建築物的建造，表徵了一個地區在某一時期政經文化的影響。我曾拍攝《紀念中國城》記錄台南市區的中國城，它彰顯了九〇年代住商混合大樓的興盛，以及某輩台灣人對中國的情懷；這次我將目光拉至北海岸一批塑化建築物—飛碟屋。它們緣起於歐美的未來主義風潮，在台灣則被包裝成度假小屋；它們一方面滿足了人們對於美式生活的想像，另一方面也搭上經濟起飛所帶動的觀光買屋潮。數十年過去，投機客離去，徒留半荒廢社區與冷冽的東北季風。歷史總是不斷地自我重複，就像隨著季節來來去去的秋蟹一般。我試圖以散文電影的形式，結合膠卷、數位、靜照等不同影像媒材，記錄這批曾見證人們還懷有美夢的建築。

An architecture can manifest the multiple facets of political, economic, and cultural influences within a specific time frame. My previous work, In Memory of the Chinatown, documents the last days of the “Chinatown” in Tainan City before demolition. The once bustling residential and commercial complex, an architecture style popularized in the 1990s, has embodied some older generation’s nostalgic imagination toward China. This time, I am drawn to spaceship houses made of plastics, the so-called “UFO Houses”, on the northern coastline. Originating from futuristic mania in Western societies, the idea of UFO Houses was repackaged into beachfront resort advertisements in Taiwan. Catering to the fantasy of American life, such an idea was embraced by frenzy phenomena of housing transactions and tourism brought by economic boom. After decades, real estate speculators and opportunists were long gone, what remains is the northeast monsoon wind howling across the semi-abandoned houses. After all, history is repeating itself, akin to annual crab migration. With this essay film, I attempt to combine still photography, digital and celluloid materials, as to document a peculiar sight that once conjured thoughts of a more hopeful time and has witnessed never-ending repetition and futility of human behaviors.