Taiwan has two faces: the western chain of cities and overt activity and the more mysterious eastern mountains and the almost forgotten eastern coastland. Towards the middle are lakes and memories of earthquakes in the form of deep cracks. One has found oneself subconsciously influenced by the landscape and the fragmented buildings that have seemed both prescient and reflective.

The installation is based upon one’s ponderings upon the subject. As a European who, on several visits to Taiwan, has found that his creative imagination has been subtly and successively infiltrated until, in recent drawings, this observed paradox becomes a field for conjecture.

The installation has two ends: Street of Secrets at one end and Inclusive Landscape at the other. If the city is both an expression of humans’ wish to interreact and, in the current culture, to take risks.

The “Street” is its most frequent instrument but can contain ambiguous components. The notion of the “Urbanized Forest” suggests a further mystification. So, as we look down the “Street” we head towards a gleaming “Palace of Hope,” but along the way are crevices and deviations.

From the other end, the apparently “natural” landscape is the repository of occasional strange outcrops and sudden insertions that are surely buildings, gadgets, devices? Maybe these two visions coalesce: the one becoming the other?

Looking forward into a future Taiwan, this is a series of metaphors suggesting a hybrid architecture: delving into the interior of the island and delving into the opportunities offered by the mysteries and challenges of fabrication and technology.