Islamic architecture

Islam is an integral way of life which considers beauty to be a divine quality. In fact, Islam is the religion of beauty and perfection. Islamic architecture refers to any architecture in Islamic culture or in Islamic context. Islamic architecture exhibits the sacred order of Islam and its distinctive feature is religious aspect. Yet, Islamic architecture is not completely varied from all other architectural styles; even, it borrows from some of them such as Persian architecture. The aim of this study is investigating the importance of beauty and aesthetics in Islamic architecture. Results show that Islam does not consider art and beauty as a luxury. It considers beauty to be a divine quality. Unity is one of main aesthetically concepts which has merged in Islamic architecture; It was called as a base for life cycle and was reflected on art and architecture to such an extent that we can count it as the language of Islamic architecture. Based on this language, Paradise is a perfect epitome in all respects of aesthetics.

Turbulence and inconsistency of urban physical system in the physical structure of Iran contemporary cities is one of the instances of identity crisis; the weakness of the educational system in the faculties of architecture and urban planning, the promotion of foreign culture in the domestic press, the weakness of the infrastructures of native culture education, the interference of experts from other scientific fields in architecture and urban planning, the weakness of urban management strategies, high expense housing and the necessity to supply housing for the needy people have created a turbulent city with eclectic culture and it made the native culture less prominent than before. The present research introduced the concept of “urban architecture”. The main presupposition of research is that the architecture of monuments in the historical texture has sufficient capabilities in the quality of physical structure of city and architects concurrently paid attention to the architectural characteristics of monuments and urban space quality. The purpose of present research is that to investigate the effective architectural factors to improve the social life of urban spaces thus the research question is that “how to architect while constructing architectural structures to shape an urban space with social quality?”  The necessity of the study is the role of urban spaces to shape the social life and the significance of the study is the possibility to clarify a “bottom-up” design procedure to consider the concept of “urban architecture”, and also to institutionalize qualifications for urban spaces through architectures. The present qualitative research has been conducted with the logical argumentation and causal- interpretative strategies and through documentary- field study in the case study of Abyaneh village. Research findings, while paying attention to the qualitative components of urban spaces resulting from monuments architecture, have proposed strategies to realize the concept of “urban architecture” consistent with the components of social sustainability.

Public bathes have much importance in Islamic cities, after the most significant structures like mosques and schools. There are a number of factors affecting the construction of bathes among which temperature regulation, humidity, access path, location in the urban texture, watercourses, and construction of exit paths are the most important. This study tries to make a comparative analysis of the architectures of bathes during Safavid and Qajar in order to reveal factors affecting their construction as well as the types of architecture implemented. Consequently, 13 public bathes were recognized and examined. The data elicited was then subjected to SPSS for further statistical investigation. Nonparametric Spearman correlation test was utilized to know the relationship among the variables and the factors affecting the architectures. The findings reveal a number of factors to be in statistically high correlation.

Architecturally, the Seljuqs' dominion makes a significant shift from the Pre-Islamic Sassanid squinches into a sophisticated transition mechanism employed to change the walls of a square chamber to an octagonal base to set a dome which this initiated a new construction methodology to hybridize the previous experiences of Sassanid domes with new architectural tendencies since the previous understanding of the transition zone was a makeshift in quality, not consistent enough for future architectural adventures in creating larger structures. Although a cursory investigation of transition zones of Seljuq dome chambers in some respects might reveals a fairly homogeneous framework, it has never meant the stagnation of architectural creativity in different parts of Seljuk territory. On the other hand, the typology and local schools of Seljuq transitions zones of dome chambers have not been thoroughly considered by geographical centralism in Iran. For a better understanding of the standardization of various techniques considered in Seljuq architecture between 11th and 12th centuries in order to spanning the cubic structure to a circular plan, this project is aimed to clarify three various schools of architectural articulation concerning transition zone in the Seljuq dome chambers.

The Islamic era is the period of new s tyles and beyond its own time. Shamsa, Muqarnas, S tar, geometric motifs, and decorative elements have fractal nature, which was used as a tool to express the architect’s idea by repeating the same components in a spatial dimension. We will reach the effect of Islamic impacts on fractal architecture and semantic cognition, and by finding the roots of theories about fractal with an analytical-descriptive approach, we will unders tand the relationship between fractals and how they are used by architects. Our focus is on comprehensive s tudy and calculation, not only in ornaments but also in s tructure, to find patterns of fractal form, to represent coordination between components. Firs t, we proved and extracted the fractal properties and patterns between the cons tituent elements, including self-similarity, repeatability, small-scale, and non-integer dimension, using visual analysis, and then we set up the Box-counting analysis technique with two purposes of calculating fractal dimension and finding their relationship. Aware of the mathematical proportions and relationships between the components of nature, the architect of the Sheikh Lotfollah Mosque has displayed the geometric sequence limit with an ascending equation in the interior ornaments of the dome. His goal is both to create the world of spirituality on a micro-scale and make it unders tandable for an observer. Thus, in this way, he has sometimes expressed his concept through mathematics, proportions, and sometimes by showing beliefs in concepts such as unity in diversity, all of which in their essence have concepts consis tent with fractal forms.

Islam is regarded to pay attention to the characteristics of urban life which can be practiced on the urban settings. Not surprisingly, Islam has made a great focus on the form and design of cities and prescribed detailed and elaborate regulations for individual and communal life. Seen from other way round, the penetration of Islam into various regions such as Iran, Europe, and Africa had an undeniable impact on life style, urban design and social interactions. As an ancient civilization with a rich set of knowledge, culture, art and unification beliefs, Iran became the host of Islamic ideology, relying on the propagation of its achievements while keeping its principle and value criteria independent of time and place. Architecture has two dimensions; material and spiritual and its body consists of structure, construction and different materials while its spirit and meaning of architecture is derived from history, memory and long lasting national and native values of a homeland which ascribes a specific meaning to architecture and produces a mental image in the minds. In this paper, we are seeking for criterion to assess Islamic architecture and evaluate it. Architecture is of different dimensions, each has its own value criteria but determining the Islamic architecture and Islamic city of architecture let alone stating whether architecture in this period is Islamic or not demands a great effort while it is worth mentioning that Islam is not limited to a specific age and place and can meet the needs of human being in different period.

Attractiveness principal in Iranian- Islamic architecture and decorating in this issue Iranian Architecture in the period of Islam use different means to show the influential and effective thoughts and interpretations and meanings on the people. One way to identify the means is to Research and investigate in the audience’s cognition and understanding particularly architectures and identify the current Theories and Ways which describe the presses of perception and cognition. Cognition and mind system of middle periods of Islamic is obvious for us particularly with helping from left texts and the way of describing issues and subjects, Although mental and thinking studies from this period of time has been studied but some principles not all of them have been considered . In fact in cognitive system based on Islamic understanding. The stage which the characterize the beauty, amazements and attractiveness derived from creations and world. And can help the level and quality of maker and his ability. as in good arguments to understand It, the issues are considered which gradually can create the meaning, symbol, emotional concepts in the person who understands It. One of the principles is the sense of beauty and attractiveness and in literal language is wonderfulness and this article shows that this sense has been influential and effective in Islamic thinkers and architectures. And gradually some means have been used to derive the meaning and perceptions from It. Material means in Islamic architecture are decoration.

In the architecture of Iranian traditional houses, the ornamentations available in the inscriptions of houses entrance portal express the identity of architects and personality of houses owners and are rooted in their religious and national beliefs and faiths. The main hypothesis of this research is changing the physique and application of religious contents in compliance with the thoughts and beliefs of people in Dezfoul historical city in the epigraphs of houses entrance portals. The objective of this study is reviewing the development trend of texts, concepts and physique of inscriptions as well as analyzing the factors effective on the quality and diversity of application of inscriptions. The present research is an applied study and descriptive-analytical method has been applied, and the data was collected by library and survey studies. The population of this research includes historical houses, houses damages in war (Iran & Iraq) and renovated and new tissue and new-built houses of Dezfoul, from Qajar era so far. Random sampling method has been applied in this study and dispersal area includes the city. Data analysis method in this study is qualitative and quantitative. The results of this study indicate that today the inscriptions available in the entrance portal of houses in Dezfoul comparing to inscriptions in Qajar1 and Pahlavi2 era is very simple and has lower aesthetic value. One of causes for such superficial and contextual gap between inscriptions seems to be the war and renovations during and after destruction.

Islamic architecture has been a great influence on different parts of the world, even so there are some similar factors, but the aspect of culture will make the polarization between them. Upon the vast spread that Muslims had in the 7th century (A.D.) Islamic culture and belief moved in different continents from the Fareast parts of Asia to the west of the Mediterranean. At the beginning Islam had no specific architecture but with passing of time each and every culture started their own art and architecture and from that beginning Iran was a special primary of this field and of the many dynasties of this country Safavid was one of the highest valued among them all. One of the most important aspects of traditional architecture is there proportion value that holds a great part of the aesthetical valence. The aim of this paper is to know that if there is a common connection within various types of Safavid architecture as a group or individual system. The secondary goal of this study is to see if there is an aesthetic relation between Iranian proportion and European golden ratio. In this study we have surveyed various buildings, in one of the most influence architecture eras of Iranian Islamic architecture and at an end result believe that depending on their functionality the proportion values differ among them.

As one of the richest intellectual domains of mankind, Islamic culture has played a prominent role in the formation of diverse dimensions of Islamic community. In this regard, the rich Islamic art, which is intermixed with the elegance of Islamic architecture, is regarded as one of the aspects of Towhid (belief in the oneness of God) and divine worldview. Since the mankind is not a single-dimensional creature, and is innately inclined to beauty and innovation, architects have sought to create an original work imbued with spiritual meanings and themes within a material realm through reliance on their experience, thoughts, individual creativity as well as an aesthetic spirit on one hand, and the manifestation of spirituality and other notions on the other. The contemporary human, by setting out on journey on the earth, has made an attempt to seek knowledge and awareness, and Islamic architecture is considered as an epiphany of human nature as well as a manifestation of contemplation and existence in the depth of human spirit, which is believed to be one of the most significant elements of tourism. The present research is aimed at exploring the conceptual symbols in Islamic architecture originating from Islamic worldview, as the rich Islamic principles have inspired Muslim architects, whose thoughts and environment have been influenced by Islamic worldview. The present article has been written adopting a descriptive-analytical method. The results indicate that architectural elements in Iran have not been created without taking Islamic ideology and concepts into account, but rather all the elements applied are endowed with spirituality and divine symbols.

The subject of geometry and proportions has been regarded as an issue which has a close relationship with architecture. Since the entire universe, living beings and the human geometry can be seen clearly, that’s why our unconscious essence has accustomed to these proportions whereby reflection of this mentality can be seen in the architect’s hands and thought in the architecture. It can witness a close linkage between nature and architecture at different levels in Iranian architecture which the linkage at architecture geometry has been regarded as one of these levels. Iranian geometry using plant and geometric forms in Islamic buildings seeks to prove a special continuity in the life to plant and human world. This continuity in the world of geometry has been known with fractal geometry. The present research seeks to examine dimensions of fractal geometry in Iranian architecture and motifs. In following, an attempt is made to examine what the fractal means in Iranian architecture and clarify the motifs and decorations of Iranian architecture after defining the issue of fractal, fractal geometry and fractal in architecture.

Islamic architecture has a fundamental dignity and tries to preserve the spiritual and immortal elements. The most sensible characteristic of this type of art is the compatibility with the nature of Islam; monotheism, which the mosque architecture provides the best bed for such purpose. The main model for constructing mosques, from both outward and internal spiritual truths point of view, is the Kaaba. It is considered as a religious and holly symbol in Muslims’ all issues. Since the Islamic artist in Islamic architecture seeks the means through forms, therefore, in addition to engineering appearance of Kaaba, which is the model of Islamic mosques’ architecture, its innate mysteries are also emanated in this type of art. Quiddity of these mysteries and their advent quality in the architecture of the mosques is the main issue we are confronting with. This research tries to uncover the coded forms of Kaaba and come out of the attaining unique secrets of these forms in the rational and material world and the way of their emanation in the Islamic architecture, which is the main purpose here. Achieving this purpose is due to benefiting from theological sciences, studying Islamic narratives and verses, and also philosophical, theosophical and knowledge studies which are in descriptive and library types. It is possible to reach the depth of existential philosophy of Kaaba under the shadow of these investigations and the basics of the Islamic architecture would be considering in the next phase and that information in literature review, which features the mysteries of Kaaba would be interpreted in this sacred art. These studies clarify that Kaaba is a secret of unique being of God and it is the emanation of his terrestrial form in divine heaven. Thus, mosques’ architecture is an appearance of the divine house trying to create sacred atmosphere, to indicate this eternal truth and capable the human being to connect to his idol and reach to the final destination of the creation, which is knowing the single God.

The feature of decorating curves in Iranian arts, paintings, illumination, cover decorating, Engraving Carving Sudoriferous Cloth carpet and several decorations related to architecture including tile, stucco have principles and features of traditional designing. Several types of figures of Khatayi and Ieslimi and their roles in combination and space besides having principles in proportion to ground have certain features. This article has been formulated by the aim of reading Khatayi and eslimi figures in both carpet and tile arts and its main issue is how to draw these figures and their system of combination in both of these arts. The methodology is descriptive. The statistical population includes architectural works of several Islamic periods and carpet works in contemporary period. All the designs presented in this article are drawn by the author and it has been attempted to be able to explain features of traditional design system exactly.

Chivalry mores and etiquettes have never been limited to a specific time, place, or tradition, but the topic of discussion in this research holds some symbols of Chivalry mores in Iranian architecture in Islamic period. Chivalry principles, in Islamic period, are based on the pure nature of manliness and its origin and orientation goes back to Imams and prophets. By obeying and adherence to these principles, which have been called as Chivalry principles, people were categorized as the Chivalry. These mores have also been common in other countries such as Iraq, Anatoly, and todays’ Syria. In early Islamic period, Chivalry mores was only peculiar to some specific people, but as the time passed guilds also founded some rules based on Chivalry, which must have been obeyed by volunteers willing to join that guild. The place and footprint of mores and etiquettes of chivalrous people in Islamic architecture works were studied in this research. To do this, Chivalry appearances in the architecture of Islamic period buildings investigated. Relying on the comparative and analytical reasoning between the moral principles of the Chivalry and the Islamic architectural works, some results were gained. Some of them are the existence of internal spaces, taken from the idea of confidentiality of the Chivalry and leaving the doors shorter in Islamic architecture of some structures like Zurkhaneh (gymnasium), to illustrate the humility and modesty while entering into such places.