建築與音樂，在主體與客體之間的變化，改變人們聆聽音樂以及經驗空間的方式，像是取樣提供音樂堆疊新的時間，空間也能依據使用者的需求而自由調整，而當創作者失去主導後，對於場域有不同的觀察與解讀，並衍生出不同的圖解與設計，成為本研究探討議題的開始。有鑑於此，本研究希望以批判式的文本閱讀，探索建築與音樂的空間關係與轉化，藉由嘻哈音樂的了解，重新找到介入都市的空間型態。
為達成上述之目的，本研究回顧過去「音樂與建築的對話」，將兩者構成歸類為（數學比例、虛實時空、詮釋精神）三種類型，藉由「文本閱讀與再詮釋」的思考，探討譜記、圖解與地圖術的生成方式，再透過環境、身體、互動等案例研究，找尋空間的實踐方法，以作為嘻哈音樂轉化空間的基礎。接著架構在前述討論，我們從藍調到嘻哈的發展過程，找到嘻哈音樂兩大元素的空間轉化，包含文本律動Flowing與結構堆疊Mixing，再藉由即興擾動Free的整合，與動態裝置原型的建構，進而提出嘻哈音樂在建築空間的表現。
最後，我們以華山1914作為設計實驗的場域，透過場域譜記與基地的文本閱讀，找到屬於華山場域的節奏與空間元素，藉由動態的空間系統介入整個華山場域，包含大屋頂棚架、動態裝置、串聯動線、活動機能，共同交織出嘻哈音樂與既有華山事件的慶典空間與活動。本研究建立嘻哈音樂的空間構成，可以作為新型態音樂與建築對話的開端，我們認為未來可以從語言文化、互動技術、構築材料等介入，創造出更多嘻哈音樂與建築的可能。
Architecture and music have changed the way that people listen to music and perceive space, through shifting between subject and object. For instance, when sampling from music to create a new timeline, spaces are then modified and morphed freely by users. After the creator ceases to dominate the space, the new reading and reinterpretation of a site is established, and then different diagram drawing and design are created. These become the initial issue of this research. Under this circumstance, this research aims to discuss the spatial relationships and transformations between architecture and music, through critical context review.
To achieve the research objective mentioned above, the dialogue between architecture and music in the past is reviewed. The construction of architecture and music is classified into three types: mathematic proportions, real and virtual space-time, interpretation of spirit. Then we explore reading and reinterpretation of site contexts by the study of notation, diagram and mappings. Through case studies related to environment, body, interaction, means of realizing spaces are found to provide a fundamental transformation from hip-hop music to space. During our primitive study in history of hip-hop music development, we find the two elements of spatial transformation in hip-hop music: Flowing and Mixing. The two elements are then integrated with the Free in improvisation by dynamic installations as hip-hop music’s reinterpretation in architectural space.
Finally, we choose Huashan 1914 Creative Park as our experimental site. The rhythm and spatial elements of Huashan are found in the process of site notation and context reading. By intervention of the dynamic spatial system, including a large roof scaffold, dynamic installation, linking circulation and activities, the dynamic space and hip-hop music were weaved together. In this research, a spatial form of hip-hop music was constructed as a beginning of the dialogue between architecture and new music styles. In the future, we can create more possibilities between hip-hop music and architecture through social construction, interactive technology and tectonic materials.
