Program: Performance Spaces, Recording Studios, Museum, Cultural Exhibition Center, Recreational Areas

Program Area: 70,000m2

Location: Kaohsiung, Taiwan


The twin poles of individual and collective life are everywhere present in pop music. From headphones to concerts, from musicians to the music industry, from downloaded songs to global distribution, pop music produces an endlessly changing dynamic across micro and macro scales. Its reverberations move nimbly among performers, audiences, and economies. In this proposal, a network of circular buildings catalyzes the agility of these cultural dynamics.

The circular buildings form program and public space as they slip into, out of, over, and under one another.

Circles don’t abut. They ricochet off of, and through, one another. They overlap. They yield. They conquer. They encompass. They divide. They aggregate. They lock. They loosen. The city itself slides from land to water and back again. Functions combine with other functions. Routes cross. Views glance off of the constantly receding contours of the buildings’ profiles. The spaces between these disks appear and disappear as interactive bas-reliefs made of objects, voids, paths, activities, plazas, and gardens.

The circle asserts geometric confidence along its arc while simultaneously generating myriad possibilities inside and outside that same arc. It leaves no doubt about architecture’s identity, even as its incongruities create new and unexpected outcomes in the spaces it produces.

The circle cultivates a set of relations with its own circular logic: an ambient whole filled with individual collectivities and collective individuals.

WW Project Team

Principals: Ron Witte and Sarah Whiting

Design Team: Ryan Botts, Eunike, Peter Muessig, Ian Searcy, Amy Westermeyer