YU, SZU-AN PORTFOLIO 2006-2011
{ architecture design }
[ SENSATION.RAR ] Unzip: Sensation.rar, by slowing down the speed -THESIS PROJECT in fourth year of university / Jun. 2009 SLOW MOVE I found that when I was moving in the city as usual; I was on a bus, going to the next destination. Slow and tortuous movements extended the time and the route of getting along with the city.
Before you can tell what that store around the corner is, you have
CONNECTED SPACE
already missed it. It is because you’ re moving too fast.
It is opposite to underground-traffic;
Before you figure out the story of weeping girl in the novel that you
the spaces could be connected rather than cut off and closed:
are reading, you are halfway off your seat to get off the bus. It is
inside/outside, near/distant.
because you’ re moving too fast.
It is easy to connect with the spaces of a city by sight.
You wish to gain a few more minutes to think through all the things that happened today, but the bus has arrived at your stop. Someday you may like to spend thirty more minutes to go home, on a slow bus.
SPEED Sometimes, the city is too fast for me to know it’s face;
MESSAGES
except the tenseness of people.
Lots of interesting things are happening everyday; the cities, streets, and people, they all have stories. And It is one if the best ways to observe them.
MOVING/READING We are reading the city through the window of the vehicles while moving. People --> moving mode (first layer of space) --> city (second layer of space) With different moving mode there will be different interpretation.
EXCHANGE SENSORY-MOTORS
Exchange is the transition between the
EXTERNAL
closed space and the space outside. The
External is the milieu outside ourselves.
sound and smell outside will spread into
With our sensory-motor schema we
Internal state refers to one’s own
the
the
could capture information from external
state of mind or thinking activities.
temperature and air flow in the car will
events: listening the dialogue between
For example, a further idea about an
be affected also.
the passengers next to you, seeing a
event happened today, or thought of
At this time, the inner space and the
new office building on the street ,
outside space will be linked and weaken
identifying one’s profile from the dress,
the sense of closure to allow the external
or presuming the rush hour by the
PERCEPTION The sensation as the media connect people and the first
Take the moving mode of the bus as an example:
layer of surrounding space, people explore and
Taking bus constrains people’s behavior from walking or moving to still sitting or
experience the space through their sensory-motor, with
standing position. Students or commuters in the bus are detached from their original
different
task. They can do very little in this space for waiting until the bus arrive at their
perception, while different moving mode through will
destination, and tend to slow down their pace.
affect the reading process of the city.
interpretation
generated
by
different
INTERNAL
something
which
was
ignored
before.
At this moment the sensory-motors of people become the vantage point with more
bus
when
door
opens,
thinking, hearing or seeing more the ignored things of the surrounding environment.
People --> perception --> space
Because of the limit of the action, we
information to be passed. And when the
density of people on the bus.
People have more awareness of environment.
Especially the speed of physical or mental, high speed
could concentrate more on thinking
door closes, the link is cut off and the
The building, people and weather are all
Among these relationships, I categorize they into three states: internal, exchange, and
could weaken the sensibility, otherwise, low speed could
or imagining and put ourselves into
space turns closed after a series of
embedded with message for our
external state.
increase it.
the state of self-reflection.
interchanges of the information.
perceptions to interpretate.
Internal Compression, closed, cohesive.
External Possibility of a variety of activity, message passing.
DETACHED / RE-STRUCTURE In this high speed and high volume traffic flow, the site is on the traffic island area which is detached from high speed surroundings. In this context with slow paced space, three states of internal, exchange, and external are infilled into the site and re-structure the urban spaces through the interaction of perceptions.
Exchange Linked, conditionally changing.
C
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d. Blv
-
d. ay W c Blv h i g v Hi Ci
SITE
http://ngmchina.com.cn/web/?action-viewnews-itemid-168884
Taipei’s first east-west elevated expressway is the most important traffic line, shadowing a street used to be railway, now buried underneath. It intersects with the other major roads and overpass seven administrative districts.
- Taipei, Taiwan
[ CYCLE: The Decline and Rebirth ] Cinemetrics International Workshop in Hong Kong 2009 - CINEMETRICS PROJECT / Mar. 2009
What role does the Central Market play at the bottom of Central-Mid-Levels Escalator and Walkway System in 21st century?
From the history of development in this site, it can be
directors who has different styles: Yasujiro Ozu, Jean Luc
divided into three period: 1939, the central market was
Godard, and John Cassavetes. The still camera frames Ozu’s
built; 1991, the Hang Sheng Bank appeared and 2003,
cinema are just like architectural drawings. Directions of
IFC came out. Now there are two elevated walkways
camera are perpendicular to each other. And these still camera
between the three buildings, which were established in
frames creating images are similar to making elevations or
different generations.
” ”
function of Central Market was redefined again by the 00
’13
new activities. In the past, there is as a market to sell vegetables and daily things. But nowadays, it doesn’t
00
00
’0
5”
focus on someone’s face or particular objects to reveal the
00 ’54
”
00 ’53
”
00
’51
”
00
’32
”
00
’2
9”
00
’0
8”
emotions or specific meanings.
39
19
From the expanding new areas and the alteration of development focus in history, to the decline of Central Market and rebirth given by new activities, it shows an interesting phenomenon
Central Market Hang Seng Bank New Headquarters Building
Hang Seng Bank New Headquarters Building
1939
DECLINE
19 91
Ineternational Finance Centre
1991
/
among them. Especially comparing to the cycle of people’s gathering and passing on weekend and weekdays, it shapes an overlap and a feedback.
2003
REBIRTH
NO ACTIVITY
weekday
OCCUPIED
weekend
This project is to try to make a film using Ozu’s camera style and describe the characteristics of the space under the background given by above.
59 00 ’
OVERLAP and FEEDBACK Central Market
”
Ineternational Finance Centre
00’5
00’51” 00’53 00’54””
00’29”
00’32”
00’23”
00’26”
00’17 00’18””
6”
’2
human or objects clearly. Refer to affection images, it usually
’0 3”
and space. Action images are going to show the behavior of
00
make the space in this area more vivid and dramatic.
”
in Central Market and change its original function. They
images, we can realize the relation between people, objects,
’23
and beggars. Thus their activities create the new space
distance)”, and “affection images (close up)”. In perception
00
gathering on weekend even street performers, homeless
“perception images (long distance)”, “action images (medium
00’13”
can discover that there are many imported laborers
In addition to the styles of moving camera, we also practice
00’08”
open any more since its decline. From the photos, we 00’03” 00’05”
humans’ sight.
’17
skill. This makes the images more active, unstable, and close to
Due to the emergence of new elevated walkway, the
00
the third director, Cassavetes, was using hand-held camera
”
extended; and it follows the actions of people or events. And
’18
panning and tilting way. Through those techniques, the view is
00
sections in architectural skills. As to Jean Luc Godard, he used
’57
DEVELOPMENT / REDEFINED SPACE
In Cinemetrics International Workshop, we discussed the three
00
CINEMETRICS
”
How about the function of Central Market and walkways nowadays?
03 20
[Liquid Perception of Governor’s Residence] Resident Artists Program in Governor’s Residence in Tainan County - COMPETITION PROJECT / NOV. 2010 / cooperation work
Through this installation inspired from the thought of water, we expressed the concern of the relations between liquid perception, urban space, and daily life. And the images taken from the surrounding of Governor’ s Residence in Tainan County reflected the interactions between people and the spaces. We tried to provide a new aspect to understand the place where we were.
Because of the extremely change of climate in recent years, the liquid perception of Taiwan becomes different with the collapse of the mighty nature. We want to make a series of experimental images and space-arts about the interpretation of liquid and reflect on the new perception and the possibilities of design by the relationship between body and different view level. We capture a variety of images and films about the liquid perception of Taiwan from the surroundings, such as the real urban space, the images of the city, the history of the city, and the changing information to represent the liquid perception. In this project, we use a new observing way to take the images of Tainan, the ancient governor’s resident, and its surroundings to present the relationship between the history and people’s lives.
{ graphic design }
{ photography }
{ painting }
[REC – RECord, REConstruct, RECode ] Aug. 2011 594mm x 840mm, 184mm x 112mm
/RECord, REConstruct, RECode
The irregular polyhedron represents the aggregate artists, who all create and take REC as a topic but in different ways. The pointy part of this polyhedron is just like a pen which is writing/record and also a needle which is reading/reconstruct. There is an inverted image of the polyhedron; it means people will have reflections when they received the messages from our creations, and that is recode.
[REC – RECord, REConstruct, RECod ] Aug.2011 594mm x 420mm Memories of that moment will be retained; but when you see them, you will create a new one.
Ȟձ!!!!!!!!!!!!!!!!!!!!!!!ณࡣ!!౪ӵձζӵ!!!!!!!!٥၇!!Ο!!ȟ
/there
you are
///////////////////////////////////// photograph + graphic /
sian.yu
01 дࡦϡ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ ͬ &ƌĞĞůĂŶĐĞ ĚĞƐŝŐŶĞ
ĚƵĐĂƟŽŶ͗ EĂƟŽŶĂů <ĂŽŚƐŝƵŶŐ hŶŝǀĞƌƐŝƚLJ ŽĨ ƉƉůŝĞĚ ^ĐŝĞŶĐĞƐ ĚĞƉĂƌƚŵĞŶƚ ŽĨ ĐƵůƚƵƌĂů ĂĐƟǀŝƟĞƐ ĚĞǀĞůŽƉŵĞŶƚ ǁĂƌĚ͗ EŽŵŝŶĂƚĞĚ ĨŽƌ 'ƵŝĚĞůŝŶĞƐ ĨŽƌ ƚŚĞtŽǁ͊ ĞLJĞ dĂŝǁĂŶ sŝĚĞŽ ŽŶƚĞƐƚ ͬŵƵƐŝĐ ǀŝĚĞŽ ͬϮϬϬϴ͕ EŽŵŝŶĂƚĞĚ ĨŽƌ ϰ ĐƌĞĂƟǀĞ ǁĂƌĚͬ ƐƚƵĚĞŶƚ ds ŽŵŵĞƌĐŝĂů ͬϮϬϬϵ͕ ^ƚƵŶŶŝŶŐ ƉĞƌĨŽƌŵĂŶĐĞƐͬ dŝŵĞƐĂǁĂƌĚƐ 'ƌĂƉŚŝĐ ĂŶĚ ĚǀĞƌƟƐŝŶŐ ĞƐŝŐŶ ǁĂƌĚ ͬ ƐƚƵĚĞŶƚ ds ŽŵŵĞƌĐŝĂů ͬϮϬϬϵ͕ ^ƵƉĞƌŝŽƌ ͬ dŝŵĞƐĂǁĂƌĚƐ 'ƌĂƉŚŝĐ ĂŶĚ ĚǀĞƌƟƐŝŶŐ ĞƐŝŐŶ ǁĂƌĚͬ ĚǀĞƌƟƐĞŵĞŶƚ ͬϮϬϬϵ hŶŝǀĞƌƐŝƚLJ ĮŶĂů ƉƌŽũĞĐƚȈ ĨĞŵĂůĞ ĚŽĐƵŵĞŶƚĂƌLJ Įůŵͬ ĞůĞƉŚĂŶƚ ͬϮϬϭϬ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ <ŝĚnj ƚ dŚĞ ŝƐĐŽ Ͳ ŐƌĂƉŚŝĐ ĚĞƐŝŐŶĞƌ ,ĂŶĚŵĂĚĞ ĮůŵŵĂŬŝŶŐ ĐŽŵƉĂŶLJ ʹĂƐƐŝƐƚĂŶƚ ƉƌŽĚƵĐĞƌ
02 Ҡᑗ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ ͬ WŚŽƚŽŐƌĂƉŚĞƌ
/there
ĚƵĐĂƟŽŶ͗ Edh ͕ 'ƌĂƉŚŝĐ ŽŵŵƵŶŝĐĂƟŽŶ ƌƚƐ͕ dĂŝƉĞŝ
you are
/////////////////////////////////////
tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ ƐƐŝƐƚĂŶƚ͕ &ŝůĞƐ ĞƐŝŐŶ 'ƌŽƵƉͬ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ Θ ŽͲKǁŶĞƌ͕ <ŝĚnj ƚ dŚĞ ŝƐĐŽͬ WĂĐŬĂŐĞ ĞƐŝŐŶĞƌ͕ ,Žďͬ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ͕ W, Ed ŝ
sian.yu/REC
ǁĂƌĚ͗ DĂƐƚĞƌƉŝĞĐĞ͕ WŚŽƚŽŐƌĂƉŚ /ŵĂŐĞƐ KĨ tŽŵĞŶ tŽƌŬĞƌƐ ƐƐŽĐŝĂƟŽŶ͕ ϮϬϬϵ͕ ^ƵƉĞƌŝŽƌ͕ WŚŽƚŽ ŽŵƉĞƟƟŽŶ >ŽŵŽ DĂƌŬĞƚ͕ ϮϬϬϴ
03 ؇ᅞಹ ^ĐƵůƉƚŽƌ ͬ DĞƚĂů Θ :ĞǁĞůƌLJ ĞƐŝŐŶĞƌ
tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ ĞƐŝŐŶĞƌ͕ E <h ƌĐŚŝƚĞĐƚƵƌĞ KĸĐĞͬ dĞĂĐŚŝŶŐ ƐƐŝƐƚĂŶƚ͕ E <h ƌĐŚŝƚĞĐƚƵƌĞ KĸĐĞͬ /ŶƚĞƌŶ͕ ^ŚĞŶŐ zƵĂŶ ,ƵĂŶŐ ƌĐŚŝƚĞĐƚƐ н &ŝĞůĚ KĸĐĞ
ǁĂƌĚ͗ EŝĐŚĞ ǁĂƌĚ &ŝŶĂů >ŝƐƚ ;KƵƚ KĨ ϴϬϬ ŽŶƚĞƐƚĂŶƚƐͿ͕ ϮϬϭϬ Ͳ ϮϬϭϭͬ DĞĞŚͲzĂŶŐ &ŝƐŚŬŝŶ ^ĐŚŽůĂƌƐŚŝƉ ŝŶ DĞƚĂů͕ ϮϬϬϵͬ DĂdž 'ĂƚŽǀ ǁĂƌĚ͕ ϮϬϬϴ
04 ֔ϛҁ ƌƟƐƚ ͬ WŚŽƚŽŐƌĂƉŚĞƌ
džŚŝďŝƟŽŶ͗ ZĞƐŝĚĞŶƚ ƌƟƐƚƐ WƌŽŐƌĂŵ͕ dĂŝŶĂŶ͕ ϮϬϭϬͬ WŽƐƚ ĂďĞů͕ ,ƵĂƐŚĂŶ ϭϵϭϰ͕ dĂŝƉĞŝ͕ ϮϬϬϵ
07 ങԡ &ŝůŵŵĂŬĞƌ ͬ WŚŽƚŽŐƌĂƉŚĞƌ ͬ ƌƟƐƚ ͬ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌ
ĚƵĐĂƟŽŶ͗ hŶŝǀĞƌƐŝƚLJ KĨ ƵŵďƌŝĂ͕ &ŝŶĞ ƌƚ͕ ĂƌůŝƐůĞ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ ŝƌĞĐƚŽƌ͕ ĂĚŐĞƌ ĂĚŐĞƌ 'ĂůůĞƌLJͬ WŚŽƚŽŐƌĂƉŚĞƌ͕ dĂŝƉĞŝ ZĞƉƌĞƐĞŶƚĂƟǀĞ KĸĐĞ /Ŷ dŚĞ h<͕ ĚŝŶďƵƌŐŚ KĸĐĞ džŚŝďŝƟŽŶ͗ ŝ͘ƚ͘dĂŝǁĂŶ Θ ƌĂnjŝů džŚŝďŝƚ džĐŚĂŶŐĞ KĨ zŽƵŶŐ ƌƟƐƚƐ͕ dĂŝƉĞŝ͕ ϮϬϭϭͬ 'ĞŝƐĂŝ dĂŝǁĂŶ ηϮ͕ dĂŝƉĞŝ͕ ϮϬϭϬͬ ĂŶͲ ŽŚ &KZDK^ ͕ tĞƐƚŵŝŶƐƚĞƌ ĐĂĚĞŵLJ͕ >ŽŶĚŽŶ͕ ϮϬϭϬͬ ĂŶͲ ŽŚ &KZDK^ ͕ ĂŶĚŝĚ 'ĂůůĞƌLJ͕ >ŽŶĚŽŶ͕ ϮϬϭϬͬ 'ĞŝƐĂŝ dĂŝǁĂŶ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ ƌƚ ŵƉĞƌŽƌ zŽƵŶŐ ƌƟƐƚƐ &ĞƐƟǀĂů͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ ĂƌůŝƐůĞ ƌƚ &ĞƐƟǀĂů͕ ĂŶŬ 'ĂůůĞƌLJ͕ ĂƌůŝƐůĞ͕ ϮϬϬϵͬ ĞŐƌĞĞ ^ŚŽǁ͗ dŚŝƐ ^ŝĚĞ KĨ ^ŽŵĞǁŚĞƌĞ͕ ĂƌůŝƐůĞ͕ ϮϬϬϵ
05 ܈ݓཏ &ĂƐŚŝŽŶ ĞƐŝŐŶĞƌ ͬ &ĂƐŚŝŽŶ ^ƚLJůŝƐƚ ĚƵĐĂƟŽŶ͗ ^ h͕ &ĂƐŚŝŽŶ ĞƐŝŐŶ͕ dĂŝƉĞŝ &/ D͕ &ĂƐŚŝŽŶ ĞƐŝŐŶ 'ƌĂĚƵĂƚĞ͕ > tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ ^ĂůĞƐ ^ƚLJůŝƐƚ͕ ĂŶĂŶĂ ZĞƉƵďůŝĐͬ ŽͲKǁŶĞƌ͕ <ŝĚnj ƚ dŚĞ ŝƐĐŽ
ĚƵĐĂƟŽŶ͗ NCKU, Architecture, Tainan tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ sŝŽůĂ͕ dŚĞ ŚŝĂLJŝ ŝǀŝů KƌĐŚĞƐƚƌĂͬ WŝĂŶŽ͕ dŚĞ ŚŝĂLJŝ ŝǀŝů ŚŽŝƌͬ sŝŽůĂ͕ EĂƟŽŶĂů dĂŝǁĂŶ hŶŝǀĞƌƐŝƚLJ ^LJŵƉŚŽŶLJ KƌĐŚĞƐƚƌĂͬ ĞƐŝŐŶĞƌ͕ ^ 'ƌŽƵƉ
ĚƵĐĂƟŽŶ͗ D h͕ ŽŵŵĞƌĐŝĂů ĞƐŝŐŶ͕ dĂŽLJƵĂŶ : h͕ ŽŵƉƵƚĞƌ ŝĚĞĚ DĞĚŝĂ ĞƐŝŐŶ͕ dĂŝŶĂŶ
tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ WŚŽƚŽŐƌĂƉŚĞƌ͕ ^ŽŌ >ŝƉĂ dž :ĂďďĞƌůŽŽƉ >ŝǀĞ /Ŷ >ĞŐĂĐLJ dĂŝƉĞŝͬ WĂŝŶƚĞƌ͕ DƵƌĂů KĨ ĞĞ Θ <Ƶ͛Ɛ <ŝƚĐŚĞŶͬ WĂŝŶƚĞƌ͕ DƵƌĂů KĨ ŽīĞĞ /ŶŶͬ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌ͕ WƌŽũĞĐƚ KĨ ZŽLJĂů DŽĚĞ ůŽƚŚŝŶŐ ^ƚŽƌĞͬ /ŶƚĞƌŶ͕ ͘ŵŽƌĞ ^ƚƵĚŝŽ
tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ /ŶƚĞƌĂĐƟǀĞ ƌƟƐƚ͕ dĂŝƉĞŝ ŽƵŶƚLJ dƵƌŶŝŶŐ Kī >ŝŐŚƚƐ ĨŽƌ ŶǀŝƌŽŶŵĞŶƚĂů WƌŽƚĞĐƟŽŶͬ /ŶƚĞƌĂĐƟǀĞ ƌƟƐƚ͕ dĂŝƉĞŝ ŽƵŶƚLJ ^ƚĂƌƌLJ ^ŬLJ &ŝůŵ &ĞƐƟǀĂůͬ dĂŝǁĂŶ ŶŝŵĂƟŽŶ ůůŝĂŶĐĞ /^ ĞƐŝŐŶͬ dĂŝǁĂŶ ůĞĐƟŽŶ ĂŵƉĂŝŐŶ ĚǀĞƌƟƐŝŶŐ KĨ KŶůŝŶĞ ŽŵŵĞƌĐŝĂůͬ ŵƐYƵĞĞŶĂ ŽƐŵĞƟĐƐ / ĞƐŝŐŶ ŶĚ tĞď ĞƐŝŐŶ
ങᆰප WƌŽĚƵĐƚ ĞƐŝŐŶĞƌ ͬ &ƌĞĞůĂŶĐĞ ĞƐŝŐŶĞƌ ͬ ^ƉĂƟĂů /ŶƚĞƌĂĐƟŽŶ ĞƐŝŐŶĞƌ ĚƵĐĂƟŽŶ͗ Edh^d͕ /ŶĚƵƐƚƌŝĂů ĞƐŝŐŶ͕ dĂŝƉĞŝ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ WĂŝŶƚĞƌ͕ WĂŝŶƟŶŐ WƌŽũĞĐƚ dž ŝŐ ^ŝnjĞ džŚŝďŝƟŽŶ͗ ŝƚLJ zĞĂƐƚ ƌĞĂƟǀĞ dƌĂŶƐĨŽƌŵĂƟŽŶ͕ 'ŽŶŐ 'ƵĂŶ ^ŚŽƉƉŝŶŐ ŝƐƚƌŝĐƚ͕ ϮϬϭϬͬ ƌĞĂŵ 'ĞŶĞƌĂƟŽŶ WƌŽũĞĐƚ͕ ^ĂŵƉůĞ ,ŽƵƐĞ͕ dĂŝŶĂŶ͕ ϮϬϬϵ
09 ৠ⨍ /ůůƵƐƚƌĂƚŽƌ ͬ ƌƟƐƚ ͬ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ ͬ dŽLJ ĞƐŝŐŶĞƌ ĚƵĐĂƟŽŶ͗ ^s ͕ 'ƌĂƉŚŝĐ ĞƐŝŐŶ͕ Ez tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ &ƌĞĞůĂŶĐĞ ĞƐŝŐŶĞƌ͕ WŚĂůĂŶdž ^ƚƵĚŝŽͬ /ŶƚĞƌŶ͕ K͘K͘W͘^͘ KĸĐĞ KĨ WĂƵů ^ĂŚƌĞͬ /ŶƚĞƌŶ͕ ZƵŶŶĞƌ ŽůůĞĐƟǀĞͬ ĞƐŝŐŶĞƌ͕ ŽŝŶ ŽŝŶ ƵŶŶLJ ƵŶ džŚŝďŝƟŽŶ͗ ϮϬϭϬ <ĂŽƐŚƵŶŐ ĞƐŝŐŶ &ĞƐƟǀĂů͕ <ĂŽƐŚƵŶŐ͕ ϮϬϭϬͬ ϮϬϭϬ ^s ͬ' ĞƉĂƌƚŵĞŶƚ ^ƉƌŝŶŐ džŚŝďŝƟŽŶΛ ͕ Ez͕ ϮϬϭϬͬ ŶũŽLJ ZŽĚLJ͊͊ džŚŝďŝƟŽŶ ŝŶ dĂŝǁĂŶ͕ dĂŝƉĞŝ͕ ϮϬϭϬͬ tZ dŽŽůƐ &Žƌ >ŝǀŝŶŐ ϮϬϭϬ ^ƉƌŝŶŐ tŝŶĚŽǁ͕ ^Ž,Ž͕ Ez͕ ϮϬϭϬͬ ϭϴ ŽƉƉĞƌ DĞŶ͕ ŽůůĂďŽƌĂƟŽŶ tŝƚŚ WŝnjnjĂ Ƶƚ &ŝǀĞ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ dĂŝƉĞŝ dŽLJ &ĞƐƟǀĂů͕ dĂŝƉĞŝ͕ ϮϬϬϲ Ͳ ϮϬϬϵͬ ^ŝŶŐĂƉŽƌĞ ĞƐŝŐŶ &ĞƐƟǀĂů͕ ^ŝŶŐĂƉŽƌĞ͕ ϮϬϬϳͬ ,< ƐŝĂ dŽLJƐ džƉŽ͕ ,ŽŶŐ <ŽŶŐ͕ ϮϬϬϲ ǁĂƌĚ͗ 'ŽůĚ ǁĂƌĚ͕ ϮŶĚ ĞƐŝŐŶĞƌ dŽLJ ŚĂƌĂĐƚĞƌ ĞƐŝŐŶ ŽŶƚĞƐƚ͕ ϮϬϬϲͬ ^ƵƉĞƌŝŽƌ͕ ϯƌĚ Ͳ ϰƚŚ ĞƐŝŐŶĞƌ dŽLJ ŚĂƌĂĐƚĞƌ ĞƐŝŐŶ ŽŶƚĞƐƚ͕ ϮϬϬϳ Ͳ ϮϬϬϴͬ ^ƵƉĞƌŝŽƌ͕ ĞƩĞƌ dŽŵŽƌƌŽǁ ĞƐŝŐŶ ŽŶƚĞƐƚ ďLJ ŽĐĂ ŽůĂ dž dƌĞdžŝ dŽLJƐ͕ ϮϬϬϳ
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džŚŝďŝƟŽŶ͗ 'ƌĂĚƵĂƟŽŶ džŚŝďŝƟŽŶ ŽĨ ŽŵŵĞƌĐŝĂů ĞƐŝŐŶ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ tŽƌůĚ sŝƐŝŽŶ ŚŝůĚ WƌŽƚĞĐƟŽŶ ĚǀŽĐĂĐLJ͕ dĂŝƉĞŝ͕ ϮϬϬϴ ǁĂƌĚ͗ ϭƐƚ͕ zŽƵŶŐ dŝŵĞƐ ǁĂƌĚƐ ŽŵŵĞƌĐŝĂů 'ƌĂƉŚŝĐƐ͕ ϮϬϬϴ Ͳ ϮϬϬϵͬ 'ƌĂĚƵĂƚĞĚ ϭƐƚ ^ĐŚŽŽů KĨ ĞƐŝŐŶ͕ ϮϬϬϵͬ DĂƚĞƌƉŝĞĐĞ͕ &ƌĞĞůĂŶĐĞ ŽŵŵĞƌĐŝĂů /ŶŶŽǀĂƟŽŶ ǁĂƌĚ ĨŽƌ ĞƐƚ ŽŵŵĞƌĐŝĂů 'ƌĂƉŚŝĐƐ͕ ϮϬϬϴͬ DĂƚĞƌƉŝĞĐĞ͕ /ŶĨŽƌŵĂƟŽŶ dĞĐŚŶŽůŽŐLJ DŽŶƚŚ WŽƐƚĞƌ ŽŵƉĞƟƟŽŶ͕ 2008
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sian.yu
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12 ቓؘࣴ WŚŽƚŽŐƌĂƉŚĞƌ ͬ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌ
džŚŝďŝƟŽŶ͗ Ϯϭ dž Ϯϭ ƌŽƐƐŽǀĞƌ͕ ƐůŝƚĞ yŝŶLJŝ ŽŽŬ ^ƚŽƌĞ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ /ŶƚĞƌĂĐƟǀĞ ĞƐŝŐŶ KĨ <ŝĚ ^ƉĂĐĞ͕ z h͕ dĂŽLJƵĂŶ͕ ϮϬϬϲͬ Ăŵ /ŶƐƚĂůůĂƟŽŶ ƌƚ͕ z h͕ dĂŽLJƵĂŶ͕ ϮϬϬϱ
13 ᙢထ Photographer / Director
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ĚƵĐĂƟŽŶ͗ z h͕ /ŶƚĞƌŝŽƌ ĞƐŝŐŶ͕ dĂŽLJƵĂŶ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ &ƌĞĞůĂŶĐĞ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌͬ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌ͕ dŝĞŶƐ ^ƚƵĚŝŽ /ŶƚĞƌŝŽƌ Design
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džŚŝďŝƟŽŶ͗ d D hŶĞdžƉĞĐƚĞĚ ŽǀĞƌ ^ŚŽǁ͕ dĂŝƉĞŝ͕ ϮϬϬϳͬ ŚĞǁ Ăůů ;ϵϱͿ͕ d Center, Taichung, 2006
11 ྆ߎొ 'ƌĂƉŚŝĐ Θ ŶŝŵĂƟŽŶ ĞƐŝŐŶĞƌ ͬ &ĂƐŚŝŽŶ ĞƐŝŐŶĞƌ
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ĚƵĐĂƟŽŶ͗ NCKU, Architecture, Tainan
܆ဎၯΙࢲ
06 ࠀࡦԊ WŚŽƚŽŐƌĂƉŚĞƌ ͬ ŶǀŝƌŽŶŵĞŶƚĂů ĞƐŝŐŶĞƌ ͬ ƌƟƐƚ
džŚŝďŝƟŽŶ͗ EŝĐŚĞ ǁĂƌĚ &ŝŶĂů >ŝƐƚ͕ WĞŶŶƐLJůǀĂŶŝĂ ŽŶǀĞŶƟŽŶ ĞŶƚĞƌ͕ W,/͕ ϮϬϭϬ Ͳ ϮϬϭϭͬ DĞƚĂů DĞƚĂů ^ŚŽǁ͕ tĞƌďLJ 'ĂůůĞƌLJ͕ >ŽŶŐ ĞĂĐŚ͕ ϮϬϭϬͬ ^ƚƵĚĞŶƚ ^ŚŽǁ͕ zƵŵĂ &ŝŶĞ ƌƚƐ͕ zƵŵĂ͕ ϮϬϭϬͬ ^ŝĚĞ LJ ^ŝĚĞ͕ Ƶƚnjŝ 'ĂůůĞƌLJ͕ >ŽŶŐ ĞĂĐŚ͕ ϮϬϬϵͬ
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tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ &ĂďƌŝĐĂƚĞ ƵƐƚŽŵ :ĞǁĞůƌLJ &Žƌ dŚĞ /<K /<K ŽƵƟƋƵĞͬ dĞĐŚŶŝĐŝĂŶ͕ DĞƚĂů >Ăďͬ WĞƌƐŽŶĂů ƐƐŝƐƚĂŶƚ͕ <ĞůůLJ ELJĞ ^ƚƵĚŝŽ
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ĚƵĐĂƟŽŶ͗ ^h> ͕ DĞƚĂů ŶĚ :ĞǁĞůƌLJ ĞƐŝŐŶ͕ >ŽŶŐ ĞĂĐŚ
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sian.yu
opening. 8/6, 14:00 period. 8/6-10/1, 2011 ƟŵĞ͘ ϭϰ͗ϬϬͲϮϬ͗ϬϬ
venue. ѮࠒѿஶၯΙࢲ351ဴ
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Bach / Prelude and Fugue No.18 g# minor, BWV 887 Beethoven / Piano Sonata No.27, Op.90 : First & Second movements Liszt / Rhapsody no.15 Rakoczy March Debussy / suite pour le piano :Toccata Witold Lutoslawski / Bukolische Weisen Chopin / ƚƵĚĞƐ KƉ͘ ϭϬ EŽ͘ ϵ Θ KƉ͘ Ϯϱ͕ EŽ͘ ϵ Η ƵƩĞƌŇLJΗ
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free entry !
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ㅯ儸彾ᾏ㵄
ⓦ朏彾
嬎朏彾ᾏ㵄
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ⓦ姦
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⇴う彾
time 12/19 Mon 19:30 venue REC ᏄᝨᏕ᪠ᬌዯ᠈351ᾊ artist
ᔔᓭ Musician / Freelance Illustrator NCKU, Architecture, Tainan Working Experience: Viola, The Chiayi Civil Orchestra/ Piano, The Chiayi Civil Choir/ sŝŽůĂ͕ EĂƟŽŶĂů dĂŝǁĂŶ hŶŝǀĞƌƐŝƚLJ ^LJŵƉŚŽŶLJ KƌĐŚĞƐƚƌĂͬ ĞƐŝŐŶĞƌ͕ ^ 'ƌŽƵƉ džŚŝďŝƟŽŶ͗ d D hŶĞdžƉĞĐƚĞĚ ŽǀĞƌ ^ŚŽǁ͕ dĂŝƉĞŝ͕ ϮϬϬϳͬ ŚĞǁ Ăůů ;ϵϱͿ͕ d ĞŶƚĞƌ͕ dĂŝĐŚƵŶŐ͕ ϮϬϬϲ
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/ Bach / Prelude and Fugue No.18 g# minor, BWV 887 Beethoven / Piano Sonata No.27, Op.90 : First & Second movements Liszt / Rhapsody no.15 Rakoczy March Debussy / suite pour le piano :Toccata Witold Lutoslawski / Bukolische Weisen Chopin / ƚƵĚĞƐ KƉ͘ ϭϬ EŽ͘ ϵ Θ KƉ͘ Ϯϱ͕ EŽ͘ ϵ Η ƵƩĞƌŇLJΗ time 12/19 Mon 19:30 venue REC ᏄᝨᏕ᪠ᬌዯ᠈351ᾊ artist ᔔᓭ
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Musician / Freelance Illustrator E <h͕ ƌĐŚŝƚĞĐƚƵƌĞ͕ dĂŝŶĂŶ Working Experience: Viola, The Chiayi Civil Orchestra/ Piano, The Chiayi Civil Choir/ sŝŽůĂ͕ EĂƟŽŶĂů dĂŝǁĂŶ hŶŝǀĞƌƐŝƚLJ ^LJŵƉŚŽŶLJ KƌĐŚĞƐƚƌĂͬ ĞƐŝŐŶĞƌ͕ ^ 'ƌŽƵƉ džŚŝďŝƟŽŶ͗ d D hŶĞdžƉĞĐƚĞĚ ŽǀĞƌ ^ŚŽǁ͕ dĂŝƉĞŝ͕ ϮϬϬϳͬ ŚĞǁ Ăůů ;ϵϱͿ͕ d ĞŶƚĞƌ͕ dĂŝĐŚƵŶŐ͕ ϮϬϬϲ
Annva Kay is a young musician, who is mystic but graceful as well as her music. She is leaving us for studying abroad in this Christmas season. It is just a beautiful solitude.
[ ANNVA’ S PIANO RECITAL] Dec.2011 140mm x 125mm, 420mm x 594mm
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12/18 - 1/15 REC ᏄᝨᏕ᪠ᬌዯ᠈351ᾊ Concept City. ớᙞឈᏕ
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REC to. 70263 ᏄᝨᏕ᪠ᬌዯ᠈351ᾊ
STAMP HERE
by. ᓬᗏᎯ , ᚩᦀỖ , ូᑠ , ᱯ℆ , ᱢᤇᔟ , ➑Ḵ www.facebook.com/RECoding
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[ CONCEPT CITY ] Dec. 2011 150mm x 100mm [ HUMANE CITIES ] JAN.2012 420mm X 594mm Continuing the idea of “CONCEPT CITY”, a human-like shape is bearing the three tetrahedrons as his brain. The pyramids in the center are like fluctuation charts of brain waves.
A tetrahedron is a polyhedron with the minimum number of edges, which is the base shape in three-dimension. It means even a great city needs to construct from tiny elements. And the number of tetrahedrons is three, presenting the quantities of components of a city.
[ CONCEPT CITY ] Exhibition at REC, Tainan, Taiwan. Dec 18, 2011 to Jan 15, 2012
Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood window frame, digital print SIZE: 490mm x 440mm x 50mm London, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX wood window frame, digital print SIZE: 490mm x 440mm x 50mm Nantou, 2011 MINOX GT-E EFINITI UXI 200 Digital print SIZE: 650mm x 390mm x 50mm
Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood frame, digital print SIZE: 610mm x 410mm x 170mm
India, 2008 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400 wood window frame, digital print SIZE: 660mm x 380mm x 50mm Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX wood frame, digital print SIZE: 710mm x 410mm x 220mm
Tokyo, 2011 MINOX GT-E FUJIFILM S400 wood window frame, digital print SIZE: 530mm x 410mm x 50mm Tokyo, 2009 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400 wood window frame, digital print SIZE: 530mm x 410mm x 50mm
Tokyo, 2011 MINOX GT-E KODAK 500T wood frame, digital print SIZE: 460mm x 310mm x 100mm
Yilan, 2011 MINOX GT-E KODAK Tri-X 400TX wood frame, digital print SIZE: 460mm x 310mm x 100mm
Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood frame, digital print SIZE: 410mm x 410mm x 130mm
Woman with blue hair, 2011 oil painting 320mm x 410mm
Baku, 2010 oil painting 240mm x 190mm
YU, SZU-AN PORTFOLIO 2006-2011