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|Other Titles: ||Designing with on transparency|
|Authors: ||陳妙茹;Chen, Miao-Ju|
|Keywords: ||透明性;氛圍;蒙德里安;現象透明性;Transparency;Aura;Mondrian;Phenomenal Transparency|
|Issue Date: ||2011-12-28 18:46:43 (UTC+8)|
The aim of the research is to discuss the possibilities of using “transparency” to carry out architectural design. In the past, modernist architects developed transparency in architectural space by different techniques. Early architect Mies used steel and glass to show the building’s characteristics of level and transparency. Modern Japanese architects Sejima Kazuyo and Ryue Nishizawa used mixed construction relationships for which people cannot tell the building’s overall style by simply looking at the building exterior. The transparency represented by the multi-layer space, for which it cannot be see through at one look and is overlapped by light and shadow, has become the space aura recent architects pursue. However, current discussions relating to transparency have been focusing on the representation of 3D space. In the research, the transparency between 2D and 3D spaces was explored to derive the designing concept for transparency that was different to the transparency in the past which emphasized only on 3D space.
There are four sections in the thesis. The first section began with the researcher’s personal experience to discuss relative building cases and the ways relative architects represented the light aura of modern buildings. In the second section, Mondrian’s painting was extended and transformed into space to investigate the space aura produced by transparency under various penetration depths. The leading design and experiment for transparency were discussed. In the third section, Mondrian’s leading design and operation, along with Colin Rowe’s “Transparency” discussion, were used in various penetration experiments. It was known that traces of phenomenal transparency can be found in the basic theory of arts. Four operation techniques relating to transparency were concluded in the research and they were: repeating, dividing, deforming and rotating. Furthermore, the combination of geometrical shapes was used in accordance with the basic concepts of aesthetics such as symmetry, balance, proportion, rhythm, contrast and unity to reach the visual effects of sense of quantity, sense of movement and even sense of level.
The fourth section combined and extended the second and the third sections to show the design. The site was Taipei Fine Arts Museum. The shape of a rectangle was the unit and the basic shape in the design. The single-viewpoint rectangular space was intended to be changed to enrich the visual effect and the feeling of body movement in 3D space was emphasized. The above experiment and design are hoped to be used to discuss the possible development directions for transparency in the digital era.
|Appears in Collections:||[建築學系暨研究所] 學位論文|
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