| Summary: | 碩士 === 國立臺灣科技大學 === 建築系 === 104 === This study focuses on the tectonics and perception presented by the metal multi-layer building skins of Herzog & de Meuron’s museum works. To reveal the correlation between the perceptual qualities of the building skins and the tectonics of the realization methods, the appearance of the building skins were fully depicted and the tectonic methods were analyzed through reviewing the construction detail drawings. Therefore, the materiality and the immaterial mental graphics could be linked. It could be examined whether the phenomenological practice methods, which the architects most concerned about, were taking or not.
According to the development of the building skins, the topics of Architecture could be assorted into six items: (a) the material texture of surface, (b) the additional dealing process to the surface, (c) the correlations of the building skin layers, (d) the tectonic methods, (e) the perceptual qualities of the appearance, (f) the effects to space because by the skins.
Following the six items, the study were taken on the three comparative cases: the De Young Museum (2002-2005), the Walker Art Center Expansion (2003-2005), the CaixaForum Museum (2003-2008).
Base on the six items of each case, cases were compared to get the commons and the differences between them. The attempt was not only to indicate the particularity of the sensation that presented by the building skins, but also to discover the relevance of the perceptual quality of the building skins and tectonic methods.
Comparing the particularities of Herzog& de Meuron’s Building skins, four conclusions were found:
a. The appearance-defined choice of materials.
The appearance of material which fits the image of architects’ experience would be picked to apply on the building. Unlike the critics of ontological practice, they do not develop the figure through the material qualities, but discover the image represented by the material that fits the one in their mind.
b. The material carrier and the immaterial images.
The perfectly flat surface accomplished by the material tectonic method acted as the carrier of the immaterial images. The intermediate space between the skin layers becomes the “container of tectonics” to hide the fixing frame and the error-tolerating components behind the surface. Therefore, there would be no more components except the cladding panels showing on the façade, presenting all the perceptual qualities that were carefully created. Due to the special tectonic thinking which deal with the material problems, the surface could show as a simple two-dimensional plan like screen or canvas of painting which could enhance the perceptional qualities, so called the immaterial images.
c. The craftsman-type design process and industrial practice process.
The Architects completely grasped situation of the construction. Hence that they could make the delicate design which fulfill the phenomenal concept that the architects come up with at the very previous stage. At the same time, the apparently complicated outcome were easy to achieve with the standard constructional operations, which were relatively industrialized at the stage of the realization.
d. The wrapping paper of architecture-the representational tectonics of building skins.
The appearance of the building skin showed no character of the building structures. The representational tectonics aimed to present the thinking of the architects toward the environmental contexts and the experience that they wanted people to get. Through the operations, they were able to create stunning visual effects without creating forms. The success was followed by the blaming of “skin deep operation”. The popularity with the visitors and the critics of professionals seemed contradictory, and this was deserved to discuss further.
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