dome

Over the centuries, Iranian architects have created magnificent masterpieces of architectural works. One of the most substantial structural components of a building in Iranian indigenous architecture, which significantly influences the formation and durability of the architectural work, is the coverings, especially domes and arches. A notable point about the dome-shaped architectural forms is the static nature of these traditional structures. The Sassanian era is significant for Iranians, with many analyses discussing its building structures. At the beginning of the Sassanian Empire, when Zoroastrianism was declared the official religion, Zoroastrian fire temples were found to be a stable stronghold for their rule. In Zoroastrianism, the four essential elements (water, fire, air, and earth) are regarded as sacred, and contaminating them is considered sinful. Among these, fire was given the most importance because, besides being pure and sacred, they benefited from its light and warmth. For this reason, during the Sassanian period, besides constructing significant and large fire temples, many chahartaqs were also built where religious ceremonies were held.
On the other hand, Iranian architects have traditionally used the dome in buildings as a symbol of the sky and a means of connection between earth and God, and they were even the first people to present creative ways of constructing this element on a square base. They have extensively used this identity-forming element in structures such as mosques and mausoleums. Since then, Iranian architects have created various types of domes with the best form and shape using traditional methods. Sassanian architects had great skill in erecting arch and dome coverings on a square base, and their method of erecting domes spread and continued in various regions. During the Sassanian period, dome construction became so prevalent and evolved that since then, the dome covering has been used as a general pattern and guideline for construction and durability. However, traditional architects designed the functional properties of the building elements in religious structures so that their hidden meanings would be revealed.
General studies on well-known religious buildings of the Sassanian period show that religious buildings of this era often have a chahartaq plan. One of the important issues in the construction of arches and domes is the method of construction and the stability of these structures. The present research is applied in terms of purpose. The research method is qualitative, and the analysis method is descriptive, in such a way that using the cognitive background and the results obtained from field research and collecting information and documentary studies, it seeks to achieve the development of applied knowledge and achieve a practical goal. The main objective of this research is to produce knowledge and awareness in examining various dome and arch structures in the Sassanian period and the methods of construction and stability. In this study, first, by collecting findings and scientific documents, the construction methods of dome and arch structures are studied, and finally, the statics and stability of these structures are examined and analyzed. Ultimately, using observations, field surveys, maps, and existing documents, we examine the materials, construction methods, and statics of the SIAHGEL fire temple. TThe research findings indicate that the structural stability of the SIAHGEL fire temple is attributed to the use of durable materials like stone, lime, plaster, and sarooj mortar, along with construction methods like chahartaq and the incorporation of porticoes around the dome, as well as the distribution of forces onto four pillars. On the other hand, identifying Sassanian chahartaqs and associating them with the Sassanian era and the utilization of fire temples poses a challenge when studying religious structures from this time. Before this, any chahartaq identified with mortar, rubble stone, and sarooj was attributed to the Sassanian period, but perhaps a more careful examination could reveal that the construction of buildings in this style continued even in the early Islamic period. The Sassanian chahartaqs, known as fire temples, have a circumambulation hall around the building and also benefit from a central hall with the fire temple located in the central hall, which the examined example, the SIAHGEL fire temple, has all these characteristics that are specific to the buildings of the Sassanian period.
Besides the wide variety of materials used in this period (rubble stone, cut stone, brick, mud brick, clay, mud, plaster, wood, etc.), the masterful use of rubble stone and plaster mortar for constructing various buildings is a distinctive feature of the architecture of this period. About the SIAHGEL fire temple, we can say that the use of durable materials such as rubble stone, sarooj, and plaster mortar, as well as the masterful application of large arches (porticoes) around the dome chamber, are among the reasons for the structural stability of this chahartaq building.

As the covering of one of the most important spaces in Iranian mosques, the dome has an important place in the semantic system of the mosque. Researchers have assigned general meanings such as unity, sky, heaven or throne to the dome in Islamic architecture. Sheikh Lotfollah Mosque, which is one of the historical mosques of Isfahan, is located on the eastern side of Naqsh Jahan square. It has a dome that is considered one of the most beautiful and magnificent domes in the world and displays a corner of the genius of Safavid architects. The Muslim artist has made formal dimensions a medium for a spiritual leap to the world of truth and meaning. Islamic architecture, especially mosques, is born from the artist's inner inspiration, which originates from the wisdom and spirituality governing human teachings and monotheistic perspective, which provides various forms and decorations to show the concept of unity. Considering that the dome is a traditional form and since many structural and decorative elements in traditional art, such as the dome, contain symbolic concepts and expressions, the question arises, what is the symbolic meaning of the dome? In this regard, this research tries to reveal its meaning by studying the dome and especially the dome of Sheikh Lotfollah Mosque with a symbolic approach and examining the concepts of motifs and components of the dome of this mosque. In this article, the subject has been analyzed by using the descriptive-analytical research method and using library tools. The results of this research show that among the meanings and connotations obtained for the dome, the following points can be mentioned: the sky, the divine throne, the house of God, unity, perfection, eternity, completeness, the course of man in the soul, movement. From the earth to the sky and from the body to the soul, unity in multiplicity and the beginning, etc., how these meanings are related to the dome is explained in this article.

In addition to the prosperity of the country in various fields and the establishment of a national government after a long period, the Safavid period, for the first time on a large scale, Shiism became the official religion of the country. Current thoughts in this period, originating from Iranian-Shiite approaches, had unique characteristics. Due to the major role of mosques in this period in the political and social structure of the country, it is expected that the architecture of mosques is also influenced by the mentioned ideas. This research was formed with the aim of answering the question of what changes the approaches of the Safavid period have caused in the physical characteristics of the domes of Safavid mosques and what effects these changes have had on the human perception of the architectural space. The purpose of the research has been achieved by comparing the physical characteristics of the dome of mosques of the Safavid period with mosques before this period. Since domed mosques have become popular since the Seljuk period, the statistical population of the research is ten Seljuk domes, ten Ilkhani domes, twelve Timurid domes and eleven Safavid domes, which are divided into two groups of mosques based on the dimensions of the opening. They are divided into big and small. These 43 mosques include a large number of the entire documented statistical population. Due to the historical nature of this research, the interpretative-historical method was used in combination with quantitative methods and the data were analyzed in a logical inference manner. This research shows an important conceptual point of view about the architecture of mosques of the Safavid period in Iran based on the aforementioned characteristics. Examining the physical characteristics of the domes of the great mosques under study showed that the opening and correspondingly the area of the domes of the mosques of the Safavid period have grown a lot compared to their previous periods. In the Safavid period, the average external diameter variables, the overall height of the mosque and the height of the dome increased compared to the previous periods, which indicates the construction of bigger and higher mosques than the previous periods. The physical characteristics of the dome of the Safavid mosques showed the greatest similarity to the physical characteristics of the Seljuk mosques. It was shown that Iranian golden proportions were the basis of the average external proportions of the Safavid dome, but the average internal proportions have changed towards a more human-centered spatial presentation. Despite the increase of all the physical components of the dome of the great Safavid mosques independently compared to the previous periods; The average interior proportions in Safavid mosques are much lower than the overall average and even the average of each period. Therefore, it can be said that the architecture of Safavid period mosques in the design of domes are considered from two important angles: the dimensions and size of the dome in order to create a visual impact from the outside and a pleasant sensory experience for people inside the space. In the architecture of Safavid mosques, attention to creating a balance between external grandeur and internal humanity has been the criterion of action in the design. Although in the smaller mosques of the Safavid period, there was also a tendency to create large and lofty mosques like the mosques of the first group, but these mosques did not appear much different from their previous periods and are often located in the same physical area. Of course, it can be said that some of the investigated structures of Safavid mosques were closer to the Seljuk period. The only significant changes in the variables of the Safavid period compared to before are related to the internal height, the internal proportions of the dome and the external proportions of the dome in order to create more proportional spaces. In the mosques of the Safavid period, the choice of geometric form, the outer height of the dome, the alignment of the dome with other architectural elements and complex artistic patterns, all to create a dramatic experience in order to create a sense of dramatic grandeur and power and attract the attention of foreign observers and religious and social influence. (Monumentality) However, this does not mean that inside the architecture of Safavid mosques human experience and human scale have been ignored as much as the external observer. (Human Scale) In the architecture of Safavid mosques, in response to the convergence between the needs of greatness with the needs of comfort and human experience, the two concepts of dramatic grandeur and humanity have been integrated in parallel and balanced. This balance and harmonious relationship between the interior and exterior of the mosque made mosques as religious places still influential for visitors and at the same time instilling people with a sense of comfort and positive interaction with the interior environment. In this way, while the space does not cause an unpleasant sensory perception in the audience, the architecture of the mosque acts as a foundation for the promotion of human dignity, and in this way, the architecture fulfills its social-religious responsibility.

The collective unconscious is the agent of many artistic actions, and it usually plays the most important role in the shaping of their overall themes. However, experience shows that the semi-collective unconscious is more effective in the lasting of the forms and even the details of artworks. Using a psycho-biological approach, this research aims to show the influence of the semi-collective unconscious on the institutionalization of admired patterns. The main question is: How similar are the head covers worn by native people of Asia to the same enduring patterns of domes in the tribes of Asia? To answer this question, the historical-interpretive research method and analogical-inductive reasoning method were used. To this end, 50 post - from 10th-century domes were selected using the library method from three regions — East, Central, and West Asia — and from countries with similar climates and peoples with similar ethnic identities who influenced the culture and architecture. Auto CAD and Photoshop software were then used to calibrate the proportions of the domes with common and similar hats in each region. According to research findings, which show more than 85% overlap between calibrated forms; the pattern of domes is not restricted to structure, function, and climate. The architects and creators of this art, while taking these factors into account, have utilized authentic and indigenous covering of each region in the domes of that land to fulfill biological and psychological needs. Because these patterns are the most compatible with climate and cultural tastes despite the material differences. In addition to the peripheral lines, these similarities can sometimes be seen in patterns, textures, and even colors and details. Therefore, it can be said: semi-collective unconscious, in the field of form, with the sieve of beliefs, and norms based on successful subjects, honors the resulting forms and uses these diverse local patterns in the architecture of its origin.

The Dome of the Rock was built in Palestine in the first century AH and Sheikh Lotfollah Mosque is one of the most important Islamic buildings belonging to the years 1602-1619 AD in Isfahan. These buildings have beautiful and unique decorations under their domes that can be identified similarities between them. Purposes are to identify the decorative motifs under the domes of these buildings and to comparison those with each other and questions are: 1- What decorative motifs have been used under the domes of the Dome of the Rock and Sheikh Lotfollah Mosque in Isfahan? 2- What are the differences and similarities between the decorative motifs under the domes of the two mosques? Also, library and documentary data and research samples, which include the two domes of the Dome of the Rock and Sheikh Lotfollah mosques in Isfahan, have been studied by descriptive-analytical method with a comparative approach. Results show that under the domes of these two buildings, many decorative motifs including geometric, plant, inscription and animal motifs have been used and it brings the principle of unity to the viewer's mind. In these decorations, the peacock symbol is used naturally and metaphorically, which is related to the beauty and power of the God in creating the universe. One of the most important similarities of the decorative motifs under the two domes is the principle of monotheism, which is expressed by reproducible geometric and similar shapes and patterns. Another important similarity is in the use of the peacock symbol in these decorations, which can be seen in the central point of both the domes and the type of geometric shapes. Also the outside of the dome of the rock is without decorations and the outer part of the dome of Sheikh Lotfollah Mosque has Arabesque and Khatai decorative motifs. In the inner part of the domes, the most central Shamsa in the dome of the Rock is the sixteen Shamsa, while in the central part of the dome of Sheikh Lotfallah, the eight Shamsa can be seen. Also, the type of duplicationof the peacock feathers under the two domes is similar to each other and expanded based on fractal geometry. Of course, inside the peacock feathers circles of Sheikh Lotfollah Mosque, it is decorated with a combination of Arabesque and Khatai motifs While in the peacock feathers circles, the dome of the rock, can be seen Arabesque motifs and margins decorated with Khatai motifs, which are drawn a little coarse and with a different form and are more influenced by Byzantine art. Below the spherical part of the dome of the Rock, a Quranic inscription can be seen and below the spherical part of the dome of Sheikh Lotfollah Mosque, there is no Quranic inscription. The Dome of the Rock decorations has the warm colors such as gold, red and cold colors of blue and jade green and the decorations of the dome of Sheikh Lotfollah Mosque has pease, dark blue, blue and Turquoise colors which are cold colors.

Seh-Gonbad tomb tower is a Seljuq monument in Iran that despite its peculiar features has received littlescholarly attention. Geometric decorations, Kufic inscriptions, along other architectural features have made this tower one of the significant funerary examples of sixth-century architecture. While the rich decorations and inscriptions of this building have been studied earlier, there is little information regarding its architectural characteristics. Given that some of the architectural elements of tomb towers such as this have changed over the years due to neglect, the question in this research is: What were the architectural characteristics of the exterior dome of this tomb tower? The aim of thispaper is to investigate the physical structure of the Seh-Gonbad, focusing on its formal, geometric, and proportional features in order to reconstruct the destroyed part of the building (thedome). Field and library research were used in this paper as well as acomparative analysis with contemporaneous andsimilar examples. Through comparative analysis with other tomb towers in the region,the research sheds new light on the geometric proportions of the Seh-Gonbad which introduces a novel geometric system in these monuments and theirexterior features. Finally, it is concluded that based on physical transformations in the Seh-Gonbad tower over time and its architectural and geometric similarities with parallel examples, this building had an external dome in the past,most likely conical or pyramidal in shape.

Free surfaces are one of the requirements of contemporary architecture. Owing to the emergence of these surfaces, the configuration of Girehs in Islamic architecture became incompatible with them. The traditional structural principles of Girehs expand two-dimensionally, whereas free surfaces expand irregularly and three-dimensionally. Gireh-work is considered one of the original and identity-giving decorations in Islamic architecture. To identify and develop contemporary architecture and past architectural achievements, it is necessary to find a strategy for projecting Girehes on free surfaces based on historical authenticity. The Islamic architecture of Iran has had many valuable achievements that can be applied to contemporary architectural challenges. In Iranian Islamic architecture, the dome and Gireh decoration play a crucial role, so the Iranian architect has tried to match these two elements using the geometric features of the dome and Gireh. As part of a qualitative research process, two examples of Iranian domes have been selected and analyzed with a descriptive-analytical approach in order to answer the following question: how Gireh’s geometrical principles on domical surfaces can be applied to contemporary free surfaces? In order to project Gireh onto the dome, a network based on radial gore segments was used as part of the projection technique. Transferring Girehs based on this network causes congruence homogeneity. Topological models of free surfaces are based on NURBS lines, making it possible to discretize and define the points on them. This makes it possible to apply anisotropic congruence transformation to Gireh projections on free surfaces.

Mutallib-khan mosque is an abandoned and derelic building in the city of Khoy, north-west of Iran. It was built in 1839 with intentions to Serve as a mosque, in which muslims say their prayers in congregation, and also as a tomb for the proprietor and patron of it, Mutallib-khan himself. But upon his unfortunate demise, the building remained incomplete, and the architect's work remained undone. without a dome or any kind of  roof  or closure for about two century, it has been susceptible to any and every kind of damage, ranging from natural predicament to mankind misuses and has always been desolated. The buildings interior space is completely open to the Element and therefore it is fair to say that it does not have an interior space with a quality that house an interior function. On the other hand the very exposure of the building has always been the abode to sun, and daylight has always been present, and this has brought a quality to the space for the past two centuries that has become the quintessence of the building: it's character. This article studies ways in which it is possible to rehabilitate the building through redefining an interior space. The framework of this studies is divided into four main sections. In the first section the building itself is studied from an architectural and historical point of view. Second section is dedicated to a comparison between two extremes in how to treat a classic building in rebuilding its dome. In the third and fourth section methods and approaches to designing a dome-like shell is studied, in the context of iranian domes and contemproray shells.  The outcome of these four sections is a generic proposal of a two layer transluscent dome with an interior geometry of a catenary arch, and an exterior shape of a Chamaneh arch that could be 3D printed directly on the building.

Iwan and dome as independent spatial units entered mosques at least from the 4th century AH and on the plateau of Iran, it was probably in the Seljuk period that the first four-iwan mosques with a dome located behind the qibla iwan were created. The pattern of four-iwans with three domes around the courtyard, though visible in Ribat of Sharaf from the beginning of the sixth century AH, was not used in mosques before. The Bibi-Khanum Mosque in Samarkand with its four iwans and three domes around the courtyard, is one of the most important monuments of the Timurid period. Although this mosque has been analyzed many times, less attention has been paid to its several domes. To achieve the purpose of this article, which is finding the roots of Bibi-Khanum Mosque design, the following actions have been taken: The historical texts of the Timurid Era have been examined using the interpretive-historical method, contemporary researches in this field have been reviewed and the documents have been compared using the method of logical reasoning. In addition, answering these questions seems necessary: Where can you find the pattern of Bibi-Khanum Mosque? And what other examples exist with this Design? The results show that the addition of iwans and domes to Indian mosques probably dates back to the late Seljuk period and coincided with the beginning of the Delhi Sultanate period in the India. The oldest example of which is the addition of several asymmetrical domes around the Quwwatul-Islam Mosque in Delhi in the sixth century AH. In the middle of the eighth century AH, the Jahanpanah Mosque in Delhi with its courtyard, iwans and dome, was one of the first mosques to be built similar to the two-iwan mosques in Iran - except that four domes were built on all four sides of the courtyard. Until about a century later, this design was used in several other mosques in India with a few changes, such as Mosques of Jaunpur and Srinagar. According to historical sources, Timur visited the Jahanpanah Mosque during the conquest of Delhi, and after returning from India, ordered the construction of the Jami Mosque of Samarkand. In addition, the roots of the jami Mosque  of Samarkand design could be the previous experiences in buildings, such as Ribat of Sharaf in Khorasan, and possibly the grandiose attitude inspired by important Ilkhanid buildings. This pattern was not common in Iran, except for the Abbasi Mosque of Isfahan. In the Bibi-Khanum and the Abbasi Mosques, the domes on both sides are used for worship, while in the Jahanpanah and Jaunpur mosques and others in India, the surrounding domes are the entrance porches, Which, aside from the dome, were previously used in the design of Iranian mosques such as the Jami Mosque of Yazd. However, It is not as significant as Jahanpanah Mosque. As a result, it is possible that the architect of Bibi-Khanum Mosque was inspired by the domes of Jahanpanah Mosque, but he used his own method of using the space.

The application of computational formulas has a major role in the geometry of Iranian architecture in the Timurid era.  What is interesting about the architecture of this period is the use of the ideas of Al’Kashi --a ninth century mathematician-- in measuring, calculating, and formulating the methods of constructing vaults and domes. One of the most important achievement of Ghiaseddin is related to triangulation. It was Mirza Abu Turab Natanzi, a mathematician of the Qajar era, who later dealt with this issue through a geometric method equivalent to Al’Kashi’s algebraic method.Research Question: This research explores whether Al’Kashi has accurately considered computational operations in architecture or his thesis is just a practical and theoretical exercise. We also investigate whether Al’Kashi’s models are precise descriptions of existing vaults and whether the builder has carefully paid attention to Al’Kashi’s recommendations. To address these issues, we aim at discovering the relationships and explain the new computational rules proposed in Al’Kashi’s works.

 The research method is based on logical reasoning through precise mathematical propositions. The analytical tool includes Python programming language to be run in Rhino software, which could link computational rules and the Shape Grammars in Al’Kashi models.  The results of this evaluation are identified in the architectural elements of Goharshad Mosque, which corresponds to Al’Kashi 's presence in the region of Khorasan at the time the mosque was built. Computational exploration of architectural elements requires modeling and physical encoding. The predominant feature of Al’Kashi’s works is approaching architectural elements from a descriptive-analytical perspective. This method involves component-based classification, defining the parameters of the elements, and describing their resulting hierarchy. Therefore, our method is based on modeling in Rhino software. In addition, the Grasshopper extension and Python programming language were used to examine and determine computational relationships, the language of shapes between architectural elements (vault and dome), and Al’Kashi models based on the geometric system of Timurid architecture.  We first investigate how accurately Al’Kashi calculated the coefficients of the vaults; next, by referring to the dimensions and sizes of the vault and dome in the related building, we search for the roots of their geometric system in order to find the numerical correspondence of these ratios in Al’Kashi models.

 The results suggested that Al’Kashi’s calculations and drawings are not merely a practical and theoretical exercise; rather, they have correctly used computational operations to develop architectural elements. Besides, there is a relationship between the computational rules of Al’Kashi models and the geometric system of the vault and dome of Goharshad Mosque. Indeed, Ghavam al-Din Shirazi, the architect of the Timurid court, has appropriately deployed the geometric system and computational rules of his time in the construction of this building. These findings reinforce the hypothesis that the ‘captains of industries’ used to obtain their mathematical and geometric knowledge through dialogue with contemporary intellectuals. Goharshad Mosque showcases the harmony and balance between the geometric and computational system of the Timurid era.

Traditionally, the public has used Ab-Anbars (water reservoirs) in hot and dry areas and also in cold regions of Iran. One of the main elements of Ab-Anbar is the reservoir coverage (reservoir lining), which is made of various brick vaults such as barrel and colombo vaults with different rises and forms. Due to the dry weather in most parts of Iran and insufficient rainfall in more than six months of the year in most places, which has resulted in the seasonality of rivers and the lack of access to water, various arrangements have been established for freshwater supply in dry seasons. The construction of the Ab-Anbar (water reservoir and cistern) is one of the innovative ways to supply drinking water. In this regard, the Ab-Anbar, as its name implies, is used to store water in rainy seasons to be used for the rest of the year. The main structure of the Ab-Anbar consists of an underground storage tank and a dome to cover it. In some areas in Iran, a wind catcher is added to this structure to keep the water cool in summer. The construction material used for Ab-Anbars was a special mortar called Sarooj, which was made of sand, clay, lime, goat hair, egg whites, and ash in specific proportions, depending on the location and climate of the place. Some Ab-Anbars had rectangular storage tanks, and some tanks had a cylindrical shape. This study aims to determine the amount of solar radiation received on the surfaces and heat flow inside the Ab-Anbar domes of Qazvin, which leads to recognizing the most optimal form of reservoir coverage for Ab-Anbars among the studied samples. 

The data, including dry and humid temperature, air, radiation, and current radiation situation of Qazvin city weather station, were prepared over a ten-year period (1996-2006). The library documents also provided the map of the Ab-Anbar domes. In order to conduct the research, four samples of Ab-Anbars with different dome structures in Qazvin city were selected. After that, the domes were modeled in Revit 2016, and the amount of solar radiation received by the domes on the hottest day of the year, at 14, 16, and 18 o’clock, were determined using honeybee & ladybug plugins with Energy plus Engine. COMSOL software, and the CFD airflow analysis, were performed for validation in high-rise and low-rise domes. 

The results of the analyses showed that low-rise domes with large surface contact receive more heat than high-rise domes with a small surface contact, and the area of the domes is effective in receiving the sun radiation. Sardar Kouchak (Little Commander) dome, a low-rise dome, is approximately exposed to its total surfaces and solar heat by 84.3% at 14 o’clock. In comparison, the high-rise dome next to the Grand Mosque is exposed by 52.5% at 14 o’clock. The low-rise dome is exposed by 74.7%, while the high-rise dome is exposed by 53.5% at 16 o’clock. Finally, the low-rise dome is exposed by 62.4%, and the high-rise dome is exposed by 43.2% at 18 o’clock. Therefore, low-rise domes in the cold climate are more efficient in receiving solar radiation than high-rise ones.

The airflow inside the domes was graphically performed for validation using CFD analysis on a hot day. The results are consistent with the outputs from honeybee & ladybug plugins. Low-rise domes can retain more heat than high-rise domes, and the vortex of hot air created in low-rise domes is less than in high-rise domes, which leads to more heat gain inside the dome. Therefore, the most suitable dome for Ab-Anbar in the cold climate of Qazvin are low-rise domes.

The architecture of mosques has a special place in Islamic art. In this research, We try to focus on evolution of the dom over different eras,let us answer this question Have the domes changed a lot in the Islamic era Compared to their predecessor,s? Has the internal and extend Rise of dome,s been constant throughat the Islamic period Or hare there been ups and down,s daring this periods?Research has been done by descriptive – analytical method and drawing diagrams and analyzing information and library Studies. Among result,s of this study is increase in the Exteral rise ratio of the dome of mosque,s in the Mozaffari – Teimori priod and the de crease in this ratio is in the Safavi era.It is worth mentioning that the historical Course of transformation of the dome,s of Iranian mosgue,s has been from Khahi dome to Nar dome and from Nar dome to Shabdari dome

The evolution of traditional Iranian architecture with the emergence of identity-building elements such as the dome moves in the direction of a kind of perfectionism. The Iranian dome is considered as an important element in architecture that has been used in various types of buildings in terms of its original historical prestige, strong theoretical foundations, unique features and keeping the space cool. The dome is in fact the presentation of a complete architecture, whether it is used as a structure or where it is a symbol of transcendental truths. In fact, the dome, as an urban landmark, helps to read the space by breaking the sky line and directing the view towards its colorful world. In the process of shaping the space in Iranian architecture, we see the abstraction of colors and images in buildings. The Iranian architect creates with the use of various arrays. The culmination of the manifestation and display of the attributes of the arrays appears in the dome, and the color, which is considered as an effective visual element in the urban landscape, doubles this splendor and charm. In fact, color is a tool by which the architect can identify the form and influence the visual logic of the space. The colors in the dome are narrators of a deep and mystical meaning that guide the viewer’s mind towards discovery and intuition. Islamic and geometric maps, shapes and patterns, along with the conscious use of color and attention to harmony and contrast, in the shadow of a novel order, present the dome as an element of semantic index and evoke a sense of harmony and connection in the viewer’s mind. The color on the dome is part of a larger whole that reflects a fundamental concept, to depict a transcendental truth. We are witnessing the peak of this art and cryptography in the Safavid period. This study tries to provide a color pattern by examining how the color accompaniment in the outer shell of the domes in the Safavid period to be used to create an atmosphere with identity in today’s Iranian architecture. The method of data collection in this study was the use of field studies. To analyze this data, two visual methods and the use of digital software based on computer simulation have been used. Then, with logical reasoning and content analysis, the final results are obtained.

During the period of Islamic history of Iran, magnificent buildings have been built for Imams, righteous and mystics. The architecture of mausoleums has been very important after the architecture of mosques. The study of different historical periods of Shushtar city shows that the people of this land always guarded the tombs of the pious, scholars and the righteous and built their tombs together with the architecture of that period. The importance and multiplicity of shrines and shrines in the city of Shushtar is such that this city has taken the title of the city of forty elders. The present study is based on the objectives of sorting and comparative comparison of historical monuments under study.

This study intends to classify them by examining the architectural body and structural elements of eight historical tombs, which often have Islamic architectural features and cultural heritage records, and the main research questions that examine the patterns and architectural changes of tombs in different historical periods. Answer.

Using historical sources, library studies and field studies, and using the analytical-historical method while examining the architecture of the tombs, the authors have typologically explained their commonalities and differences.

Identifying the characteristics of the physical elements of the holy shrines under study and their classification based on two physical and functional-social indicators can be considered as important achievements of this research. Also, from the findings of this research, we can mention the pattern similar to the plan, tiling in Shaljami domes, walls, ceilings, lack of interior decorations and the shape of the burial, and distinction in the form of domes, external decorations and functions.

Gonbad (dome) is one of the most important forms in Islamic mosques. Major research on gonbad has explored its shape and decoration and researchers don’t have enough attention on the effect of climate on dome's shape. The researchers are trying to find a climatic effect in the form of a dome in Iran. The main variable of the research is the dome shape and radiation amount which received by the sun. Three regions of Iran, (Isfahan, Urmia and Qazvin) were selected. By Energy Plus simulation, four old mosques: shah mosque (Imam Mosque of Isfahan), Sheikh Lotfollah Mosque, Masjed-al-Nabi Qazvin and the jame Mosque of Urmia is studied. At the beginning, domes of mosques were modeled some software like as Reino5 and Revit2017. The annual radiation exposure was recorded on the warmest day of the year, at 14, 16 and 18 pm. This measurement was performed using the Energy-Plus software of the Rhino software under the Honey-Bee and Lady-Bug plugins. The results show that with increasing dome surface, the heat absorption of the radiation is increased and in the shadow range, domes with high altitude in hot and dry climate perform better. Domes with a high contact surface in the cold climate are suitable for receiving high radiation. Creating a dome on the “Gariv” increases the shadow on the dome surfaces. The shape and type of dome arch (ghoos) used in each climate are based on the thermal conditions and the amount of sunlight absorption required throughout the year. It can be said that the shape of the dome in Iran has varied according to the climate.

The architecture of the Orchin Dome was one of the hallmarks of the tombs in the southern and southwestern parts of Iran, Which has been less studied in scientific research. The main purpose of this study is to identify the factors influencing the formation of the dome of Imamzadeh Seyed Salahuddin Mohammad in the city of Abdanan. In this regard, the influence of historical, geometric (physical) and structural factors on the formation of the dome of this shrine has been discussed. This research has been done by descriptive-analytical research in the form of qualitative studies and its information has been collected based on library studies and field observations. According to field studies and observations, the study of the damaged dome was multi-faceted. One of the main indicators of this dome is the simplification of polygons in its corners. The dome architect seems to have used a semicircle to increase the height of the dome and to align the spiers. Other research findings show historical factors such as geographical location, historical background of Abdanan city, proximity to Elamite civilization, ziggurats and other historical tombs of Khuzestan plain (tomb of Daniel Nabi in Shush and tomb of Imamzadeh Rudband and Yaqub Laith Saffari in Dezful) as well as the physical shape of Seljuk tombs in the region, they have affected the physical shape of the study dome. Structurally, the dome of this building is mostly made of local materials and efforts have been made with the help of appropriate geometry. Prevent asymmetric and tensile forces. Therefore, numerical relationships in the proportions of their similar shapes in the floors and the proportions of the components of the dome, including the height of the floors, openings and other components of each with special relationships, create a transcendental (fractal) pattern. Also,The use of this unique geometry in the dome has prevented the absorption of sunlight into the dome. On the other hand, the height, shape and color of the dome affect the landscape and visual appearance and make the building stand out.

 Some architectural and artistic monuments have been preserved from the city of Bishapur, which was founded in the early Sasanian era by Shapur I. One of them is the remains of a building called the Cruciform Palace. The cruciform plan of the construction is surrounded by huge piers of stone and gypsum, about six meters thick, and its central square is over twenty-two meters long. There are currently no signs of ceiling or roof in situ.Hypothesis: The previous theories about the possible ceiling form of the Cruciform Palace of Bishapur are not based on documentation. The imagined dome over the central square of the Cruciform Plan would be the largest stone dome of that period in Iran. The existence of a dome above this building and its compliance with the conventional dome form of Sasanian architecture is the hypothesis of this research.

The purpose of this research is to find indications that demonstrate the possibility of the existence of the dome and then illustrate the possible authentic form of its structure based on the reliable evidences.

To achieve these goals, a comparative study method was utilized and the samples that were similar in structure, architecture, and historical style were studied. Their dimensions and proportions were examined to obtain a model for the size of piers and spans in the Sasanian domes.

According to the obtained results, the thickness for piers of the palace is consistent with the average size of the selected samples of the Four-Arches constructions in Iran and potentially confirms the existence of a dome over the square section of the cruciform plan. About the height of the dome, the range of results is various and the hypothetical height can be estimated based on the mean measurements.