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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Mosque tells the religious mission of the society and its social mission. Actually, the mosque is like a mirror that shows your community's religious situation. The mosque's architecture is an interpretation of elite perceptions and the essence of subjectivity and the Muslim faith. From this respect the building of the mosque can tell the extent and nature of any Era. Furthermore, the architecture of the mosque has implications for the knowledge bases of Islam. And, therefore,Mosque Architect Understanding Dimension and Mental degrees of his time. This research has been done with The purpose of structural elements used in traditional and modern mosque and relationship with the child's mind. And argues this entry: Is will affect Structural elements of the mosque on the child's mind And how is it different from the traditional and modern mosques. In this study, The methods of research utilized is descriptive – analytical and the Methods of data collection are field investigation and library. Also, the statistical community has 96 children. In order to depict the children's perceptions of traditional and modern mosques, after their visit mosques have been applied to the analysis of the painting, pulp and toys. The finding of this research suggests that the elements of the traditional mosque and the child's mind, there is a very close relationship and deep. This result is very weak, about modern mosques that There are not traditional symbols in their mosque the mosque is recommended that the principles of the Prophet in the mosques.

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Natural light has been an important element in Iranian architecture and shaping the interior spaces of monuments. During different historical periods, the presence of light in various Architectural works, In addition to the functional aspect, has always been under focus from spiritual religious aspects. The incentive to turn to the light during worshiping God has existed in different religions and still exists. Daylight had have a special place and value in Islam and the Islamic worldview. With the emerge of Islam, usage and application of light in architecture increased especially in mosques as the most important monuments of Islamic architecture In mosques, daylight in addition to functional aspect is considered as a mystical symbol and a sign of God's presence that raises the human sense of reverence and humility in front of God. To this end, for centuries, Iranian architectures have been trying to use traditional architectural elements and daylighting solutions to better deploy the natural light in their designs. This study attempts to investigate and evaluate the application of light-catching elements in Iranian mosques, particularly in mosques and mosque–schools from Qajar period. We use a descriptive and analytical research method and our study is mainly on the basis of resources and the literature available in Iranian libraries. After describing the theoretical foundations of our research, we analyze a number of common light-catching elements in selected mosques. Although a multitude number of studies have been done on the concepts of light and its role and function in the traditional architectural monuments, particularly mosques and homes, little study has been done on light-catching elements in mosques of a specific period as done in this research. Structural elements which have been used in Iranian traditional architecture for utilizing daylight are studied from two directions. In the first direction, light-catching elements often have the task of transmitting light into the interior space. In the second direction, light controlling elements adjust the entered light into the building (similar to canopies). The subject of this research is in line with the first direction. We only study light-catching elements and we chose among them common elements such as door and window, Shabak, Horno, Rozan and Roshandan. Although these elements are different in term of material, type and location of application in the building, all of them are used for light-catching even though some of them have also ventilation application. We chose 10 mosques and mosque-schools of Qajar period in Tehran. The examined mosques and mosque-schools in this research were selected based on the following criteria: first, all the selected mosques and mosque-schools are located in old and valuable region of the city and they are tourists attraction. They have architectural values and are well-known among people and experts. Secondly, the building of selected samples reflect prominent features of Qajar’s architecture. Also the sufficient information (including maps and images) are available for these monuments. We chose 5 mosques and 5 mosque-schools among Qajar’s architectural works. Then, the usage and the application rate of light-catching elements in these buildings are evaluated quantitatively and qualitatively by the use of maps and the available visual data. Quantitative analysis is based on the approximate numbers of elements used in these mosques which have been extracted from the available images and maps. To qualitatively evaluate the application rate of various methods of light-catching in these mosques, we specify four levels of usage: "insignificant","low","medium" and "high". We provide the results of quantitative as well as qualitative analysis in this paper. Our analytical studies indicate that although door and window, Shabak, Horno, Rozan and Roshandan had been considered as innovative lighting elements inside mosques of Qajar period, architectures of this period still mainly utilized door and windows as the main lighting elements. Next to doors and windows, Rozan stands at the second place, Horno in the third place, and then Shabak and Roshandan. The utilization rate of doors and windows among considered mosques and mosque–schools has been similar. Nevertheless, the usage of Horno as a lighting element in mosques has been more than mosque–schools, Rozan and Shabak have been used more in mosque –schools rather than mosques. Roshandan has been barely used in the mosque-schools, and only few samples could be found within some mosques of this period.

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One of the most important problems in mosques designing is the quality of geometries and spaces which are appropriate for using in these religious buildings. It is obvious that one of the best references for studying this issue is Islamic teachings which are derived from verses and hadith. So, for responding to this question that what are the geometries and spaces which are appropriate for using in contemporary Tehran mosques, all religious texts such as holy Quran and Shia Imams remarks have been investigated. To achieve to the purposes of this research, thematic analysis method has been used for religious texts analyzing. This method is a simple and efficient way to explain patterns in the qualitative data. Using this method, in the first stage, all hadiths and verses which there is the word of “Masjid” or “Masjids” in them - that were about 15,000 ones - were studied. Then those of them which didn’t have effective relation with mosque architecture were omitted and the others were analyzed. Based on analysis of these hadiths and verses three types of code were subsumed. In the first level, descriptive codes were inferred which are the codes that are obvious and unequivocal. In the second level, interpretative codes were inferred which are latent and non-transparent and finally in the third level, pervasive codes were inferred which are the codes that comparing to two other types, have the most comprehensiveness. In this research, after deduction and classification of triple types of codes, the network of themes has inferred this network includes all pervasive codes that have classified hierarchically. In fact, this network provides the conceptual framework for mosques designing. Moreover, according to the requirements of the various stages of this research, for gathering data, archival research method has been used mostly meanwhile the authors have used logical argumentation method in analysis step and judgment of data (For example, the network of pervasive themes has deducted by logical argumentation method). The following, regarding to the importance of pervasive themes network, manufacturer principles of this network are cited: - Balance in permeability in mosques - Use of abstract geometries and patterns (in association with natural shapes and icons) - Use of geometries with clear boundaries for spaces separating - Attending to human scale in mosques - Use of axial and polar geometries - Application of uniform and pure geometries in mosques - Attending to the spatial hierarchy - The necessity of observing the simplicity in mosque - Attending to the mosque legibility for pedestrians - Attending to multi functionalism - Attending to the traditions and methods of the Holy Prophet (PBUH) and Imams (AS) in the construction of mosques - The necessity of preserving Islamic identity and avoiding the imitation of other cultures in physical design of the mosques - Change in original physical patterns of mosques in certain circumstances - Use of convergent, balanced and introversive geometries and forms in mosques In the last part of this research, different contemporary mosques in Tehran were selected to be evaluated according to 14 above principles. The quality of selection was based on some valid researches that formerly have been done for Tehran mosques typology. According to these researches, totally six mosques were selected that three ones of them are designed in traditional style and the others are designed innovative. Based on the results of this research and regarding to 14 above principles, to establish the appropriateness of the appearance and conscience in contemporary Tehran mosques, use of converged, static, balanced and generally introverted geometries and spaces is necessary and contrary to what is seen in some contemporary Tehran mosques over recent years, diverging and extroverted geometries and spaces are not suitable for this problem. But unfortunately and according to findings of this research, these features are less respected in Tehran innovative contemporary mosques compared to Tehran traditional contemporary mosques.

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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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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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Abstract

Human beings have always been in an interaction with Nature in accordance with their own ideology and the interface between them has become a rich source of inspiration for most studies. The impact of human beings on Nature is anchored in the ideology or philosophy of life The ideology has exerted so powerful influence that some people believe a typical Islamic city is grounded on and is physical manifestation of the Islamic philosophies and the merely way to be familiar with the ecology of Islamic cities is to comprehend its principles and laws.  In that connection, the way the cities in human civilization formed and constructed have always embodied the ideology reigned over those societies as a result, it is not surprising that in the geographical heterogeneous environments, cities with assorted roles, different levels of significance, and with uncoordinated and disparate development have been formed.

Over the past decades, the attention towards the requisite revival of Islamic values in Muslim cities, or at least the awareness of the fact that Muslim complexes which had their own specific identity in the past have lost their identity nowadays has been augmented. In Iran with the advent of Islamic revolution, whose Islamic features have made its cultural characteristics outstanding, and with the awakening of other Islamic nations, the hope for constructing complexes based on the Islamic principles, values, and philosophies has boosted.

The Iranian Islamic urban Planning and Design should be grounded in the theoretical basics and theories pertaining to the principles and values which are required to be employed in the design, planning, and the development of a life environment suitable for Muslims and to reign over Human's relationship with the environment (natural and artificial environments) and the interaction of Human's beings with each other. These principles and values will be derived from the Islamic instructions, and likewise they encompass prominent aspects of national culture, those of which do not go against the Islamic instructions. It is worth briefly noting that the primary sources of principles governing all Muslims’ deeds, including their urbanization, are the Holy Quran and traditions of the prophet Muhammad.

The meaning, concept, and essence of the elements and characteristics that form Iranian-Islamic cities, the settlement of these elements, and their relationship with people’s habitations are grounded on numerous systems, such as consecration and consecrated urban elements including mosques, bathhouses, etc., trade corporations such as Trade and Business managers, urban administration systems and organizations, religious education systems, ‘shariat’ and Islamic rights, and symbolic systems of some cities.

Urban elements, architectural units, and Iranian-Islamic cities can be framed within several categories: Residential spaces, including single family houses, multi-family houses, joined single-family houses with open spaces and shared services, downtown caravanserais, and suburban caravanserais. Religious elements, including mosques, monasteries, religious schools, holy places of worship, sacred tombs and shrines, ‘Hosseiniyeh’ ­, ‘Tekyeh’ and covered and open consecrated spaces for lamentation and mourning ceremonies. Individual and cooperative business units, including the shopping plazas ‘Timcheh’, inns, ‘Qeisarieh’, shops, etc., and the spaces attached to them such as landing-places, warehouses, and stables. Production units, including trade-related workshops, factories and shops for the distribution of raw materials, and suburban workshops. Public Service Units, including libraries, cisterns, public bathhouses, cemeteries, coffee shops, tea houses, and restaurants. Public services and communication networks, for directions (avenues and streets, Bazaars, squares, alleys, paths, dead ends, for water supply and services (aqueducts, cisterns and curbs), and for sewage disposal and water supply through joined underground channels and culverts.

One of the Geographical spaces that always had reflected the ideology of the ruling systems is the phenomenon of the city. According this, the Iranian Islamic city should be a reflection of thoughts on Islam in all aspects. in order to manifest the Islamic values in the city construction, the identification of the values absolutely required that can and should demonstrate and assure the Iranian Islamic identity in an Islamic city are. The purpose of this study is to identify the values, principles and indicators of Iranian Islamic urbanism and Conceptual refining and implementation of the strategies that described them

So for this purpose, the study was conducted on the documents also Delphi technique was used in two stages in order to refine the components, criteria and sub-criteria. In early studies and  from the perspective of experts, four principles of mosque-based, introversion, neighborhood-based and naturalism are the priorities that was considering as the most important and the basic principles of Iranian Islamic urbanism: so by refining their theoretical roots, the mosque-based index at 2 dimension, 7 criteria and 15 items, the naturalism index at 2 dimension, 8 criteria and 12 items, the introversion index at 2  dimension and 8 items and the neighborhood based index in 3 dimension, 7 criteria and 20 items were presented. This research in its realm was studied the Iranian Islamic city in the framework of common indicators in Islamic cities. Basic indicators could be based in all cities with the majority of Muslims. Hence, the context of this study does not mention the separation of Iranian and Islamic city and their definitions and concepts.

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Mosque, as one of the most prominent buildings of Islamic architecture has been influenced by constant subsystems and temporal as well as spatial variables and has passed its trend of formation and evolution or decline. As the architecture of Shiraz’s mosques finds their way at the very preliminary sanctuary pattern, different from many Iranian mosques, the paper tries to investigate the order and organization of it in the interaction with different and influential subsystems by focusing on the main body of this architecture, i.e. the sanctuary. Accordingly, the major question is how the sanctuary in historical mosques of Shiraz is organized and ordered. For this purpose, through studying the number, location, and proportion of the sanctuaries.  In every mosque, their order and organization can be analyzed. The results of this research contribute to recognizing the architecture of Shiraz’s historical mosques and the strategies of architects’ designs in the face of various issues. It can also be proposed to make some of these fixed principles applicable and perpetuate it in the architecture of contemporary mosques especially Shiraz’s mosques. The research method used in this study has been of descriptive-analytical as well as field study type. Data collection method has been of library and field observation type and use of sketches and maps. To this end, twenty-four historical mosques of Shiraz have been investigated. Considering Shiraz’s mosques, through studying three main parameters which have remained constant over time, the system of sanctuary organization has been examined. The most important parameter in the architecture of mosques is the direction of Qibla. It is followed by the site plan, based on which and through investigation of the policy of the designer in face of the two mentioned variables, the way it affects the variable of geometrical system and the proportions used in the sanctuary  locating in the architecture of mosques has been investigated. Therefore, first the literature review is presented. Then, having analyzed and investigated the mosques, eventually two types of sanctuaries organization within the architecture of mosques are recognized, for which Vakil and Nasir Almolk mosques are introduced as the examples of these two types.

However, in the investigation of the organization of sanctuary in Shiraz’s mosques, it is found that the organization is heavily influenced by two subsystems including cultural (the Qibla direction and no use of dome) and environmental (the ground shape and the neighborhoods) subsystems. At the end, with the centrality of the architect in the design policy, two distinctive organizations have been developed.

A key point evident in the studied issues imply precedence of following a certain system of proportions in the design and location of the sanctuaries of mosques, where the yard enjoys suitable proportions. Indeed, the sanctuary organization is highly related to the proportions of the yard, where in both types, there exists a dependence of the sanctuary organization on the proportions of yard suggesting the specific influence of the skeletal subsystem, i.e. the significance of proportions in the design.

Design, in the first step is initiated by determining the direction of Qibla and plotting the largest rectangle along with the Qibla direction. The other side of the yard is determined in proportion with the allocation of space to the sanctuary. In the next step, given the elongation of the plotted rectangle and its proportion with the Qibla direction, two states are developed. If the mosque elongation is along with the Qibla direction, the sanctuary is organized in the southern side, and in 65% of cases, with approximate proportions of one to two (the sanctuary depth to the yard ratio). 

However, of the yard elongation is vertical in relation with the Qiblah direction, then according the fact that the entire width of the plotted rectangle would be allocated to the yard, the mosque would lack southern sanctuary and the sanctuaries would be located at the east or west or both.

However, in similar cases (such as the Imam Mosque in Isfahan or Naein Mosque or even mosques such as Damascus Mosque) the priority is to locate the sanctuary at the south side, but this is different in the organization of sanctuaries in Shiraz’s mosques in the light of priorities including the yard proportions or existence of a number of limitations (access, the ground dimensions, etc.).  

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Mosque is one of the most important Muslims' buildings and one of the best expressions of Islamic community (Ummah). In spite of considerable architectural history of the mosque in Islam and Iran, it seems that there are significant questions about the ideal mosque in Islam. For example "open space" (or courtyard), regarding its undeniable importance according to Islamic tradition (Sirrah & Sunnah) and architectural history of the mosque, has being weakened. The open space in mosque which not only improves the quality of architecture but also worshiping within has a special significance. Neglecting this importance has led to gradually reducing or even eliminating the open space in the mosques. In this regard, a combined style was choose to examine the originality of open space, using historical interpretation and content analysis methods about the main references of Islam (the Quran, Hadith and life of Prophet (PBUH)). Therefore, the original mosques of centers of Islamic territory from the beginning of Islam to the sixteenth century and also mosques without open space were reviewed. Then Masjid an-Nabawi considering the approach of the Prophet (PBUH) about its architecture and Masjid al-haram were added to the analysis.

Despite of common categorizing of mosques based on closed spaces, the masjid An-Nabawi which had been built by supervising of the last Prophet (PBUH) hadn’t any closed space. Considering the hard climatic requirements, available roof construction technics and user requests (based on historical texts), prophet's decision to not making a hard roof is a major reason of priority of open space in mosque. Masjid al-haram as an ancient religious Islamic site and one of the most symbolic aspects of Islam has always been in open space and even hadn’t had roof itself during thousands years.

 There are also many prayers and Islamic rites which should be - or is better to - done under sky, especially not personal ones like Hajj, Fitr Salah, Qorban Salah. This could be remarked as a presentation of public aspect of worship in Islam in contrary of the isolation in some other religions (e.g. Christianity, Judaism and Buddhism). It is more impressive by attention to mosque's major function: daily congregational prayer (Salaat Al-Jamaah). Also there is some Islamic advises about not making roofed mosque. The important point about these sentences is removing any obligation about building mosques with or without roof which could cause many difficulties. But it doesn’t mean there is a neutral viewpoint. Advises is showing the priority of open space to closed spaces.

Regarding the pattern of masjid An-Nabawi, open space is always noticeable part of architectural history of mosque, especially in major mosques of main centers of Islamic territory during more than fourteen hundreds years. It could be more significant by attention to their various climatic, cultural, architectural, historical, technical differences in a vast geography and long time period. It could be led us to re-categorize mosques not only based on closed space but also caring open space changes. There are also many evidences showing mosque yards as a place for saying prayer and worship.

The most opposite point of the importance of open space in mosques are some mosques without open space. These mosques which are totally closed space might be referenced as contravention to open space based mosques. In analyzing these samples two points must be considered: first is the flexibility of Islamic sentences especially in form design and Islamic accommodation with local properties. Second is capacity of these mosques to be referenced via masjid An-Nabawi. However by studding about these samples we could categorizing them in three: first are very little mosques which usually are consist of one or two rooms and direct access from outdoor in which preparing open space isn’t possible. These are neighborhood chapels that could be developing into mosques in future. Second are large mosques that are transformed from churches or other religion's temples e.g. Hagia Sophia & Al-Aghsa. These types usually conserve their structural and architectural specifications but there are examples which open space had been attached to them e.g. Yazd-Khast and Jame-Neireez. Third are special ones which had been built for specific purposes or particular condition such as Sheikh-Lotf-Allah mosque. These ones couldn’t be referenced as major movement in mosque design.

By analyzing these evidences, it is obvious that open space shouldn’t be neglected or reduced to a division junction and light-supplying space. It is a heritage and beyond; one of the major parts of mosque. Imagining the closed space as main space of worships in mosque can cause many problems such as costly construction, time-consuming build programs, circulation and space access difficulties, ventilation and light-gaining challenges and isolation effects on users.

As result, the collected evidences show not only open space in the mosque is a section or basic part of mosque, but also open space has originality in the mosque design and the worship within is a forgotten aspect of this fundamental part.

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"Art Style" means the way of expressing the ideas, conscious or unconscious thoughts and emotions of the artist in his/her work. Social, political, economic and cultural conditions in any society has an essential role in the emergence and promotion of art styles. The changes in these conditions, will cause changes in artistic styles. In the Persian literary history, Persian poetry styles have divided into the styles of Khorasani, Iraqi, Isfahani (Hindi) and literary return period style. The styles of Iranian architecture in the Islamic era that are embodied in the construction of mosques are Khorasani, Razi, Azari and Esfahani styles. In both areas, for each of the styles, according to its historical period, we can suppose some minor styles, which these minor styles will help to more accurate evaluation.

This research tries to answer this question that "whether the specific social and cultural conditions in a historical period have had similar effects on the styles of Persian poetry and the architecture of Iranian mosques or not"; if so, "what do these similarities signify?" Moreover, can any elements be found that they be repeatable in all styles and in all eras, and if so, how can these common elements be interpreted? The importance of this issue is that, inevitably, we have to review and evaluate all aspects of our culture fields, to know our cultural identity, correctly. It is a crucial requirement of our culture that, to know that "whether the various cultural manifestations are separate Islands and apart islands from each other, that have not any relationship with each other, or a unique same sun gives life and warmth to all of them", But as far as the writer is aware, any independent research has not been done on this issue, yet. This research, which is based on descriptive analysis, at first, has explored the architectural styles of mosques and then it has studied the styles of Persian poetry. And the next step is to compare the styles of architecture and poetry, respectively.

To explain the social and cultural transformations and its impact on the development of artistic styles, among various opinions, Pytryn Alexander Sorokin comments - Russian descent sociologist, residing in America- is more eloquent. The article, in the next step, has explored socio-cultural developments and its role in the genesis of artistic styles.

The current study with comparing the stylistic of Persian poetry characteristics and mosques architecture, concludes that, poetry and architecture styles, have had profound similarities in every historical period. So that Khorasani style in architecture can be taken into account corresponding to Khorasani style in poetry; Razi style can be associated with style Seljuk period-style, and also Azeri style with Iraqi style and  Esfahani architecture with poetry Esfahani style (Hindi) were associated. These cultural similarities are due to common spirit in the different aspects of society. These common spirit, has two dimensions: 1. the temporal dimension (Zeitgeist= spirit of the age): This dimension in each period according to the requirements of the same period (Special conditions of social, economic, political and cultural), causes the emergence of similarity between the artistic styles, But because it is temporal, it also Contains differences with the pre and post periods. 2. Atemporality dimension (spirit of the Nation): This dimension contains some repeating elements that at different periods and in various artistic styles, have a constant presence, without being under the effect of external factors, or without attributing to a particular style. These repeating elements, will Make a single configuration that is "spirit of the nation" of Iran. This unit spirit of culture, like an invisible string, will collect reproduced Works in the field of thought and culture under a unit flag. This flag, is our 'cultural identity'. Perception of the spirit of "Iranian culture"  which has deep spiritual richness in companionship with "Islamic culture", only is achieved when, with insight and enlightenment, we remove the curtain from the face of spiritual and cultural heritage, to percept the unique truth that lies on its backend.

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Mosques in traditional urbanism, were always a turning point of environment and in the constellation of diverse and familiar function, also were considered as necessary part of current life of the city. Mosque as the community space of believers in every morning, noon and evening, always was at the heart of a residential areas and neighborhoods. Mosque has historically been the place of many activities and performances, sometimes was as center of state and sometimes political and economic participation took place there. Proximity to the physical and spiritual life, provided community involvement and attachment to the space of mosque. In fact, the quality of the mosques was not only determined by physical factors, but also by the product of communication and interaction between the mosque and its users. Unfortunately, contemporary mosque is reduced to a mere place of worship area that is very partial and limited considering the concept and the reality of the mosque as a social space. Contemporary mosques, even with fine architecture, have no sociability. Specializing activities and development of sodium-oriented thinking, especially in the land sector, promoting the spread of the separation of religion from public life, the role of mosques in the city has changed and social role of the mosque has been taken away. Contemporary mosques separately from other municipal functions are located on the side of the causeway and do not induce centrality and dominance to other activities. Most of the mosques especially designed ones, over the past decades, are not designed for social activities and are rarely able to comprehensively meet the needs of their community. If once a mosque determined the location and type of city function and relationships, today other issues, including the main street, cars, entertainment center and market place determine location of mosque and other functions. So today mosque’s quality is decreased and its social role is abated .Mosque’s connection to the social life layers leads to increase the quality of mosque’s space. The research methods in this study is descriptive and field studies (questionnaire), and the library research. In this study, through a questionnaire three sample of Hamadan mosques (ChamanChopanan mosque, Shalbafan mosque and Kolanaj mosque) as successful mosques were studied. According to the direct connection between sociability and people, the residents of the neighborhood surrounding the mosque and its worshipers were considered as statistical society in this research. For statistical analysis and for data interpretationSPSS16 software and Office 2007 (WORD & EXCEL) were used consequently.,. The research question is, what component of mosque’s sociability causes to improve the mosques’ quality? Three hypotheses have been proposed in the study. according to the results of the study, the first two hypotheses were approved and the third hypothesis was rejected.

Hypothesis 1: It seems that, there is a significant difference between three mosques location. Hypothesis 2: It looks like there is a significant difference between functional diversity of three mosque .Hypothesis 3: It looks like the continuation of the use of the mosque there is a significant difference. Statistical software used for statistical analysis was SPSS16. The results show that three factors: locating, integrating with mosque performance and other public Performance, continuing use of the mosque are as effective components of mosques sociability that are effective

Regarding the quality of mosques, Locating is the most important factor of mosques’ sociability. Mosques’ locating should be in the main communication axes of city. Mosque’s association with residential fabric and main city function is one of the most important factors in locating. Associating with residential fabric provide walking access in a short time for people. Associating with main function increase socialization. The locating of the mosque should be such that the physical and spiritual needs of people simultaneously accountability. Have a variety of activities and proper character of the mosque is to attract different social groups, would be socialization mosques. Index duration, stresses on the use of mosques as a social space, 24 hours a day.

Considering that today most of the mosques are open only during the prayering times-five times a day-this is incompatible with the socialization mosques.

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Places of worship, as symbolic spaces, have played a key role in all religions. In this respect, they differ from other buildings with different functions. However, the presence of places of worship belonging to different religions in the same city or town has been based on identity differentiations. Given the rapidly growing virtual communications in today›s world, it has become even more important to pay serious attention to identity differentiations concerning places of worship. The present study aimed to make a typology of Synagogues, Churches and Mosques in Isfahan- Persian capital during Safavid era. The implication of a comparative comparison among the mentioned places of worship, in terms of symbolic and spiritual concepts, can help contemporary architects and designers to build such buildings. Therefore, the symbolic differentiations, especially those concerning mosques, can be taken into consideration to design and build mosques. The main questions of this study include: what are the identity differentiations among the synagogues, churches and mosques? And, to what extent such differentiations are rooted in spiritual foundations of each religion? The hypothesis of this study is that different readings of Sacred Attributes are reflected in different physical characteristics of different places of worship. Here, considering four scared concepts, that is, attributes of similarity, attributes of incomparability, attributes of beauty and attributes of glory, the built places of worship in Isfahan were studied under three distinct types: similarity-beauty; incomparability-glory and similarity-beauty/ incomparability-glory. Then, keeping the mentioned sacred concepts in mind, the physical characteristics of the built places of worship were examined. Data were gathered based on library sources and attributional studies and then were analyzed comparatively. The criteria applied were examined through a comparative approach among the worship places. Similarly, the results were obtained based on an analytic reasoning. Also, the normative architectural hypothesis of the worship places aimed to prove its validity based on logical reasoning in order to reach a kind of semiotic typology for the Abrahamic worship places. In this respect, the worship places should be chosen synchronically. The most justifiable historical era for the present study seemed to be Safavid era in which minor religions had the privilege of relative freedom. With this aim in view, the most typical cases of each religious worship place were identified. For example, Mushe Haya Synagogue built in Safavid era is a noteworthy case. Major parts of the synagogue have been damaged and only the room of inscriptions, dating back to Safavid era, has survived. The damaged parts were restored in Qajar era. Another synagogue which could provide the researchers with characteristics challenging the proposed hypothesis was Mulah Neisan synagogue. It dates back to about 100 years ago. The Shah Mosque also known as Imam Mosque or Jaame Abbasi Mosque was another case intended for the study. Situated at the southern side of Naqsh-e-Jahan Square, was built between the years 1598 and 1629 under Shah Abbas. Construction of the mosque started in the 24th year of coronation and decorations and additions were completed during the Shah successors. By constructing the mosque, Shah Abbas intended to pay tribute to his grandfather. Vank Cathedral was constructed under Shah Abbas II in Julfa neighborhood, Isfahan. The Cathedral has functioned as a place to hold religious ceremonies, to instruct the priests and to communicate with other Armenians worldwide. The results indicated that churches were among the Similarity-beauty-based type which convey a strong sense of symbolism, intimacy and invitation. Also, in churches natural representations are highly respected, large-scale proportions are applied, high-quality materials are used and spatial variety and movement hierarchy are taken into consideration. A prime example of this is Vank Cathedral. Synagogues, in contrast, enjoy the incomparability-glory attribute. They covey the minimum sense of symbolism and natural representations are reflected only very softly. Proportions are realistic and no costly materials have been used. Spatial variety is also at minimum. Moshe Haya synagogue is a good example. Mosques, in terms of characteristics mentioned stand in-between and are, in fact, similarity-beauty/ incomparability-glory in character. Abbasi Gathering Mosque (masjid-e-Jame Abbasi) is the best example for this. In conclusion, it may be said that synagogues have the lowest inclination to luxury. In contrast, churches have the highest inclination to luxury. Also, worship places in Abrahamic religions have passed through a incomparability-to-beauty process. The best example of this can be seen in Mushe Haya and Mulah Neisan synagogues. Although the latter is more luxurious than the former, they are both less luxurious than Vank Cathedral and Jaame› Abbasi Mosque.

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In recent century, urban development has caused be numerous changes in spatial structure of Iranian cities. One of the most changes has occurred in the relationships between urban elements and effect on grand the mosque functional spatial characteristics. Sabzevar grand mosque is one of the important elements of the historic city with religious and social function and had important role in urban spatial relation and solidarity. But today, this element has lost role as an urban space and isolated other urban municipal functions. From the spatial characteristics of space, mosque is a part of urban opens spaces and interacts with it. The position of the mosque by the spatial configuration analysis and its impact on the use of space, flow and function is explained. Mosque has formed by open spaces and its relationship with city space in a complex system and has changed from a mere physical element, to an element with spatial nature. The main research object is to study of functional and spatial configuration of the city and the mosque and analysis of its effects on grand mosque spatial and functional properties between two historical periods (1907- 2015). The aim of this study is to evaluate the spatial characteristics of mosques and comparison with its existing functions. From Space Syntax theory; situations analysis and how to communicate these points in the city, indicate accessibility, hierarchy and choosing the paths leading to the specific points that have a direct relationship with the routing of these characteristics and mental structure of space urban. The important aspect in this research is topological analysis of urban spaces and their comparison to analysis of functional relationships. In other words; the availability of space or urban areas does not necessarily mean short distance and close it (physically), but the availability and arrangement of space or places dependent on the construction of urban space. Therefore, urban open spaces and the arrangement of the physical elements followed on space topological characters such as integration and choice, and features structural and functional relationship forms. Research is a quantitative-comparative study using spatial parameters as,integration, connectivity and choice which referred in the theory of space syntax analysis. The results showed that despite an increase of integration and connectivity the grand mosque in 2015, the standard deviation of historical mosque in the city has increased. The spatially the grand mosque in 1907, the integration of spatial and physical relationship is better than 2015. The studies of characteristics of the city in two historical periods indicate that the city of Sabzevar in 1907 was more cohesive and homogeneous nature. In addition to the grand mosque in historic period the clarity and intelligibility of the city is remarkable. Therefore; we can say that the element of the grand mosque has remarkable position in the hierarchy of urban space in this period. Analysis of the space a characteristic the show the grand mosque has defined as a place in urban space configuration and performed and indicated as an urban space. The basis of this analysis, evaluation of choice and integration and analysis of correlation of selected parameter that defined topological space characteristics. In terms of space syntax theory, if you have highest correlation between choice and integration, it has important position in urban configuration as functional characteristics. Comparison of results show that the mosque in the historical period, was as part of a system of communication and coordination with the city›s spatially and functionally. Therefore, the high integration and intelligibility caused to turn the grand mosque to a key element, promoting it as a unique space in the city. However, in contemporary times, this relationship is significantly lower than the historical period and shows that the mosque not only as an urban space as a physical element associated with urban space and spatial- functional properties. Finally, in the spatial structure of Iranian cities, the grand mosque was an important element and symbol of the Muslim community due to their position of spatial- functional properties. The grand mosque is not only a physical element that is specified by the fence and the wall surrounding the internal spaces, but rather an active urban element caused to integrated space and the city in global and local level.

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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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Functional efficiency performance space-oriented mosque like any other, it is influenced by the spatial configuration. In fact, religious spaces with unique featuressince the beginning of Islam has remained unchanged and only their own spaces. This special feature makes frequent use of specific patterns in the architecture of these buildings. The relationship between inputs, yard bedchamber (s)(or Shabestan) of the Mosque of these qualities. In many cases, there is a porch or Ivan of a communication node. In the form of a semi - open space, is the interface between the yard and bedchamber of the mosque. This study examines the role of the mosque›s porch to improve operational efficiency. In connection with the evaluation of functional efficiency using space efficiently, several studies have been completed. For example, Mustafa and his 2013 study, a variety of patterns and consider the variable dome mosques, with the introduction of elements of space efficiency, to evaluate the performance of these buildings have. To study and analyze the configuration space and the functional efficiency in a variety of patterns and a variety of home business has passages. Also in the article Khan (2012) to review and explain the functional efficiency indicators is discussed in hospitalsand the role of each component in order to optimize the layout of the interior space efficiency buildings, healthcare, according to the definitions analyzed and assessed. It should be noted that the present study was to evaluate the functional efficiency of the mosques with central courtyard space structure. Therefore, in this regard, this study intends to basic position Ivan element in achieving this important space in the form of mosques, explain. The hypothesis is also provided as follows: according to the calculation of operational efficiency indicators such as the depth of space, the association and the vision and perspective, space Layout mosques four porches highest functional efficiency.The research questions to examine the role of mosques Eyvan the configuration is as follows: Is Eyvan improve operational efficiency mosques is effective? Is count on a mosque porch can
improve the efficiency of its performance? How to Eyvan role in promoting functional efficiency
realized in the mosques?In order to achieve this goal in the first to introduce a paidwhich
explains the components of operating efficiency and definitions of it through studies that have
been conducted and evaluated the degree plan.So, in order to achieve this, two methods were
used.The first method uses mathematical syntax space.That information required to be used in
formulas, the plot justification for each of the samples obtained.The second method, using the
software Depthmap and analyze its output. the final results obtained from these two methods
revealed Eyvan and spaces that are dependent on the spatial structure of mosques increased
spatial depth, the degree of integration and better links between the yard and the Bedchamber the
combination of these factors, improving operational efficiency between the input space, garden
and Bedchamber (s) in the mosque. Software Depthmap including tools to analyze the different
spaces of urban spaces and architectural spaces, is used.With this software, such as deep space
indices visibility and visibility cone, and so on are useful.The software has features that can be
used to evaluate the efficiency indicators of the performance of different spaces payments.The
application for each of the areas in question, determine the calibration.Accordingly, any portion
of space considering the total area of the space and the position of the observer is standing, will
have a different grading. Among other results obtained from this study can be pointed to the
role of mosque porch improve operational efficiency;this means that the number of mosques
in the central courtyard porch increase its operational efficiency significantly increased. create
or increase the potential of space in mosques four porches because of elements such as Eyvan
and its related spaces (bedchamber behind it) than other samples The event observer relative
to the surrounding atmosphere and can be changed at first glance, this feature can be used to
improve the performance of the mosque.- Four-eyvan mosques because of the sequence of
spaces and their propagation, has more depth than the input space and depth are less than a
yard spaceBut due to space communication with other spaces in total efficiency is better than
the other mosques patterns.a total of four Eyvan mosques pattern due to the increased level of
communication spaces with each other, flexibility and permeability is there more space and thus
it tends to facilitate the movement of worshipers in the mosque is different spaces finally, with
regard to the importance of the porch to improve the operation efficiency of mosques, you can
mosque pattern layout of four porches due to its superior performance to other mosques patterns
used in the construction of mosques today.

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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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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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The first step to the architectural design of each building, is physical extraction program. There are various functions in mosques capability with a larger scale. Selecting these functins and location of deployment of them are the most challenging parts of the mosque's design. Functions choice in the mosques of Islamic Iranian cities should be based on the priority that is consistent with Sharia done. In the fatwas of the sources of imitation, compatibility of any uses with worship, is the basis for choosing that function in the mosques. But is the location of the deployment of each functions's space in architectural design related to its compatibility? In connection with this question, this hypothesis is presented: The more the lateral functions compatibility is, the more should be in a place closer to the worship space.
The main objectives of this article are determining compatibility criteria for lateral uses with religios function, Prioritization of lateral uses based on the degree of compatibility, determining the position of lateral users to the worship spaces and finally the relationship between the level of compatibility and the position of the deployment of mosque lateral uses to the use of worship.
In order to achieve this goals, after the functions in the mosque at the regional scale identification, closed questionnaire responses was designed. By giving a questionnaire to 25 Experts of mosque architectural design and analyzing it with the Chi-squared test, which is a nonparametric and statistical test. Thus, the user's location with a significant level of 0.05 was determined by the use of worship. The results show that in the level of 95% confidence, according to the experts of the mosque architecture, there is a consensus about the location of 20 functions. In the case of the remaining 5 functions, with the addition of the first three options for user deployment, four things can be agreed upon, and there was no consensus on a single user. Thus the status of functions was determined.
then by referring verdicts religious scholars, consistency criteria of each function with religious function was determined, and Closed questionnaire responses was designed and were given to statistical society including two groups of religious and architectural experts. To summarize and analyze the questionnaires, an analytical approach to decision making model and Topsis degree of congruity of applications were assessed and prioritized. After that considering the degree of compatibility, the position of lateral functins of mousques Relative to Main spaces of worship in regional mosques was identified.
Based on this, consistent criteria of each function with religious function, are failure to conflict with the mosque and not to disturb the worshipers. According To these criteria, lateral functions of mosques were classified to four categories include very consistent, consistent, slightly consistent and inconsistent with religious function.
Finally, in order to measure the research hypothesis, it was found that the research hypothesis is true at high levels of adaptability or incompatibility. That is, in the case of some highly adaptable lateral applications, it is recommended that they should be inside the mosque and for inconsistent uses, it is recommended that they should be outside the mosque. But for applications with medium and low degree of compatibility, this is not the case, and more consideration should be given to architectural design.

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Today's Islamic Iranian city must be an appropriate place to meet the diverse needs of citizens where relations between citizens together, and with the natural and artificial environment around them is set based on the values and Monotheism teachings of the religion of Islam. In fact, it seems that the ultimate goal of the Islamic Iranian city as a habitat is to pave the way of man towards the divine grace. In the ancient Islamic Iranian city, public spaces have always been a place for the crystallizing the unity of the Islamic Ummah, holding communal religious practices, trading, establishing social interactions, and communicating with the natural environment. Defined public spaces, lively, flexible, thriving, environmentally friendly and with a special meaning, this study refers to them as place, and their creation defines the Islamic Ummah, not merely the accumulation of human beings. The places that need for them in today's Islamic Iranian cities are felt more than ever. Certainly an excellent example of such spaces in the past Islamic Iranian cities has been the space and the courtyard of historical mosques. In fact, the mosques were on the one hand a venue for worship, and on the other hand, the place that organized the social life of the neighborhoods inhabitants and resolved the affairs of the people. Mosques have always played a role in various fields such as strengthening social cohesion, promoting public participation, increasing social security, building functional diversity and enhancing the sense of belonging. Leading the city's path into the courtyard of mosques turned these spaces into urban public spaces. The presence of such spaces in the fabric of cities and urban neighborhoods brings a vitality and social life to the Islamic cities. Therefore, this research seeks to identify the effective factors to make and develop places in the Islamic Iranian cities through the analysis of the physical, semantic and functional characteristics of mosques as the most excellent example of public place in the Islamic Iranian cities. In this regard, two historical mosques in the city of Shiraz (Atiq and Nasir al-Mulk Mosques), which have unique semantic physical characteristics, have been selected as a case study. Atiq Jame' Mosque, as the oldest mosque in Shiraz, has always played a central and pivotal role in the religious, historical, cultural, social and political structure of Shiraz city and with many general and historical areas of Shiraz, such as the bazaar, historical neighborhoods, Shah Cheragh, Now Mosque (the New Mosque), and the city entrance gate have a spatial-physical continuity. The sixth entrance of the mosque, located on the different sides, is a testimony to the unique prosperity and performance of the mosque in the past as a throbbing heart in the old Shiraz fabric, a communication space and a place for gathering and establishing social relations between citizens. On the other hand, many studies refer to the present position of the Nasir al-Mulk historical mosque as a space for communication and social interaction of citizens, a place with unique physical, social, and perceptual characteristics to induce a sense of belonging to citizens and with influential physical attributes to strengthen the sense of spirituality and the imposition of semantic load to the citizens. These signs point to the contemporary role of the courtyard of the mosque as an urban space. Also, the present study uses a descriptive-analytic research method in the field of theoretical framework analysis; and the causal-comparative research method and content analysis and review methods of video documentation and interviews with experts and the Analytic network process (ANP) for ranking the rules and analyzing case examples. Formation of network structure, formation of comparative matrices and compatibility control, binary comparison of the main criteria, binary comparison of internal dependencies of the main criteria, binary comparison of the sub-criteria of each main criteria, the binary comparison of the sub-criteria of internal dependencies, the calculation of the final weight of the sub-criteria, the binary comparison of the preferred options and the choice of the optimal option are the main steps of the network analysis process. The statistical population of this research in interviewing and completing the process of hierarchical analysis was architecture and urban planners of the universities of Iran that among them, based on the snowball sampling method, 25 people with urban and architectural specialties were selected as the sample group of the statistical population. The results of this research show that form component (with indicators: attractive elements of attention, orientation and perception capability through different senses), activity component (with indicators: behavior, body language, and culture sociality), meaning and imagination component (with indicators: memorable, spirituality, Meanings and values and emotion), and ecosystem component (with indicators: tree and plant, water, natural light, and coherence with the climate), affect the formation of the place in the Islamic Iranian city. Also, in this research, along with analysis of case studies, strategies and policies have been presented to make place in the Islamic Iranian city, based on the developed components and key criteria.