Asymmetry in Persian Symmetrical Art and Architecture
Bibliographic record
Abstract
Since ancient times, the integration of asymmetry in the design of composition has been a common practice in Iranian art and architecture in order to avoid problems such as topography and winds, and/or to comply with cultural and religious believes. This is manifested in mosques where the Mehrabs are turned to the Qebla to face in the direction of Mecca; in some entrances of mosques, public bath houses, or houses, in order to provide more privacy for the users; in town planning of large cities, in order to emphasize the old existing Friday mosques, or to avoid the direct access to a castle or governmental building; in the design of staircases, wind catchers, or in water distribution system; and in decorations such as tiling and miniatures. The Art of Asymmetry in the Core of Symmetrical Art and Architecture Islamic architecture derives its characteristic from geometrical symmetry (In this article, Islamic art and architecture refers to the work that was created between 800-1600 AD, and does not necessarily refer to religious architecture and related work). Designers in Iran have been deeply influenced by the long established traditional rules of symmetry. Nevertheless, when the need arose, these same designers did not hesitate to solve some architectural problems by introducing asymmetrical elements to create a new composition that is harmonious in design. The city of Isfahan which is located in the center of Iran is an outstanding example of harmony between symmetrical and asymmetrical design. The Maydan-e Naghsh-eJahan, an important square in Isfahan with its multifunctional role, is an example of harmonious symmetrical design. As expansion of the square had become necessary, the designers used asymmetrical elements to create a functional design attaching the new buildings to the 1 The Mehrab marks the Quebla,s direction inside the mosques 2 The Qebla is the direction toward Mecca, which is the direction the worshippers face during prayers
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.010 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".