|摘要: ||布料的飄逸、透明、不確定性、無邊界等性質，與磚、木頭、混凝土、玻璃等現今常見的建築材料存在著極大的差異性，彼此間衝突性的差異使的布料在現今建築的應用十分有限。然而布料最使我著迷的是自由飛舞時那摸不著邊際婆娑舞動的線條、紋理等所構成的透明特質，有別於Colin Rowe提出的透明性，試圖架構在現今擁有新的技術、工法、材料等條件下，重新詮釋數位時代的透明性。因此本研究目的為探索布料的透明紋理與材料之間的關係，並透過參數化設計和數位製造的介入，進而創造新的空間氛圍及構築方式。|
本研究步驟主要分為二階段。第一階段著重於布料的紋理與透明的研究，對於布料擺動時的皺褶、層疊、交錯關係、軟性模糊邊界等視覺上的紋理，進行觀察與詮釋，將其中隱藏的秩序、規則透過數位軟體的演算機制及幾何形體的衍生重新詮釋布料之紋理及織理性。第二階段則是強調織理結構與透明的探討，從平面紋理到2.5維的向度、3向度再到具有結構性的紋理，再將紋理再次拆解到可被構築的單元，透過單元與單元的聚合(Aggregation)構成合理的結構行為，整體而言是透過軟性平面材料的加工到具備結構性的發展過程。在這二個階段，分別藉由兩個展示亭Stretching Pavilion及Folding Pavilion予以了解並檢視。
In its flowing, translucent, and ever-changing nature, the fabric in sharp contrast against the commonly architectural materials of today such as brick, wood, concrete and glass. The confliction of this contrast causes a great deal of limitations to be placed upon the uses of fabric in contemporary architectural design. However, what the fabric attracts me is its billowing folds, which displays a weightless intangibility of barely existent lines and patterns, to create a sense of transparency. This transparency is different from the transparency as defined by Colin Rowe in “Transparency: Literal and Phenomenal”. Furthermore, we believe that the new technology and materials will evolve the meaning of transparency in the digital age. Therefore, the aim is to explore the relationship between materials and the transparent pattern of fabric through parametric design and digital fabrication, and then create the new possibilities of spatial atmosphere and tectonics.
This research is comprised of two major stages. Emphasis will first be placed upon furthering one’s understanding of the fabric’s patterns and its transparency. In order to further recreate the nature of the material, I studied aspects of the fabric such as the pattern of folding, layering, interweaving, blurring and so on. The aim is to reveal the hidden pattern and rules between the above aspects which can be computed by digital programming and fabrication to evolve and develop new meanings within the nature of the fabric’s pattern and weave. In the second stage, the focus falls upon transforming the fabric from its one-dimensional flatness into an eventually three-dimensional image. The possesses structured patterns before reducing the patterns into an unit that can be used architecturally through a process of aggregation for a logistical composition. These two stages are respectively evaluated by the stretching pavilion and the folding pavilion.
Overall, this research approaches the issue of digital transparency of fabric from three different scales. On the larger scale, I interpret the various forms and patterns of fabric, through the process of the cutting, layering, bending of translucent materials. On the secondary level scale, I develop the materiality of the fabric through cutting of PVC boards, heating, stretching, and stabilizing give the meaning to the tension of the material. Finally, on the smallest scale, I get the inspiration from the “sewing” of the fabric to aid the creation of a new project by means of structuring a form through the aggregation of units. The research provides the possibility of architectural design and digital tectonics through parametric design and digital fabrication as well as how the transparent pattern plays a role in the digital era of spatial atmosphere and meaning.