Ching Chia Huang Portfolio

This is a story about how people moves within architecture, landscape, and the city.

As tourists and citizens exploring Tainan city, The Boulevard is a part of the Wandering Map.

As tourists and citizens exploring Tainan city, The Boulevard is a part of the Wandering Map.

Situated among a variety of programs and complex urban condition, the new community center becomes a transitional space from public to private realms.

The design is inspired by traditional Tainan alleyway, focusing on how human moves within city and architecture.

The design is inspired by traditional Tainan alleyway, focusing on how human moves within city and architecture.

The boulevard starts at the intersection and ends at the court museum.

The boulevard starts at the intersection and ends at the court museum.

Travelers can see different activities happening on the boulevard. Different programs turn into scenes in the movie.

Through the journey, there are streets connecting to Tainan Art Museum and nearby important sites.

Responding to stairs and ramps in Tainan Art Museum, vertical motion is converted into horizontal movement in my design

The boulevard generates traveling process of indoor and outdoor as well as solid and void.

Different height and condition of the ceilings divides the boulevard into a sequence of spaces.

The design is inspired by traditional Tainan alleyway, focusing on how human moves within city and architecture.

The boulevard starts at the intersection and ends at the court museum.

Through the journey, there are streets connecting to Tainan Art Museum and nearby important sites.

The boulevard generates traveling process of indoor and outdoor as well as solid and void. Different height and condition of the ceilings divides the boulevard into a sequence of spaces.

Travelers can see different activities happening on the boulevard. Different programs turn into scenes in the movie.

Responding to stairs and

ramps in

Tainan

Art Museum, vertical motion is converted into horizontal movement in my design

Little streets across the road penestrate into the site, forming First Floor Plan.

Volumes are connected to create small plazas and shading, forming Second Floor Plan.

In the small void, the boulevard is built beside the wall, travelers can see activities below.

The Main Path slices voulumes and crosses through inside and outside.

The Secondary Path creates courtyards and enters private zone.

The path divides space into serving and being served area.

The path becomes vertical connection.

Private space is detached from the path.

In the big void, the boulevard cuts through the space, floating in the air.

The path becomes space.

In the beginning and end, the path turns into balconies.

The outdoor boulevard near the big courtyard is the watching place for performances.

When the path intersects, corner condition is created.

The path can signify the entrance and exit. The path can connect different rooms.

The boulevard separates the restaurant into serving and being served space.

The boulevard becomes gallery space, serving as the entrance to Tainan Art Museum.

As in-between space, the boulevard shows the contrast of transparent and solid walls. The Small Void creates an intimate experience of human and the sky. As the destination of the boulevard, The Long Balcony looks toward Tainan Court Museum.

The balcony overlooks the intersection.

The restaurant is divided into serving and being served area. Lobby is a void, connecting two floors.

The second division begins with an outdoor path, directing to The Gallery. After seeing the exhibition, travelers would enter The Bid Void. Later, wide space turns into a narrow tunnel. At the end, there is The Big Courtyard, immersed in greenery.

Along the boulevard, there are windows viewing Tainan Art Museum.

The Park of Strips

The strip park utilizes the old struture of the carpark. Constructed and programmed in horizonal congestion, the park create a new type of landscape for city wanders

Observation

Gradual transformation of forms can lead to entire transformation of functions

*These two experiments examine the possibilities of columns, horizontally and vertically

Methodology

First, identify original and final forms. Second, identify original and final functions.

Third, identify the displacements in transformation. Forth, identify the displacement of each transformation.

*The three proposals explore the extent of merging park and car park.

Program of Strip Structure of

Project

Tactics of Nature

Nature itself is the program.

The screens of trees parallel to the bands can define the boundries of strips. The overlapped natural sceneries can create picturesque images.

Tactics of Representation

Transferring vertical floor in skyscrapper to the horizontal strips of the park implying the simultaneous presence of section and plan

Situation Land

Situation Land is a place where reality fades and imagination begin. It is a dream for future theme park. It is a city for derive, wandering, and endless drifting. It is where citizen becomes flaneur and where we become the character of our story.

Nowadays, themes park the repetitive life. Yet, boundary between real is a chance that we use whole city becomes a immersion. And we will

At present, themes parks spectacular space and

The Spectacle

Situationism : Constrcuted Situation

The Society of The Spectacle

Applying the principle of optical physics to culture and sociology, it describes the situation where "the original is lost, and the spectacle dominates." Debord used the spectacle to express the characteristics of contemporary capitalist society—the essence is shown as a picture, which becomes an illusion constructed by observability, which obscures the true existence of society. The spectacle is thus a materialized world view.

Optics Theory

The spectacle is originally an optical term. The visual effect is to "compile" all the separable elements into a new "focus", a new display object through the condenser lens. Therefore, the spectacle is not the original object, but “the simulated collage of many original objects” after the original object is "decomposed and reorganized".

The Objective Visual Apperarence Layer

The first layer refers to the spectacular and attractive space that the spectacle creates. It describes the exciting external environment that flaneur see directly.

The Subjective Visual Construction Layer

The spectacular space has internalized into our mind. Flaneur can only see through small windows. The exciting scenery are all imagined by themselves.

The Invisible Controlling Layer

Doors and tunnels are used to indicate and symbolize how space contol flaneurs' direction and motion, reflecting to the controlling power of the spectacle.

The Passive Roller Coaster

The roller coaster is a loop. The flanur ends at where he started. Thus, the flaneur has only passively enjoy the ride, fully controlled by the amusement facility.

The Active Roller Coaster

Roller coaster brings flaneur from one place to another. Flaneur can consider the ride as a part of his derive process, turning the passive ride into an active one.

Two-Way Alienation

"Total alienation" means that the difference between reality and illusion has been completely eliminated. "Reality appears in the landscape" means that reality no longer reveals itself; "the landscape is reality", which means that reality has been separated, replaced, dissolved and replaced. This situation in which countless separations are combined into an illusion of unity is called "two-way alienation."

The model not only presents the existence of modern spectacular space but also describes the process of constructing a new situation, destroying the appearance of the spectacle. The folding exciting space becomes the base layer. Additionally, the small volumea provide space for subjective visual construction. There are also active roller coasters for flaneur to derive.

The society of spectacle requires a revolution in daily life to destroy the spectacle and release the essence of human beings. Situationists introduced the concept of situation and the strategy of constructing the situation, including derive, detourment, and psychogeography map. The methods emphasize on daily pleasure, the randomness of sensory experience, and the liberation of the increasingly alienated "daily life" .

Situationism : Derive

Situationism : Psychogeography Map

Derive is defined as "observing a certain accidental process on the street", denying the solidification of materialized urban life. The nomadic, transitional and wandering urban experience is integrated into the spatial reproduction to challenge and disturb the fixed mainstream urban imagery. The constant changes of the landscape stimulate the imagination of the flaneur.

Debord produced the "Psychogeography Guide" after walking aimlessly in the alleys and streets. Debord cut out the street map of Paris and inserted a series of turns and detours. The generated map reflects the subjective desires and perceptions rather than overall urban framework. It is not an imitative description of urban landscape, but more like a cognitive map.

With the inspiration of psychogeography, I try to imagine a place where the theme park and the daily life in Yuguang Island are interweaved with each other. It is a place where flaneur can continuously derive on foot or with active roller coaster ride, where playing becomes piority and working or living becomes secondary. It is a place that I called “Situation Land”.

Situation Land

An Experiment with The Spectacle In Yuguang Island

The Water Palace

A Water World In The Sky

Yuguang Island is chosen as an experimental site to present the embodiment of situationism. The project is also a rebellion against the spectacle phenomenon and a rejection to modern theme park. It is where the role of citizen becomes flaneur.

The Forest Strip

An Encounter With Trees

In the themed island, passive amusement facilities are turned into active transportation system, transporting flaneur from places to places, also from reality into fantasy. In this case, the whole island becomes a spatial tranportation machine.

Four themes are created to generate spectacular space for flaneur to derive. Each program also respond to different condition and characteristic of each place. Wecome to Situation Land! Let's derive together!

The Ribbon Village An Elevated Network of Public Surfaces

The Floating Sanctuary A Walk Toward The Sea

The Water Palace

A Water World In The Sky

The Water Palace creates a dynamic streetscape with the element of water. The spectacular space is built on the base of complex alleyway systems, serving as the carrier for flaneur to derive. Small residencies are attached to the street, providing flaneur a living style of deriving. In the water palace, playing and living is no longer separated like amusement park nowadays. This is a place where playing becomes a part of daily routine, when playing and living becomes one entity.

The Forest Strip

An Encounter With Trees

The Forest Strip is the entrance of Yuguang Island. Thus, the regional roller coasters are in the form of arch, creating a sense of entry and procession. The out of scale arches can be see far away from the bridge. Here is the commercial area of the island. The inserted surfaces are designed to accommodate food stands once in the intersection of the roads. Therefore, The Forest Strip forms an exterior shopping experience in the nature, making shopping a part of the deriving process.

In The Water Palace, flaneurs are welcome to experience different relationship with water. There is exciting water ride as active circulation. The alleyway is also decorated with small river and water fall, creating an ever-changing scenery. Additionally, the flaneur can derive with fish swimming around with the transparent aquarium boxes. At the end, flaneur can immerse his body fully in the water within the bath cabin, having the most intimate experience with water.

Trees provide different functios in The Forest Strip. Trees serves as structure for the platforms with techniques including cable suspension and diagonal brace. Situated between two small volumes, tree forms a courtyard. In the bar, the tree is not only the supporting material but also a kind of furniture like clothes hangers. In addition, running rings are placed arounds trees, serving as the medium for flaneur to derive. Here, flaneur can experience a different speed of derive in the nature.

The Ribbon Village

An Elevated Network of Public Surfaces

The Ribbon Village uses bridges to connect the separated roofs of the residents. In this case, bridges are a carrier of motion and a way for flaneur to derive. Villagers may enter the public surface simply by opening their door of bedroom. Sometimes the roof of residents may even be the roller coaster station. This is a place where public and private is combined, blurring the boundary in between. As for structure, bridges and surfaces are both parasiting on the existing houses and the elevator.

The Floating Sanctuary A Walk Toward The Sea

The three story of rooms are a boundary between the noisy world outside and the silent heaven inside. Walkways and tunnels originate from some particular rooms while the roller coaster even penetrate through one room. Here is the destination of the Public Roller Coaster. As flaneur arrives at the end, they will see the infinite sea and the tranquil horizon. There are also some small chapels floating on the sea, where flaneur can stay and celebrate for solitude.

In the lower Public Surfaces, residents are welcomed to gather around on the exterior platforms, chatting and resting under the sunlight. In the above Folding Surface, public interior program such as community center and small libraries are inserted. The height also makes the Folding Surface becomes a tower and a landmark. Responding to the folding concept, the regional roller coaster provides 360 degrees experience. It is an active and exciting transportation method for residents and flaneurs.

The Floating Sanctuary utilizes curved walls to create sacred space for flaneur to meditate in the chaotic island. The walls also enhance a sense of tunnel, forming the dramatic effect of light in the end. Both the walkway and roller coaster symbolize the transformative process from the land to ocean, from the mundane of daily life to somewhere deep in mind. Moreover, the regional roller coaster offers exterior seats where flaneurs can move with the wind flow during the ride.

The Water Palace

A Water World In The Sky

The Forest Strip An Encounter With Trees

The Ribbon Village An Elevated Network of Public Surfaces

The Floating Sanctuary A Walk Toward The Sea

Situation Moment

In Situation Land, roller coasters are not only an active transportation system and a way to derive. They also disconnect flaneurs from reality. During the ride, the perspective changes every seconds. With ups and downs as well as turns and reverses, the existing environment is distorted and transformed into a brand new spatial experience.

Moment of Preparation

The roller coaster begins with climbing into the endless sky. Flaneur is filled with expectation and anticipation. This is a moment of preparation. This is a moment to be ready for a mind-blowing experience.

Moment of Alienation

As the roller coaster reverses, flaneur enters a world of upside down. The environment flips within a moment. Surfaces in The Ribbon Village change from platform where flaneur standing into roofs and big sheds. Therefore, as the perspective changes, the function of architectural elements also transforms. This is a moment of extreme speed. This is also a moment of alienation.

Moment of Suspension

On the high point, flaneur owns the grand view of the island. Flaneur is filled with excitement and nervousness. This is a moment of waiting as if the whole world has suspended. This is a tranquility before the exciting storm comes.

Moment of Pleasure

Applying the principle of optical physics to culture and sociology, it describes the situation where "the original is lost, and the spectacle dominates." Debord used the spectacle to express the characteristics of contemporary capitalist society—the essence is shown as a picture, which becomes an illusion constructed by observability, which obscures the true existence of society. The spectacle is thus a materialized world view.

Situation Memory

The Public Roller Coasters brings flaneurs among different sections with extreme high speed. Thus, the boundary and distance among different sections has been eliminated. The roller coaster becomes the ultimate connection and the most exiting way to derive.

Flaneur would derive back and forth among these four sections. In this case, the journey flaneur remember will be the interweaving experience of different sections. The Situation Memory of the flaneur is presented in the psychogeography map of Situation Land, in the form of plan and section.

Future Ruins

On the scale of million years, Hsinchu Industrial Science Park was built in forty years. However, the cut of Hsing Cheng Fault has put the seemingly perfect science park in an extremely unstable state. Therefore, it will be a process of conflict and balance between the 28 kilometers natural line and the 749 hectares artificial park.

The park of Hsing Cheng Fault is made of many layers...

The 500-meter line is the passage from factories to the scared hill, a process that returns to the nature from the man-made park. This is a huge crack of 6 meters wide and 15 meters deep. It is a ramp that gradually extends into the soil. One side is made of retaining wall, and the other side displays a long painting formed by the geological texture. Besides showing the past and history, the geological painting also monitors the future movement. The bridges connecting two sides are girders that hold up the gaps, transferring the pressure of the soil from the nets and columns to the retaining wall.

The 500m Geological Painting

One side is made of retaining wall, and the other side displays a long painting formed by the geological texture. Besides showing the past and history, the geological painting also monitors the future movement. The bridges connecting two sides are girders that hold up the gaps, transferring the pressure of the soil from the nets and columns to the retaining wall.

At 415 meters, you will reach the fault line, which is also the entrance to the park. The Library and Theater on the fault line will move with the fault, responding to the future tiny movement of nature.

The corridor is formed by two sloping roofs. Sunlight will shine on the fault line through the gap. The structure of the two roofs is fixed to the upper and lower plates respectively. The sequential columns and walls in the corridor will gradually move within a hundred years, creating the possibility of opening or closing, affecting the movement and circulation. The corridor is also a place for reading. In a park beyond the timescale of life, books become a trace of human in the long history.

Movement of Hsing Cheng Fault

The earthquake 270 years ago on Hsing Cheng Fault caused a vertical displacement of 1.3-1.85 meters. Moreover, the upper plate rises by 8-10 millimeters every year, and moves northwestward at a rate of 5.6 millimeters per year. I want to record the movement through space.

Present Condition

In 100 Years

Theater of Observation

At the end of the corridor, I placed a theater as the interface between the sacred hill and the man-made park. I wanted to create a place of seeing, where the experience of seeing and observing slowly changes through the raw power of nature. When the fault moves slowly, the two ceilings on the lower plate will gradually separate, making the audience space become brighter. The stage formed by the upper plate gradually rises, the relationship between audience and performer slowly changes, and the inclination of viewing the performance also implies the movement of the fault year by year. Finally, the second floor will continuous inclining to the upper plate, and eventually connects with the stage at a 30-degree angle, creating a new viewing position.

In 200 Years In 300 Years

Through the observation of a geological phenomenon, I want to reveal the power of nature in a seemingly perfect man-made environment.

As earthquake takes place, the entire science park would be destroyed, leaving behind a metal labyrinth. Metal has ductility and plasticity. Under impact strength, it will produce permanent deformation without damage when subjected to force. These metal walls buried in the soil will be permanently deformed by the vibration of earthquake waves, destroying the original order, forming a huge sculpture in which a person can walk. This ever-changing landscape will be rewritten by earthquakes, forming the future ruins again and again.

Future Ruins

I want to create a sublime artistic experience as danger and beauty collide. In a world of factory and machine, I hope to rediscover the human scale and the earth scale. Through the observation of a geological phenomenon, I would like to reveal the power of nature in a seemingly perfect man-made environment.

The different height of the vertical movement at the central point of the origami unit can create various types of spatial conditions, changing the boundary between private and public areas. We choose three different heights as examples, including the center point (C)at 2.5m, 5m, and 7.5m.

In the center point at 7.5 meters high origami unit, the public area is reduced to zero, while the private space increases. Private space can not be directly penetrated. The activity and program within can be specially decided by the individual. The individual can also enjoys one’s own precious private time during this spatial condition. We believe that this changing mode also responds to the time-sharing concept in the modern society.

In the center point at 2.5 meter high origami unit, the private spaces are all mutually connected,providing the highest degree of penetration. Residents can share their mutual space with each other without the interference from the activities happening on the ground level.

In the center point at 5 meters high origami unit, the height of the public space is in the most com fortable and usable condition. The public space can be used as co-working studio as well as space for collective exercising. Activities and concert can be hold on the ground public area, at the same time private space can provide a certain degree of privacy, yet also penetrate with each other.

Movable dwelling unit

The form of origami simplifies the way of construction. The steel structure is set up along the track of eight corners to support our unit, half of them hanging under the Civic Boulevard, the others lay on the ground. When the unit goes up and down, it can shape a variety of public space types and usage methods. In response to the movable unit, we have developed a floor slab made of soft materials to realize our imagination of contemporary living. In addition, the ground floor is composed of the public spaces of all units. The public spaces that can interact with each other even penetrate into the neighborhood, connecting the north side and south side of Civic Boulevard, also activating the originally useless space under the bridge.

Pixelated Elevation

PIXELATED PARK

PIXELATED PARK

PIXELATED PARK

PIXELATED PARK

Reinterpretation of the power landscape: pixelated

Reinterpretation of the power landscape: pixelated

PIXELATED PARK

Reinterpretation of the power landscape: pixelated

Reinterpretation of the power landscape: pixelated

In past times, people used axes and huge volumes to create an atmosphere above the scale. Since ancient times, Chinese space has been used to create a sense of authority for the palace through roofs, pedestals, and screens. e form of Chiang Kai-shek Memorial Hall is derived from ancient Chinese palace, and the authority in it comes from the construction of the exterior form. In contrast to the centralization of power, there is a decentralized network structure. us we pixelate the strongly political space and turn it into unidenti able parts. e complete object has a subjectivity, and we turn it into a part of the interior space, so that it still exists but no longer has the symbolic meaning of the past.

In past times, people used axes and huge volumes to create an atmosphere above the scale. Since ancient times, Chinese space has been used to create a sense of authority for the palace through roofs, pedestals, and screens. e form of Chiang Kai-shek Memorial Hall is derived from ancient Chinese palace, and the authority in it comes from the construction of the exterior form. In contrast to the centralization of power, there is a decentralized network structure. us we pixelate the strongly political space and turn it into unidenti able parts. e complete object has a subjectivity, and we turn it into a part of the interior space, so that it still exists but no longer has the symbolic meaning of the past.

In past times, people used axes and huge volumes to create an atmosphere above the scale. Since ancient times, Chinese space has been used to create a sense of authority for the palace through roofs, pedestals, and screens. e form of Chiang Kai-shek Memorial Hall is derived from ancient Chinese palace, and the authority in it comes from the construction of the exterior form. In contrast to the centralization of power, there is a decentralized network structure. us we pixelate the strongly political space and turn it into unidenti able parts. e complete object has a subjectivity, and we turn it into a part of the interior space, so that it still exists but no longer has the symbolic meaning of the past.

Reinterpretation of the power landscape: pixelated

In past times, people used axes and huge volumes to create an atmosphere above the scale. Since ancient times, Chinese space has been used to create a sense of authority for the palace through roofs, pedestals, and screens. e form of Chiang Kai-shek Memorial Hall is derived from ancient Chinese palace, and the authority in it comes from the construction of the exterior form. In contrast to the centralization of power, there is a decentralized network structure. us we pixelate the strongly political space and turn it into unidenti able parts. e complete object has a subjectivity, and we turn it into a part of the interior space, so that it still exists but no longer has the symbolic meaning of the past.

In past times, people used axes and huge volumes to create an atmosphere above the scale. Since ancient times, Chinese space has been used to create a sense of authority for the palace through roofs, pedestals, and screens. e form of Chiang Kai-shek Memorial Hall is derived from ancient Chinese palace, and the authority in it comes from the construction of the exterior form. In contrast to the centralization of power, there is a decentralized network structure. us we pixelate the strongly political space and turn it into unidenti able parts. e complete object has a subjectivity, and we turn it into a part of the interior space, so that it still exists but no longer has the symbolic meaning of the past.

Chiang Kai-shek Memorial Hall is a park disconnected from the urban context. erefore, as a new disturbance, the pixelated space not only connects to the urban environment, but also serves as an opportunity to re ll the surrounding function. Activities penetrate in a band-like manner, preserving the past authoritarian space with a new look. By dismantling symbolic volume of power, the historical building is treated as an object.While translating the form, the everyday function is reintroduced. Human scale is used to reoccupy the huge scale of the past. is is a monumental daily park where past and present coexist, and time begins to stack and accumulate through architectural objects.

Chiang Kai-shek Memorial Hall is a park disconnected from the urban context. erefore, as a new disturbance, the pixelated space not only connects to the urban environment, but also serves as an opportunity to re ll the surrounding function. Activities penetrate in a band-like manner, preserving the past authoritarian space with a new look. By dismantling symbolic volume of power, the historical building is treated as an object.While translating the form, the everyday function is reintroduced. Human scale is used to reoccupy the huge scale of the past. is is a monumental daily park where past and present coexist, and time begins to stack and accumulate through architectural objects.

Chiang Kai-shek Memorial Hall is a park disconnected from the urban context. erefore, as a new disturbance, the pixelated space not only connects to the urban environment, but also serves as an opportunity to re ll the surrounding function. Activities penetrate in a band-like manner, preserving the past authoritarian space with a new look. By dismantling symbolic volume of power, the historical building is treated as an object.While translating the form, the everyday function is reintroduced. Human scale is used to reoccupy the huge scale of the past. is is a monumental daily park where past and present coexist, and time begins to stack and accumulate through architectural objects.

Chiang Kai-shek Memorial Hall is a park disconnected from the urban context. erefore, as a new disturbance, the pixelated space not only connects to the urban environment, but also serves as an opportunity to re ll the surrounding function. Activities penetrate in a band-like manner, preserving the past authoritarian space with a new look. By dismantling symbolic volume of power, the historical building is treated as an object.While translating the form, the everyday function is reintroduced. Human scale is used to reoccupy the huge scale of the past. is is a monumental daily park where past and present coexist, and time begins to stack and accumulate through architectural objects.

Chiang Kai-shek Memorial Hall is a park disconnected from the urban context. erefore, as a new disturbance, the pixelated space not only connects to the urban environment, but also serves as an opportunity to re ll the surrounding function. Activities penetrate in a band-like manner, preserving the past authoritarian space with a new look. By dismantling symbolic volume of power, the historical building is treated as an object.While translating the form, the everyday function is reintroduced. Human scale is used to reoccupy the huge scale of the past. is is a monumental daily park where past and present coexist, and time begins to stack and accumulate through architectural objects.

e horizontal pixel landscape of the park responds to the vertical pixel façade of the mall, creating a continuous, blurred e ect on the original authoritarian appearance of Chiang Kai-shek Memorial Hall. In the pixelated space, the shopping behavior reoccupies the authoritarianized space as a de nition of another direction beyond the old axis. A shopping mall is an important contemporary public space, and a mall in a broad sense is a space where people gather in the name of shopping.

e horizontal pixel landscape of the park responds to the vertical pixel façade of the mall, creating a continuous, blurred e ect on the original authoritarian appearance of Chiang Kai-shek Memorial Hall. In the pixelated space, the shopping behavior reoccupies the authoritarianized space as a de nition of another direction beyond the old axis. A shopping mall is an important contemporary public space, and a mall in a broad sense is a space where people gather in the name of shopping.

e horizontal pixel landscape of the park responds to the vertical pixel façade of the mall, creating a continuous, blurred e ect on the original authoritarian appearance of Chiang Kai-shek Memorial Hall. In the pixelated space, the shopping behavior reoccupies the authoritarianized space as a de nition of another direction beyond the old axis. A shopping mall is an important contemporary public space, and a mall in a broad sense is a space where people gather in the name of shopping.

e horizontal pixel landscape of the park responds to the vertical pixel façade of the mall, creating a continuous, blurred e ect on the original authoritarian appearance of Chiang Kai-shek Memorial Hall. In the pixelated space, the shopping behavior reoccupies the authoritarianized space as a de nition of another direction beyond the old axis. A shopping mall is an important contemporary public space, and a mall in a broad sense is a space where people gather in the name of shopping.

We believe that Chiang Kai-shek Memorial Hall should not be demolished because it is a part of history. At the same time we argue that the interpretation of history should be left to reader, but by blurring the meaning of memorial in people's lives. From visual pixelation to physical pixelation of the entire park, Pixelated Park gives a new look to the memorial hall and proposes a new interpretation of old power landscape.

e horizontal pixel landscape of the park responds to the vertical pixel façade of the mall, creating a continuous, blurred e ect on the original authoritarian appearance of Chiang Kai-shek Memorial Hall. In the pixelated space, the shopping behavior reoccupies the authoritarianized space as a de nition of another direction beyond the old axis. A shopping mall is an important contemporary public space, and a mall in a broad sense is a space where people gather in the name of shopping. Concept of Pixelated

We believe that Chiang Kai-shek Memorial Hall should not be demolished because it is a part of history. At the same time we argue that the interpretation of history should be left to reader, but by blurring the meaning of memorial in people's lives. From visual pixelation to physical pixelation of the entire park, Pixelated Park gives a new look to the memorial hall and proposes a new interpretation of old power landscape.

We believe that Chiang Kai-shek Memorial Hall should not be demolished because it is a part of history. At the same time we argue that the interpretation of history should be left to reader, but by blurring the meaning of memorial in people's lives. From visual pixelation to physical pixelation of the entire park, Pixelated Park gives a new look to the memorial hall and proposes a new interpretation of old power landscape.

We believe that Chiang Kai-shek Memorial Hall should not be demolished because it is a part of history. At the same time we argue that the interpretation of history should be left to reader, but by blurring the meaning of memorial in people's lives. From visual pixelation to physical pixelation of the entire park, Pixelated Park gives a new look to the memorial hall and proposes a new interpretation of old power landscape.

Concept of Pixelated

Dongmen Market

Pixelated Park

Dongmen Market

Shing-lung Housing Project

Dongmen Market

Pixelated Elevation

PIXELATED PARK

Reinterpretation of the power landscape: pixelated

In past times, people used axes and huge volumes to create an atmosphere above the scale. Since ancient times, Chinese space has been used to create a sense of authority for the palace through roofs, pedestals, and screens. e form of Chiang Kai-shek Memorial Hall is derived from ancient Chinese palace, and the authority in it comes from the construction of the exterior form. In contrast to the centralization of power, there is a decentralized network structure. us we pixelate the strongly political space and turn it into unidenti able parts. e complete object has a subjectivity, and we turn it into a part of the interior space, so that it still exists but no longer has the symbolic meaning of the past.

Chiang Kai-shek Memorial Hall is a park disconnected from the urban context. erefore, as a new disturbance, the pixelated space not only connects to the urban environment, but also serves as an opportunity to re ll the surrounding function. Activities penetrate in a band-like manner, preserving the past authoritarian space with a new look. By dismantling symbolic volume of power, the historical building is treated as an object.While translating the form, the everyday function is reintroduced. Human scale is used to reoccupy the huge scale of the past. is is a monumental daily park where past and present coexist, and time begins to stack and accumulate through architectural objects.

e horizontal pixel landscape of the park responds to the vertical pixel façade of the mall, creating a continuous, blurred e ect on the original authoritarian appearance of Chiang Kai-shek Memorial Hall. In the pixelated space, the shopping behavior reoccupies the authoritarianized space as a de nition of another direction beyond the old axis. A shopping mall is an important contemporary public space, and a mall in a broad sense is a space where people gather in the name of shopping.

We believe that Chiang Kai-shek Memorial Hall should not be demolished because it is a part of history. At the same time we argue that the interpretation of history should be left to reader, but by blurring the meaning of memorial in people's lives. From visual pixelation to physical pixelation of the entire park, Pixelated Park gives a new look to the memorial hall and proposes a new

EDUCATION

2016-2017 / The University of Hong 2018-2021/ National Cheng Kung

Ching Chia Huang

love traveling, walking, observing, and the interesting process of creating

STUDY ABROAD EXPERIENCE

June, 2017 / Mae Sot Service Trip July, 2017 / Shanghai Jiao Tong Art: Landscape Painting & calligraphy

INERNSHIP

July, 2018/ Tsai Chang En Architecture July-December, 2020 / Fieldoffice

INVOLVEMENT

2017 / Undergrad HKUSU / University

2018 / Arch 110 Exhibition/ Dong 2019 / Zhong Xing Paper Factory 2019 / Film Making Workshop/

SKILLS

Language: Chinese & English Architecture Software: Sketchup

Adobe Software: Photoshop & Hand Drawing: Pencils & Watercolor