本系列作品於2025年受新竹市美術館委託創作，參與展覽《築跡永恆：新竹市役所的百年光影》（展期：2025年5月27日至8月3日）。作品以新竹美術館（原新竹市役所）古蹟修復期間所拆卸、遺留的建材為創作素材，發展出結合地景與影像的裝置藝術
“Broken Landscapes”by Hsinchu Museum of Art, Fragmented Landscapes was developed in 2025 for the exhibition “Traces of Permanence: A Century of Light and Shadows at the Hsinchu City Office (May 27 – August 3, 2025).
This video installation utilizes architectural fragments—such as terrazzo floor chips and roof tile shards—salvaged from the restoration process of the historic building, formerly the Hsinchu City Office (1925). Through the reconfiguration of these materials into a landscape-like installation embedded with moving images, the work explores how memory can resurface through physical remnants, engaging viewers in a microcosm of historical dislocation and temporal layering.
《碎景》將古蹟修復過程中被排除的碎片轉化為敘場域，透過材質與影像的交錯，觸發關於空間、時間與歷史殘留的深層感知。建於1925年的「新竹市役所」（現為新竹美術館）建築為背景，聚焦其二樓門廊露臺和建築屋頂的修復過程中，所遺留的建築碎片，思考記憶如何透過物質殘留，在修繕與不同時序的觀看之中重新浮現。
藝術家陳家翊採集修復期間剝離的建材，堆疊出一座散落於展場的地景結構結合影像裝置，回應露臺初建時的空間意圖與歷經轉變後所遺留的破碎景象。
造景中所使用的植栽參考日治時期常見的陽台與公共景觀植物，與自然生長的野草交錯生長，如同根植於歷史縫隙的有機記憶。觀者需穿梭其間、彎身俯視，方能窺見那藏於地景深處的微光與流動影像。
“Broken Landscapes ”transforms architectural fragments, discarded during heritage restoration, into a narrative terrain. Through the interplay of material and video, the work evokes a profound perception of space, time, and historical residue. Set within the context of the Hsinchu City Office—constructed in 1925 and now operating as the Hsinchu Art Museum—the piece centers on the rooftop and second-floor veranda restoration.
It explores how memory can re-emerge through physical remnants, reshaped by renovation and viewed across temporal strata. Artist Chia-Yi Chen collected dislodged terrazzo chips and roof tile fragments from the restoration process. These materials are recomposed into a scattered landscape within the exhibition space, embedded with video screens that respond to the original spatial intention of the veranda and its transformation over time.
The planted species reference balcony and public greenery commonly found during the Japanese colonial era, growing in tandem with naturally sprouting weeds. Together, they form an organic memory rooted in the historical crevices. Viewers must navigate the work, bending and crouching to glimpse the faint glow and moving images hidden within the debris.
創作素材：歷史的殘留物
本次作品《碎景》所使用的材料之一，來自於新竹美術館（原新竹市役所）二樓門廊露臺與屋頂的修復工程。陳家翊在建築修繕現場採集洗石子地坪與瓦片碎片，將這些原本將被清除的建築廢材視為記憶的載體，並轉化為藝術創作的重要元素。
圖像中可見部分修復現場與遺留碎塊，這些材料經過再編組後被嵌入於展場中的地景裝置中，使觀者能穿梭其間，感知歷史的殘跡與時間的堆積。
Materials: Traces of Time and Memory
The materials used in Broken Landscapes were sourced from the on-site restoration of the second-floor balcony and rooftop of the Hsinchu City Art Gallery (formerly the Hsinchu City Hall, built in 1925). The artist collected terrazzo flooring and roof tile fragments discarded during the repair process—reframing these remnants not as waste, but as vessels of memory.
The photos show fragments and views from the site. These elements were later reassembled and embedded within the landscape installation, inviting viewers to navigate through the space and experience layers of time, history, and transformation.
屋頂上外部的遺構與共生現象
在 2025 年「新竹市役所」屋頂修復工程期間，陳家翊觀察到多處需拆除的瓦片錯落堆疊，表面覆著長年累積的青苔與風化痕跡，屋頂的樋（排水系統）亦見植物自發生長，穿插於建築縫隙，與瓦片、泥沙、落葉交織出一種緩慢且持續生成的共生景觀。
這些原本未被預期的自然痕跡，並非僅是「待清除的殘跡」，而是記憶如何透過物質與環境共構、悄然延續於建築邊陲的有機證據。
此景象亦成為作品《碎景》的重要靈感之一：藝術家陳家翊將其視為「歷史縫隙中悄然蔓生的記憶」，透過實地建材採集與影像裝置，重構一處交織時間與空間的敘事場域。
Traces and Symbiosis on the Rooftop
During the 2025 rooftop restoration of the former Hsinchu City Hall, artist Chia-Yi Chen documented dislocated and weathered tiles—some covered in moss accumulated over decades. In the drainage channels, spontaneous vegetation emerged through the architectural crevices, forming a quiet, ongoing symbiosis with roof tiles, sediment, and fallen leaves.
During the 2025 rooftop restoration of the former Hsinchu City Hall, artist Chia-Yi Chen documented dislocated and weathered tiles—some covered in moss accumulated over decades. In the drainage channels, spontaneous vegetation emerged through the architectural crevices, forming a quiet, ongoing symbiosis with roof tiles, sediment, and fallen leaves.
These organic traces, though initially regarded as “remnants to be cleared,” are instead seen as material evidence of memory—persisting quietly at the edges of the built environment through time and natural growth.
This observation became a key inspiration for Broken Landscapes, in which the artist interprets these formations as “memories silently germinating in the fissures of history.”
Through field material collection, and video installation, she reconstructs a narrative terrain where space and time fold into one another.
Through field material collection, and video installation, she reconstructs a narrative terrain where space and time fold into one another.
新竹市美術館屋頂瓦片與植物共生實況
建築縫隙中的觀看入口：木屋架與影像的穿透路徑
在新竹市美術館（原新竹市役所）屋頂修復期間，藝術家陳家翊得以進入過往封閉的建築內部，記錄二樓天花板上方少見的木屋架結構——該空間在平時完全封閉，僅於施工階段短暫打開一個小方口，得以窺視。
English Translation（for website, catalogue, or exhibition label use）
A Portal Through the Structure: Timber Roof Frame and the Path of the Moving Image
During the rooftop restoration of the Hsinchu City Art Gallery (formerly the Hsinchu City Hall), artist Chia-Yi Chen gained rare access to the concealed interior above the second-floor ceiling—an area that is normally sealed off. Only a small square opening was temporarily created during the construction process, offering a glimpse into the wooden roof truss.
藝術家以此「小方口」作為觀看的入口，運用 3D 掃描記錄修復期間難得開放的時空場域，穿越木構架系統與天花板，延伸至屋頂外部的老虎窗、黑瓦、植物與排水結構共生的痕跡。
這段掃描與穿透的影像，最終結合建築拆卸後的原始建材與植物造景，構築成作品《碎景》的內部視覺路徑:一個讓觀者如靈魂般穿梭的入口，感知歷史殘跡如何潛藏在建築結構的縫隙之中，靜靜生成。
This small opening became the conceptual and visual entry point for Broken Landscapes. Using 3D scanning, the artist captured this rarely accessible space, navigating through the timber framework and ceiling cavity, extending toward the outer structure—where dormer windows, black tiles, drainage elements, and wild plants form a quiet symbiosis.
The resulting footage, embedded within fragments of reclaimed architectural material and site-specific landscaping, serves as a visual channel within the installation. It invites viewers to traverse, like a wandering spirit, through hidden temporal layers of the building—where memory lingers in structural crevices and silently takes root.
延伸實踐｜共創與公共參與
《碎景》不僅是一件空間裝置作品，更是藝術家與場域、材料及觀眾之間進行對話的媒介。作品延伸出以「微觀地景記憶」為核心的教育實踐活動，試圖透過共創過程，邀請參與者重新凝視那些被視為廢棄的建築材料，思考時間與記憶如何在日常物質中沉澱與再生。
工作坊邀請來自不同背景的參與者，透過觀察、組構與手作，與藝術家共同創作一座座承載場域記憶的生態瓶，讓個人經驗得以嵌入歷史與空間的敘事中。
這場集體創作不僅是對藝術品的延伸，也是一場對歷史縫隙的當代回應。藉由實作與思辨並行的模式，《碎景》轉化為一種可被感知、被碰觸、被共構的記憶行動。
Extended Practice｜Education and Collective Engagement
“Broken Landscapes ”extends beyond its spatial installation to embrace forms of public participation and collaborative engagement. As part of the project’s educational outreach, the artist facilitated a workshop that invited participants to engage with historical building debris not as waste, but as vessels of memory.
By constructing micro landscape terrariums using fragments from the Hsinchu City Art Gallery's restoration site, each participant contributed to a collective act of remembrance and re-imagination. These intimate creations served as personal responses to architectural loss and historical continuity.
The project blurs the boundary between the individual and the collective, between personal memory and public history—transforming the work into a platform for shared narrative and experiential co-creation.
廢棄建材（屋頂黑瓦片、磚塊、地板磨石子）、枯葉、植物、尺寸依場地而定
Video,Discarded building materials (Black roof tiles, Bricks, Terrazzo floor fragments, Wood blocks), Dried leaves, Plants