城市前线观察与实验 : 后疫情时代下的空间感染异变
在伦敦封城届满一周年之际，今天我们将带读者来了解在这疫情影响下的一年里，伦敦的都市空间/人与空间到底产生了什么巨大变化，透过艺术家的作品去观察这一年空间的异变。黄钧翊在2019年毅然决定放弃在台湾建筑师的工作，申请了艺术家签证的机会来到了异乡伦敦探索，今天我们就来分享与这位艺术家访谈后的心得。黄钧翊本科期间在建筑学院学习，但从在学期间一直一来对于艺术有着憧憬，希望能搭起建筑与艺术之间的桥梁。2014年毕业后，在建筑业界闯荡了几年，同时也接触了许多社区营造/公共空间设计/艺术工作营...等的项目，发现自己内心还是向往着艺术的创作，而后毅然决然的来到了伦敦当一个漂泊的艺术家。虽然期间遭逢疫情影响，许多原有的工作停摆，但藉由观察及反思疫情下对于伦敦城市的影响，反而在这期间完成了许多有趣的”艺术作品”和”实践项目”，而灵感都来自他在伦敦将近两年间，对于生活体验以及封城期间都市状态改变而受到启发。
Huang Chun Yi resolutely decided to give up his job as an architect in Taiwan in 2019. He applied for an artist visa and went to a foreign land to explore in London. Today we will share the experience after interviewing this artist. Huang Chun Yi studied in the School of Architecture during his undergraduate studies, but Huang Chun Yi has always had a longing for art during his studies, hoping to build a bridge between architecture and art. After graduating in 2014, I have been in the construction industry for several years, and at the same time I have come into contact with many projects such as community construction/public space design/artwork camp... and found that I still yearn for artistic creation in my heart, and then resolutely come here. Went to London as a wandering artist. Although affected by the epidemic during the period, much original work was suspended, but by observing and reflecting on the impact of the epidemic on the city of London, many interesting "artworks" and "practical projects" were completed during this period, and the inspiration came from During his nearly two years in London, he was inspired by the experience of life and the changes in the state of the city during the closure of the city.
异托邦第三项准则: 在现实世界中彼此矛盾的空间，可以在异托邦的同一场域微妙地并置存在、彼此相容。- Michel Foucault
The third criterion of heterotopia: In the real world, conflicting spaces can be subtly juxtaposed and compatible with each other in the same field of heterotopia. -Michel Foucault
新冠肺炎的疫情在短短的一年中, 大幅度的改变了人们习以为常的生活型态, 封城之后都市的公共空间失去了意义, 居家的功能性变得多样, 从傅科的异质空间理论中, 原本单纯的“家”的功能是生活与隐私的个人空间, 因为封城的关系, 人们开始足不出户的工作与生活, 随着网路运输及通讯科技的进步, 让家成为虚拟的办公室, 当人们独自在房间内工作的同时, 虚幻真实的视讯会议, 监督工作的主管软体, 所有人都虚拟的在同一的空间工作, 狭小的空间实质的封闭却又是虚拟的开放的冲突, 如同充满房间的黑色办公椅, 忙碌, 孤单却又充满压力的新型态生活模式。
In just one year, the new crown pneumonia epidemic has drastically changed the way people are accustomed to living. After the closure of the city, the public space of the city has lost its meaning, and the functions of the home have become diversified. From the heterogeneous space of Foucault In theory, the original function of "home" is a personal space for life and privacy. Because of the closure of the city, people begin to work and live without leaving home. With the advancement of network transportation and communication technology, the home becomes a Virtual office, when people work alone in the room, illusory and real video conferencing, supervisory software for supervising work, everyone works in the same space virtually, the small space is substantially closed but virtual open Conflict is like a black office chair full of rooms, a busy, lonely and stressful new lifestyle.
Through his works, the artist tries to express how our home space and office space have changed in the state of the closed city. This change is also the change of public and private space, but the work adopts a kind of non-linear way of expression ingeniously describes the coexistence and conflict in the space. The work also attempts to explain that this mutation did not occur naturally, but was forced to evolve under the change of the epidemic environment. Although it is similar to Foucault’s heterotopia, there are two conflicting uses (Programmes) at the same time in a space, but it is interesting to add a virtual dimension to this dimension (far End office).
然而，这种异托邦的室内空间并非第一次在建筑史上出现过，它一直存在我们都市中的某个角落的某处，或许艺术家不自觉的深受影响，抑或是它建筑背景的薰陶下，才使黄钧翊对异托邦空间型态特别感兴趣，进而影响到他艺术作品的发展。从18世纪义大利著名的画板艺术家- Piranesi所绘制的城市平面图分析，我们可以发现，都市一直一来是存在着异变和共存着冲突的空间，空间从未是单一且均质的，不同性质的空间相互坐落在都市中而产生有趣的化学变化。如果我们将黄钧翊的作品与这异托邦都市对比的话，或许可以发现一些有趣的相似性。However, this kind of heterotopia indoor space is not the first time that it has appeared in the history of architecture. It has always existed somewhere in a corner of our city. Perhaps the artist was deeply influenced by the artist unconsciously, or it was influenced by its architectural background. it made Huang Chun Yi particularly interested in heterotopia space patterns, which in turn influenced the development of his artworks. From the analysis of the city plan drawn by Piranesi, a famous Italian artboard artist in the 18th century, we can find that the city has always been a space of variation and coexistence conflict. Space has never been single and homogeneous, with different properties. The different spaces are located in the city and produce interesting chemical changes. If we compare Huang Chun Yi's work with this heterotopia city, we may find some interesting similarities.HYBRIDISED CITY - PIRANESI同样的，不只都市是异托邦，异托邦型态的居家空间也可以在一些著名建筑师的平面图上被阅读出来。由美国著名建筑师兼艺术家:约翰・黑达克(John Hejduk)的钻石住宅，在现代及后现代主义中建筑发展下，空间是不停的在变异，且必须容纳互相冲突的活动(Programmes) ，住宅之于游泳池、图书馆之于咖啡厅、运动场之于购物商场，这些冲突性都是可以被设计在一起的。聚焦到室内的话(由于艺术家作品是室内尺度)，电脑(公共)之于书房(私密)，电视(讯息)之于客厅(家庭)...等，这些物件的冲突性所带来的空间变异，是我们每天日常在接收的体验，也或许这样影响了艺术家作品创作的发展，而黄钧翊则透过办公椅及家用椅的并置，更强烈的方式去表达这种冲突与趣味性。In the same way, not only cities are heterotopias, but also the home space of the heterotopia type can be read on the floor plans of some famous architects. The diamond house by the famous American architect and artist: John Hejduk (John Hejduk), under the architectural development of modern and postmodernism, space is constantly changing and must accommodate conflicting activities (Programmes), The residence is to the swimming pool, the library is to the coffee shop, the sports field is to the shopping mall, these conflicts can all be designed together. If you focus on the interior (because the artist's work is an indoor scale), the computer (public) is for the study (private), the TV (message) is for the living room (family), etc., the spatial variation brought about by the conflict of these objects It is the experience we receive every day, and perhaps this has affected the development of the artist’s creation. Huang Chun Yi expresses this conflict and interest in a stronger way through the juxtaposition of office chairs and home chairs.平面图: HYBRIDISED SPACE - DIAMOND HOUSE空间透视图: HYBRIDISED SPACE - DIAMOND HOUSE最后，这张摄影却作品给了我们一记当头棒喝。由于工作关系，伦敦大部分的家庭都变成了异托邦空间，生活与工作是在同一个空间中进行着，这种空间是因应着疫情封城而产生的，但总有一天，疫期会过去，封城会结束，我们会丢弃家具会被丢到废弃场吗? 异托邦空间会恢复到我们原有的生活空间吗? 这样的异托邦空间又会变成什么样子呢? 黄钧翊透过这张摄影作品，表达了我们对未来的不确定性，也表达在未来异托邦空间的存在与否?In the end, this photography work gave us a head start. Due to work relations, most families in London have become heterotopia spaces. Life and work are carried out in the same space. This space is created in response to the closure of the city due to the epidemic, but one day, the epidemic period It will pass, the lockdown will end, will we discard the furniture, will it be thrown into the abandoned yard? Will the heterotopia space be restored to our original living space? What will such a heterotopia space become? Huang Chun Yi Through this photographic work, we express our uncertainty about the future, and also express the existence of heterotopia in the future?我们是否会回归到正常呢？艺术家试图诠释当生活回归正常后，人们将办公椅改为到回收场里异质空间中所进行的异质时间（heterochrony）是一种时间切片的累积，可以是时间的堆叠连结，如图书馆、墓园。The heterochrony carried out in a heterogeneous space is an accumulation of time slices, which can be stacked connections of time, such as libraries and cemeteries.在没有古董市集的疫情期间，作者在亚洲成长的经验与眼光，为亚洲的顾客挑选的英国古物，而在其自家的线上古董店也成为了一种异质空间，居家房间成为线上商店成列商品展示室，也透过网路媒介成为一艘跨国运输的货船，在其中来自所有时代和风格的物体都在一个空间内被展示着。它们存在于时间中，但也存在于时间之外，因为它们的构建和保存是物理上不受时间破坏，作品概念来自用网路虚拟的媒介去贩售关于时间与记忆的幻想，光影的变化如时间，也象征一种物件跨国运输的漂流，挖掘诉说每件商品其背后的故事，他们的存在与迁徙使得居家的空间意义的质变，这样的空间作品代表着东方人对西方过去旧时代的美好幻象。During the epidemic period when there was no antique market, the author's experience and vision growing up in Asia, the British antiques selected for Asian customers, and his own online antique store has become a kind of heterogeneous space, and the homeroom has become online. The shops are lined with commodity display rooms, and through the Internet media, they become a transnational cargo ship, in which objects from all ages and styles are displayed in one space. They exist in time, but they also exist outside of time, because their construction and preservation are physically undamaged by time. The concept of the work comes from the use of virtual media on the Internet to sell fantasy about time and memory, and changes in light and shadow. Such as time, it also symbolizes the drifting of a kind of transnational transportation of objects. It excavates and tells the story behind each commodity. Their existence and migration make the spatial meaning of the home change qualitatively. This kind of spatial works represents the Eastern's perception of the old West in the past. A beautiful illusion.DIGITAL HYBRIDISED ANTIQUE SHOP艺术家为了更进一步探索异质空间的概念，以及实验封城期间，居家空间是如何产生异变，艺术家进一步创立了一个实验性的线上古董商店，试图去探索”时间”、”家”、与”虚拟空间”的并置重叠(Superimposition)，家一直以来是我们堆积时间以及记忆的一个地方，因此从另一方面来说，家也是一种非商业的古董店。封城期间，由于我们长时间待在家中，我们加速了堆积记忆及物品的速度，也就是加速了空间的异托邦化，艺术家透过虚拟古董店的概念，将这异托邦空间虚拟化，不仅仅只是虚拟化，透过将居家古董店连结到其他人的家里电脑，也将这异托邦空间的概念更加的抽象化，将虚拟空间叠加到实体空间。In order to further explore the concept of heterogeneous space and to experiment with how the home space has changed during the closure of the city, the artist further established an experimental online antique store, trying to explore "time", "home", and Superimposition of "virtual space", the home has always been a place where we accumulate time and memory, so on the other hand, home is also a non-commercial antique shop. During the lockdown period, because we stayed at home for a long time, we accelerated the accumulation of memories and objects, which accelerated the heterotopia of the space. The artist virtualized this heterotopia space through the concept of a virtual antique shop. Not only is it virtualized, but by connecting the home antique shop to other people’s home computers, the concept of this heterotopia space is also more abstracted, and the virtual space is superimposed on the physical space.DIGITAL HYBRIDISED ANTIQUE SHOP然而，最早的博物馆即家，在几个世纪前，贵族因为周游各地，而搜集了各种奇珍艺品摆放在家中，当邀请客人来时，就将这些奇珍异品当作搜藏品展示给来访的客人观赏把玩，这便是最早的博物馆型态。因此家以来某种程度上来讲，一直都是一种博物馆的形式存在着，我们不停地堆积我们记忆到家中，相片、玩具、纪念品...等物品都是记忆的实体型态。因此家一直以来都是异托邦的空间的一种。然而在封城期间，这堆积记忆的速率加快到一个极致。有趣的是，即便家即为博物馆的概念早已存在已久，黄钧翊的作品建构在这概念上，又叠加上了一层虚拟空间，虚拟空间一直被认为近期火热的异托邦空间(Heteropia)人选，在虚拟空间上，时间、地点、空间都是不均质且共存着，例如: Youtube，将不同的种类影片项目结合到同一个页面空间上。因此，艺术家作品试图在探索一种新的空间型态，家、博物馆、虚拟空间三者之间的关系。However, the earliest museum is the home. A few centuries ago, the nobles collected all kinds of rare art objects and placed them in their homes because they traveled around. Show it to visiting guests to watch and play, this is the earliest museum type. Therefore, to a certain extent since home, it has always existed in the form of a museum. We keep accumulating our memories into our home. Photos, toys, souvenirs... etc. are all physical forms of memory. Therefore, home has always been a kind of heterotopia space. However, during the lockdown period, this accumulation of memories accelerated to an extreme. What’s interesting is that even though the concept of home as a museum has been around for a long time, Huang Chun Yi’s works are built on this concept and superimposed on a layer of virtual space. Virtual space has always been considered a hot candidate for Heteropia in the near future. , In virtual space, time, place, and space are heterogeneous and coexist, for example, Youtube, which combines different types of video items into the same page space. Therefore, the artist's work is trying to explore a new type of space, the relationship between home, museum, and virtual space.案例一: 西方建筑史上博物馆(Museum)发展史，贵族将”家”转化为博物馆案例二: 西方建筑史上博物馆(Museum)发展史，贵族将”家”转化为博物馆近期由于疫情关系，欧洲大部分的博物馆与展览场地都处于闭馆状态，因此很多艺术家也在探索”虚拟展览”(Digital Exhibiton)的方式去呈现作品。黄钧翊的虚拟化古董店正是虚拟展览的一种延伸，到底虚拟展览除了提供不同地区的人参加的好处外，这个概念到底还能对于空间设计带来怎样的冲击呢?又能如何重新定义未来展览空间?黄钧翊在封城期间的艺术作品探索的异托邦式的古董店是否在暗示了空间叠加(Superimposition):时间、地理、记忆...等的交错结合后，发生在虚拟空间上可能会是一种新的展览空间体验。Recently, due to the epidemic, most museums and exhibition venues in Europe are closed. Therefore, many artists are also exploring the way of "Digital Exhibition" to present their works. Huang Chun Yi’s virtual antique shop is an extension of the virtual exhibition. In addition to providing the benefits of participation by people from different regions, what kind of impact can this concept have on space design? How can it redefine the future? Exhibition space? Does Huang Chun Yi’s artworks during the closure of the city’s artworks explore the heterotopic antique shop suggesting space superimposition (superimposition): time, geography, memory... etc., after the interlaced combination of time, geography, memory, etc., it may happen in virtual space It will be a new exhibition space experience.案例二:展览空间的虚拟化 - 疫情影响下的加速发展https://www.chunyihuang.uk/在疫情期间，”社交距离”是最直观的改变，人与人之间的距离被限制，尤其在欧洲这个见面就要握手拥抱的社会下，社交距离到底是怎么影响人在空间中的活动的呢? 距离感又是如何产生异变的呢? 首先，艺术家透过摄影作品表达了”社交距离”的影响下，人与人的关系变成了一种分离且孤独感，这种氛围被封城的政策给催升到了极致，朋友与家人间不再见面，人开始与社会和现实的距离也逐渐拉大，我们习惯的空间尺度/距离开始被压缩且变异。或许艺术家想透过影像作品去讽刺，在这样的政策下，人是否反而更有机会去反思我们习以为常的事情，以及我们在日常生活空间中，人与人交流的生活模式已经逝去。同时，作品试图去带出另一个反思:人与人距离的变异是如何改变我们习以为常的都市空间呢?During the epidemic, "social distancing" is the most intuitive change, and the distance between people is restricted, especially in Europe, a society where you have to shake hands and hug when you meet, how does social distance affect people's activities in space? What? How does the sense of distance change? First of all, the artist expresses the influence of "social distance" through photographs, and the relationship between people has become a sense of separation and loneliness, and this atmosphere is sealed. The city’s policy has been escalated to the extreme. Friends and family no longer meet, and the distance between people and society and reality has gradually increased. The spatial scale/distance we are used to has begun to be compressed and mutated. Perhaps the artist wants to satirize through video works. Under such a policy, do people have more opportunities to reflect on the things we take for granted, and the life mode of communication between people in our daily life space has passed. At the same time, the work tries to bring out another reflection: How does the variation of the distance between people change the urban space we take for granted?艺术家摄影作品 - 距离与空间质变下所产生的封闭感将艺术家作品概念带回到建筑空间上，近期的气泡演唱会(Bubble Concert)变成了一个大家在讨论疫情缓和后可行的演唱会型式，透过提供每一个参与者一个气泡球的空间，人变成只能在那个气泡内活动。密集聚集的演唱会空间因此产生了异变，演唱会不再是一个拥挤热闹的场域，反而变得疏离且静态的，但这样的空间是否还是我们理解的演唱会呢?Bringing the concept of the artist's work back to the architectural space, the recent Bubble Concert has become a viable type of concert after everyone discusses the easing of the epidemic. By providing each participant with a bubble ball space, people can only move in that bubble. As a result, the densely gathered concert space has changed. The concert is no longer a crowded and lively venue but has become alienated and static. But is such a space still a concert we understand?当社交距离被使用到都市设计时，伦敦出现了一种全新有趣的设计模式，如何在安全的距离下，同时人也可以进行社交活动，透过简单的颜色区块分别，让使用者自觉得进行安全距离社交。在政府发布说病毒无法消灭，未来将会与病毒共存的情形下，这样的未来趋势下，将会把伦敦的都市设计变成什么样子呢?When social distancing was used in urban design, a new and interesting design pattern appeared in London. How to conduct social activities at a safe distance at the same time, let users feel themselves through simple colour divisions Socialize at a safe distance. With the government's announcement that the virus cannot be eliminated and will coexist with the virus in the future, what will the urban design of London look like under such a future trend?从家具、空间到都市设计，我们从艺术家作品和都市空间可以发现伦敦正在进行着一种异变，空间像是被感染(Infected Spaces)后开始产生一些变化，这种异变到底是黄钧翊在探索的异空间(Heterotopia)呢?还是他是一种全新的空间变异?我们生活的空间因为疫情的影响下，开始在变化着，但到底未来我们将会生活在怎样的异变都市(Mutated City)呢?From furniture, space to urban design, we can find that London is undergoing a kind of abnormal change from the artist's work and urban space. After space seems to be infected (Infected Spaces), some changes begin to occur. After all, this kind of abnormality is Huang Chun Yi exploring What about Heterotopia? Or is it a brand-new spatial variation? Our living space is beginning to change under the influence of the epidemic, but what kind of mutant city will we live in in the future? What?在2020年中, 英国疫情稍微趋缓的时刻,政府宣布餐饮业短暂恢复营运, 并且鼓励人民外食消费, 艺术家与他的朋友们, 在东伦敦的嬉皮(Hipster)地段找到一间废弃的手工洗车厂, 并将其改造为夏日限定的pop-up鸡尾酒吧, 为防疫量身打造的实验性设计, 半户外通风的空间, 社交距离的控制, 一进一出的动线安排, 尝试因应时代的设计, 为消费者打造更安全舒适的聚会空间。在这期间，艺术家作品透过实际的空间设计案，继续在探索着封城下空间的异变。In mid-2020, when the British epidemic slowed down slightly, the government announced that the catering industry would temporarily resume operations and encouraged the people to eat out. The artist and his friends found abandoned craftsmanship in the Hipster area of East London. Car wash factory, and transform it into a summer-limited pop-up cocktail bar, experimental design tailored for epidemic prevention, semi-outdoor ventilation space, social distance control, one-in-one-out line arrangement, try to respond The design of the times creates a safer and more comfortable gathering space for consumers. During this period, the artist's work continued to explore the changes in the space under the closed city through actual space design projects.废弃洗车厂改建为户外临时性酒吧 - HYBIRDISED MEMORIES AND SPACES平面图 - HYBIRDISED MEMORIES AND SPACES立面图 - HYBIRDISED MEMORIES AND SPACES那是一个人与人交流空间史无前例大变形的阵痛时期, 第一次英国长达三个月的封城中, 人与人的联系情感的空间, 从现实转移到虚拟网路空间, 而都市的开放商业空间也同样失去意义, 真实的开放社交空间成为了一种被怀念的无相空间（不否定一切相，也不执着一切相，这叫「无相」）, 而老旧倒闭的洗车场, 在同一个位置摇身一变成为了雅痞的鸡尾酒吧, 在异托邦的理论中随着时间的不同，空间可以改变其功能与意义。会依据其所在之文化的共时状态（synchrony），开始具有不同的功能。It was a painful period of unprecedented transformation of the space for human-to-human communication. For the first time in the three-month lockdown of the city, the space for human-to-human contact and emotion shifted from reality to virtual cyberspace, and the city was open. The commercial space also loses its meaning. The real open social space has become a nostalgic space without phases (not denying all phases, nor attached to all phases, this is called "no phases"), and the old closed car wash, In the same location, it turns into a yuppie cocktail bar. In the heterotopia theory, space can change its function and meaning over time. According to the synchrony of the culture in which they are located, they begin to have different functions.废弃洗车厂改建为户外临时性酒吧 - HYBIRDISED MEMORIES AND SPACESII. 文化异变空间 - 伦敦观光办事处室内装修案在那之后，“伦敦观光办事处室内装修案”可能是艺术家对于异托邦空间的另一种诠释，经过封城期间对于空间异变的观察与实验，在这案子中，黄钧翊延伸了之前的异托邦的概念。台湾驻伦敦办事处可以说是一种文化空间与地理位置的叠加(Superimposition)，当进入这个办事处时，就像是引导访客来到台湾，但实际上外部环境仍然是在伦敦，这异托邦式的空间就变得相当有趣。如何将台湾的意象抽象化，并置入伦敦的场地上变成了一个设计上的议题。After that, the "London Tourism Office Interior Decoration Project" may be another interpretation of the artist's heterotopia space. After the observation and experimentation of the spatial changes during the lockdown period, Huang Chun Yi extended the previous concept of heterotopia. The Taiwan office in London can be said to be a superimposition of cultural space and geographical location. When entering this office, it is like guiding visitors to Taiwan, but in fact, the external environment is still in London. The Bang-style space becomes quite interesting. How to abstract the image of Taiwan and put it on the London venue has become a design issue.引用傅柯的异托邦空间(Heterotopia)的概念:空间中是可能存在着与外部空间的不均质性，简单来说，外部环境是一般的街道街区，但一进入了”剧院”，人是进到了一个完全与外界相反的世界，这个空间与外界现实世界完全隔离且带有虚幻性质的，”剧院”提供人去体验幻想世界的一个场所。艺术家藉由这个概念去设计伦敦观光办事处室，当两种不同的文化存在在一个空间中时，设计师该如何去理解空间中本质上的冲突，这或许是艺术家想从他的艺术作品实践案中试图在探索的议题。Quoting Foucault’s concept of Heterotopia: there may be inhomogeneity between the space and the external space. Simply put, the external environment is a general street block, but once you enter the “theatre”, It has entered a world completely opposite to the outside world. This space is completely isolated from the external real world and has an illusory nature. The "theatre" provides a place for people to experience the fantasy world. The artist uses this concept to design the London Tourism Office. When two different cultures exist in a space, how should the designer understand the essential conflict in the space? Perhaps this is because the artist wants to practice from his artwork. The subject that the case is trying to explore.艺术家在伦敦时期作品，启发后期对于伦敦封城后空间的观察往往可以从艺术家早期作品来剖析他后期作品的影响，接下来将分析黄钧翊早期在学期间的作品，或许可以发现艺术家创作的思路，他是如何开始对于傅柯的异空间感兴趣，进而引导他在伦敦期间对于异空间的探索。We can often analyze the influence of his later works from the artist’s early works. Next, we will analyze Huang Chun Yi’s early studies during his studies. Perhaps we can discover the artist’s creative ideas, how he became interested in Foucault’s different spaces and guided him in The exploration of different spaces during London.位于台湾基隆和平岛八尺门海边的协和仓库,曾经是存放危险物品,生人勿近的禁地,现在的协和仓库的用途,只剩闲置或偶存放工程备料的功用,希望旧仓库得以保存再生,并以基隆讨海人的记忆活化再生为概念,七间仓库，结合基隆和平岛的传统与创意产业，产生七种不同性质混合的空间。打通七间仓库的横向动线，让来访游客藉由七种不同的空间体验，认识和平岛的历史与地域独特的魅力。The Concord Warehouse, located on the coast of Bachimen, Heping Island, Keelung, Taiwan, used to be a forbidden place to store dangerous goods and keep people away from it. The current Concord Warehouse is only used for idle or occasional storage of engineering materials. I hope that the old warehouse can be preserved and regenerated, And based on the concept of the revitalization and regeneration of the memories of the people from the sea in Keelung, seven warehouses, combining the traditions and creative industries of Keelung Heping Island, produce seven mixed spaces of different natures. Open up the horizontal movement of the seven warehouses, allowing visitors to learn about the history and unique charm of Heping Island through seven different spatial experiences.异托邦存在于幻觉和补偿的两极之间。福柯提出的最后一个关于异托邦的现像是轮船，他认为是“最好的异托邦例子" (Foucault, 1993, p.425)。轮船既是幻觉的又是补偿的：它把客人运输到另一个世界，从某地的港岸装载客人去发现一个未知的其他空间，同时它也在自身的建筑中得到休养，如码头和桥、沙龙和装货处、座舱和鸡尼酒休息室，一切都是像生活在陆地上一样秩序井然。从这个案子里，可以发现艺术家对于空间的不定性和异质性开始感兴趣，擅于探索空间的抽象及哲学性。Heterotopia exists between the poles of illusion and compensation. The last phenomenon of heterotopia proposed by Foucault is a ship, which he considers to be the "best example of heterotopia" (Foucault, 1993, p.425). The ship is both illusory and compensatory: it transports guests to another world, loads guests from the port of a certain place to discover an unknown other space, and at the same time it is recuperated in its own building, Such as the wharf and bridge, the salon and the loading area, the cockpit and the Gini wine lounge, everything is as orderly as living on land. From this case, it can be found that the artist became interested in the uncertainty and heterogeneity of space, and was good at exploring the abstract and philosophical nature of space.另外一个艺术家早期案子则是他的毕业设计- 公民空间增建案，这个案子将他对于傅柯的理论得到延伸，立法院迁往台湾后，由于当时的时空背景，使得立法院没有自己的议事与办公处所。其现址是向台北市政府承租使用(台北第二女子高中)，加上建筑老旧且不敷使用，也与国会形象不符，因而不断有另建新址的建议, 黄钧翊在毕业设计上延伸了这个议题, 在旧有立法院议场上空架设巨大的量体, 藉由批判讽刺的角度, 讨论政治背后那只看不见的手与民主政治下的无形黑箱, 黄钧翊期望创造一个异托邦, 其中兼具真实与虚构的特性，而正是切入分析社会的最佳关键位置，因为那里是现实与神话相争、无聊惯习与奇幻梦想相错的地方，是社会运作机转最微妙的所在，这正是提出这个概念的理论力量之所依，此案也是黄钧翊(2014)对于异托邦的第一个启蒙与想像的创作。Another artist’s early case was his graduation project-Civil Space Extension. This case extended his theory of Foucault. After the Legislative Yuan moved to Taiwan, due to the temporal and spatial background at that time, the Legislative Yuan did not have its own deliberations and offices. Premises. Its current location is leased to the Taipei City Government (Taipei No. 2 Girls' High School). In addition, the building is old and inadequate, and it is not in line with the image of Congress. Therefore, there are continuous suggestions to build a new location. Huang Chun Yi extended the graduation design On this issue, a huge mass was erected above the old legislative court. From a critical and satirical perspective, to discuss the invisible hand behind politics and the invisible black box under democratic politics, Huang Chun Yi hopes to create a heterotopia, which includes both. It has the characteristics of real and fiction, and it is the best key position to cut into the analysis of society, because it is the place where reality and myth, boring habits and fantasy dreams are at odds, and it is the most subtle place in the operation of society. This is precisely the theoretical power that puts forward this concept, and this case is also Huang Chun Yi's (2014) first enlightenment and imaginative creation of heterotopia.今天很荣幸能请到黄钧翊艺术家來报导他的作品，刚好近期伦敦届满封城一周年，藉由他的艺术/建筑/摄影作品，我们看到伦敦在疫情影响下的改变，并让我们反思疫情下未来伦敦都市空间改变的可能。透过非直观的理解，黄钧翊独有的艺术家抽象间接的作品去观察这个都市异变，也使我们反思未来伦敦该如何与疫灾共存/适应。在看完艺术家的作品后，或许我们可以问:城市空间的异变到底为我们生活模式及建筑设计带来什么影响。最后，在全球仍垄罩在疫情的阴影下，希望大家都能平安渡过接下来的2021年。It just happened to be the first anniversary of London’s closure recently. With his art/architecture/photographic works, we can see the changes in London under the influence of the epidemic, and let us reflect on the epidemic. The possibility of changes in London's urban space in the future. Through non-intuitive understanding, Huang Chun Yi's unique artist abstracts and indirect works to observe this urban change, and it also makes us reflect on how London should coexist/adapt to the epidemic in the future. After reading the artist's work, perhaps we can ask: What impact the changes in urban space have on our living patterns and architectural design. Finally, as the world is still under the shadow of the epidemic, I hope everyone can survive the next 2021 safely.❤️
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