台中工家美術館 開展與地盤的藝術對話｜A construction site is an art gallery
地盤向來給人一種塵土飛揚又危險的感覺，總會叫人避之則吉，盡快繞路走過。然而走到台中的「工家美術館」這個集地盤、展覽與生活場所於一身的開放式空間，不單止沒有令人卻步，反而拉近了地盤工人與市民間的距離，讓所有人一起休息、進食，全面提升地盤的工作環境與質素，同時讓觀眾了解地盤工作的辛酸，向工人們致敬。
工家美術館的前身是「勤美術館」，自2011年建成以來，一直是台中的藝術重地。直至去年開始進行翻新工程，並找來日本建築名師隈研吾設計，預計2022年重新開幕。
在這數年的建造時間裡，有沒有方法可以在翻新工程進行期間，延續藝術創意的設計力量？
策展團隊想到，工人就是每棟建築物的無名英雄。他們邀請了十名建築師及設計組織團隊，一起把圍欄拆下來，以地盤常見的建造材料為設計素材，在中庭以鐵枝、水靴創作出雕塑藝術，並設置開放式的休憩空間及空中步道，讓公眾舒適地走進地盤。美術館的一樓是員工餐廳及進食區，邀請了台灣當地著名的餐飲團隊合作，炮製出讓工人吃得飽足的健康餐。二樓則是展覽場地，定期邀請藝術家以地盤為主題進行創作。目的希望公眾了解更多地盤生活，向這些無名英雄致敬。
「工家美術館」顛覆了地盤一向的負面印象，讓設計改善空間規劃，平衡工作與生活的需求。同時，讓建造工程也能成為令人喜歡的藝術空間。香港的地盤往往予人一種距離感，地產商及設計團隊又能否考慮，將地盤及藝術空間串連在一起？
A construction site is an art gallery
Construction sites are never the place for relaxation and art exhibitions. The newly opened Kong-Ke Museum located in Taichung, Taiwan, has recently redefined “construction site” by opening a temporary art gallery. Locals can walk into the construction site infused with exhibitions, restaurant and a park.
Kong-Ke Museum is a temporary art project by the CMP Block Museum of Arts which has closed doors since last year. The renovation led by Japanese architect, Kengo Kuma did not stop the creativity of the curatorial team. They came up with innovative ideas to use art to reconnect people with the place, through the art of construction and the workers.
Paying tribute to the construction workers behind all magnificent buildings, the curatorial team has curated the first-ever construction-themed gallery. The team engaged 10 groups of local artists, designers, architects, musicians and chefs in the art creation. They have built Kong-Ke Museum as a two-storey building surrounding a banyan tree, adjacent to the construction site. A central courtyard serves as a grassland for public to rest and to showcase art installations. A restaurant is on the first floor and the second floor is exhibition space. It opens up the public’s imagination of construction. It reminds everyone the appreciation of art should not be stopped even during construction works.
Looking back at the many art-related constructions and renovations going on in our city, can we consider this as a method to keep art and community alive during the works?
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