INVOCATION HALL

It seems that the definition of the worship space in the secular world is today more than religious lines, therefore, instead of designing a chapel in accordance with the translations provided in the Muslim world, the search for the potential of spiritual spaces in the temples of historical periods of Iran was paid attention to. The result of this effort was to find the genes of the main spaces of the mosques in the previous mosques. By comparing the Mithraeums and fireplaces and mosques of Iranian, it is worth noting that the genes of the original spaces are the same in all of them, and only in a number of cases, the organization and spatial relationships have been changed. Interestingly, during the Islamic era, the organization of space, hierarchy, and motion circulation are approaching Mithras, as if during the Islamic era, the revelation of the Mithra formed the mosque's plan. But in this projection and translation, some of the space potentials are neglected and do not enter the mosques, the most important of which can be the Adytum and the dome house. Accordingly, the project at- tempts to identify and exploit the potentials of these spaces. Part and whole relation in spatial organization: In each historical period, in accordance with the ideology and ontology of the template, the organization of space is formed. In order to establish a dialogue in the present era based on Object-oriented ontology, instead of space division, a space is placed among the first space. In this way, architecture is no longer a space surrounded by a shell, but rather a space inside another, and therefore, there are many possibilities open to architecture.

Dome House: The dome house gene in the Mithras is a semi-enclosed and relatively en- closed space that is connected to the outside world, causing light, wind, rain, etc. to enter, which affect users' perceptions of the spiritual environ- ment of the temple, but in the dome house of the mosque, there is a look at the inside of the closed space, in which the connection to the outside world is limited in scope. In the design, it was attempted to use intermedi- ate spaces to communicate with the space provided by the organization of space, while internalizing the space of the dome and enclosing it. Minaret: Since the chapel is only used for industrial city of limited are, there is no need for a high rise element, so it was decided to use the minaret on the body as a symbolic element used in The day of the light of the qibla is directed to the inside and at night leads the light inside to the outside.

Since the indigenous technique of the Hamedan region is using sedimentary rocks, the chapel is first made using stone laying in volume. In the next step, the exterior of reinforced concrete volume is fastened on its frame and concretized, then the frames are opened and the stone wall is also destroyed in order to remain the tradition of rejection of modernity and to give the feeling of familiarity to the prayer hall, while the volume has an inside and outside different, representing two different worlds. In the color selection, everything was considered to be neutral, so that the only color in the chapel was the reflection of the sky in the water of the Altar.