PORTFOLIO Wang, Chienhwan(Jevons) Architecture & Interior Design
2
CONTENTS
3
QSSG office
Shuitou, China │ November. 2013 It is a mosaic of existing buildings in the amount of body, so we hope to have the law on the appearance of light, so the use of the concept of folding, the body can make new buildings orderly stack up while covering one tool functional space box.
Taiwan Cultural and Creative Plaza Shenzhen, China │ November. 2013
As a cultural and creative space for the call of the compound, we expect the material surface, the appearance can be difference with traditional architectural sheet metal, at least we can make change possible under the standard specification.
Hsufuchi villa
Guangdong, China │ Auguster 2012 So in the space, we strive to combine with the land, leaving space for air like transparent body into the building in general, this way it will be like breathing. We believe that building a verb has been a major event, whether the user or to the land, it should be through the "build" of thinking, rather than blindly building materials.
Store of Atayal resort
Nantou, Taiwan │ March 2014 At that time when idea step thinking how can we meet the needs of the owner's dining seats, temporary stage performances, but do not just become a ready-made furnishings with it? After all, is a semi-outdoor space, and not quite have the amount of body design lines in space.
Hwan House
Taichung, Taiwan │ September 2014 Even the decorations, decorating, I have little hope for dialogue and link to this space, so specifically asked people to create a unique art stuff by this space plan.
Photography Works see the world by heart.
4
王 健桓 Wang, Chienhwan 28 April, 1986 Taichung Taiwan
Experience interior designer at asia plus June 2012 - Present (2 years 9 months)
signal corps at R.O.C Marine Corps. July 2011 - June 2012 (1 year)
E-mail jevons.hwan@gmail.com
5
Education National Yunlin University of Science and Technology Master's Degree, Architecture, 2008 - 2011 Activities and Societies: 97 school year, second semester class and grade representative 97 school year, teaching assistant of the second grade 97 school year, teaching assistant of the ďŹ rst grade of the master class
National Taichung University of Science and Technology Bachelor's Degree, Interior Design, 2004 - 2008 Activities and Societies: society public relations group of The 3th student association: president of The 4th student association
Honors and Awards 2007 nation universities, colleges and institutes compete jointly design get Fifth 2009 strategic plan of town development in yunlin county 2009 UDBKCG "green celebration"o5r10 MRT station design competition
Focus Interior Architecture Interior Design Community Development
Skill CAD SketchUp 3D Studio Max InDesign PhotoImpact Photography sony vegas key shot vray
6
7
8
9
DESIGN W O R K
10
棋盛石材辦公室 │ QSSG office │ Shuitou, China │ November. 2013
Q S S G office
11
12
最初的設計構想 ? 因為這是個建造在一座既有大理石工廠角落的辦公空間，為了符合原本廠房的高度 讓其建築高度控制在廠房高度以內，所以採用讓最底層往下挖以取得更多建築高度 的做法。 因為是一個鑲嵌在既有建築的量體，所以我們希望在外觀上能夠有規律的輕盈，於 是採用了折疊的概念，讓新的建築體能夠有秩序的往上疊，同時包覆一個個具功能 性的空間盒子。 The original design concept? Because this is a office space built in a corner of the existing marble factory, in order to comply with the original plant height allowed building height control within the plant height, so make the most use of digging down to the bottom to get more building height. It is a mosaic of existing buildings in the amount of body, so we hope to have the law on the appearance of light, so the use of the concept of folding, the body can make new buildings orderly stack up while covering one tool functional space box.
13
ROOF
SECONDD FLOOR FIRST FLOOR GROUND FLOOR UNDER GROUND
摺疊量體意象 (FOLD) 如何讓地下層擁有地面層的通透感 ? 為了讓下挖的樓層一樣具有地面層的 通風及採光，我們並不把開挖的部分 完全填滿做為室內空間，反而挪出了 1/3 的空間完全透空讓光線及空氣能 夠流動，甚至建造了水景，反而讓這 下挖的地下層有一個隔絕外在干擾的 景觀動線。
How to make sense of the basement has a transparent ground floor? We do not completely fill the excavated as the interior space. Instead, set aside a third of the space is completely transparent to allow light and air to air flow.
14
入口動線的想法 ? 新的建築與廠區共用一個主入口 ( 畫面左側方向 )，而為了讓未來出入辦公室的人員 車輛能夠與出入廠房的人員車輛區隔，同時希望人員在進入辦公室的時候可以被強 迫式的經過我們規劃的造景區域作為一種進入建築物的儀式沉澱即將開始一天工作 的心情，所以我們用大宅院庭院的概念，讓進入建築物的動線適度的迂迴，從一樓 園區進入空橋往下走入水景，再拐彎繞過大半個建築量體往上走入建築體，就像在 走進建築體前先越過一座花園一樣。
The idea of moving route of the entrance?
15
The new building share a main entrance (picture on the left direction)with original factory, and in order to allow future route of office for personnel and vehicles can be segment with route for the plant , and hope when people can be forced into the office after we plan style landscaping area to enter the building as a precipitate mood ceremony is about to begin a day's work, we use the concept of a large courtyard house, let's move into the building line with moderate roundabout, entering the park from the first floor down into the water features with bridge, and then turning to bypass more than half the amount of body building up the body into the building, just before entering the building, like a garden across the body first.
16
室內動線的計畫 ? 考量到不同使用者在空間內的不同需求，我們在建築內部假定了三種不同目地的路 線行為，分別為主要動線、工作動線以及休閒動線，讓使用者可以最大限度的運用 空間並且讓每個空間配置都具備合理性。
Indoor moving line plan?
17
Taking into consideration the different needs of different users in the space, we assume that the route inside the building three different head to behavior were the main drivers of the line, work and leisure moving lines , allowing users to maximize the use of space and let each spatial conďŹ gurations with rationality.
MAIN ROUTE
MAIN ROUTE WORK ROUTE LEISURE ROUTE
WORK ROUTE LEISURE ROUTE
18
建築物與自然元素的關係 ? 可能因為是石材廠的關係吧，設計的時 候下意識的就想要讓空間帶入一點「軟」 的東西，去中和一點石材的堅硬印象，除 了在戶外設計綠帶以外，更加入流動的 藍帶透過高一層樓的水瀑，讓整個空間 透過水的流動更加鮮活。 此外，建築物的日照、採光跟未來空氣 流動的都因為建築階梯型的設計而集中 在建築體的中心。
Relationship of the building and the natural elements? Probably because it is a stone factory, we subconsciously wanted to make the space into a little 'soft' stuff, to neutralize the hard impression of stone, except at outdoor design green belt, also joined the flow of blue with a waterfalls through, so that make the entire space more fresh water flowing through. In addition, the sunshine, the lighting, the air flow of the building have since stepped architectural design and focus on the center of the building body.
19
20
21
22
深圳 台灣文化廣場 │ Taiwan Cultural and Creative Plaza │ Shenzhen, China │ November. 2013
Taiwan Cultural and Creative Plaza
23
24
25
26
原始空間的條件 ?
27
基地是位於中國深圳的藝文中心，因藝文中心遷往別處因此相關單位計畫將原建築 改建成複合式的商業公共空間。 原始空間類似校園空間，由一間間獨立封閉的空間單元組成，有走廊以及中庭天 井，建築物還有一半以上做為可容納 600 人的劇場使用。 但這樣的空間型態及配置並不利於未來想要發展的商業模式， 因此我們先初步建構原始的建築模型，再去置入我們預期的空間定性並且排列其在 建築體內的關係，做為接下來空間劃分的依據。 The original space conditions? The building is a art center, located in Shenzhen, China, because the arts center is intend relocate so the local group plans turned the building into composite commercial public space. The original space is similar campus space, by few separate enclosed space units, with corridor and courtyard patio, the building as well as more than half of which can accommodate 600 people theater use. But this space patterns and configurations are not conducive to the future development of the business model you want, Therefore, we first construct the original preliminary architectural models, we expect to go into space and arrangement of their qualitative relationship building in the body, as the basis for the next space is divided.
28
creative store restaurant book store shop workshop youth hostel open space
空間如何重新劃分 ?
29
與業主討論後，將空間計畫成七大分類，並思考其重要性以及應該放在如何的動線 順序上，並且同時思考實體空間的區隔以及界定，同時重新規劃符合空間需求的動 線分配，將其區分出工作貨梯、客用電梯、客用樓梯等動線。 How to re-divide the space? After discussions with the owners, the spatial plan into seven categories and think about its importance and should be placed on how the moving line order, and at the same time thinking well defined physical space segment, while the re-planning meet the space requirements of moving lines allocation, which distinguish the work freight elevators, passenger elevators, passenger stairs moving lines.
30
重新定義建築物的入口動線 ?
Redefine the entrance ?
地面層的入口重新定義，各樓層 Redefine the Entrance on the ground floor 的的空間定性也重新規畫使其
and the space on each floor qualitative
符合未來的空間需求。針對不同 also re planning to match future space 空間位於地面層的功能性，考量 requirements. For different functional space 其空間特性跟是否需要獨立的出
on the ground floor, with consideration
入口，規畫了一個進入主建築
of the spatial characteristics of the need
物出入口 (gate1)，跟兩個可以
for a separate entrance, planning an
進入主建築物也可以作為進入
main entrance into the building (gate1),
獨立空間的對外出入口 (gate2 with the two entrance can enter into the gate3)，以及三個定義明確進
independent space can also be used as
入 特 定 空 間 的 出 入 口 (gate4
external entrance (gate2 gate3), and three
gate5 gate7)。
well-defined entrance into the specific space (gate4 gate5 gate7).
符合新空間需求的垂直動線 ?
31
原本的建築物沒有電梯，而在改變建築空間目的之前也還需要考量客用電梯、樓梯 以及工作貨梯、逃生梯的需求考量，
vertical moving lines for new space? The original building has no lift, but they still need to consider the demand about passenger elevators, freight elevators, stairs and work elevators , escape ladders before design.
32
如何重新賦予既有的建築表皮新的設計意象 ? 身為一個以文創為號召的複合式空間，我們期許其表面的材質、樣貌能夠有別傳統 的建築表材，至少希望在制式的規範底下去做出盡可能的改變。 所以我們先將建築立面分為三大面向，分別附與「文化、資訊、理性」、「自然、土 地、感性」、「空氣、輕盈、放鬆」三個概念。
How to reassign existing building skin to design new images?
33
As a cultural and creative space for the call of the compound, we expect the material surface, the appearance can be difference with traditional architectural sheet metal, at least we can make change possible under the standard speciďŹ cation. Therefore, we first divided into three facing facades, are attached with "culture, information, rational," "natural, land, sensual," "air, light, relax," three concepts.
34
對於室內的布局能否與延續對建築立面的想法 ? 在室內空間中我們也希望以大尺度的立面導入外觀的概念，因此將原本舊劇場內的 挑高處 ( 後規劃為書店 )，設置了植生牆，並在正上方的屋頂挖洞採光，讓其室內最 大尺度的單一空間引入更多自然的光線及綠意。
35
For the interior layout can be continuation of the idea of the building facade? In the interior, we also want to import the facade of a large-scale
appearance of the concept, so the ceiling of the old theater (after planning for the bookstore), set up a plant raw walls and the roof just above the lighting by open, interior space is allowed single largest-scale introduction of more natural light and greenery.
36
37
38
39
40
41
42
43
44
45
46
廣東 徐福記私人會館 │ Hsufuchi villa │ Guangdong, China │ Auguster 2012
Hsufuchi villa
47
48
49
關於一個涵蓋相當比例庭園造景的設計案如何發想 ? 和自然地景的融入一直是近年來東方建築為世界所推崇的，從日本建築界吹向世界 的清水模式建築，標榜不以過多繁雜的裝飾加諸於建築表面，而是以量體的力量為 其建築語彙做詮釋。 而清水模建築周遭的景觀造景更常以東方最擅長的山水意象軟化其清水模量體的剛 硬線條；如此在表面裝飾材料上的簡化卻意外地引起一陣建築狂熱，最大的原因在 於不多加裝飾的建築空間，其動線、光影最能被凸顯，也最為考驗設計者的空間組 織能力以及想像力，但其成果往往讓人驚訝其空間與自然景物、光影的完美結合。 How to design a project with East style garden landscaping like? It's praise highly by world that the feature about natural landscape has been the integration of the East Building in recent years, from Japan to the Exposed Concrete building, not too complicated decoration advertised to impose on building surfaces, but with the amount of body strength its architectural vocabulary to do the interpretation. The landscape surrounding architecture mode more often best at the Oriental landscape imagery to soften the rigid lines of the modulus; thus simplifying the decorative material on the surface but accidentally caused a building frenzy, the biggest reason is not pay more decorative architectural space, its routes, light and shadow can be the most prominent, and most of the spatial organization of the test for designer's ability and imagination, but the results are often surprising its space and natural scenery, the perfect combination of light and shadow.
50
關於「造景」的觀點 ? 造景，是建築設計不可忽略的一環，“景”即境域的風光，也稱作風景。是由物質 的形象、体量、姿態、聲音、光影、色彩以至香味等組成的。景是園林的主體，欣 賞的對象。自然造化的天然景（野景）是沒有經過人力加工的。大地上的江河、湖 沼、海洋、瀑布林泉、高山懸崖、洞壑深淵、古木奇樹、斜陽殘月、花鳥蟲魚、霧 雪霜露等，都是天然景。而東方在庭園造景的語彙上則相當講究，從主景和次（配） 景、抑景與揚景、夾景與框景、前景與背景、俯景與仰景、實景與虛景、內景與外 景等相互搭配，再以植栽四季變化為園林增添變化。 徐福記會館的庭園規劃中，我們選擇以流水瀑布為主、奇石植栽為輔，用人工的方 式塑造層層的涓流，再以卵石鋪底、圍塑河道；同時再讓巨石奇樹作為點景，流水 在階梯般的河道層次流下，水生植物、錦鯉優游其中，而四季的變換更為整座庭園 注入流動的生命力。庭園遠方的建築主體因為其林園的點綴更顯豐富，其中的石橋 與石燈籠與林園搭配更富含了東方景觀的語彙，而與建築主題遙遙相望的觀景平台 之間的關係則隱喻了亭台樓閣的林園景致。
About "landscape" view? 造
51
景 (means make a landscape view), can not be ignored frome
architectural design, " 景 (scene)" can be understand for realm of beauty, also known as the scenery. Is a matter of image, body mass, gesture, sound, light, color, fragrance and other components as well. 景 is the main of garden, enjoy the object. Natural good fortune of natural scenery (wild scene) is not the result of human processing. Rivers, lakes, oceans, waterfalls, mountain cliffs,odd trees, sun moon, flowers and birds, snow, fog frost, are the natural landscape. The Oriental garden landscaping on vocabulary is quite exquisite, from the main scene and minor scene, suppression scene and raise scene, foreground and background, overlooking the scene and elevation scene, real and imaginary scene, and other interior and exterior with each other, and then to the changing seasons for planting gardens add to change.
52
對於建築體盒子的想像 ?
53
一開始就被告知我們需要一個輕盈的玻 璃盒，最好是通透性高。但是要有足夠 的空架去安置硬體設備，所以我們嘗試 了幾種骨架造型，甚至用了許多結構和 相對的量體錯覺嘗試讓整個空間在視覺 上更加輕盈。 Imagine for a building body of the box? Outset were told that we needed a lightweight glass box, preferably high permeability. But there must be enough space to place the hardware equipment rack, so we tried several skeleton shape, even with a lot of structure and the relative amount of body illusion trying to get more light throughout the space visually.
54
最後的結購量體概念 ? 最能展現建築力道的不是立面上的花樣，而是量體間的比例組合。回歸建築的本 質，結構。徐福記會館在基地的使用以及建築的發想給予相當程度的自由，使其 能夠設計出一棟順應地景的人造建築，在設計之初發想了許多以結構體做為主要 concept 的設計方向，除此之外更從原先需求的平面量體，進一步的以平面以下開 挖的 3D 思維做組合，讓建築量體能夠更深刻地融入地景，也讓此案不可或缺的庭園 造景有機會藉此深入建築。 而在確立以清水模作為量體風格時，如何在視覺上減輕建築的沉重感隨即成為設計 的重點；解決的方法之一，便是從設計開始就一直在概念想法裡的增加建築視覺穿 透力；因此在建築外觀上我們在 80% 的面積使用通透的大面落地玻璃，不但增加了 視覺的穿透力，更加強了室內空間的採光，另外為了收藏建築的服務空間，我們將 大部分的有形量體集中濃縮於建築後段，將必要的餐廚空間、設備機具收納於此，免 除日後冷氣主機、餐廚器具暴露在外的可能。
The ďŹ nal concept of structure?
55
Best show the strength of the pattern is not building facade, but the ratio between the amount of body combinations. Essentially return the building, structure. Hsu Fu Chi vila at the base of the use and construction of the reflect to give a considerable degree of freedom to be able to conform to design an artificial architecture that fit natural landscape, designed from the beginning with a lot of structures idea as the main concept of the design direction , in addition to below the excavation of thinking to do a combination of 3D, so the amount of body building can be more deeply integrated into the landscape, but also to the case indispensable garden landscaping have the opportunity to take in-depth architecture.
56
這種獨立單元的建築空間與都市巨大的量體建築在設計思考上有甚麼差異 ? 面對高樓大廈這樣的巨大怪物，我們向自然挑戰般理性的一層樓一層樓的向上疊；然 而處理如同徐福記會館這樣的低樓層建築時，我們則是感性的讓所有可能交錯的延 伸築起。 這裡加一座梯，那邊灑一道光，這邊長一面牆，對面開一扇窗，每一個尺寸、每一 道角度都是從感覺出發，經過思想後從理性落筆，或許用不上摩天大樓的高超工 法，但卻用了最感性的創意和最謹慎的實踐。 不僅思考著如何把天馬行空的輪廓塗上色彩，更在這想法成畫之後煩惱著要加上怎 樣的框。我們知道生活的地方不應該是被建築物層層包裹，縱使我們將它打造的多 麼自然高尚，因為唯有和真正的「環境」在一起，我們的生活才不至於扭曲的太過 畸形。 所以在空間上，我們力求與土地結合，留有通透的空間讓空氣好像融入建築體一 般，如此一來這量體就會像呼吸一般的和環境共處。我們認為動詞的建築一直以來 都是一件大事，不論是對使用者或是對這個土地，所以更應該是透過「築」的思維 進行，而不是盲目的將建材水泥不斷的矗立在土地上而已。
57
what is the difference in design thinking between that kind single architecture space and huge building in the city? Faced with such a huge monster skyscrapers, we like to challenge the
rational nature oor by oor stacked up; however, as Hsufuchi when dealing with such a low-oor hall building, we are the emotional staggered extend all possible building play. Here plus a ladder, a light sprinkle over there, here a long wall opposite a window open, every size, every angle is from the feeling of starting, put pen to paper after rational thought, perhaps irrelevant skyscrapers superb engineering methods, but with the most creative and the most sensual prudent practices. Not only thinking about how to outline painted abstract colors after more trouble with this idea to draw what you want to add frame. We know that life should not be wrapped in layers of buildings, even if we build it how noble nature, because only with true "Environment", our lives if they are not too distorted deformity. So in the space, we strive to combine with the land, leaving space for air like transparent body into the building in general, this way it will be like breathing. We believe that building a verb has been a major event, whether the user or to the land, it should be through the "build" of thinking, rather than blindly building materials.
58
玻璃天光屋頂 節能隔熱植披屋頂
外推觀景陽台
借景門
室內天景宴會廳
隱蔽服務空間
59
藝文舞台
觀景涼亭
露天餐區
藝術平台
景觀水池
延伸過道
60
南投 泰雅渡假村賣店規劃 │ Store of Atayal resort │ Nantou, Taiwan │ March 2014
Store of Atayal resort
61
62
63
開放空間的座位區是怎樣的設計概念 ? 當時在發想階段時就思考怎麼樣才能滿足業主方 需要的用餐座位、臨時的表演舞台，但又不只是 淪為用現成的家具擺設呢？畢竟是一個半戶外的 空間，並沒有相當具備設計線條的量體在空間中。 所以我便設計了一個從地面不斷浮起抬高的量體， 好像一體成形一樣的一塊量體同時具備了地面、 階梯、舞台、桌面的尺寸，就好像都市地景的縮 小藍圖一般。 What's the concept of open space? At that time when idea step thinking how can we meet the needs of the owner's dining seats, temporary stage performances, but do not just become a ready-made furnishings with it? After all, is a semi-outdoor space, and not quite have the amount of body design lines in space. So I designed a float from the ground elevation constant amount of body, it seems like one piece molded body along with the amount of ground, the ladder, the stage, the size of the desktop, just like a blueprint for the city to narrow the landscape in general.
64
那在確定了這樣不斷攀升層次的概念後怎樣去決定在立面上高程配比 ? 當然在把需要的座位數量以及動線考慮進去後，我並不想要一個絕對對稱的設計，因 為這樣與周圍地表鑲崁又一體成形的設計希望能朝有機的流動量體去表現，所以我 刻意營造一個由低點到高點從 ±0、15cm、30cm、45cm、75cm 到 150cm 不斷 往一個大方向攀升的量體，其中依高度不同型塑成階梯、舞台、座椅、桌面、吧檯 等等功能。 How to decide each elevation after that concept project? Of course, after the required number of seats and the moving line into account, I do not want an absolutely symmetrical design, as it has with the surrounding surface integrally molded inlay design hopes to show the amount of body towards organic flow, so I deliberately create a continuous rise in the general direction of the amount of body from low to high from ± 0,15cm, 30cm, 45cm, 75cm to 150cm, which according to the height of the different shaped by a ladder, stage, chairs, table, bar, etc. function.
65
66
桓宅 │ Hwan House │ Taichung, Taiwan │ September 2014
Hwan House
67
68
69
before
after
把原本的房間數縮減是很大的嘗試 ? 在台灣大部分的人喜歡所謂三房兩廳的格局，但在空間不足的條件下，硬要隔出數 個房間只會壓縮到每個空間的品質，尤其在使用者並沒有那麼多獨立空間需求時反 而是一種浪費。以此案為例，屋主長年獨居卻使用著無謂的三房兩廳，甚至還有兩 套完整的衛浴，導致每個空間都過於狹小難以使用，加上整個空間的採光都留給獨 立的房間，導致房門一關整個室內變暗無天日，因此重新審視使用者需求將採光留 給公共空間，並且減少隔間，讓客廳、餐廳、廚房連貫，僅以家具界定空間，同時 弱化整體空間中「走道」的功能，讓路徑穿越空間，而不是另外挪出一個空間做為 路徑，這些改變除了讓整個室內都有採光外，視覺的穿透性也更強烈。
70
The original is a great reduction in the number of rooms to try? Most of the people in Taiwan like house at less with three bedroom, but in the lack of space conditions, insist separated out several rooms will be compressed to the quality of each space, especially the user don't need so many independ room will be a space waste. In this case, for example, homeowners living alone for many years, but the use of unnecessary threebedroom, two full baths and even led to each space is too small it is difďŹ cult to use, plus the lighting throughout the space are left to separate room, if the door close the entire interior becomes dark, so the user needs to reexamine the light left the public space, and reduce the compartment, so that the living room, dining room, kitchen, coherent, only furniture deďŹ ning space, while weakening "aisle "function in the space, so the path through space, rather than a space set aside as a path to another, these changes in addition to the entire interior has lighting, but also more intense penetrating vision.
71
72
73
專屬空間的藝術品 ?
Exclusive art of space?
即使是點綴、妝點，我都希望能和這個
Even the decorations, decorating, I
空間有點連結對話，所以特地請人以平
have little hope for dialogue and link
面圖為藍本創作出專屬這個空間獨一無
to this space, so specifically asked
二的作品。
people to create a unique art stuff by this space plan.
74
空間裏面的展示不是單純的展示 ? 當然會想要能夠善用每一道牆去做裝飾性的佈置，例如各種建材、畫作等等，但是 這畢竟是一個生活的空間，所以還是希望能夠讓一些展示性的設計也能有一點機能 性、功能性在，或是只是一點點跟這個空間有連結的元素都可以，而不只是掛一幅 別人家也有的畫；所以在入口的那一道牆刷了黑板漆，除了取漆料本身的黑色外，更 取了塗鴉作畫的功能，讓空間可以更加活潑，透露出使用者以及來訪客人的活力，在 黑板牆上還安裝了一個壁掛的單車架，讓屋主平時就在騎的白色鋼管車有一個地方 放，更可以襯托整個空間。
The decotate inside space is not just a decoration? Of course you want to be able to make good use of every wall to do decorative arrangement, such as a variety of building materials, paintings, etc., but this is after all a living space, they still want to be able to make some show of the design can be a little functional functional in, or just a little bit element with this space, not just hang a painting and some other people have; so that a wall at the entrance of chalkboard paint brush, in addition to taking the paint itself black, but also take a graffiti painting functionality, so that space can be more lively, revealing the vitality of the user as well as our guests, at the blackboard on the wall also installed a bike holder so that homeowners usually riding white steel bike has a place to put, but also set off the entire space.
75
76
77
78
PHOTO GRAPHY
79
80
81
82
Yizhong St. Taichung Taiwan
some place become quiet, lonely just like no people live here, but we both know not.
83
84
85
86
87
88
Jingcheng Rd. Taichung City, Taiwan Children come to the world, and we will be old so laugh, like we never worry about it.
89
90
Taichung City, Taiwan
91
92
93
94
we drink for physiological for psychological for sociaty
Taichung City, Taiwan
95
96
97
Daikanyama Tokyo, Japan people live people wait
98
99
Harajuku Tokyo, Japan
100
Tokyo, Japan
101
102
Tokyo, Japan
expression of building
103
104
105
106
107
Gulangyu. Xiamen, China
108
109
keep trying keep doing keep walking
PORTFOLIO Wang, Chienhwan(Jevons) Architecture & Interior Design
110
2014