高雄通往旗津的鼓山輪渡站旁，有一間全家，再過去是屈臣氏，然後繼續往前走，會看到一整排的店面，多半都是賣吃的。可曾想過這排店家的後面是甚麼嗎？後面是一個哈瑪星人的在地小聚落，它就夾在觀光客熙來攘往的大馬路與海水之間。走進來除了有台灣隨處可見的：居民隨意搭建的瓜棚、廟埕、閒散的盆栽外，還有海景，以及涼涼的風。都市發展局很用心的以整理而不是拆掉重來的方式，將原本就充滿生活感的都市縫隙，重新介紹給大家。很喜歡在地推廣街頭藝術團隊 WALLRIORS 的楊惟竹老師為籃球場做的畫線及配色，很適合涼涼的這裡。棚子下可以吃冰、打盹、等上場，吹海風。就像在幫城市按摩，推鬆一點疲勞，不再緊繃。不再壁壘分明，一切都可蔓延互通。

材料與構造

在有限的時間下，我們必須大量使用現成的素材完成這座棚架，而現場的四座混凝土座椅剛好可以成為棚架的基礎，節省掉開挖的時間。將兩只二手貨櫃的面板拆解再利用作為棚架的遮陽板與結構，以15cm*15cm 的 H 型鋼撐起貨櫃，再輕輕的夾住混凝土座椅，讓結構穩定。南方松地坪軟軟的質感緩和了鋼構的嚴肅氣氛，提供居民或坐或臥的輕鬆場所。

花窗與浪

鐵花窗是很多人對於哈瑪星的空間記憶，利用鍛造、焊接、彎折塑造出各種不同的象徵性的圖案，常見的有花、草、山、水等線性圖案。在拆除貨櫃立面的結構鋼板後，用框架結構的補強桿件，拼貼了花窗意象，像打開貨櫃展示出屬於哈瑪星空間印象。雖然基地位於港邊，但是在基地內除了鹹鹹的海風，我們很難意識到海的感受。因此利用東西向的陽光打在象徵花窗的桿件上，陰影投射在地面上形成像波浪的律動，是我們企圖讓人感受到跟海洋的連結。

回盼歷史

文龍宮一直是這個小區的信仰中心，我們的基地就位於文龍宮的正前方，因此我們壓低了棚架的高度，整體高度不超過文龍宮的屋脊。在文龍宮面東的中軸線上，我們刻意拿掉遮陽的結構，中軸空間有持良好的穿透性，尊重當地既有文化與習俗。

Next to the Gushan Ferry Pier that connects Kaohsiung to Cijin is a FamilyMart. Further down the road is a Watsons. Continuing along it is a series of storefronts, most of which are eateries and dessert shops.

Would anyone have ever wondered what is behind this row of shops?

Indeed, if you take some time, you will discover a local neighborhood situated just between that bustling road and the pier-side. The place is decorated with some casually erected melon sheds, a small square in front of the temple, and plenty of randomly placed plantations. Above all, you will also be treated to some waterfront sceneries in the cool breeze as you stand in this subtropical city of Taiwan.

Through the efforts of The Urban Development Bureau, this nostalgic neighborhood is once again being introduced to the public by means of revitalization as opposed to eradication for something completely anew, opening up this modern city crevice that already brims with liveliness to the local residents. In addition, with the touch of Bamboo Yang, a brilliant graffitist from WALLRIORS, the colors and line markings of the basketball court are now in perfect harmony with the atmosphere of this place.

Therefore, whether you are here for a nap, or taking your time diving into a bowl of shaved ice, or simply just looking for a chill-out spot, the canopy stands here, welcoming you with its spanning roofs.

As if giving a massage to the city, this place helps it shed away some weariness of the everyday life, allowing the vitality to sprawl on without boundaries.

Materials and Tectonics

Given the limited time, it is necessary to utilize ready-made materials as much as possible in composing the pavilion. The existing reinforced concrete seats conveniently become the foundation of the canopy, saving all the time to be spent on excavation for other parts of the construction. The main structure is disassembled and reformed by two cargo boxes, the side panels of which made into sunshades and the frameworks into structural supports. All of which are then lifted up by 15cm*15cm H-shaped columns erected closely adjacent to the concrete seats, creating the necessary resistance against the sheer force. Finally, the texture of the southern pinewood flooring gives a sense of relaxation in providing an environment for the residents to rest underneath the canopy at ease.

Patterned Window Grills and the Wave

Various patterns of the window grills often leave vivid impressions to those who visited the Hamasen District. Techniques such as forging, welding, and bending are commonly used to create linear forms imitating images of flowers, grass, mountains and waterscapes. After the structural panels are removed from the cargo box frames, reinforced steel bars are added in respect of structural consideration, as well as to echo with the window grills of the neighborhood. During the day, when the sun moves across the sky, the silhouette of the horizontal bars on the ground reminds us of the sea waves and the ocean that warmly surround us.

A Glance of History

Temples in Taiwan are always the spiritual centers of townships, and the Wen Lung Gung Temple is no exception. As the project site is located some distance away in front of Wen Lung Gung, the height of the pavilion has thus been carefully calculated to not surpass the height of the temple rooftop. We also intentionally minimized the center structure by removing the sunshade panels in that area to preserve the visual continuity for the view through the central axis of the temple.