The Duality of Cave
城市邊陲透過常民的生活意志自由生長，相對於體制下的城市架構，其自然的演變改變城市中整體與個體間的關係，顯現張顯多樣的真實，刺激城市景觀，產生積極的代謝。
「The Duality of Cave」引用柏拉圖《洞穴之寓》——在這個隱喻中，柏拉圖用洞穴代表了物質世界與經驗世界，洞穴外則代表理型世界——並觀察城市邊陲作為基礎，在北美館廣場架設雙層舞台彰顯生活的動態，將舞台下層視為體制內秩序的經驗空間，舞台上層則視為生活意志自然延伸的理型界，並以城市邊陲所觀察到的物件——冷氣室外機——作為象徵物，而北美館內的參與者則透過落地玻璃得以一窺舞台全貌，使對話發生於三者間。以城市邊陲體制外與違反秩序的特色，呈現城市最自然的運作，供參與者作為一重新定義空間存在的發言媒介，「The Duality of Cave」透過邊陲意志延伸北美館的代謝展望，亦藉以思考城市理型的可能性。
The outskirts in a city grows freely by its habitats. Compared to the structure of a city that is regulated by a system, the city growing freely evolves naturally and changes the relationship between collective and individual, showing multi-faced realities, stimulating city views, while eliminating the old and generating the new.
The Duality of Cave uses the allegory of the cave and observes the outskirts of a city to be the foundation to build a double-decker stage in the plaza of the Taipei Fine Arts Museum to showcase the dynamic of life. The Duality of Cave considers the lower deck of the stage as the regulated space that people experience and the upper deck as the ideal Form that naturally extends from the wills in life. Air conditioners that can be often observed in the outskirts of a city are presented symbolically and the visitors in the museum can view the whole stage through the glass wall. Hence, a conversation ensues among the three, upper deck, lower deck, and the visitors in the museum. Using the features derived from the outskirts of a city that is not regulated by a system and violates the laws, the Duality of Cave presents the most natural operation in a city and offers a medium to redefine and speak up for the existence of space on behalf of visitors. It also uses the idea of a city’s periphery to extend and eliminate the museum’s prospect.
城市邊陲透過常民的生活意志自由生長，相對於體制下的城市架構，其自然的演變改變城市中整體與個體間的關係，顯現張顯多樣的真實，刺激城市景觀，產生積極的代謝。
「The Duality of Cave」引用柏拉圖《洞穴之寓》——在這個隱喻中，柏拉圖用洞穴代表了物質世界與經驗世界，洞穴外則代表理型世界——並觀察城市邊陲作為基礎，在北美館廣場架設雙層舞台彰顯生活的動態，將舞台下層視為體制內秩序的經驗空間，舞台上層則視為生活意志自然延伸的理型界，並以城市邊陲所觀察到的物件——冷氣室外機——作為象徵物，而北美館內的參與者則透過落地玻璃得以一窺舞台全貌，使對話發生於三者間。以城市邊陲體制外與違反秩序的特色，呈現城市最自然的運作，供參與者作為一重新定義空間存在的發言媒介，「The Duality of Cave」透過邊陲意志延伸北美館的代謝展望，亦藉以思考城市理型的可能性。
The outskirts in a city grows freely by its habitats. Compared to the structure of a city that is regulated by a system, the city growing freely evolves naturally and changes the relationship between collective and individual, showing multi-faced realities, stimulating city views, while eliminating the old and generating the new.
The Duality of Cave uses the allegory of the cave and observes the outskirts of a city to be the foundation to build a double-decker stage in the plaza of the Taipei Fine Arts Museum to showcase the dynamic of life. The Duality of Cave considers the lower deck of the stage as the regulated space that people experience and the upper deck as the ideal Form that naturally extends from the wills in life. Air conditioners that can be often observed in the outskirts of a city are presented symbolically and the visitors in the museum can view the whole stage through the glass wall. Hence, a conversation ensues among the three, upper deck, lower deck, and the visitors in the museum. Using the features derived from the outskirts of a city that is not regulated by a system and violates the laws, the Duality of Cave presents the most natural operation in a city and offers a medium to redefine and speak up for the existence of space on behalf of visitors. It also uses the idea of a city’s periphery to extend and eliminate the museum’s prospect.
Observation notes of Alleys:
① 材質疊加 Texture overlays
② 不定時滴水 Irregular rainfall
③ 空間不可預期的漲縮 Unpredictable space contraction
① 材質疊加 Texture overlays
② 不定時滴水 Irregular rainfall
③ 空間不可預期的漲縮 Unpredictable space contraction
柏拉圖Plato理想國the Republic第七卷裡，試圖用洞穴之寓the allegory of cave來說明人追求善的過程。在這個比喻中，有一群囚犯在地下洞穴裡，只能觀看身後的火炬映照在洞穴牆面上的幻影; 其中一人因為辨識其中的虛假，而走出洞穴接觸真正的陽光. 剛走出的洞穴的這名囚犯，剛開始無法習慣陽光，使他無法直視太陽，也就是分辨事物的真假，於是，他從他的影子與水面的倒影開始理解，而後才認知到幻象與真實的差別. 最後，他能夠直視太陽，也就是它足以認知到最高的善(Form)本身。在這個隱喻中，柏拉圖用洞穴代表了物質世界與經驗世界，洞穴外則代表理型the theory of Form的世界.
在視覺的呈現上，作品以洞穴作為主軸，以橋體為界標記出上下樓層關係，形成雙層樓的舞台。一樓既是舞台亦是觀眾席，參與者坐在椅子上操作按鈕，面向美術館，亦相互對望，參與者感受僅為兩側入口、風扇間隙落下光線、蓋子開闔聲響以及微弱進出的風，以呼應既有架構下可被感知的經驗空間；二樓象徵冷氣室外機之氣囊機構，則被賦予由無機過渡到有機之抽象關係，氣囊消長使水滴落的路徑不斷改變，而自由行走其間的參與者接收水隨機滴落的結果，感知變動，呼應城市邊陲的遊走經驗。北美館內的觀者則作為第三方，透過一體兩面的舞台，檢視僵化與變動的界線，使觀者反覆想像現時之外的可能。
In the seventh volume of The Republic, Plato uses the allegory of cave to explain the process of the human pursuit of kindness. The metaphor is presented by a story in which a group of prisoners in an underground cave could only see the shadow that was reflected by the fire behind the prisoners on the wall of the cave. One of them could not identify if the shadow was real or not and walked out of the cave to see real sunshine. When this prisoner just walked out of the cave, s/he was unaccustomed to sunshine, so s/he could not look straight at the sun, which implies that s/he could not identify if things are true or false. However, this prisoner learned from his own shadow and reflection in the water and knew the difference between illusion and truth. In the end, he was able to look straight at the sun, which suggests that s/he was able to know the form itself.
Plato uses the cave in this allegory to represent the material experience of the world while the outside of the cave represents the ideal world, the theory of Form.
Regarding the visual presentation, the installation uses the cave as the main feature with a bridge that marks the relationship between the upper and lower deck, creating a double-deck stage.The lower deck is both a stage and an auditorium. The visitors can sit on the chairs and use the buttons while facing the museum; yet, the museum is facing the visitors. The visitors feel the light that falls from the side entrances and the gaps among the fans and experience the breeze from the covers of the space on the bridge as well as hearing the sound when the covers open and close. The installation offers visitors the opportunity to perceive the experience in space and echoes with the existing structure. The airbags that symbolize air conditioners on the upper deck represent the abstract relationship of the process from inorganic to organic. The succession of airbags constantly change the trajectories of the dripping mechanism, and the visitors who walk freely among these installations see how the water drops as if they sense the change and echo with the experience of walking through the outskirts of a city. The visitors inside the museum are the third specter who see both the upper and lower decks at the same time, investigating and viewing the fixed and changing boundaries and allowing visitors to imagine possibilities beyond the current moment.
Year: 2019
Designer: Yaya Huang, Sr_Kc, Tzu-Kuan Liao, Pin-Chu Chen, Chi-Kang Li
Wording: Yaya Huang, Sr_Kc, Pin-Chu Chen
3d Modeling: Yaya Huang, Chi-Kang Li
Mechanism design: Chi-Kang Li
Rendering: Tzu-Kuan Liao
在視覺的呈現上，作品以洞穴作為主軸，以橋體為界標記出上下樓層關係，形成雙層樓的舞台。一樓既是舞台亦是觀眾席，參與者坐在椅子上操作按鈕，面向美術館，亦相互對望，參與者感受僅為兩側入口、風扇間隙落下光線、蓋子開闔聲響以及微弱進出的風，以呼應既有架構下可被感知的經驗空間；二樓象徵冷氣室外機之氣囊機構，則被賦予由無機過渡到有機之抽象關係，氣囊消長使水滴落的路徑不斷改變，而自由行走其間的參與者接收水隨機滴落的結果，感知變動，呼應城市邊陲的遊走經驗。北美館內的觀者則作為第三方，透過一體兩面的舞台，檢視僵化與變動的界線，使觀者反覆想像現時之外的可能。
In the seventh volume of The Republic, Plato uses the allegory of cave to explain the process of the human pursuit of kindness. The metaphor is presented by a story in which a group of prisoners in an underground cave could only see the shadow that was reflected by the fire behind the prisoners on the wall of the cave. One of them could not identify if the shadow was real or not and walked out of the cave to see real sunshine. When this prisoner just walked out of the cave, s/he was unaccustomed to sunshine, so s/he could not look straight at the sun, which implies that s/he could not identify if things are true or false. However, this prisoner learned from his own shadow and reflection in the water and knew the difference between illusion and truth. In the end, he was able to look straight at the sun, which suggests that s/he was able to know the form itself.
Plato uses the cave in this allegory to represent the material experience of the world while the outside of the cave represents the ideal world, the theory of Form.
Regarding the visual presentation, the installation uses the cave as the main feature with a bridge that marks the relationship between the upper and lower deck, creating a double-deck stage.The lower deck is both a stage and an auditorium. The visitors can sit on the chairs and use the buttons while facing the museum; yet, the museum is facing the visitors. The visitors feel the light that falls from the side entrances and the gaps among the fans and experience the breeze from the covers of the space on the bridge as well as hearing the sound when the covers open and close. The installation offers visitors the opportunity to perceive the experience in space and echoes with the existing structure. The airbags that symbolize air conditioners on the upper deck represent the abstract relationship of the process from inorganic to organic. The succession of airbags constantly change the trajectories of the dripping mechanism, and the visitors who walk freely among these installations see how the water drops as if they sense the change and echo with the experience of walking through the outskirts of a city. The visitors inside the museum are the third specter who see both the upper and lower decks at the same time, investigating and viewing the fixed and changing boundaries and allowing visitors to imagine possibilities beyond the current moment.
Year: 2019
Designer: Yaya Huang, Sr_Kc, Tzu-Kuan Liao, Pin-Chu Chen, Chi-Kang Li
Wording: Yaya Huang, Sr_Kc, Pin-Chu Chen
3d Modeling: Yaya Huang, Chi-Kang Li
Mechanism design: Chi-Kang Li
Rendering: Tzu-Kuan Liao