Parametric Design pattern Language and Geometric ...

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Parametric Design pattern Language and Geometric Patterns in Historical Domes in Persian Architecture

Author1: Ahad Nejad Ebrahimi (corresponding authors) Assistant Professor in faculty of Architecture & urbanism, Tabriz Islamic Art University [email protected]

Author2: Minou Gharehbaglou Assistant Professor in faculty of Architecture & urbanism, Tabriz Islamic Art University [email protected]

Author3: Morteza Aliabadi Master Student in faculty of Architecture & urbanism, Tabriz Islamic Art University [email protected]

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Abstract: During recent decades searching for new geometrical innovations has been of great interest for contemporary architects, recent years have borne new era in architectural design. With the aid of various designing facilities, parametric architecture has begun to present new discourse in architecture. The purpose of this study is show this kind of architectural design can be present as an innovation route in Islamic architecture And using its facilities and tools can it take an action in conveying Islamic Architecture concepts, based on its current era time and place. Investigation answer following question: what extent using parametric architecture in Persian architectural designing can be influential in conveying Islamic architecture philosophy and concept? The aim of present investigation is to study theoretical principles of parametric architecture to obtain new approach to develop for of contemporary Islamic architect. According to findings of present research along with its applied and theoretical aspects, adapting parametric architecture shape grammar capabilities to formed equivalents of Islamic traditional architecture has been examined with geometrical approach. According to the finding of study it has been revealed that using parametric architecture is conditioned to comprehensive attention to all human and divine dimensions in Islamic architecture field, in a way that it would express logical and divine relationship between architecture and sacred concepts.

Keywords: Persian architecture, Islamic geometry, parametric design, Domes.

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Introduction Geometry is the fundamental knowledge of studies, measurements and exploring the relationship among parts of shapes, masses and spaces. Geometry is one of the most fundamental architectural infrastructures of Islamic architecture. Language and grammar of relationship between shapes and architectural world is defined by employing logical and mathematical relationships between numbers and figures on one hand, and geometrical shapes on the other hand. Recognizing form and distinguishing it from geometrical shape requires continuous thought in past, present and future. Since doing computational activities related to classic geometry have been oversimplified, so classic geometry problems have been placed beside new areas of geometry called parametric geometry. In such geometry, complicated masses and shapes and the relationship among them are examined in computer space, based on cyberspace requirements. More importantly, geometry art of contemporary Islamic countries has no essence and soul, generally, representing emptiness of current Islamic World thoughts. Now, geometrical designs confirm this emptiness, instead of indicating a soul which has created a big civil (Arayin, 2008, p. 37). Contemporary designer has closed his eyes and mind on creating new and meaningful works. The absence of common discourse between modern and traditional approaches to create an updated shape grammar has challenged contemporary Islamic Architecture (Hajiamini, 2011). Searching for creative and innovative forms has changed to one of the most interesting subjects to contemporary architects in recent years. While 21st century has brought new era for architecture, considering physiological or computational architecture in 1950s to 1960s, computer has played fundamental role in initial reflections of architecture. The role of computer in architectural designing can be investigated in two issues. For most designers, computer is considered as just an advanced device of running program which enables them to have better control on their understandings and produce complex forms. Others believe that using digital technologies, makes restoration, reinterpretation, development of historical rich ideas, comments and traditional skills possible (Hajiamini, 2011). Creativity and using patterns are among strategies of this group. A Muslim contemporary architect needs to know geometry and its requirements to design complex projects, at present age. Finding geometrical for questions having more than one correct answer and optimization algorithms to find optimized answers are widely used applications of designing. Searching for architectural solutions in which number of efficient parameters weighs designing and final evaluations are made based on assessing these parameters, uses parametric geometry widely. Geometry can enter basic issues of designing to its details. Decoration has been separated from structure in Iranian-Islamic architecture, 236

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though today it is possible for us to use technology, structure, geometry and coordinates in integrated form. Since computational geometry is presented through algorithmic mathematical logic, it provides the possibility of making relationship between programming databases, geometrical relations and IranianIslamic architecture motifs. This requires parametric procedures in geometrical production for the aim of designing. In this investigation firstly, theoretical framework and research hypothesis were defined by doing general studies, then research method was determined. Secondly, theoretical principles and concepts of Iranian-Islamic architecture were expressed through studying the relationship between Iranian-Islamic architecture geometry and parametric designing geometry and then fundamental geometrical principles of Iranian-Islamic architecture in traditional monument were analyzed to obtain factors for defining general principles of geometry and sustaining it in contemporary architecture. After that one successful and famous sample of Iranian-Islamic architecture was selected and research hypothesis were analyzed in them qualitatively. Results obtained from these analyses have been provided in classified tables, presented in next sections. Iranian markets arcades were investigated through adapting and analyzing their principles with principles of Iranian-Islamic geometry and studying their geometrical patterns with parametric architecture viewpoint and reinterpretation of parametric geometry view. Moreover we reviewed ideas used in different foreign projects which were in accordance to our research objectives. Research methods and research hypothesis In this investigation Interpretative-analytical and contrastive research method was used along with library references review including: texts, references, documents and deeds related to subject. Moreover Islamic art field thinkers' views were scrutinized through focusing on using updated science and corresponding principles of parametric architecture designing to these principles of Islamic architecture. As an instance of geometrical patterns case, dome`s structural and architectural elements in Persian architecture were studied as the most prominent sample of appearing Iranian-Islamic architecture with parametric design pattern. 1-Parmetric geometry provides most capabilities in fields of Iranian-Islamic geometry patterns change, design and production with wide variety of facilities and options 2-When using parametric architecture various parameters including geometry and different patterns can be considered and decorative geometrical patterns parameters of Iranian domes can be expanded and developed by software.

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Literature review Till now considerable researches have been done about geometrical motifs modeling, using new techniques and tools in Islamic architecture geometry and issues related to updating this field some of which are introduced briefly to get more familiar with research subject and review of related literature. Keith Critchlow has analyzed all geometrical patterns and motifs, based on the fact that all of these are derived from Islamic thoughts and spirituality. The book "an analytical and cosmological approach to Islamic pattern" is his first work of wide studies in this field. For the first time he explained to the world the amazing reason of supernatural importance of geometrical patterns in Islamic art” (Critchlow, 1976). It is worth mentioning that his compiles are among the first which have been written in west for the aim of geometrical analysis of Islamic patterns from metaphysics and cosmological aspects. His researches have had profound influences on a group of young western architect and art historians. The aim of book writer was to indicate the metaphysic and cosmological principles of every artistic creation, trying to argument how employing mathematical classification can confirm internal and innate unity of all things. Researches carried out by Issam El-said and Asye Parman to understand geometrical concepts employed in Islamic arts, through analyzing works in the form various pictures and diagrams are of great interest. They consider the essence and foundation of all different Islamic arts as a result of its different divisions and classifications (Elsaid & Parman, 1991). Abbas and Salman have planned some algorithms about Islamic geometrical patterns, related to evolution of traditional geometrical methods, based on collective views to efficient production of all crystal-like repeatable designs using computer graphic (Abas & Salman, 1992).Ostromoukhov (1998) in a research tried to draw decorative and Islamic geometrical patterns based on computer graphic using mathematical tools. Kaplan suggested a new method to make Islamic starred patterns based on placement condition of symmetrical and radial patterns which were reticular in a way (Kaplan C. S., 2002). Aljamali, also, tried to make a pattern to create starred unites (Aljamali & Banissi, 2003) Kaplan and Salsin carried out an investigation about Iranian Islamic Starred patterns and using computer graphic they invented a new parametric method to create starred and polygon patterns. According to results obtained from their study digital parameters of geometrical structures and Islamic motifs have been formed based on specific logic and they can be elicited and change to software algorithms (Kaplan C. S., 2002). Based on rotational symmetry, DJibril presented new method for Iranian Islamic starred patterns classification and order (Djibril, Hadi, & Haj Thami, 2006). Grunbaum created a fundamental region and space by starred patterns analysis using their symmetrical systems (Grunbaum, 2006). Ilkturk (2008) could obtain a combination of math 238

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and visual arts with the aid of Iranian-Islamic geometrical pattern. Regarding patterns digital design, as an example we can mention projects presented in Architectural design journal in 2009. An article titled" parametric patterns" published in this journal proceeds on actions taken in a workshop called "parametric patterns" in 2009 located at University of applied arts, Vienna, supervised by Patrick Schumacher and Zaha Hadid (Schumacher, 2009). These two architects adhered using parametric design of motifs and geometrical patterns levels as an important device architecture, production and mankind various and different levels (Schumacher, 2009, p. 28). Zaera-Polo proceeds on investigating opportunities and techniques of cultural and political complex patterning in building envelop. Moreover they study the ability of using contemporary and traditional geometrical patterns to find relationship between local traditions and various native cultures with universal techniques (Zaera-Polo, 2009, p. 18). Jowers et.al studied different methods of design in creating Iranian-Islamic geometrical patterns, obtaining three distinguished methods (Jowers, Prats, Eissa, & Lee, 2010). In a study Maryam Al-ainati obtained similar results practically. She tried to develop geometrical field rich with Islamic architecture from two dimensional levels to three dimensional structures, through finding and combining principles of Islamic traditional geometry with contemporary concepts (J.Alainati, 2012). In another study, order and advanced geometry used in Islamic knotting which on one hand are similar to crystal-like structures, emphasizing on prominent place of advance geometry in traditional world on the other hand, were studied to prove the domination of traditional architects on geometrical issues (Mohammadian Mansour and Faramarzi 2012). Antoine Picon writer of "Decoration: architectural policy and mentality" claims that: for innovation and stepping beyond superficial level of fashion-like trends of architecture, we need to avoid pure providing and pay attention to history and traditions feedback on architecture (Picon, 2013, p. 128). Most scholars including Ardalan, Bakhtiyar, Burkhardt and Nasr have carried out comprehensive researches on different aspects of Iranian Architecture metaphysics (Burckhardt, Art of Islam: Language and Meaning, 2009) and others such as Babin, Pope (Pope, 1971), Ackerman, Creswell and Critchlow (Critchlow, 1976) have proceeded on its mathematical aspects. Necipoglu has devoted his scientific studies on these fields (Necipoglu & al-Asad, 1996), indicating geometrical richness of Iranian Architecture during several years. Geometry indexes in Iranian Islamic architecture In this section first we proceed on semantic and structural investigation of IranianIslamic geometry to elicit its principles and characteristics. A definition of principles and techniques of Iranian-Islamic geometry can be suitable to start 239

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discussing the issue. Then the incidence capability of this kind of geometry concepts and meanings will be studied using parametric geometry and digital tools. Islamic philosophy and principles of Iranian geometry Geometry is one of distinguishing characteristics of Iranian-Islamic art. "Traditional architects were designing through reference and having knowledge of value, geometry and principles which were the basis of human beings formation (Mohammadian, Faramarzi, & Faramarzi, 2012, p. 79). Anthony Picon believes that one way of understanding role of history is that tradition should be known as principle, order and discipline. Tradition is the tradition of life; it means that the tradition is not static. Tradition needs convey and a set of reinterpretations in each phase, exactly like traditions abandonment. Costs should be paid for innovation and reinterpretation (Picon, 2013, p. 133). Burkhardt considers high position for architect in Islamic arts, declaring that: there is no separation between art and technique or between searching for beauty and construction method in sacred art (Burckhardt, Sacred Art in East & West: Its Principles and Methods, 1986, p. 151). He considers qualitative geometry an absolute solution of traditional architecture, believing that religious architecture always needs quality-oriented geometry for expressing symbolic concepts and contents (Burckhardt, Sacred Art in East & West: Its Principles and Methods, 1986, p. 151). Seyyed Hossein Nasr reasons in introduction of Critchlow's book about Islamic patterns, that unity theory in Islam is central, indicating itself not in iconography but in geometry, rhythm, arabesque and calligraphy (Critchlow, 1976). According to Islamic thinker's idea math holiness and geometry have not indicated itself better than in art. Substance becomes meaningful with the aid of arithmetic and geometry (Nasr S. H., Islamic Science: An Illustrated Survey, 1976, p. 75). Seyyed Hossein Nasr in his book entitled" Science and Civil in Islam) declares about the importance of geometry in Islamic Architecture that: Muslim's love to mathematics and figures is related directly to Islam massage which is monotheism belief. Characteristic of math holiness has not been appeared elsewhere better than Art in Islamic worldview. In the field of art, substance becomes honored with the aid of geometry and arithmetic, creating a sacred space in which God's presence is felt everywhere (Nasr S. H., Science and Civilization in Islam, 1972). Some scholars believe that the only suitable way of reflecting religious loftiness in art becomes possible just with the aid of math and crystallized geometry (Mohammadian, Faramarzi, & Faramarzi, 2012, p. 79). Hence taking traditionalists views into consideration it can be concluded that geometry has had divine basis since past, being considered by most divine and device secretes to

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achieve meanings (Kharzmi & Afhami, 2010). Though, geometry has had different application in sacred art. There is an emphasis on expression beyond appearance of materials to indicate their essence and nature (Rahbarnia & Rahnavard, 2006, p. 103). Existence of countless geometrical designs in Islamic art formed in relation with Pythagorean math confirms the meaning that principles inserted in this art have been combined with sacred geometry and Sophia Perennis with full attention and elegance (Critchlow, 1976). Scholars like Burkhardt and Seyyed Hossein Nasr believe that geometrical and plant patterns express the secret of unity and superabundance (Rahnavard, 2002, p. 2). Generally, from Islamic philosophy point of view and considering studies carried out in this field, the authors believe that following principles can be expressed for geometry of Iranian architecture presented in diagram 1:

Diagram 1: principles of geometry in Iranian Architecture from Art philosophy and Islamic architecture perspective, ref: authors 2013

Persian-Islamic architecture geometry and its role in conveying concepts Geometry has long been a generator of architecture (M. Maleki & F. Woodbury, 2008, p. 376). Using figures and geometry, as mathematical expressions, shapes creation is considered as eternal patterns of allegoric universe. Taking this into consideration, math is seen as a language and a device of interpretation which based on its nature leads from sensible world to active world. Math is subjective; it is related to our senses, though its typical nature is objective. These subjections 241

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of active world are used as basic guidance for eternal and objective essence of divine order (Ardalan & Bakhtiar, 2000, p. 51). In religious art, self is considered as substantiation of inspiration, intuitions and realities received from superior world, this is while in non-religious art, self is considered as independent artist, looking for no reality (Aavani, 1996). Taking most thinkers' opinions" techniques and tools don’t create holly art; rather they are source of inspiration causing blowing sacred sprite to them (Rahbarnia & Rahnavard, 2006, p. 104). However abandonment of new tools and novel geometry and their absolute confirmation, both are rejected, since it is subjected to its position in servicing or protagonists (the same p107). Employing novel tools for facilitation can help esoteric expression (the same p108). Hence it can be concluded that art inspired by superior order can be substantiated in different forms, one of which is utilizing updated tools. The most important thing is the role of art in human loftiness. Hence it seems that different schools and expressions, new or old tools have had no sanctity or de-sanctity of art, not necessarily cause change in the nature concepts hidden in works nature. Artistic aspect of technique dose not requires permission, since it is resulted from creativity, though conceptual aspect of techniques greatly depends on different ideologies inspiring artists. Geometry indexes in parametric architecture Parametric architecture involves dedicating software to create form and space of law-based logic in architectural software (Khabbazi, 2012). In such architecture, embedded languages are used instead of direct programming of design concepts coding. There are some problems whose complexity, uncertainty, ambiguity or possible solutions limitation requires a helping relation between human minds. Such corporations are possible just by algorithmic solutions which establish complementary and dialectic relationship between human and machine. Real power of algorithms is hidden in human system combination with computer system. Now a days considering tools development, providing new opportunities has been appeared for computer application to create geometrical patterns and analysis (Kaplan C. S., 2002). Technological innovations have brought creative solutions in architectural design. Working with hand is replaced with three dimensional modeling throughout procedure. This development is important, because human mind has the ability of thinking about two-dimensional forms, though with addition of third dimension to it, initial architectural designs and formal become limited. Geometrical patterns have formed the main part of art and decorative design throughout history.

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Today we have unique ability of comprehending past geometrical patterns, recreation, design and innovation, using new tools with new interpretations of old patterns (Kaplan C. S., 2002). Patterns can be used to emphasize cultural characteristics, camouflage, determining identity depending on Totems, reform separation, or every other complex of this kind (Schumacher, 2009). Designed Parametric Iranian-Islamic Geometrical patterns can be developed among all levels including architecture levels like past, during which development of using them was considered as motifs. Moreover, regarding employment method of parametric design in contemporary architecture, some critics believe that parametric patterns provide a popular solution for common problems, and the most important step to reach this pattern is the expression and exploration of relationships. The ability to promote exercise and study of geometrical patterns with new tools is resulted from three sources. Geometry Generation Resources advance the study and practice of geometric patterns New technological tools

New algorithmic tools

New mathematical tools

Virtual into reality

Abstraction processing of complex mathematical calculations

New geometric concepts

Diagram 2: current tools and new capabilities to create creativity by different sources in contemporary era, parametric architecture as new instrument to create formic and spatial creativities, ref: authors 2013

Studying common aspects of parametric geometry and Iranian-Islamic patterns Past architects were trying to cooperate and correspond theoretical geometry methods to their tools, while having complete knowledge of geometry and capability of applying geometrical relations (Tehrani, Mahdizade seraj, & Vali beig zade, 2011). Hence form finding in the field of Islamic architecture requires instruments appropriate to its own time. In traditional world, form finding was bound to limited developed sciences of its time, but now a days selecting instruments is of great importance. In present time, the power of algorithms and programming codes are promoting form design science (Mirmalek, 2011, p. 81). Like Iranian-Islamic geometrical pattern, mass modeling with generative

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algorithm rely on figures, mathematics and calculations. Now days it is impossible to move neck to neck with Avant grades architecture, without mastering contemporary developed techniques and tools (the same 79). So the aim of this section is to comprehend principles and techniques of patterns geometry to better knowledge of innovation and old patterns reinterpretation based on parametric techniques and tools patterns. (See Fig. 1)

Fig. 1: The pattern is composed of radial arrays, concentrically staggered around a central densely patterned core. Sheikh Lotfallah Mosque (1618) in Esfahan, Iran

Generally, decoration is divided into herbal, geometrical and inscription parts in Islamic arts. Iranian geometrical decorations can be found in nodulation (Mohammadian, Faramarzi, & Faramarzi, 2012). Geometry is prominent and dominant decoration form in Islamic Art, weighing other patterns and decorative forms. Developing unique view in combining subjective decorative art, separated from substance and nature causes Islamic art subjective theoretical unity (El-said & Parman, 1991). Islamic artists have taken different and various forms of geometry as their guideline, achieving wide variety of innovations and complexes. Most parts of Iranian-Islamic geometrical patterns are drawn through exact symmetries of mathematics and special coordinates. Generally, most geometrical patterns and designs of Islamic architecture are, in fact, built based on frequency of a motif. This motif is selected in a way that can be repeated; hence all frequencies are latched together (Broug, 2008, p. 11). The most important characteristic of such patterns is the existence and governance of a pattern or a simple of geometry which are developed and repeated by various patterns of symmetry. Designers are completely familiar with geometrical principles of coordinates with shapes like circle or rectangles. Patterns they create are appeared by draw and combination of simple geometrical shapes not by complicated calculations (Broug, 2008, p. 8). The repetition of geometrical patterns role reveals rhythmic coordination which indicates principle of unity in frequency. In an article entitled" Reductive Engineering Pattern" from AD magazine, we read an interview done

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with Hanif Kara about geometrical patterns: most admirable geometrical patterns and motifs are from small to big which can have wide applications in Structure Engineering (Garcia, 2009, p. 66) Investigation of existing references including coordinates can be elicited from different books, geometrical and mathematical principles governing geometrical patterns, by continuous study. Sketching principles of these patterns can be defined in exact computer algorithm for appropriate parameters, symmetry, coordinate, reflection, rotation, reduction and induction calls to obtain clear forms. Generally similar aspects of parametric geometry with Iranian-Islamic patterns can be mentioned as following:

Diagram 3: studying some similar aspects of principles of parametric geometry and principles of designing Iranian-Islamic patterns, Authors

It goes without mentioning that present article lefts most issues unfinished for it due to presenting new issues and novel views in Islamic architecture. The authors hope, this issues would create new experiences and critic stimulants in this field. Undoubtedly this project dose not claims to present a complete and faultless scientific approach to provide a comparative study of geometrical patterns of Iranian architecture, parametric architecture and their interpretation, though from architecture, engineering and mathematical point; it can be considered as a foundation for more studies to promote Islamic architecture. Investigation and Analysis of Case Study (Geometrical Patterns of Iranian Domes): Different application factors were considered in choosing case study to analyze indexes of present investigation. In fact, the aim of this analysis was to find out solutions which were used by traditional architects during design procedure using geometry to convey architectural concepts and meanings. Iranian Arcades architecture was selected as sample of presented research hypothesis. 245

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Discussion: Qualitative analysis and investigation of case study: Many of the most complex and intricate designs we know adorn Dome`s internal decorative elements in Persian architecture, including multi-level designs in which patterns of different scales are combined to complement and enrich each other. Here we give a Parametric analysis of some of Dome`s internal decorative elements in Persian architecture exemplary designs, focusing on a modular construction in which designs are produced by assembling copies of modular parametric. This variety of Islamic geometric pattern is characterized by combinations of Basic parameters (such as star forms) that range from the more compatible (such as compound patterns) to the seemingly incompatible (such as self-similar patterns). In Persian dome architecture techniques such as Kaseh-sazi, Rasmi-bandi, Karbandi, Yazdi-bandi and Muqarnas have been used and in more details works of stucco and paintings act as ornamentations. "Islamic arts consist of several parts and could be noticed in works such as tiling, plaster works, stalactite work and etc. As well as in windows templates, wooden doors. The geometrical patterns as a part of Islamic arts have a ground for parametric program" (Mahdavinejad, Ahmadzadeh Siyahrood, Ghasempourabadi, & Poulad, 2012). In the design of traditional buildings in Iran, we find many examples of the use of geometry as a generator of architecture, in both structural elements and decorative forms and patterns (M. Maleki & F. Woodbury, 2008, p. 377). For example in traditional Persian architecture, Rasmi domes project a drawing onto a predefined 3D geometry. Technical terms used by masons and architects as an act of making interlocking patterns in construction (Fallahfar, 1999). (See Fig.2)

Fig. 2: Analysis of repetitive modoule of Rasmi dome in Dowlatabad garden, Yazd, Iran, Authors

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Another parametric dome can be cited is Kar-bandi. The interface between Design Foursquare far stems dome where it starts, if there is a sub-arcs of intersection, say Karbndy (seyyed sadr, 2002, p. 439). Kar-bandi building consists of a vault door is covered with geometric rules that determine arcs intersect and shape to create the original cover. Karbndyha, consisting Azbarykh or vault door are a Tqatshan, skeletal covering for ceilings occur and much of the time frame covered by the second and shorter than the main roof, and often as the main roof of used. Yazdi-bandi is a kind of interior dome decoration in Iranian Architecture. Particular type of Kar-bandi under the dome, covering the decorative arched entries that are normally present in the atmosphere which gives specific expression. Yazdi is a state Ranking the Rsmi-bndi and Muqarnas (seyyed sadr, 2002, p. 600). Yazdi-bandi is the Persian word for interior dome and Iwan decoration. It is an originally Persian type of wall or ceiling decoration, which is used to make a smooth transition from the rectangular basis of the building to vaulted ceiling (Nejad Ebrahimi, Aliabadi, & Aghaei, 2013, p. 113). In addition Muqarnas is the most famous parametric architectural decorations (Fig. 3). Muqarnas is one of the most characteristic features of Islamic architecture and in used throughout most of the Muslim world (Petersen, 1996, p. 206). In addition, two-dimensional geometric patterns, such as painting can also be the basis of parametric design module. (See table 1 & 2)

Fig. 3: Natanz Jaame Mosque, Natanz, Iran, Modular stucco Muqarnas, Authors

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Table 1. Classification of Parametric Ornamental Domes in Persian architecture, Architectural & Structural domes, Authors

1

‎ ‎Pineapple Dome (Ourchin)

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yazdi –bandi

3D Module

Architectural-Decorative

Muqarnas

Types based on the basic module

composed of a series arches infill surfaces equally arranged around a compressi on ring Compose d of smooth, finely gained, diamondshaped modoules of differing sizes, with very small flat and horizontal star shaped picese in between (Moussav i, 2009, p. 276) Compose d of variable but repeating plan forms or tracks, which are stacked, corrugati ng the surface of the dome (Moussav i, 2009, p. 326)

Basic Module Elements

Rasmi domes

Nimkar

2D Model

star pattern with Points on the two circles.

Shaparak (Pendentive)

Pointed Arch

Mortar paste arch Tier surface subdivision (layers) Brick Stucco Tile Brick Tile Brickstucco

Star-shaped element

Mirror

Pa-barik1

Mirror Stucco

Stucco Panel

Simple Muqarn as Stretch (Matin) Muqarn as Arch Muqarn as Shirazi Muqarn as

takht (Flat element)

Square

Track line

Parallelogra m

Shaparak (Pendentive ) Tas (Squinch) Extruded vertical plane

Basic Shape Elements

Name Dome s

Rasmi-bandi

Types

1-

Orthogonal Shape- Grading- Diamonding- Granularity- Centrality- Uniformity- Focusing- Diffusion- Crystallized- Arching, ClusteringRepetition- Intricacy- Stellate shape- stepping- Conical shape

Classification of Parametric Ornamental Domes

Paramet ers

Basic Module Elements

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Rhombic Do-payeh Pa-barik Square

Continue of Table 1. Classification of Parametric Ornamental Domes in Persian architecture, Architectural & Structural domes, Authors 1

1

Diamond-shaped faceted modoule

Diamond-shaped faceted modoule

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Surface Pattern

2D Module

Architectural -Ornamental

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Centrality- Uniformity- Focusing- Diffusion- Clustering- RepetitionGrowing- Diversity- Unit Cells- Attractor Motifs- Self Similarity

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The arabesque is a form of artistic decoration consisting of "surface decoration s based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines

Brickwo rk

Stucco

Girih Brick and Tile Xowun1 Brickwork Mohri'chini (stamp brickwork) Geometric patterns Arabesque motifs Animal and bird motifs Inscriptions Human patterns Mosaic tile Mogheli (Kufic calligraphy) Tile

Tiling

Lattice tile Girih tile

Painting

Haft Rang tile2 (seven colors) Geometric patterns Arabesque motifs Animal and bird motifs Inscriptions and Calligraphy Human patterns

Table 2. Classification of parametric ornamental domes in persian architecture, Dome`s internal decorative and ornamental elements, authors

Fig. 4: Amin-od Dowleh Timcheh, Kashan Bazaar, Modular Yazdi-bandi dome, Authors

By comparing the table 1 and Taking what was said previously into consideration, some of most important characteristics of parametric design can be adapted to 1

Type of Persian brickwork used in elevation and entrance like Mosaic tile. In this technique Pictures were painted on plain rectangle tiles, glazed and fired afterwards. Besides economic reasons, the seven colors method gave more freedom to artists and was less time-consuming. 2

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principles of traditional geometry, which can be used to improve it. One of the most important lessons taken from cases such as geometrical patterns and d curved level expressed in Arcades is that updated tools are not used in designing procedures. Case analysis indicated clearly that Iranian Arcades are more complicated and advanced than construction tools and its spatial imagination. Hence our contemporary artifacts are more simplified than tools which are in our possession. Our dominance on contemporary advanced sciences and tools can helps us in expressing Iranian-Islamic concepts with the aid of art. A considerable point is that stemming intentions and motivations of past architects to create such admirable works and enduring all difficulties and complications are of great importance. After studying geometrical patterns of Iranian arcades and their parametric design patterns various similarities were observed in principles and procedures of creating shape in both methods. All arcade geometrical patterns rely on center, growing like algorithmic growth of sun flower grains. Similarities of two mentioned patterns have been shown in following figures. This is originated from a common nature called geometry. With the aid of similarities, parametric relation imagination has been shown graphically in the following analysis. (Fig. 4) Moreover in the architecture of Iranian arcades icons, geometrical patterns have application more than qualitative aspects. Patterns repetition used in pattern chain expresses the Islamic concept of extremity in unity. Geometrical patterns are related to center in a symbolic form or they reflect extremity as an application of unity, by using homogenous numerical relation. Symbols and artistic forms of arched geometrical patterns used in arcades as a container have been created by objective laws. Container is a symbolic repetition of eternal form. Artistic forms which have internal and external essence are related to each other by different placement positions in a hierarchal structure toward unity. This reveals symbolic operation of patterns. Geometrical patterns are container formed based on mathematical and geometrical principles. Hence it can be reinterpreted and revaluated by parametric geometry. The accordance of parametric principles with patterns was revealed after studies carried out in this field. Taking this into consideration that geometrical patterns used in Iranian arcades have symbolic and spiritual aspects in addition to imagery aspects, they have been able to convey concepts of Islamic art. So studying geometrical patterns of Timcheh and geometrical principles of parametric confirms the fact that: symbolism of arches and Islamic architecture sketches are of geometrical type. It seems that most parts of Iranian-Islamic patterns depend on center. Hence it can be concluded that using principles of parametric architecture plays an important role in conveying meanings and concepts of Islamic Art Philosophy.

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Conclusion The capability of using new tools of geometry in contemporary architecture and parametric geometry was studied in this investigation from adapting concepts and conveying Iranian-Islamic architecture and Art wisdom point of view. Hence, first some indexes were elicited and contrasted as "principles of Iranian Islamic Architecture Geometry" and "Principles of Parametric Architectural Geometry". Then to analyze and explain research hypothesis, one Iranian element, Domes was selected as successful sample in Iranian Architecture to correspond its IranianIslamic elements with principles and algorithms of parametric architecture. As it was shown, results obtained from different studies of traditional pattern and principles of parametric architecture and Iranian domes (as case study), all confirm the validity of research hypothesis. It seems that in past Iranian-Islamic architecture, the architect has used his time knowledge, technique and tools in best way to create architectural works. The clear thing is the necessity of using date knowledge considering Iranian-Islamic architectural values in present era. Hence

Diagram4: Indexes of parametric architecture and wide facilities which can be used as design tools to develop Iranian-Islamic architecture through emphasizing geometrical patterns of IranianIslamic architecture.

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it can be concluded that using parametric geometry as an appropriate and efficient device (of course though observing previously mentioned points) can be substantiated and appeared in various humanity layers, or it can be effective in the incidence of Islamic art philosophical concepts through creating Iranian-Islamic Geometry patterns in present era. So it can be concluded that creation tools of parametric geometry design can be used and tested as a pattern beside other architectural approaches. Parametric architecture involves wide variety of facilities and aspects. In diagram 2 we have tried to proceed on all its aspects. Based on results obtained from present study, using parametric design patterns can be developed apparently in eliciting and interpreting formic generative algorithms of traditional Iranian-Islamic patterns in creation and combination with traditional and local parameters and elements. These results can be generalized to future studies in this field. Authors believe that designing is not completely an innovation or exploration. When creating a completely new thing, design should be considered as a result of an explorative reconstruction or revelation procedure. So, as it can be observed parametric design can be efficient in reinterpretation, recognition and domination of Iranian-Islamic patterns. Meanwhile, conveyance degree of concepts and meanings of Iranian- Islamic architecture philosophy by Man Intellectual Soul Rational Perception

Spiritual Soul Wisdom

Spiritual Perception

Abstract Geometry

Esoteric & Sacred Geometry

Herbaceous Soul Environmental Perception

Biological & Physical Growth

Divine Satisfaction

Animal Soul Sensory Perception

Naturalistic Geometry

Animal Pleasures

Functional Geometry Sacred Concepts

Diagram5: Summary and conclusion: classifying kinds of geometry based on four-layer anthropological verse of self-hierarchy (presented by Imam Ali). Geometry can appear in different levels of human self, causing human perfection.

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parametric architect depend on one hand on creativity power of Islamic artist and on the other hand on his utilization of divine concepts and contents. Since secular ideologies have no ethical basis to use techniques and tools, and their aim is just meeting financial needs of human. Based on Islamic anthropology, especially from Imam Ali's point of view is reduction of human existential position reduction to herbal or animal position. This is while Islamic ideology relies on Islamic ethics philosophy when using techniques. According to Islamic wisdom and philosophy art and architecture should try to develop human's spiritual loftiness and mental growth. Hence, considering following diagram parametric design employment can be presented and used in various semantic layers, considering designer's ideology and aim, in spite of having the capability and potential of concepts expression. Finally it seems that the nature of production tools of parametric architecture is in accordance with definitions of Islamic art indexes and qualities presented in principles of Islamic arts. It can also be used to promote and develop Islamic Architecture. References Aavani, G. (1996). Wisdom and Spiritual Art (In Persian ed.). Tehran: Garous Press. Abas, S., & Salman, A. (1992). Geometric and Group-Theoretic Methods for Computer Graphics studies of Islamic Symmetric Patterns. Computer Graphics Forum, Vol.1, No. 1, 43-53. Aljamali, A. M., & Banissi, E. (2003, February). Grid Method Classification of Islamic Geometric Patterns. WSCG, 3-7. Arayin, R. (2008). Primary Notes on Perception of Historical Importance of Geometry in Islamic Thought, and Its Suppressed Role in Genealogy of World history. (F. Sasani, Ed.) Journal of Farhangestan-e-Honar. (Academy of Art of Iran), 28-40. Ardalan, N., & Bakhtiar, L. (2000). The Sense of Unity: The Sufi Tradition in Persian Architecture (2nd Edition ed.). Kazi Publications Inc. Broug, E. (2008). Islamic Geometric Patterns ( Pap/Cdr edition ed.). Thames & Hudson. Burckhardt, T. (1986). Sacred Art in East & West: Its Principles and Methods (2nd Edition ed.). Perennial Books. Burckhardt, T. (2009). Art of Islam: Language and Meaning (Commemorative Edition ed.). World Wisdom. Corbin, H. (1993). History of Islamic Philosophy. (K. Paul, Trans.) Routledge. Critchlow, k. (1976). Islamic patterns: An Analytical and Cosmological Approach. New York, USA: Schocken Books. Djibril, M. O., Hadi, Y., & Haj Thami, R. O. (2006). Fundamental Region Based Indexing and Classification of Islamic Star Pattern Images. Image Analysis and, 4142, 865-876. El-said, I., & Parman, A. (1991). Geometric Concepts in Islamic Art. London, England: Interlink Publication. Fallahfar, S. (1999). Dictonary of Iranian traditional Architecture. Tehran, Iran. 254

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