بازخواني ابعاد زيبايي شناسي محيطي فرم شهر؛ مورد پژوهي: استخوان بندي اصلي شهر تاريخي اصفهان

The Environmental Aesthetic Elements and Aspects of the Urban Form Case Study: the Main Structure of Esfahan

به نظر مي رسد اگر فرم شهر را كليه عناصري از محيط طبيعي و انسان ساخت پيرامون آدمي بدانيم كه انسان بطور بالقوه ميتواند در ارتباط با آن قرار گيرد، استخوان بندي اصلي شهر مشخصه بنياديني از فرم شهر باشد. از سوي ديگر زيبايي‌شناختي ‌محيطي پارادايمي است كه با تاكيد بر نامحدود بودن تجربه محيط طبيعي و مصنوع پيرامون آدمي و اهميت فهم انسان از آن، بر كسب تجربه زيبايي‌شناختي از محيط تاكيد كرده است. تجربه اي كه مي‌تواند درست به اندازه تجربه‌اي كه از هنر و آثار هنري بدست مي‌آيد، به لحاظ عاطفي و شناختي غني و ارزشمند باشد. با توجه به آنچه گفته شد در اين نوشتار با استفاده از روش هاي تحقيق توصيفي- تحليلي و موردي و شيوه هاي تحقيق مرور متون، منابع و اسناد تصويري، به بازخواني ابعاد بصري- فرمي (در برگيرنده خصوصيات بصري محيط كالبدي مانند فرم و منظر عيني شهري) و ادراكي- معنايي (در رگيرنده خصوصيات محيط رفتاري مانند سيما و منظر ذهني شهري) زيبايي شناسي محيطي فرم شهر پرداخته شده است. اين مهم از طريق بازخواني و تحليل ويژگي هاي استخوانبندي اصلي شهر اصفهان صورت گرفته است.

There are two views on the concept of form. The first one looks at form versus content. Based on this old point of view, form or aspect is the shape and content is the performance of a phenomenon. On the other hand, according to the second perspective, form represents the aspect, structure, and the way content is developed, visualized, and expressed. From this standpoint, aesthetics is defined as emotional, obvious, and sensory presentation of a phenomenon which exposes itself to judgment. In other words, this core skeleton is responsible for transferring the city’s message to its citizens and visitors. Other parts of the city, which comprise the non-core part of it, are taken to be environments for showing diversity, freedom, authority, and change. At this time, it appears that if we consider the urban form as all elements of natural and human-made environment that surrounds human being, which men can potentially connect with it, the core skeleton of the city can be a fundamental characteristic of the urban form. Since, the main skeleton of the city is comprised of such elements as the key axes of communication, major open spaces, public buildings, etc., with which people are always connected. On the other hand, environmental aesthetics is a paradigm that focuses on gaining aesthetic experience of the environment through focusing on the unlimited nature of natural environment and human made experience around the humans and the importance of perceiving such experience by humans. Such an experience could be as emotionally and cognitively rich and valuable as that which is gained from art and art works. Environmental aesthetics is one of the two or three important areas of aesthetics which have been taken into consideration since the second half of twentieth century. The most significant subjects, with which environmental aesthetics is involved, are those related to understanding of the universe aesthetics and world aesthetics whose constituents are not merely objects and phenomena. They are, rather, bigger elements found in the environment. Therefore, the domain of environmental aesthetics goes beyond the limited borders of the art world and human understanding and broadens to aesthetic understanding of natural and human-made artificial environments which are influenced by the presence of men. According to the foregoing, this paper uses descriptive-analytical research method, case study, text reviews, and visual documents and sources to review the visual-formal aspects (including visual characteristics of the physical environment such as the objective perspective and form of the city) and perceptive-meaning aspects (including the characteristics of behavioral environment such as urban subjective perspective and form) of the environmental aesthetic of the urban form. This important issue is achieved through reviewing and analyzing the main structure characteristics of Esfahan.