數位建築的具時性

Abstract

無論古典還是現代建築，他們均表現出一種抵抗時間的姿態，將古典主義當前性和非時間性聯繫起來是正確的，這是一種反抗時間的美，而這種美起源於對時間的恐懼”(Ethical Function of Architecture, 2001. P206-P233, Karsten Harries)

如果把時間當成客觀存在之物，則任何物件都沐浴在時間的河流中，建築也不例外。但是建築和時間的關係卻常常被遮蔽在建築的恆持性當中，建築所表現出的永恆的姿態、堅固的形象、穩定的處所使人難以覺察到其在小尺度時間範圍內的變化，正因此，建築經常被認為是獨立於時間之外的永恆之物，它的紀念性似乎是天生的。

自西方建築原點，埃及、西亞的無時性(Timelessness)紀念性建築以降，往後的建築師無不追逐這些建築跳脫於時間之外而散發出的壯美(Sublime)，壯美在康德(E.Kant)的分析下，其形式、質、量、主觀心理上皆是無限的狀態，在時間上呈現完全的真空。建築的無時性延續至現代主義，現代主義雖強調技術、功能和材料，此時的建築信念仍是在這些機能性的訴求下追求無時性的紀念性。結構主義與解構主義的形成，逐漸將建築拉進了時間的軌跡上。結構主義以語言(language)和言語(speech)的概念出發，強調整體性、轉換性與自律性，在時間性上屬共時性(synchronic)，與時間的關係，牽強的說，呈現”點”的狀態。解構主義以痕跡(trace)與延異(difference)反抗結構主義的二元論，打破傳統結構原理的空間狀態，創造意義的不確定性，使觀看建築以及在建築空間內活動的人，以各種不同方式體驗空間，各自詮釋。解構建築乘載的多元經驗，讓建築得以向歷時性(diachronic)邁進。收割了工業革命的成果，建築得以在二十世紀中後葉和時間性接軌。如今在二十一世紀的初期，歷經資訊革命、數位化後的建築如何在時間性上展現別於過往的獨特性？

時間經驗起源於人對物質世界運動變化的感知，或者說，時間是經驗主體對存在於世界的感知。根據海德格(M.Heidegger)於《存在與時間》書中的辯證，正是時間構成了一般存在的意義，當我們詢問存在，便是要詢問存在的意義，即是詢問時間的本質。對於建築而言，大尺度的時間感覺是容易被覺察的：我們在面對舊建物時總會幽然生出思古之情。然而對於生活在萬千瑣碎中的人來說，關鍵是如何建立起日常生活中的存在體驗，如何捕捉空間中的瞬間，如何感知時空之中人之“此在＂的那一刻，從而獲得對自身存在的關照。

本研究基於五個不同的設計案：形式的構成(FM Tower/資訊建築)、形式間的並存(new birth from spoil death/實體建築)、形式的紀錄╱再現(no ceiling/虛擬建築)、動態形式的系統(Gerridae/互動建築)以及材料與工法(ZOWA/CAD-CAM)分別探究數位化後將時間性置入建築的可能性。

Whether classical or modern architecture, they all show the attitude of a resistance to time. Karsten Harries stated that it is correct to link the classical architecture to timelessness since it is a kind of beauty to against time. Furthermore, this beauty originated in the fear of time.(Ethical Function of Architecture, 2001, p.206-p.233.)

Time, as the objective existence of things, any object in the world is bathed in the river of time, and architecture is no exception. However, the relationship between architecture and time is often obscured in the building in which the constant holding of eternal attitude prevails. Architecture usually shows its sturdy, stable image, and that makes imperceptible changes in the time range of the small-scale. Therefore, architecture is often considered to be eternal and independent of the time---its monumentality seems natural.

After Egypt and Mesopotamia timeless memorial architecture appearing, later architects all have been pursuing the sublime created from these kinds of buildings. The sublime, in the analysis of E.Kant, is in a state of the infinite whether in the form, quality, quantity, and subjective psychology, showing the complete isolation from the timeline. Timeless architecture had been continually created until the birth of Postmodernism. Even though modernism stressed the technology, function and material, its faith was still in the pursuit of the memorial, timelessness of architecture in a revolutionary way. Along with the formation of Structuralism and Deconstructionism, the concept of the timeline was gradually pulled into the architecture. Structuralist took concept of relationship between language and speech, emphasizing the integrity, conversion and self-discipline of structure. By those principles, architecture appeared on the timeline as a point. Deconstructionism was against the dualism of structuralism with trace and differance, breaking the traditional structural principles, and created uncertain meaning of space, in which visitors are allowed to own their varieties of ways to experience the space, and interpret it respectively. Deconstructivist architecture carries a diverse experience, so that architecture can be diachronic. Harvesting the results of the Industrial Revolution, twentieth century architecture could be connected to the timeline. Now in the early twenty-first century, after the information revolution, and CAD/CAM technology development, how to define contemporary architecture’s state on the timeline and how to show the uniqueness state to others in the past?

This study is based on five different design cases: the composition of form (FM Tower / Information Architecture), co-exist of different forms (new birth from spoil death / entity architecture), record/reappearance of form (no ceiling / virtual architectures), the dynamic form of system (Gerridae / interactive architecture) as well as materials and construction methods (ZOWA / CAD-CAM). It aims to explore the possibilities that make architecture much more closer to timeline, and that also makes it closer to its user.