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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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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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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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 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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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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Mosques have been the oldest, most important and uncompetitive religious element of Iranian cities. Unfortunately, mosque formation patterns and principles and symbolic perception, have been forgotten recently, especially at neighborhood mosques level. recovery of Iranian-Islamic architectural and urbanization identity is main responsibility of architects and urban planners, and this is the main object of current research. We will look forward achieving these goals by field survey and local condition analysis of cultural, social and even economical needs of social classes of these locals. Also, considering determined goal, research looks for its answer, can be   stated as following: whether value systems of different social classes of local habitants influences belonging sense among these neighborhood mosques. In the current research, the influence of sensory perception models have been investigated on the sense of belonging to place at Qazvin city by survey method. And also after specifying models and components of sensory perception, evaluating criteria effective on increasing belonging sense to mosque, extracted, then questionnaire prepared based on Likert spectrum by Structural Equation Modeling (SEM), which it analyzed the relations among variables and their impact amount on Haft-Darb mosque as an old texture and Javad Al-aemah as a new texture. research findings, shows a meaningful relationship among the components of sensory perception and the sense of belonging to place at neighborhood mosques, which in it the impact of cultural indicators and social system in the neighborhood is more than other indicators. Also regarding sensory patterns in designing mosques forming elements, promotes satisfaction sense which this leads to creating and strengthening of adaptive sensory architectural patterns in religious places. As a result, it is suggested to pay special attention to residents complementary role at mosques designing, because this matter cause more adaptability about neighborhood mosques architectural patterns. Also, recreating the sensory patterns of Iranian-Islamic architecture of mosques undoubtedly plays a vital and significant role in developing and deepening religious values, cultural, social and economic relations and also increases the motivation of worshipers to continue attending neighborhood mosques.

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Aesthetic-Sublime conflict has been as one of the most pressing issues in the thinking that included in the manifestations of human life and the construction of temples in history. In the modern era, both the formalist and the functionalist currents of modern architecture emerged in response to the German philosopher's theory of Emmanuel Kant. Later, deconstructionist architects such as Eisenman who that stated their anomalous roots in their heuristic formula for combining the two aspect of theory. These currents of thought penetrated the Islamic world, especially the construction of mosques. Unique Islamic conceptual patterns were less discussed in the amalgamation of aesthetics and the quest for its revival in the modern age. a universality of Jamal-Jalal is recommended in the Islamic viewpoint that Islam has not claimed in previous religions and this equilibrium has taken place with the rise of Islam. This equilibrium can be traversed to either side of the spectrum in each sample as needed. In this research, the philosophical principles and architectural criteria derived from both sides and a descriptive-analytical approach was discussed to the conceptual typology of historical mosques. Finally, The models were expressed to the architecture of the historical and Islamic periods in six sections. 1-The Origin of Style Effects from Organizing (High Pure) to Artistic (Pure Beautiful) and Comprehensive viewpoint at Architectural Styles. 2- On the Jamali-Jalali side of the environmentally sensitive historical epochs, approach of cultural periods in Europe with verticalism and attention to Sublime (Egypt) to Egypt with horizontalism and the periodic classification is based on the nature (Environment) that is compared in the three categories of medieval naturalism to Renaissance naturalism (Soft modernity). 3- Sublime-Aesthetic faculties in Formalist architecture schools fall into three categories: Anatomical, space-oriented and socialist in Islamic architects of Iran. 4- Conceptual model was presented for each aspect with sensitivity to the Sublime-Aesthetic (jalal-jamal) of sensing factors. 5- Functionalism indices were investigated by three-dimensional (aesthetic, sublime and socialist) principles of Iranian architectural architecture with the principles of organizing movement in space. 6- Encoding with symbolization factors was conceptually presented as Sublime-Aesthetic attention, and the share of attention to the purely beautiful symbol in the glamorous and sublime symbols refers to the glorious dimension.  The space and body were remarkable that were effective in expressing this dual opposition in the architecture of contemporary mosques. Nowadays, contemporary architects use Aesthetic and Aesthetic appearance to represent the clergy of space in Contemporary mosques. Ultimately, authenticity is in need of socialist. It is a sublime meaning that, along with simplicity, is reminiscent of the spiritual space of the model mosque (the Prophet). Finally, two examples of mosques were laid out in a comprehensive Western and traditional pattern. The indices were based in each contemporary work on Jamal-Jalal of Islam or Western Aesthetic-Sublime. The results of the study show the evolution of the architecture in the four Iranian mosques, that Has a tendency for pure sublimity or aestheticism to the sublime aesthetic states (holistic state) and when comparison to two types of mosque (contemporary Western-style mosques) have sometimes moved toward materialistic and authentic Aesthetic and Sublime. The perceptions are superficial in the past patterns but sometime this patterns are along to values. motivations of Aestheticism have given originality to outer space and Sublimation to originality and both dimensions of history have been distorted in the non-sacred paradigm and merely reduced to charm and functionality. Whereas the holistic viewpoint has a coherent and original view of spirit and spiritual growth.

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