研 究 / R e s e a r c h

在邁向雙語國家提升國際競爭力的目標下，台灣於 2021年啟動「大專院校學生雙語化學習計畫」，逐步提高大專院校專業課程以全英語授課（English as a Medium of Instruction，EMI）的比例。然而台灣學生在學習英語的歷程上往往以較能自學的「讀」為主，也因此在聽、說、讀、寫四項能力上，「說」往往最為落後。由於EMI課程之授課以專業科目為內容，「聽」為獲取新知的第一環，「說」則為透過「問」與「討論」來強化透過「聽」所獲得的新知。學生較為拿手的「讀」與「寫」反應用於其後的複習與作業呈現。也因此如何提升學生英語能力中的「聽」與「說」的能力為深化EMI 課程成效的重要關鍵。本研究以「分析性速寫」一門課為教學實踐課程，持續以107、108，與109年計畫所開發之實體紙本教材與手持行動裝置應用程式之行動教材進行行動研究的置入、反思，與再置入的輔助教學。實踐研究主旨則延伸111年計畫以中英對照行動教材建立台灣學生相關內容之先備知識，協助學生理解教師課堂的口說英語。然而以「讀」所得之知識仍為理解之文字知識，學生於閱讀時仍以自身的口說英語默念，雖能幫助課堂聽講，但不足以克服口說焦慮。本研究主旨即在將雙語教材的開發與置入由「讀」拓展至「聽」，期許能引導學生以參與式學習融入全英語授課環境而能同時提升專業技能與口說英語。

With the goal of becoming a bilingual nation to enhance the global competitiveness national wide, Taiwan has launched the "Bilingual Learning Program for College Students" in 2021. It is to increase the numbers of EMI (English as a Medium of Instruction) courses that the subject content courses are taught in English in Universities. However, Taiwanese students tend to learn the English mainly through reading, resulting the speaking become the weakest ability comparing to the reading, listening, and writing. In an EMI course, the knowledge of subject content is acquired through listening, and the understanding is reinforced through in-class discussions relying on speaking. As a result, how to improve students' English abilities of "listening" and "speaking" become the key to the success of the EMI courses. The proposed study will employ method of action research, audio and multimedia learning materials will be implemented in the course booklet for the EMI course of Analytical Sketching. The course booklet comprised of the bilingual content detailing the related knowledges and techniques of various topics of analytical sketching, as well as sketching papers that can document one’s sketches throughout the course. The objective of this study is to further expand the capabilities of this previously developed bilingual mobile learning material from reading to listening, helping local students to overcome the second language anxiety, and be able to actively engage in the in-class discussion with spoken English.  

雙語教育是台灣邁向 2030 雙語國家的根基，一方面在基礎教育一端提早扎根英語學習，另一方面則在高等教育一端推行全英語專業領域課程教學（English as a Medium of Instruction，EMI）。然而 EMI 課程的實行卻也容易因師與生的英語能力不足而使教學與學習效果打折。如何在落實英語授課外仍能有效傳遞專業知識與技術，因而成為 EMI 課程設計與教材研發的首要課題。本研究將延續三年執行教學實踐計畫所研發，輔助分析性速寫實地教學與離地自學的紙本與數位行動教材，探討如何能透過行動教材的開發與應用，以及課程活動的規劃與設計，使專業領域課程能在教學者切換授課語言之外，讓學生能更理解專業內容的同時也能活化日常英文的學習意願與感受力。本研究將以行動研究法與準實驗觀察法以兩面向進行教學置入，教材將持續以紙本與手持裝置行動 App 的設計為主，開發整合英語教材形式的專業科目行動教材，讓輔助行動教材能在學習專業時不知不覺建立相關領域的英語背景知識，無形中協助全英語課程的教與學，而行動教學策略則將以不同的課堂操作來測試如何能建立本地生能自然而然以口說英語參與課堂，進而朝雙語教育與雙語國家的最終目標邁進。

Aiming to become a Bilingual Nation by 2030, the Taiwan government has undertaken numerous efforts to promote bilingual education. On one hand, English courses have been introduced at an early stage in elementary education, while on the other hand, higher education institutions have been encouraged to offer EMI (English as a Medium of Instruction) courses. However, the implementation of EMI courses has raised concerns about the effectiveness of teaching and learning due to insufficient English proficiency among teachers and students. To address this challenge, this study adopts the action research method to explore effective ways of teaching professional knowledge and technology in English, which is not the native language, by utilizing supplementary learning materials. Building upon previous research, the teaching methods and mobile learning materials have been continuously refined, with specific objectives set to facilitate learning in both architectural sketching and English. The physical mobile learning materials, including course booklets, have been integrated with English learning content, presented in a format familiar to English textbooks. Additionally, the classroom multimedia slide presentations have been converted into bilingual formats. To assess the effectiveness of the approach, surveys and questionnaires were conducted to determine if the understanding of subject content in Mandarin aids in learning in English. Moreover, observational studies were carried out to identify language preferences of Taiwanese students during group discussions under various scenarios. The findings reveal that the presence of foreign students not only encourages local students to actively engage in course activities using spoken English but also further promotes their desire to read the course material in English. This desire stems from their recognition of how English comprehension enhances their understanding of instructions from the instructor and facilitates better communication among peers.

晝夜節律（Circadian Rhythm）的建立，解釋了長久以來人們所察覺到的日照對人體身心理的各種影響。日變週期或生理時鐘（Circadian Clock）可謂依晝夜節律而形成，為人體一天隨時間因賀爾蒙與內分泌的調節而產生不同的身心理狀態，而褪黑激素（Melatonin）的分泌為調整我們生理時鐘的重要關鍵。褪黑激素主控我們的醒睡週期（Sleep-Wake Cycle），也因此控制褪黑激素與我們的工作與休息的循環協調一致，除了能有好的睡眠品質與工作效率，更能在長期上避免因情緒失調的影響而引發憂鬱症。褪黑激素可藉由服用褪黑激素藥丸來影響體內的褪黑激素濃度，然而為研究所確認視網膜中無助於視覺成像的第三視神經則證明了褪黑激素調節實應藉由視覺系統透過自然日照來進行。然而現今居住環境與工作型態的改變，使古時自然可得的日照因稀少而珍貴。有鑑於此，建築設計開始提倡自然採光，並發展出空間照明的褪黑激素照度的規範，藉以確保工作與生活空間能提供適度的健康照明。然而許多既有空間或受限於基地環境不易取得充足日照的新建築提案，能模擬日光光譜的光療燈提供了輔助方案。這類光療燈原為治療季節性憂鬱症所開發，現則逐步成為智慧與健康空間的室內照明配備。然而現有的光療燈的呈現主要在於提供物理上的療效，較少研究在心理偏好層面的影響。本研究延續110年計畫「以高動態範圍影像技術開發應用於日用數位裝置螢幕之生理節律光療系統」，除持續探討如何能營造感知真實的模擬日照，並將進一步將感知研究所探知的感知自然日照的心理要素應用於未來可行的高動態範圍螢幕的數位裝置，與現在可用的商用光療燈。研究並開發以自然使用者介面運作的互動裝置進行晝夜節律的調節，以期能建構一與真實天候與日變時鐘調和的生理節律互動光環境系統。

The established knowledge of circadian rhythm in recent decades explains the various effects of daylight on the human’s physical and mental health that have been aware of for quite a long time. The circadian clock is developed based on the circadian rhythm, which means that the human body produces different physiological and mental states due to the regulation of hormones and endocrine over the course of a day, and the secretion of melatonin is identified as the key factor. Melatonin controls our sleep-wake cycle. Therefore, controlling the melatonin to be in harmony with our work and rest cycle can lead to both quality sleep and work efficiency and further prevent the depression in a long run. Melatonin in our body can be manipulated by taking melatonin pills. However, the discovery of the third photoreceptor that does not help to see but to control our sleep-wake cycle suggests that the melatonin regulation should be regulated by the visual system through the exposure to the natural daylight. However, living and working environment nowadays have prevent human to exposure to the daylight as before. As a result, architectural design began to advocate daylighting, and developed standards to evaluate the Melanopic Illuminance of an architectural space, to ensure a health circadian lighting environment. Unfortunately, many existing architectural spaces or new proposals that limited to the site context, are still suffered from introducing sufficient daylight. Therapy light that can simulate the sunlight spectrum thus provide supplementary solutions. However, such lighting devices focus mainly on the therapeutic effect based on Physics, but less on the psychological preference that contribute to the good mood as well. This research follows the previous research project of "Developments of a Circadian Lighting System Operating on the Screens of Daily Used Digital Devices with High Dynamic Range Imaging Technology ". In addition to continuing to explore how to create a simulated daylight that can invoke a realistic perception, it further aims to develop practical applications using the future digital devices equipped with high dynamic range monitors and the current therapy lights. An interactive system based on natural user interface is proposed, the goal is to develop a circadian smart lighting system that can help user to maintain their circadian rhythms with local time and place. 

研究發表：

Interactive Therapy Light Combining Real and Artificial Daylight, IEEE ICCE-JP 2023 >

人類的文明越發展，人類的作息越遠離自然，即便日照的缺乏造成身心理的不適已由許多研究證實，人們長期處於人工照明環境的趨勢實難翻轉。而數位裝置的普及更讓有害藍光時時進入我們的視網膜。21世紀初期所證實之能調節晝夜節律，於視網膜中的第三種視神經細胞，解釋了長久以來所察覺的日照與各種疾病的關聯性，也提供了以科技反向調節的方法。雖然以真實日照調節為最佳方法，然在現實不允許下，如何以數位人工技術記錄與保存日照，並在適當的時刻釋放給人體所需成為ㄧ值得探討的可行替代方案。生理節律照明設計（Circadian Lighting Design）即以人工照明模擬日光之光譜，適時適地給予適當之照明。生理節律照明亦發展出光療燈（Therapy Light）提供使用者透過網膜攝取不足之日照以緩解身心理之症狀。這類的照明裝置常以一相同色溫之定量光提供與真實日光相似之照明，然而這樣的模擬實為模擬一靜止時刻的日照，雖有物理科學上的相似卻與時時變換之日照在人的真實感知上有所差距。

近年來高動態範圍影像相關技術的發展推動了數位呈現軟硬體的相關技術，日用數位裝置的螢幕日漸提高輸出亮度，光療系統實能以數位內容方式開發，並能無所不在地利用各種日用裝置螢幕呈現，讓現代人缺少之日照能再次漫佈在我們的日常生活中。本研究以創新發展、物理驗證，與設計應用三階段發展使用日用裝置螢幕的光療系統。研究分為兩階段，第一階段以高動態範圍影像技術記錄不同之窗框視景，並以感知實驗量測什麼樣的視景較能引發真實日照的印象，研究歸納出以能透光而不能透視的壓花玻璃所呈現的自然元素窗景較能避免具象街景的認知而引發抽象日照的感知。研究第二階段開發一原型裝置以光療燈為光源，透過液晶顯示器呈現出具模擬日光光譜的數位影像，因而開啟感知真實的動態日照光療燈的可能性。

The more human civilization developed, the more we are living away from the nature. Even though studies have confirmed that the lack of daylight can causes physical and psychological problems, the trend we are living more and more in the environment with artificial lighting is hard to reverse. Furthermore, the advance of digital technologies in entertainment and social media has further allowed harmful blue light from digital screens to enter our retinas from time to time. The discovery of the third type of photoreceptor has answered the questions regarding how the daylight influences our circadian rhythm. It also indicates a solution to utilize artificial lighting to compensate the lack of daylight we perceive. Circadian lighting is a field that use artificial lighting to simulate the spectrum of daylight in order to provide proper lighting for the occupants for the right task at right time. It can also be used for medical purpose as therapy light to provide users simulated daylight in order to ease the symptom of depression or lack of energy. However, although such device can provide physically validated simulated daylight, the constant intensity with fixed color temperature makes them create a clinic-like lighting environment rather than a comforting visual environment to invoke our true perception of everchanging daylight. 

Recent developments of High Dynamic Range (HDR) Imaging related technologies have advanced the screen brightness of daily used digital devices. It also promotes an innovative possibility that the circadian lighting can be mediated on our daily used digital screens. The objective of this study is therefore to simulate the everchanging daylight with related technologies of High Dynamic Rang Imaging. Various window scenes were generated with HDR photography to simulate the perception of daylight. Perceptual studies were conducted, and results demonstrated that window scenes viewing natural elements through opaque glass can better invoke our perception of the abstract daylight. To conclude this study, a physical device that utilizing the therapy light as light source overlayed with an LCD display can successfully display dynamic digital content backlit with healthy simulated daylight, promoting the practical solutions to improve our circadian rhythms with daily use digital screens.

研究發表：

Improved Therapy Light that Invokes the Memory of Daylight, IEEE GCCE-TW 2022 > doi.org/10.1109/ICCE-Taiwan55306.2022.9869050

在數位科技時時創新發展的今天，電腦不再侷限於傳統的桌上型、筆記型、平板型，或智慧手機，更能以各種有形與無形如物聯網等的方式存在。互動設計所涉及之數位技術因而可多、可深，也可廣。如何讓學生能確實有效率地學習相關的數位技術常為教學現場的首要課題。此外，跨領域為本的互動設計往往吸引不同領域背景的學生，如何在同一門課面對不同背景與不同先備技能的同學設計適合每一位同學的技術傳授課程也成為教學現場的難題。然而數位軟體技術非獨立運作，實為環環相扣，或循序發展或可相聯深化。本研究以此為依據開發模組化數位技術教程，讓各模組能因應設計任務而能自由重組成數位生產線的技術之教材庫。此外，互動設計的人才培養主在訓練如何探知「人」之需求，並能以「機」之技術解決需求，進而在提升個人的便利下，尋求群體的福祉。就此素養訓練之目標，研究導入能將自由重組的數位模組技術應用於問題導向的自調式學習，讓具體技術學習與抽象解決問題能力學習能藉自主式與自調式的相互支應而加成。

Today, when digital technologies are constantly developing and evolving, computers are no longer limited to traditional desktops, laptops, tablets, or smart phones, but can exist in various tangible and intangible ways such as the Internet of Things or Social Networking. As a result, digital technologies involved in the Interaction Design can be diverse, complex, and interrelated. How to enable students to learn relevant digital technologies effectively and efficiently become a priority in the teaching field. In addition, the interdisciplinary Interaction Design often attracts students from different backgrounds. How to design a skill-developing course suitable for every student in the same classroom has also become more and more challenging along with the fast-developing digital technologies. However, digital technology does not operate independently. One can be built on top of another or linked to each other to be more effective and influential. The objective of this research is therefore to develop modular digital technology tutorials so that each module can be freely linked into a productive pipeline according to the design task. On the other hand, the development of Human-Computer Interaction designers is to be enable them can explore and identify human’s needs and resolve with computational technologies. To this end, this research implements Problem-based learning into the course design. Motivate students to actively learn based on the problems they want to solve with the self-regulated learning approach that can be integrated with the pipelined modular digital techniques.

分析性速寫為一種透過在實地對建築環境的分析與觀察，再利用手執之筆記錄所得之領略的三維思考方法。分析性速寫主題內容包含筆記所見、筆記所知、知與見，筆記所解，與圖像筆記。就學習者而言，包含對眼見環境所隱含的感知與理解，以及建築設計上抽象的因果關係。對建築而言，所見與所知可以轉換為建築是以「景」或以「物」而呈現。前者為以觀者視點以透視觀之，後者則為以遠觀平行或是透視視點俯視。本研究的目的即在延續過去兩年教學實踐計畫的研究成果，延伸用於現地輔助教學與離地自主學習而開發之適地性手持裝置應用程式「建築速寫：」，引入虛擬實境與擴增實境來強化分析性速寫在深度與廣度上的數位輔助教學。就「景」而言，比較以全景相機拍攝之示範影片所建立的虛擬實境影片，分別以一般影片、互動全景影片，與頭戴裝置之沈浸式立體呈現等的輔助成效；以「物」而言，研究導入擴增實境與全息投影，以及二維呈現的三維解析動畫，比較三者對以平行線立體圖速寫建築物所需之理解資訊的助益。研究採行動研究法，並以一至五分的主觀評分與兩兩迫選的配對比較法建立不同輔助教材在不同主題上對實地速寫主觀心理偏好評分與心理偏好順序，並依此建立完整的教材資料庫。

Analytical Sketching is a method to document the inspired understandings from the direct observations and analysis of an architectural environment through freehand sketching. It is therefore more a method of three-dimensional thinking than drawing. Topics of analytical sketching including “Experiential View”, “Conceptual View”, “Seeing and Knowing”, “Diagramming”, and “Visual Notes”. To learner, those topics cover the underlying principles and characteristics from both perceptual and conceptual aspects, as well as the abstract relationships established by design strategies; as for architecture, it can be categorized as “Architectural Scene” which is perceptual representation viewed from a point of view in perspective; and “Architectural Construction”, a representation conceptualized with parallel projection viewing from a far distance. The objective of this study is to further incorporate the digital technologies of Augmented Reality and Virtual Reality to extend the depth and breadth of the functionalities of the mobile learning application named “Architectural Sketching:”. This particular App was developed from previous research projects aiming to assist the teaching of analytical sketching on-site and encourage self-learning off-site. For the aspect of “Architectural Scene”, live demonstrations of on-site sketching were recorded with a 360° camera and a regular camera. Effects on assisting perspective sketching with different interactive displaying methods including viewing as regular video and interactive 180° video on handheld devices, as well as 180° VR video with VR headset were compared. For “Architectural Construction”, technologies of Augmented Reality and 3D Hologram, along with 3D animations of geometrical analysis were used to create digital learning materials for teaching particular topics regarding sketching the conceptual architectural configuration. Method of action research was employed. Preference rating and preference scale were established from students’ responses from course survey. Results reveal how the different mobile learning applications with the uses of technologies of Virtual and Augmented Realities can best assist the on-site sketching and promote the off-site self-learning. 

研究發表：

Applications of Augmented Reality and Virtual Reality on Computer-Assisted Teaching for Analytical Sketching of Architectural Scene and Construction, Journal of Asian Architecture and Building Engineering (A&HCI, SCIE 期刊) > doi.org/10.1080/13467581.2022.2097241

繪畫是一種在二維圖像呈現三維世界的藝術表達。每一種文化所發展出來，如何在二維圖面上呈現三維世界中物體與空間的表現方法，往往會影響他們對三維建築的構造設計與空間營造。建築在西方自文藝復興時期因為平行投影與透視投影的發展，使圖成為設計工具，也間接建立了二維藝術呈現與其三維建築空間營造的因果關係。反之，東方中國少有建築設計理論之論述而較難理解二維圖繪與三維建築空間營造之關聯。然而東西方在圖像空間描述三維物體與景深方式截然不同，在捨棄透視作圖，中國捲軸畫以立面斜視平行線立體圖描繪三維物件，並以相對大小等景深線索建構層次景深。中國捲軸畫因此能以片景方式無盡呈現圖繪空間。明朝山水畫家計成所著之園冶為中國流傳少數論述建築設計之著作。書雖名「園冶」實則包含基地規劃、建築營造，景觀設計等如何建造江南園林之論述，並闡述中國山水畫與江南園林的關聯。本研究以園冶論述為主，中國山水畫理為輔，探討中國的二維山水畫理如何直接與間接影響中國三維建築設計與空間營造。而園冶一書主為闡述如何建造江南古典園林，又中國山水畫理論述與園冶一書以「文言文」撰寫，不易理解。本研究以台灣著名之江南園林，板橋林家花園為實例，以「描形」與「寫意」兩大主軸，透過實地建築環境以數位投影模擬方式研究建築形變與中國山水畫中圖繪幾何的關係。並以歷史詮釋性研究，以林家花園現地空間經驗驗證山水畫理的空間營造設計應用。研究以單景擴增實境，與多景條件式擴增實境來註釋含二維山水畫理的幾何構成與構圖如何影響林家花園的建築之「形」的構成，與「園冶」與「園說」等園林設計文獻的設計手法如何以「意」的方式實踐於林家花園之中。

Painting can be an artistic representation of a three-dimensional world in a two-dimensional canvas. How people from a particular culture compose their two-dimensional pictorial space can often affect how they construct their three-dimensional architectural space. Developments of methods of parallel and perspective projections, as well as published design theories based on those drawing methods have enabled architectural drawings become design tools in Renaissance. Promoting architect become a profession and demonstrating the causal relationship of painting and architectural design in the West. On the other hand, in Eastern China, little discussion of architectural design theory was documented, making it difficult to establish cause-and-effect relationship of Chinese landscape paintings and their architectures. However, the way in which East and West compose depth in a scene differ significantly. Without the use of linear perspective, Chinese painting depicts the three-dimensional objects with elevation oblique of paraline drawing along with the use of depth cues such as relative size to create layers of depth in a scene. By being freed from vanishing points, Chinese painting can also be freed from the field of view from a single viewpoint and resulting an unlimited pictorial space. The scroll painting can therefore extend as long as painter wants and contain one scene after another presenting section by section. This unique pictorial space can be observed in Chinese scholar gardens. Yuan-Ye is a book dedicated to the design of Chinese scholar garden authored by painter Ji-Chen from Ming Dynasty. This book illustrates how to design a Chinese scholar garden from site planning, architectural construction, to landscape design. It provides insight concepts and detailed techniques about how to create three-dimensional scenes from two-dimensional Chinese landscape paintings. This study investigates Yuan-Ye and related publications regarding techniques and theoretical foundations of Chinese painting, to establish cause-and-effect relationship between these two and three-dimensional arts. However, the Yuan-Ye and related Chinese painting publications were written in classical Chinese, making them difficult to understand. In this study, the Lin Family Mansion and Garden, the real site of Chinese scholar garden in Taiwan was studied to untold the relationship of two-dimensional Chinese landscape painting and three-dimensional Chinese scholar garden design. Topics of “Geometrical analysis” and “Design realization” were carried out. For “Geometrical analysis”, observed distorted architectural forms of Lin Family Mansion and Garden were analyzed by geometrical projection thorough computer simulation, to reveal how drawing method of elevation oblique of Chinese panting affect the geometrical configuration of garden’s architectural construction. For “Design realization”, abstract design strategies based on Chinese painting were identified through history-interpretation research method and verified with the real site spatial experience in Lin Family Mansion and Garden. To conclude this study, innovative mobile application of augmented reality was developed to interactively display the research findings with real-time on-site experience. 

研究發表：

Novel Spatial Interaction Method for Viewing Ancient Chinese Scroll Paintings, IEEE ICCE-TW 2023 >  

Supplementary Physical Device for In-Depth Augmented Reality Touring of Architectural Heritage Sites, IEEE ICCE-TW 2022 >  doi.org/10.1109/ICCE-Taiwan55306.2022.9869009

中西方在二維圖像上營造三維空間深度的方法各有不同，透過不同的圖像景深線索，中國的山水畫在不同層次以相對大小的視覺呈現，營造出不同於西方繪畫以線性透視所描繪出的透視空間深度。而中國畫家直接參與園林設計使江南園林建築，呈現出如西方文藝復興時期般的案例，以畫理中使用之圖像景深線索在實體建築環境中營造出錯視景深。本研究以清末建於臺灣板橋，以江南園林造園法則所建造之林家花園為主題，以感知實驗法研究中國畫理之相對大小景深線索對中國園林空間感知深度營造的因果關係。研究以山水畫理與視覺心理學的相對大小景深線索的應用為基礎，以感知實驗來研究兩拱橋與假山以縮小尺寸建造，是否在誤以為正常尺寸下，將能使兩橋之間的距離產生較遠之錯視深度，從而增加整體視景之景深。研究分別以視覺比對法與恆定刺激法對位於不同圖像景深線索構景之視景，進行感知距離的量測，從而了解不同的景深線索之構景，對景中視覺標的感知深度的影響。實驗結果證明，板橋林家花園榕蔭大池周遭之建築元素的配置所呈現之有違常理之建築縮小與形變能對特定視點營造出強迫透視般的視覺效應，並應用空間感知中相對大小的景深線索來營造出深遠的錯視景深。

The methods of creating three-dimensional depth in two-dimensional images in the West and the East are quite different. Chinese paintings use layers of pictorial cues of relative size to create sense of depth, while Western paintings utilize linear perspective to integrate size related pictorial cues to depict the three-dimensional spatial relations in two-dimensional canvas. The Chinese Scholar’s Garden is known for its sense of endless spatial experience and illusory scene depth offered in a compact physical setting. Extensive studies credit this particular spatial experience to the involvement of the Chinese painters in the architectural design of the Chinese Scholar’s Garden. The aim of this study is therefore to examine how the pictorial space composed in Chinese painting can be realized in the built environment of Chinese Scholar’s Garden. The Lin Family Garden built in the late Qing dynasty, located in Banqiao of Taiwan was selected for its adoption of architectural style of Chinese Scholar’s Garden. The proposed hypothesis is that the arrangements of the reduced size of the two bridges and artificial mountains around the pond is to create the illusory spatial depth when misperceiving them as normal sizes. Perceptual studies were conducted to investigate this hypothesis. The results reveal that the perceived distances of the visual target standing in the scene with the manipulated relative size cues does perceived farther away. This study thus concluded that the uncommon distortions and the reduced sizes of the architectural elements observed in the Lin Family Garden can be intentional, as an effort to implement the pictorial cue of relative size utilized in Chinese landscape painting to create the illusory depth for particular viewpoints in the garden.

研究發表：

Effect of Pictorial Depth Cues on Illusory Spatial Depth of the Lin Family Garden, Empirical Studies of the Arts (A&HCI, SSCI 期刊) >  doi.org/10.1177/02762374221143725

Analyzing the Geometric Distortions in a Chinese Scholar Garden in the Lin Family Mansion and Garden Using Computer-Simulated Projections, Computer-Aided Design and Applications (Scopus 期刊) >  doi.org/10.14733/cadaps.2021.1119-1130

一門課程的目的在於傳授知識或技能，以期能對修課者後續的學習或是未來的職涯有所助益。也因此課程的真正價值與貢獻，往往在於課程結束後是否能讓學生持續應用。分析性速寫雖為應用分析性繪圖原則在建築實地速寫的一種方法，其實更是讓設計者能透過「看」來解析，用「畫」來記錄對所處環境所得之可見與不可見之領會的一種圖像語言。也因此應如口說語言般，能透過自主學習與持續練習而不斷精進。本研究延續去年執行之教學實踐研究計畫所開發且實證，能輔助實地教學的手持裝置互動速寫教材，進一步將完整的課程內容以不同的互動呈現方式整合於手持裝置上的應用程式。包含視覺化的理論解析、實地案例的逐步圖說、實地案例的速寫影片等。此外更利用智慧型手機的 GPS 定位功能來偵測使用者位置，呈現附近之分析性速寫景點，讓互動層級由介面操作的互動，推展到生活與學習行為的時空互動。研究以行動研究法以教學現場的觀察與回饋作為此適地性互動速寫應用程式的開發依據，並將課程以不同學年、不同形式課程的修課學生，以貫時性研究來量測適地性互動速寫教材對自主學習與長期練習動機提升上的影響成效。藉以開發一以我們身處城市為索引，能適地適時呈現分析性速寫教學內容，引導有興趣學習者使用的行動學習程式。

Teaching a course is meant to pass knowledge or skill. It is expected to help learner to continue study or apply the acquired skills to one’s career. The real value of a course is therefore should be determined by its future contribution to learners’ success as opposed to their in-class performances. As a result, many educators have been working on teaching theories and techniques to promote the learning motivation through the courses. The objective of developing learning motivation is also aimed to engage learners to self-study or practice, in order to expand the related knowledges or to master the skills after the completion of the course study. Although analytical sketching is a method that employs analytical drawing process in the on-site architectural sketching, it is a form of visual language that allows designer to communicate with the built-environments and document one’s understanding and thinking. Therefore, developing abilities of analytical sketching should be benefited from the motivated self-learning and continuing practice just like learning a spoken language. To this end, we developed a location aware mobile learning application to engage learner to study and practice the concept and skill of analytical sketching at right time and right location. The developed mobile application is extended from the prior research project of implementing an interactive mobile learning application to assist the teaching of on-site analytical sketching. In addition to the comprehensive course materials to be presented in an interactive way, the main concept of this project utilizes the GPS location tracker available on today’s smart phone and to develop an interactive learning experience for on-site analytical sketching. Effects of this location aware mobile learning application was evaluated through longitudinal study with student groups from different classes of different years. The long-term objective of this research is to develop a mobile learning application that can engage and encourage any learner to explore the city with a goal of self-learning and continuing practice the analytical on-site architectural sketching.

研究發表：

On-Site Architectural Drawing with Hand-held Mobile Instructions, International Journal of Information and Education Technology (Scopus 期刊) > doi.org/10.18178/ijiet.2022.12.1.1579

適時適地輔助建築速寫之自主學習: 融合紙本與手持裝置之教材研發與紀實，教學實踐研究 (期刊) > doi.org/10.7007/JSoTL.202103_1(1).000547-53

自文藝復興時期起，「設計圖學」已經發展成為讓世界各地與設計相關的從業人員，都能理解的一種圖像語言。而在近數十年，這套圖像語言更藉由數位科技的發展而更具效能。然而近年電腦繪圖技術的快速演進，傳統手繪製圖則逐漸被取代，也使手繪漸漸被忽略。然而所被取代與忽略的不僅僅是手繪圖像的美感，還有我們直覺且直接地利用手繪來研究眼前建築與捕捉腦中萌芽設計想法的能力。本計畫的目的便是在反思數位科技演進下重拾手繪速寫的價值的同時，再反向探索數位科技對輔助實地教學上的應用。隨著通訊科技的進步，手持裝置如智慧型手機與平板電腦已快速普及而致人手一機，也因此透過手持裝置，原本只能傳遞到定點數位裝置的數位資訊，更能即時傳遞到移動中的個人。而軟體技術的發展更使原本靜態的教學資訊，能以互動方式呈現。因此本計畫的目的即在研發互動教學應用程式，以分析性速寫為主題，來輔佐「建築速寫」實地教學的進行。研究以智慧型手機為平台開發互動學習應用程式，內容包含了分析性速寫的觀念以及不同案例的速寫過程，研究並以實際教學應用來測試手持裝置互動教材在實地輔佐學習的成效。

Ever since the Renaissance, design drawing has become a visual language that communicate people who involved in the process of design. This visual language has been greatly advanced by the recent developments of computer technologies, and those computer-aided design tools have gradually replacing the traditional design drawings by hand. As a result, the freehand drawing has been fading away in the architecture education nowadays. However, the ability to inspire design idea through the on-site freehand sketching is unfortunately also fading away. This study therefore aims to explore a practical application to utilize the digital technology to assist the teaching of the on-site freehand sketching. As the hand-held devices such as smartphone or tablet computer have become affordable and widely available, digital contents can now be easily delivered to the people on the move. The advancement on the mobile computing further allows the digital contents can be interactive and therefore offer more illustrative and informative instructions. In this study, we will experiment with the use of interactive mobile App to assist the on-site instruction for sketching analytically of the observed architectural environment. Theoretical foundations and drawing techniques of analytical drawing process were implemented into this mobile learning application for the on-site architectural freehand sketching. The goal is to bring the classroom to the wild, and once again to develop students’ abilities to realize the spatial relationship of the visual environment and the commutative understanding through the sketching process.

研究發表：

Smartphone Mobile-Learning Application for Implementing Analytical Drawing Process in On-site Sketching, IEEE ICCE-TW 2019 > doi.org/10.1109/ICCE-TW46550.2019.8991737

古蹟建築作為見證歷史文化發展的重要性已為世界各地所重視，世界各國也持續投入資源盡力維護建築古蹟以為後世保存重要的文化資產。然而古蹟建築在面對天然因素如天災與材料老化等，或因人為因素如變更使用目的改建或是開發而拆除等，都無可避免地讓許多古蹟建築損耗、損毀或是移除。因此古蹟建築常以保存能再建造之資料為原則，透過測量圖、照片等非實體方式記錄並保存。而數位科技的發展如三維雷射掃描，遙控感測測量等，大幅增進古蹟建築物的形體測量與材質紀錄的精確性與完整性。此外，數位科技的發展也開拓了古蹟建築在典藏呈現的多元性，如擴增實境與虛擬實境所呈現的擬真感知。然而現有的數位典藏延續以建築物為主體的方向，詳實記錄建築各項物理層面的屬性，卻忽略了感知層面以人為主的視覺感知。如何記錄與保存古蹟空間中原始設計所營造的空間視覺感知也應為數位典藏中一項重要的項目。本研究以台灣傳統廟宇為主題案例，探討如何以能忠實記錄一視景輝度分佈的高動態範圍影像攝影技術來記錄與保存一古蹟空間的感知視景。研究以淡水龍山寺與福佑宮兩座保存狀況不同的歷史古蹟廟宇為案例，以視覺心理學中如何認知三維物件的標準視景 (Canonical View) 所提出的最常見視景 (Hypothesis of Frequency) 與呈現最多資訊視景 (Maximal Information) 兩種假說，來探索如何在建築環境中認知出最容易引發儲存於記憶相本 (Mental Album) 中對該空間印象的空間視景，以作為歷史建築感知經驗記錄之選景。研究分別以數位方法之空間形構的演算 (Space Syntax)，與現場實地調查的行為地圖研究方法 (Behavioral Mapping)，依上述理論來選景。研究並招募受試者以感知實驗來驗證。實驗結果呈現最常見之視景最能引發對該建築空間之回憶，而古蹟建築的保存狀況亦會影響視景偏好的顯著性。此外，研究亦發現使用行為地圖研究法能有效確認最常見之視景，作為以感知真實高動態範圍攝影術以正常視野記錄古蹟建築空間感知經驗的選景。空間形構數位演算工具則能確認最常被看見之視點，反能以高動態範圍攝影術於該視點以全魚眼鏡頭進行全景記錄。

Preservation of historical heritages has been identified as an imperative task by many cultures and countries. However, regardless of the efforts that have been continuously made, historical architecture unfortunately cannot be free from being damaged or demolished over the natural or man-made causes. As a result, documenting historical heritages with architectural drawings and photos remain one of the most important tasks for archiving the cultural heritage. Recent developments of digital technologies such as photogrammetric modeling or remote sensing have enabled the measuring of architectural heritages with high precision, innovative displaying technologies such as augmented reality and virtual reality further allowed the archived data can be presented in new perceptual ways. However, the archived data of historical heritages mainly focus on architecture’s physical properties, falling short of preserving the perceptual aspects from visitors. This study aims to develop a methodology to use digital technologies of High Dynamic Range Imaging to record interior architectural scenes that can best represent the perceptual experience of the historical buildings. Hypothesis of most frequently viewed scene and hypothesis of maximal information to identify the canonical view were tested to identify the architectural scenes that can invoke visitor’s mental album of the particular architectural space. Computational method of Space Syntax and research method of behavioral mapping conducted on-site were used to identify scenes based on the two hypotheses. Two traditional Taiwanese folk religion temples were selected as cases, perceptual studies were conducted. The results demonstrate that when participants were asked to select the scene that can best represent the space, the most frequently viewed scenes that demonstrate the original design were significantly preferred. In addition, the most frequently viewed scene can be more determinedly identified by behavioral mapping, making it a preferred method to identify architectural scene for archiving the perceptual experience of an architectural heritage. On the other hand, the method of Space Syntax can identify the most viewed spot. And that spot in turn can be the ideal location to document the architectural environment with panoramic or 360° spherical image that can restore all possible viewed scenes from that particular location with post-processing.

研究發表：

Digital Archiving of the Spatial Experience of Cultural Heritage Sites with Ancient Lighting, Journal on Computing and Cultural Heritage (A&HCI, SSCI 期刊) >  

Digital Archiving of Perceptual Experiences of an Architectural Space with Computer-Aided Methods, Computer-Aided Design and Applications (Scopus 期刊) >  doi.org/10.14733/cadaps.2020.585-597

圖像景深線索為二維媒材上重製三維環境的重要元素。與幾何大小相關之景深線索可由線性透視作整合，因其較易於實驗景中呈現與控制，相關景深線索對空間深度感知的因果關係已由感知實驗證實。近年發展之高動態範圍影像相關模擬技術則提供了一個能反應感知忠實的圖像環境，難以在現實環境控制的輝度對比也於此環境經實驗證實為一有效的景深線索。

「大小」與「對比」兩項景深線索間的相互關係已由研究證實可在二維構圖上獨立作用，透過「明暗對比」的控制，可強化也可以減弱「大小」對感知深度的影響。本研究的主旨則在將此二維大小與明暗對比的相互影響關係，在三維的模擬環境空間做檢視。研究目的有二：首先為透過文藝復興時期，以強迫透視幾何結構所營造之空間深度視錯覺案例 Galleria Spada 為實例，藉由原設計有系列天井之狀況，與現存天井封填之狀況，以感知實驗方法研究輝度對比對強迫透視所營造之空間深度視錯覺的影響。其次則將前期研究所驗證的輝度對比的景深設計應用，利用歷史建物的建築實例作營造深度感知效應的驗證。研究成果證實建築空間的「明暗」能對「強迫透視」所營造的錯視空間深度產生影響。藉由視覺標的與其前景與背景的輝度對比的控制，能強化或減弱視景的空間感知深度。

Depth perception is a process that transforms the visual stimuli received from the eyes into the three-dimensional understanding of the presented spatial layout. In this process, the prior established knowledge of depth cue was utilized to recover the third dimension of depth from the retinal images. Pictorial cues are the static depth cues and those static depth cues have been the essential elements to create pictorial environment on planar media. Pictorial cue can be categorized as size-related and tone-related cues. The size-related cues including relative size, familiar size, or texture gradient. Those cues can be integrated by the principle of linear perspective. Because pictorial cues are easy to control and represent, the effects of size-related depth cues on perceived distance have been established by various perceptual studies. Recent developments of High Dynamic Range Imagery and its related technologies has created a computer-generated pictorial environment that can reflect the perceptual reality, effect of luminance contrast has then been identified as an effective depth cue through the perceptual studies conducted in this alternative environment. 

The depth effects between “Size” and “Contrast” have been previously studied in a two-dimensional setting, and results demonstrated that the two depth cues could affect the perceptual judgment of distance independently. Applications of contrast can reduce or enhance the depth effect created by the “Size”. In this study, the interrelationship of the size related-depth cue and tone-related depth cue were investigated in a three-dimensional architectural setting. Architectural space of Colonnade Spada was designed based on the forced perspective to create illusory depth. The original design has a series of skylights that no longer exist. This study simulated the Colonnade Spada with and without skylights in computer environment, and conducted psychophysical experiments to investigate whether if the luminance contrast introduced by the skylights would affect the illusory depth effect created by the distorted structural configuration based on the forced perspective.    

研究發表：

Investigation on Light Effect on Spatial Illusion Resulting from Forced Perspective,  Computer-Aided Design and Applications (Scopus 期刊) >  doi.org/10.1080/16864360.2015.1084193

高動態範圍數位影像的發明，與相關技術的發展，已使數位影像的真實度可以推進至物理上的真實。而近年所發展的以感知為基礎的影像壓縮技術，則可進一步將高動態範圍影像以人類視覺成像的原理為根據，壓縮呈現於一般低動態範圍的顯示器。數位圖像環境的真實度也因此由物理科學數值上的正確，推進至視覺感知上的真實，並為受限實體環境的感知研究提供了一個進行實驗的替代環境。

前期研究以高動態範圍數位影像相關技術所建構的數位圖像環境來進行感知實驗，研究光在一景的分布如何影響視者對該景感知深度的判斷。系列研究發展的現況為整合高動態範圍影像相關技術與立體呈現技術，建構一能忠實反應光模擬與深度感知的數位圖像環境，並以此環境進行感知實驗，驗證輝度對比為有效的景深線索，並發展出一設計應用的原則。

然而模擬應用之基礎建立於模擬之準確性，雖然各高動態範圍影像相關技術就物理數值或視覺感知的忠實性已分別驗證，然而前期研究所建構的數位整合流程的最終數位呈現，與現實環境間的真實替代性則尚未實證。本研究計劃便是以實體製作環境來驗證以數位模擬環境進行輝度對比應用的準確性。研究使用數位相機對實體木作模型以高動態範圍影像攝影術製作實驗景。並以相同技術利用全周魚眼鏡頭對木作模型所置放之空間進行光環境記錄，並利用為影像光源來進行數位實驗景的模擬。研究分別以實體實驗景與數位模擬景進行輝度對比對深度感知影響的實驗，並藉量化的實驗結果來驗證輝度對比在實體與虛擬環境之景深線索效應的相同與差異，以及討論如何能以數位輔助工具來準確應用輝度對比於三維空間設計。

The development of digital technologies of High Dynamic Range (HDR) imaging and its related technologies has advanced the visual realism of digital representation to physical accurate. With the HDR related technologies of HDR Photography and physically based lighting simulation program of RADIANCE, the existing and imaginary scenes can be both recorded and simulated in a HDR format that encompasses the complete dynamic luminance range of the scene. Perceptual-based tone-mapping techniques were developed to compress the dynamic range of HDR image to a common display device’s displayable range based on how visual system process the light. As a result, the visual realism of digital representation generated by HDR related technologies has been advanced from physical accurate to perceptual realistic, and provides a possible alternative environment to conduct perceptual study that is restricted from the physical environment.

Prior studies have conducted psychophysical experiments using computer images generated by HDR technologies to investigate the effect of luminance distribution of scene on depth perception. Principles of utilizing luminance contrast to enrich spatial experience in spatial design were generalized and verified using the same computational environment. Although the visual realism of the utilized HDR technologies and their outputs have been previously established in terms of lighting simulation and depth perception, the visual realism of the digital representation of the experiment settings utilized in the prior perceptual studies has yet to be verified with the physical scenes it simulates. In this study, experimental scenes were generated by the HDR photograph of the physical model, and the computer simulation of the same settings of the physical model with the image based lighting technique utilized in RADIANCE. The objective of this study is two folds. The first is to compare the effect of luminance contrast on depth perception between the physical scenes and the computer-simulated scenes. The second is to verify the reliability of the utilization of luminance contrast in the computer-aided design process through the use of the established HDR related computational framework.   

研究發表：

Effect of Model Scale on Predicting Illusory Stereo Depth Effect of Luminance Contrast in Real and Virtual Environments, Cogent Engineering (Scopus 期刊) >  doi.org/10.1080/23311916.2016.1243007

Computational Investigation of the Effect of Luminance Contrast on Depth Perception in Physical and Simulated Scenes, Computer-Aided Design and Applications (Scopus 期刊) >  doi.org/10.1080/16864360.2014.949575

景的明暗分布往往會對景的感知深度產生影響。然而與明暗有關的景深線索因受限於真實環境中難以準確控制輝度而有效地作量化的實驗研究。高動態範圍數位影像技術 (High Dynamic Range Imaging, HDRI) 的發展則將實景與虛擬景的輝度測量與模擬由一維的點推進至二維的面，進而提供了一在感知上對輝度分布忠實呈現的方法。除了在感知研究的領域上提供了能研究輝度對比為景深線索的實驗平台，同時也能在設計過程中提供應用輝度對比來營造空間深度的預視環境。

本研究計畫延續先前相關研究所建立的數位流程，以 HDRI 相關技術所建構之圖像環境來探討實體結構、光、與空間感知深度間的關係。先前研究確認了距觀測者同遠之相同視覺標的物會因其與背景的不同輝度對比而產生不同之感知深度。實驗結果顯示標的物與背景輝度的對比越高，深度感知則越近。然而前期研究所使用之數位環境雖能在呈現靜態圖像景深線索上達到與實體環境的忠實呈現，卻忽略了雙眼視差 (Binocular Disparity) 的影響。數位景模擬一般以虛擬相機作設定，單視點作輸出，呈現出如相片般的視點經驗。然而人的視覺感知是由雙眼各自接收之視覺刺激整合而產生立體經驗。本研究之目的即在探討深度線索中的雙眼視差 (Binocular Parallax) 對數位建構圖像環境的感知忠實度的影響。並從而檢驗輝度對比在二維立體呈現 (Stereo Display) 上的三維景深影響。

It can be often observed that lighting distribution of a scene can affect its perceived depth from a particular view. However, the dynamic characteristics of lighting make experimental investigation on the effect of luminance distribution on depth perception difficult. High Dynamic Range Imagery (HDRI) and its related digital technologies have made accurate simulation of luminance distribution of a scene possible, and thus provide an alternative environment to conduct psychophysical experiment to study the depth cue effect of luminance contrast. 

Prior studies have established the cause-and-effect relationship of architectural configuration, its resulting luminance contrast, and the depth perception of the architectural scene, through the psychophysical experiments conducted on the computational environment generated by HDRI related technologies. However, the HDR scene was produced from a single camera viewpoint, failing to address the depth cue of binocular parallax. This study is to investigate the impact of binocular disparity on the visual realism of the pictorial environment generated by the prior established computational framework; and to further study the depth effect of luminance contrast of architectural scene simulated and presented on a stereo display.

研究發表：

Computational Investigation of the Illusory Depth Effect of Luminance Contrast on a Three-Dimensional Architectural Scene with Binocular Vision, Journal of Asian Architecture and Building Engineering (A&HCI, SCIE 期刊) >  doi.org/10.3130/jaabe.14.331

三維空間在二維平面上的視覺化呈現是建築設計過程中從概念發想到施工圖繪製間一項重要的輔助工具。設計者利用不同的圖學系統來探索各種可能的配置，並利用表現法的圖像空間來預先檢視不同配置所營造的空間體驗。所謂的圖像空間是由圖像景深線索在二維平面媒材上所創造呈現的三維空間視錯覺。由於圖像景深線索聯結了現實的三維空間與二維平面上的想像三維空間，因此圖像景深線索常常被應用在建築設計中做為豐富空間體驗的手法。

長久以來光便是營造建築空間體驗的一項重要元素。日光在空間的分布取決於實體空間的配置，而特殊的配置往往能替空間中的輝度分布創造特定的節奏，並加強空間深度的效果。然而這樣的應用往往是根據經驗法則而無一公認的設計原則。

與光之明暗有關之圖像景深線索因受限於真實環境中的輝度控制而無法有效地作量化實驗研究。本研究以高動態範圍影像技術 (High Dynamic Range Imaging, HDRI) 所建構的數位影像空間來作量化的心理感知測驗。透過建築實例的分析，數位空間的模擬，與心理感知試驗來研究如何將與明暗相關之輝度對比的圖像景深線索應用於建築設計上。並就建築實體元素配置、所造成之輝度分布與所視景之空間深度感知整理出一因果關係，並提出一能在 HDRI 的圖像空間中來準確預測輝度對比對感知深度效果的建築設計原則。

Visualization of three-dimensional space is essential to architectural design process. Architects utilize various representation techniques and pictorial cues to describe and develop spatial qualities in their design alternatives. Lighting has long been employed as a design strategy to enrich the spatial characteristics of an architectural space. Physical structures determine how the daylight is introduced into the space, and how the scene is rendered with particular luminance patterns that may evoke a certain sense of deepness. However, the application of pictorial cue of light has historically been empirical, and has yet to be recognized as an effective design parameter to enrich spatial depth. 

In this study, we built upon a previous study that utilizes physically based rendering and perceptually based tone mapping techniques to generate pictorial spaces that can reflect perceptual reality. Series of psychophysical experiments were conducted in computer simulated environments to investigate the effect of luminance contrast to enrich spatial experience of an architectural built environment. Principles of utilizing luminance contrast as a design parameter are generalized based on the experiment results to conclude the study.

研究發表：

Application of Luminance Contrast in Architectural Design, Computer-Aided Design and Applications (Scopus 期刊) >  doi.org/10.3722/cadaps.2013.953-963