بررسي متقابل ساختار ذهني آهسته گام در فضاي معماري و سينما از منظر ژاك لاكان

An Analysis of Slow-pace’s Mental Structure in Architecture and Cinema from Jacques Lacan’s Point of View

توجه به نيازهاي روحي و فكري آهسته گام ها كه همان عقب‌ماندگان ذهني هستند، هميشه جز لاينفك طراحي براي آهسته گام‌ها بوده است. اين پژوهش به تحليل فضاهاي معماري فيلم دودسكادن ساخته سال 1970 به كارگرداني كوروساوا مي‌پردازد و بر مبناي سه نظم بنيادين ژاك لاكان: امر خيالي، نمادين و واقعي از منظر آهسته گامي به نام روكوچان به تحليل فضاهاي معماري صحنه هاي اين فيلم مي‌پردازد. به عنوان روشي مناسب جهت ايجاد ارتباط بين آنچه روكوچان تصور مي كند و نماد‌هايي كه در ذهن افراد جامعه‌اش بوجود مي‌آيد. كوروساوا بر اساس ذهن بيمار و ديوانه و عقب‌مانده زاغه نشينان از منظر سه نظم بنيادين لاكاني امر واقعي، خيالين و نمادين را با واقعيت‌هايي كه در جامعه كوچك زاغه‌نشيني در فقر و هراس و مرگ هستند را با تقابل روكوچان و جامعه‌اش در سرتا‌سر فيلم در فضا‌هاي خاص معماري به تصوير مي‌كشد. روش تحقيق در اين پژوهش بصورت تحليلي، توصيفي با تركيبي از روش تحقيق كمي (از تيوري به نمونه)و روش تحقيق كيفي (از نمونه به تيوري) است.كوروساوا در ارايه فضاهاي معماري بر اساس سه نظم بنيادين، امر خيالي، نمادين و واقعي عموماً موفق عمل نموده بجز بخش هايي كه به امر خيالي مربوط مي شود، كه بصورت تصنعي شكل گرفته است.

Focusing on spiritual and mental needs of slow-pace people i.e. mentally retarded people has been always an integral part of designing spaces for them. According to Lacan’sway of thinking, Real, Imaginary and Symbolic Orders are three ways of expression through human’s reality language and usually reality is considered as a combination of symbolic and imaginary orders. This research analyzes architectural spaces of Dodes-ka-den directed by Kurosawa in 1970 and it considersLacan’s Three Principal Orders,Real, Imaginary and Symbolic, from the viewpoint of a slow-pace person named Rokkuchan who narrates the story. As an appropriate way to create a connection between what Rokkuchanassumes and the symbols made in human minds of his society, he visualizes realities existing in poverty, fear and death in shanty-dwelling society in one point and goodnessin another, with the contrast between Rokkuchan and his society, continuously throughout the film in particular architectural spaces. The research contains an analytical- descriptive method with a combination of quantitative (theory to case) and qualitative (case to theory) methods. Lacan’s way of thinking is a deep functional psychoanalytical critique which tries to reveal hidden dimensionsof human existence. Kurosawa creates the same viewpoint when depicting unconscious feeling of social relations’ precision. Explicating mirror stage theory, Lacan explains children psychology and social theory as an external image of the child that he himself accepts. He introduces three principal orders that are models for analyzing Dodes-ka-den. Lacansupposes imaginary order as one which humiliated human in modern era, i.e. it is an evident dimension of personality. Symbolic order depends on the environment an individual grows in. Real order is the same hidden personality that is meaninglessand nonsense sometimes. Kurosawa exploits this tool to organize shanty-dwelling society symbolically and from the viewpoint of a slow-pace person named “Rokkuchan”. He also reminds the contrast between Japan’s modern life, the symbol of which is car, and its traditional society with houses as a symbol, at the beginning of the film and he continues this throughout the film. Like a train and a train driver sometimes, Rokkuchan drives life in Lacan’s three principal orders. He displays shanty-dwellers’ life with its unpleasant dimensions. Rokkuchan’s life train passes through all these sorrows and the dwellers, as wagons of this train, are another life train. This research shows thatspatial sense of slow-paces can be found through analyzing film spaces and shanty-dwelling society represents facts of slow-paces’ lives, e.g. designing spaces based on sick, crazy and retarded minds among this society in Dodes-ka-den. Regarding Lacanian psychoanalytical orders, Kurosawa was influential in designing scenes, inner architecture, landscape and sense of place. He has been successful presenting architectural spaces in this regard except for parts related to Imaginary order,since theywere formed artificially.He visualizes all unpleasant issues a slow-pace may face with during life. Eventually, providing a method of viewing cinema, architecture and psychoanalytical analysis, hidden concepts of space design regarding a slow-pace teenager are presented from Kurosawa and Lacan’s viewpoint.