| 創作者的作品是其自我認知的體現。「我」作為一個生活的觀察者、體驗者、與執行者，皆提供了創作者認知主體－自我的向度；而在這些向度中，無論是內在與外在的、具象與抽象的、想像與真實的，都成為學習、被認知與體驗的對象；進而透過實驗等認知的行為，使具體認知的事實成為創作者內在的動力。因此，在創作過程中，由「做中學」便是一個不可忽略的重要經驗。
操作體現與知覺體驗
在現代工業強大製造能力的侵襲下，傳統手工藝當中關於「生產」與「準確性」的部份已經被機械所取代，甚至更進一步的超越人工所能企及的極限；但我們相信機械所不能取代的則是人對「材料」的理解後所發揮的「創造力」。藝術的價值本身便存在一種獨特性與不可替代性。我們認為藉由自身的勞動與「工匠精神」實作態度，所應該著力發揮的地方，便是在對於藝術未知領域價值的開發上；進而將工業的強大製造能力當成是我們手工具的一部分，是雙手的延伸，來輔助我們創作的發展。我們希望能以「工匠精神」及實作的態度，對材料作進一步的體現與實驗，在整個過程中去感知材料的特質，最終以我們的創造力與想像力將之提昇出物性的魅力與生命力。
表現、實驗
建築繁殖場試圖對「材料 (material) 」本身做探索，並於探索的過程中思索，為什麼需要創造力與想像力？因為藝術的情感表現乃是介乎於感受 (feeling) 與理知 (intellect) 之間的心智活動，且這樣的想像力擔負著將「材料 (material) 」轉化成具有更高精神層面的「物性 (object) 價值」之責任，而此「活物化」的價值也是我們所致力追求的創作理念之一。我們透過「工匠精神」的體驗態度對材料本身作直接的探索，便是屬於後者的創造力與想像力的表現 (expression) 。也唯有透過這個「設計/ 建造」過程與「營造 (making) 」這個行為，才可能讓此過程變成一門操作的藝術，而最後藝術品的成形與創作過程時所揭露的材料本質是不可分的。
為達到藝術上的「表現」價值，透過實際的「操作」來達到對「材料」更進一步的體現是十分重要的。而透過這樣的操作實驗，材料便會自發的指引操作往更高精神層次的「物性價值」來趨近。在這個過程中，創作的意圖是掌控整個「製作過程 (making process) 」，而這樣的過程中需要不斷的自覺「實驗」以探索「材料」本身的可能性，也包含探索自我「表現」的意識本身；因為沒有這樣的「意圖 (intention) 」，那所有的「操作 (making) 」都將僅僅是「勞動 (exercise) 」而已。這一點也是「工匠精神 (Craftsmanship) 」與「工匠 (Worker) 」的差別所在。
「易殖」與「拓殖」的探討
「易殖」跟「拓殖」這兩個字詞原本並不是建築界所運用的字眼； 「易殖(interbreeding) 」原屬於生物學上的專有名詞，在植物學裡是指插枝、接枝的狀態，在動物學裡則是直指雜交的狀態，不論是在插枝、接枝或雜交的部份，它都是指涉著不同物種間的結合 (crossbreeding) 狀態，進而形成一種不同於父代或母代的新物種與生態。
而「 拓殖 (Interfering) 」是指將移居者 (settler) 置入一個新環境的過程，或是將某個環境轉變成從屬於自己體系的狀態。其中心意指為：因為權力的作用，而使得被介入之環境呈現出一種與自身文化不同的面貌。
這兩個字詞本身便含有「人」與「環境」之間的一種狀態的意義描述，而更精確的說；易殖(interbreeding)所強調的是一種對象本身的「自體性」，也就是新的殖入體如何進入一個既存的體系中生存，並相互替換、結合而形成另一種新的生態環境。拓殖 (interfering) 則是一個環境與文化的問題，在尺度上比易殖 (interbreeding) 來的大些，所指涉的狀態是：進入一個新的環境時，面對既存環境之特質與互動的狀況，彼此相互影響、調整而形成另一種並存、併置的新狀態。也就是說，「易殖」的部份比較偏向進入到內部的狀態；而「拓殖」則是對外界、邊界的一個再延伸與拓展。但不論是易殖或是拓殖，均強調於「人」在面對進入一個新環境中所處的變動、不確定性與情境的問題。
「易殖」與「拓殖」在建築上的意涵
在生物學上，當處理到易殖 (interbreeding) 時，所期待的便是如何在已有的架構上，插、殖入某些新元素的刺激，企圖讓整個架構產生一個化學性的反應，從而探索某種新生命、新類型產出的可能性。同樣的觀念應對回建築上，「易殖」的建築觀所要談的，便是如何在已有的架構上更增添另類、他種異質的新元素單元。
也就是說，在一個既存的建築環境中，當殖入一個新的 (不同於既存物) 物件，一個生命體時，它如何來改變內部的空間，並以此改變整個建築體的空間屬性，進一步與周遭環境產生相互依存的關係。
而這當中有一個很關鍵的空間觀念便是：「介入 (to get involved) 」與「替換 (replace) 」。當空間本身的結構元素被破壞或已無法負擔原有之功能，或是我們需求增加其它功能時，一個新的結構體如何來「介入」這原本的體系中，「替換」原有結構之功能，並與原來架構之運作相結合，形成另外一種新的生命形式。所以「易殖」的部份所重視的，是新結構如何與舊結構相結合而產生一種新的運作、使用狀態，這不單只是「形式」上的問題，而是包括新、舊結構間如何去界定空間的屬性、範圍，並因此導出適當的「氛圍形式」，更進一步地賦予既存空間一個新的生命與面貌。
同樣的觀念再衍伸，於「拓殖」的部份，它完全是一種新的試驗 (experiment)。當我們以一種新的角度在談對於區域環境的拓殖狀態時，它未必是一個「舊有東西的移植 (copy) 」。假如我們到一個新的領域去探索，例如外太空領域，這完全是應對於另外一個未知環境世界的狀態；事實上就過去太空計畫中所發展出來的登陸小艇部份看來，它因地制宜所呈現出居住容器的面貌，便跟我們在地球上所棲息使用的居住容器截然不同。假設兩個不同地點與時間的區域，它所形塑出來的東西應是會隨著時空的狀態不同而有其差距性；然而回到我們環境本身，當我們從一個環境再發展的時候，從一個舊有的環境到新的領域，或是在地球上某個未曾觸及的場域，所面臨的議題便是如何試探及應對環境的成長，以及呈現未來人們可能的生活方式，從而讓新的居留空間可以融入變動的環境當中。
在「拓殖」的觀念中，所採取的是先殖入某種機置，看它產生何種新的紋理脈絡，或引發某種社會與環境狀況的改變，進而從那個角度再來探索它未來整個發展。所以整個發展的情況並不是去套用過去經驗的結果，而是「拓殖經驗」的移轉。也就是說，建築上的「拓殖」，它代表某種新的生命體的產生，是與周遭環境對話下產生新的現象狀態，而非僅僅是過去「結果」的複製與轉移。
因此，我們認為建築中「易殖」的部份所處理的是一個內部“異質/同質”的問題，而「拓殖」部份所面對的則是大尺度下「建構 / 涵構」的狀況。然而，不論是「易殖」或是「拓殖」，都是強調「人」在建築環境中所處的一種變動、遊戲、參與及不確定性之特質。
建構 / 涵構
「涵構」的特質乃是「邊際的再拓展」，而這也是「涵構」建築中的主要觀念，若拋去整個涵構建築的歷史發展因素，「涵構」或「拓殖」的觀念本身所必須面對的基本問題仍是「場所(place)」與「空間(space)」的定義。我們相信唯有明白都市或環境紋理的基本架構與可能性，我們才能處理到空間「再拓展」與「延伸」的議題。
對於一個「拓殖」建築的「場所 (place) 」，所要關注的紋理並不只是其呈現在幾何學或是地理學上的實質空間表象，更要關注到其內部的「人」與社會及環境關係。因此，我們認為在「拓殖」的「建構 / 涵構」觀念中，應特別著重「人」的心靈體驗與對場所的認知，並在這種心靈體驗的認知上，導出「空間的生產 (production of space) 」論述，這也是在「涵構」觀念下如何處理「建構」的問題。
拓殖所要「建構」的「涵構」關係乃是在於“地方感”的塑造，並進而面對的，是「人」介入(to get involved) 後的使用狀況，是一個新的地方 (place) 與場區 (setting) 。在這樣的「建構/涵構」觀念中，拓殖所採取的是局部殖入的試驗，以進一步地與「人」產生互動式的參與，從而共同營造從屬於當地環境與居民的「地方感」，進而達到「拓殖」的目的。而我們的創作即試圖將上述的理念傳達出來，這當中建築繁殖場所重視的則是作品如何和“人”產生互動的關係。
遊戲 / 參與
在詮釋學美學的觀念中，「遊戲（spiel）」是獨立於主體意識並不受任何主體性的限制；這種遊戲的概念便是藝術作品之所存在並運行的方式。同樣的，因視域的刺激而引發的情境感知狀態，便如同夢境時對各種現實形象玩弄其組合與關係的故事一般，是一個人與現實的遊戲；而當藝術家將夢中的形象轉換成藝術品時，他便是在和夢境遊戲。
我們相信建築本身便屬於這種生活中的藝術，其藝術價值與生命本身是連結在一起的。因此，建築本身的藝術性便在於生活中親身體驗、參與的直覺感知，它本身並沒有太明確的目的性，而事實上，它還帶有相當的變動性在其過程中。因為不同的時空條件與不同的使用者，與建築互動使用的過程中都將改變整個場所的面貌與情境。我們相信建築其永恆的藝術價值便在於這個感知的過程，也是建築繁殖場試圖以「遊戲」的概念來作為探索創作、品玩建築空間的情境與魅力。
在後現代多元並呈的當下，我們質疑權威的唯一性，在我們盡力去呈現理想的空間品質時，仍然要以一個開放者的態度邀請進駐者參與建構他生活的部分。建築的目的是希望能營造出一個適宜的生活環境，並隨時間與需求的演進而改變，而讓這樣的生活經驗是值得被懷念的。建築永恆的藝術性並不在於實體的磚石上，而在於生命中的感動與參與；沒有人的生活與之互動，建築便不是建築。因此，建築繁殖場誠摯的認為唯有如此開放建築的變動性及未來生活者的持續參與，才能使生活保留最多的可能性與記憶；也才能留下建築最豐富的面貌。
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Artists' works are the representations of self-cognition. The"self" as an observer of life, living and experiencing life, provides the artist with a subjectivity of cognition and dimensions of self-cognition. These dimensions, internal or external, concrete or abstract, imaginative or real, all are subjects to be learned, cognized and experienced. The perceived reality has become the internal momentum of the artist through the experiments of cognitive behaviors. Therefore, in the process of creation, "learning while making" is a crucial experience that cannot be ignored.
Representation of Making and Experience of Perception
Through the impact of modern industries' strong manufacturing capacity, the production and precision of traditional craftsmanship have been replaced by machinery, which have taken these to a limit beyond human reach. However, we still believe that the unique creativity that machines cannot replace man's understanding of materials and the ensuing creativity that derives from this understanding.
The value of art lies in the unique and irreplaceable qualities. We think that we should focus on the development of the unknown field of art value through personal labor and spirit of craftsmanship. The strong manufacturing capacity of the industries will be our tools and an extension of our hands to help us in our creative development. Through craftsmanship and a hands-on approach, we hope that we can further experience and experiment with materials and feel their unique qualities during the process of making. In the end, we can bring out the charms and vitality of the materials through our creativity and imagination.
Expressions, Experiments
The Interbreeding Field tries to explore materials, and during this process of exploration questions why we need creativity and imagination. The emotional expressions of the arts are the interactions between feeling and intellect. It is the function of imagination to transfer a material into a higher spiritual level of object value. This vitalization of object value is one of the original ideas we search for. Following the spirit of craftsmanship, we directly explore the material itself, which is exactly the expression of creativity and imagination. Only through the design-building process and the action of making, do we transform the whole process into an art of operation. Ultimately, we find that the finished artwork and the essence of the material revealed during the creating process are inseparable.
In order to accomplish the value of artistic expressions, it is quite important to further achieve the representation of the materials through practical use. Through experimentation of usage, the materials will spontaneously direct us towards a higher spiritual level of object value. In this process, the ambition of the creation is to control the entire making process. During the process, we need to constantly experiment to explore the possibility of the materials, including exploration of self-expression itself. Without such an intention, the entire making process is simply an exercise. This is the difference between "craftsmanship" and "worker".
Discussion on Interbreeding and Interfering in Architecture
The terms "interbreeding" and "interfering" are not architectural jargon. "interbreeding" is a biological term. The botanical definition of "interbreeding" is "slip" or "grafting", and in zoology it means mixing of breeds. Whether "slip", "grafting" or "hybrid", "interbreeding" can be defined as crossbreeding of different species which then creates a new species and life form different from the parent generation.
"interfering" is the process of placing a settler into a new environment, or transferring a certain environment into a subordinated one within our system. The central meaning is that because of power of the new system that interferes, the environment that is affected is presented a new cultural outlook, which is completely different from its own.
The two terms by themselves describe the status of relationship between people and environment. More precisely, interbreeding emphasizes the spontaneity of the subject. It is about how a new settler enters into a built system and survives through interchange and cross-combination, forming a new biological environment. Interfering, thus, is a question of environment and culture. Comparatively speaking, interfering is much larger in scale than interbreeding. Interfering refers to a status where a person entering a new environment must face the original characteristics of the place, interact with the new situation, and then fit into the new environment in a state of coexistence and juxtaposition. In other words, interbreeding indicates a transformation within the internal system, and yet interfering tends to be an extension and development of the boundaries. Interbreeding or interfering both focus on the problematic conditions of transformation and uncertainty people face in a new environment.
The Denotation of Interbreeding and Interfering in Architecture
In terms of biological interbreeding, we are able to explore the possible production of new life, or new species, through the stimulation of new elements by engrafting or inserting elements into an original system, which in turn leads to series of chemical reactions. We can apply the same idea to architecture. In terms of architecture, the idea of interbreeding is to add alternative and heterogeneous elements to the built structure.
In other words, a new object (different from existing ones) or organism that is placed in a present architectural environment, could change the internal spaces and thereby alter the character of the entire building, thus developing a relationship of dependence between the new installation and its external environment.
One of the key ideas about space is to get involved and to "replace" When the structural elements of an original space are devastated or have become functionless, or when some new functions need to be installed, how does the new construction get involved in the original system and replace the original function, maybe even combining with the original structure to develop a new form of life? Interbreeding is concerned with how the new structure combines with the old one to produce a new kind of utilization and function. This is not simply a question of form, but rather a question of how to define the character and scope of the space between the old and new structure. The space will present a new life and a fresh look by instilling the proper atmosphere and forms.
When the same concept is applied to interfering, this is an entirely new kind of experiment. When we talk about the conditions for interfering in a regional environment from a new perspective, this does not necessarily indicate simply copying the old. For instance, if we explore a new field, such as outer space, what we face is an unknown world. In fact, considering the landing crafts developed by space projects in the past, they were designed as a kind of container for the living according to the purpose they served and the environmental conditions of their destination. These landing crafts are totally different from the containers that we use for living on earth. Objects produced in regions with different locations and time zones will be different due to the difference of time and space. Similarly, looking at the environment itself, as we redevelop from one environment, either from an old environment into a new realm, or in an unknown place somewhere on Earth, we face such topics as to how examine and cope with environmental development and present man's possible future life style at the same time, in such a way that the new residential space can be merged with the transformed environment.
With interfering the methodology is to install a certain mechanism to examine the context or changes of social and environmental conditions it generates. From this perspective it is then possible to explore the future development of the installation. The entire development is not the result of empiricism, but rather a transplant of interfering experiences. In other words, interfering in architecture represents the production of a new life form, and is a phenomenon that has evolved through conversing with the surrounding environment, not by simply copying and transplanting past results.
We believe that interbreeding in architecture deals with the internal problem of heterogeneity and homogeneity. Interfering is faced with construction and contextualization on a large scale, but both interbreeding and interfering emphasize the fact that people in a architectural environment are in a status of constant instability, spiel, participation and uncertainty.
Construction / Contextualization
The main characteristic of contextualization is the redevelopment of frontiers, which is also the major concept of contextual architecture. When we discard factors of historical development of contextual architecture, the concept of "contextualization" or "interfering" must deal with the basic problem of how to define "place" and "space". Only when we fully understand the basic structure and possibilities of the urban and environmental context, can we handle the issues of spaces "redevelopment" and "extension".
Regarding the concept of "place" in an interfering architecture, what we are concern with is not only the geometrical or geographical substantial spatial outlook, but also the relationship between the people, society and environment within. We believe that in the constructional/contextual concept of interfering we should emphasize people掇 spiritual experiences and their perception about the place. Based on these spiritual experiences we can then establish the discourse of space production. This is how we deal with the problem of construction using the concept of contextualization.
The contextual relationship interfering tries to build is created through a sense of place. What we need to deal with is that when people get involved it becomes a new place and new setting. In the concept of construction/contextualization, interfering adopts the partial settlement experiment in order to generate people's interactive participation. From there a common sense of place can be created that belongs to the local environment and people, and thus the purpose of interfering can be achieved. Our works try to express the aforementioned concepts. What the Interbreeding Field values is how our works interact with people.
Spiel / Participation
In the concept of hermeneutic aesthetics, "spiel" is independent from the subjective consciousness and free from the limits of subjectivity. The idea of spiel is how artworks exist and work. Similarly, emotional perception inspired by visual stimulation is just like playing with the combination and relationship of all kinds of realistic forms in our dreams: it is a spiel between people and reality. When an artist transforms the image in his or her dreams into works of art, he or she is in spiel with dreams.
We believe that architecture itself is an art of life; its artistic value and the essence of life are connected with each other. Therefore, the artistry of architecture lies in life experiences and participation in intuitional perceptions. Architecture itself does not have a very definite purpose; in fact, its creation process contains is imbued with transformation. Variable conditions and users in different times and spaces all alter the appearance and situation of a place through their interaction and usage of the architecture. We believe that the eternal artistic value of architectures lie in the process of perception. This is why the Interbreeding Field tries to explore creations and plays with the conditions and charm of architectural spaces based on the idea of spiel.
In a post-modernistic multi-cultural society, we question the exceptionality of authority. As we do our best to present the ideal quality of spaces, we have to be open and invite residents to participate in the construction of his or her living spaces. The purpose of the architecture is to build a proper living environment that is modified to meet demands as time goes by, and thus making life experience worth remembering. The eternal artistry of the architecture lies not in the concrete bricks and stones, but in the emotions and participation in life. Without the interaction with people掇 life, architectures will no longer be architectures. The Interbreeding Field project sincerely believes that the possibilities and memories of life can only be preserved as much as possible by opening up transformation of an architecture and continued participation of its future residents; and only thus the rich visage of the architecture can be maintained.
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