جستجوی مقالات مرتبط با کلیدواژه "پنجره" در نشریات گروه "هنر و معماری"

Light is the essence of reading existence and Orsi is a window facing the light. Orsi has become famous in the history of art since the Safavid era and has played a multidimensional role as one of the components of traditional Iranian arts in the architecture of buildings. But in passing from traditional architecture to modern architecture, it is on the verge of being forgotten. Therefore, it is necessary to investigate the functions of the Orsi in the traditional architecture of Iran and to recognize its characteristics so that contemporary architects can make it the essence and support for the design of contemporary spaces. The main purpose of this research is to analyze the functions of Orsi in the interior architecture of the residential space and to investigate the effect of the Orsi element in the sample under study (Orsi Khaneh in Tehran). The current research is a qualitative descriptive study that in the process of advancing the research, the case study method (single sample) was used and library and field research was used in order to collect texts; So that in the first part of the research (theoretical framework of the research) from the concept to the example, and in the second part, which includes the case study, from the example to the concept. The results of the current research show that Orsis have six functions in traditional houses (health improvement, thermal comfort, decoration, increasing privacy, enhancing flexibility and providing light and view). In a case example, modern Orsis have been used for the design of interior spaces and facade design, and the Orsi windows have answered all six functions.

Today, residential buildings account for a wide range of urban landscape in a way that most people are exposed to it. Façade is the first and most influential part of the residential environment that establishes a close visual link with users and passers-by, on arrival or the time of passage. In addition to evoking pleasant feelings, it can affect the users’ health and vitality. The constituent elements of building facades affect behavioral and psychological methods and patterns of the environment users. Advances in technology and the emergence of tools to capture and record brain signals made neurology help designing and building in the area of architecture and urbanism and also understanding other sciences.The aim of this study was to investigate the effect of the geometry and the percentage of windows in the facades of residential houses on the human brain when dealing with buildings; this purpose uses laboratory methods to record the brain signals using an electroencephalogram device when displaying the designed facades, so that we can design a facade compatible with the human brain and nervous system. In this study, to understand the brain activities of subjects when dealing with different windows and their effect on the activity of their brain signals, in the laboratory, using electroencephalogram device, brain activities of 10 male and female were recorded when displaying various windows; and finally, analyzing them with MATLAB and EEGLAB software, it was observed that the various windows have different effects on brain signals so that brain activity of windows with curved and orthorhombic lines show a significant difference with windows having steep angles such as triangular and sternum windows. For this purpose, the brain signals of 11 men (18 to 37 years old) and women (20 to 32 years old) were recorded by electroencephalography (64 channel electrodes) while showing the windows on the screen located in front of subjects (50 cm). It should be mentioned that the facades appeared on the screen were modeled with sketch up software. So, 24 facades were created and each facade was displayed 5 times to users The EEG signals were used in different frequency bands: delta (0.5-3 Hz), theta (3-7.5 Hz), alpha (7.5-13 Hz), beta (13-31 Hz), and gamma (31 -100 Hz) frequencies. Hence, The collected scores were used to analyze the electroencephalographic (EEG) signals for each behavioral dimension in the tetha, alpha by means of time-frequency analysis and topographic statistical maps have been produced. We also used a notch filter to remove eye-blinking artifacts and the 50 Hz noise, respectively. Finally, by analyzing the signals using the software, it was observed that different windows have different effects on brain signals so that activity of brain for windows having curved lines and rectangular shape shows a significant difference with brain activity while looking at windows that have sharp angles and zigzag like triangular windows. For example, in facades with combined openings, the combination of windows with square geometry with a 45% windows level is more unpleasant compared to the combination of square and arch windows.

Paying attention to environmental quality factors in designing educational spaces has a great impact on the performance of the main users of these spaces, i.e. students. In this context, One of the most effective environmental quality factors is the use of daylight in educational spaces , which in addition to affecting how users perform , also affects the amount of energy savings. The quality of daylight is the most important factors affecting student performance. Considering all the features, designers should design the daylight and artificial lighting from the initial stage of design so that they can provide a comfortable and healthy environment. Adequate clarity is a prerequisite for performing visual tasks but in many cases, visual vision is still dependent on other factors depends. To properly distribute light, it is important to know that the amount of light in a space is determined by the reflection of surfaces and direct ambient light. The goal of interior architecture in practical classes is to improve the physical and mental function of the space to facilitate its activity. Color, light, textures, furniture and all the factors in the workshop are an integral part of interior architecture. One of the various factors that affect architecture is the light factor, which in this article deals with the visual quality of this important factor. The purpose of this research is to achieve the extent and effect of the direction and dimensions of the window on the proper use of daylight and the quality of lighting in a classroom in various situations. The main variables in this research for windows are the dimensions of the glass surface and the reflection of the materials, which have been studied as factors analyzed in the charitable design and the quality of lighting and the visual and non-visual effects of the window. This research is applied in terms of purpose and descriptive-quantitative in terms of type of research and analytical- numerical research method is based on computer modeling. The example of this research is a common class of practical courses that includes research variables and the software checked the quality of its lighting in different directions on the first day of each month then effect of window dimensions in the workshop was then evaluated by Dialux software. It should be noted that the case study of this article has many similarities in terms of design principles with most classes of practical courses in Iranian schools. Possible results suggest that not only the placement of the window in the classroom but also the dimensions of the window and the texture of materials and furniture can have a major impact on the quality and quality of lighting in practical classrooms and the designers of the studios will be aware of the quality of work and increase the efficiency of service and study, reduce errors and increase the accuracy of the staff, prevent the feeling of tiredness and maintain the health and vision of the users of the studios and motivate the design is.

Gerehchini (latticework) is one of the most prominent patterns used in Iranian handicrafts and buildings. It should not be considered as a mere visual pattern, but in principle as a solution to solve executive challenges. Carpentry latticework is a type of geometrical pattern used in making fences, doors and most of all latticed windows. Due to the vulnerability of wood material, especially owing to its proximity to the open air, as serious study of such structures have to be carried out. An analysis of latticework and the tradition of making such works can now be done by present masters and the few images and examples remained from the traditional Iranian architecture. In this article, an attempt is made to explain the strategic reasons for using this type of pattern by examining the various aspects of the factors affecting the formation of this type of lattice.The purpose of this study is to identify the factors affecting the carpentry latticework used in latticed windows and to explain the reasons for the difference between such a lattice and other related types. Defining the nature of carpentry latticework depends upon understanding the way it is made. The function of windows, features of wooden constructions and construction methods, basic knowledge of flat geometry, visual aesthetic development of artists and architects are among the factors influencing the formation of carpentry knots. Reviewing these cases by field and library studies with a descriptive-analytical and modeling approach, this article is done with the purpose of having an accurate representation of the carpentry latticework and making an analysis of the feature of this type of lattice. One of the results of this research explains three factors, i.e. function, appearance and technology in the formation of the mentioned lattice. Incidentally, the role of different factors in the formation of this type of lattice is examined by looking through a detailed study of its construction.

Manifestation is idiomatic that is commonly expressed the quality of insight and its perception from the sea of knowledge and recognition of God and his appearance in the world. And also in the arts depending on such a thought, it appears to different species. The article is responsible for this theory that there is a unity among the proportion of manifested colors of a single light in the colored windows of Iran's traditional mansions. Mysticism is an internal movement of the servant toward the creator (God) and also manifesting of tinted windows is a symbol of this movement that the principles of these are comparable. The fundamental goal of this research is (theoretical and experimental), and due to the nature of it (quantitative- qualitative), this research is based on an analytical- measuring method. The present research methods are collecting data from library resources and field inference that has been formulated after the collection of theoretical base of research, reviewing subjects and indexes through objective observation and the presence in the locality, and estimating of the building, the acquired statistics and information based on the format of the chart and the table. The middle of the camera in the form of flat, colored Windows is estimated and then transferred to AutoCAD software. After drawing, the areas of their color levels are extracted. It has been done separately for each color, and finally, the ratio of colored levels in the form of quantitative data is extracted. and, the titled principles are compared with the proportions of colored glasses. What is noticeable in the first observation of color combination of windows, is restrictions and color constancy used in traditional windows; in these windows has been used only colors: green, yellow, blue and red. the stability of the colors used in Iranian architecture gives specific value and credibility to them. this stability doesn’t apply in the human eye for the components of the necessity of composition, but it's like constant and valuable creatures, which put together in the time of work creation and provide the combination that causes to make the perfection. Also, the stability of colors makes them individually invisible easily from among the wide range of colors. According to analyzing the calculations and the tables; in this case study, four colors (green, blue, red and yellow) are used approximately the same in the windows of this mansion to have an optimal effect on persons.As it can be seen in analysis, the ratio of hot color to cold color is the distance between + and -0.2, unless there may be the ratios of compensation in the total window, for example: in the module B1, yellow color is the most that include the hot colors, while in the module B2, the green color has the most amount that includes the cold colors, this matter keeps the ratio of the cold colors to the hot colors in the total window in the same distance. And it is nothing except the manifestation of unity in diversity and a single words: As the multiplicity of light forms after passing through the colored windows in the sense of the light source is not different and always is the same sun appear that causes the delight. The balance of using colors in case studies; the Khalil-Pasand and Zanjirchi houses are samples of this fact. As mentioned in the table, Iranian artists used the hot (red and yellow) and cold (blue and green) colors with a balanced ratio. Nearly the number derived from calculations is evidence for this claim, and it is the same issue of mysticism that the mystic achieved a balance after a hard austerity. Another factor that can be raised in Islamic mysticism is the discussion of proportion: "in addition to light and color, proportion also exists in order to add the design aesthetic: when colors and bright, pure designs are regulated normally and consistently are better than irregularities. "By investigating the samples is clearly invisible in using the colors. The colors are applied generally and with a slight difference in the windows so that each color beside another neutralizes the intensity of it and had highly significant influences on the people within the space.

Optimizing energy consumption in buildings, which includes a large part of the total energy consumed in the country, is very important. The window is also part of the interface inside and outside the building. The purpose of this research is to optimize the opening in the office in Tehran in terms of obtaining enough daylight and reducing energy consumption.

Simulation and optimization of the window performed parametrically in the Grasshopper and analysis of the objectives using the Honeybee and Ladybug plugins. The spatial Daylight Autonomy (sDA) and the Energy Use Intensity (EUI) calculated for proportions and varied window positions in eight variable directions.

The windows on the eastern north rotation and later in the east rotation had the best results. The window to wall ratio was 20% to 28%, with an average length of 6.53 and 0.9 meters, respectively, for the research model, the most ideal response. The distance between the windows to wal and the sillheight were respectively 0.65 and 2.22 meters.

Using modern simulation techniques enables building designers to have more intelligent choices in design with scientific approaches. The repeatable framework presented in this study can be used for buildings with different user positions or proportions, and ultimately enable designers to play an effective role in sustainable development by increasing their design productivity.

Assistant Professor, Faculty of Architecture and Urban Planning, Shahid Beheshti University
As office workers spend a lot of their working time in buildings, environment design aspects such as outward views can play a key role in their job satisfaction and work efficiency. The aim of this research is to study the effects of outward views on workers’ satisfaction with their environment. The assumption here is that people with better access to windows and outward view would express higher degrees of satisfaction with their work environment. Furthermore, the location of the worker in the building, it has been observed, plays a role in generating a sense of spatial airiness and desirability. Assessing measures of inward and outward views expressed by workers of Tehran District 1 municipality building, the research tries to clarify the role each one plays. The method used is based on quantitative studies, data collection through questionnaires, and their analysis using SPSS and Space Syntax’s Depthmap software. The findings demonstrate that in cases where workers have suitable outward but poor inward views, their satisfaction levels drop meaningfully. There are concluding design recommendations as to how to take the role of inward views into account and create outward views in office buildings.

The history of window as a “wind-eye” is as old as the history of architecture. But the history of glass as window glazing is relatively new. For centuries windows were covered with materials other than glass. In china and Japan oiled paper made of rice, protected by a sliding wooden shutter, allowed light in and kept cold drafts out. Colored chunks of glass in cement frames were used in Syria and Egypt. Thin slabs of marble were used by Romans. Even the windows of the early new England houses were covered with stretched animal skins. During the middle ages small pieces of colored glass were used only in windows of very important churches. Window glazing as we know it today is practically the product of the industrial revolution in England. In the first decades of the 20th century glass manufacturers began to produce large sheets of glass. This trend caused windows to become larger and larger, to the point that the whole walls and ultimately the facades of some buildings were covered with thick sheets of glass. This trend of using glass and usually steel structures in building design became known as the “international style”. In this movement Iran also was not an exception. Unfortunately today, the construction of diverse types of glass-covered buildings is a common practice in almost every city in this country. After the energy crises of 1970’s, an extensive research in architectural glazings and window frames has been undertaken by different institutions and glass manufacturers to improve the thermal behavior of windows and to develop the new more efficient glazing materials and window frames. The aim of this study is to investigate: - The external forces and physical conditions influencing the thermal behavior of architectural glazing under different circumstances.- The impact of environment forces, orientation of windows and their shading.- The materials, components of windows, different types of glazing and window frames.The final part of this study contemplates on the thermal behavior of window frames made of different conventional and new materials. Windows in almost every climate can considerably alter the amount of purchased energy required to maintain comfort.Well-designed, they can actually provide a net energy gain; poorly designed, they can be an enormous energy burden. This study provides design strategies to make windows more energy efficient.

miniature is one of the traditional arts which follow the features of its own speech. Many researchers from one hand with different perspectives often followed by traditionalism and mystical approaches, study the ultra facts of this art and on the other hand, other researchers due to the lack of artifacts remained by the past eras in various fields such as architecture, gardening, urbanism, art and culture have turned to this art and realized the stylistic features of each of these areas by reading them out. Based on the literature and architecture history of Iran, “window”, as a functional element has had a strong presence from the beginning of “residence” in the ancient Islamic architecture, as it has been responsible for the lighting and ventilation of air to the inside of the buildings. During the Safavid era, window as a webbed mesh item provides a way of seeing without being seen. This new item allowed the women of the Safavid period, to participate in ceremonies and have their own observation without impairing their privacy and composure despite the prohibition of their direct participation in the ceremonies, festivals and other events that, was well consistent with the principles of confidentiality of Iranian culture. By reading through the painting artworks of Safavid era as the turning point of the miniature painting of Iran, window is beyond a mere physical element that is responsible simply for lighting task, hereupon due to the presence of human interaction with the environment, it is converted to an landscape element; accordingly the artist painter, exploit intelligently the window for emplacement of characters and a way of interact between the indoor and outdoor environment. This article upon the presuming of “window” as a landscape element, claims that its aesthetic aspect is also pursue three goals of “function”, “aesthetic” and “identity” in addition to the landscape objectives. The miniature painter illustrates the functional aspect of window by using the white color for interior space of it to convey lighting concept and also through emplacement of the characters inside the framework manifests the interaction with the environment. The principle of confidentiality and hierarchies as a matter of culture and faith in land of Iran, with the element of window and its lattice design and curtains which were common in the Safavid period, are also observed in the painting miniatures; for that reason, the majority of women in the painting artworks are portrayed in the window frame in line with the concept of providing comfort and safety for them while participating in ceremonies and events. The aesthetic aspect of window is fulfilled through decoration, which the principles of traditional arts especially miniature painting; decoration especially the geometric ones in window frames implies the importance of it to the painter. According to the miniature painting of Safavid era, it can be said that the picturesque of window in this era was quite comply with the landscape-oriented aesthetic aspects. In other words, the tradition of Iranian-Islamic architecture of this era has been a landscape based convention that employing of the three elements of beautification including function, identity and aesthetic confirms the claim.

Indigenous architectural masterpieces have broad dimensions that can be studied in different areas of focus and identified with their original patterns to transfer a new framework based on fundamental principles concerning the particular time and place. Architecture of each territory is the outcome of the beliefs, culture, climate, industry and the ways in which the land is built. Therefore, architecture is considered as the mirror to represent the interests, resources, knowledge and ability of its creators. An architectural work consists of forms and shapes in spatial framework the open and closed spaces and openings Shows, empty and full volumes and physical characteristics, hierarchies and measures. The color due to the extent of its role with psychological effects in social beliefs holds a special place playing an important role in the projection of an architectural expression. In the analysis of the different layers of the architectural works and the style of each architect, color has an important stance .The factor that relates architects` thoughts and emotions, on one hand and themes, theoretical principles and the cultural and social structures of the building, on the other hand. Therefore, investigating the type of color and its application in traditional architecture opens a window to recognize some of the features of this unique style of architecture and the artistic and architectural ideas, attitudes and abilities represented in the context. Although many articles and books have been edited and compiled on architectural history, building analysis, and stylistics amidst which there is a minor issue considering the color, in general, or the colors of the buildings, there is felt to be a great need to specialized researchers about painting and architecture in ecological aspects and its cultural roots in the historical civilizations. Color in architectural studies of West has been focused from psychological dimension since Bauhaus period, but in the social and ecological aspects, the most recent researches have been done on archetypes and indigenous and religious attitudes mixed with architecture. This research aims to identify and review the physical and emotional aspects of applying blue color in architectural practices of Uraman. Architecture in Kurdish territory has remained mysterious and full of legends so far in many ways, although its physical structure, more or less, has been paid attention to by many researchers but it cannot be said that researchers have been able to analyze its origin, particularly in semantic dimensions that require in-depth review. According to Uraman area, the research population is geographically widespread but considered proportional to the number of numbers required to include all aspects in order to achieve the validity. Therefore, five regions of Kamaleh, Uraman takht, palangan, naravi and hiravi were selected with suitable scattering. Among 40 aged people residing in these areas (55 to 90 years), questionnaires were filled in the form of interview. In addition in the initial evaluation and field studies, the presence of blue in the arrays, the window and Folk Literature endorses the need for research in this field. Although the present research is an effort to explore the beauty formation in the architecture based on the local culture and try to represent it in contemporary architecture, also to a large extent, it is located in the field of the fundamental studies. In this study, the influence of beliefs, geography, climate, literature and aesthetics as the independent variables on how and why to apply the paint and color in a traditional residential architecture, as the dependent variable is the focus of this paper. This research is descriptive and analytical. Part of the data has been collected through library research methods. Analysis and discussion have been on the psychology of color and hidden identity, the impact of lifestyle, climate and geography of the aesthetic and consequently, the selection of a specific color, covered in native tissue architecture and window applications. The other part of the data were collected through the field studies with architectural texture of the substrate, the distribution of questionnaires and interviews with older people of Uraman so that the obvious evidence of blue color application for residential windows becomes clear. Perhaps, what comes to mind in the first confrontation with mountain architecture is the minimal space of construction for a simple life. But in the deep investigations and comprehensive surveys, we find a collective power which analyzes the application of color in the windows from different angles and chooses the best one. Regarding the specific representation of color in architectural quality and anatomical texture, some researchers have had brief hints to color without any specific and coherent view to the issue in Uraman architecture. These points are one-dimensional and generalized. Ignoring the psychological, and belief effects and the fashion have not been mentioned with aesthetic or natural philosophy tendency. In the initial surveys and library studies, with the quality nature of the issue, there can be different views which are based on the hypotheses each research considers. But in this study, in order to obtain conclusive results and minimize the effect of researcher, by completing the questionnaire through interview and discussion with the audience of this architecture (target population), we tried to make research results clear free from vision of researchers based the current situation .Finally, according to field studies and interviews with older residents in Uraman (from the master carpenter, builders and ordinary people), opinions of scientists and psychologists and researchers in the field of architecture of Uraman, we can get the reason for the widespread application of blue in native architecture of Uraman homes to be expressed in this way that by accepting the dramatic role of geography, natural, climate and people in the unconscious memory formation followed by an indirect effect on aesthetics, it is the most important role in the widespread application of the blue traditional residential buildings of Uraman.
Since each color finds value and the effect on the proximity of other colors combination of sharp blue in low area with great surface of light brown of walls brings about a beautiful color contrast. In addition, these colors also add to the comfort. Finally, the sacred hypothesis or removal of an eye sore has no originality in research findings and this view is no longer valuable in this field.

Natural light has a great effect on the health of human beings. Studies on Iranian old houses show that various apertures were used to provide natural light in the interior spaces of the buildings. In the present research attempt has been made to measure the extent to which some of the lightening methods of Iranian traditional architecture have been successful in the provision of interior lightening with respect to the various experiences of Iranian architecture on the provision of interior lightening. Therefore the following research question is formulated: Does the variety of apertures in traditional houses lead to better use of lighting and heating sources in the interior spaces? To answer the question in this article a sample of such houses in Kerman has been chosen، simulated and the amounts of daylight level measurements of selected rooms has been studied. The house has several rooms، one of them with skylight roof (kolah farangy) and the others with door-windows into the yard (seh dari and panj dari). Monitoring has been under the clear sky. The value of the illuminance of the rooms has been measured by photometer and simulators with the aid of Ecotect software (by radiance calculation support). Finally light distribution method، the value of illuminance and heat of the said spaces have been compared and the results were analyzed. The results have shown that the average and the least illuminance values of the room to the west are 154. 92 lux and 75. 7 lux، the room facing south 4. 3 k lux and 157 lux and the room with skylight 266. 92 lux and 200 lux respectively. The results from simulators also indicate that 76 % of the area of the rooms facing south needs ancillary light during a year. Only 26 % of the area of the room has appropriate light. It is mainly around midday. Therefore it is suitable for resting and general affairs. 48 % of the area of the room facing west has appropriate light all over a year. 45 % of the area of the room at some hours particularly in the morning and sometimes at noon needs ancillary light during a year. Glare happens at 7 % of the area of the room beside window particularly in the afternoon. There is little even lightening in this room. It is suitable to do general and visual activities only for a short time. 83% of the room with skylight has appropriate light all over a year. Only 7% of the room needs ancillary light during a year. Glare is likely to happen for nearly 1 % in this room. The amount of the light evenness is very high. It is completely suitable to do general and visual activities in it. Generally speaking the study of an Iranian traditional house has shown that the variety of apertures in traditional houses has positive effects on the amount of cooling and lighting. It has also been affected by the site location، the building relationship with outer space and its performance