خوانش تطبیقی مفهوم فاصله‌‌گذاری در آثار سینمایی و معماری: باتکیه‌بر مصادیق معماری دوره مدرن و پست‌ مدرن

یکی از زمینه‌های ارتباطی سینما و معماری تامل درمفاهیمی است که در سینما موجود بوده و در معماری قابل‌پیگیری است. دراین میان مفهوم فاصله‌گذاری سینماگران را متاثر ساخته‌است. تماشاگران درطول فیلم، دچار تشددهای عاطفی و همذات‌پنداری با بازیگران شده و همه‌چیز را واقعیت می‌انگارند، اما با فاصله‌گذاری این تفکر برهم‌زده می‌شود. آن‌ها آگاه می‌گردند که درحال تماشای یک نمایش هستند و از باور به واقعی‌بودن وقایع جداشده، بانگاهی بافاصله و هوشیار، باذهنی آماده تفکر به اثر می‌نگرند و خیال‌پردازی‌ها محو می‌گردد. مسئلة پژوهش، پیگیری مفهوم فاصله‌گذاری در معماری و هدف آن خوانش نمودهایی از آن در آثارمعماری است. روش‌پژوهش کیفی بوده، ابتدا مبتنی‌بر منابع کتابخانه‌ای، مفهوم فاصله‌گذاری تشریح گردیده‌است. از سینما به‌عنوان یک حوزه واسط جهت تبیین بهتر فاصله‌گذاری استفاده‌شده و محتوای سکانس‌های برخی آثار سینمایی تحلیل گردیده‌اند. از تطبیق آن با معماری، مصداق‌هایی در آثارمعماری نمایش‌داده‌شده است. پنج مفهومِ درون‌بودگی و بیرون ‌بودگی، روایت‌‌اصلی و روایت‌فرعی، شیئیت و فضائیت، توازی‌روایت و زمان‌پریشی جمع‌بندی شده‌اند که می‌توانند به فاصله‌گذاری در معماری منتهی‌گردند. همچنین مشخص‌گردید که فاصله‌گذاری در معماری نیز موجودیت ‌یافته و مخاطب معماری را به تفکر و خردورزی و اکتشاف در اثرمعماری دعوت‌می‌کند.

comparative interpretation of the distancing effect concept in the works of cinema and architecture:based on the instances of modern and postmodern architecture

cinema has been constantly interacting with architecture since the early days of its formation. one of the fields of this interrelation is the exploration of concepts that exist in the theories of cinema and can betraced in the realm of architecture. the “distancing effect” concept, also known as estrangement oralienation effects, and v-effect (verfremdungseffekt in german) which has influenced many theorists of cinema and filmmakers is one of them. this concept can be defined through an example. while watching a drama, individuals experience sensory and emotional tensions,identify themselves with the actors, and perceive everything as reality. however, this process is disturbed by the “distancing effect”. they become aware that they are watching a performance, and therefore they are separated from the belief that the events are real, viewing the work with a distant and analytical perspective, away from emotional conflicts. in this way, imaginations and illusions dissipate, and the audience remains fully alert with a seeking and active mind,ready to think. the “distancing effect” has been developed in many art forms to break simple immersion and identification,provokig self-awareness, social awareness, and reflection. the focus of the present article is to explore “distancing effect” concept in architecture, with the aim of interpreting its manifestations in architectural works. the research method is qualitative, based on theoretical discussions in library resources, where “distancing effect” concept has been explained. cinema has been employed as an intermediary domain for a better explanation of “distancing effect” approaches, allowing architectural instances  be identifiedmore easily. the contents of  sequences from selected cinematographic works have been analyzed. by adapting them to the world of architecture, examples of this concept have been illustrated in architectural works. in this article, five categories of insideness and outsideness, main narrative and sub-narrative, objectivity and spatiality, parallel narrative, and anachronism are summarized, which can lead to the “distancing effect” in both architecture and cinema. in conclusion, it became clear that the “distancing effect” concept is not solely dedicated to literature or dramatic arts, but it can also be revealed in the field of architecture. various works of cinema and architecture from a wide geographical range are presented as instances of the “distancing effect”. as demonstrated, different famous filmmakers such as antonioni, tarkovsky, kiarostami, wajda, wenders, von trier, mankiewicz, bertolucci, and others used the “distancing effect” in their works. notebly, brecht theorized his concept in the twentieth century, yet many of the buildings discussed in this research belong to an earlier historical period. this indicates that many architects have (un)consciously used this concept in their works as they want to invite individuals to think, explore, be active, interpret, and be aware of what they are observing. ultimately, it can be articulated  that the work of architecture plays a more significant role, it is not merely a space to provoke our sensations, but also a universe for deep contemplation and thought.