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House I

Hoi San Sio

Š 2011 Hoi San Sio All rights reserved

Thesis submitted to the faculty of Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the Degree of Master of Architecture

___________________ Hans Rott Chairman

___________________ Scott Gartner

___________________ William Galloway

摘要

這個選題是由對公寓房子的建構類型感興趣而開始的。居住在公寓大樓長大,我對這種建構類型感到熟悉而又陌 生。五年的建築教育和工作,我卻從沒有真正的研究過這個議題。我感到對這種建構類型進行研究的必要。 透過不斷重覆的訓練、與及對心手合一的領悟,我明白到我正要前往的方向。 集中、透明性、空間模糊、對稱性、 非物質化,這都是我用來整理空間和建築元素的方式。透過使用理想化的色彩 作為光線, 空間次序可以被完整地檢查。 這本書展現的是我對上述建築語彙研究的結果。我希望通過這樣學習,我可以開始建立我的觀點。 這個選題是展現想法的窗口。 iv

ABSTRACT

This thesis began with an interest in apartment housing typology. I am familiar with this typology, yet it remains mysterious. The topic was never touched on in five years of architectural education or the time spent working in firms. I felt the need to study this typology. It is through the repetition of working with the realization that the hand and mind are one; I understand what I am working toward, and the hand informs the mind of what it is doing. The notion of centralization, transparency, spatial ambiguity, symmetry, dematerialization, are used as a method to organize space and architectural elements. Spatial orders and conditions are examined through the use of idealized color. This work is the result of a year long study of the above architectural vocabulary. It is my hope that through this study, I can begin to establish a point of view. This thesis is a cross section of a thought.

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致謝

謝謝。 感謝我的家人和朋友:爸爸、媽媽和姊姊,他們的支持是讓我完成這一切的原因。我感謝 Sally Chiu,吳曼斯, Jared Boudreaux 和 Lionel Wan 的真誠和友誼。Laura Thomas,自從本科以來,她與我之間的互相學習和幫助,對 我的工作有不可估量的改善。謝謝。 我向我的指導老師給予最誠摯的感謝, Hans Rott,Scott Gartner,,Bill Galloway 和Steve Thompson。謝謝他們的 支持,指引著我的同時也允許我空間和自由來表達自己。謝謝。 沒有 Rehanna Rojiani 和 Gavin Argo 的支持和鼓勵,這一切便不可能實現。我很榮幸與他們共享工作室的角落,我 從他們身上學到了很多。謝謝。 vi

這個選題的題目「House I 」,表示著我對這議題長期研究的承諾,也表示著我對 New York Five 的致敬。

ACKNOWLEDGEMENTS

Thank you. I am grateful for my family and friends. Dad, Mom, and my sister Lucia, their unending support is what made me who I am today. I thank Sally Chiu, Mansi Ng, Jared Boudreaux and Lionel Wan, for their honesty and friendship. Laura Thomas has been my critic since our undergraduate days, my work has improved immeasurably because of her help and involvements. Thank you. I offer my sincerest gratitude to my committee, Hans Rott, Scott Gartner, Bill Galloway, and Steve Thompson. Thank you for supporting and guiding me throughout my thesis with knowledge and advice while allowing me room and freedom to express who I am. Thank you. This would not have been possible without Rehanna Rojiani and Gavin Argo. I am fortunate to share the corner with them, while their support and enthusiasm provide tremendous inspiration. I have learned so much from them. Thank you. I have titled this thesis “House I� as a committment to a life long study, and as an homage to the New York Five.

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TABLE OF CONTENTS

Abstract v Acknowledgments 1

Sketches

vii 1

2 Paintings

19

3 Drawings

37

4

55

Models

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x

我的工作方式並不是依著直線進行的。 這本書雖然被分成幾個部份,但應被看成一整體。 My method of working is not linear. This book is broken down into sections, but it should be read as a whole.

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SKETCHES

1

2

3

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PAINTINGS

這些繪畫是從運用顏色來改變情緒和感覺的一個練習而開始的。當我完成這些畫後,我會把它們擱置在旁,到了數 個星期過後,我才會重新的檢視它們。透明性和如何處理角落等訊息會被發現並反饋到圖紙和模型裡。

20

這些畫並不是思想過程的開始,但它們表明了這選題的形成:那段我漸漸理解我使用的建築語言的過程。畫風的改 變同時也標致著想法的改變和這論文的不同階段。 這些繪畫反映著我對建築設計的沉默和反思。它們表達著我以行動表現想像來代替思考的片刻。

The paintings started off as an exercise of applying color to the walls to change emotion and senses. After having them put aside, I reviewed them again weeks later. Information, such as ideas of transparency and the treatment of corners, were discovered and fed back into the drawings and model. The paintings are not the beginning of the thought process, but they indicate the beginning of this thesis, which started taking shape after understanding this architectural language I am using. The change of approach in these paintings reflected the change in my thoughts and its phases. These paintings are a pause and a reflection of the architectural drawings. They are the moments in which I stopped thinking, and acted upon imaginations.

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DRAWINGS

整個建築通過空間對比的方法來表現透明度。一片薄牆從中間的厚牆中拉出;由此形成的狹縫與樓梯空間形成對 比:深層空間(樓梯)與淺層空間(走廊)對立。進入單位,門廳延伸分隔開客廳和餐廳,這種分隔,加強了通高 的客廳空間被臥室壓著餐廳的空間差異。 38

一個高度等於玻璃外牆的獨立牆,延伸在客廳的兩層高的空間。界面上豐富的空間層次形成張力。透明性的表達, 不是通過直接使用透明材料,而是利用通過互相滲透、彼此完整的空間而形成。 一層多層次的休憇空間以及外部樓梯強調了中心化、體量化的空間形式與細線性、平面化的表現要素之間的對比統 一。

Throughout the house the characteristics of transparency are expressed by contradiction of spatial dimension. A thin wall is pulled away from the central thick wall; the void created by the two walls opposes the ambiguity of scale of the staircase. The reality of deep space (staircase) is opposed to the inference of shallow space (hallway). Crossing the entry into the unit, the foyer separates the living room and the dining room; this separation enlarges the spatial differences of the living room double space and the heaviness of the bedroom presses against the dining room. A freestanding wall surface, which extends at the living room double height space, is equal in height to the glazing. The layering of surface creates a surface tension. Transparency is achieved not through the direct use of transparent material but rather through bringing to consciousness the interpenetration of two surfaces without their mutual destruction. The layers of space of the recessed ground floor and the exterior staircase emphasize the continuous dialectic between centralized, volumetric forms and linear, planar conditions.

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MODELS

這些照片顯示使用從顏色作為表面處理到理想化光線作為半材料的思想轉變。 56

空間次序,透過使用理想化的色彩作為光線,可以被完整地檢查。「非物質化」的概念也體現在模型中。

These photographs indicated the shift from treating color as surface treatment to idealized light as a quasi-material. Spatial orders and conditions are examined through the use of idealized color. The “dematerialization� of the building is expressed in the model.

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我由抽象開始,由於工作性質,朝著現實世界前進。

I start with an abstraction, and, because of the nature of the work, work toward the built world.

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當我把這本書編輯在一起的時候,我發現這個過程已經成為啟發的一部份。 這本書已經不再是用作解釋,而是成為發明的工具。它是連接下一章節的點。 這本書把發生了的延伸成可能發生的。 While I was putting together this book, I realized writing and making had become part of the discovering process. This book became a tool of creation rather than explanation. It became a transition to House II. This book extended what had happened to what may happen.

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House I