@article{ 
author = {Deimary, Nima and GoliBaghMahyari, Nasim and Tooranpoor, Mahy},  
title = {Investigating architectural patterns of Kashan traditional houses in the design of Aghabozorg mosque-school}, 
abstract ={With the advent of Islam and its emphasis on education, mosques became the main bases of education. With the spread of Islam in different lands and the development of science among Muslims, there was a need for a foundation to hold educational sessions. Emphasis on the importance of science and education by Islam, became the main motivation for Muslims to educate in various fields throughout history. In the beginning of Islam, mosques were the only place for Muslims to gather and start lessons. In the Seljuk era, the establishment of Independent schools like Nezamieh, played a significant role in the development of educational centers and so Iranian became the first nation, amongst all Islamic contries, who built schools. Subsequently, during the Timurid era the schools functioned independently and were separated from the mosques. One of the most important and influential schools of this time is the Ghiasieh in Khargerd. In the following periods, Safavid and Qajar era, rebuilding of educational institutions and religious buildings started with the construction of “mosque-school” buildings which were a mixture of mosque and school functions in one building. One of the first and most important “mosque-schools” of Safavid era is Chaharbagh school which is located in the city of Isfahan. Henceforth in Qahar era, most of the Qajar schools were built in “mosque-school” format. On the other hand, the architecture of the Qajar-era contains too many important innovations which were influenced by deep changes of pre-modern era in Europe. Among these pioneers of architectural change in Qajar era, it is possible to mention the Agha Bozorg “mosque-school” in Kashan. The construction of the “mosque-school” of Agha Bozorg began during the reign of Mohammad Shah in Qajar era (1833-1856) on the remnants of the 1192 earthquake in Kashan. This school was built to become a place for prayer and lectures of Haj Molla Mehdi Naraghi, known as Agha Bozorg. This building is somewhat innovative, and, from some others perspective, deconstructive. The reason for these innovations can be found in revising the concepts and patterns of domestical architecture in Kashan and re-applying them to this “mosque-school” which makes this building look like a mansion, not a mosque. A mansion for the students to live in.On the other hand, Kashan city includes some of the best examples of residential houses in Iran, which are designed to live in the harsh climate of desert using similar patterns that has formed through the centuries. In this research, ten Qajar mansions were chosen, which were built in a period of 10 years, before and after Aghabozorg “Moque-school”. This Period of time indicates the time frame in which a traditional mansion was built, because in some examples, due to traditional building methos, it takes 20 years to build a mansion in Qajar era. By comparing Agha Bozorg “mosque-school” parts, elements and patterns with similar elements in residential buildings of the same period, in Kashan, it seems that Agha Bozorg is a domestic building that is covered by a mosque`s face, and the architect of this building has considered the architectural design of the building with elements of Iran traditional mansions such as: Basement yard which is a yard in -1 level and beneath the main yard to reach the underground water and cool temperature of soil. This basement yard is a common element in Kashan masions. The other element is called Mahtabi, which means moonlight place, and is a platform above the main yard and is used to benefit the cool nights of desert. The other element is Badgir or wind catcher which is very rare in mosques and school and a popular element in Kashan houses. It`s Hard to find a mansion without Badgir in Kashan. In designing the façade of Aghabozor “mosque-school”, the architect, borrows the classic pattern of Kashan mansions with a big room in the middle which is called Panj-dari and two smaller rooms which are called Sedari. These names mention the rooms with 5 and 3 windows. Even the way to enter each room is taken from mansions, entering from the side of the room not from the front- unlike most of traditional schools. As a result, this school looks like a traditional mansion with a dome and a pair of minarets and, it seems that the architect, unlike all his predecessors, Ignores many classic patterns of a mosque, even the holy direction of Kiblah, and chooses the acclimate orientation. This climatic design is the only way for people in Kashan to survive the harsh weather, hot sun and sandstorms of the desert and architecture of all houses in Kashan is based on similar elements and patterns which were transformed into new functions in a creative way. So this building has essentially turned into a shell of a traditional mansion over “mosque-school” functions. A “mosque-school”,that benefits the climatic design of a house to make it a better climatic place for the students to live in},  
Keywords = {Mosque-school, Aghabozorg mosque-school, Qajar Architecture, Kashan Mansion},
volume = {9},
Number = {3}, 
pages = {1-18}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.1},
url = {http://jria.iust.ac.ir/article-1-1137-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1137-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}

@article{ 
author = {Sholeh, Mahsa and Roosta, Maryam and Hedayatimoghadam, zahr},  
title = {Evaluation of Visual-Physical Integration Conditions of Valuable Heritage Complex using Heritage Impact Assessment (HIA) Method (Case Study: Zandieh\'s Shiraz Complex)}, 
abstract ={The phenomenon of urban development has transformed existing cities and put the protection of historical heritage at the core of urban planning. However, considering the traditional concepts of heritage, which place valuable historical elements separately in a broader urban context, does not meet the goals of heritage protection to protect the character and importance of historical heritage. Thus, the change in the scale of heritage protection arose from the challenges of heritage protection, and the consequence was the emergence of the heritage urban landscape approach (HUL). The concept of integration was also considered in order to create a balance between protection and development approaches. Any new construction project in the vicinity or in the Buffer Zones of the Heritage Site potentially has visual effects on the historical heritage that allow for the evaluating and evaluation of adverse effects before and during the implementation can be providing an effective strategy to minimize or mitigate adverse effects. In order to provide a solution, the UNESCO World Heritage Committee has proposed a method of heritage impact assessment. To satisfactorily assess of these potential threats, the organization suggests the investigating impact of these threats on Outstanding Universal Value. This study seeks to application Heritage Impact Assessment Framework to evaluating the Visual-Physical Integrity of the valuable heritage complex, Zandieh's Shiraz Complex as a case study examine. The present study is applied in terms of purpose and uses a qualitative approach to achieve its goals. Inheritance effects in Zandieh's Shiraz Complex have been done by considering three criteria of lack of protection and mismanagement, sensitivity of features and severity of effects in three scales of valuable building complex; space organization; morphology and visual organization. This assessment shows that the result of the intensity of the effects for the first scale is 2.37, the second scale is 4.66 and the third scale is 5, which has seriously damaged the collection in these dimensions. Also, the priority matrix of effects shows that the first scale has low damage and the second and third scales have severe damage and have a very high priority for providing solutions for the protection of historical heritage.},  
Keywords = {Heritage Impact Assessment, Heritage urban landscape, Visual-Physical Integration, Zandieh's Shiraz Complex},
volume = {9},
Number = {3}, 
pages = {19-38}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.5},
url = {http://jria.iust.ac.ir/article-1-1260-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1260-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}

@article{ 
author = {Mirahmadi, Ahmad and Shajari, Morteza and Pirbabaei, Mohammad Taghi},  
title = {Aesthetic of Visual Perception from the Ibn haysam\'s Perspective in architecture (case study: Jame Mosque of Esfahan)}, 
abstract ={Ibn Haysam deals with how the process of visual perception and its relation to aesthetics in Almanazer thesis. He sees aesthetics as result of the interaction of 22 the particular visible properties in the process of perception. In this process, the external and internal forces interfere. The role of each particular visible property in this process is not the same. Some particular visible properties such as light and color alone, some other particular visible properties in combination with each other and some by being in general proportion, create beauty. In this research, the process of perception and aesthetic views of Ibn Haytham was analyzed and its role in architecture was investigated. The Jame Mosque of Esfahan has been studied as an example for better explain the issue and investigate the results. This mosque includes architectural thoughts and aesthetic approaches of different historical periods with a history of more than a thousand years. This research is of qualitative type and with descriptive-analytical method. For this purpose, first the information obtained from library studies and documentary sources is examined and with a comparative approach deals with evaluation and aesthetics analysis from Ibn Haytham's perspective in architecture . Ibn Haysam separates sensation and perception in aesthetics analysis and he believes eyesight receives the form of visible objects, and perception is not always made by premium sensation. in addition to premium sensation, but also inference may be necessary for perception, the sense of sight is unable for it . Ibn Haysam defines three perceptual levels, according to how and type of perception, effective forces and Perceptible the particular visible properties: 1- Perception by Pure Sensation is perception premium through visual senses. the two properties of light and color, which expressing the form of objects and are inherent in objects, are perceived in perception by pure sensation. 2- Perception by Recognition deals with similarity or difference between the particular visible properties after receiving the form of objects with the visual senses. This similarity and difference cause perception of their intensity and weakness in light and color which is done with denotative. the situation, size and movement create based on the comparison between the components of an object or object with another object in the perception by properties like the shape. Also, in some cases, all the particular visible properties are perceived, which is done through denotative and comparison. Perception by recognition is done in light of the former knowledge and the use of patterns and symbols that they used to store in memory and the intervention of mind. 3- Perception by Inference is at a higher level than perception by recognition and in addition to the denotative and necessary comparison in perception by recognition, according to said Ibn Haysam, a higher comparison the second comparison (comparison with contemplation) is needed and by using judgement and inference, all abstract concepts and meanings that it existed in the particular visible properties of objects are perceived. According to the speed of mind performance and former audience's knowledge of phenomena, Ibn Haysam divides the perception into two groups "Glancing vision" and "Contemplation vision" and the two types of perception mentions for each group. In addition to analyzing Ibn Haytham's aesthetic views, this study investigates its application in architecture. The awareness of architects with the process of perception creates different perceptual levels for the audience and it cause his more interaction with the structure. On the other hand, effective the particular visible properties in aesthetics are generalizable in architecture and it helps the methodical analysis of visual perception.},  
Keywords = {Aesthetics, Process of visual perception, The particular visible properties, Ibn Haysam, Jame Mosque of Esfahan},
volume = {9},
Number = {3}, 
pages = {39-60}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.4},
url = {http://jria.iust.ac.ir/article-1-1243-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1243-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}

@article{ 
author = {ahangari, behzad and hoseini, seyyed rez},  
title = {Investigating the effect of Sassanid decorative motifs on the altar decorations of Jameh Mosque of Urmia}, 
abstract ={Sassanid art and especially its architecture which was influenced by the art of other ethnic groups and civilizations of its time showed many innovations in various fields, including the proper use of gypsum in the decoration of buildings. The Sassanid style of architecture provided a suitable platform for the expansion of arrays. The decorative motifs used in various buildings of the Sassanid period include plant, geometric, animal-human, and script motifs that were influenced and expanded during the Islamic period and influenced many other arts as well. The Jameh Mosque of Urmia, known as the jumʿah Mosque, was formed in different periods so that each part of it belongs to a specific period. The altar of the mosque is located in the dome chamber and has many decorative designs of various geometric and arabesque types; In addition to showing the characteristics of the stucco art of the Ilkhanate era, influences of its antecedent period, that is, Seljuk and the pre-Islamic period, especially the Sassanid period are observable. In addition to multiple decorative motifs and elegance used in this altar, the use of various scripts such as Kufic, Thuluth, and Reqa is also very important in influencing the audience. The purpose of this study is to identify the decorative arrays influenced by the decorative motifs related to Sassanid architecture in the altar of the Jameh Mosque of Urmia. Based on this, the following two questions have been raised: A- Are the motifs and arrays used in the decoration of the altar of the Jameh Mosque of Urmia are affected by the motifs of the Sassanid period? B- Which elements from the Sassanid period are included in the motifs adapted in the altar of the Jameh Mosque of Urmia? This research uses a descriptive-comparative method. A combined method (library and field) has been used to collect data. Data collection tools also include identity graph (ID Graph), photography and observation. To provide the possibility of comparison and matching, first, the information related to each of the decorative motifs of the altar of Jameh Mosque of Urmia and the motifs related to Sassanid architecture were classified separately, and then to analyze the existing motifs, tables were designed and the mentioned motifs were comparatively examined. The results of this study indicate that in the Islamic era, decorative motifs using the pre-Islamic heritage of Iranian art have been used. The results of this study indicate that the arrays used are influenced by the Sassanid period and the plant motifs in the stucco of the Sassanid period such as dragon's mouth-like and elephant's trunk-like in altar are in arabesque and khitan form and in the form of various arabesques such as dragon's mouth and elephant's trunk have evolved with many details. Similarly, Kufic and Thuluth scripts have also been used in the context of these motifs. Geometric motifs also show a more complex shape of geometric motifs of the Sassanid era. Circles and triangles have been frequently used. There are also motifs such as multi-petal flowers or florets with varying number of petal, hexagonal, octagonal and sixteen-petal that have been used in the decorative arrays of Ctesiphon Palace and Chal Tarkhan Rey stucco and kish's Elit Palace stucco belonging to the Sassanid period; In many cases, with modifications, they have been used in a way similar to the previous shapes and forms. In addition, the use of palm leaf motifs, spoon-like motifs, multi-petal flowers, and some motifs such as pomegranate flower motifs that have existed for a long time in Sassanid palaces, have been executed very easily in the columns of the altar. In addition, many plant motifs of the Sassanid period, such as grapevines, pomegranates, palms and acanthus leaves can be seen in combination with arabesque motifs in the altar of the mosque. Also, the leaves of multi-leafed palms, which cover the cornices in various shapes in the form of three, five or seven leaves in the Sassanid period, are used in the decoration of the altar inscriptions, in combination with the script, so that in some parts the three-leafed palm leaves appear in full shape. Elsewhere, a three-leafed palm leaf is halved and used as a two-leaf. Palm leaves, which are sometimes implemented in some cases as singular with smaller palm leaves; in the embossed stucco of kish's Elit Palace, it is shown that various decorations have been done on the leaves. This use of singular palm leaves can be seen in the altar stucco of the Jameh Mosque of Urmia on which geometric decorations have also been worked on them. Another point is that among the decorative motifs of the altar, the basic and the simple motif of Shah Abbasi flowers can be seen in the rib half-vault of the altar of the Jameh Mosque of Urmia, which is interesting in its kind.},  
Keywords = {Stucco, Altar, Jameh Mosque of Uremia, Decorative Motifs, Decorations with Sassanid Motifs},
volume = {9},
Number = {3}, 
pages = {61-80}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.3},
url = {http://jria.iust.ac.ir/article-1-1239-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1239-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}

@article{ 
author = {Motahar, Reza and Jalilisadrabad, Samaneh and Alizadeh, Rez},  
title = {Comparative comparison of New and Old Neighborhoods Based on Identity (Islamic-Iranian) in Urban Planning
(Case Study: Hakimieh and Narmak in Tehran)}, 
abstract ={Neighborhood identity means having a tendency and belonging to the neighborhood community. Continuation of urban life is the reason for the neighborhood`s importance in the social and psychological development of urban dwellers. Therefore, the neighborhood is the physical crystallization of the community, and its borders are the crystallization of the sanctuaries. The comparison shows that the past neighborhoods had a well-structured structure and strengthened the neighborhood identity, but the new neighborhoods first define the neighborhood`s structure with towers and apartments that have populated the population from all over Iran. The purpose of this study is to identify the criteria affecting the identity of neighborhoods according to current conditions and a comparative comparison between the old and new neighborhoods of Narmak and Hakimiyeh based on these criteria in order to promote Islamic identity. Findings show that the differences in the criteria of cognition and awareness, sense of belonging, satisfaction, independence, environmental suitability, religion, civilization, territory, and unity in these neighborhoods are significant and real. Due to the implementation of renovation projects in The Hakimiyeh, in terms of affecting the social structure and people's sense of belonging to the region and local identity, it has acted poorly, reducing social capital and people's sense of belonging to the place of residence. The Narmak, despite the changes that have taken place in its physical texture, and has been formed according to a codified urban plan, but the residents of this neighborhood still experience a relatively large sense of spatial identity. The difference between the criteria of readability, social interactions and culture in Hakimiyeh and Narmak neighborhoods with different physical and social characteristics is not signi_cant and real. Therefore, it can be said that the texture renovation project of The Hakimieh has had acceptable results in terms of structure and physics. Finally, was found that due to the significance level (sig) less than 0.05 and the upper and lower limits of these two neighborhoods with a 95% confidence level were found that the average score of neighborhood identity criteria in the old neighborhood of The Narmak more than the new neighborhood and New is Wisdom.},  
Keywords = {neighborhood identity, new and old neighborhoods, Hakimieh, Narmak},
volume = {9},
Number = {3}, 
pages = {81-114}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.6},
url = {http://jria.iust.ac.ir/article-1-1419-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1419-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}

@article{ 
author = {Maleki, MOHAMMADREZA and Bayzidi, Qader and Yoonessi, Ali and Charehjoo, Farzi},  
title = {Adaptive Study of Spirituality in the Interior of Past and Contemporary Mosques with a Neuroscience Approach
and EEG-VR Method}, 
abstract ={For centuries, architects have acknowledged the effects of the buildings in which we live, learn, work, and worship. How we feel, how we behave in these spaces, what energizing interactions within our bodies occur in these spaces, and our inspirations from these spaces, are very important today for architects and neuroscientists. The application of neuroscience, psychology, and architecture acquires a new trend called neuroarchitecture. This knowledge focuses on the design of architectural structures, humans, and seeks to design spaces with maximum efficiency and positive effects on space users. In this research, with the approach of neuroscience and with a combination of qualitative and quantitative research methods (correlation and laboratory) to the category of how to use architectural elements (such as light, geometry, color, materials, etc.) to evaluate the sense of spirituality in mosques (Dome) is addressed. The important point in this research is the use of neuroscience and laboratory tools in examining the emotions of users in space. The effect of the factors affecting the "feeling of spirituality" in the architectural space due to the changes in human brain signals is a matter between interdisciplinary and completely scientific and laboratory. The main purpose of neuroscience is to extract invisible information from the human brain. Therefore, no questions or questionnaires or interviews are taken from individuals, but information is extracted directly and without any intermediaries. At the beginning of the research by the descriptive method refers to the types of brain signals and brain functions and previous research will be done in the background. in the first phase, by selecting a mosque related to the past (Sheikh Lotfollah Mosque of Isfahan) and a contemporary mosque (Al-Jawad Mosque of Tehran), through expert questionnaire and ANP method and SuperDecision software to determine the order of effective architectural components The perception of spirituality in the interior of these two mosques has been discussed. Then, in the second phase, in order to diagnose the emotions of people in selected mosques, laboratory work was performed by EEG-VR method, which means simultaneous use of electroencephalography and virtual reality devices. The subjects included 24 people (12 men and 12 women). Then, the data obtained from the experiment in MATLAB software were analyzed and then, for interpretation of information and by inferential statistics, multiple regression analysis was performed to test the hypothesis. In the third phase, the results of the first and second phases are merged and discussed. At the end of the study, it was concluded that there is a significant relationship between how to use architectural elements (light, color, materials, geometry, etc.) and promote a sense of spirituality in the interior of mosques and the mosque belongs to the past (Sheikh Lotfollah ) Has a greater sense of spirituality among the subjects than the contemporary mosque (Al-Jawad). It was also found that the use of emerging neuroscience knowledge in architectural research and the use of medical tools such as electroencephalography as well as new virtual reality technology, can be very effective in discovering human emotions and feelings.},  
Keywords = {Sense of spirituality, mosque, neuroscience, electroencephalography, virtual reality},
volume = {9},
Number = {3}, 
pages = {115-130}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.7},
url = {http://jria.iust.ac.ir/article-1-1422-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1422-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}

@article{ 
author = {Zakeri, SeyedMohammadHossein and AshkaniEsfahani, Amirrez},  
title = {The role of intermediate space (Mian-dar) in solving Spatial Sequence, in Iranian historic Bathhouses of Fars province}, 
abstract ={Bathhouses (Garm-abeh) are beneficial and worth concerning public buildings in the history of Iranian Islamic architecture, which include excellent factors in each one of their spaces. Hierarchy is one of the most apparent qualities of these buildings, which is the main concern of this paper, introducing Mian-dar [middle corridor] as the space between Sar-bineh [cloakroom] (place for undressing, resting and conversing, located past the entrance and before the Garm-khaneh) and Garm-khane [hot chamber] (Main place where washing and massaging takes place), which brings this quality in such space. This research will dig into the secrets of architects that made this fact possible, which are studied in the scale of bath’s three main spaces (Sar-bine, Garmkhaneh and Mian-dar) and tools and methods they’ve used in anatomy of Mian-dar. Therefore, by gathering the information of all of Fars’ public baths from the Safavid to Pahlavi Period, researchers studied and analyzed mechanisms of hierarchy in Mian-dar and geometry and circulation in the main three parts of these public baths and their effects on this quality. Concerning this study and analysis on calculations and tables, this paper has found that there is a specific area proportion between Sar-bineh, Mian-dar and Garm-khaneh; The results also show, Corridor (Daalaan) is the main element used in Mian-dar of medium sized bathhouses, which is often U shaped and includes 2 to 4 turns inside itself. But in the large scaled bathhouses, corridors join forces with Vestibules (Hashti) which are halls to access other minor spaces; and in small bathhouses, architects on have only used walls and short turns in combining with corridors to separate two main bathhouses’ spaces, creating a sense of hierarchy.},  
Keywords = {Spatial Sequence, Iranian Bathhouses, Intermediate space, Geometry.},
volume = {9},
Number = {3}, 
pages = {131-148}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.9},
url = {http://jria.iust.ac.ir/article-1-795-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-795-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}

@article{ 
author = {taghdir, samaneh},  
title = {Rereading of Creation and Perception Process in Architectural Pieces, On the basis of Transcendent Wisdom}, 
abstract ={Cognition towards creation and perception process of architecture is an important and complicated subject of architectural realm. Despite numeral related researches of recent decades, some of the aspects of this subject are still unknown. Considering the fact that proper cognition of this process could create the groundwork of quality improvement in architectural pieces and will help to find solutions for many of the architects’ assumed problems, the issue of this research is about reviewing the structure of creation and perception process in architectural pieces on the basis of transcendent wisdom. In order to do this, the strategy of logical reasoning has been selected. At the first step of this research, an accurate description of human, existence and their aspects and capacities is defined, and then the interaction between human and existence and its refection on creation and perception process in architectural pieces is analyzed on the basis of transcendent wisdom as the theoretical foundation of this research. Since transcendent wisdom asserts on the fact that God created the human as himself when it got to the sense of creativity, and that the most perfect creation of God is the world of existence, this research will also review the creation process of the world, making a pattern to define the creation and perception process in architectural pieces in five steps. The main components of this structure include: the soul grade of architect and spectator, and their Appearance powers (vision, smell, hearing, taste, touch) and their internal powers (Hes-E-Moshtarak, Motesarefeh, Vahemeh, imagination, memory), Architectural categories (form, function, meaning, design & construction, tissue and cohesion, mood and will), and quadripartite needs of human (physical needs, psychical needs, rational needs, spiritual needs) Finally, Identifying the effective factors of this process on the quality of architectural pieces will lead to presented suggestions of this research which can improve the quality of this process. Results show that by considering the comprehensive foundations of Islamic thoughts as the theoretical foundation of Architectural researches will help to suggest solutions for complicated problems of architectural realm.},  
Keywords = {Human soul, Existence, Architectural Process, Creation, Perception, Transcendent Wisdom},
volume = {9},
Number = {3}, 
pages = {149-170}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.8},
url = {http://jria.iust.ac.ir/article-1-1439-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1439-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}

@article{ 
author = {Mohaghegh, Hamzeh and FallahZavareh, Zahra and Tarkashvand, Abbas and Faizi, Mohse},  
title = {Application of Islamic Geometric Patterns in Improving the Performance of Daylighting in Kinetic Façades}, 
abstract ={Today, the improvement of facades by means of technological tools has caused them to play a more active role in the relationship between inside and outside the building. One of these technological tools is the kinetic electromechanical device. numerous experimental efforts and researches have shown that moving (or kinetic) facade systems can establish a better interaction between inside and outside the building and by adjusting the environmental conditions, reduce their harmful role and increase the useful connection between inside and outside. one of the important issues in designing kinetic facades is their mechanism’s geometric shapes. This geometry, on the one hand, must be able to open and close, and on the other hand, must have aesthetic values. due to the systematic and mathematical nature in Islamic geometric patterns, they can be produced parametrically with new software and hardware. This indicates their possible use in kinetic facades. mobility in the facade (or its modules) requires the geometrical ability of its components to maintain its structure and continuity during transformation. The art of Origami is a useful tool to achieve this feature. Therefore, it seems that it is possible to turn an array of modules based on Islamic geometric patterns into a kinetic facade with the help of origami knowledge, which is transformed under certain conditions and a tool to optimize parameters related to the building performance by adjusting the internal and external connection. The facade of a building is associated with a set of factors. in this regard, it is said that the effect of natural light in shaping the shape of the building is very important. Accordingly, in this research, an attempt was made to extract the optimal geometry pattern and the appropriate origami stimulus angle by creating several origami patterns based on Islamic geometric patterns and adapting them to daylight at different times of the year. For this purpose, first, using quantitative mathematical tools, an algorithm was developed that could be used to create a wide range of Islamic geometric patterns. Then, in the next step, origami opening and closing modules were generated using these geometries as basic crease patterns. Next, three modules were selected to simulate daylight performance according to install them to the south façade of a room, and compared with three closed, medium and open modes, during the winter, summer and equinox. The comparison of these patterns was done by simulating the amount of light received in the software. The findings of this study include several main axes. First, the geometry of Islamic motifs can be reproduced by parametric patterns. second, these patterns can be transformed into three-dimensional folding structures. Also, the geometric model based on the 72-degree generating angle allows to receive the optimal amount of daylight.},  
Keywords = {Kinetic Façade - Islamic geometric patterns – Origami – Daylighting - Optimization},
volume = {9},
Number = {3}, 
pages = {171-191}, 
publisher = {Iran University of Science & Technology},

doi = {10.52547/jria.9.3.2},
url = {http://jria.iust.ac.ir/article-1-1187-en.html},  
eprint = {http://jria.iust.ac.ir/article-1-1187-en.pdf},  
journal = {Journal of Researches in Islamic Architecture},  
issn = {2382-980X}, 
eissn = {2382-980X}, 
year = {2021}  
}