When it comes to Taipei, most people think of a fast-paced and complicated life.
My goal is to create a space where people can escape the city mentally, that allows people to perform a rite of passage here, hence transits onself into a state of self-observation and examination, free of urban control.
I hope that it can be used as an exotic place in the city, reveals people's emotional memories that has been suppressed by rational order in the world back to them.
說到台北，多數人都會想到快節奏而繁復的生活狀態，所以我希望可以在這個都市中，創造一個可以出走的空間，讓人們在此進行一種過度儀式，它是一個剝離社會控制後具有強烈自我觀察和審視的狀態。
希望他可以作為都市的異域場所，讓大家重新看到被理性秩序所抑制的情感記憶。
Exodus as a rite of passage is to enter a threshold - The intermediary zone between two domains
The fineness of this intermediary zone is in the crossing of flow, intersection, collision and overlap of different spatial characteristics,
and is effected and shown by the individual's complex feelings and experiences. The process of exodus consists of three stages:
-Pre-threshold: The first is to break away from the position in the original social structure and the familiar cultural situation.
-Threshold: The state of the subject will appear relatively vague, the characteristics of the old stage have gradually faded, and new characteristics and cognition are being shaped.
-Post-threshold: Completion of departure, an end, not necessarily arrived. The subject enters another level of social structure.
“The liminal state is a negation of any definite structural statement, but in a sense, this can be a source of statement, and more importantly, a possible field of creating new ideas and relationships."
出走的本身是進入一個閾限空間（Threshold）
即兩個域之間的中介地帶
如此中介地帶的微妙之處在於不同空間特質的流串、交會、碰撞和重疊，而顯示出這一微妙空間互動的則是個人錯縱複雜的感受和經歷。出走的過程包含三個階段：
前閾限階段：首先是脫離原有社會結構中的位置和熟悉的文化情境，剝離社會控制。
閾限階段：主體的狀態會顯得相對模糊，舊有階段的特質已漸漸退去，而新的特質和認知正在形塑。
後閾限階段：完成出走，一個終點，並不一定抵達，主體進入另一個社會結構的層次。
「閾限狀態對任何一個確定的結構陳述都是一個否定，但就某種意義來說，這是陳述的源頭，更甚者，是新的想法和關係產生的可能領域。」
（“Betwixt and Between” 97）
Pre-liminal stage
前閾限階段
-Stripping off the original order is like a waterway disrupting the axis of the city. It is an self-allowance of occasional deviation, and it is also an emotional memory link that seeks attachment, participation, ambition, and belief.
-A looking for a field that carries humanity in real life.
-剝離原本的秩序，如同水路打亂都市的軸線，它是自我允許偶爾的偏差，也是尋找依附、參與、抱負、信念的情感記憶連結
-尋找承載真實生活人性的場域。
Imagination of the post-liminal stage-Utopia
後閾限階段的想像-烏托邦/出走過程的消點
I use utopia as my imagination.
I see it as an end point that the process of exodus does not fully reach, similar to the disappearing point in a perspective view, the process of exodus focuses on approaching the imagination of urban utopia in a heterogeneous space.
In the earliest worldly ideals in the East
"Book of Rites"-"Datong Pian" mentioned that
“The journey of the great road also makes the world the public. Choosing talents and abilities, stressing faith and cultivating harmony, so people do not only kiss their relatives, not only children,
and make the old have end, strong have use, young have growth, old, ill and lonely all have support.” ,
it stated that returning to the original state of life is the Great Harmony(Da Tong) in their eyes.
我以烏托邦作為想像，將他看做出走過程並不會完全抵達的終點，類似透視圖中的消點，而出走的過程則是在異質空間中去接近城市烏托邦的想像。
在東方最早的淑世理想中
《禮記禮運》-《大同篇》提到
“…大道之行也，天下為公。選賢與能，講信修睦，故人不獨親其親，不獨子其子，使老有所終，壯有所用，幼有所長，矜寡孤獨度疾者，皆有所養。”
回歸原有的生活狀態則是他們眼中的大同世界。
Motivation for site selection
選址動機
From returning to the original state as the starting point for my search for a base, I began to explore the history of Taipei from ancient times to the present.
Starting from Taipei Lake, my eyes focused on the intersection of the two ancient Taipei slope(Pi Tang).
Through exploring the changes of waterways, I discovered that no matter how the waterways continued to extend, shrink, or fill in history,
they still retained the intersection of the Pi Tang, so I focused on this and started looking for my base.
從回歸原有的狀態作為我尋找基地的起點，我開始探詢台北由古至今的歷程。
從台北湖開始，我的目光聚焦在古台北兩大陂（埤塘）的交會點，通過探究水路變遷，我發現，無論水道在歷史中不斷延伸、收縮及填平，但他們依舊保留兩大陂的交會點，於是我聚焦於此，開始尋覓我的基地。
Railway Mapping
Waterways Mapping
Introduction to the base
基地簡介
On this piece of land, there is land that has not changed for a hundred years. It has been brewing beer in the centre of Taipei, where every inch of land and worth gold”-Jianguo Brewery.
As a long-time survivor, it is also a rare "living" historical site among the industrial monuments. The special large-span structure of the factory forms a strong contract with the narrow lanes in the neighbourhood.
As an exotic space in the city, I wondered what kind of pulling effect it will have on Taipei City. I began to look forward to the transformation of Jianguo Brewery in the chaos of the city.
在這塊土地上，有一塊地，百年不變，在寸土寸金的台北市中心釀酒——建國啤酒廠。
作為時間長河裡的幸存者，也是工業古蹟中少有的「活著」的古蹟，特殊的工廠大跨距構造和鄰里的窄巷形成了強烈的體感落差。
作為都市中的異域空間，對於台北市又可能發生怎樣的拉力呢？我開始期待建國啤酒廠在都市混沌狀態下的一次蛻皮。
Jianguo Brewery is mainly divided into east and west sides. The building on the east side is denser, it is the only area of the factory at the beginning, and also the space for production and power.
The sparsely developed area on the west side is the factory area added later and used as auxiliary space for storage and repairs.
The brewing sequence is the same as the construction sequence of new buildings outside the power centre, counterclockwise to the north
建國啤酒廠主要分為東西兩側。東側建物較密，是工廠一開始僅有的區域，也是生產與動力空間之所在。
西側開發較疏的區域，是後來增加的廠區，用作倉儲與修理等輔助空間。
釀酒順序依照動力中心外圍新建物建造順序一樣，逆時針向北。
Concept
概念發想
I am trying to reappear the fields of the factory on the west side here, so that the fields, waterways, and breweries will once again form a loop.
The wheat fields surrounds the building itself based on the organic road curve under the surrounding waterways.
Thinking about the positioning of industrial relics in the city, I found that the large-scale memorial parks we go to are all positive spaces facing upwards.
Therefore, I hope to follow the route of the underground waterway slowly to match the pattern with some negative space element.
我試圖在此重現西側廠房的田野，讓田野，水路，啤酒廠，再次形成一個迴圈，田野包袱根據周遭水路下的有機道路曲線所塑成的建築本身。
思考工業遺跡在都市中的定位到底是如何，我發現在我們日常去到的大尺度紀念園區，皆為向上的陽性空間，所以我期望追尋地下的水路的路線，可以緩緩依循向下，以陰性空間去回答。
Conceptual image: Respond to the upward force of the ancient chimney with a slightly downward force
概念圖：以水平微向下的力回應古煙囪向上的力
The wheat fields, historical sites and cities in the downwards negative space form the most impactful section in the eyes of exodus people.
Looking back at the sunken square, it is an open space that is surrounded by the curve path of a waterway, with a large wheat field in the background.
The experience of the place here is not just a run away, it is more like getting rid of an old state and looking back at the original normal life, with the presence of an occasional blank spaces in busy life.
下沈空間的麥田、古蹟和都市，形成了出走的人們眼中最衝擊的斷面，而下沈廣場回望，則是水路曲線所包袱的開放空間，背景則是一大片麥田。
在這裡的場所體驗，已經不只是一次出走，更像是對於原本生活常態的擺脫和回望再審視，而繁忙生活偶爾的空白格，也在田野裡得到重現。
An existing road that retraces traces of a former waterway
追尋到以前水路痕跡的現存道路
The initial idea: back to the origin of time, the east side of the field reappearance, the northeast side of the waterway reappearance, to respond to the city oriented architecture
初設想：回到時間原點，東側田野的再現，東北側水路再現，以建築體回應都市面向
Med-term development and change:winding waterway as wall structure
中期發展及變動：以蜿蜒水路作為墻體構造
我將都市軸線圖、歷史水路，現存可追朔歷史水路的道路疊圖，再去分析歷史水路和現存道路曲線的交錯及影響關係，後取用其交錯關係，在設計中以牆體的方式得到再現。
以蜿蜒水路及都市軸線的交錯來作為墻體構造，再以室內空間去回應現啤酒廠特殊場域，試圖用特殊場域的體驗去拉離原本生活狀態下的人。
在設計裡，先是進入前閾限的「剝離控制/制式」，去掉圍牆及部分廢棄臨時建物，將園區的西側蛻去被牆體圍合的控制。
當牆體打開後，臨最大馬路的空間自然成為入口廣場，而人流及活力也似水流的狀態湧入園區的下沈廣場，下沈廣場將整個場域包袱，同時使古蹟再次成為廣場第一立面，麥田包袱廣場，希望他可以成為人們一天中從「此地」到「彼地」的一個閾限空間，
也成為開始所說的一種脫離常態的過度儀式，意味著日常生活的暫停符號，也可能是出走過程的起點。
我思考如何將四週緊繃的空間引渡到邊界下的建築行為，藉由城中田野的異域特性，使其成為日常生活的一種隱形拉力，它像是城市的另一種「灰空間」，也是日常裡的一段「留白」，在界與界的範圍下，作為一處無偏向的過渡場域，也因為這特例的存在，具有暫時抽離的空間範圍。
透過城市剖面我們可以看出建國啤酒廠在都市中作為難得的「留白」空間，對於擁擠的城市狀態本身就具有一種拉力。
試圖解構牆體的封閉性，開放延展的道路，藉使讓人在道路或小徑移動時，不自覺處於下一個準叫進入並體驗建築的存有，再來，將路徑折疊環繞和交叉去做出空間裡不經意的來回，互望和回視，
在移動的過程中，產生人與路徑及客體間身體上的對話，在展演空間中，我置入互望的廊道與觀影室，試圖喚起人對周遭與自身的對話，及對於所處環境的再審視。
在空間組織上，我主要分為五個面向來設計
-在線性桁架、廊道及對外開口上，我想討論「線性」的本質，他是一種界定空間範圍的基本元素，也是我解構酒廠元素的一個閱讀方法。
在自然界，狹小的線性空間通常是以裂縫的形式出現，而裂縫又多存與地下，具有抽離常態的空間氛圍，所以我希望以工廠型態的「闊」對應線性空間的「窄」，形成矛盾而回視的出走狀態。
-牆作為路徑：牆是面的延伸，而面可以界定範圍和領域，我希望麥田中的牆的存在，不只是意味著建築物進出的相對概念，我們對都市建築的印象通常也是以牆面圍塑而出，如果圍構出建築領域的牆體不再是封閉形式，而是分解的，散落的，形成半開放的型態散落於日常生活之中，
建築本身即不是一處既定的領域，而牆體所圍塑出的也不只是室內而是路徑，戶外平台等，水道形成的牆體也在被經過中再次被閱讀。
-而田中建築量體的群聚關係是我對於本身還在此建造的辦公大樓的對峙態度，我希望他是脫離都市年年高樓迭起的常理狀態的。是由一種更加貼近土地的方式回應活的工業古蹟在都市裡的定位。
-而新舊交錯的狀態也是我希望在其中，時間性可以被保留，他是衝突但和諧的，是部分拆除更新但又保留的。
-對於麥田的量體則是多數為開放空間，再逐漸聚攏為量體，而室內本身卻處處連通開放空間，讓人們聚集後而又散佈，在過程中回望，審思。
