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人體依附計畫 Human Attachment Project
人體依附計畫：平行交會 Human Attachment Project: Parallel Intersection
〈人體依附計畫：平行交會〉以人體雕塑介入建築內部空間，透過人體與牆面、地面的關係，重新觀看身體與建築的尺度與方向。作品以身高約180公分的人體比例製作兩尊等身人體雕塑，一尊站立於地面，另一尊站立於牆面，兩者皆呈向前跨步並以左手臂彼此勾住，形成如同同一身體存在於不同空間平面的狀態。
作品將牆面與地面同時視為雕塑的「台座」，使原本具有不同方向與功能的建築表面產生新的關係。等身人體亦成為空間中的「比例尺」與「標示」，讓觀者透過熟悉的人體尺度，比較地面與牆面之間的方向、距離與比例，重新感知建築內部的空間結構。
兩具人體彼此依靠的姿態，同時呈現真實身體無法實現的空間狀態，使人體成為觀者投射自身的身體符號。透過人體在不同空間平面上的並置，作品重新組織身體與建築之間的尺度關係。
Human Attachment Project: Parallel Intersection intervenes in the interior space of architecture through human sculpture, using the relationship between the body, walls, and floor to reconsider scale and orientation within the built environment. Two life-sized human figures, each approximately 180 cm in height, are positioned within the space: one standing on the floor and the other standing against the wall. Both figures are depicted mid-stride, reaching toward one another and linking their left arms, creating the impression of a single body existing simultaneously across different spatial planes.
The work considers the wall and floor as two simultaneous “pedestals” for the sculptures, establishing a new relationship between architectural surfaces that ordinarily serve different orientations and functions. The life-sized figures also operate as spatial “measures” and markers, allowing viewers to compare the orientation, distance, and proportion between the floor and wall through the familiar scale of the human body, and to perceive the internal structure of the architecture anew.
The figures’ posture of mutual reliance presents a spatial condition that cannot be physically realised by a single human body, turning the sculptures into bodily forms onto which viewers may project themselves. Through the juxtaposition of the human figures across different spatial planes, the work reorganises the relationship between the body, architectural space, and scale.
作品將牆面與地面同時視為雕塑的「台座」，使原本具有不同方向與功能的建築表面產生新的關係。等身人體亦成為空間中的「比例尺」與「標示」，讓觀者透過熟悉的人體尺度，比較地面與牆面之間的方向、距離與比例，重新感知建築內部的空間結構。
兩具人體彼此依靠的姿態，同時呈現真實身體無法實現的空間狀態，使人體成為觀者投射自身的身體符號。透過人體在不同空間平面上的並置，作品重新組織身體與建築之間的尺度關係。
Human Attachment Project: Parallel Intersection intervenes in the interior space of architecture through human sculpture, using the relationship between the body, walls, and floor to reconsider scale and orientation within the built environment. Two life-sized human figures, each approximately 180 cm in height, are positioned within the space: one standing on the floor and the other standing against the wall. Both figures are depicted mid-stride, reaching toward one another and linking their left arms, creating the impression of a single body existing simultaneously across different spatial planes.
The work considers the wall and floor as two simultaneous “pedestals” for the sculptures, establishing a new relationship between architectural surfaces that ordinarily serve different orientations and functions. The life-sized figures also operate as spatial “measures” and markers, allowing viewers to compare the orientation, distance, and proportion between the floor and wall through the familiar scale of the human body, and to perceive the internal structure of the architecture anew.
The figures’ posture of mutual reliance presents a spatial condition that cannot be physically realised by a single human body, turning the sculptures into bodily forms onto which viewers may project themselves. Through the juxtaposition of the human figures across different spatial planes, the work reorganises the relationship between the body, architectural space, and scale.
人體依附計畫：Falling Asleep Human Attachment Project: Falling Asleep
〈人體依附計畫：Falling Asleep〉將一具約180公分高的等身人體雕塑，以趴睡的姿勢垂掛於建築物外壁，使人體與建築形成直接的尺度關係。人體依循建築體垂直、水平與方正的結構貼附於其表面，在巨大的建築尺度之下顯得渺小，甚至從遠處難以察覺。
作品將建築視為雕塑所依附的「台座」，同時也使建築成為作品的一部分。等身人體在此不只是被觀看的雕塑，而是作為測量建築尺度的媒介，使觀者能透過熟悉的人體比例，直接感知建築的高度與量體。人體也成為「人」的符號，使觀者得以將自身帶入其中，想像自己垂掛於建築之外。
透過人體與建築之間的尺度差異，作品重新組織觀看的方式，使原本作為背景存在的建築轉化為觀看的主體，進一步思考身體、尺度與建築之間的關係。
Human Attachment Project: Falling Asleep suspends a life-sized human sculpture, approximately 180 cm in height, in a prone sleeping position against the exterior wall of a building, establishing a direct relationship of scale between the human body and architecture. Following the building’s vertical, horizontal, and rectilinear structures, the figure is attached to its surface. Against the immense scale of the architecture, the body appears diminished, at times almost imperceptible from a distance.
The work considers the building as a “pedestal” to which the sculpture is attached, while simultaneously incorporating the architecture into the work itself. Here, the life-sized human figure is not simply an object of observation, but a means of measuring architectural scale, allowing viewers to perceive the height and mass of the building through the familiar proportions of the human body. The figure also functions as a sign of the human presence, enabling viewers to project themselves into the scene and imagine their own bodies suspended against the exterior of the building.
Through the disparity of scale between the human body and architecture, the work reorganises the act of looking, shifting the building from a background condition into the primary subject of perception. In doing so, it considers the relationship between the body, scale, and the built environment.
作品將建築視為雕塑所依附的「台座」，同時也使建築成為作品的一部分。等身人體在此不只是被觀看的雕塑，而是作為測量建築尺度的媒介，使觀者能透過熟悉的人體比例，直接感知建築的高度與量體。人體也成為「人」的符號，使觀者得以將自身帶入其中，想像自己垂掛於建築之外。
透過人體與建築之間的尺度差異，作品重新組織觀看的方式，使原本作為背景存在的建築轉化為觀看的主體，進一步思考身體、尺度與建築之間的關係。
Human Attachment Project: Falling Asleep suspends a life-sized human sculpture, approximately 180 cm in height, in a prone sleeping position against the exterior wall of a building, establishing a direct relationship of scale between the human body and architecture. Following the building’s vertical, horizontal, and rectilinear structures, the figure is attached to its surface. Against the immense scale of the architecture, the body appears diminished, at times almost imperceptible from a distance.
The work considers the building as a “pedestal” to which the sculpture is attached, while simultaneously incorporating the architecture into the work itself. Here, the life-sized human figure is not simply an object of observation, but a means of measuring architectural scale, allowing viewers to perceive the height and mass of the building through the familiar proportions of the human body. The figure also functions as a sign of the human presence, enabling viewers to project themselves into the scene and imagine their own bodies suspended against the exterior of the building.
Through the disparity of scale between the human body and architecture, the work reorganises the act of looking, shifting the building from a background condition into the primary subject of perception. In doing so, it considers the relationship between the body, scale, and the built environment.
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