山海之间，材料的姿态

美术馆与工务所之间

空间感与感官张力是美术馆与工务所都能带来的体验。我们希望找到一种特定物件（specific objects），使其成为美术馆与工务所“之间”的媒介，让美术馆更贴近“大众”，而工务所对建造的执着能够凝聚成“诗意”，让这一“之间”所构成的场所产生戏剧性的张力，启发观者的感知，共同创造崭新的记忆风景。

花博园区是台北市难得的由大片公共活动空间与绿地组成的步行街区，其中，北美馆前的广场连接着园区、繁忙的中山北路以及美术馆，扮演着调节市民情绪的中间角色。

在这片广场上植入一处场所，相较于园区，它是一个具有厚重感的物体，却让广场成为了一处地景。像是美术馆给出的一个隐喻，激发潜藏于此的能量，在休馆期间，让市民漫步花博园区后，步入这片独特的地景，开启对于身体、对于观看、对于感知、对于美术馆的新发现。

台湾地景启蒙

“在北美馆前，开辟一片稻田”是最初的想象。

稻米生产的过程，像是建筑的诞生，犁田、插秧、等待、除草、收成、晾晒……

按部就班地在由一株株秧苗划定的空间范围内发生，

随着秧苗成长，地景风貌以及人的感受也在不同的高度和色彩中变化着。

台湾拥有丰富的产业地景，稻田、鱼塭、盐田、温室以及蚵架等，

从微小的色彩、材料与构造，到广袤的尺度、地景构成，

身体可以从中感受到环境的变化，启发空间感知，进而形成独特的体验。

我们希望创造一种媒介，将这种体验带入城市，带进美术馆，

从垂直维度到水平延展，借由一个单纯的元素（构件），构筑出一片丰富多变的地景。

通过一系列的产业地景研究，即便在规模上与城市存在差异，但其脉络及生成，

存在着一种由人的行为刻画出的暧昧而有机的关系，

或许，北美馆前的广场，也能生长出一片为市民所铭记的景观。

由木栈板生成的秩序

一个长宽110×110厘米的标准木质托盘，即是建筑般的存在。

光影在木栈板间流淌所形成的透明性，加上其简单的结构性与重量感，让我们决定选用它来构建地景。

面对木栈板的挑战，正是其本身所承载的“物流”使命以及物理上的重量。通过火烧（baking）工艺，使其表面碳化至近乎黑，意外地让木质栈板转换为他者，不仅在感官上变轻，突出的木质纹理与黑炭更流露出时间感，让美术馆广场拥有了一份重量，介于美术馆与工务所之间的粗犷诗意。

项目信息

项目类型：竞图 / 台北市立美术馆2018第五届X-site计划（决选入围）

设计时间：2017.09

地点：台湾台北

作品尺寸：L49×W23.3×H2.4（m）

主要材料：火烧木栈板、施工脚手架、黑色遮阳网纱

Between Mountain and Sea, the Posture of Materials

Between the Art Museum and the Workshop

A sense of space and sensory tension are experiences that both an art museum and a workshop can evoke. We sought to identify a specific object—one that could serve as a medium situated "between" the museum and the workshop—thereby bringing the museum closer to the "public," while allowing the workshop's dedication to the craft of building to crystallize into "poetry." This interstitial space thus generates a dramatic tension, stimulating the viewer's perception and collectively forging a new landscape of memory.

The Taipei Expo Park is a rare urban district in Taipei, distinguished by its expansive public activity areas and green spaces, all designed for pedestrian access. Within this district, the plaza situated in front of the Taipei Fine Arts Museum (TFAM) serves as a vital nexus—connecting the park grounds, the bustling Zhongshan North Road, and the museum itself—while acting as an intermediary force that modulates the emotional rhythm of the city's residents.

By embedding a specific site within this plaza—an object possessing a sense of substantial weight when contrasted with the surrounding park—we transform the plaza itself into a distinct landscape feature. It acts as a metaphor offered by the museum, awakening the latent energies hidden within the site. Even during the museum's closure, citizens strolling through the Expo Park can step into this unique landscape, embarking on a journey of fresh discovery regarding their own bodies, the act of seeing, the nature of perception, and the essence of the art museum itself.

An Awakening to the Taiwanese Landscape

"Cultivating a rice paddy right in front of the Taipei Fine Arts Museum"—such was our initial vision.

The process of rice cultivation mirrors the genesis of a work of architecture: plowing the fields, transplanting seedlings, waiting, weeding, harvesting, drying...

Each step unfolds in a methodical sequence, contained within a spatial boundary defined by the individual rice seedlings themselves.

As the seedlings grow, the visual character of the landscape—along with the human perception of it—transforms through a shifting interplay of heights and colors.

Taiwan is endowed with a rich tapestry of industrial landscapes: rice paddies, fish farms, salt fields, greenhouses, oyster racks, and more.

From the minute details of color, material, and structural joinery to the expansive scale and composition of the landscape as a whole,

The human body can physically sense the environmental shifts occurring within these settings, thereby stimulating spatial awareness and culminating in a truly unique experiential journey.

We sought to create a medium capable of transporting this profound experience into the heart of the city—and, indeed, into the very precincts of the art museum.

Traversing the dimensions from the vertical to the horizontal, we utilize a single, elemental component to construct a landscape of rich complexity and ever-changing form. Through a series of studies on industrial landscapes—and despite the differences in scale that distinguish them from the urban environment—we observe that their underlying logic and genesis

are characterized by an ambiguous yet organic relationship, one indelibly shaped by human behavior.

Perhaps, too, the plaza fronting the Taipei Fine Arts Museum could give rise to a landscape destined to be etched into the collective memory of the city’s citizens.

An Order Born of Wooden Pallets

A standard wooden pallet—measuring 110 by 110 centimeters—stands as an entity possessing an architectural presence of its own.

The sense of transparency created by the interplay of light and shadow flowing through the gaps between the wooden slats—combined with the material's inherent structural simplicity and physical heft—led us to select it as the primary medium for constructing this landscape.

The true challenge posed by the wooden pallet lay precisely in the "logistical" mission it typically bears, as well as its sheer physical weight. By subjecting the pallets to a *baking* process—a controlled charring technique that renders their surfaces nearly black—we unexpectedly transformed these wooden units into something *other*. Not only did they appear perceptually lighter, but the heightened prominence of the wood grain—juxtaposed against the deep black char—also imbued the material with a profound sense of time. Consequently, the museum plaza acquired a distinct gravitas—a rugged, poetic quality that bridges the aesthetic gap between the refined art museum and the utilitarian public works depot situated nearby.

Project Information

Project Type: Design Competition / Taipei Fine Arts Museum 2018 5th X-site Project (Finalist)

Design Period: 2017.09

Location:Taipei, Taiwan

Dimensions:L49 × W23.3 × H2.4 (m)

Primary Materials:Charred Wooden Pallets, Construction Scaffolding, Black Shade Netting