标题: 编制城市-建筑的动机及适应性
Urban Orchestration-Motif and Adaptability of Architecture
作者: 王柔玄
Wang,Jou-Hsuan
龚书章
Kung,Shu-Chang
建筑研究所
关键字: 编制;动机;适应性;地方感;都市涵构;秩序;织度;模进;Orchestration;Motif;Adaptability;Sense of Place;Urban Context;Institution;Texture;Sequence
公开日期: 2015
摘要: 摘要

建筑的元素、比例、造型等如同音乐的组成可以找到相对应的体现,而一个城市的建筑群与人在其中的流动关系,更好比一首交响乐的编制,一首乐曲基本动机、各种乐器的音色、演奏时的位置排列、时间轴下的节奏高低起伏,指挥家用他的方式带领观众聆听这一段故事,就像建筑师用不同的编制手法引导观众阅读这个城市。

关于建筑设计思考,在思维上是建立每个建筑师独特的空间建构模式,在技术上所要处理的对象则为空间与实体,无论在思维上或技术上,都必须使其能往下一个步骤运作,城市的编制同样为了使城市中各型各样的乐器(场所)能在架构上及执行上皆能往下一个阶段进行;在本文中将这个从设计-运作的过程称为设计编制(Design Orchestration),设计编制好比管弦乐中的配器法,因应不同性质的乐曲,编制的状态可能会有所不同,甚至在乐曲行进间做变化,设计编制在此指的是一种安排、协调与管理的方法,设计者无论是从机能主义、形式主义、风土主义、涵构主义、解构主义、大众观点等着手,在过程中都必定经历安排的动作,如何在图纸上、电脑上、真实基地上将设计及运作做排列,这一连串的过程即为设计编制;乐曲的主要构成为Motif(或多个Motif),Motif的编排节奏及变化藉由乐器表达,这一连串过程则表现一套编制的样貌,编制中的织度与模进方式则使其设计产生不同层次的表现,当面临不同环境、文化、社会、对象、尺度,编制的考量会有所不同,也可能因为时间轴的介入再次改变原来编制的结构;而关于建筑的适应性,在本文中探讨的不只是建筑空间本身的适应性,更尝试在编制中找到设计思考元素与其对应空间的适应性,在元素与元素之间如何协调,再进一步讨论如何产生一套可适应基地资讯而产生空间的编式。

每一套编制,都试图在基地上创造不同的演奏效果,每个线条、物件、活动、空气和水的安排等,都将从平面上拉起一段又一段的立体乐章,运用城市中拥有的元素,经由了解彼此之间的关系及特性,在有系统的编制下,都市的乐曲即将演奏。
Abstract
The elements, proportions, styles of architectural constructions are just like the components of music as the corresponding embodiments can be found in the components of music. People flow among the architectural constructions are just like musical symbols on a symphonic sound spectrum. With primary motifs in the musical composition, tones of musical instruments, the seating arrangement for an orchestra, and the rhythm ups and downs among the timelines, the conductor guides the audience through a story just like architects guide the audience to read different perspectives of the city via urban orchestration.
From the ideal perspective on architectural design, we have to allow architects to let free their creativities in peculiar spaces, but from the technical perspective, we have to deal with spaces and objects. We must be able to progress towards next steps with either the ideal approach or the technical approach. Likewise, in order to move towards subsequent phases, architectures and relevant arrangements based on urban orchestration for implementations must allow all types of musical instruments (locations) to progress or develop towards subsequent phases. In this study, the process of design and implementation is called Design Orchestration, which is like orchestration in a symphony. Orchestration may have a different presence based on the properties of a symphony. And rhythms vary as the symphony marches on. Design Orchestration is a method to make arrangements, achieve coordination and conduct management. Designers believing functionalism, formalism, vernacularism, conceptualism, deconstructionism, public opinions must make arrangements on the drawing papers, computers, and real bases. The series of acts constitute Design Orchestration. The main component of the music is the motif (or multiple motifs), which can be expressed via the arrangements of or changes in rhythms. The process represents a presence of orchestration. And the texture and sequence of the orchestration can generate different levels of expressions. When faced with different environments, cultures, societies, people and dimensions, orchestration will take different considerations into account. The interposition of timelines changes the original structures again. With regards to the adaptability of the architecture, this study investigates not only the adaptability of the architectural space, but also the coordination between elements. This study even attempts to find the adaptability and coordination of the elements to the corresponding spaces and further investigates the orchestration that can be adapted to the bases for creation of spaces.
Each set pattern of orchestration attempts to render different performance effects on the bases. Systematic orchestration and arrangements of elements in the city such as curves, lines, objects, activities, air and water create 3D movements on the 2D planes and make a symphony out of the city.
URI: http://140.113.39.130/cdrfb3/record/nctu/#GT070259503
http://hdl.handle.net/11536/127694
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