prologue A little story about the cover and main idea of my protfolio.
D'où venons-nous ? Que sommes-nous ? Où allons-nous ?
where are we from? who are we? where are we going? This sentence comes from a painting by Gauguin, who asked a big question across the past, present, and future with three simple interrogative sentences. I r e - e x p r e s s e d t h e b i g q u e s t i o n r a i s e d b y G a u g u i n i n m y w a y. The sturdy stone man carried the earth with difficulty, straddling the stride with weight. The earth symbolizes our history, man is the present, and the pace stepped out is the future. In the past, art, how individuals expressing their thought, are composed of substances such as marble, wood, metal. Using entities to construct and project the question was the old method and what it will be in the digital future? The existence of the entity is the reception of the sight, and the reception of the sight is bounced by the normal of the surface, and each surface is composed of point coordinates ( X, Y, Z), and the coordinates of threedimensional space points are often expressed in corresponding colors (R, B, G) on the two-dimensional plane. In the renderer, I gave up the depth of the space expressed by the shadow and perspective of the model, and marked the problem with the purest three-dimensional point coordinates; then expressed my understanding of these three points with the corresponding two-dimensional plane colors. Construct a new method to ask an old question in this era: where are we from? who are we? where are we going?
Dedicated to J and the countless people who have supported me.
Cat a l a g e 0 2
S UP E R - F L AT No camera eye, no depth, no hierarchy, no inside .you can say there are no human.
0 1
Th e thi rd s p a ce th irding a s o t her though there are a lot of sights on foucs , network , movement, and freedom.
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0 3
Periodic table of e l e m e nt
Manipulating Edward Soja’s theory to creates another choice for Husahan Park and a spaces underneath.
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Using carbon compound as an object to creat a new form of cloth.
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0 4 ?
2020 Countryside in Taiwan
!
Ab ou t m e ; ] JEN I-TIEN National Yang Ming Chiao Tung University Hsinchu, Taiwan Sep.2020-
[Award] - Third prize •2013 CYAR Graduation Design - Award for Excellent
Addressing radical change of countyside through architects's eyes
•2013Cross-Straits Architecture Competition for Graduation Projects
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- Select Project •2013 International Exhibition of Architecture Graduation Design
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- Best styling award •2016 School of Extension Education Shih
Team wo r ks
Chien University Fashion Show - First Prize
- Cool K !d
•2020 NTCU Design Competition - inside out
-H a nd f re e
- First Prize •2021 Wythin Inside the box - Devise a classroom upgrade kit - Short list •20201 Supergarten - Developing a relevant kindergartens of today - Uni's E-Yearbook Series 4 – B (2021-2022) •Invitation for Featuring Cool Kid project
[Experience]
Cool K!d -A New school proposal during the pandemic.
- TFAM X-SITE Project "The Texture
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Hand Free -A device for a person to take off his mask with out using hand during the pandemic.
- GFA Architects & Planners
/2016 - 2017
- The Urbanists Collaborative
/2017 - 2019
& LI LI JU Architects -DIVOOE ZEIN ARCHITECTS
128 [Skill] -Adobe Creative Suite / Autocad
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MS Office / Revit / Rhino / Lumion
Wo r k H i s to r y [Contect] - Tel : + 886 938260867
Synchronic Composing Architect
- Mail : et790507@gmail.com
TUC & LLJ DIVOOE ZEIN ARCHITECTS
136
/2015 - 2016
of Uncertainty'" team members
/2019 - 2020
0 1 TH E TH IR D SPAC E TH IRDIN G AS OTHE R A N OT E H R O PT ION FOR OP P OSIT ION
Under the Taipei Huashan Central Culture Park (the first space), there is an underground tunnel (the second space) lying quietly.Compared with the silent underground tunnel, the upper park is lively and vibrant and both of them did not perceive each other.How to integrate each other's spacital character without losing their subjectivity and creat a different space(the third space). on the premise, I choose Soja's Third Space Theory to manipulate my design.
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ce The Third Spa m es to g et h "e ve ry th in g co iv iit y an d o b je ct er … su b je ct iv nct an d th e co ty , th e ab st ra an d th e im ag cr et e, th e re al nab le an d th e u in ed , th e kn o w d e re p et it iv e an im ag in ab le , th an d al , st ru ct u re th e d if fe re n ti nan d b o d y, co ag en cy , m in d nd th e u n co sc io u sn es s an th e ci p li n ed an d sc io u s, th e d is li fe ar y, ev er yd ay tr an sd is ci p li n h is to ry . " an d u n en d in g
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Chapter i The station before Hausan Central Park
Huashan Cargo Station Construction Project Huashan Cargo Station Construction Project. Showa 11 (1936), Construction and Improvement Ministry of Railways Completed the land acquisition in Huashan. Next year the construction was starting.
A.M.S(Army Map Service), U.S. Army
Huashan Freight Station Aerial Photograph
The antecedent of Huashan Freight Station was Huashan Cargo Station(1937)which included cargo stations, station attached buildings and cargo storage platforms. At that time it was the largest and most wellequipped freight station in Taiwan. After the colonization by Japanese, the ROC-the regime af ter Taiwan Restoration - renamed the station to Huashan Station which was the only cargo transportation station in 1949. In 1986 a new cargo station, Nangang Station, replace the Huashan Station and almost all existing facilities have been demolished. In june 2012, a new urabn plan "Urban Regeneration Advancement Base" redefine this area and here became a recreational Park for citizne in Taipei
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Taipei city Railway Underground Project With the development of Taipei city and the transformation of the logistic system, Huashan Cargo Station was decommissioned, and the railway underground tunnel entrance was built.
Underground tunnel entrance out of service With the completion of the east extension of the north tunnel, the railway underground system in Taipei was almost completed. The original tunnel entrance was abandoned.
The new cargo station in Nangang Huashan Cargo Station was demolished inadvance to facilitate the construction of underground tunnels. The Huashan platform was partially reserved to store the materials for the construction of the tunnel.
Huashan Cargo Station demolition completed
Hausan Central Park
CH A PTER I An unexpected space under the H1937 a us an ce ntral pa r k
1945
1974
1979
1994
2001
2005
2012
Huash a n Tu nnel E n t r a n c e w a s suspen ded du e to the ex tensio n of the un dergro und railwa y, w h i c h has not bee n c o n s id e re d in th e c u r re n t u r ba n p la n n in g ( Hua sh Central Park) an a n d has becom e a fo r gotten space in the city.
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Chapter ii Opposition between first space and second space
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全區配置
置
7
Henri
Lefebvre
Chapter iii Soja & Lefebvre
the third space
The "Third Space" is used
The "Third Space" is not
by Soja to refer to the "first
j u s t t h e c o m b i n a t i o n of
s p a c e" ( p h y s i c a l s p a c e ,
" F i r s t S p a c e" a n d t h e
which recognizes seeing as
" S e c o n d S p a c e" , b u t a
believing) and the "Second
transcendental field that
S p a c e" ( s p i r i t u a l s p a c e ,
encompasses ever ything.
controlled by thoughts and Soja indicated that
concepts).
only by breaking the Beyond duality, "Third Space"
binary
is a dynamic force, called
between abstraction and
Thirding-as-Othering which
concreteness, and materiality
can convert "either/or" into
and imagination, can we
"both/and also".
move towards the "third space"
Edward 8
Soja
opposition
Up and down; noise and silence; center and edge... etc. In order to find a way to perceive the two opposing spaces and to maintain the subjectivity of each other's space atmosphere. I applied Soja's "Third Space Theory" to the opposition, attempting to convert a b s t r a c t c o n c e p t s i n t o s pa t i a l operations
Marginality is chosen by oneself, not defined by others. We still retain our subjectivity.
what can we become and still keep ourselves?
"Third Space" is not real space or position, but critical thinking about "space and position"
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Chapter iv Third space - another option for opposition
First space
Second space
Looking for other options to deal with two opposing spaces (third space) Tearing down part of the tunnel and replacing concrete with other materials, are making the "Second Space"(the gloomy and silent underground tunnel) similar to "First Space". (space where rainfall and sunshine on the ground) Re-examine Soja's Theory. First, second; subject, object; centrality, marginality ... etc. Marginality is chosen by oneself, not defined by others. What can we become and still keep ourselves? "Third Space" is not real space, but critical thinking about "position" In the end, I disposed of the idea of " creating a Third Space" and carried out the following steps.
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First, reveal the tunnel structure on the ground ; then, the ground (First Space) and the tunnel (SecondSpace) are equivalent positions (on the same level)
Demolishing part of the tunnel to separate the tunnel from the
Making the shape of the tunnel entrance appear
entrance ramp.
Bring the ground layer to the bottom of the tunnel with a slow slope, then, the tunnel is hanging in the air. The position of the tunnel (Second Space) remains unchanged, but the ground layer (First Space) is under the tunnel. "Third space" is in the reversal of principal and subordinate
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Second space
First space
The "Third Space" does not refer to space It is questioning and rethinking "position" Reversal of the relationship between subject and object ,and loosened the absoluteness of the two space the tunnel entrance infiltrate by light, air, and water from the opening and begin to change The underground plaza has a different atmosphere from the ground due to the tunnel hanging above it. Both spaces deconstruct and reconstruct each other, without changing the state of the two spaces: light and dark; subject, object; centrality, marginality... etc. The third space is generated 12
13
Past
a After revealing the history to the surface, what will the old station become? I think the answer is media. Nowadays, a large amount of information flows continuously, the old Husahan Station, from a historical perspective, can turn into a media center for information reception, sor ting, a n d d i s s e m i n a t i o n , a n d s pa c e w h e re citizens can communicate and interact with each other through multimedia. The ceiling supported by independent steel columns is like the platform, and the media studios suspended in midair are like trains that are about to leave. The concrete tunnel with the sound of rusty steel clashing from time to time. The floating media trains with flickering signals on the surface. Both of them respond to each other, in the "Third Space".
c d
e
l m n
Future 14
Chapter v The future of Hausan central park
b
f g
h i j k
a. parking lot
d. facility
g. media center
j. sunken plaza
m. light well
b. media studio
e. media studio
h. plaza entrance
k. green hill
n. tunnel entrance
c. community center
f. performance hall
i. mirror stage
l. exhibition office
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16
17
1
Walking along the path and passing through two small ponds, you will find a narrow entrance. After entering your body will slowly follow the ramp and walk to the overhanging part. In the meantime, you can feel that you are gradually leaving the ground park.
2
In the end, you will find that the tunnel entrance was suspended above the sunken plaza. The media studios, supported by independent structures, were constantly flashing and looks like two trains which are about to depart.
Chapter vi
Third space experi a travel guide for t
4 7
5 6
5
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Walk into the tunnel. The antique trains on the old rail move slowly back and forth. You can choose to take a ride or follow the rail to go deeper. There are some performances in the tunnel. Walk along with floor light on the side of the railway into the depths of the tunnel; You will hear the metal crash of the train from the bottom of the rail, and the fleeting red headlights flashed past like a shooting star.
6
At the end of the tunnel, you will see express trains whizzing along with the different rails (Taipei city Railway Underground Project) which is built in 1937. The high-speed train pulls out the red. Wheels hitting the rails sound very similar to the scene of the industrial age. The journey is coming to an end. You enter a small gate and there is an elevator waiting for you.
3
ience travelers
3
2
When you walk to the sunken plaza, you can feel the huge volume of the tunnel. There are performances in the center of the plaza. Follwing the slow curve upwards, walking approaching and away from the tunnel, like an archeologist, but you are still finding how to get into the tunnel.
4
You find out that the entrance of the tunnel is hidden on the side. After entering the tunnel, you discover that the tunnel is covering by moss due to faint light and fresh air. Walk forward and you can see the excited crowd in the plaza and watch the upcoming performance underground.。
1
Travelers, at the end of this journey, I would like to quote a paragraph from Calvino about how Vulcan ( concentration) and Hermes (harmony) oppose and complement each other. It exactly points out the designer's intention, and it can also be an annotation for the experience of the tunnel: "...since his name was not given to one of the seven planets in the skies of the ancients, but still he has been well treated in literature from Homer on. I am speaking of Vulcan-Hephaestus, a god who does not roam the heavens but lurks at the bottom
7
Taking the glass elevator and going up, you gradually see the tunnel, the twisting ramp, the sunken plaza, cheerful people, the shimmering multimedia center, and the narrow way you first entered. On the top of the tower, the cantilevered silver roof of the multimedia center reflects a sharp rectangular sky. The clouds reflect a mercurial scene on the roof like a TV screen contrast quite markedly with the heavy concrete tunnel on the ground.
of craters, shut up in his smithy, where he tirelessly forges objects that are the last word in refinement: jewels and ornaments for the gods and goddesses, weapons, shields, nets, traps. To Mercury's aerial flight, Vulcan replies with his limping gait and the rhythmic beat of his hammer."
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Roof floor
Second floor / Third floor
First floor
Platform
Ground flo
Tower
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Basement First
Basement Second
Basement Third
oor
Basement Forth 21
22
23
24
25
c' a'
a
b
c
26
b'
Section aa'
Section bb'
Section cc'
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28
29
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0 2 SUP ER - F LAT No camera eye, no depth, no hierarchy, no inside .you can say there are no human. though there are a lot of sights on foucs , network , movement, and freedom.
Azuma House, which was designed by Tadao Ando in 1976, vividly expresses the vocabulary of modernism in this small house with only 15 square meters. F o r m f o l l o w s f u n c t i o n , Ta d a o Ando used this extreme house to show the criticality of modernism and the housing issue in that era. Nowadays, to project what residence should be in the future. I chose to stand against Tadao Ando and criticize his criticism work(Azuma House) to describe the living style of the future.
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Azu - TA
ma H
DAO
ous
AN D
e
O
SITE
1
3
2
4
FIRST FLOOR PLAN
6
SITE
5
1
SECOND FLOOR PLAN
1 ENTRANCE 2 COURT 3 LIVING ROOM 4 DINING ROOM 5 SPARE ROOM 6 BEDROOM
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SECTION
PLAN
Three equal proportions Thick concrete walls block external connections Clearity space Strong contrast between light and shadow
SECTION
solid / virtual / solid Flat roof emphasizes modernism Concrete creates a strong contrast between light and dark
SPACTIAL CONSCUIOUS
Square rooms make people who live in the space feel that space and their bodies are two individual things, and people can know the boundary clearly.
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大量的視線。全部對上了焦點。有網路系統。有 運動。然後有「自由」。 《廣告》1999 / 11 / 12
將清水混凝土的材料置換為極 細的鋼材結構，形成喪失厚度 與物質感的牆，網狀的面也瓦 解掉厚實感，網狀重複形成無 差等均質並列感受。
SUPER - FLAT
沒有camera eye。沒有深度。沒有層級構造。沒 有內側。或者說「人類」並不存在。然而，卻有 大量的視線。全部對上了焦點。有網路系統。有 運動。然後有「自由」。
《廣告》1999 / 11 / 12
No camera eye, no depth, no hierarchy, no inside .You
立面以極細之網狀解構覆蓋， 透過開口，外部內部開始相互 將清水混凝土的材料置換為極 滲入彼此肌理，立面、屋頂、 細的鋼材結構，形成喪失厚度 內部牆面樓板皆依相同網狀結 與物質感的牆，網狀的面也瓦 構構成，無法清楚閱讀出建築 解掉厚實感，網狀重複形成無 差等均質並列感受。 結構與構成層級的空間。
can say there are no human. Howerer, there are a lot of sights on foucs , network , movement, and freedom. 沒有camera eye。沒有深度。沒有層級構造。沒 有內側。或者說「人類」並不存在。然而，卻有 大量的視線。全部對上了焦點。有網路系統。有 運動。然後有「自由」。
《廣告》1999 / 11 / 12
沒有camera eye。沒有深度。沒有層級構造。沒 《廣告》1999 / 11 / 12 有內側。或者說「人類」並不存在。然而，卻有 Material 大量的視線。全部對上了焦點。有網路系統。有 運動。然後有「自由」。 沒有camera eye。沒有深度。沒有層級構造。沒
有內側。或者說「人類」並不存在。然而，卻有 The concre t e m a t e/ r11 i a/ l12i s 《廣告》1999 r e p將清水混凝土的材料置換為極 laced with a ver y thin 大量的視線。全部對上了焦點。有網路系統。有 steel structure, forming 細的鋼材結構，形成喪失厚度 運動。然後有「自由」。 mesh a wall that loses its thickness 與物質感的牆，網狀的面也瓦 《廣告》1999 / 11 / 12 and materi ality. The space 解掉厚實感，網狀重複形成無 將清水混凝土的材料置換為極 surround by the mesh surface 細的鋼材結構，形成喪失厚度 差等均質並列感受。 forms a Homogeneous and 與物質感的牆，網狀的面也瓦 undifferentiated feeling.
解掉厚實感，網狀重複形成無 將清水混凝土的材料置換為極 差等均質並列感受。 細的鋼材結構，形成喪失厚度 與物質感的牆，網狀的面也瓦 解掉厚實感，網狀重複形成無 Facade/Exterior 差等均質並列感受。
立面以極細之網狀解構覆蓋， 透過開口，外部內部開始相互 The facade is covered with 滲入彼此肌理，立面、屋頂、 a立面以極細之網狀解構覆蓋， ve r y t hi n m e s h s t r u c tu re . T透過開口，外部內部開始相互 h r內部牆面樓板皆依相同網狀結 ough the openings, the 滲入彼此肌理，立面、屋頂、 ex terior and interior begin to 構構成，無法清楚閱讀出建築 內部牆面樓板皆依相同網狀結 integrate. The roof, wall, and 結構與構成層級的空間。 立面以極細之網狀解構覆蓋， f l構構成，無法清楚閱讀出建築 oor are the same mesh 透過開口，外部內部開始相互 結構與構成層級的空間。 structure. The hierarchy of the 滲入彼此肌理，立面、屋頂、 structure gradually becomes 內部牆面樓板皆依相同網狀結 vague.
立面以極細之網狀解構覆蓋， 等距不斷並置重疊的極細網狀
結構，區隔但不阻斷，形成等 Function/Hierarchy透過開口，外部內部開始相互
滲入彼此肌理，立面、屋頂、 價並列的資訊(日常生活)，隨 內部牆面樓板皆依相同網狀結 著網狀的開口部，不斷地在等 構構成，無法清楚閱讀出建築 The perfectly square room價並列的資訊層級之中流竄。 of 結構與構成層級的空間。
Azuma House is disintegrated 身體在極細接近平面且無質感 b y t h e j u x t a p o s e d m e的結構下開始失重，失去身體 sh structures. In the structures, 意識，成為資訊的一部份。 the "phenomenon" and "reality" begin to interact with each 等距不斷並置重疊的極細網狀 結構，區隔但不阻斷，形成等 價並列的資訊(日常生活)，隨 著網狀的開口部，不斷地在等 價並列的資訊層級之中流竄。 { 現象 } Phenomenon 身體在極細接近平面且無質感 的結構下開始失重，失去身體 意識，成為資訊的一部份。
安藤長屋中被完美等分完結的 機能被並置的網狀結構瓦解， 在結構之中，原先各執一方的 現象與現實在網狀結構(現象的 other on the flowing space. 虛擬載體實體化)上開始相互交 The mesh structures c o m p a r e t o t h e c a r r i e r 融，日常生活開始成為破碎的 of 資訊，等價的被陳列，隨著網 digital signals that connect 安藤長屋中被完美等分完結的 狀空隙不斷彼此滲透，網狀開 "phenomenon" and "reality"機能被並置的網狀結構瓦解， 口處不斷地流竄，機能開始不 在結構之中，原先各執一方的 現象與現實在網狀結構(現象的 間斷浮游重組。 Reality { 現實 }
構構成，無法清楚閱讀出建築 結構與構成層級的空間。
等距不斷並置重疊的極細網狀
等距不斷並置重疊的極細網狀 結構，區隔但不阻斷，形成等 Partition wall/Interior 結構，區隔但不阻斷，形成等 價並列的資訊(日常生活)，隨 價並列的資訊(日常生活)，隨 著網狀的開口部，不斷地在等 著網狀的開口部，不斷地在等 The ultra-thin mesh 價並列的資訊層級之中流竄。 s價並列的資訊層級之中流竄。 t等距不斷並置重疊的極細網狀 r身體在極細接近平面且無質感 uctures which are 結構，區隔但不阻斷，形成等 j u身體在極細接近平面且無質感 x 的結構下開始失重，失去身體 ta p o s e d a n d ove r l a p p e d 的結構下開始失重，失去身體 價並列的資訊(日常生活)，隨 fo rm equivalent parallel 意識，成為資訊的一部份。 意識，成為資訊的一部份。 著網狀的開口部，不斷地在等 information (dai l y life). The 價並列的資訊層級之中流竄。 body begins to lose the feeling of身體在極細接近平面且無質感 weight in ex tremely light structures and slowly becomes 的結構下開始失重，失去身體 part of information. 意識，成為資訊的一部份。
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安藤長屋中被完美等分完結的 安藤長屋中被完美等分完結的 機能被並置的網狀結構瓦解， 機能被並置的網狀結構瓦解， 在結構之中，原先各執一方的 現象與現實在網狀結構(現象的 在結構之中，原先各執一方的 虛擬載體實體化)上開始相互交 現象與現實在網狀結構(現象的 安藤長屋中被完美等分完結的 融，日常生活開始成為破碎的 虛擬載體實體化)上開始相互交 機能被並置的網狀結構瓦解， 資訊，等價的被陳列，隨著網 融，日常生活開始成為破碎的 在結構之中，原先各執一方的 狀空隙不斷彼此滲透，網狀開
#
虛擬載體實體化)上開始相互交 融，日常生活開始成為破碎的 資訊，等價的被陳列，隨著網 狀空隙不斷彼此滲透，網狀開 口處不斷地流竄，機能開始不 Phenomenon 現象 間斷浮游重組。
{
現實 Reality
D a i l y l i fe h a s g r a d u a l l y become fragmented information and being equivalently displayed in Mesh Azuma House.
}
PLAN
SECTION
Linear space
Unequal space
Tr a n s l u c e n t w a l l s e m p h a s i z e
Slanting roof consistent with the
connectivity to the block
historical block
A one room space
Shattered light and shadow
SPACTIAL CONSCUIOUS The long-directional mesh surfaces make space begin to flow. The mesh wall allows spaces connected to the other spaces, blurring the accuracy of the boundary.
Mes
h Az
uma Hou se - JE N I TIE N
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SHINJINRUI
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SHINSEIKAI
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4
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3
FIRST FLOOR PLAN
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SECOND FLOOR PLAN
SECTION 1 ENTRANCE | 2 LIVING ROOM | 3 COURT | 4 DINING ROOM | 5 BATHROOM 6 MASTER BEDROOM | 7 SEMI-OUTDOOR SPACE | 8 LOUNGE | 9 CHILD ROOM
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SUP ER - F LAT カメラアイがない。奥行きがない。階層構造 がない。内面がない。あるいは「人間」がい ない。しかし、視線がいっぱいある。全部に 焦点が当たっている。ネットワークがある。 運動がある。そして「自由」がある。
After the 1980s, the city began to grow rapidly due to the rapid development of the media and the Internet in society, and drastically change people's lifestyles. The phenomenon of the city is extremely flat, juxtaposed, and no hierarchical,homogeneous, transparent, flowing, fragmented. How to respond to the phenomenon of this era? It will provide new imaginations for the architecture and daily life that have been accustomed to in the past.
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PERIO 03 T OF 0 3
P e r i o d i c Ta b l e o f E lem ent
Use car b o n co mp und as an o b jec t to c reat a new fo r m o f cl o t h
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# ODIC
TABLE What is the basic element of space? A primitive prototype, Maison Dom-Ino, proposed by Le Corbusier, is constructed rationally by beams, columns, walls, and Panels, and these are the basic elements of space. After covered with skins and added some decoration, these are the most common building we live in every day.
If we regard clothing as the architecture of the body, then all clothing can apply the same logic as well. For example, a top is composed of a front and a back pattern, and each of them can be split into left and right ones. These are the basic elements of clothing called: the Basic Bodice Pattern. There are countless ways of tailoring clothes, however, they're all based on basic compositions. therefore I apply the architectural element concept in composing clothes and re-examine the combination of basic elements of clothes to seek different constructions and bonding possibilities.
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PATTERN
JAPANESE NEW BUNKA BASIC BODICE PATTERN FOR FEMALE
2
1
2
1
1
1
2
3 6
3
Back 4
3
3
Front
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5
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4
5
7 4
7
4
7
1 shoulder
5 center front
2 neck
6 center back
3 armhole
7 waist
4 side
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2
pleated
PROTOTYPE
Tell me about Japanese Bunka Basic Bodice Pattern !
The Bunka Bodice Sloper constitutes a method of drafting
established by the Bunka Fashion College in Japan and has been popularized by pattern books such as Tomoko Nakamichi’s Pattern Magic series and Yoshiko Tsukiori’s Stylish Dress Book(s), which have been made available in English in recent years. The Bunka method is a preferred method of drafting because it only uses a few measurements to generate a flat bodice block (a base bodice pattern that only accommodates
the space of the
body with little or no ease). These are center back length, waist, and bust. In reality, the pattern is primarily generated from the latter input, where back length and 8cm
back width line
B/12+ 13.7cm centre back length
BL
chest width line
waist are only used B/5+ 8.3cm
once in the drafting sequence. All other
B/8+7.4cm
measurements are
B/8+6.2cm
proportions of the centre back line
Back
side line
Front
centre front line
bust measurement. For instance, the
WL
front neckline depth body width=B/2+6cm
is expressed as (B/24)
+ 3.4 cm. For this reason, the sloper is designed with a range of bust sizes and body proportions in mind: those of young Japanese women. The Pattern Magic books, for example, only include extrapolated measurements for bust sizes of 74 to 89 cm (for comparison, an American standard Misses size 8 is based on a bust measurement of 34 inches or 86 cm). Here, the body-specific is not only inscribed on the resultant pattern, a near-exact replication of the space of a particular body, but is embedded in the process itself.
This is
particularly interesting for a process of drafting which is ostensibly meant to account for the size and shape of an(y) individual body.
Let have some fun →
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Fe
55.845
Iron
Ir
192.217 Iridium
Pd
106.42 Palladium
Ds 281
Darmstadtium
Hg
200.592
Au 196.966569 Gold
Nh
286
Nihonium
As
74.921595
Arsenic
Pb
207.2 Lead
Fm
257 Fermium
168.93422 Thuiium
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Tm
GIVE EACH PATTERN AN INITIALISM JUST LIKE ELEMENT.
h Then we can talk about
Element
Rn 222
Radon
*
Bond.
L
t
LB top RB top
Ar
body
Back
39.948
Bust
Back Line
Argon
Initialism [Mesurement]
example
pattern
*
t
BL-37.4
g
f
B-68.3
He
LF top RF top
top
i
RF
4002602
Right Front top
Helium
[Position]
R
e
Bi
208.98040 Bismuth
Front
Po 209
Polonium
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O
p
When a compound undergoes physical or chemical changes, a weak chain will breaks and combines with surrounding elements to form a new compound.
ta
LF
The garment joint can be divided into fixable & adaptable. A piece of clothing can be presented in different shapes via different joints (zips or buttons).
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D o
LRB top LRBtop
OF
prototype
ank top LRB top
top
LF top LFtop
RF top
Dendrogram of
BOND
Fixed Seam
RF top RFtop
Shoulder Side
Movable
Other Zipper
SUBJECT STATE
Button OBJECT
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LF top
RF top
{
LRB top
Flip the "LF " top " & " RF top " of original prototype patterns . The tank top will be twisted After the side of patterns being sewd, the "LF " top " & "RF " top " of the tank top will be twist and creat a hole on the back of the tank top.
}
increase LRB top LRB top LF top
=
{
LRB top RF top
I n c r e a s e t h e " L R B top" o f original prototype patterns twice . After the side and shoulder of patterns being sewd, additional " LRB top " not noly creat extra volume for the tank top ,but also let girls wear it in a different way.
}
TWO VER
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=
twist
MANIPULATE
TWIST & INCREASE TWO VERB TO MANIPULATE
Twist Twist & & Increase Increase the the Patterns Patterns
TWIST & TWO VERB TO MA
RFtop top RF
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TWIS TWO VERB TO
LRB LRBtop top
LRB LRBtop top
LRB LRBtop top
RF RFtoptop
LF LFtoptop
& INCREASE
or
LF LFtop top
or
NCREASE PULATE
INCREASE NIPULATE LRB LRBtoptop
EXPERIMENT OF TWISTING & IN SEING ANK TOPS PATTERNS
symmetry twist style
The The Result Result Of Of Pattern Pattern = Formula Formula
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{
As you can see , after being twisted or incresed , these graments can not noly be worn at least two kinds of style , but also created a different kind of shape. In these ways , the formula can generate varioius sculptural outline without complicatedly acdamic skills , such as patterning , pleating, drapping , and tucking .
Front
Back
Front
Back
}
symmetry increase style
Front
Back
Front
Back
assymmetry increase style
EXPERIMENT O NCREASEING TWISTIN S OF TANK TOPS PA
Front
Back
Front
Back
Let Generate More Possibility →
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LF top
{
LRB top
LF top
=
RF top
LRB top
LRB top
RF top
" Ty p e - a " B a s e o n f o r m e r formula's structure of " Increase" Flip the middle pattern "LRF top " and add "LF top" & " RF top" patterns which are upside down.
}
type-b LRB dress RF top
{
LB top
=
RB top
RF top
LF top
LF top
" Ty p e - b " B a s e o n f o r m e r formula's structure of " Twist" Made "LRB dress " ,a back pattern of a dress , be the center of other patterns .
}
ADD MOR
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type-a
MAIPULATE
TYPE-A & TYPE-B ADD MORE & MAIPULATE
More More Parameters Parameter For For Garments Garments
LRB top LRBtop
LRB top LRBtop
LF top LFtop
RF top RFtop
RF top RFtop
LF top LFtop
& TYPE-B TYPE-A ULATE ADD MORE & MA & TYPE-B TYP AIPULATE ADD MORE
-A & TYPE-B LRB top LRBtop
RF top RFtop
LF top LFtop
LRB dress LRBdress
LF top LFtop
RB top RBtop
RF top RFtop
LB top LBtop
T
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Y EXPLORE THE POSS TS & OF THE GR Y TO WEAR T
symmetry type-a style
The The Result Result Of Of Pattern Pattern = Formula Formula
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{
As you can see , when you add more patterns to manipulate the formula , the garment will have more sophisticated porfile and more ways to wear. The patterns of "Type-b", which has two sets of moveable bonds can be joined to each other . Therefore the garment can have more interesting looks when you bring your creativity into play .
Front
Back
Front
Back
}
symmetry type-b style
assymmetry type-b style
IBILTY EXPLORE THE P AMENTS & OF THE THE WAY TO WEAR
Front
Back
Front
Back
Front
Back 67
Polymer
ANALYIZE CARB COMPUND TO CO THE FORMULA
LR
re
ss
LRF
d re
ss
Fd
r
LRF r
Daimond
s
2
d re ss
LRF
3 68
es
{
dr
Fuller ball
During former process, I realize that with limit the formula will end up in carzy opera In order to prevent the situation, I analyiz sturcture of carbon compunds such as poly fuller ball, and daimond. Therefore, the for can be rule and creat the garments which are b on something we can understand and review.
LR F
1
dress
BON ONTROL
RF
LF
top
LRB
LF
top
LB
top
top
1
RB to p -2
LB
RB
top-3
RB
top-4
top-3
-5
top-4
to p
-5
RB top-6
LB
top-6
to p
LB
RF
RF top-6
top-6
LF
LF
to p
-5
to p
-5
top-4
-1
RF
top-4
LB
to p
-1
top-3
RB
to p
-2
-2
to p
to p
-2
RF
top-3
LB
RF
to p
LF
LB
-1
p-1
to p
R F to
LF LF LF
2
top
RB
}
dress
RB
hout a ations. ze the ymer, rmula based
RF
top
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PERIOD TABLE OF
BEHI 74
F ELEMENT
IND THE SCENES 75
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PERIOD TABLE OF ELEMENT
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BEHIND THE SCENES
PERIOD TABLE OF ELEMENT BEHIND THE SCENES 78
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First, you can see a pile of baling trash which is using the newest technology to reduce the smell and volume of garbage. Behind the wall, you can see a trash mountain that is not yet baled.
How to bale trash? First, spray biological strains to remove odors and bacteria, and then use several machines crushing trash into small particles. Separate the particles by wind and magnet. The trash is fixed and wrapped with a high-efficiency automatic baler. After packing, the volume of trash shrinks 65 to 85 %. A baled pack’s volume is about 1.25 cubic meters and 1 metric ton.
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Due to space and fee, part of the trash was not yet baled. piling on the land which grass and tree growth. The garbage extends farther like a mountain chain. green and colorful trash weave together create an unreal landscape.
Garbage scattered on the green hills looks like flowers from afar. But these flowers won’t wither, they will last forever
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The trash mountain is as sublime and as the Pyramid of Khufu. Some creatures often stay on the trash mountain and become a new ecosystem.
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Such as glass, aluminum cans, plastics. Many recyclable items are abandoned on the land, creating a unique scenery
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Based on the previous pictures of landfills, we can realize that people do not care about where landfills are located, as long as they won’t appear in their living. Ironically, only those who are dead and unable to protest lived next to the landfill.
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in order to Prevent solar panels from being covered by weeds. some companies bring in natural weeders, like cows. Prevent solar panels damaged from chemical weeding
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Here we can see the ironic similarity between the Alps and the Trash Mountains. one is covered by snow and another is covered by panels. One raise cow to eat and another raise to weed. 112
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Team member: JEN, I-TIEN / LO, CHUN-YU / WU, CAIYU/ YANG,DAI-YING/WU,MENG-PU
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Video link
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The epidemic era has brought many inconveniences to people's lives. Among them, the problem of wearing masks has caused us the most headache. Every time a face iD phone is unlocked, we have to stretch hands to our face at the risk of infection. For this reason, we raised a question-how can we enjoy the convenience of face ID unlocking in a safe and hygienic state? The use of ARDUINO and sensors allows us to send a signal to activate the device when the mobile phone leaves the pocket. When we take out the mobile phone and put it in front of the face, the device has already pulled down our mask, so that we can reach the state without touching the face. Unlock the phone. Team member: JEN, I-TIEN / CHENG,SHU-YUN / CHEN,TING-CHIA
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When the mobile phone is taken out of the pocket, the arduino board reill send out a signal to make the machine operate. The mask ceill be automatically taken off so that people can unlock the phone. After a feve seconds, the device ceill operate again to put the mask on automatically. People no longer need to take the risk of taking the mask off the face wenth their hands contaminated reith pathogens wehen unlocking the face ID of their phones.
1
1
4 Front view
2 3
Top view
Magnet
3
2
Hall effect sensor
1
Step moto
4
Arduino Uno
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Breadboard
Electronic schematic
Part drawing
or
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1
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Video link 135
0 6 Wo r k H is to r y
T h e Te x t u r e o f U n c e r t a i n t y Sy nc hronic Comp osing Arc hitec t
Taipei Fine Arts Museum 2015 X - s i t e Inspired by the architect C h e n , C h i - k u a n ’s p a i n t i n g s a n d r e s p o n d i n g t o t h i s y e a r ’s t h e m e of Meeting P oint, new ge ner a t i o n architects Chui and Hsu imagined an ancient city and developed it into a meeting place between the material and immaterial worlds. Their winning proposal r elies on mate ria l perceptio n s a n d experimental approach to create an extraordinary experience of ur ban public spa ce. Composed of walls fashioned f r om pa per a nd cable, a nd r e l y i n g on focal points and movement, the work randomly generates meeting points punctuated with images of continuous mountain chains juxtaposed with streets and public square s. T his la yere d e ff e ct creates a poetic labyrinth that is monumental in appearance yet is ephem e ral in nature .
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Wo r k H is to r y
TA I N A N S P R I N G MVRDV Th e Ur ba n i sts Co llab orat ive L L J Arc hitec t s
The re n o v a t i o n of Haian Road and Chinatown Ta i n a n S p r i n g i s a p u b l i c space design that includes the transformation of a former citycentre shopping mall into an urban lagoon surrounded by young plants that will develop into a lush jungle, reconnecting the city with nature and its w at er f ront. Commissioned by the Urban Development Bureau of the Tainan City Government, the completed m a s t e r p l a n r e j u v e n a t e s a ‘ T- A x i s ’ t o t h e E a s t o f t h e Ta i n a n C a n a l , cr eat in g a new landscape str a t e g y to unify the site of the former China Town M a ll a nd a k ilo m e t r e l o n g s t r e t c h o f t h e c i t y ’s H a i a n Road. In addition to the new public square and urban pool, t he plan inc ludes improved p u b l i c pathways, a reduction in traffic, and t he a ddition of loc a l pla n t s .
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Wo r k H is to r y
TA I N A N M A R K E T MVRDV Th e Ur ba n i sts Collab orat ive L L J Arc hitec t s
Ta i n a n X i n h u a F r u i t a n d Ve g e t a b l e M a r k et The design comprises a simple open structure with high undulating ceilings that allow for plenty of natural ventilation, with an undulating terraced green roof that i s a c c e s s i b l e f r o m i t s e a s t e r n c o r n e r, where the terraces step down to gr ound le vel. T he terrac e s wi l l h o u s e the different products of the area. The building therefore provides an elevat ed pla tform from which v i s i t o r s can appreciate the landscape that c h a r a c t e r i s e s t h i s p a r t o f Ta i w a n . At the same time, it takes on the appearance of rolling green hills, t hus becoming a continuatio n o f t h a t lands cape. O n o n e s i d e , a s i m p l e f o u r- s t o r e y s t r u c t u r e c o n t a i n s t h e m a r k e t ’s administrative offices, a restaurant, and an exhibition centre where agricultural products from the region can be displayed, making the building ideal for school visits. This four-storey addition punctures the main structure, providing a secondary acces s to the landscape d roo f .
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Par t i c i p ate i n co n stru c ti o n
P r i m i t i v e M i g r a t i o n f r o m / t o Ta i w a n Divooe Zein Arc h i te c t s
Biennale Architettura 2021
Pr im itive Migra tion from/to Ta i wa n draws from existing case studies and interdisciplinary collaborations that elicit in-depth discussions around constructing pioneering, environmentally friendly buildings to pr es ent an exe mplary model fo r f u t u r e exper im ental archite cture . The three sub-themes of the Ta i w a n e s e p r e s e n t a t i o n – A s k , W o r k To g e t h e r, a n d I n f l u e n c e E a c h O t h e r – foregrounds the unique relationship between humans and nature. These sub-themes will be unveiled through five architectural projects: Siu siu – Lab of Primitive Sense, Nature Monastery in Bali, Semi-ecosphere glass house for isolation and meditation, Lab of Pr im it ive Sense a nd The Fore st B I G.
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