between two polygonal structures, specifically octagonal chambers to the south and north of the iwan, which served as the throne room and later as a residence for the Ilkhanid ruler. Plaster remnants on the floor within the west iwan provide evidence that the dome of the southern chamber room was elaborately decorated with muqarnas. The walls of the palace, but specifically the northern chamber attached to the west iwan, were decorated with painted stucco on the upper sections and on the lower sections, the dado, with elaborate luster tiles in the lajvardina technique. These tiled designs consisted mostly of stars and similar geometric shapes and also included heroic figural imagery. There were also friezes across many walls with similar geometric and figural designs in addition to inscriptions. The muqarnas and luster tiles, as well as the painted stucco walls, all demonstrate the importance of lavish decoration of Ilkhanid architecture, especially with palatial structures. Furthermore, Takht-e Soleyman demonstrates the importance the Ilkhanids placed on secular architecture. Muqarnas Ceiling Excavated from under the ruins of Takht-e Soleyman, specifically in the southern octagonal chamber of the west iwan, is a stucco plate now kept in Tehran at the National Museum of Iran. On this gypsum plate is a muqarnas plan believed to correspond to one quarter of the muqarnas vault of the southern chamber of the west iwan. This muqarnas plate is of the earliest known examples of an Islamic architectural plan for a muqarnas design. Although now broken into several pieces, the design on the plate consists of a geometric grid, 42 cm in length, for a curved muqarnas design. The majority of the design consists of squares, rhombi, and isosceles triangles all arranged along a diagonal axis with the empty upper right corner corresponding to the center of the muqarnas vault. The angles of each element are in multiples of 45° with few exceptions. Scholars and archeologist of Islamic architecture have made numerous attempts to reconstruct the designs of the muqarnas plate found at Takht-e Soleyman to then understand what the muqarnas might have looked like in the palace. These scholars have based their designs in historical and cultural context by referencing the writings by Islamic mathematician and astronomer Ghiyath al-Din al-Kashi (in which he describes the use, design, and construction of muqarnas), various structures of the same Ilkhanid time period that contain muqarnas (the Great Mosque of Natanz and the