【時間】是近幾年乘四建築師事務所一直討論的一個重要元素，我們嘗試在各個角落讓人「看見或是觸摸時間的流逝」，著重的不是結果，而是實驗的過程。 在討論時間這個要素之前，我們必須先接受時間是片段的，很難用於創作之中，它不是一個形體可以被歸類成為風格，也因此這是我們所需要面對的第一個課題。 很幸運的，基地本身位於台北市熱鬧市區的一棟步登公寓的一樓，四周的舊街廓提供了足夠的歷史作為養分，以及足夠的採光讓材質的運用可以更容易被觀察，我們將「時間」呈現在日常生活的各個角落：

"Time" is an element StudioX4 has been discussing for years. In every corner, we try to let people "see or touch the passing of time" — the focus is not the result, but the process of experimentation. Before discussing time as an element, we first have to accept that time is fragmented, difficult to use in creation. It is not a form that can be categorized into a style — and this is the first problem we have to face. Fortunately, the site sits on the ground floor of a walk-up apartment in a busy district of Taipei. The old streetscape around it provides enough history as nourishment, and enough daylight for the use of materials to be more easily observed. We present "time" in every corner of daily life:

【Time】 is an important element that has been discussed within studioX4 in recent years. We try to let people [see or touch to feel the passage of time] in various corners, and what we present in this case is not the result, but an experimental process. Before discussing the element of time, we must first accept that time is fragmentary and difficult to use in our creation, and it is not a form that can be categorized as a style. Fortunately, the site itself is located on the first floor of a traditional-Tawan-style apartment building in the downtown area of Taipei City, and the surrounding environment provides enough history as nutrients, as well as sufficient sunlight to allow the use of materials to be more easily observed.

【Time】 is an important element that has been discussed within studioX4 in recent years. We try to let people [see or touch to feel the passage of time] in various corners, and what we present in this case is not the result, but an experimental process. Before discussing the element of time, we must first accept that time is fragmentary and difficult to use in our creation, and it is not a form that can be categorized as a style. Fortunately, the site itself is located on the first floor of a traditional-Tawan-style apartment building in the downtown area of Taipei City, and the surrounding environment provides enough history as nutrients, as well as sufficient sunlight to allow the use of materials to be more easily observed.

【落水鏈與雨】 我們可以透過材料特性的變化來感受時間，化學實驗中用來引導液體的玻璃棒給了我們很大的啟發，因此以鋼筋取代傳統落水鏈，並在周圍的鋼材中使用了防鏽處理，唯獨鋼筋落水鍊不做防鏽加工，使其隨時間與雨水反應。 【一座17棵樹的床】 床架採用了台灣原生種柳杉，取材自新竹山區，歷經靜置、乾燥，保留了原始樹木的年輪及裂痕。 【樓梯與下樓的裸女】 杜象的下樓的裸女給予很大的啟發，時間是片段的，我們唯有看到【動作的過程】才能感知到時間。 玻璃樓梯可以察覺到行走的過程，以及強化行走時的情緒。 【柱與梁】 使用手工具慢慢鑿出其原本樣貌，不是新，也不是舊。 有趣的是挖鑿梁的過程中，意外的鑿出了35年前模板內的手套。 【燈具的鏽蝕與原貌雙胞胎】 碳化的鐵終將成為鏽蝕的鐵。 【動的過程】 透過物理上的運動，時間得以被看見。 【月球】 月球不發光，它反射。 中間為原始地坪，保留了施工中的髒汙及時間，用以對照周圍。

[Rain Chain and Rain] We sense time through changes in material properties. The glass stirring rod used to guide liquid in chemistry experiments was a major inspiration — so we replaced the traditional rain chain with rebar. The surrounding steel is treated against rust, but the rebar rain chain alone is left untreated, allowing it to react with time and rain. [A Bed of 17 Trees] The bed frame is made from Taiwan-native cedar, sourced from the mountains of Hsinchu. After resting and drying, it retains the original tree's growth rings and cracks. [Staircase and Nude Descending a Staircase] Duchamp's Nude Descending a Staircase was a major inspiration. Time is fragmented — we can only perceive it by seeing the process of motion. The glass staircase makes the act of walking visible, and heightens the emotion of walking. [Column and Beam] Hand tools were used to slowly chisel out their original form — neither new nor old. Interestingly, while chiseling the beam, we uncovered a glove left inside the formwork 35 years ago. [Light Fixtures, Rusted and Original — a Pair] Carbonized iron eventually becomes rusted iron. [The Process of Motion] Through physical movement, time becomes visible. [The Moon] The moon does not emit light — it reflects. At the center, the original floor is preserved, retaining the dirt and time of construction, set against its surroundings.

Intentionally replacing the waterspout pipe with rust-proof rebar to emphasize the flow of time. Partial beams and columns were intentionally left as austere surfaces. An epoxy inlay of primitive rough cement circle on the ground floor is preserved to reflect the building's age without producing construction waste. Pendant lights with oxidized iron finishes provide a unique, timeworn touch Incorporated wall lamps and mirrors that rotate clockwise to symbolize the passing of time. The glass staircase was inspired by Marcel Duchamp's "Nude Descending a Staircase, No. 2," which contours the motions of elapsed moments. Sustaining wood knots for 17 years, a timber slatted bedstead constructed with halved joints.

Intentionally replacing the waterspout pipe with rust-proof rebar to emphasize the flow of time. Partial beams and columns were intentionally left as austere surfaces. An epoxy inlay of primitive rough cement circle on the ground floor is preserved to reflect the building's age without producing construction waste. Pendant lights with oxidized iron finishes provide a unique, timeworn touch Incorporated wall lamps and mirrors that rotate clockwise to symbolize the passing of time. The glass staircase was inspired by Marcel Duchamp's "Nude Descending a Staircase, No. 2," which contours the motions of elapsed moments. Sustaining wood knots for 17 years, a timber slatted bedstead constructed with halved joints.