2018 ADA AWARDS
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Foreword
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Introduction
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Curitorial Statement : Scripting Architecture
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Exhibition
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First Stage Jury Meeting
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Final Stage Jury Meeting
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Panel Discussion at the Ceremony
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Events
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Project #1 : X-Site : OO
X-Site OO
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Project #2 : Cool Cool Seaside
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Project #3 : Ayni House
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Project #4 : Green House
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Project #5 : Enishi Resort Villa Project
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Project #6 : Tree Houses in the Dreamy Forest
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Project #7 : Workstation JK
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Juxtaposition of 7 Projects
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Introduction of Finalists
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Interview with Finalists
Advanced Developers Association is founded by a group of newgeneration architecture business operators. Members share professional resources to think about how to give back to industry environment in Taiwan. Held every two years, ADA Awards for Emerging Architects aims to reward architects under 45 years old with outstanding architectural works in Taiwan. It presents an opportunity for younger architects to demonstrate their skills, and connect with industry practitioners.
ADA Awards for Emerging Architects is held for the fourth time in 2018. Over the eight years, it recognizes nearly 40 teams of great architects and their works. Through this award and a series of events, young forward. Since 2016, we have been giving scholarships, and working with several architecture schools to reward best graduation productions. In the long run, we look forward to new possibilities and proposals from innovative and young professionals to architecture in Taiwan.
Allen Wang Chairman of Advanced Developers Association
Note 1: A book is like an architecture comes from TOTO Publishing Editor-in-Chief Sakae Shimizu. At 2018 ADA Call for Submission event, she describes the consistent attitude that emerging architects should have when they present ideas and design through publication.
“I want to talk about the X-Site: OO. This project focuses on the temporality of history. Something just disappear, and the disappearance actually create the trace of the wind…”
of the jury process was held after the exhibition opening, therefore even we had almost completed the book editing before the exhibition, we decided to re-edit it to include discussions from each jury stage, newly released photos, and the exhibition. We hope to reveal the part-to-whole relationships of the selected works by juxtaposing various perspectives.
This multi-volume boxed catalogue documents the awards and the exhibition in a non-linear order. The box set includes a Dialogue, a Photo Essay, seven Pamphlets, and four Posters. The Dialogue presents curatorial concepts, juries' remarks, and the discussions with Rem Koolhaas. Photo Essay compares elements from different projects to create visual encounters rather than a mere representation. Pamphlets while Posters offer more spaces for imagination in larger printing format.
In 1966, Pritzker-winning Italian architect Aldo Rossi, at the age of 35, published The Architecture of the City. He considers a city is more than a collection of landmark buildings. Rather, it is composed of many seemingly ordinary elements. It's important for architects to identify these elements in order to respond to the urban memories. Architect Peter Eisenman once commented on Rossi’s perspective: “The new time of architecture is thus that understood within the psychological construct of collective memory. ” to-whole relationship is our aspiration for this book set. “A book is like an architecture *1.” The 2018 ADA Awards for Emerging Architects catalogue presents superimposed perspectives from different generations and cultural backgrounds. It documents architectural stories and collective memories around the time. Through non-linear narratives, we invite readers to conduct
architecture in this era.
(Machine Age) (mediator)
Sergei Eisenstein MoholyNagy
Curatorial Statement : Scripting Architecture
(double meaning) (double function)
(context)
(Avatar)
machines were used to convert energy into altitude and velocity, as well as to gradually transform architectural design from meticulously crafted works into complex mass-produced assemblies. Thus in the Machine Age, science collided with social culture, and “energy” became the mediator that linked the part and the whole.
linear narratives to offer different spatial and temporal concepts
Eisenstein and artist Moholy-Nagy. Formerly independent cultural codes in daily life like texts, images, sounds and movements were edited into new and assembled narratives through maneuvers such as collage, exchange, fragmentation, substitution and interconnection. Hence, “everyday living” became the mediator that linked the part and the whole. Formerly lucid relationships with apparent purpose and functionality were gradually transformed into ambiguities with double meanings and double functions.
We could almost predict, as we face another imminent major shift in the relationship between the part and the whole, that architecture and context must ultimately tackle multidimensional issues resulting from the juxtaposition of varying systems in environment, mindset and information.
natural objects and avatars, the 2018 ADA Awards seek, by exploring the relationship between the part and the whole in architecture, to observe how the new generation of architects practice. They are scripting collisions between architecture and culture to create new sounds in contemporary Taiwanese architecture, and the mediator with which they link these juxtaposed conditions is “complex relationships” generated by
X-Site : OO
X-Site : OO
Workstation JK
Cool Seaside
Ayni House
Enishi Resort Villa
Hideyuki Nakayama
Chun-Hsiung Wang
Hung-Nan Chu
Yu-Han Lin
Ching-Chuan Lin
Minsuk Cho
David Tseng
Jr-Gang Chi
The voting result is clear, if we all agree, we will just
I think for me, I just wanna make a clear point that I’m glad for those choices, but I think for purpose of this award is that we have to make a statement. it’s a discourse activity, and I think the point is to nurture and direct the younger generation to demonstrate the potential. And I think those choices are quite risk-taking.
I think, like the last presentation (Cool Cool Seaside) for me is a no-brainer, because nobody else is dealing with the public project as much as they did. I think this is good. Workstation JK for me is in a very optimistic and almost naive way, but its’ design, which have been seen in internet companies.
When I compose the list, I try to make the diversity also. There’s some talented ones and really good ones should get recognition. It shouldn’t all about feel-good ones. I was like, I was going for one Japanese out of two, the installation projects for the museum, I will just go for one, you know. Somehow I was trying to make this almost like curatorial. I think we should all together have that kind of consideration, Because it’s a core section of diverse activities. This sort of activity shouldn’t be too self-righteous.
Ayni House and X-site : OO, both for me, I see personality, the really good potential in these two young architects. Ayni House is I think experience could have helped better, although it’s limited and rough. These projects are not comparable to one of those very sophisticated, big mansion projects. We all agree with that, I am very glad.
I sort these projects to several groups. Group one is
Chun-Hsiung Wang
Minsuk Cho
Hideyuki Nakayama
Chun-Hsiung Wang
about the social program, and the second category is single family house, and this is the cheapest. And next category is complex including hotel, and I selected one. There is a substantial process and attitude. The rest group is the pavilion with cheap price, I selected three, so the balance is nice, I feel happy with the balance. Whole image is that rich projects disappear, while small but critical project is in, so I feel happy. too much? We have two social projects, is it ok or not?
As I mentioned before, I think it’s about what kind of statement we are going to make with these seven projects.
Submissions in each ADA awards have their own feature, so we cannot be too insistent sometimes. Some residence projects this year are too delicate, while some are too rough. Just as Wang has said, we may notice that temporary works this year are especially outstanding under certain consensus.
In other words, we are making a statement through this list. our opinions. What do you enjoy in these projects? We will document your preferences in our publication in future.
Yu-Chih Hsiao, I would like to be friend with him! He seems like such a cool guy, he has kind of very mellow characteristic, but still I think he should really highlight and deal with this contemporary aspect. Because it’s kind of a thing that’s so quaint. People can adore, but it should be more to it somehow.
Yu-Han Lin Minsuk Cho
Minsuk Cho
Chun-Hsiung Wang
Of course, he worked with the limited situation, I know. We just talked about Fujimori Terunobu, he doesn’t has that quirkiness
I want to hear your opinion about “Cool Cool Seaside”.
Minsuk Cho
Chun-Hsiung Wang
Minsuk Cho
Chun-Hsiung Wang
Hideyuki Nakayama
I think that should happen more. This remind me a lot what happened in my country. I like their insight about this whole public internet feedback. These young architect has a bigger role than us in a way, right? It is what it is. Their attitude and presentation is good, they are not naive. I am curious about their background. Did they study abroad?
No, They were all educated in Taiwan.
I think Pei-Jung Lin has real potential. At the beginning, It was a very ambitious thing. I think what she was doing, with 3 bubble machines and the mechanical choreography, was one of the freshest thing I have seen, and I know this will be really hot inside, and didn’t really work. You know, so much is this atmosphere quality that she is creating. It’s visual seduction you think she knew what she was doing, I like her attitude.
Nakayama san, Do you want to say something?
The most impressive projects for me are Cool Cool Seaside, Green House, and X-site : OO. Cool Cool Seaside is about micro urbanism, that is the most critical project. For Green House, it’s the most sophisticated and well-designed. But this one is very temporary. Their answer was very clear that the cat
X-Site : OO
X-Site : OO
X-Site : OO
X-Site : OO
walk is possible to chain the material, but this is a little bit hard to keep the condition as a permanent project. X-site : OO, this project is the most architectural for me. Through the day, my concern is that many projects totally ignore the environment problem. No one mentioned about nature wind blow, and problem about heat island. Green house is conscious about environment, but this is for plants, not for people. X-site : OO is only a pavilion, environment, to control that kind of invisible matter. So, it’s very choose which is the best. Cool cool seaside is conscious about social problem, that’s very important. Therefore, It’s very hard to choose one for me.
Anybody can help him?
I was in X-site : OO in a very hot summer afternoon. Actually, it’s not a very unbearable experience, somehow it’s an experience of joy. It reminds me they probably have artistic possibility in public space, and also you can have personal moment in public space. This is very different from Cool Cool Seaside. Because the public aspect of Cool Cool Seaside is more like activity and social interaction. I think both projects bring up different aspects, and how we interpret public space at this time.
I agree with you. I want to talk about X-Site : OO. This project totally focus on the temporality of history. Something just disappear, and disappearance actually create the trace of the wind, somehow it’s beautiful for me. In the beginning I thought it was theatrical, and had problem with that, but today in the presentation, she changed my mind completely. I would like to give special mention to as well Green house. I think this project
Hung-Nan Chu
Yu-Han Lin
Yu-Han Lin
X-Site : OO
Chun-Hsiung Wang
is another way to deal with climate, another way to deal with research, very traditional construction that is almost universal as what you said, it’s universal because it’s sustainable and adaptable. I like even the crop rotation can help on positioning different possibilities. It’s a beautiful project.
But I still can not clearly get the idea about “Green House as a home”.
Jr-Gang Chi
Yu-Han Lin
Hung-Nan Chu
Jr-Gang Chi
I think this title and design might have a little bit of inconsistency. Perhaps it is a question about the use of metaphor and metonymy.
I also have that question. The idea of “house” almost went back to symbolism, It is a little bit vague here regarding “what is a house” versus “what functions a house”.
I also have a similar observation on Green House. Because for me, it’s more leaning towards to leisure green than the productive aspects of green in everyday living.
For me, I focus more on the experimental aspects of the selected projects. If we don’t categorize them based on their building types, instead, we classify them per issues that they experiment with. Then, we can have different characters of each groups. For instance, the temporary projects can be separated into different groups.
I can group X-Site : OO and Ayni House together. Basically the two projects can take you journeying through your inner world via tangible and intangible elements. They constructed their architecture in two worlds at the same time, one is material and
Yu-Han Lin
the other is spiritual. I can somehow experience peace from them.
Cool Cool Seaside and Workstation JK are social projects. One is experimenting on urban/virtual scale and the other is more on people’s relational scale. They did these projects from young generation’s perspective, which is particular interesting to me.
For Green House, I will put it into a single category, it is an interface of nature and man-made, and the design focuses on the permeable aspects between the two. So the permeabilities between double functions/meanings are the key point of this project.
Lastly, for Tree Houses and Enishi Resort, I think they share certain similarities. Both are about human body and space, about material and construction. Both have some kind of cave spatial conditions, and many of their experimentations are about construction techniques, so I will put the two in the same group.
Also, I think regarding the purpose and how we position the award this year, our selection is a way to encourage young architects to do more experimental projects when they are still young. Perhaps they can carry these attitudes toward their later practices, when the project is getting more complex, and their skill is more mature. It’s not that we only award temporary projects, I don’t think so, rather the spirit of experimentation is what we appreciate.
Lastly, I am curious about how do you compare the young generation here to those in Japan or Korea? Of course they can not be easily compared, but perhaps just as a general phenomenon?
I am genuinely impressed by the quality of work, thinking, and the diversity of them.
For me, these temporary projects and social projects are part of globalism in a way, just to be very critical, but we are breathing the same air somehow. I mean this kind of pavilion project, MoMA does it and Serpentine Galleries does it. But I think it's a good thing actually, these nurturing for young architects that means you are developed enough. Those young architects are not going to have much opportunity without them. In Comparison, Chinese architects probably would not get much help for winning the young architect prize in the age of 35, because they will
so on. So I think that’s in a way this jury board is so important here and I think today we made the result selection for that. But compared to Korea, in a way I thought there’s more diverse. Also the one that didn’t get recognition today, the level of virtuosity or professionalism and control almost beyond their age, maybe too mature, and that also something I don’t see that often.
In Japan, the situation is different compared to number of population decreasing very seriously in Japanese countryside, and the city center still has very high density. But after earthquake, the situation has totally changed to a conservative way. So young architects have moved from city to countryside to engage to the work of social program, and make the new type of living in the countryside, meanwhile, there are so many similar projects in the city center but the young architects lost the possibility to get a whole building. So the city program I really interested in social projects in the city but I have to say I’m a little bit disappointed to the lost of the opportunity in Japan.
Hideyuki Nakayama
social program
I think the list itself is quite diverse. Several of them are exploring gaps in our daily experiences, especially those temporary ones. Some projects address spatial programs in life. They look for softer spots in daily routines in their presentation or constructions.
It’s quite interesting that we include many special constructions to permanent buildings. These projects, in comparison, offer conditions we are used to. Even if they have beautiful spaces, Workstation JK is fascinating to me not just about its social programs. It offers a more interesting operational model. It presents softer aspects in the space in a more interesting method that we didn’t address. Another case in Penghu is meaningful. Even though it’s a place for vacation, we can still reference its residential aspect. It offers fresh imaginations about space. I also enjoy Ayni House. Both Cool Cool Seaside and Ayni House showed us their budgets, and they demonstrated creativities in extremely low-cost conditions. Even though I don’t like all projects, but I enjoy the result in general.
Nancy( )
X-Site : OO
Kwang-Ting Wu
Nancy Lin
Kengo Kuma
Sheng-Yuan Huang
Shu-Chang Kung
X-Site : OO
Shu-Chang Kung
Nancy
Lin
Kwang-Ting Wu
We can start by commenting on individual projects, then suggesting what they can do next. Let’s follow the order in the
X-Site : OO
When we experience and evaluate spaces, we tend to be too serious and use a lot of architecture jargons. This work, on the other hand, includes an amusement factor. People across age groups are always happy to see bubbles. It uses this fun element to reach out. With wind and machines, people are suddenly aware of environmental changes.
The architect makes good use of simple structural materials, but it requires additional efforts to integrate different forms.
Sheng-Yuan Huang
When I was there, the bubble machine didn’t function that well anymore, but I still enjoyed it. Young people choose a contemporary material to express monumentality in lightness and an uncanny way.
Shu-Chang Kung
I agree with Huang. I admire how this project tries to construct connections between environment and landscape, as well the museum and plaza simultaneously. For the monumental outer circle and the simple inner circle, they serve as pantheon and V-shape upside down to create distances between human and space. It feels with name on the same level to create an interactive relationship between human and environment. It’s rare to achieve intimate and distant relationship as such in architecture in Taiwan. The project brings the sense of mind-healing, but it has not reach the poetic core yet.
Nancy
Kwang-Ting Wu
Cool Cool Seaside
This project includes social and contextual can understand and experience activities through this project. When I visited the site, however, design motivation required further
Sheng-Yuan Huang
Several projects in the list have to twist the prerequired programs into something new, such as Workstation JK and Tree Houses. It may be a required skill for emerging architects. It’s a positive trait to persist. They are not overly worried about the given inferior conditions, but they work step by step and stay adaptable conditions, they become very creative.
This is a courageous project to me. Projects from public sector often provide very limited funding, and require a lot of interpretations and resistance. The architects open up the imaginations and collaborate with the local government to turn the additional coordination to achieve this project as it is now.
Shu-Chang Kung
I agree with the insistence and humor mentioned by Prof. Wu. The project presents a relaxing atmosphere, although it doesn’t have to. I also agree with what Nancy says. The project creates urban space. We see many aerial photos in this project, which imply that it belongs to something in much bigger scale. It takes a lot of will to proceed with humor.
Ayni House
This project touches upon insistence in architects. project with such a small budget. The space and tranquility translate
Nancy Lin
Nancy Lin
the minimalist ritual in personal practice. Everything operates with light movement, and the space conveys a spiritual quality. However, those curves and movements in architecture and their relationship with concrete haven’t completely convinced me.
Sheng-Yuan Huang
of a residence. The user is a monk. Even though the architect has a lot of languages in mind, but he stays reserved to avoid conspicuous display. It’s good to be humble in this project.
Kwang-Ting Wu
Shu-Chang Kung
He expresses living space in consistent and full way. He pays attention to details, aesthetic expressions, lighting, materials, and functional structure. He uses new wood formwork panels in living room, reused wood formwork panels on exterior wall, and polished concrete surfaces in bathroom and kitchen. We can encourage these details, but I don’t really understand the intention.
I assume Wu is trying to say that the intention in architectural philosophy (about the choices of formwork panels) is unclear. I personally prefer those two relaxing semicircle spaces. I found it interesting when I visited. It’s very comfortable to live without many distractions.
Green House
Kwang-Ting Wu
Sheng-Yuan Huang
I think it’s a great attempt. Curatorial contents also guide architectural forms. The expression is refreshing. However, the connection between material and space is not as strong, and structural materials can be more precise.
Those greenhouse materials, parts, and tools are replaceable. They did researches on these topics to a certain degree. It’s great for architects to get involved with industries. The curatorial idea is also good, but it hasn’t been completely transformed into spatial responses.
This project is about global environment and food. It combines agriculture with housing, and proposes about how everyone can grow their own food at home. Vertical plantation is a good idea. It’s an exhibition, so the module design and temperature control is not precise enough. However, it’s a very successful exhibition. People learn to appreciate food and activities together. Children in every photo looks happy.
As it begins with a curatorial idea, the exhibition portrays a new lifestyle and spatial format. It’s more of a statement than achievement. If the project returns to deal with form eventually and precisely translates arch, steel structure, canopy, and drainage, it will contribute even more.
Workstation JK
urban development in Taiwan. It’s not located in a heritage building, but people start to imagine its future. It shoulders social over a space. I encourage them to keep on exploring the unknown.
The project is meaningful by choosing an abandoned regeneration. The architects have the quality and personality to inspire social activities. They even function as a curatorial team to plan continuous activities in the city. For me, this project demonstrates responsibilities in architects. It’s more than just building houses.
It’s a tranquil project in the city without being cliche. Architects contribute their profession without imposing too much. They are serious, but also funny. It’s a positive example with professional values in a social movement.
Nancy Lin
Sheng-Yuan Huang
Kwang-Ting Wu
Shu-Chang Kung
Nancy Lin
Shu-Chang Kung
expression. As mentioned, they intervene professionally to create a comfortable urban architecture.
Tree Houses in the Dreamy Forest
Kwang-Ting Wu
Sheng-Yuan Huang
I agree that it’s enthusiastic to crafts and romantic about life. He achieves what he wants. It’s rare to see these attempts from young architects in Taiwan. The architect is very expressive and aware of handcrafts. However, the tree on site becomes more like a background without strong relationship with the house.
The tree house hasn’t created close encounters with the tree.
Nancy Lin
Sheng-Yuan Huang
People feel disconnected when we talk about and attractive items. The architect chooses craftsmanship to respond this given condition. From that regard, perhaps we would like to see if he can push the boundary of form and craftsmanship. There is a chance that this project can fully trigger imagination and naiveté when it happens.
I feel that this project is an extension of the architect’s personality. It seems to grow from his personal context. When I visited, it reminded me of Terunobu Fujimori. If I were the architect, I would compare it to the Fujimori’s works, and consider how the work would be related. It would be an opportunity from this perspective.
Shu-Chang Kung
I have observed the architect for a long time. He initially begins with prototypes and serial works. This prototype is enthusiasm to crafts and its romantic sentiments. His sketches are all intimate and in small scale. He is interested in micro, autonomous and singular formats.
Nancy
Sheng-Yuan Huang
However, when Tree Houses were placed on trees, they cannot resist the power of trees. Tree House has a great spatial scale, as it’s sensitive in singular formats, including windows. previous works, but he proceeds.
Enishi Resort Villa
Nancy Lin
Kwang-Ting Wu
I’m deeply moved by the relationship between architects and clients. I thought the work would be over-thought and overdone, but it was in appropriate scale on site. Spaces, materials and lights are used and managed surprisingly. Instead of overcoming those complex forms, architects take the advantage to create intimate spaces. I’m inspired by them about how to interpret a residential space. I thought I would be often tripped by the complex corners before the site visit, but it was quite a smooth experience to walk around. These details require precision to control.
I completely agree with Nancy. This project is meaningful to highlight the relationship between engineering and crafts. Chen plays a critical role. He is not just a technician. He discusses back and forth with architects, and it’s a process worth mentioning.
Nancy Lin
Sheng-Yuan Huang
Without this structure, these rooms won’t be engineer works so closely with architects in Taiwan. The structure is so precise that all is needed to create a better space.
The same attitude applies to their exhibition. They made the effort to create the cantilevers in the exhibition. Other teams also did large scale mock-ups such as 1:1 or 1:5 in the exhibition. They bravely exhibit items in certain scale that we didn’t do in the past. Back to this project, when I visited the site, I found it free and
Shu-Chang Kung
comfortable. The only thing I can be picky is how they overlook the external environment. If they are capable, should they respond to the environment in Penghu as well?
I agree with you all. It uses technologies to project psychological spaces on physical spaces, and creates new crafts and new living spaces. It’s a very liberating presentation to create something new. It’s especially noteworthy that technology plays a key role.
First Prize
Shu-Chang Kung Enishi Resort Villa
Sheng-Yuan Huang Enishi Resort Villa
Nancy Lin Enishi Resort Villa
Kwang-Ting Wu Enishi Resort Villa
Kengo Kuma: Green House (Vote without deliberation)
Shu-Chang Kung
Nancy Lin
This project would not happen without structural considerations. Structural requirements create a precise and pure space. The result wouldn’t be like this without Chen.
Sheng-Yuan Huang
the exterior too easily. It should appropriate itself to the surroundings, so the commercial aspect would not dominate everything.
Special Prize
Nancy Lin
what contemporary architects care about. How do they execute and resist. Emerging architects should be encouraged to take social responsibilities, and not just about building pretty houses. I would nominate Green House and Workstation JK. I always believe the environment is important. As we have fewer resources now,
Shu-Chang Kung
how should we sustain in output? I think it’s very important. As for Workstation JK, it is a very social project in an urban context.
It sounds like we will cover a lot of ground in this discussion.
Kwang-Ting Wu
Sheng-Yuan Huang
I think the special prize should encourage architects to face their challenges, and respond in an optimistic, relaxing, or humorous way. I recommend Workstation JK, as it tackles an urban environment in transition. Rather than starting a social movement, it integrates, presents, and explores in a more sophisticated way. They are comfortable to deal with subsequent psychological burdens, their efforts. I am also thinking about Cool Cool Seaside, but I would choose Workstation JK at the moment.
My sequence is just the opposite of Prof. Wu’s. I would prioritize Cool Cool Seaside over Workstation JK. The latter is admirable to be professional in a determined but relaxed way. I would recommend Cool Cool Seaside because it has to deal with public sector. It challenges urban planning. Even though the direction is not clear, the project doesn’t compromise. It’s stubborn even if it is not mature. The prize will be encouraging to young architects.
Shu-Chang Kung
I have a different standard. I like Cool Cool Seaside and Workstation JK, but for this prize, I don’t think it has to resist. It doesn’t have to stay politically correct or mainstream. I would encourage those projects with a philosophy in mind, such as X-Site : OO and Tree Houses. They are recreating imagination to architecture without using external forces. It’s an internal experiment that may drive them forward in future. According to the presentation and its graphics, I can tell the architect has an imagination in her mind, touched when I was there, if the architect continues on this path for
Kwang-Ting Wu
the next decade, it would be a new direction. I see these projects from a creative perspective, not a public perspective. Tree Houses exhibit the insistence in the architect. As the special prize requires statement, I would recommend these two.At the current stage, Workstation JK has 3 votes, Cool Cool Seaside has 2, Green House has 2, and both X-Site : OO and Tree Houses have 1.
I have considered about X-Site : OO initially. I like the design, but I don’t really agree with the machine. Even though architects can choose to express through machines, the project requires further integration when it separates the machine, form, and space into three distinct parts. However, I agree with Kung that the architect is a rare case in Taiwan. I really admire the ambition and expression.
Sheng-Yuan Huang
I like about the lightness of monumentality, which we haven’t encountered for a long time. machines. This narrative is quite futuristic. I can’t help but imagining it as a starting point.
We should talk about which direction we are encouraging this year. Should it be a pure architecture to simplify everything else but to concentrate on form, material, space, or craftsmanship? This status carries clear concepts and essence in architecture. We should encourage and protect these architects in Taiwan as well.
Shu-Chang Kung
Based on my own observations, a few years ago, emerging BnB issue and environment issue. Last edition, ADA explored how architects understand urban and social factors with projects such as Urban Archipelago and Book House. That’s why I am looking for emerging architects who are not in mainstream and with different directions this year.
Nancy Lin
Sheng-Yuan Huang
Enishi indeed focuses on the essence of architecture, so we didn’t address that much in the special prize.
Shu-Chang Kung
Kwang-Ting Wu
I think they are not quite the same. I like your observation about the lightness of monumentality in X-Site: OO. It challenges our ideas, but not in a very expressive way. I am not fully immersed into its space, but I remember how the device operates on track. If the monumentality is not visualized by machines, it would be hidden in architecture. Besides the space, machines are sophisticated as well.
I really appreciate the enthusiasm on crafts in Tree
determined about craftsmanship. It’s equally important for young architects to be passionate about crafts and explore public issues. I personally would prioritize public issues, though.
Sheng-Yuan Huang
Workstation JK has a sense of humor, even though I am not sure if it is intentional. I struggle on the similar point as you are. I was moved when they talked to us not in a politically correct way. It was not a presentation but a true communication.
Nancy Lin
Kwang-Ting Wu
Workstation JK didn’t do this for the prize. It’s about ways if they couldn’t resist anymore. They have such a strong their own resources to execute in all kinds of conditions.
Architects behind Workstation JK are naive and optimistic. If they have a breakthrough, it would inspire more collective will to get involved. I would love to see a licensed architect to have social awareness without only to focus on social movement aspect. I look forward to seeing what Workstation JK can achieve in the next ten years.
Shu-Chang Kung
Sheng-Yuan Huang
Should we focus on Workstation JK and Cool Cool Seaside now? Or should we discuss other projects more?
I would trust Wu. Both of you have your points, but what message do we want to convey at this moment? Under this condition, I would choose Workstation JK.
Shu-Chang Kung
Nancy Lin
Shu-Chang Kung
Between these two, I would vote Workstation JK, as it is indeed meaningful.
Sure.
Great, so we have decided on the winners.
Jury Comments
These seven works scatter from Taipei, Taoyuan, Miaoli, Taichung, Tainan, Kaohsiung to Penghu, ranging from installation, structure, residence, agriculture, tree house, to social and urban initiative. It’s refreshing and very different from the previous editions of ADA.
discover perspectives from the next generation.
1. Taipei 2018 X-Site : OO — Pei-Jung Lin
Different from the previous architecture in Taiwan, this work contrasts temporary structure with historical space. The humorous environment, and eases our urban tension to exhibit an indescribable “lightness of monumentality”.
2. Kaohsiung, Cool Cool Seaside — Yu-Chung Chen, Ta-Chi Ku
This work expresses insistence and courage in a humorous way.
evolve with time.
3. Tainan, Ayni House — Bo-Yang Lin
The residence is small, but the architectural components are appropriate to ensure a “relaxing tranquility”. From courtyard to backyard, its open space is rich yet calm for residents.
4. Taoyuan Agriculture Expo, Green House — Chen-Jung Liu, Han-Ju Chen
This work makes an innovative statement through its curatorial process. Agriculture and life intervene and integrate with each other. The experiments of using multi-layers membrane and technology in greenhouses offer new formats to architecture, as well as open forms to living spaces.
5. Taichung, Workstation JK — Ren Lai
This architecture can revive an old city. Architects liberate this stagnant corner in old downtown in a professional, relaxing, determined and appropriate attitude. Through suitable and simple designs, they open up this closed environment to create an urban space for comfortable work and life.
6. Miaoli, Tree Houses in the Dreamy Forest — Yu-Chih Hsiao
This series is romantic to craft and nature. It inspires imaginations in every little corner. Detailed manuscripts, rational structures, and layered materials all connect back to the architect.
7. Penghu, Enishi Resort Villa — Kuan-Fan Chen, Shingo Tsuji
experiments. From conceptual drawings, structural materials, construction experiments, to client engagements, this architecture demonstrates teamwork with consistency and determination.
Panel Discussion at the Ceremony_Oct.30,18
Rem Koolhaas
Chun-Hsiung Wang
David Tseng
Shu-Chang Kung
In this last event, we would like to discuss about the ADA this year. First, let’s welcome Mr. Rem Koolhaas to participate in our award ceremony! He has seen through You (Rem) were a student from 1968 to 1970s, which was a time for avant-garde, such as Archigram in Britain, Superstudio in Italy, and metabolism in Japan. Fifty years later, how are architectural works in Taiwan different from them? How are they different in ambition or direction? How are these architects in Taiwan different from other parts of the world?
Basically, I don't know exactly why, but people in this kind of conference are always talking about differences. Actually, I don't think differences may be the most interesting thing to talk about. If you ask me about the different experiences or the experience in the 60’s, the experience now, I think this is nothing kind of personal, but one thing is absolutely true is that in the 60’s, when the metabolist was making incredible dimension of challenging, almost everything, with an appetite for risk-taking. And I think globally, in Taipei is certainly part of that, there is less appetite for risk, less appetite for challenge. And I totally understand, because sometimes I am also very irritated with this kind of When I look at these seven projects, which I saw today and yesterday, there is a kind of earnestness in all of them, which in a certain way is also refreshing.
Before these four editions of ADA, the last wave of emerging architecture in Taiwan happened in 1998. Taiwan Architect magazine published a report that year titled New Generation of Taiwan Architecture, in which Kwang-Ting Wu
Rem Koolhaas
Shu-Chang Kung
Shu-Chang Kung
and Shu Chang, compiled a list. It has been 20 years. Those people in the list are now between 45 and 60 years old, ineligible to participate in ADA. Professor David Tseng was in the list as well. We would like to hear from your perspective. How is Taiwan different today internally and externally than 20 years ago?
Yes I was listed, as one of the emerging architects 20 years ago. To think back (in 1998), you (Rem) were going to win a Pritzker soon and that was 10 years after martial law got lifted here in Taiwan. There were certain things that we were searching and we are still searching maybe, of who we are. We were looking for certain kind of freedom, creativity as under the "new air". We were breathing the new air, and at the same time, we were looking into the future.
I am totally sympathetic of course. You were really lucky, you had very clear cut mission and expectation of you as a generation. I think what is interesting now is that the mission is much less a clear cut and that, therefore, you also see that these seven projects could not be more different. They are totally heterogeneous. Now the two prizes are unbelievably far apart, and still part of this same generation. I think that is really fascinating, their range, which is generated in design until right now.
I thought there is a really wonderful and perhaps a fundamental difference between our generation and this one. I think that we are still in a kind of old-fashioned relationship between client and architect. But here I really felt that I was in who dedicate seven years of their life to this incredible effort.
Rem Koolhaas
David Tseng
And I think it’s a unique thing, and totally in contradiction with the consideration about comfort and security. It was very uncomfortable and very high-risk, I think, for instance, the winner with that kind of soap bubble is also something which is much more original than we could be, and also more radical in simply doing architecture, which is only about poetic experience. So I think you can use these seven examples to contradict all of your theories and all of my theories. I think that is kind of very interesting and sympathetic kind of result for this competition.
Professor Chun-Hsiung Wang was also in the
stage ADA jury this year, but also curates Tectonic Becoming exhibition. He was also editor-in-chief for Taiwan Architecture magazine. What’s your observations about these two generations? How has Taiwanese architecture adjusted its direction?
I’m glad to see Rem Koolhaas with us today. He belongs to the post 60s generation, which is completely different from those architects in 1960s.
Architects in 1960s chose to have a clear cut with reality. In Koolhaas’s works, however, he encourages us to compromise with reality, or even surrender to reality. How Koolhaas’s works, and that’s why he is creative. This contrast can be a good reference to compare the two generations in revolution within the passion generated after martial law was lifted. It was a situation more similar to those architects
Chun-Hsiung Wang：
Shu-Chang Kung
Shu-Chang Kung
in 1960s. In the current generation, I don’t see that kind of revolutionary passion, or at least not as much. The new generation is closer to surrender that Koolhaas encourages in his works.
Since the establishment of ADA Awards, there are rumors that those winners will be hired by developers. History has proven otherwise, but we also hope that developers can offer more opportunities for these young architects to shine. in surrender, then counter with irony. I personally take it as Rather than surrender or compromise, he ADA can achieve. different from the previous editions. It’s heard that many
Chun-Hsiung Wang
Rather than a common topic or ambition that is politically actually like a few commercial project entries, but they were the considerations in the preliminary are quite different from the previous ADAs. Can you (Wang and Tseng) talk about selected out half of them fairly quickly. Our standard this year too mature. In Taiwan, we have certain ways to transform young people into successful architects in business, but we
following the convention . but fairly smooth to cut that number further to seven. We talk expectation. Actually, we didn’t feel the enormous tension doing enough.
So Rem, when we select the project, often time we use that one question to select project which is what risk does this project take? respond to it? Maybe they do not totally resolve everything, but risk is taken to respond or address the issue. This is how we select projects.
That was also apparent. Of course I know this situation in the jury is always totally different from the judgement from the real world, that is also your task, and that is also why competitions are important. In a way you exaggerate your positions so that there is actually something to recognize, to reward, and to respond. It’s not a judgement solely based on architectural quality. It is very evident in successfully responds. So I thought the competition was really well done, and maybe that is also because you did it in two generations, maybe that create the kind of layering, layering, and layering.
Rem, which one got the most of your attention?
David Tseng
Rem Koolhaas
Shu-Chang Kung
I'm extremely bad at answering question that including the words " the most". So the best thing that I can say is you are at all range of extreme, extreme formalism in extreme poetry, extreme pragmatism.So Taiwan is doing very well in collecting extremes. And that is probably not what you think you are known for, or you think what’s unique about Taipei. And there is maybe more personal statement which is not exactly a kind of responds to this particular competition. We have been coming to Taipei now maybe between four and six times a year for ten years. I really have to congratulate Taipei, this probably is not something that you've entirely in control. it seems as if Taipei has discovered some kind of secret authenticity because large part of the rest of the world have undergone really drastic changes as much in America, Europe, Russia, and Arab. What's for me the biggest difference is that somehow the issue of luxury, Taipei seems to be immune to the concept of luxury. And of course that is not on individual level. Last week, I walked on the main street in Zurich. Every single shop is a fashion brand and whether you do this in Moscow or in London, it’s all the same. And somehow Taipei has resist that kind of things, probably by default perhaps and probably by desire, but I think that also that given.
We are lucky because we can kind of observe the progress of that if you do a kind of building there's an environment that is about the TPAC is that the environment is ugly, absurd, crazy,
Shu-Chang Kung
lively, and authentic now as it was ten years ago. So that is for me a prove of some kind of stubbornness on the part of Taiwanese. as well. I have been asking a question today, as we discussed during the jury process. When we evaluate these architects, we may have different ideas about “emerging”. JrGang Chi have discussed with us that emerging architects may explore something we don’t believe in, or something we do not prioritize. Emerging architects may have a different value system. When we evaluate next generation, we may require a different benchmark. Every person has its own spectrum to measure extremes in mind. I was asking Wang the same question. During selection process this year, I notice a special extreme is selected. This extreme is easy, uncanny, and it’s different from the previous three editions of ADA. Even though it’s not revolutionary or heavy, it’s a buoyant and poetic extreme.
Chun-Hsiung Wang：
I don’t particularly love the works this year, but it may be my own issue. I belong to that revolutionary generation, so I can’t really embrace such facile works. Lai is the oldest award winner, and he won’t be eligible for next ADA award. Lin, in comparison, is the youngest. She can still participate in the next ten ADA awards. We see a huge range of projects this year, from social to lightweight. Our achievement this year is to put aside our bias and present this spectrum.
May.05, Aug.10,
Oct.13_20_27, Oct.12-28, Oct.20_21, Oct.28, Oct.30,
Competition Introduction & Lecture_Sakae Shimizu
First Stage Jury Meeting
International Jury's Lecture_Hideyuki Nakayama, Minsuk Cho
Site Visit Forum Exhibition
Final Stage Jury Meeting
International Lecture_Kengo Kuma Ceremony
Panel Discussion_Rem Koolhaas
Competition Introduction & Lecture _May.05,'18
International Jury's Lecture_Aug.10,'18
Nakayama, Minsuk Cho
First Stage Jury Meeting_Aug.10,'18
Discussion_Aug.29,'18
Hideyuki
Sakae Shimizu
Site Visit
Workstation JK_Oct.20,'18
Forum_ Oct.13_20_27,'18
in the Dreamy Forest _Oct.20,'18
Treehouses
Enishi Resort Villa_Oct.21,'18
Cool Cool Seaside_Oct.21,'18
Ayni House_Oct.21,'18
International Lecture Oct.28,'18
Kengo Kuma
Rem Koolhaas
Ceremony_Oct.30,'18
Panel Discussion at the Ceremony_Oct.30,'18
OO is a project of art mechanical installation and architecture. If only considering from architecture perspective, this is an exploration of the boundary.
narrowed to 0.85 meters at the top. The constructed space is like taking the Colosseum shrink and slight twist to a cylinder. The difference from the Rome Colosseum is the viewing area switched with the stage to the center. The viewers and the performers are exchanged place in the space and the viewers in the center inevitably feel pinched. Surrounded under that tension, there is a machine, rolling back and forth at the 6.5 meter high, generates bubbles through its shutter device.
The wall thickness of the second cylinder is 0.002 meters, the thickness of one single sheet of corrugated FRP. The volume of the wall has been released and reveals the scaffolding structure to be part of the interior. The inner layer of grey translucent corrugate PC sheets rises up and closes to the center. Similar to the Pantheon in Rome, but its sublime dome and oculus are reversed upward to become a reachable space. Instead of the legendary artist or king lies in the space, a machine installation constantly generates bubbles one after
In additionally to the switch of spatial relation, the primary structure which serves as watching area is transformed to a semi-transparent
Through corrugated FRP, the surrounding environment is dissolved into chunk of colors. The cross-bracing pipe and scaffold frame rationally gravitate the chunk of colors. The white water barrel, as weight ballast, performed as important parts of the structure; visually appears an object light-weighted.
These composed materials have turned the three-dimensional wall into painting.
The use of scaffolding and corrugated sheet, which are vernacular materials eliciting nostalgia for the architect, has mostly to do with their visual effects in combination. Polycarbonate corrugated sheet bends light, and along with the disturbance of compositional balance created by the slender both canvas and pigment. These three elements under changing light cause space and vision to overlap in the architectural installation in an extrusion and release pattern that draws the eye from lower to upper, upper to lower, outer to inner, and inner to outer.
of architecture. In 2018, museum is closed for a year because of airconditioning renovation. This unusual condition has given us an opportunity to rethink the relationship of TFAM and the entry plaza: is it necessary to have a spacious space to enter the public museum?
Looking at Mona Lisa in a tiny room or in a large exhibition space, which one is more interesting? Or, in the ancient Chinese fairy tale, The Peach Blossom Spring by Tao Yuanming, “at the end of the forest and the creek, you got to a mountain. There was a small opening in the mountain, and it seemed like there was light, so he abandoned his boat a person to pass. “If there is no mountain and that small opening, the two cylinders that interfere the entrance of the museum and its plaza are meant to explore or to release. The opposite and linked two circles are the indication of another world. ?
Next to the Gushan Ferry Pier that connects Kaohsiung to Cijin is a FamilyMart. Further down the road is a Watsons. Continuing along it is a series of storefronts, most of which are delis and dessert shops. Would anyone have ever wondered what is behind this row of shops? Indeed, if you take some time to get around to it, you will discover a local neighborhood situated just between that bustling road and the pier-side, where the place is decorated with a small square in front of the temple, some casually erected melon sheds, and plenty of randomly placed plantations. Above all, you will also be treated to some waterfront sceneries in the cool breeze as you stand in this subtropical city of Taiwan.
“Site Plan” Kaohsiung, 2018..
The railway no longer exists, but it has become a small open space for the community.
The site is located in Hamasen area, Kaohsiung City (the word Hamasen means “coast railway line” in Japanese), adjacent to the second basin dock of Kaohsiung Port. It was once seated with warehouses for storing cargos and commodities during Japanese colonial period, and was also one of the terminals of the Kaohsiung coast freight railway line. In the process of urban development, the railway was and square for the local community. In the past, as the resources were invested mostly on the tourism industry and the local main roads, the square is lacking of maintenance and gradually becoming old
"Railway park" 2017.
Hamasen)
Let the square become the living room of the community again. The long-distance end of the square is the Wenlong Palace, the center of the cultural belief of the residents. We deliberately left the space of the central axis of the Wenlong Palace. The height of the scaffolding does not exceed the ridge of the Wenlong Palace, and the penetration and
hoping that the space under the scaffolding is like the living room of the community, and the possibility of various activities can occur.
A Glance of History, Respecting the existing context :
As the project site is located in front of Wen Lung Temple, the height of the pavilion has thus been carefully calculated to not surpass the height of the temple rooftop. Patterned Window Grills and the Wave, the wavelike steel bars are also reinforcement components for the structure. Materials and Tectonics : Utilizing used containers and existing concrete seats as essential structures, in response to challenges of the limited budget and construction time.
3 Looking back to the role that the square originally played in the community, its function is constantly changing under different community parking lot; sometimes it is a basketball court or an it could even be used as the venue for weddings and other various
courts more realistically, while retaining the diversity of the original square activities, we also proposed different strategies for the painting scheme on the site.
The existing concrete seats are used as the foundation of the structure, so the time spent on assembling the container-converted canopy on site could be greatly reduced. In order to increase the weight of the foundation, as well as to provide more possibilities to the use under the canopy, new concrete seats with different heights are built as the extension of the existing ones.
Our city has accumulated many generations of plans, the new systems overlap with the old plans. Such phenomenon often creates entangled, tight and ineffective spaces in the city. These areas are sometimes concealed and become the back spaces of the environment. Sometimes they are scattered around the corners of everyday life, forming trivial and unusable urban spaces. To face these issues, it is like having an intractable urban guerrilla. It needs to be broken down one by one along the spatial context. As if giving a massage to the human body meridian, carefully combing the trajectories of spaces, allowing the light and wind to come in so as to recapture the smoothness of our life. To complement or improve the quality of both the public and private spaces, we call it the "City Massage."
Massage
City Massage
“Section” Digital drawings, 2017.
10 m
0 5 10m
2. H -150x75x5x7mm
3. -150x75x5.5x10mm
4. - 48.6mmTH=3.2mm
5. L -65x65X6mm
6. -30x30x3mm
7. L -50x50x4mm
8. L -30x30X3mm
9. 50W LED
10. H -150x75x5x7mm
11. -150x75x5.5x10mm
12. -100x50x4.5mm
13.
14. H -H-150x150x7x10mm
15. H -150x75x5x7mm
18. 20mm
19. - 48.6mmTH=3.2mm
22. TH=25mm
C -100x50x20x3.2mm
16.
17. M16 ( 125mm)
20.
21. M16 ( 125mm)
23.
24.
25. LED C 26. 27. “Detail” Digital drawings, 2017.
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Our city has accumulated many generations of plans, the new systems overlap with the old plans. Such phenomenon often creates entangled, tight and ineffective spaces in the city. These areas are sometimes concealed and become the back spaces of the environment. Sometimes they are scattered around the corners of everyday life, forming trivial and unusable urban spaces. To face these issues, it is like having an intractable urban guerrilla. It needs to be broken down one by one along the spatial context. As if giving a massage to the human body meridian, carefully combing the trajectories of spaces, allowing the light and wind to come in so as to recapture the smoothness of our life. To complement or improve the quality of both the public and private spaces, we call it the "City Massage."
What are livelihoods ? What are meditations ? In the beginning of 19th century, western architects ceased the way of interpreting architecture in decorative ways and emerged the concept of form follows function , featuring materiality and space coordination to review the practicability of a space ? Unlike the mechanism of industrial, graphic and fashion design, buildings are constructed with respond to the site texture and unique space-time background. Architects design in accordance to their subjective perception or knowledge and create different building expressions under particular objective conditions.
The functionality of space is a projection of the designer's mood user's needs.
The existence of needless elements and lacking of pragmatic factors become a subtle matter in the discussions on space construction. How should we view the spirituality of architecture in the Oriental cultural context ? What are the considerations of site context that should be valued when discussing the site essence? Based upon the initial thoughts of ineffectiveness , the impracticality of imaginary spaces are often the simplest way to sense an architect's intents.
Being located at the tradition Tainan countryside, the surrounding contex is typical Taiwanese rural landscape. Some of farmhouses are located between farmlands, and each family has different conditions of planting and various living objects. The display shows the ambience of their lives, the slow and quiet rural atmosphere provides the owners with a good environment for living and meditate.
Many of the contrasting elements were gradually formed in form in limited space. Although the view from the outside seems to be enclosed, while a welcoming corridor leading towards the atrium. The coldness of the concrete then get warmer with the plants in the atrium. With a large number of model sketches, each technique and line must be just right.
The construction site is an extension of the drawings. We began to think about the direct connection between the construction process and the spatial texture. We created the spatial texture and internal and external relationships with different types of formworks, and captured
three bedrooms + two living rooms . However, Ayni House implements three yards + two entrances three yards – dooryard, courtyard and backyard which act as a light vessel and wind aisle from the designated site offset; two entrances – entry towards Zen arena built from sensory perceptual experiences.
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What are livelihoods ? What are meditations ? In the beginning of 19th century, western architects ceased the way of interpreting architecture in decorative ways and emerged the concept of “form follows function”, featuring the practicability of a space ?
Chen-Jung
Han-Ju Chen
Green House
System”
“Site plan.” Digital drawings, 2018. 0 3 6 12m
“Plan.” Digital drawings, 2018. 0 1.5 3 6m
“Fern Living room” 6x 12x H 6.65 m, 2018.
“Farm Dining” 5x 12x H 7.05 m, 2018.
“Photosynthesis kitchen” 5x 12x H 8.05 m, 2018.
“Sun Garden” 5x 12x H 7.55m, 2018.
Sun Garden
“Theatre of Mushroom” 6x 12x H 8.05 m, 2018.
“Elevations” Digital drawings, 2018.
“Sections” Digital drawings, 2018.
BIAS has developed an experimental architecture called “Green House.” Here, the human living space is intertwined with that of the plants and organized according to climatic zones, rather than traditional architectural areas. Greenhouses building materials and structures are arranged to separate climatic areas, while the distribution of water and energy flows is technologically managed. The roof is covered with various combinations
Kuan-Fan Chen /
Shingo Tsuji
Brainhacking Architecture? – Seeking for access to unconscious realm. The project is located on Penghu Island – a small Island in the southwest Taiwan, where the blazing sunlight and splendid landscape await and astonish the visitors. The two main element of the building –i.e., the wavelike slabs and the zigzag void vertically cutting through it – are both based on the form of EEGs (brain waves) actually recorded from the client and the architect at the project site using a handy BCI (BrainComputer Interface) tool.
“Applying EEG to architecture design” may sound quite bizarre, even
of our serious effort to go beyond our limited consciousness to open a new realm of architecture design. In this case, we have succeeded to give life to a truly unique form/space, which could have never emerged otherwise, by simply applying the EEG waveforms – one of the phenomena that represent the fundamental yet unconscious “rhythm” beneath our shallow consciousness. Our ambition is to realize an architecture which is more a life/organism itself than a fashionable architecture merely looking “like” a living organism.
Human & Space/WAVING, FORCE FLOW, STRUCTURE, SPACE. What's the space between humans and nature? We can't get the answer no matter how we think this question; however, backing to the life and organic, what's the waving shape of human conscience? What's kind of energy make brain wave form a series of ups and downs and stay an unstable situation? Furthermore, what will this space become?It's an unconscious state of ambiguity and unclearness to try to form a relationship with nature by thinking from curve space.
Mechanical analysis/ MECHANICS, SECTION, TYPE.We can directly understand the point we need to support or not by mechanics analysis; moreover, some place is hanging. And we use wall systems with reinforced concrete to shape this architecture.
“How to make the analysis model become true building?” It's the
cantilever plate; however the process is the key to make those
It's not uncommon that construction site is full of unpredictable problems. That is why sometimes we can see a lot of people including architects and structural engineers going forward with great strength and vigour to grout until the moon hanging on the sky.
“Compartment” 180x250x0.6 cm Glass, 2018.
“Stairs” Flat bar rail, paves, 2018.
"Lights" 28x10x10cm Metal 2017.
"Table" 30x210x10cm Iron, wood 2017.
1 : 200 Architectural concrete, Digital drawings, 2017.
“1F plan”
1 : 200 Architectural concrete Digital drawings, 2017.
“2F plan”
1 : 100 Architectural concrete, Digital drawings, 2017.
“3F plan”
“Section” 1 : 100 Architectural concrete 2017.
X1
X2
X3
X4
X5 X6
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Brainhacking Architecture? –Seeking for access to unconscious realm. The project is located on Penghu Island –a small Island in the southwest Taiwan, where the blazing sunlight and splendid landscape await and astonish the visitors. The two main element of the building –i.e., the wavelike slabs and the zigzag void vertically cutting through it –are both based on the form of EEGs (brain waves) actually recorded from the client and the architect at the project site using a handy BCI (Brain-Computer Interface) tool.
Yu-Chih
Hsiao
Tree Houses in the Dreamy Forest
Treehouses in the Dreamy Forest is located inside a popular former theme park in Miaoli, Taiwan. The site is on a piece of flattened hilly land. The original plan was to install recreational facilities amidst the banyan trees. The new owner wanted to turn this woodland into a campground and create a recreational space in harmony with the natural surroundings, with "artisan craftsmanship" and "local lifestyle" as the central themes. Three pieces of installation art were to be incorporated into the existing woodland as the emblem of the campground.
The intent is for the three treehouses to carry unique yet congruous forms. Starting with "pinecone" and "birds" as the overarching images, the forms must blend into the woods as much as possible. Charred pine shingles became the natural "skin" that gives texture to the exterior shells.
The idea of "mega-weaving" was introduced, and a proposal to use local peacock pine harvested from forest thinning to fabricate the shingles. In doing so, the designer wishes to promote the use of locally cultivated trees. Another objective was to highlight the predicament of locally grown mature timber in entering the local market due to past policies and the overindependence on imported lumber by designers and the public.
Once the owner had agreed to the proposal, the timber construction team tested different levels of surface charring on the peacock pine. The carbonized skin not only enhances the weatherability of the treehouses but also brings about color variations. Applying the three shape variations in shingle modules that were developed, three different types of treehouses emerged, each with its unique form.
This treehouse is imagined as a library perched on the canopy. The tight interior space is encircled by tabletops, laminated wood shelving, stairs and seating. A spiraling staircase opens up the purposefully lowered ceiling and leads to a small penthouse, creating a variety of cozy corners. Guests may pick out a book and a relaxing spot to settle in and peruse, enjoying a leisurely read in this fun space.
A total of four sets of push-out windows were intentionally divided into small panes to ensure ventilation and view while ensuring fall protection without the use of railings.The deck is fitted with seating made of heavy wooden planks and debarked wooden railings, infusing this outdoor space with the leafy surroundings and creating more reading corners that offer intimate contact with the trees.
“Plan” Digital drawings, 2017.
This treehouse was conceived with two spaces in mind -- one where kids can nimbly climb and cross between trees and treehouse and another where adults can relax and chat while keeping in sight the kids playing down below. This treehouse has an added platform to allow the kids to climb safely. In addition to alleviating the fear of height during the ascent, the platform also turns this structure into a hub of the campground that can accommodate almost all the campers as they populate the high and low, interior and exterior spaces of the structure. A copper piece crafted by an artisan crowns the roof; its curved form resembling a nut or melon lets air in but keeps rain out.
The artisan also wrapped the window and door casing with copper sheets. Guests can touch and feel the copper and the craftsmanship with their hands as they enter the treehouse, and the weatherability of the building skin is also improved. Artisans' craftsmanship is palpable throughout the treehouse, reflecting the owner's original intent as warmth exudes from the wrought-iron railings adorning the balconies and decks as well as the lighting fixtures made by a stained glass artisan using traditional rolled glass hand-cutting techniques.
“Section” Digital drawings, 2017. 1m 0
The Treehouse of Sound 10
Envisioned as a bird hide, the form of this treehouse marries the pinecone and abstract bird figures. Guests may conceal themselves inside the hut and observe birds incognito behind the small round windows. The interior space accommodates three to four visitors, who can converse casually or listen to the music. The floor plan has also been adjusted from a circle into a spiral in an attempt to convey the image of "sound" in the plan, too. Additionally, the hut is fitted with round skylights, the perimeters of which are finished with the same shingles as the exterior skin to extend the external feel into the interior.
A vertical ladder is introduced into the circulation to activate the visitor's physical perception. This way, the vertical distances between the three treehouses are extended on top of their horizontal distances. The resulting lengthened physical distances in-between also prolong the time one spends experiencing the three structures, the folding of spaces serving to enrich and expand the enjoyment of the woods.
“Section”
Digital drawings, 2017. 1m 0
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Treehouses in the Dreamy Forest is located inside a popular former theme park in Miaoli, Taiwan. The site is on a piece of flattened hilly land. The original plan was to install recreational facilities amidst the banyan trees. The new owner wanted to turn this woodland into a campground and create a recreational space in harmony with the natural surroundings, with "artisan craftsmanship" and "local lifestyle" as the central themes. Three pieces of installation art were to be incorporated into the existing woodland as the emblem of the campground.
Workstation JK is located in Central District of Taichung City, an old neighborhood developed during the period of Japanese rule. As time went by, the city has lost its vitality. The site of Workstation JK used to be a shabby hybrid of factory and house. Such disarray was a chance for us to rebuild it into a place for living and working. this 100 square meter space would accommodate a harmonious set of activities. As learned from traditional Japanese housing, we stagger different space seamlessly extends to the nearby alleys and blocks.
designers from different teams share the broad desktop, discussing
design partis and resources. We hope to inspire each other and grow up together here.
We expect that something happens in Workstation JK, so we create.After many disagreements, it is precious for us to establish a collegiate atmosphere in this pragmatic architecture industry. We value diverse and independent ideas over monopoly of one team s design thinking. We aspire to be a model of future architecture. We look forward to a better future step by step.
“First floor.” 2000 x 635 x 400 cm Plywood(Pine), Terrazzo, 2017. 1
“Construction Permit” 59.4 x 84.1 cm, 1955.
“Current status of building” 2000 x 635 cm Reinforced brickwork, Timber roof truss, 2016. 4
“Ground floor.” 2000 x 635 x 355 cm Steel Structure, Plywood(Pine), Terrazzo 2017. 5
6
“Activities of master lecture” 2000 x 635 cm Lecture hall 2017.
0 1 2 3m
7
“First floor.” 2000 x 635 cm Plywood(Pine), Terrazzo 2017.
“Northwest elevation” 2027 x 860 cm, Reinforced brickwork, Steel Structure, 2017.
“Section” 680 x 860 cm, Reinforced brickwork, Steel Structure, 2017. 9
“Section” 2027 x 860 cm Reinforced brickwork, Steel Structure, 2017. 10
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The ground floor represents our life. Each time, this 100 square meter space would accommodate a harmonious set of activities. As learned from traditional Japanese housing, we stagger different flavor of activities to avoid discordance. This space seamlessly extends to the nearby alleys and blocks.
“Workstation JK” is located in Central District of Taichung City, an old neighborhood developed during the period of Japanese rule. As time went by, the city has lost its vitality. The site of Workstation JK used to be a shabby hybrid of factory and house. Such disarray was a chance for us to rebuild it into a place for living and working.
JUXTAPOSITION OF PROJECTS 7
A photo-essay, 2018 ADA Awards for Emerging Architects.
RESORT VILLA
TREE HOUSES IN THE DREAMY FOREST
From Establishing The
Lin has found STUDIOLIN, a small-scale architectural design studio, in 2014 in Taipei, Taiwan. The studio's motto is From By participating in the competitions, the studio developed the design process of excavating architectural context. The studio has collaborated with projects, architectural planning, and a few private projects.
Pei-Jung Lin
Kaohsiung is our base, we are forming new ideas through environmental studies.
Let's discover the emotion between people and the land.
Let's create a friendly connection between people.
Let's make our place a little nicer.
Through the concept of sharing and the practice of life and architecture.
Let us create a better life.
Yu-Chung Chen
Ta-Chi Ku
Bo-Yang Lin is a Taiwanese architect born in Yilan, majored Architecture in Taichung and have been teaching in Taipei. His abiding passion for Architecture leads him to try any possibilities. He cares the publicity of Architecture and believes a nice building is involving people. He tries to create involving public space and improve our lives and aesthetics. Fieldevo is a young, energetic design studio which is passionate and sensitive about the space and environment. We try to emphasize and experiment on different concepts and details during each design phrases. From initial ideas, quality control, we never compromise on every tiny decision. It is
Bo-Yang Lin
BIAS Architects
Alessandro Martinelli 2013
BIAS Architects
BIAS Architects was founded by Han-Ju Chen, Chen-Jung Liu and Alessandro Martinelli in 2013.The studio cultivates an collaborative and emp owering design methodology centered upon the ongoing urban environment through experimental design methods and issue-based curating. Specializing in curating, interior, architecture, landscape design and urban scale developments, BIAS Architects has realized numerous important art events and exhibitions.
Chen-Jung Liu
Han-Ju Chen
Graduated from Sophia University (Tokyo) and GSAPP, Columbia University with honorary award of C.Abrams Best Urban Planning
Thesis, Shingo Tsuji started his career in one of major construction
his years in Culture Convenience Club (CCC) group. He is now gearing up his activities in Taiwan (including participation in recent
way to new Asian architecture of our age based on the common values and shared social, environmental and economic conditions in the region.
Kuan-Fan Chen
Shingo Tsuji
(Megaweaving)
(Waste = Food)
Yu-Chih Hsiao's recent work focus on the concept he named Megaweaving . Megaweaving originates from his graduation project in Cranbrook Academy of Art, while compiles extensive experiments and creative works related to complexity in two years. It originally starts as an architecture and design experiment, but later turns to an interdisciplinary creation focusing on social integrated mindset and place making as resources combination. After returning to Taiwan, he further develop these ideas into a comprehensive concept in art and design project, non-
cultural diversity, resource maximum, waste=foods, crossing projects, and do-it-yourself urbanism. He is currently an assistant professor at the Department of Architecture at Shih Chien University.
TH TREE HOUSES IN THE DREAMY FOREST
Yu-Chih Hsiao
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Ren Lai, cooperated with Jian-zhi Wu, established JK Workstation. While inviting more architects to the JK Workstation, they conceive the studio as a mutual ground of creations, innovations and architectural practices; as well as a new chapter of advantages in the next decade.
Ren Lai
A photo-essay, 2018 ADA Awards for Emerging Architects.
