透明性操作之呈現

本研究探討在數位時代以「透明性」操作建築設計的可能性。在過去，現代主義的建築師們發展建築空間中的透明性，表現的手法各有不同，早期建築師密斯運用纖細的鋼骨與玻璃材料，呈現建築水平與透明性的特質；當代的日本建築師妹島和世與西澤立衛，運用混和的構造關係，讓人們無法單純由建築物的外觀窺探建築物的整體形式。無法一眼望穿與光影交疊的多層次空間所呈現出的透明性，似乎已經成為近來建築師們所追求的空間氛圍。然而目前透明性的討論似乎著重於三維空間的呈現，研究者追求某種介於二維與三維空間之間的透明性，衍生出有別於以往強調三維空間的透明性設計概念。本論文分為四個部份，第一個部份由研究者生活的個人經驗出發，探討相關的建築案例，以及相關的建築師如何呈現當代建築的輕透氛圍。第二個部份，藉由蒙德里安的繪畫作品，延伸轉化成空間，研究透明性在不同的穿透度下所產生的各種空間氛圍，為透明性的前導設計操作實驗進行討論。第三個部份，延續蒙德里安的前導式設計操作，與架構在Colin Rowe所提出的「透明性」的論述上，在各種不同穿透性的實驗中，可以從美術基本理論中看到現象透明性的影子。本研究探討出關於透明性的四種操作手法，分別為：重複、分割、變形與旋轉。再透過幾何形狀的組合，依據美學的基本概念：對稱、均衡、比例、節奏、對比、統一、…等，進而達到量感、動感、甚至層次感的視覺效果。第四個部份是結合第二與第三個部份進行延伸與設計的呈現，基地位於台北市立美術館，以長方形體為單元，做為設計操作的基本形體，企圖將單一視點的長方體空間加以變化，豐富視覺的效果，並且著重身體於的三維空間運動的感受。本研究希望藉由以上的實驗與設計，探討數位時代透明性的可能發展方向。

關鍵字

透明性；氛圍；蒙德里安；現象透明性

並列摘要

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.