圖、底與透明性：試論陳其寬先生建築與繪畫中共通的空間探索

Abstract

著名建築師、畫家陳其寬先生的建築設計與繪畫創作之間的關聯是一個重要卻尚未被充分探索的領域。為補此闕漏，本文以脈絡化的研究方法，將陳的繪畫創作以及四件早期建築設計作品放回20世紀前半葉視覺藝術與現代建築思潮共同發展的過程中探討，結合當時風行並影響他的《時間•空間•建築》、《視覺語言》和〈透明性〉等三部著作，探索當時國際上關注的「透明性」概念與「圖—底關係」如何啟發陳其寬先生的思維和表現方式。本文主張結合陳的繪畫與建築共同探討有助於得到更為整體的認識，並發現建築與繪畫是他用於探索同一種空間新觀念的兩種不同媒介。透過對陳之繪畫與建築作品的深入分析，本文指出：1. 陳透過「圖」與「底」之交互疊合，試驗其所造成看似裁切、實則使空間與畫面延伸之心理感知效果；2. 陳藉操作「現象的透明性」創造模糊多義的空間，從中既可見前述西方思潮帶來的影響，亦可見陳結合自身文化底蘊所開展出的創新路徑；3. 陳以具有地域特色的透空建築皮層、質紋拓墨／紙背塗色等特殊技法表現「字面的透明性」，一方面回應、修改了玻璃在西方建築、繪畫中表現透明性時扮演的角色，另一方面也同時挑戰、革新了中國傳統水墨與空間營造中既定的做法與價值觀。這些都是具有開創性的視覺與空間設計思維。陳其寬先生並非僅止於被動接受西方建築與繪畫的影響，而是以此為基礎，在持續的試驗中發展出嶄新的空間感受與視覺語言。  The correlation between architectural designs and paintings created by the distinguished architect and painter Chen Chi-Kwan has not yet been well discovered. To make up for this gap, this article methodologically contextualizes Chen’s paintings and early architectural designs together within the trends of Analytical Cubism and Architectural Modernism developed in the first half of the 20th century. Three crucial writings in understanding this correlation are identified as Space, Time and Architecture: The Growth of A New Tradition, Language of Vision, and Transparency: Literal and Phenomenon. By analogously comparing Chen’s architectural designs and paintings, the author points out that, first of all, via overlapping figure and ground, Chen experimented on the visual perception of excision and extension. Second, Chen played with “phenomenal transparency” and created spatial ambiguity. Although under apparent Western influences, Chen tried his own brand new ways of expression. Third, the concept of “literal transparency” and multi-layered space could also be seen in Chen’s works. However, certain special techniques he adopted not only redefined the materiality of glass, but also challenged the conventional ways of Chinese painting and building. Inspired by but not limited to Western Modernism, Chen Chi-Kwan developed his own spatial and visual languages with cultural characteristics. As two kinds of medium in exploring the same new spatial concept of transparency, architectural designs and paintings are complementary and equally satisfactory in result to Chen Chi-Kwan.