Journal of Researches in Islamic Architecture

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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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One of the symbols and symptoms that identify Islamic civilization is the Islamic Urbanization as a place for dwelling and activity. Urban areas and structures by manifestation of custom values should identify society’s civilization. And help them to achieve their purposes and ambitions. an Iranian Muslim architect ‘s belief has always been a priority for all of his works And to create his works all functional rules are under consideration of his belief principles. One of these belief principles is subjectivism and privacy life. As from the long past we see tendency to covering in Iranian civilization and tradition and one of the beliefs of Iranian is importance of privacy and indoor life. Subjectivism meaning is related to man placement in Islamic thought. Islam has always wanted mankind to recognize its essence and its identity as a god created. Because in this case man can recognize it’s high values and it’s prominent place in this world. That’s why the Quran introduces human mind as a special cognition resource and express that who has known its god, has known itself. So Islam wants people to pay attention to their indoor and behave without any trace of Self-glorification also prevent people including man and woman of showing themselves by a pretense. As we mentioned, most of the time Iranian’s believes and cultures influence on their architecture. So we see manifestation of subjectivism in Iran traditional architecture elegantly that it has impressed significantly on space organization and also on planning different functions on sites. Subjectivism as a feature that presents in buildings such as houses, mosques, schools and public bathrooms, generates from philosophy - social principles of this country. For example in these houses we have indoor and outdoor yards. Indoor yards separate private life from the public one. This organization has been possible by arraying rooms around the yard and also separating men living space from women living space. With respect to these principles we can see private, semiprivate, public and semipublic realms. We can infer that in Iranian architectural culture essence and man indoor has the actual value and the outer shell is protecting this reality.

In this article our research method is Qualitative. And By studying Islamic texts and documents related to the study conducted by the Iranian market and urban spaces, we are going to express individual and social points of subjectivism. And it’s manifestation in Iranian bazaars. So in the first step we study Islamic texts and investigate documents related to this topic and specify the research principles and processes. Then we try to analysis the factors that lead Iran traditional bazaars to subjectivism and study how these factors effect on bazaar’s functions. The Hypothesis proposed is that, the influence of subjectivism is not merely on our architecture, but also it influences on people behavior patterns in urban spaces.

Bazaar is one of these urban spaces that means place to buy and sell goods. In fact bazaar is a place to exchange and it has been organized by a human activity. So bazar has a both economic and cultural and social aspect that has formed cultural interactions between citizens from the past. These interactions and behaviors are different in every culture. Finally we will approach to factors, effecting the Iranian bazaar’s introversion in both the humanity and social aspects. Factors such as privacy and the need for solitude and privacy for those in the bazaar so that unlike the function of western street as a place for staying together and looking at people and being looked at by people, our urban streets in Iran often have been places for seeing people and not having desire to be looked at by others. This is a kind of privacy that is a personal right for everyone. Prohibition of causeless attendance in public areas in Islamic texts view is one of the reason that our sidewalks have become a place to move currently and cause to minimize the time spent in these spaces. People do not spend in this space for a long time and that’s why they feel that they don’t have any ownership in this place and they are not belonged to urban spaces. On the other, they feel comfortable at their homes and do their necessary activity related to outdoor and hope to come back at home, where they have it as a private realm. As we said, our sidewalks have become a place to move currently and not a place to stop, to eat or speak for a long time. The low width of the bazaars and lack of space to sit in them confirm this. As in the days of holding, that there were crowds in sidewalks, people moved difficultly. Years ago especially at night’s people rarely were passing in urban streets, it shows those nights and days passes effects urban designs. In Islam spending time with family members at nights is more desirable than spending nights out with others. That’s why Iranian bazaars have been  more active in days in compare with nights and also were  a place for exchanging activities more than leisure and exhibitive. Stability and strength of the family has an important place in the Islamic value. and also the value which Islam serves for family and its people and introduce it as a place for relaxation and comfort, make our home a holy place that should have a private realm for its members.. This caused many religious orders in Islam texts. So we see that the kindness and leisure activities would be with family members more than people who we know out in the society. These activities done by family members, Strengthens the foundation of the family comes. Overall, Beyond the effect of introversion and it’s manifestation in architecture and structure, it effects on people presence in urban spaces such as bazaars. We infer that introversion or in a more accurate concept, human indoor or essence has deep sense in compare with its architectural meaning. Islam special respect and emphasis on internal states, is one of the reason to paying attention to humility and preventing from Self-glorification, Behaviors that influence on our urban streets. That we study about them in this article.

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   Typology as a practical method has become to an important subject due to rise of modern architecture and lack of identity to achieve pattern of traditional architecture. Residential tissue as a core of traditional cities with its elements and specific form are valuable legacy for survey and analysis. This research refers to systematic method consisting analytical and descriptive method in fundamental issues linked to typology reviews, theoretical principles, and theories. In the process of research affective physical factors identified and based on field research 15 houses has been surveyed. Furthermore Analytic hierarchy process (AHP) was used to evaluate and comparing effective physical factor in the form of houses. Results of research were obtained to promote new housing design patterns and guideline. The criteria obtained from results also compared with present urban principles to improving the quality of houses design in traditional tissues of Neyshabur city.

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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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The traditional Iranian bazaar is considered as a great example of Iranian art and architecture with a rich cultural heritage. This phenomenon of outstanding architecture, self-sustaining and coherent with the surrounding urban landscape, like other urban texture, has not been immune from the consequences of the transformation of modern life in its internal and peripheral arena. On the other hand, the transformation and creation of new structures for the survival of life of historical textures is essential. The concept of contextualism and its purpose in the historical context, based on the qualitative concepts of the creation of a living, coherent and dynamic, is based on the need to recognize and emphasize the extraction of the texture pattern language for structural and functional cohesion in peripheral development. The aim of this study was to investigate the effect of the degree of coherence of new structures on the continuation of the traditional texture life of the traditional bazaar in order to analyze the heterogeneity of infill buildings in the historical context of the Iranian-Islamic city and criticize the existing context, first, with a descriptive-analytical method, on traditional Ardabil bazaar as a case study. Then, in order to answer the question of the extent of the infill coherence effect as a context-oriented parameter on the continuity of the pattern language as a characteristic of context survival, field survey, as well as the questionnaire as a tool for collecting information and SPSS software as an analysis tool, and data evaluation were used. By developing the hypothesis that there is a significant relationship between the amount of context-oriented contemporary infills and the survival of the traditional bazaar context, the research begins qualitatively and to test, the continuation of the traditional bazaar is dependent variable and the degree of contextualism between the infills is the independent variable. First, qualitative studies are conducted based on deductive reasoning and field studies, and then the results are quantified by presenting a questionnaire and examining the views of the resident business people who have at least two generations of bazaar presence, as well as those of contemporary merchants and experts.
The findings in the first section show that the powerful functional-physical centersare of scale that create the pattern of the life of different structures. In the case of the traditional Ardebil bazaar,it is in accordance with the three macro, middle and macro scales, indicate the highest quality of life and it brings forth the semantic coherence of the unified and dynamic Islamic worldview in the structure of the traditional bazaar. The findings in the second part indicate a general lack of coherence between contemporary infills in the 2 nd grade zone of the traditional Ardebil bazaar. Also,it shows that   structural integrity, visual coherence and spatial integrity variables have a direct and significant effect on the dependent variable of the physical life of the traditional bazaar ,and  the activity coherence variable and the cognitive integration of the new building as a predictor variable on the functional life of the traditional bazaart. Therefore, dealing with concepts such as scaling and scale distribution, necessity to go beyond the strictly limited use of the brick and the limited height of the building and the window frame in the traditional bazaar becomes vital to consider, so that deep concepts of the language of the texture pattern can be continued and the new recommendations for design identity in the historical context can be created for designers to emphasize "modeling" rather than "formalism".

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A rising demand for housing has persuaded governments to provide more housing units, significantly for the less privileged classes of the society, and several methods have been tried. Mehr Housing Program is the latest effort in the recent years for mass housing production in Iran. The immense impacts of implementation of this program has had wide spread effects on the cities of the country. Studying this wide-spread project requires proper mechanism and measures. And without a doubt referring to the endemic architectural and urban planning methods would provide the proper basis, on which one can make valid criticism. Accordingly, the present study is an effort to explain and classify these methods and values, which have been neglected throughout Mehr Housing Program.
The research method in this study is based on comparison. In this paper, the authors have first reviewed the publication by the experts in this area to extract these endemic measures, and based on this theoretical framework the endemic and organically grown urban fabric of the seaport of Khameer is studies and compared with the Mehr Housing project implemented in its vicinity.
The findings of this research show that the implemented housing project can be criticized by the measures of Locality, urban planning process, the meaningful relationship that it has with the context, economical equilibrium, development competitiveness, urban identity, architectural and urban landscape aspects and the social coherence. For these shortcomings in the project there are certain solution in the endemic urban logic, and the negligence of these solutions have contributed to the current state.

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

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Islamic Architecture is a main course in undergraduate Architectural program of Iran which is essentially a historical as well as theoretical one that makes its applicability so rare in design studios while Islamization has been a main goal of recent architectural policies of Iran. It has been a main concern of scholars in the field of architectural education and in this article some proposed approaches to make theoretical and historical data about architecture applicable for design studio are reviewed.
Two main routes are taken for such an application: 1. Architectural institutional approaches are those plans that try to explore structuralistic components of historical building. For example defining their formal order, spatial arrangement and or analyzing its language of motifs in such a way that could not easily accused to copying from old building; these approaches do not widely enter into cultural debates or religion-based issues unless rare subjects as anti-illustrational view in Islam or bold symbols such as Ka’beh . 2. Ex- Architectural institutional approaches are those that concentrate on the human life of the historical buildings. Behavioral researches and vernacular researches are common studies of this kind. These approaches are somehow based on the hypothesis of continuity of at least a few human characteristics during the history. These approaches suffer from theoretical support as well as social acceptability even between scholars of architecture or humanities.
After a review of role of historical precedents in design studies, various approaches taken towards applicability of the course of Islamic architecture (along with some other historical courses in architectural education program of Iranian schools) for design activities in two recent decades are studied. They are formulized within three main branches: 1. Conceptual continuity: scholars of this vision try to find or construct a context for continuing traditional patterns in current time. For such an application their strategy is to emphasize on symbols instead of architectural pure forms so that they could bond it to social long-life norms. Another strategy of them is to identify timeless combinations of form and idea or architectural concept. Courtyard is one of these concepts which is seen as crystallization of spiritual presence at the heat of the building. Although this approach has not yet been successfully used for the course of Islamic architecture it is routinely used for the other course (theoretical basics of architecture). A main barrier for its applicability for design studio is the lack of aspects that could be continued.
2. principal-based approach refers to those ways that believe in existence of some “abstract” humane basics that are fixed throughout time and space. Although its continuity varies through scholar views. Some as Pirnia define five or seven parameters that are specified to Iran not all Islamic regions. But some others proposed global principals for Islamic architecture. Nader Ardalan or Khalil Pirani are two of such scholars. While these principals have not yet empirically approved at least from users point of view it is a main conflict for their educational apply in design studio. From instructor point of view, they have secondary problem of claims of students. Because an abstract principal could be widely interpreted in such a way that any architectural form would be claimed to be based on such principals. 3. Empiricism refers to comparing physical and practical aspects of buildings detached from their historical context. Climatic characters as well as spatial orders are usual themes of this approach. But it is questionable that if mapping or sketching from buildings are useful ways for understanding life of a building to apply its understandings into new designs. Some schools of architecture encourage their students to use formal patterns of historical buildings for free form inspiration. In this way cultural heritage is considered as a consuming source a low-rated thing. Moral problems of this approach for cultural basics of the society should be taken into account.
The main problem with these approaches as anti-historicism or anti-Islamisism. Here the problem of Islam is taken into account as the main subject of the debate. So a new proposal is offered that can be called as “Islamic Critical View” that criticizes works of architecture from the view of its compatibility with Islamic norms. Main feature of this proposed approach is that it takes stability of moral and values of Islamic Tradition of Holy Prophet and Imam’s as its criteria for evaluating historical changes in architectural form. These changes then are put in critical debate in class sessions without any pre-assumption to consider whether they can be supposed as Islamic solutions or not.  So any historical building is an object that has valuable aspects but not made sacred for its history. Since the measure of criticism is put within Islam itself it is less morally harmful for valued heritage. Here high cultural bases are saved and minor cultural themes are weighed against it.

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The major change processes that have taken place in recent centuries, affect the facade and its elements. These changes have caused variations in the visual appearance of buildings. However, throughout the history of the late Qajar dynasty and the early years of the Pahlavi reign, different architectural styles have been developed and they were evolving as societies changed over the centuries. In the history of Iranian architecture, there has never been a break with the history of architecture. But in the last century, the alien elements entered into the Iranian-Islamic architecture and there has been a change in the principles of architecture. In the late Qajar period, the process has been discontinued and the structure of the façades as well as other architectural features were being modified. At the beginning of the Qajar era, the presence of Western symbols was also important in the facades. External factors contribute towards the indigenous architecture of a region to a great extent. Extracting patterns from different Islamic periods can be used in modern architecture. After the glorious era of Safavid architecture, the Qajar period is the interface between the past and the future architecture. The nature of the exodus of traditional Iranian architecture during this period were undoubtedly influenced by the Constitutional Movement. However, the dynamics of the modernization in the Pahlavi era brought about changes in Iranian society. This study seeks to compare the views of different eras in accordance with the principles of Islamic architecture. The methodological approach of the research is mixed (quantitative and qualitative). The study is based on an interpretative-historical research strategy using library information resources, field observations, and questionnaire survey data. In this regard, the study of architectural styles and practices of each period, the quantitative comparison of the fundamental characteristics and indicators of Islamic architecture in urban façades, and functional units in different categories are discussed. Depending on the theoretical framework of the current research, seven indicators of Islamic architecture were obtained. These indicators include geometry, proportion, symmetry, harmony, dynamics, order and rhythm, and unity in plurality. In the next step, three different buildings were chosen and made subject to a systematic inquiry. 42 students and 9 faculty members of architecture and planning were selected to study the characteristics of each building. After the pilot work was completed, the questionnaire was distributed to the respondents. Finally, the important attributes were determined in each building. Based on the findings, it is suggested that the change of architecture can be interpreted according to the intellectual architecture of its era. Therfore, only a physical change could not ultimately lead to a structural change in style.

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The relation between texture, pattern and massing is a fundamental question in architecture. Classical architecture, as Leon Battista Alberti states in De Re Ae dificatoria, Book VI, Chapter 2, is developed through massing and structure first; texture is added afterwards to give the bold massing and structure beauty [Rietherand and Baerlecken, 2008: 2]. This hierarchy has of course been challenged throughout architecture history.

In the literature review, most researchers have done focus on pattern of Islamic ornamentation based on the interior vision and exterior pattern effect is not considering by researchers. This paper will provide a different thinking of the relationship of massing and texture in Persian Architecture based on tower temple in Khorasan that built in Qaznavi and Saljoughi era.

After that, we consider the role of the ornamental pattern on shaping building structure. Since this research were done based on mathematic and geometric systems, the main research way in this paper is logical deduction.
One of the main important result of this research is the meaningful relationship between ornamental pattern and structural in Iranian Architecture.

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Nature has always played a very significant role in responding to numerous human needs. Human needs have two dimensions of material and value, and this subject has been the source of both material and value views of nature. Human, in response to their needs, has invented solutions that have, if repeated, become a model. The current article aimed to compare the role of technologies and solutions derived from nature in meeting human needs in both traditional and contemporary periods from the perspective of experts. The question posed to attain this objective is: What are the differences in the extent and manner of responding to different human needs by patterns derived from nature in the traditional era and the contemporary era? At first, in the theoretical framework of the research, the solutions and technologies obtained from library studies were categorized in eleven groups and via the qualitative method and logical reasoning, the formation of solutions and technologies derived from nature based on the response to human needs and their transformation into architectural patterns and the impact of features such as multifunctionality, and combination of patterns in an appropriate response to various human needs were mentioned. To answer the research question, to compare the two traditional and contemporary eras in response to human needs using solutions and technologies derived from nature, the architectural experts’ views were cited via a semi-structured interview method. The results obtained from the present study at this stage were that in the traditional era, nature has played a more effective role in meeting the various needs of human beings than in the contemporary era and in the contemporary period, with the diminution of the semantic dimension of man, the attention to the value dimension of nature in architecture has also diminished and the provision of material needs of nature has been given priority. In general comparison, in the traditional era, technologies derived from nature were more abundant in architecture, but in the contemporary era, it is limited to specific buildings. Out of the eleven solutions obtained, according to experts, the criteria of nature as a source of matter and energy and inspiration from nature in the promotion of technology in the contemporary period and the criteria of direct use of nature in architectural design and use of renewable energy in the traditional period, had the highest frequency.

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In the far pasts, Turkey was one of the countries with diverse civilizations. It has been rich and affected by Byzantine architecture of the architectural view point. The entry of Islam into Turkey and the formation of Islamic governments during the Ottoman era led to the formation of a particular type of Islamic architecture in Turkey. The architecture of Turkey mosques is one of the most prominent Islamic architectures, especially in Istanbul. This research is based on the assumption that the architectural pattern of Turkey mosques is a combination of the early Islamic, Iranian and Turkey native mosques architecture. The rooting the architecture features of Turkey mosques are the subject of this study that it is addressed the influencing the Turkey mosques architecture on the early Islamic mosques the architecture, a rich architecture with a long Byzantine and Greek before entry the Islam and the advanced Islamic civilizations architecture in the neighboring Turkey, such as Iran.
The architectural features of the Turkey mosques generally include the naves in facing  to the Quibble, the presence of the mosque in the neighborhood, the entrance of the courtyard to the house dome on the direct axis, the coordination of the geometry of the columns with geometry of the plan and the organization of the spaces in the direction of the Quibble, dividing into naves efficient space with a human scale, the use of the light element under the house dome and the creation of spiritual space, the enormous half domes that strengthen the main dome, external image formed by multiple domes, pencil-shaped structures, Byzantine domes, use The geometric floriated and calligraphy on the stone are the porticos for threshold and naves entrances. The rooting above architectural features of this research is leaded to the discovery the architectural pattern of Turkey mosques. This research is conducted using library research method and texts review and analytical-description model.
In the mosques of Turkey, there is two vital factors of architecture, namely light and space, and their effect on each other and the central dome such as vast shadowing or baldachin on four huge stones, and two concha’s domes surrounded by it, and windows located at the base of the central dome to cause enter the light rays to the building, creating a spiritual atmosphere and cause think that it's suspended in the air and does not rely on place. The light in the Turkey mosques has caused the material and spiritual world supernatural link together. the light shine in the space is prevented the attention to the detail of spectator, and this rotatory motion is invoked the eternity of a component to other one.
Architectural features of Turkey and Ottoman mosques are dome-shaped nave, cylindrical and conical minaret, carvings and engraving as embellishment, decorations of the entrance facade at veranda and portico roof adytum and open spaces scene with triple porticos adjunct to the nave.
Emphasis on the imitation of the Arabic style with the Iranian manner and style in Turkey mosques, Iran for threshold and the ultimate entrance the nave to mosque, and the emphasis on dome-shaped space has been preferred to covered mosque without the courtyard due to Turkey climate. Applying the dome-shaped forms has Anatolian root. The use of geometric motifs, floriated and calligraphy on the stone was influenced by Byzantine art. In Turkey mosques, there was a hierarchy of entrance to the courtyard and its surrounding porticos, and sometimes outside the mosque courtyard and direct entrance into the nave. In Turkey mosques has integrated the dome space and the nave and is created four column nave that dome is located in the center and above of the mosque. In fact, the architectural change of Turkey mosques was an ancie archy of entrance to the courtyard and its surrounding porticos, and sometimes outside the mosque courtyard and direct entrance into the nave. In Turkey mosques has integrated the dome space and the nave and is created four column nave that dome is located in the center and above of the mosque. In fact, the architectural change of Turkey mosques was an ancient background in its architecture that has the Greek and Byzantine background on the one hand and the effects of Achamenian and Sassanid Iran on the other hand, and Islamic concepts with the background of the minority Asia of this land eventually established the Ottoman period and can be said that the Turkey mosques architecture is also due to the geographical location of Iran's style.

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A brief reflection on the various works of Iranian-Islamic architecture in different periods illustrates the fact that the Iranian artist's architects have always sought the order in elements, components, spaces and buildings, and in order to achieve this important, the method There were several varieties (Bemanian and Avis-Nasab, 2012: 72). One of these methods is the use of the qiblah axis in the architecture of the mosques. What is nowadays visible in the architecture of contemporary mosques is the absence of the creation of spirituality in space for the guidance of the qibla. In this research, by revising the way of applying the Qibla axis to mosques of different periods of Iranian-Islamic architecture, it is analyzed on the qualitative role of the qibla and the attainment of ways of presenting the qualitative aspects of the qibla. Therefore, the research seeks to answer the following questions:

• The research seeks to answer the following questions: What is the best pattern of movement path from the entrance to the qibla in mosques?
• And what is the hierarchy of movement from the entrance to the qibla based on the spatial organization in mosques?

Therefore, the purpose of the research is to explain the role of qibla in the design of traditional mosques in terms of orientation, entry into the building, and placement along the qibla, the dynamics of the axis of the axis, in order to provide the basis for designing and constructing contemporary mosques. Therefore, this research has been conducted in a descriptive-analytical manner and based on library-documentary studies. Also, using the flow pattern and the relationship between activities in 18 samples of Iranian-Islamic architectural style mosques, the pattern of the path of human movement from entrance to altar, as well as the degree of proximity of each space to the other space in this motorway, has been studied.
Considering the comparison of architectural criteria to emphasize the direction of qibla in mosques, the index of periods and styles of Iranian-Islamic architecture can be said in Khorasani style, due to the form of the mosque's nave, using two criteria for increasing the number of columns and The elongation of the length of the plan defined the direction of the qibla. Architects in the style of Razi and then in the Azeri style, had the most attention to Qibla, and used more criteria to emphasize the Qibla axis in designing mosques. In the Isfahan style, the elongation of the yard with the increase in the number of columns helps the prayer in understanding the axis of the qibla. It can also be seen that the criteria for increasing the number of columns, the construction of the dome in the direction of the Qibla and on the altar, the longitudinal elongation of the plan, have the most effect on the direction of the Qibla axis in the mosque building. By studying contemporary mosques, we will find that these mosques do not have apparent effects due to the lack of theoretical principles, and the mosque's plan does not emphasize the Qibla direction. For this reason, the architecture of contemporary mosques has no effect on the principles and appearance of the Qibla axis.
Historical overview of the evolution of mosques since the beginning of Islam, indicates that paying attention to Qibla direction has played a significant role in the spatial organization of mosques in Iran. Also, observance of the principle of dynastic movement and space axis in the construction of mosques, has strengthened the direction of qibla and guided man from the interior to the outside and created the integrity of the foundation. In this research, based on the descriptive-analytical method and using the flow pattern and the diagram of the relationship of activities, the pattern of the path of human movement from the entrance to the altar, as well as the degree of proximity of each space relative to the other space in this motorway , Through a structural study of 18 samples of Iranian-Islamic style architectural mosques. Six patterns of eight flow patterns were defined as the pattern of movement from entrance to qibla in mosques, as well as motor hierarchy and the arrangement of spaces from entrance to qibla, using the activity relation diagram. A single pattern was developed for arrangement of spaces between the time of arrival and the Qibla, including: Entrance, Porch, Vestibule, Courtyard, Verandah, Shabestan, Mehrab.
The architects of traditional mosques show their thoughts in the form of geometric shapes and spaces, in which the sense of confidentiality, sanctity, immortality, and clergy preserves the space of the mosques, At the time of entering, they have been converted to a humane, perfected human being by directing and observing the dynamics of movement. In the design of contemporary mosques, not only the emphasis on the center of the qibla, but also the sanctity, spirituality and Islamic identity of these buildings have been lost.
 

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