作品延續對河岸電波塔的長期觀看，透過中片幅黑白底片攝影，持續記錄這座位於城市邊緣、已停用的基礎設施。每一次拍攝都伴隨著架設相機、等待光線與停留觀看的過程，使攝影不只是影像的生成方式，也成為重新感知建築尺度與周圍環境的方法。觀看在等待之中逐漸延長，視線也持續停留於塔體的結構、天空的變化，以及偶然經過的人與物之間。

作品以燈箱作為影像的呈現形式，使攝影自身成為發光的物件。畫面維持正面的觀看角度，將電波塔置於影像中央，建築不再只是紀錄的對象，而是一座被凝視的垂直結構。畫面中飛鳥與騎乘自行車的路人並非敘事性的角色，而是在移動之中形成身體尺度的參照，使塔體的高度與量體得以被感知，也讓觀看在建築、身體與空間之間建立對應關係。

燈箱所發出的光線，使影像介於攝影與物件之間。作品並非再現一座已失去功能的建築，而是透過光、尺度與觀看的持續停留，使這座電波塔重新成為一種組織空間感知與身體經驗的結構。

The work continues an ongoing engagement with a decommissioned transmission tower situated along the riverside. Photographed using black-and-white medium-format film, the tower is approached through repeated acts of looking rather than as a documentary subject. The measured process of working with film—setting the camera, waiting for changing light, and remaining within the site—extends the duration of observation, allowing the structure, the shifting sky, and passing figures to gradually unfold within the same field of vision.

Presented as illuminated light boxes, the photographs become luminous objects rather than flat images. Each composition adopts a frontal viewpoint, positioning the tower as a vertical structure that anchors the surrounding landscape. Birds in flight and cyclists passing through the frame do not function as narrative elements; instead, they establish bodily points of reference through which the scale of the tower can be perceived. Architecture, movement, and human presence together construct a spatial relationship that continually recalibrates the viewer’s sense of proportion.

The illuminated surfaces position the work between photography and object. Rather than documenting an obsolete piece of infrastructure, the installation considers how light, scale, and sustained observation transform the tower into a spatial framework through which perception and lived experience continue to be organized.