Ambiguous, 2021
Montage, 2022
朱立丞 Li-Cheng, Zhu +886 905652331
vicfly0331@gmail.com
Education
台南市天主教德光中學
台中市逢甲大學 建築專業學院
Awards
2023 2050 桃園鐵路騰空廊道都市願景競圖 佳作 2024 亞洲建築新人戰台灣代表選拔賽 入選
Experience
2023 劉木賢建築師事務所
2024 Malaysia Borneo Lab Workshop
Tainan, my birthplace, is a city rich in historical context and emotional depth that has shaped who I am today.
The site is situated at the old south gate entrance of Fengjia University in Taichung, nestled between the bustling night market alleys and the university's boundary. It explores how to navigate the interface between the vibrant, noisy environment of the night market and the quieter school surroundings. Depending on the direction faced, the facade will present varying attitudes.
The south side of the site serves as the main entrance. The first-floor interface facing the residential and commercial buildings is relatively enclosed, preserving privacy while still allowing for external connection. On the north side, large concrete walls are used boldly to sever the connection with the parking lot, emphasizing a stance of resistance against it. To ensure accessibility, a barrier-free ramp is provided on the north side for people with disabilities to enter the site from the parking lot.
Based on the concept of the most minimal unit of the human body, the Abbey of La Tourette designs its accommodation units as spaces measuring six meters by two meters, with an additional two meters by two meters allocated for personal bathrooms.
Le Corbusier viewed the dormitory as a functional space governed by modularity. Each dormitory unit has a height of 2.26 meters, a bay width of 1.83 meters, and a length of 5.92 meters.
In a two-person space, while individuals may be physically separated, they should not be forgotten by one another. To provide adequate space for two people, an interface is needed to separate them while still maintaining both privacy and openness. The center thus becomes a nuanced element that defines boundaries and connects the units.
Basement Floor Plan
First Floor Plan
Second Floor Plan
03 Connection - Bridge
The dormitory environment is often filled with various activities, lacking adequate buffer zones for adjustment. Therefore, blurred boundaries are established within the dormitory space, defining both public and private areas while connecting them together.
Ximen Ancient City, located in Hengchun, Pingtung, was originally used for defense and demarcation. Today, the ancient city has lost much of its original charm and has become a public transitional space, lacking a specific function. If the ancient city were repurposed as a transitional area to create a new type of living space, it could infuse new opportunities into the city wall's vacant texture. This approach could transform the city wall into a natural asset, enhancing its value and integration with the site.
Event A - Boundary
The Ximen ancient city defines its internal and external boundaries, including the relationships of past towers and their external heights, which affect the building facades.
Event B - Connection
Only fragments of the city gates that were once connected to the west gate remain. The ruins of the wall still exert a vague influence on each other, with the only remaining ruins defining the interior.
Event C - Modular
The public areas formed within Ximen ancient city are designed in a modular fashion. Boundaries are redefined, and heterogeneous functional spaces are inserted into the grid.
Choosing the airplane boarding cabin’s air bridge as a concept, we use non-traditional entrances to highlight spatial differences. The air bridge connects the indoor airport with the outdoor aircraft, creating a change in mentality even though the entire movement is indoors. This same concept is applied to connect ancient cities and buildings, emphasizing the spatial and mental contrasts between the old and the new.
The site is located next to the Taichung Prison parade ground parking lot. Currently, the site is in a transitional functional state. The relationship with the prison can be traced back to the Japanese colonial era when it was used as a prison. Although the prison has been demolished, the remnants of the prison system in the surrounding area still hint at its past presence. The prison can be seen as a monument witnessing the historical development of the area. I aim to respond to the site by using the axis extending from the prison as a connecting axis for the site, allowing people to experience the previously close but now distant relationship between the two through physical experience.
The "garden" is viewed as a tranquil center, while the "gallery" allows people to experience spatial changes and emotional transitions during movement. Drawing from the design of courtyards and gallery-style circulation within the prison, continuous walls and openings are interspersed between different axes on the site. This setup allows people to experience ongoing shifts and coherent visual changes in the space, echoing the bodily experience of the prison.
and Daily Life
The site is currently at the intersection of various religious beliefs, such as the issues related to foreign workers outside the train station and the nearby Marist Hall, which highlight the opposition and differences between faiths. I aim to transform these differences into a dialogue of religious beliefs to integrate the public nature and functions of the site. For minority groups, religious faith often accompanies their daily lives, so I respond to their living spaces from a religious perspective.
02 Exhibition and Transitional Space
If the circulation path of the exhibition is intentionally extended, with the endpoint set as the display areas for various religions, then the transitional space in between becomes the process of seeking one's own faith. The space's twists and turns, like a labyrinth, and the play of light and shadow between the inner and outer layers of materials, allow individuals to experience the material's weight and atmosphere. At the same time, I aim to break the one-way relationship between the exhibition and its viewers by using the transitional space that displays various religions as a blank functional area. This approach is intended to enhance people's sensory experience of the space through their movement, allowing the space itself to become an exhibition within the exhibition.
Religious Museum First Floor Plan
Religious Museum A-A' Section
Religious Museum B-B' Section
Religious Museum C-C' Section
03 Turning of the Movement and Sight
A 90-degree right-angle turn is a common experience in daily life, so I designed three major axis turns in the site's circulation. Beyond the physical experience of turning, I began to explore the possibility of seeing different perspectives without changing the path. To achieve this, I incorporated mirrored stainless steel into the building’s facade, extending the dynamic experience of the turns into a visual experience. The mirrored stainless steel facade reflects changes in the surrounding environment, allowing viewers to capture different visual scenes as they move. This design also encourages people to reconsider the relationship between the building and its environment in their daily lives, serving as a facade that evolves with time and nature.
Axis, a corridor that runs through daily life and prayer
Religious Museum Northeast Facade
Religious Museum Southwest Facade
The Religious Museum, as the primary functional space, showcases educational exhibitions on Christianity, Buddhism, Islam, and other religions. On one hand, it interprets the spatial atmosphere of different religions; on the other hand, it softens the often serious and inaccessible impression typically associated with religious spaces, allowing these religions to be presented in a more natural way throughout the exhibition space. In the exhibition layout, I aim to design the exhibition partitions as more private spaces and use winding pathways to create a spatial sequence that is difficult to read and understand from a single perspective.
Entering the gallery that showcases the spirit of the Christian site serves as the culmination of the entire sequence.
01 Patina About Metal And Temporality
In a brief material experiment, I aimed to explore the relationship between metals and time. Copper, a metal that oxidizes, can serve as evidence of the passage of time. The process of rusting also responds to the natural environment. By observing the sequence of colors, we can trace the effects of time and its gradual blur.
02 Unstable Light And Atmosphere
Copper serves as evidence of the passage of time. I aim to explore the relationship between copper and light from a different perspective. Using mirrors to capture the light spectrum reflected by copper reveals something beyond our usual understanding. This approach leads to the emergence of unstable light and atmospheric effects.
03 The Summary
At this stage, attempts are made to integrate the patina of metal, the concept of time, and unstable light and atmosphere into a space where the relationships and interactions between these three elements can be explored.
Exploded Drawing
Top View Drawing / Facades In All Directions
In an unstable atmosphere, copper and mirrors interact to form new objects, reinterpreting the nature of light. The movement and distance of copper objects are also factors in this experiment, contributing to the creation of an unstable light atmosphere. Changing light, reflections of copper on the white acrylic plate, the color sequence of patina, and the distance of light all influence how colors and apertures interact with each other.
The White Box In The Dark Section Perspective
The site was selected within a long and narrow corridor space, serving as the interface between indoor and outdoor environments. As people enter this dark corridor, the physical experience creates a sense of unease. Within this darkness, a white box stands out. Upon entering the box, individuals encounter a contrasting spatial atmosphere, transitioning from the dark corridor to a white space illuminated by copper light. This box generates a dynamic interplay of metal patina, temporal effects, and unstable lighting, creating a unique and immersive experience.
The works presented span from 2021 to 2024. In 2025, I will return to my hometown, Tainan - a place where I have grown up - to create my graduation design. This project will integrate my experiences over the past five years of university, encompassing the issues I care about, the events I have observed, and the ideas I wish to explore. I will continue to present the emotional and romantic aspects of architecture through my understanding of the field.