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|Title: ||聲音地景 : 以聲音重構地下道空間經驗|
|Other Titles: ||Soundscape : reconstructing spatial experience of the underpass with sound|
|Authors: ||謝侑達;Shie, Iou-Da|
|Issue Date: ||2014-01-23 14:23:26 (UTC+8)|
|Abstract: || 本論文由生活中聲音為思考議題，思考聲音是如何影響著我們的空間與生活，但現今視覺感官的刺激讓我們忽略聽覺，影像科技讓人們的感知系統趨向視覺化，使「聽覺」在以視覺為主體的世界中逐漸被遺忘。本研究試想空間中視覺並非主導整個經驗過程，將感官知覺重新分配，利用聲音作為媒介重新創造都市與建築空間，並透過互動技術等機制擷取都市中的聲音，其所反映之身體感官與韻律做為創造及改變人在都市中的空間經驗，使我們生活的空間環境隨著都市聲音事件的轉換產生新的空間氛圍。|
在進入設計實驗之前，本研究透過身體感官理論與聲音地景理論等文獻探討，如梅洛-龐帝(Maurice Merleau-Ponty)的建築現象學(Phenomenology of Perception)、列斐伏爾(Henri Lefebvre)的空間實踐(spatial practice)以及Murray Schafer的聲音地景(Soundscape)，了解感官與聲音在生活中所扮演的角色，與建築上對感官的回應。並分析藝術家如何將感官結合互動科技概念，不同的感官活動經由互動作品做媒介，而轉換出各種感官經驗，來輔助本設計在實驗時的參考，觀察案例之設計概念與互動機制，如感測方式、互動行為等。而本研究選擇行人地下道為設計實驗空間類型，藉由地下道特有的感官經驗，讓人在都市上習慣以視覺為主要感官的經驗方式，在地下道中重新翻轉並建構身體的空間經驗與感知方式。
基於上述, 架構在地下道空間感官經驗與空間性進入先期研究，其步驟包括：(1)地下道分類調查與感官分析 – 調查台北市行人地下道，與其所連接的都市空間文化性，並分析進入地下道後的感官變化；(2)運動模式 – 包含摺紙和桿件推拉的模型研究變動可能性；(3)互動技術測試 – 試以實體輸入虛擬輸出的方式模擬互動過程。歸類以上三點，重構地下聲音地景的雛形，進入設計實驗，以劍潭地下道作為基地，分析其現況、活動、聲音事件、空間等，檢視本設計在基地中支應地上空間機能與感官延續等需求，以及定義地下道在都市中的另一種性質。
This research, based on the sound in our life, explores about how the sound impacts our space and life. Nowadays, however, the visual perception stimulation makes us neglect our auditory sense, and the imaging technologies make the perception system of human beings tend to be visualized, which leads their auditory senses to be forgotten gradually in the world dominated by visual sense. This research imagines that the entire experience process is not dominated by visual sense in the space. It redistributes the perception perceptions and rebuilds the city and architectural spaces by using sound as the media, and then it captures the sounds in the city through the interactive technology, from which the body senses and movements reflected are used to create and change the spatial experience of people in the city. In this way, a new space atmosphere will be produced from the spatial environment that we live in with the conversion of the sound events in the city.
Before designing the experiment, this research conducted literature review through the body sense theories and soundscape theories such as the Phenomenology of Perception written by Maurice Merleau-Ponty, the Spatial Practice written by Henri Lefebvre and the Soundscape written by Murray Schafer, so as to learn the role of the senses and sounds playing in our life as well as the responses of architectures to the senses. Besides, this research analyzed how the artists combined the senses with the interactive technology, and then it converted different perception activities into various perception experiences by taking interactive works as the media so as to provide a reference for the design when carrying out the experiment and to observe the design concept and interactive mechanism of the case, including the sensing ways, interactive behaviors and so on. Based on the unique perception experiences in the underpass, this research chose the pedestrian underpass as the spatial type for designing experiment, to allow the people to get used to the experience that regarded visual sense as the main sense in the city and to reverse and establish the spatial experience and sensing ways of their bodies in the underpass.
According to the above statements, the space perception experience and spatiality constructed in the underpass were studied firstly by completing the following steps: (1) Underpass classification survey and sense analysis - investigating the pedestrian underpasses in Taipei as well as the urban space culture that it connected with, and analyzing the sense changes of the pedestrians after entering the underpass; (2) kinetic patterns - including studying the change possibilities of the paper folding model and the moveable model with repetitive members ; (3) Interactive test - attempting to simulate the interaction process by the means of physical input and virtual output. By concluding the above three points, this research rebuilt the prototype of the underground soundscape and began to design the experiment by choosing Jiantan Underpass near Shilin District as the base. It analyzed its current condition, activities, sound events, space, etc. so as to inspect if the design can supply the demands for the above-ground space function and sense continuing in the base, and to define another nature of the underpasses in the cities.
This research continued the space perception experience through the interactive concept conversion. It chose the beautiful sight of Shilin Cixian Temple (also called Shilin Mazu Temple) which is a cultural representative in Shilin District as the space image of the underpass and sensed the sound in front of the temple. In this way, it distinguished four different paces of life in Shilin District, which corresponded to the four soundscapes of different perception experiences, making the space of underpasses not only underpasses anymore but also can provide relative functions of the activities and events in the city. While the addition of the interactive technology makes it possible for the city and the underpasses to be seen by each other. In the future, it is hoped that new opportunities of reusing the vacant urban space can be provided by adopting the interactive technology, and it is also hoped that people can experience the city we live with different senses through soundscape and other such concepts.
|Appears in Collections:||[建築學系暨研究所] 學位論文|
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