你確定這真的是仙境嗎?，艾莉絲發生甚麼事情了.....

夢遊の仙境

美惠留下不在他方

疫情突至，世界各地，在這一兩年時間，大自然的一切悄悄滲入人類的建築，奪回他們原有的環境
然，中原建築系館，本就並非正常之場域，時間在此滲入的不是養育萬物欣欣向榮的大自然生命，
而是時一種以時間輔以肝血，輪迴數月所得的......

無料入場

TIME TO COUNT DOWN

TIME TO TA

TIME TO SHOPPING

建築字典:宵夜
定義:建築人的早餐，用於迷惑其他正準備入睡的日狗族，
建築人忡忡生活中，少數的快樂泉源。

消夜

小大一想裝逼

指導老師：蘇富源 Su-Fu Yuan
基地位置：台北五金街 Hardware Street, Taipei
基地面積：16,000 m2
作品說明：
「0 — 循環以及超現實的存在」
 / 邊界意識感
河堤是都市邊陲地帶的基礎建設，而水刻畫出邊界的樣態，但邊界的存在卻鮮少存在於人們的意識中。在一次偶然的機會下我穿越了五金街的疏散門到達河濱公園，眼前令我震懾的是波光粼粼的淡水河，我才開始意識到這習以為常的厚重牆體卻是將都市與自然分隔開來的存在。
 / 斷裂感
基地在環河南路上的五金街堤外河濱公園，這裡除了恆存的淡水河，也佇立著河堤、抽水站以及高架橋等多層次且粗曠的基礎設施，同時一旁的洛陽停車場能接應跨堤的車流，而橋下的五金街店面恣意且雜亂的生活著，這些設施重複地刻畫這條邊界形成強烈的斷裂感。
/ 設計說明
透過研究水與斷裂邊界的互動，並參照觀音山蓄水池與抽水站處理都市內外水的運作模式，我嘗試置入泳池系統打破水與都市邊界之間的互動想像，試圖藉由序列的移動，使人能夠感知常態存在於生活中的邊界，亦能進一步揭露都市中水的紋理。
" 0 — Circulation and Hyperreality "
/ Boundary awareness
A river dike is an infrastructure at the boundary of a city. It is scribed by water. However, the existence of the boundary seldom appears in people’s minds. In an occasional experience, I passed through the evacuation gate of Hardware Street and arrived at the riverside park. I was shocked by the sparkling Danshui River. Therefore, I began to realize that thick walls we are accustomed to are actually an existence to separate a city from its nature.
/ Sense of fracture
The site is located at the riverside park on the Huanhe S. Rd., Wanhua Dist. In addition to the Danshui river, there are also various infrastructures on this site. Such as river dikes, pumping stations, and viaducts. Meanwhile, the Loyang parking lot by the dike accommodates traffic streams from the cross-dike expressway. Moreover, the living condition under the dike on the Hardware street appears arbitrarily and disorderly. These facilities repeatedly carve the boundary, therefore forming a strong sense of fracture.
/ Design Description
By studying the interaction between water and the fractured boundary while referring to the operation of city water by pumping stations and water reservoirs, the design attempts to break the image of the boundary by settling in a swimming pool system. While moving in sequences, people perceive the boundary in their routine lives reveals the character of water in a city.

第0號抽水站-邊界泳池 No. Zero Pumping station-Edge of pool

指導老師：林彥穎 Yen-Ying Lin
基地位置：東區, 台中市 East District , Taichung City
基地面積：10000 m2
作品說明：
建築物的生產從未像過去數十年來這麼高效、快速、體量驚人；但同時，都市中產生大量的廢墟。我熱愛廢墟。在發展題目之時，天外天劇場被撤銷暫定古蹟並火速拆除，在錯愕之餘也逐漸發現自己的認知與現實的落差。
對於廢墟或遺跡的定義絕大部分是二元論，一是剷除，二是賦予空間法定文化資產的身分，面對這種極端的選項，我們應該要反思建築與廢墟的本質，維特魯威的《建築十書》中為建築設計三個標準：持久、有用、美觀，而當建築不再具有這三種特性時，又是一種怎樣的存在？這或許要問的是更接近人的關鍵字：記憶。
人、時間與空間的相互關係形成記憶，記憶與當代建築的連結卻有著極大的斷層，在新的權力者進入時，舊有的痕跡被刮除並重新覆寫，導致我們逐漸淡忘自身的歷史。
開發案的出現，意味著土地上建築拆除與整合，新建築的出現帶來興奮與期待，而這份喜悅是藉由死亡才得彰顯，因此我利用興建的階段去揭露城市的記憶與痕跡， 將記憶的場所和期待的場所在同一個時間格裡彼此混淆，並為空間賦予景深。
The production of buildings has never been so efficient, fast, and amazing in size as in the past few decades; but at the same time, a lot of ruins are produced in the city. I do love ruins. While developing thesis, the Tengaiten Theater was revoked as a tentative historical site and quickly demolished. In addition to being stunned, I gradually realized the gap between my own perception and reality.
The emergence of ruins or relics is mostly dualistic in the cities we live in. One is eradication and the second is to give the ruined space the status of legal cultural assets. Faced with such an extreme option, we should reflect on the nature of architecture and ruins. In Vitruvius’s "De Architectura", three main criteria are designed for architecture: durability, usefulness, and aesthetic . However, when architecture no longer has these three characteristics, what kind of existence is architecture? What we may want to ask is a keyword closer to humans: memory.
The formation of memory symbolizes the interrelationship between people, time and space. However, the connection between memory and contemporary architecture has a huge gap. When the new power enters, the old traces are scraped off and overwritten again, causing us to gradually forget our own history.
The emergence of the land development cases means the demolition and integration of buildings on the land. The arrival of new buildings certainly brings excitement and expectations, but this joy is manifested by death. Therefore, I use the stages of construction to expose the memory and traces of the city. I hope to mix the place of memory and the place of expectation in the present time grid, and then memory and expectation construct a real perspective of space and give it depth of field.

天外天外天：Depth of Field of Architecture

指導老師：楊紹凱 Shao-Kai Yang
基地位置：中區, 台中市 Central District, Taichung City
基地面積：8,773 m2
作品說明：
隨台灣經濟的迅速發展，建築向上堆疊、膨脹，繁榮一時，卻快速沒落。都市仍存在公共空間不足的問題。設計從縮小意識以及現代生活轉變的討論，嘗試利用活動單元，而不是規畫下的空間分割，改造舊有建築，提出一種新的城市開放空間的想像。
基地選在東協廣場，最早以前是第一市場，經歷大火、拆除，在同樣的時空裡，改建成地下3層地上13層的巨大量體-第一廣場。一至三樓為臺中市政府所有（設公有第一市場）。隨商業外移及交通問題，人潮散去，轉為東南亞移工的聚集，於2016年更名為東協廣場。
站在市政府的立場，為了活化城市空間，讓出1-3層樓的市場空間提供給公共作為整頓，以此為契機介入。藉由部分拆除，將地面層的公共性打開，並置入流動性的機能取代原本僵化的商店空間。面對都市進行退縮，拆除臨台灣大道的量體，以地景重塑街道面。整理內部機能，提取再填塞進削減後的量體，梳理路徑與內部動線。最後連結台中舊城觀光旅遊資源，作為發散點，使舊城活絡。
With the rapid development of Taiwan’s economy, the scale of urban construction prospered for a while but quickly declined. It is still difficult to solve the problem of insufficient public space in the city. This Design start from the discussion of constriction consciousness. Using active units instead of planned space division, renovating old buildings, and propose a new imagination of urban open space.
The base was chosen as the ASEAN Plaza, which was used to be the Taichung First Square. After undergoing fire and demolition, it has been rebuilt into a monstrous mass with 3 floors underground and 13 floors above ground in the same time and space, which names the Taichung First Square. The first to third floors are owned by the Taichung City Government.With the relocation of commerce and traffic problems, the crowd dispersed and turned into an assembly point for Southeast Asia migrant workers, which was renamed Asean Plaza in 2016.
From the standpoint of the city government to revitalize the urban space, we intervened by providing 1-3 floors of the market space to the public for reorganization. By partially demolishing, we opened up the publicity of the ground floor and embed the liquidity function to replace the rigid store space. The masses building near Taiwan Avenue were removed, and the retreat landscape is reserved for the citizens as an activity space.

縮放之間Expansion and Constriction

沉重的負擔都是生命成長的養分，
儘管沉重而甜蜜，為了所愛
勇敢地為人生做出決定
－－－－－－－－－
手上的重量減輕了，
肩頭就能扛起更沉重的甜蜜。
趕快入手MSI 超～輕量高效能筆電，
和越發沉重的寶貝們一起渡過畢設！

※疫情期間，請跟貓貓一起WORK FROM HOME！※

指導老師：曾光宗 Guang-Zong Zeng
基地位置：永春市場, 信義區, 台北市 Yong Chun Market, Xinyi District, Taipei City
基地面積：1200平方公尺
作品說明：
從國際紛爭、社會動亂到全球疫情，尋找在時代的不幸與不安中能以空間設計專長出一份力或能以設計思維改變和解決的議題；選擇醫療不但是看到全球議題更是深知台灣的社為背景，醫學為台灣的強項，卻也與台灣將和已經面臨的問題息息相關。當我們並置醫療、空間與人，浮現的將是一種新的思維，一種小可以是各人大可以到城市尺度的建築議題。
From international disputes, social turmoil to global epidemics, looking for issues that can be contributed by space design expertise or that can be changed and resolved with design thinking in the unfortunate and uneasy of the times; choosing medical care not only sees global issues, but also knows well. Taiwan’s society is the background, and medicine is Taiwan’s strengths, but it is also closely related to the problems that Taiwan has already faced. When we juxtapose medical care, space, and people, what will emerge is a new kind of thinking, a kind of architectural issue that can be as small as the urban scale.

後疫情時代與開放醫療 open medical in a post-pandemic era

指導老師：陳宣誠 Syuan-Cheng Chen
基地位置：六張犁, 台北市 Liuzhangli,Taipei City
基地面積：2,475 m2
作品說明：
在有這麼多不同議題可以做的這年為什麼選擇教育議題下手? 不僅是因為看到在疫情的大環境下教育產生的問題和未來的可能性。更是因為深知要改變，創造，催化，或啟動前；教育是很多事情的第一步。當把教育本身打開，從單純的校地解放到城市空間時，是不是有機會能解決城市甚至社會上的問題?我想用城市針灸的方式尋找一種互利的關係，在增加公共性的同時產生社會影響力。這是我認為在未來教育有可能在城市中扮演的角色。
在台灣可以看到教育機構開始嘗試將學校打開和城市產生關係的例子，這些大學為什麼要這麼做，其實很簡單，學校思維在改變，學校希望學生能走出校園，與社會接軌。 有趣的是，許多與學校有關的議題不一定在校內，校外許多具有歷史、文化和自然的場域可以結合學校的教育與研究。更重要的在於，當把教育拉出學校到城市時，能不能也同時解決城市問題；因此在我的設計中，我希望將教育空間置入於被城市忽略的山，讓山被打開，成為城市的結構。
 Why did I choose the education topic this year when there are so many different topics to do? It is not only because you see the problems and future possibilities of education in the epidemic environment. It is because we know that we need to change, create, catalyze, or start; education is the first step in many things. When the education itself is opened up and liberated from the pure school space to the urban space, is there a chance to solve urban and even social problems? I want to use urban acupuncture to find a mutually beneficial relationship, which will be produced while increasing publicity social influence. This is the role that I think education may play in cities in the future.
In Taiwan, you can see examples of educational institutions trying to open schools to connect with cities. Why these universities do this is actually very simple. School thinking is changing. Schools hope that students can get out of campus and integrate with society. What's interesting is that many school-related topics are not necessarily inside the school. Many fields with history, culture and nature outside the school can be combined with school education and research. More importantly, when I pull education out of the school to the city, can it also solve the urban problem; therefore, in my design, I hope to put the educational space in the mountain neglected by the city, so that the mountain will be opened and become The structure of the city.

城市與山脈的教育縫合 Education as the sutura between mountain and city

指導老師：曾光宗 Guang-Zong Zeng
基地位置：劍潭山, 台北市 Jiantan Mountain, Taipei City
基地面積：1330,000 m2
作品說明：
台灣有三分之二的面積為山地,而台北市的盆地地形更使得台北的山林資源非常豐富,隨處望去都能在街道與建築背景看到山的輪廓。這些座落於都市市區的郊山由於可及性高,因此與城市關係十分密切。在台灣經歷了清領、日據及民國的戒嚴到解嚴等時期的特殊背景,也影響了都市郊山空間的發展,使得都市郊山空間展現了具歷史、地理背景意義的特性。
郊山上這些豐富的自然、歷史、社會等資源其實離我們的日常活非常近,但卻沒有被看見或是以妥善的方式使用與利用。隨著時代演進,郊山與都市和市民的關係也應該要被重新思考。
而我認為郊山應該更為開放,這個開放並不是指大肆開墾山林,而是以輕巧的手法去揭露與突顯郊山的資源,讓更廣泛的年齡層能去認識與親近這些隱藏在樹林裡的資源,讓山不再只是城市的背景。
Two-thirds of Taiwan's area are mountainous, and the basin topography of Taipei City makes Taipei's mountain and forest resources very rich. You can see the outline of the mountain in the background of streets and buildings. Due to their high accessibility, these hills located in urban areas have a very close relationship with the city. Taiwan has experienced the special background of the Qing dynasty, Japanese-occupied, under martial law and out of martial law period, which also affected the development of urban hills. These backgrounds make the space of urban hills show the characteristics of historical and geographical significance.
These rich natural, historical and social resources in the urban hill are actually very close to our daily life, but they have not been seen or used in a proper way. The relationship between the urban hills and the cities and citizens should be rethinked. And I think urban hills should be more open. This opening does not refer to the large-scale reclamation of mountains and forests, but to expose and highlight the resources of it in a light manner, let a wider range of age could know and get close to these hidden resources in the woods, and let mountains are no longer just the background of the city.

路的盡頭有座山 Mountain Behind the City

本周音樂

母湯洽喀拉列碰碰

母湯照片

LIICA 集團

LIICArena

指導老師：邱裕文 Yu-Wen Chiu
基地位置：信義區, 台北市 Xinyi District, Taipei City
基地面積：2000 m2
作品說明：
上班通勤族如何藉由日常的午休中，自己有意識的選擇下，在離開辦公的場域後，經由介面的轉換與遊走中，了解到自己不再是機器的一部分，進而在回歸機械式反覆的通勤日常後，了解到其實是有不同的價值等著被發掘的？
以蔡明亮電影為研究，透過影片拍攝，使通勤族的日常感知被看見。感知不同時差的質感，使「之間」的價值被體現。
利用三種不同的"時差" 策略 創造空間經驗，讓上班族在午餐時間裡，透過時空速度介面的轉換以及三種不同午休時間的活動，創造出三個思索自身真實的機會。
在一層又一層認知空間的質感下有所意識到，終究時間還是不可逆的在往前生活也是，而三者間真正想說的是，跳脫那個關係下回歸自己珍視當下。
在體驗過這樣的空間後，再回到通勤的過程裡，可以意識到有些什麼而不再只是機械式的生活著。

How do commuters realize that they are no longer part of the machine after leaving the office area by making a conscious choice during their daily lunch breaks? Then, after returning to the mechanical and repetitive commuting routine, they understand that it is actually There are different values ​​waiting to be discovered.
Take Tsai Ming-Liang's film as research. Through filming, the daily perception of commuters can be seen. Perceive the texture of different time difference. Make the value of "between" be embodied.
Use three different "TIME DIFFERENCE" strategies to create spatial experience. Let office workers create three opportunities to think about themselves during lunch time through the conversion of time, space, interface and three different lunch break activities.
After experiencing some space, they can realize that after all, time is still irreversible and so is life. What the three really want to say is to break away from that relationship and return to cherish the present.
After experiencing such a space, returning to the commuting process, they can realize that there is something that is no longer just a mechanical life.

迴圈意識所Time Loop_the space of routine awareness

指導老師：邱裕文 Yu-Wen Chiu
基地位置：松山車站, 交五公園 Liner park in front of Songshan station
基地面積：18,000 m2
作品說明：
疏離效果是布萊希特在敘事劇場中操作手法(epic theatre)。敘事劇場具有喚醒觀眾意識的意圖，抵抗傳統的亞里斯多德式(Aristotelian)劇場，認為那些戲劇性的劇場幻覺手法，使得許多傳統價值和行為模式恆常不變，觀眾只能觀看，卻無法參與行動。
他試圖將觀眾從劇場幻覺中脫離，利用疏離效果巧妙地操縱審美距離，讓人時而投入劇情之中，時而跳出共鳴反映之外，使觀眾保持批判與客觀、做審美經驗的主控者，在不斷的進出之間，形成共鳴與疏離的張力動能關係，進而產生觀念的轉移。
而松山鐵路地下化後形成的狹長綠帶，打著都市縫合的美名，實際上只是以另一種形式切割這塊地方，現行的做法既缺乏考慮當地的脈絡以及使用者需求，也無法提供在都市中的定位，
都市公共空間的形塑不該只是服務於某種特定的政治或經濟的意圖而缺乏考慮實際在地的事物以及使用者自身的創造，因此我試圖在基地上操作疏離效果，使人從被動的狀態脫離成為主動。
基地分成三個部分，操作分別取自三個不同的劇場，同時呼應基地各自的周邊條件及都市定位，分別是：站前 廣場與廟埕的關係在經意、中段，狹長且被市民大道包夾的綠地空間卻被切割得更狹窄，視線不斷被壓縮的情況下產生的新的連結以及尾段，被道路從中劃開破碎的空間，同時從都市來看這裡也作為連接下一個地點的位置，利用不斷旋轉的身體經驗，讓人在縫隙及反射中窺探和搜集這個地方的線索。
The alienation effect is Brecht's manipulation in the epic theatre. The narrative theater has the intention of awakening the consciousness of the audience, resisting the traditional Aristotelian theater, thinking that those dramatic theater hallucinations make many traditional values ​​and behavior patterns constant, and the audience can only watch but cannot participate. action.
He tried to separate the audience from the theater illusion, using the alienation effect to cleverly manipulate the aesthetic distance, making people sometimes plunge into the plot, sometimes jumping out of resonance and reflection, so that the audience can remain critical and objective, and be the master of the aesthetic experience. , Between the constant entry and exit, the tension kinetic energy relationship of resonance and alienation is formed, which leads to the transfer of ideas.
The long and narrow green belt formed by the underground Songshan Railway, under the reputation of urban stitching, is actually just cutting the place in another form. The current practice lacks consideration of the local context and user needs, and cannot provide Positioning in the city,
The shaping of urban public space should not only serve a specific political or economic intention without considering the actual things on the ground and the user’s own creation. Therefore, I tried to manipulate the alienation effect on the base to make people passive. Disengagement becomes active.
The site is divided into three parts, and the operations are taken from three different theaters. At the same time, it responds to the surrounding conditions and urban positioning of the base. They are: the relationship between the square in front of the station and the temple is in the Jingyi and the middle, and it is long and narrow and is covered by the Civic Avenue The green space between the clamps is cut narrower, and the new connection and tail section created under the condition that the line of sight is constantly compressed, the broken space is divided by the road, and at the same time, it is also used as a location to connect to the next place from the urban perspective. , Using the continuously rotating body experience, let people spy and collect clues about this place in the gaps and reflections.

斷裂的連結 Un connected

指導老師：邱裕文 Yu-Wen Chiu
基地位置：中山區, 台北市 Zhongshan District, Taipei City
基地面積：1,000 m2
作品說明：
從消費社會興起後
符號消費被大量解讀
而我們的識別如何生成?
我們如何被慾望支配?
又是如何建立自己的慾望?
建立自己慾望後
生活又是如何重塑呈現?
傳統廣告為大眾傳播
而數位廣告透過大數據
來分析特定受眾需求
廣告主動找到接收者
Hashtag作為一種新方法
反轉了既有廣告推播的方向
建立自我定位
串起人為網絡
讓別人來搜尋你
Hashtags 建立自己的個性
做為樹立自我的破口
而空間版Hashtag就是一種
既平面又具有深度的空間
SuperFlat壓平了所有事物的區別
使深度消失了
我們需要藉由想像去推翻這種平面
因此SuperFlat看似扁平其實具有超級深度
SuperFlat 打破原始脈絡
顯影不同空間在同一個切面
使生活可被觀賞的一面顯影在大眾眼前
生活成為一場廣告
在城市中重新找回定位
樹立新生活樣態
建構城市中的HyperLife !
After the rise of the consumer society,
symbolic consumption is widely interpreted.
How do we identify ourselves?
How are we governed by our desires?
How do we build our desires?
How is life transformed after we build our desires?
While traditional advertising does not target a specific group of audiences, modern digital marketing uses data to pinpoint its target audiences.
Hashtag, a new metadata tag preceded by the hash symbol "#" allows users to express an idea and attracts people with the same interest. It also brings the idea of modern advertising into people's daily lives and lets users find their best audience.
Hashtag is a powerful tool that allows people to establish themselves and create characteristics.
When we translate the property of a hashtag into a spatial environment, it endows the shallow space with a deeper meaning.
Superflat is a postmodern art movement that flattens natural perspective, depth, and three-dimensionality.
We must overturn the plane and recreate depth with our imagination. Only through the lens of viewing with our imagination can we fully grasp the composition that makes up the flat space.
SuperFlat breaks down the traditional style of living and brings to the surface different spaces where people can share the observable side of life with the public.
Lifestyle can be an advertisement that helps us find our position in the city. Establish a new lifestyle and construct a HyperLife!

#HyperLife #Spatial Hashtags

Creator 17
 ▪️採用Mini LED面板，是全球第一款經過VESA 認證，符合DisplayHDR 1000最高等級的筆電
 ▪️支援100% DCI-P3廣色域，能帶來最精準的色彩呈現
 ▪️搭載最新第11代 Intel® Core™ i7 處理器
 ▪️為專業創作者打造的GEFORCE RTX™ 30 系列獨立顯示卡
 ▪️支援WI-FI 6E無線網路頻寬
 ▪️9小時電池續航力
 ▪️採用世界級發燒音響大廠Dynaudio音響系統，呈現全新美聲原音的頂級音響效果
 ▪️內建人臉辨識或指紋辨識功能
 ▪️提供完整且高效能的I/O連接

畢評前一個月電腦突然壞了？！
 關鍵時刻──選擇微星電腦，
 陪你輕鬆走完最後一哩路！

指導老師：曹拯元 Jeeng-Yuan Tsaur
基地位置：柳川, 台中市 Yanagawa, Taichung
基地面積：12,000 m2
作品說明：
舊城紋理，依水而生。
柳川上，吊腳樓聚集了真實的生活、商業的興盛、交通的繁忙。發展需求隱沒了歷史的記憶，依著柳川的脈絡而生的都市規劃系統，現今卻掩蓋柳川的可及性。討論水園環狀道的形成，去實行重要的節點，推廣台中舊城區的古色古香。
藉由在水文和陸運中間穿插生活場景，強化人體感應的尺度變化經驗，實際正視台中舊城區交通困擾、實行理想步行城市和未來的捷運系統網路。精神上，再次邂逅歷史情感的記憶，緩衝了離開或是回歸的行動，給偶過的人，必來的人，歸鄉的人感到療育的機會，提供解決商業空洞化的助力。
台中人假期就往山大坑往海三井，何時回頭看台中舊城最後一塊開放空間，是該繼續服役於商業色彩，還是揮揮衣袖趨向於自由雲彩。
The old urban's texture was born by the water.
On the Yanagawa River, the hanging houses bring together real life, commercial prosperity, and busy traffic. The urban planning system that was born in the context of Yanagawa River with the memory of history hidden from development needs. Nowadays, the accessibility of Yanagawa is hidden. Discuss the formation of the Garden Ring Road, go to the implementation of important nodes, and promote the antiquity of Taichung's old city district.
Enhance the experience of human sensory scale change by interspersing life scenes between hydrology and land transportation. The actual implementation of the ideal pedestrian city and the future MRT system network by addressing the traffic problems in the old city of Taichung. Spiritually, re-encountering the memory of historical emotions eases the move to leave or return, and gives those who must come here a chance to feel healed.

柳川計畫 Action: Yanagawa

指導老師：徐昌志 Chang-Chih Hsu
基地位置：南寮, 新竹市 NanLiao, Hsinchu City
基地面積：13,000 m2
作品說明：
/甚麼樣的觀光才適合當地
隨著地方產業式微及地方存續出現問題，觀光成為許多地方再生的契機。
文化觀光的發展固然可以讓觀光客接觸到當地居民的生活形態和價值觀，並且提供互動的管道使得地方文化獲得認同。但在過程中，地方時常為了使遊程更生動而進行包裝，導致文化觀光的吸引物被物化，以致於掏空文化觀光的靈魂，使得觀光發展的永續性出現問題。
/地方消失
隨著觀光活動的盛行，地方符號逐漸成為人們對於不同地方的印象，
當異域符號被置入地方文化時，地方文化勢必面臨衝擊、消失的狀況。
/地方文化如何在產業轉型下延續
隨著地方文化意識的抬頭，永續觀光的觀念逐漸普及，不再使用異域的符號並且尋找地方的特色，讓拜訪者回歸本質體驗地方的生活形態與價值觀。
如何以文化觀光的角度將舊聚落的紋理創新與再造為設計重心。
/What is a proper tourist method for local culture
Developing tourism is a turning point for many suburb areas as increasing declines of local industries and more difficulties of preserving local culture.
The development of cultural tourism certainly allows tourists to get in touch with the lifestyle and values of local residents, and provides a way to interact with local culture to gain recognitions. However, in the process, localities often package tours in order to make them more active, resulting in the simplification of cultural tourism. Therefore, the core value of cultural tourism is hollowing out, and the sustainability of tourism development is causing problem.
/The Decline of Local culture
As tourism activities increase, people have different opinions related to the places according to the signals.
When external signals insert into the local culture, which cause some impacts to local culture or even disappearance.
/The preservation of local culture under industry transmission
Awareness of preserving local culture and keeping sustainability are the main value recently. Visitors tends to experience the real lifestyle of local inhabitants, rather than using external signals to highlight the place, which are not actual part of the local culture.
This project focuses on how to rebuild and recreate an old village from the perspective of cultural tourism.

出海之前 入港以後Before Departure, After Arrival

指導老師：徐昌志 Chang-Chih Hsu
基地位置：東門市場, 新竹市 Dongmen Market, Hsinchu City
基地面積：7500 m2
作品說明：
現在超商超市網購等等都非常便利，傳統市場已經不再擁有從前的地位，在如今資訊爆炸的年代，該如何面對傳統市場沒落?又該從甚麼方面下手使傳統市場重生?
價格 便利 多樣性 甚至品質 傳統市場都無法與新式購物體制競爭 但是傳統市場不只提供這些
小時候父母帶我們去菜市場買菜時 買菜本身對我們來說不重要 不會有甚麼印象 但是市場的環境 叫賣聲 香味 人們討價還價的聲音等等 這些事反而讓我們對去市場購物印象深刻 這些就是我認為的體驗 去市場購物的體驗
所以我認為 讓傳統市場重生的重點 不是傳統市場直觀的主軸-購物 而是其他會影響購物體驗的事情
當購物過程極度簡化如超商 過程不再重要 而空間就也不再有需求去約束 就很容易被替換
所以我設計的目的 就是讓市場擁有不可替代性 由體驗去世購物經驗無可取代
Nowadays, online shopping and supermarkets is very convenient. The traditional market no longer has the previous status. In the era of information explosion, how should we face the decline of the traditional market? What should we do to rebirth it?
Price, convenience, diversity, and even quality. Traditional markets cannot compete with the new shopping system. However, traditional markets do not only provide these.
When we were young, our parents took us to the vegetable market to buy vegetables.Shopping itself was not important to us, it would not be impressed, but the market environment was screaming, scent, and people's bargaining voice, etc. These things made us impressed by going to the market for shopping. These are these. I think the experience of going to the market shopping experience So I think the focus of rebirth of the traditional market is not the intuitive main axis of the traditional market-shopping, but other things that will affect the shopping experience.
When the shopping process is extremely simplified, such as a supermarket, the process is no longer important and the space is no longer required to constrain, it is easy to be replaced So the purpose of my design is to make the market irreplaceable, and experience is irreplaceable. Shopping experience is irreplaceable.

體驗經濟的時代 The New Era of Experience Economy

指導老師：黃俊銘 Jyun-Ming Huang
基地位置：南興里, 大溪 Nanxing Xing Village, Daxi
基地面積：45,000 m2
作品說明：
我的畢業設計題目是關於我的家鄉－大溪南興庄生活場域再造
這次的畢業設計，是我作為近十年的當事人，同時也是旁觀者的角色，看到都市計畫帶來方便性以及後遺症。因此以參與式設計的方式，經由一系列的分析精確的選點、開口、串聯，因應在地問題以及未來的農村計畫提供更好的空間品質及生活需求，重新串整早已失效的空間。
在做畢業設計的這一年的過程中，我在5個月的時間不定期的訪談，了解不同年齡層的生活經驗，同時從中獲得不少資訊與趣味性，並在這之後持續的提草案→居民討論→修正草案，最後在畢業評圖告一段落。
這次畢業設計著重在4個重點：社區入口的土地公生活場域重整；社區與國小中間的社區書屋設計；永昌宮廟前的廣場、公園的空間品質提升；以及利用零碎的廢棄公有地串連這些生活場域。
然後我在這裡特別感謝里長、日日田職物所、永昌宮、南興里所有里民、以及我的指導老師，在這段期間給予的所有幫助。謝謝有你們的各種指導，讓我在這一年成長很多！
My graduation project is about my hometown-Daxi Nanxing Village’s living field reconstruction.
This project is about my role as a litigant and also a bystander, founding the convenience and disadvantage brought by urban planning. Therefore, in the way of participatory design, through a series of analysis, precise selection of points, openings, and connection, in response to local problems and future rural plans, provide better space quality and life needs, and reorganize the long -term-failed space.
During the year of the project, I conducted interviews irregularly for 5 months to learn about the life experiences of different age groups, and at the same time I obtained a lot of information and interest from them. Then I continued to “Propose drafts → Talking over with Residents → Amend the drafts”, and finally come to the temporary end in the instructors comments on my presentations.
This project focuses on four key points: the reorganization of the public living area(land god temple ) at the entrance of the community; the design of the community bookstore between the residential area and the elementary school; the improvement of the space quality of the square and park in front of the Yong-Chang Temple; and the use of fragmented and abandoned public land connecting these fields of life.
Then I would like appreciate to the village chief, Rihita Workshop, Yong-Chang Temple’s committee, all residents in Nanxing Village, and my instructor advisor for all their help during this year. Thank you for your various guidance, making me make a lot of improvement!

南興庄的生活文化復興Participatory Design - Nanxing Xing Village

指導老師：楊紹凱 Shao-Kai Yang
基地位置：西屯區, 台中市 Xitun District, Taichung City
基地面積：14,000 m2
作品說明：
議題/從西方國家的案例中觀察到文化建築與環境的關係不是最主要設計理念，卻可以從脈絡中找到存在的必要性。然而觀看七期的台中歌劇院，從伊東在比利時的發想到現今七期的珠寶盒，如何利用台灣文化與生活習慣重塑文化建築與環境的關係。
基地/比起都市規劃所賦予歌劇院的夏綠蒂軸線，從台灣大道往歌劇院的那條軸線才是真正人們活動的地方。基地位處文化建築、商業與住宅的樞紐中心。
設計/打開地下箱涵讓原本自然的風、水、樹、陽光聚集在具有遮陰的廣場，藉由商業活動引入，與人的活動牽絲，不再只是水平上的移動，而是多了垂直向的串聯。用一種向都市開放、四通八達，人們串流在涵洞中，而底下飄出音樂的街頭音樂會的氣氛，成為市民劇場。而延伸到歌劇院前廣場則是先由植栽、鋪面變化、活動發生，讓人願意停留，再漸漸打開被珠寶盒包著的文化價值。
Issue/ In the cases of Western countries, the relationship between cultural architecture and the environment is not the main design concept, but the necessity of existence can be found in the context of the environment. However, watching the National Taichung Theater, from the initial discovery to the current situation is like a jewelry box. How to use Taiwanese culture and Toyo Ito's initial idea to reshape the relationship between the National Taichung Theater and the environment?
Site/ The real place for people's activities than the Charlotte axis given to the opera house by the city plan, the road from Taiwan Avenue to the theater. The site is at the center of a hub of cultural buildings, commerce and housing.
Design/ First, open underground box allows the natural wind, water, trees, and sunlight to gather in the shaded square, which is introduced through commercial activities, and connects with people's activities, no longer just moving horizontally, but more vertically. It is a kind of street concert atmosphere that is open to the city, with people flowing in the culvert and music floating underneath, and it becomes a civic theater. The plaza in front of the opera house is firstly planted, paved and changed, and activities are held to make people want to stay, and then gradually open the cultural value wrapped in the jewelry box.

打開珠寶盒 Open the Jewelry Box

指導老師：李安國 An-Guo Lee
基地位置：板橋區, 新北市 Banqaio District, New Taipei City
基地面積：56,490 m2
作品說明：
在許多都市更新與舊城市的邊界，常常形成一些模糊或是被遺忘的地區，我試著在這種邊界找到另一種可能性，找回核心發展與生活的平衡點。
板橋位處於新店溪與大漢溪河流交會處，往東連結台北市，是新北市的政治、經濟中心。從歷史的發展，再加上環狀線、通訊園區等等人口流動要素，板橋的城市核心逐漸北移到新板特區，且漸漸在擴張。
特專三區位於新板特區的邊界地帶，在環狀線通車、客運站完工之後，人潮的觸及性會大大的提升，轉運需求量也會增加，原本作為停車場用途的區位會需要再重新檢視和定義。
板橋聚集了許多年輕族群，在正式大型表演場漸漸飽和的情況下，我認為這裡可以作為中小型表演場域，提供給成長中的團體或個人表演者、社團練習的學生，一個練習、展現的場所。整合圖書館、工作室、展覽空間，在板橋車站這個大型交通節點，打造一個培養城市文藝的場域，提供更多開放的休憩空間。
At the boundary between urban renewal and old cities, there are some fuzzy or forgotten areas. I try to find another possibility on this boundary to find the balance between core development and life.
Banqiao located at the intersection of Xindian River and Dahan River connecting with Taipei City. It is also the political and economic center of New Taipei City. From the historical development, coupled with the Circular Line, communication park and other factors of population movement, the urban core of Banqiao gradually moved north to the Xinban District, and it is gradually expanding.
The third special zone is located in the border of the Xinban District. After the Circular Line is opened to traffic and the passenger terminal is completed, the accessibility of the crowd will be greatly increased, and the demand for transshipment will increase. The location that was originally used as a parking lot need to be re-examined.
Banqiao gathers many young ethnic groups. With the gradual saturation of large-scale formal performance venues, I think it can be used as a small-sized performance venue for growing group or individual performers and students. Integrate libraries, studios, and exhibition spaces. Create a field for cultivating urban literature and art, and provide more open space here.

轉。藝 Redevelopment Of The Boundary

教練我想打球

聽說健恩要打NBA

指導老師：吳政勳 Chen-Hsun Wu
基地位置：龍潭區, 桃園市 Longtan District, Taoyuan City
基地面積：2,500 m2
作品說明：
現代社會有許多規範，這些規範都意有所指的追求唯一真理、標準答案，妄想把每一個獨特的生存個體，透過大數據將我們分類，限制我們的生活。
我認為的生活，不只是存在於建築物裡的空間、街區內的事情，而是由各種場所及生活記憶疊加起來的，是一種模糊的、延續性的場域；反觀現代的都市空間，生活場域停留在街廓的表面，邊界關係被強烈劃分，這些看似乾淨、整齊的都市空間，大幅度刪減了以人性為主的生活場域。
這之間的差異，好比一本書的解釋權，是歸在作者，還是讀者的真實感受；建築也是如此，我們創造的空間，要是沒有人生活在其中，只會是空殼建築。
龍潭市場五十年來，攤販用他們的方式，嘗試進駐、改變、擴張、遺棄這棟建築，過程之中我看到了，頑強小人物的生活百態。在市場建築即將被遺棄之際，我想以市場小人物的生存法則，對空間進行重新詮釋，讓改造與生活並行，讓建築伴隨著生活恣意的生長，並且不斷地持續下去。
There are many norms in modern society, and these all mean the pursuit of the only truth and standard answer, and the delusion to classify each unique living individual through big data and limit our lives.
In my opinion, life is not just exist in the spaces or blocks of buildings, but is superimposed by various places and memories of life, which is a vague and continuous field; In contrast to the modern urban space, these seemingly clean and tidy urban spaces have greatly reduced the human-oriented living field.
This difference is like the interpretation of a book, whether it belongs to the author or the reader’s true feelings; The same is true for architecture. If no one lives in the space we create, it will only be an empty shell.
For 50 years in Longtan Market, vendors have used their methods to station, change, expand, and abandon this building. In the process, I have seen the lifestyles of nobody. When the market building is about to be abandoned, I want to reinterpret the space based on the survival rules of the nobody. Let the architecture continue to grow arbitrarily along with life.

Lifestyle of Nobody

Creator Z16
 ▪️極致輕巧2.2kg, 纖薄設計15.9mm
 ▪️CNC一體成形鋁合金材質打造的纖薄機身
 ▪️16吋QHD+ (2560x1600), 16:10 黃金比例觸控面板, 120Hz更新率, 100% DCI-P3(Typical)廣色域, IPS等級面板
 ▪️搭載最新第11代 Intel® Core™ i7 處理器
 ▪️為專業創作者打造的GEFORCE RTX™ 30 系列獨立顯示卡
 ▪️支援WI-FI 6E無線網路頻寬
 ▪️採用90Whr大容量電池並搭配快充功能
 ▪️MiniLED背光鍵盤能調整設定客製化的鍵盤背光色彩，打造獨一無二的工作平台
 ▪️提供完整且高效能的I/O連接埠

正因為沒有“羽翼”，人類才會尋找飛起來的方法，但也可以用微星來找啦-BY 藍白黃少女

藍白黃少女

聽說許二要去當排球少女

指導老師：陳宏銘 Hong-Ming Chen
基地位置：烏日區, 台中市 Wuri District, Taichung City
基地面積：20,000 m2
作品說明：
『我家門前有小河，頭上卻有呼嘯而過的汽車。』
基礎建設為城市帶來了便利以及經濟發展，而其所帶來的剩餘空間無意間隔離或是切割了藍綠帶，剝奪了當地居民原有的活動空間，隔開了人行動線，人與人的互動因此減少，進而阻礙文化發展。
湖日里休閒廣場又名烏日戰車公園又名烏日塗鴉天堂，鄰近烏日高鐵站、新舊烏日火車站、烏日捷運站，位於烏溪與筏子溪匯流處以及台74快速道路銜接快官交流道端高架橋下。
零散的人群以及活動已在高架橋興建前自然而然的先後發生：橋旁的土地公廟建於橋興建前，近幾年又新建一間媽祖廟，因橋下詭異的尺度，廟埕難以介入；筏子溪為台中生態保留最為完整的河川之一，固有不少賞鳥客慕名而來，卻無法如願以償；幾近荒廢的空間加上大尺度的水泥牆柱，引來不少塗鴉愛好者到此創作；利用廟埕空間進而延伸，並重新定義不同功能或是使用族群的"埕"空間，以達到都市裂縫的縫合，加上賞鳥平台配合筏子溪生態中心的建立，使藍綠帶與橋下融合。
"There is a small river in front of my house, but there are cars roaring past my head. 』
Infrastructure construction has brought convenience and economic development to the city, and the remaining space it brings inadvertently isolates or cuts the blue-green belt, depriving local residents of the original activity space, separating the line of human action, and as a result, human interaction is reduced, which hinders cultural development.
Hurili Leisure Plaza, also known as Wuri Chariot Park, also known as Wuri Graffiti Paradise, is close to Wuri High-speed Railway Station, the old and new Wuri Railway Station, Wuri MRT Station, and is located at the confluence of Wuxi and Razixi, as well as Taiwan 74 Express The road joins Kuaiguan Interchange under the viaduct.
Scattered crowds and activities have spontaneously occurred before the construction of the viaduct: Di Gong Temple beside the bridge was built before the construction of the bridge. In recent years, a new Mazu temple was built. Due to the strange scale under the bridge, it is difficult to intervene in the temple; Fazixi One of the most intact rivers preserved for Taichung’s ecology. Many bird watchers come here, but they can’t get what they want. The almost deserted space and the large-scale concrete wall pillars attract many graffiti lovers to create here; Use the temple space to extend, and redefine different functions or use ethnic "cheng" space to achieve the stitching of urban cracks, and the bird watching platform cooperates with the establishment of the Razixi Ecological Center to integrate the blue and green belt with the bridge.

橋下埕Event Plaza under Viaduct

建築系五年是條不一般的道路，路上凶多吉少，
大一學會謝
大二的男生要學會在夢遊の仙境徐娘半老，
大三學會MAPPING讓自己的設計不是陳言老套，
大肆學會如何讓自己的建築不在如此黃粱一夢，
大五學會如何ERASE掉無意的事情去蕪存菁....
說的是雲淡風輕，路途卻是凶險至極
且讓各位幫我們看看誰

TIME RECORD

神奇照片

社......醋 起點

指導老師：林彥穎 Yen-Ying Lin
基地位置：龜山, 桃園 Guishan district, Taoyuan City
基地面積：130000m2
作品說明：
城市是什麼？
鄉村是什麼？
城市多樣性？
[尋找中介區域]
人們對城市空間與鄉村空間的認知已經固定，而兩者時常被用來區分一個地區的屬性。然而並不是所有區域都能用這二分法來區分，介於都市與鄉村兩者之間有許多無法定義為兩者之一的區域，而那些地區我們卻照樣植入既定的都市規劃方式。
[變動的夾縫城市]
在城市快速擴張之下，都市與都市的邊界逐漸交疊，疊合的區域由線性通道連通兩都市擴張成一個連結兩城市的區域，形成類衛星城市。
[垂直城市]
台灣的現況中，城市外圍的擴張潛力區域大多為丘陵地形，但已知的城市規劃方式皆由平面xy軸去劃分，因此試圖翻轉平面，由剖面z軸作為規劃空間基準。
高山與低谷之間
都市與都市之間
城市與鄉村之間
道路與道路之間
自然與人為之間
在城市的夾縫中尋找新的城市多樣性
What is urban?
What is rural area? Urban diversity?
[Finding an intermediary area]
Our cognition of urban space and rural space are static, and the two are often used to distinguish the attributes of a region. However, not all regions can be distinguished by this dichotomy. Between urban and rural areas, there are many regions that cannot be defined as one of two, but we still implement the established urban planning methods in those areas.
[A changing city]
Due to the situation of rapid urban sprawl, the boundaries between cities gradually overlapped. The overlapping area transforms from a linear channel into an area connecting the two cities, forming a quasi-satellite city.
[Vertical city]
In Taiwan's current situation, most of the expansion potential areas are hilly terrain, but the known urban planning methods are all divided by the plane xy axis. Therefore, it is attempted to flip the plane and use the section z axis as the planning space reference.
between mountains and valleys
between city and city
between urban and non-urban
between road and road
between nature and man-made
Finding the new type of urban in between the cities.

IN BETWEEN the CITIES 城市之間

唉居

指導老師：楊紹凱 Shao-Kai Yang
基地位置：台北市愛國東路及羅斯福路一段交叉路口 Bo-Ai Special District, Taipei City
基地面積：12,677 m2
作品說明：
當同性戀(異端)不再被異化，異性戀(主流)的城市空間能有什麼改變?僵硬的中正區、靈活的站前商圈，位階化的城市空間是否形成了城市中族群無形的篩檢器?
選定被陽性空間擠壓的博愛特區外緣，從街道、車道的尺度，以及建築的軀殼與骨架，嘗試重新定義邊界的位階形式，和周遭地塊上的群體更好的貼合，匯集並發散，流動的族群，非陰，亦非陽。
When homosexuality (heresy) is no longer alienated, how can the urban space of heterosexuality (mainstream) change?
The rigid Zhongzheng District, the flexible business district in front of Taipei main station. Does the hierarchical urban spaces form an invisible screener for the ethnic groups in the city? I chose a site on the borderline of the Bo-Ai special district, which is pressured by the masculine space.
From the scale of the street and the driveway, to the shell and structure of the building, redefine the hierarchical form of the boundary, make it fits better with the surrounding area, gather and diverge the flowing ethnic groups.

異 Diverse - The exiles of 1980s

指導老師：曾光宗 Guang-Zong Zeng
基地位置：十四張, 新北市 Shisizang, New Taipei City
基地面積：300,000 m2
作品說明：
/緣起
人類曾經依附在自然的規則中生存，尋找適合的道路遷徙，選擇肥沃的土地耕種。適應環境的種種變化，本應當是我們做為地球生物的一項本能。但全球重商主義與台灣現有的開發狀態下，獲利的誘惑遮蔽了我們的雙眼: 我們開始習慣借用他人的經濟規則開發自己的國土，被看似穩定的收入與股市麻痺，任由虛假的規範改變我們所處空間的彈性。
/策略
若嘗試修正現有的不良循環，空間與環境的關係是很緊密的狀況下，我開始思考一個全新的空間系統與運作規則。Re-rezoning將目光聚焦在重劃區這一個議題，藉由系統性的討論試圖重啟被制式化思考的都市狀態，並創造一個全新的價值觀，以在地化、彈性化、複合程度等指標定位出理想的都市架構。
/擾動
它是打破人對於都市自然既定印象的第一個關卡，它是生活感強烈的並讓人意識到現實與理想的反差，帶有連續性的反動狀態。
/重建
擾動的不確定性之後，給予人一個重新塑造價值觀的可能性。它能明確地定義自然在設計中的位階，並且導出中心性強烈的理念。
/宣言
它能確認自然跟人的依存關係，讓制度下的居民建立新的與自然共存的行為模式，並藉機達到新價值觀的提倡與系統永久運作的機會。
/Origin
Human beings used to live by the rules of nature, looking for suitable roads for migration, and choosing fertile land for cultivation. Adapting to the various changes in the environment should be an instinct for us as earth creatures. But under the current state of global mercantilism and Taiwan’s current development, the temptation to make a profit obscures our eyes: we have become accustomed to borrowing other people’s economic rules to develop our own land, paralyzed by the seemingly stable income and stock market, and letting it be false. The norms change the flexibility of the space in which we live.
/Strategy
If I try to correct the existing bad cycle and the relationship between space and environment is very close, I start to think about a new space system and operating rules. Re-rezoning focuses on the issue of rezoning, through systematic discussions, trying to restart the urban state that has been standardized and thinking, and create a new value, based on indicators such as localization, flexibility, and degree of composite positioning. Develop an ideal urban structure.
/Disturbance
It is the first hurdle to break people's established impression of urban nature. It has a strong sense of life and makes people aware of the contrast between reality and ideal, with a continuous reactionary state.
/Reconstruction
After disturbing the uncertainty, it gives people a possibility to reshape values. It can clearly define the level of nature in design and derive a strong central idea.
/Declaration
It can confirm the interdependence between nature and man, allowing residents under the system to establish new behavior patterns that coexist with nature, and take the opportunity to promote the advocacy of new values and the opportunity for permanent operation of the system.

2025十四張重劃區轉譯場 RE-REZONING CITY

指導老師：吳政勳 Cheng-hsun Wu
基地位置：圓山, 台北市 Yuanshan, Taipei City
基地面積：12,800 m2
作品說明：
昔日時代以車為現代化的象徵，人與環境的關係逐漸被改變，城市中充斥以車行為主設計的高架路，原本具有歷史景觀意義的地方遭到破壞與遺忘。如今隨著時代發展，人們開始思考高架道路存在的意義，許多都市空間經過新的觀念得以重新設計，更多環境回歸給人使用。
圓山周圍在歷史中一直是山水環繞的自然區域，曾經是圓山神社的地區，又經歷圓山動物園、再春游泳池等人們遊樂的地方，反觀今天卻變成高架橋交會的交通節點，原本自然環境被破壞，每個時期造成的歷史記憶被高架橋打散。
我的設計在未來高架橋拆除與重新規劃的前提下，修補被切割的山丘，並圍繞基地上的歷史痕跡設計地景博物館，使人在行走過程中能感受人行橋與拆除的高架之間的對比。最終在重新規劃防洪後，此地順利的回歸自然環境，人們也能遨遊在其中。
In the past time, car was a symbol of modernization and thereby the relationship between people and the environment was progressively changed. Nowadays many cities were full of highways designed for car, and the places with historic and scenic value were destroyed and forgotten. With the change of the time, people are changing their thoughts.Some cities have chosen to remove roads designed for cars and turn what was once a highway into urban parks.
Yuanshan has always been a scenic area surrounded by the hills and the river. It used to be the Maruyama Shrine’s religious area, the Taipei Zoo, and the Spring Swimming Pool that people visited, however it has been occupied by highways now. The environment destroyed, and the memories of each period were smashed by the interchanges.
Under the premise of removing the highways,I designed a landscape museum with which integrated the historical elements on the site that connects the relationship between the hill and the river. When walking through it, people can feel the contrast between the footbridge and the remain part of highway. After the process of adjusting the flood wall, this place can successfully return to the nature, and eventually, people were able to roam around it.

憂鬱的山丘Melancholy Hill

指導老師：林彥穎 Yen-Ying Lin
基地位置：萬華區, 台北市 Wanhua District, Taipei City
基地面積：16,000 m2
作品說明：
環俗：SurRounding提旨在探討公宅、仕紳化與真實住民生活如何被體現在實體空間之中。
一切始於我對於仕紳化一詞的研究，從美國的體制中可見，美國國宅在仕紳化的過程中透過人群取代完成一地生活品質與人口素質的提升，並透過迅速且大範圍的空間更新來達成目的，由此開始我對於台灣公宅的興趣。
在台灣仕紳化的發展進程中，建物因應世界的趨勢新建，居住者透過自由經濟篩選，在大規模拆除與興建制式化建築及人群取代的模式中，是否有更好的選項改變一地的住宅品質呢？
萬華區保留了城市原生的信仰因素與獨特的生活模式，型塑出許多散布在1976年後的公宅，而在這些公宅中，華江整宅坐落在城市發展變遷的交界處，處於城市發展更新的首要對象，也是為何我最終選擇華江整宅進行操作的原因。
具體而言，生活的狀態如何在華江整宅中被體現呢？
我透過最初談及的公宅發展作為分類與演變依據，進行在分類與拆解重構，旨在回應最一開始提出的問題，保留的同時進行更新。
環俗: SurRounding, is discussing how public housing, gentrification and real residents’ lives can be embodied in living space.
It all started with my research on the term gentrification. It can be seen from the American system that in the process of gentrification, the American national house has completed the improvement of the quality of life and population quality in a place through the replacement of the population. To achieve the goal, I gradually began to become interested in public housing in Taiwan.
In the development of Taiwan’s gentrification, buildings are newly built-in response to the world’s trends, residents are screened through free economics to determine whether there are better options to change the pattern of large-scale demolition and construction of standardized buildings and population replacement.
Wanhua District retains the original faith factors and unique life patterns of the city, and has shaped many public houses scattered after 1976. Among these public houses, the entire Huajiang national housing is placed at the junction of urban development and changes. The primary object of development and renewal is also the reason why I finally chose Huajiang national housing for operation.
Specifically, how could the state of life reflect in Huajiang national housing?
I used the public housing development that I talked about at the beginning as the basis for classification and evolution, and proceeded with classification and disassembly, gradually explaining the issues raised at the beginning, and updating them while retaining them.

環俗 SurRounding

建築掰客

掰客建人

指導老師：楊秋煜 Chiu-Yo Yang
基地位置：香港, 中環人行天橋 Central Elevated Walkway, Hong Kong
基地面積：N/A m2
作品說明：
由過去14世紀黑死病的爆發令人逃離骯髒並受污染的街道並躲進「盒子」裏，人們長久以來覺得「盒子」裏就是舒適的安身之所，因此加劇都市的建築密度以及高度，由文藝復興時期的超巨型建築以至20世紀的現代都市塔樓。但現今建築僅僅只是資產，當中呎價並不會帶來生活質素。
經過這次新冠肺炎的持續侵擾，人們漸漸逃離擁擠的「盒子」，更傾於重回室外。
面臨發展飽和的香港，已經無法擠出多出的空間於都市中成為公共空間，因此只通從非正規公共空間着手。
全港有逾八百條公共人行天橋。情形就如港鐵一樣：天橋掌控了城市的動線。政府自八十年代起以行人天橋和隧道規劃行人道路網，將行人分隔，地面則供汽車優先使用。
在設計的重點並不是單把人行天橋變休閒公共空間，而是透過我的設計作為媒介誘發週遭建築擠出公共空間，為香港帶來的新都市功能。
In the past 14th century, the outbreak of the Black Death caused people to escape from dirty and contaminated streets and hide in "boxes." People have long felt that "boxes" are comfortable places to stay, thus increasing the density and height of urban buildings. , From the super giant buildings of the Renaissance to the modern urban towers of the 20th century. But today's buildings are just assets, and the median price per square foot does not bring about the quality of life.
After the continuous harassment of the new crown pneumonia, people gradually escaped from the crowded "box" and tended to return to the outdoors.
Facing the saturation of development, Hong Kong has been unable to squeeze out more space into public space in the city, so it can only start from informal public spaces.
There are more than 800 public footbridges in Hong Kong. The situation is just like the MTR: the flyover controls the flow of the city. Since the 1980s, the government has planned a pedestrian road network with footbridges and tunnels to separate pedestrians and give priority to cars on the ground.
The focus of the design is not to simply transform the pedestrian bridge into a leisure public space, but to induce the surrounding buildings to squeeze out of the public space through my design as a medium, and to bring new urban functions to Hong Kong.

2030年香港步行系统與公共空間重塑 2030 Hong Kong pedestrian system and remodeling public spaces

指導老師：林彥穎 Yen-Ying Lin
基地位置：桃園國際機場, 桃園市 Taoyuan International Airport, Taoyuan City
基地面積：11,730,000 m2
作品說明：
/性革命
性，一向對於保守的東方人是種矛盾的存在，既羞於啟齒又嚮往推崇。拋開現今社會既定的束縛，對風情與莊重的徹底氣絕，彷彿性器官只附在衣物上，而裸體只是一種中性化的狀態。
當身體不再是勾起性慾的唯一媒介時，如何運用建築中的材料、符號、尺度來刺激感官，喚起生命經驗中的慾望。
在平凡的元素中，找到不平凡的比例關係，打破既定印象的空間規則，創造行走時的猶豫、停頓，在這孤獨建築中，享受這場情慾的旅程。
/一個人的居住
將人與人的邊界，延伸成人與牆與人。利用人在孤立、隔離時，在那樣的禁錮與禁慾狀態，人的感官會跟著大，進而去感受除了視覺以外的其他感官經驗。
「牆」猶如人之間的邊界，而桃園國際機場象徵國與國的邊界。利用基地本身特性去詮釋人與人、戶與戶之間的多對少、開放與封閉，所誘發出來有關性慾的故事。
一連串的材料實驗，空間組成排列，利用光、聲音、氣息、風的擾動…，讓人「看不見」，卻可以感受的到。藉由這些抽象的概念來討論機場設計的第三場域與旅館之間的新寓言。
/Sexual Revolution
Sex is a contradictory existence for conservative Orientals, ashamed to speak, but also very eager to touch it. Putting aside the established shackles of today's society, the sentiment and dignity are discarded, and the organs are only attached to the clothes, and the nude is only a neutral state.
When the body is no longer the only medium for arousing sexual desire, how to use architectural materials and symbols to stimulate perception and arouse desire in life experience
In the ordinary elements, find the extraordinary proportional relationship, break the space rules of the established impression, create the hesitation and pause when walking, and enjoy this erotic journey in this lonely building.
/Isolation Hotel
Extend the border between people and people, to between people and walls and people. When people are in isolation, in such a state of imprisonment and asceticism, people's senses will grow larger, and then they can feel other sensory experiences besides vision.
The "wall" is like the border between people, and Taoyuan International Airport symbolizes the border between countries. Use the site's characteristics to interpret the story of sexual desire induced by the many-to-less, ope, and closed between people and households.
A series of material experiments and spatial composition, using the disturbance of light, sound, breath, wind... make people "invisible" but can feel. Use these abstract concepts to discuss the new fable between the third field of airport design and the hotel.

情慾水泥 - 感知居住 Not Just Concrete : LIBIDO of Architecture

指導老師：陳宇進 Yu-Chin Chen
基地位置：嘉義公園, 嘉義市Zhongzheng Park, Chiayi City
基地面積：14300 m2
作品說明：
"差不多的台灣，差不多的嘉義
放眼望去台灣城市長的差不多的樣貌，嘉義也是差不多的"印象"，
20世紀末的台灣三大林場之首，一座山腳下的木構森林，木構之都
21世紀的今日放眼望去只見水泥叢林覆蓋整個嘉義，何言木構都市?
嘉義仍有6000多戶"老木"屋散落於嘉義市區，
但被水泥城市覆蓋，隱藏，衰敗
隨著時間流轉，當這些埋藏的嘉義特有樣貌，
某天真正滅絕後，淪為無印象現代都市時，
嘉義別緻的木都市意象將變成空想的回憶，
這是一場老木構與時間拔河的戰爭。
為了使嘉義市能褪下無印象的20世紀現代主義面貌，
呈現出帶有木構記憶的21世紀城市
藉由設計一套以林業文化基調中
"制材產業傳承"&"木材料循環流通"的”木都意象系統”
置於從古至今含有豐富集體意象的中正公園
在整頓現今混亂的公園集體意象時使居民在日常活動中，
不經意的被喚醒深埋於市民心中的林業及城市記憶，
進而引起自覺於”城市有許多木構造”，促使保護以及修復，
使這特殊的木構城市意象得以存活並與20世紀的現代都市融合
成為21世紀的嘉義木都意象
A similar Taiwan, A similar Chiayi
as you look at the similarity of taiwan cities, Chiayi also gives a similar "impression"
At the end of the 20th century, Chiayi first of the three major farms, a "forest" beneath the mountain, City of Wood
but today in the 21st century as you look at the concrete forest covering chiayi, What Wooden city?
Chiayi still has more than 6000 "Old" wooden houses scattered around the city of chiayi.
But they are covered by the concrete city, hidden and decaying.
As time passes, when these buried Chiayi's unique features one day become extinct then Chiayi will degenerate into a modern city with no features.
Chiayi's charming wooden urban imagery will become nothing but an imaginary memory.
This is a battle between old wooden structures and time.
In order for Chiayi to shed its unimpressive 20th century modernism
To present a 21st century city with a wooden memory
The "wooden capital imagery system", based on the forestry culture of "timber industry heritage" & "wood material circulation"
located at CKS Park, which has a rich collective memory of past to present.
In the process of reforming the current chaotic collective memory, through daily activities unintentionally awaken the residents forestry and urban memory deep within their hearts.
In turn, it arouses the consciousness that "there are many wooden structures in the city" and promotes the protection and restoration of them.
So that this special wooden urban imagery can survive and integrate with the modern city of the 20th century
Becoming the 21st century Chiayi wood city image

木都保衛戰Defense of MUDOO

儘管肝腎已壞，心肺倒是勇猛，平日病懨懨的，入水如換一人

游啊游啊游

魚人

指導老師：曹拯元 Jeeng-Yuan Tsaur
基地位置：邁門區, 棉蘭市, 印尼 Kec.Medan Maimun , Medan city , Indonesia
基地面積： 12,064 m2
作品說明：
Issue/ 議題
不同的對待根據種族文化背景
Different treatments based on groups (race, religion,culture)
Perspective /看法
我認為當我們可以接受其他種族，宗教或文化跟我們自己一樣時，我們才能真正尊重差異。從這種觀點來看，尊重其實不會有某個種族，宗教或文化比其他優越的。
I think we can only truly respect a difference when we hold the other race, religion or culture as equally valid and legitimate to our own. From this view, respect really means that no race, religion or culture is elevated above another as superior.
Site/ 基地
荷蘭統治的規劃分區是以各個種族的特質性來分區。像是華人比較熟悉在貿易所以被分到市中心 來幫忙荷蘭政府做貿易，反而當地人比較厲害在手工或農夫就分到比較外圍區。可是到現在能發現這個分割還是能感受到今天。
The planning of divisions of the Dutch government rule are based on the characteristics of the skills of each race . For example, the Chinese are more familiar with trade, so they are placed
 to the city center to help the Dutch government with trade, but the local people who are better at craftsmenship or farmers are assigned to more peripheral areas.
To this day this matter is still present.
目前狀況因爲習慣了對於這種分區所以各個種族都有自己的活動區域。這種的狀況讓了某些種族有優越感所以都市裏面其實不會有很多的交流機會。
我希望都市裏面可以有一個區域讓大家從不同文化背景可住宅一起，互相交流看法，一起成長。
大家能交流因爲有同個目標邁向未來而不會衝突因爲外表問題。
Because of the current situation, each race has its own activity area because it is used to this kind of division. This situation gives certain races a sense of superiority, so there won't actually be many opportunities for communication in the city.
I hope that there can be an area in the city where everyone from different cultural backgrounds can live together, exchange views with each other, and grow together.
Everyone can communicate because they have the same goal and move towards the future without conflict because of appearance issues.
Design / 設計
在我的設計策略當中，以年輕族群出發，營造一個多元種族的共居空間，透過不同知識與文化背景的交流下共譜新的可能，並創立生活市場使其家庭成員參與作為開放空間的城市客廳。
In my design strategy, starting from the young ethnic group, creating a multi-racial cohabitation space, sharing new possibilities through the exchange of different knowledge and cultural backgrounds, and creating a living market to enable family members to participate in the urban living room as an open space .

棉蘭青年共居 Medan Youth Social Housing

指導老師：郭聖荃 Sheng-Chuan Kuo
基地位置：桃園, 龍崗 Longgang, Taoyuan
基地面積：3228m2
作品說明：
設計動機：
一開始選擇“市場”為我的畢業設計題目是因為每次我去逛市場的時候都大包小包的回來，雖然在很熱可是可以買好多
東西就會讓我感覺好快樂，所以就選擇了市場。
我是印尼僑生來台了五年，其實都沒有認真的去了解台灣，所以我的畢業設計就選擇了台灣忠貞市場當我的基地。
基地、議題：
我選擇忠貞市場是因為這個地方讓我感受到家鄉的味道，以及這個地方背後也有一個既有的特殊文化.
在1945年時第二次國共內在時期，有一批軍人被迫待在雲南，泰國的邊界，之後政府就把他們接回來然後安排到忠貞新村居住，所以這個地方已經融入了滇緬的當地文化，再加上近幾年很多移工朋友分批來到台灣，所以在這個地方已經形成了一定程度的認同感。
我的議題是透過飲食文化串連再造社會與地方認同的關係，從新改造市場。
設計策略：
分析市場常見的問題
例如：人車通道，垂直發展的市場往往空間並未充分使用，分類，過了下午就變成空的狀態。
分析市場在不同的時間點，以及他的使用方式，基地所帶來的的價值
提出的方法是要提升這個得放的文化，然後再把市場機能重新歸類於商業性質的分區。
我思考怎麼讓市場變得更加有趣，我分為三個主要的主題去分類定義，透過教育，藝術已經溫室。我希望去市場可以體驗到一些新的東西，例如去市場變成一個找朋友的交流場所，到市場不單純只有購物的功能。讓市場空間可以在不同的時段有不同的用處，市場活動會結合這邊的文化，透過不同種族的文化去設計我的各種性能空間。
Design motive:
At first, I choose ‘Market’ theme for my graduation design is because when I went from Market, I always bought lots of things from there. Although it was hot in there, but there’s always a lot of things to buy and that made me really feel joyful, that is why I chose this theme.
I am a overseas chinese student from Indonesia that already spend time in Taiwan for 5 years, I never really had time to understand Taiwan. This is why I choose Zhong Zhen market in Taiwan as my site for design.
Site, Topic:
I choose Zhong zhen market because it is reminding me my hometown feeling and this place behind has its own existing culture.
In 1945 when second period of Chinese Communist Party, a group of soldiers were forced to stay in Yunnan, border of Thailand, then they were fetched by Government back to Taiwan and arranged them to live in Zhong zhen village, this is the reason why this place was integrated to Burmese culture, in addition to recent years where lots of immigrant worker came to Taiwan in batches. Therefore, this place is getting formed with approval.
This topic of design will cover about food culture and approval reconstruction of society and place relation, reforming the market.
Design strategy:
Analysis of market common questions
Ex: pavement and road, markets that are often under-utilized, classified, and empty after the afternoon.
Analyze the market at different points in time, how it is used, and the value brought by the site
The proposed method is to promote this culture, and then reclassify market functions into commercial sectors.
I think how to make the market more interesting is to divide it into three main themes to classify and define. Through education, art and greenhouse. I hope that going to the market can experience some new things. For example, going to the market becomes a place for communicate and finding friends. Going to the market is not just for shopping. Let the market space have different uses at different times. Market activities will combine the culture, and designing various performance spaces through the culture of different races.

REDEVELOPMENT OF ZHONGZHEN MARKET

指導老師：楊紹凱 Shao-Kai Yang
基地位置：國立政治大學, 台北市 National Chengchi University, Taipei City
基地面積：1117m2
作品說明：
時代下的空間現況/
台灣由於不斷被殖民的歷史背景，讓教育體制成為政權移植認同的操作工具，固化了教學場域的空間邏輯。過度老舊/威權的教育系統跟空間，培育出來的人類與社會需求脫離、被教導的「知識」掛勾著「服從意識」，本該「以人為本」的空間系統失去活性，成為簡單的演講廳、辦公室與遊戲場的排列組合。
使用者/
活在殖民系統下的台灣人民，有著被迫片面的思維模型，「去脈絡化」成為民族特性，卻又完美回應了現代監控式資本主義渴望豢養的人種，個人自主性陷入危機。
設計目的/
透過對於台灣的教育體制與空間研究，打破其固化的空間邏輯，去進行更全面的操作空間，創造互為主體、不斷相遇的空間場域，使人重新掌握自身思維模型構成的主導權。
The current state of space in the era/
Due to the historical background of Taiwan being continuously colonized, the educational system has become an operating tool for regime transplantation and identification, and solidified the spatial logic of the teaching field. The overly old/authoritarian education system and space, the human being cultivated out of social needs, and the taught "knowledge" is linked to the "consciousness of obedience". The space system that should be "people-oriented" loses its vitality and becomes a simple lecture hall. , The arrangement and combination of the office and the game field, and the political authority mission.
User/
The people of Taiwan living under the colonial system have a forced one-sided thinking model. "De-contextualization" has become a national characteristic, but it perfectly responds to the age of surveillance capitalism to nurture, and personal autonomy is in crisis.
Aim of design/
Through the study of Taiwan's educational system and space, it breaks the solidified spatial logic and conducts a more comprehensive operation space, creating a spatial field where each other is the main body and constantly encountering each other, so that people can regain control of the dominance of their own thinking model.

流動的真實＿教育空間模擬器 Flowing truth - Educational Space Emulator

指導老師：許志維 Chih-Wei Hsu
基地位置：台北信義區, 象山 Xiangshan, Xinyi District, Taipei
基地面積：4755 m2
作品說明：
迷走【めいそう】，有迷路迷航以及陷入困境之意。我觀察當今社會病態現象，剖析出五種好發於現代人的類精神病症，並試圖為迷走中的人類擬定救贖計畫。透過設計為常人服務的療癒站，重新以身體感知的方式感受生活並重建自我意識。
站內療程分為三個階段:
1. AN ABSCURE PLACE , 創造性治療，無意義感體驗
2. SILENT ZONE , 經驗性治療 , 死亡的啟發
3. UNCHARTED , 態度性治療 , 自由與責任
分別應對存在主義的三個要素:
1. 以創作知覺自身存在，透過對人生有所貢獻尋求生命意義
2. 以記憶及思考建構自身價值，藉由生命經驗尋求獲得生命價值的方法
3. 以實際任務實現自身力量，在苦難中改變態度來追尋生命經驗
五種不同的患者會不斷在這三個階段中重複來回體驗治療，透過空間的分配以及機能給予，讓常人患者們扮演著彼此的治療者。
「如果一開始就把人生視為無，便是真正的自由。」
以此畢業設計紀念逝去的好友，世曦。
• Lost [めいそう], which means getting lost and getting into trouble. I observe the morbidity society, analyze five kinds of mental illnesses that occur in modern people, and try to draw up a rescue plan for the lost human beings. Through a healing station designed to serve ordinary people, re-experience life in the way of body perception and rebuild self-awareness.
The on-site treatment is divided into three stages:
1. AN ABSCURE PLACE, creative treatment, meaningless experience
2. SILENT ZONE, Empirical Therapy, Death Inspiration
3. UNCHARTED, attitude therapy, freedom and responsibility
Deal with the three elements of existentialism separately:
1. Perceive one's own existence through creation, and seek the meaning of life by contributing to life
2. Construct one's own value with memory and thinking, and seek ways to obtain life value through life experience
3. Realize your own strength with practical tasks, change your attitude in suffering to pursue life experience
Five different patients will continue to experience the treatment back and forth repeatedly in these three stages, through the allocation of space and functional giving, so that ordinary patients can act as each other's healers.
"If you treat life as nothing from the beginning, it is true freedom."
To commemorate my friend, Shihshi Ma with this graduation design.

迷走【めいそう】人類救贖計畫 -Plan B 空虛療癒站 Stray Human Rescue Plan -Plan B Emptiness healing station

疫情使我們不能面對面相見，然而畢業設計對於我們不是一種結束，而是在前往下一個目標前所必經之整備！

儘管疫情突至.......
建築系的系館裡....仍會有席地而睡的人
聽說此人昏睡了五年.....

關於睡覺這件事

指導老師：黃俊銘 Jun-ming Huang
基地位置：萬華區, 台北市 Wanhua District, Taipei City
基地面積：8852200m2
作品說明：
當人們在公共空間看到藝術作品時，藝術跟人的交流就開始了，從最典型的白盒子展演到當代蔚為顯學的城市策展，甚至是虛擬的線上VR，都豐富了我們的生活。我藉由探討藝術展演空間的當代性，辯證當藝術由本體論的單一指涉走向認識論的多元詮釋時，在這瞬息萬變的今天，美術館建築應當如何被建構?我從城市尺度著手企圖建構一個西門町當代美術館系統，藉由藝術在於日常與非日常中間的轉換，利用都市空間去建構藝術基地，再從這些基地擴散藝術空間的細胞到都市，以西門町的兩個停車場做為文本的指涉，發揮其快速連結周邊環境節點的特性，讓此系統雖然在西門町，但透過交通系統把台北市外界的人連結進來，讓人不知不覺當中就會接觸到藝術，並將異質的藝術空間寄生在日常生活的停車場，基地則選擇了本身便是藝術場域的西門町，特別是它曾經作為一個台北港的計劃，是從一個窪地被填平的，具有真實性和未被實踐的海市蜃樓的感覺，那其實藝術往往也具有在真實與虛幻間遊走的特質。
When people see works of art in public spaces, the communication between art and people begins. From the most typical white box show to the most prominent contemporary city curation, and even virtual online VR, it enriches our lives. . By discussing the contemporary nature of the art exhibition space, I dialectically argue that when art moves from a single ontological reference to a multiple interpretation of epistemology, how should art museum buildings be constructed in this rapidly changing today? I started from the urban scale and tried to construct a west gate. The Ting Contemporary Art Museum system uses urban space to construct art bases by transforming art between daily and non-daily, and then spreads the cells of the art space to the city from these bases. The two parking lots in Ximending are used as textual references. Exploiting its characteristics of quickly connecting the surrounding environment nodes, so that although the system is in Ximending, it connects people outside Taipei City through the transportation system, so that people will be exposed to art without knowing it, and the heterogeneous art space Parasitic in the parking lot of daily life, the base chose Ximending, which is itself an art field, especially since it was once planned as a Taipei Port, it was filled in from a depression, a veritable and unpractical mirage. In fact, art often has the characteristics of wandering between reality and illusion.

當代美術館系統Contemporary Art Museum System

指導老師：郭聖荃 Sheng-Chuan Kuo
基地位置：溝心庄, 雲林縣 Gouxin, Yunlin County
基地面積：125,000 m2
作品說明：
在都市與城鎮漸趨飽和的今日，上個年代發生鄉村空洞化的溝心開始填入現代化住宅，其空間型態與居住行為直接複製城鎮的類型與樣態，使地方的居住行為與地景逐漸斷裂與脫離，導致了鄉村城鎮化的產生。另一方面則是台灣鄉村共通的特性－人口高齡化，長期外移的人口導致地方老齡照護的資源不足，只能自力更生。在城鎮化與高齡化的混合作用下，產生了一種鄉村特有的生命週期，老人衰落、老屋頹敗，老人消逝、老屋夷平，新人搬遷、新居落成，漸漸地使鄉村不像鄉村，人也感受不到人的連結。
因此，我希望能透過設計的介入來再製這個生命週期，重新找回人與人與土地之間的關聯。透過關注並解決現代鄉村老齡人口的基本生活問題（食、住、行），以及盤點與再利用基地現有之基礎設施與頹廢屋舍，提出一種現代鄉村的新生活型態，並建立新系統作為聚落再製的參考。
As the cities and towns are becoming saturated, The phenomenon of rural hollowing had taken over Gouxin in the last generation, but nowadays, Gouxin is being filled with modern housing, that spatial patterns and living behavior directly replicate those of the cities and towns, causing a gradual disconnection between local living behavior and the landscape, leading to the emergence of rural urbanization. On the other hand, the common characteristic of Taiwanese rural areas is the aging of the population. The long-term out-migration of the population has led to a lack of resources for local elder care, and the local community has to fend for itself. Under the mixed effect of urbanization and aging, a kind of life cycle unique to villages is created, in which the old people decline, the old houses decay, the old people die, the old houses are razed, the new people move and the new houses are completed, gradually making the villages not look like villages, and people do not feel the human connection.
Therefore, I hope to recreate this life cycle through the intervention of design, to regain the connection between people and land. By paying attention to and solving the basic living problems (food, housing, and transportation) of the aging population in modern villages, as well as inventorying and reusing the existing infrastructure and decaying houses in this site, I propose a new life style for modern villages and an ideal of establishing a new system as a reference for the re-creation of settlements.

餘生再製Living Again－現代鄉村新生活

指導老師：邱裕文 Yu-Wen Chiu
基地位置：東區, 嘉義市 East District, Chiayi City
基地面積：36605 m2
作品說明：
信息技術與數位化徹底改變了當代搜尋與獲取資訊的媒介與狀態，隨之而來的是：對於知識載體-圖書館所表述/呈現的社會意涵。
碎片化的閱讀與大量瀏覽下的接收，都徹底改變了我們獲取/認知資訊與知識的方法/狀態。對於實體書的容納採集空間（collection)是否可以因應當代趨勢/習慣，形成真實的媒介與連結（connection)，設計著重在討論回到真實量體與建築空間形式上的變革更動，是否就是一種回應/質疑時代的建築。而禁錮符號空間（監獄）在設計裡所象徵的體制化與馴化系統，與之植入的知識載體空間（圖書館/學習中心/社會性基礎設施），之間的對話與辯證關係，將（試圖）成為一種宣示與提出對當代建築的美好想像。
Information technology and digitization have completely changed the medium and state of contemporary search and acquisition of information, and what follows is: the social meaning expressed/presented by the library as the knowledge carrier.
Fragmented reading and receiving under a large number of browsing have completely changed the method/state of our acquisition/cognition of information and knowledge. Regarding whether the collection space of the physical book can form a real medium and connection in response to contemporary trends/habits, the design focuses on discussing the return to the real volume and the changes in the architectural space form, whether it is a response /Questioning the architecture of the times. And the dialogue and dialectical relationship between the institutionalization and domestication system symbolized in the design of the confinement symbol space (prison) and the knowledge carrier space (library/learning center/social infrastructure) implanted with it will ( Attempt) to become a kind of declaring and proposing beautiful imagination of contemporary architecture.

囚徒 / 圖 / 途 >>> 末路。狂花 ESCAPE PLAN:as free as mankind

指導老師：江世彥 Shih-Yen Chiang
基地位置：台北盆地, 臺灣 Taipei Basin, Taiwan
基地面積：(lower than 20m altitude) 243,000,000 m2
作品說明：
現有城市已演化成無關於環境、自然、生物的大型人工設施。這個專案從台北盆地切入，將城市作為空間生產的動力，企圖以山系和水系作為一種參照，組織一套系統置入既存的城市，使人類不僅僅意識自然系統的存在，更改變人類的活動及城市的運作，進而產生一種正向的人與自然的循環。
這是一個城市設計策略的設計。
城市與自然的關係自工業革命後變得多元，它可以是一種工業發展的補償、一種城市以外的嚮往、在近代的發展中，自然被視為一種實現人類永續的象徵。台北發展的過程中，人類放棄正視自然，人造建立的系統影響集體利用土地的方式，造成人與環境的脫離。我重新讀取自然建構台北盆地的痕跡，在城市發展的動力與自然空間中建立連結，以此為抽象模型，組織「空間觀察及空間生產」的工具及系統運作原則，以回應自然空間結構的存在，並確保新的空間策略生成能讓人以自然的運作特徵錨定所在的位置（空間上及生態系上）。
Contemporary cities have formed their entity regardless of the reference of nature, natural forces, and living creatures. This project is about discovering the bases of a manageable urban-nature situation, to re-investigate the possibility of next generation planning method in the name of operational natural-urban design guidelines.
The relation between cities and nature became diverse after the Industrial Revolution. Humans took nature as a deco of gloomy industry, or a scenery beyond the city. Now, nature is a symbol of fulfilling the sustainability of human beings, for the majority of the society. The layered up context that exists today has an influence on how humans acknowledge the land and the usage outcome. Due to the ignorance of nature now, this context ended up disaggregating and conflicting with the ecology system.
The guideline includes tools and operation guides for spatial observation and space production. By generating strategies, we can again make humans anchor to the basin both spatially and eco-systematically.
完整手冊內容 To ANCHORING TAIPEI BOOKLET：https://reurl.cc/dGxQaV

錨定台北－朝向以自然為生活座標的城市 Anchoring Taipei – Towards A Nature Coordinated City

CYAR57-TAT

在建築的世界裡，已經不健康了，實在不適合在大魚大肉，該來一碗健康的建築粥了

高貴的建築粥

指導老師：曹拯元 Jeeng-Yuan Tsaur
基地位置：新生高架橋, 台北市 XinSheng Expressway, Taipei city
基地面積：3000000 m2
作品說明：
都市是人們的生活場域， 面對未來人們的生活型態我認為是朝著健康及永續邁進，然而隨著車子數量毫無節制地膨脹，導致都市裡車道的空間漸漸壓縮到了自然的生長範圍以及人類的活動空間，破壞了都市的平衡。所以我試圖提供一個介面讓人們能走出建築物外再次享受到都市所提供的空間，同時也為台北這個城市創造一個連 續性且充滿自然和人文的一個平台。
Cities are people’s areas of life. Facing people’s lifestyles in the future, I think they are moving towards health and sustainability.However, as the number of cars expands uncontrollably, the driveway space in the city is gradually compressed to natural growth. The scope and the space for human activities have disrupted the balance of the city. So I tried to provide an interface for people to go out of the building to enjoy the space provided by the city again, and at the same time create a continuous platform full of nature and humanity for the city of Taipei.

新生台北 台北新生 The Third Space of The Future City

指導老師：張全智 Chuan-Chih Chang
基地位置：鹽埕區, 高雄市 Yancheng District, Kaohsiung City
基地面積：1.4161 km2
作品說明：
「為了要分辨其他城市的特質，我必須談論暗藏其後的第一個城市， 這個城市就是
 威尼斯。」── 卡爾維諾《看不見的城市》
探索者藉由已經建立的意象(既視感)認識初訪的新城市，而居住者藉由既視感與陌生感的衝突發現基地上特殊卻被忽略的部分。
從日治到戰後初期，鹽埕是高雄最繁華的區域，商場、百貨、電影院集中於此，每到假日處處人滿為患。隨著市區重心轉移，現在提到鹽埕大家只知道港邊倉庫以及駁二。然而事實上，鹽埕的精華正是這些擁有昔日風華的人物與建築。(擷自《港都人生，鹽埕市井》)
駁二作為目前的城市意象是與整個發展的脈絡無關的，並且核心居民生活區域(老鹽埕)和周邊的文創觀光區域(駁二)產生斷層，居民不將駁二區域納入生活範圍，而近期觀光客就像「誤闖」一般迷失在老鹽埕區。
試著透過我在城市中畫出的路徑，引起既視感的元素被顯現，人們開始帶著意識觀察城市；漫遊路徑中最直接貫穿鹽埕的大溝頂作為縫合主軸，缺少的重要意象藉由水與商業的連結將記憶以不同的方式植入其中。
The visitors recognize a new city by Déjà Vu which grown up in their familiar place; and the resendent become numb in the routine.
Yancheng has been the most prosperous district after World War II, people acrossed the love river and gathered here because of the latest movie theater and Shopping Street, also the port trade. To this day, Yancheng is known as the Pier district. The direction of development isn't according to the culture and life changs, thus,the image of city wasn't be completed. Also, the resident didn't regarded the Pier-2 art center as daily life field,and the tourists start to break in to the old Yancheng District chaotically.
Trying to suture the gap and construct the imagination with a roaming path. Which composed Déjà Vu will be marked to turn on the consciousness of meeting a new city. And the lost image (Jamias Vu) will be filled up by the momeries composed of water and trading.

言城絮 City Recognition : triggered by marks consisting of déjà vu×jamais vu

指導老師：陳宣誠 Syuan-Cheng Chen
基地位置：鐵路線, 台南 Railway line, Tainan City
基地面積：150,000 m2
作品說明：
日本殖民政府因軍事需求，搭建鐵路，拆除城牆，欲將台南推往現代化都市，進行了格狀系統的市街改正。這些寬大筆直的規畫道路截斷了原本巷弄的有機特質與連續性，所產生的道路尺度相當大，也因此保留了清代發展的巷弄紋理在其中，「島嶼」單元形態的都市結構，而構成臺南獨特的街廓型態與社會涵構。街廓外圍這些新開闢的街道兩旁皆設置了騎樓，騎樓進一步形塑了「街廓」── 傳統巷弄及鄰里生活的邊界，猶如無形的牆。
其實南市政府認為的這一刀，是府城邁向都市化的開始、一切變化的起點，鐵路始終在原處見證城市的歷史文化地理景觀改變。自小在臺南成長的我不認為現階段需要的是縫合，鐵路周遭的小巷道都是緊密相扣的，形成的生活圈也是，鐵路在臺南城市中並非真的是一道牆，不是事物的終點，鐵路的邊緣是藉由日常生活中各種移動和需求所形成。今天能藉由這條線讓出的機會，使這段線性公園道在未來能成為事件展開的地方，閱讀臺南巷弄紋理、歷史、地景，行走在公園道上，可以「意識」臺南。
Japanese colonial government built railways and demolished the city walls due to military needs in order to transform Tainan into a modern city; meanwhile, the cubical street pattern had been implanted for improvement. These wide and straight planned roads cut off the organic character and continuity of the lanes and alleys. The scale of the "block" elements produced by this system is quite large, and therefore retains the street patterns of the lanes and alleys developed in the Qing Dynasty. The urban structure of the "island" unit morphology constitutes Tainan's unique block patterns and social contexts. Arcades are installed on both sides of these newly opened streets on the periphery of the blocks. The arcades further shape the traditional alleys of the "blocks" and the living boundaries of the neighborhood , like an invisible wall.
In fact, what the Tainan City Government believes is the beginning of the city’s urbanization and the starting point for all changes. The railway has always witnessed the changes in the city’s historical, cultural and geographic landscape. Growing up in Tainan, I don’t think the suture is what Tainan City needs at this stage. The lanes and alleys around the railway are closely intertwined, and so are the communities formed. The railway is not really a wall in Tainan, and definitely not the end of things. The edge of the railway is formed by various movements and demands in daily life. I hope to invest my own design so that this linear parkway can become a place for events to unfold in the future. Nowadays, we can take advantage of the opportunity given by this line to read the patterns, history, and landscape of Tainan alleys, and by walking on the parkway, we can be aware of Tainan.

Railway as Measure

建築系五年是條不一般的道路，路上凶多吉少，
大一學會如何謝天謝地謝不R
大二的男生要學會在夢遊の仙境徐娘半老，
大三學會MAPPING讓自己的設計不是陳言老套，
大肆學會如何讓自己的建築不在如此黃粱一夢，
大五學會如何ERASE掉無意的事情去蕪存菁....
說的是雲淡風輕，路途卻是凶險至極
且讓各位幫我們看看誰

看看誰消失了

建人の旅途

我們不是在這裡

小大一

指導老師：江世彥 Shih-Yen Chiang
基地位置：香港，馬頭角, 十三街 Hong Kong, Ma Tau Kok, 13 streets
基地面積：400,000 m2
作品說明：兄弟爬山,各自努力-BE WATER
自回歸中國以來，香港不斷被改變。從人口、生活、教育、經濟、政治等方面進行文化換血。面對著中國政府的管制，香港人更向往從前的英國殖民年代。
回到香港，本地人正在面臨的是自由、生活、文化的控制。這是一個全面性的問題，從個人到群體到整個社會。
香港價值是....？
該如何面對現在？
自由？生活？社會？年輕人？
離開？留下？ 反抗？同化？
從牆外人慢慢變成居住在高牆裡的人。
第廿五年，我們需要找尋一種新的生活方式來適應新環境和捍衛原來的文化。
第一步「明」
維持現狀並配合，但暗地裡進行社區改革.....
第二步「目」
在區域內利用老屋改造設立哨塔、裝備倉庫、教育中心等社區單位.....
第三步「張」
各個組成部分慢慢在都市的背面擴張.....
第四、五、六......
在政治的限制下讓自由發揮極致
黃色生活圈充斥著城市各個角落
在無法能為力的情況下大聲吶喊
*堅持立場和態度不割蓆-香港人

Since its return to China, Hong Kong has been continuously changed. Cultural exchanges are carried out from the aspects of population, life, education, economy, politics and so on. Facing the control of the Chinese government, Hong Kong people are more yearning for the previous British colonial era.
Now, the Hongkongers are facing the control of freedom, life, and culture. This is a comprehensive problem, from individuals to groups to the entire society.Hong Kong value is....?
How to face the situation?
Freedom? Life? Society? Young people?
Go away? Stay? Resist? Assimilation?
We lived outside the wall in the past, but now we live surrounded by the wall.
In the 25th year, we need to find a new way of life to adapt to the new environment and defend the original culture.
Step 1 "OBEY→BETRAY"
We maintain the status and cooperate with the government, but secretly carry out community reforms...
Step 2 "EXCHANGE"
Transforming the old houses into sentry towers, equipment warehouses, education centers and other community units...
Step 3 "EXPAND"
The various components are expanding slowly on the back of the city...
Step 4, 5, 6.....
Let freedom reach its limit under political constraints
The yellow life circle fills all corners of the city
Shout out loudly when you can't do anything
Insist on our faith and attitude
DO NOT SPLIT
-HongKonger

高牆下UNDER THE RED WALL

指導老師：張全智 Chuan-Chih Chang
基地位置：貢寮區, 新北市 Gongliao, New Taipei City
基地面積：86000m2
作品說明：
漁村.祭典.核電廠
台灣的東北角有許多逐漸沒落的漁村，而漁村凋零的原因多半為時空環境改變，年輕人多數去都市發展而無人繼承傳統的漁業。而面對這樣的情況，政府的解決辦法不外乎就是用節慶的方式推廣觀光，但我認為這不是一個長久之計。
貢寮的漁村在面臨人口外移及產業的問題後，政府希望藉由海洋音樂祭帶來人潮創造商機，海祭的出現雖然雖能提高貢寮的能見度但卻無法真正解決貢寮當前的困境。
核電廠在過去一直被視為有高度爭議的嫌惡設施，而在經歷反核意識高漲、政黨輪替及多次停工復工後，核四目前處於封存的狀態，而執政黨當局也朝著非核家園的政策前進。
在核四不啟用的前提下，我將核電廠的封存視為一個契機來去思考核電廠作為這麼一個有爭議性以及尺度極大的異質空間在貢寮將扮演什麼樣的角色。
The nuclear power plants have been regarded as highly controversial and disgusting facilities in the past. After the rise of anti-nuclear awareness, the change of political parties, and numerous shutdowns and resumptions, the nuclear power plants are now in a state of sequestration, and the ruling party authorities are moving towards a non-nuclear home policy.
With the premise that the nuclear power plant is not to be used, I see the closure of the nuclear power plant as an opportunity to consider what role the nuclear power plant will play in Gongliao as such a controversial and heterogeneous space with a very large scale.

核呵呵_爭議設施身分再定位After the Dust Sattle: What’s the next chapter for NUKE 4?

指導老師：江世彥 Shih-Yen Chiang
基地位置：馬來西亞, 吉隆坡 Malaysia, Kuala Lumpur
基地面積：9000000 m2
作品說明：
馬來西亞雖為多元族群、宗教、文化之國家，但至今尚未有任何鼓勵多元文化的政策措施。反之在城市發展方面，不斷利用商場化的手段複製黏貼在城市各個角落，以至於各族群看似融合地生活在一個地方。然而，每當權力及利益在爭奪及分配時，一些個體會選擇性的突出一些所謂單元文化圈的認同感，表露他所屬的這個文化圈優勢，進而與其他對立的文化圈抗衡。因此我透過吉隆坡舊城區重新想像多元族群融合的狀態與所需空間，以重新思考公共的方式，建立起族群間的認同感與新的城市文化。
Although Malaysia is a country of diverse ethnic groups, religions, and cultures, it has yet to have any policy measures to encourage multiculturalism. On the contrary, in terms of urban development, it is constantly copying and pasting in every corner of the city by means of shopping malls, so that all ethnic groups seem to live together in one place. However, whenever power and interests are competing and distributing, some individuals will selectively highlight the identity of some so-called unit cultural circles, reveal the advantages of the cultural circle to which they belong, and then compete with other opposing cultural circles.Therefore, I reimagined the state of integration of diverse ethnic groups and the space needed through the old city of Kuala Lumpur, rethinking the public way, and establishing inter-ethnic identity and a new urban culture.

The NEXT KL

指導老師：吳政勳 Cheng-Hsun Wu
基地位置：朝馬, 台中市 ChaoMa, TaichungCity
基地面積：31000m2
作品說明：
迴圈缺口的意思是將一個封閉並且重複進行循環的迴圈，製造出一個缺口讓人能逃離、喘息的出口。每個人都在一个自己的圈中生活，人的生命就是由不同圈所組成的重複迴圈，我們身處在這樣的狀態下，有時候不一定能夠察覺。
每天日常是一個時間單位相對短暂，並且比較容易因重複的倦怠感而察覺的時間迴圈。迴圈不單只是我們每天重複的日常，也可能是一件讓我們持續沈浸在其中的問題。平常我們想要逃離問題的時候，需要一個能夠放空的空間，或者是獨自一人的空間。暫時離開，到一個完全不一樣的地方漫遊、閒逛放空，成為能暫時逃離的方法。轉運站在除了實際的搭車轉乘功能之外，也能是迴圈的轉運站。
在每天重複的日常迴圈中，藉由轉運站作為離開或進入迴圈的媒介，暫時的離開原本熟悉的日常生活圈。將原本分散在各處，離得很遠的轉運站，整理到鄰近的四個街區中，將因為車道的規劃而被壓縮的人行空間，拉到遠離地面的平台上，藉由不同區域的串連，以天橋作為連接的動線，讓乘客，甚至是司機都能藉此在其中漫遊，短暫的逃離原本重複的日常。
The aperture of the loop can be a little gap we made in our repeatedly continuously loop of our life, where people can escape and breathe out. Everyone lives in a circle of their own. Human life is a repeated circle composed of different circles. We are in this condition, and sometimes we may not be able to discover it.
Loop is not just a routine that we repeat every day, it can also be a problem that keeps us immersed in it. Usually when we want to escape from a problem, we need a space that can empty our minds, or a space where we can be alone. Sometimes staying in a familiar environment does not help. Perhaps leaving temporarily, roaming in a completely different place, wandering around and drift off, become a way to escape temporarily .In addition to the actual ride-hailing transfer function, the transfer station can also be a loop transfer station in our lives.
In the daily loop that repeats every day, the transfer station is used as a medium for leaving or entering the loop, temporarily leaving the once-familiar circle of daily life. The transfer stations that were originally scattered everywhere and far away, that are organized into four adjacent blocks, and the pedestrian space that has been compressed due to the lane planning is pulled to the platform away from the ground, through the series of different areas. And the flyover is used as the connecting line, so that passengers and even drivers can roam in it and escape the repetitive daily routine for a short time.

迴圈缺口 Little Escape From The Loop

指導老師：陳宇進 Yu Chin, Chen
基地位置：新口岸, 澳門 NAPE, Macao
基地面積：30,000 m2
作品說明：
澳門賭權開放 20年，在這期間都是以賭博為噱頭發展，吸引外資公司及遊客。外資公司在澳建設不斷，使澳門的面貌在 20年裏有很大的變化，海岸線的都是高樓大廈及賭場，幾乎再描繪不了以前詩意的海港，因此我思考未來澳門的城市意象該是什麼。
以往有不少建築師或藝術家針對當代社會問題而提出自己的想像及理論，如Constant 對應虛假的景觀社會而提出的新巴比倫計畫、密斯在探討如何在都市與自然關係的Court house 系列、各大地景藝術家討論人要如何與自然共存等等。於是此次計畫便嘗試在這些實踐中，找出可以用來建構城市意象的方法。 經研究後發現它們都有一個 “創造場域”，利用身體去量度空間的共通點，於是此次計畫將會嘗試利用地景設計身體與空間之間的關係，結合城市中具精神性、歷史性及公共性的場域，討論澳門除了舊有的聖城及現在的賭城意象以外的可能性。
We both know that Macao is the city of Las Vegas in Asia, as a citizen in Macao, I wonder whether it is a proper image for my hometown and wanna to discuss a new possible image in a healthy way.
There are many cases of building up utopia, like the New Babylon by Constant, the court house of Mies and walkscape by artist. They have something in common, which is creating “place” to stimulate people physically and spiritually. Afterall, this project will gather the “place” in the city and let the body get to know about the space and the city by designing landscape.

重啟，想像! Natural Perception

蛤！設計課也要遠距教學？只好拿出微星電腦，邊跑模型邊講設計，思緒清晰超流利！

In order to see what’s happening, you have to go back twice as far as you intend to jump forward. That is the rule.
--Bruce Sterling (American science fiction author who define the cyberpunk genre with William Gibson)

Turnaround Time是用於機械工程和資訊工程中的專有名詞，係指一項任務從被處理器承接到完成的反應時間，或指飛機降落後至下一次起飛前的整備時間。如果能夠說明一項工作的轉迴時間，代表其目標已經清晰只待執行，是一個充滿計畫性和野心的名詞；然而，一旦脫離了上下文，Turnaround Time便很容易被直譯成時空倒轉，這樣的解讀立刻替名詞覆上一層對當前的迷惘和懊悔。

2020
今年不是重來的一年，而是整備的一年。疫情猝不及防的吆喝世界停止，無法跳過的當下終於成為所有人共同捱過的今日；世界不會因為疫情重新來過，然而突來的空白卻很容易使現實淡忘昨日在今天的影響，讓扭轉時間的幻想趁虛而入，因此必須更謹慎爬梳累積到今日的脈絡，緊抓著高速運轉的齒輪難得停頓的片刻，看清楚當下，計劃下一步。

turn(v.) time around?
你有想要回到過去的瞬間嗎？可惜的是至少在我們可知的範圍內，介入時間的流逝始終僅能是一種幻想，而我們只有現在。疫情戳破許多朦朧的泡泡，突然人類好像不再先進和偉大了，我們被困在地上，被困在自己雙腳站著的土地上，危機和謠言一起蔓延、支配了坐以待斃的我們。但是也有很多人繼續吹泡泡，既然無法倒轉時間，他們就妄想著跳過當下，夢遊在未來的火星上。人們在對逝去時間的懊悔和未來的盼望中間載浮載沉，站在地上似乎變成一件極為艱困的任務。疫情強迫我們離開一種麻木的生存，有些僵直的規則被新的現實捨棄，也揭開了新的機會。當過去的日常不再，該如何重新定義生活模式？

特展主題訂為Turnaround Time（轉迴時間），想傳達對於當前時代的解讀：雖然疫情限制人類不能隨意投擲幻想，但也同時帶來一段終於能直面困境的時間。另一方面也說明，對於我們而言畢業設計是學習歷程中一段面對自我懷疑與掙扎的整備時間，同時期望自身透過中原建築慣有對在地歷史脈絡的執著，在特殊的時空背景下能藉由設計打開更多接近建築的視角。

轉迴時間

中原大學 建築系

中原大學建築系