NCKU Arch 112
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。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。
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.
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
地表上撐起一片紅屋頂。 紅瓦，土的輾勻、水的塑形、火的淬鍊，一項項人與自 然的記憶，在時代的挑戰下正一點點的消逝在日常中， 技藝終止之後，留下來的古窯該以何種姿態存在。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 受到時代的挑戰，經濟、永續、環境等議題迫使磚瓦走 向末路，在這與基地有著密切關係的產業，我試圖透過 設計喚起人與土壤之間的關係，闡明人與自然與產業， 共生留下的文化價值。
土壤、地景、與建築
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.
這裡有一切設備與便利的機能讓任何都是可預期的。追逐被規劃的一切、時間、追逐功利導向的發展，成為來自台北的我與無數台北人早已習慣的日常。而在這日常持續發生的此刻，自然不可控的微小變動如 四季更迭、天晴雨時、花開花謝…正逐漸成為被文明摒 棄的背面。 我不反對都市發展，我想在生活於文明持續進步的必然 之下，提出都市、自然、人與文明的新想像，找回來自都市的賓客們被抹除的靈性與野性。
In Taipei, meticulous convenience pervades every corner. The city is equipped with every conceivable amenity, ensuring predictability in every aspect. The pursuit of meticulously planned schedules and utilitarian development has long become a norm for both myself and countless other residents of Taipei.
However, as this routine persists, the subtle and uncontrollable shifts in nature—such as the changing seasons, the alternation between sunny and rainy days, the blooming and withering of flowers—are increasingly being relegated to the background by civilization.
台北處處是無微不至的便利。
花現花…發現花！
作者／洪懷昀
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
人類在山上的建築行為可以反映當代對於山的態度，在 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。大崗山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， 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。
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.
作者／蘇 洛
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
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.
喚起丸山被遺忘的靈與故事
重返靈山
Return to the Spirit Mountain
作者／游邛希
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
為邏輯的基地 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，做為水體 性的指認。
巨大都市水體關係的邊界重構與揭露
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.
賴伯威
遺流之界
從緊貼山壁的公路連接到過往不可及的鐵路上方眺望山 海交界，再逐步接近海平面，直到踏在礫石和波浪間。藉著這段與環境交互產生五感體驗的潛望鏡，人們得以 重新認識後山。以山海間最直接的感官經驗，重塑花蓮 印象。
花蓮在過去因位於群嶽背側、發展較晚而被稱為「後山」， 也使觀光、交通等開發議題成了地方的原罪。如今說起「後山」，人們想到的不再是背靠的山巒和廣袤大海， 而是各種名產和遊憩活動，觀光的符號層層橫亙在人和 環境之間。 我想以身處山海間最直接的感官經驗取代符號，重塑人 們對花蓮的印象。 縱谷平原最北端的崇德，中央山脈和太平洋幾乎夾為一 線，交通和聚落軸線與之平行。我以一段路徑串聯這四條平行線，將花蓮的空間經驗濃縮在短短
Hualien, often referred to as "the backcountry" due to its late development and mountainous terrain, faced initial challenges in tourism and transportation.This has led to the proliferation of tourist symbols in various places.I aim to replace these symbols with direct sensory experience.
At Chongde, where the mountains nearly meet the Pacific Ocean, my aim is to create a 400-meter pathway connecting these parallel lines: from mountain roads to railways, descending to sea level to reach the shoreline and feel the pebbles and waves.
By walking in, people can rediscover "the backcountry".
方玟心
Walk into Hualien
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，或許田將承載及延續厝的痕跡
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."
Fields of Fortune
街頭的舞蹈，為了打破傳統、中心化的舞蹈環境， 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。
To break away from the traditional, centralized dance environment, street dance has gradually evolved into a ubiquitous new form of dance.
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.
作者／陳曉柔
都市街頭的場域重現
城市舞台街角舞影
City Stage
發展幾經起落、密集小街廓組成的西門商業區，文化活 動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、文化聚所 與綠地廣場等元素，形成觀測下一階段使用樣貌的實驗
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?
Thru 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.
場域。
西門町是一個裝不滿的房間
指導老師／吳光庭
徑疊之丘
「出自房子的房子」是一個從歷史自宅遺址誕生的當代 公共空間，從單一房屋元件的保存出發，討論如何賦予散落城市中的屋群遺址一種親近日常的使用。設計概念以城市中的家作為核心思考，將小住宅中的客 餐廳、廁所、陽台等空間精神擴展到城市中，透過一連 續漸變的水平面串聯古時的房子（既成遺址）和此時的 房子（擴增空間），在具有文化價值的古牆邊注入生活氣息，形成另一種古城體驗。
Born from the historic remains of a residence, "House by Houses" is a contemporary public space that aims to imbue scattered urban dwelling ruins with a sense of everyday utility, starting from the preservation of individual housing components.
The design concept revolves around the idea of the home in the city, extending the spatial essence of residential living rooms, dining areas, bathrooms, balconies, etc., from small houses to the urban context. Through a continuous and gradual horizontal surface, it connects ancient houses (existing ruins) with contemporary ones (addition spaces), injecting vitality into the culturally significant ancient walls and creating a different experience of the ancient city.
造城市中的屋，築屋子中的城
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
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.
相逢自是有緣。這裡必定有趣，有些事可做，
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。
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.
會。城市不再是來去匆匆 ， 人影相錯。這裡 ， 不再是冷
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
或帶入城市
西街中埕
街與埕 / 內聚與發散 / 功能引導形式 / 新型態摩天樓 / 新都市烏托邦
甚或是深刻交流
Not only Space but also Time
作者／張易夫
指導老師／陳玉霖
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單只包含
這些寄望。 我希望這些同樣存在於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空有品質而無生 機的都市計畫空間，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。
臺北都市生活片段連結
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.
鐵路地下化了，屬於城市內的邊界卻從未消失。從輕軌 開始，對於城市的認知從慢開始，意識到屬於高雄的界線、
空、巨大。 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，邊界卻從未消失，反而以空的狀態存在，它剝奪了對於城市「之間」的感知。都市中的空從來都不應該是被剩下的，藉由定義「空」的關係重新去討論何謂屬於高雄的城市狀態。
"Recreate the 'empty' relationship belonging to Kaohsiung."
The railway has been undergrounded, yet the boundaries within the city have never disappeared. Starting from the light rail, the perception of the city slowly begins, becoming aware of Kaohsiung's boundaries, emptiness, and enormity.
The void within urban areas should never be left behind. By redefining the relationship with 'emptiness,' we can explore what defines the urban condition belonging to Kaohsiung.
重新製造屬於高雄「空」
的關係。
復興自荷蘭殖民時代以來一直處於休眠狀態的蒂蒂巴潘 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 、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。 想像一下，將蒂蒂巴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。 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？
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.
的集合點蒂蒂巴潘
Titipapan Meeting Point
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？
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 史推移後的必然結果。 然而，自戒嚴時期的港市分離所形成的都市紋理，在海 港都市的休憩水岸更新之下，形成了都市人流紋理上的 裂縫。這個設計以對高雄港的這個觀察為出發，希望透 過水運動與活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，並希望藉由公定義活躍老化與水岸新灣區之間的對話。
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.
作者／謝侑呈
上個世紀中，中興新村由人口稀少的農耕聚落轉變成乘 載整個省政府人口的城市綜合體，以田園城市理論的規 劃思維所主宰，影響著全體居民的生活型態，省政府作 為當時人民精神中心與行政核心，機關與生活空間高度 結合，居民組成也都是服務於機關內的公務人員，形成 集中型的城市體，使得居民在這座城市當中都能夠適得 其所。
The garden city should be an urban machine built on the transportation system.
年的時間點，精省，導致這個城市載體不再 具有共同性目標，原先田園城市的規劃所衍生的問題也 因此逐漸揭露，居民於此處不再具有優勢或目的，人民 開始離開這座田園城市。 現在的中興新村是一個無人的田園城市，並且低密度的 住居型態依然存在於此地。這座田園城市將轉變成為城 市的補充體，而非立志成為自成一格的城市綜合體。鄰 近台中的地理位置，以及適宜的居住環境，顯示中興新 村能成為台中的補充。我認為中興新村所需要的是一個 大眾運輸系統和營造田園式生活空間，交通系統將作為
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 You will get convenience and improved quality of life here.
田園城市 / / 活動中心
Machine, Urban and Suburb 到站！
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.
年代，一條台海中線劃分了台灣海峽，台灣在一方， 而金門在另一方。與台相隔兩百里，與廈僅有四公里， 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，在關與關之間、出境與入 境之間，以橋所衍伸的 neutral zone
，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。
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. 1950
若即若離 無 過橋記 ；
To be Close yet Distant
作者／莊昱潔
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
「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，
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?
才能真正獲得自由（擺脫肉體的束縛）。
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.
"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).
在德文中有一個表達自殺的字「
死亡的自主權能否回歸自我？
自由之界
指導老師／古爵誌 Realm of Freedom
廢棄舊倉庫的再利用，與伊斯蘭教文化空間結 合，以此進行轉化與呈現。 我相信，創造流動的公共空間，為外籍移工與本地人提 供良性互動與雙向交流的場所，將成為這項議題發生變化的第一步，同時也是動力的來源。
Peace be upon you. This discusses the spiritual needs of Muslim migrant communities, particularly their longing for their homeland culture.
，願平安降臨於你。這是一個關於穆 斯林移工社群精神需求的討論，探討了對家鄉文化的思 念。或許我們曾缺乏足夠的理解來看待外國移工所面臨 的社會問題。以印尼籍移工為例，一般雇主往往不允許 穆斯林移工或幫傭在週五參加主麻禮拜，然而對於離鄉 背井的移工們而言，這卻是重要的社會與心理需求。透 過模糊邊界的手法，我們可以將日治時期下漢人的秩序
Often, we fail to understand the social challenges faced by foreign workers. For instance, Indonesian migrants are often denied the opportunity to attend Friday prayers, a crucial need for those far from home. By repurposing abandoned warehouses from the colonial era and integrating Islamic cultural spaces, we can address this.
Creating inclusive public spaces where migrants and locals can interact positively will be the catalyst for change.
次文化、歸屬感、融合性
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
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.
江子沛
The Garden Station
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
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.
指導老師／柳川肯
受壓迫者劇場與立法院
受壓者劇場
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.
指導老師／
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.
指導老師／
61
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，造成周遭經常淹水。 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，也不希望未來的澄清湖被巨大的水泥森林環抱。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，
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。
逐漸消失的小貝湖再次面對開發，自然與人為，結果會不一樣嗎？
Urban development is also changing the land.
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.
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、
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.
作者／黃筱筑
指導老師／吳光庭
再現水色
Recreate the Waterscape
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？
跋，指陸行，涉，指水行，出自《左傳·襄公二十八年》
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.
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.
常用于形容旅途的艱辛。但
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，河流周圍的區域不再適合其他物種生存。 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。
近曾文溪又稱青瞑蛇，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。
陸與溪的新邊界
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
Awe or Not
自古以來林邊即飽受水患之苦，人們便將希望寄託於神 明信仰，在鄉內最主要的兩座大廟為三山國王廟與媽祖 廟。特別的是，廟的坐向面向聚落，通常航海守護神應 該是面向海，但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。林邊溪上游到下游的治水措施及設備愈來愈 完善，淹水的邊界已漸漸遠離聚落，水從一種限制活動 及凌駕於人之上的狀態轉變成可以親近人體的淺水尺度， 以前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，以前技術尚未成 熟，人們只能將希望寄託於神明信仰，而現今技術進步 成熟，這些與水相關的循環以及巨大的堤防才是真正改 帶來新的公共性。
信仰隨著環境變遷而改變並且產生新的 公共性的可能
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.
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.
指導老師／
信仰位移
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，電影本身代表了藝術的那種比較
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
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
孤兒棄嬰
價值，而電影院本身的讓人跟電影產生距離，是現實跟 虛構的距離 這些孩童是否可以以電影院作為一個新的、生活的基地， 是我想討論的 育幼院 + 電影院
Orphaned infants,children and adolescents from economically disadvantaged families,children and adolescents who are abused or neglected,juvenile justice systeminvolved youth,children and adolescents subjected to sexual exploitation, These children are chosen by social workers and removed from their original families. They are gathered with a group of similarly unfortunate children and placed into childcare institutions for centralized care... In the cinema, external sounds are isolated,
Inside, dynamic films are played, each film with no fixed belief.
Can these children use the cinema as a new, life-sustaining base? That's what I want to discuss.
作者／徐家昱
電動化 能源政策積極發展潔凈綠能，環境保護意識使得交通設 施轉型，影響了人的移動方式，行動與使用行為產生改變。 過去，人類透過行走與周遭環境互動，但隨著快速道路 的建設，旅者失去停下來的理由，被導航控制在線性移 動中，而中繼點可以加強旅程的體驗與強化路途的異質南橫是台灣三條橫貫公路之一，人們能迅速在幾小時內 橫越高山至島的另一端。設計試圖以電動車導航所產生 的新節點及等待充電時間的過程擾動旅程，讓車與人的速率轉換，重新討論旅程真正的意義。
在逐漸來臨的移動時代，電動車會如何 移動與停止
In Taiwan, renewable energy targets 20% by 2025, with all new car sales to be fully electric by 2040. Green policies reshape transportation, altering mobility and behaviors.
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.
年臺灣再生能源應達到
年新售汽車全面
作者／林孟萱
藝術是甚麼？藝術有辦法與人親近嗎？即便在最混亂的狀態下，藝術還得以存活嗎？ 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，儘管民眾在與之接觸時無法理解，但這種狀態反 而讓人產生好奇心，藝術也得以不在短時間內消逝。如 何透過建築讓藝術發揮自主性，同時拉近與民眾的距離？ 在壯美尺度下創造親密性成為了這個項目的主題。基地位於雲林縣虎尾鎮，雲林目前缺乏美術館機能，我 期望以此機會來詮釋藝術與人的一種新關係。小鎮的開 發往往是不連續且破碎的，但日治時期的糖業開拓了整 個小鎮的發展，為虎尾鎮打下了基礎。基地周圍的四座 古蹟有種秘境感，與混雜密集的鎮上街道有種鮮明的對 比；在此，日治時期的土間再度重現，建築成為了一張 大椅子，配合懸吊結構向兩向度開放，美術館將在街道 主性。
What is art? Is there a way for art to get close to people? Can art survive even in the most chaotic conditions?
The emergence of art has a sublime atmosphere, a feeling of wanting to draw a clear line from the secular world. Although the public is in a state of incomprehension when they first come into contact with it, this state makes people curious and the art can be absent. It disappears in a short time but can last forever. Beauty is produced in this sense of distance. How can art be allowed to exercise its autonomy through architecture and at the same time be closer to the public? Creating intimacy on a sublime scale became the main theme of this project.
余承蔚
虎尾美術館
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
新北板橋區公所
土城區清潔隊停車場
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
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。我想在個人與公眾、看守所的戒護單位之於看守所、看 守所之於城市找尋更為人道的空間。從舍房、監禁區劃、 巡邏道、看守所、城市之間找尋更為舒適、同時降低警 戒壓力的介面。 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？
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.
指導老師／張鶴齡
集地相守
Land Braid for Defendant
當數位與物理空間無需再區分時，圖書館的定位應為何？
何謂真實？ 隨著元宇宙科技的快速發展，資料中心去中心化，資訊 載體轉變，而圖書館的角色與功能也將隨之轉變，以適 應新時代的需求。 圖書館的發展歷程與數位網路的演進相似：從資訊存儲 空間到資訊交換中心，最終成為社區活動與創作分享的 平台。國家圖書館作為台灣的文化教育引領者，擁有重 要的社會地位，代表著社會平等和文教的領導力量。在元宇宙時代，圖書館的角色將不斷演化，從引導公眾 適應數位空間的教育機構，到支持元宇宙研究的中心， 最終成為物理世界的庇護所，重新定義「真實」與「虛擬」 的關係。
When the distinction between digital and physical spaces blurs, what defines reality?
With the rapid development of metaverse technology and decentralized data centers, libraries must adapt. The National Library, a leading cultural institution in Taiwan, will evolve from guiding the public into digital spaces to supporting metaverse research and ultimately become a sanctuary of the physical world, redefining the relationship between "reality" and "virtuality."
作者／張偉平
多重現實
元宇宙 圖書館 ?
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.
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。 0 度以下的水叫做雪，
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.
作者／吳孟軒
30 度以上的水叫 做溫泉。而
是川端康成筆下的詩意空間
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
指導老師／黃聖鈞
30 度之間
The Poetic of Dwelling
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 個都市裡「法」與「空間」的關係 , 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。立院不僅是象徵台灣民主化的過程，更反映全民對自由 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。
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.
作者／林文馨
議會的內部是代表者的空間 , 外部則是被代表者的空間。
内部為了立法而存在 , 所立的法 , 則應用到外部。内部
Harmony in Diversity : A Public New Order
