اثربخشیِ سبک هایِ هُنریِ پس از سده یِ بیستم بر معماریِ تندیس وارِ معاصر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
با اندکی باریک بینی، تعاملِ تام وتمامِ معماری با هر سه عرصه یِ معارفِ آدمی، اعم از علومِ انسانی، علومِ طبیعی، و هنر، به چشم می آید. این شاخه هایِ شناخت، به ناچار، با یکدیگر سازگاری می یابند و گشادوبست هایی را از سر می گذرانند. این سان، سرمشق هایِ فنی و هُنری ای که زمانی بر صدر بودند و قَدر می دیدند، در هنگامه ای دِگَر، زیرِ تازیانه هایِ تفکراتِ تازه درد کشیدند و طرد شدند. روزگارِ پیش از جنگِ دومِ جهانی را "عصرِ مجسمه سازی" در تاریخِ معماری نام نهاده اند. این مهم، در نتیجه یِ ابداعاتِ انقلابیِ برخاسته از فناوری هایِ پیشرفته و مصالحِ جدید در صنعتِ ساخت وساز به ظهور رسید. معماریِ تندیس وار، که ساختمان را چونان مجسمه ای دُرسا، به قصدِ نمایش در معرضِ دیدِ عموم می گذارَد، در درجه یِ نخست، به خصایصِ ظاهریِ بنا شاملِ فرم، سازه، و مقیاس، وابسته است. بدین ترتیب، می بایستی که ردِپایِ مصادیقِ آغازینِ آن را در ابنیه یِ دورانِ باستان جست. با نگاهی انضمامی بر اولین زمینه، یعنی فرم، جستارِ حاضر تلاش دارد تا با کاربستِ راهبردِ کِیفی و تدابیرِ استدلالِ منطقی و بررسیِ موردی، نشان دهد که برخی از خیزش هایِ هُنریِ مدرنیستی مانندِ آر نُوو، اکسپرسیونیسم، نِئو بروتالیسم، کوبیسم، فوتوریسم، و کانستراکتیویسم، الهام بخشِ معماری-تندیسگریِ معاصر شده اند، که خود، در بسیاری از سبک هایِ معماریِ پسامدرنیستی نظیرِ های-تِک، دی کانستراکتیویسم، فولدینگ، پارامِتری سیسم، زیست ریخت شناسی، و بایودیجیتال، تجلیِ چشمگیری یافته است.Influence of Modernist and Postmodernist Styles in Visual Arts on Contemporary Sculptural Architecture
In the universe inherited no transcendental meaning, and consistently exhibits the scared subjectivity existed beyond the idea of the ‘will to power’, art similar to love, is divulgence of the one that could not be revealed; a secret which consigns, even if only for a moment, earthling’s eternal anguishes to oblivion, not simplistic, but with the regeneration of reality. Controversies concerning the essence of some phenomena such as art and beauty had prevailed the field of philosophy from preceding times, but until the nineteenth century, the debate has not been so outspread. Being a considerable aspect in cultural identity, art is imperative for social life and would shadow like a safe, placid shelter the today’s alienated individuals in virtue of adjusting the perennial tension between mental creativity and visual culture. Therefore, referring its attributes to entities is of tremendous relevance. Nevertheless, it should be declared that formulating an objective definition of art based on metaphysical idealistic essentialism would not lead to any prosperous perspective. Erstwhile approaches, at least as illustrated in contemporary argumentations, encompass three distinct viewpoints including Representationalism, Expression Theory, and Formalism, along with their subsidiaries. Recent scopes of explicating the features of artworks embrace Aesthetic Theory, Neo-Wittgensteinianism, Institutional Theory, Historical Definition, and Historical Narration. Each of the stated strategies has some kind of preferences over others, but due to the inability to comprise all instances, fails to reach the desired destination. In the meantime, modern art derived from the segregation of preceding Epistemology and Aesthetics, in consideration of enunciating the perpetual sufferings intrinsically established in the existence, comprehensively exploits strange, novel models, and every time contributes to a renovated and problematic conundrum for contemplating intellectuals. Achieving the objectives of this paper, we propose some questions written in the following: - What underlying thoughts and perspectives are dominating the modernist art? - From which theories the postmodern architecture as a non-classic phenomenon is derived, and in practice, to what extent has it been able to enrich those ideas? - What are the origins of contemporary archi-sculpture, and what styles have been influenced by it? After the emergence of modern movements of art in the banquet of architecture, the meeting does not remain unchanged and unavoidably plenty of alterations initiate; one of which is proliferating attention to sculptural architecture. Dating back to antique eras, form, structure, and scale, as features of the outer appearance of buildings, illustrate an impressive statue as an architectural expression. By means of portraying a remarkable line of emphasis under the first stated feature, meaning the form, it would be specified that some of the tendencies in modernist art like Art Nouveau, Expressionism, Neo-Brutalism, Cubism, Futurism, and Constructivism inspire the recent archi-sculpture, which itself affects numerous postmodernist styles, such as High-Tech, Deconstructivism, Folding, Parametricism, Biomorphism, and Biodigital. The authors exert themselves untiringly to depict the association of sculpturesque manner in architecture to art movements appeared and developed after the twentieth century through a qualitative method in virtue of some techniques, including rigorous describing of case studies, and also logical reasoning.
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