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    题名: 看不見的淡水
    其它题名: Invisible Tamsui
    作者: 林家弘;Lin, Chia-Hung
    贡献者: 淡江大學建築學系碩士班
    陳珍誠;Chen, Chen-cheng
    关键词: 時間與記憶;類型學;類推城市;氣氛;身體感知;Time and Memory;Typology;Analogous City;Aura;Perceptions
    日期: 2010
    上传时间: 2011-01-05 11:58:50 (UTC+8)
    摘要: 本研究的最初動機是來自個人對於淡水地方的感覺與體驗為出發點,企圖對於場所中的空間經驗以及記憶做深入的討論與研究。經過長時間對於淡水地方的觀察之後發現,場所中充滿了細膩的質感。以巨觀的角度而言,代表淡水八景中的「鷺洲泛月、漁港影堤」更顯現出環境中的場所氛圍。
    由於時間的變遷,從淡水舊八景到新八景的過程中,改變的不只是對於地方感的認同,場所中的質感也在這其中轉換而消失。在時間的流逝中,將身體經驗轉換成空間的記憶,場所的本質也因外在環境的影響而逐漸的被隱藏而忽略。
    本研究以歐洲理性主義的思考模式為基礎。對於淡水地方的場所現象,建立一套屬於「記憶與感知」的類型學觀點,同時依照時間軸上發生的沉澱與消失事件為「變因」,做為階段性的設計操作思考脈絡。對於感覺、記憶、時間、形式、與類型主要是以類推為手法成為設計的藍本,以場所中的現象存在觀點為討論的主要對象。
    設計操作架構主要由小而大分成為四個階段:第一個階段是以淡水建築的介面做為操作的對象,以巨大的觀音山為對象,扮演淡水民居空間「開口」部位的重要腳色,藉由對於介面的探討找尋出場所中的空間特質,企圖回應與再現「記憶中的質感」。第二階段試著找尋出空間中殘留的痕跡,這些痕跡與場所中的活動是息息相關的。這階段以牆面的操作去回應場所中「藏匿的痕跡」。第三階段企圖再現「過往的淡水經驗」。經由影像的辨識與空間的辯證試圖還原「流逝的地方精神」,並以現象學的觀點去討論形式的意義、材料的表情、與感知經驗三者之間的關係,這階段是在回應一種「形式再現過往的場所經驗」。最後的階段則是藉由前三階段的觀察與分析進行「淡水的類推」,以Aldo Rossi 的類推城市與漂流劇場設計為出發點來推敲與思考設計。以記憶、形式再加上氣氛進行類推思考,最後強調材料的本質與構築的精神以回應場所中的空間詩學。
    研究中對於「永恆」淡水的類推並無法直接的去回應,只能藉由個人對於淡水場所空間中的感知提升至記憶的層面,以產生一種經驗中無法直接感受到的質感。
    The motive of this research is based on personal experiences and sensations of a researcher about Tamsui. The main purpose of this research is to make deep discussions and inquiries about the experience and the memory of this place. Tamsui has been found a place full of fine texture through a long term observation. In the Macro-scope, “The moonlight shines down on the sandbar, fishing port arranged by shadows of dikes”, which is a representation of the eight important landscapes of Tamsui, revealing especially the atmosphere of the environment. Due to the transition of time, the identification of this place not only was changed, but also the texture has disappeared, in the process of the old eight important landscapes of Tamsui from the new ones. As time passes, the experience of body turns into the memory of space. The nature of place has been hidden and ignored due to the influence of external environment.

    This research is based on the thinking process of European Rationalism. It has established a set of viewpoints of typology about the phenomenon of place in Tamsui and based on accumulative and vanishing incidents which occurred on time scale as factors for the thinking process of the design work. About feeling, memory, time, form, and type, it takes mainly the analogy as technique to be the blueprint of design and existing viewpoints about the phenomenon of place as the main discussing subject.

    There are four stages from small to large in design work structure. First stage is to take the interfaces of Tamsui architecture as working subjects. The Kuang-Yin Mountain, which plays an important “opening” of Tamsui residential space, is researched in interface for finding characters of a space; in addition, it has attempted to respond and reappear “the texture in memory”. The second stage, is trying to look for residual traces in space, which have a great connection with activities in the place. In this stage, they do this by operating walls in order to respond “hiding traces” in the place. The goal in the third stage is trying to reappear “past experiences of Tamsui”. Having to return “the passing local spirit” through the recognition of films and the dialectical of space and discuss the relation and the meaning of the form, the meaning of material, and the experience of perception by phenomenology. “Reconstruction of the passing experiences of place in the way of form” is responded in this stage. In the last stage, the work of analogous Tamsui is explored through the observation and analysis in the previous stages. The design is based on theories of Aldo Rossi: analogous city and Drift Theater. The work of analogous thinking is by memory, form, and atmosphere. Lastly, emphasis is applied on the nature of the material and the architecture spirit to respond poetics of space in the place.

    In this research, the analogy for “eternal” Tamsui can not be directly responded. This can be done only through elevating one’s perception to the level of memory, and therefore establishing the texture can’t be felt directly by experience.
    显示于类别:[建築學系暨研究所] 學位論文

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