以碎形理論探討Santiago Calatrava和Antoni Gaudi作品之建築美學

To Explore the Architectural Aesthetics of Santiago Calatrava and Antoni Gaudi Using Fractal Theory

邱于暄(Yu-Hsuan Chiu)

指導教授 ： 陳清山

朝陽科技大學/設計學院/建築系建築及都市設計碩博士班/碩士(2015年)

摘要

碎形理論的發展來自於1967年由曼德爾布洛特在<英國海岸線有多長?>這篇研究中提出，此理論廣泛用於探討自然界的事物，不論是探討形體、現象或是一些無法運用歐氏幾何原理探討的事物，都可以運用碎形理論去做探討與解析。用於Santiago Calatrava和Antoni Gaudi的作品設計靈感大部分來自於大自然，故本研究希望透過碎形理論來解析兩位大師作品，並探討建築美學相關知識。
本研究主要探討Santiago Calatrava和Antoni Gaudi的建築作品，同時，再配合Matlab這套軟體進行碎形維度的計算。建築美學中的美來自於建築物的造型、色彩、比例、與空間的氛圍，仔細觀察Calatrava的作品，可以發現其作品遵照一定的秩序與規律再進行演變；而Antoni Gaudi晚期的作品則擺脫當時技術的限制，運用仿生的手法，讓建築物看起來更貼近自然，融入自然，讓建築物更具美感。
從研究中可以發現Antoni Gaudi的作品碎形維度值較高於Santiago Calatrava的作品，在作品平面上可以發現兩個大師都有運用對稱、比例、秩序等手法進行設計，並且透過自然生物的轉換，將自然美帶入建築中，令建築與環境相融合並且呼應。此研究成果可提供建築學習者參考。
在心理感受的部分，經過上述碎形維度值與心理感受的探討可以發現，在碎形維度值得觀察下，Antoni Gaudi的作品碎形維度值比Santiago Calatrava的碎形維度值來的高，而心理感受則相反，在空間心理感受上，Antoni Gaudi作品心理感受幾乎都與Santiago Calatrava的作品心理感受相反，在喜好程度上則以Santiago Calatrava的作品空間比Antoni Gaudi的作品空間來的高，剛好與碎形維度值相反。

關鍵字

Antoni Gaudi ； Santiago Calatrava ； 碎形理論 ； 建築美學

並列摘要

The development of fractal theory originated from Benoit Mandelbrot's 1967 paper "How Long Is the Coast of Britain? Statistical Self-Similarity and Fractional Dimension." In this study, Mandelbrot proposed that fractal theory could be widely used to discuss and analyze things in nature, whether they pertain to matters of shape, phenomenon, or problems that cannot be explained using principles of Euclidean geometry. As the architects Santiago Calatrava and Antoni Gaudi have both claimed to have found inspiration from the world of nature, this study aims to interpret and analyze the works of these two master architects through the application of fractal theory, and delves into the architectural aesthetics related knowledge.
This study focuses on the architectural works of Santiago Calatrava and Antoni Gaudi, and uses the software Matlab for calculation of fractal dimensions. In discussing the concept of beauty in architecture, factors such as shape, color, scale, and space atmosphere are often considered. Calatrava's works display compliance to certain laws of order and regularity and are further developed, whereas Gaudi's works from his late period transcend technical limitations of his time, as can be seen from his tendency to commune with nature in order to make his architecture blend well with nature and hence more pleasing aesthetically.
The study reveals that the fractal dimensions found in Antoni Gaudi's works are higher than those found in the works of Santiago Calatrava. Both architects use concepts of symmetry, proportion, and order in their designs, and bring a sense of natural beauty to their works through conversion of natural creatures, allowing the architecture to echo and blend with the surrounding environment. It is hoped that the result of this study may provide reference to those studying architecture.
From the foregoing fractal dimensions and discussion of the emotional perception, it can be found that fractal dimensions of Gaudi’s works are higher than those of Calatrava, but the emotional perceptions are quite the opposite. In terms of spatial emotional perceptions, those of Gaudi’s works are contrary to those of Calatrava’s works. Calatrava’s works have generated a higher degree of liking in terms of spatial design compared to those of Gaudi’s, but this is contrary to their fractal dimensions.

並列關鍵字

Fractal Theory ； Antoni Gaudi ； Santiago Calatrava ； Architectural Aesthetics

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