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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。
    第一階段地景之書的設計操作嘗試透過影像敘事,將真實的地方故事、訪談
    資料結合虛構文本,架構敘事軸承而串聯起空間、事件和時間,藉由虛構與真實間的交互對應創造出更多的地方閱讀面向。地景之書中詮釋了戰後新竹海軍燃料廠於懸置多年後,因在地居民侵占、自力造屋、空間有機蔓生與生活所編織出的地方紋理,藉由人物事件在故事中的深度描述,鋪陳延伸做為後續設計干預的伏筆。
    後階段則針對燃料廠再次面對政府強勢公權力介入的現實時,地方居民因懸置擺盪多年而對未來搬遷去留問題漸漸無力面對甚至無奈遺忘,而敘事設計在此論文中則成為接續地景之書後做為某種點明問題的工具。透過類似模擬社會行動的敘事性設計,嘗試在居民對搬遷態度複雜而曖昧不明的時間點,藉由設計干預凝聚起居民共識,進而意識到他們正面臨的問題以及必須做出的抉擇,再次重拾搬遷去留的選擇權。
    敘事性設計有別於一般設計單純對空間、使用以及空間使用者的討論,而觸及了在地居民與地方更深層情感記憶上的依存關係。或許習慣將建築設計作為解決問題的工具也侷限僵化了我們對「問題」本質的認定。期盼解決問題的同時,反而製造更多問題,甚至於誤判,解決了可能不該被視為問題的問題。敘事性設計非是產生某種象徵正確、更好的設計,而是藉由微觀基地觀察與描繪,在人與土地逐漸疏離的現代都市空間,探求另一種的設計可能。
    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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