Designing a residential complex in Yazd with a look at the qualitative presence of light

Dissertation for Master's Degree in Architecture

Architecture Orientation

March 92

Abstract

Even though several decades have passed since the design and construction of residential complexes, it is still due to their incompatibility with the culture of our society. The shortcomings that can be seen in such buildings have had and continue to have adverse effects on the lives of people in the society. Light is an essential element in human life. In this category, architects, like many other professionals, even with the help of experience or intuition, fail to correctly predict behaviors based on this need. As a result, in many cases, the interaction of architectural works with light is not the architect's choice and planning, but the accidental result and the result of the constant and inevitable presence of light.

Research has shown that there is an inner need that guides all living beings towards light, this need is the origin of many behaviors in humans, many of which are not caused by the visual effects of light, so in the position of an architect, if we consider light as only a medium for seeing the environment and subjects, We have lost many opportunities to influence the perception of our audience, and many works of contemporary architecture are evidence that with the current situation, many works of light and a range of its positive capabilities have been neglected. The basic design of an architectural work can be made possible.

The present study investigates the qualitative presence of light and uses open, covered, and closed spaces in a residential complex and with the pattern of­ Drawing from the traditional architecture of Yazd and its contemporary construction, he designed a residential complex.

Key words: light, quality of light, residential complex.

   Chapter One:

 Research Plan

1-1-Introduction

Since the house is the first place of life,  The main goal of an architect has been to offer people an architectural experience that enriches their mind and soul. This is a very important idea and thought that we should always keep in mind, especially when we build a house. The house protects the human body, which in turn contains the soul. The house should provide security and strengthen the body and soul at the same time that we have talked about. Since the body should feel comfortable with the inner soul, a building should also provide us with comfort and protection and also provide spaces for thinking, meditation and prayer; Spaces for a real thought about the relationship of the individual with the world. In the meantime, paying attention to the light in the house, both qualitatively and quantitatively, has been the concern of architects for centuries. This is why the Iranian architect tries to use the element of light as much as possible in what he creates. On the other hand, we all know that Iranian architecture owes it to the sun. The Iranian architect tries to create a special space in the heart of the building to connect the believer with God. As a result, the interaction of architectural works with light in many cases is not the architect's discretion and planning, but an accidental result and the result of the constant and inevitable presence of light. Islamic art basically uses the presence of light as an allegory of the manifestation of absolute existence. That is, the closer we get to the light, the more pure and transparent light is obtained. So celibacy from matter means movement and ascension towards the source of ascension and the light of existence and avoiding the lowest level of existence and the shadows of light. From this point of view, light is considered as a manifestation and symbol of existence in the space of Islamic architecture, and mirror work and the use of mosaics or shining golden and turquoise color for domes and decorating moqrans and motifs are expressions. It is from the manifestation of light. And this work is like doing alchemy.

In Islamic architecture, heavy and formless material is transformed into decorative designs. And the forms of moqrans and reticulation have turned into transcendental objects. The material of the rooms is no longer stone and brick, but they mysteriously emit light from themselves, and in short, the work of architecture is to reduce the material and increase the space, and it automatically reminds the believing person of the verse "Allah is the light of the heavens and the earth". They are.

Research has shown that instinctively in all­ There are living beings that lead all beings towards "light". guides, this need for light and brightness in humans is the origin of many behaviors, many of which are caused by the visual effects of light. So far, in the design of buildings, most light methods The work is done. We seek to provide a comfortable environment for people's lives by finding quantitative and qualitative communication. Removing the obstacles to the entry of light into the first stages of design could only be done with the help of a purposeful search to discover the key of clear words and simple laws in all visual and non-visual works of light. It is complex that all its behavioral effects have not been investigated. In this context, architects, even with the help of experience and intuition, fail to correctly predict behaviors based on this need.  

In the position of an architect, if we consider light only as a medium for seeing the environment and objects, we have lost many opportunities to influence the perception of our audience. 

Despite the distance from the period of tradition, the mirror works, light-shadows, moqrans, shadows, dark corridors and Bright basements make us think that the architecture of light is more than putting a hole in the wall and turning on bright lights in the rooms. Although the metaphorical and spiritual values ??of light are used in the meaningful and substantial design of architecture, and with a superior awareness and strong understanding of the history of light in architecture, it makes it possible to recover this element as an expressive tool. There are simple rules from the heart of traditional architecture that enable the presence of light in the initial design of an architectural work. As it is evident, in traditional architecture, natural light has been used in the best possible way, either climatically, functionally, or spiritually.

Traditional buildings in Yazd are designed in such a way that they stand in front of the desert. Therefore, the buildings built in Yazd have the utmost introspection and their spatial organization is It is a type where the main element of dividing these spaces is the courtyard and it has summer and winter spaces, and on the other hand, because Yazd is located in the heart of the desert and direct sunlight is an integral part of that climate, the presence of light, both qualitatively and quantitatively, has been used in the architecture of its buildings in the best possible way. On the other hand, due to the variety of space in the houses of Yazd, which includes entrance hall, vestibule, porch, courtyard, hall, three doors, five doors, wind tunnel, garden pit, basement, footpath. And the height difference in the houses is the best place to show how to use natural light and create shadow, half-shadow, bright spaces in the play with light.