This pink brochure
contains:
01 / ARTIFICIAL IMMATERIALITY, the urban bathhouse 02 / X-site 2015, UNCERTAIN TEXTURE 03 / WAY TO LIVE, a residence in the fishing village 04 / way to live, Cubic Cabinet in Taipei Expo' 11 05 / Chameleon, ephemeral urban spaces 06 / supplements 07 / curriculum vitae
Academic, Individual, Graduation Design Advisor: Chen, Yu-chin Time: 2013 Type: Public Architecture Location: Zhouzi Park No. 2, Neihu Dist. Taipei City Size: 900 square meter Programme: Bath Final 10, the Grand Review Selected, 6 x 2 International Graduation Design Competition Project Included in Taiwan Architecture Magazine, Vol. 217
01 Artificial Immateriality
The objective is to mitigate the mental inadequacy of modern individuals. Leaving unnoticeable traces on the ground, the urban bathhouse, constructed beneath the central park of overly material re-planned technology zone, provide engineers as well as residents nearby with an occasional opportunity to rekindle their spiritual dimension. The labyrinthine configuration of the bathhouse generates a sensation that it seems to be monotony yet alter slightly in every corner. Bonding throughout all twenty-five bathing cells, the baked blue bricks either prompt the marvelous landscape, or enhance the earthy air to recall the past here through the microclimate created by tectonics of brick. The scenery and smells invoke travelers to meditate into the area of “Daydream� and redeem their mundane lives.
The aerial view of one typical apartment plan in Taiwan
The idea that bathroom is an unfathomable space is widespread over the world. As a horizontal viewpoint, the air in bathrooms is bonded to human emotion—we screech, sing, ruminate, communicate, relax and cry while bathing, no matter what occupation we have, engineer, worker, nurse, teacher, or politician. The moist air acts to force the sensation unfettered. This might be because one would undress before taking shower in which clothes invariably represent the social hierarchy. Thus while one is steeped in water, the pores in the skin are opened as well as the sentiment inside is expressed instantly. The bathroom remains the most enigmatic enclosure in architecture still.
is a project , via diagnosing baths
Impressions of tub
Export Processing Zone in Taiwan
Technological engineers are prevailing in Taiwan now. From a historical perspective, the development of Taiwan inseparably connects with the presence of export processing zone. The industries in these areas greatly influenced the way Taiwan businesses would become and quietly formed the culture we lived in. Outsourcing, cost reduction, and money-oriented trend, results from export processing zone, all nibble on the quality of us as human beings. Though the original industrial type had been transformed into technology, the customs still continue. As technology headquarters raising one by one, our mental domains are likely to fall deeper and deeper. Flamboyant and glittering yet banal cladding of headquarter is the shield of Capitalism and contributes little but commonplace to architecture.
Just as a flaneur rambling in such a world of heteroglossia, perplexed and diffident, "Architecture" confronts the impediment of self-doubt that opportunities seem to be ubiquitous, yet never to be grabbed. "What is Architecture For?" "What is the nature of Architecture?" Asked for years as well as by scholars, they grow even more inscrutable due to the abundance of interpretation. Those explanations generate a considerable mist veiling us. Most architectural learners long to chase down certain discourse to stand by also to appease the uproar in mind. While searching for light in the foggy air, I was reminded.In 1908, Maurice Maeterlinck, a Belgian author, told a story titled "The Blue Bird" also known as "L’Oiseau bleu". The play is about a girl called Mytyl and her brother Tyltyl seeking for happiness throughout numerous regions, however realize that the happiness is far from reach but near at hand. The enlightenment of the play might allow us to approach the rudimentary feature of Architecture—in a nonchalant manner as the saying goes "The world is full of obvious things which nobody by any chance ever observes". A spectre is haunting Architecture—a spectre of Commercialism Irrefutably, some may assert that concrete tangible things dominate the world. Nevertheless, sensations, desires, and perceptions determine how an individual understands the universe. These unsubstantial yet crucial immaterialities shape our world even much more directly. On the other hand, an instrument of understanding the world is architecture regarded as. Namely, spaces would, and should, invoke one’s deep emotion. With an attentive care, all the touchable materials depict an invisible vivid landscape in mind. This scene satisfies us even in harsh times, carving far-reaching influences. By the way, it might be the most precious treasure one could ever find within entire life.
and unleashing the power of underground —as we descend , we ascend The underground is a region where is perpetually viewed as both mysterious and impenetrable place. Given that the ground surface is a mirror, underground seems to play a role as opposite of the reality—imagination judges. Even being ignored, imaginations still helps us to broaden the horizon. To illustrate, stressed out by mundane life, one could walk down into the underground, enjoy the moment as being detached from the world, and explore one’s spiritual dimension which would strengthen him or her to confront the reality. The mentalities actually go further while we go down.
Phase 1
The process of design thinking starts from an object-oriented thinking—from program to prototype and then object form. However, the attributes of underground architecture and the logic of the object-oriented thinking paradoxically conflict. There won’t be any form in underground spaces. Moreover, the initially defined programs and prototypes seem to be consequences of architect's indulgence. At next stage, six rectangular and six knife-shaped spaces are used and connected with each other to organize the skeleton. Disorientation emerges as wandering within them. Yet, the generation of rectangles and relationship between compartments and the configuration fail to express the connection with immateriality.
, gradually denude the indulgence of architect Phase 2
Phase 3
Ground floor plan
Hall plan (B2)
Partial section
culminating
A giant water plate is utilized in which the hot water and cold water are injected separately into the diagonal corners of the plate to catalyze a gradual changing microclimate. Ramblers enter through triangular ramp and stairway into the hall beneath the plate. The dusky dim hall contains nothing but a ancient dome-shaped kiln as well as three triangular staircases accessing to the floor above the plate. The hall delivers an impression of wasteland t hat it is almost like “nowhere� and plays a role as a filter to rest the mind between the reality above the ground and the bathing area beneath the ground.
The water plate carrying various bathing cells become a boundary of entering dreamlike atmosphere. Enclosing bathing cells, walls are constructeda by blue bricks. The soil produced by excavation is baked into three types of blue bricks and blue tiles right in the dome-shaped kiln located in hall. The impression of brick manufacturing process overlaps and recalls the scene of kilns here in the past.Not only brick walls form twenty five bathing cells in diverse scales, but also act as a filter of water temperature for the water plate.
Bathing cells
with an unity
Water plate configuration
In order to invoke daydream, all kinds of wall combination bring on effects in different facets—geographical, climatic, proportional, and so on. The collage of diverse attributes depicts vivid landscapes for each bathing cell and corridor, giving distinctive characters. Insouciant and disoriented, ramblers perceive slight modifications while walking as well as staying. The state of daydream completes the lost piece of jigsaw puzzle as human beings.
Access to corridor
Hints of direction
Remains
Vertigo accesses
Topography
Suspended structure
Temperature
Lightness
Composition
Lightness(Hall)
Microclimate
Cells
to invoke the sensation
Impressions of 25 cells
Blue bricks are woven into five types of walls which contain different patterns of porosity. Walls are classified by the thickness—0 cm, 6 cm, 24 cm, 60 cm, 120 cm. Nevertheless the cells are seen as the same from the outside, walls are arranged by gradual augmenting height and thickness to construct various interior spaces, giving ramblers multiple perceptions. In addition, diverse porosities create different microclimate for each cell, endowing vivid characters. On the other hand, disorientation is obtained through the same exterior of cells, sending a message that ramblers are likely in a labyrinth. The presence of being in a labyrinth allows ramblers to disremember the hindrance they faced in reality and enhance daydream.
by means of architectural tectonics
Thickness 0 cm Isometric
Pattern
Cross section
6 cm
24 cm
60 cm
120 cm
1
2
3
Excavate
Bake
Veil
Just as archaeologists, we excavate. Unlike headquarters mounting above the ground, the more soil we dig out, the more earthy smells we attain.
Constructed at the bottom of depression, a kiln aims to bake all the soil into blue bricks and tiles that the ancient scene reappears. This kiln will be the heater for the bathhouse later.
While the kiln finishes the duty of baking, service spaces and essential structures are planted including the water plate.
4
5
as well as construction scenario.
Infill
Backfill
Previously produced bricks and tiles are filled in the water plate, constructing a labyrinthine plan.
Lastly the whole bathhouse is buried, leaving traces on the ground—a chimney as well as some rifts, and steam in the air.
X-site is an annual architecture competition held by Taipei Fine Art Museum, also as TFAM, and one of the largest experimental architecture competitions in Taiwan. The subject of 2015 X-site is “Meeting Point”, aiming to place a work in any form at the front square of TFAM. The design started from the relation among three conceptions—analogue, paper, and “Yin Yang”. The idea of analogue was inspired from the work of Edward Weston titled “Nude” and “Pepper, No. 30” that allowed us to capture certain fragments in Taipei, and to convert them. Then, through technique of multi-angle, we acquire one image integrated from all the fragments, just as the “Yin Yang”, a Chinese ink painting by Chen, Chi-kwan. On the other hand, fickle and ambiguous, composite paper seems to possess paradoxical attributes— soft, yet tough enough. Not only the Chinese culture and Chinese ink painting does the unique material connect with, but an extraordinary air provide with.
02 Uncertain Texture
Practical, Team, Annual Competetion Synchronic Composing Architects Leading Architect: Chiu, Yu-wen Number of Participants: 7 Position: Project Designer / Executor Time: 2015 Type: Space Installation / Temporary Architecture Location: Taipei Fine Art Museum, Zhongshan Dist. Taipei City Size: 7200 square meter Programme: Leisure, Amphitheater, Playground First Place, 2015 X-site Architecture Competition
“Nude” and “Pepper, No. 30” are two works captured by an innovative and influential American photographer, Edward Weston. Over the course of his 40-year career, Weston photographed an increasingly expansive set of subjects, including landscapes, still lives, nudes, portraits, genre scenes, and even whimsical parodies. Nude and Pepper are two series created in the period. These negatives provide us with an absolutely another way to treat objects. “How would things turn out this way” is the direct impact in our mind. By juxtaposing these images, it is not hard to aware that the boundaries of objects are getting unclear more and more. Mistaking nude for pepper, or vice versa, happens if observers glimpse. The blurred lines capacitate one to simulate something with an approach not exactly the same, or, totally irrelevant. Though simulations might be bizarre, they are still impetuses for viewers to ponder. This representation would strike observers in an even more powerful way. The phenomenon of mistaking guarantees us to slice the city landscape, and to grab parts of fragments to be combined together. The meeting points in our daily lives are nearly everyplace—a staircase, a café, an arbor, a signboard, a square, or even a lighthouse. Yet meeting points not only exist because we have an appointment somewhere, but also appear while we meet someone accidentally. Namely, not merely capturing and reproducing some spots in the city, we actually construct a scale-gradual-changing master plan just as what Taipei City is—from mountain to downtown, from alley to room. Thus, the design offers the wanderers certain places to stay or play with friends, as well as random enclosures to obtain a casual meeting with strangers, or, alter ego. Works by Edward Weston, after all, help us to ruminate regarding the subject, “Meeting Points”, comprehensively.
Chen, Chi-kwan is a recognized and vital architect in Taiwan, who is renowned for Chinese ink painting as well. The most well-known painting considering spaces is “Yin Yang”, a 30 centimeters high, 546 centimeters length, modern Chinese ink painting. It contains a narrative spatial arrangement form left to right—river, sailboat, willow, riversides, gable, trail, corridor, bedroom, patio, circular window, courtyard, bridge, living room, hall, field, terrace, pier, arbor, and river are all projected in the eyes of observers. Similarly, we attempt to collect city spots into the master plan using the technique of multi-angle. On the other hand, Some of the unique city places are extracted to the site, leaving partial structure on the ground as remains—arbor, patio, tower, arcade, amphitheater. These structures are also the backbones for suspension system.
extracts city scenes
Meaningful to Chinese and unique as construction material, paper plays a significant role in design as a keystone to an arch. Firstly, Chinese people invariably possess an uncommon and impartible emotion toward paper—Chinese ink painting, calligraphy, and window paper. Furthermore, paper is a vague material—neither as hard as concrete, nor as soft as fabric; neither as opaque as metal, nor as transparent as glass. It owns indescribable multiple qualities. The qualities fit not only the design we long to present, but also the locals we yearn to connect with.
Opaque
Metal
Concrete
Soft
Hard
Fabric Glass Transparent
In order to endure the maximum gust, the composite paper is manufactured with five layers—Japanese wagami(almost like Xuan paper), adhesive powder, lapping cloth, adhesive powder, wagami. Through infrared heater and roller machine, layers are compressed into single-layer composite paper, deformable yet tenacious. Moreover, ink painted on this material will not fade or bleach out even in heavy rainy days and after a period of time golden dots will appear, forming another atmosphere.
+ infrared heating
+ infrared heating
and takes paper to the limit
The X-site is located in the front square of TFAM. The site faces Keelung River in the north and east, the main entrance of TFAM in the south, Zhongshan N. Rd. in the west. The office of TFAM is located right beneath the square, so that there is no chance for us to construct any foundation for the design, not even a scratch on the tiles of square. Also, the construction must resist the maximum gust of nearly 22 m/s (equally 49 mph, level 9) during typhoon season. The strategy we utilized is to fold “Taipei scenery� and to place the structure so lightly on the ground that the weight is transmitted to beams of TFAM office and the suspension system allows the structure flexible enough to withstand the gust. The whole configuration contains 3 pentagons in the periphery and 5 triangles inside. All the vertexes generate 15 lines where the cables would be located. Pentagons and triangles are manufactured as steel pillars undertaking cables, transmitting and dispersing loads into the structure of TFAM.
to both gently place and lightly assemble
For the purpose of transmitting loads to the beams underneath without damaging the structure, steel expanded bases are added at the bottom of eight steel columns to disperse the weight. Silk-like fabrics cover all faces in the periphery, giving translucent appearance. On the top of columns, pulleys are set up with cables which would convey the weight of hung paper to the expanded bases. The U-shaped components connect paper to cables as well as to the ground. The whole system become a form-changeable structure and is efficient on repelling the wind. Likewise, the structure would recover under most of emergencies, such as being pulled down by visitors.
Plan of beams underneath the site
U-shaped component
Top pulley
the structure at the front square of TFAM Membrane covering
Steel column as fulcrum
Paralleled and Orthogonalized connecting
Expanded steel bases and cable system above
Supporting points of the structure
Lower part connecting
Impression
Attribute
Colossal, or even monumental, the spaces in scale of “mountain” allow visitors to ramble freely and receive the impact from giant speechless enclosures.
Spaces with the scale of “City” deliver an impression that visitors are walking on the street, exploring alleys, and having conversations at the arcade.
Sitting on the ground, pulling up the curtain, and hugging acquaintances nearby, visitors are nonchalant in the spaces with scale of “Room”.
Proportion
with a topographical approach Form
Visibility and interaction
Appearance of ink
Because of suspension and spring-like weight systems, when gust assails, each paper wall drifts forward and backward, being endowed an unfathomable quality. That allows one to likely feel missing in this labyrinth. In addition, these systems help whole structure to return the original status. Namely, every single spatial experience received is ephemeral and precious.
, unveiling unfathomable enclosures
diverse form day to night.
Photographs of activities
03 Way to Live Academic, Individual, Junior Advisor: Chen, Yu-chin Time: 2011 Type: Private Location: Port Wanghaisiang, Zhongzheng Dist. Keelung City Size: 113 square meter Programme: Single Residence Outstanding Performance, Taipei World Design Expo’ 11
The objective is to discover the nature of living in a specific region, and to express the relation among earth, heaven, and man by means of architecture. Invariably, “House” is one of significant issues in architecture and many renowned architects had provided various probes. However, in Taiwan, houses are usually regarded as products of Capitalism. Not merely losing self-identities, these houses neither are compatible with local region, nor, in order to reach the maximum profit, guarantee the basic qualities of living. So what do spaces truly look like in different area of Taiwan? Unlike urban houses, there are more possibilities for suburban houses to react with the surroundings. In a traditional courtyard residence near a fishing port, two walls are reconstructed to delineate life as fishermen—one separates private interior and semi-public interior spaces, another embraces the square exterior yard. These two walls not only fit the weather and include all the needs of fishery, but also embody daily life here.
The site is a single residence located nearby Port Wanghaisiang, a small fishing port, where North Coastal Highway separates the village and the port. This residence is a one-floor C-shaped brick house with a central courtyard. Though the village is decaying, the owner of the house, a fisherman, is still vigorous and goes to sea nearly every day. Due to a tiny village, inhabitants here are well acquainted with each other. They meet, talk, work, cook, and have dinner almost at the square courtyard. This results in an intriguing phenomenon—the exterior courtyard is indeed the real “Living room�, and interior spaces, as the original living room, are used for storage or merely taking shelter from the rain. This interesting spatial interaction triggers the project.
portrays an architectural interpretation of being
Enclosure of central yard
through two inside-out reversal walls
Ambivalence
Due to the particular lifestyle, two reversal walls are replaced into the house—inside out as well as outside in. Each of the walls is double wall constructed with bricks, wood panels, corten steel, C steel beams, fair-faced concrete, and air bricks. These walls provide inhabitants with functions such as ventilation, biological niche, instruments for housework, shrine, depository, dinning table, and accommodations for appliances. They express an essential way to live as a fisherman, also generate a surreal scene—the “ceilingless” exterior courtyard embraced by interior walls, leaving furniture and fishing instruments on the ground.
, comprising requisites as a fisherman.
04 Cubic Cabinet
Public Exhibition, Individual, Junior Advisor: Chiang, Ya-chun / Chen, Yu-chin Time: 2011 Type: Installation Location: Taipei World Trade Center, Taipei City Size: 30*30*30 cubic centimeter Selected, Taipei Design Expo’ 11
resembles a suitcase hung on the lifted horizon with fishing nets Following the previous project, “Way to Live” which was selected into Taipei Design Expo’ 11, this succeeding project aims to represent the two reversal walls into one single cube. The cube is a 30-by-30-by30(centimeter) installation hung on a lifted “ground surface” which is produced with C steel beams and turf. All the features the two walls contained are integrated into the installation—how one acts, what one sees, and which way one touches.
La boîte-en valise is a famous work of Marcel Duchamp, which is a portable suitcase contains reproductions of Duchamp’s own work. It is just like a portfolio, exhibiting what Duchamp had done. The same idea appears in the East as well, even earlier. To-pao-ko, also known as miniature curio cabinet, is an ancient treasure collected by Emperor Kangxi in Qing dynasty. Showing the taste of Kangxi, this cabinet is like a shelter for various curios. Duchamp’s suitcase and Kangxi’s tiny cabinet both have some qualities that they are simplistic cubes as being closed, but astound observers while being opened. That is because every object selected and collected into the suitcase or cabinet is so meaningful and crucial that they represent some conceptions. By understanding this deep relation, pivotal parts of the two reversal walls are extracted and integrated. To demonstrate, one simple yet vital action is that the wall is rotated by user to acquire a horizontal surface as a dinning table. So, to open the installation is not to draw out or slide, but only to rotate part of the shell. Thus, the installation allows one to associate with the two walls inside the fisherman’s house, even the installation does not resemble any partial appearance of the two walls.
, and is a sequential project of Way to Live
The installation is divided into five segments. The upper component is made with steel bars, acrylic panel, and silicon, and is hung by black fishing nets. The lower four components are produced with laminates, MDF, and acrylic panels. These four objects are combined together to form a tiny enclosure inside the installation, which could be scrutinized by rotating one of the shells. Dragging the little chains at the bottom of the cube allows one to light up the installation and view details clearly.
, converting all features of two inside-out reversal walls.
05 Chameleon Academic, Individual, Senior Advisor: Chiu, Yu-wen Time: 2012 Type: Urban Research & Design Location: Hongyang Rd., Zhongli Dist. Taoyuan City
limns ever-changing ephemeral Taiwan streetscape
The objective is to rediscover and represent the quality of Taiwan urban street through Hongyang Rd. located nearby the night market. By field study, transforming quickly was the essential feature I observed. Just as fancy cities delineated in Invisible Cities by Italo Calvino, the look of Taiwan streets changes depending on time—they change, in hours. Vendors, brunch stores, cars, night market, commuters, students, and cafÊ alternatively appear in various period. The atmospheres of each period are so different that one may consider themselves as being in different area. On the other hand, the skin of chameleon contains multiple layers which would alternatively act regarding circumstances. Namely, diverse pigments in separate layer simulate the condition outside, giving a vivid appearance similar to surrounding. This physiological effect is utilized to describe the Taiwan urban street perfectly.
Through observation, I also found out residents actually do everything on the ground. That is why all kinds of faces appear within various periods. Leaving the function of sleeping in upper floor, I extract activities other than sleeping and then scatter them down to the ground. A changeable landscape is created to meet every need in daily life.
, presenting a compatible landscape.
06 Supplements are: Project A Studio Practical, Couple, Interior Design, Self-employed Participants: Chen, Hsien-chun / Lin, Yu-cheng Position: Project Designer Time: 2015 Type: Private Interior Design Location: Guangming Rd., Xitun Dist. Taichung City Size: 75 square meter Programme: Workspace, Meeting, Kitchen, Bed Room
Mall Practical, Team, Mall Design, HCW Architects Leading Designer: Hsu, Wei-hung Participants: Chen,Hsien-chun / Lin, Yu-cheng Position: Visualization Time: 2015 Type: Commercial Architecture Programme: Brand Counters
Academic, Individual, Junior Advisor: Chen, Yu-chin Time: 2011 Type: Commercial Architecture Location: Dihua Street, Datong Dist. Taipei City Size: 645 square meter Programme: Fashion Boutique, Studio, Restaurant, Exhibition
Tik-hua Kue
Fort Museum Academic, Individual, Senior Advisor: Yu, Lien-chuang Time: 2012 Type: Public Architecture Location: Fort Gang-zi-liao, Xinyi Dist. Keelung City Size: 4000 square meter Programme: Museum, Restaurant
Police Station in the Field Academic, Individual, Junior Advidor: Chang, Chuan-chih Time: 2011 Type: Public Architecture Location: Jiaoxi Township, Yilan County Programme: Police Station, Officer Dormitory
Photographs , Drawings
Lin, Yu-cheng
Education
2008 - 2013
Chung Yuan Christian University, Taoyuan City, Taiwan Bachelor of Architecture, Dept. Architecture
2006 - 2008
National Chung Cheng University, Chiayi County, Taiwan Dept. Earth and Environmental Sciences
2003 - 2006
Viator Catholic High School
Professional Experience
Dec. 2014 - May 2015
Synchronic Composing Architects, Taipei, Taiwan Professional: Participant and executer of the project: X-site 2015
July - Aug. 2010 Jan. 2011
Arcadian Design, Taipei, Taiwan Intern: Detail drawing and visualization
Activity
Sep. 2013 - Sep. 2014
Compulsory Military Service Fire-control Operator, Artillery, 586, Armed Army
Sep. 2012 - June 2013
Try(arch) Exhibition, Taipei, Taiwan Deputy Convener of CYCU
Sep. 2011 - June 2012
Study Group of Dept. Architecture, CYCU Host of 2012
since 2010
Project A, Online Architecture Community Initiator
Adeptness
Autocad, Photoshop, Indesign, Illustrator, Sketchup, Rhino + GH
07 Curriculum Vitae
Honors
Attended Exhibition
Project Included
Dec. 2014
First Place, 2015 X-site Architecture Competition Organized by Taipei Fine Art Museum
Aug. 2013
Final 10, the Grand Review International Exhibition of Architecture Graduation Design, Taiwan
June 2013
Selected, 6x2 International Graduation Design Competition Taiwan Architecture Magazine
Aug. 2012
Best Group Presentation & Individual Selected Bridge Design Aesthetics Workshop, China Engineering Consultants Inc.
June 2011
Selected, Taipei World Design Expo 2011 Taipei World Trade Center Hall 1, Taiwan
2010
Final, Workshop Design Competition Award Akiyoshi Okamura Workshop, CYCU, Taiwan
2009
Third Place, Workshop Design Competition Award Ai Wei Wei Workshop, CYCU, Taiwan
May 2009 - July 2009
Review of Dept. Architecture Chen Chih Hall, CYCU, Zhungli City, Taiwan
Aug. 2011 - Nov. 2011
Taipei World Design Expo Taipei World Trade Center Hall 1, Taipei City, Taiwan
June 2013
Try(arch), TKU+CYCU+NCKU Graduation Design Exhibition Songshan Cultural Park, Taipei City, Taiwan
July 2013 - Oct. 2013
International Exhibition of Architecture Graduation Design Luodong Cultural Working House, Sky Gallery, Yilan County, Taiwan
permanent exhibition 2014
Graduation Design Retrospective Dept. of Architecture, CYCU, Taoyuan City, Taiwan
2012
Taipei World Design Expo' 11 Special Edition Ministry of Economic Affairs, ISBN: 9789860295092
2013
Discrete Sensation Graduation Portfolio, Dept. of Architecture, CYCU, ISBN: 9789865796037
2013
Taiwan Architecture Magazine Vol. 217, October, 2013, ISBN: 9771561054009 Vol. 238, July, 2015, ISBN: 977156105400907
Kudos to everyone I met