خوانش پدیدارشناسی یوهانی پالاسما در پاویون مه اثر دیلر اسکوفیدو (اکسپو 2002)
محورهای موضوعی : دو فصلنامه فضای زیست
1 - پژوهشگر دکتری، گروه معماری، دانشکده معماری و شهرسازی، واحد قزوین، دانشگاه آزاد اسلامی، قزوین، ایران.
2 - استادیار، گروه معماری، دانشکده معماری و شهرسازی، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران. نویسنده مسئول.
کلید واژه: معماری, پدیدارشناسی معماری, یوهانی پالاسما, پاویون مه, دیلر اسکوفیدو,
چکیده مقاله :
میتوان به پدیدارشناسی بهعنوان یکی از مکاتب اصلی قرن بیستم اشاره کرد. پدیدارشناسی به مطالعه و بررسی ماهیت یک چیز میپردازد. یوهانی پالاسما ازجمله تاثیرگذارترین پدیدارشناسان معماری است. یوهانی پالاسما از منظر فلسفی متاثر از فلسفه موریس مرلوپونتی بوده، همچنین به تفکرات پدیدارشناسانی چون هوسرل و هایدگر نیز نیمنگاهی داشته است. از نظر پالاسما علم و عقل سبب ذهنیات محدودی متکی بر ادراک بینایی میشوند که پیامدهای تاسفباری را در معماری معاصر داشتهاند. پدیدارشناسی از نظر پالاسما نگرش عمیق است که انسان را به گوهر چیزها نزدیک میکند و آن ها را نزدیک انسان نگاه میدارد نگرش او با توجه به مشارکت حواس در فرآیند دریافت و ادراک و قراردادن کالبد و تن انسانی بهعنوان مرکزیت ادراک و مشارکت حواس پنجگانه در باب کیفیات حسی، مصالح، نور، رنگ، قدمت و تاریخچه حضور مییابد. پاویون مه اثر دیلر اسکوفیدو در اکسپو 2002، با خلق فضایی ابر مانند درصدد است تا مخاطب را از دیدن و ادراک بصری به لمسکردن، در فضا بودن و ادراک حسی برساند. روش تحقیق در این پژوهش توصیفی تحلیلی و جمع آوری اطلاعات اسنادی است. هدف از انجام این پژوهش، پاسخ به این پرسش است که ویژگیهای پاویون مه (اکسپوی 2002) از نظرگاه تحلیل پدیدارشناسی یوهانی پالاسما چیست و ویژگی های شاخص آن چه میباشند. برای این منظور ابتدا با شناخت نظریات پالاسما و سپس بررسی پاویون مه به تحلیل موضوع پرداخته شده است. نتایج این پژوهش نشان میدهند علاوه بر دیدن و دیده شدن که ناشی از ادراک ذهنی و بصری است معماری میتواند با به بازی گرفتن سایر حواس انسانی تجسمی متفاوت از فضا و مفهوم آن و نیز حس مکان متاثر از حضور در فضا را منجر گردد و مخاطب را بهگونهای متفاوت در معرض ادراک حسی از محیط قرار دهد. مولفههای ادراک چند حسی، در پاویون مه جلوه عملی بهخود گرفتهاند و مخاطب را در تجربه متفاوت از فضا یاری میکنند.
Phenomenology can be mentioned as one of the main intellectual currents of the twentieth century. Phenomenology studies the nature of a thing. Johani-Pallasmaa is one of the most influential architectural phenomenologists. Johani Pallasma was philosophically influenced by the philosophy of Maurice Merleau-Ponty, as well as the views of phenomenologists such as Husserl and Heidegger. According to Pallasmaa, science and reason give rise to limited mentalities based on the perception of vision, which has had unfortunate consequences in contemporary architecture. Pallasmaa phenomenology is a profound view that brings us closer to the essence of things and keeps them close to us. His view is based on the participation of the senses in the process of receiving and perceiving and placing the human body and body as the center of perception. The five senses are involved in the sensory qualities of materials, light, color, antiquity, and history. Diller Scofidio's Blur Pavilion at Expo 2002 seeks to create a supermassive space that takes the audience from seeing and visual perception to touch, being in space, and sensory perception. The research method in this research was descriptive analytical and collection of documentary and library information. Descriptive research includes a set of methods that aim to describe the conditions or phenomena under study. In recent years, phenomenology has become a universal method of evaluating architecture. In the meantime, numerous writings and researches have been done in which the phenomenological method has been the basis. Research in phenomenology can be reviewed in two separate areas. One is research on the nature and what is the philosophy of phenomenology, which is a special and very broad topic that there is no room to address here, and the other is research on how to realize the philosophy of phenomenology in architecture, which is in fact the approach of this research and the subject of research. Conducting descriptive research can only be to better understand the current situation or to assist in the decision making process. The most important features of this pavilion can be mentioned, moving in a foggy and foggy space towards light, vision and landscape, creates a special fluidity in the perception of the environment. Touching water droplets on the skin feels the materials and materials made and causes sensory perception. The resulting steam conveys a moist scent and sees the audience in space and time in front of a different experience. Another point is to be placed on a bed of water and the presence of water droplets creates a special connection between the environment and the built environment. The purpose of this study is to answer the question of the characteristics of the Blur pavilion from the point of view of Johanni-Pallasmaaa phenomenological analysis and its characteristic features. For this purpose, first by recognizing the theories of Pallasmaa and then the Blur Pavilion, the subject has been analyzed. The results of this study show that in addition to seeing and being seen, which is due to mental and visual perception, architecture can play a different visual of space and its meaning by playing other human senses, as well as the sense of place affected by presence in space. Lead and expose the audience to different sensory perceptions of the environment. Multisensory perception indicators take on a practical effect in the Blur Pavilion and help the audience experience a different space. An atmosphere full of sensory experience that the audience sees in interaction with it and sensory perception leads to a different experience. Many artistic and architectural influences are evoked through presence and experience. Experiences of the various senses that take place in the present world that become part of the audience's experience and memories. For a better perception of space (often thought of as visual images), multisensory perceptions form a more empirical experience, directing space toward spatiality and affecting the audience in a multifaceted way. This makes the audience understand and benefit from the environment based on their ability and perception, which is different from the other. This helps the audience to understand the space and lead the work to something meaningful. The effect of architectural sensory and mental perceptions is significantly formed in its quality, which combines different aspects and dimensions of experience.
_||_