Lirong Tan_Portfolio_201805

DESIGN VOLUME 2015 | 2018

LIRONG TAN

Columbia Graduate School of Architecture, Planning and Preservation Advanced Architecture Program lt2666@columbia.edu

THIS PORTFOLIO CONTAINS THE DESIGN WORK OF

I nf or ma t i o n

D a t e o f birt h: J un. 1 0 , 1 993 N a t io na lit y: China ( U. S. p erman en t resid en t)

Educa tion

Co lumbia Unive rsit y | 2017.6 – 2018. 5 M. S . Adva nc e d Arc hit e c tu ral Desig n S yra c use Unive rsit y | 2015.5 – 2017.5 Ba c he lo r o f Arc hit e c t ure Unive rsit y Co lle ge L o ndon | 2015.5 – 2015.6 Ba rt le t t S pringbo a rd P rog ram Inst ruc t e d b y P ro f e sso r Sir Peter Cook

Ex per i e n c e

jun ya ishiga mi + a sso c ia tes | 2016.5 - 2016.7 S t udio P e i-Zhu | 2 0 1 5 . 6 - 2015.8 Andre a P o nsi Arc hit e c t | 2015.1 - 2015.4 | S ha ngha i L o ng iL a t Arc hitectu re Desig n & Re se a rc h Inst it ut e CO . , LT D | 2014.7- 2014. 8 N A U Bio -P e st ic ide Co mpan y | 2013.6 - 2013.8 Zho ngsha n L a ndsc a pe Desig n In c. | 2012.5

S ki l l s

D ig it a l: Aut o CAD , Re vit , Ad ob e Illu stra tor, Ph otosh op , InD e sign, Rhino c e ro s 3 D V 5.0, M a ya, Grassh op p er f or Rh in o, Vra y f o r Rhino , We a ve rbird , Kan g aroo Ph ysics P hysic a l Mo de l-ma k ing: 3d - Prin tin g , Laser- Cu t, CNC Millin g , Airbrush, Wo o dsho p Ha nd D ra w ing: G ra phit e , In k, Colored Pen cil, Ch arcoal, Wa t e rc o lo r, Ma rk e r

Conta c t

Addre ss: 6 2 5 W 5 7 t h S t . New York, NY, 10019 Ap t.2103 S yra c use N Y, 13210 P ho ne : ( 3 1 5 ) 3 7 2 -0 7 6 3 E-ma il: lt a n0 5 @ syr. e du

LIRONG TAN

01 A ssem b l y o f the O rdi na r y f o u n d o b j e c t s , a r c h i t e c t o n i c of m usic , sm oothed surfac e, na tural light, mu s eum f or a c om poser

02 A n i m a te d E d g e u r b a n p l a n n i n g , e d ge c ondition, speed, anim a ted experience, e x p eriential prog ram

03 Flim sy B r ic k - R e co ns tructi o n o f H B C b r i c k ma t e r i a l , b u i l d i n g tec hnolog y, c ontext, soc ial c ondenser

04 S h ou Cou n t y C u l tu re a n d A rt C e nte r R e g ion a l i s m, R e - i n t e r p r e t a tion of traditional arc hitec ture, solid and v o id, interior fac ade

CONTENT

6

01

ASSEMBLY OF THE ORDINARY MUSEUM FOR EDGARD VARESE PROGRAM Museu m f or E d g ard Varese LOCATION Man h a ttan , New York TYPE Adva nc e d Arc hit e c t ural Desig n Stu d io Project Sp rin g 2018 INSTRUCTOR Steven Holl Dim itra T sach relia

The project is a museum f or Edgard Varese who is often referred as “the facther of electronic music”.

The site loca tes a t the southesouth-wes t corner of Sulliven St. and Houston St. The site is 25 ft x 100 ft, the north facade of the building becomes the facade of the block.

There is the soft Surface tha t organizes the heterogeneous “ordinar y neighborhood”. The “ordinar y things” are represented as the volumes of a soda can, a light bulb etc. The cur va ture of the front surface then continues inward as interior partitions, and dissolves the volumes behind. A nega tive shoe box drill through the volume like a tunnel, while the “ordinar y things” f loa t a bove it, which provides multiple inlets of na tural light as well as view points of the sta ge.

The auditorium is below the street level, going up are the galler y, the librar y and administra tive of fice on the top f loor.

One can enter the small cone on the west of the building which is the balcon y of the auditorium. The facade cur ves up from small cone. The dra pe of the facade is hung a bove the pedestrian as a wnings.

The fritted glass is revealed a t the bottom of the facade, the glass g radient to translucent when it meets the g round. People can see the perf ormance from the glass without hearing it. The main entrance is below the curtain to crea te a feeling of raising the curtain to enter, or raise the curtain to see the perf ormance The auditorium is sunken below g round level, g raduall y descended from the lob b y The sta ge is in between the steps on the east (lob b y) side and the retracta ble stairs on the west side. When the west stairs retracted, it becomes a large sta ge on to which the cone shines light on.

The presence of “ordinar y things” manifested as the volumes f loa ting a bove the auditorium.

The large cone a bove the auditorium is where the descending light meets the ascending sound and connects dif ferent levels visuall y and accousticall y.

7

The Music Score This is first two sections of Poeme Electronique. Each color indica tes a dif ferent sound sources. All the sound is recorded b y Varese from the ordinar y world like on the street.

The Ordinar y Edgard Varese composes his music through the ordinar y sound. His sound sources are all recorded from the sounds on the street, the airplane, etc. Taking the same a pproach, we assemble the ordinar y objects in a surrealist manner.

8

Dig ital model of the smooth process

The Imprint of Ordinar y Obejcts S oft Surface tha t organizes the heteroge neous “ordinar y things�, which are the volumes as a soda can, a light bulb etc.

9

The Sta ge Curtain The sta ge curtain is an idea to soften and unify the heterogeneous elements in our previous model.

Through put a cloth on the assembl y, the elements are concealed and presented in a smooth fashion .

10

The North Facade The facade is made of glass fiber reinf orced concrete to maintain the white color of it. The seams are filled to keep a continuous a ppearance. On the g ruond level there is fritted glass through which people can peek into the auditorium down below. The presence of “ordinar y things” manifested both as the volumes f loa ting a bove the nega tive shoe-box “the void” as well as on the dra pe of the facade: the large cone ( coincidence of light and sound) the small cone (street level balcon y) the f olding surface (skylight) the vertical circula tion (stairs coming down/ eleva tor)

11

Overall long itude Section From the section, a nega tive shoe box drill through the volume like a tunnel, while the “ordinar y things� f loa t a bove it, which provides multiple inlets of na tural light as well as view points of the sta ge

12

Preliminar y Transverse Sections Short Section is a tool to study the rela tionship between the curtain and the f ound objects behind. Whether in some cases, both are maintained and in other cases the objects dissolve or bear the sha pe on f loor sla b.

13

The East Facade While the north facade remains a smooth gesture, the short facades clearl y dif ferentia te themselves with large panels of transparent glasses, to allow as much na tural light in, as well as invite people to go around the corner and allow them to “ peep behind the curtain�

14

+41.0 FT

+22.6 FT

+10.4 FT

0 FT

-15.5 FT

0

10

15

20 FT

15

The West Facade The large cone can be seen from the west. The West entrance is used f or loading primaril y the perf ormance instruments to the auditorium. People can walk down the retracta ble stairs on the west and when the stairs are retracted, there will be a lift to load.

16

+45.4 FT

+29.4 FT

+26.3 FT

+13.3 FT

0 FT

-15.7 FT

0

10

15

20 FT

17

Of fice on the Top Floor

The Galler y

18

19

From Librar y to Of fice

The Auditorium

20

The Interection of two pa thes The cur va ture on the facade continues inward. It becomes interior partitions such as wall or a railing. This moment is two walls f orms a pa th in-between while another pa th passes across the walls.

The light meets the sound.

The large cone f loa t a bove the auditorium is where the descneding light meets the ascending sound. it connects dif ferent levels both visuall y and accousticall y.

21

3

5

3

1

1

PLAN

0

20 FT

10

5

4

4

1 2 3 4 5 6 7

4

LVL 0 FT

Varese Archives Room Gallery Music Hall Green Room Lobby and Information Audio Booth Library

4

3

1

1

PLAN

LVL -15.5 FT

The Plans

Retractable Stair

22

The plans g row from the previous dra wing of “Assembl y of the Ordinar y”. The cur va ture on the facade continues inward. It becomes interior partitions and wra ps the “objects” while the “objects” g raduall y dissolve.

The Roofs-ca pe The ridges of the roof f ollow the composition of plans below, The na tural light defines the identity of each space. There are two balconies. One on the north east between the cone and the north facade, where you can see the empire sta te building. Another one is on the south-east next to the meeting room, facing the nearb y building.

7

7

PLAN

2 0

5

10

20 FT

2

2

PLAN

0

5

LVL +25 FT

1 Varese Archives Room 2 Gallery 3 Music Hall 4 Green Room 5 Lobby and Information 6 6 Audio Booth 7 Library

10

20 FT

1 2 3 4 5 6 7

LVL +12 FT Varese Archives Room Gallery Music Hall Green Room Lobby and Information Audio Booth Library

23

The Auditorium The auditorium is sunken below g round level, g raduall y descended from the lob b y. The sta ge is in between the steps on the east (lob b y) side and the retracta ble stairs on the west side. The presence of “ordinar y things” manifested as the volumes f loa ting a bove the nega tive shoe-box “the void” “

24

The Skylight This is the onl y skylight on the facade. The light can be received on both the galler y level and the auditorium down below.

The Entrance The dra pe hangs a bove pedestrian level as a wnings. The entrance is behind the a wning, crea ting a feeling of “lifting up the curtain� when the y enter.

25

26

02

ANIMATED EDGE FRENCH HOTEL+PLEASURE GARDEN PROGRAM F re nc h h otel an d Pleasu re g ard en LOCATION New York TYPE Adva nc e d Arc hit e c t ural Desig n Stu d io Project Su mmer 2017 INSTRUCTOR Marian a Ib an ez Our project is interested in looking a t h ow edges, either physical or conceptual, can be opportu nities to deploy new architectural prog rams and spaces. Our design process continues to add la yers to the definition of the edges. Time and dura tion, speed and movement, hard and soft, object and field, these thresholds are the ke y elements in our project.

The site loca tes a t the riverside park because. It is a ver y compressed span with a wide range of edge condition. It contains the infrastructure with dif ferent speeds (highwa y and pedestrian), wa ter, park, u rban, eleva tion change.

Several primar y edge conditions are identified. The ca tegor y includes: urban, infrastructure, traf fic, land, wa ter. These thresholds are anal yzed based on views, figure g round, movements, cluster, and section.The edge is not onl y understood as a line on the plan, but ra ther a three-dimensional opera tion tha t can get from topog ra phy to a wide range of sectional change in buildings. It can be loaded with dif ferent dynamics spa tiall y, prog ramma ticall y, and conceptuall y. It can also be anima ted with dif ferent speed and dura tion to produce new spa tial experience.

Our idea a bout prog ram is not just to load a space with function, but ra ther functions tha t take place in time.

We ma pped out the change of time and speed of a movement and compared it to the experience of a hotel. Through the comparison we identified interesting moments in the hotel tha t can be anima ted through time and speed.

When recon structing the site, we used the la yout of the speed, landsca pe, movements and prog rams to set up the framework of the g round condition. We started to a ppl y the dif ferent edge conditions from the ca talogue on the site f ollowing the big ger framework.

27

Site Anal ysis

Speed Dia g ram

These thresholds are anal yzed based on views, figure g round, movements, cluster, and section.

The site axon is sliced according to the transition speed through each individual space. Dif ferent speed is identified as barrier between edges, tha t stops people, f or example, trespassing the highwa y.

The Mechanical Representa tion of Edge Linka ge is a mechanical tool to study the site. Through a bstract the rela tionship between the circular ramp and the high wa y, the mechanism unifies linear and rotar y speed, theref ore, connects the e dges .

28

Investiga tion of Organiza tional Tools We conceive dif ferent types of “wall� or barrier tha t crea tes the edges. The dig ital modeling crea tes various type of spa tial division tools tha t sug gesting dif ferent wa ys of organiza tion.

Topog ra phical Divisions Further a bstraction juxta poses dif ferent edge conditions with sectional sketch. The glossar y of topog ra phical divisions prepare us solutions f or previous identified ga ps between zones .

29

Physical Prototype A 2x2x2 in physical prototype as a mix of edge condition types. The parallel bars f low in the same direction in a varia ty of wa ys

30

Ca talogue of Edges The typolog ical study of edges f ollows simple ca talogue of solid, field, thin and thick, which stimula te the f ormal varia tions under dif ferent types.

31

Preliminar y Massing Study T he previous edge prototype integ ra tes with the site a bstraction, to experience the speed in a dif ferent wa y. The high wa y runs through the bar. The track f or bicycle is concentric with the ramp of high wa y so th e rotar y speed is the same.

32

Final Bird Eye View The edge is not onl y understood as a line on the plan, but ra ther a three-dimensional opera tion tha t can get from topog ra phy to a wide range of sectional change in buildings. It can be loaded with dif ferent dynamics spa tiall y, prog ramma ticall y, and conceptuall y. It can also be anima ted with dif ferent speed and dura tion to produce new spa tial experience.

33

Overall Section The section cut through the parallel bars, from the city on the east side to the amphithea ter on the west.

The subtle level change keeps consistent with the topog ra phical surface. People can go through the bars on three dif ferent levels, below, on and a bove the g round.

The Perspective In the perspective, the massing, the ramp f or pedestrians, the ramp f or bicycles and the building interwea ve together.

34

Sushi on the conve yor belt

Drive to the wa ter front

Speed Da ting

Medita tion alone on a cruise Experiential Prog ram

The idea a bout prog ram is not just to load a space with function, but ra ther functions tha t take place in time. We ma pped out the change of time and speed of a movement and compared it to the experience of a hotel. Through the comparison we identified interesting moments in the hotel tha t can be anima ted through time and speed.

35

36

Parallel Zones

Traf fic

Speed

Massing

Composition This panel negotia tes dif ferent f lows, f or example, the pedestrians trespass from east to the west, the cars from south to the north etc. The massing are parallel with the high wa y unifies dif ferent speed through architecture.

37

38

03

FLIMSY BRICK HBC HAll RECONSTRUCTION PROGRAM Unive rsit y D e pa rt me nt of Lan g u a g es Litera tu res an d Lin g u istics LOCATION Syracu se, New York TYPE 4 t h Ye a r Co mpreh en sive Stu d io Project Fall 2015 INSTRUCTOR Ran d all Korman

The HBC Hall on Syracuse University campus was constructed in 1960. It is primaril y dedica ted to the study of f oreign langua ges. However, with the increase of students and occupa tion of addi tional prog rams, a reconstruction project is urgent. To minimize the cost, the university board has decided to preser ve its orig inal structure.

The design stra teg y is two-f old. First and f oremost is optimizing the f ormal-prog ramma tic rela tionship.

The existing elonga te la yout is divided into three units where langua ge, linguistic and litera ture are equall y distributed to. The classrooms loca te a t lower levels while faculty of fices on the top. A g rand staircase is inserted in the middle of the building and connects various prog rams along it. The final moment of staircase is a meeting point between students and faculties. Most significantl y, the stair itself becomes a social condenser, where exhibition and conversa tion take place. Coping with severe wea ther in Syracuse, the design invites the outdoor plaza inside the building.

Second, the proposal optimizes the facade condition. Because HBC loca tes on north side of univ ersity quad, there are zoning regula tions specifies ma terial selection must be brick-like. The design strives to allevia te the weighted visual a ppearance of brick through using Terracotta panels and tilts the surface outward. A continuous stripe wra ps around the building and balances the division of 3 departments. The openings manipula te the sunlight conditions per interior prog rams.

39

Proposed HBC

Hinds

Hendrick’s Chapel

Eggers Hall

Machinery

Steele Hall

Link

Quad

Bowne

Carnegie Library

Physics Building,

The Facade Bonding This a QUAD ELEVATIONS

1/32”= 1’ bonding dia g ram of around the quad. The surrounding buildings f ollow certain height limi ts as well as a horizontal composition of facade.

HUNTINGTON BEARD CROUSE HALL JONATHAN ANTHONY + DANIEL TAN

Syracuse University

ARC 409 | PROFESSOR RANDALL KORMAN

SITE AXONOMETRIC HUNTINGTON BEARD CROUSE HALL Syracuse University

The Site Condition

JONATHAN ANTHONY + DANIEL TAN

ARC 409 | PROFESSOR RANDALL KORMAN

HBC Hall loca tes on the north Side of Quad. There’s suf ficient Na tural Light from the south, while the north is sheltered b y a much taller building, the Hall of Langua ge.

40

Distinguish

Social Condenser

Connection

The existing elonga te la yout is divided into three units where langua ge, linguistic and litera ture are equall y distributed to, and g ive each department its own identity.

The classrooms loca te a t lower levels while faculty of fices on the top.

A g rand staircase is inserted in the middle of the building and connects various prog rams along it.

(Auditorium, student lounges and the writing center). The dif f erent rise and run of steps accommoda te zones of reading, exhibition.

The stair case runs from the auditorium and finishes in the meeting point between teachers and students.

Because the classrooms loca te a t lower levels while faculty of fices on the top.

A

B 23’-11”

C 26’-11”

D 25’-0”

G

F

E 25’-0”

25’-0”

25’-0”

H 25’-0”

I 31’-3”

J 31’-11”

TOP OF BUILDING 63’-2”

THIRD FLOOR 49’-2”

SECOND FLOOR 39’-3”

FIRST FLOOR 26’-4”

GROUND FLOOR 13’-5”

BASEMENT FLOOR

SECTION A-A

1/4”= 1’

HUNTINGTON BEARD CROUSE HALL Syracuse University

Overall Long itude Section

JONATHAN ANTHONY + DANIEL TAN

ARC 409 | PROFESSOR RANDALL KORMAN

The section s reveals how the central staircase interact with the facade, the spa tial configura tions and the prog rams on dif ferent f loors . The stair itself becomes a social condenser, where exhibition and communica tion take place. The f olding of the ceiling continues from the auditorium and crea te dif ferent height on the staircase. When it f olds up and intersect with the f loor sla b a bove it becomes a wall with a large scree where students can sit on the stair and wa tch.

41

2

1 43’-9”

TOP OF BUILDING 63’-2”

THIRD FLOOR 49’-2”

SECOND FLOOR 39’-3”

FIRST FLOOR 26’-4”

GROUND FLOOR 13’-5”

BASEMENT FLOOR

SECTION B-B

1/4”= 1’

Short Section B-B HUNTINGTON BEARD CROUSE HALL JONATHAN ANTHONY + DANIEL TAN ARC 409 | PROFESSOR RANDALL KORMAN Syracuse University The section cuts through the light well b etween the litera ture and linguistic department, where you can enter either from the main entrance on the south or from the north. There are corridors connects the two departments. Walking down the central staircase is the auditorium and going up is the exhibition space and a book booth on the landing a bove.

42

2

1 43’-9”

TOP OF BUILDING 63’-2”

THIRD FLOOR 49’-2”

SECOND FLOOR 39’-3”

FIRST FLOOR 26’-4”

GROUND FLOOR 13’-5”

BASEMENT FLOOR

SECTION C-C

1/4”= 1’

Short Section C-C HUNTINGTON BEARD CROUSE HALL JONATHAN ANTHONY + DANIEL TAN ARC 409 | PROFESSOR RANDALL KORMAN Syracuse University The section cuts through the Linguistic department looking west. The facade trea ts dif ferentl y on two sides. On th e south side (left) people in the of fice can control the louver while on the north side (right) are horizontal cuts. There’s the visual connection between the central stair and the of fices on two sides.

43

b

c

B

A 23’-11”

C 26’-11”

D 25’-0”

E

H

G

F 25’-0”

25’-0”

25’-0”

25’-0”

I 31’-3”

J 31’-11”

43’-9”

1

a

a

2

c

GROUND FLOOR PLAN HUNTINGTON BEARD CROUSE HALL Syracuse University

b

1/8”= 1’

Ground Floor Plan

JONATHAN ANTHONY + DANIEL TAN ARC 409 | PROFESSOR RANDALL KORMAN

The quad loca tes a t the south of the building. There are entrances on both south and north and students can pass through the building.

44

N

HVAC La yout (Geothermal Hea ting)

Local altera tion on existing structure

Entrance View

45

Basement Floor Plan On the basement level, the central spine is double height space to allow light in. There are of fices and classrooms on two side. The thermal field loca tes on the north of the building. The cores are also a t the north of the building.

First Floor Plan The stair ta pers because fewer people use the stair a t higher levels. There is the circular reading booth on the landing of the first f loor. There are also more classrooms.

46

Second Floor Plan There are more of fices on the second f loor. On the central spine there is a study lounge, a small presenta tion room and a computer la b where the stair doesn’t inter vene.

Third Floor Plan The final moment of the stair is the meeting space where the students and the faculty members can schedule brief meetings.

47

EAST ELEVATION

1/4”= 1’

HUNTINGTON BEARD CROUSE HALL Syracuse University

JONATHAN ANTHONY + DANIEL TAN

ARC 409 | PROFESSOR RANDALL KORMAN

West Eleva tion

EAST ELEVATION

1/4”= 1’

JONATHAN ANTHONY + DANIEL TAN

HUNTINGTON BEARD CROUSE HALL Syracuse University

ARC 409 | PROFESSOR RANDALL KORMAN

East Eleva tion

48

Horizontal Band Wra ps

Facade and Space

Facade and Indexical Signs

Ground and Top Floor

SOUTH ELEVATION HUNTINGTON BEARD CROUSE HALL Syracuse University

1/4”= 1’

JONATHAN ANTHONY + DANIEL TAN

South Eleva tions

ARC 409 | PROFESSOR RANDALL KORMAN

The facade is designed through wra pping stra teg y. As a continuous stripe wra ps around the building, the vertical cuts hints the break between three departments in a subtle wa y. The horizontal cuts are studied according to dif ferent prog rams behind and the amount of na tural light the y requi re.

Generall y the clear horizontal cuts are f or of fices with curtain behind, the revolving louvers are f or the classrooms. People on the quad can read the activities behind the facade.

49

ROOF MAMBRANE ROOF MAMBRANE

GLAZING GLAZING

STEEL WINDOW STEEL WINDOW FRAMEFRAME

WOODWOOD FLOORFLOOR FINISHING FINISHING CONCRETE CONCRETE SLAB SLAB

MOTORMOTOR FOR LOUVER FOR LOUVER

PIVOT PIVOT PREFABRICATED PREFABRICATED TERRATERRA COTTACOTTA PANELSPANELS

STEEL FRAME STEEL FRAME

GRATEGRATE T-SHAPE T-SHAPE BEAMBEAM

SUSPENDED SUSPENDED CEILLING CEILLING SYSTEM SYSTEM

GLAZING GLAZING

ALUMINUM ALUMINUM WINDOW WINDOW FRAMEFRAME

Stainless Steel Grate Stainless Steel Grate

Leveled Bed Leveled Mechanically Bed Mechanically Fastened Fastened

T Shaped T Shaped Beam Beam

Terra Cotta TerraTile Cotta Tile 1357-RS 1357-RS Varies in Color Varies in Color

C Channel C Channel Beam Beam C3x6 C3x6 Powder Coated Powder Finish Coated Finish

Horizontal Horizontal Fastener Fastener

ExtrudedExtruded Aluminum Aluminum Clips Clips

50

WALL WALL SECTION SECTION + PARTIAL + PARTIAL ELEVATION ELEVATION +FA+FAHUNTINGTON HUNTINGTON BEARD BEARD CROUSE CROUSE HALL HALL CADE CADE DETAIL DETAIL

1/2”= 1/2”= 1’ 1’

JONATHAN JONATHAN ANTHONY ANTHONY + DANIEL + DANIEL TANTAN

Facade Detail Dra wing The design strives to allevia te the weighted visual a ppearance of brick through replacing with Terracotta tiles. The tiles are slided on steel frames and f orm perfa brica ted panels. The panels are slightl y tilted to make the facade looks f limsy.

There are two dif ferent stra teg ies f or sunlight: the cuts and opera ble panels.

The cuts are assigned to of fices and opera ble panels to classrooms. The mark on facade allows one to understand dif ferent prog rams behind.

WALL SECTION AXONOMETRIC HUNTINGTON BEARD CROUSE HALL Syracuse University

51

52

04

REGIONALISM EXPERIMENT SHOU COUNTY CULTURE ART CENTER PROGRAM L o c a l cu ltu re an d art cen ter LOCATION Sh ou Cou n ty, Ch in a TYPE Profession al Practice OFFICE Stu d io Z h u - Pei

The ancient city of Shouxian is loca ted in the south east China. It is a historic city with rectangular sha pe. During the past ten years, a street g rid f or new urban district has replaced f ormer rural fields on the south of city. New architecture emerges along side with traditional local houses. Theref ore, an inevita ble topic f or a project like this is how to interpret the traditional typolog y with new spa tial experience.

Inspired b y the concept of local courtyard house, Zhu Pei conceptualizes the idea of car vin g the internal cou rtyards into a solid volume. Instead of using the massing, the cluster of voids organizes the prog rams around them. Each courtyard is designa ted with certain function and quality. For example, the entrance courtyard is a garden. Reminiscent of the dimmed light of narrow alle ywa ys, the courtyards are connected with the ramps and stairwa ys with similar characters.

I started participa ting in this project a t the la te sta ge of conceptual design. At tha t time the of fice is designing the eleva tion of the building. While remaining the coherence of the volume (the walls resemble the ancient city walls in height and ma terial) , the idea of porosity is introduced. There are openings on the facade coincide with the loca tion of the courtyards. Since the courtyards are a t dif ferent heights, the opening s become pla yful.

I primaril y worked on f our things. The first is the eleva tion of each courtyard, including designing the louvers and selecting the ma terial, as well as the symbolic sha pes of openings on the wall. La ter on I was in charge of a 1/8 scale physical model which is not intended as a representa tion tool but a “model in motion�. Without using an y glue, the whole design team would discuss in front of the model and change it immedia tel y. The spa tial configura tion of the courtyards is the primar y purpose of this model. The third task is to design the roof, which is a system of ga ble roof hidden inside the rectangular volume. The roof strengths the introvert idea the identity of each courtyard. Last but not least, I tested the landsca pe and circula tion in front of the building. I put those ima ges a t the beg inning of the project as a reference to the site.

All ima ges of this project belong to Studio Zhu-Pei. My role was producing the 1/8 physical model, the interior facade the ma terial and the landsca pe of the dig ital model.

53

The Site Plan The site takes over the whole block and the building sits on the north side of the block.

There’s an ef f ort of isola ting the building from the noise of city. First of all, trees are planted a t the perimeter of the block so people can onl y see the building while g raduall y proceed.

Theres a large la wn on the south of building to reg ister the front, where people can see the entire front facade. Sculptures are sca ttered on the la wn to provide a visual depth of the open space. Also, the building is surrounded b y a pool a gain to distance with the city and control the circula tion as the beg inning of “loop�. The pools remind people of the moa t around the ancient city and ref lects the facade.

The Site Circula tion The space a t the south of building is designed as a park and is devoted to pedestrian onl y.

To limit the auto mobile a t the site, the traf fic enters from the north of the block, and can onl y reach the east and west of the building.

54

Ground Level Plan The building contains primar y prog rams of a culture center, an art museum, an archive, a librar y and a city planning exhibition space. Each prog ram is designa ted to a courtyard. The g round f loor plan shows the connection between the open space.

55

Model in Motion The 1/8 model is crafted b y a team of five interns led b y me. The purpose of this model is to study the courtyard spaces. Initiall y we use boxes as representa tion of dif ferent prog rams. The a bsence of glue allow the whole design team to sit in front of the model and change it immedia tel y.

56

Set Model We also designed and crafted the roof piece sepera tel y. Within the boudar y of walls, there’s a system of ga ble roofs. The y converge the rain wa ter and na tural light into the courtyard and g ive each one a unique identity.There are also elonga ted slots on the roof represent the alle y wa y.

When the design is set, we replaced the boxes with f loor sla bs, walls and glass with louver and ca pped with the roof. The model becomes a record of the design process.

57

Over view Sections From the sections we can read the experience along the loop as in classic Chinese gardens. Each courtyard is dif ferent in terms of size, level, ma terial, spa tial configura tion and the wa y peop le a pproach and exit it. On the top f loor, the ga ble roof keeps its stamp on the interior side.

Light and Wa ter The courtyards are essentiall y introvert and the na tural light comes from top of the head. While in the entrance courtyard, the surrounding wa ter slip in the building below the feet.

58

59

The eleva tions While remaining the coherence of the volume (the walls resemble the ancient city walls in height and ma terial) , the idea of porosity is introduced. There are openings on the facade coincide with the loca tion of the courtyards. Since the courtyards are a t dif ferent heights, the openings become pl a yful.

The Ref lecting Pool At night the interior illumina tion will ref lect in the pool surrounds the building.

60

The Entrance Courtyard The entrance courtyard has a garden character, with wa ter, tress and a Taihu lake Stone. It is accessed from the south through a ga te and departments can be reached via further courtyard.

61

The Entrance Courtyard Eleva tion The loop (circula tion) is embedded between the rooms and the courtyard, the additional la yer provides visual de pth of the courtyard eleva tions.

62

The Back Courtyard Eleva tion The openings on the courtyard facade are recognized as the logo of each courtyard. The y take the sha pe of traditional Chinese symbols and tweaked to become f or example, a balcon y a t the entrance courtyard and a railing in the back courtyard.

63

The Archive Courtyard Eleva tion

The Surface Testing Bamboo is selected as the ma terial f or courtyard surfaces. We tested dif ferent options such as panels, frames and louvers in the dig ital model. The thin stripes of louvers become our final decision.

64

The Archive Courtyard

The Culture Center Courtyard

65