RENEWABLES IN A CHANGING CLIMATEFrom Nano to Urban Scale

PROCEEDINGS

International Scientific Conference

CISBAT2 - 3 September 2009

MITCambridge

University

ÉC OLE POLY TEC H NIQU EFÉ DÉRALE D E LAUSAN NE

CISBAT 2009 PROCEEDINGS

RENEWABLES IN A CHANGING CLIMATE From Nano to Urban Scale

2-3 September 2009 EPFL, Lausanne, Switzerland

Cambridge MIT University

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C6 Analysis of the daylighting effect of shading devices in a residential building using brightness image Miki Y., Nakamura Y................................................................................................................... 225

P15 Geometrical interpretation of sky light in architecture projects Beckers B. .................................................................................................................................. 231

P16 CIE standard skies in Switzerland: relative occurrence and impact on daylighting system performance Davila Alotto F., Linhart F., Scartezzini J.-L. .............................................................................. 237

P17 Efficient daylighting, heating and shading with rooflight heliostats Göttsche J., Schwarzer K., Röther S., Jellinghaus S., Helten G., Wittmann R. ....................... 243

P18 Daylighting and lighting energy demand analysis of the new town library of Piombino (Italy) Leccese F., Salvadori G., Caruso G., Batistini E. ...................................................................... 249

P19 Daylight exposure and circadian efficiency in office rooms equipped with anidolic daylighting systems Linhart F., Scartezzini J.-L., Münch M. ....................................................................................... 255

P20 The study of two different natural light transportation systems using a simulation software Paroncini M., Corvaro F., Nardini G., Pistolesi S. ..................................................................... 261

P21 Natural and artificial lighting integrated solution for building energy savings Sibilio S., Falconetti P. .............................................................................................................. 267

P22 Daylighting methods in Iranian traditional architecture (Green Lighting) Tahbaz M., Moosavi F. ............................................................................................................... 273

P23 Daylighting performances of different glazing advanced glazing systems:test cell measurements and analysis Zinzi M., Bellazzi A., Melani G. .................................................................................................. 279

Indoor Environment Quality and Health

B1 Insitu measurements to evaluate the real energy savings of humidity sensitive ventilation in Minergie buildings Flourentzou F., Savin J.-L. ......................................................................................................... 287

B2 Occupancy evaluation of sustainable energy homes that are targeting the UK Zero Carbon Era:The BASF house Hormazábal N., Gillott M. ...........................................................................................................293

B3 Perception of air pollution and comfort in the urban environment Nikolopoulou M., Kleissl J., Linden P. ........................................................................................ 299

B4 Bringing hygiene, user comfort and energy efficiency requirements in domestic hot water systems altogether to the point of practical acceptance for a new building code Suter J.-M., Nipkow J, Mathez S.A. ...........................................................................................305

P24 An assessment of indoor air quality in newly built energy efficient homes in the North East of England, UK Altan H., Refaee M. .................................................................................................................... 311

P25 Liveability and environmental comfort approach in urban renewal: a case study Dessì V., Cacozza G., Niffoi F. .................................................................................................. 317

P26 Sustainable rehabilitation of the social housing district “Semicerchio” in the town of Sessa Aurunca (South Italy) Francese D., Filagrossi Ambrosino C., Tessitore M. ............................................................... 323

P27 Thermal comfort between perception and evaluation by the bioclimatic analysis techniques - Case of office buildings in the arid areas with hot and dry climate Msellem H., Alkama D., Labidi F. ..............................................................................................329

P28 Tensile membrane structures and the indoor environmental quality Oberti I., Plantamura F. .............................................................................................................. 335

DAYLIGHTING METHODS IN IRANIAN TRADITIONAL

ARCHITECTURE (GREEN LIGHTING)

Mansoureh Tahbaz, PhD. Architect1, Fatemeh Moosavi, M.Arch.1,

1: School of Architecture and Urban Planning, Shahid Beheshti University, Evin, Tehran, Iran

ABSTRACT

Natural light has a great effect on the health, physiology and psychology of humans. Providing

natural light in living spaces is the best way to promote a healthy life. A glance at Iranian

traditional architecture, with around six thousand years of history, shows the richness of this

architecture in many aspects of design including the way it provides natural light for the building.

To know these methods and to investigate their designing principles can help to create initiative

ideas and methods for offering access to daylight in temporary architecture. In this article 6 main

types including 20 different kinds of windows are studied according to the following aspects: the

general form of the window, its location on the building, its relation with open and closed space,

the kind of specified space and its function, how light is dispersed in the interior, frame and glass,

opening inward or outward, aesthetic principles in the interior and façade, its function with respect

to other space requirements such as ventilation, landscape, and privacy, construction methods,

strength and stability.

INTRODUCTION

Providing enough light for the interior of a building has always been the architectures' concern

and architectural history may be known as a history of different methods for lighting in

architecture. Industrial age and artificial light technology have made the use daylight in

architecture unnecessary, putting it on a lower priority. Living in places without natural light and

environmental problems resulting from fossil fuels for providing artificial light on one hand and

diseases resulted from natural light deprivation on the other, have reminded architects to give

natural light priority again. Using different design ideas in architecture, we may take advantage of

natural lighting for the interior. This study examines different window concepts used in Iranian

traditional architecture that will make clear the principles of the former, still rich in nature, which

can give valuable lessons to modern architecture.

WINDOW TYPES

Depending on the conditions they create in interior lighting quality, windows come in various

kinds, named as a function of their location with respect to the interior, their dimension, quality,

and ratios. It is worth noting that in Iranian traditional architecture, many of these kinds of

windows were known under different names and have been used as a design pattern

commensurate with light needs in different spaces. These windows involve door/window, sash

window (Orosi), lattice window (Shabak), pavilion, orifice etc.

1 FULL-WALL WINDOWS

1-1 OROSI (SASH WINDOW): Orosi is a kind of window used for main spaces with high ceilings.

Orosi is a full-wall window, which covers the whole wall, with lattice, and opens on a vertical rail

rather than a horizontal hinge, resting in an overhead space. Orosis windows were mainly built on

main halls where there was the most dominance on the yard. The other uses included balconies,

and rooms located at the sides of large and high halls.

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Orsis have meshed wooden lattice work, which are more condensed at the upper part and less at

the base for more light and a better view. Colored glass used in the lattice reduces the severity of

the natural light, creating a beautiful glitter in the interior. The lattice work controls the amount of

light and supports privacy. This characteristic was the main reason for using the windows on

upper floors and in rooms facing alleys in the northern cities where horizontal ventilation is

required on hot days. Colored glass and lattice wooden frames were used to prevent unwanted

heat transfer and severe light. Orosi height and upper lattice windows make light to go deeply

through the hall and at the same time prevent severe light. At times when the hot sun created

unwanted heat and light, people used to control the heat and light by hanging white sackcloth on

an Orosi façade. Sometimes for very hot days, they provided shade by building a balcony in front

of Orosi.

Places with Orosi were capable of being used both in summer and in winter. By opening the

ascending windows in summers, an open space with suitable flow of air and a pleasant view

appeared. By closing the shutters in winters, the hall turned into a warm place thanks to the

greenhouse effect. Therefore Orosi is a kind of window which is used for every Iranian climate

due to good capabilities and creating dabbled functional space. In cold weather conditions, Orosis

have been built in two layers to prevent unwanted heat transfer. Their wooden frame and lattice

work, which reduces the amount of glass surface, is another factor to reduce heat transfer. In hot

and arid areas and moderate and humid areas, Orosi was used to supply fresh air and horizontal

ventilation in the places with one layer or suction ventilation in the places with funnels.

1-2 SEMI-OROSIS: Orosis are also used for low-ceiling rooms in some cities. In this case, Orosi

occupies half of the wall, which provides the necessary flow of air and view for people who are

used to sit on the floor and at the same time creates a greenhouse effect in winter. In some cases,

the lower part was Orosi-like and the higher part was a separated window. In this case, Orosi

covered half the door and provided a view of the yard, light and ventilation.

Orosi is characterized as below: providing a view and protecting privacy at the same time,

dispersing light deeply into the rooms, preventing direct sunlight, ventilation and free air flows,

heat transfer control, preventing severe light and preserving beauty at the same time. (Fig 1)

2 WALL WINDOWS

2-1 DOOR/WINDOWS: The prevalent kind of tall windows in traditional Iranian architecture are

door-windows. Despite being built in the form of a door, this window was not used for passing as

a door, but as a connector of the interior with the yard and enjoying the view, providing light,

fresh air, and air flows. This window had been used for ordinary rooms in the form of three doors

(seh dari) and for halls and larger rooms in the form of five doors (panj dari) and sometimes seven

doors (haft dari).

Door-windows have been used in many main and subordinate spaces, all facades, over the main

axis or sideways, on ground floors or upper storeys. Three-doors and five-door windows are

characterized by low depth of rooms and uniform distribution of windows along the room. Light

inside the rooms was, thus, distributed well and all the parts were well-lit.

Every door-window has two shutters, which turn on pivots and open. Brick partitions separated

door-windows. In many cases, the lower part of a door-window was made of wood and the higher

part from glass. The glass had lattice work, especially on the crown. When the window was

closed, heat transfer was controlled and privacy kept and there was a good view and fresh air

when it was open. In main rooms with high ceilings, there were large windows over the crown of

door-windows for better use of light. Sometimes, there was colored glass to avoid severe light.

Door-windows were used in all climates. In summers, they were covered with white cloth or a mat

or with white curtains from the inside to prevent direct sunlight. In hot climates, the door-

windows were built 50 to 70 cm inside the external rim of the walls. There was a vertical partition

with the same depth between the windows. These partitions were called "Tabeshband" in some

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areas which limited the hot sunlight. A combination of a door-window and an upper orifice were

used in cold or humid areas where there was a need for a unidirectional air flow because of a

location on a slope or because there was only one single window. In these cases, warm air exited

through the upper orifice and cool air entered through the lower part. In moderate and humid areas

where one-layer spaces were frequently used for producing air flows and horizontal ventilation,

door-windows were very common. The wooden frame and little glass controlled severe light and

heat transfer.

Door-windows are characterized as below: offering view and privacy at the same time,

distribution of light in the interior, control over hot sunlight, easy ventilation, control over heat

transfer.

2-2 PACHOLAGHI & PACHANG: A combination of door and window with the door opening at the

bottom and the window at the upper part is called Pacholaghi. A window or orifice up above the

floor, set at the sides of the door is called Pachang. In mosque-school yards - to protect the privacy

of the votaries - the windows surrounding the doors and the upper orifice are covered with

wooden or brick lattice works.

2-3 ORDINARY WALL WINDOWS: Ordinary wall windows are a kind of window that like door-

windows are very common in Iran, especially in the countryside. This window is up above the

floor, going up beneath the ceiling. The window base is near the floor so that those sitting are able

to enjoy the view and cool breeze. In humid areas where there is a necessity for natural air flows,

wall windows are set on more than one wall so that there are air flows inside the room. On the

other hand, this will help better distribution of light in the interior. A curtain on wall windows

controlled the light severity and maintained privacy.

2-4 LATTICE WINDOW (SHABAK): Shabak or lattice windows are a kind of window much used in

traditional Iranian architecture in summer houses and basements. In humid climates, this window

separates two external spaces and maintains ventilation at the same time. For example, the walls

propping yard and alley use Shabak for both privacy and air flows. Although the exterior is easily

observable through a Shabak during the day, the interior could not be seen through it. Glass was

sometimes used for lattice windows. In winters, wooden, earthenware, or chalky lattice windows

were barred by greasy papers which were removed in summers. While providing privacy and

ventilation, Shabak breaks and adjusts rays of light. A moderate light thus enters the room and

creates a spiritual atmosphere. That is why this window was used in religious places. Glitters of

light through decorated lattice doubles its beauty. Lattice was sometimes made of ceramics and

there were empty spaces between ceramics which acted as ventilation and giving light. Shabak

was made of wood, brick, clay, or chalk.

A Shabak is characterized as follows: limited view while keeping privacy, distributing indirect

moderate light in the interior, controlling hot sunlight, controlling severe light, capable of ventilation, controlling heat transfer. (Fig 2)

Fig 1. Orosi windows and Tabeshband

Fig 2. Wall windows and Shabak

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3 WALL WINDOWS IN COMBINATION WITH BALCONY

3-1 Balkaneh: In humid areas where air flows are necessary, there were wooden door-like

balconies upstairs. A balcony surrounded with windows was called Balkaneh. Some Balkanehs

were built as windows projected from the façade and were decorated with colored glass.

3-2 Shenashir and Tarmy: In hot humid areas, due to hot weather, high damp and direct sunlight,

Balkanehs were fully covered by wooden elements and a small part was left for light entrance. In

some cases, some parts of wooden lattice were mobile, which let light and fresh air in when

opened.

3-3 Tarmy: Used in hot humid climates, Tarmy is an all-wooden balcony, placed partially on the

facade, which made using air flows possible while preserving from severe light and sunlight.

There were small holes on the upper parts of the shield against TARMY to equally distribute light

and to avoid severe light at the same time. (Fig 3, left)

4- ROZAN (WALL ORIFICE)

4-1- FARIZ AND KHAVOON: Fariz and Khavoon were placed over the doors and sometimes at their

sides for letting in light and fresh air. The orifice was made with wood, chalk, or clay, in which

little pieces of glass with all kinds of numeral and non-numeral figures were inserted. Khavoon is

a decorative figure, made from scraped pieces of brick or mosaic. For light and air to enter into the

rooms, slabs were perforated in which some figures were drawn. The slabs were then set over the

doors and windows. In some cases, there were some orifices around and over door-windows.

Orifices are small in size, made from wood or clay, and make air circulation behind possible.

4-2- BULL’S-EYE ORIFICE: A circular little window, turning on a pivot, is called bull’s eye

orifice. It is characterized as below: no view, better light distribution, control over direct sunlight,

unidirectional ventilation.

4-3 GOLJAM (FLOWER GOBLET): Little colored glass panes, set inside chalk, put over the highest

part of the wall, are called Goljam. With these, light reaches the furthest part of the room and

avoids severe light due to colored glass use. Goljam was often used in urban buildings and rich

men’s mansions because of high accuracy and skill needed for their construction. Goljam were put

on top of door-windows, acting as the window crown. The figures drawn on Goljam were mainly

roses and vase. That is why they were called Goljam. Goljam exhibit varied figures rather than

similar ones. (Fig 3, right)

Fig 3. left to right:Tarmi, Shanashir, Goljam, Rozan

5 CEILING WINDOWS (SKYLIGHTS)

5-1 HOOR E NOOR: To use light and the interior ventilation, traditional Iranian architecture used

Hoor e Noor. Hoor e Noor was located at the centre of the dome. Since there was no possibility of

building a ceiling near the zenith of the dome, they did not fill that part and left it like a hole

named Hoor e Noor. Hoor e Noor had no glass and used to light and ventilate places that had

direct connection with outer space such as terraces of the domes, entrance porches, corridors,

bazaars, porches, kitchens, and stores. That is why their openness did not creat a problem and

provided ventilation as well as a slight light through the course. In places where the space under

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the dome was used as a living place in winters such as springhouses, Hoor e Noor was covered by

cone-shaped glass.To equally distribute light through Hoor e Noor, some orifices were considered

on the roof of the dome which made better light distribution and ventilation possible. Hoor e Noor

is characterized as follows: no view, better light distribution, control over direct sunlight, funnel

ventilation.

5-2 PAVILION (ROSHANDAN): Pavilion windows were used to cover circular ceilings in main

places such as halls, alcove, galleries, springhouses or dome houses. They had their place in

rooms with high ceilings, creating an empty space in the middle of the dome in the form of a

circle with 1 to 1.5 m diagonal. Pavilions, usually decorated, used to be placed on hole of the

ceiling.

In buildings like bazaars, baths, springhouses, dome houses, and the like, some orifices had been

made that passed the light and ventilation in the best way. These windows, known as Roshandan,

were built like a pavilion down on Khorshidi Karbandi. Some Roshandans had glass and some had

lattice. Roshandan was usually a multigonal. In combination with a funnel, the pavilion window,

like Hoor e Noor, improved air suction and was used in summer houses for better air circulation.

The pavilion is characterized as: no view, better light distribution, control over direct sunlight,

funnel ventilation, ventilation control at cold times.

5-3 HOOR E NOOR AND PAVILION IN COMBINATION WITH NOORANDAZ (LIGHT-SCOPE): In some

cases, orifices on dome roofs were prominent, taking a gradient or a semi-arc figure. Direct

sunlight hits a light-scope (Noorandaz) wall and indirectly reflects downward. In this case, direct

sunlight was deviated from the floor while light and ventilation were distributed. At times, a light

and air entrance window is covered by lattice. Noorandaz windows around Hoor e Noor are better

ventilators. In some cases, combined with funnels, these windows enhance suction ventilation,

creating a pleasant climate in hot summers. (Fig 4, left and middle)

5-4 FUNNEL IN DOME GORGE (CLERESTORY): Sometimes, ceiling funnels are placed in a dome

gorge, instead of the dome zenith. In this case, the funnel body is latticed by clay or chalk. Direct

light radiates from ceiling to under the dome and runs like shafts of light, creating a spiritual

atmosphere.

5-5 UNDER-CEILING ORIFICE (CLERESTORY): Sometimes a funnel sits in the dome wall instead

of the dome gorge and lights it by light reflection. The lattices inside the funnel allow ventilation.

Sunlight reflection from under ceiling gives a spiritual sense and unequally lights it. At the same

time, sun heat is controlled and cools the atmosphere by suction ventilation from under the ceiling

in warm weather. When the middle ceiling is covered in the form of a gradient, the window would

be placed on the border of the gradient and the roof smooth surface. This is more seen in buildings

located in moderate humid climates and springhous roofs. In this case, the window acts as a light

shelf, leading reflected light from the roof to the internal ceiling. Thus, reflected light from ceiling

lights the space, allowing equal light distribution. An under-ceiling orifice is characterized as: no

view, better indirect light distribution, control over direct sunlight, less heat transfer, suction

ventilation. (Fig 4, right)

5-6 JAAMKHANEH: Jaamkhaneh was used in domes, public baths, passageways, and bazaars. A

Jaamkhaneh, covered by round glass panes, has clay rings and was used for lighting and heat

exchange. In summer, panes were taken from their places and the opening used for lighting and

ventilation. In winter, the round glass panes were placed in the ring again to provide light and

prevent heat escape. A primer-like substance, a combination of clay, wax, and a kind of oil, was

used. Much like primer, this substance made putting and removing the glass parts of Jaamkhaneh

easier. It may be the most suitable way to light the places where there are cold and warmseasons .

A Jaamkhaneh is characterized as: moderate light distribution in the interior, control over severe

light, ventilation as necessary, control over heat transfer, direct sunlight prevention, keeping

privacy. (Fig 5, left)

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6 ATRIUM IN TRADITIONAL IRANIAN ARCHITECTURE

6-1 CENTRAL YARD WITH TEXTILE CEILING: When central yards were the place of some special

religious or social ceremonies, it was necessary to cover the yard to protect from hot sun or cold

weather. The yard was then covered with some temporary ceiling. The covering was often a thick

cloth or white burlap to let the suitable light in. The pores on the cloth allowed the dirty air to exit.

6-2 CENTRAL YARD WITH GLASS CEILING: To cover little yard roofs, new materials are used to

preserve the yard from unpleasant atmospheres and to create a greenhouse effect, and the space

between the rooms can be put to best use, like modern atriums. (Fig 5, right)

Fig 4.Left to right: Hoor Noor, Noorandaz, Clerestory

Fig 5.Left to right: Jaamkhaneh, Atrium with textile

SUMMARY

As studied, every place in Iran had its own windows which provided conditions like ventilation,

light, view, privacy, heat transfer control and etc. Different types of Iranian traditional daylighting

methods were introduced as: 1- Full wall window such as Orosi (sash windows) 2- Different kinds

of wall windows such as door-windows, ordinary windows, lattice windows (Shabak). 3- Wall

windows in combination with a balcony such as Balkaneh, Shanashir and Tarmi. 4- Rozan

(Orifice windows) with a great diversity in Iranian architecture such as Goljam (flower goblet). 5-

Ceiling windows (Slylight) with a diversity of Hoor-noor, Roshandan and combination of these

two called Noorandaz (light scope), Clerestory windows around the tambour or under the rib of

the dome, and Jamkhaneh (Glass goblet) 6- Atriums where the small central yards were covered

with textile. This study revealed that Iranian traditional architecture, having a civilization history

of many thousand years, has contributed to climate-friendly architecture and presented a variety of

windows, each of which can inspire our contemporary architecture.

REFERENCE:

1. Amraee, Mahdi, Orosi, window towards light, Samt Publication, Tehran, 1383.

2. Pirnia, Mohammadkarim, Door and Window in Iranian Architecture, Batanshenasi va Honar

Iran, No. 2, 1348.

3. Soltanzadeh, Hosein, Tehran traditional windows, Daftar Pajooheshhae Farhangi, Tehran, 1375.

4. Takapoomanesh and Shahin, Booshehr Traditional Architecture, unprinted research, 1379.

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