建築能夠觸動人們的情感，人們的情感能夠建構空間的意義。然而視覺的霸權讓建築的閱讀流於形式、裝飾等表象，使空間與人的生活、身體逐漸脫節，而純粹視覺的建構與缺乏空間感知誘發能力的建築生產，使得空間的深度扁平化。本研究以莫里斯．梅洛－龐蒂（Maurice Merleau-Ponty）所提出的《知覺現象學》之觀點，試圖重拾建築的本質與意義，特別是梅洛龐蒂將身體圖示是為自身身體對應所處存在事物的綜合作用，本研究即是探究身體圖示在建築空間中的意義，以及身體圖示所誘引出的身體為經驗主體的建築知覺整體性，並透過彼得．卒姆托（Peter Zumthor）的建築作品，探討其空間的實質構成與身體的關係，以及此關係所衍生的空間氛圍，透過感官作用之下，探討建築中的知覺整體性的多重可能性。 Architecture can touch people's emotions, people's emotions can build the meaning of space. However, visual hegemony flows the reading of architecture into the appearance of form and decoration, gradually separating the space from human life and body, and the rational construction and the standardized production make the depth of space flat. Therefore, based on the ＂phenomenology of perceptual view＂ put forward by Maurice Merleau-Ponty, this study attempts to regain the essential meaning of architecture and explore the concept of perceptual phenomenology in architecture through the body-Perceptual integrity. And through the composition of different features in the architectural works of Peter Zumthor, the relationship between the spatial composition of the different characteristics and the scale of the body is explored, and the relationship between the space atmosphere extended by the relationship and the state of sensory interaction Multiple possibilities for exploring the holistic perception of architecture.
