零度音域 (0° Range)_美国室内设计中文网

案例详细说明

零度音域 (0° Range)

2011-06-27

项目类别：其他类其他 项目地点： 主设计师：李煥玲(A-Lin Lee) 葉藍縈(Lanying Yip)

一、新媒介时代的现状成为方案概念设计的切入点，从实际的生活出发，提出问题：
新媒介時代創造出來的虛擬世界是圖像時代是人機共生時代，它把物變得有生命，而人變得機械化，仿佛不斷失去某種生理機能。人們對於工業文明的繁雜噪音、鳥籠式的生存空間已經從討厭到熟悉，從習慣到服從，並逐漸樂於從現實走進虛擬世界中擴張個人的私秘空間，日常的生活逐漸變成一個虛幻的概念，而往往這個概念都會並存於真實的物質世界裏面，使得身份模糊化、話語公開化、語言自產化。

人在“機”中所尋求的虛擬的一切逐步替代了實體的世界，在當下，虛擬世界的存在是時代的象徵是時代的進步，我們不能否認虛擬世界的重要性，但為什麼屬於這時代的一切總會促使人陷入虛擬的人機生活裏？耳邊縈繞著機械、發動機、人群的騷動之聲，我們的城市周遭總充斥著過剩的影像與聲響，但是消去圖像的資訊，又會有多少人願意認真聆聽？

二、方案設計的主旨，從“聆聽”到“聲音”的引入，從空間到光色與互動的轉化，始終貫穿方案的思想是——光與空間這種情感的暗示或投射就像“聲音”一樣在潛移默化之下改變體驗者的意識水準，方案要探討的正是光與空間的結合能影響人們的意識知覺：
2、The theme of this design is to prove that light and space can affect people’s awareness because the compound of light and space will change people’s level of consciousness through the way of “narrating to people” rather than “making people listen”.
空間的氛圍給人情感的影響，在此著重用光色的變幻去呼應抽象、抽離的概念場景，在空間概念的思考中，引入了“音響空間”這一概念——聲音，一種無實體的存在，它能在無形中漸漸侵入人類的潛意識，控制我們的自覺神經，而特有的空間情節也能像“音”一樣，作為對人的情感投射。“音響空間”不像純粹的視覺空間是眼睛的延伸與強化，它是經過所有感官的同時交互作用而感知的，在以視覺為主宰的感官之外，提倡各種感官的平等狀態，“聽覺”並不比“視覺”低一等；用視覺語言與“聲音”交互轉化為空間去談，當中有很多交互過程可以產生不由視覺所主宰的空間，這種多向度的試驗，正是我們的追求與嘗試。
We try to emphasis the influence of environment towards people’s feelings. Mainly, we bring in the concept of “acoustic space” which just as sound affects people’s feelings by sneaking into people’s consciousness gradually then controlling people’s Autonomic Nervous with the vagaries of light and color.
Acoustic space does not merely depend on visual effects (the visual space is insisting on eyes) but interacts with all the senses. We advocate the balance of five senses in acoustic space that audition can play the familiar importance as vision. The conversion of visual languages and sound can create non-visual space which is our purpose of this experiment.
用光和空間去改變體驗者的意識水準，從而促進自身深處的感知——張開耳朵傾聽身邊那些被新媒介時代同化而被人們忽略的細節。我們強調體驗與互動，空間界限的不斷改變、強烈的空間感受下，光與空間、人與空間的互動，使每個人都成了空間舞臺中的“元素”，在空間的遊走中不斷暗示人們要脫離新媒介時代下對機器的依賴，要回歸本心並由此窺見我們彼此的世界。
We try to change people’s level of consciousness through leading them to use their ears to feel the beauty of life itself which we can’t see. We emphasize experience and interaction. Space limits change constantly, space perception intensively. Everyone is a part of space in the compound light and space. People walking around there can get the hints gradually that it is time to return to the nature of people rather than rely on machines.

三、沒有建築空間就沒有一切概念的發生，所以建築形態與內部的結構劃分也是方案的一個重點：
3、The architectural form and internal structure division is also the focus of this program since there is no building space.
建築內部的空間是流動的，富有彈性，沒有任何屬於正常坐標系的東西，仿佛一個液態流動般的狀態，牆體自身就是結構的一部分。這樣的結構下，空間的生命力被強調，流動的體驗使每個人都可以隨性決定往哪走，每個人都成為了空間中的自由個體，可是他不是一個“角色”，而是一種和空間舞臺各種元素——光、感官情緒及場景互動的“元素”，觀眾是開啟空間情節的氣氛的導電體。
Space inside the building is flow and full of flexibility. It does not belong to normal coordinate system but as if a liquid flow of state, the wall itself is part of the structure. In such a structure, we highlight the vitality of space as well. Flow experience makes everyone be able to decide where to go arbitrarily, and everyone has become a free individual of space. However they are not playing a "role" but an “element” interacts with a variety of elements of space and light, sensual mood and scene interactive. Audience is the conductor who opens the atmosphere of space plot.
空間場景中邊界的模糊處理、被抽象的光，這種空間的多樣結合態以邏輯的方法闡述含蓄的空間意蘊與空間概念，同時使得空間成為對觀者情感的牽引，觀者從不同維度來感受身處的世界。在空間的安排裏時刻關注著人在空間的體驗，時刻關注著人在光色變化下情感的微妙性。身體成為空間內容體驗的媒介，身體必須直接介入空間、光色和空間設想要素的關係，透過身體全方位知覺，去和空間的場域作互動，在這裏能悄悄改變人們的知覺模式和思維模式，藝術表現情感實質上是表現情感的“品質”，閉上眼睛，張開耳朵，才會看到自己心中的世界，空間和光會觸動你的心靈。
In the spatial scene, the boundary is blurred processes and the light is abstracted. This kind of spatial diverse union condition represents the implicit space implication and spatial concept by logical method, while enables the space to become the view emotion hauling, and the view can feel the world which from the different dimension places. We set the space where people always pay attention to the experience of space and the changes in light color under the emotional subtlety. The bodies which must be directly involved in the relationship with space, light and color and elements of space imagine becomes the medium enable people to experience the spatial content. The space field can change the consciousness pattern and the ideological mode through the full range of body perception. What the artistic performance emotion materially displays is the “the quality” of emotion. People can only see the world inside through ears.
空間各個場景的劃分安排中引入“角度”這一概念，“角度”這個概念裏數值的遞增不單只是空間場景安排的過渡和定位，它同時體現著空間主題的表現，暗喻著開始到圓滿的過程，就猶如人們的思想能發生質的變化一樣，最後達到明圓：
In the arrangements for the allocation of space in each scene, "Angle" this concept is introduced. In "Angle" this concept, the numerical increment not only is the spatial scene arrangement transition and the localization, but also is reflect the theme of space, implying a beginning to successful process, just like people's thoughts can occur as a qualitative change, and finally achieve the satisfaction:

0°，建築的發生，空間的生成過程的代名詞，故事和旅程的始發。
0° is an attribute of the beginning of buildings, interiors, tales and journeys.

90°，空間數值的銳化——90°空間中恰如其分地對多媒體時代進行剖析：尖銳、虛幻、充斥眼球的一系列數位化圖像解碼。我們看到的是畫面，是一個比較抽離的場景，在這裏，觀者轉入異次元空間與自身做精神交流，沉浸在這個空間中，驀然發現這時代冰冷的每一個字元竟是我們身體不可缺少的，但我們總為此而掙扎。
90°, a numerical value that is defined on a conceptual space.
Acute, unreal and digital images are all around this “90° space”. In this area, whatever we have imaged that are all intangible scenes. Viewers communicate with themselves while they turn to Another Dimension. Immersing in a frigid information era, viewers will find out that all the characters in this era is essential for their deepest heart which they always try to get.

270°，情感圓周中的一個扇面——在空間的漸進過程中，人對於光線、色彩、場景氣氛的敏感度和感覺遠遠超過視覺。在空間中，我們要傳達的資訊是：當代生活並不一定依賴“看”，並不一定需要“圖像”，並不一定依靠“資料”這些工業化的媒體，反而正正需要的是我們的感受，我們的“聽覺”，環境或生活製造出來的“音”。在270°空間中，視覺語言與“聲音”的交互產生不由視覺所主宰的空間，人們能站在室內任何特定的空間內，同時還對周圍其他空間有著強烈的感覺，這種感覺充斥著整個建築。五官感受均被強烈放大，所有感官同時交互作用而感知每個情景空間的“音域”，每個單元空間總有一個暗示。引領觀者遊走在節奏變化中，利用情景的不同“音域”，喚醒人們腦海中關於某些感官回憶，光加上色，越是挑戰觀者的更多情緒記憶，即使是相同環境，在不同人身上也仍譜寫出不同奇趣想像與結果，以“聆聽”的方式細意體會及感悟，不是進來看，而是用感覺“聽”出來。
270°, a part of emotion.
Viewers in regard to the light, colors, and atmospheres are more sensitivity than visual sense while they gradually enter the “270° space”. We wanna to express that Contemporary life does not depend on “seeing” , “image” or “data” (they belong to the medium of industrialization), but depend on “feeling” , “hearing” and the “sound” which is made by surrounding world and the life.
In this area, interacting with “visual languages” and “sound” will produce non-visual space. Viewers have intensive experiences while they stand in different featured interiors (these intensive experiences are filled with the architecture).The feelings of the five senses have enlarged intensively. Viewers can use their five senses to apperceive the “sounds” from each different featured interior. Contrast of different hints from each unit elements, and lead viewers to variously rhythms, and arouse some of the memories.
Light with colors, would challenge viewers’ memories of emotions. Even in the same surroundings, there will be miscellaneous consequences and fantastic dreams in different people. “Listening” is to realize and comprehend “270° space”. You should “listen” this area by your feeling instead of “seeing”.

360°，軌跡的終點，而終點也是起點，是圓的咬合，也是圓滿的至臻——俗世萬境擾人，須以心的閑、靜、淨來洗滌之，空悟圓明，由此悟入本心，使自身從人機共生的生活中解放、抽離出來，回歸本心並窺見我們彼此的世界。意境是一種審美的精神效果，它雖不像一山、一石、一花、一草那麼實在，但它應是言外之意，弦外之音。意境的轉換往往通過對場境轉換與心態轉換的組合融化，並生髮出極富哲理意蘊的藝術境界，引動人們浮想聯翩、思味無窮。
360°, is either the ending or the beginning of loco, or the terminal of circle or the sublimation of satisfaction.
Contemporary life bothers us everyday, we should have leisure, tranquil and sincere heart to release ourselves, and therefore it enables us to have heart-to-heart communication.
Poetic imagery is a kind of spirit full of aesthetic value though it does not as tangible as the hills, the stones, the flowers and the grass. It should be subaudition and overtones. Via the exchange of scenes and mentality they will achieve variously poetic imageries, and send out the philosophy in the artistic and visual image. Consequently, going around this area, viewers can get vary of imagines which linger for a long time.

四、最後，當你在這個體驗館中走了一遍，你會有一種感悟：
4、Finally, you will have this kind of feeling after the show:
零度音域，在這裏，聲音只是一種呈現，沒有故事，沒有開始和終結，時間只是一長串概念的數位，聲音永遠在他處。
但我們循此“聲音”窺見了它和我們自身以及彼此的世界。
In the zero degree range, the sound is only one kind of presentation. There are no stories, beginnings nor ends in it. The time is only a long string digit of concept while the sound is somewhere we can never find out.
However following the “sound”, we can have a peek at auction and ourselves.