PORTFOLIO JUNXIONG MA Graduate of Penndesign
WORLD WITHIN WORLD --New World Trade Center
Disgn Studio II 2016.3 Instrucor Tom Wiscombe Location Los Angeles, California Construction Area 2.8 million SF 2 men teamwork (Drawings all drew b
a
by myself)
LOW-RES FIGURES This form study is in order to create minimal but non-primitive forms by stacking and glance cu ng techni ue. Space nvaders will be built in three dimensions and used as a point of departure for this exercise. oolean difference, union, and extrusions will be used to build up forms which may appear to be urban scale but are in fact architectural scale. Results will be used as containers at one scale and interior structure at another. ll surfaces will remain planar, which, will allow for the construction of models using special coated paper and laser cutter. Later, this will also allow us to create large-scale models of interiors for staged hotography. Space nvader figures
Space nvader d figures
OBJECT AS CONTAINER Using the stacking and glance-cu ng tech ues, the non-rhetorical figures are created. ifferent from the smooth, continues digital projects, the low-res objects are much easier to identified. The container itself is near-figural, meaning that they often include strong silhouettes and partially legible shapes nested inside of things. This studio deployed jacks, iggurats, and other chunky, low-res forms in strange orientations and different scales, which helps maintain a loose formal affinity across the project.
ass evolution
BUILDING PROJECT World Trade enter architecture is notoriously preoccupied with the representation of free trade. n United States at the turn of the century, that representation was often tied to classical architecture, summetry, and stone. uring the ennedy era, classicism was traded in for heavy, anonymous boxes of the s, of which the old Los ngeles World Trade enter is one. This new trade center will be a public private entity with both secured and unsecured facilities and it will host foreign dignitaries as well as local business leaders and politicians. isney concert all
ank of merica
The road museum
The onaventure otel U.S bank tower
Site
Ground as Object The ground is not a continuity of the building but an articulated void. hole can both obscuring the foot of the building on approach, and forcing entry at mid-level. The act of entry becomes a leap from one world into another.
Anti-gravity Space Unlike those vertical towers around the site, the new WT has tilt transportation system, which allow people experience the building as a non-gravity space. eanwhile the main vertical core is hidden in the poche.
Multiple Worlds There are three worlds in the new WT , the atrium, which is continuous and has multiple direction objects. The grand hall, which has multiple opening oors and a giantic space. The poche which contains the major programs.
igueroa at Wilshire
World Trade Centers Programs Analysis Through the analysis of the complex of four buildings in Lower anhattan, we got the common proportion of different programs in world trade center. These proportions become the references for our project. ffice, recreation, public area, mechanical space, retail and conference are the main programs in our project.
LA
Sk Th ex diff
Th Th int rec
Tra o pa of
ffi Th inh vie
A World Trade Center Mechanical ublic Recreation ffice Retail
Sky la orm The pla orm is overhung above the grand hall, giving people a open view of center L .
onference Escalator Elevator
ky Lobby his sky lobby is open to the xterior. ultiple oors provide fferent views of the city.
usical pla orm This pla orm provides the space for open lecture and musical performance.
heater he theater is hidden in the terior figure. ne of the creation program in WT .
anfer oor or facilitating transfer of assengers between the plurality elevator cars.
ublic pla orm This pla orm provides the space for leisure and cha ng.
ffices he offices are placed in the habitable wall which has nice ews and good daylighting.
l eve d-l
m fro ter En
mi the
Retail The inhabitable poche in lower levels become the retail area with uni ue shopping experience,
Multiple cut section n order to reveal the dramatic , strange, scaleless and non-gravity interior and the overall mass at the same time, the multiple cut section techni ue was applied. t shows the not only the relationship between different major parts of the building but also the relationship between the interior and the exterior. t s a new way to explore the architecture.
Composite Materiality The envelope design is characteri ed by three interfering patterns freeform seams, offset-like projections, and cross-grain panels. The offset-like patterns defy conventional standards of industrial production at building scale. What appear at first to be familiar metal panels on the exterior are in fact impossible to achieve in metal sheet due to their shape and si e. nstead, composite super-panels are envisioned.
Construction ased on surface rather than vector structure, composite construction lends itself to pu le-pieced and friction-fit supercomponents at large scale. ritical for the design of this prototype was to maximi e surface continuity between components, yet still allow parts to be read as such, each with their own shape and life. ecause of the lightweight construction method, the scale of each supercomponent is x , to be built in an aircraft hangar, and own with sky-cranes to the construction site. COMPOSITE PANELS (ALUMINUM BRUSHED) STRUCTUAL SEAMS (MATT BLACK) CURTAIN WALL (BLACK GLASS) STEEL RING
DIAPHRAM FLOOR SECONDARY CONSTRUCTION PRIMARY TRUSSES
hisical
odel
The Inhabitable Poche The project often deploy Liners that sometimes track with the exterior shell and sometimes deviate significantly to create contemporary poche. Unlike classical poche, which was literally made of solid masonry, contemporary poche is made of delaminated surfaces and creates inhabitable space. When drawn in plan, the black poche spaces of historical architectural representation disappear in favor of a multilayered envelope similar to an onion. Relates back to desire to have hidden spaces and deferral of interiority in new ways.
Interior Figures Each part in the ensemble is an agglomeration of a set of blocky, stepped bars and crystal figures, tightly shrinkwrapped in an outer container. These interstitial spaces are used for balconies or common spaces for the offices. Some crystals and bars breach the container and are sheared off, creating hybrid apertures on the facades. Sometimes this shearing produces a familiar scale of aperture that one associates with the human scale, but other times, it produces strange figures that reveal deep internal voids and scuttle the reading of the project as housing.
Phisical Model
Section Perspective
Tattoos s opposed to meshes and paneli ation systems, which are everywhere, all the time on a building skin, a tattoo is an objectification of surface articulation. Tattoos are not ornament, in the sense that they do no hang off of architecture. They are also distinct from the supergraphics of enturi, which oat on the surface of architecture. rchitectural tattoos are instead embedded in the building mass, without losing their elemental autonomy. They are clicked-in, over-molded onto or pressed into surfaces loosely, as if they might later be removed and examined as independent objects. Like tattoos on the body, architectural tattoos may sometimes track underlying form, but they often deviate from it to become free-form or figural. nstead of being subservient to edges or other formal in ections of the building mass, tattoos are patchy and discontinuous. tattoos derive not only from a new formal sensibility, but from the possibilities inherent in composite construction.Suddenly it is possible, and imperative, to rethink what constitutes surface articulation when the age of tectonic articulation based on bricks, sticks and panels is past. n composite monoco ue construction, for instance, the site of the joint may no longer be the site of articulation one may have nothing to do with the other. oints and seams may be suppressed or emphasi ed or altogether faked for effect. lso, the sheer number of functional seams may be significantly reduced, pointing to the possibility of buildings made from massive interlocking chunks. s construction is de-coupled from the size of pieces ofmaterial a human can fabricate or carry and rethought in these terms, scale comes into uestion. rchitecture can cease to register the human form and instead move toward strange, alien effects we can only begin to imagine.
BLACK BOX. MUTE ICON ld t eater reno ation
Disgn Studio III 2016.10 Instrucor Georgina Huljich Location Los Angeles, Calnifornia Construction Area 2 , SF Individual work
MUTE ICON rchitecture seems at a significant crossroads nowadays. aunted by vast processes taking place outside itself, since . , the financial collapse, the exacerbation of global warming, cultural and sociopolitical developments such as the rab Spring and ccupy, a new epoch of economic austerity, the often ill proclaimed but certainly perceived death of the icon era, the impulse for social responsibility, the celebration of practices of common sense and search for common ground all point to a challenge to the most creative and projective aspects of both discipline and field, and certainly suggest a political realignment of its establishment. While context can t be the only driver for architectural production or any form of artistic practice of cultural relevance, it is certainly an important factor to be considered and reckoned with.
Ledoux’s Spherical house
BLACK BOX The relation that the term black box has to uestions of functional exibility, atmospheric darkness and plain mystery, or the connotations that it entails to the most pure form of art are important aspects for the studio. ot in and of themselves, but especially if one looks at them from the perspective of a mute icon. an a black box be a mute icon an a mute icon be a black box ere we use the techni ue of projection cut to creat hundreds of objects to study the mute iconicity of objects, the profiles are extracted from the performance of an artist.
Form study of mute black box
DICHOTOMY ormal ambiguity and ambivalence of reading between interior and exterior will be mobili ing mechanisms to subvert notions of typological and aesthetic fixity. t the center of this is the idea of dichotomy, which implies that by combining opposites, contrasts could dissolve, be emphasi ed or rather become fu ier, and the whole entering into a more complex state of dualism. onse uently, the studio will pursue dichotomies as a way to defy fixed notions of mass configuration.
SITE INTRODUCTION
Le etit rince, ntoine de Saint-Exup ry
The design project will consist of a redesign building for Royce all at U L in Los ngeles. The new university building will entail approximately a total of , s uare feet which will include the University uditorium Royce all uditorium , The enter for the rt of erformance at U L and the Royce all Terrace. The site and program themselves provide a remarkable canvas for investigation the memory and history of the pre existing neoclassical building Royce all the physical and regulatory context of the university campus and the productive constraints of the program will allow us to pursue ideas of context beyond the known specificities of site, by understanding it as a larger cultural and a social framework from where projects can cultivate and construct new physical images.
Site
Compus axis
4 Oldest UCLA buildings 1.Center Library . umanities uilding 3.Royce Hall 4.Powell Library
Campus of UCLA, 1928
Royce Hall front facade
THE EXTERIOR The project aims to produce an exterior mass that relies both on the performance, conformity and history of its immediate context at the same time that produces an icon. The result of the exterior mass is a combination of the historic bottom part with an new top part which remain some original openings and elements.
original Royce Hall
extract elements
slice to integrity
ďŹ ll as whole
orm manipulation
orm manipulation
terrace as pocket
bottom as histroic parts
Smooth transition from old to new orm evolution
BUILDING IN CAMPUS ue to the site restriction, the original backstage entrance and the audiences entrance are remained. lthough the wings and the tower of the old Royce hall are cut, but the symmetric of the front facade still remain the same to keep the campus axis visually and formally. The origin windows of the twin tower are kept on the new facade to remind people the existence of the twin towers. Some vertical elements of the old royce hall are kept and extend to the additional top part. t the corner, the old facade transit to the terrace and then to the top part. Every move is to make the new Royce hall looks like an integrated object where new and old coexist.
Site circulation
Relationship between new and old
THE INTERIOR The vaults are the main elements in Lombard Romanes ue style architecture, therefore, in this historic building renovation project we decided to manipulate the vault ---- one of the symbol of the Lombard Romanes ue style ---- to achieve the coexist experience of the new and old Royce hall. The vaults are booleaned dierent by spheroid at tangent point to get new three dimensional curve extend from the old vault.
Arcade of royce hall
manipulation of vaults
PROGRAMS AND CIRCULATION The major programs of the new Royce hall are the same as the old one. The east lobby, entrance hall, west lobby are fully connected in the new proposal so that the audiences from every section of the auditorium can reach the bar or leisure one easily, and the people s movement become one of the beautiful views of the new royce hall due to the grand, open hall. The old terrace is wrapped to be part of the building formally and has a stronger connection to the lobby due to the removal of the division walls. Backstage area is enlarged for more complex stage device and mechanic system
The circulation core is moved from the west to the east lobby,breaking down the visual division between the entrance hall and the west lobby.
Performers Entrance
Audiences Entrance
Terrace is wrapped formally so that the visual direction is redirected to the interior. The visual connection is enhanced.
Backstage Lobby Terrace ďŹƒce Auditorim
OBILIQUE DRAWING The way to make the obi ue drawing is to shear the model degree, so that it can reveal the porprotion section and plan at the same time. This will challenge ďŹ xed aesthetic notions of beauty and legibility in architectural representation and visuali ation, using abstraction and defamiliari ation to speculate on the generation of withdrawn, irritant and engaging images.
BUILDING ON SITE Through the site section we can control the overall volume of the mass and the relationship between the opening, terrace and the compus building opposite to it. The new Royce hall remain the old symmetrical relationship between the front facade and the owell Library meanwhile making the new Royce hall look as a whole to contain more complex programs.
West elevation
South- orth Section
South Elevation
West-East Section
SECTION / ELEVATION The section elevation drawing reveals the relationship between the interior and the exterior mass. Some parts of the interior are the continuity of the exterior elements, and meanwhile the interior is a gigantic space with no fully division which is signiďŹ cantly dierent from the impression of the small historic openings of the old Royce hall.
NEW ORGANIZATION
The new plan totally change the old percetion of the original Royce hall. With the removal of most of the division wall of the old lobby, the open space with some original elements which are formly cut or manipulated, so that the old memory can live in the new design. The terra major part of the building and has a closer connection with the lobby. The grand stair provides a visible connection of dierent oor which old Royce hall, this produces the visual connection and make the new Royce hall interior a lot more remarkable.
e new lobby is a grand ace is integrated to the h doesn t exsist in the
DEMOLITION PLAN With the demolition plan, the relationship between the new and old is revealed. The additional parts of the old Royce hall is sliced and the division walls of the lobby are removed, meanwhile the arcade for the public is remained. The new volume of Royce hall looks more integrated and the interior is widely open.
SECTION The section shows the spacial relationship of the backstage, auditorium, lobby, and the arcade. udiences on dierent oor have visual communication in the new Royce hall. eanwhile, because of the additional part on top of the original Royce hall, the volume is enlarged and make the new auditorium have additional space for new stage devices and technology.
South- orth Section
NEW LOBBY The original second, third, and fourth oor are cut to create visual connection and bright, open spacial eect. Some elements like vaults, twin towers were kept but booleaned dierent by sphere or spheroid to create modern three dimensional curve. Therefore, brick, part of vaults can be seen in the new Royce hall to remind the audiences old Royce hall.
Phisical Model
The original three symmetrical entrances are booleaned dierent by spheroid or cut to give people a brand new feeling. The bottom part of the west vault entrances are removed to open the space to connect the west lobby and south lobby. The sky bridge is designed to conncent the auditorium and the twin towers where bar is located. eanwhile it can make people witness the circulation on the second oor so that the image of the entrance hall become an vivid, three dimensional picture.
Phisical Model
nterior perspective
UNDERGRAD
Selected work
DUATE WORK
kd 2014-2015
magination of antang illage m Exhibition Work,
m
FLOWING ZEN ai uang em le econstruction lanning
Disgn Studio VI 2014.3 Instrucor Qian Guo Location uang ou, C ina Construction Area ㎥ Individual work
HAIZHUANG TEMPLE INTRODUCTION Haizhuang Temple is one of the four famous temples in Guangzhou city. It has close relationship with water and numbers of ancient trees. fter s,The centuries-old temple was used as a park because this area is extremely lack of leisure space. ow the temple needs extension to meet the needs of the uddhism development but it also has to maintain its function as a park for the citi ens.
NEW HAIZHUANG TEMPLE n the new planning,the ancient buildings,old trees and the arcades have to be reserved and the others can be demolished. There are four histroic buildings on the site, the memorial archway,the eaven ing hall, the ain hall and the Tower hall, which are the main factors to considered with in the new design. S ace of ow was applied to vague the con iction between traditional building form and the modern architecture form and express the Zen of uddhism. nother major problem is the surrounding high-rise buildings would ruin the amosphere of the tran uil buddhism temple, therefore the circulation and vision control should be highly considered.
emorial archway
Tower all
ain all
eaven ing all
THE IMPORTANT CONSTRUCTIONS ON THE SITE esides numbers of centuries-old trees and old traditional temples, there are some important constructions like the agodas and the histroic arcade need to be considered. The arcade is the most famous architectural style in uang hou area, it has hundreds of years history and need to be combined with the new ai huang Temple and become the commercial area both for the citi ens and visitors.
igh-rises The even ing
ncient trees Fountains republic-era builing
ncient temples
rcades memorial archway
agodas
SITE ANALYSE The name ai means earl River that near the site in hinese. Therefore, water is extremely important in ai huang Temple design both in histroy and nowadays. esides, the development of the high-rise residential buildings bring hugh problems to the site, they destoied the skyline of the old temple. isitor, especially the uddhism believers don t want to see the high-rise when they having the worship ceremony. eanwhile, due to the expansion, another entrance and underground parking would be added and the location and circulation are very important.
igh-rises The site is surrounded by several high-rises which should not be seen in the traditional temple. Sight analysis would be the major tools in the design.
ublic space Except the roadsides,this area is extremely lack of public space.The citi ens need a park.
Road network This site is surrounded by a stem road and two secondary main roads.Therefore the new parking entrance should be opened to the stem road for the great traďŹƒc ow.
HAIZHUANG TEMPLE IN HISTROY t s very important to know what hai huang temple looked like in histroy and the best way to know it is by the texts and drawings. Through them we knew that the front gate was really closed to the dock and water was channeled to the temple to create two sight spots. esides, there were six more totally eight famous sight spots in old ai huang temple which are one of the restoration goals. nother imteresting thing we can ďŹ nd in that old drawing is the layout of the ancient temple ---- all the buildings were southward and lied interdigitatingly, and it gave us the idea of using space of ows to organise the new ai huang Temple. ld ai huang Temple in
LAYOUT EVOLUTION With some important historic buildings on site, the new expansion should give full respect to the ancient axis formally, geographically and visually. eside, a new circulation for the non-buddhism visitors should be considered. So the boundary between the uddhism and non-buddhism area becomes very important.
s
SPACE OF FLOWS AND CHINESE TRADITIONAL LAYOUT The height of the new construction is seriously considered based on the R calculation and in the respect of the old traditional temples. eanwhile, the research of the non-stop city and traditional hinese architecture groups brought us the idea of the new organisation of the new temple. The modern Eight Sceneries are no longer in individual section but distribute in the semi-open area in the park. Total area
R
㎡/
Eight sceneries
.
m ax stories,mostly less than stories in order to protect ancient-temple environments onstruction areas re uire ㎡ Total R ㎡ ostly two stories
different landscape divisions provide both private and public open space
No-stop (future city form)
C inese traditional city form
.easily adapt to the inside contents .passive to the outside surroundings .diversitified form . o boundary . ublic
.inside contents restrictions .good connection to the city context .single form . oundary . rivate
Combination
ariant of combination
.adapt to the inside contents .intact boundary which is good for outside surroundings .two different kinds of experience .private and public coexist
.have advantages of combination with different volumes and si es .more exible
OLD TREES IN THE TEMPLE There are many old trees which are hundreds years old. They can provided the dense canopy which make people feel tran uil in the temple. owever,the trees are randomly grew and have great impact on the distributions of the buildings. So we are thinking of using the walls and buildings to divide the trees into several groups. y that ways,the trees combined with constructions can create different styles of spaces.
eaven ing hall
Tearoom
Ditch
ain all
ig ourtyard
Small ourtyard
The Gate
Small ourtyard
uddhism Library
otanic arden
Secondary Entry
Scenery arden
hysical model
SIGHT ANALYSIS The site is surrounded by several high-rises which have great impact on the en atmosphere in the old temple. So we use the walls and trees in the temple to screen to high-rises to maintain the pure uddhist space. The site is surrounded by several high-rises which have great impact on the en atmosphere in the old temple. So we use the walls and trees in the temple to screen to high-rises to maintain the pure uddhist space.
unscreen screened by trees screened by walls
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The new entrances for visitors and cars are open to the aogang v. which is the major road in this area. t s not only very convient for the citi ens to come but also can give the visitors a nice ďŹ rst impression of the new temple because the high-rise are on their back which they can t see, and the high-rise on the front are very far away and can be easily blcoked by the trees and constrctions.
ain entrance
A F arage exit
B
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Secondary entrance
K I J Garage entrance
D E
m
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Master plan
THE PUBLIC PARK AREA
n order to separate the public park which is for the citi ens from the buddhism area, different geometrical height are appl is on the ground oor and separated from the temple part by the linear gallery, trees and retaining wall. t has a large area which is totally different from the linear, narrow worship circulation and it s close to the commercial area.
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. ountain gate . ain gate . eaven king hall . ffice . Tearoom . Workshop . uddhism exhibition hall . oon well . uddhism exhibition hall . arage entrance . Secondary entrance . Resturant . ncient arcade business street . arage exit . iew pavilion . avilion . isitor center . otanic garden . en garden m
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round oor plan
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lied. The public part a of open space
Eight Senceries in ancient hinese can t be translated
FUNCTIONS AND CIRCULATIONS
There are four kinds of people who will use this site--monks,pilgrims,leisure crowd and vegetarians. Monks live in the temple and shou therefore the monk living area is near the temple area and divided by a partion wall. The main temple area is on the second oor whic the ground public park. ilgrims purpose is to worship the god and experience the uddhism culture while the leisure crowd who migh believes just need to have a rest in the park. egetarian restaurant is independent in the temple and open for the citi ens.
oth pilgrim and non-pilgrim circulatio narrow, enclosed spaces and have the different side of the grand lake. The la water theme which lay in the name of
1. Mountain gate 2. Main gate 3. Heaven king hall 4. Main hall 5. Tower hall 6. Buddhist abbot room 7. Monks domitory 8. Monks refectory . Liu u hall 10. Guanyin hall 11. Yaoshi hall . i ang hall 13. Buddhism library 14. View pavilion 15. Garage entrance . uddhism exhibition hall 17. Secondary entrance 18. Resturant 19. Ancient arcade business street 20. Garage exit 21. Visitor center 22. Botanic garden 23. Pavilion 24. View pavilion . uddhism exhibition hall 26. Tearoom 27. Workshop . ffice
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pilgrim circulation 2
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1.200
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±0.00
0.600
2.100
19 3
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0.600
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3.700
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3.700 2.100
2.100
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3.700
4 10 7
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3.700
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The holy experience of the pilgram circulation is created by the symmetrical layout and the rising up geography. This can make the pilgram keep looking up and forward on their way to the temple.
-7.200
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Non-pilgrim c
uld not be bothered, ch is separated from ht have different
NON-PILGRIM CIRCULATION on-pilgrim circulation mainly focus on the experience of the leisure space. There are many kinds of semi-open space including some sight spots in this circulation.
ons are start with the e climax experience on ake responds to the f “Hai”.
circulation
PILGRIM CIRCULATION ilgrim circulation mainly focus on the experience of the worship space. ost of those spaces are linear or symmetrical, giving the holy experience and forcing the vision and movement straight forward.
POINT-LINE-SURFACE nspired by the arc de la illette designed by ernard Tschumi, the new planning of ai huang Temple can be also break up into point, line and surface and they are treated differently. Point
Trees, Pagodas and buddhism tower are treated as points. They spread out in differnt space and some of the uni ue point become the visual focus of the space.
Line ll the new constructions including walls, gallery and exhibition halls can be viewed as lines. They dividing different sections and forming different paths in the park.
Surface All the grass, temples, library, lake and commercial area can be treated as surfaces. Most of them are the major presence and dominate the space.
SCENERY LAYOUT There are many ways to deal with the garden landscape in ancient hina and it s really interesting to interpret them in modern way. hinese garden is essentially aimed at organi ing an environment rich in temperament and interest and full of the beauty of artistic conception through the four gardening elements, including mountains, rivers, structures and plants, as well as other components such as roads and interior se ngs.
ide scenery
ip scenery
use the walls to hide the ai all
use the trees to confine the eaven ing all
Leak scenery
E pposite scenery
use the bamboos to leak a part of scenery
enetrate scenery leave the holes to let the sight penetrated
bstruct scenery use the walls to screen most of the scenery
orrow scenery borrow raindrops to creat scenery on water
directly facing the bamboos
pposite scenery directly facing the library on the other side
c ramed scenery use the hole to confine scenery
bstruct scenery use the walls to divide the sceneries
Leak scenery leave a gap to let people see the views outside
dd scenery
L bstruct scenery
add a tree as scenery inside the courtyard
use the walls to screen the scenery
orrow scenery borrow the sky to creat scenery on the water
orrow scenery borrow the sceneries of differernt seasons
Worship axis s showed in the drawing, the pilgrams have to go through a long way to reach the eaven ing all from the entrance. This can clear their mind from the noise city environment and focus on the worship process. Then they need to climb up a fake mountain to reach the worship climax ---- the ain all, which is surrounded by the gigantic old trees. t the end they will reach the Tower hall with a small s uare.
eaven ing all emorial archway
The Gate
The memorial archway is the starting point of the pilgram circulation but it s outside the temple. The Gate is the entrance of the park.
The eaven ing all is the first climax of t circulation. t s also a turning point becaus ence behind it is different from the previou pool and fake mountain behind it.
the pilgram se the experius, there will be
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Scenery Layout
Tower all ain all
The ain all is the most important and biggest building on the site. The steps in front of the hall make it even bigger in visual.
s the last building on the asix after the climax, Tower hall is comparatively austere, it has no ďŹ gure of uddha but a grand space for pilgrams to think about life.
MODEL MAKING AND RENDERING aking physical model helps me understand the height dierences and the relationship between the site and surrounding area. esides, can have a general views of the distribution of the buildings and ancient trees which have to be preserved. igital model can simulate the luminous environment and the material. lso it can show indoor views which physical model can not provided. ombine with physical and digital model, can have a better understanding of the whole design.
R
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--SacriďŹ ce Space esign
ompetition . Location uangdong, hina onstruction rea ㎥ artner Liao hexuan y part concept,parameter calculation luminous environment design artner site analysis,plan design
SITE INTRODUCTION The site is located at oshan onghua illage,a small village full of traditional bamboo houses.The original ancetor hall had been demolished because of the exploitation of real estate. We found this problem and try to desgin a worship space for the villgers to compensate for the lack of spiritual space.
n this area, most of the buildings are built within a small unit. ur site is a combination of three units which provide enough space for the villagers to come and worship their ancesters. n order to respect the context, we divide the facade into three part to ďŹ t the proportion of the street facade. eanwhile, the major daylighting of this project is from above, not only providing the holy experience but also the privacy of the ancester which is extremely important in hinese culture. They don t want to be disturbed by people
28m
THE SACRIFICE SPACE DESIGN ďź&#x;
4m 4m 4m
Typical odule of building in historical street
t home
urning paper money on the street
eside the river
n open field
THE CUSTOM The custom of burning paper offerings for ancestors has a very long history. ost of the hinese believe that their ancestors will live in another world after their death which means they still have the same re uirement as the living people.Their ancestors can get the offerings by burning paper-made items. lthough this behavior is kind of superstitions however it has become a deep-rooted customs after all these years. efore,people sacrifice their ancestors in ancetor halls ,the family gather together during significant festivals. owever,with the developing of the city,most of the ancester halls have been pulled down in recent years so people got no specific place to worship their ancesters. uring the festivals,families in urban cities choose to burn paper at their home,on the street ,beside the river and even in urban green space. Such behavior can lead to serious conse uences especially the fire accidents . So,here comes the uestion,how can we make balance between the spiritual need of the people with the conse uence might caught of burning paper money
Rubbish Smoke
Potrntial Risks
Flake Memorial of Ancesters Cultural traditions
artner roduction
Community Green Space
Sacrifice Space
Scrafice space Scrafice space
Scrafice space
Scrafice space
amily
Concentration of Sacrifice Space
Scrafice space
Traditional way to sacrifice
ntegrate the sacrifice space
artner roduction
THE NEW SACRIFICE SPACE We choose the site in a historical street where the people living there still continues the customs so they have urgent need for a new sacrifice space. oncentrating the sacrifice space in one single building is the most efficient way to solve the existing problems . The new buiding should merging into the street harmoniously.
GENERATION OF THE PRAY WELL onsidering the best way to solve problem of smoke and dirt ,we designed a chimney shape like structure to draft the smoke out by the c imney e ect----when people burning offering under the chimney, the difference of temperature between in inner and outer space makes the hot air and smoke exhausted from the chimney which can perfectly keep the inner space clean and cool.
esides,the shape of the chimney is determined not only by the season wind but also the solar altitudes on iming and hongyuan estival, which is the most significant day to worship ancestors. The light shed into the space is calculated to create a sacred atmosphere. We can find this kind of architectures all around the world, like the pantheon. Similar to it,the oculus at the chimney s apex and brick facade are the only natural sources of light in the interior. Throughout the day, the light from the oculus moves around this space in a reverse sundial effect. The oculus also serves as a cooling and ventilation method.
CALCULATION & SHAPE Since the custom is popular nationwide, we choose four different cities in hina to analyse the universality of our design.The different longitudes and latitudes which determined the solar altitudes ,the direction of the monsoon and the different height all have in uence to determine the shape of the pray well. The following is the different shapes of the pray well calculated all the relevant factors. Shanghai aikou
oshan
u hou
We have different kinds of chimneys which re uire different shape of opening and different sacrificial space at different height. The taller the chimney, the bigger space it could have. inally, we choose three types of chimneys to apply in our design. N
aikou ainan province E m
m
m
. . .
N
oshan uangdong province E
m
m
m . . .
N
u hou ujian province E
m
m
m
. . .
N
Shanghai unicipality E
m
m
m
. . .
Spring estival . an
ingming . ay
hongyuan . ul
hongyang .Sep
PHYSICAL AND ATMOSPHERE PERCEPTION To step further, we made physical model both of the entirety and one of the section.The space should be integrated with physical environment ,material and human intervention, with the physical model we can simulate the real environment of the building.The section above stimulate the changing light environment during a year,each of them shows the light environment on one of the most signi cant festi al to worship the ancestors.
artner roduction The roof of the building serves as community park as well. eople gather here to enjoy their peaceful moment.
Perspective from the bottom
PLANS LAYOUT We use the x gridding to generate and control the plan.The three dierent si es pray wells are inserted randomly according to the gridding which make the space mysterious and facsinating with the unpredictable shedding light from the sky.When people standing right beneath the pray well and look up ,the light becomes the medium to have a peaceful conversation with their ancestors.
irst loor lan
Second loor lan
Perspective
The imagine shows the scene when people are burning paper offerings during the significant festivals .The fire illuminates the somber inner space and the mist smoke rising up through the well created mysterious and sacred atmosphere which recalls the memory of the old days when they worship their ancesters in the ancester hall.
SELECTED WORKS From 2013 to 2014
2013
MUSEUM DESIGN Course work Role:Volume, interior,modeling Construction Area 19200㎡
LIBRARY DESIGN Course work
Individual work Construction Area 13200㎡
HOTEL DESIGN Course work
Individual work Construction Area
15
Academic Work
2014
FESTIVAL IN FOREST Competition: Tent Hotel Design
Individual work Construction Area 25㎡（unit）
VISIBLE SOUND Performance Space Design Individual work Construction Area
Competition Work
560㎡
THE NEW ARCADE Urban design
Individual work Construction Area 9
5000㎡
9.6k㎡
MEDICAL CENTER
Role:Entrance hall design, facade, volume
Floor Area: 30,000 SM Architect: Jingtang He Shantou, China
HEBEI UNITED UNIVERSITY
Role:Front area & administration buildings
Hebei, China Construction Area 17.9k㎡
Professional Work
ANCIENT BUILDING SURVEY Location: Guangzhou, China Group work
Construction Area 850㎡
ARCADE RECONSTRUCTION Role:first floor&second floor design construction drawing
Professional Work
Jiangmen, China Construction Area 600㎡