THE EVOLUTION OF SPACE
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Portfolio of DENGHUI LIAN
The philosopher Daniel Dennett used the skyhook as a metaphor for the argument that life shows evidence of an intelligent designer. The history of Western thought is dominated by skyhooks, by devices for explaining the world as the outcome of design and planning. Again and again, we have told ourselves that there is a top-down description of the world, and a top-down prescription by which we should live.
Traditionally, we think that people establish the village first and then set up their faith center when the village become flourished. However, according to the Gobekli Tepe, people might set up their faith center first and then form the village around the center.
This is the result of human action, rather than the human design. They are evolutionary phenomena, in the original meaning of the word — they unfold. And evolutionary phenomena seems to exist in everywhere and everything.
The philosopher Daniel Dennett used the skyhook as a metaphor for the argument that life shows evidence of an intelligent designer. The history of Western thought is dominated by skyhooks, by devices for explaining the world as the outcome of design and planning. Again and again, we have told ourselves that there is a top-down description of the world, and a top-down prescription by which we should live.
Traditionally, we think that people establish the village first and then set up their faith center when the village become flourished. However, according to the Gobekli Tepe, people might set up their faith center first and then form the village around the center.
This is the result of human action, rather than the human design. They are evolutionary phenomena, in the original meaning of the word — they unfold. And evolutionary phenomena seems to exist in everywhere and everything.
The word “evolution” originally means “unfolding”. Evolution is a story, a narrative of how things change. IIt refers to a series of incremental and gradual changes, which is the opposite of sudden revolution.
Darwinism is the ‘special theory of evolution’ : there is a general theory of evolution too, and it applies to much more than biology. It appears to the society, money ,technology, language, law, culture, music, violence, history, education, politics, God, morality.Change in human institutions, artifacts and habits is incremental, inexorable and inevitable. It follows a narrative, going from one stage to the next: it creeps rather than jumps; it has its own spontaneous momentum, rather than being driven from outside; it has no goal or end in mind; and it largely happens by trial and error — a version of natural selection.
So does the evolution of space, which has always been closely related to the evolutionof human in every aspects.Accordingly, the forms for inhabitation are also constantly developed, from caves and nest to a various of modern architecture, by connecting, dividing, blurring and sheltering to sustain the society which is full of the complex of relationship.
The word “evolution” originally means “unfolding”. Evolution is a story, a narrative of how things change. IIt refers to a series of incremental and gradual changes, which is the opposite of sudden revolution.
Darwinism is the ‘special theory of evolution’ : there is a general theory of evolution too, and it applies to much more than biology. It appears to the society, money ,technology, language, law, culture, music, violence, history, education, politics, God, morality.Change in human institutions, artifacts and habits is incremental, inexorable and inevitable. It follows a narrative, going from one stage to the next: it creeps rather than jumps; it has its own spontaneous momentum, rather than being driven from outside; it has no goal or end in mind; and it largely happens by trial and error — a version of natural selection.
So does the evolution of space, which has always been closely related to the evolutionof human in every aspects.Accordingly, the forms for inhabitation are also constantly developed, from caves and nest to a various of modern architecture, by connecting, dividing, blurring and sheltering to sustain the society which is full of the complex of relationship.
WAYFINDING OF MY HOMETOWN
[Evolutionary Village]
FOUR ELEMENT PAVILION
[The Evolution of Future]
The design of professional space corrosion in many aspects and largely become a pursuit of novelty and cultural differences are now being taken, and breaking all of the sustained and stable development of interest. That's why I think why narrative is so critical: in the era of space design discipline, spatial narrative provides an alternative organizational method.
In-between as a Method [Evolution without an end]
In-between as a Method [Evolution without an end]
From the perspective of evolution, if every story can focus on the past and future of human society, different projects and stories will intertwined with each other and create a brighter future for human beings. This is what I want to say about the narrative of space evolution, or the whole human evolution.
ONE THEATRE, A THOUSAND WORD
[The Evolution of Space]
SINGLE OR MULTIPLE?
[Evolution of a Bench]
WAYFINDING OF MY HOMETOWN
[Evolutionary Village]
FOUR ELEMENT PAVILION
[The Evolution of Future]
The design of professional space corrosion in many aspects and largely become a pursuit of novelty and cultural differences are now being taken, and breaking all of the sustained and stable development of interest. That's why I think why narrative is so critical: in the era of space design discipline, spatial narrative provides an alternative organizational method.
In-between as a Method [Evolution without an end]
In-between as a Method [Evolution without an end]
From the perspective of evolution, if every story can focus on the past and future of human society, different projects and stories will intertwined with each other and create a brighter future for human beings. This is what I want to say about the narrative of space evolution, or the whole human evolution.
ONE THEATRE, A THOUSAND WORD
[The Evolution of Space]
SINGLE OR MULTIPLE?
[Evolution of a Bench]
WAYFINDING OF MY HOMETOWN [Evolutionary Village] Winter 2016 Personal Work Tutor: Lu Hai Our institutions, from language to cities, are constantly changing. The mechanism of change actually surprises Darwinian: it is gradual, undirected, mutational, inexorable, combinatorial, selective and in some vague sense progressive.
I have often noticed that human being are surprisingly bad at explaining their own world. I want to try my best to contribute to the human world just like Charles Darwin did for biology ---- get you to see past the illusion of design, and to see the emergent, unplanned, inexorable and beautiful process of change that lies underneath.
Typically, the primary objective of a signage program is to help people find their way enter into an environment, while what effective wayfinding solutions involves is more than signage.
Wayfinding of my hometown, which orients people to the village and helps them navigate it. which tells a story about a revolutionary village. which creates a distinctive image for the village. which helps the villagers live with more dignity.
I interviewed several villagers in different ages in the village, the villagers use their hand as a carrier to tell the history of the village and their own lives.
WAYFINDING OF MY HOMETOWN [Evolutionary Village] Winter 2016 Personal Work Tutor: Lu Hai Our institutions, from language to cities, are constantly changing. The mechanism of change actually surprises Darwinian: it is gradual, undirected, mutational, inexorable, combinatorial, selective and in some vague sense progressive.
I have often noticed that human being are surprisingly bad at explaining their own world. I want to try my best to contribute to the human world just like Charles Darwin did for biology ---- get you to see past the illusion of design, and to see the emergent, unplanned, inexorable and beautiful process of change that lies underneath.
Typically, the primary objective of a signage program is to help people find their way enter into an environment, while what effective wayfinding solutions involves is more than signage.
Wayfinding of my hometown, which orients people to the village and helps them navigate it. which tells a story about a revolutionary village. which creates a distinctive image for the village. which helps the villagers live with more dignity.
I interviewed several villagers in different ages in the village, the villagers use their hand as a carrier to tell the history of the village and their own lives.
PRODUCTION TEAM MODE
HOUSEHOLD CONTRACT RESPONSIBILITY SYSTEM
BRICKYARD WAS BUILT
RENOVATED OLD HOUSES
DEMOLISH NEWS CAME OUT
DEMOLISH PLAN IS UNSOUNDLESS
EMPTY NEST AND LEFT-BEHIND CHILDREN
supply and marketing co operative
Newly built illegal buildings
Brickyard
Abandoned bricks
1958
1980
1981
1982
2005
2009
2017
NOW
ite
he develo ent of ur ani ation has accelerated the changes of rural areas. he ast structure of the village has changed dra atically and the u lic s ace has een severely reduced.Ironically, the essage of the de olition is still una le to e confir ed even assing eight or nine years . uch event can arise our dee thin ing a out the attitude of ho etown. he ai of uilding new houses was to e and the living area or i rove their living environ ent. he ehavior of this lind large scale construction y villagers is undou tedly a great da age to the environ ent of the village.It is the ehavior that accelerate the destroy rocess. ut they are full of nostalgia for their old house and ho etown.
PRODUCTION TEAM MODE
HOUSEHOLD CONTRACT RESPONSIBILITY SYSTEM
BRICKYARD WAS BUILT
RENOVATED OLD HOUSES
DEMOLISH NEWS CAME OUT
DEMOLISH PLAN IS UNSOUNDLESS
EMPTY NEST AND LEFT-BEHIND CHILDREN
supply and marketing co operative
Newly built illegal buildings
Brickyard
Abandoned bricks
1958
1980
1981
1982
2005
2009
2017
NOW
ite
he develo ent of ur ani ation has accelerated the changes of rural areas. he ast structure of the village has changed dra atically and the u lic s ace has een severely reduced.Ironically, the essage of the de olition is still una le to e confir ed even assing eight or nine years . uch event can arise our dee thin ing a out the attitude of ho etown. he ai of uilding new houses was to e and the living area or i rove their living environ ent. he ehavior of this lind large scale construction y villagers is undou tedly a great da age to the environ ent of the village.It is the ehavior that accelerate the destroy rocess. ut they are full of nostalgia for their old house and ho etown.
village touris
online
uilding village rand
I I
I
online roduct selling hel villagers
recall local s irit
I
new develo
the connecting elt etween villagers and city dweller
attern
e
ccurate
u lic release
a thers
e
ar eting
users
o wtown
ural characteristic landsca e
infor ation recruit ent oard
online agricultural roducts selling
rans it tourist infor ation through
ural local agricultural roducts
resh villagers story
ostalgia attract
oung eo le who return ho e
ulti age tourists
ural local resources
odes of site
tion
enlarge
ite
visit
sers
essage and videos co
unicate
ther users
visit
ecall the nostalgia and co on e ory
reate the otility of the village
The popular place in the village
su ort
ntre reneur
esource integration
attract
article of consu of rural touris
ore colorful life
erience of village
ostalgia
econd te
ttract
ore rofit and have a
offline the characteristic touris
irst te
a e
the definition of the evoltuionary s ace of village
In this we could create our own ostalgia a with different nodes. he o eration of ostalgia a ring the ossi ility of co unication and understanding with others and their own ina a aradiso.
The popular things in his family
Where is the activity today Tongli DAY.9 26℃
He has draw 260 people's attention~
He has draw 530 people's attention~
The Breeding Boss
Supply and Marketing Cooperative
Tongli Village
tweeting
Tongli Village
Craftman Yang's Home
tweeting
Click here for details
Like the other villages in China, the Supply and Marketing Cooperatives restored many of the elders' memory in the period of the cultural revolution. The old house of the Supply and Marketing Cooperatives of Tongli still exists, which is quite rare, come and take a look at the renovated old house!
This grandmother's vegetable field and henhouse is the largest in the village. The grandmother who cultivated till now, though getting older, still couldn't give up her most familiar lifestyle. Now her children seldoms come back home, planting vegetables and breeding more than 20 chickens and ducks are her biggest fun in her daily life.
“ Let them take you back to the era of the Cultural Revolution”
“ She said he would prefer to invite visitors to have a look at her little farm and taste the most nutritious poultry cooked by herself, rather than sell it to the market”
y ostalgia
a
ing hen ighway he 0:00 / 1:45
200
322
120
180
iao illage
ry ell ate of the illage y
2000
4000
SCALE 1 - 1000
They come here and be your tour guide
Contact him
eared iver
ayfinding oad
0
Contact him
andoned ail
he isa
0:00 / 1:45
ld ouse
ench with ric s oof
arden
he nifished Illegal
They come here and be your tour guide
Map mode
Experience mode
Shopping mode KIds mode
ightseeing tand ld ric ield
actory
onstruction
village touris
online
uilding village rand
I I
I
online roduct selling hel villagers
recall local s irit
I
new develo
the connecting elt etween villagers and city dweller
attern
e
ccurate
u lic release
a thers
e
ar eting
users
o wtown
ural characteristic landsca e
infor ation recruit ent oard
online agricultural roducts selling
rans it tourist infor ation through
ural local agricultural roducts
resh villagers story
ostalgia attract
oung eo le who return ho e
ulti age tourists
ural local resources
odes of site
tion
enlarge
ite
visit
sers
essage and videos co
unicate
ther users
visit
ecall the nostalgia and co on e ory
reate the otility of the village
The popular place in the village
su ort
ntre reneur
esource integration
attract
article of consu of rural touris
ore colorful life
erience of village
ostalgia
econd te
ttract
ore rofit and have a
offline the characteristic touris
irst te
a e
the definition of the evoltuionary s ace of village
In this we could create our own ostalgia a with different nodes. he o eration of ostalgia a ring the ossi ility of co unication and understanding with others and their own ina a aradiso.
The popular things in his family
Where is the activity today Tongli DAY.9 26℃
He has draw 260 people's attention~
He has draw 530 people's attention~
The Breeding Boss
Supply and Marketing Cooperative
Tongli Village
tweeting
Tongli Village
Craftman Yang's Home
tweeting
Click here for details
Like the other villages in China, the Supply and Marketing Cooperatives restored many of the elders' memory in the period of the cultural revolution. The old house of the Supply and Marketing Cooperatives of Tongli still exists, which is quite rare, come and take a look at the renovated old house!
This grandmother's vegetable field and henhouse is the largest in the village. The grandmother who cultivated till now, though getting older, still couldn't give up her most familiar lifestyle. Now her children seldoms come back home, planting vegetables and breeding more than 20 chickens and ducks are her biggest fun in her daily life.
“ Let them take you back to the era of the Cultural Revolution”
“ She said he would prefer to invite visitors to have a look at her little farm and taste the most nutritious poultry cooked by herself, rather than sell it to the market”
y ostalgia
a
ing hen ighway he 0:00 / 1:45
200
322
120
180
iao illage
ry ell ate of the illage y
2000
4000
SCALE 1 - 1000
They come here and be your tour guide
Contact him
eared iver
ayfinding oad
0
Contact him
andoned ail
he isa
0:00 / 1:45
ld ouse
ench with ric s oof
arden
he nifished Illegal
They come here and be your tour guide
Map mode
Experience mode
Shopping mode KIds mode
ightseeing tand ld ric ield
actory
onstruction
I said o e istence of the incidents, no construction. he se uence of events is changing in the village, ust li e the of hu an. he language of develo ed the result of evolution. ow that the a earance of village has changed so uch, why not use the ethod of s atial narrative to create a new s ace se uence and event for the villagers. y vision is to create a lin age etween an o ect or a erson. hen interacting with each sege ent of the construction, eo le could feel the intertwine of the ast, the resent and the future of the history of village and eo le s life.
I I starts with a dry well landsca e e ui ed with a s raying device. eo le can sit here and feel the i lication of the changes of shadow, ust li e the sundial. he river which located here has disa eared for a ny years. ut the landsca e could ring the eo ories that we wal ed and layed along the river in revious.
I want to use the surna es of eo le tore resent each fa ily in the village, regardless of whether they still live here or have oved away fro the old house, or whether they are local residents or tenants. e are connected with the ancestors y surna e. heir suffering and glory will e inheritanced to us y lood.
he surna e swill e devided into two ty es. If the fa ily has oved away and rent their old house to other eo le,the signage of the fa ily will e inco lete, and vise versa.
I want to use these a andoned ric s as aterials to design a ayfinding oad which rovides guidance oth in hysical and s iritual as ects. he road ust li e a red car et which rolls out , it a es the activity of going ac ho e a sense of cere ony, ust li e a ilgri age.
ach s all structure will e e ed ded into the soil. ach s all structure re resents for a fa ily nu er who seldo get together with each other. s ti e goes y ,it will sun en gradually y the ressure of feet. It will also corrode slowly after a long ti e. he structures see to e recalling their owner li e e who have oved away. hen we go ac ho e we could clean u the dust for the and aint the again.In this way we could give the a new life.
he sinage of each fa ily will e e edded in the facade of the house. I also use the ele ents of string which is the switch of light in each fa ily in revious. hen you stretch the string at night the signage will e illu inated. In the eanwhile it can rovide so e illu ination for the outdoor activities on the di street.
I said o e istence of the incidents, no construction. he se uence of events is changing in the village, ust li e the of hu an. he language of develo ed the result of evolution. ow that the a earance of village has changed so uch, why not use the ethod of s atial narrative to create a new s ace se uence and event for the villagers. y vision is to create a lin age etween an o ect or a erson. hen interacting with each sege ent of the construction, eo le could feel the intertwine of the ast, the resent and the future of the history of village and eo le s life.
I I starts with a dry well landsca e e ui ed with a s raying device. eo le can sit here and feel the i lication of the changes of shadow, ust li e the sundial. he river which located here has disa eared for a ny years. ut the landsca e could ring the eo ories that we wal ed and layed along the river in revious.
I want to use the surna es of eo le tore resent each fa ily in the village, regardless of whether they still live here or have oved away fro the old house, or whether they are local residents or tenants. e are connected with the ancestors y surna e. heir suffering and glory will e inheritanced to us y lood.
he surna e swill e devided into two ty es. If the fa ily has oved away and rent their old house to other eo le,the signage of the fa ily will e inco lete, and vise versa.
I want to use these a andoned ric s as aterials to design a ayfinding oad which rovides guidance oth in hysical and s iritual as ects. he road ust li e a red car et which rolls out , it a es the activity of going ac ho e a sense of cere ony, ust li e a ilgri age.
ach s all structure will e e ed ded into the soil. ach s all structure re resents for a fa ily nu er who seldo get together with each other. s ti e goes y ,it will sun en gradually y the ressure of feet. It will also corrode slowly after a long ti e. he structures see to e recalling their owner li e e who have oved away. hen we go ac ho e we could clean u the dust for the and aint the again.In this way we could give the a new life.
he sinage of each fa ily will e e edded in the facade of the house. I also use the ele ents of string which is the switch of light in each fa ily in revious. hen you stretch the string at night the signage will e illu inated. In the eanwhile it can rovide so e illu ination for the outdoor activities on the di street.
he collision etween newly uilt structures and old houses recall the e ory of cra y construction. It ta es eo le dee thin ing what they did is enificial for the selves or destroy their living environ ents. he I I oad cli on the facade and roof of houses, so e even eco e arts of roof gardens.
In society, eo le are the victi s and even the i ediate agents of change, ut they are e ergent, collective, ine ora le forces.
ore often than not the causes are elsewhere
he a onded ric s will e accu ulated and undled y steels to create a new ind of ench which ta es as an e tension of I I oad.
In this ro ect I co ine the constructions of linear syste and oint syste together. he rinci le of the co ination is not to ursue the traditional e uili riu and sta ility, it e hasis ore on local conditions and rando ness. he structures for s visual contrast and visual connection to the houses. It leads eo le to thin over the cra y uilding events and ring new vitality in the future.
his is the starting oint of the three de ensional structure which trasfor ed y two di ensional elt. I define it as the gate of the village. he gate is nothing, ut so ething, is an a sence that we register as a resence. he rea stones were collected fro each fa ily and the gate was uilt y villagers the sevlves. It is a new lin age etween the village and local eo le.
any structures in situations will e created in the village y using the ethod of e construction, ust li e the variant roduced y gene utation. hese structures were triggers for villagers new activities, its e ist in order to uestion and resist.
hen standing on the sightseeing stand, eo le can en oy the sceniries of old houses, the field and distant ountains in three directions. he road lin ing to the ho etown always occurs at the o ent when closing eyes, reaching to the dee inds and interwining with the e ory. un with the wind and ursue the s ring on the road full of grass.
he collision etween newly uilt structures and old houses recall the e ory of cra y construction. It ta es eo le dee thin ing what they did is enificial for the selves or destroy their living environ ents. he I I oad cli on the facade and roof of houses, so e even eco e arts of roof gardens.
In society, eo le are the victi s and even the i ediate agents of change, ut they are e ergent, collective, ine ora le forces.
ore often than not the causes are elsewhere
he a onded ric s will e accu ulated and undled y steels to create a new ind of ench which ta es as an e tension of I I oad.
In this ro ect I co ine the constructions of linear syste and oint syste together. he rinci le of the co ination is not to ursue the traditional e uili riu and sta ility, it e hasis ore on local conditions and rando ness. he structures for s visual contrast and visual connection to the houses. It leads eo le to thin over the cra y uilding events and ring new vitality in the future.
his is the starting oint of the three de ensional structure which trasfor ed y two di ensional elt. I define it as the gate of the village. he gate is nothing, ut so ething, is an a sence that we register as a resence. he rea stones were collected fro each fa ily and the gate was uilt y villagers the sevlves. It is a new lin age etween the village and local eo le.
any structures in situations will e created in the village y using the ethod of e construction, ust li e the variant roduced y gene utation. hese structures were triggers for villagers new activities, its e ist in order to uestion and resist.
hen standing on the sightseeing stand, eo le can en oy the sceniries of old houses, the field and distant ountains in three directions. he road lin ing to the ho etown always occurs at the o ent when closing eyes, reaching to the dee inds and interwining with the e ory. un with the wind and ursue the s ring on the road full of grass.
FOUR ELEMENT PAVILION [The Evolution of Future] Summer 2016 Personal Work Tutor: Lu Hai Collaborator: Cheng Yannan My inspiration is from a movie named "Four Modes of Death of My Hometown." It tells that under the tremendous impact of the urbanization in China, everything in the countryside is rapidly disappearing: villagers, village structures, traditional artists, the whole village, superstition and witchcraft, solar terms and celebrations, folk customs and literature, families and history, local civilization, people's focus as well as origin and so on and so forth. From the perspective of countryside evolution, I transformed a waste brick factory bearing the collective memory in the village, and planed an immersive art exhibition centering on local civilization, expressing my deep feeling on the homeland civilization and reflection on modern urbanization . That also refers to a more metaphysical topic -- the future of humankind and the search for spiritual homeland.
FOUR ELEMENT PAVILION [The Evolution of Future] Summer 2016 Personal Work Tutor: Lu Hai Collaborator: Cheng Yannan My inspiration is from a movie named "Four Modes of Death of My Hometown." It tells that under the tremendous impact of the urbanization in China, everything in the countryside is rapidly disappearing: villagers, village structures, traditional artists, the whole village, superstition and witchcraft, solar terms and celebrations, folk customs and literature, families and history, local civilization, people's focus as well as origin and so on and so forth. From the perspective of countryside evolution, I transformed a waste brick factory bearing the collective memory in the village, and planed an immersive art exhibition centering on local civilization, expressing my deep feeling on the homeland civilization and reflection on modern urbanization . That also refers to a more metaphysical topic -- the future of humankind and the search for spiritual homeland.
I
s the destination of the ayfinding, the old ric factory was closely lin ed with the life of villagers in the s. It was the ode of the village, and also a ain rovider of construction aterials for the villagers. ut now it has een a andoned.
ost i
ortant roduction
he old ric factor is an e tant site of the ast roductive activities and a lace full of e ories. o we ho e to retain its historical value. e refer to a e it ada t to the develo ent of the new village y transfor ing it to a ractical lace for the villagers, rather than solely eing a useu . he facade wall was ro en es ect the original a earance, give the rotection as the art wor
confliction Site with Collective Memory
da age
r an evelo
ew activities dis lay s ace
authenticity
and
E
adaptation
ent recovery
change
evolution
o we decide to re uild this factory as a new activity and e hi ition center for the old , the young, igrant wor ers , and local artists in that village. y holding regular art e hi itions and e eriential activities, it can co ine the traditional lifestyle and s ills with conte orary art and design. hus it can e a catalyst for hu an integration and new rural life.
or al
ondition
ecreation all for the illagers enior
enter
estival
ol rt erfor ance vening arty
ultural ctivity
utural o unication egular hi ition
he idea to lan an i ersive art e hi ition is ins ired y the ovie our odes of eath of y o etown . eaving fro ho e, struggling in the city, and finally ending her life, u ui s e erience in the ovie reflects eo le s consideration on their ulti ate ho e. hen oth aterial and s iritual ho e are colla sed, how can we find another way to survive instead of death. Is death the only
nd for the vast a ority of hinese who leave their ho etown and struggle in the city, where is their s iritual ho e ill they choose death as their destination of search li e u ui in the ovie hat is our essential uestion facing the disa earing ho etowns
I
s the destination of the ayfinding, the old ric factory was closely lin ed with the life of villagers in the s. It was the ode of the village, and also a ain rovider of construction aterials for the villagers. ut now it has een a andoned.
ost i
ortant roduction
he old ric factor is an e tant site of the ast roductive activities and a lace full of e ories. o we ho e to retain its historical value. e refer to a e it ada t to the develo ent of the new village y transfor ing it to a ractical lace for the villagers, rather than solely eing a useu . he facade wall was ro en es ect the original a earance, give the rotection as the art wor
confliction Site with Collective Memory
da age
r an evelo
ew activities dis lay s ace
authenticity
and
E
adaptation
ent recovery
change
evolution
o we decide to re uild this factory as a new activity and e hi ition center for the old , the young, igrant wor ers , and local artists in that village. y holding regular art e hi itions and e eriential activities, it can co ine the traditional lifestyle and s ills with conte orary art and design. hus it can e a catalyst for hu an integration and new rural life.
or al
ondition
ecreation all for the illagers enior
enter
estival
ol rt erfor ance vening arty
ultural ctivity
utural o unication egular hi ition
he idea to lan an i ersive art e hi ition is ins ired y the ovie our odes of eath of y o etown . eaving fro ho e, struggling in the city, and finally ending her life, u ui s e erience in the ovie reflects eo le s consideration on their ulti ate ho e. hen oth aterial and s iritual ho e are colla sed, how can we find another way to survive instead of death. Is death the only
nd for the vast a ority of hinese who leave their ho etown and struggle in the city, where is their s iritual ho e ill they choose death as their destination of search li e u ui in the ovie hat is our essential uestion facing the disa earing ho etowns
arth
ater
he core of local civili ation the relationshi etween eo le and the environ ent
ur e hi ition, co
I
I
I
ind
ire
he city drifting the shac les of the i aginary reality
he s iritual ascri tion of future hu an eings the evolution of no direction
he death of local civili ation an elegiac
ining local ele ents and lifestyle, is intended to show four hases in the evolution of local civili ation through four different s aces.
ater
ire
THE EARTH WORLD Traditionally, we think that people establish the village first and then set up their faith center when the village become flourished. However, according to the Gobekli Tepe, people might set up their faith center first and then form the village around the center. From my perspective, the “death� of local civilization refers to the disappearing spirit of humankind, which serves as the core of local civilization and is about the ultimate question of mankind-- the relationship between life and the environment. arth
ind N
cale
lan
People in the old factory can can freely move and combine the bricks by themselves. And the space structure will evolves continuously based on people’s behaviors. People can reestablish their own environment and connections with other people there, just like in the villages and cities we live.
arth
ater
he core of local civili ation the relationshi etween eo le and the environ ent
ur e hi ition, co
I
I
I
ind
ire
he city drifting the shac les of the i aginary reality
he s iritual ascri tion of future hu an eings the evolution of no direction
he death of local civili ation an elegiac
ining local ele ents and lifestyle, is intended to show four hases in the evolution of local civili ation through four different s aces.
ater
ire
THE EARTH WORLD Traditionally, we think that people establish the village first and then set up their faith center when the village become flourished. However, according to the Gobekli Tepe, people might set up their faith center first and then form the village around the center. From my perspective, the “death� of local civilization refers to the disappearing spirit of humankind, which serves as the core of local civilization and is about the ultimate question of mankind-- the relationship between life and the environment. arth
ind N
cale
lan
People in the old factory can can freely move and combine the bricks by themselves. And the space structure will evolves continuously based on people’s behaviors. People can reestablish their own environment and connections with other people there, just like in the villages and cities we live.
THE WATER WORLD
THE FIRE WORLD
THE WIND WORLD
The imaginary order, which is closely linked to the real world, shapes our desires. However, people do not realize the orders are fictional. And we can not separate ourselves from the established orders. Every time we break the high walls of one prison, instead of stepping to freedom, we actually fall into another prison with larger activity space. People deeply lost themselves in all kinds of orders during the evolution process. The illusion in the mirror penetrates that people are abandoned in a time stream and “death” is an inevitable ending of local civilization.
The modernization and urbanization process with a high speed in recent years, to the vast rural areas, seems to be a clearance and transformation by bulldozers , which is to subvert value and ethics of the traditional rural China. People step over objects which recalls memory of their hometown in a long and narrow space, and the mixed piercing sound forces people to escape. The red lighting ribbon symbolizes the continuation of the death, and the extinction of the homestead of local civilization, which expresses a pessimism with hope.
Home of material have collapsed , home of spirit has lost, how can we find belongings of ourselves except death? Is death itself equal to the solution of human beings when seeking freedom and possibility? Walking in the widespread flying powder of old objects collected in the village, people hold a weak evocation of hometown. It is a metaphor for the weakness of people’s life in time river and negligibale of civilization in the long history. Perhaps human beings are always homeless and migrating is the original movement of human beings. The evolution of human beings has no direction and it is never ceaseless. This is the philosophical exploration about the boundry of individual’s lifespan and the boundary between life and death.
THE WATER WORLD
THE FIRE WORLD
THE WIND WORLD
The imaginary order, which is closely linked to the real world, shapes our desires. However, people do not realize the orders are fictional. And we can not separate ourselves from the established orders. Every time we break the high walls of one prison, instead of stepping to freedom, we actually fall into another prison with larger activity space. People deeply lost themselves in all kinds of orders during the evolution process. The illusion in the mirror penetrates that people are abandoned in a time stream and “death” is an inevitable ending of local civilization.
The modernization and urbanization process with a high speed in recent years, to the vast rural areas, seems to be a clearance and transformation by bulldozers , which is to subvert value and ethics of the traditional rural China. People step over objects which recalls memory of their hometown in a long and narrow space, and the mixed piercing sound forces people to escape. The red lighting ribbon symbolizes the continuation of the death, and the extinction of the homestead of local civilization, which expresses a pessimism with hope.
Home of material have collapsed , home of spirit has lost, how can we find belongings of ourselves except death? Is death itself equal to the solution of human beings when seeking freedom and possibility? Walking in the widespread flying powder of old objects collected in the village, people hold a weak evocation of hometown. It is a metaphor for the weakness of people’s life in time river and negligibale of civilization in the long history. Perhaps human beings are always homeless and migrating is the original movement of human beings. The evolution of human beings has no direction and it is never ceaseless. This is the philosophical exploration about the boundry of individual’s lifespan and the boundary between life and death.
In-between as a Method [Evolution without an end] Summer 2016 Personal Work Tutor: Lu Hai Collaborator: Yang Huan rder, organi ation, structure these all e erge as y roducts of rules which are o eyed locally and any ti es over. here is no overall lan, ust cells reacting to local effects.It is as if an entire city e erged fro chaos ust ecause eo le res onded to local incentives in the way they set u their ho es and usiness. that is how city e erged too. It is as if a hu an language, with all its synta and gra ar, were to e erge s ontaneously fro the actions of its individual s ea ers, with no ody laying the rules. nd although it has no goal in ind, evolution none the less roduces functional and ingenious solution to ro le s what iologists call ada tion. In this ro ect, we ut forward a ossi le solution which co ines oth otto u and to down ethod for the renovation of the old town, which is different fro the govern ent s traditional to down lanning sche e. y ai is to a e the renovation ore eo le oriented and attract ore local eo le to artici ate in the construction of ang heng. y intention is to rovide an e eri ent with ore ossi ilities for the ada tion of the local develo ent.
In-between as a Method [Evolution without an end] Summer 2016 Personal Work Tutor: Lu Hai Collaborator: Yang Huan rder, organi ation, structure these all e erge as y roducts of rules which are o eyed locally and any ti es over. here is no overall lan, ust cells reacting to local effects.It is as if an entire city e erged fro chaos ust ecause eo le res onded to local incentives in the way they set u their ho es and usiness. that is how city e erged too. It is as if a hu an language, with all its synta and gra ar, were to e erge s ontaneously fro the actions of its individual s ea ers, with no ody laying the rules. nd although it has no goal in ind, evolution none the less roduces functional and ingenious solution to ro le s what iologists call ada tion. In this ro ect, we ut forward a ossi le solution which co ines oth otto u and to down ethod for the renovation of the old town, which is different fro the govern ent s traditional to down lanning sche e. y ai is to a e the renovation ore eo le oriented and attract ore local eo le to artici ate in the construction of ang heng. y intention is to rovide an e eri ent with ore ossi ilities for the ada tion of the local develo ent.
istory of
ang heng
onstruction of
ang heng
he w ward osition of enovation y
overn
ent
he y ical and i relocate local co unity
listic
unction nalysis ased on ife
ethod real state develo ers enefit
relocate fa ilies enor ous cost illion and reinvest ent
co ercial area li ited In , the town of ua ing now in ong i ang first a ears in official docu ents of the ang ynasty s local govern ent. It is descri ed as a ros erous trading city along the river.
historical consevation
ctivity oo
ntertain ent
utdoor eeting ace
I
inha itants need co en sation
ro en ur an conte t
usiness
ang heng ultural ctivity
u er chool for hildren
ow to achieve the original intention of design ducation
he In , after the o ening of the co ercial ort in hanghai, ong iang eca e a strate gic center for receiving and storing goods fro inner arts of hina at that ti e it eca e the warehouse city ang heng .
hanllenge of
ang heng
I cco odation
the only ossi le entry oint into cities
ang heng
igrants
only entry level housing availa le
ost elders have difficulties a ing aliving y the selves due to the uite li ited o s offered to the .
a e the local inha itants stay and loo for a
a odel that res onds to ra id changes and reduces overty and ur an ine uality
ore sustaina le way
In , the city suffered fro i ense losses including the total destruction of the fortified wall ecause of the econd orld ar. ver the ne t decades, hanghai eca e the co ercial hu of the region ut ong iang town was co letely forgotten.
ffected y the ultural evolution, any non local ha itants were forced to co e here and live in the old uildings. herefore one uilding was always shared y a out ten fa ilies, a ing its function uite co le . ue to the ra idly increasing of i igrates and the lac of s ecific rules, any residents started to uild illegal uildings to e and living s ace.
ulture
close investigation on the local residents life gives functions education,activity, usiness and service
ea
for
in
in
etween
al
etween
inha itants
inside
to
down
in
in
in
etween
etween
etween
ang heng rt hi ition
etter understanding of what local residents really want and leads to four
he trategy of
ur an
ocal raft essons
esidential ctivity enter
I ourists of ong iang
utdoor eeting ace
service
Indigenous Inha itants
only original historical resource in oth tangi le and intangi le as ects
ow to
ro le of a g e i n g o ulation
ho
ocal raft tudios
ang heng
hoosing the ethod of in etween is a challenge for e isting olicies and the role of the govern ent, rivate sector and society layed in intervening the construction of the city. he ethod of in etween is to let design insights efficiently ro ose a odel that res onds to ra id changes and reduces over ty and ur an ine uality a ethod that tests the role of s atial strategies, ur an lanning and design instead of relying on site clearance in order to develo an integrated s atial syste .
intensification of ulti fuctional u lic s ace
In , the renovation and rotection ro ect was rought into the local govern ent s schedule. he govern ent lanned to invest illion uan to renovate the old town and relocate a out , fa ilies living in the old and dila idated houses within years. he historical uildings were intended to e transfor ed into co ercial area.
in
etween
re ualification
of housing co area
new uses
on
of unfunctioning s ace
rural
infor
al
igrants
outside
otto
u
a or
istory of
ang heng
onstruction of
ang heng
he w ward osition of enovation y
overn
ent
he y ical and i relocate local co unity
listic
unction nalysis ased on ife
ethod real state develo ers enefit
relocate fa ilies enor ous cost illion and reinvest ent
co ercial area li ited In , the town of ua ing now in ong i ang first a ears in official docu ents of the ang ynasty s local govern ent. It is descri ed as a ros erous trading city along the river.
historical consevation
ctivity oo
ntertain ent
utdoor eeting ace
I
inha itants need co en sation
ro en ur an conte t
usiness
ang heng ultural ctivity
u er chool for hildren
ow to achieve the original intention of design ducation
he In , after the o ening of the co ercial ort in hanghai, ong iang eca e a strate gic center for receiving and storing goods fro inner arts of hina at that ti e it eca e the warehouse city ang heng .
hanllenge of
ang heng
I cco odation
the only ossi le entry oint into cities
ang heng
igrants
only entry level housing availa le
ost elders have difficulties a ing aliving y the selves due to the uite li ited o s offered to the .
a e the local inha itants stay and loo for a
a odel that res onds to ra id changes and reduces overty and ur an ine uality
ore sustaina le way
In , the city suffered fro i ense losses including the total destruction of the fortified wall ecause of the econd orld ar. ver the ne t decades, hanghai eca e the co ercial hu of the region ut ong iang town was co letely forgotten.
ffected y the ultural evolution, any non local ha itants were forced to co e here and live in the old uildings. herefore one uilding was always shared y a out ten fa ilies, a ing its function uite co le . ue to the ra idly increasing of i igrates and the lac of s ecific rules, any residents started to uild illegal uildings to e and living s ace.
ulture
close investigation on the local residents life gives functions education,activity, usiness and service
ea
for
in
in
etween
al
etween
inha itants
inside
to
down
in
in
in
etween
etween
etween
ang heng rt hi ition
etter understanding of what local residents really want and leads to four
he trategy of
ur an
ocal raft essons
esidential ctivity enter
I ourists of ong iang
utdoor eeting ace
service
Indigenous Inha itants
only original historical resource in oth tangi le and intangi le as ects
ow to
ro le of a g e i n g o ulation
ho
ocal raft tudios
ang heng
hoosing the ethod of in etween is a challenge for e isting olicies and the role of the govern ent, rivate sector and society layed in intervening the construction of the city. he ethod of in etween is to let design insights efficiently ro ose a odel that res onds to ra id changes and reduces over ty and ur an ine uality a ethod that tests the role of s atial strategies, ur an lanning and design instead of relying on site clearance in order to develo an integrated s atial syste .
intensification of ulti fuctional u lic s ace
In , the renovation and rotection ro ect was rought into the local govern ent s schedule. he govern ent lanned to invest illion uan to renovate the old town and relocate a out , fa ilies living in the old and dila idated houses within years. he historical uildings were intended to e transfor ed into co ercial area.
in
etween
re ualification
of housing co area
new uses
on
of unfunctioning s ace
rural
infor
al
igrants
outside
otto
u
a or
Spatial Structure Analysis Spatial Strategy of CangCheng
living formal informal in-between
Formal
Informal
Nodes of Support in Common Living Area
selling indoor outdoor in-between
Indoor
Outdoor
intensification of multi_fuctional public space
Complex Built by Local Residents on the Abonded Space
Unfunctioning Buildings with New Use
meeting courtyard street in-between
Courtyard
Street Informal and Unfunctioning Buildings
cultural activity
requalification
indoor
of housing common area
outdoor in-between
Indoor
Outdoor
Road Net
working formal informal in-between
Formal
Informal Road Net
unfunctioning indoor abandoned empty space in-between
new uses
Indoor
Empty place
of unfunctioning space
Spatial Structure Analysis Spatial Strategy of CangCheng
living formal informal in-between
Formal
Informal
Nodes of Support in Common Living Area
selling indoor outdoor in-between
Indoor
Outdoor
intensification of multi_fuctional public space
Complex Built by Local Residents on the Abonded Space
Unfunctioning Buildings with New Use
meeting courtyard street in-between
Courtyard
Street Informal and Unfunctioning Buildings
cultural activity
requalification
indoor
of housing common area
outdoor in-between
Indoor
Outdoor
Road Net
working formal informal in-between
Formal
Informal Road Net
unfunctioning indoor abandoned empty space in-between
new uses
Indoor
Empty place
of unfunctioning space
Intensification
of
ulti fuctional u lic s ace
et
u sh
tre
he develo ent of ang heng is a long rocess. In order to avoid re eat ing wasting resources, we tried to a e the large u lic s ace ada t to the surrounding environ ent. nd we can a e full use of the residents s ontaneous activities as well as the ur an s ace s syste atic ness, diversity, de th and differences to create ractical o en odular cultural units. e will co ine each unit togeth er and serve for the local residents. In this way s ace will e used ore fle i ly and freely. nd the s ace will e ore energy saving and efficient.
u
ge
rid g
an
ho
a
ng
iu
an
sha
nw
est
tre
et
tre
et
hi
ive
r
he area of the functional lattice s ace and surrounding roads
lan
third floor
I second floor atriu
atriu
e hi ition area
atriu
circulation
atriu
atriu
first floor store
store
N
irst loor lan
N cale
econd loor lan
N cale
hird loor lan
cale
cale
odular nalysis odular connectors
co
inating
ethods of
odular units
o ination ethods of odular oards in the a e lane
entrance site r
odular oards
o ination ethods of odular oards in ertical lane
hi
ive
e ty a andoned s ace
Intensification
of
ulti fuctional u lic s ace
et
u sh
tre
he develo ent of ang heng is a long rocess. In order to avoid re eat ing wasting resources, we tried to a e the large u lic s ace ada t to the surrounding environ ent. nd we can a e full use of the residents s ontaneous activities as well as the ur an s ace s syste atic ness, diversity, de th and differences to create ractical o en odular cultural units. e will co ine each unit togeth er and serve for the local residents. In this way s ace will e used ore fle i ly and freely. nd the s ace will e ore energy saving and efficient.
u
ge
rid g
an
ho
a
ng
iu
an
sha
nw
est
tre
et
tre
et
hi
ive
r
he area of the functional lattice s ace and surrounding roads
lan
third floor
I second floor atriu
atriu
e hi ition area
atriu
circulation
atriu
atriu
first floor store
store
N
irst loor lan
N cale
econd loor lan
N cale
hird loor lan
cale
cale
odular nalysis odular connectors
co
inating
ethods of
odular units
o ination ethods of odular oards in the a e lane
entrance site r
odular oards
o ination ethods of odular oards in ertical lane
hi
ive
e ty a andoned s ace
e ualification
of housing co
on area rea the east wall and thus the new access for s.
lac of contact
a e the connections etween two grou s of courtyard s ace which are se arated totally with each other.
confined s ace
latfond
rea the closed facade of second floor. he new doors will connect with latfor directly.
iuna n str
eet
latfond
dd ore u lic s ace eyond roofs. ue to the seriously lac of u lic s ace, we lans to design the cinstuctions which follow the structure of original old uildings. In this way it adds the access to the surrounding areas and rovide ore u lic s ace with uli functions for the local residents.
dd ore stairs and thus the circulaation will e co leted.
athway s the rotagonist of the story, the co unicating ehavior of the u lic should e valued y the city designer. u lic s ace should not e se arated y echanical disintegration, instead, it should designed for daily life and u lic co unication. In addition, as the director of the story, the u lic should not assively acce t city designers arrange ents. In ur an design, we should encourage ore u lic to ta e artici ation in it. he rocess of design and i le entation should e ore fle i le and interactive. e should give their ore considera le o ortunities and freedo to show their creativity.
he trans arent roofs which can shelter fro the rain and wind will e uilt.
volution in lan
ingcang
treet
ingcang
treet
ushu treet
ushu treet
hongshan
t west tree
hongshan
ushu treet
ushu treet
o e inha itants lan to uilding u e and the s ace of daily activities.
ingcang
t west tree
the
latfor
to
treet
ore fa ilies needs.
ingcang
t west tree
structures for their own
olu n latfor assage. ew ace will e used for drying clothes or lanting.
irculation latfor roof illar. ew ace will e used for eals and greeting.
hongshan
t west tree
ushu treet
ushu treet
radually, s ace renovation y their own egin to s read to the surroundings. ore and ore old uildings have such a convenient structure for daily activities, eo le s activities are ore and ore diversified.
uild u
treet
ushu treet
ushu treet
hongshan
egin to
he renovating a roaches e end to the whole site of ang heng, the new syste eyond houses egins to for .
irculation latfor roof illar se i enclosed s ace. o e asic selling activities a ears on the u er s ace due to their gathering in the new s ace
latfor roof illar enclosed s ace . irculation he u er s ace is not ust a u lic s ace, so e residents also develo s their ersonal s ace, the connections etween u er s ace and ground eco e ore and ore closed.
e ualification
of housing co
on area rea the east wall and thus the new access for s.
lac of contact
a e the connections etween two grou s of courtyard s ace which are se arated totally with each other.
confined s ace
latfond
rea the closed facade of second floor. he new doors will connect with latfor directly.
iuna n str
eet
latfond
dd ore u lic s ace eyond roofs. ue to the seriously lac of u lic s ace, we lans to design the cinstuctions which follow the structure of original old uildings. In this way it adds the access to the surrounding areas and rovide ore u lic s ace with uli functions for the local residents.
dd ore stairs and thus the circulaation will e co leted.
athway s the rotagonist of the story, the co unicating ehavior of the u lic should e valued y the city designer. u lic s ace should not e se arated y echanical disintegration, instead, it should designed for daily life and u lic co unication. In addition, as the director of the story, the u lic should not assively acce t city designers arrange ents. In ur an design, we should encourage ore u lic to ta e artici ation in it. he rocess of design and i le entation should e ore fle i le and interactive. e should give their ore considera le o ortunities and freedo to show their creativity.
he trans arent roofs which can shelter fro the rain and wind will e uilt.
volution in lan
ingcang
treet
ingcang
treet
ushu treet
ushu treet
hongshan
t west tree
hongshan
ushu treet
ushu treet
o e inha itants lan to uilding u e and the s ace of daily activities.
ingcang
t west tree
the
latfor
to
treet
ore fa ilies needs.
ingcang
t west tree
structures for their own
olu n latfor assage. ew ace will e used for drying clothes or lanting.
irculation latfor roof illar. ew ace will e used for eals and greeting.
hongshan
t west tree
ushu treet
ushu treet
radually, s ace renovation y their own egin to s read to the surroundings. ore and ore old uildings have such a convenient structure for daily activities, eo le s activities are ore and ore diversified.
uild u
treet
ushu treet
ushu treet
hongshan
egin to
he renovating a roaches e end to the whole site of ang heng, the new syste eyond houses egins to for .
irculation latfor roof illar se i enclosed s ace. o e asic selling activities a ears on the u er s ace due to their gathering in the new s ace
latfor roof illar enclosed s ace . irculation he u er s ace is not ust a u lic s ace, so e residents also develo s their ersonal s ace, the connections etween u er s ace and ground eco e ore and ore closed.
ew uses
of unfuctioning s ace
cale
e lan to co ine the a andoned factory with the sa ce of infor al and endow the with new functions of usiness. he govern ent hel s to uild handicraft art wor sho which rovide consu ers with handicraft e erience and roducts ade y local eo le. ocal eo el will ta e an i ortant role in usiness. lus, we lan to start a su er school for children since the o ulation of children in the surrounding is uite large. hses two ro ects will coo reate with each other. In this way, the local eo le could get enefit in a sustaina le way.
original site
clear out useless illegal houses
arts of interior s ace will e transfor into outdoor activity s ace
N
clear out so e facades of illegal houses
. transfor so e facades into trans ar ent glass, enhance daylighting condition
new uses, new usiness
ed
ew uses
of unfuctioning s ace
cale
e lan to co ine the a andoned factory with the sa ce of infor al and endow the with new functions of usiness. he govern ent hel s to uild handicraft art wor sho which rovide consu ers with handicraft e erience and roducts ade y local eo le. ocal eo el will ta e an i ortant role in usiness. lus, we lan to start a su er school for children since the o ulation of children in the surrounding is uite large. hses two ro ects will coo reate with each other. In this way, the local eo le could get enefit in a sustaina le way.
original site
clear out useless illegal houses
arts of interior s ace will e transfor into outdoor activity s ace
N
clear out so e facades of illegal houses
. transfor so e facades into trans ar ent glass, enhance daylighting condition
new uses, new usiness
ed
No Captain In Return [The Evoltion of A Ship] Summer 2016 Personal Work Tutor: Lu Hai, Angela Collaborator: Cheng Yanan The design is inspired by the story of legendary Magellan during the period of Great Voyage, which is intended to reflect the suffering, the pioneering spirit and the pride of the whole Portuguese nation at that time. I hope this Portuguese Restaurant in Shanghai could arouse peoples’ memories of that particular era and their nostalgia. The whole space is not to show a peaceful underwater world but through the changeable space it tells us about the spirit of victory, a epic of courage and endurance ,hunger and rebellion, life and death.
No Captain In Return [The Evoltion of A Ship] Summer 2016 Personal Work Tutor: Lu Hai, Angela Collaborator: Cheng Yanan The design is inspired by the story of legendary Magellan during the period of Great Voyage, which is intended to reflect the suffering, the pioneering spirit and the pride of the whole Portuguese nation at that time. I hope this Portuguese Restaurant in Shanghai could arouse peoples’ memories of that particular era and their nostalgia. The whole space is not to show a peaceful underwater world but through the changeable space it tells us about the spirit of victory, a epic of courage and endurance ,hunger and rebellion, life and death.
UNFINISHED JOURNEY TO TELL AN UNFORGOTTEN EPIC IN THE HISTORY OF NAVIGATION
When you stand beside the calm sea, a hurricane suddenly brings you into an underwater space that you have never even seen before. Will you be shocked? Through the strait’s crack, the hurricane tore the ship and left it body here and there. But it has become a strong keel that can represent the spirit of all the heroes. Just like the nautical warriors’ strong heart that will never change even they died. This space intends to show the ups and downs and the cracked life by displaying the hurricane’s trajectory. Instead of showing a peaceful underwater world, it displays a changeable picture that tells us about the spirit of victory, courage, endurance, hunger, rebellion, and death.
his ortuguese navigator, young ut veteran, refused to e ordinary. lthough earing the cri e of treason, he ca e to ain with great a ition to co lete his drea . e s na e is agellan.
n the island, agellan was lindfolded y ride, rec lessly attac ing nearly two hundred inha itants with si ty soldiers. is drea of o ening u a new world o viously ended in vain. his conflict eca e the turning oint of the fate of the whole fleet. ro now they had to co lete the ission without agellan.
agellan was confident and followed the a to sail to island of s ice. ith his years of e erience of sailing, he found that the sailing a was wrong. ut agellan e t it as a secret ecause he could not turn ac . hen the things rought to light, the sailors threw the selves into confusion. owever, agellan erfectly ut down the chaos and e t sailing forward. In this huge oceanli e they never see efore,the shi s sailed for three onth. fter onths of sailing, the shi s finally crossed and arrived the ocean entrance. ust efore sailing into the acific cean, a a or su ly shi t. ntonio esca ed ac to ain. agellan had no choice ut e t sailing forward. he shi s sailed for three onth in the vast ocean. uffering fro insufficient su ly as well as oring and endless ourney, sailors were tor ented oth hysically and entally. nd any of the were starved to death. ortunately, the tea finally found the archi elago efore the last straw rea ing the ca el s ac .
Navigation History of Magellan ......
STORYBOARD
ithout disci lines and anage ent, sailors were do inated y greedy egotis . hey ought and sold ar itrarily on the island. radually so e sailors were really tired of e loring they wanted to stay here... acing the fact that only one shi could sail ac to the otherland, eo le should a e different decisions. ictoria has e erienced too uch, ut now she hel lessly saw the rinidad leave and stay on the ice Islands, eing forgotten and a andoned.
he rinidad sto ed on the shore uietly year y year until oss devoured her ody. owever, this ro en shi was considered as a great shi in the history.
ne day a stor ca e, the shi was torn y stor and san into the sea. he rinidad s life flash ac ed li e a ro ec tor. er life achieved agellan, ut eventually ended u li e agellan s fate. owever , his rave soul will tell future generations a out the hero s stories without any sadness
UNFINISHED JOURNEY TO TELL AN UNFORGOTTEN EPIC IN THE HISTORY OF NAVIGATION
When you stand beside the calm sea, a hurricane suddenly brings you into an underwater space that you have never even seen before. Will you be shocked? Through the strait’s crack, the hurricane tore the ship and left it body here and there. But it has become a strong keel that can represent the spirit of all the heroes. Just like the nautical warriors’ strong heart that will never change even they died. This space intends to show the ups and downs and the cracked life by displaying the hurricane’s trajectory. Instead of showing a peaceful underwater world, it displays a changeable picture that tells us about the spirit of victory, courage, endurance, hunger, rebellion, and death.
his ortuguese navigator, young ut veteran, refused to e ordinary. lthough earing the cri e of treason, he ca e to ain with great a ition to co lete his drea . e s na e is agellan.
n the island, agellan was lindfolded y ride, rec lessly attac ing nearly two hundred inha itants with si ty soldiers. is drea of o ening u a new world o viously ended in vain. his conflict eca e the turning oint of the fate of the whole fleet. ro now they had to co lete the ission without agellan.
agellan was confident and followed the a to sail to island of s ice. ith his years of e erience of sailing, he found that the sailing a was wrong. ut agellan e t it as a secret ecause he could not turn ac . hen the things rought to light, the sailors threw the selves into confusion. owever, agellan erfectly ut down the chaos and e t sailing forward. In this huge oceanli e they never see efore,the shi s sailed for three onth. fter onths of sailing, the shi s finally crossed and arrived the ocean entrance. ust efore sailing into the acific cean, a a or su ly shi t. ntonio esca ed ac to ain. agellan had no choice ut e t sailing forward. he shi s sailed for three onth in the vast ocean. uffering fro insufficient su ly as well as oring and endless ourney, sailors were tor ented oth hysically and entally. nd any of the were starved to death. ortunately, the tea finally found the archi elago efore the last straw rea ing the ca el s ac .
Navigation History of Magellan ......
STORYBOARD
ithout disci lines and anage ent, sailors were do inated y greedy egotis . hey ought and sold ar itrarily on the island. radually so e sailors were really tired of e loring they wanted to stay here... acing the fact that only one shi could sail ac to the otherland, eo le should a e different decisions. ictoria has e erienced too uch, ut now she hel lessly saw the rinidad leave and stay on the ice Islands, eing forgotten and a andoned.
he rinidad sto ed on the shore uietly year y year until oss devoured her ody. owever, this ro en shi was considered as a great shi in the history.
ne day a stor ca e, the shi was torn y stor and san into the sea. he rinidad s life flash ac ed li e a ro ec tor. er life achieved agellan, ut eventually ended u li e agellan s fate. owever , his rave soul will tell future generations a out the hero s stories without any sadness
PLAN OF STORYLINE The Church says the Earth is flat, but I know that It is round, for I have seen the shadow on the Moon, and I have more faith in a shadow than in the Church.
-
-Ferdinand Magellan Portuguese Navigation 1480-1521
underwater world vota center under the sea arrived at ra ilian land first su ly navigate in the wrong ay found the channel lin ed to occean crossed the acific occean ut aggelan dead suddenly arrived at ice island last su ly ,it was ti e to say good ye the rest ourney without agellan
PLAN OF STORYLINE The Church says the Earth is flat, but I know that It is round, for I have seen the shadow on the Moon, and I have more faith in a shadow than in the Church.
-
-Ferdinand Magellan Portuguese Navigation 1480-1521
underwater world vota center under the sea arrived at ra ilian land first su ly navigate in the wrong ay found the channel lin ed to occean crossed the acific occean ut aggelan dead suddenly arrived at ice island last su ly ,it was ti e to say good ye the rest ourney without agellan
PLAN TOP SURFACE DRAWING
DIFFERENT LAYERS ANALYSIS
he curve sha e of the whole interior s ace gives visitors a great sense of ower. eo le are i ersed in an underwater world which reflects the sorrow and syruggle of the entire nations of ortuguese in the e loring era.
lan
eiling
orth wall
to surface drawing
est wall
loor ast wall
The shape of curve lamps on ceiling are just like the rhymed ripple when raindrop falls down the water. It is a metaphor of Magellan’s unfinished journey which provoked a huge hurricane in the human history. The form also looks like the map of stars in the sky which indicates the direction and bring hope to the sailors when navigating at midnight . outh wall
I east wall weaving glass west wall concrete with windows south wall a ing varnish wood north wall a ing varnish wood
ain ntrance
I
coral concrete vota linear woodern structure shi concrete ay leather coastline wooder floor coastline glass a ove white sand si le navigate routine leather island concrete
PLAN TOP SURFACE DRAWING
DIFFERENT LAYERS ANALYSIS
he curve sha e of the whole interior s ace gives visitors a great sense of ower. eo le are i ersed in an underwater world which reflects the sorrow and syruggle of the entire nations of ortuguese in the e loring era.
lan
eiling
orth wall
to surface drawing
est wall
loor ast wall
The shape of curve lamps on ceiling are just like the rhymed ripple when raindrop falls down the water. It is a metaphor of Magellan’s unfinished journey which provoked a huge hurricane in the human history. The form also looks like the map of stars in the sky which indicates the direction and bring hope to the sailors when navigating at midnight . outh wall
I east wall weaving glass west wall concrete with windows south wall a ing varnish wood north wall a ing varnish wood
ain ntrance
I
coral concrete vota linear woodern structure shi concrete ay leather coastline wooder floor coastline glass a ove white sand si le navigate routine leather island concrete
entrance
hall with hurricane
ar counter
weaving glass wall
se erated seats
curve enches
LIGHTING STRATEGY . he ground lights, which locates along the concrete coral wall, ta e a role of guidance to the entrance. he te ture of concrete wall loo s ore owerful duo to the groundlights. . hen light fro s otlights on the ceiling asses through the structure of hurricane and then reflect on the ground. It loo s li e the sunshine asses through the dee sea, and thus creats a s atial at os here of underwater world. . he clusters of linear la s eyond ar is the continu ation of the hurricane, the la with staggered light could light u the counter. ights fro which setted etween the weaving glasses a e the te ture of glass loo s ore glittering. In the eanwhile,it increases the rivacy of interior s ace. . he s otlights eyond seats are ainly used for lighting u the des to . . he la s setted elow the te ered glass a e the ground loo s ore li e the otto layer of sea.
est levation
est levation
entrance
hall with hurricane
ar counter
weaving glass wall
se erated seats
curve enches
LIGHTING STRATEGY . he ground lights, which locates along the concrete coral wall, ta e a role of guidance to the entrance. he te ture of concrete wall loo s ore owerful duo to the groundlights. . hen light fro s otlights on the ceiling asses through the structure of hurricane and then reflect on the ground. It loo s li e the sunshine asses through the dee sea, and thus creats a s atial at os here of underwater world. . he clusters of linear la s eyond ar is the continu ation of the hurricane, the la with staggered light could light u the counter. ights fro which setted etween the weaving glasses a e the te ture of glass loo s ore glittering. In the eanwhile,it increases the rivacy of interior s ace. . he s otlights eyond seats are ainly used for lighting u the des to . . he la s setted elow the te ered glass a e the ground loo s ore li e the otto layer of sea.
est levation
est levation
ONE THEATRE, A THOUSAND WORD [The Evolution of Space]
Winter 2017 Team Work Collaborated with Dreamweaver Corporartion Tutor: Hai Yuan, Iva Role in the project: Team Leader One’s life on the earth is restricted too much. You are given only one body, one gender, one race, and one short period of life. So in the final analysis, the game likes alcohol, stories, art, skyscrapers, shopping malls, suburbs and Disneyland, which is our effort we want to escape imposed restrictions from the nature and society, including the uncertainty.
Modern science and virtual network have brought us a lot of convenience but also make us a little passive. Science and technology creates a safe and regular world with a kind of unbearable and depressing atmosphere. So we miss the nature which originally dominates our fates and look forward to some kind of mysterious force that intervene the unseen world.
The project “one theatre, a thousand words” is a mix of different human natures, truths, fictions, histories and realities. In this immersive theatre, you get a chance to experience the real life and death. When you go out of the show and see the neon lights on the street, you can ask yourself — Do you really jump out of this cycle? Do you really get a new self -realization? Do you have a new attitude towards your own destiny? And whether your past life is true or not? You are the only one that can tell the answers.
ONE THEATRE, A THOUSAND WORD [The Evolution of Space]
Winter 2017 Team Work Collaborated with Dreamweaver Corporartion Tutor: Hai Yuan, Iva Role in the project: Team Leader One’s life on the earth is restricted too much. You are given only one body, one gender, one race, and one short period of life. So in the final analysis, the game likes alcohol, stories, art, skyscrapers, shopping malls, suburbs and Disneyland, which is our effort we want to escape imposed restrictions from the nature and society, including the uncertainty.
Modern science and virtual network have brought us a lot of convenience but also make us a little passive. Science and technology creates a safe and regular world with a kind of unbearable and depressing atmosphere. So we miss the nature which originally dominates our fates and look forward to some kind of mysterious force that intervene the unseen world.
The project “one theatre, a thousand words” is a mix of different human natures, truths, fictions, histories and realities. In this immersive theatre, you get a chance to experience the real life and death. When you go out of the show and see the neon lights on the street, you can ask yourself — Do you really jump out of this cycle? Do you really get a new self -realization? Do you have a new attitude towards your own destiny? And whether your past life is true or not? You are the only one that can tell the answers.
Most of passengers on Titanic can not drop their obsessions with lives when they face precipitate death. They struggle to stay in the scope of hell created by the soul ferryman (Death) , and still hope that they could try their best to change both their own and Titanic 's destinies. The captain was the symbol of the soul ferryman. He implied that if those people could drop their obsession they could return to their common cycle, otherwise they would suffer in an endless samara. Maybe you could help find the telescope, maybe you could prevent captain from speeding up, maybe more people get on lifeboats, maybe...(reason: 1 ~ 8 ) Many unknown possibilities only exist in visional cycle. The truth is that Titanic had sunken and most passengers had died, so people could enter a new life only by letting the obsessions go in this samara.
th e
meet on the Titanic
tanic witn of Ta iss er cle s cy
ano t
ycle of bo rc t he
cycle of our f ate the
People usually feel safer and easier in a chat channel, a forum or even a social network where avatars substitute everyone’s look. Why should they meet in a “traditional” entity space?
CREATE AN IMMERSIVE WORLD OF SAMARA
te fa
Everyone, from cradle to grave, needs to know he can control himself and should not be controlled by others. People are able to express their own essential powers and secure their own dignity and responsibility. They have some influence over their experience and fate.
THE TITANIC
The mix of reality and fiction, The juxtaposition of multilayer space-time dimension
us of
Human intellect is like a peacock, fully displaying its feathers to attract mates. All of art, literature, a bit of Mozart, William Shakespeare, Michelangelo, and the Empire State Building - just an elaborate mating ritual. But, of course, the peacock can barely fly.
The uncertainty of fate and the volition of man
h
Human restriction and human escapism
The story happens in a different space-time system, and we become the center of immersive theatre. We could spy on different human nature and face the real choice of life and death. According to Borges time system, time has a myriad of series including diverging, converging, parallel, and cycle time patterns. And all of these series of time are woven into a growing, complex web. Everyone exists in their own cycle time, but due to the distortion of time-space our time intersect with the time when shipwreck happened.(1 and 2) When facing death in this disaster, they didn’t want to give up the obsession of life, so they (we) are trapped into another samsara during this expansion of time. Our design is exactly to show what happens in this samsara.(3)
Most of passengers on Titanic can not drop their obsessions with lives when they face precipitate death. They struggle to stay in the scope of hell created by the soul ferryman (Death) , and still hope that they could try their best to change both their own and Titanic 's destinies. The captain was the symbol of the soul ferryman. He implied that if those people could drop their obsession they could return to their common cycle, otherwise they would suffer in an endless samara. Maybe you could help find the telescope, maybe you could prevent captain from speeding up, maybe more people get on lifeboats, maybe...(reason: 1 ~ 8 ) Many unknown possibilities only exist in visional cycle. The truth is that Titanic had sunken and most passengers had died, so people could enter a new life only by letting the obsessions go in this samara.
th e
meet on the Titanic
tanic witn of Ta iss er cle s cy
ano t
ycle of bo rc t he
cycle of our f ate the
People usually feel safer and easier in a chat channel, a forum or even a social network where avatars substitute everyone’s look. Why should they meet in a “traditional” entity space?
CREATE AN IMMERSIVE WORLD OF SAMARA
te fa
Everyone, from cradle to grave, needs to know he can control himself and should not be controlled by others. People are able to express their own essential powers and secure their own dignity and responsibility. They have some influence over their experience and fate.
THE TITANIC
The mix of reality and fiction, The juxtaposition of multilayer space-time dimension
us of
Human intellect is like a peacock, fully displaying its feathers to attract mates. All of art, literature, a bit of Mozart, William Shakespeare, Michelangelo, and the Empire State Building - just an elaborate mating ritual. But, of course, the peacock can barely fly.
The uncertainty of fate and the volition of man
h
Human restriction and human escapism
The story happens in a different space-time system, and we become the center of immersive theatre. We could spy on different human nature and face the real choice of life and death. According to Borges time system, time has a myriad of series including diverging, converging, parallel, and cycle time patterns. And all of these series of time are woven into a growing, complex web. Everyone exists in their own cycle time, but due to the distortion of time-space our time intersect with the time when shipwreck happened.(1 and 2) When facing death in this disaster, they didn’t want to give up the obsession of life, so they (we) are trapped into another samsara during this expansion of time. Our design is exactly to show what happens in this samsara.(3)
Plots introduction about TITANIC A. Entrance stage
HQ Room
B. Classic plots stage
CL
A to B
a. Crazy women hang around with crazy language.(told sth about the last experienceof disaster and asked for help)
b.A progressive corridor linked to entrance(progressive light and projection of image: from deep sea to real entrance)
c. Corridor(with shipwrecks: smog,wood segments and etc.)
4 Forth Floor Plan
a. Before hitting the iceberg( love story of Jack and Rose & the opulent and comfortable life on Titanic
Luggage Room First Class Restaurant
VIP Lounge
C. Life and death choice and experience stage
3 Third Floor Plan B to C
Molly’s Room
b. Experience of survivors on main deck
a.Experience of death on lower deck
c. After hitting the iceberg
b. Hints and interactive sections
Rose’s Room
Captain’s Room
Main Deck (before hitting)
Jack's Secret Drawing Room
The Experience Of survivors (after hitting)
Picket Chamber
Picket Chamber Luggage Room
Casino/ Smoking Room
C to D
2 Second Floor Plan
E. Exit stage
D.Rite of reborn stage
Boiler Room
D to E
Staircase
Boiler Room
Third Class Dancing Hall (before hitting)
The Experience Of The Death (after hitting) CL
Third Class Room / Infirmary
a. Classic part: the ending time of Jack and Rose
b. Commemorative ceremony: Survivals light candles for the dead
c. The pastor sprinkles holy water & audiences leave
a. Go through out of the same corridor and go along the street
1 First Floor Plan
2 0
8 4
16m
Plots introduction about TITANIC A. Entrance stage
HQ Room
B. Classic plots stage
CL
A to B
a. Crazy women hang around with crazy language.(told sth about the last experienceof disaster and asked for help)
b.A progressive corridor linked to entrance(progressive light and projection of image: from deep sea to real entrance)
c. Corridor(with shipwrecks: smog,wood segments and etc.)
4 Forth Floor Plan
a. Before hitting the iceberg( love story of Jack and Rose & the opulent and comfortable life on Titanic
Luggage Room First Class Restaurant
VIP Lounge
C. Life and death choice and experience stage
3 Third Floor Plan B to C
Molly’s Room
b. Experience of survivors on main deck
a.Experience of death on lower deck
c. After hitting the iceberg
b. Hints and interactive sections
Rose’s Room
Captain’s Room
Main Deck (before hitting)
Jack's Secret Drawing Room
The Experience Of survivors (after hitting)
Picket Chamber
Picket Chamber Luggage Room
Casino/ Smoking Room
C to D
2 Second Floor Plan
E. Exit stage
D.Rite of reborn stage
Boiler Room
D to E
Staircase
Boiler Room
Third Class Dancing Hall (before hitting)
The Experience Of The Death (after hitting) CL
Third Class Room / Infirmary
a. Classic part: the ending time of Jack and Rose
b. Commemorative ceremony: Survivals light candles for the dead
c. The pastor sprinkles holy water & audiences leave
a. Go through out of the same corridor and go along the street
1 First Floor Plan
2 0
8 4
16m
Plots before hitting the iceberg
Plots before hitting the iceberg
Plots after hitting the iceberg
PEOPLE WITHOUT TICKETS/MAIN DECK/STRUGGLING+PROJECTION BROADCAST LIVE
Blower
Curtain
Scondary deck
1
2
Blower
3
Circulation of staff Circulation of audience
4
The cloth for projection falls and spreads
1
2
3
Circulation of audience try to go out but failed
4
CL
Main deck
CL
CL
Curtain
Spread the cloth over the deck + Start the blower + Audience get on the lifeboat
EXIT/MAIN DECK（PRIEST SPRINKLRE HOLY WATER）+ CORRIDOR（PROGRESSIVE PROJECTION）
DEATH EXPERIENCE/LOWER DECK/PERFORMANCE+FOAM BLOWING+RESCUE
1
Jack / Rose play the last dying plot
2
CL
3
Crowd of audience
4
CL
CL
CL
Large screen projection
1
2
3
4
1. synthetic shipwreck video 2. live telecast of bottom deck space
Projective clock, countdown + Projective water surface， rising
1
2
3
4
Projective clock, countdown 1.2 Projective water surface，rising 3,4
The survivors lit candles for the victims
1
2
3
Crowd of audience
4
priest CL
Some fall into the water +The survivors crowd + argue if to return and rescue
1
2
3
Circulation of staff Circulation of audience
4
A group of survivors returned to the rescue
1
2
3
Survivors with mirror rotated by hands
4
The priest sprinkled the holy water + the audience left
1
CL
CL
2
3
4
Plots after hitting the iceberg
PEOPLE WITHOUT TICKETS/MAIN DECK/STRUGGLING+PROJECTION BROADCAST LIVE
Blower
Curtain
Scondary deck
1
2
Blower
3
Circulation of staff Circulation of audience
4
The cloth for projection falls and spreads
1
2
3
Circulation of audience try to go out but failed
4
CL
Main deck
CL
CL
Curtain
Spread the cloth over the deck + Start the blower + Audience get on the lifeboat
EXIT/MAIN DECK（PRIEST SPRINKLRE HOLY WATER）+ CORRIDOR（PROGRESSIVE PROJECTION）
DEATH EXPERIENCE/LOWER DECK/PERFORMANCE+FOAM BLOWING+RESCUE
1
Jack / Rose play the last dying plot
2
CL
3
Crowd of audience
4
CL
CL
CL
Large screen projection
1
2
3
4
1. synthetic shipwreck video 2. live telecast of bottom deck space
Projective clock, countdown + Projective water surface， rising
1
2
3
4
Projective clock, countdown 1.2 Projective water surface，rising 3,4
The survivors lit candles for the victims
1
2
3
Crowd of audience
4
priest CL
Some fall into the water +The survivors crowd + argue if to return and rescue
1
2
3
Circulation of staff Circulation of audience
4
A group of survivors returned to the rescue
1
2
3
Survivors with mirror rotated by hands
4
The priest sprinkled the holy water + the audience left
1
CL
CL
2
3
4
SINGLE OR MULTIPLE? [Evolution of a Bench]
Summer 2016 Team Work Tutor: Brain, Teng Teng Role in the project: Concept & Computer Model
SUPPLEMENTARY WORKS
SINGLE OR MULTIPLE? [Evolution of a Bench]
Summer 2016 Team Work Tutor: Brain, Teng Teng Role in the project: Concept & Computer Model
SUPPLEMENTARY WORKS
he rovisional ench could e easily asse led y hand, as a result it saves cost of construction. eo le could also ove the ench to oth the interior and e terior s ace. lus the vertical greening gives eo le a sense of getting close to nature. he rovisional ench is a great co i nation of function and e hi ition.
y using the ethod of odularity, ore ossi ilities of the co ination etween enches could e created. s a result it will e hel ful for eo le to interact with enches and sites, roviding eo le ore ossi ilities to have a co unica tion with each other.
he structure of vertical vegetation is he is herical and solid he art of seat is strea lined and vacant. e co ine the for of solid and void.
e usually ut enches on the lawn or under ig trees for eo le to rest in ost ar s. ut those enches are all in the sa e sha e. nd it is e arrassed for a single erson to face to a lot of edestri ans. here s little o ortunities to sit with other eo le together. ut through the seat anel, ac curve of u s and downs, this ench not only acts an art wor in city s u lic lace, ut also rovides eo le with ore co unications in our daily life.
he rovisional ench could e easily asse led y hand, as a result it saves cost of construction. eo le could also ove the ench to oth the interior and e terior s ace. lus the vertical greening gives eo le a sense of getting close to nature. he rovisional ench is a great co i nation of function and e hi ition.
y using the ethod of odularity, ore ossi ilities of the co ination etween enches could e created. s a result it will e hel ful for eo le to interact with enches and sites, roviding eo le ore ossi ilities to have a co unica tion with each other.
he structure of vertical vegetation is he is herical and solid he art of seat is strea lined and vacant. e co ine the for of solid and void.
e usually ut enches on the lawn or under ig trees for eo le to rest in ost ar s. ut those enches are all in the sa e sha e. nd it is e arrassed for a single erson to face to a lot of edestri ans. here s little o ortunities to sit with other eo le together. ut through the seat anel, ac curve of u s and downs, this ench not only acts an art wor in city s u lic lace, ut also rovides eo le with ore co unications in our daily life.
CON STR UCT ION
CON STR UCT ION
[ Supplements ]
09/2015 - 11/2015 Green house competition
03/2017 - 04/2017 Team work
Tutor: Yumeng Huang
Tutor: Yuan Hai
O Sports Home
Pavilion of Bamboo
2
08/2017 - 10/2017 Professional Work Tutor: Wenying Pei
Tongli Village Planning
09/2015 - 01/2016 Cultural and Creative Works of University Students Competition
03/2017 - 06/2017 Team Work
Tutor: Luke Lu
Tutor: Yuan Hai
01/2017 - ?
Cangcheng Worldbuilding
Titanic Immersive Theatre
Next Stop
This work is called “Choose”. Western people like violin, while Chinese people like pipa. This is the result of the evolution of civilization which people choose by their own preferrence in different regions during a long period of time. We should respect the evolution of culture, even the evolution of everything, in an equal and broad view.
Shanghai is called “Magic City”. In my opinion, “magic” is not about its economy, but the stories happened in this arrive city.
My Second Hometown
Streetscape
Chenlong Square
Angkor Wat
The Evolution of Culture
The Evolution of Culture
08/2014 - 01/2017
07/2015
08/2015
10/2016
02/2017 - 03/2017
02/2017 - 03/2017
Shanghai Waitan Photography
Hong Kong Photography
Shanghai Photography
Cambodia Photography
Chinese contemporary ink painting Guidance by painter Shangchun
Chinese contemporary ink painting Guidance by painter Shangchun
Thanks to all the people that have helped me.
[ Supplements ]
09/2015 - 11/2015 Green house competition
03/2017 - 04/2017 Team work
Tutor: Yumeng Huang
Tutor: Yuan Hai
O Sports Home
Pavilion of Bamboo
2
08/2017 - 10/2017 Professional Work Tutor: Wenying Pei
Tongli Village Planning
09/2015 - 01/2016 Cultural and Creative Works of University Students Competition
03/2017 - 06/2017 Team Work
Tutor: Luke Lu
Tutor: Yuan Hai
01/2017 - ?
Cangcheng Worldbuilding
Titanic Immersive Theatre
Next Stop
This work is called “Choose”. Western people like violin, while Chinese people like pipa. This is the result of the evolution of civilization which people choose by their own preferrence in different regions during a long period of time. We should respect the evolution of culture, even the evolution of everything, in an equal and broad view.
Shanghai is called “Magic City”. In my opinion, “magic” is not about its economy, but the stories happened in this arrive city.
My Second Hometown
Streetscape
Chenlong Square
Angkor Wat
The Evolution of Culture
The Evolution of Culture
08/2014 - 01/2017
07/2015
08/2015
10/2016
02/2017 - 03/2017
02/2017 - 03/2017
Shanghai Waitan Photography
Hong Kong Photography
Shanghai Photography
Cambodia Photography
Chinese contemporary ink painting Guidance by painter Shangchun
Chinese contemporary ink painting Guidance by painter Shangchun
Thanks to all the people that have helped me.