Talking spaces, Walking images: A "Chinatown"

Talking Spaces, Walking Images

A Chinatown for an invisible history of Katendrecht

Yi Shan

| 4813871

Independent Group 2020-2021 Interiors Buildings Cities, TU Delft Tutors: Susanne Pietsch | Mauro Paravicini | Daniel Rosbottom | Mark Pimlott

CONTENTS

I. PROLOGUE The invisible past of Katendrecht

II. PLACES Introduction to the embedded anchor sites III. METHODS Transmitting culture through architecture IV. INTERVENTIONS 1/ A veranda for the Chinese church 2/ A shelter for the playground 3/ A pavilion for the community center V. EPILOGUE Thinkings on architecture for diverse cultures

I. PROLOGUE The invisible past of Katendrecht

II. PLACES Introduction to the embedded anchor sites III. METHODS Transmitting culture through architecture IV. INTERVENTIONS 1/ A veranda for the Chinese church 2/ A shelter for the playground 3/ A pavilion for the community center V. EPILOGUE Thinkings on architecture for diverse cultures

‘The FENIX will be a place to wonder and to explore about the past, the present and the future. When we look at the path we’ve been through in the past, we know the future won’t be linear’ Ma Yansong, MAD Architects

26

I. PROLOGUE: The invisible past of Katendrecht

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I. PROLOGUE: The invisible past of Katendrecht

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I. PROLOGUE: The invisible past of Katendrecht

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I. PROLOGUE: The invisible past of Katendrecht

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26

2

I. PROLOGUE: The invisible past of Katendrecht

HISTORY CONTEXT Trace of movement and temoprary settlement

It was noted at the beginning of the year 1911, sailor strikes are all over Europe, including the Netherlands.

In June of that year, there was a labor conflict between shipowners and unionists in both Amsterdam and Rotterdam, and the strike was imminent in the Netherlands as well. Shipowners in the Netherlands therefore had the greatest difficulty recruiting personnel. Instead, they decided to hire Chinese sailors who had been signed off in England. On June 17, 1911, the first Chinese arrived in Rotterdam with the “Batavier VI”. The strike itself ended in failure.

After the strike, part of the Chinese decided to stay and mainly settled in the Katendrecht district in Rotterdam. There were also 'shipping masters', Chinese people who were recruiting Chinese sailors and Katendrecht was soon called Rotterdam's 'China town'.

In time, Chinese sailors also began to settle in the center of Amsterdam. In the Buiten Bantammerstraat, a Chinese recruiting agent managed to open an accommodation where Chinese sailors could find shelter.

The area expanded with a number of shops and accommodations on the Gelderse Kade and the ramparts. The number of Chinese people remained limited at that time and never exceeded 500 in that period, but that changed quickly after the First World War.

Sources: Home to sailors, prostitutes and Chinese labourers Nr. 11 (2019), p. 50-51. ; Over de groeiende populariteit van een eens nogal ongezond deel van de stad. https://www.trademap.org/Index.aspx.

03

04

I. PROLOGUE: The invisible past of Katendrecht

HISTORY CONTEXT Minority to majority: transformed demography

Sources: https://stadsarchief.rotterdam.nl/zoeken/archief

11

In 20 years, Chinese population increases from 100 to 500+. The firstly two generation mostly married Dutch women and tended to move to the city in their older age. Later after World War I, Katendrecht gradually turned to the military harbor , as shown by the heritage of Fenix, the industry tissue grew back again.

12

I. PROLOGUE: The invisible past of Katendrecht

HISTORY CONTEXT Minority to majority: transformed demography

Sources: https://stadsarchief.rotterdam.nl/zoeken/archief

11

During Second World War, Katendrecht suffered bomb attacks and most of the damaged buildings were demolished and came up with new ones. Meanwhile, more and more Chinese moved out. Instead, Katendrecht shuffled several times by new dominants of Greek sailors and German army and Turkish so far. Therefore we can see diverse morphology in this site today.

12

I. PROLOGUE: The invisible past of Katendrecht

cter

dam city . en f ding n ng it. Ex-

40%

ulted in Witte eepMaasnancial y like unice of otter-

Instead, Katendrecht shuffled several times by new dominants of Greek sailors and German army and Turkish so far. Therefore we can see diverse morphology in this site today.

26

I. PROLOGUE: The invisible past of Katendrecht

From 2019, Katendrecht caught attention again by the international tender of renivating Fenix Load into migration museum, which will memorize the invisible history of the migration on this site.

I. PROLOGUE: The invisible past of Katendrecht

‘The FENIX will be a place to wonder and to explore about the past, the present and the future. When we look at the path we’ve been through in the past, we know the future won’t be linear’

Ma Yansong, MAD Architects

I. PROLOGUE: The invisible past of Katendrecht

But, I believe there was another very important piece of history which builds up Katendrecht, that was the days with Chinese. It is good to see that nowadays there are still some pieces from past kept in the storyhouse, and sometime people celebrating Chinese culture in Katendrecht, but sadly it is like either once a year of once a century. People are still memorizing, celebrating and out-spreading, but seems in more private dominant way and in occasional chances.

I. PROLOGUE: The invisible past of Katendrecht

But, I believe there was another very important piece of history which builds up Katendrecht, that was the days with Chinese. It is good to see that nowadays there are still some pieces from past kept in the storyhouse, and sometime people celebrating Chinese culture in Katendrecht, but sadly it is like either once a year of once a century. People are still memorizing, celebrating and out-spreading, but seems in more private dominant way and in occasional chances.

Every year, an exuberant Chinese New Year is celebrated by the dragon tour starting from Katendrecht

I. PROLOGUE: The invisible past of Katendrecht

So I am questioning: 1/ Where else and when else can Chinese culture be present?

2/ In which way?

I. PROLOGUE: The invisible past of Katendrecht

Chinese landscape painting The paintings are not realistic but rather display the scenes from the painter’s mind, what he senses during the walk. The paintings have three parts: 1/ Paths – they are never straight but in meander, which adds depth to the scene; 2/ Threshold – the destination of the path. It may be a mountain, its shadow, or its backlit silhouette and is always clearly defined.

3/ The focus – the single focal point towards all elements lead.

I. PROLOGUE: The invisible past of Katendrecht

“Stories take place.”

--Michel de Certeau A spatial story is a story that offers many links between places and people. Moreover, a spatial story can possibly include public concerns and private fantasies as well as past events or future imaginings.

This ‘extra information’ can be inserted sequentially andsimultaneously. A spatial story about a walk might explore the space itself and at the same time creates a new (or subjective or unrealistic) one: it includes only a limited number of city features but adds various private perceptions.

I. PROLOGUE The invisible past of Katendrecht

II. PLACES Introduction to the embedded anchors III. METHODS Transmitting culture through architecture IV. INTERVENTIONS 1/ A veranda for the Chinese church 2/ A shelter for the playground 3/ A pavilion for the community center V. EPILOGUE Thinkings on architecture for diverse cultures

II. PLACES Introduction to the embedded anchors

Katendrecht as a scattered museum：Users- inhabitants and visitors.

II. PLACES Introduction to the embedded anchors

Katendrecht as a scattered museum：Public Places of interest.

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

II. PLACES Introduction to the embedded anchors

I. PROLOGUE The invisible past of Katendrecht

II. PLACES Introduction to the embedded anchors III. METHODS Transmitting culture through architecture IV. INTERVENTIONS 1/ A veranda for the Chinese church 2/ A shelter for the playground 3/ A pavilion for the community center V. EPILOGUE Thinkings on architecture for diverse cultures

III. METHODS Transmitting culture through architecture

Chinese landscape painting The paintings are not realistic but rather display the scenes from the painter’s mind, what he senses during the walk. The paintings have three parts: 1/ Paths – they are never straight but in meander, which adds depth to the scene; 2/ Threshold – the destination of the path. It may be a mountain, its shadow, or its backlit silhouette and is always clearly defined.

3/ The focus – the single focal point towards all elements lead.

III. METHODS Transmitting culture through architecture

Method 1: Routes in twist and turns

III. METHODS Transmitting culture through architecture

Method 1: Routes in twist and turns

III. METHODS Transmitting culture through architecture

Method 2: Height in disorder

III. METHODS Transmitting culture through architecture

Method 3: Views in frames

III. METHODS Transmitting culture through architecture

Method 3: Views in frames

III. METHODS Transmitting culture through architecture

Method 3: Views in frames

I. PROLOGUE The invisible past of Katendrecht

II. PLACES Introduction to the embedded anchors III. METHODS Transmitting culture through architecture IV. INTERVENTIONS 1/ A veranda for the Chinese church 2/ A shelter for the playground 3/ A pavilion for the community center V. EPILOGUE Thinkings on architecture for diverse cultures

Intervention 1: A veranda

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

Diagnosis 1.Not outstanding from neighboring houses (same material, similar color and height; the facades are plein, lack of depth) 2. Not public (Due to lack of shaded gathering space the facilities in front of the gate don’t function well) 3. Inconvenience (It has to step on another two stairs once you enter the gate)

IV. INTERVENTION 1/ A veranda for the Chinese church

Features pre-spaces for shrines 1. Under roof (the roof is hung out of the facade to provide thepre-entering atmosphere ) 2. Elevated platform (To introduce you the the sacred space gradually) 3. Ornaments (Usually brackets)

IV. INTERVENTION 1/ A veranda for the Chinese church

Features pre-spaces for shrines 1. Under roof (the roof is hung out of the facade to provide thepre-entering atmosphere ) 2. Elevated platform (To introduce you the the sacred space gradually) 3. Ornaments (Usually brackets)

IV. INTERVENTION 1/ A veranda for the Chinese church

Brackets: Point to Surface: Growing from the junction with column to support the hanging roof

IV. INTERVENTION 1/ A veranda for the Chinese church

Brackets: Point to Surface: Growing from the junction with column to support the hanging roof

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

Elevation 1:50

IV. INTERVENTION 1/ A veranda for the Chinese church

Section 1:25

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

IV. INTERVENTION 1/ A veranda for the Chinese church

Intervention 2: A shelter

IV. INTERVENTION 2/ A shelter for the playground

KIOSK: CHILDREN'S PLAYGROUND

IV. INTERVENTION 2/ A shelter for the playground

Conditions 1.Playful for children:football court, acoustic devices, skate vourt.

Flat ground and surrounding broad views(to the playground, to the ship in distance and parks on sides) 2. Natural atmosphere

IV. INTERVENTION 2/ A shelter for the playground

Cassions 1.Originally used for operan performance theater (good acoustic performance) 2. Assembled by small pieces, that could be finished by one single person.

IV. INTERVENTION 2/ A shelter for the playground

Cassions 1.Originally used for operan performance theater (good acoustic performance) 2. Assembled by small pieces, that could be finished by one single person.

IV. INTERVENTION 2/ A shelter for the playground

Cassions 1.Originally used for operan performance theater (good acoustic performance) 2. Assembled by small pieces, that could be finished by one single person.

IV. INTERVENTION 2/ A shelter for the playground

Cassions 1.Originally used for operan performance theater (good acoustic performance) 2. Assembled by small pieces, that could be finished by one single person.

IV. INTERVENTION 2/ A shelter for the playground

Cassions 1.Originally used for operan performance theater (good acoustic performance) 2. Assembled by small pieces, that could be finished by one single person.

IV. INTERVENTION 2/ A shelter for the playground

Cassions 1.Originally used for operan performance theater (good acoustic performance) 2. Assembled by small pieces, that could be finished by one single person.

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

IV. INTERVENTION 2/ A shelter for the playground

Intervention 3: A pavilion

IV. INTERVENTION 3/ A pavilion for the community center

由 AUTODESK 由 由 由 由 由

Kaapbos / Kaappark park / playground

由 AUTODESK 由 由 由 由 由

COMMUNAL PAVILION

URBAN DESIGN

Het Steiger utility of rooms / activities

https://www.magievanfeijenoord.nl/katendrecht/huis-van-de-wijk-t-steiger

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

Conditions: 1.The potential site locates at the back of building, although it’s right at the traffic node, well it is much socially negative .

IV. INTERVENTION 3/ A pavilion for the community center

Conditions: 2. Looking all around, there are not many surprising views. So the idea is to unfold the travel paths and make more views by creating screens, accelerating the depth and reflections. And the elements could corcern to natural elements, such as stones, vegetations and water

IV. INTERVENTION 3/ A pavilion for the community center

由 AUTODESK 由 由 由 由 由

to intergrate with the original community center into a better being of communal space

URBAN DESIGN

由 AUTODESK 由 由 由 由 由

IV. INTERVENTION 3/ A pavilion for the community center

Teahouse documentary in Chinese painting

IV. INTERVENTION 3/ A pavilion for the community center

Teahouse location and atmosphere

IV. INTERVENTION 3/ A pavilion for the community center

Teahouse architecture form and structure pattern

IV. INTERVENTION 3/ A pavilion for the community center

Teahouse contrast of dark and light, high and low at the entrance

IV. INTERVENTION 3/ A pavilion for the community center

Teahouse framed scenes: borrowing views and frame accelera-

IV. INTERVENTION 3/ A pavilion for the community center

Communal Pavilion setback, vision entrance at the cross

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

Communal Pavilion structure reference -- Chuandou

IV. INTERVENTION 3/ A pavilion for the community center

由 AUTODESK 由 由 由 由 由

▲ N

由 AUTODESK 由 由 由 由 由

由 AUTODESK 由 由 由 由 由

Communal Pavilion ground floor plan 1:50

由 AUTODESK 由 由 由 由 由

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

由 AUTODESK 由 由 由 由 由

由 AUTODESK 由 由 由 由 由

Communal Pavilion section 1:50

由 AUTODESK 由 由 由 由 由

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

Communal Pavilion functions respond to space and structure

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

IV. INTERVENTION 3/ A pavilion for the community center

由 AUTODESK 由 由 由 由 由

由 AUTODESK 由 由 由 由 由

opening detail 1:5

由 AUTODESK 由 由 由 由 由

EXTERIOR ELEVATION 1:20

由 AUTODESK 由 由 由 由 由 SECTION 1:20

southern interface section 1:20

opening detail 1:5

+1.20m PLAN 1:20

IV. INTERVENTION 3/ A pavilion for the community center

由 AUTODESK 由 由 由 由 由

由 AUTODESK 由 由 由 由 由

opening detail 1:5

由 AUTODESK 由 由 由 由 由

INTERIOR ELEVATION 1:20

由 AUTODESK 由 由 由 由 由 SECTION 1:20

southern interface section 1:20

opening detail 1:5

+2.80m PLAN 1:20

IV. INTERVENTION 3/ A pavilion for the community center

由 AUTODESK 由 由 由 由 由

由 AUTODESK 由 由 由 由 由

由 AUTODESK 由 由 由 由 由

opening detail 1:5

由 AUTODESK 由 由 由 由 由 SECTION 1:20

southern interface section 1:20

opening detail 1:5

+2.80m PLAN 1:20

由 AUTODESK 由 由 由 由 由 IV. INTERVENTION 3/ A pavilion for the community center

由 AUTODESK 由 由 由 由 由

由 AUTODESK 由 由 由 由 由

由 AUTODESK 由 由 由 由 由

LAYERS OF THE WALL

由 AUTODESK 由 由 由 由 由

IV. INTERVENTION 3/ A pavilion for the community center

� AUTODESK � � � � �

Summer 1 Equinox

3

Winter

2

1. Summer noon sun.

2. Rainwater collec�on from roof to pool and landscape.

3. Roof chimney effect.

Air 4. Geo-thermal heat pump for supplementary cooling.

� AUTODESK � � � � �

4 Pool South

North

IV. INTERVENTION 3/ A pavilion for the community center

� AUTODESK � � � � �

Winter Summer

Equinox

Winter

3

1

2

1. Winter noon sun.

2. Rainwater collec�on from roof to pool and landscape.

3. Roof chimney effect.

Air 4. Geo-thermal heat pump for supplementary cooling.

� AUTODESK � � � � �

� AUTODESK � � � � �

4 Pool South

North

I. PROLOGUE The invisible past of Katendrecht

II. PLACES Introduction to the embedded anchor sites III. METHODS Transmitting culture through architecture IV. INTERVENTIONS 1/ A veranda for the Chinese church 2/ A shelter for the playground 3/ A pavilion for the community center V. EPILOGUE Thinkings on architecture for diverse cultures