編制城市-建築的動機及適應性

Abstract

摘要

建築的元素、比例、造型等如同音樂的組成可以找到相對應的體現,而一個城市的建築群與人在其中的流動關係,更好比一首交響樂的編制,一首樂曲基本動機、各種樂器的音色、演奏時的位置排列、時間軸下的節奏高低起伏,指揮家用他的方式帶領觀眾聆聽這一段故事,就像建築師用不同的編制手法引導觀眾閱讀這個城市。

關於建築設計思考,在思維上是建立每個建築師獨特的空間建構模式,在技術上所要處理的對象則為空間與實體,無論在思維上或技術上,都必須使其能往下一個步驟運作,城市的編制同樣為了使城市中各型各樣的樂器(場所)能在架構上及執行上皆能往下一個階段進行;在本文中將這個從設計-運作的過程稱為設計編制(Design Orchestration),設計編制好比管弦樂中的配器法,因應不同性質的樂曲,編制的狀態可能會有所不同,甚至在樂曲行進間做變化,設計編制在此指的是一種安排、協調與管理的方法,設計者無論是從機能主義、形式主義、風土主義、涵構主義、解構主義、大眾觀點等著手,在過程中都必定經歷安排的動作,如何在圖紙上、電腦上、真實基地上將設計及運作做排列,這一連串的過程即為設計編制;樂曲的主要構成為Motif(或多個Motif),Motif的編排節奏及變化藉由樂器表達,這一連串過程則表現一套編制的樣貌,編制中的織度與模進方式則使其設計產生不同層次的表現,當面臨不同環境、文化、社會、對象、尺度,編制的考量會有所不同,也可能因為時間軸的介入再次改變原來編制的結構;而關於建築的適應性,在本文中探討的不只是建築空間本身的適應性,更嘗試在編制中找到設計思考元素與其對應空間的適應性,在元素與元素之間如何協調,再進一步討論如何產生一套可適應基地資訊而產生空間的編式。

每一套編制,都試圖在基地上創造不同的演奏效果,每個線條、物件、活動、空氣和水的安排等,都將從平面上拉起一段又一段的立體樂章,運用城市中擁有的元素,經由了解彼此之間的關係及特性,在有系統的編制下,都市的樂曲即將演奏。

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.