99年第2學期-5401 當代建築思想與理論 課程資訊

課程分享

選課分析

本課程名額為 70人,已有11人選讀,尚餘名額59人。

評分方式

評分項目 配分比例 說明
學期報告與課堂討論 90
平常表現與課堂之參與度 10

授課教師

劉舜仁

教育目標

However, among the various points that should attract empathy, I think the most wonderful aspect of all Siza’s buildings is that, whenever and however they are looked at, they are unmistakably Siza’s. He has a very original style, with buildings that aren’t diluted by a single drop of impurity, buildings that don’t borrow the words of others. Moreover, I feel amazement and respect for his creativity in achieving this with absolutely no estrangement from climate, environment, and tradition. Nishizawa, R. (On Some of the Allures of Siza’s Buildings, 2007) 過去幾年,在發展這門課的過程中,我們試圖澄清以下兩點問題: 一、當前建築家們關心與注意的理論議題為何? 二、當前台灣(或亞洲)需要發展何種理論論述? 今年預計以阿爾瓦羅˙西薩(Álvaro Siza)在亞洲近年的設計作品為研究的對 象,希望透過有系統的整理、分析、與比較,對西薩在亞洲建築創作之思考與 方法進行較深入之探討。 本次課程將聚焦於西薩自2005年以來在韓國與台灣展開的建築設計,同時以Siza數十年來的創作歷程為主軸進行跨時間與區域文化之探討,協助東海建築系碩博士班研究生認識當代建築的思想脈絡,充實基礎的理論與知識背景,以拓展創作與/或論述的廣度與深度。

課程概述

However, among the various points that should attract empathy, I think the most wonderful aspect of all Siza’s buildings is that, whenever and however they are looked at, they are unmistakably Siza’s. He has a very original style, with buildings that aren’t diluted by a single drop of impurity, buildings that don’t borrow the words of others. Moreover, I feel amazement and respect for his creativity in achieving this with absolutely no estrangement from climate, environment, and tradition. Nishizawa, R. (On Some of the Allures of Siza’s Buildings, 2007) 過去幾年,在發展這門課的過程中,我們試圖澄清以下兩點問題:一、當前建築家們關心與注意的理論議題為何?二、當前台灣(或亞洲)需要發展何種理論論述?今年預計以阿爾瓦羅˙西薩(Álvaro Siza)在亞洲近年的設計作品為研究的對象,希望透過有系統的整理、分析、與比較,對西薩在亞洲建築創作之思考與方法進行較深入之探討。 本次課程將聚焦於西薩自2005年以來在韓國與台灣展開的建築設計,同時以Siza數十年來的創作歷程為主軸進行跨時間與區域文化之探討,協助東海建築系碩博士班研究生認識當代建築的思想脈絡,充實基礎的理論與知識背景,以拓展創作與/或論述的廣度與深度。

課程資訊

參考書目

參考文獻(Literature)
與本課程相關之文獻,可以分為「評論」、「訪談」、「自述」與「作品集」四大部分。
文獻中有關「評論」部分:
(1) Curtis, William (1994). “Álvaro SIza: An Architecture of Edges.” in Fernando Marquez
Cecilia & Richard Levene (Eds.), El Croquis 68/69: Álvaro Siza 1958-1994 (pp32-45). Madrid: El Escorial.
(2) Dal Co, Francesco (2000). “Preface: Álvaro Siza and the Art of Fusion.” in Kenneth
Frampton (Ed.), Álvaro Siza: Complete Works (pp7-10). London: Phaidon Press Ltd.
(3) Fernandes, João (2005). “Álvaro Siza: The Architects’ Return to the Museum.” in João
Fernandes & Carlos Castanheira (Eds.), Álvaro Siza: Expor On Display (pp11-14). Portugal: Serralves.
(4) Figueira, Jorge (1989) “Perfect Periphery.” in Yoshida, Nobuyuki (2007, April)
Architecture and Urbanism 439. Tokyo: A+U Publishing Co., Ltd.
(5) Fuchs, Rudi (2005). “Siza (not) in Amsterdam.” in João Fernandes & Carlos Castanheira
(Eds.), Álvaro Siza: Expor On Display (pp21-24). Portugal: Serralves.
(6) Frampton, Kenneth (1985). “Critical Regionalism:” Modern Architecture and Cultural
Identity. In Modern Architecture: A Critical History (pp.317-318). London: Thames and Hudson.
(7) Frampton, Kenneth (1986). Poetic Prefession. Milan: Electa.
(8) Frampton, Kenneth (1989). “The Architecture of Álvaro Siza.” in Toshio Nakamura
(Ed.), Architecture and Urbanism: Álvaro Siza 1954-1988 (pp. 177-186). Tokyo: A+U Publishing.
(9) Frampton, Kenneth (1993). “In Praise of Siza.” in Jose Paulo dos Santos (Ed.), Álvaro
Siza: Works and Projects 1954-1992(pp16-19). Barcelona: Gustav Gili.
(10) Frampton, Kenneth (2000). “Architecture as Critical Transformation.” in Kenneth
Frampton (Ed.), Álvaro Siza: Complete Works (pp11-65). London: Phaidon Press.

文獻中有關「訪談」部分:
(1) Futagawa, Yukio (1998). GA Documents Extra 11: Álvaro Siza. Tokyo, A.D.A. EDITA.
(2) Salgado, José (?). The HOUSE in Roberto Ivens. Retrieved from Álvaro S