為無為 | 謝英俊建築實踐展
Architect Hsieh Ying-Chun Exhibition
Key Visual Design

承載建築匠心與精神的主視覺設計

StudioPros 受高雄市立美術館邀請，打造謝英俊建築師作品展演主視覺。《為無為—謝英俊建築實踐展》呈現二十年來謝英俊建築師於國內外的建築案例與構想。主視覺以簡單具有溫度的筆觸、色調，傳達出建築師的風格特色與對社會土地的情懷。

Services

活動主視覺設計 Key Visual Design
活動延伸印刷物設計 Extend Prints Design

草稿構成為與無為 、虛和實的線段與色塊

視覺元素由鉛筆線質感畫的線段與色塊構成；靈感來自建築師的草稿筆跡線，元素有乘載著建築師思考與精神的意義。

畫面的構成陰陽兩分，一部分為垂直重複的鉛筆線，另一部分則是鉛筆不斷交疊所組成的畫面。 鉛筆直線，來自謝英俊的理念「帶著災民親手建造自己的房屋」，想傳達一種粗糙而真實的溫度感，而直線型態也同時代表著謝英俊致力的推廣的鋼構建築。填滿鉛筆線的色塊，代表著土地及環境，乘載著災民情緒的土地，累積了災難的絕望和重生的希望。

畫面的細節上，使用黑灰兩色區分，取源自謝英俊代表性的鋼構色彩，實體海報上則是以霧銀呈現，整體視覺莊重而雅緻。

Acts Without Effort (Wei vs. Wu Wei) / Reality vs. Unreality / Lines vs. Color Blocks
The two images both consist of pencil lines. This idea comes from the lines and sketches in the blueprint, which represent the proficiency and expertise of the architect. The picture displays yin and yang (“dark-bright”); one is long and uneven lines composed of continuous and repetitive drawings, the other half is large areas composed of ceaseless and overlapping sketches. Though the lines are rough and crooked, they are the lines outlined by the victims. The lines drawn by the victims may not be as neat and straight as architects do, but they are full of meanings and warmth, which depict Hsieh’s concept of “taking victims to build their homes with their own hands.” The straight lines also exemplify the steel structure that Hsieh has been promoting. On the other hand, the color blocks made up of pencil lines represent lands and environment. Every land is loaded with victims’ emotions, filled with victims’ despair and hope.
The vision details the color black and gray to separate the two images; the colors are also chosen from Hsieh’s symbolic steel structure. On the poster, the main color selected is dull silver, which is grand and elegant.

展覽說明

十九年前的今天，九二一地震震撼了全台灣，人類居住與環境問題成為台灣脆弱島嶼的核心，然而建築專業大多無能回應。從邵族重建帶著五人團隊開始，謝英俊以輕鋼結構與協力造屋一套完整的營造技術─價值體系，走向任何需要他的鄉村，在亞洲災區興建了數千棟房舍。

《為無為—謝英俊建築實踐展》呈現二十年來謝英俊建築師於國內外的災後重建案例、新農村與協力造屋的項目、都市土地立體化與建築結構公共化的構想。謝英俊建築實踐所帶出的社會修復能量，正是策展人黃孫權所稱之的「社會性建築」，不僅是災後重建蓋房、人道主義的救災救難，而且回應了當代社會重要的環境與居住議題。面對70%人類居所的營建議題，思考人類在自然環境中如何永續寓居，如何在城市巨構之公共性與個人之創造性間取得平衡，並將未來建築數碼化技術轉換成為人民自立建房的基礎，以弱建築成大營造，從匱乏達豐富。
 
展覽包含以「為」呈現謝英俊團隊特殊的設計操作，如何以低限的作為與他者（使用者、營建參與者）做最有效的協作；「無為」則呈現他者參與後無限衍伸的狀態；導演李沛峰記錄四川碧峰峽與阿里山來吉兩地的紀錄長片；攝影師李國民造訪十幾個村落的影像深描，田野團隊呈現的居民生活世界與文獻多媒體展，以及在展覽期間內舉辦人人可參與動手的建築學校與國際建築論壇。

Exhibition Intro

The Jiji earthquake, known locally as the 921 earthquake, happened 19 years ago today. It exposed the weakness of local inhabitants’ environment, however, most of the architects in Taiwan had yet responded to the fact. Beginning with a reconstructing team of 5 people working with the Thao Tribe, the architect Hsieh Ying-Chun utilized a holistic construction technology – a value system – of lightweight steel structure and co-operative construction. Since then he travels to wherever the need arises and has fabricated thousands buildings around disaster areas in Asia.

Acts Without Effort - The Societal Architecture of Hsieh Ying-Chun as the first major survey of architect Hsieh Ying-Chun, Acts Without Effort presents Hsieh Ying-Chun’s practice of post-disaster reconstruction, projects of new rural and community-based development, and his concepts of a tri-dimensional urban land and the making public of building structures. The energy of social restoration that runs through Hsieh Ying-Chun’s architectural practice coheres with what Curator Huang Sun-Quan refers to as ‘Societal Architecture’. More than merely post-disaster reconstruction and humanitarian aid, Hsieh’s work is a response to the equally urgent issue of contemporary social housing. While facing the issue of construction common to 70% of humans worldwide, it questions how people can take up sustainable residence in the natural environment and how to reach a balance between the creativity of individuals and the commons of urban planning. By applying the digitalized technology to future building as the basis of citizens’ self-build projects, it aims to elevate weak architecture to excellence in construction, That is one enriched by poverty.