بررسي امكان استفاده از قطعات موسيقايي به عنوان منبع توليد ايده فرم كالبدي مطالعه موردي: الگوسازي كالبدي قطعه كرشمه از دستگاه چهارگاه

The Possibility Study on Musical Pieces Utility as a Source of Physical Form Ideas (Case Stydy: Physical modeling of Kereshmeh piece from Chahargah instrument)

فرم كالبدي به عنوان عنصري كارآمد، حامل اطلاعات ارزش مندي است كه به صورت مستقيم و يا از طريق ترجمه قابل دسترسي است. شكل گيري فرم نيز خود حاصل فرايندهاي پيچيده اي است كه هر يك با رويكردي متفاوت به موضوع طرّاحي مي پردازند. گوناگوني منابع الهام در الگوسازي كالبدي و كمبود رويكرد علمي در بسياري از آنها، عدم اطمينان به فرايندهاي توليد فرم و محصول به دست آمده از آنها را به همراه داشته است. تلاشهاي بسياري از سوي صاحب نظران براي گسترش منابع توليد ايدة شكلي در طرّاحي براي بهينه كردن محصول و هماهنگي آن با بستر طرح صورت گرفته است. اين پژوهش با هدف معرفي موسيقي به عنوان منبعي ارزش مند براي توليد ايدة شكلي، به دنبال پاسخ به چگونگي ترجمة متناظر مؤلّفه هاي موسيقايي به عناصر كالبدي است. براي اين منظور با استفاده از شيوه يفي- تحليلي و بررسي ميزان همبستگي ميان متغيّرهاي موجود در دو حوزة فرم و موسيقي، امكان ترجمة مؤلّفه هاي متناظر سنجيده شده و بر پاية آن بازنمايي بصري فرم موسيقايي مورد مطالعه قرار گرفته است. به واسطة جلوگيري از اعمال نظر و تحليل كاربر و هم چنين گسترش شمول كاربرد، در مدل پيشنهادي مؤلّفه هاي فيزيكي كه داراي تعريف ثابت و مشخّص هستند، در هر دو حوزة فرم و موسيقي به صورت يك به يك و يا در صورت امكان به چند مؤلفّة متناظر ترجمه شد ه اند. فرايند اين پژوهش به ايجاد دستور زبان توليد فرم بلاواسطه از موسيقي انجاميده و براي آزمودن شيوة پيشنهادي قطعة كوتاه كرشمه از دستگاه چهارگاه يكي از دستگا ههاي موسيقي سنتّي ايران، كه داراي نوانس هاي متنوع است براي ترجمة متناظر به فرم كالبدي استفاده شده است. مطالعة نتيجه به كارگيري اين دستور زبان نشان مي دهد، محصول ايجاد شده با توجّه به تعريف مؤلّفه هاي ساختاري ايجاد فرم، از قابليّت مناسبي براي توليد طرح مفهومي فرم هاي معماري و يا شهرسازي برخوردار است.

Abstract: In recent decades, design processes become a common manner to create architectural and urban forms. According to the scientific basis of those processes, visual forms, needs and context are being noticed as the most important items. Needs and context have a quantitative attribute and working on them are very simple, but visual form is different. The aesthetic parameters have an essential rolls in judgment of the form audiences and unfortunately those parameters have not a certain definition. Thus in the design processes, those two other items mostly noticed and used. Given that physical modeling has been considered as the last aspect of design processes, the form as a precious ele - ment, carrying a valuable information which has been accessible directly or indirectly. In order to reducing the design process execution time, developing a proper form giver system will occur. At the other hand, the diversity of inspiration sources in physical modeling and lack of scientific approach cause a kind of uncertainty in design processes. The aim of this research is introducing the music as a valuable source of developing a new formal design method. In order to create a visual form, music and architecture have used mathematical ratios over the history. From past to present, there have been an interdisciplinary interaction between music and architecture, the reason of which is the pursuit of aesthetic continuing for centuries. In this research, feasibility of translating musical components into formal elements has been investigated and the analytical descriptive method was used creating a parametrical correlation between music and its formal model - ing that needs an efficient compiler which can translate corresponding components to each other. The research process began with precedence studies of architectural works that are influenced by various fundamentals of music as well as architectural works that inform musical compositions. A comparison was then made between these works in order to understand how these musical elements have been translated into the formation of a space. The first act to transform musical piece to form is to perceive the piece thoroughly. Every piece is consisted of repetitions in itself. Such as a fractal fiction, tonal or atonal, small pieces are the portrayal of total. For this rea - son, within the frame of the thesis, an analysis in conformity with the process of creating a visual form has been developed. This analysis will be a reified version of aforementioned analyses. Also, a short piece of Iranian traditional music was translated to its corresponding physical model as the case study of this research. Based on this research, a new compiler model has been presented, which has three stepwise phases. The first step pro - ceeds a comprehensive identification of two realms, music and physical modeling. At the second step, corresponding components have been recognized and the last step consists of translating components from the music to appropriate form. In order to examine the new model, the Kereshmeh piece from Chahargah instrument has been translated to its corresponding visual form. Consequently, it can be concluded that sound is space and space is music.