2016 Architecture Design Portfolio selected work 2014-2016

20 16 ARCHITECTURE DESIGN PORTFOLIO SELECTED WORKS (2014-2016)

A TO Z THIS BOOK IS ABOUT MY ARCHITECTURE WORKS THROUGHOUT UNIVERSITY AND SELF STUDIES. COULD ALSO BE SEEN AS SOUL SEARCHING. IT IS JUST THE BEGINNING.

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FANG, PO-HSIANG

ARCHITECTURE DESIGN PORTFOLIO SELECTED WORKS (2014-2016)

Fang, Po-Hsiang Architecture Designer

Name E-mail

方柏翔 Balther Fang baltherfang@hotmail.com

PERSONAL STATEMENT

.............................................................................................................................................................

Hi, I am Fang, Po-Hsiang, 22 years old. Just graduated from National Taiwan University of Science and Technology. I have full enthusiasm toward architecture practice and passionate to learn more and to design more.

Beyond school design studios, I devoted myself in school clubs to learn leadership and being a better team player. Also interned in few architecture firms to integrate my studies and found improvements. I am an optimistic, friendly, forward-thinking person and eager to be professional in both architecture and languages. Moreover, I love challenges and could work well under pressure.

I believe AYDesign could provide the right environment to show my passion and to challenge myself. Go further down to see why I am the man you need to hire!

DESIGN PROFICIENCY

..............................................................................................

01 Modeling Softwares

04 Others

Autodesk Revit

Autodesk Ecotech

Sketchup

Adobe Lightroom

Rhino

Office Suite

02 Render & Motion Softwares Vray Artlantis Twinmotion

03 Graphic Software Autodesk AutoCAD Adobe Photoshop Adobe Illustrator Adobe Indesign

LANGUAGE SKILLS

..............................................................................................

Mandarin Native

ENGLISH Advanced level

TOEIC Listening & Reading

865/990 (2013)

TOEIC Writing & Speaking 135/200 (2013)

Fang, Po-Hsiang © 2016.

EDUCATION

.............................................................................................................................................................

From 2012 to 2016.

B.A. Architecture.

National Taiwan University of Science and Technology. (Taiwan) From September 2014 to June 2015.

Exchange Program.

California State Polytechnic University, Pomona. (America)

WORK EXPERIENCE

.............................................................................................................................................................

From July 2015 to September 2015.

Intern.

Fieldevo Design Studio. (Taiwan) Fieldevo design studio is a start-up architecture practice with approximately 5 designers.

Within this internship, I helped with an international competition, GARS-NEPAL.TIBET Earthquake Emergency, and got third prize. Also associated with few projects for preliminary studies and design.

From January 2016 to February 2016.

Intern.

Liren Hsiao Architect and Associates. (Taiwan) Lireb Hsiao Architect and Associates focusing their works on govermental civil projects and real estate companies’residential buildings. I gained further practical knowledge through out design, planning, and construction management.

OTHER EXPERIENCE

.............................................................................................................................................................

From 2013 to 2014.

President.

International Friendship Ambassador, NTUST. From 2013 to 2014.

Minister of Public Relations.

Department of Architecture, NTUST. From 2015 to 2016.

Vice-President.

NTUST 2016 Architecture Graduation Exhibition Steering Committee.

Professional ceremony host and emcee. (Mandarin/ English)

RECOGNITIONS

.............................................................................................................................................................

2015 Winter Interim: Selected Projects of the Quarter.

California State Polytechnic University, Pomona. (America) Graduation Class 2016 Representative National Taiwan University of Science and Technology. (Taiwan) Fang, Po-Hsiang Š 2016.

FANG, PO-HSIANG

ARCHITECTURE DESIGN PORTFOLIO SELECTED WORKS (2014-2016)

2014 - 2016 SELECTED WORKS

01 RESUME

04 TABLE OF CONTENTS

24 Pasadena Multi-family Residential

06

16

Metropolis Enclave: Taichung First Plaza Redefine

Duality of Places: The Spiritual and the Ordinary

06

07

O’neill Conservancy Observation Facility

Tamsui Tourist and Cultural Center

(YAC Lighthouse Competition)

05

“Metropolis Enclave” Taichung First Plaza Redefine Thesis Design Project

l Tutor l Year l Site

l Hsiao, Li-Ren l 2015-2016 l Taichung, Taiwan

過 時 的 城 市 OUTDATED URBANSIM

台中中區是台中市都市紋理發展的核心，70年代是中台灣商 業與生活娛樂發展之核心地區，方塊狀的街區設計，大量混雜的 日式舊住宅與現代主義式綜合大樓林立。

經過數十年載的光陰，商業區轉移，都心老化，閒置下來的 建築形成都市的缺口，主要使用族群轉換成為中台灣東南亞族群 聚集地，但這樣的改變卻沒有反映在都市空間組態上，單調且老 舊的綜合大樓成為一座座孤島，而這樣死寂的氣氛也間接枯竭了 區域新興的社會凝聚力的可能性，縱然這樣多元的族群已在中區 活動數年，但族群卻沒有形成自治的民族區落與文化。

07

基

地

分

SITE ANALYSIS

析

閒

商 家

置

轉 型

語言文字 LANGUAGE

服飾裝扮 FASHION

飲食味道 TASTE

遷

商品物件

FESTIVAL

鑲

移

嵌

定

EMBED

D I A P OR A

PRODUCT

節慶活動

由資本主義不均地理發展促動跨 國移工流動進入台灣社會，其族群於 城市中發現縫隙，運用低價的地段或 被排擠的邊緣空間中求生存。

著 FIX

東南亞華人和婚姻移民在這些族 裔化地方裡扮演的中介角色，提供移 工所需之購物消費和兌匯需求，台灣 人對此區域感到排斥而移出。

異質族群在地鑲嵌而形成特殊空 間定著的現象，是現在台灣各都市空 間變貌的議題，增添台灣城市景觀的 多元成分，促動了街區和店家尺度上 ，多重劃界和跨界的空間政治。

族 裔 化 地 域 鑲 嵌 過 程 ENCLAVE LOCALLY EMBEDDING PROCESS

不同群體和活動互相競逐空間和資源建立疆域 和邊界，移工族群於此地域流動不定的過渡，華人 商人與婚姻移民定著此地形同之於橋梁般的中介者 ，一來一往、時日轉換，此邊界如同心臟，隨著活 動擴張與收縮間中求生存。

介

入

曖

INTERVENTION

昧

共

BO UN D A RY

中區社群與再生基地透過文史調 查與社區營早長期進駐中區，以點狀 之方式逐漸轉化中區。

榮

FUTURE

早期由人群互動動態所構築的隱 形邊界在區域共生關係與居民互享後 ，逐漸變得模糊且不穩定，族群互動 的更加平凡。

未來的台灣，新移民、移工、跨 國通婚、新移民二代在台灣的比例會 急遽的增加，更成為台灣未來新的主 人翁，期望第一廣場可以誠為新的中 介角色，促進文化更激烈的互動交流 。

不 透 明 之 文 化 OPAQUE CULTURES

台中中區多元文化的機能都被單調的立面與規矩的建築 量體給遮蔽，為團結不同社會和文化背景的人，並透露以自我為 中心的文化給外人，多樣化的文化活動需要取出統一的門面背後 之密閉空間中。 為使不同的文化體於空間中體現，必須將視覺穿透，並在這 向所有人開放型塑有形的界域，而這些展現出的社群活動可以誘 發，並令他者加入亦或理解文化的價值。

綜合大樓每一樓層都存 在不同的機能並以電梯間連接， 樓層單獨存在，早期以商業目的 規劃，無公共空間設計，故無法 於建築內部產生族群凝聚力，因 此第一步是打破樓層分層的概念 ，並以集體(Collective)的方式重 新整理空間。

新的機能於建築塊體中 以球型介入，並坐落於空間不同 的樓層中，交集後在原有建物內 形成虛 (Void)的空間，同時這一 系列新介入的虛空間成為實體的 活動核心，嘗試創造一個文化可 以共同顯現的共有領域。

09

原舊有的樓層反觀意象 上活動的實體，轉化為輔助這些 核心的虛體空間，如同細胞液的 介質串聯核心空間，同時部分挖 空形成垂直公園。

壹樓平面圖 1 s t F LO O R P L A N S : 1/ 2 0 0

B-B’ 剖透圖 B - B’ S E CTI O N P E R S P E CTIVE

C- C’ 剖透圖

C - C’ S E CTI O N P E R S P E CTIVE

11

f.

分 層 文 化 機 能 STRATIFIED CULTURAL PROGRAM

如同台中中區這般多元文化社 區，可根據其組成將機能分為三個層 d.

次。 第一層為大眾且非以文化主導的 樓層，如市場、銀行、電訊行；而第

e.

二層是將族群或文化歸類為一整體， 教堂或清真寺這般凝聚性高的空間； 到第三層則聚焦到相較私密的群體活 動空間。

b.

c.

b. c.

b.

a. 匯集廣場 b. 異國美食區 c. 商店街 d. 宗教展演空間 e. 清真寺 f. 東南亞文化圖書區

a.

13

綠帶串聯內外廣場

創造匯集核心

破除樓層分化

15

“Duality of Places” The Spiritual and the Ordinary YAC Lighthouse Competition

l Teammates

l Year l Site

l Shyu Leh Willy Chang Tim Lee l 2016 l Italy

A lighthouse embodies the spirit of adventure, the thirst for unfamiliar places, and the awe for wonder and mystery. If we uphold the truth of architecture as a reflection of culture, then the architecture of the lighthouse itself exists as a representation and manifestation of these values. The symbolism of the lighthouse exceeds the rational and functional reasons of its existence. Impacted by its rich history, the site, including the lighthouse, contains significant symbolic strength that cannot be easily pushed aside and forgotten. The lighthouse endures as a monument to the area.

17

a.

b.

c.

f.

d.

a. Entry Corridor b. Information Center c. Hotel d. Infinity Pool e. Ocean View Restaurant f. Visitor and Educational Center

The lighthouse is undoubtable monumental

e.

Aldo Rossi believed that monument has the potential to persist through time. A different era can give new meaning to an old monument. Echoing Alois Riegl’s theory of intentional monument, monumentalizing a certain object connects people to important historic and spiritual ideas that have been forgotten over time.

We propose to reestablish the lighthouse as a symbolic monument, making it the focus of the site and connecting it with the new architecture through a plaza with an asymmetric axis. We are not treating the lighthouse as a lone standing memorial, but as an anchor point to the site. The slightly shifted center line creates tension between the new plaza and the lighthouse. Along the axis, the lighthouse and the ocean will be framed, emphasizing the presence of light house as well as the characteristics of the site. A similar analogy can be drawn to the Piazza del Campo in Siena and Piazza Navona in Rome, where the tower is shifted from the center. This idea continued with the two circular paths concentrated around the lighthouse, yet not the physical center of the composition.

We wanted to maintain the importance of the environment. A circular path with larger radius encourages people to explore the panoramic views of the site as a way to understand the relationship with the ocean and nature.

The project responds to the contradiction Rossi mentioned in his book The Architecture of the City through acknowledging the tension between the existing conditions and the built environment. In the relationship of all the components, the lighthouse, the environment, and the hotel program, we clearly observe concepts such as universal vs. unique, personal vs. collective, public vs. private and eternal vs. monumental. This proposal is our attempt to respond to the duality of the program: spiritual and ordinary. We stepped back our architecture from the spiritual and instead designed the ordinary. The empty spaces would naturally embody the spiritual essence of the surroundings.

19

The Ring Visitors will enter the site through an enclosed dented circular corridor; only through an occasional peek of aperture can they see the lighthouse.

For the most part, the experience is focused on the surrounding ocean with an anticipation of the lighthouse. Before entering the plaza, the information center is an adaptive reuse of the ruins of an existing building shell. Two boxes are inserted in to the shell as reception and office while another space is converted to an open court framing the ocean through the original doorway.

The Hotel Contrasting from the collective emotion from the plaza, the hotel room organization highlights the importance of each individual function to create a very personal experience. Architectural form is created as a conglomeration of each individual room. The part to whole relationship reinforces the analogy to a place of collective experiences.

21

The Visitor Center and Restaurant The visitor center and restaurant are located by the cliff’s edge.

There is nothing comparable to a panoramic view of the ocean. Our design took the form of a simple glass box with a roof overhang. A platform extends outdoors, providing an opportunity to engage with nature by dining outside. The simplicity of an open plan allows for a variety of possible activities. The restaurant space can easily be rearranged into a conference room, wedding hall dance floor, etc. The visitor center will also be a flexible open plan that can accommodate programs for reception as well as education in both ecology and entertainment. Changing room, restroom and kitchen will be adjacent to supplement the program space.

The Tower and Dock The vertical circulation to the sea level is located on the opposite side of the cliff by a tower structure. The inside of the tower is again a pure space with framed views of the surroundings as visitor progresses downward. At the bottom of the tower is a waiting room that can also function as an instructional space for the staff. A floating dock where boats and water sports equipment can dock

23

“Diagnal Cube�

Pasadena Multi-family Residential l Tutor l Year l Site

l Marta Perlas. l 2015 Spring. l Pasadena, America

25

27

Type B 2 Bedroom Unit

Type A 2 Bedroom Unit

Cross Section a-a’

North Elevation

1.

2

Work-live Unit

Section b-b’

West Elevation 29

3

“Forest Playground” O’NEILL CONSERVANCY OBSERVATION FACILITY l Tutor l Year l Site

l Marc Schulitz l 2014 Fall. l Orange County, America

31

The path

At O’neill conservancy, every spots is connected by the path. You will see different sceneries by following the up and down of it. Also while walking through the forest, the woods separate the views that you can see. It will give the observers a strong curiosity that wanted to look into the woods. As an inspiration, the specimen collections can be display in neither different way nor putting in a room. Combine with the route circle the facility, those collections can be display like museum or art gallery. After seeing the collections, the path leads the observer into the wood to see, to hear, and to touch the real forest. It got several advantages such as people will not miss the collection while visiting the facility and design a series of playful attractions on this facility.

mo

m

w

ou

vie

nt ai n

vi

ew

in ta un

e

rout

to en

vi ew

p to

me ad ow

way to m eadow top

t ra n ce

N

The skyline In order to iron the facility into the surrounding environment, my methods is let the form of the facility follow by the surrounding skyline, show in the previous page. I simplify the organic forest skyline into two simple slope shapes. These two slopes also focus on two opposite orientations. First, it is the order designed for observers to experience, the meadow and the forest. Second, as two slope wall on each direction they frames the scenery while observers looking out. With these design, it makes the observation platforms got a different roles in this facility.

Step 01 Size the building rectangular mess.

as

a

Step 02

Step 03

Step 04

One orientation open view to let observers to monitor the whole field. The other keeps a distance to observe the native spices.

Put in the program and elevated private part to separate from public space.

Flatten both side observation platform linked with Corridor.

觀 Observation Platform Plan

as and

ENTERANCE

Ground Floor Plan

North Elevation

33

Wall Section Detail

14.

Glass Handrail

13.

6.

2”x4” Wood Deck Wood Shingle Siding

12.

2”x10” Wood Roof Frame

11.

Wood Staircase

10.

9.

8.

7.

6.

Aluminum Window 6” Wood Frame Wall Staff Wardrobe Specimen Collection Cabinet Wood Shingle Siding

14

13

6

12

11

6

7

5.

4.

2” Plywood Floor 2”x4“ Floor Deck

3.

2”x10” Wood Floor Frame

2.

1.

4”x4” Wood Column 4’-0”x4’-0” Concrete Footing

Exploded

9

8

4

10

5

Axonometric

Design and Detail Models 35

Special Thanks to,

........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................ ........................................................

Lin, Bo-Yang.

Schulitz, Marc.

Perlas, Marta.

Wu, Hofu.

Hsiao, Li-Ren. My Parents. and All Others Whom Support Me Along the Path.