When I was here_Hong En Temple Beijing 当我在这里_北京宏恩观改造 by Alex Hou

Hong En Temple 宏恩观 When [ I ] was here

PROJECT NAME_When [I] was here

The project name is inspired by a movie theme song. The movie called "Masters In Forbidden City." It is a documentary movie tell the story about the Chinese craftsmanship spirit. 'Choose one thing for one lifetime' is their aphorism. This movie narrates the story of a group of art restorers in the Forbidden City, Beijing. Their lives, their works, and their spirits, within one of the most historical architectural complex. I believe that architects are doing something similar to those art restorers. We are unknown to fame, to wealthy, too many many things. Time changes, but this spirit of craftsmanship should never fade. At least that is what I believe. I see this graduation project is my manifesto to my future life, maybe not about what kind of architect I want, but this craftsmanship spirit, just as they said in the movie, 'Choose one thing for one lifetime.' The main theme song "When I was Here" is a song written for those masters of art restorers, in a poetry way. I decide to use this name as my project name, not only because I want to be like them, but also the word [I] also means every individual, when [they] were there. They may feel what I feel of the Hong En Temple. I imagine I was one of the one of the art restorer, trying to restore the Hong En Temple in my master graduation project.

When [I] was here 当我在这里千丝万缕其中一系，安静是穿越的羽衣。闻到，秋光。沐浴，蝉鸣。你在时间的那里，而我在这里。你已等候我多事，终于知己般相遇。枕着，白雪。听见，杨絮。你在时间的那里，而我在这里。以手编织着时光，温柔磨亮了沧桑，偋息在凝望的语境。今夕是何夕，当来不及传递的钟声响起，于是我们都发现了岁月的意义。当我在这里，当我在这里，当我在这里。

ARCHITECTURE DESIGN BRIEF

Contemporary Chinese built environment is burrently facing multiple issues, due to the madeness urbanization process in last 30 years, urban and rural both revealed a fragmental morphology. This morphology is embodied a concentrated reflection in some mega-cities, such as Beijing and Shanghai which modern skyscrapers and traditional/native architecture are sharing the same cultural and social environments. Recently, the Beijing local government launched an urban environment governance movement, targeted most of Beijing Hu-tong courtyards within the old town (within the second Ring road areas). After the cleaning and remediation, the old city of Beijing became neat and clean as other recently built housing communities. But the discussion in here is, are the people live in the old city require that remediation? Or the remediation process is wiping out Beijing old town's urban life? Just like all the last decades, urbanizations occurred in other cities in China? The question in this brief is how contemporary Chinese architect should response to the homogenization of our urban built environment. What is the role of architecture should play in this process?

Hong En Temple phenomenon - Zhu Qi Peng

Hong En Templeâ&#x20AC;? Research TImeďź&#x161;2012-2014 Researcher:Zhu QIpeng We try to describe the complex building cluster HongEn view, but find that the traditional flat, elevation and section basically fail to work. We can only hope to frame fleeting appearance, the internal space of the complex and diverse use ways and ownership through reshaping 3D. HongEn concept is closely connected with the change of around old city from temple to the change of the market process. It is the epitome of transformation of ordinary Beijing old city. Therefore, the changing process of the region for decades can be restored through this concept. By Wonder Architects - Zhu Qipeng

Site

Hong En Temple. The site loated near one of the most historical site at Beijing old town, Bell Tower and Drum Tower. Both towers were few traditional towers that Beijing kept. The function of these towers gives a correct time to citizens. Both towers were built around 1420, and now they are heritage listed. The Hong En Temple, on the north of Bell and Drum towers was an aged care place for eunuch during Qing dynasty. The temple has been through a dramatic transformation during the last 100 years. A factory was installed into the temple during the 1960s, due to social and political environment changes. A market and some commercial projects were built within this site from the 1980s until 2010s. The most exciting thing on this site is every installation or addition on this site were self-organized and were informally constructed. Before the environment governance occurred in 2016. The Hong En temple is a free, open, unorthodox, diverse and inclusive commercial complex, it represents an actual experience/feeling of old Beijing urban culture. Each class in society will find their location on this site. The site illustrates a Chinese regional social and cultural phenomenon. If the site includes Bell Tower Plaza is approximately 6200 m2. Temple is approximately 3300 m2. As architecture is a tangible build-form which bearing social reponsibilities. Under such social and cultural context in Beijing. This brief will ask to design within the current site boundry of Hong En Temple. No specific function/s must add-in, But the new intervention/s must reactivate the Hone En Temple area, To make it become an energetic public site again. There is one aspect that the deisgn must follw which is the Temple is heritage listed, the structure and appearance of the temple can not be sabotaged from the potential intervention/s. How contemporary Chinese architecture should corresponds to the transformation of our social, cultural and political developments? How do we redefine and reactivate the space within Beijing old town? Especially within a sensitive historical heritage? This brief will ask architects(architecture students) to re-examine the Hong En Temple phenomenon, should we develop the Beijing as a sophisticated, intensive and meritocratic city? Or in an opposite direction, develop it in what kind of a liberal form and in a what way?

Site-Hong En Temple

Partial Beijing 1:50000

DESIGN STATEMENT The design reponse to this specific brief will be follow Bernard Tschumi's architecture design methodology to reexamine and offer an attempt on this site. The design will be shown as an experiment process, responding to the issue of Three Main questions asked in the brief. Bernard Tschumi's notion of Space, Event, and Movement will be introduced to the design process. Consider the particular regional context of Hong En Temple, The design methodology has interpreted the Space, Event and Movement are correspond to the site as: 1. Space-uncertain/indeterminate. 2. Event-variational 3. Movement- inconsistent/irregular Through redefining Tschumi's notion of drawing outlines of a logic that would appropriate for Hong En Temple Site. Space and Event at Hong En Temple. The function of the space and events happens on the site are continually changing/shifting occurs in the dimension of time. The tasks of space have to transform faster during the recent 100 years, due to the rapid development of our society, culture, and technology. At the same time, space and events are relatively stable, don't interact with each other frequently. Upon most occasions, events were locked within its space. It seems like a variety of events are happening on the site, but actually don't interact with each other too often. Movement and Space at Hong En Temple The fixed function of space is restricting the movement within the site. Human's movements were restricted by space boundary, and relatively fixed events happened within site. Meanwhile, the movement of the site is also irregular and inconsistent, due to unreasonable architectural interventions. Space is somehow assimilated and becoming boring, and circulation becomes annoying. By Tschumi's theory. Independent events and human's movement will confronting into uncertain space, the function of the space will determine by its events happens within the space. The function of the space can not be predetermined by the architect. From that, space under this circumstance shouldn't have a specific function. Follow by the variations of events and movement by different people, space (function) is constantly changing as well. Concept Based on the phenomenon of Hong En Temple that identified by Zhu Qipeng - Wonders Architects. The site of Hong En Temple represents a type of Desire, in specific, an urban desire which against the orthodox of urban planning and regulations. If we look at the site objectively, we could discover that each space and function have its rationality to exist in there, there must be a rational market to support its existence. In this case, the Hong En temple is purely rational, but it disobeyed the orthodox of our modern/contemporary planning regulation and urban developments. Is this just represent the paradox of our human's desire that as human beings, we have to learn control our desires to anything in this modern world? Indian philosopher Jiddu Krishnamurti puts: "If you kill your desire, you are like the withered branch of a lovely tree." "Now desire, contrary to general belief, is the most precious possession of man. It is the eternal flame of life; it is life itself." (KRISHNAMURTI AUSTRALIA, 10 April 1930, Los Angeles, p. 141) The project will follow a concept of "Desire," explore through Tschumi's design methodology and thinking. To expand a possibility and re-activate the social and cultural events for the site of Hong En Temple.

SITE ANALYSIS The site map present the current site masterplan and the surronding urban environment, Figure grounds around the site tell us this is a typical Beijing Hu-tong area within old town of Beijing. The Beijing Central axis cross through the Hong En temple site, also is the end point of Beijing Central axis during the Ming Dynasty. The high density within this urban environment caused many problems currently. Also, this situation indirectly causing the Beijing government launched urban environment governing movement recently. The grid is difiend by central axis of Beijing, fomr the axis, offsite 10m both towards east and west, the grid system is generated and applied on the site map. By apply the 10m by 10m grid, it will help to navigate ourself around this chaotic area. and by place a notation each 20m. a series of interesting points could be identified from the grid system.

Zhao Fu St 赵府街

Guo Wang Alley 国旺胡同张

Zhang Wang Alley 张旺胡同张

BackTemple

Secondary Factory

Main Temple

VipKid English Early learing School

Factory

Bell & Drum Tower Plaza 钟鼓楼广场

Old Drum Tower St 旧鼓楼大街

Dou Fu Chi Alley 豆腐池胡同张

Bell Tower 钟楼

Site Plan 1:10000

Temple Gate

Pricate club, offices

Small Theater 麻麻乌剧场 Cafe & Bar 麻妙吧

Gf: Market 钟楼菜市场 1F: Pool Room 海潮台球厅 Live Music, Movie Lab 麻杂家Lab Supermarket & Market Resaurants and other small business

After the incident of National-owned enterprises failure during 1990s. The factory and other part of temple has been occupied by Bell Tower market and other samll business and commercial entities. The function of the site has constantly shifting since 1990s un til now.

During 1960s, during"the Cultural Revolution". Part of the Hong En temple has been removed and transformed into Beijing second standard component factory. The brick shed building were built on the the empty space of the temple.

Original Hong En Temple typology approx built during Ming Dynasty, around 1500-1600. Used to called "Qing Jing Buddhism Temple". After 1887, it renamed as Hong En Temple, a aged care temple for retired eunuch from Forbidden City.

Axonometric Site history transformation process 1:2000

YSIZE XSIZE

Site Plan 1:500

Hong En Temple

Zhang Wang Alley 张旺胡同张

Main Temple BackTemple

Site Section 1:500

Secondary Factory

Factory

Temple Gate

Dou Fu Chi Alley 豆腐池胡同张

Site Section 1:250

Site Collage

Bell Tower 钟楼

Bell & Drum Tower Plaza 钟鼓楼广场

HOW DO WE APPLY NEW ARCHITECTURE WITHOUT TOUCHING THE OLD?

SITE APPROACH

FIrst Site hand drawing 1:500

Notation Exercise 1:500

Notation attempt 1:500

Concept approach one 1:500

Basic 3D access to site 1:500

Circulation analysis 1:500

Grid approach 1:500

WHAT IF ARCHITECTURE IS AS MUCH ABOUT MOVEMENT AND EVENTS AS ABOUT SPACE? -Bernard Tschumi

THEORY & METHODOLOGY

This part of the article, the author state the point that Tschumi's perception of architectural space. or to say architecture itself. "the architectural real," which Tschumi said is both the hard, impenetrable core that resists discursive appropriation and at the same time the exorbitant emptiness that remains after symbolization. Therefore, the architectural space/architecture is suffering enjoyed. Hence space could never be rendered knowable or translated as a positivity.... so base on this, what about Hong En temple? What is the architecture Real of Hong En temple? Is it suffering enjoyed?

Article_Architecture's Desire-Reading the late Avant-Garde_K.Michael Hays

This page of article tells us the importance of Transcripts and the importance of Tschumi's early works is not only lie on his graphical expression, the notational system is also not just about image.

FOLIES

From another book of Tschumi, he explained the concept of his famous "Folie". a French word which means madness and combinative. Based on Tschumi's explanation of it. The Folie is both the place and the object of transference. It is a transference process in a production of ephemeral or dissociated structures. Tschumi further defines the Grid system of La Villette project. The function of the grid is refusing any hierarchies and compositions. Finally, Tschumi said the ultimate goal of La Villette project is offering a possibility of a restructuring of a dissociated world through intermediary space - Folie - in which the grafts of transference can take hold...... Is this Hong En temple project have similar notion as La Villette project? Is the new intervention within Hone En temple project is a transference of madness? Or it offers a possibility of a restructuring of a dissociated built environment of China? Through these interventions within the Hong En temple?

GENERIC NOTATIONS

METHODOLOGY OF NOTATION COLLAGE PRACTICE

Inspired by Bernard Tschumi

Based On Bernard Tschumi's theory of "The Manhattan Transcripts", A series of analysis which intened to transcribing an architectural interpretation of reality, that closely related to the site of Hong En Temple. The photographs were taken around Hong En temple, Beijing. Each event locates at the Bell Tower Plaza. The photography documented the activities/events on the site.

1.1

1.2

2.1

2.2

3.1

3.2

THE MANHATTAN TRANSCRIPTS This page of article tells us the importance of Transcripts and the importance of Tschumi's early works is not only lie on his graphical expression, the notational system is also not just about image. Tschumi said in the book. he states; In the transcripts, anarchitectural Real is conceptualized precisely as a realm unrealized and inrealizable, negativity, which becomes present in effect and as event only through displacement and negation in the gaps, holes and cracks that are the marks of architectural desire. What if we apply the Transcripts notational system to Hong En temple project? What is the architecture's desire of Hong En temple and the new interventions within it? What marks it will leave to the site? is it still gaps? holes and cracks?

METHODOLOGY OF MOVEMENTS, EVENTS & SPACE PRACTICE

Inspired by Bernard Tschumi

Movie_The Master_2015 Location_China_Tianjin. Time_1920s A story about revenge, he has to overcome a series of hurdles to get to his ultimate desire. He was fury, he was terried, he was running away. All of these occured in one little....................................alley Rather than functional square feet, why not use film clips as a starting point for an architectural project? 1976-1978 Screenplays by Bernar Tschumi

4.1

5.1

6.1

Movie_Mr No Problem_2017 Scene 01, Four ladies, one room, playing Majiang, they waiting for the protagonist to come. Scene 02, A small bridge over the flowing stream, a man is carring a woman try to pass through carefully, are they lovers to each other? Scene 03, Director and his wife having breakfirst, accountant coming to report the accounts, through the windows...........................Mr No Problem

WHAT KIND OF SPATIAL RELATIONSHIP BETWEEN EACH PROGRAMME?

WHAT IF AN ARCHITECTURE IS GOING TO BE DESIGNED WITHIN A HISTORICAL SITE AT BEIJING TRANDITIONAL HUTONG DISTRICT? HOW DO WE UTILISE TSCHUMI'S METHODOLOGY TO DESIGN THIS PROJECT?

CONCEPT_ DESIRE_WESTERN PHILOSOPHICAL PERSPECTIVES

In Western perspective, the desire is about WIll and Power. Desire is movement, be it in Freud’s drives, Nietzschean forces, in Reich'’s analysis of the buried hopes that chose fascism or in Deleuze and Guttari’s sense of production. For Hegel and Butler; the desire is the metaphysical place of the human subject is articulated through the immanent rationality of desire, for desire is at oncethe fundamental striving of the human subject and the mode through whichthat subject rediscovers or constitutes its necessary metaphysical place. For Schopenhauer; desire is closely relate to will. All willing [original italics] springs from lack, from deficiency, and thusfrom suffering.68 Fulfilment brings this to an end; yet for one wish that is fulfilled there remain at least ten that are denied

CONCEPT_ DESIRE_ARCHITECTURE'S DESIRE

Article_Architecture's Desire-Reading the late Avant-Garde_K.Michael Hays

Tafuri and Derrida talking about the architecture's dsire and modern architecture. Since China now is a semi-capitalist society, we could somehow relate this quote to our project. Taduri analysis that to the extent that architecture can function in a capitalist society, it inevitably reproduces the structure of that society in its own immanent logics and forms. When architecture resists, capitalism withdraws it from service-takes it off line-so that demonstrations by architects fo the critical distance of their practice from degraded life become redundant and trivialized in advance. What architect should react to this social context/environment, to the capital? Maybe Tafuri alrealdy pointed a road for us, but we just inevitably ignore it. Based on this readings. Desire is the constant production, connection, anad reconnection of signifiers, of architectural quanta, of the pulsating flows of pure interpretation. Therefore, the metonymy of architecture's desire is: analogy, repetition, encounter, spacing. Each component will be developed in the readings of architecture that follow.

CONCEPT_ DESIRE_EASTERN PHILOSOPHICAL BUDDHISM Sight or vision is the capability of the eye(s) to focus and detect images of visible light on photoreceptors in the retina of each eye that generates electrical nerve impulses for varying colors, hues, and brightness. There are two types of photoreceptors: rods and cones. Rods are very sensitive to light, but do not distinguish colors. Cones distinguish colors, but are less sensitive to dim light. There is some disagreement as to whether this constitutes one, two or three senses. Neuroanatomists generally regard it as two senses, given that different receptors are responsible for the perception of color and brightness. Some argue that stereopsis, the perception of depth using both eyes, also constitutes a sense, but it is generally regarded as a cognitive (that is, post-sensory) function of the visual cortex of the brain where patterns and objects in images are recognized and interpreted based on previously learned information. This is called visual memory. The inability to see is called blindness. Blindness may result from damage to the eyeball, especially to the retina, damage to the optic nerve that connects each eye to the brain, and/or from stroke (infarcts in the brain). Temporary or permanent blindness can be caused by poisons or medications. People who are blind from degradation or damage to the visual cortex, but still have functional eyes, are actually capable of some level of vision and reaction to visual stimuli but not a conscious perception; this is known as blindsight. People with blindsight are usually not aware that they are reacting to visual sources, and instead just unconsciously adapt their behaviour to the stimulus. Hearing Hearing or audition is the sense of sound perception. Hearing is all about vibration. Mechanoreceptors turn motion into electrical nerve pulses, which are located in the inner ear. Since sound is vibrations propagating through a medium such as air, the detection of these vibrations, that is the sense of the hearing, is a mechanical sense because these vibrations are mechanically conducted from the eardrum through a series of tiny bones to hair-like fibers in the inner ear, which detect mechanical motion of the fibers within a range of about 20 to 20,000 hertz, with substantial variation between individuals. Hearing at high frequencies declines with an increase in age. Inability to hear is called deafness or hearing impairment. Sound can also be detected as vibrations conducted through the body by tactition. Lower frequencies than can be heard are detected this way. Taste Taste (or, the more formal term, gustation; adjectival form: "gustatory") is one of the traditional five senses. It refers to the capability to detect the taste of substances such as food, certain minerals, and poisons, etc. The sense of taste is often confused with the "sense" of flavor, which is a combination of taste and smell perception. Flavor depends on odor, texture, and temperature as well as on taste. Humans receive tastes through sensory organs called taste buds, or gustatory calyculi, concentrated on the upper surface of the tongue. There are five basic tastes: sweet, bitter, sour, salty and umami. Other tastes such as calcium and free fatty acids may be other basic tastes but have yet to receive widespread acceptance. Smell Smell or olfaction is the other "chemical" sense. Unlike taste, there are hundreds of olfactory receptors (388 according to one source), each binding to a particular molecular feature. Odor molecules possess a variety of features and, thus, excite specific receptors more or less strongly. This combination of excitatory signals from different receptors makes up what we perceive as the molecule's smell. In the brain, olfaction is processed by the olfactory system. Olfactory receptor neurons in the nose differ from most other neurons in that they die and regenerate on a regular basis. The inability to smell is called anosmia. Some neurons in the nose are specialized to detect pheromones. Touch Touch or somatosensory, also called tactition or mechanoreception, is a perception resulting from activation of neural receptors, generally in the skin including hair follicles, but also in the tongue, throat, and mucosa. A variety of pressure receptors respond to variations in pressure (firm, brushing, sustained, etc.). The touch sense of itching caused by insect bites or allergies involves special itch-specific neurons in the skin and spinal cord. The loss or impairment of the ability to feel anything touched is called tactile anesthesia. Paresthesia is a sensation of tingling, pricking, or numbness of the skin that may result from nerve damage and may be permanent or temporary.

Source from Soka Gakkai-Nichiren Buddhism Library_online source

Eastern perspective is quite different from western. In the mainly exposition of desire, Buddhism take a big part of it. On the contrary, the desire in the eastern side is not about will and power but primarily focus on suppressing desire. Basically, Buddhism is asking their believers to control or suppress their desires to have a better life. The only way to go to pure land is to wipe out those negative desires. That comes to the five senses of desire, is a concretized or materialized way to illustrate desire. They are Sight, Hearing, Taste, Smell, and Touch, the materialized object is our five organs from the human body. Eye, Ear, Tongue, Nose and our organization. When these five senses come to this Hong En temple project, these five senses define the programs of the project.

Based on Tschumi's perception of space, the Space have three different relationships. Reciprocity, Indifference, and Conflict. These three relationships constantly influence and interact with each other. In this project of Hong En temple, the new interventions should express these relationships, the programs will be reciprocity with each other, indifferent with each other and conflict each other. The function no longer defines the space or architecture, according to Tschumi's theory, this project of Hong En temple, try to illustrate and explore the possibilities of the space within a historical site in Beijing. As well as searching the and exploring the impact of these disjunctions, try to look for an answer to the contemporary Chinese urban built environment through space, events, and movements. Among these uncertainties of relationships of space, is Tschumi's method is a way to solve the problems? During the design process, to utilize Tschumi's methodology to design project, I need a Concept to materialize the method, because all of Tschumi's methods of design is just a method, without an actual concept to concretize the method, we couldn't design anything from that methodology. It will just float in the air, no matter what we do is just copying Tschumi's design. But only if we find a concept, we could materialize that concept, by using Tschumi's methodology to do so. In that case, this project " When I was here" is a materialization of the concept of " Desire," in contemporary society, no other than the unaware of desire caused this massive urbanization in China, which is destroying our city, our villages and our society. How to reintroduce the concept of desire through this Hong En temple project is the objective of it. ÂŹÂŹ

PROGRAMS

SMELL_GARDEN

HEARING_AUDITORIUM

SIGHT_GALLERY

TASTE_MARKET

The total area of the site is approx 3300 m2 include existing Hong En temple. The reason of only have four senses in this project is the fifth sense the Touch_ Body is direct relate to architecture, so in this case, the architecture always embraces other senses. The whole project becomes the sense of touch which is the organ of the body. Another critical issue of this planning is, the expression of senses and its relationships in Buddhism also have multiple layers. From the explanation of Buddhism, these senses are always related to possession, comparison, and competition. From the diagram above, we could see they all interact with each other, each program will interact with other two programs which next to it. This planning of the plan is showing this expression of senses as well. The architectural designed should always have this relationship, it creates the interacting zones, we shall call it transition/buffer zones, that in these buffer zones, people will engage both senses from two programs they interacted. These buffer zones architecturally should represent both program's characteristics.

Concept exploded axonometric 1:500

WHAT IF WE THIS DESIGN THIS SPECIFIC ARCHITECTURAL PROJECT, WHILE APLLYING TSCHUMI'S DESIGN METHODOLOGY AS WELL AS USE THE CONCEPT OF DESIRE TO CONCRETIZE THE PROJECT?

0.1

DESIGN DEVELOPMENT_ [MARKET]_TASTE_ROTATION & REPETITION

Utilise existing factory frame as an architectural elements to create the market

Shifting around the floor, lift up and extrude the existing floor to create programs.

Rotated existing factory walls to is part of disjunction process

MODELS OF MRKET

0.2

DESIGN DEVELOPMENT_ [AUDITORIUM]_HEAR_ROTATION & RRADIATION& QUALIFICATION

Rediate from the node of the program, order established from here, A, B, C, D. Location of main temple and buffer identified. The size of the cricle also difined by the order from the main temple as well.

Rotate from the center of the node, find the direction of the auditorium, difine the orientation of the auditorium as well. Qualification and interction as methodology are used in this program.

0.3 DESIGN DEVELOPMENT_ [GARDEN]_SMELL_ROTATION & QUALIFICATION

Garden program location and the location of central deck.and buffer zones. Qualification process from existing temple column oder. Rotation process from existing factory building on site.

MODELS OF GARDEN

0.4

DESIGN DEVELOPMENT_ [GALLERY]_SIGHT_DISTORTION & FRAGMENTIZATION

Utilise existing side temple's column order to create reference lines. Highlight the Nodes on program Create reference lins of A and B, turn 45 degree from the 90 degree angle to generate second order from the nodes.

Projecting reference lines from the other program's nodes, 15 and 30 degrees, to pass through the Gallery program, establish cross points. Two nodes order created from there. Connect each order to generate perfect cricle. two order represent two different methodology, distortion and fragmentation

04.01 DISTORTION

04.02 DISTORTION

04.03 DISTORTION

04.04 DISTORTION

MODELS OF DISTORTION PROCESS

04.05 FRAGMENZATION

04.06 FRAGMENZATION

04.07 DISTORTION & FRAGMENZATION

MERGED 4 PROGRAMMES INTEGRATEING

MERGED FOUR PROGRAMS FORMED ARCHITECTURAL PLANS

DESIGN DEVELOPMENT_ INTEGRATATION

EXISTING TEMPLE

21 GF. 0.00

GF. - 600

17 16

13 12

06 1F +2500

2F +5000

GF -500

WEEK 8 DIAGRAM PLAN

21 GF. 0.00

GF. - 600

17 16

13 12

D2F +3500 11

1F +2500

D1F +2500

04 loading zone GF -600 03

02 15 degree slope 01

WEEK 9 PLAN

WEEK 9 FIRST SECTION APPROACH

HOW TO EXPRESS THE CONPCET OF DESIRE/FIVE SENSES THROUGH ARCHITECTURAL BUILT FORM? THE TRANSITION ZONE DEVELOPMENT

21 GF. 0.00

GARDEN

GF. - 600

BUFFER 3

BUFFER 2

13 12

GALLERY AUDITORIUM

BUFFER 1

BUFFER 4

1F +2500

MARKET 2F +5000

2F +5000

GF -500

WEEK 10 FINAL DESIGN DIAGRAM

WORKING MODELS FINAL FORM

WEEK 10 ISOMETRIC LINE DRAWINGS

WEEK 10 OBLIQUE LINE DRAWINGS

21 GF. 0.00

GF. - 600

17 16

13 12

D2F +3500 11

1F +2500

D1F +2500

04 loading zone GF -600 03

02 15 degree slope 01

WEEK 10 PLAN

21 GF. 0.00

GF. - 600

17 16

13 12

1F +2500

D1F +2500

04 loading zone GF -600 03

02 15 degree slope 01

WEEK 10 AUDITORIUM PLAN

FINAL DESIGN PRODUCTION

STORYBOARD

DIAGRAMS AND DETAIL PLANS

YSIZE XSIZE

LOADING ZONE

17 16

13 12

LOADING ZONE

ARCHITECTURAL FLOOR PLAN

17 16

Changing Room

13 12 Auditorium

11 DOWN

Storage

AUDITORIUM PLAN 1:100

AUDITORIUM PLAN

ISOMETRIC

21 GF. 0.00

GARDEN

GF. - 600

BUFFER 03

17 16

BUFFER 15

BUFFER 02

AUDITORIUM

01 1F +2500

MARKET

04 BUFFER 04

BUFFER 01

GALLERY 05

2F +5000

GF -500

SECTION A K 一刻talks

K 一刻talks

SECTION B

K 一刻talks

SECTIONAL PERSPECTIVE 01 TRANSITION ZONE OF MARKET & AUDITORIUM

K 一刻talks

SECTIONAL PERSPECTIVE 02 TRANSITION ZONE OF GARDEN & AUDITORIUM

SECTIONAL PERSPECTIVE 03 TRANSITION ZONE OF GARDEN & GALLERY

SECTIONAL PERSPECTIVE 04 TRANSITION ZONE OF MARKET & GALLERY

Express my heartfelt and sincerely gratitude to my masterclass tutor Dr. Akari Nakai Kidd & Professor Des Smith, other design colleagues & all other tutors who helped me finish this graduation project. Thank you

When I was here_Hong En Temple Beijing 当我在这里_北京 宏恩观 改造

When I was here_Hong En Temple Beijing 当我在这里_北京宏恩观改造