parallax

With the start of the postmodern period, the views, studies and most of the philosophies around the place, had a clear emphasis on the atmosphere and avoid quantitate look based on Cartesian thought to the place. The reason of this attention can be the following paragraph. as we see, the most of the built environment which we are aging in them changed to no soul skeleton that the only response to our functional needs and doesn’t have any connection with our spirit. Our bodies get used mainly for watching something. We forget the pleasure of bodily experience such as walking, hearing, smelling, and touching; we have been losing sensory meanings related to the world: the ground, the sky, the air and the world. Architecture is implicated in this loss, having become more focused on the instant images rather than either practicality or sincerity. As a result, most of contemporary architecture has been stuck in ocular centrism. Steven Hall, meanwhile, suggests Parallax, following the Merleau-Ponty and bodily Perception, and relates the quality of communication in today's spaces to parallax-based perception. Holl defines Parallax in his book: “Parallax- the change in the arrangement of surfaces that define space as a result of the change in the position of the viewer- is transformed when movement axes leave the horizontal dimension. Vertical or oblique movements through urban space multiply our experiences. Spatial definition is ordered by angles of perception. The historical idea of perspective as enclosed volumetric based on horizontal space gives way today to the vertical dimension. Architectural experience has been taken out of its historical closure. Vertical and oblique slippages are key to new spatial perceptions. In this study, we arrived at the root of Parallax, (the change in the arrangement of surfaces that define space as a result of the change in the position of the viewer), and we find it in space under two indicators of angle-of-sight and activation of the five senses. Aim of research: Our aim is to achieve the design elements of this component (parallax) and how to make it in space. In this regard, we chose the historic houses of Tabriz as a case study to achieve our goals. This selection is based on the essence of the research on the purposeful selection of the sample.

What is the relationship between the parallax component and the promotion of perception in the space of historical houses in Tabriz?

 The research methodology is both qualitative and quantitative, but often qualitative method based on the phenomenology paradigm, we obtained the data model with a research model and then the indices obtained from the research model were measured in case studies.

 The audience in these historic houses is always in a tangible fluidity in space, most of the major displacements in these spaces are associated with the break of the horizontal axis and movement in the vertical axes, which causes the spatial fluidity of the relationship between the subject and the object and also in the direction of this fluidity, the one-sensory perception of the audience from space becomes a multi-sensory perception. On the whole, the audience experiences a deep perception in these spaces.

In the wake of anthropocentric thinking of Descartes, humans and the world surrounding them divided into two separate components. Highlighting the optical phase of contemporary environment, this separation becomes more obvious. Lots of phenomenologists like Martin Heidegger and Edmund Husserl tried to remove this separation, but he was Merleau-Ponti that considered the body as a primary factor in defining space and following Pontie’s theory, Steven Holl proposes the component of Parallax (the change in the arrangement of surface that defines space as a result of the change in the position of a viewer- is transformed when movement axes leave horizontal dimensions) and believes that spatial perception happens in case of breaking perspective, making oblique or vertical movements and finally adding time to space. The aim of this paper is the recognition of parallax and its design indicators in increasing the richness of environmental perception. In this way, the main question of research has been set: how is the relation between the parallax and bodily perception in the architecture of Steven Holl?
This research has a qualitative approach and with the philosophical framework of phenomenology and the help of the research model abstracted from theoretical foundations in addition to analyzing the case studies like: Helsinki museum (Kiasma), an exploration of IN and Tesseract of time, tries to understand parallax and indicators of it in enhancing the perception of the environment.
Oblique and vertical movements in space along with breaking the horizontal routine surfaces and creating the spatiality of perception with sequencing and combining various spatial views along with adding time are the indicators of the theory of parallax. The component of parallax is creating a way of bodily perception.