Mir Fenderesky, and Sheikh Bahaii, and their level of knowledge let to design a city based on the cosmology of the time. Esoteric interpretation: were used in poetical, geometrical and mathematical ways. There was this belief that religion has two sides; "Shariat" means external part and "Haghighat" means internal part and Sufism is the way to reach to internal meaning of religious. According to Shiite the meaning of this word is to return the things to their source and origin (Corbin, 1979). Unity of being: The Sufis believe existence is a single phenomenon that has been appeared in various stages of existence in clothing of creatures. On this basis, Sufis consider all creation in unity which is defined with spelling the testimony of There is no God except Allah. Means there is no reality except the absolute reality, and that the verse of Say, God is one (Bakhtiyar, 1979). The name of Divine (Zikr): Zikr is a way for understanding the truth about everything and enlightenment (Bakhtiyar, 1979). The Universal Prototype: It comes from the second testimony of Islam, "Muhammad is the prophet of God". Is a sign of God or microcosm which is a sign of macrocosm (Bakhtiyar, 1979). Khoda-Mobed, Khoda-Shah, Khashtara, Kadkhoda, as spiritual leaders all signify the perfect human being, following the archetype of the Iranian king. The belief is very distinct and strong in the religious conscience of the Iranians (Bahar, 2005). Creation and cosmology: Creation is a path leading creatures from Divine nature to human nature. There is a sacred Tradition in which the Divine says:" I

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was Hidden Treasure. I desired to be known, so I created the universe". This type of cosmology believes in hierarchy of universes so the creatures are interested to return to the main source i.e. Divine nature (Bakhtiyar, 1979) (Corbin, 1979) (Nasr, 1975). Union: Union is generally defined as gradual purification of mind and meeting spiritual merits (Bakhtiyar, 1979) (Corbin, 1979) (Nasr, 1975). Unity of religions: It is believed that each prophet is a world who makes the Divine language and Divine paths end in a single destination (Nasr, 1975). The internal policies of the Safavid king (Shah Abbas) government were based on fighting with feudalism and the separatist policies of the big landlords, empowering the central government. Just as in the Sasanids era, Agricultural, commercial, industrial affairs and public facilities and security is under supervision of kingdom and government. The direct presence and interference of the Safavid government in all affairs advanced to such a degree that it achieved an equal and opposite position with the religious and ideological concepts of the country. The religious courts in the judiciary system, who were usually under the authority of the ulema and clerics, often neglected government requests in many cases. In contradiction with this, the Safavid government restructured the judiciary system and established public courts with a view to minimizing the authority of the religious courts. In these courts, the ulema had to issue verdicts based on culture, traditions, rites and rituals. Formation of the Safavid government is indeed a collection of all past forms of government that not only revived the past traditions, but also conformed to the conditions and necessities of the day. The sultan was the owner of all elements and agents of production. The trade centers were all under government authority and paid taxes when needed. They were controlled in three branches: The

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financial office controlled quality and quantity of the products; the law enforcement officer supervised executive and security affairs and the government collected the taxes. Foreign trade used to be controlled by the government and its agents. Construction of urban services and installations become extremely developed and foreign trade was developed by construction of new roads. Like the Sasanids era, the government was responsible for the security of trade and there were special rules and regulations. Foreign traders were exempted from taxes and their possessions were of government security. The infrastructure services, construction and repair of roads and buildings and caravansaries as well as rendering all public services were government responsibilities. Interclass services, construction and repair of the roads and ports and caravansaries, water supply and all civil services were other responsibilities of the government (Ashraf, 1974).

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3.2.2 URBAN SPACES IN SAFAVID ERA

As it has been discussed in first part of this study Patterns of compact, monolithic and continuous development are observable in the majority of the Islamic settlements of North Africa, the Middle East, central Asia and India. These patterns are as much an outgrowth of ecological adaptation to the environment as they are a reflection of cultural attitudes to place-making. The term "place making" is used here to define conceptual approaches to the location and creation of architectural buildings, their urban context and the larger city form. In this part of the research we introduce urban spaces in Safavids era in order to make the required link between cultures and urban spaces and finally to understand the concept underlying the design of Chahar Bagh Street and shah Abbas I's intention in rebuilding Isfahan. In generic term urban spaces in traditional Islamic cultures of Iran would include the gardens, path ways, streets, covered street such as bazaar and suq and other traditional places of commerce, as well as places of the institutions of the society together with their urban context like squares, architectural and urban entrances, spaces neighboring, bridges and rivers in the city. In contemporary times we must add airports, railroad, stations, sport stadiums, etc. Public garden (Fourfold Park): Much like many other parks, the Persian fourfold park serves a casual public function with emphasis on plant life. They provide pathways and seating, but are otherwise usually limited in terms of structural elements. The purpose of such places is relaxation and socialization. Iranians simply love gardens. And to gardeners around the world the "Persian Garden" is not unknown. One of the elements that one can see recurring in most

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Persian gardens is water. Fountains, small rivers and water falls make the beautiful Persian Garden a complete experience that pleases all the senses. The finest of the Safavid public gardens was Hezar Jerib, situated at the end of Chahar Bagh Avenue on the south bank of the Zayandeh-Rud; nothing of it, however, remains. Bagh I- Hasht Behesht and Chehel Sutun are other examples. These were public spaces (Fig.37) (Ardalan, 1975).

A-Bagh I Fin Kashan (Contemporary Art Museume, 2004)

B-Bagh I Hasht Behesht Esfahan (Photo by F.Habib)

C-Bagh I Shazdeh Mahan

(Contemporary Art Museume, 2004)

D-Bagh I Ilgoli Tabriz

(Contemporary Art Museume, 2004)

Fig.37: Public garden a place for relaxation and hospitality

Bagh (garden): Like the other casual garden, the, Bagh emphasizes the natural and green aspect of the garden. Unlike the public garden (park) it was a private area often affixed to houses and often consisting of lawns, trees, and ground

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plants. The waterways and pathways stand out less than in the more formal counterparts and are largely functional. The primary function of such areas is familial relaxation. These Bagh were in use of families and were semi-private spaces. Chahar Bagh Avenue was lined with thirty gardens along its sides. There are few true Iranian gardens in Esfahan today, but every traditional house has its own miniature enclosure that usually includes some shade and a small pool around which people gather when the weather permits. To Europeans, a Persian garden may at first seem disappointing. To best appreciate it, it is perhaps necessary to contrast it with the howling desert that is usually located outside the garden's walls (Fig.38).

Fig. 38: Narenjestan I Ghavam Shiraz

(Contemporary Art Museum, 2004)

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Persian gardens: From the time of the Achaminids dynasty the idea of an earthly paradise spread through Persian literature and example to other cultures, both the Hellenistic gardens of the Seleucids and the Ptolemies in Alexandria. The Avestan word pairidaza-, Old Persian paridaida-, Median paridaiza- (walled-around, i.e., a walled garden), was transliterated into Greek paradeisoi, then rendered into the Latin paradisus, and from there entered into European languages, e.g., French paradis, German Paradies, and English paradise. The word entered Semitic languages as well: Akkadian pardesu, Hebrew pardes, and Arabic firdaws (Corbin, 1975). As the word expresses, such gardens would have been enclosed. The garden's purpose was, and is, to provide a place for protected relaxation in a variety of manners: spiritual and leisurely (such as meetings with friends), essentially a paradise on earth. The Persian word for "enclosed space" was pairi-daeza, a term that was adopted by Christian mythology to describe the Garden of Eden12 or Paradise13 on earth.

12.

Garden of Eden (from Hebrew Gan den) is described in the Book of Genesis as being the place where the first man, Adam, and his wife, Eve, lived after they were created by God. This garden forms part of the creation story and theodicy of the religions. The creation story in Genesis relates the geographical location of both Eden and the garden to four rivers (Pishon, Gihon, Tigris, Euphrates), and three regions (Havilah, Assyria, and Cush [often translated as Ethiopia] Eden's location remains the subject of controversy and speculation. There are hypotheses that locate Eden at the headwaters of the Tigris and Euphrates, in Mesopotamia, Africa, and the Persian Gulf, among others. The phrase "Garden of Eden" is often used to describe any peaceful place, or a state of perfect happiness or bliss. "Paradise" (Hebrew PaRDeS) used as a synonym for the Garden of Eden shares a number of characteristics with words for 'walled orchard garden' or 'enclosed Hunting Park' in an ancient Persian language (http://en.wikipedia.org/wiki/eden). 13 . Paradise Garden: paradise is a Persian word that is generally identified with the Garden of Eden or with Heaven. Originally meaning a walled garden or royal hunting grounds, the term entered Jewish (and eventually Christian) beliefs as a Greek translation for the Garden of Eden in the Septuagint. It is sometimes also identified with the bosom of Abraham, the abode of the righteous dead waiting Judgment Day. In the Gospel of Luke, Jesus tells a penitent criminal crucified alongside him that they will be together in paradise that day. The word "paradise" entered English from the French "paradis", inherited from the Latin "paradisus", which came from Greek (royal garden). The Greek word came from the Avestan word "pairidaza-" (an Eastern Old Iranian language) = "walled enclosure", which is a compound of pairi- (= "around") (a cognate of Greek peri-) and -diz (= "to create, make"), a cognate of English "dough". An associated word is the Sanskrit word paradsha = "foreign country" or "supreme country" from Sanskrit para = "beyond" (Greek per) and dsha = "land, country". The word was also entered Semitic languages: Akkadian pardesu, Arabic firdaws ( ), Aramaic pardaysa ( ), and Hebrew pardes.Sources as early as Xenophon in his Anabasis report the famed Persian "paradise" garden. In Achaminids Persia, possibly

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The manner in which the garden is constructed may be formal (with an emphasis on structure) or casual (with an emphasis on nature), following several simple rules governing the design. This is said to allow maximization, in terms of function and emotion, of what may be done in the garden. The origin of Persian gardens may date back as far as 4000 BCE; the decorated pottery of that time displays the typical cross plan of the Persian garden. The outline of Cyrus the Great's garden, built around 500 BCE, is still viewable today. During the reign of the Sasanids (third to seventh century CE), and under the influence of Zoroastrianism, the presence of water in art grew increasingly important. This trend manifested itself in garden design with greater emphasis placed on fountains and ponds in gardens. During the Arab occupation the aesthetic aspect of the garden increased in importance, overtaking the utility of the garden. During this time the aesthetic rules by which the garden is governed grew in importance. An example of this is the Chahar Bagh, a form of garden which attempts to emulate Eden, having four rivers and four quadrants,

earlier (in Mesopotamia), the term was not just applied to 'landscaped' gardens but especially to royal hunting grounds, the earliest form of wildlife reserve, destined for hunting as a sport; in various cultures in contact with nature, paradise is portrayed as eternal hunting ground, not just in relatively primitive cultures (e.g. native American) but also in more advanced, essentially agricultural civilisations, e.g. the Egyptian Reed fields and the Greek Elysian fields. Religious use: 1-ChristianityThe form of the word that is now understood as "heaven or any environment that is ultimately pleasurable" is derived from the Greek paradeisos used in the Septuagint Bible translation to mean the Garden of Eden. In the New Testament, paradise meant a paradise restored on Earth (Matthew chapter 5, verse 5 - the meek shall inherit the earth), though no reference is made to what condition (paradisiacal or otherwise) the Earth would or should be in. However, certain sects actually attempted to recreate the Garden of Eden, e.g. the nudist Adamites. On the cross, Jesus told Dismas that he would be with him in paradisus (Luke 23:43). There are two other references to Paradise in NT: 2 Cor. 12:4 (there are things beyond human expression), and Rev. 2:7 (there is a tree of life).In the 2nd century AD, Irenaeus distinguished paradise from heaven. In Against Heresies, he wrote that only those deemed worthy would inherit a home in heaven, while others would enjoy paradise, and the rest live in the restored Jerusalem. Origin likewise distinguished paradise from heaven, describing paradise as the earthly "school" for souls of the righteous dead, preparing them for their ascent through the celestial spheres to heaven. Fra Angelico's Last Judgment painting shows Paradise on its left side. There is a tree of life (and another tree) and a circle dance of liberated souls. In the middle is a hole. In Muslim art it similarly indicates the presence of the Prophet or divine beings. It visually says, 'Those here cannot be depicted.2-Islam:In the Quran, Paradise is denoted as "Firdaws", the etymologically equivalent word derived from the original Avestan counterpart, and used instead of Heaven to describe the ultimate pleasurable place after death, accessible by those who pray, donate to charity and read the Quran. Heaven in Islam is used to describe the Universe. It is also used in the Quran to describe skies in the literal sense, i.e., above earth. (http://en.wikipedia.org/wiki/eden).

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representing the world. The design sometimes extends one axis longer than the crossaxis and creators water channels running through each of the four gardens to connect to a central pool. The invasion of Persia by the Mongols in the thirteenth century saw a new emphasis on highly ornate structure within the garden, examples of which include tree peonies and chrysanthemums. The Mongol empire then carried a Persian garden tradition to other parts of their empire (notably India). The Safavid Dynasty (seventeenth to eighteenth century) built and developed grand and epic layouts that went beyond being a simple extension to a palace and became an integral aesthetic and functional part of it. In the following centuries European garden design began to influence Persia, particularly the design of France and secondarily that of Russia and the United Kingdom. Western influences led to changes in the use of water and the species used in bedding (Beheshti, 2005). The traditional forms and style are still used among the population of Iran. They are also be found in historic sites, museums and affixed to the houses of the rich. Elements of the Persian garden: Sunlight and its effects were an important factor of structural design in Persian gardens. Textures and shapes were specifically chosen by architects to harness the light. Due to the dry heat of Iran, shade is also very important in the garden, without which it could not be usable. Trees and trellises largely feature as biotic shade; pavilions and walls are also structurally prominent in blocking the sun. Also related to the heat is the importance of water in the gardens. A form of underground tunnel, below the water table, called a Qanat14 is used to

14

. Qanat: is a traditional water management system used to provide a reliable supply of water to human settlements or for irrigation in hot, arid and semi-arid climates. The technology is known to have developed in ancient Persia, and then spread to other cultures, especially after the Muslim conquests, to the Iberian peninsula, southern Italy and North Africa Persias Qanat system dates back many centuries, and may be thousands of years old. The Qanats mostly came in from higher elevations, and were split into a distributing network of smaller underground canals called kariz when

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irrigate the garden and its environs. Well-like structures then connect to the Qanat, enabling the drawing of water. Alternatively, an animal driven Persian well would be used to draw water to the surface. Such wheel systems could also be used to move water around surface water systems, such as those which exist in the Chahar Bagh style. Trees were often planted in a ditch called a jub, which prevented water evaporation and allowed the water quick access to the tree roots. The Persian style often attempts to integrate indoors with outdoors through the connection of a surrounding garden with an inner courtyard. Designers often place architectural elements such as vaulted arches between the outer and interior areas to open up the divide between them. The oldest representational descriptions and illustrations of Persian gardens come from travelers who reached Iran from lands to the west. These accounts include Ibn Battuta (1997) in the fourteenth century, and Engel Bert Kaempfer (1912) in the seventeenth century. Battuta made only passing references to gardens and do not describe their design.Kaempfer made careful drawings and converted them into detailed engravings after his return to Europe. They show Chahar Bagh type gardens with the following features: an enclosing wall, rectangular pools, and an internal network of canals, garden pavilions and lush planting. There are surviving examples of this garden type at Yazd (Dowlatabad) and at Kashan (Bagh-i- Fin) (Fig.39).

reaching the city. Like Qanats, these smaller canals were below ground (~20 steps), and were built such that they were very difficult to contaminate. But with the further growth of the city in Persian lands, even the Qanats could not respond to the needs of residents. That is when some wealthy inhabitants started building private reservoirs called ab anbar. (www.history-science-technology.com. Retrieved on 2007-10-22)

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Fig.39: Persian garden Bagh I Shazdeh Mahan

(Contemporary Art Museum, 2004)

Chahar Bagh: is a Persian-style garden layout. The quadrilateral garden is divided by walkways into four smaller parts. In Persian, "Char" means 'four' and "Bagh" means 'garden'. The Charbagh-I- Addbasi in Isfahan built by Shah Abbas the Great in (1596), along with the garden of the Taj Mahal15 are the most famous examples of this style. In the Charbagh at the Taj Mahal, each of the four parts
15

. Taj Mahal is an integrated symmetric complex of structures that was completed around 1648. Ustad Ahmad Lahauri is generally considered as the principal designer of Taj Mahal. The complex is set around a large 300-meter square Charbagh, a Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. A raised marble water tank at the center of the garden, halfway between the tomb and gateway, with a reflecting pool on North-South axis reflects the image of the Taj Mahal. Elsewhere, the garden is laid out with avenues of trees and fountains. The raised marble water tank is called al Hawd al-Kawthar, in reference to "Tank of Abundance" promised to Muhammad. The Charbagh garden, a design inspired by Persian gardens, was introduced to India by the first Mughal emperor Babur. It symbolizes four flowing rivers of Paradise and reflects the gardens of Paradise derived from the Persian pairidaza, meaning 'walled garden'. In mystic Islamic texts of Mughal period, paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east (http://en.wikipedia.org/wiki /Champs-Elysees). 106

contains sixteen flower beds. The Persian concept of an ideal, paradise-like garden is perfectly embodied in the Taj Mahal. These gardens are private and formal - the basic structure consists of four quadrants divided by waterways or pathways. Traditionally, such gardens would be used in work-related functions for the rich (such as entertaining ambassadors). The concept of garden is fundamental to an understanding of Shah Abbas Is intention in rebuilding Isfahan. The palaces he built were small since each had a definite purpose; the entertainment of visitors, the dispensation of justice, but they were linked by gardens set out along his great central avenue, Chahar Bagh (or four gardens). There are few gardens left today in Isfahan but every house has its own miniature enclosure which will normally include some shade and a small pool around which people may gather when the weather permits. The architectural conception of garden reflects the "sense of place" makan -, the garden being viewed as a defined space encompassing within itself a total reflection of the cosmos At the same time it reflects for the intellect the essence, the hidden dimension latent in positive space, symbolized(Ameli,1986). These gardens balance structure with greenery, with the plants often around the periphery of a pool and path based structure. Charbagh originated from the time of Achaminids Persia. Greek historians, such as Herodotus and Xenophon, give extensive accounts of Cyrus the Great's palatial city of Pasargard and his fourgardens. In India, the Taj Mahal was built by Mughal Emperor Shah Jahan, aka Shahjahan, as a tomb for his favorite wife. It is located in Agra, India. Unlike most such tombs, the mausoleum is not located in the center of the garden, but on its northern end. The garden features Italian cypress trees (Cupressus sempervirens). The cypress trees symbolize death (Corbin, 1960). Fruit trees in the garden

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symbolize life (Corbin, 1960). The garden attracts many birds, which are considered one of the features of the garden. Bagh I Hasht Behesht and Bagh-I-Chehel Sutun in Isfahan were examples (Fig.40)(Ameli,1986).

Fig.40: A typical plan for an Iranian garden, with an enclosure divided into four quarters by the intersection of two avenues The schematic view above is adapts from that used by Ardalan and Bakhtiyar, in "The Sense of Unity"

Main ways: As a rule, public activities centered on the main road or Khiaban and Bazaars while kucheh (alleys and narrow streets) within the residential districts were used for semi-public functions. During certain times in the day, particularly in the evenings, groups of women met and children played in these areas. Infact, streets performed other and more extended functions. Where they were narrow, alleys were used for settling quarrels and were called "alleys of reconciliation. As an example we could refer to Khiyaban-i-Chahar Bagh and Great Bazaar (Fig.41-42-43) (Ashraf, 1974).

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Chahar Bagh Street r

1. Darb-i-Imam 2. Great Friday Mosque(Masjed-I-Jame) 3. Harun Velayet 4. Old Maydan 5. Imamzadeh Jafar 6. Qaisariya Imperial Bazaar 7. Chehel Sutun Garden 8. Imperial Palace 9. New Maydan(Naghsh-I-Jahan ) 10. Mosque of Sheikh Lotfollah 11. Ali Quapu 12. Shah's Mosque 13. Medrese Madar-I-Shah 14. Chahar Bagh Avenue 15. Allah Verdi Khan Bridge 16. Khajoo Bridge Qaisariya Imperial Bazaar 17. Chahar Bagh Street
Fig.41: Chahar Bagh Avenue and Bazaar within New City Center Complex

18.

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Fig.42: View of the entrance to the Hezar Jerib garden (Ameli, 1986)

A-Chahar Bagh-I- Abbassi

B-Madreseh I Madare Shah in one side of Chahar Bagh Avenue.

Fig. 43: Figures related to Chahar Bagh Avenue. A-Chahar Bagh-I- Abbassi B-Madreseh I Madare Shah in one side of Chahar Bagh Avenue (Photos by F.Habib).

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Kucheh: In traditional Persian architecture, is a narrow especially designed alley. Also transliterated Kucheh, remnants of it are still seen in modern Iran and regional countries. Before modernization, Persia's old city fabric was composed of these narrow winding streets, often made with high walls of adobe and brick, and often roofed at various intervals. This form of urban design, which used to be commonplace in Persia, is an optimal form of desert architecture that minimizes desert expansion and the effects of dust storms. It also maximizes daytime shading, and insulates the fabric from severe winter temperatures (Fig. 44).

A-An example of how Kucheh were roofed sometimes, such as in Isfahan the kucheh was roofed for much of its span

B-A Kucheh in Kashan Entrance to Tabatabaei House looking outside

C-A Kucheh in Yazd

Fig.44: Kucheh
A-An example of how Kucheh were roofed Sometimes, such as in Isfahan the kucheh was roofed for much of its span BA Kucheh in Kashan Entrance to Tabatabaei House looking outside C-A Kucheh in Yazd (Photos from http://www.google.co.uk/earthern sketches by F. Habib)

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Iwan or Eyvan :(Persian: Eyvan) is defined as a vaulted hall or space, walled on three sides, with one end entirely open. Iwans were a trademark of the Sasanid architecture of Persia, later finding their way into Islamic architecture. This transition reached its peak during the Seljuki era when Iwans became established as a fundamental design unit in Islamic architecture. Typically, Iwans open on to a central courtyard, and have been used in both public and residential architecture. A large vaulted porch opens at one end. Four-Eyvan plan traditional layout of Iranian mosques and other buildings, with four porches emphasizing each side of the structure's inner courtyard (Fig.45).

Eyvan
http://www.google.co.uk/earthern

View of the north Iwan from the courtyard In Jame Mosque

Fig.45: Eyvan as a vaulted hall or spare.

Bazaar: A bazaar (Persian:

), (Turkish: pazar, bazar) is a permanent

merchandising area, marketplace, or street of shops where goods and services are exchanged or sold. The word derives from the Persian word bazar, the etymology of which goes back to the Pahlavi word baha-char ( ), and meaning "the place of

prices". Although the current meaning of the word is believed to have originated in Persia, its use has spread and now has been accepted into the vernacular in countries around the world. Bazaar and various routes were part of the road system. A bazaar was the heart of the city, a common center for economic enterprise, a place where

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social, religious and cultural activities converged. By its nature therefore, it played a decisive and important part in the economic and political fate of the city. Islam introduced new set of values in Iranian culture. A thousand years after, in seventeen century, what Safavid inherited as a collection of values compiled from three distinct eras. One that as the remanence of prehistoric time, which we may call the Arian; one that belonged to the time of Iranian Empire up to Islamic era; and one which encompasses the era from Islam to Safavid time. For the modern designer the interest of the bazaar must lie particularly in its use of space and materials nothing is wasted everything has a purpose, yet the structural system never dictates .Instead it produces an essentially human environment with a sculptural plasticity and unity far removed from the fractured environments which result from modern town planning. This is a dark cool world lit only by shafts of sunlight from clerestory and roof light. When seen from the roof its structural system and variety is concealed by an overall layer of sun-dried mud and straw plaster. Only a line of humps traces the twisting route of the vaulted bazaar beneath. The bazaar is an organism with a life of its own fed by supply routes extending far into the surrounding countryside. Branching from the central spine of the bazaar is an astounding variety of enclosed spaces, each a separate world perfectly adapted to its purpose yet all close bound to Moslem commercial and religious life. Mosque, Madrasseh (religious school), serais (warehouses), hammams (baths) - the bustle and bargain of the market offset by the peace and unity of Islam. These spaces vary greatly in size but are nearly always planned around a central courtyard (Beheshti, 2005). Isfahan bazaar is two stories; it was for the first time that two stories bazaar in Iran was designed. The primary movement system of the bazaar forms a central linear circulation space, splendidly domed throughout its length, parallel to which on

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both sides run the small and regular dependent spaces of the shops. Between them at frequent intervals, arched entrances lead to the larger spaces-caravanserais, colleges, bath houses, shrines, mosques and stores, all tightly connected to the central spine yet each a separate, self-contained world. Each has its individual character the hammams or baths, enclosed, steamy, restful ; the caravanserais each a busy square varying greatly in size and open to the sky and generally containing a central pool and trees with the merchants accommodation ranged round the perimeter. The mosques, also with courts open to the air, provide havens of tranquility and contemplation a step away from the noisy barter of the tunnel-like bazaar. Connected to the main bazaar route on both sides is the secondary movement system of residential paths leading to tightly clustered houses between narrow streets flanked by high mud brick walls. With no street architecture as such, the houses are all inward looking, private worlds set around their own peaceful courtyards, interlocked and protected from the heat and noise of the city outside. Daylight of bazaar is provided by shafts of sunlight through holes in the apex of the domes(Brown,1976). Component element of Bazaar 1. Serais: are commercial complexes round a big central courtyard with trees and a central pool. There are several entrances .Through one caravansaries reach the warehouse where goods are examined, weighed, listed and stored. Through another the pack animals are fed and stabled, their food stored in haylofts, their drivers lodged in adjacent rooms. By yet another merchant reach the shopping and administrative center where goods can be examined by the wholesalers, distributors and shopkeepers. Serais were semi-private spaces (fig.46).

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Fig.46: One of the Isfahan Great Bazaar Serais Drawn by A.Bayash

2. Timchah: Originally a small caravanserai and now a roofed area inside the bazaar. Display and sale take place in Timchah or shopping arcades, sometimes on two, floors, with goods displayed below and stores and offices above. The members of one trade, say cobblers and leatherworkers tend to group together, and served by the same serais (Fig 47).

Fig.47: Timchah Malek Drawn by A.Bayash

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2. Madrasseh: The bazaar route is also punctuated by frequent mosques and Madrasseh where the students are trained to become mullahs or holy men. Despite some variation these schools are similar in plan to serais and mosques with four Eyvan off a central courtyard. A typical Madrasseh is entered through an arched portal which, after descending a few steps past a massive studded wood door, leads to a dimly lit octagonal space, the Hasht. This in turn opens out into a courtyard some 25m by 30 m and seeming larger after the restricted entrance. Around it is two-story building with low arcading which provides shade from the noonday sun. A central mirror pool keeps the air pleasant and cool and trees are planted in the four quadrants. The student's rooms repeat around the courtyard, interrupted only by the deep recessed double-height Eyvan in the center of each wall. Recessed entrance to each room are raised a convenient sitting height above the courtyard and provide a place for rest, contemplation and conservation. The private room behind has a vaulted ceiling, white-painted walls with niches and a tile floor of simple geometric design. Furniture is limited to cushions, a Quran stand, a nargile (water pipe) and a samovar. Usually connected with specific mosques these buildings provide convenient sanctuary for daily prayer, members of guilds frequently praying together and so reinforcing the sense of communal identity. Mosques also are usually related to the guild and shops are quite often incorporated in them showing the close link existing between the religious and commercial life of city (Fig.48).

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Fig.48: Madreseh-I-Madare Shah (Developed from A.Bayash painting)

3. Hammams: or public baths consist of a complex of hot rooms, steam rooms, and rooms with pools of hot and cold water, the walls often hung with brightly colored towels from the bazaar. There is a private section for wealthy patrons where in earlier years feasts were held on a floor scattered with rose petals. 4. Qaisariya: Eventually near its southern end, the bazaar fans out into a vast interlocking system of magnificently domed streets, the Qaisariya. This section was built by shat Abbas and its scale and spatial organization reflects his new capital city (Fig.49).

Fig.49: Qaisariya (Drawn by A.Bayash)

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5. Chahar Suq: A square inside the bazaar, made by the intersection of its two major lanes. Over each street crossing, or Chahar suq, raises a dome of exceptional height often above a central fountain pool .These occur about 40 m intervals and different crafts ,goldsmiths ,coppersmiths ,tanners and so on are grouped together each giving its name to a special section of bazaar defined by its own gateway. In Chahar suq space was more expanded (Fig.50).

Fig.50: Chahar suq (Drawn by F.Habib)

Maydan or Square: An empty space which is sorounded by buildings or garden. In micro scale it is private houses court yard which is called hayat and is sorounded by roomes,bathroom,kitchen and services,in medium scale its semi public and in neighborhood units uses for nerghbor gathering and children playing and neighbourhood seremonies and in micro scale its called main meydan of city ,like Maydan-I- Naghsh-I-Jahan (former Shah square) (Fig.51).

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Fig.51: Naghsh-I Jahan Square A macrocosm, no matter whether it is confined to a city, a village, a district, a square, crossroad, or a house, is indicative of a macrocosm (http://www.iranchamber.com//history/isfahan/safavids)

Hayat: Publicly, it is a classical Persian layout with heavy emphasis on aesthetics over function. Man-made structures in the garden are particularly important, with arches and pools (which may be used to bathe). The ground is often 119

covered in gravel flagged with stone. Plantings are typically very simple - such as a line of trees, which also provide shade. Privately, these gardens are often pool-centred and again structural. The pool serves as a focus and source of humidity for the surrounding atmosphere. Again, there are few plants - this is often due to the limited water available in urban areas (Fig.52).

A-Each city, district, neighbor hood, house is defined with its gravity center (Drawn by F.Habib)

B-Upper side : Hayat-I-Caravanserai which now is renovated an called Abbassi Hotel C-Left side: Hayat-I-Madar-I-Shah

Fig.52: Hayat as a microcosm indicative of macrocosm

A-Each city, district, neighbor hood, house is defined with its gravity center

B-Upper side : Hayat-I-Caravanserai which now is renovated an called Abbassi Hotel C-Left side: Hayat-I-Madar-I-Shah
(Photos by F.Habib)

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Bridges : These bridges were a magnificent structure. It consists of two decks; the upper deck functions as a passageway, while the lower deck constituted the recreation area. The bridge also acted as a dam; sluice gates between the piers closed the canals, raising the water level upstream so that large reserves could be collected for irrigating the surrounding fields and gardens. Allah Verdi Khan Bridge is an example it is the most beautiful historical bridge in Esfahan. It is believed that its name is derived from khajeh ("courtier" or "a noble"), and thus the bridge is named after a neighboring district, inhabited by the court elite. However, in various periods it was also known as the Royal, the Zoroastrian, the Hasan Abad, or the Baba Rokn al-Din Bridge. The original construction probably took place during the reign of the Timurid sovereign, Hassan Beik, one of Tamerlane's governors in the 15th century. However, the present structure is a restoration of the 1650, dating from the rule of Shah Abbas II. The bridge was repaired in 1873, as its inscription suggests. There are 21 sluices at the lower part of the bridge, ranging in width from 2.6 to 3.9 m. The river flooded to form a large lake on the west side of the bridge, in front of the royal palaces. During the Safavid period, the court and its nobles gathered there to watch spectacular pyrotechnic shows and water competitions. In the mid-summer of each year, the festival of Ab-pashan ("water splashing") was held in the vicinity of the Khajoo Bridge. Both the rich and the poor gathered along the river banks and splashed water on each other in belief that it will purify them form illness and harm (Beheshti, 2005). Water also served more prosaic, but not less important service, washing away excesses of lime from the soil, and making it suitable for cultivating the renowned melons of Esfahan. The dam is still used to raise the level of the river sufficiently to fill irrigation canals (madi) on either side of the river.

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The Khaju Bridge has aroused the admiration of travelers since the 17th century. Its tiered recesses, arcades and galleries, stone steps with the water cascading over them, splendid tile work of the arches of the upper booths and lower spans have made the Khajoo Bridge outstanding among all the bridges in Esfahan. Some of its most fascinating features are the pavilions called "Princes' Parlors", lavishly decorated on the exterior with brightly colored faience, while their interior is adorned with mural paintings and plasterwork. Two sets of spiral stairways lead to the alcoves. It is worth noting that in addition to their aesthetic function, the pavilions the stability of the bridge (Beheshti, 1973) (Fig.53-54-55).

These bridges are frequented by young and older Isfahanians, especially at night when darkness conceals romantic encounters, street musicians play, and the small tea houses in the bridges arches invite for having a rest and a qaliyan (the water pipe). At the eastern side of Khajoo Bridge two black sculptures of lions on each of the riverbanks are watching each other. At night, reflections in their eyes can be seen from the other side of the river, almost supernaturally glowing. An architectural masterpiece of calculation and realization.

Fig.53: Khajoo Bridge (Drawn by F.Habib)

These bridges are frequented by young and older Isfahanians, especially at night when darkness conceals romantic encounters, street musicians play, and the small tea houses in the bridges arches invite for having a rest and a qaliyan (the water pipe) Fig.54: Khajoo Bridge (Photos from: http://isfahan.honar.ac.ir/en/htm)

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The Imposing Khajoo Bridge is undoubtedly the most beautiful Bridge of Isfahan Fig.55: Khajoo Bridge (Photos from: http://iranchambr.com/Isfahan)

The Si-o-se Pole (which means 33 Pole, literally 33 Bridge) or the Bridge of 33 Arches, also called the Allah-Verdi Khan Bridge, is one of the eleven bridges of Isfahan, Iran. It is highly ranked as being one of the most famous examples of Safavid bridge design. Commissioned in 1602 by Shah Abbas I from his chancellor Allahverdikhan Undiladze, an Iranian ethnic Georgian, it consists of two layers of 33 arches. There is a larger base plank at the start of the bridge where the Zayandeh River flows under it, with a mounted tea house there (Fig.56).

The urban area extended west and south of the royal gardens and was organized around an axis slightly tilted from the orientation of the Maydan. This axis, called the Chahar Bagh Avenue, terminated in the other side of the river Zayandeh in the new suburb of Julfa, which was reached by the bridge of Allah Verdi Khan, built by this general in 1600.

Fig.56: Sio-Se Pole (Photos from: http://iranchambr.com/Isfahan)

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Areas around the Zayandeh-Rud: The River itself is incredibly charming. EIfahanians are very eager in beautifying the park-like riverbanks, and important and world-renowned Safavid bridges cross the stream. Most probably the most stunning is Si-o-se Pole (built in 1632), literally meaning 33 bridges arches. The river flowing through Isfahan is not seasonal as so many others in Iran. Zayandeh Rud originates in the Zagros Mountains west of Isfahan and flows to the east where it disappears after about 400 km in a salt marsh, the Gavkhouni swamp in the near-by desert. Since all the pollution of the Isfahans larger municipality arrives here and water simply evaporates, this ecosystem is highly endangered, of course (Fig.57).

Fig 57: Areas around the Zayandeh-Rud as recreative space (Photos from: http://iranchambr.com/Isfahan)

Areas around the entrance: to cities and metropolitan buildings were also places for certain kinds of economic and social undertakings. On a macro scale, the main gateways were points around which men converged and established commercial and social operations. In most cases, cities grew from these points to spread out along the routes. In a more limited sense, portals of great congregational mosques and tombs were also areas where people moved back and forth, as well as, assembled. This could also be said for approaches to metropolitan buildings. On an

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even smaller scale, entrances to private homes were a gathering place in which the occupants spent some of their leisure time. Tekyeh: a site for holding religious ceremonies often put up temporarily for Moharram mourning rituals. Huseiniyeh: Public or semi-pubic area for holding religious ceremonies and staging religious plays particularly during the month of Moharram. Needless to say, all public activity in cities was not just confined to spaces mentioned above. Some were carried into the metropolitan buildings, courts of congregational and large mosque, burial monuments, tea houses and woodlands, gardens, bridges and green spaces surrounding cities

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CHAPTER 1V
DISCUSSION ON IMPACT OF CULTURE ON PERCEIVING CHAHAR BAGH AVENUE AS AN IRANIAN SPACE

As Safavid capital, Isfahan provided a synthesis between the complex relations of cultural perceptions of land, political expressions of territoriality and royal self-representation which were articulated by the symbolic language of its gardens and buildings. A closer examination of the layout of Safavid Isfahan shows an internal order, which is structured along the axial quadripartite pattern of a Chahar Bagh (literally four gardens) formed by the axes of the river Zayanderud and the royal avenue Khiaban-i Chahar Bagh. The search for the cultural symbolism, which forms the bases of configuration Chahar Bagh Avenue design has been carried out in regards to three aspects of civilization which are respectively indigenous convention second the religious influences and the third one avant-garde interpretation of Safavid period.

4.1 The indigenous impacts: As in other traditional environments, the Safavids urban design semiotic is influenced from the cultural context of the country. Traditional values, ideals, ancient, native and mythical patterns of Iranian society under the name of indigenous culture all determined the design concept and strategies of the design. In this part of study, the indigenous impacts have been carried out. The ancient convention of the Arian race as studied under the title of

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Paradise Reproduction which prevailed in the form of Bondehesh16, the Iranian Mandala (Iran Vij) is interpreted.

4.1.1Paradise Reproduction :According to Arthur Pope (1939) all Iranian artifacts from ceramics to carpets and from house to gardens, village and city centre have one basic concept which is the Garden of Eden in its symbolic and abstract form with a general characteristic, which he calls: the principle of four. What Pope did not mention was the connection of the principle of four to paradise. To establish this relationship, we have examined the idea of the unconscious psychology; purported by Carl Yung. According to Yung (1960), man carries within him the memory of the creative process that has taken place from the dawn of time. Accepting the supposition that paradise was experienced by man, as is stated in most of the worlds religions, then the recollection of that experience should be possible. The memory of paradise, hidden in mans unconscious, and reproduced in the form of artifacts, could be revealed in symbolic language. Yung writes that some of his patients produced a drawing that resembled a Mandala. Whilst studying this phenomenon he came to believe the universality of the Mandala experience. He claimed that the Indian Mandala was produced by other cultures; the Fire womb in China, the Wisdom eye in Bohemia, and the Fire wheel in Africa were all different names for the Mandala, which, in its simplest form, looked like a flower or a wheel.

16

Bondehesh: This is the name of a book relating the story of creation, from the Zoroastrian perspective.

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How can one relate a Mandala to a building or a city design? By studying the Indian Mandala and related literature, we come to the conclusion that it has certain characteristics. Which are detected as, centralized, four-sided, and symmetrical and contoured by a boundary. The same ordered mechanism based on the concept of the harmony of the four, eventually became popular in the spatial layout of Chahar Taq or Chahar Eyvan (meaning four-arched), courtyard buildings, gardens called Chahar Bagh, Four-towered villages called Chahar Burja and walled towns became a popular typology in Iran and central Asia (Fig.58).

Fig.58: Traces of Mandala on spatial layout of A-Pre historic Persian pot (Pop, 1939), B-Naghsh-I-Golestan carpet (Abolghasemi, 1992) C-Four-Quadrangle Garden, Chahar Bagh, Bagh-I-Fin Kashan D-Chahar Taghi or Chahar Eyvan, meaning four-arched, Tomb of Ismail Sasanid (Pop, 1939) E-Delgosha palace in Shiraz, F-Chahar Suq, Bazaar-I-Lar, G-Chahar Burja or Four-Towered village H- Old town of Herat

A similar term for Mandala, in Iranian terminology, is Iran Vij which is in Bondehesh (Dadegi, 1990). In general the Iranian artifacts including decoration, architecture and city design are examined with the four characteristics of the Mandala. We may recall that the 128

Zoroastrian paradise, Vahisht, was divided in to four graduated mansions: The Domain of Good Thought, Good Words, Good Deeds, and Garotman, the highest that of Endless Light (Ameli, 1986). The four graduated terraces of the Chahar bagh therefore repeat this archetypal image related to the four terraces of paradise. Outlining the orientation of the royal city, the Zayanderud created natural east west axis, crossed by the Chahar Bagh Avenue, which was divided by the shah jub, the main canal in its center and stretched from north to south. The direction of the Chahar Bagh Avenue with the center and sideway jub, or water channels, was in this way used for the conscious re-construction of the quadripartite. It crossed the Zayanderud over the Allah Verdi Khan Bridge, reaching from the Darb-i Dawlat, the gate of the royal precinct of the Bagh-I Naqsh-I Jahan, to the south side of the Zayanderud as far as the garden of Abbasabad on the foot of the mountains, south of the city (fig.59).

Fig 59: Persian Chahar Bagh on the scale of a city

(Left side plan of complex is developed from contemporary art museume,2004)

4.2 The religious pattern: Although religious culture and identity are intermixed with the indigenous culture and identity in the Arab states, it is not

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necessarily so in non-Arab countries (Shayegan, 2001).The three identities of indigenous, religious and contemporary qualities of that time have been intermingled and placed in each others hearts. An Islamic country, like Iran, is a live example of the juxtaposition of these three cultural domains. The indigenous culture was reborn in the framework of the religion that was influenced by the contemporary qualities of the time. It is more complicated in the case of a third identity, i.e. our global identity that connects us to the rest of the world. Allegorical metamorphosis has no role here, and we face a kind of juxtaposition and combination of things. We are in a dilemma between our ancient past (influence of tradition) and future changes (influence of communications). There is a third influence involved in the organization of these three layers beside each other.

4.2.1Cultural cosmology: Esoteric interpretation: was used in Isfahan school (Corbin, 1979). In perceiving urban form, the genesis of technical language with clear principles was developed and established. The figure of the Chahar Bagh has been interpreted to denote the four quarters or directions of the universe. The orthogonal waterways have been seen to symbolize the four rivers of Eden; the water as the Christian and Muslim symbol of moral and sacred purification (Ameli, 1986) (Corbin, 1979), the fish as unequivocal symbol of life (Corbin, 1979), the towering cypress trees, pointing to the metaphysical after-life, as symbol of death(Corbin,1979), and lastly, the garden as universal metaphor for the positive and symbiotic relation between man and nature(Ardalan,1975)(Corbin, 1979)(Nasr,1995),where water channels give replenishment, green trees render comforting shade, and fruit orchards extend pleasure and nourishment (Fig.60).

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Fig.60: The figure of the Chahar Bagh has been interpreted to denote the four quarters or directions of the universe
(Left side plan is developed from contemporary art museume, 2004)

The wisdom of Unity of being: is the basis for Sufism metaphysics (Bakhtiyar, 1979). The continuation of the relationship between God and the universe that is defined within the testimony of the words: There is no God except Allah, which means there is no reality except the absolute reality, and that the verse of: Say, God is one in this faith demonstrates the love of the Islamic culture for a harmonious order that is balanced and calculated. Traditional metaphorical interpretations of Persian or Islamic gardens have correlated the general orthogonal symmetry to Gods perfection and transcendent purity (Ardalan, 1975). The straight lines have been seen to represent tawhid, divine unity, and sacred order between man and nature, in which order and harmony were expressed in mathematical regularity and unambiguous geometric patterns. The cosmology of macrocosm and microcosm: believes in the hierarchical structure of the universe (Bakhtiyar, 1979). The existence of the world of symbols in Iranian-Eastern philosophy was a bridge between the material-physical world and the

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abstract world or images (Ardalan, 1975) (Corbin, 1979) (Nasr, 1995). Intuition and conceptualism were, indeed, not separated. Symbolism was always there, in the daily life of human beings. The process of the formation of urban space and urban form was a ritual, not a response to the formal and physical aspects and arrangement of the elements, and irrespective of the wholeness of a superior power higher than a set of elements. The world of symbols is a bridge between the material world and the world of images and abstractions. Any particular (microcosm) constitutes wholeness (macrocosm) in another situation. A microcosm, no matter whether it is confined to a city, a village, a district, a square, crossroad or a house, is indicative of a macrocosm. The concept of Chahar Bagh was repeating in all scale. In micro and medium scale with orthogonal intersection of two narrow jub, in city scale through the crossing of the Chahar Bagh and Zayanderud was presided over by the royal quarter. Creation: similar to the performance of the human mind, is a system, which makes the subjective, objective or forms a work of art or creates myth and language. This means, all creatures, symbols, and words are transferred from the divine world to the world of the human being. All creatures are seeking to return to their origins, or in other words, to reduce materialism and increase spirituality. In respect of the issue of urban planning, the desire is to reduce the masses and increase the space. Designing urban spaces in a macro scale, as such has shaped buildings, landscapes, gardens, as well as sacred and secular towns (Fig.61).

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A-Firouzabad palace Sasanid period

B-Jame Mosque Seljuki era

C-Imam Mosque late Safavid Period

D-Chahar Bagh School post Safavid Period

E-Seyyed Mosque Qajar period

Fig.61: evolution of central curt yard, The desire is to reduce the masses and increase the space
A-Firouzabad palace Sasanid period B-Jame Mosque Seljuki era C-Imam Mosque late Safavid Period D-Chahar Bagh School post Safavid Period E-Seyyed Mosque Qajar period

(The figures are developed from Architectural and Urbanism, 1998)

The Universal Prototype (Perfect human): is a sign of God or microcosm. Khoda-Mobed, Khoda-Shah, Khashtara, Kadkhoda, as spiritual leaders(Habibi,1996) all signify the perfect human being, following the archetype of the Iranian king laid down in the book of the kings biography, Shahnameh. The most outstanding feature of the archetype was the kings responsibility to protect and expand the official religion. The genesis of a new method of urban management, which was organized and planned according to central government control. Its symbolism combined worldly political power with the theological mandate of monarchical authority, through which the Safavids aimed to balance divine kingship and Shiite legitimacy. This is based in the metaphysical world, where paradise is the domain or abode of God, the absolute and ultimate source of might and authority.

4.2.2Islamic bases: Identified as an Islamic dynasty, both in religious and political terms, Quran notions of paradise have been understood as both the guiding motive and principle behind Safavid gardens(Ameli,1986)(Barrucand,1998). The concept of 133

Persian garden in traditional interpretations has become almost synonymous with Safavid garden. In their dual Persian and Islamic traditions, the architectural, artistic, and iconographic expression of Safavid gardens has conventionally been interpreted as a metaphor of paradise, referring to both the Biblical and Quran descriptions for paradise (Ameli, 1986). Shah Abbas Is design of Isfahan was a pragmatic scheme, which aimed at a calculated synthesis of the practical and symbolic concept of garden and city and carried an implicit political dimension. The theme of garden was an essential exponent of Isfahans Safavid morphology and internal rationale, which in its symbolic and political expression went beyond the phonotypical appearance.

Unity within wholeness and multiplicity within parts, become reflections of religious belief, they therefore, convey messages and tell about our inner lives, how we relate to our fellow human being and the mystery of nature and the universe. The indicators which facilitate this emotion in designing are: Harmonious between orders of scared building architecture and randomness in vernacular architecture. Any particular Internal constitutes External in another situation. The general symmetry and linear geometric patterns of Islamic and Persian gardens have often been contrasted with the disorganized and unstructured formation of the Islamic city. The building of the new Safavid palace quarter created a dialectic affiliation between the old urban and new palatial center.

4.3 The Avant-garde interpretation of Safavids: The most outstanding feature in this period was the sense of desire for avant-garde interpretation in culture so that it resulted in the development of many creative impulses in the areas of new cultural and social instinct, the understanding of urban spaces and artistic values. 134

The new collections of square, bazaar, mosque, palace, passageways , avenue and gardens were designed and built for the first time, not in the old city, but adjacent to it. Solutions were proposed for more contemporary social and economic problems without creating disruption or interference in the old structure. Urban development and urban design took place in the same way throughout the country. This initially took place in Qazvin, then in Tabriz and then Isfahan. The new urban development was selected and wisely implemented. As far as the design was concerned, it was comparable to the Baroque period in Europe. The humanism and self-assurance of human has been manifested again. Designing city centers, relocating them from their adjacency to the congregational mosque to a new location according to the decisions for the methodical planning and development of the city and the requirements of the period creating public courts as opposed to religious courts, based on cultural and traditional principles, show the separation of the two sources of power. It was the first time the concept of the street was defined in Irans urban space and it was as beautiful as the Champs-Elysees (Herdeck, 1980) .Designing a new axis of urban development, the wise selection of spaces for development, for the first time zoning was propounded (Table.7) (Fig.23).It was the first time that avenue was defined as a place for recreative, pastimes of public and ceremonies. For the first time the traffic ways for horses and pedestrians were separated. Coordination and homogeneity with nature refers to the dominance of nature on a macro scale, harmonizing human mad and natural environment, and its unity and amity with nature, City is in concurrence with nature, City is Concord with villages, in respect of the designing of landscapes and the construction of gardens Reconstruct and revival of the concept of urban design. The architectural iconography of royal gardens, as much as it provided a space for pleasure and

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enjoyment, also articulated the domination over nature, including the control of land and water, the source of life and prosperity. Traditional interpretations understood the use of water in pools and fountains as the obvious symbol of life. In the context of a more pragmatic rendition the use and display of water, and in the case of Isfahan the river as part of the citys Chahar Bagh pattern, recognizes the eternal interdependence of the organic relationship between the river, the city, and the surrounding country side and is a statement of the absolute royal guardianship over life and property. Urban design and Piazza design in macro scale, urban design is considered a specialty and creating urban space is a combination of the sciences and the arts. It was a new and complex structure with gardens and state mansions scattered around it in geometrical order, which served as complementary to the old structure, although it was of a totally different structure and design. Linking the new city centre (NaghshI- Jahan Sq.) and the old (Old Square) was realized by designing the central bazaar and the new street (Chahar Bagh) so that the bazaar linked the two squares. The ordination of a city is like a crystal, in which the molecular pieces are polarized with magnetic power. This magnetism is the bazaars system, and the molecules are the shops, caravansaries, schools, mosques, baths, etc (Fig.62).

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Fig.62: The first use of the concept of the street in Iran urban space (Pop, 1939)

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4.4 Conclusion
Symbolization of the world of perception is not only a cultural performance but also is actable, sensational and sentimentally relevant. Urban life makes use of all past forms as a symbol and structural personification of political, ideological, economic and social concepts. It is ironic but true that most recently built communities and buildings in the Muslim world are not based upon the language of their traditional architecture, nor upon the symbolic images of growth and progress associated with Islam, I s it any wonder that our contemporary settlements tend to be ignoble places of alienation to their inhabitants, incapable of inspiring respect in either the local citizenry or in that of other cultures? Societies, operating in any given system, have important (to them) goals and ideals. The major duty of any culture is the demonstration of these ideals and symbols in a palpable form. Urban space is affected by the culture in societies relying on indigenous, religious and contemporary patterns and vice versa. This study was an attempt in perceiving urban spaces in respect to Iranian cultural symbolism which forms the basis of the Iranian perception of urban space. When this cultural view is brought together with awareness in the urban spaces, beauty and promotion of aesthetics emerges. Architecture and Urban planning, therefore, plays a major role in the process of this transformation. One major duty of architects and urban planer is helping the common people establish order in their cultural world and also removing obstacles erected in the way of its addressees and the previously defined incidents. The valuable achievement of urban development in Safavid era was realized with the upgrading of the open spaces, such as linking the old and new districts (the mighty urban complex of Naqsh-IJahan Sq. and Chahar Bagh ) and the creation of those masterpieces of architecture such as, Pol-e Khajoo, Si-o-se Pol, Sheikh Lotfollah Mosque, in a

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period when urban management and affiliated organizations demonstrated a strong tendency towards accepting renovation and preserving the valuable heritage of the art of architecture and the urban planning . The Safavids created a Shiite state and orthodoxy, whose theological system provided a direct basis of political legitimacy. At the same time, there are evident pre-Islamic Iranian traditions which surface in Safavid notions of divine kingship, with direct implications for politics and statehood. Safavid gardens, and Isfahan as a grand royal garden on the scale of a city, had very strong elements of regal self representation. It was an expression of royalty, power, and a statement of political sovereignty as it was innately linked to the rise and fall of the Safavid Empire. In this development organic randomness and calculated order were inter-mingled, using a combination of mind and sentiment, collecting the ancient traditions and the modern attitudes and policies (union of old and new) which cause dynamic. Urban design in its macro scale, square design in its macro scale, and emergence of the concept of a much larger passageway, known as a street, in modern terms. The balance & proportion in design go further than simply exhibiting the principle of symmetry.

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