The presence of bricks affirms many of the principles and philosophical thinking of Iranian-Islamic architecture including unity and plurality, unity and combination, and simplicity. In the post-Islamic architecture, the use of decorative arts became more limited, and the brick is one of the materials that appeared in a variety of decorative arts due to its potential in formation. But this application of bricks has been forgotten in the last century and lost its past glory. This article investigates the art of brick making and examines the role of this valuable element in three historical periods and textures (traditional, middle and contemporary) in the metropolitan city of Mashhad by a descriptive and analytical method. The data collection method is based on documentary-library and interviews. 12 works from Mashhad's well-known architects have been analyzed according to the obtained theoretical framework. One of the achievements of this research is identifying and interviewing selected architects of Mashhad. In general, the interviews show that each architect has a worldview and a particular approach toward brick and these approaches were classified in a specific category. According to the obtained results of the study, whatever has left of the valuable legacy in different periods and what is remembered as brick nowadays, is almost its technical, economic and memorable aspects.
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