教學目標： 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，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而清楚的思考模式，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。
課程內容: 本課程將介紹與討論一些經選擇特定且在不同領域的創作個人與其作品，希望能夠提供學生一個機會從不同角度來思考，期望從中練習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。其中內容將包含行動藝術、雕塑/裝置藝術、地景藝術、多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泛與深入的體會與研討。
Teaching objectives: In schools, when students discuss concepts or issues related to architectural design, they often resort to superficial forms or even meaningless narratives. The main reasons include lack of insight and experience, lack of exposure and knowledge, not yet established thinking logic and lack of ability to build technology. Except for some projects that require time to cultivate, the beginning of a multi-faceted comparative thinking and contact is necessary.
Because some specific architectural design cases sometimes require some personal or case-specific concepts and ideas that are different from the general and customary considerations to express the unique tension and creativity in design. When students face such challenges, they often Because of excessive and too early consideration of realistic conditions, or due to the influence of existing cases in experience, the potential of the original concepts or ideas cannot be truly realized. However, many of these possibilities are actually included in the process of solving design problems. The fundamental crux is often that the concept has not been truly developed in depth and has not reached a level where it can be developed. In the end, it can only attempt to explain the continuation of the concept in a formal way and only stay in the visual expression. However, this is also the last step. The reason why it is easy to get lost between concepts and effects. Of course, the form of space can be part of the expression, but without sufficient reflection and choice, there is a huge difference between meaningless forms and meaningful formal effects.
In fact, no matter what the form of creation is, in the process of creation, from the initial idea to the final completed work, all consideration of selection conditions and accurate decisions require careful and self-logical judgment. Unfortunately, this Basic abilities are generally lacking among current students. How to establish a more accurate and clear thinking model for the setting and development of concepts and ideas requires considerable self-training and repeated practice. It is inspired by the understanding of some more purely conceptual and non-actual and diverse artistic creations. , may be a way.
Course content: This course will introduce and discuss some selected creative individuals and their works in different fields. It is hoped that it can provide students with an opportunity to think from different perspectives, and hopes to practice their ability to think logically, and then re-establish their understanding of concepts and Awareness and interest in the relationship between creation. The content will include the conceptual development and effects of multiple composite arts such as action art, sculpture/installation art, landscape art, multimedia, etc. It is hoped that students can have a broader and in-depth understanding and discussion of design concepts or design issues.
參考書目: Teh-Ching Hsieh, One-Year-Performance Art Documents 1978 - 1999,
DVD-ROM
現在之外 Out of Now, 典藏
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
Bibliography: Teh-Ching Hsieh, One-Year-Performance Art Documents 1978 - 1999,
DVD-ROM
Out of Now, Collection
Has modernism failed? Suzi Gablik, translated by Teng Liping, Yuanliu
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, translated by Li Meirong, Landscape Art, Yuanliu Publishing, Art Museum 6
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 Mid-term exercises |
25 | |
| 期末創作報告期末創作報告 Final creative report |
35 |
