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| Title: | 透明地景 : 玻璃材料在建築上的研究 |
| Other Titles: | Transparent landscape : a study of glasses in architecture |
| Authors: | 余晉熠;Yu, Chin-yi |
| Contributors: | 淡江大學建築學系碩士班
陳珍誠;Chen, Chen-cheng |
| Keywords: | 玻璃;輕;透明性;非物質;複合媒材;Glasses;Lightness;Penetrability;Non-Material;Mixed Media |
| Date: | 2006 |
| Issue Date: | 2010-01-11 05:33:03 (UTC+8) |
| Abstract: | 在今日科技日新月異的快速發展下，創造了許多新式的玻璃製品，但大部分都著重玻璃在物理性方面的追求。尤其在工業化的大量生產下，玻璃淪為一種複製品，喪失了玻璃原本在手工藝術上的價值與意義。
因此，本研究先從玻璃材料的試驗與手工玻璃的製作著手，以了解玻璃的特性。最後將廢棄的玻璃工廠更新成為玻璃紀念公園，討論玻璃從透明到反射、物質與非物質之間的多重意義與情境塑造。並藉由四個階段的設計操作，分別討論從玻璃內在的物理性到外在的象徵性意義與玻璃和其他材料的結合運用。四個設計階段分別為：
1.玻璃的物理性
從光透過玻璃所造成的物理現象進行觀察，探討光的透射、反射、折射與造成的視覺效果，並以最簡單直接的方式表現在設計中。
2.半透明性與不確定性
透過玻璃材料的試驗延伸發展，以城市中的玻璃盒子－檳榔攤，為設計操作的對象，探討玻璃在空間介面中的不確定性。
3.去物質化特性
從玻璃的象徵意義開始發想，並以玻璃工廠周圍道路上的地景裝置來操作，探討玻璃在設計中產生去物質化的可能。
4.玻璃紀念公園
將以上討論的議題做一個總結，在廢棄玻璃工廠更新的過程中以記憶、紀念與再生的空間經驗，傳達出對於地景的詮釋。
針對以上關於玻璃的討論與操作，在面對單純的玻璃材料上，除了提供形式與空間效果的對應關係，並在複合媒材的嘗試中以設計表現出玻璃的多樣性格。使玻璃在作為建築和空間的介面上，不僅僅是材料本身的需要。希望能對現在建築上比較呆板、制式、抽象化的玻璃規格中，做一些比較自然、手工或可變動的設計嘗試，傳達出玻璃在空間可能的藝術性與多重意義。
Abstract:
Nowadays, under the fast developments of the science and technology and their changes with each passing day, people have created lots of new styles of glass products, but most of the new products emphasize on the physical aspect of the glass. Especially, under the massive production of industrialization, glass becomes a reproduction and loses its originally handmade and artistic value as well as the significance.
Therefore, the research focuses on the experiment of glass material and the making of handmade glass to understand the characteristics of glass, and at last, the research renovates an abandoned glass factory into a glass memorial park and also discusses the multiple meanings and situational formation of the glass from the transparence to reflection as well as between material and non-material. Moreover, the research individually discusses from the glass intrinsic physical properties to its external symbolic meanings and the utilizations of the glass and other materials by four stages of design and operation. These four design stages are:
1. The physical property of glass: The research observes the glass physical property caused by the light through glass, discusses the light transmission, reflection, refraction and the created visual effects, and displays in the design by the simplest and directive way.
2. The translucence and uncertainty: By the extensive development of glass material experiment and taking “the city in a glass box - areca booth” as the design objective, the research discusses the uncertainty of glass in between the spatial interface.
3. The characteristic of immaterialization: Starting the imagination from the symbolic meaning of glass with the landscape setup of paths around the glass factory, the research discusses the possibility of immaterialization produced by the glass design.
4. Glass memorial park: In summarizing the above topics discussed and during the renewal process of the abandoned glass factory, the research transmits a landscape explanation by a spatial experience in memory, commemoration and regeneration.
Based on the above discussions and manipulations of glass and in facing the simple glass material, besides providing the corresponding relations between the form and spatial effects, the research tries to design and demonstrate the diversified disposition of glass with the compound material. The purpose is not just for the material needs in the architectural and spatial interfaces of glass, but for the hope on the comparative stereotypy, systematization and abstraction of present glass specification in the architecture to make a more natural, handmade or changeable design attempt to transmit the possible artistic and multi-meaning of glass in space. |
| Appears in Collections: | [建築學系暨研究所] 學位論文
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