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題名:居家神聖空間場域氛圍設計之研究:光的影響
作者:汪碧芬 引用關係
作者(外文):Pi-Fen Wang
校院名稱:國立雲林科技大學
系所名稱:設計學研究所博士班
指導教授:何明泉
學位類別:博士
出版日期:2012
主題關鍵詞:靈修靜坐心靈空間象徵儀式靈修靜坐神聖空間神聖的光sacred lightenhancingritual symbolismsacred spacespiritual spacemeditation spiritual practitioner
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神聖空間一直影響著人類的內在精神生活,而其空間中神聖場域設計的相關議題,也隨著時代快速變遷與社會多元需求,更顯現其重要性,神聖場域之空間設計已逐漸強調應多聚焦如何提昇內在心靈境界,而隨著社會多元化之趨勢,其方式已從宗教文化族群轉化到個人自由的心靈生活。而本論文之研究目的包括四部分。
1.對神聖空間本質、運作方式、類型與空間性特質的探討進行基礎了解。
2.透過不同的個案分析,探討台灣傳統居家神聖空間的核心理念與現代化神聖空間模式變遷之特質與需求。
3.建構居家神聖空間場域氛圍設計之模式。
4.透過自然光對靜坐空間的影響程度之實驗,進行神聖空間場域氛圍設計模式之檢驗。
本文研究方法,包括文獻探討、深度訪談、個案分析實驗參與觀察。
由研究結果得知神聖空間的理想本質,係以超「凡」入「聖」,但基於凡俗空間得有限性,故神聖空間的建構原則,係以小宇宙象徵大宇宙理想的世界觀的空間對應模式形成天、地、人與神聖存在共處的居家神聖空間意涵。
神聖空間具有「內在」與「外在」空間的雙重神聖性,須同時被開啟,神聖空間的運作方式包括空間、時間、行為與心理方面的互動。神聖空間的特質與空間向度中的氛圍、空間性與神聖元素有密切的關係,主要的焦點在於神聖的空間氣氛之營造,神聖的氛圍主要包括莊嚴殊聖、靜謐、神秘、簡潔、柔和,神聖空間的空間性之呈現,常包括明顯的領域性、空間層次與界定、中心性與焦點,領域性的形成與界定包含有形的視覺、運動覺、觸覺,無形的嗅覺、聽覺。神聖的氣氛空間元素,包括自然環境中的光、水、植物、空氣與人為環境中的各種神聖象徵物。光神聖的象徵,是視覺感官最重要且必要的元素。
居家神聖空間的空間性特質作為祭拜神佛、祖先或啟蒙內在佛性與內在靈性的場域。依神聖領域的界定具有不同程度的中心性,包括絕對的中心性(傳統合院的軸線)、相對的中心性(獨立的房間─本門戒壇、靈修的壇城)、局部的中心性(靈修的靜坐空間),以人為神聖的感知中心。居家神聖空間的空間佈局,常具有空間層次,位於神聖領域中水平方向的較內層,尤其最主要的神聖焦點置於垂直向度較高處。神聖元素,包括自然元素中的天空、水、植物、氣與光,以及各種人為型態的神聖象徵物,包括神像、佛像、神主牌、文字、書法、畫等。神聖空間的體驗,需透過各種的感官,主要包括視覺(如靜坐、神聖焦點)、聽覺(梵音、唱誦、神聖音律、讀經與唱題)、運動覺(禮拜、儀式與氣功)、觸覺。台灣居家神聖空間個案中,顯示具有幾項明顯的文化傳承內涵,包括「敬拜祖先」的內涵與空間的延續、均以「香」作為與神聖存在溝通的媒介,同時也呈現對「佛教信仰」的重視,以及部份「道教信仰」內涵的延續。台灣居家神聖空間中不同信仰具有明顯的文化辨識,如傳統合院正廳的儒、道、佛多元信仰的文化象徵圖騰、新興宗教創價學會的本門戒壇與御本尊的唱題與禮敬,以及三松現代靈修團體彈性安置的壇城。台灣居家神聖空間三類型案例中的神聖信仰模式已由傳統的家庭祭祀焦點(傳統信仰合院),演變為加入了著重個人心靈與群體共修的模式(新興宗教創價學會與三松靈修團體),其神聖時間、行為與空間更多元與彈性。而靜坐即是當前相當普遍且重要的靈性修行的神聖行為,透過閉目靜坐時對光環境的感知,均成為光環境探索的重點。
靜坐空間的影響關因子包括光、溫度靜坐空間本身、通風、氣味、聲音、個人偏好習慣與時間的適應等,其中光的採光方式是主要的影響因子,其次是照度之強度,歸納出三層次的靜坐光環境適宜性之建議:第一層次與第二層次均較受一般及多數族群喜愛,而並未呈現顯著性的不受喜愛,而第三層次多較不受喜愛,僅有少數的族群喜愛:第一層次(類型B)半透明的窗簾,具有柔和、朦朧、明亮的光環境氣氛下,適合作為一般人靜坐的空間。第二層次(類型C)透過微透光的窗簾過濾光,具有柔和、朦朧、微暗的光環境氣氛下,也適合作為一般人靜坐的空間。包括夏天裡的靈修、男性與女性群組與冬天裡非靈修與男性群組。第三層次(類型D與類型A):
類型D可透過微透光的窗簾過濾光,具有柔和、朦朧、最暗的光環境氣氛下,提供在夏天裡的「靈修」群體的靜坐空間,而避免提供作為非靈修群體的靜坐環境。類型A可透過直接透明、明亮的窗簾,讓光射進室內形成光亮的光環境,提供在夏天裡的非靈修群組靜坐。而較不適合一般人整體及其他群組。
建議應營造一處獨立的神聖領域、聖化的生活空間每一神聖空間應同時包含最神聖與具有彈性的兩大區塊。靜坐空間:具有朦朧、柔和的光環境,清新空氣(忌臭味)、溫度適中、自然聲音、簡潔、不受干擾、木地板、適宜的坐墊,以供靜坐前後可能拉筋或讀經等綜合神聖行為的彈性空間。本研究所提出的居家神聖空間場域建構模式,對未來的都會現代居家神聖空間場域氛圍、新心靈建築與室內靜坐空間照明設計之參考運用,具有新的貢獻。
“Sacred space” has always been a significant location for enhancing human spirituality. Traditional sacred space is intimately tied to religious faith. However, as society has diversified, spirituality has gradually turned from organized religion to personal spiritual life. The new urban values of the 21st century emphasize the spiritual life, and spiritual experiences are channels to the sacred. Creating sacred space in daily life is therefore an important topic and need. The purpose of this research is to define sacred space, clarify the relationship between the “sacred” and the “profane,” and explore the nature, function, practice and types of sacred space to construct a preliminary conceptual model for designing sacred space atmosphere for daily life : effects of lighting.
This research constitutes exploratory research related to human spiritual experiences. As a result, this research adopts a research design that emphasizes both of qualitative and quantitative research through literature review and 122 in-depth interviews, 9 case studies, and twice of designed experiments, questionnaire, measurement of the illuminance, research augmented by 89 participators and observation. This research proposes several contributions in several dimensions: (1) There is a correspondence between “sacred” space and “spiritual” space, and a dual interactive relationship between “external” tangible space and “internal” spiritual space; (2) Sacred space is the “medium” and “symbol” to communicate with god, deity, or personal spirituality; (3) there is a distinction between the “sacred” and the “profane.” Three strategies: buffered space, rite, or sanctified activities could define sacred fields; (4) The field model must inspire the sensation and perception with the sacred aura and visualization to construct the sacred field. The centrality and sacred focus are significant to form the sacred axis. (5) The conceptual model should comprise perceptional self, sacred believed principle, sacred activities, sacred time, sacred space and sacred objects integrated to each other.(6) Designing sacred space should consider with three layers: the heaven, the human, and the earth. Heaven and earth constitute the overall macro universe, while human is symbolic of a micro universe. (7) Nature, the significant factor of sacred space, should be implicated as the first layer. (8) The methods of experiencing sacred space are gradually moving from formalized religious faith to informal, daily, multifaceted personal spiritual experiences in Taiwan.
The experimental results of ANOVA and T-test had significantly different and interviews indicated the common feelings and some special perceptions. They concluded the following. First, the filter of the natural lighting would affect the meditation. The meditation space should be dim light to most participants with the feeling of ‘’peace’’, ’’contemplation’’, Second, the intensity of light would affect the meditation. The participants had broad adaptation in brightness of the illuminance. It should not be too strong and too dark.
Finally, we maybe concern the adaptation of different groups, and the control of the direct light that relates to the feeling of the “nature”, “power” and “energy”. Moreover, we found the other factors such as ‘’temperature ‘’, “smell”, “sound”, “touch”, “spatiality”, ’’personal factor’’ and ‘’the adaptation of time’’ are also important to meditation. Future study should consider them as well. This study would significantly contribute the suitable ideas to the meditation space in modern architecture and interior design. Sacred spaces should be designed with aspects include the undisturbed holiest space as well as more flexible sacred space; the sacred can be invited by sanctifying living space in everyday life.
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