Design 2003.10 Treasure

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寶藏巖
我對Marco台北有機層系列作品之一的體識
Marco's "Taipei Organic layer"


謝英俊


第一次與Marco相識,是在Urban Flash, Linz會場,我與他被安排在同一個單元作報告,之前對他的認識,只是透過上屆威尼斯建築雙年展芬蘭館的作品,感受到他能夠透過建築實體那麼具象的手段,將強烈明晰近乎是政治正確的環保概念,提升到如夢似幻的美學創作境界。

在他另一個焚燒高腳屋作品裡,則感受到一種反叛幾近異教徒儀式的行動藝術。可能是我對北歐過於簡化的概念,Marco讓我想到維京人與大海、荒原,桀傲不馴如「葛天氏之民」;這點與原住民有太多相似。

"I first met Marco at the Linz Urban Flash presentation, before that what I knew about him was through his work at the Venice Biannale Finland hall, sensing his intensely, almost politically correct ecological concepts, through a very architectural excecution, elevated to an illusional dreamlike artistic realm. In his other work, a burning house on stilts, I felt another kind of rebellic, almost heretic ritual-like action art. Maybe it's my simplified knowledge of Scandinavia, but Marco reminds me of Vikings, the sea, and wilderness, he is not to be tamed; this is very similar to the aborigines in Taiwan."


火 Fire

這次在台北碰面,第一個牽動的話題是「火」。「火塘」,會把人聚集,就像目前我住的邵族安置社區,家家戶戶都生火,我們入境隨俗,生火成了每天近乎儀式的習慣。在傳統部落裡,火熄了是大忌諱;火是能量、生命的表現。在寶藏巖的作品裡,「火」成了核心。

"On our first meeting in Taiwan we came upon the subject of 'fire'. Fire gathers people. In a traditional tribal community, to let the fire out is a big taboo; fire is energy and life. In the Treasure Hill project, fire is the center of all things."


真實 Reality


來自馬戲團家族,表演對Marco來講再熟悉不過了,他可以掌握得淋漓盡致,也是讓他的作品能有強烈感染力的原因,但是對身為建築人而言,這可能是另一種危機。他在一件喜愛的T-shirt寫上「CONSTRUCTOR」--如何讓強烈躍動的表演與真實的生活連接--這具有不凡的意義,而這也是所有藝術創作者的夢境,一種永遠無法實現、無奈的夢境。

寶藏巖作品如果只是一個裝置、一個表演,意義不大,因它所傳達的概念已經夠了,如何讓社區的人真正的能生活其間(大媽、阿婆們必須能從山頂盡頭順著搭設的階梯、橋走下來澆菜,居民開始進入一片片破敗但充滿時間痕跡的殘壁、藤蔓攀爬的角落,去觸摸快速消失的記憶),在長時間的互動中讓人們開始重新思考都市發展、現代生活、過度消費、生態環保…等問題,更甚者,包含讓市政府、市民、市議會、社區組織與居民產生更深刻的對話,這才是關鍵。

在台北碰面後第二天早上,他帶我看過環境、述說他的設計後,我回以:「讓它成真!」他有點疑惑,因為台北市政府只提供15萬元,這經費包括所有的表演、遊行活動的費用。

隔天早上,我帶了一車的繩索、滑輪和工具,到現場時,Marco正擎著一支小小的破碎機與一堵水泥牆奮戰,他想打掉它,但是幹了半天,只打缺一個角,他看到我來,興奮地大叫,並從二層樓高的牆上跳下來。接下來的就是為期一週天昏地暗的constructor工作。

"How to make a show, an installation into a reality? How to communicate concepts, create a dialogue between the government, city council, citizens, community, and people who actually live here; for the residents to live with/in this "art piece", to interact, and through time, let people think about urbanization, modern life, excess consumption, ecology..."


共生與再生的構築 A commensal and regenerative construction

在過程中,我們希望參與的同學能把自己當成居民:如何使用撿拾來的廢料、用簡單的工具,就現有地形地物發揮想像,克服重力,去構築。

在這種條件下的構築,無法精確繪圖與丈量,工具永遠不足、材料永遠需要拼湊使用,一切必須遷就現有條件,依附既有的殘破結構,再結合、再加固。新與舊、殘缺與殘缺、共生與再生,剩餘物與廢物,不斷的在追求新的生命。

遊行展示的推車,雖然有漂亮的草圖,但如何建造,令我們傷透腦筋,最後是在對面高架橋下工地,借來用剩的鷹架廢料,加上輪子,5分鐘,美夢成真…。吊上椅子、書架,掛上社區裡被任意丟棄的老照片、雜物,聯繫時空的列車,推出社區進入台北市。

整個構築過程就在種種困頓與驚喜中進行。一個接著一個的想法與觀念,像「天梯」一樣,(最頂上直上二層樓的梯子,我們戲稱為天梯),蜿蜒爬升。

Marco在離台前,興奮的提到:在準備進行的台北有機層計畫有新的看法了。

"We build with our own hands, with simple tools, and materials from gathered waste, growing on the topology, overcoming gravity, we construct. Old and new, ruins and regeneration, connection, re-consolidation, constantly searching for new life. The whole process is a series of hardcomings and surprises. One by one ideas and concepts climb, meandering up, like our 'stairway to heaven'..."


花與菜 Flower/Vegetable

寶藏巖下方原先是菜園,社區居民種菜或自己食用或社區分享或賣到市場,這是生活在這片土地上的人很自然的行為,但都市計畫、都市建設將菜園剷除,鋪上如茵的草皮,居民若在這裡種菜會被罰一萬八千元!

在寶藏巖作品裡,其中一個項目,是將緊鄰山腳下的一片草皮重新讓給社區居民種菜,並利用擋土牆滲出的水澆灌,形成社區小型的食物鏈;這與Marco在威尼斯建築雙年展的作品類似--利用廢棄的駁船,鋪上威尼斯市一小時生產的有機廢棄物,種樹,形成小公園。

種花草必須由公園管理處花錢維護,種菜,居民自己會照顧得好好的;種花草讓台北市看起來有國際都市的形貌,像新加坡,種菜顯得窮酸;種花是消費,種菜是生產。社區居民是都市的弱勢者(經濟上)、邊緣人,一小片的菜園是他們生存的依靠,無能力消費意味著沒有能力破壞大自然,無能力剷除歷史。

公園處曾好心想贈送花草來美化這片菜園,但被Marco善意回絕。居民怕被罰一萬八千元,始終要求必須保證不被罰才敢種,雖然口中不停地唸著,但是手上卻是不由自主地進行翻土、下種的熟練動作。

"There used to be vegetable plots at the base of the hill. Growing food for sharing is a very natural behaviour of man on land, but the arrival of urban planning took away the vegetable plots and replaced them with green grass. The residents here are fined if they grow vegetables! Flowers and grass requires park management and financial expenditure, vegetables are taken care of voluntarily; Flowers and grass give Taipei an 'international look', but vegetables make Taipei look poor; flowers are consumption, vegetables are production. The residents here are the social vulnerable groups of the city, they live on the fringes of society, a small vegetable plot may be their basis of survival. The inability to consume also means inability to destroy nature and history."


高架橋與快速路 Bridges and Speedways

與Marco坐在第三階無牆、破樓板的火塘旁,眼前是一無遮攔的福和橋和環河快速道路高架橋,車輛潮水般的流動、高架橋優雅平滑的曲線,與寶藏巖廢墟似的靜止,形成強烈的對比,在這反差之下,益發顯得寶藏巖的豐富與時間的厚度。它是台北市的閣樓,一個積存歷史記憶的基因庫,這反差也讓「廢棄物」顯現出新的生命力,Marco如此認為。

"The graceful curves of the speedways and bridges, the waterlike flow of cars and movement creates a strong contrast to the silence and ruins of Treasure hill, and also intensifies its richness of time. It is the attic of Taipei, a storage of memories; this contrast also gives the 'ruins' new life, so Marco thinks."


廢棄物 Waste

「廢棄物」是在「有用之物」的觀點上得名,Marco替垃圾找出路,在廢墟中找殘存的生命基因。說也奇怪,我迷戀吳哥窟廢墟的形貌,並一直認為那是都市最美的屍體,並在原住民身上中看到永續的脈絡,而我們災區造屋工作隊的隊員百分之八十不是殘障、痛風,就是酗酒過量酒精中毒者…。

"Waste is relative to Want. How do we define usefull or not? Marco finds a way for the 'unwanted'. Similarily, I have always thought Angkor Wat the most beautiful city corpes."

有機 Organic

「天梯」邊,在柱子夾縫裡,長出油綠綠的姑婆芋,可能幾十年沒人打擾它,應該繁衍幾個世代了,就像寶藏巖,三不管地帶,都市的角落,幾十年的繁衍,形成無比精采的人居空間,再完美如高架橋的平滑結構,在它之前也顯得貧乏單薄、輕狂無知。

大自然的神妙力量,生命的有機性,在人為干擾下,只是暫時躲起來,在不為人知不為人碰觸的陰暗角落裡,等待。

"A taro leaf grows out from a crevice, beside the 'stairway to heaven', untouched and unbothered for years, just like Treasure hill, a forgotten corner of the city, bursting with fantastic spaces through the will to live. The most perfect bridge construction seems feeble and ignorant before this organic human structure."


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