Tamkang University, College of Engineering, Department of Architecture, Danshui District, New Taipei City
Taiwan, Province of China
The tea culture has a history of 4,500 years, and Luye only accounts for a short half-century of that 4,500-year history, but because of that short time, the… more
My research focuses on the intersectionalities of architecture and gender, and on methods of… more
Chia-Hua is proposing an intriguing spatial interpretation of the life cycle of tea, both as a commodity and as a cultural narrative. He has created a fascinating parametric form which he describes as the metal box and glass fin unit, and has considered it both sculpturally and structurally. The building’s layout is neat and logical, but the proposal would have benefitted by a rigorous site analysis that would explain the decisions regarding the building’s footprint.
Although Chia-Hua has examined the glass fin unit at various scales and through many stages of evolution, unfortunately the final product falls short of becoming adaptable to different kinds of uses. In other words, the form seems relatively unchanged throughout the building, even if the intended uses inside have potentially different light requirements. For instance, the area where the tea leaves are dried should have different spatial qualities than the area where tea is ordered and consumed. Indeed, most of the visualisations present a series of interior spaces with very similar aesthetic qualities. This reluctancy of the form to transform and to create different interior qualities depending on the intended use is a missed opportunity.
The project description suggests that the glass fin unit offers the possibility to “control spatial elements such as light, shadow, halo, image and closure” but the parameters and outcome of these variations are not explicitly exhibited. The spaces inside seem lonely and barren, making it difficult for the reviewer to imagine how these areas are to be inhabited. The human figures added to the visualisations provide a sense of scale but do not succeed in creating a sense of intimacy within the space.
I find slide 25 successful because it showcases the complexity of the building and its interaction with the topography, although the purpose of the cavities on the right side and at the base of the building is unclear. Also successful are the sectional construction sketches throughout the project because they show a keenness to address challenging structural issues. Another image that I find evocative is the one on slide 20, where the glass fin unit interfaces with other building materials. Notable in this image is the blurring of the boundaries between inside and outside. Images such as this one can propel this design proposal into further experimentation in space-creating that will provide a more substantive outcome.
Dear Anna Papadopoulou,
Thank you very much for your valuable and insightful feedback on my design. I have gained a lot from it. Indeed, as you mentioned, the differences in the atmosphere of each space might not be very pronounced on the drawings, but what can be observed is the unique way each one expresses light. Perhaps it's because I didn't use a variety of materials for the interior spaces, which has resulted in a somewhat similar composition for each space. I am continuously working on refining the precise control of relevant parameters, and I truly appreciate the astute suggestions you provided.
I am also grateful that you liked my sectional drawings and detailed structural designs. These are aspects of the project that I take great pride in. During my studies in architecture, I discovered my particular affinity for intricate detailing and contemplating how various materials can come together. I also thoroughly enjoy creating physical construction models. Despite the geographical distance between us, I am very fond of my final model, which I showcased in presentations and videos. It's unfortunate that I couldn't directly share with you the model I am most proud of.
Lastly, I want to express my gratitude once again for taking the time to provide such wonderful feedback on my design. I apologize for the delay in responding due to some recent engagements.
The tea culture has a history of 4,500 years, and Luye only accounts for a short half-century of that 4,500-year history, but because of that short time, the tea farmers here are more dedicated to making a good cup of tea than anyone else. However, the only thing people remember about Luye are flying umbrellas and hot air balloons. Tea, as a vehicle to continue people's conversation and communication, the Japanese culture emphasizes physical action and incorporates rituals to form the tea room space. Chinese culture emphasizes communication and mixes different functions to form teahouses and tea houses. So how can Taiwan and Luye, which focus on a good cup of tea, extend the tea experience? What is the space of a good cup of tea?
The spirit of the space is the transformation of the rhythm of tea, and the architectural interface is studied to regulate the rhythm of the space, and the "box-like interweaving system" is designed to achieve the gradual change of the rhythm of the space. Through the metal box unit and glass fin unit, we control the spatial elements such as light and shadow, halo, image, and closure, and form a stable structural system with the interweaving of units. The space is represented by the interweaving of the units. Through the box-like interweaving system, the rhythm is controlled
to create 7 types of rhythm for the 7 stages of tea making.
The entire facade of the building is covered by a box-like interwoven system constructed with metal aluminum panels and tempered glass. This system allows for the control of various elements such as light and shadow, halos, images, illusions, and enclosure within different spaces. Through the manipulation of spatial charm, it supports and enhances the craftsmanship of Red Oolong tea. I have created distinct spaces for each of the seven tea-making processes of Red Oolong. Each space possesses a unique appearance due to the different configurations of the system. Light and shadow, as well as images, engage in dialogue with the various materials used in the architecture, allowing each material and activity to shine in its own way.