soha pourmohammad

Colored windows are part of the architecture of traditional Iranian buildings in the Islamic period, which act as gates for the passage of single light into space and its division into different colors. The main purpose of research is to create sensitivity in design of colored glass, to express the principle of using color in colored windows of traditional and Islamic buildings, to discover the relationship between color separation and architectural space quality in sustainable lighting system. the other goal is to achieve one of the effective characteristics in creating balance in a permanent building (Nasir Al-Molk Mosque).

The type of research is qualitative-quantitative. The extraction of materials has been done by collecting information from documentary sources and field perception of the pattern and area of Nasir Al-Molk Mosque colored glass.Finally, through the comparative analogy of the proportion of colored glass surfaces with the theoretical basis of the results have been extracted.

In the sample, five types of general coloring and 15 types of partial coloring were analyzed. Blue, turquoise, green (cold colors) and red and yellow (warm colors) are used in colored windows with balance and one in between.

Extraction of the ratio of cold to warm colors close to one in accordance with the principles of Islamic philosophy showed that, the pattern of color distribution in space was not random, and in this regard, there is unity.

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.

Despite numerous efforts for improving the process of architecture design in recent decades there has been seldom proposed clear solutions for architecture design in line with helping the nature. Thus, it seems necessary to explore, compare and analyze the available samples and works of great architects in order to derive their design strategies in confrontation with nature and gain some clues for enticing the imagination of designers for using them. Based on the assumption that analyzing and comparing two different attitudes to nature in architecture design can provide some nature-oriented strategies, this research aims to compare the dynamic form-oriented approach of the Spanish academic architect, Santiago Calatrava, with space-oriented approach of the Japanese experimental architect, Tadao Ando, to the nature. Meanwhile, in addition to investigating the masterpieces of the two architects, some of the nature-derived components of their designs are elicited and classified. This research is descriptive-analytic and uses a comparative method. Indeed, using such method as well as library and electronic sources, the authors try to investigate the responses of the two architects to natural factors like natural forces, context, type of the advancement of their architecture into nature, the quality of using light etc. Exploration and comparison of nature-inspired approaches in their works reveals the contextual feature of nature of which each architect has a different reading according to his personal, scientific, cultural and social background. Also, while classifying the patterns of using nature in their works, a number of elements and strategies for better application of nature to entice the imagination of designers have been proposed; strategies like selection of site inside the nature, infiltration of light into the building, physical penetration into nature, visual penetration into nature, combining the space with natural elements, creating dynamic landscape, inspiration from trees, birds, animals and animate beings, and integration and connection with surrounding environment.