Straddling the line between architecture, art and handicraft, Taiwanese artist and designer Cheng-Tsung Feng’s bamboo installations are both monumental and intimate. Large in scale, rich in detail, and mysterious in function, his sculptural constructions invite visitors not only to step inside but also to determine what they are: oversized utility objects, conceptual shelters or unassuming traps? Hand-crafted based on centuries-old bamboo weaving techniques, Feng’s light-weight creations pay homage to a traditional craft that dates back to the prehistoric age while at the same time envisioning an alternative future for it. In fact, Feng also designs bamboo household objects such as tableware, light fittings, and furniture, whose handmade production has been optimized in line with modern industrial manufacturing principles like modelling production and division of labour. Mass produced or one-of-a-kind, utilitarian or conceptual, large or small, it’s the manual labour that bestow upon Feng’s bamboo creations a spiritual dimension that channels the accumulated wisdom of this ancient craft.

跨越建筑、艺术和手工艺之间的界限，台湾艺术家和设计师郑宗锋的竹子装置，既是不朽的，也是亲密的。规模大，细节丰富，功能神秘，他的雕塑建筑不仅邀请游客走进去，还能确定他们是什么：超大的公共物品、概念上的掩体还是不设的陷阱？手工制作基于数百年的竹编技术，冯的轻量级创作向一种可以追溯到史前时代的传统工艺致敬，同时也展望了它的另一种未来。事实上，冯还设计了餐具、灯饰、家具等竹制家居用品，并根据造型生产、分工等现代工业制造原则，优化了手工制作。大量生产或单一的，功利主义或概念性的，大的或小的，是体力劳动赋予冯的竹子创作一个精神维度，引导这个古老的工艺积累的智慧。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

With hundreds of bamboo species growing across East Asia, the practice of bamboo working is deeply entrenched in the history and culture of the region. Craftsmen in China, Japan and Taiwan have been making utilitarian objects such as baskets, hats, food steamers, tables and chairs for millennia in a rich variety of techniques that have evolved depending - among other factors - on the characteristics of the indigenous bamboo species and the local culture. One object that caught Feng’s attention and which exemplifies the regional and cultural diversity in bamboo weaving is the humble fish-trap. Made out of bamboo and rattan, it is an ancient fishing tool that has been used by many ethnic groups in and around the region in a plethora of shapes and sizes that reflect aesthetic preferences, the kind of prey they were designed for, the available materials and the local environment. Feng’s research into the history of the East Asian fish trap nevertheless revealed common production processes between disparate cultures, which not only inspired him to incorporate them into his own work, but also confirmed the potency of design as a universal language.

随着东亚数百种竹子的生长，竹业的实践在该地区的历史和文化中根深蒂固。几千年来，中国大陆、日本和台湾的工匠们一直在制作篮子、帽子、食品蒸笼、桌椅等实用物品，这些技术的发展取决于当地竹种和当地文化的特点，以及其他因素。其中一个吸引了冯先生的注意力，也体现了竹编中地域和文化的多样性，那就是卑微的捕鱼器。它由竹子和藤条制成，是一种古老的捕鱼工具，被该地区内外的许多民族所使用，其形状和大小反映了人们的审美喜好、猎物的种类、可用的材料和当地的环境。冯对东亚捕鱼历史的研究揭示了不同文化之间的共同生产过程，这不仅促使他把它们融入自己的作品中，而且也证实了设计作为一种通用语言的力量。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Cheng-Tsung Feng, Fish Trap House, 2017. Installation view at Ita Thao Pier, Sun Moon Lake, Nantou, Taiwan. Bamboo, Rattan, Stainless steel, 500x500x330cm. Photo by Chong Sheng Hsu.

成宗峰，钓鱼场，2017年。台湾南投日月湖伊塔秀码头的安装景观。竹子，拉坦，不锈钢，500x500x330厘米。张盛旭摄。

Photo by Chong Sheng Hsu.

张盛旭摄。

In Feng’s hands, the traditional bamboo fish traps have been transformed into Fish Trap Houses that catch people’s attention instead of trapping fish. Fittingly, Feng’s first Fish Trap House in 2017 was constructed on the shores of Sun Moon Lake, a scenic landscape in central Taiwan, centred on the country’s largest body of water and home to the indigenous Thao tribe. It was one of the tribe’s elders that taught Fend how to make a traditional bamboo fish trap like those the tribesmen have been fishing with in the lake for centuries. Measuring over 3 metres in height and 5 metres wide, Fish Trap House has a large opening which you can enter inside as well as a circular window framing a beautiful view of the lake that you can enjoy whilst sitting on a bamboo stool.

在冯先生的手中，传统的竹子捕鱼器已经变成了吸引人们注意的养鱼屋，而不是捕鱼。与此相吻合的是，冯于2017年在台湾中部风景秀丽的日月湖海岸建造了第一座捕鱼屋，它以台湾最大的水域为中心，也是原住民泰国部落的家园。部落的一位长辈教Fend如何制作一个传统的竹子捕鱼器，就像部落几个世纪来一直在湖中钓鱼一样。钓鱼场楼高3米，宽5米，有一个大口，可以进入里面，还有一个圆形的窗户，你可以坐在竹凳上欣赏湖的美丽景色。

Photo by Chong Sheng Hsu.

张盛旭摄。

Photo by Chong Sheng Hsu.

张盛旭摄。

Photo by Chong Sheng Hsu.

张盛旭摄。

Fish Trap House workshop. Photo by Chien Hao Lin.

鱼饵屋工作坊。图片来源：陈浩林。

Fish Trap House workshop. Photo by Chien Hao Lin.

鱼饵屋工作坊。图片来源：陈浩林。

Fish Trap House workshop. Photo by Alvin Liu.

鱼饵屋工作坊。图片来源：Alvin Liu。

Fish Trap House workshop. Photo by Alvin Liu.

鱼饵屋工作坊。图片来源：Alvin Liu。

Fish Trap House workshop. Photo by Alvin Liu.

鱼饵屋工作坊。图片来源：Alvin Liu。

Fish Trap House workshop. Photo by Alvin Liu.

鱼饵屋工作坊。图片来源：Alvin Liu。

Fish Trap House workshop. Photo by Alvin Liu.

鱼饵屋工作坊。图片来源：Alvin Liu。

Fish Trap House workshop. Photo by Alvin Liu.

鱼饵屋工作坊。图片来源：Alvin Liu。

Fish Trap House workshop. Photo by Lance Wang.

鱼饵屋工作坊。王兰斯摄。

Fish Trap House workshop. Photo by Lance Wang.

鱼饵屋工作坊。王兰斯摄。

Fish Trap House workshop. Photo by Chien Hao Lin.

鱼饵屋工作坊。图片来源：陈浩林。

Fish Trap House workshop. Photo by Lance Wang.

鱼饵屋工作坊。王兰斯摄。

Fish Trap House workshop. Photo by Chien Hao Lin.

鱼饵屋工作坊。图片来源：陈浩林。

Fish Trap House workshop. Photo by Lance Wang.

鱼饵屋工作坊。王兰斯摄。

Fish Trap House workshop. Photo by Lance Wang.

鱼饵屋工作坊。王兰斯摄。

Fish Trap House II Shenzhen by Cheng Tsung Feng. Photo by Neil Shiang.

深圳捕鱼屋二由郑宗峰著。张尼尔摄。

In contrast to the natural landscape of Sun Moon Lake, Fish Trap House II was designed for a very different setting, Shenzhen’s Sea World Culture and Arts Centre in China. Commissioned by the Design Society in October 2018, Feng designed a much more introverted installation as a response to its museum context which was designed by acclaimed Japanese architect Maki Fumihiko. Located in a double height gallery, visitors not only move through the delicate construction but can also watch other people drifting in and out from the balcony above. Moreover, the serendipitous conjunction of Feng’s Taiwanese origins, the architect’s Japanese provenance and the Chinese location, perfectly encapsulates the cross-cultural significance of bamboo weaving which has been flourishing in all three countries for millennia.

与日月潭的自然景观形成鲜明对比的是，深圳海洋世界文化艺术中心-深圳海洋世界文化艺术中心由设计学会于2018年10月委托，冯设计了一个更加内向的装置，作为对博物馆环境的回应，这是日本著名建筑师Maki Fumihiko设计的。位于双高画廊，游客不仅可以通过微妙的建筑，而且还可以看到其他人从阳台上漂流进出。此外，冯的台湾血统、建筑师的日本血统和中国的地理位置的偶然结合，完美地体现了几千年来在三个国家蓬勃发展的竹编的跨文化意义。

Fish Trap House II Shenzhen by Cheng Tsung Feng. Photo by Neil Shiang.

深圳捕鱼屋二由郑宗峰著。张尼尔摄。

Fish Trap House II Shenzhen by Cheng Tsung Feng. Photo by Neil Shiang.

深圳捕鱼屋二由郑宗峰著。张尼尔摄。

Fish Trap House II Shenzhen by Cheng Tsung Feng. Photo by Neil Shiang.

深圳捕鱼屋二由郑宗峰著。张尼尔摄。

Fish Trap House II Shenzhen by Cheng Tsung Feng. Photo by Neil Shiang.

深圳捕鱼屋二由郑宗峰著。张尼尔摄。

Fish Trap House II Shenzhen by Cheng Tsung Feng. Photo by Neil Shiang.

深圳捕鱼屋二由郑宗峰著。张尼尔摄。

Fish Trap House II Shenzhen by Cheng Tsung Feng (process). Photo © Cheng Tsung Feng.

深圳捕鱼屋二由郑宗峰(过程)。照片：成宗锋。

For ‘Beside’, an installation in the Teng Yu-Hsien Music Culture Park of Qionglin Township in northern Taiwan, Feng has swapped fish traps for spheres. Designed as a permanent space for relaxation, the two spherical constructions have been constructed with the help of 60 local residents who were taught basic bamboo weaving techniques as a way to connect them with the endangered traditional weaving culture as well as establish a relationship with the communal project. Circular holes of varying sizes, created through a special ‘circle weaving’ process, ensure structural integrity by allowing air to flow through the bamboo volumes while during the night they become sources of illumination courtesy of an internal light source. For Feng, they also symbolize the bonds of inter-generational relationships.

“旁边”是台湾北部琼林乡滕屿乡村音乐文化园的安装，为球体换鱼陷阱。在60名当地居民的帮助下，设计了2个球形结构，以帮助他们与濒危的传统编织文化进行连接，并与社区项目建立关系。通过特殊的“圆编织”工艺产生不同尺寸的圆形孔，通过允许空气流过竹卷而确保结构完整性，而在夜间，它们变成由内部光源提供照明的光源。对于风水，他们也象征着代际关系的纽带。

Cheng-Tsung Feng, Beside. Taiwanese Moso Bamboo, steel. 430 x 350 x 350cm (Big) / 135 x 100 x 100cm (Small). Photo by Ci-Xia Lin.

Cheng-TsungFeng，旁边。台湾的毛竹，钢。430x350x350cm(大)/135x100x100cm(小)。由CI-XiaLin拍摄的照片。

Cheng-Tsung Feng, Beside. Taiwanese Moso Bamboo, steel. 430 x 350 x 350cm (Big) / 135 x 100 x 100cm (Small). Photo by Ci-Xia Lin.

Cheng-TsungFeng，旁边。台湾的毛竹，钢。430x350x350cm(大)/135x100x100cm(小)。由CI-XiaLin拍摄的照片。

Cheng-Tsung Feng, Beside (process). Taiwanese Moso Bamboo, steel. 430 x 350 x 350cm (Big) / 135 x 100 x 100cm (Small). Photo by Ci-Xia Lin.

成宗锋，(过程)旁边。台湾毛竹、钢材。430 x 350厘米(大)/135 x 100厘米(小)林子霞摄。

Cheng-Tsung Feng, Beside (process). Taiwanese Moso Bamboo, steel. 430 x 350 x 350cm (Big) / 135 x 100 x 100cm (Small). Photo by Ci-Xia Lin.

成宗锋，(过程)旁边。台湾毛竹、钢材。430 x 350厘米(大)/135 x 100厘米(小)林子霞摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Undoubtedly, Feng’s most impressive installation is The Trap, a 20 metres wide, 9 metres high pavilion that was erected around the entrance portico of the Taipei Museum of Contemporary Arts in the Taiwanese capital as part of ‘The Charismatic Rebirth of Yore’ exhibition from May 19th to July 22nd, 2018. Similarly to the traditional fish trap designs that have been adapting to distinct environments and local prey throughout the centuries, Feng has drawn from his country’s craft heritage to develop a unique design that harmoniously complements the 100-year-old neo-classical building. Gently enveloping the stoud stone portico in supple, light-weight latticework, the installation’s curvaceous form, far from trapping the portico’s rectilinear mass in its bamboo web, seductively augments it, initiating a dialogue between the natural and the man-made, high and folk art, Western and Eastern cultures, tradition and modernity, old and new. It is such dialectical ruminations that impart a poetic aura to Feng’s ethereal installations as well as highlight how sometimes you have to look back to the past to make sense of the present.

毫无疑问，冯最令人印象深刻的设施是台湾首都台北当代艺术博物馆(台北博物馆)入口门廊周围搭建的20米宽、9米高的“陷阱”，这是2018年5月19日至7月22日的“Yore的魅力重生”展览的一部分。与数百年来适应独特环境和当地猎物的传统捕鱼设计相似，冯从他的国家工艺遗产中汲取了独特的设计，和谐地补充了百年历史的新古典主义建筑。轻轻地用柔软的、重量轻的格子包裹着Stoud石门廊，它呈曲线状的形状，而不是把门廊的直线团困在竹网里，而是诱人地增强了它，开启了自然与人造、高与民间艺术、西方和东方文化、传统与现代、新旧文化之间的对话。正是这种辩证的反思性给冯的虚幻装置赋予了诗意的光环，同时也凸显了有时你必须回顾过去才能理解现在。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

Cheng Tsung Feng, The Trap, 2018. Museum of Contemporary Art, Taipei. Bamboo, Rattan, Steel. 20m x 8.5m x 9m. Photo by Sheng Da Tsa.

郑宗峰，陷阱，2018年。台北当代艺术博物馆。竹子，拉丹，钢铁。20米x8米x9米图为盛大中摄。

keywords:Design Art 

关键词：设计艺术