收集時間的容器 - 光盒子與風化作用

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在時間造成的環境改變中，我們經常難以分辨那些現象是物品的破壞損毀，哪些是斑駁的歲月刻 痕所遺留的古樸。建築表面的侵蝕和腐化經常被視為是負面的: 煤煙落塵積累的汙垢，木頭、石材表面的風化，鋼鐵或青銅表面的鏽蝕，都使得一個地方看起來老舊腐朽。風化(weathering) 是由氣候(weather) 的名詞轉變成為動名詞，除了木材岩石的裂解之外，也可以更廣義解釋為氣候和環 境所造成的毀損。然而這些減損和削磨，是否也可能成為美學元素，進而成為建築意義的一部分?
 

建築物在時間過往中所產生的變化，以及建築物 在適應各種環境和氣候的過程中而形成的設計。是否有特殊的方法可以理 解並預期( 建築) 的破損過程? 面對蝕化現象，是否可以不只把它當作必須解決的問題或刻意忽視的事實，進而讓它受人認可、無可迴避，同時在其不確定性的顯示中加以運用的現象?
 

建築物本體的開與合，庇護室內免於豔陽的燒炙，成為可以棲居(occupiable) 的空間，從室外回應室內的剖面。依此，外牆不是室內空間的終點，而是由室內轉折到室外的重要中介空間。受到氣候而啟發的影響表現在室內和室外的交界地帶，建築的本質也獲得重新的想像。
 

在昔日總爺糖廠老宿舍區位置，現今總爺藝文園區中央大草坪邊，透過隱喻的形象，讓過往的宿舍建築透過通透木材的新舊表情呈現，若有若無的展現在園區的大草坪邊，藉此讓民眾感受光影、時間、風化、新與舊，由時光與材料共同呈現的詩意。

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Containers of Time - Light Boxes and the Weathering Process
 

In the environmental changes caused by time, it is often difficult to distinguish between the destruction of the items and the quaintness left by the mottled years. Erosion and decay of building surfaces are often seen as negative: the accumulation of dirt from soot dust, the weathering of wood, stone surfaces, and the corrosion of steel or bronze surfaces make a place seem old and decaying. Weathering is a gerund change from the term “weather”. In addition to the cracking of wood rock, it can be interpreted more broadly as damage caused by climate and environment. But can these derogations and sharpening also become aesthetic elements and become part of the architectural sense?
 

The changes that a building has made in the past, and the design of the building in the process of adapting to various environments and climates. Is there a special way to understand and anticipate the damage process of (construction)? In the face of erosion, can it be regarded as not only a problem that must be solved or a fact that is deliberately ignored, but also makes it recognized and inevitable? What is the use of its uncertainty in the display?
 

The window of the building's main body, the sheltered room is free from the burning of the sun, and becomes an occupiable space, responding to the indoor section from the outside. According to this, the external wall is not the end point of the indoor space, but an important intermediary space from the indoor to the outdoor. The climate-inspired influence is reflected in the indoor and outdoor intersections, and the essence of the building is re-imagined.
 

In the old dormitory area of the former Tsung-Yeh Sugar Factory, nowadays, the central turf of the Tsung-Yeh Art Park, through the metaphorical image, allows the past dormitory buildings to be presented through the old and new expressions of the transparent wood, if not displayed in the park. On the side of the large lawn, let the people feel the light, shadow, time, weather, new and old, poetry presented by time and materials.