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Abstract: (1148 Views)
Many have considered the scheme of the contemporary Iranian city to be chaotic and disorganized. Doing so, they have the residential facade be called a place in borders: the border between private and public, self and other, house and city. In re-reading the writings and discourses that have addressed the issue of the city's appearance being unattractive, one can see how much this borderline position has been the cornerstone of most pathologies. This borderline situation has reproduced itself in the ethics of the architect and has formed another dichotomy: self-creation against solidarity. Many have pointed out that the problem with architectural form design is that the architect sees the facade as a canvas for his creativity and self-expression and ignores the other. Rather than trying to understand why the city's appearance is disordered or not, this article will focus on an element that seems to be ignored in those pathologies above positively and clearly: the architectural form in its very material context. In John Dewey's aesthetic theories and Richard Rorty's epistemological theories, we are looking for the characteristics and features of a form that nullifies the conflict between self-creation and solidarity and can put these two in their coexisting place. Two elements are supposed to work with each other to solve problems, and if this opposition does not exist as a problem to be solved in the design of the form, talking about a good form loses most of its meaning. This article claims that a good form is a form that, while responding to its problems, has a contingent and unexpected nature. For this reason, by referring to the philosophers mentioned above, and their related theories, the characteristics of such a form are discussed, and an attempt is made to discuss these characteristics in some contemporary works of architecture.
Article number: 126
Type of Study: Research original/ Regular Article |
Subject:
معماري و شهرسازي
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