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    Title: Applying nature dynamics in design generations : water morphology transformation
    Other Titles: 變動自然元素的設計衍生 : 水形態轉化之研究
    Authors: 黃姵慈;Huang, Emmie Pei-Tzu
    Contributors: 淡江大學建築學系碩士班
    陳珍誠
    Keywords: 變動自然;自然紋理;再現;液態;水形態;參數化;Nature Dynamics;Nature Pattern;Representation;Fluid;Water Morphology;Parameterization
    Date: 2014
    Issue Date: 2015-05-04 09:57:12 (UTC+8)
    Abstract: 自羅馬和希臘時代以來,自然一直是建築元素靈感的來源,其流暢的曲線和有機形態帶來優美的構圖與結構。1900年代的演進過程中,自然的紋理已經被廣泛的使用,而奧地利的阿道夫‧洛斯則宣稱做為裝飾的設計是罪惡的。關於自然紋理的部份,本研究可幫助我們發現自然環境與建築之間可能的相互關係。受到大衛韋德《Li》一書的啟發,本論文選擇了16個中國文字,這些文字與水都有深切關係及象徵意義。由於字元素的意義相近,使得它們每個元素彼此之間的關係可被歸類在一起,而這是中文裡所謂的會意字(六書之一)。

    根據中國文字的造字原則,單字結構由基本元素組成,被稱之為部首。象形文字不僅象徵字的狀態也表達其意義,相同部首的字之間也有著相似性。中國文字可以讓我們根據部首去追朔其造字起源及演進過程。論文中,每個中國字被再現成為一系列關於其名詞或動詞的照片。在特定時間點捕捉瞬間特殊的流體動力學現象。在二維圖形中我們察覺到這些迷人的圖案模式是來自於流體動力學對於時間和能量之間的直接關係。這些被定篩選過的圖樣模式被放大,重新定義並且重新 組構來再現其最佳的狀態。這些二維圖像源自於一系列的照片與圖像化的向量線條,這些圖解示意圖一部份是由Rhinoceros所製作,而另一部份則是透過參數化設計工具-Rhinoceros的插件Grasshopper所處理,再從16個字符中選出其中的4個,以實體建造組織的方式來表現其所象徵的狀態,其中涉及中國文字的起源(象徵其狀態的表現)。透過這項研究中所搜集得到的知識,將沫、灑、溶和浪這四個與水相關的文字轉譯為四個與建築設計相關的項目。

    本論文著重水形態分析後的設計實驗,透過對於16種代表水不同狀態的文字與其所代表的不同再現意義的設計研究:象徵式,圖像式和類比式,研究過程中理解到動態圖像不僅侷限於二維圖像的意義詮釋而已。本論文的設計成果滿足了將一系列水動態模型分析並且構加以造化的企圖心。
    Nature has been the origin of architectural pattern since the Roman and Greek. Its smooth curve and organic form brought aesthetic to the plain surface and orthogonal structure. The pattern of nature has been utilized to an extend that during the evolution in the 1900s, Austrian Adolf Loos stated it as ornament is crime. Besides, speaking of nature pattern, this search investigates possible interrelations between our natural environment and architecture.

    Intrigued by David Wade’s book of Li, I selected sixteen Chinese characters that have significance of water as their meaning element and a descriptive element adjacent to make each of them categorized as associative compounds (one of the six categories of Chinese characters). Not only for its symbolic meaning but also the resemblance between the dynamic and its composition. Based on the principle of the making of Chinese characters, the structure consists fundamental radicals, also known as section headers. In another word, the radical of Chinese characters allows us to trace back its origin and dynamic. Each of the sixteen Chinese characters is represented in a series of photographs, whether it is a noun or verb. Capturing the phenomenon of the specific fluid dynamic during the moment of action. The fascinating pattern forms, we perceived in the two dimensional graphics, fluid dynamics have an immediate relationship with time and energy. Theses pattern forms are magnified and redefined into configurations that best articulate their dynamics. Two dimensional diagrams were inspired from the series of photographs, and driven from the iconic vector line drawing. A series of diagrams are produced by Rhinoceros and some are also generated through parametric design tool: grasshopper. Four out of the sixteen characters are chosen to made into models that are considered as diagram machines to produce symbolic diagrams, which relates back to the origin Chinese characters (symbolic representation of the dynamics). In combine of the knowledge I gathered from this research, the four diagram machine of the water dynamic of foam, spray, dissolve and wave are translated into four building projects.

    The thesis is rather analytical than experimental. Through the research of sixteen water dynamics and their different types of representation: symbolic, iconic, and analogical, the dynamic patterns I have seen no longer stand for a simple two dimensional graphic meaning. The design outcomes fulfilled the ambition of structuring the series of analytical representation in water dynamics.
    Appears in Collections:[建築學系暨研究所] 學位論文

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