1. ‫ﺳﺮﻣﻘﺎﻟﻪ‬
CIRCULATION ‫ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ‬
Kamran Afshar Naderi ‫ﻛﺎﻣﺮﺍﻥ ﺍﻓﺸﺎﺭﻧﺎﺩﺭﻱ‬
‫ﺍﺻﻄﻼﺡ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺳﺎﻝﻫﺎﺳﺖ ﺑﻪ ﻭﺍژﻩﻧﺎﻣﺔ ﺗﺨﺼﺼﻲ ﻣﻌﻤﺎﺭﻱ ﺭﺍﻩ ﻳﺎﻓﺘﻪ ﻭ‬
From early times, architects have been attentive to the design
‫ﻣﻌﻨﻲ ﺁﻥ ﺳﺎﺯﻣﺎﻥ ﮔﺮﺩﺵ ﺩﺭ ﻓﻀﺎ ﻭ ﺩﺳﺘﺮﺳﻲ ﺑﻪ ﺑﺨﺶﻫﺎﻱ ﻣﺨﺘﻠﻒ ﺳﺎﺧﺘﻤﺎﻥ‬
of building volume no more than they were interested in the
discovery and comprehension of how such volume is seen from ‫ﺍﺳﺖ. ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺩﺭ ﻣﻌﻤﺎﺭﻱ، ﺑﻪ ﺍﻧﺪﺍﺯﺓ ﺭگﻫﺎ ﺩﺭ ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﻭ ﻣﺪﺍﺭ ﺩﺭ‬
the outside. Ancient Greeks designed and built their temples ‫ﺳﻴﺴﺘﻢﻫﺎﻱ ﺍﻟﻜﺘﺮﻭﻧﻴﻜﻲ ﺍﻫﻤﻴﺖ ﺩﺍﺭﺩ. ﻛﺎﺭﺁﻳﻲ ﻭ ﻛﻴﻔﻴﺖ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺑﺮ‬
as sculptures standing in the open so that the corners of the
building were visible to the viewers according to their desired
‫ﻛﻴﻔﻴﺖ ﻓﻀﺎﻱ ﻣﻌﻤﺎﺭﻱ ﻭ ﺑﻬﺮﻩﺑﺮﺩﺍﺭﻱ ﺍﺯ ﺁﻥ ﺗﺄﺛﻴﺮ ﻣﺴﺘﻘﻴﻢ ﺩﺍﺭﺩ ﻭ ﺍﺯ ﻫﺮ ﺩﻭ ﺟﻨﺒﺔ‬
or arbitrary point of view. By using a series of stairs, portals ‫ﻓﻴﺰﻳﻜﻲ ﻭ ﺭﻭﺍﻧﺸﻨﺎﺧﺘﻲ ﺣﺎﺋﺰ ﺍﻫﻤﻴﺖ ﺍﺳﺖ. ﺍﺯ ﻣﻨﻈﺮ ﻓﻴﺰﻳﻜﻲ ﻣﻲﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ‬
and predefined paths, Achamanids guided their guests through ‫ﺍﻏﻠﺐ ﻓﻌﺎﻟﻴﺖﻫﺎﻱ ﺍﻧﺴﺎﻥ ﻧﻴﺎﺯﻣﻨﺪ ﺣﺮﻛﺖ ﺍﺳﺖ ﻭ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﺭﻭﺍﻧﺸﻨﺎﺧﺘﻲ، ﺩﺭﻙ‬
the building in a way that they were able to discover and view
the main building façade. Such interest in controlling the visual ‫ﻣﺎ ﺍﺯ ﻓﻀﺎ ﻭ ﻓﺮﻡ ﻣﻌﻤﺎﺭﻱ، ﺑﻪﻭﻳﮋﻩ ﺩﺭﻙ ﺑﺼﺮﻱ، ﻣﺘﺄﺛﺮ ﺍﺯ ﻣﻜﺎﻧﻴﺴﻢ ﻛﺸﻒ ﻓﻀﺎ‬
axis of the building façade has always been present in Persian ،‫ﻭ ﺩﺭ ﻭﺍﻗﻊ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺍﺳﺖ. ﺩﺭ ﻓﻀﺎﻫﺎﻱ ﭘﺮﺗﺮﺩﺩ ﻧﻈﻴﺮ ﭘﺎﻳﺎﻧﻪﻫﺎ، ﺳﻴﻨﻤﺎﻫﺎ‬
architecture. The design of Naqsh-e-Jahan Square in Isfahan ‫ﻣﻮﺯﻩﻫﺎ، ﻧﻤﺎﻳﺸﮕﺎﻩﻫﺎ ﻭ ﻭﺭﺯﺷﮕﺎﻩﻫﺎ، ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺟﺰﻭ ﺍﺻﻠﻲﺗﺮﻳﻦ ﻋﻮﺍﻣﻞ ﻣﺆﺛﺮ‬
provides the maximum of depth of view from the axis of the
bazaar. ‫ﺑﺮ ﻃﺮﺍﺣﻲ ﻭ ﭼﻪﺑﺴﺎ ﻋﻨﺼﺮ ﻣﺤﻮﺭﻱ ﺩﺭ ﻣﻔﻬﻮﻡ ﻃﺮﺍﺣﻲ ﺍﺳﺖ. ﺑﺮﺍﻱ ﻣﺜﺎﻝ ﺩﺭ‬
Orientation in space, which happens today through the ‫ﻃﺮﺍﺣﻲ ﻣﺴﻴﺮﻫﺎﻱ ﺧﺮﻭﺝ ﺍﺿﻄﺮﺍﺭﻱ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥ ﻳﺎ ﺣﺮﻛﺖ ﻋﻤﻮﺩﻱ ﻭ ﺍﻓﻘﻲ ﺩﺭ‬
application of guiding signs, is an important issue for which the
.‫ﺑﻴﻤﺎﺭﺳﺘﺎﻥﻫﺎ، ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺑﻪ ﻋﺎﻣﻠﻲ ﺣﻴﺎﺗﻲ ﺗﺒﺪﻳﻞ ﻣﻲﺷﻮﺩ‬
architectural form should be preferably responasible. In order to
facilitate orientation in buildings, symmetry and similarity must ‫ﺑﻪﺭﻏﻢ ﭼﻨﻴﻦ ﻧﻘﺶ ﻣﻬﻤﻲ ﺩﺭ ﻣﻌﻤﺎﺭﻱ، ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻪﻧﺪﺭﺕ ﺳﺎﺧﺘﻤﺎﻧﻲ‬
be avoided. In many office high-rises or hotels with a central .‫ﻣﻲﺑﻴﻨﻴﻢ ﻛﻪ ﺑﺎ ﺗﻮﺟﻪ ﻛﺎﻓﻲ ﺑﻪ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﻃﺮﺍﺣﻲ ﻭ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺑﺎﺷﺪ‬
core, one cannot orient himself after exiting the lift. Differentia-
tion of spaces, creation of halls and inner voids allowing the
،‫ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﻧﻴﺎﺯﻫﺎﻱ ﻓﻴﺰﻳﻜﻲ ﺗﺮﺩﺩ، ﻧﻈﻴﺮ ﺩﺳﺘﺮﺳﻲ ﻣﻌﻠﻮﻻﻥ‬
comprehension of the inner volume of the building as well as the ‫ﺁﺳﺎﻧﺴﻮﺭﻫﺎﻱ ﻛﺎﻓﻲ ﻭ ﺳﺮﻳﻊ، ﭘﻠﻜﺎﻥ ﺭﺍﺣﺖ ﻭ ﺑﻲﺧﻄﺮ ﻭ ﺭﺍﻫﺮﻭﻫﺎﻱ ﺑﺎ ﻋﺮﺽ ﻛﺎﻓﻲ‬
use of environmental graphic design (color, writings and large ‫ﻭﺟﻮﺩ ﻧﺪﺍﺭﻧﺪ ﻭ ﺑﻪﻟﺤﺎﻅ ﺑﺼﺮﻱ، ﺭﺍﻩﻳﺎﺑﻲ ﺩﺭ ﻓﻀﺎ، ﺍﻣﻜﺎﻥ ﻛﺸﻒ ﻭ ﺩﺭﻙ ﻓﻀﺎﻱ‬
signs) are among the ways of making orientation possible.
One of the important issues in designing circulation in space ‫ﻣﻌﻤﺎﺭﻱ ﺍﺯ ﻃﺮﻳﻖ ﺗﺮﺩﺩ ﺩﺭ ﻓﻀﺎ ﺩﺭﺳﺖ ﭘﻴﺶﺑﻴﻨﻲ ﻧﺸﺪﻩ ﺍﺳﺖ.ﻣﻬﻢﺗﺮﻳﻦ ﻭﺟﻮﻩ‬
is to allow path correction and interchange. In buildings where :‫ﻓﻨﻲ ﻣﺮﺗﺒﻂ ﺑﺎ ﻣﻘﻮﻟﺔ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺭﺍ ﻣﻲﺗﻮﺍﻥ ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﺑﺮﺷﻤﺮﺩ‬
circulation spaces are designed in a tree-like pattern (such as ‫ﺍﻟﻒ: ﻣﺴﻴﺮ ﻭﺭﻭﺩ ﻭ ﺍﺭﺗﺒﺎﻁ ﺁﻥ ﺑﺎ ﻓﻀﺎﻱ ﺑﻴﺮﻭﻥ، ﺣﺠﻢ ﺗﺮﺩﺩ، ﻛﺎﻫﺶ ﺗﺒﺎﺩﻝ‬
Golestan Shopping Mall in Sharak-e-Qarb) where branches
spread out from a main space dividing into smaller paths, circu- ‫ﺣﺮﺍﺭﺗﻲ ﺑﺎ ﻓﻀﺎﻱ ﺧﺎﺭﺝ، ﺩﺳﺘﺮﺳﻲ ﻣﻌﻠﻮﻻﻥ، ﺩﺳﺘﺮﺳﻲ ﺍﻧﻮﺍﻉ ﺍﺗﻮﻣﺒﻴﻞ ﻭ ﺩﻳﮕﺮ‬
lation terminates in dead-ends or abandoned paths and those .‫ﻭﺳﺎﻳﻞ ﺣﻤﻞﻭﻧﻘﻞ، ﻛﻨﺘﺮﻝ ﻭﺭﻭﺩ ﻭ ﺍﻣﻨﻴﺖ‬
deciding to change path need to go back. Networks are com-
‫ﺏ: ﺳﻴﺴﺘﻢ ﺗﻮﺯﻳﻊ ﻭ ﺩﺳﺘﺮﺳﻲ ﺷﺎﻣﻞ ﺣﺮﻛﺖ ﺍﻓﻘﻲ ﻭ ﻋﻤﻮﺩﻱ. ﺍﺟﺘﻨﺎﺏ ﺍﺯ‬
paratively more successful, yet it is harder to find your way in a
network since nods can be very similar or identical. An architec- ‫ﺗﺪﺍﺧﻞ ﻭ ﺗﻘﺎﻃﻊ ﻣﺴﻴﺮﻫﺎﻱ ﻣﺘﻔﺎﻭﺕ )ﻣﺜﻞ ﭘﻴﺎﺩﻩ ﻭ ﺳﻮﺍﺭﻩ، ﻣﺴﻴﺮ ﻭﺭﻭﺩ ﻣﻬﻤﺎﻧﺎﻥ‬
tural design differentiating nods and establishing hierarchy be- ‫ﻭ ﺧﺪﻣﻪ ﺩﺭ ﻫﺘﻞ، ﻣﺴﻴﺮ ﺧﺮﻭﺝ ﻭ ﺗﺮﺍﻧﺰﻳﺖ ﺩﺭ ﻓﺮﻭﺩﮔﺎﻩ ﻭ...(، ﻇﺮﻓﻴﺖ ﻭ ﺳﺮﻋﺖ‬
tween paths according to their length, width or height or formal
and graphic qualities can solve the problem. In linear systems
‫ﺁﺳﺎﻧﺴﻮﺭﻫﺎ، ﻋﺮﺽ ﭘﻠﻜﺎﻥ ﻭ ﭘﻠﻜﺎﻥ ﺑﺮﻗﻲ، ﻣﻴﺰﺍﻥ ﺷﻴﺐ ﻭ ﻋﺮﺽ ﺷﻴﺒﺮﺍﻫﻪﻫﺎ ﻭ ﻋﺪﻡ‬
such as the bazaar or spiral museums such as Benz Museum in ،‫ﻟﻐﺰﻧﺪﮔﻲ ﺁﻥﻫﺎ، ﺭﻭﺷﻨﺎﻳﻲ ﻻﺯﻡ ﺑﺮﺍﻱ ﺭﺍﻫﻴﺎﺑﻲ، ﻋﺮﺽ ﻭ ﻃﻮﻝ ﺭﺍﻫﺮﻭﻫﺎ، ﻋﺮﺽ‬
Stuttgart or Guggenheim in New York the problem is thoroughly .‫ﺟﻬﺖ ﻭ ﻣﺸﺨﺼﺎﺕ ﻓﻨﻲ ﺩﺭﻫﺎ‬
solved through introduction of secondary ramps or lifts.
Today in many public places such as exhibition spaces, mu- ،‫ﺝ: ﺧﺮﻭﺝ ﻭ ﺧﺮﻭﺝ ﺍﺿﻄﺮﺍﺭﻱ ﺷﺎﻣﻞ ﻣﺴﻴﺮﻫﺎﻱ ﻓﺮﺍﺭ ﺑﻪﻟﺤﺎﻅ ﻣﻴﺰﺍﻥ ﻋﺮﺽ‬
seums, airports and parks, movement is the main factor usually ‫ﻃﻮﻝ، ﺭﻭﺷﻨﺎﻳﻲ، ﻣﻘﺎﻭﻣﺖ ﺩﺭ ﻣﻘﺎﺑﻞ ﺣﺮﻳﻖ، ﻋﺪﻡ ﻟﻐﺰﻧﺪﮔﻲ، ﺟﻬﺖ ﻭ ﻣﺸﺨﺼﺎﺕ‬
evaluated as the major element in designing project concept. ‫ﻓﻨﻲ ﺩﺭﻫﺎ ﺩﺭ ﻣﺴﻴﺮ، ﺗﻨﺎﺳﺐ ﺳﻴﺴﺘﻢﻫﺎﻱ ﺧﺮﻭﺝ ﺍﺿﻄﺮﺍﺭﻱ ﺑﺎ ﺟﻤﻌﻴﺖﭘﺬﻳﺮﻱ‬
Projects such as Benz Museum by U.N.Studio in Stuttgart or
MAXXI Museum by Zaha Hadid are the result of a similar evalu- .‫ﻓﻀﺎ، ﻃﺒﻘﻪ ﻭ ﺭﻳﺴﻚ ﺣﺮﻳﻖ‬
ation. In these projects, circulation is a complicated web of paths ‫ﻣﺒﺎﺣﺚ ﺍﺻﻠﻲ ﻣﺮﺗﺒﻂ ﺑﺎ ﺟﻨﺒﻪﻫﺎﻱ ﺭﻭﺍﻧﺸﻨﺎﺧﺘﻲ ﻭ ﺍﺩﺭﺍﻙ ﺑﺼﺮﻱ‬
forming the space. Visitors of these buildings enter an intercon-
:‫ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﻧﻴﺰ ﺍﺯ ﺍﻳﻦ ﻗﺮﺍﺭﻧﺪ‬
nected and homogenous network of large and small spaces
guiding them throughout the building and allowing them to view (‫ﺍﻟﻒ: ﻧﺤﻮﺓ ﻛﺸﻒ ﺣﺠﻢ ﺑﻴﺮﻭﻧﻲ ﺳﺎﺧﺘﻤﺎﻥ ﻭ ﻭﺭﻭﺩ ﺑﻪ ﺑﻨﺎ )ﻳﺎ ﻣﺠﻤﻮﻋﻪ‬
the exhibited artworks and comprehend the architectural content ‫ﺏ: ﺟﻬﺖﻳﺎﺑﻲ‬
and spatial structure of the building.
‫ﺝ: ﺩﺳﺘﺮﺳﻲ، ﺍﺻﻼﺡ ﻳﺎ ﺗﻐﻴﻴﺮ ﻣﺴﻴﺮ‬
‫ﺩ: ﻛﺸﻒ ﻓﻀﺎﻱ ﻣﻌﻤﺎﺭﻱ ﺍﺯ ﻃﺮﻳﻖ ﺣﺮﻛﺖ‬
‫ﻫـ : ﻓﻀﺎﻱ ﺗﺮﺩﺩ ﺑﻪ ﻣﺜﺎﺑﻪ ﻓﻀﺎﻱ ﺯﻧﺪﮔﻲ‬
3/3

2. ‫,‪Building in Amsterdam‬‬ ‫ﺳﺎﺧﺘﻤﺎﻥ ﺩﺭ ﺣﻮﻣﺔ ﺁﻣﺴﺘﺮﺩﺍﻡ،‬ ‫‪Opera House, Oslo, Snohetta‬‬ ‫ﺳﺎﺧﺘﻤﺎﻥ ﺍﭘﺮﺍ، ﺍﺳﻠﻮ، ﺳﻨﻮﻫﺘﺎ‬
‫‪Vinoly‬‬ ‫ﺭﺍﻓﺎﺋﻞ ﻭﻳﻨﻮﻟﻲ‬
‫ﺩﺭ ﺑﺎﺯﺍﺭﻫﺎ ﺧﻄﻲ ﻭ ﺑﺮﺍﺳﺎﺱ ﺳﻠﺴﻠﻪ ﻣﺮﺍﺗﺐ ﻓﻀﺎﻳﻲ ﺩﻗﻴﻘﻲ ﺍﺳﺖ ﻛﻪ ﺟﻬﺖﻳﺎﺑﻲ ﺭﺍ‬ ‫ﻭ: ﺷﻜﻞﮔﻴﺮﻱ ﻧﻈﺎﻡ ﻓﻀﺎﻳﻲ ﻣﻌﻤﺎﺭﻱ ﺑﺮ ﭘﺎﻳﺔ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ‬
‫ﺁﺳﺎﻥ ﻣﻲﻛﻨﺪ.‬ ‫ﻣﻌﻤﺎﺭﺍﻥ ﺍﺯ ﺩﻳﺮﺑﺎﺯ ﺩﺭﺳﺖ ﺑﻪﺍﻧﺪﺍﺯﺓ ﻃﺮﺍﺣﻲ ﺣﺠﻢ ﺳﺎﺧﺘﻤﺎﻥ ﺑﻪ ﭼﮕﻮﻧﮕﻲ‬
‫ﺑﺮﺍﻱ ﺗﺴﻬﻴﻞ ﺟﻬﺖﻳﺎﺑﻲ ﺩﺭ ﺳﺎﺧﺘﻤﺎﻥﻫﺎ ﺑﺎﻳﺪ ﺣﺘﻲﺍﻟﻤﻘﺪﻭﺭ ﺍﺯ ﺍﻳﺠﺎﺩ ﺗﻘﺎﺭﻥ ﻭ‬ ‫ﻛﺸﻒ ﻭ ﺩﺭﻙ ﺣﺠﻢ ﺁﻥ ﺍﺯ ﺑﻴﺮﻭﻥ ﻧﻴﺰ ﺗﻮﺟﻪ ﺩﺍﺷﺘﻪﺍﻧﺪ. ﻳﻮﻧﺎﻧﻴﺎﻥ ﺑﺎﺳﺘﺎﻥ ﺳﺎﺧﺘﻤﺎﻥ‬
‫ﻣﺸﺎﺑﻬﺖ ﺍﺟﺘﻨﺎﺏ ﻛﺮﺩ. ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺑﺮﺝﻫﺎﻱ ﺍﺩﺍﺭﻱ ﻳﺎ ﻫﺘﻞﻫﺎ ﺑﺎ ﻫﺴﺘﺔ ﻣﺮﻛﺰﻱ،‬ ‫ﻣﻌﺎﺑﺪ ﺧﻮﺩ ﺭﺍ ﻫﻤﭽﻮﻥ ﻣﺠﺴﻤﻪﺍﻱ ﺩﺭ ﻓﻀﺎﻱ ﺁﺯﺍﺩ ﻃﺮﺍﺣﻲ ﻭ ﺑﻨﺎ ﻣﻲﻛﺮﺩﻧﺪ ﺗﺎ‬
‫ﭘﺲ ﺍﺯ ﺧﺮﻭﺝ ﺍﺯ ﺁﺳﺎﻧﺴﻮﺭ ﻧﻤﻲﺗﻮﺍﻥ ﺟﻬﺖ ﺭﺍ ﺗﺸﺨﻴﺺ ﺩﺍﺩ. ﺍﺭﺯﺵﮔﺬﺍﺭﻱ ﻣﺘﻔﺎﻭﺕ‬ ‫ً‬
‫ﮔﻮﺷﻪ ﻭ ﻛﻨﺎﺭﻫﺎﻱ ﺁﻥ، ﺑﺴﺘﻪ ﺑﻪ ﺯﺍﻭﻳﺔ ﺩﻳﺪ ﺩﻟﺨﻮﺍﻩ ﻳﺎ ﺍﺗﻔﺎﻗﻲ ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﻩ، ﻛﺎﻣﻼ‬
‫ﻓﻀﺎﻫﺎ، ﺍﻳﺠﺎﺩ ﮔﺸﺎﻳﺶﻫﺎ ﻭ ﻓﻀﺎﻫﺎﻱ ﺧﺎﻟﻲ ﺩﺍﺧﻠﻲ ﺑﺮﺍﻱ ﭘﺪﻳﺪ ﺁﻭﺭﺩﻥ ﺍﻣﻜﺎﻥ‬ ‫ﻗﺎﺑﻞ ﺩﻳﺪﻥ ﺑﺎﺷﺪ. ﻫﺨﺎﻣﻨﺸﻴﺎﻥ ﻣﻬﻤﺎﻧﺎﻥ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺯ ﭘﻠﻜﺎﻥﻫﺎ،‬
‫ﺩﺭﻙ ﺣﺠﻢ ﺩﺭﻭﻧﻲ ﺳﺎﺧﺘﻤﺎﻥ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﮔﺮﺍﻓﻴﻚ ﻣﺤﻴﻄﻲ )ﺭﻧﮓ، ﻧﻮﺷﺘﻪ ﻭ‬ ‫ﺩﺭﻭﺍﺯﻩﻫﺎ ﻭ ﻣﺴﻴﺮﻫﺎﻱ ﺍﺯ ﭘﻴﺶﺗﻌﻴﻴﻦﺷﺪﻩ ﻫﺪﺍﻳﺖ ﻣﻲﻛﺮﺩﻧﺪ ﺗﺎ ﺁﻥﻫﺎ ﺑﺘﻮﺍﻧﻨﺪ‬
‫ﻋﻼﺋﻢ ﺑﺰﺭگ( ﺍﺯ ﺟﻤﻠﻪ ﺭﻭﺵﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺣﺲ ﺟﻬﺖﻳﺎﺑﻲ ﺩﺭ ﻓﻀﺎ ﺭﺍ ﺗﻘﻮﻳﺖ‬ ‫ﻧﻤﺎﻱ ﺍﺻﻠﻲ ﺑﻨﺎ ﺭﺍ ﻛﺸﻒ ﻛﻨﻨﺪ ﻭ ﺑﺒﻴﻨﻨﺪ. ﺍﻳﻦ ﺗﻤﺎﻳﻞ ﺑﻪ ﻛﻨﺘﺮﻝ ﻣﺤﻮﺭ ﺑﺼﺮﻱ‬
‫ﻣﻲﻛﻨﻨﺪ. ﺩﺭ ﭘﺮﻭژﺓ ﻭﻳﻞ ﺍﺭﺗﺲ، ﻛﺘﺎﺑﺨﺎﻧﺔ ﺩﺍﻧﺸﮕﺎﻩ ﺍﻭﺗﺮﺧﺖ1، ﭘﻠﻜﺎﻥ ﻭ ﺭﺍﻫﺮﻭﻫﺎﻱ‬ ‫ﻧﻤﺎﻱ ﺳﺎﺧﺘﻤﺎﻥ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﻣﻌﻤﺎﺭﻱ ﺍﻳﺮﺍﻥ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ. ﻣﻴﺪﺍﻥ ﻧﻘﺶﺟﻬﺎﻥ‬
‫ﻛﺘﺎﺑﺨﺎﻧﻪ ﺩﺭ ﻓﻀﺎﻱ ﺳﺎﻟﻦ ﺍﺻﻠﻲ ﻣﻌﻠﻖﺍﻧﺪ ﻭ ﺍﺯ ﻫﺮ ﮔﻮﺷﺔ ﺳﺎﺧﺘﻤﺎﻥ ﻣﻲﺗﻮﺍﻥ ﻧﺤﻮﺓ‬ ‫ﺍﺻﻔﻬﺎﻥ ﭼﻨﺎﻥ ﻃﺮﺍﺣﻲ ﺷﺪﻩ ﻛﻪ ﻋﻤﻖ ﻣﻴﺪﺍﻥ ﺍﺯ ﻧﻘﻄﺔ ﺩﻳﺪ ﺩﻫﺎﻧﺔ ﺑﺎﺯﺍﺭ ﺑﻴﺸﺘﺮ ﺑﻪ‬
‫ﺣﺮﻛﺖ ﺩﺭ ﻓﻀﺎ ﺭﺍ ﺑﻪﺭﺍﺣﺘﻲ ﻣﺸﺎﻫﺪﻩ ﻛﺮﺩ. ﻭﺟﻮﺩ ﺳﻄﻮﺡ ﺷﻴﺸﻪﺍﻱ ﻭﺳﻴﻊ ﺩﺭ ﻧﻤﺎ‬ ‫ﻧﻈﺮ ﺑﺮﺳﺪ. ﺩﺭﻋﻴﻦ ﺣﺎﻝ ﻭﺭﻭﺩﻱﻫﺎﻱ ﺩﻭ ﻣﺴﺠﺪ ﺍﻣﺎﻡ ﻭ ﺷﻴﺦ ﻟﻄﻒﺍﻟﻪ ﺑﺎ ﻇﺮﺍﻓﺖ‬
‫ﺭﻭﺵ ﺩﻳﮕﺮﻱ ﺍﺳﺖ ﻛﻪ ﺍﺭﺗﺒﺎﻁ ﺑﻴﻦ ﺩﺭﻭﻥ ﻭ ﺑﻴﺮﻭﻥ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺣﺲ ﺟﻬﺖﻳﺎﺑﻲ ﺭﺍ‬ ‫ﺧﺎﺻﻲ ﻧﮕﺎﻩ ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﻗﺎﺏﻫﺎﻱ ﺑﺼﺮﻱ ﻣﺘﻮﺍﻟﻲ ﻫﺪﺍﻳﺖ ﻣﻲﻛﻨﻨﺪ.‬
‫ﺗﻘﻮﻳﺖ ﻣﻲﻛﻨﺪ.‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﻧﻤﻮﻧﻪﺍﻱ ﺍﺯ ﻣﻌﻤﺎﺭﻱ ﻣﻌﺎﺻﺮ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﺑﻨﺎﻱ ﺷﺎﺧﺺ ﻻﺩﻓﺎﻧﺲ ﭘﺎﺭﻳﺲ‬
‫ﻳﻜﻲ ﺍﺯ ﻣﺴﺎﺋﻞ ﻣﻬﻢ ﺩﺭ ﻃﺮﺍﺣﻲ ﺳﻴﺴﺘﻢ ﮔﺮﺩﺵ ﺩﺭ ﻓﻀﺎ ﺍﻣﻜﺎﻥﭘﺬﻳﺮﻱ‬ ‫ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﺭﻭﻱ ﻳﻜﻲ ﺍﺯ ﻣﺤﻮﺭﻫﺎﻱ ﻣﻬﻢ ﺷﻬﺮ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ، ﺍﻣﺎ ﺑﺎ ﭼﺮﺧﺸﻲ‬
‫ﺗﻐﻴﻴﺮ ﻭ ﺍﺻﻼﺡ ﻣﺴﻴﺮ ﺍﺳﺖ. ﺩﺭ ﺑﻨﺎﻫﺎﻳﻲ ﻛﻪ ﻓﻀﺎﻫﺎﻱ ﺣﺮﻛﺘﻲ ﺑﻪ ﻣﺎﻧﻨﺪ ﺩﺭﺧﺖ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﺍﻳﻦ ﻣﺤﻮﺭ ﻃﺮﺍﺣﻲ ﺷﺪﻩ ﺗﺎ ﺣﺠﻢ ﺳﺎﺧﺘﻤﺎﻥ ﻛﻪ ﺑﻪﻣﺜﺎﺑﻪ ﺩﺭﻭﺍﺯﻩﺍﻱ ﺑﺰﺭگ‬
‫ﻃﺮﺍﺣﻲ ﻣﻲﺷﻮﻧﺪ )ﺗﺎ ﺣﺪﻱ ﻣﺜﻞ ﺑﺎﺯﺍﺭﭼﺔ ﮔﻠﺴﺘﺎﻥ ﺩﺭ ﺷﻬﺮﻙ ﻏﺮﺏ( ﻭ ﺍﺯ ﻓﻀﺎﻱ‬ ‫ﺑﺮﺍﻱ ﺷﻬﺮ ﺍﺳﺖ، ﺑﻬﺘﺮ ﻭ ﻛﺎﻣﻞﺗﺮ ﺩﻳﺪﻩ ﺷﻮﺩ.‬
‫ﺍﺻﻠﻲ ﺷﺎﺧﻪﻫﺎﻳﻲ ﻣﻨﺸﻌﺐ ﻭ ﺍﺯ ﺍﻳﻦ ﺷﺎﺧﻪﻫﺎ ﻧﻴﺰ ﺷﺎﺧﻪﻫﺎﻱ ﻓﺮﻋﻲ ﺩﻳﮕﺮﻱ ﺟﺪﺍ‬ ‫ﺩﺭ ﺩﻭﺭﺍﻥ ﺗﺤﺼﻴﻞ، ﺍﺳﺎﺗﻴﺪ ﻃﺮﺍﺣﻲ ﻛﻪ ﺍﺯ ﭘﻴﺮﻭﺍﻥ ﻳﺎ ﺷﺎﮔﺮﺩﺍﻥ ﻣﻌﻤﺎﺭﺍﻥ ﺑﺰﺭگ‬
‫ﻣﻲﺷﻮﻧﺪ، ﺣﺮﻛﺖ ﻧﻬﺎﻳﺘﺎً ﺑﻪ ﻳﻚ ﺑﻦﺑﺴﺖ ﻳﺎ ﻣﺴﻴﺮ ﻣﻬﺠﻮﺭ ﺧﺘﻢ ﻣﻲﺷﻮﺩ، ﺑﻨﺎﺑﺮﺍﻳﻦ‬ ‫ﺟﻨﺒﺶ ﻣﺪﺭﻥ ﻫﻤﭽﻮﻥ ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻪ ﻭ ﻣﻴﺲ ﻭﻧﺪﺭﺭﻭﻫﻪ ﺑﻮﺩﻧﺪ، ﺑﻪ ﻣﺎ ﻣﻲﺁﻣﻮﺧﺘﻨﺪ‬
‫ﺍﮔﺮ ﺷﺨﺼﻲ ﺩﺭ ﻧﻴﻤﺔ ﺭﺍﻩ ﺑﺨﻮﺍﻫﺪ ﻣﺴﻴﺮﺵ ﺭﺍ ﻋﻮﺽ ﻛﻨﺪ ﻧﺎﭼﺎﺭ ﺑﺎﻳﺪ ﺑﻪ ﻋﻘﺐ‬ ‫ﻛﻪ ﻫﺮ ﮔﺎﻩ ﺍﻧﺴﺎﻥ ﺩﺭ ﻳﻚ ﻣﺴﻴﺮ ﭘﻴﺎﺩﻩ ﻳﺎ ﺳﻮﺍﺭﻩ ﺑﺎ ﻣﺎﻧﻌﻲ ﺑﺼﺮﻱ ﻣﻮﺍﺟﻪ ﺷﻮﺩ،‬
‫ﺑﺎﺯﮔﺮﺩﺩ. ﺳﻴﺴﺘﻢﻫﺎﻱ ﺗﻮﺯﻳﻊ ﺷﺒﻜﻪﺍﻱ ﺍﺯ ﺍﻳﻦ ﻟﺤﺎﻅ ﻣﻮﻓﻖﺗﺮﻧﺪ، ﺍﻣﺎ ﻣﺸﻜﻠﺸﺎﻥ ﺍﻳﻦ‬ ‫ﺑﻪﻃﻮﺭ ﻏﺮﻳﺰﻱ ﺑﻪ ﭼﺮﺧﺶ ﻭ ﺗﻐﻴﻴﺮ ﻣﺴﻴﺮ ﻣﺘﻤﺎﻳﻞ ﻣﻲﺷﻮﺩ. ﺑﻪﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ‬
‫ﺍﺳﺖ ﻛﻪ ﺭﺍﻫﻴﺎﺑﻲ ﺩﺭ ﺁﻥﻫﺎ ﺳﺨﺖﺗﺮ ﺍﺳﺖ، ﺯﻳﺮﺍ ﻣﻤﻜﻦ ﺍﺳﺖ ﮔﺮﻩﻫﺎﻱ ﺍﺭﺗﺒﺎﻃﻲ،‬ ‫ً‬
‫ﻛﻪ ﺑﺮ ﺳﺮ ﭘﻴﭻ ﺟﺎﺩﻩﻫﺎ ﺭﺩﻳﻔﻲ ﺍﺯ ﺩﺭﺧﺖ ﻣﻲﻛﺎﺭﻧﺪ ﻭ ﻳﺎ ﻣﺜﻼ ﺍﮔﺮ ﻭﺭﻭﺩﻱ ﺳﺎﺧﺘﻤﺎﻥ‬
‫ﻣﺸﺎﺑﻪ ﻫﻢ ﻭ ﻏﻴﺮﻗﺎﺑﻞ ﺷﻨﺎﺳﺎﻳﻲ ﺑﺎﺷﻨﺪ. ﻫﻤﺎﻫﻨﮓ ﻛﺮﺩﻥ ﻃﺮﺍﺣﻲ ﻣﻌﻤﺎﺭﻱ ﺑﺮﺍﻱ‬ ‫ﺑﺮ ﻣﺤﻮﺭ ﺩﺳﺘﺮﺳﻲ ﻣﻨﻄﺒﻖ ﻧﺒﺎﺷﺪ ﻳﻚ ﺩﻳﻮﺍﺭ ﺳﺎﺩﻩ ﻣﺴﺘﻘﺮ ﺑﺮ ﻣﺤﻮﺭ ﺑﺼﺮﻱ ﺑﻪ ﻣﺎ‬
‫ﺍﺭﺯﺵﮔﺬﺍﺭﻱ ﻣﺘﻤﺎﻳﺰ ﮔﺮﻩﻫﺎ ﻭ ﺩﺭﺟﻪﺑﻨﺪﻱ ﻣﺴﻴﺮﻫﺎ ﺑﻪﻟﺤﺎﻅ ﻃﻮﻝ، ﻋﺮﺽ، ﺍﺭﺗﻔﺎﻉ ﻭ‬ ‫ﺍﻟﻘﺎ ﻣﻲﻛﻨﺪ ﻛﻪ ﺑﺮﺍﻱ ﻭﺭﻭﺩ ﺑﻪ ﺳﺎﺧﺘﻤﺎﻥ ﺑﺎﻳﺪ ﺑﻪ ﺳﻤﺖ ﭼﭗ ﻳﺎ ﺭﺍﺳﺖ ﺑﭽﺮﺧﻴﻢ.‬
‫ﻭﻳﮋﮔﻲﻫﺎﻱ ﺷﻜﻠﻲ ﻭ ﮔﺮﺍﻓﻴﻜﻲ ﻣﻲﺗﻮﺍﻧﺪ ﺍﻳﻦ ﻣﺸﻜﻞ ﺭﺍ ﺣﻞ ﻛﻨﺪ. ﺩﺭ ﺳﻴﺴﺘﻢﻫﺎﻱ‬ ‫ﺟﻬﺖﻳﺎﺑﻲ ﺩﺭ ﻓﻀﺎ ﻣﺴﺌﻠﺔ ﻣﻬﻤﻲ ﺍﺳﺖ ﻛﻪ ﺍﻣﺮﻭﺯ ﺍﻏﻠﺐ ﺍﺯ ﻃﺮﻳﻖ ﻧﺼﺐ ﺗﺎﺑﻠﻮﻫﺎﻱ‬
‫ﺧﻄﻲ ﻧﻈﻴﺮ ﺑﺎﺯﺍﺭ ﻳﺎ ﻣﻮﺯﻩﻫﺎﻱ ﻣﺎﺭﭘﻴﭻ ﻣﺜﻞ ﻣﻮﺯﺓ ﺑﻨﺰ ﺩﺭ ﺍﺷﺘﻮﺗﮕﺎﺭﺕ ﻳﺎ ﮔﻮﮔﻨﻬﺎﻳﻢ‬ ‫ﺭﺍﻫﻨﻤﺎ ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ، ﺍﻣﺎ ﺑﻬﺘﺮ ﺍﺳﺖ ﻛﻪ ﻓﺮﻡ ﻣﻌﻤﺎﺭﻱ ﺟﻬﺖﻳﺎﺑﻲ ﺭﺍ ﻣﻤﻜﻦ‬
‫ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻧﻴﺰ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺑﺎ ﻭﺍﺭﺩ ﻛﺮﺩﻥ ﺷﻴﺒﺮﺍﻫﻪﻫﺎﻱ ﻓﺮﻋﻲ ﻳﺎ ﺁﺳﺎﻧﺴﻮﺭ ﻛﺎﻣﻼً‬ ‫ﻛﻨﺪ. ﺗﺠﺮﺑﻪ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ ﻛﻪ ﺍﻧﺴﺎﻥ ﭘﺲ ﺍﺯ ﺳﻪ ﺑﺎﺭ ﭼﺮﺧﺶ ﺩﺭ ﻣﺴﻴﺮ ﺟﻬﺖ ﺭﺍ‬
‫ﺣﻞ ﺷﺪﻩ ﺍﺳﺖ.‬ ‫ﮔﻢ ﻣﻲﻛﻨﺪ. ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﭘﺲ ﺍﺯ ﻣﺪﺕ ﻛﻮﺗﺎﻫﻲ ﮔﺮﺩﺵ ﺩﺭ ﺑﺎﺯﺍﺭﻫﺎ ﺗﺸﺨﻴﺺ‬
‫ﺩﺭﻙ ﻭ ﺍﺳﺘﻨﺒﺎﻁ ﻣﺎ ﺍﺯ ﻓﻀﺎ ﻭ ﺗﺼﻮﻳﺮﻱ ﻛﻪ ﻧﻬﺎﻳﺘﺎً ﺍﺯ ﺁﻥ ﺩﺭ ﺫﻫﻦ ﻧﻘﺶ‬ ‫ﺟﻬﺖ ﻭ ﻣﻜﺎﻥ ﻧﺴﺒﺖ ﺑﻪ ﺷﻬﺮ ﺑﺴﻴﺎﺭ ﺩﺷﻮﺍﺭ ﻣﻲﺷﻮﺩ. ﺑﻨﺎﺑﺮﺍﻳﻦ ﺟﻬﺖ ﻭ ﻣﺴﻴﺮ ﺗﺮﺩﺩ‬
‫4/4‬

3. ‫‪6th floor‬‬ ‫ﻃﺒﻘﺔ ﺷﺸﻢ‬ ‫‪8th floor‬‬ ‫ﻃﺒﻘﺔ ﻫﺸﺘﻢ‬ ‫‪Section‬‬ ‫ﻣﻘﻄﻊ‬
‫‪Ground floor‬‬ ‫ﻫﻤﻜﻒ‬ ‫‪2nd floor‬‬ ‫ﻃﺒﻘﺔ ﺩﻭﻡ‬ ‫‪4th floor‬‬ ‫ﻃﺒﻘﺔ ﭼﻬﺎﺭﻡ‬
‫ﻓﻀﺎﻱ ﺑﺴﺘﻪ‬ ‫‪Enclosed Space‬‬ ‫ﻣﺤﻮﺭ‬ ‫‪Axis‬‬
‫ﻧﻘﺸﺔ ﺑﺎﺯ‬ ‫‪Free Plan‬‬ ‫ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ‬ ‫‪Circulation‬‬
‫‪Diagram circulation, Holand Embassy in Berlin, Koolhaas‬‬ ‫ﺩﻳﺎﮔﺮﺍﻡ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ، ﺳﻔﺎﺭﺕ ﻫﻠﻨﺪ ﺩﺭ ﺑﺮﻟﻴﻦ، ﻛﻮﻟﻬﺎﻭﺱ‬
‫ﻣﻨﺴﺠﻤﻲ ﺍﺯ ﻓﻀﺎﻫﺎﻱ ﻛﻮﭼﻚ ﻭ ﺑﺰﺭگ ﻣﻲﺷﻮﻧﺪ ﻛﻪ ﺁﻥﻫﺎ ﺭﺍ ﺩﺭ ﺗﻤﺎﻣﻲ ﺳﺎﺧﺘﻤﺎﻥ‬ ‫ﻣﻲﺑﻨﺪﺩ ﻧﻪ ﺗﻨﻬﺎ ﺍﺯ ﻓﺮﻡ ﻭ ﺣﺠﻢ ﻣﻌﻤﺎﺭﻱ ﺑﻠﻜﻪ ﻣﺘﺄﺛﺮ ﺍﺯ ﺳﻴﺴﺘﻢ ﻛﺸﻒ ﻓﻀﺎﺳﺖ‬
‫ﻫﺪﺍﻳﺖ ﻣﻲﻛﻨﻨﺪ ﻭ ﺑﻪ ﺁﻥﻫﺎ ﺍﻣﻜﺎﻥ ﻣﻲﺩﻫﻨﺪ ﻫﻢ ﺁﺛﺎﺭ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭﺁﻣﺪﻩ ﺭﺍ‬ ‫ﻭ ﺑﺎ ﺁﻥ ﺍﺭﺗﺒﺎﻁ ﻣﺴﺘﻘﻴﻢ ﺩﺍﺭﺩ. ﺭﻡ ﻛﻮﻟﻬﺎﻭﺱ ﺩﺭ ﻃﺮﺡ ﺳﻔﺎﺭﺕ ﻫﻠﻨﺪ ﺩﺭ ﺑﺮﻟﻦ‬
‫ﺑﻪﺧﻮﺑﻲ ﺗﻤﺎﺷﺎ ﻛﻨﻨﺪ ﻭ ﻫﻢ ﻣﺤﺘﻮﺍﻱ ﻣﻌﻤﺎﺭﺍﻧﻪ ﻭ ﺳﺎﺧﺘﺎﺭ ﻓﻀﺎﻳﻲ ﺑﻨﺎ ﺭﺍ ﺩﺭﻙ ﻛﻨﻨﺪ.‬ ‫ﻛﺎﺭﺑﺮﻱﻫﺎﻱ ﺳﻔﺎﺭﺕ ﺭﺍ ﻃﻮﺭﻱ ﻃﺮﺍﺣﻲ ﻛﺮﺩ ﻛﻪ ﻓﻀﺎﻫﺎﻱ ﻣﺘﻔﺎﻭﺕ ﻃﺒﻖ ﻳﻚ ﻧﻈﺎﻡ‬
‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻫﻤﻴﺖ ﻭ ﻧﻘﺶ ﻣﺆﺛﺮ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺩﺭ ﻣﻌﻤﺎﺭﻱ، ﻃﺒﻴﻌﻲ ﺍﺳﺖ‬ ‫ﺧﻄﻲ، ﻫﻤﭽﻮﻥ ﺍﺗﻔﺎﻗﺎﺕ ﻳﻚ ﺩﺍﺳﺘﺎﻥ، ﭘﺸﺖ ﺳﺮ ﻫﻢ ﺁﺷﻜﺎﺭ ﺷﻮﻧﺪ. ﺍﻳﻦ ﺗﻔﻜﺮ ﺩﺭ‬
‫ﻫﺮ ﻧﻮﺁﻭﺭﻱ ﺩﺭ ﻃﺮﺍﺣﻲ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺑﻪ ﭘﻴﺪﺍﻳﺶ ﻣﻌﻤﺎﺭﻱ ﺑﺪﻳﻊ ﻛﻤﻚ ﺷﺎﻳﺎﻧﻲ‬ ‫ﻣﻌﻤﺎﺭﻱ ﻣﻌﺎﺻﺮ ﺳﺎﺑﻘﻪﺍﻱ ﺩﻳﺮﻳﻨﻪ ﺩﺍﺭﺩ. ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻪ ﺑﻮﺩ ﻛﻪ ﺍﻳﺪﺓ‬
‫ﻛﻨﺪ. ﻣﻮﺯﺓ ﮔﻮﮔﻨﻬﺎﻳﻢ، ﺍﺛﺮ ﻓﺮﺍﻧﻚ ﻟﻮﻳﺪ ﺭﺍﻳﺖ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ، ﻧﻤﻮﻧﺔ ﺷﺎﺧﺼﻲ ﺍﺳﺖ‬ ‫ﺳﺎﺧﺘﻤﺎﻥ ﺑﻪﻣﺜﺎﺑﻪ ﮔﺮﺩﺷﮕﺎﻩ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ ﻃﺮﺡ ﻭﻳﻼ ﺳﺎﻭﺍ ﻣﻄﺮﺡ ﻛﺮﺩ.‬
‫ﻛﻪ ﺩﺭ ﺁﻥ ﻧﺤﻮﺓ ﺷﻜﻞﮔﻴﺮﻱ ﺑﻨﺎ ﺑﺮﺍﺳﺎﺱ ﺳﻴﺴﺘﻢ ﮔﺮﺩﺵ ﺩﺭ ﻓﻀﺎﻫﺎ ﺭﺍ ﻣﻲﺗﻮﺍﻥ‬ ‫ﺑﺎ ﺍﻓﺰﺍﻳﺶ ﺣﺮﻛﺖ ﺑﻪ ﻣﻨﺰﻟﺔ ﻳﻜﻲ ﺍﺯ ﻣﺸﺨﺼﻪﻫﺎﻱ ﺯﻧﺪﮔﻲ ﻣﻌﺎﺻﺮ، ﻓﻀﺎﻱ‬
‫ﻳﻚ ﺷﺎﻫﻜﺎﺭ ﺗﻠﻘﻲ ﻛﺮﺩ. ﻧﻮﺁﻭﺭﻱ ﺭﺍﻳﺖ ﺩﺭ ﺍﻳﺠﺎﺩ ﻳﻚ ﻣﻔﻬﻮﻡ ﺟﺪﻳﺪ ﺑﺎﺯﺩﻳﺪ ﻭ‬ ‫ﺣﺮﻛﺖ ﺩﺭ ﺩﺍﺧﻞ ﻭ ﺩﺭ ﺧﺎﺭﺝ ﺑﻨﺎ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺧﺎﺹ ﻗﺮﺍﺭ ﮔﺮﻓﺖ. ﺍﻣﺮﻭﺯﻩ ﻃﺮﺍﺣﺎﻥ ﻭ‬
‫ﮔﺮﺩﺵ ﺩﺭ ﻓﻀﺎﻱ ﻣﻮﺯﻩﺍﻱ ﺍﺳﺖ. ﻣﻮﺯﻩ ﺑﻪ ﻳﻚ ﻣﺴﻴﺮ ﺷﻴﺐﺩﺍﺭ ﻣﺎﺭﭘﻴﭻ ﺗﺒﺪﻳﻞ‬ ‫ﻣﻌﻤﺎﺭﺍﻥ ﺑﻪ ﺍﺭﺯﺵﮔﺬﺍﺭﻱ ﻓﻀﺎﻱ ﺣﺮﻛﺖ ﻫﻤﭽﻮﻥ ﻓﻀﺎﻱ ﺯﻧﺪﮔﻲ ﻳﺎ ﻓﻀﺎﻱ ﺗﺤﻘﻖ‬
‫ﺷﺪﻩ ﺍﺳﺖ ﻛﻪ ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﻩ ﺿﻤﻦ ﭘﺎﻳﻴﻦ ﺁﻣﺪﻥ ﺍﺯ ﺁﻥ ﻛﻞ ﻓﻀﺎﻱ ﻣﻮﺯﻩ ﺭﺍ ﺍﺯ ﻧﻈﺮ‬ ‫ﻛﺎﺭﺑﺮﻱﻫﺎﻱ ﺍﺻﻠﻲ ﻓﻀﺎ ﮔﺮﺍﻳﺶ ﺩﺍﺭﻧﺪ. ﺍﻟﮕﺎ ﮔﺎﻣﺒﺎﺭﺩﻻ2، ﻃﺮﺍﺡ ﻧﻪﭼﻨﺪﺍﻥ ﻣﻌﺮﻭﻑ‬
‫ﻣﻲﮔﺬﺭﺍﻧﺪ؛ ﺭﻭﻳﻜﺮﺩ ﻣﺸﺎﺑﻬﻲ ﻛﻪ ﺩﺭ ﻣﻮﺯﺓ ﻫﻨﺮﻫﺎﻱ ﻣﻌﺎﺻﺮ ﺗﻬﺮﺍﻥ ﺍﺛﺮ ﻛﺎﻣﺮﺍﻥ ﺩﻳﺒﺎ‬ ‫ﺍﻳﺘﺎﻟﻴﺎﻳﻲ، ﺩﺭ ﭘﺮﻭژﺓ ﺧﺎﻧﺔ ﻣﺴﻜﻮﻧﻲﺍﺵ ﺩﺭ ﺷﻬﺮ ﺭﻡ، ﺭﺍﻫﺮﻭ ﺭﺍ ﺑﻪ ﻃﺮﺯ ﺍﻏﺮﺍﻕﺁﻣﻴﺰﻱ‬
‫ﻫﻢ ﺑﻪﻛﺎﺭ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ.‬ ‫ﺑﺰﺭگ، ﻃﻮﻻﻧﻲ ﻭ ﺑﺎ ﺷﻜﻠﻲ ﻣﻨﺤﻨﻲ ﻭ ﻣﺘﻤﺎﻳﺰ ﻧﺴﺒﺖ ﺑﻪ ﺳﺎﻳﺮ ﺑﺨﺶﻫﺎﻱ ﺧﺎﻧﻪ‬
‫، ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﮔﺎﻥ ﻣﻲﺗﻮﺍﻧﻨﺪ ﺍﺯ ﺟﺪﺍﺭﺓ ﺳﺎﺧﺘﻤﺎﻥ‬ ‫ﺩﺭ ﺍﭘﺮﺍﻱ ﺍﺳﻠﻮ ﺍﺛﺮ ﺳﻨﻮﻫﺘﺎ4‬ ‫ﻃﺮﺍﺣﻲ ﻛﺮﺩ. ﺍﻳﺪﺓ ﺍﻭ ﺍﻳﺠﺎﺩ ﻓﻀﺎﻳﻲ ﻣﺘﻔﺎﻭﺕ ﺑﺮﺍﻱ ﺯﻧﺪﮔﻲ، ﺑﺎﺯﻱ ﺑﭽﻪﻫﺎ ﻭ ﺣﺮﻛﺖ‬
‫ﻛﻪ ﺑﻪ ﻳﻚ ﻣﻴﺪﺍﻥ ﺷﻴﺐﺩﺍﺭ ﺗﺒﺪﻳﻞ ﺷﺪﻩ، ﺑﺎﻻ ﺭﻭﻧﺪ ﻭ ﺑﻨﺎﺑﺮﺍﻳﻦ ﺗﺠﺮﺑﺔ ﺟﺪﻳﺪﻱ ﺭﺍ ﺍﺯ‬ ‫)ﺩﺭ ﺗﻀﺎﺩ ﺑﺎ ﺯﻧﺪﮔﻲ ﻛﻢﺣﺮﻛﺖ ﺍﻣﺮﻭﺯﻱ( ﺑﻮﺩ، ﭼﻨﺎﻥﻛﻪ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺧﺎﻧﻪﻫﺎﻱ‬
‫ﺳﺎﺧﺘﻤﺎﻥ ﺩﺭﻳﺎﺑﻨﺪ. ﺩﺭ ﺳﺎﺧﺘﻤﺎﻥ ﺩﻳﮕﺮﻱ ﺩﺭ ﺣﻮﻣﺔ ﺁﻣﺴﺘﺮﺩﺍﻡ ﺍﺛﺮ ﺭﺍﻓﺎﺋﻞ ﻭﻳﻨﻴﻮﻟﻲ5‬ ‫ﺭﺍﻫﺮﻭﺩﺍﺭ ﻗﺪﻳﻤﻲ ﺭﺍ ﺑﻪ ﻳﺎﺩ ﺑﻴﺎﻭﺭﺩ. ﻣﺤﻤﺪﺭﺿﺎ ﻗﺎﻧﻌﻲ ﺩﺭ ﭘﺮﻭژﺓ ﺧﺎﻧﺔ ﺻﺪﺭﻱ ﺩﺭ‬
‫ﻗﺮﺍﺭﮔﺮﻓﺘﻦ ﭘﻠﻜﺎﻥ ﺳﺎﺧﺘﻤﺎﻥ ﺩﺭ ﻧﻤﺎ، ﺷﻜﻠﻲ ﺧﺎﺹ ﻭ ﻣﻨﺤﺼﺮ ﺑﻪﻓﺮﺩ ﺑﻪ ﺑﻨﺎ‬ ‫ﺍﺻﻔﻬﺎﻥ ﺭﺍﻩﭘﻠﻪ ﺭﺍ ﺑﻪ ﻣﻨﺰﻟﺔ ﻓﻀﺎﻳﻲ ﻣﻬﻢ ﺑﺮﺍﻱ ﺯﻧﺪﮔﻲ ﻃﺮﺍﺣﻲ ﻛﺮﺩﻩ ﺍﺳﺖ. ﺍﻣﺮﻭﺯﻩ‬
‫ﺑﺨﺸﻴﺪﻩ. ﺳﺎﺧﺘﻤﺎﻥ ﺍﺧﻴﺮﺍ ً ﺑﺎﺯﺳﺎﺯﻱ ﺷﺪﺓ ﺍﺗﻮﻣﻴﻮﻡ6 ﺩﺭ ﺑﺮﻭﻛﺴﻞ، ﺑﺮﺍﺳﺎﺱ ﺗﺼﻮﺭﻱ‬ ‫ﺩﺭ ﺳﺎﺧﺘﻤﺎﻥﻫﺎﻱ ﺍﺩﺍﺭﻱ، ﻃﺮﺍﺣﺎﻥ ﺍﺯ ﺭﺍﻫﺮﻭﻫﺎ ﻭ ﭘﺎﮔﺮﺩﻫﺎ ﺑﺮﺍﻱ ﺍﻳﺠﺎﺩ ﻓﻀﺎﻫﺎﻱ‬
‫ﺍﺯ ﺷﻜﻞ ﻳﻚ ﻣﻮﻟﻜﻮﻝ ﭼﻨﺎﻥ ﻃﺮﺍﺣﻲ ﺷﺪﻩ ﻛﻪ ﻛﻞ ﺑﻨﺎ ﻓﻘﻂ ﻳﻚ ﺳﻴﺴﺘﻢ ﺣﺮﻛﺖ‬ ‫ﻛﻮﭼﻚ ﺍﺳﺘﺮﺍﺣﺖ، ﻓﺮﺍﻏﺖ ﻭ ﺍﻧﺘﻈﺎﺭ ﺑﻬﺮﻩ ﻣﻲﮔﻴﺮﻧﺪ.‬
‫ﺩﺭ ﻓﻀﺎ ﻣﺮﻛﺐ ﺍﺯ ﺭﺍﻫﺮﻭﻫﺎﻱ ﺷﻴﺐﺩﺍﺭ ﻭ ﻫﺴﺘﻪﻫﺎﻱ ﻛﺮﻭﻱ ﺍﺳﺖ.‬ ‫ﺍﮔﺮﭼﻪ ﻓﻀﺎﻱ ﻣﻌﻤﺎﺭﻱ )ﻋﻠﻲﺍﻟﻘﺎﻋﺪﻩ( ﺑﺮﺍﺳﺎﺱ ﻃﺮﺡ ﻣﻌﻤﺎﺭ ﺷﻜﻞ ﻣﻲﮔﻴﺮﺩ‬
‫ً‬
‫ﻭﻟﻲ ﻫﻨﮕﺎﻣﻲ ﻋﻤﻼ ﺑﻪ ﻣﻜﺎﻥ ﺗﺒﺪﻳﻞ ﻣﻲﺷﻮﺩ ﻛﻪ ﺍﻧﺴﺎﻥ ﻓﻀﺎ ﺭﺍ، ﻫﻢ ﺑﻪ ﻟﺤﺎﻅ‬
‫ﭘﺎﻧﻮﺷﺖﻫﺎ:‬ ‫ﻓﻴﺰﻳﻜﻲ ﻭ ﻫﻢ ﺭﻭﺍﻧﻲ، ﺗﺼﺮﻑ ﻛﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﺍﺯ ﺁﻥ ﺧﻮﻳﺶ ﺑﺪﺍﻧﺪ. ﻳﻜﻲ ﺍﺯ ﺭﻭﺵﻫﺎﻱ‬
‫‪1- Wiel Arets, Utrecht‬‬
‫‪2- Olga Gambardella‬‬ ‫ﺗﺼﺮﻑ ﻓﻀﺎ ﻭ ﺷﺎﻳﺪ ﻗﺪﻳﻤﻲﺗﺮﻳﻦ ﺁﻥﻫﺎ، ﺗﺼﺮﻑ ﺍﺯ ﻃﺮﻳﻖ ﺣﺮﻛﺖ ﺍﺳﺖ. ﺍﻣﺮﻭﺯﻩ‬
‫‪3- Un Studio‬‬
‫‪4- Opera of Oslo by Snohetta‬‬ ‫ﺩﺭ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﻛﺎﺭﺑﺮﻱﻫﺎﻱ ﻋﻤﻮﻣﻲ ﻧﻈﻴﺮ ﻧﻤﺎﻳﺸﮕﺎﻩ، ﻣﻮﺯﻩ، ﻓﺮﻭﺩﮔﺎﻩ ﻭ ﭘﺎﺭﻙ،‬
‫‪5- Rafael Vinoly‬‬
‫‪6- Atomium‬‬ ‫ﺣﺮﻛﺖ، ﻣﺆﻟﻔﺔ ﻏﺎﻟﺐ ﺍﺳﺖ ﻛﻪ ﻃﺮﺍﺡ ﻣﻲﺗﻮﺍﻧﺪ ﺁﻥ ﺭﺍ ﺑﻪﻋﻨﻮﺍﻥ ﻋﻨﺼﺮ ﺷﺎﺧﺺ ﻭ‬
‫ﻣﺤﻮﺭ ﻃﺮﺍﺣﻲ ﺩﺭ ﻛﺎﻧﺴﭙﺖ ﭘﺮﻭژﻩ ﺍﺭﺯﺵﮔﺬﺍﺭﻱ ﻛﻨﺪ. ﭘﺮﻭژﻩﻫﺎﻳﻲ ﻧﻈﻴﺮ ﻣﻮﺯﺓ ﺑﻨﺰ‬
‫ﺍﺛﺮ ﻳﻮ. ﺍﻥ. ﺍﺳﺘﻮﺩﻳﻮ3 ﺩﺭ ﺍﺷﺘﻮﺗﮕﺎﺭﺕ ﻭ ﻣﻮﺯﺓ ﻣﺎﻛﺴﻲ ﺍﺛﺮ ﺯﺍﻫﺎ ﺣﺪﻳﺪ ﻧﺘﻴﺠﺔ ﻫﻤﻴﻦ‬
‫ﺍﺭﺯﺵﮔﺬﺍﺭﻱﺍﻧﺪ. ﺩﺭ ﺍﻳﻦ ﭘﺮﻭژﻩﻫﺎ ﺳﻴﺮﻛﻮﻻﺳﻴﻮﻥ ﺑﺎﻓﺘﻪﺍﻱ ﭘﻴﭽﻴﺪﻩ ﺍﺯ ﻣﺴﻴﺮﻫﺎﺳﺖ‬
‫ﻛﻪ ﻓﻀﺎ ﺭﺍ ﺷﻜﻞ ﻣﻲﺩﻫﺪ. ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﮔﺎﻥ ﺍﻳﻦ ﺑﻨﺎﻫﺎ ﻭﺍﺭﺩ ﺷﺒﻜﺔ ﭘﻴﻮﺳﺘﻪ ﻭ‬
‫5/5‬