PERCEPTION, MEMORY, AND ANCHOR OF CITY'S CONTEXT / Po-Hua, Wu

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   The lower space fork road creates is a festering wound showing up the real landscape of the city, while rugged and noisy pulling our perception back to the ground. The consciousness, including history, hydrology, development, and pollution, covers the land with a lower posture. Being the object( or called “ memory”), this consciousness is remodeled outside the site, reinterpreting the various history of Tainan under different inferences.

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   Our site is located at the end of the Tainan arterial road strung together by Park Road and Nanmen Road, which passes through many symbolic Tainan cultural sites, such as Tainan Art Museum Building one and two, National Museum of History, National Museum of Taiwan Literature, and plenty of galleries, parks, and cultural centers. and our site is on the accommodation space enclosed by the fork at the end of the road. With the location, feng shui, and graveyard here, the site has become a natural space with less human intervention.

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    With the purpose of sensing the space in a memorable way, I deliberately blocked out all visual perceptions in the first field research. I went to the site without any artificial light at night, trying to sense the space with other perceptions. Three things I remember the most were the stink smell of the river, the bumps on the ground, and the traffic noise around here. While recalling, my consciousness felt like a membrane covering the earth, re-organizing the fragments of memories of the site in a very low posture, and re-outlines the shape of the site in my mind.

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    My design refers to the Viennese performance artist, Raimund Abraham. In the Hinge Chair, the space separates the user's external expression from his/her inner consciousness, which makes the stage from space transition to the human body. My interpretation is that the user is being objectified in a special space and becoming a prop in the process of information transmission. This kind of thinking reminds me of the classical opera hall. The special field created by the stage separates people (usually the actors)’s performance and thinking. The actor's performance becomes the result of the materialization of space. and the performance is like an "object" like the curtain, props, costumes, and lighting, which is unable to show an opera by its own existence. Therefore, in order to complete an opera, the performance must cope with different objects, and be organized by music, which is the most important part. As long as the actor is materialized from the subject into an object, a new set of stories will be re-organized through the temporal immaterial. This kind of process is the main concept of my design, and the spatial relationship between the theater stage and the orchestra pit has also been extended to my design. (Image is taken from AA files 78)

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   Learning from the references, I studied and developed my design by X-ray technique to discuss spaces' relations.

   The somatosensory experience of the site of the user will be enhanced after entering, and this process can be seen as the materialization of the stage to the actors. Users will enter a special area, and organize the objects through the memory of the spatial experience, such as the axis, the vanishing point, and the corners. All of these are to achieve what I mentioned earlier, which is to bring users into the urban context with stories.

​    In the spatial arrangement, instead of making the axis aligned with the corner at the end of the urban context, I made it aligned with the axis generated by the terrain and water flow, which made it easier to associate with the image.

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   I divide my design into two main parts. In the first part, as a reinforcement of the somatosensory experience of the surface. I have come to the conclusion that my attention to the surface of the site came from my unfamiliarity with the rugged surface after research. So, every bump and every movement of the plant is amplified in the feeling. In spatial perspective, I create the contrast between the feet and the solid wall by heightening the wall in order to achieve the insecurity near the surface. 
   The staircases through the spaces also increase the interaction and sights between the users and the surface directly. Finally, on the other side of the axis is a pure accommodation space, allowing people to organize somatosensory memories by gazing at the site.
   As a character to strengthen the ability of materialization of the natural scenery of the site, the entire structure is cantilevered to increase the visual lightness in order not to occupy the natural scenery of the base itself, and the landing point is hidden in the area where the plant is higher in average.
   

I have read the development scope of Tainan's residential area in the past hundred years to determine the circulation. I use the speed and importance of development as parameters to change the size of the skylight, and use the change of size, which is from depressed to open, to imply the large rest area at the end of the flow. 

the core is composed of a 50-centimeter thick wall which is set to be the load-bearing wall, while the interior the core creates is used to be the service space. the truss outside the wall extends to the whole building to support all the structure..

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​   I believe that everything must be organized in a certain way, such as thinking, reading, understanding, and caring, to be called existence. Just like the cultural symbols of Tainan to those who know nothing about the development of Tainan, it is just a meaningless mark on the city’s context. I hope to arouse people’s concern for the city through my design to define the existence of the city to society.

Project gallery

​設計者:吳柏樺

​指導老師:王逸璇