當代西方中介空間實踐之“間”及“虛”的文化邏輯－－一種空間概念的跨文化詮釋

The Cultural Logic of “Ma” and “Void” of the Practice of Contemporary Western In-Between Space-- A Cross-cultural Interpretation of Spatial Concepts

本研究重溯日本“間”的概念與道家“虛”的思維，以便探討對西方當代空間術語“中介”之論述及詮釋的可能性。“中介”概念的普及與其各種不同得意涵引發一種對其在不同空間論述中可能之使用方式之深度關切，這篇文章嚐試連結“中介”與某些關鍵性的西方建築思考，例如法蘭克蓋瑞自宅及其它非傳統性的設計想法，並且併列這些想法於東方的涵構如間和虛之下，並衍生出一種同時具有東西方元素的混種設計概念。基本上這是一篇交叉文本與跨文化的研究，聚焦在交互的論述及詮釋有關特殊啟發性事件的跨文化意涵，如卷軸之使用於中國山水畫和日本源氏物語畫卷被使用於重新詮釋“中介”概念的成形和轉型之時空本質。換言之，本研究探討各類與時空有關之文本、經驗與概念的碎片，並且將它們拼貼於當代空間涵構的掛氈上。

The study retraces the Japanese spatial concept of ma and Taoism idea of Void to explore the narrative and interpretative possibility of contemporary Western spatial terminology 'In-Between.' The popularity and various meanings of 'In-Between' engender an intriguing concern for its possible employments in different occasions of spatial discourses. The study tries to connect 'In-Between' with some crucial Western spatial thinking such as the notion of Gehry House and other unconventional design ideas, and juxtaposes these thinking under the Eastern context such as ma and 'Void,' thus engendering a hybrid design conception which possesses both oriental and occidental elements. The method employed in this study could be considered as an intertexture and cross-cultural research focusing on the possibility of reciprocal narrative and interpretation. The specific enlightening events concerning cross-cultural connotations, such as the using of scroll in China's landscape painting and Japan's Gengi Story, will be used to reinterpret the tempo-spatial essence in forming and transforming of the in-between concept. In other words, the study looks into the fragments of various space-time related texts, experiences and concepts, and patches them on the tapestry of contemporary spatial context.