學校裡，學生討論建築設計中有關概念或議題時，常常流於粗淺的形式甚或無謂的敘述。主要原因包括見識、經驗的欠缺，涉獵與知識的不足，思考邏輯尚未建立和缺乏建築技術的能力。其中除了一些是需要時間培養的項目之外，一種多方位比較思考與接觸的開始是必要的。
由於有些特定建築設計案例中，有時需要一些有別於通例、慣常考慮因素外，屬於個人或個案特有的概念與想法來表現設計上獨特張力與創造性，而學生在面臨這樣的挑戰時，往往因為過度且太早考慮現實條件，或者礙於經驗中既存案例的影響，而無法確實發揮原有概念或想法的潛力，殊不知其中許多的可能性其實就包含在設計問題解決過程中。根本的癥結往往是在於其概念並未真正的深入發展且並無尋求到可發揮的層面，最後只能從形式上企圖交代對概念的延續，停留在視覺上有所表現而已，然而這也是最容易迷失在概念與效應之間的原由。空間的形式當然可以是表現的一部分，但在欠缺足夠的深思與選擇當中，無謂的形式與有意義的形式效應便有天壤之別了。
其實不論創作的形式為何，在創作的過程中，從最初的想法到最後完成的作品之間，所有選擇條件的考量與準確的決定，都是需要經過審慎且自我清楚的邏輯判斷，可惜的是，這樣的基礎能力卻是目前學生所普遍欠缺的。如何建立對概念、想法的設定與發展有一較準確且清楚的思考模式，是需要相當的自我訓練和反覆練習，藉由對一些較為純粹概念性而不牽涉實際且多樣式藝術創作的了解進而啟發，將可能是一途徑。
In schools, when students discuss concepts or issues in architecture design, they often go in a rough form or even indisputable statement. The main reasons include lack of knowledge and experience, lack of key and knowledge, and the lack of thinking logic and the ability to build architecture technology. In addition to some of these projects that require time to cultivate, a multi-faceted comparative thinking and contact is necessary.
Since some specific building design cases sometimes require some concepts and ideas that are unique to individuals or cases, in addition to common and common considerations, to express unique design strength and creativity, and students face such challenges. , often because of excessive and too early consideration of actual conditions, or under the influence of existing cases in experience, the potential of original concepts or ideas cannot be realized, but many of them are actually included in the design problem solving process. The fundamental consequence is that the concept has not really developed in depth and cannot be found to be able to achieve a level. In the end, it can only explain the extension of the concept in form, and stay in visual expression. However, this is also the reason why it is most likely to be lost between concepts and effects. The form of space can certainly be part of the expression, but in the absence of sufficient deep thought and choice, there is a world of difference between the indecent form and the intentional form.
In fact, regardless of the form of creation, in the process of creation, from the initial idea to the final completed work, all considerations and accurate decisions of selection conditions require careful and self-clear logical judgments. Unfortunately, such basic abilities are generally lacking for students at present. How to establish a relatively accurate and clear thinking pattern for the setting and development of concepts and ideas requires considerable self-training and repeated practice. It may be a way to start by understanding some more pure conceptual and not involving actual and diverse artistic creations.
本課程將介紹討論一些經選擇過、特定的且在不同領域的創作個人與其作品，希望能夠提供學生一機會從另一角度來思考反省，期望從中領悟出自我邏輯思考的能力，進而重新建立對概念與創作之間關係的認知與興趣。其中內容將包含地景藝術、行動藝術、裝置藝術、影像媒體等多項複合藝術的概念發展與效應，藉此希望能夠使同學對於設計概念或設計議題能夠有更廣、更深入的體會與研討。
This course will introduce some selected, specific and in different fields of creative individuals and their works. It hopes to provide students with an opportunity to think and reflect from another perspective, hoping to understand the ability of self-reflection and thinking from the source, and then re-establish their awareness and interest in the relationship between concepts and creation. The content will include the development and effect of multiple complex art concepts such as landscape art, mobile art, device art, and image media. In this way, we hope that students can have broader and more in-depth physical meetings and discussions on design concepts or design topics.
Teh-Ching Hsieh, One-Year-Performance Art Documents 1978 - 1999,
DVD-ROM
現代主義失敗了嗎？ Suzi Gablik, 滕立平譯，遠流
Antony Gormley, Antony Gormley, PHAIDON
Cildo Meireles, Cildo Meireles, PHAIDON
Richard Serra
Jeferey Kastner, Land and Environmental Art, ( Themes and Movements ), PHAIDON
Jacob Baal-Teshuva: Christo & Jeanne-Claude, TASCHEN
Christo & Jeanne-Claude – Early Works 1958 - 69, TASCHEN
Andy Goldsworthy – TIME, Thames & Hudson
Andy Goldsworthy – WALL, Thames & Hudson
John Beardsley, Earthwork and Beyond : Contemporary Art in the Landscape
Walter De Maria, Foundation Prada
Richard Long, Walking the Line, Thames & Hudson
Alan Sonfist, 李美蓉譯, 地景藝術, 遠流出版, 藝術館6
Mary Miss, Princeton Architectural Press.
Vito Acconci, PHAIDON
Lucio Fontana Venezia/New York, Peggy Guggenheim collection
Teh-Ching Hsieh, One-Year-Performance Art Documents 1978 - 1999,
DVD-ROM
Has modernism failed? Suzi Gablik, Teng Liping, far-reaching
Antony Gormley, Antony Gormley, PHAIDON
Cildo Meireles, Cildo Meireles, PHAIDON
Richard Serra
Jeferey Kastner, Land and Environmental Art, ( Themes and Movements ), PHAIDON
Jacob Baal-Teshuva: Christo & Jeanne-Claude, TASCHEN
Christo & Jeanne-Claude – Early Works 1958 - 69, TASCHEN
Andy Goldsworthy – TIME, Thames & Hudson
Andy Goldsworthy – WALL, Thames & Hudson
John Beardsley, Earthwork and Beyond : Contemporary Art in the Landscape
Walter De Maria, Foundation Prada
Richard Long, Walking the Line, Thames & Hudson
Alan Sonfist, Li Meirong translation, Landscape Art, Far-flow Publishing, Art Museum6
Mary Miss, Princeton Architectural Press.
Vito Acconci, PHAIDON
Lucio Fontana Venezia/New York, Peggy Guggenheim collection
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 出席率與課堂討論出席率與課堂討論 Attendance and class discussion |
40 | |
| 期中練習操作期中練習操作 Midterm practice operation |
25 | |
| 期末創作報告期末創作報告 Final Creation Report |
35 |
