Portfolio - Shie Iouda (2019) by Shie, Iou-da

Portfolio SHIE, IOUDA

SHIE, IOU-DA Taiwan Nationality 26th May 1988 DOB +886 972120623 Phone iouda.shie@gmail.com Email

Education 09/2011 - 06/2013

Tamkang University, New Taipei City, Taiwan Master of Architecture in Architecture/ Overall Grade: 83.63/100%

09/2006- 06/2011

Feng Chia University, Taichung, Taiwan Bachelor of Architecture in Architecture

Perfessional Experience 05/2019 - 07/2019

Designer , Union Professional Group of Architecture, Taipei Participated in the building design of primary school addition work In tandem with the old school building, designed by Kenzo Tange in 1963

10/2014 - 01/2019

Designer & Project manager, EHS Design Group, Taipei Participated in the building design of museums, housing, Office, hotels, and more Competed for more than ten public competitions, and received the awards many times

10/2013- 10/2014

Department Cultural Affairs, Taoyuan Member of the Taoyuan Land Art Festival planning group

02/2012- 06/2012

Teaching Assistance, A+U Transactive Architecture Studio, TKU

Course theme "Intelligent Design for Life and Space" Prepared and organized teaching materials and provide assistance in student work

Additional Experience 09/2013 - 10/2013

Volunteer, 2013 World Association of Chinese Architects Academic Forum

10/2012 - 12/2012

Designer, Universal Design Awards 2012, Taipei City, Taiwan Presidential Academic excellence Award, Foundation of Universal Design Education

11/2011 - 08/2012

Field Sketch & Photographer, Church of the Nazarene Taiwan branch Publication Study and Field Sketch the church of the Nazarene in Taiwan

09/2011 - 10/2011

Member & Assistant, Cross Strait Architecture Academic Exchange Workshop Second Place, Sustainable Prize, International Chinese Architecture Association

Skills Digital

AutoCAD, Rhinoceros, Grasshopper, Sketch Up, Adobe Creative packages, Mircrosoft Office

Analogue

Hand Drafting, Model Making, Sketching

Fabrication

Laser Cutting, 3D printing, CNC

CONTENTS Embrace Space, Perception & Technology

Academic Thesis Porject - Soundscape

Blur - In between the Nature

New Spirit - Otaku House

Universal Design - Give Me 5

Professional Brick House in Taipei

NTUT College of Design Study Building

NTUA Yo-Chang Art Museum

Extras Teaching Assistant - Transactive Intelligence

Parametric Graphic - Rhino+Grasshopper/Processing

Workshop - Cross-Strait Architectural

2 0 1 9

Embrace

SPACE, PERCEPTION AND TECHNOLOGY

Space, Perception and Technology Most people think that the experience of space starts from the visual. In the process of designing, we often regard the visual experience as the direction of design and make the best arrangements in a scene that the moving line passes. For most people, it is the visual leading the process of experience, but other sensory perceptions in life are not without empirical effects, just perception of the environment is relatively less than visual. For example, for visually impaired people, the auditory experience accounts for a larger proportion of their understanding. By recording each node on paths that they follow every day, specific sounds will let them know their relative position on the path. Moreover, we often smell familiarity in different spaces, so this sense of smell will make you familiar with a vague specific spatial image. These are different experiences from vision, but when they are triggered, they tend to be more imaginative than visual experiences. If the visual experience is not sensory in a dominant experience space, by redistributing the proportion of sensory perception, other perceptions of the body are re-discovered and experienced.

In the development of western architectural history, the relationship between humans and space has been continuously redefined. In the Middle Ages and the Renaissance, although architecture was limited by structural technology, it completed the sacred space between humans and God. After the Renaissance, scholars influenced by humanism engaged in mathematics, cartography and cryptography, taking human body scale into the spatial scale. In this information age, the

The school of Athens, 1509, Raphael

The central atrium at the MIT Media Lab

EMBRACE

People interact with computers in the space they live constantly. Behaviour and activities are sensed by devices inserted into space and we can interpret dynamic information on these bodies by computer. We can react and respond to human activity, providing an interactive space, achieving self-feedback and deformation composed by sensing and feedback. The Blur Building at the 2002 World Expo in Switzerland proposed whether high-tech could be used to create a relatively lowprofile exhibition hall. It wanted to challenge traditional exhibition space design, create an atmospheric building with no walls, roof or use and rethink our dependence on vision. Unlike other exhibition spaces, the Blur Building has no form, features, scale or quality and no purpose. It removes all boundary contours, leaving only white landscape and uninterrupted nozzle sound. These fogs and sounds cause visitors to become anxious, depriving them of part of their vision and hearing, instead letting the other senses be magnified because they are insecure and emphasise our dependence on vision.

The Blur Building, confusing sight and sound

SPACE, PERCEPTION AND TECHNOLOGY

body is thoroughly informationised, digitised and calculated to achieve comfort and convenience in everyday life. People are constantly trying to establish a dialogue between people and the environment.

Dune,2007, Daan Roosegraade

The development of interactive technology means that we can adjust the proportion of sensory perception by controlling the change of architectural space. Through the rediscovery of these senses, people can find the existence of the body.

2 0 1 3

SOUNDSCAPE

Soundscape Reconstructing spatial experience of the underpass with sound In the Middle Ages, a circle of church bells was drawn out of a village or city. The expansion of the city was centred on the church and boundaries were drawn by the distance that the bell could convey. Living in the city, we are constantly and unconsciously controlled by sound and the rhythm of life is cut by sound. We use certain sounds to represent certain events or places and to regulate the rhythm of our lives. When these sounds disappear, what will the world be like?

MASTER'S THESIS

SOUNDSCAPE

2 0 1 3

Taipei underpass The establishment of the early underground road symbolizes its special urbanization phenomenon. With the development of the city, the number of people in the city has increased, and the number of cars has become huge. Under the consideration of the road-based thinking of car-based thinking, there have been the emergence of overpasses and underpasses, and the streets have been handed over to steam locomotives.

昏暗的

緩慢的

異味的潮濕的

清楚的

Visaul Entrance

Plan

Normal

Program

RT. breeze

Corner

Linear Path

cool、wet、no wind

Exit

RT. breeze

Normal

Temperature and Humidity

Time

Sec�on Vendor

H Shape

MRT

0800 - 1000

Broad

Cross

Temple

1000 - 1400

Narrow

Angle

Hospital

1400 - 1800

Double Angle

Night Market

1800 - 2200

Other

Traffic

2200 - 0600

Path

SOUNDSCAPE

The underground road has become an "alternative road", but it has become a dead corner of public security in the urban jungle due to long-term neglect of maintenance.

MASTER'S THESIS

Exploring Zhongshan Rd. underpass

Tac�le

Down Stair

Sensory of underpass 250cm

450cm 250cm

Hearing

traffic

traffic、footsteps

footsteps、talking

traffic、footsteps

traffic

Hearing intensity

Visaul Entrance

Tac�le

Down Stair

Normal

RT. breeze

Corner

Linear Path

cool、wet、no wind

Exit

RT. breeze

Temperature and Humidity

Normal

As the Taipei Metro network s preads ac ro s s the c i t y, i t expands people's activities underground, making body perceptions have different experiences. An underground path cuts across people and u r b a n s u b j e c t s. Wa l k i n g underground is isolating as we cannot hear the original sound of the city and feel nothing of the outside world in this space isolated from a noisy city. 6

Time

Sec�on Vendor

0800 - 1000

Broad

Path

2 0 1 3

Kinetic model (represent the underpass space) Type1 A space is created on the wall surface of the underpass through a movable device. The intertwined rods use the natural gravity of the rope to form a natural curve, and the curve is pulled up to form a space. 340cm 340cm

250cm

SOUNDSCAPE

250cm

Type2 Floding&Twist A space is created on the wall surface of the underpass through a movable device. The intertwined rods use the natural gravity of the rope to form a natural curve, and the curve is pulled up to form a space. Folding

Folding

X-form Spans

V-fold Spans

Twist

150cm

150cm 150cm

250cm

150cm

250cm

150cm 50cm

150cm

50cm

Glide

Glide 250cm

250cm

150cm

150cm 150cm

Cylindrical Vs

250cm

150cm

250cm

Cylindrical Vs

250cm

Entering the underpass will inevitably give people a boring and cold surface space. If we change the surface material of the underground, useing the soft and flexible material to transform the space space experience of the underground.

MASTER'S THESIS

Type3 Soft Partition

SOUNDSCAPE

Type4 Sound sensor + Arduino + GH firefly Try to refer to the ECG method, change the heartbeat into a sound, and use the strength of the sound to change the virtual graphic. The signal is received by the sound sensor and the Arduino, and then generated by the Firefly operation of the Grasshopper.

Induction: sound sensor Operation: arduino chip Start: GH Firefly Response: virtual graphics

GH firefly

2 0 1 3

Sound notation

SOUNDSCAPE

逤逤逤~

咻

MASTER'S THESIS

咻咻

咻~

SOUNDSCAPE

2 0 1 3

Soundscape underground 0000-0100

Chanting in the Temple

Sound 1

1000-1100

Playground

Selling in the Early Market

Sound 2

0100-0200 If the multi-faceted sound on the 0200-0300 ground can exchange of senses and continue in the 0300-0400 underground passage , a new 0400-0500 urban sound landscape can be 0500-0600 formed. The sound of the city 0600-0700 MRT affects the use of the space in 0700-0800 the underpass, and the use of 0800-0900 the underpass is also seen in the 0900-1000 city through sensory conversion.

1100-1200

Selling in the Night Market

1200-1300

1400-1500 1500-1600

Warning sound in MRT

Sound 3

SOUNDSCAPE

1300-1400

1600-1700 1700-1800 1800-1900 1900-2000

Raining

2000-2100 2100-2200 2200-2300 2300-2400

icroclimate change Area

night market

playground

market

MRT staďż˝on

340cm

40cm

250cm

100cm

50cm

40cm

100cm 50cm

50cm

1800-1900 1900-2000

Raining

2000-2100 2100-2200 2200-2300 2300-2400

340cm

40cm

MASTER'S THESIS

250cm

100cm 50cm

50cm

40cm

100cm 50cm

50cm

40cm

100cm 80cm

100cm

80cm

Vagrant relay spot

0100-0200 0200-0300

Vagrant relay spot

type A = S0 type A = S0

type B = S2 type B = S2

Vagrant relay spot

Morning market

Vagrant relay spot

Morning market

0200-0300 0300-0400

Scent Scent

type B = S2 type B = S2

Morning market

Hear market Morning

Scent Scent

Hear

SOUNDSCAPE

type A = S0 type A = S0

0000-0100 0000-0100 0100-0200

Hear Hear

0300-0400 0400-0500 0400-0500 0500-0600

MRT

0900-1000 1000-1100 1000-1100 1100-1200

Sound 1 1 Sound

0800-0900 0900-1000

Sound 2 2 Sound

Sound Sound 1 1

0700-0800 0800-0900

type A type A

Playground Playground

MRT

0600-0700 0700-0800

Playground Playground

0500-0600 0600-0700

type A A type

type A type B

type B

typetype A A

type A type B

type B

1100-1200 1200-1300 1200-1300 1300-1400 1300-1400 1400-1500 Sound 3 3 Sound

Sound Sound 3 3

1400-1500 1500-1600 1500-1600 1600-1700 1600-1700 1700-1800

type C = S1+S2 type C = S1+S2

Morning market + Street performances Morning market + Street performances

1700-1800 1800-1900

type C = S1+S2 type C = S1+S2

Morning market +

Street performances Blur Morning market + Street performances Blur

Blur Blur

type D = S3 type D = S3

Night market

type D = S3 Night market type D = S3Hear

Scent Blur Night market Scent Blur

Hear

Scent Scent

Blur Blur

Hear Hear

1800-1900 1900-2000 1900-2000 2000-2100 2000-2100 2100-2200 type E

2100-2200 2200-2300

type E

2200-2300 2300-2400

typetype E E

type E

typetype E E

type E

2300-2400

S3S4

S3 S4

40cm 40cm

40cm

100cm

40cm 40cm

40cm

40cm 40cm

40cm

New Urban Events

under path

2 0 1 3

Time

0200 - 0600

0600 - 1000

soundValue = 0(db)

20(db) < soundValue < 40(db)

The incense of Cixian Temple

surface formation

Light 80% Wind 80%

Light 10% Wind 10%

40(db)

Light 10% Wind 10%

delay 2sec, device move to 30cm

delay 2sec, device back to 0cm

30cm

SOUNDSCAPE

150cm

200cm

180cm

sence transform Vision Scent

Vision Vision Touch

(transparent)

(light)

Vision Sc

active Rest

Path

Fortunetelling

MRT pull in

06:00

Rainning sound

Facial Market Threading Salon

Stretching

Path

Fortun telling

1500 - 0200

) < soundValue < 60(db)

60(db) < soundValue Light 50% Wind 50%

Light 80% Wind 80%

150cm

100cm

Light 80% Wind 80%

SOUNDSCAPE

300cm

cent

neg

MASTER'S THESIS

1000 - 1700

Hear

300cm

Vision Touch Vision

(transparent)

Facial Vendor Path Salon Busker Threading

(light)

200cm

Vision Scent

Fortunetelling

Hear

Snack Market Vendor Busker

Vision Touch

(transparent)

Scent Vision (light)

Path

00:29

with LED

Sound repeat

2 0 1 3 40cm

90cm

40cm

90cm

40cm

90cm

40cm

300cm

30cm

150cm

SOUNDSCAPE

250cm

Air and Light exchanged channal

Considering the quality of the underground space, light and air exchanges channels which connected to the ground. The tunnel hood on the ground reflects space and activities underground by colour changes so that urban sound affects underground space and activities in the tunnel can be fed back to the upper city through these hoods.

MASTER'S THESIS

Manhole cover

Microclimate Exchange Area

night market

Sopporting Structure

SOUNDSCAPE

Soler throttle system

Soft Surface

System and Program Design

SOUNDSCAPE

2 0 1 3

Soler thirttle system

MASTER'S THESIS

#include <Servo.h> //set input & output pin int soundPin = 0; int soundVal; Servo servo; int servoVal; int ledPin = 3; int ledVal = 0; int greenPin = 4; int bluePin = 5; int radPin = 6; int sum = 0; void setup() { Serial.begin(9600); pinMode(soundPin, INPUT); pinMode(ledPin, OUTPUT); pinMode(greenPin, OUTPUT); pinMode(bluePin, OUTPUT); pinMode(radPin, OUTPUT); servo.attach(9); }

t Ven

ter

Sol

ttle thro

r& oto

tem

sys

ing

Slid

ng orti

Gea

ent

pon

Com

SOUNDSCAPE

switch(sum) { case 0: servo.write(10); analogWrite(ledPin, 0); color(random(0,255), random(0,255), random(0,255)); break; case 1: analogWrite(ledPin, 85); smoke(); color(255, 0, 0); break; case 2: servo.write(90); analogWrite(ledPin, 170); color(0, 255, 0); break; case 3: servo.write(179); analogWrite(ledPin, 255); color(0, 0, 255); break; } }

ver

lou

Gut

void color (unsigned char rad, unsigned char green, unsigned char blue) { analogWrite(radPin, rad); analogWrite(bluePin, blue); analogWrite(greenPin, green); } void loop() { soundVal = analogRead(soundPin); ledVal = map(soundVal, 0, 1023, 0, 255); Serial.println(sum); if(soundVal < 300) { sum = 0; } else if(soundVal <= 600) { sum = 1; } else if(soundVal <=900) { sum = 2; } else { sum = 3; }

on lati

ture

c Stru

Sop

urfa

tS Sof

void smoke() { servo.write(45); delay(2000); servo.write(10); delay(2000);

device unit explosion diagram

}

SOUNDSCAPE 2 0 1 3

MASTER'S THESIS SOUNDSCAPE

Vision

Hear

Market Snack

Vision Vision Touch

(transparent)

Salon Vendor Busker

(light)

Scent

Path

Fortunetelling

Scent

BLUR 2 0 1 1

ACADEMIC

Blur Between City and Nature BLUR

More than 111,000 meters of embankments and more than 64,000 meters of revetment along the Danshui River. Every day, in the massive traffic running through the expressway, all we can see is the flood-proof concrete wall. People did not aware that the other side of the wall is the freshwater river that coexists with the city. In the past two decades, due to the continuous expansion of the Taipei metropolitan area, the result of excessive urbanization has seriously affected the water quality of the river and the habitat of animals and plants.

Landscape section 沙洲區

阻絕溝

自行車道

公園草地區

堤外道路

BLUR

2 0 1 1

Estuarine ecosystem

Sandbank Marsh

Marsh

Regional context

Sandbank

Estuarine ecosystem Marsh

[Evacuation routes] Estuarine ecosystem

Sandbank Marsh

Marsh

[MRT BL09] [MRT BL10]

[Evacuation routes]

Main Road

Secondary Road

MRT Bannan Line

Pedestrian

Bicycle Lane

Traffic network

Sandbank

Estuarine ecosystem Marsh

Landscape

Bird habitat

ACADEMIC

Status analysis Situation

Sandbank 44.8%

Lawn 37.6% Hard paving 17.2% Water pool 0.4%

Activities

Sports 45.2%

Enjoy nature 29.6% Bird watching 18.4% Others 6.8%

Frequency One year 6.8%

The embankment blocked the riverside, the viaduct obscured the sky, and the broken nature could only be enjoyed in the gap between the bridge and the embankment.

Half a year 19.9% A month 16.0% Two weeks 13.1%

One week 23.8% Every day 8.7%

1963 River levee builded

1996 Wild duck park

2010

20??

1860 Dadaoteng Wharf opened

BLUR

Above one year 11.7%

2 0 1 1

Blur and Fade

BLUR

Mix-up the natural slices with urban, then urban and natural landscapes appear on undefined moving line segments.

Exploring space through a blurred vision makes urbanites to re-discover environment of natural and urban.

ACADEMIC

Indefinite space

Indirect ligiht

roof Frabmentary vision

Indirect light Unclear vision

sec Unclear vision Indirect light

plan

BLUR

scene of natural

scene of people

scene of urban

Acrossing the river bank to the nature, the path shuttles between the blurred and clear space, and discovers nature and urban at different heights . 26

2 0 1 1

7 8

BLUR

1. Poblic place 2. Wild Duck Specimen Exhibit Area 3. Wild Duck Gife Shop 4. Museum Office 5. Shower area 6. Revirside Cafe' 7. Bicycle repair station 8. Bicycle lane

ACADEMIC

BLUR

Master plan

le yc Bic

nte r W Ec ild d olo uc gic k al ce

rel ay sta tio

for pla t ing atc h dw

1. Library hall 2. Multimidia Area 3. Biologist studio 4. Toilet 5. Chilfren's reading area 6. Outdoor reading area 7. Special exhibition area 8. Multimedia exhibition area 9. Permanent exhibition area 10. Wetland ecological exhibition 11. Media room 12. Bird watching platform

First floor plan

Bir

BLUR

2 0 1 1

ar k

un ity

nte r

lib ra

ry(

lib ra sta ck )

pla tfo

un ity

Ur ba

s-d e

en t

an km

Em b

gh wa y

BLUR

ACADEMIC

Second floor plan 13. Expressway 14. Reading room 15. Stack 16. Natural platform

2 0 1 1

BLUR

The riverbank cuts off the city and nature, but on the contrary, it protects the natural outside from man-made damage. After the boundary is broken, in order to save the environment, the relationship must be redefined.

ACADEMIC

BLUR

OTAKU HOUSE 2 0 1 2

ACADEMIC

New Spirit Otaku House OTAKU HOUSE

In Japan, some young people who are obsessed with computers or aspects of popular culture to the detriment of their social skills are known as â&#x20AC;&#x2DC;Otakuâ&#x20AC;&#x2122;. In the Japanese drama "Man who can't get married", the architect, Shinsuke Kuwano who was played by Abe Hiroshi, is a hundred per cent Otaku. The story is about a bachelor architect who is not good at communicating with people and living a rigid life. He is addicted to his hobbies, like cooking, so the kitchen at home is his favorite space. If there is nothing to go out, he will stay at home as much as possible.If Otaku life is only in the indoor spaces, then the first floor is open for use by outside residents.

New0 Spirit 1 2

New spirit in the public and private spheres

OTAKU HOUSE

Before - The courtyards of ordinary houses are all in front of or behind the houses, all of which are personal personal horizontal, and they built the walls to protect their own fields, which also reduces the personal public external interaction with outside. public public New - The new house will make the courtyard a three-dimensional development, raising the building, the ground floor is open to the outside community, and the courtyard has more chances to interact with the outside. before - 確保建蔽率剩下的基地面積日照時數 new - 所有基地之日照夏至時期基地需有50%的日照面積personal 冬至時期需有80%以上的日照面積 personal

personal

public

New Spirit

Before - Make sure there is enough sunshine hours for the remaining base area before - 確保建蔽率剩下的基地面積日照時數 New Sunshine of all夏至時期基地需有50%的日照面積 bases, 50% sunshine area is required during the summer solstice period new- - 所有基地之日照 more than 80%冬至時期需有80%以上的日照面積 of the sunshine area is required during the winter solstice period

FLOOR

Elevate the building and open ground floor

The original base reduced external interaction due to the fence

FLOOR

公私領域的新精神 before - 一般住宅的庭院都是在住宅的錢或後方，都是水平向的，且為了保護自己的領域都築上了圍牆，也減少了對外的互動關係。 new spirit - 新住宅將庭院做三向度的發展，抬高了建築物，地面層開放給外部社區，住宅的中庭多了與外面互動的機會。

ACADEMIC

Sketch Section

Sun Wind

Wind

290cm

Wind

Sun

250cm

Sun

250cm

Courtyard for publicRaising the building, the ground floor is open to the outside community.

OTAKU HOUSE

280cm

Courtyard for otakuThe central courtyard directs light and air into the room, and retains most privacy.

Sun Position 2 0 1 2

Sun Position 0700

1000

1400

1700

Mar.22

Apr.22 May.22

OTAKU HOUSE

Jun.22

Jul.22

Sun Position

Aug.22 0800

Oct.22

Nov.22 Dec.22

Jan.22

Feb.22

1000

1400

1600

Aug Aug

Jul Jul Jun Jun

Sep Sep Oct Oct Nov Nov Dec Dec

10:00 10:00 sun sun position position 1300 1300

1200 1200

1100 1100

1400 1400

Using the sun angle to chamfer the building and make sure there is enough sunshine in the open space on the ground floor. The daily insolation period in Taiwan is from April to October, so the sun angles in April and October are taken as the angle of cut angle. The sun most overheats from ten am to two pm in the 利用太陽角度對建築物做削角，以確保地面層開放空間有足夠的利用太陽角度對建築物做削角，以確保地面層開放空間有足夠的 day, so the sun angle of 10:00 and 14:00 is chosen as 日照面積。日照面積。台灣地區日射過量期為四月至十月，所以選擇四月與十月的太陽 the cut angle reference during the summer solstice 台灣地區日射過量期為四月至十月，所以選擇四月與十月的太陽角度作為切角角度基準；而一天中十點到下午兩點的太陽最為過角度作為切角角度基準；而一天中十點到下午兩點的太陽最為過 period, while the sun in the winter solstice period is not 熱，所以在夏至時期選擇10:00與14:00的太陽角度作為切角基準，熱，所以在夏至時期選擇10:00與14:00的太陽角度作為切角基準， excessive而冬至時期的太陽不會過量，不需要做遮陽。 and does not need to be shaded. 而冬至時期的太陽不會過量，不需要做遮陽。

1200 1200

1000 1000

0700 0700

1700 1700

1000 1000 0900 0900

1500 1500

0800 0800

1600 1600

Apr.22 Apr.22 sun sun position position

Apr.22 1400

Oct.22 1400

Apr.22 1700 Oct.22 1600

OTAKU HOUSE

0800 0800

1600 1600

1100 1100

1300 1300 1400 1400

0900 0900

1500 1500

ACADEMIC

Sun Position Sun Sun Position Position Selection Selection

Oct.22 sun sun position position Oct.22

Apr.22 1000 Apr.22 1000 Oct.22 1000

Oct.22 0800

2 0 1 2

Insolation Analysis Sunlight Hours Analysis Location :Insolation 25.0, 121.3 Sunlight Hours Date : 22nd Oct Location : 25.0 , 121.3 Date : 22nd Oct Time : 08:00-16:00 Time : 08:00 -16:00 Value Range : 0.00-5.00Hrs Value Range : 0.00-5.00Hrs

40%

60%

80%

OTAKU HOUSE

30%

Sunlight Hours Analysis Location :Insolation 25.0, 121.3 Sunlight Hours Date : 22nd Apr Location : 25.0 , 121.3 Date : 22nd Apr Time : 07:00-17:00 Time : 07:00 -17:00 Value Range : 0.00-5.00Hrs Value Range : 0.00-5.00Hrs

40%

50%

60%

30%

Oct.22 0800-1600

Apr.22 0700-1700

Time : 10:00

Sun Position : 111.0 , 60.2Insolation Insolation Analysis Insolation Analysis Analysis Total Radiation Total Radiation Total Radiation Location : 25.0 , 121.3 Location :Location 25.0 , 121.3 : 25.0 , 121.3

ACADEMIC

Date : 22nd Apr Date : 22ndDate Apr: 22nd Apr Time : 10:00 Time : 10:00 Time : 10:00 Insolation Analysis Sun Position : 111.0 Sun, Position 60.2 Sun: Position 111.0 , 60.2 : 111.0 , 60.2

Total Radiation Location : 25.0, 121.3 Date : 22nd Apr Time : 10:00 Sun Position : 111.0, 60.2

Insolation Analysis

建築物室內溫度升高主要熱源來自太陽的輻射熱，佔總建築物室內溫度升高主要熱源來自太陽的輻射熱，建築物室內溫度升高主要熱源來自太陽熱量高達93%，輻射熱被屋頂及牆面吸收再發射進屋內，熱量高達93%，輻射熱被屋頂及牆面吸收再發射進熱量高達93%，輻射熱被屋頂及牆面吸收而使室內溫度上昇。東向牆面上因太陽日射的關係，輻而使室內溫度上昇。東向牆面上因太陽日射的關係而使室內溫度上昇。東向牆面上因太陽射熱值平均達1920Wh左右。利用折角來阻擋部分日射射熱值平均達1920Wh左右。利用折角來阻擋部分日射熱值平均達1920Wh左右。利用折角來光，以降低牆面輻射熱，做折角後輻射熱值平均為1560wh。光，以降低牆面輻射熱，做折角後輻射熱值平均為光，以降低牆面輻射熱，做折角後輻射有明顯的降低，並再輻射熱值較低的部分做為開窗位置，以有明顯的降低，並再輻射熱值較低的部分做為開窗有明顯的降低，並再輻射熱值較低的部確保室內舒適度。確保室內舒適度。確保室內舒適度。

Total Radiation Location : 25.0 , 121.3 Date : 22nd Apr

value range : 1800 - 2400 wh value range : 1800 value - 2400 range wh: 1800 - 2400 wh

value range : 720 - 2400 wh value range : 720 value - 2400 range wh : 720 - 2400 wh

Time : 17:00 Insolation Analysis Insolation Insolation Analysis Analysis Location : 25.0 , 121.3 Location : Location 25.0 , 121.3 : 25.0 , 121.3 Date : 22nd Apr

Date : 22ndDate Apr : 22nd Apr

Time : 17:00

Time : 17:00 Time : 17:00

value range : 1800 - 2400 wh

Sun Position : -84.2Sun , 17.0 Position Sun: -84.2 Position , 17.0 : -84.2 , 17.0

value range : 720 - 2400 wh

OTAKU HOUSE

Sun Position : -84.2 , 17.0 Total Radiation Total Radiation Total Radiation

Total Radiation Location : 25.0, 121.3 Date : 22nd Apr Time : 17:00 Sun Position : -84.2, 17.0

南面因位有很好的景觀，但在欣賞美好的夕陽時，會南面因位有很好的景觀，但在欣賞美好的夕陽時南面因位有很好的景觀，但在欣賞美好有較強的日射，利用折角來阻擋部分日射光，以減少有較強的日射，利用折角來阻擋部分日射光，以有較強的日射，利用折角來阻擋部分日日射光，且讓牆面退縮來降低熱輻射，做折角後輻射日射光，且讓牆面退縮來降低熱輻射，做折角後日射光，且讓牆面退縮來降低熱輻射，熱值平均為980wh。並再輻射熱值較低的部分做為開熱值平均為980wh。並再輻射熱值較低的部分做為熱值平均為980wh。並再輻射熱值較低窗位置，以確保室內舒適度。窗位置，以確保室內舒適度。窗位置，以確保室內舒適度。

2 0 1 2

朝鮮草 12cm壤土礫石層 7.5cm 水泥粉光防水層

01 02 03 04 05

+280

Entrance01 Entrance Terrace 02 Terrace Dark room 03 Dark room Collection 04room Collection room Courtyard 05 Courtyard

+280

Level +430 Level +430

1:3 水泥砂漿

06 07 08 09 10

OTAKU HOUSE

1:3 水泥砂漿

Kichen 06 Kichen dinning room 07 dinning room Courtyard 08bridge Courtyard bridge Sunset Balcony 09 Sunset Balcony Living room 10 Living room

06 08

08 +530

+530

07 09

Level +680 Level +680

A B 11 12 13 14 15

A B11

+690

Comic Gallery 11 Comic Gallery Comic Studio 12 Comic Studio Bedroom13 Bedroom Bathroom 14 Bathroom Roof Garden 15 Roof Garden

+690

12 +780

防水層 10cm PC

12 +780

13 14

Level +930 Level +930

15cm排卵石

A-A B-B’Section

06 08 +530

+530

07 09

Level +680 Level +680

+75

17 +50

+25

A B

A B 11

+690

Comic Gallery 11 Comic Gallery Comic Studio 12 Comic Studio Bedroom 13 Bedroom Bathroom 14 Bathroom Roof Garden 15 Roof Garden

+690

12 +780

13 14

OTAKU HOUSE

11 12 13 14 15

Kichen 06 Kichen dinning07 room dinning room Courtyard 08 bridge Courtyard bridge Sunset Balcony 09 Sunset Balcony Living room 10 Living room

ACADEMIC

06 07 08 09 10

16 Community square 17 Water pool 18 Vegetable garden

Level +930 Level +930

Level +150

290cm

250cm

280cm

A-Aâ&#x20AC;&#x2122;Section

2 0 1 2

Give Me 5

GIVE ME 5

Universal Design Using the principle of â&#x20AC;&#x2DC;Universal Designâ&#x20AC;&#x2122;, we proposed proposals for behavioural actions of vehicles, roads, and people. I n r ecent yea rs, the number of bus accidents in Taipei has exceeded 1,000 per year and this has risen by more than ten per cent. In addition to the fact that the bus drivers do not maintain a safe distance, the design of lanes is also a big problem. The bus stop outside Kunming Station of the Taipei Metro is only sixty metres long, but there are twenty-five buses on different routes using it. This seriously affects nearby traffic and on average the number of people involved in bus crashes is getting higher every year in Taipei.

ACADEMIC GIVE ME 5

Award Winner

2012

Universal Design

Traffic problem in Taipei City Bus usage rate in Taipei is second only to the metro, but the system has not been completely planned, so accidents are endless. Most occur when the bus driver fails to see a potential passenger in time, causing vehicles behind to be unable to dodge it. Passengers waiting for the bus stand on the road for fear that the driver does not see them. When the bus comes, it cannot get close to the stop. The vehicle behind needs to overtake the bus, which is very dangerous.

400

!!!

2048

1128

+13%

928

1189

1342

1532

1589

1546

1517 1157

1147

1320 1013

1094

600

1795

OMG!!

603

564

800

842

766

1000

961

1200

1126

1254

1400

1478

1600

450

(eventcount)

GIVE ME 5

2 0 1 2

2006

2007

2008

2009

number of traffic accident

2005

2004

2003

2002

2001

200

2010

2011

2012.8

death toll

(years)

number of injured

HERE!!

公車專用

!!!

ACADEMIC

GiveME 5 system

Take the Bus Take the Bus

Go to the bus stop Go to the bus stop

Searching for the bus Searching for the bus

Waving for the bus Waving for the bus

Get on the Bus Get on the Bus

However, the current status of the bus station is only designed for the average person, but the information provided to the visually impaired is rare.

Take the Bus Take the Bus GM5 system manual

Which Which bus bus sign sign III should should Which bus sign should serching serching for? for? serching for?

Is my bus coming ? Is my bus coming ?

That was My Bus... That was My Bus...

2. Sensing the floor pad 2. 2. Sensing Sensing the the floor floor pad pad

3. Using the APP 3. 3. Using Using the the APP APP

5. Calling the bus 5. 5. Calling Calling the the bus bus

透過地上鋪面的改變告知 Remind the visually impaired 透過地上鋪面的改變告知透過地上鋪面的改變告知視障者公車站位置與範圍。 waiting position by changing 視障者公車站位置與範圍。視障者公車站位置與範圍。 the bus stop paving.

當持有GiveME 5 App的手 When a phone installed 當持有GiveME 當持有GiveME 5 5 App的手 App的手機靠近時，系統與站牌連 GM5 app, the system will 機靠近時，系統與站牌連機靠近時，系統與站牌連線。 connect to the stop sign. 線。線。

4. Hearing the approching 4. Hearing 4. sound Hearing the the approching approching sound sound

當連結到App時，站牌提 The bus stop will send a 當連結到App時，站牌提當連結到App時，站牌提供聲音資訊告知站牌路線 voice to inform the bus 供聲音資訊告知站牌路線供聲音資訊告知站牌路線號碼。 route information. 號碼。號碼。

找到要搭的公車後，按下 Once you find the bus you 找到要搭的公車後，按下找到要搭的公車後，按下呼叫紐啟動GiveMe5。 w a n t to t a k e, p re s s t h e 呼叫紐啟動GiveMe5。呼叫紐啟動GiveMe5。

6. Turning GiveME 5's Hand 6. 6. Turning Turning GiveME GiveME 5's 5's Hand Hand

7. Seen by the bus driver 7. Seen Seen by by the the bus bus driver driver 7.

8. Stopping at the spot 8. 8. Stopping Stopping at at the the spot spot

9. Give me five by GiveME 5 9. 9. Give Give me me five five by by GiveME GiveME 5 5

10. Returning the Hand 10. 10. Returning Returning the the Hand Hand

The station sign turns out 按下按鈕後，站牌轉出小按下按鈕後，站牌轉出小按下按鈕後，站牌轉出小手垂直道路，代替乘客舉 the small hand vertical road, 手垂直道路，代替乘客舉手垂直道路，代替乘客舉手招車。of the passengers instead 手招車。手招車。 raising their hands.

The bus driver can see the 公車駕駛可提早看到站牌公車駕駛可提早看到站牌公車駕駛可提早看到站牌舉起的手，提早靠站。 hand raised by the bus stop 舉起的手，提早靠站。舉起的手，提早靠站。 early and stand early.

The bus must be parked in 公車必須停到正確位置，公車必須停到正確位置，公車必須停到正確位置，讓乘客不必追著公車跑。 the correct position so that 讓乘客不必追著公車跑。讓乘客不必追著公車跑。

When the bus leaves the 公車離站與站牌擊掌，代公車離站與站牌擊掌，代公車離站與站牌擊掌，代表將乘客正確的送上車， station, clapping with the 表將乘客正確的送上車，表將乘客正確的送上車，完成此次任務。 station sign, indicating that 完成此次任務。完成此次任務。

At this time, the hand on the 公車離站時車上小手與站公車離站時車上小手與站公車離站時車上小手與站牌小手相擊掌，將小手推 bus push the station sign 牌小手相擊掌，將小手推牌小手相擊掌，將小手推回原來位置。 back to the original position. 回原來位置。回原來位置。

1. Catching a bus 1. 1. Catching Catching a a bus bus

passengers do not have to chase the bus.

GIVE ME 5

Where Where is is the the bus bus stop stop ?? ? Where is the bus stop

the mission was completed.

button to start GiveMe5.

2 0 1 2

b b

GiveME 5 system i Clapping hand i

c c

Beckoner

d d

A’ A

h h

a a

GIVE ME 5

e e

aa b

j j

c c

A’

d A A

a b c j d j e f

A’

防水蓋(塑料) Waterproof cover (plastic) Clapping hand (rubber) h 擊掌手(橡膠) h 擊掌手(橡膠) b 防水蓋(塑料)

e i f 分距外殼(金屬) 分距外殼(金屬) External (metal)j 分距快殼-公車用(金屬) External j 分距快殼-公車用(金屬) d cover e cover for bus (metal) f 招牌共聽桿(金屬) 招牌共聽桿(金屬) Internal (metal) e track 公車資訊牌(金屬、塑料) Information board (metal/plastic) f 公車資訊牌(金屬、塑料) 內部軌道(金屬) 內部軌道(金屬) Internal (metal) i c track

a 招呼手(橡膠、金屬) g 固定底盤固定底盤招呼手(橡膠、金屬) g 擊掌手(橡 a 防水蓋(塑料) h b 擊掌手(橡防水蓋(塑料) c 內部軌道(金屬) hi 卡榫軸(金 b 卡榫軸(金內部軌道(金屬) c 分距外殼(金屬) d ij 分距快殼固定底盤( 固定底盤招呼手(橡膠、金屬) g g aa de招呼手(橡膠、金屬) 招牌共聽桿(金屬) 分距外殼(金屬) j 分距快殼擊掌手(橡擊掌手(橡防水蓋(塑料) h h bb ef防水蓋(塑料) 公車資訊牌(金屬、塑料) 招牌共聽桿(金屬) 卡榫軸(金內部軌道(金屬) cc f內部軌道(金屬) 公車資訊牌(金屬、塑料)i i 卡榫軸(金

固定底盤(金屬) 招呼手(橡膠、金屬) 招呼手(橡膠、金屬) Beckoner (metal/rubber) 固定底盤(金屬) Pedestal (metal)

AA A’A’

g g

c A’

f f

c c

A’

Four and fixed A’ A smooth metal balls are evenly distributed in the track to reduce friction.

A’A’

A’

卡榫軸(金屬) 卡榫軸(金屬) Cartridge shaft (metal)

招呼手(橡膠、金屬)

b a c b d c e d

防水蓋(塑料) 招呼手(橡膠、金屬) 內部軌道(金屬) 防水蓋(塑料) 分距外殼(金屬) 內部軌道(金屬) 招牌共聽桿(金屬) 分距外殼(金屬)

分距外殼(金屬) jj dd 分距外殼(金屬) 招牌共聽桿(金屬) ee 招牌共聽桿(金屬) 公車資訊牌(金屬、塑料) f fc公車資訊牌(金屬、塑料)

The c device is triggered by button to activate the spring member in the track, and the external greeting hand will be able to smoothly turn the g 固定底盤(金屬) line of sight facing the bus. 擊掌手(橡膠)

g h hi ij

固定底盤(金屬)

分距快殼-公車用(金屬)

卡榫軸(金屬) 擊掌手(橡膠) 分距快殼-公車用(金屬) 卡榫軸(金屬)

分距快殼分距快殼

ACADEMIC

GIVE ME 5

2 0 1 7

Brick House

BRICK HOUSE

Senses, Memories, and Surface Red brick was one of the most widely used building materials in early Taiwan and is very common in old houses. The reason is that it is easy to obtain, cheap, and easy to construct, also because the red-bricks are porous and can adjust the characteristics of the indoor environment, they are loved by the damp island residents. As an important memory of Taiwanese, even if the building is mostly built of reinforced concrete, the tiles on the outer wall will be affixed with red bricks, but the feeling of being close to human beings may be lost. It may be a touch, maybe odor.

PROFESSIONAL

BRICK HOUSE

2 0 1 7

Floor Plan

BRICK HOUSE

7. 6.

1. Elevator Hall 2. Guest room 3. Roof Garden 4. Training center 5. VVIP area 6. Dinner area 7. Restroom

PROFESSIONAL

Intermediary Area

The case is in a narrow lane and the owner attaches great importance to privacy and noise, but also does not want to be completely isolated from the outside world. On the outer skin of the building, the fair-faced brick wall and structure are separated to form an intermediary space. This area is defined between nature and the living area. This space provides an exchange of sunlight and air and preserves the concealment with solid walls.

BRICK HOUSE

Intermediary

Plain brick wall

BRICK HOUSE

2 0 1 7

The biggest difference between fair-faced and traditional red brick is the surface of the brick. The first has a smooth surface and the building material can be directly displayed regardless of whether the surface is finished or not. It also has good heat insulation and sound insulation effects. Fair-faced brick is a practical and beautiful material when it is used as building facade. It will not cause discolouration or fading after long-term use and it can be kept in an optimal state for a long time.

** Complete water-repellent surface before construction

PROFESSIONAL

Brick wall muckup

BRICK HOUSE

BEYOND THE BOUNDARY 2 0 1 5

PROFESSIONAL

Beyond the boundary

Interaction and communication between interdisciplinary studies and the department have become the focus of space design. Students and staff discuss together and learn from each other to become part of integrated science. In the organisation of space and function, indoor or semi-outdoor space is placed in a vertical and horizontal staggered path, with empty space or learning corners to create the greatest opportunities and activities for people to meet each other.

BEYOND THE BOUNDARY

Second Place Prize, NTUT, College of Design Study Building

BEYOND THE BOUNDARY

2 0 1 5

Ventilation Natural ventilation of building physics, using natural ventilation in public spaces and corridors to reduce dependence on airconditioning equipment.

Sunlight North-south of the building is designed to comply with natural lighting, reduce the use of lighting equipment, and use sun visors and hedges to reduce the direct light in the south.

PROFESSIONAL BEYOND THE BOUNDARY 58

1. Eco-Rainfall garden 2. Ecological surface 3. Rainwater Collection 4. Solar penal

2 0 1 5

BEYOND THE BOUNDARY

Horizontal Connection The activities of connecting students withnbridges form the horizontal connection of various departments, create intersections, and enhance the exchange space to mutual learning.

Vertical distinction Two buildings have their own internal space, and common use space is concentrated in the northw corner of the campus and the student entrance exit part of the dormitory area.

PROFESSIONAL

d the west and

BEYOND THE BOUNDARY

2 0 1 8

YO-CHANG ART MESEUM

Yo-Chang Art Museum Second Place Prize, NTUA, College of Design Study Building The essence of museum design is the process of accumulating and documenting human mental activity, while architecture is an environmental asset. To preserve historical memories of the old museum, the design advocates retaining the main body of the existing building. Entrance to the exhibition area is accessed by the original museum and the metaphor welcomes the future through history. New and old spaces are juxtaposed, with the intention of opening the imagination of the space.

PROFESSIONAL

YO-CHANG ART MESEUM

2 0 1 8

Function analysis Retain the use of the original museum and meet the maximum use of the exhibition space. The above ground uses steel trusses as the main structural form.

Special Exhibition Special Exhibition Special Gallery Exhibition I I Gallery Gallery IIII Office

Office Office

Date Office Date DateOffice Office Meeting Meeting Room MeetingRoom Room

YO-CHANG ART MESEUM

Collection Collection Storeroom CollectionStoreroom Storeroom

Bouble Wall Bouble BoubleWall Wall

Steel sturssesSteel Steelstursses stursses

Art CollectionArt ArtCollection Collection

Special Exhibition Special Special Gallery Exhibition Exhibition I V Gallery Gallery IIVV

Special Exhibition Special Gallery Exhibition I I I Gallery Gallery IIIIII Special Exhibition

Lecture Hall Lecture LectureHall Hall Coffee & Shop Coffee&&Shop Shop Coffee

Service line Service Serviceline line

Artist-curatorArtist-curator Artist-curator office office office

Special Exhibition Special Gallery Exhibition I Gallery II Special Exhibition Gallery School History School RoomHistory HistoryRoom Room School Workshop

Workshop Workshop

Move-in Move-in route Move-inroute route Customers Lift Customers CustomersLift Lift

Function and Circulation

Visiting routeVisiting Visiting route route

Function and Struct

PROFESSIONAL

CH03 規劃設計方案

3-1 建築計畫

郭旭原建築師事務所 Hsuyuan Kuo Architect & Associates

YO-CHANG ART MESEUM

A 三樓室內透視圖

ture

國立臺灣藝術大學有章藝術博物館新建工程案

CH03 規劃設計方案

3-1 建築計畫

二樓室內透視圖

YO-CHANG ART MESEUM 2 0 1 8

PROFESSIONAL

YO-CHANG ART MESEUM

Public Artwork

2 0 1 2

Transactive Intelligen Course theme "Intelligent Design for Life and Space"

Teaching Assistent : Iou-da, Shie

TEACHING ASSISTENT

Through the recommendation of my supervisor, I worked as an assistant for an interactive course. Before the course began, we worked with Prof Lai to study the course direction and edit the teaching material, also arranged for industry companies to visit. During the course, in addition to assisting the professor in teaching, we also provide assistance in the practice of the students. Inspire the students' imagination of interactive design through discussion.

Distinctive features: 1. Establish the basis for the integration of smart living and space design. 2. Exploring the relevant theory and case application of digital design. 3. The relationship between abstract space design and its computing mechanism. 4. Integration of basic program writing and smart space.

• Arduino programming • Concept discussion • Lecture

EXTRAS

智慧生活與空間設計之理論實作智慧生活與空間設計之理論實作

實習教材實習教材 Physical And Virtual Coexistence Dynamic Temperature Difference Interactive Cups Sound Landscape Bionic Skin

Transactive Intelligence - Intelligent Design for Life and Space

Mathematics Of Architecture Interactive Architecture Kinetic Architecture Physical Computing Ubiquitous Computing

Transactive Intelligence - Intelligent Design for Life and Space

上課教材上課教材

Transactive Intelligence - Intelligent Design for Life and Space

智慧生活與空間設計之理論實作智慧生活與空間設計之理論實作

Arduino Processing Grasshopper

• Final proposal presentation • Students' works

TEACHING ASSISTENT

• Teaching material publication • Off-campus visit - XXtralab

2 0 1 2

Arduino Practice Sound sensor + Arduino + GH firefly Testing Video

ARDUINO PRACTICE

Try to refer to the ECG method, change the heartbeat into a sound, and use the strength of the sound to change the virtual graphic. The signal is received by the sound sensor and the Arduino, and then generated by the Firefly operation of the Grasshopper.

Induction: sound sensor Operation: arduino chip Start: GH Firefly Response: virtual graphics

Pattern repeat

int buttonState; int lastButtonState = LOW;

Testing Video

EXTRAS

const int button Pin = 2; const int ledPin = 13;

long lastDebounceTime=0; long debounceDelay = 50; int hold = 0; int beeps = 0; int start = 0; long startTime=0; long duration=3000; long delayArray[200]; void setup() { pinMode(button Pin, INPUT); pinMode(ledPin, OUTPUT); } void loop() { int reading = digitalRead(button Pin); if (reading != lastButtonState) { last DebounceTime= millis(); }

Materisl with Analog button

Material with Sound

else{ int i = 0; long lastTime= delayArray[0; long now, next, span; digitalWrite(ledPin, HIGH); delay(150); digitalWrite(ledPin, LOW); for(i=1;i<=beeps; ++i){ next = delayArray[i]; now = millist); span= now + (next-lastTime); while( (span-now) >0){ now = millis(); } digitalWrite(ledPin, HIGH); delay(150); digitalWrite(ledPin, LOW); lastTime=next; } start = 0; beeps = 0; } else{ beeps = 0; if[buttonState==HIGH]{ start=1; startTime=millis(); delayArray[0]=startTime; reading=LOW; hold=1; } }

// save the reading. Next time through the loop, // it'll be the lastButtonState: lastButtonState = reading }

ARDUINO PRACTICE

The number and delay of sounds received by the sound sensor, and repeated output through the LED.

if(millis() - lastDebounceTime)>debounce Delay){ buttonState=reading; if(reading=LOW){ hold = 0; } if(hold==0){ if(start == 1){ long time = millis(); if (time-startTime) < duration){ if (buttonState==HIGH){ beep++; delayArray[beeps] = time; reading = LOW; hold = 1;

2 0 1 2

Rhino + Grasshopper Digital timber design

PARAMETRIC GRAPHIC

More Detial :

Parametric Graphic Digital Brick design

Bench

Baptism pool

Paveillion

Prayer room

Bus Station

The Sequential Wall

Bell tower

EXTRAS

Processing size(200, 200); background(255); smooth(); for (int i = 0; i <= 200; i += 10) { line(0,i,200-i,0); } size(200, 200); background(255); smooth(); for (int i = 0; i <= 200; i += 10) { line(0,i,200-i,0); line(0+i,200,200,200-i); }

int n = 300; void setup(){ size(200,200); noFill(); smooth(); frameRate(5); } void draw(){ float x = random(n); ellipse(random(n),random(n),x,x); fill(random(64,255),random(64,255),ran dom(64,255) ,random(255)); noStroke();

void setup() { size(200,200); smooth(); noStroke(); rectMode(CENTER); ellipseMode(CENTER); } void draw() { one_rect(); four_circles(); } void one_rect() { for (int i = 20; i < 200; i += 40) { for (int j = 20; j < 200; j += 40) { if (((i + j) % 80) == 0) {fill(0);} else {fill(255);} rect (i, j, 40, 40); }}} void four_circles() { for (int i = 20; i < 200; i += 40) { for (int j = 20; j < 200; j += 40) { for (int k = 0; k < 20; k += 5) { if (((i + j) % 80) == 0) {if ((k % 10) == 0) {fill(255);} else {fill(0);} } else {if ((k % 10) == 0) {fill(0);} else {fill(255);} } ellipse (i, j, 40-2*k, 40-2*k); } } } }

//strokeWeight(random(1,6)); //stroke(random(64,255),random(64,25 5),random(64,255)); }

for(int i=20;i<200;i+=40) { for(int j=20;j<200;j+=40){ if(((i+j)%80)==0){fill(0);}else{fill(255);} rect(i,j,40,40); if(((i+j)%80)==0){fill(255);}else{fill(0);} ellipse(i,j,30,30); } }

PARAMETRIC GRAPHIC

size(200, 200); background(255); smooth(); for (int i = 0; i <= 200; i += 10) { line(0,i,200-i,0); line(200,-10+i,i,0); line(0,-10+i,i,200); line(0+i,200,200,200-i); }

size(200,200); background(255); rectMode(CENTER); ellipseMode(CENTER); smooth();

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Wood construction and Digital fabrication XianLin Campus Construction Festival, Nanjing University, 2012 Wood construction Practice

WORKSHOP

The first Xianlin Construction Festival was held at the Xianlin Campus of Nanjing University. Visitors travelled from Taiwan's Tamkang University, the Chinese University of Hong Kong, Nanjing University, Southeast University and other architecture institutions. Before departing for Nanjing, on behalf of Tamkang University we proposed several digital wood construction schemes. Together with other delegates, we selected three works and went to Nanjing University to complete work with other students.

Cross-Strait Architecture Workshop, 2011

EXTRAS

Future City Future Life Knowledge - Oriented Design More than a hundred architecture students from Taiwan, Hong Kong and China gathered to share their opinions about various urban issues in mutual understanding and forming a friendship. With the theme of ‘Future City, Future Life’, a waterfront city will transform the existing urban form and provide a new experience of urban life. The future of urban planning is about the imagination of the “future city”. The existing urban planning operation mode has been unable to respond to the future city's re-adjustment of new life functions.

WORKSHOP 74