The most significant work of Iranian civilization in the Islamic era, as the tallest brick DOME in the world, is 700 years old, which shows its greatness and stability in the vast plain of windy weather with harsh climate. The secret of the stability of this building among the air currents resulting from the geography of the region is undoubtedly the use of fully engineered structures based on aerodynamics in its architecture, which is used today for the endurance and stability of buildings in civil structures. The present study has based on the damages and erosions caused by air currents and climatic conditions on the Soltanieh building. The research method used in this article is descriptive-analytical with laboratory and library studies. The method and tools used are review of written documents, field and laboratory studies. The results indicate that the selection of nested porches on the upper floor of the building in an octagonal design in the direction of the prevailing wind in the area and the presence of a window on each side of the porch is designed based on climate, air resistance and its effects. Research objectives •,The position of fluid engineering in the tallest brick DOME in the world (Soltanieh DOME) •,Familiarity with. Research questions •,What is the position of fluid engineering in the tallest brick DOME in the world (Soltanieh DOME)? •,What is the familiarity with the appearance of the building and the considerations of the effect of atmospheric currents on it?

The DOME is a form that has a great impact on the formation of architectural forms and landscapes in Iranian cities. Architects and researchers have always been concerned with the methods of DOME construction, recognizing its types, studying the performance of the instrument, drawing methods, and its execution methods. Among the valuable historical context of Kashan, the Grand Mosque is one of the oldest surviving buildings in the heart of the ages, which unfortunately has been abandoned and except for limited studies, it has not been addressed and its registered documents have serious shortcomings and mistakes. In this article, in addition to a general knowledge of the mosque and a summary of its evolution, its DOME has been paid special attention. It is one of the few standing buildings after the devastating earthquakes in the region. In the structure of the DOME of the mosque, there are initiatives that cause differences with other similar DOMEs and this shows the need to study and document it. Most of the research that has been done about this mosque has been in the field of archeology and about the altars, decorations and pottery kilns (located in the nave) and so far the architectural aspects and construction techniques have not been studied. Therefore, the purpose of this research is to pay attention to the historical background of the mosque and accurate documentation of various elements and decorations used in the DOME, the method of construction of each component and structural form of the DOME. To achieve this goal, an important part of the research data has been obtained through attending the Kashan Grand Mosque and field survey of the DOME, and library and oral resources have been used to control the field findings and know the course of construction and techniques used. Is. The main strategy of this research is descriptive-analytical and interpretive-historical. One of the findings of this article is the accurate identification of the components and how the bricks and poppies are arranged in this DOME. The result of the research shows that the form of the DOME is in the form of two discrete shells which are made using the technique of whip and chain and moving template, respectively, internal and external DOME and the shape of the inner DOME arch is hung close to the string curve. Also, the analysis of the decoration of the DOME of the house shows that the porch and the altar are decorated with an original and unique example of use and Mogharnas. Due to the artistic skills and decorations of the Timurid era, no complex decorations have been used in this building and most of the surfaces have been decorated in the simplest way, which indicates the haste in the reconstruction and the subsequent decline of the mosque. Comparing the mosque with three DOMEs of the same period and approximately the same area shows that the construction of all four DOMEs has common features and differences that these differences can be seen in the executive details as well as in the decorations.

Existential Analysis of Narratives in The Black DOME and The White DOME Based on a Semiotic-Semantic Approach   Abdolbaghi Rezaei Talar Poshti* Fatemeh Dadbood** Behzad Pourgharib***   Ganjavi's Seven-DOME poem system is considered one of the cultural, literary, and historical masterpieces of poem system, which has unique features. Furthermore, this anthropological and ontological system deals with the originality of human existence and tries to distinguish the good from the bad. This research aimed to study the trajectory of the narratives and the semantic mutation by examining the first and last narratives narrated in the Black and the White DOMEs based on the semantic-semiotic approach. The analysis of narratives has been conducted by applying the components of the existential narrative discursive system. The results have indicated that the tales of the Iranian and Indian princesses have had roughly a similar trajectory. The main characters of these narratives had the characteristics of asceticism, piety, emancipation, and grandeur. Suddenly, they encounter some mishaps and dilemmas in the path of existence and life that lead them to inner darkness and aberration. They have struggled with negation of the primary Dasein and the compliance of the defect along with the lack of existential meanings. By passing through this turmoil and inner abnormality, they could traverse the darkness and obtain the lightness and transcendence, which have been the ultimate goals of existence. At the end of the narration, the characters have been involved in severe semantic mutations from the self-created, disordered situation and led to redemption and moral revival.   KeyWords: Semiotic-Semantic, Narration, Seven DOMEs, Nezami, Existentialism.   Introduction Life for a human being gets meaning not so much through cause-and-effect relations but through narratives and stories. Narratology, as an interdisciplinary area, investigates the frameworks of such narratives and reveals that the human mind is eternally constructing and reconstructing stories to understand the world and organize its experiences. On the other side, existentialism emphasizes freedom, individual responsibility, loneliness, absurdity, and death as a philosophical movement and has built the case for how human beings must create their own meanings in a senseless world. The sole method of this study lies in the combination of narratology and existentialism for the analysis of two narratives from Nizami Ganjavi's Haft Peykar (The Seven Beauties). Its primary focus is to analyze how death is faced by the characters' existential crisis-as they experience the devolution from inner darkness to enlightenment, or salvation. The main question reads: How does Nizami, through the usage of symbolic narratives, give insight into such deep philosophical concepts as the quest for meaning, freedom, and moral responsibility? Not only is it beautiful in aesthetic terms, but it also has an ontological dimension, for which it has been regarded as one of the masterpieces of Persian literature. The present paper, with a special focus on the Black and White DOMEs, employs semiotic-semantic research to investigate the often-hidden layers of meaning in the two narratives. It argues that interpreting these DOMEs as the beginning and end points of the narrative journey can reveal an inner pattern of human change from suffering and absurdity toward enlightenment and transcendence. This study hence opens a new avenue in text history by including an interpretation of Nizami that is philosophically charged. It'll probably draw ancient texts into posing questions that modern human beings care about concerning the meaning of life, freedom, and death. In this view, the research might serve as a bridge between literature, philosophy, and psychology while revealing classical Persian texts' interpretative potentials.   Research Methodology and Theoretical Framework The investigation uses a semiotic-semantic approach and draws on Greimasian discursive theory to study the narratives of Nizami's Haft Gonbad. The methodology employs an analytical-descriptive design, in which the semiotic-semantic framework is used to elicit the hidden meanings behind the narratives. Thus, the signs are perceived as being in dynamic interaction with their cultural and cognitive contexts rather than isolated from them. Greimas's framework highlights discursive processes and the production of meaning through conflicting actions and internal tensions. There are four stages in Greimas's system: virtual presence, potential presence, actual presence, and the final decision of the actors. It analyzes the very shift of the subject from semantic crisis towards existential transcendence. In this framework, the subject disavows Dasein ("being-in-the-world") and leaps into a new state, creating alternative meanings. Other existentialist concepts, such as freedom, absurdity, and death, developed by Sartre, Kierkegaard, and Nietzsche, are employed to interpret the narratives and express the characters' passage from suffering to enlightenment. A combination of semiotics-semantics and existentialism is what this study attempts, thus proffering a different reading of Haft Peykar that highlights the extent to which Nizami's narratives are representative of humankind's meaning-making process vis-à-vis existential crises. The main concern is how characters move from the darkness of the self to brilliance using Greimasian discursive mechanisms.   Discussion Nizami Ganjavi, the prominent poet of the 6th century AH, narrates symbolic stories rich in profound mystical, moral, and philosophical meanings in his poem Haft Peykar (Bahram Name or Seven DOMEs). This work, the fourth poem in Nizami's Khamsa (Quintet), was composed around 17 years after Khosrow and Shirin and 9 years after Leyli and Majnun, at the age of 60. At the beginning of the narrative, Nizami blends spiritual and worldly aspects of life, praising the Creator and expressing devotion to the Prophet of Islam, while discussing transcendence from worldly limitations toward spiritual elevation. A notable feature of this work is the central role of women in the stories, who not only achieve personal perfection but also guide other characters, including Bahram, toward transformation and enlightenment. In this epic, the Seven DOMEs, each associated with a color and a feminine narrative, impart life lessons, liberation from evil, and the attainment of goodness to Bahram. The two narratives of the Black DOME (Ghaliyah DOME) and the White DOME, as the beginning and the conclusion of this narrative journey, symbolize the transition from darkness to light, ignorance to knowledge, and the base self (nafsammara) to the assured self (nafsmutma'inna). In the Black DOME, the tale of the King of the Black-Robed depicts a spiritual journey of a ruler who renounces worldly pleasures in pursuit of truth and attains mystical silence. This narrative can be analyzed through semiotics and Greimasian discourse analysis; the king distances himself from his initial Dasein (former existence) by navigating numerous semantic crises and eventually reaches secondary Dasein (new existence) after overcoming hardships. This transformation signifies the passage from surface meanings to inner truths, where silence represents ultimate realization and detachment from worldly attachments. Conversely, the narrative of the White DOME (associated with Venus and Friday) tells the story of a devout young man who initially fails the test of temptation but attains salvation through repentance and returning to the path of righteousness. This story can also be analyzed within Greimasian theory: the young man faces a semantic deficiency, loses his initial Dasein during his struggle with lust, but through remorse and inner change, achieves a new Dasein, where divine and human values triumph over primal instincts. Nizami employs colors in these narratives as symbols of human inner states—black representing darkness and ignorance, and white symbolizing purity and enlightenment. Bahram, too, transitions from multiplicity to unity on this journey, achieving inner peace after passing through seven stages. Therefore, Nizami’s narrative artistry in Haft Peykar is a blend of storytelling and practical wisdom. By employing narrative elements, colors, and symbols, he maps the spiritual evolution of humanity. The Black and White DOMEs, marking the beginning and the end of this journey, illustrate the transition from the darkness of the soul to the light of knowledge. This masterpiece not only reflects Nizami’s profound insights into ontology and human psychology but also serves as a guide to attaining a transcendent life and inner salvation.   Conclusion Nizami Ganjavi, through the narratives of Haft Gonbad, seeks to portray the growth and transformation of Bahram Shah as a symbol of human transcendence. He illustrates the process of transformation and the journey through the seven valleys of love, using storytelling as a tool for narrative therapy. In this process, Nizami imbues existence with new meaning and elevates the world through narrative creation. Nizami’s stories prominently feature the use of symbols, particularly colors, as philosophical and spiritual tools to express profound ontological concepts. White symbolizes purity, salvation, unity, and transcendence, while black signifies self-purification, renunciation of worldly desires, and the majestic attributes of divinity in mysticism. By beginning his stories with black and concluding them with white, Nizami depicts the journey of humanity from multiplicity to unity. This color symbolism not only enriches the literary work but also reflects the philosophy of unity and spiritual evolution within Islamic mysticism. The interplay and progression between black and white illustrate themes such as solitude, anxiety, refinement, and transcendence in the inner transformation of humans. From the perspective of Greimasian discourse theory, human existence in the world is dynamic rather than static. Feeling a sense of meaninglessness, individuals reject their initial Dasein and, through fresh experiences, create new meanings that lead to the recreation of existence itself. Nizami Ganjavi, through his mystical and moral narratives, simplifies the path to uncovering the hidden truths of the world. He utilizes contrasts, metaphors, and semantic techniques in storytelling to convey philosophical and ontological concepts to his audience. Considering the outstanding qualities of Nizami's works, he stands not only as an exceptional poet but also as a thinker well-versed in existentialist principles and narrative-based psychotherapy. Nizami’s works act as a bridge between Persian literature and philosophy, serving as valuable resources for understanding human and philosophical themes. He remains one of the greatest poets in the history of Persian literature.   References Ahmadi, Babak (1991) Journey into existential ontology [Soloukdarhastishenasi-ye eksistansial]. 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Tehran: Danjeh Publishing. 22nd Edition.       * Assistant professor of English language and Literature Department of English Literature, Faculty of Humanities, Golestan University, Gorgan, Iran. a_rezaei_t@yahoo.com                                       ** Ph.D in Linguistics, Faculty of Humanities, Islamic Azad University, Sari Branch, Sari, Iran. fatima.dadbood@yahoo.com *** Corresponding Author: Associate Professor, Department of English Language and Literature, University of Mazandaran, Babolsar, Iran. b.pourgharib@umz.ac.ir

Islamic art, particularly in the realms of architecture and related decorations, is characterized by unique and aesthetic subtleties. Decoration has played a prominent role in the history of Iranian architecture, maintaining its dynamism and continuity from ancient times to the present day. For example, Iranian artists, especially during the post-Seljuk period, utilized small turquoise-glazed tile pieces for buildings, and the Safavid era can be considered the pinnacle of exterior decoration of structures. In Islamic-Iranian structures, the DOME is considered one of the most symbolic elements of Islamic architecture, which received significant attention during the Safavid period. Although DOME decorations began prominently during the Timurid era, they reached their peak during the Safavid period. This study aims to introduce and examine the DOME of the prominent Sheikh Lotfollah Mosque to further analyze and understand the Safavid approach and interest in this type of decoration. In the present research, a descriptive-analytical method utilizing library tools has been employed for analysis. The DOME of Sheikh Lotfollah Mosque, both in terms of form and the harmony in its motifs and colors, exemplifies the best possible representation of the harmony between form and meaning. This DOME is a tangible manifestation of the congruence between form and meaning in Islamic architecture.

This report attempts to introduce the last and one of the largest architectural work of the twentieth century to the Iranian Architectural Committee. The structure was designed and constructed for the celebrations of the third Millennium in London. The construction of this structure was finished in December 1999, and it made use of the latest and most modern structural techniques and architectural design; naming cable and Membrane structure.

This paper presents the results of seismic vulnerability analysis of the historic sultaniyeh DOME constructed for the tomb of Uljaytu. This monumental building was constructed about 700 years ago and is now recognized as one of the largest masonry structures in the world. Finite element analysis is used to assess the seismic resistance of the building for three levels of seismic hazard. For each level of seismic hazard, the locations and extent of damage to the building are identified.

Urmia Jameh mosque is one of the valuable architectural monuments that contains many features of Persian architecture from early Islam until Qajar. Nevertheless, this collection has been neglected and not studied comprehensively until now. Rudimentary analyses based on documentation, evidence, and studies show that the DOME chamber of the mosque is related to Seljuk architecture and has a lot of geometrical similarities with other Seljuk examples, but there are noticeable differences which are at the heart of this research. The research attempts to answer questions such as ‘ what is the most remarkable characteristic of the structural organisation of Urmia Jameh mosque DOME chamber? ’ , and ‘ what are the substantial differences between the structural organisation of this DOME chamber and the same contemporaneous structures around Iran? ’ In this article, we start with a descriptiveanalytical method, and then move on to an adaptive study phase, using deductive analysis method. The results of this research indicate that this DOME chamber is similar to other Seljuk ones in many ways, but in its transitional zone we witnessed a new Patkâ né organisation, which is rarely seen in Iranian architecture, with examples from other Islamic countries not being exactly the same.

The urban is human habitat, environment and origins of human civilization and social context, so it is a few components status that has land traits, structures and physical spaces for residents, citizens, social institutions, norms and institutional relations of its citizens. According to this definition of the city, only the mosques, DOMEs and minarets in the context of a City couldn't mean that the city is an Islamic City, the Islamic City is spatial display and the social structure that based on Islamic ideals, has entered forms of communication and its decorative elements.Manifestations of Islamic civilization has been made in Islamic cities and it has the specific identity of spatial, cultural and historical that his characteristics associated with Islam and is rooted of the Quran and the tradition. In these cities is observed inherent, overall and structural relationships between religion and urban artifact space relationships and personal and social.Accordingly, this research is intended with using of a descriptive-analytical method and considering the elements of the Islamic city and social, economic, cultural characteristics. The goal of this research is to express that only the presence of physical features such as DOMEs and minarets, couldn't provide an Islamic city. So the SWOT model present strategies that can somewhat close to our cities to their true origin.

DOME house of Tajolmolk is one of the prettiest and most unique brick DOME houses of the world which is located in the northern side of Isfahan’s Great Mosque. The space inside of this DOME house is rich in pretty brick and gypsum ornaments which have turned it into a unique treasure in the art of ornaments of mosques and due to these ornamentations it has a rare prettiness. Diversity and multiplicity of ornaments are indicative of intelligence and creativity of the artist architect who has applied all his efforts to make such a spiritual place. Besides creating prettiness and giving religious aspect; friezes cause blessing of the space and expand the moral and spiritual sensation to the place too. They also indicate historical and social condition of that era. The current research turns to introduce ornaments of this valuable treasure, application of these ornaments and an aesthetical perception of them by reliance on existing resources and observance of the DOME house space. The methodology of this research is by descriptive analytical method and the data were gathered by library and field study.