AR CHITEC TURE PORTFOLIO
SELECTED WORKS BY
LI U ZEH ONG 2015 - 2020 Assistant Architect, Atelier Liu Yuyang Architects Bachelor of Architecture, Class of 2020, Tongji University Shanghai, P.R. China Tel: +86 1390-161-0047 E-mail: liuzehong119@gmail.com
CONTENT
STATEMENT OF ACADEMIC PURPOSE In 2015, I was admitted by Tongji University to study in a 5-year programme of Bachelor if Architecture, which was arduous, strict and demanding. Undergraduate education, in the first two years, trained me with abilities to deal with form in terms of operating and interpreting it. The painstaking processes of making numerous options, sketches and models moulded me into a keen reader on space and form. In an architectural view I observed spaces in my life and came to realize that in this metropolis, Shanghai, there were so many mediocre spaces in use, while many interesting spaces being neglected. In my advanced study of architecture, I took part in several research-based design studios and started to construct architectural knowledge with my own understandings. I started to learn that the essence of an architectural form lies in the meaning it produces during several off-campus knowledge-seeking journeys, first in Lianshi in 2018, a small town where I investigated into traditional houses, and two sponsored excursions to Italy in 2018 and Germany in 2019 respectively, where I participated in jointly taught workshops with local universities. I felt touched by something attached to yet beyond architecture. Thinking back, my exploration of the metropolis, my study on eastern and western classical architectures and my design practise, all were clarifying that architecture is beyond pure form. It’s neither a visual or spatial stimulus, nor a container of functions, but a producer of meaning. Fortunately, as an architect, who pursues meanings rather than truths, I am granted with a broader horizon by my interdisciplinary knowledge, as I dabble in social humanities, and my multilingualism, as I know not only a language but also cultures and values of a nation.
01 ARCH ON ARCH : VAULTED, PRE-STRESSED, HAND-CRAFTED JUN 2016
02 PLAYING A PENTA-GAME : NON-QUADRILATERAL PLANE FORM STUDY OCT 2016
I want to become an architect focusing on sensitive creation and interpretation of space and form for human society in the context of the evolving world, which requires a more profound understanding of human nature as well as contemporary society. Postgraduate study is an indispensable basis for my professional goal, as I realize the gap between ideal conceptions and actual practices. Post-professional M.Arch. programme of SoA in Princeton University matches my interests and study plans much: courses like “New Forms of Knowledge in the Digital Age” and “Behind the Object” help me look beyond and forwards to seek sources and ways ahead of formal meanings; SoA Lab and ECL also offer me the very platform to explore innovative forms. I am looking forward to working with world-class professors, lecturers, practising architects and a diverse student body in SoA and will explore innovations and push architecture thresholds to their limits during my postgraduate study.
[Academic project] Li-long gallery, Shanghai, China
03 WALKING A FINE LINE : SPATIAL EXPLORATION WITH DOWNTOWN ELEVATED ROADS DEC 2018
[Personal project] Urban vista platform, Shanghai, China
04 CAVITY : THERMODYNAMIC ARCHITECTURAL PROTOTYPE FEB 2019
After my graduation, I started to work as assistant architect at Atelier Liu Yuyang Architects. My currently involved Caoyang Centennial Highline Park is an environmental amelioration project utilizing a section of abandoned railways. The site is so extremely narrow and close to the old neighbourhoods that we must consider not only fun in space but also social factors such as construction disturbance to locals’ life and boundary between public and privacy. We work on from detailed handrails and window grilles to the whole highline system lying over the site to integrate all these factors, through which I profoundly understand why Ernesto Rogers calls architects’ duty as “dal cucchiaio alla città”: Architecture is a unique field that merges multiple professions as one, and this idiosyncratic combination reinvigorates passion in me again and again. I believe in the power of architecture that lies in a subtle presence around us, touching our hearts from time to time and makes its meaning visible to the everyday life.
[Personal project] HAND-CRAFTED PP-SHEET PAVILION , Shanghai, China
[Academic project] Hangzhou citizen centre, Hangzhou, China
05 FILLING THE VOID : RE-USE AND RE-READING OF A MEDIEVAL CASTLE MAR 2019
[Personal project] Tourist centre for Pisan Mountains, Tuscany, Italy
06 CALLA LABYRINTH : SOFTNESS IN STIFFNESS AUG 2019
[Professional project] Spatial artwork for Shanghai Urban Space Art Season , Shanghai, China
07 EXTENDING OBLIQUENESS : REFERENCE TO EXPERIENCE IN BRUNELLESCHI’S DOME MAR 2020
[Academic project] Renovation of Expo Italian Pavilion , Shanghai, China
08 SHANG-HAI-LINE : CRAWLING WITHIN NARROWNESS OCT 2020
[Professional project] Caoyang Centennial High-line Park , Shanghai, China
ACKNOWLEDGEMENT
Revised in Dec 2020. Please do not distribute without explicit consent.
I would like to thank Mrs. CHEN Hao, Mr. HU Chenchen, Mr. LI Linxue, Mr. LIN Lifeng, Mr. LIU Kan, Mr. LIU Yuyang, Mr. Manus Leung, Mr. SUN Tongyu, Mr. WANG Zhijun and Miss. WU Zijing. They are my instructors and my friends who have been helping and encouraging me during my undergraduate studies and professional practises. This portfolio cannot be done without their supports.
OTHER WORKS PHOTOGRAPHY DRAWINGS & PAINTINGS SURVEY & MEASUREMENT
01 ARCH ON ARCH VAULTED, PRE-STRESSED, HAND-CRAFTED
Personal project, competition 1st place out of 40 teams June 2016 Hand-crafted PP-sheet pavilion, Shanghai, China Advisor: WANG Zhijun (wangzhijun@tongji.edu.cn) Team work, members: CAO Bozhen, HUANG Xingtai, LIU Lei, CHEN Ziyu, WANG Meng, GUO Sitong, YANG Runyu My contribution: collaborative concept design, unit dimension calculation, hand-crafting and assembling, technical drawings, photos and modification, presentation to juries
College Construction Competition, an annual carnival for architecture students in China, changed its required material from paper-boards to PP-sheets this year for the first time. As a plastic material, pp-sheets are pre-stressed and illuminated to tap its best potentials in our design.
Vaulted = pre-stressed Plastic is elastic, giving a power of structure different from paper-board. When bended, a formal unit gets a tendency of stretching out, and when two sides fixed by bolts as below, its momentum is pulled back by itself. In this way, a formal unit, or a structural unit, does not only takes a vaulted form by bending, also makes itself structurally powerful by being pre-stressed per se.
Formal unit (left) / paper-card model of formal unit (middle) / bolting points (right)
Small arches make bigger Each unit is a small arch. When connected together, their bended curves outlined a bigger arch that can contain human activity. The bigger arch follows the structural principle of general arches: It need copple with lateral thrust. Fortunately, each unit is pre-stressed and will only be somehow unloaded when bearing the weight of the whole structure, holding displacement in a small value.
Elevations (top) / isometric view (bottom left) / sectional isometric view (bottom right) 1:75
Structural transparency - only at night PP-sheets are transluscent. When illuminated, PP-sheets allow more light to go through. Since the whole structure appears to present waved surfaces on the outer side, grid-like supporting structures on the inner side are invisible in the daytime. Only when night falls and spotslights are turned on, inner gridlike structures present themselves as a pattern on the surface of the whole structure.
Photo of a closer view to the surface and light effect, taken by CAO Bozhen (left) / photo of the pavilion illuminated at night (right)
On-spot recording Each team need construct the whole pavilion on spot within a limited time. Many media are also invited to report the event. After being reviewed, awarded pavilions go on an itinerant exhibition in Shanghai to involve more people, be they amateurs or professionals, to appreciate the beauty of structure, material, and architectural discipline.
Photo of testing a section of structure in studio (top left) / photo of assembling units on spot, taken by (top right) / Photo of a boy and the inner view with grid-like pattern, taken by CAO Bozhen (bottom left) / photo of itinerant exhibition in Shanghai, taken by TECUL (bottom right)
02 PLAYING A PENTA-GAME NON-QUADRILATERAL PLANE FORM STUDY
Academic project, core studio in Tongji University October to November, Fall Semester 2016 Li-long gallery, Shanghai, China Advisor: WANG Zhijun (wangzhijun@tongji.edu.cn) Individual work
Equiangular quadrilateral, namely rectangle, dominates our epistemology. The most common and primitive plane form in architecture, be in Eastern or in Western, is rectangular; cardinal directions are based on a square map; letters, books, tablets or any other text-carriers are all, from old times, quadrilaterals. What if our basic recognition of shapes rooted from non-quadrilaterals? This project bases itself on a pentagonal viewpoint. Not only plane forms are articulated in pentagons, but also gable roofs as pentagonal architectural cultural signs are referred to in the study as well as the design.
Reference photos of Hōryūji Temple (Top) / of Parthenon Temple (bottom)
Gable roof: tria + quadra = penta Gable roof is the most commonly occurring roof shape in areas with cold or temperate climates. It originated from ancient times. Interesting is that in western classics a triangular pediment is added, though not functional, to supplement a rectangular elevation into a pentagon. The same is done in this project, but to plan forms instead of elevations.
Collage of universal pentagonal space
Exploded axonometric
A one-storey pentagonal gallery A
This gallery is located in a commercially developed Li-long in Shanghai. To give every space uncommon features, the height is limited to one storey so that any variants on roofs can be directly reflected into interior spaces. Rooms are confined in irregular pentagons, separated by glass-enclosed parts and a courtyard and capped with asymmetric gable roofs, so that shapes of floors as well as interior elevations can be clearly identified as pentagons.
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03 WALKING A FINE LINE SPATIAL EXPLORATION WITH DOWNTOWN ELEVATED ROADS Personal project, concept December 2018 to January 2019 Urban vista platform, Shanghai, China Advisor: LIN Lifeng (lin@lin.archi) Individual work
Have you ever once driven on an elevated road in downtown area of a metropolis? Urban views seen from elevated roads are somehow magical realism in that all and only high-rises emerge into your eyes, while other short buildings are visually blocked since the watching level is raised. Walking on fine lines conceived in this project offers the chance to enjoy the unique townscape without driving on elevated roads. Besides, in downtown Shanghai exist grasslands of large areas separated by elevated roads. These parks are "waste space" of building elevated roads and are popular among citizens despite noises and visual blocking. This project deals with the paradox by taking advantage of established structures of elevated roads, rather them demolish them, to improve natural experience in downtown Shanghai. It thus seems not so difficult to walk a fine line between traffic development and natural parks.
Underside space of elevated roads: rich as classical, neglected as junk pattern A
negative space decomposition of pattern A
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negative space decomposition of pattern B
negative space decomposition of pattern C
Form analysis of underside space of elevated roads
Underside space of elevated roads are usually neglected because shakes and noises. Though, by scrutinizing these spaces, one can find them charming in that they offer numerous possibilities to be interpreted. Even if as for a single section of elevated roads, space around is rich in that the established structure, though physically or economically rational, provides various spatial boundaries from different facets.
Collage of downtown Shanghai
Paradoxes always exist. Downtown area needs strongest connection to other parts of the city, while in the very area the construction costs of elevated roads are highest due to prohibitive land price and extra plots it wastes. Elevated roads, though being connection on urban-scale, actually serve as division on community-scale, breaking continuous walking experience and separating urban grasslands. A smart way to deal with the paradox, instead of objecting the existence of elevated roads, is to tolerate and make use of it.
Spatial boundaries around elevated roads
Physical model of form concept from front view (left) / from side view (right)
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Elevated roads 25 50 can be connective 100 on community-scale as long as 200people M 5 are allowed to move around on them. This project conceives another 10 layer level attached to structures 2 of walking 4 8 12 of elevated roads, con20 necting several grasslands in downtown Shanghai and integrating into 1 2 6 304 the existing leisure programme. 10 20 1 staircase connecting with the ground
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Form units hanging down and holding up
Each form unit varies to co-work with the boundaries of elevated roads, in order to offer unique and different views of townscape. These units are supposed to be duplicated and extended along the whole elevated system in downtown Shanghai. The form follows a sense of suspension and is achieved through light steel structures and metal sheet claddings.
Wandering-beyond The passage is partially widened so that walking area extends beyond the boundary defined by elevated roads above.
Looking-through One side of passages is elevated or lowered so that the views from each other are differently constricted.
Raising-up Part of a passage is raised to give the continuous walking experience a changing boundary from elevated roads above.
Digging-in A void space embedded in solid part, with a ramp leading to it. The new space is at lower level thus has unique views.
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Sinking-down Half of a passage is lowered while the other half remain flat. The lowered part has a higher boundary behind.
Classifying spatial variants on vista platform
Physical models of a typical unit (left) / top view (right top) / bottom view (right middle) / options (right bottom)
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04 FILLING THE VOID RE-USE AND RE-READING OF A MEDIEVAL CASTLE Personal project, competition March to May 2019 Tourist centre for Pisan Mountains, Tuscany, Italy Advisor: Manus Leung (mleung1@gsd.harvard.edu) Individual work
Lao-Tze, a Tao-ism philosopher in ancient China, had his understanding on space: “Erect mud walls and curve out openings, then void serves us as room.” The most primitive way to make space, be it in Eastern or in Western, rather than building up any entities, was to create void. This project reverses the thinking of creating architecture by learning from ancestors. In face of existing medieval castle Rocca di Ripafratta, which can be essentially interpreted as erected walls and the void they enclosed, the new insertion gives its respect to the essence of void by being void itself. Beside void as space, characteristics of castles like walls, openings and towers are also discussed and referred to in the project, which thus juxtaposes modern and antique space and time together.
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Mapping on aggregation of medieval fortified buildings in Ripafratta, Tuscany 1:20000
Castle typology: void from old times Many medieval fortresses and watchtowers lies on Pisan Mountains in Tuscany, where happened numerous military conflicts among different Italian states in the history. The abundance of castles and other fortified buildings left in the area urges a typology study on the castle. Though fortresses before and after 14th century, when the artillery was invented, differs largely in the shape of walls, they all have erected walls as enclosures, thus enclosed voids and at least one watchtower for each in common.
Diagrams of ten other Italian fortified buildings consisting of enclosures, voids and erected towers
Original Luccan gate entrance (left) / re-opened Pisan gate as main entrance with visually co-working towers (right)
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The once abandoned Pisan gate is re-opened with two circular elevator towers, which stand by the route where visitors usually climb on to the castle. As long as people get to the field in front of the Pisan gate, the elevator towers at the entrance and the towers Niccolai and Centino on distant mountains give an impact by all coming into the view. The visual co-existence of medieval and modern towers offers new readings on the mountain scenery and relics.
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The relationship between the relic and the newly-built is discussed in terms of vertical walls, which are one of architectural essences of a castle. Together with existent castle walls, two pieces of ellipse walls define three layers of spaces from within outward: an field in the middle where stands a tower, a series of in-between spaces defined by two pieces of ellipse walls, and an outer ring of circular spaces that share the interfaces of both the organically outlined castle and the regular ellipses. With arch openings on ellipse walls, which refer to the ones on existent castle, all the three layers of spaces produces interesting experiences based on the reading of the castle and wall elements.
modern/light/transculent
ancient/heavy/solid
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membrane fabric
stones and bricks
combination
Diagram of material and era combination
(intact) stones and bricks
(backfilled) earth with mosses and ferns
tensile membrane fabric
steel
1 base: reinforced concrete 50 mm double steel gaskets fixed with screws d = 20 mm, l = 500 mm, at interval of 400 mm spot-welded on gaskets 2 maintenance structure: 3mm tensile membrane fabric 3 structural frame: Φ130 steel 4 ground beam: 290×150mm steel 5 step: 2mm metal mesh H 220×150×10mm steel 6 maintenance structure of reception: 30 mm glass panel 7 fabric supporter: 50×50mm L-shape steel, at interval of 400mm 8 2mm plastic gasket 9 screw, fixing membrane fabric and supporter
Emerging iconicity Two tips of the newly inserted ellipses are elevated and just visible from outside of the castle, merely giving a subtle change in appearance compared with original condition from the view of the main street in Village Ripafratta. The centre thus serves not only as a new public forum and an event field, but also as a visual icon with modern identity for the locals.
Physical model from bird-eyes view (top) / from east front view (bottom)
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05 CAVITY THERMODYNAMIC ARCHITECTURAL PROTOTYPE Academic project, optional studio in Tongji University Nominated Tongji Yearbook of Excellent Designs 2019 Feburary to June, Spring Semester 2019 Hangzhou citizen centre, Hangzhou, China Advisor: LI Linxue (lilinxue@tongji.edu.cn), Iñaki Ábalos (guest tutor) Group work, members: DENG Xinhe, TIAN Tian My contribution: literature reading and research, collaborative concept design, museum part fine modelling and drawings, renderings, photos modification construction physical model and drawings, special brick design
Form and space are always the cores of architecture. But how these two terms differ? Space has many attributes, while form is just one of these attributes that can be sensed and understood optically by human beings. Though sight gives the most vivid pictures of the world, it is not the only way to feel it. Space can be experienced somatosensorily. To master this it requires studies both on and beyond form. Thermodynamic theories thus just fill the gap between these two terms. Cavity, as a primitive shelter from natural environment since old times, has its thermodynamic mechanism as well as potentially variant forms and deep culture signs. This project deals with comprehensive study and creation of cavity, and provides spaces functional, comfortable and meaningful.
A question always bothers every architect: from where comes form? Architects and philosophers have their arguments on form, whose relationship can be summarized within a theoretical framework as below. Force comes to be a general focus. Dynamics, as some kind of force theory, thus is involved in form issue.
legend
Amdavad ni Gufa
Ruminant Animal
Ahmedabad, India Balkrishna Doshi
Stomache
swelling space cavity
gullet
surface
rumen
Gifu Cosmos Centre
surface insulated from nature
Gifu, Japan Toyo Ito
reticlum
omasum rumen abomasum reticlum
nutrition
food
omasum
working surface surface exchanging with nature
Très Grande Bibliothèque
conducting channel
Paris, France OMA
Saiga Tatarica
served major space
Nasal cavity
House & Restaurant Noel
servant minor space
Yamaguchi, Japan Junya Ishigami energy flow (daylight/wind)
material flow
abomasum
intestin
fur gland mucus tube mucosal sac
air
Dome over Manhattan New York, United States Richard Buckminster Fuller
humidity
Diagram of literature reading on form and energy theories
Supplementary case diagrams on architectural and biological cases
Architectural case (cavity) study: Gifu Cosmos Centre & Amdavad ni Gufa
Theorizing cavity as architectural prototype: swelling space + conducting space + sur-space
Gifu Cosmos Centre Toyo Ito
axonometric
double global ceillings
distributed
elevated active floor
aggregated
partially buried active floor
Amdavad ni Gufa Balkrishna Vithaldas Doshi
axonometric
spheral shell with tentacles
Architectural and biological cases are studied in order to extract essential as well as innovative components from the term "cavity". Five architectural cases involving the cavity show different patterns of form organization (see left bottom) and spatial organization (see above). It is common to conceive void and connective parts of cavities (theorized as swelling space and conducting space here), while the entity enclosing the cavity form usually being neglected. After studying stomachs of ruminants and the nasal cavity of antelopes, sur-space, coined from "surface" and "space", is developed as another element that gives attention to working surface. That is to say, the boundary that defines a cavity space is conceived no longer as a mere layer, but as a space that contains activities.
Diagrams of axonometric, form unit, relationship of part-to-whole, relationship between active floor and ground (from left to right)
Physical models of Gifu Cosmos Centre (left) / Amdavad ni Gufa (right)
working surface
heat
Spatial and thermodynamic systems for Amdavad ni Gufa (left) / for cavity as architectural prototype (right)
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project. Sur-space, as the remaining part of cavity space, namely the negative space of regular geometries, 2 4 8 M is organically0 outlined with more engaging features. Sur-spaces12thus serve experience zones and20special 1:200 500 M exhibition halls the best.
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Holding cultural signs of grotto, swelling space gives primitive implication of inviting in. Swelling space largely remains outside climatic borders so that they better serve as entrance halls and atria, where a large number of people take collective activities and air exchange is desperately needed. Sur-space thus becomes functioning areas as from solid parts of grotto, wrapping and defining swelling space.
Swelling space: essence of cavity
Swelling spaces
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Physical model from front views
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Materiality: Shan-Shui scroll painting
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Reference photo of landscape painting by LIU Zhi (top) / exterior from west view (bottom left) / from north view (bottom right)
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1 parapet wall: 3 mm anodised aluminium 5 mm PVC waterproof layer 350×150 mm steel beam 300 M insulation filler 2 roof structure: 8 mm levelling mortar 5 mm PVC waterproof layer 80 mm insulation filler 200 M concrete corrugated steel sheet H 300×250×15 mm steel beam 3 façade: 120 mm bamboo plywood dry cladding with 4 wall structure: 10 mortar 200 mm insulation filler bricks filling steel frames
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1 cable pending structure: Φ 100 mm steel cable connector wedded to beam 2 roof structure: 30 mm granite tile 10 mm levelling mortar concrete corrugated steel sheet H 300×150×12 mm steel beam 100 mm sound insulation filler 20 mm plasterboard 3 steel frames as cavity structure 4 special brick filler (see below) 5 steel beam in cavity structure supporting floor beam 6 upper part of cavity wall: H 300×300×15 mm steel frame 80×80 mm secondary frame 20 mm plasterboard
Details A of roof and façade (left) / B of joint of floor slab and cavity wall (right) 1:50
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Physical model of construction (left) / structure system diagram (right)
Axonometric (left) / physical models of special bricks from inner side (right top) / from outer side (right bottom)
Non-domino system for non-domino space
Special bricks tailored for energy exchange
A building embedded with cavities is spatially unlike those of domino system and thus should not be structurally the same neither. Since spatial form in this project is conceived from spherical cavity, completeness of spatial boundaries matters to both swelling space and sur-space. Therefore, it works that cavities serving as mega-structures holding up the roof truss and that floor slabs of sur-space hanged down from the roof truss, which guarantees the identifiability of geometric space.
A special brick unit is designed specifically for walls of cavity space that serve as climatic borders separating swelling space and sur-space. Two simple form operations on a normal brick leads to the design, which, when piled up, leaves diagonal channels that enable air exchange between indoor and outdoor. Considering that mainly sur-space is air-conditioned, the special bricks cause energy flow to indirectly regulate thermodynamic environment in swelling space.
06 CALLA LABYRINTH SOFTNESS IN STIFFNESS
Professional project, HCCH STUDIO August 2019 Spatial artwork for Shanghai Urban Space Art Season, Shanghai, China Team leader: HU Chenchen (hu@hcchstudio.com), CHEN Hao Team work, members: GE Ziyan, ZOU Xuying, LIU Pinjie, YAO Tingshu, Structure Consultant: ZHANG Zhun My contribution: independent concept design, schematic modelling, form analysis drawings, photos modification
Huangpu Riverside in Shanghai, where once existed and functioned a big amount of industrial buildings, has been industrially retired since long. Renovations of these abandoned spaces have been popular among practising architects in Shanghai. A site for performance artists and citizens is chosen for SUSAS in this project, which provides a labyrinth-like space. As docks, rivers and rails on community-scale are all linear objects, how to react to the spatial stiffness becomes challenge. This project conceives stiffness with softness by conforming to a regular grid while varying form units with quarter circles.
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High-degree prefabrication In consideration of simple construction as well as a sense of form, this project presents itself with serialised units, keeping views demonstrative both from ground floor and from balconies of the shipyard. As for a unit, each facet has three edges as cross-section-defining profile curves, through which the surface is determined. This form-generating method permits absolute realisation of surfaces with tensile membrane fabric.
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Form development and selection diagram
Construction steps : 1. clean original ground and abandoned slide rails 2. imbed steel bases and set up steel frames 3. install membrane fabric on steel frames 4. pave polyurethane boards as finishing
Intimate scalarity among quarter circles Each form unit follows existent grids of slide rails and cuts out an non-linear labyrinth in series of cubes, each confined to 4×4×4 metres. Its continuous path and intimate scale facilitate itself as a stage of events for performance artists.
View from the entrance of Calla Labyrinth
Detail construction diagram
Reaction to industrial relic The site is a small abandoned dock with check slide rails, facing right to balconies of a shipyard, a historic building aged over 100 years. This project as an inserted artwork breaks the monotonous linear space along Huangpu River with series of a single form unit rotated and mirrored. Membrane fabric is wrapped on light steel frames, producing vague visual image to the river scenery and townscape. Seen from balconies of the historic shipyard, Calla Labyrinth outlines a pattern that responds to check slide rails on the ground.
1 Calla Labyrinth 2 crane (abandoned) 3 historic shipyard 4 dock (abandoned) 5 Huangpu River 6 slide rails (abandoned) 7 dock zone entrance 8 café
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Inner space as intimate stage for performance artists
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07 EXTENDING OBLIQUENESS REFERENCE TO EXPERIENCE IN BRUNELLESCHI’S DOME
Academic project, bachelor’s thesis project in Tongji University March to June, Spring Semester 2020 Renovation of Expo Italian Pavilion, Shanghai, China Advisor: LIU Kan (LIUkan@tongji.edu.cn) Individual work
2010 Shanghai Expo ended, with four national pavilions left in the site. Italian Pavilion, conceived as a reference to classical cities in Italy, will continue to work as a public building in a to-be-constructed cultural park. The renovation, apart from resolving problems of how to technically turn a temporary building into a permanent one within Chinese building codes, also reacts to the change of context: Italian Pavilion was in Expo site, but now it is in a park with abundant vegetation. Most critically, the re-use and re-development of original oblique spaces gives multiple readings on these spaces in terms of various ways to experience them. Those, who have visited Brunelleschi’s Dome in Florence, will be reminded of this experience when wandering in the spiral paths between the oblique walls, just to find some spatial nodes allowing them to enjoy views out there.
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Italian Pavilion used to function in an Expo site, but now it need be in a cultural park. Two kind of contexts differs in many ways: building patterns, roads textures, vegetations, townscape, etc. This change demands an reaction of form to make the pavilion play its new role better.
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Structure and space of Expo Italian Pavilion: obliqueness Oblique is not only the space but more essentially, the structure. The building is supported with several oblique steel columns, which follows the edges of conceptual cuts. Walls, not structural, are claddings on these columns. Viewed from outside, the elevations of Italian pavilion presents these cuts as void space, enclosed with glasses, and leaves other part being solid, constructed with translucent concrete bricks.
Exploded isometric drawing of Expo Italian Pavilion (left) / photo of Expo Italian Pavilion, taken by LIU Kan (right top) / renovated interior rendering (right bottom)
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The original design concept of Italian Pavilion is dividing a boxy building with several oblique cuts. These cuts as spaces, are similar to the spaces in a cathedral dome, where visitors need to lean their bodies to advance and ascend. After getting to the top, they can enjoy a panoramic view of a city - or of river-side Shanghai in this case.
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Collage of oblique spatial experience in both Brunelleschi’s Dome and Expo Italian Pavilion
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There are abundant natural and urban sceneries in the 20 40 60 M surroundings. Openings on the four sides forms lookout platforms and helps enjoy beauty of the park 5 and the city.
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A path starts from the ground floor to the roof and connects four platforms, which enables to experience at various stances and from various angles.
A block in the middle is abtsracted to form an outdoor atrium that borders the vertical path as well as connects the building more closely to the environment.
Freeing ground floor from blocks makes the boundar y unclear between the building and the park, as well as connects the atrium with outer environments.
The extended parts above increase architectural areas and interfaces. The architectural form thus turns from an enclosed and stable quality into an open and active quality.
Coffee bar and shops are on the ground floor with cur ved enclosures, in contrast to the polygonal outlines of the original sturcture. This creates interesting in-between space.
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Open for the park, enclosed for the gallery The extended form makes it possible to contain more open spaces for visitors with no will to enter the building. Most interestingly, a spiral path that connects ground floor with rooftop allows visitors to watch sceneries in different directions.
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Floor plans 1:1500 (left) /analysis of programmes and circulations (right)
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View of main entrance in the park (top) / View from Atrium (bottom)
By ex tension, the form is stretched, creating a more pervasive state of being and more inter faces with surroundings.
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The main material is dark green coarse-grained coating, which conceals, not completely, the building in forests of the park while maintaining a sense of contrast. The ceiling of ground floor is punched metal plates, which reflects to make the dark space lighter.
Rendering of closer view of foyer (left) / index of materials used (right)
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The original material for façade, translucent concrete bricks, doesn’t meet the requirement of thermal insulation under Chinese building codes. The new design puts these bricks into non-climatic-boundary walls, M the supporting walls of50outlook platforms, where these bricks can still make their light effects. iv
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1 construction of floor 10mm cement self-leveling mortar interface agent 40mm concrete basic layer heating / AC system 150mm raised space structural steel floor slab
6 construction of floor 2 insulation Materials 25mm pavement 3 glass clamp 20mm fine aggregate concrete 4 punched metal sheet ceiling cement mortar binding layer 5 glass waterproof materials 50mm cement mortar sloped structural steel floor slab
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i outdoor pavement ii punched metal sheet ceiling iii raised floor slab iv coarse-grained coating
Photo of translucent concrete bricks on Expo Italian Pavilion, taken by LIU Kan (left top) / details 1:50 (left bottom) / construction section of façade 1:120 (right)
08 SHANG-HAI-LINE CRAWLING WITHIN NARROWNESS
Professional project, Atelier Liu Yuyang Architects October 2020 to present Caoyang Centennial High-line Park, Shanghai, China Team leader: LIU Yuyang (yuyang@alya.cn) Team work, members: WU Congbao, LIANG Edward, ZHAO Mingming, WANG Yin Landscape Consultant: Shanghai Landscape Architecture Design & Research Institute Co., Ltd. My contribution: one-week interim project leader, part of design development, presentation books, SD & DD drawings of north part, schematic & fine modellings, renderings
The extreme size and context condition of the site, where used to exist a section of abandoned railways, makes the design a challenge in terms of handling relationships in width and hieght: The site is some 15-metre-wide and the height limit is set at 4-metre-high (walking level) to reduce the most possibly disturbance to residents during construction. With half-basements in part of the site, the deisgn makes the most efficient use of planar as well as vertical spaces. Ten Scenarios with special designed views and constructions are distributed along the whole high-line system, creating sequential experiences. Handrails of the high-line and window grilles of walls refer to the industrial heritage and Caoyang Area’s historical memories respectively.
One village, one cirle, one axis
Contextual complexity: sewing up the gap
Global Habour (urban complex)
Senior University
Shopping mall t ng
Shatian Primary School
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Caoyang Centennial High-line Park
SEWING
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1 Area of Caoyang Village 2 Huanbin River
Lan Xi Road
The Seventh Neighbourhood
Environmental Monitor Station Office
Caoyang Park The First Neighbourhood
3 High-line Park Site
Locality of the site on satellite map
Site context
Caoyang Centennial Park is part of a systematic environmental amelioration project. The site was once used for railsways and occupied by local residents after railways became out of use. The residents mainly used the space as a market. The amelioration project aims to inetgrate the linear space with landscape and business space, as well as two squares of a senior university and a governmental office building.
By the site lies eight neighbourhoods, three malls, a university, a office building and a primary school. Sewing up all these places needs different strategies, switching the high-line’s style and park’s boundary between public/open and private/closed.
North part DD plans at -1.0 m level (bottom), +1.4 m level (middle) and 3.8 m level (top) 1:1000
Compact spatial arrangement The site, some 15-metre-wide at most and 9-metre-wide at least, together with the limit of 4-metre-high walking level, should be as compact as possible to create a coherent walking sequence as well as intriguing spatial experience. A half-basement at -1.0 m level, with floors of the same part lifted to +1.4 m, is designed to add complexity within the extreme height limitation, intoducing the vertical transportation among -1.0 m, ±0.0 m and +1.4 m levels. The High-line, with single one 1.8-metre-wide on average, bifurcates and detours at some spatial nodes, reacting to the surrounding environment or onsite constructions.
Sections of three typical parts: vertical transportation of half-basement (top left), three ramps (bottom left), glass box with high-lines (bottom right) 1:250
“Translucent” high-line bridge In order to reduce visual block, the High-line uses grilles as maintainance structure on all its three side: The floor slab is constructed with glass fiber reinforced plastics grilles and laminated glasses, and steel grilles are applied on its lateral sides. Structural parts of the High-line are painted red to be differentiated from decorations.
Anoxometric view of a standard section of the High-line Angle iron supporter
View on the High-line (top) / View under the High-line (bottom) of Senior University part
View under the High-line of Shatian School part
Laminated glass Glass fiber reinforced plastics grille
Detail of glass floors of the High-line 1:10
other works
other works
PHOTOGRAPHY
DRAWINGS AND PAINTINGS
selected from 2017 to 2019 Zhangzhou, Fujian, China / Lianshi, Zhejiang, China / Hangzhou, Zhejiang, China
selected from 2016-2018 Vicenza,Veneto, Italy / Pingyao, Shanxi, China / Shanghai, China
Tulou (mud-residence) in Fujian (top) / broken windows fallen in courtyard in Lianshi (bottom left) / skyscraper designed by UNStudio in Hangzhou (bottom right)
Pen sketch of view outside la rotonda (top) / pencil sketch of Pingyao Ancient Town (middle) / oil painting of lakeside view (bottom)
other works
SURVEY AND MEASUREMENT Courtyard houses of Qing Dynasty in Old Street in Lianshi Town September 2018 Lianshi, Huzhou, China In collaboration with Nanxun Ancient Town Tourism Development co., Ltd and Cultural Bureau of Lianshi
Restorative elevation 1:125 (top) / restorative section 1:100 (middle) /details of windows and beams 1:20 (bottom)