Unit 9_Inbetween Altered Bodyscape

淡江大學建築系│一年級工作室│第 九 組。設計作品集 EA1_Studio。Dept. of Architecture。Tamkang University

2012-2013

［Unit_09］

│李京翰│ │夏慧渝│王禹方│羅慕昕│陳體玟│吳岱容│江柏翰│林敬華│

異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19

作者 / 李京翰 這是一個基於異種身體之空間想像的探索，任何相關身體的尺度、議題均可視為設計 的重要方向，但我們更想挑戰關於身體主體性與空間自主性的連結，相較於透過觀察 身體並轉化成一概念以做為創作空間的邏輯（身體被視為研究客體），我們傾向將身 體視為操作的場域，將身體的各種資訊做為生成空間的過程。 另外發展的重點則在於異體地景的空間機能，透過講述傅柯的異質空間與屈米的轉計 畫、跨計畫、去計畫，延伸與刺激學生思考更多的可能性，同時為了拓展學生對於身 體與空間想像的光譜，特別講解 Archigram、Archizoom、Haus-Rucker-Co 等案例， 思考微觀、巨觀、臨時、可動、有機、遊牧的空間。

夏慧渝＝殭屍露天野台 王禹方＝殭屍迷宮 羅慕昕＝防殭帳篷 陳體玟＝狼人夏令營 吳岱容＝殭人魚之島 江柏翰＝殭屍伸展臺 林敬華＝狼與人的教堂

身體的像素、單元｜狀態與感知、解析度與構築 身體的模矩、可適｜萬花筒、模矩的紋路、中介空間 身體的距離、仿生｜互動的皮層、最小使用單元的住居 身體的軌跡、動態｜節點、迭代的頻率、速度形式的再現 身體的圖解、規則｜圖解自生空間的系統操作 身體的粒子、群聚｜趨離原則、主體與客體互換的空間 身體的驅力、可動｜身體擴充的臨時性空間

老師的部份英文版

writing by Lee ChingHang

This is a exploration based on the spatial imaginations of altered bodies. Any scales or issues of bodies could be the methods, but we try to challenge the connection between subject of bodies and autonomy of spaces. Rather than the design logic of spatial production through bodies observation and conceptual transformation (bodies as object), we tend to focus on spatial formation through the process of gathering bodies’ information (bodies as subject). We regard bodies as operation fields.

The other point is on the programming of altered bodyscapes. By lecturing Heterotopia of Michel Foucault and cross-programming, trans-programming and disprogramming of Bernard Tschumi to extends and stimulates the possibilities of design thinking. To expands the spectrum of bodyscapes, Archigram, Archizoom and HausRucker-Co are good cases to let students think about micro, macro, temporary, kinetic, organic and nomadic space.

Hsia Hui-Yu=Outdoor Concert of Zombie Pixel, Unit/ Status, Perception, Resolution and Tectonic Wang Yu-Fang=Maze of Zombie

Module, Adaptive/ Kaleidoscope, Pattern, Inbetween Lo Mo-Xin=Anti-Zombie Tent

Distance, Biomimicry/ Interactive Skin, Minimal House

Chen Ti-Wen=Summer Camp of Werewolf

Trace, Dynamic / Node, Frequency, Iteration, representation of speed form Wu Dai-Lung=Island of Zombie, Human and Fish

Diagram, Rule/ Diagrammatic Operation of Self-Formation Albert Chiang=Runway of Zombie

Particle, Swarm/ Attraction and Repulsion, Subject and Object

Lin Jing-Hua=Church of Man and Werewolf

Driven Force, Kinetic/ Expansion by body movements, Temporary space

殭屍露天野台

Outdoor concert of zombie

異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Lee chinghang │李 京 翰 Student │學 生 Hsia huiyu │夏 慧 渝

On a sunny day,which would stay like this forever.People got to a outdoor concert in the middle of the sea ,they were in order to enjoy the symphony at first.When the music got more and more emotionally wrought up and turned into rock music ,those players turned into zombies at the same time.As the rock music spread from the stage to the crowd,people mutated to zombies as well.As soon as thet mutated,their vision changed from humans' vision to zombies' vision,and that's why they thought the space were changing or even moving,but there's only one thing changed......the way how they see the world.

Free program / Free concept / Free imagination.At first,the movie "resident evil" made an idea rush in my head,those zombies' desire to people just reminded me of the scene that fans had big crush on the rock stars,so it's no doubt that I started to drown in my rock fantasy.

To fold the woods in order to present the change of their vision.From simple and easy way to arrange the wood to more complicated method to fold or change the angle from one to another.So there has zombies' space and humans' at the same time,and will be separated automatically by their vision.

在永遠陽光普照的天氣下，人們進入在海中央的 音樂展演中心，享受交響樂的洗禮，隨著旋律漸趨 激昂，索性將交響樂轉變為搖滾樂，突然間，樂手 們已經突變成喪屍，隨著他們繼續演奏的搖滾樂散 播至人群中，人類們也隨之變成喪屍。就在這個轉 變的過程，從人的角度轉變為喪屍的角度看這空 間，他們以為空間在變動，其實在變的是他們看世 界的角度。

自由的題目、自由的概念、自由的想像，從一開 始 " 惡靈古堡 " 的殭屍渴望人類的飢渴程度，就讓 我聯想到像極了演唱會中歌迷對歌星為之瘋狂的景 象，於是就開始沉浸在我的搖滾幻想中。

用木條疊轉，做出視覺上漸變、甚至是給人有在 移動的錯覺，從一開始比較規矩排列，漸漸轉換角 度、移位、交錯纏繞，將人類和殭屍的空間不刻意 區隔，有共存的地方也有彼此無法到達的場域，隨 著他們的角度轉變，自然而然會走往對於他們視覺 相對敏感的地區。

因為 free mind / free concept 從一開始綁手綁 腳不夠大膽的想像，一路一直腦力激盪，想要想得 更多，也必須要想得更多。只要敢冒險，有你自己 的一套原則，設計 ，就沒有對錯。

繪畫照片│ Drawing Image

手稿照片│ Drawing Image

繪畫照片│ Drawing Image

模型照片│ Model mage

殭屍迷宮

Maze of Zombie

異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Lee ChingHang │李 京 翰 Student │學 生 Wang Yu-Fang │王 禹 方

Mystery Tour, a place where humans and zombies stay together, bases on two different routes. Humans are able to see zombies without being biting；zombies will move by chasing their “food”. The activities look like playing hide-and-seek in the maze.

We can identify the two routes from analyzing the movement between humans and zombies.

Humans exercise fluently and completely, which body can be associated to the gather of set squares. Although zombies’ action is simple, unbalanced, and can be easily break down, they can still survive if their joints are broken.

It indicates that zombies are superior to fitting in more distinct space than humans. Imagine zombies’ body to the collection of triangular form. When the environment changed, the units can stack to extraordinary form.

The imagination of the maze is from the copy-edition, the mirror. Put the units into kaleidoscope and connect the reflections to several duplicate spaces which extend outward far away, and the outside spaces of the reflection may be the public place, because the images of cracked, tiny units look like the same.

殭屍迷宮，一個人和殭屍共存的空間，藉由兩個 不同動線的安排，使人可以窺探殭屍，殭屍可以看 見人類，如走迷宮般的躲藏遊戲。 藉由分析人和殭屍的動作來發現兩者使用空間上 的差別，人的動作流暢，較完整規矩，因此可以想 像身體空間是由正方體所組成的；殭屍的動作七零 八落，容易中斷且給人不平衡的感覺，即使打斷殭 屍的關節仍可以存活，因此殭屍可以適應的空間尺 度優於人類。因此可想像身體的空間是由不等邊的 三角形所構成。當正方形與三角形置入改變的空間 中，可以堆疊出不同於一般的型式。 空間的想像來自剪輯影片的手法 -- 反射。分別把 人與殭屍的單元置入萬花筒中，鏡子內部的空間是 重複的，向外延展且越來越小，正方形和三角形的 單元在越外圍的成像越相似，可以發展成兩者的公 共空間。

身體的模矩│ Module

空間想像│ Space Image

Elevation

Plane

模型照片│ Model Image

防殭帳篷

Anti-Zombie Tent

異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Lee Chinghang │李 京 翰 Student │學 生 LUO MU SIN │羅 慕 昕

In this design case , I learned from the reference's movie found in people have told zombie the interaction between the will maintain a cer tain's distance to carr y out interactive, I learned from such a relationship depar ture, to discuss people and the environment distance the relationship between, the use of different materials as well as a movable-style 's components to shaping the different space feelings.

In the model into the production aspect, the outermost layer me to use my can move the's artifacts to composition of space, through the can be moved's objects, you can With the different needs to manufacture different space, or open, or partially enclosed, in the Components Composition in the process middle there are many different possibilities. In addition, the main structure part, I use a simple bracket system with the surrounding metal plate to achieve a different spatial effect. In the internal space regard, I rest well as a Sleep's space frame, high, allow users to in the highpoint can be be contacted by field of vision Connecting to the Outside space, while life while maintaining a privacy Xing.

This design case let me learn into the Questions relating to space the possibility of, with regard to social networking space, as well inside and outside the distance the variability !

這次設計案中，我從參考的電影中發現，人跟 僵屍之間的互動會保持一定的距離來進行互動，其 中會有感知認同的微妙變化，並且在不同距離時會 有不同的感官關係，以及身體感受；我從這樣的關 係出發，討論人與環境、人與人，以及環境與環境 距離的關係，嘗試在這樣的關係中找到空間形成的 不同可能性，藉由調整兩者之間的距離關係，以及 空間感覺去塑造出符合需求的空間。 在模型的製作方面，最外層我運用可以移動的 構件來組成空間，透過可以移動的物件，可以隨著 不同的需求來製造不同的空間，或是開放，或是部 分封閉，在構件組合的過程中有很多不同的可能 性，平時可以藉由開放來塑造內部空間與外在的連 結關係，在殭屍襲擊時又可以關閉保護裡面的人。 在主架構部分，我運用簡單的支架系統配合周遭的 金屬板以及半透明板材，運光線來將空間做連結， 讓私密空間與開放空間可以有連貫性。在內部空間 方面，我藉由多孔的金屬板來做區隔，將休息區域 架高，金屬板可以連結密閉空間與外界，但經由低 角度卻無法窺視，增加休息空間的隱密性。在主要 開放的工作空間，我把它稍微向下降低，形成與外 在環境的區隔，再藉由可動元件與外部相連，同時 後方的可動元件可以在有需求時產生多餘的庇護空 間，供使用者使用 ! 這個設計案讓我學習到關於距離在空間中所佔 的重要性，運用空間與空間，人與空間，人與人之 間的關係來塑造空間的可能性，並嘗試運用可動元 件來達成以滿足不同需求下的空間。

以空間的不同性質機關聯性進行疊加、分析，討論空間的可能性

情境想像圖 | Scenario Imagine Figure

內部半通透空間 |Semi-transparent space

可動元件 | 可動元件 |The movable jointr

東向立面 | East Elevation

西向立面 | West Elevation

狼人夏令營

Summer Camp of Werewolf

異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Lee ChingHang │李 京 翰 Student │學 生 Chen Ti-wen │陳 體 玟

Summer camp, a place which can lets lycans running and jumping enjoyably.

Lycans have a high-tech machine which can record the movement of lycans , and built the space according to their movement automatically. In this way , they can built the temporary space of summer camp quickly.

The physique and movement of lycans' is different from human and vampire , they are about 1.5 times the size of human ; they can do many movement that human can't do , for example , climbing the wall and jumping from the tall buliding.... So the scape of their actions also differ from human's .

We may create spaces when we move. Space will be produced when we put many freezeframe together . I used three different ways to analysis the movement of lycans , the color of diagram represent the sequence of move. Then I created my model base on those diagrams.

I use four diffenert movement locus to discriminate privacy from publicity ; use the size of model to seperate lycans' space from human's. Lycans' movement break the partition of wall , floor and ceiling , so I use curve to represent the locus .

夏令營，一個能讓狼人盡情奔跑、跳躍的地方。 狼族有一台可以記錄身體移動軌跡、並自動順 著軌跡建出空間的高科技機器，這樣一來，他們可 以快速的建出夏令營所需要的臨時空間。 狼人的體格及移動的方式與人類、吸血鬼有很 大的不同，他們的體型大概是人類的 1.5 倍，可以 爬牆、從高樓躍下 ... 所以他們的移動軌跡也會和人 類的有所不同。 移動時所做出的動作是會帶出一個空間的，將 一個個定格的動作疊加起來便會產生空間，所以我 用不同方式分析狼人的動作、用顏色深淺代表先後 移動的順序，再從那些分析發展成空間模型。 在空間模型中 , 我用四種不同的軌跡區分空間 的隱密性、用尺度的大小區分人類和狼人的空間。 因為狼人的移動打破了牆面、地板、天花板的區隔 , 所以我將其移動的軌跡用曲線的方式呈現。

分析 | Diagram

分析 | Diagram

分析 | Diagram

0

1

5 m

平面 | Plan

剖面 | Section

繪圖照片 | Drawing Image

草模照片 | Model Image

模型照片 | Model Image

殭人魚之島 Island of Zombie, Humoan and Fish

異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Lee Chinghang │李 京 翰 Student │學 生 Wu dai-lung │吳 岱 容

From the story of the movie(Resident Evil) to a new story. To challenge our imagination, there is no impossible world. It is a unique and unconstrained design……

In the future , the floods come, making all the continent disappear. Zombies have a place that provides them living in the water. While people live upon the water. Usually, zombies catch a lot of fish to eat, while people think a lot of ways to steal the fish due their ability. From then on, people and zombies live a beautiful new life in the time of tenseness.

The action of people follows the rule, but the zombies are different. They seem to no bones.

My space is followed this rule to grow up. Using the way of stamp to make the series of diagram, and follow the diagram to grow the space.

從一電影文本（惡靈古堡）到一個全新的文本。 激發想像力，沒有不可能的世界。獨一無二，天馬 行空的設計 ...... 在不久的未來，洪水來襲，所有的大陸都被淹 沒。殭屍在水裡擁有一座基地供他們居住生活，而 人類則在水面上生活。平時殭屍以捕魚為生，而沒 有捕魚能力的人類則是想盡辦法盜取殭屍所儲存的 魚貨。就此，人類和殭屍在這緊張又需機智的時代， 有了一段美麗新生活。 人類的行為規矩而殭屍就好似沒有骨頭。我的 空間生成以此為出發點，再以押印的方式作出一系 列之 diagram，到最後讓空間依循規則生成。

喪屍伸展台

Runway of Zombie

異。身 _ 之間 Inbetween Regular Body and Altered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Lee chinghang │李 京 翰 Student │學 生 Albert Chiang │江 柏 翰

Start from the Catwalk.I try to discuss the possibility of the Zombie's Catwlk, through the sight, movement, and the space of body between single and group. Using privacy and publicity makes a crush by interface and shapes.

Last, build a space that belongs to "people with people" or "people with zombies" by using the material, holes, and shapes.

從 Catwalk 作為出發點，透過視線、移動與個 體和群體的身體空間切入，去討論，喪屍的台步空 間的可能性。再透過私密與公共性的關係，將人所 處的空間置入，試圖讓兩者在界面與型態之間產生 碰撞。透過材質、孔洞、與空間形式的不同而生成 一個屬於人與人、人與非人之間 " 看與被看 " 的空 間。

From the begining, there was a image about dancing zombie that blew into my mind, whan I was setting my topic as Catwalk. To be in the process of Zombie's following ,searching, and watching, that it maybe likes the dancing step in humans' horizon. I was thinking about this relation between see and be seen, if there has any chance to make this two variable body have a short talk in the space shape.

自一開始，談論到 Catwalk 這個主軸，一個讓 喪屍跳舞的畫面在腦海中形成，喪屍在看人、尋人、 追人的過程中，在人類眼中的喪屍是否一如舞蹈般 的進行著運動。在這個看者與被看者的關係上，是 不是有個機會產生兩種不同個體上的對話。

In the model, I try to use the personal privacy and the colonial publicity being my concept.

To discuss the interface contructed and the humans' space shape of the privacy and the publicity, through this two kinds of creatures' sight lines crossing. Than using the zombie's movement and the crossing line of sight creats a continuous moving process and lets the humans' space into. In this process ,I try to use different material and the space form to construct difdferent layer in the space interface.

在模型上，從個體隱私到群體的公共性作為主 軸，去討論在兩種不同生物體間視線交錯的一個界 面的塑造與人類在私密與公共性空間的一個空間形 態。最後透過喪屍的移動方式，去生成一個連續性 移動過程，然後再透過高低錯落的視線差，把人的 使用空間置入，並在置入的過程中試圖用不同的媒 材，以及個體與群體空間的形式去將整個空間的界 面拉出不同的層面。

In constant thumping and discussion,I try to analyze the contents deeply. While producing in the model, if it can be confined to not only one plane relationship. I think there will be a greater space to imagine!

在不斷的碰壁和討論間，試圖將分析的內容推 至更深處，而在模型的製作中，如果能不只侷限於 一個個平面的關係，想像的空間我想會有更大的可 能性吧！

Zombie's Movement

Zombie's vision scene - Normal

Type - Normal - No one arm - No one leg

Path - Normal

- No one arm

Zombie's focus

- No one leg Zombie's Action Space

- No one arm

- No one leg People's Movement

People's focus

People's vision scene People's Action Space

Privacy

Privacy

Zombies | 3 Bodies | 1 Geometry | 2 Types |

|Space Gradation Humans | 1 Body | 1 Geometry | 3 Types |

Privacy

分析轉化│ Diagram I

Space - Normal

- No one arm

Publicity

Half Publicity Half Publicity Half Privacy

Half Privacy

Half Publicity

Half Privacy

Privacy

- No one leg

第一階段概念模│ Model I

2 Geometries | 2 Bodies

2 Geometries | 2 Bodies 2 Angles | 2 Layers

Runway | Height | Layer

Runway | Height | Layer

Cover | Interface | Material

分析轉化│ Diagram II

Privacy & Publicity Human

Zombie

1- person privacy

Seeing

Hearing

Thouching

2- person privacy

3- person privacy

Human privacy

Zombie pub

私密性空間定義│ Model+

blicity

Path | Vision

Height | Privacy | Geometry

Cover | Interface| Material Privacy | Publicity | Geometry Runway| Zombie | Human

模型照片│ Model Image

狼與人的教堂

Church of Man and Werewolf

異。身 _ 之間 Inbetween Regular Body and A ltered Body Inbetween Altered Space of Altered Body 2013.04.18-05.19 Instructor │指導老師 Lee ChingHang │李 京 翰 Student │學 生 LIN,JING-HUA │林 敬 華

Inbetween Regular Body and Altered, I chose Lycan,and the action of the Lycan to study the spatial relationship.

Initially research Lycan movie spatial interaction with humans and found there are two main categories.

Namely space formed in contact with humans in real space,the other is Lycan form virtual space.

Lycan range by great motion, as if to free myself , just like the human search for the power of light to get salvation.So I want to design a church, Lycan feel salvation through sports, while humans can feel by a change in their sense of God's presence.

I began to imagine Lycan can shape the body by a range.Then I put the Lycan action as a series of flows,as is the use body range make space,and when after the passage of space and revert to the original state.I put one,two and three Lycan placed in a enough space,so that they move freely,to see space to find its possibilities.If we put a lot of Lycans throw in a broad space,it will be like a balloon,like molecules constantly hit space produced,there will be a shape.

Finally I put the Lycan with humans as two variables randomly scattered in 3D space, and set anthropocentric point.Lycan variables for the movement.When the Lycan strikes the human point, the human space will be generated,and no impact.

Then the path will form belonged to Lycan. Variable comes from the action movie given number of variables and human relations based on the movie, the running time is determined by the variable length to restrict movement.

異身之間，我選擇了狼人為主題，並且研究了 狼人的動作為主題，來研究空間的相互關係。 起初研究電影裡狼人跟人類空間的互動關係， 發現有著兩種主要分類，分別為與人類空間接觸形 成的實空間，與自身運動形成的虛空間。 狼人的動作幅度很大，好像要掙脫束縛一般， 就好像人類尋求光的力量，想要得到救贖。所以我 想要設計一個教堂，狼人藉由運動感到救贖，而人 類可以由他們產生的光現變化而感覺上帝的存在 我開始想像狼人是否可以藉由身體來形塑出一個範 圍。然後我就把狼人的動作視為一連串的流動，就 像是利用身體擠壓空間，使空間變大，而當經過之 後，空間又回復成原本的狀態。我把一隻狼人，兩 隻狼人與三隻狼人放置在一樣大的空間，讓牠們自 由運動，看看所變形的空間，來查找其可能性。如 果把很多隻的狼人丟置在一個足夠廣闊的空間中， 將會像是氣球一樣，因為分子不斷的撞擊內壁，空 間就會產生，將會有一個形體。 最後我把狼人與人類視為兩個變數，分別隨機 散佈在 3D 的空間裡，並且設定人類為定點，狼人 為運動變數，在狼人撞擊到人類點的時候，人類的 空間才會生成，而如果沒有撞擊的話狼人的路徑將 會形成屬於屬於牠們的空間。 路徑變數則來自於電 影裡的狼人的動作，且狼人變數與人類定數的關係 也取材於電影裡，變數運行時間是由運動長度來限 制。

二度空間運動

跳躍

Side Glance

Face Glance

Time.Space.Action.Heigh

Side Glance

PATH WALL FLOOR

Time.Space.Action.Heigh

Heigh

Time

Heigh

Time

腳支點起跳 Face Glance

手支點向上 Side Glance

Face Glance

Face Glance

Time.Space.Action.Heigh

Time.Space.Action.Heigh Heigh

Time

Heigh

Time

想像狼人的運動模式 - 空間擠壓

可以有如分子一樣，撞擊氣球內壁

狼人空間與人類空間的想像模型

想像模型的細部

純紙模的想像

假設狼人的數量與同一空間的擠壓

一

二

三

狼人

人類

想像的運動狀況

正評模型

交流評的空間想像

淡 江 大 學 建 築 系 │ 一 年 級 工 作 室 │ 第 九 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