portfolio (2016-2018) - YU-CHEN TSAI

P OR T F O L I O YU

CHEN

TSAI

Selected works 2016 - 2018

SELECTED WORKS 2016 - 2018

WRAPPED AESTHETICS 4

PERFECT BLUE 22

THE FLOATING TEMPLE 36

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YU-CHEN TSAI

蔡 彧 晨

Birth : 10th February 1995 Nationality : Taiwan

Contact email phone

@gmail.com +886 933535867

Education 2014 - 2018

Bachelor of Architecture National Taiwan University of Science and Technology

Professional Experience 2017

大元聯合建築師事務所 Internship of KRIS YAO ARTECH

2016

張弘鼎建築師事務所 Internship of Hongding Chang Architects

Computer Skills AutoCAD Adobe Photoshop Adobe Illustrator Rhinoceros SketchUp

Awards 2017

The Far Eestern Architectural Young Talent Award 2017 Honorable Mention

2016

The Far Eestern Architectural Young Talent Award 2016 Honorable Mention

Language

Mandarian Chinese (native) English (fluent)

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WRAPPED AESTHETICS Undergraduate Thesis, 2018 Advisor : Chin-Wei Lee

This thesis reference artist Christo-Jaracheff ’s works wrapping objects like bridge, public building or nature to creat a novel architectural approach. Wrapped Aesthetics is investigating the interaction between outer envelope and interior mass to offer a unpredictable form and a diversity of spacial quality.

In physical condition, the form and the space of architecture are builded upon the mutual influence of two independent objects. The relationship is composed of the envelope and mass. A flexible envelope wrap a rigid mass. Two objects move, resist, and interact with which others and make a balance position.

Wrapped Aesthetics features some hidden characters to redefine mass, scale, and image of architecture. Estranged appearance shows familiar but unfamiliar massages, and we can read the internal mass part and the deformed part. The dynamic condition purposely ruins precise expectation to push architecture toward an irregular but new aesthetics realm.

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ELEVATION WRAPPED AESTHETICS LINE DRAWING + RENDERING

This thesis begin with transformation of interior mass. The development of the mass follow the rectilinear principle, but bent into a loop. Different from CCTV Headquarters, Wrapped Aesthetics project is an open-endpoint loop seeking to construct more changeable interfaces between interior mass and envelope system.

In hypothesis, wrapping is a later action. When a flexible membrane wrap on the rigid mass, the physical properties of materials are revealed because of movement process.

Wrapping become an effective approach forcing materials disformed. The static form is brought dynamictic trait by those bending, creasing, and crushing in the interface. The shape is made with certain logic but comes to uncertain way.

An originally unexist space appears between envelope and mass.

The expanded space is simultaneously defined by result of two objects’s interaction. There is a chance to put different extra programs into the space increasing diversity.

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MASS DIAGRAM WRAPPED AESTHETICS LINE DRAWING

XINGYI DISTRICT SKYLINE WRAPPED AESTHETICS RENDERING

TAIPEI WTC

Taipei City’s Xingyi district is the chosen as the site of this project. According to urban plan, the site is within a grid system and has a large and complete block, and lots of high-rises and curtain wall buildings stand around. Wrapped Aesthetics declare a more aggressive character comparing with those rectilinear towers in the same restrictions.

TAIPEI 101

WRAPPED AESTHETICS

NANSHAN PLAZA

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FORM STUDY WRAPPED AESTHETICS LINE DRAWING

STUDY MODEL WRAPPED AESTHETICS COMPOSITE MATERIALS

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EAST-WEST ELEVATION/SECTION WRAPPED AESTHETICS RENDERING+LINE DRAWING

level 30 124.00m

level 22 92.00m

level 19 80.00m

level 12 52.00m

level 5 24.00m

00.00m

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NORTH-SOUTH ELEVATION/SECTION WRAPPED AESTHETICS RENDERING+LINE DRAWING

level 30 124.00m

level 22 92.00m

level 19 80.00m

level 12 52.00m

level 5 24.00m

00.00m

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PLAN 22nd FLOOR

PLAN 19th FLOOR

PLAN 12nd FLOOR

PLAN 5th FLOOR FACADE STUDY WRAPPED AESTHETICS RENDERING

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FINAL MODEL WRAPPED AESTHETICS RENDERING

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PHYSICAL MODEL (FRONT) WRAPPED AESTHETICS LASER CUT

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(UP) VIEW OF PLAZA (DOWN) VIEW OF TERRACE WRAPPED AESTHETICS LASER CUT

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PHYSICAL MODEL (BACK) WRAPPED AESTHETICS LASER CUT

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(UP) VIEW OF PLAZA (DOWN) VIEW OF TERRACE WRAPPED AESTHETICS LASER CUT

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PERFECT BLUE パーフェクトブルー

物件 OBJECT

Barchelor’s project, 2017 Instructor: Yu-Hua, Wang The Far Eestern Architectural Young Talent Award Honorable Mention 網格 GRID

The idea of SATOSHI KON MUSEUM is from this Japanese director’s first animation film : PERFECT BLUE. I treat this film as a reference text and try to analyze its story, structure, character, psychology, symbols, metaphor,etc. This architecture would creat a soul image and become a conversation approach to make reader to communicate with the text and interact with roles in the film. It will break throught time and space constrains, and talk with consciousness.

PERFECT BLUE Actress Mima was an idol singer, and become an actor cause semi-forced by management company. However, after a fake rape drama scene becoming true, Mima’s mind was collapsing. The real and the fake was appearing and shuffling in her memory. Porn, violence,and murder show up in the reality and illusion, and finally, her personality was almost dead.

隧道 TUNNEL

牆 WALL

CONCEPT MODEL

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SYMBOL OBJECTS PERFECT BLUE LINE DRAWING

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WALL Suddenly, a fifteen-meter high wall appeared at the intersection of Kuling Street and Fuzhou Road, with a horrifiedly surreal scale standing in the city, the wall cut all the reality, and matte aluminum wall bleared the reality. It birth an unprecedented virgin land next to the Army Hall, high wall protect all dreams can dream, this is a Mima’s dream, but also Mima’s room, all the events are in the exquisite dream.

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PERSPECTIVE PERFECT BLUE PHOTOSHOP

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Mirror Two huge tunnels as a medium detween reality and dream, and the two tunnels like a pair of mirror relationship, contrasting and interspersed with each other. Ten meters high surreal scale can glimpse two ends of two Japanese architecture but can’t pass, but a entrance of dream; another four-meter-high tunnel can only pass through the museum but can not enter .Two tunnel just are like real Mima and the other one.

SITE ANALYSIS PERFECT BLUE LINE DRAWING

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SITE AXON PERFECT BLUE LINE DRAWING

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N

LA

P RF

B1

AN

PL

N

LA

P F1

B2

AN

PL

PLAN PERFECT BLUE LINE DRAWING

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EXPLODED VIEW PERFECT BLUE LINE DRAWING

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1.Exit 2.Entrance 3.Exhibition 4.Auditorium

FIRST FLOOR PLAN

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1.Shop 2.Office 3.Toilet 4.Reception 5.Exhibition 6.Auditorium B1 FLOOR PLAN

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Mima’s room

June 24th It is all others forced me to do. help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help! help!

"No, no, this person is not me!"

"Of course, because here I am the real Mima."

"You obviously want to go back to do idol singer again."

"No, I am ..., I am ..."

"Yes, you are not an idol singer."

"No one would love tarnished singer, but it does not matter here I am."

"Since then, I am the light and you are the shadow."

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MINA’S ROOM PERFECT BLUE LINE DRAWING

MIMA’S ROOM PERFECT BLUE PHOTOSHOP

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The death of Author According to word association test theory by Carl Gustav Jung, a string of arbitrary words occasionally provoke the reader's desire, and even lead to different associations. And I provide a set of purely symbolic systems, a group of completely blank signifiers, and stripped out of the signified that may be hidden, and these symbols can even be freely collaged (through the reader walking in the space), I as the author of the subject has been bead, the reader and then become the author, began to build their own intentions.

MONTAGE SECTION PERFECT BLUE LINE DRAWING

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F LOAT ING TEMPLE Barchelor’s project, 2016 lnstructor: Chi-Jin, Lin

Temple is an important part of Taiwanese people’s daily life. Neighbors are gathering there and chatting. Old men are playing chess with each other. Children meet new friends. Temple is not just a religious center, also a social center. Biō tiânn (the temple square) offers an open space to make activities happened, and it comprises a secular element in a religious architecture.

This project aims to dismantle traditional temple’s typology. The site is a tiny area, nearby a main road, and embraced by houses. First, this project should ensure an accessible and big enough public space. Second, temple should have a significant icon to make visitors can see it clearly from any horizontal position. Strategically, the idea is to wipe out the entire ground floor in the small site, and put most of programs undergrounded. The ground become a plaza and a symbolic structure floats in the sky.

In original pilgrimage circulation, visitors follow a linear sequence to call on, but this approach changes the way of pilgrimage circulation. Visitors have to sink into a subterranean space, and trace a spiral pathway surrounding an atrium up to the altar. It turns a horizontal relationship into a vertical one, and provide a different experience of pilgrimage.

Ground and underground functionally divide the secular space and religious space, but all get maximized freedom.

SITE PLAN

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The roof Roof plays an iconic role in Asian architecture. The floating temple deconstruct the traditional form of room, but remains the image of the shape. The structure is inspired by CIDIRI craft. Hundreds of sticks cross with each other and compose a frame of curved roof-shape. There is a spherical void in the middle of the frame to represent a spiritual symbol of religion. People come to the altar looking upon and pray for a better day.

Landscape The floating temple respects spirit of BiĹ? tiânn, and deform traditional typology to motivate the potential of landscape. The ground uplifts to be a hill. Visitors roam around the plaza and they can climb up and down the hill. Creative landscape makes different activities happen at different level. The floating temple keeps daily life activities within a solemn field, and keeps visual connection with altar. People can easily stay or leave no matter religious ritual.

CONCEPT MODEL+SITE THE FLOATING TEMPLE

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GROUND FLOOR PLAN THE FLOATING TEMPLE LINE DRAWING

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(UP) VIEW OF PLAZA (DOWN) VIEW OF ALTAR THE FLOATING TEMPLE

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B1 FLOOR PLAN THE FLOATING TEMPLE LINE DRAWING

1.Office 2.Toilet 3.Atrium 4.Reception 5.Bookstore 6.Reading room 7.Meeting room 41

VIEW OF INSIDE-OUTSIDE THE FLOATING TEMPLE

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B2 FLOOR PLAN THE FLOATING TEMPLE LINE DRAWING

1.Atrium 2.Classroom 3.Living room 4.Study room 5.Monk’s room 43

reception /office

monk’s room

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SECTION THE FLOATING TEMPLE LINE DRAWING

15.50 m

3.20 m

bookstore

study room

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PERSPECTIVE THE FLOATING TEMPLE

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