PROJECT INTRODUCTION

INTRODUCTION

During the process of design, I have been searching for something different from the basic theory of current design. Until now, I haven’t figured out what exactly the “difference” is, but the meaning of discovery lies in here. Maybe it can be expressed clearly by language in the future, but now, for the moment, I prefer to express my feelings come straight from my heart with “the negative feelings of design”, but it’s difficult for me to speculate how much the viewer can understand it. Delivery this kind of undefined design method to others is like throw a stone to clear the road.
With regard to the color of space, the whole space are adjusted as a unified color to blur the boundaries between time and space and define the sense of extension for the space. Regardless of heaven and earth, if we focus on light and shadow only, from a pure color particle to a full color plane, to a space open to the viewer, there are innumerable possibilities of light and shadow. But why is there only one color? Color maybe bright, magnificent, violent, melancholy, but the color itself is absolutely free, it could integrate into a space instantly. When the line is still “running”, trying to reach the limit, at this moment, the color itself has become into infinite, as for me, the color is emotional “material expression”.
Entrance: experience a space, or travel in a space. How to let the viewer interact with the space, namely, to evoke their emotional changes, even though it’s “negative feelings”. As the narrow and high steps, you will be aware of dangerous consciousness and more cautious. This is the emotion that the designer try to convey. Just like the narrow door of the tea room, the door head to heaven, the road has never been wider and smoother. The head of the door and staircase were lowered down deliberately to deepen viewer’s emotion. The technique of peep was applied to create multiple frames which are nested and permeated mutually and form multi-levels profound and deep space vertically and horizontally as well as guide the viewer's sight.
Display area: while walking around the display space, the wall was divided by arc-shaped archway to form a sense of order and encircle an inward-looking area. All of the activities are conducted at this central area. Each wall is not simple partition, but embedded with a different layer of space behind the space. Through the arched space opening to form a visual penetration. Various spaces intersected and connected, as you were in a maze. The platform at the central area comes from my hypothesis. Suppose this is the center, below is a sea of clouds or water area, where you can jump down. At the center of the space, I took the sheep from our nature as a creature from outside world and they are produced and without obvious meaning. I brought them into this space and chose sheep to create, not because of their shape, but I feel that they strongly suggest infinite warmth.
Material selection Area: under the huge dome, there is a dynamic device to display time continuously. Even from the angle of photography, it is difficult to catch the real quiet moment. The viewer's eyes move on the device, but sometimes under relative time, it’s very stable. For an artwork, as long as it does exist for real and can be recognized and displayed by understandable image. Whether it’s mechanically made or reproduced, classified as nameless or falsified, moved elsewhere or given other meanings, it will always be presented forcibly under the illusion of identity.