كليدواژه :
معماري , بي نظمي , تجلي وجود , طبيعت , نظم , علوم جديد
چكيده فارسي :
هدف نوشتار بررسي چرايي و چگونگي تغيير ديدگاه انسان درباره نظم در طبيعت ، علم و معماري از عالم قديم به جديد، بوده است.
قواعد الگوهاي جديد نظم بيشتر از سرچشمه هاي غيرقابل پيش بيني، غيرغايتمند و متكي به دريافت انسان نشات مي گيرند.
در حالي كه در گذشته، نظم طبيعت ضمن اين كه ريشه در نظم الهي داشت، وسيله تجلي آن نيز مي شد. در آن معماري ها
"هندسه" باعث تعيّن و پردازش حقيقت و وجود در اثر معماري مي گرديد و "نظم" چگونگي هاي قرارگيري آن حدود را در كنار
هم مشخص مي كرد. "رمز" ميزان آشكارگي حقيقت در آن معماري ها را متبادر مي ساخت.
نتيجه نوشتار پل زدن بر شكاف همواره در حال گسترش ميان دين و علم است. با توجه به رويكرد دوگانه در مقاله ، روش تحقيق
به فراخور مطلب، كمي و مبتني بر علوم محض يا كيفي بوده است.
چكيده لاتين :
This article is looking for the answer for the question that why and how man’s attitude in the ancient world
toward order in nature and the world was changed in the modern science and architecture.
The modern patterns of order, which are sometimes called disturbance and disorder, demonstrate a certain
condition that we live and experience today. These attitudes are compatible with the new evolutionary and
self-organized processes. Their rules are mostly elevated by the unpredictable and unstable sources. Order,
from a new aspect, is an attribute inspired by man’s imagination and has no externalization. Today, Post-
Modernism and Deconstructionism are trying to maintain the independence and detachment of the structures
of the universe from a supernatural source in anyway possible; otherwise, they will lose their individuality
and vitality. Architects observe, as the principle, the attitude affected by the motto “Form obeys the universal
viewpoint” and the dependence of architecture on the world’s up-to-date complicated sciences.
In the old version of thinking, which was rooted in religious cosmology, the order of nature and the universe
in addition to having been rooted in divine order, could also serve as a means of its reflection and emanation.
Also, in the architecture of that era, “geometry,” “limit” and “measure” defined and processed the truth and
existence in a work of architecture, and “order” determined the ways those limits were put together. “Symbol”
as well showed how visible the truth was in those architecture works. Architects have demonstrated the divine
emanation, sequence and the pervasive order with the help of the symbols of light, time, water, matter, and…,
and the entire system ruling over them.
The goal this article is trying to drive home is to show that although today’s knowledge has become experimental,
practical, and prodigious, it is a necessity today to accept the religious attitude toward order in the cognitive
level, and forming a harmony between order and disorder. If we want to receive and get use of the real order,
we need a change in the attitude. The change in cosmology which accepts the divine order and meanwhile
admits the sciences based on nature’s certain areas and its scientific consequences such as quantum, science
of complexity, self-organizers, fractals, and …, admits it in terms of a supernatural principle and tries to
recognize the scientific details in it; that is, it is believed that there is a much more meaningful order than the
order imposed by the old version of rationality within life’s coincidental phenomenon. Creativity in architecture
is also the concealed harmony within the complexities. No unity, cohesion and regulation would ever mean
anything without order. Without disorder, variety and innovation would be limited. In blending order with disorder,
total order and partial disorder is the recommended solution. Order and disorder together can act toward the
perfection of architecture.
Considering the dual approach in the article, the research approach concerning the subject will be quantitative
and based on pure sciences or qualitative and based on the existence dimension and anthropology its recognition.
