پديد آورندگان :
ارژمند، محمود نويسنده عضو هييت علمي دانشكده معماري و شهرسازي، دانشگاه هنر , , اعتمادي‌پور، مرضيه نويسنده كارشناس ارشد مطالعات معماري ايران، دانشگاه هنر اصفهان ,
كليدواژه :
معماري قلعه‌دختر فيروزآباد , تحليل و نقد ساختارگرايانه , ساختار فضايي , فرم و عملكرد
چكيده فارسي :
قلعه‌دختر فيروزآباد با عملكردهاي كاخ و قلعه به‌عنوان بنايي ارزشمند از اواخر دوره اشكاني و مظهر تجلي خلاقيت‌هاي معمارانه‌اي است كه در طول ساليان گذشته الگوي بناهاي عظيمي شده است. بنابراين بايد به‌عنوان سند تكامل تاريخ معماري ايران به‌درستي شناخته شود كه در اين مقاله به نقد ساختارگرايانه آن پرداخته خواهد شد. پرسش‌هاي جهت‌دهنده تحقيق پيرامون تحليل و يافتن نسبت رابطه و كشف راهكارهاي معمارانه به‌كار رفته براي هماهنگ‌سازي كاركردهاي دوگانه كاخ و قلعه و نيز نمايان‌سازي خلاقيت‌هاي فضايي موجود در معماري آن شكل مي‌گيرد. در جهت پاسخگويي به اين پرسش‌ها، به توصيف و تكميل اطلاعات موجود از بنا به‌عنوان پايه تحليل‌هاي اصول فضايي حاكم بر قلعه‌دختر پرداخته مي‌شود كه نتيجه آن‌ها در قالب ارايه الگوها و نمودارهاي فضايي بيان گرديده است و منتج به وضوح غلبه كاركرد قلعه بر كاخ در طراحي خواهد شد. با قرار دادن اين نتايج در كنار قياس با بناهاي دوره‌هاي زماني متاخر و متقدم‌تر، ريشه‌يابي برخي از اساسي‌ترين الگوهاي معماري ايران حاصل مي‌شود كه از مهم‌ترين اهداف شكل‌گيري پژوهش حاضر است. آشنايي با شيوه‌هاي معمارانه هماهنگ‌سازي عملكردهاي گوناگون، هدف بنيادين ديگري است كه كوشش شده است از طريق روش كيفي و با ابزار مطالعات كتابخانه‌اي، مشاهدات ميداني و تحليل‌هاي معماري محقق شود. در نهايت ريشه‌يابي برخي الگوهاي سازمان‌دهي فضايي ماندگاري چون روابط فضايي ايوان و گنبدخانه در بناي قلعه‌دختر شناسايي شد.
چكيده لاتين :
Ghala-Dokhtar monument in Firouz-Abad, Fars Province, with its dual functions of palace and citadel, and as a valuable reference remained from the transition period of Ashkanid to Sassanid, manifests a creative architectural design that has been a model for some huge monuments in Iran for a long time. So, because of demonstrating historical, cultural and architectural heritage of our country, it should be rightly recognized as the evolutionary evidence of the magnificent forms and spaces of the Iranian architecture history. Hence, in this research, we describe, analyze and explain the structure of Ghala in form of a structural criticism that is formed on the basis of “criticism of object by itself” as the best way of criticism, and introduce architectural methods used to coordinate the dual functions of the building, and its spatial organization. At the beginning of the paper, after collecting the available data, the descriptive method is used as the basis of analysis of form, function and spatial principles governing the building and appraisal of some architectural features such as spatial transparency and openness, spatial independent, spatial differentiation and spatial hierarchy. Methods used to achieve the final results include field observation, desk study, as well as rational analysis. In order for creating the identity of our future architecture, presenting the past successful patterns to architects and the preserving the continuity of the traditional and contemporary architecture are the most important factors which necessitates performing similar researches for being inspired from successful vernacular patterns. Paying attention to theoretical architectural topics such as criticism of historical buildings is another reason for choosing this topic. Presenting the spatial patterns and designs of the monument, which will clearly show the domination of citadel function over palace function, is another conclusion of this paper. The main reasons for these results include: (1) using limited spaces for family and royal life; (2) using very complicated access method along with hierarchy for spaces; and (3) using less light for private spaces in massive circular part in third floor. Another important objective of this research is introducing architectural techniques of coordinating different and inconsistent functions in a single building, and the most important techniques for providing transparency and openness in Ghala include: (1) reducing introversion by terracing and locating royal floor generally and increasing the possibility of viewing other spaces; (2) using linear pattern in the third floor despite the existence of central courtyard in other floors; and (3) increasing openness by combining open and semi-open spaces of second and third floors. The research results also indicate that, according to available information, the architectural design of the building - especially the dome and portico for organizing the space - could be known as the source of some of the major Iranian architecture patterns. In particular, the simultaneous use of these elements, due to their absence in prior architectural works, can be considered as the first use of this model in the architecture of Iranian palaces, tombs and mosques.
