Journal of Researches in Islamic Architecture

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Pedagogy and education was always important in Islamic Era that is mean learning and in another words, refinement and guidance but teaching is meaning pedagogy and action of pedagogy systems. Mosques were the first places that pedagogy and education was done in them but in The Seljuk Era “Nizamiyah”, independent schools were made and these actions were done in it. After this period, seminaries were the most important place in Islamic architect Era. With ideology change in each Era and period concept of pedagogy and education were different and have some variation. Actually after starting of Islamic Era, emergence of schools and their ideology in pedagogy and education went out of Arabia border and fusion with other cultures especially Iranian culture was started. According to these every method of education has different educational hierarchy and different place. So the main question of this paper is “what the relationship is between different perspectives of education and structural elements such as spatial organization and architecture of seminaries?” The Seljuk and The Safavid Era were the most important era in school structures and changes in the educational system as we can see the number of Safavid schools that were built and Nizamiyah that Nizam al-Mulk made them. A comparative comparison between The Seljuk and The Safavid Era’s schools was done in this research. This research is due to historical interpretive methods, case studies and documentary literature review to understand the concept education of these Era and analysis them. For this purpose selected four schools of each Era and analysis them in terms of features available in the overall scheme of structure. It has been tried to select the variety choice of these schools. For example the school of “Madar-e shah” that was one of the most important schools of Safavid Era has been chosen and smaller schools that had remarkable architecture elements as well. Another factor that was influential in choosing of Seljuk and Safavid schools is the availability of each school and its plans. According to the Mongol invasion, there is almost nothing special remains from the Seljuk schools in Iran and just a very little can be found about them in the documents and writings. But there are more numbers of Seljuk buildings remaining in the Anatolia and Central Asia compare to Iran. One of the reason could be noted was using furnace bricks and whole cut stones. So Seljuk schools have been chosen from schools in Anatolia and contemporary Turkey that are still standing to review and compare. According to limited number of Seljuk schools, Safavid schools were selected the same number. Seljuk available and reliable schools, include: “Cifte Minareli”, “Gok”, Seyit Battal Gazi Kulliyesi Medrese” and “Ince Minareli”. Safavid schools include: “madar-e shah”, “Musalla Safdar Khan School”, “Molla Abdollah” and “Mirza Hossein”.
The results indicate that architecture of school based on some requirements such as educational system, political and social developments changed to responding to concept of education. Hypothesis of research is based on results. Concept of pedagogy and education in Islamic Era have some turning points in its process and made some changes in schools architecture that The Seljuk and The Safavid Era were the most important turning points. Actually both Era were the peak point of this process. Surveys of two Era shows that change of education concepts made some change on structures and architecture of schools such as free or task pedagogy and education changed. This means that in Safavid Era task pedagogy and education was more public and social than The Seljuk Era. Entrance schools system from simple scheme of The Seljuk Era was evolved and turned into some entrance and complicated scheme. In Safavid Era school yard was particular important and sometimes it was the place for teaching and debating while the Seljuk school divided to the school with yard and the school without yard. It means some school had no place that called it “yard” and the school with yard in terms of quantity and scale and quality of space were in lower range in compared with the Safavid era.  The number and quality of chambers in Safavid Era in compare with Seljuk Era were very advantage. The Seljuk Era’s school had one “Madras” on the main axis while in some Safavid Era’s school had some “Madras” in this plans and according to methods of pedagogy and flexible education of that time the second floor of chambers, seraglio and yard , might use for “Madras”. About the relationship between praying place and mosques with educational place in schools, mosque usually is placed at the end of the “Qiblah porch” with dome or porch form in Seljuk Era; but Safavid schools Considering their approach, have more variety In terms of the Relationship between educational and Praying places; including Schools with altar and distinctive dome for the praying place, Schools without index Praying place but built beside a mosque and Schools without index praying place with only educational approaches.

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The need for housing is one of the most basic human needs. According to the principle thirty-one constitution of Islamic Republic of Iran, having adequate housing is the right of every Iranian individual and family. The qualitative indicators of housing has always been the most sensitive instruments are accommodation plan. In other words, Muslims should be chosen home layout, which allows the growth and excellence of the individual, family and society based on Islamic beliefs provide. In this context, the principles of Islam has provided guidance in order to achieve the desired quality of housing.
The research aims is to answer  the basic question that is created: Which factores of quality of traditional architecture can be used due to changes in the conditions of society and the way people live,to lead to Islamic values in contemporary housing. Accordingly, Article is a qualitative study and  For the final evaluation of the Analytic Hierarchy Process data is used. Gathering data on the basis of lists for interview techniques, questionnaires, have been observed. In this way, the documentary and library and map analysis has been used.
Results and findings can be categorized in three parts

• Extraction The Islamic concepts related to housing in the model of islamic optimal housing
• Extraction architectural design patterns of traditional housing fits with this model
• Prioritization patterns based on contemporary Muslim needs

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The ancient Chalipa pattern in architecture is one of the patterns that have been considered as the main symbol of pre-Islamic Iranian architecture. Today, decoding different meanings of this symbol in the mosques as the base model, which is the source of Iranian and Islamic architecture, has been neglected. The present research is constantly attempting to compare the Iranian mosques with mosques of other Islamic countries as their structural differences and to compare the two concepts of centrality and orientation as the two main components of the Chalipa pattern that exists in Iranian mosques. In this research, which has a historical-analytical method, has attempted to introduce the main difference between mosques and Iranian mosques during the 5th and 6th centuries Ages in the presence of the Chalipa model and the reason for this difference in the common meanings of Iranian civilization And Islamic, which did not exist in other civilizations.
Ancient Chalipa pattern is in the form of a four-ivan in the central courtyard of Iranian mosques, dedicated to Iranian thought. There is no such pattern in the central courtyard of other mosques in Islamic countries that Suggests the evolution of the concept of pre-Islamic centralism. On the other hand, it shows the concept of unity in Islamic mysticism, which may be the cause of this connection in the common principles of the monotheistic religions of Iran (Islam and Zoroastrianism) With the concept of the transition from the past to now, it has provided a revival of the concept of monotheism in Iranian civilization in Islamic architecture.
In the historical course of architecture from ancient Iran to Islamic Iran, Chalipa was the link between the architectural spaces of these two civilizations, which is not seen in the historical course of the monuments of other civilizations. The crucifix pattern, which is adapted in this study to the four-porch pattern, is only visible in the architecture of Iranian mosques, and if found in other countries such a pattern can be seen through imitation of Iranian mosques.Therefore, it seems necessary to study such a trend as to why the crucifix pattern existed in Iranian historical evolution but is not seen in other civilizations. The link between the Iranian mosques and the pre-Islamic monuments in Iran has been distinguished from other Islamic mosques in different countries by the cruciform pattern. Therefore, it is necessary to study and prove that this ancient pattern appeared only in Iranian mosques and is rooted in the common meanings of Islam and Iran. When it comes to sacred orientation, it unconsciously associates the Qiblah and the Ka›bah house with prayer in Islamic religion, which has played a key role in the design of architectural and urban spaces since the arrival of Islam. According to this principle, the mosque›s space is designed in such a way that their nave is in the south and facing the Qiblah. Looking at Iran›s pre-Islamic architecture and urban history, one can see signs of such a sacred orientation in the form of a quadruple or quadruple design in four different directions. Influence of this orientation is particularly evident in the design of quadrangle cities, the plan of the four porches, the design of the gardens called the four gardens and the buildings of the four quadrants. Later converted to Islamic architecture and in order to interact with the Qiblah, it was incorporated into the body of Iranian mosques and became the main characteristic of Iranian mosques compared to other mosques. Crosses have existed in most civilizations and in various forms at different times, but there is a form of architecture that, if identified in the plan of an architectural space, must be at its center in the center, for example the dome on The flame rises exactly at the center of the intersection of these two directions and manifests itself. In most introverts such as mosques and temples where the center is very important, this symbol can be . The present study examines the symbol and form of the crucifix in the spatial organization of the mosques and emphasizes the concept of centrality and orientation of the symbol, which are its two main components, trying to show the pattern of the crucifix in unifying the spatial structures of a The building has an important role, has its roots in pre-Islamic architecture and first appeared in post-Islamic architecture in the sixth century AH, which was the reason for this change in the thinking of the rulers, philosophers and artists of the Al-Buoy period. Thereafter, they have always sought to link Iranian thought with Islamic thought Architecture therefore, also not an exception. In other words, in the study of the architecture of other countries, it is always found that their ancient temples have no common ground with the mosques or churches of the time, and that the architectural structure of the transition from ancient to monotheistic religions has always been accompanied by a gap in meaning. In Iran, however, the crucifixion pattern closes the gap between Iranian architecture and Islamic architecture, rooted in the mystical meanings embedded in the symbol that links the two monotheistic religions through the common concept of light or fire.
 

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

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An Islamic city is a city that is the result of the objectivity of Islamic principles and values in order to provide the basis and conditions for the realization of the Islamic lifestyle. In this connection, the most important Islamic principle and value that should be realized in the social yard of Muslims is the principle of justice.
The main goal of the current research is to try to produce native and Islamic science in the field of urban management and planning, and in particular, to achieve a scientific theory from the sources of Islam regarding social and spatial justice as one of the pillars of the Islamic city or the ideal city of Islam; To finally be a step, however small, in the path of achieving the Islamic-Iranian model of progress.
In this article, the author has tried to approach a religious theory in the field of spatial justice by using the qualitative research and grounded theory method focusing by benefiting from the available Islamic sources and in line with compiling the theoretical foundations of the Islamic city. The result of the present research shows the achievement of a model that, while providing a precise definition of social and spatial justice and explaining the dimensions of this concept, provides a good explanation of the injustice situation and the process of realizing social and spatial justice.