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    Title: A conceptual design of pavilion architecture : the case of 1929 German pavilion in Barcelona
    Other Titles: 世博館的概念設計之研究 : 以1929年西班牙世博會德國館為例
    Authors: 王昭嵐;Wang, Chao-Lan
    Contributors: 淡江大學建築學系碩士班
    鄭晃二
    Keywords: 德國館;概念設計;認知模型;Germany Pavilion;Conceptual Design;Cognitive Model
    Date: 2012
    Issue Date: 2013-04-13 11:49:51 (UTC+8)
    Abstract: 論文名稱: 世博館的概念設計之研究 – 以1929年西班牙世博會德國館為例
    頁數:
    校系(所) 組別: 淡江大學 建築 學系碩士班 建築與都市設計 組
    畢業時間及提要別: 100 學年度第 2 學期 碩士 學位論文提要
    研究生: 王昭嵐 指導教授: 鄭晃二 博士


    論文提要內容:

    本研究的目的是以認知的模式,來探討世博建築的概念設計。概念性的研究多數以建築本身的造形和經濟價值為主要議題,因此本研究將試圖指出概念設計中形成的過程與特性,進一步發展操作世博館概念的認知模式。研究將以語言學作為本研究的論述基礎,回顧現象學的文獻理論,分析路德維希·密斯·凡德羅 1929德國館中的事件文本,指出一文本的構成原則; 再根據這些原則所呈現的觀點,進一步發展出建構概念形成的理論模型,並透過近年成功之一案例的分析,說明案例的操作方法及設計概念的認知過程。

    本研究所提出概念設計的認知模型屬於一分析概念的方法工具,它具有三個主要功能- 即有助於設計者理解世博建築的概念設計模式。而經由案例的分析方法後發現 (1) 材料的意象能理性化的與概念設計結合,設計者透過多重的認知模式產生獨特的操作手法。(2) 技術的意象是隨著時間不斷的被附加詮釋。(3) 產物的形成,世博館本身就是個巨大商品,透過材料與技術的結合讓概念設計更容易被人接受與理解。

    最後,本研究提出以下九點概念設計的方法原則:

    1. 符號:不同的主題支配著更深層含義
    2. 模式:比例和細節能強化設計的合理性
    3. 省思:透過多重分析能更貼近創新
    4. 經典:流暢的空間表現法
    5. 比對:大自然間中的現象
    6. 類型學:過去即有的形式與類型
    7. 歷史價值:表達結構性建築
    8. 目前價值:表達可行性建築
    9. 未來價值:表達概念性建築
    The purpose of this research is to practice on a conceptual design based on the cognitive model of pavilion architecture. Concepts in design studies usually correspond to the presentation of forms and values. Therefore, the aim of the presented research is to identify some characteristics of concept making that make it effective in the design process and design cognition as a guide to pavilion design. Its methodological approach draws on textual and theoretical knowledge from Mies van der Rohe''s German pavilion in 1929 World Exhibition in Barcelona.

    The research is based upon the analysis of Josep Quetglas’s textual interpretations in German Pavilion. The significance of pavilion design in modern architecture is addressed via the exploration of three areas of research, termed as: (1) The Materiality is related to the grammar of conceptual design, it’s not evident which cognitive abilities and styles are inherent to designers. (2) The second area of exploration is the technicality; it is concerned with conceptual design typically defined as a series of spatial experimentation. (3) The third area of exploration is the product. It is linked to the materiality and Technicality by the commonly accepted ideas.

    The end result of this research reveals nine key elements that rules the conceptual stage of pavilion design are proposed as followed:

    1. Symbol: different subject assign different meanings
    2. Model: proportions and characteristic profiles and details
    3. Critique: signal their opposition to idealism
    4. Representation: fluid space for performances
    5. Comparison: inspiration by nature
    6. Typology: form or type to a historical moment
    7. Historical Value: which convey the framework of architecture
    8. Present Value: which convey the capability of architecture
    9. Future Value: which convey the concept of architecture
    Appears in Collections:[建築學系暨研究所] 學位論文

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