Journal of Researches in Islamic Architecture

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A brief reflection on the various works of Iranian-Islamic architecture in different periods illustrates the fact that the Iranian artist's architects have always sought the order in elements, components, spaces and buildings, and in order to achieve this important, the method There were several varieties (Bemanian and Avis-Nasab, 2012: 72). One of these methods is the use of the qiblah axis in the architecture of the mosques. What is nowadays visible in the architecture of contemporary mosques is the absence of the creation of spirituality in space for the guidance of the qibla. In this research, by revising the way of applying the Qibla axis to mosques of different periods of Iranian-Islamic architecture, it is analyzed on the qualitative role of the qibla and the attainment of ways of presenting the qualitative aspects of the qibla. Therefore, the research seeks to answer the following questions:

• The research seeks to answer the following questions: What is the best pattern of movement path from the entrance to the qibla in mosques?
• And what is the hierarchy of movement from the entrance to the qibla based on the spatial organization in mosques?

Therefore, the purpose of the research is to explain the role of qibla in the design of traditional mosques in terms of orientation, entry into the building, and placement along the qibla, the dynamics of the axis of the axis, in order to provide the basis for designing and constructing contemporary mosques. Therefore, this research has been conducted in a descriptive-analytical manner and based on library-documentary studies. Also, using the flow pattern and the relationship between activities in 18 samples of Iranian-Islamic architectural style mosques, the pattern of the path of human movement from entrance to altar, as well as the degree of proximity of each space to the other space in this motorway, has been studied.
Considering the comparison of architectural criteria to emphasize the direction of qibla in mosques, the index of periods and styles of Iranian-Islamic architecture can be said in Khorasani style, due to the form of the mosque's nave, using two criteria for increasing the number of columns and The elongation of the length of the plan defined the direction of the qibla. Architects in the style of Razi and then in the Azeri style, had the most attention to Qibla, and used more criteria to emphasize the Qibla axis in designing mosques. In the Isfahan style, the elongation of the yard with the increase in the number of columns helps the prayer in understanding the axis of the qibla. It can also be seen that the criteria for increasing the number of columns, the construction of the dome in the direction of the Qibla and on the altar, the longitudinal elongation of the plan, have the most effect on the direction of the Qibla axis in the mosque building. By studying contemporary mosques, we will find that these mosques do not have apparent effects due to the lack of theoretical principles, and the mosque's plan does not emphasize the Qibla direction. For this reason, the architecture of contemporary mosques has no effect on the principles and appearance of the Qibla axis.
Historical overview of the evolution of mosques since the beginning of Islam, indicates that paying attention to Qibla direction has played a significant role in the spatial organization of mosques in Iran. Also, observance of the principle of dynastic movement and space axis in the construction of mosques, has strengthened the direction of qibla and guided man from the interior to the outside and created the integrity of the foundation. In this research, based on the descriptive-analytical method and using the flow pattern and the diagram of the relationship of activities, the pattern of the path of human movement from the entrance to the altar, as well as the degree of proximity of each space relative to the other space in this motorway , Through a structural study of 18 samples of Iranian-Islamic style architectural mosques. Six patterns of eight flow patterns were defined as the pattern of movement from entrance to qibla in mosques, as well as motor hierarchy and the arrangement of spaces from entrance to qibla, using the activity relation diagram. A single pattern was developed for arrangement of spaces between the time of arrival and the Qibla, including: Entrance, Porch, Vestibule, Courtyard, Verandah, Shabestan, Mehrab.
The architects of traditional mosques show their thoughts in the form of geometric shapes and spaces, in which the sense of confidentiality, sanctity, immortality, and clergy preserves the space of the mosques, At the time of entering, they have been converted to a humane, perfected human being by directing and observing the dynamics of movement. In the design of contemporary mosques, not only the emphasis on the center of the qibla, but also the sanctity, spirituality and Islamic identity of these buildings have been lost.
 

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Observance of moderation is one of the characteristics of Godchr('39')s creation. If a person claims to be the caliph of God, he should be characterized by divine attributes to the best of his ability, and human constructions, of which architecture is a part, should have this characteristic. In this study, to answer the question of how the relationship between moderation in the architecture of mosques by creating a sense of the presence of the heart in this space, by descriptive-analytical method, in the first step, the concept of Islam of moderation was introduced and intimacy was introduced as a criterion of moderation. How to attain the position of nearness to God was examined. In the next step, by examining the presence of the heart as one of the factors of proximity, a semi-structured interview in this regard, around the three systems that make up the place, namely the physical-spatial system, collective-behavioral system and perceptual-perceptual system, in three selected mosques Mosques of Tehran Bazaar area (Sepahsalar Mosque, Imam Mosque and Tehran Grand Bazaar Mosque). all three mosques had relatively the same conditions in terms of age, location, physical characteristics and community of clients. Then, by analyzing the content of the interviews, a questionnaire was developed for the reliability of the research from the extracted categories and tested in the wider statistical community in the mentioned mosques. Finally, the questionnaires were examined by SPSS 26 software and LISREL and a combination of two-sample T-test and confirmatory factor analysis. The results show that the environment of these mosques, in general, has a favorable effect on the presence of the heart in people, and in the meantime, Physical-spatial characteristics in the environment of the tested mosques, among all environmental systems, have the least positive effect on creating a sense of presence of the heart; The collective-behavioral characteristics are in the second place in this respect and the perceptual-receiving characteristics of the mosques under study have the most positive effect on the presence of heart in individuals. and accordingly, any of the environmental systems can be approached Imagined in moderation. Regarding each of the measures of the structure of environmental systems, the "elements in the space of mosques" under study can be considered as the most effective measure of the physical-spatial system in creating a sense of the presence of the heart; "How people act and how they relate to each other" in the mosques under study is the most effective measure of collective-behavioral system in creating the presence of the heart and "sense of belonging due to familiarity with the building blocks" is the most effective measure of perceptual system The heart is examined in the space of mosques.

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If we consider the main mission of architects to be "organizing the place of human life in the context of the environment", then understanding "man and the environment and the relationship between the two" will be the basis of their design decisions. This knowledge includes both areas of "beings and musts" that if it is based on "intellect and revelation", the resulting architectural principles can be rational and Islamic, and the architectural works based on it can also be called "Islamic architecture". So far, various views on Islamic architecture have been proposed, the origins of which can be categorized from two sides. On the one hand, Islamologists have moved towards the principles and principles of architecture by using Islamic sources, and on the other hand, architects and urban planners have left their specialized position in search of Islamic architectural principles by referring to these sources. This research begins with the aim of proposing a "unifying and efficient" structure to explain the relationship between "architecture and Islam" and seeks a comprehensive model for combining and composing the components of the two categories. Our question is, "How can Islamic teachings be used comprehensively and practically in architecture?" The direction of the research is that while explaining the two categories of "Islam and architecture" with the method of content analysis and logical reasoning, an attempt is made to compile the basic concepts of these two categories by modeling. The research findings indicate that Islamic teachings can be classified into three areas: "theoretical and practical wisdom and Additional wisdom". Architecture can also be explained from three perspectives: "systemic, philosophical, strategic", the common chapter of which is the four main pillars in architecture. The combination of these two categories (three fields of Islamic wisdom and four components of architecture) provides a good capacity to organize a "school of Islamic architecture". The result is a tabular structure with 40 cells, the content of which must be supplemented by the teachings of Islamic wisdom, and can be useful in "guiding Islamic architectural research." The result of the research will be to present a unifying model to the set of views in the form of a relatively comprehensive structure, which is one of the preconditions for the formation of the "Islamic-Iranian school of architecture" on the eve of the second step of the revolution.

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Beauty is related to experiencing beauty events, which has different beauty experiences among people due to different circumstances, however, understanding beauty is incredibly difficult. On one hand, the public agree that beauty is considered a value as far as its particular manifestations are pleasing, on the other hand, as it is worth studying, it is considered an educational issue. Moreover, as it is a living object of social development, it is also regarded as a cultural topic. An artistic work, whether a result of one's work or a product of the artistic innovation of a group, appears due to inspirations or advices of a society and necessarily resembles the color of society. Undoubtedly, features of artist's life and even his/her physical features are reflected in his/her artwork, but reflection is not direct, and indeed it can be recognized and measured after passing through filtering of society. The beauty of urban environment as a living space, experienced by a wide range of people every day, is one of transcendental needs of human and functions as a stimulus for his flourishing. Therefore, in forming and designing the environment, category of art and its relation to aesthetics is of high significance and becomes a valuable and purposeful phenomenon in the society. Although aesthetic values differ between various cultures and communities, if these values are in conflict with cultural issues of society, they will create rational, accepted, and emotional norms of society. In addition, considering undeniable relation of any designing and shaping human life environment, like designing environment with art and also the relation of this reformulations with spiritual concepts of beauty, the concept of "aesthetics" which is in fact basis of philosophical and theoretical designs, becomes of great importance. On the other hand, urban buildings and spaces as an identifier of Iranian cities, have been shaped under the influence of Iranian-Islamic artistic and thought patterns over many years and have provided opportunity for public cooperation and interactions and in present era, with evolution of architecture and urbanism, process of designing and creating urban spaces has declined and a defective role of national identity and Iranian-Islamic culture is manifested, which indeed, ignoring these issues in designing has led to lack of originality and validity of the design. Therefore, this study attempts to consider the mentioned importance and answer vital questions of " what is the theoretical position of fundamental aesthetic values in two views of the West and Iranian-Islamic world?! What is practical application of an overview of the fundamental aesthetic values in Islamic-Iranian architecture and urbanism?", Thus, the current paper investigates theoretical concept of fundamental aesthetics values, to identify Iranian-Islamic fundamental aesthetics values and explain functional status of fundamental aesthetic values in creating Islamic-Iranian architecture and urbanism as well. As this paper attempts to deepen fundamental aesthetic values in creating Islamic-Iranian architecture and urbanism, it is considered basic research. Since urbanization is an interdisciplinary field, subject of aesthetics can be examined in the humanities and school sciences (theoretical and practical wisdom) and in science (physical dimensions).
This research is developmental and functional in terms of purpose and approach (characteristics and nature of data) and qualitative nature and methods; it is a description of type of content analysis and in the section of theoretical framework is interrogative. The information is collected by generalizing to field of Iranian-Islamic architecture and urban planning with method of deductive reasoning seeks to explain basic values of aesthetics and provide a new classification appropriate to principles of creating Iranian-Islamic architecture and urban planning. The collection of data and qualitative information in this research is also using written scientific documentary sources and libraries in order to explain conceptual model of research.
In a general conclusion, it can be said that today in Iran, beauty is either imitated by Western models or there are many shortcomings in applying the principles of Iranian-Islamic aesthetics.
This is due to the lack of a true understanding of fundamental values of Islamic Iranian aesthetics.
Therefore, a suitable framework should be created for architects and urban planners, who can extract desired criteria by considering basic values of aesthetics. For this purpose, studies have been done in previous studies and theoretical basis to assess direct relationship of aesthetics factors. These factors show relationship between fundamental values of Iranian-Islamic aesthetics and types, criteria and sub-criteria of aesthetics. Therefore, findings of research on fundamental values of aesthetics in Islam include four main categories:
1. Reasonable aesthetics 2. Sensible 3. Reasonable based on sensible, and 4. Sensible based on reasonable. Furthermore, in order to evolve the fundamental values of aesthetics, types of aesthetics are needed, these include: 1. Logical values, 2. Meaning and codification values, 3. Aspirations and logical ideas respectively and 4. Emotional and moral contexts values. These values which are directly related to fundamental values of Iranian-Islamic aesthetics and Iranian-Islamic aesthetic criteria, are related to practical application of an overview of fundamental values of aesthetics in Iranian-Islamic architecture and urban planning. Since aesthetic criteria are basis for assessment, to identify and select t fundamental values of aesthetics, these criteria include; Harmony (purposefulness, proportionality, balance, order, symmetry, correspondence), meaningfulness and perception (spiritual influence, equation, contrast, free will, disinterestedness), absolute self-existence of God (hierarchy, unity, ideal of embodiment, concentration, harmony, peace, vicinity, sophistication), emotional pleasure (relationships between shapes and forms and colors, pure manifestation of emotions and feelings) and stability and identity (piety, inclusion, freedom, connection with past and future, emergence of nature) and are directly related to types of aesthetic values. Thus, architecture and urban projects can offer new patterns in terms of Iranian-Islamic culture and employ creativity of designers. This was done by creating a logical relationship between aesthetic values and application of values in theoretical field of architecture and urban project.

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Lack of attention to the philosophy of architecture as an intermediate science between general philosophy and architecture science has caused many researchers to link their research to philosophy without methodology. They introduce their research as the philosophy of Islamic architecture; While the philosophy of Islamic architecture is a kind of philosophy. The general philosophy merely provides its foundations; Therefore, not paying attention to the methodology and philosophy of architecture distorts the theoretical framework for the production of architectural science. Accordingly, the present study tries to introduce one of the methodologies of disciplines philosophy (observation theory) with a descriptive-analytical method and clarify the philosophy of Islamic architecture based on this theory. In this regard, the philosophy of architecture is introduced with two historical and logical approaches, each of which will be of two types: the first type is a philosophy that focuses on the production of architectural work and reality, and the second type is a philosophy that focuses on the science of architecture. Deals with the meaning of discipline knowledge Finally, there will be four types of philosophy of architecture. The discipline's philosophy of architecture has a significant role in producing Islamic architecture, which the present study introduces to achieve the proposed combined model (historical and logical).
 
 
 
 
 

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One of the biggest strategic harms and mistakes that a society may suffer is the mistake at the level of dreams and social horizons. In such a way that there is a contradiction and inconsistency between the dreams and ideas that are for a social structure, for example, the "ideal form of the city" and the dream and ideal that is chosen for the whole social life and society is formed around it. The more society tries and spends for that heterogeneous structure, the more it becomes practically incapable and far from its goals and ideals. Therefore, this article, by depicting the favorable future situation of cities, has tried to direct the wishes and dreams of citizens and city managers about the city (and in principle society and life) and according to public acceptances and norms, which is interpreted as culture. To draw and achieve a better future and show that in contrast to the current style of urban planning in the country, which is influenced by the modernist model of the West, one can think of values such as "productive home", "constructive and thoughtful interaction with nature", " Brotherhood-based social system, "land price reduction", "spatial justice and the elimination of segregation", "family-based planning", "large housings", "mosque-led planning" and "neighborhood scale ". The idea of "Zistshahr" (livable city) is an attempt to achieve these values. This proposed model is presented in the form of bio-living complexes and according to the components of indigenous styles as well as the desirability and teachings of Iranian-Islamic culture. The design of the Zistshahr is an attempt to redefine the pattern of construction in newly established towns and settlements, so that it includes a large and productive residential units and provides other urban services in a way that, in addition to provide the needs, empowers families and the provides possibility of formation of the environment by the residents.
However, the realization of this idea requires feasibility studies. The four main issues around which feasibility studies are conducted are: the issue of land and its scarcity, the issue of water and energy supply, the issue of construction costs, and finally the issue of legal capacity.
Findings show that in terms of land supply, the idea of Zistshahr can accommodate a population equivalent to the entire country in an area of about 2% of the area of Iran. In terms of water and energy supply, there are solutions for sustainable urban design, which are explained in the article. Technical and executive costs will be equal to the Mehr housing projects (governmental housing projects in Iran in 2010s) for each residential unit with the help of the stages of construction, the use of more appropriate construction patterns and the use of participatory architecture, with the difference that the total area of the arena and lords of each unit in the city is about 5 to 15 times larger than Mehr housing units and with the help of mechanisms to eliminate and reduce land prices (similar to the methods used in Mehr housing and land supply model in the industrial towns experiences in Iran in 1980s), the design of the Zistshahr model can be more economical, sustainable and more logical than common patterns in urban planning in Iran. In addition to reforming the pattern of newly established cities and towns, it provides a platform for reverse migration to villages and solving the problem of imbalance and centralism in land management, and also plays a role as a driving force for reforming existing cities and villages.

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In specialized topics of aesthetics, structure and function, the buildings of Islamic architecture in Iran during certain periods, show the strong presence
of intellectual sciences such as mathematics. The use of geometry as a part of the science of numerical mathematics, which in its intellectual position has
complex calculations, indicates the connection of Islamic architects with the mathematicians of their time. According to the available books and written documents, the architect's personal reference to complex mathematical books in terms of numerical application is a subject that has been seen in lesser power. Accordingly, in this article, the educational relationship between architects and Islamic mathematicians has been examined. Geometry in its numerical position can not be transferred to the architectural structure, and this must be transferred to a specific geometric process in terms of action. How to connect the mathematics of Islamic theology and architecture about geometry, and of a special theoretical or practical type that can be used in the field of architecture is the basic question of research. How Islamic architects have understood theoretical and practical geometry from mathematicians and have applied it in architecture. In this regard, in the present study, the author has examined the research and analysis operations by identifying the fourth to eleventh AH due to the presence of prestigious Islamic mathematicians as well as glorious Islamic architecture from a geometrically known point of view. The study of analysis on manuscripts is very valid in scientific centers. These manuscripts have been analyzed by architecture in the form of face-to-face research and academic communication in the preparation of scanned images. The manuscripts belong to Islamic scholars including Buzjani, Farabi, Ibn Sina, Akhavan al-Safa, and Jamshid Kashani. In order to study geometry in the theories of Islamic mathematicians and to obtain basic information about geometry and mathematics, the deductive method has been used in research, and the contextualist approach has been used in the discussion of historical issues of architecture and knowledge topics of geometry. The research findings show the decision of Islamic mathematicians based on the issues of Islamic belief and thought to meet the practical needs in Islamic society and beyond. Islamic architects are also among the most important learners in the field of building architecture and related matters in terms of geometry. These topics are in the form of converting numerical mathematics into theoretical geometry in its quantitative and qualitative dimensions and practical geometry to achieve practical cases in providing applied geometry for educating architects. These teachings, due to their complexity and the fact that they belong to the mathematical field of equivalence, required face-to-face educational communication. This issue is called the meetings of artists between Islamic mathematicians and architects according to its own process.
In order to understand the knowledge of geometry by architectural experts in the period from the fourth to the eleventh AH, a subject has been created by Islamic mathematicians of that time that may have existed in previous centuries. This is the subject of communication classes created by Islamic mathematicians.
They tried to improve jobs in various fields. In the field of architects, this issue is called Artistics Meeting. Meetings in which Islamic mathematicians, with their vast knowledge and perception, have applied theoretical knowledge to the profession and minds of artists. The method of calculating geometry

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