Journal of Researches in Islamic Architecture

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One of the issues in theory field of architecture especially in Islamic architecture which has been considered in academic assemblies in recent decades is the field of symbolism and its different approaches. Basically symbolism is one of the important features of Islamic architecture, to the extent that some scholars in Islamic architecture believe that symbolism is necessary to fulfill this kind of architecture. This article deals with the problem of what is symbol and generally sign in Islamic architecture and consequently, how the symbolism can be implemented in Islamic architecture. The purpose of this article is explaining different approaches that Muslim architects used for symbolism in their works meanwhile with explaining the nature and characteristics of each of these approaches, lessons would be learned for future symbolism in Islamic architecture. To illustrate the problem of this article, a hybrid method consisting of logical-argumentation research and qualitative content analysis research is used meanwhile the method for gathering data in this research is documents studies. The theoretical foundation of this research is based on Islamic wisdom so the research results have enough competence for the application in Islamic architecture. According to these results, in addition to credit architectural landmarks, there are genetic signs which can be manifested in various architectural components such as geometry and form and symbolism in Islamic architecture requires attention to both these two types of signs. Using these two types of signs, two main approaches are available for symbolism in Islamic architecture which is inductive and deductive symbolism. The first approach is based on sensory tools while the second one is often based on rational and intuitive tools. In this paper, meanwhile these approaches are explained, several examples will be presented for each of them.

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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.