排灣族語「Pacun ta pana 」，意思是「觀流」，立於橋面吊橋可眺望隘寮溪水奔騰之狀，也可以欣賞橋面兩側的溪谷之美。吊橋在早期是部落與部落間的連結，穿越富有排灣族圖騰的象徵設計的觀流橋，彷彿回到過去的生活情境。 "Pacun ta pana" means "viewing the stream" in the Paiwan language. When standing on the suspension bridge, you can see the rushing water of the Aliao River and the beauty of the valleys on both sides of the bridge. In the early days, suspension bridges were the link between tribes. Crossing the River View Suspension Bridge, which is decorated in symbolic Paiwan totems, is like walking on the path of the past.

太魯閣族原劃歸泰雅族中的賽德克亞群，2004年通過成為臺灣第十二個原住民族。其發祥地為中央山脈白石山。約三、四百年前，因人口成長、獵場不足，而跨越中央山脈遷徙至花蓮，主要分佈於秀林鄉、萬榮鄉、卓溪鄉的太魯閣溪、立霧溪、木瓜溪等河谷兩岸。因與泰雅族長久的淵源，兩族住家有相似之處，並於遷移之後發展出獨有特色。 如上所述，太魯閣族原居住於臺灣中部濁水溪上游的高山地帶，後遷徙至臺灣東部，因此，其建築略可分類為中部住家與遷移後的東部住家。 根據泰雅族與賽德克族的資料，推測太魯閣族家屋建有附屬建築，包含穀倉、豬舍與雞舍。 The Truku people were originally classified as the Sediq subgroup of the Atayal people. In 2004, they became the 12th officially recognised indigenous group in Taiwan. Its origin was from Mount Baishi in the central mountain range. About three or four hundred years ago, due to population growth and lack of hunting grounds, they migrated across the mountain ranges to Hualien, and distributed mainly in Xiulin Township, Wanrong Township, and on river valleys of Taroko River, Liwu River and Mugua River in Zhuoxi Township. According to the data of the Atayal and Sediq people, it is speculated that the Truku houses had ancillary buildings, including barns, pigsties and chicken coops.

與其他原住民族相較，阿美族人口較多，聚落規模較大。為維護全體部落居民的安危，部落周圍以竹製圍籬防禦，幾乎所有部落都會設置瞭望臺，然此兩類部落景觀己不再。 過去一般家屋以住屋、畜舍、穀倉等組成，房屋形式因分佈地區而異。除家屋外，集會所佔有重要地位。 阿美族傳統家屋以長方型木材為樑柱，竹或木板為壁面，屋頂覆以茅草，主要有下列二種型態： 1北部的單室正門式，如太巴朗或大港口的住家。 2.南部的複室側門式，如馬蘭社住家。 Compared with other indigenous peoples, the Amis have a larger population and hence, a larger settlement. In order to maintain the safety of all residents, bamboo fences are erected for the defense around the tribe, and almost all tribes have watchtowers. Today, such scenery is no longer available. In the past, a residence consisted of a house, shed, barn and so on. In addition to the home, the assembly hall plays the most important role.The form of houses varied according to the distribution area. A traditional Amis family house is made of rectangular wood as beams and columns, bamboo or wooden boards as walls, and the roof is covered with thatch. There are two main types of houses: 1. North Taiwan: Open space with one entrance, such as the houses of Tiberias or Grand Harbour. 2. South Taiwan: House with indoor partitions and side door, such as the houses of the Malan Society.

噶瑪蘭族因為漢化極深，傳統建築已消失殆盡，然根據文獻所述，平埔族群中凱達格蘭、雷朗、噶瑪蘭三族的家屋在清初尚保存有南島語族文化的主要特質，例如「干欄」：架在樁上的屋舍，即為其一。根據《噶瑪蘭廳志》記載，當時噶瑪蘭人的家屋是將大木頭挖空倒覆為頂，上下貼茅，用竹木加以支撐，清中葉後其家屋多改以茅草為頂，與土磚牆茅草頂的漢式屋舍相似。

卑南族主要分佈在臺東平原、平原西側淺山山麓與花東縱谷南端的沖積平原，毗鄰阿美族、布農族、排灣族。卑南族傳統住屋分為公用及私，前者包括會所、宗家祖靈屋、瞭望台等；後者則為一般家屋、穀倉、女靈媒屋。 為保護部落安全，卑南族發展出「會所制度」，會所建築也為一大特色。 卑南族男子十二歲時進入少年會所 (takuvan)，接受生活禮儀、神話傳說、族群歷史、手工藝及狩獵戰技的訓練，該訓練分為六個階段，由學長遂層管理下一級的孩于。 少年會所「畢業」後，即進入青年會所 (palakuan)，接受為期三年的「苦刑期」訓練，不管任何季節都是赤裸上身，只圍一條短裙，必須擔負各項粗重的工作，三年苦訓後才能戴花冠、結交異性朋友，成為真正的卑南青年，然卑南八社的青年會所制度已經消失。

藝術家: 陳昭興 /阿美族 Artist: Apo’ /Amis 2018 「等待漲潮」是族人展現時間觀的純粹意志。 原住民族順應著自然，日月的起落、隨著洋流季風的魚群、作物生長收穫等，沒有分秒時針的概念，只有自然中當下要做的事。 捕魚前，耆老會提早兩小時等待漲潮到來的魚群，這般匪夷所思、沒效率的步調，卻有某種禪意，時間顯得沒有價值，如同望著大海，感覺不到時間流逝，透過無盡的等待與勞動，進而超越時間，即是永恆！終會盼到希望降臨。 作品兩個主軸： 一、耆老海祭時祈求豐收禱唸：海神啊，讓年青人漁網掛的魚，像傳統服的鈴鐺那樣多。魚群鈴鐺以海漂浮球呈現，工業定置型漁網的濫捕，以往等待漲潮的魚群，已被海面的浮球取代。 二、捕魚撒出的八卦網，透過捻線編網的古老工藝，從一條線編到一張網的繁複，展現時間的超越。古早麻線編織大網目漁網，到現代機械鋼線的細網目，小魚也一網打盡。 "Waiting for the rising tide" is the indigenous peoples’ view of the time. The indigenous peoples follow the rules of nature, like the rise and fall of the sun and the moon, the swarms of fish following the ocean currents, the growth and harvest of crops, etc. There is no concept of minutes and seconds, only the things that need to be done in nature. Before fishing, the elders would wait two hours in advance for the fish to arrive with the tide. Although this may seem inefficient, it does create some kind of zen. Looking at the sea, time seems to be worthless as it passes by. The endless waiting and labor goes beyond time. It is an eternity! One day, what we hoped for will eventually come. Two main axes of works: 1. When praying for a good harvest, the elders say: God of the sea, let the fish in young men’s nets hang as many as the bells on our traditional clothes. The fish here are presented by floating balls in the sea. This shows that due to overfishing by fixed fishing nets, the fish that the elders once have waited for along with the tide have been replaced by floating balls on the sea surface. 2. This fishnet shows the transcendence of time. From the ancient craft of twisting hemp threads into large-mesh fishing nets to the fine mesh made by modern mechanical steel threads, today even the smallest fish get caught.