Tsung-Han(Johan) Lin's Portfolio 2014-2023 by Johan Lin

TSUNG HAN LIN P

Email: thlin315@gmail.com Phone: +1 530 953 1570

DEVIL LAKE HOUSE

SUMMER INTERNSHIP NO ARCHITECTECTURE MAY. 2023 - AUG. 2023 LOCATION: SOUTH FRONTENAC, ON, CANADA TEAM: Noah Fritsch, Andrew Heid, Nanjia Jiang, Xianghui Kong, Chengliang Li, Tsung-Han Lin, Yuedong Lin, Yoki Luo, Praveen Menon, Jennifer Newman, Jianqing Shou, Tracy Tang, Guangyu Wang, Jingjing Wu, Ruoxi Xie, Julianna Yang, Shiyin Zeng, Xinglu Zhu ROLE: 3D Modeling, Rendering, Detail drawings, Design Strategies

Situated by Devil Lake in Canada, this house is a striking composition of five pavilions. Positioned within the breathtaking natural landscape, each pavilion boasts uniquely angled roofs, offering residents an exceptional and varied view of their surroundings. Devil Lake House places a strong emphasis on horizontal elements, maximizing their prominence, while also simplifying vertical mullions to provide a transparent and immersive experience. This allows inhabitants to live freely and fully appreciate the distinct interplay between the different pavilions, enhancing their overall quality of life.

3.3

SE TB AC K

CK TB A SE

SL O PE

O PE SL

ST EE P

P ST EE 6M STEEP SLOPE(30%) LINE

D6 A6

6.5

TERRACE G 6.1

PROPOSED ACCESSORY SHOWER ROOF OVER HEAD DECK

T.O.S. +506'2"[154.278M]

5.5

5.4

TERRACE F F5 5.2

T.O.S. +510'5"[155.578M] 106

5.1

105

PROPOSED ACCESSORY DECK PAVILION 5

T.O.S. +510'5"[155.578M]

IN RK PA EA AR

PROPOSED ACCESSORY SLEEPING CABIN

PAVILION 4

TERRACE E

RIO

SID

30M HIGH-WATER MARK

IN RK PA EA AR

B4 C4 D4

SETBACK

4.3

TERRACE D 104

109

4.2

103 102

107

108

PAVILION 3 3.3

101

4.1

T.O.S.

3.2

+511'5"[155.878M]

TERRACE C

3.1

HANDRAIL

PROPOSED STAIR

2.4

.4 .S. 54 T.O '7"[1 06 +5

2.3

100

OPE

2.2

N TO

W/D

PROPOSED DWELLING

2.1

PAVILION 2

BELO

PAVILION 1

T.O

.S. +499 '3" [1 52

.178

TBAC

E SE

P SLOP

EE 6M ST

PROPOSED STONE PATHWAY

15M STEEP SLOPE SETBACK

TERRACE B C2

1.2

PROPOSED ACCESSORY DECK

TERRACE A

T.O.S. +496'0" [151.178M] 1.1

STEEP SLOPE(30%) LINE A1

Level 1 Plan 1/384

3.2

T.O

3.1

'7"[

4.4

]

2.4

TOP

OPEN TO ABOVE

SLO PE

104

W/D

2.3

2.2

101

102

T.O.S.

+499'3" [152.178M]

ROOF OVER HEAD 100

DECK

2.1 HANDRAIL

TERRACE B

T.O. ROOF

K AC

WOOD MEMBRANE

LEVEL 06 +511'7 11/16" [155.948M] LEVEL 05 +510'7 7/8" [155.648M]

MIN. OUTDOOR HEIGHT

+525'9" [160.249M]

A2 K

T SE

C2 D2

TERRACEA

STEEL COLUMN

DECK NOT TO EXCEED 24" FROM GRADE WITHOUT HANDRAIL

ALUMINUM MULLION GLASS

LEVEL 04 +506'10 19/32" [154.498M] LEVEL 03 +506'4 11/16" [154.348M]

Living Pavilion Level 1 Plan 1/160

GLASS RAILING LEVEL 02 +499'6" [152.248M]

DECK NOT TO EXCEED 24" FROM GRADE WITHOUT HANDRAIL

LEVEL 01 +496'1 41/64" [151.248M]

Pavilion 1, 2 & 3 East Elevation 1/320

T.O. ROOF +525'9" [160.249M]

WOOD MEMBRANE

3" POLYISO NSULATION

STEEL COLUMN ALUMINUM MULLION GLASS

MIN. OUTDOOR HEIGHT

WOOD MEMBRANE

3/4" PLYWOOD

3" POLYISO NSULATION

DECK NOT TO EXCEED 24" FROM GRADE WITHOUT HANDRAIL

MIN. OUTDOOR HEIGHT

WOOD MEMBRANE

3/4" PLYWOOD

LEVEL 06 +511'7 11/16" [155.948M] LEVEL 05 +510'7 7/8" [155.648M] LEVEL 04 +506'10 19/32" [154.498M] LEVEL 03 +506'4 11/16" [154.348M]

METAL FLASHING

WOOD CEILING

1" INSULATED GLAZING WINDOW

Roof Section at Typ E. Eave

LEVEL 02 +499'6" [152.248M]

Roof Section at Living Pavilion

Deck Slab Edge Detail w/ Glass Glass

Exterior Details 1/24

LEVEL 01 +496'1 41/64" [151.248M]

Pavilion 4, 5 & Outdoor Shower East Elevation 1/320

WOOD MEMBRANE

3/4" PLYWOOD

3" POLYISO NSULATION

2-2''X6'' TOP PLATE BLOCKING FOR SUPPORTING WINDOW WALL

CURTAIN

INTERIOR

EXTERIOR

INTERIOR

EXTERIOR

1" [25] INSULATED GLAZING UNIT

STRUCT. BEYOND

STRUCT. BEYOND 1" [25] INSULATED GLAZING UNIT

3 1/2" [89] STUD WALL

1" [25] INSULATED GLAZING UNIT

T.O. FIN. FLOOR

+0'-0" [0] AFF

2"X10'' TREATED BLOCKING

3/4" [19] PLYWOOD

3 5/32" [80] FIN. CONCRETE FLOOR

Wall Sections 1/40

COUGAR RIDGE HOUSE SUMMER INTERNSHIP NO ARCHITECTECTURE MAY. 2023 - AUG. 2023 LOCATION: SANTA YNEZ MOUNTAINS, SANTA BARABARA COUNTY, CA, U.S.A TEAM: Noah Fritsch, Andrew Heid, Nanjia Jiang, Xianghui Kong, Chengliang Li, Tsung-Han Lin, Yuedong Lin, Yoki Luo, Praveen Menon, Jennifer Newman, Jianqing Shou, Tracy Tang, Jingjing Wu, Julianna Yang, Shiyin Zeng, Xinglu Zhu ROLE: 3D Modeling, Rendering

The Cougar Ridge House prominently showcases the breathtaking panoramic vistas of the Santa Ynez Valley. Its design features a layout of separate pavilions linked by a covered outdoor walkway. Spanning across a 20-acre site, the property stands out due to its striking topographical slope that offers unobstructed views towards the south, east, and west. The diverse landscape, particularly the focus on conserving clusters of native oak trees, significantly influenced the architectural approach taken in crafting this single-family home.

The Cougar Ridge House embodies a seamless integration of cross-laminated timber (CLT), intricately weaving the breathtaking natural surroundings into its architectural fabric. This fusion offers an unparalleled experience, where the landscape and structural elements coalesce, fostering a unique and immersive connection to both life and nature. In crafting the picturesque Cougar Ridge House, a deliberate emphasis was placed on accentuating the inherent beauty of the ridge. Through the design of an elegant roof and the strategic use of subdued lighting, the aim was to underscore the graceful harmony between nature and human existence, resulting in a serene ambiance. Notably, the thoughtfully positioned atrium serves as a conduit, blending indoor and outdoor experiences, ensuring a continual interplay between landscape and architecture from every perspective. Materiality plays a pivotal role in this project. By delineating the texture and hues of the wood, it artfully bridges the gap between landscape, architecture, and vistas, creating a subtle yet captivating beauty within the project.

JIUZHEN RESIDENTIAL BUILDING

PROFESSIONAL PROJECT JML ARCHITECTURE 2020-2021 LOCATION: HOULI, TAICHUNG, TAIWAN TEAM: Jhen-Min Luo, Fang-Yi Su, Chia-Yu Chung, Jyun-Siang You, Tsung-Han Lin ROLE: Detail drawings, Design Strategies

Located in Houli, Taichung, Taiwan, the project is located at a triangular site, presenting a unique set of challenges and opportunities. The primary objective was to efficiently utilize this compact space to accommodate 24 units across seven floors. The distinctive triangular shape of the site posed a significant challenge, but it also became a key design element. In response to the oblique angle of the site, the project took a step back to reimagine the layout. The floor plans were carefully crafted, and the ventilation and lighting in each unit were strategically configured to leverage the inherent angles of the site. This thoughtful approach not only addressed the challenges posed by the site's shape but also maximized the overall impact of the project.

Ground floor plan 1/400 North facade 1/400

Entrance detail plan 1/200

Entrance detail facade 1/200

East facade 1/400

7rd - rooftop plan 1/400

Facade detail 1 1/250

Facade detail 2 1/250

Wall section 1/250

Section a

Section b

Section c

Section d

Bathroom section d 1/120

HOULI ANIMAL SHELTER

PROFESSIONAL PROJECT TAICHUNG CONSTRUCTION BUREAU 2018-2020 LOCATION: HOULI, TAICHUNG, TAIWAN TEAM: Guo-Xion Liao, Chuan-Kung Ko, Tsung-Han Lin ARCHITECT: Le-Jing Jiang ROLE: Project Leader (Government Officer), On-Site Supervision, Architecture Drawing Inspection, Bidding

During my tenure at the Taichung Construction Bureau from 2018 to 2020, I was responsible for overseeing the development of infrastructure projects in Taichung City. This encompassed a diverse range of initiatives, including the construction of facilities like animal shelters. In executing these projects, my role extended beyond ensuring their structural functionality to encompass a deeper understanding of the needs of the inhabitants—both human and animal. For instance, when conceptualizing an animal shelter, my approach wasn't solely focused on the architectural aspects but also involved a comprehensive comprehension of animal behavior and requirements. By integrating this knowledge, I aimed to not only create a well-designed public space for citizens but also to establish a nurturing and comfortable environment for the animals in our care. Collaboration was also a vital component of my responsibilities. Working in tandem with other bureaus was crucial to ensure seamless policy implementation, minimizing any potential obstacles that might arise. This collaborative effort was instrumental in successfully executing projects and ensuring their alignment with overarching municipal goals.

The building's unique X-shaped design intertwines two linear volumes, presenting a distinctive architectural challenge. The crux of the construction lies in meticulously orchestrating the advancement of both reinforced concrete and steel construction processes. The primary difficulty is in synchronizing these two materials to ensure the seamless integration of their interfaces within specified timelines and with utmost precision.

1. Atrium at the center of the building 2. Skylight of the Cat House 3. On-site supervision

MURDER IN THE WOOLWORTH

COOPER UNION GRADUATE THESIS PROJECT M. S. ARCH DEC. 2023 PROFESSOR: GUIDO ZULIANI ADVISER: DIANA AGREST

What sets manga apart from architectural drawings is that manga allows the readers to understand not only the spatial information but also the temporal flow in space through the collaboration between the positioning of panels on the page and the narrative enabling us to read time through images. I create a story to interconnect the drawing set of the Woolworth building. When we interweave a narrative within these images, they evolve into a cohesive sequence. When we are reading the drawing set, the original purpose of the architectural drawings as a guide for constructing a building starts to diminish. Incorporating a story into architectural drawings transforms them—they become interconnected, influenced, and occasionally disrupted by characters, dialogues, and actions, creating a fresh, interconnected series of drawings. Additionally, connected by the narrative, time starts to be shown within the order of drawings, moreover, by using different viewpoints on the drawings, the drawing set provides us with an unexpected experience.

the woolworth building

GET OUT!!!

new york

to the tallest building in the world...

i already told you!

we do not accept any kind of visit! I recently received a mysterious invitation...

seems like i have to find another way...

asking me to bring enough food for a month...

that’s it!

what!?

huh... why there is an elevator? the only entrance to there is that window!?

Page 1 - 8 Read from top-right to bottom-left

why she looks exactly like me?

ouch!

i believe you have a lot of questions

i had a lot of questions too when i first came here

i hate this building...

i will give you a tour

let me give you a hand

looks like the time is stop here...

get out of here quickly!

a hand!!??

welcoe to my room

how long have you lived here? come with me!

lock! ah...

Page 9 - 12 Read from top-right to bottom-left

it seems the building itself is a time machine

eh???

past

2 pm 2 pm

as we go down, we will move to the next time zone and restart the circle of the time... it seems like we have reached the end of the time loop

ah? eh???

this way!

and the cycle of time will repeat at the end of the time loop

ah?

future

if we defeat her here, she won't be able to go back in time and duplicate herself

what?

she is here...

Page 13 - 25 Read from top-right to bottom-left

I used a character to enter the Woolworth building to demonstrate how architectural drawings are transformed through manga. Through it, architecture will be closely connected to the character’ s movement, and gradually transformed, repeated, and distorted. Following the story, I added more and more layers of the timeline to generate the temporal feature on the drawing through the characteristics of the manga storyboard - the location on the paper represents the time itself. In the end, it becomes a work that is located between architectural drawing and manga, we can see it as a process of spatial generation, o r t he p ape r itse lf is a n ar t wor k , unlik e architectural drawing as an instruction for construction.

take this bag, it can help you

time to invite our guest

i think this time i can save her (me) by myself

how long have you lived here? lock! ah!

Page 25 - 27 Read from right to left

FROM THE DEEP SEA TO THE MINE PIT

M. S. ARCH 2023 BODY STUDIO COOPER UNION MAY. 2023 PROFESSOR: DIANA AGREST LOCATION: PARACALE, PHILIPPINES

The culture of the Haenyeo serves as the inspiration for this project, which aims to establish a novel way of life and culture within an exceptionally demanding work environment. Leveraging the profound expertise of the Haenyeo in diving, the project seeks to create a harmonious living environment for another group of divers: compressor miners in the Philippines. The project's central idea involves harnessing the familiar bodily motions, spatial awareness, and sensory experiences of compressor miners to facilitate the mastery of diving skills. By doing so, it offers these young miners an alternative path in life through professional diving techniques and marine ecology education. This approach extends beyond the confines of gold mining, providing them with an opportunity to escape the perils associated with compressor mining and to break free from the challenging cycles of their current lives.

Wetsuit

Vest

0 sec

116

2m Weight belt

112

108

104

100

Gloves Fishing net (can be worn while diving)

Fins 10m

Fins

10.5 2

Tewak

120

Fishing net (attatched with tewak)

0 sec 0 m 1 atm

Mask

48 52

68 60

21 4 1.4

Haenyeos dive for fishing and hunting without any diving apparatus. They are skilled divers who can dive to 15 meters depth in 20 minutes. Haenyeos wear only fins, a wetsuit, a mask, an anchor line, and tools including a diving knife, fishing net, and a floating ball (Tewak) for them to rest on the sea surface while working, also, they need to carry even 10 kg harvest (Figure 1, 2). Haenyeos live on both earth and sea. They search their fishery on the surface and duck dive into the bottom of the sea after they lock their prey. They use their legs and arms to maintain balance when they find their prey. Then they use the hook to pry open sea creatures such as abalone, conch, sea urchin, and octopus, and use a harpoon to hunt flounder, they can dive 100 times in a day (Figure 3, 4). When they submerge themselves into the bottom of the ocean, subjecting themselves to great water pressure that compresses their lungs. This compression causes nitrogen to change to a liquid state, causing it to build up in the body posing a health risk as it enters their joints and muscles. Haenyeos are trained from an early age to manage dive time and technique (Figure 5).

5m 1 atm

9m 1.75 atm

7.5 m 10 m

2 atm

10m

0m 1m 2m 3m 4m

At the same time, in Paracale, Philippines. There is a group of children working in illegal gold mining known as Compressor mining. Unlike Haenyeo, they don’ t have any training and experience, but they are facing a more severe environment. Young miners face a more severe environment than Haenyeos. Besides the high pressure underwater, miners are exposed to the fumes and toxic metals of the illegal gold mining industry. This is an extreme environment filled with fumes and toxic heavy metals. Staying in this mine, the miner’ s sight is blocked by fumes, and their lungs are accumulated by the dust, jeopardizing their breathing system (Figure 6).

5m 6m 3 hr

1.5

7m 8m

10m

0 sec

10 m

11m

Collapse happened

11 m

12m 1 1.5

8 sec

3 hr

13m

12 m

14m 15m

13 m

Pump stopped

16 sec

14 m 16m

9hr 7

30 ~ 45 sec to escape

6hr 5

17m

15 m

24 sec

18m 19m 32 sec

20m

As they dig deeper, the chances of the pit collapsing increase. However, when the collapse occurs, it is difficult for them to perceive because their sight is blocked (Figure 7). The friction of their arm and feet creates an experience of a tattered muddy wall (Figure 8). It is a dangerous process that they cannot perceive any danger in the deep closed space. When a collapse occurs, the compressor stops, and they can only escape in 30 ~ 60 seconds, which means that they are buried in this dark, closed, helpless place, a deadly coffin.

Dynamic apnea

0m 0m

Duck dive

10m

6.3

160 ~ 199min

12m

14m

4.2

16m

6.3

18m

6.3

22m

40 ~ 44min

22m

4m 24m

24m 3m 26m 2m

Free immersion

Safety stop

20m

20m 5m

Ascending + Safety stop

10mm double layers translucent rubber

16m

82 ~ 92min

6.3

26m

25 ~ 28min

28m

30m

2.1

32m

3 ~ 19min

32m Safety stop 34m

34m

36m

38m 3m

3 ~ 8min → 9 ~13min

Recreational diving / Sport diving 40m

40m

Technical diving

Technical diving 42m

42m

0 - 10m

1.2

183240 kg (↑) > 107415.48 kg (↓)...ok 44m

44m

46m

48m

50m

Buoyancy: 77003363.3 cm3 x 1 g/cm3 = 77003363.3 g =77003.36 kg (↓) 25343436 cm3 x 1.2 g/cm3 = 30412123.2 g =30412.12 kg (↓) 77003.36 + 30412.12 = 107415.48 kg (↓) _______________________________ Volume of buoyancy device = 152700000 cm3 152700000 cm3 x 1.2 g/cm3 = 183240000 g = 183240 kg (↑)

38m

Recreational diving / Sport diving

6mm double layers air mesh fabric

10 - 20m

48m

50m

20 - 40m Safety stops

10m

1.05

3.15

7.35 m

1.05

3.15

7.35 m

Secret Beach

le B

uas

Boat

Rte

lag

uit

riv

Calag

6m Paracale N

105 m

10m

12m

The sp ace's se nsory im pact t r ans f or m s compressor mining, letting kids learn diving through familiar movements. Different movement levels, from fun to technical diving, create a learning space that uses touch. Horizontal areas act as safety stops, preventing decompression sickness, with diving tunnels adapting to body movements for sensory perception without light. This site sits between Paracale and the Malaguit River in the Philippine Coral Triangle, linking the city and the compressor mine. Kids explore kaleidoscopic tunnels to learn varied diving skills and safety, breaking the mining cycle. The environment shapes compressor mining, enabling young divers to learn skills in familiar actions and tactile senses. The project provides horizontal spaces for safety, inspired by Haenyeos, and adapts tunnels for low-light perception. In the Philippines' Coral Triangle, this project lets children explore underwater depths through pipelines, becoming an immersive classroom. Nestled between Paracale and the Malaguit River, it extends diving knowledge to compressor miners' children, integrating diving into their lives for ecological education and professional diving skills.

14m

16m

18m

20m

22m

24m

26m

28m

30m

32m

34m

36m

38m Recreational diving / Sport diving 40m Technical diving 42m

44m

46m

48m

50m

1.05

3.15

7.35 m

Ké Ké Ké

M. S. ARCH FALL SEMESTER PROJECT COOPER UNION DEC. 2022 PROFESSOR: BENJAMIN ARANDA LOCATION: NEW TOWN CREEK, NY, U.S.A

Ké Ké Ké Park is a unique project that not only nurtures oysters but also evolves the park itself. Through a meticulous arrangement of oyster shells, it maximizes the efficiency of oyster cultivation while concurrently crafting an intricate park environment. At the heart of this innovation lies the gantry system, which customizes the oyster bed's structure to support oyster growth. Post-harvest, the previous oyster shells remain on the ropes, forming the foundation for oyster concrete and serving as a substrate for the next cultivation cycle. Consequently, each new oyster farm follows the pattern established by its predecessors. Over time, these oysters gradually transform into the bedrock of the riverbank, giving rise to a self-sustaining and continually developing park.

Prerequisite a

a1*x=a2 a2*x=a3 ,and x: scaling factor is equal

b1 b1+y=b2 (b1+y)+y=b3

4 3

θc1c2= z*θc1c0 θc1’c2’= z’*θc1’c0’

d4 d3

d1=d1’ b3 d2=d2’ d3=d3’ d4=d4’ ,and d cannot touch d’ ,if: d touch d’, d keep a minimal distance to d’

d4’ d3’ d2’

d1’

c2’ c1’ c1 c0’ c0

b1 d2 d1 a3

a1 a2

Oyster shell is instrumental for concrete formation. As a result, a significant amount of the oyster shell can be formed into different kinds of architectural material. From coarse to fine of it, o s can be used in three types of material: gabion, brick, and concrete. It can be classified into 4 types of growing order: a: Equally scaling the size b: Growing with the same proportion c: Growing by multiplying the angle d: 2 parts growing in the same proportion in diverse directions, meanwhile remaining a minimal distance between these two parts.

Oyster Bed

Pavilion

Landscape

Master plan 1/2000

MOLECULAR HOUSE

TAIWAN RESIDENTIAL ARCHITECTURE COMPETITION MAY. 2018

In today's modern family life, daily activities resemble the intricate bonds of molecules formed by combining various atoms. The family home serves as the containment vessel, isolating the individual elements of the family and then orchestrating their interactions within the confines of its four walls. These living spaces shape a new framework for the family's lifestyle, creating opportunities for meaningful interactions and shared experiences. In contemporary times, the nature of work has evolved, allowing people to fulfill their job responsibilities from almost any location. However, amidst all these changes, one thing remains constant: the way we seek respite and relaxation within the comforting embrace of our homes.

bathroom

bedroom

twin

A 1

+ a =

dining room

parlor

Sy study

Day: Pantry Night: restaurant

Day: Conference Night: Living room

Day: Working Night: Reading

C 6

+ b

kitchen

audio visual room

courtyard

Day: Coﬀee bar Night: Kitchen

Day: Classroom Night: Theater

+ d =

3 a =

Cy 1

+ b

Master plan 1/200 a

single

couple

c single

1. Single room 2. Twin room 3. Family room 4. Bathroom 5. Living room 6. Dining room 7. WC 8. Courtyard 9. AV room 10. Study

+ c =

D E F

family

mutiple

private

semi private

semi public

public

couple

A.Solitary

D.Classroom

B.Dinner party

E.Movie night

C.Dating

business

F.Working & conference +

All of our activities, throughout the day and evening or in private to public spaces, people have set their own rules to classify the usage of spaces based on demands. The boundary between each space becomes blurred but still in balance under careful control. The four thick walls separate spaces from the most private through public ones, providing people areas of resting, showering, cooking, working and leisure activities accordingly. They arrange people’ s daily life under a delicate design.

A GUIDEBOOK FOR THE DUSK CITY

M.ARCH II GRADUATE THESIS PROJECT NATIONAL CHENG KUNG UNIVERSITY DEC. 2017 PROFESSOR: KWANG-TYNG WU ADVISER: HO-LING CHANG LOCATION: TAICHUNG, TAIWAN

"People tend to fear what they don't understand." When encountering unfamiliar places, people often steer clear of them, gradually forgetting about these locations over time. In a city, various modes of transportation, such as buses, subways, and cars, help individuals build their familiarity with the city through routes, stations, and roads. However, as fewer people rely on maps to navigate the city, more and more "blank" spaces emerge in their memories—places they unconsciously avoid. To comprehend the underlying factors contributing to these "blank" spaces, I delved deep into an often-overlooked area in Taichung City—the Cooperation Apartments. I conducted surveys involving three distinct groups in this locality: elementary students, tourists, and sex workers. I aimed to discern the subtle distinctions among these groups and rectify the presence of these "blank" spaces in people's memories.

Lian-Mei Theater 1967

SITE

I-Ning High school 1952

100

By using the code to analyze the site, the interactions can be detected and help us distinguish whether it is stable. The code “1” means a person that can be seen and heard, while “0” means a person isn't aware there are other people, and the “()” means that the atmosphere is friendly. Acknowledgedly, “(1,1)” is two people sensing each other, and the interaction is friendly, “1,0” is unstable, vice versa.

Coorperation Apt. Nowadays

200m

The Cooperation apartment used to be I-NING high school in 1952, LIAN-MEI theater in 1967. However, when the district was depressed in the ‘90s, it changed. Nowadays, the apartment is a jade market on the weekends, and it has become a sanctuary for minorities, vulnerable groups, and of course, sex workers. When sex workers start their business in the apartment, the environment is changed, gradually making people avoid here. Thus their relationship has become precarious. As a result, I deciphered their activities and the vital factor- interactions.

The atmosphere is tense when prostitutes show up with their customers in the building.

Sex workers seek for customers.

1) (1,1)

1,(1

Customers leave the building.

(1,1)

1,0

0 1)

(1 (1,1)

1,0

Students’ path

1,(1

(1,1)0 0 1,(1 (1,1) 1,0 0,(1,1),0 (

(1,0 1,(1 Customers’ path

1) 1,(1,1)

(1,0 (1,0(1,1),(1,1,1)

1) 1,(1,1)

(1,1) (1

) Precarious

(1,1,1,1)

1,1,1 (1,1)

0,(1,1) Students leave the building

1,1,1

(1,1)

1 1,1,1 1

1,(11),1 0,(1

1,(1

(1,1)

status

Tourists’ path

0 1)

0 0,(1,1),0

0-(1)

(1,1)

(1,1)(1) 5

7 Level 1

Level 2

a’

a’’

(1(1,1)

(1,1,1(1,1)

(1,1(1)

Level 3

(1)(1)(1,1)

(1)(1)

b’

(1,1,1)

1,1(1)1,1,1

Level 3

7 For residents and customers

b’’

Level 4 c

(1)-0 Level 1

For students and children

Level 2

(1)

For prostitutes and customers

When sex workers bring their customers into the building, the friendly atmosphere will be interrupted. This is because their customers need to follow speciﬁc steps into the building. For example, they pretend don’ t know their customers in the elevator, before entering the room, customers need to wait outside, then, after their work, customers will be left alone in the building and the prostitute will lock her door. As a result, the customer can easily get into others’ homes or public spaces, interrupting the balance. Therefore, the design arranges diﬀerent interactions to ameliorate the precarious relationship. To be more concise, to guide “1,0” to “(1)”.

5 1. Reading room 2. Book store 3. Toy shop 4. Toy museum 5. Security office 6. Redemption path 7. Library 8. Storage

2nd floor plan 1/800 N

Detail drawing 1/100

Section 1/300

DEDUCTION

BACHELOR THESIS PROJECT FENG CHIA UNIVERSITY MAY. 2023 PROFESSOR: PO-CHI HE LOCATION: TAICHUNG, TAIWAN

Transportation changes the size of a city. With accelerating transportation development, people can travel distantly. As a result, the city is expanding with wider roads, bigger blocks, and higher buildings. By contrast, due to the old district was designed during the Japanese occupation, it has no road for cars and buses, gradually, it is not suitable for commuting. Consequently, the old town became dilapidated. Accordingly, the project is to design a transfer station to adjust the speed between new and old districts. Exploiting the old path that was designed in 1900, the project sets a flexible biking system, keeping the old district in a low-speed living style (walk and biking) and connects it to the new district.

1. Store and rental 2. Memorial garden 3. Bike path 4. Workshop 5. Side walk 6. Assembling room 7. Roof 8. Audio Visual room

+ 1320

8 N

4th floor plan 1/500 DN

+ 420

2nd floor plan 1/500

4 + 20

7 + 900

6 + 900

3rd floor plan 1/500

Step 1

Step 2

Step 3

+ 20

2 + 10 ±0

Ground floor plan 1/500

Low speed (bike path) Medium speed (road) High speed (MRT)

a’

a-a’ Section 1/500 b

b’

b-b’ Section 1/500

c’

c-c’ Section 1/500

THE MAR°CET

BACHELOR SPRING SEMESTER PROJECT FENG CHIA UNIVERSITY MAY. 2014 PROFESSOR: STEPHEN HO LOCATION: TAICHUNG, TAIWAN

Market is an aggregation of diverse vendors. Unfortunately, due to the hot weather, the ingredients easily rot. In order to keep them fresh, vendors need to spend a lot of effort to control temperature. Dealing with this conundrum, the project uses the stack effect by planning vendors in different areas. For examle, meat vendors need to stay in the coldest environment, so they are located in the center of the market, meanwhile, fruit and vegetable vendors do not need such cold temperatures, so they are located at the ambient of the market. Acknowledgedly, by the temperature differences, the market can cool down with the stack effect.

COLD ZONE (4°C~10°C): FISH and MEAT To keep fish and meat fresh, vendors need a cold environment. As a result, they are located in the center of the market where has the lowest temperature in the market. De

lica

tes sen

Fish

olin

g po

DN Fish

an d me at

+ 20

BALMY ZONE (20°C~25°C): FRUIT and VEGETABLE Fruits and vegetables are easier to keep fresh, however, they still need to be preserved at a cold temperature (at least they can not contact the sunlight directly). So, fruit and vegetable vendors are located between delicatessen and meat vendors with the coldest temperature.

an d me at

Fru

it an

d ve

tab

+ 20

透過市場，人與自然得到了連結︒

lica

+ 10

tes sen

±0

HOT ZONE (25°C~30°C): DELICATESSEN The kitchen produces a lot of heat in the market. To make the stack effect work, delicatessens are located at the ambient of the market. So, inside the market, they can create temperature differences compared to other areas (fruit and vegetable, fish and meat). N

Master plan 1/500

Roof: corrugated steel sheet 0.5hr flame-resistant paint

Wall: corrugated steel sheet 1hr flame-resistant paint

Delicatessen

Leveling concrete: 2000PSI PC t=9cm Ground cover: cement mortar

Double roof detail 1/100

Chimney detail 1/100

Roof and wall detail 1/100

35°C~40°C

Roof: corrugated steel sheet 0.5hr flame-resistant paint

Wall: corrugated steel sheet 1hr flame-resistant paint

Cooling pool

Delicatessen

25°C~30°C

Fish and meat

Fruit and vegetable

Ground cover:

cement mortar

Leveling concrete:

2000PSI PC t=9cm

15°C~20°C

20°C~25°C

a-a’ Section 1/200

2014 - 2023