thomas tsang cloud of unknowing: a city with seven … · cloud of unknowing: a city with seven...
Post on 29-May-2020
15 Views
Preview:
TRANSCRIPT
THOMASTSANG
CLOUD OF UNKNOWING: A CITY WITH SEVEN STREETS
DESIGN FOLIOFACULTY OF
ARCHITECTURE UNIVERSITY OF
HONG KONG
2
Content
Project Details
Summary of the Work and its Significance, Originality, and Rigor
Originality
Rigor
Significance
Dissemination and Evidence of Peer Review
Appendix
Bibliography
4
6
10
14
44
46
50
50
31 This Taipei Fine Arts Museum, 1983 It was the first museum in Taiwan built
for contemporary art exhibitions.Architect: Kao Er-Pan
4
Project Details co-Curator
Thomas Tsangco-Curator
RoanChing-Yueh Exhibition Title
Cloud of Unknowing: A City with Seven Streets Output
Curation and Design Function
Art and Architecture Exhibition Location
Taipei, Taiwan Venue
Taipei Fine Arts Museum Date of installation
2014
54 5
Project Details co-Curator
Thomas Tsangco-Curator
RoanChing-Yueh Exhibition Title
Cloud of Unknowing: A City with Seven Streets Output
Curation and Design Function
Art and Architecture Exhibition Location
Taipei, Taiwan Venue
Taipei Fine Arts Museum Dates of installation
2014
6
Summary of the Work and its Significance, Originality, and Rigor
Cloud of Unknowing: A City with Seven Streets (2014) is a key exhibition organized by the museum in conjunction with the city government’s celebration for the 130th Anniversary of Taipei’s Founding in 2014. Because this marks the first time for the museum to present a themed exhibition on the subject of urban spatiality and issues pertainace, therefore, two important scholars from Taiwan and Hong Kong specializing in spatial discourses are invited as co-curators, and they are: Professor Thomas TSANG from the University of Hong Kong and Professor Ching Yueh ROAN from Taiwan’s Yuan Ze University. The exhibition includes 25 important artists from Taiwan, Hong Kong, China, and Japan, whose artistic focuses
7
are on spatial contents, location-specific memories, and habitation relationships, with many new site-specific artworks to be presented.
The central theme of the exhibition deals with the multiple angles observed in today’s society, and by forgoing urban psychical structures and architectures, the focus is placed on examining the cultural elements and historical contexts contained in a city’s composition, and to closely investigate the interconnected links and implications that have evolved and been derived from urban spaces and cultural memories. Moreover, the exhibition further attempts to think outside of the box from the museum’s conventional approaches and habits with its venue, and from which, the third-floor tube-shaped space is transformed to simulate a cityscape
8
containing seven streets. From the artists’ spatial interpretations and transformations, the core subjectivity of the city in the modern life is reexamined, and through the distinctive features expressed through the various media of sounds, installations, constructions, images, manuscripts, and objects, the audience is guided to observe the interdependent contraposition between the architectural space and the body’s memory in the chaotic and vague modern city, where elusion and reality are intermixed.
1.0 Chen Chi-Kuan
1
Street of Chi-Kwan
1
2.1 Dong Yu-Gan, Tong Ming, Ge Ming2.2 Liu Kuo-Chang
2.3 C.Y. Lee
2.3
2.2
2.1
Street of Landscape
2
3.1 Terunobu Fujimori3.2 Go Hasegawa, Jun Igarashi
3.3 Wu Tsan Cheng
3.1
3.3
3.2
3.2
Street of Scales
3
9
5.1 Studio Mumbai5.2 Lee Wai-I
5.3 Chung-Han Yao5.4 Ting Fung Ho
5.2
5.1
5.4 5.3
Street of Objects
5
6.1 Ou Ling6.2 Lee Jiun-Yang
6.3 Chang Yung Ho
Street of Utopia
6.1
6.2
6.3
6
7.1 Lu Li-Huang7.2 Wang Zhe
7.3 Cooper Fang7.4 Ken Ueno
7.5 Wang Wei-Ho7.6 Pak Sheung Chuen
7.4
7.5
7.6
7.1
7.3 7.2
Street of Cloud
7
4.1 North Meets South Collective4.2 Kuang-Tsung Ttseng
4.3 Lee Peifeng4.4 Hyungmin Pai
4.4 4.1
4.2
4.3
Street of Learning
4
10
Originality
Because this marks the first time for the museum to present a themed exhibition on the subject of urban spatiality and issues about space. But what if the ordinary and daily life of a city, and a local’s knowledge of and within it, were seen as a sort of expertise or tacit know-how; the wisdom of types can learn from East Asian cities, like Taipei, Hong Kong, and Tokyo. As intervenes in the problematic gap between the perception of the architect as an expert on space, and the public as novices and introduces a tricky territory for action.
10 11
Originality
Because this marks the first time for the museum to present a themed exhibition on the subject of urban spatiality and issues about space. But what if the ordinary and daily life of a city, and a local’s knowledge of and within it, were seen as a sort of expertise or tacit know-how; the wisdom of types can learn from East Asian cities, like Taipei, Hong Kong, and Tokyo. As intervenes in the problematic gap between the perception of the architect as an expert on space, and the public as novices and introduces a tricky territory for action.
8180
開幕表演 藝術家 Ken Ueno
Opening Performance artist Ken Ueno
1110 11
Originality
Because this marks the first time for the museum to present a themed exhibition on the subject of urban spatiality and issues about space. But what if the ordinary and daily life of a city, and a local’s knowledge of and within it, were seen as a sort of expertise or tacit know-how; the wisdom of types can learn from East Asian cities, like Taipei, Hong Kong, and Tokyo. As intervenes in the problematic gap between the perception of the architect as an expert on space, and the public as novices and introduces a tricky territory for action.
8180
開幕表演 藝術家 Ken Ueno
Opening Performance artist Ken Ueno
12
Research Questions
• One question we had was, what are the beliefs underpinning East Asian modernism? • What is the distinction between an architecture project and exhibition, blur their expectation between fiction and reality, and inhabit inside the artwork? • How can one uncover that illustrates the architectural and social history of an urban site and contributes to contemporary understandings of city conservation and regeneration? • How can revisiting past projects help capture the continuously evolving history of architectural and urban thinking, and how can aspects of these projects be adapted for new critical and creative design production?
12 13
Research Questions
• One question we had was, what are the beliefs underpinning East Asian modernism? • What is the distinction between an architecture project and exhibition, blur their expectation between fiction and reality, and inhabit inside the artwork? • How can one uncover that illustrates the architectural and social history of an urban site and contributes to contemporary understandings of city conservation and regeneration? • How can revisiting past projects help capture the continuously evolving history of architectural and urban thinking, and how can aspects of these projects be adapted for new critical and creative design production?
7978
策展人:(右 )阮慶岳,(左 )曾慶豪
Co-Curators: (right) Ching Yueh ROAN, (left) Thomas TSANG
1312 13
Research Questions
• One question we had was, what are the beliefs underpinning East Asian modernism? • What is the distinction between an architecture project and exhibition, blur their expectation between fiction and reality, and inhabit inside the artwork? • How can one uncover that illustrates the architectural and social history of an urban site and contributes to contemporary understandings of city conservation and regeneration? • How can revisiting past projects help capture the continuously evolving history of architectural and urban thinking, and how can aspects of these projects be adapted for new critical and creative design production?
7978
策展人:(右 )阮慶岳,(左 )曾慶豪
Co-Curators: (right) Ching Yueh ROAN, (left) Thomas TSANG
14
Rigor
The project was an opportunity to rethink the architectural experience as a building type, its narrative and material relationship to surrounding contexts, and the interaction between art, urban, street, and architecture to address historical fabric and foster contemporary arts/architecture assets, and to help form the public memory.
Key design methods included:• Examining critically the original
museum with its engagement interpretation on architecture exhibition, undertaken 30 years ago, to develop models for exhibiting the contemporary life.
• To develop a project based on research to understand the relationship between a building’s exterior surface and its interior
15
structure and spatial and environmental qualities.
• Making a new installation project that survey how exhibition can a series of exploratory tools to understanding today’s human activity.
• Experiment with artists working in the realm of representational techniques, including construction, how processes of modernization and urbanization how translate into individual architectural object.
16
17
18fig. 1: Dehow Projects: ‘Poster for Grand Opening’, CHEN CHI-KWAN, 2014
19fig. 4-5: Dehow Projects: ‘Construction Drawings’,
CHEN CHI-KWAN, 2014
2590
3FL
2438
.315
1.7
A1a
A2a
A3a
A4aA5a A6a A7a A8a A9a A10a A11aA12a A13aA14a
A15aA16aA17a A18aA19a A20aA21a A22aA23aA24a A25a
D1a D2a D3a D4a D5a D6a D7a D8a D9a D10aD11aD12aD13aD14aD15aD16aD17aD18a
C1a C2a C3a C4a C5a C6a C7a C8a C9a C10aC11aC12aC13a
C14aC15aC16aC17aC18aC19a
B11aB3a
B1a
B2a
B4a B5a B6a B7a B8a B9a B10aB12a
B13a B14a B15aB16aB17a B18aB19a B20aB21a B22aB23aB24a
A1b
A2b
A3b
A4bA5bA6bA7bA8bA9bA10bA11bA12bA13bA14b
A15bA16bA17bA18bA19bA20bA21bA22bA23bA24bA25b
D1bD2bD3bD4bD5bD6bD7bD8bD9bD10bD11bD12bD13bD14bD15bD16bD17bD18b
C1bC2bC3bC4bC5bC6bC7bC8bC9bC10bC11bC12bC13b
C14bC15bC16bC17bC18bC19b
B11b B3b
B1b
B2b
B4bB5bB6bB7bB8bB9bB10bB12b
B13bB14bB15bB16bB17bB18bB19bB20bB21bB22bB23bB24b
3107
3FL
2925
182
A1c
A2c
A3c
A4cA5cA6cA7cA8cA9cA10cA11cA12cA13cA14c
A15cA16cA17cA18cA19cA20cA21cA22cA23cA24cA25c
D1cD2cD3cD4cD5cD6cD7cD8cD9cD10cD11cD12cD13cD14cD15cD16c
D17cD18c
C1cC2cC3cC4cC5cC6cC7cC8cC9cC10cC11cC12cC13c
C14cC15cC16cC17c
C18cC19c
B11c B3c
B1c
B2c
B4cB5cB6cB7cB8cB9cB10cB12c
B13cB14cB15cB16cB17cB18cB19cB20cB21cB22cB23cB24c
A1d
A2d
A3d
A4dA5d A6d A7d A8d A9d A10d A11dA12dA13d A14d
A15d A16dA17d A18dA19dA20d A21dA22d A23dA24d A25d
D1d D2d D3d D4d D5d D6d D7d D8d D9d D10dD11dD12dD13dD14dD15dD16d
D17dD18d
C1d C2d C3d C4d C5d C6d C7d C8d C9d C10dC11dC12dC13d
C14dC15dC16dC17d
C18dC19d
B11dB3d
B1d
B2d
B4d B5d B6d B7d B8d B9d B10dB12d
B13d B14dB15d B16dB17dB18d B19dB20d B21dB22d B23dB24d
A
C
14505
14505A
C
Project:
Title:
Drawn by: Checked:
Drawing Number: Revision:
Date:
Scale:
File:
21 / 04 / 2014
1:5 / 1:50 (A3)
-
--
Ball Chain Holder Detail / Elevation
Chi Kwan Chain
AD-2 -DEHOW PROJECTS
D-1 Ball Chain Holder Detail
D1-1 D1-2 D1-3
330
3
3 30 150 150 150
1020
1010
10
150 150 150 150 150 150
2010
930
303 3101010
930
303 31020
930
303 32010
30 3
S 1:5
Elevation S 1:50
St-PL (Mat Black)
PB t=9 (Mat Black)
Ball Chain φ4.5 St-PL (Mat Black)
PB t=9 (Mat Black)
Ball Chain φ4.5 St-PL (Mat Black)
PB t=9 (Mat Black)
Ball Chain φ4.5
St-PL (Mat Black) St-PL (Mat Black) St-PL (Mat Black) Hole φ5
Ball Chain Conector Ball Chain Conector Ball Chain Conector
Hole φ5 Hole φ5
PB t=9 (Mat Black)
Carpet (Black)
PB t=9 (Mat Black)
Carpet (Black)
Chain Clip
Chain Clip
A1a A2a A3a A4a A5a A6a A7a A8a A9a A10a A11aA12a A13aA14aA15a A16aA17a A18aA19a A20aA21aA22a A23aA24a A25a
B11aB3aB1a B2a B4a B5a B6a B7a B8a B9a B10a B12a B13aB14a B15aB16a B17aB18aB19a B20aB21a B22aB23a B24a
C1a C2a C3a C4a C5a C6a C7a C8a C9a C10aC11aC12aC13aC14aC15aC16aC17aC18aC19a
D1a D2a D3a D4a D5a D6a D7a D8a D9a D10aD11aD12aD13aD14aD15aD16aD17aD18aD1bD2bD3bD4bD5bD6bD7bD8bD9bD10bD11bD12bD13bD14bD15bD16bD17bD18b A1bA2bA3bA4bA5bA6bA7bA8bA9bA10bA11bA12bA13bA14bA15bA16bA17bA18bA19bA20bA21bA22bA23bA24bA25b
B11b B3b B1bB2bB4bB5bB6bB7bB8bB9bB10bB12bB13bB14bB15bB16bB17bB18bB19bB20bB21bB22bB23bB24b
C1bC2bC3bC4bC5bC6bC7bC8bC9bC10bC11bC12bC13bC14bC15bC16bC17bC18bC19b
A1c A2c A3c A4c A5c A6c A7c A8c A9c A10c A11c A12c A13c A14c A15c A16c A17c A18c A19c A20c A21c A22c A23c A24c A25c
B11cB3cB1c B2c B4c B5c B6c B7c B8c B9c B10c B12c B13c B14c B15c B16c B17c B18c B19c B20c B21c B22c B23c B24c
C1c C2c C3c C4c C5c C6c C7c C8c C9c C10cC11c C12cC13cC14c C15cC16c C17cC18c C19c
D1c D2c D3c D4c D5c D6c D7c D8c D9c D10cD11c D12cD13cD14c D15cD16c D17cD18cD1dD2dD3dD4dD5dD6dD7dD8dD9dD10dD11dD12dD13dD14dD15dD16dD17dD18d A1dA2dA3dA4dA5dA6dA7dA8dA9dA10dA11dA12dA13dA14dA15dA16dA17dA18dA19dA20dA21dA22dA23dA24dA25d
B11d B3d B1dB2dB4dB5dB6dB7dB8dB9dB10dB12dB13dB14dB15dB16dB17dB18dB19dB20dB21dB22dB23dB24d
C1dC2dC3dCd4C5dC6dC7dC8dC9dC10dC11dC12dC13dC14dC15dC16dC17dC18dC19d
B11aB3aB1a B2a B4a B5a B6a B7a B8a B9a B10a B12a B13aB14a B15aB16aB17a B18aB19a B20aB21a B22aB23aB24a
A1a A2a A3a A4a A5a A6a A7a A8a A9a A10aA11a A12aA13a A14aA15aA16a A17aA18a A19aA20a A21aA22a A23aA24aA25a
C1a C2a C3a C4a C5a C6a C7a C8a C9a C10aC11aC12aC13aC14aC15aC16aC17aC18aC19a
D1a D2a D3a D4a D5a D6a D7a D8a D9a D10aD11aD12aD13aD14aD15aD16aD17aD18a D1bD2bD3bD4bD5bD6bD7bD8bD9bD10bD11bD12bD13bD14bD15bD16bD17bD18b
C1bC2bC3bC4bC5bC6bC7bC8bC9bC10bC11bC12bC13bC14bC15bC16bC17bC18bC19b
B11b B3b B1bB2bB4bB5bB6bB7bB8bB9bB10bB12bB13bB14bB15bB16bB17bB18bB19bB20bB21bB22bB23bB24b
A1bA2bA3bA4bA5bA6bA7bA8bA9bA10bA11bA12bA13bA14bA15bA16bA17bA18bA19bA20bA21bA22bA23bA24bA25b
A1c A2c A3c A4c A5c A6c A7c A8c A9c A10c A11c A12c A13c A14c A15c A16c A17c A18c A19c A20c A21c A22c A23c A24c A25c
B11cB3cB1c B2c B4c B5c B6c B7c B8c B9c B10c B12c B13c B14c B15c B16c B17c B18c B19c B20c B21c B22c B23c B24c
D1c D2c D3c D4c D5c D6c D7c D8c D9c D10cD11c D12cD13c D14cD15c D16cD17cD18c
C1c C2c C3c C4c C5c C6c C7c C8c C9c C10cC11c C12cC13c C14cC15c C16cC17cC18c C19c
C1dC2dC3dCd4C5dC6dC7dC8dC9dC10dC11dC12dC13dC14dC15dC16dC17dC18dC19d
B11d B3d B1dB2dB4dB5dB6dB7dB8dB9dB10dB12dB13dB14dB15dB16dB17dB18dB19dB20dB21dB22dB23dB24d
A1dA2dA3dA4dA5dA6dA7dA8dA9dA10dA11dA12dA13dA14dA15dA16dA17dA18dA19dA20dA21dA22dA23dA24dA25dD1dD2dD3dD4dD5dD6dD7dD8dD9dD10dD11dD12dD13dD14dD15dD16dD17dD18d
2205 280597.5
30
30
4290 2805 2205 97.5
3697.5 2205 2700 3697.52205
2305
159.75
680
2305
159.75
5669
.5
30
215
3025
37.5
159.75
2537
.515
9.75
14505
30 150 75150" " " " " " " " " " " " 75150 " " " " " " " " " " " " " " " " 150 30 3015075150 """"""""""""75""""""""""""""""15030 150
"15030 " " " " " " " " " " 75" 150 " 150 30""""""""""75 "150"""""""75 "150 " " " " " " " 75" 150"
D1-3
D1-3D1-2D1-1
D1-2D1-3
D1-1D1-2D1-3
Project:
Title:
Drawn by: Checked:
Drawing Number: Revision:
Date:
Scale:
File:
23 / 04 / 2014
1:50 (A3)
-
--
Ball Chain Length / Ceiling Plan
Chi Kwan Chain
AD-1 -DEHOW PROJECTS
A
CD B
Ball Chain Length
Ceiling Plan S 1:50
Ball Chain Holder: St-PL (Mat Black)
Ball Chain φ4.5
20
6
8
21
fig. 6: Material: Metal Chain - Pantone Matchfig. 7: Construction of Exhibitionfig. 8: Existing Tile from Luce Chapelfig. 9: Construction of Exhibitionfig. 10: Chen Chi-Kwan: Silver Print Collageof the Luce Chapel Interior Under-construction
Dehow Project: STREET OF CHI-KWAN, CHEN CHI-KWAN, 2014.
22
1
1. STREET OF CHI-KWAN
Born in Beijing in 1921, Mr. Chi Kwan CHEN studied architecture at the Central University in Chongqing. He set sail for the US to continue his studies in 1948. In 1951, he joined the architectural firm of Walter Gropius. Invited by I.M. Pei in 1954, he participated in the design of the campus of Tunghai University and returned to settle in Taiwan in 1960.
Mr. CHEN had outstanding achievements in both architecture and painting. The Luce Memorial Chapel at Tunghai University is one of the representative works of his architectural design. In 2004, he received the National Award for Arts for his series of paintings. There are three reasons for giving him the award:
With the aesthetic of an architect, CHEN combined abstract concepts with the
medium of ink to create a new art of painting that evokes a mystical, architectural, ethereal and pure world of the imagination beyond time and space. His work demonstrates a high degree of creativity and freedom. Fusing memories and imaginative elements, as well as emphasizing the exploration of the “new”, his work shows constant, multi-dimensional expansion through radiating, juxtaposed forms. Hence, his creativity in art is highly original. The paintings are decorative, with architectural lines and hallucinatory spaces that stimulate us to look at the environment around us in a new light. His style is inspiring and produces a cumulative effect.
23
24
2.3
2.2
2.1
2. STREET OF LANDSCAPE
The Industrial Revolution that began on the European Continent spelled the official end of the agricultural civilization. Those in the countryside had no choice but to move to the cities. Due to population growth and the high-density architecture, there was hardly any land left for natural green space.
However, after more than a century of modern urban development, the relationship between man and nature still remains to be resolved. This gives us the opportunity to re-examine it in our own culture. In particular, the quest for harmony / union between man, nature and the universe in East Asian civilization, as reflected in the literati’s emphasis on landscape painting and gardens, suggests that maintaining our respect for landscape and the universe may be a solution for the modern city.
No matter how “advanced” our civilization becomes, there are still sounds of the forest and the ocean in our DNA and our blood, and we still follow the natural cycles of the waning and waxing of the moon. This has nothing to do with whether we have advanced technology. Originating from nature, we have to go back to nature.
It is only right that the city and the people should respect and love nature.
25
26
3.1
3.3
3.2
3.2
3. STREET OF SCALE
The Street of Scales is initially hidden from view. It is present only as a controlled attempt to abandon visible forms of urban structures. Objects from superficial experiences and ordinary life are offered up with great reverence in an intimate and organic way, so that we barely give any notice to them. What intrigues in the street of measures are objects that have been displaced from their original intent, and transformed from their original size.
Changes in proportion provide a necessary stimulation that serves to unify memory, affirm convictions, and awaken the subconscious. Structures that enclose objects on urban roadways gradually become distinct; and buildings become reflective of the city. Memories are recalled generation after generation; the Street of Scales reassures us that memories are
not guided by the specificities of time or place. These scales: of tantei (detective), of chikasa (proximity), and of engawa (buffer-zone), not only assure and validate us of our communal yearning and knowledge, but also consciously provoke shifts in scale that are perceived in complex and continued confirmation as they quietly fill and inhabit the streets. These creations and installations thus become autobiographical narratives.
27
28
4.44 .1
4.2
4.3
4. STREET OF LEARNING
We are taught to understand the unknown world through logic of words and numbers, away from unfamiliar diversity, of sight and sound. These bear witness to our constant resistance to learning in confronting the overwhelming and often hostile forces of change. The strength of a community is in its connection to a shared communal memory. It provides a space and time for procuring knowledge that ultimately enables growth and self-defence. This occurs organically whenever we are irrevocably transformed by natural or man-made challenges, or when a treasured memory captures our interest. The knowledge we acquire often remains unseen, but its intangible presence increases in strength as it becomes embodied. Though the physical city exists in the buildings it encompasses, the forgotten spaces between
buildings are valuable lessons in primal instinct that buffer against the ravages of time. Observation is an act of recognizing self-identity. These are constantly created from recurring sights and sounds. Observations include inherited memories and experiences. They are a necessary practice that influence ways in which we construct meaning and gain inspiration from our experiences.
29
30
5.2
5.1
5.4 5.3
5. STREET OF OBJECTS
The Street of Objects represents a lexicon of objects through which a city identifies itself. These objects evoke narrative fragments: missing maps, subverted anecdotes, and chronicles of images. As these narrative objects become familiar, they gradually unify any unresolved fragments. In varying ways, these buildings create a site that embodies our memories, and from which we begin to question the parts that form the urban whole, or which streets belong to the city. There are numerous ways in which a city resists fragmentation with shared connections despite zoning changes. Individually, objects hold no significance. But they become symbols only through memory or psychological associations. Without these anchors, objects lose inherent epistemological value and become invisible, meaningless, and immobile.
31
32
6.1
6.2
6.3
6. STREET OF UTOPIA
In western architecture, there have been continuous reflections on and projections of utopian ideals. However, there is hardly any imagination or quest of a utopia in Eastern architecture.
Of course, both Peach Blossom Spring written by Tao Yuan-ming and the painting Along the River During the Ching-ming Festival by Chang Tse-duan manifest the richness of the mixture of culture and reality in people’s daily lives, and reflect the longing that a city / village should be people-oriented. However, while subtly celebrating an existing city or an isolated village, neither dared to pinpoint what the human society should strive for.
“Street of Utopia” intends to find out why we have no such imagination of the ideal architecture / city, and where this kind of utopia should
originate from. It also raises the question whether we are too timid to believe in the future, or whether we are so oppressed by power and the reality that we dare not face the contemporary society, and can only resign ourselves or withdraw ourselves from the world.
The city certainly needs myths, as well as utopias.
33
34fig. 1: Dehow Projects: MONO VALLEY UTOPIA, 2014
35
36
The collaboration is between curator, artist, and exhibitor, this project is collection of body of work explores how relationships are articulated by the series of existing art works and programme rooms, building a singular wooden structure explore through furniture support members scaled into a structure for inhabitation.
Three principle ideas on MONO VALLEY MOUND:
MonoA series of rooms within an existing gallery room, seamless intervention of both structure and display, emerge as singular and autonomous form.
ValleyAn literal and figural collective point where visitor experience total image of the exhibition, as the cross-section melting between entry and exit mounds.
Utopia
As the buffer zone, between reality and fiction through the sense rural atmosphere in the setting of urban context of museum, both natural and artificial encounters through of visual and sensory contradictions.
37
38
39
40
7.4
7.5
7.6
7.1
7.37 .2
7. STREET OF CLOUD
There is always an element of enlightenment/ irrationality in creativity. The creator must admit his own inadequacy before he can conjure up this unknown spirit. However, there are few that are gifted with divine revelation.It has no direct correlation with the knowledge or status that one has. In fact, the example of sciomancers in Taiwan shows that the opposite is the case, and that the knowledge and moral system of the world may be the obstacle of direct communication.The universe has existed as space anonymously for eternity. Self-conscious human beings have named all things on earth and defined the meaning of their existence in relation to mankind. However, there must be unexplored spaces in the spaces that we know and beyond the spaces we know.In that case, can we really grasp
the real existence of space?What is the relationship between man and space? Is it definite or indefinite?Maybe the answer is in the shifting clouds in the sky!
41
4242 431 This project was the architect’s first design for a metropolitan building type
121
烏托邦城市 · 論壇
Utopia-City Forum
4342 431 This project was the architect’s first design for a metropolitan building type
121
烏托邦城市 · 論壇
Utopia-City Forum
44
Significance
The the first thematic researched exhibition of the history of the museum and the exhibition marks the 130th Anniversary of Taipei’s Founding in 2014. The show was nominated for the Taishin Arts Award for Visual Arts and was selected among the top five public exhibitions for 2014 in Taiwan according to a poll as reported by China Times, was seen by over 176,500 people during the three months.
Featured full-scale installations, photographs, drawings, collages and other exhibits that explored the modernism theme as well as the different ways of experiencing architecture and the ambiguous status of architecture as an object of display. The works organized along seven “streets” that reflected
45
such perspectives as learning, objects, utopia, and landscape. On the walls, some suspended from the ceiling, some were on the floor, and some could be inhabitable, to present artefacts in spatial and environmental qualities. As a result, it prompted audiences to reimagine how they understand an architecture exhibition in the context of the art museum, as continuously evolving history of architectural and urban thinking.
46
Dissemination and Evidence of Peer Review
The Cloud of Unknowing: A City with Seven Streets was seen by over 176,500 people between 5 May - 17 August 2014. The exhibition was nominated for the Taishin Arts Award for Visual Arts and was selected among the top five public exhibitions for 2014 in Taiwan, according to a poll as reported by China Times. At the latter end, a commissioned project was selected as a finalist in the 2014 ADA Awards for Emerging Architects, exhibited at the UBC Museum of Anthropology in Vancouver, and one exhibitor leads to published two monograph comic novels.
The University of Hong Kong and the Faculty of Architecture awarded 2016
47
Faculty Knowledge of Exchange (KE) Award, a summary of evaluation by the Selection Committee recognized for its contribution to public “This is a rare example of an architect curating a cast of high-calibre international artists to produce an exhibition that clearly captured a nation’s attention.”
TFAM’s architectural exhibitions have garnered public attention and opened a fresh view through the cross-disciplinary convergence of art and architecture. List of Architecture Exhibition at the TFAM has explored the form of the architectural retrospective, at the beginning of 2002. A significant contribution was the disciplinary underpinning of the museum to examine architecture exhibition as a research endeavor that allows the commissioned curators to interpret the
48
specify as collaborative adventures, situate artists to interact with these locations, both the site and exhibition into a living entity.
The exhibition has been reviewed in the case-studies of curatorial studies program at universities. Presented in over 20 lectures including Harvard University, Wellesley College, Tongji University and among others.
Exhibitors include: Street of Chi-Kwan, Chi Kwan CHEN;
Street of Landscape: Wei Ho WANG, Kuo Chang LIU, C.Y. LEE, Fu Yu CHEN;
History of Architecture Exhibition at the TFAM:“Louis Kahn. The Power of Architecture” (2015)“Cloud of Unknowing: A City with Seven Streets” (2014)“Glenn Murcutt: Architecture for Place” (2011)“Richard Rogers + Architects: From the House to the City” (2010)“Toyo Ito: Generative Order” (2008)“Archilab: Collection du FRAC Centre” (2008)“Archigram: Experimental Architecture 1961-74” (2007)“Le Corbusier: Morceaux Choisis, 1912-1965.” (2002)
49
Street of Scales: Terunobu FUJIMORI, Go HASEGAWA, Jun IGARASHI;
Street of Learning: Nick BONNER, Dominic JOHNSON-HILL, Department of Architecture - Tohoku Institute of Technology, Pei Feng LEE, Tsan Cheng WU;
Street of Objects: Sheung Chuen PAK, Wei I LEE, Ting Fung HO, Chung Han YAO; Street of Utopia: Ning OU, Jiun Yang LEE, Yung Ho CHANG;
Street of Cloud: Interbreeding Field, Che WANG, Cooper FANG, Ken UENO, Jay CHIU
Catalogue contributors include:ROAN Ching-Yueh, Thomas TSANG, Aric CHEN,
Terunobu FUJIMORI, Yung Ho CHANG, Sand HELSEL, and OU Ning
50
Books, journals, and references to the projectwritten by others:
Cloud of Unknowing: A City with Seven Streets, Modern Art, No.173 Quarterly, Taipei Fine Art Museum, Taipei, Taiwan, June 2014, pp. 110-117 Cloud of Unknowing: A City with Seven Streets, IW Magazine, No.98, Taipei, Taiwan, July 2014. pp. 61-66Cloud of Unknowing: A City with Seven Streets, ARTCO, Quarterly September, Taiwan, July 2014. pp. 109-112
Appendix Bibliography
“Cloud of Unknowing: an Exhibition about Modern Asian Architecture”The University of Hong Kong, Knowledge Exchange, KE Newsletter - Issue 11 November 2016 - Link
“Cloud of Unknowing: A City with Seven Streets”Taipei Fine Arts Museum - Exhibition Link - Video Trailer - Exhibition Catalogue
51
Content:© Thomas Tsang
Graphic Design:Milkxhake
The Department of Architecture educates students in an active culture of service, scholarship and invention. Uniquely situated at the crossroads of China and global influence, the Department takes the approach that design is best explored from a sophisticated understanding of both. With a multidisciplinary curriculum emphasizing technology, history and culture, students gain broad knowledge and skills in the management of the environmental, social, and aesthetic challenges of contemporary architectural practice. With opportunities for design workshops, international exchanges, and study travel, graduates of the Department of Architecture are well prepared for contribution to both international and local communities of architects and designers.
top related