珍惜一個感覺得到「大」的地方，保住抵抗的靈動、久違的荒蕪⋯⋯
田中央這次要做的是一步步空出屬於天地的距離，勇敢找回大池、大坑、大坡、大谷。放空，一次又一次凝視著數十公里的綿延。
用匍匐的建築物錨定出從海邊算過來的第三脊沙丘。自然力作為主角，回看谷地，最壯闊的第二脊天然沙丘防風林不再被遺忘。聽見時間的低吟，循著濤聲跨丘走向大洋，踩在宜蘭黑黑的沙灘，等待龜山朝日，等待夜裡神祕動人的海上月出。
把曾被夷平的起伏修回來，親身體驗在多脊谷地?騎行或慢走。為了慢慢整理沙丘背後的社區小巷，在美術館進行的同時，邀請各級政府合作，透過小小的工程，先把在一公里外漁師廟廣場等公車、以及再往南一公里，上一站的社區籃球場動點手腳，回到年輕自在，和美術館一樣自信的擁抱沙岸特質。再往南，拿掉以前零星被加上去、過多的構造物，清爽出兩排老榕樹交織的深情地景。坐在簡單的草坡上，重新看到由宜蘭河、蘭陽溪和冬山河一起衝破沙丘的出海口，以及冬季按時在海灘上形成又消失的神奇帳篷城市。
煮一碗熱湯，等候奮力在冰冷浪濤中捕鰻苗的家人。我們的孩子不會只知道碧海藍天。林投、木麻黃之後，有黑潮，有更多的包容與敬畏。想要聞到壯圍氣味最好的入口是從大陳新村經過漂流木堆置場轉進，小白陪著工人現場堆沙新設計了一條蜿蜒1.5公里的服務道路。地瓜、山藥、花生、火龍果，遠遠抽象小小的黃色色塊導引著人們的好奇。沙丘美術館如願的融入這片谷地，從一開始就不想是一個讓人可以直接「看」到海的地方。沒有執著的形狀，只是遮風避雨；如被風吹過，厚重但又輕盈。
冬暖夏涼的沙穴時窄時寬一路有七公尺高，邀請單純的創作在這裡展現力量。史詩般的地景分裂成清水起伏的粗獷屋頂、以及似乎流動、被牆擋住就微微突起的細緻地表。偷偷摸一下、雙腳吃上力，享受身體的存在，天地之間，透過天光、透過潛望鏡知道海的方向。從南側平靜漂入一湖綠色的二樓薄板，給出水平抽象的地景參考面，也呼喚身體真正走到海邊，尋找個別喜歡的宇宙。建築只是一個媒介，讓人在這裡做好準備，再分次向大自然去探險。
巨量抿石子牆面帶來挖剩溼沙的觸感，牆上的分割化為自由純白的風沙線條。磨石子地面冰涼如風的堆積、如海灘漲潮退潮的乾濕變化。屋頂上勇猛的突出物，大塊大塊就像海岸線上那些不扭捏作態的軍事設施，收納了所有的設備使得展廳天頂純粹乾淨，而大草坡，可以連上屋頂，適合海邊的蔓花生順勢而上，無論將來發展成親子劇場還是超大滯洪池水邊舞台大階梯，這裡有宜蘭特別的綠、濕潤的黑、綿長的線條、以及遍地盛開的黃色小花。
蔡明亮導演是老天神奇的禮物，影像精準和天光、和所有線條互動，堅定透明的時間刻劃，點出沙丘最動人的靈魂。手工貼出孤獨而不寂寞的緣分，展期永遠。導演用沙、用水穿透了結構的侷限，溫柔撫慰來自全世界的心靈。
A place that feels “big” should be cherished as well as the spirit of resistance and the rare encounters with wilderness. What we are after this time is to steadily clear out some rooms for the land and the sky, and to boldly reclaim the big pond, the big pit, the big hill and the big valley.
A low-lying building anchors the third ridge of sand dunes from the sea. Nature becomes the star, and the magnificent second ridge and the tree windbreak reemerge from distant memories. With the humming of time in the background, you follow the roars of waves over the sand dunes toward the great sea. Footsteps on Yilan’ s black sand accompany you as you await the sunrise at Guishan Island or the mystically enchanting rise of the moon above the seawater.
The once-leveled rise and fall of the sand dunes are now restored. As you ride or stroll in the ridges and alleys, you are intrigued by small abstract blocks of yellow in the distance. The Sand Dune Art Museum is amalgamated with the valley as intended—it was never meant as a place for a direct view of ocean. There are no pre-determined shapes, just a simple shelter from the elements. As if wind-blown, it is at once steadfast and airy.
The sand pits, their widths ever-changing, are cool in the summer and warm in the winter. The path is seven meters high, inviting straightforward artworks to unleash their raw power here. The epic and lyrical landscape splits into rugged exposed concrete roofs. Delicate flowing ground surfaces bulge slightly when interrupted by the walls. The thin second-floor slab that serenely floats toward a verdurous lake from the south flank imparts a reference plane for the abstract horizontal landscape, beckoning the visitor to saunter toward the sea in search of one’s favorite cosmos.
Architecture is merely an agent, which prepares the visitor for the next round of exploration in Nature.
Copious areas of exposed aggregate walls recall the damp feel of freshly excavated sand. The dissecting lines of the walls transform into free and pure-white lines sculpted by the wind and the sand. Cold and crisp buildups on the terrazzo flooring mimic the fluctuation between wet and dry, high tide and low tide. Fierce extrusions on the roof bring to mind those giant blocks of unpretentious military interventions along the coastline, while accommodating all the building equipment. This allows the ceilings of the exhibition hall to be clear and clean. The grassy hill takes you on an ascent up the roof in the company of flowering coastal climbers. Here, you will find a shade of green native to Yilan, damp black, protracted lines, and a carpet of little yellow blossoms.
Director Ming-Liang Tsai is a magical gift from God. His precise imagery and its interaction with light and lines, together with his firm’s pellucid delineation of time, help unveil the most enthralling soul of the sand dunes.