洞•動•天井：陳其寬先生對「實中有虛，虛中有實」空間的探索與實踐

Cavities, Dynamics, and Small Patios: Exploring Chen Chi-Kwan's Contemplation and Practice on the Idea of“Symbiosis of Solid and Void”Exemplified in His Paintings and Architectural Designs

本文探討陳其寬先生如何透過繪畫與建築設計等不同媒介思考共通的空間議題，嘗試解答他眼中「太湖石—猴畫—立體派」之間的關聯，及對其在實體中「開洞」、呈現「動態」的啟發。本文結合圖像分析及空間的形式分析，採比較性和脈絡式的研究方法，依序探討「太湖石群山」、「荷葉蝕洞畫」和「幻想建築畫」系列創作中實／虛相生的空間呈現及其象徵意涵，論述陳其寬先生如何挑戰採用正方形畫幅、藉助動態視點法達成立體派所追求的多視點並存，又不致使空間變形，亦關注他在不同階段的嘗試，修正「框景」的過往談法。以畫作探討為基礎，本文後半部解讀陳先生在建築中設計的窄天井虛空間，著重於多元路徑所創造的動態感以及從孔洞中體悟的時間感等面向來理解。

This interdisciplinary research delves into how Chen Chi-Kwan contemplated on the common spatial issue through his paintings and architectural designs. His distinguished paintings on monkeys were inspired by Henry Moore’s sculptures and Chinese foraminate garden rocks. He was obsessed with the solid/void similarities among them. He even mysteriously co-related these ideas with Cubism yet without further elaboration.
Combining analysis on graphical and architectural forms, comparative and contextual research methodology, this article examines how Chen positively utilized cavities/voids, both visually and connotatively, in his themed paintings of foraminate-rock mountains, worm-eaten lotus leaves, and imaginative architectural scenes. This article elaborates on Chen’s deliberate choice of square proportion and how he simultaneously represented multi-angle views without distortion as an amendment to what Cubism pursued. An alternative thinking of Chen’s paintings beyond “framing” is also proposed. Based on the discussion on paintings, the second half of this article interprets the small patios in Chen’s architectural designs. To understand the meaningful design of these void spaces, this article argues to approach it from the perspectives of our perception of time and dynamics.