Journal of Researches in Islamic Architecture

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The knowledge of environmental design process describes and explains the fundations of self-conscious design of the man-made environment and is always rooted in polemical theories. Hence, theoretical foundations play a pivotal role with a strong and generalizable support in design, in order to be able to recognize the borders required in the creation process. The purpose of this research is to present an applied model of the design process taking into account the ontological approach in Islamic philosophy. The methodology of this paper is comparative and argumentative. In this regard, a series of similar and equal orders in the basics of Islamic ontology (perceptions and types of essence of perception and essence levels) and phenomenology, in proportion to the process of creating and visualizing an artistic product, in order to establish a functional model in The architecture design process is compared and explained. The research approach is a five-dimensional model of "Tarif, Tabiin, Tasvir, Tadvin and Talif" in the process of architectural design in accordance with the varieties of substance and human perception. In the Tarif step, in accordance with the design theme, the principles and aspirations of the architect designer are determined by the various life-worlds, and can be received. In this step, the designer, with intellectual freedom and in various ways, expresses his conceptual and idealistic concepts of his hypothetical architecture. The second step is the Tabiin of the relative state and is interpreted and adjusted in time and field. The Tabiin step, in addition to identifying the project's nature, leads to analyze and the establishment of various diagrams of spatial relationships, functional, physical planning, and so on. In the third step, Tasvir, imagery and the role of creativity are significant and the layout of the project is created. The Tadvin step in the design process means arranging and arranging components and evaluations after the creation of the form. At this stage, the form is arranged in relation to the creation of space, and the focus is removed from the mass of architecture and the relation between mass and space is transmitted. At the step of Talif, the architectural work is of soul and life and as a living phenomenon with a distinct identity in conjunction with other phenomena in the system of the universe. The use of this proposed model in the design process, due to the experimental nature as well as the content connectivity with the principles of Islamic ontology, paves the way for a tangible understanding of the complex design path and, on the other hand, gives rise to freedom of action for designers and architects.

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In Islamic thought, imagination has a special importance and place in artistic creation. The nature of imagination has created such opportunity to realize this fact the each spiritual affair to be imagined should occur partially and tangibly in imagination. In fact, the imagination is the interface between meaning and material and its images, on one hand, are similar to the matter and on the other hand, are separated from the body and spirit. With regards to such nature and capability of this power, using the imagination in the creation of valuable art and architecture is highly effective. The artist, like all other human beings, enjoys all aspects of perception, but uses his imaginative perception in artistic creation more than others. The artist expresses his mental concept, within the words or images or changes them into the sound, or makes it with brick and stone. In all of these creations, what the sacred artist creates in his mind is free of sense and the physical world. Even, when he recreates the nature in his works, it is not the same as nature, but his imagination and creativity power are reflected in his work. What is formed in the artist’s mind is partial with an image and hence is in the imaginative perception area. For this reason, what is created by artist is fully dependent on his imaginative power.   
Like other arts, meaning in Islamic architecture is a fundamental and necessary concept which visualizes an imagination of the meaning world in a matter world by physical and non-physical factors. But, despite the critical role of meaning, current studies have not discussed such issue. In fact, the architect perceives the real world, but in his creation, he does not only imitate, but tries to manifest that fact. Hence, he starts recognition from the matter, but the more he progress, he makes his recognition deeper, separates from the mater and achieves the concepts and rationales. This process occurs in imagination world which is separated from the real world and the wisdom world perception is attained.
The present study aims at explaining the imagination position as the interface for manifestation of meanings in architecture design and its role in architecture design process. In this research, the background related to the imagination in Islamic thought in areas of imagination world and its steps, imaginative perception and sacred art and creation are investigated. By descriptive – analytic method focusing on the rational inference and reasoning, this study deals with the data and collected materials.
To start the design from meaning area, it is necessary to take areas of meaning into account. Meaning area in architecture is the same as the mental concepts of designers which is related to the culture, innate feelings and values of designer. Therefore, starting the design from the architectural qualities like life and presence in space paves the way to achieve the ideas with meaning substance. Trend of meaning manifestation in architectural works (architectural space and form) is made with the help of imagination. Accordingly, each concept or meaning should initially takes and imaginative aspect to become evident in the real and tangible world. Meaning comes from the designer’s entity and the imaginative images of meaning are manifested in architectural space and form. Enjoying the meaning movement is design process is: paying attention and achieving the concepts and meanings (meaning), transforming these meanings into the intellectual images and ideas creation (imagination), recreation of these images in tan bilge world while conforming with both the imagination world and limitations of tangible world (architecture work). Movement of the meaning of the tangible is understood by artist and movement of the tangible to meaning by the audience. For this reason, artist and audience, communicate through affecting each other.
 

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The lack of proper understanding based on the fundamental and original notions of persistent architectural patterns of the house has led to disturbances in the fundamental structures of contemporary home architecture. The design of a home-based on sustained principles and archetypes has had complexities that have been taken into consideration in recent traditional architectural patterns have been one of the most prominent and important ways to meet the needs of their time. Among its achievements are climate and design adaptation, the proper use of natural energy, and the enjoyment of comfortable space for humans. It seems that by examining the nature of the archetypes, their applications in the residential design are represented. In this paper, after reviewing the basic principles of residential patterns in case studies, the design criteria used in them are extracted. The purpose of the research is identifing the old architectural patterns of the Kashan houses and its efficiency in designing modern residential architecture. The research method is based on case studies that analysise the content of the texts to identify the conceptual framework for understanding the design criteria. An overview of the role of patterns can be pointed out in terms of its functionality to meet the needs of its time, such as the central courtyard, the Godal Baghcheh (the construction of the main spaces at the negative level), spatial hierarchy, spatial expansion, etc. They are, for example, placing the outdoor space in the center of the house, orientation based on the use of natural factors such as sun, water and wind, roof tiling, sun light and even engaging such as colored glasses from a set of patterns which has a good response in terms of climate, style, aesthetics, and performance. Using the archetype in today's architecture, architect should pay attention to the reason for the emergence of the old patterns. What was the reason why each pattern was originated and what needs to be answered? Finally, how can they be improved by increasing their qualitative dimension with the continuation of them in the formation the spaces of today's homes? In addressing each of the dimensions we want to identify the criteria we can use to cite impact of each criteria to form a pattern-based space. The research is qualitative and analyzes the content of theoretical texts by the research samples. Finally, an analytical review of approaches and considerations consistent with the content of the concepts of theories is obtained to assess the qualitative criteria achieved. Issues raised through representation are examined. Using this method, the studied houses are considered based on the proposed criteria based on the shape structure. Therefore, in this section, the dimensions of the climate, spatial organization, relationship with the earth, materials, proportions and spatial geometry in the four dimensions will be studied to summarize the desired dimensions. Considering the basis of the research, which is based on qualitative analysis, sampling was selected randomly from houses built in the past and present in both Kashan and Yazd. In this regard, the principles based on architectural design patterns in the past and continuity in today's architecture is extracted. Then, based on the conceptual model presented, the criteria were classified into the components of natural structure, physical-space structure, and visual structure. After assessing the reliability of the components by the experts, the level of impact and more comprehensive principles were identified. Subsequently, the semantic analysis of each that was carried out in the studied samples. The results of the research show that the architectural patterns of the houses studied in natural, physical, spatial and visual structures through 15 concepts of hierarchy, spatial equilibrium, flexibility, introversion, collective activity, sensibility, security, energy efficiency, confidentiality, confinement, vernacular materials, static, natural varieties, natural elements, and architectural negative-level are recognizable. These concepts are introduced in the formulation of the criteria of spaceism, introversion, naturalism, and structuralism. These items are more likely to be found in the homes of Saleh and A house, Yazd. In the later spatial organization, lowering the level of clearance (architectural negative-level), the Govdal Baghcheh means the use of the yard in the center of the house and the use of natural lighting and communication with the open space can be viewed on a wider level. In the dimension of the space hierarchy, space communications are considered in two horizontal and high altitudes, open, semi-open, closed, and spatial space, based on space and movement. In the pattern of introversion, there was no direct visual relationship between the inside and the attention to the design of open spaces that could provide direct visual communication; the confidentiality of limiting the attainment of the mental comfort of residents in the home and the observance of safe privacy; spatial communication to develop the activities of the residents of the house is examined. Finally, by evaluating these criteria, the archetypes that can continue in the architecture of today's homes are presented in the form of an analytical-applied model.

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