指導老師：楊紹凱 Shao-Kai Yang
基地位置：西屯區, 台中市 Xitun District, Taichung City
基地面積：14,000 m2
作品說明：
議題/從西方國家的案例中觀察到文化建築與環境的關係不是最主要設計理念，卻可以從脈絡中找到存在的必要性。然而觀看七期的台中歌劇院，從伊東在比利時的發想到現今七期的珠寶盒，如何利用台灣文化與生活習慣重塑文化建築與環境的關係。
基地/比起都市規劃所賦予歌劇院的夏綠蒂軸線，從台灣大道往歌劇院的那條軸線才是真正人們活動的地方。基地位處文化建築、商業與住宅的樞紐中心。
設計/打開地下箱涵讓原本自然的風、水、樹、陽光聚集在具有遮陰的廣場，藉由商業活動引入，與人的活動牽絲，不再只是水平上的移動，而是多了垂直向的串聯。用一種向都市開放、四通八達，人們串流在涵洞中，而底下飄出音樂的街頭音樂會的氣氛，成為市民劇場。而延伸到歌劇院前廣場則是先由植栽、鋪面變化、活動發生，讓人願意停留，再漸漸打開被珠寶盒包著的文化價值。
Issue/ In the cases of Western countries, the relationship between cultural architecture and the environment is not the main design concept, but the necessity of existence can be found in the context of the environment. However, watching the National Taichung Theater, from the initial discovery to the current situation is like a jewelry box. How to use Taiwanese culture and Toyo Ito's initial idea to reshape the relationship between the National Taichung Theater and the environment?
Site/ The real place for people's activities than the Charlotte axis given to the opera house by the city plan, the road from Taiwan Avenue to the theater. The site is at the center of a hub of cultural buildings, commerce and housing.
Design/ First, open underground box allows the natural wind, water, trees, and sunlight to gather in the shaded square, which is introduced through commercial activities, and connects with people's activities, no longer just moving horizontally, but more vertically. It is a kind of street concert atmosphere that is open to the city, with people flowing in the culvert and music floating underneath, and it becomes a civic theater. The plaza in front of the opera house is firstly planted, paved and changed, and activities are held to make people want to stay, and then gradually open the cultural value wrapped in the jewelry box.
