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隈研吾展：場域˙啟發
關於主辦單位
忠泰美術館成立於2016年，是忠泰建設成立三十週年、忠泰建築文化藝術基金會設立十週年，在臺灣建築文化 推廣之路的重要里程碑。我們期許本館成為一座肩負企業社會責任，並回應21世紀社會需求的新形態平台、觸媒 與智庫；延續忠泰建築文化藝術基金會之「A Better Tomorrow」信念，成為臺灣首座聚焦「未來」與「城市」議題的 美術館。 Jut Land Development's 30th anniversary, and the Jut Foundation for Arts & Architecture's 10th birthday, culminates in the establishment of the Jut Art Museum in 2016. It is a milestone commemorating the history of Taiwan's architectural aesthetics. We anticipate that the Museum to act as a new form of think tank, catalyst and platform devoted to corporate social responsibility fulfillment and addressing the societal dynamics of the 21st century. We also anticipate it to carry on the legacy of "A Better Tomorrow" that defines much of the Foundation's work, to become the first museum in Taiwan that is focused on the issues of "future" and "city."
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Kengo Kuma : Place/Inspiration
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隈研吾展：場域˙啟發
序/忠泰美術館
2021年忠泰美術館奧夫塞計劃（Off-Site Project）推出「場域・啟發―隈研吾展」，走出美術館、進入鄰地環境， 邀請國際建築師⸺隈研吾，展出近年重要精選作品，以及一件全新戶外空間裝置作品。 隈研吾秉持著融合當地環境和文化的信念，從地方出發，其創作遍跡世界，受到建築基地周遭場域所啟發，創造出 屬於當地獨一無二的建築作品。隈研吾創作時運用了「孔洞」、 「 傾斜」、 「 粒子」、 「 時間」等四個主題，連結起靈感和 場域之間的關係，本展亦以此四個主軸精選了位於菲律賓、日本、丹麥、蘇格蘭等地，共六件文化機構如博物館、美 術館或文學館等建築作品；在各地人文結晶的文化底蘊，與隈研吾的場域靈感相互輝映下，凝聚且激發出更為自由 豐沛的創造能量。本展亦展出多項以裝置設計為契機，而進行材質、結構、技藝等建築雛型的實驗模型，可以進一步 認識其創作思考過程；展出內容更涵蓋一件全新的空間裝置作品《摺箱》，由隈研吾以日本傳統摺紙為靈感發想 設計的可移動之裝置作品。 透過本展內容，觀眾得以一窺隈研吾的設計創作如何受到「場域」所帶來的啟發，探索其創作的內在思考世界。本展 以多面向的角度，及更為廣闊的視野，邀請觀眾共同探索場域、建築、啟發、創造的無限可能。
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Kengo Kuma : Place/Inspiration
Preface / Jut Art Museum
The 2021 Jut Art Museum Off-Site Project steps out of the museum space and into the surrounding environs for the exhibition Kengo Kuma: Place / Inspiration. Internationally renowned architect Kengo Kuma has been invited to showcase a carefully culled selection of notable works from recent years, and will debut a new outdoor installation work. Steadfast to a conviction to integrate local environments and culture, Kengo Kuma’s creations begin locally and leave their mark globally. Architectural designs unique to each locale are inspired by the area surrounding each site. Kengo Kuma links inspiration to place through the four themes of “hole,” “oblique,” “particles,” and “time.” These four themes serve as the main axes of this exhibition, which will feature an exquisite selection of architectural designs highlighting six museums, libraries and other cultural institutions from locations including the Philippines, Japan, Denmark, and Scotland. At each locality, Kengo Kuma’s inspiration of places and the cultural heritage crystalized from arts and the humanities mutually reflect to intensify and stimulate a liberal and abundant creative energy. This exhibition will also showcase several material, structural, and technical prototypes of experimental models inspired by installation designs which will provide further insights into Kengo Kuma’s creative process. A new mobile installation work “Oribako” designed by Kengo Kuma, inspired by traditional Japanese origami, makes its debut at the exhibition. Through this exhibition, audiences will delve into Kengo Kuma’s inner world of ideas as they gain a glimpse into the ways in which his designs draw inspiration from each place. The exhibition invites audiences to join in an exploration of the infinite possibilities of arena, of architecture, of inspiration, and of creativity through multifaceted perspectives and an expansive panorama.
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隈研吾展：場域˙啟發
致臺灣展
來到臺灣，心中總是會湧現各種靈感。名為臺灣的場域成為了創作機緣，孕育出各種不同的形態和細節，我深信， 今後每當造訪這個深具魅力的地方，也一定能再催生出許多新發想。 我不是個擅長窩在房裡思考的人。離開房間四處走逛， 更能刺激出我各種想法 。四處走逛，就等於在跟一個 地方對話。除了用眼睛去觀察，更要用雙腳，用耳、鼻、 口等整個身體來感受一個地方的光、風、聲音、氣味， 與 這 個 場 域 互 感 交 流 。我 的 建 築 便 是 誕 生 於 這 種 與 場所的溝通當中。
因此，我經手過的每一個建築，都會因其所在地的不同，呈現出迥然姿態。我並不想將自己的創作風格強加在地點 上，而是從每一個場域獲得靈感，自然而然打造出不同樣貌的建築。這種方法與我上一輩建築師之間有著根本上的 差異。舉辦本次展覽的初衷，便是希望讓大家更了解其中的差異。
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Kengo Kuma : Place/Inspiration
For the Taiwan Exhibition
I am overcome by many sorts of inspiration when I come to Taiwan. All sorts of inspiring shapes and details are born from this place called Taiwan, and I am sure that various new things will continue to emerge whenever I come to this intriguing place. I am not the type to stay holed up in a room thinking. Rather, I prefer leaving the room and walking about, where many new things come to mind. To walk around a place is to engage in a conversation with it. To not only see a place with your eyes, but also to engage with it using your entire body, including your feet, ears, nose and mouth, feeling the light, wind, sound, and smell of the place. It is through this kind of communication with the place that my architecture is born. That's why my architecture looks different in each place where it is built. Rather than imposing an artistic style, I instead take inspiration from each place, and each architectural work takes on a shape of its own. This methodology is decisively different from the generation of architects preceding me. To help you understand this difference I thought of an exhibition like this.
Kengo Kuma
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隈研吾展：場域˙啟發
關於隈研吾 1954年生 。畢業於東京大學建築學專攻研究所 。1990年成立隈研吾 建 築 都 市 設 計 事 務 所 。曾 任 東 京 大 學 教 授，現 任 東 京 大 學 特 別 教 授・ 名譽教授。 1964年在東京奧運見到丹下健三的代代木室內競技場時受到衝擊， 自幼便以建築家為志向。大學時期師從原廣司及內田祥哉，並於就讀 研究所時橫斷非洲的撒哈拉沙漠，進行當地聚落的調查研究，認知到 聚 落 的 美 麗 與 力 量 。在 擔 任 哥 倫 比 亞 大 學 客 座 研 究 員 的 經 驗 後，於 1990年成立隈研吾建築都市設計事務所。至今已在超過20個國家設 計 建 築 作 品，並 曾 獲 日 本 及 國 際 各 種 獎 項 榮 譽，包 含 日 本 建 築 學 會 獎、芬 蘭 國 際 木 建 築 獎、義 大 利 國 際 石 建 築 獎 等 。以 融 入 當 地 環 境 與 文化的建築為目標，不斷嘗試提出適合人體尺度、溫潤柔和的設計提 案。同時也藉由探索能夠代替混凝土與鋼鐵的新建材，追求著工業化 社會後建築應有的樣態。
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Kengo Kuma : Place/Inspiration
Kengo Kuma Kengo Kuma was born in 1954. Before establishing Kengo Kuma & Associates in 1990, he received his Master’s Degree in Architecture from the University of Tokyo, where he is currently a University Professor and a Professor Emeritus. Having been inspired by Kenzo Tange’s Yoyogi National Gymnasium, built for the 1964 Tokyo Olympics, Kengo Kuma decided to pursue architecture at a young age, and later entered the Architecture program at the University of Tokyo, where he studied under Hiroshi Hara and Yoshichika Uchida. During his Graduate studies, he made a research trip across the Sahara, exploring various villages and settlements, observing a unique power and beauty. After his time as a Visiting Scholar at Columbia University in New York, he established his office in Tokyo. Since then, Kengo Kuma & Associates has designed architectural works in over twenty countries and received prestigious awards, including the Architectural Institute of Japan Award, the Spirit of Nature Wood Architecture Award (Finland), and the International Stone Architecture Award (Italy), among others. Kengo Kuma & Associates aims to design architecture which naturally merges with its cultural and environmental surroundings, proposing gentle, human scaled buildings. The office is constantly in search of new materials to replace concrete and steel, and seeks a new approach for architecture in a post-industrial society.
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隈研吾展：場域˙啟發
靈光乍現 Eureka Moment
隈研吾常以手機在造訪世界各地時拍下的照片，作為獲取靈感、連結場所的工具。從擷取的鏡頭裡，我們可以一窺 隈研吾建築概念的線索，或許各位也可以猜猜看，照片裡的畫面是世界上的哪一個角落。 This area exhibits the photos of places around the world that Kengo Kuma took with his mobile phone, as tools for gaining inspiration, for connecting places and inspiration. Since these are images of places that he has snapped, perhaps hidden within the framing you will find various hints into Kengo Kuma’s architecture. Let’s try guessing where in the world the photos are.
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Kengo Kuma : Place/Inspiration
孔洞 Hole
傾斜 Oblique
粒子 Particles
時間 Time
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隈研吾展：場域˙啟發
孔洞 Hole
建築不能成為阻隔，必須扮演連接的角色；而透過孔洞， 能夠巧妙地完成這種連接的功能。 Architecture must function to connect, not to block. In that way we can nicely connect through the void.
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Kengo Kuma : Place/Inspiration
完整影片請點選 Please click here to watch the full video
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隈研吾展：場域˙啟發
傾斜 Oblique
這些傾斜讓人與人之間的空間得以相連而不斷裂，連接 場所與場所、連接人與場所，這是我建築中的一大主題。 With these diagonal elements, we have connected each human space continuously without division. To connect places and to connect people with places has become an underlying theme of mine.
完整影片請點選 Please click here to watch the full video
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Kengo Kuma : Place/Inspiration
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隈研吾展：場域˙啟發
粒子 Particles
我非常重視小型場館這類建築裝置，打造龐大建築固然 愉快，但創造小型場館也很有意思！ While it's fun to build large architecture, it is also actually very fun to build a pavilion, and the pavilion can be an experimental ground in many ways.
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Kengo Kuma : Place/Inspiration
完整影片請點選 Please click here to watch the full video
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隈研吾展：場域˙啟發
時間 Time
我希望能夠巧妙地將時間埋入建築當中，一個能夠蘊含時 間的建築，將會更富深度，甚至可以開啟走向未來之路。 I want to skillfully incorporate time into architecture. By incorporating time, the architecture becomes much deeper. It will also lead to the future.
完整影片請點選 Please click here to watch the full video
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Kengo Kuma : Place/Inspiration
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©Jut Art Museum
Kengo Kuma : Place/Inspiration
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隈研吾展：場域˙啟發
摺箱 Oribako
《摺箱》(Oribako)的概念藍圖，發想自日本茶室這種建築結構在機動性、物質性、可轉換性方面的特質。由自然材質建造的茶室，是一種小巧 質樸，專為進行茶道而設的屋舍，堪稱濁世中的一方淨土。日本戰國時代，茶文化在熱衷茶事活動的大名的助長下蓬勃發展，甚至為了因應 大名周遊諸國的需要，創造出在美學上符合其地位的移動式茶室。流溢著茶道恬淡與簡雅氛圍的茶室，亦經常被用做進行重要對話或談判的 隱蔽之室。
《摺箱》將這個概念加以拓展延伸，並在敞開心胸乃健康要素 的這個時代，作為一種人際溝通的庇護 。摺箱以合板及PP板 兩種材質與鋁蜂巢芯進行裱合，讓結構的強度和輕量化取得 平衡。這些板狀構片與鉸鏈組構成可摺疊的面體，再將其插入 木料床板邊緣的鍍鋅鋼板中固定，並用灰色榻榻米作為平台 通 風 口 的 襯 墊 。穿 過 薄 纖 紙 灑 入 的 自 然 光，映 襯 出 木 料 建 材 剛 柔 並 濟 的 質 性，由 這 座 靜 雅 的 移 動 式 小 屋，將 此 一 日 本 建 築的重要特徵帶到臺北。
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Kengo Kuma : Place/Inspiration
The inspiration behind oribako is mobility, materiality and transformability found in Japanese tea house architecture. Small structure made of natural materials, a tea house is a humble abode used for tea ceremony and acts as a retreat from the outside world. Back then during the Warring States period in Japan the development of tea culture flourished with the patronship of feudal lords. During this time a mobile tea house was even created to suit the aesthetic need of the lords who would travel to different places. Imbued with peaceful and humble atmosphere of a tea ceremony, a tea house would also often be used as a small shelter for important conversation or negotiations. Oribako expands this idea and exists as a contemporary shelter of communion during this time where openness is a necessity to health. There are 2 types of aluminum honeycomb core, plywood and PP sheet laminated which allow structural strength to be combined with lightness. These panels are joined with hinges to create foldable surfaces which then fixed by inserting them into steel plates on the edges of the zinc plated timber platform. Grey color tatami mats are used to line the louvre of this platform. The sturdy yet soft atmosphere of wood is emphasized with natural light that comes through filtered by PET fiber sheets which is an important character in Japanese architecture brought to Taipei in this mobile humble abode.
©Kengo Kuma and Associates
©FENKO 鳳嬌催化室
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Kengo Kuma : Place/Inspiration
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©Jut Art Museum
Kengo Kuma : Place/Inspiration
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Kengo Kuma : Place/Inspiration
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展出作品介紹 Works Introductions
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維多利亞和艾伯特博物館丹地分館 V&A Dundee
GC齒科博物館研究中心 GC Prostho Museum Research Center
安徒生博物館 The H.C. Andersen’s House of Fairy Tales in Odense
春上村樹圖書館 (早稻田大學國際文學館) The Haruki Murakami Library (The Waseda International House of Literature)
東京工業大學 Taki Plaza
Tokyo Institute of Technology Hisao and Hiroko Taki Plaza
祖先的智慧博物館 Museum of Indigenous Knowledge
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隈研吾展：場域˙啟發
維多利亞和艾伯特博物館丹地分館 V&A Dundee
英國倫敦維多利亞和艾伯特博物館（V&A）的分館，聳立於蘇格蘭北部都市丹地 （D u n d e e）的 水 岸 。這 是 蘇 格 蘭 首 座 設 計 博 物 館，也 是 蘇 格 蘭 嶄 新 的 文 化 資 訊 匯集地。博物館基地面對流過丹地市南邊的泰河（River Tay），部分建築突出於 河面，將建築本身設計成為新的地形。創作靈感來自丹地北方、蘇格蘭北部奧克尼 群島（Orkney Islands）海崖，將洗出碎石骨料、紋理粗獷的預鑄混凝土板變換 不同角度水平疊放，形成有豐富陰影及變化的「懸崖」 ；並運用參數化設計來計算 預鑄混凝土的尺寸和放置角度，得以呈現出自然界中的隨機性。
The new building for UK’s Victoria & Albert Museum (London) stands on the waterfront of Dundee, a city in the north of Scotland. It is the first design museum in Scotland and is expected to function as a base for promoting Scottish culture. The building site faces the River Tay which flows south of the Dundee City. The structure projects out over the water, an idea which we proposed for a new type of architecture that blends into the natural environment and the surrounding landscape. We were intrigued by the beautiful cliffs of Orkney Islands in the north of Scotland, and wanted to convey its natural randomness through the architecture. And so we came up with the idea of using roughly textured precast concrete bars with exposed coarse aggregate, stacked in layers with varying angles, to realize a facade with subtle nuances and dynamics. Today’s advanced systems for parametric ©Ross Fraser McLean
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design enabled us to achieve our purpose here.
Kengo Kuma : Place/Inspiration
©Ross Fraser McLean
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Kengo Kuma : Place/Inspiration
在建築中央開出水平貫穿的巨大孔洞，與丹地市中軸的聯合街（Union Street） 以及泰河的自然美景連接。丹地是蘇格蘭首屈一指的港灣都市，20世紀建設的倉 庫群在水岸區域與都市之間畫出界線，隔離了市民與自然；撤除了倉庫群後，則 企圖重新連接街道與水岸、都市與自然，這項深具野心的都市計畫，其重要核心 正是V&A丹地分館。建築上開出的孔洞得以讓都市活動延伸至水岸，使水岸再次 成為步行者的洄游空間。連接都市與自然的孔隙，靈感取自於日本神社的鳥居。 ©Ross Fraser McLean
We opened a cave through the center of the building to connect the beautiful nature of River Tay with Union Street: the axis running through the town of Dundee. Dundee was once the most prosperous harbor city in Scotland, but a group of warehouses erected in the 20th century virtually severed the relationship between the river and the city. The warehouses were removed to revive the site as the core of an ambitious urban design, using the museum as its symbol. The hole in the museum made it possible to extend the activities of the city out to the waterfront and now the river has reclaimed its role as a promenade. Using a void to strengthen the connection between nature and people is an idea found in Shinto shrines, using Torii, the gateway to the shrine.
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隈研吾展：場域˙啟發
GC 齒科博物館研究中心
GC Prostho Museum Research Center
從日本的森林獲得靈感，設計出以細長木條組合而成的「千鳥」格狀結構體。木條 維持60mm×60mm的纖細斷面形狀，宛如森林中的樹枝般，精緻纖細，雖為建築， 卻帶有家具的溫潤。千鳥結構的木條同時也是轉換光線的裝置，光線被木條打散， 形成如陽光灑落樹隙的柔和光影狀態。60mm見方的木條運用日本傳承古法組合， 完全不使用釘子或者黏著劑。以這種方法組合之結構體具備生物般的強韌，實現了 僅用木材依然打造出耐震性強的建築之可能。
©Daici Ano
Taking inspiration from the forests of Japan, we designed a structure called Chidori, comprised of thin wooden members approximately 60mm × 60mm sectional shape, delicate as tree branches in a forest—gentle as furniture while in fact architectural. These thin wooden elements break up the incoming daylight, creating a gentle state of dappled light and shadow called komorebi, and also becoming a device converting light itself. The 60mm square elements are assembled using a traditional Japanese technique which requires no nails or glue. Constructed by this method, the structure becomes supple almost like an organism, enabling an architecture resilient to earthquakes, made possible using only wood.
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©Daici Ano
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安徒生博物館 The H.C. Andersen’s House of Fairy Tales in Odense
於童話作家漢斯・克里斯丁・安徒生誕生地⸺丹麥奧登色市（Odense），以安徒 生的故居為中心，設計出一座能夠親身體驗安徒生世界的博物館。奧登色這座城市 有許多小型木造民宅，道路與房屋之間往往有綠色樹籬相隔。我們由此充滿人性 和自然風情的城市氣息獲得靈感，將拉出柔和曲線的樹籬作為主角，設計了這座 博物館 。樹籬包圍的庭園各自對應不同的安徒生童話，來訪者得以一一沈浸在 安徒生創造出的世界中，遊逛每一座庭園 。我們嘗試於此提出一種庭園形態的 博物館，以取代建築形態的博物館 ©Kengo Kuma and Associates
We designed a museum in Odense, Denmark, the city where renowned fairytale author Hans Christian Andersen was born, as a place where one can experience his world. The city of Odense is full of small wooden houses, separated from the road by green hedges. Drawing from the human, natural atmosphere of this city, we designed a museum featuring gently curving hedges. Several gardens enclosed by these hedges each correspond to one of Andersen’s fairytales, and as visitors travel from garden to garden, they immerse themselves in the worlds Anderson created. Instead of a museum as architecture, we proposed a museum as a garden.
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©Kengo Kuma and Associates
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村上春樹圖書館（早稻田大學國際文學館） The Haruki Murakami Library (The Waseda International House of Literature)
村上春樹的文學作品中，經常會出現隧道般的場所或路徑 。隧道入口藏在日常 生活中不引人注意的地方，只要踏入這隧道，我們頓時會迷失進入另一個空間、 另一個時間 。村上文學最大的魅力，我覺得就在於此 。在早稻田大學的校園裡， 我想創造出一個類似這種隧道的地方。我們在大學舊建物的牆上，悄悄鑿出一條 隧道。進入這條隧道後，會發現緊鄰於現實世界的另一個世界，在這裡可以看到 村上春樹所寫的書，還有他個人擁有的唱片及家具。不只是大學校園，在都市裡， 我們也需要許多像這樣的隧道。
©Kengo Kuma and Associates
Haruki Murakami’s literature often time features tunnel-like places and tunnel-like passages. Although the entrances to these tunnels are casually hidden amongst our everyday lives, if we set foot into them, we become lost and transported to another place, to another time. I feel that is the greatest allure of Murakami’s literature. Our idea was to create such a tunnel-like place within the campus of Waseda University. We casually opened this tunnel into the wall of an old university building. Upon entering this tunnel, one will find books written by Haruki Murakami laid out, along with his personal collection of records and furniture—discovering that another world exists right next to the familiar everyday world. Not only on the university campus but throughout the city, many tunnels like this one are necessary.
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東京工業大學 Taki Plaza
Tokyo Institute of Technology Hisao and Hiroko Taki Plaza
Taki Plaza 是建於東京工業大學校園入口旁，與周圍地景融為一體的國際交流 會館 。東京工業大學校園位在東京台地被呑川削蝕而成的斜面上，探出頭來的 綠坡處處可見。我們由此斜面獲得靈感，構思出形塑斜面的建築，以取代受限於 垂直關係的箱體結構。斜面上以類似沖積扇的有機幾何塊狀鋪出薄型露台，並於 間 隙 綴 以 野 草 。在 此 手 法 之 下，人 工 建 構 物 化 身 為 具 備 天 然 大 地 質 感 的 斜 面 。 室 內 也 同 樣由各種不同連續斜面構成，共同學習空間等多種不同功能得以確保 獨立性，並且無縫銜接。
©Kawasumi・Kobayashi Kenji Photograph Office
This is an international house integrated with the landscape, standing by the campus entrance to Tokyo Institute of Technology. Tokyo Institute of Technology’s campus stands on a slope where the Nomi River carved a Tokyo plateau, with hills of green appearing here and there. Inspired by this slope, in place of boxes ruled by right angles, we thought of building the architecture as a slope. A thin deck was laid out on this slope, using an organic geometry resembling an alluvial fan, and wild grasses were planted in the gaps. By doing so, even though it is a man-made object, the slope gains a texture like the earth. By also composing the interiors out of several continuous slopes, multiple functions including co-learning spaces are seamlessly connected, while maintaining independence.
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©Kawasumi・Kobayashi Kenji Photograph Office
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祖先的智慧博物館 Museum of Indigenous Knowledge
這座博物館的設計靈感來自菲律賓的洞窟，在此可以展示與體驗菲律賓新石器 時代的豐富文化遺產。馬尼拉市區裡驀地出現的大孔洞，當觀者彷彿被吸附般踏 入其中，可以看見洞窟往天空上昇，並從大洞窟分歧出不同展示空間，形成氣勢磅 礡的結構。來到頂層，眼前是大片汪然水面，獨木舟往來穿梭於漂浮在水面的水上 聚落之間。這片水面正象徵著菲律賓透過群島間的溝通交流，孕育出豐富的文化。 我們嘗試透過建築，讓當地強而有力的原風景，與當地孕育出的文化融合為一。
©Kengo Kuma and Associates
We designed the museum that looks to the example of Philippine caves, as a place to display and experience the rich cultural heritage of the Philippines from the Neolithic age. Amid the urban cityscape of Manila suddenly a massive hole opens its mouth, drawing in the visitor with further venture inward, the cave rises toward the sky, with exhibition spaces branching off from the massive space in a dynamic composition. A large water surface appears at the summit, with wooden dugout canoes traveling between floating villages. This water surface is symbolic of the rich Filipino culture born from communication between the many islands of the Philippine archipelago. Our aim was to connect and unify the robust original scenery and the culture nurtured by this place, through architecture.
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展覽精選回顧 The Highlights of the exhibition
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展覽工作團隊 Exhibition Team
展覽指導｜李彥良、李彥宏、黃姍姍
主辦單位｜忠泰美術館
展覽統籌｜陳玉明、黃瑋儒（忠泰美術館）
策劃單位｜隈研吾建築都市設計事務所、忠泰美術館
長谷川倫之、寺澤剛（隈研吾建築都市設計事務所） 展覽協調｜彭裕奎、歐維傑（忠泰美術館） Sarah Wellesley SJAFEI、吳星辰、 Sora YU、小池獎（隈研吾建築都市設計事務所） 行銷統籌｜陳思安 行銷推廣｜陳妍秀、李燕姍、張淑媛 公眾服務｜張淑媛、楊子逸 行政統籌｜黃相瑜 展覽協力｜林育暄、曾泓華 展場設計｜隈研吾建築都市設計事務所 平面設計｜葉子萌（隈研吾建築都市設計事務所）、蔡采媛 燈光設計｜何仲昌 戶外裝置製作｜福樟實業有限公司
贊助單位｜忠泰建設機構、義泰建設 協辦單位｜明日聚落 活動協力｜和苑三井花園飯店台北忠孝
Exhibition Supervisors｜
Organizer｜
Aaron Y. L. LEE, Alex Y. H. LEE, Shan-Shan HUANG
Jut Art Museum
Exhibition Coordinators｜
Curatorial Team｜
Yu-Ming CHEN, Wei HUANG（Jut Art Museum）
Kengo Kuma and Associates, Jut Art Museum
Tomoyuki HASEGAWA, Go TERASAWA（Kengo Kuma and Associates）
Sponsors｜
Assistant Coordinators｜
JUT Land Development, ITAI Land Development
Yu-Kuei PENG, Wei-Jie OU（Jut Art Museum）
Co-organizer｜
Sarah Wellesley SJAFEI, Hsin-Chen WU Starry,
JUT Living
Sora YU, Sho KOIKE（Kengo Kuma and Associates）
Event Partner｜
Communications and Marketing Coordinator｜
MGH Mitsui Garden Hotel Taipei Zhongxiao
Szu-An CHEN Communications and Marketing｜ Yen-Hsiu CHEN, Yen-Shan LI, Shu-Yuan CHANG Public Service｜ Shu-Yuan CHANG, Tzu-Yi YANG Administration Coordinator｜ Shiang-Yu HUANG Exhibition Assistants｜ Yu-Hsuan LIN, Hung-Hua TSENG Exhibition Designer｜ Kengo Kuma and Associates
文字與圖片版權所有：
Graphic Designers｜
忠泰美術館、隈研吾建築都市設計事務所
YOO Shiho（Kengo Kuma and Associates）, Tsai-Yuan TSAI
版權所有 翻印必究
Lighting Designer｜ Chung-Chang Ho Outdoor Installation｜ Fure Jang Enterprise Co. Ltd.
Copyrights ot the texts and photographs are reserved by Jut Art Museum and Kengo Kuma and Associates
展覽資訊
©All rights reserved.
Exhibition