Jaame’ abbasi mosque; Mosque as image, mass as surface

Jaame’ Abbasi Mosque; Mosque as image, Mass as Surface

Jaame’ Abbasi Mosque most famously known as Shah Mosque (much later renamed Imam Mosque) was constructed during 1611-1629. The Shah mosque is located in Isfahan in the Naqshe-e-Jahan Square. The project began to enter realization when Shah Abbas decided to move the capital of his Persian Empire from Qazvin to Isfahan. Shah Abbas pushes to revitalize the city through a series of buildings and urban scale projects. An architect by the name of Shaykh Bahai is hired for the task designing a new urban plan which was to include two major urban elements. One is Chahar Bagh [an avenue where major foreign dignitaries would reside] and secondly Naqshe Jahan Square. Naqshe Jahan Square (like the name suggests [Exemplar of the world]) is where the where the Shah gathers important figures in Persian Empire society; Figures included the clergy, the merchants and Shah Abbas. The Merchants operated in The Imperial Bazaar, the Shah resided in Ali Qapu Palace and the clergy was granted the most extravagant piece of the square: Masjed I Shah [ Shah Mosque]. The Shah Mosque was replacing the older Jameh Mosque in the same area and for the same reason had to be the most grand and lavish piece of the square (Wilbert 407).

Shah Mosque was to have the largest dome in the city, two religious schools and winter mosques on each end. The Shah had a strong desire for the building to be finished during his lifetime ignoring warnings from architect Abu’l Qasim regarding danger in subsidence and foundations of the mosque. Later in 1662 the building had to enter repairs due to this forced negligence during the construction process (Wilbert 408).

Architecturally the Shah Mosque contains four Iwans; the four iwan style design is what distinguished the Shah Mosque as a Persian mosque, different from Islamic architecture in other regions, such as Arab Mosques and the Umayyad Mosque. The four iwan style of the mosque creates a square central courtyard and emphasizes entrances into the iwans due to the strong axial and symmetrical relationships that develop.

Each iwan is grand and filled with mosaic décor a result of design decisions to characterize the iwan as gateways into the spiritual world (Wilbert 408).

The Iwans, arches and domes are the driving elements of design, a very conscious effort by the architects to differentiate the Shah Mosque from the hypostyle Greek temples and Arabian mosques that came before hand.

Unlike what Shah Abbas might have assumed it is not the fact that the Shah Mosque was in the central square of the capital of the Persian Empire that makes it the most grand, Nor is it because the mosque is surrounded by powerful figures in the Persian Empire, Nor is it because the Shah commissioned the architects to construct the largest dome in the city; What makes the Shah Mosque one of the most grand and significant Mosques and religious building’s in history is the visible efforts on a multitude of scales by the architects to completely transcend the archetype of mosque into a new style and aesthetic. The architects’ quest to define the mosque on their own terms but still continue the lineage of Islamic and other religious archetypes is visible in the plans, sections, details, domes, arches, corners, entrances, surfaces and overall proportional organization of the Shah Mosque.

Mosque as Image:

Naqshe Jahan Square was commissioned as a rejuvenation of an already existing ancient city. Shah Abbas had intentions of making the Shah Mosque the main attraction of the city and square where Friday prayers would occur. Already the Shah’s intentions supersede the ideology of the mosque past just a place of worship into a place of worship, visit, admiration and grandeur. The Shah Mosque was commissioned to impress people, to construct and build on the existing improving image of Shah Abbas. As a result architect Ali Akbar Isfahani operates in image; from the opposite end of Naqshe Jahan Square is where Isfahani’s image construction becomes the most apparent.

Figure 1: image composition highlights in plan.

Figure 2: image composition from opposite end of Naqshe Jahan Square.

Isfahani shifts the entrance the iwan to create the relationship seen above; if addressed in a conventional manner (where there would be no slanted entrance) the entrance iwan dome would have interfered with the visibility of the main dome. The shifting of domes (masses) from this perspective shows Isfahani’s commitment to designing through image. Given that this view is from the Naqshe Jahan Square it is the perspective most commonly seen and experienced by people; the relationship between the continuous repetitive strip of Naqshe Jahan Square façade and the flatness quality of the entrance iwans combined with the three dimensionality of the main dome all play a role in creating the compositional image of the project from Naqshe Jahan Square perspective.

Mosque as Surface: Isfahani operates through a series of formal maneuvers to differentiate the Shah Mosque from other mosques or clergy buildings. Operating through the image as an externally formal compositioning tool is the first visible formal maneuver. As you move in closer you begin to understand the second is the treatment of volumes as surfaces. This treatment is most evident in the entrance Iwan. The flatness of the Naqshe Jahan Square walls is embraced and expanded upon to create the entrance Iwan façade. The façade is scaled over the entering volume creating a billboard advertise-esque effect. Arches of the balconies and arcade spaces of the Naqshe Jahan Square become silhouettes who’s proportions and curvatures determine the aesthetic of the iwans and domes. On the inside, further analysis reveals that the domes of the Mosque are composed of a series of surfaces rather to the contrary system of volumes. On every scale the surface is emphasized over the volume or mass.

Figure 3: iwan ceiling mass to surface breakdown.

Here the roof of the south iwan surfaces to mass becomes the clear. From the datums and creases within the dome we can tell compositionally this dome was constructed and designed as a series of surfaces. This approach frees the dome from its heavy connotation and pushes the element into a lighter refined and elegant state. In the same way the arcades of the mosque operate through a series of surfaces. The operation through surfaces becomes so evident that in the corner conditions of the domes that transition

from dome to corner to wall to ground boils down to the aesthetic of a crease on folded sheet of paper.

Crisp and defined the geometry of the space is redefined through these conditions. The arcade is no longer a heavy mass above your head but a series of decorated refined articulated surfaces. The corner condition which supports the dome transitioning into a right angle intersection to meet the ground is perhaps where the logic of mass to surface becomes the most clear. Visually following the corner outward the dome arches appear thin and light. In addition the corner is nothing more than a crease where the surfaces meet; represented as if one surface folding and bending to close on its own edges at the corner. In addition, how the surfaces of the walls and dome meet the ground adds to the affect of lightness floating elements. From the exterior what appear to be heavy masses and forms detach themselves from the notion of heaviness as the surfaces on the interior become decorated and refined. The ground surface meeting the surface of walls at a low profile non-exaggerated intersection makes the mass appear much lighter and more fluid. Also the seamless transition from the dome to the walls to the ground adds to this effect of lightness and fluidity. It is clear from the use of tiles and treatment of the interior surface as a continuous entity that architect Isfahani was looking for ways to innovate and push the archetype of the mosque.

Figure 4-5: surface composition within arcades and iwan entrances.

Is it said that the iwans were designed to appear as “gateways” into the spiritual world. Isfihani must have understood that to achieve this affect he had to break away from the hypostyle of the mosques that came before hand, the environment had to be light, clean, articulated; In an environment where intentions are to uplift occupants into another realm of spiritual affect, heaviness becomes the enemy. Isfihani’s battle with heaviness becomes visible in the breakdown of the interior surfaces, the intersection of the surfaces at the corners (light and crisp), how the vertical surfaces meet the ground, how the datums of the arcade determine a index and separate logic that attracts the occupants view away from the unavoidably heavy columns.

The logic of surfaces is also used as a layering device visible in the western iwan directly across the main dome (other side of the main entrance). This iwan is the first one every occupant experiences first and enters the courtyard through. This is where Isfahani introduces the idea of breaking down a mass into a series of layers and surfaces in a visibly clear sense. The entering iwan can be boiled down to four surfaces; One roof, two walls (touching the courtyard and folding out to the arcade) and a fourth surfaces with folds from a smaller half dome shaped roof into two walls meeting at a right angle. Like the main dome corner discussed above the transition from roof to wall is a single crease. From the same perspective we see surfaces two, three and four have indented silhouettes of arches used throughout the mosque and Naqshe Jahan Square accented into the surfaces as if they were punctured and then peeled off, almost in a cookie cutter like manner. These accents are important to note because we are seeing architect Isfahani playing with the idea of surfaces and layers. Some indented arches stamp the wall in the depth of a few inches, some a few feet, and some become passageways to other areas.

Figure 6: surface composition.

Figure 7: surface composition from courtyard.

In the panorama of the courtyard (taken from north side looking south) we see the multiplicity of the surfaces on the exterior. Each iwan has a large faรงade that extends beyond the point of enclosure as it takes on a propped up billboard characteristic. This feature is unique to the Shah Mosque iwans traceable to the idea of operating through surface. Excluding the main dome of the mosque these are examples of mass to surface working at its largest scale. Also visible from the Naqshe Jahan Square these over-exaggerated

facades become a signature characteristic of the Shah Mosque. Isfihani cleverly references the repetitive units of the Naqshe Jahan Square through the over-scaling of one unit converting the arcade motif or balcony form into a grand gesture entrance.

Figure 8: image composition in axon showing minerat highlights.

Two of the over scaled iwan facades have minerats on each end. This formal accentation initially can be read as Isfahani marking the path to the main dome (biggest in the city). Although a fair reading; this is another example of Isfahani working through image (being from the perspective elevation of Naqshe Jahan Square) much like the entering dome and main dome both needed to be visible from the square (resulting in a unconventional slanted entry); The minarets are placed on the two exaggerated facades which are the most visible from the constructed image.

The architect’s subservience to the construction of mosque through surface and massing through image the formal intentions and pursuits of the architect are revealed.

In the deep interior of the arcades, a surface meets column condition appears. This condition breaks the roof to wall to ground logic that was visibly apparent in other parts of the mosque. We can say if the

technology, time and budget was available to the architect [Isfahani], the transition from ceiling to ground would have been read as a single uninterrupted surface. The columns disrupt the logic of surface construction and operation (prevalent through other parts of the project) which makes them appear formally out of place. The placement of this condition in the deepest interiors of the project leads us to believe the architect would agree. In the most public and visual moments of the project from both design and construction standpoints the surface is visually seen as the main driver. Here was are seeing the surface being disrupted by the column and the abrupt transition between those two elements confirms Isfahani’s avoidance and unwillingness of dealing with this problem (or his expressed opinion on the problems unimportance).

Figure 9: surface compositions from arch to column.

Figure 10: main dome surface compositions.

On the contrary the main dome of the mosque is possibly the most elegant use of surface as mass within the entire project. The dome consists of two surfaces; One siting on the support structure of the dome while wrapping around to support the top surface (surface number 2), and the other draping down from a single point to meet surface #2 for support. After pulling off the maneuver of making the largest dome in the city appear as a two uninterrupted surfaces placed on top of each other Isfahani tips his own hat to the accomplishment by making the base of the dome a visible construction of multiple surfaces. The visual transition from simple geometry being represented by multiple layers while the more complex geometry as single surfaces is Isfahani hinting at the difficulty of the task and operation.

Shah Mosque is Isfahani’s pursuit to push the archetype into new territory and create a signature “Persian” “Esfahan” or “Isfahani” style mosque. Isfihani’s moves and maneuvers which convert heavy mass to light elegant surface add a new language to the existing lineage of mosques. Mosques were always able to accomplish grandeur but never (maybe not their intentions) lightness in the way Isfahani does through the Shah Mosque. This introduction of lightness of mass through the breakdown of heavy monolithic masses to light elegant articulated surfaces in addition to Isfahani’s fairly contemporary approach of design through image grounds the importance and relevance of the Shah Mosque in analytical architecture history.

Bibliography:

- Briggs, Martin S.. “MOSQUES AND MINARETS: An Introduction to Muhammadan Architecture in Persia”. Journal of the Royal Society of Arts 79.4080 (1931): 246–265. Web...

- Ettinghausen, Richard, Oleg Grabar, and Sheila Blair. The Art and Architecture of Islam 650-1250.

Harmondsworth, Middlesex, England: Penguin, 1987. Print.

- Hillenbrand, Robert. Islamic Architecture: Form, Function, and Meaning. New York: Columbia UP, 1994. Print.

- Clévenot, Dominique, and Gérard Degeorge. Ornament and Decoration in Islamic Architecture. London: Thames & Hudson, 2000. Print.

- Bampton, Ian. “Islamic Architecture: Elemental Rebirth”. Built Environment Quarterly 2.2 (1976): 117– 120. Web...

- Miles Danby. Iranian Studies 24.1/4 (1991): 85–86. Web...

- Creswell, K. A. C.. “The Origin of the Persian Double Dome”. The Burlington Magazine for Connoisseurs 24.128 (1913): 94–99. Web...

- Özdural, Alpay. “A Mathematical Sonata for Architecture: Omar Khayyam and the Friday Mosque of Isfahan”. Technology and Culture 39.4 (1998): 699–715. Web...

- Pope, Arthur Upham. “Gothic Architecture and Persian Origins”. The Burlington Magazine for Connoisseurs 62.363 (1933): 293–294. Web...

- Blair, Sheila S.. “Surveyor Versus Epigrapher”. Muqarnas 8 (1991): 66–73. Web...

- Wilber, Donald; Aspects of the Safavid Ensemble at Isfahan, in Iranian StudiesVII: Studies on Isfahan Part II, p 407–408.

Homayoun Zaryouni

Jaame’ Abbasi Mosque - Shah Mosque – Imam Mosque

Most famously known as Shah Mosque (Renamed Imam Mosuqu and initially named Jaame’ Abbasi Mosque) was constructed during 1611-1629. The Shah Mosque is located in Isfahan in the Naqshe-e-jahan Square.

Shah Abbas decides to move the capital of the Persian Empire to Isfahan and funds the city heavily for an urban and architecture resurgence hiring architect Shayke Bahai who becomes in charge of the new urban plan of Isfahan and design of the Shah Mosque. The mosque itself has four Iwans and a courtyard; the main entry is from the Naqshe-eJahan Square and in plan is diagonal (something worth further exploration in the formal analysis).

Intended Formal Analysis

The plan and elevation on the Shah mosque are directly correlated; the slanted entrance (clear in plan but not necessarily in perspective) from the Naqshe-e-jahan Square is used to create a very particular image and relationship in elevation. The entrance iwan on the left and the main dome on the right both fully visible due to the slanted entrance. From this same elevation the arc used on the arcades of the Naqshe-e-Jahan Square can be seen in the dome of the Shah mosque, the entrance iwan and the detailing. The Shah mosque also has very interesting corner conditions for formal analysis; the transition between the circular base of the domes to the right corner wall to the ground is elaborate in detail and worth exploration. Also unique to the Shah Mosque is the flatness and threedimensional quality in the entrance to the iwan and dome relationship. The entrances have an extended flat façade with minarets that act as a billboard. This flatness in the iwan façade in relation to the three-dimensionality of the dome and details within the arches of the iwans is unique to the Shah Mosque and should be further analysed. Also the relationship of tile patterns and geometry is an evident one and can be formally studied and analyzed.

Bibliography: - Briggs, Martin S.. “MOSQUES AND MINARETS: An Introduction to Muhammadan Architecture in Persia”. Journal of the Royal Society of Arts 79.4080 (1931): 246–265. Web...

Mosque and minerat analysis. Concentrates on Persian mosques. Contains the best corner condition picture of the shah mosque.

- Ettinghausen, Richard, Oleg Grabar, and Sheila Blair. The Art and Architecture of Islam 650-1250.

Harmondsworth, Middlesex, England: Penguin, 1987. Print.

Great source for understanding overall Mosque design. Comparisons can be made between Shah Mosque and other mosques to see differences. Shah Mosque and the Great mosque of Isfahan are covered from pages 253-268. Lots of plans (for understanding non-hierarchal mosque layout), axons and etc. available for understanding proportions, overall layout of several mosques.

- Hillenbrand, Robert. Islamic Architecture: Form, Function, and Meaning. New York: Columbia UP, 1994. Print.

Great source for understanding overall Mosque design. Lots of architectural drawings that can be used for formal analysis (not just overall plans and sections, diagrams, diagrammatic plans of particular iwans, axons of domes and much more).

- Clévenot, Dominique, and Gérard Degeorge. Ornament and Decoration in Islamic Architecture. London: Thames & Hudson, 2000. Print.

Very large high quality pictures available of Shah Mosque. Great source for comparison of detailing and ornamentation of various Mosques (comparisons between Shah Mosque detailing’s and other mosques can be made)

- Bampton, Ian. “Islamic Architecture: Elemental Rebirth”. Built Environment Quarterly 2.2 (1976): 117–120.

Web...

Discusses Middle Eastern archetypes and building technologies (mosques, houses, wind towers). Good for analysis of what elements of form or detail have crossed between the presented archetypes.

- Miles Danby. Iranian Studies 24.1/4 (1991): 85–86. Web...

Mostly talks about the blending of Isfahan’s great mosque blending into the urban fabric. Good source for a reading of a relationship between the mosque and the city of Isfahan.

- Creswell, K. A. C.. “The Origin of the Persian Double Dome”. The Burlington Magazine for Connoisseurs 24.128 (1913): 94–99. Web...

Investigates the origin of the Persian Double Dome (which is present within the shah mosque). Great source for understanding the formal history and development of the Persian double dome.

- Özdural, Alpay. “A Mathematical Sonata for Architecture: Omar Khayyam and the Friday Mosque of Isfahan”. Technology and Culture 39.4 (1998): 699–715. Web... in-depth geometric analysis (formulas, proofs and drawings) of Persian mosques; domes and details. Most which includes use of the “Omar Khayyam Triangle” – not necessarily architectural analysis more of a mathematical analysis.

- Pope, Arthur Upham. “Gothic Architecture and Persian Origins”. The Burlington Magazine for Connoisseurs 62.363 (1933): 293–294. Web...

Presents the thesis that Persian mosque design and form had a heavy influence on gothic analysis. Good for formal analysis of arcs and other formal qualities of Persian mosques.

- Blair, Sheila S.. “Surveyor Versus Epigrapher”. Muqarnas 8 (1991): 66–73. Web...

Contains a great pic of a corner condition of the roof, great for analysis of how the dome moves from a curved bottom support to a right angle wall through a series of arcs. Contains clear examples and analysis of texts written as detail within the mosque.

By Pascal Coste - Monuments modernes de la Perse mesurés, dessinés et décrits, éd. Morel, 1867, Public Domain, Citation: Coste, Pascal. Painting by the French architect, Pascal Coste, visiting Persia in 1841. The painting shows the main courtyard, with two of the iwans. The iwan to the right is topped by the goldast, which in many Persian mosques had replaced the function of the minarets. Digital image.Wikipedia. Public Domain, n.d. Web. 30 Jan. 2016.

Description: Drawn Perspective shows the formal relationship between the courtyard (water ablution) and two iwans, also the textile color relationships between the dome, ground, arches, towers, entrances and etc. Due to date the painting was painted it is the close to representation than any other photograph, truly shows the richness of the color.

By Ladsgroup - Own work, GFDL, Citation: Ladsgroup. The entrance iwan with its towering facade. Digital image. Wikipedia. GFDL, n.d. Web. 30 Jan. 2016.

Description: For analyzing the geometry qualities of the iwan. Shows the effect of light on the geometry of the iwan entrance and the two minarets.

By Self - Own work, CC BY-SA 3.0 Citation: Interior view of the winter mosque, built as a typical hypostyle mosque. Digital image. Wikipedia. Creative Commons, 31 Dec. 2012. Web. 30 Jan. 2016.

Description: Great for formal analysis of the arches in the corridor, repetitive elements of the form and tiles and textures. Also the analysis of the column, wall and arch.

By Self - Own work, CC BY-SA 3.0, Citation: Inside ceiling. Digital image. Wikipedia. Creative Commons, 31 Dec. 2012. Web. 30 Jan. 2016.

Description: Great for geometric analysis of the interior ceiling composition of Iwan entrance. datums clearly visible in form.

By Self - Own work, CC BY-SA 3.0, Citation: Interior view of the lofty dome covered with polychrome tiles, intended to give the spectator a sense of heavenly transcendence. Digital image.Wikipedia. Creative Commons, 31 Dec. 2012. Web. 30 Jan. 2016.

Description: Use for analysis of dome, and the relationship of the patterns to arches in the domes and arches on the Mihrabs.

Also from the top of the Mihrabs you can develop a diagram showing the datums of the dome lining up with the Mihrab and eventually coming down to the ground.

By Monfie - Own work, CC BY-SA 3.0, Citation: Monfie. A 3D panorama of interior of the main prayer hall. Digital image. Wikipedia. Creative Commons, n.d. Web. 30 Jan. 2016.

Description: Great image for analyzing and diagraming the relationship between the arches of the dome, entrances / doorways, mihrabs and how these datums and edges meet the ground.

By Nick Taylor - originally posted to Flickr as Imam Mosque, Esfahan, CC BY 2.0, Citation: Taylor, Nick. Imam Mosque, Esfahan. Digital image. Wikipedia. Creative Commons, n.d. Web. 30 Jan. 2016.

Description: For analyzing and understanding the main entrance and dome of the Mosque, the Arches which are cut out and used as pattern, and most importantly: Corner Condition One.

By Koohkan - Own work, CC BY-SA 3.0, Citation: Koohkan. The mosque at night. Digital image. Wikipedia. Creative Commons, n.d. Web. 30 Jan. 2016.

Description: Great for elevational formal analysis. Commonalities between the longitutinal building around the mosque and the entrance of the mosque and iwans within the mosque can be seen and diagrammed from this picture.

By Zenith210 at English Wikipedia, CC BY-SA 3.0 Citation: Zenith210. Peculiar orientation of the maidÄ n. Digital image. Wikipedia. Creative Commons, n.d. Web. 30 Jan. 2016.

Description: Can be used to understand the relationship of the entrance into the mosque and the formal qualities of the form wrapping around the main square.

By Self - Own work, CC BY-SA 3.0, Citation: Interior view of the dome. Digital image. Wikipedia. Creative Commons, n.d. Web. 30 Jan. 2016.

Description: Can be used to develop a better understanding of the formal qualities and relationships of the blue dome. Also great for seeing the relationship between the base edge of the dome and mihrab arches.

By Zenith210 at English Wikipedia, CC BY-SA 3.0, $3 Citation: Zenith210. Facade of entrance arcade. Digital image. Wikipedia. Creative Commons, n.d. Web. 30 Jan. 2016.

Description: Very clear image of the in-depth geometry of the entrance arch of the Iwan. Can be used for detailed geometric analysis.

By Patrickringgenberg - Own work, CC BY-SA 3.0, Citation: Patrickringgenberg. Royal Mosque (Imam Mosque). Digital image. Wikipedia. Creative Commons, n.d. Web. 30 Jan. 2016.

Description: Clear picture of multiple domes and their relationships to the arches visible from this perspective.

By Sergenious en:User:Sergenious - en:wp (original image page here), Public Domain, Citation: Mosaic detail, as found in the Shah Mosque, showing Quranic calligraphy written in Thuluth script (photo taken at the Lotfallah Mosque). Digital image. Wikipedia. Public Domain, n.d. Web. 30 Jan. 2016.

Description: Detail Tiling on the mosque. Texturing, color, patterning, analysis.

http://gravity.ir/galleries/architecture/emam-shah-mosque-saghf-isfahan-iran/ Citation: Ganji, Mohammad. The “Shah Mosque” also known as “Emam Mosque” , is a mosque in Isfahan, Iran, standing in south side of Naghsh-e Jahan Square. Built during the Safavid period. Digital image. Gravity.ir. N.p., n.d.

Web. 30 Jan. 2016.

Description: Good for corner condition analysis, Arches, openings, dome, mihrab.

http://www.flickriver.com/photos/twiga_swala/5913560578/ Citation: Twiga_swala. Shah Mosque (‫)ﻡمﺱسﺝجﺩد ﺍاﻡمﺍاﻡم‬, Isfahan. Digital image. Flickriver. N.p., n.d. Web. 30 Jan. 2016.

Description: Good for formal analysis of domes and minarets.

http://aasid.parsons.edu/decorationascomposition/sites/default/files/travel-blog-magazine-1981_3.jpg Citation: Up close detail picture of Iwan entrance. Digital image. Http://aasid.parsons.edu/. Parsons, n.d. Web. 30 Jan. 2016.

Description: Great for geometric analysis of tiling and detailing of the mosque, tile and texture analysis.

http://aasid.parsons.edu/decorationascomposition/sites/default/files/152719509_63c51874fb.jpg Citation: Up close detail picture of Iwan entrance. Digital image. Http://aasid.parsons.edu/. Parsons, n.d. Web. 30 Jan. 2016.

Description: Great for geometric analysis of tiling and detailing of the mosque, tile and texture analysis.

http://aasid.parsons.edu/decorationascomposition/sites/default/files/travel-blog-magazine-1980_3.jpg Citation: Picture of Corridor in Shah Mosque. Digital image. Http://aasid.parsons.edu/. Parsons, n.d. Web. 30 Jan. 2016.

Description: Great for analysis of multitude elements of the arches; also can analyze how the arch meets the ground and wall.

https://s-media-cache-ak0.pinimg.com/originals/5f/1a/cd/5f1acd30107ab6180a392095e44e82bf.jpg Description: Can be used for geometric analysis of the details of the iwan entrance.

https://www.flickr.com/photos/horizon/156730595 Citation: HORIZON. Isfahan/ Imam(Shah) Mosque. Digital image. Flickr. N.p., n.d. Web. 30 Jan. 2016.

Description: Geometric and textural analysis of entrance dome into the mosque, datums are very clear in the form as well as the geometric proportions and relationships.

http://iransepitatravel.com/upload/images/Destination/Isfahan/Shah%20Mosque/14.jpg Citation: Arial view of Shah Mosque. Digital image. Iransepitatravel. N.p., n.d. Web. 30 Jan. 2016.

Description: Arial view of the shah Mosque, Great for understanding formal layout of the entire mosque, the multitude of dome and their proportions and relationships clearly visible. First photograph in series to provide the largest formal context as well.

http://www.travel-images.com/pht/iran26.jpg

Citation: Light on the detailing of the iwan entrance arch. Digital image. Travel-images. N.p., n.d. Web. 30 Jan. 2016.

Description: Great for formal analysis and relationship of the courtyard, water feature, arches and entrances to two Iwans visible in the perspective. Also the corner condition of the courtyard.

http://www.iranicaonline.org/img/v14f1/isfahan_x_monuments_16/isfahan_x_monuments_3_mosques/isfahan_plate_xiii_3_emam_3.jpg Citation: Elevation view of mosque entrance. Digital image. Iranicaonline. N.p., n.d. Web. 30 Jan. 2016.

Description: This is the elevation view of the mosque entrance from the main square. Great for analysis of the formal qualities of the entering arches, details, and minarets.

http://www.artandarchitecture.org.uk/assets/aa_image/700/1/4/1/d/141dabc317fdad0317e94a6d2f500c715af4760f.jp g Citation: Plan and Longitudinal Section. Digital image. Artandarchitecture. N.p., n.d. Web. 30 Jan. 2016.

Description: Plan and section for understanding the non-hierarchical layout of mosques and the formal qualities that match the ideology.

http://www.iranicaonline.org/img/v14f1/isfahan_x_monuments_16/isfahan_x_monuments_3_mosques/isfahan_plate_xii_3_emam_2.jpg

Citation: Axonometric. Digital image. Artandarchitecture. N.p., n.d. Web. 30 Jan. 2016.

Description: Axonometric for understand overall proportions and layout of the mosque.

https://dome.mit.edu/handle/1721.3/53704 Citation: Grigor, Talinn. Exterior, view from maydan, with pool, 1999. Digital image. MIT Libraries. MIT, n.d. Web. 30 Jan. 2016.

Description: Relationship of the entrance mosque from the main square to the entrance arch of the iwan from the courtyard within the mosque is apparent. Places the entrance and domes of the mosque in the formal context of the square.

http://www.panoramio.com/photo_explorer#view=photo&position=127&with_photo_id=74152630&order=date_de sc&user=73104 Citation: Sonntag, Stefan. Shah Mosque Courtyard Panorama. Digital image. Panoramio. N.p., n.d. Web. 30 Jan. 2016.

Description: The panorama technique of the photograph is able to catch the formal qualities of three entrances / exits, arches, and the overall formal relationships of the courtyard and the secondary longitudinal masses. Great source for overall proportion and formal analysis of the main entering iwan masses.

http://archnet.org/sites/1622/media_contents/63202 Citation: Byron, Robert. Elevated view looking northeast, taken from the minaret of main iwan, showing the northeast iwan of the Shah Mosque with Maidan-i Shah and Shaykh Lutfallah Mosque beyond. Digital image. Archnet.

Conway Library, n.d. Web. 30 Jan. 2016.

Description: Great image for understanding the dome sequence of the entrance from the main square into the shah mosque courtyard. Also shows the back of the entrance wall which has a billboard quality that can be formally analyzed further.

http://archnet.org/sites/1622/media_contents/63201 Citation: Byron, Robert. Exterior View of Entrance Iwan on Maidan-i Shah. Digital image. Archnet. Conway Library, n.d.

Web. 30 Jan. 2016.

Description: Can be used to formally analyze the entering arch from the main square. The shared details within the arches at various scales compared to the flatter arches which appear to be from the same family but thinner and with less detailing.

http://archnet.org/sites/1622/media_contents/63199 Citation: Byron, Robert. General View from Maidan-i Shah. Digital image. Archnet. Conway Library, n.d. Web. 30 Jan. 2016.

Description: View from the main square shows the elevation and perspectival qualities of the entrance and the secondary longitudinal mass wrapping around the square.

PLAN

http://archnet.org/sites/1622/media_contents/63197 Citation: Turner, Keith. Floor Plan (after Stierlin). Digital image. Archnet. MIT Libraries, n.d. Web. 30 Jan. 2016.

Description: Plan for understanding the non-hierarchical layout of mosques and the formal qualities that match the ideology.

Also the intersection of the buildings in the main square and the shah mosque are worth investigating. And the entry sequence is very particular and unique formally.

http://archnet.org/sites/1622/media_contents/63198 Citation: Coste, Pascal. General view within the Maidan-i Shah with Ali Qapu palace (right) & Shaykh Lutfallah Mosque (left), depicting the Maidan-i Shah prior to modern additions. Digital image. Archnet. Public Domain, n.d.

Web. 30 Jan. 2016.

Description: The square, shah mosque, and Ali Qapu Palace prior to modern additions; a clear image of the original intended formal and textural qualities of the shah mosque and surrounding buildings.

CORNER CONDITION http://archnet.org/sites/1622/media_contents/63204 Citation: Byron, Robert. Elevated view looking north across courtyard. The talar of the Ali Qapu palace is visible in background. Digital image. Archnet. Conway Library, n.d. Web. 30 Jan. 2016.

Description: Corner courtyard condition; proportions of water feature, iwan entrances and arches can be studied

http://archnet.org/sites/1622/media_contents/63205 Citation: Byron, Robert. Elevated view looking north across courtyard. The talar of the Ali Qapu palace is visible in background. Digital image. Archnet. Conway Library, n.d. Web. 30 Jan. 2016.

Description: Flat surface to arch to dome analysis.

http://archnet.org/sites/1622/media_contents/63217 Citation: Herdeg, Klaus. Elevated view looking north across courtyard. The talar of the Ali Qapu palace is visible in background. Digital image. Archnet. Rizzoli International Publications, n.d. Web. 30 Jan. 2016.

Description: Elevation arch to dome to minaret relationship clearly visible.

http://archnet.org/sites/1622/media_contents/63212 Citation: Byron, Robert. Interior view of arcades adjoining dome chamber. Digital image. Archnet. Conway Library, n.d.

Web. 30 Jan. 2016.

Description: Arch to column to base to ground condition can be analyzed

http://archnet.org/sites/1622/media_contents/63214 Citation: Michailidis, Melanie. View from square. Digital image. Archnet. MIT Libraries, n.d. Web. 30 Jan. 2016.

Description: For overall sense of scale in relation to the main square and constructed elevation image.

http://archnet.org/sites/1622/media_contents/63256 Citation: Marie, Baroness. Exterior view of the main dome from rooftop, looking southwest. Digital image. Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Dome to mass to articulation formal relationship.

http://archnet.org/sites/1622/media_contents/63258 Citation: Powell, Josephine. Exterior view of sanctuary dome from southeast. Digital image. Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Relationships between dome, articulation, arches, and mass.

http://archnet.org/sites/1622/media_contents/63259 Citation: Powell, Josephine. Detail of sanctuary dome, showing Kufic tile mosaic and screened window. Digital image.

Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Detail mosaic textural analysis

http://archnet.org/sites/1622/media_contents/63260

Citation: Powell, Josephine. Detail of sanctuary dome, showing Kufic tile mosaic and screened window. Digital image.

Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Detail mosaic textural analysis

http://archnet.org/sites/1622/media_contents/63218 Citation: Herdeg, Klaus. Elevated view looking northeast of courtyard with the maidan and city in background. Digital image.

Archnet. Rizzoli International Publications, n.d. Web. 30 Jan. 2016.

Description: The photograph displays the relationship of the flat surfaces of the iwan entrances and arches to a larger formal context.

http://archnet.org/sites/1622/media_contents/63219 Citation: Herdeg, Klaus. Elevated view looking north from one of the minarets across the main court along the maidan and past Ali Qapu. Digital image. Archnet. Rizzoli International Publications, n.d. Web. 30 Jan. 2016.

Description: The photograph displays the relationship of the flat surfaces of the iwan entrances and arches to a larger formal context.

http://archnet.org/sites/1622/media_contents/63209 Citation: Byron, Robert. Exterior detail of dome, showing glazed tile ornament and landscape beyond. Digital image. Archnet.

Conway Library, n.d. Web. 30 Jan. 2016.

Description: Patterns and textiles on dome analysis.

http://archnet.org/sites/1622/media_contents/63210 Citation: Byron, Robert. Exterior detail of dome with glazed tile ornament. Digital image. Archnet. Conway Library, n.d.

Web. 30 Jan. 2016.

Description: Patterns and textiles on dome analysis. Close detail.

http://archnet.org/sites/1622/media_contents/63211 Citation: Byron, Robert. Interior view of main dome with glazed tile ornament. Digital image. Archnet. Conway Library, n.d.

Web. 30 Jan. 2016.

Description: For study of interior textural and pattern quality of the main dome.

http://archnet.org/sites/1622/media_contents/63228 Citation: Powell, Josephine. Detail view of muqarnas vault in maidan portal. Digital image. Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Geometrical analysis of the ornament on the vault, its multiplicity, and its relation / connection to the wall / flat surface.

http://archnet.org/sites/1622/media_contents/63229 Citation: Powell, Josephine. Detail view of muqarnas vault in maidan portal. Digital image. Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Geometric analysis of ornament and textiles. Multiple of datums visible in the form, part to whole relationship analysis.

http://archnet.org/sites/1622/media_contents/63230 Citation: Powell, Josephine. Detail view of muqarnas vault in maidan portal. Digital image. Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Geometric analysis of ornament and textiles. Multiple of datums visible in the form, part to whole relationship analysis. Corner ornament analysis.

http://archnet.org/sites/1622/media_contents/63237 Citation: Marie, Baroness. View looking north across courtyard, showing double height arcade with glazed tile decoration reflected in the central pool of courtyard. Digital image. Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Courtyard arcade corner condition, formal analysis of arches in relation to tiled patterns.

http://archnet.org/sites/1622/media_contents/63237 Citation: Marie, Baroness. View looking southwest from vestibule behind entrance portal toward sanctuary iwan. Digital image. Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Clear Dome to Arch to arcade to entrance relationship visible from photograph.

http://archnet.org/sites/1622/media_contents/63241 Citation: Marie, Baroness. Courtyard view looking toward northwest iwan. Digital image. Archnet. Fine Arts Library of Harvard College Library, n.d. Web. 30 Jan. 2016.

Description: Repetitive Arch pattern, at some moments flat at other moments space, a grid between arches in the arcade and iwan entrance appears.

http://archnet.org/sites/1622/media_contents/63229 Citation: Michailidis, Melanie. Exterior view looking up inside the muqarnas hood of entrance portal. Digital image. Archnet.

MIT Libraries, n.d. Web. 30 Jan. 2016.

Description: Great reference for formally analyzing the roof of the entrance portal, the relation of ornamt to datum to part to whole to arch is all visible from this perspective.

http://archnet.org/sites/1622/media_contents/63223 Citation: Marie, Baroness. Parial exterior view showing the entrance portal, decorated with blue glazed tiles and muqarnas hood. Digital image. Archnet. Baroness Ullens De Schooten, n.d. Web. 30 Jan. 2016.

Description: Formal analysis of entrance portal: ornament or arches to ground.

Citation: Emami, Farshid. View looking from lateral domed chamber toward courtyard. Stone water basin (sangab) appears in foreground. Digital image. Archnet. Farshid Emami, n.d. Web. 30 Jan. 2016.

Description: Datum between arches makes the part to whole relationship of the geometries very clear.

http://archnet.org/sites/1622/media_contents/63249 Citation: Marie, Baroness. Courtyard view of sanctuary dome and iwan. Digital image. Archnet. Baroness Ullens De Schooten, n.d. Web. 30 Jan. 2016.

Description: Repeated arch detail of the arcade entrance becomes visible along with the square that frames and inserts the entrance into a larger grid.