建築數位發展中的創造力先期模型

Abstract

創造力一直以來即為設計領域相當關注的話題，部份說法認為創造力屬於個人化特質，另一部分則傾向創作過程中深思熟慮或技巧純熟等行為化解釋，目前較肯定且清楚的是創造力不僅為創造品，還必須要透過社會價值的認同及對整體創造過程的詮釋來解釋。 本研究嘗試以Csikszentmihalyi(1988)之創造力動態三角形為基本架構，作為建築在數位時代中創造力的檢驗依據，共分兩大目標： 1. 數位化建築是否通過社會文化的考驗，成為具有創造力的建築。 2. 經過高度數位科技影響的時代，Csikszentmihalyi之創造力模型，有無不足以及修正的地方。

研究方法共分兩大步驟，每個步驟內含兩個推論子步驟。首先，以案例分析的方式檢驗數位化建築是否有創造力，再來，依據分析結果，重新整合出基於數位時代下的建築領域，創造力之先期模型。

創造力的研究橫跨了社會學與認知領域的觀點，本研究說明了兩個事實，1.證實建築在數位時代中確實具備創造力價值。2.清楚架構出身處數位化時代，不論是個人、文化與社會皆受到數位媒材的影響，連帶改變了從1988年以來Csikszentmihalyi所架構的創造力模型，成為個人、文化、社會及數位媒材四個元素相互運作的數位創造力模型。然而，數位化建築仍在逐漸發展中，未來會有什麼更重大的改變並不可知，此為研究限制之一，另外，僅為少數各案的分析亦有偏頗之處。

本研究貢獻在於確立了數位媒材在建築上的價值，並透過重新整合的數位創造力模型，思考在未來多樣化學科衝擊之下，建築要如何避免僅為表現媒材炫麗外表下，創造出真正具有價值且對於時代有所影響的作品。

Research into the various forms and processes of creativity has been a topic of great interest in the design field for many years. Part of the view is personality, and part of the answer is behavioral. Creativity is also explained through the identity of social values and the whole creative process. This thesis proposes to use the interacting creativity model of Csikszentmihalyi (1998) as the basic structure, to establish the major criteria of testing creativity in the digital era: first, whether digital architecture can pass the test in society and culture to become an architecture that embodies creativity; second, to find out if Csikszentmihalyi’s interacting creativity model has any flaws, and if so, to seek remedies accordingly.

The methodology will be divided into two stages, each consisting of two steps. First of all, case studies will be conducted to examine whether architecture entails creativity or not; then, following the results of the analysis, we will attempt to build a preliminary model of creativity in the realm of architecture, in the context of the digital era.

This paper demonstrates two facts: first, it confirms that creativity in architecture is truly valuable in the digital age; second, it proves that in the digital era, individuals, cultures and societies are all under the impact of digital technologies, a fact which transforms the model of interacting creativity proposed by Csikszentmihalyi in 1988 into a new model of digital interacting creativity.

In sum, the importance of this thesis lies in its confirmation of the significance of digital media in architecture, and its construction of the new model of digital interacting creativity. In the future, with the introduction of various new technologies, the fundamental mission of architecture will be to resist superficial presentations of media, and to create works that are genuinely relevant to the time.