Weight can be felt, but does feeling have weight? The strength of thought in tugging out the tension at the threshold between matter and imagination, for creators, is to return to the nature of architecture and practice its uniquely creative energy.
This creator begins by developing three concepts relating to weight to describe and develop the materiality and spatial characteristics they present. These three starting points act between nature and artificiality, and provide feeling with different layers of weight sense.
The architectural device created through the consideration of these starting points is an experiential work. On one hand, it changes the weight of the space into which it is placed, symbiotically creating an elastic state. On the other hand, it responds to each body entering the state of the artwork.
Continuous Rain shows different marginality and temporality for the inside and outside of space; the clouds have light contrast and are difficult to touch; the directionality of the rain’s response is continuous like the changing landscape, so that the artificial and nature can both have sound, tactile sense, and warmth, full of the poetic sense of matter.
Floating Island was compressed out from the ocean surface, and exists for cutting off all regular connections. The invisible and thick-bottomed continuity, the changing water level and margins of elevation are extremely far but also extremely close, possessing conversions of different scales and environmental views on the outside and on the inside.
Suspension Bridge exists for connections, exploring the location of bodies, delineating the boundary between the natural and the artificial. Lightly touch the earth, as weight is presented as light swaying, with immediate and hand-related considerations of space.
The familiar myths always depict light imaginings, to reflect on and gaze at real weight; Lightness and heaviness respond to the body, not only cutting but also connecting, for contemplation of the nature of architecture.
“2014 Bridge House” is a landscape work that is different from the design of object, and it uses construction of [layers] to form environment. We attempts to create not only an object, but a landscape inviting people to physically experience the place. Three different levels of landscape are formed through on-site observations and practices to discuss about the opening of border and enlightenment topics about [publicness]. This work not only opens hardware border, but also opens perception border. Physical construction forms a field of interactions and exchanges to enable every audience participating in construction to create value of [publicness] of joint operation. The first level of the three levels of landscape enable audiences to enter formed space to perceive the change of time, moving people in the environment, and plants bearing time and natural power. The construction of space becomes a landscape, and forms the facial expression of [landscape]. The second level is the display of power of construction, and uses the point-by-point control of horizontal force to enable every circular space element to create moving tension of materials. In addition to forming the structural relationship of large space and every curved pattern, the second level also enable power from different dimensions to stack on it to create an extensive relationship of movement. The transfer of power enables physical sensations to connect with a place far away, other people, and surrounding environment, as well as enables power in the environment, such as wind and light to form the facial expression of light through construction. The third level is the bridge body at two ends of the edge that is seemingly hung from ground to create a new horizon and form important structural bridge body at two sides, which supports every circular flexible element and also forms cohesive landscapes and marginal landscapes at different heights. The transfer of power constructs a light and floating field to bring audiences to new relationship formed by different heights and environment.