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天外天外天:Depth of Field of Architecture

林冠豪 Kuan-Hao Lin

指導老師:林彥穎 Yen-Ying Lin 基地位置:東區, 台中市 East District , Taichung City 基地面積:10000 m2 作品說明: 建築物的生產從未像過去數十年來這麼高效、快速、體量驚人;但同時,都市中產生大量的廢墟。我熱愛廢墟。在發展題目之時,天外天劇場被撤銷暫定古蹟並火速拆除,在錯愕之餘也逐漸發現自己的認知與現實的落差。 對於廢墟或遺跡的定義絕大部分是二元論,一是剷除,二是賦予空間法定文化資產的身分,面對這種極端的選項,我們應該要反思建築與廢墟的本質,維特魯威的《建築十書》中為建築設計三個標準:持久、有用、美觀,而當建築不再具有這三種特性時,又是一種怎樣的存在?這或許要問的是更接近人的關鍵字:記憶。 人、時間與空間的相互關係形成記憶,記憶與當代建築的連結卻有著極大的斷層,在新的權力者進入時,舊有的痕跡被刮除並重新覆寫,導致我們逐漸淡忘自身的歷史。 開發案的出現,意味著土地上建築拆除與整合,新建築的出現帶來興奮與期待,而這份喜悅是藉由死亡才得彰顯,因此我利用興建的階段去揭露城市的記憶與痕跡, 將記憶的場所和期待的場所在同一個時間格裡彼此混淆,並為空間賦予景深。 The production of buildings has never been so efficient, fast, and amazing in size as in the past few decades; but at the same time, a lot of ruins are produced in the city. I do love ruins. While developing thesis, the Tengaiten Theater was revoked as a tentative historical site and quickly demolished. In addition to being stunned, I gradually realized the gap between my own perception and reality. The emergence of ruins or relics is mostly dualistic in the cities we live in. One is eradication and the second is to give the ruined space the status of legal cultural assets. Faced with such an extreme option, we should reflect on the nature of architecture and ruins. In Vitruvius’s "De Architectura", three main criteria are designed for architecture: durability, usefulness, and aesthetic . However, when architecture no longer has these three characteristics, what kind of existence is architecture? What we may want to ask is a keyword closer to humans: memory. The formation of memory symbolizes the interrelationship between people, time and space. However, the connection between memory and contemporary architecture has a huge gap. When the new power enters, the old traces are scraped off and overwritten again, causing us to gradually forget our own history. The emergence of the land development cases means the demolition and integration of buildings on the land. The arrival of new buildings certainly brings excitement and expectations, but this joy is manifested by death. Therefore, I use the stages of construction to expose the memory and traces of the city. I hope to mix the place of memory and the place of expectation in the present time grid, and then memory and expectation construct a real perspective of space and give it depth of field.