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教學大綱


本頁翻譯進度

燈號說明

審定:無
翻譯:陳靜(簡介並寄信)、李岳炎(簡介並寄信)
編輯:姜凱文(簡介並寄信)


在這門課程中我們考慮了一種想法,就是通過實物製作來使概念的發展變得容易。這些實物透過不同的媒介製作——話語、物質材料、視覺圖片--依次地,這些媒介為解釋和運用提供了不同的可能性。例如,粘土模型很容易去掉或添加,而用堅硬的木頭所製作的模型就不行;但是後者更易於建立規則的模組和重複造型或主題。這樣的實物可以扮演多重的角色:使設計者自己去想像、去體會他們所觀察和經歷的世界;讓設計者深思熟慮並設想和控制設計概念;易於與他人交流,並確保最終成品的形式、材料和結構。對於設計師來說,他們的生產力並沒有精確的相應物,的確,在設計之初,這些實物可能提供了良好的設計過程,雖然和最終成品很不一樣且在製作過程中,也為設計師提供了許多未曾預見的可能性。但並不是過程中所有的實物都能(或者都必定能)起到上述三方面的作用。

在這個學期中我們將做些練習,其目的是試圖通過他人的眼睛瞭解世界,利用一些人自身的經驗和知識作為觀察和試驗的工具,透過建築傳達出的使用和形式提出穩定的歷史傳承關係,將設計中的一些操作過程具體展現出來以及在設計的策略和規則之外加強美學的意圖,考慮具有系統特性和人為特性的更複雜的中繼實物。藉由所有的練習,我們將有機會瞭解並重新思考設計師的角色與設計行為的本質。

過去我們習慣用「代表」和「表達物」這些術語來標示我們課程的中心主題,首先強調了設計的物質世界,其次強調實物的力量,無論是表現還是現實,都激發出意義。今年,我們選擇“媒介實物”作為這部分強調的重點,因為這更加強調了它們在設計者心中所扮演的角色,不論是對世界的領悟或是對新事物的發明。


In this class we entertain the idea that the making of objects facilitates the development of ideas. Such objects are made in different media – words, physical materials, virtual images -- and, in turn, these media afford different possibilities for interpretation and manipulation. For example, it is easy to tear away and add to a clay model, not so easy with one made of hard woods; but it is easier with the latter to establish a regular module or repeating shape or motif. There are several roles that such objects can play: to enable the designer him or herself to visualize and make sense out of the world they see and experience; to permit the designer to visualize and to manipulate ideas under consideration; to facilitate communication with others; and to engage the form, materials and structure of the artifact ultimately to be built. Their generative power for the designer may not depend upon precise correspondence, indeed, early in the design process such objects may serve the design process well by being quite different from the ultimate artifact and by suggesting possibilities to the designer unforeseen at the time of their making. And not all intermediate objects can (or should have to) fill all three roles.

During the semester we shall carry out exercises that attempt to see the world through others’ eyes, that employ ones own experience and knowledge as tools of observation and experimentation, that address the heritage of stable associations of use and form conveyed through architecture, that externalize some of the operations of design and that highlight esthetic intent along with the regulating devices and rules of design, and that consider more complex intermediate objects that have systemic as well as artifactual characteristics. Through all these exercises we shall have the opportunity to consider and to reconsider the role of the designer and the nature of the design activity.

In the past we have used the terms "representation" and "expressive objects" to label the central theme of the course, the first giving emphasis to the material world of design, the second placing emphasis on the power of objects, whether representations or realities, to evoke meaning. This year we have chosen "intermediary objects" as this phrase places more emphasis on the role that these play in the mind of the designer, either for perception of the world or for the invention of new ones.




 
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