2014 X-Site地景裝置計畫

Categories: Cultural
陳宣誠+任大賢+蘇富源
執行團隊:王國信、吳緯鴻、郭振銓、朱亭璇、鍾孟穎、余敏慈、陳冠帆、中原大學建築系
攝影協助:何孟學、陳益民建築師、台北市立美術館
展期:2014/04/12 – 2014/06/29

2015紅點設計獎 / Red Dot Award: Communication Design 2015
2014 台灣室內設計大獎 / 展覽空間類 / TID獎
2015 香港建築師學會 兩岸四地建築設計大獎 / 卓越獎
A’Design Award 2015 / Bronze Prize

所謂邊緣:北美館主入口北側的廣場,一直以來並沒有被正面看待;做為正負空間轉換的交界面,都市尺度的邊緣性(人們是怎麼來到這個美術館的)與建築場所的邊緣性(人們是怎麼進入美術館的)在轉換的過程中,變成一個單薄的面,而非有厚度、能容納活動的中景空間。因此藉由在廣場上,用竹構架1:1的重新描繪大廳的座標,建構出介於兩種尺度之間的連結,讓廣場重新被看見。

所謂感覺:並非抽象的思考,而是身體的視覺、觸覺、聽覺等實際的感知。竹構架於廣場的置入,讓參觀者接近美術館的過程中因為身體移動而產生不同的視覺影像疊加:遠觀的實體,隨身體的接近,看到竹子的間隙,亦或是間隙之間的變化與重組;或是隨著紅色金屬扶手引導進入竹林,觸摸到材料的真實性與對比性;或是站在三度空間的構架之上,體驗竹子的材料彈性,感受風的能量,聆聽環境的對話。

邊緣地景在廣場上以竹構架重新描繪大廳的座標系統,是一個將空間展開的實驗;一正一負、一內一外。而外周出挑的竹子,像觸手一樣往外探索、連結周圍的環境,將原本斷裂的都市紋理重新接合起來。

透過身體感覺的發生,重新定義北美館的入口廣場
透過邊緣性的轉換,連結都市、廣場與建築
透過物質性的對比,演繹時間與材料的關係

 

(文:台北市立美術館官網)
2014臺北市立美術館首次舉辦「X-site」地景裝置計畫,這項融合建築裝置與當代藝術的計畫,將於每年春天,針對北美館正門廣場,設置一件臨時性的公共活動地景,展期持續三個月,大眾將目睹一個全新面貌的美術館廣場。

本計畫呼應全球關注之環境永續經營、環保等議題,鼓勵低碳、再利用、減量等構築概念;評選的另一重點為鼓勵創新工法與探討城市公共空間議題;第三是 對於裝置基地的圓山文化資產地帶及城市博物館聚落內的美術館周邊環境提出一個適切的觀察並反應於作品上。美術館期望這個計畫能激發更多人對於建築的未來想 像,及每年藉由不同團隊的創意思考,有助於推動建築藝術做為城市重要的文化活動之一。2014計有29個團隊參加,選出10組入圍者,最後產生獲選團隊。

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2014獲選作品『邊緣地景』,創作團隊陳宣誠+任大賢+蘇富源建築師事務所,選用竹鷹架做為裝置呈現的概念原型,透過竹子反覆垂直水平的線性構築,將原本是早期台灣建築生產系統中輔助的臨時性構造物、大型廣告招牌 及蚵寮的主要結構元素進行再重組,轉化爲觸動身體感覺的構築系統。整個計畫透過在地性濃烈的格狀竹子林、環場步道與金屬線性扶手等三大組裝部分,共構成一 個容納感覺發生的場域,呈顯如鷹架城市般的巨大氛圍。

『邊緣地景』的鷹架概念,由大量孟宗竹與桂竹交錯形成,面積約等同本館入口挑高大廳1:1的尺寸並與北美館建築聯結。竹子獨特的材料韌性,當有作用 力發生在竹構材上時,其動能立刻相互傳遞,人如同走在現實與潛在之間的夢遊者,進行一場空間體驗。竹子也因時間產生本質上的變化,顏色由綠逐漸轉為黃褐色 的視覺感,整體裝置如同一自然地景,從開始到結束不斷關照大地的變化本質,記錄著時序的變化。

C.J.S團隊自行實驗開放性的竹材接合方式,捨棄一般畫完圖委由營造場施工的方式,從搬運、加工、焊接、組裝,以近乎工廠操作、游擊作戰的方式, 帶領約100位中原大學建築系學生在數個星期的工作期限內與機器、竹材共處,從體會竹材的視覺感受開始,了解自然竹材所具備的時間性與生命力,透過手做實 踐,在新世代年輕建築師身上延續關於建築教育的重新思考;建築如何被傳承與學習也展現在這次『邊緣地景』的創作團隊理念,對參與此計畫的執行團隊及所有觀 眾而言,這是一個多方對話的開始。

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Artists: Chen Xuan-Cheng, Jen Tah-Sien, Su Fu-Yuan
Production Team: Wang Guoxin, Wu Weihong, Guo Zhenquan, Zhu Tingxuan, Zhong Mengying, Xu Minci, Chen Guanfan, and the Chung Yuan Christian University Architecture Department
The Taipei Fine Arts Museum is holding the first instance of its landscape installation project Program X- site in 2014, an annual program that will blend architectural installation and contemporary art. The program will run every spring in the public plaza by the museum’s main entrance and present three-month-long landscape installations. Every year, the public can anticipate a completely new look for the museum plaza.

Installations will echo the current global focus on environmentally oriented construction practices related to sustainability, low carbon, re-purposing, and reduction. Projects are also chosen for innovative construction methods and exploration of the notion of public space in urban environments. Thirdly, artwork will respond to the government projects Cultural Capital of the Yuanshan District and Taipei City Museum, which are focused on areas where the Taipei Fine Arts Museum is located. Organizers at the museum anticipate the program, by presenting the creativity of participating artists, will stimulate wider and more imaginative thinking about architecture and promote architecture as an important urban art form. For this year’s inaugural iteration of the program, 29 applications were received, which produced ten groups of finalists and one winning team.

The presentation concept for the winning submission Landscape of the Boundary by C.J.S. Architecture-Art Studio refers to bamboo scaffolding. For their installation, the group transformed the repeating grid composition seen in bamboo structures originally used in Taiwan for temporary scaffolding at construction sites, supports for billboards, or underwater racks supporting commercial oyster beds, into an architectural system of bodily sensations. The installation comprises a gridded bamboo forest, paths surrounding the plaza and metal handrails to delineate a field of perceptions and manifest a larger than life atmosphere that suggests a scaffold city.

The scaffold structure is attached to the museum building, constructed in the same dimensions as the museum lobby, and realized with a great quantity of moso and makino bamboo, two varieties which are indigenous to Taiwan. The unique resilience of bamboo immediately transfers any force that is applied to the structure as visitors walk through this experiential world, which creates the dreamlike sensation of being situated between the real and subconscious. The quality of the bamboo will change over time; its color gradually fading from deep green to light tan, and the entire installation, which suggests a natural landscape, will record the temporal sequence of the topography at the site.

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The C.J.S. team is committed to open-ended experimentation, and has built the bamboo structure without outsourcing their design to contractors. The process proceeds from transport, processing of materials, and welding to construction, and is, by turns, similar to a factory operation or guerrilla action. Landscape of the Boundary involves nearly 100 students from the Chung Yuan Christian University Architecture Department, who started from a visual orientation and over the course of several weeks became familiar with changes in the bamboo by working on the material with different machinery. The project fosters hands-on experience, which furthers the education of a young generation of architects by encouraging them to reconsider how architectural traditions are learned, carried forward, and presented in the concepts of the C.J.S. team. Furthermore, Landscape of the Boundary project is the beginning of a multifaceted dialog for

participants and viewers.

 

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