| 摘要: | 本研究主要針對當代與身體相關的議題與文化現象作為對象，進行觀察與詮釋進而衍生相關的設計。首先，透過觀察台北近來關於時尚、美體雕塑與健身的身體話題廣泛地在日常生活中發酵，遂產生對於身體的關注。其次，將針對哲學、文化與建築領域中對於身體的諸多論述與研究，進行文獻回顧。並選定建築與藝術中不同時期對於身體的創作與實驗，進行案例分析與研究。之後，藉由小尺度設計的摸索與相關類型的分類，進而整理與導引出本研究對於「超」身體的定義與核心議題。經由設計操作與論述的鋪陳對上一階段「超」身體的定義與構想進行深入的檢視與實驗。最後，由結論引導出本研究的最終成果。
文獻回顧中由西方哲學思想中的身體出發，檢視身心二元論建立至瓦解的過程。並結合社會學與文化研究領域的觀點，討論當代社會身體的形構因子。此外，檢視都市與建築發展中，由早期、機械時代到數位時代與身體之間的互涉關係。另一方面，案例分為三個子題蒐集：都市個體、可移動的空間與身體介面，依次引導出對於當代城市個體、公共與私密邊界、以及顛覆身體介面的看法與立場。第三章為本研究的核心議題。首先，透過五組（表演、焦慮、維護、紀律、交往）屬於台北「後」身體的階段性設計，以引導出對於當代台北身體的詮釋。並對於建築與藝術領域以及社會文化領域中關於「超」身體的類型進行分類，分別整理出四組可能的類型：科技、機械、運算、虛擬，以及流動、感官、肢體、符號。最後，提出本研究對於「超」身體的定義，「超」是一種媒介。並重新歸納出「超」身體的四個向度：物質－功能、消費－符號、感官－迷幻、虛擬－資訊。
第四章包含本研究主要的設計操作與論述。首先，針對「超」功能身體進行充氣、表面系列與折梯玩家的設計行動與實驗。並衍生折梯改寫的三階段「超」功能身體設計。其次，「超」消費身體部分則以「門」的系列設計做為前導。之後對於台北西門町進行觀察與詮釋，並提出以身體特展為名的相關設計。最後，將結合感官與虛擬向度的身體討論，以「虛擬的愛」為主題，對華山藝文特區周邊衍生出相關的設計想法，並透過三組設計來回應當代台北城市中受到壓抑的身體。最後，將回顧本研究各階段設計並做出結語，並提出本研究的相關結論、後續設計的相關建議、以及未來研究方向的可能。
This research mainly focuses on contemporary issues and cultural performances relating to bodies, and experiments that observe and interpret these phenomena. Firstly, due to a growing public concern in fashion, fitness, and body-care, it is of interest to investigate issues regarding to bodies. Articles relating to philosophical, cultural, and architectural viewpoints on the bodies are then studied. As well as, works and experiments from different eras of architecture and art are case-studied. Furthermore, through small-scaled designs and categorizations of related issues, this research attempts to define “Hyper-Bodies” and to formulate the core questions of this study, which leads to final conclusions for this research.
The review articles starts with the western philosophical knowledge on the bodies to investigate the progress of mind-body dualism. As well as, viewpoints from sociology and culture studies are integrated to discuss fundamental features of body in the contemporary society. In addition, in observing the developments of city and architecture, the internal techniques among bodies and different eras such as machinery and digital eras are also described in the review articles.
On the other hand, the case studies are divided into three groups: urban individualities, mobile spaces, and interfaces of body, each leading to contemporary views of individual topic such as the individual of city, edge of public and private spaces, and interfaces of body, respectively.
The third chapter is the main focus of this research. Through five prior studies of design that are based on the meta-bodies of Taipei city, the definition of body in Taipei city is established. Besides, from the definitions of body in various fields such as architecture and art, the definitions of body can be classified into four parts: technology, machinery, computation, and virtual/fluid, sensation, extremity, and symbol. Lastly, it is then proposed that the definition of “Hyper-Bodies” is that “Hyper” is a medium for the natural body to cross-congenital limitations. Based on this definition, four dimensions for exploration of “Hyper-Bodies” are then generated: material-function, consumptive-signifier, sensual-ecstasy, and virtual-information.
Chapter Four contains the main sequential design themes and their implementations. Firstly, in experimenting “Hyper-Functional Bodies”, “inflation,” “surface,” and “laddering” are designed and tested. Among these three designs, “laddering” is then further designed into three other generations of “Hyper-Functional Bodies”. Secondly, a series of designs in “gate” is used as a prior study of “Hyper-Consumptive Bodies”. A design of “Body Exhibition” is then brought out after observing and interpreting the environment and human behavior in Xi-Men-Ding, Taipei. Furthermore, “The Fictional Love,” which combines both the sensational and fictional bodies, is implemented in rims of Hua-Shan Culture Park through three designs that reflect the constrained bodies in Taipei City. Finally, through the above design processes, resultant observations and future works are then described in the conclusions. |
