Journal of Researches in Islamic Architecture

---

Nowadays Islamic countries more than ever concentrate on identity to revive their dignity at the age of globalization. Countries of west of Asia especially Persian Gulf countries enjoy a prosperous architectural era because of oil well revenues. Saudi Arabia from among them selected purposely to analyses to understand interaction of localization and globalization in contemporary architecture of developing countries. Saudi Arabia as the birthplace of Islam with the growing economy in recent years, is a good context for massive constructions, which result in identity crisis in contemporary architecture. Economic growth during last 40 years in these countries has affected various aspects of their lives. Undoubtedly architecture and urbanism as one of the main substrates were affected by these developments. Limitation of construction technology and engineers’ abilities in these countries made the Arabs to assign the designing and construction phase of their huge projects to European and American architects and engineers with completely different background and cultural beliefs from Muslims’. Although some researches have focused on identity crisis in modern architecture, very few researches have noted the interaction and conflict between the Islamic identity and contemporary architecture. The main objective of this research is to identify and analyze the native and Islamic identity in contemporary architecture of Saudi Arabia. The main research questions are: 1- What are the main current trends in contemporary architecture of Saudi Arabia? And how they have noted the concept of identity in their works? What is the relationship between theory (what the architects have in their minds or the goal they are following to reach an ideal design) and practice (what is observed in final result or understood by people) in contemporary architecture of Saudi Arabia? According to the theoretical framework, current buildings in Saudi Arabia are analyzed based on five general parameters and factors: 1-Main idea forming the design (concept), 2-The Construction Technology, 3- The material in the unit, 4- The shape and form of the unit, 5- the relationship with the surrounding environment. This article analyzed the buildings of the past two decades impartially in terms of the referred parameters. This research consists of two main parts. In the first part the architect’s opinion about his/her design was discussed. In the second part researchers analyzed the mentioned works according to the theoretical framework. The comparative analysis of the architect's comments about his work and researchers’ inferences can determine the distance between theory and practice of contemporary architecture in Saudi Arabia, then the architect’s success in achieving his/her objectives will be determined. This comparison will indicate whether the architects have succeeded in conveying their ideas to people or not. To meet scheduled objectives, fifty artworks were selected randomly from among the buildings designed in the past two decades, and were analyzed according to the main parameters. Then the quantitative data were transferred to SPSS22 software to determine the correlation between these two groups. Studies conducted indicate that a considerable proportion of contemporary architecture in the Kingdom of Saudi Arabia are design by foreign architects who are not familiar enough with Islam as the official religion of the country. We can see some puzzlement in contemporary architecture due to the diversity of forms and concepts. The architects’ description about their own works indicated that the main trends of contemporary architecture are in the use of postmodern forms, conceptualism, prevalent structures and modern materials. The findings indicate what architects statements and opinions expressed in the form of Islamic revival, is leading to imitate the famous forms of ancient architecture in practice. In fact, imitation of ancient forms and reconstruction of them by modern technologies means the expression of Islamic and native identity in contemporary architecture to most of the foreign architects. This leads to a contradiction between the theory and practice in contemporary works, although the construction quality of the analyzed samples is remarkable. To solve these problems it is essential to assign projects to vernacular architects and engineers where possible. Native architects with Islamic culture and beliefs will be more capable than foreign ones in expression and manifestation of Islamic identity in their works. On the other hand foreign architects should change their strategies in dealing with problems. Avoiding imitation of old patterns, getting more information about theories, Islamic culture, main needs and aspirations of Muslims are some of these strategies helping the architects to deal with the referred problems. These challenges make some serious threats and challenged contemporary architecture of developing countries. The results of the paper show that new architectural technologies and revivalist trends are the most important players in contemporary architecture of developing countries such as Saudi Arabia and other Persian Gulf countries because of their richness in cultural heritage, spiritual findings and local identity.

---

Nowadays Islamic countries more than ever concentrate on identity to revive their dignity at the age of globalization. Countries of west of Asia especially Persian Gulf countries enjoy a prosperous architectural era because of oil well revenues. Saudi Arabia from among them selected purposely to analyses to understand interaction of localization and globalization in contemporary architecture of developing countries. Saudi Arabia as the birthplace of Islam with the growing economy in recent years, is a good context for massive constructions, which result in identity crisis in contemporary architecture. Economic growth during last 40 years in these countries has affected various aspects of their lives. Undoubtedly architecture and urbanism as one of the main substrates were affected by these developments. Limitation of construction technology and engineers’ abilities in these countries made the Arabs to assign the designing and construction phase of their huge projects to European and American architects and engineers with completely different background and cultural beliefs from Muslims’. Although some researches have focused on identity crisis in modern architecture, very few researches have noted the interaction and conflict between the Islamic identity and contemporary architecture. The main objective of this research is to identify and analyze the native and Islamic identity in contemporary architecture of Saudi Arabia. The main research questions are: 1- What are the main current trends in contemporary architecture of Saudi Arabia? And how they have noted the concept of identity in their works? What is the relationship between theory (what the architects have in their minds or the goal they are following to reach an ideal design) and practice (what is observed in final result or understood by people) in contemporary architecture of Saudi Arabia? According to the theoretical framework, current buildings in Saudi Arabia are analyzed based on five general parameters and factors: 1-Main idea forming the design (concept), 2-The Construction Technology, 3- The material in the unit, 4- The shape and form of the unit, 5- the relationship with the surrounding environment. This article analyzed the buildings of the past two decades impartially in terms of the referred parameters. This research consists of two main parts. In the first part the architect’s opinion about his/her design was discussed. In the second part researchers analyzed the mentioned works according to the theoretical framework. The comparative analysis of the architect's comments about his work and researchers’ inferences can determine the distance between theory and practice of contemporary architecture in Saudi Arabia, then the architect’s success in achieving his/her objectives will be determined. This comparison will indicate whether the architects have succeeded in conveying their ideas to people or not. To meet scheduled objectives, fifty artworks were selected randomly from among the buildings designed in the past two decades, and were analyzed according to the main parameters. Then the quantitative data were transferred to SPSS22 software to determine the correlation between these two groups. Studies conducted indicate that a considerable proportion of contemporary architecture in the Kingdom of Saudi Arabia are design by foreign architects who are not familiar enough with Islam as the official religion of the country. We can see some puzzlement in contemporary architecture due to the diversity of forms and concepts. The architects’ description about their own works indicated that the main trends of contemporary architecture are in the use of postmodern forms, conceptualism, prevalent structures and modern materials. The findings indicate what architects statements and opinions expressed in the form of Islamic revival, is leading to imitate the famous forms of ancient architecture in practice. In fact, imitation of ancient forms and reconstruction of them by modern technologies means the expression of Islamic and native identity in contemporary architecture to most of the foreign architects. This leads to a contradiction between the theory and practice in contemporary works, although the construction quality of the analyzed samples is remarkable. To solve these problems it is essential to assign projects to vernacular architects and engineers where possible. Native architects with Islamic culture and beliefs will be more capable than foreign ones in expression and manifestation of Islamic identity in their works. On the other hand foreign architects should change their strategies in dealing with problems. Avoiding imitation of old patterns, getting more information about theories, Islamic culture, main needs and aspirations of Muslims are some of these strategies helping the architects to deal with the referred problems. These challenges make some serious threats and challenged contemporary architecture of developing countries. The results of the paper show that new architectural technologies and revivalist trends are the most important players in contemporary architecture of developing countries such as Saudi Arabia and other Persian Gulf countries because of their richness in cultural heritage, spiritual findings and local identity.

---

Morality is one of the valuable things which has been considered in Islamic society. All thinkers of morality notional scope have tried to invite people to a good life by preparing them with cases such as contentment, forgiveness, true worshiping, pure life and earning kosher money. Islamic morality is a set of all headings correlated to morality specially morality science which is related to Islamic world and culture. Morality has a good adjacent with values and is divided into adaptive morality. Notional morality and practical morality and these items can be the origin of issuance of bad or good actions. Islam always recommends Islamic society to learn and rely on new science and technologies albeit in foreign and non-Islamic countries, and takes this as a honorable and devotional act, so there is no difference between Islamic root and science and technological development, but beside recommending knowledge avocation, Islam stresses on this point that the purpose of science and technology should be in direction of serving Islam root, this issue causes technology to be consistent in a contriving way with, cultural elements such as beliefs and thoughts, social values, social norms and provisions, symbols and ideologies, so that the performance of this technology be a desirable one. Architecture is an era for out breaking individual, social life and normative aspects like morality. This issue causes affective factors in architecture with special features grow in its framework and meaning. Considering moral norms of society and the human is one of basic requirements in shaping human s work place and life. So the relation between architecture morality and social norms is satisfying the needs of the human, so that he can find comfort in the architecture space. During history architects have tried to match their architecture with moral norms with understanding these needs, but the arrival of new technological alongside identification issues and originality crisis, has affected on moral components in architecture and has created new challenges between morality architecture and technology. The problem of the present paper is that: what is the relation between morality and technology in architecture? And our purpose is finding moral concept and social norms of morality in technology transferring process in terms of today technology when technology and architecture be synchronized, the effect of this problem that is technological architecture, would be inappreciable with regarding moral and normative criteria, but if technology won't be synchronized with architecture then they would be against each other and it will transform to “architecture technology“ phenomenon in which technology will become all forms of architecture and then necessary condition for shaping architecture would be technology. So architecture is always affected by technology, whether to promote architecture of spatial and semantic features to weaken them and to show the dominance of technology on architecture and the human. The purpose of this paper is not the deny technology acquisition from non-Islamic societies because technology is important in any society and if this technology would not be with awareness, this technology can destroy the remained morality. Technology makes a society develop in different dimensions and morality which is intrinsic should grasp as important concept in this time and this development matches morality development but with converse face which in a short time it will be with disappearing morality. Technology and development especially constant and development is a complex process. The technology procedure type is related to collaboration and public trust of all people of a society regarding to moral balance and other social norms of that society. If people want to use and develop technology without destroying morality and its concepts in today society, they should bring human values such as trust, humanitarianism and love in their lives and works. The results of the research shows that for reaching a proper pattern of current architecture in an Islamic society, some criteria for using architectural technology should be considered which the most important of them is to consider morality component I terms of using technology in architecture. Morality components in architecture include: - Continuous afford to promote moral and noumenon dimension in architecture and inside an architect. - Self–knowing and the other knowing in response to people's needs. - Continuous afford in self –construction and adjustment of job affairs. Continuous afford for effective presence of Islamic religion and morality in all dimension of works and jobs. - Re-knowing, preservation and adjustment of norm manners and society in light of Islamic standard. - Re-knowing Islamic culture and civilization and growing it to create architectural space regarding to current and future needs of society. - Afford to promote common human Islamic -Iranian dimensions which identity category would be grown by it. Observance these elements by architect alongside harmonizing technology with these elements, would create a result proportional to social morality, culture and norms.so it can be said that architecture is as a result of Islamic moral elements and updated with modern technology.

---

The Blue Mosque in Tabriz is one of the masterpieces of Iranian art during QaraQoyunlu era, construction of the mosque according to cornice in entrance terrace, goes back to era of Sultan JahanshahQaraQoyunlu and 1466. Written documents and available reasons represent that the single building of the Blue Mosque was a member of great architectural complex called Mozaffariyeh,which included other parts such as apron, monastery, symmetry, library, guest house etc. With all the glory that is mentioned in historical resources, only the Blue Mosque remains in the current era from the mentioned complex. Because of continuous earthquakes of Tabriz, specially the earthquake of 1779, most parts of the complex were destructed. In restoration of the city, the total area of Tabriz reduced and the mosque was placed out of city rampart.Therefore, the importance of attending religious ceremonies in this mosque also reduced because of the distance. In spite of such events, the Blue Mosque always remained an attractive sample of Iranian architecture and charmed the visitors.This mosque is described in most of the books by Iranian and foreign visitors. In texts which contain some information about the mosque, quotations of tourists during 1700th to 1900th centuries is important to review. Since these foreigners have superficial information about the reality of Iranian society, have stated wrong opinions about the quality of maintenance and resistance of the mosque. Without understanding correctly, most of them have stated that the destruction of the mosque is related to religious beliefs of people and that is a problem between Shiite and Sunni.It appears that the foreigner visitors thought that since the founder of the mosque was Sunni, it is deserted by Shiite population of Tabriz. The validity of such opinions is doubtable for two reasons firstly, there are many mosques in Tabriz which were built by Sunnis and they are built before the establishment of Shiite and Safavid dynasty. Great Jami Mosque, UstadveShagirdMosuqe etc. are examples of these mosques which are all built by Sunni rulers and wealthy persons and they are considered as holy places even in the current era. Secondly The intentions of mosque founders for Shiites, which will be presented and discussed in this paper. According to aforementioned issues, the aim of the present paper is to study the historicity of the claim which is based on the religion of the founder. This parameter which is accepted as reason for accepting the claim must be studied with a scientific approach and without any default. The necessity of doing present research is that in spite of unique place of the Blue Mosque in art heritage of Iran, no research is carried out concerning the mentioned issue and it has always been an ambiguous subject. Present paper attempts to respond following questions: A. Whatare the origins of such different opinions about the religion of QaraQoyunlus? B. What is the relation between the religion of QaraQoyunlus and structural resistance of the Blue Mosque? C. During the history, which groups could exploit the rumor between destruction of the Blue Mosque and the religion of its founder? It is understood in the present research which is carried out with historical-interpretive method, that the time bases of these rumors goes back to military competition between Ottoman and Safavid governments for occupying Tabriz. Thus, the foreigners who attempted to discover the reason of mosque's destruction through tracing religious backgrounds, have always tried to state the problem according to Sunni beliefs of QaraQoyunlus and the Shiite people of the city and it is proved, on the basis of presented evidence of this research, that they were wrong. In other words, recognizing Shiite religion during Safavid era, have led the foreigners to have wrong analysis about the social problems of Tabriz. On the other hand, the results of the research shows that not only there is not any good reason for proving the enmity of QaraQoyunlus with Shiites, but also historical resources emphasize their Shiite intentions and spirit. Moreover, most of the researchers who have done researches during the last decades about QaraQoyunlus, have introduced the religion of them as combination of Tarikat Shiite or a kind of mysticism that is naturally different with 12 imam Shiites. Therefore, one of the most important issues about QaraQoyunlus is that they were not able to throw attention of Shiite theologians like Safavids. Failure of QaraQoyunlus in making relation with Shiite and Sunni theologians, Charles their society to remain far from intellectual and philosophical world of both Islamic religions of Shiite and Sunni. Such reasons lead to a wage view in recognizing the religion of QaraQoyunlus and creates an opportunity for the presentation of different understandings. In such conditions, there was a two sided background for foreigner tourists to present either a superficial understanding from the realities of the society,or to give wrong analysis about structural and functional quality of the Blue Mosque. However, the claims of the tourists about the building has only got foreign roots and nothing could be found in written Iranian sources.

---

Seljuk period is one of the important periods of Islamic Art in Iran architecture. The Seljuk brickworks represent Iran architectural perfection in aspects of techniques and variety. The magnificence of Seljuk brickworks is not found in other later periods. Therefore, further investigation is needed due to the importance of this issue. In this research, literature reviews, field studies and survey is done by analytical- descriptive method. The aims of research are as followed introducing the important motifs of brickworks identify, variety of layout types, and the sustain modality of brickworks during the historical periods. According to the aims, all of Seljuk monuments in Iran which have brickwork decoration were detected and their brickwork decorations identified. The decorations which were unique at that time and were repeated, has been determined as index motifs. Afterward, these motifs and the techniques were found in Khwarezmid and Ilkhanid monuments and their changes or conversions to other decorations have been identified. Most of the architectural exterior surfaces are decorated by the brickwork in Seljuk period funerary monuments with polygonal plan have the most decorative surfaces such as Kharaghan tombs and minarets. In this period, the simplicity of minarets was changed to richest drawing and decorative forms such as Menar-e Ziar and Cheheldokhtaran. It is noteworthy that in addition to this, the monuments including the Robatsharaf Inn and Jame mosque of Golpayegan are decorated with verity brick motifs which combine with stucco reliefs. In general, decorative designs and prolific body of brickwork is one of the special features of Seljuk architecture. Various brick rows are used in the Seljuk monuments and they are categorized to Golchin, Jenaghi, Hasiri, Doraj, Kofi Magheli and Bannaie inscriptions. Golchin’s motifs have some “mother” patterns which are combined tomake various designs. Golchin motifs perform in tow groups “simple” and “compound”. Jenaghi brickwork, perhaps because of its easy performance,has usually been used in corner of the dome and arches. Also some different technique of brickworks such as “Khofteraste” (relieve motifs), Moshabak, Gerehbannaie perform in outer surfaces of Seljuk monuments. Khofteraste brickwork technique was used in high altitudesin order to relieve its motifs. Moshabak technique was used in doorway to pass light through andGerehbannaie generally was used for minaret decorations Selengeh, Chaharlengeh, Sheshvahasht are the prevalent motifs of Ghereh in Seljuk period. An innovative technique: combination of brick with different materials used in Seljuk period that followed in later periods. Hence, Seljuk monuments are decorated by different brickwork in motifs and techniques including the Golchin and Gereh. In addition, initiative techniques such as the incorporation of brick with tile (glazed brick) or stucco were created by artists as well as Kofie-bannaie. Accordingly, it is obvious that Seljuk brickwork decoration is the rising point of Persian brickworks. In Khwarezmid and Ilkhanid periods, brickwork decorations were not used as extent as before. In these periods, brickwork was replaced with stucco and tile. However, some of brickwork decorations such as Golchin, Doraj, Magheli and Bannaie inscriptions were followed by the next periods. Also, the Gereh motifs of Seljuk period became the source of compound decoration for the next time. In Khwarezmid period, molded bricks with relief motifs were developed. This kind of molded bricks in combination with glazed molded brick or the tile, which were pre-cut or insitu-cut, became very common throughout, Khwarezmid and Ilkhanid periods. In such way that incorporation of brick with tile included the hole of decorations during the following periods. Pre-cut brick and pre-cut tile techniques at the end of Seljuk period were used in GonbadKabud in Maragheh and it became the beginning point of this type of decorations in the following periods. The techniques of brick and tile combination so called-Moarraq (mosaic) exists in Khwarezmid monuments such as ForoumadJame mosque and Malekzozan. Also, some skillfully combination of brick and tile were used in two important Ilkhanid monuments including Gonbad-e Soltaniye and Bayazid-e Bastami treasury. It could be argued that combined decorations (combining brick with tile) belongs to the culmination of Ilkhanid decorations. Hence, variety of techniques and innovations that happened in the brickworks of Seljuk periods caused some changes in the decorations of the following periods. Gradually, new types of architectural decoration over the motif, function, and accomplishment were developed based on changes done during Seljuk period.

---

Today, there are a few dozens of historical index houses in the city Sabzevar. Reviews show that up until now, despite the presence of their special characteristics, variety and role, there have not been comprehensive studies about them but through the presence of valuable samples from various historical periods (Teymouri, Safavid, Qajar, Pahlavi), their exposure to destruction through changing the method of living, multiplicity of owners, migration and generally loss of attractions for today's life, reviewing these houses is necessary. Since most of the historical houses in Sabzevar are from the Qajar period, the purpose of this article is to read and recognize Qajari houses. The used research method is combined and the results obtained from the study show that Sabzevar's houses, with architectural specifications such as semi-hot and arid climate, have mostly been made as introvert houses and they can be divided to three types of the first, second and third period based on the features of architectural space, structure and decorations. Discussion of architectural typology has been proposed in some of the European countries since the late 11^th century. At first, this topic was treated in a very clichéd way and they reviewed categorization of buildings based on a mutual feature. Another one of methods of categorization at this time was dividing the buildings with mutual feature of their map. This method has many advantages, but unfortunately, by being drawn in one way of thinking, being caught up in a deterministic framework and linking historical process with deterministic materialistic views, they came to conclusion and the result of it is predetermined by considering the mentioned framework whereas in a study, in addition to the overall review, the results shall be obtained after the study and research.

Accurate identification and classification of various architectural types can be useful in understanding the space better, protecting it and also in achieving new methods of designing.

---

In creating and continuation of the life of architectural heritage, there have always been numerous aspects influencing; recognizing such aspects is a crucial point in conserving the works of every land. Today, hastened integration of historical countries with modern conserving current has led to a shift in definition and understanding metaphysical aspects of the works within such countries. Since a major part of methods, styles, instructions, definitions and even vocabulary of conserving heritage come along with scientific and technical aspects, they are considered neutral; they are allowed to enter the conserving system of Eastern and traditional countries, and gradually, the heart of the metaphysical concepts and contents of conserving in such countries has replaced the conserving tradition. Indeed, understanding and referring to metaphysics in Western view illustrates such issue and attempt in its revival and recovery beyond conserving the heritage physically, that is worthy. However, as it is stated in the basics of contemporary heritage conserving, it is required to refer to thought and theoric basics of each country to safeguard native values.

Considering this point is essential from two perspectives: first, the effect that this shift leaves in understanding metaphysical aspects in today’s Iranian conserving, and second, the necessity of transmitting metaphysical aspects hidden in the works to coming generations.

Consequently, the present study is seeking an answer to the question whether the metaphysical aspects can be used in western conservation viewpoint to express metaphysical aspects of Iranian architectural works. Thus, taking a look over metaphysic in Western view, we compare it with Islamic-Iranian view.

To investigate the metaphysical issues in Western theories of conserving, this survey has referred to international texts, charters and the ideas of thought leaders in the field of architectural conserving, and according to how each era considers metaphysical points, it divides such texts into three sections and then, studies them. Then, from among the texts of each section, the key terms introducing metaphysical aspects, explanations, definitions and the method of defining such aspects are extracted. It worths to point that only those Western intellectual currents which directly affect conserving are named. Consequently, instead of selecting a particular approach in western thought and generalizing it to or comparing it with conserving current, this study tries to extract the Western philosophical and intellectual approaches from the very heart of available currents of conserving.

In architectural conservation in Iran there is a perspective called Iranian-Islamic whose meaning is the influence of Islamic belief and thought upon tradition of conserving architectural works during Islamic era of Iran.

This paper is going to find a “field-raised” approach to investigate the available examples and methods of conservation which form a part of conservation tradition in Iran. As a result, through moving from example to the concept, the attempt is to extract the religious concepts affecting the deeds. The examples of considering spiritual and metaphysical issues are derived from oral interviews, field and library works. Rooting such concepts takes place through arrangement of extracted parameters and codes. Referring to verses of Holy Quran related to the subject matter and also utilizing Tafsir al-Mizan, the personal interpretation of religious issues is prevented as much as possible. Finally, through analytical-comparative method, the similarities and the differences between two perspectives in explaining metaphysical aspects are discussed.

The analytical comparison indicates that the mentioned metaphysical aspects in Western view does not include all aspects available in Iranian Architecture based on Islamic Iranian view. The essence of these perspectives differs in a couple of views which originates in the difference between their ideology and basics.

Since the metaphysical concepts deal with beyond-materialistic issues, often they have no precision in expressing physical and quantitative aspects. Following this obscurity, the popular usage of the concepts proposed in different historical periods of Western conservation, and those have in common with concepts available in Islamic view solely in vocable, for the first step lead to semantic confusion of such concepts and then their incorrect combination with metaphysical concepts available in architectural works and today’s conservation in Iran.

Also, since the metaphysical aspects of conservation and the architecture, in Islamic viewpoint, are integrated with monotheistic belief and resurrection of human, it does not propose metaphysics from humanistic view point, and considers a vaster range in expression of such aspects. Therefore, it is required to assert that by deletion of Islamic perspective from Persian conservation, the spiritual meanings, concepts and the contents of such heritage is gradually “forgiven” and “feigned”. On the other hand, since such aspects are tied with individual’s internal belief and roots in his resurrection thought, they affect all practical and theoretical pillars of conservation including factor, subject matter and the method of conservation; as a result, to continue and revive such aspects in conservation, through Islamic reflection, training individuals along with education requires attention; as the precession of such issue is capable for review through tutor-pupil methods, professional customs and fotowatnamehs in traditional industries and professions. Thus, action itself as a content is employed to carry sublime religious concepts and constructs a part of conservation and enduring nature of metaphysical aspects in the process of conserving the body. Also, a fortiori, in this view, human is not neutral and his role is to carry the sublime meanings of a tradition. It woths to know that, in Islamic attitude, there is a close relationship between three pillars of conservation that are conservation subject, conservation method and conservation factor which is a human who moves along with divine will, and these three are united under monotheistic view.

---

“Islamic-Iranian Model of Architecture” is the strategic scape proposed for future of architecture of Iran. So guiding higher education courses towards this goal could be seen as their mission. In this respect and among architectural graduation courses the course of “architectural technology” has the potential to take leading place because it is attached directly to institute of technology as progressive force of the world today. But this may be its weakness as well as the technology tends to deny any locality in its nature. In its syllabus the current architectural technology course has been ill-attached to cultural priorities. So most recently a two-credit unit is added to its content called “Wisdom of art and technology in architecture”. It seems that the main mission of this class is to describe the technology from the view point of Islamic Wisdom so that prepare an appropriate theoretical stand for architectural technology students. This article is aimed to draw a conceptual framework for technology within Islamic system of world-view. So at first it is tried to locate religious view amongst context of philosophy of technology. In this respect the four-part categorization of Carl Mitcham is taken as main framework of discussion where technology is seen from four directions: physical products, types of knowledge, forms of procedures and goals. He makes a differentiation between religious technology, craft technology and scientific ones. To make a proper relation between Islamic views and current philosophy of technology another division of Mitcham is also taken into account: humanities views versus engineering ones. Humanities philosophy of technology refers to those attempts of philosophers who try to make descriptive insights to essential qualities of man-made tools so the traditional branch of Hikmat (philosophic work of Muslims) can be interpreted as a kind of engineering philosophy of technology. These philosophic analyses try to make a spectrum of creative force from God to human and describe why all man-made world is related to unity of the world. There is no obvious critical debate among traditional philosophic works of Muslims. Three subdivision here are Mash’a’ philosophy of Farabi and Ibn-e-Sina, Ishraq of Sohravardi and the composite reading of Molla Sadra that their influences on debate of technic are respectively considered in Ehsa-o-loloom (Farabi), FotovvatNames (unknown authors) and Resaleh-Senaeieh (Mirfendereski). The critical stand point of humanities branch could be traced among some current attempts of Islamic intellectuals who are originally affected by western critical views. These works are categorized in three groups: social oriented ones are those who see some weakness in Islamic society relation with new technology but put the blame on Muslims’ social approach not modern technology. The so-called Islamic enlightment throughout 150 recent years pursued this way. Among this group Ali Shariati’s thesis of four human’s prison is studied here. The second approach that could be called new-realism that is affected originally by works of Islamic cleric Allame Tabatabaii and then rational positivism of Poper is mainly known with name of Abdolkarim Soroosh who after a modest criticizing of modern technology without denying its positive effects, puts self-protection and independent will towards non-consumerism society as main tool for damping negative effects of new technology. The third approach is a Heideggerian one merged with intuitive school of Sohravardi and Ibn Arabi. Its proactive leader was seyyed Ahmad Fardid and until now has its own followers. In terms of technology this approach is more Heideggerian than Islamic and sees the rescue from evil force of modern technology unavailable unless a great change occurs in in human ontological world.
All six approach described here have some basic weaknesses for current situation either from descriptive view or from critical perspective especially in terms of architectural technology problems. So a new approach is designated here that looks for a fundamental map of relation of three major players: Islam, Human and Technology. Three keywords are used to reach to a basic platform for the debate: humanized Idealism (Kamal), ethical duty orientation (Taklif) and intellectual religious scrutiny (Ejtehad). The first term (Kamal) makes the main criteria of human change in the natural world and describes why the God (Allah) not only allowed the mankind to make changes in nature but also wanted him to do so. But Kamal is at the same time a restrictive term in Quranic view because it makes dependence among all creatures so that the growth of them is linked to each other.  This semi ethical meaning of Kamal is strengthen by more ethical concept of Taklif. Taklif in Islamic context in contrast to Kantian sample is not an ultra-real one but is a deep real and objective phenomena that draws brilliant lines between various rights and duties of not only humans but also all creatures. Here four basic types of Taklif in Islamic view are used to make the main model of ethical evaluation of technology that are four responsibility of human: responsibility for Allah, for the self, for the others and for the environment. Each of them has its own content in Islamic context and has a specific relation with technology that makes them very appropriate for the aimed model-making. Here otherness of every four is considered priory to unity of the “I” and them. So the responsibility is definable and evaluable. Finally this new approach is summarized in a table that can be used for weighting technological inventions in architecture.This table views every technological changes from to basic point: 1. If the technology is harmful for any of the for basic rights. 2. Whether it is generative for the four human relations or not. All evaluations are linked to the Islamic life style but the models of this text can be seen as independent from Islamic context as well.

---

One of the most attractive and most diverse decorations of the Safavid period architecture is Nastaliq inscriptions that have been implemented in different ways in buildings with different applications. The scrolls contain valuable information such as a description of the building, patrons and artists who identify and introduce them to clear the hidden aspects of architecture and calligraphy history.
In addition, the aesthetic aspects of this work are also being investigated. From this perspective, one of the things that cannot be oblivious to it, the variety of practices those impacts on the quality of calligraphy in the inscriptions. The aim of this study is to identify common practices and introducing lesser-known practices in the implementation of Nastaliq inscriptions in the architectural decoration belonging Safavid dynasty.
This fundamental research is the descriptive study was conducted; the sampling method used is Post Stratification. Accordingly, the 204 available inscriptions have been studied. More than sixty percent of the documentary has been gathered by field researches. The results indicate that the first Nastaliq inscriptions were in 9th mid-century A.H. carving used in the series of gravestones in Herat.
Results show that in the Safavid period, this way has continued. In this period, the techniques divided to 6 main ways which containing 17 separable distinct subsets. The abundance percentage of the most common methods in inscriptions shows that: Stoney (51%) and Tile working (24.9%) are the most two usage ways. After those, the ornaments made of plaster, wood, metal and painting in terms of the number of samples are the other techniques. According to the classification of different methods, there are 6 unique techniques in research samples: Koshte-bori and Tokhme-gozari (two branches of Stucco Decorations) at Pinia House in Naein and Nim-Avard School at Isfahan, Laye-Chini (Gilded Decoration on Plaster) at Aliqapou Palac in Isfahan, Hakkaki (Wood Engraving) at Jame mosque in Natanz, Moshabbak-felez (Metallic Reticular) at Darbe-Imam in Isfahan and Qalamzani Barjaste (Metallic Relief Scrimshaw) at Chaharbagh School in Isfahan.   
Also, when applying such methods was used in architectural decoration are investigated based on dated samples. On the basis of dated inscriptions can be proposed as follows: the first technique is Stone Carving at 922-923 A.H. in Maydan mosque in Kashan and tomb of Imamzade Abolfotooh in Vanshan. Mosaic Tile is the next method which used probably in 918 and certainly in 951 A.H. After these two styles, respectively: Woodcut (963 A.H), Stucco (979 A.H), Metallic Scrimshaw (1011 A.H), Wood Engraving (1012 A.H), Stone Engraving (1020 A.H), and Stone Mosaic (1031 A.H), Haft-Rang Tile (1034 A.H), Painting (1073 A.H), Metallic Reticular (mid-11th century A.H), Rooye-koobi (1091 A.H), Tokhme-gozari and Laye-Chini (early 12th century A.H) and finally Metallic Relief Scrimshaw (1120 A.H).
This study shows that the variety of technical method used in Nastaliq Inscription was limited on first half of Safavid era and the culmination of a variety of methods has been in the 11th century A.H.

---

Murals are the main, media of human culture and civilization and the place and its long history in Iranian art is clear. There are specific forms of mural paintings in some Iranian architecture that are different from other usual wall paintings in materials, methods as well as implementation techniques. Unfortunately, these mural paintings are not studied certainly until now. Therefore, further investigation is needed due to the importance of this issue.

In the scientific literature, different definitions of this kind of murals which provided examples of them pointed out: Canvas murals, Oil-on-canvas mural, Marouflage wall painting,  Marouflaged canvasmural, Oil painting on canvas onto walls, Marouflaged Canvas, Textile wall hangings, Canvas painting adhered to the wall surface, The painting had been adhered to the ceiling by Marouflage, Mural painting on canvas, Used a canvas set in to the wall, Oil on maroufle canvas for mural painting, Fabric-based murals, Ceiling canvases, Painting Hung on the wall, Wall Cover, Oil on Canvas attach on wall, Oil on Canvas mounted on wall.

In Europe during the 17^th century there was a movement away from painting on solid supports towards more portable painting techniques, giving rise to the easel painting tradition. Particularly in France, traditional fresco painting techniques were replaced by mural painting techniques similar to those used in easel painting. This new mural painting technique involved the use of textile supports that the artist could work on in their studio instead of on high scaffolding in large public places1. Marouflage is the term often used to describe this mural painting process, which involves attaching a large-scale painting on canvas to a solid substrate. The solid substrate is often architectural, such as a wall or ceiling. The complete canvas murals were often hung by specialized mural hangers, not the artist themselves. Experienced hangers developed techniques with adhesive properties that were able to bond, two materials which have widely varying properties, such as degree of expansion and contraction, porosity, etc. Ideally a marouflage adhesive needs the following characteristics: a viscous paste that is easy to apply, a slow to medium setting time, high initial tack and bond strength. Using a thick paste prevents dripping and unwanted mess during application. A high initial tack prevents the mural from falling during installation and slower setting times allow substantial working time so that the large murals can be properly positioned.

Regarding to importance of necessity of art understanding before conservation, it is obvious that common conservation procedures on these relics (without appropriate understanding) have an inappropriate results on authenticity and integrity of the relics. Unfortunately, there is not adequate research about technology and conservation of these relics and related fields.  The aim of this research is the identification of history of development, and used materials and techniques in these historic paintings by field and literature investigations. Technological understanding of this kind of murals during the time by application of literature review and data explanation. Due to low information in Persian, European Marouflaged canvasmural has been studied more than Iranian relics. The research subject and case studies are studied in a qualitative and descriptive research method and the subject is considered with ten historical and theoretical aspects. These paintings are executed on the layer of cloth (canvas) and then installed on the wall that is known as a part of the architecture arrays. This research at the first library study is conducted and then according to the results, the field studies are carried out and finally, the data are analyzed. Knowing the number of Marouflage according to literature review, the identification of constituent layers of Marouflage according to field studies, and Understanding the differences between a common wall Paintings and Textile Marouflage in Iran, are the results of this paper. In architectural conservation in Iran there is a perspective called Iranian-Islamic whose meaning is the influence of Islamic belief and thought upon tradition of conservation architectural works during Islamic era of Iran.

In this paper, the process of formation of this type of wall painting in Iran was studied and present examples of this method in Iranian architecture are introduced and explained. Some of the architectural interior surfaces are decorated by the textile painting by Marouflaged in Ilkhanid, Safavid and Quajarperiod; funerary monuments with polygonal plan have the most decorative surfaces such as Soltanieh Dome, Sheykh Safi mausoleum, Maryam church, Golestan palace and etc. According to studies, there was technical change in manufacturing process of large wall paintings and ceiling paintings at Renaissance period. It resulted to production of new kind of murals which known as Marouflaged canvasmural. The research obtained appropriate results about production, manufacturing, historical samples and effect of technological problems on conservation of Marouflaged canvasmural.

---

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.

---

Understanding the human perception levels and their process, and his interaction with the existence is an important topic in the field of architecture. In the contemporary era, the architecture pundits have shown more interest in the degrees of human perception and its role in the quality of creation of architectural works process and have criticized the modern perspective of sensory perception level and focusing on the sense of sight, and raised the necessity of considering all the human perception levels.
Nowadays, the human perception of the universe and its impact on architecture and urban development in the form of a category such as «human and environment relationship» is studied from the perspective of psychology and by environmental psychologists. But they have not a distinct philosophical perspective and clear theoretical basis to define the mankind, his perceptual levels and its dimensions and environment and how it has an impact on humans; and the absence of this attitude has damaged the field of environmental design, like architecture and urban development. Therefore, to achieve accurate results we must set up comprehensive principles as a basis.
Therefore, the approach of the present study is different from the common research in this area and based on the principles of Transcendental Wisdom as its theoretical foundation, we explain the relationship between the human perception levels of the universe and the quality of creating architecture works and its impacts.
The reason for the choice of Transcendental Wisdom as the theoretical research foundation wisdom is that the theoretical basis of the author for research has always been the “maximum religion” theory and among famous philosophical schools, the philosophical school of Mulla Sadra a.k.a. Transcendental Wisdom is close to “maximum religion” theory. Because, as in this theory to gain knowledge we use three tools of Holy Quran, tradition, and reason and instincts in a longitudinal relationship, in Transcendental Wisdom we gain knowledge based on illumination or intellectual intuition, (revelation, fascination or illumination) intellectual argument or reasoning (wisdom or reasoning) and religion or oracle (religious or oracle).
Therefore, we set up our theoretical foundation based on Transcendental Wisdomand to do this research in the first stage, we use the descriptive-analytical method to define mankind, his perception levels and perceptual powers, and the process of realization of any of the levels based
on the principles of transcendental philosophy; and next, we use logical reasoning and deduction to
express the correspondences between human perception levels and the universe and with the help of
models we use the degrees and levels of human perception regarding the universe, and accordingly we
explain the impact of human perception levels and the level of his interaction with the existence on the
formation of the quality of architectural works.
Based on the research and its results, it can be said that humans have four levels of perception (sensory,
mental, imaginary, and intuitional) corresponding to the realms of existence. The apparent powers
(sight, hearing, smell, taste, touch) and inward powers (common sense, imagination, illusion, memory,
MOTESAREFEH) help him to realize his perception. studies show that the human perception creates
a treasury of meaning and form in the human ego and this treasury is the most important source of
shaping ideas for the artist human. Because the architect human by using his MOTESAREFEH power
and referring to the meaning and form treasury in his ego proceeds to create and thus, the content quality
of this treasury influences the quality of creation of architectural works.
It should be noted that on the basis of past studies, the human perception levels and his ability to
interact with the levels of existence is affected by the level of existence of the artist human. In fact, it
is his interact level with the existence that forms his form and meaning treasury and sets the stage for
the quality of art and architecture works. Also, based on the perspective of transcendental philosophy,
other factors that affect the quality of architectural works consist of intrinsic talents and acquired skills
in humans.
 

---

The knowledge of environmental design process describes and explains the fundations of self-conscious design of the man-made environment and is always rooted in polemical theories. Hence, theoretical foundations play a pivotal role with a strong and generalizable support in design, in order to be able to recognize the borders required in the creation process. The purpose of this research is to present an applied model of the design process taking into account the ontological approach in Islamic philosophy. The methodology of this paper is comparative and argumentative. In this regard, a series of similar and equal orders in the basics of Islamic ontology (perceptions and types of essence of perception and essence levels) and phenomenology, in proportion to the process of creating and visualizing an artistic product, in order to establish a functional model in The architecture design process is compared and explained. The research approach is a five-dimensional model of "Tarif, Tabiin, Tasvir, Tadvin and Talif" in the process of architectural design in accordance with the varieties of substance and human perception. In the Tarif step, in accordance with the design theme, the principles and aspirations of the architect designer are determined by the various life-worlds, and can be received. In this step, the designer, with intellectual freedom and in various ways, expresses his conceptual and idealistic concepts of his hypothetical architecture. The second step is the Tabiin of the relative state and is interpreted and adjusted in time and field. The Tabiin step, in addition to identifying the project's nature, leads to analyze and the establishment of various diagrams of spatial relationships, functional, physical planning, and so on. In the third step, Tasvir, imagery and the role of creativity are significant and the layout of the project is created. The Tadvin step in the design process means arranging and arranging components and evaluations after the creation of the form. At this stage, the form is arranged in relation to the creation of space, and the focus is removed from the mass of architecture and the relation between mass and space is transmitted. At the step of Talif, the architectural work is of soul and life and as a living phenomenon with a distinct identity in conjunction with other phenomena in the system of the universe. The use of this proposed model in the design process, due to the experimental nature as well as the content connectivity with the principles of Islamic ontology, paves the way for a tangible understanding of the complex design path and, on the other hand, gives rise to freedom of action for designers and architects.

---

Façades are one of the architectural physical elements that play a significant role in the aesthetic preferences on their observer. The façade creates the first and perhaps the most important impact. Aesthetic is identifying and understanding factors that contribute to perception of an object or beautiful/pleasant process. In order to assess the beauty of a phenomenon, its factors and visual qualities should be studied, so finding a measure or a way to evaluate them are one of aesthetics’ priorities. Therefore, not only recognition of visual qualities, but also their quantitative evaluation is also important in aesthetics. Different visual qualities participate in the formation of façades, one of which is porosity. If these visual qualities studied, interpreted and measured, their factors, rules, and attributes can be extracted and using them as variables, the aesthetics of façades can be evaluated. This research is based on the question of how porosity can be measured and evaluated as one of the visual quality of façade and what is the relation between the quantitative measures of these buildings' façade's porosity?
The purpose of this research is to investigate the concept of porosity as a visual quality and to decode the art of designing and constructing façades in Iranian-Islamic architecture by quantitatively measuring the porosity. The study in theoretical part, using the analytical-descriptive method, has presented a theoretical framework. In the first stage a comparative method will be used. Collecting information in this research, in addition to documentary and library studies, will also include field studies that are used to compile the subject literature review to find the thematic framework. At this stage, by expressing the perceptual concept, the architectural porosity elements as well as the study of its theories, criteria, rules and components are explained. In the second stage, a quantitative method for measuring porosity will be presented using the criteria and components obtained in the previous stage, the classification of porosity elements, factors and effective variables of façade's porosity. Structured questionnaires will be used to find the relationship between these variables and their impact on each other and facade's porosity. In the third stage which is the case study section, the theoretical framework and the porosity quantitative measuring method are carried out in 30 main facades of historical houses of Tabriz city and gathered data are analyzed with descriptive statistics.
Based on the findings of the research, façades have a special feature called porosity number that is unique to them. The structure of the forming elements and the porosity changes of the façades also follow a particular pattern. The research also shows that the main trait of porosity is openness. Air circulation, light and the connection of internal and external spaces are major physical achievements of porosity and its spiritual achievement is space and raised meaning in architecture. Empty, despite the lack of material has an equal value, and sometimes more, than full, and how it is created and placed not only increases the physical and spatial quality but also can have an impact in facades’ evaluations. Porosity is one of the basic visual qualities, which over time has found a more significant role in façade. Porosity has a hidden and mysterious pattern that can be the result of aesthetic feedback from architects, observers/residents, and environmental conditions of the region. A certain evident percentage of porosity and a specific pattern and alignment of porous space arrangement found in this study indicate that, at least in Tabriz environmental conditions, a specific pattern of porosity is a part of the aesthetic preferences of the architects and the residential-historical architectural users of Tabriz city. This optimal and aesthetic level of porosity in the historical houses of Tabriz façades is close to 0.4 (40%).This pattern and alignment can be considered by contemporary architects in this cultural-climatic area as an aesthetic factor. Of course, the generalization of these features to other cities in Iran and beyond requires more and wider researches. This study showed that porosity as a visual quality and its quantitative measurement method can also be used as criteria of aesthetic evaluation of architectural façades.

---

A rising demand for housing has persuaded governments to provide more housing units, significantly for the less privileged classes of the society, and several methods have been tried. Mehr Housing Program is the latest effort in the recent years for mass housing production in Iran. The immense impacts of implementation of this program has had wide spread effects on the cities of the country. Studying this wide-spread project requires proper mechanism and measures. And without a doubt referring to the endemic architectural and urban planning methods would provide the proper basis, on which one can make valid criticism. Accordingly, the present study is an effort to explain and classify these methods and values, which have been neglected throughout Mehr Housing Program.
The research method in this study is based on comparison. In this paper, the authors have first reviewed the publication by the experts in this area to extract these endemic measures, and based on this theoretical framework the endemic and organically grown urban fabric of the seaport of Khameer is studies and compared with the Mehr Housing project implemented in its vicinity.
The findings of this research show that the implemented housing project can be criticized by the measures of Locality, urban planning process, the meaningful relationship that it has with the context, economical equilibrium, development competitiveness, urban identity, architectural and urban landscape aspects and the social coherence. For these shortcomings in the project there are certain solution in the endemic urban logic, and the negligence of these solutions have contributed to the current state.

---

Since man has been engaged in architecture, he has paid attention to the spiritual , inner needs and aesthetics sense too. Today, in architecture, aesthetics is limited to formal secondary factors due to lack of the systematic and applied explanation, while this concept has a more definition and is closely related to structure, details of construction, audience and environment. Iranian architecture that has manifested aesthetics over many years age, has been a rich source for adapting the principles of aesthetics in architecture. Quantitative and qualitative foundations in traditional architecture, which are related to the aesthetics and visual principles set on structure and proportions, lead to aesthetics appearance. Accordingly This research tries to answer the question: how are aesthetics principles engaged in Iranian architecture in order to utilizing them in contemporary architecture.
The analysis of the houses was carried out in Mashhad because of its historical background, which was a rich source of architectural works. In this research, current findings of different schools and philosophers viewpoints about aesthetics were collected next analyzed and Interpreted with content analysis method which they formed the criteria of analysis. Using the documentations, 10 types of Mashhad historical houses were analyzed with aesthetics factors, all of them were belonged to Qajar period. In this analysis, according to architectural changes affected from historical conditions (Qajar period), the spatial & structural principles of the houses belonged to the first period and the beginning of the second period were conformed with aesthetics criteria. While the houses belonged to second Qajar period, they included elements as sloping roofs, and issues like: having less application of the symmetry and proportionality in the plan & façade, and more extravagance, which is a conception of Western architecture and doesn’t fit to regional culture and climate.
 

---

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.

---

In Islamic thought, imagination has a special importance and place in artistic creation. The nature of imagination has created such opportunity to realize this fact the each spiritual affair to be imagined should occur partially and tangibly in imagination. In fact, the imagination is the interface between meaning and material and its images, on one hand, are similar to the matter and on the other hand, are separated from the body and spirit. With regards to such nature and capability of this power, using the imagination in the creation of valuable art and architecture is highly effective. The artist, like all other human beings, enjoys all aspects of perception, but uses his imaginative perception in artistic creation more than others. The artist expresses his mental concept, within the words or images or changes them into the sound, or makes it with brick and stone. In all of these creations, what the sacred artist creates in his mind is free of sense and the physical world. Even, when he recreates the nature in his works, it is not the same as nature, but his imagination and creativity power are reflected in his work. What is formed in the artist’s mind is partial with an image and hence is in the imaginative perception area. For this reason, what is created by artist is fully dependent on his imaginative power.   
Like other arts, meaning in Islamic architecture is a fundamental and necessary concept which visualizes an imagination of the meaning world in a matter world by physical and non-physical factors. But, despite the critical role of meaning, current studies have not discussed such issue. In fact, the architect perceives the real world, but in his creation, he does not only imitate, but tries to manifest that fact. Hence, he starts recognition from the matter, but the more he progress, he makes his recognition deeper, separates from the mater and achieves the concepts and rationales. This process occurs in imagination world which is separated from the real world and the wisdom world perception is attained.
The present study aims at explaining the imagination position as the interface for manifestation of meanings in architecture design and its role in architecture design process. In this research, the background related to the imagination in Islamic thought in areas of imagination world and its steps, imaginative perception and sacred art and creation are investigated. By descriptive – analytic method focusing on the rational inference and reasoning, this study deals with the data and collected materials.
To start the design from meaning area, it is necessary to take areas of meaning into account. Meaning area in architecture is the same as the mental concepts of designers which is related to the culture, innate feelings and values of designer. Therefore, starting the design from the architectural qualities like life and presence in space paves the way to achieve the ideas with meaning substance. Trend of meaning manifestation in architectural works (architectural space and form) is made with the help of imagination. Accordingly, each concept or meaning should initially takes and imaginative aspect to become evident in the real and tangible world. Meaning comes from the designer’s entity and the imaginative images of meaning are manifested in architectural space and form. Enjoying the meaning movement is design process is: paying attention and achieving the concepts and meanings (meaning), transforming these meanings into the intellectual images and ideas creation (imagination), recreation of these images in tan bilge world while conforming with both the imagination world and limitations of tangible world (architecture work). Movement of the meaning of the tangible is understood by artist and movement of the tangible to meaning by the audience. For this reason, artist and audience, communicate through affecting each other.
 

---

Perceived time can have a significant impact on vital responses to daily activities and behaviors. Studies have shown that the surrounding environment can also affect human perception from time, place or event. The purpose of this study is to investigate the interrelationship between the environment and, more specifically, the architecture and the time perception of individuals. Also, the study of the genders effect, which has been reported in many studies as one of the parameters that affected from the environment and also influencing factors in time perception, has been studied. The research method is causal-comparative. One hundred participants, from available students of different faculties of the Tabriz Islamic Art University, participated in two separate computer experiments. Visual stimuli were architectural images selected with two independent factors of complexity in two levels and the background familiarity of the participants with two levels. Two standard time reproduction tests with a millisecond interval and a time production test of one hundred and twenty seconds simultaneously were utilized in prospective time estimation approach with four visual stimuli. The results analyzed by repeated measures of multivariate analysis and successive LSD test of main effect size. The findings show that individuals judge complicated images significantly longer than simple images. In addition, between factors analysis on the effect of simple and complex images between two sex groups, showed a significant difference. The results obtained in the field of time production and reproduction compared and interpreted with the internal clock, attentional gate and neural coding efficiency theories. Correspondences of findings were more with Eagleman›s neural coding efficiency model in respect of effect of complexity factor on time perception. While the findings on the between factor effect of the gender on the perceived duration, are more consistent with internal clock model. In the end, this study showed and emphasized the necessity to repeat this kind of interdisciplinary studies with more ecological approaches and stimuli closer to real environments to achieve more accurate theoretical framework and findings that are more practical






 

---

Aesthetic-Sublime conflict has been as one of the most pressing issues in the thinking that included in the manifestations of human life and the construction of temples in history. In the modern era, both the formalist and the functionalist currents of modern architecture emerged in response to the German philosopher's theory of Emmanuel Kant. Later, deconstructionist architects such as Eisenman who that stated their anomalous roots in their heuristic formula for combining the two aspect of theory. These currents of thought penetrated the Islamic world, especially the construction of mosques. Unique Islamic conceptual patterns were less discussed in the amalgamation of aesthetics and the quest for its revival in the modern age. a universality of Jamal-Jalal is recommended in the Islamic viewpoint that Islam has not claimed in previous religions and this equilibrium has taken place with the rise of Islam. This equilibrium can be traversed to either side of the spectrum in each sample as needed. In this research, the philosophical principles and architectural criteria derived from both sides and a descriptive-analytical approach was discussed to the conceptual typology of historical mosques. Finally, The models were expressed to the architecture of the historical and Islamic periods in six sections. 1-The Origin of Style Effects from Organizing (High Pure) to Artistic (Pure Beautiful) and Comprehensive viewpoint at Architectural Styles. 2- On the Jamali-Jalali side of the environmentally sensitive historical epochs, approach of cultural periods in Europe with verticalism and attention to Sublime (Egypt) to Egypt with horizontalism and the periodic classification is based on the nature (Environment) that is compared in the three categories of medieval naturalism to Renaissance naturalism (Soft modernity). 3- Sublime-Aesthetic faculties in Formalist architecture schools fall into three categories: Anatomical, space-oriented and socialist in Islamic architects of Iran. 4- Conceptual model was presented for each aspect with sensitivity to the Sublime-Aesthetic (jalal-jamal) of sensing factors. 5- Functionalism indices were investigated by three-dimensional (aesthetic, sublime and socialist) principles of Iranian architectural architecture with the principles of organizing movement in space. 6- Encoding with symbolization factors was conceptually presented as Sublime-Aesthetic attention, and the share of attention to the purely beautiful symbol in the glamorous and sublime symbols refers to the glorious dimension.  The space and body were remarkable that were effective in expressing this dual opposition in the architecture of contemporary mosques. Nowadays, contemporary architects use Aesthetic and Aesthetic appearance to represent the clergy of space in Contemporary mosques. Ultimately, authenticity is in need of socialist. It is a sublime meaning that, along with simplicity, is reminiscent of the spiritual space of the model mosque (the Prophet). Finally, two examples of mosques were laid out in a comprehensive Western and traditional pattern. The indices were based in each contemporary work on Jamal-Jalal of Islam or Western Aesthetic-Sublime. The results of the study show the evolution of the architecture in the four Iranian mosques, that Has a tendency for pure sublimity or aestheticism to the sublime aesthetic states (holistic state) and when comparison to two types of mosque (contemporary Western-style mosques) have sometimes moved toward materialistic and authentic Aesthetic and Sublime. The perceptions are superficial in the past patterns but sometime this patterns are along to values. motivations of Aestheticism have given originality to outer space and Sublimation to originality and both dimensions of history have been distorted in the non-sacred paradigm and merely reduced to charm and functionality. Whereas the holistic viewpoint has a coherent and original view of spirit and spiritual growth.