CONTENTS
01 SKY-GROUND-PEOPLE The rural reconstruction design of Fujiabian Village
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02 SAMSARA The defination of death——design of Tibetan Funeral house
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03 WHITE ROCKS ON THE SHORE The design of Minshuku and private residence
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04 MARKING THE CITY How to activate the public space of the city
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05 WABI-SABI Zen- the design of tea house
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06 OTHER WORKS Painting and photography
PROLOGUE For me, good architecture must be honest, honest to the site and honest to the users. Every project is a question from the site, and the design process is trying to respond to the question. The ultimate answer should be absolutely honest. Therefore, architecture should be the documentary of the city. As architects, we genuinely write our answers down on the ground. My hometown is a small Tibetan city, and most of my fellow people are not well-educated, which means they hardly have accesses to change their life. I can always hear questions from this land and people there. Sometimes, I was trapped in self doubt. I think the problems can be solved by architects are limited. However, I will still try my best to write my answers to them.
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01 SKY·GROUND··PEOPLE The rural reconstruction design of Fujiabian Villiage Individual work
Instructor: Lin Ye, Zhang Xin Location: Fujiabian Village, Dayi County, Chengdu City, Sichuan Province, China Planning and construction net area: 66000m2 Building area: library and lecture hall 1000m2; Ancestral shrine 1500m2; Exhibition room of Taoist culture 900m2 With the huge tide of urbanization, China is confronted with the situation that the population of rural area is declining dramatically. In last 30 years, millions of villagers migrated from countries to the cities. Consequently, in the China of today, a normal social structure of rural area has been broken. Fujiabian village is located twenty kilometers away from Chengdu city, at the foot of Heming Mountain, which is the cradle of Taoism. Fujiabian is an ancient village of a history more than a thousand years, but now the population of it is declining rapidly. In china, without the existence of religion in most areas, the strongest link among people are consanguinity, especially in rural area. Consanguinity is the foundation of the social structure. “Fujiabian” means the villagers there all share the same family name “Fu”. They actually had the ancestral shrine in the village many years ago. Now, the spiritual center of the village has disappeared under the shock of urbanization and the link between villagers are weaker than old days. The rural reconstruction at Fujiabian village is aimed at using modern architectural method to reconstruct the spiritual world of villagers and rebuild the link between them. By analyzing the current situation of the site, the project replan the road system of the village and place more public space in it. In the Chinese culture, the soul of ancestor are believed to be living in the sky. The design of three important public building in the village: the ancestral shrine, the exhibition room of Taoist culture and the library with lecture halls respectively represent the respond to the sky (the spirit of ancestors), the respect for the ground (the site), and the care for the local people.
Xiling Snow Mountain 5364m
Four Sisters Mountains 6250m
Topography of the site
Mountainous region:60.5%
Altitudes
Hanyang Town 475m
Hilly region: 16.7%
Flatland: 22.8%
66Km Chengdu City Chongzhou County
Dayi County
30Km
64Km
The terrain of the site is very unique. Dayi county is located at the zone of the transition from Chengdu Plain to North-western Sichuan Plateau, so the landform of Dayi county is various. The altitute in this area differs greatly. When we look back on history, most of the ancient human settlements are adjacent to water sources, for the adequate domestic water supplies. In ancient China, there was some traditional theory about selecting the location of settlements, called Fengshui. Anciet Chinese tended to build settlements between the mountain and the river, because a moutain is a natural defense against invaders or monsters. In the modern society, such location has lost its original meaning, but the landform of the site still gave me inspirations about the design. I abstracted the rolling hills and divided it into three parts. The disign of the ancestral hall is a response to the unique local topography.
Site analysis
Villager C:” I just attended a lecture about maize cultivation given by an angricultural agent. Now, I know how to raise the maize yield.”
Nine moments in Fujiabian Village
Villager B:” There will be a Sichuan opera show at 9’o clock, but my wife does not like it. She is playing mahjong with her friends in the tea house.”
By the design of the three main public buildings, public plaza and the riverside landscape, I try to create a series of joints to form a flexible cpmbination of places offered to villagers and tourists. Fujiabian Village suffers from population decline. The agriculture can not meet the economic needs of villagers anymore, so the strategy is using the history and cultural background of the village to design buildings for tourism, as well as villagers’ daily life. In this way, the village may be able to explore a different future.
Villager A:” Look! There is a new swing!”
Existed bridge
Tourist C:” Would you please help me take a picture? I heard the house was built in Qing dynasty.
Tourist A: “here might be the entrance of Fujiabian village.”
Tourist B(posting a photo on instagram): “There is a pocket park. So cute!”
Add a pedestrian bridge.
Typology
1. Interface on both sides of roads
2. courtyard
3.grey space
4. roof
5. detail
Fujiabian Village has a long history and buildings there are typical representatives of the traditional local architecture. The buildings there are preserved well. Traditional Chinese architecture varied from area to area. In western Sichuan, sloping roof, flexible coutyard, spaces under the eaves, and the details of window or column are significant elements of the traditional houses. The collage of local architectural elements creates a montage scene of the site. The houses in the village varied more or less from one to another. But they are all transformed from some typical types of form. By analyzing and classfying these elements, the design might be more reasonable and will fit in the site well. Using modern architectural language to present the essence of traditional Chinese architecture is the main purpose of the case.
Ancestral Shirine
The typical form of traditonal ancestral shrine in China.
Concept development
The abstract topography of the site
Stage for Sichuan Opera
I studied the typical form of traditonal ancestral shrine in China. In order to emphasize the importance of the core space, it is higher than the ground of the courtyard in most cases. And the space is located at the middle of the courtyard, surrounded by other functional spaces. I designed a gentle slope in the courtyard, from the entrance to the core space, indicating the importance of the it. I abstractd the topography of the area, and present it by the change of the roof height. The height of the roof also indicate the hierarchy of the space. Under the highest roof is the space for ancestor-shrine. The anccestral shrine will be the landmark of the village. The highest roof of it is about three metres higher than the average height of the existed buildings, so, people will see it from a long distance. In order to make the ancestor shrine also fit in the daily life of villagers. I envisaged many possible activities there to meet the needs of villagers. In this way, the building will be a special and important one in the village. The design of such a building with traditional functions does not mean to imitate ancient buildings, but to present the essence
Block generation
Sight analysis
of the space hidden behind the form in a modern way.
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Ansector shrine 2F plan
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Construction layers&core space
F ROO
TER RAF
ALL RW O I R XTE 2F E
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1F
AM F BE O O FR
ALL RW O I ER EXT
CE SPA E R CO
E BAS
Living with ancestors
Ancestral hall is the spiritral center of traditional Chinese villages. With the impact of urbanization, more and more rural population begin to migrant to cities, so, the absence of such a space means the lack of cohesion in a village. Actually, during the interview of local villagers, theit desire of rebuilding the ancestral shirine is so strong. In this project, I try to use modern architectural language to rebuild the core public space for this village. Except for the traional function for worship, I put in other function into the new ancestral shrine. The building includes tea house, a stage for traditonal SichuanOpera and other spaces for recreation, like music room or reading room. By doing this, I want to reactivate the village that suffers from the severe depopulation. The core space of ansester shrine is surround by other spaces for villagers daily life. The combination of sacred space and daily life may be a new perspective for Chinese rural problems. The whole space of courtyard serve as the ancestral hall, for the use of sacrifice ceremony and memorial space of thier common ancestors.
Exhibition center & library with lecture hall
LIbrary with lecture hall
Library with lecture hall
The plan of this case is evolved from several typical forms of courtyard in this village. Taking into consideration the needs of reading and learning. The space is designed as an inward-looking one. the interaction is between interior space and inner courtyard mostly, rather than the noisy street.
Ancestral shrine
Exhibition center for Taoist culture
Exhibition center
Public square
Exhibition center is adjencent to the public square. and is a part of the main public space in the village center, surrounding the ancestral shrine. Compared to the ancestral shrine, the exhibition center is at smaller scale and hidden among the existed buildings in the village. I try to use the modern architectural language to present the common scene in the village of flexible and stacked roofs. The roof varies as people see it from the different position. I put the courttyard at the corner of the site to improve the interaction between the building and roads.
02 SAMSARA
The definition of death——design of Tibetan Funeral house IIndividual work
IInstructor:Lin Ye,Zhang Xin Location: Langmu Temple, Luqu County, Tibetan Autonomous Prefecture of Gannan, Gansu Province, China. Building area: 450m2 The explanation of death is varied among nations, and it is one of the important facts that form the world view of these nations. Tibetans believe in Buddhism. For Tibetans,the death does not mean the end of the life, but the beginning of a new life. The Tibetan Buddhists believe that souls of all creatures are eternal, the physic body is just a container of the soul. After the death, the soul will enter a new body to begin the next life. So the cycle of death and life just goes round and round. The design seeks to build the spiritual world of Tibetans, and use the modern architectural language to talk about the death. By designing this case, I try to make people recover from the pain of losing family or friends, and see the world in a more positive view.
Site analysis
Langmu Temple is a famous Tibetan Buddhist monastery. It was firstly built in 1413. Most of the temples in ethnic Tibetan area were destroyed during the great cultural revolution, and reconstructed after that. Those architectures are living history of Tibetan’s suffering and glory. The sky burial site is adjacent to the architectural complex of Langmu Temple. To Chinese, talking about death is taboo. But Tibetans take death as a normal thing. The funeral site adjoins the sacred temple, which means the goasts and gods live in the same place. Some Tibetan monks practice meditaion on death and loss at the sky burial site. The simple site can not meet the need of modern Tibetans. On one hand, they want to have tradition preserved. On the other hand, there is not a place at the site for memorial meeting. So, most of the memorial meetings are held at home, and there is an urgent need of a formal place serving as a memorial space next to the sky burial site.
Funeral house
Sky burial site
Monastic residences
Main room of Langmu Temple
Tibetan’s view of life and death
Deconstruction
Mandala: the ideal world Transform
Deconstruction
Recombination
Transform
Emphasize the axis
Arrangement on the basis of function
Deconstruction Mandala Transform
Deconstruction
Mandala is the ideal world of Buddhism. Mandala means “obtain the essence“ in sanscrit. In Tibet, monks make the model of Mandala before some sacrificial ceremony. Maandala is destroyed as soon as the working process is finished. In the world view of Tibetan, everything in the world is transitory and changeable, so, the desire to keep good things is eternal is meaningless. the abstract geomatrical figure of Mandala inspired the concept of this design. The dim space is for monks to chant and pray for the dead. In Tibet, the body will be kept for sevaral days after the death, because family and friends need to ask monks to pray for the dead. Hope he or she will have a good reincarnation. The dim interior makes people realize the truth of death.
All creatures in the world are captured in the wheel of life and death.
Where the Samsara begins
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B
Ignite the cypress branches at the top of the stairs Reincarnation
Memorial meeting Farewell Light and shadow analysis
Chant the Sutra and pray for the dead Confront the death
6:30 Monks chant for the death
19:00 The corridor lead to the memorial meeting hall
17:30 Memorial meeting hall
6:00 Tibentan sacrifice ceremony
A 1F Plan 1 0
B
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A-A Section
B-B Section
The withered tree symbolizes the death.
The evergreen at the end of the route symbolizes the begin of the reincarnation.
03 WHITE ROCKS ON THE SHORE The design of Minshuku and private residence
Individual work IInstructor: Chen Shengfeng Location: Xianxi village, Zhanghua County, Taichung City, Taiwan. Building areaďźš1017m2 The site is 1 kilometer away from the seaside, surrounded by a lot of fishponds. Xianxi was transformed from a fishing village to an industrial village in past few decades. Now, considering the situation that industry has led to a series of severe environmental pollution, Xianxi village begins to pay more attention to environmental protection and turn to use green energy. Now, there are some ecological preservation area being constructed. The local government has realized that the economic development at the expense of the environment is not reasonable.Under such circumstance, the future of Xianxi village might be full of hope. The project includes a residence for a four-generation family, a homestay with ten rooms and service space. The mean purpose is to keep the memory of the area and make the design fit in the local landscapes. To make sure that the project will not influence the existed texture of the area, the height and density of the project are limited around a low level. The architecture in Taiwan is influenced by Japanese culture to a great extent, so the residence in Taiwan share the same part with Japanese architecture, like the small courtyard and the gray space from indoor to outdoor. In addition, the arrangement of different functions of spaces is also important in this project. Taking into consideration that the site needs to contain the homestay and private residence at the same time, the relationship between privacy and publicity is another mean point in this project.
The memory of the city
1984 A fishing village
1986 begin sea reclamation
1992 worldwide short of petroleum all construction stopped
1995 the urban construction restart
1996 set up industrial district
1998 severe environmental pollution
2000 develop green energy
2005 ecological presevation area
Site analysis
seaside
wind power
rock on the shore
fishing port
seafood market
coastal road
SITE
Plane layout
Courtyard
According to the different needs of function, I worked out the plan. The space for B&B is at the western part of the site, to make it easy to be found, and guests will all have a nice view of the seaside. The height of buildings are lower in the western part, so, there will not be anything to block the view. Guests can sit at the roof garden and see the beautiful sunset. The private residence was arranged at the eastern part of the site, for there will be quieter. and the driveway was leading to the backyard of the residence, so their life will not be influenced too much. The bedrooms of families are arranged not only to keep their own privacy, but also make them connected by the living room and the courtyard. SITE PLAN
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Interior of the B&B room 10
Seek for the memory of the city
TES] [ROU
PE] DSCA N A L [ S] TION [FUC
The combination of building blocks is the abstract of the rocks on the shore.
The high stair well recreate the form of the light house which can be seen from a long distance
The interior space in the staircase remind people the past of the site as an industrial district.
04 MARKING THE CITY How to activate the public space in the city
Team work AA Visiting school in Chengdu Location: Niuwangmiao,Jinjiang District, Chengdu City, Sichuan Province, China One of the members of design group. Participate in the concept development and detail design, plan drawing, physical modeling and construction. Building area: 56m2 The site is located at a cultural and creative park in Chengdu, which is not popular since it was constructed. Taking into consideration that the site in the center of Chengdu City, the unpopuparity of this park might has some reason. After the site analysis, we find out that the site lack of the facilities or function to link with citizen, not to mention the interaction with them. By making this project, we try to use the installation in the city to attract people and make them interact with it. We put in doors on some colums and the columns are rotatable, and the lamps high at the top of the columns can make it shining in the nights.
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In this case, we propsed a simple strategy to activate the square of this cultural and creative park——adding interactive installation. First, we came up with the idea that we put some interesting words on the ballon-like lamps. We consulted the manufacturer of the material and designed the highest height that the material can bear without bend. Then we designed the rotation installation of the columns, and we installed the swivel bearing and boards on the columns. We used light materials to make sure even little kids would be able to rotate them.
Drawing by: Dongya Wang Photography by: Muzhi Wang Post processing by: Rui Lv 3D modelling by: Zichen Liu Physical modeling (1:20): Dongya Wang
Construction process
05 WABI-SABI
Zen——the design of tea house
Team work, academic work Team member: Zhicen LIU, Yun HUANG, Xiao WANG, Yaoxi WU, Chengcheng JIANG, Tingwei KE, Xiaoxuan LUO, Qian GUO, Dongya WANG Location: Jiangan Campus, Sichuan University, Chengdu City, Sichuan Province, China FInishsed the concept development and the joints detail design This project is aimed at creating an impressive atmosphere in the pure space of geomotrical shape. Tea is the important part of chinese culture. It is tea and silk made China possible to trade with other countries for the first time twenty centuries ago. As is known to us, Japan share the same parts of culture with China, including Tea culture. What Japanese has done for developing tea culture is admirable. In this case, we try to explore the Japnese spirit of zen, and create a quiet and fascinating atmosphere for the users. Inaddition, we did not use any metalllic connections in the project. Every joint is designed carefully and take the great use of the characteristics of wood
Joint detail
Wabi-sabi is an essential part of Japanese aesthetics. Nobody can define the word precisely. The word describes a scene which is incomplete, humble, transitory but extremely beautiful. We tried to use this project to present the spirit of Wabi-sabi, and to present the unique aesthetics of Eastern culture. We designed the small tea house with simple material and structure, and we tried to use natural material and the fuzzy boundry to create a kind of peaceful atmosphere. “Sweep the ground of courtyard. Make sure it is absolutely spotless. Then shanke the branches gently. Several leaves fall to the ground. That’s the realm of Wabi-sabi“
We used wood as main stctural material, and used bamboo to recreate the common image of eaves tile in Sichuan area.
West elevation
South elevation Roof plan
The wood structure is simple but clear. We did not use any metal connectors in the project. The whole structure made use of mortise and tenon joints, to make it as neat and tidy as possible. The opening in the roof leads the bright light into the “interior“ space. Actually, we did not divide the indoor and outdoor clearly. The linen curtain served as a fuzzy boundary between indoor and outdoor. It is semitransparent and changeable.
Roof structure
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1-1 Section
2-2 Section
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Floor plan
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Floor structure 1
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