Lin, Ching-Yu
Portfolio
Lin, Ching-Yu
Selected Works 16' - 21'
Portfolio
Architecture, Urbanism, Craft, Graphic
Lin, Ching-Yu
Portfolio 16' - 21'
02
Lin, Ching-Yu
Professional Experience/ Freelance Graphic Designer Beyond Words. Studio, Taiwan ．Create visual presentation including retail ．design, visual merchandising and exhibition ．Determine marketing and brand vision ．Define scopes of work, budgets, schedules ．Produce product rendering/mockup ．Involved in printing process to fianl product ．Packaged final presentations for client Substitute Military Service Kaohsiung City Police Department, Taiwan ．Digitization the city closed-circuit ．television camera route through QGIS Internship Miralles Tagliabue EMBT, Barcelona ．Scheme design and design development ．Concept collages and architectural drawings ．Rhinoceros 3D modeling/rendering ．Physical model making, ．Information research for project initiation ．Bridge to Mandarin-speaking clients ．Preparing for final proposal and presentation Language/ Mandarin (native), Taiwanese (native) English (fluent), Spanish (beginner) Skills/ Rhinoceros, SketchUp, AutoCAD, Enscape, Photoshop, Illustrator, InDesign, KeyShot, V-Ray Education/
Tier 5 (Youth Mobility Scheme) 04/2021 - 04/2023 cy.lin@arch.nctu.edu.tw linkedin.com/in/chingyu-j-lin/ digital portfolio on issuu.com/cy.lin graphic work on behance.net/CY_Lin
Publication/ The Road to Rebirth. Taipei: Linking Publishing NCTU GIA Works 2016-2018. Hsinchu: National Chiao Tung University Press NCTU GIA Works 2016. Hsinchu: National Chiao Tung University Press Exhibition Experience/ 2019 GIA Project Review Project "Bunker Memorial Theater" 2018 GIA Project Review Project "Black Water" and "Station of Stage" City Within City - Revitalization of A City Project "Travel Memory" Experience/ BFFECT Skincare Branding Campaign Xie Braised Minced Pork Rice Gift Packaging Design STEAMLab Taiwan Zhong-Lun Exhibition Visual Design WELLS Cafe Branding/Visual Merchandising Xie Braised Minced Pork Rice CIS 2018 GIA Project Review Curator/Visual Design/Exhibition Construction Synesthesia - Forum & Music & Picnic Curator / Visual Design 2016 GIA Project Review Bamboo Pavilion Construction Achievements/ Honorable Mention NCTU Architecture Competition Migratory Matters: Reworking Memories
Master of Architecture I National Chiao Tung University
Judges' List Award NCTU Architecture Competition Miniature Rooms
Bachelor of Civil Engineering National Central University
First Prize L'Oréal Brandstorm Wildcard Project 03
Lin, Ching-Yu
Portfolio 16' - 21'
04
Content
Part I Academic Works
Part II Selective Professional Works
Project 01
Bunker Memorial Theater The re-infrastructure
Project 02
Chinese Calligraphy Museum Ready, Creation, Action!
Project 03
Blackwater The Topography of Fear
Project 04
Co-cave Life of 100
First Prize Competition
Cloud Nine Nanjing Runway Park
Invited Competition
Jiangkou Sunken Treasure Museum Pengshan Jiangkou
Exhibition Visual
Part III Others Works
STEAMLab Taiwan Zhong-Lun Exhibition Visual Design
Visual Design/ Merchandising
WELLS Cafe Hsinchu Visual Design/Merchandising
2020 competition
Rebirth from the Wound Memorial after the Pandemic
Form Study
TEMPORALITIES: UNSITE FEAR The Topography of Fear
2019 competition
NoMA®daptors Colonizing the Mars
2017 competition
Exist or not Migratory Matters: Reworking Memories
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Part One
01
2019 autumn_ individual design project Type_ refurbishment, research, architecture
Bunker Memorial Theater
published in The Road to Rebirth. Taipei: Linking Publishing, 2020
The Re-infrastructure
AcademicWorks
Fongshan Wireless Communications Station was built in 1917, originally serve as the south key point of the Japanese navy. Through the years, the function changes with the historical background, but the alteration of the function is seamless due to the irreplaceable of the infrastructure. Military infrastructure used to takes time to demolish due to the sturdy structure. In this situation, it would be an opportunity to "re-infrastructure" and make the architecture meets the needs of modern day. As a military base, the station is isolated from the urban fabric, left a clear pattern of the boundary on the landscape. By opening up and reconnect to the urban, the architecture will become a part of the daily life of the local residents. The new memorial museum provides a place for people to look back and learn from the history. The new-built theater in a public museum creates a juxtaposition of private and public, leaves a trace of the dark era of the bunker.
Bunker Memorial Theater
a
g h
f b
c d
e g
c g
a
ground floor plan scale 1/800 06
2 floor plan
Japanese ocuupation era
early republic era
now
site plan scale 1/2000
i
3 floor plan
4 floor plan 07
Part One
AcademicWorks
Bunker Memorial Theater
before & after the re-infrastructure
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entrance hallway/event space
exhibition hall I - the object
introspection section
section A-A' scale 1/600
section C-C' scale 1/300
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Part One
02 2016 autumn_ individual project Type_ museum, architecture instructor_ C. David Tseng, Wei Tseng
Chinese Calligraphy Museum Ready, Creation, Action!
AcademicWorks
Chinese calligraphy is an art form which can be interpreted not only in two dimensional way as a painting, but three dimensional as a space. The black and white composition with the gray space in between leaves a wide imagination for the viewer. The inspiration of the project comes from the undefined gap and the blurry boundaries derived from the calligraphy. The creation process associated with the movement of the human body, starts from the movement of the whole body in three dimensional space and eventually scales down to the hand movement on a two dimensional paper. The museum takes the dimensions into consideration to create multiple ways to exhibit the long scroll of calligraphy artwork. By controlling the distance and angle between the viewers and the artworks, creates different viewing experience. The combination of the body, space and calligraphy complete the full experience, makes the journey a ritual to find the connection between the calligraphy art and inner self.
service area
public area
grand exhibition wall
exhibition area
scroll attic
calligraphy studio
grand hallway
division service/grand hallway/public
grand hallway
cafe
division cafe/lecture hall
circulation
lecture hall
insert scroll attic/grand exhition wall
Chinese Calligraphy Museum scroll attic & calligraphy studio 10
scroll attic & calligraphy studio
circulation up to the scroll attic
a. information desk b. cafe c. hall/lecture hall d. toilet e. exhibition hall f. storage g. scroll attic h. calligraphy studio
4f plan
3f plan
2f plan
1f plan scale 1/300
explosion 11
Part One
AcademicWorks
Chinese Calligraphy Museum
section B-B' scale 1/60
12
exhibition space
section A-A' scale 1/60 13
Part One
03
Blackwater
The Topography of Fear
AcademicWorks
"Fear" is a feeling that associated with individual experience. Therefore I try to initiate the project with the fear of myself, the blackwater. The "blackwater" refers to an unpredictable dark and reflected water. The project starts with the fear of myself, try to recreate and deliver the feeling through the destruction come after the limitation of the material. The experiment focus on the material and the methodology attempts to find out the articulation of breaking point and the relic after the collapse. The study of the natural form provides rich material to develop into an architecture which will become a memorial hall beside the Keelung Harbor. Taiping Ship departed from Shanghai on 26 January 1949, and bound for Keelung, Taiwan. After midnight on 27 January 1949, Taiping Ship collided with a smaller cargo ship Chienyuan near the Zhoushan Archipelago. The experiment of the blackwater turns into the form of the memorial hall of the tragedy.
The Force "Gravity" expt 06_Cast the Force plaster, elastic fabric, wood 360×450×120 mm
site 01
Blackwater: The Topography of Fear
site 02
site 03 14
2018 autumn_ individual project Type_ form study, concept architecture Instructor_ Yu-Han Michael Lin
The Force "Gravity" expt 07_Action Force & Reaction Force on Site plaster, elastic fabric 360×600×120 mm
natural site
height
plaster plaster plaster
working process
series 01
series 02
series 03 15
Part One
Situation Keelung Taiping Shipwreck The memorial hall is designed to commemorate the Taiping Shipwreck. From the previous study, the form creates by the gravity inspires me the way to create the architecture form. The need of different functions becomes the weight added to the layers and results in the natural form. The largest taper form goes through three different levels, which leads to a deep and dark space to create the fear of falling into black water. The memorial hall is at the underground level, close to the surface of the Tien-Liao
River. The feeling of darkness, compression and boundless which the shipwreck sufferers go through is recreated in the memorial hall. The ground of the memorial hall is a gentle slope. The lower point responds to the largest taper form with a void on the ground. In consequence, the gurgle of the river can be heard through the entire memorial hall. Other functions such as auditorium, library, archive and seminar are up on the 3 floor, which could have a nice view over the Keelung Harbor.
AcademicWorks the site
Memorial Hall
Blackwater: The Topography of Fear B1 floor plan section A-A' scale 1/800 16
1 floor plan
Form development
section B-B'
section C-C'
scale 1/1200 a. Memorial Hall b. Auditorium Hall c. Library Hall d. Cafe e. Bookstore f. Cafe g. Auditorium h. Library i. Office j. Archive k. Seminar
2 floor plan
3 floor plan
scale 1/600
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Part One
04 Co-cave Life of 100
AcademicWorks Co-cave: Life of 100 18
The inspiration comes from the traditional Hakka settlement, which starts from a single unit and gather into a community. The massing of a living unit is derived from the plan of a San-Ho-Yuan. The project opens up the courtyard in the middle of a San-Ho-Yuan and transform it into sharing space by redefining the height of different parts. One single unit is combined with two living units as a basic type of the duplication. Through the repeatedly stacking process, the horizontal and vertical "sharing cave" is created. The community is designed for a hundred families with four types of resident: youth coworking housing, resettlement housing, mixed housing and elderly/ youth co-living housing.. The site is facing a university campus on the northern side, a linear park along the old canal on the eastern side, an existing elementary school on the southern side and a residence on the western side. Through the different compositions of single unit creates a modern-day vertical village for various lifestyle.
2017 autumn_ individual project Type_ housing, architecture instructor_ Chi-Yi Chang, T.Y. Lu
site plan scale 1/1800
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Part One AcademicWorks
ground floor plan
1 floor plan Type A - Single Youth Housing
grand section scale1/700
Co-cave: Life of 100 20
2 floor plan Type B - Resettlement Housing
3 floor plan
4 floor plan
scale 1/400
Type C - Mixed Housing
Type B - Resettlement Housing
center plaza
5 floor plan
center plaza
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Part Two
First Prize Competition
Cloud Nine
Nanjing Runway Park 50 years ago, Dajiaochang Airport is the beginning of air travel, a gate to the sky. We proposes to install a series of big scale floating inflatable balloon on top of the runway, inspired by the shapes of the clouds. The inflatable balloon will be fixed with tensed cables linked to masts placed out of the runway. Made of translucent materials, the clouds would reflect and diffuse the light during daytime. During night time, the clouds become a part of the light show with colorful light projectors. Selective Professional Works
Mater Plan
Platform Type
Cloud Nine
Section A-A'
Section B-B'
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Runway pattern
Grand Section
Cloud Structure
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Part Two
Invited Competition
Jiangkou Sunken Treasure Museum Pengshan Jiangkou
Jiangkou Shenyin Museum from the entrance pergola to the interior of the museum, there are always references to the boats navigating the river and the idea of being under water. The museum is the interior of the “boat” that contains the gold and jewelry. The roof is a big wood structure that protects the different levels of the exhibition space. The exterior area is as important as the museum. Transforming the flat land into a landscape with water and trenches as well as the space around the water Selective Professional Works Jiangkou Sunken Treasure Museum Master Plan
24
from the river and the ponds, creates a fantastic park and garden. The visitor will experience not only the view of the treasure but the process to recover it and the history around it. The main lobby to the museum is a passage between the land and the river, it allows the access from the river side if the visitors arrive by boat. The exhibition space is organized in 4 levels. All levels of the exhibition space are connected visually to offer a complete experience of the history of the sunken treasure.
Ground Floor Plan 1/10000
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Exhibition Visual Part Two
STEAMLab Taiwan Zhong-Lun Exhibition Visual Design
Client/ STEAMLab Taiwan 2021
Selective Professional Works STEAMLab Taiwan Exhibition Visual 26
The inspiration of the exhibition visual comes from the tools and components we could easily encounter our life. The overall design worked perfectly with the exhibition design and the unique site at the mall. The printed matter including display boards, booth signs and advertising canvas.
Key visual/Curatorial Concept Play Zone 1 Exhibition Area Play Zone 2
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Visual Design/Merchandising Part Two
WELLS Cafe Hsinchu Visual Design
Client/ WELLS Cafe 2020
Selective Professional Works 28
Responsible for the key visual for WELLS Cafe, Hsinchu. Design includes interior display boards, signs and signage system, business cards, menu, flyers, Collaborate with the interior design team to present the optimum design for the specific site.
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Part Three
2020 Pandemic Architecture Competition
Rebirth from the Wound Memorial after the Pandemic Fighting against the pandemic is like fighting against an invisible war. During quarantine time, all the trauma seems to happen quietly, anonymously and remotely behind the scene. Based on the experience illustrated above, we propose an urban park that will carry the city through the pandemic. By creating a “wound” in the urban landscape, this park becomes the symbol of the trauma caused by the pandemic. With time goes by, the construction of the urban cemetery would recover the wound
and ease the pain. A wound in the collective memories needs to be healed through regathering among the public. And the spatial experience draws the visitors to participate in memorial activities in diverged areas above and underground. Through the transformation of urban public space, the wound could be a visualization of the incident. Moreover, the cemetery will become an urban monument that reminds us of the pain we get through together.
Competition Tomb Module The 1-leveled units are either creating space in smaller scales or applied to the main structures. The unique form of the tombs creates the niches in the shapes of a quarter, a half, and even a full sphere while indicating different directions for the visitors.
Rebirth from the Wound
Section A-A’ Scale 1/600
Entrance
30
Waiting Area
Burial Ceremony
2
A’
1 3
5
4 9
6
7
8
1
1 Sunken Plaza 2 The forest of walls 3 Tunnel to underground 4 Gathering pocket 5 Bench / Division wall 6 Waiting space 7 Ritual space 8 Memorial hallway 9 Water tomb
A
Master Plan Scale 1/1200
Underground 1 Entrance 4 Ritual Space 2 Waiting Area 5 Burial Ceremony 3 Memorial Hallway 6 Water Tomb
Burial Ceremony
Memorial Hallway
Aboveground 1 The entrance of Street Side 2 The Forest of Walls 3 Bench Area 4 Resting Area
The Tomb
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Part Three
The Topography of Fear: Experiment
TEMPORALITIES UNSITE FEAR Inspired by the various results of different combination between paper and liquid, I selected multiple layers of paper as the site to recreate the fear of being dragged down into the water. The experiments tend to separate the process of the falling layer by layer and record the breakdown through extra-light paper. The paper breaks and tears along the fabric due to the weight of the liquid, leaving various size of scars on the layer. The experiment documents the paint penetrating multiple layer and the
Form Study
expt. 01 <Permeate, Mixture, Adhere, Break> oil paint, wood frame, paper 800×800×450 mm
expt. 01
Temporalities Unsite Fear 32
mutation of the liquid combination. The surface is deformed by the weight of the paint and eventually breaks the paper resulted in new connection. The experiment records the liquid going through different layer and the variability of the results. The pattern of the liquid grows naturally over time. I observe the mark left on the paper through mixture, permeate, adhere, break, transform and collapse of the material, and derive inspiration from it.
expt. 02 <Eenncounter, Permeate, Break, Transform> oil, black concrete paint, blue gesso 800×800×260 mm
expt. 02
expt. 03 <Collapse of Material/Collective of Time Fragments> concrete paint 800×800×650 mm
expt. 03
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Part Three
eVolo 2019 Skyscraper Competition
NoMA®daptors Colonizing the Mars The project focus on the permanent and expanding cities on Mars, imagine the ultimate goal of Martian life transforming from “surviving” to “sustainable living.” In order to do so, the architecture must achieve three essentials: safety in all time, generating economic value, and a good life quality. We carefully design the overall shape and interior dimensions, make it fits the purpose of a rocket first, and can easily change to an industrial and living building later. The structural
Competition NoMA®daptors / Exist or not 34
and movable system can adapt to the largescale topographic variations on Mars. The exoskeleton is a 3D-printed structural system that supports the inner core, blocks the cosmic ray, and helps vertical plantation. In between the exoskeleton is the connecting tube of the buildings, which helps the movable system and contains commuting tunnels. The inner core of the building is a combination of a modular rocket, mineral factory, and livable city.
Honorable Mention, NCTU Arch. Competition
Exist or not, Exist or not? Exist or not... The landscape and layer on the horizontal dimension is a compressed history throughout time. The landscape now comes from the past, and will eventually become a part of the future. The vertical dimension provides a way to connect and mark the track of the migratory. The tubes penetrate through the horizontal layer is the mark of a data collection from the past combines with the current landscape. We aim to find out a continuous element that never fades out through the history of Mattau. We
question the way of making grand construction to draw attention for another new tourist spot, but choose to left a mark with vertical concrete tube to collect the everyday life at Mattau. In the future, the collection will become another historical data, or continue to stay as a collector of the migratory over time.
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Part Three
Craft
Tilted Chair Tectonic & Tenon The tilted chair is designed to be joined together without any use of further material. The distinctive appearance of the chair is derived from the legs of insects, creates an illusion of movement. By designing the tenon, the wood pieces come together perfectly and leave a clean silhouette. The main structure of the chair is slightly tilted forward to create an unstable impression. However, the surface of the seat is parallel to the floor like normal chair, which is comfortable to sit on.
Craft and Making Tilted Chair / Travel Memory 36
Craft
Travel Memory Material Combination Detail The making of the cart combines the material of iron, wood and corrugated plastic board. To create the discontinuity at the corner of the cuboid, the iron joint connects the wood frame from three direction and turns the corner of the cuboid into void to cause the light-weight visual effect. There are two ways to use the cart with the handle in different positions.When the cart is pushed to the location, the handle can spin down and use as a stand.
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Lin, Ching-Yu
Portfolio
Selected Works 16' - 21'
Architecture, Urbanism, Craft, Graphic