Study of the impact of contemporary architecture on Islamic motifs (or geometric patterns) in mosques

- One necessary point in constructing biological life of people is the existence of common roots among a certain class of people. In one hand, these common roots such as beliefs are equal in one part of the world, so it conducts architecture’s developing path through the same way in that part of the world, and on the other hand, it fills all concepts of architecture with value significance. Perhaps it is due to this point of view which considersarchitecture of each part of the world as an identity for that part. In the modern era especially in the field of ideas’ interaction, the process of globalization needs to apply some elements in biological society which play adominant role in people’s beliefs, and what will be more desirable than architectural signs in environment which are directly judged by all people. The architecture of mosques is regarded as the most prominent proof of architecture derivedfrom Islamic art and instructions which can be the turning point of architecture’s evolution in the field of Islamic art. In the present research, we have tried to study the instances of mosques’ architecture in Iran and contemporary world based on analyzing intellectuals’ perspectives toward Islamic art. Through this research, It is expected for researchers to tangibly comprehend the process of evolution in mosques and Islamic centers’ architecture as the most fundamental sign of Islamic art in world and in the modern era, and to clarify that in comparison to various interests of world’s designers and architects, which patterns of Islamic art hidden in these signs are more stable.


Mosque architecture
The identity of Iranian architecture such as environmental, religious, instructional identity and symbolic patterns have created different forms in the historical process of architectural works. In reviewing past, in the first Hijri centuries, Muslim architects explored pre-Islamicarchitectural patterns, and if they were consistent with ideas, environmental and religious identity, they would be used and recreated depending on circumstancesof time and place in each historical period. Meanwhile mosque architecture was a priority. Mosque Islamic architecture sketches the skill of Muslim artists and artistic elements and images which possess various spiritual dimensions (Pour Jafar, 2011). Concerning the man as an important viewer of past architectural works, dense urbancontextand interwovenin the central plateauof Iran,domes,balconies,minarets, Viewscovered withcolored lines,writteninscription withspatialorganization of thecentral space counted as the spatial features of mosquearchitecture in Islamic period.Muslim architect follows Iranian architecture in Islamic era which was based on principles taken from religious beliefs, image shaping and religious instructions, and pictorial forms taken from environmental, instructional and religious identities have been always taken into consideration.The firstmosquein the Islamic world was designed bythe Prophetin Medinawitha chamberpattern usingthetrunks and branches oftrees, and built with the help ofcompanions.Since the place chosen to be a worshiping place in every time or every religion can change through the change in culture and it can receive those changes in accordance with the new religion and continues its material and spiritual life and holiness (Kaboli, 1997). As an instance in Iran, the Zoroastrian temple was considered as the pattern of the first mosques following formal changes in the first centuries after Islam and chamber pattern gradually is integrated with central spatial organization before Islam, and the mosques are designed with the pattern of central yard and chamber, while religious beliefs were matching the pattern of central yard. Images and symbols used before Islam and taken from religious identity survive even in post-Islamic works in accordance with religious beliefs, and these religious beliefs or other arts related to architecture such as sculpture have attracted the attention of Muslim architect to a religious identity and we can more or less observe its manifestation in post-Islamic geometric designs. Since the context, significance, aim and the process of idea to form is rooted in religious architecture, then this idea is in the form of a mosque originally taken from the architecture of Medina mosque. No message or Visualexpression can be independent on its particular time conditions or its environmental situations. Time is one of the most important factors which make the architect recognize the identity and symbols manifested in his work (Iranmanesh, 1997). This attitude doesn't confirm using current materials for recreating past forms, because the natural features of each material and its technical structure would show the method of using that material in architectural elements and recreating last factors with the old forms as the symbol of collective memory with the current materials as a hidden structure is considered as an inappropriate solution.
3. physical-content concepts of mosque architectures In the first century AH, the main parts of a mosque consists of vast space, Mihrab, Minbar and ordinary yards decorated with beautiful space creation. Following developments in prophet period in Medina or next centuries, these parts were necessary criterions for Muslims' worshiping place. At that time, there was no stable form for any of the part, however, there was a special design allocated to some parts such as Mihrab or Minbar. There was an apparent order in internal space similar to chamber form where there were located many vertical columns with monotonous decoration under the roof, and as the time passed, other basic parts also were formed in the completed structure of mosque architecture (Gerabar, 1997).Central organization followed with big yards having one, two or four porches and one central dome are considered as the basic changes of mosque's primitive pattern in Iranian architecture. Many architectural features such as dome and minaret in mosque building are related to next centuries which added identity to the spatial pattern and organization of primitive mosques. The symbols of decoration had different images in different periods. Mosques' decoration in Safavid period's social system started to flourish and then it was descended to a lower level in Qajar era and they find a simple symbol in the scale of town and city.

The conceptual origin ofmosque's physical elements
The construction of mosque from the first patterns till now, were followed with basic physical elements appeared in different time and place conditions based on original conceptual structure.InPhenomenologicalstudyof these elements, wecanpointtothe followingconcepts:

The analysis of instances from modern architecture of Iran and world mosques
In this part, we have tried to present some remarkable features of world mosques: 5-1-the evolution of mosque architecture using East Asia style (china) Why there is the title Chinese style in mosque architecture in asia is because all changes in east Asia mosque architecture is mostly done in china, and the main changes are as follows: -rotation of main axis (construction) and the big entrance door of yard for prayers -minarets, moon sighting chambers, dome and Mihrab

How the intellectual basic principles of traditional mosques are shown in modern structures?
The principles which are available in traditional mosques and can be applied in modern structures are generally as follows; -An attempt to achieve monotheism -The main direction toward monotheism and God -Unity in meaning and body -Considering background -An attempt to achieve perfection -Order and symmetryandharmony in thebody, meaning and function -Justiceand balance in thewhole and the part -Considering the blessingsand utilizationofnatural factorsandnaturaland Islamic motifs -Lack ofindividualityand anonymity in work -Constructionas an act with adevotionalapproach

Conclusion
Religious places designed based on religion in every part of the world are always in priority due to the close relationship with deep beliefs and concepts accepted by all people. Accordingly the researchers emphasize that in order to introduce and recognize the culture of each nation, we must refer to architectural works of that nation. So regardless of all discussions around architecture's traditional works, it is needed for researchers to pay more attention to cultural items and the concepts hidden in these works especially religious works. If the stable concepts and patterns of religious constructions are correctly used and recognized, then two important goals can be achieved, the first one the architectural evolution process of each area will not lose its original way taken from deep thoughts, and second it can be provided to desirably integrate new technologies with traditional patterns to create new constructions and repair traditional works. In the present research we have tried to discuss a small part of concepts and principles of Islamic art and architecture which can be an opening way for researchers who are interested in Iran's Islamic culture and art.