被解剖的場所-陳宗承

看向一個沒有盡頭的教堂，發現無限深遠的後殿，只是一道兩米厚的牆。那個定義後殿的拱型介面和教堂其於空間之間開始顫動，然後完全分離。透視法錯覺的詩性空間讓人產生的感知跳動卻又如此的真實。
那都是五百年前的事了。
現在，我先透過透視機器製作以及身體於Siena山城中移動產生的透視變化所繪製的感知地圖，來研究不同深度的資訊投影於人感知到空間的瞬間切面上所形成的不可視空間結構，一個真實與想像共存的空間。再將這樣的空間概念表達於看似紛亂的台灣日常都市空間。
在新竹天公壇前廣場，從下層地面的軸線轉向和地景傾斜；中層構造物形成的場域和感知的邊界；到上層偏心弧形廊道和戲台定義廣場介面的建築體，共同建構抽象空間。同時讓被壓抑的戲台重新得到紀念性，以及讓原先廢棄的拱廊結構透明的串連旁邊公園和各種在地活動。是對於透視法的批判、探索西方單一視點空間以及台灣都市涵構之間的永恆與變動，也是想試圖找回當初於Siena的感動。
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I once looked into a church that seemed to stretch into infinity—its deep apse, just a two-meter wall. The arch trembled, then detached. A poetic illusion of perspective revealed a space both false and deeply real.
That was five hundred years ago.
Now, through the perspective machine and my movement in Siena, I map fleeting moments where depth projects invisible structures—where reality and imagination overlap.At Hsinchu’s Tiangong Temple plaza, sloped ground, tilted axes, and fragmented architecture shape a new spatial language. The forgotten stage returns; the colonnade reconnects with life.This is a reflection on linear perspective—a reconsideration of Western spatial vision and the shifting fabric of Taiwanese urbanism, in search of the emotion I once felt in Siena.

潛毀之悟浴場

Satori Sento of Latent Ruin

多個住宅形成的一個家:流動的家與家人

Bounded by Family (Love One's), Journeys Ends in a Place Called Home

文明記壇－渡難之島的場所構成體系之陳述冊

Civilization Records Field - Description of the Place Structure System of Yonaguni Island

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看向一個沒有盡頭的教堂，祭壇和後殿的邊界是一個拱形的面，我看著圓頂上那些玲瓏的鑲嵌和雕塑滲透過那個看似與周圍如此連續的面。

慢慢走向教堂深處，發現無限深遠的後殿，只是一道兩米厚的牆。那個定義後殿的介面和教堂其於空間之間開始顫動，然後完全分離。錯覺的詩性空間讓人產生的感知跳動卻又如此的真實。

那都是五百年前的事了。

在看似紛亂的台灣日常都市空間，似乎也存在某種與對空間感知跳動的關聯性。在新竹天公壇前，有廣場、戲台、廢棄的拱廊、停車場、以及公園的石龍柱⋯

我在新竹天公壇前廣場改變停車格的排列和地景的傾斜，讓車子間形成的空間與等高線錯置，使人在場域多重軸線上移動時可以重新感知到受壓抑的戲台的紀念性；同時在既存戲台和拱廊結構的夾縫中創造一個穿越建築介面的線，串連破碎的整體；並在原本拱廊的結構上附加偏心的弧線廊道，將人抬升，與廣場中的歸線產生新的感知。

我想找到在形式、結構方式、認知空間的方式都已改變的當代重新找回當初在Bramante教堂中的感動，也是一種對透視法的單一視點到多重視點的辯證以及探索西方神性空間和台灣空間涵構之間的永恆與變動。
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The Dissected Place
Facing a church with no visible end, the boundary between altar and apse appears as a curved, seamless surface. Through its arch, delicate mosaics and sculptures on the dome seem to bleed into this continuous interface.

As I approached the depths of the church, the seemingly infinite apse revealed itself to be a wall just two meters thick. The threshold that once defined the apse began to tremble—and then detached completely. This poetic illusion evoked a powerful yet uncertain spatial sensation.

That was five centuries ago.

In the fragmented urban spaces of contemporary Taiwan, I find a similar dissonance in spatial perception. In front of the Tiangong Altar in Hsinchu lies a plaza—surrounded by a theater stage, abandoned arcade, parking lots, and stone dragons from a park.

I reconfigured the plaza by shifting parking grids and tilting the ground, creating misalignments between cars and contours. This draws attention to the once-suppressed theatrical stage, reactivating its memorial presence. A new architectural cut—inserted between the stage and arcade—threads through broken interfaces to reconnect the space. An eccentric arched walkway added onto the existing arcade lifts the body, introducing a new line of movement that reorients one’s spatial awareness.

This project seeks to recover the emotional resonance I once felt in Bramante’s church—now reframed in a contemporary context of fragmented forms, altered structures, and shifting perceptions. It becomes a spatial dialogue: between single-point and multi-point perspective, Western divinity and Taiwanese spatial multiplicity, permanence and transformation.

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