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 the principles and forms of architecture are redefined through a reflection on the choices of modern life, then the most urgent contradiction to confront is not merely whether civilization exists, but what kind of civilization we are shaping. Towering buildings, like folding screens, carve out the curves and lines that divide space between individual and public interests under capitalism. These partitions are drawn by architectural boundaries, and on both sides of them lies a dazzling abundance of industrial products. Everywhere, a battle over climate unfolds. People adopt, modify, and manufacture wind and light, constructing living environments that satisfy the demands of modernization — suspended between the natural and the artificial. Along this ongoing journey between nature and civilization, we repeatedly ask: what is the true meaning of dwelling? Is there an aesthetic or value that can be considered ultimate, or eternal?
Three points supporting a structure form the basis of an upright volume — like a floor lamp. Behind it rests a planet placed on the ground, backed by an enveloping presence that invites a renewed gaze at one’s own dwelling. It becomes an extension of the urban flow of wind and light, confronting the layered complexities of modern life as expressed through spatial surfaces.
This three‑story walled village house was built in the 1970s. The directions of wind and the sources of light visible today are the accumulated traces of decades of daily life. Seeking another landscape becomes a way to intervene again — like the floor lamp indoors, a crystallization of human ingenuity that defies nature by imitating light. In enclosed spaces, people connect to the outside world through a single window. Yet how does the wind that enters stir the air within? Turning around, one is startled by the endless circle before them — is it a full moon, a red sun? Candlelight, moonlight, electric light: shifting illuminations and shadows. What kind of circular fantasy so captivates the human heart, both natural and worldly?
This seductive fusion of metropolis and nature — the beauty trap — places hidden intentions alongside illusions and symbolic representations of so‑called nature. Within this architectural boundary, where the allure of civilization confronts the contradictions of human nature, can we begin to untangle new value orientations and development strategies in a world that insists on black and white?
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？
