Acadamic Portfolio - 20154660 by Eva Yuehua Wang

portfolio EVA YUEHUA WANG Student number: 20154660. Title - MArch Architecture. Code - TMHARCSING09. Academic Year - 2020/21. Mode of Attendance - Full-time.

EVA YUEHUA WANG

“ARCHITECTURAL AGITATORS MUST BE DISLOYAL TO THEIR DISCIPLINARY NORMS. ARCHITECTURE CAN ONLY SHAKE US WHEN IT TAKES THE RISK OF NOT BEING CALLED ARCHITECTURE. ...THE CHALLENGE TO ARCHITECTS IS TO CHALLENGE ARCHITECTURE, TO SHAKE US, AND KEEP SHAKING.”

- MARK WIGLEY

CONTACT Email: triplesec333@gmail.com Tel: (CN) +86 18612386217 (UK) +44 07413411193 Website: evaaawang.wixsite.com/cloudina LinkedIn: https://www.linkedin.com/in/eva-wang-805775a8/ Issuu: https://issuu.com/evaaawang Vimeo: https://vimeo.com/evaaawang Adress: 106, Building 2, #15 Compound, Beifengwo Rd, Haidian District, Beijing, China

EDUCATION Newcastle University, UK

BA (HONS) Architecture

2015 - 2018

Syracuse University, USA

civil engineering, minor in painting studied abroad in UNSW, Sydney

2014 - 2015 2015

Beijing 101 High School, PRC

curated culture week with Egypian Embassy

2011 - 2014

WORK EXPERIENCE

REFERENCES

SODA Architects, Beijing Architectural assistant (RIBA part 1 ) Interdisciplinarity designer

Aug, 2018 - Jul, 2019

Anna Czigler ac@acme.ac design tutor - Newcastle Univeristy senior architect - ACME

Studio O, Beijing Summer Internship

Jun - Aug, 2015

Yuan Jiang y.jiang@soda.archi founding partner - SODA

DFA (Define Studio), Shanghai Summer Internship

July - Sep, 2017

Effi Meridor effi@studioo.cc founding partner - studio o

LANGUAGES Mandarin Chinese native

| Engligh full professional proficiency

| Italian beginer

PIXEL IS A NEW MATERIAL

At the beginning of stage 3, I got a new camera

I was amazed by the fact that our perceptions

as a gift. Unconsciously I began to take these

were easily blended together by the camouflage

vague photographs. I somehow like to take a

of digital reality- we seem to naturally accept their

photo of the shading, lighting, ghosting scenery,

existence as part of the physical world without any

vague figure. The world in-camera screen was re-

feel of strange or situatedness – everything hap-

alistic however somehow renewed. I became an

pens so naturally. Unconsciously, I’ve taken lots of

observer through the tiny lens on my camera.

photos of media, mediums. I enjoyed taking those pictures as if I’m creating a new world of all these

The light running through the darkness and cap-

vague luminous and pixels running by.

tured by my camera. LED light-emitting with the frequency of 400 terahertz and I suddenly realized

Have we ever realized that we are living in a world

that we are now living in a holographic world with

full of pixels? We seem to got used to accept the

thousands of pixels and reflecting particles passing

world is made of solid and firm physical particles,

by. – They are never a material however we are

where the pixels are nothing about reality. We cre-

living in a material world within all of their effects.

ated the world with VR, AR as a short time digital experience almost like a 10 minutes’ theme park

How digital has formed our urban and architec-

tour. LEDs, Neon lights were used sleeplessly as a

tural world that was firmly based on solid materi-

big signature slogan in commercial in Las Vegas.

als?

However, what about the physically built enviroment that we actually live in?

Thatâ&#x20AC;&#x2122;s when I started to be interested in immersive technologies in architecture. I am interested in adopting digital technologies (animation, led, interactive projections, etc) as a material in architecture creating an immersive and sharing experience. In my graduation project, theatre blur, I explored a utopia potential to celebrate the diversity in the migrant area. Digital projection was embedded to translated material to create a sharing immersive experience for all to access. Projection was defined as an intangible social material in my projects to blur both physical boundaries and social segregations. The use and social role of immersive technology (in this case, projection) was explained in my additional written thesis â&#x20AC;&#x153;BLURâ&#x20AC;? (Appendix 1) I chose to continue exploring the use of digital material in architectural spaces. I chose to join a start-up cross disciplinary studio in my year out, where I led the built project Akatoao restaurant & bar in 2019. We create a space of luminosity with LED embedded translucent physical material (Tyvek) on the top floor of the most popular retail zone in Beijing. In this commercial project, animated LED light was no longer related to commodity and promotion. It rendered a poetic immersive experience and a relaxing atmosphere in the loudest and crowdest part of the city. In the 1850s, the progress of manufacturing steel made it possible to achieve a more complex architecture. Technological progression challenged the existing, generic, conventional of the physical world. And now in the 20s of the 21st century, where are we now? How would the immersive technology challenge our built environment? What the physical world will be when we all share a digital world? I experimented and made my approaches in my works in the past. And I look forward to having more opportunities to explore the possibilities and depth of it beyond its formal meaning in further study.

project 1 theatre blur (year 3)

As James Corner stated, â&#x20AC;&#x153;making mapping, not a tracingâ&#x20AC;? in THE DERELIT THEATRE The falling of Heygate estate

The Agency of Mapping, contextual research often focuses on the physical and material context of the site and then finally presented in physical form by the architects. Intangi-

LCC students & local community protesting against gentrification

ble contexts are always hard to be captured, measured and expressed apart from the material side. These often lead to artists work against gentrification

a generic and stiff institutional limitation in cultural architecture. The primer part of this project aimed at how material re-

Urban regeneration always comes along with destruc-

flects social diversities and vise versa. In the individual proj-

tion, demolition and physical changes to the local context.

ect, theatre blur, I tried to preserve and archive the social

Elephant and Castle is currently on the second verge of

character of Elephant and Castle embedded with material ex-

regeneration. Consisted of people from different cultural

periments, translate spatial information on physical material

backgrounds, the area is known for its super-diversity com-

by immersive technology.

munity and its multi-cultural shops. The regeneration plan by the Southwark council was aiming to stimulate cultural and

This project explores the potential of archiving intangible

economic growth. Controversially, The wide range of demol-

social information with an architectural approach and form

ishment and generic reconstruction is gradually becoming

sharing and diverse identities. Instead of seeing the regener-

a social homogeneous process. Along with the change of

ation of a demolishing process, I see it as a utopian potential

built environment, intangible social identities and memories

to diminish the boundary in the segregated community and

attached to those physical fragments were also diminished.

continue social interaction.

i always have this vision, that in elephant and castle, there is a theatre illuminating the dark and segrated neighbourhood. seeing through its fragmented transparent layers of facade, seeing through the ppojected sceneries, seeing the abstractly distorted audiences, you see the past, the present, and the ultimate fictional future with no boundaries.

social diversiy in walworth road 2

SOCIAL? MATERIAL?

What is Elephant and Castle made of? Social or material? Walworth road, Elephant and Castle is known for its diverse ethnic identities and its diverse independent international shops. Our site reading intention was to collect the possible answers to this question from different perspectives. BRICKS! BRICKS! BRICKS! Along with the regeneration plan, chained stores, gradually take places of individual shop, suggesting a social homogeneous process. On the material side, repetitive use of bricks and generic materials result in a unified architectural typology .

diversity of independent shops along Walworth road, photo credits by Suzanne M. Hall and the applicant

Thus, we started to ask this question to local people. We hoped to generate more aspect and information that was hidden under conventional way of mapping which only focus on physical characters. At the same time, we focus on material side by collect material details on each independent shops.which is also diverse.

precediecy research on evaluting tangible and intangible apporaches on contempory cultural architecture

shop front as a social collage - Iâ&#x20AC;&#x2122;m interested in the relationship between the physical representation of the shop fronts and its social representation. How does the material reflect social and cultural diversity and vice versa?

: Social

“

WHAT DO YOU THINK

[ Material

ELEPHANT & CASTLE IS MADE OF?

# The People # Culture

# Community # Varity

# International # NO, NO!! # Rubbish people

# Up and coming # “GO AWAY!“ # shops # I don’t know. I’m from NORTH LONDON # Everything is special ... # A good place for shopping # RUBBLE # Scaffolding # It’s not a castle, and there’s no elephants

street interview (in group) Walworth Road, Elephant and Castle, Southwark, London 23. 10. 2017 photo by the applicant

Shop front detail from one of the independent halal meat shop in Walworth road that shows shop owner’s individual perference and collective information from local community. Material imperfections rendered a cultural collage. (photo credit by the applicant)

white

mixed

black

black carib

demographic map; data collected by And

SOCIAL DIVERSITY

bbean

asian other

MATERIAL DIVERSITY

material map of collected material fragments along Walworth Road

COLLECTING MATERIAL

collecting material detials to obtain a material collage to map out Walworth Road. photo by the applicant

drew Whitby

TRANSLATE FINDING

Unified tin foil only preserved the physical characters of the material surface; whereas street identies and memeries were attaches behind the surface. Social reflections were lost in these transcripts. Thus, I designed an installation to project the social material back onto the physical ones.

groupwork: installation designed and made by the applicant 6

SOCIAL PROJECTION

Projected detials and impressions that we gathered from the site visually on the foil collections, to bring back what has been lost in previous process. The role of projection played here is as a medium. It converted virtual and abstracted information onto the physical material. It became a medium that translate the lost information. The process of â&#x20AC;&#x153;translationâ&#x20AC;&#x153; provided different perspectives to understand the material not only in depth, but also in the broader social scope. Restoring social identities and other material characters fused our material practice with social understanding.

street activities shop front material details overexposed matters abstract collage texts documentaries . . .

CAMERA OBSCURA

groupwork: photos and drawings by the applicant 8

DESIGN FOR INTERACTIONS

[ MATERIAL

: SOCIAL

Along Walworth road, the role of our installation changed from a device that we ask people to observe material, to a device that people ask us to observe themselves. At the meantime, some of the participants started to share their stories with us. The material diversity reflects its social diversity on the Walworth Raod. The diverse characters and individuals is what I want to cherish in Elephant and Castle.

installation made and deployed in the site as a group. photos and drawings by the applicant 9

DRAMA OFTEN OBSCURES REAL ISSUES ”

BLURRING THE ‘BLACK BOX’

- Jenny Holzer

“What is elephant & castle made of without its local people?” The Walworth is rich in its culture and social backgrounds. The local culture of Elephant and Castle is closely embedded with its diverse demographics and identities. As the same answer to our primer survey, the various people is the most important character that made the Walworth. How to archive those intangible material from the context? 1

A STORY OF ALL

the protagonist

In the process of regeneration, the local community is to be homogeneoused, eventually losing its character, or to be segregated by the new community who take place. Instead of regarding the “old” as a past, I decided to continue stimulate cultural interactions. Thus, I proposed a public theatre which provides a place to showcasing individual characters. Everyone is the protagonist.

transparency

RING OF AUDIENCES

1. theatre typology study 2. study on the relationship of seeing and being seen from the film "Rear window" 3. building visual connections to transparencify the "black box theatre" 4. “ring of audience”- theatre prototype the relations of stage and audience are seen as a blured ring of seeing and being seen. The visual relationship and role changes as perspective changes. Ultimately, conventional scenery from the street are seen as a scenery through the distorted material with projection layer. 5. initial conceptual collage 6. "BLUR" further research on the use of immersive technology as a medium in experimental theatre. The role of projection was examined and how visual connection redefined the conventional perfomer-audience relationship.

LIST OF FIGURES

Figure 1 | Zooming in, own drawing Figure 2 | Site overlook, own drawing Figure 3 | Untitled, own drawing Figure 4 | Overexposed, Diller + Scofidio, 1994. Source: https://dsrny.com/project/ brasserie Figure 5, 6 | Rear Window, Alfred Hitchcock, 1954.Source: https://www.youtube.com/ watch?v=6kCcZCMYw38 Figure 7 | Rings of audiences, own drawing Figure 8 | other thoughts on visual connection and spatial qualities, own drawing Figure 9, 10 | experiment design - types of panels, own drawings Figure 11 | experiment journal, own design - types of panels Figure 12 | Brasserie, Diller + Scofidio , 2000 Figure 13 | Moving Target, Diller + Scofidio , 1996 Figure 14 | A Delay in Glass, Diller + Scofidio , 1988 Figure 15 | transparency + reflection, own photo Figure 16 | types-of-reflection, source: Figure 17, 18 | Slipcover, Les Levine, 1966

Yuehua Wang

160412897 ARC3015 Theroy into Practice Space of Fictions

* the title is paying respect to Diller + Scofidio’s EXPO project the Blur (2002)

Figure 1 | Zooming in, own drawing

The Vision >>

“ DRAMA OFTEN OBSCURES REAL ISSUES ”

BLUR

... the framing tool, From this point of view, I imagined Elephant and castle as a broader stage, where every solid wall or

- Jenny Holzer

The brief of my proposal is to

The experimental theatre that I pro-

design an experimental theatre

posed will be closely engaging with

in Walworth road, across from East Street market, Elephant and Castle |fig 1|, which was known for

aim is not only to create a theatre that was accessible to the broader

now to be on the second verge of

people to engage with the theatre production, as an audience, also as

which continuously contributed to the local culture at the back of time,

my point of view, to see what we are familiar to as a scenario, one has to observe things beyond the ordinary ways, in the other perspective. In this case, architecture became a framing

public and ethnic group, but also

tool that could possibly visually con-

showcasing individuality and allow

the histories as a past, I proposed to stimulate the cultural interaction,

in the performing form.

the ‘show’ at the same time |fig 1|. In

the local community and embedded with the diverse identities and individualities of local people. The

its theatrical heritage and multicultural community. The area is gentrification. Instead of regarding

barrier became transparent, revealing different stories’ of the area on

vert a familiar place into a theatrical

‘performers’. Thus the experience will be immersive, interactive and

In a talking in 2017 1, Elizabeth Diller, the co-founder of Diller Scofidio + Renfro (DS+R) criticised those ‘productive nihilism’ of familiar everyday conventions, that, “Conventions are so obvious that we are blinded by their familiarity.” The New York studio DS+R is a cross-discipline architectural practice that is known of their cross-media works in all scales.2 While exploring architecture, theatre, and installation through

scene to our perception. For exam-

media and technology, the architect

ple, tinted glass, window frames, or

also experimented the relations

reflective building facade, would all

between the tool and ideas.

provides the perspective that put the

maintaining the transparent rela-

ordinary living into a fantasy.

tionships between each other.

“

...does the tool create the possibility for a new thought or does the thought require the invention of a new tool that inadvertently creates a new thought?”3 - Ricardo Scofidio

1.Diller and Scofidio, “Blur: Swiss EXPO 2002 Diller + Scofidio, Ear Studio, MIT Media Lab”, Assemblage, 2000, 25 <https://doi.org/10.2307/3171285>. 2. p21, Guido Incerti, Daria Ricchi and Deane Simpson, Diller + Scofidio (+ Renfro): The Ciliary Function (Milano: Skira, 2007). 3. Ibid. 2.

Figure | show on, own drawing Figure 3 | show on, 3own drawing Figure 2 | Site overlook, own drawing

... The Medium, ... The Medium, Diller Scofidio’s 1994 project ‘overexposed’ |fig 4| has conveyed

time, people who are looking at this project unawarely see becoming the audience. The change of role was

it, learn from its results and then destroy it”. After the great recession in the 80s, unlike the emergence of “paper architect”4, who exhibit their work on printed pieces in the gallery, Diller + Scofidio urged to test their ideas “in real operational

Figure 7 | Rings of audiences, own drawing

Similarly, I developed my conceptual drawing of ‘rings of audiences’ |fig 7|

with this concept. In this

performance by the means of visual connection and physical interaction through conversation or learning.

seen as changing in perspectives.

drawing, each ring layered up

The definition of performance

Alfred Hitchcock’s film ‘Rear win-

while being seen as the performing

doesn’t limit to what happens on

dow’ (1954) played this concept in the cinema. Audiences in the cinema actually became ‘secondary

stage by the next layer of audience. The core of the ring is the central stage of the experimental theatre and the first ring being audiences

space. In another word, the whole

in the ‘theatre space’, secondary

building became the ‘stage’ and

|fig 6|. The main character became

the primary audience. The film

ring being visitors looking into the theatre, third ring belonging to a broader public. The conventional

everyone in the building not only as

definition of audience and stage is

visual relations and perspectives

of ‘audience’ and scenes where two

then blurred by these layers, where

between these layer of spaces, just

connections were made not only

‘stages’ took place.

spatially, but also visually |fig 8|. Performers, crews, audiences, or

also very imported to associate the

visitors, all could be seen as part of

concept into a practical level.

only examined on the perception of visual relations and connections between spaces. To my understanding, material is a medium5 |definition | of spaces, and vice versa.

from a conceptual level into material and practical aspect. The aim

cock presented in their works; it’s

4. Ibid. 2 5. “Medium - Wiktionary”, En.Wiktionary.Org, 2018 <https://en.wiktionary.org/wiki/medium#Noun> [Accessed 18 April 2018].

䈀

Diller + Scofidio did a related project showing their attitude towards material and media. They took a bold move in the Brasserie (2000)

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|fig 12|, using recording device and screens to interact activities inside and outside of the space. Activi-

匀栀愀搀攀⼀猀栀愀搀漀眀

ties, body movements, and visual perceptions were connected by a series of screens and devices, which are intangible yet visible. The media devices created artificial scenes that was ‘virtual’ and extended the reality to another space that was

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吀爀愀渀猀瀀愀爀攀渀挀礀⼀吀爀愀渀猀氀甀挀攀渀挀礀

嘀椀猀甀愀氀挀氀愀爀椀琀礀

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happening at the same time.

The engagement and communication of movement and vision were also seen in Diller Scofidio’s early theatre work “Moving Target (1996) ”|fig 13| and “A Delay in Glass(1988)”|fig 14| , that engage the sight with movement, pre-recorded actions, and material - glass mirror. Rather than a surface, the rotating glass performs as a media that rotates, reflects and being projected. It’s becoming the ‘scenery tool’, as mentioned at the beginning of this essay, that changed the perception of spaces and perspectives. 吀爀愀渀猀瀀愀爀攀渀挀礀

倀爀漀樀攀挀琀椀漀渀挀氀愀爀椀琀礀

“Glass: a slow liquid, continually molten, a reversible vantage and vanishing point”

6. p39, Guido Incerti, Daria Ricchi and Deane Simpson, Diller + Scofidio (+ Renfro): The Ciliary Function (Milano: Skira, 2007). 7. Elizabeth Diller and Ricardo Scofidio, “A Delay In Glass”, Assemblage, 1988, 62 <https://doi. org/10.2307/3171045>.

The moment of coincidence between image and glass is the section cut, where all the dimensions are true and undisturbed by perspective. 7

“ “

The mirror is a surface hing, rotating plan into elevation and elevation into plan.

Figure 11 | experiment journal, own design - types of panels

medium (plural media or mediums)

(plural media or mediums) The chemistry of the surrounding environment, e.g. solid, liquid, gas, vacuum, or a specific substance such as a solvent. (plural media or mediums) The materials or empty space through which signals, waves or forces pass. (plural media or mediums) A format for communicating or presenting information.

Figure 9, 10 | experiment design - types of panels, own drawings

... the blur, and

... The space of seeing and being seen,6 䄀

“

of the experiment is to discuss how Figure 8 | other thoughts on visual connection and spatial qualities, own drawing

吀夀倀䔀

the experiment because it provided an artificial yet potentially virtual consciousness, information, and ‘space’. It’s notable that this experiment

different range of visual relations

Plastics is a rather new material in architecture. However, the flexible operation and formation of this new material embedded my design

as what Diller Scofidio and Hitch-

From above: Figure 4 | Overexposed, Diller + Scofidio, 1994. Figure 5, 6 | Rear Window, Alfred Hitchcock, 1954.

With the same principle, I did a serie of material experiments on vacuum formed plastics to explore though material |fig 9-11|.

an audience but also play a role as a performer. The concept highlight

deliberately made a double layer

rather than a phyla barrier? I use media projection in the last part of

spaces, with real bodies, and real material”. 4

the main stage, but also is consisted by everything that happened in building, even outside of the

audience’ when they were looking at the main character |fig 5| observing into his neighbour’s room

to blur and redefine the boundary between two spaces in material aspect. Furthermore, is there a potential that the boundary itself becomes an ‘in-between space’,

Ricardo Scofidio described their studio as a laboratory, where they “conceive an experiment, enact

the similar idea of observing daily experiences as a theatrical scene. In this project, working people in offices became actors and actress, without awareness. At the mean-

The notion of glass is conventionally related to the concept of ‘visual connection’ and transparency. Material like glass, such as

spatially and sensorily exclusive. However, the material exploration allows a possibility to break down the boundary and make the whole

transparent plastic, usually has dual performance of visual effect - transparency and reflectiveness, that layer up together. The reflectiveness confuses our dimensions perception while transparency being honest to show thing through

space interactive. One would be able to see what’s inside of the almost ‘transparent’ space in an abstractly filtered way, yet not being seen as an visual obstruction from the inside. The plastic wall plays a role as a device that changes the

|fig 15|. The former changes with the form of the surface, while the later changes by different material

conventional perspective of how we observe; it converts what we see as a familiarity into a ‘scene’, just as the ‘Rear Window’ and ‘Overexposed’. The intervention of projection media adds another layer to the concept.

finishes|fig 16|. These qualities were tested in my experiment. Vision is distorted and filtered in different curvatures of surfaces. The boundary between spaces was artificially redefined by the sensory change through material. In the theatre case, traditional theatres usually are described as a ‘black box’. The wall defined the ‘in’ and ‘out’ theatre space, which created an isolated box that is

From above: Figure 12 | Brasserie, Diller + Scofidio , 2000 Figure 13 | Moving Target, Diller + Scofidio , 1996 Figure 14 | A Delay in Glass, Diller + Scofidio , 1988

In Diller Scofidio’s projects, the media performs as a virtual space that interacts with body; They perform the role beyond their ordinary definition that we usually acknowledged. My design shares this concept, in which projection and media become the sensory

Figure 15 | transparency + reflection, own photo Figure 16 | types-of-reflection, source:

\\The \\The boundary boundary Bibliography:

‘the in-between space’ and layer up spaces beyond the auditorium. In the meantime, material not only is a matter of vision connection, it also performs as media, that filtering, modifying, and reflecting the spaces around. The space is lay-

Mark Wigley wrote,“Architectural agitators must be disloyal to their disciplinary norms. Architecture can only shake us when it takes the risk of not being called architecture. ...The challenge to architects is to challenge architecture, to shake us,

ered, filtered, yet transparent. One could immerse himself into this space and experience the space as a theatrical scene; a space everyone finds a position being audience and performer; a place of seeing and being seen. Just as Judd writes,

and keep shaking.” 9 I devoted to blur the black-box boundary in my design and to create a space that everyone could express themselves and explore. Visual connection is a key identity in my work. Projection and material experiment is a way to examine the concept at a practical level. As the artist Les Levine said in his in-

“Anything spaced in a rectangle and on a plane suggests something in and on something else, something in its surround, which suggests an object or figure in its space.” 8

8. Whitney Morgin Moon, “The Architectural Happening: Diller And Scofidio, 1979-89”, UCLA Electronic Theses And Dissertations, 2016.

boundary as the most critical point in the theatre design. However, what I want to address in my work is that architecture is never the real boundary. We obviously don’t have to make every space transparent to diminish the boundary. To me, architecture is always a part of social practice, the boundary exists not just because of a physical wall. It’s also critical to think it in a broader perspective. The gentrification verge is a homogenising process that eliminating diversity, creating a more segregated space with invisible boundaries; and I do prospect my design would create a place without these boundaries.

terview for Slipcover (1966) |fig 17|, “visual and audio feedback is the most important aspect… visuals are the most direct way of how we perceive a space and it’s not always come with a price. Beside visual sensory, there are a lot of factors that architecture is engaging with. This project focuses on the visual Figure 17, 18 | Slipcover, Les Levine, 1966

Bell, Michael, and Craig Buckley, Permanent Change: Plastics In Architecture And Engineering C. Phillips, Patricia, "A Parallax Practice: A Conversation With Elizabeth Diller And Ricardo Scofidio", Art Journal, 63 (2004), 62 <https://doi. org/10.2307/4134491> Diller, and Scofidio, "Blur: Swiss EXPO 2002 Diller + Scofidio, Ear Studio, MIT Media Lab", Assemblage, 2000, 25 <https://doi.org/10.2307/3171285> Diller, Elizabeth, and Ricardo Scofidio, "A Delay In Glass", Assemblage, 1988, 62 <https://doi.org/10.2307/3171045> Diller, Elizabeth, "A New Museum Wing ... In A Giant Bubble", Ted.Com, 2012 <https://www.ted.com/talks/liz_diller_a_giant_bubble_for_debate> [Accessed 18 April 2018] Diller, Elizabeth, "The Blur Building And Other Tech-Empowered Architecture", Ted.Com, 2007 <https://www.ted.com/talks/liz_diller_plays_with_architecture> [Accessed 18 April 2018] "Frédéric Flamand: Combining Dance And Architecture", Iconeye.Com, 2012 <https://www.iconeye.com/architecture/features/item/9737-frederic-flamand-combining-dance-and-architecture> [Accessed 18 April 2018] Incerti, Guido, Daria Ricchi, and Deane Simpson, Diller + Scofidio (+ Renfro): The Ciliary Function (Milano: Skira, 2007) Moon, Whitney Morgin, "The Architectural Happening: Diller And Scofidio, 197989", UCLA Electronic Theses And Dissertations, 2016 Pierce, Christopher, "Three's A Crowd: Drawing, Building And Photography In The Recent Work Of Diller Scofidio + Renfro", Architectural Research Quarterly, 12 (2008), 233 <https://doi.org/10.1017/s1359135508001164>

8. Ibid. 2.

GROUND FLOOR PLAN (WITH PROJECTION ON)

Aâ&#x20AC;&#x2122;

A 12

THE MEDIUM AND THE MATERIAL

TYPE

Curvature Mould

Shade/ shadow

Layer

60%

40%

30%

18%

15%

20%

35%

65-70%

60%

40%

30%

18%

Transparency/

Visual clarity Projeccon clarity

experiment analysis on the performance of distortion and translucency based on different level of curvature from the prototype material

Exploring the visual connection by studying into transparent and translucent materials. I deployed projection into this experiment because its permeable characteristic provide a possibility to see a material as a medium that connects spaces. Immersive projection was used as another layer of information as our primer research.

PROJECTION collected fragments transparent pattern projection

digital and social material ARCHIVED MATERIAL

+ TRANSPARENCY

+ SOCIAL PROJECTION

+STREET SCENERY each piece of material fragment collected from the shop front rendered a cultural collage with social projection on. Projection on traslucent distored material became a intangible cultural material.

SPACE OF FICTIONS

SHOW ON When the show on in the theatre, visitors can get a glimpse of filtered view into the theatre. The projection and light inside the theatre emphasis the audiences figure and was seen as an obscured scenery. The view through curved translucent (different range)theatre skin changes according to visitors motion, as they walk up along the spiral staircase. The view gets clearer when they go to the upper level, which resembles the â&#x20AC;&#x153;galleryâ&#x20AC;? in traditional theatre. PROJECTION The projection on building facade will start at the night play time (19:30) at night. The view was reversed when the inside was illuminated and shared by pedestrians. LIGHT IT UP Polycarbonate LED lit up the under bridge arches and connected the Walworth community to the main street to stimulate more activities and event in the public walkways around the theatre.

SECTION A-A

INTEGRATED TECHN

1. Vacuum formed weather resist methacrylate sheet, 6mm 1 4 5 6 7

2. aluminium panel steel channel 3. sealing layer 50 mm thermal insulation 400 mm I beam 4. 6 mm steel plate, welded, galvanised,

coated 5. 9 mm steel flat plate 6. steel channel 7. steel I beam 8. 8mm calcium-silicate board, suspended, water-resistant coating, 9. 60/7 mm glass with thermal insulation translucent thermal insulation 60 mm spun glass in cavity 60/7 mm channel glass with solar

coaing, tempered, not safety glass, U-value: 1/1 W/m^2 K, 10. steel post and rail, 100 mm secondary column, painted white, with fire treatment 11.primary column: 280 mm I beam,

10 13 14 11 12

painted white, with fire treatment 12. LED floor luminaire 13. metal-encapsulated accessible floor, 50mm acoustic insulation in between

140mm slim deck floor, 14. 70mm thermal insulation 2 x 15mm plaster board 15. 900 mm deep concrete footing, 10,000 concrete pile

1. Section A-A: theathre facade as a obscura device that distort daily conventions into a scenery 2-3 View from east street market at day 4-5 View from east street market at night 6. structural model 7. projection study on the facade 8. integrated technology

16. 200mm concrete slab 17. concrete retaining wall, 400mm

THE THEATRE WRAP

INTEGRATED TECHNOLOGY

22 21

18. 8mm IPN I beam 19. steel cable suspension 20. 100.50 mm steel RHS 21. polycarbonate profile steel section, painted white 22. 4 mm methacrylate profile, ETFE pillow, between 2 layers of transparent (80%) pipe acoustic insulation 4mm methacrylate profile

project 2 akatoao (year out)

photo by the applicant

AKATOAO restaurant is located in the North Taikooli, the fashion and nightlife center in Beijing. It is the place with high designer brands and it is the place that never rests. The intention of this design is to create a corner on the top of this crowded place that people only have coversation with the sky to escape from the busy commercial environment. This is the first built project that I played a role as leading designer aftergraduation. We want to create an immersive and dynamic atmosphere as like floating in the cloud. Translucent Tyvek were made into cloud like forms, with LED projecting on it, mimicing the changing light and of the sky. Kites in different sizes are hanging in between the â&#x20AC;&#x153;cloudâ&#x20AC;?, calling for childhood memories.

interior perspective, photo credit to Xirui

Chen

“PURE SKY ONLY”

1. located at the heart of Beijing, we want to create an immersive virtual experience of the sky, contrasting to the heavily polluted city. 2. a conversation to the sky 3. top: spatial developement bottom: prototype of the “cloud“ 1

conceptual axonometric drawing shows direct entrance from the ground to the virtual sky 24

2 1

2 10 1. main entrance 2. reception 3. dinning area 4. semi-exterior dinning area 5. terrace 6. bar 7. toilet 8. kitchen 9. VIP room 10. storage

3 6

8 4

9 5

plan and section: drawing by the applicant and a colleague. photoshoped by the applicant

FROM CONCEPT TO CONSTRUCTION

THE â&#x20AC;&#x2DC;MANUAL INSTRUCTIONâ&#x20AC;&#x2DC;

1-2. conceptual perspective of the threshold, rendered and photoshoped by the applicant and a colleague 3-12. To make the construction more efficient, I have designed and made a manual pamphlet: made and designed by the applicant. Each angle and size of the kite is measured and then distributed by grasshopper. Workers only need to put the clip on the spot on the instruction to create a certain the angle. 13-14. working and testing the light on site 15 -17. construction process 2

3-4

MATERIALITY

1-2. virtual envirment and real environment 1. photo credit to Xiyu Chen 2. source: https://www.pinterest.co.uk/pin/126382333280473984/ 3. the process of folding out the tyvek paper to create texture 4. a conceptual film by the appilcant full vedio at: https://vimeo.com/evaaawang 5. technical details, collaborated work by the applicant and colleague

ANIMATION EXPERIMENT

I designed 3 m and tones in 3 different usees my colleague a motion in audr ine mood and different RGB c motion.

aluminium pipe aluminium slab metal bounding programmed LED cable translucent Tyvek paper

ior perspective, photo credit to Xirui Chen 32

For detialed do check my vime eo.com/evaaaw

LED TESTING

modes of changing light period of the day for s. To testify the dynamic, and I programmed the rino and carefully examatmosphere created by color and LED changing

ocumentary, please also eo uploads https://vimwang

PROJECT 3

concrete poetry (year 2)

CONCEPTUAL MODEL - FLUDITY

FLOW AND TYPOLOGY

MICRO TYPOLOGY Relationship to existing building: the re-design of water works buillding is not only a structural attempt, but also a regeneration idea toward the old building. bring new structure into the old building - celebrating the new technology while appreciation the history of existing building is the philisophy behind it. The rear facade shows its continuity with the existing building. Studying from the old, develope with the precedent - is the attitude of my design.

MACRO TYPOLOGY Architecture is considered to be part of landscape. Relationship with the surrounding environment will be explored in the building

A B

A CONTINIOUS EXPERIENCE

THE OLD (SECTION B-B)

conceptual model on how fluid concrete will replace the existing wodden structure in the water works

pipes (flow to the sea)

Berwick light house

gallary

interior water

workshop

drawing room

exterior testing square

pipes (underground water )

replacing the old structure with the continuous flow of concrete celebrating the material potential 41

THE NEW (SECTION A-A)

pipes (flow to the sea)

Berwick light house

drainage

exterior

1st: library

water pool

G: computer lab

RAIN FOOR WATER

DRAINGAGE

SEA WATER

DRAINAGE

INTERIOR POOLSERVICES

UNDERGROUND WATER

1st: meeting room

1st: research office

physics and mechanical engi-

pipes

G: chemistry lab

G: studio

neering

(underground

lab

water )

fluid concrete continues and forms the cycle of natural topography

project 4 dwelling plus (year 2) MOVEMENT AND CIRCULATION

In this project, I examined the difference of movement and circulation from the first person perspective. I have recorded my own movement and circulation in 3 days. In the architectural space, although my movement was 3 dimentional, my circulation was restricted by the design of the room. However, as I examined my activities in urban enviroment, my circulation became more 3 dimentional. Vertical activities happend along with mt movement. How does our living space form our movement and how can we make the decide to move in all dimentions with a free of body express?

dwelling

the buiilding

urban environment

barking centre

barking square

movement

circulation

living room

bedroom

balcony

movement

circulation

urban architecture

urban square

public square

urban venue

public landscape

movement

circulation

SITE: LEITH, EDINBURGH 1. Map of circulation and movement in the neighbourhood. I have sumed 4 types of spaces and analysised how different vertical change in movement and circulation imply those spatial characters. As the result showed, barries are negative factor that diminish both vertical and horizontal movements. The place has more vertical movement and circulation when it qualify all three characters

1 thresholds, doors, entrances... begining point to interior window, glazing, transparency... semi-exterior or a connection to exterior balcony, terrace, patio, platform... exterior that allows multiple activities barriers, fences, unaccesible area

three public locations were examined in Leith Edinburgh. The relationship of movement and circulation were very different in spaces with different spatial characters and group of people. 47

DWELLING PROTOTYPE DWELLING UNIT

8 dwelling prototypes that I designed from the result of the circulation and movement study. All spaces qualifies the 3 spatial qualities mentioned before.

circulation (isometric)

circulation (section)

FLOOR PLAN

THE VENUE

leith trinity house

garden

mini threater

winter garden

1. testing on connecting each dwelling units by different circulation types 2. floor plan 3. sectional venue

play room

activitiy room

playground

project 5 beyond the frame (year 1) In Bosch’s painting, there’s lot of Sym-

I chose Hieronymus Bosch to be

bolism and interesting suggestions. It’s

my client for the artist resi-

certainly related to Catholic meanings.

dence. Bosch was an Early 16th

But in a certain degree, I think it also

century Netherlandish painter.

can be referred to his personal prefer-

His work is known for its fantas-

ences. The marvellous elements and

tic imagery, detailed landscapes,

contrasts between each element can be

and illustrations of religious

treated as the reflection of his show his

concepts and narratives.

inner mind. I hope this design is not only functional space for his daily routine, but also is a holy place that echoes his inner sanctum. Bosch has been critical about the deterioration of society as well as the church. His studio is where he lives and spends most of his personal life. So in my interpretation, it is an “ivory tower” to him that would remind him of his initial pursuits. It is the place where he could enjoy the silence and darkness. It is also a place where he could be immersed in the gospel and be closer to his God.

“Let the shadows give place to the light and the night to the course of the day, let the fault done in the night time,reel away at the gift of light… Father who art in the light, light of light, light of the day, our songs break the power of the night, help those who cry upon thee…” -St. Ambrose

prayer meditation delight reminder introspection inspiration reflection ...

project 6 the tyne art house (year 1) THE SITE Activity Map

Noise

Greenery

Geography 100ft

136ft

80ft

Wind Direction

158ft

158ft 136ft

50ft

170ft

80ft 147ft

158ft

50ft

100ft 80ft

20ft

136ft

50ft 80ft

20ft

50ft 20ft

136ft 86ft

THE FLOW

project 7 healing resort (year-out) COLOR STUDY ON YUHUA STONE

FACADE PATTERN STUDY

b 60°

a=b=c

portfolio EVA YUEHUA WANG

c a

b c

c2 a

b c2

a=b=c1+c2 c1/c2=7/3

a=b=c

c2 a c1

b 90°

90°

a=b=2c

b c1

c1=0.45a c2=0.25a a=b

model making (internship) Others

- Green T house art gallery - corporate with Bonett Wang (2015)

BHB

Concept: Traditional Element + Layout structure

The set of pictures shows the procedure of constructing a building. The design of project BHB* is from studio O Ltd.*, inspired by Siheyuan, a type of traditional residence in Beijing (mostly). This model was made by me individually during the the summer internship in studio O. Itâ&#x20AC;&#x2122;s my understanding of construction.

2015

*BHB: a private house located in Beijing, China. *Studio O Ltd,: an architecture studio found by EfĂ&#x17E; Merdori and Enrico Ancilli, located in Beijing, China. I had my summer internship in there from May 15th to June 26th. 09

other works

Concept basis

TROPISM (CERAMICS, 2016, INDIVIDUAL) Introduction:

Tropism

Inspirited by the trees and plants in Australia, what has been touching me is the growing branches and vines. By creating the geometrical pyramid shape and using the complexity of colors with dimensions, a symbol is shown that maybe Introduction: a tiny unit of the accessory of architecture or garment. Inspirited by the trees and plants in Australia, what has been touching me is the growing branches and vines. By creating the geometrical pyramid shape and using the complexity of colors with dimensions, a symbol is shown that maybe a tiny unit of the accessory of architecture or garment.

Concept

This project was inspired by the thriving “Tropism” plants in New South Wales, Australia. I is a biological phenomenon, indicating growthpyramid or turning designed the rigid, geometrical movement of a biological organism, greenwear as the basic unit of each work usually a plant, in response to an yo contrast to the organic formstimulus. ofConcept plants. environmental

The basis is a simple geometric pyramid shape which allows different variation happen on each element

demonstration and representation

Using simple components of geometry and organic element in design. Building body mass came from the simplest

Tropism

\\\

Concept basis

\\\

“TROPISM”: a biological phenomenon indicating growth in response to an environmental stimulus.

Using of geometry unit withsimple a series ofcomponents variation and divided and organic elements in design. into the strip, form to the rich outer contour Building mass simplest unit bodybody block after the from split andthe deformed. with series of variation. The mass was then divided and deformed to create rich outer contour.

The basis is a simple geometric pyramid shape which allows different variation happen on each element

demonstration and representation

“Tropism”

is a biological phenomenon, i.e. Phototropism & Hydrotropism indicating (https://en.wikipedia.org/wiki/Tropism)

growth or turning movement of a biological organism, usually a plant, in response to an environmental stimulus.

2015

i.e. Phototropism & Hydrotropism

(https://en.wikipedia.org/wiki/Tropism)

2015

PLAY TIME (FILM, 2017, GROUP)

research

AETHET C N ARCH TECTURE (2016)

BLUR (2018)

GATE AWAY (2017-2018 D SSERTAT ON)

ACKNOWLEDGMENTS

CONTENT 0 1

/ /

Acknowledgement

Introduction

Chapter 1. OVERVIEW: A Brief Introduction to the Jingmian Compound 1.1. 1.2.

Overview Social Segregation

Chapter 2. A HISTORICAL PERSPECTIVE: Danwei and the Jingmian Compound 15 in the Pre-reform Era (1949-1978) 2.1 2.2. 2.3. 2.4. 2.5.

The Danwei System Spatial Changes Collective Living The Vertical Control Invisible Wall

Chapter 3. RAPID CHANGE: The Unit Under Reform (1978-1998)

3.1. 3.2. 3.3. 3.4.

38 42 43 48

Institutional Chnage Spatial Changes The Textile Factory in Transition The Two-Class Society

Chapter 4. THE SEGREGATED COMPOUND: Current Status (1998-2008)

4.1 4.2

55 59

Spatial Changes A Photo Journal

16 19 23 29 31

INTRODUCTION

I would also like to thank to my family, that has been supporting me; and my friend, who gave me sincere advices. And also thanks to faculties in Newcastle University that helped me to develope my academic skills.

3 4

/ /

Conclusion Conclusion

Biblography Bibiography

CHAPTER 1

Urban China has undergoing a Market transit from the new policy release in 1978, announced by Deng Xiaoping. This reformation not only directly impact Chinese economic and capitalism, but also had a great impact on Chinese urban from. As housing reform policy announced follow the economy, Danwei, which refers to a social institute that integrated work, housing and social services 1, started its transition to commodity.2 The traditional form of Danwei compound shares the common physical characters as the gated communities in North America - high walls and gated secured by guards and CCTVs.3 However, the walls itself has a lot of differences compare to the initial aims of ‘diminishing fear of crimes’4. Besides the physical meaning of the gates, the walls and gates of Danwei compound has its meaning in politics and social control, which referred to welfare, labour forces, as well as ideological control.5 Though Lu argues in his book that this spatial organisation was not directly because of the ‘socialist mode of production’ in Maoist period. He believed it’s a by-product due to lack of planning power within the Third World national context - dividing land by parcels and manage in small unit was the simplest

I would like to express my deepest gratitude to my supervisor Zeynep Kezer, who has been contunually inspires me and support me. Thanks for her patience and persistent guidance, that encouraged me to develope this dissertation.

3 6 12

1. Duanfang Lu, Remaking Chinese Urban Form: modernity, scarcity and space, 1949-2005 (London: Routledge, 2007) 2. John R. Logan and others, ‘Access to Housing in Urban China’, International Journal of Urban and Regional Research, 33.4 (2009), 914–35. 3. Edward James Blakely and Mary Gail Snyder, Fortress America: Gated Communities in the United States (Washington, DC: Brookings Institution Press, 2003) 4. Setha M. Low, ‘The edge and the centre: gated communities and the discourse of urban fear’, American Anthropologist, 43 (2001), pp. 45–58 5. Danwei: the changing Chinese workplace in historical and comparative prespective, ed. by Xiaobo Lü and Elizabeth J. Perry (Armonk, N.Y.: M.E. Sharp,1997).

sector business.

the construction was almost finished, it invited more than 30 media companies (fig. 5X) to take up residence there. ㌀刀䐀刀䤀一䜀刀伀䄀䐀㐀吀䠀刀䤀一䜀刀伀䄀䐀㔀吀䠀刀䤀一䜀刀伀䄀䐀㘀吀䠀刀䤀一䜀刀伀䄀䐀

in its original form – three storeys of Soviet dormitories built in 1957 9

100

200

500m

Jingmian. However, from my own experience of both of the compounds, neither of them is meant for those living an ‘elite’

Segregation between these people and ‘elites’ can be found not just in

What made the compound to be a divided place? Did the wall physically separate people into different groups or it was a result of

CHAPTER 1.

A Historical Perspective:

This chapter will give a brief introduction to Jingmian Compound from its origins to the end of the Maoist period.

Jingmian Compound in the Pre-reform Era (1949-1978)

walls and fences, as physical boundaries, show similar results to where social segregation happens. Besides the spatial separation of

Analysis of the characteristics of its original system – the Danwei system - is crucial since it offers a prototype in a socialist background, which will provide a deeper understanding in terms

social segregation? When did the separation started?

of social and political perspectives.

To understand the relationship and consequences between the

old buildings, while the rural peasants live in the bungalow or

space and socio-space, it requires a further investigation beyond the

‘informal settlements’ that have low living conditions. Thus, it brings

䰀䔀䘀吀㨀䄀爀甀爀愀氀椀洀洀椀最爀愀渀琀眀栀漀洀愀欀攀愀氀椀瘀椀渀最戀礀琀爀愀渀猀瀀漀爀琀挀漀渀猀琀爀甀挀琀椀漀渀洀愀琀攀爀椀愀氀昀漀爀椀渀昀漀爀洀愀氀猀攀琀琀氀攀洀攀渀琀猀⸀ 刀䤀䜀䠀吀㨀刀攀渀琀愀氀瀀漀猀琀攀爀猀昀漀爀椀氀氀攀最愀氀瀀愀琀椀琀椀漀渀攀搀愀瀀愀爀琀洀攀渀琀漀渀琀栀攀猀攀挀漀渀搀昀氀漀漀爀漀昀琀栀攀匀漀瘀椀攀琀愀瀀攀爀琀洀攀渀琀⸀

2.1 1.1 THE DANWEI SYSTEM

contemporary space. Just as Fulong Wu stated, to understand the

up the question of whether the built environment played a role in

phenomenon of ‘gating’, one has to go beyond the gate itself and

segregation and stratification. Why the compound space has became

Jingmian compound is a typical industrial residential compound

examine the social-spatial structure that it informs.

segments of stratification?

constructed in 1957

Typically, in chinses history of urbanization, there were two

The physical performance of fences and walls in the Jingmian gated communities which emerged in the west. The western version

period is the Maoist era, when urban housing were strictly controlled

of such compounds was widely acknowledged as “walled or fenced

under the sociolist regime through the Danwei system; The second

socialist-commune ideology. A work unit compound was widely understood as a social institute which integrated work, housing and social services

with socialist planning aimed to promote high productivity and the

production . Invested production took place prior to planning the

Due to the work-unit was designed and managed as a prior

foundation of the People’s Republic of China. The Danwei (work-

planning strategy in the communist regime, studying on its changes

unit) system became an ideal way to achieve this goal because it

would reflect a broader change of the time. I would be mainly focus

associated employment with housing at different levels of

on studying spatial changes and boundary changes in the case study.

administrative functions.

countries mainly followed the path that emphased industrial

production’ including enterprises, schools, and governmental

communities emerged in the rise of the middle-classes and aimed to 14

Blakely and Snyder. Fulong Wu, ‘Rediscovering the ‘Gate’ Under Market Transition: From Work-Unit Compounds to Commodity Housing Enclaves’, Housing Studies, 20.2 (2005), pp. 235-254.

Edward James Blakely and Mary Gail Snyder, Fortress America: Gated Communities in the United States (Washington, DC: Brookings Institution Press, 2003) 12

2.3 1.3. COLLECTIVE LIVING

most residents would reach their needs within the compound space.

Beside a work-living place, the organisation – Danwei - played an 34

By the time Jingmian compound was fully built in 1957 (Figure 13) X), public facilities such as the dining hall, the public hall (including

urban level: how a compound unit change reflects to the broader

auditorium), and the public bathhouses, were added to the living

Compound border

JINGMIAN COMPOUND

was the main movement in the Maoist period . The state invested in

welfare services in the Maoist period.

19. worker’s dormitary (1957) 20. dormitories (+) 21. single mother’s dormitories(+) 24. terraced bungalow for single mothers (+)

The close spatial relations

between living area and public area was designed for a collectivist living .

Zhou, pp. 24-25. Yanjie Bian, John, R. Logan, and others, pp. 223-250.

Carles Brasó Broggi, Trade and Technology Networks in the Chinese Textile Industry (London: PALGRAVE MACMILLAN, 2016), p. 131. 33 Zhang, Chai, Zhou, p. 22.

Francis, pp. 839-859. 20

2.4 1.4. VERTICAL CONTROL

labour force was due to their demand for housing and other welfare

From the spatial layout in the two periods, a subtle relationship can

Danwei by operating livelihood with it. One has to stay his affiliation

be found between production, public infrastructure, and housing.

to his work-unit for livelihood. At the same time, housing allocation

Usually following in expansion or construction, three of them were

became a crucial factor that allowed the regime to manage labour

to disobedient behaviour to ensure that residents were loyal to the FIG. poster in in the fig. 17.X.aAposter theMaoist Maoistera; eraSource: Chen yifang source: Chen yifang, n.d. text: WE MUST SUPPORT OUR OWN PRODUCTION

expanded at the same time. Zhang

text: WE MUST SUPPORT OUR OWN PRODUCTION

noted that the and densification

system in terms of

Sharing a living space with several households increased neighbour’s

For example, Lu found that lots of work-unit residents shares a pathway’ between living, working, and social spaces

relations as well as their dependence on the community. The

fig. 15. Female workers chatting Source: http-//www.sohu.com/a/166411846_642365.jpeg

that allowed

collective living contributed to residents attachments on their 49

workplace . However, some argues that the collective living was designed on purpose to control over residents. Lü and Perry claimed that the work

Besides, social bonds were enhanced by a wide range of

unit in the Maosit ear conducted political control via monitoring the

collective living infrastructures, such as public bathhouses, dining

collective living . As introduced above, the Danwei system played an

halls, and schools. Social events such as chorus competitions, and 45

film nights were usually held by the administrative office

public hall. Collective community living and social opportunities in

administrative role in the pre-reform period. The socialist regime

in the

thus could vertically manage the urban citizen through the Danwei. Education in socialist ideologies in social events was an example in

separate compounds, but they also divided the urban labour forced into segments.

development strategy focused primarily on industrialisation resulted

conducting administrative tasks in a vertical structure. Centralised

Rapid Change:

welfare was distributed to each work unit to bond the labour force

The Unit Under Reform (1978-1998)

When a new Danwei is started, wall building is the first step in construction...

with their livelihood. Centralised housing, wages, and consumer

separate wall or by arranging the individual parts to achieve the same effect.

goods made economic status a less important ‘source of class

the collectivist living space, and a political way, which was governed by the Danwei’s monitoring. In short, the socio-spatial structure was nearly homogeneous (Figure20) X) due to strict control through administrative structure and segmented urban space. The work-unit was embedded into the urban space as the fundamental political

a compound was a self-sufficient unit, but it also was an enclosed so-

strategy towards urban growth, in which industrial production and

called ‘mini-society’ where everyone was highly controlled through Social and political control in the Danwei unit formed an

Lu Lü and Perry, p. 8 cited in Lü and Perry.

text on the poster: Long live the socialist strategy! text on the newpaper: Chairman Mao visiting our factory!

the enclosed units began to open up following market reform in 1978,

socialist period, to their workers at a discounted prices . However, most of the housing was still owned and managed by SOEs in this

Market reform in the PRC in 1978 was aimed to transfer the planned

period. The state cancelled the housing allocation system in 1998.

economy of the socialist era to a “market economy with Chinese

This act means that 1. the administrative role of the Danwei, including

market. After this, the mobility of each unit increased from compound space to urban level. On the other hand, demographic restriction of rural peasants was abolished in 1986. A large influx of rural peasants entered into the urban labour market, which broke the original geographic separation among workers and peasants. Market changes not only led to a great change in the No.2 Textile Factory, but also led to spatial and socio-spatial changes in the Jingmian compound. These major changes run alongside the economic changes of the Factory and demographical change in the compound place, which were derived from the broader institutional change. The compound space became more complicated after the opening up. Socio-space started the trend of being segregated, as the

characteristics”, and was led by Deng Xiaoping.

welfare provision and social control, was detached from its living

The state-owned

enterprise sectors (SOEs) gradually lost their privilege

quarters ; 2. all former work-unit housing was completely

in the

their own properties.

The first period was from the beginning of economic reform in

employment opportunities.

only property transfer, but also a profound change in demographic

1. public hall and dining hall 10. post office 23. new bathroom (1970s) - expanded

Changes ( + ) Changes ( - )

Schools: 2. primary school 3. kindergarden - expanded 8. textile school - expanded (1970s) 12. public high school

compound wall, in the Maoist era, consolidated social and political

Welfare:

control in its physical form. It embedded and underpinned invisible

5. singles’ dorm; staff hospital; halaal dining hall 13. nursery 21. single mother’s dorm (1970s)

constraints or boundaries in its enclosed inner space. Whilst the detach these attachments, although the government still played an

Production

Entertainment: 4. green house - demolished ( 1970s ) 11.sport court - demolished ( - ) 27. worker’s park

6. workers’ cooperative 14. worker’s shower 15. car parking 16. office buildings 17. textile factory 22. factory workshop (+)

important part in management. Detaching attachments doesn’t mean to diminished restraints. Rather, the restraints wouldn’t be

New residential buildings

Others:

completely released just within two decades.

NO.2 TEXTILE FACTORY

9. Shops 18. Parcel for development - land given to another Danwei ( - )

Thus, to continue this discussion, the next questions in the reform era will be: did the original restraints change in the new era, both physically and invisibly? what will change the physical

Jingmian group started a real estate company, called Fangsheng

Public facilities:

Original boundary

Planning in the Maoist era was a process that emphasised the On a neighbourhood scale, as we have argued in chapter 2, the

reform was contradictory to the socialist period - it was a process to

The second period was after the housing reform of 1998. Housing allocation ended with this policy and the Jingmian compound was fully detached from its original Danwei. Its management was given to the local government. Meanwhile, the Cooperation, in 2002. This marked the time when all properties,

JINGMIAN COMPOUND

New boundary

and socio-spaces.

1978 until housing reform in 1998. Although the No.2 Textile Factory

worker’s living quarters, until its final commodification in 1997.

20 50

100

200m

SCALE BAR

boundary? will the invisible boundaries disappear when centralised

fig.21. list of changes in 1980s to 1990s source: self annotated; original map: Hua, 2006

control starts to loosen? A continued investigation of the Jingmian

7. worker’s dormitaries (1957) 20. residential building (1970s) 24. terraced single-storey dorm (1970s) 25. 6-storey residential building 26. 6-storey residential building

As argued in Chapter 2, the causal relation of production and living

economic reform were mostly in contracting new buildings. From

quarter’s expansion and densification in the socialist period was a

Figure X can be seen that the most significant change was raising the

complex process. The socialist regime controlled the labour force by

numbers of residential buildings. There were seven 6-storey

distributing housing and other welfare in the work-unit, when

residential apartments for new workers built on the original open 77

housing was a scarce source in the planning market. Industrial gains

space of the north compound . Three more residential buildings

were largely ensured by housing distribution that bonded a sufficient

were built on the original sport court. Following the construction of

labour force to the factory. According the Wu’s research , the urban

new residences, living facilities such as public bathrooms and

employment rate in Maoist China was indeed higher than in other

kindergartens were expanded. A new worker’s park was constructed

major cities around the world. Nevertheless, sufficient employment

in 1986, next to the new 6-storey buildings. Moreover, production 78

didn’t ensure efficiency of production. The planned market which

workshops were expanded as well . Spatial changes were very similar to the first wave of construction in the 1970s. The most significant construction was on increasing the number of residential buildings and living facilities.

residential buildings and refurbished most public infrastructures in

emergence of non-state owned enterprise began to challenge the

the Jingmian compound

planned market that was vertically and hierarchically controlled by

residential construction, the different causal-relations in construction

Thus, although

First, although the factory still was responsible for welfare

Additionally, Nee

provision, this construction in the 80s showed that it had become more economically independent from the state’s management, in the

found that the

process of commodification. Instead, it started to make investment decisions rather than relying on state management and funding. Hence we find that the role of the factory work-unit started to shift from vertical division that conducted tasks from the regime, to a

and move to non-state owned enterprises. This

trend was enlarged through the process of economic reform. SOEs

Compared to the pre-reform period, production after the market

(Figure X). Compared to the first wave of

period.

competition because they no longer had economic privileges and dominant statuses in the market; that was largely ensured by the government . Income distinctions of the working-class were made

one ‘shrinking’ while the other ‘grows’. This was shown in the late 80s, when lots of workers started to detach themselves from the Danwei system

had to compete for gains in the open market. In the meantime, their

more privatised sector that would make financial decisions . Second, a subtle social structure shift can be found in the

privilege and class structure started to reform .

comparison. Compared to the terraced bungalows and dormitories

Jingmian No.2 Textile Factory managed the first wave of

workers. Initiative in enterprise was rarely rewarded since the wages were largely fixed through centralised control.

industrial production was highlighted in the Maoist period, productivity was passive and ineffective.

possibly reveal a broader change of role in the economic reform

the state . Many state-owned enterprises had difficulties with market

more to rely on their skills.

growth of state-owned sectors and private sectors were correlated;

was dominated by SOEs made management in the pre-reform period

of construction. Based on the assumption that spatial transformation was both directly and indirectly involved with broader political and

built in the 70s, the 6-storey residential buildings were clearly more

challenge before 1998, when large industrial sectors still had

decently built. The dormitories in the socialist period showed the

dominant statuses in the market compared to the private sector.

regime’s attempt to solve the housing shortage by building lower

Moreover, because sufficient rural workers could replace labour at a

standard housing where labourers had to live collectively. However,

lower wage, total production gains increased in the 80s . The factory

the new residential buildings show two

opening was largely initiative based. On the one hand, market reform

socio-spatial changes, comparing differences in spaces and casual relationships will lead to a broader understanding of the differences between these two periods.

Factory sought a route to profitability . One the other hand, the

relatively simple. The managers’ job was only to meet production goals and ensure their administration jobs that took care of their

Adding to the number or expanding workshops and production facilities were also shared aspects of the two waves of construction (and expansion). However, although the spatial transformation seems to be similar, the causal relationship was opposite in those two waves

compound case will provide a viable process that reflects the broader changes.

invested a large portion of its profits in the late 80s to construct more

urban living. State-owned enterprise sectors such as the No.2 Textile

1.3. THE NO.2 TEXTILE FACTORY IN TRANSITION 3.3 The spatial changes in Jingmian Compound at the beginning of LIST OF CHANGES (Market Reform Peroid, 1980s)-1990s)

Yusuf and Nabeshima, p. 28. KAM WING CHAN, ‘Post-Mao China: A Two-Class Urban Society in the Making’, pp. 134–150. 65 Min Zhou and John R. Logan, ‘Market Transition and the Commodification of Housing in Urban China’, in The New Chinese City, ed. by John R. Logan (Oxford: Blackwell Publishers, 2002), pp. 137-152.

Bian and Gerber, p. 67.

3.2 1.2. SPATIAL CHANGES FROM THE 1980s TO THE EARLY 1990s

in the Jingmian compound, were fully

Although economic reform policy had influenced the Jingmian

63 64

commodified.

gradually capitalised on market changes and sought profitability, it still had administrative responsibility for their workers and for the

Housing was also included in the process of commodification and privatisation. Real-estate was inducted into the Chinese housing market . The state also encourage work-units to commodify their

n n e ti tion n o he e heti pe on tion nd o e n e n h e u e

including infrastructures

compound, the housing reform directly marked a change to it - not

residents’ dependence on and submissiveness towards the Danwei.

era that influenced the Danwei system as well as the No.2 Textile Factory.

in 1986. A

huge number of rural labourers flowed to urban areas for

housing by selling apartments, that were freely allocated in the

Lu. 67 Yanjie Bian and others, ‘Work Units and Housing Reform in 2 Chinese Cities’. 68 The Jingmian Group, Company Introduce, <www.jingmian.com.cn> [Accessed 20 December 2017]. 69 Lu, p. 138. 70 Dorothy J. Solinger, ‘The Impact of the Floating Population on the Danwei: Shifts in the Patterns of Labor Mobility Control and Entitlement Provision’, in Danwei: the changing Chinese workplace in historical and comparative, ed. by Xiaobo Lü and Elizabeth J. Perry (Armonk, N.Y.: M.E. Sharpe, 1997), pp. 195-222. 71 Wu, ‘Rediscovering the “Gate’” Under Market Transition: From Work-Unit Compounds to Commodity Housing Enclaves’. 37

Clearly, as can be seen above, there were two periods in the reform

Factory) to a commodified cooperation - the Jingmian Group .

Francis, pp.840-841.

commodified, which means house owners had the right to manage

planned market when the private enterprise sector was inducted into the commodified market. Jingmian No.2 Textile Factory started its transfer to the private sector and finally amalgamated in 1997 with other state-owned sectors (No.1 Textile Factory and No.3 Textile Meanwhile, the labour market and urban demographics changed immensely. As state removed strict demographic control , cheap peasant workers were inducted into the urban place

pre-segregated groups emerged into one compound space. It seems that although the political and social restrictions were gradually removed through economic reform, their influence still remained in terms of a social aspect.

fig. 20. the construction site in Jingmian compound Source: Li Weilin

Francis, pp. 840-851.

On the one hand, the government encouraged state-owned sectors to commodify and open up their work-unit compound to the housing

indicated that hierarchical

Nevertheless, people were less aware of those differences when

fig. 20. Socio-spatial composition of a planned socialist city Source: Hui, 2013

invisible boundary embedded into every unit. 60

3.1 1.1. INSTITURIONAL CHANGE

Large production units were usually rewarded a higher welfare fund than those of small units that produced less.

of compounds blocked information exchange at an urban level. As

of an invisible net in the form of these compounds, where one could go across the physical barrier, but would hardly get away from the

vertical political control gradually detached from the Danwei system.

between workers and peasants, who were excluded from urban

they were divided into homogeneous groups. Additionally, the ‘walls’

force into manageable units in terms of space, it also enclosed the administrative power within a compound. The urban space consisted

Zhang, p.22. Francis; Lü, Perry. Yanjie Bian and Theodore P. Gerber, ‘Class Structure and Class Inequality in Urban China and Russia: Effects of Institutional Change or Economic Performance?’, in Urban China in Transition (Oxford: Blackwell Publishing Ltd., 2008), pp. 66-88. 58 Bian, Gerber; Francis; Perry. 59 Wang, 1993, cited in Wu, ‘Rediscovering the ‘Gate’ Under Market Transition: From Work-Unit Compounds to Commodity Housing Enclaves’.

However, on a larger scope, when the Maoist regime agriculture alone. The regime separately controlled these two groups through strict demographic control. To keep order in urban Beijing , the regime forbade rural peasants from going into urban spaces. Rural labourers were not allowed a place in industrial Danwei sectors. The hierarchical control left a pre-existing segregation

control also led to inequality between compounds. The government rewarded work-units according to their industrial contributions.

boundary into a physical form. The wall not only divided the labour

Thus, bonding labour force with housing would ensure

55 56 57

the Maoist era have been discussed above in Chapter 2 in relation to the neighbourhood level. However, there wasn’t an obvious limitation of an urban scope, when everything was restricted and

emphasised industrial production in the Danwei system, it left

spaces. Moreover, Zhou and Logan

administrative function was highly emphasised.

- E.M. Bjorklund, ‘The Danwei: Socio-Spatial Characteristics of Work Units in China’s Urban Society,’ Economic Geography, 62, no.1 (1986), p. 21

governance. ‘invisible’ boundary for the labours at the neighbourhood level while the enclosed walls of the compound solidified this intangible

controlled at a compound level.

population mobility both in a social way, which was underlined by

“

embedded in the physical boundary of the compound. Rather to say,

system as welfare; whilst private housing was restricted

Maoist China, while most of them were controlled by the Danwei. In other words, one who didn’t work for a state-owned sector, or belong

employment and production. In the Jingmian case, the increasing

fig. 19. a film poster in the Maoist era to promote productivity, Source: http://blog.sina.com.cn/s/blog_16693eb380102x78k.html

in a narrow and limited sense of urbanisation.” . The limitations in

distinction’ . The enclosure of Danwei compounds restricted

... not the last as is common in North America. Buildings

governance. Social control through collective living enhanced their obedience and dependence on the work place. As a consequence, workers were restricted by an invisible political and social boundary

in terms of rights to sell . Housing was a very scarce source in the

to a “Danwei”, wouldn’t be able to access public housing in urban China.

However, just as Yusuf and Nobeshima summarised, “A

CHAPTER 2. THE UNIT UNDER REFORM The Danwei system played an important role in the Maoist period in

relating to it are faced inward rather than outward, either by making a

monitored and controlled by the Danwei as a form of political

As noted before, the work-unit was a fundamental urban unit

goods . Urban housing had to be allocated to the workers through the Danwei

“

The unit system linked livelihood to work force, and there was enclosed compound, the worker’s behaviour and ideologies were

expansion was bonded with labour force in a profound sequence. which integrated housing and state-owned enterprise. In prereformed China, it conducted administration tasks including welfare, such as housing, medical-care , centralised wages and consumer fig. 18. A poster during the Cultural Revolution, Source: http://blog.sina.om.cn/s/ blog_16693eb380102x78k.html text on the left: A quote by Mao Zedong: “ we have to be collective for the dictatorship of the proletariat. This has to be conduct from every factory, villiage, administrative offices, and schools.” text on the right: Long live Chairman Mao; consolidating the dictatorshio of proletariat; protect our homeland; ensure the revolution and increase the product production!

fig. 16. the textile school Source: Chen yifang, n.d.

CHAPTER 3

mandatory control of the labour force through housing. In the

workers. In this specific case, we would find that the residential

of the ‘limited contact across unit boundaries’.

Fancis. Lü and Perry Lu, p. 58. Wu, ‘Rediscovering the “Gate” Under Market Transition: From Work-unit Compound to Commodity Housing Enclaves’. Zhang, Chai, Zhou 24

Finally, as Francis noted , work-units divided the urban space into

force a vertical structure .

and expansion in the 1970s was to adjust to the raising number of

protest in the Maoist era, they were merely ‘cellular protests’ because

Lu. 47 Zhang. 48 Fulong Wu, ‘Neighborhood Attachment, Social Participation, and Willingness to Stay in China’s Low-Income Communities’, pp. 550-552 49 Wu, ‘Rediscovering the ‘Gate’ Under Market Transition: From Work-Unit Compounds to Commodity Housing Enclaves’, pp. 235-254. 50 Lü and Perry, p. 8

41 42 43 44

1.5. INVISIBLE WALL 2.5

provision. The regime largely ensured the dominate status of the

encouraged obedient behaviour towards the party and deprived due

noted, though there were a few

household spaces. Single family apartments were partitioned into shared apartments for several households . Younger workers and single mothers were living collectively in the new dormitories.

communication and neighborhood relations.

of the neighbours were familiar with each other . 40

necessities and businesses could be reached within the compound. Thus, it created a ‘micro society’ within the compound space where

Lü and Perry, pp. 7-9. 35 David Bray, Social Space and Governance in Urban China (Stanford, Calif.: Stanford University Press, 2005). 36 Zhou. 37 Wu, ‘Rediscovering the ‘Gate’ Under Market Transition: From Work-Unit Compounds to Commodity Housing Enclaves’ 38 Zhou, pp. 24-25. 40 Lü and Perry, p. 11.

200m

ideology management, including watching films and listening to

expansion, the living space was also densified, through sharing

also relatively low.

specific pattern of pathway in ordinary life. The ‘frequent mutual for interactions with others who share the similar routine. Thus, most 44

From the layout in both the 1957 and 1970s plan, it’s clear that Jingmian compound provided a very sufficient

200

SCALE BAR

fig.14. list of changes in 1970s source: self annotated; original map: Hua, 2006 34

100

broadcasts, especially during the Cultural Revolution . The state

built on the east side of the compound . The east wall was therefore

Living in such an enclosed space would also increase the chance of

consisted of two parts: the residential and public facilities, including public halls, schools, and hospital, which were considered to be

New residential buildings

NO.2 TEXTILE FACTORY

100

The attachment to workplace was intensified furthermore after the construction of 1970s. The living area was expanded after the construction. Single-storey bungalows as worker’s dormitories were pushed further outwards because of the expansion. Apart from

From the socialist layout in 1957, the compound space were basically

Entertainment: 4. green house - demolished ( - ) 11.sport court

Others: 9. Shops 18. Parcel for development - land given to another Danwei ( - )

200m

the unit boundaries . Thus Interactions between work-units were

living, working, and social life exclusively for their workers. Most

party . Thus, protesting the regime were very rarely found in the

attachments to the work-unit .

However, the self-sustaining design diminished urban mobility when the urban space was divided into these self-sustaining units by

ensured social control through a collectivist lifestyle. Urban labours Danwei’s management .

Welfare: 5. singles’ dormitories; workers‘ hospital; halaal dining hall 13. nursery

(+)

6. workers’ cooperative 14. worker’s shower 15. car parking 16. office buildings 17. textile factory 22. factory workshop (+)

20 50 100

SCALE BAR

fig.13. list of changes in 1957 source: self annotated; original map: Hua, 2006

20 50

SCALE BAR

fig.12 original prososal source: self annotated, original map from Hua, 2006

socialist period because it would be very easy to caught by the

the work- built up closer relationships between neighbours and their

wall, the main living and working centre was in the compound.

and social control . The enclosed form of the work-unit compound were taught to live collectively in the work-unit compound under the

2. primary school 3. kindergarden 8. textile school - expanded (+) 12. public high school

(-)

Production

changes in internal spaces.

NO.2 TEXTILE FACTORY

20 50

public’s monitor. Besides, as David

fig.11. Jingmian compound in the socialist peroid http//www.sohu.com/a/166411846_6423654.jpeg

Residents were very dependent on the work-unit compound.

to manage the public through these basic public in terms of political

Public facilities:

Schools:

Original boundary

on the east side, pushing the wall further away according to the

19. worker’s dormitary

Others: 7. dormitaties in original plan 9. shops 18. undeveloped parcel

administrative role in the post-reform period . The regime were able

LIST OF CHANGES (Post-Cultural Revolution, 1970s)

1. public hall and dining hall 10. post office 23. new bathroom (+)

for the rising number of inhabitants, with new installed facilities such as bathrooms and nurseries. The original land parcel was expanded

New residential buildings

6. workers’ cooperative 14. worker’s shower 15. car parking 16. office buildings 17. textile factory

New boundary

dormitories were ‘inserted ’ into the original open spaces, to adjust

5. singles’ dorm; staff hospital; halaal dining hall 13. nursery

Entertainment: 4. green house 11.sport court

Production

Danwei system . Thus, it is believed that Danwei conducted administrative tasks for the regime as a “mini-society ” in the prereform era.

New built ( - )

were the expansion of production places. Celebration in productivity

built in the Jingmian residential compound. Terraced bungalows and

Welfare:

school. A textile school was exclusively built for the textile factory’s junior workers. Besides, a public high school, Balizhuang, was located in the north-west corner, providing education for students from the compound as well as urban students outside the compound. Education, housing, and nursery welfare was distributed through the

JINGMIAN COMPOUND

Demolished ( + )

Cultural Revolution. Significant changes (Figure 14) X) in the early 70s

new working facilities in production. A new factory workshop was

2.SOE primary school 3. kindergarden 8. textile school 12. public high school

system was extensive and ranged from kindergarten to primary

that were mainly designed for industrial SOEs . Public services for

Public facilities: 1. public hall and dining hall 10. post office

Schools:

nursery and public spaces were provided for staff use. The education

the production and working zone, and integrated a work-unit. This is a typical layout for medium-large work units (Danwei compound) residents were designed to meet in the centre of the compound, linking to the main entrance while surrounded by residential apartments and dormitories. The territory of the living compound was declared by continuous walls and gates.

The compound was expanded and densified further during the

LIST OF CHANGES (1957) compare to original blueprint

New built ( + )

space to fulfil a collective lifestyle . Welfare such as a hospital, a

changes in urban china?

administrations . Figure12 X is the blueprint of the Jingmian workunit. The living quarters - Jingmian compound - was placed next to

BLUR

Though there were still some residents who travelled beyond the 1970s

1957

reflected the socio-spatial changes in the Jingmian compound? At the

Shahid Yusuf and Kaoru Nabeshima, ‘Two Decades Of Reform: The Changing Organization Dynamics of Chinese Industrial Firms’, in Urban China In Transition (Oxford: Blackwell Publishing Ltd., 2008), pp. 27-47. 22 Yusuf and Nabeshima, pp. 27-47; Baoyi Gao, ‘五十七年光辉历程——建国以来北京城市规划的发展 [Fifty - Seven Years' Glorious History - The Development Of Beijing Urban Planning Since The Foundation Of PRC]’(2006) <http://www.bjgtw.gov.cn/web/static/articles/catalog_347/article_6152/6152.html> [ 10 November 2017]. 24 Corinna-Barbara Francis, ‘Reproduction of Danwei Institutional Features in The Context of China's Market Economy: The Case of Haidian District's High-Tech Sector’, The China Quarterly, 147 (1996), pp. 839-842. 25 Lu, p. 54.

Zhang and others, p. 23. Duanfang Lu, Remaking Chinese Urban Form: modernity, scarcity and space, 19492005 (London: Routledge, 2007), pp. 1-7.

2.2 1.2. SPATIAL CHANGES IN THE PRE-REFORM ERA (1949-1978)

At a neighbourhood level: how these changes contributed or

The government divided urban land into small zones and allocated it to state-owned enterprises (SOEs) - ‘organisations of

that

from the former Soviet Union. It’s wide believed that communist

fig. 11, 12, 13. Jingmian compound and its surrounding (CBD) Source: Weilin Li, 2013

collective lifestyle of a socialist ideology; whereas the western gated

was influenced by the socialism concept of being “micro-district”

system of the Jingmian compound originated in the Maoist period,

during the Maoist era. It integrated a work-unit

characteristics of most work-unit compounds designed under the

the government from a public welfare to commodified goods.

However, the gated

which is located across from Chaoyang Road. It shares the

period is the economic reform era, when housing were released from

housing developments to which public access is restricted, often guarded using CCTV and security systems”.

(Danwei) with its production working quarter - No. 2 Textile Factory -

significant period that largely influenced urban housing. The first

compound and the new compound is very similar to those of the

Zhou, pp. 22-37.

TimeOut Beijing Consumer Guide, ‘原京棉二厂：CBD 旁，针线纺出个“甲子园” [The Original Beijing No.2 Textile Factory: Next To The CBD, Needle-Spinning Out A ‘Koshien']', 2013 <http://qd.ifeng.com/lexianglvyou/jingdian/detail_2013_05/08/779077_0.shtml> [10 January 2018]. 9 Yan Zhang, Yanwei Chai and Qianyun Zhou, ‘The Spatiality and Spatial Changes of Danwei Compound in Chinese Cities: Case Study of Beijing No.2 Textile Factory.’, International Urban Planning, 24.5 (2009), pp. 20-27. 10 Yingwen Zuo, Beijing Evening News, 2015 <http://www.takefoto.cn/viewnews425305.html> [03 January 2018].

CHAPTER 2

diminish ‘fear of crimes ’ and provide an elite lifestyle, which is similar to the new neighbourhood - Shilipu compound -within

1.2. SOCIAL SEGREGATION

those two groups, there seems to be a hierarchy in housing - richer

when compared to their neighbours (fig. 8X).

Proper refurbishment never came to these residences. The sewer system, shared bathrooms between households, and dormitories still remained the same as in the 1950s, and mostly do not function. Most of these ‘out-of-function’ buildings are still

Map retrived from map.baidu.com, 2018 50

Peiling Zhou, ‘A Socio-Economic-Cultural Exploration on Open Space Form and Peiling Zhou, ‘A Socio-Economic-Cultural Exploration on Open Space Form and Everyday Activities In Danwei: A Case Study of Jingmian Compound, Beijing’, URBAN Everyday Activities In Danwei: A Case Study of Jingmian Compound, Beijing’, URBAN DESIGN International, 19.1 (2014), pp. 22-37. DESIGN International, 19.1 (2014), pp. 22-37.

people live in the newer built buildings, poorer workers live in the

Zhou, pp. 22-37. 12 Yanjie Bian, John, R. Logan, and others, ‘Work Units and Housing Reform in Two Chinese Cities’, in Danwei: the changing Chinese workplace in historical and comparative, ed. by Xiaobo Lü and Elizabeth J. Perry (Armonk, N.Y.: M.E. Sharp,1997), pp. 223-250.

worker’s compound – Jingmian compound – still partially remained

sense of the past’

fig. 1. Jingmian Compound. Source: Zheng, 2013

parks built in the late 90s. New residents are partially original

㈀ ⴀ猀琀漀爀攀礀爀攀猀椀搀攀渀琀椀愀氀戀甀椀氀搀椀渀最戀甀椀氀琀椀渀琀栀攀㤀猀Ⰰ 渀漀眀戀攀挀愀洀攀愀最愀琀攀搀挀漀洀洀甀渀椀琀礀⸀ fig. 10. Balizhuang compound in destruction Source: map.baidu.com, 2018

been gradually replaced by gated communities (fig. 6X). The former

(fig. 7X), terraced workers bungalows built in the 1960s (fig. 8X), and informal settlements – all of which ironically resemble a ‘strange

The Metropolitan Complex

fig. 3. Map of Jingmian compound. fig. 3. Map of Jingmian compound. Source: self drawn, 2018; original map retrived from map.baidu.com, Source: 2018 self drawn, 2018; original map retrived from map.baidu.com, 2018

6. Fulong Wu, "Neighborhood Attachment, Social Participation, and Willingness to Stay in China’s Low-Income Communities", Urban Affairs Review, 48.4 (2012), 547-570, pp. 550-552; 7. KAM WING CHAN, ‘Post-Mao China: A Two-Class Urban Society in the Making’, International Journal of Urban and Regional Research, 20.1 (1996), 134–150.

workers or managers and new migrants, who are richer than those

compound composed of four 20-storey apartment buildings and car

fig. 8. bungalows Source: map.baidu.com 2018

The worker’s compound next to the Jingmian compound has

䰀伀䌀䄀吀䤀伀一吀䠀䔀䘀伀䈀䈀䤀䐀䔀一䌀䤀吀夀㈀一䐀刀䤀一䜀刀伀䄀䐀

Laijin Culture Creative Industrial Park

(former Jingmian No.2 Textile Factory)

dangerously inhabited by some of the original retired workers or

lifestyle. To me, the new built gates seem to only declare themselves

fig. 7. Balizhuang compound Source: Wang 2007

䌀漀洀瀀漀甀渀搀

Chaoyang Rd.

different from the poverty of the outer compound.

刀䤀䜀䠀吀㨀挀栀攀愀瀀猀琀爀攀攀琀猀琀漀爀攀Ⰰ 洀漀猀琀氀礀爀愀渀戀礀爀甀爀愀氀椀洀洀椀最爀愀渀琀猀⸀

by the Japanese architect Kengo Kuma on 2013 (fig. 4X). When most of

吀栀攀䨀椀渀最洀椀愀渀

fig. 2. Map of Beijing. Source: self drawn, 2018

Yuanyang Complex

income differences; there’s an invisible wall between the two groups.

who live in the low-rise buildings due to wage differences.

䌀䈀䐀

Jingmian Compound

Kaide Complex

Nonetheless, studying the spatial changes, allocations of the gate, or

fig. 5 medio company incultural creative industrial park dSource: sina. com 2013

fig. 9. Balizhuang compound in destruction Source: Wang 2008

dramatic over the past 30 years. This industrial heritage, No.2 Textile Factory, was regenerated into a ‘Cultural-Creative-Industrial Park’ 吀椀愀渀愀渀洀攀渀匀焀甀愀爀攀

fig. 2. Map of Beijing. Source: self drawn, 2018

sector business.

Chaoyang Rd.

reform . Most of these residents were unskilled or semi-skilled

䰀䔀䘀吀㨀一攀眀最愀琀攀搀挀漀洀洀甀渀椀琀礀

fig. 6. new gated community and bungalows Source: map.baidu.com 2018

The urban transformation around the Jingmian compound has been

from a state-owned enterprise sector business from a state-owned (SOEs) to a enterprise private sector business (SOEs) to a private

manual workers, who were spatially separated from their neighbours - a gated compound called ‘Shilipu’ (fig.10x) within Jingmian

fig. 4. cultural creative industrial park designed by Kengo Kuma. Source: sina.com 2013

1.1. SPATIAL CHANGES

unit of No.2 Textile Factory, located along unit of Chaoyang No.2 Textile Road, Factory, located along Chaoyang Road, Balizhuang, Chaoyang District. The former Balizhuang, No.2 Textile Chaoyang Factory District. The former No.2 Textile Factory combined with No.1 and No.3 Textile Factory combined into with a corporate No.1 and owned No.3 Textile Factory into a corporate owned company - the Jingmian Group - in 1997, company finishing - the its Jingmian transformation Group - in 1997, finishing its transformation

JINGMIAN COMPOUND

demographic transformation reflects China’s transition from demographic transformation reflects China’s transition from socialism to marketisation over the past 60 yearsto. marketisation socialism over The role of ‘gate’ inthe past 60 years . The role of ‘gate’ in Jingmian compound will be highlighted Jingmian in this part compound of the will be highlighted in this part of the dissertation. The location of Jingmiandissertation. Compound is The twolocation subwayof Jingmian Compound is two subway

inherited the apartment from their parents, who purchased them from SOEs at a discounted price at the beginning of the housing

JINGMIAN COMPOUND

is a typical example of a Danwei compound in Beijing. It’s of spatial and compound in Beijing. It’s spatial and is a typical example a Danwei

stations away from Beijing CBD (Figure stations X). It is away an integrated from Beijing workCBD (Figure 2X). It is an integrated work-

illegally rented to rural immigrants (fig. X). Six-storey apartments are mainly inhabited by workers or migrants. Some of the residents

DANWEI SYSTEM UNDER TRANSITION: DANWEI CASE SYSTEM STUDY UNDER OF TRANSITION: CASE STUDY OF

The Jingmian Compound, now calledThe ‘Balizhuang Compound’, JingmianWest Compound, now called ‘Balizhuang West Compound’,

A Brief Introduction to the Jingmian Compound

way for the regime to plan. Nevertheless, The wall that divided the a city to land parcels indeed have more political and social influences and still remains its influences in varies perspectives nowadays.6 The problems started to reveal after the reformation. The Danwei compound lost its political means and its original integrated socialist ideology when it was strongly challenged by the capitalist concepts, such as private enterprise and commodified housing (Chpater 3). Market reformation and rapid economic growth after the reformation has influenced the social and urban form in China. Evidences of segregation, stratification was discovered within the original homogenuous Danwei compound. More visible or ‘invisible walls’ built for different social and economical purposes, while the walls in the previous ‘gated’ living-quarter (Danwei compound) in the Danwei system has been challenged and redefined.(Chapte 4.) This thesis is aiming to discover invisible ‘walls’ that transformed from the original Danwei gates with a case study of Jingmian Compound, which was the former living quarter to the Beijing No.2 Textile Factory. Spatial changes and arrangements of boundaries, both in visible and invisible form, will be specifically discovered through spatial transformation. As Chai stated at the end of his journal, regarding a work-unit as a micro urban space will derive to a deeper understanding on Chinese urban transition and spatial reform.

on consumption stimulated productivity, since consumer goods and welfare were no longer centralised by the government. Wages and

John R. Logan, ‘Three Challenges for the Chinese City: Globalisation, Migration, and Market Reform’, in The New Chinese City, ed. by John R. Logan (Oxford: Blackwell Publishers, 2002), pp. 3-21. Francis. Nee, in Logan. Bian and Gerber. Victor Nee, cited Urban China in Transition, ed. by John. R. Logan. Francis. 87 Bian and others. 88 Zhang and others, p. 23. 82

other kinds of incomes started to make a difference in class and

84 85

Zhou and Logan. Yanjie Bian and others, pp. 224-226. 74 Yanjie Bian and others, pp. 224-226. 75 Zhou and Logan. 73

Fulong Wu, 1984, cited in Chan, Kam Wing, Cities with Invisible Walls (Hong Kong: Oxford University Press, 1994). 80 Yusuf and Nabeshima.

Wu, ‘Rediscovering the “Gate’” Under Market Transition: From Work-Unit Compounds to Commodity Housing Enclaves’.

Zhang and others, p. 23. Beijing No.2 Textile Factory History Archive, cited in Zhang and others, p. 23.

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