Even though under the circumstances, which consumption experiences of department stores face a historic existential crisis due to the impact of online shopping and the pandemic, JUT Land Development CO., Ltd constructs a shopping mall in the designated district for entertainment located north of the Keelung River, Dazhi.
Akihisa Hirata's Taipei Complex (2015) was the optimistic precursor of this project. It opened a sealed box, which introduced the conversation of emphasizing the symbiosis between men and nature. Unfortunately, Hirata's project was not carried out due to Taiwan's climate and business factors.
What I see in Hirata's work isn't the simulation of nature, but rather the spirit of Cedric Price and Joan Littlewood's Fun Palace — a boundless creation of a leisurely society.
After the Great Depression, Britain faced an economic downturn following the loss of cheap labor, resources, and mandatory export targets due to the independence of all its colonies. Fun Palace aimed to provide a cultural public facility filled with opportunities, optimism, surprises, and joy in a passive and disheartened society. It also served as a social university of the streets, where the public could share intangible products such as culture, communication, and knowledge in this borderless theatrical setting. This represents a public facility for immaterial labor and a factory for culture and knowledge.
The Shin-Fu Town Market, also a collaboration with JUT Land Development CO., Ltd, was designed under the premise of Fun Palace, the concept of boundless cultural factory, and we aspire for NOKE to take on a more proactive cultural role in Dazhi.
Recognizing the lack of cultural facilities within the Dazhi circle, JUT has allocated 30% of exhibition space in the department store, and the inclusion of Tsutaya Bookstore's literary functions, results in over 50% of the space being dedicated to the public culture and artistic use. The challenge lies in designing these public spaces to emphasize everyday interactions while maintaining a unique commercial model.
We reimagined a traditional department store without the need for a windowed façade by introducing a large staircase that splits the mass and connects upper and lower sections. Bringing in the flow of people from the overpass directly to a vertical plaza. The upward continuation of this open space connects the cultural exhibition on lower levels to the literary space on the third and fourth floor, and lastly to the ice rink on the rooftop.
The back wall of this grand staircase is a framework for vertical greenery, creating an upward garden, and also serves as the backdrop for vertical circulation in the building.
The design of the ice rink uses folded aluminum panels to lighten the roof structure, which introduces sunlight from the north direction, similar to a typical sports facility. The exterior elevation of the building follows a modular pattern based on the common denomination of 90 centimeters, resembling a musical score, which integrates all building units and provides an orderly framework for commercial branding.
The integration of the architecture with external public spaces, the simplicity and orderly façade, and the focus on enhancing cultural and artistic education in the interior space all represent the attempts to reshape the conventional commercial architectural model. Providing Dazhi, Taipei, a boundless and free leisure social factory.
平田晃久 Akihisa Hirata 的 Taipei Complex (2015) 是這計劃樂觀的前身。打開封閉的盒子，強調人為與自然的共生。平田的案子因台灣氣候及商業條件很可惜而沒有進行。
我在平田的作品中看到的倒不是那造山模擬自然的趣味，而是 Cedric Price 和 Joan Littlewood 的Fun Palace —— 一個無邊限的休閒社會的創造。
戰後的英國在所有殖民地獨立而失去了廉價勞工，資源及強迫傾銷的對象後經濟大蕭條，Fun Palace 希望提供在消極與沮喪的英國社會中一個充滿機會, 樂觀, 驚喜及喜悅的文化公共設施。
它也是一街道的社會大學. 大眾在這無邊界的情景劇場中分享非物質產品如文化、交流、資訊、知識。它是一座非物質勞動力(Immaterial labour)的公共設施。一文化、知識的學習工廠。
和忠泰合作的新富町市場是在這 Fun Palace 無邊界文化工廠的前提下設計的建築作品，而我們也希望忠泰樂生活一樣的可以在大直扮演更積極的文化角色. 一位於老化的都市舊城區，一在重劃的新都心。因此忠泰在缺少文化設施環境的大直生活圈中，在百貨商場中安排了30%的展覧空間，再加上蔦屋書店的圖書功能，這裡有50%以上屬於公共的文化藝術空間。如何在強調獨特性的商業模式下設計這注重平常性交流的公共空間？