fa الگوی نورپردازی طبیعی در گنبدخانه‌های مساجد تاریخی اصفهان مطالعات موضوعی در معماری و شهرسازی اسلامی (مانند ايده های فضائی- هندسی، نمادها، آرايه ها، احجام و غیره) Subject- oriented researches in Islamic architecture and urbanism, eg. Spatial-geometrical ideas, symbols and ornaments پژوهشي Research <span style="font-family:b nazanin;"><span style="font-size:12.0pt;">نور روز تنها منبع تامین‌کننده روشنایی فضاهای تاریخی بوده است و معماران سنتی به شیوه هنرمندانه‌‌ای از آن به عنوان ابزاری برای افزایش کیفیت بصری فضا و انتقال مفاهیم استفاده کرده‌اند. الگوی نورپردازی نور طبیعی مساجد تاریخی و ارائه معیارهای آن سوال اصلی تحقیق است. مقاله حاضر به منظور کشف قوانین حاکم بر اصول نورپردازی بنا و نقش نورگذرها در الگوی توزیع نور طبیعی در گنبدخانه‌‌ها، با بررسی پنج گنبدخانه مساجد منتخب تاریخی اصفهان(مسجد امام، مسجد شیخ‌لطف‌اله، مسجد حکیم از دوره صفویه و مسجد سید و مسجد رحیم‌خان از دوره قاجاریه) درصدد است تا الگوی نورپردازی طراحی شده معماران سنتی را استخراج نموده و راهکاری برای طراحی نورپردازی طبیعی در اختیار معماران مساجد معاصر قرار دهد. روش تحقیق توصیفی تحلیلی بر اساس اطلاعات میدانی و کتابخانه‌ای انجام شده است. این تحقیق به کمک ابزارهای نورسنجی، داده‌های میدانی در سه زمان از طول روز تهیه شده و سپس توسط نرم‌افزار ریدینس به یک سال تعمیم داده شد. با توجه به معیارهای ارائه شده در کتب استانداردهای نورپردازی، میزان روشنایی، یکنواختی، توزیع نور و کیفیت بصری حاصل از آن در سطح پلان و دید ناظر تحلیل شد. علاوه بر آن عکاسی تایملپس جهت بررسی حرکت نور در فضا از طلوع آفتاب تا غروب از دید ناظر در برداشت میدانی به دست آمد. </span></span><br> <span style="font-family:b nazanin;"><span style="font-size:12.0pt;">نتایج حاصله نشان می‌دهد الگوی توزیع نور طبیعی، چگونگی پراکندگی، جهت و زاویه نور در مساجد مورد مطالعه به غیر از مسجد شیخ‌لطف‌اله دارای شباهت زیادی است. با وجودی که پنج مسجد مذکور از لحاظ ابعاد، تناسبات فضایی و&nbsp; ویژگی‌های هندسی نورگذرها با هم تفاوت دارند ولی نورپردازی آنها بسیار به هم شباهت دارد. حرکت نور در هر پنج مسجد صورت یکسانی دارد. در نگاه بیننده رو به محراب، محراب نسبت به کل فضا در کل روز روشن‌تر به نظر می‌رسد. با وجود تفاوت در دوره تاریخی ساخت مساجد و ویژگی‌های معماری گنبدخانه‌ها، لیکن الگوی نورپردازی یکسانی بر آنها حکم می‌کند. به واقع استفاده از الگو می‌تواند منجر به نتایج متنوعی در محصولات آن شود.</span></span> Daylight historic spaces were the only source of lighting supplier and traditional architects to artistic style as a tool to increase the visual quality of space and concepts used<span dir="RTL">. </span>The light is considered to be integral elements of space and Iranian architectural pattern should also be followed. Lighting pattern of Natural light and provide criteria main research question is historic mosques. This article is to discover the laws governing the lighting of the building and the windows in natural light distribution pattern in the dome By examining the five-dome mosques of Isfahan (Emam mosque, Sheikh lotfollah mosque, Hakim mosque of the Safavid period and Seyyed mosque and Rahim khan mosque of the Ghajariyeh period) Tries to extract pattern designed lighting Traditional architects And solutions to contemporary mosque architects was designed to provide natural lighting<span dir="RTL">.</span><br> Data collection style is field and library<span dir="RTL">. </span>This study photometry instruments, field data at three times the length of the day is taken and then Radiance software was extended to one year<span dir="RTL">. </span>According to the criteria presented in the books of lighting standards, brightness, uniformity, light distribution and visual quality of the plan and the observer on the surface were analysed<span dir="RTL">. </span>In addition Time lapse photography to study the movement of light in space from sunrise to sunset as observers from the Field measurements Obtained<span dir="RTL">.</span><br> Manifestation of the spiritual aspects of light can be seen in the architecture of mosques prominent Islamic monuments. So not only the most important and most prominent mosque of Islam, but Islamic architecture is the key to understanding<span dir="RTL">.</span><br> In mosques to create a spiritual atmosphere of light as something beyond the material has been used and to guide it better indoors, methods and various techniques have been proposed that this has been made possible by designing the windows<span dir="RTL">.</span><br> How light distribution, light direction and angle, brightness and glare light the way for quality properties are in space. If the quality of the space light with uniform light distribution pattern is no glare and brightness the direction and angle of the light, was significant and could lead to direct worship activities, design elements windows are designed to create a spiritual atmosphere. Field observations, simulations and photography time lapse all agree on the accuracy of a comment<span dir="RTL">.</span><br> On Time lapse photography in field study day, light Direction in the sunrise from altar started and by moving on the west wall of altar, goes toward the floor<span dir="RTL">.</span><br> Stains of light in space until around <span dir="RTL">10 </span>am to the end And then uniform illumination without light spots flows in space Then, at about <span dir="RTL">3.5 </span>pm stains slowly began to emerge in the middle of the dome home And approaching the sunset, Moving them from the floor started And to the east wall and Grive are to be continued.<br> There is no stain in Hakim Mosque due to lack of windows in Grive But the other four mosques as is apparent<span dir="RTL">.</span><br> Natural light distribution pattern, the distribution, direction and angle of the light in mosques other than Sheikh lotfollah mosque has a lot of similarities<span dir="RTL">. </span>Although the mosques mentioned in terms of dimensions, space proportions and geometry of windows are different But lighting&cent;s are very similar. If the observer in the dome home sit for hours fixed in position, through the direction light (sunrise to sunset) in the space noticed the passage of time and the approximate time of day<span dir="RTL">. </span>In all the mosques, if someone sunrise at dome to sit expected, the first light stains on altar or near it to attract his attention<span dir="RTL">. </span>Movement of light in all five mosques are the same. In the gaze of the viewer of the altar, the altar of the entire space in the entire day seems brighter. Although the plan for software simulation, light intensity at the beginning of the arrival of more show floor But from a visual point of view, the altar brighter<span dir="RTL">. </span>Of course this pattern in the Sheikh Lotfollah Mosque due to differences in the way in to space is somewhat different<span dir="RTL">. </span>Altar in the plan and the visual appearance is brighter than the entire space<span dir="RTL">. </span>Brightness reaches sixty lux but the average brightness of one hundred to three hundred lux varies between four mosques.<br> Despite the differences in the historical period architectural features of mosques and the domes, but they warrant the same lighting pattern<span dir="RTL">. </span>Iranian architecture, despite the complexity and diversity of the immense space of a few uses spatial patterns<span dir="RTL">. </span><br> In fact, the pattern can lead to mixed results in its products<span dir="RTL">. </span>Lighting contemporary mosques, free from dependency on artificial lighting, natural light also does not have a meaningful pattern<span dir="RTL">. </span>Although the pattern does not dam architectural creativity in creating new spaces and its formation, is inherently creative process But the meaning of creativity in contemporary architectural culture has changed<span dir="RTL">.</span> الگوی نورپردازی طبیعی, گنبدخانه, مساجد تاریخی اصفهان, ریدینس Natural lighting pattern, Dome home, Historical mosques of Isfahan, Radiance 66 83 http://jria.iust.ac.ir/browse.php?a_code=A-10-182-74&slc_lang=fa&sid=1 مرضیه هومانی‌راد 180031947532846003926 180031947532846003926 Yes منصوره طاهباز 180031947532846003927 180031947532846003927 No حسنعلی پورمند 180031947532846003928 180031947532846003928 No