نشریه پژوهش های معماری اسلامی
سال پنجم شماره 4 (پیاپی 17، زمستان 1396)

Islam has perfectly organized all notions involved in human excellence through its material and spiritual guidance; settlement and housing are no exception. Therefore, real Islamic housing can be of concern to architecture researchers in Islamic Republic of Iran. On the other hand, the severe shortage of residential units, low quality of construction, short life span of buildings and low financial ability of home buyers are other challenges facing architects in Iran. According to the experts, industrial construction is an appropriate solution for these challenges. In this paper, the uncertainty and dissatisfaction with industrialized construction are discussed in terms of identity issues such as Islamic housing. Since the Iranian society theoretically seeks Islamic architecture for its houses and on the other hand, construction necessitates the application of industrialized building methods, the relationship between these two realms must be investigated and their facts should be analyzed to achieve a reasonable approach to the problem. Hence the research questions are about how these architectural realms interact with each other and which requirements of industrialization divert the residential architecture from its Islamic aspects. These questions seem novel because they have not been addressed in any research. It appears that many industrialization parameters are not opposed to Islamic features of residential architecture, but totally coincident with them. In this study, the data is collected through library research and some indexes are derived by reasoning and represented in corresponding tables to be surveyed by the experts of both realms. It is an applied research based on a descriptive-analytical methodology. The data collection is accomplished through field research using interviews and questionnaires. The data is analyzed using an inferential analysis which has the most coordination with the descriptive-analytical methodology. The analysis is performed through a parametric paired samples t-test using an AHP model. Statistical data is analyzed in Excel, the information obtained in the discussion and conclusion section is conceptually analyzed and the final results are presented. The results of research show that the set of industrialization components agrees with jurisprudential and physical principles of Islamic housing by 63%, which indicates an acceptable consistency. The set is compatible with semantic principles of Islamic housing by 17%, which indicates a contradiction between industrialization and semantic principles of Islamic housing. Thus it can be concluded that the relationship between industrialization and Islamic housing is a consistent and positive relation with contradictions just in ​​“design constraints”. Therefore, industrialized construction can be an optimal solution to the current and future problems of housing in Iran, after elimination of its slight contradictions.

A work of art is the souvenir of the artist's journey through the immaterial world of realities and intuition. The language of this art is a language of secrets. This enables the artist to establish a link between the innermost and outermost essence of existence. Decorative motifs are the intersection of art and mystical thought. Many Islamic concepts are mixed with geometry and because of this structural similarity in patterns of evolution, play an important role. In decorative architecture, every motif has a value beyond its formal value derived from culture as it represents the beliefs and ambitions of the people continued from generation to generation. On the one hand, architectural ornaments focus the viewer’s mind on the formal beauty of motifs and the function of spaces, the walls of which hold the motifs, and, on the other hand, the ornaments drew the viewer’ eyes to the realm of cultural and religious secrets hidden in the meanings of the motifs. One is able to understand the minds and thoughts of architects and thus the culture, worldviews, and ambitions of the people by understanding the symbolic meanings of the motifs and tracing their origins in decorative architecture. In Islamic art, geometric motifs are so important that it is necessary to find the key to discover the connections and patterns in such motifs.
In Islamic philosophy and mysticism, light is considered as manifestation of divine harmony with a pivotal position. For this reasons, the Iranian Muslim scholars have paid special attention to light. Suhrawardi was a leading Muslim philosopher and scholar during the 12th century and the founder of illuminationism, also known as Shaykh al-Ishraq (Master of Illumination). In illuminationism as a discussing-tasting philosophy, light plays a central role. Illuminationism was a great revolution in Persian-Islamic philosophy as compared to the conventional philosophies, which were merely discussing, existence-based in nature. His idea that light operates at all levels and hierarchies of reality, which developed from his Philosophy of Illumination, and a major teaching of the School of Ibn Arabi, i.e. the Five Divine Presences referring to the five domains in which the God exercises its influence in a global fashion, both established a subtle mystical-discursive worldview in the Muslim world that has significantly influenced the arts and become a source and reference for many artistic and mystical illuminations with its solid mystical and aesthetic foundations.
Light has been used as a symbol in various forms in Persian-Islamic arts, and Muslim artists have widely utilized the symbol, especially in the period when illuminationist thoughts began to spread in Persian culture during the Timurid and Safavid periods. The Timurid Empire (1370-1507) was an Islamic empire. Shahrukh, the son and successor of Timur (Reign, 1405–1447), trusted sharia, tariqa, and Sufi scholars, and he was highly devoted to Sufism in particular. Many historians have mentioned this in the historical books focusing on the Timurid and Safavid periods. There has always existed a close relationship between mystics, Sufis, and artists.
The Persian-Islamic architecture, especially ornamented architecture, carries high spiritual and mystical values as a means of expression for epistemological meaning and definitions. Philosophical and mystical concepts such as light and the world of immaterial lights were widely and highly regarded by Shaykh al-Ishraq  and other Islamic scholars. The present study thus aimed to present a proper explanation of the phenomenon of light in the Philosophy of Illumination from the perspective of Suhrawardi as the founder of the ontology of this phenomenon. The explanation is provided to analyze what has manifested based on such views in the decorative elements of Persian architecture as geometric motifs on tile work of the Timurid period with an aesthetic and symbolistic approach to indicate that the existing motifs in the tile work is a sign of the philosophical and mystical concepts, in particular those of Shaykh al-Ishraq . Such an approach is also adopted to prove that the motifs are manifestations of the world of immaterial lights that Suhrawardi proved with rational and theoretical explanations according to that he then described other phenomena. The present study is based on the assumption that the origins and bases of the Timurid motifs lie in its geometry with circular and radial patterns, which have its roots in mysticism. Reviewing geometry designs of the Timurid period shows abundant use of a particular type of grid device which is based on a network of radial coordinate, lead to the emergence of specific geometric shapes including motifs of Shamse and stars. This study seeks to answer the basic questions which are why the Timorese system designers considered the radial system preferred and use it as a completely new resource for the various forms used. Can preference and use these designs be appropriate with mystical thoughts common among artists of this period, and that the radial motifs can be analyzed by votes Suhrawardi.
In this research, the research method is descriptive-historical and analyzing qualitative information and data collection is based on documents method.
The results of this research show that the selection and applying of geometric shapes with radial infrastructure in decorating and patterns of the Timurid are not random and such other components of the Islamic era of art is particularly important in principles. Designing and selecting of these designs can be explained by the concepts of light which is the core of philosophy of illumination and of the most important concepts in Islamic mysticism, as the expression of truth and light and divine manifestations attributed. Symbolic addressing of light and its central position in the pillar and foundation of these motifs can be seen very well. It creates diverse compositions, published and nurturer which begins with unity, moves by manifestation and again returns to unity and that the light attributes and its always presence is in these motifs. Skillful combination of geometric designs with arabesque designs also deserves attention and Corresponds with the interpretation of Suhrawardi from the Noor verse. The motifs and patterns found in Persian architectural works of art were generally built on strong intellectual foundations. Such elements have been the result of an architectural evolution over time and have not emerged out of nothing all at once. Although the history of the motifs with radial patterns began long before the Timurid period, such features were certainly common in architectural works and buildings dating from that period when the mystical views of Shaykh al-Ishraq prevailed in Iran.

Adapted architecture to the environment in the past has brought calmness and comfort for people. Today, great dependence on technology has caused an incompatible human body in his living areas and failed to offer contextual tranquility. It seems old theoretical and practical wisdom has proposed special features for any areas as patterns through temperament experiments.
The principles put forward by precedent customs has been used gaining architectural harmony and locating topography within natural backgrounds. So today, it is required to identify this procedure principles and patterns to introduce needed designing applications. Accordingly, human medical healthcare bases in the four climate situations is being studied through multidisciplinary and deductive- reasoning approaches. This research is trying to propose a comprehensive definition of architecture, urban ecologism and contextualism via setting them coordinated in an integrated system. This system while expressing temperament principles depended on each zone, is offering instructions toward physical comfort status. The body tranquility is formed by expressing required benefiting rules and through avoiding wind, water, sun light and soil in temperaments.
At the end, a table of measurements for evaluating local qualities of urban areas based on geographical specifications is designed titled as “20 factors” along with a report presented based on two aspects of benefiting local potentials and avoiding local in competencies to be evaluated and analyzed. The main innovation in this research is introducing applied reporting sheets in urban ecology evaluations based on medical principles and presenting evidences from its application used in historical aspects of urbanism and architecture.
Research Question:What are the rules involved in benefiting or avoiding the main elements in human environment such as wind, water, sunlight, soil and plant in different temperaments and living areas to create human body calmness?

Centralizing ethics in sustainability has led to an evolutionary process towards ethical approach as a holistic approach of sustainable development. This approach, deep in concept, has evolved sustainability and endures the most fundamental relations of human and environment. The most recent definition of ethical sustainability, describes this approach as a complex of human relations, including human relation with contemporaries, human relation with nature and human relation with future generation. Urban spaces, and particularly the plazas, are the grounds of social interactions which present living dynamism through the presence and activity of citizens. This space has been considered as a highly important urban landmark among citizens, and it could be said that residents of a city are usually aware of different city zonings on the basis of their city plazas. What people expect of a plaza is a public space with high diversity and eventful environment which allows the possibility of social interactions. With profound changes occurring in all aspects of current era, most of urban plazas have been affected by market forces. As the result, proper principles have not been applied in the formation of these spaces, which has led to a sharp reduction in the space efficiency and the presence and vitality of people in current urban areas. Therefore, these plazas would not be capable of creating human relationships as the main theme of ethical sustainable architecture. In order to analyze sustainable relations in the plazas of Iranian cities, it is necessary to compare a traditional case study of the Iranian urban plaza with a modern, more contemporary designed plaza of this land, on the basis of ethical sustainability. The aim of this research is to illustrate the triple sustainable relations, in the traditional, historical plaza of Naghsh Jahan in Isfahan, and the contemporary designed plaza of Imam Hossein in Tehran, based comparative analysis. The selected methodology of this research is comparative method. A comparative study is a comprehensive, multidimensional, and systematic process that seeks out differences and similarities in research. This kind of research will take generic patterns from the research environment and by emphasizing it on the differences between objects of research context, will help to seek a better understanding towards the main subject.  In this comparative study, both quantitative and qualitative techniques have been used, yet, qualitative approach is dominant, in which the researcher studies objects in their natural situations and tries to conceptualize or interpret phenomena in terms of the meaning that people give them. In fact this research emphasizes on the social nature of the facts and the importance of human values and relationships with nature, contemporaries and future generations in the research process.
In this research, common patterns of both plazas are driven out of the case studies and their discrepancy reveals the studied comparison in three steps. Related literature is reviewed in the first step, followed by detailed examination of Hanover Principles, as the first established sustainability principles which states ethics as one its main roots, on the basis of sustainable relations. In this step, Hanover Principles are categorized by their capability in realizing each of the trial sustainable relations. Finally, based on their related Hanover Principles, each ethical relation is analyzed separately in the case studies and the findings are compared through a visual diagram. This comparative analysis reveals higher attention on ethical sustainable priorities in the historical plaza of Naghsh Jahan in compare with the comparative plaza of Imam Hosein. Results show that in Imam Hussein Plaza, human relation with nature has been revealed only through plantation of trees in the margin of main plaza. However, in the Isfahan Plaza, the use of semi-open spaces, direct visual connection between the plaza and the sky, besides Suitable orientation, in order to benefit most from sunlight and wind, has played significant role in creating human-natured connections. Human relation with contemporaries in the Naqshe Jahan plaza has been considered in the edges of the plaza, which creates the confinement and separation between the main part of the plaza and the surrounding urban spaces. The use of natural elements in the space and the placement of stores around plaza, has offered comfort for the people who are enjoying the inner core of the plaza. This is while in Imam Hossein plaza, this relation has only been reached through the benches, which are designed and located randomly on the hard flooring of plaza’s inner core. Research results show that considering the use of local materials, use of water and plants in plaza’s inner core as natural resources, locating the functions around the field in accordance to natural lighting and reachability, besides field formation design in accordance to the orientation of sun and the dominant wind, and finally an adjustable design of the plaza for multi-purpose activities, are the priorities which can strongly affect human relationship with future generations. On this basis, it has been concluded in this research that this human relation is completely neglected in the plaza of Imam Hossein.

In Islamic standpoints, many issues are expressed about the beauty. When it comes to talk about beauty in Islam and the Holy Quran context, the first step towards creating perception and defining the criteria for beauty is perhaps attaining a logical and specific system of definition from the beauty concept in the so called context. By referring to the written texts in this field by philosophers, theoreticians, and Aestheticians, various definitions of beauty are attained that confuses the reader. Since sometimes the beauty is dignified in a way that it stands next to the God name and elsewhere is defined as the coordination of components in an object or it is considered to depend on the human perception whether is understood sensible or rational. This discrepancy in the levels of beauty definitions is such that finally the reader does not know where to find beauty. As a result, no specific criterion is achieved for the evaluation of beauty.
By studying the verses including the word “Hosn” and its derivatives, it is concluded that beauty and “Hosn” are explained at different levels in Quran verses. So the main issue of this article is the discrepancy in beauty definition levels in the Islamic context and the lack of a specific definition system in this field along with the ambiguity of the relationship between beauty and admiration with art in this standpoint.
The purpose of this article is to attain a specific definition system to organize the definitions of beauty upon which a criterion for beauty evaluation and suitable relationship between beauty and its admiration can be gained.

For this purpose, the method of gathering the verses containing “Hosn” and its derivatives was implemented by considering verse-oriented meaning of the word derived by full inductive reasoning. Then the analysis method and classification of the verses based on the derived subjects were used to find the different levels of beauty. Finally, using the accordance of these levels with existing definitions in the field of beauty, the classification of the levels and then deriving the levels of “Tasdiq” or confirmation and beauty admiration were done.
Defining firm levels for the beauty and proving this hypothesis with full inductive reasoning from the Quranic verses and the correspondence of these levels with the definitions of beauty is presented for the first time as a novelty.  These levels are defined by gathering all the verses containing the word “Hosn” and its derivatives in the Holy Quran in a way that one can claim that no verse about “Hosn” exists unless it can be classified in these levels, and furthermore, all the levels also include some verses.

By contemplation on the verses of the Holy Quran, it seems that five levels of “Hosn” exist. Based on these levels the concept of beauty also has levels. These levels enable us to classify the presented definitions of beauty by the experts in these five levels. In other words, wherever beauty is mentioned, the desired level could be specified and evaluated. Looking at “Hosn” at different levels, creates more accurate and more detailed insight which makes possible any theoretical and applied addressing of “Hosn” more functional and scientific. About the definition of “Hosn” and beauty in the Holy Quran according to the expressed levels, perhaps it can be mentioned that:1st level: Existential emanation of “Hosn” at “Asma-ol-Hosna”.
2nd level: Emanation of “Hosn” and beauty in creatures and creations.
3rd level: Comprehension, recognition, and perception of “Hosn” and beauty with human Fitrah or premordial human nature.
4th level: Freewill human expressions from “Hosn” and beauty in behavior, actions, and speech.
5th level: The effects of “Hosn” and beauty in the destiny and the consequences of the human deeds.
Also some levels of “Tasdiq” or confirmation and beauty admiration could be expressed based on the beauty levels:“Tasdiq” or confirmation of the existentiality of “Hosn” and Admiration of the entity.
“Tasdiq” or confirmation of the manifested “Hosn” in the existent and the well admiration of “Hosn” manifestation.
“Tasdiq” or confirmation of the wellness of “Hosn” and admiration of “Hosn” perception.
“Tasdiq” or confirmation of the wellness of good deeds and admiration of “Hosn” expression in the humankind.
“Tasdiq” or confirmation of the wellness of the good destiny and Admiration of the effectiveness and fruitfulness of “Hosn”
The levels of “Hosn” and admiration of the beauty in the art can have practical aspects; such that the artist can reflect the desired level of beauty in his artwork according to the audience needs. Also the critics of artworks can have more accurate evaluation by implementing the levels of “Hosn” as one of the fundamentals of evaluation. Besides, the cultural directors of a society by acquiring the knowledge of “Hosn” and beauty levels along with considering the needs and the growth of specific audiences can take more accurate actions towards choosing artworks for displaying to the audience based on the guidance and nurturing capability of art with Quranic fundamentals.