Single channel video projection, a wooden ball, a stand lamp, a color photo and statement on paper
Dimension variable
video: http://vimeo.com/170447115, 6min55s
If concept and forms of architecture are re-defined through reflection on choices of modern life, then the urgency of frontier tackling contradiction should be civilization or not; civilization and how.
Screen-like buildings, arcs and straight lines of construction separate
space which is belonged to private and public interests under capitalism. The ownership
of the space is thereby defined by boundaries of architecture that the boundaries
attach dizzying manufactures to both the interior and exterior. The mixture of
scenario always put into battles of climate. Humans adopt, alter or forge wind
and light, between natural and artificial experiences, creating a comfortable
living environment which matches modernistic standards. In the process of
nature being civilized, we repetitively question about the meaning of home. Are
there any aesthetics or values ultimate and eternal?
Three points hold up an object as standing fundamentals, like a stand
lamp. Behind it a planet is placed on the ground. It lies against the wall covered
by moving images about looking at home again. As an extension from home to urban
cityscapes, regarding flow of wind and light, the intention target on the
complex relationship of modern life defined by the surface of space.
This is a three-story house in a traditional village built in 1970s.
The visible flow of wind and light is accumulated throughout dozens of years. Searching
for a new perspective of wind and light urge a re-intervention; for instance, a
floor lamp, imitate light like wisdom from the Universe. It is a metaphor. In a
closed area, humans connect to the external world through a window. Where is those
wind blowing on faces from? How? Take a turn. Ones may look at the endless
circles around. A full moon? A red sun? Candlelight, moonlight, and lamplight.
Interplay of light and shadow. What kinds of strange ideas on circles are
inserted? Too attractive yet confusing; natural yet mundane.
Both modern cities and nature, the general extremes are integrated
into a beauty-trap. Hidden true intentions behind obsequiousness juxtapose
so-called symbols of natural superficial features. Then, while boundaries of
architecture reveal confrontation between charm of civilization and contradiction
of human kinds, may it help sort out brand-new values and stratagems of
development in this black or white world?
如果建築的理念與形態由反思現代生活的選擇重新定義，最迫切處理的矛盾是文明或否；文明與怎樣。
屏風的大樓、建設的弧線和直線，分隔開資本主義下種種個體與公眾利益所屬的空間。間隔的線條由建築的邊界定義，邊界內外依附及承載眼花繚亂的工業製品，處處上演氣候的爭奪戰。人們採納、改變、偽造風與光，在天然人造間，營造一個個符合現代化標準的生活環境。我們在自然與文明的進程中，一再追問所謂居所的意義。有沒有一種美學或價值是終極又永恆的？
三點撐起一物，是立體佇立的根本，如落地燈。它背後有一個星球放地，背靠籠罩重新審視自家居所的影像，作為呈現都市內風和光流動的引申，直視由空間表面定義現代生活層層相扣的複雜關係。
這間圍村樓房共三層，自一九七零年代建成，可見的風向和光源是幾十個年頭日常的累積。藉尋找另一片風光得以再介入，如室內的落地燈，能模仿光早已是逆天的智慧結晶。人們在密閉的空間接通外在世界依靠一扇窗戶，迎面吹送來的風又如何刮起？轉過頭驚覺發現眼前無盡的圓形，是滿月？紅日？燭光、月光、電燈光，光影轉換。是什麼樣的圓形異想如此迷惑人心，既自然又世俗？
以都會與自然整合而成的美人計，將媚態掩藏的真正意圖並列於假象和所謂自然表徵的符號。那末，在建築邊界揭示文明魅惑對峙人性矛盾的這個局面，是否有助於非黑即白的世界裡疏理出嶄新的價值取向和發展對策？
