Li-Huang Ku's Interbreeding Field consisted mostly of slats. It was cool to walk on them, their obvious texture translating the smooth gallery floor.
Ching-Yueh Roan's Micro Cities was about restoring some kind of functionality after earthquakes.
Chaolee Lu and Ke-Fang Liou's Dark City was a kind of architectural Rothko. You walked between one wall that was a giant dark photo, and another wall that was totally black. The blackness seemed to have tremendous depth.
Chen I-Chun's Epidermis Factory was a marvel of relative motion. It appeared to move in three directions at widely differing speeds as the imagery scrolled by.
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