Portfolio, Daniel Hwang, Tunghai

PORTFOLIO Daniel J. Hwang

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CONSTRUCTING A RELIGIOUS LIFE A CHURCH Site: South District, Taichung, Taiwan Thesis Design One Semester Individual Work May, 2019

A church, where many children have grown up here, provides a safe place for them to play and learn apart from the busy streets.

But not just the children, adults also found comfort here, together they formed a family-like community.

Located near a busy street in Taichung, the church’s environment aims to create a separate religious life place. The church used to be in the middle of fields, but now the city has expanded around here.

As a result, the church needs a more robust border to distinguish itself from the city.

The church comprises three parts, the living part, the foundation, and the divine part. Gardens of different sizes are spread out in all regions. All these are one in the church, and the goal is to build a religious life, each in its way and cooperate with others. And they are all linked to the center of the church, a big grassland for children to run on, or outdoor worship.

The foundation: A cemetery, which is an island floating on the water, lays the people that build and maintain the church. After they pass away, their children will always have a strong connection with the church.

The living part: Besides from worship the god, the divine experience, Christianity is to aim to live like Jesus in daily life. The living part of the church provides space for people to form a familylike community here. A big stair leads to a place for the whole church to eat together from the main entrance. A series of balconies connect all the living space on the 3rd and 4th floor, different sized spaces for various fellowships, and the 5th and 6th floor are residential areas for some students and the priest. The outdoor balconies connected all the living areas and linked them to other parts of the church.

Different layer of spaces Oil on canvas

With the urbanization of this area, the new church requires a more assertive boundary.

Left: Taichung City Development Top Right: Old church and the grassland Photo credit: Tien Ling Bottom RIght: Playing on the grassland

The divine part: The divine experience is personal. The space is dark, so people can sense others’ present but won’t distinguish others’ faces. The only exact thing is the light beam in front of people; the light represents the god and implies that God is intangible.

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A boundary is set, circling an enclosed open space.

The surface was sunken to create an even stronger boundary.

Church Section 1. Priest Prep Roo

The mass shifted to create cracks from the living part to the city.

The living part uses a unique way to connect to the divine part.

The two parts are disconnected. An arc surface creates a smooth inner space.

The middle living part is removed.

The foundation, the cemetery, has elevated.

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om 2. Chapel 3. Small Chapel 4. Residential Areas

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Second Floor Plan 1. Cafeteria 2. Office 3. Library

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Foundation The Cemetary has people that were the foundation of the church. The Cemetery also creates a bond between the church and the person’s family.

Top: The Cemetary at the bottom of the church.

Oil on Canvas Bottom left: The Cemetary sits on the side of the path to the chapel, inside a pond.

Model Photo Bottom right: The path way leading to the Cemetary island.

Model Photo

Intangible light Oil on canvas

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Personal Worship Oil on canvas

Top: Devine part section 1. Chapel 2. Chapel Garden Bottom: Inside the Devine part

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Top: Third Floor Plan 1. Small Chapel 2. Fellowship Areas 3. Library 4. Chapel’s Garden Bottom: Living Part Section 1. Sitting Stair 2. Fellowship Areas 3. Library 4. Bath 5. Dormitory

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Garden Different kinds of gardens important character.

Top: Looking into the garden o Oil on Canvas

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s spread out in the church, each playing an

on top of the chapel

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Bottom left and right: The garden on top of the chapel Model Photo

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Source: CELESTIAL GARDEN 天上の庭 Photographed by Yukio Futagawa

A SOLITARY HOUSE FOR WRITING BEACH RESIDENCE Site: Miaoli, Tongxiao, Taiwan 4th Grade Studio Design, Half Semester Individual Work November, 2016

On a hill along the coast, a writer wishes for a house for her to write. While writing, she needs solitude; by facing herself, she creates the world inside her imagination again, only the ocean, mountain, and the sky accompany her. Among the hills, I picked the tallest peak with the best vision and least disruption. Surrounded by woods, to protect her.

The front faces the ocean; every room has its way of meeting the sea. A curve hallway connects every room; one side of the hallway are the trees and the mountain; on the other side is the sea. One end of the hallway is the bedroom, facing southeast, every morning sun will wake her up. Through the porch outside, she can walk to the bathroom or the outdoor bath. As dusk fell, she can soak inside the bath and watch the sunset. The living room is in the middle, and it has a large deck outside. The bondless porch brought the ocean closer. Inside is an elevated tatami where she can sit or lie down on it, take a nap with the sea’s company. Another end of the hallway is the study, here stores her collections of books, on the 2nd floor is where she writes, facing the sea when she looks back is the woods and mountain.

Everything here has a sence of ritual. Wake up by the sun, walking in the long curve hallway, watching the sea when soaking in the bath, writing the novel in an attic in solitude, and watching the moon on the big porch.

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Sunset in the bath Oil on Canvas

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Ground Floor And Attic Plan 1. Bedroom 2. Bath 3. Living Room 4. Study 5. Writing Attic

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Moon and the ocean view from the outdoor deck Oil on Canvas

In betwe

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een the ocean and the mountain Oil on Canvas

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Site Plan

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Living Room Section 1. Elevated Tatami 2. Outdoor Deck

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Study Section 1. Writing Attic

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AN AVALON INSIDE A SCHOOL UNIVERSITY ART CENTER Site: Tunghai University,Taichung CIty, Taiwan 4th Grade Studio Design, One Semester Individual Work May, 2017

The art center in Tunghai University used to be a place full of students. It lies humbly next to the chapel. However, nowadays, there is no similar space exist on the campus. This studio’s objective is to propose a new art center in Tunghai.

At first, we begin by trying to describe what Tunghai is for ourselves. By various approaches, I then chose oil paint to be my approach. It demonstrates what I consider is the moment, which shows what the campus is. It’s apart from the city full of trees and spaces that were carefully set.

After reaching a certain point that the first work has found a direction, we simultaneously start the next step. Which is to use the same method to image the art center we desire. We didn’t conclude too fast; we begin with a room, any room we choose. I chose a dark gallery; only the paintings are illuminated; people inside can only see the paintings, nothing else. After the first room, I then have the image for the gallery entrance and a garden after visiting the gallery. We then reached the midterm, so we had a small exhibition to show our art center proposal.

The art center I image will locate where the religion center is, facing the chapel. The religion center has become a void on the campus to most students. Most students have never been to the religious center, yet it took an important location on campus. So I set the new art center here, including some areas for the religious center.

The compound has two courtyards, and each has its character. The one facing the woods is a lawn with one side open. The other one has steps to sit on; it’s enclosed and has a small stage. Surrounding the courtyards is three galleries; each of them shows a different theme. The one on top, which is next to the chapel route, is the religion gallery. On the way to the chapel, the square gallery shows the development of Tunghai University and how the architect plan the original campus. The bottom gallery exhibits arts by students.

The route to chapel starts at the square gallery; then, people can choose to take a detour to the religion gallery or not. From the history showroom, you will enter a long hallway. The exit is at the bell tower. From there, you head right to the chapel.

Top: Early morning on campus Oil on canvas Bottom: Campus main road Oil on canvas

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The impression of early morning Oil on canvas

Entrance to the gallery Oil on canvas

Dark gallery Oil on canvas

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A peak in the religious gallery Oil on canvas

Enclosed garden Oil on canvas

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Art Center Section Oil on canvas

Two Courtyar Oil on canv

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Ground Floor Plan 1. Religious Gallery 2.Student’s Art Gallery 3. School History Gallery 4. Religious Center

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Site Plan 1. Art Center 2. Luce Memorial Chapel 3. School Cafeteria 4. Girl’s Dorm 5. Student Center

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APART FROM THE CITY AN ART MUSEUM Site: Taichung CIty, Taiwan 3rd Grade Studio Design, One Semester Individual Work May, 2015

What should an art museum on a crowded site be? This design starts with a series of studies of the material’s form; I let the liquid concrete curd inside poly. The concrete manifests a special penetration effect and demonstrates in the transparent poly.

The concrete and poly were both once liquid, and then they solidification simultaneously.

Then I think about the art museum. First, I thought of an ideal art museum proposed by Le Corbusier. The museum has a square shape plan with a path going round and round to create a longer route. I put the concrete-poly study’s relationship as a symbol of invading or penetration, and on this site, it’s the penetration of the noisy shopping mall and city around here. When the ideal museum is about to enter the city, I know that it must partition itself and the city. People have to go through a tunnel and an underground plaza surrounded by water, not just a wall, to enter an ideal museum.

Completely separate from the city, then ascent to the museum. The noisy disruption will always exist, even inside a perfect museum; here, I use the form of the material study as a metaphor of the disruption enter, creating some cracks inside the ideal structure.

To enter the museum, one must first walk a decent way that leads to a tunnel. Through the tunnel is the underground plaza, which is entirely separate from the city. Not like the museum on top.

Ascending from the central stair, the person then reaches the museum. A custumal circle route plus some mass beam insert, inside them, are service spaces. The insert of mass implies the city’s invasion.

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Initial invasion form study

Material study Concrete and poly

Invasion forms conjunction with the ideal art museum

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The invasion of the disruption Oil on canvas

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Museum Floor Plan 1. Entrance Ramp 2. Art Gallery 3. Lecture Hall 4. Museum Office 5. Cafe 6. Gift Shop

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Underground Floor Plan 1. Underground Plaza

Top: Tunnel entrance Oil on canvas Bottom: The tunnel and the museum Model photo

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Top: Underground plaza Oil on canvas Bottom: The museum lifted from the ground Model photo

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Museum Section 1. Underground Plaza 2.Museum

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A PIT IN THE BLOCK MAKING CENTER Site: Taichung CIty, Taiwan 3rd Grade Studio Design, One Semester Individual Work November, 2015

The site for us to set a making center in Taichung’s old town was established during the Japanese ruling era and remained vital until recent years. There are many old and abandoned buildings in the area, so the proposal aims to rejuvenate the old town.

First, I consider how the new making center could be part of this old town. The new building’s front will follow the old context on the street side, making the whole street side complete. On the street façade, balconies guide eyes to look inside, allowing people to notice the crafting activity. A high entrance welcomes people to go inside the middle’s cylinder void. The void distinguishes the building from the street. A sense of tranquility here is very different from the outside. Here the void intertwined everyone; all kinds of activity and people have come together here; the ramps and the pit act as the main vertical route through floors.

The most solid parts of the plan are located on the outer ring, including spaces that need access control or small rooms for exclusive activity. The middle circle spaces are open and allow people to walk around the building containing some more flexible programs, such as cafes or resting areas. Between the middle circle and the center are the ramps for vertical movement. And in the center is the pit. The pit cuts a slice of the sky for people here.

Residents of the area would come inside use the pit as a park or plaza. In the compact old town, an open space enclosed and safe for children to run around is needed.

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Ascending balconies Model Photo

Ascending balconies Oil on canvas

The mass’s relationship with the block.

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4th Floor Plan 1. Workshops 2. Offices 3. Classrooms 4. Administration

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Ground Floor Plan 1. Stores 2. Exhibit Room 3. Making Center Lobby

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The pit Oil on canvas

Ramps Oil on canvas

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Making Center Section 1. Stores 2. Offices 3. Resting area 4. Cafeteria 5. Hotel