Journal of Researches in Islamic Architecture

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

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.

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.

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.

Proportions can be called a mathematical concept that creates a good relationship between the components of the work in architecture and likewise a sense of order among the parts of a visual composition in the audience. Proportions not only can can make building component arrengment regular but also it can it can create a sense of aesthetics. Traditional Iranian artists and architects have been interested in geometric proportions and divisions due to their hidden relationships, and have used these proportions in their works. The present study is an attempt to find traces of proportions in Iranian mosques as one of the most prominent elements in Islamic architecture, which has explored the height proportions of four-aisled mosques through descriptive, analytical and library and field studies. An attempt has been made to extract a height or a connection pattern between the components of each of the eight mosques so that a hierarchy of height design can be imagined. In the end, by examining the proportions and height patterns, it was found that in 8 analyzed samples, all the elevation elements of the research were obtained from the height of the courtyard facade and the shortest porch of the complex with golden and Islamic-Iranian proportions. In all the studied samples, the shortest porch of the complex with the height of the courtyard facade has proportions close to the Golden Ratio. In Goharshad, Zavareh, Isfahan and Imam Boroujerd mosques, there is a similar pattern in the view of the south porch, so that the height of this porch is almost twice the height of the courtyard view in these four mosques.

As a behavioral center, the mosque establishes a deep bond with its audience. This connection has been an inseparable part of the functioning of the mosque during many centuries from the creation of mosques until today. Several factors play a role in the behavioral and perceptual experiences of the audience in man-made spaces, including mosques, among these factors; Changes in form, variety of species and body in the structure of mosques are involved in the behavioral and spatial experiences of the audience. In the last decade, we can witness an increase in the formation of neighborhood mosques in the city of Qazvin, and most of these mosques lack vitality, dynamism, and the desired level of attendance of the audience and have simply turned into prayer rooms, this causes the inability to create a link between the space and the audience. The purpose of this research was to investigate the type of relationship between the shape-physical structure of mosques and its effect on the perception of the audience; As the type of geometry, proportions, accesses at the same level, classes and spatial hierarchies, create different perceptual and behavioral experiences for users. On the other hand, the diversity and adaptability of activities and perceptual interfaces affected by the body of mosques on the attendance rate of the audience in the mosque have been examined. The research method in this research is the use of two quantitative and qualitative methods in data collection: the data has been collected through activity reports, questionnaires and informal interviews, which is a comprehensive picture of case samples with characteristics related to quality and spatial configuration. The spaces of the investigated mosques provide the type of perception of the audience and the types of performance. According to the mentioned cases, it is possible to match the syntactic indicators of depth with the physical factors of architecture and use depth indicators to measure the control of arenas and the level of permeability in the mosque environment. Also, by referring to the metric depth in the drawings of the space and the data obtained from the space of the selected samples, it can be examined. In the analysis, the indicators of the depth of the space and the number of thresholds and the location of the middle spaces in the diagram and the percentage of their occupied area in relation to the whole building are used. Since the method of space syntax deals with physical factors in a form and only on one level (the possibility of analyzing the difference of levels is not possible with the method of space syntax), this causes the continuation of the research in order to investigate some physical factors and the relationship between perceptual and behavioral components. Correlation method and formulating a questionnaire should be used on the attendance rate. According to the previous explanations, 240 questionnaires were distributed among the audience of selected mosques, of which 217 questionnaires were completed by the users according to the sample size. Therefore, in mosques with a central courtyard structure, one can observe the variety and adaptability of desirable activities of users in the mosque environment. Limitations in the proportions and spatial distribution of contemporary mosques due to their class nature have caused the interference of arenas and the lack of variety of activity events and behavioral sequences in such mosques, the behavioral currents in the field of essential, optional and social activities have been separated into classes. He says that this leads to the lack of diversity and adaptability of activities in the environment of class mosques and the attendance rate in them decreases compared to the mosques in the central courtyard; The findings of the research indicate that the classification and physical components of architecture such as distribution and interconnection, depth, spatial connection, arrangement and communication of internal accesses on diversity, activity adaptability and also the type of perception of the audience according to the perceptual mediators (needs and preferences) with the duration of the stop and The attendance rate of mosque users creates a strong and direct connection.