نشریه پژوهش های معماری اسلامی
سال پنجم شماره 3 (پیاپی 16، پاییز 1396)

One way to improve the quality of the human environment is to clear its spatial hierarchy. For this purpose, public, semi-public, semi-private and private areas should be clearly separated, and their border areas should be distinguished. This will increase the sense of attachment to the environment and gives identity to the residential environments. This article aims to investigate the concept of territory as one of the factors affecting the quality of the human relationship with the residential environment. To achieve this objective, the concept of territory and the factors affecting it are defined. According to the theoretical foundations presented, it can be stated that the territory is a mechanism to monitor the border between self and others, and is a mean to achieve the desired privacy. The main feature of the territory is its high dependency on culture. It also has features such as a sense of identity and possibility of personalization.
Many factors affect the territory, including social factors, cognitive-psychological factors, physical factors, functional factors, geographical-cultural factors, as well as time. The concept also has human systems such as the primary territory (on which individuals have full and extensive monitoring), secondary territory (with less central and exclusive role, and acts as a bridge between the primary and the public territory), and public territory (is quite temporary and almost anyone has access to and the right to use it); according to the research objective, these human hierarchy will be studied in Noghan district.
In the early Islamic centuries, the holy city of Mashhad was created by combining the ancient city of Noghan and the surrounding villages. After the martyrdom of Imam Reza (AS) and joining of Mashhad-al-Reza and Noghan, the name Mashhad became widespread. However the physicality and name of Noghan still remained in the vicinity of Mashhad until today and for a thousand and two hundred years. Therefore, Noghan is one of the oldest district in the city of Mashhad. Despite the importance of Noghan district in historical studies, beliefs, architecture, and urban planning as an intertextuality document, large part of it disappeared after recent implementation of modernization and reconstruction projects in the fabric surrounding Imam Reza holy shrine. With regard to the physical progress of the project in other sectors, the least amount of manipulation and progress happened in Noghan district. This represents the necessity to protect the identity of the district. One of the salient features of this district is placement of holy shrine in direction of Qibla, pointed to as bi-qibla feature of the distrcit. This unique feature causes accommodation of pilgrims from Arabic countries in Noghan and sense of attachment of most of the resident to the area.
In this district, because of accommodation of pilgrims in the houses of people residing in the fabric, certain type of life has been formed, and the area classifications and spatial hierarchies have been changed. Therefore, this study examines the spatial hierarchy and the area classification in the district, and finally, provides recommendations to improve the quality of shelter design in the district. This study applies, its variable is qualitative, and its practical method includes document-based studies, questionnaires, and field observations. The results show that the human territory system in Noghan district has taken a special form for simultaneous presence of pilgrims and residents in the same residential house. In fact, due to this coexistence, the initial territory is limited. Secondary territory in this neighborhood has found dual and fluid nature, so as due to the characteristics of its audience (reference culture, length of residence, type of residence etc.) is moving toward the public or private sphere.
This fluid nature is less aggregated to physical dimensions, and more related to perceptive-psychological dimensions. Therefore, due to the simultaneous presence of self and others, the secondary territory in this area is divided into the semi-public and semi-private spaces, where the scale for the area classification varies according to the target audience. Holy Shrine of Imam Reza (AS) is one of the most important factors leading to increased length of residence and satisfaction of residents, and hence affects the perception of territories. In addition, the district due to be near to the holy shrine has a 24 hour living, resulting in increased security. Finally, it can be stated that the nature of the territory in this neighborhood is exposed to a kind of transformation. Thus, since identity of residential hierarchy in the district depends on mixing of residents and pilgrims and its recreating should be performed based on the lifestyle of its residents and the existing territorial system, to preserve the residents of the fabric and enhance local identity.

Central parts of the cities regardless of their role and function, embrace more people than their own inhabitants heading for meeting their needs. This is more significant in city centers having ultra-city impacts ditto holy places. One of the main centers in pilgrimage cities is the Holy shrines’ surroundings which attract considerable population of non-inhabitants in addition to their own inhabitants. To retain the validity of this principal area, the population’s requirements should be provided at this very zone.

Thus urban planning should predict and provide all types of required services in these areas.

To reach this specific goal utilizing the methods and technics of urban service planning is essential. Despite using various and efficient methods for estimating and planning the services of inhabitants, lack of written procedures for evaluation of such services and considering requirements of fluid and non-inhabitants population are of the most problematic issues in planning of land use and services at the pilgrimage cores.

 This paper is based on the authors’ experience in the field of planning services needed by pilgrims in the pilgrimage cities of MASHHAD and QOM. Due to the uncertainties and questions in this regard, this paper presents principles and methods for planning the needs of this group. In a way that it can be used for planning the developments of religious spaces and major or local urban plans.

To achieve this purpose, two methods of service planning have been used. One of them is based on functionally physical divisions of these areas and finally calculating the required infrastructure activities. And the other is based on utilizing common procedures of urbanism in Iran, the estimation of the fluid population in these areas and their corresponding needs and finally the calculation of their requirements based on per square meter.

 Using of each method has some requirements stated after knowing each confine and determination of management needs. And each one of them has its own features and limitations addressed upon.

Quranic inscriptions are the inseparable elements of mosque ornaments, promoting the Islamic culture and reflecting the socio-political conditions of the given era. Due to its importance and vastness together with several structural periods and the volume of decorations, Jameh Mosque of Isfahan is one of the structures containing most of the historical religious inscriptions related to Iranian Islamic architecture. These inscriptions date back to Saljughi, Ilkhanid, Mozafari, Teymouri, Safavid, Ghajar and most recent eras and are embedded on the entrances, court-yard facades, verandas, minarets, bedchambers, domes, sanctuaries, stone troughs, candlestick, tribunes, etc. of the mosque. Most of these inscriptions are exposed through the entrances, internal facades of verandas in (southern, western, east and northern Omar Iwan), the main yard facade, minarets, sanctuaries and domes. These inscriptions may be assessed according to criteria of technique, construction date, content, position, benefactors, restoration manner, their contribution to the architectural space, etc. There exist few studies where the content analysis of these inscriptions embedded in these structures are addressed and assessed; consequently, attempt is made in this article to recognize, analyze and compare the content of Quranic inscriptions on entrances (mosque emblem) and sanctuaries (symbol of Qiblah) of Jameh Mosque of Isfahan. To extract the content of the inscribed verses and assess the thematic correlations as to their political and social terms together with the assigned locations in these structures, this article follows a descriptive-analytical method where documented sources are applied and insitu observations are made. The findings here reveal that the entrances and sanctuaries of Jameh Mosque of Isfahan contain many inscriptions with various contents. The content of these inscriptions consists of: digits (date of construction), personal names (benefactors, rulers, art masters and calligraphers) and hadiths (holy names and Quranic verses). Among 10 entrances and 17 sanctuaries of this mosque, 7 entrances and 8 sanctuaries contain Quranic inscribed Surah: Al-Baqara with three repetitions, Al-Fatiha, twice, Nesa, Al-Ikhlas, Al-Insan, Tobah, Anbia, Ahzab, Jen, Maedeh, Jamah, Al-Emran, Kahf, Noor and Sad Surah with one repetitions. Most of these Quranic inscriptions in this mosque are embedded in Safavid era followed by Ghajar, Al Mozafar, Ilkhanid and Saljoughi eras: Safavid with 9 Surah and 15 Verses is ranked the first, while Saljoughi with one Verse and one Surah is ranked the last. Since the beginning of Iran becoming an Islamic nation, during time, the city of Isfahan has been exposed to severe religious quarrels until Safavid era when Shiism religion sector gained official announcement in Iran.

Back then, the city of Isfahan was the major center of Sunni sector.  It seems that the selection of verses for inscriptions was influenced by the socio-political conditions of the given era. This fact indicates that during political and social turmoil and unrests between religion sectors the selected Quranic verses are indicative of the specific events, while during relatively political and social proportional calm, the content of the selected verses reflect unity of God, faith and belief in resurrection, prophecy and conveyance of the Prophet and verses about the importance of the mosque. The content of the verses in sanctuaries indicates the events related to the Muslim community like changing Ghiblah, conveyance of the Prophet and leadership. In Saljoughi era, the disputes between Saljoughi dynasty and scholars in Isfahan lead to setting Jameh mosque to arson and it seems that inscribing the 114th verse of Al-Baqarah Surah reveals this phenomenon. In Ilkhanid era, considering the religious disputes, it can be deduced that the benefactors of Aljayto sanctuary by inscribing Quranic and hadith texts with a content specific to Shiism had no other objective than promoting Shiism in Isfahan. The existing military conflicts in Al Mozafar era were influential on the sanctuary inscriptions of Mozafari School and stimulating believers to commit Jihad. By establishment of relative calm in Safavid and Ghajar eras and the orientations towards Shiism thereof, the benefactors selected verses indicating the praise of the prophet of Islam, the status of Amir Al Muminin (the leader of the faithful in Shiism) and manner of meeting God.

Daylight historic spaces were the only source of lighting supplier and traditional architects to artistic style as a tool to increase the visual quality of space and concepts used. The light is considered to be integral elements of space and Iranian architectural pattern should also be followed. Lighting pattern of Natural light and provide criteria main research question is historic mosques. This article is to discover the laws governing the lighting of the building and the windows in natural light distribution pattern in the dome By examining the five-dome mosques of Isfahan (Emam mosque, Sheikh lotfollah mosque, Hakim mosque of the Safavid period and Seyyed mosque and Rahim khan mosque of the Ghajariyeh period) Tries to extract pattern designed lighting Traditional architects And solutions to contemporary mosque architects was designed to provide natural lighting.
Data collection style is field and library. This study photometry instruments, field data at three times the length of the day is taken and then Radiance software was extended to one year. According to the criteria presented in the books of lighting standards, brightness, uniformity, light distribution and visual quality of the plan and the observer on the surface were analysed. In addition Time lapse photography to study the movement of light in space from sunrise to sunset as observers from the Field measurements Obtained.
Manifestation of the spiritual aspects of light can be seen in the architecture of mosques prominent Islamic monuments. So not only the most important and most prominent mosque of Islam, but Islamic architecture is the key to understanding.
In mosques to create a spiritual atmosphere of light as something beyond the material has been used and to guide it better indoors, methods and various techniques have been proposed that this has been made possible by designing the windows.
How light distribution, light direction and angle, brightness and glare light the way for quality properties are in space. If the quality of the space light with uniform light distribution pattern is no glare and brightness the direction and angle of the light, was significant and could lead to direct worship activities, design elements windows are designed to create a spiritual atmosphere. Field observations, simulations and photography time lapse all agree on the accuracy of a comment.
On Time lapse photography in field study day, light Direction in the sunrise from altar started and by moving on the west wall of altar, goes toward the floor.
Stains of light in space until around 10 am to the end And then uniform illumination without light spots flows in space Then, at about 3.5 pm stains slowly began to emerge in the middle of the dome home And approaching the sunset, Moving them from the floor started And to the east wall and Grive are to be continued.
There is no stain in Hakim Mosque due to lack of windows in Grive But the other four mosques as is apparent.
Natural light distribution pattern, the distribution, direction and angle of the light in mosques other than Sheikh lotfollah mosque has a lot of similarities. Although the mosques mentioned in terms of dimensions, space proportions and geometry of windows are different But lighting¢s are very similar. If the observer in the dome home sit for hours fixed in position, through the direction light (sunrise to sunset) in the space noticed the passage of time and the approximate time of day. In all the mosques, if someone sunrise at dome to sit expected, the first light stains on altar or near it to attract his attention. Movement of light in all five mosques are the same. In the gaze of the viewer of the altar, the altar of the entire space in the entire day seems brighter. Although the plan for software simulation, light intensity at the beginning of the arrival of more show floor But from a visual point of view, the altar brighter. Of course this pattern in the Sheikh Lotfollah Mosque due to differences in the way in to space is somewhat different. Altar in the plan and the visual appearance is brighter than the entire space. Brightness reaches sixty lux but the average brightness of one hundred to three hundred lux varies between four mosques.
Despite the differences in the historical period architectural features of mosques and the domes, but they warrant the same lighting pattern. Iranian architecture, despite the complexity and diversity of the immense space of a few uses spatial patterns.
In fact, the pattern can lead to mixed results in its products. Lighting contemporary mosques, free from dependency on artificial lighting, natural light also does not have a meaningful pattern. Although the pattern does not dam architectural creativity in creating new spaces and its formation, is inherently creative process But the meaning of creativity in contemporary architectural culture has changed.

The knowledge of environmental design process describes and explains the fundations of self-conscious design of the man-made environment and is always rooted in polemical theories. Hence, theoretical foundations play a pivotal role with a strong and generalizable support in design, in order to be able to recognize the borders required in the creation process. The purpose of this research is to present an applied model of the design process taking into account the ontological approach in Islamic philosophy. The methodology of this paper is comparative and argumentative. In this regard, a series of similar and equal orders in the basics of Islamic ontology (perceptions and types of essence of perception and essence levels) and phenomenology, in proportion to the process of creating and visualizing an artistic product, in order to establish a functional model in The architecture design process is compared and explained. The research approach is a five-dimensional model of "Tarif, Tabiin, Tasvir, Tadvin and Talif" in the process of architectural design in accordance with the varieties of substance and human perception. In the Tarif step, in accordance with the design theme, the principles and aspirations of the architect designer are determined by the various life-worlds, and can be received. In this step, the designer, with intellectual freedom and in various ways, expresses his conceptual and idealistic concepts of his hypothetical architecture. The second step is the Tabiin of the relative state and is interpreted and adjusted in time and field. The Tabiin step, in addition to identifying the project's nature, leads to analyze and the establishment of various diagrams of spatial relationships, functional, physical planning, and so on. In the third step, Tasvir, imagery and the role of creativity are significant and the layout of the project is created. The Tadvin step in the design process means arranging and arranging components and evaluations after the creation of the form. At this stage, the form is arranged in relation to the creation of space, and the focus is removed from the mass of architecture and the relation between mass and space is transmitted. At the step of Talif, the architectural work is of soul and life and as a living phenomenon with a distinct identity in conjunction with other phenomena in the system of the universe. The use of this proposed model in the design process, due to the experimental nature as well as the content connectivity with the principles of Islamic ontology, paves the way for a tangible understanding of the complex design path and, on the other hand, gives rise to freedom of action for designers and architects.