使用者的離開，讓建築物失去了機能性，空間定義變的不明。 被遺棄的房屋，軍事設施，雖然使用者離開了，但這些空間仍然明確的記錄著這裡的歷史價值 氣候 特殊文化等等..... 即使這些空間無法再續以前的機能，但經過重新定義後，或許能夠為來這裡的旅客與當地的居民提供一個有價值的新地景，並延續著虎井的故事。 善用地景(歷史演變過程中，強而有力的具體化呈現)的手法，在不同的時間呈現出不同的風貌。因為人對於土地有所要求，並透過實際使用將空間刻劃出想要的形狀，反映了各年代的需求與價直觀。 一.入口過度空間: 造港後，原先設立在海岸線的軍事碉堡，隨著時間也慢慢地被埋藏在海漂與棄置物堆中。 在產業結構轉變後，該如何讓初次到來的旅者認識這個神祕的島嶼。或許，沿著海岸線，觀察著島嶼的地形，居民耕作的演變，海岸線紋理的推移，再沿著這座埋藏在新舊紋理中的掩體過濾-探訪開始。 二.旅客住所/居民種植空間: 人口外移後，原來的使用者離去，閒置空房增生，缺乏養護屋頂破損，卻也形成了讓這個種植不易的島嶼，有了植栽的庇護所。 在住宿空間提供不足的狀況下，沒有安全暫時居所的遊客，只能以短暫的時間來走訪這座島嶼。也許這些空房可以因為植物與旅人，再次的被定義為「家」。 三.多功能空間/移地教學教室: 在軍人撤離後，這些掩蔽在地表紋理中的軍事建物也逐漸被人們遺忘，成了被棄置的大型空間。 軍事掩體為了配合戰略的需求所形成的空間形式及動線，造就了空間中的獨特氛圍。這種獨特的空間氛圍是在其他地方很難體會到的，所以我們希望能夠重新規劃，並改變空間機能。

舊市場被時間遺忘，市場裡的攤商鮮有客人造訪，所以我們試圖找一個線索，一個引爆的起點，透過歷史周圍的演藝事件再次活絡這個場域。 人在不同的空間會有不同的行為發生，而我們所做的就是在打破均質的空間創造不同的空間尺度。 生活劇場的意思不單單只的是指空間中的演藝行為，而是所有發生在這個場域中的事件，平時去超市買菜，遇到街坊鄰居就聊起天等等的日常，而變臉下的產物就是複合性生活模式的呈現。

中國畫除了寄托詩情畫意，家國情懷，其中變幻莫測的構圖方式形成一套獨有的透視系統有別於西方畫的一點透視法且名爲散點透視。透視的作畫手法完美地表達出自然環境與人之間的關係。因此我提出疑問，能否將中國畫的環境與建築之間的關係用西方畫的一點透視方法重新表達出其内容故事？通過分析趙伯駒在宋朝年代末所創作的國畫作，并且用西方的一點透視手法重新展現，得到一張帶有東方故事色彩和西方敘事手法的全新《江山秋色圖卷》。

位於城郊之間的場域，存在於隱匿與非隱匿之間影像的軌跡記錄著到訪的一切，沒有太多複雜的建築語彙， 純粹廊道的空間變化，扮演著重要的腳色，最後一程隱匿於此。

王功漁港很多廢墟空間切斷比次的關係，被移植的燈塔,被繁殖的蚵架,被移植的魚塭(從大海到人造池),被種植的樹林,種種在地的元素轉化為設計元素，在王功這塊基地被重新組構及定義,探索地方價值的同時,場域的邊界也在重新被組構並重生,打破強烈的邊界讓活動蔓延，我們與海洋的距離在堤防的邊界上被重新定義,魚港的產業,海岸的生態,人們的生活如何依附在這片海陸交界上的線性空間裡。

Mono No Aware, an awareness of impermanence, also refers to the instant sensitivity towards the ephemera. This ephemeral nature of beauty- the quietly elated, bittersweet sentiments are inherently linked with the theme of heritage conservation, paradoxically. To search for timelessness in architecture always become embedded pursue of a designer, yet not one architecture can escape from its age, dilapidating and decaying eventually. The thesis aims to challenge this preconceived notion of timelessness- often perpetual and static, questioning the temporality that lies within our built environment. Known as ‘Valley of Hope’, Sungai Buloh Leprosarium is a 90-years old cradle of prophylaxis settlement in Malaysia. Based on the ethnographic survey, the living heritage thrives as a self-supported community with a long history of conforming, confronting, and compromising with nature. It is analogous to a cyclical process of damaged and recovery. Whereas the field survey unveils a dissolving heritage landscape and evanescence of its legacy. Due to the emerging urban flux and shrinking population of the native community, the Leprosarium has gradually fragmented of its uses and imageability. On the other hand, the survey of a collective quest between the stakeholders implies the dichotomized perspectives within, whereby the thesis shall anticipate a shifted paradigm as a chronographic resolution to react with the evolving concerns. It leads to a notion anchoring the Leprosarium’s medicinal past and horticultural present, to project a reciprocal future in conjunction with the adjacent medicinal, education and horticultural institutions. The thesis is crafted into 4 different timescales, and narrated in 4 chapters to encapsulate the gradual transitions of the Leprosarium. Therefore, it is a story about times and changes. Each chapter follows a central theme of programmes, responding to the change of the community, the place, and its surrounding urban flux. Emerged initially from a living heritage that resembles a ‘Garden City’ layout, the chronographic blueprint responds to the last generation of inmates that is slowly fading away. The 1st chapter unveil the inhabitation of landscape where the community dwells and upcycles the ruins, cultivating a productive habitat with communal and horticultural activities. The 2nd chapter followed by the monastic enclave that embraces late livelihood of the inmates and acknowledging them as part of the cultural heritage, comes along with the civic interactions as well as socio-economic activities. Chapter 3 begins after years fertilizing the land for medicinal horticulture, the establishment of research department brings up new programmes and community reciprocal to the greater context surrounding the Leprosarium. Lastly, chapter 4 narrates the seeding of the inheritance of knowledge, legacy, and history through the education department, suggesting collaborative opportunities among the research and academic groups around. Conclusively, it narrates a shift from function to fiction, and tends to grow a sense of hope through the curated timeline of restoration. The blueprint has choreographed an odyssey of timescape- to be discovered and rediscovered again. The experience throughout the journey of heritage trail, which is orchestrated by series of changing landscapes, speculated by consecutive chapters. Correspondence to this approach, the architecture design is constructed as a narrative body to those relics of past and traces of times. Technically, the design can be considered as a series of time-based adaptive reuse across the heritage landscape of the Leprosarium. Researched into the materiality and its decay studies, the restorative architecture revolves around a combination of fleeting and transient materiality, touching the heritage fabric and landscape extremely lightly. Adopting the concept of reversible architecture, a cycle of renewable material ecology is contemplated to reduce, restore, retrieve, and replace the building materials like a metabolic process. In this design thesis, the presence of architecture is perceived as a process rather than a product. Taking an anamnesis approach as design process, the architecture is constructed as a narrative body to those relics of past and traces of times. Throughout this project, we have undergone a journey of change, transience, and growth. The concept of timelessness embedded upon the Leprosarium is now shifted - it is both the old and new, the past and future, the decay and growth. It is a portrait from Leprosarium to Vivarium- a voyage of perpetual temporality where artifice, nature, and history come in a full circle. “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.” - Marcel Proust, French novelist

The office bridge-building hovers across the Shing Mun River in Shatin, Hong Kong. Like a mirror, the Shing Mun River is a very calm waterway. The project aims to create a lively form which adds dynamic onto the river, while maintaining its atmosphere with a sculptural form massing which visually looks light and flows gently, softly, and harmoniously across the river. As an office building, the site is selected at the central commercial area of Shatin district - adjoining the Shatin City Hall and New Town Plaza, allowing the new office hub to join Shatin commercial hub and the transport network. It replaces the original Lek Yuen Bridge. The project aims to not only serve the office users, but also the Shatin community. It consists of a main office block, and a pedestrian bridge that carries a bookshop cafe and a market inside, which are intersecting with each other. The orientation of the office block provides visual linkage to the Sha Tin commercial hub by continuing its network on plan, while the pedestrian bridge is oriented to join up the open space on the other side of the river, across the Tai Chung Kiu Road, providing directional linkage which aims to improve the current pedestrian network. The pedestrian bridge passes though the office block, allowing the office building to be divided into two wings. The office block aims to serve a large organisation or service sector, where the offices and working spaces are on one wing; and the other wing serves for the Corperate Social Responsibility (CSR), by providing teaching and learning spaces about the organisation to the Shatin community. A perfect arch is used as the main structure for both the office building and the pedestrian bridge. It ensures that no vertical supports that touches the water are needed, allowing the building to flow visually above the river. The curvy and twisted form further reinforce the gentle and soft sculptural effect, and enhances the building’s visual lightness. The bridge building hovers urbanely beyond the Shing Mun River.

快速的城市化发展推动现代城市社会文化及生活方式的蔓延。 市场经济的驱动下，其发展遗留下的传统聚落逐步被城市形态包围，最终沦为城中村。城中村设施条件及卫生环境均明显落后，也被认为城市发展过程中异质形态，即边缘社区。 近年來廈門城中村不斷拆遷整地重改，城中村拆迁率提高，大部分用于住宅安置，高新产业技术园区，但是环岛路曾厝垵村还保留着原有的古厝村落，不仅仅承担人们基本住居问题，还承担着社会都市历史文化及观光旅游的现象,曾厝垵独特的区位，传统文化古厝聚落，及小渔村廉价的租金，吸引了一群有创业市场意识的学生群青年，学生入驻社区也影响了社区文化，带着梦想成为村落的入驻者. 但該地由於人流負荷，地價高商業結構單一等現象導致在地文化斷層，房屋加建，微公共空間的消失,經濟孤島及社交邊緣化,及在地居民身份認同感等問題， 家庭旅馆和文创旅游市场的溢出效应让曾厝垵成为了热门景点，其加重了基礎設施落後的村落負擔，一系列的問題現象引导在村落周遭做创客實驗基地，從中探尋城中村曾厝垵未來發展的價值潛能。

拼圖圖拼，城市拼圖遊戲。 城市中，能夠發現許多被使用過的痕跡、被定義過的街巷、被轉譯過的歷史，以及因為不合時宜而被二次詮釋的功能建築。時間遞進，曾經的故事在街巷中留下線索與碎片，難以察覺卻十分迷人。 在萬華區，即曾經的艋舺，城市的輝煌不再、記憶與真實形成斷片，像是拼圖散落一地，導致許多空缺與荒廢之地穿插在常民的生活空間。 青草巷，在過去被人們認為是救命街。青草氣味瀰漫了整個歷史故事，它像是一幅畫中的關鍵拼圖，串聯了整起故事，然而如今還存在的青草茶店成為了夕陽產業，只提供老人需求與少數的觀光用途。因此我嘗試尋找散落於萬華的歷史記憶，龍山寺、隘門、茶室、電視店等，利用新舊交疊重新連結與青草的故事，在城市中建立一個生產回憶的工廠。 我紀錄萬華六種樣態的記憶，發展出青草加工廠、堡壘書店、記憶遊園、無名茶室、萬花筒電視館的五種建築型態。在城市中置入L、M、S的拼圖尺度，建構一場城市拼圖遊戲，讓人們能夠在遊戲中窺探這座城市的氣質，發覺城市新的價值、拼湊出屬於萬華的記憶輪廓。

我是薛名翔，我來自茄萣。 茄萣是位於高雄的一個小漁村，也是全台唯一在離岸沙洲上發展的城鎮。但從我出生時起，工商社會崛起，宗教信仰開始式微，人們在海邊過著都市人的生活，茄萣這塊土地的本質開始變得模糊不清... 。因此我在家鄉的各處奔走，試圖尋找出了解茄萣的線索，在過程中，我開始蒐集到了一個一個過去的故事，逐漸拼湊出茄萣的樣貌，在過去茄萣是由海、聚落跟信仰所構成的......。 而在茄萣構成關係消逝的現在，有一項活動卻可在短時間內連結這個構成，也就是六年一次的王船祭。在慶典中，有許多不同的活動分別串連了海、聚落、信仰這三件事，因此我希望在慶典的基礎下創造出一種空間系統可以去支應茄萣六年一次王船祭的空間，而在六年以外的時間也可以支應居民日常的生活。 論述： 　　我的設計主要的目的是希望可以透過基地上現有的環境文化因素以不同的手法去處理聚落、港墘、海這三種茄萣特殊的基地系統在慶典以及日常兩種不同狀態下的活動，並透過空間的手段去串聯海、信仰跟聚落的關係，讓居民與茄萣這塊土地的本質更加貼近。