建築空間構思實難跳脫是為一種觀者眼睛在空間中移動(法文：se meut，柯比意⟪邁向建築⟫, 1923)的體驗感知呈現，這樣的經驗除了實地體驗經典建築空間作品外，藝術電影其實是另一種對於人與空間之間關係體驗的近代媒材。本課程旨在探討電影影像與建築空間之間的轉置（Transference）關係，將電影視為一種「攝影機在空間中的運動方式」，而非單純的視覺敘事。課程核心建立在一個基本假設上：當我們抽離聲光特效與劇情，電影本質即是視點在時間中的位移，這與在空間中的建築漫步（Architectural Promenade）的身體感知高度契合。
課程前半段以電影史的時間序列為參考，挑選德國表現主義、蘇聯蒙太奇、義大利新寫實、法國新浪潮、小津安二郎、希區考克及台灣新浪潮等關鍵片段，從中分析不同導演如何透過鏡頭的景框、高度、移動方式與剪接，構思並呈現出空間影像張力。
課程後半段則轉向實踐，要求學生將此理論工具應用於當學期建築設計課。學生需透過 3-5 分鐘的影片拍攝，將其設計提案轉化為動態影像。這不只是成果紀錄，而是利用攝影機作為「空間傳感器」，在移動中檢論述空間設計邏輯，最終使影像成為一種具備批判性的媒材工具。

It is difficult to escape the concept of architectural space as an experience and perception of the viewer's eyes moving in space (French: se meut, Corby means "Towards Architecture", 1923). In addition to experiencing classic architectural space works on the spot, art films are actually another modern medium for experiencing the relationship between people and space. This course aims to explore the transference relationship between film images and architectural space, viewing film as a "way of camera movement in space" rather than a simple visual narrative. The core of the course is based on a basic assumption: when we separate the sound and light effects and plot, the essence of film is the displacement of viewpoints in time, which is highly consistent with the physical perception of architectural promenade in space.
The first half of the course uses the chronological sequence of film history as a reference, selecting key clips such as German Expressionism, Soviet Montage, Italian New Realism, French New Wave, Ozu Yasujirō, Hitchcock and Taiwan New Wave, to analyze how different directors conceive and present the tension of spatial images through the frame, height, movement and editing of the lens.
The second half of the course turns to practice, requiring students to apply this theoretical tool to the architectural design class of the semester. Students are required to transform their design proposals into moving images through a 3-5 minute video shoot. This is not just a record of achievements, but the use of the camera as a "spatial sensor" to examine and discuss the logic of spatial design while moving, ultimately making the image a critical media tool.

Bernard Tschumi, The Manhattan Transcripts。

安德烈·塔可夫斯基 (Andrei Tarkovsky), 雕刻時光 (Sculpting in Time)。

Walter Benjamin, 在機械複製時代的藝術作品 (The Work of Art in the Age of Mechanical Reproduction) 。

Juhani Pallasmaa, The Architecture of Image: Existential Space in Cinema 。

Peter Eisenman, The Formal Basis of Modern Architecture。

Gilles Deleuze, Cinema 1: The Movement-Image 。
Gilles Deleuze, Cinema 2: The Time-Image 。

蔡明亮相關訪談與論文等。

Bernard Tschumi, The Manhattan Transcripts.

Andrei Tarkovsky, Sculpting in Time.

Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction.

Juhani Pallasmaa, The Architecture of Image: Existential Space in Cinema.

Peter Eisenman, The Formal Basis of Modern Architecture.

Gilles Deleuze, Cinema 1: The Movement-Image.
Gilles Deleuze, Cinema 2: The Time-Image.

Interviews and papers related to Tsai Ming-liang.