The Visual-sensory Analysis of The Calligraphic Styles of Spatial Configuration

• Main Authors: Ping-Cheng Liu, 劉秉承
• Other Authors: Chih-Feng Shu
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/02627043040330824367

碩士 === 東海大學 === 建築學系 === 97 === The operation of spatial form is hard to be discussed in depth when people always regard it as a designer’s subjective interpretation. Spatial creation is a complicated process operating in the human mind. We can comprehend a designer’s cognition of his functional arrangement rationally by spatial analysis, but this analysis seems to lack an objective tool to interpret the sensory creation of spatial form. The analysis in this research project compares the creation of spatial form to Chinese calligraphy, i.e. the lines in calligraphy are compared to walls. This research analyzes styles of spatial configuration comparing them to different calligraphic styles and further operates a digital tool during the process of transforming spatial form in order to clarify the relation between visual perception and visual interpretation in different creative designs of spatial arrangement. This research applies visibility graph analysis of space syntax to survey the creation of spatial form. It is useful for a designer to comprehend the influence of the deep inner visual information objectively while creating the outer surfaces of spatial forms. In total ten types of calligraphic spatial layouts are used. Each type of calligraphic space layout is drawn in a square. This square is subdivided in 9 smaller equal squares (3x3 matrix) that is a Chinese concept that underlies different forms of Chinese design and art, such as flower arranging, calligraphy, etc. The perception of visual differences between the squares is then analyzed. This macro-visual perception analysis is created to detect the range of visual integration of each square and the differences between corner squares, side squares and central squares (perception of visual integration). The results show that for certain types of layout the intelligibility is high, while for others it is low. When the range and differences of visual integration are low, then the visual intelligibility turns out to be low and the opposite is true as well. In a second step micro-visual analysis was carried out on a grid of 81 squares (9x9 matrix) because this is the basic form for urban design in Chinese traditional architecture. In a further step the calligraphic spatial layouts (both 3x3 and 9x9 matrix) undergo several form transformations through add and reduction, parallel shift, rotation, elasticity, and mesh smooth. These transformations are similar to the creativity in design by the designer. The point of these transformations is to see whether they have a measurable effect on the visual integration and visual intelligibility of the squares and thus improve design or not. The results of the micro-analysis (9x9 matrix) of the transformations show that different transformation types will affect the distribution of visual integration in the same way while other types will affect the visual integration in different ways from the original design. Some transformation types are concerned with the changes of symmetry under different transformation ways. The micro-analysis (9x9 matrix) of the transformations take this factor in symmetry into account. The results of the micro-analysis show that the space has the feature the same as butterfly effect which is not always predictable.