PORTFOLIO 2013-2020
SHEN XIAOWAN Bachelor Of Architecture For Applicaiton To Architecture And Historic Urban Envioronment, University College London
The renewal of buildings or cities from a modern perspective is not only reflected in the renewal of architectural forms, but also in the renewal of functions that meet current needs and the renewal of the relationship between people and the environment. If we say that the main problem faced by architecture in the past is: how to shape a brandnew thing, because the city has less and less land available for development, more and more developers are beginning to look back to the city to find other places that can be improved. So now designers are more faced with how to “update� a new model in a known environment to bring users a different experience. One of the charms of the renewal is that users bring in the story and spirit of the site. This is very important. With the saturation of modern society, all designs should not start from scratch. Sites are derived from history. More and more people will want to live in a place with a sense of belonging. For a long time, some people have been discussing the importance of the new situation. The digital society will bring revolution, but digitalization or any high-tech form is only a means. They did not solve the real social problems. The real problem is: different people live in one area, everyone live together, work and share the same place. How can we meet the needs of everyone as much as possible, and bring everyone who living here bring a sense of collaboration, which inspires their sense of belonging. In the design, I hope to try different challenges. I think the earth should always be a form of positive links of all ecology. I hope to be able to give more consideration to whether a project can bring positive feedback to the surrounding ecological environment; Have the same vision as the developer, and be able to cleverly combine the values they want to convey in the design with their marketing strategy; whether it can bring a warm and pleasant experience to the users...... My work is not from a design perspective, but from a social perspective. The role of the designer is not only to change the design space, but also to change the real society, what is really achieved through the project. We should be designing for the public, not a certain individual or a certain department.
SHEN XIAOWAN Mailing Address: No.1102 Building 1455 Wanhang Road Changning District Shanghai China Email: 491318141@qq.com Mobile: 86-18521550205
CONTENTS
1. BETWEEN HISTORY AND MODERNISM - Muxin Museum
2. FLOWING AND STAYING
- Alleyway House Gallery Renovtion
3. FLOATING LIVES - Seoul Naru Pier
4. LIGHTHOUSE FOR INSPIRITION - Shuangshan Lighthouse &Lodge
5. BLACK BOX. MUTE ICON - Old Theatre Renovation
BETWEEN HISTROY AND MODERNISM MUXIN MUSEUM
Project Year Company Location Area
2011 - 2015 OLI Architecture PLLC Wuzhen Jiaxing China 6700 m²
MUXIN & WUZHEN
SITE
Mu Xin is a painter, writer, and poet. This museum needs to showcase his life’s hard work and aesthetic heritage. This is not only a museum that collects the past, but also a spiritual and academic space open to the future. The art gallery is located in Wuzhen, Mu Xin’s hometown, and provides complete documentation for Mu Xin’s research.
Wuzhen is known as the Venice of the East. Visitors can experience the dense residential buildings on both sides of this century-old canal, as well as the landscape formed by streets, markets, courtyards, bridges and balconies. Inspired by the urban context of this thousand-year-old town, the museum itself has also been designed into a style that blends with the landscape.
In 2011, when he was dying, when he saw the art gallery’s design draft, he muttered the imagery description: “Wind, water, and a top bridge.” Four years later, it was located in Muxin in Wuzhen Xizha Scenic Area. The art gallery was built. Now, the narrow and concise art gallery stands beside the water, responding to the poet’s highly generalized words. The metaphor of “bridge” has made an excellent portrayal of Mu Xin’s lifelong artistic practice of integrating Eastern and Western culture and aesthetics.
Enhance the experience and ensure the connection between land and water and the site. At the same time, in order to link the existing urban scale of Wuzhen with the newly built modern large-scale buildings, the medium scale is maintained. Each unit of Muxin Art Museum is basically the same as the surrounding Wuzhen residential buildings. This combination of “small boxes” will be better integrated into Wuzhen than a whole “big box”
1 Art Museum 2 Grand Theater 3 Historic District 4 Visitor Centre
TRADITIONAL BUILDINGS Located in a traditional Chinese town, Muxin Art Museum was inspired by the urban texture of this thousand-year-old water town. The art museum itself is also full of cross-experience environment. The architectural volume of the art gallery maintains the small volume and rich spatial form of Wuzhen itself. It inherits the forms of bridges, courtyards, corridors, small blocks, and walls that inherit the traditional architecture of Wuzhen. How to pass these elements in a traditional environment The integration of current methods is the biggest challenge of this project.
Parallel, shaping the space of the street
Building enclosed courtyard
Building enclosed courtyard and shaping street
Bridge, street on the water
Large space and small space shape the street together
Corridor, a space combining water recreation and transportation
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The courtyard shaped by the building and the wall, the landscape is the protagonist
TRANSFORM TO MODERNIST
LAYOUT
To define the museum units requires a analysis of the historical Wuzhen units in order to find out the determining factors.
The art gallery has five permanent special galleries, which display Mu Xin’s works for a long time. It consists of a painting gallery, a literature gallery, a manuscript gallery in prison, and a video gallery. The two special exhibition halls will launch annual special exhibitions of global artists that have an important influence on Mu Xin. The two floors of the cast-in-place concrete structure are located on the lake, while the third floor, featuring a waterscape courtyard, is submerged, making the building appear to be floating.
We found in traditional Chinese bulding courtyard plays an important roll. In the courtyard house, people lived in different rooms with their location indicated their social status within the family. In modern life, in contrast, promoted a principle social equality, with each family seen as the same. The void in the courtyard house was a place where people’s behaviours could be surveyed by the master. The growth of the courtyard house can be considered an extension of the social hierarchy. The courtyard house was encoded to represent and reproduce the clearly defined social relationships that underpinned a Confucian moral order. In the feudal age of China, the Confucian philosophy which promoted social hierarchy was appreciated by authorities. Each individual was supposed to behave according to the rite of propriety and remain in their own rightful position defined by a social hierarchy. The courtyard house translated the social hierarchy into a spatial formation. In the typical courtyard house, the main room was that of the masters and occupied the north of the courtyard facing onto and dominating the internal courtyard and other rooms. Less important family members lived in the rear rooms. The distribution of spaces placed each member visible within the hierarchical order of the social group, and the individual’s behaviour was policed through the transparency of the open courtyard formation.
Traditional Courtyard House
Traditional Courtyard
Open Coutyard
Exchange Coutyard With Blocks
BLOCKS Use the minimalist “box” form to combine the building complex. This kind of modern space manipulation technique, which tends to be abstract, can better serve the modern functions of art museums. But in order to imitate the texture of the “small bridges, flowing water, and people” in the Jiangnan water town, the building is not a solemn “big box” like a traditional art gallery, but a combination of “boxes” divided by water and connected by “bridges”.
Museum Volume on Site
Set Street System
Different Function Different Volume
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Gallery 2 Gallery 3 Gallery 4 Auditorium/Lounge
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Ticketing/Gift Shop Vip Reception Vip Pier Entrance Hall Intro Gallery Gallery 1 Temporary Gallery 3
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Temporary Gallery 1 Cloak Room Temporary Gallery 2 Water Garden Cafe Temporary Gallery 3
L2 PLAN
The shape of the “box” is not similar to the traditional Chinese architecture, but these simple units are stacked in a staggered manner, and the interior of the art gallery and traditional residential buildings is enhanced by controlling the volume and connection of individual buildings. Contact, so that the art museum will not appear very abrupt in the traditional water village.
Similar Program Became an Unite.
Bridge Connect Site with Scenic Region.
Setting Gardern to Add View Effect
8 Gallery 5 9 Video Room 10 Auditorium/Lounge 11 Rock Garden
L1 PLAN
BASEMENT PLAN
CIRCULATION
SECTION
The path of the Muxin Art Museum is not on the same plane. There are various stairs in the building to attract tourists to go up and down, while experiencing the rich spatial changes. The tour path finally forms a closed loop. Visitors can choose a little bit in the limited exhibition. For the museum building quick question, the exhibition flow is an important test point, and we must avoid going back.
Although they are all square blocks, the multiple square blocks are not simply repetitive, but create a sense of high and low. It not only balances “change” and “unity”, but also cares about upward and Wuzhen along the narrow street or waterway The jagged eaves coincide.The element of “bridge” creates a fascinating sense, and the path in the art gallery is the continuation of the “bridge”, which is the communication between Wuzhen Scenic Area and Muxin Art Museum.The skylight is introduced into the elevated space, bringing users from a serious space experience into a space for thinking.
In the Muxin Art Museum, the architects used single-run stairs, multi-run stairs, stepped reading, spiral stairs, ramps and other stair forms to make the tour route around to the same place and produce different spatial feelings. The main entrance hall of the building can be directly descended to the negative floor of the building through a straight staircase. A three-story full-height space is formed above the stairs. The lighting from the roof provides visitors with a variety of long and profound spatial experience
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When visitors come out from the exhibition hall to another exhibition hall, they can feel the rich landscape changes. The window opening of the building avoids the front of the scenic spot where tourists are like weaving, and selects a quiet area around, sometimes half looking at the water town, sometimes facing The jungle, sometimes looking at the theater aside. Visitors can watch the exhibition on one side and enjoy the scenery of the water town between the exhibitions. On these viewing windows, most of them have shading shutters, which can ensure that visitors will not feel uncomfortable when they are suddenly exposed to a strong light environment after walking out of the exhibition hall. And this kind of louver design can also create a unique light effect.
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Entrance Hall Introduction Gallery Gallery 1 Gallery 2 Cloak Room Lower Gallery
MATERIAL
TICKET ROOM
In order to integrate with the surrounding natural environment and ensure the solemnity of the art gallery, wood grain concrete is used to penetrate the interior and exterior. Shady trees are used to ensure the strength of the wood grain growth rings. The child workers polish the wooden boards to create a concave and convex texture. Then, the wooden boards are assembled according to the modulus and poured into concrete with obvious texture.
The ticket office of Muxin Art Museum is located outside the overall volume of the building and is connected by a bridge. We hope to create the feeling of a pavilion in a Chinese courtyard, so we shape it as a separate volume that complements the surrounding traditional streets. The facade and interior walls of the building make full use of the cast-in-place wood grain concrete technology to extend the language of the building to the interior to maintain the consistency of the design language.
WOOD TEXTURE CONCRETE WALL
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E2 E3
PLAN
3D Finish Surface
Flat Finish Surface
Flat Section
Corner Section
ELEVATION 1
ELEVATION 2
ELEVATION 3
FLOWING AND STAYING ALLEYWAY HOUSE GALLERY RENOVATION
Individual Project Year
2018
Location Area
Fuxing Road Shanghai 260 m²
SITE Fenyang Road, located in the French Concession of Shanghai, has a history of more than 100 years. The government’s protection of the historical environment keeps Fenyang Road in the historic French architecture and the romance of Wutong Avenue. How to integrate modern functions into the rich history is the difficulty of this design. The entire house in the Fenyang Road Exhibition Hall was built in the 1930s and is a typical new-style lane in Shanghai. The block where the house is located maintains relative continuity on the facade. The steel windows remaining in the small rooms make the interior look dim, and the brick-wood structure is diffused.
STUDIO GO As Peter Eisenman said: great buildings in cities have long existed because their forms can accommodate different functions due to changes in time. “Great historical buildings can bring the past into the present, and they can also make people experience the past. The reason for their long-lasting existence is not only their initial or existing functions, but their own form that can accommodate changes in time. Different functions. What we are trying is to evolve a space suitable for the spirit of the times in the remaining space of the city, so that it is not limited to a specific use purpose, but can meet a variety of use needs.
HISTORICAL BUILDING IN HISTORY
HISTORICAL BUILDING IN PRESENT
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Inspired by Mies’ “Universal Space” and “Flowing space”, we hope to adjust the space system to a certain zero point and become a space between “flow and stay” to satisfy privacy and public , Fast and slow schedulable usage requirements. We define this space as Studio GO, which means Gallery Office, a space that mixes the fluidity of display and the fixedness of office. This mixed function stimulates the social attributes of office and expands the boundaries of social interaction. A new experience. A series of iterative products of the GO prototype are providing venue services for fashion start-up teams in different industries.
DISPLACEMENT REACTION
STAIRS
A single-displacement reaction, is a chemical reaction in which one element is replaced by another in a compound. It can be represented generically as: A + B-C → A-C + B This will most often occur if A is more reactive than B, thus giving a more stable product. Derived as a concept that a substance is affected by the environment in a specific environment, but also affects the surrounding environment. Through this substance, new characteristics are poured into the entire space.
Great historical buildings can bring the past into the present, and also enable people of the present to experience the past. The reason for their long-standing existence is not only their initial or existing functions, but their own form, which can accommodate different functions produced by time changes. We are trying to evolve a space suitable for the spirit of the times in the remaining space of the city. Such a space is not limited to specific functions, but can meet the diverse needs of contemporary use. Inspired by Mies’ “Universal Space” and “Flowing space”, we hope to adjust the space system to a certain zero point and become a space between “flow and stay” to satisfy privacy and public , Fast and slow schedulable usage requirements. We define this kind of space as Studio GO, which means Gallery Office, a space that mixes the mobility of display and the fixedness of office. This mixed function stimulates the social attributes of office and expands the boundaries of social interaction. A new experience. A series of iterative products of the GO prototype are providing venue services for fashion start-up teams in different industries.
In this project, I hope to put modern elements in the traditional environment, to penetrate the entire space, so that modernization and tradition can penetrate and influence each other.
DESIGN ELEMENTS In the transformation of small-scale space, the influence of architectural elements on the space is particularly important, so we try to activate the site space by improving the architectural elements. On the basis of preserving the unique spatial format of the lane building, we changed the architectural elements such as stairs, windows, and terraces to inject different spatial feelings into the original site, providing multiple interpretation and experience possibilities.
Original Section
Schemetic Seciton
SPACE
WINDOW & SKYLIGHT & BALCONY
In the original stairwell, we placed a wooden spiral staircase, which was hung on the wall of the stairwell by bolts, separated from the non-orthogonal wall of the stairwell for a tolerant distance, replaced the original foldable stairs and lowered the stairs. At the same time, the previously scattered and intermittent experience of going upstairs becomes more continuous.
Windows are not only the connection between internal and external spaces, but also define how we see and be seen. In order to blur the relationship between indoor and outdoor, we hide the window frame outside the wall, lower the height of the indoor window sill, and expand the scope of the window hole. The chamfering of the window cover and the inner wall not only increases the continuity of the interface, but also makes the window hole. It looks flat. The depth of field was cancelled, and the scenery outside the window appeared to be within reach. We refurbished the terraces outside the pavilions along the street, and added balconies and skylights between the top-floor pavilions, so that several surprising outdoor or semi-outdoor spaces that were not large but attached to the outside of the space appeared in the venue, which further increased the change in the space inside and outside the room. Rhythm enriches the space experience.
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LAYOUT REVISION The original layout placed the stairwell in the middle of the two rooms. The wall of the stairwell completely blocked the communication between the rooms at both ends, and sunlight could not reach the stairwell, forming a completely dark box. At the same time, because the owner wanted the space to be one The display is combined with the office space, so space is needed to have a relationship of opposites. So I designed to remove the heavy walls of the stairwell to ensure the flow of circulation and the entrance of outdoor sunlight.
Light Furthermore, the beech wood veneer on the wall of the stairwell gives the entire stairwell a uniform texture, and this continuous experience of reaching the top floor is deliberately interrupted by various openings in the stairwell. Space perception: add skylights at the top of the stairwell, change the opening position of the space, enlarge the door opening as much as possible, and increase the window opening towards the stairwell. Let light refract from different rooms into
the stairwell, intertwining light and dark, turning the vertical stairwell into an atrium that produces sight communication, so as to obtain a spatial quality similar to the corridors of the oriental garden. Combined with the turning of the streamline, in the “hiding and presenting” of sight, the experience in the same area of space is richer, and the house seems to be enlarged.
At the same time, in order to give users a completely relaxing and relaxing space when working, we have increased the outdoor leisure space as much as possible. The wall of the courtyard on the first floor is equipped with a frontal automatic irrigation system green wall, which increases the user’s sense of leisure, and can switch from the urban tense life to a natural relaxed state, in order to enlarge the area of the balcony along the street on the second floor , The design removed the original glass room and set up a leisure platform along the street. Strengthen the connection between indoor and outdoor.
Original L1 Layout
Revised L1 Layout
Original L2 Layout
Revised L2 Layout
STAIRS CONSTRUCTION In the original stairwell, we placed a wooden spiral staircase, which was hung on the wall of the stairwell by bolts, separated from the non-orthogonal wall of the stairwell for a tolerant distance, replaced the original foldable stairs and lowered the stairs. At the same time, the previously scattered and intermittent experience of going upstairs becomes more continuous.
Skylight Add skylights directly above the stairs to bring in natural light
Main Room Traditional wood paving connect with modern stair block directly.
Entrance Removed wall to show modern stair block directly when get into the building.
The stairs are made of split beech planks. While responding to the past memories of the site, using the current computer technology, the three-dimensional stair model is disassembled into more than 200 parts that can be connected to each other, which are carved by CNC 5-axis robotic arms. , Assembled on site.
Floating Lives Yeoui-Naru Pier
FLOATING INFINITE FLOWER
ENVIRONMENT ISSUES
Because Koreans particularly appreciate the long flowering period of hibiscus from spring to autumn, they call it the “infinite flower” and choose it as the national flower. Koreans regard hibiscus as the pride of their own nation and think it symbolizes the spirit of perseverance.
The rapid spread of Seoul’s urbanization has led to a series of ecological problems: The over-reliance on cars has increased air pollution; the suburban septic tanks and non-point pollution sources cause groundwater and surface water pollution.
The design content of this project is Seoul’s pier, which is located in a park beside the Han River in Seoul. The base will be submerged by rising water levels during periods of heavy rainfall every year. The goal of the plan is to build this wharf into a floating water platform that expresses the harmonious coexistence of humans and nature. Even in the circumstances of natural peril, the spirit that can turn danger to a breeze.
CONTEXT CHALLENGE Human beings have been studying how to better deal with various natural situations since ancient times. How to obtain a sense of survival and security before a crisis, and how to be friends in a special environment, has always been a challenge for mankind. How to use the characteristics of the building to the place, and make these characteristics have an intimate relationship with people, and complete its mission is the content of this design.
Egypt judges planting conditions according to the conditions of the Nile River.
The ancient city of Pompeii, submerged by volcanic magma, was excavated by scientists.
Towns in the desert, facing the sky with sandstorms under climate change.
Venice, a famous tourist city located on the shallows of the Venetian Lagoon.
Egypt judges planting conditions according to the conditions of the Nile River.
Spreading and occupying a large number of wilderness and wild animal habitats, thereby reducing the space for people to move in the wild, and at the same time leading to the reduction and even extinction of wildlife; Spreading leads to an increase in hardened area, reduction of natural flood diversion areas such as swamps, and aggravation of soil erosion , Leading to an aggravation of floods. Seoul is looking for ways to live in harmony with the ecology, not only to meet the functional needs of the city, but also to integrate citizens and ecology closely. This project aims to use a new method of soft infrastructure, which respects the life of the river, promotes the vigorous development of flora and fauna, and at the same time helps citizens to have close contact with nature, and strengthens community cohesion among different socio-economic groups. Promote social harmony. Focus on improving people’s fair use of these new facilities.
MVRDV has built a rich natural ecosystem landscape in the riverside area of the former Olympic Stadium. Improve the surrounding air environment.
Competition Project Year Location Area
The Qingxi culvert, which was once covered by urban development, was transformed into an urban stream integrated with nature.
3 PPL 2017 Yeoui Korean 4300 m²
MVRDV transforms the once crowded highway into an ecologically rich sky garden to increase the walking experience of citizens.
The problem of global warming has increased the amount of heavy rainfall. The Hanjiang Riverside area has suffered flooding when autumn.
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SITE STRATERGY
LAYOUT
Yeoui-Naru Pier Observation Deck in Seoul, South Korea is located in Yeoui-Naru Park facing the Han River. During the high tide season each year, the park will be flooded by the Han River.
The terminal will form a series of complex sustainable design strategies. In order to meet the needs of cruise ships, the wharf is built as a floating wharf network, connected together along the floating embankment of the wharf, to protect the wharf from the impact of the current and provide people with a panoramic view of the river. The dock is radial, with the endpoints converging on the first floor of the platform, integrating technical equipment to provide energy (hydropower) and biofuels for ships. The dock and platform are fixed by a chain net, and 26 concrete slabs are used to anchor the ferry to the bottom of the river.
Inspired by South Korea’s national flower, Infinity Flower, the new pier viewing platform is designed as a “flower” slope platform floating on the water, allowing tourists and local residents to explore and enjoy the scenery of the Han River and the park.
GROUND FLOOR SITE PHOTO(DRY)
SITE PHOTO(FLOOD)
FLOATING At the same time, symbolizing the unwavering spirit of the Korean people to overcome challenges, the walkway of the overall park is designed as a network of platform roads that are embedded in the land but can automatically float on the water during the flood season. Each platform is designed as an arc-shaped base with a large upper and a lower one, which is convenient to increase welfare in the water. At the same time, in order to ensure the landscape effect, the important green plants on the base are also transplanted into the arc-shaped foundation and connected to the foundation below by a chain , And each arc-shaped base is connected with a hinge to ensure that the flood recedes and the whole can be restored to the original foundation, ensuring normal use. SHORT SECTION (DRY)
SCHEME (DRY)
SECTION OF LILYPAD FOOTPATH IN HAN RIVER PARK (DRY)
SECTION OF LILYPAD FOOTPATH IN HAN RIVER PARK (FLOOD)
SHORT SECTION (FLOOD)
LONG SECTION (FLOOD)
SCHEME (FLOOD)
ENVIRONMENT
Sustanable Strategy-Summer And Transitional Seasons Natural Ventilation With Passive Cooling
Sustanable Strategy-Winter Mechanical Ventilation
Due to poor thermal insulation and air permeability of etfe, special considerations are needed for the indoor environment. The design not only considers the shading layer of the material surface, but also considers that the atrium can be used to set up a pool to directly introduce the Hanjiang water, and the heat will be taken away by the water to effectively cool the temperature. At the same time, the design of the opening at the lower part of the vertical Hanjiang surface will be considered. The wind is introduced into the room to ensure the comfort of the indoor environment. In order to use the least energy to get the most comfortable environment, and effectively achieve the effect of energy saving.
HARMONY WITH NATRUE The past plagues have shown the close relationship between humans and organisms. Biology is an important factor influencing epidemics. Correctly handling the issues of the relationship between humans and organisms, and the relationship between man and nature has become the focus of world development. We hope that the service object considered in this design is not only people, but also the Han River, the surrounding flora, fauna and ecology. The microclimate and the integration of flora and fauna in the self-sufficient building realize the harmonious coexistence of human and natural space. It is hoped that more and more biophilic buildings will appear in a civilized society, and it is advocated that human beings care about living things, and cities should be integrated into the ecological environment. Biophilic architecture should re-examine the meaning of life to the world from a higher perspective, put forward higher requirements for architectural design, and realize the values ​​of equality of life.
ICON FOR SPIRITION SHUANGSHAN LIGHTHOUSE &LODGE
Competition (3 ppl) Project Year
2019
Location Lot Area
Shuangshan Island,China 6322 m²
SITE The image of this project is waves and sails. We hope to create a picture that is different from reality through the narrative of architectural form. The homestay is a “wave”, undulating in settlement; the lighthouse is like a “sail”, rising in the wind in the waves. The two buildings set off each other in layout, and they are separate. In accordance with their respective architectural forms, lighthouses and guest houses are distributed along an axis. The lighthouse is located in the east of the site and forms an outward public space with the lighthouse square. The B&B settlement is located in the west of the site, using the existing low-lying terrain in the southwest corner of the site to make water homeopathically, creating an inward private space that is back from the road.
Based on site evaluation, two exsiting buildings will be kept and renovated.
The two existing buildings divides the site into two parts.
Located towards the East, the lighthouse is whin reach by the public from the ferries .The lighthouse and the hotel form an axial relationship.
The original fabric interacts with the axis esablished by the lighthouse, making the orientation of hotel units even more dynamic.
The below-groud land at the SW corner was turned into a water landscape feature that separates the hotel from the surrounding streets. At the same time, the buldings at the corner were given a higher elevation to counterweight the raised street level.
There are various forms of vegetations on site.
The geometry of the hotel buildings resemble that of the waves, whereas the curve of the lighthouse catch the shape of a sail.
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1 Entrance 2 Parking Lot 3 Hotel Reception 4 (Renovation) Reflecting Pool 5 Lighthouse 6 Landscape 7 Gym Facility (Renovation) 8 Swimming Pool 9 Ginkgo Tree 10 Pond 11-17 Hotel
Before setting foot on Shuangshan Island, you can see the sail-like lighthouse from a distance on the river. When approaching the lighthouse, the curve angle of the tower body gradually increases until it comes to the lighthouse square—the sculptural sense of the lighthouse is maximized, like a three-dimensional sculpture floating in the air that resembles tiles and skirts. Looking up, the large-area solid shell is divided by slender glass tapes on all sides, leading to the top of the tower. At night, these four light belts outline an upward curve to the sky, bringing a graceful sense of ritual to the world. During the festival, the top of the lighthouse can also light up a lamp post that leads directly to the sky, attracting the eyes of the entire island and the other side of the Yangtze River. The plan retains two existing buildings, which are respectively transformed into hotel reception and supporting fitness facilities. The overall architectural language of this plan is concise and in place, and the strategy is clear, which is a kind of future that can be expected.
MASTERPLAN
CONTEXT PLAN
Propotype A
Propotype B
Propotype C
Propotype D
Area:73 m² Unit Count : 2
Area:55 m² Unit Count : 6
Area:45 m² Unit Count : 2
Area:73 m² Unit Count : 2
The lighthouse is a curve with weight, and the opposite homestay is a soft undulation. Stepping into the B&B area from Lighthouse Plaza, the rigorous planning was replaced by a seemingly random layout. Taking the different axes of the lighthouse and the site environment as reference, the guesthouse units are scattered in the lingering waterscape, and each room can see the corresponding scenery outside the window. It makes people feel like they are close to the mountains.
BLACK BOX. MUTE ICON Old Theater Renovation
Individual Instrucor
Georgina Huljich
Location Area
Fuxing Road Shanghai 200,000 SF
MUTE ICON
SITE INTRODUCTION
THE EXTERIOR
Architecture seems at a significant crossroads nowadays. Hunted by wast proceses taking place outside itself, since 9.11, financial collapse, the exacerbation of global warming, cultural and sociopolitical developments such as the Arab Spring and Occupy, a new epoch of economic austerity, the often ill proclaimed but certainly perceived “death of the icon” era, the impulse for social responsibility, the celebration of the practices of common sense and search for common ground: all point to challenge to the most creative and projective aspects of the both discipline and field, and certainly suggest a political realignment of its establishment. While context can’t be the only draver for architectural production or any foms of artistic practice of cultural relevace, it is fcertainly an important factor to be considered and reckoned with.
The design project will consist of a redesign builidng for Royce hall at UCLA in Los Angeles. The new university building will entail approximately a total of 200,00 square feet which will include the university Auditorium[Royce Hall Audtorium}, the Centre for the Art of Perfomance at UCLA and the Royce Hall Terrace.
The project aims to produce an exterior mass that relies both on the performance, conformity and history of its immediate context at the same time that produces an icon. The result of the exterior mass is a cobination of the historic bottom part with an new top part which remain some original openings and elements
The site and program themselves provide a remarkable canvas for investigation : the memory and history of the pre existing neoclssical bulding [Royce Hall],the physical and regulatory context of the uiversity campus and the productive constraints of the program will allow us to pursue ideas of context beyond the know specificities of site,by understanding it as a larger cultural and a social framework from where projects can cultivate and construct new physical images.
Original Royce Hall
Extract Elements
Slice to Integrity
DICHOTOMY Formal ambiguity and ambivalence of reading between interior and exterior will be obilizing mechanisms to subvert notions of typological and aesthetic fixity. At the centre of this is the idea of dichotomy, which implies that by combining opposites, contrasts could dissolve, be emphsized or rather become fuzzier, and the whole entering into a more comlex state of dualism. Consequently, the studio will pursure dichotomies as a way to defy fixed notions of mass configuration.
Fill as Whole
Terrace as Pocket
Form Manipulation
Bottom as Historic Parts
Form Manipulation
Smooth Transition from Old to New
THE INTERIOR
PLAN
The vaults are the main elements in Lombard Romanesque style architecture, therefor, in this historic building renovation project we decides to manipulate the vault --one of the symbol of the Lombard Romanesque style --- to achieve the coexist experience of the new and old royce hall. The vaults are booleaned different by spheroid at tangent point to get new three dimensional curve extend from the old vault.
With the demolition plan,the relationship between the new and old is revealed.the additional part of the old Royce hall is sliced and the division walls of the lobby are removed, meanwhile the arcade for the public is remained. The new volumn of royce hall looks more integrated and the interior is widely open. Performers Entrance
Audiences Entrance
OBILIQUE DRAWING The way to make the oblique drawing is to shear the model 45 degree, so that it can reveal the 1:1 porprotion section and plan at the same time. This will challenge fixed aesthetic notions of beauty and legibility in architecture representation and visualiation, using abstraction and defamiliarization to speculate the generation of withdrawn, irriatnt and engaging images. The section/elevation drawing reveals the relationship between the interior and the exterior mass. Some parts of the interior are the continuity of the exterior elements, and meanwhile the interior is a gigantic space with no fully division which is significantly different from the impression of the small historic openings of the old Royce hall.
Backstage Lobby Terrace OďŹƒce Auditorim
NEW LOBBY The original second, third, and fourth floor are cut to create visual connection and bright, open spacial effect.some elements like vaults, twin towers were kept but booleaned different by sphere or spheroid to create modern three dimensional curve. therefore, brick, part of vaults can be seen in the new Royce hall to remind the audiences old Royce hall.
Physical Model