When height is everything when it comes to buildings, a lot of craftsmanship and memories are fading away. However, after exposing to excessive technological, modern and rapid developments, our bodies will eventually go back to warmth and human touch. We get to see materials of traditional buildings to be used in some places again and play a new role in an innovative way. In the meantime, more and more craftsmen, artists and architects are trying to accentuate the natural and hand-made texture of traditional materials that have so much humanity when put in a space thoughtfully. In terms of building a space, traditional materials are always there and stand the test of time. An environment built with them is undoubtedly the best, favorite and most comfortable hideaway for most people.
This article walks us through the changes and craft styles of temples in “the post-war Taiwan.” When concrete replaces wood as the main building material for temples, a huge change in decorative skills and materials also follows. Wood or stone sculptures have been substituted by a lot of clay sculptures and ceramic applique, stucco washing finish, terrazzo, painted tiles and mosaic tiles have been also used. Modern materials and new skills lead to new spaces, lighting, shapes and decorative styles. That is one unique phase in the building history of temples in Taiwan, also an important time that sees all kinds of challenges in the development process of decorative crafts.
Two ceramic artists are introduced in this article: Hsu Yung-hsu is focusing on the very concept of art creation whereas Shih Shuan-yu challenges himself by exploring the texture and skills of ceramic works. Two highly self-disciplined artists keep moving forward in the process of looking for different materials and new solutions and develop a new relationship between ceramics and architecture that not only takes the visual effects of architecture to the new level, but opens more possibilities for ceramics.
Three artists and architects who use bamboo as the main material for their works are featured in this article: Wang Wen-chih who starts off with an artistic point of view and incorporates bamboo weaving into works of art; Gan Ming-yuan who develops a whole new standardization of bamboo skills and highlights its role in the architecture; Chen Chien-chih who turns bamboo into a new living space. Through these bamboo-based spaces, it is hoped to present the new possibilities of bamboo to more readers.
This article looks deep into the idea of physical fabrication taught as an architecture course at college and goes through the projects of Eric Chen, Hsu Pei-hsien, Ni Shun-chen, Lee Kun-shen and Lin Chienhua, introducing how they dedicate to and practice this concept, as well as their teaching experiences. By showing how the teaching can be incorporated into the building process of communities, it hopes to further explore the possibility of building materials and craft skills and later could be integrated and applied to the construction process.