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Abstract
The multifaceted role of light, including defining space, enhancing efficiency, and adding beauty to the environment, has made it one of the essential pillars of architecture. Concerns regarding the quality of natural light and lighting with it are influenced by human needs, in which the process of aesthetic perception plays a prominent role. This process goes beyond creating suitable conditions to support visual function and is influenced by objective and subjective factors, where the objective aspect acts as a foundation for the subjective aspect. Consequently, understanding the aesthetic characteristics in the architecture's physical form becomes fundamentally important. The aim of this paper is to identify the physical aesthetic components of natural light in home architecture and find the relationship between them. To this end, the research method is designed as a combination of descriptive and content analysis methods. Initially, library and documentary data are collected and analyzed to form the theoretical basis of the research. Then, based on the non-probability sampling method, instances are selected and preliminary information is gathered from them through field methods. Finally, content analysis is used to perform initial and conceptual coding of the data to identify the physical aesthetic components of light. For this purpose, library tools, databases, observation, and MAXQDA software are utilized. The results of this article reveal ten components: "brightness-darkness," "visual order-dispersion," "complexity-simplicity of light," "warm-cool color," "visual legibility-ambiguity," "visual transparency-concealment," "visual distinction-uniformity," "visual mystery-clarity," "light hierarchy," and "visual continuity." These components illustrate how natural light plays a role in shaping and connecting different spaces within the home. By elucidating these components, it can be concluded that light plays two fundamental roles in beautifying the physical form of the home: first, light as a space creator and secondly, light as a space connector.
 

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The color is one of the forgotten elements in designing urban spaces that can provide legible and harmonic environment for citizens in Islamic cities, according to the principles, values, beliefs and natural and climatic features. Unfortunately, the rapid growth of the urbanization phenomenon in recent decades, especially in developing countries, has dramatically changed the urban landscape, this case in Iranian cities has led to the lack of precision in using the capabilities of the color element in urban furniture, as a part of the artificial landscapes of the city. As a result it is used without any planning and standards, and thus creates confusion and lack of legibility. Isfahan as one of the most distinguished cities in central region of Iran is one of the best examples that has been able to use the color element in order to improve the quality of urban landscape and historical authenticity, maintaining and promoting its authenticity over the years, by protecting remained historical textures. The purpose of the present study is to identify suitable color factors and codes on urban furniture. In this case study, this factor has been investigated based on urban spaces of central regions of Iran with Islamic dominant culture. This research is done by using descriptive-comparative method and library documents and texts, and also the data was gathered in the context of field studies. The research findings obtained through recognizing the context of the design, statistical data as well as comparing and analyzing the color codes of two study axes (The axis of Hakim Mosque in Hakim neighborhood as the old texture, and the axis of Mohammad Bagher Sadr as the new texture in Isfahan) and also by using internal and external successful experiences and principles of using colors in them, shows that color spectrum integration in single and moving elements of urban furniture increases the legibility and identify of the environment, while using a diverse range of colors for other elements of furniture does not distort the two factors of legibility and identity.