Journal of Iranian Architecture & Urbanism(JIAU)

Abstract Extended Abstract
Background and Objectives: Thinking about nature and paying attention to how biological phenomena grow and take shape has a long history and is more valuable than superficial and formal imitation. But more scientific and technical ability is needed to implement it in practice. This may be due to the superficial selection of complex and unambiguous topics due to weaknesses in scientific fields or lack of technical facilities for implementation. Given the technical and scientific developments in recent decades, the possibility of such an inherent approach is not far from the mind. The emergence of new theories and computing methods derived from biological systems over the past few decades has made it possible to deepen the principles and rules of the form production process. The main question is: how can biological growth and formation patterns be used to methodize the process of producing architectural forms? The main purpose of this article is to investigate the modeling and growth processes in biological phenomena to be used in the methodization of the form production process in architecture. One of the patterns in the growth process of biological phenomena is the differential growth pattern.
Methods: The research method in the present research is descriptive-analytical, and data collection includes library studies and documents. First, the theoretical and practical backgrounds of computing inspired by biological principles and their evolutionary evolution were examined. Then, using a simulation research method with a logical reasoning strategy, different growth patterns were formed. Finally, during the process, the production of the architectural form was tested and examined. In a simulation experiment, a model of the growth pattern was presented in the production of computer forms. In the analytical part of the present study, considering the importance of the role of algorithmic thinking in modeling the growth process and the formation of biological phenomena for the computational production of an architectural form, a logical reasoning strategy was established to provide a logical thinking system for realizing a relationship between biological realities in the growth process. It has been used to form a general conceptual framework in order to describe the subject and formulate growth guidelines using the abstract values of producing architectural form. 
Findings: This research started with the classification and analysis of theories in the field of computing inspired by biological processes, according to the time hierarchy of their occurrence, then continued with the introduction of new computing methods inspired by biological principles. Finally, this research was completed using such theories and methods in the production of the digital form. The result is evidence of the historical and evolutionary course of such an approach from theory to practice. For more clarity, theories, methods, and manufacturing processes are presented below with an evolution timeline, which is a new step in this field of research. Achieving the ability to simulate computational theories demonstrates the possibility of modeling growth processes and the formation of biological phenomena in the process of producing an architectural form along a path called computing. In this process, the growth algorithm is programmed within the software environment and then equated. So that all the parameters affecting the formation and growth of the organism are identified and entered into the algorithm, and then the virtual growth process takes place. The result of such an algorithm is the application of the construction method of these organisms to architectural projects and the use of the characteristics of that organism to increase the efficiency of space. In this process, architecture can inherit the qualities that the process of natural products has given to the organism and imitate them in their appearance and form, as well as in their function and behavior.. 
Conclusion: The form of the process is first generated in the virtual environment by entering various environmental parameters as well as various growth patterns. Then, if it responds to the mentioned environmental conditions and parameters, it will be placed in the path of digital manufacturing and built physically. As a result, the presence of such forms in the not-too-distant future in urban environments and architecture is still being determined. Therefore, the direction of research is more in the field of opinion. Nevertheless, attempts have been made in the field of architecture to create a new design logic based on the path of growth patterns. Naturally, this research is the beginning of further research in areas such as biology and algorithms. Subsequent researchers can examine and test other natural patterns, with a wider range of variables, in the algorithmic process, and step into the development of the research literature. The main result is that algorithmic simulation of growth patterns and the formation of biological phenomena through the computer channel can effectively create new methods for the architectural form production process.

Abstract Extended Abstract
Background and Objectives: The altar is the most prominent architectural sign pointing out the qibla. The altar of mosques bears a symbolic and physical significance in Islamic architecture. Over the centuries, altars have scarcely undergone any change. The altars of the seventh century to the middle of the eighth century AH, which coincided with the Ilkhanate period, had a special value and prestige and contained the most beautiful and exquisite tablets and inscriptions. In Ilkhanate mosques, the altar was considered the most important part of the spatial environment and has been the main platform for artists' exhibition of their genius. The stucco altars of the Ilkhanate period are considered to be the most exquisite, both in terms of the frequency of patterns and their fine figures and arrays, and have created unique visual effects, the value and significance of which is further pronounced owing to their inscriptions. Stucco altars are one of the most widely used altars built during this period. The grand mosques of Tabriz and Marand are among the most important religious buildings throughout the history of architecture. They are in the caliber of the best samples left in the field of Ilkhanate decorations in the region of Azerbaijan. The lack of significant studies on the Ilkhanate altars of the grand mosques of Tabriz and Marand, in terms of reviewing the aesthetic values ​​and content features of inscriptions and motifs, further highlights the necessity to recognize and compare these altars.
Methodes:This research seeks to examine the decorative motifs of the altars of the grand mosques of Tabriz and Marand to recognize a part of Iranian Islamic art. This research employs a comparative methodology using physical content analysis. To this end, the altars of Grand Mosques of Tabriz and Marand from the Ilkhanate period are selected since they are unique in platform, design, and construction technique in East Azarbaijan province and include readable and legible inscriptions, motifs, and decorations. Therefore, through collecting information from library and field studies and photographing the site, the appearance, geometric ornaments, and floral and Islamic motifs of the stuccos, and verses and fonts used in the altar are identified in both samples. Then, comparative research methods are used to compare, describe, and interpret the themes and relationships of verses and text with each other and their site.
Findings: In the studied samples, the concept of consistency in Islamic and geometric motifs of stuccos from the Seljuk period to the Ilkhanate period is exhibited in the form of hexagonal renders and rosettes. The existence of symmetrical decorative figures on the stucco of the two corners of the written inscription on the altar of the Grand Mosque of Tabriz has caused the text to be broken up. It is significantly different from the unified and angled text in the altar of the Grand Mosque of Marand. The artistic selection and manifestation of Islamic teachings based on the purity of intention in the inscriptions is a demonstration of the centrality of religion in the Ilkhanate period. The correlation of the concepts of symmetry, balance, proportionality, similarity, and geometry is readily perceivable in the physical definition of the altar of the Grand Mosques of Tabriz and Marand. Despite the apparent differences in terms of proportions, physical composition for main and decorative pillars, the differences in the width of the frontal face of the altars, the diversity in the margins, arch designs, and the texts, fonts, and contents of the inscriptions, the only unifying and symbolic element of Ilkhanate art in terms of the use of plaster and stucco decorations defines a common sense of the altar in both places and leads to the similarity of the nature in both works. In terms of identity, the visual indicator of the white plaster is a symbol of purity and a reference to the oneness of the deity. The arrangement of the stucco decorations of both altars with naturalistic abstract motifs in various Islamic forms bears an exhibition of the paradigm of unity in plurality and the appearance of God's spirit, in the form of architecture and stucco art of the altar, which is visualized through the hands of religious artists. The paradigm of unity in plurality is evident in a unified sense through the perception of the spatial features of the altar in both mosques. The concept of consistency in the architecture of the altars of the Grand Mosques of Tabriz and Marand clearly emerges through the study of Islamic and geometric patterns of stuccos from the Seljuk period to the Ilkhanate period. Hexagonal renders and rosettes are the most important continuous motifs used in the studied altars. Considering the location of both mosques, the Azeri language and dialect, and the Persian font have not impacted the development of the symbolic feature of the Muslim qibla, i.e., the altar. It seems evident that the Arabic language and the Kufic script play a more prominent role in the inscriptions of the Ilkhanate period as a unifying cross-border character, since the inscriptions of order, construction, and identification of the master craftsman are also written and executed in the Arabic language. The qualitative format of Islamic art in the alters of the Grand Mosques of Tabriz and Marand shapes their spiritual aspect. This feature further exhibits the centrality of religion in the arts of the Ilkhanate period and offers a uniform definition of the architecture of the place of worship in the application of heavenly verses of the altar.
Conclusion: The most important findings of the research are the visual index of plaster, the spiritual manifestation of the application of divine themes related to the architecture of the mosque and its components by the spiritually devoted artists, and the index of transnational and unifying Arabic calligraphy in explaining the altars of Grand Mosques of Tabriz and Marand.