M.ARCH Year Two Project Book

Chineseness & Modernism

WANG, Sijie Jerry

M.ARCH Year Two Project Book

Jumbo Floating Restaurant was highly emblematic of traditional Chinese architectural style, featuring a characteristic Chinese-style roof, exterior corridors, and interior decor. However, the restaurant experienced a severe fire just one month prior to its opening in 1971. This photograph of the fire incident is imbued with significant historical and cultural resonance, as it prompts contemplation on the juxtaposition of traditional Chinese architecture and the modernization of the urban landscape in Hong Kong.

Chineseness is a complex and multifaceted concept that refers to the cultural, ethnic, and national identity associated with China and its people.It encompasses a wide range of elements, including language, history, traditions, values, and customs.

Modernism is a response to the rapid social, economic, and technological changes of the modern era, and it challenged traditional forms of art, literature, architecture, music, and thought.

As a former British colony, Hong Kong has been shaped by both Chinese and Western influences, particularly in the realm of architecture. In the early 20th century, as Hong Kong underwent a period of rapid urbanization and modernization, the city's architecture began to reflect a blend of Chinese and modernist elements.

The design project for this academic year involves the construction of a new Hong Kong Palace Museum on the original site of the Hong Kong Palace Museum. This endeavor presents an opportunity to explore how the utilization of modernist architectural approaches, such as spatial transparency, compositional logic, and the narrativity of architectural spaces, can be employed to interpret and imbue this project - which is deeply steeped in Chinese cultural characteristics - with a contemporary sensibility.

Overall, the relationship between Chineseness and Modernism in Hong Kong's architecture is a complex and evolving one, reflecting the city's unique identity and the ongoing negotiations between tradition and modernity.

CUHK M. ARCH STUDIO 2023-2024 ARCH 5110_6110 ADVANCED ARCHITECTURAL STUDIO I / II “ON CHARACTER”

Instructors:

Betty Ng / Chi Yan Chan / Juan Minguez

The Fire of Jumbo Floating Restaurant in 1971 (Photo by stheadline)

Project Ⅰ

M+/ CUHK MODEL MAKING COLLABORATION

“I. M. Pei: Life is Architecture”

GSD Thesis - Model Proposal

Cooperation with WANG ZHIXI HOLIDAY

Project Ⅱ

Palace Museum Research

Project Ⅲ

Project Ⅰ GSD Thesis - Model Proposal

Museum of Chinese Art for Shanghai (1964)

Walter Gropius published Pei’s GSD thesis in the February 1950 issue of L’Architecture d’Aujourd’hui, writing that Pei’s project “clearly illustrates that an able designer can very well hold on to basic traditional features—which he has found are still alive—without sacrificing a progressive conception of design.”

IM PEl architecture thesis, a project that culminated his time as a student, was a design for a Chinese art museum for the city of Shanghai. It proposed a series of small galleries conjoined with gardens at a scale that evoked a sense of privacy traditional to Chinese art museums. But it also represented a thoroughly modern design and foretold a deepening interest in the interdependence of physical space, light, and environment-the built environment and the natural world.

The representation of Chinese identity has been “inescapable” and “enduring” in Pei’s works, and that this aspiration for Chinese characteristics has “remained deeply loyal” and“beyond politics.“.

I.M. Pei: A Profile in American Architecture, 1990, Wiseman, Pei‘s biographer

A Part of Pei's Interview

PEI: All these things must play a part in the architectural expression. The peoples of the world are so different. Gropius said,”Well you know my views. But if you think know you’re right, go ahead and prove it. It would be very interesting.” So I chose a subject, which was to design a museum for Shanghai. What could I possibly take as a model? Greek or Roman? But some how I could not imagine Chinese artifacts in the kind of a place,or even Chinese paintings in that kind of a building. I said that I was going to select that as my subject. I made my design--it was quite Cubist in a way--and presented it to the faculty. Marcel Breuer thought it was the most important project that Harvard had ever produced. He told the student body that. It had been a great challenge and now I was quite happy about it.

VON BOEHM: Maybe that is because he showed that, through Cubism, we can understand physical movements and feelings in a completely new way. Cubism can open the eyes to everything that is physical. And good architecture, for me, always provokes physical feelings, because the body finds itself in a different context.

PEI: Absolutely right. Some people call it a “stage “ for the body but it goes much deeper than that—this is exactly what you are talking about. It is about the solid and the void. What else is there in architecture when you talk about form and space? It is the play between the solids and the voids. Therefore, the effect of light on those solids and voids is so important. And there you cannot separate architecture from painting or sculpture. It was never more graphically evident than in Picasso’s work. As I wanted to learn more about Picasso and Cubism, I sought out Jacques Lipchitz, who was then living in Hastings, New York. We became good friends in the fifties and sixties. I admired his early work, which showed strong affinities to Cubism. In retrospect, I admit that some of my work was influenced by Cubism, such as the National Center for Atmospheric Research(1956), the Everson Museum (1964), and the East Wing of the National Gallery of Art (1978).

National Center for Atmospheric Research(1956)

the Everson Museum (1964)

the East Wing of the National Gllery of Art (1978)

MODEL ANALYSIS

LibraryGardens Store Back of House/ WCGalleries/ WorkshopsVertical Circulation

SOURCES: I M PEI DRAWING Museum of Chinese Art of Shanghai

In his architectural delineation, Pei segregates the space into three voluminous compartments predicated on their respective functionalities. Commencing from the northern extremity and progressing southward, the divisions comprise the auditorium and library, followed by the teahouse, garden, and administrative quarters, culminating with the museum.

The pei divides the building into three large boxes by function, From north to south are the auditorium/library, teahouse/garden/administration and museum.

Circulation Drawing

CIRCULATION

No.1 Exhibition Hall

No.2 Exhibition Hall

No.3 Exhibition Hall

No.4 Exhibition Hall

No.5 Exhibition Hall exhibits from Shang dynasty to Ching dynasty porcelain & pottery calligraphy & painting complex exhibits

complex exhibits Ⅱ

Souvenir Store

Patio

In Pei’s buildings, although there is no clear analysis of circulation, the circulation of different people using this building can be sorted out from the changes and connections of upper and lower functions. The left side is the open area, and the right side is the gallery through garden and gallery. And guide visitors through different vertical circulation.

In the architectural constructs designed by Pei, despite the absence of an explicit examination of movement patterns, the flow of diverse individuals utilizing the structure can be discerned through the alterations and interconnections of the upper and lower functional strata. The left sector is designated as the accessible zone, while the right encompasses the gallery, which is adjoined by the garden. This configuration orchestrates the navigation of visitors via varied vertical transit pathways.

MODEL STUDY

Function Blocks & Units

Court yard

the Combination of Road and Garden

the Combination of Exhibition and Garden

PLAN AND ELEVATION

Auditorium/ LibraryGardens Store

Double Height Auditorium

Double Height Auditorium

Centrual axis

Libry with Patio

Auditorium and Library Auditorium

Entrance

Garden

From an architectural façade, the opening sections of the façade are in dialogue with the public domains, such as the garden, tea pavilion, and floral exhibit. Distinctions are evident in the vertical façade; the impenetrable partition, adorned with traditional Chinese wall motifs, signifies the secluded internal gardens, while the high side windows denote the logistical zones.

From the facade, the open interface corresponds to the corresponding public space on the plane, such as the area enclosed by the flavor corresponds to the garden open to the city in the building, the vertical face with Chinese identity should be different internal gardens, and the high window corresponds to the logistics area.

BOH Gallery

Doule Height Gallery

Garden with Courtyard

BOH Ramp UNEX

Gallery with PatioGallery

Gallery with Garden

Gallery with Garden

ELEVATION

Auditorium/ LibraryGardens Store

Back of House/ WCGalleries/ WorkshopsVertical Circulation

The various architectural elements of the facade are indicative of Pei’s emphasis on modernism, as well as a confluence of cultural, historical, and ethnic dimensions.

The different details of the facade also reflect Pei’s focus on modernism and culture, history and ethnicity

floor-to-ceiling window

detail drawing

raised entrence volume / corridor

facade

ground floor level glazing / BOH ramp

Concept Source: 木椟 Chinese Cabinet

It is a traditional piece of furniture commonly used in China. These cabinets are known for their elegant design and are often used to store various items such as clothing, household goods, and sometimes even important documents.

There are many different drawers, which are not just for storage; they often have a symbolic and functional significance. Traditionally, the layout and size of the drawers may reflect the hierarchical nature of the items stored within them. For example, larger drawers might be used for storing more significant or frequently used items, while smaller drawers could be for items of lesser use or importance.

Model Units

In the antecedent analysis, it was observed that Pei orchestrates the flow throughout the museum and the interconnection among diverse galleries via the integration of gardens, each bearing distinct features. Within this structure, the garden not only serves a functional role but also embodies Pei’s Chinese heritage. The intent to delineate the unique gardens conceived by Pei necessitates a distinct approach that segregates the garden and its corresponding gallery from the main building, thereby allowing their spatial attributes to be perceived autonomously. Nonetheless, the report indicated a preference for a holistic architectural representation by M+, prompting a shift in strategy towards a comprehensive redesign.

Model

In the architectural facade conceptualized by Pei, the design extends beyond the exterior surface to encompass a multitude of exceptional spaces and functionalities within the structure’s interior. Furthermore, Pei has ingeniously incorporated numerous visual corridors within the building, facilitating a seamless visual and spatial integration between various areas, such as gardens and galleries, pavilions and exhibitions. To accentuate this robust visual interconnectivity, the Shanghai Museum’s facade has been made by transparent material, thereby transforming it into an extension of the exhibition space and integrating the external and internal displays.

View 2 Garden & Gallery

View 3 Garden & Gallery

View 1 Ramp and Garden

EXHIBITION ARRANGEMENT PROPOSAL

Exhibition Arrangement Proposal

In order to allow visitors to enjoy the four facades of the building, we propose to place the model in the area shown in the M+ , leaving enough space in all four directions, and place the model height at the height of adults, and set steps to serve visitors of different ages to show the entire model

To facilitate the comprehensive viewing of the building’s four facades by visitors, it is proposed that the model be situated within the designated area in M+. This placement strategy ensures ample space is maintained on all sides. Additionally, the model is to be elevated to an adult’s eye level, with the incorporation of steps to accommodate visitors of varying ages, thereby providing an unobstructed view of the entire model.

Original Drawings at GSD

1. Museum of Chinese Art for Shanghai | Site Plan

2. Museum of Chinese Art for Shanghai | Elevations

3. Museum of Chinese Art for Shanghai | Lower-Floor Plan

4. Museum of Chinese Art for Shanghai | Upper-Floor Plan

5. Museum of Chinese Art for Shanghai | Sectional Perspective Video

Rethinking Pei: A Centenary Symposium https://www.youtube.com/watch?v=V6FynIOQ8p4&ab_channel=TimYeung Articles/Journals/Magazines

Hsiao (2018)_I. M. Pei’s Museum for Chinese Art Progressive Architecture (1948-02) von Boehm_Conversation with Pei_MIT & GSD

Walter Gropius_ L’architecture d’aujourd’hui_p76-77

Museum of Chinese Art for Shanghai (GSD Thesis)_Info Pack

Project Ⅱ Palace Museum Research

Détails des nouveaux jardins à la mode--Georges-Louis Forbidden City

Horizontal Variation

Vertical Variation

Design Propose

Project II primarily focuses on researching the space combination of Chinese palace typologies. It examines the combinatorial approaches and logics of palace architecture and courtyards from both horizontal and vertical perspectives. Drawing from the research findings, the project proposes design proposals.

Horizontal Variation

Space Combination (Horizontal Variation)—Space Syntax Introduction

The Series Relationship

Justified Graph

The series relationship is the most fundamental spatial compositional approach. Different spaces are interconnected in a serial manner. This space combination create spaces of different hierarchical levels.

The Tree Structure Relationship

Justified Graph

The tree structure relationship is another type of spatial composition. Different spaces are connected to a common junction, and the various spaces are situated at the same depth level within the spatial hierarchy.

The Ring Relationship

Justified Graph

The ring relationship is a more complex form of spatial composition. It not only has spaces arranged in a parallel manner, but certain spaces can also loop back to the originating junction.

Harvard GSD Museum of Chinese Art for Shanghai

Circular Routine

Garden / Courtyard

Exhibition Hall

Lower Floor Plan

The Tree Structure & The Ring Structure Relationship

In the Lower Floor Plan of Pei's GSD Thesis, both the tree structure relationship and the ring structure relationship can be observed simultaneously. This composite form of organization can generate exhibition spaces of varying hierarchical levels. By examining the Relationship Massing Model, one can discern the degree of spatial interconnectedness and the hierarchy of spaces through the volumetric heights of the massing blocks.

Upper Floor Plan

The Tree Structure & The Ring Structure Relationship

Justified Graph

Pei's GSD Thesis also utilized the same spatial compositional approaches in the Upper Floor Plan. Moreover, it introduced complex variations upon the original foundational forms, thereby creating a richer and more diverse spatial composition.

Transportation Hub Garden / Courtyard Exhibition Hall

Transportation Hub

Garden / Courtyard

Exhibition Hall

The painter Georges Louis documented a Chinese palace that existed historically, recording it through his artwork. The perspective view reveals that the palace was situated on a mountainous terrain overlooking the sea, and was composed of distinct courtyards and buildings. He also used a unique plan drawing to express the connections between the various courtyards, as well as the orientation of the main architectural entrances.

Détails des nouveaux jardins à la mode--Georges-Louis

The Tree Structure & The Ring Structure Relationship

Justified Graph

Secondary Junction

Primary Junction

Connection Number

Relationship

Through research, it can be determined that the courtyard compositions in this historical palace also exhibit both the tree structure and the ring structure relationships. However, the distinguishing feature is the presence of different hierarchical levels of junctions that connect the parallel spatial elements.

The Forbidden City in Beijing is the most archetypal architectural complex representing the Chinese palace typology. It should exhibit the quintessential compositional approaches found in Chinese palace design. This part of the research aims to validate whether the previously identified palace composition forms are indeed the typical spatial organization principles characteristic of Chinese palaces.

Forbidden City

Plan Drawing of Forbidden City

https://www.sohu.com/a/510457254_121124746

内廷 Imperial Palace

Outer Court

The Far West Route

Tree Structure & Ring Structure Relationship

Justified Graph

Secondary Junction

Primary Junction

Secondary Junction

Primary Junction

The research examines selected areas of the Imperial Court(内朝), Outer Court（外朝）, and The Far West Route （外西路）of the Forbidden City. This allows an understanding of how the Forbidden City, as a quintessential palace complex, utilizes spatial composition to achieve transitional connections between the three distinct spatial hierarchical zones. It can be observed that the Forbidden City also features various levels of junctions that link courtyards of different depth, and these connection methods exhibit both tree structure and ring structure relationships.

Vertical Variation

The Courtyard & The Exhibition Hall in Forbidden City

The Exhibition Area in the Buildings

The Components of the Courtyard

The Courtyard

Vertical Space Variation—D/H Ratio Introduction

The Diagram About D/H Ratio (width or distance of squares and streets/ the height of the buildings ratio) https://www.webpages.uidaho.edu/larc301/lectures/archAndSpace.htm

D/H Ratio & Spatial Feelings

https://www.webpages.uidaho.edu/larc301/lectures/archAndSpace.htm

The Forbidden City not only employs horizontal courtyard compositional forms to articulate spatial hierarchies, but also modulates the D/H ratio (depth to height ratio) within the courtyards. This allows visitors to experience changes in spatial height that further emphasize the hierarchical distinctions between different courtyard spaces.

Drawing of Forbidden City’s Main Courtyards Layout

By Author

Outer Court (外朝) Section Ⅱ

Outer Court (外朝) Section Ⅰ

D/H=2.5

The Section Drawing of Forbidden City

The D/H Ratio of Outer Court (外朝) Section Ⅰ is 2.5. Setting at this kind scale of space, People can not only view the whole single building, but also the group of buildings.

The Photos of Outer Court (外朝) Section Ⅰ

Outer Court (外朝) Section Ⅰ

Outer Court (

of Forbidden City’s Main Courtyards Layout

By Author

Outer Court (外朝) Section Ⅰ

外朝) Section Ⅱ

Drawing

Outer Court (外朝) Section Ⅱ

The Section Drawing of Forbidden City

The D/H Ratio of Outer Court (外朝) Section Ⅱ is more than 4.5. And this kind of space will provide people sense of alienation. With more objects can be seen, it provides people the sense of setting at higher place.

The Drawing of Getting Captures at Wu Men

https://xiaogb.com/m/view.php?aid=3769

of The Eight Allied Forces Square Parade https://xiaogb.com/m/view.php?aid=3769

Photo

of Forbidden City’s Layout

By Author

Rule Court（治朝） Section Ⅲ

Rule Court（治朝） Section Ⅱ

Rule Court（治朝） Section Ⅰ

Drawing

Rule Court（治朝） Section Ⅲ

The Section Drawing of Forbidden City

The D/H Ratio of Rule Court（治朝） Section Ⅲ is between 1 to 1.5. In this scale of space people would observe the details of the buildings and it will build closed connection between buildings and internal exhibition. And people will feel come to the valley place.

The Photos of Rule Court（治朝） Section Ⅲ

Space Combination—Palace Unit

Design Propose

Primary Palace Unit

Connect

Secondary Palace Unit

Circular Routine

Transportation Hub

Garden / Courtyard

Exhibition Hall

Justified Graph

Furcation Part

Secondary Palace Unit

Primary Palace Unit

Justified Graph

The project is the Hong Kong Palace Museum, which should incorporate the spatial compositional principles characteristic of traditional Chinese palace architecture. The spatial organization of palace complexes can be summarized as Primary Palace Units connected to Secondary Palace Units, with each of these Palace Units exhibiting similar spatial compositional logics. Moreover, the process of connecting these units also features junctions of varying hierarchical levels.

Primary Palace Unit

Secondary Palace Unit

Primary Junction

Secondary Junction

Chinese Palace in Hong Kong

AI Generate

Key

Words: Chinese Palace, Traditional Chinese Building, West Kowloon, Hong Kong Island, etc

Project Ⅲ

Hong Kong Palace Museum Design

PalaceMuseumNarrative

MuseumNarrative

The History of West Kowloon

Phase Ⅰ Reclaimed Land

Construction Planning and

The Development of West Kowloon Fundamental

Highway Project

Design Competition

West Kowloon is the western part of Kowloon Peninsula in Hong Kong, situated within the Yau Tsim Mong District and century. There are three major phases of the West Kowloon's construction, the first one is Fundamental Construction, Tsing Kwai Highway in the north. The Second Phase is about the Planning and Design of West Kowloon, this part has District, and this project is located in this district. At Present, there are three batches of construction, and some of the projects

Phase Ⅱ Phase Ⅲ

and Design Facilities Improvement

and Sham Shui Po District. It is principally a stretch of reclaimed land, which was subsequently developed in the late 20th it includes Reclaimation and Highway Project, the expressway connecting Western Harbour Crossing in the south with lasted for about ten years from 2001. In 2011, the Hong Kong Government chose to build The West Kowloon Cultural projects are still under construction. This district aims to build a large art development in Hong Kong.

Batch 1

Batch 2

Batch 3

Xiqu Centre

Public Engagement

Kowloon Cultural District

Freespace

Art Park Nursery Park

Lyric Theatre Complex

Hong Kong Palace Museum

The Location of The palace Museum

Hong Kong Palace Museum

Nursery & Wonderland

Art Park

Kowloon

Hong Kong West Kowloon Station

HONG KONG PALACE MUSEUM

WEST KOWLOON

Breakwater

Western Harbour Crossing

Victoria Harbour

Victoria Harbour

Jordan

Tsim Sha Tsui

East Tsim Sha Tsui

Hong Kong

Austin

Xiqu Center Construction

Lyric Theatre Complex (under construction)

The Walking Routine

M+ Museum

Freespace

CSF

Western Harbour Crossing

Art Park

MTR Kowloon Station

Lawn

Hong Kong Palace Mueum

Walking Route

Art Park

Taxi Pick up/Drop off Area

Bus Stop

SmartBike

Water Taxi Other Facilities

Construction Site

Main Road

Hong Kong Palace Museum

WKCDA Tower

Art Pavilion

Freespace

M+

The Driving Routine

M+ Museum

Western Harbour Crossing

MTR Kowloon Station

Hong Kong Palace Museum

WKCDA Tower

The Surrounding Facilities

Freespace CSF

Western Harbour Crossing

Art Park

MTR Kowloon Station

Hong Kong Palace Museum

WKCDA Tower

Art Pavilion

tSingMaBridge

lantau iSland

Site

Kowloon

Central

set four exhibition halls on the site

rotate four exhibition halls to respond the city's axis

set the main hall to connect the site and exhibition halls

add corridors to connect each exhibition halls

lift four exhibition halls to provide paths on the site

add structure cores at the overlapped area

set other function blocks in the museum

connect two parks with the landscape corridor

Hall

Exhibition Hall Ⅱ

Name: Silk Road 絲綢之路

Exhibition Items: Silk, Cloth and Embroider

Exhibition Hall Ⅲ

Name: A Thousand Years of Treasure 千載遺珍

Exhibition Items: Porcelain, Jade, Bronze, Stone Artifact and Woodware

Exhibition Hall Ⅰ

Name: Palace at a Glance 王都剪影

Exhibition Items: Painting & Calligraphy

Office & Logistics Zone

Exhibition Hall Ⅳ

Name: Immortal Heaven and Earth 天地不絕

Exhibition Items: Sculpture

exhibition routine public recreation routine logistics routine

Main

Lecture Hall

Exhibition Hall Ⅰ

Exhibition Hall Ⅱ

Exhibition Hall Ⅲ

Exhibition Hall Ⅳ

set four exhibition halls on the site

add structure cores at the overlapped area

rotate four exhibition halls to respond add corridors to connect two parts

In the first design, the abundance of ancillary volumes obscured the clarity of the conceptual idea. However, in the second design round, the unnecessary volumes were removed, allowing the conceptual idea to be expressed in a more pure and coherent manner.

lift four exhibition halls to provide paths on the site

respond the city's axis parts of exhibition area

respond to the two parks with the landscape corridor

Hanging

The first exhibition gallery in the project is named "Palace at a Glance" (王都剪影), and it primarily displays two-dimensional artworks such as classical Chinese landscape paintings and calligraphy. Since traditional Chinese landscape paintings often depict impressionistic mountain and water scenes, this gallery is oriented towards the scenic views of Lantau Mountain. As visitors move through this gallery, they can experience the integration of the artistic landscape depicted in the paintings with the actual mountain vistas visible in the distance. Furthermore, the gallery features a central courtyard that allows visitors to catch glimpses of the site's entrance level, strengthening the visual connection between the visitors and the people circulating through the site.

Palace at a Glance

The second exhibition gallery is called "Silk Road" (絲綢之路). The Silk Road was an important node for cultural exchange between the East and West, and this gallery primarily displays silk, garments, and embroidered artworks. What distinguishes this gallery from the others is its more expansive horizontal views and varying degrees of semi-outdoor spaces, such as external corridors and indoor gardens. This is because the gallery is oriented towards the views of the Tsing Ma Bridge, and the open vistas of the sea can evoke a sense of lightness that resonates with the delicate nature of silk fabrics. Additionally, the Tsing Ma Bridge, as an element representing a maritime transportation route, can inspire associations with the historical Silk Road trade routes.

Silk Road

A Thousand Years of Treasure

The third exhibition gallery is named "A Thousand Years of Treasure" (千載遺珍). This gallery primarily displays smaller-scale art objects such as jewelry, ceramics, and stone artifacts. The landscape view from this gallery is oriented towards the lively urban scenery of the Kowloon City district. This creates a contrast between the quiet, contemplative exhibition pieces inside and the bustling, dynamic city view outside. Furthermore, the gallery features a large outdoor platform at the end, allowing visitors to stand and appreciate the flowing traffic along the West Kowloon Expressway.

The fourth and final exhibition gallery is named "Immortal Heaven and Earth" (天地不絕). This gallery primarily displays sculptures related to ancient Chinese rituals and the relationship between humanity and the divine. The central atrium at the end of this gallery features a 15-meter-tall statue. The landscape view from this gallery faces the modern cityscape of Central. As visitors contemplate the exhibition pieces while also taking in the distant views of Central and the nearer vistas of West Kowloon, they can experience a sense of temporal overlap, prompting reflection on the enduring legacy of Chinese civilization.

Immortal Heaven and Earth

landscape corridor

exhibition hall Ⅱ corridor

large stage

GF large garden

concept model

The Relationship Between Exhibition Halls & Void

Massive Model Ⅱ Massive Model

Structure Studying Model

Floor Layout Model

Floor Layout Model

Floor Layout Model

Building Model

Building Model

Section Model

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