Portfolio/Wen-Chung,Chen/2020-2023

2020 — 2023

Architecture

by

Wen-Chung,Chen

Portfolio

陳文中 Wen-Chung,Chen → Profile

DOB Nationality Native Language

12,May,2000 Taiwan Chinese

→ Contact

Phone Email Instagram

+886 988 857 282 vincent890512@gmail.com c7h8_vc

→ Education

Feng-Shan Senior High School (Sep,2016 ╴ Jul,2018) Chung-Yuan University Dept of Architecture (Sep,2016 ╴ Jul,2018)

→ Skills

Computer-Aided Design Adobe Suite Language Other Craft Works

→ Internship

Abraham Architecture & Interrior Design (Jul,2020 ╴ Aug,2020) J.Y.Lin Architect Associate (Jul,2021 ╴ Aug,2021) J.A.Chen Architects & Associates (Jul,2022 ╴ Aug,2022)

→ Award

"Living History,Ephemeral Landscape" Exhibition Finalist "Beautiful and Powerful School Sports Plan in Keelung" Finalist Chung-Yuan Architecture Excellent Design Award

Autocad,Rhino,Sketch Up Photoshop,Illustration,Indesign Chinese,English Graffiti

Co ontents: 〔1〕

Release the Blank # The Big Block Project

〔3〕

Gonna Build a Mountain # The School Design Project

〔5〕

After-school Hours # Works Apart From Architecture

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〔2〕

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〔4〕

Out of the Box # The Heritage Repurposing Project

Between Ebb and Rise # The Big Pier Project

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〔1〕

Re l e a s e t h e B l a n k The Big Block Project

The Chiang Kai-shek Memorial Hall Park in Taipei City is a heterogeneous and complex urban area. The contradiction in the space atmosphere arises from its commemorative significance on a spiritual level and its practical uses within the urban context. Furthermore, the location, spatial configuration, and architectural language of the site make it particularly politically sensitive.

This proposal advocates for the de-emphasis of the memorial and ceremonial aspects of the space, liberating the substantial 25,000 square meters of urban space for the general public. It introduces public spaces for activities such as sports, knowledge, exhibitions, meetings, and relaxation, transforming it into a large urban park. Deliberately, the classical Chinese-style National Theater and Concert Hall are not demolished, preserving historical evidence rather than erasing it. The dialogue between old and new must be witnessed, as starting entirely from scratch would likely repeat itself in years to come.

Advisor : Site: Program: Keyword:

01

Chun-Ming,Huang C K S M e m o r y H a l l , Ta i p e i Urban Public Space A n t i - a u t h o r i t y / C e n t e r o f C a p i t a l / Po s t m o d e r n i s m

At the outset of the design process, I contemplated what a core urban facility would look like, and I even thought of ancient Greek temples and Roman arenas. In this era of advanced information and greater diversity, the vast open space at the heart of the capital must inevitably integrate a multitude of functions to become a place accessible to everyone.

The current state of the Chiang Kai-shek Memorial Hall is characterized by a disparity between spatial volume and actual utility. The term "blank space" does not refer to a literal void but rather to an emptiness that has become difficult for people to approach, occupied as it is by authoritarian symbolism.

03

In fact, this area has long served as a medium for control by those in power. Initially, it was established as a military stronghold for the convenient governance of old Taipei City. From the 1960s to the 1970s, as the need for such stringent governance measures diminished, the military base was gradually vacated from the urban core. The expansion of the existing city led to the consideration of economic development on the site at that time, leading to a massive commercial development known as the "Yingbin Section Plan." However, the sudden passing of the former president halted the plan, and this area has since become the memorial park we see today. The "Yingbin Section Plan" was eventually relocated further east and became the Xinyi Planning District.

Old Taipei City

Site

04

The site is not only the core of Taipei City's cultural and arts axis (including nationally significant institutions such as the National Theater and Concert Hall), but it is also in close proximity to numerous government agencies, including the Presidential Office. It holds great significance both culturally and politically.

Furthermore, I believe that releasing such a large area of land in the densely populated city center presents a rare opportunity for the well-being of the citizens. In addition to green park spaces, I have also examined the locations of community libraries and sports centers, which are currently scattered and hidden within the urban fabric. Through this design, I aim to incorporate all of these functions, which goes beyond merely increasing the amount of available space. It's about integrating these previously independent community facilities into a single space that has historically been seen as a stage for showcasing government power, highlighting the values of contemporary democracy.

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Focusing on the scale of the community from the urban perspective, we can observe some connections between the site and the surrounding area: Schools: The dense concentration of schools in the vicinity indicates a significant degree of residential life surrounding the site. It also suggests that the site should be integrated into the urban context, rather than being separated by walls into an isolated area.

Mass Transit: In addition to the currently operating Red and Green subway lines passing through the site, there will be a new southbound line added from the Chiang Kai-shek Memorial Hall Station in the future, increasing the flow of transportation and people to this area.

Markets: The New South Gate Market will soon open on the south side of the site, with its structure integrated with the Chiang Kai-shek Memorial Hall subway station. This will create a closer and more interconnected system between the market and the site.

National-Level Facilities: The National Theater and Concert Hall within the site, along with the National Library on the west side, are divided by a three-lane road at ground level, but are connected by a subway station underground. The design aims to enhance the connectivity between these facilities.

At the current stage, within the site, people occupy various corners according to their own will, utilizing spaces such as gardens under the trees, covered walkways, and the colonnades of the two theaters to develop various activities.

I believe that this behavior of occupying spaces of power through collective action is in essence aligned with the concept of this design. Therefore, my design is essentially an act of occupying space in the name of democracy.

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National Library

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Underground Tunnel

Reading Zone ＆ Stack Room

Sunken Plaza

Survice Core

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Linsen S. Rd

Parking Lot

Philosophy Palace

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1. National Library 2. Reading Zone 3. Sunken Plaza 4. National Concert Hall 5. National Theater 6. Survice Center 7. Basketball Stadium 8. Parking Lot 9. Badminton Stadium 10. Swimming Pool

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11. Volleyball Stadium 12. Food Court 13. Tennis Stadium 14. Machine Room 15. Linsen S.Rd

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It all starts from the Sunken Plaza: opening up the underground parking lot between the two theaters into an open plaza. From beneath the ground, with the plaza as the core, it extends eastward to the Service Center and westward to the National Library.

A new annex space for the National Library has been added between the archway and the Sunken Plaza. The first and second underground levels serve as open reading spaces, while the third underground level and below house the physical book storage.

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The sports facilities are partially underground, nestled within the forested area. They are interconnected underground with the central Service Center, and above ground, they appear as individual glass boxes within the forest.

The underground passage beneath Linsen South Road serves as one of the entrances and exits for vehicles and motorcycles throughout the facility. On the east side of the Service Center, it connects to the parking area, and on the west side, it links to the Sunken Plaza, serving as a transitional area within the entire facility, facilitating people's movement between different zones.

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[1] [2] [3] The overall additional facilities are designed to form a free plan on the underground level, so it doesn't give the impression of being completely below ground.

[4] The ground above the underground parking area slopes slightly upward at a small angle. This not only prevents the parking area from being entirely enclosed but also creates a sloped landscape outside, mitigating the imposing appearance of the grand steps of the main building.

〔4〕

〔5〕

[5] The original surrounding walls have been removed, leaving traces on the ground. Additionally, a new modern architectural vocabulary for covered walkways has been constructed alongside.

This allows pedestrians to enter and exit freely while bearing witness to the fact that the once-impenetrable walls separating inside and outside no longer exist.

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In terms of the structural composition of the main building, the roof is constructed using steel, while the rest of the structure is made of concrete. On the plan view, the concrete portion is in the shape of a square, and the roof takes on the form of an octagon. This design concept is in harmony with the principles outlined in the I Ching, which states, "Tai Chi gives birth to two forms, two forms give birth to four phenomena, and four phenomena give birth to eight trigrams."

Inside the main building, a new vertical circulation system with a spiral design has been added.

People can meander their way up to the rooftop level via a sloping pathway, from where they can gaze upon the entirety of Taipei City. The new structure connects the eight primary steel columns upwards to the steel framework of the octagonal roof, symbolically reversing the concept of the roof as a representation of supreme power. Instead, it transforms into a space that serves the people rather than being an object of worship.

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1/100 Structure Model of Philosophy Palace 15

1/50 Model of Sunken Plaza and Sport Field

1/1000 Site Model 16

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〔2〕

Out of the Box T h e H e r i t a g e Re p u r p o s i n g P r o j e c t

Hsinchu Sixth Fuel Factory is a highly representative industrial relic from the Japanese colonial period. It has witnessed the eras of factories and military dependents' villages, carrying memories of different times. Today, the massive hoppers, towering chimneys, and weathered brick walls seem to be telling us the countless stories of this place.

Tracing back to the era of the fuel factory, you can find the entire industrial context still hidden within today's city. I approach this with a treasure-hunting perspective, hoping to uncover the past identity of this place. The central figure in this project, the towering chimney factory building, serves as both the most easily recognizable landmark and an information hub, narrating the history of this place and pinpointing the locations of the remaining relics in the vicinity.

Advisor : Site: Program: Keyword:

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S h r- M i n g , G a u J a p a n e s e N a v y 's S i x t h F u e l Fa c t o r y, H s i n c h u H e r i t a g e Re v i t a l i z a t i o n Memor y Preser vatio/Industrial Heritage /Urban Landmark

fuzu

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Elementary School

Fuel Depot

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D Jiangong Junior

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High School F

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Idle Time

H Ts i n g H u a U n i v e r s i t y

E . G a s l i n e Ta n k F. O f f i c e B u i l d i n g G.Catalyst Factor y H.General Village

Reactivation Period

A . T h e S i x t h F u e l Fa c t o r y B . G a s Ta n k ( G a l l e r y ) C.House of Widows D. F u e l Fa c t o r y

The sixth factory started working

1948

Jiangong Elementary School established

1951

ROC government pulled back to Taiwan

1964

The roof collapsed/ More people move in the factory

1979

Hsinchu Science and Industrial Park been established

2010

The first batch of dormitory been done

2012

BICCIH been hold in Taipei

2013

The 10 mothers retake a picture on the stairs

2015

House of the widows been demolished

1957

Military Village Period

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1944

1946

2013 2018

Korean war

Jiangong

ROC Air Force Period

Jiangong

1943

world war ll

Ting

Japanese Colonial Period

SITE

I have compiled the remnants of the fuel industry in this area, which are scattered to the south of the towering chimney factory building.

Therefore, I have approached the renovation project of the Sixth Fuel Factory with the premise of integrating these dispersed points.

I position this place as a historical museum. However, I do not wish to adhere strictly to the passive preservation of the current state or a pure restoration of its original appearance. Instead, I intend to incorporate modern elements to some extent, giving this building an entirely new identity. I believe this place is a junction of the past and the future. Not only can history be well-preserved and conveyed, but it can also accommodate avant-garde and innovative exhibitions.

I have placed the main entrance of the museum to the south, adjacent to a tree-lined canal. On the other side of the canal is an elementary school, which fosters a closer connection between the museum and the community. It also allows the children in the area to form a new image of the Sixth Fuel Factory for the modern era.

My design strategy embraces the concept of combining the past with the future. Firstly, I consider the scattered buildings adjacent to the factory building to be important. They clearly demonstrate the difference in scale between the factory and the residential structures, so I aim to view them as a unified whole. I have inserted new volumes between them, connecting the existing and new structures. The newly added portions are deliberately designed as glass boxes, creating a sharp contrast between the old and the new.

The new and old spaces are integrated under a new large roof, and through the displacement of interior and exterior interfaces, it appears as if old boxes made of concrete and brick are embedded with new boxes made of glass and steel, complementing each other.

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Jia

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A. visitor center B. market and shops(building 1) C. market and shops(building 2) D. market and shops(building 3) E. story house of the sixth fuel factory

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F. community vegetable garden G. relaxing platform H. restaurants I. shopping street

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stairs(1-2f) stairs(2-3f) stairs(3-4f) elevator 4F PLAN

the big chimney

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1. Lobby 2. Relaxing Steps 3. Gift Shop 4. Locker 5. WC Entrance 6. Exhibition Area A 7. Exhibition Area B 8. Exhibition Area C 9. Exhibition Area D 10. Exhibition Area E 11. Exhibition Area F 12. WC 13. Eentral Square 14. Exhibition Area G 15. Exhibition Area H 16. Storage 17. Theater 18. Central Contral 19. Lonnge

1F PLAN

20. Meeting Room 21. Deck 22. Red Box 23. Exhibition Area I 24. Exhibition Area J 25. Deck 26. Overlooking Bar

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The floating red glass box at the entrance not only conveys a futuristic image but also echoes the parasitic behavior of "houses within houses" within the factory building. Therefore, I have also opened up the front facade's old walls, allowing the originally internal "houses within houses" to be visible from the outside along with the new red box. The red box serves as the interior of the new volume and the exterior of the old volume, resembling the presence of a different dimension space.

← 1/200 model

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"Living History-Ephemeral Landscape" exhibition →

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〔3〕

Gonna Build a Mountain The School Design Project

Der Her Elementary School is an exceptionally unique school in Keelung.

Not only is its campus small, but its location is also quite unusual, making it challenging for people to even discover its existence. Derher Elementary School is situated on a hill and was previously part of Zhongshan High School.

Accessing the main entrance of Der Her Elementary School requires navigating a very steep road that bypasses Zhong Shan Senior High School.

For this renovation project, it's difficult to achieve significant improvements through conventional expansion and renovation methods. Given these constraints, I proposed a bold plan for a complete redesign. Since it's not possible to allocate spacious classroom buildings or even accommodate a full-sized playground, why not turn the disadvantage into an advantage and create a unique elementary school that can only exist in this specific location?

I conceptualized building a mountain, utilizing the topography to construct an artificial hill.

Advisor : Site: Program: Keyword:

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Eric,Chen Der Her Elementar y School,Keelung Elementar y School Planning S c h o o l D e s i g n / L a n d Re c l a m a t i o n / A r t i f i c i a l L a n d s c a p e

Millitary Camp

North Side

Zhong Shan Senior Hign School

South Side

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To the south of the school is closely adjacent to Zhong Shan Senior High School, while to the north, there is a steep slope dotted with trees and scattered residential homes.

Through a survey of the current spatial usage and discussions with the school authorities, it is possible to compile the required types and quantities of space.

Unlike the typical image of a school, this location can be described as having almost no external context.

Combining this data with the concept of constructing the mountain, one can think about the specific spatial arrangement using accurately scaled models.

After experimenting with different ways of conceptual modeling for the hill, it was decided to shape the form of the hill using two layers.

The layers are irregular and porous, with classrooms beneath the layers where children attend classes, and in between classes, they can move outside the layers, much like traversing the surface of a mountain.

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1. Parking Lot 2. Gaurd Room 3. Kindergarten 4. Kitchen 5. Garbage Room 6. Makerspace 7. Library 8. Special Needs Classroom 9. Counseling Room 10. Natural Classroom

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22. Teacher Office 23. Office of General Affairs 24. Audio- Visual Classroom 25. English Classroom 26. Art Classroom 27. Music Classroom 28. Rehearsal Studio 29. PE Classroom

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11. Comprehensive 12. Classroom 13. Meeting Room 14. Storage 15. Personnel Department 16. Principal Room 17. Health Center 18. Computer Classroom 19. theater 20. Aerobics Classroom 21. Profile Room

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In the enclosed space created by the architectural mass, a central open area resembling a valley is formed, serving as a place for students to gather, exercise, and play.

The elevation of the southern building is designed to allow light, line of sight, and air to permeate through, while the northern structure seamlessly integrates with the surrounding mountains.

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The close-up view of the interior of this library reveals a harmonious and continuous relationship between the campus structures and the mountains in the background.

Moreover, the elongated configuration on both the northern and southern sides ensures that, when observed from either end, the complete mountain ridgeline is visible, creating the impression that the campus space seamlessly fills the void of the mountain.

Of course, given the unique circumstances of this project and Keelung's inherent struggle for space against the mountains, it is practically impossible to simultaneously cater to the school's functional needs and genuinely restore a mountain. Recognizing this constraint, the decision was made to minimize the artificial structures' visual impact and conform to the surrounding topography, creating, at least in form, the appearance of a mountain.

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〔4〕

Between Ebb and Rise The Big Pier Project

In the begining, I explore the ways of commemorating the departed in a highly divergent manner. Traditionally, the Chinese community tends to inter the remains and use them as objects of future memorial services. With the emergence of various new burial practices, I contemplate whether, as a space professional, it is possible to propose a completely boneless approach. This approach would rely on spatial design and natural phenomena to provide solace to individuals without the need for traditional bone interment.

Qijin is a sandbar renowned for its tourism. In the past, its beaches faced issues of erosion, but in recent years, there has been a mitigation due to the installation of offshore breakwaters. This inevitably leads one to ponder whether the cycle of life mirrors the fate of this sand – brought in by the tide, settling and accumulating for a period, and eventually carried away again. I attempt to allow visitors to achieve the purpose of commemorating their ancestors by observing the principles of how the landscape operates.

Advisor : Site: Program: Keyword:

Be,Chiang Q i j i n W i n d m i l l Pa r k , K a o h s i u n g Memorial Space Death/Ceromony/Natural Phenomenon

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A. Pier:the Structure B. Pier:the Place C. Water Path I D. Water Path II E. Back and Forth F. Sand Tunnel G. Digital Room I H. Digital Room II G

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H

← Through the exploration of collage, I seek possibilities for a ritual space that differs from the past. I also attempt to depict the process and atmosphere of those who journey to this space.

Throughout this exploration, water frequently emerges as a prominent element. I believe this is due to the poetic nature inherent in water. Consequently, I consciously contemplate how to use water as a central theme in the space, allowing for the establishment of both the ritualistic and soothing functions for the human spirit.

The concept of "zero burial" originates from Japan and refers to a form of funeral that completely avoids erecting gravestones or storing bone ash. This concept arises due to the transformation of modern society, where the large communal structures of the past rural societies have given way to dispersed and smaller family units.

Adhering blindly to traditional rituals in this context creates contradictions in practical terms.

With this concept in mind, I aim to create a space experience that fosters widespread acceptance of the "zero burial" idea, challenging the conventional spatial model associated with bone repositories.

The traditional model of bone repository is singular, where the act of worship converges towards a single point, often situated in remote areas away from urban centers.

I am attempting to create a linear path that incorporates the act of worship along the boundary of sea and land.

Along this path, rooms are strategically placed, each equipped with multimedia facilities, allowing worship to take place in any room rather than being anchored to a specific niche in a tower.

In contrast to the typical piers that extend perpendicularly into the sea, along this pathway, there is a deliberate deviation, forming an angle of approximately 45 degrees with the sea-land boundary. This orientation allows for a reciprocal relationship between the two sides of the pathway, providing opportunities for both reflection and distant observation.

Ferry

With the understanding gained from the previous context, I chose Qijin in Kaohsiung as the site.

Qijin is a narrow sandbar that was once renowned for its thriving shipbuilding and fishing industries. Presently, it serves as a hub for freight transport and a tourist attraction. There are two ways for people to travel from the main island to Qijin: the ferry at the northern end and the underwater tunnel at the southern end. In the past, the government proposed a crosssea light rail system to enhance tourism, but it was ultimately not adopted. The selection of the site for this project is contingent on the establishment of a light rail.

Underwater Tunnel

The essence of Qijin lies in the natural landscape formed by the interaction of water and sand.

Stretching the timeline, each person's life and death are akin to sand grains accumulating and eroding under the force of the tide.

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1926

1954

Building the port (3 periods)

Dredging and piling

1975

expanding the port (3 periods)

Underwater tunnel opening Second port opening

1900

1982

Qijin light rail evaluating

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1944

1956

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1969

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site 2011

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2016

The location of Qijin Island provides perfect natural conditions for Kaohsiung Harbor, coupled with its intrinsic tourism value. This piece of land has been shaped by people with an extremely rational will into its current appearance. However, human intervention has also led Qijin to face the issue of beach erosion, hence the numerous sand protection facilities seen today along the seaside.

In response to this situation, in the design of the memorial space, I integrate the function of nurturing the beach and creating an underwater embankment. The linear structure not only provides an indoor space for memorial activities but also allows people to witness the interaction between sand and tide outside. This serves the purpose of commemorating the departed by connecting them to the process of sand and tidal dynamics.

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Visual Design

〔5〕

A f t e r- s c h o o l H o u r s Wo r k s A p a r t F r o m A r c h i t e c t u r e

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Halloween Activity

CYAR Summer Camp

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Speech Propaganda

Cover ( ＆ Bookmark) Design

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Graffiti Works

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A. The Black Mamba B. First Piece Work of Mine C. Two Samurai(Co-worker:Drew) D. Evilgelion E. Pui-pui Stand Attack F. Big Tag 2019 G. Dark Vader with His Equipment

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