and architecture

Light is one of the influential elements in architectural spaces. Iranian architects have given special attention to light throughout history, and this focus has manifested itself in the expression of spirituality since the advent of Islam in architecture. Understanding this spirituality requires examining the components of spirituality, as mentioned in the theoretical framework. Ultimately, this research seeks to answer the question of how light and brightness in architecture can lead to the understanding that a space is spiritual and mystical. The methodology of this research is of a mixed type (quantitative-qualitative) and employs an analytical-descriptive approach by comparing six selected case studies from mosques of the Safavid, Zand, and Qajar periods. This analysis focuses on the spatial structure based on lighting techniques related to the understanding of spirituality. The study utilizes both case-based research, including library information and field investigations, to analyze the lighting elements in the selected mosques to explore the spirituality of the spaces. Based on the results of a questionnaire conducted with a randomly selected sample of 100 individuals, it can be concluded that utilizing architectural light-gathering elements in the construction of buildings, especially religious ones, allows for the control and alteration of light angles at different times of the day. Furthermore, it enables the adjustment of light intensity and the creation of color contrasts. Through the play of light or its reflection via these architectural light-gathering elements, one can achieve a different sensation in individuals and manifest spirituality within them

The issue of this article is whether it is possible to regulate users' behavior without referring to ethics, and solely based on the architecture of virtual space? In this regard, three approaches are examined: 1- Adequacy of cyberspace architecture without the need for ethics 2- Compliance of the code with the principles of ethics 3- Necessity of hard ethics (before cyberspace architecture) and soft ethics (after architecture). In this context, the views of Lawrence Lessig (first approach), Richard Spinello (second approach) and Luciano Floridi (third approach) are discussed. In order to evaluate the aforementioned approaches, two criteria of "theoretical acceptability" (the requirement that the preferred view must be defensible based on the moral theories) and "technological acceptability" (the requirement that preferred view must be executable from the engineering point of view). Therefore a combinatory view is defended, which is operationally based on the architecture (code) of cyberspace, but from the theoretical aspect, it also depends on Ethical principles (hard ethics) and rely on case-by-case ethical judgments of experts (soft ethics).

The most practical development framework, named sustainability, is not completely accepted in Iran. Therefore, it is necessary to localize the paradigm to adapt to national conditions. In this paper, a new framework named "Zendevari" is derived from sustainable development theory through logical argumentation to be practical in the context of Iran. Thus, this study attempts to localize the framework for evaluating sustainable architecture and present an Iranian model and framework. The model is then tested using one of the most valid models for evaluating architectural sustainability as a quantitative model in the field of architecture. Finally, several successes and examples achieved through the framework are mentioned to confirm the testability and strength of the theory. In this study, a new method is employed to reformulate and form a native Iranian Islamic model, Zendevari, for application in the built environment. The steps and processes of achieving the reconstructions and quantitative patterns are described at the end of this study. Lastly, a mixed method and survey Delphi process, including the Friedman test, confirm Zendevari framework indicators in seven variables, positioning the localized theory in first place.

The purpose of this research is to analyze the impact of organizational architecture and quantum leadership on the organizational innovation of principals and teachers of primary schools in Isfahan city.

The statistical population included all principals and teachers of elementary schools in Isfahan, numbering 3000 people. The sample size was 341 people. Stratified random sampling method was used for sampling. The measurement tools in this research included Amid et al.'s Organizational Innovation Questionnaire (2010), Mirsafian's Quantum Leadership Questionnaire (2015) and Peralt's Organizational Architecture Questionnaire (2008). In order to statistically analyze the research data, one-group t-test, Pearson's correlation coefficient and multiple regression analysis were used.

The results of data analysis showed that the average use of organizational architecture, quantum leadership, and organizational innovation among principals and teachers of primary schools in Isfahan city was higher than the hypothetical average. Also, the results showed that the dimensions of organizational architecture and quantum leadership have a positive and significant relationship with organizational innovation.

The general conclusion of the research showed that by strengthening the organizational architecture and quantum leadership among managers, it is possible to help improve the organizational innovation of school teachers in schools.

Nowadays, in contemporary tombs, the consideration of identity-building components in Islamic Iranian architecture has been forgotten. In such a way, the tombs of contemporary Iran have turned into meaningless places. Therefore, the research aims to explain the identity components of Iranian architecture in the tombs of Hafez in the Metaverse era. The research question is how to quantify and understand the identity components of Iranian architecture in the tombs of Iran in the Metaverse era. In this regard, the descriptive-analytical research method has been used, and the method of collecting information is through library studies. The results showed that in the age of the metaverse, which is based on virtual realities and the virtual world, components such as real presence, interaction, stability, transcendence, and low cost can revive the identity-building components of Iranian architecture in today's tombs. Considering that the metaverse era manifests modernity in the virtual world, the combination of traditional and modern physical elements in form, materials, and geometry can be appropriate when simulating. Additionally, the use of environmental and climatic patterns, such as the garden and pavilion pattern, the five elements of nature, and attention to the region's climate, can lead to economic savings while maintaining sustainability.

Failure to take advantage of environmental factors in the design and the high consumption of non-renewable energy have caused energy wastage and increased costs in the residential sector. Meanwhile, natural ventilation is one of the most effective factors in creating thermal comfort. The city of Natanz is located in the sub-climate of the foothills. Energy requirements depend to a great extent on the climatic conditions of the environment, and it is possible to position the buildings within the comfort zone for a significant portion of the year by considering environmental factors and utilizing natural ventilation.In the following article, the approach to native housing in Natanz City, focusing on natural ventilation to adapt to thermal comfort conditions, is investigated. Ventilation in four houses from the Timurid to Pahlavi periods in Bagshahr Natanz has been analyzed using Computational Fluid Dynamics (CFD) and the Design-Builder software. The results of the investigations show that the native architecture of Natanz City, incorporating static solutions and mindful consideration of the bed's conditions, has successfully placed these buildings within the thermal comfort zone for many days during the hot season by harnessing suitable natural ventilation.

 Today, researchers in the field of production of Islamic architecture are in the first step, ie the production of theory, which is the first pillar of the process in the field of production of science in architecture. Therefore, the higher education system of the country should provide a platform and capacity for the mechanism of theorizing in universities to be systematic and in the right direction. It seems that the modification of educational topics based on theories of theory production in the humanities will be useful in achieving this. Based on this, the present study tries to introduce and use one of these approaches called descriptive-analytical method called added philosophy (surveillance theory) to review the educational subject of undergraduate architecture to create the capacity for theorizing and in this regard classify courses. Theoretical architecture considers two historical and logical approaches and the separation of architectural science and architectural effect in each of the approaches is necessary and proposes the connection between the two approaches as the main goal of theoretical courses.

This article attempts to examine art as a manifestation of human civilization and also a spiritual reflection of its own time, and in this regard, architecture and urbanism as an art that has been both elitist and deeply popular throughout history due to its functional nature has been emphasized. Since in the art of Iran, especially after Islam, the most perfect period can be considered the Safavid era, in which all arts reached their peak compared to previous and subsequent periods, and according to Hegel’s thought, it can be compared with ancient Greek art that has expressed its message so completely and so harmonized with the world of sensation that it can no longer be achieved today; Therefore, Safavid architecture and urbanism as a manifestation of the spirit of its time and a mirror of Iranian-Islamic culture whose essence is mysticism is specifically the main issue and subject of our study in this article.So by identifying and deciphering the artistic elements of this era in a hierarchical system we are to reveal in this artica the present but hidden meanings of theses arts and reach their ultimate truth, which is showing the movement towards God Almighty in Islamic mysticism. A truth that is manifested by light, patterns and color in the form of portal(Sardar), porch (Eyvan), Mehrab, dome and the small paradise and earthly Paredise of Chaharbagh, which turs the name of human era Safavid into “Allah”.

Paying too much attention to the eternal power of reasoning and ignoring the latent mental spaces has created crises of the gap between the contemporary human and the artificial environment. Therefore, it seems vital to recognize the roots of the connection between the mind and the body in the fields of architecture in the past. Aiming to identify the mystical field in the Iranian introverted architecture, this study investigates another field, beyond the realm of existence mirror. The theoretical foundations of the research specifically refer to the position of the phenomenon of mirror in philosophy of Illumination and its role in the Iranian introverted architecture. The main research question refers to how the essence of space appears in the architecture. The qualitative method of this research is based on an interpretive philosophical view that uses the methodology of logical reasoning to explore the inner reality of space-place. The results show that the development of other sides of things and the recognition of the field beyond the realm of mirror would be possible by the transition from the methods of looking inside and outside in the fields of Iranian introverted architecture. Meanwhile, “the confrontation of mind and object” leads to “internal and external transformation of the human being” and creates “another realm called the world of mystics". The degree of presence in the space of introverted architecture is adapted to Suhrawardi's philosophy and passing through the seven steps of: the trouble of separation from the outside, joining to the inside, awakening, astonishment, annihilation, immersion in the depths of maze, the return and development of a mirror phenomenon, the human enters another realm of existence. At the end of this path, the mystics will appear in the interior spaces of architecture.

Titus Burckhardt, on the basis of philosophia perennis, proposes a model for reading Islamic art which helps understanding it without violating its fundamental rules. Its point of departure is an understanding of inadequacy of modern methods in the reading of traditional cultures. Models that are unable to show and bear the spiritual foundations of the traditional world. In this regard, he shows how architecture , like other traditional arts, is able to analyze and show the mental horizons and the world of the traditional human being. An architecture in Islamic world is a complete reflection of Islamic culture, since Muslim architect breathes in an atmosphere full of Islamic theosophy and the taste of his audience is also shaped in this atmosphere.The characteristics of Muslim architect’s faith , which was formed and nurtured in this space, are undistinguishable part of Islamic architecture tradition; and these characteristics give unity and meaning to the whole of Islamic architecture in the first place. He mixes his skills with faith and sacred knowledge and sees his work as a way to materialize God's will on earth. This approach transcends simultaneously creator and constructed and removes profane aspect.

The purpose of this article is to look again at the design of children's hospitals based on the principles of Islamic architecture; Because the construction of rich and valuable buildings that, in addition to satisfying human needs, can give him peace and remain valuable for many years is a fundamental issue in the field of architecture. In this study, architecture, the place of Islamic art and beauty, human personality and his need for secrets and needs were discussed. Keeping in mind that architecture tries to symbolically remind him of the real place of man in existence, the spaces of medical centers and the visual effect of colors and pictures on the peace of the patient and the doctor were investigated in the field and in the next step , the design with images, motifs and lines used in Islamic architecture was suggested and given to people in the form of a visual questionnaire. The results in the qualitative and quantitative part of the research showed that people consider the use of Islamic culture and architecture in hospitals and children's treatment centers to be useful, and also suggest more suitable and better designs than what was presented in the initial study in the questionnaire.

Human agency, both in creation and in recognition of architectural space and their interaction with the space, has been affected by the hidden harmony that is generated in the space, which turns the architectural space away from its static state, stillness, and lifelessness, and the core of the harmony is indeed the “unity”; that is, multiple parts find unity and totality within a whole that creates a sense inside, which fits the aesthetic desire and indeed the internal human self, because the human self seeks unity and suffers from multiplicity, diffusion, and conflicts (Ardalan et al., 2011). In fact, it might be acknowledged that architecture as a created work secretly involves the creation of multiplicity and turning it into unity in interaction with humans. Given the idea of the unity of existence (waḥdat al-wujūd) in Islamic mysticism, a world is portrayed that is, first, divine and spiritual, where the song of holiness resonates, and second, it involves a unity by which all multiple parts are unified, or more precisely speaking, all that exists is a manifestation or representation of the one unified reality. In this way, art in general and architecture in particular might come to have a different color. Unity of existence is evident in architectural work in the Islamic world, but the character of this unity is not adequately discussed. A genuine perception of unity in architectural space is not confined to external senses. To the contrary, in its higher degrees, i.e., internal senses, it affects the observer. The goal of the present research to identify the nature of this unity and how it occurs. The question of our research is as follows: are Ibn ʿArabī’s views of unity applicable to architectural space, and what material grounds are prepared in architectural space to attain the unity? To answer the question, we begin with an overview of Ibn ʿArabī’s mystical view, where the question of existence and knowledge of unity is discussed as the foundation of Ibn ʿArabī’s mysticism.According to our surveys, the issue of whether Ibn ʿArabī’s account of unity is applicable to architectural space has not been properly addressed in the past research. Instead, issues of the unity of existence and multiplicity within unity have been discussed separately in philosophy and architecture. Moreover, the architectural literature tends to focus on corporeal, visual, and symbolic aspects of architectural parts in the realization of unity. In the present research, we drawAssociate Professor, Department of Architecture, Faculty of Architecture and Urbanism, Tabriz Islamic Art University, Tabriz, Iran (Corresponding Author). This article has been extracted from the course "Wisdom in Islamic Architecture" in the Faculty of Architecture and Urbanism of Tabriz Islamic Art University. on Ibn ʿArabī’s views about the questions of existence and knowledge of unity as the foundation of his mysticism to tackle material and perceptual grounds in the Islamic architectural space to examine the move from multiplicity to unity.

Methodologically speaking, the present research is descriptive-analytic, adopting the qualitative research approach. Qualitative research involves identification of the relevant references, studies and overviews of the written sources, comprehension of their meanings, and extraction of the relevant material, establishment of relations between issues, and providing descriptions and analyses of them.

Creation of multiplicity in architectural space and its transformation into unity has been effective in attaining an understanding of the existential unity, such that this understanding in architectural space was a determinant of the degree of the work’s life, and was somehow a cause of its existence. In fact, to attain such a unity, the human presence and existence in the space is undoubtedly what engenders a motion toward its recognition. Accordingly, the move from multiplicity to unity in architectural space implies physical movement (translocation – ocular) and semantic movement (mental movement). During the movement in architectural space, the observer’s physical movement turns into visual movement, which in turn results in reception of a series of regression and connections in the observer’s mind, leading to his or her mental movement. However, once the observer begins to recognize and see signs, it enables him or her to move in the world of imagination to attain unity. In fact, genuine unity is obtained through human imagination.

There is a remarkable correspondence between perceptions of existential unity in both philosophy and architecture. On Ibn ʿArabī’s account, imagination is perception of images in the soul after having seen something. Indeed, imagination is the intermediary between dualities. So in his view, human imagination is capable of attaining unity in the world that is abstracted or detached from the sensible world (existence of multiplicity). Furthermore, in the unity of existence, finding the existence is the same as coming to exist, where the finding is through intuitions and revelations. In the Imam Mosque of Isfahan (or the Shah Mosque), manifestation of the pairs [imagination being in pair] in space provides a bedrock for the observer’s intuition and revelation of unity through a definition of hierarchies and qualitative geometry based on the principle of the centrality and symmetry and existence of light.

Place is the most fundamental concept in architecture and is a necessity of architectural design, and since we face changes in our understanding of place notion in the modern era which have had distinctly profound and sometimes unpleasant effects on modern and subsequent designs- in a way that architecture has largely neglected its primary task of making the noble place of human life, and its responsibility in human dwelling dimension- in order to find the roots of the evolution in place nature and its meaning, we will answer these two question: what the concept of place has been for ancient thinkers? What have been the reasons for changing the understanding of place in the modern era? How these changes have affected the understanding of place in modern architecture? and yet we will try to understand the concepts of place in ancient Greece (as the origin of western thoughts especially modern thinking) versus the modern, and finally the main findings of this study are the massive semantic transformation of place in modern age and its replacement by space in modern architecture design which mainly is the result of major attention paid to the extendedness of place, the emergence of functionalism in degradation of place, and the commercialization of place.

In Islamic architecture, the architect must be face all the issues in architectural design. Create quantitative & qualitative issues by observing the principles & rules of the process. The architect must create the architectural structure with geometry through art & based on theoretical reason. Architecture has numerical & theoretical dimensions, because it is for the human being as a thinking being, it has qualitative dimensions. The architect must pay attention to the quantitative & qualitative dimensions in creating the architectural building. Traditional Iranian architecture has quality dimensions that include the wisdom of philosophers & Islamic thinkers of Iran. These topics are combined with the basics of other topics to work. Islamic architecture is called Islamic because it combines with the principles of Islamic wisdom & philosophy in uses it. In order to underst& Islamic architecture, wisdom must be examined in the process of creating an architectural building. The truth of the function of wisdom in the process of creating an architectural structure is an important issue. Wisdom in the science of architectural geometry can mean Coded truths that include the Coded structure of architecture. The Coded truths in Islamic philosophy are the same as the divine truths. God provides knowledge of divine truths to thoughtful & knowledgeable human beings who seek the truths of the universe. Thoughtful human beings become aware of the divine truths of God to the extent of the power of their intellect & perception. Islamic architecture in the l& of Iran has always used the principles & subjects of geometry in external & internal science. The use of geometry is superficial in maps & decorations & inwardly it is an architectural building in general form & body. The geometry used in the Islamic architecture of Iran has been done by Islamic thinkers, mathematicians & Scientists. Geometry in architecture increases the strength of the architecture & its beauty. Geometry has used wisdom in creating the beauty & function of an architectural building. An architectural structure is successful when human beings can meet their biological & spiritual needs through it. A skilled & professional architect can use all external & internal issues in creating an architectural building with wisdom. Geometry must also consider beauty in creating an architectural building through wisdom. Knowledge of geometry & wisdom is very important in creating an architectural building. Architecture as a traditional profession needs wisdom in geometry. In this article, the subject of geometry has been studied & analyzed from a scientific & artistic point of view. Also in this article, the subject of wisdom in geometry in creating an architectural building has been studied. Wisdom in this article is in the form of theoretical wisdom & practical wisdom. The point is, how does mathematics in geometry combine with artistic & aesthetic subjects? & How to create architecture using wisdom? In the present age there is no connection between the subjects of mathematics which are used rationally & the subject of wisdom. This is also seen in the science & art of architecture today. In the past architecture of Iran, there was a deep connection between mathematics & wisdom. In the past architecture of Iran, the connection between wisdom & mathematics in creating geometry has made the architecture of beautifuly & also its proper functionaly. In the science of wisdom, geometry has a meaning in the form of a code & this code has external & internal meanings & truths. The facts in the codes are not normally recognizable by human beings. The code of geometry is in the structure of the universe & has divine truth. Geometry in this world has a trend towards beauty. Wisdom in science belongs to Islamic philosophy. The meaning of wisdom in Islamic philosophy is knowledge & awareness that has been created through reasoning. Argument arises through deep thought in the human mind.

Methouds & Material:

In this research, the views of Islamic mathematicians in the form of mathematics & wisdom have been studied. Islamic mathematicians include the following.Mohamad Bouzajani; Abu Nasr Farabi; Ibn Sina, Akhavan Al-Safa & Jamshid Kashani. The subject of the research method is to obtain geometry & wisdom from the perspective of mathematics. How to transfer geometry from visual and numerical dimensions to the practical world has been analyzed in this method. The success of riddles in the past must be examined in terms of wisdom and geometry. The research method of writing in mathematics and numerical subjects is deductive. The Grounded theory method has also been used in dealing with historical situations.

In Islamic architecture, geometry has been associated with wisdom. Wisdom in geometry has created a beautiful and functional architectural space and decorations. Geometry in the wisdom of Islamic architecture has a sacred place & has hidden secrets. Wisdom & geometry in architectural building, in addition to creating decorative roles in a general & specific way, has led to the recognition of the divine truth in the hidden layers of architectural construction. Accordingly, geometry in Islamic architecture has caused the symbolic identification of the truth of existence and the display of the hidden world. The geometry inside the architectural building is like a code that must be known. In Iranian Islamic architecture, geometry has been used to be aware of divine knowledge as well as to reveal the hidden truths of the divine world in the external world. Geometry has used wisdom for this issue.

Geometry is hidden in Islamic architecture as a mystery & truth. Geometry in its process shows real tangible subjects along with hidden subjects. Geometry creates awareness of the external & internal codes contained in the architectural building. The geometry of the codes in creating the architectural building in which wisdom plays a role can be identified & informed. In addition to a few topics in Islamic architecture, geometry deals with many qualitative issues. Theoretical wisdom & practical wisdom in understanding the science of geometry can in fact distinguish the outer world and the inner world. Geometry causes the objects that exist in the world of imagination and mentality to become a visible world & human beings can see it with their physical eyes. Geometry creates a logical connection between the external world & the internal world. This logical connection creates a balance between the worlds. Using the balance of geometry, he can distinguish the facts of existence. Geometry in Islamic architecture makes quantities & qualities conscious to man externally & inwardly.

Following the spread of dissatisfaction with modern architecture, the machine attitude towards man, and the disregard for human values ​​and human existential dignity, the global movement in support of independence and participation was formed in response to demographic and social realities. Recognized in 1988 as universal design, the movement allowed more people of all levels of ability to live freely and independently. This article seeks to investigate the ethical dimensions of universal design and strengthen them in public spaces to improve the level of social interaction, to provide conditions for the fair use of environmental facilities by humans. In this regard, with the pathology of the causes of poor social interactions in public spaces of Tehran and the inefficiency of existing laws in this field, ethical design strategies based on universal design criteria have been developed.

Findings show that the obstacles facing the target groups in their direct and free presence in the environment, arise from the lack of professional ethics in the three stages of design, reconstruction and operation period and reduce social interactions and unwillingness of people with disabilities to participate actively in society. On the one hand, it is rooted in the cultural issues of the society and the lack of ethics in designing public environments, and on the other hand, it is related to the lack of an ethically integrated approach in decision-making of city officials.

In the cognitive sciences, two distinct theories have been proposed about the structure of the human mind, both of which are evolutionary but also different. One of them is the theory of evolutionary psychology and its related claim to the massive modularity hypothesis, which considers the mind as a set of modules. Another is the simple heuristic and its related claim to the existence of an adaptive toolbox in cognitive methods that assigns mind guidance to the existence of a set of heuristics. Both theories seek to explain cultural diversity by applying these modules/ heuristics. Although proponents of each do not routinely mention the existence of another theory, both theories, both the massive modularity hypothesis and the existing idea of heuristics in the mind, seek to provide explanations not only from an evolutionary perspective but also in comparative psychology (Which compares the behavior of non-human species) are also acceptable. They also want to explain how cognitive processes are processed in our minds. However, at first, there are reasons to think that these theories offer explanations of human cognition that are incompatible with each other or undermine each other. What is challenged in this article is how a human being, who has always been influenced by a variety of heuristics, cognitive biases, and irrationality in reasoning, judgment, and decision-making during the process of evolution, can have a massive modular cognitive structure in its mind. And be organized to have a logical function

Observing ethical principles and paying attention to human status based on Islamic teachings had a profound impact on the lifestyle and architecture of traditional Iranian buildings. Therefore, the meaningful relationship between architecture and ethics always provides for the spiritual needs of man, so as to achieve equilibrium in the architectural space. Accordingly, Islamic teachings on ethics are one of the most important factors in the process of Zurkhaneh architecture formation, which has played a key role in identifying the spatial structure of Zurkhaneh. The question that arises in this study is: How do the moral implications of Islamic teachings manifest in Zurkhaneh architecture? In order to answer this question, valuable architectural zurkhaneh in warm and arid climate (Kasnouyeh, Yazd) and cold and mountainous climate (Tayeb, Khorramabad) have been purposefully selected as research sample. In this paper, ethical values as an independent variable affect the physical structure of Zurkhaneh as a dependent variable.

The results show that ethical recommendations have been considered in Zurkhaneh architecture and its effects in the form of modesty, gentleness, holiness, spirituality, introspection, simplicity and dissonance, moral equilibrium and the control of anger, and purity is manifested

Applying computational rules has a major contribution in the coordination of architectural proportions and elements. Geometry science and its applications is one of the main features in Iranian architecture. The start of its development was in the eighth and ninth centuries and continued until the tenth century. At this research for using the perspective of ninth century mathematician and thinker, Al’Kashi, is considered as measuring, calculating and regulating these elements in Timurid era. One of most important achievement of Al’Kashi is trisecting the angle and the circle which is the complimentary of the trigonometry and conic sections of Khayyam. The purpose of the research is to answer if calculations and ideas proposed by famous mathematicians such as Al’Kashi have the ability to use in architectural industry. The theoretical foundations of the current research are on this basis whether there is connection and relationship between theoretical and practical discussions of geometry and architecture. In the paper, based on the manuscripts left by Iranian mathematicians, the roots of their computational and graphical rules which the researchers consider them as the Menelaus theorem are evaluated by Python programming language in Rhino software. The results show that Al’Kashi's calculations and drawings were not just a practical-theoretical exercise and trigonometric rules have been used in static and stability of architectural features.

The present study deals with the comparative study of Islamic architecture in the views of Titus Burckhardt and Oleg Grabar. Since the spiritual wisdom of Islam is manifested in the form and meaning of its arts, it seems that some scholars have neglected its various aspects in explaining the Islamic architecture’s meaning. Traditionalists with a semantic approach consider Islamic architecture to be influenced by the essence of Islam and historians consider Islamic architecture to be a continuation of Byzantine and Sassanid Art. Assuming that,despite the methodological differences in Burckhardt and Grabar's approaches,they explain Islamic architecture according to the role of religious component. The question is what influence their views have on the definition of Islamic architecture? Findings show that Burckhardt believes the formation of architecture and its elements have been derived from the Islamic traditions while Grabar refers to Islam as a cultural component along with historical and social ones.