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Geometric design of a masonry lattice space dome titled KARBANDI in Persian

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SPS0010.1177/0956059919845631International Journal of Space StructuresAmjad Mohammadi et al.

Article

International Journal of Space Structures

Geometric design of a masonry 1­–18
© The Author(s) 2019

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Persian architecture DOI: 10.1177/0956059919845631

https://doi.org/10.1177/0956059919845631
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Amir Amjad Mohammadi , Ahad Nejad Ebrahimi

and Yaser Shahbazi

Abstract
Studies of historical buildings in Persian architecture have resulted in knowing a kind of masonry structure with a
harmonic lattice geometry, which has been titled “Karbandi.” The most important and highly acclaimed feature of
Karbandi is the correlation and coordination between its architectural and structural functions, which results in creating
esthetic and meaningful spaces. The use of this structure is highly demanded in contemporary Persian architecture, but
very little information about historical techniques survives to the present day and accordingly, there are ambiguities about
its drawing and geometric design. Therefore, this research aims at discovering geometric relationships and principles
of Karbandi to regulate and facilitate its design process in contemporary architecture. Toward this end, its historical
samples were analyzed and their geometric features were found. As a consequence, the connection distance of dividing
points on the circle is an important parameter for creating various types of Karbandi on a base. For instance, the height
of a Karbandi and its elaboration are directly related to the connection distance. In addition, it was clarified that the
height of a Karbandi and the size of its Shamseh are in an inverse relationship. Finally, a comprehensive classification was
presented based on found geometric features.

Keywords
cross-ribbed vaulting, geometric design, Karbandi, masonry lattice dome, Persian architecture

Introduction the main structural features of architectural heritage that

International Association for Shell and Spatial Structures
(IASS) issued in 1984 that a space frame is a structural
system, assembled of linear elements so arranged that the
loads are transferred in a three-dimensional manner. In
some cases, the constituent elements may be two-dimen-
sional. Macroscopically, a space frame often takes the
form of a flat or curved surface.1 The formal definition for
space structures has been given by Nooshin2 in which the
term “space structure” refers to a structural system that
involves three dimensions. According to the above-
mentioned definitions, three-dimensional action is the
most important feature of space structures. Therefore,
during history, other structures with different material
could be assessed as a space structure. For instance, some
masonry domes such as Karbandi should be considered as
a space structure.3 Masonry domes and vaults are some of
must be preserved.4 Since these structures are able to
cover a large space, they have been used more than any
other covering by Iranians.5 Before popularity of steel ele-
ments in structural engineering, masonry structures were
dominant and hence widely used since remote times,
including a broad collection of structures.6 Besides func-
tional and esthetic aims, this diversity reflects the local
building traditions, and the historical evolution of tech-
niques employed.7 Karbandi is a salient kind of these
structures in Persian architecture, which is one of the most
Tabriz Islamic Art University, Iran
Corresponding author:
Amir Amjad Mohammadi, Tabriz Islamic Art University, Tabriz,
5173655388 Iran.
Email: amir.amjad1993@gmail.com
2 International Journal of Space Structures 00(0)
common patterns in the restoration projects and new
buildings, including the Mausoleum of Omar Khayyam,
Baba Tahir Hamadani, and others.8 This pattern is created
by intersecting several rib vaults which is based on strict
geometric principles. Karbandi is considered as a power
of Persian architecture that elegantly integrates architec-
ture and structure and over the centuries, it has been an
element of identity in Persian architecture. The most
important and highly acclaimed property of Karbandi is
the correlation and coordination between its architectural
and structural functions,3 which results in creating esthetic
and meaningful spaces. These characteristics have attracted
the attention of master builders throughout the Persian
architecture history and led to the construction of many
precious architectural works. Unfortunately, very little
information about historical techniques survives to the
present day. These techniques were a closely guarded
trade secret, passed from master to apprentice and ulti-
mately lost in history. The quest to design Karbandi is
therefore an intriguing puzzle. As a guide, we have an
enigmatic set of samples from the past. Therefore, we
have to analyze their geometry and form to find out how
the geometry of their various types can be created and
accordingly, we can prescribe a comprehensive geometric
design process for contemporary architects. Researches
and advanced studies of Karbandi have progressed slowly
in comparison with its executive progress, resulting in a
lack of knowledge and experience in this field. Furthermore,
most of the researches are in Farsi, which are explained as
follows.
One of the basic requirements for implementing the
Karbandi is to master its drawing principles. Pirnia and
Bozorgmehri9 have presented a traditional drawing
method based on dividing a circle into equal sectors and
drawing intersecting equal chords between the dividing
points. This resource also divides Karbandi into “plumb”
and “out-of-plumb” categories. Despite the scientific sig-
nificance of this reference, it has been written very briefly
and various models of Karbandi have not been studied.
Lorzadeh10 and Sharbaf11 also introduced Karbandi in
two plumb and out-of-plumb categories, but they do not
refer to different types of Karbandi geometry and only
depict some examples for plumb and out-of-plumb mod-
els. It should be noted that all of the above-mentioned
resources are more graphic and have little explanation.
Mohammadian and Faramarzi12 presented a shape-based
typology of Karbandi, but only the geometry of one type
of Karbandi is studied (in this research, the geometry of
Karbandi(s) has only been studied that their connection
distance is equal to “a” (d = a ) and are on rectangular
bases; refer section “If ‘d’ is equal to ‘a’ (d = a ) ”). Raeisi
et al.13 have also explained a theoretical basis for Karbandi,
and their research was aimed at developing a correct
knowledge of Karbandi’s appearance. The research has
identified three ambiguities in current models: encompass
naming, recognizing geometry, and recognizing building
function and their corresponding solution separately.
Among English references, a resource was written by
Amjad Mohammadi et al.8 The authors aimed at investi-
gating a solution to broaden Karbandi’s use over irregular
geometry and ultimately show that it is possible to calcu-
late and implement a Karbandi geometry in irregular
bases when some specific conditions are met. The other
English reference has been conducted by Pour Ahmadi.14
In his paper, there is a new naming for different types of
Karbandi. Furthermore, generalities of Karbandi geome-
try and definitions of its some types were presented. But
the geometry of different types of Karbandi have not been
analyzed due to its approach.
Based on the authors’ knowledge, none of the above-
mentioned resources aimed at geometric analysis of various
types of Karbandi and trying to finding out the geometric
principles. Consequently, there are many ambiguities among
the academic researchers in terms of geometric aspects of
Karbandi, which make its design more difficult for contem-
porary architects so that some of who, instead of designing
innovative models, copy the older examples. Understanding
these facts and by considering the use of this structure in
contemporary architecture, this article aims at discovering
geometric relationships and principles of Karbandi types to
regulate and facilitate their design process in contemporary
architecture. Toward this end, this research analyzes histori-
cal samples of Karbandi in Persian architecture to figure out
how the geometry and form of their different types can be
generated and accordingly provides some input into the
design of contemporary.
Geometry of Karbandi
The geometry of a Karbandi is the outcome of a totally
strict drawing and mathematical techniques but little infor-
mation about them survives to the present day. As a guide,
we have an enigmatic set of samples within Persian archi-
tecture and so, analyzing these samples is necessary to
achieve the research purpose. Basic studies and consider-
ing the findings of distinguished researchers such as Pirnia
and Bozorgmehri,9 Nava’I and Haji Qassemi,15 and
Besenval16 make it clear that the geometric design of all
Karbandi(s) is based on two conditions:
1. The plan of an n-sided Karbandi is based on divid-
ing a circle into n equal sectors and drawing inter-
secting equal chords between the dividing points;
therefore, a circular part, called Shamseh, is usu-
ally formed inside a circumscribing circle;
2. The three-dimensional structure of a Karbandi is
formed based on the rotation of a rib arch round the
center of the circumscribing circle. Therefore, the
ribs of all the arches of a Karbandi share the same
dimensions and proportions (Table 1).
Amjad Mohammadi et al. 3
Table 1.  The basic geometry of all Karbandi(s): 1. Pa-barik, 2. Toranj, 3. Sousani, and 4. Shamseh (Source: authors).
Dividing the circle into 10 equal sectors for drawing the
geometry of a 10-sided Karbandi
Figure 1.  Plumb Karbandi (Source: authors).
The geometry of rib arches underlies the three-dimen-
sional shape of Karbandi, and the ideal stress state for this
shape is pure compression. The geometry of rib arches can
be generated by traditional drawing manner, digital meth-
ods, and physical models based on the form that follows
force principle such as hanging chains.17 By choosing each
of the methods, a different form of Karbandi can be cre-
ated. In this research, all of the Karbandi(s) considering
the form of historical examples are generated by rotating a
traditional kind of arch and consequently, all models share
the similar curves.
As mentioned earlier, most resources have divided
Karbandi into two “plumb” (shagooli in Farsi) and “out-
of-plumb” (sar-seft in Farsi) categories,11,18 but out-of-
plumb Karbandi(s) have rarely been used in ancient
Dividing the circle into 12 equal sectors for drawing the
geometry of a 12-sided Karbandi
Persian architecture. These two types have some charac-
teristics that are investigated as follows.
Plumb Karbandi (shagooli in Farsi)
This category includes those types in which both parts
of the rib arches that form Karbandi are placed on one
plane and along each other (Figure 1). Therefore, the rib
arches connect to piers and directly transfer forces.8 In
addition, the piers of plumb Karbandi are vertical to the
ground and present a better load-bearing capability in
comparison with the out-of-plumb Karbandi.3 There are
examples of this type of Karbandi in the Abbasian
House and the men’s baths of the Ameri House in
Kashan (Figure 2).
4 International Journal of Space Structures 00(0)

Figure 2.  Examples of plumb Karbandi: (a) Abbasian House in Kashan and (b) men’s bath of the Kashan Ameri House (Source:
authors).

Table 2.  The first stage of geometric design process of the Haj-Mohammad-Qoli Timche’s Karbandi (Source: authors).
1. A
 circle is divided into 16 equal sectors 2. 16 identical rib arches are 3. T
 he legs of the arches are
and the dividing points are connected to located on each chord alternately cut
each other with a distance of 6 × 6

4. Full plumb Karbandi 5. Removing a row of the highest 6. R

 emoving two rows of the highest
components (Toranj) components (Toranj): Karbandi of
Haj-Mohammad-Qoli Timche

It should be noted that some examples have been found
in Persian architecture that in their design, one or more
rows of the highest components (Toranj) have been
removed and led to the creation of another model of plumb
Karbandi. This model is one of the most common types of
plumb Karbandi that has been neglected. In order to better
understand this type, geometric design process of Haj-
Mohammad-Qoli Timche’s Karbandi as a successful mon-
ument is analyzed. Its design process is such that at first, a
circle is drawn and then divided into 16 equal sectors (16-
sided Karbandi). In the next step, the dividing points on
the circle are connected to each other with a distance of 6
× 6. Thus, 16 intersecting equal chords between the divid-
ing points are formed. Now, as shown in Table 2, 16 identi-
cal rib arches are located on each chord and then the legs
of the arches are alternately cut. Furthermore, in the
resulted model, two rows of the highest components
(Toranj) are removed (Table 2).
In this state, two halves of rib arches are spaced apart
and do not have a direct connection. Thus, it has less load-
bearing capacity than a full plumb Karbandi. Therefore,
several hidden rib arches are commonly used in order to
increase the load-bearing capacity of the structure, which
cannot be seen from the interior space (Table 3).
Amjad Mohammadi et al. 5

Table 3.  The second stage of geometric design process of the Haj-Mohammad-Qoli Timche’s Karbandi: increasing the load-bearing
capacity of the Karbandi using hidden rib arches (Source: authors).
1. Full plumb Karbandi 2. Removing a row of the highest 3. Removing two rows of the highest
components (Toranj) components (Toranj): Karbandi of Haj-
Mohammad-Qoli Timche

Outside of building: representation of Inside of building: a plumb Karbandi with removal of two rows of the highest
hidden rib arches (photograph by Tehrani) components (Toranj)

Figure 3. If d < b , Shamseh will become too great to be located completely inside the base and intersects its sides (Source: authors).
6 International Journal of Space Structures 00(0)
Figure 4.  On rectangular bases if “d” is equal to “b” ( d = b ) , Shamseh will become too great to be located completely inside the
base and intersects its sides (Source: authors).
Studies of different Karbandi examples in Persian
architecture show that some of plumb Karbandi(s) were
created individually and the rest were composed of two or
more Karbandi(s). Furthermore, a few specific examples
were found on unusual bases (the most common bases for
Karbandi in Persian architecture are square, rectangle,
octagon, octagon and semi-octagon, negini (a type of octa-
gon), and kashkouli (a type of octagon), which are rectan-
gular or made from combination of two or more identical
intersecting rectangles).8 Therefore, the plumb Karbandi
can be examined in three categories, which we titled
“Simple,” “Compound,” and “Specific,” respectively, that
are investigated as follows.
Simple Karbandi
As mentioned in section “Geometry of Karbandi,” the
geometry of Karbandi is come from connecting the dividing
points on the circumscribing circle. Therefore, the connec-
tion distance of points (e.g. 4 × 4 and 5 × 5) is an important
parameter for generating various Karbandi types. We set
rectangular bases as a benchmark for studying this parame-
ter, and the other bases are considered as a combination of
two or more identical intersecting rectangles (Figure 3).
Now, if the length and width of rectangle faces “a” and
“b” sectors of the circumscribing circle, respectively, the
number by which the dividing points on the circle will be
connected to each other (e.g. 4 × 4 and 5 × 5) is “d” and the
total number of sectors on the circumscribing circle is “n”;
the following states will mathematically arise that need to
be examined
n n
d < b, d = b, b < d < a, d = a, a < d < ,d=
2 2
If “d” is smaller than “b” ( d < b ) .  The realization of this state
is not possible on any bases, because the Shamseh becomes
too great to be located completely inside the base and
intersects its sides and thus the Karbandi is formed out of
the base (Figure 3).
For the same reason as in the previous section, estab-
lishing the equation (d = b) on the rectangular bases geo-
metrically is impossible (Figure 4). However, it can be met
on some non-rectangular bases such as squares and octa-
gons (Table 4). In this state, Shamseh is in its maximum
size and so is tangent to the sides of base. The samples of
this type have eight piers and are the strongest models of
Karbandi, which are usually used under the domes and
bear their weight. Two salient examples of this type were
used under the dome of Hakim Mosque in Isfahan and
Haj-Safar-Ali Mosque in the Historic Bazaar of Tabriz
(Table 4).
If “d” is between “b” and “a” ( b < d < a ).  The realization of
this condition as the previous state is only possible on
some non-rectangular bases such as squares and octagons.
In this type, Shamseh becomes smaller than its maximum
size and thus some Sousani components are formed around
the Karbandi. There are two examples of this type in
Imamzade-Hossein in Qazvin and Fin Garden in Kashan
(Table 5 and Figure 5).
If “d” is equal to “a” ( d = a ) .  This state unlike the previ-
ous ones can be met on both rectangular and non-rectan-
gular bases. On the rectangular and square bases,
Shamseh is usually in its maximum size and so is tan-
gent to the sides of base. Therefore, on the square bases,
Sousani(s) are removed and on the rectangular ones,
they are formed just in two opposite sides. Moreover, in
the geometry of these models, the following relations
are established:
In square bases
n
d=
4
Amjad Mohammadi et al. 7

Table 4.  Establishment of the equation d = b on the non-rectangular bases (Source: authors).
Hakim Mosque in Isfahan (a 12-sided Karbandi) Haj-Safar-Ali Mosque in Tabriz (a 28-sided Karbandi)

1. 12-sided Karbandi: dividing a 2. Considering the base as a 1. 2 8-sided Karbandi: dividing a 2. Considering the base as a
circle into 12 equal sectors combination of two identical circle into 28 equal sectors combination of two identical
intersecting rectangles intersecting rectangles

3. Connecting the points with a 4. Erasing the lines protracted 3. C

 onnecting the points with a 4. Erasing the lines protracted
distance of 2 × 2 out of the base distance of 6 × 6 out of the base

Table 5.  On the non-rectangular bases when “d” is between “b” and “a” ( b < d < a ) (Source: authors).
Imamzade-Hossein in Qazvin (a 12-sided Karbandi; Fin Garden in Kashan (a 14-sided Karbandi)
photograph by Pirnia and Bozorgmehri9)

(Continued)
8 International Journal of Space Structures 00(0)

Table 5. (Continued)

1. 1 2-sided Karbandi: dividing a 2. Considering the base as a 1. 1 4-sided Karbandi: dividing a 2. Considering the base as a
circle into 12 equal sectors combination of two identical circle into 14 equal sectors combination of two identical
intersecting rectangles intersecting rectangles

3. C
 onnecting the points with a 4. Erasing the lines protracted 3. Connecting the points with a 4. Erasing the lines protracted
distance of 3 × 3 out of the base or in the distance of 5 × 5 out of the base or in the
Sousani(s) Sousani(s)
5. Removing a Toranj row

Figure 5.  On the rectangular bases, if “d” is between “b” and “a” ( b < d < a ) , Shamseh will become too great to be located
completely inside the base and intersects its sides (Source: authors).
Amjad Mohammadi et al. 9

Table 6.  Establishment of the equation d = a on the rectangular and square bases (Source: authors).
Peripheral portico of the Kabood Mosque in Tabriz (a 16-sided Ganjali-khan baths in Kerman (a 14-sided Karbandi on the
Karbandi on the square base) rectangular base)

Absence of Sousani and tangency of Shamseh on all four sides of Forming of Sousani(s) on just two opposite sides of Karbandi and
the base tangency of Shamseh on two other sides

n n
d = 4, n = 16 ⇒ d > d = 4, n = 16 ⇒ d =
4 4

In rectangular bases
n this type usually have eight piers on the ground and present
d>
4 a good load-bearing capability.3 It should also be noted that
Examples of this type are used on the peripheral portico
of the Kabood Mosque in Tabriz and the Ganjali-khan
baths in Kerman (Table 6).
Another interesting equation of this type is that the four
central angles formed as a result of drawing the diameters
of the base are a multiple of 360 divided by the number of
the sides of the Karbandi (Table 6)
 360 
a . b , c , d =   x, x ∈ N
 n 
Furthermore, the equation “ d = a ” can be used in the
bases that are formed by combination of two or more iden-
tical intersecting rectangles, such as the Karbandi of Sultan-
Amir-Ahmad baths in Kashan (Table 7). In this state, the
size of Shamseh is smaller than the previous models and
thus the size of Sousani(s) became larger. The samples of
there is always the following relation in this type
n
d>
4
 n
If “d” is between “a” and “ n ”  a < d <  .  This relation can
2  2
be satisfied in both rectangular and non-rectangular bases.
The Shamseh component in this state is in its smallest size
and therefore the Sousani components reached to their
largest size. It should be noted that Sousani(s) only in this
type are created in all four sides of rectangular bases.
Although this type of Karbandi is geometrically perfectly
logical and correct, it is not so common among historical
specimens. An example of this type has been constructed
in Imamzade-Hossein in Qazvin (Figure 6).
10 International Journal of Space Structures 00(0)

Table 7.  Establishment of the equation d = a on the non-rectangular base (Source: authors).
Sultan-Amir-Ahmad baths in Kashan (a 14-sided Karbandi on the octagonal base).

1. 1 4-sided Karbandi: dividing
a circle into 14 equal
sectors
2. Considering the base as 3. Connecting the points with 4. Erasing the lines protracted
a combination of two a distance of 5 × 5 out of the base or in the
identical intersecting n Sousani(s)
=
d 5= , n 14 ⇒ d >
rectangles 4 5. Removing a row of Toranj(s)

n a < d < n 
Figure 6.  If “d” is between “a” and “ ”  : Imamzade-Hossein in Qazvin (Source: authors).
2  2 
Amjad Mohammadi et al. 11

 n
Figure 7.  If “d” is equal to “ n ”  d =  : (a) Jameh Mosque of Ardestan (photograph by Besenval16) and (b) Malek-Timche in the
2  2 
Historic Bazaar of Tabriz (Source: authors).

Table 8.  The influence of connection distance (d) on the complication of Karbandi (Source: author).
n
d=b b<d<a d=a a<d<
2

 n
If “d” is equal to “ n ”  d =  .  If “d” is equal to “ n / 2 ,” all
2  2
the drawn chords will pass through the center of the circle
and all the rib arches intersect each other at one point.
Therefore, some of the components of Karbandi, including
Shamseh and Toranj, are removed and resulted in a spe-
cific type of vault, which is called “Tarkin” in Farsi. This
kind of vault has been extensively used in Persian architec-
ture, such as the Malek-Timche in Historic Bazaar of
Tabriz, the Jame Mosque of Isfahan, and the Jame Mosque
of Ardestan (Figure 7).
For comparing the types of simple Karbandi and evalu-
ating the influence of connection distance (d) on the
Karbandi form, four models were drawn, which are only
different in the perimeter of connection distance. By
investigating the models, a number of variable form-related
properties are observable. One of the most important of
these features is the difference in the number of Toranj
rows. As illustrated in Table 8, it is clear that the elaboration
of Karbandi is directly related to the distance by which the
dividing points on the circle are connected (d), so that by
increasing the distance, the Karbandi becomes more com-
plicated and contains more details.
Another variable quality is the height of Karbandi,
which is also directly related to the connection distance of
dividing points (d). The mentioned relation is due to the
fact that when the connection distance is increased, the
span of rib arches is also increased and thus the ribs
become larger and higher (Table 9).
12 International Journal of Space Structures 00(0)
Table 9.  The influence of connection distance (d) on the height of Karbandi (Source: authors).
d=b b<d<a
Table 10.  The influence of connection distance (d) on the size of Shamseh and Sousani (Source: authors).
d=b b<d<a
Change in the size of Shamseh and Sousani is the other
point to be mentioned. As evident in the examples, when
the connection distance is increased, the mid-points of the
chords are closer to the center of the circle and accord-
ingly, the size of Shamseh and Sousani becomes smaller
and larger, respectively (Table 10). By collating this point
with the previous one, it becomes clear that the height of a
Karbandi and the size of its Shamseh are always mutually
dependent. As shown in Table 8, by reducing the dimen-
sions of the Shamseh, the height of Karbandi is increased.
Compound Karbandi
Karbandi is not necessarily designed alone; sometimes two
or more simple Karbandi(s) can be combined and led to the
creation of more advanced models called “Compound
Karbandi.” Analyzing samples of compound Karbandi
within Persian architecture and considering the findings of
some researchers such as Pirnia and Bozorgmehri9 and
Mohammadian and Faramarzi12 make it clear that the com-
pound Karbandi can be studied in five categories, which we
titled “duplicated,” “mounted,” “dual-arch,” “adjoined,”
and “multiple” Karbandi.
n
d=a a<d<
2
n
d=a a<d<
2
Duplicated Karbandi.  Duplicated Karbandi is composed of
a full Karbandi and two identical semi-Karbandi(s). This
type is usually used on the long rectangular bases, as the
full Karbandi is implemented on the center of the base and
due to the length of base, two semi-Karbandi(s) are also
implemented on its both sides. Muzaffarieh Timche in the
Historic Bazaar of Tabriz is an example of this type, which
is composed of a 16-sided Karbandi and two 12-sided
semi-Karbandi(s) (Figure 8).
Mounted Karbandi.  If a Karbandi is implemented on the
Shamseh of another Karbandi, the resulting product will
be mounted Karbandi.12 An example of this type has been
constructed in the Aqa Bozorg Mosque-School in Kashan,
where a 16-sided Karbandi was implemented on another
16-sided Karbandi (Figure 9).
Dual-arch Karbandi. As mentioned previously, Karbandi is
formed based on the rotation of a rib arch round the center of
the circumscribing circle; therefore, all the rib arches share
the same dimensions. But some Karbandi(s) have been found
that formed by the combination of two Karbandi(s) with dif-
ferent arches, this type is called “dual-arch Karbandi.” Two
Amjad Mohammadi et al. 13

Figure 8.  Duplicated Karbandi: Muzaffarieh Timche in the Historic Bazaar of Tabriz (Source: authors).

Figure 9.  Mounted Karbandi: Aqa Bozorg Mosque-School in Kashan (Source: authors).

examples of this kind have been used in Sheikh-Ahmad-Jam
tomb in Torbat-Jam and Nobar baths in Tabriz (Table 11).
These two examples were formed by the combination of two
eight-sided Karbandi(s).
Adjoined Karbandi.  Some examples of Karbandi on uncom-
mon bases are shown that in order to adapt Karbandi to the
geometry of base, one or more Karbandi(s) have been
adjoined another Karbandi. In the Aqa-Bozorg School-
Mosque in Kashan, a model of this type has been used that
in its design, some parts of a Karbandi have been cut
and an incomplete model obtained, which has been leant
against a complete Karbandi and combined with it
(Figure 10).
14 International Journal of Space Structures 00(0)

Table 11.  Dual-arch Karbandi (Source: authors).

Sheikh-Ahmad-Jam tomb in Torbat-Jam Nobar baths in Tabriz

Figure 10.  Adjoined Karbandi: Aqa-Bozorg School-Mosque in Kashan (Source: authors).

Multiple Karbandi.  Whenever several Karbandi(s) are built implementing the components of another Karbandi(s) is
inside the components of other Karbandi(s), the resulting started and thus two or more incomplete Karbandi(s) are
product will be of multiple type. In this case, usually before combined (Figure 11). Multiple Karbandi has many varia-
completing the implementation of a Karbandi components, tions and to avoid the prolongation of the text, we refrain
Amjad Mohammadi et al. 15
Figure 11.  Multiple Karbandi.19
Figure 12.  Examples of multiple Karbandi: (a) Sadaqiani garden’s house in Tabriz and (b) Mahinestan Raheb Hotel in Kashan
(Source: authors).
from examining its various types here and postpone them to
another research. The examples of this type were used in
Sadaqiani garden’s house in Tabriz and Mahinestan Raheb
Hotel in Kashan (Figure 12).
Specific Karbandi
Specific Karbandi refers to those Karbandi(s) implemented
on unusual and special bases, which are not rectangular
and cannot be considered as a combination of two or more
identical intersecting rectangles. This type of Karbandi(s)
is rarely seen in Persian architecture. Two examples of it
have been constructed in Vakil baths in Shiraz and Baba-
Roknadin tomb in Isfahan. In these cases, the largest side
of the base faces three sectors of the circumscribing circle
and the dividing points on the circle were connected to
each other with a distance of 3 × 3 (Table 12).
Out-of-plumb Karbandi (sar-seft in
Farsi)
If two parts of rib arches creating a Karbandi are not in the
same plane, the resulting Karbandi is “out of plumb.”18
Since two sections of rib arches are not in line with each
other, the rib arches cannot act as an efficient load-bearing
structure in transferring loads. Therefore, it has less load-
bearing capacity than a plumb Karbandi (Figure 13). This
type is used where it is required to implement the Shamseh
in a form smaller than its usual standard form.
Drawing the geometry of out-of-plumb Karbandi is not
different from plumb Karbandi. First, it is drawn as a
plumb Karbandi and then the diameter of Shamseh is
diminished to the desired size (Table 13). It should be
noted that although all types of plumb Karbandi can be
theoretically designed as out of plumb, it is not common
among constructed examples. This type of Karbandi has
been usually used on rectangular and square bases, two
examples of which can be seen in the Historic Bazaar of
Tabriz (Figure 14).
Table 14 eventually illustrates all different types of
Karbandi together and provides a holistic comprehension
of these structures.
Conclusion
Karbandi, as one of the graceful structures in Persian
architecture, has some innovative aspects such as geo-
metric elegance, correlation, and coordination between
16 International Journal of Space Structures 00(0)

Table 12.  Examples of specific Karbandi (Source: authors).

Vakil baths in Shiraz Baba-Roknadin tomb in Isfahan

Figure 13.  Out-of-plumb Karbandi (Source: authors).

Table 13.  Geometry design process of an out-of-plumb Karbandi (Source: authors).

Geometry of a plumb Karbandi Converting the geometry of a plumb Geometry of an out-of-plumb
Karbandi into out-of-plumb Karbandi Karbandi
Amjad Mohammadi et al. 17

Figure 14.  Out-of-plumb Karbandi: Historic Bazaar of Tabriz (Source: authors).

Table 14.  Illustrating all different types of Karbandi (Source: authors).

n n
d=b b<d<a d=a a<d< d=
2 2
Simple

Duplicated Mounted Dual arch Adjoined Multiple

Compound
Plumb Karbandi

Specific

        
Out-of-plumb
Karbandi

        

architectural and structural functions and utilizing
masonry material in the lattice dome. The using of
masonry material has been a past time requirement and
therefore it is not necessary to be observed in contempo-
rary design. This research mainly focused on geometric
aspects of Karbandi and figured out the geometric prop-
erties and form generation process of various types of
Karbandi. Analyzing the examples of Karbandi made it
evident that the distance by which the dividing points on
the circumscribing circle are connected (d) to each other
is an important parameter for creating various types of
Karbandi. Based on this parameter, a set of Karbandi
samples were drawn and geometrically investigated, then
accordingly, a simple and convenient form generation
method was presented. The readers need not necessarily
be familiar with Karbandi to understand of what is offered
in this research and they can benefit from the presented
method and use it in their designs. Moreover, given this
18 International Journal of Space Structures 00(0)
fact that the first step of structural analysis is the form
generation, this research can be a prerequisite for future
structural studies of Karbandi. The authors eventually
came up with a comprehensive classification of Karbandi
based on found geometric features. It should also be
noted that in another perspective, the form of Karbandi is
a kind of single-layer lamella domes, which can be for-
mulated parametrically and created using Formex alge-
bra. The authors are going to generate these models in the
next research.
Declaration of conflicting interests
The author(s) declared no potential conflicts of interest with
respect to the research, authorship, and/or publication of this
article.
Funding
The author(s) received no financial support for the research,
authorship, and/or publication of this article.
ORCID iD
Amir Amjad Mohammadi https://orcid.org/0000-0002-2601
-0528
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