Studying the cultural identity increasingly became one of the fundamental requirements in Arab societies. This need should not be seen as a romantic additive for vanish past, but as a fundamental phase of re-evaluating the processes of composing the cultural products. This is the issue of the importance of those studies which focus on the bases of the differences among the conceptual and physical products of different cultures.
The current study is one of the same, arguing one side of the composing rules which led to the differences between the aesthetic response of the Arab-Islamic architecture and other cultures architectures.
The research focuses on the cultural identity of the rhythm in Arab-Islamic Architecture, that’s led towards exploring the available studies, by reviewing some researches tackling the rhythm in theory of Islamic Architecture, which shown insufficient knowledge in respect of Rhythm specialty in Arab Islamic Architecture (chapter one). That led the research toward the general studies which tackled Rhythm in theory of architecture, which shown, that most of those studies treat the issue in connection with music rhythms and poetry meters.
In order to make use of that connection, the research forwarded towards abstracting the main approaches which previous studies employed in tackling with the concept of Rhythm in theory of architecture, to drawing out the concepts which possess the potency to show the cultural dimensions embodied in that connections between architectural and music-poetry rhythms.The research found them in the concepts of “metric patterns, intervals and grouping” which led towards forming the research problem as “ the insufficient knowledge concerning the rhythm cultural dimensions in the metric patterns of Arab Islamic Architecture on the basis of the concepts of “element form, intervals and grouping” which forming those patterns, in connection with rhythm aspects in Arabian poetry meters and Arabian music rhythms" (chapter two).
In order to realize the research aim, it forwarded towards building a model which representing architectural rhythm cultural dimensions, starting with reviewing the Arab music and poetry rhythmic aspects in its initial origins, represented by “ Al-Khalil Bin Ahmad meters circles for Arab verse” and the Arab music rhythm initial studies of “Farbious, Ekhwan Al-Saffa and Al-Armaawi”, in parallel with the same for western culture music and poetry rhythms, to explain the variations between the two cultures concerning the subject, and to compose a model through graphical representation of those meters and rhythms, showing the degree architectural rhythms complying with the music-poetry rhythmic characters for the same cultures.
Then, the model has been applied on samples of western architecture and Arab-Islamic architecture, at grouping concept level in connection with poetry meters scale, and at intervals concept level in connection with music rhythm scale for each culture. before employing the same model to specify the rhythm cultural aspects realization in samples of Arab contemporary regionalized architecture in respect of Arab poetry-music rhythms considering some necessary modification to be carried out first at the model in parallel with the changes in Arab new verse meters and Arab music rhythms (chapter three).
The results of the comparison shown, that the rhythm in Arab-Islamic Architecture had a great deal of Arab music-poetry rhythm aspects concerning “elements form, grouping and intervals”, and the same is right for western architectural rhythm comparing with the aspects of western music-poetry rhythms, furthermore, the comparison shown a correspondence between rhythm in Arab regional architecture and Arab new poetry and music rhythms.
Standing on the research results, it can be inferred that Rhythm in Arab-Islamic Architecture possess regional characters rooted in Arabic poetry meters and Arabic music rhythms (chapter four).