Architecture Design Portflio

吳 佩 璇 Portfolio

2012-2018

作 品 集 二 零 一 二 二 零 一 八

Selective design works in Architecture

s

Graphic Design

Art Designed by WU,PEI-HSUAN

吳 佩 璇 WU,PEI-HSUAN 1989, Yilan, Taiwan Mobile: +886 9630 06968 TW Email: hsuan@arch.nctu.edu.tw https://issuu.com/wupei-hsuan/docs/_______

學歷

Education

碩士 / 國立交通大學 建築研究所 / 台灣 , 新竹 Master of Architecture / Graduate Institute of Architecture / National Chiao Tung University / Hsinchu, Taiwan / 2017 學士 / 國立台灣藝術⼤學 雙主修：古蹟藝術修護學系 / 台灣 , 台北 Bachelor of Arts / Department of Architecture Conservation / National Taiwan University of Arts / Taipei, Taiwan / 2011 學士 / 國立台灣藝術⼤學 雙主修：圖⽂傳播學系 / 台灣 , 台北 Bachelor of Fine Arts / Department of Graphic Communication of Arts/ National Taiwan University of Arts / Taipei, Taiwan / 2012

經歷

Professional Experience

專案設計師 / 十一事務所 / 台灣 , 台北 Designer / XRANGE architects / Taipei, Taiwan / 2018.10-2019.1 專案設計師 / 澤木設計＋李明澤建築師事務所 / 台灣 , 台北 Designer / ARMU Design x Ming-Che Lee Architects / Taipei, Taiwan / 2017.6-2018.6 平⾯設計師 / 義峰建築與室內設計事務所 / 台灣 , 宜蘭 Graphic Designer / EF Design Studio / Yilan, Taiwan / 2013 實習 / Boyarsky Murphy Architects / 英國 , 倫敦

Architectural Intern / Boyarsky Murphy Architects / London, UK / 2016.9 - 2017.2 實習 / 和風起造 + 王士芳建築師事務所 / 台灣 , 宜蘭

Architectural Intern / Windtoland Architects / Yilan, Taiwan / 2016 實習 / ⽥中央工作群 + 黃聲遠建築師事務所 / 台灣 , 宜蘭

Architectural Intern / Fieldoffice Architects / Yilan, Taiwan / 2012

特殊經歷

Leadership

合夥人 / 著時研究所 Co-Founder / Dio-Xi Research / Taiwan / 2017 創始會員 / 台灣女建築家學會 Founding Member / Woman in Architecture Taiwan / Taiwan / 2017 學生會會長 / 國⽴交通⼤學 建築研究所學會 Students Director / NCTU GIA / 2015

展覽

Exhibition

展區平面設計 / 2018 臺北公共住宅展 / 台北 - 松山文創園區 Designer / Taipei Public Housing / SCCP Taipei/ 2018 執行者 / 建築評論公開賽 / 打卡建築 / 桃園 - 中原大學圖書館 Co-Director / Architectural Criticism Open: Instagrammability/ 2018 Chiu-Hwa Wang Architect & Chung Yuan Library / 2017 展場與平⾯設計 / 2016 交⼤建築展 / 新竹 - 交通大學藝文中心 Artistic Director / GIA Project Review 2016 / Exhibition of NCTU / 2016 參展⼈ / 都市高層木構建築臺日聯展 / 台中文化創意園區 Exhibitor / Timberize TAIWAN / Cutural Heritage Park / 2015 空間設計 / 2015 年客家委員會築夢計劃補助「轉去 , 歸來」演出 / 屏東 - 蕭家古厝 Space Director / Hakka Affairs Council subsidy of ''zon hi, gui loi'' performance / 2015 參展⼈ / 國⽴台灣藝術⼤學 圖⽂傳播學系 - 畢業成果展 ''All The Little Things''/ 華山文化創意產業園區 Exhibitor / ''All The Little Things'', Graduate Exhibition of NTUA / Huashan Creative Park / 2012 策展⼈ / 國⽴台灣藝術⼤學 古蹟藝術修護學系 - 畢業成果展「世守勿替」/ 敦南誠品 Curator / Graduate Exhibition of NTUA / Eslite Dun Nan / 2011

出版品

Publication

專案研究員 / 原士林公會堂歷史建物修復及再利用計畫文史調査報告 Researcher / Research and Restoration reusing of Shilin Public Hall project / 2017 執⾏編輯 / 交⼤建築出版品「重啓京杭⼤運河的四種觀點」 Executive Editor / Method of Loci: A Design Study of Grand Canal Cities / NCTU GIA publish / 2016 共同編輯 / 淡⽔龍山寺傳統建築裝飾藝術調査計畫 CO-Executive Editor / Tamsui Longshan Temple: Art Decoration of Traditional Architecture Survey / NTUA AC publish / 2009

技能

Specialties & Skills

Architecture Design / Art Installation / Graphic Design / Book Design +3D Program Rhino, Sketch up, Grasshopper, Revit +2D Program AutoCAD, Photoshop, Illustrator, InDesign, Microsoft Office +Animation Lumion

- 2017

1 考古博物 館

N e w Cyp ru s M u s eu m

2 無牆美術 館

Ta m p e re a rt m u s eu m

3 城市屋頂 公 園

Ur b a n Bri d g e – Z i g z a g Ho u s i n g

- 2016

4 歷史與記 憶 的 慢 動 作 介 入

Ove r wr i t e w i t h i n Heri t a g e L a n d s c a p e

- 2015

5 行為圖 書 館

B e ha v io r L i b ra ry

6

Competitions & Academic Works

皺摺

Ple a t s

競 圖 與建築訓練課程作品 - 2016

7 舊商業街 屋

H o use o f Wu : Tra d i t i o n a l s t reet h o u s e

考古博物館

N e w Cyp r u s Mu seu m 大型美術館與都市空間的關係，不僅是城市空間的重要元素，也 是重要展示塞普勒斯考古遺產對於城市的重要性。構成新考古博 物館正式展示空間，與文物儲存空間，經由建築物內外通道配合 景觀配置，在地面層的動線上，向大眾展示關於修復文物、記錄 文物等不同材料專業修復室中的工作情形，作為遊客體驗的一部 分，除了觀看歷史大型陶土物件外，也觀看現代技術演進所能修 復預知的歷史。 The elements that make up the new museum and its landscaping are layered and made distinct in order to reveal their different facets and strata to the public. The ‘industry’ of archaeology as evidenced by the large areas for the storage of artefacts and the different laboratories that document and record them are revealed to the public as part of the visitor experience. The permanent galleries that house artefacts chosen for display are raised to the second floor level and they frame the activities and spaces below. The large terracotta clad Thematic Galleries, the ‘Floating Vessels’ at second floor level, signify the importance of the Cyprus’s archaeological heritage to the city and act as welcoming attractors to visitors.

The vibrant public spaces and facilities between storage and permanent vgalleries are accessible to museum visitors and to the wider public who are invited to enjoy the building’s facilities and the surrounding landscape.

二零一六 冬季 實習事務所：Boyarsky Murphy Architects 基地：塞普勒斯 , 尼古西亞 Internship / Winter 2016 Instructors: Boyarsky Murphy Architects Site: Nicosia, Cyprus Team Member: Khalid Sugair / Duc Le

Masterplan Gross Building Area: 17,560 m²

First Floor Plan - Public Facilities

Second Floor Plan - Permanent Galleries

1

1

3

3

2

2

Hallway and Thematic Path

Chronological Path 03

01 02 03 04

Chronological Thematic Laboratory Office and Department of Antiquities(PhaseB) 05 Periodic Exhibitions 06 Restaurant - Cafeteria 07 08 09 10 11 12

Storage Main Entrance Education Areas Conference Room Historical Buliding Car Parking

04

01 02

Permanent Exhibition

03

04 06

05

Terrace

10

07

08

09

11

Promenade and Entrance

12

07

Store rooms

Exhibition Hall

Open Exhibition

Longitudinal Section

Cross Section

無牆美術館

Ta mp e r e a r t mu seu m 私人收藏到公眾美學傳播，美術館既是城市文化重要場域也是一 座 公 園。「 無 牆 美 術 館 」 基 地 座 落 於 芬 蘭 南 部 以 工 業 科 技 為 主 的 城 市 坦 佩 雷（Tampere）， 既 有 市 中 心 美 術 館（Tampere Art Museum） 的 現 代 美 術 館 增 建 案， 左 側 的 市 區 道 路 與 Pyynikintori Square 是 交 通 轉 運 點 與 連 接 城 市 南 北 的 重 要 路 徑。 The Museum Yard is conceived as an important new hub to reinforce the Strategic Master Plan for the city centre.As a cultural hub and an open public space and facility for recreation,leisure and cultural and public arts activities,it will link pedestrian and green links to the north and to the refurbished Pynnkintori Square to the south.

The removal of the existing Janitor's Building will connect the Yard to the Amauri Museum of Workers' Housing where a second entrance is proposed from Puutarhakatu Street,a section of which is closed to traffic in this area.The architectural configuration of distinct symbolic buildings-the tower,the dome,the pavilion and the delivery building-will define public landscaped spaces of different qualities and activities.

二零一七 冬季 實習事務所：BoyarskyMurphy Architects 基地：芬蘭 , 坦佩雷 Internship / Winter 2017 Instructors: Boyarsky Murphy Architects Site: Tampere, Finland Team Member: Khalid Sugair / Duc Le / Hélène Hénault

05

06 04

01

02

05

03

01Tampere Art Museum Expansion 02 Pyynikintori Square 03 Tampere lyceum upper secondary school 04 Tampere Art Museum 05 Residential Area 06 Heinäpuisto Park

01 一地下層空間做為新舊美術館連接， 廣 場 上 提 供 固 定 的、 彈 性 的、 暫 時 性 的 各 式 活 動 使 用， 有 可 投 影 的 外 牆 面，可觀看城市的高 塔 。

A

▽ +15.87

A' A-A' Cross Section 01 02 03 04 05 06

Temporary Exhibition Workshop Showcase Office Space Terrace Foyer Exhibition

0

5m

▽ -4.20

▽ +22.75 05

04

▽ +6.00

03

06

01 02

02 大型美術館與都市空間的關係，不僅 是 城 市 空 間 的 重 要 元 素， 也 是 提 供 集 體 生 活 的 公 共 空 間， 不 應 以 大 型 建 築 物占去戶外用地，使戶外空間成為建 築 的 配 景。 應 同 等 經 營 戶 外 空 間， 使 得 面 對 多 樣 的 消 費 文 化， 人 們 得 以 從 中選擇想要的生活風格與生活美學， 成為日常美感經驗下具體實現的空 間。

B B'

B-B' Longitudinal Section 01 02 03 04

Foyer Temporary Exhibition Handing Room Outdoor Media Wall

▽ +4.55 04

0

5m

03 ▽ -7.40

02

▽ +22.75

▽ +15.87

▽ +6.00

01 ▽ -4.20

城市屋頂花園

Urban Bridge – Zigzag Housing 熱 那 亞 是 個 歷 史 很 悠 久 的 古 城， 也 是 義 大 利 最 大 的 港 口， 地 中 海 第 二 大 港 口， 僅 次 於 法 國 馬 賽。 基 地 位 置 的 舊 海 港（Porto Antico）是熱那亞港口古老的部分。熱那亞建築師倫佐 · 皮亞諾 重新開發這一地區，所以基地上有兩個重要會展中心，這次的提 案中，期望能還給市民一個給親近的海岸，以及因應都市居住問 題，提供占基地面績一半以上的社會住宅，及公共建設。 Blueprint Competition Activating and Articulating Urban Voids - New Urban Typologies.Our proposal addresses the enormous potentials and possibilities within the transformation of the Blueprint site at an urban level through the development of three distinct new urban typologies that respond to the scale of the proposed site, to the seafront and to the city of Genoa. The strategic ambition of the proposal is to stimulate occupation and inhabitation of the site and this is to be achieved by intensifying connectivity across the site and with the city, and by creating a ludic atmosphere and environment in which nature, living, leisure, the spectacular, and commercial life can co-exist in dynamic, flexible and mutually dependent ways. Our approach is not to fill urban voids with programme because, for us, density is a question, not an answer.

For us the question becomes how can new urban typologies articulate and respond to the potentials of redevelopment and then, what new forms of living and use should they take?

二零一六 秋季 實習事務所：Boyarsky Murphy Architects 基地：義大利 , 熱那亞省 Internship / Fall 2016 Instructors: Boyarsky Murphy Architects Site: Genoa, Italy Team Member: Hutsama Juntaratana

site

Listed Buildings

Listed Areas

Environmental Assets

Historic City Centre

+45.5m

Note A Residential Area B Commercial Area C Office and Executive Facilities D Hospitality Services

Urban Parkland Cafe

Pavilion B

A-A' Longitudinal Section

+22.80m

Zigzag Building

Pavilion S

Flâneurs’ Bridges

Zigzag Buildin

Urban Parkla

Pavilion B

Boat Route

g

New Canal

and

Flâneurs’ Bridges

Pavilion S

0

100m

Conceptural Diagram of the Three Urban Players

01 Circulation and Access

02 Flaneur’s Bridges - Connections and Access Points +22.80 +18.50

+12.00

Private Residential Access

Pedestrian Tunnels

Public Access & Circulation

Main Entry Points

03 Basements Levels and Parking -1

+5.00

+8.15

Commercial

1,323m²

04 Landscaping and Biodiversity - Plan

1053 m² 1737 m² Basement -1

Basement -2

Courtyards

Roof Gardens

Parks and Landscape Gardens

Urban Agriculture

B-B' Cross Section

Inspired by Baudelaire’s ‘Flâneur', the Flâneurs' Bridges stitch together the disparate elements of the Blueprint site and connect to the city in a series of ramped bridges and aerial walkways.

歷史與記憶的慢動作介入

O ve r w r i t e w i t h i n Heri t a ge La nd s cape 工業遺址轉化成感知空間，讓觀者對熟悉的景致產生多元觀看的 視角。「感知地景 - 京杭大運河」山東省聊城市東昌府，為沿河 九大商埠之一。東昌府四合頭水閘，城市因水而興，水域占城區 總面積的 1/3，自然河徒駭河與京杭大運河縱穿市區，東昌古城 為北宋時期就發展的城市。 身體作為多重動態的地景觀，環境劇場：以動態關係與自我投射 所衍生的空間再詮釋 ，並透過路徑移動、材料特性成為可感知的 場域。 In this Project, we collaborate with Central Academy of Fine Art. There are 4 mentors and 18 students involve in. The CAFA student are at the 5th year of college, and in NCTU, we are graduated student.

GIA and CAFA work independently, but share the information and the point of view about the Canal.

Two parties have very different values and training.

The difference is a strength for the project because two parties could compensate for each other.

The Project began on January this year. First, we did a lot of background research about the Canal. There are mainly 4 topics we are interested in (as shown on the wall). After 1 months research, we left for Shandong, China, together with CAFA members, we visited the Canal pass through Shandong . It is a 8 days journey. We started from the north Shandong to south and went back. The total distance is more than 1400 km and we visited more than 8 cities or old towns. After the Field Study, we focus on developing the perspective to the Canal and go into design stage. We work as a team and also develop one’s own perspective and design. Eventually there will be 4 point of views and 8 designs, under a core statement.

The final review will be at CAFA on 6/6/2016.

二零一六 春季 指導教授：曾成德 , 莊熙平 基地：山東省 聊城市 東昌府 Option Studio / 2016 Spring Instructors: C.David Tseng, Eric Chung Site: Shandong, China

緩衝 BUFFER

東昌府 CITY

社會 COMMUNITIES

遺產 HERITAGE

新位置 REPOSITOIN 擴張 EXPANSION

移動 MOVEMENT 東昌古城

摩天輪

城市內環道路

四合頭水利遺址 城市外環道路

住宅區

京杭大運河 GRAND CANAL

01 Entrance

02 Foyer

05 Outdoor Media Wall

06 Outdoor Stage

03 Bridges

04 Si-He-Tou Bridges

07 Field

08 Sports Field

行為圖書館

B e ha v i o r L i bra ry 書的圖書館到人的圖書館，重塑公共空間私密性。數位時代圖書 館，關注人的活動成為圖書館內重要的設計依據，提供免費網路 和電腦成為基本配備，實體書借閱受限在圖書館的營業時間內， 電子書的閱覽則更加靈活，接收電子資訊成為日常生活必需，圖 書館的場所意義轉變為參與知識性活動與舉辦演講的地點，是人 群社交討論的空間。廣泛的設立圖書館，使它成為一個社會的基 礎公共建設，而在一個大型空間使用上，人們會自主地一群一群 的分散開來，是因為距離型器官的感知。 在「行為圖書館」的設計中建構形態不是一開始就討論的議題， 而是企圖理解在數位時代的圖書型態下，社交性活動是構成整體 實質環境與外部公共空間兩者互動的關鍵，維持既有的圖書館空 間，在原本只適合步行的廣場上，建立適合社交性活動的各式空 間，透過一道道實體牆的建立，營造出一個軟性的邊緣。藉由不 同層級的開放以及室內和戶外空間的比例來支持人群的日常活動 場所。 Confronting the digital media and technology explosion. The traditional public libraries dramatically evolving to new one. People relied on digital devices.

E-book replaced the traditional books. Learning from internet search engines took over the paper books.

On the other hand, library is no longer a quite place, it's became a socical gathering to explore knowledge together. As a result, to rethink people's behavior in public libraries is a essential works.

The genesis of design concpet is seek to reshape people's behavior and privacy in public space. Tried to reverse the original type of book library to new type of people library. Futhermore, coordinating and integrating the innovated technologies, abundant programs, the adjacent environment context is another missions.

Founded on the balance between cultural, technical and contextual uniqueness, the design of the behavior library has established a new model for future civic projects.

二零一五 春季 指導教授 : 龔書章 , 蕭博文 基地：台北市 - 實踐 大 學 Core Studio / 2015 Spring Instructors: Shu-Chang Kung, Po-Wen Hsiao Site: Taipei, Taiwan

1st Level Plan 01 Performance Space 02 Practice Room 03 Media Space 04 Discussion Space 05 Reading Space 06 Theatre

0

5m

01

05

04

03

02

06

01 變動性的邊緣 能 靈活使用服務性空間，漸壓縮的 隱形邊緣適合暫時性或不固定性的活 動，公共與私密間的 逐 漸 轉 變。

Discussion Space

Reading Space Phase 01

Media Space

Performance Space 04

07

02

03

05

06

08

09

02 藉 由 既 有 的 體 育 館、 圖 書 館 中 間 位 置， 延 伸 圖 書 館 的 現 代 機 能， 增 加 原 本 步 行 廣 場 的 駐 留 地 方， 讓 人 觀 看、 聆聽和交談 。

Discussion Space

Reading Space

Media Space

Performance Space

█ 既有可使用的公共空間。

閱讀及演講空間

社群空間

皺摺 Pl e a t s

透過研究自然界中的形抗結構系統和這些系統的特殊功能，發展 在不同尺度設計應用的策略。透過快速成型相關的技術（如鐳射 切割、3D 列印、CNC 及真空塑形等）的輔助，完成一件 1:1 身 體尺度的物件，一個具有結構性，功能性與表現性的第二表皮或 是延伸肢體。架構外部參考條件，生成位於身體上各部位向外膨 脹的力，並利用不同疏密分佈的控制點，調整整體形態。 製作時，將身體各部位攤成平面，在原始與變形的兩個狀態下， 利用控制點位置定位，將兩層表面對應製作出表面不同的形態以 及區域。 Our focuses in this semester are bottom-up/ nonlinien design thinking, emerging complexity and application of rapid prototyping tools for complex geometries. The exercises are categorized in three s e s s i o n s : s e m i n a r, s y s t e m d e s i g n , p r o t o t y p i n g .

Seminar session covers 8 topics, includes shaping structure, patterns in nature, research based design, performative, animated form, fractal, algorithm, and emergence.

The final step, rapid prototyping, is to further develop the sculpture from previous stage to a wearable costume. The computational model serves not just an operational model in design phase but also a layout tool in the manufacture phase. Proper details, components and manufacture plan are designed according the selected materials, production process, and required functionalities, and a wearable product should be presented by the end of semester.

Phase 01 Control Points

Back Anchor Points

Front Anchor Points

二零一五 冬季 指導老師：黃永傑 基地：人體 Option Studio / Winter 2015 Instructor: Zed Huang Site: Human Body

Phase 02 Direction of Force

Phase 03 Anchor Points

Phase 04 Force Geometry

Square Mesh-Rectangular Base

Anchor Points: 51 Rest Length:1 Force:500

Anchor Points: 41 Rest Length:1 Force:500

Anchor Points: 56 Rest Length:1 Force:500

Anchor Points: 51 Rest Length:1 Force:-50

Anchor Points: 41 Rest Length:1 Force:-50

Anchor Points: 56 Rest Length:1 Force:-50

Anchor Points: 51 Rest Length:0.3 Force:200

Anchor Points: 41 Rest Length:0.3 Force:200

Anchor Points: 56 Rest Length:0.3 Force:200

Prototyping Development

1Point - 2 Lines

2Points - 1 Line

2Points - 2 Lines

1 Line

2 Lines

4Points

2Points

3Points

4Points

Triangular Grid-Rectangular Base

Computational Model

Technique Development

舊商業街屋

Ho use o f Wu : Tra di t i on a l st reet ho us e 「自宅 - 舊商業街屋」地處冬山河畔的利澤簡（Li-Jer-Jian）在 昔日仰賴水陸船運的時期，原為蘭陽平原溪南地區貨物集散重鎮， 冬山河後來因整治改道，再加上陸路運輸工具的發展，利澤簡逐 漸沒落。 產業轉移後空間發展與生活一致性的意義。在日常的生活經驗中， 社會群體對與場所的情感與記憶使得信仰中心依舊存在此區，經 濟發展變遷後許多觀光性的老街興起，有些區域則因為市中心轉 移形成人口大量外流，成為沒落的郷鎮。住商混合的建築空間已 不再靠前面的店面做生意賺錢，漸漸以住居機能為主要使用空間， 使得前巷的繁榮轉至後巷成為主要居民的生活場所。 The WU's House located on long and narrow site, the typical site of traditional Taiwan street house, adjacent to Dongshan River, Yilan. Some siblings of Wu family lived in neigborhood.

The House used to be a duck farming about 30 years ago. However, the house gradually no longer to used and lived result from industrial transfer. But, the siblings of Wu family decided to rebirth the house for passing down the Wu's spirits. Therefore, Eight people, three generations will be lived in the new hosue.

The design intention seek to bring back the history memories and family emotions. Meanwhile, coordinated and integrated the mutiple life habits from three generations. Furthermore, extracting the green, the blue, the sun, which is the most precious materials in Yilan, is the vital missions.

二零一六 夏季 實習事務所：和風起造＋王士芳建築師事務所 基地：宜蘭 五結 利 澤 老 街 Internship / Summer 2016 Instructors: Windtoland Architects Site: Yilan, Taiwan Site Area:196.07m² House Area:117.52m² Construction Time:2016/9 -

It could be positioned on the extension of the Taiwanese traditional earth floor or the sun room seen in houses of Yilan County.

04

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1st Level Plan 01 Car Parking Space 02 Living Room 03 Dining Area

04 Kitchen 05 Bathroom 06 Bedroom

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5m

02 06 04

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2nd Level Plan 01 Main Bedroom 02 Bathroom 03 Reading Area

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04 Laundry 05 Bathroom 06 ta-ta-mi room

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3rd Level Plan 01 Bedroom 02 Bathroom 03 Reading Area

04 Bathroom 05 Bedroom

03

02

ta-ta-mi Room

Laundry

Kitchen Dining Area

Living Room <<Entrance

E-E' Longitudinal Section

A

B

C

D

A'

B' C'

D'

A-A' Cross Section

B-B' Cross Section

C-C' Cross Section

D-D' Cross Section

Professional Works 建築設計作品 - 2017

1 原士林公會堂歷史建物修復及再 利用 Restorat ion reus in g o f S hilin Public H all

2 Fion 惠州廠辦大樓 O ffice Buildin g

- 2018

3 Fion 惠州內部設計 Interior D esign

另詳

2

水泥粉光刷白漆

鋁收邊板

透空格柵圍牆

灰色岩面磚

透空格柵圍牆

9830 3885

值班室3-1軸立面圖

850

800 1000

650

⾧度依廠商需求

值班室1-3軸立面圖

金屬收邊條 干挂灰色岩面砖 抿石子面，一分石， 灰白 粉光面刷白漆（耐候防水漆）

ARMU 1F, No.27, Ln.62,Sec.2, Zhongshan N. Rd Zhongshan Dist, Taipei 104 Taiwan armudesign@hotmail.com

DESIGN+ ARCHITECTURE +886-2-25421220 (Tel) +886-2-25235813 (Fax)

GENERAL NOTES

1. Contractors to verify all site dimensions.

2. Contractor is responsible for notifying ARMU if confusion arises on site or if dimensions and / or drtails are missing from drawing set before proceeding at site.

3. All wood grain on moveable and built-in furniture is to run in the direction as indicated by arrows on drawings.

4. No part of this work may be reproduced or use in any form or by any means without written permission from the publisher.

5. All prints, specifications and their coypright are the property of ARMU and shall be returned at the completion of the work.

6. All dimensions shall be checked on site before commencing any work or shop drawings. Any discrepancies occuring in the drawings must be referred to this office before the commencement of any work or the contractor shall bearthe full responsibility for the same.

7. Figured dimensions shall betaken in preference to scaled dimensions.

Project Title Design

FION惠州廠值班室 值班室首層平面圖

Date Size Scale

2018-06-04

A3 1 / 100

Page

No.

A1-1

ARMU 1F, No.27, Ln.62,Sec.2, Zhongshan N. Rd Zhongshan Dist, Taipei 104 Taiwan armudesign@hotmail.com

DESIGN+ ARCHITECTURE +886-2-25421220 (Tel) +886-2-25235813 (Fax)

GENERAL NOTES

1. Contractors to verify all site dimensions.

2. Contractor is responsible for notifying ARMU if confusion arises on site or if dimensions and / or drtails are missing from drawing set before proceeding at site.

3. All wood grain on moveable and built-in furniture is to run in the direction as indicated by arrows on drawings.

4. No part of this work may be reproduced or use in any form or by any means without written permission from the publisher.

5. All prints, specifications and their coypright are the property of ARMU and shall be returned at the completion of the work.

6. All dimensions shall be checked on site before commencing any work or shop drawings. Any discrepancies occuring in the drawings must be referred to this office before the commencement of any work or the contractor shall bearthe full responsibility for the same.

7. Figured dimensions shall betaken in preference to scaled dimensions.

Project Title Design

FION惠州廠值班室 值班室立面圖

Date Size Scale

2018-06-04

A3 1 / 100

Page

No.

A1-3

- 2018

4 青田街資產活化利用測繪調査

Q in gt ian St. Map p in g S e c t io n

5 中影培育中心

CMPC Film A cad e my

- 2019

6 台 北 天 空 塔 － 美 食聚 落

Taipei SKY Tow e r Co mm un e A7

- 2016

1

Executive Editor

重啓京杭大運河的四種 歷史觀點

A d es i g n s t u d y o f g ra n d c a n a l c i t i es ： M et h o d o f L o c i

2

Artistic Director

回顧 & 出走 -GIA 2016 交大建築展

NC T U G I A P ro j ec t R evi ew 2016

- 2012

3

Wood Carving Artist

鹿羊花樹錦

Deer, Sh eep , Bl o s s o m , f o res t

Graphic Design & Wood Carving Works 平面設計與古建物裝飾作品

重啓京杭大運河的四種 歷史觀點 A d e si g n st u dy of g ra n d c a n a l c i t i e s： M et h o d of Lo c i

本書主要分為兩大部分 ─「設計」與「研究」，設計部分收錄「國 立交通大學建築所 2016 春季大運河工作室研究生的設計」、「交 大指導教授曾成德與莊熙平的對話集」、「北京中央美術學院第 四工作室的大學畢業設計簡介」；研究部分由本工作室依基地調 査與相關文獻為基礎編著，以京杭大運河為主幹，運河流經的城 市為分支，根據不同性質的調研主軸分為五大範疇 ─「基地」、 「環境」、「實體建設」、「經濟」及「無形資產」，在本書中 依序以黑、綠、紅、藍、黃為代表作為索引。在每個設計提案首頁， 可見由不同顏色組成的「研究範疇表」，依據表上的顏色與標號 可索引至書冊後方之研究內容，幫助讀者快速掌握該作品的設計 導向與特色。 The method of loci (loci being Latin for "places") is a method of memory enhancement which uses visualizations with the use of spatial memory, familiar information about one's environment, to quickly and efficiently recall information.The method of loci (loci being Latin for "places") is a method of memory enhancement which uses visualizations with the use of spatial memory, familiar information about one's environment, to quickly and efficiently recall information.

二零一六 六月 國立交通大學 建築研究所 2016 春季大運河工作室 , 編著 Book Designer/June 2016 NCTU Grand Canal Project

回顧 & 出走 -GIA 2016 交大建築展 N C T U G IA P roj ec t R evi ew 2016

建立一個與觀展者分享建築的教育、藝術、科技與社會關懷的多 元平台。另一部分則散佈在新竹市區內數個地點，以「出走」校 園的方式，思考交大建築所在城市中扮演的角色，並將對社會的 關懷具體化。平面設計則緊扣中文字體部首的概念，將交大建築 分解成數個部分拼湊成主題「走」這個字。並使用建築圖面上區 塊的概念在折疊成形後完成。 To exhibit NCTU GIA Project Review 2016 use Chinese characters feature combination to the other word.

I was an editor for a final option studio. Use different binding methods to make book more express clearly.

The Way of Making Origami.

二零一六 三月 國立交通大學 建築研究所 2016 年度成果展 Artistic Director/March 2016

鹿羊花樹錦

Deer,Sheep,Blossom,forest 大 學 期 間 循 序 漸 進 的 木 雕 課 程， 學 習 依 附 在 廟 宇 建 築 架 構 中 各 構 件 位 置 的 木 雕 並 包 含 木 雕 的 技 巧 及 構 圖。 這 件 木 雕 作 品 位 置 為 雀 替， 題 材 有 很 多 種 但 是 形 狀 上 大 致 相 似， 構 圖 上 則 有 單 面 圖 稿 的 透 雕 或 是 雙 面 圖 稿 的 淺 浮 雕， 此 作 屬 於 前 者。 在 木 雕 技 巧 上， 如 何 將 平 面 構 圖 的 分 層 掌 握 精 確， 在 十 公 分 左 右 的 厚 度 裡 呈 現 出 立 體 感。 以 及 在 不 斷 消 去 後 能 保 持 和 平 面 圖 稿 中 一 樣 的比例大小 。 A part of traditional architecture, this wooden item was placed at the intersection of a beam and a column. It spreads out on both sides of the column creating a setting for the beam. It decreases the clear

space of the beam thereby the reducing shearing stress. The Que Ti is decorated with relief carving and multi-colored images, doubling as décor. This pair decorated with a carving of a peacock and floral patterns is colored red, green, and gold.

二零一一 國⽴台灣藝術⼤學 古蹟藝術修護學系 - 畢業製作 Wood Carving Artist/ 2011 Graduate Exhibition of NTUA

Items such as this wooden carving were usually placed on the door frame inside of temples.

It is rectangular in shape with detailed carvings of auspicious floral and bird patterns.

Process: The Way of gold and lacquer wood carving.

Phase 01

Phase 02

Phase 03

Phase 04