









Future Ruins
台灣 / taiwan
黃敬家 / HUANG, Ching-Chia
新竹的頭前溪沖積出不同年代的地質結構,斷層切過了河階地形,使原本的地質結構發生錯動與改變。在千萬年的尺度下,竹科在四十年間建成。新城斷層的切過,卻使看似完美的科學園區處於一個極度不穩定的狀態。因此,這會是一個28公里的自然界線和749公頃的人造園區之間抗衡的過程。
我想要置入一個觀測的公園,使斷層不可見的地震能量被感知。長達五百米的測線A是一個從人造園區之中回歸大自然的過程。這個寬6米且深15米的巨大縫隙,一側由擋土牆構成,另一側則展示著地質紋理的長幅畫作。巨大挑空是岩石可以自然崩落之處,展現著大自然的原始力量。底端有個深5米的水井,雨水會沿著岩壁旁30公分的水溝匯聚至井下的水庫。在415米處會抵達斷層線。走廊的兩片屋頂分別固定在上下盤,縫隙透過斷層每年的微小移動而變化,這會是一座和斷層一起移動的公園。在走廊的底端有一個劇場,觀看經驗會透過自然的原始力量慢慢改變。
我想在移動與停留之間、危險與美麗碰撞的時候,創造出崇高的藝術體驗。在奈米尺度的世界裡,重新找回人體尺度與大地尺度的可能性。透過一個地質現象的觀測,在看似完美的人造環境中揭露出大自然具有衝擊的力量並重新找回對土壤的崇敬。
More Projects of this Session
展區其他作品
On the scale of million years, Hsinchu Industrial Science Park was built in forty years. However, the cut of Hsing Cheng Fault has put the seemingly perfect science park in an extremely unstable state. Therefore, it will be a process of conflict and balance between the 28 kilometers natural line and the 749 hectares artificial park.
By inserting an observation park, seismic energy is discovered and perceived through space. 500m Measurement Line A is a process that returns to the nature from the man-made park. This is a huge crack of 6 meters wide and 15 meters deep. One side is made of retaining wall, and the other side displays a long painting formed by the geological texture. At -6 meters, the void is where the rocks can fall out naturally. It is a stage showing the raw power of nature. There is a water well with a depth of 5 meters at the bottom. During heavy rains, rain will converge to the reservoir through the 30 cm ditch next to the rock painting. At 415 meters, one will reach the fault line. The structure of the two roofs is fixed to the upper and lower plates respectively. The sequential columns and walls in the corridor will gradually move within a hundred years, creating the possibility of opening or closing, affecting the movement and circulation. At the end of the corridor, there is a theater. I wanted to create a place of seeing, where the experience of seeing and observing slowly changes through the raw power of nature. The inclination of viewing the performance also implies the movement of the fault year by year.
I want to create a sublime artistic experience as danger and beauty collide. In the nanoscale world, I want to rediscover the human scale and the earth scale. Through the observation of a geological phenomenon, I want to reveal the power of nature in a seemingly perfect man-made environment.