Search published articles
Showing 33 results for Islamic Architecture
Robab Faghfoori, Hasan Bolkhari Ghehi,
Volume 4, Issue 4 (3-2017)
Volume 4, Issue 4 (3-2017)
Abstract
Arts in their Dialogues borrow some words from each other and give them a new meaning in their art form. One of the best examples of this Dialogue is the link of Decorative elements in architecture and Iranian painting .Iranian painting ( Miniature ) is conversation scene of arts such as painting, poetry, calligraphy and architecture which has run its evolutionary path in different schools of Islamic period, especially from the Ilkhani to early Safavid era. Iranian painting based on subjective and non-visible world and, therefore, its architectural and decorative elements are based on certain spiritual and conceptual principles. Inscription is one of the decorative arts in Islamic architecture which the use of it in addition to the actual architectural buildings is visible in some painted spaces of the Iranian painting. Inscriptions as conceptual and decorative elements in Islamic Architecture are important tools for the representation of religious ideas and policies. In this paper, On the one hand, the importance and different functions of inscription in Islamic architecture are analyzed and On the other hand, characteristics and artistic value of the paintings of Harat School, as well as the inscriptions on the architectural space of a number of Behzad’s works are examined. Also it will be shown that appearance of painted inscriptions in the space of Iranian paintings has what impact on the understanding of the subject and Specific spirituality of the miniatures. Muslim artist inspired by his belief and religious principles has tried to create a calm and spiritual atmosphere in his paintings by use of Inscription decorations. He has designed physical space of the painted buildings by engrave the geometric designs, motifs and arabesques, and Islamic epigraph. The decorations in addition to having formal aesthetic and value represent the cultural and religious mysteries are hidden in themselves and give a special lightness and transparency to the painted background in the space of the painting. These inscriptions in terms of content and their impact are matched with the samples used in contemporary buildings in Iran and Harat, in Timurid period. A comparative study of the contents of the inscriptions is a new way in understanding of religious art and the impact of the religion to the epigraphy at different periods of the history of Islamic-Iranian art. Methods used in this research are analytical, interpretive, and historical and the approach to data has been done through library studying. The results of the research show that using of religious inscription in addition to enhancing the beauty and the visual value of Miniatures, are influencing to transfer of the concepts of the painted story, and show a kind of spiritual realism in the works of artists from the Timurid period, especially Behzad. These inscriptions, in shape and their structure, reflects spiritual realities and meanings that the Knowledge of them had been possible to a person during the present in that space by passing the formal universe to the divine world. These meanings reflected from the divine world, and manifest the concepts such as the presence of God, resurrection, release from Nether world and ascension into the celestial world, twinkle of divine light, transcendental unity, meditation and inner purification. These concepts are very close to prayer and ritual activities. Comparison of these elements with inscription decorations of their contemporary buildings also emphasis to the adaptation, and Structural and Conceptual link of them. These inscriptions, historically, and from the kind of font and text, and in their written contents, are match with inscriptions of buildings such as Goharshad mosque in Mashhad, Harat Mosque, Mosque of Yazd and Shiraz mosque belonging to Timurid period. A painter such as Behzad, in choosing the theme of his Nonreligious inscriptions, on one hand, is affected by the apparent form of the inscriptions and their expression in architecture monuments and, on the other hand, according to his artistic tastes and purposes used them. So that, he has been introducing the founder of visual work as a founder of architectural work or building in the number of his miniatures the outcome of the research shows that architectural inscriptions can be used as original decorations in order to create the Islamic atmosphere and image in today's miniature.
Davoud Saadat, Iraj Etesam, Seyyed Mostafa Mokhtabad Amrai, Mohammadjavad Mahdavinejad,
Volume 5, Issue 2 (9-2017)
Volume 5, Issue 2 (9-2017)
Abstract
In the history of architecture, since the architects sought to enter the light inside and as a result, its relationship with external conditions, the concept of transparency has been studied. Therefore, elements such as glass have been used to create transparency and entering the light. But because of lack of technical knowledge to achieve that goal, the less successes have been achieved. By the beginning of Modern architecture in the world, some new words come into the literature of architecture such as the theory of transparency in architecture. Actually transparency is an expression of the thoughts and ideals of Modern architecture in the shape of own self.
On the other hand, deployment of transparency in the form of glassy architecture, created the base of criticism for its widespread use by critics of modernism. Colin Rowe and Robert Slutsky in the article “The Literal and the phenomenal transparency” presented an integral definition of transparency that could help Postmodern view about transparency. At the first, they classify the Literal transparency as the perceptual or spectacular one, and phenomenal transparency as the conceptual or readable one. Literal transparency actually refers to light permeability of materials and Interference indoor and outdoor spaces. A concept that could be considered as influenced by cubist painting techniques and aesthetics of Modern architecture.
The other statement of transparency, which is often used in the architecture of most of the world, is traction and appeal to create a sequence of spaces inside and outside the building. Which we can see the appearance of a perfect sample of it in Iranian architecture. In Iranian Islamic architecture that the valuable and exalted heritage of our ancients was the concepts of light and its different forms of that in wisdom, philosophy and art, not only before Islam but also after that.
The question is that how was transparency in Iranian Islamic architecture and what are conceptual differences between modern and postmodern architecture with Iranian Islamic architectural transparency. Transparency is among most important architectural issues that are rarely addressed. This importance is because of the comparison of some viewpoints about concept of transparency in the eras of Modern, Post-modern architecture and Iranian Islamic architecture to achieving principles of the formation of the concept and its types with aim to precise definition of structural concepts of objective and subjective.
The Article based on analyzing texts and collected data through librarian search and some documentaries. To narrow the scope of work, the evolution of transparency in the modern and post-modern movement. At first express types of transparency in modern architecture, postmodern and Iran›s Islamic architecture then study Comparative Comparison them and finally, explain and evaluate the transparency of Iran›s Islamic architecture.
This article expresses some kinds of transparency and divides it to Three Categories: Literal transparency, Phenomenal transparency and Semantic transparency and then analyses the philosophical and aesthetic based on architecture of modern, postmodern and Iranian Islamic architects. In this paper, we try to describe the features of transparency by considering of this parameter in modern architecture. After all, transparency in Iranian Islamic architecture is based on the concepts explained. With this method, the use of transparency in each of these eras has been explained and then used in a timeline, and finally examined the evolution of this application.
About achievement of this study to previous examples can be cited to this point what›s that Spatial transparency in the evolution of Iranian architecture introduced by Hadi Mirmiran, which means increased space and reduced material is on properties of Literal transparency more and based on the theory of modernism and is similar to Bruno Zevi,s view.
While results of this study, in addition to the above, in Iranian Islamic architecture, phenomenal transparency and semantic transparency are more and existence of major mental clarity (not objective). In the Iranian Islamic architecture and contrary to the last ones, we can give a hint, that the explanation of Iranian architecture with the modern architecture’s language instead of its Islamic and Iranian language is so wrong. Actually we ignore and connive at some parameters by this viewing. In fact, with dealing like visual material these concepts, a lot of deep cultural concepts in Islamic architecture will be ignored.
Ali Dorri, Qolamreza Talischi, Fatemeh Jabaran,
Volume 6, Issue 2 (9-2018)
Volume 6, Issue 2 (9-2018)
Abstract
Understanding Islamic architecture requires perception and receiving space, and the space of Islamic architecture contains meanings that can not be understood only by the senses. Space, as the most basic concept of architecture, is always conceived in a specific definite, which is received through sensory perception, so it has a certain limit, and finite. On the other hand, mosques are the most important building of the Islamic era, where Muslims gather together for prayer and contain symbols and meanings. Which must be discovered through rational perception and through revelation. In this way, the concept of space in Islamic architecture, especially the architecture of mosques, is a fundamental issue. understanding and obtaining the meaning of space is the result of the twofold confrontation between perception. In order to explain such a challenge, this article is devoted to explaining the finite and infinite of the spatial structure of Iranian mosques during the Safavid period. Therefore, this study uses a qualitative approach in the form of a case study with field observations and library documents to explain, analyze and obtain the structure of space in Safavid period mosques as one of the golden architectural periods of Iran. Imam Mosque of Isfahan, as an example of mosques with courtyard and porch, and Sheikh Lotfollah mosque, a case of mosques lacking these elements were selected from the Safavid era. The findings of this study indicate that space is received variously in Iran's architectures. So that, space, in terms of perceptual perception, is finite. This finite and the physicalization of space result from the perception of the bound via the five senses. In proportion to the small world, the object surround the space. From this perspective, in addition to focusing on dynamism, the bound contains centering, space breaks, plurality and multi-spacing. But beyond that, in Islamic architecture, there is a rational perception that leads to obtaining the meaning. In this perception, the bound does not constrain Iranian and Muslim people. The bound and space get together, space is unlimited and unlimited. The infinity of space in Islamic architecture is proportional to the great world. In this revelation, the Islamic space means the presence of one and the only divine. In fact, in the rational and intuitive perception, space is unit, discreet, eternal and infinite. But in sensory perception, space is finite, inward, small, and multiplicity.
Sajad Solemanzadeh, Farah Habib, Iraj Etesam,
Volume 7, Issue 2 (9-2019)
Volume 7, Issue 2 (9-2019)
Abstract
Space as an essential and integral concept of architecture has always included different meanings and understandings, and this reduced its original meaning to general architectural features. In addition, because this concept was created in the modern period, architects’ general understanding of its indicators has unilaterally been led to the concepts such as void, freedom and movement. Therefore, there has not been any true and comprehensive understanding to evaluate the indicators directly related to this concept. On the other hand, in Iranian-Islamic Architecture, space as the main element making form of the buildings has been considered much more than the material aspects, but due to the lack of a specific framework for explaining its physical indicators or modern sense of space, it has not properly been analyzed. The main purpose of this paper was to identify the principal indicators related to the concept of space and examine the relations, and this was achieved through purposeful analysis of basic definitions, Western viewpoints of architectural space, and perspectives of Iranian-Islamic architectural space. The paradigm of this study was qualitative and the methodology was based on documentary and library researches. In order to achieve a conceptual framework for analyzing the essential indicators of space in architectural works they were distinguished from general features and other concepts through analyzing and comparing of important perspectives and organizing existing structure in recognition of space. Finally, based on this model, the overall status of the indicators of space in Iranian-Islamic architecture and important periods of Western architecture were compared. An examination of architectural space indicators based on Western theories revealed three types of viewpoints: 1- According to this view, architecture was considered as the “Art of Space” which has been on the path of historical evolution, and always conformed to “dematerialization” (reducing the effect of the masses) and increasing the role of empty spaces. Clearly, on this view, the indicators were emphasized those which conformed to “total freedom of space”, “exposure”, “permanent expansion”, and “maximum relation”. 2- This thinking was almost the opposite of the first point of view. The theorists criticized the unlimited freedom of the space and looked for defining the new intricate and meaningful structures. It could be said that this view, influenced by phenomenological approaches, conformed to promote the concept of space to “place”, caused to the sense of habitation and settlement, and emphasized the “internalization” and “preservation” as the main characteristics of the space. 3- In this view, the relative balance among the dual indicators of architectural space and their challenges were emphasized. Accordingly, fundamental characteristics of the architectural space in different periods were identified with no specific direction to one side of dual indicators. In fact, the balance between the inside and the outside was necessary. It meant that in order for space to be essentially recognized as real space, at least a part of this separation was needed. On the other hand, the complete separation was not usually correct too. The enclosure and protection of the inner space and the continuity between the inside and the outside both were inherently necessary and appeared differently depending on the period of each architectural work and its context.
Iranian-Islamic views on the space were investigated both in art and architecture. In Iranian-Islamic art theories, two facts were revealed: 1- The emergence of imaginary and mysterious quality through the constant fluctuation between opposing characteristic and creation of dual concepts such as “Hayaa” (modesty). 2- The balance between material and immaterial aspects in art to achieve two main goals: the existence of art and a trace or an echo of God. By reviewing the opinions of some experts in Iranian-Islamic architecture, such as Nader Ardalan, Darab Diba, Seyyed Hadi Mirmiran, Mohammad Reza Haeri, etc., it became clear that the dual indicators of space appeared in two different ways: In the first case, there was simultaneous presence of opposing dualities, such as void-mass, inside-outside, movement-stagnation, continuity-obstruction of vision, etc., and at the same time, the tendency to internal and limiting indicators. In the second, there was simultaneous presence of opposing dualities and the lack of inclination to one side: balance, ambiguity or fluctuation in dual indicators. The results of numerous analyzes indicated that, despite of intricate and extensive theories of architectural space and approaches derived from, they revealed certain forms of relations between the dual indicators in a “spectral” framework. These indicators both at the basic level (fundamental indicators) and at the final model (extension of basic indicators) showed different tendencies, including the overcoming of liberating characteristics, overcoming of limiting characteristics, and the balance or fluctuation between the dualities. In a general comparison, it could be said that the indicators of the space in Iranian-Islamic architecture appeared balanced, vague, or mysterious, which had some similarities with spatial concepts prevailed in Postmodern architecture; and they were completely distinct from those of other periods of Western architecture.
Jamal-E-Din Mahdinejad, Hamidreza Azemati, Ali Sadeghi Habibabad,
Volume 7, Issue 2 (9-2019)
Volume 7, Issue 2 (9-2019)
Abstract
When architecture is discussed in the land of Iran, architecture is created as a container and context of life for human beings where the Spirit of God is blown in his (her) (Surah Al-Hijr - Verse 29), his existence is not limited to material needs, but he is a creature with different existential levels. It derives from the material needs such as eating and sleeping, and need for shelter, which arise from the material levels of human existence to the psychological needs that embrace a range of needs from security to belonging and levels of spirituality of human existence with its characteristics and needs in which the essence and basic instinct of humans lies. Iran is a country with long-standing architectural value. Experts have long a consensus on the preservation, restoration and rehabilitation of Iran’s past values to preserve cultural values representing the national identity. Identification of the past noble values and adopting the most important one in observing criteria in accordance with the circumstances of time and place of today's society is considered the main problem. In this regard, we should try to recognize the Iranian - Islamic architectural values and reflect them to young professionals who are somehow involved in this issue. Today, it is tried to convey ideas and thoughts to others in the form of desired concepts and ideas using the meaning language which is indirect.
In the meantime, valuable Iranian Islamic architecture, due to its comprehensive functionality as well as permanent and enduring presence in our culture, is considered more than before. Because maintaining Iranian – Islamic values and identity is one of the requirements, modern designers are obliged to think deeply about traditional architectural values and standards to get rid of the imitation and create a design in accordance with modern human expectations based on Islamic law. In this regard, architecture, due to direct contact with human life, plays an important role in strengthening or weakening culture and identity in the face of globalization, for all the people are associated with the architecture and their behaviors are shaped in these buildings. The importance and necessity of this issue, in challenging designers to think about the different aspects of the past architecture and special attention to the ancient fundamental values, is to enrich the design quality. The study has a qualitative and quantitative research method, because it used desk and field study to gather information. Its qualitative nature was created with research studies and literature review and its quantitative nature was shaped by choosing statistical population and preparing a questionnaire for the analysis.
The identification of the past architectural values and selecting the most essential of them are considered as the main issue in the observance of the scales matching with the temporal and spatial conditions of the today’s society. Efforts have to be constantly made for recognizing the Iranian-Islamic architectural values and reflecting them to the young experts who are somehow involved in this issue. The present piece of writing has been compiled based on a qualitative and quantitative method and the study has been conducted based on a survey method; the study is fundamental in terms of objectives. It is posited based on the selection of a process of the qualitative-descriptive type and its investigation based on a quantitative method that “there is observed a significant relationship between meaning and contextual elements of architecture”. It might have been quite common in the past architecture, especially in the Islamic Era’s architecture, that the manifestations and embodiments of the concepts stemming from the society’s culture were manifested most beautifully in the architectural works hence more readily identifiable. Moreover, the principles that are dealt with in the resources are different in terms of prioritization and valuation; thus, experts’ notions have been used in this area to quantitatively discover these topics using survey methods. At first, in order to achieve sublimity in architecture through seeking assistance from the honorable Surah Hashr, ĀYA 23, and comparing it with the valuable architectural principles, it has been descriptively investigated and extracted and 15 professors were subsequently asked to confirm this information. Next, a questionnaire was codified and, in order to select a study sample volume comprised of the experts, including the professors and students of post-graduate education in state and national universities of the country, five universities were selected that included 120 individuals in total and, excluding the imperfect questionnaires, 100 questionnaires were finally attained. The data were analyzed in SPSS software, version 21, using statistical tests (one-sample t-test, two-sample test, ANOVA test and Friedman test); the results have been offered in two descriptive and inferential methods. The results indicate that there is a significant relationship between the indicators of the concepts and the contextual elements in architectures. Furthermore, factors like semantic, climatic, structural and eventually technological indicators were respectively found with the highest degree of importance.
Amin Moradi , Behruz Omrani, Rasool Musavi Haji,
Volume 7, Issue 2 (9-2019)
Volume 7, Issue 2 (9-2019)
Abstract
Around the controversial subject of Seljuq architecture in Iran, the dominion of such a style in Islamic architecture, not only following the stereotype of "Razi Style"; which was proposed by Prinya, but also includes various irrelevant architectural axis. Further, considering various schools in Islamic architecture like Khurasani, Razi, Azari, and Isfahani, does not match the existence architectural specimens. Although in his book titled “The Architecture of Islamic Iran: The Seljuk Period”, G. Hatam, tried to develop a new attitude towards Seljuk architecture in Iran, his conclusion was a reflection of previous studies in another language, focusing on describing plans and decorations; while, the architectural revolutions of structural developments were not considered. On the other hand, Hillenbrand’s classification of tower tombs and dome chamber do not suffice to clarify tangible boundaries between different regions of Iran. By analyzing architectural revolutions of Iran after Arab invaders, it can be concluded that the political stability was one of the main factors of Seljuq dominion in which for the first time after Sassanid extinction, art and architecture had reached to considerable success. Although Seljuq architecture in Iran has been assumed as a follower of Sassanid architecture style, but the formation of Seljuq dynasty in Northeast Iran territories, the gradual transition of monarchy to west and the selection of Isfahan, as the last powerful capital of Iran during 5th and 6th centuries caused distinguish architectural movements in various parts of Iran which clarifying distinctive feature of that has always been underestimated. According to the historical context, Seljuks were the first dynasty which had expanded their boundaries through Minor Asia and Anatolia for the first time. Hence, by the first half of 11th century, an unprecedented wave of Turkic groups turned to the Northwestern Iran near the Byzantine borders. In other words, the domination of Byzantine world and conquering Anatolians were not possible without having this point of Iran. It's not exaggeration if we consider here (Azerbaijan) as the collection of tombs; since, here is the frontier of Sunnis Muslim to meet the non-Muslim region Anatolia, where conflicts were in its peak. Hence, Azerbaijan was the garrison of Muslims and the presence of memorial buildings was for commemorating the ones killed in “Jihad” (The Holy War) to motivate the others to get involved in the war. So, a building as a mausoleum must be the best reflection of this desire. In this way, the distribution of tombs is considerably prominent from Northeast to the Northwest of Iran. If we titled the Northeast-Northwest axis as the axis of “Military Affairs” of Seljuk court with its powerful architecture focused on the tombs, central Iran would be the “political-religious” axis of Seljuk. Undoubtedly, the high security level of central Iran and the position of populated political cities like Isfahan, the construction of mosques, especially dome chamber shaped the framework of religious architecture there. According to the results, authors have proposed two distinguishable axes for the structure of the domes during Seljuk era. One starts from the most northeastern point of Iran and ends to the most northwestern point of Iran. Emphasizing on double layer domes with conical and pyramid shape and pointed domes in the structures like Lajim Tower, Resget Tower, Chehel Dokhtaran Tower, Radkan Tower in northeastern Iran and Mumina Khatun, Yusif-ibn-Gosair and Gonbad-e-Surkh in northwestern Iran. the outer layer of the latter has reached its maximum height to preserve the structure against its pulverous climate, guarantying the stability of the structure by channeling the forces in a more vertical angle. This axis is in connection with the other one where it starts from Kharragan’s towers and continues its direction to the central Iran in the structures. The character of this axis mainly includes double shield pointed domes whose interval is not considerable compared with the northeast-northwest axis. one important fact about northwestern Iran′s Seljuk structure is the technique of strengthening the join point where two walls meet. Taking the advantages of circular buttresses where tension could damage the whole structure gives one important character to these buildings i.e. the possibility of higher structures by decreasing the width of the wall.
Considering climatic variations, technical characteristics of different areas as well as the architectural necessities depended on social-political conditions, two different axis including Northeast-Northwest axis with the centrality of Tomb and the central axis which is the “political-religious” axis of Seljuk's emphasizing on dome chamber, would deform the stereotype of "Razi Architectural style" in Iran. From this point of view, spotlighting the architectural technology of Tombs and dome chamber during Seljuk period in Iran would reviews the unity of Seljuk architecture and shed new lights towards Iranian architecture.
Since there has been no critical review about what is known as "The Iranian Stylistics of Architecture" which is proposed half a century before by Pirniya, this project would be the pioneer in this filed.
Masoud Nari Ghomi,
Volume 7, Issue 4 (3-2020)
Volume 7, Issue 4 (3-2020)
Abstract
Islamic Architecture is a main course in undergraduate Architectural program of Iran which is essentially a historical as well as theoretical one that makes its applicability so rare in design studios while Islamization has been a main goal of recent architectural policies of Iran. It has been a main concern of scholars in the field of architectural education and in this article some proposed approaches to make theoretical and historical data about architecture applicable for design studio are reviewed.
Two main routes are taken for such an application: 1. Architectural institutional approaches are those plans that try to explore structuralistic components of historical building. For example defining their formal order, spatial arrangement and or analyzing its language of motifs in such a way that could not easily accused to copying from old building; these approaches do not widely enter into cultural debates or religion-based issues unless rare subjects as anti-illustrational view in Islam or bold symbols such as Ka’beh . 2. Ex- Architectural institutional approaches are those that concentrate on the human life of the historical buildings. Behavioral researches and vernacular researches are common studies of this kind. These approaches are somehow based on the hypothesis of continuity of at least a few human characteristics during the history. These approaches suffer from theoretical support as well as social acceptability even between scholars of architecture or humanities.
After a review of role of historical precedents in design studies, various approaches taken towards applicability of the course of Islamic architecture (along with some other historical courses in architectural education program of Iranian schools) for design activities in two recent decades are studied. They are formulized within three main branches: 1. Conceptual continuity: scholars of this vision try to find or construct a context for continuing traditional patterns in current time. For such an application their strategy is to emphasize on symbols instead of architectural pure forms so that they could bond it to social long-life norms. Another strategy of them is to identify timeless combinations of form and idea or architectural concept. Courtyard is one of these concepts which is seen as crystallization of spiritual presence at the heat of the building. Although this approach has not yet been successfully used for the course of Islamic architecture it is routinely used for the other course (theoretical basics of architecture). A main barrier for its applicability for design studio is the lack of aspects that could be continued.
2. principal-based approach refers to those ways that believe in existence of some “abstract” humane basics that are fixed throughout time and space. Although its continuity varies through scholar views. Some as Pirnia define five or seven parameters that are specified to Iran not all Islamic regions. But some others proposed global principals for Islamic architecture. Nader Ardalan or Khalil Pirani are two of such scholars. While these principals have not yet empirically approved at least from users point of view it is a main conflict for their educational apply in design studio. From instructor point of view, they have secondary problem of claims of students. Because an abstract principal could be widely interpreted in such a way that any architectural form would be claimed to be based on such principals. 3. Empiricism refers to comparing physical and practical aspects of buildings detached from their historical context. Climatic characters as well as spatial orders are usual themes of this approach. But it is questionable that if mapping or sketching from buildings are useful ways for understanding life of a building to apply its understandings into new designs. Some schools of architecture encourage their students to use formal patterns of historical buildings for free form inspiration. In this way cultural heritage is considered as a consuming source a low-rated thing. Moral problems of this approach for cultural basics of the society should be taken into account.
The main problem with these approaches as anti-historicism or anti-Islamisism. Here the problem of Islam is taken into account as the main subject of the debate. So a new proposal is offered that can be called as “Islamic Critical View” that criticizes works of architecture from the view of its compatibility with Islamic norms. Main feature of this proposed approach is that it takes stability of moral and values of Islamic Tradition of Holy Prophet and Imam’s as its criteria for evaluating historical changes in architectural form. These changes then are put in critical debate in class sessions without any pre-assumption to consider whether they can be supposed as Islamic solutions or not. So any historical building is an object that has valuable aspects but not made sacred for its history. Since the measure of criticism is put within Islam itself it is less morally harmful for valued heritage. Here high cultural bases are saved and minor cultural themes are weighed against it.
Dr Seyed Mohsen Moosavi, Mahya Ghouchani,
Volume 9, Issue 4 (11-2021)
Volume 9, Issue 4 (11-2021)
Abstract
A brief reflection on the various works of Iranian-Islamic architecture in different periods illustrates the fact that the Iranian artist's architects have always sought the order in elements, components, spaces and buildings, and in order to achieve this important, the method There were several varieties (Bemanian and Avis-Nasab, 2012: 72). One of these methods is the use of the qiblah axis in the architecture of the mosques. What is nowadays visible in the architecture of contemporary mosques is the absence of the creation of spirituality in space for the guidance of the qibla. In this research, by revising the way of applying the Qibla axis to mosques of different periods of Iranian-Islamic architecture, it is analyzed on the qualitative role of the qibla and the attainment of ways of presenting the qualitative aspects of the qibla. Therefore, the research seeks to answer the following questions:
- The research seeks to answer the following questions: What is the best pattern of movement path from the entrance to the qibla in mosques?
- And what is the hierarchy of movement from the entrance to the qibla based on the spatial organization in mosques?
Considering the comparison of architectural criteria to emphasize the direction of qibla in mosques, the index of periods and styles of Iranian-Islamic architecture can be said in Khorasani style, due to the form of the mosque's nave, using two criteria for increasing the number of columns and The elongation of the length of the plan defined the direction of the qibla. Architects in the style of Razi and then in the Azeri style, had the most attention to Qibla, and used more criteria to emphasize the Qibla axis in designing mosques. In the Isfahan style, the elongation of the yard with the increase in the number of columns helps the prayer in understanding the axis of the qibla. It can also be seen that the criteria for increasing the number of columns, the construction of the dome in the direction of the Qibla and on the altar, the longitudinal elongation of the plan, have the most effect on the direction of the Qibla axis in the mosque building. By studying contemporary mosques, we will find that these mosques do not have apparent effects due to the lack of theoretical principles, and the mosque's plan does not emphasize the Qibla direction. For this reason, the architecture of contemporary mosques has no effect on the principles and appearance of the Qibla axis.
Historical overview of the evolution of mosques since the beginning of Islam, indicates that paying attention to Qibla direction has played a significant role in the spatial organization of mosques in Iran. Also, observance of the principle of dynastic movement and space axis in the construction of mosques, has strengthened the direction of qibla and guided man from the interior to the outside and created the integrity of the foundation. In this research, based on the descriptive-analytical method and using the flow pattern and the diagram of the relationship of activities, the pattern of the path of human movement from the entrance to the altar, as well as the degree of proximity of each space relative to the other space in this motorway , Through a structural study of 18 samples of Iranian-Islamic style architectural mosques. Six patterns of eight flow patterns were defined as the pattern of movement from entrance to qibla in mosques, as well as motor hierarchy and the arrangement of spaces from entrance to qibla, using the activity relation diagram. A single pattern was developed for arrangement of spaces between the time of arrival and the Qibla, including: Entrance, Porch, Vestibule, Courtyard, Verandah, Shabestan, Mehrab.
The architects of traditional mosques show their thoughts in the form of geometric shapes and spaces, in which the sense of confidentiality, sanctity, immortality, and clergy preserves the space of the mosques, At the time of entering, they have been converted to a humane, perfected human being by directing and observing the dynamics of movement. In the design of contemporary mosques, not only the emphasis on the center of the qibla, but also the sanctity, spirituality and Islamic identity of these buildings have been lost.
Doctor Minou Ghareh Baglou, Engineer Yahya Jamali,
Volume 9, Issue 4 (11-2021)
Volume 9, Issue 4 (11-2021)
Abstract
Observance of moderation is one of the characteristics of Godchr('39')s creation. If a person claims to be the caliph of God, he should be characterized by divine attributes to the best of his ability, and human constructions, of which architecture is a part, should have this characteristic. In this study, to answer the question of how the relationship between moderation in the architecture of mosques by creating a sense of the presence of the heart in this space, by descriptive-analytical method, in the first step, the concept of Islam of moderation was introduced and intimacy was introduced as a criterion of moderation. How to attain the position of nearness to God was examined. In the next step, by examining the presence of the heart as one of the factors of proximity, a semi-structured interview in this regard, around the three systems that make up the place, namely the physical-spatial system, collective-behavioral system and perceptual-perceptual system, in three selected mosques Mosques of Tehran Bazaar area (Sepahsalar Mosque, Imam Mosque and Tehran Grand Bazaar Mosque). all three mosques had relatively the same conditions in terms of age, location, physical characteristics and community of clients. Then, by analyzing the content of the interviews, a questionnaire was developed for the reliability of the research from the extracted categories and tested in the wider statistical community in the mentioned mosques. Finally, the questionnaires were examined by SPSS 26 software and LISREL and a combination of two-sample T-test and confirmatory factor analysis. The results show that the environment of these mosques, in general, has a favorable effect on the presence of the heart in people, and in the meantime, Physical-spatial characteristics in the environment of the tested mosques, among all environmental systems, have the least positive effect on creating a sense of presence of the heart; The collective-behavioral characteristics are in the second place in this respect and the perceptual-receiving characteristics of the mosques under study have the most positive effect on the presence of heart in individuals. and accordingly, any of the environmental systems can be approached Imagined in moderation. Regarding each of the measures of the structure of environmental systems, the "elements in the space of mosques" under study can be considered as the most effective measure of the physical-spatial system in creating a sense of the presence of the heart; "How people act and how they relate to each other" in the mosques under study is the most effective measure of collective-behavioral system in creating the presence of the heart and "sense of belonging due to familiarity with the building blocks" is the most effective measure of perceptual system The heart is examined in the space of mosques.
Salman Noghrekar,
Volume 9, Issue 4 (11-2021)
Volume 9, Issue 4 (11-2021)
Abstract
If we consider the main mission of architects to be "organizing the place of human life in the context of the environment", then understanding "man and the environment and the relationship between the two" will be the basis of their design decisions. This knowledge includes both areas of "beings and musts" that if it is based on "intellect and revelation", the resulting architectural principles can be rational and Islamic, and the architectural works based on it can also be called "Islamic architecture". So far, various views on Islamic architecture have been proposed, the origins of which can be categorized from two sides. On the one hand, Islamologists have moved towards the principles and principles of architecture by using Islamic sources, and on the other hand, architects and urban planners have left their specialized position in search of Islamic architectural principles by referring to these sources. This research begins with the aim of proposing a "unifying and efficient" structure to explain the relationship between "architecture and Islam" and seeks a comprehensive model for combining and composing the components of the two categories. Our question is, "How can Islamic teachings be used comprehensively and practically in architecture?" The direction of the research is that while explaining the two categories of "Islam and architecture" with the method of content analysis and logical reasoning, an attempt is made to compile the basic concepts of these two categories by modeling. The research findings indicate that Islamic teachings can be classified into three areas: "theoretical and practical wisdom and Additional wisdom". Architecture can also be explained from three perspectives: "systemic, philosophical, strategic", the common chapter of which is the four main pillars in architecture. The combination of these two categories (three fields of Islamic wisdom and four components of architecture) provides a good capacity to organize a "school of Islamic architecture". The result is a tabular structure with 40 cells, the content of which must be supplemented by the teachings of Islamic wisdom, and can be useful in "guiding Islamic architectural research." The result of the research will be to present a unifying model to the set of views in the form of a relatively comprehensive structure, which is one of the preconditions for the formation of the "Islamic-Iranian school of architecture" on the eve of the second step of the revolution.
Mozaffar Abbaszade, Asghar Mohammadmoradi, Vahid Esmailzade, Elnaz Soltanahmadi,
Volume 10, Issue 1 (3-2022)
Volume 10, Issue 1 (3-2022)
Abstract
Beauty is related to experiencing beauty events, which has different beauty experiences among people due to different circumstances, however, understanding beauty is incredibly difficult. On one hand, the public agree that beauty is considered a value as far as its particular manifestations are pleasing, on the other hand, as it is worth studying, it is considered an educational issue. Moreover, as it is a living object of social development, it is also regarded as a cultural topic. An artistic work, whether a result of one's work or a product of the artistic innovation of a group, appears due to inspirations or advices of a society and necessarily resembles the color of society. Undoubtedly, features of artist's life and even his/her physical features are reflected in his/her artwork, but reflection is not direct, and indeed it can be recognized and measured after passing through filtering of society. The beauty of urban environment as a living space, experienced by a wide range of people every day, is one of transcendental needs of human and functions as a stimulus for his flourishing. Therefore, in forming and designing the environment, category of art and its relation to aesthetics is of high significance and becomes a valuable and purposeful phenomenon in the society. Although aesthetic values differ between various cultures and communities, if these values are in conflict with cultural issues of society, they will create rational, accepted, and emotional norms of society. In addition, considering undeniable relation of any designing and shaping human life environment, like designing environment with art and also the relation of this reformulations with spiritual concepts of beauty, the concept of "aesthetics" which is in fact basis of philosophical and theoretical designs, becomes of great importance. On the other hand, urban buildings and spaces as an identifier of Iranian cities, have been shaped under the influence of Iranian-Islamic artistic and thought patterns over many years and have provided opportunity for public cooperation and interactions and in present era, with evolution of architecture and urbanism, process of designing and creating urban spaces has declined and a defective role of national identity and Iranian-Islamic culture is manifested, which indeed, ignoring these issues in designing has led to lack of originality and validity of the design. Therefore, this study attempts to consider the mentioned importance and answer vital questions of " what is the theoretical position of fundamental aesthetic values in two views of the West and Iranian-Islamic world?! What is practical application of an overview of the fundamental aesthetic values in Islamic-Iranian architecture and urbanism?", Thus, the current paper investigates theoretical concept of fundamental aesthetics values, to identify Iranian-Islamic fundamental aesthetics values and explain functional status of fundamental aesthetic values in creating Islamic-Iranian architecture and urbanism as well. As this paper attempts to deepen fundamental aesthetic values in creating Islamic-Iranian architecture and urbanism, it is considered basic research. Since urbanization is an interdisciplinary field, subject of aesthetics can be examined in the humanities and school sciences (theoretical and practical wisdom) and in science (physical dimensions).
This research is developmental and functional in terms of purpose and approach (characteristics and nature of data) and qualitative nature and methods; it is a description of type of content analysis and in the section of theoretical framework is interrogative. The information is collected by generalizing to field of Iranian-Islamic architecture and urban planning with method of deductive reasoning seeks to explain basic values of aesthetics and provide a new classification appropriate to principles of creating Iranian-Islamic architecture and urban planning. The collection of data and qualitative information in this research is also using written scientific documentary sources and libraries in order to explain conceptual model of research.
In a general conclusion, it can be said that today in Iran, beauty is either imitated by Western models or there are many shortcomings in applying the principles of Iranian-Islamic aesthetics.
This is due to the lack of a true understanding of fundamental values of Islamic Iranian aesthetics.
Therefore, a suitable framework should be created for architects and urban planners, who can extract desired criteria by considering basic values of aesthetics. For this purpose, studies have been done in previous studies and theoretical basis to assess direct relationship of aesthetics factors. These factors show relationship between fundamental values of Iranian-Islamic aesthetics and types, criteria and sub-criteria of aesthetics. Therefore, findings of research on fundamental values of aesthetics in Islam include four main categories:
1. Reasonable aesthetics 2. Sensible 3. Reasonable based on sensible, and 4. Sensible based on reasonable. Furthermore, in order to evolve the fundamental values of aesthetics, types of aesthetics are needed, these include: 1. Logical values, 2. Meaning and codification values, 3. Aspirations and logical ideas respectively and 4. Emotional and moral contexts values. These values which are directly related to fundamental values of Iranian-Islamic aesthetics and Iranian-Islamic aesthetic criteria, are related to practical application of an overview of fundamental values of aesthetics in Iranian-Islamic architecture and urban planning. Since aesthetic criteria are basis for assessment, to identify and select t fundamental values of aesthetics, these criteria include; Harmony (purposefulness, proportionality, balance, order, symmetry, correspondence), meaningfulness and perception (spiritual influence, equation, contrast, free will, disinterestedness), absolute self-existence of God (hierarchy, unity, ideal of embodiment, concentration, harmony, peace, vicinity, sophistication), emotional pleasure (relationships between shapes and forms and colors, pure manifestation of emotions and feelings) and stability and identity (piety, inclusion, freedom, connection with past and future, emergence of nature) and are directly related to types of aesthetic values. Thus, architecture and urban projects can offer new patterns in terms of Iranian-Islamic culture and employ creativity of designers. This was done by creating a logical relationship between aesthetic values and application of values in theoretical field of architecture and urban project.
Dr Nasim Asharfi,
Volume 10, Issue 2 (3-2022)
Volume 10, Issue 2 (3-2022)
Abstract
Lack of attention to the philosophy of architecture as an intermediate science between general philosophy and architecture science has caused many researchers to link their research to philosophy without methodology. They introduce their research as the philosophy of Islamic architecture; While the philosophy of Islamic architecture is a kind of philosophy. The general philosophy merely provides its foundations; Therefore, not paying attention to the methodology and philosophy of architecture distorts the theoretical framework for the production of architectural science. Accordingly, the present study tries to introduce one of the methodologies of disciplines philosophy (observation theory) with a descriptive-analytical method and clarify the philosophy of Islamic architecture based on this theory. In this regard, the philosophy of architecture is introduced with two historical and logical approaches, each of which will be of two types: the first type is a philosophy that focuses on the production of architectural work and reality, and the second type is a philosophy that focuses on the science of architecture. Deals with the meaning of discipline knowledge Finally, there will be four types of philosophy of architecture. The discipline's philosophy of architecture has a significant role in producing Islamic architecture, which the present study introduces to achieve the proposed combined model (historical and logical).
Dr. Abbas Jahanbakhsh, Dr. Mohammadsaleh Shokouhibidhendi,
Volume 10, Issue 2 (3-2022)
Volume 10, Issue 2 (3-2022)
Abstract
One of the biggest strategic harms and mistakes that a society may suffer is the mistake at the level of dreams and social horizons. In such a way that there is a contradiction and inconsistency between the dreams and ideas that are for a social structure, for example, the "ideal form of the city" and the dream and ideal that is chosen for the whole social life and society is formed around it. The more society tries and spends for that heterogeneous structure, the more it becomes practically incapable and far from its goals and ideals. Therefore, this article, by depicting the favorable future situation of cities, has tried to direct the wishes and dreams of citizens and city managers about the city (and in principle society and life) and according to public acceptances and norms, which is interpreted as culture. To draw and achieve a better future and show that in contrast to the current style of urban planning in the country, which is influenced by the modernist model of the West, one can think of values such as "productive home", "constructive and thoughtful interaction with nature", " Brotherhood-based social system, "land price reduction", "spatial justice and the elimination of segregation", "family-based planning", "large housings", "mosque-led planning" and "neighborhood scale ". The idea of "Zistshahr" (livable city) is an attempt to achieve these values. This proposed model is presented in the form of bio-living complexes and according to the components of indigenous styles as well as the desirability and teachings of Iranian-Islamic culture. The design of the Zistshahr is an attempt to redefine the pattern of construction in newly established towns and settlements, so that it includes a large and productive residential units and provides other urban services in a way that, in addition to provide the needs, empowers families and the provides possibility of formation of the environment by the residents.
However, the realization of this idea requires feasibility studies. The four main issues around which feasibility studies are conducted are: the issue of land and its scarcity, the issue of water and energy supply, the issue of construction costs, and finally the issue of legal capacity.
Findings show that in terms of land supply, the idea of Zistshahr can accommodate a population equivalent to the entire country in an area of about 2% of the area of Iran. In terms of water and energy supply, there are solutions for sustainable urban design, which are explained in the article. Technical and executive costs will be equal to the Mehr housing projects (governmental housing projects in Iran in 2010s) for each residential unit with the help of the stages of construction, the use of more appropriate construction patterns and the use of participatory architecture, with the difference that the total area of the arena and lords of each unit in the city is about 5 to 15 times larger than Mehr housing units and with the help of mechanisms to eliminate and reduce land prices (similar to the methods used in Mehr housing and land supply model in the industrial towns experiences in Iran in 1980s), the design of the Zistshahr model can be more economical, sustainable and more logical than common patterns in urban planning in Iran. In addition to reforming the pattern of newly established cities and towns, it provides a platform for reverse migration to villages and solving the problem of imbalance and centralism in land management, and also plays a role as a driving force for reforming existing cities and villages.
Mr Amirhosein Farshchian, Ph.d Ahad Nejad Ebrahimi, Ph.d Minou Gharehbaglou,
Volume 10, Issue 4 (12-2022)
Volume 10, Issue 4 (12-2022)
Abstract
In specialized topics of aesthetics, structure and function, the buildings of Islamic architecture in Iran during certain periods, show the strong presence
of intellectual sciences such as mathematics. The use of geometry as a part of the science of numerical mathematics, which in its intellectual position has
complex calculations, indicates the connection of Islamic architects with the mathematicians of their time. According to the available books and written documents, the architect's personal reference to complex mathematical books in terms of numerical application is a subject that has been seen in lesser power. Accordingly, in this article, the educational relationship between architects and Islamic mathematicians has been examined. Geometry in its numerical position can not be transferred to the architectural structure, and this must be transferred to a specific geometric process in terms of action. How to connect the mathematics of Islamic theology and architecture about geometry, and of a special theoretical or practical type that can be used in the field of architecture is the basic question of research. How Islamic architects have understood theoretical and practical geometry from mathematicians and have applied it in architecture. In this regard, in the present study, the author has examined the research and analysis operations by identifying the fourth to eleventh AH due to the presence of prestigious Islamic mathematicians as well as glorious Islamic architecture from a geometrically known point of view. The study of analysis on manuscripts is very valid in scientific centers. These manuscripts have been analyzed by architecture in the form of face-to-face research and academic communication in the preparation of scanned images. The manuscripts belong to Islamic scholars including Buzjani, Farabi, Ibn Sina, Akhavan al-Safa, and Jamshid Kashani. In order to study geometry in the theories of Islamic mathematicians and to obtain basic information about geometry and mathematics, the deductive method has been used in research, and the contextualist approach has been used in the discussion of historical issues of architecture and knowledge topics of geometry. The research findings show the decision of Islamic mathematicians based on the issues of Islamic belief and thought to meet the practical needs in Islamic society and beyond. Islamic architects are also among the most important learners in the field of building architecture and related matters in terms of geometry. These topics are in the form of converting numerical mathematics into theoretical geometry in its quantitative and qualitative dimensions and practical geometry to achieve practical cases in providing applied geometry for educating architects. These teachings, due to their complexity and the fact that they belong to the mathematical field of equivalence, required face-to-face educational communication. This issue is called the meetings of artists between Islamic mathematicians and architects according to its own process.
In order to understand the knowledge of geometry by architectural experts in the period from the fourth to the eleventh AH, a subject has been created by Islamic mathematicians of that time that may have existed in previous centuries. This is the subject of communication classes created by Islamic mathematicians.
They tried to improve jobs in various fields. In the field of architects, this issue is called Artistics Meeting. Meetings in which Islamic mathematicians, with their vast knowledge and perception, have applied theoretical knowledge to the profession and minds of artists. The method of calculating geometry
in the practice of drawing and the emergence of applied volumes, surfaces and shapes has been done operationally as much as the consciousness of artists and the amount of their needs. Mathematicians such as Kashani, Farabi and Buzjani are among the most active people of the fourth to eleventh AH who have formed these sessions. What the architects have drawn and illustrated after teaching the sessions is the geometry of the Islamic mathematician, along with approximation and estimation with his previous knowledge and experience. In the past, architects used to turn to mathematicians in meetings to create architectural structures because an Islamic mathematician believes in the correctness and acceptability of a geometric theorem and teaches it when he can, through positive positivist and semantic methods of theoretical geometry. Prove it rationally. Islamic architects and mathematicians have discussed in their meetings how architecture in the field of applied geometry and have reached a conclusion in the discussion when the obtained geometry is based on theoretical and practical geometry and a correct understanding of it. Due to the breadth of perceptual understanding and experience, Islamic architects have developed the geometry learned for use in architecture into the dimensions of their profession, which is the result of a previous master and many years of experience, and use it in construction with the advice of an Islamic mathematician. Have done. This can be creativity in creating an architectural effect during the teaching of applied geometry in Artistics Meeting sessions by Islamic architects who have created magnificent and huge buildings in the period from the fourth to the eleventh AH.
Narges Khakbaz, Dr. Mohammadreza Rahimzadeh, Dr. Manouchehr Foroutan, Dr. Sara Hamzehloo,
Volume 10, Issue 4 (12-2022)
Volume 10, Issue 4 (12-2022)
Abstract
Islamic architecture of Iran has passed one of the most prosperous periods in (10-13AH) centuries and the share of the geographical area of capital of Iran in most part of this period, that means the city of Isfahan, for many reasons in this glow has been very important. Although about this growth and prosperity and begin and end and its causes there is a difference of opinion, few people have doubted its existence. In this era until late Qajar period core form and art form were related and had common features in architecture and handicrafts and the coherence and harmony between them were evident. This relation is expressed with the concept of tectonic in the history of western architecture. The concept that theorists have defined it interaction between core form and art form in the context of historical culture. Gradually, this coherence and great thought with the arrival of new materials and construction methods were forgotten from late Qajar period and artistic and tectonic construction was reduced in buildings, and Iranian architecture faced a crisis. Criticism of Iranian today's architecture has been very pervasive in recent decades, Many researchers know the main cause of instability is in Lack of recognition of architectural history of Iran and its technical and artistic construction methods. On the other hand review of researches shows in the tectonic field less been paid to core form and art form of tectonics, so it is necessary to study it. The main research question is How tectonic conform and art form are related in architecture and handicrafts of Islamic Iran in (10-13H) centuries and their similarities and commonalities with the aim of understanding the tectonic rules of the Islamic architecture of Iran. for this reason in this article to recognize of wood tectonic based on interpretive epistemological paradigm, comparative reasoning and qualitative content analysis with explanatory orientation based on Gottfried Semper's theory has studied common wood tectonic features in architecture and handcraft in three levels, whole architecture (the whole building), intermedate level architectural components (column, roof edge and door and window) and small level in handcraft (pulpit, pen box, Kmanche, Tombak, mirror and boxes) in (10 – 13AH) centuries. Based on the theoretical basis of tectonics and considering that wood has been the most practical materials before the arrival of industrial steel in Iran and an important role had in the construction of load-bearing elements such as beams and columns and architectural and handicraft decorations. Wood tectonic is divided in terms of core forms to general forms and articulation and in terms of art forms
to decorative surface. This tectonic features in the collection of wooden handicrafts of Metropolitan museum, Isfahan cultural heritage organization and Islamic art sites is study that have the most affinity in terms of technique and art with wooden architecture in the mentioned period.Wood handicrafts are two types: wood handicrafts which are part of the furniture like the pulpit of Hazrat Abolfazl in Aran and Bidgol of Isfahan and handicrafts that produced as movable objects such pen box, Kmanche, Tombak, mirror and wooden decorative boxes. In wooden architecture on a large scale and wooden architectural elements (beams and columns, ceilings, roof edges and doors and windows) in the middle scale are examined tectonic components from the collection of buildings and wooden elements of this period. In some cases due to the scarcity of pictorial resources inevitably has been used from examples outside the geographical area of Isfahan but attention has been paid that this samples are comparable to effects that notable similarity have with the effects of Isfahan. Because Isfahan has been the capital of Iran, many exchanges has had different geographical areas of Iran and in this regard this utilization does not harm the results of the research. Studies and surveys show that some wooden handicrafts on a large and medium scale are similar with non-wooden architecture and elements such as windbreaks and minarets that most of this heterogeneity is on a large scale and in buildings with masonry materials. These cases have been studied in the sense that in identifying wood tectonic rules are very important. Comparative study of wood tectonic features in handicrafts and architecture in the mentioned period reveals that among core form (general forms and articulation) and art form, there are important similarities in handicrafts and architecture. Wood tectonic harmony is notable in handicrafts and architecture not only in terms of core form but also art form. Tectonic subscriptions that indicate the characteristics of technical and artistic construction in Iranian architecture indicates in Iranian architecture how the building begins and ends, articulation of surfaces and decorative surfaces in terms of formal-structure is done under tectonic rules. Formal-structural similarities of wood tectonic in three scales (macro, medium and micro scale) under the tectonic rules: exposure of form and space (connect to earth and sky), articulation (different materials joint, tongue and groove, sliding joint, wick corner, bar joint and convex corner joint) are tectonic technical principles and the rule of covering surfaces(mosaic surface, border, carving, and negative surfaces) are artistic rules that expresses same tectonic culture. Tectonic culture had similar construction manifestations in similar culture and similar construction techniques have used in different materials.
to decorative surface. This tectonic features in the collection of wooden handicrafts of Metropolitan museum, Isfahan cultural heritage organization and Islamic art sites is study that have the most affinity in terms of technique and art with wooden architecture in the mentioned period.Wood handicrafts are two types: wood handicrafts which are part of the furniture like the pulpit of Hazrat Abolfazl in Aran and Bidgol of Isfahan and handicrafts that produced as movable objects such pen box, Kmanche, Tombak, mirror and wooden decorative boxes. In wooden architecture on a large scale and wooden architectural elements (beams and columns, ceilings, roof edges and doors and windows) in the middle scale are examined tectonic components from the collection of buildings and wooden elements of this period. In some cases due to the scarcity of pictorial resources inevitably has been used from examples outside the geographical area of Isfahan but attention has been paid that this samples are comparable to effects that notable similarity have with the effects of Isfahan. Because Isfahan has been the capital of Iran, many exchanges has had different geographical areas of Iran and in this regard this utilization does not harm the results of the research. Studies and surveys show that some wooden handicrafts on a large and medium scale are similar with non-wooden architecture and elements such as windbreaks and minarets that most of this heterogeneity is on a large scale and in buildings with masonry materials. These cases have been studied in the sense that in identifying wood tectonic rules are very important. Comparative study of wood tectonic features in handicrafts and architecture in the mentioned period reveals that among core form (general forms and articulation) and art form, there are important similarities in handicrafts and architecture. Wood tectonic harmony is notable in handicrafts and architecture not only in terms of core form but also art form. Tectonic subscriptions that indicate the characteristics of technical and artistic construction in Iranian architecture indicates in Iranian architecture how the building begins and ends, articulation of surfaces and decorative surfaces in terms of formal-structure is done under tectonic rules. Formal-structural similarities of wood tectonic in three scales (macro, medium and micro scale) under the tectonic rules: exposure of form and space (connect to earth and sky), articulation (different materials joint, tongue and groove, sliding joint, wick corner, bar joint and convex corner joint) are tectonic technical principles and the rule of covering surfaces(mosaic surface, border, carving, and negative surfaces) are artistic rules that expresses same tectonic culture. Tectonic culture had similar construction manifestations in similar culture and similar construction techniques have used in different materials.
Mozhgan Rezaei, Azita Balalioskuei, Mohammad Ali Keynejad,
Volume 11, Issue 4 (11-2023)
Volume 11, Issue 4 (11-2023)
Abstract
Water has a vital role in human life, as the source and symbol of life, particularly in the Islamic community. Poor management of water resources in recent decades has posed a serious threat to the physical aspect of life in Islamic countries, which are predominantly located in dry regions. Moreover, the weakness of functional and symbolic position of water in Islamic-Iranian architecture has been the consequence of this situation. Water have a tangible and essential role not only in the physical aspect of human life (external world), it is also closely connected with the spiritual aspect of life (inner world), assisting individuals in stages of felicity (sa'adah) and perfection (kamal) according to transcendent theosophy. With its richness linked with spiritual, sacred, and mystical manifestations, Islamic architecture represents water both in its external world (zahir) and inner world (batin). In terms of the former,issue water unites with the real space for the purposes of balancing and regulating the climate conditions; in terms of the latter, issue it merges with the sacred atmosphere of the architecture. Therefore, water is one of the most valuable, universal, and structural elements of Islamic architecture. In Mulla Sadra’s view, water can be considered as one of the symbolic cores of perfecting motion of life with regard to his doctrine of substantial motion. The Holy Quran mentions different forms of the role of water in witnessing and being of humanities more than 63 times. The manifestations of such intuitive quantitative instances were studied based on the stages of Sadrai perception, namely the sensory, the imaginary, and the intellectual. As shown in the theoretical framework, this analysis revealed the generalizability of universal vital, sacred, biological, and technological values to architecture and urban spaces. Accordingly, beauty, vitality, and life in the general sense and life in the sense of becoming Godliness were the ultimate findings of studying the function of water in Islamic architecture.
Ahmad Ekhlasi, Hamid Mozaffar, Samaneh Taghdir,
Volume 13, Issue 2 (6-2025)
Volume 13, Issue 2 (6-2025)
Abstract
“Islamic centers” are among the most important symbols of the presence of Muslims in non-Muslim countries and hold significant identity value. They also act as cultural representatives of the Muslim community in the eyes of the host society. Therefore, their design is particularly important. This research aims to identify principles for designing Islamic centers that help preserve and strengthen Islamic cultural identity while improving coexistence with host communities.
By reviewing previous studies, the research identified “identity” and “coexistence” as its main concepts. These were examined in relation to Islamic center architecture using a place-based model structured around the three axes of “meaning,” “physical form,” and “activity.” The study focuses on these issues from the perspective of Muslim users; therefore, a questionnaire was used to gain a comprehensive and accurate understanding. Since the researchers intend to design an Islamic center in England, the questionnaire—containing both closed and open questions—was distributed among Muslims living in England to identify their needs, views, and visual preferences. The results were derived through comparative analysis of the questionnaire findings, library studies, and previous research.
The research outcome is presented as a strategic model across the three axes of meaning, physical form, and activity, offering design principles that support both coexistence with the host society and the preservation of Islamic identity. The findings show that incorporating symbols of Islamic values strengthens identity expression, reduces feelings of deprivation, and increases acceptance among Muslim minorities, contributing to reduced cultural tensions and a greater sense of belonging. Using shared visual elements and common values also reduces sensitivities within the host society and improves communication. A convergent approach allows Islamic centers to function as both religious centers for Muslims and cultural centers for the wider society, enhancing the image of Islamic culture. Consequently, identity and coexistence are interconnected, and both must be addressed in the design of Islamic centers.
By reviewing previous studies, the research identified “identity” and “coexistence” as its main concepts. These were examined in relation to Islamic center architecture using a place-based model structured around the three axes of “meaning,” “physical form,” and “activity.” The study focuses on these issues from the perspective of Muslim users; therefore, a questionnaire was used to gain a comprehensive and accurate understanding. Since the researchers intend to design an Islamic center in England, the questionnaire—containing both closed and open questions—was distributed among Muslims living in England to identify their needs, views, and visual preferences. The results were derived through comparative analysis of the questionnaire findings, library studies, and previous research.
The research outcome is presented as a strategic model across the three axes of meaning, physical form, and activity, offering design principles that support both coexistence with the host society and the preservation of Islamic identity. The findings show that incorporating symbols of Islamic values strengthens identity expression, reduces feelings of deprivation, and increases acceptance among Muslim minorities, contributing to reduced cultural tensions and a greater sense of belonging. Using shared visual elements and common values also reduces sensitivities within the host society and improves communication. A convergent approach allows Islamic centers to function as both religious centers for Muslims and cultural centers for the wider society, enhancing the image of Islamic culture. Consequently, identity and coexistence are interconnected, and both must be addressed in the design of Islamic centers.
Dr. Mozaffar Abbaszadeh, Dr. Somayyeh Ghadimzadeh, Mr. Hamid Behjat,
Volume 13, Issue 3 (10-2025)
Volume 13, Issue 3 (10-2025)
Abstract
Mosques, as the most significant buildings associated with Islam, hold a prominent position in Islamic cities and serve as manifestations of Muslims' beliefs, thoughts, and religious inclinations. In this context, West Azerbaijan Province, with its long-standing presence of both Shia and Sunni followers, stands out as a notable region for religious architectural studies. The main research question addresses the architectural characteristics of historical Shia and Sunni mosques in the province and how these denominations have influenced mosque architecture. The primary objective of this research is to identify and analyze the impact of religious denominations on the physical and spatial characteristics of historical mosques in the province, aiming to achieve a deeper understanding of the relationship between religious beliefs and their manifestation in mosque architecture. The research methodology is descriptive-analytical and comparative, based on typology, with data collected through library studies and field surveys. The study examined 29 historical mosques, comprising 20 Shia and 9 Sunni mosques as samples. Due to the limited number of Sunni mosques in the region, fewer samples were selected from this group. The samples were chosen based on their construction period and architectural style to enable precise comparison. Data analysis was conducted across three main aspects: entrance patterns and movement hierarchy, primary and secondary mosque components, and the content of decorative inscriptions. The research findings indicate that Shia and Sunni mosques do not exhibit fundamental differences in the design and patterns of main mosque spaces, as examples from both denominations are present in all three identified mosque types in the province. The observed differences are primarily associated with the design of ablution spaces, architectural details of mihrabs, access patterns, and the thematic content of inscriptions. Therefore, despite some differences, the architectural style and construction patterns of mosques from both denominations show considerable similarities, revealing not only religious commonality but also the role of cultural and indigenous concepts in mosque architecture.
Dr Mahdi Akhtarkavan, Salva Falahi,
Volume 13, Issue 3 (10-2025)
Volume 13, Issue 3 (10-2025)
Abstract
The design of schools, as part of the educational environment, plays a crucial role in shaping cultural identity and enhancing the quality of student learning. In Islamic societies, it is essential for these spaces to be designed according to Islamic principles and teachings, so that they not only reflect religious and cultural values but also address contemporary educational needs. This research aims to identify the principles of Islamic architecture and align them with modern educational requirements, offering a proposed framework for school design. The research methodology includes a comparative study of past literature, analysis of successful Islamic school examples in Iran and other countries, and the application of the Analytic Hierarchy Process (AHP) for weighting the criteria. The main identified criteria include strengthening Islamic values, value and philosophical principles, flexibility of spaces, interaction with nature, Islamic aesthetics, modern educational technologies, and group activities. The findings indicate that the criterion of 'strengthening Islamic values' has the highest weight (35.47%), making it the most significant factor in school design. Furthermore, designing educational spaces based on Islamic principles while incorporating elements such as natural light, flexibility, and connection with nature positively influences learning and social interactions among students. The proposed framework serves as a practical guide for architects and designers to create inspiring, dynamic, and effective schools that not only facilitate learning but also enhance students' sense of belonging and cultural identity. This research contributes to the enhancement of quality school design in Islamic societies by providing practical recommendations.
Eng Hadi Farhangdoust, Dr Sanaz Saeidi Mofrad,
Volume 13, Issue 4 (1-2026)
Volume 13, Issue 4 (1-2026)
Abstract
This study aims to develop a multilayered and historically informed interpretation of contextualism in post-Islamic Iranian architecture through a deconstructive reading. Rather than limiting itself to the description of stylistic forms, it investigates the conceptual, semantic, and discursive transformations of the notion of “context” across different architectural styles. Emphasis is placed on extra-architectural correlates in order to critically reinterpret Iranian architectural history and to explore the qualitative and substantive changes in the relationships among elements shaping contextualism. Central to this approach is the recognition of the instability of meaning and the historically constructed nature of architectural concepts.
Within this framework, “context” is no longer understood as a fixed or purely material condition but as a discursive and mutable construct produced through networks of power, language, and culture. Drawing on deconstructive logic, the study challenges essentialist assumptions surrounding concepts such as indigeneity, authenticity, tradition, and the meaning of space. This perspective is particularly relevant because many architectural transformations in Iran have coincided with political, religious, and social discourses that conventional contextualist readings often ignore.
The necessity of the research arises from gaps in contemporary Iranian architectural scholarship, which largely relies on descriptive or reductionist analyses focused on physical characteristics. Such approaches overlook processes of meaning production, the influence of dominant discourses, and the role of institutional power, contributing to imitative architectural practices and theoretical stagnation in education. Deconstruction is therefore employed as an epistemological tool to analyze contextualism as a concept continually redefined across historical periods.
Methodologically, the study adopts a qualitative and deconstructive approach grounded in Derrida’s philosophy. Through reading, coding, thematic extraction, reflection, and synthesis, it identifies naturalized binary oppositions—such as tradition–modernity and indigenous–nonindigenous—and reveals their historical fluidity. Architectural styles from Khorasani to contemporary periods are examined through textual and visual sources.
The findings demonstrate that contextualism in Iranian architecture has been shaped differently in each era by power structures, ideological frameworks, and socio-cultural conditions. Ultimately, the research concludes that contextualism cannot be understood as a singular or authentic model but must be approached as a readable and reinterpretable text. This perspective enables more nuanced historical analysis and supports a critical, context-sensitive approach to architectural theory, practice, and education.
Related Websites
Site Keywords
Technology, Science, Islamic Architecture, Researches, Iran University of Science & Technology
Journal of Researches in Islamic Architecture is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Vote
© 2026 CC BY-NC 4.0 | Journal of Researches in Islamic Architecture
Designed & Developed by : Yektaweb