Journal of Researches in Islamic Architecture

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Covering one of the most important spaces, domes have a magnificent role in Persian mosques. During continuous eras of Islamic architecture masons could promote this techno-spiritual heritage and developed its spatial value. This process reached its apogee in Safavid era. Overshadowing Shia conceptual system carved the cultural context of Safavid society and consequently changed its architectural features. In this context, Safavid illustrious domes acquired modern roles and were dressed differently. In previous studies symbolic meanings of domes have been analyzed mostly in two major groups of “positivist-narrative” and “mystical-hermeneutic” approaches. The followers of traditionalism school by applying mystical-hermeneutic approach have suggested some general meanings for most of dome cases in the entire Islamic world. Manifestation of symbolic meanings such as heaven, paradise, sky and unity is proposed by these scholars. On the other hand, positivist art and architectural historians by utilizing a narrative approach has criticized the traditionalism school. They believe tying any meaning to a traditional architectural element requires achieving clear historical evidences that could be gathered through field studies. Meanwhile there are limited group of scholars that benefit from both hermeneutic and narrative methods. Although they accept the central concept of embodiment of Islamic meanings in the buildings, they provide historical subjective evidences for their arguments. This paper aims to investigate the meaning of Safavid domes by using “Narrative - Hermeneutic” approach. Appropriately, the hypothesis of embodiment of the meaning of a holy tree, called Tuba in Safavid illustrious domes is examined by means of two questions. The first question looks for the original meaning of Tuba in Safavid cultural context which has been studied in a separate paper. That paper indicates that the term Tuba is only mentioned once in the Quran, However its attributes can be ascertained from various hadiths and other relevant references. Additionally, in his The Red Intellect, Sohrevardi describes this tree. Accordingly, Tuba is a divine, tall, with a long shadow tree that is one of the blessings in heaven. The second question is concerned about Tuba’s probable relationships to illustrious Safavid domes. Consequently, to find out the answer characteristics of the two main domes in Madrese Chāhār-bāgh (Soltānī school) and Masjid-i Jamī Abbāsī (Shāh mosque) at Isfahan are analyzed in three spatial scales including the city, the building and the dome chamber. Accordingly, images of the domes in city sky line, dome’s silhouette and shape, outer and inner ornaments as well as the content of dome’s inscriptions are studied. In the urban scale, western traveler’s description as well as studying the city sky line represents a modern picture that forms in the Safavid capital. The picture that displays raised huge domes in the verdure background of the Isfahan as a garden city. In an architectural scale, the projected shape of the dome constructed on a tall drum represents the form of an abstract tree that dominates the mosque and the school and their surrounding area. This image can be better realized by looking to the decorative layer of two domes. Both cases are covered by lavish vegetal decorative patterns drawn on a turquoise background that encompasses the outer and inner shell of the dome. This layer dresses the abstract shape of domes and illustrates an objective tree free standing beyond the city skyline. Moreover, studying the buildings inscriptions may reflect the indicated concepts and intention of their builders and providers. Acordingly inscriptions of main spaces including the entrance (pishtaq), the foyer (hashti), Qibla ivan and minarets were survived. Almost all the inscriptions in both monuments reflect the three main concepts. Inscriptions in both monuments reflect the scientific superiority and spiritual grandeur of Imam Ali. Simultaneously in Madrese Chāhār-bāgh the value of knowledge and in Masjid-i Jamī Abbāsī the importance of congregational mosque are mentioned in different ways. More precisely investigation of dome chamber inscriptions reflects some indicated concepts. Unlikely to the most of dome chambers the applied inscriptions in both cases hardly contain Quranic verses. They mostly include those hadiths and quotes that clarify the role of Imam Ali as the first Imam and also successor and brother of the prophet. More importantly, the mihrab inscription at Madrese Chāhār-bāgh, as the focal element for meaning manifestation in dome chamber, represents the night journey and the ascension of Prophet Muhammad and describes his meeting with the holy tree of Tuba. Finally, qualitative analysis (comparing and content analysis) of the findings evaluated the paper’s hypothesis in three criteria of “logical consistency”, “truthfulness probability” and “completeness”. In the first criterion, the paper indicates on the logical consistency of this hypothesis. Paper findings in the second criterion demonstrate the truthfulness probability for embodiment of the meaning of Tuba. Eventually the last criterion suggests that provided evidences cannot support the completeness of the hypothesis. All in all, this paper suggests that core concept of Tuba tree as the most truthful explanation for the meaning of studies domes.

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The golden ratio has been claimed to have held a special fascination for at least 2,400 years. Some of the greatest mathematical minds of all ages, from Pythagoras and Euclidian ancient Greece, through the medieval Italian mathematician Leonardo of Pisa and the Renaissance astronomer Johannes Kepler, to present-day scientific figures such as Oxford physicist Roger Penrose, have spent endless hours over this simple ratio and its properties. But the fascination with the Golden Ratio is not confined just to mathematicians. Biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is probably fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics. The Parthenon›s facade as well as elements of its facade and elsewhere are said by some to be circumscribed by golden rectangles. A 2004 geometrical analysis of earlier research into the Great Mosque of Kirvan reveals a consistent application of the golden ratio throughout the design, according to Mazouz. They found ratios close to the golden ratio in the overall proportion of the plan and in the dimensioning of the prayer space, the court, and the minaret.

Golden Ratio and Geometry,plays an important role inIranian traditionalarchitecture (I.T.A) and it is very serious in bases of construction.In a recent book, author Jason Elliot speculated that the golden ratio was used by the designers of the Naqsh-e Jahan Square and the adjacent Lotfollah mosque.In Traditional proportion knowledge, «Beauty» is not an individual style and verve, and it has geometric rules and methods.Hence, proportional theories created.»Iranian golden Rectangle» and «Gaz and Module» are two main important design ratiotheories in I.T.A.

Many experts expected two above ratios have been used in buildings design by traditional Iranian architects. Testing these two theories in several historic houses of Qajar era in Shiraz city is the aim of present study.

Gaz and module means the unitratios which areused in length measurement. Babylonia and Assyria were invented these measurement units (1Babylonia Gaz=0.53m), which used by Iranian later butby doublingtheamount of it (1 Iranian Gaz=1.06m).

Measurements repeated for width and lengths for all three categories, as repeated. Length and width of spaces calculated in Gaz unit and the compared to Gaz (and its quarter fractional too). Considering the test results data leading to refuse or accept the theory,the difference data with the smallest difference possible is calculated.

Iranian golden Rectangle means the length to width ratio of a rectangle surrounded by a Regular Hexagon, which is not more than three possible ratios (1.73,1.15, and 2.31)depended on the type of architecture space.to perform the study, spaces are divided by three main categories as below:

1- Ccentralcourtyard

2- Five-door rooms

3- Three-door rooms

Analyzing the geometries and spaces results the ratios as below:

1- The Aspect ratio of Central Courtyardis 1.73.

2-The Aspect ratio of Five-door rooms is Apex. 1.73

3- The Aspect ratio of Three-door rooms is 1.15.

Sample selection is done randomly with the proviso that the selection sample is in the Qajar era, and indicator such a shaving historical valueand Also include disa selection from different neighborhoods of old shiraz.

The exact dimensions were recorded and statistical data prepared and analyzed using Spss software. The normality of data was checked by the Kolmogorov-Smirnov test. Accordingly, data was converted to a normal distribution by using a Box-Cox and subsequently t-test was used to test hypotheses. The ratio of coefficient of variation was also used to compare the “Gaz and Module” theory and the “Iranian golden Rectangle” theory. However, architects have been tried to follow the “Gaz and Module” theory for designing important houses spaces, but The results of the study shows architecture of Shiraz historical houses, gotvery closed to»Gaz and Module» theory and not exactly, especially in Qajar period. However, «Gaz and module» theory is not so much accurate, but it can be accepted to study the Qajar era architecture by it.

Considering the actual situation and the plan of the Shiraz historical houses, the authors concluded that deviation from the “Gaz and Module” theory can be explained according to the type of separation and division of lands in other words architects could not get the exact ratios why the land division plans were oblique in many cases. This research and analyze is also done by poor ahmadi and Partners for traditional Yazd houses. They also concluded «Iranian golden Rectangle» is rejected in Yazd houses. Therefore,its advised to expand the analyzes of «Iranian golden Rectangle» theory for other Iranian traditional cities.

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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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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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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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The modern architect places a lot of weight on his status as an artist and heavily relies on changes like unique and self-aware language. Different intellectual foundations are effective in the production of form in architectural studies, which can be categorized in many areas, including conscious and unconscious. The researcher is attempting to determine how much the conscious mind and how much the unconscious contributed to the production of form during the contemporary era and the Safavid era, respectively. Two historical-comparative and documentary guidelines served as the foundation for this research, which was carried out using a qualitative approach. The study environment consists of documents that discuss the conceptual foundations of both the Safavid and contemporary eras. Based on the votes provided during both eras, it is important to consider the relationship between form production and creativity. As a result, a comparison was done using this index and the variables that affect it. Intellectual and artistic creativity has an unconscious nature, while scientific and logical creativity has a conscious nature. The comparative findings demonstrated that in Safavid architecture, the artist himself is transformed and finds new creativity throughout the creation of his works of art. To guide the soul in its substantial motion and to build a suitable platform for the realization of its transcendental powers, or, in other words, to lay the foundation for the immateriality of the soul, is the responsibility of the artist in the reciprocal relationship with his created product. The science of rational man is a sensual science. The Safavid era had rich and powerful intellectual roots in the unconscious process, which had an impact on the production of forms in architecture. Sacred art, in contrast to modern art, places meaning before style. Author architects discuss the phenomenon as a whole, as well as the contradictions between context and flexibility. From their perspective, however, the audience of the work is what matters since they bring the text to life, not the architect who merely recreates reality. They discuss intuition, existential experiences, and the unity of human nature. However, there is no information available regarding the nature of this encounter, the identification of the existential reality, or the advancement of it in the direction of a singular nature. Given the volume of information available to him, the architect must prioritize what can be resolved in his mind. Additionally, Eisenman believes that this individual expression occasionally promotes isolationist inventiveness without consideration for a unified order. Based on these foundations and their analysis, it is possible to conclude that it is urgently necessary to use the unconscious process in the creation of form in order to enhance the quality of the design and make it appropriate for the environment. This can be accomplished without placing the shape in its actual context by taking into consideration the inconsistencies since the architect's capacity to fully and completely comprehend the values and concepts in the universe and connect to the subconscious is constrained. Contextual construction compatibility is the result.