تقارن نامتقارن: چارچوب تحلیلی برای ریاضیات پنهان در خانه‌های ارزشمند قاجار اصفهان با رویکرد بوم‌شناسی بصری

نوع مقاله : مقاله پژوهشی

نویسندگان

1 پژوهشگر فرادکتری گروه معماری، دانشگاه تربیت مدرس، تهران، ایران.

2 استاد گروه معماری، دانشگاه تربیت مدرس، تهران، ایران.

3 استادیار گروه معماری، دانشگاه پورتو، پورتو، پرتغال.

4 دانشیار گروه معماری، محیط و ساختمان، دانشگاه پلی‌تکنیک میلان، میلان، ایتالیا.

10.22034/aaud.2023.340811.2662

چکیده

هندسه به‌عنوان یکی از ویژگی‌های کالبدی معماری است و از میان راهبردهای هندسی، الگوی انتظام‌دهنده تقارن در آن جایگاهی ویژه دارد. تقارن بدون درنظر داشتن مفاهیمی چون تعادل، توازن، ریتم و تناسب به معنای کامل خود نمی‌رسد. این پژوهش سعی دارد اصل تقارن را در فرآیند ادراک خانه‌های قاجاری در اصفهان بررسی و تحلیل کند. مجموعه‌ای که اگرچه در نگاه اول دارای تقارن بصری است ولی در چشم‌انداز خود یک مجموعه‌ی نامتقارن محسوب می‌گردد. در این پژوهش تقارن به‌عنوان یک ارزش تکاملی در هندسه‌ی معماری خانه ایرانی به روش توصیفی- تحلیلی و با تکنیک بوم‌شناسی بصری مورد تحلیل قرار گرفته و دلایل عدول از این ارزش در محور و فرم ارزیابی می‌گردد. یافته‌های پژوهش حکایت از آن دارد که تقارن از قدیمی‌ترین انتظام‌های فضایی و شکلی شناخته‌شده در فضاهای عمومی معماری ایرانی- اسلامی است تا بتواند کثرت را به وحدت در مرکز فضا گره بزند؛ لیکن تنوع در ابعاد و گوناگونی فضاهای مسکونی و شکل زمین، باعث گردیده است که تقارن کلی در طراحی فضا میسر نگردد و طراح، تقارن را در اجزای نما رعایت نماید. با این وجود توجه به مرکز فضا با خلق حیاط مرکزی و قرارگیری منطقی فضاها در پلان و همچنین استفاده از پیمون و عناصر مشابه به منظور مناسب‌سازی با دستگاه بینایی، باعث گردیده تا تصویری چشم‌نواز، منسجم و به ظاهر متقارن در ذهن ناظر شکل بگیرد. نتایج بیان‌کننده آن است که اگرچه شکل زمین در معماری خانه‌های ایرانی، شکل‌گیری معماری متقارن را دشوار و پیچیده می‌سازد، لیکن طراح بنا با ایجاد فضای هندسی در میان (حیاط مرکزی) و کیفیت خوانایی به‌واسطه جانمایی و ارتباطات مناسب فضایی، توانسته است رابطه‌ای جدید از تعادل پایدار در لایه‌های پنهان ایجاد نموده به نحوی که مخاطب را در کنشی فعال با مفاهیم درونی اثر درگیر و او را به جزیی از این فرآیند ادراکی بدل ‌سازد.

کلیدواژه‌ها

عنوان مقاله [English]

Asymmetric Symmetry: An Analytical Framework of Hidden Mathematics in Isfahan’s Valuable Qajar Houses; A Video-ecology Approach

نویسندگان [English]

  • Mohammad Latifi 1
  • Mohammad Javad Mahdavinejad 2
  • Clara Pimenta Do Vale 3
  • Giuliana Iannaccone 4
1 Postdoctoral Researcher of Architecture, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran.
2 Professor of Architecture, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran (Corresponding Author).
3 Assistant Professor of Architecture, Faculty of Architecture, University of Porto, Porto, Portugal.
4 Associate Professor of Architecture, Built Environment and Construction Engineering, Politecnico di Milano, Milan, Italy.
چکیده [English]

Geometry is one of the physical features of architecture, and the regular pattern of symmetry has a special place in geometric strategies. Symmetry is senseless without such concepts as equilibrium, balance, rhythm and proportions. This study aimed to investigate the principle of symmetry in the process of perceiving Qajar-era houses in Isfahan City, Iran. These houses, although featuring a kind of visual symmetry in the first glance, are considered an asymmetrical set within their own landscapes. This study analyzed symmetry as an evolutionary value in the architectural geometry of Iranian houses, using the descriptive-analytical method and the video-ecology technique, and evaluated the reasons why this value has been violated from axial and formal perspectives. Findings indicated that symmetry is one of the oldest spatial and formal-regulating dimensions in the public spaces of Iranian-Islamic architecture, which manages to link plurality with unity in the center of the space; however, diversity in various residential spaces and dimensions, as well as land forms, have made it impossible for general symmetry to be embedded within space designs, with the designer observing symmetry in façade components. Meanwhile, the focus on the center of the space, along with the establishment of a central courtyard, and the logical location of spaces in the plan and also the use of modules and similar elements for adapting to visual systems have led to the formation of an eye-catching, coherent and seemingly symmetrical image in the mind of the observer. Findings also indicated that although the ground form in the architecture of Iranian houses may make the formation of symmetrical architecture complex and difficult, the building designer creates an in-between geometric space (a central courtyard) and uses the quality of readability by means of locating and spatial proportions to establish a new relation of a stable balance within its latent layers; this impressions involves the user in an active action with the internal concepts of the work and turns him into a part of the perceptual process.

کلیدواژه‌ها [English]

  • Asymmetrical Symmetry
  • Regulating Pattern
  • Stable Balance
  • Qajar Houses
  • Video-Ecology

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  • تاریخ دریافت: 19 اردیبهشت 1401
  • تاریخ بازنگری: 12 دی 1401
  • تاریخ پذیرش: 09 بهمن 1401

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