| 摘要: | 透明性做為建築設計的重要操作手法之一，在過去即有相當豐富的討論。例如Colin Rowe對現象性的透明性之定義：透過「疊加」、「互相滲透」、「矛盾性」、「共時性」、「空間-時間」等五種性質來說明空間透明性的呈現。透明性的討論支撐了某一向度的現代建築開展，包括John Hjduck至New York Five的抽象形式、日本當代建築師的曖昧內外空間、五十嵐太郎表皮的映像性、隈研吾構造與視覺等，皆是屬於對透明性設計手法的探討。
本研究開始於這樣的提問：進入數位時代後，對於建築透明性的闡釋是否會有差異? 本文試圖以研究者個人對於數位設計工具的理解出發，探討透明性的設計操作方法於新工具下新的可能性。數位時代所伴隨而生的數位設計與製造工具，與傳統工業時代的設計方法與工具有顯著差異。特別是參數化設計，可將建築構件微小細碎化，同時處理大量幾何運算，並藉由調整參數而產生出不可預測的結果。因此本文試圖運用參數化設計，透過物件的操作與建築物構件的拆解重組，探討視覺與構造中的透明性。
如果以數位的方式重新詮釋Colin Rowe的透明性的特質由具象到抽象，可概略分為構成與現象兩部分。構成包括Colin Rowe所謂的疊加性、互滲性；矛盾性則跨越構成與現象，產生獨特的奇點；現象則包括共時性與空間-時間。設計操作第一階段，藉由數位設計工具可處理大量漸變及細碎化的特性，發現摩爾紋、漸變等手法，相對於傳統設計工具較能突破矛盾性，達到共時性及空間-時間的現象；至於疊加與互相滲透則可以透過密度、交錯、編織與聚合等手法操作。第二階段則是運用調整參數所產生出不可預測結果的特質，以簡易的變形黏貼功能，產生不同的平面與柱牆類型；試圖藉由其細碎化，於不同視角皆可感受到跳視與空間扁平化等現象性透明性。
由上述的操作後推論，數位透明性的特質與可能性：(一)數位設計與製造工具增加了設計的繁複度和維度，因此將自然而然產生具有透明性的構成。(二)數位製造工具的使用改變了原有的材料性，原材料經過分解重新編織生成新的材料性。(三)由於細碎化導致維度的開展，以及聚合拼貼產生抽象、意象與具象間的關係轉換，出現了現象性的新向度，進而產生透明性。最後提出重新定義設計元素來操作透明性：藉由拆解事物組成的元素及特質，互相疊加與滲透的重新定義，使意義和形式之間產生轉換時的跳躍，另類的透明性於是出現。
“The ideology of Transparency” is one of the important operational methods expressed in architectural design. Numerous studies and researches had been made by regarding to “Transparency” from pass till present. For instant, Colin Rowe defines Phenomenon Transparency as: Superimposition, Interpenetration, Ambivalence, Simultaneity and Space-Time, these five features illustrate the present of spatial Transparency. The discussions of Transparency support certain dimension of modern architecture, including the abstract form studies by John Hjduck, to “New York Five”, the vague interior and exterior space of the contemporary Japanese architecture, the Reflectional Transparency of Taro Igarashi and the of structural form and visual express of Kengo Kuma’s work, etc., which expressed the ideology of transparency.
This research study begins with the question of whether there is any difference in interpreting transparency in architectural in the digital age. The research attempts to explore the possibilities of design approach towards achieving “Transparency” with new tools, based on the researcher’s understanding of digital design tools. Digital design methods and fabrication tools along the digital age are significantly different from the traditional industrial method. In particular, the parametric design allows the architecture components to be finely fragmentized, dealing with a large amount of geometric operations, and by tuning the parameters to produce unpredictable results. Therefore, the research aims to explore the possibility of visual forms and structural in transparency via parametric design, through object operation, deconstruct and recompose of architecture components.
Re-interpreting “transparency” of the Colin Rowe in the digital way from reality to abstract can be divided into two parts, composition and phenomenon. The composition part includes Colin Rowe''s superimposition and interpenetration. Ambivalence crosses the composition and phenomenon, which produces unique singularity. The phenomenon includes simultaneity and space-time. In the first stage of design, compares to traditional design tools, digital tools can process large amounts of gradual changing and fragment, therefore, find out Moiré Pattern and Gradient might be the way to break through ambivalence and then achieve simultaneity and space-time phenomenon. As for superposition and interpenetration, they can be operated by density, staggered, weaving and aggregation and other manipulation. The second stage is by the feature of adjusting parameters to produce unpredictable outcome, using simple function such as morph and orient, to create varied types of plan and pillar. Attempt by fragmentize, to bring out in different view of facade and flattened space of Phenomenon Transparency.
As a conclusion for the studies above, the features and possibilities of digital Transparency includes: (1) Digital design and manufacturing tools increase the complexity and dimensions of design, thus, it naturally generates composition with Transparency; (2) The use of digital fabrication tools to change the original materiality through the decomposition and reweave the raw material; (3) As the fragmentation leads to unfold dimensions, and the transfer between abstract, image and reality, emerge the new dimensions of phenomenon, thereby generating transparency. At last, propose redefining design elements to operate Transparency: by dismantling the elements and feature of composition of things, redefining superimposition and interpenetration, meaning and form leaping through transfer, different Transparency then appears. |
