淡江大學建築系│一年級工作室│第 四 組。設計作品集 EA1_Studio。Dept. of Architecture。Tamkang University
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2012-2013
知覺 ‧ 感官 ‧ 重塑
Consciousness.Senses.Remodeling
│許偉揚│ │譚時予│陳映璇│沈奕呈│林亭妤│王哲倫│許爾家│龔禹宸│陳伯晏│
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【序】
非視覺 知覺 . 感官 . 重塑
許偉揚 置入某種獨特物件 ( 機制 or 事件 ) 的可能性。
一 .
知覺感官 - 涉及視覺，便開始停止想像 !
知覺是什麼 ? 感官是什麼 ? 知覺與感官到底是來自 於精神抑或物質 ? 形而上抑或形而下 ? 客體抑或主 體 ? 似乎是一個令人費解而困惑的課題。如此令人 困惑的狀態其實源自一個根本的慣性，便是人類無 可避免地依賴”視覺感官”的”知覺”來理解世界， 但”知覺”卻是一個多重感官融合的境界，如「嗅 ( 味 ) 覺存在感」、「聽覺的時間感」、「觸覺的 真實感」；所以，一旦關閉了”視覺感官”的開關， 知覺與感官便開始尋找真實想像與重塑構築的可能 性。 二 . 變化 !
當人喪失某種”感官”，”知覺”便開始
第一階段：透過抽離對視覺感官的過度依賴，嘗試 去整理由聽覺、味 ( 嗅 ) 覺、觸覺感官的知覺場域。 通過感官與環境一連串的互動經驗與記錄、分析、 達成知覺場域的概念重塑。 第二階段：將重心關注在基地上對於物件 ( 機制 or 事件 ) 的置入的課題。透過將具想像力的空間性構 造及元素視為介入知覺空間的手段。依據聽覺、味 ( 嗅 ) 覺、觸覺感官記錄與分析圖繪的理解，找到
第三階段：透過實質有機構築具體呈現該感官空間 之存在、狀態、與型式。並且最終賦予該空間一特 定並具想像性之空間狀態。藉由適當的空間手段來 誘發該機制所對應的空間性活動事件並且回應非視 覺感官之觀察與想像。 三 .
眼見為憑 ?
您試圖回想一下一天 ( 時間尺度 ) 之中從白晝至黑 夜，感官到底接受了多少知覺？那些知覺另人無法 忘卻？那些知覺我們完全忽略？那些知覺造成” 潛”意識的變化？那些知覺促使”顯”意識的學 習？。如果再更深入的回溯，我們大部分認知並且 理解為有價值的感官資訊，是否引導我們進行思 考、想像、理解、或其他的判斷？。而另一方面， 可能被我們忽視的其他感官，是否因自身的忽略、 慣性、或是無法覺察等因素而萌生思考上的矛盾與 質疑？而這一切困惑關鍵就在”知覺”往往誤以為” 感官”的知覺是在外在”視覺”的形式，如同旅 行中讚嘆羅馬競技場建築的壯闊雄偉之際，卻不知 那也可能只是視覺外在形式的表象而非其他感官知 覺的真實內涵。所幸，當人開始對於外在形式表象 與內在真實內涵的概念有所區分與理解甚或質疑之 後，非視覺世界的想像中，眼見不一定為憑！
[Introduction]
Non-Visual Consciousness, Senses, Remodeling
Hsu, Wei-Yang
1. Sensory Perception - Involved in vision, then stopped to imagine! What is consciousness? What is Senses? And sensor y perception in the end is from the spiritual or the material? Metaphysical or the metaphysical? Object or the subject? It seems to be a puzzling and confusing topic. In fact, the fundamental of such a confusing s t a te of i n e r t i a c a u s i n g t h e m a n k i n d i s inevitably dependent on the "visual senses" and "perception" to understand the world. However, "Perception" is a multi-sensor y integration of the realm, such as "olfactory (smell) feel the sense of presence", "auditory sense of time", "tactile realism"; So, once the "visual senses� switch is closed, the sensory perception and imagination will begin to look for the real possibility of building remodeling. 2. When people lose a certain "sensual", "perception" will begin to change! Phase I: Pulled through over-reliance on visual sensory, try to organize the hearing, smell, tactile sensory perception field. Also, through a series of interactive sensory experience and environmental to record, analyze, and reach the concept of perceptual field remodeling. Phase II: To focus attention on the object at the base (mechanism or event) the placement of the subject, then through the spatial structure with imagination and perception of space element as a means of intervention. In addition, based on the hearing, olfactory (smell), and tactile sensory record and understanding of the analyze illustrations; it helps to find the possibilities into a unique object (mechanisms or events). Phase III: Presented by physical organic build
concrete space that senses the presence, status, and type. And finally give the space a particular space and have the status of Imagination. By means of an appropriate space to induce the mechanism of the corresponding event space activities and respond to non-visual senses of observation and imagination. 3.
Seeing is believing?
Have you tried to recall one day (time scale) being from day to night, how much do your sensory accepts the perception? What kind of perceptions are the ones that people cannot forget? What kinds are the ones we completely ignore? Which of these perceptions cause "hidden" change in consciousness? And which of these promote "obvious" conscious learning? If to look further back, what we acknowledge as the valuable understanding of sensory information, whether or not have lead us to think, to imagine, understanding, or other judgments? On the other hand, the other senses that we may have ignored, whether due to our own neglect, inertia, or the fact that we cannot be aware of the initiation of such factors have caused the contradictions and doubts in thinking? The key to all of this confusion in the "perception" is often mistaken for "sensory" perception, which is out shown in the "visual" form. For example, when traveling to the magnificent Colosseum in Rome and admiring to the magnificence of the building itself, not knowing it is just only the visual appearance rather than the external form of the true meaning of the other sensory perception. Fortunately, when people began to question and to segregate the form for the external appearance and internal true meaning, the non-visual world of imagination, seeing is believing is not necessarily!
另類樂器
Awkward Instrument
知覺 ‧ 感官 ‧ 重塑 Consciousness. Senses. Remodeling. 2013.05.20-06.15 Student │學 生 Jonathan,Tan │譚 時 予
│前言│ 在這次的設計中，老師要我們不要以視覺來觀察， 並且重塑我們所挑選的基地。因為我是其摩托車上 課，經常進出學校摩托車停車場，所以我決定挑選 其為我的基地。除此之外，在這個基地可以很快的 觀察出聲音的特性。 挑選基地後我就先分別去看機車，和基地。 我一開始就分別觀察和分析了機車的聽覺、觸覺、 嗅覺的特性。 嗅覺上，機車在不同速度下聲音頻率和大小聲會有 所不同。 當機車再以緩慢的速度行駛時，聲音會顯的比較低 然後比較小聲，反之。在觸覺上，人會因為機車的 快慢而感受到機車所產生風的大小，自然就會去閃 避機車。而在嗅覺上，機車速度在不同的時候會留 下不同濃度的嗅覺軌跡。 在幾地上我觀察出了一個很大的特徵，就是坡度。 這個基地不管是進入或是離開都是先下坡，在上 坡。這導致機車不管是嗅覺，聽覺和嗅覺都會有所 反應，因為機車的引擎會因為不同的坡度，而運轉 的不同。 在這裡我想要挑戰人對和諧音樂的概念。我想要立 用摩托車的噪音重新詮釋和諧音樂。 而我用的方法就是，先以交響樂為基礎，從中我分 析出，交響樂的架構簡單說起來是，快、慢、快。 因此我利用這個架構來重新安排我的坡道，進而控 制摩托車所發出的聲音。
Introduction In this project our teacher wanted us to see our base without our ability to see. Instead to use our other ability to feel the space, and do somethig to change it. I chose a motorcycle parking lot to analyze, because there I can easily hear the sound of the bikes. In the beginning I separately analyze the parking lot and the bike itself. In terms of hearing, according to the speed the bike will produce different frequency and loudness of sounds. When the bike is moving in a faster speed the sound and the frequency eventually will crease. In the other hand, the parking lot has it's specialty. The parking lot has lot's of slopes. These slopes affect the sound of the motorcycles. For example, the bikes have to accelerate when they are moving up a slope. As a result I want to represent the harmony of music with nosies made by motorcycles. T h e r e f o r e , I a n a l y z e t h e s t r u c t u r e of a symphony, because people usually done symphony a symbol of harmony. I found the the structure can be divided into three parts. The first and the last part are fast and the second part is slow. According what I have found I rearrange the slopes of the parking lot to fit the structure of a symphony.
細部照片│ Deatial Image
細部照片│ Detail Image
斜坡照片│ Slope Image
探索空間 感知地圖 Exploring Space Sensory Map
基地上有很多棵樹和一條石磚步道，我從基地中透 過感官去測量出感知的地圖，觸覺的部份，我用我 的走路的步數先測量出石階的階數，在利用石階去 找出距離最近的樹，大約兩步，再利用樹和樹間的 相對步數去確認位置，產生觸覺所形塑出的地圖。 由於聽覺所感知的時間點是下雨天，故所聽到的聲 音是來自於雨水打在樹葉上所發出的音源。
觸覺 Diagram 是利用畫圓和尺規化的方式，兩個 圓會確認出觸覺所決定的位置點，利用相對位置便 可以找出樹和樹的位置點，接著便利用相對位置去 轉化成感知地圖，疊出一張模型發展圖。
聽覺 Diagram 則是利用人類可以聽到 17M 距離的 聲音，將聲音尺規化，在找到的座標上，畫 17 個 圓，1 個單位距離約我一個步伐的單位，將原本的 聲音放大，依據密集程度找出聲音大小的方向性。
模型則是將找到的相對位置用觸覺轉化成線的路 徑，再利用聽覺的方向性，用聲音探索路徑，路徑 找到聲音，我用木頭框架，上面鑽洞拉線和鋼琴線， 利用繃緊的兩種線去發聲，聽著聲音再去找出探索 到的空間，產生一個感官地圖。
知覺。感官。重組 Consciousness.Senses Remodeling
2013.05.20-06.15
Student │學 生 Ying,Shiuan Chen │陳 映 璇
There are many tree and a paving on my foundation. I use senses to measure the sensory map. I use my steps to count the paving. Then I find the trees near by the paving . The distance paving and tree about two steps. Next I use the tree and tree opposite steps to confirm the site . Through the tactile sense to represent the map. I feel the sense of hearing is rainy day. The rain fall on the leaves and make sound. The digram about tactile sense. I use draw the two circles to confirm the one site. Use opposite distance to find the site between the tree and tree. Finally I turn the opposite distance into the sensory map. The diagram about sense of hearing. I use the human can hearing the sound about 17 M. I use the site which I find. I draw the 17 circles to represent the sound. Put every sites together and find where is loud. Where is the sound comes from. I turn my tactile sense about the oppsite distance to the path and combine the direction of sound . Use sound to explore the path and when findind the sound to know the path. I use wood to make a frame and use tide line and piano wire to make sound. Listening the sound to explore the space and represent the sensory map.
e 現況照片│ Site Image
m 圖面分析│ Diagram
e 模型照片│ Model Image
平面、立面│ Plan、Elevation
海市蜃樓
Unreal Alley
知覺 ‧ 感官 ‧ 重塑 Consciousness .Senses .Remodeling 2013.05.20-06.15 Student │學 生 ELTON SHEN │沈 奕 呈
[Consciousness Senses .Remodeling] is the last design case in this semester。The main operation is "took out your sense of visual and using other senses to experience and record." To realize the relashionship from these series of records. These relashionship would be transformed into a space of base.。 [Mirage] is a phenomenon of human visual illusion. However, I found the hearing illusion in the 3rd floor of Tankung University Gym. This is a transparent vertical space obstructing by metal ditch cove. So, we can hear different voice from different floor at the same alley.， To began this design, I put myself into this base. I recorded the sounds of origin and distanc,etc. And I found the reason of hearing illusion : 1. The origin of sound have have directionality. 2.White noise(Background noise) I identified three patterns of hearing illusion: 1.Coverage 2.Unity 3.Transformative So I transformed these patterns into prototype model. Using these prototypes, the hearing illusion get involved into sense of thouch. Eventually, it became a program in this special base. I think that it would put different kind of forms into the base connectting the original vertical space. It would be a special experience of space!!!
[ 知覺。感官。重塑 ] 為本學期最後一題設計題目。 題目操作的方式，主要為抽離視覺的感官，重新 用其他的感知，來進行非視覺的經驗以及紀錄， 並從記錄過程中所了解到的關係，轉化成置入基 地的空間，這個空間因個人設定的主題而有所不 同。 [ 海市蜃樓 ] 為人類視覺上的錯覺，然而在淡江體 育館三樓內的走廊上，我發現了聽覺上的錯覺。 這是一個由鐵蓋隔開的上下通透空間，所以其他 樓層中所傳來的聲音都會聚集在這條走道中。 而我將自己放在這個空間中，記錄不同聲音的來 源、距離 .....，從中發現造成聲音上的錯覺的原因 如下幾點： 1. 聲音來源有方向性 2. 白噪音 ( 背景聲音 ) 所造成的差別 所以我從這些差別的圖中找出三中不同的形式 : 1. 包覆性的 2. 單一性的 3. 轉折性的 將這三種轉化為模型的原型，並介入觸覺觀察的 區塊，形成最後置入的構件。 原本鐵蓋隔開的空間，我認為需要由我觀察到的 關係來連通這個上下的空間，並置入不同種的形 式來串連。 這是一個擁有不同空間可能的體驗 !!!
分析套圖│ Analysis Array
模型照片│ Model Image
現況照片│ Site Image
模型照片│ Model Image
入木三分
Go To The Nature
知覺．感官．重塑 Consciousness．Senses．Remoling 2013.05.20-06.15 Student │學 生 Ting-yu , Ling │林 亭 妤
我的基地是位於體育館和化學館之間的小路。 我先選定作為空間置入的六棵樹為基地，畫出他們 的縱剖面，置入人物活動，再分析他們的觸覺感知。 接著，我沿著每棵樹發出單頻聲源，再做定點 錄音．分析它的聲波、響度與頻譜，並利用響度推 算距離，描繪聽覺感知下的樹型，接下來我做了長 時間空間對人流密度的觸覺感知及嗅覺紀錄，發現 正午時候人流密度會呈現線形，作為空間置入的時 間點． 我將聽覺分析轉化後，發現會空間形成一種Ｕ 型結構，再用觸覺分析轉化成它的高度和平面，最 後製成模型．
My base is the road between Gymnasyum and Chemistry Hall. I choose six trees to add the space , draw their vertical section , add people’s activities , and analyze the sence of touching. Next , I phonate single-frequency sound source and record at the same place. I analyze its sonic, loudness and spectrum , and get the distance from calculating the deta of loudness to draw the shape in the hearing . I record the sence of touching – the space to the people, and the sence of smelling, and choose noon to be the time spot to add the space. I transform the analysis of hearing, and find it will be an U shape. I transform the analysis of touching to the height and plan, and finally make the model.
佇足空間
知覺 ‧ 感官 ‧ 重塑 Consciousness.Senses.Remodeling 2013.05.20-06.15 ZHE LUN WANG │王哲倫 Weiyang Xu │許 偉 揚
這個題目指要是要我們去除視覺，以其他感官 去觀察並體會基地。在正常人的各種感官中，視覺 無疑其中最為敏銳的感官，但也因視覺是如此的強 烈以致於我們常常忽略其他感官所帶給我們的訊 息。藉由去除視覺，指導老師希望我們能發現到平 常所忽略的有趣事物。 起初我先觀察觸覺嗅覺以及聽覺與空間之間的 關係，試圖以視覺以外的感知去體驗並分類空間。 後來，決定朝觸覺中的溫度去下手。 基地本身是一個人潮洶湧的狹窄空間，側邊種 有樹木因此在夏天中午時不至於過於悶熱。於是我 開始分析樹蔭與溫度的關係。我將＂樹蔭＂歸類成 3 種情形 １. 完整庇蔭 例如樹幹等不搖晃之物體下 ２. 半庇蔭 樹葉等晃動物體下 ３. 無庇蔭 陽光直射下 發現這三種情形彼此地表溫度相差甚大。代表對於 長時間停留的人而言，即使只是些微影子也會造成 極大溫度感受。 ＂洶湧的人潮＂以及＂狹窄＂是這基地的特色。我 想在這基地置入一個物件，讓人得以在人潮最繁忙 的情況下有足夠的休憩佇足空間。
The purpose of the subject is to exclude the sence of sight , and observe a place with other sences.When it comes to sence of sight,it is most strong sence to normal human. But we may lose some interesting thing if we only pay attantion to our eyes.Only when we throw the sence of sight away,we could find special things that we can't feel in our daily life . At first,I observed the connection between other sences and space,and tried to experience the space with other sences. Finally,I decided to study temperature . I chose a space with a lot of people and trees.And I classify the shadow into 3 conditions. 1.Completely cover by shadow 2.Half in shadow 3.Without shadow I found that temperatures of ground are very different between 3 conditions. It means that a little shadow may bring a huge effect to the people who stay long time . I want to put a object to improve the disadvantage of this place. So people could get more space to stay or take a break.
現況照片│ Site Image
模型照片│ Model Image
平面配置 Plan
迷宮
Maze
知覺 ‧ 感官 ‧ 重塑 Consciousness.Senses.Remodeling
2013.05.20-06.15
Student │學 生 Erh-Chia,Hsu │許 爾 家
在基地裡讓我感官最深刻的就是這裡的鋪面， 所以我用了這三個感官去體會鋪面，然後做出了紀 錄和分析。 我的基地在白天時是很少人會去經過的，但到 了夜晚，就會有許多人在那裏進行ㄧ些娛樂性的活 動，所以依據這個有時間性的特性，人會因為某個 特定的時間去那裏進行一些娛樂性的活動，所以我 想將它變成一個迷宮的娛樂場所。 我先讓嗅覺引領著路線，我只將鋪面粗略分成 四種，而其中只有草地這種鋪面具有嗅覺的特性， 所以就先製造出了一條路徑。但若人類要依據著這 條路徑走，除了被嗅覺引領著，還會受到腳底下鋪 面的影響而改變了路徑，所以又得到了人類的真實 路徑。 我想要創造一些新的路徑，去打斷、連結、混 淆原先的路徑，進而造成迷宮這種混淆感官的系 統。所以我置入了五條路徑在裡面。 在觸覺方面，我的新路徑的改變規則就是和依 據著緊鄰旁邊的鋪面，所以人類走在上面的時候就 會造成混淆。在聽覺方面，我想製造一個隔絕聲音 的路徑，所以使用一些避震的材質。在嗅覺方面， 因為是依據著草地的嗅覺在進行著移動，所以我製 造的新路徑是可以讓一些藤蔓依附，所以也可以製 造出類似草地的嗅覺特性，混亂掉人類的感知。進 而形成迷宮。
The pavement impressed me in my base,so I used the three senses to experience the pavement.And then make a record and analysis. My base during the day when few people will go through, but at night, there will be many people for some recreational activities. According to the time-sensitive features, people will go there to do some entertaining activities at particular time, so I want to turn it into a maze. I let the smell sensitive led route.I just roughly divided pavement into four kinds, of which only the grass that has the smell character.So I plan to create a path.But when a man choose a path to walk,the pathment will also affect him.So I can gain a path that a man's reality path. I wanted to create a new path to interrupt, links, confusing the original path to form whe maze. So I placed five paths inside. Through the tactile, my new path is changing to the next adjacent pavement, so when human walk on it will be confused. Through the hearing, I want to make an nonvoice path, so I use some shock material. Through the olfactory aspect, because it is based on the sense of smell, so I made a new path that can let some vines attached, so it can produce a similar characteristic smell of grass, confusing human'sperception.And form my maze.
感官的邊界
流動的閱讀空間
知覺 ‧ 感官 ‧ 重塑 Consciousness.Senses.Remodeling
2013.05.20-06.15
Student │學 生 Kung,Yu-Chen │龔 禹 宸
海報街位於淡江大學中心 平時往來的人數眾多 連接著許多路線 是通往出入口的主要穿越道路 有時也會成為舉辦活動的場地 紛擾的環境之中 五感容易被視覺所掩蔽 在人來人往的街道上 感官潛藏在其中 形成了看不見的邊界 基地的邊界改變了人的流動，而人的流動也同時改 變了感官邊界。 以強化海報街獲得資訊的閱讀本質，將被動的閱讀 海報過程，變成主動閱讀的裝置。 且透過裝置的改變，進而能夠閱讀整個基地的感官 變化。
Posters Street is in the center of Tamkang University Usually lats of peoples are exchanges Connection with many routes The main entrance is through the road leading Sometimes become events venue The turbulence of the environment Five senses easily be masked by visual In the crowded streets Hidden senses in which Invisible boundary formed The base boundary change the movement of people, and people will also change the flow of sensory boundaries. Po s t e r s St r e e t t o s t r e n g t h e n a c c e s s t o information essential to read the posters read passive process becomes active reading devices. And change through the device, and then be able to read the entire base of the sensory changes.
草模照片│ Model Image
模型照片│ Model Image
路徑配置│ Path
微型廣場
自然嗅覺場域的強化
知覺 ‧ 感官 ‧ 重塑 Consciousness.Senses.Remodeling 2013.05.20-06.15 Student │學 生 Chen,Po-Yen │陳 伯 晏
本次課題是運用聽覺、觸覺、嗅覺、味覺等視 覺以外的感官再現基地，並發展置入建築計畫的可 能。基地位於淡江大學內的麵包店的前方走道，是 一個由樹木和兩個建築量體所為塑出的封閉空間。 記錄行人動線、風向、氣味種類、濃淡、濕度。分 析基地中自然嗅覺場域與麵包店所為塑出的人工嗅 覺場域間的關係。 根據分析的結果，早上時基地幾乎被人造的嗅 覺場域所佔據，將基地簡化為一個單純的消費空 間，反而少了與周遭自然環境的互動。
The subject is the use of hearing, touch, smell, taste and other sensory rather than visual to represent the site, and develop to set a program in the site. The site is located in the aisle which is in front of Tamkang University's bakery , where is massing of trees and two buildings enclosed the space. Recording pedestrians moving lines, wind, odor type, odor shade and humidity. Analysis the connection between nature odor area and artificial odor area which is created by bakery in the site.
我所置入的廣場，運用線性的架構去傳達嗅覺 的模糊邊界，塑造兩種不同性質的空間感，針對不 同的嗅覺場域做不同的空間配置。人們可以在這裡 從事戶外的教學活動或社團活動，與人造的嗅覺場 域相抗衡。這是一個讓人親近自然的微型廣場。
According to the results of analysis , The artificial odor area almost occupied whole site, make the site become a mere consumer space, people have less interaction with the surrounding natural environment. I placed a square,which is made by linear structure to convey the sense of smell (the boundaries are fuzzy), create two kinds of space according to different odor area. Where people can engage in outdoor learning activities or community activities, to contend artificial odor area. This is a mini-square which people can close to nature.
淡江大學建築系│一年級工作室│第
四 組。 設 計 作 品 集
E A 1 _ S t u d i o 。 D e p t . o f A r c h i t e c t u r e 。 Ta m k a n g U n i v e r s i t y