空間圖式─感知的浮現

Spatial Schema: Emergence of Perception

鄭詠心(Yung-Hsin Cheng)

指導教授 ： 曾成德

國立交通大學/人文社會學院/建築研究所/碩士(2019年)

摘要

維克托·什克洛夫斯基在《作為手法的藝術》中提到：「我們習慣了可怕的事情並且不再害怕它們；我們習慣了美麗的事物，不再享受它們；我們習慣了人們並且不再將他們視為獨特的個體，藝術是一種讓事物再次變得真實的手段。」

我們逐漸對日常生活的日常性感到麻痺，日復一日重複的狀態使生活的形狀逐漸扁平而空洞化，場所經驗者往往遊歷於其中卻無法對周圍環境有深刻的感知，進而缺乏認同感。

環境中的事物本為一客觀事實的存在，其特性往往由經歷者的認知而定，本文以對於設計介於環境與人之間，以環境脈絡採集作為場所感的建立，將環境中蘊含的客觀事實透過建築的手法逐漸成型，感知的過程透過手法的操作使得「看不見」的狀態轉為「看見」、將「已知事實」化為「感知現象」，由現象的觀察與萃取帶動靈感啟發的來源，呈現設計思考的脈絡與想像的途徑是如何轉化為所欲傳達的空間意圖與情境。

關鍵字

感知 ； 場景 ； 現象學 ； 建築手法

並列摘要

In "Art as Device", Victor Shklowski said that: "We get used to horrible things and stop fearing them. We get used to beautiful things and stop enjoying them. We get used to people and stop experiencing them as personalities. Art is a means to make things real again."

We gradually become paralyzed about the everydayness of everyday life, and the state of repetition day after day makes the shape of life gradually flat and hollow. Human beings experience the places without the perception of the surrounding environment, and thus lack a sense of identity.

Things in the environment are the existence of an objective fact, and their characteristics are often determined by the perception of people. This study will explore the architectural design as device that establish the relationship between the environment and human beings by reading the context of the environment. The facts are gradually shaped by the means of architecture. The "Invisible" state is turned into "Visible", the "Known Facts" are turned into "Perceived Phenomena". The sources of design are inspired by observing the phenomena of the existed things. The threads of thought and the paths of imagination are transformed into the spatial intention and the scenario.

並列關鍵字

Perception ； Scene ； Phenomena ； Architectural Device

參考文獻

中文書目

—皮埃爾‧馮‧梅斯著，吳莉君譯(2017)。《建築的元素：形式‧場所‧構築，最恆久的建築體驗、空間觀與設計論》。台北：原點。

—季鐵男編(1992)。《建築現象學導論》。台北：桂冠。

—常懷生編譯(1995)。《建築環境心理學》。台北：田園城市文化。

—伊塔羅‧卡爾維諾著，王志宏譯(1993)。《看不見的城市》。台北：時報文化。