形體的自由化─東方書法與美學在數位構築中的初探

Abstract

在數位構築(Digital Fabrication)設計過程中，經常使用幾何學、流體力學和生物學的方法，結合雷射切割與RP探討與實驗自由形體的產生(Perez, 2004)，然而這樣操作方式也許在形體的探討上提供新的方式，但也許不夠全面，應該還有許多探討形體的方法等待開發實驗。本研究試圖從書法的美學角度出發，並透過操作雷射切割與RP的方式，來探討書法與自由形體之間的關係，除了理論模型的建立外，更試圖藉由數位和實體的方式來探討東方書法美學在空間和自由形體的構造以及模型。

書法藝術內在的深厚潛能，並不會隨著時代工具的演進或者是人們都不用毛筆書寫而減弱，被時代所淘汰，相反地在數位化工具當道的時代，反而更顯得彌足珍貴，目前許多新科技、新媒材的研究，往往藉助傳統文化而找到新的出路。有鑑於此，本研究除了提出東方美學中的書法在CAD/CAM上的運用有別於西方探討形體的方法外，並且希望透過問卷調查所分析的數據以及實作的分析結果，顯示書法在CAD/CAM上的美學價值。

本研究並非在建立一個終極模型或理論，而是透過問卷調查的數據統計與實作的模型分析來探討，在數位構築設計過程中自由形體的潛藏的可能性，並期望藉由理論結合模型操作的方式來呈現書法在自由形體中的美學價值。

When discussing and experimenting with the creation of free form (Santiago R. Perez, 2004 ), the Digital Fabrication process often makes use of geometric, fluid dynamic and biochemistry methods, combined with Laser Cutting and Rapid Prototyping. However, such an approach is still insufficiently comprehensive. This paper attempts to analyze the asthetics and understanding of calligraphy and through Laser Cutting and Rapid Prototyping methods ( Kolarevic, B. 2003), discuss the relationship between calligraphy and free form. In addition to establishing a theoretical model for cognition and analysis, we also attempt to use both Digital and Physical methods to probe the structure and model of space and free form in oriental calligraphic aesthetics.

The use of different materials at the conceptual stage, allows the designer to look at different variables in terms of his or her design behavior and visual considerations ( Won, 1999 ). There are and three steps of two stages in this research: first step of first stage, proceed immersive writing toward calligraphy, experience the characteristics like abstract and wisdom, momentumthe in spirit and meaning of calligraphy, then proceed the analysis and conclusion in esthetics. Operationally, our experiment is divided into two stages: Step Two discusses the written points, lines, black, white methods of traditional calligraphy and uses collages, abstraction, sculpture, photograph and deconstructionist experimental methods. It analyzes spatial structure and shapes from the 2D without any computer assistance and then utilizes virtual and digital methods (3D modeling, scanning, pen-based system to analyze digital transformation methods and discuss the difference between traditional and digital media (Wassim Jabi, 2001 ). Stage two takes the results of three steps experimentation and analytical data and uses it to produce a model with Laser Cutting and Rapid Prototyping. The resulting prototype models are gradually reinterpreted and compared and the differences between them analyzed, resulting in the creation of a general theoretical model.

This paper is not established on any ultimate model or theory. Rather it we discuss the hidden possibilities for free shapes in the Digital Fabrication design process through an analysis of aesthetics and understanding. It is hoped that the combination of theory and model operation methods will make it possible to highlight the aesthetic value of calligraphy in terms of free form.