迈向涌现美学的基本设计教学研究

柯純融 柯純融
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After three years of experimentation, the research has nearly arrived at a clear methodology, which aims to allow students to take the observation of the surrounding objects as the outset, categorizing and understanding the materials and set of techniques of respective tools, and finally realized by generating unique forms of spatial connotation. Even if the students have yet been in direct contact or use of the computational tools or any types of algorithms and structural calculations, they can naturally experience the bottom-up approach of the form generation and the flow of structural force from the tectonic, thus pass on the experience. 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引用次数: 0

摘要

本研究主要在探讨建筑设计在数位工具与生物学观点介入后,如何将形态生成语汇的,以自然的涌现特质呈现在设计中。设计的操作方法透过材料特性的探索、量体聚集和力学传递的差异与连续,企图创造出不同于以往只有几何的组织特性而能传达自组织美学的意。此看法包含Las Spuybroek所说解释的新激进唯物主义概念,可以体现从构筑、跨越物质感知与物质本身产生共鸣的设计方法。目前在数位设计型态上十分常见。但是,如何避免只是复制形式而不了解逻辑的生成原则,将材料探索和其生成意义传递给学生,需要一套较完整的设计教学方法。本研究历经三年的尝试,已接近明确的方法论,其目的就是希望让学生从近身事物之观察为起点,分门别类理解各种材料与对应工具的技术,最后运用于生成形式独特的空间内涵。即便学生没有直接接触或使用计算机工具或任何种类的演算和结构运算软体。学生也能自然地体验形式由下而上的生成方法,以及来自构筑性物件中结构力量的流动与传递经验。他们可以看到组织的流动性如何转移到物体结构中。 The research primarily explores how, after the introduction of digital tools and biological viewpoints, architectural design may express the morphological generation language within as a natural emergence. Through the exploration of material properties, mass aggregation and the force distribution and continuity, the design method attempts to create an assemblage characteristic containing more than simply geometry as in the past, and the ability to communicate the aesthetic value of self-assemblage. This aspect was also explained by Las Spuybroek, on new radical materialist concept that embodies a design approach resonating with the tectonics, cross-material perception and the material itself. At the moment, this approach is prevalent in digital design. Nonetheless, for the purpose of conveying this tectonic significance to students by the material exploration, and avoiding a simple replication of form and uninformed of the principles that generate such logic, a more thorough method in design teaching is required. After three years of experimentation, the research has nearly arrived at a clear methodology, which aims to allow students to take the observation of the surrounding objects as the outset, categorizing and understanding the materials and set of techniques of respective tools, and finally realized by generating unique forms of spatial connotation. Even if the students have yet been in direct contact or use of the computational tools or any types of algorithms and structural calculations, they can naturally experience the bottom-up approach of the form generation and the flow of structural force from the tectonic, thus pass on the experience. They will observe how the organizational mobility is transferred to the structure.
本文章由计算机程序翻译,如有差异,请以英文原文为准。
邁向湧現美學的基本設計教學研究
本研究主要在探討建築設計在數位工具與生物學觀點介入後,如何將形態生成語彙的,以自然的湧現特質呈現在設計中。設計的操作方法透過材料特性的探索、量體聚集和力學傳遞的差異與連續,企圖創造出不同於以往只有幾何的組織特性而能傳達自組織美學的意。此看法包含Las Spuybroek所說解釋的新激進唯物主義概念,可以體現從構築、跨越物質感知與物質本身產生共鳴的設計方法。目前在數位設計型態上十分常見。但是,如何避免只是複製形式而不了解邏輯的生成原則,將材料探索和其生成意義傳遞給學生,需要一套較完整的設計教學方法。本研究歷經三年的嘗試,已接近明確的方法論,其目的就是希望讓學生從近身事物之觀察為起點,分門別類理解各種材料與對應工具的技術,最後運用於生成形式獨特的空間內涵。即便學生沒有直接接觸或使用計算機工具或任何種類的演算和結構運算軟體。學生也能自然地體驗形式由下而上的生成方法,以及來自構築性物件中結構力量的流動與傳遞經驗。他們可以看到組織的流動性如何轉移到物體結構中。  The research primarily explores how, after the introduction of digital tools and biological viewpoints, architectural design may express the morphological generation language within as a natural emergence. Through the exploration of material properties, mass aggregation and the force distribution and continuity, the design method attempts to create an assemblage characteristic containing more than simply geometry as in the past, and the ability to communicate the aesthetic value of self-assemblage. This aspect was also explained by Las Spuybroek, on new radical materialist concept that embodies a design approach resonating with the tectonics, cross-material perception and the material itself. At the moment, this approach is prevalent in digital design. Nonetheless, for the purpose of conveying this tectonic significance to students by the material exploration, and avoiding a simple replication of form and uninformed of the principles that generate such logic, a more thorough method in design teaching is required. After three years of experimentation, the research has nearly arrived at a clear methodology, which aims to allow students to take the observation of the surrounding objects as the outset, categorizing and understanding the materials and set of techniques of respective tools, and finally realized by generating unique forms of spatial connotation. Even if the students have yet been in direct contact or use of the computational tools or any types of algorithms and structural calculations, they can naturally experience the bottom-up approach of the form generation and the flow of structural force from the tectonic, thus pass on the experience. They will observe how the organizational mobility is transferred to the structure.  
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