NCKU Architecture 112 Thesis Design Journal vol. 4

成大建築

快報四 畢業設計

自 然

人 文 重 塑

林永 濬 苑 景

潘中 昱 產業的現代記憶

洪懷 昀 花現花 嶼

鍾沂璇 佔領宣言

蘇 洛 山之形

游邛 希 重返靈 山

陳映融 遺流之界

二

三 四

五 六 七

方玟心 後山新知 八

吳宇承 陳曉柔 蕭子琳 李欣恬 浮田 街角舞影城市舞台 徑疊之丘 出自房子的房子

九 十 十一 十二 空 間 計 畫 重 組

都 市 空 間 再 生 張易夫 西街中埕

水 文 地 景 思 考

陳若欣 空 . 集合 都市游牧

林蜜絲 蒂蒂巴潘的集合點 十三 十四 十五 十六

謝侑呈 汐弄

陳奕中 田城 園 市 十七 十八

李曄舜

黃旗蕾

黃筱筑

呂珂 大地重生 再。神話 再現水色 跋舍

社 會 事 件 延 伸

莊昱潔 若即若離 / 過橋 記

吳昀軒 自由之界

黃靖琁 萌芽

江子沛 樂園 十九 二十 二十二 二十三 高鏡融 混聲而城 二十一

二十五

二十四 二十六

二十七

陳佳衛 曹詠行 敬與否 信仰位移 二十八

建 築 類 型 再 論

徐家昱 林孟萱

余承蔚

自然導航 尾美

無框居適

廖子瑄 家也非家

張偉平 吳孟軒 多重現實 家，棲居詩學

林文馨 公共新秩序 三十 三十一 三十二

廖振嘉 集地相守 三十三 三十四 三十五 三十六 三十七 目 錄

明治年間已經存在的苑裡市場，在苑裡鎮民的日常生活 中，已成為不可或缺的場所。每逢初一、十五或者重要 的節氣，苑裡市場的熙攘人潮更凸顯了深植於常民生活 中的文化傳統。 苑裡市場豐富且多樣的零售環境，不僅滿足當地居民的 內銷需求，更成為海線生鮮食品的重要產銷中心。鄰近 大甲、新埔、白沙屯等地的居民，也紛紛選擇苑裡市場 作為購物或消費的首選地點，從而突顯了苑裡市場獨特 的人群聚集性。 然而，隨著一場大火，焚燒掉了人們賴以維生的場所，也摧毀了原本欣欣向榮的社交氛圍。

The rich and diverse retail environment of Yuanli Market not only meets the domestic sales needs of local residents, but also becomes an important production and sales center for overseas fresh food.

而事件的發生的四 年過去，市場因為種種原因擱置了重建工程。不禁使我 們開始思考這塊空間新的利用價值與更多的共享可能。

However, a fire burned down the place where people relied for a living and destroyed the originally thriving social atmosphere. Four years after the incident, the market put the reconstruction project on hold for various reasons. It makes us start to think about the new utilization value and more sharing possibilities of this space.

市場遺址的公共性與記憶符號

View from Wanrie

基地選於高雄市大樹區三合瓦窯，是台灣現存唯一維持 傳統柴燒磚瓦的瓦窯工廠。位在大樹丘林與高屏溪夾雜 區域、鄰近舊鐵橋溼地公園，原料、燃料與交通，促使區域曾經一度盛行過磚瓦產業。 時至今日，磚瓦已不是現代的主要建築材料，瓦窯工廠 的當代定位受到時代的挑戰，在這與基地有著密切關係 的產業，我試圖透過設計找尋其當代的技藝價值。三合瓦窯有兩處以被歸類為歷史建物，分別為三座龜仔窯以及一旁的瓦寮，龜仔窯內部容量可以燒

Located in Sanhe Tile Kiln in Dashu District, Kaohsiung City, Taiwan, it is the only remaining traditional brick and tile kiln factory in Taiwan that still relies on traditional wood firing. Situated amidst the Da Shu Hill Forest and the confluence of the Kaoping River, the area, once flourishing with the brick and tile industry due to its accessibility to raw materials, fuel, and transportation, now faces the challenge of modernity as brick and tile have diminished in their prominence as building materials. In this context, I aim to explore the contemporary value of this traditional craft through design.

地表上撐起一片紅屋頂。

燒期為期三個月，從原料、制胚、燒製、成品，需耗時 半年之久，因當今磚瓦需求量不大，龜仔窯已逐漸被淘汰， 當今瓦片主要以另外製作的小柴燒窯作為主要的窯體。 土壤、地景、與建築

產業的現 代記憶

I am about to create moments of unexpected joy in everyday life, akin to the exhilaration of discovering the first tiny flower in the wilderness. 花卉體現機械、自然、人與時間的獨特關係。自古人們愛花成痴，對於花卉渴望去時間性。在植物幾 千幾百日子中，僅有花綻放之時才欣賞才珍惜。我們獨 愛含苞待放的花。綻放的花是價值連城，而綻放過後？ 是棄如敝屣，是糞土。 而我想看似不起眼花開的前後其實亦是一種美的展現， 是集合時間性本質的也就是自然變動的價值，一種機械 生活之外的不可預料性的驚喜。我想創造日常突現的驚 喜，可以說平凡如同發現荒野第一朵小花的剎那。花現花嶼，這個花現是物質性指花的突然出現，亦可指 隱喻式一種突然發現的驚喜狀態。象徵人在文明馴化後扁平單一狀態之外的新火花。

Flowers embody a unique relationship between mechanics, nature, humans, and time.

Since ancient times, people have been infatuated with flowers, longing for their temporality. Within the thousands or hundreds of days of a plant's life, we only truly appreciate and cherish it when it blooms. We particularly adore flowers that are on the verge of blossoming.

花現花…發現花！

花現花嶼

馬祖地緣政治的發展，反覆受到人為侵略和自然生態的 波折，在這充滿戰地文化的軍事動盪中生存，佔領其實 是一個生態演替過程和權力抗衡的移轉，人類不斷的渴望掌控資源和土地，卻終將回到自然中。北竿機場的跑道東移計畫將鐵拳山剷除，由舊軍用機場 的功能移轉至民用機場，因沉積作用而形成的塘後沙灘 也遭到機場跑道切割，硬生生的強制開挖興建，侵入自 然環境。 最初完整的建物是人為的佔領，透過建築材料強度差異， 形成不同侵蝕瓦解和生物分解的時間段，隨著時間推演， 非結構的生物性材料逐漸自然降解，所謂的建築空間轉 而由自然生態反佔領。由自然環境到人造建物再由自然生態反 佔領，人為和自然抗衡的演替過程。

The geopolitical evolution in Matsu, marked by aggression and ecological turmoil, reflects a struggle for power amid military upheaval. The relocation of Beigan Airport's runway, involving Iron Fist Mountain's removal, symbolizes a shift from military to civilian use, encroaching on natural habitats like Tanghou Beach. Initially human occupation, structures gradually succumb to natural decay, allowing nature to reclaim its space. Balancing human needs with ecological preservation is crucial for sustainable development.requiring collaboration between government, organizations, and individuals to ensure a harmonious coexistence with the environment.

佔領宣言

指導老師／薛丞倫、郭文毅 Declaration

大崗山

大崗山上，宗教因為山林清幽的自然性質創造超自然場 域；軍事利用突出性達到監視平原甚至西部沿海之效 果；水泥產業奪取其礦材進行加工因應都市發展需要， 這些行為都對山林造成不可逆的破壞，卻也讓我們得知 山的樣貌。 分身，是發生於大崗山上的建築形式，宗教、軍事和水 泥產業的建築行為都出現在山體不同的相對位置，更能述說巨大山體上不同位置之間的關係。

類在山上的建築行為可以反映當代對於山的態度，在

在水泥產業停止採礦後，原先的礦區被重新覆土

成為生態公園，在人重新回到山上遊憩的同時，後山悄 悄的計畫起大規模的 渡 假村，我嘗試使用分身的邏輯，

As the commanding height of the Kaohsiung Plain, Mt.Dagan is a limestone mountain.Human have adopted Mt.Dagan according to their needs: religion create a supernatural field; the military monitor the plains; the cement industry seizes its mineral materials.

Horcrux is a phenomenon that occurs on Mt.Dagan. Religion, military and cement industries have different degrees of related development which can describe the adhesive relationship of the mountain boundary.

I try to use the logic of horcrux to reshape the experience of moving on the mountain and explore the relationship between human and nature. 人

在過去的水泥石灰岩倉庫和未來的渡假村之間植入纜車， 在不斷前進的文明巨輪下，探討當代人和山之間複雜的 關係。 山

冬山河旁的丸山小丘歷經時間承載著相異的「靈」，分 別為生靈、亡靈、神靈。 在丸山上，我標記六處場所為屬於「靈」的場所，分別 為聖母洞、聖嘉民啟智中心內的中庭、療養院旁的庭院、修士墓園、公墓、忠孝祠……。 我希望丸山上被遺忘的靈與故事，能藉由我的介入被喚 醒，讓人們觀看不同的靈。 超脫宗教與符號，進而創造「敬悚交加的感知體驗」， 並讓在此的靈得以存續 喚起丸山被遺忘的靈與故事

The Wanshan Hill beside the Dongshan River carries different "spirits" through time, namely the living, the deceased, and the divine.

On the hill, I marked six places as locations belonging to "spirits"

I hope that the forgotten spirits and stories on the hill can be awakened through my intervention, allowing people to see different spirits.

Beyond religion and symbols, I aim to create "the experience of the numinous” and enable the spirits to survive.

特質，以觀光的表象重新定義了蓮池潭，巨大的水體淪 落為單純的觀光背景。點取代了邊界，水體在景的背後 重回無形之水，蓮池潭在以景為邏輯的現實和揭露水體 本質的脈絡拉扯下，巨大的水體成為了氣質曖昧不定本 質無法被定義的空白。我試圖置入一條以人和水為邏輯 的邊界，重新揭露水的主體性與人的身體性，以人和水 界提供地方性的指認。 巨大都市水體關係的邊界重構與揭露

水本無形，所謂水體則是透過邊界的構成，展現水積累 的特質，以邊界之形揭露於地之上，在水體與日常高度 混合的蓮池潭，廟宇沿著潭邊而生朝向著水，成為農業 時代人們塑造對於水的想像之地，庇護著居民賴以為生 的蓮池潭，基於生存需求，人們操弄著水的邊界，透過 拷潭與例行的酬神廟會，身體的移動性在空間與時間裡結合，產生了以人和水為邏輯的環境特質。隨著都市需求的轉變，蓮池潭中水體的神聖性具象化後的塔廟解構後片段的記憶取代了以

With the change of urban needs, the sacredness of the water body in the Lotus Pond was embodied. The deconstructed memory of the pagoda temple replaced the base characteristics with "water" as the logic, redefining the Lotus Pond with the appearance of sightseeing. The huge The water body is reduced to a mere tourist backdrop. Points have replaced boundaries, and the water body has returned to invisible water behind the scenery. The lotus pond is pulled by the reality based on the scenery as a logic and the context of revealing the essence of the water body. The huge water body has become a blank with an ambiguous temperament that cannot be defined. I try to put a logical boundary between people and water, and re-expose the subjectivity of water.

遺流之界

花蓮因其居於山海之間、群嶽環繞、難以抵達而被稱為「後山」，後山一詞反映我們在這塊土地上的感受和步調， 也使觀光、開發議題成了在地人的原罪。如今觀光符號 佔據海岸、人們為了交通和資源掘入山脈；我試圖去尋找看向自然的新視角和建築居於山海間的姿態。基地選在縱谷平原最北端的崇德，在這裡山脈和太平洋 幾乎夾為一線，交通和聚落軸線與之平行；花蓮由山到 海的空間經驗被濃縮在短短

400 公尺中。 我想以一段感官經驗串聯山海間的路徑，提供人們與花 蓮自然環境連結的新方式，人們得以重新認識後山。 以感官經驗串聯山海，重新認知後山

Hualien, known as the "backcountry," is nestled between mountains and sea, challenging to reach. However, tourist symbols dominate the coastline, and infrastructure digs into the mountains for resources and transportation.

I seek new views of nature and architecture posture located here.

Chongde, where mountains and the Pacific almost meet, condensed the spatial experience of transitioning from mountains to sea in Hualien within a mere 400 meters.

I aim to offer a new connection to nature in Hualien by creating a sensory journey along its mountain-to-sea path, allowing for a re-understanding of the "backcountry."

後山新知

歷史上嘉南大圳的開發，提供了集村向田擴張的可能性； 七零年代末的國際地域主義及台灣的本土運動，推動第 二代透天厝的形成：宜蘭厝宣言將厝定義為「生活文化 發生的場所」。 雲林的「生活」與「文化」一直和田與其延伸的日常與 節慶息息相關。我想藉由第二代厝面臨改建、重建，及 荒廢的同時，提出第三代的「田與厝」，從「天、田、人、厝」的交互作用間，討論新鄉村地景的可能性。「天」為生活的基礎，在保護的前提下，厝應具有順應、 讚頌、暗示、對抗等的語言；「田」為生活提供財富， 未來科技、作物共生、能源循環於空間組織中呈現；「人」 將因田致富，第二、三、四代或久居、或短居此地，是 人口回流的契機；「厝」則將交互現象「私密」的「實」、 「半公共」的「變動性」，以及「公共」的「輕」，於載未來農家以及田的浮動。 部分鄉村獨棟透天厝逐漸瓦解的同時

The thesis focuses on how architecture can fully demonstrate agri"culture," the relationship between crop fields and living spaces. The result is set to present the "third" evolution of Taiwan rural houses.

The site consists of a large field (12000 m2), which is seen as a potential to generate fortune. More people of the younger generation might come back from cities in the future.

The space organization takes technologies and sustainable methods of cultivation into consideration. The tectonic of architecture is based on the "ever-changing" essence of family activities, which represents itself as a newly-defined "waterway."

或許田將承載及延續厝的痕跡

逐漸演化為一種無處不在的新型態舞種。在街邊隨意播 放音樂便能形成所需的場域，以表達自由且奔放的自我。然而，在都市的緊湊步調下，對公共場所的使用權經常 剝奪了舞者的表現空間，迴廊前的一片玻璃成為舞者僅 存的生活空間。面對都市生活的壓力和商業化趨勢，舞 者們轉向依附傳統舞蹈教室。而在街舞踏入奧運舞台的 如今，雖然意味著逐漸融入主流文化，但也導致舞蹈空 間轉移至室內，逐漸與外界隔絕，並日漸失去其原始精神， 街角舞影逐步消弭。 我思考是否可以通過重新創造場域來復興其最初的自由 精神？目的是為忙碌的都市生活提供一處喘息之地，一 個自由的城市舞台。 都市街頭的

城市舞台街角舞影

To break away from the traditional, centralized dance environment, street dance has gradually evolved into a ubiquitous new form of dance

街頭的舞蹈，為了打破傳統、中心化的舞蹈環境，

However, in the fast-paced urban environment, the competition for public spaces often limits the performance opportunities for dancers. Faced with the pressures and commercialization of city life, dancers have started turning to traditional dance studios for their activities.

I ponder whether it's possible to revive this original spirit of freedom by recreating spaces in urban area? The aim is to provide a breathing space in the busy urban life, a free urban stage for dance.

發展幾經起落、密集小街廓組成的西門商業區，文化與 空間使用於此不斷積累轉化，形成多元異質並置的複合系統，擁有無限疊合的容量可能性。隨著建物使用年限將至，在推動人本城市的背景下，峨 眉停車場的所在區位與機能定位受到挑戰；作為周遭唯 一完整的公共空間，未來應以何種姿態立足於商圈中央、最大化地扮演好此輔助空間的角色？停車場自地面串延至頂層的連續緩坡，為純粹而具有潛 力的架構系統。透過拉長建築型態轉變的過程，在既有 結構與機能逐步汰換的同時，疊合轉運結點、藝文創作 與綠地廣場等元素，形成觀測下一階段使用樣貌的實驗 場域。 西門町是一個裝不滿的房間

Whether in terms of spatial utilization or cultural accumulation, Ximending possesses unlimited potential for overlapping possibilities within this place.

Against the background of promoting a people-centric city, the location and functional positioning of the Emei Parking Garage face challenges. As the sole complete public space in the vicinity, how should it position itself in the future?

Thr u the elongation of architectural transforming process, transfer nodes and green elements are overlaid while existing structures and functions are gradually replaced, in order to create an experimental area for observing the usage patterns of the next phase.

徑疊之丘

廣泛運用於舊建物保存的增建手法與私人擴充現有空間 的加蓋行為。 從單棟房子的小尺度加蓋出發，到多棟屋群加蓋之間的 交互關係，這種既依附又獨立於既有建築的構造物，是 否能從更大尺度的視角成為城市中具有公共性與公益性 的存在？ 由個別房子創造的共同房子

My graduation design project begins with a discussion on the term 'Addition,' which can be divided into two main categories: the widely used method of adding extensions to preserve old buildings and the act of privately expanding existing spaces through rooftop additions.

Starting from the small-scale additions to single buildings and extending to the interactive relationships between multiple buildings, these structures, both attached and independent from existing architecture, pose the question: Can they, from a larger-scale perspective, become elements in the urban environment that possess public and communal significance?

我的畢業設計始於對

Addition

一詞的討論，可以分為被

這裡曾經是台北城出入要津，而今是西區門戶之首。搭 機捷陽關三疊的，坐捷運到此一遊的，或拖行李箱步行 迪化街與艋舺之間的，都會在此相逢。人生何處不相逢， 這裡剛好是一個轉台。無論來去何方，停留久暫，甩開 或帶入城市

相逢自是有緣。這裡必定有趣，有些事可做， 也正在發生。 在此，我們需要一個空間。無論是工作、出差、旅遊、 路過，在此可以流轉，可以暫歇，可以久待。在此相逢， 那怕是回眸一笑，心頭一震 ， 甚或是深刻交流 ， 心領神 會。城市不再是來去匆匆 ， 人影相錯。這裡 ， 不再是冷 漠疏離，而是相逢拉近彼此距離。這裡，是有溫度有歸屬感的城市，我們共同的台北。我正是要創造這樣的一個空間 ， 這個基地有這樣的條件 ， 而我設計的空間正足以達成。 街與埕 /

This place, once a vital entrance to Taipei City, is now the gateway to the western district. Whether arriving by the Airport MRT, exploring by subway, or strolling between Dihua Street and Wanhua with a suitcase, encounters are bound to happen here. It's a junction in life, where destinies converge. Whether coming or going, for a brief stop or an extended stay, this place is destined for meaningful encounters.

It's an interesting space with ongoing events. Whether for work, business trips, tourism, or passing through, this is a space for transitions, pauses, or longer stays. Here, meetings may be just a smile or a profound exchange, bridging distances.

Not only Space but also Time

當代都市生活隨著都市演進產生變化，都市人與都市的 關係逐漸疏離，都市僅能夠顧及自身被寄望的越來越好 與越新，無法擴及每一個個體，使都市人專注在能力所 及之處，自身、精神提升、自我實現、個人空間、社會 議題等等，而臺北的都市正面充斥各式建築背負著社會 對於都市的好與新，事實上的都市人生活並不再這些寄 望之中。 我希望這些真正生活在都市的樣態以及日常，能夠被這 個都市發現並且承認，故選擇敦化南北路以及仁愛路作 為社會住宅基地，將過去隨著時代變遷而失效的都市計 畫空間，改善其位處都市核心地帶，過去帶有臺北門面 的功能之空間能夠跟上時間以及需求，同時將被隱藏在街廓巷弄中的日常被導引至陽光下。

Urban life undergoes changes with evolving cities, distancing people from urban spaces. Cities focus on selfimprovement, leaving many aspects unnoticed. Taipei's urban landscape symbolizes societal expectations, yet actual urban life differs. I aim to showcase authentic urban experiences in daily life. Choosing Dunhua NorthSouth Road and Ren'ai Road as a base, I seek to revitalize outdated urban planning spaces, aligning them with contemporary needs. This effort aims to bring hidden aspects of daily life in streets and alleys into the spotlight, creating a more nuanced understanding of urban existence.

都市游牧

臺北都市生活片段連結

從輕軌開始，對於城市的認知從慢開始，意識到屬於高 雄的空和界線。 隨著高雄從日治時期的開發這些在現在被認定為界線的 退化元素（鐵路、愛河、路橋）從無到有，然而現在從某種角度上再從有到無，邊界卻依然存在並且 多的「空」。 面對這些被剩下的空，它剝奪了對於城市「之間」的感知，也讓我們強化對於巨大的體驗。 因此在我的設計中做的是製造因為這些邊界、空和巨大 而需要重新建立的關係。

"Railway undergrounding has occurred, yet the boundaries within the city have never disappeared."

Starting with the tram, the perception of the city gradually unfolds, becoming aware of the negative space and boundaries that belong to Kaohsiung.

Faced with these negative spaces, it strips away the perception of the "inbetween" in the city.

Hence, there is a proposal to rediscover the collective essence of the spaces in-between elements, reclaiming the urban voids.

屬於城市內的邊界卻從 未消失

鐵路地下化了 ，

的集合點蒂蒂巴潘

Reviving the Titipapan train station is vital for connecting local markets, schools, and the village office. Once dormant since the Dutch colonial era, the station now hosts illegal stalls and serves as a playground for children. Transforming it into a vibrant public space fosters community interaction and economic exchange.

The revamped station will be more than a transportation hub - it'll be a cultural center where residents gather, vendors sell goods, and events unfold. This initiative preserves heritage while creating opportunities for future generations.

Renovations, sustainable practices, and engaging activities will make it a symbol of vitality in the community.

想像一下，將蒂蒂帕潘火車站改造成不僅僅是一個交通 樞紐。把它想像成一個充滿活力的公共空間，居民聚集 在這裡，小販展示他們的商品，文化活動展開。通過開 墾這一歷史遺址，我們不僅保護了我們的遺產，而且為 子孫後代紮根並建立新的聯繫鋪平了道路。

、火車站本身和村長辦公室。這種連接超越了單純的 物理基礎設施；它促進互動，創造經濟交流的機會，培 養社區意識。

復興自荷蘭殖民時代以來一直處於休眠狀態的蒂蒂帕潘 火車站，不僅僅是為了恢復一段歷史；這是關於振興一 個社區中心。車站的正門經常有當地兒童將其場所變成 遊樂場，現在設有非法攤位，與附近的傳統市場交織在 一起。 然而，在現時的狀態之外還有巨大的潛力。復興這個車 站至關重要，因為它將戰略性地連接當地傳統市場、小 學

如何復興一個歷史悠久的荷蘭火車站， 並為傳統市場、學校和當地社區服務？

海岸是人文、都市、生活與水之間的連結拼貼。高雄港，出現了兩個斷層的海岸，第一層已退縮風化至 鹽埕區的老城區裡，第二層仍不斷的在水岸邊隨著時間 與人潮呼吸。 高雄港自日治時期到戰後初期為台灣數一數早開發且繁 榮的區域。然而在戰後嬰兒潮的時間推演下，鹽埕區也 成為了現在高雄市區高齡人口比例最高的區域。這是歷過水域與運動作為連結全齡的活動，去抵抗年老所面臨 的肌肉流失，並暗喻著抵抗社區老化，並希望藉由空間、 戰後嬰兒潮與新興水岸生活休憩區的都 市裂縫，鹽埕區怎麼面對高齡與休憩？

In Kaohsiung Harbor, two distinct layers of the coastline have emerged. The first layer has receded and weathered into the old city area of Yancheng District, while the second layer continues to breathe with the passage of time and the ebb and flow of people along the waterfront.

During the period of martial law, the separation of the port and the city formed the urban utility, which has created a rift in the flow of people within the urban fabric under the rejuvenation of the waterfront in the harbor city. This design takes observations of Kaohsiung Harbor as a starting point. It aims to use the aquatic exercise as a means to connect activities for people of all ages.

田城園市

The impression and experience of the countryside will be decomposed into elements and included in the urban machine, and the urban machine will have urban functions to combine with the countryside in meaning and form, creating a new dialogue between the countryside and the city. At the same time, people will get convenience and improved quality of life here. 田園城市應該是一個建構於交通系統之上的城市機器。鄉村的印象與體驗將會被解構成元素，被城市機器所收 錄，並且城市機器會帶有都市機能去與鄉村在意義與形 式上結合，創造一種鄉村與城市之間新的對話，同時人們會在此處獲得便利性與生活品質的提升。中興新村因為精省與九二一地震的變故導致人口大量外 流，但中興新村仍然具有低密度的田園住居型態的優勢， 並且中興大學將重新活化中興新村，在此地開辦永續經 濟學院，或許中興新村所需求的是一個便捷的交通系統， 使人們往來於城市與鄉村之間，與此同時永續農業所提 及的垂直溫室栽培也會依循著此交通系統快速送往城市，使得田園城市變為一種日常。 田園城市

The garden city should be an urban machine built on the transportation system.

Machine, Urban and Suburb

而金門在另一方。與台相隔兩百里，與廈僅有兩公里， 金門成為兩者「之間」。 從基礎設施的歷史疊圖可以發現，金門與廈門間存在很 多條有形無形的線，兩者在政治、經濟上的牽制，以空間的形式呈現在地圖上一覽無遺。金門與廈門的「門」字，皆有門戶的意思，兩門對望。若放遠世界，冷戰時期西柏林被東德包圍，一道柏林圍 牆阻隔了資本主義與社會主義。而南北韓間也有板門店 作為中立的談判區。我的畢業設計企圖拉起一條有形的線，在兩門之間連起一座橋，以橋所衍伸的

The characters for "Kinmen" and "Xiamen" both contain the word "men" which meaning "gate", signifying their status as gateways. These two "gates" face each other.

，創造一個兩岸人民趨之若鶩的 樂園般的地方， 講一個金廈之間若即若離的故事。過橋記就此開始。

年代，一條台海中線劃分了台灣海峽，台灣在一方，

During the Cold War era, West Berlin was surrounded by East Germany, with the Berlin Wall separating capitalism from socialism. Similarly, the Korean Peninsula is divided between North and South, with the Joint Security Area at Panmunjom serving as a neutral negotiation zone.

I want to connect a bridge between these two "gates" and use a neutral zone to reveal the complex and ambivalent relationship between Kinmen and Xiamen.

「自由儀式」是我們都該追求的，我相信只有當我們完 成這樣的儀式時，才能真正獲得自由（擺脫肉體的束縛）。 死亡的自主權能否回歸自我？

In German, there is a word for suicide, "Freitod," which translates to "free death." Is suicide the act of killing oneself, a crime, or a choice towards freedom?

Through the design of "short term accommodation," I aim to discuss the relationship between people, space and environment. These factor will affect the decision of a person with suicidal thoughts. Helping them find the answer they're long seeking for.

在德文中有一個表達自殺的字「

= 「自由死」。 自殺是對自己的殺害，一種罪行，還是通往自由的選擇？藉由我的畢業設計，我希望改變大衆對於死亡的價值觀，讓死亡能夠有更多被詮釋的方式。我以「行旅」為機能設定，探討念頭者在最後時刻所接 觸到的人、空間、環境，對於自我意識的影響，進而尋 找心中真正的答案。在這裡建築傳達了某種死亡哲學觀， 包括自由的建築、自然元素的對應、選擇的兩面性

"The ritual of freedom" is something we should all pursue. I believe it is only when we complete such a ritual can we truly attain freedom (freeing ourselves from the constraints of the body).

自由之界

Freitod」

社會並未對為經濟發展與社會服務做出貢獻的外籍移工 太多關注其社會文化面向的需求。以印尼籍移工為例， 社會無法滿足二十萬穆斯林移工的清真飲食及宗教信仰 需求，一其社會位階居於最底層；二其所屬行業的工作 性質不允許抽空從事宗教禮拜活動。一般台灣雇主不太 可能允許穆斯林移工或外傭在週五參加主麻禮拜，這對 離鄉背井的移工們，卻是非常重要的社會與心理需求。因此，近幾年在伊斯蘭教中最重要的開齋節，印尼籍穆 斯林找不到足夠大的場地從事慶祝活動，只好群聚臺北 車站大廳席地禮拜與慶祝，卻無法取得來往旅客諒解， 引發占用公共場所的負面觀感。如何開創流動的公共空 間，創造外籍移工與本地台灣人良性互動與交流場所， 為當前的重要社會課題。

Society has not paid much attention to the social and cultural needs of foreign migrant workers who contribute to economic development and social services. Taking Indonesian migrant workers as an example, society fails to meet the dietary and religious needs of two hundred thousand Muslim migrant workers, who occupy the lowest rungs of society.

Creating mobile public spaces to facilitate positive interactions and exchanges between foreign migrant workers and local Taiwanese people is an urgent social issue that needs to be addressed.

次文化、宗教

古往今來不同文學類型的作家紛紛暗示人類種族中存在 自我毀滅的模式，其可能直接導致世界末日降臨。德國納粹曾經精準地揪出這項人性的弱點，他們強迫讀 書人壓抑自我，打擊人性直到其徹底消失，導致歷史發 生驚人的民族集體無意識。 我希望透過創造一座「樂園」，銀行和自助倉儲設施結合， 存取這些被前人刻意隱藏、壓抑的象徵物，直到末日被 觸發後，少數活下來的幸運兒除了能找到這處相對安全 的居所避難，同時會揭露所有先祖存取的暴力、私密甚 至回憶，挽回自己基因裡人性化的序列，導航他們取得 發展文明的第二次機會。 「當我們面對下一次考驗的時候，果真會有把握做 出較佳的表現嗎？」

Writers across various literary genres throughout history have hinted at selfdestructive patterns within the human race, potentially leading to a direct apocalypse.

This architectural project aims to create a "paradise" by integrating banking and self-storage facilities. It seeks to access symbols deliberately hidden and suppressed by previous generations until the triggering of an apocalypse. Survivors will find a relatively secure refuge and accidentally reveal the violence, intimacy, and memories accessed by their ancestors. The project aims to reclaim humane sequences within their genes, guiding them toward a second chance at developing civilization.

在思考著如何將人民的聲音傳遞給政府時，不禁會開始 思考我們在溝通時究竟發生了什麼問題。是政府沒去傾 聽嗎？還是人民沒將自己表達清楚，不知道自己真正想 要的是什麼。 又或許是，過去讓我們壓抑習慣了。抗爭、血淚、談判、 外交手段、服從、掠奪、屠殺，確實把聲音變小了，但 似乎從來沒有被澆熄過。 如果說民主是民意的濃縮與體現，那在立法院放一個劇 場，讓人民的心聲、委屈、受壓迫、想做的事情能透過 這個表演方法傳達出來，讓大家一起想辦法，改寫劇本， 會不會是另一個方法呢？ 這是一個給大家的舞台，也希望他能幫助大家變得更勇 受壓迫者劇場與立法院

When considering how to convey the people's voices to the government, we must address communication challenges. It's unclear if the government isn't listening or if people struggle to articulate their desires. Repressive practices like protests and obedience may have suppressed voices, but they persist. Perhaps a theatrical approach in the legislature could help. By staging performances reflecting people's experiences and aspirations, we could engage in collective dialogue and rewrite societal narratives, potentially fostering better communication and understanding between citizens and their government.

This is a stage for everyone, and I hope it can help everyone become braver.

混聲而城

Theater of the Opressed

過去村民看天吃飯，朝出暮歸與土地的關係讓他們對土 地有著強烈的歸屬感。這種人與土地的關係表現在了地 名上。從前在村裡平常會使用許多地名，而這些地名的 命名方式有描述地形變化；講述地質特徵；或與農漁業 相關。地名各自都代表著一小塊土地的地方性與記憶， 但隨著產業重心的轉變以及人口不斷的外移，這些地名 漸漸的不再被使用。 我的設計從塔腳開始，塔腳是指在村裡石塔腳底下的土 地。石塔建於清代，石塔下代表著八卦的八隻腳，意味 著塔將一切自然現象鎮住，讓看天吃飯的村民可以在貧 瘠的土地與惡劣的氣候中生存下去。這座石塔隨著時間 會損壞、修補，從原先純粹的石頭塔到以灰泥加固，再 到現在用水泥填補裂縫，塔的持續存在讓塔腳這個地名 得以一直延續下去。 但現在貧瘠的土地與惡劣的氣候更甚；洋流將垃圾從遙 遠的海洋帶進入村落；銀合歡從村子外圍侵入到村子內 部，村民不再依靠石塔… 村落裡被遺忘的地名暗示著人們離開土 地，而土地上缺少了人，也逐漸死去。

In the past, villagers relied on observing the sky to plan their meals, and their strong connection to the land was evident in their daily routines of going out to work in the fields during the day and returning home in the evening. This deep relationship with the land was reflected in the place names used within the village. In former times, a variety of place names were commonly used, each describing changes in terrain, geological features, or associations with agricultural and fishing activities. Each place name represented a small piece of land, imbued with local significance and memories. However, with shifts in industrial focus and ongoing population migration, these place names are gradually falling out of use.

大地重生

Rebirth of the Earth

失序而龐大的公共決策與自然威脅夾擊著七股這塊沿海 鄉村，面對著被海水吞沒、被視為能源輔助城市、被人 為的荒漠化，居民的恐懼與不安不斷蔓延。因而，省視 過往人們是如何面對並轉化恐懼，透過廟宇定著出港的 人心，將對未知的恐懼轉為信仰寄託；並將沙洲視為鯤鯓，以神話建立心理的安全區。 因此，於交界嘗試將當代的恐懼，透過公共建設與常民 生活重新融合，將台

線視為重塑的鯤鯓，將基礎建設 融回在地。 過往面對恐懼，以面海的神廟換取生機， 那當代沿岸鄉村又該創建守護的信仰。

Facing the dual challenges of disordered public decision-making and natural threats, the coastal village of Qigu is engulfed by rising sea levels, viewed as an energy-assisted city, and plagued by human-induced desertification. Residents' fears and anxieties continue to spread. Reflecting on how people have historically faced and transformed fear, temples serve as anchors for the departure of hearts, turning fear of the unknown into a spiritual refuge.

Therefore, at the border, we attempt to reintegrate contemporary fears into public infrastructure and ordinary life, reimagining Highway 61 as a reshaped Kunlun, and integrating infrastructure back into the local community.

Urban development is also changing the land.

也不希望未來的澄清湖被巨大的水泥森林環抱。

There was once a regulating pond, commonly known as "Xiaobei Lake". Today, only a few small ponds remain, which are often flooded. In the future, MRT stations and high-rise buildings will be built on this land. However, the proposal was opposed by residents, and issues such as ecology, water quality and flooding were raised again.

在高雄用水方面佔有一席之地，眾多生態也棲息於此。然而，城市開發也改變著這塊地。長庚醫院與棒球場的所在，曾是一座調節性埤塘，俗稱「小貝湖」，如今只剩下幾塊小池塘，造成 經常淹水。 在未來，這塊土地將重新開發，更有捷運站駐紮。然而， 政府的提案卻被居民反對，生態、水質及淹水等問題再 次被提出。 而 我 ，

與小貝湖古稱大埤

開發是需要的，而捷運的興建也是必然的。但願我能留下一片淨土，一個天際線的缺口， 就如同在大家繁忙的 生活中，還能有一絲喘息的空間。也藉由回顧小貝湖、影響與都市景觀和生態的重要性。 逐漸消失的小貝湖再次面對開發，結果 會不一樣嗎？

Development is needed, and the construction of MRT is inevitable. I hope I can leave a gap in the skyline, just like there is still a little breathing space in everyone's busy life. We can make everyone aware of the impact of urbanization and the importance of urban landscape and ecology.

澄清湖

再現水色

(

) 自曹公圳新建以來，一直

The building here will return to its most primitive state: "a shelter sufficient to shelter from the wind and rain." At the same time, it will have the necessary functions for ten people to survive here for a day. 跋，指陸行，涉，指水行，出自《左傳。襄公二十八年》跋涉山川，蒙犯霜露。常用于形容旅途的艱辛。但與原始釋義不同，我特指在沙漠中的跋涉。與常規爬山不同，沙漠徒步更為艱險。沙礫鬆軟，每一 步都會下陷，常需手腳並用地前進。而極端炎熱乾燥的 氣候，偶發的沙塵暴，低至零下的寒冷的冬季，都給人 們的生存提出挑戰。 設計位於敦煌鳴沙山沙漠的中心，與世隔絕，只能先經 歷十公里的沙漠徒步。迷途之人經過長途跋涉來到這裏，短暫休憩之後，便再度出發。 建築在此將回歸最原始的狀態：「一個足以遮蔽風雨的 栖身之所」，同時，將附帶滿足十個人在此生存一天所 必備的機能。 沙漠中，物質上的井是人類的生命之源，那精神上的井會是什麽模樣？

The design is located in the center of the Mingsha Mountain Desert in Dunhuang. It is isolated from the world and can only go through a ten-kilometer desert hike first. The lost people came here after a long journey, rested briefly, and then set off again.

Unlike conventional mountain climbing, desert hiking is more difficult and dangerous. The gravel is soft and sinks with every step, so you often need to use your hands and feet to move forward. The extremely hot and dry climate, occasional sandstorms, and winters as cold as subzero all pose challenges to people's survival.

A Sanctuary in the Desert

人以堤防、水庫來保護家園，以橋樑來確保人們的通行。 儘管這條河流現在變得穩定且安全，但人們再也無法輕 易靠近。如今人們的到來往往帶有目的，貪圖著溪流的 饋贈，而產業淡季的曾文溪仿佛用后即弃的島嶼。 我認爲讓人回歸自然是尊敬自然的本質。因此我想以現在人與自然的關係為基礎，找回從人們與 自然的態度。 陸與溪新邊界的定義

曾文溪又稱青瞑蛇，在歷史記載中即是一條不穩定的河 川多次因山洪爆發改道，造成洪水氾濫，大量泥沙刷入 台江內海，使其淤積情況嚴重，台灣府城海岸線漸向西 擴展，衝擊內海地理環境，郊商航路與與人民的生活形式。 河流與人帶來這些好處的同時，也帶來了一些挑戰。

Tseng Rivers have had an extremely important impact on ancient civilizations and human society, its has been diverted several times due to flash floods, causing flooding and sediment washes into the inland sea of the Taijiang, causing Taiwan's urban coastline to gradually expand westward, affecting the geographical environment of the inland sea and people's lifestyle.

While rivers bring these benefits, they also come with some challenges. Our ancestors used embankments and reservoirs to protect their homes, and bridges to ensure people's passage. Although the river is now stable and safe, it is inaccessible to people and the area around the river is no longer suitable for other species.

敬與否

Awe or Not

在林邊鄉最主要的兩座大廟為三山國王廟與媽祖廟。特 別的是，廟的坐向皆是面向聚落，通常航海守護神應該 是面向海，但因林邊經常遭遇水災，這個信仰是出於對 水的恐懼、希望能保護聚落免遭水淹，因此以背向海的 姿態存在。 廟的出現帶動周邊發展，形成市街，是一個信仰空間高 度與日常生活混合的狀態。直到現今，聚落範圍由高架 後的鐵路、新建的堤防及拆掉舊堤防後地勢微高的邊界 大致定型。隨著技術發展及進步，林邊溪上游到下游的 治水措施及設備也愈來愈完善，淹水的邊界已漸漸遠離 聚落，且水已經從一種限制活動及凌駕於人之上的狀態 轉變成可以親近人體的淺水尺度，因淹水而存在的信仰 與地的黏著性也漸漸消失，並隨著環境的變動及水的邊界跟著位移，對現在生活在林邊的人來說，

In Linbian, two main temples exist to protect the community from flooding. The emergence of the temples has driven the development of the surrounding area, forming a market street. It represents a state where spaces of faith are highly intertwined with daily life.

With technological advancements and progress, the boundaries of flooding have gradually moved away from the settlement.

則是具體存在 人們的生活和慣常的作息紀錄。

1 的反日常，而剩下的

產生新的 公共性的可能

信仰位移

日常與反日常的交 織循環 應該要被感知而帶來新的公共性，成為新的信仰。 信仰隨 著 環境變遷

In the present day, I wish to explore how to discover new communal experiences and faith amidst the antiroutine of flooding and the daily habits of life.

Orphaned infants,Children and adolescents from economically disadvantaged families,

These children are typically chosen by social workers and removed from their original families. They are grouped together with others who share similar unfortunate backgrounds and placed into childcare institutions for centralized care.

Inside the movie theater, external sounds are isolated.

The films themselves represent the more "ethereal" and "spiritual" values of art, while the theater itself creates a distance between us and the films, akin to the distance between reality and fiction.

Much like a withdrawal, where our spirits immerse into an endless realm.

精神性的 ” 價值，而電影院本身的讓人跟電影產生距離，是像是現 實跟虛構的距離 我們會像是抽離一樣，精神進入沒有邊際的世界

經濟弱勢家庭的兒童及少年 受虐及受疏忽兒童及少年司法轉向的兒少受性剝削的兒少 這些孩童都是會被社工選擇然後離開原有的家庭他們與一群有類似的、悲慘的成長背景的的孩童會被聚集，然後進入到育幼院當中，集中照顧 在電影院，外界的聲音被隔離， 裡面播放動態的電影，每一部電影沒有固定的信仰跟準 則 電影本身代表了藝術的那種比較 虛體的 ”

孤兒棄嬰

全球淨零碳排宣言，以上政策推動世界積極發展潔凈綠 能，而能源的轉變將對於基礎設施產生影響，加油站再 未來轉變為

Taiwan is committed to achieving 20% renewable energy by 2025, while global efforts aim for net-zero carbon emissions by 2050, driving the development of clean energy worldwide.

，設施將被重新定義形態，不再被視 為單功能建築，轉向為附著於娛樂、商業或公共設施或

基地選在南橫公路的寶來，南橫是台灣三條橫貫公路之 一，人們能在幾個小時內橫越高山至島的另一端，而在 這趟旅程中我們該如何體驗自然？隨著載具速度增加， 旅者難以探索自然，我認為停下來，讓速率轉換，才有 探索村莊的機會，主動觀察自然、感受時間變化，重新 尋找旅程真正的意義。 在長途旅行中，電動車需要補充能源，人們也需要休息、 伸展、進食和補充能量。設計試圖以電動車利用地理資 訊技術所產生的新節點擾動旅程，脫離絕對路線。 在逐漸來臨的移動時代，電動車會如何 移動與停止

自然導航

This shift impacts infrastructure, with gas stations evolving into EV charging stations, serving multifunctional purposes. As electric vehicles become prevalent for long-distance travel, the need for rest stops grows.

This design disrupts traditional journeys by utilizing electric vehicle technology to create new waypoints, offering travelers flexibility and the opportunity to explore surroundings.

其他多元設施

藝術的出現有種崇高的氛圍，一種想與世俗劃清界線的 感覺。儘管現代藝術積極透過各種方式與大眾接觸，但 這種崇高的自主性越發明顯，展品越變越大，尺度上與 身體性更加脫離。要美術館這個大量體與小鎮達成平衡 又保有藝術的自主性確實是件困難，如何在壯美尺度下創造親密性成了這個項目的主題。基地位於雲林縣虎尾鎮中心，一塊四面臨路的街廓。建 築不趨向現代建築以複雜為樂，反倒以一種極為精簡的 姿態來塑造壯美。基地向下挖三十公分形成地形，劃定 美術館領域，建築體為一連續四面的框，置放於上，框 體被輕輕的抬高四十公分，使藝術從周圍混雜的狀態脫 離出來，卻又讓居民得以很輕鬆地坐在建築體之下，巨 大尺度的量體與身體性巧妙的被結合，周圍日治時期古 土間。

How does art get into small towns?

The emergence of art has a sublime atmosphere, a feeling of wanting to clear the line with secularization. Although modern art actively engages with the public through various means, this lofty autonomy becomes more and more obvious, and the exhibits become larger and larger, and the scale becomes more detached from the body. It is indeed difficult to achieve a balance between the large body of the museum and the small town while maintaining the autonomy of art. How to create intimacy on a magnificent scale has become the theme of this project.

藝術如何進入小鎮？

Huwei Art Museum

曾經的「臥室」早已不是「臥」室，人們在這個屬於自 己的小天地之中工作、學習、娛樂、甚至社交。居所當 然也不能再以客、餐、廚、臥幾個基本的生活機能去劃 分所有的空間。居室該當如何，才能囊括千百種人多樣 的生活型態？ 我從隱私的角度切入，將空間分為「內室」、「外室」、 「主室」。空間的功能及用途未定，居住者可以依據個 人的喜好及需求填入相對應的機能。空間與空間之間， 是似牆非牆的門，透過位置的切換，改變三室之間的關係。 主室作為生活的主舞台，時而與外室相連、時而與內室成為一體，因應生活的需要改變空間的個性。門牆開開關關之間，生活的樣貌不經意被路過的鄰居看 見，被等電梯的人聽見，蔓延在走廊上，沿著樓梯垂直 跳躍，滲出建築的縫隙，成為城市裡一條熱鬧的巷。

"Bedroom" is no longer "bed" room. In this little private space, people work, study, chill, and even social. Residence couldn’t be divided by basic functions like living, dinning, kitchen and sleeping any more. How to the design the living spaces to allow all the possibilities of lifestyle is the topic I want to work on. Approaching it from the perspective of privacy, I divide living spaces into "in -room ", "out-room" and "mainroom." The functions and purposes of these spaces remain undefined, allowing residents to customize them based on their preferences and needs. The public space interwoven by the "out-rooms" resembles a narrow alley, where each resident contributes to the overall appearance of the street. In collective residences, corridors transform from mere passageways into streets connecting with the city, creating a sense of community and shared living.

新世代青年居室再定義

無框居適

Frameless Dwelling

社會大眾與受害者共同永久承受不可能到來的公平正義。集中的監禁型態來自於公眾對於被告嫌疑人的不理解以 及懷疑，從公眾安全的觀點與不堪負荷的戒護壓力或許 是新的羈押觀察機構與隔離方式可以重新思考的機會。 個人之於公眾、看守所的戒護單位之於 城市是否有更為人道的空間介面？ 指導老師

作為一種限制自由與開放的工具，目前被羈押的犯罪嫌疑人如果無罪，依然必須在看守所待上最高 1

As a tool restricting freedom, currently detained suspects, even if innocent, may spend up to a year in custody. Society and victims endure an unreachable quest for fairness.

Incarceration results from public misunderstanding and suspicion. There's an opportunity to rethink observation and isolation methods for public safety.

I aim to find more humane spaces within correctional facilities and cities, easing tension through comfortable interfaces between individuals, guardians, facilities, and urban landscapes.

新北板橋區公所

土城區清潔隊停車場

集地相守

Land Braid for Defendant

在發展元宇宙建築時，我們面臨資訊儲存與公眾對虛擬 世界接受度的挑戰。資料中心因「安全性」及「能源成本」 而多被大型公司控制並隱藏於鄉下地區，使公眾忽視了 元宇宙在物理世界的基礎，同時對當地環境造成影響。

圖書館將引導公眾適應數位與物理空間共存，

資料中心去中心化，讓可被元宇宙空 間取代的既有建物空間轉作為元宇宙的資料中心

曾指出，是否沒有任 一「物理」建築空間可以容納如此複雜的活動機能，但 透過結合數位與物理空間，我們有機會重新定義圖書館 作為台灣文化、教育引領者 的角色。

圖書館的發展歷程與數位網路世界的演進有相似之處， 從資訊存儲空間到資訊交換中心，再到現代的社區活動 和創作分享平台。

In Metaverse architecture development, we confront data storage challenges and the public's hesitance towards virtual worlds. Data centers, controlled by large corporations for 'security' and 'energy cost', are hidden in remote areas, causing public oversight of the Metaverse's physical foundation and environmental impact. I propose decentralizing data centers, transforming existing buildings supplanted by Metaverse spaces into Metaverse data centers. Shannon Mattern noted no "physical" space could house such complex functions. Yet, by merging digital with physical realms, we redefine libraries as beacons of Taiwanese culture and education.

面對此問題，我將

使人們在元宇宙中自由展現自我，記錄過去。此建築將 世界重要性的紀念碑。 重塑圖書館在元宇宙時代的角色

多重現實

Shannon Mattern

在本次的畢業設計中，我想以川端康成的雪國作為文本， 來設計一棟住宅。透過文學這扇窗，來描繪一個家。「穿越那長長的隧道，便是雪國。夜幕底一片螢白。火 車在號誌站暫停。」 基地位於雪國一書的發想地，越後湯澤。在基地上最重 要的元素是水。

Home is the poetics of dwelling. In this graduation project, I intend to use "Snow Country" as the text, and portray a home through the window of literature.

The site is located in Echigo-Yuzawa. Water is the most significant element on the site. Water below 0 degrees Celsius is called snow, while water above 30 degrees Celsius is called hot springs. Between 0 and 30 degrees Celsius lies the poetic space depicted by Yasunari Kawabata, and it serves as the starting point for my residential design.

Through exploration of materials and in-depth study of details, I aim to create poetic spaces that can be perceived by the human body.

0

家，是棲居的詩學。

30 度之間，是川端康成筆下的詩意空間， 也是我此次住宅設計的起點。 利用現象學來捕捉文學的意象。透過對材料的探索，以 及細部大樣的研究，試圖在建築中創造可被人類身體感 知的詩意空間。 0

30 度以上的水叫 做溫泉。而

30 度之間 是川端康成筆下的詩意空間

0 度以下的水叫做雪，

The poetic of dwelling

的渴望。我希望在未來公民參與不再是空談，人們被置 於空間體驗的中心，更靠近民主的發展程序，監督政府 的 同時也讓民主意涵融入日常。

不僅是象徵台灣民主化的過程，更反映全民對自由

個都市裡「法」與「空間」的關係

議會的內部是代表者的空間

内部為了立法而存在

, 就從這裡開始。都 市作為民主發展的關鍵空間，街道、議會以外的公共領域，其實為民主意識的推動提供了更多的可能。實踐民主的途徑隨著時間推進越來越多元，陳抗行為有 可能是動態也可能是靜態。它可能是因為撐破壓力測試 的突發事件，也有機會是某些人在持續進行的日常。

The internal space of the legislature represents the realm of representatives, while the external space embodies those being represented. The purpose of the internal space is the creation of legislation, which is then applied to the external space. The relationship between "law" and "space" in a city begins here.

The legislature symbolizes Taiwan's democratization and echoes a collective desire for freedom. I aim for genuine citizen participation, placing people at the heart of spatial experiences, closer to democratic processes, strengthening government oversight, and integrating democratic values into daily life.

民主自由

／公共性／自明性

是外部選出來的 , 但是外部卻受到内部根本的影響。一

, 所立的法

, 外部則是被代表者的空間。

, 則應用到外部。内部