Journal of Researches in Islamic Architecture

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This paper attempts to identify the thoughts and the infrastructure of the thinking of architects of Islamic-Iranian mosques to study the role of Qebla in the architecture of mosques in city of Ilam. Aim of the research is discovering the hidden aspects of Qebla and the importance of traditional architecture in attention to "the qebla direction" in design of Islamic-Iranian mosques. So it is a lesson for contemporary architects of Ilam to correct the current process in design and not to forget the attention to Qebla in the architecture of mosques. Hypothesis of this research is the difference between the contemporary and traditional mosques in Qebla. This is a historic research. In this research, 21 mosques of this city are studied and analyzed in positioning, geometry, the arrangement of interior spaces and the direction of entrance to Qebla. Analysis of the history of traditional mosques and recognition of Qebla in successful examples of these mosques is an introduction to analyze the theoretic differences of Ilam architects. The study shows not enough attention to Qebla in the design of Ilam mosques. So the sanctity, spirituality and basic identity of these mosques are missed.

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In current time, modern architecture design opinion along with new generation of academic graduated architects has great influence on new buildings, such as mosques design. One of the most important effects is the distortion of shapes and space, which is headlined as new design view of mosque in architecture and society. Unlike the past which mosque buildings were followed by special tradition style in each era, there is much diversity of types and design methods, which it cannot be classify in tradition or any specific category by shape and form. In addition of extreme evolution on design and built process of contemporary buildings, this article is trying to have a specific overview in the orientation of mosque designing. Then classifying the indexes of this development with identification and on the other hand notifies the effective courses on mosque architecture process. Research questions are: can we suggest any features of Iranian current mosque design comparing to Islamic world design? What standards can we consider? What is the design style of contemporary mosques? And what is the specification of each? Many researchers have proposed approaches for classifying the effective streams on contemporary architecture of Islamic countries, particularly the modernist mosques. These approaches investigate the recognition of the principles of design, favorite variables of architects, and also their work product as architecture body. Each of these researches, in turn, has suggested different categories or for modernist mosques. For example, "Ismail Serage-aldin" in his article titled "classification of effective approaches in contemporary architecture of Islamic countries", divided this approach into five groups of popular approach, traditionalist approach, people-oriented approach, adaptable modernism approach, and modernist approach. These approaches have an effective role in different streams of architecture design in contemporary era, particularly in the designing of mosques. This article is aimed to recognize trends of designing mosques in contemporary era specifically and by identifying indicators of these changes classifies them and recognizes effective streams on the evolution era in the architecture of mosques. Therefore, after reviewing performed classifications, the desired attitudes for investigating works are introduced and tables are prepared for each of these works that have been analyzed in those works based on defined attitudes, and then by comparing tables an attempt is done in classification of works based on common characteristics in the table. At the end, those attitudes that have affected contemporary mosques are introduced as a group of indicators. For better recognition, some examples of these groups in Iran and the other countries will be introduced. The questions that have been asked in this research are: Can attitudes be introduced in designing Iranian contemporary mosques in comparison with Islam world? What criteria can be considered for this issue? What orientation do exist in designing contemporary mosques? And what are the characteristics of each of them? At first, the research process has been formed based on quantitative variables that have had a key role in recognizing mosques as modernist mosques. These variables are volume versus space, full and empty, physical development, plan pattern, facade, the average ceiling height, decorations, form, color, position, construction location and its time and then categorizing the amounts of variables has converted them to qualitative data and make it possible to divide them to some groups based on a integrated structure that in every group part of amounts are in similarity or proportionality with each other. Therefore, three groups of tables were prepared from characteristics of mosques during research. In first group, the table introduces the status of each variable in mosques second group separates the mosques with common characteristics and the last group introduces their properties. This classification that has been obtained from investigating 50 modernist mosques can indicate shape-physical approach in typology of modernist mosques in Islam world. Based on conducted investigation, a part of contemporary mosques that a typology was done about them are mosques that are outstanding in Islamic society or have introduced the meaning of mosque in a new body from physical perspective. These mosques have been classified into four categories based on shape typology and these categories are: white modernist mosque, pure mosques, form-oriented mosques, and hybrid modernist mosques. In white modernist mosques, the volume is not important and often takes a form of project site. In pure mosques against traditional mosque building, the architect aims to create a symbolic volume. The volumes are simple and Platonic. Especially, the cubic shape that has a background in Islamic tradition is used. In form-oriented mosques, the attention to external volume is very important so that ignoring internal space is resulted. The volume of these mosques usually includes complicated and innovative forms and architectural sculpture and pure forms are not applied. Asymmetrical and simple decorations, use of color and light shadow diversity are usual in these mosques. Hybrid modernist mosques are a combination of the former types that means each of their elements follow one of types and cannot be placed in any former types. On the other hand, they are a hybrid of the former types.

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This research studies the concept of transparency behaviour of domes in Islamic mosque, with emphasis on the notion of the spiritual lighting.The topic of this study is important not only because it allows for a better understanding of the different types and purposes of these domes, but also because through calculating the veiling and revealing factor of each type, one can regenerate the use of dome in the architecture.In the analysis of quantitative factors, the quality of light in space and how to show the influence of Iranian architecture, structural elements play a prominent role.In the other words:Phrases related architectural lighting control within architecture elements that define spatial quality, are to identify and understand the value and meaning of the concept of light, began to attention to the importance of light in architecture.
The research method was used for which it is the consecutive combination explanation. Here, in the first stage, the quantitative data collected and analyzed, then in the second stage qualitative data collected and analyzed. Finally, both qualitative and quantitative analyzes are interpreted together.
The present study uses field measurements that the instrument used to collect the data, cameras and imaging and to take accurate of brightness quantitative information, and the digital photometer and simple devices were used, and its information has been gathered from documents and fieldwork. In this way the fieldwork for photometry to factors of physical and quantitative impact on the quality of light were studied and after identifying the physical factors affecting the quality of lighting the domes, the defining quality components transparency in relation to the characteristics of quality discussed and with quality components explaining to evaluate the degree of transparency of the domes of mosques reviewed, were studied. After examining different examples, seven residential mosque (Taj al-Mulk dome Isfahan Jame Mosque, Sheikh Lotfollah Mosque of Isfahan, Blue Mosque of Tabriz, Barsian mosque, Imam Mosque in Isfahan, Jame Mosque of Yazd, Jame Mosque Ardestān) werechosen in the Iranian Islamic architecture.
The tools used to gather the data were cameras for photography and videorecording and a photometer for measuring light levels. The analysis of the information gathered indicates that the differentcharacteristics of domes all in their own way affect the level of spirituality and purity and transparency that the domesprovides. By examining the physical properties dome, transparency evokes components include: Unity (Unity means the harmony of the whole composition. The parts of a composition made to work together as a total visual theme. Unity is the relationship among the elements of a visual that helps all the elements function together. Unity gives a sense of oneness to a visual image. In other words, the words and the images work together to create meaning.), spatial continuity of light (a way to show how one type of space is directly linked to another by the light elements), the relationship between inside and outside (Physical or sensual links between inside and outside must be defined in some way that can characterize unique identity of each space and also establish proper interaction in whole architectural space. This proper interaction can create sense of consistency and integrity between this two spatial realms and furthermore express a link and boundary that if it is developed causes to creation another space that it is not inside or outside but it poses some character of each kind; this ambiguous moment of spatial experience, with focus as a connection between inside and outside, can be named “in-between”), lightness and dematerialization, resilience and adaptability, utility and readability (reading space is a process of using spatial knowledge appropriately after acquiring it and processing it in the mind), expansion spatial and light balance in space, was determined, each of which is associated with the physical properties of the atmosphere of a traditional mosque dome were examined, that indicated the highest degree of transparency in the dome of Sheikh Lotfollah Mosque with 95%, and lowest degree of transparency is in the dome of Ardestān Mosque with 50%. The data analysis shows, all different characteristic domes with our way affectson the spirituality and the skylights creates transparency, and show that expression of spiritual clarity on the architecture of mosques in their bilateral relations with cover and illumination. By better understanding the effects of these characteristics, it is possible to design modern domes and skylight that arebetter suited to contemporary tasks.

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Introduction: Inscriptions are considered as one of the most significant form of decorations that have been used mostly in the mihrabs and involve Quranic verses, prophet’s sayings, religious expressions as well as the date and the name of their creators. The stuccoed mihrabs of the Seljuk and Ilkhanid periods were no exception in which the inscriptions have many visual features including using a letter/ word or a decorative form at 45° angles of the inscriptions all around the mihrabs. The aim of this research, therefore, is to identify different kinds of these letters/ words or decorative forms in the inscriptions carved around the mihrabs created during the 12th and 14th centuries and compare them with each other. Thus, the following question has been put to be answered: what are different kinds of decorative forms used in the inscriptions of the stuccoed mihrabs created during the Seljuk and Ilkhanid periods and what are their similarities and differences in terms of their functions?
Methodology: This research is carried out using a historical-comparative method. Regarding the innovative theme of the article, first the attempt has been made to identify how decorative form in the inscription of the mihrab is used. Then, the researcher has tried to find this decorative form in the stuccoed mihrabs of the 12th and 14th centuries. Then, the letters/ words or the decorative forms of these mihrabs are compared and their significant features are described.
  The data was collected mostly from the selected samples through field researches, i.e. photography and linear designs of the images and the provided pictures are drawn using Photoshop and Matrix. The library resources are also used to introduce the historical records and describe the stuccoed mihrabs.
Conclusion:The results, obtained from studying 22 stuccoed mihrabs assigned to Seljuk and Ilkhanid periods, show that, in each period, it was common to use a word similar to لا »  «or decorative forms at 45° angles of the inscriptions around the mihrabs and they can be seen in different forms: using a single letter of the inscription (separately) that are diagonal (symmetrical) at angles; using a form like the word لا that is sometimes simple and sometimes elaborate and with detailed decorations. According to studies and the samples obtained from the above decorative form, the لا-like decorative forms can be classified into different groups that involve various types in terms of: 1) vaiation in node-like forms of the letters ل and ا and 2) the relation between the decorative form and the margin box, decoration or inscription. The node-shaped variation is such that the letters ل and ا are tied together in the middle and this tied part can be classified as triangle, square or rectangle and circle. The complexity of knitting these two letters is different and in some samples, it is so elaborate. The way these letters/ words or the decorative form are used in angles can also be considered because sometimes it is related to the margins and walls of the frame and is located such a way that its relation with the upper or lower lines of the border frame is definite and sometimes it is independently located at 45° without having to be attached to the margin box. According to the distinction of this decoration form, which varies from the sixth century to the 12th century, we can point out that at the angles of the stuccoed mihrabs of Ilkhanid period, more elaborate and detailed لا-like decorative forms were used compared with the Seljuk period and also, during the Ilkhanid period, this form has been changed to a pine fruit/ tear with various decorations this decorative form has been widely used in the inscription of the stuccoed mihrab.
 

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One way to improve the quality of the human environment is to clear its spatial hierarchy. For this purpose, public, semi-public, semi-private and private areas should be clearly separated, and their border areas should be distinguished. This will increase the sense of attachment to the environment and gives identity to the residential environments. This article aims to investigate the concept of territory as one of the factors affecting the quality of the human relationship with the residential environment. To achieve this objective, the concept of territory and the factors affecting it are defined. According to the theoretical foundations presented, it can be stated that the territory is a mechanism to monitor the border between self and others, and is a mean to achieve the desired privacy. The main feature of the territory is its high dependency on culture. It also has features such as a sense of identity and possibility of personalization.
Many factors affect the territory, including social factors, cognitive-psychological factors, physical factors, functional factors, geographical-cultural factors, as well as time. The concept also has human systems such as the primary territory (on which individuals have full and extensive monitoring), secondary territory (with less central and exclusive role, and acts as a bridge between the primary and the public territory), and public territory (is quite temporary and almost anyone has access to and the right to use it); according to the research objective, these human hierarchy will be studied in Noghan district.
In the early Islamic centuries, the holy city of Mashhad was created by combining the ancient city of Noghan and the surrounding villages. After the martyrdom of Imam Reza (AS) and joining of Mashhad-al-Reza and Noghan, the name Mashhad became widespread. However the physicality and name of Noghan still remained in the vicinity of Mashhad until today and for a thousand and two hundred years. Therefore, Noghan is one of the oldest district in the city of Mashhad. Despite the importance of Noghan district in historical studies, beliefs, architecture, and urban planning as an intertextuality document, large part of it disappeared after recent implementation of modernization and reconstruction projects in the fabric surrounding Imam Reza holy shrine. With regard to the physical progress of the project in other sectors, the least amount of manipulation and progress happened in Noghan district. This represents the necessity to protect the identity of the district. One of the salient features of this district is placement of holy shrine in direction of Qibla, pointed to as bi-qibla feature of the distrcit. This unique feature causes accommodation of pilgrims from Arabic countries in Noghan and sense of attachment of most of the resident to the area.
In this district, because of accommodation of pilgrims in the houses of people residing in the fabric, certain type of life has been formed, and the area classifications and spatial hierarchies have been changed. Therefore, this study examines the spatial hierarchy and the area classification in the district, and finally, provides recommendations to improve the quality of shelter design in the district. This study applies, its variable is qualitative, and its practical method includes document-based studies, questionnaires, and field observations. The results show that the human territory system in Noghan district has taken a special form for simultaneous presence of pilgrims and residents in the same residential house. In fact, due to this coexistence, the initial territory is limited. Secondary territory in this neighborhood has found dual and fluid nature, so as due to the characteristics of its audience (reference culture, length of residence, type of residence etc.) is moving toward the public or private sphere.
This fluid nature is less aggregated to physical dimensions, and more related to perceptive-psychological dimensions. Therefore, due to the simultaneous presence of self and others, the secondary territory in this area is divided into the semi-public and semi-private spaces, where the scale for the area classification varies according to the target audience. Holy Shrine of Imam Reza (AS) is one of the most important factors leading to increased length of residence and satisfaction of residents, and hence affects the perception of territories. In addition, the district due to be near to the holy shrine has a 24 hour living, resulting in increased security. Finally, it can be stated that the nature of the territory in this neighborhood is exposed to a kind of transformation. Thus, since identity of residential hierarchy in the district depends on mixing of residents and pilgrims and its recreating should be performed based on the lifestyle of its residents and the existing territorial system, to preserve the residents of the fabric and enhance local identity.

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In our country, research on architectural design process, is based on two main theoretical approaches; one is the system of Islamic theosophy, and the other is recent empirical studies on design methodology. The main problem here, is to find out the relationship between these two viewpoints, to attend the domain›s pathology, like misunderstanding and oversight of the position and order of theories, rootlessness of empirical theories, ambiguity of theosophical implications on design methodology, extremism and wastage in holism / serialism sides, and finally choosing one and putting aside the other. So the debate is on knowledge unity rejecting polysemy.   
The macro goal of this research is to find design process, conform to epistemology rules of theosophy, and the micro goal is to draft a comprehensive, existential, meaning rolled, and transcend schemata of design process, as a conceptual model. The practical goal is to comprehend the nature of design process, in order to nurture it. The importance of this inquiry is to avoid latitudinal contest of theories, and therefore wisdom unity and conformity of knowledge stages, in a comprehensive structure of knowledge as a result. The questions of this inquiry are:
o    On a descriptive objective: what is the designerly knowledge and how can we draw a schema of its process?
o    On a causative objective: how is the conformity of designerly cognition and its roots in the epistemological map?
o    On an alteration objective: possibility of a syntactic viewpoint and longitudinal conformity of epistemological theories, instead of latitudinal selection between them
o    The inquiry has no interpretive-historical objective
The research method is under the «transcendental Realism Paradigm» framework, which is programmed and followed by a retroductive strategy. In the research process an allegoric model is derived from transcendent theosophy of Molla-Sadra (as the cognition mechanism) and then this model›s mechanism, is checked with the empirical theories of design process (as eyewitness) to see the conformability.
In the first chapter, literature and precedents of the subject are presented. The epistemological paradigms are divided to categories of pantheism and humanism. The pantheist sector contains Masha, Eshragh, and Motealieh dispositions, and the humanist sector contains Sophist, Skepticism, Realism, Positivism, Relativism, Pluralism, Existentialism, Phenomenology, and Hermeneutics. Next the history of design studies and its methodology generations, are classified into three groups: the early analysis-synthesis generation, the concept-test generation, and the late hermeneutic generation. Then the research precedents are listed as different approaches of subject inquiry, followed by design process researches within Molla-sadra theosophy framework. Critiquing the precedents on theosophical cognition and comprehension and oversight of theories, a new strategy of inquiry is conducted. Retroductive inference, conformity as methodology of Molla-sadra, a two sided viewpoint to philosophical and empirical theories, and comprehensive modeling, are mentioned as new specifications of the research.  
Chapter two belongs to research design and contains realism paradigm, retroduction strategy, and the process of inquiry. Describing the Islamic Realism and Molla-sadra›s special contributions to it (that is mystic approach to knowledge besides the philosophical-logical one), conformity method as the truth finding theory of Molla-sadra is explained. According to this idea, every difference between theories does not mean controversy and the judgment of true and false, because the two sides might be two levels of a truth in our knowledge that may conform. Then the inquiry paradigm, Transcend Realism of Bhaskar which critiqued positivism and critical rationalism (induction and deduction), is introduced. This epistemology considers our knowledge in tree domains of feeling, imagination and intellect. The intellectual domain contains mechanisms and constructs, which underlie a phenomenon seen in nature. These mechanisms are conjectured as descriptive models that are rules and patterns, witnessed by empirical studies. The research strategy of such paradigm is called Retroduction, which uses allegoric models as hypothesis of a mechanism, being tested and proved by eyewitnesses.  
The next chapter (3) is on theoretical framework of hypothesis (model). Transcend theosophical system of Molla-sadra, is chosen to be the fundamental and generative mechanism of epistemology. The philosophical hermeneutic of Gadamer is also considered to be the epistemological background of empirical design studies, because of the comprehensive viewpoint. These two theories are conformable on the essence of creativity, two sided viewpoint, unity of knowledge, and transcend thinking. This is continued by modeling hypothesis as an allegoric descriptive model, which is a core-crust schema on design process.
Chapter four informs the data collection from references, and the discussion. The resource in cognition mechanism is epistemological system of transcend theosophy of Molla-sadra, while the resources on empirical design studies are: Donald Schon›s reflective practice, Nigel Cross›s desinerly ways of knowing, and Bryan Lawson›s designers thinking skills. This part discusses conformability of Molla-Sadra theosophy and empirical theories of design study, in ten theorems on epistemology ontology (kinds of wisdom) and epistemology itself (cognition process). Theorems are consisted of: 1-implicit & explicit knowledge 2-imagination/presentation/verification 3-the whole & the part 4-schema & detail 5-design process and cognitive levels 6-cognition levels, growth & expertise 7-consciousness & unconsciousness 8-reflective thinking/practicing 9-framing/solution-led/co-evolution 10-constructive/generative reasoning.
The last chapter concludes and draws inferences of the discussion. It is concluded that the cognition mechanism in transcendent theosophy of Molla-Sadra which was constructed and presented as a core-crust descriptive and allegoric model, has an adoptive methodological conformity, with the empirical theories of design study in holistic aspects. Empirical design epistemology also, could be deducted depth wise from Molla-Sadra theosophy. Therefore, existential theosophies and hermeneutic interpretation of design studies, are not adversary theories to choose between.
 

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

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