當代城市隨著經濟科技的發展，空間的複合和置換越來越零碎，相同空間內人們的目的和動機大相逕庭，這樣的情形放大了城市中的非正式行為、突發性活動和娛樂性事件，我認為這是當代城市的意外性。

然而意外性作為當代建築不可或缺的命題之一，我們又如何將其納入思考範圍?

我認為可視化是至關重要的過程，視覺佔據人類百分之九十的感知，他是啟動我們思考跟想像最重要的鑰匙，不同於過往的創作者，我們在當代科技的使用下得以獲得更多的環境資訊，這改變著我們如何捕捉畫面、如何篩選訊息以及如做出回應的方式。

而圖像有著我們沒有察覺的厚度，這包含著繪畫的技法、使用的工具、產出的時間和背後的思想，藉由圖像發展的歷史脈絡，此論文主要分為三大部分，一為繪畫和建築上的關係闡述。二為繪畫歷史上如何利用工具圖像化真實空間，並且傳達抽象意涵。最後藉由海安路周遭的夜晚活動作為設計載體。海安路的地下空間是城市中巨大的黑體，他在台南人的日常活動之外。而這種分裂如同我們忽視繪畫背面的發展。在設計上，藉由圖像、影像、空間的轉譯和建築設計的提出來揭露這個看不見的厚度，在這之中包括了:

1.新的空間觀察方式，用數位資訊捕捉城市中意外情境。
2.創造城市暗箱，一個新的感知系統濃縮城市中意外場景。

If INDETERMINANCY is an emergent statement in contemporary architecture, how do we adopt it in interacting with physical environment and spatial design?

Visualization is a crucial process. Visual perception occupies 90 percent of the human perception, it’s the most decisive key to our imagination and thinking. Different from the designers of the past, equipped with modern technology, we can interact with more embedded information, and the scenes we capture .

Bogard, Paul (2013), The End of Night: Searching for Natural Darkness in an Age of Artificial Light,Little, Brown and Company,North America

Gelder, Hilde Westgeest, Helen (2011), Photography theory in historical perspective,Blackwell Pub,North America

Benjamin, Walter (1969), Illuminations:Essays and Reflections,Schocken Books,,USA

Hockney, David (2006), Secret knowledge : rediscovering the lost techniques of the old masters,Thames and Hudson Ltd,UK

Joyce, Paul (1988), Hockney on photography : conversation with Paul Joyce,Jonathan Cape,UK

Steadman, Philip (2002), Vermeer's Camera:Uncovering the Truth behind the Masterpieces,Oxford University Press, USA

Eisenman, Peter (2003), Giuseppe Terragni: Transformations, Decompositions, Critiques,The Monacelli Press,USA

Eisenman, Peter (1983), House X,Rizzoli,USA

Mullins, Charlotte (2004), RW: Rachel Whiteread (Modern Artists),Harry N Abrams Inc,USA

Evans, Robin(1997),Translations from Drawing to Building and Other Essays,The MIT Press,USA

Verhagen, Erik (2014), Jan Dibbets: The Photographic Work,Leuven Univ Pr,Belgium

Brougher, Kerry (2015), Hiroshi Sugimoto: Seascapes,Damiani,UK

McGrath, Brian (2007), Cinemetrics: Architectural Drawing Today, John Wiley & Sons Inc, USA

參考圖片

04 Fig1-2. Joshua Reynolds, Cupid as Link Boy,1773
https://en.wikipedia.org/wiki/Link-boy
06 Fig1-3. Giacomo Balla, Street Light, 1909
https://en.wikipedia.org/wiki/Street_Light_(painting)
06 Fig1-4. Vincent van Gogh, The Starry Night, 1889
https://en.wikipedia.org/wiki/The_Starry_Night
10 Fig1-5. Christophe Jacrot, Man on broadway, 2011
https://www.lumas.de/pictures/christophe_jacrot/man_on_broadway/
14 Fig3-1. Peter Eisenman, House X, 1976
http://www.eisenmanarchitects.com/house-x.html
18 Fig3-2. Joseph Benoit Suvee, Invention of Art of Drawing, 1793
https://www.wga.hu/html_m/s/suvee/inventio.html
18 Fig3-3. Karl Friedrich Schinkel, Origen de la pintura, 1830
http://revistarosita.com/?p=8069
22 Fig3-4. Rachel Whiteread, House, 1993
http://www.artribune.com
22 Fig3-5. Banksy, Near Bethlehem ,2005
https://en.wikipedia.org/wiki/Banksy
26 Fig3-6. Leonardo da Vinci, Light shadow
https://www.quora.com/Did-Leonardo-da-Vinci-read
26 Fig3-7. Johannes Kepler, Dioptric, 1611
Rene Descartes, La dioptrique, 1637
http://journals.openedition.org/bibnum/873
28 Fig3-8. Magic lantern, Athanasius Kircher, 1671
https://it.wikipedia.org/wiki/Lanterna_magica
30 Fig3-9. Johannes Vermeer, The Milkmaid, 1658-1661
https://www.rijksmuseum.nl/en/collection/SK-A-2344

30 Fig3-10. Annibale Carracci, Boy Drinking, 1582-1583
http://www.clevelandart.org/art/1994.4
32 Fig3-11. Philip Steadman, Axonometric view of The Music Lesson
http://www.essentialvermeer.com
36 Fig3-12. Jan Dibbets, Perspective Correction, 1968
https://www.moma.org/collection/works/173247
36 Fig3-13. Hiroshi Sugimoto,Black Sea, 1991
https://www.sfmoma.org/artwork/92.244
36 Fig3-14. David Hockney, Pearblossom Highway, 1986
http://www.davidhockney.co/
36 Fig3-15. Frederic Fontenoy, Metamorphosis, 1988-1990
http://www.fredericfontenoy.com/