運用草書空間概念於展場設計之研究

Abstract

近年來隨著全球化東方美學躍升國際，從平面設計、產品設計、空間設計等皆能看見其蹤跡，而書法藝術之美更成為設計發展的重要元素，本研究從各研究中分別找到書法和空間的關係與其立體化的方式及可能性，如：以文字為發想的立體創作，漸漸的跳脫文字的傳統框架；藉由問卷歸納出書法與各種藝術領域中，書法與建築的連結較為密切；將空間設計視為寫作，創造出空間寫作的操作流程。企圖找出草書與展場空間的關係、書法立體化的可能性，以及新的設計思維。本研究嘗試實驗將草書立體化，透過文獻中草書的空間概念，去尋找與草書與展場空間之間的關係與脈絡。本研究藉由創作實驗法，首先將投影片重疊堆砌，初步模擬草書筆畫堆疊的空間感，再使用針線模擬量體高度與動線，將書法的空間概念立體化，透過概念模將草書平面的空間感延伸至三維空間，進而看出深度的空間感。其次透過實際草模、草圖、3D電腦模擬嘗試各種量體型塑的可能性，藉由將筆畫旋轉製造視覺的漸變、改變軸心的高低形成的傾斜等方式，製造出高低錯落的量體。接著經由3D軟體-REVIT去探討、模擬草書形成空間的可能性。最終找出草書空間概念與展場設計之間的連結、草書立體化及其創造空間感的方式與脈絡，將草書元素中線條變化、墨韻濃淡、筆畫重複堆砌等，分別轉換成展場的空間虛實、光影變化、量體堆疊與高度等，並提出一個新的思考脈絡與執行的方法，提供設計師做展場設計時的規劃與方向。In recent years, Eastern aesthetics has gone viral across the globe. It can be seen from graphic, product, costume, space design and many other fields. Chinese calligraphy art is especially one of the most essential elements in the development of design. To understand the way of extruding calligraphy work to three dimensions and its’ possibility, this research tried to figure out the relationship between space and calligraphy work. For example: doing three-dimensional creation with text as the idea is gradually out of the traditional frame. In various art fields, this project concluded that calligraphy work is much similar to architecture from the questionnaire. I regard space design as writing, and find out the operation process of doing space design as writing. Attempting to figure out the relationship between cursive script and exhibition space, and the possibility of extruding calligraphy work to three dimensions, and new design thinking. This project attempted to develop an experiment which extrudes cursive script to three dimensions. Investigating the context and the relationship between cursive script and exhibition space through the spatial concept of cursive script in the literature. I used empirical research of creationin this research step by step. First, I stacked the slideshows to simulate the spatial sense of cursive strokes overlapped initially. The method simulated and created three-dimensional spatial expression of the overlapping strokes in curve script, and expanded the two-dimensional art work into three-dimensional solid structure, so that spatial sense of depth could be seen. Second, I used grass models, sketches, and 3D computer simulations to find out various possibilities of massing. Moreover, if the transparencies pile were spread out like an open fan and slightly adjusted the height to an undulating slope, the model became a winding corridor and also an exhibition access. The massings were stacked up layers by layers, which was similar to the overlapping spaces created by curve script. Then I used the 3D software called REVIT to investigate and simulate the possibility of space composed of cursive script. Finally, this project not only sorted out the connection and context between curve script and spaces thoroughly by looking up related references, but proposed a brand-new idea and application methods. There are three elements which are dimensions added by changes of lines, ink of density and overlapping strokes in cursive script. this project will respectively convert them into the space of solid and negative, the relationship between lights and shadows, the stroking of massings. To make a long story short, this project could provide a method of exhibition space program to future designers'.