سه‌بعدی‌سازی مقرنس بر اساس آرای حسین لرزاده

مقرنس، چگونگی استنباط نقشه‌های آن و نحوۀ ساخت سه‌بعدی ترسیمی‌اش از مباحث مناقشه‌برانگیز در میان مورخان و معماران بوده است. آنچه از گذشته دربارۀ مقرنس باقی مانده محدود به نقشه‌های دوبعدی مقرنس و نمونه‌های ساخته شده است و کمتر دربارۀ چگونگی ساخت سه‌بعدی بر اساس نقشه‌ها اثری باقی مانده است. حسین لرزاده (12851383) از آخرین معمارانی است که فنون ساخت مقرنس را مبتنی بر نظام استادشاگردی فرا گرفته و در آثار مکتوب خویش توضیح داده است. هدف مقالۀ پیش رو تبیین روش لرزاده برای سه‌بعدی‌سازی مقرنس و تلاش برای سه‌بعدی‌سازی ترسیمی مقرنس براساس آثار و آموزه‌های شفاهی او است. مقاله حاضر از خلال مطالعات کتابخانه‌ای و مصاحبه با شاگردان لرزاده سامان یافته و در ضمن استفاده از روش تحقیق کیفی، مفاهیم اصلی مقرنس از نظر لرزاده گردآوری و توضیح داده شده است. در مقالۀ حاضر برای به‌روزرسانی روش ترسیم دوبعدی و سه‌بعدی‌سازی از نرم‌افزارهای اتوکد و کُرل استفاده شده و با توضیح یک نمونه، کاربرد آرای لرزاده در عمل نشان داده شده است. در این تحقیق برای پیشبرد روند سه‌بعدی‌سازی، قواعد و نتایجی از آرای لرزاده در باب سه‌بعدی‌سازی استخراج شده است که می‌تواند در سه‌بعدی‌سازی دیگر نقشه‌ها و تحقیق‌های آتی راهگشا باشد. اهم این نتایج شامل موارد زیر است: ارتفاع قطار، زمینه، نقشۀ دوبعدی، انتقال خطوط در مقرنس نیمکار، حدود نسبی انتخاب‌ها، ذوقی بودن انتخاب‌ها و اختیارات مجری.

Threedimensional Construction of Muqarnas based on Hossein Lorzadeh’s Views

Understanding twodimensional drawings of muqarnas and threedimensional constructing of it, is a controversial issue among historians and architects. Remaining documents from the past about muqarnas is limited to twodimensional drawings and constructed samples, while the documents that show how three dimensional muqarnas is constructed based on two dimensional drawings are insignificanr. Hossein Lorzadeh (19062004) is one of the last architects who have studied the techniques of making muqarnas based on masterstudent system, and has explained it in his written works. The purpose of this paper is to explain the Lorzadeh’s method for threedimensional construction of muqarnas and tries to reproduce muqarnas computer graphics based on his oral works and teachings. Due to numerous differences between the viewpoints of Lorzadeh and those of other academic researchers of muqarnas, review of literature of muqarnas research and comparing it with Lorzadeh’s teachings is vital. This can show us the origins of many mistakes (i.e. misunderstandings) in constructing of muqarnas. Most of technical terms used in muqarnas construction and twodimensional design are used in a wrong way; that is why other applications which follow cannot be correct and reliable. In order to show such misunderstandings, in this paper Lorzadeh’s principles in the field of muqarnas have been derived from different sources in the first place, and then these principles have been compared with the principles which can be found in academic sources. Through such a critical reading, the paper shows the differences among the viewpoints of Lorzadeh and those of other academic researchers, which can be considered as the origin of misunderstanding in this field. The research method of this paper desk research as well as conducting interviews with the students of Lorzadeh. Moreover the main concepts of muqarnas are summarized according to the views of Lorzadeh as well as his major ideas on muqarnas through qualitative research method. To update the twodimensional and threedimensional computer drawing method, AutoCAD and CorelDraw software packages have been used, and by means of a sample, the application of Lorzadeh’s ideas have been shown in practice. During the threedimensional construction process, the rules and results have been derived from Lorzadeh’s ideas on threedimensionality, which can solve the problems found in other plans and researches. These results are as follows: (1) height of qatar which is important in final proportions of muqarnas and depends on designer’s experience in the field of muqarnas, (2) “background is an important part of design that has been ignored in much research. This mistake makes final muqarnas abstract from background, and thus cannot create an artistic harmony between them, (3) twodimensional drawing, which is the first thing at hand while encountering a construction problem of muqarnas, and finally, (4) transmission of lines in “nimkar” muqarnas, relative limits of choices and discretion of the architect. This final part is important in order to make a harmony between background and muqarnas, and designer and constructor ought to assist each other to make artistic muqarnas.