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The current study aimed to investigate the quality of the interior architecture of the religious spaces regarding inducing the sense of spirituality with an emphasis on light. Thus, the authors introduced the best option by simulating the light intensity of the interior environment of the Nasir Al-Mulk Mosque, Shiraz, in software and developing a visual standard questionnaire with a statistical population including the experts. This research was a field, and survey study and computational software were used to simulate the light intensity of the interior environment of the mosque in the first part. Then, the researcher-made visual questionnaire was developed. Also, this questionnaire was sent to the experts online due to the current situations due to the Covid-19 pandemic. The statistical population was selected using the purposive sampling method from the universities of Iran, Malaysia, India, and Turkey, whose expertise was architecture, environmental psychology, and sacred arts.

The morphology of built environments has a significant effect on human well-being. To match the emotional effect of natural environment, architects need to create connections with its stimuli. In Islamic architecture, and due to the strict prohibition of depictions of human and animal forms, geometry was the only appropriate tool to create these connections through tessellations, stalactites, and motifs that cascade without an end. This paper employs Christopher Alexander’s 15 properties of Art and Nature as a preliminary qualitative tool for analyzing the visual properties of Nasir El-Molk mosque to measure how far the architects succeeded in creating these connections. A numerical model by Nikos Salingaros was also employed for a quantitative measurement of these qualities. The paper concludes that the building's design was based on a thoughtful process focused on extracting the qualities of Creation and reproducing them in abstract compositions to give the building qualities of Nature and Life.

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

The Minarets are a distinctive architectural feature of Islamic Mosques. The Minarets have become an essential and integral part of the mosque in the Indian sub-continent as like anywhere in the world. The Minarets evolved in Islamic Architecture at very early times. Although it was not an essential part of the mosque during the lifetime of the Prophet Muhammad (PBUH) and even for some time after the period after him, There are, however, many conflicting views as to exactly where, when and by whom were the first mina-rets built. The minarets were constructed for monumental purposes but became symbolic and became the permanent features of the mosque buildings. These minarets are being built in varied geographical and cultural environments. The Muslim architects used forms that have been acclimatized in their traditional cultures. The architects did not invent new forms but preferred to refine the existing ones with the highest proportion and integrity to the main building. Therefore, they had gone through a transition state in adapting the minarets form, keeping their cultural richness and transforming them into a religious identity most suited to the Islamic buildings. This paper reviews the mosque architecture in general, the various functional aspects of minarets, its evolution in history, and the forms that the architects in India had used to determine their roots and the process of transformation by which it had been recognized as a vital element in the Islamic buildings, especially the mosques.

The mosque is a significant element in Islamic architecture that primarily constructs the presence and doctrine of Islam. On the other hand, it has a substantial role in developing Islamic civilization from time to time. It was able to convey and preach the teachings of Islam from the Qur'an through the parts of the building. One of the mosques that represent these criteria is the Sumenep Jamik Mosque. This paper aims to explore Quranic values in the architecture of the Jamik Mosque. The research method used in this study is a qualitative descriptive method. The author describes empirical data related to the architecture of the Jamik Mosque. The approach used in this study is historical-philosophical. The research indicates that the Jamik Mosque construction was adopted and inspired by the values of the Qur'an. Empirical facts about aspects of the Qur'an in the architecture of the Jamik Mosque can be found in the building parts, including; mosque building, mihrab, calligraphy as mosque decoration, the grandeur of the gate (gapura), garden, overlapping roof, tower, pillar, place of ablution, and pavilion (pendopo). Based on this phenomenon, it can be concluded that the architecture displayed by the Jamik Mosque is inseparable from the values of the Quran and Islamic ideological doctrines.

The history of human civilization informs us of many examples and examples of our artistic heritage, which is an expression of civilization and the tongue of the state of society, but the tangible heritage remains represented in the artistic symbol, and the material industry testifies to what the state of civilizations was, and thus it helps us in reaching knowledge of the secrets of these Civilizations and the amount of what they have achieved in the scientific, economic, military, artistic and other fields. The Arab and Islamic world has drifted behind modernization and beautification that stripped it of its identity and civilization and pushed it into the abyss of thought, in light of the pursuit of what is known as pseudo urbanism, so the Islamic world has become in dire need to express its identity, its ancient civilization and its various arts by reviving the Islamic heritage that represents He has a creative image with a footprint in all areas of daily life. He is able to rebuild Arab society and work to raise cultural awareness through the Islamic heritage. The Arab and Islamic region has been distinguished by its distinctive architectural and artistic heritage, which is fertile for the designer to draw from it in its modern designs, which called for the endeavor to revive the Arab-Islamic heritage, and the research focuses on reviving the Islamic cultural and intellectual heritage and linking it to the culture of architecture and contemporary arts and the use of Islamic architectural elements based on the philosophies and intellectual beliefs of the Islamic religion And applied in the design of contemporary products. But if we look at the Islamic arts, we find that there is a general unity that brings them together so that any piece produced under the Islamic civilization in any country of the Islamic world can be distinguished from others, and perhaps this secret is one of the secrets of the superiority of Islamic civilization and its superior ability to dye artistic products in all countries with one color. However, this unity did not prevent the existence of Islamic styles that were characteristic of the different Islamic countries during their artistic development eras. So the search for Islamic and Arab identity and its independence from modernization and beautification and a return to Islamic principles, in order to build the Arab-Islamic future requires reviving the heritage and establishing it for the identity, and an affirmation of the civilized Arab self with its roots for thousands of years.

The great mosque is an important monument in Tiznit because ofits archaeological foundations, historical value, and significantscientific prestige. It has all features, including its architecturalelements and units, to play its due role. For example, it includesriwaqs for prayer, a minbar (pulpit), a mihrab, a minaret, etc. TheMosque comprises a court, four riwaqs, a room for orator, a roomfor pulpit, and a minaret. An ablution fountain was attached to thesoutheast side. The walls were built using Tapia (compressed drymud), and the ceilings were made of wood. The present studyaims to highlight the archaeological and architectural - in additionto the religious and scientific- values of the Mosque. This issuehelps keep the mosque with its original architectural elements andenhance the tourist attraction of the city. Using the historic, descriptive, and analytical approaches, the study describes, documents,and analyzes all architectural and decorative elements of themosque.

Islamic architecture represents a great civilization that passed through it, Architects constructed many buildings in different parts of the world. It is one of the most important Aspects of civilization that characterized Islamic history for decade, because it is rich in vocabulary, details and environmental treatments that move towards contemporary architecture. But with the transformation of the architectural form of Islamic architecture by using parametric algorithms the principles of Islamic architecture had changed and new principles had appeared and some had neglected so we are going to obtain these principles to develop the Islamic architecture into parametric Islamic architecture.

The challenge in the acoustics design of the traditional mosque is twofold. First, the interior atmosphere of the space should create a sacred feeling on the users' holistic and phenomenological spatial perception, which is generally recognized as a direct effect of increased reverberation time (T30) and low clarity (C80). Second, speech should be adequately intelligible, which requires a low T30 and high speech clarity, contradicting the initial concern of the sacred atmosphere. We hypothesize that in Islamic architecture, wooden hypostyle mosques may comply better with the reverberation time requirements of speech intelligibility, while maintaining the sacred feeling, due to their comparatively absorptive surface finishing materials and structural elements. The Aslanhane Mosque is a unique sacred structure within its era of construction, well-known with its wooden columns and ceiling. It is an important case for room acoustics analysis of such holy spaces. This study aimed to analyze the room acoustic measurement results of the Aslanhane Mosque, evaluating the intelligibility of speech and interpreting the sacred feeling created by reverberance, envelopment, and spaciousness, which are all crucial in such holy structures. It is revealed that although the Aslanhane Mosque's subjective rating for speech intelligibility is “good,” the overall low volume of the mosque and the lack of surface reflections decrease the sacred sensation. Additionally, the intelligibility of speech is vulnerable to obstacles within the line of sight, such as load-bearing columns. Lastly, it was observed that the increase in T30 at low frequencies improved the sacred sensation, envelopment, and spaciousness, without any profound negative impact on the intelligibility of speech.

Afghanistan as a multi-cultural country witnesses a diversity of architectural styles influenced by many civilizations. Architecture in the Kabul city, the capital of Afghanistan, encompasses styles before emerging Islamic and after emerging Islamic religion. Considering the civilization influences, architecture styles in Afghanistan may be divided into three parts: Central Asia, Persian, and Indian. Kabul city is the meeting place of all these three styles. After the establishment of current Afghanistan in 1747, for the first time the evolution of architectural style in Kabul city as the capital occurred in 1880 which has been influenced by western architecture styles, and it has become the most famous style in the city. Basically, the architecture styles in Kabul city in relation to the civilization influences are characterized by Central Asian, Persian, Indian, and Western styles which have been reflected in most of the architectural monuments in the country. In this paper it is aimed to study the architectural evolution of the Kabul city by considering the civilization impacts through history, particularly before emerging Islam and after emerging Islam religion. The associated architectural monuments of each historical period in the city were studied based on its architectural style and related civilization. Furthermore, these impacts on shaping the current architectural style of the Kabul city have also been reviewed. This study is carried out mostly by reviewing the literature to highlight the architectural styles developed over the periods in Kabul city and the impact of cultural influences on them. As a case from each historical period, the monuments according to their historical importance, architecture style, and construction method are evaluated. As a mapping technique, Arc GIS 10.5 is used to visualize the distribution of architectural monuments within Kabul city.

Mosque architecture is one of the most important features of Islamic architecture throughout the ages, and it is a center of intellectual and religious radiation in which Islamic civilization grew, but if there is any change affecting the identity of the mosque or its traditional concept and sacred personality influenced by advanced technology from the West with its objectives and ideas in an attempt to take advantage of the modern possibilities available, forgetting the main function and cultural spirit of mosques that annul the original values of our architecture and obliterate the local identity, privacy and belonging of the cultural heritage of the city. By identifying proposals and visions about mosque architecture and development, with regard to the philosophy of mosque design, spatial characteristics, visual dimensions, community options for the site, and building technology, the research addresses current trends and expected future visions of the architecture of contemporary mosques, which are an important pillar for Muslim communities in all Throughout the world, it remains an important center for spiritual, moral and cultural life in Muslim societies, despite the preservation of its overall spatial, visual, cultural, social and spiritual characteristics over the centuries, but the design of contemporary mosques has undergone various transformations that emphasize its centrality and adaptability to Islamic community developments. The problem of research comes in: the loss of heritage identity and originality in the designs of contemporary Arab and Islamic architecture mosques, which are characterized by the weakness of the new mosque architecture designs by the requirements: functional, security and safety, environmental and aesthetic, so that they meet the needs of the worshippers and combine between 'originality' and 'creativity' in Saudi Arabia. The research includes five main parts: the first part of the presented in terms of objectives, problems and methodology, while the second part discusses the general concepts and four directions of the architecture of the mosques of the future, the main components and design considerations and requirements for evaluating the architecture of contemporary mosques, and The third part presents the practical framework for evaluating the standards and design requirements on two mosques with different environments in (Riyadh city and Medina), to develop a governing framework for the architectural design process of the architecture of contemporary mosques, and The fourth part includes: presenting the results of the field survey of the views of worshippers and users in the mosques of the school districts to reach the general population's satisfaction with the mosques, and the research ends in the fifth part: The results of the questionnaire, the summary and the most important results and recommendations.

Javanese Islamic architecture appears to be highly influenced by previous cultures, even though Islam has brought a new civilisation since the 13th century in Indonesia. The classical mosques and houses seem to follow Javanese and Hindu-Buddhist principles in their buildings, elements and spatial arrangements. This paper examines how the Javanese adapted their architecture to meet Islamic values while preserving their previous traditions. The concept of architectural synchronisation in Javanese architecture is examined from the traces observed in the temple dioramas, depictions of contemporary cultural products, and several traditional buildings. The adoptions and adaptations that appear in some significant objects such as old mosques and houses are traced back to previous transformation principles. Architectural harmonisation for new needs seemingly bases on religion as the most potent driving aspect. However, what is interesting is that in the case of Java, embracing a new religion does not mean forgetting existing traditions. On the other hand, the principle of acculturation has created a peaceful transition in architecture. Some evidence suggests that Javanese high culture, such as the classical grand mosque and the joglo house, succeeded in translating Javanese and Hindu-Buddhist ideas into Islamic architecture in very distinctive ways.

The paper presents a study of the mosque of al-Karīmīyah, which is considered one of the oldest mosques in Aleppo city. Despite the importance of this mosque, no study has been allocated to it, which gives a special significance of this paper especially that the monuments of the city subject to severe ruin because of the current events in Syria in general. The paper examines the names of the mosque and its historical importance as demonstrated through its various functions. All renewal works at the building are considered and an architectural description is provided, which includes a new dating for some elements, in addition to an analytical study shows the origin of the mosque's elements and compares them to parallel examples. The paper included also a reading for all remaining inscriptions with facsimile figures made by the author and published for the first time. The study also elucidates the endowments that were allocated to the mosque during the Mamluk and the Ottoman periods, demonstrating the significance of its waqf. All plates have been taken by the author in 2010.

A long history of civilization through various cultural and technological influences, had shaped the Ottoman mosque architecture. Each of the objects has its unique characteristics yet connected each other. This paper examines how the classic Turkish mosque-dome architecture, have evolved by proposing examination on configuration similarities and its connection. The authors address 23 mosques in the high classical period of the Ottoman's era to reveal spatial and technical considerations of the main building. The dynasty's route in architecture from central Asia, Seljuk, Bursa, Edirne, and Istanbul is the context of the discussion. It is undeniable that the development of dome architecture in classical Turkey shows some clear linkages from the previous to the later age. Furthermore, some links connected pre and after Istanbul conquest, which contribute to clarify the dispute of the novelty of the architecture, were discovered.

Purpose Daylight control and energy efficiency in architectural design is accepted as one of the main inputs of sustainable architecture. In the present study, we investigate the importance of light factor and daylighting design criterias as the construction technique of mosques improves by adhering to different periods. Design/Methodology/Approach Interior space designs of three different Mosques are displayed via plan sketches, therefore every mosque is evaluated particularly in summer term periods when users pray inside mosques in particular day and hour periods. In-situ evaluation results are tested by a luxmeter and comfort device. Each mosques’ technical plans are modelled in 3D programme. Measures are evaluated only when there is natural light inside. Findings The major design criterias and construction techniques stated in this study will give inspiration to builders to design praying halls which have perfect lighting performance with sacred sense of worshipping activities with full of serenity and concentration. Research Limitations/Implications Short-term and very limited in situ measurements were taken in Konya mosques due to pandemic precautions. Also evolved computational datas of DB programme are the main limitation of this study. Originality/Value This study is the first to emphasise the importance and development of daylight in places of worship in the center of Konya, depending on the order of architectural design according to different periods. There are very few studies that examine the effect of daylight in worship places and its impact on construction and design. Daylighting in historic Islamic architecture can be further studied via simulation programme.

Islamic art is an introverted art derived from mystical thought and believes expressed in artistic activities and is pure, indigenous, and commensurate with the spirit and social status of its time; Islamic architecture also has an Islamic foundation, and it has a close relationship with the decorative arts. In this regard, mosques are considered the most significant Islamic architecture achievements; in most cases, geometrical shapes and motifs with religious and natural themes have been used. Therefore, the present study's primary purpose is to study the geometric patterns of the Ateeq Mosque (Shiraz) and the Cordoba Mosque (Cordoba) by a descriptive-analytical method. Analyzing the collected data revealed that the motifs and their role in both the Ateeq Mosque of Shiraz and Cordoba are similar. Among the essential motifs observed in these two mosques can be the circle (symbol of being and the symbol of heaven and God), Shams (symbol of the sun and celestial light), the triangle with the downward vertex, the symbol of the female principle and the upward symbol of the mountain symbol and the masculine principle and crucifix (symbol of rotation of the seasons and permanent reproduction) and spiral as the symbol of fertility. In the Islamic period, these motifs are decorated with architectural spaces. The geometric motifs represent natural elements. As appreciation and sanctification of natural elements have been noticed, geometric motifs symbolically evoke those sacred elements and were illustrated in Iran and Spain's arts.

There is an increasing global attention of the environment, and there are modern concepts trying to link the architecture with the environment. The Egyptian architecture influenced by the environment since the ancient times, where the Pharaohs built their civilization and adapt it to the surrounding environment through the use of environmental motives and respect the surrounding climate, Also the Islamic architecture in Egypt was characterized by the Environmental design used to provide a comfortable interior with the use of local available materials. By the beginning of the twentieth century appeared the vernacular and local environmental architecture pioneered by architect Hassan Fathy, who maintained the features of Egyptian architecture and used it according to the environment and the needs of users. And by the time this trends start to diminish and became individual attempts to activate the thoughts of sustainability in architecture, where we can find some projects with sustainable and environmental approaches, and finally we found some trials to get international accreditation, where a branch of (HSBC) bank in Egypt has achieved a Golden LEED certificate, and that may represent local Egyptian sustainable architecture.

The Islamic law is a clear path for human life, and a guide to his behavior and decisions making in all aspects of his life: like design and planning of the buildings and urban communities., in the past decades many studies revealed the deterioration in the buildings facades that appears in neglecting the Islamic values and principles, which call for lowering the gaze and respecting the neighbors privacy. Currently the design facades do not provide enough privacy for the buildings users and their neighbors; despite the availability of the Islamic legislation, scientific studies, and the solutions and architectural techniques which help the architects to achieve the privacy. This study aims to explain, analyze and discuss the obstacles which prevent the architects in Egypt to achieve the external privacy in the residential buildings facades. Through a questionnaire about the opinions of a number of bachelor architecture students and academic experienced architects; This study revealed that legislate a building law based on the Islamic law and scientific studies for planning and constructing the existing and new urban communities will help the architects to develop their creative abilities to achieve buildings that provide all kinds and levels of the privacy which suited to Islamic communities, and also regulating the formation of the buildings facades such as openings places, shapes and materials will help such openings to do its various functions taking advantage of the scientific and technological development in materials, construction techniques and systems.

With the advancement of technical development in the methods of architecture and the intertwining of different cultures into our Arab and Islamic societies, the architect became confused regarding utilizing contemporary techniques, besides, preserving the positives of buildings in their Islamic nature and represented in the use of Islamic values ​​and concepts, so the current paper aimed to clarify those positives and motives that contributed In the formation of its brilliant architectural elements, which had a role in creating an Islamic personality and architectural character. The present paper shed light on the most important design criteria and foundations that were built on Islamic values ​​and concepts, which were then used in many local and international projects, and in order to deal with the importance of the paper and the goals that must be achieved, the application of this paper on one the universities of the Kingdom of Saudi Arabia, a university Umm Al-Qura in Makkah Al-Mukarramah, with architectural significance, in five points: (Islamic content - environmental concept - concept of aesthetic formation). The importance of the study lies in its discussion of a highly sensitive topic that serves contemporary Islamic architecture, where the importance of influencing the values ​​and concepts of Islamic architecture and its clear and directed role in the design, in order to provide an urban environment for the user that serves his aspirations and deals with all the surrounding conditions and develops belonging to him. The research aims to analyze and study the most important concepts and values ​​of Islamic architecture and the associated design criteria and principles that help direct the design process towards an urban product of functional, formative, and historical religious value, in order to infer the extent of its application and how this is taken into account in our future design considerations. In the context of the questions raised by the importance of the study and its goals that we seek to achieve, it is clear that the study should adopt an inductive analytical approach, and analyze one of the architecturally recent examples that are closely related to Islamic architecture due to the impact of its educational role and the dissemination of the thought affected by its urban environment, namely Umm Al Qura University in its location, design and future goals. مع دخول التطور التقني في أساليب العمارة وتداخل الثقافات المتنوعة إلى مجتمعاتنا العربية والإسلامية، أصبح المعماري في حيرة من أمره بين استخدام تقنيات العصر والمحافظة على ايجابيات المباني بطابعها الإسلامي، والمتمثل في استخدام القيم والمفاهيم المعمارية الإسلامية، لذلک استهدف البحث الوصول إلى توضيح تلک الايجابيات والدوافع التي ساهمت في تکوين عناصرها المعمارية الرائعة والتي کان لها دور في إيجاد شخصية وطابع معماري إسلامي مميز. وألقى البحث الضوء على أهم المعايير والأسس التصميمية التي بنيت على قيم ومفاهيم إسلامية، والتي استخدمت بعد ذلک في الکثير من المشاريع المحلية والعالمية، ولکي يتم التعامل مع أهمية البحث المطروحة والأهداف التي ينبغي تحقيقها جاء تطبيق هذا البحث على أحد جامعات المملکة العربية السعودية وهي جامعة أم القرى بمکة المکرمة في خمسة نقاط متسلسلة هي (المضمون الإسلامي - المفهوم البيئي - مفهوم التشکيل الجمالي). وتکمن أهمية الدراسة في تطرقها إلى موضوع ذو حساسية عالية يخدم العمارة الإسلامية المعاصرة، حيث الأهمية الواضحة التأثير لقيم ومفاهيم العمارة الإسلامية ودورها الواضح والموجه في العملية التصميمية، من اجل توفير بيئة عمرانية للمستخدم تخدم تطلعاته وتتعامل مع جميع الظروف المحيطة وتنمي الانتمائية لديه. ويهدف البحث الي تحليل ودراسة أهم المفاهيم والقيم للعمارة الإسلامية ومعايير وأسس التصميم المرتبطة بها والتي تساعد وتوجه العملية التصميمية نحو منتج عمراني ذو قيمة وظيفية وشکلية ومرجعية تاريخية عربية، وذلک بهدف استنتاج مدى تطبيقها وکيفية اخذ ذلک في اعتباراتنا التصميمية المستقبلية. وفي إطار أهمية الدراسة وأهدافها التي نسعى لتحقيقها تتضح ضرورة تبني الدراسة لمنهج تحليلي استقرائي، والوصول من مخرجات الجزء النظري الي مجموعة من المعايير التي يتم تطبيقها على حالة الدراسة (جامعة ام القرى بمکة المکرمة) لبيان مدى توافقها مع معايير وقيم العمارة الإسلامية.

Islamic Calligraphy and ornamentation are using to decorate mosques as well as other sacred places all over the Islamic world. This paper provides some sources of information for understanding and studying Islamic calligraphy and ornamentation in the Prophet Mosque interior (Al-Masjid An-Nabawi). Indeed, this paper aimed to highlight the formation aesthetics of calligraphy and Islamic decorations in which the aesthetic values. There are many aesthetic values of the Islamic calligraphy and ornamentation that portrayed in the Prophet Mosque interior. The Prophet Mosque has been selected in the present research due to the uniqueness in its calligraphy and ornamentation. Abdullah Zuhdi a calligrapher who was known as the calligrapher of the two holy sanctuaries (katib al-haramayn). The calligraphy and ornamentation in the Prophet Mosques are testifying to the skill of the master calligrapher. The principles of aesthetics in calligraphy and ornamentation based precisely on the principles of the beauty of Islam. After Islam, calligraphy was one of the most important kinds of art in Islamic world as well as one of the essential features of Islamic civilization. This study aims to show the necessity of studying Islamic calligraphy used in the Prophet Mosque interior as well as to display some Quranic verses that been written above the tomb of the Prophet Muhammad. The Prophet Mosque located in Medina city in Saudi Arabia as a model simply because it was one of the first mosques built by Prophet Muhammad and it has the fantastic and historical calligraphy and ornamentation that have a long history. The study has revealed that the calligraphy and ornamentation in the Prophet Muhmmad Mosque considered as an innovative art through its dependence unique Thuluth script and intricate pattern of Islamic motifs, the Muslim artist creativity expressed about the sacred calligraphy and highlighted the global nature of the decoration.

This research aims to examine Aleppo’s distinctive architectural design profiles, most precisely those of residential buildings, and to highlight factors that indicate how the Islamic culture influenced the architectural structure in the pre-civil war era. Descriptive research, observation, and documentation of architectural elements that determine the general characteristics of housing in the city of Aleppo were used. The study focused on Wakil and Zamriah houses as case studies because of their accessibility and excellent exemplary style. The current study sheds light on the history of Aleppo’s urban development and its influence by the Islamic civilization during the late Ottoman era up to the Syrian civil war in 2011. It is shown how Islamic civilization influenced Aleppo's residential buildings in terms of simplicity, respect for human scale, equality, and privacy.

The monumental Alabaster Mosque of the Ottoman-appointed governor of Egypt Muhammad ‘Ali Pasha (r. 1805–1848) has been varyingly examined as a visual representation of the Pasha’s political ambitio...

أخذت عمارة الأضرحة قسطا کبيرا من إهتمام المسلمين عبر العصور، حتى أصبحت إحدى سمات العمارة الإسلامية فى المشرق والمغرب، والأضرحة من العمائر التى شاع بناؤها على قبور الأولياء فى المغرب الإسلامى، ولعل من أهم أسباب انتشار ظاهرة بناء الأضرحة على قبور الأولياء والصالحين هى درجة التقديس والإحترام الذى يکنه السکان لأولياء الله فى هذه المناطق منذ فترة قديمة.وتمثل الاضرحة فى مدينة ولاته جانبا حيا وملموسا من التراث الولاتى لما لها من مکانة کبيرة فى نفوس الولاتيين لانها تضم قبور الاولياء والصالحين لاعتقاد اهل المدينة فى صلاحهم وولايتهم فالاضرحة تنصب خصيصا لزورا هؤلاء المشايخ الذين يمثلون مکانه روحية لدى ساکنى هذه المدينة فلذلک قام بعض الولاتيين بتشييد بعض الاضرحة وذلک بالبناء عليها تمييزا لها عن غيرها من قبور العامة. وبناءا على تلک الأهمية التى تمتعت بها الأضرحة فى ولاته بين غيرها من العمائر الاخرى، فهى لم تکن مجرد منشأت تبنى بواسطة الأهالى وسکانى المدينة، ولکنها قد جأءت تعکس فى عمارتها ثقافة هذا الشعب. The architecture of the mausoleums took a large part of the attention of Muslims throughout the ages, until it became a feature of Islamic architecture in the Levant and Al-Maghreb. Mausoleums are from the buildings that were popularly built on the graves of the saints in Islamic Maghreb. Perhaps one of the most important reasons of the spread of the phenomenon of building shrines on the graves of the righteous saints is the degree of sanctification and respect that the residents of God’s saints have in these areas since ancient times. The Mausoleums in the city of Walata are tangible aspect of the heritage in this city, because it has a great place in the hearts of its residents, since it includes the graves of the saints and the righteous since the people of the city believe in their goodness and jurisdiction The mausoleums are designed specifically for the visitors of these sheikhs, who represent a spiritual position among the residents of this city. Therefore, some residents of this city constructed some shrines by building on them to distinguish them from other graves of the public. And based on the importance that the mausoleum in Walata have been distinguished among other buildings, as they were not just buildings that are built by the people and residents of the city, but it reflects in its architecture the culture of this people.

The central district of any Islamic city is the location of the most distinctive architectural and urban features. This district includes the important architectural monuments such as Friday mosques, bazaars, Khans and Madrasas. To analyse the image of the Egyptian city during the Islamic period, it is important to understand how Egyptian Muslims conceptualized and represented their cities and to clarify the forces and underlying causes that underpin the distinguished visual appearance of such cities. It is investigated here how the aspects of the Islamic version of the image of city centres in Egypt can be translated to certain concepts and codes which can be considered in the development of the image of contemporary city in order to regain its identity and achieve the visual sustainability. To achieve this aim, Lynch analysis is applied here to investigate the five components of the image of Islamic Egyptian city centre, and then it is evaluated against certain criteria. This paper aims also to identify the positive and negative aspects of the visual image of Egyptian city during the Islamic era by focusing on the overhead image as a method of city perception at the present. It is concluded here that the visual quality of the Islamic image of Egyptian city centre is affected by some negative aspects such as; shortage of accessibility, absence of legible streets network, closed fields of vision, and similarity and monotony of landmarks. But on the other hand, these aspects which can be interpreted to be negative are justified in terms of the religious, cultural, and social contexts of the Islamic era. The main principles of designing the Islamic city have been derived and clarified as certain concepts such as community-based city design, the balance between visual exposure and privacy, and design for climate. It is confirmed here that, to create a link between the design of the city image during the Islamic era and the contemporary version of the city image, these principles should be applied to the design of contemporary cities using the available new techniques in order to meet the different needs of users and to investigate these principles deeply to go beyond merely using the Islamic styles in buildings facades in order to achieve the resilience of such image to the different changes and challenges.

The mosque which is a place of worship or place of worship for Muslims is also the culmination of the sanctity of space in Islam and is an artifact of Islamic architecture. Islamic art forms on mosques are a blend of symbolic elements of Islamic architecture. Masjid Hj. Sudalmiyah Rais is a part of public facilities in Universitas Muhammadiyah Surakarta. The mosque has a very thick Islamic architectural style. This research will explore and find out what forms of Islamic art are applied to the mosque. The purpose of this study finds Islamic art was applied in the mosque and how to presents Islamic decorative arts found in the mosque. This study uses a qualitative descriptive method. This research carried out by seeing the object of the mosque, then assessed the parts that were based on the results of matching parameters of the symbolic elements of Islamic architecture. Masjid Hj.Sudalmiyah Rais fulfills 11 of these 12 parameters. The missing thing is the hand made decorations. That can be concluded that Masjid Hj. Sudalmiyah Rais applied Islamic art to the physical form of the building. Islamic ornamental arts contained in the mosque that are in the form of calligraphy ornaments, geometric ornaments, and flower ornaments (florist). The benefits of this research are to increase public knowledge about Islamic art studies found in Masjid Hj. Sudalmiyah Rais and gave references to Architects about the use of Islamic art in mosques.

A mosque is a symbol of the magnificence of Islam, which has an important significance in Islamic culture and civilization, and is a symbol of harmony in human life with Nature and the environment.The appearance of the Hunto Mosque building is a combination of elements of local architecture and Islamic architecture which is full of meaning. Some of these parts are the four pillars of the mosque which are interpreted as the four companions of the prophet, six wooden doors, a pulpit whose ornaments come from Gujarat, India, a drum, and an old well where ablution is of course as old as the Hunto Mosque. Hunto Mosque, the first mosque in Gorontalo City, was built in 1495 AD or 899 H, and has an area of 12x12 meters. This study aims to determine in general the form of typology in the form of architectural ornaments at the Sultan Amay mosque.The manifestation of a mosque architectural typology that occurs directly or indirectly, is due to the distinctive difference between a traditional Islamic community-based architectural typology with a modernist Islamic community-based architectural typology, each of which is influenced by the characteristics of the Islamic orientation of society.

I knew architecture grew since the ages of prehistoric and was the goal of the appearance of architecture at first in order to meet the need and protection from surrounding risks, but with the evolution of architecture through the ages, and the concept of civilization that appeared with the development of architecture gave a special identity to architecture. like Mesopotamia in Iraqi architecture, Egyptian architecture shows African, Romanian Greek, and Islamic architecture. The Byzantine Empire which covered most regions of the world saw the emergence of a very Christian architecture in Italy and the Vatican Gothic factor was the development of this architecture. Prothera next to the religious and ideological thought and philosophy closer to the god of, this architecture was thought the mainstream has actually contributed to the development of architecture during the ages.In this study, we will study the Islamic building in the North Africa region, which spread in the 10th century and was founded by The Abadites who were Kharijites and spread in the north of the Algerian desert, specifically in the city of Ghardaia in Wadi M'zab. 550 km from Algiers. This city is designed for social life, and this city is an inspiration for urban planners today. This city has been described in the Book of Lights Mazab of the French Orientalist where he said that her charm attracts visitors to it in one of the pages of this book.This architecture was characterized by: an inherent system of architecture, a mixture of practical creativity, which was characterized by steadfastness so as to stay adapted and adapted to the difficult climate and nature of the region, and the maintenance of the neighborhood rights supported by a arsenal of ethical systems and customs expressed in the harem. Both inside the palace or at specific distances outside their walls ... Which is covered by a beautiful aesthetic touch and an almost unique architectural feature.Through this study we will explain how They were affected of the building and the urban fabric of the area and the inhabitants of Wadi M'zab affected the religious dimension, how did urban fabric Wade M'zab preserve his building authenticity in terms of the form and mix of art and creativity that appears in urban and Wadi M'zab.

This is the first case study of important places ofpublic worship in three villages of the Tobolsk Governorate in the late 1800s and early 1900s, with reference to architectural planning, hagiography, and religious attitudes. The churches in Obdorskoye and Romanovskoye are located either on an elevated, unoccupied territory in a natural environment or in the center of residential quarters, according to the Russian architectural traditions. The choice of saints was motivated by the ethnic, religious, and cultural situation. Dedications of altars to Archangel Michael, Sts. Peter and Paul, St. Basil the Great, and St. Nicholas were meant to protect while affirming religious values, canons, and dogmas of Russian Orthodoxy. At the Kobyatskieyurts, a mosque was built. Its architecture stood out from the residential quarters, following the Islamic tradition. Its construction, evidencing the religious identity of the residents of the yurts, testified to the recognition of their rights. The topography of religious buildings in villages differing in the ethnicity and religious beliefs of residents evidenced the strategy of ecclesiastical guidance, religious symbolism, and the villagers’ attitudes.

Human values were reflected in Islamic architecture and among these important values were (the value of privacy - Neighborhood Rights - social solidarity - Moderation- Equity- Sincerity - Aesthetic values). Islam has paid great attention to Neighborhood Rights as they have a significant impact on Islamic creed. Persons and groups are in need to Neighborhood rights as a requirement of their daily lives. Islamic values have had a great impact in ascension of human relations and in achieving the security, safety and tranquility that Islam has been keen to establish among Muslims each other and among Muslims and other religions. Ibn Umar reported Allah’s Messenger (may peace be upon him) as saying: “Gabriel impressed upon me (the kind treatment) towards the neighbor (so much) that I thought as if he would soon confer upon him the (right) of inheritance.” (Agreed upon).The architectural style in the Islamic city has been characterized that it is a material reflection of the human relations that Islam established hundreds years ago. This has led to form a strong and a coherent social base that reflects the cohesion of neighbors in a framework of good knowledge of the rights and duties emanating from the Islamic decree. Research Methodology: Monitoring and extrapolating the concepts of values and neighborhood rights and their types and the extent of the impact of the neighborhood rights on architectural formations in the Islamic ages by analyses the levels of realization of neighborhood rights in Islamic architecture.Research problem: The main problem of the research is the disappearance of human values that Islamic architecture was characterized by from the modern architecture, especially the rights of neighborhood. This has negatively affected the current architectural product, making it unsuitable for society. The research aims to monitor the rights of the neighborhood and the extent to which they are not applied in modern day architecture in practice and theoretically especially with modern regulations, laws and legislation. All these regulations have affected the Islamic architecture in Egypt this is to know the importance of human values that affect architecture, especially the rights of the neighborhood and the following Islamic human values, in order to benefit from them in contemporary architecture. conclusions: The concept of human values is a broad concept and has many directions where human values represent general and fundamental criteria in which members of society participate and contribute to the integration and identification of the behaviors of the individual within society. Human Values have affected Human as well as architecture and led to establishing a modern architecture which is environmentally compatible and coherent to the human through establishment of Islam principles. A surviving and mature building can be reached by studying the architectural heritage of Islamic architecture and learning about its philosophy and thought. Neighboring rights and privacy have a major role in Islamic architecture, especially Islamic residences. The rights of neighborhoods are the main value in the Islamic house which the building of this type of architecture is based on, as these buildings provide psychological comfort and a sense of tranquility. We also note the quest of the Muslim architect to achieve that value in Islamic architecture. The placement of wooden curtains to separate surfaces has a significant role in shrouding the containment of the buildings (to separate the roofs from each other) and to prepare the roofs for personal usage.

The current study aimed to study the light and its intensity in the case study (Cathedral of Santa Maria del Fiore). In the first section, the research method was field research and descriptive-analytical, and in the second section, the study was conducted using Analytic Hierarchy Process. The statistical population included experts in Islamic architecture, environmental psychology, and conservation. The research tools were visual questionnaires and the available software in this regard to analyze the data and simulate the lux intensity. The lighting confusion in the religious places, such as churches, caused issues that made the researchers consider developing codified principles and regulations to measure the required light in the interior environment of these buildings and direct the interior quality of the religious places to improve the spiritual aspect based on these principles.

Architects in the history of architecture try to be understood by their ideas that their designs need to be present on earth. Turgut Cansever (1920-2009) is an important opponent architect who was prized by Aga Khan Awards for architecture three times in his professional life and established his architectural understanding of the architecture of Ottoman and Islamic culture. This study aims to describe the life and work of the architect and his opinion about Islamic-Ottoman Architecture. Setting his architectural conception on a broader belief, Cansever strengthens his apprehension of architecture with his practice and literature studies. This unique approach in his works is shaped by a point of view that criticizes modernity but aims to validate it by reinterpreting in line with Islamic architecture. The references in the background of the structures of Cansever is thought to be too complex to read at a time. The understanding of Cansever's original designer perspective will be possible through the discussion of his synthesis resulted from the thoughts of Islamic architecture, Ottoman Architecture and modern architecture, and their reflections on his structures.

Man, with his natural instinct, his delicate sense of beauty and his love for creativity, has tried to mold everything that his hands make into an artistic form, expressing his latent desires that vary according to his ability to innovate and the extent of his influence with what is around him. And he has always worked hard in adapting the nature around him to suit his physical and spiritual needs. Since ancient times, water has been an important and fundamental factor in the emergence, continuation and progress of most civilizations. Man has sought by his strong will and beneficial connection with water to employ the objective elements and conditions to create new forms and architectural structural elements to contain the element of water, which led, by extension, to the emergence of what is known as water fountains or water fountains. Fountains or fountains mean the process of moving water vertically upward, descending, or gradually, and in some cases complex water formations in which the philosophical aspects and which were inspired by environmental elements, climatic conditions, as well as the craftsmanship with it. Thanks to the genius and skill of Muslims in the science of mechanics and engineering sciences in creating many designs and shapes for water fountains, which depend on some simple mechanical parts and relationships, which led to their increasing spread and expansion by using them as a functional decorative element in various aspects. Life from mosques to homes, through squares, galleries and orchards. The problem lies in the presence of some trumpets that adopt the view that Muslims, despite their superiority in the knowledge of mechanics, have only used it for purposes limited to lavishness or luxury without having any beneficial or practical benefit.

The minaret has an architectural importance through its main function as a place for announcing the call to prayer or raising the call to prayer by the muezzins, and the extent to which the call to prayer is linked to the obligation of prayer is one of the most important pillars of religious obligations for Muslims in the Islamic world from East Asia in the east to North Africa in the west. The minaret gained its architectural importance through its main function as a place for announcing the call to prayer, or raising the call to prayer by muezzins, and the extent to which the call to prayer is linked to the obligation of prayer, which is one of the most important pillars of religious obligations for Muslims, which made the minaret, with its height and height, represent the emblem of Islam as a religion in any city or village. In terms of general form. This research deals with the remaining independent minarets in Islamic architecture in Cairo of all kinds, and they are seven minarets remaining without religious installations attached to them: (1) Conditions for naming independent minaretm, (2) The extent of functional compatibility between independent minarets, and (3)Technical and architectural features of independent minarets. The research will be provided with a number of horizontal projections and photographic plates to enrich the scientific material.

Having lain between the Christian and Islamic worlds for centuries, Anatolia became the western end of Saljūq authority after the Battle of Manzikert in 464/1071. Central and eastern Anatolia had t...

تجدر الإشارة أنه بالإضافة إلى المنشآت الدينية، تميزت افريقية بأنواع أخرى من المنشآت ذات الطابع المدني بالأساس، وأبرز هذه المنشآت القصور، وذلک رغم أن ما بقي منها يعتبر قليلا جدا بالمقارنة مع فروع العمارة الإسلامية الأخرى کالمساجد والرباطات والأسوار وغيرها. وهذا بسبب کون هذه القصور غالبا ما تکون عرضة للتهديم والتغيير وذلک تبعا لتبدل الحکام وتغير الأهواء والإتجاهات والإحتياجات. ويعتبر قصر الصحن في رقادة معلما فريدا من نوعه لکل من يريد أن يبحث في عمارة القصور الأميرية بإفريقية في العصر الوسيط. ولا تتمثل فرادة هذا المعلم في حجمه وشکله فحسب، بل کذلک فيما يوفره من معطيات أثرية حول عمارة القصور الأميرية التي لا نزال نجهل الکثير عنها. إن دراسة قصر الصحن تبين تأثره بعمارة القصور في المشرق، ويمکن أن نلاحظ ذلک في التخطيط وفي العديد من المکونات المعمارية الأخرى کالسور الخارجي والمدخل وقاعة العرش والأواوين، والدور وغيرها، هذا إلى جانب الزخرفة. کما استفاد في نفس الوقت من الإرث المحلي القديم البوني والبيزنطيي، وهو ما أکسبه خصوصية مميزة جعلته يصبح مصدرا ملهما في عمارة القصور الأميرية في افريقية والمغرب الإسلامي عامة Abstract: It should be noted that in addition to the religious establishments, Ifriqiya was characterized by other types of establishments of a predominantly civilian nature. The most prominent of these establishments are palaces, although what remains of them is very little compared to other branches of Islamic architecture such as mosques, ribats, fences and others. This is because these palaces are often subject to destruction and change, depending on the change of rulers and changing desires, attitudes and needs. The Qasr al-Sahn in Raqqada is a unique landmark for anyone who wants to study palace architecture in Ifriqiya in the Middle Ages. The uniqueness of this landmark is not only in its size and shape, but also in its archaeological data on the architecture of palaces, of which we still do not know much. The study of the palace of al-Sahn shows that it is affected by the architecture of the palaces of the Levant. This can be seen in the planning and in many other architectural components such as the exterior wall, the entrance, the throne room, the iwan, the appartement, etc., in addition to the decoration. At the same time, it benefited from the ancient local heritage of the Punic and Byzantines, which gave it a special peculiarity that made it an inspiring source in the architecture of the princes’ palaces in Ifriqiya and the Islamic Maghreb in general.

The problem of the research was a fundamental question: (What is the symbol of plant ornamental to Islamic architecture?), And the goal of the research is to uncover the symbol of the plant ornamental to Islamic architecture, which is employed in ornamental designs in the exterior and interior facades of the Islamic architecture of Iraq, Turkey and Andalusia. Al-Hamra Palace in Granada). The theoretical framework of the research included the following subjects: The first is a brief overview of the plant ornamental in Islamic art, and the second is the concept of the symbol in vegetal ornamental. The researcher obtained from the theoretical framework the indicators adopted in the design of the research tool, Samples, and the researcher relied on the analytical descriptive approach in order to reach the results of her research. The samples were selected intentionally. The number of samples reached (4) samples. The most important results were obtained. The most important results were the variety of ornamental items in their simple, A single of the type (goblet) and a double of the two types of ornamental (goblet - floral) and the use of a new ornamental according to the form of an innovative form of ornamental vocabulary on the basis of concave and bend in ripples of grapes and five leaves and other vocabulary attached to the ornamental of plants are ornamental elements and The ornamental formations are varied in the organizational style of the repetitive movement

The bird palaces which have existed since 13th century face the danger of extinction. They have an important place in the Turkish history. The precious examples of the bird palaces, which are the symbol of mercy, are located in Istanbul. The bird palaces which is increased in 17th and 18th century, not only the Turkish and Islamic architecture but also other religions and civilizations that lived in Istanbul, is the special legacy to left behind to Istanbul. This study aims to raise awareness on the cultural heritage of the bird palaces within the last chance tourism and to presents a tour route in Istanbul. To accomplish this aim, the literature on the bird palaces and the last chance tourism were also reviewed. By means of obtained information, a route including the bird palaces that is located in Istanbul, has been established. In the proposal route of this paper, bird palaces are visited at total of 19 kilometers with a walking route in the 13 points. As a result of the paper, in order to prevent the extinction of bird palaces, proposals were presented to public institutions and organizations, tourism industries and subsequent researchers.

TThe subject of this paper is based on a reconsideration of patrons of Ottoman mosques in Greece in light of the analyzed study of the Ierapetra Mosque of the island of Crete. This paper draws a layout of the Ierapetra city under the Ottomans based on the relevant sources with particular reference to the salnames and old photographs. It examines in details about the architecture, the inscriptions, and the historical context of Ierapetra mosque. This paper also corrects the reading of some inscriptions and proposes reading for some Arabic inscriptions for the first time. Based on a survey by the author conducted between 2006 and 2016, there are around eighty Ottoman historical mosques in Greece that still exist. It concludes that the Ierapetra mosque is a notable example with its architecture, inscriptions, and fountain. Moreover, it is one of the rare cases in Greece that were built by the contribution of the Muslim community of the city.

Human scale and proportion have an important role in building design as they provide and create aesthetics and sense of place. In architecture, the human scale and proportion are based on the dimensions and proportions of the human body. The mosque is an important institution of Islam and is considered as a symbol of Islamic architecture. Also, it is a place of spiritual connection with God. This study aimed at addressing whether the human scale and proportionality have been used in mosques in the past and present. The objective of this research is to show if mosques in Erbil city built in different periods were concentrated on human scale and proportion to achieve aesthetic and comfort inside its prayer halls. To achieve it, three cases (the Great Mosque of Erbil Citadel, Rashad Mufty Mosque, and Madina Mnawara Mosque) were selected. The golden ratio was used as a technique method to measure and to see if the human scale and proportion were applied. From the three selected mosques, results show that none of them used the golden ratio completely in their designs. The highest value of golden ratio was achieved in the prayer hall of Rashad Mufty mosque with (82%) and the Great Mosque of Erbil citadel with (74%) consequently, while only 61% of the golden ratio was achieved in Madina Mnawara mosque. This study prompts the new generation of architects in Erbil city to consider human scale and proportionality through the application of a certain method, such as the golden ratio in the design of buildings in general and mosque buildings in particular.

The creativity, innovation and diversity of original features and traditional crafts and artistic heritage, as well as an intellectual freedom organization for an artisanal miner is $150-230 per in what devised by the creative ornamental designs and diverse and sophisticated renewed which earn technical character and heritage of tradition and modernity Various ornamental designs were generally associated with most of these traditional crafts associated with Islamic architecture not undertaken as wood (mashrabia), and metal is like carving on copper, pots, Stone Crafts marbles and stone.

Human civilization is a set of material and immaterial achievements, none of which was produced without the other. Intangible cultural heritage and spiritual heritage are part of the achievements of human civilizations that give them identity. Isfahan is a city known for its tangible cultural attractions such as Islamic architecture, handicrafts, palaces, Persian gardens, etc. However, it has much intangible cultural heritage that tourists are not familiar with and which is not considered as a tourist attraction. This paper's concern is to study intangible cultural heritage of the city of Isfahan (Iran) as a new tourist attraction. Moreover, this research has three major purposes: 1) to investigate the tendency of tourists towards intangible heritage; 2) to measure tourists' awareness of intangible heritage; and 3) to determine the priority of intangible heritage attractions and activities from the domestic tourists' perspective. On the basis of the results of this study it can be concluded that domestic tourists are not familiar with the concept of intangible cultural heritage. However, tourists are interested in intangible heritage attractions and activities, especially in cooking and tasting local foods, making and tasting local sweets, traditional medicine and medicinal plants and gaining a certain level of skill in producing traditional crafts.

Along eras and civilizations, nature as a sustainable reference always has a great role in inspiration of the architectural form by the diversity of its vocabulary, rules, and colors…etc. Consequently, fractals as the main natural elements appeared in the achitectural morphology, since the ancient eras especially in the Islamic architecture in a various levels of forms, details, and patterns. However, nowadays the new architectural theories deal with fractals concept in a different ways depending on the deep understanding of universal and cosmic nature, also the new digital techniques in architectural design and construction that enhanced the appearance of new fractal forms. In this context, the research discusses the transformations of fractal systems, concepts and applications in architecture at the resent architectural theories, focusing on the digital architecture and how it deals with fractal forms, aiming to root the new architectural theories and link it with Islamic heritage to achieve a new Arab architecture that respects and reveals the local heritage and adapt with the latest architectural theories and techniques.

During their employment by Ismaʿ il Pasha, the viceroy of Egypt, Carl von Diebitsch and his successor Franz Schmoranz Jr pursued different approaches regarding the implementation of Islamic style. ...

The aim of the research is to uncover the concept of strangeness in general and the methods of making the ornament form, which is designed according to his / her artistic skill in producing the formations of a nature that embodies various meanings interpreted by the recipient according to his mental abilities. also his attitude is a changeable from invisible texts according the era and its culture, the research is determined by the different forms of decorative ornament in the picture formations within the ornament of Islamic architecture in its present state.The theoretical part includes two axes , the first: it deal with the concept of exoticism and its intellectual references. The second axis: the mechanisms of shaping the shape in the ornament of Islamic architecture.The research procedures included: Research methodology according to the descriptive approach, and the research society of (35) different ornament form. The sample of the research was selected (6) models and analysis, as well as the results of the research and its conclusions:Transferring the reference (thought or text), realistic and consciously, to an aesthetic visual equivalent of an expressive dimension (interpreted or implicit) within the ornament text through the formal similarity to extract the real form and modulation, the formal exaggeration and the intensification of organizational acts and their details in the original structure of abstraction The shape of its physiological characteristics by removing parts and maintaining the general appearance and the two forms of the organizational act of a single ornament form in heterogeneous patterns within a unified system.The difficulty of monitoring the features of the original ornament shapes through exaggeration and complexity, such as the elements of the kasua ornament and based on the mathematical act, such as geometric ornament, mythological and myth forms like (phoenix) and the shape of (dragon) used in the non-circular in ornament recruitment.Due to the presence of participants in the characteristics between the likeness and the likeness with and their convergence in representation, the qualitative form within the decorative text through the use of transformed morphological metaphor into forms of similarity, the source of their extraction or derivation represents the approach between the first source (realistic) and the migration by modifying the plant, animal and innovative forms

Purpose Compared with its status in Islamic history, the mosque today has become a distinctive phenomenon, perceived as an identity vessel of contemporary Islamic architecture that conveys sacred metaphysical meanings. Since the advent of modernity Muslim societies has become increasingly secularized; the relationships of the sacred–secular and the divine-based demythologized knowledge have been deformed. The mosque was glossed over as the sole contemporary sacred edifice that bears metaphysical/Islamic connotations with cultural continuity. Its architecture, meanings and function have gone through a process of metamorphosis, particularly the state mosques. The contemporary mosque as such is facing a “semiological deterioration.” State mosques today are symbolic statements and communicative messages of their rulers’ power and national sovereignty, with a subsidiary role for worship, i.e., the sacred has turned into a secular power metaphor. This led to a state semantic confusion accompanied by a loss in the deeply rooted collective cultural codes of the sacred. The purpose of this paper is to investigate the metamorphosis of the semiological connotation of the contemporary mosque, with a special focus on grand state mosques, and its effects on the architecture of the contemporary mosque. Design/methodology/approach This paper is theoretical research (no case studies included). Findings The metamorphosis that the contemporary mosque is experiencing today as a religious edifice with symbolic connotations and architectural iconism is but an effect of the changes that occurred in the concept of the scared and its relationship to the secular in contemporary Muslim communities, as a result of modernity. Such conceptual changes led to altering the deeply rooted cultural codes to be replaced by new intentional codes, used today as vehicles of communication in mosque architecture, especially in grand state mosques. Contemporary state mosques with its new symbolism and semantic meanings have contributed to redefining the concept of the contemporary mosque in general. Originality/value Mosque architecture today receives a significant importance. Many conferences and awards are dedicated to celebrating this phenomenon. Attempts to define the criteria and style of the contemporary mosque architecture are mounting. However, rarely there are studies that defy such attempts in a critical manner. This research seeks to criticize such approaches by highlighting the essence of the transformation in mosque architecture and its relationship to the concepts of the sacred and the secular, from a semiological perspective.

The Mevlevism order was established in the Seljuk period in Anatolia in the thirteenth century. After the death of Mevlana Celaleddin-i Rumi, his son Sultan Veled systemized his father's thoughts and created his own rules and brought the rituals to a ceremony in the form of sema ceremonies. Sultan Veled gave the name “Mevlevism” to his sect and was called “Mevlevihan” to his Dervish Houses. Nearly 140 Mevlevihane building was established in a wide geography which its east is in Tabriz (Iran), west is in Pecu (Hungary), north is in Gözleve (Ukraine), South is in Cairo (Egypt) and Mecca in Saudi Arabia. Nearly 80 of these Dervish Houses remained in the Republic of Turkey. After the declaration of Turkish Republic, these Dervish Houses were closed in 1925 by the law of “closure Tekkes and Zaviyes”, no. 677. There are two kinds of Mevlevihan, which are “Asitane” and “Zaviye”. Mevlevihan called Asitane are the main Dergahs which are full-fledged and has removing “ordeal” possibilities. The number of Asitane constructions is around 15 in all Mevlevihan buildings. Another Mevlevihan building is Zaviye. Zaviye were ruled by Mevlevi, who has the title of “şeyh” and “dede”. Many of the Mevlevihan become a historical monument because of their architectural style and construction date. However, most of these structures have been ruined over the years. Apart from a small number of Mevlevihan, which was established as "Külliye", "Semahane" parts of these Mevlevihan were used as mosques and remained up to date. When the architectural programs of the Mevlevihans are examined, it is seen that the Mevlevihans, which were settled down in 13th century have an architectural program after the 16th century and they take Konya Mevlana Dergah as an example. However, it is not possible to mention about same sized and specified spaces in all the Mevlevihans. There are similar sections only in the large- scale Mevlevihans which are “Asitane” status. In this study, an evaluation and classification study was carried out on the architectural formation of the Mevlevihans one of the Dervish constructions in Islamic architecture which attracted attention with its wide geography.

The artist Mohamed Taha Hussein (1929-2018) is one of the most important contemporary artists in Egypt. We find by looking at his artistic journey that his art has not lost its vitality and strength, which is characterized by vocabulary of Arab Islamic culture with the thought and technique of modern art in the West. The leading contribution for understanding between East and West cultures to date. Muhammad Taha Hussein was born in the Jamaliya district on February 14, 1929. He lived in areas of history that include the surroundings of Al-Azhar and the mosques of Al-Hussein. Each of these areas are rich in Islamic architecture as a center of the religious and political speech as a pulse of human behavior. These unique and special places in the Arab world contributed in the depth of his artistic works. This research deals with the technical analysis study of the work of the artist Mohamed Taha Hussein in terms of elements and forms in his work as rich aesthetic values ​​can be useful in other applied art works. The artist had many different areas like (Graphics , Shooting , Drawing , Ceramic , Carpets). Through these fields the artist could create formal and mechanical feeling relationships using geometric shapes, in which he needs sensitivity and special experience to organize colors, shapes and lines. As well as the use of the various heritage touches of the arts of different variety of cultures which are inspired by Islamic art with touches of geometric shapes, especially the shapes and circles which reflect the deep understanding and sense of the patterns of the rhythm of plastic that is rich in our Islamic heritage. In the field of photography, the artist satisfied his desire of experiment with many techniques to produce a collection of colored monotype (one piece) which reveals his developed style to show the excitement in his ceramics and shooting. In shooting, the artist absorbed the rules of vision arts with a super ability and a modern vision and creative sense in circular and triangular shapes dominated by a reciprocating tone, producing a kind of geometric musical toning in a purely mathematical style. In the field of drawing he has intrepidityin perception and boldness in treatment of artistic composition according to the modern trends and methods using all available colors as he loves experimentation and creativity.

Light is the visual perception of the world, since the start of human civilizations light plays a basic role in formation and understanding architecture and interior spaces especially in holy architecture as it had a symbolic role connected directly to religious beliefs, because of this light and architecture interacted since the beginning of history, our perception for this interaction differs according to light concept from one culture to another, and in Islamic culture light reflects the concept of God’s guidance light so light plays an important role in Islamic architecture as we can describe light as ethereal building material in Islamic architecture as we find that architectural structures compose spaces and light gives these spaces life sense, as we find that architecture, lines, decoration and colors has no meaning and can’t be recognized without light, so generally Islamic architecture is luminous architecture as light plays a basic role in making functional, aesthetic and psychological effects more strong in architectural spaces, Mosques was the more generous architectural spaces in using light as they are related directly to God so light supports the feeling with sacred attributes in this space and gives the people inside a strong feeling with the presence of God. Problem: So this research paper comes to answer this question : How can we take a benefit of the concept of light and its aesthetics in Islamic architecture in contemporary interior designsin which light forms a basic component? Objective: By studying the importance of light and its concept in Islamic Philosophy and the psychological, spiritual, aesthetic and functional effects in house and mosque architecture with the purpose of extracting the principles that forms the aesthetics of Islamic architecture using light to help in the formation of valuable contemporary designs. Methodology: this research depends on descriptive and analytical Methodology in the theoretical Study and the applied approach in the practical study . Results: results of the research shows that light is one of the most important components of Islamic architecture which had been used in different ways to convert architecture and architectural spaces to human architecture full of interaction between these spaces and their users with supporting their aesthetic, functional and spiritual values and converting static building blocks to dynamic human environment full of life donated from light with its intensity, contrast and movement characteristics.

The Jharokha is a distinctive feature of the architecture of Indian Sub-continent of medieval times. The study of the built heritage features is a way to discover and know about the old culture and society. A Jharokha is an oriel window projecting from upper storeys of a building used in medieval Indian architecture. Jharokha window projecting from the wall face of the building in an upper storey overlooking a street, market or any other open space. This study aims to trace the origin of traditional Jharokha window used in Indian subcontinent. In order to do it, the available data and literature have been carefully reviewed and studied to draw inferences. This study shows that the trend of a protruding window similar to Jharokhas seems to be present in different regions with their regional architectural flavor. The Indian architecture has influenced by various empires, and a lot of external influences came to this region because of the trade route. The external and regional influences have been studied to investigate the Jharokha window origin and form. The 3rd century BC balconies in Mauriyan Empire seems to amalgamate with the windows of Islamic architecture and developed finally into a local window form in the shape of Jharokha. The style and features of Jharokha vary concerning the local material and techniques available. The different era and different regions adopted this window form according to their own needs and aesthetics.