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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/34693

    Title: 曙昧之地乍離之影 : 量度懸置地景之敘事景深
    Other Titles: At twilight zone, departure of an apparition : surveying the narrative dimensions of landscapes in temporal suspension
    Authors: 何炯賢;Ho, Chiung-hsien
    Contributors: 淡江大學建築學系碩士班
    康旻杰;Kang, Ming-jay
    Keywords: 敘事景深;敘事策略;時空軌跡;懸置;開放性文本;深度描述;Narrative dimensions;Plot;Chronotope;Temporal suspension;Open text;Thick description
    Date: 2008
    Issue Date: 2010-01-11 05:30:49 (UTC+8)
    Abstract: 城市發展中,當面對空間機能消耗殆盡所產生的懸置地景時,建築設計往往被當作解決問題的工具。懸置地景泛指與現今都市發展脫勾介於衰敗傾圮與更新拆遷前的空間狀態,處於都市計劃中曖昧不明的時間點,就像是黑夜將盡、黎明未始前的曙昧地帶。被視為問題般存在的懸置地景,在歷史大敘事以及創造土地更高使用價值的機能性思考下,地方居民生活空間的真實演繹,反倒成了空間中未被訴說的故事。這些被視為理所當然的設計介入侷限了我們對城市空間的閱讀與想像。懸置地景的存在拉扯了我們對城市空間既有邊界的認知。本論文試圖透過敘事性設計操作,描繪出空間中所存在的時空軌跡以及隱藏於居民真實生活場景下的地方幽微細節,賦予空間敘事景深。以旁觀者帶點疏離的角度對地景文本進行閱讀,藉由地景文本再書寫建構具有文本開放性的地景敘事體,提供對城市、地方的另類閱讀視角。
    In the process of urban development, architecture design has always been regarded as a tool to solve problems of landscapes in temporal suspension and functional dilapidation. Landscapes in temporal suspension generally implicates the disarticulated spatial status between decline and renewal, an ambiguous phase of urban planning “twilight zone” between the darkest hours and the break of dawn. In the landscapes in temporal suspension thus considered as spatial problems, the real evolution of everyday life of the surviving residents is often relegated to untold spatial stories under the suppression of the historical grand narrative and the functional deliberation pursuing higher land-use value. The self-righteous intervention of functional planning and design somehow restrains our imagination and perusal to urban spaces. The existence of landscapes in temporal suspension obscures our recognition of the urban space boundary. This thesis, by way of narrative design approach, intends to delineate not only the chronotope in space but also the subtle details behind the scenes of local residents’ real life to deepen the narrative dimensions of landscapes. Adopting the point of view of a bystander to peruse the landscape as a text, I thereby re-write the landscape narrative and construct an open text for further interpretations and alternative reading of the stigmatized landscape.
    The first phase of the design thesis is a landscape book incorporating image narrative, real local stories, interviews, field works, and fictional plot to construct a narrative structure which articulates space, time, and events. And the interplay between fiction and document is an attempt to demystify the unchallenged historical account so as to allow the permeation of “petite narrative” of everyday life. The book describes and interprets the Naval Fuel Factory of Hsinchu as a landscape of indeterminacy which has been pending for years after the war, and through the acts of squatting and self-help construction, evolved into a sprawling and interweaving texture of lived experiences. By establishing a “thick description” of characters and events in this landscape story, the first phase design foretells the following design intervention of the latter stages.
    The latter phases of the design expose the unendurable reality of confronting strong public intervention of enforced eviction after living in suspension for years, the local folks swing between eventual departure and conscious resistance while the narrative design approach manifests the dilemma of the spatial limbo. The closing stage of the narrative design is akin to a simulation of social movement which intends to summon collective memories and elicit consciousness and autonomous will without enforcing the designer’s own value and judgment.
    Narrative design is different from general spatial design which focus on forms, types, and users; and it touches on a dependant relationship and a deeper level of memory and emotion of the local. The habitual thinking of treating architecture as a toll of problem solving also hinders our ability to question and to recognize the essence of problems. As a consequence, spatial design may end up with more spatial and social problems. Narrative design does not appeal for a more beautiful or correct design outcome, instead, it tries to explore an alternative mode of design on the basis of on-site close reading, thick description, and re-writing to re-establish a landscape relationship of experiences and identity, even in the most estranged condition of landscapes in suspension.
    Appears in Collections:[建築學系暨研究所] 學位論文

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