陳冠華Ｘ大武山工作隊
水平線向東/ A horizontal line towards east.
水平線向東/ A horizontal line towards east.
藝術家介紹－陳冠華
美國俄勒岡大學建築碩士。曾任教於元智大學藝術與設計學系，與實踐大學空間設計系與建築系。研究領域為建築設計、建築理論與建築史，並持續進行建築與室內設計。1988年自組設計工作室，「花東海岸小住宅」是主要的建築代表作品。
1993年起，他開始與大直設計團隊於花蓮、台東境內的沿海地區，陸續完成10件個人住宅設計，皆以台灣常見且低技的清水混凝土、預鑄鋼鐵與玻璃建造而成，呈現有如石塊般粗糙的表面質感。每件小住宅的設計時間都長達兩年以上，並透過露宿基地以深入觀察環境，期許以不模仿、不移植、長於斯為出發點，尋找屬於在地的建築形式。
Artist/Chen Guan-Hua
Master of Architecture from the University of Oregon, USA. Guan-Hua was the teacher in the Department of Art and Design of Yuan Zhe University, and the Department of Space Design and Architecture of Shih Chien University. His research fields are architectural design, architectural theory and architectural history, as the same time he continues to engage in architectural and interior design. In 1988, he established his own design studio. “East Coast Small House” series is his main architectural representative works.
Since 1993, he began to work with the Da Zhi Design Team to complete 10 personal residential designs in coastal areas of Hualien and Taitung. They were all built with common and low-tech fair-faced concrete, precast steel and glass, which has a rough surface texture like stone. The design of each small house takes more than two years, and the environment is deeply observed through camping at the bases, hoping to find local architectural forms based on the starting point of not imitating, not transplanting,but original grow from place.
It is composed of nine creators/graduate students aged 23-25. Since 2017, the team members have been led by Professor Chen Guanhua in various places in Taiwan: Keelung Inner Harbor, Taoyuan Neili, Hualien Taroko, Pingshan In East Chaozhou, different local aesthetic experiments were carried out.
藝術家介紹－大武山工作隊
是由九位23-25歲的創作者/研究生所組成，自2017年起，團隊成員在教授—陳冠華的帶領之下，於台灣各地:基隆 內港、桃園 內壢、花蓮 太魯閣、屏東 潮州，進行了不同的地方美學實驗。
9位成員各自有各自的命題，生活、信仰、工藝、工業、交通工具、建築、城市等。而「地方」將各有所長的九位成員聚合在一起，團隊試著從不同的角度及方法，嘗試討論什麼是地方?什麼是台灣?
Artist/Dawushan Workgang
It is a group of nine creators/graduate students aged 23-25. Since 2017, the team members led by Professor Chen Guan-Hua was in various places in Taiwan: Keelung Inner Harbor, Taoyuan Neili, Hualien Taroko, Pintung Chaozhou, where local aesthetic experiments were carried out.
Each of the 9 members has their own proposition, such as life, belief, crafts, industry, transportation, architecture, city, etc. “Place” brings together nine members with different strengths. The team tries to discuss with different angles and practicing methods about what is place? What is Taiwan?
作品名稱：
水平線向東/ A horizontal line towards east.
作品尺寸及創作媒材
尺寸：長36mX寬1m，高度依地形而定
媒材：竹子
作品理念
在台11線沿岸，觀光園區的劃分、私人土地的使用、或因缺乏整理而生長的路樹雜草，讓看見海洋、抵達海岸變得遙遠。從海岸的命名、文化、祭典，到生活方式，太平洋都是海岸阿美族的文化根基，也是無論居民或是遊客的目的地。
「竹子」早期是台灣普遍的材料，但隨著新材料的出現，竹產業逐漸萎縮消失。「竹子」作為本次創作材料，探討它在台灣環境中、地景中、文化上的意義，「竹子」是不是有可能是一種不分你我的「台灣地景」？
本次創作計畫以「回到太平洋」為思考主軸，在台11線旁的海梯田，以「竹鷹架」的構造方式，蓋出一條「指向東方的線」，透過創作召喚大家已經習以為常的日出、太平洋，也試著透過這樣的方式跨越「他者」和「我群」之間的隔閡，回到最初其實我們都來自太平洋的某處。
Artwork
Ahorizontal line towards east
Dimension (L x W x H)： 36M x 1M x height depends on terrain
Medium：Bamboo
Along Highway 11, the division of tourist parks, the use of private land, or the growth of road trees and weeds due to lack of maintenance make it difficult to see the ocean and reach the coast. From the coast’s naming, cultural features, rituals, and lifestyle, you will find the Pacific Ocean is the cultural foundation for Pangcah/Amis people who live here, which is a destination for both residents and tourists.
“Bamboo” was a common material in Taiwan in the early days, but with the emergence of new materials, the bamboo industry gradually shrank and disappeared. “Bamboo” is used as the material for this creation, and its significance in Taiwan’s environment, landscape, and culture is discussed. Is it possible that “bamboo” is a “Taiwanese landscape” that does not distinguish between one another?
The work is located on the rice terraces along Highway 11, and “Return to the Pacific” is the main theme behind this work. Ａ “line pointing to the east” is built using a “bamboo scaffolding” structure, trying to recall the sunrise and the Pacific Ocean that we are accustomed to taking for granted, and to bridge the gap between “otherness” and “our crowd”, and return to the original place where we all come from the Pacific Ocean.
