منظر و معماری بومی در طراحی‌های سهراب سپهری

مجموعۀ متنوعی از طراحی‌ها و نقاشی‌ها سهراب سپهری برجای مانده که هر یک در جای خود ارزش مطالعه و بررسی را دارند. بااین‌حال، طراحی‌های او کمتر موردتوجه پژوهشگران بوده است. این آثار منبع مهمی در خوانش منظر و معماری بومی عصر او هستند. از آنجا بخش مهمی از میراث طبیعی و معماری ما به دلیل رشد شتابان‌ شهرنشینی، خشکسالی و بحران‌های اقلیمی در معرض نابودی قرار دارند، آثار سپهری را می‌توان بخشی از اسناد میراث بومی دانست. هدف این پژوهش شناسایی ساختار ترکیب‌بندی آنها و تحلیل مفاهیم فضایی-مکانی موجود در آنهاست. روش این پژوهش کیفی و مبتنی بر توصیف و تحلیل است. برای این کار مجموعه‌ای از 145 طرح که در واپسین سال‌های حیات وی از مناظر گوناگون تهیه‌شده‌اند، انتخاب گردیده است. خوانش هر اثر شامل شناسایی عناصر و اجزاء تشکیل‌دهنده طراحی، شناسایی جزئیات، میزان و شیوه پرداخت اجزاء و کیفیت‌های نمایشی آنها است. نتایج نشان دادند که اجزای سازندۀ منظر و معماری بومی شامل «کوه»، «درخت» و «معماری» هستند و ساختار غالب در بازنمایی منظر طبیعی در این طرح‌ها شامل ترکیب‌بندی کوه‌ها و تپه‌ها به‌صورت قطر راست است. منظر بومی بازنمایی شده در این آثار، نوعی چشم‌انداز درهم‌بافته و مرکب است؛ «آبادی» و «خانه» دو گونه معماری بازنمایی‌شده هستند.

landscape and vernacular architecture in sohrab sepehri’s drawings

diverse collection of sohrab sepehri’s drawings and paintings has left a legacy that is well worth the study. however, his drawings have received less attention from art critics. these works are an important source in the reading of the landscape and the vernacular architecture of his time and show his lived experience and deep understanding of the environment. since an important part of our natural heritage and architecture is in danger of extinction due to the rapid growth of urbanization, drought and climate crises, sepehri’s works could be considered part of the documents of indigenous heritage. the aim of this study is to analyze the landscape and vernacular architecture in his drawings, to identify the structure of their composition and to analyze the spatial-local concepts in them. the method of this research is qualitative and based on description and analysis. in this study, a series of drawings by sohrab sepehri were selected in the last years of his life. these drawings include 145 pieces made from various landscapes during 1976-79. the reading of each work includes identifying the elements and components, the details, and the display qualities of each element. the results show that the components of landscape and vernacular architecture in sohrab’s lived experience include &mountain&, &tree& and &architecture. the analysis of these elements indicates that the dominant structure in the natural landscape representation in these designs included the composition of mountains and hills in the right diameter. the vernacular landscape represented in these works is a kind of &complex landscape&. &village& and &house& are two types of architectures represented .three different nested layers are formed in sohrab sepehri’s designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. the designer / spectator are always in the outer layer, so the concept of &here& and &there& is formed.three different nested layers are formed in sohrab sepehri’s designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. the designer / spectator are always in the outer layer, so the concept of &here& and &there& is formed.three different nested layers are formed in sohrab sepehri’s designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. the designer / spectator are always in the outer layer, so the concept of &here& and &there& is formed.three different nested layers are formed in sohrab sepehri’s designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. the designer / spectator are always in the outer layer, so the concept of &here& and &there& is formed.keywords: sohrab sepehri, design, nature, vernacular architecture, composition