薛瑋儒 Hsueh, Wei-Ru Dept. of Architecture, Tamkang University Notation and Space Lab Autumn - Winter, 2021 - 2022 Instructor : Hideki Hirahara
Email: weiruhsueh@gmail.com Tel: +886 985 935 022 IG: weiruhsueh
– About me –
〝共感〞
I think the word〝共感〞 means the concept of 〝Resonate with someone.〞 In a busy city, everyone is a lonely individual, but different people will have a dialogue and a sense of identity because of the same life experience. I hope that through this book, I will tell the story of each design and character, so that makeing people resonate a little bit. I will observe some inconspicuous city corners, such as underground streets, bus stops, and boundary of park. People endow these corner spaces with stories and meanings through their 〝behavior〞, so that the atmosphere and experience of these corner spaces are better than their original functions. At the same time, People who live a routine life have the opportunity to connect with other people.
– Preface –
CONTENTS
– 03 –
chapter
Introduction
IMAGE
09
NOTATION
21
IMAGE
35
NOTATION
45
IMAGE
59
NOTATION
77
HIDDEN EXISTENCE About Life Experience
6:30-7:30p.m.
5:59 A.M. About Untraceability of Time Every 4-6 minutes
regular life one-time experience
stop at 12 p.m.
Every 8-12 minutes
8:00-10:00A.m.
music night bar
NOWHERE OR NOW HERE About Place Connectivity
before the appearance of the city has been determined, we can't accurately identify where I am.
– 04 –
what is ”existence” ?
The first project name is〝hidden existence〞, but what is existence? And what is hidden behind existence?
– 07 –
Fro m th i s pi cture , i t c a n b e s e e n t h at wh en t h e viewer is t h e prota g o ni s t i n the p i c ture, wh at h e see is t he s t a i r s bel ow hi s f e e t, w hi c h a re th e moment s of movem en t . Howeve r, w he n the v i e wer
is replaced by me,
w h a t I see i s tha t thi s w a l l f r a me s t h e in terior scen e, as if i t emph a si ze s the i nte rna l a c t ivit iy. O n th e oth er ha nd , w he n the v i ewer is t h e prot agon ist in t h e pi ct u re , ma y b e w ha t he felt is t h e sh adow, an d
stairs
wall
shadow
light
w h en t h e v i ewe r i s re p l a c e d b y me, wh en I was looking a t t h i s p i c ture , w ha t I s e e i s wh ere t he ligh t . Th eref ore, d i f f e re nt p e o p l e o b s er ve t h in gs differen t ly, b u t a s l on g a s yo u e xp e r i e nc e real feelin gs t h rou gh t he f i ve sens e s (s i g ht, he a r i ng, smell, t aste, an d to uch ) , i t be c o me s a pa r t of you r life ex perien ce, Th a t 's w ha t I ' m ta l k i ng a b o ut〝existen ce〞.
– 08 –
H i dde n Exi s te n c e
– 09 –
〝 Ab o u t L i f e E x p e r i e n c e ” T hi s i ma ge is a ph oto t aken from t h e screen wi ndo w of m y ro o m . Ma y b e o th er s are n ot be able to wh at t h e photo i s, but I real l y exi st e d a t the momen t t hat t h e ph oto was t aken , I c an spec i fi c al l y des c r i b e the life experien ce I felt at t h at t ime.
Sens e of sm e ll : There are many food shops on t he gro und fl o o r a nd I c a n smell a lot of food in ever y meal t ime. Sens e of sight and touch : O bser ving t h e changes of shado ws, i t c a n i nf e r t h e direct ion of t h e su n. The temperat ure of t he ro o m al so i nc re a s e s wit h t h e intensit y of t h e ligh t . Sens e of sight : O bser vin g t he posit ion of t h e water pi pes and i ro n w i nd o w s , it can in fer t h at t h e face of my room i s t he bac k of t he b ui l d i ng .
T hro ug h t h e above explan at ion , I believe t h at obser vi ng t he t hi ngs a ro und l i fe can infer t h e life experien ce, t h at is, t here are m any sm al l b ut i nte rest in g mean in gs t h at is〝hidden 〞beh i nd so m e exi stenc e, w hi c h w i ll make u s live more consciously.
– 10 –
Screen Window
Shadow
”every moment” in life is traceable .
– 11 –
Drain Pipe
Smell of Food Store
Direction of Sunlight
Orientation of Building
．design method I o b s e r ve the o b j e c ts in t h e image an d use yellow to h ighli ght t he el em ent s t hat m ake up the l i f e e xp e r i e nc e . Th erefore, t h e most ordinar y livin g obj ec t s wil l be t r ansfo rmed i nto i nte re s ti ng g e o me tr ic composit ion , wh ich will be t h e basic geo m et r y fo r t he devel o pm ent of d e s i g n.
– 12 –
Daqiaotou 大橋頭站
Minquan W.Rd 民權西路站
Ningxia Night Mark 寧夏夜市
Elementary School 中山國小站
shuanglian 雙連站
BOOK STORE zhongshan 中山站
SITE： Zhongshan Metro Mall 中山地下街
Shopping Mall 京站時尚廣場
Taipei Main 捷運台北車站站
Taipei 台北車站
Taipei 台北車站
SI TE：Zhongs han U nde rground Stre e t EXHIBITION
I c ho o s e Z ho ng s ha n U n dergrou n d St reet as the s i te . T he re a s on is t h at t h e groun d fl o o r w i l l i s o l a te a ll percept ion s. Wh en pe o p l e o n the g ro un d floor walk past , t he y w i l l no t f e e l a ny u n dergrou n d st reet ac ti v i ti e s . At thi s ti me, t h e un dergrou n d spa c e s e e ms to d i s appear. Ho we ve r, the g ro und floor can filter out GARDENING SHOP
m o s t of the no i s e of life, allowin g people to ta ke a b re a ther in t he bu sy cit y. The re f o re , my d e s i gn will combine t he or i g i na l a c ti v i ti e s of t h e u ndergrou n d stre e t to c re a te a b reat h in g space. Wh en pe o p l e c o me to the u n dergrou n d st reet , t he y c a n c ho o s e th eir favorite act ivit y spa c e to s ta y a nd f eel. – 13 –
DANCE SPACE
stop in
encounter
Through the 90-degree entrance space, people can enter this place more purposefully. It is full of living space. People can take a nap or work. When the external music is transmitted into the internal space, people wil lexperience more sense of life.
This space is like an underground park, adding the fragrance and atmosphere of plants, prolonging the time people stay in the underground street for a cup of coffee or meet friends.
DANCE SPACE
S e nse of he aring : Since there is a dance space in the underground street, students like to gather here to dance after school or on weekend, as long as you get close, you can hear the lively music and people's voices,
– 15 –
UNDERGROUND STREET PLAN
pass by Slightly separate from the original underground street, filter out excess information, and let people stay in their own corner to rest. People have more little space for short stay while watching the exhibition. At the same time, they can also sit and read books.
GARDENING SHOP
BOOK STORE
EXHIBITION
S e n s e of s m ell：
S e n s e of s i g h t :
Then, there are many scattered small shops here, among which I like some shops that sell plants. The smell and green atmosphere of plants will spread and affect people's perception.
There is a well-known long-shaped bookstore in Zhongshan Underground Street, where people can find books while walking, and occasionally there are temporary exhibition spaces to increase people's walking experience.
– 16 –
image of design section — Between Hiking and Living
ground floor
underground street
– 17 –
This imaginary section illustrates the atmosphere perception of the underground street.Some small-scale pipes penetrate the ground floor and connect to the underground street. These small pipes allow the sound, light and smell of the activities to pass through, so that the pedestrians on the floor can also perceive the activities on the lower floor. – 18 –
– 19 –
pass by
encounter
– 20 –
stop in
NOTATION OF HIDDEN EXISTENCE T hi s no ta ti o n space is composed of t h ree spaces: pass by, e nc o unte re r, an d stop in . I re s p o nd e d to t h e axis of t he site, from Taipei Main St at i o n to Z ho ng s ha n St at ion , an d let people pass t h rou gh t hese thre e s pa c e s from fast to slow. In thi s p ro j ect , space is defin ed by people's behavi o r. T he re f o re , w h en people move slowly from t h e exhi bi t i o n s pa c e a nd b ook store to a small park fu ll of ven dor s m akes p e o p l e s to p gradually, an d finally en ter t h e living spac e w he re the y c an rest for a while. In t h e process of gradual l y s ta y, p e o p l e can smell coffee, plan t fragran ce, hear laughte r, mus i c o r meet ot her interest in g people. I ho p e tha t the u n dergrou n d st reet is n ot ju st a t ran s i t i o nal s pa c e , thi s place can filter out most of t h e u rban no i se, a nd tho s e b eaut ifu l elemen t s in life are selected and pres e r ve d . I ho pe t h at people can fin d a cit y corner of t hei r o w n thro ug h t h is design . breat h an d feel life.
– 22 –
— 擦身而過
– 23 –
Flowing path and continuous holes make pedestrians pass by.
path hole perception of chat
Some exhibitions and windows in the stay space to promote the opportunity to chat with people.
The corner is where people meet each other or pass by.
— 偶然相遇
– 25 –
The aroma and atmosphere of plants float through the empty space.
physical space empty space stair smelling of plants delivery path
Let people meet here through the space element of high and low walls and the placement of activities.
Through the small street vendor, the continuous space has the opportunity to stay.
— 短暫停留
– 27 –
The vertically connected pipes are the main factors for sound diffusion.
penetrating wall living space sound of people delivery path
The sound of activity will affect the surroundings through the penetrating wall.
The vertical space allows people to stay here to live and perceive.
〝one-time experience〞
– 31 –
5: 59 a . m. It s y mb o lizes t h e momen t wh en yesterday is abo ut to pass and to m o r ro w i s a b o ut to c o me . In th is project , I wan t to discu ss t h at t ime is a c o nt i nuo us pro c ess of passi ng mi nute b y s e c on d, but some sh or t an d beaut iful t h ings of ten happen i n l i fe. In any c a s e , ti me c a n' t b e repeated an d so is experien ce. I call it " o ne- t i m e exper i enc e"
– 32 –
．one-time experience of ordinary life
．The moment when autumn leaves fall
I f o und s o me e xa mp les of one-t ime ex perien c e , s uc h a s the momen t when aut umn l eave s f a l l , the mo me n t of pourin g rain , t h e exp e r i e nc e of w a i ti ng for t h e bu s or
watch -
i n g mo v i e s . In d a y - to-day life, t h ese experien c e s ma ke p e o p le realize t h e u nt raceabilit y of ti me . T he re f o re , I wan t to seize t hese bea uti f ul mo me nts a n d let us live in ever y mi nute . picture from: https://www.pinterest.com/pin/4362930878581286/
T h e n, I tr y to d e s c r i b e t he ch an ge of percepti o n w he n we f e e l a one-t ime experience thro ug h d o ts . T he g ray par t is t h e regu lar ti me , the b l ue i s the dyn amic ch an ge of t he
Feel the different seasons In the same bookstore.
su b j e c t, a nd the p i nk is t h e extern al in formati o n a f f e c ti ng the s ubject . From t hese diagra ms , we c a n und e r st an d t hat t h ese perceptua l c ha ng e s a re o p p or t u nit ies for u s to resonate with o ur o rd i na r y life. 0.1 minutes
– 33 –
．The moment of pouring rain
picture from: https://www.pinterest.com/pin/172333123231222188/
Encounter different weather changes At the same off-duty time.
5 minutes
．The experience of Waiting for the bus
picture from: https://www.pinterest.com/pin/59672763785621279/
．The Experience of watching movies
picture from: https://www.pinterest.com/pin/420664421450073784/
Encounter different people At the same bus stop.
Watching different movies with different friends In the same cinema.
15 minutes
120 minutes
– 34 –
regular time subject’s movement external information
5 :5 9 A .M.
– 35 –
〝 Ab o u t U n t rac e ab i l i t y of T i me〞 T he re is on ly on e chan ce to meet 5:59a.m. i n a day, and t hi s ti me s ymbolizes t he past an d comin g of a day. T herefo re, I use thi s ti m e to express t h e U n t raceabilit y of t ime , j ust l i ke, I have no c han ce to t ake t h is ph oto at t h e airpor t i n Ok i nawa at 5 : 59 a . m . on 2019.09.02.
H o we ver, some elemen t s of t h e image like th e p i n k an d b l u e s ky, the stre e t lights still on and the passi n g t a x i s eem to s trong ly im ply 5: 59a.m . this tim e .
Fo r p eople n owadays, t h ey of ten lose t h emsel ves i n t hei r l i fe d a y a f ter day. Th e reason is t hat life has n ot changed and l ac k s f re s hness. Th erefore, if t h ey can grasp ever y o ne- t i m e exper i e nc e an d feel ever y momen t well. So, in t his pro j ec t , I t r y to f i g ure ou t t h e signals related to t ime an d use t hese external i nf o rm at ion to affect t he su bject 's percept ion. E ven t hough tim e continue s to pass, that's f i n e. :）
– 36 –
．design method I tr i e d to ma r k the t ime-related sign als from 5:57 a.m. to 5:59 a.m . t he bl ue par t i s the mo ve me nt of t h e su bject , wh ile t h e pin k par t is t h e c hange of t he external i nf o rma ti o n. I use t h at repet it ive symbols be an impor t ant el em ent of develo pme nt d e s i g n.
– 37 –
change of the external information
movement of the subject
E
ar
ly
5
:5
m
7
5
or
:5
ni
ng
A
.m
.
5:59A
.m.
5:57A.m.
5:58A.m. xi g ta
5:59A.m.
– 38 –
in Pass
.m
.
8
sk y
A
黃昏市場
淡江大學
北淡水 Tamkang University
永樂巷口(中山市場)
淡水捷運站 Tamsui MRT Station
SITE：R2 7 - Tam kang Unive r sity I c ho o s e R 2 7 bu s st at ion in Tamkan g U n ive r s i ty a s the site. In addit ion , t h e u ser s a re c o mmuti n g st u den t s. Th ey t ake t h e s a me b us a t t h e same t ime ever y day, b ut the w ho l e process of t aking t h e bu s d o e s no t ha ve mu ch mean in g and ex per i e nc e f o r them. By o b s e r v i ng t h e beh avior of st u den t s ta k i ng the bu s, I fin d t h at "queuin g" i nte r r up ts their mood of ch at t in g. Th eref o re , I c ha nged t h e qu euin g way to a g ro up of p e o ple lin e u p toget h er. At t h e s a me ti me , to st rengt h en t he impor t an t ti me s i g na l s i n t h e site, I h ope t h eir life c a n b e c ha nged by meet in g differen t p e o p l e a nd perceiving different ex tern al i nf o rma ti o n. – 39 –
A
B 20M
A C
C
B
SITE
D
D
Moving Hole
Wating Wall
Get on !
Reflected Lake
– 41 –
plan SITE：R27 - Tamkang University USER : Commuting student PROGRAM : Bus Station
Rumble-Tumble
I
o bser ve
t he
behavio r
of
user s and spl i t t he l i t t l e spac e , al l o wi ng peo pl e to exper i enc e t he passage of t i m e i n t he
repet i t i ve
arc hi tec t ur al
el em ent s. B esi des, when t he l ast bus i s at 1 2p.m . When i t l eave, t he bus sto p l o ses i t s func t i o n. S o , I put a m usi c bar to redefi ne t hese
pl ac es
t hro ugh
spread of m usi c at ni ght .
Connected footbridge
Have a drink ?
t he
Moving Hole
Reflected Lake
Wating Wall
The starting space of the bus station is composed of many moving holes, the purpose is to let people's sight penetrate, so as to watch the number of people queuing up. At the same time, it does not hinder the good mood after school.
Looking at the still lake is like time has stopped. It doesn't matter how long it takes for the bus to arrive. The important thing is who I met today.
The continuous wall reflects the passage of time. While waiting, it's good to chat with people around and watch the surrounding scenery.
– 43 –
Get o
The inclined wall direction indicate about to arrive, cates that the tim destination is up.
on !
l in the opposite es that the bus is and it also indime for the next Get on the bus!
Rumble-Tumble
Connected footbridge
Have a drink ?
The open space and continuous wall make the sound continuously reflected and transmitted. Listening to the sound of the bus, you can know that the bus will come every 5 minutes.
Frequent traffic always blocks the flow of pedestrians.Therefore, l added footbridge allows students to easily cross to the next street. Through people's sight and behavior, the footbridge connects not only the left and right, but also the up and down.
When the last bus leaves at 12 p.m., the bus station loses its function. Therefore, I added a music bar. Music emanates from windows and chimneys, redefines the use of external space and provides people with walking and talking at night.
– 44 –
6:30-7:30p.m.
Every 4-6 minutes
regular life one-time experience
stop at 12 p.m.
Every 8-12 minutes
8:00-10:00A.m.
music night bar
NOTATION OF 5:59a.m.
T hi s no ta ion is depict in g t h e daily life scen e of c o m muti ng s tudent s passing by t h e bu s stop, I t r y to fi gure o ut the s i gn als related to t ime an d u se t h ese external i nf o rma ti o n to affect t he su bject 's percept ion . Fo r ex a mp l e , the cont in u ou s wall affect s people's view of t he e xte rna l environmen t , or t he un du lat in g pat h af fec t s p e o p l e's beh avior wh en wait ing, ch an gin g from a ro w to a g ro up queu e, etc. Th ese ch ah ges can st ren gt hen the
e xte rnal
in format ion
an d
at
the
same
time
T he i nf o rmat ion s of t h e t ime: t h ere is a bu s ever y 4 - 6 mi nute s du ring peak h ou r s, an d a bu s comes e ver y 8 - 12 mi nutes du rin g off-peak h our s. 8:00-10:00a.m . is the c l a s s time an d 6:30-7:30p.m. is t he t ime af ter cl ass, the l a s t b us will leave at 12 o'clock . Th ese are n oted i n o ur d a i l y l ife, an d I t hin k it is n ecessar y to slowly real i ze the b e au t ifu l on e-t ime experien ce at regular dai l y ti me , w hi c h will make us reson ate wit h ou r life.
– 46 –
any special moment
s tre ng the n t h e su bject 's percept ion experien ce.
The design section space is used to affect the elevation of the gym, so that the expression of the architecture language. At the same time, the people of the gym and the people of the bus station have a connection.
gym elevation
design section
– 48 –
– 49 –
– 52 –
before the appearance of the city has been determined, we can't accurately identify where I am.
– 55 –
skyscraper
stamped
bungalow
constantly changing city We l i ve in a con st an t ly chan ging cit y. From t he c enter of t he c i t y, Ta i p e i Cit y, we can see t h at t h e five gates in t he pi c t ure represent f i ve no des con n ected wit h t h e ou t side wh ile bei ng bui l t . B ut wi t h the c ha n ge of t ime, t h e appearan ce of t h e cit y gate i s defi ned as the o l d t h in gs, an d new t h ings will con t in u e to appear. S o t hat , the me an in g of t h ese five old t h in gs is get t in g weaker. Fac i ng t hi s e nv i ro n men t , I h ave a quest ion is t h at be fore t h e a p p ea ran c e of the city has be e n de te rm ine d, we can't ac c u r atel y i d en t i f y where I am ? T hi s q u est ion is t h e main idea of t h e project 〝 no where o r no w he re 〞. Th e ch an ging appearan ce of t h e cit y gr adual l y bl ur s peo p l e's memor y of t h e livin g en viron ment an d gr aduall y l o ses i t s c o nne c tion wit h t h e place. Th erefore, I wan t to fi nd so m et hi ngs c o nne c ted wit h t h e cit y. Wh en t h ese memor i es are c o nst ant l y s ta c ke d in ou r life, we can live in t h e cit y no w he re〞.
– 57 –
fro m 〝 no where〞 to 〝
北門 往大稻埕、淡水河口
Boundar y of Taipei City
西門 往艋舺商圈
東門 往松山、基隆
小南門 往板橋、中和
南門 往古亭、文山、新店 – 58 –
N o wh e re o r No w H e re
– 59 –
〝 Ab o u t P l ac e C o n n e c t i v i t y 〞 Wa nd erin g arou n d Taipei, t h ere are always m any bui l di ngs und e r con st ru ct ion t h at cover t h e familiar o l d st reet ho uses. A nd th is image was t aken from my way h ome, do es i t represent my memories are get t in g disappear wit h t he pl ac e when t he ne w b uildin g is bu ilt ?
T he n, I defin e t hese t wo words. Nowhe re : in t he t ime of con st an t ch an ge, t h e st ate of c hangi ng the a p pearan ce of t h e cit y. Now He re : some memor y elemen t s t hat are co nnec ted wi t h t he p l a c e , allowing people to perceive t h e st ate of where i am .
W he n I look at t his image, I can fin d t h at n ew st r uc t ures are c o ve red on t h e facade t h at I am familiar wit h. I real l y l i ke t he va r i a b ilit y of t h is temporar y cit y’s appearanc e, and t hi s wi l l b e c o m e a place wh ere n ew memories are st acked, whi c h m akes i t i nte rest in g experien ce of place con n ect ivit y.
– 60 –
．design method I o b s e r ve the s t ate in wh ich new t h ings an d old t h in gs i n t he c i t y are c o nst ant l y i nte r a c ti ng w i th each ot h er, an d I fin d t h at wh en I pause t i m e at a c er t ai n mo me nt a nd o bser ve t he st ate of t heir fu sion , I can feel balanc e and beaut y. S o , this va r i a b i l i ty of t h e elemen t s are t h e basis for develo pi ng t he desi gn.
– 61 –
addition
compression
variation
Fusion
NEW OLD
– 62 –
SITE
medical institutions government agency Living space leisure place
S I T E ： The Boundar y of 228 Me m orial Park I ch oos e the b o und a r y of 228 Memorial Park as t he site, becau se i t i s l o c ated i n t he c enter of Tai pei Ci ty, a nd ma ny me mo r i al st at u es an d bu ildin gs in t h ere du e to t he st ac k i ng of hi sto r i c al event s. T h roug h the s i te ma p , i t can obser ve t h at t h ere are many solemn go vernm ent i nst i t ut i o ns and ho spi t a l s a ro und the pa r k . At the same t ime, t h ere are also man y livin g spac es and l ei sure pl ac e. T herefo re, I w i l l c ho o s e the pa r k b o un dar y close to t h e livin g spaces an d leisure pl ac e. T hen, t r y to add m em o r y el em ents , w ha t I w a nt to do is to in crease t h e variabilit y experienc e wi t ho ut c hangi ng t he bo undar y of t h e c i ty.
– 63 –
/ Increase variability experience without changing city boundary .
228 Peace Monument
勸業銀行舊廈
1935
1933
1947
翠亨閣
1899
– 65 –
臺灣省城隍廟 City God Temple
1993
2004 Taipei 101
228 Peace Monument
1901
1995
臺大醫院
中華民國外交部
National Taiwan University Hospital
Ministry of Foreign Affairs
二二八和平紀念碑
228 Peace Monument
Du r ing t h e da y, the s e hi s to r i c s ta tues an d bu ildin gs have a special appearanc e and profi l e, a nd w h en t h ey s ta nd i n he re , the y st ate t he memor y of t h e histor y. However, when t he 228 M e m ori a l Pa rk c o me s to ni g ht, the se memor y elemen t s will gradually lose t hei r profi l e, and t his p l a ce wi l l be c o me a n o rd i na r y park ... – 66 –
define of boundary S i nc e the 22 8 Me morial Park came to t he nigh t ,
road boundary
ma ny mo nume nta l st at u es an d bu ildin gs gradu all y l o s t the i r p rof i l e , and t h is place became an ord i na r y pa r k , a l l o w i ng people to come in for a w a l k , w a l k the d o g , jog... etc. Th en , l t h ink about ho w to i nc re a s e the variabilit y experien ce wit hou t c ha ng i ng the b o undar y of t h e cit y. Us i ng the s e d i a g r a ms to ex plain t h e bou n daries
boundary of night
of the pa r k I o b s e r ved, du rin g t h e day, people f l o w a t the e d g e of t h e road du e to t h e rest rict ion of tr a f f i c . H o we ve r, at n igh t , t h e reduced t raffic a nd the s tre e t l i g h t redefin e t h e boun dar y.So tha t, f l o w i ng of p e o ple is more free. T he re f o re , I ba s e the design on t he bou ndar y of the pa r k a t ni g ht. fin ding t h e h idden bou n dar y d e f i ne d b y huma n beh avior, an d add t h e eleme nts of l i g ht to make n ew memor y conn ect ion s.
– 67 –
hidden boundary
– 68 –
Me mor y el em ents : tr a ns pa re nt materials, mirror s, light , win dows, etc. Th ro u gh exper i me nta l c o nc e p t models, I obser ved h ow to make people h a ve i nterest i ng f e e l i ng s a nd e xp eriences in space t h rou gh memor y elem e n t s. I f ou nd tha t w he n d y na mi c ligh t (like a car ligh t ), t h e st able ligh t of t h e a rra y ( l i ke a s tre e t l i g ht) w i l l make t h e space h ave a differen t at mos p h ere, a n d t he re f l e c te d mir ro r i s like t h e groun d t h at has rained, it is a b e au t i f u l a n d s p e c i a l a tmo s p he re, I will keep t h ese experimen t al resu lt s to d evel op th e f i na l d e s i g n.
SITE
ELEVATION 1 Look back
SITE
ELEVATION 2
Stay or Leave
Go through
SITE
ELEVATION3
Gatherin
Walk slowly
ng place
Meet someone
atmosphere of final model
Look back
When people got to the high place and looked back, they could see Taipei 101 quietly stay in the distance, and they will stay here for a while.
Stay or Leave
The light of the array stays silently above, but people should be leaving.
– 75 –
Go through
There are several holes in the wall as high as people, which will reflect the part of the character when people go through.
Walk slowly
The array of light and gentle slopes guide people to walk up slowly.
Gathering place
This place is the highest point of the entire border, and it is also a shining place. It seems to be a suitable gathering place for meeting.
– 76 –
Meet someone
The narrow gentle slope makes people who go up closer to those who go down.
before the appearance of the city has been determined, we can't accurately identify where I am.
NOTATION OF NOWHERE OR NOW HERE
In the f i na l project , I t ried to look at t h e cit y from a ne utr a l p o i nt of view. No mat ter is n ew t h in gs or old thing s , a s l on g as we feel ever y momen t , t he people we me e t i n life, 101 in memor y, st at u es in t h e park , r a i ny roa d s ... t h ese memories are en ou gh to form a c o nne c tio n wit h t he place. T he re f o re , in t his n ot at ion , I t r y to n ote people's pa th w he n passin g t h rough t he bou n dar y of t h e pa r k . T he s e calm lin es are t h e experien ce of〝 no w he re 〞, an d some framed small spaces are t h e e xp e r i e nc e of〝n ow h ere〞in clu ding t h e en t ran ce to the pa r k , the h igh plat form for viewin g 101, t h e seat a re a f o r people to st ay and t h e lumin ou s high to we r. I ho p e to c reate a peacefu l bou n dar y space like t he c i ty l a nd s c ape, let people flow an d feel freedom.
– 78 –
city lanscape
direction The direction of the light guides people to forward, and on the premise of not changing the original direction, through the slow ramp, people go up unconsciously, and slowly and inadvertently come to the gathering place of light.
– 79 –
light
shadow
Light will redefine boundaries in darkness. Therefore, the light penetrates the small windows and the transparent medium, and redraws the new boundary next to the original boundary.
Shadow show their appearance on the wall. Shadow is changeable. When the car is driving from left to right, the lights reflect the human shadow / object shadow from left to right on the wall, which illustrates the dynamic and clear experience.
– 80 –
– 81 –
FINAL MODELS