تبيين سنخيت رويكرد پديده شناسي جهت شناخت معماري‌ بومي (نمونه موردي: مسكن بومي منطقۀ منوجان استان كرمان)

Demonstration of phenomenological approach’s proportion, for vernacular ARCHITECTURE recognition (Case Study: Vernacular Housing in Manoojan Region of Kerman Province)

تاكنون معماري ‌بومي عمدتاً با نگرش­هاي اقليمي و فرهنگي تبيين ‌شده‌است؛ پژوهشگران در مطالعات و بررسي ­هايشان، اغلب با روش‌هاي معمولِ آماري و ترسيم جدول و نمودار و سپس با يافتن معيارهايي براي مقبول بودن روش، تحليلي از مقبوليت آن­ها به‌دست مي­دهند؛ اما اين رويكردها و روش­ها به‌دنبال پاسخ به «چرايي» بوده و در گسست «عين» و «ذهن» رقم مي­خورند. درحالي‌كه معماري بومي در هماهنگي با «تجربه زيستۀ» بوميان شكل مي­گيرد، بنابراين در اين تحقيق، اين جنبه­ هاي مغفول از معماري ‌بومي مدنظر بوده و بر آن شد تا با تكيه‌بر روشي متناسب در شناخت كامل و جامعِ موضوع كه در آن گسست عين و ذهن وجود نداشته باشد و«چگونگي» در آن ممكن شود به پديده­شناسي رجوع كند. مطالعات پديده­شناختي ريشه در فلسفه داشته و بر مفاهيمي چون «تجربه زيسته» و «ادراك» انسان از هستي اشاره دارند. درواقع ماهيت فلسفي پديده­شناسي آن را واجد پيچيدگي­هايي كرده كه گشودن آن‌ها افق­هاي جديدي را باز مي­كند. افق­هايي كه در تقابل با محدوديت استانداردگرايي افراطي، «در- جهان- بودنِ» انضمامي و انفرادي انسان را مطرح مي­كنند. انساني كه فراتر از ابعاد و اندازه­هاي فيزيكي و متافيزيكيِ تعيين‌شده، فضاي زيستي­اش را مي­شناسد و مي­سازد. اين مقاله به بازخواني منابع و تفسير محتواي پديده­شناسي، با تكيه‌بر آراي شولتز- معمار و نظريه­پرداز معاصر- كه نظريات پديده­شناسي او معطوف به فلسفۀ هستي­شناسانۀ «هايدگر» است، براي پاسخ به اينكه چگونه پديده­شناسي براي خوانش معماري بومي متناسب مي­باشد، با روش پژوهشِ تحليلي- توصيفي پرداخته است. ازآنجاكه پديده­شناسي در پي بررسي و توصيف ساختارهاي آگاهي آن‌چنان‌كه از منظر اول‌شخص تجربه مي­شود، است؛ درنتيجه معماري ‌بومي‌ منوجان با اين روش با توجه به جنبه ­هاي گوناگون مواجهۀ انسان با زيست- جهانش به‌گونه‌اي فردي- كيفي و فراتر از پاسخ به كاركردهاي آشكار و ظاهري، مورد تأمل و تفسير قرار مي­گيرد. نتايج، بيانگر ارتباط ويژۀ ميان شاعرانگي، محيط طبيعي، پديدۀ مكان با معماري بومي و خصوصاً در نمونۀ موردي موردبررسي يعني معماري ‌بومي‌ منوجان است كه درنهايت سعي شد نشان داده شود تحقق سكونت و حس مكان معطوف به تجربۀ زيستۀ ساكنان و با تحليل و رويكردي وجودي به ديد مي­آيند.

Although the vernacular architecture is formed in harmony with the "lived experience" of the natives, looking at the studies of vernacular architecture, we see that in the researches done, researchers have paid more attention to the role of factors such as social, cultural, religious, economic, physical, climatic, construction technology and materials; an‎d so far, researches done in the field of vernacular architecture were largely explained by the cultural and climatic approaches. In their studies, researchers often provide charts and graphs using conventional statistical methods, and then find an acceptance analysis by finding criteria for their validity; however, all of these approaches and methods seek to answer the "why" and fall into the "object" and "subject" gap and divisions. The answer to "how" seems to go back to the question of the "essence" of architecture; this article considers this view and this aspect of vernacular architecture. This article claims that dwelling in vernacular architecture is deeply and meaningfully realized since residents of the locals have a sense of identification with the surrounding environment. For this reason, since these neglected aspects of Vernacular architecture were considered in this study, it was decided to refer to phenomenology with an appropriate approach in the complete and comprehensive understanding of the subject; and relying on a phenomenological approach that is rooted in philosophy and refers to concepts such as "lived experience" and "perception" of man from "being", examine the issue in a way that lacks the disconnection of "object" and "subject" and "How" is possible in it. In fact, the true philosophical nature of phenomenology has given it complexities, the opening of which leads to new horizons; Horizons that, in contrast to the limitations of extreme standardism, present the concrete and individual "being-in-the-world" of man, a man who knows and constructs his living space beyond the determined physical and metaphysical dimensions. This article attempts to re-read the sources and interpret the content of phenomenology, relying on the views of Schultz - a contemporary architect and theorist - whose phenomenological theories are based on Heidegger's ontological philosophy. As well, the analytical – descriptive methods have been used to answer this question "how the phenomenological approach is appropriate in reading vernacular architecture?" The phenomenological method is selected as a research method because of its relationship to the subject since vernacular architecture is shaped from first-hand interaction of man and his "life-world". an‎d this is somehow phenomenology itself. In other words this relationship is very close so that even phenomenology can be explained using vernacular architecture. It could be summarized like this: phenomenology is a qualitative method (beyond quantitative and statistical approaches), independent (lacking presumptive method), descriptive (describing the subject just the way it becomes apparent) and interpretative (depending on described, sensible issue). After basic theoretical studies, the results of field studies on the vernacular architecture of Manoojan were presented in the form of analysis and description with Schultz and Heidegger's phenomenological criteria in order to achieve a deeper and better understanding of the vernacular architecture of Manoojan in a phenomenological describing and interpreting. The results of the phenomenological recognition of the vernacular architecture of Manoojan region with architectural features and extracted criterias, indicating a special relationship between poetic, natural environment and place phenomenon with the vernacular architecture of Manojan. The results also showed that the sattlement, in spite of all the economic problems and severe poverty of its inhabitants, has the necessary components to achieve housing and a sense of place in accordance with the authentication and user acceptance and therefore in relation to form and space. Finally it was tried to show that the vernacular architecture of Manoojan is an architecture from the gateway of the existential space, which from the gateway of poetry, it is an unexpected and at the same time liberating space that is discovered and understood through imagination.