2025PORTFOLIO(jul)

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HI

My name is Yu Hsiang Hsieh. You can also call me Harry I’m 22, and i am from Taipei I LOVE architecture.

It is nice to have you! but

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2021.9-now • Architecture Bachelor at National Cheng Kung University

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e x p e r i e n c e 2023.7 -2023.8 • internship: April Yang Design Studio 2024.1 • parttime: Kris Yao|Artech 2024.9-2025.1 • internship:Bear Architects

competitions

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exhibitions

2023.1 • Yuejin Lantern Festival:selected and Built 2023.7 • Buildner “Portable Reading Rooms edition 2 “ student award + sustainability award 2024.9 • NCKU Design Studio Award:Finalist 2025.7 • AIJ Student Summer Seminar: jury award

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content

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Ubuntu.

community

2 2025 | competition | teamed | 4 months

low-cost

3 We participated in Kaira Looro 2025, a competition to build a nursery school for children in a suburban area of southern Senegal. The region experiences distinct wet and dry seasons and has limited access to essential resources.

In response, we aimed to utilize locally available materials—such as cinder blocks, tires, and straw—to create a sustainable and context-sensitive design.

We aim to build a place where children can run freely and safely, without a care. UBUNTU is a space embraced by the whole village. Our goal is to create a place where joyful memories can be made — not only through its everyday use, but also through a construction process that actively involves the local community.

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From the inside out, the central open area serves as a playground for children, transitioning outward to a shaded, comfortable corridor covered with bamboo blinds. Here, the thatched roof begins to slope downward, lowering in height before entering a series of indoor spaces. These interior areas are loosely defined only by bamboo fringe curtains and furniture arrangements. In the absence of formal teaching or large community events, the entire space can easily transform into a highly flexible and fluid environment.

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The roof gently slopes outward, with the outermost edge enclosed by a detached brick wall that provides a sense of safety. However, the arrangement of the bricks still allows children to see through to the outside. The structure does not form a fully closed ring — it opens along the road, offering a contrast to the enclosed feeling of the thatched side walls. From the front, the exposed underside of the roof reveals its supporting structure and various soft elements, symbolizing openness and a welcoming gesture to the community. This gentle, flexible space is intended to accompany children as they grow and explore, providing a safe and nurturing environment.

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Reading Craft Books are composed of rich inner worlds of human, where boundless imaginations translated into words and projected onto the surface of paper through writing... An bizarre object floating at the end of the street, where the stories within the book unfold in the corners of the city.

The uncommon capsule-shaped object is enveloped by fabric and a rectangular frame. Vague glimpses of activity can be seen through the narrow window, but the exterior of the capsule remains translucent . People can only imagine what is happening inside through the out line.

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m o n t h s

Buildner“Portable Reading Rooms edition 2“ student award + sustainability award

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modular

urban guerrilla

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The concept oringinated from the essence of a book. Stories got written down on a paper is just like people’s silhouettes casting on a sreen.

During the day, sunlight filtering through the curtains provides sufficient reading light,while at night the overhead lamps on the ceiling illuminated, continuing to provide neccesary lighting for reading

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The strucuture is built with easily-assembled scaffolding, suitable for various. Its double-layered design isolates the indoor and outdoor, providing an excellent reading environment.

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A

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unloading foundation installation erectiong scaffolding

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assemble units assemble units complete

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monumental

landscape

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The Hill Amidst boring buildings within the city lies The Hills, naturally extending in all directions.

It climbs onto the ground, into the mass , and grows unrestrainedly. The undulating terrain offers tranquility, hope that people eventually discover their own space within the vast grassland, embracing the grass and the sky. The large cubic structure float upon the meadow, pure white like clouds.

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The site is situated adjacent to our campus,formerly housing faculty dorms, which have since been abandoned. It’s nestled between serene alleyways and bustling streets.

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These iterations show some interesting development in the process and me trying to strike a balance between fuctionalities and ambience of the space.

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Most of the spaces are hidden underground and a long corridor cuts the site in half.

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The ring creates a space for gathering, and the mass are getting moved onto the ground.

3. this time i created an elevated green space,the ground is left for pedestrian access

4. continuing the previous proposal, but add a underground level for gathering

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Back to the first generation, remain the simplicity of the hills is more healing in my opinion.

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diagram

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Divide the site into four area and elevate each platform to differerent height to create a landscape.

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Add a corridor to the north side of the site and the mass for the hostel.

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Further trimming the enclosed masses by creating addintional openings enhances the building’s transpaency

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The landscape covers the site like a blanket and stairs that allows people to go on top.

20 The project is more than just a park, it combines park and accommodation spaces, aims to provide relief from the hectic urban life and comfort for the soul. Hoping that everyone can find their own little space in the expansive greens breathing calmly with undulations of the hills, reaching inner peace.

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Reading room Bookstore Hostel lobby The Hills Gathering space Hostel rooms

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masterplan

cultural

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25 Not

everything

needs

In the early stages of design, we listed many shortcomings of the site—some objectively factual, others ture. It stemmed from dissatisfaction with the present, a critique of the neoclassical style of the Chimei M

The Museum In 1937, Frank Lloyd Wright reimagined the circulation of the museum with the Gugg ing that it was no longer just a space for books, but had become a node for information The term mouseion originates from Greek, meaning a temple of the Muses—a place for contem al and intellectual significance. In 1753, the British Museum became the first national museum over 100,000 museums around the world. Many are privately established, not only to preserve cu In Taiwan, the first museum was the Taiwan Museum, built during the Japanese co en structure displayed Taiwan’s flora, fauna, and railway artifacts. Its exterior featured classi ter restoration and renaming in the post-war era, its structure was later updated with a steel roof If such buildings can be understood as part of Taiwan’s architectural lineage, can Chimei ward the idea of demolishing

Spatial Shifts in In Learning from Las Vegas, Venturi used Route 66 as a metaphor to describe ty of information has increased to the point where it floods in with a swipe of the fi In this context, knowledge and education are no longer bound to Thus, the role of physical space has shifted.

Museums are no longer m tal realm.

They are places where one is freed from visual and auditory bombardmen

Rooftop The Chimei Museum’s neoclassical language stems from Taiwan’s admiration for Western culture, spective of regionalism and critical regionalism, such architectural language overlooks local c Yet in reality, most of the public does not strongly object to this style; many even admire Rather than confronting the building directly, our design responds with a “rooftop addition”—a bolizes a dialogue and clash between old and new vocabularies. Through this approach, we aim The new volume is wrapped in curved metal panels, expressing a sense of fluidity and futurism ternalized into the exhibition halls and corridors—offering views of the Central Mountain Range,

Transforming Axes an The original museum’s exhibition halls are arranged according to the golden ratio, with the width of the central courty we aim to break this geometric order, instead drawing new spatial axes from elements within the site: the airport to the north We do not deliberately intervene in the park’s overall landscape layout, but focus on the roque axial symmetry on an irregular urban fringe—a decision arguably driven by formal aesth

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s subjectively interpreted. Our starting point was not simply to solve problems, but to imagine the fuMuseum, and a reflection on the symmetry and lack of cultural context found in its façades and floor plan.

of the Future genheim in New York. In 2004, Rem Koolhaas redefined the role of the library, arguexchange and social activity. This leads us to ask: what should a museum be in our time? mplation and learning. From its etymology, we see that museums have always carried educationopen to the public, further reinforcing its cultural and societal responsibility. Today, there are ultural heritage, but also to fulfill public curiosity, and support tourism, education, and research. olonial era in 1908.

Designed by Japanese architect Ichiro Nomura, the original woodical vocabulary and Baroque ornamentation, visually similar to the Chimei Museum today. Afin the 1990s due to termite damage, bringing its construction style even closer to that of Chimei. really be considered entirely rootless? For this reason, we maintain a cautious attitude to the original museum building.

the Information Age the signage-saturated, information-overloaded landscape of the 1970s.

Today, the densifinger. The anxiety and fatigue caused by this overload have become a shared experience. physical space.

Books, classrooms, even museums, can now exist online. mere containers of knowledge—they should become sanctuaries beyond the digint, spaces of quiet simplicity amidst chaos, mediating between enclosure and openness.

shack , where “grandeur” is often associated with marble and Greek columns. However, from the perculture and environmental context—sometimes even regarded as an “immoral architectural act.” it. Since its opening in 2015, the museum’s façade has become part of Tainan’s city image. strategy reflecting the organic, incremental building culture common in Taiwanese cities. It symm to provoke public reflection and discussion about the Chimei Museum’s architectural language. that contrasts sharply with the original symmetrical and heavy massing. These curves are also ingrassy slopes, and the museum dome—creating a spatial connection to the natural surroundings.

nd Spatial Language yard multiplied by 1.618 to determine the width of the galleries—embodying a strict symmetry and control. In contrast, hwest, the sugar refinery chimney to the northeast, the Erren River to the south, and the Central Mountain Range to the east. e transformation and extension of the museum’s architecture. While Chimei imposed a Bahetics—it can also be seen as a Taiwanese reinterpretation, adjusted to local scale and context.

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/roof panels

/triangular facade As the highest point in the area, the museum offers views of various landscape at different distances.

/steel truss frame

All exhibition areas share an central path.

The museum follows these axis.

We rotate the axis, and make it the expansions’grid system.

/suspension structure

Add the volume on top of the existing museum.

Subtract portions of the volume to create a dialogue with the sorroundings.

Elevate the corners to create floating effect.

/circulation cores

/delta columns

we want to adopt an approach that encourages dialogue and conflict to draw people’s attention to this issue. We plan to add a new expansion to the CMM through an “additional rooftop structure” approach.

This approach represents an organic architectural concept and symbolizes the collision of different vocabularies. It is also a form of architecture that was commonly seen in Taiwan.

/existing Reinforced concrete frame structure.

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1f plan

A-A’ Section

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5f plan

B-B’ Section

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In this section, we can observe many details. The skylight is angled to prevent excessive heat while allowing natural light into the gallery space. It is designed to create variations in height within the exhibition hall, offering different perspectives for viewing the exhibits.

Below is the detailed design of the staircase connecting the third and fourth floors. The transition between these floors is significant to us, serving not only as a primary circulation path but also as a bridge between the old and the new. We use changes in materials to subtly suggest the shift between the old and the new.

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The air conditioning system utilizes watercooling, significantly improving energy efficiency. It integrates rainwater and water systems to enhance environmental friendliness.

Additionally, our structural system allows for concealed water pipes, facilitating the recycling of indoor humidity.

WATER Rain

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Due to the additional volume added above, we need an intermediary transformation process. We install water pumps on the ground to ensure water can be effectively transported to the upper levels.

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Pixel Moon PIXEL MOON took the imagery of the moon, partly in homage to the historical evolution of the name of Yuejin Port, extracting the concept of the moon from its old name “Moon Port.” On the other hand, it aims to express the gentle qualities of the moon.

Through the reflection in the water, it creates an image of the moon floating on the river. The intention is for visitors to appreciate the various states of the moon as they stroll through the artwork during their journey. For the construction technique, we employed a method of stacking units to shape the moon, just like pixels. We used small square units to recreate the thickness and curves of the moon. This approach not only gives a simple representation of the moon but also adds a sense of technology, forming a digital pixel effect.

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Built / Yuejin Lantern Festival - student group selected

m o n t h s

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nique,we employed a method of stacking units to shape the moon, just like pixels. We used small square units to recreate 260cm

the thickness and curves of the moon. This approach not only gives a simple representation of the moon but also adds a sense pixel effect.

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of technology, forming a digital

320cm

To shape the texture of the moon’s surface, we pour locally abundant coarse salt into water. When light shines through, each piece creates a unique pattern.

epoxy raisin + salt panel

rivet

LED strip

L-shape stainless steel

silicone

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Pixel Moon floating on the water

close-up of the Pixel

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Something Else...

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30 days, 30 projects I think it is useful to learn more rational methods in modeling in the digital world we are in right now.

During my 2024 summer break, I set a goal for myself to create one model everyday. I generate all these projects inside Grasshopper. This helped me improve my understanding of algorithmic modeling.

40 Strange Attractor The goal of the python script is to find a set of initial conditions for (x, y, z) that result in a strange attractor with a Lyapunov exponent exceeding 10.

It generates different strange attractors each time you run the script. The drawing is so unique that each time you run it is the only time you could see the strange attractor because it is almost impossible to regenerate the same strange attractors from its image.

cosmic attractor

Wale attractor

Squid attractor

Kuka Robot spatial scanning By connecting a LiDAR to a Kuka robot and utilizing a Python script for operation, we can scan objects with greater ease and precision. In this case, I assisted a senior in creating a database of driftwood by scanning the pieces with the robotic arm. These scanned driftwoods were then intended to be used as materials for a pavilion design.

2021-2025