LOOK INSIDE: Section, Kris Yao | Artech

PREFACE

4 PREFACE

Kris Yao, Hon. FAIA

©Barry Lam

Photo taken by Barry Lam, Founder and CEO of Quanta Computer.

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Many years ago, when I was just starting to practice architecture, I had a sudden epiphany on a classical Chinese term that I had learned since childhood. “Tang ao” ( )—two simple syllables—encompasses everything about the act of creating architecture. Tang, in the literal sense, means the room, the hall, or the space one sees upon entering through an open door. Ao, its counterpart, refers to what cannot be seen, yet can be sensed and mentally constructed through the context of tang. Tang and ao therefore represent the seen and the unseen. Importantly however, what is unseen is not the same as non-existent; it just exists in a different dimension. Despite this simplicity, it took many years of practicing architecture for me to truly appreciate the profundity embedded within these two words.

Of course, tang ao signifies something much deeper than their literal meaning. Everything that we find meaningful possesses this dual quality, and architecture is no exception. The physical presence is obvious and tangible, while the emotional aspect is intangible, ambiguous, and often mysterious. And in architecture, both aspects are equally important and inseparable.

Without ao, architecture becomes pure technology—a mere feat of engineering; and without tang, there is no physical basis to contextualize a deeper form of communication, . Tang and ao are like the two wings of a bird that, when balanced, allow it to soar. The challenge of achieving this balance is what makes architecture so complex and so fascinating. Architects create places by working with the limitations of inanimate objects— brick, stone, wood, concrete, glass—yet we strive to create limitless meanings and memories of these places for those who inhabit them.

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Tang ao also has a cinematic quality. It captures a sense of space– time progression, a sequence, an exploration. The contrast between a Western painting and a Chinese scroll painting provides a good analogy for this concept. The former presents an image that is clear, decisive, and frozen in time, whereas the latter is akin to watching a film: as the scroll is unfurled at one end, and rewound at the other, slowly revealing its contents, a procession of impressions accumulate to construct a composite mental image. Likewise, when we move through the spaces of a building, ao can become tang as we anticipate what lies ahead, then encounter the expected (or the unexpected), with each new experience adding to the previous.

For many of the projects in this book, the attempt to investigate both aspects—the tangible and the intangible—provided one of our main challenges, and this was particularly true for the

culture projects. The practical brief for Wuzhen Theatre, for instance, was to create two interconnected, flexible, modern performance spaces, but we were also keen to reflect the atmosphere of its Jiangnan water-town location. Recycled building materials, such as old ship timbers, handcrafted citywall bricks, and clay roof tiles, were therefore chosen to capture the sense of a bygone era and to complement this uniquely preserved historic site, free from modern materials and means of construction.

At the Water-Moon Monastery, banners fluttering in the wind, sunlight entering the interior through walls hollowed out with scriptures, and reflections of various kinds create the sense of an illusory and ephemeral space, in response to the Buddhist master client’s suggestion that the monastery reflect the notion of “moon in the water, flower in the sky.”

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In our recently completed New Taipei Art Museum, a labyrinth of slowly ascending paths, made from chiseled concrete and local brick, echo the atmosphere of the narrow streets in the nearby old town. These contrast with the rectangular art museum that hovers above, clad with randomly patterned aluminum panels and sandblasted metal pipes—designed to create phosphenes, and inspired by the reeds that grow abundantly in and around the site.

Even in commercial projects, whenever possible, we try to transform the usual experience by creating dramatic spatial elements. One example is the Eslite Suzhou. In this bookstore and shopping mall complex, rather than the usual atriums and escalators, visitors are greeted in the entry by a sunlit grand stairway flanked by a gigantic architectural concrete wall, leading from the first to the third floor. Since its opening, the complex has become the perfect stage-set for selfie-lovers, and the most visited commercial complex in the area.

Of course, it would be naive to expect that visitors will always perceive an architect’s vision exactly as intended; in reality, the original intention and the final reception often have startlingly little in common. Nevertheless, architects must persist in trying to create what they believe will be meaningful spaces for those who use them, which is why a profound understanding of human psychology and appreciation of a particular location’s history, culture, and natural environment is so crucial.

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SECTION: KRIS YAO|ARTECH is our fifth monograph, after 38 years of practice. It presents a cross-section of major projects spanning a decade—2012 to 2023—across a variety of different building types. We also celebrate our obsession with architectural sections by including these for most entries, to illustrate our spatial intentions and highlight recurring motifs. Looking back over past work is something I never find easy, but the very purpose of a monograph is to do just that, and I hope that the process of reflecting on what we have produced over the last ten years will help realign us for future challenges.

At KYA, we’re fortunate to be able to work on projects of all kinds, from commercial complexes to cultural venues, and from secluded sites to urban centers. Rather than restricting ourselves to any particular specialism, we instead try to apply the “beginner’s mind”— always attempting to see a project with fresh eyes, and constantly reminding ourselves of the great Zen master Shunryu Suzuki’s words: “In the beginner’s mind there are many possibilities, but in the expert’s mind there are few.” And we are lucky that, rather than considering us as experts in possession of a specific formula, our clients trust our professionalism and appreciate our sense of curiosity, enabling us to create thoughtful, sensible spaces, with them and for them.

We believe that the places we build should be continually adaptable and sustainable, and have positive transformative power, creating meaningful experiences for people. Despite our human limitations and the day-to-day challenges we face, I’ve always found encouragement in these words from the ancient Greek ephebic oath: “I shall not leave my land any less but rather greater than it was left to me.”

14 PREFACE

A parable by the great ancient Chinese philosopher Zhuangzi tells the story of three emperors: Shu, the emperor of the North Sea; Hu, the emperor of the South Sea; and a feature-less, direction-less being called Hundun who rules over the central kingdom (Literally, Hundun means “paradox”, “obscure”, or “primordial chaos”. In fact, the Chaos theory of modern quantum physics is translated as “Hundun theory” in Chinese). Shu and Hu (interestingly, the two names combined means “in an instant”, “in the very moment”) admired and appreciated Hundun very much, but they think his featurelessness is a problem for them to solve, so as a friendly and gracious gesture, Shu and Hu decided to carve out eyes, ears, nostrils and mouth for him, creating one of the seven sense openings each day. After seven days, when all the features are complete, Hundun dies.

I find this so profoundly symbolic to what we do as architects—or anyone who creates things in a spirit of optimism—that it is worthwhile to reflect upon. We try to make order out of chaos, we build with good intentions for

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a better future, but most likely, we lose whatever we have come forth for because the order that we so hang on to is nothing but, to quote Einstein, an admittedly tenacious illusion*. What Zhuangzi tells us is that our instantaneous habit to fix things with dualistic thoughts and logical manipulation can often quickly kill intuition and mystery that stem from primordial purity. Therefore, by training ourselves to appreciate holistic, non-dual approaches, we may discover a world abundant with possibilities that require less effort.

And yet, as mortals, we have no choice but to maintain our optimism, to strive continuously to make sense of the unknown. We have to believe that what we do may create a better world for now and for the future—but always, with a healthy dose of humility.

* In a letter to his deceased friend Michele Besso and family, Einstein wrote: “…. For people like us who believe in physics, the separation between past, present and future has only the importance of an admittedly tenacious illusion.”

FOREWORD

16 FOREWORD

Michael Webb

Michael Webb is a Los Angeles-based writer who has authored more than twenty books on architecture and design, most recently Architects' Houses, and Building Community: New Apartment Architecture, while contributing essays to many more. He is also a regular contributor to leading journals in the United States and Europe. Growing up in London, he was an editor at The Times and Country Life, before moving to the US. He was awarded an honorary membership in the Los Angeles chapter of the American Institute of Architects, and made a Chevalier de l'Ordre des Arts et des Lettres for his services to French culture.

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Water-Moon Monastery

From the serenity of a Buddhist monastery to the energy of a high-speed train station and the urbanity of a corporate headquarters, the architecture of Kris Yao is versatile and far-flung. KRIS YAO | ARTECH, the firm he established in 1985, has explored many typologies, while winning acclaim for a succession of museums, campuses, office towers, and cultural complexes in the past three decades. The scale has grown but the varied buildings are consistently fresh and original. “Every project is a brand-new experience and I need to feel the spirit of place,” says Yao. “I take an intuitive rather than analytical approach, using very simple forms that conceal the complexities of each structure.”

The twenty-seven new and recent projects in this monograph scattered across a vast geographic area, yet each is a distinctive response to program and context while sharing a common DNA. Architecture and nature are interwoven; even on dense urban sites, buildings often step back from the street behind a landscaped forecourt. Beyond the city centers, they

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©ALIBABA-JUN JIE SHEN

Foxconn Headquarters Shanghai

take their cues from rivers and lakes, rocks and trees, echoing their fluid forms or offering the sharp-edged contrast of a machine in the garden.

In a succession of museums, Yao has created architectural promenades that draw visitors in from the point of arrival, revealing every aspect of the building and its displays as they turn and ascend. Each shift of direction or level discloses a new vista. Movement is choreographed to turn spectators into active participants and encourage them to make their own discoveries. As Yao explains, “I envisage architecture as though I were shooting a movie. Scene follows scene as the camera moves through the spaces, and I hope that visitors will share that experience and gather on the stage I have created.”

Corporate towers are conceived as building blocks that enrich the urban fabric while serving as a symbol of identity for the owner. KYA’s towers, from the shimmering facades of the China Development

Hupan Center

Headquarters in Taipei to the geometric complexity of Foxconn in Shanghai and China Steel in Kaohsiung, convey a sense of stability and purpose without resorting to the ponderous historicism or tortured shapes of so many commercial developments. Springy, elegant, and welcoming, they serve public and private interests in equal measure.

Yao’s architectural thinking is infused with spirituality.

One could describe him as a sage with a twinkle in his eye; discerning and reflective, with a firm grasp of practicalities. “Our inhibitions and suspicions block us from using our inherent wisdom,” he observes.

“Meditation is like a glass of muddy water; if you allow it to sit, the mud will subside and the water will clear; yet, in real life, we keep shaking it.” That ability to view the transient world with calm deliberation translates into the stillness one encounters at the heart of his cultural and educational projects. They serve as refuges from the city, and oases of serenity amidst the frenzy of urban life. The new campus for

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Palace Museum Southern Branch

Hupan Center is, literally and figuratively, an island on the land. A circular enclosure surrounded by a moat contains varied spaces for teaching and study, and a reception hall on a little island in the central lake. It refers back to the scholars’ gardens of ancient China.

Yao feels very close to traditional Chinese culture and is an accomplished calligrapher. He describes his concept for the Palace Museum Southern Branch as being based on three calligraphic forms: a brushstroke using thick ink, another using half-dry ink, and a “smeared” stroke. The new internet headquarters is conceived as a hilltop village flanked by tea plantations and camphor groves outside the city of Xinchang.

Small buildings abstract the regional vernacular of white walls and pitched tiled roofs, and they flank a central canal traversed by stepping stones. And the Wuzhen Theater is a fusion of new and old that mediates between a painstakingly restored water town on one side and the contemporary quarters beyond.

Looking at KYA’s body of work and the plenitude of

awards, it’s clear that the firm has enjoyed a fruitful dialogue with most of its clients. It has established itself as the most creative design force in Taiwan, raising the bar for its peers, developers, and institutions. It has also mastered the challenge of building in China, retaining control of its projects through the construction process to ensure a high level of execution. KYA can offer the solid foundation of a long-established practice and the fresh thinking of a much younger firm by fusing the best of the past culture with contemporary needs and technologies. Young architects have much to learn from Yao’s reinterpretation of classic traditions and its emphasis on the importance of site, as well as local materials and practices. For KRIS YAO | ARTECH, the next three-decades may be even more productive than the first.

-Michael Webb

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PREFACE

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FOREWORD

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CONTENTS

CONTENTS

PROJECTS New Taipei City Art Museum

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Palace Museum Southern Branch

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Museum of Prehistory

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Wuzhen Theater

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Water-Moon Monastery

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Feng Zikai Arts Center

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Hefei Central Library

102

Taipei City Concert Hall and Library

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TSMC Nanjing Campus

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Hainan Energy Trading Building

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Foxconn Headquarters Shanghai

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Tong Hsing Electronics

160

TSMC Hsinchu R&D Center

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China Development Headquarters

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Joy City Chongqing

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Far Eastern Retail Complex

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United Daily News

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Hua Nan Bank

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A Hilltop Campus

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Changhua High-Speed Rail Station

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Hotel Resonance Taipei

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Han-Gu Villa

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Hotel Indigo Taipei

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Cosmology Center Taiwan University

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Hupan Center

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Dharma Drum Institute of Liberal Arts

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Han Pao-Teh Memorial Museum

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SELECTED PROJECTS

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TEAM

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CREDITS & GRATITUDE

NEW TAIPEI CITY ART MUSEUM Completed Year: 2023

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Location: New Taipei, Taiwan

26 NEW TAIPEI CITY ART MUSEUM

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Exterior view of the museum and the art village still under construction.

Client: Cultural Affairs Bureau, New Taipei City Area: 32,420 m2

The New Taipei City Art Museum (NTCAM) sits between the old towns of Yingge and Sanshia, with Mount Guilin to the north, and the Dahan River and Xueshan mountain range to the south. The competition to design the museum was won with the concept of an “art museum among the reeds.” The intention was to create an open and accessible display of art that was fully integrated into the landscape, housed in a building that also achieved a high level of sustainability.

The design blends the natural and the fabricated, interpreting elements of one in the form of the other, and vice versa.

Museums in Taiwan often exclude those unable to afford the price of entry. The NTCAM compensates for this with a vast open-air concrete art village on the ground floor that is open to all. This network of “streets” and sculpture terraces has an angular geometry that recalls the patterns of cracked mud in the Dahan riverbed during the dry season, as well as the spatial organization of the old streets of Yingge and Sanshia.

Visitors are free to wander around this sculpture park, exploring its artworks, cafés, and workshops.

Sectional perspective through the two performing spaces.

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To the left of the vast pond, a 550-meter-long walkway is sandwiched between two concrete walls. This not only provides a circulation route where visitors may stumble upon worshipers and nuns, but also constitutes what Speaks (2015) describes as: A wondrous sensory mixing chamber, where the controlled stream of noise and chaos from the city is reconditioned and made to blend with the sound of prayers, visitors’ chatter, and the soft shuffle of those moving about on concrete floors. (p. 1) Daylight composes a steady rhythm of light and shade across the hallway, too, offering a metaphor for the recurring ups and downs of the human experience.

The powerful aura of this space can soothe a troubled visitor, encouraging him to embrace life in both dark times and light.

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The primary material used for the monastery was concrete, its unadorned facade and muted color scheme intended to reflect the simplicity of Zen Buddhism. Inside the main hall, 108 Buddha sculptures are recessed into the wooden north-facing wall.

Opposite this, a large glass wall allows natural light in and provides a broad view of the sky—at certain times of day, reflections of the sculptures appear in the sky, as if sitting among the clouds.

Whether you’re a devoted Buddhist looking for a place of worship, or a secular traveler seeking a refuge from the world, Water-Moon Monastery is the perfect place to focus on mind and spirit. The stresses of the city are left behind, and a journey through this serene space leaves visitors in a profoundly more relaxed state than when they arrived. With its unique presentation of Buddhist scriptures, together with an overall design that embodies Zen teachings, it offers an enlightening space for all.

CITATION Speaks, Michael. “Quickening and Slowing: The Genius of Kris Yao’s Singular Modernism.” 30 x 30 Kris Yao / Artech Selected Works”, edited by Kris Yao. Beijing, 2015.

FENG ZIKAI ARTS CENTER Design year: 2020

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Location: Tongxiang, China

158 FOXCONN HEADQUARTERS SHANGHAI

TONG HSING ELECTRONICS Completed year: 2023

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Location: Taoyuan, Taiwan

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CHINA DEVELOPMENT HEADQUARTERS Completed year: 2020

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Location: Taipei, Taiwan

184 CHINA DEVELOPMENT HEADQUARTERS

Client: China Life Insurance Co., Ltd. Area: 81,495 m2

The China Development Headquarters rises 18 stories above ground and plunges 5 stories below. The main entrance, which faces Taipei’s Dunhua North Road, serves the offices on the first 12 floors and the executive suites on the top floor. A second entry to one side provides access to the five-star hotel housed on floors 14 to 17, isolating its circulation from the offices for security and management purposes.

Time has left its mark on three old trees—preserved from the original site—that silently stand guard over the new occupant. Around them, a well-executed landscape design assembles plants, pools, benches, and pavements to create an open and fluid space for the public to enjoy. After dark, the glass cube facing it glows like a light box, catching the attention of passersby on foot and in cars, and injecting new energy into the nighttime cityscape.

Sustainable measures played a major role in the building’s design. Retention ponds were dotted around the site to regulate the microclimate, recycle and reuse rainwater, and establish a water-diversion system.

The project also included the systematic control of sensor lights and electric double-layer curtain louvers to achieve the desired daily energy savings. Together these decisions have produced a modern office complex that performs well and is highly sustainable.

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196 JOY CITY CHONGQING

Client: Grandjoy Holdings Group Co., Ltd. Area: 352,887 m2

This mixed-use project turns a challenging site to its advantage, creating a commercial center with great character and appeal. To the north, the commercial podium and towers are clad in glass and silver-gray aluminum panels, giving them a light-hearted urban simplicity. Square masses of varying surface finishes then thrust into the podium from various angles,

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creating an exciting juxtaposition of solids and voids at the lower levels.

The podium stretches across two plots, maximizing the buildable area to 180 meters north to south, and 150 meters east to west. It rises seven stories to reach a height of 42 meters.

To the south, a complex series of terraces provide zones for art, performance, and commercial activities.

Unlike the view in the other three directions, the south looks out onto a landscaped valley, used by locals for recreation—a green zone that sits in strong contrast to the densely packed high-rises and major transportation hub to the north.

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ARCHITECTURAL ELEMENTS

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Joy City Chongqing covers 46,000 square meters, with a total floor area of 355,000 square meters, of which 145,000 are the commercial podium, while the three office and residential towers combined account for another 94,000. The two podium masses, sited at the intersection of two subway lines and ruthlessly sliced in half by a four-lane arterial road, are crucially linked by an elliptical circulation ring and an oversized rectangular tube.

1 Podium 2 Ring 3 Promenade 4 Terrace 5 Plaza 6 Tower

The landscaped terraces to the south lead down in stepped fashion toward the natural parkland beyond, bordered by a scenic dam that was increased to a width of 50 meters. Flowerbed-lined paths, elevated bridges, and stairways weave through this area, constituting a city park of its own.

This luxury resort is located in a beautiful winding valley below the Simatai Great Wall—a natural setting that the architect pledged to protect upon first setting foot on the site.

A sketch showing the stilthouse concept, which minimized site grading and preserved as much vegetation as possible.

306 HUPAN CENTER

Client: Hupan Learning and Research Center of Entrepreneurship Area: 43,814 m2

Hupan Center is a business and research center founded by nine celebrated Chinese entrepreneurs and scholars, with the goal of infusing graduates with a lively start-up spirit. The new campus is located in the Yuhang district of Hangzhou, Zhejiang province, and sits on a site bordered by water on three sides. It was conceived as a contemporary version of a traditional

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©ALIBABA-JUN JIE SHEN

Chinese garden, enclosed within a ring-like building, 160 meters in diameter and three stories in height, where occupants and visitors can share ideas, cherish traditions, and embrace new concepts.

SELECTED PROJECTS

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1 Xiang Guang Shan Temple 1995 - 1998 Location: Taichung, Taiwan

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4 TNNUA College of Sound and Image Arts 1996 - 1998 Location: Tainan, Taiwan

2 Yuan Ze University Library

5 Tomihiro Art Museum Competition

1995 - 1998 Location: Taoyuan , Taiwan

2001 Location: Gunma Prefecture, Japan

3 Continental Engineering Corporation Headquarters 1994 - 1999 Location: Taipei, Taiwan

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6 The Drape House 2003 Location: Nanjing, China

7 Palace Museum, Southern Branch-2004 International Competition 2004 Location: Chiayi, Taiwan 8 Quanta Research & Development Center 2002 - 2005 Location: Taoyuan , Taiwan

9 Hsinchu High Speed Rail Station 2000 - 2006 Location: Hsinchu, Taiwan

10 Taipei Fuhsing Private School 2000 - 2007 Location: Taipei, Taiwan

11 Fo Guang Shan Monastery, North Carolina 2004 - 2008 Location: North Carolina, USA

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1 Kelti Group Headquarters 2005 - 2009 Location: Taipei, Taiwan

2 Shih Chien University Gymnasium 2003 - 2009 Location: Taipei, Taiwan

3 Shih Chien University Library 2003 - 2009 Location: Taipei, Taiwan

4 Lanyang Museum 2000 - 2010 Location: Yilan, Taiwan

5 Fo Guang Shan Monastery, Vienna 2004 - 2010 Location: Vienna, Austria

6 Bhutan Shrine Paro 2008 - 2011 Location: Bhutan

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7 China Steel Corporation Headquarters 2004 - 2012 Location: Kaohsiung, Taiwan

8 Fo Guang Shan Monastery, Bussy, France 2008 - 2012 Location: Paris, France

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9 Luodong Government Center 2012 Location: Yilan, Taiwan

10 Far Eastern Mega Tower 2007 - 2013 Location: New Taipei, Taiwan

11 Humble House Taipei 2009 - 2013 Location: Taipei, Taiwan

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12 Wutaishan Retreat Center 2013 Location: Wutaishan, China

13 Yuantong Monastery 2014 Location: Nanjing, China

14 Cathay Landmark 2008 - 2015 Location: Taipei, Taiwan

Executive Architect: Hcch & Associates Architects Planners & Engineers

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15 Eslite Suzhou 2009 - 2015 Location: Suzhou, China

16 Formosa Plastics Group Headquarters and Residential Tower Complex 2015 Location: Taipei, Taiwan 17 Taiwan Traditional Theater Center 2009 - 2016 Location: Taipei, Taiwan

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1 WithIn ‧ WithOut - KRIS YAO Selected Works Exhibition 2015 - 2016 Location: Shanghai, China 2 Shanghai Culture Center 2018 Location: Shanghai, China

3 NYCU Hospital 2019 Location: Hsinchu, Taiwan

4 Tianyige Museum 2019 Location: Zhejiang, China

5 Nanjing Shangqinhuai International Culture Exchange Center 2016 - 2020 Location: Nanjing, China 6 Xiamen Bank Headquarters 2020 Location: Xiamen, China

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7 Shenzhen Natural History Museum Competition 2020 Location: Shenzhen, China 8 Shenzhen International Performance Center Competition 2020 Location: Shenzhen, China

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9 S’Young Park 2021 Location: Hunan, China

10 Sunbrid Residence 2021 Location: Taoyuan, Taiwan

11 Compal World Headquarters Competition 2021 Location: Taipei, Taiwan

12 Tokyo Electron Limited Tainan Office 2021 Location: Tainan, Taiwan

13 Dzongsar Museum 2016 - 2022 Location: Sichuan, China

14 Kinmen County Central Library and Art Museum Competition 2022 Location: Kinmen, Taiwan

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15 Jiang Ning Art Museum 2016 - 2023 Location: Nanjing, China

TEAM

CREDITS & GRATITUDE

SECTION

KRIS YAO ARTECH

I would like to take this opportunity to express gratitude to all who has worked on the birth of this monograph and those who had taken part in the projects within. I would particularly like to thank Ying Jung Lu and Hsin Chun Huang for their creative minds behind the design, layout, and cover of this monograph. I also thank Xiang Jen Yao, Grace Lin, Ping Chiao for their leadership; Michael Webb, Nini Lee, Angela Koo, and Robert Hall for all text-related works; Doris Chen and Davina Lin for graphic edits and assistance throughout the course of the preparation of this book; and finally, Maria Lezhnina, Chi-Kuei Chiu, Yen-Ting Chen, Ming-Xiao Lin, and Winnie Wang for the sectional perspectives of the projects.

Finally, I want to thank all the colleagues of KRIS YAO ARTECH, past and present. Their individual and collective contributions to the art of building can never be sufficiently recognized.

Kris Yao, Hon. FAIA Founder

Conceived by Kris Yao, Hon. FAIA Editorial management by Xiang Jen Yao Design, layout, and cover by Ying Jung Lu and Hsin Chun Huang Foreword by Michael Webb Project texts and captions by Nini Lee and Angela Koo Translation consulted by Robert Hall Graphics by Davina Lin and Doris Chen Photographs and visualizations by 5foreststudio, ALIBABA-JUN JIE SHEN, ALIBABA-LYU CHENG, Bian Jie, Bota, Chao Yu Chen, Chih Yen Tsai, Ching Kuang Liao, Chris Stowers, Chyuan Jen Chang, ChungMin Lin, Commonwealth Publishing Group, David Chen, Dean Cheng, Fei-Chun Ying, Getty Images, GRANDJOY, Herry Lou, Hupan Learning and Research Center of Entrepreneurship, Hsiang-Yun Mai, Jack Ou, Jeffrey Cheng, KLOMFAR, Kris Provoost, KRIS YAO ARTECH, Kyleyu Photo Studio, Liu Chen Hsiang, Marc Gerritsen, MLee Studio, Nanjing Daily Cui Xiao, Pay Tsung Pan, Ping Chiao, Shawn Liu Studio, Shephotoerd Co., Steve Lee, StudioSZ Photo, Taiwan Semiconductor Manufacturing Company, Ltd., Tom Hung, Tzu-Kang Huang, YHLAA, Yueh-Lun Tsai, Yu Tzu Chin, Wen Zhong Gao, Willy Berre, Wuzhen Tourism Co., Ltd., Zongsa Quba, ZOOMARCH, USGBC® and the related logo are trademarks owned by the U.S. Green Building Council® and are used with permission.

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ORO Editions Publishers of Architecture, Art, and Design Gordon Goff: Publisher www.oroeditions.com info@oroeditions.com Published by ORO Editions Copyright © 2024 KRIS YAO ARTECH All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying of microfilming, recording, or otherwise (except that copying permitted by Sections 107 and 108 of the US Copyright Law and except by reviewers for the public press) without written permission from the publisher.

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Author: Kris Yao, Hon. FAIA Book Design: Ying Jung Lu and Hsin Chun Huang Project Manager: Jake Anderson 10 9 8 7 6 5 4 3 2 1 First Edition ISBN: 978-1-954081-41-3 Color Separations and Printing: ORO Editions Inc. Printed in Hong Kong, China ORO Editions makes a continuous effort to minimize the overall carbon footprint of its publications. As part of this goal, ORO, in association with Global ReLeaf, arranges to plant trees to replace those used in the manufacturing of the paper produced for its books. Global ReLeaf is an international campaign run by American Forests, one of the world’s oldest nonprofit conservation organizations. Global ReLeaf is American Forests’ education and action program that helps individuals, organizations, agencies, and corporations improve the local and global environment by planting and caring for trees.