涵構主義中環境與人的空間經驗

本研究從涵構主義對城市構成的影響出發，探討涵構主義中「環境」一詞在現代設計中的改變。涵構主義是由個人、社群、及環境三者經由長時間的發展所產生的價值觀及象徵意義，承襲了許多在地性的思維、文化層面的知識涵構主義也被用來探索空間構成的方式、人群與環境的互動模式為空間帶來更多的可能性。但伴隨城市的發展人們對於環境的理解產生隔閡，開始出現許多以自然為主題卻與我們的環境毫無關連的抽象設計理論出現，有些設計理念甚至無法被觀者所理解，是一種｢心智空間」的斷層。而這樣的現象源自於城市居民對於環境的理解已經與以往有很大的差異產生，或是觀者的生活經驗、空間經驗不足、設計者無法成功留下空間訊息，皆有可能產生設計理念甚至無法被觀者所理解的現象，因此本研究提出「環境物質化」的設計主張去規劃八個不同的設計競圖，去證實環境在現代城市中的定義更接近一種能讓人產生美好想像的設計零件，而非過去涵構主義強調，個人、社群、及環境三者的緊密連結。在實際操作上本篇論文利用單一設計概念持續發展並落實在不同尺度空間之創作集，由三個部分，八件入圍決賽競圖作品所組成。強調設計概念的產生與運用與深化的過程，並且透過各類型設計競圖入圍證明其設計理念的價值，設計作品由下列三個方向切入：植物作為材質 / 植物作為裝飾 / 植物作為空間，最後透過競圖的入圍與否去實證本研究的設計主張的實際接受度與可發展性。

關鍵字

涵構主義

並列摘要

This research starts from how Ad-Hoc Urbanism influences the composition of the city, and discuss how the word “environment” changes in it from the past to the modern world. Ad-Hoc Urbanism takes long development between human, association, and environment, and inherits lots of local cultures and knowledge that take high values and symbolic meanings.It is also used as the method of studying space composition and the mode of human-environment interaction. In this way, we can have more possibilities of spaces. During the development of the city, people had wrong comprehensions for the meaning of “environment”. And then, some abstract theories that were themed with nature but had nothing to do with “environment” started appearing. These theories even couldn’t be understood by people, so they called it the gap of mental space. This situation was because residents had different understandings about the “environment” in the past or they didn’t have enough life and spaces experiences. Even the designers couldn’t leave the right information could be one of the reason too. Therefore, in the research, we advocate the design concept called “environment materializing”.It is about transforming the environment into materials that make people closer to it easily instead of enhancing the connection between human, association, and environment in the past. That is how we redefine the environment in our modern city. To make sure the concept practicable, we found eight different design competitions. We use the only design concept to expand our research on different scales of spaces, and it consists of three parts, eight competition programs. Three parts are about using plants as materials, using plants as decorations, and using plants as spaces. Finally, we won quarter-finals in all competitions to prove the values of this design concept, judges’ acceptability, and program practicability.