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https://tkuir.lib.tku.edu.tw/dspace/handle/987654321/34743
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| Title: | 地誌性淡水 |
| Other Titles: | An investigation on topographical Tamsui |
| Authors: | 駱又誠;Luoh, Yu-chen |
| Contributors: | 淡江大學建築學系碩士班
王俊雄;Wang, Chun-hsiung |
| Keywords: | 地域性;歐洲新理性主義;類型學;時間與記憶;類推城市;構築材料;Territoriality;European Neo-Rationalism;Typology;Time and Memory;Analogous City;Compositional Materials |
| Date: | 2006 |
| Issue Date: | 2010-01-11 05:33:26 (UTC+8) |
| Abstract: | 論文提要內容：
本研究的初始動機來自於研究者個人長年居住淡水區域的空間感覺與經驗為記憶出發點，企圖對於地域性的空間經驗與特質做更深入的探究與討論，進而串連地方空間特性、地點感、以及個人記憶經驗。
在態度上本研究傾向以理性主義的思考方式切入，首先針對淡水這塊「基地」，建立客觀的資料蒐集與通則的類型觀點整理，參照時間向度上的沈澱以及累積的變異因子，做為後續設計操作辯證上的著力點與具焦點。在這裡，時間、記憶以及現象學式的存在觀點成為進一步的討論對象。淡水河的綿長以及觀音山的相對巨大尺度，對應淡水這個地點，提供了觀者自身存在感的渺小以及感官知覺放大與純化的條件，空間中的時間因素在此步調下顯得相對地行進緩慢，某種程度上因此成就了記憶面向上更為清晰以及強化的圖像。在這裡，歐洲新理性主義建築對於形式、類型、時間記憶以及圖像類推的操作手法成為參考的對象，做為理性思考傳統下的一支，新理性主義的操作提供了柔和客觀的條件因子與主觀意識的機會，在這裡成為本研究後續設計操作的可能模式。
設計操作的部分共分為三個階段：首先第一個階段以淡水區域的歷史傳統建築與建築形式做為操作對象，並以Laugier的「空間原型」做為架構基礎，開始探究地域性的空間特質，企圖回應與再現「集體記憶中的淡水」，這個階段的操作可以視為「抽象化地方經驗的具體再現」。第二個階段則企圖再現「地誌性的淡水」，針對抽象化的地方感覺經驗，企圖以建築形式操作的方式再現，輔以現象學的觀點，討論材料、形式、空間與感覺經驗之間的關係，這個階段的操作可以視為「地方經驗的抽象形式再現」。最後的階段稱之為「類推淡水」，以Aldo Rossi的類推城市理論與水上漂流劇場的操作做為仿效對象，進一步透過對於形式語彙的類推操作結合材料與構築行為的發展演繹，企圖將形式、記憶與類推、材料與構築整合成為接近詩意的投射。藉由這種投射將個人的空間感覺與記憶提升，成為回應一種屬於地方空間經驗中存在感，與滿足記憶互動的地方空間構成美學。
The original motive of this research begins with the researcher''s personal memory of long years of living experiences and feelings towards the Tamsui area, in an attempt to further explore and discuss the territoriality of space experience as well as characteristics that would proceed in linking together the features of regional space, sense of location and personal memory experience.
Regarding to the approach of this research, it is more inclined to use the Rationalism thinking manner by first focusing on Tamsui as a "base" to establish objective information gathering, sort general category viewpoints and by referring to the settling on the time scale and accumulation of deviant factors as a dialectical point for the upcoming design work. Here, time, memory and phenomenology form of existential viewpoint becomes the subject for further discussion. The far-reaching Tamsui River and Guan-Yin Mountain''s relatively large scale in comparing to the location - Tamsui provides the viewer a sense of insignificant self existence, the increase of sense and perception as well as terms of purification. The pace of the time factor here in the space appears to be slower, which to some kind of degree accomplished to progress the memory aspect into a more clear and powerful image. From here, the European Neo-Rationalism architecture regards the style, typology, time memory and the operational techniques of analogous images as reference methods. Also, as one of the branch under the traditional Rationalism thinking, the work of Neo-Rationalism provides mild objective conditional factors and subjective conscious opportunity which would become a possible mode for the following design work.
There are three stages in the design work section. The first stage is to take the traditional historic buildings and architectural styles as working subjects and use Laugier''s "Primitive Hutl" as the prototype of space for the framework, as to start exploring the territoriality of space characteristics that would attempt to respond and reconstruct "the collective memory of Tamsui". This stage of work can be viewed as "the substantiareconstruction of abstract regional experience". The second stage is the attempt to reconstruct "topographical Tamsui", by regarding to the abstract regional experience feelings in striving for the re-development of design works, with the support of phenomenology viewpoints to discuss the relations between material, form, space and experience. This stage of work can be viewed as "the abstract style of regional experience reconstruction". The last stage is called "Analogous Tamsui", in taking Aldo Rossi''s Analogous City theory and “floating theatre” work as an example and through further combination between vocabulary style of analogous work, materials and the deduction development of building experience in order to let the form, memory and analogous, materials as well as building integration to be closer to poetic projection. Through this projection of elevating one''s feeling and memory of space, it is to respond to the sense of existence towards the regional space experience, and to satisfy local memory interaction and the aesthetic of tectonics. |
| Appears in Collections: | [建築學系暨研究所] 學位論文
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