Confronting with a massive site of 2.5 hectares, we try to criticize the traditional monolithic community center that creates a shape with a singular expression of the 'community.' On the contrary, without presetting its expression, the design accommodates activities in 22 boxes while dissolving the site's monumental scale. You will not enter a single 'community center' anymore; it will be a community and a center of the neighborhood.
‘ Six big brass cubes stand in a row on the floor with identical spaces between them. Immediately the ideas of repetition and manufacture arise: they are an industrial unit that the artist repeats. Without the bases or plinths of traditional sculpture they appear naked and exposed. ‘Literalist’ was a term applied at the time of their making, to emphasise the work of art’s existence as a made physical object.’
-- Collection highlights: National Gallery of Australia, National Gallery of Australia, Canberra, 2014
Clearly, Mr. Chang also realized the benefit of creating and using the rule and system as a guide for campus design. Unfortunately, rather than using the rules as guidance, he went across the line between architecture design and urban design, confused by the boundary of two disciplines. The result of this misunderstanding is an empathetically bad and gloomy urban environment. This also proves that the difference between a good and a bad urban environment relies not only on a well-designed system but also a deeper understanding of the concept and sometimes a bit of self-restraint.
This design is based on the consensus that for everyone who lives in the city, the charm of the city comes from the vivid people who meet here, and the specific stories which happen here.
The design is not about creating a building with a ‘unique shape’, it is all about how to build a strategy that will benefit both the urban environment and the life experience