Winsing AIT Residential Towers by Moore Ruble Yudell Architects & Planners

WINSING AIT RESIDENTIAL TOWERS

TABLE 6

FULFILLING A DREAM

JENNY YEH President, Win Sing Development Co., Ltd.

OF 8

A NEW SYMBOL FOR THE INNER LAKE

HUNG-TSUNG KO Director and Design Principal, LKP Architecture, Taipei

DEFINING THE EDGE PHILIP JODIDIO

DESIGN PROCESS

MEMORIES AND REFLECTIONS

YING-CHAO KUO Principal Architect, Bio-architecture Formosana

TAIPEI BEAUTY: READY FOR A CLOSE-UP JOHN RUBLE Partner, Moore Ruble Yudell

CONTENTS INTERVIEWS

MOORE RUBLE YUDELL JENNY YEH

101

THE CHALLENGE OF HIGHDENSITY RESIDENTIAL DESIGN JAMES MARY O’CONNOR Principal, Moore Ruble Yudell

107

CREDITS

108

ACKNOWLEDGMENTS

110

BIOS

FULFILLING The Chinese writer Lin Yutang once said: “When we are in the best architecture, we don’t know where nature stops and where art starts.” This statement indicates that a well-designed building needs to interrelate with the environment and become a natural work of art. Taipei, Taiwan holds a critical position on the map of Asia, which has led America to build their new representative office in Taiwan—the American Institute in Taiwan (AIT)—to higher standards beyond those in many other countries. Our project, the Winsing AIT Residential Towers, is very lucky to be situated on the 2000-ping (71,150-square-foot) site directly opposite this new U.S. diplomatic mission. Looking back on the initial stages of this project, we spent a lot of energy and time researching and thinking about what kind of style or position our building should have since it will face the AIT. Who can best assist us to design and build an extraordinary residential project that the whole world will have its eye on? After thorough consideration, we came to believe that only the same architect who has been engaged to design the new AIT building can fulfill the role of integrating the AIT and the new Winsing AIT Residential Towers harmoniously. This was the firm of Moore Ruble Yudell Architects & Planners (MRY) based in Santa Monica, California, USA. MRY proved to be definitely the best choice for us. We worked with MRY through more than 1,000 days of design and discussion, as well as countless documents, concepts, drawings and international meetings. The MRY architects were inspired by the hills surrounding Taipei City and the resulting design allowed Winsing AIT to break the traditional esthetic mode of Taiwan’s skyscrapers. The structure and massing of the project create a rich up-and-down, beforeand-behind character, like mountains, clouds and water. Each apartment provides a different

A DREAM FIRST NAME YEH

the symbol of our dreams as well as our most landscape character and views. FilledDevelopment with a President, Winsing Company important and significant project during the last natural and artistic spirit, Winsing AIT shows 10 years. In terms of its emotional impact, it’s like a new vision for Taiwan’s high-end buildings and we have created a landmark to reward this area, announces new heights for Taiwan’s construcNeihu—where my father and I grew up. Throughtion dreams. out the design and construction process, we have held on to our original intention and The Winsing AIT project is a creative symphony composed together by the American and Taiwan- idealism, and we have finally made it. Winsing AIT is indeed an architectural project crossing ese teams. We have been honored to work with time and geographical boundaries. the world-class American firm, Moore Ruble Yudell, with principal-in-charge James Mary I like architecture, as I have inherited my family’s O’Connor and MRY’s design team. Win Sing is love for it. Appreciating the arts is indispensable grateful to director Hung-Tsung Ko of LKP Archifor my profession and for our company culture. tecture and Ya Ting Chang’s architect team, as I often ask myself certain questions regarding well as to Mr. Ren Gong Yao of Chroma33 for the pursuit of architectural esthetics or the ideals assisting with the lighting design which lights followed in running the company: “In Taiwan, up the lovely profile of Winsing AIT. We want also what should we build? What kind of value can to thank President Henry Lu of Horizon & AtmoI and Win Sing create for society?” Being in the sphere Landscape Co. for creating the natural architecture field, I believe that our ultimate landscape design in the courtyards and gardens. responsibility is to reduce the distance between And many thanks to Mr. Chuan Yong Guan, dreams and realities. If Taiwan’s skyline can be Ms. De Ru Hu and President Uno Lai of Unolai a little more distinctive because of Winsing AIT, Lighting Design for bringing their lovely taste to then we have succeeded in creating some beauthe interior public spaces. The esthetic sensibilities and professionalism of all these teams, along tiful ripples on this dream-fulfilling trip. with Kajima Corporation, Japan, and the thorJenny Yeh ough work of its Taiwan branch, have allowed President of Win Sing Development Co., Ltd. Winsing AIT to be perfect in every detail inside and outside. Win Sing was founded in Taiwan 37 years ago. When Taiwan was involved in completing the “Ten Major Construction Projects,” my grandfather, who was an educator and school principal at that time, thought that our people should live in nice houses and thus inspired my father to found the company in 1977. My father, Chairman Ming Jing Yeh has led the company through a period of steady growth. Now I have taken over and I wish to bring more creative energy to the company. In terms of our sense of responsibility and achievements, we have erected numerous buildings in Taiwan that attract international attention. Winsing AIT stands out because it is

A NEW SYMBOL FOR THE INNER LAKE HUNG-TSUNG KO

Director and Design Principal, LKP Architecture, Taipei

Taipei City’s eastern district of Neihu (meaning “Inner Lake”) was first named as the small town of “Neihu Zhuang” in a document during the Qing Emperor Qianlong’s 13th Year of Rule (1748). The area’s hilly topography has created a small basin called “The Inner Lake” by locals—and hence the name “Neihu” was born. In the early years of Taipei’s recorded history, the Neihu area served as the region’s main supplier of building materials because of its abundant, high-quality stone resources. During the Japanese colonial period (1895–1945), the presence of excellent local soil near the Keelung River resulted in a convenient waterway for transporting construction materials, and gradually led to the growth of the Taipei brick and tile industries. Subsequently, the Taipei City government established the Neihu Light Industrial District in 1976 and the collaboration with Taiwan Hi-Tech Promotion Center in 2002—which then evolved into today’s Neihu Technology Park. With the extension of the MRT (Taipei Metro’s mass rapid transit system) to Neihu in the 1990s and early 2000s, the district has emerged as a prestigious central area with a dynamic mix of uses, including tourism, leisure, residential, and a high-tech industrial park. The Winsing AIT Residential Towers project is situated in a prime location of the Neihu District, fronting the site of the American Institute in Taiwan (AIT). Although much of the surrounding neighborhoods have been built up and urbanized over the years, the original hill and basin landscape has remained lush and natural. The topography for both of these adjacent sites are characterized by the terrace formation and hilly slopes unique to the local environment. Therefore, we have based the architectural design concept of the Winsing AIT project on creating a sequence of “platforms” to respond to the sloping levels of the natural environment. In addition, under the leadership of Win Sing and with the goal of achieving an overall architectural consistency, an invitation was sent to the prestigious architectural firm, Moore Ruble Yudell in the United States, to join the design group and bring innovative ideas to this building project. Acknowledging the complex terrain and site conditions, the project is configured into two towers of different heights (16 and 26 floors) to respond to the uneven ground levels of the existing topography. During construction, working with the Taiwan branch of the highly regarded Japanese Kajima Corporation, our construction management team was able to link the district’s strong historical roots of the building materials to the architecture of the building, while maintaining a harmonious balance between development and the ecological landscape. The project took nine years to complete, from design to building construction. Throughout the process, the Developer’s inspiring goal has always been the key for our team to achieve superior results. The hard work, commitment and participation of all the various professional and technical staff, construction engineers and manufacturers, have also been critical to the success of the project. Whenever I am involved on a project, when construction is complete I always ask myself: did I fulfill my responsibility? Will the residents living in the building be satisfied? Has the architecture made a positive contribution to the environment? For the Win Sing AIT project, there is no doubt that the answer for these questions is “Absolutely.”

With a population of about 2.6 million, Taipei aspires to be considered a “global city.” This ambition has been expressed in a few buildings, such as TAIPEI 101, the tallest building in the world between 2004 and 2010.1 Founded in northern Taiwan in the early 18th century, and beginning as a center of trade in the 19th century, Taipei became the provincial capital of the island in 1886. Initial urban planning for the city was carried out under Japanese rule (1895–1945). In 1884 Tokyo had only just formulated its first urban improvement plan “which was

DEFINING THE EDGE PHILIP JODIDIO

aimed at building a capital befitting a modern nation, like London or Paris.”2 For the Japanese, who came to control the island after the First Sino-Japanese War (1894–1895), Taipei became “an ideal place for (urban) experimentation.” The Qing Dynasty fortress of Taipei (built 1879–1884) was the site for the construction of the new office of the Japanese Governor-General of Taiwan, while the Japanese also erected the National Taiwan Museum (1908), and the old wing of the National Taiwan University Hospital (1898), all in hybrid “classic” styles. In 1904 a boulevard replaced the wall of the old fortress. Period guidebooks refer to the boulevard and its surroundings as a “little Paris in the Orient.”3 BEAUTY IGNORED

Subsequent to the arrival of Chiang Kai-shek in 1949, however, Taipei came to be viewed as a transitory capital for those awaiting return to the mainland. In 1967 Taipei became a centrally administrated municipality and was given the status of a province, acknowledging its growing importance. It was only in the 1970s, however, that a number of ministerial buildings were erected; prior to that “investing in new public structures would have been considered defeatism.”4 With a population of approximately 240,000 persons in the mid-1940s, the city saw waves of refugees from China and consistent migration of rural populations toward the capital. The brisk growth that resulted was “so intense that considerations of beauty and design

were most often ignored.”5 Although efforts were made by local architects to create a “new Chinese style” with projects such as the Sun Yat-sen Memorial Hall (Wang Da-hong, 1972), along with some isolated projects of quality, as witnessed in I.M. Pei’s Luce Memorial Chapel (Taichung, 1963), it can safely be said that Taiwan has not, until recent years, been a center for contemporary architecture of international stature. An evaluation published by the American Chamber of Commerce recalls that even TAIPEI 101 “has won few plaudits for the magnificence of its design, and the harshest critics dismiss it as a giant metal-and-glass Christmas tree... Further, beyond that single iconic building, Taipei has been unable to compete with the glorious skylines gracing many of the other leading cities of the Asia-Pacific (region).”6 Since the 1960s Taipei has continually expanded, increasing four times in size, notably through the absorption of surrounding towns. Critics have pointed out that the city government has long focused on the development of new districts rather than the conservation of older historic areas, surely one source of the city’s reputation as being “ugly.” One of the towns thus absorbed to the southeast, just after the change of status of the capital, was Neihu, which became a district of Taipei in 1968. Located at the edge of scenic and green areas, construction in Neihu was prohibited until 1974, but as of 1978, rapid development was the rule, with the area’s population increasing by a factor of five between 1974 and 2006. Despite the aggressive expansion of Taipei, Neihu still borders substantial green areas, including the Bailu Shan hill, and Dahu Park, known for its 13-hectare lake and traditional Chinese-style Jindai Bridge. Indeed, the appeal of Neihu has been related closely to the proximity of natural areas and the consequent relief that it provides as opposed to the urban center. The continued development of the area has been assured by the new Taipei Metro Brown Line (Wenshan-Neihu or Wenhu Line), which has metro stops at Neihu and at Dahu Park.

Aerial view, Winsing AIT Residential Towers site, Taipei City

ACROSS THE JIN HU ROAD

The California firm Moore Ruble Yudell (MRY) has recently completed an upscale residential complex called Winsing AIT Residential Towers in Neihu, overlooking Dahu Park. Set on an approximately triangular 6,400-square-meter lot, the building, developed by Win Sing, is on the tree-lined Jin Hu Road opposite the site of another MRY project, the future American Institute in Taiwan (AIT). The AIT is a non-profit, private corporation established shortly after the United States government shifted

its diplomatic recognition from Taipei to Beijing in 1979. For all intents and purposes the AIT serves as a US embassy or consulate in Taiwan, but without full diplomatic accreditation. The AIT project in Dahu Park has no direct relation other than the identity of the architects to the residential project built across Jin Hu Road by MRY. James Mary O’Connor of MRY explains that the proximity of the projects does however have some bearing on the name of the residential complex. “Win Sing,” he says, “has taken the name AIT for sales and marketing purposes only. The AIT will be a very well-known building and could likely become the focus of a lively ‘AIT cultural district’ in the future.” 7 TO MAKE A PLACE Explaining their own approach to Winsing AIT, the architects state, “Instead of a typical design approach providing two large residential blocks on the tight site, we have shaped the two towers as a sculptural, organic ensemble connected to the city and landscape, with varying heights and vibrant articulation. The two towers gradually step up along the boulevard, offering a richly articulated elevation to pedestrians and motorists. The stepped massing of the upper floors relates strongly to the scale of the city and the surrounding hills, reinforcing an interesting silhouette and dynamic sense of movement.” The articulated nature of the façades is clearly echoed in floor plans of the towers that present numerous angles, with an overall scheme that looks like a complex composition of squares and rectangles. In both plan and elevation, Winsing AIT develops a lively play of basic geometric forms, in particular, regular quadrilaterals. By projecting the glass volumes slightly forward from the stone façades and varying window widths and rhythms in a predictable but dynamic pattern, the architects give a musical cadence to the whole that refuses simple repetition or uniformity. The net result of the massing of the buildings and the alternation of glass and stone is, as the architects state, the creation of “a humanistic scale and distinctive sense of identity, while accommodating the structural and view requirements of the units.” The idea of a human approach to contemporary architecture is clearly inscribed in the origins of Moore Ruble Yudell. Charles Moore (1925–1993), winner of the AIA Gold Medal in 1991 and one of the most influential architects of his generation, was the founder of MRY in 1977 with John Ruble and Buzz Yudell. “To make a place,” said Charles Moore, “is to make a domain that helps people know where they are, and by extension, know who they are.”8 The American Institute of Architects describes the work of MRY, winner of the AIA 2006 Firm Architecture Award, in terms that precisely evoke their humanistic approach: “Interpreting the role of architecture as a contributor to the more complex entity of place, and the role of design itself as intrinsic to the act of habitation, they have persisted in asserting the value of the human dimension at every scale, from single-family houses to community-based, mixed-use projects in a diversity of settings. While respecting the roots of place and context and the needs of human habitation, Moore Ruble Yudell strives equally for authenticity and originality. When honored by the American Institute of Architects with the 2006 Architecture Firm Award, Moore Ruble Yudell was cited for having ‘consistently produced an outstanding body of work rooted in a deep commitment to humanistic architecture.’”9

Piazza d’Italia, New Orleans, Louisiana, USA

RESOLVING THE POST-MODERN CONUNDRUM In stylistic terms, the Winsing AIT complex can be thought of as resolving issues raised more than 30 years ago by Charles Moore and other proponents of what Charles Jencks called Post-Modernism. With the Piazza d’Italia (New Orleans, 1978), Moore, working in this instance with the local firm Perez Architects, created a public fountain in the shape of Italy surrounded by colonnades, a campanile and a mock Roman temple. With its colorful citations of architectural history, the Piazza d’Italia

was actually closer to being a kind of urban stage setting than it was a complete work of architecture. Moore and others, like Michael Graves, Robert A.M. Stern or Philip Johnson, resolved to bring history back into contemporary architecture, but at the time they did so in an essentially skin-deep way. How to integrate new buildings into an existing urban environment while acknowledging history in more than a superficial way? The Columbia University Professor Kenneth Frampton has recently returned in the magazine Domus to comment on his influential 1983 essay “Six Points for an Architecture of Resistance.” Itself influenced by the work of Alex Tzonis and Liane Lefaivre (“The Grid and the Pathway”, 1981), Frampton’s piece laid out the case for what has been called “Critical Regionalism,” an approach that seeks to mediate between the global and the local expressions of architecture—at once rejecting the lack of identity that was part and parcel of the fallout from Modernism and the flourishes of ornamentation so close to the heart of Jencks. 30 years on, Frampton writes, “… the bulk of contemporary practice is global rather than local, with star architects travelling incessantly all over the world in pursuit of the equally dynamic flow of capital. Herein we witness the vox populi’s susceptibility to the mediagenic impact of spectacular form which is as much due to the capacity of ‘superstar architects’ to come up with sensational, novel images as to their organizational competence and technical ability.” Frampton goes on to plead for what he calls “agonostic” architecture. “By the term ‘agonistic,’” he says, “I wish to evoke the idea of an architecture which continues to place emphasis on the particular brief and on the specific nature of the topography and climate in which it is situated, while still giving high priority to the expressivity and the physical attributes of the material out of which the work is made.”10 Despite building from Santa Monica to Neihu, MRY stands apart from the star architects referred to by Ken Frampton. They continue “to place emphasis on the particular brief and on the specific nature of the topography and climate” in which their work is situated, as Winsing AIT demonstrates. FROM AMERICA TO CHINA Although the fact that MRY has worked on two buildings in such close proximity is more a matter of coincidence than it is part of a willful process, the AIT project is of interest because of what it clearly expresses about the approach of the architects. The American Institute in Taipei consists of several buildings in a “topographically challenging site” where access and security issues are significant. The new Chancery Building and support facilities exceed a gross floor area of 20,000 square meters. The architects state, “The design extends beyond master planning, to details such as interior expressions; the concepts of passage; privacy and procession in Taiwanese culture are explored and echo throughout the building. These ideas combined with feng shui practices play an integral part of the interior design development. The AIT is a complex building with a strong presence that is carefully integrated into the landscape of Taiwan.” The ability of the firm to provide convincing solutions to issues of significance for the United States (practicality, security) at the same time as they integrate their project into a specifically Taiwanese context surely goes a long way to explaining why Win Sing called on them. The design of the AIT project began in 2004, and it was actually under construction before Winsing AIT, but has not yet been completed in part because of State Department phasing requirements. MRY, which has an office in Shanghai, is also working on a number of significant projects in the region, such as the Chun Sen Bi An Master Plan & Housing Project (Chongqing, China); the Shanghai Technology University campus; the Yasumoto International Academic Park and Wu Ho Man Yuen Building at the Chinese University of Hong Kong; and the One Oasis Resort Development in Macau.

Yasumoto International Academic Park and Wu Ho Man Yuen Building, Chinese University of Hong Kong (2013) Top: Shanghai Technology University campus, China; Bottom: the university’s Main Library, under construction

ROCKS IN A GARDEN Tower B of Winsing AIT, which is closest to the corner of Jin Hu Road, is linked to Tower A, further up the boulevard, via a large glazed entrance canopy. The design, along with the incline of the site, offer the architects the opportunity to create a sunken garden behind this canopy. Although quite large, with 26 levels above grade and six below, the steel-structure towers do not give a sense of dwarfing their environment, in part because the design relies on an alternation of prefabricated concrete panels and glazed surfaces and balconies. The windows are placed to offer residents broad views of the lake and forest areas beyond, to the south and east. The complex contains 134 condominium units ranging in floor area from 128 to 180 square meters. Despite its reference to human scale, the 48,000-square-meter complex is intended to project a “muscular” appearance with a stone base clad in locally procured granite that responds to the “tough” character of the city, and, in this location, the strong presence of nature. The use of stone on the lower part of the buildings also serves to symbolically and physically anchor the towers to this particular site. James Mary O’Connor, the MRY Principal in charge of this project, states, “The building has a sculptural quality evoking the image of ‘rocks in a garden,’ particularly with the expressive tops and roofscape. We see the concept of the AIT towers like a series of sculptural rocks as a backdrop in a Chinese garden.”11 Photographs of the Winsing AIT complex taken from Dahu Park with the Jindai Bridge in the foreground attest not only to the efficacy of this interpretation but also give a concrete sense of the relationship of the new buildings to the site, which is at the cusp of Taipei’s natural and urban environments, and to the culture into which they are integrated. The tops of the towers have large glass bays and serve as “illuminated lanterns in the evening,” further underlining the complex. Seen from the park at an elevated angle, Winsing AIT also integrates its presence into the urban site where towers of various heights form a dense backdrop. Aerial photos taken before the construction work show that the site of the Winsing AIT complex was occupied only by a number of low buildings and shacks previously. The change in the neighborhood is telling—land facing the park has suddenly become a dramatic

architectural landmark. Significantly, the design succeeds in standing apart at the same time as it plays its role in the composition of an emerging skyline, and this is not only because the buildings are somewhat higher than their neighbors. The architects point out that this project forms a “new urban gateway,” rising up from the edge of Neihu and thus of the Taipei metropolis. Given the fact that the buildings are opposite a large and much-appreciated park, this singular status of the Winsing AIT project is likely to remain intact for the foreseeable future—that is to say that the green space it overlooks is not likely to be a victim of urban sprawl. NEITHER TO IMITATE NOR TO IGNORE The environment of the building was designed with a sequence of plazas, gardens and fountains. MRY prepared the high-level, conceptual design and approach to the landscaped spaces located in good part to the rear of the complex that presents its main façades directly above the Jin Hu Road. A local landscape architect, Horizon & Atmosphere Landscape Co. (President Henry Lu) did the detailed design and construction. Although local regulations now require the creation of gardens and open spaces around large projects like this one, it seems apparent that the client and MRY wanted to give an ample luxuriant aspect to this part of the design. Basins and cascades mark the entry plaza and the lower lobby garden. Light from the upper plaza, which also has gardens and fountains, descends to the lobby, swimming pool, and parking area. The connection of indoor and outdoor spaces through the use of light and landscaping is one of the prominent features of the public areas of the buildings. The design of the gardens and water features follows the same pattern of assembled geometric forms—mainly rectangles— seen in the plans and elevations of the buildings themselves. James Mary O’Connor states, “One of our inspirations was the concept of Winsing AIT Residential Towers with Jindai “Moon” Chinese landscaping in which the outside extends to the inside.”12 The Bridge, Dahu Park, in foreground, Taipei City undeniable link to Chinese tradition seen in the gardens is nonetheless elaborated upon in the context of a “modern” or rectilinear vocabulary. This link, like those between urban and natural influences, or Chinese and Western ones, is the underlying force behind the project. The architecture and design neither attempt to “imitate” Chinese tradition nor to ignore it. Modernity, as other architects such as I.M. Pei have demonstrated, need not be considered antithetical with a sublimated conception of heritage and regional rootedness. MRY also prepared the conceptual design and approach to the major public spaces (connection to outdoors, natural lighting, etc) and a local interior designer, Chuan-Yong Guan, then carried out the detailed design of the interior spaces, decoration, and construction. CONNECTING TAIWAN TO THE WORLD The influence of MRY and the luxurious aspect of the main public interior spaces immediately render concrete the “high end” label of the entire project, already clearly announced by the solidity of the buildings themselves and the notable presence of exterior gardens, and water features. The designer Chuan-Yong Guan, who worked on the public interior spaces, such as the main hall, says that in the case of Winsing AIT, the “architecture itself gives us the impression that it is a piece of very generous and fine contemporary sculpture. The space of the main hall presents design and offers extra spaces for residents to appreciate the beauty of works of art.” Works by a number of local artists with international backgrounds, such as Jae-Hyo Lee, Shida Kuo, Ren-Bin Chen, and Bo-Rui Lin, have been placed in the entrance lobby and nearby areas of the Winsing AIT Residential Towers. Furnishings such the Egg Chair (Arne Jacobsen, 1958) or the N°418 Tri Boi Chandelier by David

Weeks, have also been selected for these areas, indicating careful attention to the quality and design of the interior spaces.

Luxurious main lobby hall

Win Sing (meaning “Heart of Scholars”) was founded in 1977 by Jing Huo Yeh, a school principal, and has become one of the largest local real estate developers. They received a Construction Excellence Award (FIABCI-Taiwan Real Estate Excellence Awards, 2013) for the Wing Sing AIT complex and they appear to be convinced of the virtues of calling on well-known architects. In their own description of the project, the firm calls Winsing AIT, “A signature architecture that connects Taiwan to the world.”13 Their current development in Xin Yi (Taipei) is a 22-story residential project designed by Robert A.M. Stern, due for completion in 2015. Win Sing and others are taking advantage of a very strong property market in Taiwan, and in particular in Taipei. Property sales rose as much as 20% on a year-to-year basis in 2013, and prices followed suit with an 11.5% rise in 2013 in Taipei.14 A domestic luxury tax plan was put into effect in 2011 to curb property speculation in Taiwan. BRINGING ARCHITECTURE TO LIFE The trend toward an improvement in the architectural situation is also visible in large public facilities elsewhere in Taiwan where cities such as Taichung and Kaohsiung have called on other world-class international architects. The Amsterdam firm UNStudio completed the Star Place shopping complex in Kaohsiung (2006–08), while Richard Rogers designed the Ching Fu Group Headquarters and R8 Station, both in Kaohshiung (2007). The Pritzker Prize–winner Toyo Ito designed both the Main Stadium for the World Games 2009, also in Kaohsiung, and is presently completing the Taichung Metropolitan Opera House (2015). Other international architects such as Bjarke Ingels (BIG) and Fumihiko Maki (redevelopment of the Taipei Main Station area) have taken an active interest in projects in the country. Taiwan is nonetheless clearly not yet as actively involved in contemporary architecture as its large neighbor to the west, nor does it have as many significant architects emerged as the very active economy might suggest. The presence of architects like Moore Ruble Yudell, Toyo Ito or UNStudio is surely an indication of things to come. Lin-Mei Chun sums up this situation as follows, “Despite its aspirations to be an international city, Taipei has not been able to boast of much world-class architecture—glorious buildings that breathe spirit and pride into a metropolis. Even TAIPEI 101 has gained more attention for its height than its design. Now as a result of architectural awards focusing public awareness on exceptional design, as well as a movement within the profession to reform architectural education and qualification procedures, hope is stirring that new construction may give the city a much different look in the years ahead.”15 BACK TO THE FUTURE Charles Moore, Dean of the Yale School of Architecture from 1965 to 1970, was something of a star, but not the sort that Kenneth Frampton criticizes today. Over the years, MRY has built a substantial reputation without resorting to the kind of personalization in behavior and form that characterizes so many of the profession’s current global elite. In Neihu, the Winsing AIT building clearly calls on concepts that are related to Chinese culture and even more precisely to its location at the edge

between the green world and the metropolis. The weightiness of its stone contrasts with soaring blocks of glass emerging from its façades; gardens create links not only between inside and outside, but also between the built and the natural. A high priority is indeed given to what Frampton defines as “expressivity and the physical attributes of the material out of which the work is made.” The expressivity of MRY is certainly restrained, allowing Winsing AIT to also mediate between the dull high-rise environment of Taipei and the green promise of Bailu Shan. The point is not to create a singularity (one that could have been built anywhere) but to firmly root this building in this place. In almost every sense this work is at the edge, not the proverbial cutting edge, but at the limit between history and modernity, between the tough city and privileged views toward the green horizon. Where Charles Moore sought to break the taboos that had separated history from Modernism, MRY today integrates culture (and thus history) in a subtle, profound way with a building that is far more solid than any stage set. This link between the origins of MRY and Winsing AIT is more than a fanciful one. It is the very reason for which this project succeeds in what must be considered a daunting challenge: defining the edge.

508 meters, architect C.Y. Lee Tsuyoshi Kigawa, Kyung W. Seo, Masao Furuyama, “The Significance of Modern Japanese City Planning: a morphological examination of the land readjustment projects in Korea, Taiwan and Japan,” Proceedings, 6th International Space Syntax Symposium, İstanbul, 2007. http://www.spacesyntaxistanbul.itu.edu. tr/papers%5Clongpapers%5C031%20 -%20Kigawa%20Seo%20Furuyama.pdf accessed on February 28, 2014. 3 Lin Mei-Chun, “Upgrading Taipei’s Architecture,” The American Chamber of Commerce in Taipei, http://www. amcham.com.tw/content /view/1050/ accessed on February 27, 2014. 4 Ibid. 5 Ibid. 6 Ibid. 7 James Mary O’Connor, email to the author, February 27, 2014. 8 http://articles.latimes.com/1993-12-18/ news /mn-3006_1_charles-moore accessed March 3, 2014. 1

http://www.aia.org/practicing/AIAPodnet /pod_mry01 accessed on March 2, 2014. 10 Kenneth Frampton, “Towards an Agonistic Architecture,” originally published in Domus 972, September 2013 http://www. domusweb.it/en/op-ed/2013/10/03/_ towards_an_agonistic_architecture.html accessed on February 15, 2014. 11 James Mary O’Connor, email to the author, February 27, 2014. 12 James Mary O’Connor, email to the author, February 27, 2014. 13 http://www.win-sing.com.tw/eng/ hope_01_a1e.html accessed on March 2, 2014. 14 Year to Q2 2013, http://www.globalpropertyguide.com/Asia/Taiwan/ Price-History, accessed on March 3, 2014. 15 Lin Mei-Chun, “Upgrading Taipei’s Architecture,” The American Chamber of Commerce in Taipei, http://www. amcham.com.tw/content /view/1050/ accessed on February 27, 2014. 9

Aerial view facing west, Taipei City

DESIGN PROCESS Early on during the design process in 2005, Design Architect Moore Ruble Yudell prepared various study options to determine the optimal massing of the building volumes, and the configuration of the project elements on the site. A major goal was to form an iconic landmark for the Neihu District across from the future American Institute in Taiwan (AIT) site, and to evoke a prestigious image of urban lifestyle and vitality to viewers.

STEPPED TOWERS

From the start of the design process, it was decided that the overall approach would be based on a configuration of two residential towers, engaged with a sequence of public amenities and gardens at the base. In all of the massing studies, the towers are highest at the southeast corner to anchor this important location overlooking Dahu Park, and are stepped down to be lower toward the north part of the site. The undulating massing of the upper floors relate to the scale of the city and surrounding mountains, while allowing daylight and breezes to pass through, and providing a varied, interesting silhouette from the distance. The lobby and public spaces are accommodated within the â&#x20AC;&#x153;plinthâ&#x20AC;? at street level, with the drop-off area located in a central position along Jin Hu Road. The different options were reviewed, considered and evaluated by Win Sing with the architect, before the final scheme was selected.

T-SHAPED CLUSTERS

The building is configured as two groups of orthogonal, T-shaped bar clusters that lend a formal, imposing character to the project. The tower façades are animated by a dynamic sense of layered surfaces—a “weaving” character of projected and recessed elements. The incorporation of “in-and-out” elements such as bays, openings and terraced gardens enhance a distinctive rhythm of solids and voids, light and shadow, that serve to enrich and modulate the large scale of the towers.

OPPOSITE CURVES

The building massing is configured as two contrasting, opposing curves that create an engaging sense of tension between the two towers—as well as between the site and surroundings. The towers are shaped to capture the energy that flows through the site from the surrounding verdant hills and park. The rich volumes are weaved and interlock at different heights, enhancing the sculptural expression and the shifting configuration of dynamic movement.

ROTATED TOWERS

The two towers are expressed as two clusters of building elements that are rotated in different directions, lending a constantly shifting and appealing quality to the experiences of seeing and walking through the project. This option strongly evokes an urban connection by emphasizing the vitality of city life, with its contemporary, vibrant image of syncopated volumes. The building edges are sculpted and angled to capture light, optimize views, and strengthen a landmark character for the building.

FAÇADE STUDIES

We also prepared various conceptual study options for the design of the building elevations. The goal was to offer a richly articulated elevation to pedestrians and motorists, and create a majestic presence of the two towers gradually stepping up along Jin Hu Road. In addition, the façade studies sought to enhance a luxurious, family-oriented residential character that supports a natural and humane environment, while reflecting and celebrating the district’s prestigious identity as the location of the AIT complex across Jin Hu Road. Several studies incorporated more solid areas, with prefabricated stone panels and texture patterns providing a rich quality. Syncopated glass bays reinforce a dynamic sense of movement on the building exteriors. Other options featured more transparent, lighter proportions on the façades. Windows and large groups of glazed bays are placed to relate to major rooms and offer expansive views to the forests and lake toward the east and south.

Early on during the design process in 2005, various study options were prepared for the design of the building elevations.

SCHEME 1 “CLASSICAL ELEGANCE”

The building façades are organized by a general Classical division into base, middle, and top portions, to achieve an elegant, stately presence. The base portion has the most solid character. The middle portion of the building is animated by a rich interplay of prefabricated stone panels with alternating windows and glass bays of different sizes.

ANELS

The tops of the building are stepped to relate to the city scale and have the lightest character, with large glazed volumes acting as “lanterns.”

TOP

LDING ON

SCHEME 2 “LIGHT CONTEMPORARY”

BASE

MIDDLE

The overall architectural strategy achieves a light, contemporary character. The base and lower floors have a horizontal pattern of mullions and glazed areas, with the more solid parts of the building featuring a ribbed stone texture pattern.

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MEMORIES AND

REFLECTIONS YING-CHAO KUO

Principal Architect, Bio-architecture Formosana

There are three reasons why I feel strongly obligated to write this article. First, I worked at Moore Ruble Yudell Architects & Planners (MRY) for more than six years, from 1987 to 1993. For the first two years, I worked as a part-time employee at MRY while I was studying architecture at the University of California, Los Angeles (UCLA). During my first semester at UCLA, Buzz Yudell was my design studio instructor, and after that, I also took courses taught by John Ruble and Charles Moore. Therefore, over the years, I have built a strong bond with MRY.

Winsing AIT Residential Towers under construction (2012)

The second reason is that I have lived in the Neihu District for more than 20 years after returning to Taiwan from Los Angeles. I have had the opportunity to closely observe the transformation of the Win Sing Development company in Neihu, especially with regard to the Winsing Ying Nian building, which was completed six years ago. Located just behind my house, and designed by architect Irving Huang, this building has a style that does not fall into the “elegance or luxury design” clichés that are commonly seen in the real estate market in Taipei. The project’s esthetic achievements are rarely seen over these past ten years, with an appearance that still presents a brand new look, even though it was completed many years ago. This really shows that Win Sing puts a lot of effort into its projects. As an experienced architect for many years, I know that an extraordinary work often comes from an extraordinary development company.

The third reason is that over the last ten years, I have lived on Jin Hu Road, less than 100 meters from Winsing AIT. I have seen Winsing AIT built up from scratch. During the advertising campaign, there was a huge black-and-white portrait of Charles Moore hanging near the gate of the community where I reside, and this brought back a lot of memories from 20 years ago when I was both a student and an employee with Charles Moore. THE LEGACY OF CHARLES MOORE Charles Moore (1925–1993) was a great architect who absorbed many different historical, architectural, and cultural trends into his work and life—including the hippie culture of the 1950s and 1960s in the United States, which heavily influenced his lively and uninhibited thoughts and tastes. Charles was always very friendly and talked wisely and amiably with everyone. Once when I visited him at his house (which was designed by him) in northern California he had just came back from lunch with several friends and I asked him “What did you eat for lunch?” He replied, “I ate too much,” in a very simple and playful manner. On another occasion some time later, when we participated in the international design competition for National Dong Hwa University’s new campus, Charles Moore and John Ruble came to Taiwan for an interview with the Director of the Preparatory Office, Zong-Can Mou. When Director Mou asked, “You do not have any experiences on overall campus design and planning, so how are you able to execute this task?” Charles responded, “I had never been a dean of any university department before I became the Dean of the Yale School of Architecture, but I still managed it well and did a great job.” His reply was very direct and straightforward, and MRY was assigned the project.

Top: Charles Moore; Bottom: Condominium 1, Sea Ranch, California, USA (1965)

Charles Moore founded MRY with Buzz and John in 1977. The architecture firm is located in the coastal city of Santa Monica, part of the greater Los Angeles area. Known for its beautiful beaches, wonderful climate, and progressive politics, the city has been jokingly referred to as the “People’s Republic of Santa Monica” because of its longtime, strict Rental Control Act, which protects the rights of less-affluent renters. One result of this unique Act is the growth of diverse and incredibly creative communities. The campus of the famed Southern California Institute of Architecture (SCI-Arc) was located here for many years. Architect Frank Gehry’s home and firm are also located here, as well as many other architects besides MRY. Based on my personal observation, Buzz’s and John’s unique thoughts, humanistic philosophies and personal styles are representative of this diverse milieu of creativity and liberalism. Charles Moore had a profound grasp of the nature and history of architecture, and he devoted a major part of his life to teaching and publishing. As an architect, Charles became quite famous in the wave of Post-Modernism of the 1970s and 1980s. His early masterpieces in this period are full of transformational symbols derived from classical architectural elements. However, his architectural achievements were not limited to incorporating the formal aspects of the architectural vocabularies, and we can see more clearly the depth and sense of exploration in his later works. The history of this de-formalization can be found throughout the transformation that MRY has experienced over the past 37 years on their projects. If we put this kind of creative exploration and spirit into an international, architectural design business point of view, we can easily understand how MRY differs from most other firms, in terms of presenting their curiosity and experimental attitudes toward the specific local geography and cultural characteristics of the site. For example, if

a developer invites an architect like Frank Gehry or Zaha Hadid—both having strong personal design styles—we would basically know what the architect is going to design. The only issue is whether you like their designs or not. However, if a developer invites a firm like MRY to design a building, it becomes more of a collaborative relationship where the developer and the architect are exploring an uncertain process together, and the process becomes more challenging and very exciting. A UNIQUE ARCHITECTURAL SOLUTION The real estate market in Taiwan has been well developed over the past 40 or 50 years, and a mature and efficient model has been established as well. From the developers’ points of view, when it comes to design, they always tend to think about how to make more profit out of the limited space, instead of considering the most important elements, such as topography, physical environment, social and cultural aspects, etc. While it is true that every design has to consider how to optimize profits, there is a danger that if we only focus on this element, then all designs would look the same over the years. For example, the same building façade could appear anywhere—in the middle of the Taipei basin, on a river bank, on the coast, at the foot of mountains, in the mountain areas, in the south, middle, or northern parts of Taiwan. The professional architectural approach of designing a building to create a strong, individual identity has been taken over by the “good selling appearance” way of designing. Most developers seem to have no intention of seeking a balance between these two approaches. Win Sing is one of the exceptions. Neihu is located at the edge of the Taipei basin and its topography is more varied and significantly fluctuated than any other areas in Taipei City. This is also what John Ruble called “Fluctuating Rhythm.” People who live in Taipei always drive or take public transportation to go everywhere, so they may not really notice this fluctuating rhythm around them. I grew up in Tainan City in southern Taiwan, and noticed that its topography is higher on the west side and lower on the east side. When I rode a bike from home to school—Tainan First High School and then National Cheng Kung University along Hai An Road—I could feel this change in topography. On my way to school, I rode my bike uphill so I had to pedal hard, but on my way home, I could just ride the bike with my arms crossed, leaning left and right to direct the bike. If you are jogging on the road and there is even just a little slope, this can make a huge difference between running uphill and downhill—almost like heaven and hell. Therefore, architects have to be sensitive about the topography and be able to incorporate a site’s topography as the main focus of the design. This has been particularly important for the Winsing AIT project. The location of this project is on the steepest slope of Jin Hu Road. The width of the lot is only 130 meters, but the ground level of the site has a 7-meter difference between the north and south ends. A similar topography occurs across the street on the site of the future American Institute in Taiwan (AIT), and for safety reasons (including preventing terrorist suicide bombings) the lot had been graded into a platform that is much higher than the street level. If you continue going uphill further along the Jin Hu Road, it leads you to Bailu Shan hill. If you go east, the road connects to the mountains on both sides of the Xizhi and Keelung River valleys. Buzz described this building location as having an “Urban Character and Garden Charm.” EVOLUTION AND TRANSFORMATION In order to relate the building on this long and narrow L–shaped lot with the existing topography, MRY designed two stepped towers—a lower northern tower and a higher southern tower—which also highlights the inner tension of this lot’s topography, as the ground level of the lot is higher in the north and lower in the south. As these two towers are stepped up from north to south, they appear to rise and undulate in

harmony with the surrounding hills. Although the glass bays on the façades may appear to have been placed randomly, the design also complements the skyline and topography of Neihu. During the early years of MRY, the large-scale residential housing designs of Tegel Harbor in Berlin, Kobe Nishiokamoto in Japan, and Potatisåkern in Malmö, Sweden, featured the prominent use of the classical architectural design elements within the undulating massing, including sloping roofs, foot lines of the façades, arches, and columns. This design pays particular attention to shapes and proportions, creating a fun and lively visual effect. Designed after the peak of Post-Modernism,

Left: Tegel Harbor housing, Berlin, Germany (1988); Right: Potatisåkern housing, Malmö, Sweden (1998)

Winsing AIT inherited some of this tradition, even though the elements of classical design have been slowly fading. What remains to be seen of this classical legacy is the simple and rectangular building massing, and the deep-notch style windows. This also reflects how MRY has evolved as time goes by. Having returned and lived in Taiwan for several years, my architectural vocabularies of Western classical designs have also been slowing fading. But when I look at the overall undulating building massing of Winsing AIT, which is similar to the designs of Tegel, Malmö and Kobe, I find myself remembering and missing that more purely classical architectural design era. In Los Angeles, most people live in single-family houses, or two- and three-storyhigh apartments, or condominiums. If the buildings are taller than four stories, they could very well be office spaces or public buildings. Therefore, long-time residents in Los Angeles may be unfamiliar with the idea of living in high-rise residential buildings. Buzz, John and James are all familiar with this building type, from their many projects overseas, and their approach is to design high-rise residential building as if they were designing a house; to them, there is no difference between the two. In a populated and built-up city like Taipei, there is little or no sky view, or any front lawns or back yards. So it is really difficult to bring a high quality of living space to these high-rise residential buildings. BALANCE OF COMPLEXITY AND SIMPLICITY For Winsing AIT, MRY decided to apply the idea of designing each apartment in these 20- and 26-story-high residential buildings as a house design. Their hope was to have all condominium unit owners be able to recognize and point out their units easily and simply by looking at the façade of the buildings. On past projects like Tegel and Potatisåkern, this goal was easily attainable by incorporating multiple classical architectural elements. For example, residents can say, “My home is on the highest hollow arch,” or “lower left on the three-story-high Doric columns,”

or “second one from the left of the columns, the balcony has a green iron-cast hollow arch.” As there are a lot of design elements possible to apply on the classical façade, many different combinations are available, and it is not difficult to give each home a different design combination and identity.

Façade detail, Winsing AIT Residential Towers, Taipei City

However, the architectural vocabulary for Winsing AIT is much more simplistic and rational, making it not so easy to point out one’s home from the façade. In this case, it is easier to plant trees and flowers on the balconies to create personal identity, but far more difficult to provide a different façade for each home. So I am very impressed, and thoroughly agree with what the architects did for the façades of the building: the key feature was to apply dry façade stone panels and deep-notch style windows. In order to minimize the construction costs, they applied 15-centimeter RC (reinforced concrete) exterior wall tiles with high-thermal aluminum windows and a single layer of glass. Not only is the dry façade stone panel a symbol of luxury for many people, but it is also a good material for keeping room temperatures stable from the changes in climate and weather. The dry façade stone panels and the 5- to 7-centimeter space behind the dry façade stone provide the RC wall with good insulation. Many spaces behind the stone panels reach up to 1 meter in depth, creating deep notches to protect the building from rain, heat and cold. This design also allows the building to offset the heat load from the large glass bays. If the dry façade stone panels are sealed properly, the building will sustain its longevity, and in the long run, the problem of tiles falling off buildings, which has occurred a lot recently, will not happen again. A few years ago, someone might question the use of expensive high-end stone panels with limited budgets. However, the current increasing housing prices in the greater Taipei area have allowed developers and architects to reconsider the longevity of buildings. They are also starting to realize that architectural projects in Taiwan should incorporate their own esthetic designs, instead of just building for the sake of building a structure. From its lively interplay of basic geometric forms in terms of building massing and façade, it is hard to imagine that, in fact, the overall space layout of Winsing AIT is actually very simple. In order to respect feng shui, which is very important to Taiwanese people, each residential unit is configured as a simple, full rectangular shape. All units surround a vertical service core. This seismic design has been an integral part of the overall design configuration for the project. The successful design results demonstrate that the team has collaborated well to integrate the entire project together, so that the designs of space layout and façade achieve this architectural balance of richness, complexity and simplicity—while at the same time fulfill the necessary functional requirements. CONVERSATION WITH THE CITY The architect’s design process is to create a “relationship” process—to program the best, most appropriate relationships between spaces, between structures and styles, between buildings and environments, between public and non-public areas, and interactions between people. The sum of all these relationships becomes the relationship between architecture and the city. Winsing AIT is a privately owned property. When Taiwanese real estate developers want to express their own values (or prices), I strongly feel, at the same time, that they should also reflect their architectural roles within the city. With the elegant layout of its open spaces, dynamic treatment of its building massing, and the outstanding expression of its architecture, Winsing AIT succeeds in creating a rich and lively conversation with the city.

TAIPEI BEAUTY: READY FOR A CLOSE-UP JOHN RUBLE

Partner, Moore Ruble Yudell

Anyone who visits Taipei for the first time has to wonder what happened. How could such a prosperous, industrious land have such a famously unattractive major city? The condition is ironic given the remarkable beauty of the island of Taiwan itself: Formosa, as it was named in Portuguese, meaning “beautiful,” and it was no exaggeration. Visit the heaven-on-earth of Sun-Moon Lake, or the spectacular gorges in Hwa Lien, even the green hills all around Taipei itself, and you would expect to find a tropical urban gem closer to Rio de Janeiro—after all that was a Portuguese colony as well. The fact is that for decades people in Taiwan have simply been too busy for mere esthetics. There has always been too much to do, as if the island nation alone had to keep alive not only the history and culture of China, but its tremendous capacity for business as well. The result was a kind of Kung Fu Nation: compact, resilient, muscular, ready to take on the world—and the mainland—balanced on one foot. But no mirrors, please. Now a change is underway, and it may be possible to redefine the city’s distinct character— as a culture and as a place. This may be the time for design that celebrates Taipei’s essential gutsiness with style—an urbanity that offers elegance with authenticity. Often a few very distinguished buildings and places can serve to elevate an entire context, and Taipei may be ready for just that.

In the course of more than 20 years—the very period of mainland China’s great transformation—we have explored planning and design in Taiwan and Taipei with three widely varied projects: National Dong Hwa University in Hwa Lien, the American Institute in Taiwan (AIT) in Taipei, and the Winsing AIT Residential Towers in Neihu. The work has led us on a search for our own understanding of place-making in the context of China—a search which has continued through many works on the mainland. While the search is still ongoing, each of the Taiwan projects has reflected our fascination with various aspects of Chinese gardens as well as urban places. DONG HWA: AXIAL AND ALLUVIAL ORDER Apart from one single-family house in Singapore, the Dong Hwa campus was Moore Ruble Yudell’s very first work in a Chinese cultural setting. Searching for an opening into an enormous and largely unfamiliar regional context, we turned to art as an interpreter: a beautiful scroll painting we had seen at the Dahlem museum in Berlin. Titled Emperor Kwangxi’s Southern Journey, the scroll at one point depicts a river crossing and bridges from the picturesque jumble of a waterfront village to a palace or temple complex. In the raised elevation and orderliness of the temple, contrasting with the town, we noted a beautiful Asian example of a more universal principle: the articulation of the sacred and the profane.

Master plan, National Dong Hwa University, Hwa Lien, Taiwan (1992)

Inspired by this scene, our campus plan for Dong Hwa introduces a meandering water park as a scheme for both site hydrology and program organization: students walk or bicycle across a set of bridges, from villages of housing to an “elevated” academic center. The housing villages twist and bend along a circuitous ring road—the academic core fits into a grid. The lake and ponds of the water park further enhance the campus according to feng shui principles, as does the overall orientation of the grand central axis within the broad alluvial plain of the site.

The grand axis itself leads from the formal campus entry through a series of landmarks—a palazzo-inspired main hall for administration and alumni, a central green, a library tower, and a paved student union plaza. This grand scale of public place celebrates community over the individual—the longevity of the institution over the temporal preoccupations of each generation—in a way that provides a measure of heritage for a newly founded university, regardless of its geographic or cultural context. AIT: PASSAGES BETWEEN WORLDS Classic Chinese gardens, such as the garden of “The Master of the Nets” in Suzhou, manage to miniaturize entire landscapes, one after another, into a single composition with the relative scale of a microchip. Pavilions, courtyards, covered walks, walls with notable openings, all come into play to define and separate a string of discrete places, each with focal moments provided by trees, bamboo, rocks, water, and architecture. As the American Institute in Taiwan (AIT) is not an embassy, but functions like one, the elaborate process of gaining access to the interior of the site and buildings provides an apt subject for all those devices. Entry sequences were designed to shape movement on AIT’s very topographic site, and reflect on the Chinese garden experience. From a lower street level on

Jin Hu Road, visa applicants and US citizens enter through gates into a circular court, a kind of moon gate turned on its side, presided over by a stone-clad tower. After screening in a glassy vestibule, elevators take the visitors up to a covered bridge and balcony. The balcony’s zigzag edge overlooks a plunging green hillside, heightening the experience of the lingering procession to the next checkpoint. The abrupt confrontation of stone tower, overhanging balcony, and vertiginous wild landscape seems to us to capture something of the feel of Chinese landscape art— the almost jolting juxtapositions which the inhabitant passes through to find places of harmony. Presiding over the site and street from its raised terrace, the main block of the office building is split into stone- and zinc-clad halves. Angled slightly akimbo and wrapped with smaller granite forms, these central masses are bundled together and linked to garden spaces all around. The main entry court features a grand circle of stone paving overlooking Jin Hu Road. To one side a small bridge connects across a rocky rain-retention basin to a walled garden for community events. The chancery entry continues the sequence of discrete spaces—a grand hall of wood and stone looking south to green hillsides, then an oblique turn to a second hall with a wall of glass inscribed with an “alphabet” of Chinese characters, the entrance to AIT’s Chinese Language School. AIT was chosen as the place for the US Diplomatic Corps to study Mandarin for the simple reason that Taiwan, more than the mainland, offered students immersion in the traditions and history of the Chinese people. Looking to the future, a question now arises in the face of more contemporary aspirations: how will Taipei look as the city realizes its desire for a long-term place on the world stage. Should we expect the overt contextualism of TAIPEI 101, or the ubiquitous modernism of World Architecture News?

Model and renderings of the American Institute in Taiwan (AIT), Taipei City

WINSING AIT: ELEGANCE AND VIGOR AT THE CITY’S EDGE As the architects of AIT we were invited to design what has become Taipei’s most enviable residential address, Winsing AIT. A guiding concern was to establish an appropriate relationship between the two projects, standing directly across the street from each other. How might the two entities enhance each other? AIT represents the United States, its commitment to Taiwan, and is a substantial investment financially and politically. The presence of the Institute provides an auspicious context for the neighborhood, while its campus layout leaves significant areas of the hilly site open to the flow of green hills around. Winsing AIT’s towers complete the wall of the city—a dramatic edge confronting the opening of Bailu Shan hill, and Dahu Park and lake to the east, thus setting the stage for AIT’s campus. While the two projects are complementary in form and scale, the material palettes are related: a basic body of light, earthy granite, complemented by secondary forms. The Winsing AIT Residential Towers display crystalline bays of glass set into their stony masses. The bronze-toned granite of the AIT Chancery appears to be cut away to reveal white stone on the south half and zinc paneling on the north. The reddish-mocha metal louvers shading AIT’s front door are reflected in the classic Chinese red metal canopy of the Towers’ entry.

Ultimately it is the sculptural quality of both designs that will signal their relevance to each other: both buildings’ exteriors have a chiseled solidity that serves to unify AIT’s collection of separate forms and to articulate the continuous walls of Winsing AIT Residential Towers into an ensemble of more elegant proportions. We like to think that Winsing AIT demonstrates the potential of design in Taipei: that an urbane elegance is achievable without sacrificing the special character of the city—its energy and drive. The quality offered by the project is high luxury living—increasingly available in Asia but unprecedented in Taipei—and its entry, lobby, and public spaces set a new standard in the city for gracious scale and unfailing elegance. This privileged residential experience will certainly be heightened by the drama of the site’s edge condition as it overlooks the American campus across the street, and out to the hills and lake beyond.

Grand entrance and canopy, Winsing AIT Residential Towers

INTERVIEWS

JOHN RUBLE & BUZZ YUDELL

Partners, Moore Ruble Yudell

Unlike many other architecture firms, Moore Ruble Yudell pays a great deal of attention on humanism besides innovation and technology. What are MRY’s goals in designing architecture? BUZZ YUDELL We think architecture is inherently the social art of interacting with people and we believe deeply that whether its a room, a building, or a metropolitan plaza, the essence of architecture is that it has to conform to human needs. It has to coordinate all kinds of human activities and no matter if it’s a single or a group of buildings, architecture has to create and sustain the community feeling. So it has to interact with communities. We believe that in a cross-cultural international environment, these kinds of human needs are very basic and important. Architecture should not only take these needs as a foundation, but must strengthen these life demands.

MRY has to deal with some cultural differences when you are doing projects internationally. How does MRY design an architecture that will go beyond the limits of culture, time and circumstance? BY Why we are so interested in creating buildings, no matter if it’s a house or community is that they have to show the close interactive relationship between the individual family and society. The best relationship is when architecture enables people to have a better life. This improved lifestyle gives the home, the place, and the city more value. We know the needs of humanity go beyond the limits of culture, time and circumstance. When our work is in a different culture or place, we want to understand and interact with the local circumstances. In this way we are able to more deeply comprehend the local culture as well as the needs and aspirations of the local people. Then we can fully grasp the local culture and be able to put the culture of another place into that culture. This becomes a win-win experience.

We know that Charles Moore has influenced MRY a lot, in achieving architecture’s complex expression and distinctive characteristics. When you plan a residential building, how do you reach a balance between the individual family and the community? BY When we begin to plan a house, we will assist a family in the realization of their dreams. With communities, we utilize different styles since we have families together and have to make each one feel they are special. We need to make them feel independent, that their needs are different from the needs of other people. So the challenge is how to create a complex house to which they can go home and feel their special uniqueness. Within this community, there has to be balance between the individual family and the community. For example, when we put together the diverse local materials and styles in Taiwan, the form of expression was very complex. Thus, individual homes were very distinctive and people could identify with their place very easily. Each home had unique characteristics but people did not forget their homes existed within a shared community with their neighbors.

According to what Robert Campbell from the Boston Globe said about MRY, Moore Ruble Yudell is in the business of bridging the gap between avant garde and reactionary. We would like to know what roles MRY play in the field of architecture nowadays? BY Actually, we are not very interested in traditional architecture. We are interested in the original form of classic architecture. We think architecture was created to protect humans and their environment. It enables people to live and pursue any activity. Architecture doesn’t gain value because it is merely old, but it acquires values if it expresses the way we live in the world during this era. Our projects get very creative because they show the spirits of modern architectural technology. So Robert Campbell said we use an inter-

esting way to unify the old, traditional architecture and future architectural styles. Our philosophy is to find what is consistent between old and new, the relationship between traditional form and modern form. On the one hand, we hope architecture will protect the environment, and, on the other hand, we hope it has a close relationship with humanity and is the background for society and culture. Recently, you have received the Firm of the Year Award from the AIA. What are your thoughts on getting this award? What values would MRY like to show off? JOHN RUBLE The Firm Award in AIA is the highest

honor they bestow on an architecture firm, not on any individual. BY We were able to receive this award since we play a leading role in the field of architecture due to our influence in both the United States and overseas. We always like social interaction and interaction with different cultures and different societies. We have established the standard for other firms. The professional not only leads in the office, but is prominent within the community as well. JR You mention the aspect of working internationally.

It is very special for our scale of company to get so many international projects. This is one of the reasons why we are so different from other firms. From your experiences of designing residential buildings, what are the basic elements for designing “a good living place”? BY One of the interesting components is that a com-

munity is made up of a lot of people. What we care about is how to create a house feeling within a complex building. In essence, how do we keep the feeling of independence, comfort, privacy, and complexity in a community building? In Europe we started to take these elements into account as we built differently from other firms whose communities were like a big box where residents felt very confined. We create communities in which people feel they are living in the air or in a garden as they look at the scenery outside their windows. Also, when we get the opportunity for a big project, we begin to create interactive social spaces like in a lobby or a club where people will want to stay and meet their friends. JR Suppose you walk on the street in front of Winsing

AIT. You will be able to look up at our building and identify your home easily. This is very different from other buildings, since their units are all the same. Every home in Winsing AIT will be very different, very unique, and this is what makes this project so special. This idea is just like we put a whole village in a building. We have tried to make this building exhibit a complex style.

What are the reasons you decided to take and design this project [Winsing AIT]? JR We have been very interested in Asia projects these

past few years. In Taiwan we did a plan for National Dong Hwa University, so we have a very favorable impression of the Taiwanese people and the Taipei lifestyle. How to improve the quality of life in large cities is our interest, so no matter in Taiwan or China, we are very excited about the opportunity for this kind of project, since we can introduce our ideas into a different culture to create a good quality of life. BY The reason we wanted to build internationally was to learn about local cultures and then bring those cultures back and put elements of our culture into those cultures. This is a very ideal win-win interaction.

What goals does MRY want to achieve in designing Winsing AIT? How does the Winsing AIT project relate to the [American Institute in Taiwan] Neihu project and to Taipei city? JR We are extremely excited about the Winsing AIT

project since we feel very strongly that we can improve the overall quality of local life in that area. Usually the buildings around a US embassy in other places are not good, but with Winsing AIT we have the wonderful opportunity to significantly improve the quality of architecture for the whole surrounding area. From the angle of the city, it will become a beautiful and elegant place. BY These two buildings, AIT and Winsing AIT, built at this particular locale are very interesting, since they are located in an open area within the city. On one side of the buildings there are a lot of other buildings, and on the other side there is green picturesque landscape. This location has both an urban character and garden charm. The urban needs the garden and local residents will get a very intense feeling of this in the garden. They will feel that this place in which they live is really very special and extraordinary. JR This site is an amazing place, since, just like a lot

of other parts of Taipei, you can see the fluctuating rhythm of this area. One of the biggest challenges of Winsing AIT is that you have to coordinate the three elements of the varied topography of the land, considerations of feng shui and the unique location of the site. These three elements have a profound influence on Winsing AIT. Our plan cuts the area of Winsing AIT into different sub-areas and between these sub-areas there are different relationships. This building has to adapt to this kind of intense, unique topography. The building faces an area that is not flat but has a great deal of fluctuation in the contour of the terrain, which gives it a very romantic view. So this building is not silent and not just elegant but is full of energy. The fun thing about Winsing AIT is we have to face all kinds of environmental conditions. Winsing AIT is part of a city and we see AIT as a park in this project. We tried to

keep and get more views of the green landscape. So Winsing AIT facing the cross street with a large open space has a very positive meaning for the residents. AIT has a very elegant, graceful feeling. On the other hand, we have a challenge because Winsing AIT is facing the street and that will bring a lot of fun design problems. The building should keep the relationship between the people, cars, and avenue. On the east side of the avenue there are no stores or buildings, which is totally different from the west side. Therefore, we paid special attention to Winsing AIT’s architectural expression, especially in terms of material selection and quality, in order to create an unprecedented view. We know this site has a great fluctuation. Also [American Institute in Taiwan- Neihu] is across the road from this site. How do you create the superior characteristics for [Winsing AIT]? BY Winsing AIT has an extremely rich connotation,

much like a piece of sculpture or a piece of art. In the two towers, with their spatial disposition, from front to back and top to bottom, there are a lot of different surfaces. The resulting differing views and areas of light and shadow make the surfaces appear extremely complex, extremely rich. JR We created a lot of different designs for Winsing

AIT as evidenced by all the scale models in our office, and the finished design is just one of them. Actually, we want to make people feel these are not only two buildings. When they look at the varied roof levels it looks like the skyline of a city made up of a lot of different buildings. This presents one kind of interesting scale because it looks like a complex group of buildings, like a sculpture, like a piece of art. We can see from the model building that MRY created this building full of richness and rhythm. What is the uniqueness that you created for [Winsing AIT]? BY From every aspect you can say this building has an extremely unique personality. The city needs the view and you can say this building constitutes a series of vertical elements. So we hope it keeps a fun interaction with the streets of the surrounding area. What is special is that you can use the vertical angles to explain this building and you can see it is very complex. Also, when you enter the building, you don’t just see a wall but an artificial waterfall and other kinds of public space. We created this entryway to give the sensation of a dance because everywhere is full of rhythm, a complex experience of space. This is very special because with most other buildings you merely go into a lobby and up the stairs. With Winsing AIT you get a complex movement and sensation experience. On the other hand, it carries on a traditional Chinese garden style in which you have to move. Your eyes have to go through the space and the water and you get a multi-layered view. We wanted to create this rich, complex experience for the people that go in and out of this building.

You have mentioned that the great thing about Moore Ruble Yudell is [to listen to what clients need]. From the very beginning, how did you interact with Winsing AIT? How do you create a good work? JR Compared with a lot of projects we have done in

the past in Taiwan and China, Winsing AIT is very highend. Moreover, there is a big challenge this time because we have very high expectations, no matter what we do. We have to do something new and be better than before. So we have to strive for perfection. This makes us excited since we are not doing just what we already know but we have to do more than we did in the United States. No matter whether they are in Taiwan or China, people like to challenge the limits to get a better result. This is very exciting. BY According to many years of experience, we know only excellent clients will influence us to design the best buildings. Whatever the firm, unless you get good clients, it is impossible to create good projects. We think Taiwan is great but only when clients join in on the whole process can we create the best buildings, the best communities. We say this time and time again, but if you want the best result, these elements are essential.

In terms of Moore Ruble Yudell’s projects, how do you see [Winsing AIT]? How would you describe [Winsing AIT] to the future residents? JR Winsing AIT’s residents will find that it’s very, very

special. It’s located in an extremely spectacular area in Taipei City. The local circumstance and AIT create an open area. You will find you stand in the center of the city and anytime you look out, you will feel the great living quality. To capture this feeling, we create our best plan for the living areas. We used all kinds of different angle views. You can feel this phenomenal experience when you walk on the street in front of the building. When you enter the building, you can taste the detailed feeling. The character of this building comes from the fact that Winsing AIT and AIT stand in the same environment, and its beauty comes from the fusion of the city and nature. BY In our design, we want to make each resident feel very special, very unique. They won’t feel they are just like everyone else, instead they will feel that each person, each family is special. No matter if you drive close to this building or walk in, the style of this building will give you a very personal feeling. When looking at the building, you will be able to find where you live immediately since every unit looks different. If you compare the differences, you will know each home is unique. The waterfall in the lobby will create a unique line and the materials, the views, and the garden, will all make you feel the highest quality of life. Not only looking outwards at the landscape, but the internal public space is also very unique. We are looking forward to the future residents enjoying all of this.

JAMES MARY O’CONNOR

Principal, Moore Ruble Yudell

We know MRY has a lot of projects around the world. This project in Taiwan is the first time you have two projects going on simultaneously on the same street, face to face. What are your expectations of these two projects and what do these two projects mean to you? JAMES MARY O’CONNOR When we started doing the

Winsing AIT project, we felt very excited because across the street is AIT, which we designed as well. This kind of opportunity only happens once in a thousand years, for architects to have a chance to work on two simultaneous plans, such as what we have in Taiwan. One is AIT and the other is a luxury building. AIT as a diplomatic facility is a foothold for distinguished foreign guests and a symbol of the American spirit. Across the street is Winsing AIT, which represents the American value of openness and freedom. Having both projects is a very big deal since it is extremely rare in the world to have two projects simultaneously that carries out an interesting dialogue. When you go to AIT, you go for a visa or for doing some kind of diplomatic business and on the other side is the residential building, so you can really experience the feeling of the American lifestyle. It’s unbelievable to have this opportunity to do this kind of project. This case does not merely enable the two buildings and spaces to have a conversation, but makes you feel like you are actually in the United States when you drive by both buildings. You had mentioned that [Winsing AIT] symbolizes the American values—openness and freedom. When you started designing, what kind of styles and connotation did you want to entrust to this project? JMO We wanted to let this building have a kind of

freestyle flavor, a kind of self-sympathy. Western people care for personal freedom and self-sympathy. Through the exterior design you can see where you live right away. Homes in Taiwan and elsewhere in the world all have the same characteristic of looking static. In a typical house you have a living room with a big window and the bathroom with a small window. Every house is the same except for some minor differences, which is quite static. But with Winsing AIT we wanted to create the feeling of movement, like the building has a melody and different layers. The window size and locations are not the same so when you walk around the building, from every angle it will be different. Also, the scale appears to be the same but because the angle of sunlight is different, the appear-

ance of the building will change. We are impressed by the high quality of some Taiwanese interior designers, but in general the exterior building design is all the same and not very connected. Many buildings look flashy but lack substance. We want to achieve a different pattern with Winsing AIT. The building’s height doesn’t need to be uniform. Looking at the far mountains in Taipei, we discover straight lines in nature do not exist since nature has movement. Architecture often has a close connection with the ground but it is closely linked to the sky as well. So how to make the building interact with the sky, just like how mountains interact with the sky, is very important. We refer to the concept of Chinese landscaping in which the outside extends towards the inside. So you make every individual house look more open, more spacious. You feel the inside and outside of the house are together. You feel the balcony is quite large with the broad field of vision overlooking the natural landscape. The entryway is important, too. The lobby counter is not just for receiving guests at the reception; we tried to make the lobby feel bigger. So when you walk in the door, you feel yourself in a Chinese palace because there is no dividing line between the indoors and the outdoors. You interact with a series of landscapes. The arcade, the hall, and the garden constitute the smooth generator, which extends from the exterior inwards. This feeling is very important. We find that architects have been designing all kinds of sensational buildings in the “modern architecture era.” We can see a floating glass box in the air and a twisted building in the 21st century. It seems that now architects tend to put more thoughts on creating a building. In terms of this esthetic style, how do you express Winsing AIT? JMO When we designed this building we did a lot of

drawing, painting, and sculpting. We thought this building could be a prominent piece of art of the 21st century since the people who live here in the future will feel they are actually living in a piece of art. This artistic building is so new and creative that the inhabitant will feel a brand new experience. The high development of the architectural technology of this era gives us more freedom to create and more ability to put our new ideas and movements together in this design. If you use the creative way to explain this architecture, you will discover that each kind of influence has been fused together and you have the feeling of living in a piece of art.

In the future, this street’s atmosphere is going to be full of American flavor. Through [Winsing AIT], what kind of lifestyles and experiences do you want to bring to Taiwan? JMO First, I thought I must express a kind of freedom.

In the United States, when I finish my schedule, like the majority of people I like to go home. Going home makes people have the feeling of being on vacation with the opportunity to do lots of outdoor activities. In California, we enjoy an outdoor lifestyle. You can barbeque at home or invite people to get together in open spaces where you can see all the views of the outdoors. We want to bring this kind of relaxed lifestyle into Taiwan, but we don’t want to change the local culture. We want to make sure this lifestyle may completely melt into Chinese and Taiwanese culture. Many Taiwanese people want to live an American lifestyle, but they certainly don’t want to turn themselves into Americans. I think this is very important. We must comply with the local lifestyle. For example, we must consider how to design the kitchen so that it facilitates cooking the local way, and simultaneously incorporate useful American elements into this project. Which part of this building do you like the most? JMO I think it’s the design of the outward appearance

along with the rhythm and the multi-layered feeling of the building. In regards to the relations between the building, the city and the inhabitants, the key point is how we use this building to change people’s lives. The interesting thing is, after they start their new lives, many of our concepts will also be realized. After many years, it will start to impact on the Neihu way of life and everything will change. We want to see how the surrounding area will change because of this building. You have added some American values into this project. What’s the meaning of the American good life and good living for you? JMO People like to be able to point to their house and

say they live there—this is self-sympathy, a special representation of themselves. In ancient times, people distinguished their homes by using different colors. Being able to identify where one lives is an important characteristic of humanity. Especially on the first floor,

we have a big balcony and a swimming pool, the very picture of leisurely and carefree Californian life. It’s like a club. I think the best aspect of California is whenever you go home, you feel like you are on vacation and you want to stay home. If you plan a space well, then you will feel you want to live there, want to spend more time to enjoy your life there. It’s good to make people feel they want to go home and spend more time with family. Life is beautiful and they will like this place. I think the design will influence humanity, their lifestyle and their behavior. Only people who live in a good place can have this kind of experience. Therefore, we give people the opportunity to choose their own lives. Providing choices is very important so people have not just one kind of lifestyle, one kind of house, but also many different options. We are really looking forward to seeing a unique world-class architecture in Taiwan. No doubt [Winsing AIT] is going to open the door for this new era. If you could only use three characteristics to describe [Winsing AIT], what would they be? JMO One of the characteristics is the project’s wonder-

ful location. This place is unique because AIT is just across the street. The Winsing AIT Residential Towers and AIT are two very different places and they reveal two kinds of values of American society. You can’t find a place like this anywhere else in the world. The second characteristic is that this building makes you feel very strong self-sympathy because every home is different. Every home’s outward appearance is obviously different and the people that live there will have the feeling, “This is where I live.” This is very important since we all need to be able to identify the place where we live to have some kind of level of self-sympathy. I think after this project is completed, when you get into a taxi at the airport, the taxi driver in the city will know which building you mention and where it is located. The final characteristic is when you enter your home, the indoors and outdoors are fused as one. The large-scale living room, dining hall, and kitchen and so on melt into the landscape. The mountain scenery looks as though it is right in the room. I think Taiwanese culture is very respectful of nature and always has a close connection to the landscape. I want people to feel they are in the mountains and landscape, as they look out into the distance from their home in Winsing AIT.

JENNY YEH

President, Win Sing Development Co., Ltd

Some people say if 20th-century architectural accomplishments stemmed from technical ability, then creativity will be the 21st century’s highest value. Future architecture will be like a modern painting or piece of artwork since its significance will arise from creativity. People will not purchase homes merely to reside in them but to also collect them for their artistic value. The direction of creativity is based on the conditions of the sites. When you looked at this site, what were the directions of creativity you had in mind? PRESIDENT YEH It is extremely rare to find a piece of

property 6,600 square meters (2,000 ping) in size in Taipei. Neihu has the most beautiful scenery and is the most comfortable living environment in Taipei. Jin Hu Road is very tranquil and a bit further along is Dahu Park. Opposite Winsing AIT is the 6-hectare AIT site. The property is 130 meters wide. In the future this building must be international since it will represent the country. Like the airport or other public architecture, this building will be an important part of the national façade; it will become the landmark for AIT. Win Sing Development Co. has 36 years of expertise and there is a deep emotional connection between our architecture and the land. We are ready to establish a milestone on this land. With the rising tide of Asia, we have seen that the architecture in Hong Kong, Shanghai, and Beijing are being developed almost to the same level as the rest of the world due to international collaboration. But it has been rare for Taiwanese architects to cooperate with foreign architecture firms. When you started doing Winsing AIT, why did you decide to pick MRY and how did you convince them for this project? YEH We couldn’t view this property independently

but we needed to examine the entire property from the angle of AIT. As soon as we started, we considered other candidates like the architect of Dubai’s Burj A1 Arab Hotel and other famous international architecture firms. We knew if we couldn’t design AIT and Winsing AIT in a harmonious way, this would be offensive in terms of the city landscape. Win Sing Development Co. wanted to explore a new possibility for Taiwan’s architecture, so we wanted to create an international building. Here would be the beginning of Taiwan’s architectural exposure to the rest of the world. Any worldwide architecture firm was possible but none compared with MRY because only this architecture firm could utilize an international style that complemented AIT for the localization of this project. Therefore, we did not hesitate to travel all the way to the United States to convince MRY to take on this project. The prestige of MRY is second to none since they have won numerous awards and were chosen as the best architecture firm in the United States, winning the American Institue of Architects (AIA) Firm of

the Year Award in 2006. MRY holds the utmost respect for the environment and for humanity, and pays a great deal of attention to adapting architecture to nature. They excel at melding styles into modern architecture and they have experience with Eastern culture from their previous Nishio Kamoto Housing project in Kobe, Japan. Finally, they were extremely interested in this project because they have never had the opportunity for this kind of global project where they could plan two adjacent projects on one street simultaneously. This is why they invested so much painstaking effort into this case. We cannot deny the fact that it is now the age of luxury architecture in Taipei. Rich and powerful people have more of a global view and the new generations of leaders demand more with regards to their personal residences. What do you think are the trends toward the development of international luxury homes and how do you design a living space to meet these new trends? YEH Based on my observations made while living in

New York for 10 years, I feel an international luxury home requires a good location, a large living space (for example, a big public hall and big public space), a good views, a good living space design, a lobby on each floor, a banquet hall, and so on. At present, most luxury homes in Taipei still originate from traditional concepts, such as having a big price tag by merely making the house bigger and using a lot of expensive building materials. Around the world, the cost of construction in capital cities will only increase, so new building in these prime locations will become increasingly rare. For example, homes on Manhattan’s 80th South Street really caused a global stir when valued at US$29 million. We are also seeing a break from the industry’s esthetic pattern in the Sweden Twist building in which future luxury homes will no longer have just an upstairs and downstairs orientation, but will have more of an individual, personal style and, thus, offer residents more choices. We used this viewpoint to design Winsing AIT. Having an international architecture team, it’s not difficult to design a good project. The challenge is how to adapt to the local culture and lifestyle. What was your design goal for MRY in the beginning? YEH Indeed, we attempted to cooperate internation-

ally with excitement and anticipation in order to enable MRY to understand Taiwan’s living culture. We invited MRY to visit many luxury homes in Taipei and they were impressed by Taiwan’s architectural quality. With Winsing AIT, we hoped to give an international view to the social stratum of leaders seeking a more international lifestyle. We think creativity is priceless so we set no limits on MRY and let them go in whatever creative direction they wanted. We had confidence that we could build whatever they designed.

What kind of experiences do you have while working with MRY? YEH In the beginning, MRY offered a design that was

extremely bold. It had an arc and geometry, was colorful, and had all kinds of style, which completely broke free of Taiwan’s architectural tradition. We spent more than three years in nonstop discussion and revision. We expected to rely on MRY’s expertise and innovativeness while taking into account future inhabitant lifestyle and the spirit of Taiwan’s local culture. Even though the process was very laborious, the achievements were really sweet. The whole cooperative process was extremely enjoyable and we had many surprising creative sparks between East and West. MRY really got involved and put a lot of feeling and painstaking attention into this project. This type of case is extremely rare so we didn’t care about the time and cost. Because of ongoing discussion and communication, the results have been perfect. Why did you like and support the final design proposal? YEH In terms of architectural esthetics style, Winsing

AIT is a breakthrough. In order to comply with the terrain, the plan entailed a varied skyline. We used deep concave windows to create the feeling of rhythm. It’s rare to see every window on every floor in a different place and to see the different surfaces of every home. We believe our future residents will be very proud to point to their homes instead of just saying I live in whichever unit number on whichever floor. This confirms the humanistic philosophy of MRY founder Charles Moore. Namely, architecture not only pursues a simple style, but also enables each different unit to have individuality and emotion. In order to provide an international lifestyle, we designed 40-meter-wide entrance halls. We insisted on having a lobby on each floor, privacy features, the use of windows to bring in more light, totally free surfaces, a matching swimming pool, waterfall, garden, and a banquet hall. All plans adhered to international luxury home specifications. In terms of style, how do you define Winsing AIT? YEH The biggest thing that I admire was the fact that

MRY achieved accurate proportions of classical architecture while making it so modern, so bold. I would say Winsing AIT is a piece of art. At one time some social observers believed that the last generation’s luxury homes were for showing social status. This generation’s luxury homes are just entering the “good life” philosophy level. Based on your experience living in America, how do you define the good American home and the American good life? How do you use this experience to transform the characteristics of this project?

YEH Talking about American life, I would rather say

that a good American home is supposed to be a place for people to relax. When you are at home you don’t want to go out. When you are not home you want to go home. The home is the place to recharge your energy. The home should have a comfortable space where you can work out, practice piano, do yoga, and have a broad field of vision. Winsing AIT on Jin Hu Road has this kind of restful feeling. Other luxury homes don’t even compare. Winsing AIT faces AIT and the boundless landscape scenery of Dahu Lake. Every house has different windows that residents can open, along with individualized surfaces that are freer, which breaks away from the traditional compartmental style. The garden is the place for residents to interact and the entrance hall symbolizes residents’ status. Therefore, we believe the international leader who has a global view can definitely feel Winsing AIT offers an international lifestyle that Taiwan didn’t have in the past. We have created a space in which you can enjoy your life. What significance does Winsing AIT have for Win Sing Development Co.? What is the meaning of this building for the future of Neihu, Taipei, and even Taiwan? YEH During our long experience in Neihu, we have

accumulated an extremely solid professional technique, so we have confidence in our success internationally. Moreover, this property is opposite AIT. In the beginning, we were not just using Neihu’s or Taipei’s viewpoint to locate this place but we wanted this building to represent the façade of Taiwan’s international architecture. To Win Sing Development Co., Winsing AIT is not just a milestone, but it developed as an idea and then a dream that came true. Everyone in Taipei knows Neihu’s development has been extremely rapid, resulting in many talented scientists and technicians moving into this area. Now you can meet people from all over the world as you walk on Neihu streets. The combination of an outside culture coming in and the presence of AIT means that Neihu will become increasingly more like Tienmu with its culturally rich atmosphere. In addition, Neihu has rich scenery and the local gentry have fostered the culture, so Neihu is going to be Taipei’s most international place in the future. We believe Winsing AIT will put Neihu on the map as the landmark representing Taiwan. If we had to do this over again, we would choose the same direction, not to make a profit, but to do what matters, to follow our dream. Win Sing Development Co. have accumulated 36 years of power and now is our best time. So we have worked diligently to complete this project. We want to make Neihu and Taiwan proud. Opposite AIT we will build a world-class building for the entire world to see.

1 Lobby 2 Corridor 3 Mirror Pool 4 Waterfall 5 Gallery 6 Bar 7 Kitchen 8 Entrance 9 Exit 10 Public Space 11 Swimming Pool 12 Barbeque

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Land 155, Jinhu Road

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Land 255, Sec.1. Kangning Road

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Living Room Dining Room Kitchen Sitting Room Bedroom Master Bedroom Terrace Storage Room Elevator Lobby

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A majestic presence, Winsing AIT Residential Towers, Jin Hu Road, Taipei City

SUBTLE MAGIC

Uno Lai, President, Unolai Lighting Design Good lighting affects the way we feel and can thus help to shape our quality of life, offering a relaxed mood or elegant atmosphere. For Winsing AIT, we considered the interior lighting as a kind of sensory rather than a visual perception, to provide an emotional and spiritual value for residents—like an attractive magical charm. The lighting was designed to enhance the sense of home as a warm and safe haven—a place of deep comfort and serenity. We deliberately avoided creating a grand or glorious scale with the interior lighting elements, because a luxurious and spacious architectural quality has already been expressed on both the interior and exterior designs of the building. We mainly focused the lighting designs on the details and artworks, in nuanced and subtle layers, while preserving some unlit or dimmer-lighted spaces. Having these darker spaces is like leaving certain “void spaces on a painting”— to provide rooms of retreat and repose where the residents are able to sit back and breathe freely.

LIGHT, WATER, AND SERENITY

Henry Lu, President, Horizon & Atmosphere Landscape Co. The landscape design of Winsing AIT creates an intimate interaction of sunlight, air, and water with the natural greenery and special topography of the site, evoking a serene atmosphere. In order to complement the spectacular environment of steep slopes and dramatic green hills, we incorporated the landscape elements into a sequence of stepped terraces and gardens. Along the pedestrian paths bordering the street edges, we added stately trees to enhance an attractive walking space and connection with the city. A plaza is configured at the prominent southeast corner of the site to offer a place where active gatherings and diverse activities can take place. The landscape elements blur the boundaries between indoor and outdoor spaces, while maximizing natural ventilation. For the public outdoor spaces, we designed a series of pleasant water fountains, a swimming pool, and resting areas. To optimize the comfortable use of the swimming pool area located in the southwest corner of the site, we provided generous seating spaces covered by a large glazed canopy that frame the views of trees and sky. A diverse planting palette of trees and shrubs gives the courtyards rich, different expressions throughout the four seasons. The design of the “water wall” fountains outside the large French windows in the lobby presents an engaging texture and rhythm of light, water and stone—offering not only an enchanting visual buffer, but also a symbol to link the city and nature together.

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THE CHALLENGE OF HIGHDENSITY RESIDENTIAL DESIGN JAMES MARY O’CONNOR Principal, Moore Ruble Yudell

Architects have long been attracted and inspired by the opportunity to design individual residential houses. Le Corbusier contended “A house is a machine for living in.” Luis Barragán offered a poetic view of the home as a retreat and a sanctuary: “My house is my refuge, an emotional piece of architecture, not a cold piece of convenience.” Although the approaches can be different, the goal is the same—creating a unique, memorable sense of identity and place for the inhabitants. The challenge becomes more difficult on larger multi-unit residential and high-rise projects. How can we achieve a sense of private sanctuary and individual identity for projects that include 134 dwellings (as at Winsing AIT), or 3,000 dwellings? In several recent larger, multifamily projects, we have sought to explore and discover the extent to which architectural expression, physical shapes and spaces can impart a sense of place, and develop a framework in which the inhabitants can bring their own aspirations and energy to the act of dwelling.

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CITY AND TOWER GEOMETRY The form of Winsing AIT has been shaped to express its residential program, the existing and future context of Neihu, and its role as both a symbol and heart of the AIT (American Institute in Taiwan) quarter. The towers mediate between the city and the individual, public and private realms, with façades that offer a clear distinction between the human scale of the residential development—as opposed to the unifying mass of typical office or commercial towers. The rich articulation of elements and textures brings life to the exterior elevations—in the relationship of glazed to solid surfaces, rhythm of projected and recessed portions, the grouping of openings and windows, and varying scales of balconies and terraces. The large, syncopated glass bays establish another layer of movement on the building exteriors. The overall glazing system is a contemporary expression of the “Arts & Crafts” manner with an elegant pattern of frames and mullions. Each unit has separate elevator access, as well as garden entry. Balconies outside the living rooms articulate the towers to enhance individual expression, optimize views, and create their own sense of identity. EXPRESSIVE FORM A distinctive geometry of building forms also plays an integral part in the shaping of our Condominium Housing project in Beverly Hills, California. But whereas Winsing AIT’s identity is provided by “a complex composition of squares and rectangles, giving a musical cadence to the whole that refuses simple repetition or uniformity,” as described by Philip Jodidio, the Beverly Hills project is defined by an organic ensemble of flowing, curving forms that creates an instantly recognizable, iconic image. The sweeping roofscape incorporates a club house and swimming pool, topped by an angled pavilion canopy that adds a dynamic flourish to the skyline. Shifting balconies line the edges to add another layer of articulation, enhancing the interplay of light and shadow on the curving surfaces. A central, sky-lit opening slices through the building to facilitate circulation to the units on all floors, while allowing for daylight and natural ventila-

Condominium Housing in Beverly Hills, California, USA (in design)

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tion. The fluid curves evoke a number of inspirations and influences—including Antoni Gaudí’s hypnotic, quarry-like façades in Barcelona, modern sculptures by Isamu Noguchi or Henry Moore, an amoeba organism, and an “urban jellyfish” floating inland from the Pacific Ocean nearby.

Tango Housing Complex, Malmö, Sweden (2001)

MOVEMENT AND COLORS The Tango Housing Complex was commissioned as part of the Bo01 housing exhibition in Malmö, Sweden—offering models of housing at the forefront of modern technology that illustrates a concept for modern/future living. We addressed the requirement to provide a variation in the apartment units, by creating a dynamic sense of “movement within a frame.” From the protection of the walls, glassy bays project out for views and light. The challenge to design each unit uniquely was met by developing a flexible system for the articulation of the perimeter’s exterior elevations that reconsiders the correlation between interior space and its exterior expression. A datum of alternating horizontal and vertical panels modulates the random placement of windows while responding to the surrounding urban fabric. The louvered texture of the panels captures and reflects the precious northern lights while providing a discreet street presence on the city block site. I was playing a lot of checkers with my son during the first month of the design, and a sense of the movement of the checker pieces appears in the plan. For the bold colors on the towers in the courtyard, we were inspired by the traditional fishing villages of Sweden, where houses were brightly painted. The fishermen coming back from the sea would see the colors welcoming them home from far away. The vibrant colors help to break the dullness of the long winters in Sweden, reminding you that summer is not far off. CONNECTION TO LOCAL CULTURE The link to local culture and traditions also played a key role in the design of the Amber Bay residential resort development, in a spectacular coastal location outside the city of Dalian in northeast China. The architectural massing combines rational volumes and picturesque compositions that respond to the site’s dramatic conditions. Buildings are designed as variations on a “kit of parts,” with repeated volumes and rhythms. While the luxurious villas stand apart as distinctive entities, the rows of townhouses and higher condominium buildings are shifted back and forth along a line to create a rich architectural character, while providing an economical and dynamic configuration. Traditional materials—stone bases, stucco walls, and bay windows—are embellished with layers of glassy bands, projections, bays, and loggias

Amber Bay Resort Development in Dalian, China (2014)

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to bring maximum daylight into the units and form a memorable roofscape. Teak wood screen panels and door/window frames provide a warm accent, evoking the colors of local fishing boats on the shore. COMMUNITIES AT MULTIPLE SCALES For the Chun Sen Bi An “Forest Spring Shore” master plan in Chongqing, China, we balanced the design with multiple scales of habitation, building massing, heights and spaces between buildings to lend human dimension to the project, while relating to Chinese high-density needs. The project takes advantage of both the riverfront location and steep slopes to frame vistas and provide connections to the water for the 3,000 units of housing. A formal axis in the center of the site represents the urban, public realm of the project, pulling the pedestrian flow from the city down to the Jialing River. This axis is animated by a grand flight of steps that echoes the traditional street-stairs of the region. In contrast, an informal path, representing the more private and intimate realm of the project, meanders across the site from east to west. This smaller route echoes the winding, ancient pedestrian path between the docklands and the upper town that has been used for hundreds of years. Five communities are configured, each with a distinctive character defined by the conditions in and around that neighborhood (central spine, waterfront promenade, upper or lower slope, city roads). Low and mid-rise, curving bar buildings embrace the landscape, and act as a transition between the sloping ground and the 11 highrise towers. Portions of the towers are rotated to pick up the undulation of the riverbank, optimizing views and capturing natural light. The combination of lower curved buildings punctuated by dynamic towers lends a constantly shifting and appealing quality to the experience of walking and seeing throughout the project. This new urban community can profoundly impact how people can live in the future, improving the quality of life in the entire region by providing sustainable solutions for living near the water, and bringing the body and memory back into architecture.

Chun Sen Bi An housing master plan, Chongqing, China (2009)

INTEGRATION WITH NATURE A sense of identity can be created by a strong integration with the natural environment. The One Oasis Resort Development in Coloane, Macau is organized around the idea of a lush garden ambience. Conveying the image of a lotus blossom, an elegant oval of landscaped space opens to the north, anchored by taller landmark buildings that serve as gateways facing the popular Cotai Strip entertainment district. A central lagoon serves as the social and recreational heart of the project, with three floating “islands in a lake,” which evoke a fantasy setting and enhance

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One Oasis resort development, Coloane, Macau (under construction)

the project’s resort atmosphere. The façades for the iconic high-rise buildings incorporate a sculptural expression of large, interlocking frames. The frames contain the most important spaces, such as the living/dining rooms, while orienting panoramic views to the surrounding hills. The combination of clear and fritted glazed panels, metal frames, limestone panels at the base, and a discreet use of color provide a rich, vibrant elevation with an engaging sense of vertical movement. Other towers feature a curvilinear expression of folded planes and “sliced openings” within the skin to reveal the main body of the building behind. The openings are arranged in a dynamic configuration of dancing shapes. The shifting, subtle articulation of planes, balconies and bays interacts with the reflection of light to create a shimmering veil. INNOVATIVE “TROPICAL TOWERS” The design of the Luxe Lakes New Town in Chenghu, China, presents a unique opportunity to design sustainable communities in harmony with nature. The ensemble of energy-efficient, highrise residential towers incorporate optimal sustainable strategies that respond to the tropical climate. The design creates a syncopated movement of “sky garden” units that minimize the need for heating and air conditioning, while maximizing views to the surrounding lakes, forested hills, and terraced orchards. Central to the innovative design of the 30-floor towers are their “perforations”— openings through the building that allow breezes to blow freely over sky gardens. These cut-outs naturally cool and ventilate the building while the sky gardens place the outdoor gathering areas on higher floors, where the heat and humidity are significantly lower than at ground level. The materials incorporate screens, canopies, overhangs, trellises and cantilevered bays to provide shade, while green walls planted with bamboo and creeping vines High-rise design, Luxe Lakes New Town, Chengdu, China strengthen the connection to the natural environment. The tower (in progress) façades are animated by a distinctive pattern of projected and recessed elements, creating an architectural version of the game of Jenga. The “in-and-out” pieces weave a rhythm of solids and voids, light and shadow that serves to modulate the large scale of the towers. At the top, special “sky penthouse units” further enhance the individual and memorable residential identity. In these and other examples, we have responded to the challenge of designing high-density housing by devising strategies that celebrate the specific qualities of site, context, culture, climate, and program. We have used these design strategies to bring a human quality to these buildings, in the spirit of Charles Moore’s principle that “A dwelling should be the center of the universe for the people who share it.”

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STRONG LEGACY OF AN INSPIRING EDUCATOR The founder of Win Sing Development Co. Ltd., Mr. Jing Huo Yeh, a former school principal, established the company in 1977 with a dedication to the highest professionalism and integrity. He was determined to fulfill his aspirations and enthusiasm in land development as a tribute to Taiwan. It was a time when the economy in Taiwan had just started to take off, with the “Ten Major Infrastructures” project being unrolled by the government. However, despite the general economic upswing, the standard of living and conditions for most ordinary people did not improve. Principal Yeh felt compelled by the urgent need to promote people’s living standards, and decided to take matters into his own hands. Embracing a humanitarian philosophy, he began to realize his vision in the architectural and building industries. Subsequently, under the leadership of Chairman Ming Jing Yeh and President Jenny Yeh, Win Sing has successfully launched its development and construction business based on an unwavering commitment to its founding mission. Win Sing has continued to thrive and prosper since its founding, working hard to help clients realize their dreams for a better life. The strong legacy of an inspiring educator has kept Win Sing focused on its core principles—with selflessness and a deep sense of humanity and virtue.

AWARDS & ACHIEVEMENTS 2013 Winsing AIT Received Construction Excellence Award of FIABCI—Taiwan Real Estate Excellence Awards

2010 Win Sing Development Co., Ltd. Received The National Excellent Label for Construction Industry

2013 Design of Win Sing Corporate Brochure–Bamboo Received The One Show–Merit Award

2010 Winsing AIT Received Taipei City Construction Fence Green & Embellishment Award

2012 Winsing Xinyi Received Top Design Award of Taipei City Construction Fence Green & Embellishment Award 2012 Winsing Mobile City Received Construction Excellence Award of 20th Chinese Golden Stone Award for Architecture 2012 Design of Win Sing Corporate Brochure–Bamboo Entered Global Cannes Lions–Shortlist 2012 Winsing Mobile City Received Excellence in Architecture Design Award of FIABCI—Taiwan Real Estate Excellence Awards 2011 Winsing Matisse Received The National Golden Award for Architecture

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2009 Win Sing Development Co., Ltd. Awarded Certificate of Appreciation by Neihu District Office for Outstanding Participation of Neihu International Community of Safety Re-Authentication 2009 Winsing Hermit Shilin Winsing Ying Nian nominated for TRAA Taiwan Residential Architecture Award for High-rise Residence 2000 Keelung City Summer Green Villa Received Chinese Golden Stone Award for Architecture 1998 Archit Construction Co., Ltd Certified by International Organization for Standardization ISO-9001

CREDITS WINSING AIT RESIDENTIAL TOWERS Taipei, Taiwan

CLIENT: WIN SING DEVELOPMENT CORPORATION LTD. Chairman: Ming Jing Yeh President: Jenny Yeh Project Team: Fu Chen Cheng, Dean Chang, Min Jer Huang, Peter Kim, Iris Chang, April Lee, Ching Hsing Liang, Jessica Chen, Eric Tsai, Asahi Wang, Tina Fang, Ai Jane Chang, Michael Yao, Shih Shien Wu, Wayne Ke, Chun Hua Liao DESIGN ARCHITECT: MOORE RUBLE YUDELL ARCHITECTS & PLANNERS Principal-in-Charge: James Mary O’Connor Partners: John Ruble, Buzz Yudell Project Manager: Pooja Bhagat Project Team: Halil Dolan, Christopher Jonick, Kaoru Orime, Tony Tran, Takuji Mukaiyama, Toru Narita Model Makers: Toru Narita, Benjamin Foster, Kentaro Yamada, Michael Heise LOCAL EXECUTIVE ARCHITECT: LKP ARCHITECTURE Design Principal: Hung-Tsung Ko Project Manager: Ya Ting Chang Project Team: E. J. Lu, John Son Mo, Andrew Liang, Jing Ru Wang, Tzu Liang Chen, Hui Ya Tsao, Chia Wen Yang LANDSCAPE ARCHITECT: HORIZON & ATMOSPHERE LANDSCAPE CO. President: Henry Lu LIGHTING DESIGNER: JK Yao INTERIOR LIGHTING DESIGNER: Unolai Lighting Design President: Uno Lai INTERIOR DESIGNER: Chuan-Yong Guan, De Ru Hu ARCHIT CONSTUCTION CO., LTD. President: Mao Te Huang Team: Shun Ching Chu, I Tin Yeh, Kenji Chiang KAJIMA CHUNG-LU CONSTRUCTION CO. LTD. Chairman: Toshihiro Onodera Vice Chairman: Mamoru Ohashi KAJIMA CHUNG-LU • ARCHIT JV Project Manager: Masato Konishi Project Team: Makoto Tsusue, Chin Hung Hsieh, Wen Shen Hsu, Akiharu Takahashi, Makoto Tanaka, Yong Tian Jheng, Chun Li Chang, Kuo siang Tsui, Kuo Li Weng, Liang Wu Chiou, Ming Je Luo, Te Shun Chou, Chung Hsing Liu, Jung Wei Chih, Han Tsung Wang, Li Hsing Chiang, Tung Sheng Hsieh, Li Ru Yu Photographer: John Edward Linden, Olivier Marceny

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ACKNOWLEDGMENTS

We are indebted to Paul Latham and Images Publishing for this opportunity to extend the unique story of Winsing AIT to a larger audience in Taiwan, Asia and beyond. In their commitment to quality and support of contemporary graphic design and presentation, Images Publishing continues to make an important contribution to the publication of architecture and design. At the core of the book is the collection of insightful essays written by our contributors. Together, these essays have accurately reflected the extraordinary aspirations, passion and creative process that have resulted in the completion of Winsing AIT. We would like to thank Director Hung-Tsung Ko, Philip Jodidio, Ying-Chao Kuo, John Ruble, James Mary Oâ&#x20AC;&#x2122;Connor, Henry Lu and Uno Lai and for contributing their outstanding pieces to this publication. At Moore Ruble Yudell, Victoria Lam provided both the very creative graphic design for the cover, layouts, and typography, as well as critical insight into the overall presentation and message of the monograph. Tony Tran provided thoughtful and attentive editorial guidance of the written texts and graphic materials. They have exhibited a deep understanding of the values and intentions of the project. Given its prominent scale, impact and significance, the Winsing AIT project has been foremost a collective enterprise. We thank the project team of MRY, LKP Architecture, Chung-Lu Construction Co., Ltd. of KAJIMA Japan, Horizon & Atmosphere Landscape Co., J.K. Yao of Chroma33 Architectural Lighting Design, Interior Designer Chuan-Yong Guan and De-Ru Hu, UNOLAI Lighting Design and JRV International for their tremendous support, hard work and belief in the project. The exceptional success of Winsing AIT is both a tribute and testament to their combined vision, talent and dedication in achieving a tremendous common goal together. Jenny Yeh President, Win Sing Development Corporation, Ltd.

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BIOS PHILIP JODIDIO Author and Critic Philip Jodidio was born in 1954 in New Jersey. He studied art history and economics at Harvard University, graduating in 1976. He was the Editor in Chief of the widely circulated French art monthly magazine, Connaissance des Arts, from 1980 to 2002. Jodidio is the author of more than 100 books on contemporary architecture and art, notably the best-selling Architecture Now! series (Taschen). He has published monographs on Richard Meier, Renzo Piano, Tadao Ando, Zaha Hadid, Santiago Calatrava, Shigeru Ban, and Alvaro Siza. He has worked as an editorial advisor for the Aga Khan Trust for Culture (Geneva), Qatar Museums Authority (Doha) and various other organizations. He has lectured widely and writes for several magazines. Philip Jodidio is currently preparing monographs on David Chipperfield and Christian de Portzamparc, a book on the New Architecture of Qatar, and another on the redevelopment of the souks of Beirut. HUNG-TSUNG KO Director and Design Principal, LKP Architecture The founder of the firm LKP Architecture, Hung-Tsung Ko has played an important and influential role in the field of architecture in Taiwan for the last three decades. His pioneering, cutting-edge residential designs for the last 20 years have set the standard for subsequent residential architectural development in Taiwan. Now, he is spearheading the concept of “Social Maestros” to inspire an emphasis on culture and society. Passionate about architectural design, Mr. Ko continues to create drawings by hand every day to convey his feelings and thoughts—through a dialogue with every stroke and line. An extraordinary figure in the Taiwanese design industry, he applies his enthusiasm, abundant expertise and practical experience to gain and provide insights into current architectural developments. On projects, he has been successful at presenting the most ideal design solutions that are in line with market trends, thereby generating the highest ROI (Return on Investment) for the land. As a result, Mr. Ko has garnered a prestigious and unshakable reputation in the Taiwanese design market.

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YING-CHAO KUO Principal Architect, Bio-architecture Formosana Ying-Chao Kuo is the principal architect of the firm Bio-architecture Formosana in Taipei. He graduated with a Bachelor of Science in Architecture from National Cheng Kung University in 1982, and earned an M. Arch II degree at the University of California, Los Angeles (UCLA) in 1989. From 1988 to 1993, he worked as an Assistant Architect at Moore Ruble Yudell Architects & Planners in Santa Monica, California. Ying-Chao Kuo has taught architectural design studios at National Cheng-Kung University, National Taiwan University of Science and Technology, and National Chiao-Tung University as an Associate Professor. He has won numerous awards for his design in sustainability, and was the recipient of the 12th Annual Outstanding Architect Award in Taiwan in 2011. He has completed a translation of the book Chambers for a Memory Place, written by Donlyn Lyndon and Charles W. Moore. UNO LAI, IALD, IES President, Unolai Lighting Design Born in Taiwan, Mr. Uno Lai is an accomplished lighting designer and lighting artist. During his early career, he traveled extensively, lived in many different countries, and experienced a wide variety of professional training including photography, theatre and interior design. All of these influences nurtured his creative spirit, before he fulfilled his vision and founded Unolai Lighting Design in New York in 2005. Praised as a “lighting poet” for his imaginative work, Mr. Lai believes that lighting is not only a visual element, but also a sensation and emotion. He is one of the few to promote the theory of “subtracting lighting design”—removing lights is as important as adding them. Mr. Lai has received numerous prizes and awards from institutions, including the Illuminating Engineering Society of North America and the International Association of Lighting Designers. As a sought-after public speaker, lecturer, and writer, Mr. Lai continues to seek ways to re-think the future of lighting and has recently established a lighting-art installation based on his own concepts. He has participated in prestigious festivals and exhibitions including Singapore Marina Bay Lighting Festival, Taipei HuaShan Creative Park, and the Museum of Contemporary Art of Shanghai.

HENRY LU President, Horizon & Atmosphere Landscape Co., Taipei/Shanghai Landscape designer Henry Lu’s unique approach combining esthetic sensibility and rationality has earned him a world-wide reputation. His work demonstrates a commitment to optimize the profound opportunity for landscape design and planning to ultimately fulfill spiritual and psychological well-being. Outstanding projects include the landmark Taipei 101 Plaza Square—enhancing a building that represents Taiwan on the world stage; the Yingge Ceramics Museum; National Taipei University; National Tsing Hua University; BELLAVITA Boutique Square in Xinyi District, Taipei; Narada Resort and Spa Perfume Bay in Sanya, China; Mandarin Oriental Luxury Apartments in Taipei; Bay Area theme planning and design and Romon commercial area in Ningbo city, China. Henry Lu has been a lecturer for many years at the Department of Landscape Architecture in Chinese Culture University. JAMES MARY O’CONNOR, AIA Principal, Moore Ruble Yudell Architects & Planners In his 30-year career, architect James Mary O’Connor has demonstrated a steadfast, passionate commitment to design excellence. Born in Dublin, Ireland, James received his Diploma in Architecture from the Dublin Institute of Technology (DIT) and his Master of Architecture from the University of California, Los Angeles (UCLA). As Principal-in-Charge at Moore Ruble Yudell, James has provided inspired design leadership for numerous large-scale, innovative master planning, urban design, campus planning, residential and mixed-use projects throughout the United States and the world. In addition to the Winsing AIT Residential Towers, James’ current prominent projects include the Grangegorman Urban Quarter Master Plan in Dublin, Ireland, the Shanghai Technology University campus and the Shanghai Theatre Academy campus, China, and the design of the new US embassies in Helsinki, Finland, and N’Djamena, Chad. For over 20 years, James has taught design studios, lectured, and been invited as guest critic at universities and academic institutions in the United States, and throughout the world.

JOHN RUBLE, FAIA Partner, Moore Ruble Yudell Architects & Planners John Ruble began his career as architect and planner in the Peace Corps, Tunisia, where a profound experience of culture, climate, and place provided lasting influences on his work. At the University of California, Los Angeles (UCLA), he studied and associated with Charles Moore. In 1977, John, Charles, and Buzz Yudell formed Moore Ruble Yudell, a partnership based on shared humanistic values. As Partner-in-Charge, John has collaborated on a broad spectrum of residential, academic, cultural, and urban design work. He has helped realize some of the firm’s best-known international work, including the competition-winning design for the US embassy in Berlin. Recent projects, including the South Lawn Project at the University of Virginia, in Charlotte, the Santa Monica Public Library, and the US embassies in Helsinki and The Hague, continue to expand Moore Ruble Yudell’s reputation and influence in civic architecture and urban development. John has been active in teaching and research, leading graduate design studios at UCLA and Cornell University. Together with Buzz Yudell, John is the 2007 American Institute of Architects Los Angeles Gold Medal recipient. JENNY (SHIAO JEN) YEH President, Win Sing Development Co., Ltd. Mrs. Jenny Yeh is the second-generation leader of Win Sing. Having studied, worked and lived in the United States for 10 years, she is devoted to bringing international architectural esthetics back to Taiwan’s development and construction industries. Since joining Win Sing in 1998, she has actively promoted the company’s brand by strengthening its architectural planning and connection to international partners. Following the successful completion of the Winsing AIT Residential Towers with Moore Ruble Yudell, Mrs. Yeh and the company have been collaborating with Robert A. M. Stern Architects from New York, USA, on the design and construction of the luxurious residential project, Winsing Xin Yi. This building will be completed and placed on the market in 2015.

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ÂŠ Win Sing Development Corporation Ltd and The Images Publishing Group Pty Ltd 2015 ISBN 9 781864 705 90 4 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior consent of the publishers. Design: Victoria Lam, Moore Ruble Yudell and Sarah Chang, Yan Chang, Wei Wei Lin, Win Sing Development Co., Ltd. Editing & Proofreading: Tony Tran, Moore Ruble Yudell and Gina Tsarouhas, The Images Publishing Group Pty Ltd First published in 2015 by The Images Publishing Group Pty Ltd 6 Bastow Place Mulgrave Victoria, 3170 Australia For the National Library of Australia Cataloguing-in-Publication entry, see Dewey Number: 720.4830951249 Printed and bound in China 114