The cross pattern has long been of special importance in Iranian art and architecture. The history of applying this pattern in Iranian pottery dates back to the Neolithic period. Since this pattern had the semantic importance in the Iranian religions of Mithraism, Zoroastrianism, and Zurvanism, it has influenced Iranian art and architecture. In Iran, in both pre-and post-Islamic periods, various types of cross pattern have been applied as part of ornaments or building plan in various types of buildings. The present study aims to study the different types of this pattern in Iranian architecture and related ornaments. This research is a descriptive-analytical case study in which data are collected using library study and field study. Samples are selected from various types of building ornaments such as tilework, stucco, brickwork as well as different building plans. These samples are selected from a time span between the Medes period and Qajar periods. Then, they are studied, analyzed, and compared. Finally, different types of cross pattern identified in the building plans and architectural ornaments are presented. According to this study, it is found that some geometrical motifs (Girih) and Girih modules as well as some Golandaz (layout of bricks) in brickworks, stucco motifs, plant motifs, and arabesques have been formed based on five types of the cross: “ cross, slanted cross, Swastika, nine-patch pattern, and shamseh” . Moreover, the study of the plans of buildings such as houses, fire temples, mosques and schools, gardens, etc. shows that twelve types of the cross pattern were applied in the spatial organization of pre-Islamic buildings and six types in the Islamic building. The nine-patch, combined nine-patch, cross, Chaharsofeh, Kooshk (pavilion), Chaharbagh, and four-iwan (Chahar Ayvan) patterns, etc. are of various types of cross pattern identified in the Iranian architecture, and the nine-patch pattern can be considered the origin of all of them.