Acts Without Effort- The Societal Architecture of Hsieh Ying-Chun
為無為—謝英俊建築實踐展 ( 高雄市立美術館 )
Visual Design Agency | StudioPros.work
Key Visual Direction | Yi-Hsuan Li 李宜軒 In-house Co-curator | Fang Yen Hsiang
Artists | Hsieh Ying-Chun, Lee Kuo-Min, Li Peifeng
Field Research Team | DESIGN FOR PEOPLE +
Ou I-Chun, Li Hsueh-Jia, Lai Hsiao-Ying, Lin Chiao-Li, Chen I-Ching, Ng Man Kei, Chang Nien-Wei
Exhibition Designers | DESIGN FOR PEOPLE + ART WAR COMPANY
Clent | Kaohsiung Museum of Fine Arts / 高雄市立美術館Graphic Design Photography |Shengyuan Hsu
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.
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.
為與無為 、虛和實、線段與色塊
兩塊圖像皆由鉛筆線的構成，設計想法啟發於建築師在畫建築圖時的筆跡線，代表著建築師的功力與累積。畫面上陰陽兩分，一部分為鉛筆線重複圖畫直而不平的長線，另一半則為鉛筆不斷交疊所組成的大面積筆跡。直線筆跡粗糙而不俐落，為災民勾勒的線段，說明著謝英俊的理念「帶著災民親手建造自己的房屋」的理念，雖不如建築師畫出的如此俐落，但卻是充滿意義與溫度，而直線型態也暗示著謝所致力的推廣的鋼構建築; 另一塊佈滿鉛筆線的色塊代表著土地及環境，每一片土地裡裝滿載著災民的情緒，累積了災民的絕望和希望。
而在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，莊重而雅緻。
而在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，莊重而雅緻。
