金門坑道的詩意構築─論述與實踐的循環辯證

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Please use this identifier to cite or link to this item: http://140.128.103.80:8080/handle/310901/2180

Title:	金門坑道的詩意構築─論述與實踐的循環辯證
Other Titles:	The poetic tunnel design in Kinmen
Authors:	張世鋒 Chang, Shi-Feng
Contributors:	曾瑋 Tseng, Wei 東海大學建築學系
Keywords:	斷裂性的設計論;理解概念;實踐概念;坑道;逃避 the rupturable designing;understanding concept;practical concept;tunnel;avoidance
Date:	2008
Issue Date:	2011-03-09T07:56:58Z (UTC)
Abstract:	本論文設計著重於論述與實踐的相互辯證性，一方面以阿爾都塞的「認識論的斷裂」為理論基礎提出「斷裂性的設計論」the ，另一方面則以金門的坑道為實踐對象，建立雙方在設計上的承續關係。在「斷裂的設計論」方面，提出「人道設定」、「理解概念」、「實踐概念」三個層次的斷裂，除了強調人道設定在建築史上的重要性，也論證不同屬性「概念」在建築設計應具備的特性；讓三者在設計程序上獲得確定的位置，且三者實則為循環性辯證關係。在設計實踐上，不但以上述架構作為設計程序，亦根據金門特殊的時空脈絡，第一步建立了當地居民與觀光族群的交互性〝逃避〞概念。其次，則是在金門的空間性裡，以「逃避」為基礎認識，確立了「坑道」的實踐概念的認識與實驗，以進行金門坑道其「無物質性」與「詩性」的設計實踐。並且在設計中，以「淡水」、「海水」、「酒」各自質與量的特性，發展出金門城當地領域與入侵的對話空間體系。 The design of this dissertation focuses on the dialectical discussion between discourse and practice. On the one hand, based on the concept of “epistemological rupture” by Louis Pierre Althusser, I propose a concept ‘the rupturable designing’; on the other hand, I use the tunnel in Kinmen as an example to demonstrate the continuity between the concept and the practice. I suggest, regarding ‘rupturable designing’, three levels of ruptures exist, namely, ruptures in ‘humanism setting’, ‘understanding concept’ and ‘practical concept’. In addition to emphasizing the importance of “humanism setting” in architecture history, the characteristics of the two ‘concepts’ mentioned above will also be discussed. I advance that these three levels each possess fixed position during the design process and there is a circularly dialectic relation among them. In practice, I produce my design based on the theoretical framework mentioned above. As the first step, according to the special temporal and spatial context in Kinmen, I propose a concept of ‘avoidance’ to demonstrate the mutual relationship between the local residents and the tourists. Next, based on the concept of ‘avoidance’, I establish the practical understanding of ‘tunnel’ in Kinmen and carry out some experiments in order to realize the ‘non-materiality’ and ‘poetic nature’ of the design. Besides, in the design, borrowing the quantitative and qualitative characteristics of ‘fresh water’, ‘seawater’ and ‘alcohol’, I develop a conversational spatial system between the local domains of Kinmen and the entry of the outsiders.
Appears in Collections:	[建築學系所] 碩士論文

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