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Natural Lighting Pattern in the Domes of Historical Mosques of Isfahan

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Natural Lighting Pattern in the Domes of Historical Mosques of Isfahan Downloaded from jria.iust.ac.ir at 9:52 IRST on Saturday October 9th 2021 Downloaded from jria.iust.ac.ir at 9:52 IRST on Saturday October 9th 2021 66 فصلنامه پژوهش های معماری اسﻻمی / شماره شانزدهم/ پاییز 139۶ / سال پنجم الگوی نورپردازی طبیعی در گنبدخانه های مساجد تاریخی اصفهان* مرضیه هومانی راد* دانشجوی دکتری معماری، گروه معماری، دانشگاه ازاد اسﻻمی واحد تهران جنوب منصوره طاهباز** دانشیار معماری، گروه معماری، دانشگاه شهید بهشتی )نویسنده مسئول( حسنعلی پورمند*** دانشیار معماری، گروه پژوهش هنر، دانشگاه تربیت مدرس دانشکده هنر معماری تاریخ دریافت مقاله: 02/10/95 تاریخ پذیرش نهایی:96/03/12 چکیــــده: نور روز تنها منبع تأمین کنندهی روشنایی فضاهای تاریخی بوده است و معماران سنتی به شیوهی هنرمندانهای از آن به عنوان ابزاری برای افزایش کیفیت بصری فضا و انتقال مفاهیم استفاده کرده اند. الگوی نورپردازی نور طبیعی مساجد تاریخی و ارائهی معیارهای آن سؤال اصلی پژوهش است. مقاله ی حاضر به منظور کشف قوانین حاکم بر اصول نورپردازی بنا و نقش نورگذرها در الگوی توزیع نور طبیعی در گنبدخانهها، با بررسی پنج گنبدخانه ی مساجد منتخب تاریخی اصفهان )مسجد امام، مسجد شیخ لطف اله، مسجد حکیم از دوره ی صفویه و مسجد سید و مسجد رحیم خان از دوره ی 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 پژوهش، 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 نرم افزار 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. Downloaded from jria.iust.ac.ir at 9:52 IRST on Saturday October 9th 2021 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. نتایج حاصله نشان میدهد الگوی توزیع نور طبیعی، چگونگی پراکندگی، جهت و زاویه ی نور در مساجد مورد مطالعه به غیر از مسجد شیخ لطف اله دارای شباهت زیادی است. با وجودی که پنج مسجد مذکور از لحاظ ابعاد، تناسبات فضایی و ویژگی های 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 می رسد. با وجود تفاوت در دورههای تاریخی ساخت مساجد و ویژگیهای معماری گنبدخانه ها، الگوی نورپردازی یکسانی بر آنها حکم می کند. به واقع استفاده از الگو می تواند منجر به نتایج متنوعی در محصوﻻت آن شود. واژه های کلیدی: الگوی نورپردازی طبیعی، گنبدخانه، مساجد تاریخی اصفهان، ریدینس. * مقالهی حاضر برگرفته از رسالهی دکتری نویسندهی اول با عنوان»برهمکنش روشنایی کیفی و ویژگیهای کالبدی عناصر نورگذر در مساجد تاریخی اصفهان«، با راهنمایی نویسندهی دوم )نویسندهی مسئول( و مشاورهی نویسندهی سوم در دانشکده هنر و معماری دانشگاه آزاد اسﻻمی واحد تهران جنوب میباشد. **[email protected] ***[email protected] ****[email protected] فصلنامه پژوهش های معماری اسﻻمی / شماره شانزدهم / پاییز 139۶ / سال پنجم 67 مقدمه پژوهشی که در زمینهی معماری مسجد انجام شده را میتوان ًتقریبا برنامهریزی و طراحی معماری بدون در نظر گرفتن به اختصار به گروههایی چون مفاهیم باطنی معماری، مبانی نورپردازی طبیعی امکانپذیر نمیباشد. با وجود نیاز مبرم به نظری، رویکرد اقلیمی و ًنهایتا شرح کالبدی و برنامهریزی روشنایی طبیعی در معماری ایران به خصوص کاربریهای فضایی تقسیمبندی کرد. گذشته از مباحث مذکور، تاکنون عمومی مانند مساجد، وابستگی شدیدی به استفاده از نور آنچه در مورد معنویت فضای مساجد گفته شده، جنبهی مصنوعی دیده میشود که این امر از بدو طراحی اولیه معماران فلسفی داشته و به چگونگی ایجاد جنبههای کیفیت بخشی و کمتوجهی به چگونگی طراحی نورگذرها آغاز میشود. نور روز و الگوهای روشنایی فضای عبادی و رابطهی آنها با کمتوجهی به طراحی نورگذرها، تأثیر مستقیمی بر کمیت و نورگذرها در تحقیقات مذکور پرداخته نشده است. از میان کیفیت نور روز دارد. کندوکاو در آثار معماری تاریخی، دیدن منابع، کتب ذیل با موضوع مقاله ارتباط دارد. راه حلها، تبدیل آنها به زبان علمی و بهرهگیری از فنون o انجمن روشنایی سیبسی3 نیز کتابی با عنوان روشنایی روز روز، بخشی از پاسخ به الگوی طراحی معاصر است. »اگرچه برای محیط ساخته شده، نور برای مکانهای عبادی )2014( میان الگو و برخی دیگر از مفاهیم و تعابیر در فضای معماری در مجموعهی خود دارد. این کتاب سیزدهم جلد مجموعهی تشابهات شکلی و محتوایی به چشم میخورد؛ لیکن تنها هندبوک مختص روشنایی است که انجمن روشنایی اروپا الگو است که میتواند با پرهیز از تقلید یا تکرار کار گذشتگان برای روشنایی فضای عبادی منتشر کرده است. یکی از تجربیات آنان را در قالب آثار متنوع معماری نمایان سازد« بخشهای فصل سوم کتاب در باب مسجد میباشد. این )سلطانی و دیگران 1391، 3(. بخش با ارائهی جزئیاتی در باب روشنایی کلیهی فضاهای کاوش عمیق در کیفیت نور حاصل شده در مساجدی که مساجد اعم از میزان روشنایی بر اساس لوکس و میزان در دورههای مختلف تاریخی در شهر اصفهان بنا شدهاند؛ پراکندگی به طراحان کمک میکند تا بر اساس معیار مذکور این مسأله را روشن کردهاست که کیفیت نور حاصل شده مبادرت به طراحی روشنایی کنند. استاندارد ارائه شده در و گنبدخانه که با نورگذرها روشن میشوند؛ چگونه خواهند بخش گنبدخانهی فصل مذکور، نگارندگان مقالهی حاضر بود و الگوی نورپردازی طبیعی گنبدخانهی مساجد را برای را در مقایسه ی میزان روشنایی موجود با سطح استانداردهای معماری معاصر به ارمغان آورد. پیش بینیشده کمک میکند. 4 مطالعات پیشین o راک و همکاران )2000( کتابی با عنوان نور روز در Downloaded from jria.iust.ac.ir at 9:52 IRST on Saturday October 9th 2021 سالیان درازی است که مطالعات مربوط به نور روز و بهرهگیری ساختمانها )مرجعی برای سامانههای نور روز و اجزای آن( بهینه از آن منجر به شکلگیری انجمنهای بینالمللی در بر اساس مطالعات میدانی و شبیهسازی منتشر کرده که به جهت انجام تحقیقات و تولید استانداردهای نورپردازی اعم بررسی طرح موانعی بر سر راه استفاده از نور روز پرداخته از نور طبیعی و مصنوعی شده است. در حال حاضر ًصرفا دو است. بخشی از کتاب به تشریح عوامل برنامهریزی اولیه در انجمن بینالمللیCIE )انجمن روشنایی اروپا1( و IES )جامعه طراحی عملکردی نورگذرها که در روشنایی کیفی فضای مهندسین روشنایی آمریکا2(، معیار روشنایی برای فضاهای داخلی تأثیرگذار بوده پرداخته؛ اما در رابطهی نورگذر با فضای عبادی را در قالب هندبوک ارائه دادهاند. عبادی سخنی به میان نیامده است. در زمینهی نورپردازی با نور طبیعی در رشتهی معماری o راینهام5 و همکاران )2012( در مجلدی طی بیست فصل به تحقیقاتی به صورت نظری در زمینهی محاسبات نور روز بیان استانداردهای مربوط به میزان روشنایی، تعاریف واحدها، یا به روش میدانی در کاربریهای آموزشی، مسکونی و ابزارها و روشهای اندازهگیری، محاسبات نورپردازی داخلی اداری انجام شده؛ ولی در رابطه با فضاهای مذهبی، به غیر و خارجی و تفسیر نتایج اندازهگیری روشنایی میپردازند. از چند مورد محدود ذیل، پژوهشی انجام نشده است. سوابق اطﻻعات کتاب مذکور در برداشت میدانی )نورسنجی(، 68 فصلنامه پژوهش های معماری اسﻻمی / شماره شانزدهم /پاییز 139۶ / سال پنجم نحوهی نقطهیابی در فضای داخلی مساجد و تفسیر نتایج درون آن جای گرفته«)حاجی ابراهیم زرگر و دیگران 1386، حاصل از آن توانسته راهنمایی پژوهش حاضر باشد. 48( و در طراحی مساجد تاریخی به آن توجه ویژهای شده o زرگر، ندیمی و مختارشاهی )1386( در کتاب راهنمای است. ترکیب گنبدخانه و محراب -به واسطهی قداستی که معماری مسجد، مخاطب را در جهت شناخت معماری مسجد دارد- بسترساز فضای معنوی معماری مساجد تلقی میشود؛ راهنمایی میکنند. بخش پایانی کتاب به تأثیر عوامل مؤثر بر لذا فضای مناسبی برای سنجش نورطبیعی، استخراج الگوی ساماندهی فضایی مسجد شامل آب و هوا، روشنایی و صوت نورپردازی و رابطهی آن با فضای گنبدخانه تلقی می شود. پرداخته است. در بخش روشنایی، نویسنده تأکید بر استفاده از مسجد امام، مسجد شیخ لطفاله و مسجد حکیم از دورهی روشنایی مصنوعی )به علت خیرگی و درخشندگی نور طبیعی( صفویه و مسجد سید و مسجد رحیمخان از دورهی قاجاریه دارد و البته با زبان ساده و روان در مورد کیفیت روشنایی فضا انتخاب شدهاند. علت انتخاب مساجد فوق به سبب تنوع صحبت میکند و تأثیر آن را بر ِمخاطب نمازگزار یا سخنران در تعداد، ابعاد و ویژگیهای هندسی مربوط به نورگذرها، در هنگام اعمال عبادی گوناگون شرح میدهد. تنوع در هندسهی فضایی و نسبت سطح نورگذر به سطح o مجلد روشنایی آمریکا، ایسنا6 )2000( مشتمل بر سیویک جدارههای گنبدخانه میباشد. به اختصار به شرح ویژگیهای فصل، یکی از هندبوکهای روشنایی معتبر جهانی است. با مساجد پرداخته میشود. اینکه کتاب حاضر در باب فضاهای عبادی سخنی به میان o مسجدامام اصفهان متعلق به سال 1021 تا 1041 هجری نیاورده؛ ولی در فصول اولیهی کتاب، روشهای اندازهگیری قمری )حاجی قاسمی 1375، 20( است. اضﻻع گنبدخانهی روشنایی، معرفی ابزارهای سنجش روشنایی و روش کار با مربعشکل 22.5 متر و ارتفاع از کف تا زیر رأس گنبد داخلی دستگاهها، شیوهی محاسبه و تحلیل آنها، شبکهبندی سطوح 34.5 متر میباشد. گنبدخانه دارای سه دسته نورگذر میباشد. برای استخراج دادهها راهنمای پژوهش حاضر میباشد. دستهی اول نورگذرهای مشبک گرداگرد گریو گنبد )هشت o محمدی ماهوش )1393( در کتاب حضور کیفی نور در عدد( با ابعاد 2.1 در 3.4 متر، دستهی دوم نورگذر وسیع ورود معماری قدیم ایران با بیان جایگاه نور، از حضور تا ظهور، به به گنبدخانه با ابعاد 9در17 متر، و دستهی سوم نورگذرهای بیان ارتباط نور و معماری میپردازد. این نوشتار، در پی روشن دو جبههی شرقی و غربی دیوار گنبدخانه با ابعاد 7.2 در 6.5 ساختن ابزارهای بیانی نور در معماری است که این چگونگی متر. را فراهم میکنند. نویسنده بر اساس بررسی روش تحقیق oمسجد شیخ لطفاله متعلق به سال 1012 تا 1028 هجری توصیفی- تحلیلی سه مسجد تاریخی اصفهان )مسجد شیخ قمری )همان، 124(.
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