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Journal articles on the topic 'Islamic architecturens'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Abu elreish, Azhari Ebeid, and Eka Cahya Prima. "The Role of Culture on Islamic Architecture." Jurnal Kajian Peradaban Islam 4, no. 1 (April 25, 2021): 30–34. http://dx.doi.org/10.47076/jkpis.v4i1.42.

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Islamic architecture is an ongoing argument for an extended period. Is it Islamic architecture, Muslim architecture, or architecture in Islam? Is it just visual elements or a way to use the inner space? Whatever the answer is, we will use the term Islamic architecture in this paper. To search and dig out the identities of so-called Islamics. This paper is seeking after these identities and their relations with Islamic culture to solve international architecture concepts without modifications or adaptation. The main goal is to extract the sociocultural aspects that define that architecture to be called Islamic Architecture. An analytical research method uses some attempts to interact the environmental conditions and social aspects with cultural and religious values to define Islamic architecture's identity. The study result and summary could be used to evaluate the satisfaction of the built environment of Muslims when and wherever they are. As a comprehensive result, Islamic Design Principles, Islamic Planning Principles, and Islamic Urban Design Principles could be extracted from Islamic sources and used everywhere at any time by anybody. These design principles may be used to upgrade the workability of the existing residential buildings simply by revising the opening's location, heights, and treatments. Architecture with that dynamic, flexible culture gives its identity a chance to compete globally to survive locally.

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2

Gaber, Tammy. "In Pursuit of “Islamic Art and Architecture”." American Journal of Islam and Society 26, no. 2 (April 1, 2009): 102–9. http://dx.doi.org/10.35632/ajis.v26i2.1410.

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Books Reviewed: Richard Yeomans. The Art and Architecture of IslamicCairo. United Kingdom: Garnet Publishing, 2006; Doris Behrens-Aboseif.Cairo of the Mamluks: A History of the Architecture and Its Culture. UnitedKingdom: I.B. Tauris, 2007. GeorgeMichell. The Majesty ofMughalDecoration:The Art and Architecture of Islamic India. New York: Thames andHudson, 2007.Many people take it for granted that the blanket term Islamic art and architectureis sufficient to convey the vast production carried out in the name ofIslam; however, they often have a limited vision of what this term actuallyentails. Islam’s time span (fourteen centuries and counting) and geography(historically ranging from Spain to China) simply means that the art andarchitecture produced in its name deserves a more detailed and accountablepresentation of fact. In other words, it would be unthinkable for scholars touse a term like Christian art and architecture instead of such specific termsas Byzantine, Romanesque, and Gothic, each of which relates to a specifictime and place. Thus, the vocabulary of understanding the production of artand architecture in Islam’s name requires the use and understanding of clearterms and deserves specific publication and study ...

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3

Blessing, Patricia. "Teaching Islamic Architecture." Journal of Medieval Worlds 2, no. 3-4 (2020): 124–33. http://dx.doi.org/10.1525/jmw.2020.2.3-4.124.

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4

Ali, Ayat, Nangkula Utaberta, Mastor Surat, and Maryam Qays Oleiwi. "Green Architecture and Islamic Architecture: The Islamic Arabic City and the Traditional Islamic House." Applied Mechanics and Materials 747 (March 2015): 24–27. http://dx.doi.org/10.4028/www.scientific.net/amm.747.24.

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The concept of sustainability or green architecture is not considered a new term, it is rather a concept embodied by the traditional architecture in different parts of the world since old ages via spontaneous and experimental compatibility. This compatibility is associated with the environment and with the efficient exploitation of the resources of the natural environment in accordance with the evolution of life and its means over the years. It is obvious to everyone the fact that the teachings of the Islamic religion include a lot of the principles of sustainability, which overlap with the social organization and behavior of the humanitarian community and are reflected on the production both at the level of urban planning standards for cities and urban agglomerations or the features of the traditional architecture. This paper is an attempt to define the concept of sustainability in the references of traditional Islamic architecture, in general and housing in particular, through a review of the relationship between man and the environment and its preservation within the Islamic perspective.

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5

Hashmi, Arsala. "Philosophy of Interior Design in Mughal Era Mosques of Lahore: A case study of Maryam Zamani and Wazir Khan Mosques." Journal of Art, Architecture and Built Environment 01, no. 02 (December 2018): 55–73. http://dx.doi.org/10.32350/jaabe.12.04.

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A great reflection and convergence of Persian, Turkish and Indian architecture is observed in Mughal architecture, which is known as a remarkably symmetrical and decorative amalgamation of these architectures. Muslim and non-Muslim scholars of history have appreciated, identified and recognized the extremely attractive Mughal signs, decorations and beautifications. It has been observed that Mughal architecture is not limited and specified to mosques only but has been used in all other Islamic buildings including their gardens. These signs and decorations have combined different features, elements and components of Islamic architecture and art together. Mughal era has been known as the greatest era which defined the splendid and extravagant phase of Islamic architecture. Therefore, the basic purpose of this paper is to find out how these features and decorations of Mughal architecture used in mosques stem from Islamic principles. The basic aim is to conduct the semiotic analysis of two mosques of Mughal era which have been selected for examination and identification. Hence, this study outlines the importance and scope of Mughal mosque architecture. It examines the decorative style used in this architecture by scrutinizing the basic characteristics of its structure. Moreover, it discovers the real purpose and spiritual meaning of these mosques. The spiritual values are considered significant as they influence the spirit that brings harmony in life. Throughout the Islamic world, this spiritual aspect has been observed as the most dominant factor and element which gives an important underlying message to all Islamic art. Mughals have played a significant role in Islamic art which cannot be ignored and avoided. The findings indicate that the typical Mughal mosques are not just mere representation of religious buildings or places for worship, instead they are something more than that. These mosques have their spiritual connection with art and architecture which cannot be ignored. Their color, shape, volume, texture, and designs all offer the fundamental message of Islam, the incarnation of “peace” and “submission” from which Mughal mosques derive their uniqueness in architecture.

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6

Sembiring, Sri Gunana, and Hastari Furqani. "Islamic Center Design with Islamic Architecture Design Approach." International Journal of Architecture and Urbanism 5, no. 2 (August 26, 2021): 182–92. http://dx.doi.org/10.32734/ijau.v5i2.6838.

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At the time of the Prophet, the mosque was a center for worship activities and economic activities, learning, socio-politics, etc. From this mosque environment, great figures in Islam were born who were not only strong in religion but also intellectually and mentally. However, the mosque has decreased in function now so that it is only a place of prayer. This phenomenon also occurs in the city of Medan, which is one of the largest cities in Indonesia, with the majority of the population being Muslim. Therefore, Medan often becomes the center of various activities, including Islamic religious activities in the area. Unfortunately, Medan does not yet have adequate facilities that can accommodate various Islamic religious activities, so it needs an activity center known as an Islamic center. The design of the Islamic center in the city of Medan solves design problems with an approach methodology ranging from literature studies, site surveys, and design concept analysis. This Islamic center applies a design concept by taking Islamic values that are not indifferent to the surrounding environment so that elements of the local culture are still considered. It is hoped that this Islamic center will not only be able to become a center of activity, especially Islamic religious activities in Medan, but also an area of learning about Islamic and local values in its design

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7

Reza, Shojaifard, and Zahra Sajadi. "A study of Islamic leaders' strategic role in Islamic architectures." Kom : casopis za religijske nauke 8, no. 3 (2019): 81–97. http://dx.doi.org/10.5937/kom1903081r.

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8

Wazeri, Yehia Hassan. "Architecture in the Islamic Vision." Journal of Islamic Architecture 6, no. 1 (June 9, 2020): 1–6. http://dx.doi.org/10.18860/jia.v6i1.7867.

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The Qur’an contains about eighteen verses that refer to the architecture of the earth. Nearly two hundred elements (terminologies) of architecture and town planning have been mentioned in the Quran. This paper aims to present examples from the Quran to shed light on the Islamic vision of architecture and art. It uses content analysis method to achieve the objective of the research. The analysis is done by studying and discussing verses of the Holy Quran, which is related to architecture and urbanism. One of the most important results of this research is to give distinct architectural and urban examples, include the following: building materials, environmental architecture, houses of insects, visual illusions in architecture, and the centrality of Mecca to the world. All of them is explained in the Qur’an verses, such as Al-Baqarah, An-Naml, An-Nahl, Al-Kahf, and Al-Fajr.

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9

Saljuqi, Ahmad Shoaib, and Abdul Naser Sawaby. "Decorative elements in Islamic architecture." International Journal of Advanced Academic Studies 2, no. 3 (July 1, 2020): 340–44. http://dx.doi.org/10.33545/27068919.2020.v2.i3e.173.

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10

Abdullah Y. Al-Tayib, Dr, and Wissam M. Y. Al-Shaikh Essa. "Rhythmic Structure in Islamic Architecture." AL-Rafdain Engineering Journal (AREJ) 13, no. 4 (December 28, 2005): 78–88. http://dx.doi.org/10.33899/rengj.2005.46187.

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11

Ewert, C. "Early Islamic Art and Architecture." Journal of Semitic Studies 49, no. 1 (March 1, 2004): 189–92. http://dx.doi.org/10.1093/jss/49.1.189.

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12

Dallas, R. W. A., and J. W. C. Gates. "PHOTOGRAMMETRY APPLIED TO ISLAMIC ARCHITECTURE." Photogrammetric Record 11, no. 65 (August 26, 2006): 603–6. http://dx.doi.org/10.1111/j.1477-9730.1985.tb00527.x.

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13

A. Mohamed, Mostafa, Ezzat A. Morghany, and Mohamed A. Mosa. "HUMAN VALUES IN ISLAMIC ARCHITECTURE." JES. Journal of Engineering Sciences 36, no. 4 (July 1, 2008): 1009–22. http://dx.doi.org/10.21608/jesaun.2008.118515.

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14

Rabbat, Nasser. "‘Islamic Architecture’ and the Profession." International Journal of Islamic Architecture 3, no. 1 (March 1, 2014): 37–40. http://dx.doi.org/10.1386/ijia.3.1.37_7.

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15

Gruber, Christiane. "Islamic Architecture on the Move." International Journal of Islamic Architecture 3, no. 2 (July 1, 2014): 241–64. http://dx.doi.org/10.1386/ijia.3.2.241_1.

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16

Hernawan, Wawan, Busro Busro, and Mudhofar Muffid. "Suluk Pesisiran dalam Arsitektur Masjid Agung Sang Cipta Rasa Cirebon, Indonesia." PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 10, no. 1 (July 8, 2021): 29–44. http://dx.doi.org/10.24164/pw.v10i1.378.

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The purpose of this paper is to analyze suluk on the architecture of Sang Cipta Rasa Great Mosque, Cirebon. The research is qualitative non-hypothetical through four stages of the historical method with multidisciplinary approach. The result of this research is that Wali Songo are brilliant in packaging Islamic teachings about the path to inner perfection in finding the authenticity of life leading to His goodness. Islamic teaching is not only preached through classical Javanese literary works (macapat, song) or performing arts (wayang, barong, topêng, and ronggêng), but also through mosque architecture. The conclusion of this research is that there is the beauty of coastal suluk teaching in a number of architectures element of Sang Cipta Rasa Grand Mosque. This study recommends further research on a number of other archaeological relics, either in Cirebon or along the North coast of Java that have a history of spreading Islam.

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17

Fawaid, Achmad, Zamroni Zamroni, and Hasan Baharun. "Contesting Sacred Architecture: Politics of ‘Nation-State’ in the Battles of Mosques in Java." QIJIS (Qudus International Journal of Islamic Studies) 7, no. 1 (July 11, 2019): 129. http://dx.doi.org/10.21043/qijis.v7i1.4365.

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<p><em>This study </em><em>aims to </em><em>figure out a ‘political’ contestation of sacred mosques in Java and the ways the Javanese respond to the global architecture of the Middle Eastern Islam. By </em><em>using </em><em>a </em><em>historical narrative method, this article describes</em><em> a fact that some ‘sacred’ architectures which shaped from the national mosques became a site of battles between the modern Islamic and traditional Javanese worldviews</em><em> and</em><em> explores the continuum debate over architecture, culture, and power of Islam in Java through various events since the fifteenth until today. This study, finally, </em><em>results in</em><em> the issues related to not merely the almost unsolved dispute over modern and traditional architectures, between pan-Islamic modernists and Javanese traditionalists, but most importantly, the past stories and silent ideology behind the building of these mosques, and by doing so, it also questions our primordial understanding of nation-state. </em></p>

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18

Ghasemzadeh, Behnam, Atefeh Fathebaghalli, and Ali Tarvirdinassab. "SYMBOLS AND SIGNS IN ISLAMIC ARCHITECTURE." Revista Europeia de Estudos Artisticos 4, no. 3 (September 30, 2013): 62–78. http://dx.doi.org/10.37334/eras.v4i3.86.

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Throughout history, Islamic signs and signification were recognized and appreciated by both Muslim and Non-Muslim scholars. The Islamic style of architecture is not only used in mosques, but also in other Islamic buildings and even in gardens. The architecture encompasses both secular and religious artistic styles. The aim of this study is to contextualize the concept of Islamic architecture. It seeks to make the readers appreciate the heritage of Islamic architecture, and to clarify on misconceptions about Islamic architecture. This study examines various types of Islamic architecture and conducts a semiotic analysis of these works. The study defines the meaning and scope of Islamic architecture. It highlights the qualities and characteristics that make it unique and distinctive from other forms of architecture. It looks into the meanings and characteristics of the structures and explores the decorative styles used. Further, it explores the concept of Islamic architecture and analyses the meaning of some of the signs and significations. The findings indicate that the most common styles are calligraphy, geometry and floral designs. The study also finds that Islamic architecture encompasses both secular and religious artistic styles and has been influential in designing, constructing and decorating buildings in other cultures during both the ancient times and in the present day.

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19

Hidayatulloh, Haris. "Perkembangan Arsitektur Isam: Mengenal Bentuk Arsitektur Islam di Nusantara." Ngabari: Jurnal Studi Islam dan Sosial 13, no. 2 (December 8, 2020): 15. http://dx.doi.org/10.51772/njsis.v13i2.55.

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Conceptually this paper aims to know architecture in the Islamic tradition and the history of the development of Islamic architecture from time to time, to know the main characteristics of Islamic architecture, and to find out the form of Islamic architecture in the archipelago. Using the literature study method, this article produces findings, (1) the sense of admiration of Muslims for the beauty and aesthetics of Islamic architecture is inseparable from the submission and surrender of Muslims to the greatness and majesty of the Creator who is believed to have all the beauty (2) Islamic architecture does not have form one and uniform, but different. (3) factors that influence the form of Islamic architecture include geographical factors, local culture, and traditions, building functions.

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20

Soltani, Mahya. "Philosophy and Wisdom in Islamic-Iranian Architecture, with Respect to External Veil in Architecture." Current World Environment 10, Special-Issue1 (June 28, 2015): 260–67. http://dx.doi.org/10.12944/cwe.10.special-issue1.34.

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The result of centuries of experience of this country’s ancestors and great artists, are Memorabilia that nowadays referred to as Islamic architecture. Increasing crisis of identity and irregularities in the feature of contemporary cities and buildings, reveal the latent values of past experiences more than ever. Various definitions have been proposed to explain Islamic architecture, which mostly address its material and superficial aspects. This paper attempts to address the wisdom in Islamic architecture. Based on this view work of art that lies between the audience and the author, as the medium, contains spiritual teachings, and architect as a wayfarer seeking for spiritual growth and moral virtues, and by acquiring real knowledge of the world and reaching the perdition rank for the sake of god, revives the flow of god’s wisdom in his being and makes the grace of god appears in this worldly bodies (of architecture). In principle, this attitude toward Islamic architecture is endogenous in that it can redefine a leading Islamic architecture. This paper also purports to, extra to describing wisdom in Islamic architecture, investigate the internal and external views of Islamic wisdom toward architecture. Hence, this paper first describes the characteristics of Islamic art and then conducts an investigation on the internal and external aspects of Iranian architectural wisdoms, by defining the philosophy of Islamic architecture. Then the architecture of mosques, as the feature of Islamic buildings, is presented, along with the philosophy of each of its individual components. Finally, the philosophy of the veil in Islamic architecture is, briefly, explained. It should be noted that the future of Islamic architecture is only definable in the light of a philosophical and endogenous approach, the view that is imbedded, in best, in the Iranian style of architecture.

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21

Sobh, Hesham, and Heba Allah Samy. "ISLAMIC GEOMETRIC PATTERNS AS TIMELESS ARCHITECTURE." Journal of Al-Azhar University Engineering Sector 13, no. 48 (July 1, 2018): 1074–88. http://dx.doi.org/10.21608/auej.2018.18946.

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22

Azab, Khaled. "Islamic Concepts of Building and Architecture." مجلة المجمع العلمی المصری 90, no. 90 (May 1, 2015): 21–61. http://dx.doi.org/10.21608/jfnile.2015.88419.

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23

Tabbaa, Yasser, and Robert Hillenbrand. "Islamic Architecture: Form, Function and Meaning." Journal of the American Oriental Society 117, no. 1 (January 1997): 180. http://dx.doi.org/10.2307/605648.

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24

Haghighi, Saeid, Zohreh Attarabbasi, and Mehdi Damaliamiri. "Light and Technology in Islamic Architecture." International Journal of Technology, Knowledge, and Society 9, no. 3 (2013): 1–13. http://dx.doi.org/10.18848/1832-3669/cgp/v09i03/56365.

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25

Wolper, Ethel Sara, and Doris Behrens-Abouseif. "Islamic Architecture in Cairo: An Introduction." Journal of the American Research Center in Egypt 36 (1999): 176. http://dx.doi.org/10.2307/40000217.

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26

Hillenbrand, Robert. "Studying Islamic Architecture: Challenges and Perspectives." Architectural History 46 (2003): 1. http://dx.doi.org/10.2307/1568797.

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27

Tonna, Jo. "The Poetics of Arab-Islamic Architecture." Muqarnas 7 (1990): 182. http://dx.doi.org/10.2307/1523128.

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28

Taib, Mohd Zafrullah Mohd, and Mohamad Tajuddin Rasdi. "Islamic Architecture Evolution: Perception and Behaviour." Procedia - Social and Behavioral Sciences 49 (2012): 293–303. http://dx.doi.org/10.1016/j.sbspro.2012.07.027.

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29

Renard, John. "Religion, the Arts, and Islamic Architecture." Religion and the Arts 2, no. 1 (1998): 69–81. http://dx.doi.org/10.1163/156852998x00043.

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30

Hakim, Besim S. "Islamic Architecture in Bosnia and Hercegovina." Journal of Architectural Education 50, no. 4 (May 1997): 289–90. http://dx.doi.org/10.1080/10464883.1997.10734737.

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31

ElAraby, Kadri M. G. "Dictionary of Islamic Architecture, Andrew Peterson." Digest of Middle East Studies 5, no. 3 (July 1996): 82–83. http://dx.doi.org/10.1111/j.1949-3606.1996.tb00673.x.

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32

Hakim, Besim S., Amir Pasic, and Midhat Ridjanovic. "Islamic Architecture in Bosnia and Hercegovina." Journal of Architectural Education (1984-) 50, no. 4 (May 1997): 289. http://dx.doi.org/10.2307/1425443.

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33

Tonna, Jo. "THE POETICS OF ARAB-ISLAMIC ARCHITECTURE." Muqarnas Online 7, no. 1 (1989): 182–97. http://dx.doi.org/10.1163/22118993-90000255.

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34

Rabbat, Nasser. "Continuity and Rupture in Islamic Architecture." International Journal of Islamic Architecture 10, no. 1 (January 1, 2021): 47–55. http://dx.doi.org/10.1386/ijia_00028_1.

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35

Morshed, Adnan. "Modernism as Postnationalist Politics:." Journal of the Society of Architectural Historians 76, no. 4 (December 1, 2017): 532–49. http://dx.doi.org/10.1525/jsah.2017.76.4.532.

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After completing architectural studies in the United States in 1952, Muzharul Islam returned home to Pakistan to find the country embroiled in acrimonious politics of national identity. The young architect began his design career in the midst of bitterly divided notions of national origin and destiny, and his architectural work reflected this political debate. In Modernism as Postnationalist Politics: Muzharul Islam's Faculty of Fine Arts (1953–56), Adnan Morshed argues that Islam's Faculty of Fine Arts at Shahbagh, Dhaka, embodied his need to articulate a national identity based on the secular humanist ethos of Bengal, rather than on an Islamic religious foundation. With this iconoclastic building, Islam sought to achieve two distinctive goals: to introduce the aesthetic tenets of modern architecture to East Pakistan and to reject all references to colonial-era Indo-Saracenic architecture. The Faculty's modernism hinges on Islam's dual commitment to a secular Bengali character and universal humanity.

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36

Rashid, Mizanur, and Katahrine Bartsch. "HISTORICAL FABULATION: A FRAMEWORK TO RETHINK THE ISLAMIC ARCHITECTURE OUTSIDE ISLAMIC WORLD." International Journal of Architectural Research: ArchNet-IJAR 8, no. 1 (March 3, 2014): 120. http://dx.doi.org/10.26687/archnet-ijar.v8i1.331.

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The current study offers a critical interpretation of the more transient traces of Islam in Australia, and their representation in the equally scanty tangible evidences. The scope of recent surveys in this field is increasingly inclusive. However, very few studies focus on the architecture of Muslim communities in regions where Islam is not the predominant faith, especially in the southern hemisphere. The historical Adelaide Mosque, and many others, is excluded from the historical record despite the instrumental role it played in the life of Muslim settlers. This absence raises questions about gaps, or histories untold, as well as myths received, in histories of ‘Islamic’ architecture that raise questions about the truth-value of the past. There is a need to examine hybridized forms and shared architectural narratives to counter the myopic but persistent representation—or fabulation—of supposedly authentic, largely Arab-centric, forms of ‘Islamic’ architecture. This paper argues, then, that new theoretical frameworks are required to interpret this architectural hybrid that is, we argue, typical rather than exceptional.

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37

Ragib, Yusuf, and Doris Behrens-Abouseif. "Islamic Architecture in Cairo, an Introduction, Studies in Islamic Art and Architecture, Supplements to Muqarnas, Volume III." Studia Islamica, no. 72 (1990): 192. http://dx.doi.org/10.2307/1595783.

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38

Nari Ghomi, Masood. "Theory of Islamic Architecture vs. Islamic Theory of Architecture: A Critical Appraisal of the Contemporary Theoretical and Practical Approaches from the Islamic Perspective." Culture of Islamic Architecture and Urbanism 3, no. 2 (January 1, 2018): 17–31. http://dx.doi.org/10.29252/ciauj.3.2.17.

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39

Al-Qahtany, Hani Mohammad. "Islamic architecture as a reflection of functionalism and interactionism: conceptual origins in culture and sociology." Contemporary Arab Affairs 2, no. 3 (July 1, 2009): 435–57. http://dx.doi.org/10.1080/17550910902875762.

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What kind of society does Islamic architecture reflect? What are the basic units and forms of Islamic society associated with Islamic architecture, and what kinds of relationships existed among its individuals? Is Islamic society a ‘uniform society’ or a ‘multi-layered society’? These fundamental questions are at the centre of this study. This paper explores the basic intellectual, social and environmental aspects that have shaped Islamic architecture. It explores these aspects as reflected in the building forms of Muslim societies. Functionalism and interactionism are two major schools of modern sociology. As a social phenomenon, Islamic architecture is examined in the light of these two schools. The urban fabric of the traditional Islamic city as an example of functionalism in architecture is examined with reference to the ruined city of Sāmarrāʾ, in Iraq; and examples of Ottoman architecture are considered as models of interactionism in city planning and architecture. The works of three major figures in contemporary Arab thought, Muḥammad Abed Al-Jabri and ʿAbdullah Al-ʿArawī from Morocco, and Mohammad Al-Anṣārī from Bahrain, are considered in this paper. Their thoughts and views are used as vehicles to test some innate features of Islamic architecture. The influence of language and the desert, two exceptionally important factors that have shaped the culture of Muslim societies and its manifestation in architecture, is also explored. The findings of this paper, although still at a preliminary stage, reiterate the major concepts of the medieval Arab scholar Ibn Khaldūn, in his Muqaddimah, in an architectural context.

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40

Ahmadi, Jalal. "Design of Domes in Islamic-Iranian Architecture." Environment Conservation Journal 16, SE (December 5, 2015): 591–600. http://dx.doi.org/10.36953/ecj.2015.se1669.

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The most important feature of architecture at Islamic age has been regarded as strengthening the human history from plurality and unity that such architecture from the artistic dimension and world structure goes beyond the time and place. Dome has been regarded as the major element in Islamic-Iranian architecture that there is no doubt on continuity and evolution of domical buildings since Sassanid age till current age. Mosques with Arabic or column design in Umayyad dynasty have been mentioned as the early styles in Islamic architecture. These mosques follow a square or rectangular map with walled garden and roofed nave. Since 7th century, domes have been the major element in Islamic architecture. By the passage of time, dimensions of domes at mosque developed, occupied a small part of the ceiling in proximity of Mihrab to the entire ceiling above nave. According to the existing texts, the oldest dome which is referred relates to Parthian and early Sassanid era. This dome has been built in Firuzabad to the dimension of 10.16 meter and evolved at Sassanid age, after which construction of domes is exploited as a general pattern. Domical buildings in west differ from domical buildings in Iran. Interesting difference lies on transfer of dome from cylindrical buildings to square buildings in Iranian architecture. Creation of dome and formation of hollow spaces have raised creation of spiritual spaces together with sense of comfort, under which the most important phenomenon of Islamic-Iranian architecture, holy shrines and sacred places have raised. In this research, firstly we will reach to a model of construction of main dome by overview of literature at architecture of domical buildings pre Islam in Iran and formation of them with an emphasis on domical buildings especially at Firuzabad, Fars and Bishapur, then we will review the domical buildings at Islamic age especially mosques and scared places, ultimately the evolution stages of dome design is examined in Islamic-Iranian architecture.

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41

Arnold, Felix. "Mathematics and the Islamic Architecture of Córdoba." Arts 7, no. 3 (August 8, 2018): 35. http://dx.doi.org/10.3390/arts7030035.

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In 10th-century Córdoba, mathematics—and particularly geometry—was applied to architectural design in new ways, constituting a “mathematical turn” of Islamic architecture. In the mosque of Córdoba and in the palaces of Madīnat al-Zahrāʾ, geometry was employed in the design of ground plans, elevations, decorative patterns, and even to measure the human view. While Roman architects like Vitruvius had used mathematics to place each element of a building in its appropriate relation to all other elements of a building, the architects at Córdoba employed geometry to create a spatial web in which all parts are equal to each other and part of a single, unified space. The architects of Córdoba thus pointed the way to new possibilities of designing architecture, possibilities which were to be tested further by architects of Gothic and Renaissance architecture, though to different ends.

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Nu'Man, Sabir Bin Nabeeh. "A UNIFIED ARCHITECTURAL THEORY FOR ISLAMIC ARCHITECTURE." International Journal of Architectural Research: ArchNet-IJAR 10, no. 3 (November 28, 2016): 100. http://dx.doi.org/10.26687/archnet-ijar.v10i3.973.

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This research aims to identify criteria for sustainable design solutions to meet the needs of Muslims today. Under the theoretical framework of Nikos Salingaros’ Unified Architectural Theory, design needs and strategies derived from Islamic knowledge and values are identified and used to inform principles for building typologies, location, and movement between buildings. Green building technologies in line with Islamic values and examples of sustainability promoting policies are analyzed and used to further develop design strategies. The findings include a theoretical model that proposes the essential design criteria for appropriate architecture for the Muslim world. This research is relevant for architects designing for Muslims, who have a duty to create housing appropriate for their particular needs and cultural context.

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Fadel Al-ali, Kadem, and Dr Abdullah Y. Al-Tayib. "The Proportional Relationships System In Islamic Architecture." AL-Rafdain Engineering Journal (AREJ) 14, no. 2 (June 28, 2006): 76–86. http://dx.doi.org/10.33899/rengj.2006.46620.

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Yusupova, Mavlyuda. "Islamic Architecture of Uzbekistan – Development and Features." Journal of Islamic Thought and Civilization 02, no. 02 (October 2012): 51–63. http://dx.doi.org/10.32350/jitc.22.03.

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Ali, M., and S. Magdi. "The influence of spolia on islamic architecture." International Journal of Heritage Architecture: Studies, Repairs and Maintence 1, no. 3 (January 15, 2017): 334–43. http://dx.doi.org/10.2495/ha-v1-n3-334-343.

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Sarand, Hossein Irani, Mohammadreza Pakdel Fard, and Akbar Abdollah zadeh Taraf. "THE SECRET OF “CIRCLE” IN ISLAMIC ARCHITECTURE." TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION 6, APRIL SPECIAL EDITION (April 10, 2016): 108–18. http://dx.doi.org/10.7456/1060ase/011.

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Itewi, Mahmoud. "Environment and Islamic architecture. Review and analysis." International Journal of Academic Research 4, no. 6 (October 15, 2012): 111–17. http://dx.doi.org/10.7813/2075-4124.2012/4-6/a.16.

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Gordon, Matthew. "Islamic Architecture: Form, Function and Meaning (review)." Journal of World History 8, no. 2 (1997): 321–23. http://dx.doi.org/10.1353/jwh.2005.0064.

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Shaikh, Javaria Manzoor. "Makli Sindhi Islamic Architecture consolidation Techniques (Anastolysis)." Universal Journal of Applied Science 2, no. 1 (January 2014): 31–38. http://dx.doi.org/10.13189/ujas.2014.020104.

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Noor, Farish A. "Popular Religiosity in Indonesia Today: The Next Step after ‘Islam Kultural’?" Al-Jami'ah: Journal of Islamic Studies 53, no. 2 (December 15, 2015): 283. http://dx.doi.org/10.14421/ajis.2015.532.283-302.

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<p>The phenomenon of popular Islam is seen everywhere in the Muslim world today, and expresses itself via a host of means ranging from fashion to architecture as well as new cultural norms that are deemed Islamic. In the case of Indonesia, the expansive growth of the ‘halal market’--pioneered by Islamic fashion and cosmetics-- has been a powerful variable factor, accounting for the emergence of a new Indonesian Muslim middle-class that has aspirations for upward social mobility as well as social capital. This paper locates the phenomenon of Indonesian pop Islam in the longer and broader history of Indonesia since the time of Suharto to the post-reformasi era of the present, and argues that pop Islam in Indonesia is a serious phenomenon worthy of study; as well as a good indicator of the trajectory of social development in the country. Though not everything that comes under this category may be classified as truly or wholly Islamic, the phenomenon nonetheless points to a growing sense of religious consciousness among the new urban Muslim middle-classes who see themselves as agents of change as well as religio-economic entrepreneurs.<br />[Fenomena Islam popular terlihat di mana-mana di dunia Islam saat ini, dan itu diekspresikan lewat berbagai media seperti tata busana sampai arsitektur, juga termasuk aturan-aturan yang dianggap Islami. Pada kasus Indonesia, perkembangan trend halal-haram yang dimotori oleh dunia tata busana dan kosmetik menyebabkan munculnya kelas menengah baru yang membawa aspirasi itu ke atas sebagai modal. Makalah ini menempatkan Islam popular di Indonesia pada jangka panjang dan luas sebagai fenomena yang layak dijadikan bahan studi; begitu juga arah perkembangan di negara itu. Namun tidak semua di bawah kategori ini masuk dalam wilayah Islamis, namun tetap saja menunjukkan kesadaran keagamaan baru di perkotaan pada kelas menengah yang menganggap dirinya sebagai agen perubahan dan juga penggiat ekonomi agamis].</p>

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