Landscape Choreography


About works

1. A "Dynamic" Concept:

An in progress historical pattern. Breaking through the general attitude towards history, we no longer only regard "Remains" as the only part of the historical context, but also consider the current status as part of the context. To become a base context, we are not only looking back to the past, we are standing on it, reproducing and integrating it with the present. It is an "in progress" process. Because this "in progress" process, it can trigger everyone's imagination of the future. Excavation of the base is an interesting process. Many stories gradually are discovered from the process of excavation. These stories are gradually integrated into the big concept through landscape, art, structure, and vegetation. So the design concept is dynamic, and the overall process is a surprise.


2. An Interweave of History and Geography:

A. The Horizontal Context (The Historical Context):

If we use the three concept, Surface, Line, and Point, to interpret the development of sugar industry. If "Surface" represent to agricultural cultivated land. In order to make these land more useful, there must be some "Lines" like irrigation system, drainage system, transportation, includes man power and crops, to connect. In order to Incorporate these "Lines" on the "Surface", there must be some some "Points" generating according to demand, such as water level control valves, drainage catch tank culverts, and the railway station, etc. The base is fortunate collecting three linear textures. It could be described from the sugar factory railway. On the north side of the railway is the Chianan Irrigation System, which is the water source for the sugar factory. The south side is the drainage ditch. The inlaid point on the base is the previous Longquan Station, which is also the best origin to start this story. If we further compare the sugar factory culture of Madou to an object, although the texture of the sugar factory culture has already appeared as a dismembered fragment, However, the horizontal relationship is like the "umbilical cord" between the base and the sugar factory. Although the function has fallen off, it is still the memory and clues connecting to the sugar factory.

B. The Vertical Context (The Geographical Context):

The Madou Sugar Factory has stimulated Taiwan's economy and promoted the development of the surrounding area. Therefore, the development of Madou is geographically related to the sugar factory. We represent the geographical context through vertical texture. We collect geographical clues from the nearby, including Longquanyan, Gouziqianzhuang, Madou Taizi Temple, Madoushe, Madoushe, Madou Daitianfu, Zengwen River, Shuijuitou, Nanying, Doufengneihai, Zongyeh, and so on. We Interpret these messages into the landscape elements through landscape design, and further make them becoming the "index" to read Madou Sugar Factory.


3. From Script to Movement (While Landscape Occuring Sound Art):

After completing the script describe above, we begin to add the sound elements and make it become a landscape movement, the previous Longquan station, which started as a story, became the prelude to this movement. Composing for this movement is a group of sound artists who explore the inspiration of the creations, and the works will spread all over the site and become the clues of the story. We hope the visual restrictions in the landscape will be broken by sound. Everyone can follow these clues to discover the story of the sugar factory belonging to Madou.

Artist of the works

KAO Pei-Ching/ScaleTaiwan

About videos

Location of the work