As an edge walker between the Eastern and Western cultures, The Hinge of the Two Reveries is my longing for the two role models in my life – dad and grandpa. With the recollection of the fragments of spaces, conditions of lights, smells, feelings of intimacy, and enclosure, this intergenerational living is a fusion of my two reveries, a fantasy that never was dreamed of until now, wishing grandpa was still here.
From adopting this dialogue of deep shadows and smell of charred wood from the built-in light keeper to Derrida’s deconstructivist lens of questioning the notion of logocentrism – one’s privileging of subjectivity, by fusing the two reveries, this luminal zone of ambiguity becomes this place for imagination and daydreaming.
The fusion of the two reveries begins with the fusion of the two shadows – grandpa’s house in Taiwan and the site, which later become the shadows of this intergenerational living. This duality is also present within a hinge – this break that joins, this opening that divides; the final facade is a hinge that invites the occupants to enter through the intersection point, into this inner world that it unfolds, where at the centre stands this mango tree.
In addition, accompanying the intergenerational living is the ‘house of Chinese shadow puppetry’. Through the delicate projection of lights from the interior, the overall architecture becomes a living architecture of shadows, with occupants as puppets.