Journal of Iranian Architecture & Urbanism(JIAU)

Abstract Extended Abstract Background and Objectives: Monographs in the field of architecture have garnered increasing attention from researchers over the past few decades, finding expression in their scholarly articles. These types of studies contribute to the recognition, documentation, and recording of structures that, due to remaining obscure, are vulnerable to damage and potential destruction. Monographs play a vital role in preserving this architectural heritage by bringing attention to these overlooked structures, providing detailed analyses of their historical, cultural, and architectural significance. Despite the acknowledged significance of monographs in the field of architecture, there is currently a lack of a unified, comprehensive framework to guide the writing of such articles. Moreover, the lack of a clear set of guidelines can be particularly challenging for emerging researchers and students who seek to contribute to the body of knowledge on architectural monographs. A comprehensive guide would provide a roadmap for conducting rigorous and impactful research, ensuring that monographs meet the highest standards of scholarly inquiry. The primary objective of this research is therefore to provide a comprehensive guide with pre-determined steps for conducting such research. This guide aims to standardize the process of writing architectural monographs, ensuring consistency and rigor across different studies. By providing a clear framework for research, analysis, and documentation, this guide will empower researchers to produce high-quality monographs that contribute significantly to the preservation and understanding of architectural heritage.
Methods: To achieve the objective of creating a comprehensive guide for writing architectural monographs, the research methodology was designed to be both systematic and rigorous. The research was conducted in two main phases: a preliminary review of existing monographs and a qualitative content analysis of a selected sample of articles. The first phase involved reviewing early examples of monographs to explore the origins of this subject in Iran and around the world. This initial review served to provide a historical context for the study, tracing the evolution of monograph writing and identifying key milestones in the development of the field. By examining the early works, it was possible to gain insights into the motivations, approaches, and challenges faced by pioneers in architectural documentation. The second phase involved a qualitative content analysis of 50 articles related to the field of architectural monographs published over the past 75 years. The selection of articles was based on their relevance to the research topic, their representation of different architectural styles and periods, and their availability. The articles were carefully chosen to ensure a diverse range of perspectives and approaches to monograph writing. The qualitative content analysis method was chosen to extract meaningful concepts and themes from the selected articles. This method allows for a deep understanding of the content, going beyond simple quantitative measures to explore the underlying meanings and relationships within the text. Each article was systematically analyzed to identify key concepts, themes, and methodological approaches used by the authors.
Findings: The research findings reveal a clear structure in the creation of architectural monographs, which is categorized into three primary stages: Identification, Historiography, and Architecture. Identification: This initial stage involves the selection and direct observation of the building through field visits, as well as indirect observation through images and existing plans. The importance of this stage lies in the ability to personally experience the building and capture its essence through various visual media. Historiography: The second stage focuses on the historical background and geographical location of the area where the building is situated, the time of its construction, its evolution over time, the builder and patrons, and the reasons for its name. This stage relies on sources such as geographical atlases, inscriptions, historical texts, travelogues, poems, and other relevant documents. Architecture: The final stage involves the architectural description of the building, detailing spatial elements, its apparent form, structure and construction methods, materials, and decorations. This stage requires a deep understanding of architectural principles and the ability to communicate complex ideas in a clear and concise manner.
Conclusion: This research has provided a comprehensive guide for writing architectural monographs, detailing the essential stages and methods required to produce high-quality, impactful research. By providing a clear and standardized framework, this guide aims to promote consistency and rigor in architectural monograph writing, ultimately contributing to the preservation and understanding of architectural heritage. The findings emphasize the importance of each stage in the monograph process, from identification to historiography and architecture, providing a roadmap for researchers to follow. In conclusion, this research contributes to the field of architectural studies by providing a valuable resource for researchers, students, and professionals, ultimately advancing the understanding and preservation of architectural heritage.

Abstract Extended Abstract
Background and Objectives: Throughout the history of human thought, numerous theories have emerged concerning the essence of architecture, its fundamental components, and the role and significance of each element. These theoretical perspectives have profoundly influenced how architecture is conceptualized, practiced, and taught. Dominant paradigms such as formalism and strict functionalism, for example, often reduce architecture to a purely visual or utilitarian construct—one that functions merely as a physical container for human activity. Such reductionist views tend to overlook the fixed and multidimensional nature of human beings, whose needs extend beyond the material to encompass emotional, sensory, intellectual, and spiritual dimensions. As a result, these perspectives fall short of addressing the full richness of human experience and hinder architecture’s potential to contribute to human flourishing. Among the elements that have been neglected or insufficiently explored in many of these modern approaches is the concept of “geometry.” Far more than a technical or decorative tool, geometry has historically served as a foundational and generative principle in architecture—one that organizes space, creates harmony, and reflects deeper metaphysical realities. This research seeks to re-examine the role of geometry within the broader system of creation, and by extension, within architectural design, through the lens of Islamic philosophy and thought. By adopting this holistic and spiritually grounded framework, the study aims to uncover the true ontological and functional status of geometry in architecture. Ultimately, it aspires to contribute to a richer pedagogical and practical approach to architectural education and design—one that is aligned with the innate nature of human beings and supports a more meaningful, purposeful built environment.
Methods: Initially, the research examines the definition and position of geometry across various human schools of thought. Using an interpretive-analytical approach and authentic Islamic sources, the study identifies this concept and its place within the system of existence, including architecture, thereby shaping the theoretical framework of the research. Through logical reasoning, the roles of geometry in architecture are extracted from this theoretical framework. For a comprehensive understanding, the four causes of geometry in architecture are identified and examined through a case study of the “House of Kaaba,” a manifestation of divine architecture.
Findings: The indicate the following:
- Efficient Cause: Geometry organizes architectural elements into a unified whole for human use, aiming for the perfection of human life.
- Final Cause: Geometry conveys meaning aligned with the architectural function, guiding individuals towards worship and understanding.
- Material Cause: The element of “space,” which must possess specific characteristics and features in each building, proportional to its function and human perceptual powers.
- Formal Cause: The limiting and distinguishing aspects of space (such as floors, ceilings, and exteriors), which must be proportionate to the building’s function and intended meaning, leading to the creation of a unique internal and external volume, decorated with appropriate arrangements.
Conclusion: This research underscores the profound significance of geometry in the realm of architecture, particularly through the lens of Islamic thought. By exploring the theoretical foundations and practical applications of geometry, the study reveals its essential role as the primary generator and organizer of architectural elements. The identification of the four causes—efficient, final, material, and formal—provides a comprehensive understanding of how geometry shapes and enhances architectural design. The case study of the Kaaba exemplifies the divine and functional aspects of geometry, demonstrating its capacity to harmonize architectural elements, convey meaningful symbolism, and create spaces that cater to both human perceptual powers and spiritual needs. This holistic approach not only enriches the sensory and spiritual dimensions of human life but also offers a robust framework for contemporary architectural practice. Ultimately, this research advocates for a renewed emphasis on geometry in architectural education and design, promoting a more integrated and meaningful approach that aligns with the holistic nature of human existence.

Abstract Extended Abstract
Background and Objectives: Research has shown that there is a strong connection between people’s health and the physical environment in which they work, live, or treated. Sick building syndrome is an illness caused by the building itself, leading individuals in the environment to suffer from inadequate physical and mental well-being, often resulting in symptoms such as nervousness, mucous membrane irritation, respiratory problems, and skin irritations. This situation can arise from various reasons such as cold air blast, very high or very low room temperature, heavy air, smoke and smell caused by people smoking, static electricity, poor condition of lighting in the room, unpleasant smell, dust, noise, etc. Such a situation can occur in any enclosed space where people spend a significant amount of time. Student dormitories exemplify such environments, as students inhabit them for several years. Hence, this study was carried out to investigate the symptoms and reasons for this sick building syndrome, specifically within student dormitories.
Methods: The current investigation is a cross-sectional, descriptive - analytical study carried out over a two-month period, specifically in November and December of 2019. It focused on 325 university students residing in the men’s and women’s dormitories of Shahrood University of Technology, with the exclusion of 3 special patients and 20 incomplete questionnaires from the research sample. For data collection, MM040EA standard questionnaires were administered to the university students in an online form and the required data was subsequently collected. Data was analyzed through binomial test and chi-square test.
Findings: According to the surveys, fatigue (64.24%), difficulty concentrating (58.28%), and headaches (53.48%) are the predominant symptoms of sick building syndrome. Additionally, significant contributing factors to this syndrome encompass noise, poor air quality, excessively high room temperatures, and dry air, with the study also highlighting the impact of neuro lighting on its prevalence. Among the various factors outlined in this article, severe weather conditions and exceptionally high room temperatures during the study period in the student dormitory stand out as the primary culprits for inadequate room ventilation. In this research, there is a significant relationship between the prevalence of building syndrome and all the factors related to the comfortable conditions of the dormitory and the physical environment and psychosocial conditions of the dormitory. 
Conclusion: The findings from this study suggest that the prevalence of sick building syndrome, at 80%, surpasses both the figures reported in prior research and the author’s initial expectations. This discrepancy is viewed as unfavorable and assessed as concerning. Since these symptoms are related to the physical condition of the room where people stay, it is necessary to review the conditions of students’ presence in the dormitory, to reduce this problem by reducing people’s attendance and increasing the per capita accommodation space. When it is impossible to solve the students’ dissatisfaction completely and eliminate the issue of sick building syndrome, identifying the causes of the problem instead of focusing on the symptoms is essential. Undoubtedly, the interior design of any structure holds significant importance in the overall design process. Consequently, designers and architects should enhance their consideration of interior environment design and increase their awareness of its impact on occupant health, particularly in spaces like student dormitories where occupants spend a substantial amount of time. In a broader effort to reduce the prevalence of sick building syndrome in student dormitories, it should be recognized that the improvement of dormitory facilities and the renovation of older structures will prove highly beneficial in addressing this issue.

Abstract Extended Abstract
Background and Objectives: Given the increasing significance of technology in the progress and development of every society, along with the need to have a proper understanding of its meaning and concept to promote architecture, it is imperative to conduct a comprehensive study on technology in the architectural context. It is not an overstatement to claim that all scholars of architectural history have somehow addressed the importance and concept of technology in architecture and have considered its role in the emergence of architecture. Meanwhile, research shows that technology in popular culture refers to machines, but there are other definitions for scholars. Consequently, extensive research in recent years has explored this subject, with experts presenting various viewpoints. But sometimes issues such as inappropriate, incomplete and inaccurate conceptualizations cause problems in these studies. Consequently, when referring to “technology in architecture,”, one cannot precisely define technology and its related components, which in its turn poses a big problem. Technology involves different beliefs and approaches and the purpose of this article is to refine the conceptual space of technology and to provide a more precise conceptualization with the help of its components. The questions that emerge are: What precisely is the definition of technology, given the wide range of opinions and the absence of a unified perspective on this term? To achieve a comprehensive definition of technology and address the diverse and occasionally contradictory interpretations, what indicators and components can be mentioned for this category?
Methods: To address these questions, we will closely review the etymology of this concept, trace its historical development, explore the growth of theoretical perspectives, scrutinize related definitions, and analyze its associated characteristics. For this purpose, using the bibliographic method and conceptual analysis and, the views and theories of the experts are first examined and analyzed. Then, the indicators were elaborated by focusing on the commonalities of the existing definitions. Thus, through the analysis of scholars’ perspectives, 10 indicators were assessed based on expert definitions and assigned scores. Among these indicators, six had the highest mean scores, implying the need to employ the Delphi method to assess the validity and reliability of these components. Consequently, these components are subjected to evaluation to ascertain their significance as perceived by Iranian scholars, with rankings derived from the perspectives of 23 experts who participated in this study. 
Findings: This test was conducted by interviewing the experts in two rounds. In the end, it was determined from the experts’ point of view which components were more important and which were less significant. Finally, one can achieve the highest level of success with these steps and arrive at a comprehensive definition of technology and its associated elements by considering the theoretical approaches put forth by experts. The findings indicate that among the components of “tools (hard tools and devices)”, “scientific knowledge”, “practical-experimental knowledge”, “process-system”, “techno-industry” and “manufacturing-production”, the components of “tools” as well as “techno-industry” scored the highest and the “practical-experimental knowledge” component scored the lowest.
Conclusion: In general, it is evident from the scholars’ perspectives presented in the table that their opinions align with those of the Delphi method experts. This means that for both groups, the “tool” component has the highest score. According to a wide range of definitions in terms of different opinions (positive to negative attitude) on the nature of technology, it was observed that some approach it in terms of its use or function, while others focus on its underlying meanings and concepts. In the end, according to the components, technology can be defined as the application of science, experience and human skills to meet human needs. It is a set of tools, skills, knowledge, and information known as technology components. This implies that not only the absence of these components but also the absence of synchronization among them can impact the ineffectiveness of the technology.

Abstract Extended Abstract
Background and Objectives: Media has always been a platform for activities related to the human intellect. It has become an integral part of human life in various forms and contexts by the supporting role of technology. On the other hand, many thinkers and theorists have introduced architecture as a physical media that can be perceived and analyzed at different theoretical levels. Despite these interpretations that recognize buildings with intrinsic mediating factors, a clear theoretical framework of such relationships and the interaction between architecture and media has not yet been identified. This study seeks to answer two main questions: what indicators affect the procedure in which architecture turns into a media? And, how can a model of the affecting factors and categories be identified to explain the connection between architecture and media clearly? Therefore, this study aims to identify and prioritize the effective factors for mediating the quality of architecture. Finally, it tries to present a model for recognizing architecture as media based on a case study, the historical building of the Faculty of Architecture and Urbanism at Tabriz Islamic Art University, as an example of adaptive reuse in historic buildings.
Methods: This research is fundamental-experimental in terms of purpose, and descriptive survey in terms of entity and method, using a case study. According to the related literature, 12 faculty members of the Faculty of Architecture and Urbanism at Tabriz Islamic Art University constituted the Delphi panel of experts. All the panel members were among the recognized experts in specific fields of architecture. In the first round of Delphi, indicators and brainstorming were conceptualized through semi-structured interviews with panel members in person and virtually. After analyzing the content of the interviews, by combining the factors obtained from the literature and the achieved indicators from experts’ opinions, 34 indicators effective in improving the mediating quality of architecture were extracted in four categories. In the second round of Delphi, the validity and reliability of the research tools were approved by the faculty members and the Cronbach’s alpha coefficient. Then, the experts scored the factors in close-ended questionnaires and 5-point Likert scale, and the data were analyzed using TOPSIS technique. Kendall’s coefficient of concordance was used to assess the consensus among the experts, and the prioritized factors were also introduced along with the descriptive statistics components such as the average indices presented in tables and plots. Finally, by comparing the results of the TOPSIS technique with the results extracted from the descriptive statistics, the accuracy of the results and their validity were ensured.
Findings: The ratings and findings obtained from the average index differed slightly from the results extracted from the TOPSIS technique. The reason can be stated in the higher accuracy of this technique in prioritizing and presenting rankings and closeness indeces of each factor in the research. The factors of “Indicator of the art of technology and crafting in time” with the closeness index of 0.610652, “Reflector of the culture of people in the society” with the closeness index of 0.579874, “Creator of new sensory perceptions” with the closeness index of 0.561471, “Being a benchmark in the city context” with the closeness index of 0.560705, and “Represents the evolution of history” with the closeness index of 0.558936 were among the highest priorities in the factors affecting the mediating quality in architecture. Also, the factors of “A communicator” with the closeness index of 0.436028, and “The presence of a power in creating the message” with the closeness index of 0.457395 were recognized as the minor priorities. By calculating the averages of closeness indeces in each category, the most effective categories in improving the mediating quality in architecture are “Factors relating to the application of media”, “Factors relating to the impacts of media”, “Factors relating to the message”, and “Factors relating to the intrinsic characteristics of media”, that were introduced with the mean averages of 0.544508, 0.503928, 0.495541 and 0.491413, respectively.
Conclusion: The final model of architecture as a media and factors affecting the enhancement of mediating quality were presented as the research conclusion. Hence, if architecture is not considered a  physical media and does not have a mediating role, it can no longer be called architecture and will no longer differentiate its nature from a structure. Architecture continuously transmits its character, ideas, thoughts, mindsets, approaches, history, time, and specifically its message to the future and performs as a meta-media concept. Also, the body and audience of architecture change its media nature, and its mediating quality causes various spatial reproductions in the minds of the people and a wide range of users.

Abstract Extended Abstract
Background and Objectives: Architecture education has always been associated with two different and complementary processes: creative thinking and linear/technical thinking. Today, the process of training an architect in an academic environment is usually based on design studios, which is complemented by formal training in theoretical and technical topics. This system is based on the idea that it will enable students to develop creative and appropriate solutions. However, this teaching method might cause hidden problems that, in some cases, can hinder students’ learning progress and cause their full potential skills not to be identified and exploited. Ateliers (workshops) in architecture schools are the main teaching tools in which students are exposed to solving many design problems. Since burnout causes the learning process to decline, its reduction is of interest to many academic settings. Burnout is one of the educational system problems at all educational levels, which leads to a waste of power and expenses and can have a devastating effect on personal and academic life. In addition, new and various educational methods, including gamification, have been reviewed, improved, and used over the years. For various purposes, educational non-entertainment games (serious games) are designed to achieve academic goals and values and to develop skills.
Methods: Games are fun ways to learn and provide a safe and secure environment in a simulated environment for learners to make decisions and even make mistakes without fear of real-world consequences. The player can confront a variety of challenges in the games that conform to the latest proven principles of learning effectiveness. Learning through educational games is unconscious, indirect, and effective. This study aims to investigate the effectiveness of architecture design education at the undergraduate level in reducing students’ academic burnout and thus improving the learning process of design. This method aims to maximize students’ capacity to acquire information and skills. Their creative and technical competencies have been integrated to improve the effectiveness of architectural education and increase future architects’ work quality. This study was conducted experimentally using a pretest-posttest design with control and intervention groups. The statistical population of this study was the students of Parand Branch Azad University, who were randomly selected to participate in this research. They are equally divided into two intervention and control groups. MBI-GS (S) standard burnout questionnaire was used to collect data, and SPSS.22 software was used for statistical data analysis. The games were designed under the chapter to achieve the research objectives and performed in the intervention group’s studio.
Findings: Student feedback was recorded at each level of the games and at the end of the semester, with very interesting results in student design quality, increased motivation, and interest. Hence, the design learning promotion was achieved. Statistical results show that there is a big difference between the three conceptual sections of academic burnout, including exhaustion (feeling tired because of study requirements), cynicism (having a pessimistic and apathetic attitude towards homework), and professional efficacy (feeling incompetent as a student). There were intervention and control groups among the students after completing the training sessions and holding a post-test. Therefore, the study of academic burnout and effective strategies in reducing exhaustion to achieve educational goals and improve the design learning process was the criterion of this study, in contrast to other previous studies that examined the result of gamification in the product of architecture and design, or studied the purely psychological effects of burnout. The design learning process was examined, considering the concepts of gamification education and academic burnout. Finally, the gamification method in architectural design education was tested in line with reducing students’ academic burnout.
Conclusion: Based on the study findings, it can be concluded that gamification education in architectural design effectively reduces academic burnout, increases interest and motivation, and increases student participation in practical activities of the studio. Therefore, it is recommended to use this new educational method to reduce academic burnout and improve architectural design learning.

Abstract Extended Abstract
Objective and Background: As social means in the cultural and historical context, architecture and media are heavily involved in the daily lives of human beings. Humans can achieve a good understanding of their relationship with the architecture of their immediate surroundings. By observing the environment, human beings can receive clues and signs to organize and formulate the whole environment with their information and memories. Thus, they can communicate with the environment in which they live and exchange information with their surroundings as an interface. Although architecture seems to be a practical field of study, it also acts similar to a means of mass communication. The intermediating role of architecture raises the fundamental question of whether architecture can be considered a media based on its different attitudes and functions. The significance of studying this issue is that both architecture and media are among the factors that encompass various aspects of human life. If architecture is considered a type of media, its effects on human life, as well as its various policies in dealing with cultural, moral, and other aspects must be considered.
Methods: The present study is qualitative research that, using a systematic and holistic approach, analyzes, combines, and adapts the two architectural and media systems. Semiotic approaches have also been employed to analyze the relationship between body, content, and meaning of architecture and human perception and cognition. Also, in order to study the epistemology and ontology of the two systems, i.e., architecture and media, both were comparatively matched with one another. Lastly, the model of similarity between architecture and media and their common points have been obtained by a comparative analysis. For data collection, documentary sources have been employed.
Findings: The first step in this paper is to examine the definitions of architecture and media from the lexicography perspective and the views of theorists and architects. The results of this step and the study of the role and function of media suggest that the features and definitions of the media can be examined from two perspectives. In the original function, the media is considered as a text and a means of communicating with the audience and a system of symbols studied under semiotics. As for the second function, the media is considered a means of mass communication for human beings. It involves features that, if considered for architecture as well, can change architecture to a media with similar characteristics and functions. Therefore, in the second step, architecture was considered a text that can be read and understood better through semiotics and emphasized the signification process. Hence, by summarizing the views of theorists and semioticians, the architectural works are cognized and understood in three stages of sensory, intellectual, and semantic aspects, in which the sensory layer depends on recognizing body and form, its description, and the examining of its functional and syntactic aspects. This, in turn, leads to the identification of artistic themes through sensory aesthetics, and the rational factors form the connections between artistic themes with ideas and concepts in a logical and conventional way via the method of structuralist semiotics. Through their symbolic, schematic, iconic, or compositional implications, semantic factor lead to the understanding and interpretation of the notion of architecture based on the basic tendencies of the human mind, including psychology or individual, social or universal worldview, as well as intellectual, cultural, religious, ideological, and philosophical foundations. In the next step, in order to examine the role of architecture and media as means of mass communication, three Toffler media courses were adapted to three periods of pre-modern, modern, and postmodern in architectural courses. According to the results of this section, architecture and media have had common features in each historical stage, and it is safe to say that architecture can influence various aspects of human life such as identity, values, culture, and recognition of reality through its unique features. In the final step, the components of media and architecture were comparatively matched. According to the findings of this section, a communication process can be thought including three main factors: the message sender, the message receiver, and the message; while other components are introduced as media elements, communication channels, encryption and decryption, disruptor or noise, feedback, texture, and context. Accordingly, the physical, formal, content, and semantic features of architectural work, themselves constituting the architectural structure, act as a medium that conveys the architectural message to the user through communication channels including the five senses and human perception. In this definition, the factors interfering with the delivery of the architectural message may be either physical (such as annoying noise, insufficient or blinding light) or inferential (such as the complexity or anonymity of the message content and meaning) that includes both physical and semantic aspects of the architecture. Moreover, important factors for comprehending the symbol and deciphering the architectural message and its formation include spatial and textural position, social, cultural, religious and philosophical context, and time-dependent conditions. Audience and user feedback towards the decoded message of architecture is also a behavioral clue and an emotional response that results from the perception and spatial experience of architectural space within the audience. Finally, a comparative model of the elements creating media relations and the relationship between the audience and the architectural work is proposed.
Conclusion: This study suggests that architecture can be considered a media by meeting the elements of the message sender and the audience, the message, encryption and decryption, communication channel, media factor, context, and disruptive factors. These elements assist humans in conveying the architectural message using physical, semantic, and content features through the five senses and the power of the mind and perception.

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.

Abstract The present article mentioned that our architecture knowledge of industrial complexes (in comparison to the other kind of buildings and complexes) is limited. Apart from the lack of architectural research on industrial complexes, another major challenge in this field is the reductionist nature of their architecture definitions proposed in prior researches. Therefore, the goal of this article is to provide a comprehensive concept of architecture in these complexes. The study is based on systems theory as a holistic approach as well as primary and secondary categories of Smith Capon (meaning, function, form, spirit, construction and context). The research method was reflecting on Persian and English words related to industrial complexes such as industry, production and so on. The collected data is analyzed by logical reasoning. The results confirmed that these categories, their interactions and their periphery, as three general structural features of systems, can create a comprehensive boundary between the architecture of industrial complexes and the architecture of other complexes.

Abstract Light plays a profound role in evoking meaning through architectural spaces. This has been strikingly manifested in the architecture of religious monuments particularly in mosques. From long ago, architects and builders have been exploring lighting effects reflected in many mosques and religious monuments, while figuring out the created meaningful visual effects in such architectural spaces. From an insightful perspective influenced by Islamic teachings, Iranian architects consider light a spirit casted on the structure to create a meaningful depiction. This paper attempted to examine how the concept of light in Quran has influenced the Iranian architectural style. It is assumed that implications from Quranic verses portray a transition from darkness to light and the contrast between light and dark, which can be considered a valuable role-model in the Iranian architecture. The research methodology involved an interpretivequalitative approach, and content analysis of Quranic scripture. The results of research indicate that the contrast of light and darkness, as well as involvement of light and shadow (dark) in architecture and the guidance through darkness to the light are amongst valuable concepts manifested in Iranian architecture, the concepts which are repeatedly referred to in Quranic instructions and have been of a great value in creating spiritual space. Light and shadow function as an allegory of the two valuable
concepts of light and darkness in Quran, and guidance from shadows (darkness) to light, besides physical and spiritual aspects, is semantically worthy of consideration.