A Referential Survival

國立交通大學 建築研究所 碩士論文

參 考 生 活

踏 入 建 築 ， 以 矛 盾 腳 本

A REFERENTIAL SURVIVAL Steps into Architecture with an Ambivalent Script

研究生:賴昱安 指導教授:曾成德 中華民國一百零七年六月

關鍵字: 卑微 KEYWORD: masochism

A Referential Survival was first performed at National Chiao Tung University, Hsinchu on 10th June, 2018, with the following cast: Protagonist He

Narrator She

Chen-Yu Yang Yu-An Lai

Setting:

The play is set in greater china.

ACT I SCENE I September 2014

ACT I SCENE II June 2016

ACT II SCENE I March 2018

ACT II SCENE II October 2012

ACT II SCENE III September 2017

ACT III SCENE I August 2014

ACT III SCENE II Winter 2016 ACT IV Summer 2010 PLAN I Fall-Winter 2016 PLAN II Fall-Winter 2014

PLAN III Spring-Summer 2016

PLAN IV Summer 2017

All settings should be minimal.

04 | 05

I L Y D I L T B I Y D T I L I L T B Y T D L I I L T B T Y L D I L T I B T L Y I D T I B L T L B I Y L D T I B T I L I B Y T D B I T L I T L B T Y B D T I L I L T B T L I L T B T

ABSTRACT

She

This thesis book, in a format of a play adapted from Faust,

provides a reference by telling a fragmented tale of how a talented young is able to discern his ego to aspiration.

Here, the protagonist also has his own Abstract:

I D O N T B E L I E V E A N Y T H I N G I D O N T B E L IEVEANYTHING I D O N T B E L I E V E A N Y THING IDONTB E L I E V E A N Y T H I N G I I D O N T B E L D O N T B E L E V E A N Y IEVEANYTHING THINGIDONTBEI D O N T B E L LIEVEANYTHING E V E A N Y D O N T B E THING IDONTL I E V E A N Y B E L I E V E A N IDONTY T H I N G I L I E V E A N Y D O N T B E L THINGIDONTBEIEVEANYTHING LIEVEANYTHING I D O N T B E D O N T B E L L I E V E A N Y E V E A Y THING IDONTIDONTB L I E V E A N E L I E V E A N Y Y T H I N G I THINGIDONTBED O N T B E L LIEVEANYTHING IEVEANYTHING I D O N T B E D O N T B E L L I E V E A N Y I E V E A N Y THING IDONTIDONTB E L I V E A N Y L I E V E A N THINGIDONTBEY T H I N G I LIEVEANYTHING D O N T B E L I D O N T B E L IEVEANYTHING E V E A N Y I D O N T B E THING IDONTL I E V E A N Y B E L I E V E A N Y THING IDONTTHINGIDONTBEB E L I E V E A N LIEVEANYTHING Y T H I N G I I D O N T B E D O N T B E L L I E V E A N Y IEVEANYTHING THING IDONTI D O N T B E L B E L I E V E A N Y E V A N Y THINGIDONTBETHING IDONTLIEVEANYTHING B E L I E V E A N I D O N T B E L Y T H I N G I E V E A N Y D O N T B E L THING IDONTIEVEANYTHING B E L I E V E A N Y I D O N T B E THINGIDONTBEL I E V E A N Y LIEVEANYTHING THING IDONTI D O N T B E B E L I E V E A N L I E V E A N Y Y T H I N G I THING IDONTD O N T B E L B E L I E V E A N Y IEVEANYTHING THINGIDONTBEI D O N T B E L LIEVEANYTHING D O N T B E L I E V E A N Y THING IDONTB E L I E V E A N Y THINGIDONTBELIEVEANYTHING I D O N T B E L I E V E A N Y THING IDONTB E L I E V EANYTHINGIDONTBEHE

“I don’t believe anything in my contemporary. Anachro-

nism may the old say that I am looking for architecture at its true presence.

But I still create and draw with a given brief. I hate the obsession with endless craving for infinite forms or the burden of belief in contribution to better built environments.

I regard the inception of creation is simply a spontaneous act, may it be

understood as naive or anti-intellectual, that brings my desires ahead. These projects in school are all dispensed from budget and clients’ opinions. They

serve certain needs objectively and carry me to somewhere afar. When I was creating something, I did not think much. I have always been captured by

something at first, or was chasing an emerging yet impalpable scene. For a long time, secretly, that was the only thing I wanted to do. Also was the obsession

pleasurable and poisonous. The failure of works resulted from lack of wisdom to confront the society, or lures from the society.

The thesis book, Steps into Architecture: The Ambivalent Script in Cre-

ative Process, will reflect my working process and the perspectives of which reveals.”

這本設計論文，藉由改編《浮士德》傳說以一個文青何以不死的故事，作為一種參考。同時，這位主角也有他自己的論文摘要：

「在當代我什麼也不信。可能老人會說我尋找建築的『純粹』乃是過時的，但我依然在題目單下持筆、創造。我嫌惡對於前所未 見的新形式無止盡追求的執迷或者創造一個更美好環境的累贅。我認為創造的起源——可能被解釋成天真或反智——僅僅只是

一種自發性的行為，並帶著我的慾望前行。學校裡的案子皆免於預算和業主意見的限制，而它們具有著一定的客觀需求，並帶我 朝往遠處。當我從事創作，我不想太多，我總是先被某個東西捉住，或者在追尋即將顯現又不可觸碰的場景。曾有很長的一段時 間，秘密地，這是我唯一想做的事。執迷亦毒似奶蜜，作品的失敗來自於面對社會的智慧缺乏，或者，是來自社會的誘惑。這本 設計論文『踏入建築——創作過程裡的矛盾腳本』將反映出我的創作過程和這樣的方法所揭示的觀點。」

R I IT 1

B I G

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5

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B A N G

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EARTH FORMED

4

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0

0

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HUMAN ANCESTOR

6

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COGNITIVE REVOLUTION

7

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AGRICULTURALREVOLUTION

1

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SCIENTIFIC REVOLUTION

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*

*unit: years ago

CONTENTS

H S ND

PL AY

10 | 33 PL A N

36 | 87 I N F O

34 | 69

CONCLUSION

90 | 91

APPENDIX

92 | 97 06 | 07

“Why do we have a mind, if - Dosto

08

*A great Russian writer who has the same birthday as the protagonist He

not to get our own way?� evsky*

*Also being quoted in Delirious New York, by Rem Koolhaas

09

PLAY

ACT I A POWERFUL IMAGINATION SCENE I MY WORKING APPROACH SCENE II MY WORKS ACT II AMBIVALENCE SCENE I A ENGAGED IN THE DIALOGUE WITH B SCENE II PRACTICE,PRACTICE, PRACTICE SCENE III DRAWING IN PRACTICE ACT III IF THINGS CAN BE DIVIDED INTO PROCEDURES SCENE I THE COMPOSITION OF TWO ORDERS SCENE II INSIDE THE OIL TANK ACT IV IN PURSUIT OF KNOWLEDGE

ACT I: A POWERFUL IMAGINATION

SCENE I: MY WORKING APPROACH

The design process in school is painstakingly long. The creative process is relatively short, within one or two days, or, three hours in total concentration without any outside influences.

HE

this way.

She

Maybe all the instinctive souls work in

With no desire to think, something just comes out in the way they would. Nothing is imposed on. It’s too natural, spontaneous that if any words trying to describe this would become rhetoric.

The more I learn from the discipline, the more fear I feel when something is unknown. I need to read and search information, for I rely on things that are known to me. Insecurity prevails.

HE

I feel useless.

Whether gifted or not, I think architecture can be learnt pedagogically. But maybe what I am looking for is something transcendental, something going beyond the discipline, and of which is hard to overcome. Hard to overcome. Nothing to do with altruism.

Within the discipline, there are so many issues to address or to tackle with. Nothing is unimportant.

She

他: 學校裡的設計過程痛苦地漫長。創作的過程卻是相對的短，在一、兩天內，或者在 毫無外界干擾、全神貫注的三小時之內。 她: 或許所有直覺的靈魂都這麼做事。沒想去想，東西就這麼順其自然地跑出來。沒有 任何強加。它太過於自然而自發，以致於任何嘗試去形容的詞語會成為修辭。 他: 從這個專業習得越多，我越害怕未知的事物。我必須閱讀跟搜尋資訊，因為我依賴 於我所知的事情。不安全感瀰漫。我覺得很廢。無論上天是否賦予才能，我認為建築是可以學習和被教 導的。但或許我在尋找的是一種超然的、超越專業和法度的事情，而這是難以克服的。難以克服的。這 與利他主義無關。 她: 在法度之內，有太多的議題可以討論或處理。沒有任何是不要緊的。

10 | 11

HE

do we have a mind, if THE“Why MYSTERY OF LOVE

not to get our own way?”

IS GREATER - DostoevskyTHAN

12 | 13

She

THE MYSTERY OF DEATH

OSCAR WILDE

SCENE II: MY WORKS

My little works tend to be the things themselves. If it is a drawing, then it is not a representation of space, it is the painting itself. If it fails to become a painting, then it is due to my poor eyes or terrible skills. If it is a model made of cardboard paper, then every single cut, every little grain on the paper surface affects the presence of it. Some people make perfect model for precision and rigour. I don’t. I make the model because I feel for the cardboard paper. And I try to be careful. But I often failed to do that. Too much interference. If it is a shot in 3D model software, then it is its presence in the virtual world. It does not bear the stickers if it is simply in the name of that material. It should be the stickers themselves if it is attached on. If it is post-produced in Photoshop, then it goes back to a painting. There is a long, long history of technique to apply on. If I were to be a player on the stage, and if it is a good improvisation, then it will be Truth that catches me trembling.

HE

Back from the stage, I am a player of another kind.

She

他:

我小小的作品傾向於成為它們自己。如果是圖，那它就不是空間的再現，它是畫。如果

它無能成為一幅畫，那是因為我不好的雙眼與糟糕的技巧。如果它是由紙板組成的模型，那麼每 一個切口、每一個紙面上小小的顆粒都影響著它的存在。有的人因嚴謹精準而做出完美的模型。 我不是。我做模型是因為我情同共感於紙板，並且盡量小心翼翼。但我經常失敗。太多干擾。如 果它是3D模型裡的一次快門，那麼它是在那虛擬世界裡的存在。它不會被黏上只是號稱某一個 材料的貼圖。如果它被貼附，它應該是貼圖它們自己。如果它在Photoshop裡被後製，那麼它回 到了畫。有長長歷史的技巧去運用。如果我是舞台上的演員，而如果是好的即興，那麼真實將顫 抖著我。 她:

下了舞台，我是另外一種的演員。

14 | 15

ACT II: AMBIVALENCE

Scene I “ A engaged in the dialogue with B”

The Chinese translation of this phrase is confusing. Words are abstract themselves. I live inside the world full of words and listen to words from demagogues. As a disciplined individual, one learns to answer the question appropriately. Rationalisation and argument usually become the best weapon when one facing an abstract question of this kind. After all, human civilisations all heavily rely on successional efforts in defying instinct and builds the world upon rationality, especially after scientific revolution. Relying on instinct is actually easy and fast. One of my good friends says so.

HE

「Ａ和Ｂ產生對話？ ！ ！」

She

“So, what’s your answer to this?”

“What a misleading question it is! Look at those lines. Do you see it from your own eyes?”

There are also different versions of answers. I enjoy rhetoric due to a penchant for self-expression. An asshole who refuses communication. pause

To be serious, I think the origin of creation comes from everyday observation or unnoticed stimulation from outside. On one hand, it implies the limitation from an individual’s own context; on the other, it gives a certain trait to the work. The work may only be produced inasmuch as one can see. This negates the endless infinite crave for new forms, especially the unprecedented form; instead, what matters is the ways of seeing.

HE

他:

這話令人困擾。語言本身即是抽象的。我活在充滿字句的世界裡，聽取煽動者的言語。作為一個有

教養的現代人，得學著得體地回答問題。合理化與論證成為面對這類抽象問題最好的武器。畢竟，人類世界 的集體文明仰賴在一系列違反直覺的努力——也就是理性之上，特別是科學革命之後。直覺其實是輕鬆快速 的。我的一個好朋友這麼說。 她:

「那~你的答案是什麼？」

他:

「多誤導人的問題啊！去看看那些線條。你真的從你的雙眼看到了嗎？」

當然，還有非常多不同版本的答案。基於自我表現的嗜好，我享受修辭。一個拒絕溝通的王八蛋。 認真講，我覺得創造的源泉來自每日觀察和毫無察息的外界刺激。一方面這暗示了個體環境的限制，另一方 面也賦予作品一些特定的氣息。看得到多少才做得出多少。這否認了對於新形式的無止盡追求，特別是前所 未見的形式。相反的，重點是看的方式。

16 | 17

Scene II: Practice, Practice, Practice….

HE

Inside the discipline, my professor, one of whom I admire, told us on a lecture,

She

“You are not a painter; you are an architect.”

HE

What he meant was not to spend time rendering, unnecessary effort. You should take a look at the massing of those. You are an architect; you have many other jobs to do next.

I had formed another habit of doing a sketch earlier than this. I draw what I see on site. I look at the light at first instead of contours of things or of the volume. Ugliness, clumsiness and imprecision is inevitable but it doesn’t matter. Tons of practices are necessary.

Unexpectedly, things will be able to meet with the eyes. (Does someone say the similar stuff?) Western paintings put an emphasis on light while Chinese paintings on lines. The Chinese pen is made of soft furs contributing to different expression and techniques.

Style varies.

他: 她: 他:

在這個專業裡，一位我敬重的教授在講座上這麼叮囑大家… 「記得，你不是畫家，你是建築師。」 他的意思是不要花時間擬真。去看那些構成的量體。你是建築師，你還有很多其他事情要做。在更之 前，我已經養成了別種寫生的習慣。我畫我在現場看到的。我先看光，而不是事物的輪廓或體積。 醜、笨拙、失準是無可避免的，但無所謂。大量練習是必須。出乎意料地，事物將會與雙眼相見。（ 已經有人說過類似的話嗎？）西方繪畫重視光線而中國繪畫重視線條。毛筆筆毛是軟的，造成不同的 表現與技術。各有千秋。

Scene III: Drawing in Practice

HE

When I interned in Beijing, my Dutch boss told me,

She

“You are an architect; not a rendering company.”

HE

We were doing an installation proposal in Beijing Design Week on the theme of De Stijl 100 years’ anniversary. He already had a scenario in his mind and asked me to quickly photoshop the rendering from Rhino with a series of evolution. Mondrian’s painting evolved from simplification of a tree to abstract grids. The architect’s idea, however, was to move backwards generously by carrying on the grids and waiting the green to grow.

I was montaging people and green by imagining how things grow and how the place looked like in time. Later my boss told me to change real people into silhouette. He told me:

She

ACT II: AMBIVALENCE

“The situation in China is that if we propose the image too detailed then the clients will start picking problems of which is trivial in current design phase. If they find something they don’t like, they cancel the project.”

beat

HE

In practice, drawing is for precise communication. I have no objection in this sense.

他: 她: 他:

當我在北京實習，荷蘭老闆跟我說… 「你是建築師，不是彩炫公司。」 我們當時正在北京設計週做荷蘭風格派百週年主題的裝置設計。他已經在腦海中有了情境，叫 我把從Rhino渲染出的圖快速用photoshop做出一系列的演變。蒙德里安的畫從一棵樹的簡化演 變成抽象方格。然而，建築師的想法卻是基此而慷慨地往後退一大步，讓抽象方格慢慢長出綠 意。我想像隨著時間，東西會怎麼長、地方會變成什麼樣，藉此拼貼人與植物。隨後，老闆叫 我把真人改成黑白剪影。他說… 「在中国，情况是这样的，如果我们提出的图片太过细节，那么业主会开始挑毛病，而这在这 个阶段是不要紧的。要是他们发现了一些不喜欢的东西，他们就取消合作。」 在執業中，圖是為了精準溝通。對此我無異議。

她: 他:

18 | 19

ACT III: IF THINGS CAN BE DIVIDED INTO PROCEDURES

Scene I: The Composition of Two Orders HE

The picture is pre-ruled by parallel lines, static as wallpaper. Later comes the white acrylic that explosively slices through the static parallel linear orders and battles with it upon the picture. The picture, therefore, starts to become dynamic, unbalanced and needs to be carried on. The new Order draws a contrast to the previous lineal order, but the violent, conflictive contrast won’t last long since part of the new Order will assimilate and integrate with the first order. The aerial feeling, the feeling of fresh air, will thus gradually appear. This also gives birth to the appearance of Space.

Assimulation with the old order is identified with the rules picked up again from the old order—so as to fight against with the old itself. At this moment, the semi-new Order does not equal to the old order, since the nature of the material itself changes through inter-permeation and is washed out in time, and meanwhile, it needs to correlate with the new Order. Therefore, each act in overwriting is changing the whole picture. Then, the space in the picture starts to alter. It is changing all the time.

This all sounds familiar to Jazz.

She HE

他:

And when should you stop drawing it? ould you stop drawing it?”

When I find I have nothing to do with the drawing. It has its own existence. It is itself. 畫面先由水平線條構成，均衡穩定如壁紙。新的系統是白色壓克力——爆裂地劃過平靜的水平規 則，開始和原先的畫面爭奪場域。畫面因而開始變得動態、不平衡，需要繼續畫下去。新的系統 會和舊的系統產生對比，但暴力、衝突的對比不會持續太久，新的系統會需要和舊的系統產生某 一部份的同化和融合。空氣在流動的感受會慢慢蕩漾出來。這也使空間自然浮現。

新系統與舊系統同化意味著拾起舊系統的筆和規則，來和舊系統對抗。這個時候，重拾

起舊系統，卻再也無法等同舊系統，它會因為水彩覆蓋（物質本身相互滲透、不經意刷白），又 必須和新系統相呼應因而不斷轉變，進而帶動整幅畫。空間也開始變化，時時刻刻在變化。

這聽起來與爵士樂類似。

她:

「那什麼時候能知該停筆了呢？」

他:

大概是我覺得跟這幅畫沒什麼關係的時候。它有它自己的生命。它，它自己。

20 | 21

NANLIAO OR TAITUNG? / 2014 /WATER COLOUR, ACRYLIC

ARE YOU MISSING TAMSUI? / 2016 /WATER COLOUR

22 | 23

ACT III: IF THINGS CAN BE DIVIDED INTO PROCEDURES

Scene II: Inside the Oil Tank HE

The centre is the hardest to dealt with geometrically inside a circle. There are two steps in Cad to make a circle: click to define a centre; click again to define a radius.

On the giant wall is a cut and inside the wall a diving pool.

On the screen, two datum has been set up: one based on the X-axis and the other tilted at an angle of 10. The goal is to put in camping sites.

The most dominant element here is the Circle. I imagine that people sea-swimming in daytime, camping in the openair oil tank during sunset and sleeping under the cover of stars with this giant man-made building.

A connection lines from the centre of the diving pool to the centre of the oil tank. On this extended line, the biggest circle of the camping site was decided at first—the sequence is decided by sizes. The middle-sized circles lie on the south.

Smaller circles follow on. Sometimes the seeming naturalness— putting and deleting—feels pretentious and decorative. Traces in drawing process are blurred due to modification.

It’s vacant on the north. I remembered Mr. Souto de Moura once discussed with Siza, who replied,

She

“Sometimes, you have to make up a lie in order to tell the truth.”

HE

The tiny circles on the north are like these white lies, deformed decoration. But

pause

“why do you lie?”

She

他:

圓的幾何中最難對付的是圓心。在 CAD裡面畫圓由兩個步驟組成：按一下，定義圓 心，再按一下，定義半徑。

巨大油槽的牆上已有一破口；圓內有一個下挖的潛水池。畫面也已經存在

東西向水平規則系統和斜10度的變異系統。目標是放入露營地。

圓在此是最具支配性的元素。我想像人晨、日於海邊嬉戲、放浪，夜返油

槽露營、歇息，於繁星下伴著巨大人造物入眠。

潛水池的圓和油槽圓心連線，露營地的最大圓在這條延伸的線上先被決

定——放圓的次序是根據大小。而中型圓的露營地恍在南方。更小的圓隨後跟上。 它們貌似天然又狀似矯情——圓放哪、要刪哪兒的圓。作圖痕跡也因刪修而模糊。 北側是一片空白。我記得 Souto de Moura 曾和西薩討論，而他回答… 她:

「有時，你必須撒謊，才能夠說出真實。」

他:

北側渺小的圓，就是這樣白色的謊言、裝飾的變形。但，

她:

「 你為什麼說謊？」

24 | 25

HE

「 因 因

26

為 為

那

是 無

一

種 傷

溫

柔 大

。 」 雅

She

“Is it the other Siza in merely pursuit of experience?”

27

HE

Love bores me.

She

Just like an actress who is too familiar with the face of emotion (i.e. a face of anger/fear/happiness/sadness/regret) that fails to step out of her comfort zone or repeatedly shows off the techniques and performed in an expected manner, even if one hardly perceives. But only when defences are gone, though she will have no idea where to go (unexpectedness), an energy flow will occur which becomes the most enigmatic, enchanting moment of the play.

HE

My boredom transfers my focus onto the pathway. We may call it a linear system for the moment. Of course, before the appearance of boredem, some rectangles have already foreshadowed the linear system. This linear system is coming back and strengthening the impact of the middle circles. The continual arrays of rectangles bore me again: these pathways are too regular, too fast and too expectable. So some variations (size/gap differences) are added between each rectangle. These rectangular slabs are shaken as if flour sifted. From close observation of the screen, those tiny fractures, imperfect geometry resulted from shaking irritates me—The gaps between a rectangular slab and a circular camping site. These gaps do not cohere to either the linear system nor the circular.

She

So, the next step, the incoherent relationship is enlarged; I joke on the situation and fragment them into scherzos. A circular matrix, like an ornament without any function, is covered again on the fragment. To bear in mind, the giant oil tank always exists.

他:

只有圓，很無聊。

她:

就像是一個演員因為過於熟稔情緒的表面（生氣、恐懼、快樂、難過、懊悔的表 面）而無能跨出舒適圈，演員或者炫耀著重複的伎倆，或者被輕易地預測下一步（ 縱使難以察覺）；但唯有脫下防備，即使不知將往哪裡去時（ 不可預期），才會產 生一股舞台能量流動，成為這齣表演真正迷人的時刻。

他:

很無聊，我將目光移到步道上，姑且稱之為線性系統。當然，在這個無趣的時刻 前，有些小方塊早已留下線性系統的伏筆。這個線性系統正回過頭來讓原先被削弱 力量的中型圓回到支配的地位。不停重複的直線連續動作再次令人生厭：太規則、 太快速、太可被預期。因此，增加了方形彼此間的變化（尺寸大小、間隔差異）這 些方形板塊像篩麵粉一樣被撼動。螢幕上俯目細察，這些渺小的碎片、因撼動而缺 失的幾何令人毛燥——在此指的是步道石塊的方形和圓型露營地之間的縫隙。這個 縫隙在線性系統和圓形系統都是不協調的。 遂下一步，是放大這種不協調的關係；我對這情勢開了個小玩笑，讓它詼諧。一個

她:

裝飾般無功能的圓形矩陣覆蓋在其中一個小碎塊上頭。這些舉動，皆不忘記油槽的 存在。

28 | 29

HE

It was only later I was acknowledged of the egoistical sublime only turned oneself She into self-pity, narcissism and deception.

During the last performance, I changed. There must be something I deleted here, but please forgive me. I tried to imagine the other. The pure love of the other people.

Like an instinctive soul, like the way It used to treat my cardboard paper.

DU GLEICHST DEM GEIS NICHT MIR!*

* Spirit: It’s your idea of me you’re equal to. Not me!

30 |

ST DEN DU BEGREIFST.

| 31

-Johann Wolfgang von Goethe, Faust

HE

It is as if only when one is able to take on the pain of others then one is able to really imagine something.

ACT IV: IN PURSUIT OF KNOWLEDGE

32

All that is solid melts into air. 一切堅固的事物都煙消雲散了

33

COSMO

COSMO

PLAN

COSMO I. FREE YOURSELF AGAIN: CAMP & SWIM PURE LOVE II. TO PLEASE OTHERS: MY SIZA MUSEUM FOR SIZA COLLECTIVE DESIRE III. OTHERNESS AND SELF: KEELUNG STATION POWER IV. ASPIRATION OF FUTURE: UNIVERCITY & UNITOPIA

CAMP & SWIM 指導老師：蘇重威、陳昭邑 Instructor: Chungwei Su, Chao-Yi Chen

FREE YOURSELF AGAIN The site is beautiful.

Too beautiful that I find no meaning to design it.

I drew and represented the landscape directly.

How straightforward and eager I was to grasp everything I saw over there, and to bring them back! The map was the diagram of Cosmo.

At first, the model was like the Nucleus outside with Golgi apparatus, compact in themselves. I was too timid to draw any lines on land.

Only opened the cap of oil tank, without much awareness of the technical difficulties.

I tried going back to the drawing.

Arbitrarily I drowned in the imaginary sea, hoping to find anything p92 I could hold on to. At the same time, I used cardboard paper to capture the lines from my sketch. A gorgeous spaceship arose with complicated composition. It was, again, a conceptual model that should not put on site directly. Thus, the transformation of the spaceship cuts into the land. However, only with intention but

lack of well-controlled direction is going to be a shipwreck, since it’s purely form for form sake.

I tried to find its raison d’être. I turned to the inhabitants’ activities and the experiential possibilities of the site. Most amenities found their seelocation p24-29 jump to p70 into the land and the most special things happened inside the oil tank.

I found the repetitiveness in my design. Every model is not developable on its own.

They complete and damn themselves. Several different representations indicate the same reason. Whenever I try to copy or imitate something, faithfully, it turns itself into a sketch. I hope they don’t mind if I steal their souls. 基隆海濱改造計畫/基地很美，美 到我找不到設計的意義。我直接畫、再現地景。多直接又多熱 切地想捕捉此處所見所聞，並將它們帶回！那張繪圖是宇宙的 圖示。起初，模型長得很像細胞核和它外面的高爾基體，自給自 足。我沒膽於地上畫任何線。只是打開油槽的蓋子，並不意識到 任何技術問題。我試著回到畫。任意地我溺在想像的海裡，希望 能找到任何浮木攀上。同時，我用紙板去捕捉畫裡的線條。一艘 綺麗、組合複雜的太空船升起。但它只是個不應被直接放進基 地的概念模。因此，土地被這艘太空船的轉化給切進了。然而， 僅有意圖而缺乏方向控制是註定沉船的，因它僅是為了形式而形 式。我企圖找尋它存在的理由。我望向棲居者的活動和在基地上 的體驗機會。大部份的設施在土地中找到了它們的位置，而最特 別的事情發生在油槽裡。我發現我設計的重覆。每個模型都無法 再自行發展。它們自我完成又破壞。反覆相異的現象指著相同的 道理。每當我企圖抄襲或模仿，它們都忠實地成了某種寫生。願 它不罪我巧於因借。

36 | 37

#I dont get it & I dont care #life is good # are u a korean? #fancy asian #Painting the Sea Blue lol

38 | 39

PLOT OF Le Mépris Paul Javal (Michel Piccoli), a young French playwright who has found commercial success in Rome, accepts an offer from vulgar American producer Jeremy Prokosch Le

Mépris,

1963,

Jean-Luc

Godard

(director)

已在羅馬獲得商業成功的年輕法國劇作家保 羅．卓瓦接受了粗野的美國製作人傑洛米． 普羅柯西的邀請，為德國導演費利茲．朗*

40 | 41

42 | 43

PLOT

OF

Le

Mépris

Paul Javal (Michel Piccoli), a young French playwright who has found commercial success in Rome, accepts an offer from vulgar American producer Jeremy Prokosch (Jack Palance) to rework the script for German director Fritz Lang’s screen adaptation of The Odyssey.

Paul’s wife, Camille Javal (Brigitte Bardot), joins him on the first day of the project at Cinecittà. As the first discussions are completed, Prokosch invites the crew to join him at his villa, offering Camille a ride in his two-seat sportscar. Camille looks to Paul to decline the offer, but he submissively withdraws to follow by taxi, leaving Camille and Prokosch alone. Paul does not catch up with them until 30 minutes later, explaining that he was delayed by a traffic accident. Camille grows uneasy, secretly doubting his honesty and suspecting that he is using her to cement his ties with Prokosch. The feelings of doubt are heightened when she sees him exchange familiarities with Prokosch’s secretary, Francesca. Back at their apartment, Paul and Camille discuss the subtle uneasiness that has come between them in the first few hours of the project, and Camille suddenly announces to her bewildered husband that she no longer loves him.

Hoping to rekindle Camille’s love, Paul convinces her to accept Prokosch’s invitation to join them for filming in Capri. Prokosch and Lang are locked in a conflict over the correct interpretation of Homer’s work, an impasse exacerbated by the difficulty of communication between the German director, French script writer, and American producer. Francesca acts as interpreter, mediating all conversations. When Paul sides with Prokosch against Lang by suggesting that Odysseus actually left home p92 because of his wife’s infidelity, Camille’s suspicions of her hus-

band’s servility are confirmed. She deliberately allows him to find her in Prokosch’s embrace, and in the ensuing confrontation she declares that her respect for him has turned to contempt because he has bartered her to Prokosch. He denies this accusation, offering to sever his connection with the film and leave Capri; but she will not recant and leaves for Rome with the producer. After an auto crash in which Camille and Prokosch are killed, Paul prepares to leave Capri and return to the theatre. Lang continues to work on the film. (Wikipedia)

44

LOVE

Le

Mépris,

1963,

Jean-Luc

Godard

(director)

已在羅馬獲得商業成功的年輕法國劇作家保 羅．卓瓦接受了粗野的美國製作人傑洛米． 普羅柯西的邀請，為德國導演費利茲．朗* 《奧德賽》的螢幕改編製作重新改寫劇本。

保羅的妻子，卡蜜兒．卓瓦，在電影城 （Cinecittà）偕同保羅參與企劃案的第一天。 當初始的討論工作完成，普羅柯西邀請工作人 員到他的別墅，提供卡蜜兒與他共乘兩人座的 跑車。卡蜜兒面朝保羅並拒絕了邀請，但保羅 默不吭聲地表示以計程車尾隨在後而讓卡蜜兒 與普羅柯西單獨相處。直到三十分鐘後，保羅 才追了上來，表示因車禍事故而遲到。卡蜜兒 變得不自在，暗自懷疑他的誠信，質疑他在利 用她來和普羅柯西建立堅固的關係。懷疑的情 緒在當她看見他和普羅柯西的秘書法蘭切絲卡 交流密切而高漲。回到他們的公寓，保羅和卡 蜜兒討論在這計畫案開始的前幾個小時就已橫 亙在他們中間的一種微妙隱約的不自在，而卡 蜜兒突然向他著魔的丈夫宣稱她已不再愛他。

希冀重燃卡蜜兒的愛意，保羅說服她接受 普羅柯西的邀請，和他們一起在卡布里（Capri）拍攝影片。普羅柯西和朗正在為荷馬作品 的正確詮釋而鬧得不可開交。這是個德國導演、 法國劇作家和美國製作人之間因溝通困難而加 劇的僵局。法蘭切絲卡扮演著詮釋者的腳色， 協調所有對話。當保羅反對朗的看法，站在普 羅柯西這邊，認為奧德賽離家其實是因為她妻 子的不貞，卡蜜兒對於她丈夫的奴性懷疑已了 然於胸。她故意讓他發現她偎在普羅柯西的懷 抱中，而緊接著的對質中她宣布因為他將她如 物品般交換給普羅柯西，她對他的尊重已轉為 蔑視。他否認了她的指控，表示願意切斷和這 部影片的關係並離開卡布里；然而她不願意放 棄，並和製作人離開，驅車前往羅馬。在一場 卡蜜兒和普羅柯西都死亡的車禍後，保羅準備 離開卡布里並回到劇場。朗繼續影片的工作。

(*譯著：電影《Metropolis》大都會的導演)

CONTEMPT

45

TO PLEASE OTHERS MY SIZA MUSEUM FOR SIZA Pre-exercise: Observation From Cubic Plaster Model

From the brief, the museum is given an ideal form: an absolute cube measured by 24*24*24 metres. The site is inside a park nearby a pond in Hsinchu. The programs include a reception hall, two exhibition spaces, a cafe, an auditorium, an office, a conference room and storage space.

Instructor: C. David Tseng, Wei Tseng 指導老師：曾成德、曾瑋

From the very start, I preserved the geometrical severity of a cube. On the other hand, I was constructing a majestic scene I observed and interpreted in the plaster model: a hallway with a huge wall in the end. On top of the wall was a recession, indicating the thickness of the wall. Adjacent to the wall, a light was casting down from an opening, giving the place a sense of majesty. These heavy masses gently or vulgarly touched one another.

Later, the space starts to move from the plaster when functions were fit into. This conceptual Wall resides in the project in various ways. At first, the wall is a sculpture, thick but relatively small compared to the boundary box. All the served spaces are making concession to the Wall. The servant space is packed in the back. Meanwhile, situations are imagined: humbleness, grandiosity, intimacy, neutral, mystery and serenity. Then, the Wall becomes the structural wall in space and physically grows bigger. However, its dominance in the cube is submitting to Space. The Wall is turning itself from a protagonist to a supporting role—a datum that construct the rationality of the cube. The rest servant/served space follows the alignment.

46 | 47

From the final drawings, the project seems to be divided into 3 areas in plan and 3 areas in section. From plan, the top and bottom areas are parallel to each other. From section, the ground-first floor and the second-third floor are also refering each other.

They are longing for symmetry. But form and space are changing.

The wall is the incentive engine that gives fuels to the project. Around the conceptual wall, several incidents happen. First, it is an entry that draws an analogy to other entries. When I enter the exhibition area from the hall, I see others just coming into the museum from another entrance. Am I looking at my past self a few moments ago? Or, does (s)he foresee the act? Or, will one be seeing oneself a few moments ago? Surrounded by the wall, these multiple entries cross-refer one another. Second, while the hall is to be stood in awe of the wall, the cafe is playing the opposite effect.

A hovering ceiling, a huge horizontal window, and a slightly sunken floor is attracting its visitors with an intimate, contemplative atmosphere. Lastly, the upper level of the space is liberating everything. The space, bright and serene, reveals its entirety: The motif of the Wall is fully disclosed. (事前練習：從立方體的石膏模裡觀察) 題目上，美術館本身已是個完善的形體——一個廿四乘廿四乘廿四米的立方體。基地在新竹的公園池塘邊。空間需求包括：大廳、兩個展廳、咖啡 館、演講廳、辦公室、會議室、儲藏室。從一開始，我維持著立方體幾何上的嚴謹。另一方面，我在建造一個石膏模中所觀察到並詮釋成的莊嚴場 景：以巨牆為端景的大廳。牆的上方有一部分退縮，暗示了牆的厚度。牆旁，一道光從一個開口傾瀉而下，使空間有股神聖性。這些沉重的量體或輕 或粗地互觸。接著，當功能被塞入，空間開始離開了石膏模。這道概念的牆以不同方式存在在案子中。起先，這道牆如同雕塑，很厚，但與外框架比 又是相對地小。所有被服務空間都在對這道牆讓步。服務空間則收在後側。同時，想像許多場景：謙卑、宏偉、親密、中性、神秘和寧靜。之後，這 道牆變成了空間中的結構牆，開始長大。然而，它在立方體的主導權卻讓位給了空間。這道牆將自己從主角變成了配角——成為建造立方體規則的基 準線。其他的服務和被服務空間跟隨著這樣的法則。 從最後的圖看來，這個案子在平面和剖面被分成三個區域。從平面來看，頂部和底部彼此平行。從剖面來看，一、二樓和三、四樓在彼此相互暗 示。它們渴望對稱。但形式和空間變換著。這道牆是賦予此案燃料的動力來源。這道概念牆的周圍，事件接踵而來。首先，是一個入口類比著其他的 入口。當我從大廳進到展覽空間，我看見其他人正從另一個入口進來這個美術館。是我正看著不久前的自己嗎？或者，他/她正預見這些舉動？或者， 會有它正看著不久前的它自己？這一群環著牆的入口，彼此參酌。次者，當大廳的牆教人畏怕，咖啡廳卻玩著相反的效果。盤旋的天花板、巨大的水 平窗和輕輕下陷的樓板以親密、沈思的氛圍誘引眾人。最後，最高樓層的空間所有事物被解放了。空間——明亮而寧靜——全然地揭露自身 : 牆，一 目了然。

48 | 49

50 | 51

52 | 53

54 | 55

56 | 57

LUST (OR COLLECTIVE DESIRE)

OTHERNESS AND SELF KEELUNG STATION

Instructor: Shu-Chang kung, Chun-Kai Fang

From Delirious New York, Rem Koolhaas observes:

“Exteriors and interiors of such structures belong to two different kinds of architectures. The first—external—is only concerned with the appearance of the building as a more or less serene sculptural object, while the interior is in a constant state of flux— of themes, programs, iconographies—in which the volatile metropolitan citizens, with their overstimulated nervous systems, combat the perpetual threat of ennui.”

By advocating the negative capacity of Metropolitan, Rem positively celebrates the worldliness in a consumeristic, laissez-faire society. In contrast to the metropolitan Rem describes here, Keelung, with the country’s weak economy and its marginalised port status in recent decades, shares a more comfortable ambivalence.

The Port of Keelung was opened in 19th century and the exportation business reached its full bloom during 1960s-1970s. Later, with its limited cargo capacity and insufficient land, Keelung started to be overtaken by other harbours, in or outside Taiwan. Consequently, money did not constantly flow into the real estate market to glorify its buildings; instead, they gradually became dirty, ugly and hopeless. But the street life nowadays, evolved with ups and downs of the port business, somehow compensates the alienation effect. Mainly due to their long stay in the city that continually gives Keelung some energy to linger on. However, Ennui, the centuries-old fret since modernity been described by Baudelaire, still survives in the dying rainy city on a grumpy face.

58 | 59

BUILDINGS

60 | 61

LIC

PUB SPA CE

ECT OR

CON N ORT ATI O

TRA NSP N

From my first intuitive interpretation of the site, I put the majority of massing right beside the miscellaneous, noisy street blocks without noticing any impact it might generate. Maybe it was dangerous to admit that because I loved and loathed the ugliness on the street. Although the act looked arbitrary and immatured, I was later able to find an active role it could play in the city within the discipline: a medium that reconnects the urban fabric of the street life. Subsequently, the rest, majority of the land becomes public space for everyone. (Architects love public space like a politian staring children running on the grass.)

After strategies all consolidated, the conventional expectation to an architect emerged—how does your space look like?

I wanted the space to feel at-home—a casualness with an invited form that welcomed every citizen, every tourist, every human-being to recognise this new transportation infrastructure as a mental home of everyone in

Keelung.Maybe I was so old-fashioned that I believed the space could dissolve Ennui with architecture. Or, I was looking and waiting for the right place to jump out.

The station is like the moment of an insect moving out from its cocoon buried in land. Not only the circulation is easy to identify but the movement from housings, port, mountain, sea, rain and sun are all clearly perceivable. “The station is producing a sense of collectivity.�

see p92

The street block has an inner street connecting housings from the mountainous area to the port area. More importantly, the environment should have contacted with the sea.

62 | 63

5

8 up

up

up up

17

up

up

13

14

14 down

down

down

down

down

down

8

LEVEL

11 0

1

+52.5

LEVEL

LEVEL

+24.4

+17.0

Typical room plan I

4

6

down

2

down

down

6

5

9 up

down

up

up

down

up

7

up

up

up

4 18

13

15

16

9

up

up

up

2 12

1 20

21

1 7

5 3 11

12

6&7 LEVEL

LEVEL

+26.0

Typical room plan I

LEVEL

+20.0

14

7

down

6&7 up

6

LEVEL 1 2 3 4 5 6 7 8 9 10 11 12 13

down

down

down

down

6

+3.00

Train lobby Ticket booth Station office Waiting area Bus office Food & Beverages Shop Hotel lobby Kitchen MEP Business centre Port Park

0

20

m

1 2 3 4 5 6 7 8 9 10 11

Dress room Gym Swmming pool Ball room Banquit hall Food & Beverages Shop Storage Kitchen MEP Box/office

12 13 14 15 16 17 18 19 20 21

Bride room Roof church Garden Hotel room Metro lobby Platform Metro office Waiting area Sea ramp Sea platform

LEVEL

Raised corridor

0

+8.00

20

m

+13.0

《狂瞻紐約》一書中，庫哈斯觀察：

「外觀和室內屬於兩種不同的建築。首先，外觀，只在乎 建築物的表象或多或少是個寧靜的雕塑物品；而室內，是恆久狀態 的流體——關於主題、空間需求、符號肖像——這使反覆無常的城 市人，憑著他們被過度刺激的神經系統，戰勝了『無聊』（Ennui） 的永恆威脅。」

藉由擁護大都會的暗黑能量，庫哈斯正面地讚揚放任自 由、消費主義的世俗社會。和庫哈斯所形容的大都會有所差異的 是——基隆——因為國家衰疲的經濟和數十年來邊緣化的港口地 位，反而體現著更放鬆的矛盾現象。

基隆港在十九世紀開航，出口貿易在一九六零到七零年 代達到高峰。隨後，因貨物運載量限制和有限腹地，基隆開始被台 灣內外的其他港口取代。最後，金錢無能持續流入房地產來榮耀房 樓，相反地，房樓漸漸變得髒、醜、無望。但如今，街市生活，隨 著港口生意起起伏伏，不知為何地補償了疏離寂寞。主要是因為它 們大多在城裡賴得久，持續地賦予城市一些能量死拖活撐。然而「 虛無」，百年來自波特萊爾描述的現代性的躁鬱，仍舊以一張暴戾 的臉存活在垂死的陰雨城市。

從我第一直覺對基地的詮釋，並在無意識會發生什麼影響

下，我將多數的量體放到猥雜吵鬧的街區。或許，要承認因為我喜 歡也討厭街上的醜陋是件危險的事。雖然這舉動顯得任意且不成 熟，但我之後還是能在專業裡找到它能夠扮演的主動角色：一個媒 介，它重新連接街市生活的城市紋理。隨之而來，剩餘的、多數的 土地變成了所有人的公共空間。(建築人酷愛公共空間如政治人物望 著草地上奔馳的孩子般。)

當策略確認，對於建築師的傳統期待浮現——你空間長 啥樣？我想要空間感到自在——以一種邀請形式的隨性（赫茲伯格 在建築學教程裡所言）去歡迎每個市民、每個旅客、每個人認出在 基隆的這棟新的交通設施是每個人心理上的家。也許我老派到相信 能用建築消解虛無。或者，我在尋找或等待那個對的地方，等它跑 出。

這個車站像隻昆蟲從它被埋在土裡的蛹中移動出來的瞬 間。不僅動線能被輕易辨認，還包含自山、海、港、樓、陽光和雨 水的流動皆能清楚察覺。

「車站在創造一種集體性。」

街市的街廓內有條街，連接從山側的樓房到港口區域。更 重要的是，此處早該與海接觸。 (基隆車站/指導老師：龔書章、方俊凱)

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POWER

ASPIRATION OF FUTURE

UniverCity | coworked with Ho Huang

Due to the severe birth rate drop, the number of enrolled students will decrease 30 % in Taiwan by 2035. We propose a liberal, life-long learning paradigm in a globalised society with decreasingly fewer life-long jobs.

Two main universities in the city competing each other and both with ambition to make real impact of the world: National University of Taiwan and International University.

The current model of National University is very close to University of Virginia, founded by former American president Thomas Jefferson. The campus, enclosely situated in rural area, has a boulevard in the middle, colleges flanked on both sides and a library in the end. The strong axial order indicates a pure spirit facing the sacredness of Knowledge. It is an ideal model. However, the origin of University dates back to medieval ages, claiming its autonomy against the power of church under the funding from benefactors. It is naive to declare any pureness in any institute.

Operating differently from National University, International University is composed of two campuses like two pendulums: one in the dead city centre and the other on the periphery, connected by a bikeway renovated from the old highway, Xinsheng Highway.

Students travel freely between these two campus either by bike, by bus or on foot. The open Loop, with its seeming resemblance to New York Highline, differs in concept — in pursuit of knowledge not merely from enclosed classroom, books or theories, but also from life experience and from society. The learning loop is fun, exciting and uncontrollable — life needs rocking and defeating in its youth — while the main campus gathers all the attention back.

寰宇城 | 與黃荷一起 肇於嚴重的生育率下滑，到了2035年台 灣的註冊學生將下滑30%。在這全球化、終 身職趨少的社會，我們提出一項自由、終身 的學習模式。 兩個在城市的主要大學相互競爭，並企 圖對世界做出影響:「台灣國立大學」與「國 際大學」。 現今國立大學的模型非常接近美國前總 統傑佛遜創設的維吉尼亞大學。該校位於封 閉郊區，校園中有條大道，學院分置兩側， 而圖書館位於中央端景。強烈的軸線秩序指 示著純潔靈魂面朝知識的神聖。這是理想的 模型。然而，大學起源於中世紀，從資方的 贊助裡訴諸它的自治性以對抗教會的權力。 宣稱在任何機構裡有任何的純潔是天真的。 與國立大學運作方式不同，國際大學由 兩個校區所組成，像兩個鐘擺：一端在城市 死寂的中心，也剛好是正中心，另一端在邊 緣，之中由一條翻修自老舊的新生高架橋的 腳踏車道連接。學生在校區間來去自如， 無論是車行、騎行或步行。這個開放的「循 環線」，貌似紐約高線，卻隱含相異的概 念——不僅是從封閉的教室、書或理論追求 知識，還包含了自生命經驗和社會。這條循 環線有趣、刺激、控制不了——生命需要在 青春時被撼動和傷害——而主要的校區則將 注意力收回。

Instructor/ Manolo Ufer, Angela C Soong 指導老師：宋鎮邁、馬諾羅．巫渄

UNIVERcITY | UNITOPIA

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SCENERY OF THE LOOP

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EXISTING CAMPUS

#notdrunk

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Roll!!!

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| Unitopia

| 自治大學 、 一統烏合邦 這個基地是原有校區的延伸，原有的運河被掘出並維護良

The site is on the extension of the original campus with a canal excavated and well-maintained. Two highways block on the North and West of the site; metro station in the south western and the Loop located in the north western.

好。兩條高架橋將基地的北側和西側堵著；捷運站在西南側 而「循環線」在基地的西北側。 學校相信學生僅僅是在老師的指導下自我教育。因此在概 念上，城中校區致力成為一個寧靜的焦點，與紛雜吵鬧的 開放循環線形成對比。想像自治烏合邦與最噁爛的怪物緊挨 著——阻隔基地對外聯繫的車行高架橋。學生宿舍（供1000

The school believe that students is mainly educating themselves under the guidance of teachers. Thus, the urban campus conceptually seeks to be a calm focus centre in contrast to the open Loop in hustle-bustle.

員生的500個居住單位），如同垂直版的怪物高架橋擬態， 牠是道高聳卻又穿透的薄牆，宿舍群的窗戶朝內看，型塑了 基地的範圍以取回大學的自主性。由此，本案得以援用傅科 的環形監獄圖示：中心是一間懸空的金色校長室，被學生宿 舍、學生活動中心和其他學院大樓包圍。這個中心也同樣是

Imagine the Unitopia is living closely with the most disgusting monster, the highways for cars, that disconnects the site from reaching out. The student dormitory (500 dwelling units for 1000 students)—like mimesis of the verticle monstrous highway—with pieces of tall yet permeable thin walls and their windows looking inwards, forms the boundary of the site to reclaim the university’s autonomy. Therefore, the project is able to adopt Faucult’s Panopticon diagram: the centre is a floating golden dean office circled by student dormitories, a student centre and other faculty buildings. This centre is also the centre for holding commencement ceremonies.

The student centre, here again, plays a crucial role to balance the empowerment and order of the glimmering float in the project.

舉辦畢業典禮的中心。在此，學生活動中心則扮演了平衡熠 p92 熠懸空的賦權、秩序建立的關鍵要角。 學生活動中心的細節如下：它上方有個神聖的銀色閤亭和一 道梯形斜坡，斜坡朝向如金閣寺般浮在運河上的校長室。三 分之一的斜坡是之字形的階梯，學生在始業典禮時將站在這 裡面向校長。階梯後方有個進入斜坡的入口，往學生活動中 心去。三分之二的斜坡是維護良好的草坪，區隔也顯貴了 方形閣亭。在斜坡與校長室中間，有著一條延續中軸線直抵 北側宿舍區的橋，分開了校長室與透明的、開放討論的職員 會議室。斜坡之下，也正是屋簷下，一條北接宿舍區的穿廊 成了個隨性放鬆的戶外遮陰空間，並將這巨大構造物一分為 二——派對會場與說教空間。操。學生活動中心非得能成 為巨大派對場。每個人在這裏聚會碰面、社交或找有梗的事 做。諸多入口皆能抵達學生中心；此設計企圖提供給學生足 夠的活動背景，從或大到或小的舞台皆能相遇。

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The student centre is thought into details:

It has a sacred silver pavilion on top and a trapezoidal ramp facing towards the golden dean office, which floats on the canal like a golden pavilion. 1/3 of the ramp is the zigzag stairs which will be the place for students standing upon and facing to the dean during commencement.

Behind the stairs is an entrance into the ramp and to the student centre. 2/3 of the ramp is the well-maintained lawn which isolates and distinguishes the pavilion. Situated between the ramp and the dean office, a bridge continues the axial to the northward dorm area and splits the dean office and the transparent faculty conference room, where discussion is welcomed. Under the ramp, or roof, a corridor connecting to the dorm area forms into a casual, comfortable shading outdoor space and divides the megastructure into two—a party room and a preach space.

YUP the student centre has to become a huge party room. Everyone comes here to meet up, to gather, to find the shit to do and to socialise. Various entrances lead to the student centre; the design aims at providing enough background stage for students to encounter from big to small.

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“THE MOST BEAUTIFUL THING W TERIOUS. IT IS THE SOURCE OF AL WHOM THE EMOTION IS A STRANG TO WONDER AND STAND WRAPPE HIS EYES ARE CLOSED. THE INSIG COUPLED THOUGH IT BE WITH FE LIGION. TO KNOW WHAT IS IMPEN MANIFESTING ITSELF AS THE HIGH DIANT BEAUTY, WHICH OUR DUL ONLY IN THEIR MOST PRIMITIVE F FEELING IS AT THE CENTRE XXX

“It’s a pity you’re n You would unders Look, the sea is al destined to sail fo eve

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—ALBERT E XXX

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WE CAN EXPERIENCE IS THE MYSLL TRUE ART AND SCIENCE. HE TO GER, WHO CAN NO LONGER PAUSE ED IN AWE, IS AS GOOD AS DEAD— GHT INTO THE MYSTERY OF LIFE, EAR, HAS ALSO GIVEN RISE TO RENETRABLE TO US REALLY EXISTS, HEST WISDOM AND THE MOST RALL FACULTIES CAN COMPREHEND FORMS—THIS KNOWLEDGE, THIS E OF TRUE RELIGIOUSNESS.”

not here with me. stand everything. ll around. We are orever, to live forer.”

EINSTEIN

#PREACH

U_^ &RY#$&*( * ^ & @ ^ * %#$& P R IC K XXX&*^#& # # # G R E AT XXXXXXXXX EACH 3<3<3 ##GOOD PR U S T LO V E < M A M HORN 4 ME L IF E W IS D O W O N G IN CUMM HH OHHHHHHH OOO OOOOOOOO 89

CONCLUSION

She

Thanks to my instructors, who kindly remind me of things, though of which I hardly understood by then. Let me quote from Siza again,

HE

“Architecture means commitment transformed into radical expression, in other words, a capacity to absorb the opposite and to go beyond contradiction. To learn this requires teaching us to seek the Other within each of us.

Architecture, a collective art, is the enemy of arrogance and of lack of ambition, of praise for self-emasculation (in the name of the supposed limitation of the Other), of the reversal of arrogance, of the supposed social reasons for mediocrity. Collective desire manifests itself in every stone and in every pore and to reveal it is the only way not to be elitist.

The pursuit of the sublime is identified with the social function of the Architect, because the desire for the sublime is not the invention of the Architect.”

She

Again, her own conclusion:

HE

Playing on the sea with sea Waves are three dimensional Most of the time peaceful and natural

She

Clouds overlapped on the sea level Waves on the water level. The level is never still, but the successively changing is of three dimensional of parts of the waves Never knowing how the next wave arrives how many seconds later (translated from Chinese)

她: 薩…

謝師長悉心曉我以人世之道，雖當下多半難解。末，且讓我再次引述西

他: 「建築意味著將承諾轉化為極端的表現，換句話說，是吸收對立並超乎矛 盾的能力。要了解這點，需要教導我們去尋找我們每人之中的他者。 建築是一種集體藝術，它是傲慢和缺乏雄心的敵人，是自我犧牲的敵人(以所謂他者 的限制為名)，是自大的相反的敵人，是為平庸而自以為社會因素的敵人。集體慾望 體現在每一石和每一孔中，揭示它是不成為精英主義者的唯一途徑。追求崇高被等 同為建築師的社會功用，因為對崇高的渴望並不是建築師的虛構。」 她:

這位主角還是有她自己的結論：

他: 在海上和海玩，浪波是立體的。大多數的時候平靜自然，雲疊在海平面 上，海浪疊在水面上，水平面一點兒也不水平，是很立體的浪頭、浪尾、浪身簇群 變化。 她:

永遠不知道下個浪怎麼來的，幾秒後抵達。

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APPENDIX

Herzog “To me, writing has always been a tool that I use in order to understand. Sometimes a door opens up onto vistas that I haven’t seen or thought of before. But there’s also the danger of developing your thinking too much in the form of writing so that you rely too much on the logic of the written thoughts. I’m convinced that only literary, poetic writing really makes sense and can pass the test of time. When architects write, it’s a technical or journalistic writing for the sake of personal marketing. I want to restrict myself in that respect because it doesn’t make any sense and it takes too much times.”

- p4 Pictures of Architecture; Architecture of Pictures: A Conversation between Jacques Herzog and Jeff Wall, p.45 To great writers, finished works weigh lighter than those fragments on which they work throughout their lives. For only the more feeble and distracted take on inimitable pleasure in conclusions, feeling themselves thereby given back to life. For the genius each caesura, and the heavy blows of life, fall like gentle sleep itself into his workshop labour. About it he draws a charmed circle of fragments. “Genuis is application.”

- p5 Walter Benjamin, One Way Street, tran. Howard Eiland, p.72 What is of interest here is the precise identification of those tasks which capitalist development has taken away from architecture. That is to say, what it has taken away in general from ideological prefiguration. With this, one is led almost automatically to the discovery of what may well be the “drama” of architecture today: that is, to see architecture obliged to return to pure architecture, to form without utopia; in the best cases, to sublime uselessness. To the deceptive attempts to give architecture an ideological dress, I shall always prefer the sincerity of those who have the courage to speak of that silent and outdated “purity”; even if this, too, still harbours an ideological inspiration, pathetic in its anachronism.

- p5 Tafuri, Architecture and Utopia, p. ix 「這是一個極度沒有安全感的城市，所以一般人得不時到廟裡拜拜 順便求個籤；初次見面的朋友，劈頭第一句話，就是盤問對方血型 星座；大型連鎖書店或者傳統小書店裡的命理書籍架子前，總是無 時無刻不擠著一群懷抱研究精神的讀者，專注無比地閱讀著『生命 的學問』；連到泡沫紅茶店歇個腳休息，桌上也會擺上個可愛的復 古造型投幣式星座籤筒，誘惑你讓它吃個十塊錢的銅板，然後所得 的籤詩告訴你千篇一律的幸運數字與下一週可能的艷遇場所。」 - p11 馬世芳、許允斌、姚瑞中、陳達光、黃威融著，《在台北 生存的一百個理由》，〈算命是我們的心理治療〉，台北：大塊文 化，1998，134頁

“How does a painter work in the dark? He has to submit. Often he has to turn around in circles instead of advancing. He prays for collaboration from somewhere else. (In your case from the wind, the termites, the desert sand.) He builds a shelter from which to make forays so as to discover the lie of the land. And all this he does with pigment, brush strokes, rags, a knife, his fingers. The process is highly tactile. Yet what he is hoping to touch is not normally tangible.

This is the only real mystery. This is why some - like you - become painters.

When a painting becomes a place, there is a chance that the face of what the painter is looking for will show itself there. The long-for ‘return look’ can never come directly to him, it can only come through a place.

If the face does come, it is partly pigment, coloured dirt: partly drawn forms always being corrected: but, most importantly, it is the becoming, the coming-towards-being of what he was searching for. And this becoming is not yet - and, in fact, never will be-tangible, just as the bison on the walls of the canvas were never edible.

What any true painting touches is an absence — an absence of which, without the painting, we might be unaware. And that would be our loss.

The painter’s continual search is for a place to welcome the absent. If he finds a place, he arranges it and prays for the face of the absent to appear.

As you know, the face of the absent can be the backside of a mule! There are no hierarchies, thank God. Has something been saved? you ask.

The time, yes.

What?

A part, Miquel, of what begins again and again.”

- p18 John Berger, The Shape of a Pocket, Pantheon Books, United States, 2001, p. 31-32 「對有些人來說，很難去談楊德昌或不是很想談。其實楊德昌和很 多朋友是不親的，跟他的電影一樣，他對人一直懷抱著一種疑惑， 有距離或不信任。他曾說：『念真，我跟你講啦，我心裡面有個筆 記本，誰做了什麼，我隨時在扣分。』我忍不住提醒他：『你不要 忘記，人家也會扣你分。人家只是因為彼此是朋友，所以願意包 容。』老實講，楊德昌的運氣算不錯，很多人在cover他。很多人 讚譽他有他的堅持，若沒有人cover，堅持得到嗎？很多事情是眾 人一起成就的，他常常忽略了這點。」 - p96 王昀燕著，《再見楊德昌》台北：王小燕工作室， 2016，P.62

RHETORIC

Wall “I don’t like the idea of the ‘genius loci’, the special spirit of a place. I don’t like the idea that everywhere people feel they live in a very special place that is precious to them, and they are anxious for all the world to know how special it is. I don’t deny that there is some truth to all this, because I like this ham better than that one, too. But as an artist I don’t want to feel that way; I want to feel detached from ‘the local’ whilst being in it, not valuing it, just trying to observe it.”

- p17 Pictures of Architecture; Architecture of Pictures: a Conversation between Jacques Herzog and Jeff Wall, p.27 「生活空氣的浸潤感染，往往是有意無意中的，不能先有個存心。 文人只需老老實實生活著，然後，如果他是個文人，他自然會把他 想到的一切寫出來。他寫他所能夠寫的，無所謂應當。」 - p17 張愛玲，〈寫什麼〉，《流言》台北市﹔皇冠文化出 版，2007，P.134 “Public space reflects the wishes and desires of the society which creates it. These aspirations give content to the space where human representation takes place. The designer is just a resource, someone implementing collective ideas, often working unaware in response to the demands of society.”

- p62 Guy Debord, Situationist derive

COSMO PAGE 34-35 2001: A Space Odyssey, Stanley Kubrick (1968) BACKGROUND PHOTO: https://www.bam.org/film/2013/2001-a-space-odyssey https://www.slantmagazine.com/film/review/2001-a-space-odyssey https://filmschoolrejects.com/2001-a-space-odyssey-50-years/

“Omitting was more important than proposing, filing and shaving were more important than designing, simplicity was more important than composition.”

- p37 Eduardo Souto de Moura All art is erotic.

- p45 Adolf Loos, Ornament and Crime For contact to be established spontaneously a certain casualness, non-committalness, is indispensable. It is the certainty that you can break off contact and withdraw as soon as you like that encourages you to carry on. The establishment of contact is in a way rather like the process of seduction, which both sides making equal claims on the other in the knowledge that retreat is possible at any time.

Here too the associations that are evoked in us by the images we all store in our consciousnesscollective associations, we would say- play a decisive role. Just think of a courting couple which is readily imagined sitting on a bench, with all the attendant associations of bonds for the future and the situations that appear to arise inevitably, as a result.

- p63 Herman Hertzberger, Lessons for Students In Architecture, Uitgeverij 010 Publishers, 1991, p.178 「 施比受更有罪。」 - p78 朱天文

LOVE PAGE 43-45 Le Mépris (Contempt), Jean-Luc Godard (1963) BACKGROUND PHOTO: http://www.stevenbenedict.ie/2017/09/le-mepris/ http://offscreen.com/view/mepris_analysis ENGLISH PLOT: WIKIPEDIA, https://en.wikipedia.org/wiki/Contempt_(film)

“When my love swears that she is made of truth, I do believe her, though I know she lies, That she might think me some untutored youth, Unlearned in the worlds false subtleties.

Thus vainly thinking that she thinks me young, Although she knows my days are past the best, Simply I credit her false-speaking tongue: One both sides thus is simple truth suppressed.

But wherefore says she not she is unjust?

And wherefore say not I that I am old?

Oh, love’s best habit is in seeming trust, And age in love loves not to have years told.

Therefore I lie with her and she with me, p10 And our faults by lies we flattered be.”

- p25 William Shakespeare The greatest guiding principle I know of in my work, the one which I always pay the most attention, is boredom. In the theatre, boredom, like the slyest of devils, can appear at any moment.

The slightest thing and he jumps on you, he’s waiting and he’s voracious. He is always ready to slip invisibly into an action, a gesture or a sentence. Once one knows this, all one needs is to trust one’s own built-in capacity to be bored and use this as a reference, knowing that it is what one has in common with all the beings on Earth. It’s extraordinary: if during a rehearsal or an exercise I say to myself, “If I’m bored, there must be a reason for it,” then, out of desperation, I have to look for the reason. So I give myself a jolt and out comes a new idea--which jolts the other person, who jolts me back. As soon as boredom appears, it is like a flashing red light.

- p29 Peter Brook, Open Door, p. 40 A young man fell in love with truth And searching the wide world for her He found her in a small house In a clearing in a forest She was old and she was stooped He pledged himself to her To chap the wood And to carry the water To collect the root, the stem, the leaf The flowering top and seed Of every plant she’d need To do her work And he told her that she was young and beautiful Years went by until one day The young man woke up longing for a child He went to the old woman And asked to be released from his oath to her That he might return to the world Certainly she said But you must tell them That I am young and beautiful - p36 written by Paula Meehan; song by Christy Moore, Folk Tale 「小五或六的時候，有百貨公司辦的兒童美術比賽，題目是海底世 界。我知道海龍王宫是一個一定可行的答案，但不知道為什麼想起 了環保污染的新聞，把漂亮的海畫成了烏黑瀰漫，血絲飛舞的圖， 心裡得意極了。班導卻給了我低分，還非常不解。多年後成為皮膚 科醫生的同學畫了海龍宮，代表班上參賽，拿了前三名。之後，我 幾乎忘了這事。」 - 他/她

LUST PAGE 56-57 “Eating oysters with boxing gloves, naked, on the nth floor…”, Illustration by Madelon Vriesendorp in Delirious New York by Rem Koolhaas (1978) BACKGROUND PHOTO: https://lostcitynews.com/2014/11/05/architecture-after-the-pill/ http://www.rtve.es/alacarta/videos/cultura-en-rtvees/minions-020715/3195161/

「而我現在年歲老了些，已經不能明白，那時候我為什麼要說那句 話，為什麼要開玩笑……」 - p29 契訶夫，邱光譯，《帶小狗的女士》， 〈小玩笑〉，P.51 「拿雨傘當武器的女人，有年輕的，也有年紀大一點的，不過在女 戰士當中，還是那些年輕的比較勇猛無畏。特麗莎想起俄羅斯入 侵的那幾天。年輕的姑娘們穿著迷你裙在那兒走過來又走過去，手 裡拿著一根竿子，揮舞著國旗。對那些被迫守貞多年的俄國大兵來 說，這根本是一種性侵害。來到布拉格，俄國大兵們大概會以為自 己來到了一個科幻小說家創造出來的星球，這星球上的女人優雅至 極，在俄國大兵前露出她們玲瓏有致的長腿，展示著她們的輕蔑。 這是所有俄羅斯人在過去五、六個世紀不曾得見的。 在那幾天，特麗莎為這些年輕姑娘拍了無數以坦克車為背景的 照片。那時她多欣賞她們哪！可是她今天看到的正是同樣的這些女 人，她們正惡狠狠地向她迎面撞上來。她們手上抓的不再是國旗， 而是雨傘，但是卻帶著相同的驕傲。她們決定用相同的頑強，不管 遭遇的是一支外國軍隊，還是一把不肯讓步的雨傘。」 - p69 米蘭・昆德拉，尉遲秀譯，《生命中不可承受之輕》，台 北：皇冠出版社，2004，P.157 ALICE DAN ALICE

-p89

A man came into the cafe today and said, ‘Hey waitress, what are you waiting for?

Funny guy.

I said, ‘I’m waiting for a man to come in here and fuck me sideways with a beautiful line like that.’

Patrick Marber, Closer

Ich bin viel krank gewesen Daher stammt vielleicht was andere als Geduld an mir bezeichnen, in Wahrheit aber keiner Tugend ähnelt: die Neigung, alles woran mir liegt, von weitem sich mir nahen zu sehn wie meinem Krankenbett die Stunden. So kommt es, das an einer Reise mir die beste Freude fehlt, wenn ich den Zug nicht auf dem Bahnhof lang erwarten konnte und ebenfalls rührt daher, das Beschenken zur Leidenschaft bei mir geworden ist; denn was den andern überrascht, das sehe, als Geber, ich von langer Hand voraus. Ja, das Bedürfnis, durch die Warterzeit so wie ein Kranker durch die Kissen, die er im Rücken hat, gestützt, dem Kommenden entgegenzusehen, hat bewirkt, das späterhin mir Frauen um schöner schienen je getroster und länger ich auf sie zu warten hatte.

- Walter Benjamin, Berliner Kindheit um neunzehnhundert, Das Fieber, p.45 「結論是，那是一封塔吉雅娜的閱讀心得，她把讀過的英法翻譯小 說與自己的戀愛心情七拼八湊，剪貼出了一封情書……」 - 熊宗慧，〈契訶夫小說中的幾種愛情〉 Festina lente - Italo Calvino 「發現交大變美了，其實在交大當學生是件幸運的事。」 -

她/他

“I was often sick. This circumstance perhaps accounts for something that others call my patience but that actually bears no resemblance to a virtue: the predilection for seeing everything I care about approach me from a distance, the way the hours approached my sickbed. Thus, when I was traveling, I lost the best part of my pleasure if I cannot wait a long time in the station for my train. And this likewise explains why giving presents has become a passion with me: as a giver, I foresee long in advance what surprises the recipient. In fact, my need to look forward to what is coming-all the while sustained by a period of waiting, as a sick person is supported by pillows at his back-ensured that, later on, women appeared more beautiful to me the longer and more consolingly I had to wait for them” - p97 Walter Benjamin, Berlin Childhood around 1900, tran. Howard Eiland, p.72

POWER PAGE 68-69 The Tower of Babel, Pieter Bruegel the Elder (1563) BACKGROUND PHOTO: https://en.wikipedia.org/wiki/Tower_of_Babel 92 | 93 BIBLIOGRAPHY