Wei Plan NO.002
▽感物Ugan concept《透明記憶里的家宅》完整版
未計劃002
“ Memory”is built up pieces by pieces. Human being gets to know the world through a series of sensations,vision,voice,tactility,and distance... These memories in different dimensions construct a transparent mirror image,overlaying with the real past. It partly interprets our living scenes in old days, and passes on and extends feelings, at the same time, it helps people complete their imagination about future.
“記憶”是碎片堆疊，人類通過視覺，聲音，觸感，距離......一系列“感知”去認識世界，這些不同維度的記憶構起一個透明的鏡像，與真實的過去疊加，它部分“翻譯”了我們過去的生活場景，傳遞并延續情感，同時幫助人們完成對未來的想象。
This time we dreamed up a homestead in memory. Wooden floor, as the first skin of space is applied in the installation at different dimensions and transforms into various basic and functional parts in a homestead---floor, stool, desk, stair, roof, window, enclosure, landscape step.Fictitious and realistic connection tries to evoke reminiscence of space.
這一次，虛構了一個記憶中的家宅，作為空間第一層肌膚的木地板被運用于裝置的各個維度，變成家宅中不同的基礎功能性部件——地面、坐凳、桌子、樓梯、屋頂、窗戶、圍墻、景觀踏步，虛實相接，試圖引起空間的回想。
Posts and beams flexing into one doors and windows being empty but real spared stairs fictitious room
柱梁折曲一合 門窗空實 梯無用 屋猶虛
This incompact and impracticable homestead is built to communicate with people living in “the commercial boxes “ in cities and towns in China at the contemporary.How many people can describe what’s that symbolic and practical ancestral house like over more than 10 centuries? How real is our memory for space? How real is our memory of ourselves?
做這個打散了的，不切實的家宅的目的，是想和當下住在中國城鎮“商品盒子”里的人們有一次交流，不知還有多少人能將十幾個世紀以來那個既有象征意義又有實用功能的祖屋---家宅的形象描述出來？我們對空間的回憶到底有多真實？我們對自己的回憶到底有多真實？
Ancestors built houses by needs, suiting to conditions and selecting materials by functions. People name the construction parts to mark, and to pass on ... Their understanding of homestead is no other than it of themselves. Wooden door opens and closes; footsteps tread on stairs; rain drops on rooftop...Sound here generates feelings in heart. The ground in courtyard reflects the sky above of four seasons and day and night . Winds from four directions pass through the hall...Time in a space gives heart emotions.
先祖們按需構建，因地制宜，因用選材，人們給構件命名，用于標記和傳承……他們對家宅的了解無異于對自身的了解。木門開合，腳步敲踩樓梯，雨打屋面 ……此地有聲，則心感存在。院子的地面反映著上方天空的四季與晝夜 ，廳堂間穿過四方流動的風……空間有時，則心感變化。
We are in industrialization time, in which efficiency is the pronoun of industrialization. It seems that over hundreds of years, human society get the collective driving force for more advanced supplies. Modular production way almost makes us the productive force that is created to improve efficiency. Of course, It is difficult to judge the probable era of evolving into machine in the future,but when we are at the time that we still can feel our life with human emotions. Shouldn’t we think about how important is the efficiency principle.
我們身處的，是工業化的時代，高效是工業化的代名詞，“提高生產效力”，似乎也是千百年來人類社會為了得到“更先進物資”的“集體驅動力”，模塊化的生產方式，讓我們自己幾乎成為了當初為了提高效率而創造出來的生產力（機器），當然，我們很難去評判未來那一次可能向機器進化的時代的好壞，只是，在我們尚處在還能用“人”的情感感受自己生命過程的時刻，是不是可以想一想，高效法則，到底有多重要？
Black Iron: abnormal structure represents the collapse and disorder of our spirit and will.
黑鐵：結構的異化代表著我們精神意志的“倒塌與錯亂”
Plant: plant is an important medium to view changes of seasons. Through extended window frames, plants’ growth and withering can be seen.
植物：植物是眼觀四季變換的重要介質，透過延伸的窗柩，看到植物的生長衰落。
Shot: the shot on the H-shape steel represents sound of water flow. The sound of when it rolls resembles it of water flow.
鉛球：H鋼上面放的是一個鉛球，這鉛球其實代表著水流聲，滾動的時候類似水流聲.
Light and Shadow: transparent acrylic partly let light through which is difficult to feel in a steel and concrete forest.
光影：透明亞克力部分可以透光，眼觀四季變幻，這是在鋼筋水泥的森林里難以得到的感受。
Acrylic and Wood Flooring: limpid memory means the wooden space that built with logs by our ancestors(it indicates dependence on trees in collective subconsciousness,wooden structure brings double safety physically and psychologically); however people’s sense to entire space image in industrialization time is weak.Seemingly, we can adapt to new environment, but subconsciousness is accumulated through hundreds of thousand years. The dependence is hard to be replaced. So even if we can’t sense the real figure, some materials in the space still can attract our attention,so wood is.
亞克力與木地板：透明記憶是指我們先輩們用原木為原型所搭建的木空間（里面包含了集體潛意識里對樹木的依賴，木結構提供了物理和心理上雙重的安全感）；而被迫進入到工業盒子時代的人們對整個空間的形象的感受力是微弱的，表面上我們可以適應新的環境，但潛意識是幾十萬年的積累，那種依賴性很難被代償。 所以即便真實的形象我們感知不到，空間里面一些材質依然會引起我們注意，木材就是如此……
Passage: we enter a space from a different space. The first thing that comes to our mind is that how long does it take.However, Homestead in Limpid Memory installation makes getting to Ugan interesting; It’s not a concept of time any more. On the way to Ugan, you can touch the flooring,sense the homestead in memory, using concept of space to make people unconscious of time.
通道：我們從一個空間到另一個空間，首先想的是要花多少時間，而通過這個《透明記憶里的家宅》裝置，讓如何到達感物變得有趣，它不再是一個時間的概念，在通往感物的路上你可以觸摸地板、可以感知記憶中的家宅，用空間的概念讓人遺忘時間。
