Journal of Researches in Islamic Architecture

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When architecture is discussed in the land of Iran, architecture is created as a container and context of life for human beings where the Spirit of God is blown in his (her) (Surah Al-Hijr - Verse 29), his existence is not limited to material needs, but he is a creature with different existential levels. It derives from the material needs such as eating and sleeping, and need for shelter, which arise from the material levels of human existence to the psychological needs that embrace a range of needs from security to belonging and levels of spirituality of human existence with its characteristics and needs in which the essence and basic instinct of humans lies. Iran is a country with long-standing architectural value. Experts have long a consensus on the preservation, restoration and rehabilitation of Iran’s past values to preserve cultural values representing the national identity. Identification of the past noble values and adopting the most important one in observing criteria in accordance with the circumstances of time and place of today's society is considered the main problem. In this regard, we should try to recognize the Iranian - Islamic architectural values and reflect them to young professionals who are somehow involved in this issue. Today, it is tried to convey ideas and thoughts to others in the form of desired concepts and ideas using the meaning language which is indirect.
In the meantime, valuable Iranian Islamic architecture, due to its comprehensive functionality as well as permanent and enduring presence in our culture, is considered more than before. Because maintaining Iranian – Islamic values and identity is one of the requirements, modern designers are obliged to think deeply about traditional architectural values and standards to get rid of the imitation and create a design in accordance with modern human expectations based on Islamic law. In this regard, architecture, due to direct contact with human life, plays an important role in strengthening or weakening culture and identity in the face of globalization, for all the people are associated with the architecture and their behaviors are shaped in these buildings. The importance and necessity of this issue, in challenging designers to think about the different aspects of the past architecture and special attention to the ancient fundamental values, is to enrich the design quality. The study has a qualitative and quantitative research method, because it used desk and field study to gather information. Its qualitative nature was created with research studies and literature review and its quantitative nature was shaped by choosing statistical population and preparing a questionnaire for the analysis. 
The identification of the past architectural values and selecting the most essential of them are considered as the main issue in the observance of the scales matching with the temporal and spatial conditions of the today’s society. Efforts have to be constantly made for recognizing the Iranian-Islamic architectural values and reflecting them to the young experts who are somehow involved in this issue. The present piece of writing has been compiled based on a qualitative and quantitative method and the study has been conducted based on a survey method; the study is fundamental in terms of objectives. It is posited based on the selection of a process of the qualitative-descriptive type and its investigation based on a quantitative method that “there is observed a significant relationship between meaning and contextual elements of architecture”. It might have been quite common in the past architecture, especially in the Islamic Era’s architecture, that the manifestations and embodiments of the concepts stemming from the society’s culture were manifested most beautifully in the architectural works hence more readily identifiable. Moreover, the principles that are dealt with in the resources are different in terms of prioritization and valuation; thus, experts’ notions have been used in this area to quantitatively discover these topics using survey methods. At first, in order to achieve sublimity in architecture through seeking assistance from the honorable Surah Hashr, ĀYA 23, and comparing it with the valuable architectural principles, it has been descriptively investigated and extracted and 15 professors were subsequently asked to confirm this information. Next, a questionnaire was codified and, in order to select a study sample volume comprised of the experts, including the professors and students of post-graduate education in state and national universities of the country, five universities were selected that included 120 individuals in total and, excluding the imperfect questionnaires, 100 questionnaires were finally attained. The data were analyzed in SPSS software, version 21, using statistical tests (one-sample t-test, two-sample test, ANOVA test and Friedman test); the results have been offered in two descriptive and inferential methods. The results indicate that there is a significant relationship between the indicators of the concepts and the contextual elements in architectures. Furthermore, factors like semantic, climatic, structural and eventually technological indicators were respectively found with the highest degree of importance.

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Around the controversial subject of Seljuq architecture in Iran, the dominion of such a style in Islamic architecture, not only following the stereotype of "Razi Style"; which was proposed by Prinya, but also includes various irrelevant architectural axis. Further, considering various schools in Islamic architecture like Khurasani, Razi, Azari, and Isfahani, does not match the existence architectural specimens. Although in his book titled “The Architecture of Islamic Iran: The Seljuk Period”, G. Hatam, tried to develop a new attitude towards Seljuk architecture in Iran, his conclusion was a reflection of previous studies in another language, focusing on describing plans and decorations; while, the architectural revolutions of structural developments were not considered. On the other hand, Hillenbrand’s classification of tower tombs and dome chamber do not suffice to clarify tangible boundaries between different regions of Iran. By analyzing architectural revolutions of Iran after Arab invaders, it can be concluded that the political stability was one of the main factors of Seljuq dominion in which for the first time after Sassanid extinction, art and architecture had reached to considerable success. Although Seljuq architecture in Iran has been assumed as a follower of Sassanid architecture style, but the formation of Seljuq dynasty in Northeast Iran territories, the gradual transition of monarchy to west and the selection of Isfahan, as the last powerful capital of Iran during 5th and 6th centuries caused distinguish architectural movements in various parts of Iran which clarifying distinctive feature of that has always been underestimated. According to the historical context, Seljuks were the first dynasty which had expanded their boundaries through Minor Asia and Anatolia for the first time. Hence, by the first half of 11th century, an unprecedented wave of Turkic groups turned to the Northwestern Iran near the Byzantine borders. In other words, the domination of Byzantine world and conquering Anatolians were not possible without having this point of Iran. It's not exaggeration if we consider here (Azerbaijan) as the collection of tombs; since, here is the frontier of Sunnis Muslim to meet the non-Muslim region Anatolia, where conflicts were in its peak. Hence, Azerbaijan was the garrison of Muslims and the presence of memorial buildings was for commemorating the ones killed in “Jihad” (The Holy War) to motivate the others to get involved in the war. So, a building as a mausoleum must be the best reflection of this desire. In this way, the distribution of tombs is considerably prominent from Northeast to the Northwest of Iran. If we titled the Northeast-Northwest axis as the axis of “Military Affairs” of Seljuk court with its powerful architecture focused on the tombs, central Iran would be the “political-religious” axis of Seljuk. Undoubtedly, the high security level of central Iran and the position of populated political cities like Isfahan, the construction of mosques, especially dome chamber shaped the framework of religious architecture there. According to the results, authors have proposed two distinguishable axes for the structure of the domes during Seljuk era. One starts from the most northeastern point of Iran and ends to the most northwestern point of Iran. Emphasizing on double layer domes with conical and pyramid shape and pointed domes in the structures like Lajim Tower, Resget Tower, Chehel Dokhtaran Tower, Radkan Tower in northeastern Iran and Mumina Khatun, Yusif-ibn-Gosair and Gonbad-e-Surkh in northwestern Iran. the outer layer of the latter has reached its maximum height to preserve the structure against its pulverous climate, guarantying the stability of the structure by channeling the forces in a more vertical angle. This axis is in connection with the other one where it starts from Kharragan’s towers and continues its direction to the central Iran in the structures. The character of this axis mainly includes double shield pointed domes whose interval is not considerable compared with the northeast-northwest axis. one important fact about northwestern Iran′s Seljuk structure is the technique of strengthening the join point where two walls meet. Taking the advantages of circular buttresses where tension could damage the whole structure gives one important character to these buildings i.e. the possibility of higher structures by decreasing the width of the wall.    
Considering climatic variations, technical characteristics of different areas as well as the architectural necessities depended on social-political conditions, two different axis including Northeast-Northwest axis with the centrality of Tomb and the central axis which is the “political-religious” axis of Seljuk's emphasizing on dome chamber, would deform the stereotype of "Razi Architectural style" in Iran. From this point of view, spotlighting the architectural technology of Tombs and dome chamber during Seljuk period in Iran would reviews the unity of Seljuk architecture and shed new lights towards Iranian architecture.
Since there has been no critical review about what is known as "The Iranian Stylistics of Architecture" which is proposed half a century before by Pirniya, this project would be the pioneer in this filed.

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The concept of contentment derived from the content is one of the names of Allah that in Islamic foundations has been emphasized. The traditional man, relying on these bases, to illustrate the divine names, he has tried in different aspects of his life. Architecture is one of the areas which these names appear in it and from a variety of architectures; the house provides the most possible for these traits to a Muslim. Accordingly, the present study sought to analyze the manifestation of the concept of contentment in the architecture of Iranian traditional houses. The results of this analysis can be used as doctrines for application in contemporary architecture. The research process is carried out as follows which after the terminology of this concept in literature and extracting synonyms and opposites with it these meanings are discussed in various Islamic texts including Quran verses, hadiths, infallible traditions (AS) and their interpretations. On the other hand, in the specialized literature of architecture, this issue is being examined and the issues that have been mentioned in this topic are extracted. Then, by analyzing and categorizing the findings, the principles related to contentment, which are feasible in architecture, are extracted. Due to the lack of specialized resources in relation to the various methods of presentation of the principles obtained, from the point of view of experts and architects also used for this purpose. Finally, after extracting the parameters related to each principle the depiction of the obtained items in the Mortaz House collection is analyzed as a case study. The results of the research showed that the concept of contentment in the architecture of Iranian traditional homes is based on four principles of Avoidance of futility, self-affirmation, moderation, and Rule of no injury.

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In a general glance, vernacular knowledge is part of the national capital which embraces beliefs, values and knowing of each nation. It can be considered as a set of natural, cultural, traditional and social conditions of a region that includes a wide range of cultural, climatic, artistic, literary features… of a human community. Ancient history of Iranian architecture has created a large collection of criteria and designing methods of vernacular form and physic that is shaped by geographical, cultural and livelihood variables. Recognition of region, vernacular architecture, form, semantic and functional commonality of these factors can create a powerful background for the current architecture, because one of the most important issues in the habitats of human societies is looking to the local problems of that land and without considering the vernacular issues and quantity and quality of social, cultural, political, economic and climatic issues of every region and land, planning will face with unresolved challenges. At the other hand, according to the experts, today a serious crisis has struck our architecture, along this, it is constantly discussed that vernacular architecture has not come up with such crisis. Hence, it seems that, for explaining the form in Iran›s contemporary architecture, it has to go further and assessing it in the vernacular architecture in order to grasp correct understanding of it in the present. Vernacular architecture is the basis for the importance of the cultural and social values of any society that must be recognized for the globalization of each nation, because the values of architecture and society culture begin from the basis of its vernacular architecture and also the vernacular-style approach to architecture requires understanding of vernacular knowledge and environmental conditions because architecture in vernacular-bed is the result of adaptation to culture and climatic. It is clear that vernacular architecture has deep relation with region so, by referring to, we can achieve the influential factors of it. On the other hand, architecture consist of different parts, which the discussion of the form is one of them. So, for survey the crisis in the architecture, different parts can be distinguished and survey them separately, in this research, the form of building and the factors influencing it in residential vernacular architecture are examined. It should be noted that the designer›s artisans on the factors influencing building design have a prerequisite for the correct intervention. With these interpretations, the main problem of the research is that how the form is associated with the roots of vernacular and the question that arises is that what factors of the region and consequently vernacular architecture affected on the form? And the form by what particular factors was largely determined? this impacts How and to what extent is? To get the answer, in the theoretical part, with qualitative approach and library and using the analytical-descriptive method, theoretical framework represented. Also, in practical section, by providing a questionnaire and interviewing the person with the opinion and case studies, the mentioned theoretical framework in relation to houses in a cold and, mountainous climatic is evaluated by SPSS statistical test. The questionnaire contains questions from the indices of the vernacular in the fourth tables on vernacular architecture forms which has been studied in the west of the country. The statistical population of this research consist of 25 faculty members, that the reason for this choice is their familiarity with the subject. University professor with their scientific knowledge have the greatest influence in this research.
Eventually, the findings are analyzed by using logical reasoning in relation with the theoretical framework that discussed in this research and it will be determined which factor (s) will have the most impact on the vernacular architecture. By accomplishing this research and achieving its results, the contribution of different parts and concepts affecting the form of vernacular architecture was revealed more than ever. The result of this research confirm that finding out the factors associated with the form in vernacular architecture depends on the recognition of the content elements and the various aspects involved in vernacular architecture that these funds were studied in various cultural, social, economic, climatic and other fields. According to the experts, the result show that the index of beliefs (culture-religion) with the highest average (3.82) is the first priority, and the index of physical principles of construction (material-technique) with the lowest average (3.44) also is the last priority and in general in order of importance, all the main indicators; beliefs, welfare factors, geography of the place and physical principles of construction have favorable conditions in terms of impact in the form of residential buildings.
 

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Mosques have been the oldest, most important and uncompetitive religious element of Iranian cities. Unfortunately, mosque formation patterns and principles and symbolic perception, have been forgotten recently, especially at neighborhood mosques level. recovery of Iranian-Islamic architectural and urbanization identity is main responsibility of architects and urban planners, and this is the main object of current research. We will look forward achieving these goals by field survey and local condition analysis of cultural, social and even economical needs of social classes of these locals. Also, considering determined goal, research looks for its answer, can be   stated as following: whether value systems of different social classes of local habitants influences belonging sense among these neighborhood mosques. In the current research, the influence of sensory perception models have been investigated on the sense of belonging to place at Qazvin city by survey method. And also after specifying models and components of sensory perception, evaluating criteria effective on increasing belonging sense to mosque, extracted, then questionnaire prepared based on Likert spectrum by Structural Equation Modeling (SEM), which it analyzed the relations among variables and their impact amount on Haft-Darb mosque as an old texture and Javad Al-aemah as a new texture. research findings, shows a meaningful relationship among the components of sensory perception and the sense of belonging to place at neighborhood mosques, which in it the impact of cultural indicators and social system in the neighborhood is more than other indicators. Also regarding sensory patterns in designing mosques forming elements, promotes satisfaction sense which this leads to creating and strengthening of adaptive sensory architectural patterns in religious places. As a result, it is suggested to pay special attention to residents complementary role at mosques designing, because this matter cause more adaptability about neighborhood mosques architectural patterns. Also, recreating the sensory patterns of Iranian-Islamic architecture of mosques undoubtedly plays a vital and significant role in developing and deepening religious values, cultural, social and economic relations and also increases the motivation of worshipers to continue attending neighborhood mosques.

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So far, many scholars have spoken of mathematical and architectural mergers. Different perspectives in this regard suggest that there are two general approaches paraphrastic and historians in most of these studies. But what has not been said about this aspect is common mental practices in mathematical science and architecture knowledge that affects the work of mathematicians and past architects. Therefore, one can ask the question that «the presence and continuity of mathematics in the past architecture is due to the mental state of the architects?» The approach of the present article is based on the historical interpretation of documentary evidence, which, in the form of past texts and science databases, Investigates a procedure in the relation between the science of «mathematics» and the «architecture», in order to explain the mental structures among the activists of the two domains by examining the mathematical meaning of the past in the sciences on the one hand and the position of architectural knowledge with the predecessors of the other. The results of the research show that a special procedure of mathematics called the «algorithm» can be identified, which has been the cause of the mathematicians of the past, and has led to the birth of «cultural mathematics» in this context.

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Perceived time can have a significant impact on vital responses to daily activities and behaviors. Studies have shown that the surrounding environment can also affect human perception from time, place or event. The purpose of this study is to investigate the interrelationship between the environment and, more specifically, the architecture and the time perception of individuals. Also, the study of the genders effect, which has been reported in many studies as one of the parameters that affected from the environment and also influencing factors in time perception, has been studied. The research method is causal-comparative. One hundred participants, from available students of different faculties of the Tabriz Islamic Art University, participated in two separate computer experiments. Visual stimuli were architectural images selected with two independent factors of complexity in two levels and the background familiarity of the participants with two levels. Two standard time reproduction tests with a millisecond interval and a time production test of one hundred and twenty seconds simultaneously were utilized in prospective time estimation approach with four visual stimuli. The results analyzed by repeated measures of multivariate analysis and successive LSD test of main effect size. The findings show that individuals judge complicated images significantly longer than simple images. In addition, between factors analysis on the effect of simple and complex images between two sex groups, showed a significant difference. The results obtained in the field of time production and reproduction compared and interpreted with the internal clock, attentional gate and neural coding efficiency theories. Correspondences of findings were more with Eagleman›s neural coding efficiency model in respect of effect of complexity factor on time perception. While the findings on the between factor effect of the gender on the perceived duration, are more consistent with internal clock model. In the end, this study showed and emphasized the necessity to repeat this kind of interdisciplinary studies with more ecological approaches and stimuli closer to real environments to achieve more accurate theoretical framework and findings that are more practical






 

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In this study emptiness is considered as a transcendental and effective concept that appears in the form and content of things. What is seen as internally present in an entity is existent in the first instance because of the external presence of its opposite. The entity and its opposite are intertwined through the principle of inverse correspondence, a higher level of accord that emerges from the disposition of asymmetrical qualities. this symmetrical, yet reversed, reciprocity is the logic of ‘‘is and yet is not’’ and that of ‘‘simultaneity, and biconditionality, of opposites without their higher synthesis.
Emptiness is often understood as nonexistence, a void that is symptomatic of a predominant fixation on objects. In contrast emptiness is neither nothing nor the suffocating void of limitless expansion in which things are at best desolately scattered. Rather, it is the ultimate foundation of reality that transcends ideas of ‘‘being’’ and ‘‘non-being.’’ Subsequently, what is operating in emptiness is a double negation: the negation of being, which leads to nonbeing, and the negation of nonbeing.  Existential Identity depends on the dialectical relationship of that thing with its opposites. The identity of a being is determined not by what is believed to be existent within itself but by its dialectical relationship with the opposite, like the moment in which one finds one’s self to be the being of warmth in reference to coldness enveloping and penetrating the body.
Ignoring Emptiness and empty space caused intensifying the focus of designers and architects on the full space and this has increased the contemporary architecture crisis. this study aims to take advantage of the values of the vernacular architecture of Iran and its continuity. It relies on the theory of empty space and the opposite pairs, as the first pillar of creating empty space. Answers to this question: what is the role of empty space in the vernacular Yazd houses in semantic dimension?
 This study aimed to clarify the role of this concept in the vernacular architecture of Iran by understanding the meaning of emptiness. and evaluating selected houses as a case study. This research has been done in qualitative research and data is collected by observation and study of written documents.
The emergence of empty concept coincides with two elements or opposite qualities in such a way that the two opposites are interconnected without diminishing one another. Based on theoretical findings, the expression of the empty concept is conditional on the existence of three pillars: The first: the contradiction, the second: interaction, the third: balance and unity.
Based on the theoretical findings, expression of emptiness concept has three main pillars. Firstly: the contradiction (Coexistence of two opposing elements), secondly: the interaction of two opposites, thirdly: balance and unity. Since the emptiness operates as the foundational principle in traditional genres of architecture in Asia suchas Iran, the process of integrating the three pillars extracted from theoretical foundations were evaluated and analyzed in five vernacular houses of Yazd. In the phenomenological study of five houses in Yazd as a case study houses were investigated in three aspects: shape - body, functional, semantic. This article focuses on semantic aspect.
The findings depict that the emptiness as a transcendental concept is the result of the process of opposite elements and their interactions and the development of the unity of opposites. According this study, the philosophy of emptiness has manifested in the form of the dialectic of opposites. this study has brought one’s attention to the arrangement of contrasting qualities in the yazd houses such as the crossing and peresence inside and outside.
The architect of an Iranian traditional house positions things of spiritual character in such a way that they create a coordinated balance between forces. In this fashion, the house ‘‘brings into special focus the underlying relatedness of things, the mutuality which exists in spite of differences between outside and inside, great and small, and observer and observed.
Vernacular architects had understood the necessity of companionship of opposing pairs and their dialectical as an essential element of empty concept. They have considered interactive opposite qualities such as darkness and light, outside and inside, male and female, silence and talk, simplicity and complexity, uniformityand variety. The results of the research show that empty space plays a major role in the vernacular architecture of Iran. The empty spaces are more focused and authentic and solid spaces take their identity and credit from empty and void spaces.
 

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Islamic Architecture is a main course in undergraduate Architectural program of Iran which is essentially a historical as well as theoretical one that makes its applicability so rare in design studios while Islamization has been a main goal of recent architectural policies of Iran. It has been a main concern of scholars in the field of architectural education and in this article some proposed approaches to make theoretical and historical data about architecture applicable for design studio are reviewed.
Two main routes are taken for such an application: 1. Architectural institutional approaches are those plans that try to explore structuralistic components of historical building. For example defining their formal order, spatial arrangement and or analyzing its language of motifs in such a way that could not easily accused to copying from old building; these approaches do not widely enter into cultural debates or religion-based issues unless rare subjects as anti-illustrational view in Islam or bold symbols such as Ka’beh . 2. Ex- Architectural institutional approaches are those that concentrate on the human life of the historical buildings. Behavioral researches and vernacular researches are common studies of this kind. These approaches are somehow based on the hypothesis of continuity of at least a few human characteristics during the history. These approaches suffer from theoretical support as well as social acceptability even between scholars of architecture or humanities.
After a review of role of historical precedents in design studies, various approaches taken towards applicability of the course of Islamic architecture (along with some other historical courses in architectural education program of Iranian schools) for design activities in two recent decades are studied. They are formulized within three main branches: 1. Conceptual continuity: scholars of this vision try to find or construct a context for continuing traditional patterns in current time. For such an application their strategy is to emphasize on symbols instead of architectural pure forms so that they could bond it to social long-life norms. Another strategy of them is to identify timeless combinations of form and idea or architectural concept. Courtyard is one of these concepts which is seen as crystallization of spiritual presence at the heat of the building. Although this approach has not yet been successfully used for the course of Islamic architecture it is routinely used for the other course (theoretical basics of architecture). A main barrier for its applicability for design studio is the lack of aspects that could be continued.
2. principal-based approach refers to those ways that believe in existence of some “abstract” humane basics that are fixed throughout time and space. Although its continuity varies through scholar views. Some as Pirnia define five or seven parameters that are specified to Iran not all Islamic regions. But some others proposed global principals for Islamic architecture. Nader Ardalan or Khalil Pirani are two of such scholars. While these principals have not yet empirically approved at least from users point of view it is a main conflict for their educational apply in design studio. From instructor point of view, they have secondary problem of claims of students. Because an abstract principal could be widely interpreted in such a way that any architectural form would be claimed to be based on such principals. 3. Empiricism refers to comparing physical and practical aspects of buildings detached from their historical context. Climatic characters as well as spatial orders are usual themes of this approach. But it is questionable that if mapping or sketching from buildings are useful ways for understanding life of a building to apply its understandings into new designs. Some schools of architecture encourage their students to use formal patterns of historical buildings for free form inspiration. In this way cultural heritage is considered as a consuming source a low-rated thing. Moral problems of this approach for cultural basics of the society should be taken into account.
The main problem with these approaches as anti-historicism or anti-Islamisism. Here the problem of Islam is taken into account as the main subject of the debate. So a new proposal is offered that can be called as “Islamic Critical View” that criticizes works of architecture from the view of its compatibility with Islamic norms. Main feature of this proposed approach is that it takes stability of moral and values of Islamic Tradition of Holy Prophet and Imam’s as its criteria for evaluating historical changes in architectural form. These changes then are put in critical debate in class sessions without any pre-assumption to consider whether they can be supposed as Islamic solutions or not.  So any historical building is an object that has valuable aspects but not made sacred for its history. Since the measure of criticism is put within Islam itself it is less morally harmful for valued heritage. Here high cultural bases are saved and minor cultural themes are weighed against it.

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Science there is unique qualities in Persian architecture which properly meet the hierarchical various needs of human beings as well as it can be reproduced as an examined pattern in today architecture, it is always a matter of question and reflection.
(Persian architecture is always a matter of question and reflection because it properly meets the hierarchical various needs of human beings, also can be reproduced as an examined pattern in today architecture. ???)
 
This is doubly important in the case of sacred spaces in Iran, which have always represented the pinnacle of the art of designing form and space in Persian architecture and today face challenges of nature and identity. Meanwhile, there is a variety of approaches to identify what researchers were interested in and sought out in the buildings of past Persian architecture; including: The formal investigation of the historic buildings, the recognition of the context conditions and the period of time in which architectural works influenced by political, economic and social affairs were built in the historical context, as well as the profound effects of geographical and climatic factors on the structure of buildings. Some others have also introduced the entanglement approach to the cultural manifestations of every people, including Iranians. By studying and recognizing literature, poetry and fine arts, which touches the lives of human beings, they study architectural works in this field. They consider understanding each one without the other, to be incomplete, inadequate, and impossible. This study, based on this hypothesis that what was produced by the Iranian artist, certainly has a form of embodiment of the imaginary forms of the mind-maker and the experience of every place simultaneously is a mental and physical experience, by asking about the concept of imaginary and metaphoric concepts in art and architecture, based on interpretivism philosophical basis and qualitative approach to research, by using the research design of discourse analysis and descriptive-analytic research method, tries to answering the questions of the research. The results of the discussion show that the imaginary forms and metaphorical meanings in construction of the mosque and the shrine of Sheikh Abdul Samad in Natanz can be classified in four respects: 1. Imaginary location of the building and its relation to the time; architects of both two buildings, in their eternal vision of time, have taken a position for two buildings which brings immortality to the mind. The collection is conveniently located in such a way that sustainability of the natural structures and interaction of cosmic forces in it, creates a microcosmic which eliminates the presence of time. These two buildings, adjacent to the 1700-year-old plantain and the 2000-year-old Qanat, as human-built nature, are located in such a way among natural structure, which strengthen the existing nature and show its complete conformation with the existing cosmic order. 2. Domes as the mirror of the sky and as the mirror of earth; what is the poetic aspect of the shrine’s dome, with its not so great proportions, is the metaphoric role of a mirror-like tile on it, which exactly reflects the natural blue sky of Natanz. Outer shell denies its existence and becomes a mirror to represent the sky. The dome of the shrine, which is a symbol for a mystical journey, loses its rigidity and points to light and transparency. But in the mosque, the principle is based on the lack of external identification, simplicity, and inwardness. The dome of the mosque, with its earthy color, is a mirror and a symbol of the earth. Also, the northern portico of the mosque is covered with turquoise tiles and represents the earth as the sky. 3. Metaphors of light and darkness; the cavities embedded in the dome of the mosque are located in such a way that during daylight hours that shines the light rays like a waterfall into the inside. What falls under the dome is the rain of light which represents the essence of God, but in the shrine, shining of light is opposite of the mosque. At this place, the dome space, in opposite of mosque dome which is dark, is full of light. The dome which is the symbol of heaviness, rigidity and pressure is based on light beams. And 4. Imaginary of materials and body of two building. In these two adjacent buildings, materials and surfaces possess their own languages. Bricks and soil represent poetic signs of the human being's essence, and therefore establish an intrinsic connection with their audience. On the other hand, the soil is one of the four classical elements in the thought structure of Persians, consequently, with its pretense of earth, becomes colorful and smells of sanctity. Water represents another classical element which presents in the building. Both two buildings are necessarily multisensory and thoroughly comprehend the sensory perceptions of their audiences. The proportions of the body of the building and its proximity to the human body have constructed a humble and humane complex. Since human being receives and comprehends the world with his body, Here the experimental world is organized and defined and meaningful around the body of individuals, In fact, the empirical world of humans, has two simultaneous centers: the body and the physique of Shrine and mosque. In conclusion, it should be emphasized that all of the elements, forms, spaces and the geometry of motifs in this complex represent the authentic experience of the tradition of construction in the land of Persia and based the ontological aspect, it comes from the way of being-the-world and settling of Iranians.

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Nature has always played a very significant role in responding to numerous human needs. Human needs have two dimensions of material and value, and this subject has been the source of both material and value views of nature. Human, in response to their needs, has invented solutions that have, if repeated, become a model. The current article aimed to compare the role of technologies and solutions derived from nature in meeting human needs in both traditional and contemporary periods from the perspective of experts. The question posed to attain this objective is: What are the differences in the extent and manner of responding to different human needs by patterns derived from nature in the traditional era and the contemporary era? At first, in the theoretical framework of the research, the solutions and technologies obtained from library studies were categorized in eleven groups and via the qualitative method and logical reasoning, the formation of solutions and technologies derived from nature based on the response to human needs and their transformation into architectural patterns and the impact of features such as multifunctionality, and combination of patterns in an appropriate response to various human needs were mentioned. To answer the research question, to compare the two traditional and contemporary eras in response to human needs using solutions and technologies derived from nature, the architectural experts’ views were cited via a semi-structured interview method. The results obtained from the present study at this stage were that in the traditional era, nature has played a more effective role in meeting the various needs of human beings than in the contemporary era and in the contemporary period, with the diminution of the semantic dimension of man, the attention to the value dimension of nature in architecture has also diminished and the provision of material needs of nature has been given priority. In general comparison, in the traditional era, technologies derived from nature were more abundant in architecture, but in the contemporary era, it is limited to specific buildings. Out of the eleven solutions obtained, according to experts, the criteria of nature as a source of matter and energy and inspiration from nature in the promotion of technology in the contemporary period and the criteria of direct use of nature in architectural design and use of renewable energy in the traditional period, had the highest frequency.

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Review and change in architecture education, firstly periodically and secondly in the current situation of the country, is a necessity. Because of the current program and topic are defective in two parts. In the "theoretical arena", the impact of "Doctrines of Islamic Wisdom" on the foundations of education is small and the program has not been revised, changed and modified after the initial compilation, in accordance with the "indigenous needs of the country" in a dynamic and intelligent way. That is, it is not in harmony with the ideals and values of the revolution, nor with the realities of the country and the needs of the people. In the "practical field", the mechanism of implementing architectural education is not a purposeful system and does not work as a whole in order to fully develop qualified architects. The result is that graduates of this field, after the training course, do not achieve the balanced growth of individual human resources (actual goodness) nor do they have the efficiency of the architectural profession necessary to meet the needs of society (current goodness). The low level of architectural quality of the country today, both in terms of science and technology, as well as in terms of art and the fact that the works have their own originality and identities, is a proof of this claim.
 Solving this problem requires reflection on the Architecture curriculum. In this regard, the Council for the Transformation of Humanities and Arts informed the Ministry of Science of the four approaches of "updating, localization, efficiency and Islamization" as a basis for review and transformation, and it was decided to review the Architecture curriculum and topics based on these approaches. The purpose of this study is to find practical solutions to the effectiveness of these four approaches on architecture education. The research question is "What are the solutions to achieve this goal?" For this purpose, by selecting the courses "Introduction to Architectural Design" and by the combined research method "Logical Reasoning and Case Study", exercises were designed and tried to have a relative comprehensiveness, then it was performed with the participation of students and with the technique of "content analysis" The answer to the question was revealed. 
The studied samples are from two groups of students in the introductory course of architectural design 1, 2 and 3 in Teacher Training University. The research findings indicate that a fundamental change in order to achieve this goal should be made in the three main pillars of the course, namely "purpose, content and teaching method". Accordingly, by designing "enriched exercises", while developing the three skills of "understanding, creating and expressing architecture" in the student, it is possible to provide the ground for orienting these skills in line with the four mentioned approaches and "updated" engineers. And "efficient" and trained people to serve "Islamic Iran".

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Today, the increasing realities that have occupied architects in other fields related to architecture, have caused the designer's attention to deviate from the theoretical thinking that was considered at the beginning of the design process. Architectural software has expanded the visual dimensions of the human mind and created the conditions for the designer's thinking to be limited to imaginative forms. Although innovation can be considered the main feature of products obtained from software that go beyond the drawings and in order to create cyberspace, but the product of all of them can not be considered creative works. Because creativity manifests itself with a concept called meaning and theoretical thinking, with designers focusing on the use of computer facilities, although facilitating and accelerating the visualization and visualization of ideas; But this early embodiment is also a threat to the idea and meaning of the truth underlying the work. Therefore, recognizing the process of cognition and creation in architecture is a necessity that must have evolved from idea to form in order to always be able to reveal the damage that has been done to the systemic structure of architectural design today. From the moment an architect decides to create a work until his design is ready for the execution stages, at the heart of his movement is the creative production of an idea and its transformation into a concept and ultimately an architectural product, and in this regard as " The whole problem-solving "is raised. In other words, the architect is on the path of identifying the problem until finding a solution. The main problem in architectural design is the "idea" that all creative processes try to achieve this concept, and on the other hand, interaction in the design problem and its solution shows that analyzing the problem and recognizing its various dimensions is the designer's mental ability and thought. Strengthens the basis for the solution, the "concept". An architectural work results from the understanding and creation formed by the creator as the agent as a result of their worldview. As the architect's paradigm, this worldview plays an essential role in directing the ultimate cause, namely idea; formal cause, namely concept; and material cause, namely the architectural work. The important thing, however, is the hierarchy of the senses and the way an idea transforms into a form in the paradigm of the architect. This study seeks to extract the semantic identity of the idea and concept (theme) from western, Islamic, and philosophical paradigms in order to clarify the process of understanding and creating architectural works through the "four causes" and contrast creation of architecture works in the local (Islamic) and non-local (western) paradigms. The goal is to introduce the direction that the concept takes through the transformation of an idea into an architectural work.

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The Chalabi Oghlu Shrine with a mystical-spiritual space is one of the structures which is based on the fundamental thinking of the mysticism. And these concepts have influenced the formation of the architecture of this collection. Archetypes are universal facts that derive from human unconscious mind and are integrated in to human conscious mind as a global collaborative information in the form of imagery.The concept of an archetype appears in areas relating to behavior, historical psychological theory, and literary analysis. To break the gap between the apparent and the hidden part of their minds, and to understand the archetypes, humans need the sources, such as symbols, myths, dreams, and memories. Archetypes start appearing when they find content, because they are  empty and have no meaning without content and on themselves alone. Architecture is a medium for the expression of human collective unconscious, universal myths, dreams and memories which act as a symbol in architectural spaces. One of the key archetypes that has been introduced in Jung's analytic psychology is the archetype of "process of individuality" that deals with spiritual questions about the meaning of life and the goal of creation. The purpose of this paper is to answer the question of : whether by achieving semantic concepts of these archetypes, can one understand the archetype concepts and how they are objectified in the mystical space of this tomb collection. Based on the purpose of this study, which is the recognition of archetypes semantic concepts, using historical interpretation method, the techniques used in sign perception have been used. The word solouk(a way of conduct in mystical journey) means going, but it is a special kind of going, which has different meanings for different groups. There is a controversy among the mystics about the precedence and steps of solouk(mystical journey).The number of these steps starts from three stages and continues to hundreds of steps. Despite all the controversies, they all agree that the mystic must attain the knowledge of God. With this knowledge he reaches perfection, and this knowledge is obtained by walking through the stages of solouk and desirable achievement. Despite the coherence of  mystical views on the stages of solouk (mystical journey), the basis of discussion and comparison in this research is the opinions of the mystics before the seventh century. In many number of sources, mystical journey has been studied and compared with the archetype of individuality process.
Explaining the archetypes semantic concepts, in the gnostic space of the Chalabi Oghlu tomb' collection:
1. Archetype "Birth, Death, Reincarnation"
The tendency towards the beginning of new life and rebirth has always been of human interest and is one of the most important common concepts created in the collective consciousness of humankind. Jung has also referred to many archetypes in his works, but in the ”Four Archetypes: Mother, Rebirth, Spirit, Trickster” book he gives an example of an archetype that, in most of his other works, has been one of the most controversial archetypes. And that is the archetype of rebirth. In the Chalabi Oghlu Shrine, this archetype has been used in a hierarchical manner and  with physical combination of spaces in addition to the mystical hierarchy, it has been viewed as a symbol of the spiritual path and the desirable end. The path which has started from the entrance and the corridors and the zaviye khademan(cornerstones of the servants) and taliban jannat(cornerstone of heaven volunteers) and with the social activities, which gradually disappears from this state and takes on a personal nature. And After the transition from the spaces of solitary chambers, and samaakhaane(mystical dance chamber), provision is made for entering the tomb. As previously mentioned, this archetype includes within itself innumerable archetypes, such as the individuality process, which is embodied in accordance with mystical conduct in the architectural structure of the Chalabi Oghlu shrine. 
2. "process of individuality" archetype
As mentioned earlier, the stages of the process of individuality are stated coinciding with the steps of mystical passage which requires knowing the relationship between these stages with the steps taken in the Chalabi Oghlu Shrine and how they are manifested in the architecture of complex. 
A. First step: "recall" or "hunt of the self by the inner friend" and confronting Persona (Mask) 
In the Chalabi Oghlu Tomb collection: The Poors stage and  The Taliban Jannat(heaven volunteers)
B. Second Stage: Meeting the Shadow
In the Chalabi Oghlu shrine: Central courtyard, Porch, and solitary chambers
C. Third Stage: Meeting Anima and Animus
In the Chalabi Oghlu shrine: Sufa (Avon), Altar, House of Jamah (Jam House, and Sama House)
D. Fourth Stage: Meeting the "Self" and "Unity with the self"
In Chalabi Oghlu shrine: Tomb
The physical structure of this tomb complex conforms to the eight levels of mysticism, and the four stages of the "individuality process" archetype. And it is a medium for expressing these truths, which can be manifested in different ways.

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The home as the oldest and closest human shelter has a direct relationship with human culture. The connection between culture and architecture is more pronounced in vernacular residential architecture. Vernacular houses are the result of choices and adaptation of humans to the environment over time. They have evolved from the evolution of human experiences against various cultural, natural, biological, and economic factors. Human beings are always in the position of choosing different subjects of their lives. But what is true is that people usually choose things in different situations that are consistent with their mental structures, and at the same time, the result of that choice can meet their needs. It can be assumed that human culture is the basis of its various choices. Choosing is, on the one hand, influenced by the environmental conditions, which, basically, the type of response to these conditions influenced by cultural variables and attitudes of individuals.
Therefore, the main question is the question of what, how and why the effect of the «choice» factor, especially cultural choices, is on the formation of the vernacular house›s structure in Ardebil. The purpose of this study is to understand the semantic dimensions of the vernacular houses of Ardebil and to analyze the role of cultural choices in shaping of spatial_ physical and behavioral patterns, and in organizing the structure of houses. Accordingly, a number of houses belonging to the middle class of the city from the late Qajar and early Pahlavi periods in the traditional context of the city of Ardabil were chosen as a case study. Then the physical dimensions and cultural and behavioral components related to their inhabitants were extracted. The methodology of this research is qualitative. The method of data collection is field studies, documentary studies, and semi-structured interviews. The method of analyzing data is descriptive-analytic based on the rational reasoning method and qualitative content. The research steps are pursued in four steps: in the first step, the «basis of choice», which consists of two sections: «environmental factors» and «basic assumptions of culture» or the third level of culture, are explained; In the second step, the «Indicators of choice», which include the second-level variables of culture, such as do›s and don›ts, norms, rules, expectations, and valuations, were analyzed; In the third step, the «manifestation of choice», which are examples of the Indicators of choice as «meanings», were examined; And in the final step, «Impressions of choice» or Patterns of space and patterns of current behaviors related to
housing were analyzed. Following the above process in the formation of the structure of vernacular Ardebil houses in the late Qajar and early Pahlavi, the results were as follows: Environmental factors such as economic bottlenecks and cold climates formed meanings such as courtesy, self-sufficiency, foresight for the winter and ... as examples of choice indicators. These factors have had a great influence on the physical structure and discipline of the residential spaces of vernacular Ardebil houses in all three macro, middle, and small scales. For example, the orientation of the building, the establishment of the kitchen inside the house, the use of thick walls of brickwork and double-glazed windows, the presence of minimal spaces (consisting of a linear extension of a two-part pattern of the atrial chamber), simplicity in the components of the building, the use of indigenous materials and ... . Social and cultural commonalities such as worldview, religion, values, and beliefs, and ideals in the homogeneous and traditional Ardebil community of the time have shaped such meanings as the need to preserve kinship and neighborliness, the importance of the structure and position of the family, and norms and values such as religiosity, traditionalism, veil, Empathy with the people was in the minds of the people. The physical implications of these meanings are building houses of the same spatial pattern, without indicating superiority and isolation from other buildings, observing Islamic norms in the construction of houses, adopting solutions to privacy in houses, and so on. On the other hand, the behavior settings, the type of use of spaces, spatial divisions, territories and spatial boundaries, the relations of spaces, the use of communal spaces, etc. have also been influenced by valuations, norms, requirements, and the necessities of cultural factors. In sum, it can be said that culture in two stages affects human choices in relation to the issue of housing: 1) The basic assumptions or variables of the third level of culture (Figure 1), determine and explain the range of choice options for individuals. 2) Indicators of choice or second-level variables of culture (Figure 1), by defining a set of values, requirements, and necessities, generate meanings and orientations for the basis of choice, including environmental factors. This will prioritize some options against other options. Hence, human choices can be considered «cultural choices». Cultural differences are one of the most important factors influencing people›s choices. This means that differences in the culture of different societies create different meanings in people›s minds that create different behavioral and physical- spatial patterns. The research process of this paper for the recognition of vernacular Ardebil houses can be used as a model for understanding the structure of other houses in other regions and cultures. However, the method used in this research will have different results for different climates and cultures. However, given the fact that many variables of the basis of choices, such as climatic conditions and some of the basic assumptions of culture in different societies, have remained constant over time, one can use the results of the analysis of the structure of vernacular houses to improve the housing situation today in order to help make the house more consistent with the ecosystem, climate, and culture of societies.

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In the far pasts, Turkey was one of the countries with diverse civilizations. It has been rich and affected by Byzantine architecture of the architectural view point. The entry of Islam into Turkey and the formation of Islamic governments during the Ottoman era led to the formation of a particular type of Islamic architecture in Turkey. The architecture of Turkey mosques is one of the most prominent Islamic architectures, especially in Istanbul. This research is based on the assumption that the architectural pattern of Turkey mosques is a combination of the early Islamic, Iranian and Turkey native mosques architecture. The rooting the architecture features of Turkey mosques are the subject of this study that it is addressed the influencing the Turkey mosques architecture on the early Islamic mosques the architecture, a rich architecture with a long Byzantine and Greek before entry the Islam and the advanced Islamic civilizations architecture in the neighboring Turkey, such as Iran.
The architectural features of the Turkey mosques generally include the naves in facing  to the Quibble, the presence of the mosque in the neighborhood, the entrance of the courtyard to the house dome on the direct axis, the coordination of the geometry of the columns with geometry of the plan and the organization of the spaces in the direction of the Quibble, dividing into naves efficient space with a human scale, the use of the light element under the house dome and the creation of spiritual space, the enormous half domes that strengthen the main dome, external image formed by multiple domes, pencil-shaped structures, Byzantine domes, use The geometric floriated and calligraphy on the stone are the porticos for threshold and naves entrances. The rooting above architectural features of this research is leaded to the discovery the architectural pattern of Turkey mosques. This research is conducted using library research method and texts review and analytical-description model.
In the mosques of Turkey, there is two vital factors of architecture, namely light and space, and their effect on each other and the central dome such as vast shadowing or baldachin on four huge stones, and two concha’s domes surrounded by it, and windows located at the base of the central dome to cause enter the light rays to the building, creating a spiritual atmosphere and cause think that it's suspended in the air and does not rely on place. The light in the Turkey mosques has caused the material and spiritual world supernatural link together. the light shine in the space is prevented the attention to the detail of spectator, and this rotatory motion is invoked the eternity of a component to other one.
Architectural features of Turkey and Ottoman mosques are dome-shaped nave, cylindrical and conical minaret, carvings and engraving as embellishment, decorations of the entrance facade at veranda and portico roof adytum and open spaces scene with triple porticos adjunct to the nave.
Emphasis on the imitation of the Arabic style with the Iranian manner and style in Turkey mosques, Iran for threshold and the ultimate entrance the nave to mosque, and the emphasis on dome-shaped space has been preferred to covered mosque without the courtyard due to Turkey climate. Applying the dome-shaped forms has Anatolian root. The use of geometric motifs, floriated and calligraphy on the stone was influenced by Byzantine art. In Turkey mosques, there was a hierarchy of entrance to the courtyard and its surrounding porticos, and sometimes outside the mosque courtyard and direct entrance into the nave. In Turkey mosques has integrated the dome space and the nave and is created four column nave that dome is located in the center and above of the mosque. In fact, the architectural change of Turkey mosques was an ancie archy of entrance to the courtyard and its surrounding porticos, and sometimes outside the mosque courtyard and direct entrance into the nave. In Turkey mosques has integrated the dome space and the nave and is created four column nave that dome is located in the center and above of the mosque. In fact, the architectural change of Turkey mosques was an ancient background in its architecture that has the Greek and Byzantine background on the one hand and the effects of Achamenian and Sassanid Iran on the other hand, and Islamic concepts with the background of the minority Asia of this land eventually established the Ottoman period and can be said that the Turkey mosques architecture is also due to the geographical location of Iran's style.

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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.

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There were the glorious examples of the architecture of mosque once in Iran.They were the places for equality between all classes, so they must have qualities for invitation, guidance, and reminder and call the believers and attract other followers of religions as the missionary of Islam. This invitation is not only in the field of vision, but also in terms of audio and other means, such as multi-functionality, centrality, and location of deployment. This architecture was considered to be the main factor in identifying the complexes of Muslims due to its comprehensiveness, importance, severalty and high status in the past times, But today it has lost its inviting role because of structural changes. In contemporary times, as well as the changes in the structure of the city, due to the changing needs and functions of the mosques, as well as the distinction with dimensions and their location in the urban structure and economic constraints, the goals and characteristics of the mosques were also forgotten; So that today all the social groups have reacted from citizens and worshipers to architects and urban designers.
Paying attention to the Invitation role of the mosques forms the central idea of the present paper. It is one of the pillars of urban design and planning in contemporary city centers and neighborhoods. All aspects of the invitation in the body, function and meaning are important in this research. The present paper addresses this question: How can we use the physical, functional and semantic components of the mosques to enhance the quality of the invitation on the urban and local scale, the entrance view, as well as the interior space of the building. This paper is looking for the optimal design process. In this regard, using the content analysis methodology, we are going to refresh the actions and theories in the field of related topics. We are presented a desirable process to promote the quality of the invitation of contemporary mosques by achieving a conceptual and applied framework. We elaborate the subject by selecting 8 examples of contemporary Tehran mosques. We analyses the elements affecting the general form of the building, the external walls, the design and the entrance and the interior space of the mosques by referring to library resources and field observations. The results of the analysis show that an ideal set of physical factors to semantic components affects mosque admission that has a significant effect on the enhancement of the presence of the individual and the community. These results categorizes and describes in terms of criteria of visibility and centrality in urban scale, admission and guidance in middle-level scale, meaningfulness and visual memory in the outer walls and the entrance perspective, convergence and spatial regulation in the interior space of the mosques.

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Complexity and conflict are some of the strategies to increase visual diversity, which is less considered today in the context of extensive construction and adherence to the universal, inclusive model. This issue has led to long-term boredom in contemporary homes. However, the factors of contradiction and complexity are seen in the visual diversity of traditional architecture. In this way, the set of opposites as a strategy for creating some visual difference is one of the essential items that can reduce architectural space's uniformity. In this regard, since the utilization of the contrasting phenomena has some different consequences in architecture space organization (from positive to destructive impact) so, it must be evaluated in a valuable physical environment where this concept of conflict is well traceable. One of the most useful settings can be considered to be a case study for assessing the utilization of the opposite phenomena, is the traditional architecture in Iran. This architecture is full of exemplars that can be useful for learning architectural design. In this research, because of the undeniable quality of traditional houses in Yazd, these houses selected as research case studies. What follows in this discussion is a qualitative assessment of the traditional homes for finding the kind of the opposite phenomena and the process application to use them. In this study, the research method is based on grounded theory, and the field information was collected in two sections: open interviews and observations. The results of this research show that Structural and visual elements of the traditional houses in Yazd consist of the positive association of conflicting elements that you can experience in different situations. The results of this study indicated that the physical and spatial structure of traditional houses in Yazd had provided conditions where one can experience a positive association of opposites in different situations. In this process, it was found that the types of opposites that can be classified into four types of sensory, perceptual, visual, and symbolic contrasts increase the best understanding of the phenomenon, respectively, balance the totality of space, increase diversity and increase the semantic load of space.

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The Saqa-Nefar are specific architecture of Mazandaran province, and the origin of their formation are date to ritual traditions of pre-Islamic periods. Currently, those are known as architecture of Ashura that are in order to protect the sanctity of water and attributed to Aboulfazl (AS). Their architecture is combination of architecture combination with semantic components in format of motifs and formation, local and structural symbols which had undergone transformation of structural and formation according to cultural context during various historical periods. The current research is seeking to answer for this question: what cultural backgrounds were due to choose Nefar for keep up Ashura event and what signs remain in those from pre-Islamic ritual architecture? This research is fundamental and theoretical research that had been done through descriptive and analytical method. Data collection is based on library source and field surveys. In regard to the research goal that it is finds Causes of evolution Nefar to Saqa-Nefar according to cultural context. The results of this research show: the cherishing of water origin from ancient ritual of Iran that it be conformed to Islamic attitudes during Islamic period. The name of the nep, existence wells, holly trees and historical geography of this region expresses signs of goddess of water (Anahita). There were two kinds of Nefar during pre-Islamic period: one type belongs goddess of water that was beside water source to worship, another type was used beside the farms to care water. Thus, from beginning, Nefar had two duties (protection and worship). For this reason, they had transferred Nefar as Saqa-Nefar during Islamic period. In perspective of physical and decoration structure are continuation of ancient temple that aligned with Shieh symbols.