初探Franz Bette首飾工作坊中存在的包浩斯形式法則

Preliminary Research of of the Use Bauhaus Principle in the Franz Better Jewellery Workshop

法蘭斯˙貝特（Franz Bette）首飾工作坊強調創造性思維訓練的養成，自身發展出一套藝術創作的哲思，延續了包浩斯的傳統基礎，因此本研究藉由個案分析法，探究包浩斯時期形式法則的設計觀點，以瓦西里˙康丁斯基（Wassily Kandinsky）、萊茲洛˙莫霍利—納吉（Moholy-Nagy）、保羅克利（Paul Klee）教學實踐為研究對象，分析統整包浩斯形式法則之建構。進而，以個案研究法與觀察法，探討當代首飾思想家貝特的作品，敘述作品中形式與概念之間的設計轉換，並對應分析包浩斯時期的課程與繪畫作品，個別以邏輯次序的潛藏法則、素材實驗的經驗累積、X軸至Z軸的思維想像等三大面向分述探討。通過首飾工作坊的教學實踐中，分析設計過程所觸及的手法與階段性成果。最終，透過文本分析發現，回顧包浩斯經典有助益於理解型態之間的邏輯關係，首飾工作坊之教學實踐觸及材料感知與創造性思維之設計思考，將有助於未來金工教育導入形式法則之設計思考與實踐。

Franz Bette’s jewellery workshop stresses on the cultivation of creative thinking practice. A philosophical thinking of creative making in art, developed from the design foundations of Bauhaus and Ulm. This research is based on a case analysis, exploring formal principles of design perspectives during the Bauhaus period, based on teaching practices of Wassily Kandinsky, Paul Klee and LászlóMoholy-Nagy. Then proceeded by observation and analysis on the works of Franz Bette, a contemporary jewellery ideologist. Bette’s design transformation between forms and concepts, a cross correspondence of the Bauhaus curriculum and paintings through his hidden law of logical order, accumulated experiences of material experimentation and cogitation transformation from X to Z axis. Finally, a deeper look into design methodology and stage result in design process through teaching practice of the jewellery workshop. Towards the end of the research, it was discovered reviewing Bauhaus was in great benefit of understanding the configuration logics, teaching practice of jewellery workshops, as well as perception training and application of design thinking. These can all contribute to guiding conceptual principles in design thinking and execution in future metalsmithing education.