Ying-Zhu Chen Portfolio: Selected Works (2019-2024)
Ying-Zhu Chen
Ying-Zhu Chen
Location
Email Tel
Date of Birth
Gender
Address | | | | | | | Taipei, Taiwan
yingzhuchen.1998@gmail.com
+886 926 187 557
13 October 1998
Female
13F, No. 7, Lane 22, Section 2, Shuiyuan Road, Xizhi District, New Taipei City, Taiwan
| Education Background|
Architectural Association School of Architecture (AA), London, UK
Master of Architecture(MArch), Offer Received, Enrolling in Sep. 2025
National Taiwan University of Science and Technology,Taipei,Taiwan
Bachelor of Architecture(BArch), Overall G.P.A.: 3.87/4.3, (86.83%)
| Professional Experience |
Architectural Designer | Y2-Atelier
Developed and executed DD and CD for residential complexes and townhouses projects. Created digital and physical models, diagrams, rendering, and submission drawing packages. Participated in a competition for the Taiwan power company Green Energy Museum competition, responsible for conceptual design, digital modelling and rendering.
Architectural Designer | Architerior Architects
Developed and executed SD, DD, and CD for various projects, including residential complexes, detached houses, real estate sale centres, and public parking garage.
Created digital and physical models, diagrams, rendering, and submission drawing packages. Coordinated with clients, constructors, and government officials.
Conceptualized and developed a spatial exhibition for the Matsu Biennial art gallery.
Summer Intern | Y2-Atelier
Assisted with DD and CD for residential and interior design projects. Created digital and physical models, diagrams, and renderings.
Laser Cutting Operator | Taiwan Tech Digital Atelier
Operated and Maintained laser-cutting machines.
Assisted students in using related software, including AutoCAD and Powercut.
Fabrication: Laser cutting, CNC operation, Robotic arm programming, 3D printer
Sep. 2020 - Jun. 2021
Aug. 2024
X Church 01
Redefining urban religious building through a journey of Death and Rebirth
Individual Academic Work
Project Level | 3rd year, 5th semester
Year | Sep. 2019 - Nov. 2019
Programme | Religious building
Location | Zhongzheng, Taipei, Taiwan
Supervisor | Shun-Hui Chen
X Church, located in the centre of Taipei, is a religious building that goes beyond the traditional concept of a church.
While studying the distribution of religious spaces in Taipei, I observed how churches nestled within apartments or office buildings gradually lose their sense of sanctity. This observation made me reconsider how contemporary churches in urban environments can better respond to users’ spiritual needs while reclaiming their sacredness. The project aims to reclaim the lost sanctity of contemporary churches by employing a triangular form and “death experience” spaces, slowing and purifying visitors’ minds in the busy city.
Study1: Christian Elements
A. The Holy Trinity
The concept of the Holy Trinity is mentioned in the Bible. During the Middle Ages and the Renaissance, the triangle was often used as a symbol of the Trinity. Many churches incorporated triangular elements into their façade designs, such as rib vaults and triangular pediments.
B. Orientation / Axiality
Traditional churches follow the concept of an east-west axis, typically adopting a west-to-east layout. When people enter a church to attend worship, the west-to-east journey symbolizes the sacred path of Christians overcoming death and moving toward eternal life in heaven. The directionality of “east versus west” also represents “life versus death.”
Combining these two Christian elements, a triangular plan was designed as the foundational geometry to emphasize the axiality of the worship process, thereby reinforcing the sacred journey within the church.
+ The Passion
+ Ascension of Jesus
+ The Passion
+ Baptism of Christ
+ Annunciation
The Holy Spirit
The Son The Father
EAST Jerusalem Altar / Heaven
WEST DEATH
The Holy Spirit
The Son The Father
Notre-Dame de Paris Plan
Notre-Dame de
GOD
York Cathedral
Two-Thirds of Churches in Zhongzheng District are nestled in ordinary buildings.
St Paul’s Cathedral Milan Cathedral Cologne church
Study2: Catacombs
Inspired by the early Christian catacombs and the Christian belief of “death to rebirth,” the lower level of the church is designed as a “death experience space.” Through a sequence of sensory deprivation experiences, this pathway simulates the gradual loss of the five senses during death. It guides visitors to deeply immerse themselves in the Christian faith, allowing them to calm their minds and detach from the busy city before entering the chapel.
Concept
The overall spatial design takes the form of a cross (X), contrasting the “death space” underground with the “heavenly space” above, reconnecting the church’s sacred relationships with life, death, and spiritual rebirth.
Deprivation Space
D2 Underwater Walkway (Below transparent pool)
D4 Tactile Deprivation Space (Cold+Metallic Texture)
D6 View Back
D8 Overlook
The Catacombs of Rome vintage engraved illustration Magasin Pittoresque 1861.
Integrating “Death Experience Space“ into the church’s programme
Entrance
A concealed, sunken entrance with restricted height, emphasizing detachment from the city.
Lobby
Also serving as a large exhibition space, this triple-height lobby contrasts the confined scale of the “death space,” highlighting spatial dynamics.
Entrance Corridor
A narrow passage with a doorway the width of a single person, symbolizing the beginning of the journey into the “death space.”
D4-Tactile-Deprivation Space
Walls made of metal to deprive tactile sensations and create an environment devoid of perceived warmth.
Gallery S
A small-scale exhibition bridge, offering an intimate experience within the larger spatial narrative.
Theatre
A stepped theatre designed for gatherings Office
Workspace for church staff, including accommodations.
Kitchen
Cafeteria
A dining space serving as a gathering point for worshippers after services or events.
Main Chapel
Located at the top of the building, symbolizing heaven, with a strong west-to-east axis to emphasize the concept of the Holy Trinity.
Viewpoint
A bridge offering a panoramic view of the chapel’s gathering space, reinforcing the connection between spaces.
Skylight
Bring natural skylight into the whole building.
Toilet
The toilet is placed in the rear part of the building along with the vertical circulation.
Storage
The large storage space is located in the basement, positioned adjacent to the parking area.
Parking
Entrance
Entrance
D4-Tactile Deprivation Space
D5-Auditory Deprivation Space
D6-View Back Space
0 2 4 8 m
The entire structure is partially embedded into the ground to create a concealed entrance. Upon entering the building, visitors are first greeted by an open, triple-height lobby, which contrasts sharply with the subsequent death experience—a sensory deprivation space designed to evoke a profound sense of belief.
D1
Main Entrance Front Desk
Entrance To “Sequence Of Death”
D1-Entrance Corridor
D2-Underwater Walkway
Staircase & Elevator
Loading Dock
Storage / Machine Room
0 2 4 8 m
The death space is architecturally articulated through a series of spatial variations, such as changes in width, height, lighting, and materials, to create diverse sensory deprivation experiences. These experiences include the gradual loss of vision, touch, and hearing. A long, linear space serves as a guiding pathway, drawing people forward through the sequence of transformative experiences.
B1F Lobby
A double-skin facade system is employed to isolate from external environment while enhancing ventilation. The cross-patterned facade symbolizes the Christian cross, integrating spirituality with functionality in the design.
Precast concrete grid beams, h=60cm
Raised flooring for pipelines, h=20cm
Double Skin Facade
To create a solemn and unified facade, a holistic, block-like design approach is adopted. The double-skin system enhances natural lighting and visual transparency. Secondary Structure System
The secondary structure supports the outer skin and includes horizontal paving for shading and maintenance walkways.
The inner skin uses a glass curtain wall and reinforced concrete (RC) walls to control openings and natural lighting.
D4Tactile-Deprivation
Cafeteria
Main Chapel
D8-Overlook
Skylight
Staircase
Parking
The entrance of the church is lowered, allowing visitors to disconnect from the bustling city.
The triple-height lobby contrasts with the confined “death space,” highlighting spatial dynamics.
At the topmost level of the building lies the main chapel which symbolizes heaven, designed with a strong west-to-east axis to emphasize the concept of the Holy Trinity. The symmetrical floor plan features an eastfacing opening, aligned with the path of sunlight to enhance the spiritual connection.
Above the main chapel is a sky bridge overlooking the entire gathering space, offering visitors a moment to reflect and appreciate the holy space and axis arrangement before departing after the service.
The cross-shaped water pool on the ground faces east, aligning with the direction of light, guiding people towards it.
The triangular structural beam exposes the beauty of rhythm while conveying the spirit of the Holy Trinity.
N12 house 02
Unveiling infinite possibilities by blurring public and private boundaries
Individual Academic Work
Project Level | 3rd year, 5th semester
Year | Nov. 2019 - Jan. 2020
Programme | Social housing
Location | Zhongli, Taoyuan, Taiwan
Supervisor | I-Shu Chiu
The project is situated within the Qingpu Special Zone of Zhongli District, which has the third-highest population growth rate in the Greater Taipei Area. Despite this rapid growth in the resident population, the district currently has 0% social housing. Taiwan faces one of the highest housing prices in the world. However, policymakers seem to underestimate the severity of the housing crisis and have yet to implement effective solutions.
Social housing in Taiwan accounts for only 0.2% of the total housing stock, the lowest percentage among advanced countries. Globally, countries with higher housing prices tend to have a higher proportion of social housing for living justice. Unfortunately, this trend doesn’t apply to Taiwan.
Issue: housing crisis in Taiwan
The limited development of social housing in Taiwan can be attributed to two main factors: the dominance of private developers and social stigma. Developers prioritize luxury projects, while negative perceptions link social housing to low-income issues, reducing public acceptance and support.
Qingpu Special Zone
The ground level of Qingpu is dominated by large amenity buildings.
The skyline of Qingpu is occupied by private
Zhongli District
The heat map of the in
Taoyuan:
of total number of housing in the world
Taipei: 0.046%
:
NAME :
New Taipei City - Banqiao District
Taoyuan City - Taoyuan District
Taoyuan City - Zhongli District
% of total number of housing in Taiwan the growth rate of the resident population Greater Taipei in 2019
private residential structures.
Chief Complaint:
Limited community interaction
In a typical plan, the private living units are separated by small circulation spaces, such as stairwells, which limit interaction among residents. This design reduces opportunities for neighborhood engagement and communal activities, weakening the sense of community and the value of shared spaces.
Chief Complaint:
Loss of privacy in shared spaces.
By analyzing Xinglong D2 Social Housing, I discovered that the 510 residents are required to share the farm, the sky bridges, and the rooftop garden with the entire community. This design restricts their ability to maintain sufficient privacy and autonomy in utilizing the space.
Recommendations
It is suggested to distinguish the extent of sharing spaces. Categorized into Small (S), Medium (M), and Large (L) shared spaces, this project aims to create interactive spaces with distinct privacy levels - ranging from shared spaces among adjacent housing units, connections within three-level clusters, to open bath for the city.
Elevating the ground floor links the residential area to the nearby museum, enhancing openness and connection. The narrowed and lifted building mass preserves the front plaza, returning valuable open space to the city.
L Shared Space - Public Bath
Located in the Qingpu residential district, the building features an open ground-level space that houses a public bath, providing a place for nearby citizens to relax, socialize, and unwind.
M Shared Space - Layered Community
Every three floors form a small community, redefining the traditional concept of a neighborhood. Each small community features a dedicated public space on its lowest level, fostering interaction and belonging.
S Shared Space - Unit Distribution
Each small community consists of three unit types, with accessible units on the lowest level. This arrangement gives residents with mobility needs or the elderly more opportunities for social interaction.
Clustered Living
The floor plan is divided into two clusters, each with its own vertical circulation. This clustering strategy allows residents to flexibly combine housing units, adapting to different needs and lifestyles.
Facade Design
Balconies on the primary façade are set back to ensure clear views for each residential unit while providing shade. The façade is horizontally divided into three-floor segments, highlighting the identity of each small community.
Exploring Lifestyle Possibilities
Traditional Taiwanese social housing offers more shared spaces than private complexes, but full community access limits residents’ privacy. To address this, my proposal integrates semi-public spaces between private and public areas, giving residents more control over the extent of sharing.
This design grants residents autonomy in shared spaces. Those renting multiple units can apply for semipublic areas—such as corridors, shared living rooms, or gardens. Equipped with doors and partitions, these spaces offer flexibility for privacy or neighbor interaction.
S -Openness Shaped by Openings
On a typical floor, housing configurations are formed by ten one-room units. Residents can choose to rent multiple adjacent units and connect them by opening modular partitions or doors, creating up to four-room units. Beyond private spaces, semi-public areas between units allow residents to freely determine their level of openness.
The Current Combination of plan
B2+C3+C4
C1+C2+A1
A1+A2+C1+C2
B2+C3
A1+A2+C2
A4+B2+C3+C4
B2+C3
M - Layered Community for Inclusive Clusters
The design deconstructs the large-scale community concepts into three levels of small-community clusters, enhancing connection and interaction in each neighbor cluster. The first level of each cluster is specifically designed with a dedicated public space and allocated elderly units (Type A) to foster social interaction and reduce loneliness and isolation.
Micro-Community
The Lowest level for the elderly
The semi-public area located between private units can serve multiple purposes, including: Bar, Activity room, Garden, Laundry, Dining room, Board game room
L - The Living Room for the City
The Public Bath serves not only the residents but also the surrounding community, functioning as a public space for the neighborhood due to its adjacency to parks and a children’s art museum.
Entrance
Chapter 2. Transform
Chapter 1. Separate
Chapter 3. Return
Existence/Non-Existence
Between the living and the departed, comfort are found through subtle shifts in nature
Individual Academic Work
Project Level | 4th year, 7-8th semester
Year | Nov. 2020 - Jun. 2021
Programme | Funerary architecture
Location | Taipei, Taiwan
Supervisor | Chin-Wei Lee
“The city of the dead antedates the city of the living”
Lewis Mumford once wrote, emphasizing that burial grounds have historically been central to the structure of living cities. Over time, however, this memorial significance has diminished. Today, cemeteries and funeral homes are steadily disappearing from our urban landscapes, having long lost their original role as spaces of remembrance.
This project aims to explore the complex and contradictory relationship between contemporary funerary space and the city. The funerary island seeks to utilize natural elements to establish a respectful yet close distance from the city, allowing the living to visit their departed loved ones freely. Nature serves as the primary element of the design, guiding visitors to experience the subtle shifts in nature through the tides, setting sun, changing water levels, and gentle breeze, offering grief and binding memories.
The Inseparable Role of Cemeteries in the Lives of Past Settlements
Nangang
New Taipei City
The Inevitable Death of Cemetery and Funeral Spaces in Taipei City Under a Capitalist Society
Appian way Churchyard Cemeteries Woodland Cemetery
The City of the Dead Christian Catacombs
Reminding us of what?
That death is the only certainty in life, just as the moon waxes and wanes, and the tides rise and fall. Everything is a natural cycle, and each of us exists toward death.
Passing Away
Funeral Cremation
Waiting for Cremation
Burial
Rituals after death, are they truly for the deceased, or for the living?
In Taiwan, the current funerary industry is viewed as a commodity. Rituals are often overly rushed, and funeral homes prioritize functionality and efficiency. In these spaces, originally meant for the final shared memory with the deceased, yet people are unable to find comfort during the rituals.
How can we slow down the entire ritual process through architecture and spaces?
Concept Hand Drawing in Pencil
Object-Oriented
Traditional Memorial Object-Driven
Non-Object-Oriented
Anti-Memorial Space-Driven
Case Study: Memorial
Object-oriented memorial spaces often use tangible objects to create intangible meaning and remembrance. Throughout history, most memorial spaces belong to this category. In contrast, space-driven memorials shape the tangible through the objectless nature of space itself. This approach emphasizes the user’s experience and interaction with the space, allowing remembrance to emerge through spatial perception rather than physical artifacts.
This project emphasizes using the changes in natural elements and the interaction between people and space to form memorial significance and remembrance.
Vietnam Veterans Memorial
Aschrott Fountain Monument
Monument Against Fascism
National 911 Memorial & Museum
Pyramid
Oblisk
Arc de Triomphe Cenotaph for Newton
Tidal Rhythms of Taipei – October 2020
Guided by natural elements
Taipei Island was chosen for its proximity to the city and its dynamic landscape, shaped by the shifting proportions of land and water as the tides rise and fall. This funerary island is primarily guided by the tides, serving as a metaphor and symbol for the life cycle and the concept of impermanence and mortality. Tides appear in different forms across various scenes, subtly shaping how people interact with and use the spaces.
Here, the dominant elements are neither structures nor humans but natural phenomena like tides and sunsets. Gently and softly, the ebb and flow of the tides speak of and remind us of the separation between the living and the deceased. I believe this is the true purpose of funerary spaces: through a sequence of landscapes and atmospheres, the island guides individuals on a journey that reflects their own lives and experiences.
100 m
100 m
Tamsui River
Zhongxiao Bridge
Zhongxing Bridge
Chapter 3
Chapter 2
Entrance
Chapter 1
Entrance - From solid ground to open water, a bridge appears in the distance. As the boat approaches, you see, that is not just a bridge but a gateway - connecting this world to the realm of the departed.
Site:Taipei Island
Taipei Island is located between cities, surrounded by urban viaducts and levees, positioned in a space both observed and detached from the city. Separated from Taipei City by the natural boundary, the river and the city walls, it forms a perfect distancenot too far, not too close - a place apart yet still connected to the city.
Tamsui River
Chapter1. Separate
The ritual takes place at the daily low tide, leading you into a fully enclosed structure floating on the water. Following the east-west waterway, you are guided by the current toward a small chapel facing east. Inside, you find yourself in a quiet and sealed space. As the tide slowly rises, light starts to filter through narrow openings, and the structure begins to split into halves. Crossing into
the illuminated half symbolizes the separation between the living and the departed. The path you came from gradually submerged by the tide, while the way out is through a floating bridge system, a subtle reminder that death allows no return.
1.
Entrance Walkway
2. Axis Symbol Facing East
3. Main Entrance
4. The Chapel
5. Pathway to Crematorium
Chapter 1. Separate - Section
Chapter 1. Separate -Plan
Chapter2. Transform
The Crematorium is defined by two diverging axes that never intersect, symbolizing the separation of life and death. Entering this space from the previous “separation” chapter, the two lines represent distinct paths and spaces for the living and the deceased. Unlike conventional crematoriums focused on functionality and efficiency, this design seeks to create a space that offers solace to the living. High walls isolate the area from external distractions and limit the view, directing it toward an endless forest.
In private waiting rooms, family and friends can grieve, cry, and mourn without interruption. Ashes can either be taken home in a traditional urn, transformed into a mycelium burial pod, or carried to the next chapter for a natural sea burial, allowing them to drift with the tides.
Chapter 2. Transform - Section AA’
1. Public Entrance
2. Waiting Hall 3. Reception 4. Ceremony Room
5. Toilet
Corridor 7. Cremation Room
8. Light Well
9. Waiting Room
10. Furnace Room
11. Urns
12. Urn Retrieval Room
13. Coffin Receiving Hall
Chapter 2. Transform - Section BB’
Chapter 2. Transform - Ground floor Plan
Chapter 3. Return - Plan
1. Westward Passage
2. Silent Retreat Space
3. Aqua Burial Urn Tube
After attending my grandma’s funeral, I realised that even the gentlest breeze stirring the grass can bring comfort to the living, as if our loved ones are still near.
Chapter3. Return
In the final ritual space, people walk westward toward the setting sun, a symbol of death. Facing the sunset, they are offered a choice: Mycelium urns containing ashes can be placed in the surrounding forest, where they naturally decay and return to the earth, completing nature’s cycle of life. Alternatively, through the ebb and flow of the tides, ashes can be gently carried out to sea in a process of water burial. Over time, the tides softly and gradually return the ashes to nature. The river carries them to the sandbars, linking them to the island’s
shores, or onward ocean. The river carries them to the sandbars, linking them to the island’s shores, or onward to the ocean. This transformation allows the living to shift their remembrance of the departed from physical rituals to an eternal connection through nature. It echoes the theme of this final chapter: a peaceful return to the natural world.
Chapter 3. Return - Section
Forest Whisper 04
Exploring the boundary between nature and private space
Lead Architect | Yu-Chang Liang, Da-Ren Cai, Ming-Jet Wu
Team | Ying-Zhu Chen, Yen-Ling Chang
Contribution | Concept developing and drawing, Detail Drawing, Rendering, Design Alteration, Building Permit Application
*All images presented were produced by me (any exceptions are noted)
This residential project is situated on Yangmingshan, where the client envisions a home closely connected to the surrounding natural environment. To achieve this, we divided the building mass into two distinct types: public and private living spaces. The public spaces are designed with extensive floor-to-ceiling windows and minimal walls, aiming to seamlessly connect the architecture with the outdoor landscape. The private living room is linked through double-height spaces located on the second and third floors, creating a sense of openness and vertical integration.
Setting back the site to adequate distance
Designing in Harmony with Nature
The primary materials of this building are exposed concrete, red bricks, and glass windows. Considering the humid climate of Yangmingshan, these materials were selected for their durability and ability to maintain a clean exterior with minimal weather impact. The main facade features a double-skin design, which ensures privacy while promoting ventilation.
Double-skin Hollow brick
SILL PLATE:
The hollow red brick dry-assembly system enhances passive cooling and promotes air circulation. breathability reduces energy consumption and prevent moisture buildup, creating a more sustainable and comfortable indoor environment.
Gutter Stainless Steel Grating
Gutter
GLASS t12,
Exposed concrete
Exposed concrete offers high durability, low maintenance, and moisture resistance, adapting well to Yangmingshan’s humid climate.
Metal
STONE PLATE (GRANITE)
FLOOR: TILE 300x300
EARTH t20, LAWN, PLANTING MORTAR BED t50 BITUMINOUS MEMBRANE WATER PROOFING
Ceiling: PLASTER WITH PAINT t15
CUPBOARD: LAMINATED OAK PLYWOOD
Range Hood: Stainless Steel t1.5
EXPOSED CONCRETE
FLOOR: TILE 300x300 AA’ section 0 0.5 1 2 m enhances Its high and helps sustainable
Metal materials offer high durability, corrosion resistance, and low maintenance, making them ideal for humid climates like Yangmingshan.
WALL: STONE PLATE (GRANITE) HANDRAIL: 44X19, RUSTPROOF
CEILING: EXPOSED CONCRETE
GRAVEL BAND w300,h150
Gutter Stainless Steel Grating
Section Detail
1. 6x11x23 cm three-hole Korean brick
2. 6 mm steel plate @70 cm, hole diameter 25 mm
3. Stainless steel threaded rod
4. Spot welding of threaded rod and steel plate
5. 10 mm thick L-shaped angle steel @350 cm
6. Welding of threaded rod and steel plate
7. U-shaped fixing plate with counter-locking
8. Fixing steel plate and expansion bolts to RC beam
9. Stainless steel rectangular tube
10. Throating joint 2x2 cm
11. Landscape Pebbles
ELAENA 05
Electric Land for Alternative Energy & Art
Professional Work
Y2-Atelier, Architectural designer
Year | Jun. 2024 - Jul. 2024
Programme | Museum
Location | Wuqi, Taichung, Taiwan
Lead Architect | Yuan-Chun Lan, Nina Yu, Shun-Hui Chen
Team | Ying-Zhu Chen, Calvin Lee, Janet Liu
Contribution | Concept developing and drawing, 3D modelling, Rendering *All images presented were produced by me (any exceptions are noted)
Like a powerful and ever-changing tide that breathes life into Wuqi, Electric Land becomes a vessel for energy and a reservoir of rich cultural and artistic expression in the evolution of energy technology. Through diverse artistic mediums, it offers an infinitely expanding experience, seamlessly blending virtual and physical realms into immersive spaces that connect the public with the pulse of Taipower.
ELAENA – Electric Land for Alternative ENergy & Art embodies both elegance and strength. Like its graceful yet bold name, it humbly responds to its surrounding environment while remaining open to public interaction. At the same time, it dares to push boundaries - striving to generate more energy than it consumes through the synergy of environment and activity. It explores the intricate relationships between electric energy, technology-driven art, and spatial experiences, ultimately seeking a harmonious balance between environment, art, and people.
By integrating natural landscapes with immersive spatial experiences, ELAENA - a futuristic energy vessel docked by the harbor - creates an vast space of infinite possibilities, guiding visitors into a world where electricity, technology, and art converge in a digitally immersive journey.
Power Dispatch
During the day, electricity generated by interactive devices and solar panels can be stored through energy storage systems and allocated for use during nighttime off-peak hours—allowing ELAENA to shine beautifully by the harbor.
The Four Key Elements of Power Generation
Harnessing four natural and human-driven elements, renewable energy production devices and sensory experiences are seamlessly integrated with space, landscape, and circulation. This interactive approach makes the concept of “generating energy (electricity)” more engaging and accessible.
The diagrams were created by Calvin Lee Water Element
Funnel Water Discharge Structure
Enables visitors to experience the element of water both indoors and outdoors. Even on rainy days, it fosters a sense of interaction between people and architecture.
Tides & Groundwater Levels
Rainfall contributes to groundwater sources, while tidal changes near the coast influence groundwater levels. Observation wells are set up to allow visitors to witness the natural interconnection of these forces.
Wind Element
Wind Ducts
Channeling cool seasonal winds from the south to reduce temperatures. The movement of wind through gaps and spaces produces sound, creating an auditory experience while also generating energy through sound vibrations.
Solar Panel Tree
A canopy formed by multiple solar panels provides shaded areas while reducing ground footprint. This design also helps visitors feel more familiar with solar technology by integrating it into the environment.
Kinetic Flooring
Exhibition spaces experience high foot traffic. Pressure-sensitive flooring along circulation paths allows visitors to generate electricity simply by walking, making everyone a contributor to energy production.
1. Green Roof Slope
1. Restaurant with view
2. Outdoor Seating Area
3. Wind Ducts Platform
4. Solar Panel Energy Zone
1. Outdoor Platform
2. Café
3. Archive Area
4. Kinetic Flooring Walkway
1. Main Lobby
2. Permanent Exhibition Area
3. Special Exhibition Area
4. Rainfall Waterfall
5. Gift Shop
6. Auditorium
7. Office
8. Vertical Circulation
9. Restroom
1. Special Exhibition Area
2. Plaza
3. Hydropower Experience Zone
4. Vertical Circulation
5. Loading Area
6. Preparation Room
7. Wind Field
8. Tide Observation wells
9. Windbreak Forest
10. Bus Parking Lot
11. Car Parking Lot
Loading area
Hydropower Experience Zone
Rainfall Waterfall
Kinetic Flooring Walkway
Main Roof
Main Roof
Third Floor
Second Floor
Ground Floor
Skybridge to the roof
Outdoor Platform
Ashes to Ashes
Research and Publication by Po-Wei Lai & WillipodiA
Research and Publication
Year | Jan. 2021 - Jul. 2024
ISBN | 9789863846451
Contribution | Case studying, Establishing the classification system, Digital modelling and drawing for Project 9 and 21
Development Process of the Icon Classification System
This step includes a thorough review of all 22 case studies. Research and Analyze All Case Studies
Commonalities and Differences
The exploration of design attributes is ongoing, and conclusions are not yet possible. Future analysis will further subdivide these attributes for a better understanding.
This book, created by the WillipodiA Urban Research Group, explores the architectural design of memorial spaces worldwide, including funeral homes, crematoriums, cemeteries, and monuments. It delves into the relationship between life and death, memory and forgetting, from an architectural perspective.
I am responsible for establishing the Classification System for this book and creating a set of cohesive icons. These icons transform repetitive textual descriptions into clear visual symbols, enhancing the documentation of commemorative spaces and improving cross-case comparisons.
Based on research and observation, a key conclusion emerges: commemorative spaces throughout human history can be categorized into two primary systems design attributes: Object-Oriented and Non-Object-Oriented.
*All images presented were produced by me (any exceptions are noted)
Object-Oriented Traditional Memorial Object-Driven
Object-oriented memorial spaces often use tangible objects to create intangible meaning and a sense of remembrance. Most commemorative spaces and monuments, from ancient times to the modern era, fall into this category.
Non-Object-Oriented Anti-Memorial Space-Driven
Space-driven memorials shape the tangible through the formless and objectless nature of space itself.
The non-object-oriented approach began with Maya Lin’s Vietnam Veterans Memorial, marking a shift in design towards “de-objectified” spatial expressions that minimized the objecthood of monuments.
The object-oriented and non-object oriented classification system for the book was developed and created by me during my thesis design.
Pyramid Obelisk Arc de Triomphe
Cenotaph for Newton
Vietnam Veterans Memorial
Aschrott Fountain Monument Monument Against Fascism
National 911 Memorial & Museum
Other Works
Residential Complex
Y2-Atelier | 2024
Rendering by Yen-Chun Chiu
Role: Construction Drawing, Interior Rendering
WIN SING Real Estate Sales Centre
Matsu Biennial Art Gallery
Architerior Architects | 2023
Photo by Yu-Chang Liang
Role: Scheme, 3D Modelling, Diagram, Rendering
Architerior Architects | 2023
Role: Scheme, 3D Modelling, Diagram, Rendering
Private Residential Architerior Architects
Rendering by Lilyhouse
Role: Schematic Design, Design Development, Construction
