Public Projects 公共藝術計畫

早期景觀場域之代表案例（1993）。依基地動線、視距與量體關係建立觀看節點。（此案如需可於內文低調標註中悅建設）

An early landscape-context realization (1993). The work is calibrated to circulation, viewing distance, and massing relationships.

設置於立夫大樓大廳之公共藝術（1999）；以鏡面金屬與幾何構成回應大廳尺度與光線流動，形成入口層級的視覺核心。

A lobby-scale public artwork (1999). Mirrored metal and geometric composition respond to the hall’s scale and light movement, establishing a focal anchor at the point of arrival.

音樂/劇院場域代表案例之一（約 2002）；以器樂意象與聚合結構建立公共節點，與人流動線形成長期停留。

A theatre-context realization (c. 2002). The work establishes a public node through musical imagery and assemblage, sustained by circulation over time.

音樂廳公共空間案例（約 2002）；以結構與尺度建立辨識度，讓作品成為到訪經驗的一部分。

A concert-hall context realization (c. 2002). The work’s structure and scale produce a recognizable anchor within the visitor’s experience.

城市公共雕塑案例；作品以地標性姿態與建築立面建立關係，成為可被回想的城市節點。

A civic-scale placement. The work’s landmark posture reads in dialogue with the façade, becoming a persistent point of urban recall.

亞洲大學園區內之景觀雕塑案例；以主軸動線與建築語彙為尺度依據，形成穩定的公共節點。

Campus-scale landscape sculptures. The works are calibrated to principal axes and architectural language, forming steady public anchors.

典藏級作品於校園場域之安置（2007）；以開放腹地與視線軸線，形成可停留、可回望的場域節點。

A masterwork placed within a campus context (2007). Open ground and sightlines allow the work to function as a place of pause and return.

由忠泰建設典藏之公共場域安置（2007）；作品以沉穩量體與歷史感，與建築語彙形成長期共存。

A collection placement (2007). The work’s gravity and historical presence sustains a long-term coexistence with architectural language.

大型公共空間案例；作品於核心區域被觀看與辨識，成為場域節點之一。

A large-scale civic placement. The work remains legible within the park’s principal zones, functioning as an enduring node.

作品設置於住宅音樂廳主要迎賓空間牆面， 以沉穩而高度集中的色塊結構，回應音樂廳所需的安定氣場與聆聽氛圍。 皮亞德拉的抽象語彙在此不作敘事指涉， 而是以色彩密度與節奏關係， 與建築尺度、聲學空間與典雅裝飾形成長期共存的視覺背景。

Installed on a principal wall of a residential music hall, the painting employs a restrained and concentrated chromatic structure that complements the contemplative atmosphere required for listening. Piattella’s abstract language avoids narrative reference, instead establishing a lasting visual presence through density and rhythm— coexisting with architectural scale, acoustics, and classical interior detailing.

作品以抽象量體回應台灣地質結構的生成能量，形體如岩層隆起， 象徵自然力量長時間累積後的爆發與穩定。 置於住宅中庭，使雕塑成為日常環境中靜默而持續的精神核心。

An abstract sculptural form responding to Taiwan’s geological forces. The rising mass evokes tectonic uplift—an accumulation of pressure, time, and silent strength—anchoring the residential courtyard as a place of grounded contemplation.

城市公園場域之長期安置；以大型構件建立尺度感，並與公共步行動線共構。

A long-term park placement. Large components articulate scale and remain in dialogue with public pedestrian circulation.

長期置於城市日常動線之中；以辨識度高的造型語彙，形成親近而穩定的公共節點。

A long-term placement within daily urban circulation. The work’s clear formal language sustains an approachable public anchor.

作品設置於住宅中庭的圓形柱列之中，以垂直量體回應古典建築語彙與 開放天空所形成的軸線關係。 樊炯烈以簡化而富有生命感的形體，將「雲」的流動與「樹」的生長 凝結為一體，使雕塑在石材結構與自然光影之間， 成為一個介於建築與自然之間的靜定核心。

Installed within a circular colonnade at the center of a luxury residential courtyard, the sculpture responds to the axial relationship between classical architectural elements and the open sky above. Through a simplified yet organic form, Fan Jiong-Lie condenses the movement of clouds and the growth of trees into a single vertical presence—establishing a quiet center between built structure and natural light.

作品設置於住宅建築之外部開放空間，面向城市街廓與日常人流。 以較低尺度與親近姿態呈現犀牛形象，弱化紀念性，轉而融入生活節奏， 成為居民與行人皆可自然互動的公共景觀節點。

Installed within the outdoor landscape of a residential complex facing the urban street, the sculptures adopt a modest scale and approachable posture. Rather than functioning as monuments, the works integrate into everyday rhythms, forming a gentle point of interaction for residents and passersby alike.

2014 年，現代畫廊參與法國藝術家 Niki de Saint Phalle 於亞洲現代美術館之公共景觀作品呈現。 作品延續其鮮明的色彩、動態造型與象徵語彙， 將生命力、女性能量與遊戲精神引入亞洲公共藝術場域， 使藝術成為可親近、可共處的空間經驗。

In 2014, Modern Art Gallery participated in the presentation of a public art installation by French artist Niki de Saint Phalle at the Asia Modern Art Museum. Characterized by vivid color, dynamic form, and symbolic language, the work brings vitality, feminine energy, and a sense of play into the context of public space in Asia.

作品設置於住宅景觀綠地之中，以母子雙件形式融入草坪與喬木配置， 成為住戶日常可近距離接觸的戶外藝術節點。 施力仁以具重量感的造型語彙，結合溫和而穩定的姿態， 使雕塑在自然環境與建築量體之間， 呈現守護、陪伴與世代延續的空間意象。

Installed within the landscaped grounds of a luxury residential complex, the paired sculptures are integrated into lawns and mature trees, forming an approachable outdoor art presence within everyday life. Through a weighty yet gentle sculptural language, Li-Jen Shih situates the figures between architecture and nature—evoking themes of protection, companionship, and continuity across generations.

《赤兔戰馬》為施力仁延續其動物雕塑創作脈絡的重要公共藝術作品， 以歷史意象中的戰馬為原型，轉化為具當代形式語彙的動勢雕塑。 作品設置於開放公共空間中，與自然景觀與行人動線形成視覺節奏， 展現力量、速度與精神象徵的平衡關係。

Red Hare War Horse is a key public sculpture by Shih Li-Jen, translating the historical image of the legendary warhorse into a contemporary sculptural form. Installed within an open landscape, the work engages with its surroundings through movement, scale, and symbolic vitality.

作品配置於住宅公共設施空間核心位置，結合挑高尺度、對稱軸線與垂直動線。 嚴超以高度辨識的材質語彙與色彩層次，使作品在燈光、石材與金屬結構之間形成穩定對話， 成為公共空間中可遠觀亦可近看的視覺焦點。

Installed at the core of a residential public facility, the work responds to the space’s vertical scale, axial symmetry, and circulation. Through a distinctive material language and layered chromatic structure, the piece maintains a composed dialogue with lighting, stone, and metal elements—serving as a focal point for both distant and close viewing.

作品配置於大廳迎賓主牆，以橫幅構圖呼應空間的水平延展與禮賓動線。 柔化的光感、灰階層次與低飽和色調，與浮雕牆面、弧形拱頂與石材肌理形成互補， 使作品在高尺度公共空間中維持安定的視覺重心與細緻的觀看距離。

Installed on the lobby’s primary reception wall, the horizontal format echoes the space’s expansive proportions and ceremonial circulation. Soft illumination, nuanced greys, and a restrained palette complement the relief wall, vaulted ceiling, and stone surfaces—allowing the work to remain a composed visual anchor while rewarding close viewing.

作品設置於建築公共大廳核心牆面，透過沉穩而具張力的抽象語彙， 與石材、金屬與光源形成整體空間節奏。 作為長期收藏與展示，作品在日常動線中建立靜定而內斂的視覺重心。

Installed on the principal wall of a corporate lobby, the painting employs a restrained yet dynamic abstract language that resonates with stone, metal, and architectural lighting. As a long-term collection, the work establishes a composed visual anchor within daily circulation.

本案為建設公司住宅公設之整體藝術配置，作品分布於接待空間、 休憩區與垂直動線節點，透過不同藝術語彙對應各自的空間性質。 鄭麗雲的作品以柔和色域與自然意象，為停留型空間引入安定而內斂的氛圍； 姜淼的作品則配置於梯間等過渡場域，透過層疊結構與節奏感， 使觀看在行進之中逐步展開。

This residential development integrates multiple artworks across shared facilities, including reception areas, lounge spaces, and vertical circulation zones. Leigh Li-Yun Wen’s works introduce a calm and contemplative atmosphere through softened color fields and organic imagery, suited to spaces of pause and rest. Jiang Miao’s works, positioned along transitional zones such as stairwells, employ layered structures and rhythmic compositions that unfold through movement.

作品配置於住宅會議室主牆，以雙聯形式對應空間的對稱結構與長桌尺度。 細緻而節制的筆墨語彙，使圖像在正式而理性的會談場域中維持安定氣息， 不干擾討論，卻在停頓與凝視之際提供內斂而持續的觀看深度。

Installed on the principal wall of a luxury residential meeting room, the diptych responds to the space’s symmetry and the scale of the conference table. Through a restrained and finely articulated visual language, the works sustain a composed atmosphere—remaining unobtrusive during discussion while offering quiet depth in moments of pause.

作品設置於大型公共空間主牆，回應挑高尺度與對稱軸線， 以姜淼一貫的層疊結構與流動色域，為理性而秩序分明的建築空間 引入柔性節奏與可長時間觀看的視覺深度。 作為公共景觀的一部分，作品不以事件性呈現， 而是在日常運作中形成穩定而持續的感知背景。

Installed on the principal wall of a large-scale public interior, the work responds to the space’s height and axial symmetry. Through Jiang Miao’s characteristic layered structures and fluid chromatic fields, the painting introduces a softened rhythm and sustained visual depth into an otherwise rational architectural order. Rather than functioning as an event, the work operates as a stable perceptual presence within everyday use.

作品設置於公共空間長向動線牆面，以大尺幅與高密度的筆觸結構， 回應石材立面與連續光源所形成的節奏。 色彩在遠距離形成整體韻律，近距離則顯露層層交織的手勢與時間痕跡， 使觀看在行走之中自然展開，而非停留於單一視點。

Installed along a longitudinal circulation wall, the large-scale work responds to the rhythm created by stone surfaces and continuous lighting. From a distance, color fields form a cohesive cadence; up close, layered gestures and traces of time emerge—allowing perception to unfold gradually through movement rather than from a fixed viewpoint.

作品設置於梯間垂直動線的轉折牆面，在高度受限、節奏明確的空間條件下， 以明亮底色與高度辨識的圖像結構，形成即時可讀的視覺焦點。 觀看並非停留，而是在上下行之間短暫捕捉、反覆遇見， 使作品成為日常移動中持續出現的節點。

Installed at a turning point along a vertical stairwell, the work operates within a constrained and rhythmically defined space. Through a vivid ground and a highly legible image structure, it establishes an immediately perceptible focal point. Rather than inviting prolonged viewing, the piece is encountered repeatedly in passing—becoming a recurring marker within everyday movement.