“身体知道并记住了。建筑的意义来自于身体和感官所记住的古老的回应和反应”。
– 尤哈尼-帕拉斯玛
“The body knows and remembers. Architectural meaning derives from archaic responses and reactions remembered by the body and the senses.”.
– Juhani Pallasmaa
高雄是一个被山脉和海洋包围的南方城市。经过一百年的现代化进程，这个热带城市在过去几十年中已经成为台湾重要的工业支柱。然而，高雄与高雄的周边景观之间一直存在着距离。
Kaohsiung is a southern city surrounded by the mountains and the ocean. After a hundred years of modernization, this tropical city has become an important industrial anchor in Taiwan for the past few decades. However, there has always been a distance between Kaohsiung and Kaohsiung’s surrounding landscape.
通过在高雄港区旁插入一个景观装置，我们叙述了我们对自然柔和的想象力的另一种叙述。
我们追求有形的满足和由理性构建的文明社会。
但我们也渴望精神上的满足和纯粹的感知性的身体体验。
Through inserting a landscape installation alongside the Kaohsiung Harbor area, we narrate an alternative narrative of our imagination towards nature softly comes into view:
We pursue tangible satisfaction and a civilized society constructed by rationality.
But we also crave for spirituality and the purely perceptive physical experience.
该装置由一个18米和一个36米长的自由形状的混凝土墙组成，形成一个具有不同宽度的人工峡谷。
The installation consists of an 18-meter and a 36-meter-long free-form concrete walls, which form an artificial canyon with a varied-width opening.
雾气偶尔出现，从墙壁上扩散到峡谷中。走在这条雾气缭绕、曲折蜿蜒的道路上，人们找不到出口。 陌生的环境让人迷失，不知所措，身体的感官再次担当起了唯一的交流手段。
The fog emerges occasionally, diffusing from the walls into the canyon. Walking in this foggy, twisted, and twirled path, one couldn’t find the exit. Lost and overwhelmed by unfamiliarity, the body senses have once again taken charge as the sole means of communication.
峡谷外，水泥墙的一边是草地坡，另一边是镶嵌着发光石的水磨石坡道。随着日光的慢慢消失，这个装置成为城市中一个谨慎的夜灯。没有任何特定的功能，现在每个人都在自己定义这个地方是什么。
Outside the canyon, the concrete walls are covered with meadow slope on one side, and terrazzo ramp with inlaid luminous stones on the other. As daylight slowly fades away, the installation serves as a discreet night light in the city. Devoid of any certain functionality, everyone now defines what this place is on their own.
也许我们对自然的探索不一定依赖于实际的自然。而是依靠在几毫秒内发生的动物性思考运动，解放充满能量的纯粹欲望，或者任意穿越的自由感。
Perhaps our exploration towards nature does not necessarily rely on the actual nature. But rather relies on the animalistic movement of reflection that takes place within the milliseconds, the pure desire to emancipate the fully charged energy, or the sense of freedom to arbitrarily get across.
人类对自然的向往绝不是单纯的怀旧。事实上，通过数百万年的生物进化，它深深扎根于我们的习惯之中。转眼间，我们就被困在了自己的巨大的人工制品中。
Humans’ yearning for nature is never mere nostalgia. It is in fact deeply rooted in our habit through millions of years of biological evolution. In the blink of an eye, we are trapped in our own colossal artifacts.
通过人工和技术干预的参与，抽象的感性经验有可能在城市背景下重新出现。城市/自然，人工/有机，因为人类的存在，这两者得到了调和。
By means of the involvement of artificial and technological intervention, the abstract sensuous experience is made possible to reappear in the urban context. Urban/natural, artificial/organic, because of the existence of humanity, the two get reconciled.
Architects: Atelier Let’s, Serendipity Studio
Area : 376 m²
Year : 2018
Photographs :Yi-Hsien Lee Photography + Yu zu-Chin, Atelier Let’s
Lead Architects : Ta-Chi Ku, Wei-Hsiang Chao, Ling-Li Tseng
Construction : DE-JAI Construction
Structural Engineers : Yuangang Engineering Consultant Co.Ltd
Clients : Urban Development Bureau, Kaohsiung City Government
Water Mist Engineering : Yuan Cai Industrial Co.Ltd
Article Writing : Atelier Let’s
Country : China