《一起散步 In the Progress》（2019–2020）
「一起」一同、群體，人與人的互動。
「散步」為藝術家駐館期間實際工作的狀態：透過反覆場勘及在空間中行走的過程，不斷探索、觀察歌劇院，進而從無機空間延伸出有機想法。
🔗 網站介紹：https://www.npac-ntt.org/program/events/c-aC81scywze5
臺中國家歌劇院駐館藝術家｜空間探索行動計畫
《一起散步 In the Progress》為莊志維於臺中國家歌劇院駐館期間所發展的空間探索行動計畫。本計畫以「行走」作為核心方法論，透過身體在建築中的移動與停留，重新檢視大型公共文化場所中「可見／不可見」的空間層次，以及建築、使用者與制度之間的關係。伊東豊雄的劇院建築以曲牆與連續性空間形構出一種非線性的感知狀態，使行走行為不再只是移動，而是進入建築內部的認識過程。計畫正是在此種身體被不斷牽引、調節與重新定位的感知行為中展開。
2019 年起，藝術家透過反覆場勘與路線描繪，將個人行走經驗轉化為一套研究途徑，並在此基礎上與歌劇院共同策劃五場「空間探索小組」工作坊，邀請一般民眾以及建築、空間、美術等領域的參與者共同進入劇院。探索範圍包含公共空間與觀眾難以接觸的後台場域，如排練大道、卸貨碼頭、排練室與支援劇院運作的機能區域。參與者透過步行、觀察與即時記錄（包括手繪、速記、文字與攝影），逐步累積一套由多元視角構成的「在地經驗資料庫」。
本計畫強調創作並非由藝術家單向生產，而是透過集體的身體移動與多重觀點的相互疊合，形構出一種「集體閱讀建築」的方式。藝術家將這些資料重新整理為「符號」、「流動」、「空間」與「想像」四個概念節點，並於展覽階段以四座展桌與曲牆投影的形式呈現。此展呈並非以完成作品為目標，而是意圖揭露創作用的生成狀態，使觀眾得以看見「空間如何被感知、被詮釋與被重新建構」。
《一起散步 In the Progress》所提出的核心議題在於：公共建築是否能透過身體行動被重新理解，並從制度性框架下獲得再想像的可能？在此計畫中，行走不僅是探索建築的方式，而是一種介入公共空間的行動策略，使參與者在感知層面與認知層面皆能重新界定「空間的用途」與「使用者的角色」。作品強調「空間的意義並非固定不變，而在於集體行動所生成的可變結構」，以及「公共性在經驗的累積中被不斷生產」。
總體而言，本計畫以身體行為作為認識空間的起點，透過集體的觀察與討論，將原本具有固定功能、長期被制度化的劇院建築，轉化為一個可被重新閱讀與書寫的開放場域。其結果不只是一項展覽，而是一套因行動而生、因集體而擴張的空間知識生成機制。
臺中國家歌劇院駐館藝術家｜空間探索行動計畫
《一起散步 In the Progress》為莊志維於臺中國家歌劇院駐館期間所發展的空間探索行動計畫。本計畫以「行走」作為核心方法論，透過身體在建築中的移動與停留，重新檢視大型公共文化場所中「可見／不可見」的空間層次，以及建築、使用者與制度之間的關係。伊東豊雄的劇院建築以曲牆與連續性空間形構出一種非線性的感知狀態，使行走行為不再只是移動，而是進入建築內部的認識過程。計畫正是在此種身體被不斷牽引、調節與重新定位的感知行為中展開。
2019 年起，藝術家透過反覆場勘與路線描繪，將個人行走經驗轉化為一套研究途徑，並在此基礎上與歌劇院共同策劃五場「空間探索小組」工作坊，邀請一般民眾以及建築、空間、美術等領域的參與者共同進入劇院。探索範圍包含公共空間與觀眾難以接觸的後台場域，如排練大道、卸貨碼頭、排練室與支援劇院運作的機能區域。參與者透過步行、觀察與即時記錄（包括手繪、速記、文字與攝影），逐步累積一套由多元視角構成的「在地經驗資料庫」。
本計畫強調創作並非由藝術家單向生產，而是透過集體的身體移動與多重觀點的相互疊合，形構出一種「集體閱讀建築」的方式。藝術家將這些資料重新整理為「符號」、「流動」、「空間」與「想像」四個概念節點，並於展覽階段以四座展桌與曲牆投影的形式呈現。此展呈並非以完成作品為目標，而是意圖揭露創作用的生成狀態，使觀眾得以看見「空間如何被感知、被詮釋與被重新建構」。
《一起散步 In the Progress》所提出的核心議題在於：公共建築是否能透過身體行動被重新理解，並從制度性框架下獲得再想像的可能？在此計畫中，行走不僅是探索建築的方式，而是一種介入公共空間的行動策略，使參與者在感知層面與認知層面皆能重新界定「空間的用途」與「使用者的角色」。作品強調「空間的意義並非固定不變，而在於集體行動所生成的可變結構」，以及「公共性在經驗的累積中被不斷生產」。
總體而言，本計畫以身體行為作為認識空間的起點，透過集體的觀察與討論，將原本具有固定功能、長期被制度化的劇院建築，轉化為一個可被重新閱讀與書寫的開放場域。其結果不只是一項展覽，而是一套因行動而生、因集體而擴張的空間知識生成機制。
In the Progress (2019–2020)
“Together” signifies collectivity—the interactions and shared presence between people.
“Walking” describes the artist’s actual working mode throughout the residency: through repeated site inspections and continuous movement within the architectural space, the artist engaged in a process of exploration and observation, allowing organic ideas to emerge from an otherwise inorganic environment.
Spatial Exploration Action Project｜NTT Artist-in-Residence
In the Progress is a spatial exploration project developed during Chuang Chih-wei’s residency at the National Taichung Theater (NTT). Rather than producing a single, self-contained artwork, the project adopts walking as a methodological framework to investigate how bodies perceive, navigate, and negotiate the architecture of a contemporary cultural institution. The project begins with the assumption that walking constitutes a form of embodied inquiry, capable of revealing the multiple layers of visibility, accessibility, and regulation embedded within a public building.
Designed by Toyo Ito, the theater’s continuous curvilinear spaces generate a non-linear perceptual condition in which movement becomes intertwined with the building’s spatial logic. Through repeated site surveys, route-mapping, and observational walks, the artist formulated walking as both a research tool and a mode of critical engagement. These preliminary explorations later expanded into five “Spatial Exploration Group” workshops, inviting participants from various backgrounds—including architecture, spatial design, and visual arts—alongside general publics to enter both public and rarely accessible backstage areas such as rehearsal avenues, loading docks, technical corridors, and utility zones.
Participants documented their observations through hand drawings, notes, diagrams, and photography, collectively producing a multi-perspectival archive of spatial experience. The project positions artistic creation not as an individual act, but as a process generated through collective movement and distributed perception, foregrounding the idea that architectural meaning is constantly shaped by those who inhabit and traverse it.
For the final presentation, Chuang distilled these accumulated materials into four conceptual nodes--“symbol,” “flow,” “space,” and “imagination.” These were translated into a set of installation tables and a large-scale projection onto the theater’s curved walls. Rather than concluding the project, the exhibition aimed to reveal the generative and processual nature of the work, making visible the ways spatial knowledge is constructed, shared, and reinterpreted through collective participation.
In the Progress raises critical questions about the production of public space:
How do bodies gain access to institutional architecture?
How do walking and collective observation reconfigure our understanding of a building’s intended and unintended uses?
And in what ways can public space be reimagined when its meanings are no longer determined solely by institutional frameworks but instead emerge from the contingent experiences of its users?
Ultimately, the project proposes that space is not a fixed entity but a mutable structure produced through continuous interaction between bodies, architecture, and institutional protocols. By foregrounding walking as a spatial practice, In the Progress transforms the theater into a site that can be read, questioned, and re-authored—shifting from a regulated cultural venue to an open terrain of collective spatial imagination.
In the Progress is a spatial exploration project developed during Chuang Chih-wei’s residency at the National Taichung Theater (NTT). Rather than producing a single, self-contained artwork, the project adopts walking as a methodological framework to investigate how bodies perceive, navigate, and negotiate the architecture of a contemporary cultural institution. The project begins with the assumption that walking constitutes a form of embodied inquiry, capable of revealing the multiple layers of visibility, accessibility, and regulation embedded within a public building.
Designed by Toyo Ito, the theater’s continuous curvilinear spaces generate a non-linear perceptual condition in which movement becomes intertwined with the building’s spatial logic. Through repeated site surveys, route-mapping, and observational walks, the artist formulated walking as both a research tool and a mode of critical engagement. These preliminary explorations later expanded into five “Spatial Exploration Group” workshops, inviting participants from various backgrounds—including architecture, spatial design, and visual arts—alongside general publics to enter both public and rarely accessible backstage areas such as rehearsal avenues, loading docks, technical corridors, and utility zones.
Participants documented their observations through hand drawings, notes, diagrams, and photography, collectively producing a multi-perspectival archive of spatial experience. The project positions artistic creation not as an individual act, but as a process generated through collective movement and distributed perception, foregrounding the idea that architectural meaning is constantly shaped by those who inhabit and traverse it.
For the final presentation, Chuang distilled these accumulated materials into four conceptual nodes--“symbol,” “flow,” “space,” and “imagination.” These were translated into a set of installation tables and a large-scale projection onto the theater’s curved walls. Rather than concluding the project, the exhibition aimed to reveal the generative and processual nature of the work, making visible the ways spatial knowledge is constructed, shared, and reinterpreted through collective participation.
In the Progress raises critical questions about the production of public space:
How do bodies gain access to institutional architecture?
How do walking and collective observation reconfigure our understanding of a building’s intended and unintended uses?
And in what ways can public space be reimagined when its meanings are no longer determined solely by institutional frameworks but instead emerge from the contingent experiences of its users?
Ultimately, the project proposes that space is not a fixed entity but a mutable structure produced through continuous interaction between bodies, architecture, and institutional protocols. By foregrounding walking as a spatial practice, In the Progress transforms the theater into a site that can be read, questioned, and re-authored—shifting from a regulated cultural venue to an open terrain of collective spatial imagination.
