立體主義以其超越視覺所見的事物觀看方式，打破了事物的寫實性；同時將移動和時空同時性導入二度的繪畫空間，把繪畫從形象的關注，轉而採取認識的觀點，開啟了新的觀看方式。基提恩認為現代建築受到立體主義的影響，暫不論建築是一種立體的空間藝術，當代建築中似乎隱含有立體主義意識的建築作品，例如空間和元素之間的滲透和重疊、非單一線性的空間相對關係等。本研究藉由立體主義的藝術相關發展文獻作為基礎，藉著柯林．羅的透明性以了解繪畫中的空間意識，再以後立體主義進行六大構成元素的析離研究，試圖從後立體主義的繪畫汲取相對應的多重視點建築空間觀念的詮釋。本研究認為《陶板名畫之庭》具有後立體主義多重視野的空間性和空間構成，因此透過該作品的綜合分析以回應本研究探索的問題。 The cubism way of seeing the world is beyond visual realism. Moreover, both movement and simultaneity are seen as essential attributes which, on the contrary, are conventionally regard as restriction and therefore absent in two dimensional painting before the turn of 20th century. It establishes a new approach to objects that concerns more about idealism than realism. Siegfried Giedion thought that modern architecture was prominently influenced by Cubism. However, it is nothing to do with whether modern architecture is an art with three dimensional characteristics. Yet the penetrating, overlapping, and non-linear characteristics concealed behind space illuminate how cubism disturbs modern architecture. This research is based on the literature review related to the development of Cubism. Among the literature review, the transparency elucidated by Colin Rowe underpins the understanding of spatial consciousness in cubism paintings as well as in architecture. Analyzing of the post-cubism paintings with six components is then carried out, that then supports the better understanding of multi-perspectives of architecture space. Due to the three dimensional folding and unfolding space composition and strolling concept realized by the elaborate arrangement of various viewpoints of each noted paintings within this garden, “Garden of Fine Art”, a work of Tadao Ando, is seen as an appropriate project to shade the light on the spatiality and composition in response to multi-perspectives of post-cubism.
