Journal of Researches in Islamic Architecture

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Each researcher while studying about a specific issue is influenced by certain philosophical foundations for the research process. These foundations are such as glasses that in fact, researcher looks at research topic from behind it. In scientific communities, these foundations are introduced with the term of «paradigm» which indicates researcher›s approach about issues such as ontological, epistemological and especially methodological assumptions. For example, researchers who believe in objective and positivistic approach, merely accept empirical methods as valid scientific methods and because of non-compliance with the objective oriented philosophical basis, know narrative or non-testable citations as invalid citations. In this article, in addition to introducing approaches (paradigms) affecting architecture and urbanism studies (including two objective and relative approaches), using logical-argumentative method, critique of them from the perspective of Islamic teachings (including philosophical and narrative teachings and etc.) is presented. During these critiques it is shown that neither of two objective and relative approaches does not provide acceptable foundations for applying in architecture and urbanism studies and both of them report only some parts of the truth with a reductive orientation. Accordingly, the strategy used in the body of this article, is a critical strategy which through it, these two approaches foundations are criticized from an Islamic perspective. Meanwhile in the conclusion by comparative comparison of these approaches, Islamic approache is explained too.
Most critiques of the objective approach are the results of this fact that this approach reduces research methods to experimental or empirical methods. Of course from Islamic perspective, empirical method is approved and this issue is discussed in some Quranic verses such as this verse: «Allah brought you out of your mothers› wombs, and gave you hearing, sight and hearts, in order that you be thankful» (Sura 16/ Verse 78). But in some other verses such as this verse, reduceing the methods to empirical methods is negated: «And when you said to Moses: ‹We will not believe in you until we see Allah openly, ‹ a thunderbolt struck you whilst you were looking» (Sura 2/ Verse 55). In addition, objective approach does not provide a reasonable analysis about the principle of causality and neglects the impact of non-material factors on material factors. But this impact has been discussed in numerous verses of the holy Quran such as these verses: «Had the people of the villages believed and been cautious, we would have opened upon them the blessings from heaven and earth. But they belied, and we seized them for what they earned» (Sura 7/ Verse 96); «Whosoever fears Allah, He will appoint for him a way out and provide for him from where he does not expect, Allah is sufficient for whosoever puts his trust in Him. Indeed, Allah brings about whatever He decrees. Allah has set a measure for all things» (Sura 65/ Verses 2-3).
On the other hand, most critiques of the relative approach are the results of this fact that this approach neglects of a non-relative truth which is called «fetrat: nature» that exists in all human beings: «Be devoted to the upright religion. It is harmonious with the nature which Allah has designed for people. The design of Allah cannot be altered. Thus is the upright religion, but many people do not know» (Sura 30/ Verses 30).
After evaluating the relative and objective approaches, in conclusion chapter, the Islamic approach is explained. According to the results of this chapter, from the Islamic view, the relation between researcher and the subject of research depends on the nature of the subject. So that in some subjects (especially descriptive and experimental subjects) independence of researcher and in others (especially normative subjects) interaction between researcher and subject is required. In addition, in conclusion chapter, topics such as foundations, resources and research levels in three cited approaches (objective, relative and Islamic approaches) are investigated.

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In order to achieve a new Islamic civilization, in between science topics such as creating works of art and architecture, it is necessary to present a conceptual model and a foundation. In terms of structure and process, this model should be comprehensive and content of each stage of the sources must be explicated according to islamic rules. In addition, this model should provide a structure, so that we can evaluate the quantitative and qualitative aspects of human processes and we should be able to  criticize it.  In thishandbook we have explain the human processes in five stages andcompulsory human processes (based on Figure - 1) are explained.

In the first stage: determination (world and people) Islamic point of view :
 At this stage of actual and potential positive and negative tendencies of human beings and their needs and their relations with each other and the world of the comparative study and analysis between Islam and other schools in the world. This step is important threads about anthropology, epistemology, god, ontology, sociology, philosophy, history and the human relationship with the natural environment and artificial world as a whole. Of topics (beliefs)and the above categories (needs and instinctive inclination) people and the concept ( Aesthetics) will be concluded by the Islamic laws.
In the second phase: the category (motivations and intentions) is voluntary and optional for every human beings.
From the perspective of Islamic motives, it is classified in five (solvents, recommended, permissible, detestable and forbidden) categories. They are called (five basic sentences ).
In the third phase: one based on perception internal motivations (conceptual and divine) wants to practice or work in the natural world, made in(Material and natural forms). Islam (the Shia school) has ten principles to concepts and forms of expression in the world of nature, which is subjective. . The humanitarian principles enables (artists, architects and urban planners) to make a detailed program and so would realize the conceptual and temporal and spatial learning with respect to the total circumstances of time and place in the natural world.
In the fourth phase: Based on the previous steps and talented person (speech, behavior or works) is produced which generally is manifested in the phenomenon of his ideas.
From an Islamic perspective, the phenomena like (incarnation) or (neutral), are nothing but a sign, such as human relationship with his own image.
In the fifth phase: works of man, material and spiritual has an impact on the audience and the subject. Material impacts are a mandatory issue and are related to the overall environmental conditions. But the spiritual influence is optional and depends on the relative audience. Artists and audiences have also two linkages. A relationship (innate, kind, eternal and fixed) and one type of relationship (relative, multiple, variable) is dependent on the total circumstances of time and place.

Islamic culture in the Shiite-based research methodology of this thesis is based on two source (wisdomand story). The above data through methods (logic) and (commentary - analysis) are investigated and approved.
According to Islam, what is (scientific), is rational and what is rational, is (Islamic) and the sources and bases of the above can be assessed and approved. In the process of this treatise, the relation of Islamic ideology with each one of the above-mentioned sources and bases will be discovered, assessed and compared with other competitive ideologies. At the end two tables will be introduced to assess the human processes. In the first table the quality impacts and content impacts will be studied and reviewed (figure number-2).
And in the second table, the effect of quantity and engineering work will be evaluated. (Figure - 3)
It can opens the door to reform of educational programs on topics such as between knowledge like (arts and architecture and urbanism).
And methods of research and design and construction management processes at all levels, are from an Islamic perspective and assist the executives and experts to assess the effects of those works.

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City and neighborhoods with cultural diversity and interests of citizens, apart from planning of master planning, were residents living and their growth space. Now in the Framework of imitating patterns of master plannings, life and health of citizens is encountered toi jeopardy.
Urbanization and the phenomenon of consumerism, complications resulting from the formation of crowded areas and the procedures of changing the use of gardens and farms are the problems leading the managers and urban planners to optimize land use in urban areas to preserve green space and to develop the control of building density so that it can provide the possibility to create environmental settlements in accordance with the cultural conditions. Architecture and urban planning system has a direct relationship with the culture of society, as far as architecture and urban planning of each country can be considered as the symbol and embodiment of the prevailing cultural conditions. Given the importance of issues such as legal and sustainable revenues, if the income of municipalities causes chaos in architecture and urban planning system, culture and social systems will experience serious problems.
Although imperative architecture does not necessarily result in good architecture but bad commands lead to anomalies in the system of architecture. Human societies are influenced by ethic and are governed by legal obligations. Therefore, law and legal criterion greatly influence the society›s governance and management of city. Architecture and urbanism decisions that are at odds with ethical principles make loose the most important social institution namely the family. With the approval of the establishment of Supreme Council for Planning and Architecture from the end of 1972 the Council became the most important institution that ratified the urbanism criteria and regulations and procedures. This article is formed with the most important question that what are the regulations and legislative acts of the Urbanism Supreme Council in coordination with the aims of Islamic Revolution for making Islamic the architecture and urbanism of Iran and what is the main approval of anti-Islamic urbanism and human. Due to the interdisciplinary nature of the research subject, it is faced with two groups of decisions through library method and semi-structured interview with researchers. The first group only by shape points to the need for Islamic architecture and urbanism. But, the second group has destroyed Iranian and Islamic urban culture and has led to the diversion of wealth from productive to non-productive tasks such as buying land and apartment as inflationary variables in terms of selling building density for more income on behalf of municipalities, regardless of the legal rules and ethical principles such as the rule of jurisprudence “Lazarar” and the principle of “ Justice”, by which harming the sovereignty of the people and the disproportionate distribution of wealth is prohibited. Other findings show that despite the preference of new legal norm on old, every new criterion approved for considering the Islamic principles, respect for privacy and preventing the aristocracy and social rights, is not implemented because of conflict with sale density. Finally, this paper suggests the need to determine the financial stability system for municipal government in form of approval of legal bill of government in Islamic Consultative Assembly and also change the current framework of the Supreme Council for Planning and Architecture in a way that with strengthening its juridical-legal aspect its political function and sectional decisions are reduced and the possibility of deviation from council formation targets is minimized. In other words, the most important aspect that provides the possibility of Islamic urbanism formation is to observe the principle of confidentiality, the right of neighbors and lack of aristocracy in urban decisions and coordination of building regulations of urban development plans with these principles.

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Islamic architecture in different territories has taken on various representations in harmony with natural and cultural contexts. Vernacular architecture of Bushehr Port is one the representations which encompasses features distinguished from those of other cities in the northern coastline of the Persian Gulf. Due to the special geographical position of this port and connection with other countries, one of the features is the existence of an element called “Shanashir" in the building facades, which has contributed to the interior-exterior architectural pattern of Bushehr Port, as well as privacy fulfilment.

Shanashir is generally known as a wooden element appended to the interior and exterior façade of the building. As a semi-open space, it provides a view from interior space to the exterior space of yard or urban space and is regarded as a modifying element of climatic conditions in hot and humid climate of Bushehr. This research used qualitative method and case study strategy with the aim of finding typology of this element, so as to find which types of Shanashir are important in the architecture of Bushehr Port in terms of form, what function this element serves, what types are predominant in this regard, what factors contribute in Shanashir placement, and what direction Shanashirs mostly have. In this regard, first the literature of the history of Shanashir was reviewed using library resources for data collection. Second, aiming at studying functions of Shanashir and its physical components, essential data were collected by reviewing library documents and field study. For field study, non-participatory observation was used so as to extract functions of this element by watching people’s living manner in Shanashir-included houses and behavior of Shanashir users. Moreover, oral interview with the users contributed to the scrutiny of the functions. Photography, sketch, and note taking were other tools used in this phase. Third, in order to approach the typology of Shanashir, written and visual resources regarding Bushehr buildings that have Shanashir were scrutinized and data were classified, and then all Shanashir-included buildings located in the historical texture of Bushehr were visited and the required information for the research was classified.

The historical texture of Bushehr covers an area of 4.5 hectare, which encompasses four historic neighborhoods. To approach the typology, it was needed to study the texture. One of the research limitations at this point is destruction of some buildings in the east coast of the historical texture of Bushehr during Pahlavi era because of construction and development of the Bushehr Port Organization, and that of other buildings with the construction of the north-south Street passing through the texture. These two parts probably had remarkable Shanashir-included monuments particularly in the eastern part of the texture, as apart from a few famous monuments the remaining were destructed and there is no information but few pictures with indistinctive location. In addition to the large-scale destructions, a number of buildings were demolished due to the lack of attention and timely restoration, and there is little information on them. Moreover, some owners did not allow us to enter their buildings in order to visit the interior Shanashirs, and some monuments were demolished to such an extent that it was impossible to collect date about the existing situation of Shanashir. In the Comprehensive Plan of the Old Texture of Bushehr, 1013 buildings are specified within the historic barrier. Based on this map, field study was initiated and every single building specified in the map was visited and photographed. According to the field study, out of 1013 buildings a number of 565 buildings were demolished and new buildings with different plans were replaced with historical plans. Moreover, a number of 86 buildings were dilapidated and impossible to be seen. Thus, a number of 362 buildings remained in the second phase were investigated more precisely, among which a number of 29 buildings had Shanashir.

Analysis of available Shanshir showed that 48 percent of Shanashir-included buildings are located in Koti Neighborhood, 42 percent in Behbahani Neighborhood, 7 percent in Shanbandi Neighborhood, and 3 percent in Dehdashti Neighborhood. Furthermore, 45 percent of exterior Shanashirs were seen in monuments adjacent to the seashore, and 24 percent of the remaining were near square, 17 percent near the plaza, and 14 percent were located in within-texture passages. The results of the analyzing Shanashirs placement in buildings indicated that two major types of Shanashir namely interior and exterior Shanshir exist in Bushehr vernacular architecture, which are classified into semi-open and closed classes based on the level of closeness. Closed Shanshir were used in few numbers and only in exterior façade. Form typology of exterior Shanashir can be classified into two main classes; linear and bi-directional (L-shaped) Shanashir. The latter can entail 90 degree or more angle or curve intersection. Interior Shanashirs can be classified into four main classes; unidirectional (linear), bi-directional (L-shaped), three-directional (U-shaped) and four-directional. Based on the place of Shanashir, inside or outside of buildings, some differences exist in their functions and components. This research shows that the dominant type of exterior Shanashir is semi-open unidirectional (linear) type and the dominant type of interior Shanashir is probably three-directional type. By studying the location of exterior Shanashirs, it is concluded that adjacency to the seashore or having a spatial opening to urban spaces such as a square or a plaza play an important role in the place of Shanashir establishment.

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One of the valuable arts in the Iranian Islamic architecture was Girih which has showcased the beauty of the Iranian art by relying on a unique and unprecedented geometry. The generative nature of such an art coupled with granting style to the woodworks through taking advantage of elegant colorful glass and the use of geometrical carvings has been perfected during the course of history.

Girih are lines (strap work) which decorate the tiles. The tiles are used to form Girih patterns, from the Persian word, meaning "knot". In most cases, only the Girih (and other minor decorations like flowers) are visible rather than the boundaries of the tiles themselves. Girih are elaborate interlacing patterns formed of five standardized shapes. The style is used in Persian Islamic architecture and also in decorative woodwork, it could be applied either as lattice frames, left plain or inset with panels such as of colored glass; or as mosaic panels used to decorate walls and ceilings, whether sacred or secular. In architecture, Girih forms decorative interlaced strap work surfaces from the 15th century to the 20th century. Most designs are based on a partially hidden geometric grid which provides a regular array of points While there are various materials regarding the aesthetic aspects and the incorporeal and theosophical origin of such art as Girih but it seems that the climatic dimensions has been less dealt with. In the present study, there is proposed this presumption that the Girih is not merely an ornamental furnishing art and that it is in a functional interaction with day lighting meanwhile avoiding vanity and uselessness in its architecture and also that it takes advantage of masonry proportionate to the regional climate through its adoption of a vernacular approach. Thus, it looks necessary to find an answer to the question that “whether the Girih used in the buildings constructed based on the Islamic architecture designs can be defined in fields with climatic functions?”

Another question which can be set forth here is that “whether the Iranian architect has been successful in taking advantage of Girih works in realizing and deploying masonries, and making use of the daylight and natural ventilation?” To answer the mentioned questions, there is made use of the qualitative research strategies and the subjective information and data have been categorized in terms of the content they bear through exploiting rational reasoning via performing library studies in order to be able to extract the effective functional factors related to the Girih work from the background literature and then, in the next step, select the main target samples encompassing the residential homes from Qajar era (1-Forugh-Al molk, 2-Asadollah Shojaat Asad, 3-Akbar Javanmardi, 4-Parviz Amooee, 5-Jalal Sahebolamr, 6-Habibi Pishehvari, 7-Hossein Ali Tasmim Haghighi, 8-Dabagh Manesh, 9-Seyyed Mahmood Fateminejad, 10-Aliakbar Asgharzadeh).

In order to be able to evaluate and assess the case samples and finally the Girih application frequency in the case samples and the type of their application can be obtained through making use of various sampling methods.

Related to case studies and comparing them to documents wood and glass is the most useful materials in Girih structure.

After finding documents about quantity of Girih in each case study authors started to explore the Girih area into façade area which showcased by “f”. As authors mentioned “f” is made by dividing Girih area (Ag) multiplied by Girih numbers (Ng) in each façade side into window area (Aw) multiplied numbers of each window (Nw).

The study findings indicated that there exists a significant difference between the Girih frequency distribution rates along the western side in respect to the other fronts which concomitantly accompanied by the use of a pier’s vertical parasol the same as a similar configuration in the modern climatic radiation protection system provide for the unfavorable western side light effective control.

The absence of the Girih along the southern side is due to the need for making complete use of the sun light and radiation in this front because the interior spaces situated along this side of the house were used during the winters. The use of the vernacular or the regional climate-compliant masonries in Girih provides for the walls’ thermal control and the non-accumulation of the thermal and heat load along the western side.

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Arts in their Dialogues borrow some words from each other and give them a new meaning in their art form. One of the best examples of this Dialogue is the link of Decorative elements in architecture and Iranian painting .Iranian painting ( Miniature ) is conversation scene of arts such as painting, poetry, calligraphy and architecture which has run its evolutionary path in different schools of Islamic period, especially from the Ilkhani to early Safavid era. Iranian painting based on subjective and non-visible world and, therefore, its architectural and decorative elements are based on certain spiritual and conceptual principles. Inscription is one of the decorative arts in Islamic architecture which the use of it in addition to the actual architectural buildings is visible in some painted spaces of the Iranian painting. Inscriptions as conceptual and decorative elements in Islamic Architecture are important tools for the representation of religious ideas and policies. In this paper, On the one hand, the importance and different functions of inscription in Islamic architecture are analyzed and On the other hand, characteristics and artistic value of the paintings of Harat School, as well as the inscriptions on the architectural space of a number of Behzad’s works are examined. Also it will be shown that appearance of painted inscriptions in the space of Iranian paintings has what impact on the understanding of the subject and Specific spirituality of the miniatures. Muslim artist inspired by his belief and religious principles has tried to create a calm and spiritual atmosphere in his paintings by use of Inscription decorations. He has designed physical space of the painted buildings by engrave the geometric designs, motifs and arabesques, and Islamic epigraph. The decorations in addition to having formal aesthetic and value represent the cultural and religious mysteries are hidden in themselves and give a special lightness and transparency to the painted background in the space of the painting. These inscriptions in terms of content and their impact are matched with the samples used in contemporary buildings in Iran and Harat, in Timurid period. A comparative study of the contents of the inscriptions is a new way in understanding of religious art and the impact of the religion to the epigraphy at different periods of the history of Islamic-Iranian art. Methods used in this research are analytical, interpretive, and historical and the approach to data has been done through library studying. The results of the research show that using of religious inscription in addition to enhancing the beauty and the visual value of Miniatures, are influencing to transfer of the concepts of the painted story, and show a kind of spiritual realism in the works of artists from the Timurid period, especially Behzad. These inscriptions, in shape and their structure, reflects spiritual realities and meanings that the Knowledge of them had been possible to a person during the present in that space by passing the formal universe to the divine world. These meanings reflected from the divine world, and manifest the concepts such as the presence of God, resurrection, release from Nether world and ascension into the celestial world, twinkle of divine light, transcendental unity, meditation and inner purification. These concepts are very close to prayer and ritual activities. Comparison of these elements with inscription decorations of their contemporary buildings also emphasis to the adaptation, and Structural and Conceptual link of them. These inscriptions, historically, and from the kind of font and text, and in their written contents, are match with inscriptions of buildings such as Goharshad mosque in Mashhad, Harat Mosque, Mosque of Yazd and Shiraz mosque belonging to Timurid period. A painter such as Behzad, in choosing the theme of his Nonreligious inscriptions, on one hand, is affected by the apparent form of the inscriptions and their expression in architecture monuments and, on the other hand, according to his artistic tastes and purposes used them. So that, he has been introducing the founder of visual work as a founder of architectural work or building in the number of his miniatures the outcome of the research shows that architectural inscriptions can be used as original decorations in order to create the Islamic atmosphere and image in today's miniature.

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In traditional architecture, the adherence of architects to the rules and proportions in numbers, geometry and music is present in designing and shaping many public monuments, and mathematical proportions, artistic ratios, or musical proportions are used in geometry of these buildings. Extracting and matching mathematical rules and proportions and examining them in the architecture of the traditional buildings are among complex issues which are well-worth for further analysis. The present article is aimed at finding the link between «architecture and music», «architecture and mathematics» and «music and mathematics» and determining the boundaries and mutual points of these sciences. The objective was to reorganize geometric pattern in Jelokhan of Sheikh Lotfollah Mosque in city of Isfahan and the linkage of its Asemaneh of the dome with music. This is a theoretical research and its theoretical basis is carried out with a historical interpretation method. Logical reasoning has been used in investigating Jelokhan and Asemaneh of Sheikh Lotfollah Mosque in Isfahan. In order to fulfill the purpose of the sudy, the relations between «architecture and music» and «architecture and mathematics» were analyzed in the form of a concept as «music-math» in architecture for adaptation. In examining the relationship between architecture and music, the researchers faced many stances. For instance, some authors believed that architecture is an expression of music in its further development or in its evolution, while some others indicated that architecture is the frozen music in space. Thus, to understand the relationship between music and architecture, you need to understand the language of both along with finding their mutual ties. Therefore, in extracting common principles and characteristics that include criteria, similarities and symmetries while keeping in the mind the relative importance of measuring the relationship between architecture and music, we analyzed it in terms of rhythm, equilibrium, balance, symmetry, high and low points, decoration and beauty of decorations, color, hearing sensation, pleasure, and quantitative role of numbers. In examining the relationship between architecture and mathematics, math is also considered as the purest type of thought and one of the main causes of human closeness to God. That is probably why most traditional architects bring math ideas into architectural designs so as to verify their beliefs about the Creator and the natural world around us. Mathematical expressions in architecture can be expressed numerically, symbolically, philosophically, creatively, conceptually through numerical ratios. Finally, in explaining the concept of «music-math» in architecture, we need to determine the extent to which musical and mathematical uses of architecture are parallel, shared, and reciprocal. In scrutinizing the proportions between architecture and music, architecture and mathematics, principles and common standards such as equilibrium, balance and symmetry, decorations and proportions, hearing sensation, numerical philosophy, numerical proportions, graphic geometry and numerical relations were obtained. In order to elucidate the theoretical findings of the research which are explained by the relation among the concepts of music, mathematics and architecture, we focused on Jelokhan and Asemaneh of Sheikh Lotfollah Mosque in Isfahan. The discovery of a hidden geometry in the depth of Jelokhan combined with Iranian Dastgahi music and mathematics along with finding a harmonic pattern in abstract patterns of the dome of Asemaneh coincided with changes in the frequency of the notes reflects its architect›s adherence to the principles of music and math in the architecture of this mosque. The proportions and rules contained in the musical, architectural, and mathematical Jelokhan of the mosque were analyzed through the fact that most geometric points of Jelokhan from the beginning to the end, the main lines, the lines of symmetry, the vaults, the lines of the Mogharnas, and many of the details of the mosque›s Jelokhan were built based on a pattern which is formed in a modular compendium of mathematics and music using the similarity of the Shur-e Sol Dastgah. Besides, the beautiful harmony of this Iranian Dastgah is seen in Jelokhan of the mosque and the walls of the Naghsh-e Jahan Square. In addition, the harmony of this Dastgah is present in heavenly decoration of mosque’s Asemaneh; decorations that, similar to orthogonal mathematical models are aggregated or opened. These harmonic decorations are a certificate of fine and delicate musical notes or an increase in the frequency of notes in Shur Dastgah.

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In the history of architecture, since the architects sought to enter the light inside and as a result, its relationship with external conditions, the concept of transparency has been studied. Therefore, elements such as glass have been used to create transparency and entering the light. But because of lack of technical knowledge to achieve that goal, the less successes have been achieved. By the beginning of Modern architecture in the world, some new words come into the literature of architecture such as the theory of transparency in architecture. Actually transparency is an expression of the thoughts and ideals of Modern architecture in the shape of own self.
 On the other hand, deployment of transparency in the form of glassy architecture, created the base of criticism for its widespread use by critics of modernism. Colin Rowe and Robert Slutsky in the article “The Literal and the phenomenal transparency” presented an integral definition of transparency that could help Postmodern view about transparency. At the first, they classify the Literal transparency as the perceptual or spectacular one, and phenomenal transparency as the conceptual or readable one. Literal transparency actually refers to light permeability of materials and Interference indoor and outdoor spaces. A concept that could be considered as influenced by cubist painting techniques and aesthetics of Modern architecture.
The other statement of transparency, which is often used in the architecture of most of the world, is traction and appeal to create a sequence of spaces inside and outside the building. Which we can see the appearance of a perfect sample of it in Iranian architecture. In Iranian Islamic architecture that the valuable and exalted heritage of our ancients was the concepts of light and its different forms of that in wisdom, philosophy and art, not only before Islam but also after that.
The question is that how was transparency in Iranian Islamic architecture and what are conceptual differences between modern and postmodern architecture with Iranian Islamic architectural transparency. Transparency is among most important architectural issues that are rarely addressed. This importance is because of the comparison of some viewpoints about concept of transparency in the eras of Modern, Post-modern architecture and Iranian Islamic architecture to achieving principles of the formation of the concept and its types with aim to precise definition of structural concepts of objective and subjective.
The Article based on analyzing texts and collected data through librarian search and some documentaries. To narrow the scope of work, the evolution of transparency in the modern and post-modern movement. At first express types of transparency in modern architecture, postmodern and Iran›s Islamic architecture then study Comparative Comparison them and finally, explain and evaluate the transparency of Iran›s Islamic architecture.
This article expresses some kinds of transparency and divides it to Three Categories: Literal transparency, Phenomenal transparency and Semantic transparency and then analyses the philosophical and aesthetic based on architecture of modern, postmodern and Iranian Islamic architects. In this paper, we try to describe the features of transparency by considering of this parameter in modern architecture. After all, transparency in Iranian Islamic architecture is based on the concepts explained. With this method, the use of transparency in each of these eras has been explained and then used in a timeline, and finally examined the evolution of this application.
About achievement of this study to previous examples can be cited to this point what›s that Spatial transparency in the evolution of Iranian architecture introduced by Hadi Mirmiran, which means increased space and reduced material is on properties of Literal transparency more and based on the theory of modernism and is similar to Bruno Zevi,s view.
While results of this study, in addition to the above, in Iranian Islamic architecture, phenomenal transparency and semantic transparency are more and existence of major mental clarity (not objective). In the Iranian Islamic architecture and contrary to the last ones, we can give a hint, that the explanation of Iranian architecture with the modern architecture’s language instead of its Islamic and Iranian language is so wrong. Actually we ignore and connive at some parameters by this viewing. In fact, with dealing like visual material these concepts, a lot of deep cultural concepts in Islamic architecture will be ignored.
 

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Adapted architecture to the environment in the past has brought calmness and comfort for people. Today, great dependence on technology has caused an incompatible human body in his living areas and failed to offer contextual tranquility. It seems old theoretical and practical wisdom has proposed special features for any areas as patterns through temperament experiments.
The principles put forward by precedent customs has been used gaining architectural harmony and locating topography within natural backgrounds. So today, it is required to identify this procedure principles and patterns to introduce needed designing applications. Accordingly, human medical healthcare bases in the four climate situations is being studied through multidisciplinary and deductive- reasoning approaches. This research is trying to propose a comprehensive definition of architecture, urban ecologism and contextualism via setting them coordinated in an integrated system. This system while expressing temperament principles depended on each zone, is offering instructions toward physical comfort status. The body tranquility is formed by expressing required benefiting rules and through avoiding wind, water, sun light and soil in temperaments.
At the end, a table of measurements for evaluating local qualities of urban areas based on geographical specifications is designed titled as “20 factors” along with a report presented based on two aspects of benefiting local potentials and avoiding local in competencies to be evaluated and analyzed. The main innovation in this research is introducing applied reporting sheets in urban ecology evaluations based on medical principles and presenting evidences from its application used in historical aspects of urbanism and architecture.
Research Question:
What are the rules involved in benefiting or avoiding the main elements in human environment such as wind, water, sunlight, soil and plant in different temperaments and living areas to create human body calmness?
 

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Understanding Islamic architecture requires perception and receiving space, and the space of Islamic architecture contains meanings that can not be understood only by the senses. Space, as the most basic concept of architecture, is always conceived in a specific definite, which is received through sensory perception, so it has a certain limit, and finite. On the other hand, mosques are the most important building of the Islamic era, where Muslims gather together for prayer and contain symbols and meanings. Which must be discovered through rational perception and through revelation. In this way, the concept of space in Islamic architecture, especially the architecture of mosques, is a fundamental issue. understanding and obtaining the meaning of space is the result of the twofold confrontation between perception. In order to explain such a challenge, this article is devoted to explaining the finite and infinite of the spatial structure of Iranian mosques during the Safavid period. Therefore, this study uses a qualitative approach in the form of a case study with field observations and library documents to explain, analyze and obtain the structure of space in Safavid period mosques as one of the golden architectural periods of Iran. Imam Mosque of Isfahan, as an example of mosques with courtyard and porch, and Sheikh Lotfollah mosque, a case of mosques lacking these elements were selected from the Safavid era. The findings of this study indicate that space is received variously in Iran's architectures. So that, space, in terms of perceptual perception, is finite. This finite and the physicalization of space result from the perception of the bound via the five senses. In proportion to the small world, the object surround the space. From this perspective, in addition to focusing on dynamism, the bound contains centering, space breaks, plurality and multi-spacing. But beyond that, in Islamic architecture, there is a rational perception that leads to obtaining the meaning. In this perception, the bound does not constrain Iranian and Muslim people. The bound and space get together, space is unlimited and unlimited. The infinity of space in Islamic architecture is proportional to the great world. In this revelation, the Islamic space means the presence of one and the only divine. In fact, in the rational and intuitive perception, space is unit, discreet, eternal and infinite. But in sensory perception, space is finite, inward, small, and multiplicity.

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Buttresses has been used as a support structure in the field of architecture. This under pressure structure prevents from thrust force advancement and creates resistance and stability of main structure against any horizontal movement. Study references related to architectural structures makes it clear that little researches is dedicated to support structures, particularly buttress in Iran and is not provided the answer to this question: By what measures can investigated types of buttress and what are these types. Meanwhile, raised the issue of the buttress in the area of specialized restoration as a way of treatment, it is needed to urgent research conducted in this regard. The purpose of this study is understanding buttress in Iran. Therefore, relying on library studies then field research and surveying of 100 available samples, discovering and typology of buttresses of Persian architecture was intended. The main outcome of this study was to identify buttress species based on measures of form, position of buttress in plan, materials and construction time. The study of the typology of the studied samples showed that any combination of solid rectangular plan and combined sections (rectangle and triangle) types, are the most practical buttress of the 100 participants of this research. Ease of construct and play the best structural role of the buttress can be reasons of   using by architectures that has been based on their empirical knowledge. The buttresses have openings such as the type of a floor with the port covering of circular arch type; have allocated the most acceptances from the architects. An achievement that offers this research, are scientific solutions for restorers and architects to design the buttress species in restored historic buildings.

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Ethical teachings are an important part of the teachings of the religion of Islam and Ethical concepts are among the abstract concepts which are defined differently by different people and then Everyone, in their own way, manifest those in architecture and we’ll get different votes.
The ongoing research addresses the issue of how a value accepted in Islam (contentment) can be assessed in architecture in order to evaluate its status, predict its future, and to achieve its planning.
In response to this question, indexing is proposed that has a long history in social science. This method involves the following steps: first nominal definition of concept (by semantics) be done and definitions to be elected and then architectural dimensions should be determined. In the next step Islamic criteria based on Islamic concept should be recognized. Then Indicators are determined and finally the items sets and concepts, dimensions, criteria, indicators and items are weighted by Delphi Technique and Analytic Hierarchy process (AHP).
Proof of the efficiency of this method has been done by performing a process of indexing on contentment and so we got a questionnaire with 216 items. By answering it is possible to understand the extent to which the concept of contentment is manifested in the desired architecture and what should be considered in order to achieve a contentmenal architecture. Of course, given the method's deductibility, it is evident that access to the objective is relative and there is no claim to the comprehensiveness of the method.
The method used in this research is a combination of qualitative and quantitative methods. Data collection in the qualitative part is based on the library method (collecting available documentary data) and field (interview, questionnaire) and in the small part, it is a field survey (questionnaire). In the analysis of data in the qualitative section, the method of semantics and rational reasoning and in the quantitative part of the Delphi method and hierarchical analysis have been used.
Results of indexing of contentment showed that among the dimensions of architecture, effective individuals are important and among the effective individual, architecture have the greatest importance. Adaptation of the architecture to the shape of the lives of users; Understanding the effective individual from the cultural, social and economic environment; Respect for nature in the process of architecture; Understanding the architect from the physical, geographical and climatic environment; Avoiding economic disaster in architecture are the most important items in realizing a contentmental architecture.

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A rising demand for housing has persuaded governments to provide more housing units, significantly for the less privileged classes of the society, and several methods have been tried. Mehr Housing Program is the latest effort in the recent years for mass housing production in Iran. The immense impacts of implementation of this program has had wide spread effects on the cities of the country. Studying this wide-spread project requires proper mechanism and measures. And without a doubt referring to the endemic architectural and urban planning methods would provide the proper basis, on which one can make valid criticism. Accordingly, the present study is an effort to explain and classify these methods and values, which have been neglected throughout Mehr Housing Program.
The research method in this study is based on comparison. In this paper, the authors have first reviewed the publication by the experts in this area to extract these endemic measures, and based on this theoretical framework the endemic and organically grown urban fabric of the seaport of Khameer is studies and compared with the Mehr Housing project implemented in its vicinity.
The findings of this research show that the implemented housing project can be criticized by the measures of Locality, urban planning process, the meaningful relationship that it has with the context, economical equilibrium, development competitiveness, urban identity, architectural and urban landscape aspects and the social coherence. For these shortcomings in the project there are certain solution in the endemic urban logic, and the negligence of these solutions have contributed to the current state.

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Our limited knowledge of Iranian ceremonial architecture in the early Islamic centuries to the beginning of the later centuries has been accompanied by fundamental questions in the design of palaces, their spatial elements, and the way in that kings reside in them. Not remaining abundance and impressive works of this relatively large time period, Caused These questions never answers well. But If the architecture works in the Lashkari Bazaar collection, study and introduce properly can solve part of this concern, especially from the fourth to the sixth century AH which is exactly equal to the period of the domination of the Ghaznavid monarchs.
Two of the major works of the collection, the South Palace and the North Palace, have attracted the attention of researchers for their better preservation than other works of the collection. Despite the numerous studies in this regard, the previous questions have not been answered firmly. Therefore, this study attempted to deal this issue; By adopting the position and architectural structure of the two traces with the help of historical and literary sources, which have not been addressed or used extensively in previous studies. Therefore, the use of a comparative approach in the field of comparative literature (architecture and literature) makes this research different from previous studies. In doing so and specifically, analyzing the findings has also benefited from a historical approach. The latest research shows that the Southern Palace, as its explorer, Scholomberge, also said earlier, was built at the time of Amir Mahmud, Ghaznavi and contrary to Alan›s view literary documents show that, , his large traces of paintings appeared on the northern front at the same time. The Beygman castle structure reflects the thoughts of the official architecture of the Umayyad and Abbasid caliphs in Iraq and the Shams. But the spatial composition of structures, the type and manner of implementation of the elements of architecture, the manner of performance and the theme of the images has been taken from the Iranian traditions that existed till then and persistence.
The special position of this palace and other palaces of the complex depending on the natural course of the Hirmand River. In that way, the dominant idea in choosing the position and longitudinal axis of the palaces is this natural landscape.
This issue was continually noticed by the poets of the same period, who also often admired the Ghaznavi court. The results of this study showed   Multiple sections that sometimes have a relatively independent structure of the palace›s public spaces   was the location of the elders of the country and the army Along some of the elements of space. These parts are sometimes recorded in the literary and historical sources with the name Saracheh or Tarom. The decorated porch of the North Face, contrary to the views of Etinghusen and Grabar, and with the approval of Ashlomberge and Allen, has been the location of the seat and Royal headquarters of Amir Ghaznavi.
This porch that is said «high arch» to the river in the literary sources, which is considered to be the status of the throne of the Sultan. This porch is adapted to a space that has been brought into the body of the palaces of that period by the name of “Audience Porch « by Baygahi, a journalist of a number of Ghaznavid emperors (Sultan Mahmud and Amir Massoud).
The palace was continuously used by Ghaznavid emperors since the middle of the sixth century, when the political office of the Ghaznavid government was shut down by Aladdin Jahansuiz / Ghouri. Subsequently, with extensions such as a bath in the northeast of the palace, the reconstruction of parts of the stage damaged by the fire of Amir Ghori›s war with Bahramshah Ghaznavi Also, the narrowing of the width of some of the ports was useful for the rulers of Ghoria.
In the seventh century AH and with the devastating attacks of the Mongols, it was once again fired and abandoned like many Iranian architectural traces forever. The middle palace, which is much smaller than the Southern Palace, is also centered on the north-south river flow. There is no need to argue that the use of the Hirmand River landscape was also the reason for choosing its position near the edge of the 10 meter abyss. The body of this palace is generally made up of two sateges, such as parts of the South Palace. There can be no doubt that the lower satege, with the exception of the eastern axis, was available to the crew and some government officials. The porch of this satege that opens to the garden is where Amir Massouds audience hall. The high stage, which offers a few patterns of  nine extraterrestrial dome, has been the residential and private section of Amir Ghaznavi;
This section is adapted as «Farvar» in the Persian ceremonial architecture that has been repeatedly published in literary sources. There is a significant diversity in the perspective of the four porches of this stage.
The river in the west, Locan plain and the river in the north, the garden and meadow on the east side and again, the Locan Plain and the River Flow in the south are the views of this palace.
In this respect, the middle palace, which must be a belvedere as Allen said , is also considered to be significant in Iranian landscape architecture, and with some poetic descriptions of some literary sources it is adapted to the relatively pervasive design of some of the slopes of this period. In general, the body of this palace is part of the extensions that were added after the development of eastern part of garden. It means, the garden area, which was previously developed to the river and the position that belvedere later built and When the middle palace was built, the old palace was replaced by the removal of the western gate of the old four-wall.
These events took place before the Ghaznavid period, and Alan considered it during the Samanids (half of the 4th century AD). But, of course, the garden and the surrounding fence should be considered the oldest part of this landscape structure. In any case according to Beyhaqi›s words It was used, during the Ghaznavids period and specifically during the time of Amir Massoud I. Noting this point that the secondary use that seems to have been given from the time of the Samanids to its four-sided garden was preserved and used as a campus or hunting ground; Predators and grazers of the Lacanian plain surrounded by a large number of manpower and probably driven through the gates of the east, south, and north. Amir Ghaznavi was obviously in an enclosed area of more than 10.5 hectares in its developmental structure and in a special position that could have been the eastern axis of the two stages.
There is a small building in the north of this site, which sometimes called Kushk-i-Rudkhaneh. Some of the architectural elements of this building are reasons for belonging it to pre-Ghaznavic period and its overall structure same to the middle palace has two mezzanines. This building has been formed in two periods. At the first time two rooms were built in the northern and eastern sides of a platform which exactly facing to the river. The other parts are belonging to the second period of palace architecture. This relic is considered as residential and private palace. There is no doubt it has been used in Ghaznavic Period same to the middle palace.
The results of research showing that contrary to what is associated with simplicity, avoidance of futility and slang of the Islamic first centuries architecture (Khorasani style), but ceremonial architecture has taken an another route.The ceremonial architecture was accompanied by impressive decorations and also found a great place. The decoration of common times platform in the south palace and the mentioned relics in two mezzanine clearly challenge the previous view. Despite the lack of evidence, ceremonial architecture of the first Islamic centuries could have been a continuation of whatever during the pre-Islamic era was widespread.
 

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Since man has been engaged in architecture, he has paid attention to the spiritual , inner needs and aesthetics sense too. Today, in architecture, aesthetics is limited to formal secondary factors due to lack of the systematic and applied explanation, while this concept has a more definition and is closely related to structure, details of construction, audience and environment. Iranian architecture that has manifested aesthetics over many years age, has been a rich source for adapting the principles of aesthetics in architecture. Quantitative and qualitative foundations in traditional architecture, which are related to the aesthetics and visual principles set on structure and proportions, lead to aesthetics appearance. Accordingly This research tries to answer the question: how are aesthetics principles engaged in Iranian architecture in order to utilizing them in contemporary architecture.
The analysis of the houses was carried out in Mashhad because of its historical background, which was a rich source of architectural works. In this research, current findings of different schools and philosophers viewpoints about aesthetics were collected next analyzed and Interpreted with content analysis method which they formed the criteria of analysis. Using the documentations, 10 types of Mashhad historical houses were analyzed with aesthetics factors, all of them were belonged to Qajar period. In this analysis, according to architectural changes affected from historical conditions (Qajar period), the spatial & structural principles of the houses belonged to the first period and the beginning of the second period were conformed with aesthetics criteria. While the houses belonged to second Qajar period, they included elements as sloping roofs, and issues like: having less application of the symmetry and proportionality in the plan & façade, and more extravagance, which is a conception of Western architecture and doesn’t fit to regional culture and climate.
 

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Privacy as a human need, is the result of adjustment of the interaction between human environment, which under the influence of current patterns of activity and cultural background, leads to a favorable atmosphere. Adjusting the privacy in Iranian homes is one of the fundamental features of Iranian architecture, which has had a profound effect on the formation of the spatial organization and the physical elements of traditional houses. However, the climatic and cultural diversity of the Iranian geographic region has caused different types of Iranian homes. The similar situation in the marginal cities of the Caspian Sea has caused the development of extroverted architecture. The extraterrestrial architecture of the rural homes of Gilan has provided a distinctly desirable privacy setting, in accordance with the requirements of Islamic belief and indigenous culture. In other words, the privacy setting in these homes is unique in terms of spatial structure and architectural elements and is different from introverted houses in the central regions of Iran. Architectural solutions to these types of homes in the provision of privacy have not yet been studied by researchers. For this reason, this paper outlines and describes the setting of privacy and its mechanisms, and looks at how to realize the desirable privacy in the works of the outsourcing architectural index in the rural homes of Gilan. The study first identified the spatial structure and architectural features of the selected buildings using library resources and field observations. Then, the researchers, through presence in the field of research, have focused on the evidence behind the behavior and reactions of the inhabitants, and tried to reveal the profound meanings of empirical data obtained from interviews and observations.
The findings of this research show that adjusting the privacy plays an important role in the formation of spatial structure and architectural elements of extroverted houses. The presence of trees and hedge around the yard somewhat prevents the view of the interior and causes the enclosure of the space and determines the boundaries of the house, farm, and rice fields. Rotating inputs break the view into the building, and as a result, the visual connection to the building is lost. Bөltө prevents others from entering the house. Also, the stairs in the minor axis cause fractures and reduced visibility when entering the room. Ivan and Kotum and Esbo in the front of the room, causing plenty of space and staging the presence of people at home. Basically, Tallar and Tallar room, which are the guest›s place of stay, are in the seconf floor. Yelka and Jirben, the place of kitchen and the living room are placed in the ground floor or the first half floor. In addition to their core functions, these elements lead to a communication sequence, lack of visual aristocracy, and space contention, and thus the private sphere of the family is preserved.
 

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Islam spread quickly less than half a century on a large scale - from Spain to the borders of China. While, Christianity spread slowly during several centuries. After the spread of Islam in the West of Asia and the evolution of intellectual foundation of the community, the need for creating cities in accordance with Islamic lifestyle through making the least changes to the existing structure, resulted in adopting a new approach like converting churches into mosques in many Muslim cities. This research studies the various aspects of Islamic and Christianity beliefs on the process of converting churches into the mosques. The questions are: How have the formation of spaces in churches and mosques influenced by Islamic and Christian ideological flows? How have the Islamic thoughts embodied in the Christian architecture, during the process of converting churches into the mosques?
The hypothesis of this research is: “the formation of historical process of converting churches into the mosques is because of either existence of parallel aspects in Islamic and Christian theology or flexibility of Islamic thoughts in influencing by aesthetic patterns”. Based on the research questions and to examine the hypothesis, we analyze the process of converting churches into the mosques through using library source and adaptive approach of historical-interpretive method. Findings indicates that the origins of these monumental buildings is the simple form of a house that later developed to magnificent architectural forms in response to historical events. Due to the idea of collective worship in Islam, more diverse range of religious buildings were created in Islamic era than Christian era. The introduction of Islam to the new cities and its political power influenced the architectural aspects of the cities. In spite of the parallel aspects and common roots of the early churches and mosques, it was probable that churches were used for different purpose, but the process of converting churches into the mosque in the newly Muslim regions shows the compatibility of Islam with the culture, ideology and the main purpose (worship of God) of Christianity.
 

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Tabriz Blue Mosque is a valuable historical monument from the 9th century AH, which has been built during the Kara - Koyunlu of Turkomans rule on northwestern Iran and about 35 years before the beginning of the Safavid Iranian government. This building has some features that make it to be distinguished from other monuments of the Azerbaijan region and even Iran. These features have attracted the attention of many researchers in the field of ‘historic studies’ and ‘art studies’ and as well as have led to the publication of various sources about it; the approach of which are mainly to introduce the historical and artistic aspects of the mosque. But, little research has established about its architectural design and discovering its environmental relations. Therefore, there is a gap of knowledge in the understanding of architectural norms of this building that need to be addressed by some systematic and targeted researches. Understanding this fact, the present paper examines some of the ambiguities about this building; such as the way of its interaction with the natural environment. Accordingly, this paper aims at investigating the quality of interaction between the nature and architecture in the process of planning and architectural design of the Tabriz Blue Mosque. The mentioned aim is based on this hypothesis: the interaction of “natural environment” and “artificial environment” in the architecture of Tabriz Blue Mosque is based on a systematic approach that in its regulative foundations, the component of politics is dominated other components, especially the component of nature. The necessity underlying this research is to point out this fact that the architect of Tabriz Blue Mosque along with the exciting beauty that created in this building, did he/she also pay attention to natural and climatic aspects? Drawing on what has been said, this research has been done by descriptive - analytical method and data collection was via field study, direct observation, corpus analysis in order to answer the following questions: 1. What are the requirements and necessities of naturalistic architecture in Tabriz's environmental and climatic conditions? 2. To what extent did architect of the Tabriz Blue Mosque, in the architecture of this building, adhere the principles of convergence and harmony with the nature and climate of the region? 3. What is the reason for the existence of some incompatibility between the architectural design of the mosque and the system of nature and environment? The result of this paper shows that the architectural design of Tabriz Blue Mosque was based on the ambitious desires and motives of a social climber king. The desires required some specific necessities, some of whom was contradicted the natural and climatic requirements of region. These contradictions create some incompatibilities between the architectural design of the building and natural environment. Accordingly, in the architecture system of Tabriz Blue Mosque, political considerations and government accreditation were prior to other components of design, especially the component of nature.

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Space as an essential and integral concept of architecture has always included different meanings and understandings, and this reduced its original meaning to general architectural features. In addition, because this concept was created in the modern period, architects’ general understanding of its indicators has unilaterally been led to the concepts such as void, freedom and movement. Therefore, there has not been any true and comprehensive understanding to evaluate the indicators directly related to this concept. On the other hand, in Iranian-Islamic Architecture, space as the main element making form of the buildings has been considered much more than the material aspects, but due to the lack of a specific framework for explaining its physical indicators or modern sense of space, it has not properly been analyzed. The main purpose of this paper was to identify the principal indicators related to the concept of space and examine the relations, and this was achieved through purposeful analysis of basic definitions, Western viewpoints of architectural space, and perspectives of Iranian-Islamic architectural space. The paradigm of this study was qualitative and the methodology was based on documentary and library researches. In order to achieve a conceptual framework for analyzing the essential indicators of space in architectural works they were distinguished from general features and other concepts through analyzing and comparing of important perspectives and organizing existing structure in recognition of space. Finally, based on this model, the overall status of the indicators of space in Iranian-Islamic architecture and important periods of Western architecture were compared. An examination of architectural space indicators based on Western theories revealed three types of viewpoints: 1- According to this view, architecture was considered as the “Art of Space” which has been on the path of historical evolution, and always conformed to “dematerialization” (reducing the effect of the masses) and increasing the role of empty spaces. Clearly, on this view, the indicators were emphasized those which conformed to “total freedom of space”, “exposure”, “permanent expansion”, and “maximum relation”. 2- This thinking was almost the opposite of the first point of view. The theorists criticized the unlimited freedom of the space and looked for defining the new intricate and meaningful structures. It could be said that this view, influenced by phenomenological approaches, conformed to promote the concept of space to “place”, caused to the sense of habitation and settlement, and emphasized the “internalization” and “preservation” as the main characteristics of the space. 3- In this view, the relative balance among the dual indicators of architectural space and their challenges were emphasized. Accordingly, fundamental characteristics of the architectural space in different periods were identified with no specific direction to one side of dual indicators. In fact, the balance between the inside and the outside was necessary. It meant that in order for space to be essentially recognized as real space, at least a part of this separation was needed. On the other hand, the complete separation was not usually correct too. The enclosure and protection of the inner space and the continuity between the inside and the outside both were inherently necessary and appeared differently depending on the period of each architectural work and its context.
Iranian-Islamic views on the space were investigated both in art and architecture. In Iranian-Islamic art theories, two facts were revealed: 1- The emergence of imaginary and mysterious quality through the constant fluctuation between opposing characteristic and creation of dual concepts such as “Hayaa” (modesty). 2- The balance between material and immaterial aspects in art to achieve two main goals: the existence of art and a trace or an echo of God. By reviewing the opinions of some experts in Iranian-Islamic architecture, such as Nader Ardalan, Darab Diba, Seyyed Hadi Mirmiran, Mohammad Reza Haeri, etc., it became clear that the dual indicators of space appeared in two different ways: In the first case, there was simultaneous presence of opposing dualities, such as void-mass, inside-outside, movement-stagnation, continuity-obstruction of vision, etc., and at the same time, the tendency to internal and limiting indicators. In the second, there was simultaneous presence of opposing dualities and the lack of inclination to one side: balance, ambiguity or fluctuation in dual indicators. The results of numerous analyzes indicated that, despite of intricate and extensive theories of architectural space and approaches derived from, they revealed certain forms of relations between the dual indicators in a “spectral” framework. These indicators both at the basic level (fundamental indicators) and at the final model (extension of basic indicators) showed different tendencies, including the overcoming of liberating characteristics, overcoming of limiting characteristics, and the balance or fluctuation between the dualities. In a general comparison, it could be said that the indicators of the space in Iranian-Islamic architecture appeared balanced, vague, or mysterious, which had some similarities with spatial concepts prevailed in Postmodern architecture; and they were completely distinct from those of other periods of Western architecture.

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Karbandi is the structure of a kind of roofing in Persian architecture. One of the main issues related to the design of karbandi is that, due to its geometrical structure, it is not possible to design any desired karbandi on a given base. Therefore, it is necessary for the designer to be able to discern the proper karbandi for a given base. The most critical stage in designing a karbandi is when the designer should recognize the number of sides of a proper karbandi for the given base. Therefore, the question that this paper is trying to answer is that from a mathematical point of view how an architect can find out the proper segmentation of the base to fit the geometrical structure of a karbandi.
In this paper first a literature review of traditional methods for designing karbandis is conducted in which the methods of three master architects are examined. They include master Pirnia, Sha’rbaf, and Lorzadeh. The problem with these traditional methods is that no clear explanation is given for the way the designer can reach a proper division of the base. Only Pirnia speaks of a simple empirical formula that was used by traditional architects.
This formula has its specific limitations too. It is so arranged that in order to produce a meaningful answer, the numbers pertaining to the length and width of the base rectangle have to be integer numbers. However, it is highly probable that a designer wants to design a karbandi on a rectangular base with non-integer dimensions. Besides its limited range of function, it is not mathematically clear how much accurate its answers are. Pirnia admits that this formula was not aimed to be quite accurate and most of the times the designers had to modify the original dimensions of the base in order to find an acceptable one. The less accurate the segmentation of the base rectangle, the more deviated will be the shamseh piece of the karbandi from a true circle towards an ellipse.
Therefore, in the absence of a precise mathematical solution for this problem, it was probable that most of the times the designers had to content themselves with proximate solutions out of trial and error process or had to alter the original dimensions of the base in order to be able to build up a karbandi on it.
In this paper this problem is formulated as a mathematical question and is solved. Then a program in Maple language is written to do the iterative calculations and print the relevant answers. Designers can easily run the program to find possible karbandis for any desired base. When the program is executed in Maple application, it prompts the user to determine whether a one-footed karbandi is required or a two-footed one. Then the length and width of the base rectangle and finally, the acceptable tolerance are asked. The acceptable tolerance is defined based on the ratio of the length to width of the rectangle. After entering these variants, the calculations are done and the answers which are within the domain of acceptable tolerance are printed orderly from the most exact answers to the least.
In other words, the first answer belongs to the rectangle which is most similar to the original base. The output of the program includes the method for the segmentation of the base, the radius of the cutting circle, the proportion of the sides of the suggested rectangle, and the relevant tolerance for every printed answer. The advantages of this program include the high level of accuracy and the possibility to check an infinite number of options in a very short time (in the current version of the program the variants are set in order that the program checks 1000 options to produce its outputs but this number can be adjusted by the user). After introducing the mathematical solution to the problem and writing the relevant program to do the calculations, the paper continues to include one example of its application to design one-footed and two-footed karbandis on a given base to show its capability and convenience.
After that, the program is used to test the credibility of the empirical formula mentioned by master Pirnia. Nine different bases that are mentioned by Pirnia to show the application of the formula are used to compare the results. Surprisingly, it is observed that the Pirnia's simple empirical formula in five cases out of nine cases produces the most exact answers produced by the program. Regarding cases in which the answer by the formula is not the most exact answer according to the program, it can be said that this difference reflects practical, structural, or aesthetical concerns of traditional architects. Therefore, the test shows that the formula used by Persian architects, though limited in its scope, was really a working formula that could be used as a useful basic guidance for designers of karbandis. This finding might be related to the historical fact that there were expert mathematicians who were interested in solving practical problems of professions like architecture and who devised simple mathematical solutions to be used by ordinary practitioners.