PORT FOLIO OF PEIQING WA NG Selected Undergraduate Work 2012-2017
CONTENTS
01 A Frozen Moment of Tang Urban Design 02 Drawing a Temple Sacrificial Space 03 Qingxin Garden Classical Chinese Garden 04 Walk on Water Archeologcial Site Museum -05 Photography 06 Resume
All drawings are personal work except specific indications.
01 A FROZEN MOMENT OF TANG Urban Design of World Cultural Heritage
Studio Work Instructor: Haiqing Chang, Baoju Shen, Yani Fan Spring 2016 Collaborator: Jingyi Wang, Lichen Wang, Xinran Li, Lan Yang, Yizhen Wang
Background The Small Wild Goose Pagoda, a world cultural heritage is the core in this project. It is confronted with great threats and challenges in today's urban development. It does not received due attention as it deserves. Purpose This project aims at addressing the issue of ever-increasingly drastic conflicts and incompatibility between the rapidly developing modern city and a world cultural heritage within it. The new design would improve the environment and enhance the connection within heritage garden and its surrounding areas. Feature Simulating Tang's city mode at the site, using modern designing language to reinterpret Tang's culture. Technique New circulation to strengthen cultural axis, various spatial form to reinterpret square walls, and new function to activate the area. Wish I wish this project would provide new ideas of harmoniously combine cultural heritage preservation and urban development.
[ Wo r l d C ult ur a l He r it a ge Dist r ibut ion ]
Searched Times on Google average times 100 75 50 25 0 1 /0 01
1 /0 01
1 /0 01
world cultural heritage
the Small WIld Goose Pagoda
01 1/ /0 16 1 20 /0 01
/ 15 20
/ 10 20
/ 05 20
/ 00 20
the Small Wild Goose Pagoda
movie
From the line graph, it is clear that people have gradually show more concern with world cultural heritage. However, when it comes to the Small Wild Goose Pagoda, the core element in this urban design, the seached times approximately remain stable, with only a little fluctuation. Thus, the Small Wild Goose Pagoda does not received enough attention as it deserves.
world cultural heritage
[ D e v e l o p m e nt of t he Sma ll W ild G oose Pa goda ]
618-907AD Tang
firstly built
2014-Now world culture heritage
pray, recreation
1368-1644AD Ming
after1949AD
renovation
New China
1644-1912AD
renovation
Qing
renovation prosperous
1912-1949AD
Republican Period
907-1367AD
war
destroyed
Song&Yuan
war
destroyed
The Small Wild Goose Pagoda has been situated in Jianfu Temple since it was firstly built in Tang dynasty. The postion of the pagoda has not changed over time. But the space of Jianfu Temple changed in each dynasty. 1
[ He r i t a g e Dist r ibut ion in Xi'a n Cit y ]
[ Tang ] 618 - 907 AD site of Daminggong Palace
[ Han ] 206 BC - 220 AD site of Han Chang’an City the 2nd Ring Road
[ Qin ] 221 BC - 206 BC site of Epang Palace
downtown
[ Tang ] 618 - 907 AD West Market [ Tang ] 618 - 907 AD The Small Wild Goose Pagoda
the 3rd Ring Road
Tang Today National Key Cultural Protection
Xi’an city’s central axis
[ Ming ] 1368 - 1644 AD site of Ming Chang’an City [ Tang ] 618 - 907 AD site of Xingqing Palace [ Tang ] 618 - 907 AD East Market [ Tang ] 618 - 907 AD Qujiang Pool [ Han ] 206 BC - 220 AD Du Mausoleum cultural site region
The Small Wild Goose Pagoda is located right beside the central axis of Tang's and today's city. In today, it has great accessibiity since it is near the 2nd ring road.
[ Spatial Development of Xi’an City ]
— Tang Dynasty
— Yuan Dynasty
— The Republican Period
— Now
Tang's city mode has exerted great influence on today's Xi'an city. 2
[ Existing Condition of the Site ]
[ Development of the Site ]
The diagram below shows the current condition of the site and its surrounding area. The site is located in a area where there are many cultural nodes of the city.
The diagram below illustrates the development of the site in each dynasty and an overall condition. The site had experienced a rapid development in 1980s-1990s.
Road
Site
Road
N
Xi'an Bowu Yuan Potential Cultural Axis Cultural site of Zhuque Street
West
Youyi
Road
Subway Entrance Chengguan Village Primary School
the Small Wild Goose Pagoda
Seed Wholesale Company
Zhuque
Chang'an
Residential Quarter
Xi’an City Museum
Hotel Residential Quarter Constructioning Area Xia Village
North
Ring
Road
2nd
Road
Road
Shaanxi Province Library Xi’an Art Museum
Road
North
North
Shaanxi Province Stadium
Tiyu
Zhuque
Chang'an
Xi’an School of Music
Daxingshan Temple
Site the Small Wild Goose Pagoda Square Wall in Tang dynasty 3
Road South
Xingshan South
Da
This picture is the result of superimposing Tang's city pattern with current site. It is clear that the Tang's square and current site are not completely overlapping with each other.
[ Site Analysis ]
Solid and Void
Building Storey
Buildings Greening Water Construction Area Road
>30m 21-30m 9-21m ≤9m
Building are centered at the east of the site.
Most buildings in the site are under 21 meters.
Historical Site of Tang
Height Limitation
Pagoda Courtyard of Pagoda Anren Square Jianfu Temple Zhuque Road the 7th Street the 8th Street Historical Site
prohibited ≤9m ≤12m ≤18m ≤24m ≤36m ≤60m
Historical site does not completely overlap with the current site.
The highest building in the site should not exceed 24 meters.
Road System
Green Space
Main Road Secondary Road Internal Road
Green Area Linear Green Space Green Spot
Lacking access to the south.
The green takes up more than half of the site and is valuable to the site and its surrounding area.
Public Facilities
Industry
Green Space Education Recreational and Sports Commercial Health Care Transport Infrastructure Management of Public Facilities
Retail Catering Finance Service Recreation
Comparably sound public facilities.
Most industry are centered at east of the site.
Parking Lot
Public Transportation
Ground Underground Vertical Parking Tower
Bus Station Bicycle Rental Station Subway Station
Lacking parking space at the site garden.
Good accessibility. 4
5
This map shows the result of the site research by applying the latest theory of Place Maker from the Italian Professor Marichela Sepe, Planning and Place in the City-Mapping Place Identity. It is clear that the site has strengths in accessbility, historical background and the benign environment in garden of the Small Wild Goose Pagoda. But when it comes to the areas outside the garden, it is far beyond people's satisfaction.
[ Existing Site Analysis ] 6
[ Concept of Urban Design ]
×
×
Theme
Cultural Axis
Node
Frozening the time of Tang: exhibiting the history and culture of Tang
Connecting the southern cultural sites and forming a cultural axis
Bringing in more public space to satisfy people’s need
[ Introducing New Pattern ] Wall and Building
Building Module
5.4m
Wall Building
Public Space
1
Reusing indoor tree pools to create outdoor public space
5.4m The Small Wild Goose Pagoda
1
Elevation
Wall and Build
2
New buildings enclosing the wall space
More facilities for recreation 54m
Wall Building
54m
2
3
Xi’an City Museum
Elevation
More green to beautify the ambience
A new building includes the wall space
1 540m
Elevation
4
Space under trees to chat
540m
3
Elevation Lifting the wall space
New buildings encl the wall space
Anren Square 5
Positive space to assemble people
4
Plan Marking the wall space on the ground
To better displaying the Tang’s culture and complying with the existing structures, all the new buildings,structures and squares are designed on a scale of 5.4 meters.
2
Elevation
A new building incl the wall space
6
Various space to explore
Tang‘s City Mode 3 The 7th Side Street
45m 30steps
Zhuque Street
Elevation Lifting the wall sp
Square Wall
Square Gate 63m 42steps 540m 350steps
The 8th Side Street
Plan
7
Street Section
150m 100step
72m 48step
Trench
step: unit of measurement in Tang 1 step ≈ 1.514 meters Tang’s city featured its square. The whole city was divided into couples of similar square. Each square had its own square wall, square gate and side street within it. The street between the adjacent square was extremely wide compared with today’s scale, because the main vehicle was carriage.
4
Plan Marking the wall s on the ground
[ Strategy ]
Step 1 2017-2019
Demolishing the urban village and constructing new residential areas
Step 2 2019-2022
Recognizing Tang’s city pattern
Step 3 2022-2024
Introducing new axis
Step 4 2017-2022
Aggregating density to define the edge of public space
8
North West
Youyi
[ Plan ]
0
25
50
9
1
N
75
19
2
100M 10
2
Pedestrian Entrance
20
Vehicle Entrance 1
Historic Sites
2
Primary School
3
Square Wall
4
Plaza of Zhuque Street
5
Square Gate
6
Xi’an City Museum
7
Underground Parking Lot Entrance
8
Sculpture
9
Exhibition Hall
11 Small Wild Goose Pagoda 12 Nanshan Gate
21 5
4 Zhuque
10 Traditional Culture Exchange Center
11
3
22
25
13 Traditional Handicraft Studio 14 Folk Music Studio 15 Square of the 8th Side Street 16 Shopping Mall of the 8th Side Street
6
17 Retail Shop 18 South Entrance Square
23
19 Commercial Pedestrian of the 7th Side Street
12
20 Exhibition Square 21 Exhibition Center 22 Recreational Square
7
23 International Culture Exchange Center
13
24
14
24 Calligraphy Studio 25 Residential RArea 26 Garden 27 Commercial Pedestrian of One Side Street
16
8
15
16
28 Hotel 29 Main Entrance Square 17
30 Mark of Square on the Ground
North Road
9
18
17 Tiyu
To the province stadium, province library and city gallery
North
Road
30
25
Functional System Site touring area of Small Wild Goose Pagoda Public touring area Characteristic commercial area Exhibition area of Tang’s culture
Road System Roadway Pedestrian Ground parking lot Entrance of undergroung parking lot City road
25
26
27
5
Landscape System Green land
Chang’an Node of Publc Space Main lnode Secondary node Main laxis Secondary axis
28 25
Planning Structure Landscape node Square wall Property line City road Cutural axis Roadway Historical and cultural exhibition area Primary school Cultural square Civic culture experienc area Heritage reservation area of Small Wild Goose Pagoda Commercial area Residential area
28
29
17 Road Road
10
[ Physical Model ] 1 : 1 00 0 This model is made by Jingyi Wang, Lichen Wang, Xinran Li, Lan Yang, Yizhen Wang and me.
West
Youyi
Road
Pedestrian of the 7th Street Traditional Culture Exchange Center
Plaza of Zhuque Street
Primary School
Baiyi Pavilion
Exhibition
ad
the Small Wild Goose Pagoda Ro
Cangjing Hall Exhibition Square Gate
Zh
uq
ue
the Great Buddha's Hall
King Hall Bell Tower
Inter Xi'an city Museum
No
rth
Nanshan Gate
Plaza of Zhuque Street
Traditional Handicraft Studio
Folk Music Studio
Plaza
Lifted Square Wall Square Gate
Shopping Mall of the 8th Street
Plaza of the 8th Street
Lifted Square Wall Square Gate
Tiyu
Way to S tadium
North
11
Retail Shop
Road
Subwary
Recreational Square
n Plaza
No rth
One Side Street Center
Retail Shop
Square Gate
Recreational Square
Ch an g' an
rnational Culture Exchange Center
Ro ad
Caligraphy Studio
Lifted Square Wall Corridor
Corridor
Corridor Shopping Mall of the 8th Street
Lifted 8th Street Corridor
Plaza ofPlaza the 8th of the Street 8th Street
Lifted Square Wall
12
[ Individual Design ]
[ Courtyard Form ]
The huge scale of the 8th Street is quite incompatible with today's urban city. Based on the previous research about people's need and infrastructure about the area, I decide to redefine this circulation by adding a shopping mall and several public plaza, which would vitalize this circulation. Since current area has poor cultural service, the north area of my design are served as folk art studio, that aims at providing more cultural experience for tourists and local people.
To be consistent with the theme, exhibiting Tang's culture, I decide to use traditional courtyard to accentuate the Tang's atmosphere. These typical courtyards are originated from Tang's type and I revised some of them to satisfy special needs.
yard: 36m2 arch: 310m2 funcďźšcraft
yard: 72m2 arch: 580m2 func: music
yard: 60m2 arch: 300m2 func: craft
yard: 48m2 arch: 280m2 func: music
yard: 60m2 arch: 340m2 func: craft
yard: 84m2 arch: 620m2 func: cali
design area
[ Sc e n a r io ] Bes t
Sta ge Ev
er!
Ca
nd ic r a f t Fes t i va
n
w it h f o l k m
l
ic us
ia
Caligraphy Studio
ee
g!
fu n
M
Ha
n
itio
ti n
rn
in
a
ng
p hy Exhi b
s!
H
vi
ligra
g t he
d tale nts a n
lea
Elevated 8th Side Street
Folk Music Studio
Bout i ques
p
ie
ue
s!
Ex
er
Shopping Mall
Plaza
nc
in g
Ta n g ’s t
n ech
iq
Plaza
Traditional Handicraft Studio The 8th Pedestrian Street
G Retail Shop
13
et
tin
g so nir me souve
s!
[ Circulation Diagram ]
[ Shopping Mall Concept]
The diagram shows the tight connection within the site and with its surrounding area. The new circulation is a fusion of Tang's culture and modern life. It not only addresses the problem of super scale by adding new function, but also provides the space with more vigor.
1. Splitting the 8th Street into several mass, using the mode 54m*54m as a unit.
Pedestrian Interior Circulation Roadway
3. Connecting the roof surface of the shopping mall making it as an elevated 8th Street.
Plaza
Square Wall
Food
2. Removing and pushing backward the mass in front of the square gate and that at the east side to create a plaza which enables people to experience the authentic scale of 8th street.
& Dr i nk s
4. Lifting part of the square which would enable people walking on the roof feel like they are on the real 8th Street.
H
av
e
a n ic e
fri e c h a t w it h
nd
s!
5. Adding mini corridor on the roof to connect the roof surface and the square wall that would provide a special perspective to experience the real Tang's scale of 8th Street.
14
viewing shopping mall and plaza from the Square Wall
viewing the Small Wild Goose Pagoda and Nanshan Gate from Square Gate 15
east-side Entrance Plaza
walking on the elevated 8th Street to experience the real Tang's scale 16
[ Aerial View ]
02 DRAWING A TEMPLE Sacrificial Space Design Competition Work Fall 2016 Individual
Background “Without the influence of Cubism and Abstract art, the architecture of the twenties would probably have been very different”. —William J. R . Curtis Purpose This work discusses how painting and architectural design influence each other and collectively create a new design. Feature Cubism Painting and architectural design Technique In this work, I draw a cubism painting to record and present my concept and ideas about the new space firstly. Then let this abstract painting to guide me further design spatial form, circulation and etc. Sense and Sensibility I think a design is an interweaving of sense and sensibility. This work demonstrates this process explicitly. Hopefully, this work would bring new inspirations for the relation of painting and architectural design.
[ Cultural Background ] Sense In China, every village has at least one temple. The temple is the main public space in the village where people hold big events and perform daily routine. The god in the temple is people’s emotional and spiritual sustenance. Villagers piously pray for good harvest and auspiciousness monthly.
Hall of Sanshan King
N
(Buddha)
Sp
ac
e
3
M
ed
d
i ta
tio
n
Space
1 Ince n Bur n se er
Sense This diagram illustrates the sequence of traditional sacrifice and the form of typical sacrifical space. 17
e2
[ Sac rif ice Sequence Experience ]
Spac
Spa
ce 4
(Buddha)
(Buddha)
Right Dharmapalas
Left Dharmapalas
Me d
ita
tio
t ion
n
ita
Me
Main Entrance
[ Site Analysis ] sense N harbor Chen village
farmland
10 min’s walk
South China Sea
7 min’s walk
Chen village pond
SITE: SANSHANG KING TEMPLE 4 min’s walk
8 min’s walk
Fu village
farmland
west
east
farmland
Buddha
Sanshan King Temple
Buddha
farmland
sea 18
[ Brainstorm about Temple ] sense This diagram mainly consists of basic elements and features of a traditional Chinese temple. Listing all these factors is a preliminary process of my design which facilitates grasping the main focus of a sacrificial space design. 19
[ Layout and Circulation Analysis ] sense Based on what I have thought through brainstorm, I draw a series of possible layout and circulation to figure out the best layout for a new temple.
circulation/total
20%
21%
27%
22%
30%
spatial diversity
6%
12%
62%
68%
62%
13%
25%
40%
55%
72%
spatial transparency
One level usually has simple circulation which cannot provide enough spatial experience. So I attempt to break the tranditional way, spliting it to two levels.
circulation/total
27%
27%
28%
26%
25%
spatial diversity
38%
56%
78%
90%
94%
spatial transparency
65%
70%
68%
80%
96%
[ Spatial Ideas ] sense The drawing below combines elevation, section and perspective, it records my fragmented thoughts about space , including its form, function and possible view.
low wall at the main entrance space
suspended Incense Burner space
top lighting for Sanshang King figure
cantilever makes gray space
open suqare semi-open courtyard
[ Sketches of Painting ] sensibility The sketch below uses the concept of Spatial Tranparency in Cubism Painting to illustrate the spatial form of my designed temple. It is expressed by various techniques, including elevation, section, plan and axonometric within one drawing.This drawing is conducted in a comparably emotional way which helps record my feeling and cognition of my design.
expressing main space form
adding exterior space
enriching spatial language
recomposing
enriching exterior space 20
Incense
left Buddha
square
courtyard courtyard
Incense Burner
gate
slope
King
start end
[ Cubism Painting and Translation ] sensibility and sense Inspired by Robert Delaunay’ s series work of the Eiffel Tower and the concept of Spatial Transparency in art, I draw a cubism painting to record and present my concept. The painting is a set of my cognition of different space. When people "walking" in this drawing, the four important sacrificial scenes would appear continuously which would definitely provide people with a strong sacrificial atmosphere. 21
[ Scene and Spatial Form ] sensibility and sense According to the painting, I reconsider the possible scenarios. Then, based on the new scenarios, I redesign the sacrificial spatial form. The new spatial form includes the basic spatial elements of sacrificial architecture and other new space which facilitates enriching spatial experience. 22
N 0
5
10
15
20m
[ Site Plan ]
14
13
15
16
12 4 A
A 5
7
3
1
6
11
2
8 4
10
9
Buddha
main entrance
pond
square
9
Incense Burner space
1 square 2 pond 3 main entrance 4 secondary entrance 5 courtyard 6 corridor 7 window 8 small mound 9 Fu‘s house 10 Lin‘s house 11 Huang‘s house 12 Chen‘s house 13 Wang‘s house 14 Fang‘s house 15 Li’s house 16 farmland
5
12.000 10.200
5.100
4.200 12.000
±0.000
0
5
10m
0 -2.000
23
5
10m
9
3
4
2
10
1
13
14
12
5
6
6 8
7
6
8
3
7
7
11
7
9
[ Second Floor ]
[ Ground Floor ] 0
5
form
10m
scene
0
5
form
2
11
1 Main Entrance
10
Void over Sanshang King Hall
2 Right Dharmapalas Hall
11
Left Dharmapalas Hall
3 Courtyard
12
Void over Right Dharmapals Hall
13
Void over Courtyard
14
Incense Burner Sacrificial Hall
4 Sanshan King Hall
scene
10m
3
5 Storeroom 6 Office Room
14
7 Activity Room 4
15
Sanshan King
corridor
couryyard
9 Secondary Entrance
skylight
8 Restroom
10.800
8.400
4.200
[ Section A ] 0
5m
10m
-1.500
24
[ West Elevation ] day scene
During the day, the temple is a sacred and pure place for people to pray for goodness. The sea at the background would make people feel more peaceful in mind after finishing sacrificial process.
25
[ North Elevation ] night scene
In the evening, the square of the temple become a place for social and recreation. Villagers could meet their friends and neighbors at the square, kids could have fun playing with each other after dinner.
26
1
Entrance space This picture is a conceptual perspective viewing from the entrance space toward the farmland and sea.
2
Incense Burner space This picture is a conceptual perspective of the Incense Burner space, which is the last step of Chinese sacrifice.
3
Corridor People would experience a series of different and intriguing space through the corridor. 27
2
3 28
03 QINGXIN GARDEN
Classical Chinese Garden Design Studio Work Instructor: Yuan Lin Winter 2015 CollaboratorďźšJingyi Wang
Background This project about designing a classical Chinese garden for a hypothetical user at a given site, the Master of Nets Garden. I designed a new garden for a female from Qing dynasty called Qingzi Lu and her family. Mrs. Lu was a great female in history but was treated miserably. Purpose The purpose of this design is to build a better living environment for Mrs. Lu and her family and commemorate the emergence of feminist consciousness. Feature The designed garden is a fusion of artificial beauty and natural beauty. The form of space is substantially influenced by the ancient Chinese Philosophy and Aesthetics concept. Technique Techniques of classicall Chinese garden design are extensively used in this design, including special layout, permeability of interior and exterior space, and basic elements of classical garden such as classical Chinese architecture, water, artificial hills, and plants. Wish Hopefully, this garden would provide people with the unknown history about Ancient Chinese Feminism and inspire more females to be themselves.
yǐn
Yin is a kind of ancient Chinese culture which means politicians or intellectuals decided to stay out of politics because they were tired of the political conspiracy and corruption or they felt frustrated in political field because they did not gained due respect by the emperor and other politicians as they had expected. In the other words, those intellectuals did not have a successful political career. Ancient China’s famous “Yiner”
Guang Yan
You Xu
Yuanming Tao
Liang Zhang
yì
Yi is word often accompanying Ying, which means cozy and comfort. Yiners usually led a cozy life in remote places or quiet places in town after giving up political power. They barely connected with the society and some of them only social with their closest friends. Yiners stayed most of their time at home, entertaining themselves by writing poem, playing the instrument, drinking and etc.
[ Site Analysis ]
[ Why designing for Mrs. Lu? ]
N China
Zhuozheng Garden Lion Grove
Suzhou
Garden of Cultivation
Yi Garden
Mrs. Lu was a female representative of Yiner, which was very rare to see in Chinese history. She was a comparably well-educated female at that time. With an insightful and fearless mind, she encouraged her husband, who had an unsuccessful political career, to be a Yiner with her together. Mrs Lu and her husband led an impoverished life later on. Out of respect and sympathy for Mrs Lu, I decide to design a garden for Mrs Lu and her husband to help them better enjoy their life as Yiners.
2. The site’s location
Suzhou River 900m
Shiquan Street
Feng City Gate
Site: Master Nets Garden Mr. Shen’s House
Ke Garden 90
According to the map, the site is situated at the edge of the Suzhou city in Qing dynasty, just like which makes it a suitable place to live a peaceful and cozy life. Moreover, there was another famous Yiner, poet Deqian Shen, living next to the site. Since Mrs. Lu and Mr. Shen both loved peom and had similar experience, they would become spiritual confidants and would not feel lonely.
0m
Gentle Waves Pavilion
Villages
Suzhou River This map illustrates the site’s location in Qing dynasty.
29
1. My respect and sympathy
3. Owners of Master of Nets Garden
The hypothetical site is that of Master of Nets Garden, which was originally designed for a Yiner. Later on, even though its owner changes, they were all Yiners from different time, which reflects the fact that the place is suitable for a Yiner to live in.
[ Typology Reasearh ]
N
In order to keep consistency between the new garden and existing gardens in suzhou in aspect of form and space, I choose five classical gardens which are located close to the site and have similar area with the site to analyse the form of the typical elements in classical gardens, namely architecture, water, artificial hills and plants. Master of Nets Garden Area: 0.67 ha
Ke Garden Area: 0.5 ha
Gentle Waves Pavilion Area: 1.08 ha
Yi Garden Area: 0.53 ha
Area: 0.15 ha Distribution: mainly north-west
Area: 0.4 ha Distribution: mainly south
Area: 0.18 ha Distribution: mainly east
Garden of Cultivation Area: 0.4 ha
Architecture
Area: 0.27 ha Distribution: mainly east
Area: 0.18 ha Distribution: mainly east
It is evident that the layout of architecture are mainly aggregated at one side, with landscape situated at the other side. The total area of architecture takes up approximately 1/2 of the whole
Water
Area: 0.12 ha Distribution: center Form: regular+winding
Area: 0.12 ha Distribution: south-east Form: regular+winding
Area: 0.23 ha Distribution: north Form: winding
Area: 0.13 ha Distribution: center Form: winding
Area: 0.11 ha Distribution: center Form: regular+winding
Area: 0.18 ha Distribution: centered at north river side and south boundary Form: irregular
Area: 0.10 ha Distribution: scattering in whole garden, centered at south river side Form: irregular
In most classical Chinese gardens, water is located at the center of the garden, functioning as a major scenic spot. The area of water usually consists of 1/5~1/4 of the total area. Its form features delicated twists and turns, which is a simulation of natural form of water.
Artificial Hills
Area: 0.10 ha Distribution: scattering in whole garden, centered at south water side Form: irregular
Area: 0.12 ha Distribution: scattering in whole garden, centered at north side Form: irregular
Area: 0.25 ha Distribution: scattering in whole garden, centered at south river side Form: irregular
The majority of artificial hills are located around water side. A small portion of artificial hills scatter at small courtyard.
Plants
Area: 0.09 ha Distribution: scattering in whole garden, centered at the boundary and water side Planting Form: single+group
Area: 0.12 ha Distribution: scattering in whole garden, centered at boundary and artificial hills Planting Form: single+group+row
Area: 0.15 ha Distribution: scattering in whole garden, centered at south river side and artificial hills Planting Form: single+group+row
Area: 0.10ha Distribution: scattering in whole garden, centered at artificial hills Form: single+group
Area: 0.10 ha Distribution: scattering in whole garden, centered at artificial hills Form: single+group
It is explict that plants are distributed irregularly and flexibly. Most of plants are planted as a group,with different sizes in it, making the group looks layered and contrastive. Some of plants are single planted so as to be a main scene.
30
[ C h in es e P h ilos o p h y a n d A e st h e t i c s ] Chinese philosophy believes that MAN and NATURE unites as ONE, which has exerted huge influence on classicial garden design. Even though the landscape in gardens are created by human, they should be look like it is nature itself. Chinese aesthetic thinks highly of implicity and elegance. The diagram below shows the influence of Chinese philosophy and aesthetic on classical garden. Layout
Water
Circulation
Stone
Scene
X
X
X
X
X
O
O
O
O
O
Various,flexible and balanced layout makes it more interesting.
Slightly twists and turns makes water look more natural.
Winding circulation embodies oriental implicit beauty.
Stones are supposed to be slim and permeable.
[ Strategy ] Combining classical Chinese architecture (artificial) and typicial lanscpae elements (natural) to create a new garden. Tíng
Láng
Pavilion User: all Function: recreation
Corridor User: all Function: circulation
Hall User: Mrs.Lu+guest Function: social
Xiè
Lóu
Shuǐ
Táng
artificial
Architecture + Waterside Pavilion User: all Function: recreation
Two-Storeys Pavilion User: family members Function: rest
Jiǎ Shān
Zhí Wù
Stone User: all Function:landscape
Artificial Hills User: all Function:landscape
Plants User: all Function:landscape
[ Section ] Chinese gardens features its landscape diversity. The three section diagrams explictly illustrate the multiple layers of landscape, the density of landscape and architecture, and the permeability of landscape.
31
Water User: all Function: landscape
Shí
C-C
0
Materiality
5m
Landscape “natural”
Hiddening some part of the scene arouses people’s curiosity.
X
+
O
White walls and black tiles represent elegance.
4 5
6
C
2
Layout
B
open space semi-private space private space major node minor node
Function
study recreation room (chess game and music) collection room living area private backyard main landscape garden
A A
B 7 3 1
N
Circulation
indoor circulation outdoor circulation
C 8
The corridor enables people to get to every room without going outside which is convenient in rainy and snowy days.
View horizon viewpoint People would see different scenary even if they just move forward only one step.
[ Roof Plan ] 0
5
10m
1 Main Entrance 2 Secondary Entrance 3 Mr. Shen's Garden 4 Shiquan Street 5 Lin's Home 6 Wang's Home
A-A
0
5m
B-B
0
5m
7 Qian's Garden 8 Farmland
32
Main Entrance
33
N
[ Ground Floor Plan ] 0
5
10m
1 Zhenyi Hall (1F) Zhenwu Hall (2F) 2 Dianxiang Hall (1F) Jiexiu House (2F) 3 Jude Hall (1F) Juwen Pavilion (2F) 4 Pin Xuan 5 Jingxiang Pavilion 6 Fuxiang Pavilion 7 Cold Spring 8 Bu'er Palace 9 Zhongmiao Yi 10 Yiliang Pavilion 11 Stepping Hall 12 Xiaoyao Room 13 Zhi Garden 14 Yizhi Yuan 15 Zizai Room 16 Miaoxianxiang Xuan 17 Shengyou Old Trail 18 Ke Pavilion 19 Duyi Pavilion 20 Wander Palace 21 Cloud Cave 22 Puzzle Pavilion 23 Ye Pavilion 24 Qingxin Pavilion 25 Banjing Xuan 26 Aiyue Pavilion 27 Wuguoyunkai Xuan
Secondary Entrance
Note： This plan was done in collaboration with Jingyi Wang. 34
[ Planting Design Plan ] 0
5
[ Planting Diagram ]
10m
N
[ B loom Sc h e d u l e ] Ever-green Deciduous Semi-evergreen Woody Plant 1 Pinus bungeana Zucc. 2 Salix babylonica 3 Acer 4 Magnolia grandiflora Linn. 5 Albizia julibrissin Durazz. 6 Taxus chinensis (Pilger) Rehd. 7 Ginkgo biloba L. 8 Cinnamomum camphora 9 Cerasus jamasakura 35
Chimonanthus praecox Pinus tabulaeformis Carr. Cercis chinensis Bunge Magnolia liliflora Desr. Punica granatum L. var.nana Pers 15 Hibiscus syriacus Linn. Pers Pers 16 Eriobotrya japonica
10 11 12 13 14
1
Jan Feb Mar Apr May Jun Jul Aug Sep
Herbaceous Plant
Oct
17 Phyllostachys Viridis 18 Indocalamus tessellatus 19 Musa basjoo Siebold
Dec
Nov
2
3
4
5
6
Planting Form Function
single accentuating architecture
single landscpae
Planting Form Function
single landscape
row+cluster limiting boundary
Planting Form Function
cluster softening boundary
cluster improving water
Planting Form Function
group landscape
cluster blocking sight
7
8
9
10
11
12
13
14
15
16
17
18
19
[ Scene ]
A
B viewing from ornamental perforated window to outside
C
viewing from hollow-out window
D having fun in artificial hills
E
backyard scenary
F
viewing from interior to outside
G
strolling between water and "mountain"
H viewing Ke Pavilion from waterside
viewing Duyi Pavilion from artificial hills 36
37
[ Aerial Perspective View of the Qingxin Garden ]
Noteďźš This perpective was done in collaboration with Jingyi Wang. 38
04 WALK ON WATER
A Musem for Archeological Site Studio Work Instructor: Haiqing Chang Spring 2017 Individual
Background This newly designed museum is for a historical site called Wei Bridge, an important node of the Silk Road in Han dynasty. Purpose My design aims at perfecting the existing cultural axis of Han dynasty and helping people gain a better understanding of Han’s culture and history. Feature The museum features not only its exhibits but also its special architectural form. It is a combination of architectural space, bridge, and historical sites. Technique Two paths are designed to help people understand the site. One is a new Wei Bridge, which provides people with a modern perspective to see the current condition of the historical site; the other one path is located right below the bridge deck, in the “water”, the exhibition of ancient bridge piles enables people to understand the relics from a historical perspective. Wish If people want to know Chinese culture in Tang dynasty, then there are many places they can visit in Xi’an. However, if people wish to know something about Han dynasty, especially Han’ Silk Road, there is no place. By designing such a special museum, I hope that it would provide a new way to know the culture and history of Han’s Silk Road.
[ New Wonder! ]
S pian Cas
Black Sea
This map illustrates the travel route of Silk Road in China Han dynasty (500-300BC). The newly-discovered historical site,the site of Wei Bridge, was the start of this route.
ea
Mediterranean Sea
To R
om
e
Tyre Dura-Europos Ceesiphon
Lake Balkhash
Hecatompyous
Samarkand
Merv Bactra
Kuldja Kokand Kashgar
Turfan Aksu
Anxi Dunhuang
Chang'an
d Re
Ara
Khoan
Se
bia
a
nS
ea
Bou 0
Wooden Bridge Piles 6.2-8m
Wei Bridge Site No.2
>1m
Wei Bridge Site No.1
ndar
e y Lin
Wei Bridge Site No.3
No.1&2 Wooden Bridge Piles
Site Pit
Construction River Bank Ancient Boat
Wei Bridge Site No.4
No.3 RIver Banks, Ancient Boat
312m
The boat was made by Roman Techniques which shows the relation with Europe.
15.7m
Road rd Ring 3 h rt o N
ay High W
Stone Water
880m Cit
all yW
1730m
All Pits Other Relics (stones,tiles)
The stone was used to directing the water flow so as to Protect Wooden Piles from being eroded too fast.
Heng Gate
Chucheng Gate
[ Site Analysis ] Note: This mapping is not to scale. 39
Historical Site of Han Chang'an City
[ History and Current Condition Analysis ]
Site Current Wei River
Wei Bridge Ancient Wei River
Zhou
Current Wei River
Qin
Imperial Bomb
Han Suitang
Xianyang Palace Changle Palace
Mingqing
Historical Sites Distribution
Han’s historcial sites are centered around the site.
Other bridge Han Chang’an City Wei Bridge was the main access to Qin’s Palace. Han’s Spatial Form
Site Downtown
Site Downtown Railway Village Path
Railway Depot Airport
Secondary Urban Road Highway Main Urban Road
Railway 2nd Ring Road 3rd Ring Road Highway
The site is located next to main urban road which makes it quite accessible.
Even though the site is located far away from downtown, it has many accesses. Accessibility site scale
Accessibility city scale Site Construction Boundary
Site Area Historical Sites Protection Zone Construction Boundary
Protection Zone
The site is of limited extension. Low quality buildings in within the boundary are allowed to be demolished. Boundary and Limitation
Site pits mainly concentrated around the site Site Pits Distribution Site Education Transportation Health Care
Site Architecture Protection Zone Railway Village Industry Zone
This region lacks recreational and commercial infrastructure.
The north area is under-developed which is a chance for the site. Solid and Void
Public Infrastructure Distribution Site Low Quality
Site ≤ 9m
Medium Quality
＞9m
High Quality
The height of most buildings are under 9 meters.
Most buildings are of low quality. Quality of Building
Height of Building
40
[ Protection Strategy ]
[ Protection Strategy ] Stie Type
Bridge Piles Ancient Boat Other
Distribution
Centralized Scattered
Solution
Reason
Marking Display
Authenticity Principle
Exhibiting on Spot
Integrity Principle
Protecting on Spot
Reversibility Principle
Backfill Protection
Identifiability Principle
Window Display
Dynamism Principle
Virtual Experience
More Space Availability
Specimen Display
Different Perspective
Multi-Media Display
More Interaction
[ Concept ]
[ Design Process ]
Existing Proposal
1. existing wooden piles
2. imaging the form of ancient Wei Bridge
Museum and bridge are apart. People only pay attention to a bridge when they are not on the bridge. However, when they are on the bridge, they tend to focus more on the scenary around the bridge.
3. creating underwater space
Introducing a New Form
4. simulating water erosion process From my perspective, when a museum and a bridge are jointed together, the new structure not merely provides people with a closer look to the relics, but offer them a space with more diversity and possibility. The former space taken up by the museum could be used for creating open space.
5. creating two axises
[ Spatial and Functional Analysis ]
[ Spatial and Function Analysis ] Observation Area
Special Sculpture
Plant Growth Plant Specimen DIsplay RIng Display
Piles Position Mark
Viewing Platform
Bridge Deck Modern Axis
Observation Room
Underground Corridor
Exhibition Room
Water
Office Area
Exhibition of Site of Wooden Bridge Piles
Multi-Media Room
History Axis
Soil
This diagram shows the space, function and circulation on two paths. The space form is different but has same theme, exhibiting the history and culture of Han dynasty. 41
Exhibition of Site of Wooden Bridge Piles
N
[ Site Plan ] 0
15
30m Boat-Building Experience Center
Sunken Plaza
Viewing Platform
River Bank Site Exhibition
Secondary Entrance
Piles Mark Display
Plant Specimen Display
Archeological Experience Center
Leisure Plaza Secondary Entrance Plant Growth Ring Display Water Drop Plaza
Observation Area
Water&Stone Plaza Rest Space
Museum Main Entrance
No.4 Piles Site Plaza
Event Plaza
Sculpture
Cafe
Ripple Plaza New Bridge
Parking Lot
Parking Lot Entrance Plaza
North
3rd
Main Entrance
Ring
Road 42
[ Axonometric Diagram ] This diagram is a decomposition of the museum. Its materiality, constructure, spatial form, circulation and the relics are clearly illustrated in this diagram. 43
A
2
B
14
10
11
11
2
15
B
Second Floor
8
13 2
Basement
8
Ground Floor
10
12
10
10
8 N
10 11
2 8
[ Plan ] 0
5m
10 9
10m
1
Main Entrance
2
Lobby
3
Meeting Room
4
Office1
5
Office 2
6
Office 3
7
Hanging Corridor
8
Site of Wooden Bridge Piles
9
Observation Room
8
2 3
10 Secondary Entrance 11 Restroom
4
12 Exhibition Hall
5
13 Sunken Corridor
6
14 Plaza 15 Multi-Media Room
7
1
A 44
0
45
5
10m
[ Section A-A ]
Âą0.000
-4.500
3.500
-1.000
secondary entrance
window display
lounge
observation room
observation cell
observation cell
hanging corridor
site pit
bridge pile
lounge
office
office
office
office
office
bridge
[ Perspective ]
Looking back toward Han Chang'an City Wall from the new bridge.
6.000
8.000
2.000
3.000
-1.000
-4.500
-1.500
46
sunken plaza
lampstand
restroom
multi-media room
viewing platform
sunken corridor
bridge pile
lounge
window display
secondary entrance
exhibition room
exhibition cell
Section B [ Section B-B ] Ceramic Tile Mortar Protection Layer Water Proof Layer Cement Mortar Leveling Cement Insulation Layer Cement Mortar Leveling Structural Slab Plastering Layer
Brick Red Ceramic Panel
Viewing Platform
8.000
Multi-Media Room
2.000
Corridor
Archeological Site -1.000
Sunken Corridor
-2.000
Base
[ Interior Perspective ]
47
Boat-Building Experience Center
Observation Room
Exhibition Room
Relics Exhibition Room
[ Perspective ] This is a conceptual perspecitve of the newly-designed bridge, which clearly shows its form and relation with the designed landscape.
48
[ Phot ogr a phy ]
Urban Village
Qin Mountain
West Market Musem
Afternoon Sunshine
Tibet, China
Xi'an, China
Xi'an, China
Xiamen, China
Nanbin Road
Chongqing, China
49
PEIQING WANG pw2483@columbia.edu | 646-573-5166 | 157W 106TH St, Apt 5B, NY, NY, 10025 https://issuu.com/payching
Education GSAPP, Columbia University, New York City, US M.S. Architecture and Urban Design (Candidate)
2018.06 - 2019.05
Xi'an University of Architecture and Technology, Xi'an City, CN Bachelors of Engineering | Landscape Architecture (3yr Arch+2yr LA)
2012.09 - 2017.07
Professional Experience Architecture Design&Research Institution of Xiamen University Research Assistant
2017.09 - 2017.11
Architecture Design&Research Institution of Xiamen University Design Assistant
2015.06 - 2015.09
Drafted survey questions about residents attitude toward urban village living environment Field research and documentation Drew typology of historic building and courtyard Attended a seminar with local Planning Department officials
Collected data and writing a report Collaborated with one designer to make presentation files; One individual landscape design at the entrance of a commercial street, this included detail, sketch, 3D model and collage
Non-Professional Experience Xizhang Primary School Volunteer
2014 .05
Jinqiu Geracomium
2013.01
Temporaray English teacher in rural area
Volunteer
Nurse and delivered performance
Honors School of Architecture, Xi'an University of Arch and Tech Merit-based Scholarship | Second Class
2014.09
School of Architecture, Xi'an University of Arch and Tech Merit-based Scholarship | First Class
2013.09
Publication Visualization of the Principle of Landscape Ecological Planning Research | Concept Visualization | Drafted the Chapter of Scale Effect
2017.11
Skills AutoCAD | Rhinoceros | Adobe Suite | ArcGIS | V-Ray | SketchUp | Grasshopper | Artlantis | Lazer Cutting | Microsoft Office
Languages Mandarin Chinese (native) | English (fluent) | Japanese (limited) 50