過程描述
Description of the Process

教學時程部分簡要列出了一系列的獨立作業。本部分將會討論更多有關在本學期將會講述的建築過程方面的細節。

The series of discrete assignments is outlined in the calendar section. This section goes into more detail regarding the architectural process that will be followed during the semester.

概述
Overview

儘管進行不同的專題，但是每一個學生都是實踐課程文化的一部分，透過學習建築多方面的內部運作來學習建築。目標是創建一棟樓房，一個建築項目。除此之外，該實踐課程還考慮重力、自然、構造學、現象學、分子特性、結構力、材料性能和地點等問題。

Despite doing different projects, each student is part of the culture of the studio, learning architecture by learning the inner workings of its many different aspects. The objective is to make a building, an architectural project. Among other things, this studio considers problems of gravity, nature, tectonics, phenomenology, molecular characteristics, structural capacity and material performance, and site.

動態循環
Dynamic Cycles

建築物的修建是一個依靠自身不斷成長和積累的循環、動態過程。它來自於創建者的體驗和情感經歷。情感連接了思想和感官，在人生經歷中不曾被遺忘，這肯定體現在設計之中。在將其變為現實的設計過程中，歡樂與痛苦，憤怒與珍愛，都是不可或缺的部分。沒有這些情感，一切只是空想。含蓄的真情實感避免了過分的造作。直覺激發了創造、闡明追求的目標，這就是完美。完美是永遠不能獲得，但是努力去追求完美的過程是重要的一環。這過程永無止盡，總是周而復始的繼續向前。

The making of architecture is a cyclical and dynamic process always growing and building on itself.  It comes from within, from the history and emotional past of the author.  Emotion is the connector of the mind with the senses, and it is remembered through experiences that must be drawn upon in design.  Joy and suffering, anger and love: all are necessary parts of the design process to ground it in a condition of reality. Without them there is only the imagined.  And the modesty of real emotions avoids the excesses of those falsely created. Intuition inspires creativity and clarifies the goal, which is perfection.  Perfection is never achieved, but the attempt for it, the process, is the important part.  The process never ends; it constantly moves back upon itself to go forward.

設計過程並不是為了設計而設計，而是在於經由設計有所發現。透過設計和再設計，設計者會發現隱含著的重要特質，與有意識和無意識的想法產生共鳴。就是這種發現的驚奇感顯示了設計的真正品質。在此過程中沒有隱喻和類推，因為設計著重於表面。經歷的本質，即它在空間中的存在和狀態，才是最重要的。空間實際的品質才是重點，而不是空間的使用，意即：特性是居住者利用材料的屬性和空間特性建立的特定居住處。對於建築，重要的是居住在這個空間能“表現出存在”，而非簡單的佔有。

The design process is not about making for its own sake, but about discovery through making. By making and remaking, the designer discovers the hidden qualities that are important, that resonate with both the conscious and unconscious mind.  It is this sense of astonishment, of discovery, that signals true quality in design. There is no place for metaphor or analogy in this process, since these accentuate the superficial.  The actuality of the experience, what it is to inhabit and be in a space, is of the utmost importance. The actual quality of the space matters, not the use of the space: a specific inhabitation by the occupant through the material properties and qualities of the space.  It is the "performance of being," of living in the space, rather than simply occupying it, that is important in architecture.

兩部分：有意識和無意識
Two parts: The Conscious and Unconscious

這個過程包含兩個部分：有意識和無意識，物質和精神。兩部分都是建築中所必需的支柱，結合在一起營造出循環往復的回饋，不懈地進行交流。通過嘗試修正這兩種情況，建築師總是努力探索不能達到的完美狀態。建築就不再是造或建的過程，而是尋找和發現。這樣，最終作品就會有深度，而不僅僅流於表面。主觀上和客觀上都要有所考慮。建築師對抗物理極限時，也正翻越想像的極限，精神和物質的結合使得設計達到了更高的高度。

There are two parts to this process:  the conscious and the unconscious, the physical and the mental.  Both are necessary underpinnings of architecture, and together they create a feedback loop in which each constantly informs the other.  By trying to rectify these two conditions, the architect is always trying to discover that unachievable state of perfection.  Architecture becomes then a process not of doing or making, but of finding and discovering.  In this way, the final product has some measure of depth and is not superficial.  Both the subjective and the objective are taken into account. The architect is transcending metaphysical limits while pushing up against physical limits, the combination of the mental and physical pushing the design to greater heights.

這種結合將思想結合創造、對已知的量和觀點（以物質的形式）的探索、以及材料的特性。人類身體以兩種方式感受空間：對建築材料的集中感受（比如它的溫度、亮度、觸覺等等）和集中對建築工程的思考（它的結構、性能、音效等等）。建築物的生命是與建築科學、有意識限制所定義的無意識之美，以及對客觀真實性的主觀討論緊密聯繫的：這種二元性通過大腦過濾結合成一整體。正是介於技術能力和情感共鳴之間的創造張力創造出了深度，完成了好的設計。

This union connects the discipline of thinking with the discipline of making, the discovery of known quantities and ideas in physical form and material properties.  The human body experiences space in two ways:  the senses focus on the building's material (its warmth, light, feel, etc.) and the mind focuses on the building's engineering (its structure, performance, acoustics, etc.). The life of the building is combined with the science of building, unconscious beauty defined by conscious limits, the subjective discussion of objective reality: this duality is filtered through the brain into one cohesive whole.  It is this creation of tension between technical capacity and emotional resonance that creates depth and is the fulfillment of good design.

正如音樂結合了科學的結構和情感的美妙，建築連接了科學的真實性和情感經歷。執行者的無意識結合了對責任、物質、道德觀念有意識的認知，從而形成一系列兩種形式的體驗。這種注意力最終促成的建築物對我們的兩種感官都具有吸引力：它是觸覺／物理世界和虛擬／精神世界的結合。在設計中必須提升這兩種感官知覺。如果只有其中一種，設計就缺乏深度和力度。

In the same way that music combines scientific structure with emotional beauty, architecture combines scientific reality with emotional experiences. The freedom of the unconscious operator combines with conscious notions of responsibility, materiality, and ethics to form a concatenation of these two types of experiences. This focus leads eventually to a building that appeals to both sides of our senses: it is the junction of both the tactile / physical worlds with the virtual / metaphysical worlds.  Both of these must be advanced in the design. If only one or the other exists, then the design lacks depth and strength.