Yun Liang

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	<title>Yun Liang</title>
	<link>https://yunchuliang.com</link>
	<description>Yun Liang</description>
	<pubDate>Sat, 02 Aug 2025 17:22:43 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://yunchuliang.com/Home</link>

		<pubDate>Sat, 02 Aug 2025 17:22:25 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

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		<title>In-Between: Tainan</title>
				
		<link>https://yunchuliang.com/In-Between-Tainan</link>

		<pubDate>Sat, 02 Aug 2025 17:22:25 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

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	In-Between: Tainan

	
					眾聲相：台南

				
 2025

	
Installation:wooden structure, kinetic motor device,
117 ceramic cups
Chin Chin Pottery (Gallery)No. 13, Lane 84, Kaishan Road, West Central District, Tainan


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This journey began with Yun’s curiosity about how people connect. She imagined that each person carries a small light, and when we pass by each other, these lights briefly sense, glow, and then fade. When do these lights become something we truly feel, something that matters? In early spring 2022, she started an urban experiment on empathy in a busy market in Berlin. She invited strangers to sit down, share a cup of tea, and practice listening together in a public space. Tea became the medium, and the tea table became a stage. Each meeting was turned into a handmade ceramic cup, holding its own story. This tea table traveled through Berlin, Leipzig, Fez, Kortrijk, and Riga, collecting 117 cups. Like tiny pixels, they came together in In-Between Voices: Tainan, forming a portrait of contemporary faces. Now, with their voices, they arrive at Ching Ching Pottery to keep sharing stories with the people of this city.


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		<title>In-Between 眾聲相</title>
				
		<link>https://yunchuliang.com/In-Between</link>

		<pubDate>Sat, 02 Aug 2025 17:22:29 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

		<guid isPermaLink="true">https://yunchuliang.com/In-Between</guid>

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	In-Between 眾聲相

	
					Listening as a practice of care

				
 2022 - ongoing

	
Performance + Installation:wooden structure, furniture, kinetic motor device,
66 ceramic cups, table cloths
Collegium Hungaricum BerlinDorotheenstraße 12, 10117 Berlin


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I imagine that we have countless beams of light reaching out from our
bodies like tentacles, and as we pass other people, more or less, our
tentacles sense each other and emit light. The fleeting light extinguishes
when we are separated. We live in a society where we unconsciously make
countless connections every day, perhaps by passing each other or making
eye contact, when our tentacles light up each other’s everyday lives.
Under what circumstances does this connection become conscious and
meaningful?

					From the beginning of 2022, I started an experiment by inviting people to
sit with me in a hustle market and share tea. To explore care in everyday
life encounters, we practice listening together and tuning in to each other.
After some months, this experiment happened in Collegium Hungaricum
Berlin as a format of pavilion installation, including the documentation of
the experience in the market, kinetic sound installations, and a continuous
happening of the experiment.

				
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Free Tea stand at Maybachufer Wochenmarkt, Berlin 2022&#38;nbsp;©Ting Yin &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;


The Place of Happening: Market

					
The market I chose is the “Wochenmarkt am Maybachufer. It is known for cheap vegetables, textiles, and a wide
range of daily living products. It provides a perfect complication, where everything is so different that it becomes the
same. It gives me an ideal environment to just “being”. I take it as a stage of my intervention of people’s everyday life.
Care is an ability of humanity, but sometimes it can be forgotten when our days are routinized. How to give a little twist to people’s
everyday life, to reveal the mystery that lies under their routine, is a wish of this project. To “make strange“ (Highmore, 2002: 16) by putting
up a stand and sell nothing but even offering free things in a very commercial space. Giving an invitation to interbreak the routine and have
a rest in the middle of crowds. This gesture is a strategy to open up the door of breaking routine, and invite people to step on the stage
and be part of the inclusive project.

				
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Exhibition view at CHB Berlin 2022

	
The Place of Happening: Gallery

					
The nature of this project is to have a presentation in a gallery. This project emerged in a public space to serve the public passing
by. The idea of bring it into a gallery creates an interesting tension. Where is the line between everyday life and a gallery?I built a pavilion in the open space of Collegium Hungaricum Berlin, to present the documentation of the process, but also continued
to serve tea to a different crowd. It is not exactly the representation of the movement, but a happening in a different context.
Through ongoing conversations in different places with encounters, I will collect the faces of contemporary beings step by step.
Which essentially contradicts the linearity of time. When I speak in the future with someone about the encounter, I have met today,
that makes this project a recursive loop, but never coming back to the same experience.

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66 Ceramic Tea Cups

	
66 Tea Cups


I had 66 encounters who shared tea with me
during the weekly market time. Everyone carries
their history and culture and is presented in the in-
between space.&#38;nbsp;

	
					I hand-built 66 tea cups with clay to represent
each encounter. They all have their own timbre and
resonance.

				
Clay comes from the earth, usually in areas where
streams and rivers once flowed. Over time, there
were plants and animals’ living traces and the
influence of the weathering. People started to
make ceramic objects 25,000 years ago. Ceramic
wares are widely found in different cultures on
every continent. For 10,000 years, they have been
objects that accompany people’s everyday life.

					
I like to imagine the piece of clay in my hands,
which carries the history of nature. Through my
hands and my experiences, I bring this history into
the future. When it leaves my hands, it becomes
an independent entity with its story and a unique
voice. “Everything in the world has its own spirit
which can be released by setting it into vibration.”

				
I set up a kinetic installation to let the cups
directly voice for themselves. A teaspoon hung
from above percusses several tea cups to release
the sound. When it’s windy, it is an analog wind
chime. The condition
of the weather decided the situation of the sound
environment. The organic status gives life to the
objects. Or we can also say, “release the stories
and spirits.”


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		<title>Mapping the Depth</title>
				
		<link>https://yunchuliang.com/Mapping-the-Depth</link>

		<pubDate>Sat, 02 Aug 2025 17:22:32 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

		<guid isPermaLink="true">https://yunchuliang.com/Mapping-the-Depth</guid>

		<description>Mapping the DepthBerlin, Germany
Composition for a 16 channel site-specific sound installation
Duration: 3'40''
CLB Berlin, building house on Moritzplatz, 10969 Berlin.
Navigating Berlin. Perspectives on Cartography
Chapter 1: Snapshots &#38;amp; Transitions
Curated by Lisa Gordon
Opening: 30.11.2019, 19.00.
Opening hours: 03.12.2019 - 04.01.2020


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‘Overlooking the gardens, the differences between habitual (daily, therefore linked to night and day) rhythms blur; they seem to disappear into a sculptural immobility…… But look at those trees, those lawns and those groves. To your eyes they situate themselves in a permanence, in a spatial simultaneity, in a coexistence. But look harder and longer. This simultaneity, up to a certain point, is only apparent: a surface, a spectacle. Go deeper, dig beneath the surface, listen attentively instead of simply looking, of reflecting the effects of a mirror. You thus perceive that each plant, each tree, has its rhythm, made up of several: the trees, the flowers, the seeds ad fruits, each have their time…. Continue and you will see this garden and the objects (which are in no way things) polyrhythmically, or if you prefer symphonically.'


Henri Lefebvre, “seen from the window”


p.31, "Rhythmanalysis: space, time and everyday life" 


Every straight line we see could be distorted on a closer scale. We experience maps in a different dimension in contemporary life, with two fingers we can zoom in on maps easily. This composition uses field recordings from further to closer scale of Berlin to chart the multi rhythms of mundane life into deeper layers. 


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Concept


Maps are no longer still-life geographic portraits. Along with the habit of zooming in on 2D screens, we experience the depth of mapping. Layers of a city present itself as we see stiff lines starting to crook, distort and transform into dynamics. Diverse livings appear and traces of life unfold. In which, multiple scales of time and space exist simultaneously. Maps become an up-to-date archive of everyday life. 


Approach


To present the effect of zoom in sonically in this piece, sounds are changing scale in terms of time and space. I collected field recording of different corners of Berlin, and compose them in a way of sound collage. Space-wise, starting from wider soundscape, it gets narrower and the focus shifts to urban, then to beings' voice. Until the microsound that we can not easily hear like ice cracking, underwater bubbles, plants bloom. Clips merge into each other with speed changes, to create the stretch of time-scale.


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System

16 loudspeakers are arranged in the gallery following the frequency range of each and the given visual plan of the exhibition. For example, surface-transducers are attached on the façade facing the passersby on Oranienstraße. They transduce sound from the gallery to the street, extend the exhibition to public space, and break the hard border in-between. Six coaxial speakers are hanged around both sides of the wall, to create two fluid rooms in one.


The position of the exhibition wall creates circulation. The sequence of different speakers guides visitors to roam through the shower of 16 streams. Each journey is unique. While no path is identical, every visitor is as well composing their particular experience.


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&#60;img width="1500" height="1005" width_o="1500" height_o="1005" data-src="https://freight.cargo.site/t/original/i/2d708e9367471299aa31886c35dc44f5ba325490cbd2da4677e8d2df9789fd91/13.jpg" data-mid="236596203" border="0"  src="https://freight.cargo.site/w/1000/i/2d708e9367471299aa31886c35dc44f5ba325490cbd2da4677e8d2df9789fd91/13.jpg" /&#62;
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&#60;img width="1500" height="2249" width_o="1500" height_o="2249" data-src="https://freight.cargo.site/t/original/i/e664493c999aaf0e7627ce00c1a85924c12a902b80c303f03e59480b9d26ee73/14.jpg" data-mid="236596208" border="0"  src="https://freight.cargo.site/w/1000/i/e664493c999aaf0e7627ce00c1a85924c12a902b80c303f03e59480b9d26ee73/14.jpg" /&#62;
&#60;img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/b19dfa23ca32130316a4d7a64b03a13855a17660d3eb8b6ab729f13c50275bc7/17.jpg" data-mid="236596204" border="0"  src="https://freight.cargo.site/w/1000/i/b19dfa23ca32130316a4d7a64b03a13855a17660d3eb8b6ab729f13c50275bc7/17.jpg" /&#62;


	Navigating Berlin


A never before publicly shown private collection of historical maps and plans of the city Berlin. The private collection of Berlin city maps belongs to Michael Müller and contains examples dating from 1700s to the present day. The 3-part exhibition series examines the city through its cartographic representation, focusing on the maps’ historical narratives, aesthetic depictions and the socio-political dimensions they illustrate or even influence. 


Six contemporary artists engage with the specific themes of each exhibition, creating new dialogues with the maps on display.


Berlin Sound Transitions - DISS Collective


Berlin Sound Transitions is a site-specific work, consisting of a 16-channel system distributed in the gallery space that is presented in the form of sound collages, acoustic cartographies and compositions that engage with the existing acoustic properties of the room. A collective set up of individual aural perspectives creates a variety of sonic dimensions in dialogue with the cartographies exhibited.


DISSS is a collective formed by the MA Sound Studies supervised by Daisuke Ishida. Featuring the works of Jonathan Bruns, Nico Daleman, Yun-Chu Liang, Oskar J. Mayböck, Enrika Myskovskaja, Samuel Perea-Díaz and Francis Sosta.


&#60;img width="1000" height="654" width_o="1000" height_o="654" data-src="https://freight.cargo.site/t/original/i/8a10ee85ef032affd2ff21b44b324f0af253e3d313ced4d96c70e7dbdb8f38d5/exhibition.jpg" data-mid="236596195" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8a10ee85ef032affd2ff21b44b324f0af253e3d313ced4d96c70e7dbdb8f38d5/exhibition.jpg" /&#62;


https://www.clb-berlin.de/en/events/navigating-berlin-perspectives-on-cartography/


&#60;img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/c2b5ef72834b7c959ab6645e24b59705de09b638c1d96179db46287c2e6cb088/04.jpg" data-mid="236596205" border="0"  src="https://freight.cargo.site/w/1000/i/c2b5ef72834b7c959ab6645e24b59705de09b638c1d96179db46287c2e6cb088/04.jpg" /&#62;
&#60;img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/8d5e8fb038a125caf85a6012b433299fb7fc2f1b5032995b7004407ca03d16f1/05.jpg" data-mid="236596206" border="0"  src="https://freight.cargo.site/w/1000/i/8d5e8fb038a125caf85a6012b433299fb7fc2f1b5032995b7004407ca03d16f1/05.jpg" /&#62;
&#60;img width="1772" height="1181" width_o="1772" height_o="1181" data-src="https://freight.cargo.site/t/original/i/cd3deff0a116ce16a2898cddfad6badcd9aed198d3f2a16134f7b93f208af616/06.jpg" data-mid="236596207" border="0"  src="https://freight.cargo.site/w/1000/i/cd3deff0a116ce16a2898cddfad6badcd9aed198d3f2a16134f7b93f208af616/06.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Heteroglossia</title>
				
		<link>https://yunchuliang.com/Heteroglossia-1</link>

		<pubDate>Sat, 02 Aug 2025 17:22:34 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

		<guid isPermaLink="true">https://yunchuliang.com/Heteroglossia-1</guid>

		<description>
	Heteroglossia2021

	
Performance for exhibition opening,&#38;nbsp;“Polyphon - Mehrstimmigkeit in Bild und Ton”


						3 channel radio sound performance: 3 Radios, FM Transmitter, laptop

					
Museum für Angewandte Kunst,Greizer Str. 37, 07545 Gera


&#60;img width="1500" height="642" width_o="1500" height_o="642" data-src="https://freight.cargo.site/t/original/i/4f88b8afd9886d4e6f1f96f567da866fc9baa7d546baf684dfe4f180acc16a93/score02.gif" data-mid="236596243" border="0"  src="https://freight.cargo.site/w/1000/i/4f88b8afd9886d4e6f1f96f567da866fc9baa7d546baf684dfe4f180acc16a93/score02.gif" /&#62;
score for Heteroglossia


This project is inspired by Mikhail Bakhtin's definition of
Heteroglossia. It is a state of polyphony, when a plurality of
independent and unmerged voices and consciousness
coexist. In the research of Bakhtin, he focused on the realm
of literature, specifically in Dostoevsky's novels.

						
In everyday life, voices and opinions are filling the air
simultaneously, forming a natural state of heteroglossia.
Once a voice with more power appears, it will interfere the
dynamic until the system meets the balance again.

						
Even being invisible nor inaudible, radio signals as well
constantly exist in the air, carrying different voices parallely.
Only when radios tune in, signals thus become audible to the
public. Therefore, I choose radio as a medium to materialize the
concept of heteroglossia. FM transmitters play the role of exterior
interference that take over the space of the original channels.
This project aims to present the state of this heteroglossia in our
daily life in a playful and interactive way .

					
	&#60;img width="596" height="568" width_o="596" height_o="568" data-src="https://freight.cargo.site/t/original/i/1c26ae99f7454a0736109e3360eeed183042acdb878c57f63058affdc368dfbe/diagram.gif" data-mid="236596242" border="0"  src="https://freight.cargo.site/w/596/i/1c26ae99f7454a0736109e3360eeed183042acdb878c57f63058affdc368dfbe/diagram.gif" /&#62;


Mikhail Bakhtin borrowed the word
Polyphony from musicology to analyse literature. He pointed
out that in Dostoevsky's novels, the characters do not act as
the agents of the author. The characters are multiple voices
which are equal in relation to each other. That guides me to
the decision to bring up voices from different places and
circumstances, provide them a space to simply ‘happen’ at
the same time.


</description>
		
	</item>
		
		
	<item>
		<title>Retention of A River</title>
				
		<link>https://yunchuliang.com/Retention-of-A-River</link>

		<pubDate>Sat, 02 Aug 2025 17:22:37 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

		<guid isPermaLink="true">https://yunchuliang.com/Retention-of-A-River</guid>

		<description>Retention of A River
Berlin, Germany
2 channel sound installation
Ice, hydrophone, headphone

ACUD MACHT NEU,&#38;nbsp;
07. 2019
Veteranenstraße 21, 10119 Berlin
SoundsAbout, Project Space12. 2019Potsdamer Straße 161, 10783 Berlin, Germanyabout.sounds.berlinWater≈sound≈city
curated by&#38;nbsp;Francisco Petrucci


&#60;img width="3813" height="2859" width_o="3813" height_o="2859" data-src="https://freight.cargo.site/t/original/i/9dafe9a1dbc695e191b8003d774c8412a61df75f2bd7de9a6b1f56d9bbe8fd9b/IMG_9103.jpg" data-mid="236596260" border="0"  src="https://freight.cargo.site/w/1000/i/9dafe9a1dbc695e191b8003d774c8412a61df75f2bd7de9a6b1f56d9bbe8fd9b/IMG_9103.jpg" /&#62;

&#60;img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/437529f6a781fdfdb7b90af584a8886da4084092b7ce299a24191d7e0c0a2470/02.jpg" data-mid="236596246" border="0"  src="https://freight.cargo.site/w/1000/i/437529f6a781fdfdb7b90af584a8886da4084092b7ce299a24191d7e0c0a2470/02.jpg" /&#62;What, then, is time? If no one ask of me, I know; if I wish to explain to him who asks, I know not. Yet I say with confidence, that I know that if nothing passed away, there would not be past time; and if nothing were coming, there would not be future time; and if nothing were, there would not be present time. Those two times, therefore, past and future, how are they, when even the past now is not; and the future is not as yet? But should the present be always present, and should it not pass into time past, time truly it could not be, but eternity. 


—St. Augustine Bishop of Hippo, The Confession, Book XI
The past is no longer here, and the future has not yet come. How does the present exist if it is always in the present? 

When we reach a river, we can never touch the same drop of water: every moment instantly becomes the past while the future arrives in our palms.

Husserl defined retention as the process whereby a phase of a perceptual act is retained in our consciousness. It is a presentation of that which is no longer before us and is distinct from immediate experience.

In this installation, a little part of the river Spree is frozen. It becomes a media to carry time and makes the subtle transformation visible and audible. The ephemeral material transforms every microsecond, but the retention of the process presents our memory(past), perception(present), and imagination(future) at the same time.


	&#60;img width="1271" height="2448" width_o="1271" height_o="2448" data-src="https://freight.cargo.site/t/original/i/bbe2bfa6d5788adc0928e3d88ae080e63badc29d2587d568eb0c8fe2de4376e5/d_concept.png" data-mid="236596256" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/bbe2bfa6d5788adc0928e3d88ae080e63badc29d2587d568eb0c8fe2de4376e5/d_concept.png" /&#62;
	&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/fc85dd2bee29b21dbbfb7807d7957b0bd36a5f15cf381720b0893429e083636a/04-1.jpg" data-mid="236596249" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/fc85dd2bee29b21dbbfb7807d7957b0bd36a5f15cf381720b0893429e083636a/04-1.jpg" /&#62;


	&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/fe311f0a14885f9293613d46813d8bf8c78a3db1c8f757fc9af82e476c0a0581/04-2.jpg" data-mid="236596250" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/fe311f0a14885f9293613d46813d8bf8c78a3db1c8f757fc9af82e476c0a0581/04-2.jpg" /&#62;
	
&#60;img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/9a5a5f9ee17019944bbbd49f0db9654586a0e6d5e432d135b6d6a19dd7a9d1d3/04-3.jpg" data-mid="236596251" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/9a5a5f9ee17019944bbbd49f0db9654586a0e6d5e432d135b6d6a19dd7a9d1d3/04-3.jpg" /&#62;


Audience can listen to the subtle cracking sound of the melting Spree ice through the headphone. In this room, dripping sound is clear and stable. Keeping the experience calm and individual.


Time is carried by the drip, while falling into the glass container, it falls in to the past of the ice, as well as the future of it.&#60;img width="2501" height="1561" width_o="2501" height_o="1561" data-src="https://freight.cargo.site/t/original/i/5e06c4d12a132cfddb29ab7e0ac090c7cb22e9d73b135c10537d2724bc37dda5/d_process.png" data-mid="236596257" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/5e06c4d12a132cfddb29ab7e0ac090c7cb22e9d73b135c10537d2724bc37dda5/d_process.png" /&#62;
	&#60;img width="3886" height="5828" width_o="3886" height_o="5828" data-src="https://freight.cargo.site/t/original/i/176499d90edbbad9714a3ec129a9f5eac40d71a4689d44272f7da5031d8e02ed/03.jpg" data-mid="236596247" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/176499d90edbbad9714a3ec129a9f5eac40d71a4689d44272f7da5031d8e02ed/03.jpg" /&#62;
	&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8ed3b2731dc85734fc2de4c621a34c6f5373cbc90c7694e62e80ba159e817f0d/05-2.jpg" data-mid="236596252" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8ed3b2731dc85734fc2de4c621a34c6f5373cbc90c7694e62e80ba159e817f0d/05-2.jpg" /&#62;


&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7bd71db8ccbf7f923c2339504daa1e8e4ddb237913d1b93c36a4a811536dee76/07.jpg" data-mid="236596253" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/7bd71db8ccbf7f923c2339504daa1e8e4ddb237913d1b93c36a4a811536dee76/07.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/fda2fbc8f87af674fe18ee80b4e2f926e67167f917483769047f6d746d010398/08.jpg" data-mid="236596254" border="0"  src="https://freight.cargo.site/w/1000/i/fda2fbc8f87af674fe18ee80b4e2f926e67167f917483769047f6d746d010398/08.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b03c0379af753185a41b47046176d91c79222c77bbb3b8dbe78c8ad07df17658/09.jpg" data-mid="236596255" border="0"  src="https://freight.cargo.site/w/1000/i/b03c0379af753185a41b47046176d91c79222c77bbb3b8dbe78c8ad07df17658/09.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Detour</title>
				
		<link>https://yunchuliang.com/Detour</link>

		<pubDate>Sat, 02 Aug 2025 17:22:39 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

		<guid isPermaLink="true">https://yunchuliang.com/Detour</guid>

		<description>
	Detour
Berlin, Germany3 channel site specific sound installationBundesallee, 2018
collaboration with Kayla Elrod

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/850f2cf17fb1645785dce27b56997b85f854a3ecd1e0fa9f9676486b0a546377/001.JPEG" data-mid="236596266" border="0"  src="https://freight.cargo.site/w/1000/i/850f2cf17fb1645785dce27b56997b85f854a3ecd1e0fa9f9676486b0a546377/001.JPEG" /&#62;

	
The direct transition between U3 and U9 at U
Spichernstraße is closed due to elevator installation from
summer 2018 until May 2020. Due to this construction,
people are rerouted to the designated pathway
aboveground along Bundesallee. We have placed our
reconstructed BVG directional pillar along this route to
provide pedestrians with an opportunity to rethink the
possibilities of a detour.

					
Three speakers construct a sonic collage, reworking the
nearby soundscape. The outer speaker emits a sonic
map of the detour with announcements cycling through,
while the two inner speakers expand the imagination
of the U-Bahn soundscape, combining site-specific field
recordings, droning voices, and meditative singing bowls.

&#60;img width="3345" height="1359" width_o="3345" height_o="1359" data-src="https://freight.cargo.site/t/original/i/72fcc0d32557160617950cbdf7b62a255037d47b802d24f2b530ce05277263d0/diagram-1.jpg" data-mid="236596270" border="0"  src="https://freight.cargo.site/w/1000/i/72fcc0d32557160617950cbdf7b62a255037d47b802d24f2b530ce05277263d0/diagram-1.jpg" /&#62;
&#60;img width="2577" height="1478" width_o="2577" height_o="1478" data-src="https://freight.cargo.site/t/original/i/e98ac082b1b6c7ae32c7d723db9e29dd6ce7388fccbe3c91ecdc0961d1405d18/diagram-2.jpg" data-mid="236596271" border="0"  src="https://freight.cargo.site/w/1000/i/e98ac082b1b6c7ae32c7d723db9e29dd6ce7388fccbe3c91ecdc0961d1405d18/diagram-2.jpg" /&#62;
&#60;img width="2861" height="1455" width_o="2861" height_o="1455" data-src="https://freight.cargo.site/t/original/i/1fc4e8ece2a41fc08cda16d51cfd5ba32ab4f57ee12ccd16aab598cf73ca2b52/diagram-3.jpg" data-mid="236596269" border="0"  src="https://freight.cargo.site/w/1000/i/1fc4e8ece2a41fc08cda16d51cfd5ba32ab4f57ee12ccd16aab598cf73ca2b52/diagram-3.jpg" /&#62;


&#60;img width="850" height="593" width_o="850" height_o="593" data-src="https://freight.cargo.site/t/original/i/10a009a5f6b936872f64ce905b9805dd263b80d2ec655c74152948e5ab319b85/map.jpg" data-mid="236596268" border="0"  src="https://freight.cargo.site/w/850/i/10a009a5f6b936872f64ce905b9805dd263b80d2ec655c74152948e5ab319b85/map.jpg" /&#62;

	
Every day when I walk past one of the entrances at Spichernstraße station, I see people looking around to find
the way to transfer. It reminds me how people can quickly develop a mechanical routine in their daily life. We
might have been commuting at the same station for the past ten years but still neglecting the environment.
We collected field recordings around and in the station and made a soundscape composition. Visually it
inherits the bvg directional pillar, which is well camouflaged to the street view. With this installation in the
public space, we wanted to create a twisted experience in peoples everyday life.

					
Detour is often seen as an adverse incident. But sometimes, it does bring a mind-changing surprise to the
mundane landscape.

				
Video © Kayla Elrod


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8abeed3514b6691e9a8a75878aa9cb7a5379b199460a40a672470c71b29c0c14/0.jpg" data-mid="236596261" border="0"  src="https://freight.cargo.site/w/1000/i/8abeed3514b6691e9a8a75878aa9cb7a5379b199460a40a672470c71b29c0c14/0.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/87d23cf433fc9a70dd49e5b00db509266083f27275970a5247e98f71f80502aa/05.jpg" data-mid="236596262" border="0"  src="https://freight.cargo.site/w/1000/i/87d23cf433fc9a70dd49e5b00db509266083f27275970a5247e98f71f80502aa/05.jpg" /&#62;
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&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1c421fadfc8f15ccf0272d1cae9ac2d009c686875faa88d8a9ec0c3cd8daac0a/03.jpg" data-mid="236596264" border="0"  src="https://freight.cargo.site/w/1000/i/1c421fadfc8f15ccf0272d1cae9ac2d009c686875faa88d8a9ec0c3cd8daac0a/03.jpg" /&#62;

&#38;nbsp;&#38;nbsp;


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	<item>
		<title>U555</title>
				
		<link>https://yunchuliang.com/U555</link>

		<pubDate>Sat, 02 Aug 2025 17:22:40 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

		<guid isPermaLink="true">https://yunchuliang.com/U555</guid>

		<description>U555
Transit Zone Pavilion
Berlin, GermanyBerlin Summer University of the Arts 2017Advisor: Daisuke Ishida


&#60;img width="5740" height="3777" width_o="5740" height_o="3777" data-src="https://freight.cargo.site/t/original/i/5dbe016911f6fe3976541773e81491c5727a27e6b219d3d13c807d61e1f55d6c/DSC01818straight-copy.jpg" data-mid="236596275" border="0"  src="https://freight.cargo.site/w/1000/i/5dbe016911f6fe3976541773e81491c5727a27e6b219d3d13c807d61e1f55d6c/DSC01818straight-copy.jpg" /&#62;


This piece remarks on the unfinished U-Bahn U55 line. Originally, the U55 was to connect the U5 from Alexanderplatz to Hauptbahnhof. This project is subsequently postponed due to financial difficulties dealing with high water contents in the soil, as this new line was supposed to cross under the Spree river. Since the city had accepted money from the German federal government, by the terms of the agreement, the city would have to return the money if there were no operating trains on the line. The city then made a compromise that they would operate the line between the three stations which were already completed. This resulted in the U55 which has only three stations from one terminal to the other. The unusual nature of U55 reflects Berlin's troubled bureaucratic situation. 


In this piece, a puddle around five square meters was placed in the Dudler Passage near the U55 platform while a continuous sound of dripping water was being played. The speaker was hidden under the drain where the visitors were not able to see. Even though the dripping sound actually came from underground, I found most of the visitors looked up unconsciously to find the resource. 


This piece aimed to reveal the hidden issue and brings dialogue to the situation of Berlin.


&#60;img width="975" height="851" width_o="975" height_o="851" data-src="https://freight.cargo.site/t/original/i/e7a1b540ae837ccd72768de35efe967959b30604159f07f14cc2aeba492c8fae/berlin-centre-map.png" data-mid="236596277" border="0" data-scale="100" src="https://freight.cargo.site/w/975/i/e7a1b540ae837ccd72768de35efe967959b30604159f07f14cc2aeba492c8fae/berlin-centre-map.png" /&#62;


&#60;img width="1283" height="478" width_o="1283" height_o="478" data-src="https://freight.cargo.site/t/original/i/91252005a7a8dacf9776b6ddee60fd7b1d9c95cfc3cb5ab54dc1b345eaa1d7a7/underground-section.jpg" data-mid="236596278" border="0"  src="https://freight.cargo.site/w/1000/i/91252005a7a8dacf9776b6ddee60fd7b1d9c95cfc3cb5ab54dc1b345eaa1d7a7/underground-section.jpg" /&#62;©&#38;nbsp;Projektrealisierungs GmbH U5


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&#60;img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/ceff857dc90f7831860d375abc32fdb50b88b9282bb0fe425ee51de2f24d5ed5/final-map-1.jpg" data-mid="236596279" border="0"  src="https://freight.cargo.site/w/1000/i/ceff857dc90f7831860d375abc32fdb50b88b9282bb0fe425ee51de2f24d5ed5/final-map-1.jpg" /&#62;

&#60;img width="5312" height="2988" width_o="5312" height_o="2988" data-src="https://freight.cargo.site/t/original/i/13c69ab6ff36ffdf1b1368f06ad328576e5a7720a7a3c7cbf136289a5f7bb026/20170806_125840-copy.jpg" data-mid="236596274" border="0"  src="https://freight.cargo.site/w/1000/i/13c69ab6ff36ffdf1b1368f06ad328576e5a7720a7a3c7cbf136289a5f7bb026/20170806_125840-copy.jpg" /&#62;


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	<item>
		<title>City Soundscapes</title>
				
		<link>https://yunchuliang.com/City-Soundscapes</link>

		<pubDate>Sat, 02 Aug 2025 17:22:42 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

		<guid isPermaLink="true">https://yunchuliang.com/City-Soundscapes</guid>

		<description>
	City Soundscapes
An Acoustic Perceptual&#38;nbsp;Space of‭ ‬TAIPEI 
Taipei, Taiwan
Department of Architecture, Tunghai University 2015
Advisor: Chao-Hsien Yeh


“The body is our general medium for having a world.”- Maurice Merleau-Ponty,
Phenomenology of Perception


&#60;img width="1660" height="1656" width_o="1660" height_o="1656" data-src="https://freight.cargo.site/t/original/i/c2bc88367d610f961d26df25c6ad31f5912d4e68f74a23173fb05040d438c904/soundscape-s-01.png" data-mid="236596289" border="0"  src="https://freight.cargo.site/w/1000/i/c2bc88367d610f961d26df25c6ad31f5912d4e68f74a23173fb05040d438c904/soundscape-s-01.png" /&#62;
This project intended to reconnect human body with nature by manipulating the relationship between hearing and soundscape. The body and environment are both subject and object.
Urban does not exit exclude the nature, instead, they coexist in a particular and harmonic way. They are composed of the growth and decline of artificial and natural factors in the environment. The idea of this dynamic urban situation is defined in this project as the “genuine status”.
Humans perceive the genuine environment primitive with the five senses, and the original experience came from the perceptions. However, as civilization advances, we gradually become less sensitive with our senses. 

In the left diagram, the boundaries and territories of cities and nature are clearly demarcated.
&#60;img width="1500" height="307" width_o="1500" height_o="307" data-src="https://freight.cargo.site/t/original/i/1915e89acadcd3f8482515e4bf70acbc117df708c95624c4f0c7dc37fcdab29d/urban-theory.jpg" data-mid="236596292" border="0"  src="https://freight.cargo.site/w/1000/i/1915e89acadcd3f8482515e4bf70acbc117df708c95624c4f0c7dc37fcdab29d/urban-theory.jpg" /&#62;


“Cities and natures: intimate strangers”, Steve Hinchliffe


However, if we see in in a different scale, instead of separating city and nature with clear boundary (left), the genuine status of cities are considered closer to the right diagram, in which nature is saw as both inside and outside the city.
The study of soundscape considers sound as a part of the environment. Soundscape shows the modernity of the environment which reflects the trace of human history. Soundscape is a dynamic structure which reflects the environment under all kinds of influence, in every moment. “City Soundscapes: An Acoustic Perceptual Space of Taipei” - the dynamic stage of the soundscape composed by the environment as well as the users. It was an urban scale sound installation serie. The acoustic principles of several instruments were extracted and applied to the prototypes of the four pavilions. The pavilions interpreted the genuine status of the specific context into sound, then created a situation where users are involved in the environment as subjects and objects.

&#60;img width="1000" height="959" width_o="1000" height_o="959" data-src="https://freight.cargo.site/t/original/i/5057ec00f4586791118cdf11bdcab9a6e6d02e3cb2189cb582c48a5c6090997c/w_layout.jpg" data-mid="236596291" border="0"  src="https://freight.cargo.site/w/1000/i/5057ec00f4586791118cdf11bdcab9a6e6d02e3cb2189cb582c48a5c6090997c/w_layout.jpg" /&#62;&#38;nbsp;


</description>
		
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	<item>
		<title>Notation</title>
				
		<link>https://yunchuliang.com/Notation</link>

		<pubDate>Sat, 02 Aug 2025 17:22:43 +0000</pubDate>

		<dc:creator>Yun Liang</dc:creator>

		<guid isPermaLink="true">https://yunchuliang.com/Notation</guid>

		<description>City Soundscapes
An Acoustic Perceptual Space of‭ ‬TAIPEI 
Taipei, TaiwanDepartment of Architecture, Tunghai University 2015Advisor: Chao-Hsien Yeh


NOTATION
&#60;img width="1736" height="1240" width_o="1736" height_o="1240" data-src="https://freight.cargo.site/t/original/i/ff50c10b009d6f3641a77164b6a6fb23301551e322c09d9d86f97b930427b938/n1-02.jpg" data-mid="236596293" border="0"  src="https://freight.cargo.site/w/1000/i/ff50c10b009d6f3641a77164b6a6fb23301551e322c09d9d86f97b930427b938/n1-02.jpg" /&#62;
This series of notation drawing was made as transcriptions of the auditory context of the sites. They are time-, direction-, and site-specific. Every line and every note has its corresponding event.

&#60;img width="1754" height="1240" width_o="1754" height_o="1240" data-src="https://freight.cargo.site/t/original/i/69b9e61574cf9d82697d9b192fa75761f564d21d397ffccdd976a40508635f16/n2-01.jpg" data-mid="236596294" border="0"  src="https://freight.cargo.site/w/1000/i/69b9e61574cf9d82697d9b192fa75761f564d21d397ffccdd976a40508635f16/n2-01.jpg" /&#62;

&#60;img width="1879" height="636" width_o="1879" height_o="636" data-src="https://freight.cargo.site/t/original/i/56205ea72f0f9813e891ffaaae6e166a2d79bf4a73771fce235cb44f1f5e5dfe/n4-02.jpg" data-mid="236596296" border="0"  src="https://freight.cargo.site/w/1000/i/56205ea72f0f9813e891ffaaae6e166a2d79bf4a73771fce235cb44f1f5e5dfe/n4-02.jpg" /&#62;

&#60;img width="1592" height="1117" width_o="1592" height_o="1117" data-src="https://freight.cargo.site/t/original/i/4d6eaa1a59de7ad0d50c4c361c0625c4cb706bfefadc868578cb9cc3d20e4f93/n3-01.jpg" data-mid="236596295" border="0"  src="https://freight.cargo.site/w/1000/i/4d6eaa1a59de7ad0d50c4c361c0625c4cb706bfefadc868578cb9cc3d20e4f93/n3-01.jpg" /&#62;

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