Journal of Researches in Islamic Architecture

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Chahar-Baghis oneof the most famousstreetsof Isfahan and perhaps,Iran.Chahar-Bagh, as agreenstreet, had a certaingeometric pattern which included the rowsof trees, roads,sidewalks and central stream.Chahar-Bagh Street was actually a lineal urban space which stretched from the north to the south, towards Naghsh Jahan square (EmamSquare) as the central urban space of Esfahan and together managed to form and organize the structure of the new Safiavidpart of Isfahan beside the oldSeljuk part of Isfahan. Chahar-BaghStreet of Isfahancould not be considered as the first special green urban street,northe last one.Because it is known that during the early Safavid period, a type of Chahar-BaghStreetwas builtin the city of Qazvin and during late Safavid period, several Chahar-BaghStreets were organized in some cities such as Mashhad, Shiraz, Tabriz and Tehran.Chahar-Bagh Street along with the Naghsh-Jahan urban square was also repeatedafter Safavid time,as a new,valuable and static model for the urban design,in the design ofotherimportantcities.Chahar-Bagh was not onlya particularstreet, but also ageometricpattern garden design, or in other words, it is well-known as a comprehensivemodel or patternofPersian garden design. This pattern divides the garden site or ground in four parts and shapes a cross road between these parts, placing a pavilionin the middle of the cross road. There are very different and opposites viewpoints about the geometric pattern ofChahar-Bagh, such asi) Chahar- Baghpattern is thecomprehensive design of Persian Garden.ii) Chahar- Baghpattern is just one of the kinds of Persian Garden design.iii) Chahar- Baghpattern is just the same as thequartier shape of design.iv) Chahar- Bagh pattern is not due to four partial forms and it only contains the symbolic and memorial aspects of design. This paper will try to penetrate the literal origins of Chahar-Bagh word and discover the practicalmeaning of Chahar-Bagh during the studied centuries, therefore, this paper is specialized only on thelexicaland semantic aspects of Chahar-Bagh and it begins withthe following questions: 1) How deep is the meaning of Chahar-Baghin our culture? 2) What are the background and the function ofChahar-Bagh during our historical resources? This paper studies Chahar-Bagh by gathering thedescriptive dataintwo field of the meaning and function, on the basis of historical evidences.Then, organizes them in diagrams and presents research analysis based on the mentioned findings. The meaning of Chahar-Bagh includes outer and inneraspects and also createsa meaningful complexity.The inner meanings includes words such as: Chahar (four), Char (four),Bagh (garden),Pardis (paradise). The outer meanings includes three sections: Chahar-Bagh and the dictionary meanings,Chahar-Bagh and the symbolic and idealistic meanings, and finally,Chahar-Bagh and the practical meanings. The origin of Chahar-Bagh as a street form might refer to the city of Samarkand during the Timuridperiod. This city was built between Firoozi gate and Del-Gosha royal garden. The origin of Chahar-Bagh as a garden form, on the other hand,is addressed to the city of Pasargadae during the early Achaemenid time. Pasargadae included several complexes such as the fortress, the tomb of Cyrus the great, palaces and gardens and the fire temple.The historicalsourcesindicatethat the origin ofChahar-Baghword is related to Seljuk time and used in “Jame-ol-Tavarich” by “Khaje Rashid aldinFazlollahHamadani”. There were some places as Chahar-Baghbeforethe Safavid period and themostpracticalmeaning of ChaharBaghwas “the rulergarden”and also as a “citadel garden” and ‘the officialcenter”. There was also a new meaning extended for Chahar-Bagh during the Safavid time, at the time when Isfahan was chosen as the capital city of Iran. This meaning indicted Chahar-Bagh asan especial, green, urban street. According to historicalevidences,thestructurofChahar-Bagh hadanautogamy(private) aspect at first, butover time the public aspect was grownand the urbanaspectexpanded. The resources shows that thestructure also had an earthlyand terrestrial aspect and was changed into the heavenly and idealisticaspectduring the time. ChaharBaghwas neverasimple garden or anordinary ruler place or justasimple street, and thementioned meaning of Chahar-Bagh duringthe Safavid period is a strong evidence of this statement. AlthoughChahar-Baghcontains the literal meaning of “four gardens”,yet, Chahar-Bagh term meant a special,great, public,spiritual, celestial and heavenly place or garden.It is very surprisingthatjustoneword could indicate all meanings and functions in Persian architecture and all of the mentioned meanings could be compacted in one word. Perhapsitrepresentsthemagicaland mysticalPersian architectural secret, which is known as "unity”through“diversity".

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According to the lifestyle, house can be the ground for extensive activities based on employment, cultural, social opportunities for residents. In accordance with needs and activities of human as a space user, Historical houses are built associated with the natural environment. Recognition and protection of values Respect national identity, and Understanding their performance and social role is a basis for understanding and explaining the management system of protecting these valuable elements inhistorical context of Isfahan. Life in some Historical houses is associated with the owner occupation; thus, a space is predicted for working at home. Working pattern at home creates spaces for the profession of the owner, and in some cases, makes some of the spaces multi-functional. Such houses can be classified as historic house workshops. In addition, some historic houses were Occupied by people who were too influential in the social-political conditions of their era; and some of the Important events have been occurred in these house. Despite having historical and architectural value, these Houses can be categorized as an example of the houses of celebrities In Isfahan.
Thisstudy Aims to find out the reason of the House workshop s’ architectural style in the historical context of Isfahan and analyze the space and organization of house workshops in order to understand the presence of work space in the main body of the building. The main objectives to answer the key question will be as follows: Analyzing the residential architecture stance in cultural, political, social and economic evolution in Safavid and Qajar eras in Isfahan so that we can understand the typology of historical houses in this city based on the performance and provide a comprehensive category for the historical houses with performance beyond the housing. This is a descriptive-analytical study develope and usie field observation, literature review and gathered information through interviews with a number of residents of historical houses in Isfahan. The findings were analyzed by a qualitative method through comparing and interpreting.
Based on the methodology, first, the economic and social conditions of Isfahan in Qajar and Safavid periods were briefly expressed. Then, considering the various functions of houses due to prevailing economic and social conditions at that time, the spaces in the body of the house with multiple functions or specific function beyond the space in residential architecture of these historical periods in Isfahan were analyzed; based on specific objectives and questions of the research, historical houses with multiple functions in Isfahan were classified,These houses weredivided into two general categories: 1. Houses that are influenced by other functions and have changes in the form and space; 2. Houses that are not affected by other functions; and no changes have been occurred in the form and body of the house. Then, trying to identify the cause of the multiple roles in the function of houses, the study achieved another category in which the multi-functional historical houses of Isfahan are divided into two classes of celebrities’ houses and workshop houses. Based on the owner’s professional field, celebrities’ houses are categorized into three categories of: houses of cultural celebrities, political celebrities, and economic celebrities. Workshop house is also divided into two categories based on the type of owner’s occupation: 1. Workshop houses that produce certain products; 2. Non-manufacturing workshop houses where the owner’s enforcement activities in various fields (educational, administrative, etc.) can be done at home.
Previously, Zahiri (2014) in his book entitled as «We came, you were not home», based on field studies, examined the place of some of celebrities’ houses in Tehran such as the houses of Badi›ozaman Foruzanfar, AbdulHossein Zarrinkoub, Saeed Nafisi, Mohammad Moein, Sadegh Hedayat, Simin Daneshvar, Nima Youshij, Ahmad, Mehdi Akhavan Sales, Houshang Ebtehaj, Malek al-Sho’ara Bahar, Hussein Monzavi, Sohrab Sepehri, Mohammad Mossadegh, Mehrdad Avesta, etc. In the introduction Of the book, He (or she) says that: “Among these 44 houses, about 40 percent are historically registered and are away from being destroyed by days to some extent. Among the registered ones, 22 percent have Converted to museums, 58 percent of celebrities’ inheritors have sold the legacy of their father or spouse. In addition, among houses which are not registeredas historical buildings, more than 65 percent are destroyed, and there is nothing left but their obscure names»(Zahiri, 2014). The results of this field study indicate the adverse security conditions of this kind of historical houses in the country. Due to having a function beyond housing in the historical contexts, by planning and performing renovation projects, these houses can become economic and cultural institutions in the historical contexts like before. So far, no typology and renovation management system determination of the house workshops and celebrities’ houses have been conducted in the historical context of Isfahan. This research demonstrates that we can present a classification and typology based on specific function in the historical houses with roles beyond housing. Also, we can determine the impact of the relationship between work space and house in the form and structure of the building. Also, in this discussion, through the knowledge gained from the ultra-residential function and intangible values of the relationship between work space and house, we can provide a pattern to explain the renovation projects based on space and spirit revival.

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Daylight historic spaces were the only source of lighting supplier and traditional architects to artistic style as a tool to increase the visual quality of space and concepts used. The light is considered to be integral elements of space and Iranian architectural pattern should also be followed. Lighting pattern of Natural light and provide criteria main research question is historic mosques. This article is to discover the laws governing the lighting of the building and the windows in natural light distribution pattern in the dome By examining the five-dome mosques of Isfahan (Emam mosque, Sheikh lotfollah mosque, Hakim mosque of the Safavid period and Seyyed mosque and Rahim khan mosque of the Ghajariyeh period) Tries to extract pattern designed lighting Traditional architects And solutions to contemporary mosque architects was designed to provide natural lighting.
Data collection style is field and library. This study photometry instruments, field data at three times the length of the day is taken and then Radiance software was extended to one year. According to the criteria presented in the books of lighting standards, brightness, uniformity, light distribution and visual quality of the plan and the observer on the surface were analysed. In addition Time lapse photography to study the movement of light in space from sunrise to sunset as observers from the Field measurements Obtained.
Manifestation of the spiritual aspects of light can be seen in the architecture of mosques prominent Islamic monuments. So not only the most important and most prominent mosque of Islam, but Islamic architecture is the key to understanding.
In mosques to create a spiritual atmosphere of light as something beyond the material has been used and to guide it better indoors, methods and various techniques have been proposed that this has been made possible by designing the windows.
How light distribution, light direction and angle, brightness and glare light the way for quality properties are in space. If the quality of the space light with uniform light distribution pattern is no glare and brightness the direction and angle of the light, was significant and could lead to direct worship activities, design elements windows are designed to create a spiritual atmosphere. Field observations, simulations and photography time lapse all agree on the accuracy of a comment.
On Time lapse photography in field study day, light Direction in the sunrise from altar started and by moving on the west wall of altar, goes toward the floor.
Stains of light in space until around 10 am to the end And then uniform illumination without light spots flows in space Then, at about 3.5 pm stains slowly began to emerge in the middle of the dome home And approaching the sunset, Moving them from the floor started And to the east wall and Grive are to be continued.
There is no stain in Hakim Mosque due to lack of windows in Grive But the other four mosques as is apparent.
Natural light distribution pattern, the distribution, direction and angle of the light in mosques other than Sheikh lotfollah mosque has a lot of similarities. Although the mosques mentioned in terms of dimensions, space proportions and geometry of windows are different But lighting¢s are very similar. If the observer in the dome home sit for hours fixed in position, through the direction light (sunrise to sunset) in the space noticed the passage of time and the approximate time of day. In all the mosques, if someone sunrise at dome to sit expected, the first light stains on altar or near it to attract his attention. Movement of light in all five mosques are the same. In the gaze of the viewer of the altar, the altar of the entire space in the entire day seems brighter. Although the plan for software simulation, light intensity at the beginning of the arrival of more show floor But from a visual point of view, the altar brighter. Of course this pattern in the Sheikh Lotfollah Mosque due to differences in the way in to space is somewhat different. Altar in the plan and the visual appearance is brighter than the entire space. Brightness reaches sixty lux but the average brightness of one hundred to three hundred lux varies between four mosques.
Despite the differences in the historical period architectural features of mosques and the domes, but they warrant the same lighting pattern. Iranian architecture, despite the complexity and diversity of the immense space of a few uses spatial patterns.
In fact, the pattern can lead to mixed results in its products. Lighting contemporary mosques, free from dependency on artificial lighting, natural light also does not have a meaningful pattern. Although the pattern does not dam architectural creativity in creating new spaces and its formation, is inherently creative process But the meaning of creativity in contemporary architectural culture has changed.

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Quranic inscriptions are the inseparable elements of mosque ornaments, promoting the Islamic culture and reflecting the socio-political conditions of the given era. Due to its importance and vastness together with several structural periods and the volume of decorations, Jameh Mosque of Isfahan is one of the structures containing most of the historical religious inscriptions related to Iranian Islamic architecture. These inscriptions date back to Saljughi, Ilkhanid, Mozafari, Teymouri, Safavid, Ghajar and most recent eras and are embedded on the entrances, court-yard facades, verandas, minarets, bedchambers, domes, sanctuaries, stone troughs, candlestick, tribunes, etc. of the mosque. Most of these inscriptions are exposed through the entrances, internal facades of verandas in (southern, western, east and northern Omar Iwan), the main yard facade, minarets, sanctuaries and domes. These inscriptions may be assessed according to criteria of technique, construction date, content, position, benefactors, restoration manner, their contribution to the architectural space, etc. There exist few studies where the content analysis of these inscriptions embedded in these structures are addressed and assessed; consequently, attempt is made in this article to recognize, analyze and compare the content of Quranic inscriptions on entrances (mosque emblem) and sanctuaries (symbol of Qiblah) of Jameh Mosque of Isfahan. To extract the content of the inscribed verses and assess the thematic correlations as to their political and social terms together with the assigned locations in these structures, this article follows a descriptive-analytical method where documented sources are applied and insitu observations are made. The findings here reveal that the entrances and sanctuaries of Jameh Mosque of Isfahan contain many inscriptions with various contents. The content of these inscriptions consists of: digits (date of construction), personal names (benefactors, rulers, art masters and calligraphers) and hadiths (holy names and Quranic verses). Among 10 entrances and 17 sanctuaries of this mosque, 7 entrances and 8 sanctuaries contain Quranic inscribed Surah: Al-Baqara with three repetitions, Al-Fatiha, twice, Nesa, Al-Ikhlas, Al-Insan, Tobah, Anbia, Ahzab, Jen, Maedeh, Jamah, Al-Emran, Kahf, Noor and Sad Surah with one repetitions. Most of these Quranic inscriptions in this mosque are embedded in Safavid era followed by Ghajar, Al Mozafar, Ilkhanid and Saljoughi eras: Safavid with 9 Surah and 15 Verses is ranked the first, while Saljoughi with one Verse and one Surah is ranked the last. Since the beginning of Iran becoming an Islamic nation, during time, the city of Isfahan has been exposed to severe religious quarrels until Safavid era when Shiism religion sector gained official announcement in Iran. Back then, the city of Isfahan was the major center of Sunni sector.  It seems that the selection of verses for inscriptions was influenced by the socio-political conditions of the given era. This fact indicates that during political and social turmoil and unrests between religion sectors the selected Quranic verses are indicative of the specific events, while during relatively political and social proportional calm, the content of the selected verses reflect unity of God, faith and belief in resurrection, prophecy and conveyance of the Prophet and verses about the importance of the mosque. The content of the verses in sanctuaries indicates the events related to the Muslim community like changing Ghiblah, conveyance of the Prophet and leadership. In Saljoughi era, the disputes between Saljoughi dynasty and scholars in Isfahan lead to setting Jameh mosque to arson and it seems that inscribing the 114^th verse of Al-Baqarah Surah reveals this phenomenon. In Ilkhanid era, considering the religious disputes, it can be deduced that the benefactors of Aljayto sanctuary by inscribing Quranic and hadith texts with a content specific to Shiism had no other objective than promoting Shiism in Isfahan. The existing military conflicts in Al Mozafar era were influential on the sanctuary inscriptions of Mozafari School and stimulating believers to commit Jihad. By establishment of relative calm in Safavid and Ghajar eras and the orientations towards Shiism thereof, the benefactors selected verses indicating the praise of the prophet of Islam, the status of Amir Al Muminin (the leader of the faithful in Shiism) and manner of meeting God.

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Isfahan Residential Architecture has provided valuable samples of art and architecture throughout history. House is one of the most important forms of social organizing of space that have been influenced by many factors, such as many man-made collections, in creating them. Historical settlements of Isfahan have extensive identities in the Physical Organisation. In fact, the historic houses of Isfahan are a unique collection of domestic Architecture, that in its Physical Organisation, in spite of its wide-ranging similarities, rare and sometimes unique features are also found. Often, these features of the Physical organization in general and emphasis on similarity have been formulated in the form of categories as typology with historical and formal approaches. Meanwhile, today, many historical houses in the city of Isfahan, regardless of the identification of the aspects of original diversity in the body, their function and content are forgotten and destroyed, and some human activities have been caused to considerable destruction in the aspects of diversity of historical settlements of Isfahan city. While diversity creation in the physical housing system has been an important factor in consolidating social relationships between house residents and the neighborhood residents. Recognizing and preserving the diversity effects of cultural heritage, will lead to cultural continuity in historical contexts. Considering the major policies of Iran, the revitalization and revitalization of cultural heritage, including historical buildings, despite recognizing the similarities aspect in the structure of the housing heritage of different historical periods, explaining the diversity of features and the significant differences between these houses in the restoration and regeneration plans will play an effective role. Also, identifying the diversity of residential heritage can explain the foundations of creativity in historic sites and provide a stimulus to the conservation and modernization of historical contexts and answer some of the officials and planners of the historic city of Isfahan that why it should be protect about 300 historical homes in Isfahan city? In fact, with regard to macro policies, after identifying diversifying aspects, we can provide categorization and explanation of the valuable components of these homes at three levels of body, function, and meaning. This categorization will be the basis for the development of residential heritage conservation planning. Thus, according to the components defined in the classification and codification system of them, the priorities of conservation in urban planning are determined. Often, the nature of theories and theoretical foundations of conservation, in spite of having general principles and perspectives, and in some global cases, can be defined for each building by the requirements of physical, functional and content characteristics. Recognition based on the differentiation aspects of effect, due to the various aspects, and sometimes rare and unique aspects of a building, will play a significant role in achieving the desired regeneration plan. This research attempts to answer the question of how to create diverse elements and distinctions in the physical organization of the architecture of historical buildings of Isfahan and explain the diversity of the indicator in order to understand the differences and differences in the physical organization of Isfahan's housing heritage. The main goal in answering the key question is to analyze the variability of the factors to distinguish the differences in the historic houses of this city in the physical organization and a comprehensive classification for historic homes with diverse indicator. This study has been conducted using descriptive-analytical method with the aim of developmental and using field observation, library studies and also data collection through interview and the findings have been analyzed according to qualitative method and through comparison and interpretation. Based on the research methodology, firstly, the diversity of residential heritage has been recognized, and then, considering the status of the system of classification of historical houses in the conservation process, we have analyzed the shortcomings and deficiencies of existing classification systems. Also, based on the specific question and purpose of the research, the diversity factors in the Isfahan Residential Heritage are distinguished by four factors of climate, religion, social status and owner's occupation, and ethnic subcultures of analysis and the obvious examples of diversity under each of the influential factors have been recognized. Previously, Ghasemi Sichani and Memarian have typified Qajar houses in Isfahan. In the article of "historical houses beyond housing implications in historical context of Isfahan", the suburban functions in the historic houses of Isfahan have also been analyzed. But until now, explaining the diversity aspects and distinctions in the Isfahan residential heritage has not been investigated, which is the innovation of this research. The result of the research shows that the influential factors of climate, religion, social status of the owner and ethnic subcultures in the Physical organization of residential heritage has been led to the creation of diverse and distinct aspects. Based on this, under the influential factor of climate, varieties of diverse species such as homespun houses, dwelling houses and houses with a garden pit pattern were identified. Under the influence of religion, Jewish homes with less space and altitude than Muslim homes, the houses of Armenians and the Muslim-backed houses with remarkable differences with other homes were also identified. In fact, the presence of religious minorities and the presence of certain neighborhoods in the past, the Armenian community (Jolfa), the ghetto (Zhobreh or Judaea), the Zoroastrian neighborhood (Gabrabad or Kuleparcheh), has been the main cause of the creation of physical distinctions in the historic houses of Isfahan Occupation and social status of the owner are other factors influencing the occurrence of diversity in Isfahan's residential heritage, which can be recognized in such areas as house-school, house-castle, master's houses and house-workshops in this area. Ethnic subcultures have also created a diverse and distinct structure in Isfahan's physical housing system, which can be found in Armenian homes, Bakhtiari tribal houses (Kurdish houses) and European homes in Isfahan.

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Paying attention to the importance of square can be seen in architecture and organization of physical space of Iranian cities in the past, before Islam and also after that in Islamic urbanization. Saheb-Abad square of Tabriz, Shah square og Qazvin and Naghsh_e_Jahan square of Isfahan are samples of past squares which present power of governments and subtlety of governmental kings that build them. Based on recent researches theories,  Naghsh_e_Jahan square of Isfahan was built (at the age of first Abbas of Safavi kings, i.e. (998-1038 AH.), according to Saheb-Abad square of Tabriz which is built before Safavieh era and during Aq-Qounlou era (870-896 AH) and it was influenced by architecture of Saheb-Abad square of Tabriz and because remaining physical structure of Saheb-Abad complex of Tabriz is mainly related to buildings that were made during age of Qajar kings on the buildings of governmental complex of previous eras, acceptance of this assumption resulted in proposing renewing projects of Saheb-Abad with full imitation of now a days physical structure of Naghsh-e-Jahan which is exists now and without paying attention to original structure of Saheb-Abad and when it came to existence and when it was on its tip-top, in the past. Then in this research, based on both Saheb-Abad and Naghsh-e-Jahan research which are studied based on content analyzes historical-comparative guideline appearance, and step by step transformation, in the past. Finally, according to comparative study of mapped schema, recognize of similarities and differences of these two complex were found, both physically and functionally, in four time periods. The results indicate that there are the most common similarities in the history before the construction of the two square and the most differentials in their current state. In the course of historical evolution, two square are very similar in terms of functional and the types of uses than the physical dimensions. Also, the greatest point of physical distinction is the uncertainties of the Sahib Abad field, which has led to many changes and further decline of this collection up to the present.the complete acceptance of this assumption which Naghsh-e-Jahan of Isfahan is a similarity of Saheb Abad complexes of Tabriz, both functionally and physically, cannot be correct and it can be said that the overall structure of the Saheb Abad complex in the peak of its glory (the period of Shah Tahmasb Safavid) could have been the pattern of an urban space with various governmental-political, socio-cultural, religious, and sporting activities for the construction of the Naghsh-e-Jahan of Isfahan.

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Problem expression: The manifestation of modern thinking in urban life and, consequently, the spread of the culture of individualism and civic indifference in recent years, has faced problems for urban dwellers such as isolationism and reduced social interactions. Therefore, people's need for places for social interactions and psychological needs has become one of the necessities of urban life. Thus, recognizing human beings and how they relate to others as a social being, as well as examining potential camps and capacities for social action in order to achieve this, is very important and is one of the factors that many planners and city managers consider. For this purpose, in recent years, the issue of social interactions has been of great importance due to its impact on factors such as social cohesion and solidarity, responsibility and sense of belonging of residents, supervision and social security. To this end, many efforts have been made to create a suitable environment for the creation or increase of social interactions. In this regard, the focus of the planners has been on spaces such as local parks, social hangouts, neighborhood centers which in most cases have not been able to meet expectations. Meanwhile, mosques have been neglected due to their potential capacity to accept diverse functions and have long played a significant role in social interactions among residents. These inaccuracies have persisted to the point that mosques that have been the center of social interaction and interaction are currently content with only their religious role.
The Objective of research: In this research, an attempt has been made to examine the status of mosques and the effect it has on social interactions between residents.
Research Method: In order to achieve the objectives of the research, the present research approach is case-oriented. For this purpose, The Shahshahan neighborhood of Isfahan has been studied in order to achieve the goals of the research due to a large number of mosques. The present study is observational in terms of nature, descriptive-analytical, and data collection tools in this research. The statistical population of this study was selected according to Cochran's formula of 95 people, and the Spearman correlation coefficient was used to analyze the information.
Findings of the research: In order to evaluate the social interactions of the residents of Shahshahan neighborhood of Isfahan, four indicators of neighborhood members' knowledge, social contacts, social trust, and intimacy, and social relations, which are extracted from the theoretical literature of the research, have been used. According to the information obtained, the amount of social interactions in the Shahshahan neighborhood can be evaluated as average. Also, in order to investigate the role and position of mosques on the level of social interactions in the Shahshahan neighborhood of Isfahan, first, the level of presence of neighborhood members in mosques has been studied. According to the information gathered, about half of the members of the Shahshahan neighborhood have a small presence in mosques. Also, according to the observations made, many mosques in the the Shahshahan neighborhood are inactive, and most of the mosques that are active in the neighborhood have only been content with their religious role. Then, in order to measure the role of mosques on the social interactions of the residents of the neighborhood, criteria were developed for this purpose, and the role of the mosques of the neighborhood on the interactions and interactions between the members of the neighborhood was examined. The results show that mosques have a relatively significant impact on the social interactions of the residents of the Shahshahan neighborhood, and more than half of the statistical samples have stated that mosques are effective in their social interactions with their neighbors and all their neighborhoods. Finally, in order to investigate the role and position of mosques on the level of social interactions of residents of the Shahshahan neighborhood of Isfahan, Spearman correlation coefficient has been used to investigate the intensity and relationship between indicators. The findings show that there is a relatively high correlation between the presence of neighborhood residents in mosques and the impact that mosques have on social interactions between residents. Also, by accordance with different levels of social interactions, mosques can promote social interactions among residents to the highest level due to their ability to accept multiple maps as well as their capacity to accept and attend different sections of society. The results also show that more than half of the population of statistical sample of their social interactions in mosques as much as the conversation with members of the neighborhood and about 25% of the statistical sample expressed their level of social interactions in mosques at the highest level of social interaction (collective action). Have done. This means that the level of social interactions in mosques is at a high level, and these spaces also can strengthen social interactions among the residents of the neighborhood. Therefore, a deep understanding of the functions and functions of this sacred space, as well as a detailed and analytical look at the unique features of mosques and their use in today's cities can be useful in promoting social interactions between residents and increasing environmental quality.

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Architecture is the product of different contexts؛ so, the way of dealing the builders of a building with the architectural elements, has different semantic and physical manifestations in different contexts, despite the similarity in general. As an example, the light in the Shia religion of Islam is a symbol of the divine essence and expression of existence and it has always been considered by Muslim architects. To the extent that the spatial perception of many buildings of this period, regardless of the semantic position of light, leads to an incomplete understanding of space. This is especially visible in the design of religious buildings in general and mosques in particular. The mosque, which is the manifestation of the most ideal religious ideas and the most complete symbol of Islamic architecture, has been the best place to observe and study the theoretical and practical connections of its builders. However, today, in the construction of mosques, the role of light has been reduced only as one of the climatic elements and only for the function of lighting. The semantic aspects of light as they existed in the past are no longer known. The premise of this research is that light has appeared in the architecture of Isfahan in the Safavi period by emphasizing the semantic principles of the art. So the aim of this study is investigation of the qualitative characteristics of the presence of light in the architecture of Sheikh Lotfollah Mosque in Isfahan. The statistical population of this research is the mosques of the Safavi period in Isfahan. Among them, three mosques of Sheikh Lotfollah, Hakim and Imam have been studied. The research method of this study is descriptive-analytical and case study. The required data for this research have been collected through field observations, photography and library studies and have been qualitatively analyzed. After a semantic study of the presence of light in Sheikh Lotfollah Mosque, a three-dimensional hierarchical system was identified. This structure includes three stages of separation, transfer and connection (pause, ‌movement and emphasis) in the design of this building. A system that seeks to move from matter to spirituality, to move from darkness to light, to move from heaviness to light, and to move from the underworld to the world of divinity. The result is an all-spiritual space in which the presence of God is felt everywhere.

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There are close relationships between hidden structures of mosques and unseen concepts embodied in Persian language and literature of Iran that show that construction of famous mosques in Iran, especially in Isfahan Style are immortal and timeless.  A question arises in this context as to what factors have led to the manifestation of unseen concepts in the architecture of Isfahan mosques objectively? In this regard, this research aims to answer the questions raised, especially in the mosque of Isfahan and tries to address the factors that led to the manifestation of the unseen in this building. The research method is the qualitative and describes the case study by introspection and grounded theory. The method refers to the unseen sources of Persian literature of Iran Hafez's and Mulavi's lyrics to extract unseen concepts then introspective descriptions of case study are presented as internal perceptions of the manifestation of concepts in the architecture of the mosque of Isfahan.The emergence of The Unseen Nature of existence is Divine Hidden Manifestation in the mirror of architecture of the place-time of worship can be a container of intuition of unseen realms of existence. The paradigmatic allegorical immortal language of unseen architecture in Jamé Mosque of Isfahan is full of glimpses of witnesses in different periods, in desire to intuit unseen realities. In this mosque, concepts derived from the Hafiz's and Mulavi's poems as persons who have indwelled in unseen realm and speak about the realities allegorically that can be employed as esoteric meanings of architecture with their manifestation in place and time. This research is done with hope to use the unseen meanings in mosque architecture to upgrade them as reminder of unseen realities and in a higher level as unseen places.

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Nastaliq as a favorite script has appeared in architectural designs attributed to Qajar era along with Thulth script. Thus recognition and awareness of prevalent Nastaliq inscriptions and their transformations are considered crucial needs for calligraphy and architecture communities, but the subject has been neglected by most researchers. Evaluation of calligraphic transformation through paper inscriptions which are directly written by calligraphers is an excellent and professional case study. Furthermore, since the quality of scripts undergo some changes or defects when transferring to tiles, stones or other things, analysis and comparison of paper inscriptions and seven-color tile inscriptions should be paid close attention to. Actually, it is a new look at epigraphy on seven-color tiles in which not only the calligrapher but the tileralso is involved.
It can not be denied that production of calligraphic works specially Nastaliq script, is influenced by understanding transformations of scripts and manuscripts in form and structure over time; hence epigraphy and its transformation especially in holy places and the conformity of Nastaliq script with characteristics and requirements of epigraphy as well, have been overlooked by researchers. The purpose of this survey is to distinguish the differences between two methods of epigraphy, on papers and on tiles, and to realize transformations of Nastaliq letters and words when they were transferred from paper sheets to tiles. Library-based and field study resources as well as observational descriptive and analytical methods have been implemented to conduct the study. Some questions should necessarily be answered to obtain the aim of this study. Firstly, what are the differences between Mohammd Ebrahim Tehrani’s paper inscriptions kept in the museum of Abdolazim Hassani’s holy shrine and his seven-color tile inscriptions located in the veranda of Imamzadeh Taher’s holly shrine in terms of writing form of Nastaliq and its composition (tarkib)? Secondly, which attributes should be taken into consideration to classify these inscriptions? The result of evaluation in both types of epigraphy indicated some stylistic features and visual standards for the works available from second period of the Qajar era, namely, writing big sizes of words and letters plus relative structural coherence in Nastaliq writings. It was revealed that slight variations exist between the two types of epigraphy. In the tile inscriptions, for instance, letters and words were written smaller in size and they were also executed bolder in comparison to the paper inscriptions. Thestretched letters (kashidas)are noticed to be elongated shorter in this type of epigraphy, though. Individual letters Additionally, the angel between calligraphy ."ه" are not attached tothe letter of ha "و،ر" such as ra and vav pen and the paper while writing dots (noghte) varies between 36 and 50 degrees. Furthermore, fewer ‘seating’ lines (korsi) and the same type of gemination, the doubling of a consonantal sound, were conceived in composition (tarkib) of the tile inscriptions. It was observed that words and letters underwent minor changes when they were transferred from the papers to the tiles, due to direct supervision of the calligrapher and his expertise in writing on variety of surfaces in addition to theskillful tiler who neatly created the tile inscriptions. Tehrani also has signed his paper inscriptions (1291 Hijri), available in Abdolazim Hassani’s Shrine, as "Mohammd Ebrahim Tehrani" which is the calligrapher's full name. He has utilized black ink on the pale gold background papers to make the inscriptions. Another notable feature is that two types of curved and angular frames are perceived in his paper inscriptions. His tile inscriptions (1301 Hijri), however, have been signed as "Mohammd Ebrahim, Mashhor Be Mirza Amo" which includes calligrapher’s first and nick names. White ink, navy blue backgrounds and curved shape frames were noted as the characteristics of the tile inscriptions by Tehrani.
 

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