本論文藉由Brian McGrath影像度量為基礎設計理論，其中以德勒茲影像哲學為論述觀點。當影像做為時間與空間的精準切片，凝固的片段可以分解剖析進而組成新的敘事描述。透過德勒茲提出的六種影像符號及與空間的感知狀態，轉化為設計操作的參考方法，建立由影像啟發的關系係、非線性的設計生成系統。

以皮爾斯符號學為基礎下，心理學家Floyd Merrell研究出一系列的感知狀態與感知符號路徑，描述心理狀態的變化過程，本研究透過影像為工具，以影像與符號標記辨識感知狀態，因應建築空間中感知意義的探索，試圖操作兩種感知集合體的繪圖。

感知索引系統包括圖像型集合體(Iconic Assemblages)和指示型集合體(Indexical Assemblages)，在研究中分別對應設計案:成大C-hub電子紙帷幕牆，以及高雄衛武營五感共鳴裝置藝術，進行感知索引的操作，體現兩種感知符號的內容，並在操作檢視設計的過程中啟發衍生出新的想像與探索。

本研究重新檢視兩個設計，以考量可以更加關注感性意識、影像、記憶、時間，以影像結合繪圖釐清設計與感知之間的交互關係，將符號、建築空間與人的相互影響回饋的關係以圖解視覺化方式闡述表意。由此整合提出新的方式重新觀看設計，同時深化影像度量繪圖系統與拓展建築空間設計方法創新的可能性。

SUMMARY
This thesis “The Sensori-Motor Assemblages” is based on Brian McGrath's Cinemetrics, which applies Deleuze's philosophy of movie in creating the new drawing system. Adapting the Deleuze's six signs/images, scholar Floyd Merrell's diagram is then transformed into a new design methodology, and creates a nonlinear design process.
Floyd Merrell developed and categorized series of networked links of semiosis to describe the changing processes of perception states as (1) iconic assemblages and (2) indexical assemblages. The research uses films/moving images as media visualizing the content of these two assemblages to review two design installations: (1) C-hub‘Magnetrix’curtain wall and (2) WWY temporary art installations. Attentive to the perceptual consciousness, image, memory, time, and so on in the interactive relationship between body and environment, this research encourages the new integration of sensori-motors and inspire a new way of experiencing architectural design.

Keywords:
Cinemetrics; Semsori-Motor; Perception Sequence;Perception-Image; Iconic Assemblages; Indexical Assemblages

INTRODOUCTION
In recent years, architectural design is moving more and more toward the digital realm. In addition, with the combination of various digital tools and human sensory organs, the design process was shifted to relational thinking and more focused on the dynamic feedback. However, with the mass media and information bringing instant and rapid sensory stimulations and representations increasingly, our sensorial experiences seems to be narrowed and flattened.
Architecture is a sign vehicle which has multiple meanings and communication functions formed through people's perceptions of the space. This research provides a discussion on this aspect of exploring human perceptions as architectural design methodology which carries out more intense sensorial awareness. Through the film media, we can capture and investigate these invisible perceptual thinking, signs, and utilize drawings, representations to visualize the intangible through the tangible and rational exercises.

MATERIALS AND METHODS
Through the further operation of the film, sequentially create the (1) storyboard, (2) film sequence, (3) transcript, and (4) cinemetrics drawings, to capture the atmosphere and signs embedded in the film. Finally, referring to the images/semiosis in the Floyd Merrell's diagram, the new drawing/ evaluation/designing system is created through comparison and reorganizations of the two sensori-motor assemblages.

RESULTS AND DISCUSSION
(1)Iconic assemblages and (2) indexical assemblages are small-form and large-form perceptual indexing experiences. Iconic assemblages on the perception of the body's detailed movements in the environment. Indexical assemblages tend to focus on the perception and reflection of design and reflection in the surrounding field. The operation including each experience of the body perception as a guide to designing implementation is sequentially disassembled to review/revisit the design works, and help adjust the design and extend the depth of design narrative. In the process, the drawing shows the clear identification of each image and semiosis of the perceptual index, visualizing the relationship between human and space interactions.

CONCLUSION
The relationship between Cinemetrics and Floyd Merrell's diagram has been further clarified and explored through films, transcripts, and drawings sensible and closer to the reality. Two sensori-motor assemblages as new design methodology engaged multiple spatial and temporal layers of perceptual interactions between body and designed objects. Finally, an exhibition event not only showcased the whole experimental process, but also created a feedback loop of the research to explore the possibility of measuring and sensing the more attentive and affective design.

中文文獻
德勒茲，黃建宏譯，電影I :運動-影像(2003)
德勒茲，黃建宏譯，電影II:時間-影像(2003)
蘆原義信 ，外部空間設計(1975)
楊凱麟，書寫與影像：法國思想，在地實踐(2015)
Ellen Lupton，第二層皮膚-當代設計新肌體 2007
薛丞倫，從圖的起源到影像測量的思考(2012)
Umberto Eco，符號學與語言哲學(2006)
Piaget，兒童心理學(1962)

雜誌期刊
楊凱麟，《德勒茲「思想－影像」或 「思想＝影像」之條件及問題性》臺大文史哲學報 (2003)
楊凱麟，《德勒茲哲學的虛擬影像問題性》南華大學哲學研究所(2003)
馬騰，《吉爾.德勒茲“時間晶體”影像理論研究初探》《北方文學(下半月)》01期(2012)

英文文獻
Brain Mcgrath，Cinemetrics: Architecture drawing today. (2007)
Umberto Eco，Semiotics and the Philosophy of Language. (1984)
Floyd Merrell ，Thought-sign, sign-events. (1991)