Religious buildings are the outstanding visualized symbols of devotion in the religious realm of belief and values which they are derived from. Hence, planners and artists have devoted the extent of their creativity - fearless and bountiful - to the enrichment of these monuments. These buildings as well as their architectural, artistic, structural and historical function also have communicative functions. Extent of message, variety of targets and types of arts has increased the importance of this function. Takaya were mostly used for religious ceremonies and religious-dramatic rites. This art is recently declining due to the lack of a permanent place for performance. Accordingly, this study addresses the morphological recognition of Takaya as a vital continuum through architectural and urban aspects and explores the necessity of its resurrection regarding the cultural requirements. This research has a qualitative nature and its type, concerning the conclusion, is applied; the method of data collection is documental- field and its reasoning method is cross sectional (analytical) descriptive. The findings show that Takaya, regarding their existence in context of a belief destiny of a city, have always has been a symbol of efficiency from the architectural potentials for strengthening the religious values system. Takaya because of their special structural functional semantic system, beside other places of same function in other countries, are considered a distinguished identity. Meanwhile as the only open spaces with the function of strengthening and consolidation of rituals in Muslim’s architecture and urban culture, own high credibility. پرونده مقاله