شاکلۀ درودگری و تناسبات دَر و پنجره‌های چوبی ابنیۀ تاریخی شرق ایران

Abstract
Iranian architecture prominently incorporates doors and windows, where the number of panels-two, three, five, or seven-carries specific implications regarding the nature of the building. These architectural features are typically embellished with intricate decorations, with the frames being a significant aspect of their design. The purpose of this research is to explore the woodworking techniques and the proportional dimensions of doors and windows in the historical architecture of Eastern Iran. The study seeks to answer the question: What is the nature of woodworking and the proportions of doors and windows in these historical buildings? The research approach is fundamentally descriptive-analytical. Data gathering is accomplished through library research, field studies, and intentional (judgment-based) sampling of available examples. The findings can be structured into three primary sections: Forms and Designs Typology: This analysis organizes forms, panel quantities, and frame designs into six, five, and six categories, respectively. The prevalence of various frames is crucial, as the main framework influences the arrangement of doors and windows in relation to the building’s internal space, thereby controlling the influx of natural light and enhancing spatial value, which promotes order and alleviates visual monotony. Design and Proportions: This portion addresses the foundational aspects of constructing doors, windows, and openings, emphasizing the significance of airflow and the optimal use of natural light, which plays a crucial role in determining their dimensions and sizes. The construction practices for all doors and windows are aligned with the golden proportions, promoting uniformity across designs that adhere to a consistent pattern. Decorations: The decorative aspects are categorized into three types: wooden, metallic, and stained glass. These decorations are adapted to the specific location and function within the building, following patterns and aesthetic considerations that embody geometric and proportional principles in their design and execution, all of which resonate with the characteristics of Islamic art.
Keywords: Woodworking, Doors and Windows, Standard or Scale, Golden Proportions, Eastern Iran.
 
Introduction
Iran’s traditional architecture has unique features that, while paying attention to the environment, respond to the climatic needs of each region; doors and windows are no exception to this rule. The technical and visual typology of doors and windows not only includes technical aspects but also embodies religious and social values and concepts. Doors and windows play a decisive role in the appearance of a building and serve as a medium that allows the residents to see and feel the space they inhabit. These doors, representative of each historical period, showcase a range of decorative arts in Iran-including painting, enameling, wood carving, burl wood, etching, and Chinese knotwork-depending on their architectural characteristics and location of installation. The practice of inscribing text on doors, decorating facades with prayers, adhering to the principles of privacy and introversion in traditional Iranian architecture, and distinguishing between male and female percussion instruments (door knockers) highlights the importance of the “door” as more than just an object. As significant elements in Iranian architecture, doors are often seen in configurations of two, three, five, or seven panels, each having special meanings in terms of size and dimensions. Furthermore, the door and window frames not only follow specific proportions within the space of the houses but also maintain harmony and proportion in their dimensions.
Date
Doors are fundamental elements in architectural design, serving to regulate the interaction between indoor and outdoor environments while managing access. Their size and construction materials, predominantly wood, differ according to the specific type and intended use of the building. In Iranian architecture, a variety of doors, windows, and skylights are incorporated, fulfilling multiple roles including the provision of natural light, ventilation, scenic views, aesthetic enhancement, and security.
Doors are composed of several elements, including the bahu, pakhor, kesh, and the frame, with metal fittings such as hinges and key rings enhancing their functionality. Rooms can be categorized according to their intended use, such as bedrooms or reception areas, and may feature a range of configurations that include two to seven doors.
The architectural design of doors and windows in Iran is primarily focused on maximizing airflow and harnessing natural light. Various factors shape these architectural forms, including local climate, the cultural importance of specific numerical values, and geometric principles. Buildings are typically classified into three categories: public, private, and noble, with doors being further segmented into primary entrances, access points to interior areas, and those facilitating movement between different spaces.
Discussion 
The architectural features of doors and windows in the eastern regions of Iran can be categorized into three distinct types: public, noble, and private. These features are analyzed based on various criteria, including their shape, the number of slats, the design of the frame, wooden embellishments, colored glass, and metal adornments. Common door shapes encompass crescent, semi-crescent, rectangular, and mihrab forms. The classification by slat count includes government doors, as well as those with three, four, five, and six slats, with the six-slat variety predominantly located in caravanserais and bazaars. The operational mechanisms of these doors may include accordion or vertical sliding styles, each featuring multiple frames (both with and without glass) that are designed to respond to the local climate. The number of frames plays a crucial role in regulating the amount of light that enters a space, thereby allowing for effective control over illumination levels.
Door frames can be rectangular, square, or octagonal, with numbers ranging from 3 to 40. Interior and main entrance doors are often simple, typically featuring only a knocker and a nail. Windows exhibit similar diversity, with forms such as crescent, semi-crescent, altar, rectangular, square, and circular shapes having two to thirty frames. The window frames can also take on various shapes, including square, rectangular, octagonal, hexagonal, and Polish.
Sashes are usually rectangular or crescent-shaped, with a prevalence of three-slat configurations. Common motifs in sashes include eight-and-four knots and twelve-slat knots combined with geometric shapes like circles and squares.
Wooden decorations are predominant and include motifs of plants, stars, and intricate patterns, using techniques such as knotting, inlaying, and mosaicking. In this region, knotting is typically straightforward, connecting elements without complexity, while lattice knotting controls light and airflow through architectural openings.
The Mehdi Khani pattern, associated with Isfahan artisans, is frequently found, indicating that many doors and windows were crafted by or inspired by Isfahani masters. Polish and octagonal patterns are mainly found in Mashhad, influenced by the shrine of Imam Reza (AS). The Botteh-e Jaqqeh (or Paisley) pattern is also commonly used in both wooden and metal works.
Colored glass is primarily used in noble and private buildings, available in colors such as green, blue, red, and orange, though plain glass is more common due to the financial constraints of the local population.
Metal decorations encompass doorknobs, nail heads, key faces, and clasps. Doorknobs may be barrel-shaped, elongated barrel, circular, lion and dragon, or simple circular types. Nail heads can be circular, cross-shaped, or simple. Key faces may be circular, curved, or square, while clasps can also be circular, curved, or elongated. Barrel-shaped doorknobs are the most prevalent, followed by circular and elongated types.
The construction of doors, windows, and architectural openings in Iranian architecture prioritizes proper wind flow and natural light optimization. The patterns not only enhance aesthetic considerations but also define spatial characteristics reflective of Islamic art. Each space has unique rhythmic frame patterns that vary in dimensions, influencing spatial quality by regulating light.
The decorative features of a space are influenced by its geographical context, with more elaborate motifs typically found in parts such as the Shahneshin. The principles of geometry and proportion play a crucial role in the design of skylights, affecting the variety and scope of patterns while ensuring the preservation of shared characteristics. Skylights serve several purposes, including the provision of natural light, ventilation, aesthetic enhancement, the facilitation of views, and the maintenance of privacy.
The dimensions of doors and windows vary according to their purpose and the type of building in which they are installed. Generally, doors are constructed from wood and predominantly feature a rectangular shape, although crescent and semi-crescent designs became increasingly fashionable during the Qajar era. The ornamental style of wooden doors and windows is indicative of their functional roles and integrates modern materials. The fabrication process entails the precise cutting of door frames, which is supervised by a master architect. Adjustments to the frames are made based on lighting needs, especially in areas such as the Shahneshin, where ample light is essential. The architectural design of doors and windows adheres to the principles of the golden ratio, promoting uniformity across diverse configurations. A notable feature of these elements is the recurring visual rhythm found in their components, which reflects the intricate patterns seen in Iranian carpets and traditional arts. This rhythmic quality carries symbolic meaning within sacred art, resonating with concepts such as dhikr. The appeal of these patterns lies in their structured nature, which facilitates easier cognitive processing for the human brain, thereby contributing to energy efficiency. Artists frequently disrupt visual patterns to avoid monotony and introduce new rhythms, thereby enriching the overall aesthetic experience. In Iranian architecture, the paimon serves as a design element that conceals a more intricate visual order.
Conclusion
The findings related to the research question can be analyzed across three primary domains. The initial discussion centers on the various forms and designs of doors, windows, and sashes. It is observed that these architectural elements are available in multiple configurations, such as crescent, semi-crescent, rectangular, altar, square, and circular shapes. The slats can range from two to six in number, while the frames may take on rectangular, square, octagonal, hexagonal, or Polish designs. The quantity of frames, which can vary from 2 to 40, plays a significant role in shaping the overall aesthetic and functionality of the doors and windows. These frames are classified as either glass-bearing or glass-free (wooden) and are strategically arranged to optimize light penetration and enhance the value of interior spaces, particularly in prominent areas like the throne room. Additionally, the principles of rhythm and repetition are essential for achieving visual coherence and avoiding monotony, as variations in size and shape contribute to this rhythmic quality. The second discussion explores the foundational principles of design and construction within Iranian architecture, highlighting the significance of wind circulation, effective utilization of natural light, climate control, aesthetic structural elements, ornamentation, privacy, and the interaction with outdoor spaces. These factors play a crucial role in determining the dimensions and proportions of doors and windows. The construction method incorporates techniques that take into account the durability of the wood, with measurements established by adept artisans. The application of golden ratios is apparent in the design of doors and windows, where arrangements of two, three, four, and five squares adhere to a specific pattern, promoting consistency in size and aesthetic coherence.
The third discussion delineates decorations into three categories: wooden, metal, and colored glass. Wooden decorations are distinguished by their complex designs, featuring eight- and four-knot combinations, chaharlange motifs, and an array of geometric patterns. Conversely, metal decorations include utilitarian components like heels, clasps, hinges, and key rings, typically designed with solar and cypress motifs. The regional differences in the application of geometry and proportion in these decorative forms illustrate a wide range of design diversity while upholding shared characteristics, all of which are emblematic of Islamic artistic values.