Stucco work (gachbori) is one of the most prominent and sophisticated traditional arts of Iran, which has historically been executed using a variety of technical methods. Due to the inherent fragility of gypsum and the impact of both environmental and human factors that contribute to the deterioration of historic plasterworks, the conservation and restoration of these elements—particularly through the revival of forgotten or seldom-used techniques—are essential for preserving and transmitting cultural heritage to future generations.
One such technique is the creation of openwork stucco decorations, which are freestanding ornaments executed in a pierced style without a backing layer. This method is especially prevalent in the central regions of Iran, notably in the historic houses of Kashan, where lattice windows (rozans) filled with colored glass are a distinguishing feature. From a technical standpoint, the decorative work is carried out by applying gypsum over a temporary support; once the support is removed, the cut-out patterns are completed from the rear with stained glass.

This article presents a detailed account of the reconstruction and restoration process of one such gypsum lattice window in the Abbasi House of Kashan. Through a practical and field-based approach, the authors replicate and document the historical construction techniques and restoration steps involved in reviving this architectural ornament, offering insights into the craftsmanship and methodology behind these delicate works.

The creativity artistry in using plaster alongside other materials to decorate buildings has long been of interest to architects. Brick and plaster are two materials that have created various forms of decoration together, and this study examines the technology of various types of these techniques. The enormous Soltanieh Dome is one of the most important mausoleums in the world, and plaster is the dominant decoration in this building. One of these decorations is the combination of plaster and brick, which stands out as a physical decoration. How this type of plaster decoration emerged, examining the various methods of its implementation, and the method of creating decorations independent of the  combination of brick and plaster are among the topics of interest in this article. The research method is based on the analytical-descriptive method. Data collection is based on objective observations and the author's workshop experiences, using books, documents, and articles on plastering techniques in Iranian architecture. In the studied example of the Soltanieh Dome, the creation of a common type of these  decorations during the Ilkhanid period is depicted on the wall. In some parts, these decorations are only on the joints and next to the bricks, and in other parts, they are worked on the entire surface of the bricks and with brick patterns. During the restoration and reconstruction
of some of these decorations, the techniques used in creating the designs have been understood, so that plastering in situ for the joints is the artist's first priority, and after the joints are covered with plaster, the decorations are applied. The use of paint, which complements the implementation of these decorations, helps to define the boundaries of the brickwork, as the presence of red ochre pigment, yellow ochre pigment, and carbon black has been partially proven in this building.