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In this research, the general architectural features and decorations of the Friday Mosque of İsfahan, Iran, which belongs to the 11th century Great Seljuk State period, one of the most important works of Islamic architecture, are examined. This mosque, which is also called Atiq Mosque, Masjid-e Jameh and Great Mosque today, is among the most important structures that have witnessed hundreds of years of history. This study on the expressibility of the semantic dimension of the structure in the syntactic dimension is important in terms of its contribution to the literature. For this purpose, information about the Great Seljuk mosque architecture and the historical development process of Friday Mosque in terms of architecture is given and the subject and purpose of the researches on this mosque are stated. Then, the method to be used in expressing the architectural structure and decorations in the syntactic dimension is explained. In order to obtain the data about the mosque, on-site visual-observation and examination technique and photography technique were used. Basic design principles were used in the analysis of the data. As a result, the architectural features and ornamental motifs used in this mosque, which is an important mosque of the Great Seljuk period, have been revealed with this method. The findings obtained about the structure and ornaments can be used in religious buildings as well as other architectural structures, ornaments, clothing, furniture and decoration. [ABSTRACT FROM AUTHOR]

The maqṣūrah commissioned by Caliph al-Hakam II in the 10th-century Mosque of Córdoba epitomizes the blend of sacred grandeur and political symbolism in Islamic architecture. This structure enhances aesthetic experiences, allowing worshippers to connect with divinity during Friday prayers. A distinctive feature is its qibla wall, divided into three parts, with a central empty miḥrāb symbolizing sacred force. This spatial organization, reminiscent of Late Antique basilicas in the Iberian Peninsula and the Mediterranean, persisted in peninsular mosques even after the Christian conquest of al-Andalus. Mudejar Islamic communities replicated this design in smaller mosques, perhaps to preserve al-Andalus's memory amidst growing repression. Following the 17th-century expulsion of the Moriscos, similar architectural elements appeared in Testour, Tunisia, built by Morisco exiles. These visual codes, shared among Hispanic Islamic communities, reflect the enduring memory of the exile. [ABSTRACT FROM AUTHOR]

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This article discusses the discovery of bronze weights in the form of a cuboctahedron, one of the thirteen Archimedean solids, in northwestern Russia. These weights, dating back to the eighth to tenth centuries, were found near the village of Staraya Ladoga, an important historical trading center in Eastern Europe. The article explores the history of Ladoga, its role as a trading center, and the Middle Eastern origin of the cuboctahedron weights. It also discusses the dissemination of knowledge about Archimedean solids through Arabic/Persian culture and their later rediscovery in Europe. [Extracted from the article]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Baghdad's historical centre is Old Rusafa, which has a long history dating back over a thousand years. The area enclosed within the old wall is approximately 5.4 square kilometres and contains nearly 15,700 buildings. The city's old core contains significant heritage buildings that belong to the Abbasid Empire (762–1258) and the Ottoman Period (1638–1917). This paper assesses Baghdad's historical centre and urban heritage. It addresses how the urban fabric has faced irreparable damage, a weak definition of demands, and an ambiguous formulation of what to preserve. The research examines Old Rusafa's dense irregular fabric, significant old souqs, heritage mosques, historical buildings, and traditional Baghdadi courtyard houses. The research implements various research strategies at different levels to evaluate the current condition of the built heritage in the city centre. It adopts a mixed methodological research approach that brings information from both qualitative and quantitative methods to address the research problems. The paper argues that achieving sustainable urban heritage requires considering efficient and sustainable strategies that drive urban evolution and encourage historic centre revitalisation towards sustainable heritage conservation. The outcomes of this paper raise awareness of the significance of safeguarding Baghdad's Islamic architecture and the sustainable reuse of its uniquely built heritage stock. [ABSTRACT FROM AUTHOR]

The principles of water sustainability are not exclusive to one civilization without the other this make led the research problem to emerge as a question: "What is the methodology of water sustainability in Islamic architecture and how it can be used as a guide-line for achieving water sustainability in contemporary architecture?”. To answer this question the research in its theoretical study demonstrated three points, begun with presenting the functions of water in Islamic architecture, then it explained how Islamic architecture depended on water as a design tool in the process of place making, and it ended with determining the principles and criteria of water sustainability in Islamic architecture. The research determined the methodology of achieving water sustainability in Islamic architecture. Depending on this methodology the research analyzed two case study projects: Alhambra palace in Spain and Al-Ghuri Sabil in Egypt, and then the research applied this methodology in one of contemporary housing projects in Egypt, and this led the research to emphasize its main hypothesis which state “the principles and criteria of water sustainability which preexists in Islamic architecture can be used as a guide-line for achieving water sustainability in contemporary architecture”.

In this article, we will explore various aspects of religious architecture and its cross -cultural significance. We will talk about Islamic and Christian architectural styles, aesthetic and symbolic features of these places, as well as their historical development. The temples of each religion reflect the historical and cultural heritage of the societies in which they were built. The article will also discuss how religious architecture has developed in modern times and how today's architects approach religious buildings. Humans have sought to find the source of their existence since the dawn of time, and the quest to find this beginning has given rise to the need to believe in and worship a creator. To show their loyalty to the Creator, people who worship began to build temples to perform their worship. These places of worship are among the first examples of architectural structures. In the process of construction, there is a traditional style in places of worship of all religions, whether human or divine. Cathedrals, one of Christianity's places of worship, can have different architectural designs and reflect the influence of different eras and styles. Inside the cathedrals, there are works of art such as mosaics, frescoes, stained glass windows and sculptures that often attract the attention of visitors. Places of worship in Islam are large domed mosques, minarets, spacious courtyards, brightly colored embroidery with geometric shapes and repeating patterns, and mihrabs that always face Mecca. In mosques, more importance is given to internal beauty and aesthetics than external appearance. [ABSTRACT FROM AUTHOR]

The study conducted by Necipoğlu in the book "Geometry and Ornaments in Islamic Architecture" is widely recognized as an influential work. However, some of her assumptions require re-analysis after approximately three decades. This research aims to re-evaluate her three hypotheses from the book, namely the denial of the connection between Sufism and architecture, the position of architecture in the classification of sciences, and the close relationship between mathematicians and artisans. For this purpose, this research, which is methodically organized based on content analysis and interpretive-historical approaches, obtained its data from historical sources and tried to reanalyze the mentioned assumptions by relying on the actor-network theory. The study concludes that although there is a lack of documentation, the connection between architecture and Sufism cannot be disregarded, and one should believe in some form of relationship between them.; Architecture has been an independent knowledge in the classification of sciences since the 8th A.H., and the relationship between mathematicians and craftsmen should be viewed as mutual, and both have played a significant role in promoting the knowledge of practical geometry in architecture. [ABSTRACT FROM AUTHOR]

This article explores the connection between the architecture of the southern Arabian Peninsula and North Africa, specifically the Moroccan High Atlas and the Yemeni province of Hadramut. It discusses the similarities in construction techniques and urban layouts between these regions, which were transferred through land and sea routes. The article also highlights the importance of the desert as a crossroad for trade, culture, and knowledge, and emphasizes the need to rehabilitate and reconstruct desert landscapes and settlements that have been marginalized or abandoned. It discusses the history and architecture of desert regions, focusing on the Sahara, the Maghreb, and Yemen, and emphasizes the ecological value and sustainability of earth architecture. The article challenges the perception of the desert as empty and devoid of life, culture, or habitat, and discusses the importance of preserving and rehabilitating desert landscapes, towns, and cities. It also touches on the historical background and consequences of an ideological narrative of these areas, mentioning the trade routes, alliances, poetry, kingdoms, and migration that have shaped the desert routes. Overall, the article presents a nuanced perspective on the desert as a crossroads of peoples, trade, and cultures, emphasizing the need to preserve and appreciate its heritage. [Extracted from the article]

This paper addresses a critical gap in the study of Islamic architecture by exploring the interconnected relationship between Arabic calligraphy and architectural design. Specifically, it examines the principles guiding the placement of Islamic calligraphy within the interior and exterior spaces of Islamic public buildings through a qualitative analysis of two notable case studies, the Al-Hambra Palace in Granada, Spain, and the Al-Azem Palace in Hama, Syria. This research elucidates fundamental principles that underpin the integration of calligraphy in Islamic architectural contexts. To enhance the robustness of the findings, interviews were conducted with three expert master calligraphers, providing skillful insights that enrich the understanding of calligraphy placement. This study reveals significant implications for the decoration of walls and ceilings in Islamic buildings. However, the findings are limited by the scope of the case studies and the subjective interpretations of the interviewed experts. This research contributes valuable knowledge to the field, informing contemporary architectural practices and the preservation of cultural heritage. [ABSTRACT FROM AUTHOR]

“Ribat”, an Arabic word, means “keeping watch along the border to prevent enemy attacks”. In the history of Islamic architecture, it was used for the structures where soldiers tied their horses and kept watch along the borders. In addition to military training, worship and scientific activities were also important in ribats. Volunteer soldiers, called Muraabituun, would spend their time outside of military training with Qur’an reading, worship and dhikr, and prepare themselves for jihad. Therefore, the military function and the spiritual dimension were intertwined from the beginning. The masjids of the ribats are of great importance when evaluated in this context. The first ribats were built in Central Asia from the VIII century onwards. The Great Seljuks built ribats following the Samanids and Ghaznavids. Ribati Sherif, which is the subject of the research, is one of the most mature examples of the Great Seljukid ribats. Kâtib Ali al-Mansûr Asad b. Muhammed es-Sarahsî was the architect of the caravanserai, which is thought to have been built by the governor Şerefü’d-Dîn Ebû Tâhir b. Sa’d b. Ali b. İsa al-Kûmmî, in 1114-1115 and later became the vizier of Sultan Sanjar. Within the scope of this study, the architectural features and decorations of the two masjids of Ribati Sherif were analysed and evaluated within the architectural heritage of the Great Seljuks. As a result of the research in which literature review and field research methods were used as data collection methods, it is seen that the details of the Great Seljuk plan scheme, building technique, and ornamentation art can be called standardised spread over a large area. [ABSTRACT FROM AUTHOR]

The existing monuments and heritage could inspire the principles of Islamic aesthetics in architecture. We cannot simply copy the same ancient buildings; rather, we should apply the same principles. Western architects always find ways to design Islamic architecture and present its aesthetics. This study offers an overview of Islamic aesthetics in architecture as interpreted by Fernand Pouillon (FP). This study explores the architect through his thoughts, concepts, philosophy, social studies, construction materials, morphology, and selected case studies in the south of Algeria. The methods used for data collection include analyzing the architect's writings and architectural designs using standardized thematic axes. This proposal aims to provide a comprehensive qualitative and analytical study of a pioneering Western architect influenced by Islamic architecture who worked in Algeria during the 20th decade, specifically focusing on his work in the south of Algeria. [ABSTRACT FROM AUTHOR]

16th-century Ottoman architect Mimar Sinan's mosques are one of the most efficient, refined, and elegant examples of mosque architecture. Sinan's mosques, replicated until today, have also been built widely with modern technology and materials. However, the incompatibility of the structural system and materials are seen in many new mosques is identified as a problem in this study. The study aims to develop a novel design with a contemporary structural system and material based on the principles and schemes of Sinan's highly praised and adopted mosques. First, an ideal form was derived by detecting a harmony between Sinan's mosques and the chain model; then, it was transformed and optimized according to the requirements of the timber (CLT) folded plate envisaged to be applied on a small scale. Proportions of the Sinan's mosques, parametric design and Turkish triangle were benefited to define the size and form of the emerging model. Afterward, they were discussed and evaluated in terms of plan, section, and facade. The discussion is focused on structural form yet also mentions design flexibility according to local touch and sites. Finally, a novel, contemporary, and adaptable design model that evokes the image of Sinan's mosques has been proposed. [ABSTRACT FROM AUTHOR]

The first Islamic education since antiquity was carried out in the corners of mosques, commonly called Ashabussuffah. They are students who study with murshid or teachers to explore the lessons of religious science in life in the world and life after. Pesantren is an institution whose initial formation involved the active role of the surrounding community in developing local wisdom based on character education. The spatial pattern of Salafiyah Islamic Boarding Schools is unique in Nusantara Islamic Architecture because it has developed in interpreting space without fulfilling the legally applicable rules of the State's basic rules. The oldest and largest Islamic boarding school in Java is in Jombang Regency. This study aims to determine the characteristic pattern of spatial owned by the Darul 'Ulum Jombang Islamic boarding school. It can be a unique characteristic from the beginning of its formation. Until now, this research has used qualitative research methods, preceded by book references and combined with empiricists in the field and interviews with informants. Informants are community leaders, community members, students, alums, and Kiai. The results of this study divide the spatial zoning in the Darul 'Ulum Jombang Islamic boarding school: the Education Combination zone, settlement zone, pesantren zone, and free zone. [ABSTRACT FROM AUTHOR]

Buildings in Islamic architecture are distinguished by dazzling features in general, especially religious buildings such as mosques, schools, and shrines. The literature could not find a clear identification of reaching the dazzling concept. Moreover, researchers in the Islamic architecture discipline did not focus on determining sufficient knowledge of the design methods of applying the dazzling approach in Islamic architecture, and they did not clarify a specific detailed vocabulary of Islamic dazzling concepts. However, the problem of the study was identified by observing the literature and buildings. Therefore, the formulated question encompasses "the unclear knowledge of applying designing procedure of dazzling characteristics in Islamic Architecture buildings." The study raised an important question: "What is the design methodology of dazzling features in religious buildings within Islamic Architecture." The study aims to identify the practical design elements, principles, and rules of the dazzling characteristics in religious buildings in Islamic architecture to draw out a guideline that designers can apply in contemporary Islamic Architecture. The theoretical framework of the dazzling concept was constructed to achieve this aim, with variables and sub-variables highlighted to identify the design methodology that can actualize dazzling concept in Islamic architecture by reviewing previous studies. The abstracted variables used in designing the checklist were applied to analyze the cases formally. Selecting cases from religious buildings from Islamic style depends on specific criteria. However, the results analyzed statically showed that dazzling concept in Islamic architecture applied in five major levels (structure, form, architectural elements, interior space, and ornamentation) with seven main principles (richness, exaggeration, uniqueness, complexity, proportion, and ambiguity). Richness is the most affected factor in applying clear dazzling concept, while exaggeration and uniqueness are second-rated factors that can impact the value. Dazzling concept is an essential characteristic that designers should apply in contemporary Islamic architecture. [ABSTRACT FROM AUTHOR]

Many world issues are faced and then become challenges of the 21st century. This study aims to define these challenges and how to overcome them as alternative solutions in architecture, with the context of sustainable architecture from an Islamic perspective. The methods used are literature review and logical argumentation. The results show that the challenges of the 21st century in the context of sustainable architecture include fundamental issues, namely nature conservation, related to humanity and technology as specific objectives, and several other objectives of the Sustainable Development Goals. Challenges can be faced by integrating the handling of each aspect, focusing on humans. In the view of Islam, integrated solutions are carried out within the spirituality framework, where humans act as caliphs. Through education, a means of accelerating human knowledge is obtained; through a spiritual approach, humans will think twice about destroying the universe and its contents. [ABSTRACT FROM AUTHOR]

Cultural diversity influences different types of mosque roofs that can be seen even in neighboring districts. This paper examines the differences in mosque dome types in two areas that differ in terms of cultural diversity, namely the Ulu and Ilir areas of Palembang City. The Ulu area is known to have much lower cultural diversity than the Ilir area. The survey was conducted on 50 mosques located in Palembang City and spread across the two regions. We then categorized them into three roof coverings: dome, pyramid, and mixed. We also calculated a diversity index to assess social diversity in each region. Fisher's Exact test was then conducted to determine whether there were differences in dome types by region. It was found that round domes dominated the Ulu region, while pyramids and mixed domes dominated the Ilir region. The paper concludes that the cultural composition in the Ulu, which the Palembang Malay ethnic group dominates, encourages of using of the standard round dome. In contrast, the relatively high cultural diversity in the Ilir leads to the prominence of the identity of the elites who prioritize the pyramid dome and efforts to accommodate multiculturalism with the mixed dome. In particular, this article can encourage efforts to develop theories on architectural dynamics under the influence of cultural diversity in urban and rural areas. [ABSTRACT FROM AUTHOR]

Research on Friday Mosques dominates the study of religious buildings in Java. Meanwhile, research on small mosques, particularly Langgar Dhuwur, remains limited. The purpose of this study is to examine two Langgar Dhuwur in Kauman Yogyakarta from architectural and narrative perspectives in order to reveal the architectural characteristics as well as their role in society. Direct visual observations, measured drawings, and narratives about the study's context were conducted. Five major themes from the observations were analyzed and discussed to draw significant conclusions. It is concluded that Langgar Dhuwur is a unique architectural type that preserves Indonesia's vernacular and pre- Islamic architecture. Langgar Dhuwur in Kauman designated the second floor as a sacred area following the Hindu-Buddhist concept of Triloka (Svarloka). As a public building, Langgar Dhuwur serves as a place of worship as well as a cultural and social center. Therefore, it can be regarded as one of Indonesia's religious architectural treasures due to its distinctive architectural style and rich history. It is recommended that the existence of Langgar Dhuwur, which has a multifunction role in community development, be preserved. Future design needs to emphasize an architectural typology that follows residential architecture, flexible space, and an open plan to accommodate various activities in the micro-scale community area. [ABSTRACT FROM AUTHOR]

Muqarnas is one of the most important architectural elements of traditional Islamic architecture, although with great structural and geometrical differences across Islamic geography, leading to the emergence of many muqarnas styles. This paper looks at changes occurring in Maghrebi-Andalusian muqarnas from its beginnings to the form it takes today. This is done by using traditional muqarnas design techniques to draw and analyze models from different periods and settings in North Africa and Andalusia, Spain. We observe changes occurring at unit and plan-design level, seeking a general understanding of these developments.

The Mosque of the Blessed Tree in Mafraq, Jordan represents a revival of Islamic architectural heritage. Situated near an ancient terebinth tree where the Prophet Muhammad is believed to have rested, the mosque was erected according to traditional building techniques and Islamic principles. The design, led by MAS Design Office, involved careful integration of local materials along with load-bearing structures. Despite challenges, including limited time and budget constraints, the project was completed in six months. The mosque's design emphasizes simplicity and balance, with features such as a central dome, shallow domes in prayer halls, and pinnacles echoing traditional minarets. The project also involved training local craftsmen in complex stonemasonry techniques.

AbstractThis study aims to thoroughly investigate the architectural complexities and historical relevance buried in mosque entrances, particularly those reflecting the Ottoman and Safavid architectural styles. The research uses an interdisciplinary technique that combines historical analysis, comparative perspectives, and architectural critique, drawing on a variety of sources including scholarly literature, architectural treatises, historical documents, and archaeological objects. The use of visual evidence, such as architectural schematics and photographic recordings, improves the display and comparison of architectural components within mosque entrances, addressing both aesthetic and functional aspects within a larger sociohistorical framework. The study systematically unravels the complex parallels and variations that characterize mosque entryway compositions during the Ottoman and Safavid eras, highlighting distinguishing aspects inherent in each kingdom’s architectural identity. The research uses a chronological lens to examine architectural development, charting the evolution of design characteristics and functional alterations throughout many historical eras. The interpretation of results situates these findings within the larger study subject, stressing reciprocal impacts on architecture and acknowledging regional or cultural differences. The research examines the use of calligraphy, geometric patterns, and religious symbolism in mosque entry imagery to understand how these aspects contribute to the representation of cultural and religious narratives. Furthermore, it investigates the practical aspects of these architectural spaces, revealing their critical tasks in conducting religious events, meeting congregational requirements, and conserving cultural practices. By throwing light on the common splendor and nuanced contrasts in Safavid and Ottoman mosque entrances, this study not only improves our understanding of Islamic architecture but also prepares the path for future research into the community features of mosque spaces. It serves as a foundation for future research into architectural elements in Islamic civilizations and, by combining historical inspiration with modern conceptions, has the potential to contribute to contemporary mosque design. This study contributes to architectural scholarship by investigating the varied character of mosque entry design, with a focus on its visual, perceptual, and functional value. The Isfahan School era is examined, exhibiting a trend toward complex, angled entrances. The investigation of entry methods, such as from the corner and behind the Iwan, reveals novel design options. The study offers subtle insights by emphasizing the user perspective and highlighting the function of entering places in anticipation and spiritual preparation. It adds to a thorough understanding of mosque entry progression, which influences the whole user experience and so improves architectural literature.

The paper refers to the decorative art made in stucco sculptures in the Umayyad palace at Khirbat al-Mafjar, a significant example of early Islamic cultural heritage in Palestine and worldwide. Khirbat al-Mafjar represents the Early Islamic architecture and decorative art as distinctive identity of Umayyad arts and architecture and as cultural interaction. For this reason, it is recommended to highlight the uniqueness of the representation of humans and animals in Umayyad decorative art as well as the identity of this art resulting from the synthesis of native Islamic elements and imported ones: Coptic, Roman and Sassanid. [ABSTRACT FROM AUTHOR]

This article explores the architectural typology of the verandah by following its use in residential buildings during the post-Ottoman British colonization and Independence periods in Sudan and differentiating between the concepts of climate determinism and climate consciousness. It brings new archival family photographs and fieldwork to discuss a modern Sudan that is curiously absent from the scholarship of both African and Islamic architecture in order to write the global history of modernism in higher resolution. It shows that the verandah was a British colonial architectural device in the context of a distinct town planning strategy, conceived after the racist segregation of "white men" from "natives" and used for cooling purposes for the sake of colonizers' comfort in perceived tropical climates. Comparing Abdel Moneim Mustafa's designs to those of colonial architects such as Gordon Brock Bridgman and independence-era architects such as Peter Muller, the article defines climate consciousness as a position that resists colonial inequalities of climate determinism but does not reject international connections and the modern know-how of climatization. It shows that the colonial connotations of the verandah were transformed after Sudanese independence, thanks to its creative use by architects who critically employed the technical know-how progressed under the field of tropical architecture. The article identifies this approach as the search for a more equitable internationalism that struggled for self-determination in order to undo the domination of global empires but not foreclose cosmopolitanism. [ABSTRACT FROM AUTHOR]

The present study aims to identify, examine, and analyze the factors affecting spirituality in the architecture of religious-cultural places from the perspective of experts and finally explain them in a model. The results generally indicate that physical, sensory, socio-individual, and functional components play a significant role in the creation/enhancement of a sense of spirituality in the architecture of religious places. [ABSTRACT FROM AUTHOR]

The article traces the genesis of the simple Arabic hypostyle mosque to the centrally-planned mosque of the Ottoman type. It is argued that the architectural development of plan types and volume-compositional characteristics did not depend on political processes and several rulers, but rather on those changes that took place in the traditions of the Islamic school of architecture. Three main periods of mosque architecture with sub-periods are defined: the early period of the introduction of Islam (641-749), the middle period (750-1550), and the late period (1551-1911). Each of the periods was characterized by noticeable changes in planning, design, structural schemes, and decoration. [ABSTRACT FROM AUTHOR]

Since the dissemination of Islamic art in Central Asia, square kufic calligraphy has held a significant place in the identity of Islamic architecture. Despite its earlier usage in Anatolia, it was rarely employed in Ottoman structures. Consequently, the square kufic script failed to become a prominent feature in mainstream calligraphy education or certification culture. Due to the lack of an education tradition and the abstract nature of the script, square kufic calligraphy poses challenges to readability. Nonetheless, there has been a growing interest in square kufic calligraphy in contemporary times, owing to its compatibility with modern aesthetics. The absence of a formalized education system has resulted in erroneous works during restoration or new designs. Consequently, there is a pressing need for scholarly research, documentation of historical examples, and detailed analysis of readings and compositions in this field. This article examines historical square kufic script examples in Istanbul’s historical buildings from the post-Mimar Sinan period to the beginning of the republic era. It provides detailed readings of the compositions, identifies any spelling errors, including missing or superfluous parts, and aims to offer corrective suggestions to prevent the recurrence of erroneous compositions in the future. [ABSTRACT FROM AUTHOR]

A reflection on a Bachelor of Architecture thesis design from over twenty-five years ago which broached a subject—the design of a mosque—which was an act of infidelity to the western-centric education leading up to it. The process of research and design was motivated by a critical questioning of contemporary gendering of mosque spaces, creating another layer of infidelity. This fraught exercise—its processes and infidelities—became the seed of over two decades of scholarship and pedagogy. [ABSTRACT FROM AUTHOR]

Revisiting the long-debated question: "What is Islamic architecture?", this research article aims to explore the identity of "Islamic architecture (IA)" in the context of artificial intelligence (AI) as well as the novel opportunities and cultural challenges associated with applying AI techniques, such as the machine learning of Midjourney in the context of IA. It investigates the impact factors of AI technologies on the understanding and interpretation of traditional Islamic architectural principles, especially architectural design processes. This article employs a quantitative research methodology, including the observation of works of artists and architectural designers appearing in the mass media in light of a literature review and critical analysis of scholarly debates on Islamic architecture, spanning from historical perspectives to contemporary discussions. The article argues for the emergence of a continuous paradigm shift from what is commonly known as "postmodern Islamic architecture" (PMIA) into "artificial intelligence Islamic architecture" (AIIA), as coined by the authors of this article. It identifies the following impact factors of AI on IA: (1) particular requirements and sensitivities, inaccuracies, and biases, (2) human touch, unique craftsmanship, and a deep understanding of cultural issues, (3) regional variation, (4) translation, (5) biases in sources, (6) previously used terms and expressions, and (7) intangible values. The significance of this research in digital heritage lies in the fact that there are no pre-existing theoretical publications on the topic of "Islamic architecture in the age of artificial intelligence", although an extensive set of publications interpreting the question of the definition of Islamic architecture, in general, is found. This article is pivotal in analyzing this heritage-inspired design approach in light of former criticism of the definition of "Islamic architecture", which could benefit both theorists and practitioners. This theoretical article is the first in a series of two sequential articles in the Buildings journal; the second (practical) article is an analytical evaluation of the Midjourney architectural virtual lab, defining major current limits in AI-generated representations of Islamic architectural heritage. [ABSTRACT FROM AUTHOR]

In artificial intelligence (AI), generative systems, most notably Midjourney, have tremendous power to generate creative images of buildings and sites of Islamic architectural heritage through text-to-image generation based on the internet. The AI-generated representations have significant potential for architects, specialists, and everyday users. However, the system has considerable limitations when generating images for some buildings and sites where the representations appear too far from their original represented structures. Evaluating Midjourney as an architectural virtual lab, this research article attempts to define the major current limitations of using Midjourney's AI system in producing images similar to the actual buildings and sites of Islamic architectural heritage. This research employs prompt engineering techniques based on historical sources as inputs to examine the accuracy of the output of the AI-generated images of selected examples of structures of the Islamic tradition. To validate the research results, it compares the Midjourney output with the original look by employing direct observation through critical analysis of human intelligence (HI) facilitated by the analysis of the latest version of 3M Visual Attention Software and an online survey. It concludes that while Midjourney can represent high-end AI-generated images inspired by the Islamic tradition, it currently falls short of presenting the actual appearance of some of its original structures. Furthermore, it categorizes these limitations into four groups: (1) limits of the prompt, (2) limits of fame, (3) limits of regionality and historical styles, and (4) limits of architectural elements and details. The significance of this research lies in providing timely evaluation factors to architectural heritage practitioners and software developers. This practical article is the second in a series of two sequential articles in the Buildings journal; the first (theoretical) article introduces the concept of Artificial Intelligence Islamic Architecture (AIIA), answering the question: what is Islamic architecture in the age of artificial intelligence? [ABSTRACT FROM AUTHOR]

Especially in rural areas, where the deterioration process of religious structures is rapid, it is necessary to undertake efforts for their preservation and restoration. The main reason for this is the scarcity of similar examples due to the region-specific nature of mosque structures in rural areas. The fundamental problem addressed in the research is the rapid deterioration and impending disappearance of structures in rural areas due to declining population and subsequent abandonment. Documentation processes for Mehran Mosque located in Hacımuharrem Village of Kastamonu province were carried out in the study, and restoration and restitution proposals were put forward. Additionally, the structural stability of the mosque was analyzed to assess its behavior under seismic impact. The study concluded that there were no structural issues found, indicating that the mosque could be restored and utilized promptly. However, it is essential not only to make the structure usable individually but also to evaluate it within its surroundings. The study is significant in understanding the adverse effects of population decline on historical buildings. Furthermore, the fact that the selected structure has been preserved in its original state and was built during the same period as Mahmut Bey Mosque also adds importance to the study.

The historical and architectural complex of Shah Fazil is one of the holiest places for Muslims and a historical monument, and the relevance of its study is related to its religious, historical and cultural importance. The purpose of the study is to investigate the establishment of the Shah Fazil architectural complex and determine the connection between the legends about the foundation of the Shah Fazil mausoleum during the Arab conquest of Ferghana and real historical facts. The study used general scientific methods of analysis and synthesis, comparison, as well as historical-critical, comparative and dialectical methods. As a result, it was established that the Shah Fazil architectural complex is a unique object of cultural heritage. It includes several architectural monuments, the most significant of which is the 11th century mausoleum. Of particular value is the interior of the mausoleum, decorated with carved carvings and religious inscriptions. According to legend, the founder of the complex, the great-grandson of the prophet Muhammed, Shah Fazil, who conquered the Ferghana Valley in the 7th century, is buried in the mausoleum. Here, according to legend, is the burial place of 2,700 Arab soldiers, companions of Shah Jarir, father of Shah Fazil, who died at the hands of local pagans. The soldiers were buried by the maid Safid-Bulan, after whom the village where the complex is located is named. The figures appearing in the legend of the individual are the fruit of folklore, but the story itself has a historical basis and serves as an echo of real events that took place at the beginning of the conquest of the Ferghana Valley by the Arabs. The practical value of the study is determined by the fact that its materials can be used in further research of the historical and architectural complex of Shah Fazil, and is also a source for the use of elements of ancient architecture in the design of modern buildings

The article presents the results of archaeological and historiographical studies of Islamic hammams in the Levant. The cities of the Levant were famous for their hammams belonging to different eras. In their architecture, decorations, and inscriptions, they were among the masterpieces of Islamic art. The hammams of the Levant were among the achievements of the architects of the Levant. Their walls were tiled and the floors were marble. An ingenious engineering system with hot water was used for heating, and the hammams were provided with cold water that flowed from beautifully shaped fountains. People used these hammams not only for bathing, but also for spending time and curing certain illnesses, as well as for some traditional social activities. Islamic civilization inherited public hammams as one of the achievements of previous civilizations. Hammams spread in the cities of the Islamic world, both east and west, as social facilities previously considered alien to Islamic architecture. It was Islamic architects and urban planners who made hammams popular public facilities to meet the vital needs of the local population. Early Muslim Arabs were not familiar with the use of abundant water before the advent of Islam. Mosques, bimaristans (hospitals) or markets played an important role in the religious, social and literary spheres. The establishment of public hammams increased in Islamic cities because of their connection with Islam's provisions for cleanliness and purification, and the inability of the population to build private bathrooms in their homes. Hammams became one of the most common constructions in the Levant, and it was not only a sign of civilization, luxury or wealth, but also an indispensable social necessity. This article is based on Arabic publications which weren’t used by Russian scientists before.

The present work will try to delve into some emotional aspects expressed by the community of believers about a section of the Mosque of Córdoba: the maqsūra of al-Ḥakam II. It is important to observe this maqsūra from the point of view of the emotions that it generates during its use as an active sacred space. The maqṣūra of al-Ḥakam II is a space for communication between the political and religious powers within the religious community who attended the Prayer on Friday (Ṣalat al-Jumu'a). This article reviews and expands some hypotheses raised by Professor Ruiz Souza in 2001, where he pointed out the importance of the point of view of the community of worshippers to understand the main functions of the maqṣūra. The worshippers attended the ceremonial and could observe part of the maqṣūra from the shadows of the naves of the old mosque. What did they perceive from a space that was hidden from their gaze? What was this luminous place where the Prince of Believers was located, trying to make them feel? To answer these questions, new methodologies from the History of Art have been used, combined with Anthropology of Religion, the Archeology of Emotions, Color Symbology, Neuroscience and Psychology. [ABSTRACT FROM AUTHOR]

Qurh is an early Islamic city located in the al-Ula governorate, northwest of the Kingdom of Saudi Arabia. It dates to the Umayyad dynasty during the 1st/7th C AD and continued until the Abbasid era during the 6th/12th C AD. The city of Qurh occupies a strategic location on the Syrian pilgrimage route, on the bank of Wadi al-Qura, one of the most important sources that provided the city with abundant quantities of water for drinking and agriculture. The city contains a large number of buildings and various archaeological remains, some of which have been excavated and the rest, which constitutes the largest part of the city, is still under the sand. Since the main building material in Qurh is mud brick, the city's architectural structures are subject to deterioration and collapse. Mud brick is one of our ancestor’s precious legacies; however, they face changing factors of deterioration from harsh weather, which caused mud brick decay and mechanical properties reduction which need to be urgently consolidated. To our knowledge, it is the first report on the application of Calcium Hydroxide Nanoparticles Ca(OH)2. for the consolidation of mud brick deteriorated the archaeological city of Qurh in al-Ula. Nowadays, nanotechnology provides advanced concepts and new materials for the protection of mud bricks. In this study, a novel method for the consolidation of mud brick was proposed with Calcium hydroxide Nanoparticles Ca(OH)2. Mud brick was investigated, characterized by using different techniques and methods, such as Transmission Electron Microscopy (TEM), Scanning Electron Microscopy (SEM-EDX), Polarized Microscopy (PLM), X-ray Folrences (XRF) and X-ray diffraction (XRD). The results showed that Calcium hydroxide Nanoparticles have enhanced the surfaces of mud bricks. Therefore, this study aims to highlight the historical and architectural value of the city of Qurh, develop a plan to conserve the heritage buildings in the city, and treatment of mud bricks. [ABSTRACT FROM AUTHOR]

This article examines the influence of Islamic thought on the design of residential spaces, using the examples of Suhaimi's and Sibai's houses. It explores the cultural, religious, environmental, and socio-economic factors that shape architectural practices in Islamic communities. The study highlights the importance of incorporating Islamic principles into residential design, engaging with local communities, promoting sustainability, preserving architectural heritage, and advancing research and education in Islamic architecture. The findings provide valuable insights for architects, designers, policymakers, and researchers working in Islamic communities. [Extracted from the article]

Islamic architecture consists of religion, politics, philosophy, and aesthetics. The religious expression of symbols in Islamic architecture is also extremely important in architecture. These religious symbols, which are used in palace buildings and generally in administrative places in the Islamic world, are shaped depending on the function of the buildings. In this period, the palace complexes were considered to be the most important structures representing state politics and economy. In this study, the purposes and methods of use of religious symbols used in many palace complexes of Islamic architecture were investigated. While investigating the main source and usage rules of these symbols in palace architecture, the Quran, which is the foundation of Islam, was examined and the dependence of these symbols on numbers was tried to be revealed with examples. [ABSTRACT FROM AUTHOR]

Minimalism is one post modern style movement which emerged in the 50s of the twentieth century, but it was rapidly growing in the years 60s, 70s. Minimalism is defined as the concept of minimizing distractions from what's truly valuable or essential . On the same grounds, works of minimalist offers a direct view at and raises questions about the true nature of the subject or object inviting the viewer to consider it for it for the real shape, a thought, a movement reminding us to focus on what's really important .The Architecture of Minimalism is characterized by an economy with materials, focusing on building quality with considerations for 'essences' as light, form, detail of material, texture, space and scale, place and human conditions . The research of this paper is mainly into the basis of designing a Minimalistic mosque in India while analysing the parameters for the design from the the Matching characteristics of islamic architecture (i.e) in specific to a mosque and the Minimalism . Therefore, the paper is about the mosque architecture and minimalism and of their underlying principles, matching characteristics and design goals [ABSTRACT FROM AUTHOR]

Over the centuries, architects have distanced themselves from the accumulated architectural knowledge, which often provided constructive solutions highly connected to the climatic context and cultural characteristics. With utmost expression from the 20th century on, building designers have assumed a somewhat negligent attitude towards the architectural project, essentially relying on active mechanical systems, to achieve indoor environmental comfort conditions. This paper overviews the current knowledge of solar control elements adopted and developed by Brazilian architecture, tracing its origin to the influence of Arab and Moorish architecture, with the objective of valuing passive solutions. Arab influence in Brazilian architecture began in the 17th century when Portuguese settlers felt the need to adapt the colonial buildings to the climatic constraints, particularly with regard to excessive solar radiation, leading to indoor thermal discomfort and excess natural light. Arab influence in Brazilian architecture remains present until the current day with the same objectives; however, it has been reinterpreted and appropriated by the Brazilian architectural school. Among the most used construction elements during the colonial period were the muxarabis, rótulas, and gelosias. Throughout the 20th century, these elements were culturally appropriated and served as inspiration for the development of the cobogó and the pioneering use of brise-soleis in Brazilian architecture. These elements have spread throughout global architecture, accompanied by the adoption of computer-controlled dynamic solar protection systems. Therefore, it is important to promote traditional solutions and encourage new architects to adopt passive approaches, aiming for energy efficiency and reducing environmental impacts. [ABSTRACT FROM AUTHOR]

The goal of this study is to develop a studio experience that will allow second-year interior architecture students to incorporate the continuity of traditional Islamic patterns into contemporary designs. Islamic geometric patterns from the Seljuk eras were investigated as part of the study's focus, and these patterns were used as a foundation for the development of a novel design model. It is important for the systematization of the design process that the working methodology is structured in three phases, namely the analytical phase, the creative phase and the application phase. The process of gathering data is part of the analytical phase, but the creative phase is where the data is abstracted and interpreted. As a result, the study has been presented as a unique one in terms of bringing awareness of conventional and regional patterns in interior architecture education as well as sustainability with motivated, abstract, avant-garde, and contemporary approach. [ABSTRACT FROM AUTHOR]