پديد آورندگان :
هاموني راد، مرضيه دانشگاه ازاد اسلامي واحد تهران جنوب - گروه معماري , طاهباز، منصور دانشگاه شهيد بهشتي - گروه معماري , پورمند، حسنعلي دانشگاه تربيت مدرس - دانشكده هنر معماري - گروه پژوهش هنر
كليدواژه :
ريدينس , مساجد تاريخي اصفهان , الگوي نورپردازي طبيعي , گنبدخانه
چكيده فارسي :
نور روز تنها منبع تامين‌كننده روشنايي فضاهاي تاريخي بوده است و معماران سنتي به شيوه هنرمندانه‌‌اي از آن به عنوان ابزاري براي افزايش كيفيت بصري فضا و انتقال مفاهيم استفاده كرده‌اند. الگوي نورپردازي نور طبيعي مساجد تاريخي و ارائه معيارهاي آن سوال اصلي تحقيق است. مقاله حاضر به منظور كشف قوانين حاكم بر اصول نورپردازي بنا و نقش نورگذرها در الگوي توزيع نور طبيعي در گنبدخانهها، با بررسي پنج گنبدخانه مساجد منتخب تاريخي اصفهان(مسجد امام، مسجد شيخ‌لطف‌اله، مسجد حكيم از دوره صفويه و مسجد سيد و مسجد رحيم‌خان از دوره قاجاريه) درصدد است تا الگوي نورپردازي طراحي شده معماران سنتي را استخراج نموده و راهكاري براي طراحي نورپردازي طبيعي در اختيار معماران مساجد معاصر قرار دهد. روش تحقيق توصيفي تحليلي بر اساس اطلاعات ميداني و كتابخانه‌اي انجام شده است. اين تحقيق به كمك ابزارهاي نورسنجي، داده‌هاي ميداني در سه زمان از طول روز تهيه شده و سپس توسط نرم‌افزار ريدينس به يك سال تعميم داده شد. با توجه به معيارهاي ارائه شده در كتب استانداردهاي نورپردازي، ميزان روشنايي، يكنواختي، توزيع نور و كيفيت بصري حاصل از آن در سطح پلان و ديد ناظر تحليل شد. علاوه بر آن عكاسي تايملپس جهت بررسي حركت نور در فضا از طلوع آفتاب تا غروب از ديد ناظر در برداشت ميداني به دست آمد.
نتايج حاصله نشان مي‌دهد الگوي توزيع نور طبيعي، چگونگي پراكندگي، جهت و زاويه نور در مساجد مورد مطالعه به غير از مسجد شيخ‌لطف‌اله داراي شباهت زيادي است. با وجودي كه پنج مسجد مذكور از لحاظ ابعاد، تناسبات فضايي و ويژگي‌هاي هندسي نورگذرها با هم تفاوت دارند ولي نورپردازي آنها بسيار به هم شباهت دارد. حركت نور در هر پنج مسجد صورت يكساني دارد. در نگاه بيننده رو به محراب، محراب نسبت به كل فضا در كل روز روشن‌تر به نظر مي‌رسد. با وجود تفاوت در دوره تاريخي ساخت مساجد و ويژگي‌هاي معماري گنبدخانهها، ليكن الگوي نورپردازي يكساني بر آنها حكم مي‌كند. به واقع استفاده از الگو مي‌تواند منجر به نتايج متنوعي در محصولات آن شود.
چكيده لاتين :
In historical mosques, traditional architects used daylight - as the only source of light - to
increase the visual quality and unworldly concepts of the worship space.
To discover the daylighting principals of historical mosques, this article is trying to examine
the “dome-house” - as a worship space - in five historical mosques of Esfahan: Emam mosque,
sheikh lotfollah mosque and Hakim mosque from the Safavid period; Seyyed mosque and
Rahim khan mosque from the Ghajariyeh period; by field study about their lighting patterns.
The dome-house of three mosques including Emam mosque, sheikh lotfollah mosque and
rahimkhan mosque, have three types of openings. The first group are windows around the dome
base with mesh cover in the top of the walls. The second type is the window in the top of the
altar, and the third type is the vast entrance area to the dome-house from the yard. Seyyed
mosque has two types of these openings except the large window over the altar. Hakim mosque
has just one opening type that is the vast entrance area to the dome-house from the yard.
The aim of this research is to find out the relationship between the geometry, shape and opening
types of the “dome – house” with daylight distribution pattern in the worship space. The hope is
that this knowledge will help architects to provide better daylighting concepts in contemporary
mosques for worship activities.
In the field data collection, using some lux meter and photometry instruments, the data was
collected in some days of May and June 2017 three times a day at 9am 12pm and 3pm in the
dome-house of the mosques. Data was gathered in two different levels. The 60 cm height as the
level of the sitting praying person and 140 cm height as the eye level of the standing praying
person. According to the area of the dome-house, an appropriate mesh was selected regarding
to the standards of lighting hand books.
The Ecotect software with radiance calculator engine was used to extend the results of the filed data to a whole pattern year. Some graphs and information was generated by this simulation
such as UDI (useful daylight illumination) lux level in two observed levels in 12 months of the
year in the dome-house in each of the five mosques. The other information is the Illumination
distribution in two reference levels and altar place on the wall, in winter solstice and summer
solstice three times a day in each mosque. In addition to study the movement of sunlight patches
in the space, Time lapse photography was taken from sunrise to sunset in each dome-house.
The aim of the field data collection is to find out the daylight distribution pattern in the domehouse
regarding to the quality and quantity of visual illumination. Therefore data analysing was
done according to the criteria presented in the books of lighting standards including: brightness
level, uniformity and diversity of light distribution, visual quality in the space and sunlight
patch movement in the dome-house from sunrise to sunset in the days of observation.
Time Lapse photography showed that the sunlight direction starts from altar in sunrise time.
Then by moving on altar’s west wall, goes towards the floor. At 10 am there is no sunlight and
the dome-house is filled with a uniform illumination that is always brighter on the altar and its
surrounding area. In the afternoon around 3 pm sunlight patches slowly begin to emerge in the
middle of the dome-house. They begin to go upward to the east wall toward the Grive (top of
the wall and under the dome base) by sunset time. Prayer in the dome-house will recognize the
time of the day by this moving sunlight patches and the first thing that will attract his attention
is the brightness of the altar area. Movement of light is the same in all observed mosques except
in Hakim mosque that has no windows around the dome base.
Field observations, simulations and Time Lapse photography show that natural light distribution
pattern; the illumination distribution; direction and angle of the light has a lot of similarities
in all five mosques. Although the dome-house’s area widen, space proportion and geometry of
windows are different but daylighting patterns are very similar other than in Sheikh lotfollah
mosque. The quality of the space brightness with uniform illumination distribution pattern, no
glare problem, the direction and angle of the light towards the altar, all are significant and could
lead to the worship activities. It shows that the elements of windows are designed to create
spiritual atmosphere in dome-house area. It could be summarised that despite the differences
in the historical period of architectural features of these mosques and their dome-houses, they
have the same lighting pattern that lead the prayer to a spiritual unworldly atmosphere qualified
for praying activities.
