فصلنامه نقش جهان - مطالعات نظری و فناوری های نوین معماری و شهرسازی
سال هشتم شماره 2 (پیاپی 22، تابستان 1397)

While influenced by the needs people around it, the environment also affects the formation of particular behaviors and subsequent changes in their thoughts. In this way, the environment can act as a reminder space, and according to Islamic view, the sense of divine presence, or the presence of God, should be pointed out to man. Dhikr here is the reminder of the name of God in the heart and mind of man, who has been ordered to be in all moments of life. The aim of this study was to study the manifestation of Dhikr in the space of Islamic- Iranian architecture through gospel and warning. In this study, with the direct conception of the Qur’an and the use of great interpretations, all the verses related to Dhikr, Bashir and Nazir were extracted. The research method was exploratory-interpretive and content analysis, in which equivalent concepts were explained with logical reasoning. There are various levels of gospel and warning, and to make reminder, the importance of warning is more than gospel. In the context of the Dhikr and the addressee, it is possible to create the reminder space to the addressee through gospel and warning. It seems that by dividing the levels of Dhikr into three levels, the first level consists of warning, the second level consists of gospel and warning, and the third level is only related to gospel, which is expressed in various verses of Qur’an with various addressees. On the other hand, if we consider the architectural space as a combination of motion and stillness, arning and gospel are often used in motion and stillness, respectively. Thus, the architecture space can be designed from the beginning to the end with a range of warning and gospel with the mentioned concept, so that ultimately when it reaches the atmosphere of peace and tranquility, a level of sense of consciousness and sense of presence is perceptible for the audience.

Encountering with environment, sensory perception paves the way for the creation of meaning and the architect has to mix merely technical ideas with sensory perception to make it possible to approach the real and living meaning, which have been present in people’s lives. Criterion architecture, where architect’s physical and mental features prepare the formation of his work, causes the audience to find an intellectual picture of him. Iranian traditional architecture, particularly Iranian Bazaar architecture, is a type of visual-perceptual architecture, which involves all senses. The aim of this study was to investigate and understand the concept and structure of the Kashan Bazaar as a space consistent with Iranian values and identities. A combination of qualitative and quantitative research methods was used and the main body of the research was an analytical-exploratory method.   As one of the examples of Iranian bazaars, the architecture of Bazaar of Kashan creates a sensory concentration system by embodying sensory incentives. Within the major directional system, corridors invite you to walk through them and discover the surroundings, and peace can be found in places such as mosques, Timches, and open spaces nearby. In the bazaar, the perceptual process is achieved in the face of the enormous congestion and desolation in the environment. This secrecy in the first step leads to the creation of the quality of inviting to gain tranquility, contemplation and thought; in the next stages, and based on human consciousness, it leads to the adoption of semantic systems and ultimately leads to the recognition of values and aesthetics.

A valuable texture is a texture that, in addition to antiquity, has a comprehensive look at unity, historical origin, architecture, and future, as well as its social and economic environment. The Sepahsalar mosque-school (founded in 1296 lunar) is one of these “valuable” monuments that has continued to exist and is now abandoned between modern development and today’s architecture. This building was built and supervised by Mirza Hossein Khan Sepahsalar, and the complex and decorations, which are the masterpieces of the Qajar era
architecture and the 13th century of the lunar era, have now been abandoned without regard to the Waqf rules. The aim of this study was to evaluate the promotion of civic life based on the
Waqf rules of Sepahsalar (Shahid Motahhari) mosque-school at the range of Baharestan square and to achieve a practical response to save this urban texture based on the ideas presented. A complex like Sepahsalar mosque-school can be a model in contemporary architecture for a traditional and modern look, and successful mosques play an important role in introducing the responsibility of the government in providing the welfare of the people. Foresight in urban management can lead to community education in familiarizing their rights with social partnerships. Mosques and religious centers should be the heart and soul of the spiritual and imaginative cities and neighborhoods, and should along with cultural institutions, be the most magnificent and most prominent symbol of Islamic cities, and at the same time combine greatness with delicacy and simplicity. Without knowledge of Islamic principles, meanings, and resources, designers and planners will not be able to create a “Built Environment” that is completely in line with Islamic principles.

Wherever there is beauty, there is love as well. In philosophical interpretation, love is the tendency to what man lacks, which is called “perfection”. Man’s soul is always trying to bring him to perfection, and beauty is an appeal for reaching perfection. Whatever apparently exists, is manifestation and blessing of holy God’s nature. Man, the vicegerent of God, has descended to this material world for a short time to fulfill his spiritual origin with his knowledge and authority. The aim of this study was to explain the concept of beauty from Islamic cosmological point of view to evaluate the works of architecture and urban planning. Conclusion The beauty is derived from the perception of the real beings perceived in the material world as the material forms by the five senses, in the sensible world with the conceptual attributes of the intellect and in the world of hereafter by the heart (soul), in terms of the power, the appearance of the existence, and the capacity of the audience. The most comprehensive description of the intrinsic tendencies of man toward absolute perfection and unique being has been expressed in the Holy Quran by presenting 100 good adjectives and names of God. Any work that has these adjectives is more complete, so it is more beautiful. Man, as the vicegerent of God on earth, in his works, including the works of architecture and urbanism, must bring these adjectives and names to manifestation, and the more these adjectives and names be manifested in his work, the more beautiful the work of architecture and urbanism, and this indicator is a measure of distinction and a comparison of beauties.

Given the importance of the historical context in the city of Mashhad and acts of sabotage, identifying, preserving, recording, and maintaining its historic facades is important.
This study aims to investigate the ornamentations of Bala khiaban’s historic facades of the Qajar period (1304-1174) (which have been inscribed as Iran’s cultural heritage). The methodology of this study is based on descriptive-analytical, exploratory, library studies, and field research. The results show that all buildings are two-story and ornamentations often seen on the upper part of the facade. In terms of ornamentation, in most of the façades, the moarragh mosaic tile or combination of tiles and bricks were used. Furthermore, some opening inscriptions are decorated with moarragh mosaic tile, too. All of these facades are made of brick and the dominant colors of the facade’ ornamentations are brown, yellow, Ultramarine and turquoise blue, lateritious and sometimes pink and brown.

The thoughts of Sheikh Ishraq (Shahāb ad-Dīn” Yahya ibn Habash Suhrawardī) have a high status in the Islamic world. These thoughts spread in the Safavid era, so that, more than ever, they became an important and influential category in the Islamic world. Since the art of architecture is the manifestation of the thoughts and mentalities of the architects and thinkers of each historical period, it can be expected that Suhrawardi’s thoughts are also manifested in the field of architecture. The main question of the research is whether the philosophy of Ishraq has influenced the Esfahani architectural style? And if so, how was this impact on the structure of the buildings of that era? In the following, using the interpretive-historical research method, the analysis of the views of Sheikh Ishraq and its comparative comparison with the architectural works of Esfahan doctrine were discussed. Then, using analytical-descriptive techniques, the correspondences between Suhrawardi’s thoughts and the architectural field of Esfahani style were explained. The data collection method is done by library research and
referring to architectural documents. Studies conducted indicate that Esfahani style is significantly in line with the thoughts of Sheikh Ishraq. The various manifestations of light in the architecture of hierarchy, colors and decorations, empty space, the principle of plurality in unity, altar, golden dome, and so on can be considered as the effects of light in the architecture of this era.

Ashura is a light to guide mankind from darkness to clarity and a safe ship in every horrible storm. This wonderful event is a portray of excellence of spirit and ethics, mysticism, love, faith, purity, social integration and privacy protection as well as all precious beliefs of life. Everyone who is great, is inevitably dealt with Karbala and Ashura, and this necessitates the importance of research in the field of this culture and the continuous study of this dynamic and lasting movement. The aim of this study was to evaluate the culture of Ashura
in urban historical context of Dezful. This is a descriptive-analytical study carried out in field of study and library. Mourning ceremony for Imam Hussein (PBUH) in cities like Dezful has a long-term root and it is considered an identity element for this city. Outstanding urban-scale buildings and
urban landmarks play an important role in organizing these events. These buildings include Jame mosque and Sabze Qaba Shrine as well as urban landmarks like Imam Khomeini’s Square and street. The main part of the Ashura ceremonies in Dezful includes Shame-Ghariban, Daste Gardani, Chalab Zani, Gahvareh Gardani, and Shabih Khani that generally take place in Sabze Qaba Shrine, Imam Khomeini street, Jame mosque, Imam Khomeini square, Husseinieh, and a place in Ghale.