The Road on Architecture

The Road on ArchitectureP O R T O L I O2 0 0 5 2 0 1 2

The Road on ArchitectureP O R T O L I O2 0 0 5 2 0 1 2

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CONTENTS |

002 | Contents

RambleA Walk in the Buildingthe environment and history center/ UCSB

Transformation VillageAbout Global Warming and Tuvalusustainable building and living style/ Tuvalu

15x15 Skin DivisionComputer Aided Architectural Designpavilion/ Taipei, Taiwan

The Discovery of White/ 白的發想What is White?concept and thesis

Back to White/ 白的重現White as Sensory Experience0001-0010

The Road/ 長路An Ongoing Story Outside the Dike the ritual and funeral space/ Shezi island, Taiwan

Prologue

Chapter 2

Chapter 1

Chapter 3

Selectedart worksphoto, hand drawing, words

Working experiencefrom 2007 to 2011

Epilogue

003

005

057

060

062

050

052

054

064

047

008

010

022

PROLOGUE |

“Not to find one's way about in a city is of little interest. But to lose one's way in a city, as one loses one's way in a forest, requires practice. …

I learned this art late in life: it fulfilled the dreams whose first traces were the labyrinths on the blotters of my exercise books.”

A Berlin Childhood Around the Turn of the Century- Walter Benjamin

Blueprint Labyrinth/ Background

It is the blueprints, spread thickly across the dining table that makes a home-cooked meal different. Scraps from the meal drop onto the fragments of

blueprints leftover from Father's job, blooming into greasy flowers, thus blending architecture into an element of my everyday life. In my dreams, a single

street expands among the lines crisscrossing the stretch of blueprint, holding a remarkable energy that draws people forward; I cannot resist being drawn to

the arresting scenery as well. As a child, it is a free, magical scope that nurses endless possibilities to my yet to be cultivated mind. Although it remains silent,

the space pulses and is constantly metamorphosing, be it at every past moment or in the blurry past, not at all the stone-still image we would imagine it to be.

J.D. Salinger's novelette “Nine Stories” lies open in front of me, with “A Perfect Day for Bananafish” being the title of the first chapter, I think to myself: I have

either gotten lost in the rigmarole of lines, or I have been captured by the blueprint with the name of Destiny.

Collage Labyrinth/ Stage

Is there anyone who longs for home more than Odysseus, after his decade-long toil at sea? Currents have swept many a traveler to a halt on my island home,

collaging the streets with totems from regions all around the world, a long stretch of global wall paper. As its ownership change hands under yet another siege,

the struggle between beauty and ugliness is honed down to no sense at all. It remains an energetic baby forever, gurgling with newborn vivacity and always

smudging itself head to toe with paint. This is a cunning city, revealing its gargantuan shape only vaguely, never showing its complete being. Residents had

padlocked, metal windows fitted to the facade of the buildings, yet they hang their underclothes on the outside, flouncing the layer that lies most intimately

next to their skin. One must decipher it as we do Cubism works of art: without greed and although unable to capture the complete picture; we shall get a

glimpse of its glory when we pay our utmost respect. Otherwise, each step we take would pose as a trap biding its time, one that clamps its ugly and grotesque

jaws on you at the slightest absence of mind. At this moment, I no longer remain my ignorant self, but carefully rap its backbone like a weathered archaeologist,

also silently hoarding scenery viewed from every angle, the way a thief would.

Bird Eye View Labyrinth/ Story

Before I grope my way and explore along the long distance to reach the future, I have already gazed upon it from a bird's eye view, with the shepherding god

Pan as its master. The path unwinds deep into a thick forest; they seem to stretch to nearby areas in a similar manner. But only those who take an actual walk

through the forest will realize his reign, discovering the scenery after each turn of the path, and the soil beneath each step we tread. Every sign must be read

carefully once more, like the punctuation that strings words together, or the notes clamoring on the stave. As we wend our way through the labyrinth, the

ultimate goal lies in the center instead of the rim, the core we endeavor reach only by tracing the Euler route. Pan, the master and the navigator, hides in the

bushes without missing any hints of loveliness, for he understands the richness of the land and gladly shares it, unveiling objects that were once invisible to

the eye. On the vine that we gaze with such eager expectancy, abstract terms such as beauty, perception, and space cluster heavily like fruit.

Some wander about in the branched and forked paths of the maze, while I continue determinedly toward the heart of the labyrinth. The experience of threading

through labyrinths during different space-times has enabled me to weave a delicate map among many discontinuous instants, piecing together a panoramic

view that gradually grows intact. Just like the way architectural design mends and communicates in a continual process, I know that: the more I see, the more I

do.

Prologue | 003

CHAPTER 1UNDER GRADUATETHESIS PROJECT 2010

Back to White/ 白的重現White as Sensory Experience0001-0010

With the void,total empowerment.

— Albert Camus

Le Vide/ Yves Klein in 1982

The object of this endeavor: to create, establish,

and present to the public a palpable pictorial state

in the limits of a picture gallery. In other words,

creation of an ambience, a genuine pictorial

climate, and, therefore, an invisible one. This

invisible pictorial state within the gallery space

s h o u l d b e s o p r e s e n t a n d e n d o w e d w i t h

autonomous life that it should literally be what has

hi therto been regarded as the best overal l

definition of painting: radiance.

With the void,total empowerment.

— Albert Camus

THE DISCOVERY OF WHITE |白的發想 What is White

Ever since the idea was proposed rashly, I thought of this question repeatedly. After

discussions with various professors, I now discover that white is not only a representation of

color but also an action and an atmosphere in space. In addition to the five senses, i.e. vision,

hearing, smell, taste and touch, it also implies ideological philosophy. Different from Western

paintings which depict actual forms faithfully, Chinese paintings are more concerned about

interests. Literati insert Lao-Tzu and Zhuang-Tzu’s philosophy and their own spirits in

paintings, recording in summary landscapes in their hearts and consciously leaving white on

paintings. Thus, before looking into paintings, theories or life experience, let’s first start with

the relation between Lao-Tzu and Zhuang-Tzu’s philosophy and white.

01 “The Way is without form or quality, but expresses all forms and qualities.” Lao-Tzu, Chapter 21

of the Tao Te Ching. Lao Tzu believed the nature of all things is material, but not one or several

specific materials. The origin of all material in the Universe is the Tao of “existence before all

creation” and “expression of all forms and qualities”.

Although the Tao is an uncertainty without form, but under the uncertain state, it is with form

and material, which are “formless form” and “material without materiality”, thus it is profound

and implicated.

The idea of white represents a certain degree of incompleteness. It is because of such

incompleteness that people have space for imaginations beyond vision. This space gives rise to

various imaginations depending on different eye point of an individual. Formless things may

seem useless, but they sometimes hold immeasurable functions.

Lao-Zhuang’s Philosophy and Imagination of White

02 White became the highlight in Chinese long-scroll paintings. This “White” is not “nothing”, but

the heritage of “useless use” in Lao-Zhuang’s philosophy. It is profound thinking toward time

and space, and has brought great influence to Chinese arts since the Song and Yuan

Dynasties. The space-time that true long-scroll paintings attempt to express is one without

significant boundary. These paintings try to save us from the time and space of false

impressions so we can reach the land with true freedom. From the above description by Jiang

Xun, we can divide Chinese long-scroll paintings into two categories:

1 It is the heritage of the “useless use” in Lao-Zhuang’s philosophy –

thinking process (internal) / philosophy (1)

2 It is profound thinking toward time and space –

connection of changing scenes (external) / moving focus (2)

Michael Sullivan discussed in Chapter 8 of The Arts of China the reason Chinese paintings

created “moving eye point”: “The Chinese gave up focal perspective and use of shadows after

discreet thinking. The scientific perspective method could only provide scene from a fixed angle

and a single eye point. Although such perspective could satisfy Western people’s logic, it was

inadequate to Chinese painters who questioned: Why do we have to limit ourselves from

depicting the world outside the one single eye point?”

The space-time in Chinese paintings and fixed focal perspective of the West

1 On a Mountain Path in Spring

2 Night Revels of Han Xizai

SCENE 1 SCENE 2 SCENE 3

Chapter 1 | The Discovery of White

03 Different from Chinese paintings, Western paintings value a great deal perspective, but this

does not indicate the state of white will vanish because of perspective. The white in Western

paintings first appeared in impressionism. The painters began to express active light by

stacking colors to sheets and faces. Instead of white, it is more like representing synchronicity.

White went on afterwards and affected cubism and constructionism.

Western paintings pursued likeness during the Renaissance, and perspective is forming a

scene based purely on the background of accurate vision. However, what I am discussing here

is not the way of “believing by seeing” which tends to be totally objective and accurate, but

rather the art and architecture forms bounded by perspective at the beginning of the twentieth

century, that is, after the period of Paul Cezanne.

Dismissing the transparency in the aspect of materials (I am still concerned about materials, but

I must first define the white I wish to discuss to avoid being confused), Colin Rowe spoke in

Transparency about an image of architecture in 4D space beyond the aspect of material. He

began with the “Mont Sainte-Victoire”(3), created by Paul Cezanne in his late years, and

discussed how painters gradually achieved greater range of time and space by destroying focal

perspective; cubism and constructionism were also brought closer to the concept of

synchronicity through breaking and integrating objects.

Transparency

04 The Transparency proposed by Colin Rowe was mostly analyzing how the design of Le Corbusier reflected phenomenal transparency. Whether the situation in which spaces penetrate each other without generating any destruction, the richness in depth of space, or the implication in measurement of shaped wall could all be seen in finished works.Therefore, both the “White” of the East and the transparency of the West not only exist in texts or 2D space, but they can actually be structured in 3D space and realized with a timeline, as well as be perceived and discussed. Finally, in respect to data related to the research, I will propose a few cases I believe to have created white successfully.(4)(5)(6)The incompleteness represented by white contains broader time and space, allowing individual imagination to generate more freely. From Lao-Zhuang’s philosophy, white in paintings to Western transparency, these all indicate the richness of space always occurs after a timeline is added. Moreover, white can exist beyond vision. With scent, touch and other senses, perhaps it will be necessary to discuss material.

Realized White

3 Mont Sainte Victoire

4 Klaus Chapel

5 Zen Garden in Ryoanji Temple

6 Vietnam Veterans Memorial

008 | 009

BACK TO WHITE |白的重現 0001 - 0010

In this step, white is not a color. Rather, it is

a process of visualization, it is also a

specif ic source from the discovery of

sensitivity. All in all, there is no such thing

as “ white” , “ white” exists solely in our

sensory perception.

Therefore, we must not attempt to search

for “ white.” Instead, we must search for a

way to feel the whiteness. Because non-

being longs for being, on occasion it creates

a stronger sense of being than being itself.

In the case study of 0001 to 0010, I have

tried to concrete white from my daily

experience and surround the white to find

the source of aesthetics and space that

produces simple and pure origin through the

concept of white.

這個階段所描述的白，指的不是色彩，而是一

種圖像的過程，是由感官認知中探究尋找而出

的具體的「白」。總而言之，「白」指的不是

白色，而是可以感受到白色的「感受性」，所

以我們不需要尋找白，而是要尋找能夠感覺白

的感受方式，因為白所代表的「不存在」有時

反而比「存在」具有更強烈的存在感。在

0001-0010的十個案例中，我試著從生活經驗

中將白具體化、圍繞在白的四周，藉此找出白

誕生於美學和空間意識中，那份簡潔和純粹的

原點。

2

1

3

4

5

6 7

1 title

2 3D cube

3 exploded drawing

4 context

5 sensory image

6 study model

7 concept image

Chapter 1 | Back to White

0001 |

NAME

Mirror House

PROPERTIES

The sense of sight is unreliable in this

house. Sometimes, natural scene sneaks

into the house over windows from time to time, but no one can really touch it. People's

images are reflected in this space again and

again, the same character has been spread

out on the mirrors. Only people themselves

can judge the real themselves.

FUNCTIONS

A service core which is covered by mirrors.

Four corners of house which are covered by

mirrors. Four vertical transparent glass

windows on four sides of the façade.

USER

Person who trusts “seeing is believing” and

always relies on the sense of sight.

鏡子屋

視覺在這個空間中是不可靠的。自然的光景偶

爾從窗外透露，卻無法觸及。自身的影像一再

反射於四周鏡面上，相同的角色在空間中被鏡

子展開，只有自己能夠判斷地出唯一真實的自

己。

空間中具有一個被鏡子完全包覆的服務核、被

鏡子完全包覆的四角以及在四個立面上的垂直

透明玻璃窗。

使用者是眼見為憑並且仰賴視覺的人。 concept image/ Citizen Kane, Orson welles, 1941concept model

third floor perspective

exploded drawing

mirror

transparent glass

service core

010 | 011

0002 |

NAME

Pinhole Camera House

PROPERTIES

Person who doesn't realize the secret of the

house can't get his integral reflection by

standing in front of all frames. On a specific

perspective point, the distant scene has

been refracted in the minimum window of

the frame and collected together to be a

picture on another side of the house. Every

movement has been inclusive in this tiny

window secretly.

FUNCTIONS

The house is constructed by four mirror

frames which arranged accordingly by the

windows’ size. The minimum window of the

frame is higher than the person who has

been peeped.

USER

A peeper and the people who have been

peeped.

針孔相機屋

不知情的人在層層鏡面框子前怎麼樣也無法照

映出自己完整的影像。透過特定的透視點，遠

方的影像被鏡子折射匯聚至房屋另一側的窗口

成像，對面的一舉一動都被偷偷包容在這小小

的框景之中了。

空間由四層鏡面框子構成，依上頭的窗口尺寸

由大至小排列。最小的窗口遠高於被偷窺者。

使用者是偷窺者及被偷窺者。 concept image/ Rear Window, Alfred Hitchcock, 1954concept model

people who have been peeped peeper

exploded drawing

7m x 7m opening

5m x 5m opening

3m x 3m opening

1m x 1m opening

9m x 9m mirror frame


0003 |

NAME

The Shrine

PROPERTIES

The faith in there without words and idols,

all of sanctities and secrets in the universe

follow the cycle of sunrise and sunset. In

this space, the person can soak in the

spilling sun light from the dormer and

totally avoid any interference, sun light

has been perceived on every inch of the

skin honestly. The prayer there no needs

to doubt, because this is the true faith.

FUNCTIONS

All of façades are black. All of interiors are

empty and white. The entrance and the

dormer on the same axis.

USER

The person who worships the sun.

一個神聖的場所

這兒的信仰沒有文字亦沒有偶像，宇宙的神聖

奧妙就在於太陽每日起落的週期循環間。在這

裡可以完全不被干擾地沐浴於順著天窗而下的

日光之中，光線被誠實地感知於每一吋肌膚之

上。在此地，任何祈禱者都無須懷疑這就是最

真實的信仰。

建築外觀是一個全黑的正立方體。建築內部全

白且空無一物。入口和天窗位於同一軸線上。

使用者是崇拜太陽的人。 concept image/ Silent Light, Carlos Reygadas, 2007concept model

section 1 section 2 section 3

exploded drawing

opacity facade

dormer

entrance

mirror

012 | 013

0004 |

NAME

Lost Memory House

PROPERTIES

The narrow stair connected to the entrance

let the elder wipe up all of the unnecessary

or necessary thoughs to go out. The only

illuminant in the house comes from the

pedant light. Sometimes, the reflection in

the mirror makes the elders bel ieve

someone comes back then beneath the

dusky light . In this space, the elders only

hold their memory, and that's the only thing

can be lost.

FUNCTIONS

The façade of the house is black with a

white narrow stair which is the only way

entering the house. Four sides of the indoor

walls are covered by mirrors. A pedant light

at the center of the ceiling.

USER

A solitary elder.

遺失記憶之屋

入口又窄又陡的階梯讓人打消了所有不必要或

是必要的出門念頭。屋子裡唯一的光源來自天

花板中央的一盞吊燈，昏暗的燈光偶爾在鏡子

中反映出的人影還以為是誰回來了。在這個空

間中，老人僅擁有記憶，也只有記憶尚可被遺

失。

建築外觀是一個全黑的正立方體和一座白色通

往入口的狹窄階梯。室內四面牆壁皆為鏡子。

天花板中央有一盞吊燈。

使用者是獨居老人。 concept image/ Dark City, Alex proyas, 1998concept model

entrance perspective

exploded drawing

white narrow stair

mirror

pedant light


0005 |

NAME

Selfish House

PROPERTIES

They hide their garden in the center of the

house carefully; even the curious children

who courageously step up the stair can't

mouse about the interior. The flourished

green has been spread to every corner. The

only condition is not sharing the green with

strangers, so they also exclude themselves

out of the real nature unexpectedly.

FUNCTIONS

A vertical garden in the center of the house.

A closed stair connects with every floor

directly. Three windows can be used to

detect outside activities.

USER

The selfish people

自私之屋

他們小心翼翼地將花園藏在屋子的中央，連鼓

足勇氣走上樓梯的孩子都無法窺探其一。花園

盎然的綠意盡可能的被延伸到室內的每個角

落，但絕對不能與外人分享，因此他們也誤將

自己封閉在真正的自然之外。

一個位於屋子中央的垂直花園。一座直通各樓

層的封閉樓梯。三個可以窺視戶外活動的窗

子。

使用者是自私的人。 concept image/ The Selfish Giant, Oscar Wilde, 1888

exploded drawing

concept model

1F-3F section1F-3F plan

central garden

closed stair

mirror

dormer

014 | 015

0006 |

NAME

Three Dimensions of A Tree (Wall House-1)

PROPERTIES

The first one is the tree itself. The second

one is the leaf of the tree outstanding the

wall implies seasons in the yard. People

always remember the tree, but not the

house. The third one is the reflection of the

tree extended along the pond in the yard

and walks into the house. It is how the

natural picture ended up on the indoor wall.

FUNCTIONS

A tree higher than the wall. A long wall

higher than adults' average height. The tree,

the pond, and the vertical window on the

house are on the same axis and they are all

parallel with the wall.

USER

The nature observer.

一棵樹的三種向度（圍牆屋之一）

其一是一棵樹的本身。其二是一棵樹高於圍牆

的枝葉暗示著庭院內的季節，人們總認識這一

棵樹，但不認識這一幢房子。其三是一棵樹的

倒影順著庭院中的水池延伸至屋內，這份天光

水色就給這樣掛在牆上了。

一顆高於圍牆的樹。一道略高於成年人身高的

圍牆。樹、水池以及房子立面上的垂直開窗位

於同一軸線上並且平行於圍牆。

使用者是自然觀察家。 concept image/ Washington Monument, 1884concept model

exploded drawing

the third dimension

the second dimension

the first dimension

the long wall

interior perspective


0007 |

NAME

Smell House ( Wall House-2)

PROPERTIES

This is neither a factory, nor an incinerator.

This is a small restaurant without signboard

and which doesn't need to attract customers.

Gourmands follow the aroma to come here;

the smell of fresh meals is its logo, and has

its own path on the city map. The wall can't

construct any obstacle to cut out the

gourmands' way, there is no need to worry

about losing the sense of sight. Only the day

without aroma can claim that “Day off”.

FUNCTIONS

A high chimney connected to the kitchen. A

long wall higher than adults’ average height.

A dining room hided behind the wall.

USER

The gourmands.

氣味之屋（圍牆屋之二）

這不是工廠，也不是焚化爐，這是一間沒有招

牌也無需攬客的小飯館。老饕尋香而來，濃郁

的飯菜味兒是它的正字標記，在地圖上自有一

條它的路徑。圍牆無法構成任何前往的阻礙，

就算看不見也不用擔憂。只有少了氣味的日子

方可宣告＂本日公休＂。

連接廚房的高聳煙囪。一道略高於成年人身高

的圍牆。藏身於圍牆後的用餐空間。

使用者是老饕。 concept image/ Perfume, Tom Tykwer, 2006concept model

perspective

exploded drawing

the long wall

chimney

Being unable to always rely on sight,

ants find their food with the use of

their extraordinary sense of smell. I

try to connect chimney to this idea,

because people are like the urban

ants. We keep forgetting the smell in

our daily lives.

016 | 017

0008 |

NAME

Invisible Bathroom

PROPERTIES

The invisible bathroom only exists in the

moment of being used. In the other time, it is

just a tank in the house. It's an inexistent

bathroom. People can easily look through

the house from one side to the other. The

steam surrounds the space when people

take off their clothes, step into the space,

and turn on the hot water. In this moment,

the bathroom in the center of the house

separates this space into two parts.

FUNCTIONS

The bathroom is a square space with glass

walls which locates in the center of the

house. The skylight on the top of the

bathroom. There is no direction in this

house, and the center of the house is the

bathroom.

USER

The person who enjoys taking a bath.

看不見的澡堂

看不見的澡堂僅存在於被使用的當下，其餘的

時刻它是一只空間中的玻璃缸，它是不存在的

澡堂。一眼就可以從空蕩屋子的一側望向另一

側。唯有在脫衣踏入它並將熱水打開的那時，

蒸氣裊繞，位於屋子中央的澡堂將原本完整的

空間分成了兩邊。

澡堂位於屋子中央的正方型玻璃隔間。天窗位

於浴室正上方。屋子以澡堂為中心，空間無分

前後。

使用者是享受泡澡的人。 concept image/ Blind Light, Antony Gormley, 2007

exploded drawing

concept model

in use

out of use

bathtub

bathroom

skylight

transparent glass


0009 |

NAME

Floating House

PROPERTIES

As the vaguely emerging peak among the

clouds sea, floating house is the floating

island in the metropolis. The transparent

materials of facades itself transform the

heavy and huge building figure look light.

Only the weighty roof still reminds the

building of its own status.

FUNCTIONS

Besides the roof floor, all of facades of the

house are transparent with light color. The

facades of roof floor are opacity with dark

color.

USER

The climber lives in the metropolis.

漂浮之屋

如同雲海中隱約浮現的山頭，漂浮之屋是都市

中的浮島。通透的立面材料讓建築物本來巨大

而沉重的形貌轉而輕盈，只有厚實的屋頂還提

醒著它本來的身分。

屋頂層以外的建築立面是淺色透光的。屋頂層

的立面是深色不透光的。

使用者是都市中的登山客。 concept image/ Sea of clouds, Hyogo, Japanconcept model

A Easily Fogged Up Afternoon

due to the relatively high temperature

at noon.The water vapors more than

it does in the afternoon, and as the

temperature drops, the water vapor

forms fogs. That's the progress of

clouds sea forming.

exploded drawing

ramp

opacity roof

transparent glass

roof floor perspective

018 | 019

0010 |

NAME

Micro City House

PROPERTIES

The elders live on first floor. They follow city

people 's work schedule as their daily

routine, and they watch the hurried people

leisurely at the rush hours. The single

people live on second floor. They go to work

early and go back home late, they are not

only cautious but also polite, but they don't

know their neighbors. The nuclear family

lives on third floor. Dinner time is the

moment they most expect for. Through the

small dormer, they pray and also make a

wish to the shooting stars. This house

concentrates the city's diversity.

FUNCTIONS

The first floor is the barrier free space. The

second floor is the studio for rent. The third

floor is the flat for nuclear family.

USER

Every kind of people lives in city.

都市縮影之屋

一樓的老人隨著人群作息，在每個匆忙的上下

班時刻從容的望著來往的路人。二樓的住戶是

最常見的單身族群，他們早出晚歸，拘謹而有

禮貌，卻誰也不認識誰。三樓的小家庭最期待

晚餐一家人團聚的時刻，透過小小的天窗，他

們祈禱也對星星許願。這棟屋子濃縮了都市的

樣貌。

一樓是無障礙空間。二樓是出租套房。三樓是

小家庭使用。

使用者是都市中各式各樣的人。

The setting of film itself, with its dark room and

straight-forward gaze, reproduces the mirror stage

in which secondary identification occurs, allowing

for the illusory constitution of the subject.

Jean Louis Baudry/ Ideological Effects of the Basic

Cinematographic Apparatuscontact/

public space

top/

sky’s room

天空的房間

model 4+4+1 object

typical/

neighbor’s reflection

鄰居的倒影

ground/

everyone’s garden

共有的花園


The film screen serves as a mirror through which

the spectator can identify himself or herself as a

coherent and omnipotent ego.

Laura Mulvey/ Visual Pleasure and Narrative

mirror/ private space

typical plan

top plan

ground plan

exploded drawing

transparent glass

opacity wall

mirror

skylight

service core

user/ nuclear family

a bed room for the couple.

each husband and wife has their own space.

a flexible room for their future.

user/ single people

two independent rooms to share.

a bathroom to share.

a livingroom to share.

for short term tenancy.

user/ senior living alone

all of the living space in the same floor.

full of sunshine and indoor lighting

the bigger space for aisle

the friendly space for social activities.

020 | 021

THE ROAD |長路 An Ongoing Story Outside the Dike

All of the memories , are like the marshlands that bury the low-lying tombs and the muddled water in the ruins. Although the memories of the world may be destroyed in defiance, we can only hold

fragments of the world's memories, with many instants and incidents that remain.

— À la recherche du temps perdu, Proust

所有的記憶，就像是掩埋低窪墓地的沼澤地，也像是

廢墟裡混濁的水。世界上所有的記憶雖然可以無視破

壞，但是我們卻只能片段持有世界的記憶，只殘留許

多瞬間與事件。

— 追憶似水年華/ 普魯斯特

It can be implied from the primary exposition and the operating procedures 0001-0010 that White is not simply

visional; it is also the feeling of wholeness. On the other hand, White too displays the two differing viewpoints,

“Existence” and “Non-existence”, as white results when we merge all the colors of light together, and also after we

withdraw all colors of pigment. It is the sum of all hues, yet it is colorless. The reason White is discernible from all

the other colors possibly due to how it contains both timeliness and spatiality, like the elimination points on the far

side of the perspective plan, also resembles the blanks in Chinese watercolor paintings. Owning such qualities

enables the ability to arouse the tactile of things itself.

“The Road” intends to explain the process of a complete funeral, lasting from morning to evening in an

architectural space. Injecting the spatial concept of White’s development into the factual environment as a

discussion, with “sunlight, air and water” as the basic requirements when choosing the base, which has to be

intimately related with the three. Situated at northern Taiwan, Shezi Island was selected as the base. It is at the

intersection of the two major rivers of northern Taiwan, the sunlight, clouds, fog and tides all go through a good

many changes during one day.

“The Road” is a funeral pathway that unravels from the outside of the Shezi Island dikes, the funeral itself is

divided into ten chapters, including three main spaces; the plaza on land (02), the crematorium (04, 05), the

platform on the sea (06). The three spaces are linked together by an unbroken ceremonial route, which follows the

slope of the land outside the dikes, merging into the river and back onto land; appearing and disappearing during

the ceremony. The function, or the meaning of the space can also be continually altered and deciphered due to

the identity of the participant and the differentiation of the time process.

Chapter 1 | The Road

022 | 023

09:00AM ATTENDANCE |

section 01-01’ scale: 1/500

Footway on the Cliff

What is death? Is it not there if we do not see it? The dead stops seeing

after closing his eyes, the familiar and the unfamiliar all gather to meet

you for the last time, here.

死亡是什麼？是不是看不見就是不存在？亡者閉上眼不再看，而那些熟識的

不熟識的人，卻為了見你最後一面從不同的地方，在此。

ENVIRONMENT

1 beyond the Shezi island dikes

2 facing the Damshui and Keelung rivers intersection

3 the opposite bank of Damshui river- Wu-gu industrial park

4 the opposite bank of Keelung river- the Guandu mangroves

SUBJECT

1 family members

2 outsiders (those who come from different places and have not met for

a long time)

3 others (those who were active at the base outside the ceremony)

OBJECT

the dikes

the footway leading to the base from the bottom of the dikes

the 6-meter tall trees on both sides of the footway

theobservatory platform

1

2

3

4


section scale: 1/500

01 site plan scale: 1/500

1

2

3

4

5

3

DN

DN

024 | 025


10:00AM PARTING CEREMONY |

Opposite The sky is high, with the warm April breezes. Sunlight splashes on the people coming for the send-off, clear and without a trace, like the words

of mourning. White egrets take flight gracefully from the woods across.

Transparent are the blue skies and the river, light speckle the face of the water, or in some of their eyes.

天高，四月的風很暖和。陽光散落在送行的人們臉上，像是追悼的字句一樣

清晰而不著痕跡。對面的樹林裡一群白鷺翩翩飛起，藍色的天空和河流都很

透明，水面泛起粼粼波光, 或是一些人的眼中吧。

ENVIRONMENT

1 sunny skies

2 the receding tide

SUBJECT

The first round of farewell ceremonies were held in the plaza outside,

those who came to the funeral pays their respects and says goodbye to

the dead.

1 family Members

2 outsiders

OBJECT

the curved path (following the topography from the entrance footway in

encircling the plaza)

the farewell ceremony plaza outside

the monument

entrance to the crematorium

resting space/ entrance to the tower of cremations

1

2

3

4

5



02 plan scale: 1/5001

2

3

4

5

UP

UP

DN

DN

DN

DN

DN

026 | 027


12:00PM INTERVAL |

Chimney I remember the picture of Meursault staying up all night for his mother in

L'Étranger. Everyone in the old people's home hold their own mind's

secrets as going to a meeting impersonally. “The smoke is rising!” cries a

child, pointing high up at the chimney. The murmurs stop suddenly.

我想起異鄉人裏頭莫索為他母親守夜的畫面。安養院裡的每個人懷抱著各自

的心事，事務性的赴會。“冒煙了耶！”高指煙囪的小孩說。唏囌地話語聲

乍止。

ENVIRONMENT

1 noon

2 receding tide

3 mangrove woods

4 the smoking chimney

SUBJECT

The outsiders left the farewell ceremony plaza, going into the space next

to the mangroves to rest. The family uses this time to cremate their dead.

The dusty smoke rising from the cremation chimney is visible in the

resting space, to know in time when it is to meet the family members and

say yet another goodbye to the dead before the sea burial.

1 outsiders

2 the worshippers coming to the tower of cremains

OBJECT

entrance space- the direction facing the chimney

interior resting space- the direction facing the mangrove woods

the basement tower of cremains

half-exterior resting space

1

2

3

4


03 ground floor plan scale: 1/250

1

2

3

4

section scale: 1/250 03 basement plan scale: 1/250

2

028 | 029


12:00PM CREMATION |

The Darkness-1

Brightness cannot be established at this moment, how I wish you are the

one in the stretch of darkness.

光明在這種時刻是不成立的，多希望身處在一片幽暗中的是你。

ENVIRONMENT

1 the receding tide

2 the Damshui river decreases equally 1:37

3 the Damshui river recedes at a mean of 250 cm

SUBJECT

1 family members

2 the helping hands during the cremation

OBJECT

The crematorium is a space completely sealed against natural lighting,

the light comes from a single ray of artificial lighting and from the blazes

of the cremation.

the passage leading to the crematorium is 300 cm wide (The width

needed for one man lifting the coffin from the left and right sides)

the crematorium is situated 200cm below water level (with the lowest

tideline ±0 as a standard), and the interior is 500 cm in height.

1

2




2 1

030 | 031


01:30PM ASHES RETRIEVAL |

The Darkness-2 Through the wan rays of light, I see the particles of dust floating in the air,

thinking how you may be hiding in a corner, peering at the sunlight that shines harshly on you like a spotlight.

透過微弱的光線, 看見懸浮在空氣中的塵霧。我想你或許正躲在哪個角落，窺

看聚光燈般的陽光正刺眼的照亮著你。

ENVIRONMENT

1 the rising tide

2 more light penetrates the water when it’s closer to the face of the water

3 fogging up

SUBJECT

1 family members

2 the helpers that assist the ashes retrieval process

OBJECT

the only light in the space comes from the skylight in the middle

the ashes retrieval space is situated under the water level at 400cm

(with the lowest tideline ±0 as a standard)

the ashes retrieval table is placed at the center of the space and facing

the skylight above

the passage leading to the river level platform has a width of 150cm

(enough for two people to walk side by side) a height of 300cm

This is a passage that leads from darkness into brightness. (From below

the river to land) The closer to the face of the water the more light shines

through the window above the passage.

1

2

3




1

3

2

032 | 033


02:00PM FAREWELL TO THE DECEASED |

FogAll of the memories are damp. Amid the last good-byes, someone asks in

a low tone “Is it the smoke from earlier?” “No”, I say, “Fog rises from Shezi

Island after noon, smoke drifts upward, while fog sinks.”

所有的記憶都是潮濕的。最後的送別中, 有人低聲輕問“是剛剛的煙嗎？”

“不是” 我說，“午後的社子島會起霧, 煙是往上飄的, 而霧會往下沉。”

ENVIRONMENT

1 the rising tide

2 fogging up

SUBJECT

1 family members

2 outsiders

OBJECT

The footway and the river level platform is open for use during 11:00am-

03:00pm (when it is above water level), it is a footway with timeliness.

After the family departs for the sea burial, the others who came to say

farewell must return to land by 03:00pm.

the footway that links together land and the platform, the passage

beneath the footway that leads to the crematorium

the passage that leads from the bone-picking space to the platform

the river-level platform

the yacht boarding platform

the staircase facing the chimney extends to below river level

1

2

3

4

5


B-B’ section scale: 1/500

A-A’ section scale: 1/500

06 site plan scale: 1/500

5

3

1

4

2

034 | 035


03:00PM BACKHAUL |

Rising TideThe river ushers everyone on their way home. Only to know the footway is

sinking and bobbing as we turn back once more. It would be impossible to

return…

河流催促著大家回去的路。再度轉身, 方才的棧道已經半浮半沉，想再過去已

經是不可能的了…

ENVIRONMENT

1 rising tide

SUBJECT

1 those who came to the send-off but not the sea burial

2 others

OBJECT

the footway (gradually disappearing due to the rising tide)1


connection between passageway/ footway and tide diagram of passageway/ footway and tide

03:00PM

04:00PM

Height of Passageway/ Footway on the Cliff: 250cm

Time Height of Tide Height of Footway

Attendance

PartingCeremony

Cremation/Ashes Retrieval

Farewell-1

Sea-burial

Farewell-2

Return Home

5:00PM

036 | 037


03:00PM SEA BURIAL |

Before, AfterFaraway, the chimney, woods and the footway, start linking together the

previous and the after, also all time that is correlated. I felt the time lost

behind me waiting there, the future ahead closing in gradually.

遠遠的, 煙囪、樹林、棧道，開始重新連起前後、所有相關的時間。我感受到

身後逝去的時間等待在那裏，眼前的未來正逐漸逼近。

ENVIRONMENT

1 rising tide

2 mist condenses- the skyline abates

SUBJECT

1 family members

out to sea---sea burial---return

OBJECT

a yacht seating 7: length 550cm/ width 230cm/ draft of 50cm

pier-1 the Damshui river side: to

the anchoring platform

pier-2 the Keelung river side: fro

1

2

3

4


site plan scale: 1/2000

2

3

4

038 | 039


04:30PM FAREWELL TO THE LIVING |

Scattered

The road that was so unusually expanded by silence this morning, has

been severed into countless scattered pieces “Something very much like reality is actually blended in the world of endless pasts, also some kind of an omen in the far future, a cross-point in the future with feelings of

yearning.” Moriyama Daidō once said in his book.

早上因為沉默而異常擴大的那條道路，已經被截成無數零碎的片段。“很像是

現實的東西，其實是融在無盡過去的世界，也是遙遠處未來的某種預兆，隨

著懷念之情與未來的交叉點。”森山大道曾在書中這麼說過。

ENVIRONMENT

1 rising tide

SUBJECT

1 the farewell-bidders returning to land

2 others

3 family members who had participated in the sea burial

OBJECT

the space above the river level

the space below the river level

1

2


site plan scale: 1/2000

2 1

040 | 041


06:00PM RETURN HOME |

DikeLiving along Mother Nature is surely something to rejoice in. You shall sleep in eternal slumber, forever being missed by the sun, wind, flowing

waters and many people. A dear one departs, enabling me to face the world.

順著大自然生活，本來就是值得喜悅的事情。你將從此長眠，永遠伴隨著陽

光、風和流水，以及許多人的懷念。親愛的人離開，讓我面對世界。

ENVIRONMENT

1 the sky darkens

2 the tide starts to recede after the flood tide

3 the opposite bank of the Damshui river: Wugu industrial park- light

4 the opposite bank of Keelung river: the Guandu mangroves- darkness

SUBJECT

1 family members

2 outsiders

3 others

OBJECT

the dikes

the footway leading to the base from the bottom of the dikes

the 6-meter tall trees on both sides of the footway

1

2

3



1

2

3

10 site plan: 1/500

Chapter 1 | The Road 042 | 043

REVIEW |


044 | 045

CHAPTER 2PROJECTS DESIGN2005 - 2009

What was has always been,What is has always been,

What will be has always been.

— Louis I. Kahn

Another Place/ Atony Gormley in 1997

According to Antony Gormley, Another Place harnesses the ebb and flow of the tide to

explore man's relationship with nature. He explains: The seaside is a good place to do

this. Here time is tested by tide, architecture by the elements and the prevalence of sky

seems to question the earth's substance. In this work human life is tested against

planetary time. This sculpture exposes to light and time the nakedness of a particular

and peculiar body. It is no hero, no ideal, just the industrially reproduced body of a

middle-aged man trying to remain standing and trying to breathe, facing a horizon busy

with ships moving materials and manufactured things around the planet.

.

What was has always been,What is has always been,

What will be has always been.

— Louis I. Kahn

RAMBLE |A Walk in the Building

This project will serve as a proposal for how to manage some

of the competing interests of Development, Historical

Preservation, Environmental Education and Open Space

Management on the Old Campbell Barn Site on west campus

of UCSB. It will provide a new learning and exhibiting space,

as well as a rest place for public.

I tends to make good use of spaces to solve the limits of the

four directions where sunshine and wind come from, and to

get great light and the southwest prevailing breezes in order

to save the energy; also to provide an environment for people

to take a RAMBLE.

site plan

SPACE ALLOCATION

The building will be divided into two pieces. The building will

be higher on the north side to fight off winter storm winds, and

the south side will be lower to provide more comfortable

sunshine. Prevailing breeze will enter into the building via the

central outdoor platform (the green areas in the sections

above the words ) , providing a nice and cool outdoor area.

isometric

Chapter 2 | Ramble

2

3

6

1

4

8

7

11 12

9 910

basement plan second floor plan third floor plan roof plan

SOUTH

To provide good natural lighting for the viewing of the

barn, it will use large sized glass windows. A horizontal

concrete wall in the room will reserve heat to provide

warmness at night.

WEST

To avoid the straight sunshine in the afternoon, a

concrete wall will be constructed here to block the

sunshine. Wind and sunshine will come through into

the building from the openings on the side.

NORTH

Due to winter storm wind, the north side will be all

concrete wall without any openings.

EAST

The east will also face the storm winds in the winter,

but as a result of the distance between the south and

the north is long, in order to give the crowds

conveniences to pass, the outdoor hallway will be

hidden inside the wall, avoiding the wind blow directly.

1 lobby

2 display space (I)

3 gift shop

7 lab (adults)

8 lab prep room

9 library

4 display space (II)

6 classroom (adults)

5 faculty offices

10 administration

11 classroom (kids)

12 lab (kids)

13 lecture hall

10

4 13

050 | 051

TRANSFORMATION VILLAGE |About Global Warming and Tuvalu

Tuvalu will be the first nation to be wiped out by

global warming, and it’s also one of the places on

the earth that is most vulnerable to the affects of

global warming. The threat of sea level rise may

bring complete disaster to the 10,000 Tuvaluans

residing on nine extremely low-lying coral atolls.

2001, as west governments debate the fate of

the Kyoto protocol, citizens of the tiny south

Pacific nation of Tuvalu have asked Australia

and New Zea, and to provide them with shelter

when their country becomes uninhabitable as a

result of rising sea levels.

Those were the days, I spent, I hated, I dreamed, I missed, I

loved...I can’t live it again.

My friend Lilo.

Site

site location

Global Warming And Sea Level

Tuvalu is fu l l o f ho les and

seawater is coming through

t h e s e , f l o o d i n g a r e a s t h a t

weren't normally flooded 10 or 15

years ago. There are projections

of about 50 years (before the

islands disappear.) After this,

Tuvalu will be drowned.

.

before 1850

1850－2000

after 2050

site plan

PUBLIC

OCEANINTERTIDAL

communityhall

public space housing

LAND

MUTUAL PRIVATE (HOUSING UNIT)

CHARACTEROF SPACE

churchmarketschool

hotelpark exhibition

work shopfield /farmstoreplaza /pool

living roombathroomkitchenbedroom

CONNECTIONS

CONTENTSOF SPACE

Chapter 2 | Transformation Village

I Live on this planet This country on this blue planet is where I live.

This is my house. Next year it will be my fish tank!

I used to have a beach as my front yard,now I have an

ocean!

And fishing boats.

My neighborsKalani, Aloha, and Kepeli, they always

tattletale!

And my neighbors soak in the water?!

But our situation has not been better...

So...we have to move. I don’t like to take pictures, but dad says it’s the last time

we can take picture here.

2

13

4

1

6

5

7

1 dock

2 gathering

space

3 work shop

4 field

5 plaza /pool

6 store

7 farm

community hall ground floor plan

20

00

20

50

21

00

052 | 053

15x15 SKIN DIVISION |Computer Aided Architectural Design

transformation rotate 90°original form transformation rotate 180° transformation rotate 180°

This project is a practice of computer aided

architectural design. I chose to study cloth

contextures as my model to fulfil in a pavilion

space in the end of the design.

The first step in this project is using Rhino to

build up a 3D curve to imitate a real fabric’s

diversification in different rotating levels in

order to run a set of principle for the next step

to study the possibility to transform the curve

to be an available pavilion space.

Chapter 2 | 15x15 Skin Division

During this process, I divide the 15mx15m site into 6 parts,

and modify the design according to the actual space then. The

site is located between Taipei Fine Arts Museum and Taipei

Artistic Park. In the design, I hope to connect both, instead of

separating them. That's the reason why people can enter and

exit pavilion easily on four dimensions. On the other side, the

exhibition space of skin is upward slowly, so the skin provides

another possibilities of the route on vertical dimension.

The exhibition court is composed of six space, gradually

opened from the center to the outside. The outdoor space

completely opened and connected to the landscape.

transformation 1 transformation 2 transformation 3

transformation 4 transformation 5 transformation 6

exhibition space semi-outdoor shelter outdoor space route

TAIPEI FINE ARTS

MUSEUM

TAIPEI ARTISTIC PARK

site plan

054 | 055

CHAPTER 3OTHER WORKS2010 - 2012

This web of time - the strands of which approach

one another, bifurcate, intersect or ignore each other

through the centuries - embraces every possibility.

— Jorge Luis Borges

Working experiencefrom 2007 to 2011

Invisible Labyrinth/ Jeppe Hein in 2005

The work is an imaginary labyrinth without physical walls directing the movement of the visitors.

Instead, the maze structure is organized by infrared signals. In a big space, a fixed number of

infrared emitters are mounted to the ceiling at equal distance to each other, forming a grid

pattern. Each emitter can be switched on and off separately via a control board, allowing the

creation of a new maze structure every day. At the entrance, the visitor finds a board with

printed diagrams of the different pre-programmed labyrinths performed on different days during

the week, and attached infrared sensor headsets, which react with a vibrating alarm when an

infrared signal, equivalent to an invisible wall, is received. The visitor thus combines the visual

information with the technologically produced invisible leads, recreating the labyrinth in his

imagination. The invisible labyrinth is a new form of architecture or sculpture, since it is no

longer a visible or physical tangible object, but a work of the imagination and thus only becomes

a sculpture through the interactivity and psychology of the viewer.

This web of time - the strands of which approach

one another, bifurcate, intersect or ignore each other

through the centuries - embraces every possibility.

— Jorge Luis Borges

WORKING EXPERIENCE |

1 City Zen Garden International Workshop

2006/02

2 Cross Straits Youth Exchange Program

2007/07

3 River Body International Workshop

2007/10

4 River Housing International Workshop

2008/03

5 BIM International Workshop

2009/04

1

3

2 4

5

Chapter 3 | Working Experience

1 YungChi Associates & Engineering Consultants inc. / Taipei, Taiwan

2007/01 - 2012/01 Internship

2 Y.C. Liao Architects & Associates/ Taipei, Taiwan

2007/08 - 2007/09 Internship

3 Bio Architecture Formosana / Taipei, Taiwan

2007/11 - 2007/11 Internship

4 C.P. Hsueh Architects/ Taipei, Taiwan

2010/05 - 2010/12 Internship

5 Fei & Cheng Associates/ Taipei, Taiwan

2011/03 - 2011/10 Designer, Competition Team Member

1

2

3

4 5

060 | 061

SELECTED ART WORKS |

1 The Most Shining Picture/ Taiwan

Exhibited at Expo 2010 Shanghai China, First Place

Chapter 3 | Selected Art Works

1 Sketch of Hobe Fort in Taiwan

2 The Transformation of Space

3 My Sketchbook

4 Ink Painting of Intertidal Zones

1 2 3 4

062 | 063

EPILOGUE |

64 | Epilogue

CHIA-YU LIU

ADDRESS4F.-2, No.33, Sec. 2, Roosevelt Rd.Da’an Dist. Taipei, Taiwan, 106

PHONE(+886)920348305

[email protected]

EDUCATION

TamKang University, Department of Architecture/ Taipei, Taiwan

2005/09 - 2010/06 Bachelor of Architecture

AWARDS AND HONORS

“The Most Shining Picture” exhibited at Expo 2010/ Shanghai China

2009 Taipei World Design Contest First Place

Outstanding Graduation Designing, Department of Arch/ TamKang University

2010/05 First Place

INTERNATIONAL WORKSHOP

City Zen Garden International Workshop

2006/02

Cross Straits Youth Exchange Program

2007/07

River Body International Workshop

2007/10

River Housing International Workshop

2008/03

BIM International Workshop

2009/04

PROFESSIONAL EXPERIENCE

YungChi Associates & Engineering Consultants inc. / Taipei, Taiwan

2007/01 - 2012/01 Internship

Y.C. Liao Architects & Associates/ Taipei, Taiwan

2007/08 - 2007/09 Internship

Bio Architecture Formosana / Taipei, Taiwan

2007/11 - 2007/11 Internship

C.P. Hsueh Architects/ Taipei, Taiwan

2010/05 - 2010/12 Internship

Fei & Cheng Associates/ Taipei, Taiwan

2011/03 - 2011/10 Designer, Competition Team Member

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