Kārbandi is one of the important elements in Iranian architecture. It is recognized for its successful combination of geometric knowledge and the architectural skill of artists and architects. It is seen as an example of the genius blend of geometry and architecture in Islamic-era Iranian architecture. Kārbandi is also considered one of the techniques used for arch coverings. This structural and decorative element, like other architectural ornamentes, becomes worn and damaged over time. According to studies, the usual approach to its preservation and restoration involves superficial examination and localized repairs without considering its theoretical and practical geometry. The distinction made between Kārbandi and Rasmi-bandi is not highly trusted by restorers, and neglecting the background of Kārbandi leads to differences in form and even structure during restoration planning. Therefore, when beginning any intervention for the restoration of Kārbandi, it is essential to fully identify the related theoretical and practical geometric aspects. With this goal, the present research is developed to critique the restoration of the historic Sedqiani House's Kārbandi, which was carried out in 2013 by the Technical Office of the Islamic Art University of Tabriz. The results show that in the restoration and execution of Kārbandi, alongside geometry, the materials used, the context of its formation, and the desires, taste, and creativity of the traditional architect also play a decisive role.
Fatemeh Shervani Tabar , Ahad Nejad Ebrahimi, M. R. Chenaghlou , Volume 7, Issue 1 (6-2024)
Abstract
Karbandi is an arched structural element used for roof coverings in the historical architecture of Iran, distinguished by its high functional and formal capacity, simultaneously serving both structural and decorative purposes. The aim of this study is to answer the following questions: What trajectory has the formation process of Karbandi followed? What are the influential factors in this process and in its evolution into existing types? This qualitative research employs both fieldwork and library-based methods to collect data, which are then analyzed and evaluated. Initially, the gradual transition of common structural systems in historical Iranian architecture towards Karbandi was examined. The concept of Karbandi was also reviewed from the perspectives of various researchers to select the most precise definition. Subsequently, the key concepts related to Karbandi were identified and categorized. Karbandi is formed by narrow arches with chord-based and harmonious geometries, serving both load-bearing and decorative roles. Its primary characteristics include chordal geometry, orderly connections, the layered alignment of main points, and its construction based on a circular framework. The structural components of Karbandi can be analyzed through two aspects: theoretical geometry and practical geometry. It is important to note that the relationship between these two geometries is interactive and reciprocal, with some shared elements. Each of these components has influenced the formation process of this arched element while undergoing changes themselves throughout this process.
Karbandi is a decorative-structural element of Iranian architecture implemented based on precise geometry that has been used in various and diverse parts of it, and one of the important parts of Karbandi is the application in the construction of the Chapireh. Iranian architects in dome houses used the chapireh to convert the square field into a circle, which has two parts: corner construction and shikanj. The aim of this research is to examine historical examples and categorize the forms of Karbandi implemented in the shikanj in line with the typology and systematic classification of historical examples. Also, the features of each of the implemented Karbandi will be examined in terms of the field and type of Karbandi in order to determine the relationship between the type of Karbandi implemented in the shikanj with the field and sides of the Karbandi. The research background shows that the Shikanj can be implemented in two ways: arched and karbandi. to achieve this goal, a classification of the form of the Karbandi in the studied Shikanj was presented. This research is a qualitative research that was conducted using a descriptive-analytical method and the necessary information was obtained through library studies, objective observation, and examination of available samples. The results of the research show that the Karbandi in Shikanj can be divided into two categories from a shape perspective: large arch (including simple and with a Sosany) and small arch (including arch with Karbandi, simple Sakonj with Karbandi, and Torbe Filposh with Karbandi), each of which has its own characteristics that can be applied in fields such as half-arches. This research does not directly provide implementation instructions; but its results can help in subsequent studies and the process of recognizing authenticity in the conservation and restoration of the Karbandi implemented in Shikanj.
