نشریه پژوهش های معماری اسلامی
سال پنجم شماره 2 (پیاپی 15، تابستان 1396)

So far, insufficiency of fluency non-native patterns in urban planning system and reliance on imported versions in our urban planning, which has imposed heavy consequences on our organization city. Superficial imitation of the patterns and lack of inclusion of indigenous socio-cultural foundations, not only failed due to an intolerance to adapt with Iranian-Islamic identity of the city but also but sometimes incomplete or improper implementation of them, has created double dilemma. Glorious history of Islamic civilization is full of strong evidence to show that always Muslims with intelligence and interaction with other cultures can use positive approaches of the others, Of course, in this way the main source was the Qoran and the Prophet (PBUH) and the Ahlul Bayt method. Therefore, localization and using benefit of the positive achievements, in particular the successful experiences, it can be catalyst and facilitator to achieve a model of their own culture. In this context and to respond to the significant challenges of development and conservation issues in the context of historical Islamic cities ,in this study scrutinizes, integrated urban regeneration policy and according to the contextually logic and its components, introduced native model of integrated urban regeneration in the context of historical Islamic cities.

Obviously this issue is possible, after becoming today›s one-dimensional man and as a result imbalances in the structure of the city caused cultural gap and injection of indigenous component, only through recognition of the Islamic identity of the city and its components based on Islamic thought. Qualitative methods of this study, with descriptive-analytic approach, gathers information through using documentary. The main sources are the urban regeneration literature and the Book of God, Imams traditions, legacy of Islamic cities.Every religion can be clearly reflected in the construction of the physical, economic, social, cultural and geographical spaces which can be observed under the realm of religion. Islam binds importance and value of city to scale of its spirituality of the people. Therefore, Islamism of city depends on can present the principles and values that Word of God has defined to the Muslim community. A Islamic city is Islamic if  its physical aspect is manifestation and expression of Islamic values for human life and the basis of the attributes of divine action; Absolutely in such this structure, unison of material and spiritual components to unity, in totality-unity in diversity- must be fulfilled; Such that human virtues such as justice, moral virtues for example honesty, safety and security and in general all religious good nesses are plentiful in the Islamic utopia and of course, in considering to  physical aspect will not  never neglect the virtues and somehow is going to be built in such spaces that have virtue and reminder for human. Meanwhile the urban context, both historical and new, is objective space as constituents of the Islamic city in association with intellectual and practical space follow the realization of a goal.

According to Islamic teachings, the ultimate goal of human is perfection and excellence that will not be possible unless we pay attention to God, therefore, in the Islamic urban planning all components must be noted and used to improve human. The deteriorated texture problems in the structure of our modern cities, not new and not fully solved and so far main part of this problem goes to the logic of policies that have been adopted. Nowadays, decision-makers face trouble because of lack of the pattern which adaptive to social, economic, and geographical attributes of country and rely on imported patterns. More patterns arising from the capitalist system that except their own interests, and not pursuing another target. It is clear that the adoption and use of global patterns not only is not required and pre assigned version for all cultures and nations, but also is not in many cases definitive. So it seems to achieve Islamic-Iranian model of progress, first, it should recognized basic principles of common pattern in all aspects of decision-making in solving problem and then be recognized main assumptions underlying them and adapted to the culture and conditions. Therefore, understanding the process of change and protection of them is key to integrated urban regeneration. In this study, Based on theoretical principles of Islamic city, model for integrated urban regeneration process in historical context are explained and localized, from this perspective lack of comprehensive theoretical mechanism for dealing with the deteriorated historical context in modern cities of our country will solved.

Islamic ethics as the controlling system of behaviors has defined the rights of an individual and society and Fiqh (jurisprudence) explains behavioral patterns in accordance with Shari›a (law). Given that each space is shaped according to behavioral pattern of its residents, the mechanism of interpretation and implementation of Islamic Shari›a is reflected in architecture and urban planning process of traditional cities and their environment is actually considered as an interaction between these sciences and planning and implementation process. Islamic ethics as one of the infrastructures of the Iranian Islamic civilization has played a strategic role. Purifying the conscience, providing mental and physical health, and removing human faults are the functions of ethics; however, social life is managed by law. Justice, according to many philosophers, and is regarded as the main basis of law. That is, the legislator must follow the rules of justice. Numerous violations in Iranian urbanism and agriculture along with changing the gardens and farms into residential, commercial, etc. usage result from the wrong infrastructure which has been developed by the decisions of High Council of Urbanism and Architecture and Artcile5 Commission. To improve general culture and to respect the laws and regulations associated with urbanism and architecture, first of all this framework and its forming factors which have legalized the purchase and sale of violations must be amended.

Inscriptions are considered as one of the most significant form of decorations that have been used mostly in the mihrabs and involve Quranic verses, prophet’s sayings, religious expressions as well as the date and the name of their creators. The stuccoed mihrabs of the Seljuk and Ilkhanid periods were no exception in which the inscriptions have many visual features including using a letter/ word or a decorative form at 45° angles of the inscriptions all around the mihrabs. The aim of this research, therefore, is to identify different kinds of these letters/ words or decorative forms in the inscriptions carved around the mihrabs created during the 12th and 14th centuries and compare them with each other. Thus, the following question has been put to be answered: what are different kinds of decorative forms used in the inscriptions of the stuccoed mihrabs created during the Seljuk and Ilkhanid periods and what are their similarities and differences in terms of their functions?

This research is carried out using a historical-comparative method. Regarding the innovative theme of the article, first the attempt has been made to identify how decorative form in the inscription of the mihrab is used. Then, the researcher has tried to find this decorative form in the stuccoed mihrabs of the 12th and 14th centuries. Then, the letters/ words or the decorative forms of these mihrabs are compared and their significant features are described.
  The data was collected mostly from the selected samples through field researches, i.e. photography and linear designs of the images and the provided pictures are drawn using Photoshop and Matrix. The library resources are also used to introduce the historical records and describe the stuccoed mihrabs.

The results, obtained from studying 22 stuccoed mihrabs assigned to Seljuk and Ilkhanid periods, show that, in each period, it was common to use a word similar to لا »  «or decorative forms at 45° angles of the inscriptions around the mihrabs and they can be seen in different forms: using a single letter of the inscription (separately) that are diagonal (symmetrical) at angles; using a form like the word لا that is sometimes simple and sometimes elaborate and with detailed decorations. According to studies and the samples obtained from the above decorative form, the لا-like decorative forms can be classified into different groups that involve various types in terms of: 1) vaiation in node-like forms of the letters ل and ا and 2) the relation between the decorative form and the margin box, decoration or inscription. The node-shaped variation is such that the letters ل and ا are tied together in the middle and this tied part can be classified as triangle, square or rectangle and circle. The complexity of knitting these two letters is different and in some samples, it is so elaborate. The way these letters/ words or the decorative form are used in angles can also be considered because sometimes it is related to the margins and walls of the frame and is located such a way that its relation with the upper or lower lines of the border frame is definite and sometimes it is independently located at 45° without having to be attached to the margin box. According to the distinction of this decoration form, which varies from the sixth century to the 12th century, we can point out that at the angles of the stuccoed mihrabs of Ilkhanid period, more elaborate and detailed لا-like decorative forms were used compared with the Seljuk period and also, during the Ilkhanid period, this form has been changed to a pine fruit/ tear with various decorations this decorative form has been widely used in the inscription of the stuccoed mihrab.

In the history of architecture, since the architects sought to enter the light inside and as a result, its relationship with external conditions, the concept of transparency has been studied. Therefore, elements such as glass have been used to create transparency and entering the light. But because of lack of technical knowledge to achieve that goal, the less successes have been achieved. By the beginning of Modern architecture in the world, some new words come into the literature of architecture such as the theory of transparency in architecture. Actually transparency is an expression of the thoughts and ideals of Modern architecture in the shape of own self.
On the other hand, deployment of transparency in the form of glassy architecture, created the base of criticism for its widespread use by critics of modernism. Colin Rowe and Robert Slutsky in the article “The Literal and the phenomenal transparency” presented an integral definition of transparency that could help Postmodern view about transparency. At the first, they classify the Literal transparency as the perceptual or spectacular one, and phenomenal transparency as the conceptual or readable one. Literal transparency actually refers to light permeability of materials and Interference indoor and outdoor spaces. A concept that could be considered as influenced by cubist painting techniques and aesthetics of Modern architecture.
The other statement of transparency, which is often used in the architecture of most of the world, is traction and appeal to create a sequence of spaces inside and outside the building. Which we can see the appearance of a perfect sample of it in Iranian architecture. In Iranian Islamic architecture that the valuable and exalted heritage of our ancients was the concepts of light and its different forms of that in wisdom, philosophy and art, not only before Islam but also after that.
The question is that how was transparency in Iranian Islamic architecture and what are conceptual differences between modern and postmodern architecture with Iranian Islamic architectural transparency. Transparency is among most important architectural issues that are rarely addressed. This importance is because of the comparison of some viewpoints about concept of transparency in the eras of Modern, Post-modern architecture and Iranian Islamic architecture to achieving principles of the formation of the concept and its types with aim to precise definition of structural concepts of objective and subjective.
The Article based on analyzing texts and collected data through librarian search and some documentaries. To narrow the scope of work, the evolution of transparency in the modern and post-modern movement. At first express types of transparency in modern architecture, postmodern and Iran›s Islamic architecture then study Comparative Comparison them and finally, explain and evaluate the transparency of Iran›s Islamic architecture.
This article expresses some kinds of transparency and divides it to Three Categories: Literal transparency, Phenomenal transparency and Semantic transparency and then analyses the philosophical and aesthetic based on architecture of modern, postmodern and Iranian Islamic architects. In this paper, we try to describe the features of transparency by considering of this parameter in modern architecture. After all, transparency in Iranian Islamic architecture is based on the concepts explained. With this method, the use of transparency in each of these eras has been explained and then used in a timeline, and finally examined the evolution of this application.
About achievement of this study to previous examples can be cited to this point what›s that Spatial transparency in the evolution of Iranian architecture introduced by Hadi Mirmiran, which means increased space and reduced material is on properties of Literal transparency more and based on the theory of modernism and is similar to Bruno Zevi,s view.
While results of this study, in addition to the above, in Iranian Islamic architecture, phenomenal transparency and semantic transparency are more and existence of major mental clarity (not objective). In the Iranian Islamic architecture and contrary to the last ones, we can give a hint, that the explanation of Iranian architecture with the modern architecture’s language instead of its Islamic and Iranian language is so wrong. Actually we ignore and connive at some parameters by this viewing. In fact, with dealing like visual material these concepts, a lot of deep cultural concepts in Islamic architecture will be ignored.

Man has always been from the beginning of creation, with the Elimination of the name of the shelter challenge was to hand. Humans have always had a place and environment need to protect themselves from the invaders and the conditions in the harbor. Early human, from the beginning, a kind of natural caves that meet this need, were chosen. With the passage of time and the more familiar with different aspects of the human surroundings and his innate needs, sought to find the answer to this need. After the historical epochs, one of the tools and features found in natural, long step in to resolve their needs. He was able to remove this human place, making renewable way. In order to solve this crisis, due to being interdisciplinary research, beginning with the heuristic method and citation study, understanding the factors influencing the culture as well as religious influences on space›s body home. Then with the examination and investigation of a few examples of the Qajar era homes in the city of Ardabil, the understanding of the cultural values of the Islamic world view that the architectural pattern (figure House) leads.
Continue to mention the cultural values of the Islamic world view of influencing the housing and manifestation of these values in the space of a home had reviewed in this research were discussed, which is as follows: Veil-cooperation-cleanliness-contentment-pivot and obey God-humility. Veil, had split the housing in the form of directions (vestibule), the definition of communication spaces, using distinct entrance door, observe the hierarchy of public space and access to a private, defined and limited communication with the external environment as well as easy access to spaces at will. Cooperation, in a book review about homes had space devoted to communicating with neighbors and devote the best space (from the King) has been flashed to the guests.
The purity of the two means physical and mental form, with the placement service is out of the House, the embedded space for shoes, Ken (entrance porch), the presence of flowers and plants and the proper utilization of light and air as well as the presence of water in the chart space dock. Contentment with regard to the dimensions of the external body proportions (thumb), pay attention to the dimensions of the Interior proportions, simplicity of form and the correct investment of mass to reduce energy consumption in buildings is reviewed on the form. Pivot and obey God in the House had reviewed, with addressing abstract decorations (induce spiritual sense) in the atmosphere inside the building, and pay attention to the apparent manifestation of worship, space allocation. Humility also according to abstain from panache and align with the environment by machines (abstain from physical personhood) appeared. Finally, with the cultural values of the referenced in the measurement of the House in the town of Ardabil, Qajari results showing acceptable adherence to these principles and values of homes of Islamic culture. In the end, with the understanding of these factors and values can be used to regenerate the rich architecture and culture from the past of this land.

In traditional architecture, the adherence of architects to the rules and proportions in numbers, geometry and music is present in designing and shaping many public monuments, and mathematical proportions, artistic ratios, or musical proportions are used in geometry of these buildings. Extracting and matching mathematical rules and proportions and examining them in the architecture of the traditional buildings are among complex issues which are well-worth for further analysis. The present article is aimed at finding the link between «architecture and music», «architecture and mathematics» and «music and mathematics» and determining the boundaries and mutual points of these sciences. The objective was to reorganize geometric pattern in Jelokhan of Sheikh Lotfollah Mosque in city of Isfahan and the linkage of its Asemaneh of the dome with music.This is a theoretical research and its theoretical basis is carried out with a historical interpretation method. Logical reasoning has been used in investigating Jelokhan and Asemaneh of Sheikh Lotfollah Mosque in Isfahan. In order to fulfill the purpose of the sudy, the relations between «architecture and music» and «architecture and mathematics» were analyzed in the form of a concept as «music-math» in architecture for adaptation. In examining the relationship between architecture and music, the researchers faced many stances. For instance, some authors believed that architecture is an expression of music in its further development or in its evolution, while some others indicated that architecture is the frozen music in space.Thus, to understand the relationship between music and architecture, you need to understand the language of both along with finding their mutual ties. Therefore, in extracting common principles and characteristics that include criteria, similarities and symmetries while keeping in the mind the relative importance of measuring the relationship between architecture and music, we analyzed it in terms of rhythm, equilibrium, balance, symmetry, high and low points, decoration and beauty of decorations, color, hearing sensation, pleasure, and quantitative role of numbers. In examining the relationship between architecture and mathematics, math is also considered as the purest type of thought and one of the main causes of human closeness to God. That is probably why most traditional architects bring math ideas into architectural designs so as to verify their beliefs about the Creator and the natural world around us. Mathematical expressions in architecture can be expressed numerically, symbolically, philosophically, creatively, conceptually through numerical ratios. Finally, in explaining the concept of «music-math» in architecture, we need to determine the extent to which musical and mathematical uses of architecture are parallel, shared, and reciprocal. In scrutinizing the proportions between architecture and music, architecture and mathematics, principles and common standards such as equilibrium, balance and symmetry, decorations and proportions, hearing sensation, numerical philosophy, numerical proportions, graphic geometry and numerical relations were obtained. In order to elucidate the theoretical findings of the research which are explained by the relation among the concepts of music, mathematics and architecture, we focused on Jelokhan and Asemaneh of Sheikh Lotfollah Mosque in Isfahan. The discovery of a hidden geometry in the depth of Jelokhan combined with Iranian Dastgahi music and mathematics along with finding a harmonic pattern in abstract patterns of the dome of Asemaneh coincided with changes in the frequency of the notes reflects its architect›s adherence to the principles of music and math in the architecture of this mosque. The proportions and rules contained in the musical, architectural, and mathematical Jelokhan of the mosque were analyzed through the fact that most geometric points of Jelokhan from the beginning to the end, the main lines, the lines of symmetry, the vaults, the lines of the Mogharnas, and many of the details of the mosque›s Jelokhan were built based on a pattern which is formed in a modular compendium of mathematics and music using the similarity of the Shur-e Sol Dastgah. Besides, the beautiful harmony of this Iranian Dastgah is seen in Jelokhan of the mosque and the walls of the Naghsh-e Jahan Square. In addition, the harmony of this Dastgah is present in heavenly decoration of mosque’s Asemaneh; decorations that, similar to orthogonal mathematical models are aggregated or opened. These harmonic decorations are a certificate of fine and delicate musical notes or an increase in the frequency of notes in Shur Dastgah.

A review of the history of architectural conservation implies that ontological attitude of scholars and theorists in the field of historic places› conservation is one of the most important principles of conservation theories. Those features of historic places which are considered as more significant at the moment of recognition are often turned into an issue for conservation. However, there is not a clear understanding of such an issue, especially its theoretical basics, in Iran›s today community.
Accordingly, this paper explores the ontology of historic places by relying on Transcendental Wisdom ascribed to Sadr al-Moto›alehin Shirazi and based on the doctorine of «Principality of the Existence» which offers an explication of the existence of material beings. In this line, the mentioned relations between «material and form», «form and meaning» and «extrinsic and intrinsic aspects of things» in the system of Transcendental Wisdom and also the theory of Substantial Motion and its explanation apropos the fluid existence of material beings and finally transcendentalism›s conceptualization of the relation between «existent» and «being» in the world›s system are the main views taken from such a philosophy. In all, since this study is in line with Sadraei›s philosophy it enjoys analytical-philosophical nature and employs logical reasoning and analogical methodology.
Respectively, the historic place is scrutinized from three aspects. The first aspect refers to such a place «as a single measurable totality» whereas the other two aspects regard it «as a changeable totality» and «as an element within the contextual measures».
With respect to the first aspect, the existence of the historic place is considered as a measurable element enjoying several levels of emergence. These levels constitute the triple aspects of meaning, form (and its extrinsic determinations) and material. Also, corresponding to each aspect, the historic place gains some measures. Consequently, regarding the measures of any historic place, we can talk about the measures referring to meaning, form (intrinsic and extrinsic measures) and material.
Moreover, among these levels, each level is more significant than the lower levels representing the existence of the historic place. In other words, the existence of the historic place is manifested in its intrinsic form and meaning more than anything else and the material as well as the extrinsic determinations of the form are simply the manifestations or, in a word, the context for the emergence of the historic place›s existence. However, a historic place is finally a single entity which has existential integrity and the aforementioned levels are not separate from each other in reality.
Then, the temporality and mixing of the historic place›s existence with change is considered. In this respect, relying on the theory of Substantial Motion, the historic place is regarded as a «changeable totality» and evolving issue mingled with time. In this respect, the historic place is a fluid entity, not an object, which is a permanent becoming; it is a gradually-occurring matter and is like an entity scattered in time whose past and future constitute different parts of a single entity. Thus, in reality, we cannot talk about persistence and consistency in the existence of the historic place and just the issue of continuity in its existence can be raised. This continuity is possible due to the becoming on the orbit of measures referring to its particular existence. But the question that other than the measures of the historic place in the mentioned triple aspects what other measures referring to its particular existence can be found paves the way for paying attention to another aspect of its existence.In this aspect, the historic place is considered not as a single totality but as a part of its surrounding world which can be the world in the broadest scope. It is argued that simply recognizing the elements within the existence of the historic place cannot provide full knowledge of it and it is necessary to consider its inevitable relation to the environment or more general context. Accordingly, the historic place as an entity becomes the manifestation of «being» and its validity depends on such a manifestation. In this aspect, the historic place becomes the manifestation (relatively speaking) of the names and attributes of the being and the regularities originated from it and, consequently, it is located under the existential systems of the world and its manifestations in the natural as well as the cultural world. These systems or orders have some manifestations in the nature such as a number of laws referring to qualitative and quantitative aspects of the place (meaning, form and material). In this respect, the cultural measures and orders receive their validity via corresponding to existential systems and thus they can be used as a criterion for the existence of the historic place.
In general, from the perspective of this study, the historic place is first and foremost an «integrated totality and objective measurable entity which changes permanently» while its particular measures (in the triple levels of meaning, form and material) are located under the existential systems manifested in the natural as well as cultural rules. It should also be considered that the validity of the historic place›s existence depends on its capacity to manifest the existential systems. Thus, the constant and necessary matter in it is the very orders or existential measures manifested in it which can be called «the aspect of being» or «Allah›s aspect» in a word.