脈絡的隱現—時間語序中的意識

Abstract

這篇論文是以人在建築中所經驗的時間作為討論空間的主軸，探討空間片段在時間運行之下的各種狀態與變化、以及由此顯現的整體脈絡為何。 第一章的電影時空轉譯，藉著電影與建築的交互闡釋，探討僅以時間作為空間設計的手法會營造出怎樣的空間狀態，並由此討論建築在時空經驗上的連續與片段。第二個章節便是藉由卡洛・斯卡帕的案例：卡諾瓦石膏像 藝廊增建案（1955-57），分析將片段敘事編織成一體論述的空間語彙：「光」，光在其中的遊走穿梭即是建築空間的整體脈絡。 延續片段感知在時間裡的經營，接下來的三個篇章便各別在經驗的時間軸中嵌入不同的敘事主題，片段畫面於此有了一體的連結、不同的整體脈絡也因而顯現。第三章的攝影博物館，人在經驗過程中對都市的整體印象產 生了「意識」，於是建築的片段敘事因外在的都市環境有了整體的脈絡。第四章的開口博物館則藉著空間形塑的情境感知，讓人們在閱讀攝影作品的過程裡逐漸走進一種「狀態」：不僅是意識的認知，更是在心理想像中 構築出的另一種空間場域。第五章更藉著杉浦康平的作品分析，領會其中的無形秩序是來自於他的「文化底蘊」——作品的整體脈絡存在於人們閱讀的過程之中，片段的關係在意識的追逐之間不停變動，故脈絡持續存在、卻化為無形。 最後一個章節：自給自足的城市與住居，集結前面所有討論的設計操作，運行的時間即人們的生活、敘事的主語即是隨機變動的社群本身，藉由環境的故事性去觸發情境，以組織片段的建築空間與場所融合。於是敘事的 整體脈絡逐漸脫離建築本身，移轉到他物、甚至外散成一種隱約的狀態，它存在於每一刻、瞬息萬變於人與城市的運行當中。 時間會引領著意識的運行，片段的敘事因而逐漸聯繫成一體。

This thesis is focused on the experience of time in architecture. It explores the situations and transformations of various spaces and rooms change with time. The appearance of the combined panorama is included as well. Chapter One, Movie Narration, reveals through the interactions between films and architecture, what the consequence of space states created by the only means of time would be. The following discussion is the continuity and fragments of architecture. Chapter Two studies the case of Carlo Scarpa: Museo Gipsoteca Antonio Canova Addition (1955-57), learning to integrate all of the fragments into a complete unity. It is the light that roams thoroughly inside the architecture creating the integrated context of it. The light continues the management of partial perception in the time experience. In the continuing three chapters, different types of narration themes are inserted into the time passage separately. The partial scenes are, therefore, integrated into a panorama; consequently, the overall context of each time experience emerges. Chapter Three, the Photograph Museum, interprets that the architecture space experiences arouse individual’s awareness of entire urban image. As a result, partial architecture narrations are integrated into a unity with the external urban context. Chapter Four, Opening Museum, while viewing the photographic works, visitors soak up an atmosphere by getting aware of the context in space shaping. It’s not only a conscious awareness, but constructing another space in imagination. Chapter Five reveals the situation of disorderliness in Sugiura Kohei’s art works rooted in his profound cultural background by examining his performance in this category. The panorama in his art works exists in viewers’ reading process. The net among various fragments keeps transforming during the progress of conscious chasing. The panorama continues solidly but invisibly. The Last Chapter informs that self-sufficient cities and residences are manipulated by all the means of design discussed previously. Citizens’ life equals to the periods of manipulation; statements are the equivalent of randomly changing communities themselves. Tales of the environment and its surroundings stir up the abundant contexts to melt fragments of the architecture into different sites. Eventually, the panorama of statements get apart from the architecture itself moving to other objects, and even spreading outwards indistinctively. It exists anytime anywhere, changing constantly in the movement of locals and the urban boroughs. While time is leading the shifts of locals’ consciousness, partial statements are weaving into an entire unity.