基地

台北島

我將幾個「框」輕放在台北島上，像是在野蠻的台北島加上的一層半透明圖層，圖層之下不改 變地景現況，並藉此體現基地的不同本性，同時把都市人帶到這個介於公園與自然的但又不 屬於兩者的台北島。

「框」如同畫框一般，框著不同台北島的本性。 如果將框內景色比喻為畫，「框」比喻為畫外的框，在一切都是可預期的都市中，我們甘願在為 了看一幅名畫付出金錢、長途跋涉、排隊等待，而最後期望在一面白牆上看到畫框裡的畫，忘記前面的過程。

而我想在看畫之前一連串經歷才是構成那幅畫的美的重要過程，畫的美不只在畫框裡的矩形 裡，而是在看到畫之前就以一種無形的狀態不知不覺感動了看畫的人。我試圖以此概念在台 北島置入「線」「方」「圓」「塔」。

Site

Taipei Island

The site is located on Taipei Island, a sandbar on the Tamsui River adjacent to the city. The island is uninhabited, with only a few retired individuals visiting from elsewhere for leisure activities, engaging in simple farming. 

Taipei Island stands in stark contrast to the bustling prosperity of the Taipei metropolitan area. Its wilderness and rural charm are aspects that urban settings typically do not permit, but these are precisely what I find most captivating about it and what I wish to preserve—Taipei Island’s unique essence. 

Therefore, I refrain from altering the site’s original state. Instead, I leverage its wildness and proximity to the city to introduce a series of seemingly uncivilized activities. These activities allow urban visitors to ritualistically experience everything, and through this divergence from daily urban life, they can rediscover the subtle changes in nature that are often hidden by the city.

I placed several “frames” on Taipei Island, as if adding a layer of semi-transparency to the island’s wild landscape without altering its current state. This was done to showcase the distinct nature of the site, while simultaneously drawing urban dwellers to this place that exists between a park and nature, yet belongs to neither—Taipei Island. 

The “frames” act like picture frames, capturing the different essences of Taipei Island.If we liken the scenery within the frames to a painting, the “frames” themselves are like the frames surrounding the painting. In an entirely predictable urban environment, we are willing to pay money, travel long distances, and queue up, all for the hope of seeing a painting within a frame on a white wall, often forgetting the process leading up to that moment.

However, I believe that the series of experiences before seeing the painting is what constitutes the beauty of the painting. The beauty of the painting lies not only within the rectangle of the frame, but also in the invisible, gradual emotional impact on the viewer before they even see the painting. With this concept in mind, I attempt to incorporate “line,” “square,” “circle,” and “tower” into Taipei Island.