جستجوی مقالات مرتبط با کلیدواژه « architecture » در نشریات گروه « هنر و معماری »

Explaining and analyzing the understanding of architectural concepts from exhibition spaces. It is a place to display and present products, ideas, innovations, organization for distinct and general audiences. The architectural planning of the booths is to attract and stop the audience to increase the number of visitors to the exhibition space. The research theory is to explain the relationship between the design of exhibition spaces and the indicators of perception with regard to recognizing the strong visual elements of the booth form and the movement behaviors related to the audience. This question is raised, which cognitive spatial indicators are effective in the design of exhibition stands? The current research method is qualitative-quantitative in which qualitative studies have been conducted using content analysis of texts and quantitative data after Delphi screening with simulation-computational methods in nature by "Mic Mac" and "Scenario Wizard" software with a view to the future. Square or regular shapes are the most suitable in the general form of the booths based on the artificial light in the viewing area. Optimal stall grids average 80 to 100m2 in combination with checkered accesses and aisles over 8 meters wide.

The Safavid period can be considered one of the important cultural and social periods of Iran and one of the turning points in the architectural history of this land. Iran's privileged geopolitical position and economic attractions in the Safavid era caused many travelers to come to Iran, and most of them wrote travel diaries after returning. The travelogues of European travelers in the 10th to 12th centuries AH, which is approximately the same time as the Safavid period, are considered one of the most important documents of Iranian architectural history, regardless of the purpose of the trip or the shortcomings of the text and sometimes misunderstandings.The lack of documents and written sources about the history of architecture and how buildings are built show the necessity of studying and reflecting on travelogues from this point of view. On the other hand, bathhouses, as a special type in Iranian architecture, are one of the most vulnerable types of architecture, and unfortunately, their destruction has increased in recent decades.Therefore, any source that helps to know and better understand this complex phenomenon in Iranian architecture is valuable. Iranian bathhouses have attracted the attention of tourists from two perspectives, first and more popular culture and second and less, bath architecture. This research seeks to show the image presented by European tourists of the 10th to 12th centuries AH of the Iranian bathhouses by studying a few sources. The research questions are:1. What aspects of the bathhouses have been noticed by the tourists in their travelogues of the 10th to 12th centuries AH?2. by emphasizing the architecture of the bathhouses, what are the differences between the image presented by the travel writers and what we know about the baths today?

The method in this research has a qualitative paradigm and was done in an interpretative-historical way. Data collection has been done through documentary studies and field observations of the bathhouses. Among the many travelogues written in the research period, 26 travelogues were selected and studied. Among the aforementioned travelogues, only six travelogues have mentioned the bathhouses. In chronological order, these travelogues are Figueroa's travelogue, Pietro Della Valle’s travelogue, Adam Olearius's travelogue, Chardin's travelogue, Kaempfer's travelogue, and travel observations from Bengal to Iran by William Francklin.

From a quantitative point of view, Architecture has been the most important topic. The Second topic of the travellers’ attention is the Anthropological aspects of bathhouses. Travel writers have also mentioned the Medical and Religious aspects.From a qualitative point of view, with an emphasis on the architecture of bathhouses, the cases mentioned by travelers were very few and incomplete in most cases. The image presented by travelers has many differences from what we know about the architecture of bathhouses today.

In general, it can be concluded that the Safavid period was brilliant in the architecture of baths. Most travelers are not familiar with the unique phenomenon called the bathhouse, and that is why few travel books have mentioned the bathhouses and also the few topics of the architecture of the baths. Although the travelogues of the 10th to 12th centuries AH are very important and valuable sources for knowing the history and culture of the Safavid period, they cannot be considered reliable sources regarding the architecture of the bathhouses.

One of the most important factors determining the effectiveness of curriculum and educational programs is the appropriate learning environment in terms of physical environment, educational content and process, and educational organization. In this regard, examining the quality of the learning environment can be effective in identifying the effectiveness of educational programs and eliminating the shortcomings of the educational system in order to empower students personally and professionally. Therefore, the aim of the current research is to evaluate the quality of the explanatory components of the learning environment in the teaching of architecture in Istanbul Technical University and Tabriz Islamic Art University. The research method in the current study is mixed and using the MMR approach (combination of quantitative-qualitative methods) with an applied purpose and descriptive-analytical nature, which is used in order to analyze information in the quantitative part of structural equation modeling in Amos software. The statistical population of the research also includes the architecture students of Istanbul Technical University and Tabriz Islamic Art University, in order to determine the sample size, Cochran's method was used and the sample size for each of the universities was determined to be 384 people. The findings of the research show that the degree of realization of the variables of the quality of the learning environment in the field of architecture, in other words, the variables of the physical environment, content and educational process and educational organization in Istanbul Technical University is 0.52, 0.59 and 0.63 and in Tabriz Islamic Art University is 0.65. 0, 0.47 and 0.41. Also, based on the critical value of the structural model, the physical environment has been evaluated as favorable in both universities, and the content and educational process and organization in Istanbul Technical University have been evaluated as favorable and in Tabriz Islamic Art University as unfavorable. The results also show that in the physical dimension, vitality and good quality can be seen in the internal and external spaces of both universities, and architecture students are also satisfied with the quality of this space. However, the educational content and process as well as the educational organization in Istanbul Technical University are favorable and in Tabriz Islamic Art University are unfavorable. For this purpose, Tabriz Islamic Art University should make fundamental changes in these dimensions and while improving the learning environment of architecture, it should bring about the arrangement of professional architects. Teaching practical skills for entering the labor market, developing courses related to the needs of society, benefiting from the natural and experimental environment for education, emphasizing new models and technologies in architectural education, innovating in teaching methods for their effectiveness, developing the individual capabilities of students in values and Professional ethics, critical and strategic thinking, and finally benefiting from professional professors are the necessities of the architectural education system. Regarding the capacity of the professors, it can be mentioned that most of the professors do not present the content properly according to the existing procedure in the educational system, and there is no evaluation of the professors' qualifications in specific intervals.

The conversation about the architecture of the Azeri Safavid dynasty, which ruled the country for nearly 236 years, will be extensive because the country's capital was moved several times. Of course, this was an unintended contribution to the development and expansion of architecture and urban planning. The architecture of the Safavid era progressed only when there was peace. To talk about the brilliance of Safavid architecture, a brief introduction about the Safavid dynasty and the events of that time is needed. First of all, Safavid architecture continued the style and method of Timurid era architecture and continued for many years. During the time of Shah Ismail I, who was involved in the war with the Ottoman Empire and the defeat occurred in Chaldaran, Shah Ismail did not have the opportunity to do anything in the field of architecture and urban planning. On the other hand, by surpassing the country of Portugal, which had a strong navy overseas, from "Goa" in India, they watched the fate of Shah Ismail and the Ottoman war with the Safavids with open eyes and ears. They and other colonial countries of Europe have always been greedy for the tributary of Pars. The admiral Alfonso de Albuquerque attacked the Lark, Qeshm and Hormuz aqueducts in the Pars tributary. It was because of that, because Iran was at war with the Ottomans on the one hand, and on the other hand, it did not have much naval power in the south, the Portuguese took advantage of the opportunity and defeated the forces of Abu Muzafar Saif al-Din Aba Nasr, the local ruler, in the Shahab waters of Pars. When Shah Ismail was young, they captured Hormuz in a bloody battle. The Portuguese were able to anchor and eat artichokes for 115 years by building great forts that were a mix of ancient Iranian and European forts.

Throughout various historical periods, human societies have observed religious structures as significant cultural artifacts, which have endured as objective representations. This heritage, while being respectable for every nation and the followers of every religion, through the continuation and repetition of traditions and beliefs, is instructive and opens the way for other nations to find the culture of that nation. Several factors affect the formation of the architectural body of these buildings, the knowledge of which can help in the architectural design of contemporary identity-giving buildings. Therefore, the present study aims to investigate and analyze the architecture of Qajar period religious buildings in Mazandaran and Gilan, to understand the causes of the formation of the architecture of these two types of buildings, with physical differences that can be generalized to all the religious buildings of this region studied. The current research is descriptive and content analysis in nature. The method of collecting information is documentary and field so the most important tools for collection are library sources such as documents of the General Directorate of Cultural Heritage and field observation of the tombs of Mazandaran and the tombs of Gilan. is to identify and determine their general characteristics and design patterns. Statistical community, Qajar period ritual building in the northern region of the country; They include the Blessed tombs of Gilan Province and Saqanfars of Mazandaran Province. The samples were selected and analyzed based on the architectural characteristics. The statistical population of historical monuments of Gilan and Saqanfar of Mazandaran is four each; These buildings include 4 Saqanfar Kijatakiyeh, Ledar, Firouzjah, and Hamza-Kala-Shesh-Pol in Mazandaran and 4 mausoleums of Agha Sayyed Mohammad Yemeni, Chaharpadshah, Seyyed Musa Ibn-e Jaafar (AS), and Nasir Ali Kia Ibn-e Imam Musa Al Kazem (AS) in Gilan. The required information has been collected in documentary and field form and described and analyzed in a comparative context. The findings of the research indicate that the climate and consequently the native architecture of the region is the most important factor shaping the architecture of these two types of buildings. In the selection, it has been tried to ensure that the buildings are standing and are chosen with architectural differences so that they can be generalized to all the religious buildings of this region in the Qajar period. In this research, the architecture of Qajar period religious buildings in Mazandaran and Gilan, including four tombs and four Saqanfar, was investigated and analyzed to find the causes of their formation from the perspective of architectural features. For this purpose, the influence of history, climate, and ritual issues were investigated. In terms of historical period; The time frame of the creation of the paintings that were carved on the surface of the walls of the tombs of Gilan and the top of the wooden boards of the Saqanfars of Mazandaran, and the architecture of these two types of buildings were both during the Qajar period. The architecture of this period is derived from both Western and ancient Iranian architecture, indicating the absence of a specific architectural style in the buildings of this period, except for government buildings and palaces. From a local perspective, the Saqanfars were constructed in the Mazandaran region, and the tombs were built in the Gilan region. When examining the local architecture, it is evident that the climatic conditions, customs, and specific beliefs of each region have influenced the architecture of these two types. The influence of religious beliefs is evident in the shrines and monuments built by humans to fulfill their religious duties. The harmony of the facial, bodily, and structural aspects of the building in these regions can be understood in relation to the customs and religious beliefs of the local people through these two building types. These types of buildings act as the identity card of the ethnicity and cultural identity of the people of that region, and sometimes in its formation, economic and social relations with the natural environment and cultural symbols, rituals, and beliefs of the people of the region are reflected. According to the analysis and investigation of the main factors of the use of each of the architectural elements in these two buildings, it can be said that the structural differences between these two types of religious buildings are caused by the context in which these two types of buildings are built. Climate is the most significant reason for the difference in the architecture of these two types of buildings, and religion is second in importance.

By stating the limited system, Alexander defines the language of the pattern in specific rules that these rules can be the factor of culture, tradition, history, etc., in the matter of quantity and dimensions of peimoon and golden proportions. The pattern language of Christopher Alexander plays an essential role in understanding and updating traditional architecture and transferring meaning and function to modern architecture, as he believes that by expressing patterns and their role in structuring and adding them to the building, increases the life and quality of the building. In the current research, attempt has been made to analyze language of the Qajar model houses of Tabriz and its adaptation based on Christopher Alexander's theory of the three Qajar houses of Tabriz. In the meantime, the Qajar houses of Tabriz are more important due to their unique architectural components and the diversity of their spatial patterns on the one hand and richness of related decorations on the other hand. This research is based on a general, descriptive and analytical method. The statistical population includes a group of 30 experts. Data analysis was done by ground theory and multivariate entropy decision making with the help of MAXQDA and Spss software. The findings of the research with ground theory method showed that the language the Qajar house model in terms of aesthetics; Functionality and sense of place have been adapted to Alexander's theory. Also, correlation of three components with the model language of Qajar houses is equal to 0.966. The results showed that in terms of aesthetics, the house of Amir Nizam Grossi, Khatai and Ali Mesio scored 0.96, 0.92 and 0.81, respectively. In the functional dimension, Nizam's house scored 0.95 and Khatai and Ali Mesio houses respectively. They got 0.87 and 0.84 points. After Hess McCann, Amir Nizam's house scored 0.99, and Ali Miso's and Khataei's houses scored 0.93 and 0.91. The results showed that all three examined samples often obtained high scores. In fact, the structure of the research is based on the idea that the timeless quality of the Qajar house pattern is consistent with Alexander's pattern language theory.

Cinema and architecture are two well-known arts with significant similarities in creating art and space. Hitchcock's cinema is one of the strong foundations of world cinema in film genres, including the crime film genre, in which the commonalities of cinema and architecture are also obvious. Criminological dimensions and angles in criminal genres are some of the components of cinema that have not been investigated so far in the form of common relations between cinema and architecture. For these subjects, insecurity has been one of the most enduring concerns in urban life over time and crime is one of the most enduring urban challenges and is a priority category in the quality of life in urban spaces. Meanwhile, various changes have been made in the field of criminology, environmental criminology, and situation-based prevention approaches. Place-oriented and micro-centric analysis of urban crimes is one of the new operational strategies to prevent crime. The categories of "place" and "place management" are among the central concepts in this new method of situational crime prevention. At present, concepts such as "place" and "place management" have found a valuable role in criminology, which is less considered in Cinema Studies. The purpose of this research is to discover the three-way relations between “cinema, architecture and crime” in the context of Hitchcock's crime cinema and with the help of the analysis of “Psycho” film as the most well-known crime Hitchcock's film, which third link of these relations can be interpreted with the “new criminology of place” idea.

The approach of this research is qualitative, and the research technique is “Semiotics” with the mixed approach of “De Saussure” and “Barthes” to identify the signs system and the semiotic analysis of architectural and urban spaces from the point of “criminology of place” approach.

The findings of the research indicate the existence of a group of “signifiers” and “signifiers” in the form of a “sign system” aligned with the semantic context of Hitchcock's crime cinema, which is supported by strong urban and architectural spaces. In addition, the architectural spaces of the “Psycho” film can be explained by theoretical literature on the criminology of place more than environmental criminology, theoretical literature which shows the maturity of Hitchcock and the pioneer of his cinema, with at least fifty years between 1960 and 2010 as a date of production of the movie and the date of birth of modern criminology of place.

In total, the results reveal extended two-way commonalities known between the two arts of cinema and architecture as a form of a three-level spectrum “cinema-architecture-crime” in the context of the crime cinema and a distinguished director named “Alfred Hitchcock”, in addition, fills the research gaps in this field and resonates “Hitchcock you don't know, yet” statement.

To define the nature of something, one must seek a kind of relation or structure that is consistent in multiple related conditions. Its prominent goal is the phenomenological dimension in direct and immediate analysis, inquiry, and cognition of phenomena. The settling of each age’s nature contains its specific definition of place. Though reaching a new style might imply a kind of addition and description of some actions. Specifically, considered a unique complex of art, architecture, and beauty, the Bazaar of Tabriz is an evident and rich structure in the presentation of sustainable development by the meaning of place and as having a “Unitary Identity”. Therefore, the goal of the present study is to seek and analyze the “meaning of place in the historic Bazaar of Tabriz based on the cultural studies approach”, In the creation of a strategy, in addition to the hidden meaningful hyper phenomena. The present study is based on a descriptive-analytical method And makes use of written documents to develop a strategy by quantitative-qualitative research. The results of the study show that the Bazaar of Tabriz emerged as an addition to the subsistence of the meaning of place like meaningful dimension in its architecture in addition to the combined phenomenon and “Unitary Identity”. Specifically, Tabriz and the historic Bazaar of Tabriz consisting of a unity and development of the space poetics (place oriented), is considered as having identity by the emergence of the meaning of place in itself. As a result, the present study aims to show the historic Bazaar of Tabriz internationally as the representative of the meaning of place, as the social, cultural, economic, and political basis, and also as a sustainable building to which must be paid attention and remembered with an eternal affection.

Problem statement: 

Nature is Human’s first existence and home. Essence and accident are the aspects of Mollasadra Trans-substantial Motion theory, which defines the rhythm of motion, from form to meaning to substance utility and welfare. Seems that the mentioned subject is in contradiction with today scientific world rather that their goal is the same. Biophilic design tries to create a living condition with nature in human living environment. A realization of Alive Architecture according to Mollasadra Trans-substantial theory creates possibility to increase quality of life.

the Aim of this research is to achieve the Alive Architecture purpose to increase quality of life and notify spirituality in Architecture to calm soul. To reach the mentioned aim, the research defines an appropriate answer to the relation of Mollasadra Tran-substantial Motion theory with Biophilic Architecture.

The research was based on a Qualitative method (Grounded theory) with data analysis strategy, systematic coding of Strauss and Corbin with the help of MaxQDA software. The nature of the data in this research is Textual, semantic and unstructured derived from deep interviews, which have been analyzed with inductive logic by interpretive analysis.

The research findings prove that, essence transformation is in each being of existence, and Biophilic Architecture reminds Aliveness of existence by essence transformation through considering alive elements. The purposes such as: Perfection, Progressive, Reunion, soul and body, Timeless concept, are in Human and existence elements. The possibility of having essence transformation in a meaningful Architecture via considering more aimed purposes in terms of, communication, new thinking and Seeking reality, would have result in Beauty creation and Living Architecture.

In any era or place, humans cannot ignore beauty and art. The explanation of art has always been intertwined with humanity, evident from the earliest days of history through artistic works in cave decorations, buildings, and interior design. Hekmat-e Honar, or the wisdom of art, signifies a deep connection that art shares with philosophical, human, and life concepts. Art can convey values, ideas, and human experiences in diverse forms, deepening human emotions, thoughts, and understanding. The importance of art is selfevident across societies, resonating with the varied perspectives of individuals. Art's impact on social thoughts and life has attracted various sectors, including architecture, environmental design, interior architecture, and even philosophy. The role of art in shaping different aspects of human life is fundamental and unparalleled in human history. These dimensions are thoroughly examined and critically evaluated in this research, addressing questions about art and its purpose. The descriptive-analytical method is employed for the research, effectively gathering information and analyzing data from library sources and written documents. Therefore, this research aims to provide a broader perspective on the extensive issue of art's role in interior architecture and its relationship with related arts. Art serves as a unique tool for understanding other creations and maintains an inseparable connection with human thoughts across historical periods.

Avoidance of symmetry in Seljuk brickwork is one of the accessible but Difficult to understand concepts of Islamic art. The use of bricks in a variety of geometric designs without observing the principle of symmetry in the edges of the building led to a dramatic change in the structure of the brick arrays of this period that has never been experienced in any historical period in Iran. Note that changes in the artistic structure of a traditional society do not simply take place, and the coincidence of these with the height and perfection of Iranian brick art has caused a contradiction in the art of this era that has so far received little attention. However, the Seljuk era brick work debate has been a highly repetitive topic in domestic and foreign research, and despite the principle of symmetry in Iranian art, little attention has been paid to the issue of Avoidance of symmetry in Seljuk-era brickwork Explaining and interpreting this deconstruction of the new social class (middle class) as the sponsor of production that followed a new taste is of great importance. Sponsors' taste and bricklayer enthusiasm for displaying their ability, created the style of pop art in brickwork of that era that's like all the pop arts was influenced by social structures and with the political and social changes after the Seljuk era Immediately forgotten. This research aims to reveal new aspects of Seljuk-era brick art that have been neglected so far. This research is based on historical-interpretive method and based on library resources.

Problem statement: 

Tabriz has received much attention as one of the important cities of Iran in various periods of history, especially in the last few centuries. During the Qajar era, many new achievements of the new world were experienced in this city of Iran for the first time. As a pioneer city in the formation of modernity in Iran, the architecture of Tabriz underwent changes during this period and influenced the traditional architecture of Iran. The main question of the research is how the impact of modernity on the architectural forms of Tabriz houses was manifested and what changes were made in the architecture of this era.

The purpose of this study is to investigate the impact of modernization in Iran on the architecture of the Qajar period in Tabriz.

This research employs a qualitative approach, which seeks to answer the research question by using the interpretive-historical research method for historical issues and the descriptive-analytical research method for architectural issues. Data were collected through library research.

The results of the study indicate that the acquaintance of the people of Tabriz with the manifestations of modernity by traveling to Europe led to the tendency of this city to move toward Westernization and the usage of Western elements in architecture such as pair columns in the facade, Corinthian order columns, two-way stairs at the entrance, the use of semicircular arches, the use of metal railing for stairs, the use of curved lines, and extraversion in some buildings.

The structure of historical contexts comprises spatial organization and pedestrian context, movement paths with patterns, spaces with various functions, and historical buildings. These elements define the physical-spatial pattern. The current research focuses on the physical-spatial patterns of historical mosques in Hormozgan, considering aspects such as type of plan, entrance, and Qibla direction. The primary question this research seeks to answer is: How and by what criteria can the physical and spatial patterns of the plans of historical mosques in Hormozgan province be explained?
This qualitative research employs an analytical descriptive method. Through typology (in terms of formal and spatial patterns and physical elements), the mosques of Hormozgan have been examined. Data collection involved document studies, on-site reviews of Hormozgan mosques, and utilization of cultural heritage organizational data. The sample size, determined by valuable and registered cases in the Cultural Heritage Department of Bandar Abbas, consisted of 13 mosques.
To verify the typology of the target model, expert opinions were gathered in two stages. In the first stage, codes were categorized through content analysis and interviews. In the second stage, the Delphi technique was used to obtain experts' scores for each code. The research concluded that the physical and spatial plans of the historical mosques of Hormozgan province can be explained using the following criteria: 1) physical features, 2) decorations, 3)plan form, 4) courtyard form, 5) Qibla and altar orientation, 6) entrance form, and 7) thedirection of the mosque entrance relative to the Mihrab and Qibla. The results of thisexamination were presented for the studied samples.

The latest style of Iranian architecture, it is Isfahan architectural style that reached its peak during the safavid period and remarkable glory can be seen in the architecture of this period but by reaching the qajar period and by being influenced by western culture, Iranian architecture is combined with western architecture and in review, Isfahani style has gone into decline. In this article, an attempt has been made to investigate the cause of this decline by examining the remains of Isfahani style in the qajar period. During this research with a qualitative method and with an interpretative approach-historical and it is based on library studies, field observations and historical documents, the key works of this course will be introduced and reviewed. The importance of investigating this issue is to remember and preserve the rich culture and art of the past with a better understanding of authentic Iranian architecture and the use of its principles in today's architecture. The results of the research show that the traditional architecture of Iran has taken on a different color due to the decline of the Isfahani style in the qajar period and the architectural trends and achievements of that period and the physical change of architecture can be interpreted according to the intellectual structure of the architecture of its time.

Iranian architecture has taken various forms throughout different historical periods, with an emphasis on national inclinations and the preservation of cultural heritage. During the Sassanian era, the promotion of Hakhamehshi culture and architecture served as a symbol of national identity preservation. In the Pahlavi period, an emphasis on nationalism and a retrospective view of past civilizations, combined with Western architectural influences, became evident. Architects of that time made efforts to shape a national style that blended historical elements, ancient architecture, and the cultural heritage of that era in Pahlavi architecture. The goal was to showcase Iran's grandeur and magnificence in contemporary architecture. The characteristics of nationalism during the First Pahlavi era are the subject of this article. Using a qualitative and descriptive-analytical approach, the research aims to evaluate the effects of nationalism during that period. By examining three case studies within this architectural style, the study seeks to better understand the components, dimensions, and reasons behind the emergence of nationalism. The research results demonstrate the resemblance between ancient and national styles during the First Pahlavi era, serving as a symbol of Iran's illustrious history.

The term "dialectic of space" in architecture refers to the contradictions and interactions present within spaces. These contradictions may encompass elements such as lightness and darkness, density and spatiality, as well as mutual aspects like internal and external factors. In architecture, this concept mostly addresses the design of spaces and their influence on human behavior and emotions. One of the most frequently cited propositions in the context of space dialectics is the pursuit of balance amidst contradictions. Designing spaces involves striving to achieve a balance among different elements including light and darkness, open and closed space, indoor and outdoor space, and more, which is considered as one of the basic principles. This balance can contribute to harmonizing people's moods and emotions while facilitating optimal utilization of space. Another important aspect of space dialectic is the interference and interaction among diverse elements. Spaces can be more attractive by creating interference and interaction between different components. In other words, spaces with diversity and multiplicity factors exert the greatest impact on people's behavior and emotions, potentially generating attractive and dynamic qualities within spaces. Additionally, a recurring proposition emphasizes the connection with the environment. Spaces should establish links with their surroundings and cultivate positive relationships with them, achieved through the integration with natural landscapes, connectivity with adjacent spaces, or even integration with urban spaces. According to these frequent propositions, architectural designers can develop spaces that exert a greater impact on the residents’ behavior and emotions, fostering environments that are both appealing and diverse. These principles aid designers in creating high-quality and suitable spaces for human life and work.

The mosque, the most important building of religious architecture in the ancient Islamic civilization, which embodies the thought and spirit that governs the environment, has always occupied a place in the center of the city and has benefited from the best arrays. Although the architecture of this historical land is several thousand years old, the efforts made to identify and introduce its works do not have much history. In our culture, the mosque is not only a temple and a place of prayer to the Lord, but also a meeting place for people and an important point of the city. The Vakil Mosque of Shiraz and the Blue Mosque of Yerevan (Armenia) are two magnificent works of Iranian-Islamic architecture in the Zandiyeh period, which are manifestations of Iranian-Islamic art in two different geographical locations. The research method is a combination of library work and field work by examining historical and geographical sources, recording and recording information related to the building, which explains the architectural style, the study of architectural elements, the characteristics of the materials used, and the type of covering of the dome, porches. and the decorations used in the building. The current research seeks to find the answers to these two questions: What do the Vakil Mosque of Shiraz and the Blue Mosque of Yerevan (Armenia) have in common? 2- What are the differences between Vakil Mosque in Shiraz and Blue Mosque in Yerevan (Armenia)? and goals such as 1- analyzing the features of the Vakil Mosque in Shiraz and the Blue Mosque in Yerevan (Armenia) 2- explaining the similarities and differences between the Vakil Mosque in Shiraz and the Blue Mosque in Yerevan (Armenia), after studying and analyzing these two buildings, it was found that this The two works have commonalities and differences, and their common points are the period of construction, the presence of naves, architectural style, and the number of entrances to the building, and their differences are in the number of porches, height, domes, domes, and the number of altars.