The brick ORNAMENTATION in Islamic ARCHITECTURE represents the unique skill of the architectural artis ts and we have seen the perfection of this kind of art during the Seljuk period. There is little information about the process of developing brick art in the ARCHITECTURE of Islamic mosque in Iran, and it has not yet been dealt with as it is worthy of this precious art. Therefore, it is necessary to carry out further research in this regard due to its importance in IRANIAN ARCHITECTURE. In this research, through library s tudies and with a descriptive-analytical approach, the trend of development of bricks ornament in the ARCHITECTURE of the Islamic mosques of Iran from the beginning to the end of the Ilkhan era, as well as the causes of importance and development to the bricks of the Seljuk period were s tudied. The brickwork decoration in the Islamic ARCHITECTURE of Iran gradually begins from the third century A. H. Generally speaking, the early Islamic centuries can be considered as the formation and development of brickwork ORNAMENTATION, which reaches its peak in the Seljuk era, thus the riches t brick-making projects develops in this era, because during this period, artis ts managed to create numerous works and s tructures with the element due to the calm and s tability of the Seljuk territory. After this period, bricklaying works continued during the Kharazmshahi era in the Khorasan area, and in the course of the Ilkhani period, its development was reduced and other techniques such as acrography and tiling were popularized.

This paper aims to introduce a previously unknown feature of a family of girih designs. This research is seeking to answer the question that “ With what mathematical pattern does subdividing girih goes on? ” Results show that in repeatedly subdividing girih, by maintaining the size of the polygons, frames grows in a sequence with properties of a generalization of Fibonacci. Some realworld samples, that are put together, show the same properties. This feature could in the future be used to design and analyze girihs. These applications are discussed in the latter sections of the paper.

This article is derived from the Ph.D. thesis of the author which is about the role of spirituality in the IRANIAN home and ARCHITECTURE (here the word home has a double meaning both as an architectural concept and a spiritual one). Proceeding to the topic Meaning and Spirituality both in the broader context of philosophy and wisdom and the narrower one of art and ARCHITECTURE is preceded by defining some basic concepts like appearance and inward principles and then introducing four cognitive levels according to their epistemological importance (chart one). To understand spirituality, the levels of human awareness and cognition must be explained thoroughly; since they are human’s intellectual activities at hand. For the very reason that the four cognitive levels are man’s intellectual achievements (intellect either in the form of logos or reason), logos and reasons are explained afterwards and the relations between these two are shown from several different perspectives (to which the second chart is dedicated). In the first part of this essay and as a theoretical base for discourse, the four cognitive levels and types of knowledge, function as a means for the explanation of meaning and spirituality and in the third chart the relation between meaning and spirituality in wisdom and philosophy and on the other hand with logos and reason is presented.In the second part the professional field of art and ARCHITECTURE is investigated and the spiritual art is defined. Spiritual art is substantially an inward based on reflection and contemplation thus Persian art and subsequently Persian ARCHITECTURE is dependent on these activities. Therefore, those intrinsic matters like states of sharia, creed and truth which run through spirituality and spiritual art transmit into Persian art and the ARCHITECTURE, navigating the mystic from the world of appearances to that of numinous. This centripetal movement holds man’s being towards god. This attitude (being towards god) is proposed to be the sign for presentness of "Aan" (a spiritual momentum or better saying a very special spiritual state). An "aan" which belongs to the mystical world, achieved in revelations and intuitions of the artist would be then expressed in his art. Moreover, this is a hint showing that the heart of spiritual art at the same time is simultaneously present and absent. So briefly speaking, a spiritual artist is he who has an "Aan" in his works. This "Aan" is immediately grasped by the inner eye or intuition of the beholder for it is emanated by the same exact source, to say, heart and soul.At the end of this essay and as a summery, it is concluded that in Persian wisdom, meaning and spirituality are equal and for that exact reason are equal in Persian art and ARCHITECTURE too. That’s why a compulsion to obtain a certain degree of spirituality, for client, architect and beholder is evident as a precondition for achieving harmony with Persian ARCHITECTURE. Finally, it should be mentioned that an analytical expressive methodology, with quality based methods are used in this research.

Geometry is considered one of the fundamental structures of IRANIAN traditional art and ARCHITECTURE, and some of its displays can be seen in most of fine ancient works. Studying geometry, as one of the main fields of IRANIAN art and ARCHITECTURE, is of more importance when it comes to the word of ARCHITECTURE, as it seems impossible to define it without relying on geometry. ARCHITECTURE has been founded on "construction" as it is necessary to utilize accurate geometry and order; and in ARCHITECTURE, Order and planning are manifested as geometry. In other words, the basic factor that makes different parts of ARCHITECTURE united is nothing but geometry, and through this uniting and coordination between parts of ARCHITECTURE culture the survival and endurance of that culture becomes possible. In general, order and geometric plan assists the designer to predict the course of the plan and design. Not only the IRANIAN traditional ARCHITECTURE works from the ancient times to the Islamic era have been relied upon the geometric principles, but also the contemporary ARCHITECTURE is based on such principles. This study is concentrated on the exact recognition of geometric principles, intellectual roots and theoretical basics of IRANIAN traditional ARCHITECTURE in addition to the analysis of the advent of such items in the contemporary ARCHITECTURE. The main aim of this research is to recognize the geometric principles of the traditional ARCHITECTURE and its application in the contemporary ARCHITECTURE. In other words, we aim to answer to the question, what are the geometric principles of the traditional ARCHITECTURE and how is the manifestation of such principles in the contemporary ARCHITECTURE? The results show that the use of geometric order in the plan, along with the application of hidden geometry and creation of geometric understanding through the static sense have been more applied in the contemporary ARCHITECTURE compared to other characteristics of IRANIAN traditional ARCHITECTURE and the traditional ARCHITECTURE archetypes and motives have always attracted contemporary architects.

Due to avoiding utilization of human figures and abstaining from idolatry, decorations have specific geometry in Islamic art and ARCHITECTURE. One of the striking characteristics of the knots (girih) that has caused to dynamicity throughout its thousand-year history is its regeneration and diversification of the diverse geometric properties. Girih tiling decoration is part of geometric arts in the traditional buildings of the historic town of Masouleh dates back to eight hundred years. Traditional and local architects of this historical town have adopted special and intellectual plans for creating visual attractions in expression and creation of girih tiling in the walls of the monuments. One of these valuable solutions is diverse geometric decorations patterns. Since the main facades of the houses in this town are directly located in the sunrise direction and it is accepted landscape for the citizens of this historical town, so the artists have shown their art and style in this part of the monument and built beautiful and harmonic diverse wooden windows and variety of these patterns are seen in all five neighborhoods in this town. Girih tiling consists of straight and broken lines on a regular basis that could be reasonably expanded in the surface. In the present study, it has been tried to classify the decorations in girih tiling in the neighborhood of Masouleh and also investigate girih tiling including scrolls and edges, and also the role of decoration in this element. The methodology of the research is based on field study and direct observation of the monuments and decorations and taking image and converting into Auto CAD files with dimensional analysis. Also, for description of girih tiling, descriptive and library studies have been conducted. Questions that the research seeks to answer in this paper are: Can it 8 D be offered a defined pattern for opening girih tilingby analyzing of the decorations in neighborhood of Khanehbar in Masouleh? And also is the largest usage of the patterns seen in scrolls (middle or central plan)? Does scroll use most patterns in its margins? The girih tiling patterns of “gavarehbari” with “boteh jegeh” designs (paisley), eight squares ornamental layout, rectangular, “hasht-chahr longeh tokhmedar”, and gavarehbari with the scales patterns are more common patterns. Fourteen patterns were seen in studying the girih tiling patterns employed in the combined windows that “alat jafari chokhati” and then rectangular tiling and seven and eight sides tiling patterns were common. The patterns used in the friezes are mostly eight squares layouts. The most common patterns in the margins are four- side tiling in all parts. Diverse patterns of girih tiling, besides with diverse combinations resulted from placing together and offering shapes in the friezes and marginal patterns have offered rich visual ORNAMENTATION in the historical city of Masouleh. Such studies aid reproduction of these patterns in the contemporary fine arts while preservation and documentation of the fine and visual patterns in the IRANIAN girih tiling.

Identifying and studying the evolutions and developments of Islamic monuments lead to the fact that the evolutionary course of these buildings continues previous traditions. It can be said that the consistent influence of Islamic culture in different periods is one of the reasons for the continuity of such traditions. In other words, in each period the traditions and patterns of the previous period were utilized according to the need and developments. In this regard, school can be assumed as a foundation for higher education and a response to the specific needs of the Muslim community.Among others, Khargerd Ghyasiye School, as an outstanding school in Timurid period, and Chaharbagh School, as the most elegant school in Safavid period and as an extender of architectural traditions of Timurid schools, are of high importance in terms of ARCHITECTURE and decoration. Hence, as in late Timurid period ARCHITECTURE reached its peak, this hypothesis can be proposed that the ARCHITECTURE and decoration in Chaharbagh School has been affected by those of Khargerd School.This study aims at evaluating and comparing the ARCHITECTURE and decoration of these two buildings by using analytical-comparative method, library and field research.After completing the research, it has been concluded that Chaharbagh School has been affected by Ghiyasiye School with regard to the matched physical elements, proportions, some types of techniques, geometrical lines and Kufi lines. But this issue is not proven regarding the spatial structure, hierarchy, proximity, harmony with the climate, inscriptions and motifs. Most of decorative tilings of Ghiyasiye School are in the form of Arabesque designs and stronghold lines, while in Chaharbagh School they are in the form of geometrical, abstract and triangle lines that have mental and simple strength.

Understanding the invaluable history of IRANIAN ARCHITECTURE and utilizing its sustainable bases, principles and patterns can help us improve ARCHITECTURE both in the present and in the future. To understand IRANIAN ARCHITECTURE, it is essential that we can read it thoroughly and correctly; but before that, we need to have a comprehensive definition of it. So, the main question of this research is: How should we read IRANIAN ARCHITECTURE? And that question gives rise to two more questions: What is IRANIAN ARCHITECTURE? And why should we read it? To answer these questions, we first surveyed experts (in two groups: researchers and designers) for their viewpoints on IRANIAN ARCHITECTURE. The collected data were analyzed, categorized and codified in three groups: the definition, the necessity and the method of reading ARCHITECTURE. The findings are presented below as based on the three research questions: 1. What is IRANIAN ARCHITECTURE? The resulting data were coded into five categories: architect, goal, material, form and context. In this step, based on the codes, we adapted Aristotle’ s theory of the “ four causes of being” to develop a conceptual model of ARCHITECTURE including its four causes (material, formal, efficient and final) and its different types of contexts (natural, social and formal/physical). This model is aimed at finding an answer to the question “ What is IRANIAN ARCHITECTURE? ” and serves as a framework for the other two questions. 2. Why should we read the history of IRANIAN ARCHITECTURE? The collected data about the necessity of reading ARCHITECTURE were coded into three categories: extracting the principles, exploring the patterns and utilizing those principles and patterns in contemporary ARCHITECTURE. 3. How should we read IRANIAN ARCHITECTURE? By answering the previous two questions, we have approached the answer to the third question. Identifying the goals of reading and the relevant factors will guide us in reading ARCHITECTURE. To reach a practical method for reading ARCHITECTURE, we have drawn on our experiences in teaching university courses in architectural history as well as student activities. We will propose a five-stage reading process (description, analysis, criticism, instruction and practice) and three stages of reading (before, during and after visiting a building). Finally, we will present a checklist of the necessary activities for reading IRANIAN ARCHITECTURE and lay out the results of using the proposed reading method in five areas of ARCHITECTURE including education, research, production, media and policy-making.

Expression in IRANIAN ARCHITECTURE experience is the main point of this article. Today, the spaces remaining from this forgotten ARCHITECTURE make emotional connections with people. Observation of contemporary architectural experiences and their formal specialties shows that being powerful to make emotional connections between the built space and the man is the common ability of stylist architects.Now, in comparison with expressive contemporary masterpieces in the world of ARCHITECTURE, the purpose of this article is to prove that the IRANIAN ARCHITECTURE experience is an expressive one and unknown IRANIAN architects were skillful artists, who used the built space as a mould in order to express feelings and shape dialogue between man and space. They were more than just good building engineers.The qualitative analysis of contemporary architectural experiences shows that making emotional connection is the middle step of the process of architectural design, from engineering level to the level of meaning. In this middle step, architect expresses feelings, as a stylist artist, and he may use the way of mimesis or the method of expression. If he has mimicked, then ARCHITECTURE is volumes of built spaces, it is repeatable. In this way of building, nature is a tool for decorating the scene and man is just spectator of a position. But, if he has expressed feelings, then ARCHITECTURE is emotional, it is a situation which connects man to his life space. Here, nature is essential, light , water, wind, plant, etc have been abstracted from their reality in order to be design materials, and essential form of life space is unique and creative.If ARCHITECTURE is expressive, then it is a language: an order of words and their connections, which is laid beneath the surface of the artwork. As a branch of art, ARCHITECTURE has its own specific mould of expression: an order of things in the linguistic organization of the art of shaping human being's life space.Built space, which is recognized by four walls, a roof and a floor, is the mould of expression in ARCHITECTURE. There are many words in the language of ARCHITECTURE, which come together in this mould, to construct essential form of life space. Stylist architect may use natural words, artificial ones or a mixed of the two. Therefore, three types of essential form of space can be recognized.The ideal type of an architectural space is the one that its effect of expression occurs as a soft and hard space. Wall, roof and floor are hard materials and light, water, wind, plant, etc are the soft ones. The resultant is a life space which is as soft as hard is. It is flexible and lets the man to obtain the daily motion of the universe in his built living area. It means: in this way of design, the essential form of space follows lifestyle.IRANIAN ARCHITECTURE is an artistic experience with expressive effects. Five essential forms of this ARCHITECTURE are: IRANIAN gardens, palaces, houses, mosques and bazaar complex and elements of urban ARCHITECTURE.

romantic Movement is one of the most important movements of the early 19th century in European art and ARCHITECTURE. It had a definite impact on the formation of the ARCHITECTURE of the 19th century and the ARCHITECTURE of the modern era in Europe. This movement came to Iran by intellectuals, western (such as Godard) and IRANIAN architects, who had studied in European universities, in late Qajar and early Pahlavi era. The observation of some of the contemporary architectural works in Iran, which have evidently been under the influence of some of the stylistic tendencies of this movement, shows the entry of this western artistic movement into the IRANIAN contemporary ARCHITECTURE in Pahlavi period. But there are a few researches about the start and influences of this movement and its impacts on IRANIAN contemporary ARCHITECTURE. Generally in these few studies, two deficiencies are quite sensible. First, none of them could explain that based on what evidences the style of a building is romantic? And also how do we could predicate the Romanticism to the style of a building? And Second Most of these researches have studied the buildings which were made on first Pahlavi period whereas there are also many examples of this style on second Pahlavi era which have not been much discussion about them. Therefore this research first tries to answer this question that why we tell Romantic to the style of a building? And then tries to come close to a new stylistics of this western architectural movement in IRANIAN contemporary ARCHITECTURE with the help of comparative analysis of the Romantic architectural tendencies and it is social contexts in the west and a logical comparison of them in Iran. Also in the pursuit of this objective, this research will probe the possibility of classification of different branch of this style in the IRANIAN contemporary ARCHITECTURE with emphasizing to second Pahlavi era. In order to gain the objectives of this research, we will at first study and critique the opinions of the critics in recognition of the style and stylistic specifications of Romanticism in the backdrop of its formation and then we will classify different branch of this movement in the IRANIAN contemporary ARCHITECTURE by reviewing the examples of ARCHITECTURE influenced by this movement in Iran. At the end, this research will show that IRANIAN Romanticism is not exactly such as European Romanticism. It is only similar to that movement in some important contents. It also will show that there are three important sub-category of Romantic Movement in the ARCHITECTURE of the second Pahlaviera in IRANIAN contemporary ARCHITECTURE. These three sub-categories are respectively: vernacular ARCHITECTURE, traditionalism and historicism. Although these three sub- categories have a little difference in the stylistic analyses but they can be considered parts of the Romantic vast movement because all of them with taking advantages of the properties and values of IRANIAN vernacular and local ARCHITECTURE have resisted against the spread and absolute acceptance of modern ARCHITECTURE in IRANIAN contemporary ARCHITECTURE.