پديد آورندگان :
حايري مازندراني، محمدرضا نويسنده عضو هييت اجرايي شوراي بين‌المللي حفاظت از بناها و محوطه‌هاي تاريخي (ايكوموس ايران) , , ملكوتي، عليرضا نويسنده عضو هييت علمي گروه معماري دانشگاه آزاد اسلامي واحد هرند , , اسماعيلي، شبنم‌السادات نويسنده كارشناس ارشد انسان‌شناسي دانشگاه تهران ,
كليدواژه :
روش‌شناسي معماري , انسان‌شناسي , گونه‌شناسي , معناشناسي , معماري ايران
چكيده فارسي :
در اين مقاله به چگونگي «روش شناخت معماري» بر اساس تجربه نويسندگان مقاله در بررسي رويكردهاي مختلف به شناخت معماري ايران و مطالعه 87 خانه تاريخي (پيش از 1300 هـ.ش) در 6 شهر مختلف‌الاقليم كشور يعني رشت، كرمان، كاشان، بوشهر، همدان و شيراز پرداخته مي‌شود. در اين مقاله نشان داده مي‌شود كه روش شناخت علاوه بر گرد‌آوردي داده‌ها، شناسايي و انتخاب دانش‌هايي است كه پژوهشگر را در گزينش داده‌ها و پردازش آنها هدايت مي‌كند. اين مقاله نشان مي‌دهد كه براي شناخت لايه‌هاي پنهان و پيداي معماري و معماري ايران، به شناختي چند‌دانشي نياز است. در اين مقاله استفاده تركيبي از سه دانش گونه‌شناسي معماري، انسان‌شناسي معماري و معناشناسي معماري به‌عنوان روش شناخت معماري ايران معرفي مي‌شود. استفاده تركيبي از اين سه دانش اين امكان را فراهم مي‌آورد تا نمودهاي فيزيكي معماري، در انواع آن از جمله سقف و كف و ديوار، چگونگي بسط فضاها به يكديگر، نور، رنگ و... به‌صورت يكپارچه در ارتباطشان با شيوه زندگي (باورها، آيين‌ها، الگوها و عادات رفتاري، فرهنگ استفاده از اشيا ) و همچنين در ارتباط با معناهاي آنها در بستر فرهنگ سرزمين براي يك جامعه و در ساحت روان‌شناختي براي هر انسان فهميده شود. نمونه‌هايي از دستاوردهاي شناختي حاصل از به‌كارگيري تركيبي اين سه دانش در مورد 87 خانه تاريخي (ساخته شده پيش از 1300 هـ.ش) ارايه مي‌شود.
چكيده لاتين :
This paper tries to evaluate the kinds of methodology needed for understanding architecture. Architecture is a field of study that brings together both physical elements such as earth, soil, water, sun, as well as nonphysical concepts, including those of public and private spaces; all of which are necessary for the provision of the social and psychological needs of individuals within particular society. Architecture is, further, a phenomenon that employs multiple methodological approaches and incorporates various areas of knowledge. This paper attempts to demonstrate that three areas of knowledge necessary for understanding architecture in general and Iranian architecture in particular, include: Typology, Anthropology and Semiology. We believe that knowledge is an ongoing process and any appreciation of local architecture requires careful attention to this dynamic aspect of knowledge as process. In order to incorporate multiple areas of knowledge and data, we have conceptualized a methodological technique called “knowledge biofeedback,” by which we mean observation, documentation, analysis, and developing questions. Questions arrived at on the basis on such methods are then fed back into further observation, documentation, discussion, and analysis. This technique has allowed us to not only have keener observations and to “see” what we may have missed earlier, but also to achieve well-rounded appreciation of diverse Iranian vernacular architecture and cultures. In most of the recent Ph.D. and MA theses, researchers claim to have based their methodology on either fieldwork or on library research. In our view, the problem with such “methodological” approaches is that often the “tools and techniques” of methodology have been substituted for the knowledge required to understanding socio-cultural phenomena. In the present paper, we have conducted extensive literature review of published books and articles, and from them we have selected seven areas to incorporate in our discussion and analysis of diverse Iranian architecture. These include archeology, art history, mythology, mysticism, anthropology, Persian literature and geography. Our discussion and analysis is based on our extensive field research and surveys of 87 historical houses from six cities in Iran in different regions of the country. These cities include Bushehr, Hamedan, Kashan, Kerman, Rasht, and Shiraz. In these field studies, as demonstrated in this paper, we have consistently tried to incorporate the three areas of knowledge by employing the methodological techniques mentioned above to contemporize the indigenous knowledge regarding what they mean by Iranian architecture. In this paper we hope to provide a more nuanced appreciation and deeper understanding of the diversity of Iranian architecture.
