蘇粲淵 Su Tsan-Yuan｜單層透天 Single-Storey Building

透天厝中私用樓梯串起家屋中的垂直空間，我欲以四頻道影像，向內圍成一個矩形，以家中石階作為影像元素，在四頻道的影像中串連起三層樓之私密空間，一樓–二樓–三樓–一樓–二樓–三樓，將物理上具深度的垂直空間頭尾相接，並水平翻轉放置，使之趨之扁平，猶如這棟透天厝可能的未來，在拆除改建成現代公寓後，垂直空間被打碎後攤平在同一平面上，居家空間不再具有深度可言，一樓的安逸、二樓的優雅以及三樓的神秘都將不再，只剩下平行置放的鐵籠，並各自被掛上客廳、臥房、廚房等的標籤。

現代公寓將垂直空間從私密空間中挪至公共，鋼筋混凝土一層一層向上堆疊出高聳立面，住戶卻在直達樓層電梯或是如不斷複製貼上的公共樓梯中，迷失了家屋的座標，在公共的垂直空間中，標準化的裝潢樣式、重複出現的符號、機械式的垂直升降，徹底混淆了身體對於空間的感知，於是住在七樓與住在十七樓的差異只剩下電梯樓層的按鈕與大門上的門牌號碼。現代公寓中的垂直空間是虛擬的，記憶將無從辨別在電梯垂直升降過程中的不同深度，也就從未於空間中駐留。

我將個人的家屋空間，經過仔細測量與整理，收納在這方體空間裡。當觀者對於懸浮於空中的長方體物件感到好奇，打算向上探望一窺究竟的瞬間，眼前所見的是，目眩神迷的建築結構不斷向上延伸複製，一個超越裝置外在客觀深度的空間就此被展開，物理空間上的認知暫時被遺忘。猶如拉開一層塵封已久的抽屜，每一個未知物件的揭露即一無限世界的邀約，有時好奇心甚至驅使觀者進一步欲將頭埋入裝置，朝著私密感的向度。碰！再次回到了抽屜外的世界。

In a terraced house, the private staircase connects the vertical space within the home. I aim to use a four-channel video to form an inward rectangle, incorporating the stone steps in the house as video elements. The three floors’ private spaces are interconnected within these four video channels: 1st floor-2nd floor-3rd floor-1st floor-the 2nd floor-the 3rd floor. The physically deep vertical space is connected end to end and flipped horizontally, making it flatten, much like the possible future of this terraced house. After being demolished and rebuilt into a modern apartment, the vertical space is shattered and spread flat on the same plane. The residential space no longer has any depth to speak of. The tranquillity of the first floor, the elegance of the second floor, and the mystery of the third floor will no longer exist, leaving only parallel iron cages, each labelled with living room, bedroom, kitchen, and so on.

Compared to terraced houses where the entire building is private space, in modern apartments, vertical spaces like elevators are shared public areas. The layers of reinforced concrete are stacked upwards to create towering facades. Yet, residents lose their bearings in the direct-access elevators or the repetitive public staircases. Within these public vertical spaces, the standardized decorative styles, repeated symbols, and mechanical vertical ascents can thoroughly confuse one’s perception of space. As a result, the only difference between living on the seventh and the seventeenth floors is the elevator floor button and the door number. The vertical space in modern apartments is virtual, with memory unable to distinguish the various depths experienced during the elevator’s vertical ascent; one never truly dwells in the space.

I have carefully measured and organized the space of my personal home and stored it in this cubic space. When the viewer is curious about the rectangular object floating in the air and plans to look up to see what is going on, what they see is a dizzying architectural structure that continues to extend and replicate upwards. A space that transcends the objective depth of the installation is thus unfolded, and the cognition of physical space is temporarily forgotten. It is like opening a long-dusted drawer, every revelation of an unknown object is an invitation to an infinite world. Sometimes curiosity even drives the viewer to want to bury their head further into the installation, towards the direction of intimacy. Bang! We are back to the world outside the drawer.

蘇粲淵

Su Tsan-Yuan

1995年出生於臺灣臺北，目前生活於臺灣臺北。其作品聚焦於他與他的環境之間的關係，擅長將一再重複發生的日常以其獨特的敘事手法與有趣的形式呈現。藉由作品中的元素與物件之間的互動構成一個抽象的系統，一個他所看見的世界。

Tsan-Yuan Su was born in 1995 in the city of Taipei, Taiwan. His works focus on the intersection of the environment and himself, transforming his perception of the daily routine within the bustling city into distinct forms with unique narratives that portray abstraction in underlying systems. He utilizes these elements to symbolize certain characters in his world, and the correlation among these elements in his works is emphasized.