Fariba Alborzi, Navid Jahdi, Milad Fathi, Amir Hosein Yousefi,
Volume 8, Issue 4 (winter 2020 2021)
Abstract
Architecture is the product of different contexts؛ so, the way of dealing the builders of a building with the architectural elements, has different semantic and physical manifestations in different contexts, despite the similarity in general. As an example, the light in the Shia religion of Islam is a symbol of the divine essence and expression of existence and it has always been considered by Muslim architects. To the extent that the spatial perception of many buildings of this period, regardless of the semantic position of light, leads to an incomplete understanding of space. This is especially visible in the design of religious buildings in general and mosques in particular. The mosque, which is the manifestation of the most ideal religious ideas and the most complete symbol of Islamic architecture, has been the best place to observe and study the theoretical and practical connections of its builders. However, today, in the construction of mosques, the role of light has been reduced only as one of the climatic elements and only for the function of lighting. The semantic aspects of light as they existed in the past are no longer known. The premise of this research is that light has appeared in the architecture of Isfahan in the Safavi period by emphasizing the semantic principles of the art. So the aim of this study is investigation of the qualitative characteristics of the presence of light in the architecture of Sheikh Lotfollah Mosque in Isfahan. The statistical population of this research is the mosques of the Safavi period in Isfahan. Among them, three mosques of Sheikh Lotfollah, Hakim and Imam have been studied. The research method of this study is descriptive-analytical and case study. The required data for this research have been collected through field observations, photography and library studies and have been qualitatively analyzed. After a semantic study of the presence of light in Sheikh Lotfollah Mosque, a three-dimensional hierarchical system was identified. This structure includes three stages of separation, transfer and connection (pause, movement and emphasis) in the design of this building. A system that seeks to move from matter to spirituality, to move from darkness to light, to move from heaviness to light, and to move from the underworld to the world of divinity. The result is an all-spiritual space in which the presence of God is felt everywhere.
1 Hirad Hosseinian, 2 Jamaluddin Soheili, 3 Fariba Alborzi,
Volume 11, Issue 1 (3-2023)
Abstract
The process of figure structure and understanding message by the audience has a great value, as various visual elements such as point, line, level and volume can be affected on identifying this process. On one aspect, connection with human and its needs in architecture is determined, on the other hand, in some opinions and in relation to the architecture, set of available forces should be defined. Therefore, connection of this process has been linked with the principle of “geometry” and provides space integration as a creative composition. It is possible to obtain a productive structure based on set of rules, in lawful space of geometry in order to decompose complex shapes into a simple form. Where in Naqsh-e Jahan Square, which is one of masterpiece of Iranian architecture, these patterns are shown themselves in different history and periods. As far as, it has entered to the logical comparative phase, based on initial consequential analysis in the form of formation of the square with using logbooks and historical books and then with using geometric analysis of the square and turning this logic into a descriptive form which was in line with theories of Duran, Krier and Herdeg and based on principles such as integration, overlap, angular and rotational, in order to prepare a comprehensive principles for combining shapes toward a gradual evolution. Herdeg brings this overlap into the social classes from individuals to the clergy, which is a link between form and outlook of different stratums. In this research, it has been tried to winded up the effects of social and political principles on formation of the square with using classes such as individual, society and government and also with using visual tools that have been analyzed in this square in different times, and then by recognizing geometric principles between them and sharing with graphic geometry of each classes based on the combination of the complex and by answering to hypothesis such as: it is thought that evolution of Naqsh-e Jahan Square in various times has been due to overlap of geometry of the square with graphic geometry of each classes from individuals to the government, and, in order to prove a principle such as geometry as a basic principle in forming the square in various .times, because of assimilation of geometric quality of the space and connection of the classes.
