競圖主題：Housing of Commons 2023 — Inventing Co-living Prototype in the age of sharing economy & Industry 4.0
As once Le Corbusier stated, “a house is a machine for living in” in 1923. He invented new type of housing, Unite d’habitation, which became modern prototype of apartment block. Almost one hundred year passes since his invention, machine have been evolved to become a robot, AI, IoT and even block chain. At same time urban and social problem is evolved as gentrification, social alienation, unsustainable development as well as needs for housing are changed into co-living and share housing in relation to ever increasing population of single living in cities worldwide. It is time to reinvent a housing specifically co-living to suit new needs and solve urban problem with such latest technologies which define our time and future generation.
Site: Siteless prototype
Number of residents: 100 singles
Keywords: Commons, Co-living & Co-working, Flexible & Adaptable Space, Single & Nomadic Lifestyle Millennials, New type of family and community
1’30” long animation with conceptual storytelling as project trailer 2 x A1 Concept board (can be replaced by any other medium) Physical model (can be replaced by AR/VR model)
Preferred Exhibition Specification:
Projection of the trailer Interactive multi-media, VR/AR
畢業於英國AA建築學院，是英國皇家建築師(RIBA)。他自2005年在首爾iArc建築師事務所擔任協同主持人，領導數位基礎設施的創新設計。2006年獲得創新建築獎，2012年創立韓國年輕建築師論壇。2012年成立Scale（SCALe），這是一家開發建築設計和智能建築系統的公司。2017年建立了未來城市協會(Future City Society)，該組織透過藝術和技術的融合為未來城市發展做準備。透過適應性城市的理念，他正引領第四次工業革命下未來城市的變革。
“Bending Rules” is a design & build competition workshop that will introduce students to concepts of ‘Post-Digital Architecture’ by designing and building bending-active bamboo structures that combine digital/procedural design and simulation techniques with traditional craftsmanship and natural materials. In teams, students will iteratively work toward the creation of 4 large bamboo structures that will vie for the winning prize. A democratic selection process, driven by student voting, will decide which initial ideas will be developed further in larger groups and at the bigger final scale.
Design criteria that need to find an equilibrium in the design are:
Buildability → system complexity/simplicity. Can it sufficiently easily be built?
Level of expansion of the design solution space → how ‘unprecedented’ is the structure?
Architectural qualities of the proposal → Why is it worthy of pushing projects in this direction?
September 22nd, 2016, Thursday! one ﬁlm, one book, one drawing, one set of models: urban / architectural / detail!
– a 5-minute edited clip from one of the six documentary ﬁlms which becomes your representation of the ﬁlm.
– a design statement of approximate 500 words, in both Chinese and English （14-point helvetica /華⽂文細⿊黑)
– one site model showing urban context at 1:250, hand-crafted or digital output, base dimension at A2 format.
– one “conceptual” longitudinal section drawing showing spatial narratives of the museum, hand-drawing or digital output at 1:50, A2 format.
– one “conceptual” longitudinal section model showing intents in space, structure, and materiality. The model must be able to show both interior and exterior spaces extending from ground to space to sky. Scale at 1:50, base dimension at A2 format, material to be determined by individual students.
– one material or detail model at 1:5, base dimension at A2 format!
– all information above documented and organised into a book, or a “story board”, consists of 30 plates of text, drawings/renderings, and photographic images, 400mm x 400mm square format, as representation of your overall design intent and space narratives. The story board” will also be in digital format to be combined into your 5-min. video clip, automatically re-played as a loop.
Almost all those who spend time with Chou Meng-Tieh use the word “slow” to describe his style of living, a practice of his poetry and ideology. A quote from Milan Kundera, “There is a secret bond between slowness and memory, between speed and forgetting.” also reveals the connection between speed and living experience. The design of Chou Meng-Tieh Narrative History Museum carries these philosophy by arranging programs in meandering passages. Visitors can experience the bond between slowness and consciousness through the variation of rhythm, while they wander among gentle slopes and stairs.
The connections between architecture/space and characters/words/structure of poetry are deeply contemplated while organizing the space. Combinations of different architecture elements, such as slit, double wall, opening dislocation, double height, corner, gentle slope, thick walls and transparency, enable images of sentences, the absence of people, switches between scenes in the poetry being experienced within architecture. As the linear relationship between sequential words and reading process is questioned in modern poetry structure, we wondered if a similar approach can be utilized within space. Throughout the arranged linear circulation, visitors experience space for multiple times from different perspectives. Can this spatial experience, between thinking of space and perceiving of scenes, allow people to break through the constraint of linear sequences, as what have been achieved within modern poetry?
階段 I – 靈感泉源的迷幻作用The Ecstasy of Influence 參賽者從城市中收集能作為建築師靈感泉源的既有物件，聚積成一系列博物館收藏，藏品可為 日常物件以至工藝品。藏品既可以1比1展覽，亦可任意地複製，小型化，甚至剽襲成符合設計 概念和實行之複製品，呈現於盒箱裝置之中。
階段 I I – 微型室空間 構建附件上顯示的建築設備。以微型室空間作為設計場域，箱子中的流動單室空間將被策展和 設計成建築，從而展覽和呈現出“靈感泉源的迷幻作用”的藏品系列。
THE MINIATURE ROOMS
The theme for this year’s competition is ‘Miniature Rooms’, focusing on how architecture can be reinterpreted from a microcosmic perspective. By treating the box as a project and as a site, the ‘Miniature Rooms’ are intended to re-think the exhibition culture of architecture and to confluence how contemporary architecture can be constructed, curated, and exhibited in the broader cultural landscape. The autonomous space contained by the box suggests a mobile room space that is non-place, timeless and scaleless. Candidates are allowed to freely reimagine the box in terms of scale, time and space. The sensation and cognition of space can continuously mediate between the three back and forth. Architecture can be significantly miniaturized and projected to the box-room space through the means of curation and exhibition. Depending on the display methods of the box device, the physical boundaries of the box can generate various spatial parameters, as in the forms of walls, tables, mountains, reading-machines, books…etc. The program of the architectural design can be considered within the range of a gallery, museum, exhibition space, archive space, depository, library, Renaissance ‘Studiolo’ and even ‘Box of curiosity’. Two parallel competition phases will be taking place simultaneously as follows:
Phase I – The Ecstasy of Influence To collect inspirational found objects from the city. This will build up a collection of ‘The Ecstasy of Influence.’ The objects can range from daily found objects to artifacts as the inspiration of an architect. All these found objects will then be the collection of display objects curated by the architectural design. The collection of objects can be 1to1 but also can possibly be copied, miniaturized, and even plagiarized according to the design concept and to be compacted into the mobile room space.
Phase II – Miniature Rooms To construct the architectural devices shown on the list as the basic parameters of the mobile room space. By treating the Miniature Rooms as design sites, the mobile room space of the boxes will then be curated and designed architecturally so as to exhibit and display the collection of ‘The Ecstasy of Influence’.[:]