Thesis Design by Han Xiao

CULTURAL STORAGE: A MEDIATOR BETWEEN MEMORY AND SPACES by

Han Xiao

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Interior Design School of Design Pratt Institute May 2020 1

CULTURE ATMOSPHERE: AN MEDIATORS BETWEEN MEMORY AND SPACES

Han Xiao

Received and approved: 06.03.2020 _______________________________________________________ Date_______________ Thesis Advisor Signature Claudia Hernandez-Feiks _______________________________________________________ Thesis Advisor Name

08 June 2020 _______________________________________________________ Date _______________ Chairperson Signature David C.C. Foley _______________________________________________________ Chairperson Name

I would like to express my thanks to my thesis professor Claudia Hernandez, who always

Acknowledgment

encouraged me and offered guidance and help when I lost direction throughout this year. I would never realize the potential of my thesis project without her fostering in the last month. I would also like to thank all my friends and classmates who offered thoughtful feedback and technical support throughout my year of study. Thank you.

Table of Contents Section1: Thesis Design Problem ��8 1. a: Thesis Statement ��9 1. b: Thesis Abstract �� 10 1. c: Thesis Research Statement ��11 1. d: Project Context and User Group �� 21 1. e: Commercial Type ��22 1. f: Chinese Medical Science ��23

Section2: Research Sources Bibliography ��24 Section3: Precedent Analysis ��26 3. a: Precedent 1 Ningbo History Museum �� 27 3. b: Precedent 2 Casa Pedregal ��28 3. c: Precedent 3 Therme Vals ��29

Section4: Case Study �� 30 4. a: Lingering Garden �� 31 4. b: Humble Administrator’s Garden ��32 4. c: Lion Grove Garden ��33 4. d: Chinese Garden (The Astor Chinese Garden Court) ��34

Section5: Site Description and Analysis ��36 Section6: Programming �� 38 6. a: Program ��39 5

6. b: Program Matrix ��40

Section7: Atmosphere Design Strategy ��42 7. a: Atmosphere System ��43 7. b: Test model ��46 7. c: Selected Branches ��47

Section8: Final Thesis Methodologies �� 48 8. a: Spacial Character ��49 8. a. i: Application of Corridor ��50 8. a. ii: Vertical Level Changes ��53 8. a. iii: Framed the Views �� 57 8. b: Light ��60 8. b. i: Light disribution sequencial experience in main corridor ��61 8. c: Material application ��64 8. c. i: Chinese tile application ��65 8. d: Pattern ��67 8. d. i: Ice crack pattern ��68 8. d. ii: Architecture detail pattern �� 69 8. e: Material pallet �� 70 8. e. i: Traditional Chinese garden material pallet ��71 8. f: Landscape ��74 8. f. i: Chinese Landscape �� 75 8. g: Unified design language ��76 8. g. i: Grid of herbal medicine cabinet ��77 8. g. ii: Wall �� 78 8. g. iii: Furniture �� 79 8. g. iv: Installation ��80 6

Section9: Visuals �� 82 9. a: First floor plan ��83 9. b: Second floor plan ��84 9. c: Exploded view ��85 9. d: Detail view ��86 9. e: Perspective Section ��95 9. f: Entrance Facade �� 96 9. g: Rear Entrance Facade ��97

Section10: Thesis Conclusion �� 98 Section11: List of figure ��100

Section1: Thesis Design Problem

1. a: Thesis Statement

Figure 1.1: Chinatown Sketch_http://hawkkrall.blogspot.com/2014/

This study will argue that interior design can act as a mediator between memory and place. By referencing the material and immaterial this project will transport the user to recall the spatial atmosphere of a certain cultural region or place. The Project will be housed in a nondescript building located in the heart of New Yorkâ&#x20AC;&#x2122;s Chinatown and will support the programs of Traditional Chinese Medicine and Health facilities with an auxiliary exhibition space. 9

1. b: Thesis Abstract

Uncontrolled Texture

Texture

Artificial Texture 4

Classical geometrical pattern

In the process of urbanization, modern high-rise buildings are replacing low-rise buildings. It is important to note that during this process local unique cultural atmospheres are being

Pattern

Culture meaning pattern

replaced. This project will investigate regional Cultural Storage. As an immigrant country,

the United States has attracted people from all over the world. Many immigrants maintain and crave a level of connection to their country of origin as part of their self-identity.

Material Level

Evidence of this in the city of New York are places like Chinatown, Koreatown, and Little

Arrange Method

Layered roof tile 1

Imitate nature pavement 1

Color Pallet

Color

Italy.

Color Application 3

Regular Shape

Shape

Irregular Shape

This thesis contends that the incorporation of Cultural Storage through atmosphere into

Material Pallet

the construction of interior space can act as a catalyst to transport the user. The theory

will be tested by dissecting the essence of the Traditional Chinese Garden through the lens of atmosphere and inserting it into the interior of a building without literal replication.

Human Sound

Atmosphere

Sound

Nature Sound 5

Animals Sound

Atmosphere can be presented in multiple ways such as material, color, sound, assembly,

Light

composition, and proportion. By rigorously analyzing the cultural atmosphere in China,

Natural Light 1

Plants

I will dissect the abstract atmosphere into representational elements, which can then be

Flower

applied to the interior space to connect the usersâ&#x20AC;&#x2122; recollections with their impressions of

Smell

China.

Food Architectural material

Imaterial Level

Traditional Chinese Medicine, a functional medical facility for local people, and the most

Proportion 1

Spacial Character

important alternative medical treatment for Chinese, will act as a cultural symbol to

Layout 1

Sequence

preserve Chinatown. Additionally, Traditional Chinese Gardens will be representative of

Direction

the Chinese cultural atmosphere thatâ&#x20AC;&#x2122;s integrated into the project.

Frame the view Architecture Structure

Structual

Bearing Structure 2

Figure 1.2: Atmosphere system

Rooftoop Structure 1

1. c: Thesis Research Statement

Figure 1.3: Chinatown street view

According to my research about Manhattan Chinatown, it contains the densest Chinese population within New York. Correspondingly, the various types of businesses get their growing soil to serve the residents. However, Manhattan Chinatown is experiencing a gentrification process in recent years. The pursuit of interests contributes to the construction of skyscrapers and high-end retail stores, which leads to the increse in rent. At the same time, low- or middle-income families are the majority of the residents. Therefore, the gentrification process is taking the living space from residents. Soon, like little Italy, Manhattan Chinatown is going to fade away in the course of history. Finally, most of the small businesses will move to Flushing or Brooklyn because of the rising rent. This phenomenon prompted me to propose the creation of a program that can exist as a cultural signature that can make Chinatown still be Chinatown and serve the local immigrant community while welcoming the visitor and offering an experience where they can learn about the value of such Cultural Storage . For the purpose of this exploration Culture Storage will be achieved through the articulation of the atmosphere. The notion of the atmosphere will be the keystone to the project, it is the device that creates a sense of place without literal replication. It is the perception within the space that will trigger memory and thus achieve Cultural Storage .

Figure 1.4: Bruder Klaus Field Chapel

Atmosphere

The premise of using the atmosphere as the device for activating and creating memory was inspired by the experience of film watching. In the process of film watching one is presented with the opportunity to be transported to another place, real or unreal. Scenery, color and sound. The atmosphere in the film is like a trigger that helps the viewer to remember something stored in the mind and leads you to a familiar place. In my thesis project, the atmosphere will be the device studied to articulate and manifest the relationship between memory and place. In his book, Atmosphere, Peter Zumthor discusses the creation of atmospheres and what appeals to him. Zumthor states, “So what moves me? Everything. The things themselves, the people, the air, noise, sound, colors, materials presences, texture, form too- forms I can appreciate. Forms I can try to decipher. Forms 1

I find beautiful.” For Peter Zumthor, all the things he experiences when he walks through space -- the light, the texture, the color -- has the capacity to move him. Zumthor articulates effectively the emotive elements that contribute to the atmosphere that I will try to create in a space. I have categorized them into the following system:

1. Zumthor, Peter. Atmospheres : Architectural Environments, Surrounding Objects. P17, Birkhäuser, 2006.

Marerial Pallet

Figure 1.5: Documentation Centre, Topohraphy of Terror, Berlin, view of the barframe exterior, model

First, let’s discuss the roles that material plays in the architecture. It is undeniable that the building itself can be regarded as a collection of different materials, and so does the interior. Peter Zumthor addresses “the greatest secret of architecture”: ''Here we are sitting in this barn, there are these rows of beams and they, in turn, are covered, etc. That kind of thing has a sensual effect on me. And that is what I would call the first and the greatest secret of architecture, that it collects 2

different things in the world, different materials, and combines them to create a space like this.'' The interior would not exist without material. Therefore, the material becomes the most and foremost element in forming an atmosphere.

2. Zumthor, Peter. Atmospheres : Architectural Environments, Surrounding Objects. P23, Birkhäuser, 2006.

Material Arrangement Method

Figure 1.6: Bruder Klaus Field Chapel, under construction

In addition to the material itself, the way we use and treat the material can also affect the way we perceive the atmosphere of a space. Zumpthor notes, "Materials 3

react with one another and have their radiance so that the material composition gives rise to something unique." Material is endless. Take a stone, for example, one can saw it, grind it, drill into it, split it, or polish it; it will become a different thing each time. Then take tiny amounts of the same stone or huge amounts, and it will turn into something else again. In Bruder Klaus Field Chapel, Peter Zumthor uses a special way to treat the material. The chapel begins with a wigwam made of tree trunks. Upon completion of the frame, layers of concrete were poured and rammed atop the existing surface. When the concrete had set, the wooden frame was set on fire, leaving behind a hollowed blackened cavity and charred walls. The concrete is still concrete, but it has been transformed into something else, which creates a sacred atmosphere when combined with the skylight at the top. This illustrates the truism that the way one treats the material can also be the key factor that takes effect in forming an atmosphere.

3. Zumthor, Peter. Atmospheresâ&#x20AC;Ż: Architectural Environments, Surrounding Objects. P25, BirkhĂ¤user, 2006.

Color

Figure 1.7: Diagram of color change the interior space_https://www.archdaily.com/935067/how-colors-change-the-perception-of-interior-spaces

To provide the desired spatial experience, there are elements that change the perception of space without changing an inch of the wall. This can be done by 4

painting surfaces, using different materials, or applying different coatings. Lighter and cooler colors make a space appear larger. Conversely, darker colors may give to the eye the appearance of a more enclosed and smaller space. The arrangement of colors or textures in an environment changes the perspective, making the room appear taller, longer, wider, or highlighting a particular element. For example, to create a feeling of spaciousness in an environment, the best method is to use light colors, which will reflect natural light and make surfaces appear larger to the eyes. On the other hand, when the idea is to make the room appear more compact, smaller, and cozier, opting for stronger colors on wall surfaces can work well. They will absorb most of the natural light, giving a feeling of 5

enclosure that can be beneficial for certain functions. When painting a part of the wall a darker color or leaving the material texture visible, this feature will give the impression that the ceiling is lower. Vise versa, painting the walls in a darker color and leaving the ceiling white makes it feel like a higher ceiling. Therefore, controlling the color application on the wall and ceiling can determine how people perceive the interior space.

4. Souza, Eduardo. How Colors Change the Perception of Interior Spaces . Archdaily. 23 Mar. 2020, https://www.archdaily.com/935067/how-colors-change-the-perception-of-interior-spaces?ad_medium=widget&ad_name=chrome-extension 5. Souza, Eduardo. How Colors Change the Perception of Interior Spaces . Archdaily. 23 Mar. 2020, https://www.archdaily.com/935067/how-colors-change-the-perception-of-interior-spaces?ad_medium=widget&ad_name=chrome-extension

Sound

Figure 1.8: Bruder Klaus Field Chapel

Figure 1.9: Thermal Bath Vals, Peter Zumthor, 1996, Vals, Graubunden

Interiors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere. This has to do with the shape peculiar to each room and with the 6

surfaces of the materials they contain, and the way those materials have been applied. In the Thermal Vals project, water and stone not only exist as material but also sound. The collision between water and rocks creates sounds and lingers in the interior space, making the user aware of the existence of hot springs. In other words, the sound creates the atmosphere of the hot spring in space. Conclusion The previous theoretical research on the elements that contribute to the atmosphere of a place illustrates an important role in my project. It is this pre-phase research that helped me to find a prototype framework to guide the process of creating an atmosphere and decide on a specific direction for the case studies. Only then, I was able to determine a specific design strategy for each branch through a horizontal comparison and summary.

6. Zumthor, Peter. Atmospheresâ&#x20AC;Ż: Architectural Environments, Surrounding Objects. P29, BirkhĂ¤user, 2006.

Figure 1.10: Pulse taking in Traditional Chinese Medical Science

Why Traditional Chinese Medical Science As mentioned earlier, the program proposed for the thesis project is a Traditional Chinese Medical Facility. After comprehending the principles that make up the atmosphere, a reasonable carrier is needed to hold such an atmosphere. Based on the consideration of culture compatibility, project context, and practical function, Traditional Chinese Medicine was selected and introduced as a programmatic driver to link between memory and place. The causes of the rise in demand for CAM (complementary and alternative medicine) are largely unknown and little researched. The explanations for this social phenomenon include the aging population and a growing emphasis on chronic illness and lifestyle-related morbidity rather than acute illness. In such instances, where conventional medicine may be perceived to be less successful, CAM may appear to have much more to offer (e.g. the use of acupuncture for chronic 7

pain). This means that with the large aging population in Chinatown, TCM (Traditional Chinese Medicine) has a certain significance for the local community, helping the local residents in treating chronic diseases and adjusting lifestyles. In the West, TCM is often considered alternative medicine; however, in mainland China and Taiwan, TCM is widely considered to be an integral part of the healthcare system. TCM developed as a form of noninvasive therapeutic intervention (also described as folk medicine or traditional medicine) rooted in 7. Coulter, Ian D, and Evan M Willis. â&#x20AC;&#x153;The rise and rise of complementary and alternative medicine: a sociological perspective.â&#x20AC;? The Medical journal of Australia vol. 180,11 (2004): 587-9.

Figure 1.11: Chinese medicine

ancient belief systems, including traditional religious concepts. Unlike other forms of traditional medicine that have largely become extinct, traditional Chinese medicine continues as a distinct branch of modern medical practice, and within China, it is a necessary part of the public health care system. In most of the world, indigenous medical practices have been supplanted by practices brought from the West, while in Chinese societies, this has not occurred and shows no sign of occurring. Although TCM is seen as alternative medicine in the West, its popularity and demand continue to grow.

8. Wang, Gang, Traditional Chinees Medicine . Ibiblio Organization. https://www.ibiblio.org/chineseculture/contents/heal/p-heal-c01s01.html

Figure 1.12: Stamps illustrate Chinese Traditional Culture

Why Traditional Chinese Garden In addition to the TCM program, the thesis proposal required a recognizable environment linked to culture. What specific atmosphere could be used to represent Chinese Culture is a question that needed to be considered. Although it is undeniable that TCM is a part of Chinese culture, it is too abstract to reference it as a physical representation of the Chinese atmosphere.. After much research, the Traditional Chinese Garden emerged as the core of Culture

Storage to represent Chinese Culture. The Traditional Chinese Garden can be described as a recognizable spatial object that connects the experiential environment of a place to a particular culture, thus creating a type of Cultural Storage via atmosphere. Throughout history, the teachings of Confucianism, Taoism and Buddhism have co-existed â&#x20AC;&#x153;harmonious as oneâ&#x20AC;? in Chinese society. Together they composed the mainstream of Chinese philosophical thought. As a result, their values and ideals are the cornerstone of Chinese culture and are reflected in the aesthetics and spiritual functions of Traditional Chinese Gardens. The unity of beauty and goodness, a Confucian concept, inspires people's respect for the natural landscape. This is expressed in the importance of mountain 19

Figure 1.13: An entrance to the Youyicun Garden_https://en.wikipedia.org/wiki/Suzhou#/media/File:Youyicun_garden.jpg

construction and water management in Chinese gardens and lays the foundation for the development of the landscape. The concept of Feng Shui - rooted in Taoism - which seeks to unite oneâ&#x20AC;&#x2122;s energy with their surroundings, has been integrated into the layout of Traditional Chinese gardens. The Feng Shui principle resulted in the Traditional Chinese Gardens having a unified and unique aesthetic for the arrangement and layout of spaces. Zen advocates relying on intuition to understand the world through your heart, without the need to follow general reasoning and judgment procedures for cognizing. This thought emphasizes the formation of the "artistic conception" of the Traditional Chinese Garden, which blended scenarios and philosophy together. The principles of Confucianism, Taoism, and Buddhism have been very tolerantly integrated into the Chinese garden, consequently, it has become representative of Chinese culture. And thus, this is why the Traditional Chinese Garden presented itself as an identifiable and logical reference to abstract a Chinese cultural atmosphere and perform as the mediator to recall people's notion of China.

1. d: Project Context and User Group Nationality: In the mid-1800’s, the Irish, Germans, and freed slaves resided here and by the late 1880’s and into early 1900’s the next wave of immigrants brought Eastern European Jews, Chinese, and Italians. Today, the majority of Chinatown’s inhabitants are from the Guangdong, Toisan and Fujian Providences in China as well as Hong Kong.

Size and location: Chinatown is home to a resident population estimated at 150,000. Manhattan’s Chinatown is loosely bounded by Lafayette, Worth, Grand and East Broadway streets.

Festival: Chinese New Year The Lantern Festival Ghost Festival Mid-Autumn Festival Chung Yang or “Double Yang” Festival Figure 1.14: 83-85 Bowery being replaved by gaint tower

Figure 1.15: Chinatown population composition_https://statisticalatlas.com/neighborhood/New-York/New-York/ Chinatown/Race-and-Ethnicity

1. e: Commercial Type

Figure 1.16: Chinatown commercial type_http://chinatownworkinggroup.org/2014-01-01%20Pratt%20Report%20to%20CWG.pdf

Restaurant Food market Pharmacy Factory Small business Tea house Souvenir store Jewelry store Wholesale center Herb shop Milk tea store

Figure 1.17: Different type commercial in Chinatown

1. f: Chinese Medical Science Meaningful for multiple groups

Immanency healthy altitude

Little knowledge of western medicine in English

Chinese oversea student

Figure 1.18: Health Center in New York

Figure 1.19: Pharmacy in New York

Limited mobility/Long time waiting register in hospital No willing go to hospital for

Health center

Medicine

minor illness

Old people live in Chinatown

A platform to learn Chinese culture

Tourist

Figure 1.20: pulse feeling in Chinese Traditional Medical science

Figure 1.21: Pharmacy in China

Section2: Research Sources Bibliography

Bibliography

Chinatown Working Group, The Plan for Chinatown and Surrounding Areas. 2013, http://www.chinatownworkinggroup.org/2014-01-01%20Pratt%20

Report%20to%20CWG.pdf

Coulter, Ian D, and Evan M Willis. “The rise and rise of complementary and alternative medicine: a sociological perspective.” The Medical journal of Australia vol. 180,11 (2004): 587-9.

Liu, Dunzhen. Suzhou Traditional Garden, Beijing, China Architecture & Building Press, 2005.

Souza, Eduardo. How Colors Change the Perception of Interior Spaces. Archdaily. 23 Mar. 2020, https://www.archdaily.com/935067/how-colors-changethe-perception-of-interior-space s?ad_medium=widget&ad_name=chrome-extension

Wang, Gang, Traditional Chinees Medicine. Ibiblio Organization. https://www.ibiblio.org/chineseculture/contents/heal/p-heal-c01s01.html

Zumthor, Peter. Atmospheres : Architectural Environments, Surrounding Objects. P17, Birkhäuser, 2006.

Section3: Precedent Analysis In order to learn how a certain kind of atmosphere was created and how it connects to the memory in the mind, I chose three representative projects which successfully form the atmosphere from different perspectives.

3. a: Precedent 1 Ningbo History Museum Architecture: Wang Shu Location: Ningbo, China Project year: 2008

DESCRIPTION: Ningbo Museum uses a large number of old brick, pottery, accumulated from Ningbo Old City transformation forming a â&#x20AC;&#x153;tile wallâ&#x20AC;?. The large use of recycled materials, on the one hand to save resources, on the other hand, can reflect the traditional construction system of Ningbo region, integrating its texture and color into nature, the most important significance lies in the preservation of time, recycled old bricks and tiles, bearing hundreds of years of history, it witnessed the history of the disappearance of the past. The Ningbo museum applies the recycled material from the local traditional houses to the facade of the museum as a way to maintain the history and atmosphere of the certain region. The recycled old bricks and tiles had a certain texture and color which gained from history.

Figure 3.1: Ningbo History Museum_https://www.dezeen.com/2016/08/18/video-interview-wang-shu-amateur-architecture-studio-ningbohistory-museum-movie/

3. b: Precedent 2 Casa Pedregal Architect: Luis Barragรกn Location: El Pedregal, Mexico Project year: 1950

DESCRIPTION: In Casa Pedregal, Luis Barragan distills the color used in traditional colonial houses and the local site materials to introduce modern design while still connecting to the local. Local references are made by the presence of volcanic stone, natural pigments, ceramics from Oaxaca, and native wood known locally as sabino, all these materials together reference in an abstract subtle manner aspects of the Mexico atmosphere.

Figure 3.2: Casa Pedregal_https://www.elledecor.com/it/best-of/a28707855/casa-pedregal-luisbarragan-mexico-city/

Figure 3.3: Material pallet of Casa Pedregal

3. c: Precedent 3 Therme Vals Architect: Peter Zumthor Location: Vals, Swiss Project year: 1996

DESCRIPTION: A B

â&#x20AC;&#x153;The meander, as we call it, is a designed negative space between the blocks, a

space that connects everything as it flows

B A

throughout the entire building, creating a

peacefully pulsating rhythm. Moving around

this space means making discoveries. You are walking as if in the woods. Everyone there is looking for a path of their own.â&#x20AC;?

Figure 3.4: Diagram of brick

Figure 3.5: Diagram of brick

Peter Zumthor. It is a good example of importing natural elements into the interior and carefully solving the material to create a unique bathing atmosphere.

Figure 3.6: Thermal Vals, Peter Zumthor_http://www.archcollege.com/archcollege/2019/03/43821.html

Section4: Case Study The case study section of the book is composed of the three most representative Traditional Chinese Gardens. These projects were analyzed in-depth to develop the atmospheric system through a parallel comparison.

4. a: Lingering Garden

Figure 4.5: Plan of Lingering Garden_Suzhou Traditional Garden , Dunzhen Liu

Figure 4.1: Lingering Garden view_https://www.universitychina.net/culture/kandian/20190517/58323.html

Plan

Figure 4.2: Corridor in Liu Lingering Garden_Suzhou Traditional Garden , Dunzhen Liu

Chinese garden corridor

Figure 4.4: Diagrams of Lingering Garden

Figure 4.3: Sections of Lingering Garden_Suzhou Traditional Garden , Dunzhen Liu

Section

Plan 31

Lightness

Direction

Size

Hybrid

4. b: Humble Administratorâ&#x20AC;&#x2122;s Garden

Figure 4.6: Bird view of Humble Administrator Garden

Figure 4.10: Plan of Humble Administrator Garden_Suzhou Traditional Garden , Dunzhen Liu

Figure 4.7: Sketch of Humble Administrator Garden_Suzhou Traditional Garden , Dunzhen Liu

Plan

Bird view

Figure 4.8: Sections of Humble Administrator Garden_Suzhou Traditional Garden , Dunzhen Liu

Figure 4.9: Views of Humble Administrator Garden_Suzhou Traditional Garden , Dunzhen Liu

Section 32

Water scape

Entrance opening

4. c: Lion Grove Garden

Figure 4.11: Pool of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu

Figure 4.15: Plan of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu

Plan

Figure 4.13: Sections of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu

Section 33

Figure 4.12: Pool of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu

Winding Chinese garden corridor

Figure 4.14: Rocks of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu

Mountain landscape

4. d: Chinese Garden (The Astor Chinese Garden Court) Time: 2003 Designer: NA Program Type: Exhibition Location: MET Period: Ming Dynasty Material: Taihu rocks, granite terrace, ceramic tile flooring, roof tiles, and door frames, various woods (nan wood columns, pine beams, gingko latticework), brass fittings

Key element:

Figure 4.16: Detail Sketches of The Astor Chinese Gardon Court

Figure 4.17: View of The Chinese Garden Court _https://www. metmuseum.org/art/collection/search/78870

Section5: Site Description and Analysis For the site selection, I found a building located in the most prosperous area in Manhattan Chinatown. Itâ&#x20AC;&#x2122;s a three-floor building that contains many small businesses and a large restaurant on the third floor. I will take the first and half of the second floor.

Figure 5.4: Facade_Bowery Figure 5.1: Location

Figure 5.2: Isometric view

Figure 5.3: Exploded view

Location

Isometric view

Exploded view

Figure 5.5: Site first floor plan

Facade-Bowery

Figure 5.6: Second floor plan

Second Floor Plan

First Floor Plan Site-photos

Figure 5.8: Facade-Elizabeth

Figure 5.7: Site photos

Facade-Elizabeth

Section6: Programming

6. a: Program

Traditional Tonic

Herbal

Precious Food

The Program encompasses the

Punctuation

notion of traditional Chinese medical science and is organized

Traditional Chinese Medical Science

so that the visitors can learn about and experience the traditional Chinese medical science.

Chinese Patent Drugs

Herbal Tea Massage

Traditional Chinese Hospital

Moxibustion

Chinese medicated wine

6. b: Program Matrix Space/Room

SQ Footage needs

Occupancy

Public Access

Daylight and/or view

Acoustic

Specialty/Description

Spatial Consideration

Chinese herbal garden

1600

High

A micro garden in interior composed from plants which can used as Chinese medicine

Centralized space gather all the visitors. The view framed from other room

Traditional OTC medicine

420

Low

Medium

Chinese patent drug common used in daily life

Herbal pick up

490

Medium

Pick up Chinese herbal medicine according to the prescribe

The user will experience three

Medical theory exhibition

1350

High

Low

A place teaching the theoretical knowledge of traditional medical science

exhibition sections, including the

Massage&Punctuation

1000

Low

Using punctuation or massage to cure suboptimal health

Medical science book

800

High

Low

Moxibustion

500

Low

behind the exhibition spaces is to

Medicine Process exhibition

2500

High

Medium

A place show how the Chinese medicine is made from plants

house an environment where the

Precious tonic store

400

High

Low

Show and sell precious food

visitor can learn about how herbal

Herbal tea store

500

High

Low

High

Popular beverage good for health based on traditional medical science

medicine is made and the theory

Medicated wine bar

250

High

Medium

Mountain landscape

800

High

Low

High

Administration area

600

None

Low

Check room

Low

Medium

Circulation

13000

Medium

Linear spacial strategy for circulation

Consultation area

260

Medium

High

Having a pulse diagnosis with doctor to decide with treatment you need

Going through a narrowed space before get to the consultation

Herbal medicine storage

370

Low

Restroom for staff only

120

None

Low

Auditorium

900

High

Medium

High

Restroom

670

Low

Chinese herbal garden, Medical process exhibition, and Medical theory exhibition. The intention

behind it. In between the three exhibition spaces are the programs where the visitor can experience what they have learned and participate in it.

Exhibition Area Experience Area Other

Mystery atmosphere

A certain spacial sequence as direction

Hiding in the unprecedented corner Figure 6.1: Program matrix

Total: 24000Sf

Section7: Atmosphere Design Strategy

7. a: Atmosphere System

Texture 10

Pattern 4

The following section describes

Material Level

the dissection of the dissected atmospheric system. First, the

Arrange Method 3

Color 7

a t m o s p h e re c a n b e c re a t e d

Shape

through the material level and

immaterial level. Then the material and immaterial can be divided into multiple branches. The material

Material Pallet 3

Atmosphere

Sound

level includes texture, pattern,

arrangement method, color shape,

Light

and material pallet. The immaterial

level can include sound, light smell,

Smell

spatial character and structure.

Imaterial Level

Spacial Character 16

Structual 7

Figure 7.1: Atmosphere diagram

If we zoom into the dissection Nature Stone

Uncontrolled Texture

of the â&#x20AC;&#x153;Material Levelâ&#x20AC;?, one can observe how the detailed case

Taihu Stone Wood Wood structure

Texture

studies played a role in establishing

Stone Road with uneven surface

the criteria for achieving the

stone road surface

Artificial Texture

desired atmosphere. Here is

hand-made paper texture

the specific manifestation of the

ricepaper

architecture detail

Classical geometrical pattern

Chinese Garden Atmosphere.

doors

Texture can be classified as an

Pattern

window

uncontrolled texture and an Culture meaning pattern

artificial texture. The pattern can be Arrange Method

classified as a geometrical pattern and culture meaning pattern. The

pavement

Layered roof tile Layered roof tile

Imitate nature pavement

random pavement

arrangement method can be classified as Layered roof tile and

Color Pallet

Material Level

imitate natural pavement. Color

traditional architecture color set

Color

can be classified as color pallet and

white wall

Color Application

color application. The arrangement

dark grey roof tile

method can be classified as green clear water

Layered roof tile and imitate Regular Shape

natural pavement. Color can be

window shape

Shape

classified as color pallet and color application.

Irregular Shape

Subtopic 1

Material Pallet

Atmosphere

Items used in design strategy

Figure 7.2: Atmosphere diagram-Material

Human Sound

Language Accent Wind

Sound

Nature Sound

Rain

Rain sound in the interior space

Atmosphere

Language

Human Sound

Accent Wind

Sound

Nature Sound

Rain

Rain sound in the interior space

Water

Artificial water fall

Birds

Animals Sound

Bee

Light

Natural Light using nature light to dissolve the boundary, creating larger space

Plants Flower

Smell

Food Architectural material

The immaterial level includes

Proportion

sound, the way one uses natural

Appropriate scale to human body

light, smells from plants, and spatial Layout

organization; the proportion, t h e l a yo u t o f t he s pac e , the

Imaterial Level

Spacial Character

window framing the view, and

variation of the size, direction and lightness at the same time

Sequence Direction

all the structural elements. After categorizing them, I developed the

open frame view

design strategy.

Frame the view seperate frame view

hidden frame view

Architecture Structure sectional structure Straight round column

Bearing Structure

Structual

Items used in design strategy

Mortise and tenon wood bearing structure

Rooftoop Structure

Large curved slanted rooftop extended the wall limitation in order to drain the rain and avoid making damage to the wall.

Figure 7.3: Atmosphere diagram-Immaterial

7. b: Test model

This process began with the creation of a series of study models to test what are the essential elements that identify the essence of an atmosphere. . I removed the material and immaterial elements step by step to test how the atmosphere is formed. Then those characteristics were brought back, but used in a different way to avoid Figure 7.5: Combination model

duplication. Only the essence of the atmosphere is kept rather than literally duplicating a Chinese Garden.

Figure 7.4: Series of study model

Study model to test design strategy 46

7. c: Selected Branches

1.Spacial Character

Vertical level changing

Nature Stone

Uncontrolled Texture

Taihu Stone

Application of hallway

Wood Wood structure

Texture

Stone Road with uneven surface

stone road surface

Artificial Texture

hand-made paper texture

Frame the view

ricepaper

architecture detail

Classical geometrical pattern doors

Pattern

window

Culture meaning pattern

pavement

2.Light

Openings in the hallway

3.Material application

Chinese tile application

4.Pattern

Ice crack pattern

pavement

Layered roof tile

Arrange Method

Layered roof tile

Imitate nature pavement

Color Pallet

Material Level

random pavement

traditional architecture color set

Color

white wall

Once the system was derived, the

Color Application dark grey roof tile

design strategy was then applied

green clear water

Regular Shape

to my project and is divided into

window shape

Shape

spatial character, light, material

Irregular Shape

Subtopic 1

application, pattern, material pallet,

Material Pallet

and landscape.

Atmosphere

Language

Human Sound

Accent Wind

Sound

Nature Sound

Rain

Rain sound in the interior space

Water

Artificial water fall

Birds

Animals Sound

Architecture component pattern

Bee

Light

Natural Light using nature light to dissolve the boundary, creating larger space

Plants Flower

Smell

Food Architectural material Proportion Appropriate scale to human body

5.Material pallet

Layout

Imaterial Level

Spacial Character

variation of the size, direction and lightness at the same time

Sequence Direction

Traditional Chinese garden material pallet

open frame view

Frame the view seperate frame view

hidden frame view

Architecture Structure sectional structure Straight round column

Bearing Structure

Structual

Mortise and tenon wood bearing structure

Rooftoop Structure

6.Landscape

Large curved slanted rooftop extended the wall limitation in order to drain the rain and avoid making damage to the wall.

Chinese Landscape Figure 7.6: Diagram of selected branch

Section8: Final Thesis Methodologies

8. a: Spacial Character The layout of traditional Chinese gardens differs, depending on the scale, terrain, and content. But in general, regardless of the size, there is a basic layout within them. The meeting hall is the activity center of the whole house. Rockery, ponds, and flowers are placed in front of the hall to correspond. Pavilions are used to decorate in between. Corridors work as the circulation to connect and incorporate them into a whole.

8. a. i: Application of Corridor

Here are the three plan views of Figure 8.3: Plan of Lingering Garden_Suzhou Traditional Garden , Dunzhen Liu

my previous case study. Corridors perform as the connection between the different areas.T his diagram illustrates that, in addition to connecting spaces, the corridor is also used as a way to separate spaces. It works as a threshold between the garden and the residential area.

Figure 8.2: Plan of Lion Grove Garden_Suzhou Traditional Garden , Dunzhen Liu

Figure 8.1: Plan of Lion Grove Garden_Suzhou Traditional Garden , Dunzhen Liu

Similarly, the notion has been applied to my design. The corridor has been highlighted in the plan as red, and is used as a path to go through the project and separate the space.

Figure 8.4: Diagram of corridor application in plan

The corridor is the veins of the architecture in the traditional garden and the guiding mechanism of the scenery. The style is marked by light and elegance; too high or too wide is not acceptable. The width is around 1.2m to 1.5m. The distance between the columns is around 3m. The height of the column is around 2.5m. The ver tical character of the corridor has also been maintained. The corridor in the project proposed here has been enlarged under the promise of the same space ratio. The layered roof structure is transformed into a combination of the tile and the grid system so that the visitor will experience a similar atmosphere to the Chinese Garden corridor.

Figure 8.5: Diagram of corridor transformation

8. a. ii: Vertical Level Changes

Figure 8.6: Section diagram of Humble Administratorâ&#x20AC;&#x2122;s Garden

This set of diagrams reflect and document the spatial character through vertical level changes . The ground level changes in the garden are highlighted from the sectional view.

Figure 8.7: Section diagram of Lion Grove Garden

Figure 8.8: Section diagram of Lingering Garden

Tree Roof Plant Window Taihu Stone The visual perception works as a

Ground

center line to divide the multiple

Water

views. In the TCG, trees are placed Figure 8.9: Elevation and section of Chinese Garden_Suzhou Traditional Garden , Dunzhen Liu

a little higher than the window. In contrast, the stones are placed a bit lower than the window, sometimes

Tree

lower than the ground level.

Roof Window Ground Taihu Stone Water Figure 8.10: Elevation and section of Chinese Garden_Suzhou Traditional Garden , Dunzhen Liu

Roof Tree Opening Wall Stone Water The same rules apply to the project,

Figure 8.11: Section A of project

which of fers the same visual rhythm to the Chinese garden.

Roof Roof Opening Wall Stone Water Figure 8.12: Section B of project

Roof Opening Wall Stone Figure 8.13: Section C of project

Roof Plants Opening Wall Stone Figure 8.14: Section D of project

8. a. iii: Framed the Views

In the TCG, the openings work as a view-framing device, transforming the view into a poetic painting. This strategy is also explored in my project through the creation of round openings.

Figure 8.15: Diagram of arc framed view

The poetic transformation can also be presented through the window.

Figure 8.16: Diagram of geometric framed view

The same effect can be achieved not only with openings but also, in the layout of the space. A single white wall surrounding the corridor can also create a poetic framed view. The deployment of these strategies can be seen in the way the herbal garden views are framed in the project.

Figure 8.17: Diagram of spacial framed view

8. b: Light In order to create transitions between the different program requirements and create views between the halls, pavilions, and scenic spots, the corridor transforms in size, openness, height, and lightness. Each treatment corresponds to its adjacent space.

8. b. i: Light disribution sequencial experience in main corridor

These series of diagrams reflect how the different light and shadow atmospheric conditions of the TCG are translated into corridor experiential sequence.

Figure 8.18: Entrance of Lingering Garden_https://www.zhihu.com/question/57905335

In this case, the change in light is controlled by the tile density on the roof. Different styles create different levels of light.

Figure 8.19: Roof structure

Figure 8.20: Sructure detail

Frame structure

Basic structure

Figure 8.21: Different types of tile application

Changing the lightness in corridor 62

Figure 8.22: Diagram of tile application in plan

8. c: Material application

8. c. i: Chinese tile application

Chinese tile is used as a layered material on the roof. However, the way in which the tiles are layered was changed. I layered it; applied it vertically to the wall, combining it with the grid system to form the wall. Different levels of privacy are also controlled by the density of the tile.

Figure 8.23: Diagram of application about Chinese Tile

Figure 8.24: Diagram of vertical wall privacy level

Different level of privacy can be achieved throught the density of the Chinese Tile

8. d: Pattern

8. d. i: Ice crack pattern I extracted the ice crack patterns from the pavement and gave it a third dimension. It became the herbal garden planting area : a hint to trace back to the TCG atmosphere.

Figure 8.25: Floor pattern in Chinese Garden_Suzhou Traditional Garden , Dunzhen Liu

Figure 8.26: Diagram of floor pattern

Figure 8.27: Diagram of floor pattern transformation

8. d. ii: Architecture detail pattern The architecture detail was the next element that was considered, it was identified as a patternmaking mechanism. Similarly to the previous section, it was applied with a 3Deffect to it. This became the shelving in the precious tonic store.

Figure 8.28: Diagram of detail pattern transformation

8. e: Material pallet

8. e. i: Traditional Chinese garden material pallet

Here are the materials I extracted

Figure 8.29: Diagram of material pallet source

from the Chinese garden. It includes the slaked lime, tiles, stones, water, textured wood, and so on.

However, a new own interpretation of the materials palette was made. Some of the materials will remain the same, and others are transformed into a simplified version but keep their original properties. For example, the Taihu stone with pores and holes was transformed into curved monolithic stone. The textured lime wall was transformed into rice paper. Figure 8.30: Diagram of material pallet transformation

Figure 8.31: Final material selection

8. f: Landscape

8. f. i: Chinese Landscape

For the Chinese landscape in the garden, micro stones were used to represent the macro mountain and import the natural scenery. To achieve this, the tile was placed vertically in the grid system using solid and void to create an abstract representation of the Chinese landscape. Ultimately articulating the facade in my project.

Figure 8.32: Diagram of Chinese Landscape

8. g: Unified design language

8. g. i: Grid of herbal medicine cabinet

Figure 8.34: Sketch of the unit of cabinet

The grid language was inspired by the herbal medicine cabinet. The traditional herbal store has this kind of grid cabinet lining on the walls. The grid became the unifying language deployed to string and connect all the design strategies I

Figure 8.35: Diagram of cabinet layout

arrived at.

Figure 8.33: Pictures of traditional herbal medicine cabinet

8. g. ii: Wall

Figure 8.36: Examples of grid applications to the wall

Tile wall

Frame view wall

Landscape wall

Rice paper wall(luminant in side)

8. g. iii: Furniture

Figure 8.37: Examples of grid applications to the furniture

Herbal medicine cabinet

Exhibition box

Precious store shelf

Book shelf

Bar table

8. g. iv: Installation

Figure 8.38: Examples of grid applications to the wall installation

Reception

Entrance canopy

Ceiling

Rice paper wall(illuminator inside)

Section9: Visuals

9. a: First floor plan

Figure 9.1: First floor plan

Entrance located both sides of the street. Elizabeth Street will be the main entrance. And there will be two different entrances for the visitors and patients. The first floor contains all the exhibition program and experience program.

9. b: Second floor plan

Figure 9.2: Second floor plan

Half of the second floor contain the auditorium, book storage, and treatment program need more privacy.

9. c: Exploded view

Figure 9.3: Exploded View

9. d: Detail view

Figure 9.4: Front Entrance View

Landscape wall on the facade create this kind of landscape shadow on the floor. The grid ceiling system dropping down and formed the reception desk. Going further is the exam room wrapped with rice-paper wall and there is luminance inside to give the patient a warm atmosphere.

Exam room Waiting area Reception desk Fountain

Figure 9.5: Herbal Pickup Entrance View

Grid cabinet Arc entrance Arc window

Figure 9.6: Herbal garden seen through from Herbal pickup

Round opening to framing the view of the herbal pick up area. And within the herbal pick area, you can see the herbal garden from another round opening. 87

Which create the poetic atmosphere in the Chinese garden.

Figure 9.7: Stramp rest area

Souvenir store Chinese landscape & water-scape Stramp rest area Grid system ceiling 88

Figure 9.8: Massage & Cupping Therapy

The massage and cupping therapy located at the corner on the second floor. And the roof tile also offers certain privacy for this area.

Moxibustion & acupuncture therapy Medical book storage Roof system for corridor Massage & cupping therapy

Figure 9.9: Auditorium

At the sunken auditorium area. The visitors can see how the level changes and how the tile creates light changing, which align with the Chinese garden experience.

Glass looking down to the medical theory exhibition Auditorium Roof system(open) Stair to the first floor

Figure 9.10: Herbal garden

The visitor first confronted with a fountain at the entrance. Then go through a winding corridor. During this process, the smell from the medicine storage can penetrate through the dense tile wall. The visitor first smells the fragrance of the medicine, then enter the herbal plant garden to see the live herbal plants. The shape of the plant pot and the curved opening can build the atmosphere of the Chinese garden. Framed window open to herbal pick up Chinese herbal garden Herbal medicine storage Framed window open to exhibition area Winding corridor filed with tile Wall washer light to dissolve the boundary

Figure 9.11: Exhibition Area

Stair Elevator Precious tonic store Ramps as a guide in exhibition area Exhibition unit

Figure 9.12: Herbal tea store

Corridor to second floor Herbal tea store Medicated wine bar

Figure 9.13: Rear entrance

In this area. There are Chinese landscapes and waterscapes to form the Chinese atmosphere. At the other entrance view, the roof works as a guild to the corridor.

Theory exhibition Souvenir shop Corridor entrance Chinese landscape

9. e: Perspective Section

Figure 9.14: Perspective section

9. f: Entrance Facade

Figure 9.15: Entrance facade

9. g: Rear Entrance Facade

Figure 9.16: Rear entrance facade

Section10: Thesis Conclusion

Thesis Conclusion

Through the research and testing process, the project is designed with references and careful consideration. Cultural Storage is a design proposal that focuses on connecting to memory by capturing the essence of a place without literally replicating it. The ultimate goal of the exercise was to transport the visitors or introduce them, to an environment far away through the articulation of an atmospheric spatial experience. This was achieved by the development of a systematic experiential design strategy that outlined the material and immaterial qualities of the space such as sound, smell, light, material, color, space organization and proportion. To contextualize the investigation the essence of the Traditional Chinese Garden was selected as the reference location and was inserted into the busy New York Urban Landscape. The system deployed in this study was developed based on the horizontal comparison of traditional gardens and established a catalog of intentional interventions controlling the atmosphere from all aspects. In reflecting on the year-long exploration, I still do believe the original argument holds. It is possible to link memory through the atmosphere by referencing the material and immaterial, in this sense the project was a success. The project was less successful in identifying the specific application of the multiple strategies, and at times, it became too convoluted, complicating and diluting the experience. In looking towards the future, the next phase of the research would be to fully focus on a single strategy and rigorously develop it to continue to establish a clear baseline for what captures the essence of Cultural Storage .

Figure 10.1: Exploded View

Section11: List of figure

100

List of figure

casa-pedregal-luis-barragan-mexico-city/ �� 28 Figure 3.3: Material pallet of Casa Pedregal �� 28 Figure 3.6: Thermal Vals, Peter Zumthor_http://www.archcollege.com/ archcollege/2019/03/43821.html ��29 Figure 3.4: Diagram of brick ��29 Figure 3.5: Diagram of brick ��29

Section1 Figure 1.1: Chinatown Sketch_http://hawkkrall.blogspot.com/2014/ �� 9 Figure 1.2: Atmosphere system ��10 Figure 1.3: Chinatown street view ��11 Figure 1.4: Bruder Klaus Field Chapel ��12 Figure 1.5: Documentation Centre, Topohraphy of Terror, Berlin, view of the barframe exterior, model ��13 Figure 1.6: Bruder Klaus Field Chapel, under construction ��14 Figure 1.7: Diagram of color change the interior space_https://www.archdaily. com/935067/how-colors-change-the-perception-of-interior-spaces ��15 Figure 1.8: Bruder Klaus Field Chapel �� 16 Figure 1.9: Thermal Bath Vals, Peter Zumthor, 1996, Vals, Graubunden �� 16 Figure 1.10: Chinese medicine ��18 Figure 1.11: Stamps illustrate Chinese Traditional Culture ��19 Figure 1.12: An entrance to the Youyicun Garden_https://en.wikipedia.org/wiki/ Suzhou#/media/File:Youyicun_garden.jpg �� 20 Figure 1.13: 83-85 Bowery being replaved by gaint tower ��21 Figure 1.14: Chinatown population composition_https://statisticalatlas.com/ neighborhood/New-York/New-York/Chinatown/Race-and-Ethnicity ��21 Figure 1.16: Different type commercial in Chinatown ��22 Figure 1.15: Chinatown commercial type_http://chinatownworkinggroup. org/2014-01-01%20Pratt%20Report%20to%20CWG.pdf ��22 Figure 1.19: pulse feeling in Chinese Traditional Medical science ��23 Figure 1.17: Health Center in New York ��23 Figure 1.18: Pharmacy in New York ��23 Figure 1.20: Pharmacy in China ��23

Section4 Figure 4.1: Lingering Garden view_https://www.universitychina.net/culture/ kandian/20190517/58323.html ��31 Figure 4.3: Sections of Lingering Garden_Suzhou Traditional Garden , Dunzhen Liu ��31 Figure 4.4: Diagrams of Lingering Garden ��31 Figure 4.5: Plan of Lingering Garden_Suzhou Traditional Garden , Dunzhen Liu ��31 Figure 4.2: Corridor in Liu Lingering Garden_Suzhou Traditional Garden , Dunzhen Liu ��31 Figure 4.6: Bird view of Humble Administrator Garden ��32 Figure 4.8: Sections of Humble Administrator Garden_Suzhou Traditional Garden , Dunzhen Liu ��32 Figure 4.10: Plan of Humble Administrator Garden_Suzhou Traditional Garden , Dunzhen Liu ��32 Figure 4.9: Views of Humble Administrator Garden_Suzhou Traditional Garden , Dunzhen Liu ��32 Figure 4.7: Sketch of Humble Administrator Garden_Suzhou Traditional Garden , Dunzhen Liu ��32 Figure 4.11: Pool of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu ��33 Figure 4.13: Sections of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu ��33 Figure 4.15: Plan of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu ��33 Figure 4.14: Rocks of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu ��33 Figure 4.12: Pool of Lion Grove Garden Garden_Suzhou Traditional Garden , Dunzhen Liu ��33 Figure 4.16: Detail Sketches of The Astor Chinese Gardon Court ��34

Section2 Section3 Figure 3.1: Ningbo History Museum_https://www.dezeen.com/2016/08/18/ video-interview-wang-shu-amateur-architecture-studio-ningbo-history-museummovie/ �� 27 Figure 3.2: Casa Pedregal_https://www.elledecor.com/it/best-of/a28707855/

101

Figure 8.10: Elevation and section of Chinese Garden_Suzhou Traditional Garden , Dunzhen Liu ��54 Figure 8.11: Section A of project ��55 Figure 8.12: Section B of project ��55 Figure 8.13: Section C of project ��56 Figure 8.14: Section D of project ��56 Figure 8.15: Diagram of arc framed view �� 57 Figure 8.16: Diagram of geometric framed view �� 58 Figure 8.17: Diagram of spacial framed view ��59 Figure 8.18: Entrance of Lingering Garden_https://www.zhihu.com/ question/57905335 �� 61 Figure 8.19: Roof structure �� 62 Figure 8.21: Different types of tile application �� 62 Figure 8.20: Sructure detail �� 62 Figure 8.22: Diagram of tile application in plan ��63 Figure 8.23: Diagram of application about Chinese Tile ��65 Figure 8.24: Diagram of vertical wall privacy level �� 66 Figure 8.25: Floor pattern in Chinese Garden_Suzhou Traditional Garden , Dunzhen Liu ��68 Figure 8.27: Diagram of floor pattern transformation ��68 Figure 8.26: Diagram of floor pattern ��68 Figure 8.28: Diagram of detail pattern transformation �� 69 Figure 8.29: Diagram of material pallet source �� 71 Figure 8.30: Diagram of material pallet transformation �� 72 Figure 8.31: Final material selection ��73 Figure 8.32: Diagram of Chinese Landscape �� 75 Figure 8.33: Pictures of traditional herbal medicine cabinet ��77 Figure 8.34: Sketch of the unit of cabinet ��77 Figure 8.35: Diagram of cabinet layout ��77 Figure 8.36: Examples of grid applications to the wall ��78 Figure 8.37: Examples of grid applications to the furniture �� 79 Figure 8.38: Examples of grid applications to the wall installation ��80

Figure 4.17: View of The Chinese Garden Court _https://www.metmuseum.org/ art/collection/search/78870 ��34 Section5 Figure 5.1: Location �� 37 Figure 5.5: Site first floor plan �� 37 Figure 5.2: Isometric view �� 37 Figure 5.7: Site photos �� 37 Figure 5.3: Exploded view �� 37 Figure 5.6: Second floor plan �� 37 Figure 5.8: Facade-Elizabeth �� 37 Figure 5.4: Facade_Bowery �� 37 Section6 Figure 6.1: Program matrix ��40 Section7 Figure 7.1: Atmosphere diagram ��43 Figure 7.2: Atmosphere diagram-Material ��44 Figure 7.3: Atmosphere diagram-Immaterial ��45 Figure 7.4: Series of study model ��46 Figure 7.5: Combination model ��46 Figure 7.6: Diagram of selected branch ��47 Section8 Figure 8.3: Plan of Lingering Garden_Suzhou Traditional Garden , Dunzhen Liu �� 50 Figure 8.2: Plan of Lion Grove Garden_Suzhou Traditional Garden , Dunzhen Liu �� 50 Figure 8.1: Plan of Lion Grove Garden_Suzhou Traditional Garden , Dunzhen Liu �� 50 Figure 8.4: Diagram of corridor application in plan ��51 Figure 8.5: Diagram of corridor transformation ��52 Figure 8.6: Section diagram of Humble Administrator’s Garden ��53 Figure 8.7: Section diagram of Lion Grove Garden ��53 Figure 8.8: Section diagram of Lingering Garden ��53 Figure 8.9: Elevation and section of Chinese Garden_Suzhou Traditional Garden , Dunzhen Liu ��54

Section9 Figure 9.1: First floor plan �� 83 Figure 9.2: Second floor plan ��84 Figure 9.3: Exploded View ��85

102

Figure 9.4: Front Entrance View ��86 Figure 9.6: Herbal garden seen through from Herbal pickup �� 87 Figure 9.5: Herbal Pickup Entrance View �� 87 Figure 9.7: Stramp rest area ��88 Figure 9.8: Massage & Cupping Therapy ��89 Figure 9.9: Auditorium ��90 Figure 9.10: Herbal garden ��91 Figure 9.11: Exhibition Area ��92 Figure 9.12: Herbal tea store ��93 Figure 9.13: Rear entrance ��94 Figure 9.14: Perspective section ��95 Figure 9.15: Entrance facade �� 96 Figure 9.16: Rear entrance facade ��97 Section10 Figure 10.1: Exploded View ��99

103

Fin

104