Window and Mirror - From Tainan to the World
In an era dominated by global connectivity through platforms like Instagram and Facebook, where Google and ChatGPT serve as encyclopedias, and design tools such as Adobe Suite, Sketchup, Rhino, and Python are the norm, our students face a challenge in distinguishing themselves in a homogenized landscape. As our access to knowledge and design processes becomes less distinctive, the question arises: How can NCKU students leverage their unique islander experiences to stand out on a global stage? This has been the driving question since my return to Taiwan, here are a few thoughts to share.
To inspire the best in our students, we must not only expose them to the latest global issues and trends (creating "windows" to the world) but also nurture their confidence to introspect and discover their identity and internal wealth of resources (looking into the "mirror"). This “self-discovery” extends beyond the individual and personal to encompass cultural practices. The starting point for this transformative process is the city they will call home for the next few years – Tainan.
Revisiting the Foundation: Bricolage and Formalism
The revamped Foundation Studio at NCKU draws inspiration from two key cultural perspectives in architectural education: Bricolage and Formalism. "Bricolage" represents an attitude and spatial approach influenced by the city surrounding NCKU, embodying Taiwan's distinct sensibility. This encompasses the improvisation of materials, vibrant use of tectonic expressions, and adaptive use of space and collaged methods. Rather than sidelining these intelligences, students are encouraged to cultivate a critical mindset, learning valuable lessons from Tainan. On the other hand, the "Formal" exercise aligns with the Bauhaus pedagogical traditions observed globally in architecture schools. This process exposes students to essential aspects of architecture production such as space, light, materiality, scale, tectonics and representation, providing a solid foundation for their future learning.
Project 1: Urban Detective
Students are encouraged to explore Tainan's West-Central district using their visual, auditory, tactile, gustatory, and olfactory senses. Working in groups, they act as urban detectives, tracing searching for the former shadows of Deqing Creek (德慶溪). Their mission involves studying and documenting ordinary objects, buildings, streets, contexts, and people akin to detectives uncovering artifacts that support their hypotheses and narratives about the historic city. Students transition from the general to the specific, drawing upon both textual reading and physical experiences to illustrate their discoveries. Their embodied experiences are reflected on an A0 drawing and model, see Figure 1.
Additionally, they constructed a full-scale "Perceptual Instrument" aimed at enhancing, augmenting, or amplifying their initial perceptions of the city. This pedagogical approach not only allows students to document the city from their unique perspectives but also teaches them hands-on skills through the making of the instrument. In essence, this project is designed to inspire students to think outside the box and nurture their creativity by engaging in hands-on exploration and construction, see Figure 2 & 3.
Figure 1. Deqing Creek (德慶溪) interpretative drawing by 湯創孫, advising tutor 黃聖鈞.
Figure 2. Surface recorder by 謝政庭, advising tutor 林煌迪.
Figure 3. Wind propelled Urban Music Box by 廖昱衡, advising tutor 毛映壹.
Project 2: Exploring the Cube
Complementing the first project, the second one spans six weeks and encourages students to develop their creativity "inside" the box, both figuratively and literally. The initial step involves an accidental union, casting a plaster massing of a 20x20x20 cm cube through the boolean of a “simple” or abstract geometry to create negative spaces. This process explores a student’s intuitive sense and makes visible the relationship between solid and void, space and light, heavy and lightness. Moving on, the second step utilizes surface materials to transform the initial cube into a tectonic system, developing the internal space and defining the interplay between inside and outside. Step three introduces yet another transformation, employing stick or wire materials to modify the surface cube. After completing these sequential changes, the fourth step tasks students with evolving these models into a distinctive Spiritual Retreat with the inclusion of toilets inside so the discussion of served and servant spaces can take place. The final project includes creating 1:50 scale models and drawings, contextualized in Yuguang Island (漁光島). This approach, incorporating a simple site, encourages students to contemplate the intricate relationship between architecture and the environment. The project stands as a testament to the infinite possibilities that emerge within a defined set of constraints, see Figure 4-7. Before progressing to the fourth phase, all 64 students, along with eight tutors and TAs, engaged in site observation, exploring several fair-face concrete “cubic” buildings designed by Mr. Mao (毛森江建築師), See Figure 8.
Figure 4. SOLID CUBE Casting Form & Accidental Union, exercise 1 by 黃韋慈, advising tutor 許家茵.
Figure 5. SOLID CUBE orthographic drawings by 黃韋慈, advising tutor 許家茵.
Figure 6. (Right) SOLID CUBE Casting Form & Accidental Union, (Center) PLANAR CUBE Modifying Form & Shaping Space, (Left) EDGE CUBE Modifying Form & Defining Limits, Exercises 1 through 3 by 巫辰鍰, advising tutor 呂武隆.
Figure 7. RETREAT OF LIGHT, WATER & EARTH Siting Form & Designing Architecture, exercises 4 by 蔡昀臻, advising tutor 黃聖鈞.
Figure 8. Site visit and study trip to projects designed by by Mr. Mao (毛森江建築師).
Peer-to-Peer Learning and Collective Display
A notable shift in this year's year-end review involves a significant boost in peer-to-peer learning. Instead of relying solely on verbal critiques from visiting critics, we've fostered a sharing environment through the collective display of students' works. Students are encouraged to pin up their drawings and models at the same time, creating an opportunity for mutual exchange. This simple change of organization enables students to obtain insights by observing, analyzing similarities and differences in approaches, and witnessing how other classmates translate their ideas into design representations. We observed that most students actively participate throughout the entire review process, demonstrating heightened engagement. Importantly, these sessions conclude before six o'clock, avoiding the tendency to run late into the evening, with blasé students filling the room, see Figure 9.
Studio and Architectural Graphics Integration
Another adjustment this year was the integration between Studio design project and the Graphics assignments, whereby the course productions are interconnected. They are not seen as separate courses but instead related synthesis. One benefit of this adjustment is allowing students to better focus their attention and efforts, in other words, work in depth, rather than work more, See Figure 10.
Reflective Documentation
The term concludes with a new tool for learning – a course documentation required for all year-one students. This “portfolio” serves as a graphic journal of their 18-week learning journey, providing an opportunity for reflection on their rite of passage to architecture. We also hope that this process will initiate a habit of being organized and reflective throughout their learning at NCKU.
Figure 9. Week 3 interim project sharing and review.
Figure 10. Architectural Graphics and Design Studio integration. Students shown here working on a collective drawing assignment.
Final review briefing