Capturing Transparency in Murano

CAPTURING

TRANSPARENCY In

Murano

Design for re-activating the main system of fruition spaces

Author

Meng Yao 813407 Li Silu

Supervisor

813974

Prof. Paola Pellegrini

Master Thesis 2015 - 12 - 18 Author

Meng Yao 813407 Li Silu

Supervisor

813974

Prof. Paola Pellegrini Dipartimento di Architettura e Studi Urbani Politecnico di Milano Dipartimento di Architettura Costruzione Conservazione UniversitĂ IUAV di Venezia

Great Thanks to Professor Paola Pellegrini

This is to certify that

Examination Date

30/11/2015

1.The thesis comprises only our original work for the Master Degree

Submission Date

18/12/2015

2. All the materials have been redrawed or has referenced from website, magazines and material

INDEX 1. Motivation

1

2. City Curating

7

2.1 The definition of City Curating 2.2 The importance of City Curating 2.3 References 2.2.1 Venezia Biennale 2.2.2 TianziFang Art District 2.4 Conclusion: City Curating as the essential method to improve city development 3. Analysis

33

3.1 Murano overall analysis 3.1.1 Murano in Venice 3.1.2 Analysis of Murano 3.1.3 Design area selection 3.1.4 Venice and Murano: a urban space types comparison 3.2 Conclusion: Different dimensions, devices and uses can be articulated to re-qualify urban spaces 4. Design application

79

4.1 Overall design concept: Capturing Transparency (Transparency as the essential character of Murano) 4.1.1 Glass line 4.2.2 Master Plan 4.2 Design strategy 4.2.1 Story Line 4.2.2 Node 1: Introduction about Murano 4.2.3 Node 2: Information Center 4.2.4 Node 3: Historical showroom preservation 4.2.5 Node 4: City installation 4.2.6 Node 5: City green lung 4.2.7 Node 6: City service addition 4.3 Further design Glass art musuem addition Node 7 4.3.1 Case study 4.3.1.1 Corning Glass art Museum 4.3.1.2 Rolex Learning Center 4.3.2 Design expression 4.3.2.1 Plans 4.3.2.2 Sections 4.3.2.3 Renderings 5, References and Bibliography

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Chapter One

Motivation

1

MOTIVATION

One day, when we were wondering in Venice, we occasionally met a musuem, which is called VITRARIA Glass +A Museum. It is located in the vibrant area of Dorsoduro, and the building was transformed from Palazzo Nani Mocenigo.

It holds plenty art pieces from all over the world, especially contemporary glass art made by different artists, most of the glass art pieces was made in Murano, an island which belongs to Venice Province with lagoon. In that Museum, we met the glass artist Luciano Vistosi ’s works, (shows in photos on the right) and many other fabulous glass art pieces. Those arts themselves are in a very high artistic attainments, but from visual effect they are not releasing their own brilliance very well, since they are not displayed in an effective way. Shortly afterwards, one idea come to our mind was that if there is a better way to exhibit these great pices of art. So the story starts...

2

Fig1: VITRARIA Glass +A Museum,2015 3

MOTIVATION

With the curiosity about glass arts and how to express the essential beauty of the art pices, we went to Murano Island, for this is the hometown of vetro arts and the glass historical production center of whole Venice. In there, We find three ways for visitors to enjoy glass arts. The first one is by entering the show rooms where glass artcrafts are sold,. The second one is by visiting museum where exhibits lots of masterpieces not only from the modern artists but also from great masters of ancient times, and the third one is by walking in openspaces of the city to see glass pieces.

Glass Windows in Murano

Of course the windows attracts people most, and because of the exsistance of the showrooms, Calle Fondamenta dei Vetrai and Fondamenta Manin become the most two popular streets to tourists. However, besides these two streets, we didn't find many art pieces in openspaces except the one shows a big blue flower in Campo Santo Stefano. In addition, in Murano glass museum, we meets the same question which is similar to the one when we visit Vitraria Glass +A musuem.

Furthermore, only using two commercial streets to show the beauty of glass arts is not enough, especially Murano is an island with abundant history and long time production of glass crafts. Therefore, we would like to know if we could using the openspaces of Murano to build some new platforms for showing the art pieces in order to give people more opportunity to feel the atmosphere of Murano, or if we could find a better way to exhibits the art pieces in musuems for people to understand more...

Glass Art in Campo Santo Stefano 4

Glass Museum in Murano - Museo Vetro 5

Chapter Two 2. City Curating

City Curating

2.1 The importance of exhibition in the city 2.2 The definition of City Curating 2.3 The importance of City Curating 2.4 References 2.4.1 Venezia Biennale 2.4.2 TianziFang Art District 2.5 City Curating as a motivated method to improve city development

6

7

CITY CURATING

1980 Biennale, Venice

1889 Expo, Paris

The difinition AND IMPORTANCE of city curating

exhibition as a method of curating city

Curating, in the first instance, is the work performed by a curator. In Western countries, curating is an cultural activity which starting from hundreds’ years ago mainly refers to taking responsibility for archive, information, or historical records. (Sarah Chaplin, Alexandra Stara 2009, Curating Architecture and the City). A traditional curator in the past century would be someone looking after a collection of valuable artefacts in musuem, ensuring they are kept in the best condition. At that time, curating is considered to have more relationship with museology. After World War, a lot of countries start to build contemporary art musuems or galleries, quantities of excellent exhibitions spring up from that period. The most famous one is Venice Binnnale, which is one of our main reference in the research.

In Chaplin 's book, we could see city curating is a huge system with lots of methods to deal with urban problems, but in this case what we are focusing on is how can we accomplish the city curating process by using the exhibition method.

Nowadays, curating has become a loosely defined creative activity. It has shifted considerably towards a process of display and interpretation and away from site or collection specificity. No longer implying an exclusive link to a collection, the contemporary curator is more like an artist, representing the world through a wide variety of media, locations and intentions. In China, the curatorial team are also mainly lead by contemporary artists or archtects .such as Fan di an( Main Director of National Art Museum of China ) , Wang Hengsheng(Main director of CAFA Art Museum) , Liu Heng Female leading architects, urban designers and so on. Curating exhibition is more like an way of expressing one specific theme. Such as, Bi- city Biennale of Urbanism/ architeture in Shenzhen. Beijing design Week.

Sarah Chaplin Alexandra Stara in 2009 in the book ‘ Curating Architecture and the City’ claim that, curating city is considered as cultural heritage and public space, and critiques recent contemporary curatorial, urban and architectural practice, such as architectural exhibitions, public galleries, regeneration projects, city tours, heritage archives, urban art installations and so on.

The book is chaptered in three sections:‘City tours and urban reveries’, ‘Rethinking curatorship, rethinking architecture’, and ‘ Reinterpreting public space and cultual heritage’, The book is the collection of 21 authors’ researches, each author extends the notion of curatorship from museological practice into new spatial and interpretive territories. There is a saying made by Vincenzo Sanfo who is the chief curator of in La Biennale di Venezia - 56th International Art Exhibition ‘Curator is the main person about solving problems in the process of curating exhibition’ .

Our research argued that the curated city should be considerd as an ecosystem where urban designers are able to contribute and engage with the public in a more accessible way, re-intergrating visual artistics practice into broader urban society , rather than only through the the visual arts in museuological institutions. Especially caring about urban green system, urban traffic, abandoned space, population mobility, showing what has to be exhibited, including the city's culture and features. During the design application, we are focusing on reforming Murano as a site that can be read and interpreted as a space in a more artistic way, by utilizing several ways of urban transformation.

8

2014 Antique Biennale, Paris

How much advantages can be brought to a city by holding a successful exhibition? we think of the big celebrations of past times. For example: 1851's Crystal Palace in London; 1889, Paris with great Eiffel Tower; Venice Biennale 1980 with Aldo Rossi's architecture and some new technical attemptations.

Without doubts, these exhibitions not only spread the newest information all over the world but also bring the city itself a lot of benefits. A nearest example is that during Shanghai Expo 2010 in China, according to the official statistics, there are about 600,000,000 RMB income by only selling tickets, HongKong Pavillion can service 7000 people in just one day and Danmark Pavillion 25,000 people per day. Besides the economic profits, culture influences also take it own importance. Knowledge can be acquired by people after they visit one exhibition, and with the activity of visiting itself, people could have more chances to contact with others and find a new special angle to understand part of the world.

Museum Exhibition Gallery

Exhibition Classification

Events

Commercial

Biennale EXPO Street Shows Commodity sales Showroom Trade fair

The Graph above shows the classfication of exhibitions, and in traditional way, they could not combine, but in city curating way they can merge together and run by a guided system.

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ANALYSIS - VENICE Venice has lots of events all though the year, some events depend on exhibitions with musuems, and some can be held in public spaces or theatres, like carneval in Faberary. Both the Exhibitions and the festivals attract tourists all over the world, and contribute to make Venice a whole year busy city with tourism.

From the diagram below we can see all Venice's events from the beginning of the year to the end of the year. In these events, Venice Biennale last for about six month, and with its strong influence in art and architecture, lots of artists and designers go for it to absorb new ideas and information from Biennale. In addition, normal visitors from other professions also go to see biennale for its famous reputation.

In the analysis of Venice biennale, we would like to explain how it works and how to use the exhibition itself to activate the city.

EVENTS in venice

Jan.

Feb.

Mar.

Apr.

May.

Jun.

New Year’s Day swim

Carnevale

Su e Zo per i Ponti

Mare Maggio

Biennale

Lido

Piazza San Marco

Across Venice.

Arsenale.

Giardini di Castello

Regata delle Befane

Benedizione del Fuoco

Vogalonga

Venezia Suona

Grand canal

Basilica di San Marco.

Doge’s Palace

All over Venice.

Veneto Jazz Around Venice

Veneto Jazz Around Venice

Veneto Jazz Around Venice

Jul.

Aug.

Biennale Giardini di Castello

Biennale Giardini di Castello

Festa di San Giacomo dell’Orio Campo San Giacomo dell’Orio.

Oct.

Nov.

Biennale Giardini di Castello

Biennale Giardini di Castello

Biennale Giardini di Castello

Festa di Liberazione San Polo, campo dell’Erberia.

Le Giornate del Cinema Muto Gemona

Dec.

Christmas Around Venice

Palio delle Antiche Repubbliche Marinare Venice International Film Festival Sagra del Mosto Island of Sant’Erasmo. sea-facing Lido esplanade Bacino di San Marco

Festa e Regata della Sensa

Festa di San Pietro

San Nicolò del Lido & Bacino di San Marco

San Pietro in Castello.

Festa di San Marco

Marghera Village Estate

Bacino di San Marco, the island of Sant’Elena and the Punta della Dogana.

Via Orsato 9, Panorama car park, Marghera

Marghera Village Estate Via Orsato 9, Panorama car park, Marghera

Marghera Village Estate Via Orsato 9, Panorama car park, Marghera

Veneto Jazz Around Venice

Veneto Jazz Around Venice

Veneto Jazz Around Venice

Veneto Jazz Around Venice

Sep.

Asolo Art Film Festival Asolo

Venice Airport Festival Forte Bazzera, via Bazzera, Tessera

Venice Marathon Starts in the town of Stra

Festa di San Martino Around venice Festa della Madonna della Salute Church of Madonna della Salute

Arena di Campo San Polo Campo San Polo Festa del Redentore Bacino di San Marco, Canale della Giudecca Ferragosto – Festa dell’Assunta Tourist information 10

11

ANALYSIS - VENICE EVENTS There are many musuems in Venice, Some of them are used for permanent exhibitions, like Venice Accademia museum, Peggy Guggenheim Collection museum; and some are used for temporary exhibitions, for instance, pavillions in Giardini and Arsenale.

Both the per manet and temporar y exhibition make venice a culture and art centre in the world.

Exhibition Area Distribution In Venice

Giardini & Arsenale Temporary Exhibition Spots Big Museums Small Museums

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CASE STUDY - VENICE BIENNALE The Venice Biennale has for over a century been one of the most prestigious cultural institutions in the world. Established in 1895, the Biennale has an attendance today of over 370,000 visitors at the Art Exhibition.

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26

The history of the Venice Biennale dates back from 1895, when the first International Art Exhibition was organized. In the 1930s new festivals were born: Music, Cinema, and Theatre (the Venice Film Festival in 1932 was the first film festival ever organized).

In 1980 the first Intl. Architecture Exhibition took place, and in 1999 Dance made its debut at the Venice Biennale.

During the Biennale, Venice becomes the site where institutional and national gestures of inclusion and erasure enact national and global relations. As exhibition sites, the pavilions of the Venice Biennale and their respective locations, whether in the Giardini, the Arsenale, or scattered throughout the city of Venice, informs the reception of the art. At the Venice Biennale, the utilization of place for the presentation of art extends beyond the gallery to include the distribution of pavilions. The Biennale transforms the city of Venice, but is also informed by its topography, cultures, and histories. By reading the Biennale as heterotopic, it becomes possible to unravel the complex interactions that take place between various participants in relation to the city using geographic distribution as the guiding thread of analysis.

Giardini

27 1

23

28 29

Open space in Giardini 22 2

21

17

30

16 15

3 18 14

4 12

13

12 12

5

Main circulation in Giardini

6

7

8 9

Exhibition Contemporary Exhibition Service/Toilets Bookshops Educational Bar

Plan of Giardini 14

25

1, Palazzo 2, Olanda 3, Belgio 4, Spagna 5, Svizzera 6, Venezuela 7, Russia 8, Giappone 9, Repubblica di Corea 10, Germania 11, Canada 12, Gran Bretagna 13, Francia 14, Repubblica Caca e Slovacca 15, Australia

11 10

16, Uruguay 17, Israele 18, Stati Uniti d’ America 19, Paesi Nordici 20, Danimarca 21, Finlandia 22, Ungheria 23, Brasile 24, Austria 25, Serbia 26, Egitto 27, Padiglione Venezia 28, Polonia 29, Romania 30, Grecia 15

CASE STUDY - VENICE BIENNALE Giardini

Giardini develops in a very long time, and with lots of world famous architects' masterpieces, it becomes one of the most famous modern architecture pilgrimage place in Italy. Also the organization method of the construction process is learned by lots of new city planners and curators.

Though Giardini, we could understand both the exhibitions of each year and the architecture history trail of every building. Giardini is an alive space always with new information and fresh art ideas.

Austria Pavillion

1808 The first gardens all italiana 1839 The construction of a cavallerizza 1867 The project for the renovation of the Giadini

Pavillion

Time

Content

Architect

Italy

1894-95 1914 1932 1950 1989-91

Design and construction Alteration Alteration

Enrio Trevisanato Guido Cirilli Duilio Torres

Design and construction of the art bookshop gallery Design and construction of the Electa Bookshop Pavilion

Carlo Scarpa James F. Stirling

South Korea

1994-95

Design and construction

Seok Chui Kim

Australia

1987-88

Design and construction

Phlip Cox

Brazil

1964

Design and construction

Amerigo Marchesin

Uruguay

1960-62

Design and construction

Progetto e Realizzazione

Svezia/Norvegia/Finlandia

1958-62 1987

Design and construction Extension

Sverre Fehn Fredrik Fogh

Uruguay

1960-62

Design and construction

Progetto e Realizzazione

Canada

1956-57

Design and construction

BBPR Lodovico Barbiano di Belgiojoso Enrico Peressutti Ernesto Nathan Rogers

Serbia

1932-38

Design and construction

Brenno Del Giudice

Japan

1955-56

Design and construction

Takamasa Yoshizaka

Venezuela

1953-56

Design and construction

Carlo Scarpa

1912 1953 1951-52 1966

Design and construction Demolition and Reconstruction Design and construction Restoration

Ferdinand Boberg Gerrit Thomas Rietveld Zeev Rechter Fredrik Fogn

Switzerland

1951-52

Design and construction

Bruno Giacometti

Greece

1933-34

Design and construction

M. Papandreou With the Collaboration of Brenno Del Giudice

1909 1938 1934 1984 1930-32 1958-60

Design and construction Demolition and Reconstruction Design and construction Restoration Design and construction Restoration and Extention

Daniele Donghi Ernst Haiger Josef Holfman Hans Hollein Carl Brummer Peter Koch

Poland

1932

Design and construction

Brenno Del Giudice

Great Britain

1909

Design and construction

Edwin Alfred Rickards

Venice

1932

Design and construction

Brenno Del Giudice

Spain

1921-22 1952

Design and construction Restoration and Alteration

Francisco Javier de Luque Joaquin Vaquero Palacios

Russia

1913-14

Design and construction

Aleksej Scusev

Book shop

1880 The new Romantic gardens 1893 The construction of the green house to house plants in winter 1895 The first international Art Exhibition of the city of Venice

Netherlands Israel

Venezuela

Germany Austria Denmark

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CASE STUDY - VENICE BIENNALE Arsenale The Arsenale is the largest pre-industrial production centre of the world. Its surface occupied forty-six hectars, and it would host up to 2000 workers a day in full swing. It is an important place for Venice, not only because the Serenissima fleet was built there, but also because these shipyards, depots and workshops were the symbol of the military, economical and political power Venice had back in time.

The Biennale di Venezia first employed the Arsenale, specifically the Corderie area, in 1980, in occasion of the 1st International Architecture Exhibition curated by Paolo Portoghesi, who set up the Strada Novissima at the Corderie of the Arsenale. In the following years, the same spaces were used in other Art Exhibition for the Aperto section, devoted to the promotion of young artists.

Since 1999, the Biennale has been particuarly attentive to all the restoration works designed for the Arsenale, a complex urban estate of high historical importance, in order to plan a new functional exhibition arrangement in the areas conceded by the Demanio Militare. 50.000 square metres (25.000 of which of indoor space) of the South-East area of the Arsenale have become the stable site of the Biennale activities, with exhibition spaces such as: Corderie, Artiglierie, Gaggiandre, Tese Cinquecentesche, Tese delle Vergini.

Live performances have taken place at the Teatro alle Tese and at the Teatro Piccolo Arsenale. These buildings were properly renewed, restoring shingles, plants and floorings, providing up-to-date and equipped services for visitors: ticket-offices, bookshops, catering services, control rooms.

The new Padiglione Italia, destined to the exhibitions promoted by The Ministry for Cultural Affairs, overlooks the Gaggiandre and the 16th century Tese on one side, and the Giardino delle Vergini on the other. It hosts Italian artists in a significantly enlarged and requalified structure (in 2009 the exhibition space was extended from 800 to 1800 square metres).

At the same time a new reorganisation plan to access this area has been defined, specifically by realising a new entrance from the Ponte dei Pensieri, which links the Giardino delle Vergini to the Castello neighbourhood. This bridge is in fact a completely new access to the Arsenale, making the Giardini-Arsenale being perceived as a new unity.

Its entire surface (6000 square metres) having been used for the first time in 2008, on the occasion of the 11th International Architecture Exhibition, nowadays the Giardino delle Vergini also hosts a landscape installation by Gustafson Porter - Gustafson Guthrie Nichol firms.

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7 6

5 4 3 2

1

Exhibition Contemporary Exhibition Service/Toilets Making Words Educational Bar Theatre

Plan of Arsenale

(Source: http://www.labiennale.org/en/venues/arsenale.html)

Open space in Arsenale

1, Corderie/Artiglierie 2, IILA Istituto Italo-Latino Americano Bolivia Colombia Costa Rica Cuba Ecuador EL Salvador Guatemala Honduras Peru Repubblica Dominicana 3, Cile 4, Emirati Arabi Uniti 5, Tyrchia 6, Padiglione Italia 7, Repubblica Popolare Cinese 8, Omaggio a Pietro Cascella 9, ACI Automobile Club D’ Italia

Main circulation in Arsenale 19

Temporary Exhibitions in Open Spaces Besides Giardini and Arsenale, exhibitions in the city also attract people's attention a lot, there are three exhibitions ways in the city. First is display the showings in public spaces; Second is using Musums in the city to put some temporary art pieces in. Third is using the old residential houses in Venice.

Because of the exhibitions, visitors get more chance to undersitand the city. For instance, Conservatorio di musica Benedetto Marcello is hidden in a small courtyard near Campo Santo Stefano, without exhibition, that is a totally private area which can not be entered freely, but during the time of biennale, the courtyard of Conservatorio is used to exhibit some artpieces, and visitors could see the beautiful colomns and architectures there. Also, the residential area are completely private without exhibitions, but visitors could get in free when they go biennale.

In addition, Artists get more opportunities as well, during those six month, artist could showing there ideas and art pieces not only in Giardini, but also in the city. Furthermore, art pieces can assimilate into the city and become part of the city.

Temporary Exhibitions in Musuems in Venice

exhibition in the city Temporary Exhibitions in Old Buildings

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CASE STUDY - Tianzi Fang Process in Shanghai City Development: 1, Abandon.

Abandon the old buildings and structures, using totally new city plans. For example, changes in Lujiazui, Huaihai road.

2, Form copy Abandon the old buildings and structures, but use the styles of old buildings. For example, changes of New Tiandi.

Shanghai, China

3, Protection.

Protect the old buildings and structures, but add new functions. For example, Tianzifang.

Development Process of Tianzifang 1998

INTRODUCTION Past days, Tianzifang (Chinese: 田 子 坊 ) is an arts and crafts enclave that has developed from a renovated residential area in the French Concession area of Shanghai, China.

T he local residential area which called Shikumen( 石 库 门 ）is very famous, also, old factories in this area can present the identity of Tizifang as well.

1999-2000

Old factories in this area start rent to others

Invited English designers reform the old factories

Chen yifei, a famous painter in China, set up his studio in Tianzi fang

Paintest Huang Yong yu Named this area Tianzifang.

2004

The first Shiku men traditional housing start to rent to others

2005

Tianzifang is named as a new art center in Shanghai.

Nowadays, Tianzifang is known for small craft stores, coffee shops, trendy art studios and narrow alleys. It has become a popular tourist destination in Shanghai, and an example of preservation of local Shikumen architecture, with some similarities to Xintiandi.

1998 Tianzifang 22

2014 Tianzifang

Typical Shikumen Residential Area in Tianzifang 23

CASE STUDY - TIANZI FANG analysis of tianzifang 1, Commercial Constitution

1999 Architecture Function

Commercial is constituted by restaurants, coffee, bars, jewery shops, cloths shops, etc.

Housing Factory

2, Tianzifang Development Model

Cafe/ Restaurant Retail

2014 Architecture Function

Management

Property

Local residents

Contract

Enterprise Decoration

80% rent costs

Management Company

Housing 20% rent costs

Workshop Gallery

Property belongs to the local residents, they operate the estate issue by themselves also. Using profession management companies to serve and manage for others.

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Cafe/ Restaurant Retail 25

CASE STUDY - TIANZI FANG Old Factory Renovation - Change Into Art Studios CHEN Yifei, a famous painter in Shanghai, rent a house in Tianzifang, Taikang road 201-2#.

Studio in Taikang Road

Residential Renovation

Old Factory Renovation - Change Into Galleries

Shi ku men

An photo exhibition in Jihua Gallery in Tianzi fang

Oil Painting by Chen Yifei

Old photos

New photos 26

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REFERENCES - TIANZI FANG spatial strategy Original Plan

Original Space

Transformed Plan

Transformed Space

Section

In order to doing the research of architecture space strategy in Tianzifang, we choose Taikang road as an example.

The typology of space in TaiKang Road is the result of architecture in different historic period. Due to this area didn’t concerned about integrated planning initially, but relied on the spontaneous construction by the local residence.

There is no specific rule of building typology, scale, hight and density in these area. In terms of street texture, basic service and community functions, the district layout indicated fragmentation more or less.

Furthermore, with the result of the spontaneous construction, the space in Tianzifang become more interesting and shows more vivid and useful sections compared to previous time.

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CONCLUSION FROM TWO CASES

CONCLUSION

bIENNALE 1, Management mode Using two main areas and some exhibition spots in the city.

2, How to use the spaces in the city (1) Using the public spaces (2) Using the architectures not used at current time (3) Using the museums (4) Using the green area in the city 3, How to attract both artists and tourists Each year's art or architecture exhibition must follow a theme, and it give artist an opportunity to generate new ideas and concept though the theme, and because the theme often is the most popular topic in the current time, visitos could get a chance to understand what the artists thinking about.

4, How to do the requalification of Venice architecture Take Arsenale as an example, the architecture doesn't need to change, except the interior spaces. In Venice, architecture form and facade is one of the constitution of Venice art heritage. So when it has to be change, the first thing must be conservation or restoration.

CITY CURATING As a Motivated Method to Improve city Development Through the analysis of two references. It is obviously to see that City Curating indeed improve the city development from social, urban and architecture’s aspects.

tIANZI FANG 1, Management mode The management method benefits local people, which is a big progress in China.

Meanwhile, the unified operation of renting houses by a company is more profession than those who operate estate by themselves.

2, Commercial mode The function distribution here is reasonable, Service + art studio + housing, service part of this area also could appeal people to Tianzifang and keep people stay here.

3, Architecture preservation Shikumen house is protected in this case, and the re-design of the old factories is also worth learning.

4, Spacial strategy Spontaneous construction by the local residence contributes Tianzi Fang space and architecture improvement a lot, and the abondant space typology become the characteristic of Tianzi Fang as well.

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1. From social aspect, During the six months’ statistics showing that opening in Venice Biennale every year, It is appealing to see that the economics of Venice has been highly improved. There is statics showed that , every year, Venice attracts 2 millions of tourists from all over the world, and those tourists highly push forward the economics’ development. In the 56th International Art Exhibition , these is direct 2.3 million euros income from the main exhibition and paralled exhibition.

Tianzi Fang is also an successful case in economic aspect, different from Venezia, it highly improved the individual benefits of stores and exhibition galleries, besides that the district of Tianzi Fan can offer more job opportunities for publics especially migrant workers.

2. From urban aspect, Giardini supplies the first largest and green land in Venice, it is quite beneficiary for balancing the peculiar urban structure the urban structure of Venice. This green land not only serve the tourists from all over the world but also the local citizens. During our visiting in Venezia, we frequently see local residence wondering in the garden.

As we mentioned in the reference, Tianzi Fang is transformed from old building Shiku Men. In urban scale, it offers Shanghai a leisure place for both local residence and tourists. When we visit there, we are all attracted by the vivid district atmosphere.

3. From archiecture aspect: Giardini is composition of modern appealing architects’ masterpieces as we listed before. Different from Giardini, the strategy of Arsenale space transformation is to utilize existing linear old factory, and the exhibits are listed sequencely along the linear factory space.

In the last case Tianzi Fang, the method of building transformation is increasing space diversity by making use of fragmented space in the districts.

In conclusion, these two references well explain how City Curating as a quite beneficiary method to impove city development, especially in terms of city which holds highly touristic and cultural industry, both in social perspective and spacial perspective. This method will also have the role of significant guidance meaning in our design.

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Chapter Three 1. Murano overall analysis

Analysis

1.1 Murano in Venice 1.2 Analysis of Murano 1.3 Design area confirmation 1.4 Venice and Murano: an urban space types comparison 2. Conclusion 2.1 Transparency as the essential character of Murano

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BRIEF HISTORY OF VENICE DEVELOPMENT OF VENICE

ad 453

ad 476

AD 697

The autonomy city The invasion of The death of Western state -- Republic of Langobard Roman Empire Venice

900

Palazzo Ducale move to Lido Island

1204

Venice become the Venice join in the most properous fourth Crusades city in the europe

REGIONS OF VENICE

5

4

1390

1348

1453

1492

AD 15001700

The explosion of Black Death

The Byzantine Empire wa s d e f e a t e d by t h e Ottoman Turks

Opening up of new land route

Navy skirmish with Ottoman Empire

1797

1866

Napoleon conquered Unification into Venice Kingdom of Italy

1. Venezia-Murano-Burano Area 69.136 km2 ; Population: 69,136 Venezia-Murano-Burano includes the mainland of Venezia, Murano island Burano island. Murano is famous for its glass making.

It was once an independent comune, but is now a frazione of the comune of Venice. Burano is an island in the Venetian Lagoon, northern Italy; like Venice itself, it could more correctly be called an archipelago of four islands linked by bridges. It is situated near Torcello at the northern end of the Lagoon, and is known for its work and brightly coloured homes.

2. Lido-Pellestrina Area 21.664 km2 ; Population: 21 550 The Lido is an 11-kilometre (7-mile) long sandbar in Venice, northern Italy. The Venice Film Festival takes place at the Lido every September. Pellestrina is an island in northern Italy, forming a barrier between the southern Venetian Lagoon and the Adriatic Sea, lying south west of the Lido

3

3. Favaro Veneto Area 23.615 km2 ; Population: 23,615 Favaro Veneto is an urban part in the comune of Venice, in Veneto, northern Italy. It is the centre for the Favaro Veneto Municipality (MunicipalitĂ di Favaro Veneto) which covers the towns of Ca' Noghera, Ca' Solaro, Campalto, Dese and Tessera.

6

4. Mestre-Carpenedo Area 88.952 km2 ; Population: 88,952 Mestre is now a preferred starting point for tourists visiting Venice, due to the favorable position, the cheap and frequent connection to the historical center of Venice by train and by bus (available also during the night) and the more reasonable prices of hotels, restaurants, car parking, supermarkets, bars, discos compared to the prices of the same touristic services in the historical and touristic center of Venice. Carpenedo is a place of the town of Venice located on the mainland

1

2

5. Chirignago- Zelarino Area: 38.179 km2 ; Population: 38;179 Chirignago is a place of the city of Venice located on the mainland west of the city of Mestre , along the ancient Via Miranes historic thorough fare that connects Mestre to Padua through Mirano . Already home to the Q12 "Chirignago-Gazzera", the district is now included in the municipality of Chirignago-Zelarino. Zelarino is a place of common of Venice located on the mainland ( municipality Chirignago-Zelarino ): is the north-western conurbation of Mestre . It is the historic center of Venice and 17 km from the one of Mestre 3.5 km.

6. Marghera Area: 28.466 km2 ; Population: 28;466 Marghera is a municipalitĂ (borough) of the comune of Venice, Italy. It includes the industrial area known as Porto Marghera or Venezia Porto Marghera.

34

35

BRIEF INTRODUCTION OF VENICE The Typical Island Unit of Venezia

Urban Fabric,Comune di Venezia, 1959

The main islands were originally independent settlements, with some characteristics elements in common.

A church; a square; one or more rain water collection wells; as least one canal at the edge of the square, if the canal is not visible, that means it was probably filled in at the later time.

Church Square Canal Road Well

Architecture Construction Method Before building the walls along the canal, the Venetians drove wooden piles into the earth. Then they use two layers of thick boards over them and one layer stone blocks, on the top they built the foundation walls.

GENERAL INTRODUCTION OF VENICE The maps shows the urban fabric in venezia in 1942, it is obvious showed that the city block developed from inside out. The highest density part of island in along the central canal and San marco part.

The urban fabric of murano shows much less dense of building from the map above. It indicated that the completed year of buildings in murano is much later than in Venice.

Development of Venice

How the Well Works The development way of Venice did not grown out of a centre that is expanded over time, but out of a series of settlements that correlates into one.

36

Rainwater collection holes

Well

37

MURANO IN VENICE Brief History of Murano

Brief Introduction of Murano Glass

6th Century: Initially settled by the Romans and from the sixth century by people from Altinum and Oderzo. At first, the island prospered as a fishinAg port and through its production of salt. It was also a centre for trade through the port it controlled on Sant'Erasmo

10th Century: The beginning of Murano glass blowing tradition, more precisely in 982.

11th Century: It began to decline as islanders moved to Dorsoduro. It had a Grand Council, like that of Venice.

12th Century: Murano was ultimately governed by a podestĂ from Venice. Unlike the other islands in the Lagoon, Murano minted its own coins.

14th Century: Murano glassmakers were allowed to wear swords, enjoyed immunity from prosecution by the Venetian state and found their daughters married into Venice’s most affluent families.

13th Century: Murano becomes the center of glass in 1291 when all glass makers are ordered to move their foundries to the island of Murano near Venice. the Venetian Senate decreed that, because of the risk of fire from the increasing number of furnaces operating, the industry be removed from Venice to the Island of Murano 16th Century: Three thousand of Murano island's seven thousand inhabitants were involved in some way in the glass making industry. Murano glass making supported almost the entire economy of the island of Murano.

17th Century: Murano glass making techniques suffer a serious decline. A high percentage of furnaces are shuttered and numerous family based glass makers cease to exist. Main reason for this decline was that Chinese glass was introduced to the world thanks to the same sea routes which first helped Murano export its glass.

1291: All the glassmakers in Venice were forced to move to Murano due to the risk of fires.

15th Century: The island became popular as a resort for Venetians, and palaces were built, but this later declined.

21th Century: In the Twenty-First Century Nissan Introduced The mid-size crossover SUV That Is Based on The Same Name At The 2002 New York Auto Show.

20th Century: Murano glass was produced in great quantities in the 1950s and 1960s for export and for tourists.

Some of the most famous names of 20th century glass design include Tina Aufiero, Alfredo Barbini, Ercole Barovier, Gae Aulenti, Gino Cenedese, Angelo Vittorio Mazzega, Alessandro Mendini, Carlo Nason, Flavio Poli, Gio Ponti, Giovanni and Livio Seguso, Carlo Scarpa Angelo Seguso, Ettore Sottsass, Paolo Venini, Vittorio Zecchin, Napoleone Martinuzzi, etc. Numerous museum collections in every part of the world, now display examples of fabulous Murano glass including Murano vases, Murano chandeliers and Murano glass sculptures.

Late 20th Century: Today, Murano is home of the wonderful Museo Vetrario or Glass Museum in the Palazzo Giustinian, which holds displays on the history of glass making as well as glass samples ranging from Egyptian times through the present day.

21st Century: Up to this day, the artisans of Murano glass are still employing these century-old techniques which they perfected generation after generation, crafting everything from contemporary art glass, glass sculptures and objects d'arts, glass jewelery to Murano glass table lamps, pendant lights and large chandeliers.

handicraft, venetian glassvase 1462 38

Venini Glass

Some of the Murano's historical glass factories continue to produce wonderful Murano glass collections. Some of them are Mazzega, Venini, Barovier & Toso, Pauly, Seguso, Ferro Lazzarim.

Murano glass is still interwoven with Venetian glass to this day since most of these family founded glass foundries started in Venice and later moved to Murano.

39

ANALYSIS The island of Murano is situated 1.2 kilometers north of the city of Venice in the Venetian lagoon and is a part of the municipality of Venice. The island’s 1134 acres are divided into four islands (Navagero, San Donato, Del Convento, San Pietro, and San Stefano) and two sacche, or reclaimed land zones, (Sacca Serenella and Sacca san Mattia) by a network of canals similar to that of Venice. Each of the islands and sacche are linked by several walking bridges and also by the azienda comunale di trasporti di Venezia (actv) boatstops that are scattered along Murano’s canale grande and the outer islands. The island as a whole has a layout remarkably similar to that of venice. Murano has numerous campi (squares) like Venice; however instead of being centered around a church, the campi of murano were originally centered around glass factories. The rest of the island is occupied by approximately 5,700 residents, and contains historical sites and businesses that cater to the needs of tourism.

sacca mattia

san noato

1, Canale Degli Angeli 2, Canale Ponte Lungo 3, Canale S.Giovanni, 4, Canale Serenella 5, Rio Dei Vetrai

1

2

sacca serenella

3

The Canale Degli Angeli, Canale Ponte Lungo, Canale S.Giovanni,Canale Serenella and Rio Dei Vetrai is the main canale in venezia , they contain the main traffic ports,and load the most boats.

Rio Dei Vetrai

s. terea e s. mattia

4

s. chiara e s. stefano

san pietro martire

Island of Murano

5

B

R

s. giacomo e s. maffio

O

Three ways to Murano VENIER MUSEO

By Train to Venice - By Boat Bus to Murano

SERENELLA

NAVAGERO

12

18 13 N 7 O R

By Air to Airport - By Boat Bus to Murano COLONNA

FARO

By Boat Bus 40

3 B N 4.2 12 13 N

Traffic Line of Murano 41

ANALYSIS

Views of Murano

42

43

MURANO ANALYSIS LEGEND

Function

44

Important showroom

Cathedral

Showroom

Wild Plants

Palazzo

Residential + Showroom

Agriculture Area

Factory

Supermarket

Public Areas

School - education

Restaurant + Bar

Public Green Area

Residential

Hotel

Museum

Others

Private Garden

Green Area

Buildings

45

MURANO ANALYSIS

Well-conditioned Building Public Areas

Still used but not in Good Condition

Still used but not in Good Condition

Half-abandoned Building

Building Quality

46

Abandoned Building

Public Space Classification

Half-abandoned Building

47

MURANO ANALYSIS Problems and Possibilities

1, Architecture could be restored, those which have historical values and art values.

2, Architecture Must be preserved, which have historical value, art value, use value and others.

Problems The use of the Space

People almost walking only in one street

Connection

Public areas are not connected with each other

Activities

Lack of cultural and sport activities in Murano

Space Quality

Murano does not have high quality public areas

Buildings

Lots of unused and abandoned buildings in the city

Service

Lack of service areas like bars, hotels, etc.

Population

Decrease of population

3, Buildings could be partly improved, buildings which are not for private using, and not in a high quality; or buildings were half or totally abandoned by others.

4, Buildings need impovement, buildings are not used or totally in a very bad condition.

Potentials of the Project Area Position

There are lots of boat lines from Venice to Murano, and Murano is almost the nearest island from Venice main island except Cimitero.

Green Areas

In Murano, there are more Green spaces and trees than Venice, and the proportion of green area is much higher than Venice.

Commercial

Fondamenta dei Vetrai and Fondamenta Manin are two mature commercial streets, famous showrooms like Venini is on the road of Fondamenta dei Vetrai

Unused architectures

Some old factories are not used anymore in Murano, and they have large spaces which could have great potentials for architecture transformation.

Also, some residential buildings are not used, they also have potentials of renovation.

Historic buildings

Chiesa dei Santi Maria e Donato, the Church of Saint Peter the Martyr.

Famous Showrooms

Venini and others.

Glass making

The glass making process attracts lots of people.

Public Spaces of Murano

48

Abandoned Factory in Murano

49

DESIGN AREA SELECTION Function Analysis + Public Area Analysis

Show room area Residential Area + Private Area Public Spaces + Abandon or Half-abandoned Architectures

Design Area

By overlapping the analysis of architecture function, landuse, architecture condition, we can find that the spaces we could use are not many, we can not do something with private spaces, and it is obvious to see that in Murano area of showrooms and spaces of residential area are divided into two parts which is shown in the graph, and we don't want to disturb the residents of Murano much, so we won't put our emphasis on the area of residential areas.

And, in the area of showrooms, we could not do something on residential areas, also we can't do a lot construction on the buildings still well used.

In previous analysis, we could find some abandoned or half abandoned areas in the showroom part, and there are some public spaces already exists and used well in current time which could be used in future.

Area of showrooms 50

51

SPACE USE COMPARISON

SPACE COMPARISON - Between Venice and Murano 1, The Most Common Route in Murano

Dock

Commercial road

3 Public Spaces of Murano

4 Venezia as an example

Dock

1, The Second Route

Santo Stefano

Calle Bressagio

Campo San Donato

There are only three intensively used public areas in Murano except the docks Dock

Dock

52

Commercial road

Chiesa dei Santi Maria e Donato

Ponte Longo

Musuem Vetro

From the map above, it obviously shows that the population mobility is concentrated along the central canal - Rio dei vetrai, and canal ponte lungo. But Murano is far more that that. People don't go other spaces in murano except the main commercial road, in Previous analysis, we have already got the conculusion that because of the architecture function, abandoned building, lack of services and other reasons, the use of Murano public needs to be improved, but how? with the question we choose an area from Rialto to accademia to see if we could find some references of how to requalify the spaces.

As the graph above, it can be seen that Venice is covered with lots of routes, nearly the whole island is covered by tourist activities, so we would like to take Venice as an example to see how does Venice work better than Murano.

We choose the area from Rialto to Bridge Accademia.

1, From Rialto to accademia bridge, that is a commercial street which used for a long time, the function of that area is similar to Murano.

2, The area is composed from a series campos with various typologies of spaces.

3, It could be easy to find abondunt activities there, make the spaces there very vivid and interesting.

4, Venice and Murano share the same culture and the same construction method of architecture, it is easy to get a mature and success reference from Venice spaces.

53

Venice analysis

SPACE ANALYSIS FROM RIALTO TO ACCADEMIA We take Venice as an example to see the space changes from Rialto to Accademia bridge.

1 1

2

Rialto

3 2 3 5 4 4

Campo San Bortolomio

Campo San Salvador

Campo San Luca

5 6 7

6 7

8 Campo santo stefano

Campo sant' angelo

Campo manin

8

Bridge Accademia 54

55

Venice analysis SECTIONS

Some sections to see different dimentions with different activities.

3.7m

5.2m

47.5m

2.3m

Section 5-5

Section 3-3

15.7m

Section 1-1

8m

56

Section 6-6

Section 4-4

27m

Section 2-2

50m

2.5m

32m

Section 7-7

8.5m

12m

25.5m

Section 8-8 57

Venice analysis DIFFERENT DIMENTIONS WITH VARIOUS ACTIVITIES Dimention

Concerning elements

Common Activities

0-10m

Street

Tours activities

Special Activities

Traffic Eating Purchasing Canal

Tours activities Traffic

Bridge

Rest Traffic

ELEMENTS

10-25m

Sculptures

Rest

Kiosk

Purchasing

Well

Rest

Outdoor stairs

Rest

Small and middle Campo

Traffic

Education

Purchasing

Busking Outside

Tours activities

Eating Outside

Education

Rest

Stairs

Pillar plus statue

Well

Big Campo

25-50m

Tours activities

Education

Rest

Busking Outside

Traffic

Open-air Concert

Purchasing Park

Shelter Small Campo

58

Kiosk

Exhibition

Rest

Education

Traffic

Bridge Middle Campo

Tours activities

Large Campo

Calle

Garden and canal

59

Venice analysis

hotel cathederal

Hotel Cathedral Bars & Caffee Restaurant Commercial Venice Agency

SANT' ANGELO

Circulation and Architecture Entrance

Plan

bars restaurant commercial agency

Architecture Function

People in Campo Sant' Angelo

Perspective

1 2

1

2

60

61

Venice analysis SANT' ANGELO Small music live, Busking, Having rest, Conversation

Pathway 5000

Music live, Busking, Having rest

Well 3500 Kiosk 3800

Evalated Platform 48000

SECTION 1-1 62

Eating, Rest, Coffee, etc.

Pathway

Rest, Biennale exhibition entrance.

Tourists activities, Purchasing

2600

Music live, Busking, Having rest

Kiosk 6400

Canal

6200

Evalated Platform 48000

Pathway 4100

SECTION 2-2 63

transparency What is Transparency?

Physical Transparency

We assume the meaning of transparency as defined by Rowe, Slutsky, Hoesli in 1997. They published a theoretical book, entitled Transparency, which mainly talks about the relationship between Modernist architecture and Cubism painting.

Rowe begins his essay drawing upon painters from the early 20th century’s cubist movement to introduce and define his dual view of transparency. With this set of evidence, Rowe sets out his basic tenets that define transparency:

1, Transparency in Painting

Hoesli and Slutzky comment the Cubist canvas of the early 1910s as illustrative of these two orders or phenomena of transparency (concepts alluding to space-time relativity), and they compare and illustrate the difference between literal and phenomenal transparency in Picasso’s The Clarinet Player, 1911 (being literal, a figure in deep space) and Braque’s The Portuguese, 1911 (being phenomenal, a shallow flattened extended space).

“Transparency may be an inherent quality of substance, as in a glass curtain wall; or it may be an inherent quality of organization. One can, for this reason, distinguish between a literal and a phenomenal transparency.”

In this book, authors explained the definition of transparency in two layers, one is physical, another is phenomenal.

Venetian Glass by Carlo Scarpa: The Venini Company, 1932-1947

Literal transparency, just as its name implies, describes the materiality of transparency. It refers to the material like light, glass, light fabric, paper, light ceramic and so on.

Le Corbusier’s Still Lifes’ speak of both literal and phenomenal transparency; of both overlapping transparent figures (wine glass and bottle) and overlapping – yet flattening – planes (objects) in space. The painting depicts spatial ambiguities; a property of transparency, due to an illusion of deep yet shallow space; a fluctuation of back and forth movement of objects and planes advancing and receding simultaneously.

Axonometric of Le Corbusier’s Still Life, 1920

2, Transparency in Architecture

The Nelson-Atkins Museum of Art / Steven Holl , 2007

Le Corbusier’s Still Life, 1920.

64

In Peter Eisenman’s formal-geometrical analysis of the Casa del Fascio by Giuseppe Terragni, he describes the frontal plane of the southwest façade as a series of successive layered planes from front to back (Eisenman, 2003). This interpretive study can be seen as a forerunner to his own investigative projects of layering planes and spaces, seen especially in his early house projects.

In Eisenman’s article on Cardboard Architecture: House II, “the implied planes formed by the columns and beams cut through the volumes in such a way as to create a condition in space where the actual space can be read as layered. The layering produces an opposition between the actual geometry and an implied geometry; between real space which is negative or void and implied volume which is positive or solid” (Eisenman, 1975).

Eisenman then describes a “dialectic or an opposition between an actual relationship and an implied relationship in the environment using the column and the wall, and the wall and the volume” (Eisenman, 1975). Here the actual and the implied relationships of transparent modes or operations are seen in opposition to each other, creating ambiguous dialectic or double overlapping readings of planes and spaces.

Eisenman thus achieves an overlapping-multiple reading or interpretation of transparent yet ambiguous conditions by means of working between two modes or readings of transparency, actual transparency vs implied transparency, or similarly, literal vs phenomenal transparency, or real/substantial vs seeming/organizational transparency, that is, the two modal operations of layering, the layering of Planes vs the layering of Spaces.

Eisenman’ axonometric analysis diagram of Terragni’s Casa del Fascio:

65

Phenomenal Transparency Using "Transparency" As a Method to Improve Public Spaces of Murano During several visits in Venice, we find the street’s typology of Venice is quite a lot different from Murano. It offers more possiblities of street’s experience than Murano. It is quite interesting that the typology of public space are quite abundant, when the proportion of height and distance in less than 1(D/K < 1 ), like section 1 and 2, people feel private, and intimacy and want to going through rapidly.

When the proportion of height and distance equals to 1(D/H = 1 ), like section3, 4, 5. the public space indicated the most comfortable states, in urban scale.

When the proportion of height and distance in less much larger than 1(D/H > 1 ), like section6,7. the urban space indicated the most public character, the sociality of the public space arrives the largest states. And the layers of public space are getting into a more various states. Taking the Campo Sant' Angelo as a example, The layers of public space contain trees, sculptures, pillers, lamps, wells, temporary shops, temporary bars, walls and so on. From phenomenon transparency aspect, these visual elements can be interinfiltrated each other on the square, which can make visitors to get different visual perception and walking experience.

In our selected design area in Murano , we are going to use the pheonomenal transparency as our urban design method to improve the diversity of public space in Murano. Making the layers of public space more abundant in order to let citizens and visitors experience Murano better.

Public Distance

Distance > 3750mm

speech

Distance

people almost have no communication with each other...

Distance +∞

2, Building / Building

Transparency as design method to improve the people perception in public space When D/H < 1

1, People / People

building street

building

We did the study of the distance between human beings, it gradely shows the relationship between people's behaviors and the physical distance.

Intimate Distance

When D/H = 1

building 0-450mm

Kiss

Hug

Caress

street

building

Argument

Personal Distance When 1<D/H <2

building 450mm- 1300mm

Chatting

Family Meeting

building

street

Conversation

Social Distance When D/H=2

1300mm-3750mm 66

Working

Neighbor

Coffee Rest

building

street

building 67

3ďź&#x152; The Preference for Complex Stimulation

building

street

building

When D/H=3

After 70s, environmental psychologists did the research on " human being had the preference for complex stimulation", it inspired us to look upon the experience of city environment from another new perspective. Here the "preference" means "pay more attention" and" show more interest", but it's not equals to "like", for example, a curious or strange public space may attract people's attention, but it doens't mean to get all the people's liking.

Too little environmental stimulation would have bad influence on peoples's psychology, as well as too much stimulation would. That means the middle range of environmental simulation would fit the people's ideal psychological needs. Joachim.F.Wohlwill presents "Adaptive theory" in the book "the study of behavioral environment" on 1974, he insisted that the most adaptive level for sensory stimulation is the middle range between too little and too much.For example, if the building, road, and green system are mostly the same in a public environment, people will feel bored and tired, and will have the desire for exciting and simulating, but when the public environment are full made of adverticements, flags, pedestrians, cars and noise, people will feel nervous and chaos.

45 0

Here is a table concluded by Wohlwill in the book, the first ones shows the relationship between complex simulation and people' interest, the secound shows the relationship between complex stimulation and people's liking.

building When the D/H =1

interest(exploring time)

People are quite close to architectures, It is easy for visitors to see the details of facadeďź&#x152;the shape of window, the material of facade, the decorative detail of window lattice.

So when the d/h is equal or less than one, the lower part of building and the ground pavement should be considered more during the design process.

liking

x1

x1 > x2

complexity of stimulation 27 0

x2 complexity of stimulation

When D/H =2

building

People are not so close to the buildings, according to the perpective theory, the attention of visitors are more on the entire outline of the buildings, but hard to focusing on the detail of the facade, so the entire building style, from the lower part to the roof outline all can be notices by visitors.

This situation is quite easily seen at the different squares in venice, for example the Campo Sant' Angelo, when people stand on the central point of it , the angle between buiding and viewpoint of visitors is approximately 27degree, and by our hand-on experience, we are more focusing on one building outline.

Fig.Joachim.F.Wohlwill, 1974, The study of behavioral development, academic press, New York

The feature of observer (personlity, emotional state, intention, cultural and social experience)

The character of architecture A1

Perception ( the perception of architectural features)

Awareness (the awareness of architectural features )

Emotion ( the reaction of emotion)

The evaluation of emotions and the meaning behind.

A2 A3 18 0

A4

building

. . . . .

When D/H =3 People are far away from the buidling facade. it is easy for the vistors to see the entire building cluster, but hard to see the details on the facade.

68

Aesthetics reactions (emotional, physiological, behavioral)

Fig. A theoratical model concerned about the aesthetics reactions of architectural characteristics.

69

4, Perception on the Difference of Spatial Enclosure Thiel's "Degree of explicitness in space" describes people' s perception on the enclosure of space "Noun complexity", as it literally means, there is no difference between stimulations

10

0

20

30

50

40

60

70

80

90

100

No complexity

"Unorganized complexity" means the the random assortments of stimulations in a whole enviroment.Although there are differences between stimulations, but the overall atmosphere turned more tedious. For example. the random plantation of various arbors, the random installations of kioskes and infrastuctures, the randam layouts of different building styles.

These will all create tedious and boring space.

Stimulation with unorganized complexity

Stimulation with organized complexity

0

"Organized complexity" means in one environment, there are several parts, each part is mainly made of one stimulation. Although every part looks tedious, but from overall perspective, the environment turns a well- organized complexity. For example, the botanic garden which has different districts of different plants.

This method is making the different parts of one environment involve each other, then creating a kind of no-organized complexity in the juction of space, this scene mostly be seen in the nature evolution of urban districts. For example, the edge of residential area turns into free market or commecial streets , the edge of landscape area turns into villa area and so on.

Up: Down: Front: Left: Right:

upper horizontal interface lower horizontal interface front central interface left vertical interface right vertical interface

Fig: Degree of explicitness in enclosed space (idealized practice)

Agoraphobia

1010 Cubic foot

Stimulation with synergic complexity1: Involved in each other The last method is a combination of method 1 and 2, that is setting the several sub-environment among the no-organized background. This method is most utilized in the program of scenic zone and them park. These two method are all human intervantion.

10 9

10 9

8

8

7

7

6

6 5

5 absolute value of space volume

4

4

3

3

2

2 Stimulation with Synergic complexity 2: with unorganized background

70

0

0

Wohlwill also proposed five categories of stimulation: "No complexity", "unorganized complexity", "organized complexity", "synergic complexity 1" (involved in each other ) and "synergic complexity 2" (with unorganized background).

Fig: The organizations of complex stimulation

1

1

0 101 Cubic foot

10

20

30

40

50

60

70

80

Fig: the assumption of equal enclosed space (redrawing according to the sketches by Thiel 1986)

90

100 Claustrophobia 71

Average value (female)

Average value (male)

Average value (female/ male)

Assumed value by all

Upper horizontal interface

1.79

1.50

1.65

1

Left vertical interface

2.58

2.75

2.66

2

Front central interface

2.16

1.88

2.02

2

Right vertical interface

2.58

2.75

2.66

2

Down horizontal interface

3.47

3.75

3.61

3

Names of spatial interface

6, Environmental Influences

Personal Relationships Influence of Trends, Fashion, Styles Cultural Influences and Mannerism Conscious Symbolism--Associations Collective Unconscious Biological Reactions to a Color Stimulus

Fig: The comparison of impacts on enclosed space by different interface.

Remarks:

From the experiments by Thiel, according to Thiel's "Degree of explicitness in space" predicted people' s perception on the enclosure of space, at the meantime, it also intdicated that how people judge the importance of interface in an enclosed space, the result mostly coincides with the assumption by Thiel, that is, the upper horizontal interface is the most important, the lower interface is the least important, the importance of other three vertical interface is between two of them. The most notable thing is, during the judgement of testee, the front central interface has the more impact on enclosed space rather than left or right interface, and the differential value is very big, this result is different frtom Thiel's assumption, but it meets the design experience, that is the importance of front central interface is next only tothe upper horizontal interface Thus, in order to reduce the enclosed degree of interior space, and improve the openess of it. This result tell us, the designers should consider the upper horizontal interface(ceiling, canopy) and the front central interface( corner window, convext window, and so on) , and do the flexible combination with color and lighting.

The lackness of Thiel's assumption is quite obvious, one is the certain gap between experienment and realistic situation, secound is the unconsidered influence of social and cultural aspect. But this reasearch indeed proceed the research and be considered as a design thinking and method. As a architecture designer, we should consider the impact by the different proportion of space interface and shapes, and combined with color, texture, lighting, temperature, activities, and so on to do the analysis and research synthetically, and take the daily experience as reference, to do the comparison on different social culures, the result of design must be interesting and multi-layered.

5, Perception on Color Differency in Architecture

Numerous environmental factors influence the perception of color that creates a memorable experience.

1. Biological Reactions to a Color Stimulus: " Psychological component" from the natural effects of nature 2. Collective Unconscious: Personal experience pertaining to color.

3. Conscious Symbolism: "Learned responses" that are sysmbolic to the surrounding environment 4. Cultural influences and Mannerism: Particular colors are that are related to a country or location.

5. Influence of Trends. Fashion, Styles: Temporary colors that reflect a time period 6. Personal Relationship Individual likes and dislikes

7, Design Goals

interest

80

acceptance

joy

anticipation

trust

60

vigilance anger

trust

terror

fear

rage loathing disgust

boredom

admiration

grief

apprehension

amazement surprise

sadness

relative lightness

ecstasy

annoyance

yellow-green

100

serenity

40 20 violet

red

distraction

pensiveness

400

500

Fig: Perception Curve

72

Fig. The "Color Experience Pyramid"

the smaller the number, the higher the importance

600

700

wavelength(NM)

Visual focus on architecture color, analysis of aesthetic elements in architectural formâ&#x20AC;&#x201D;â&#x20AC;&#x201D;shape,light,color.

From the color study, we hope to gain a better understanding of the psychological effects of color in an urban space and incorporate the findings into my designs by :

Color psychology is concerned with the effects of color on peopleâ&#x20AC;&#x2122;s physical situation,mood,emotion and behavior.This is of great reference value to our choice of architecture and urban color.We must give enough attention to urban color just as we control the noise and air pollution in cities.Color has a very great power,perhaps even an inherent power,because we have seen the power of color demonstrated in our work and the work of others.So we should learn to make use of color in beautifying,optimizing our dwellings.Color can be consciously used in our urban/human environments to create beneficial effects.

1. Bringing awareness to the psychophysiological effects of color within a space.

2. Applying color in a way that contradictions the standard functional context.

3. Integrating the surrounding elements of the geographical location into the space to reflect the color scheme.

4. Creating an unique experience that changes overall mood of the space.

5. Provoking a psychological sensation through the use of different hues.

http://www.slideshare.net/BrittaniAnderson/the-psychology-of-color-in-an-interior-space

http://www.slideshare.net/BrittaniAnderson/the-psychology-of-color-in-an-interior-space 73

Complex pattern

d

l

W oo d W oo

l St ee

rk wo

re te

ter

nc

The tactile assessment (TAC) of complex pattern, glossy, massive, and warm was significantly different (p ≤ 0.05) from the evaluations where participants used vision (both GEN and VIS). For rough no significance was found. These results suggest that the sense of touch picks up different sensory cues than vision while assessing a material’s pattern, its gloss, its massiveness and its warmth. The materials are generally perceived to be less massive during tactile evaluation than in the other conditions (Figure 1a). For the other attributes, the differences in assessment are material dependent (Figure 1 b-d), e.g., the pattern of wood and blue stone is perceived to be far more complex when using vision, whereas the pattern of plasterwork seems more complex when using touch.

GEN

VIS

TAC

TAC

W oo d

l St ee

wo rk

ter

re te nc

Co

kw or k

GEN

Pl as

Pl as VIS

Br ic

es

to ne

9 8 7 6 5 4 3 2 1

Bl u

W oo d

l

Smooth

Rough

F. Rough

St ee

nc re te ter wo rk

People interact with the built environment through all their senses: They see the light and colors of a space, hear sound reflections, smell and feel the properties of its materials. Despite all senses being involved in people’s architectural experience, during the design process architects often focus on the visual aspects (Pallasmaa, 2005). Numerous design projects are prized for their visual qualities. Nonetheless, some of these buildings, like Jørn Utzon’s Sydney Opera House and Zaha Hadid’s Fire Station in Vitra, have caused considerable problems for their occupants (Franck & Von Sommaruga Howard, 2010). Whereas the visual way of “conceiving architecture” may be considered as a strength of the design process by the design research community (Cross, 1982; Goldschmitt & Porter, 2004; Lawson, 2000), a multisensory approach to design is more likely to appeal to the building’s users.

Pl as

Br ic

kw

to es Bl u

or k

ne

d TAC

Co

kw or k

Br ic

es Bl u

TAC

D. Glossy

9 8 7 6 5 4 3 2 1

Co

Glossy Mat

VIS

E. Lively

GEN

St ee

Bl ue s

GEN

W oo

l St ee

rk wo

re te

ter

nc Co

Pl as

Br ic

kw

or k

ne to es

Touching Materials Visually: About the Dominance of Vision in Building Material Assessment

to ne Br ick wo rk Co nc re Pl te as ter wo rk

Simple pattern

d W oo

9 8 7 6 5 4 3 2 1

TAC

VIS

9 8 7 6 5 4 3 2 1

to ne

Very lively

8, Perception on Color Difference in Architecture B. Complex pattern

C. Warm

GEN

Not lively at all

l

VIS

9 8 7 6 5 4 3 2 1

Bl u

Simple pattern

Complex pattern

GEN

St ee

to ne Br ick wo rk Co nc re Pl te as ter wo rk

9 8 7 6 5 4 3 2 1

Bl ue s

Massive

Massive

A.Massive

VIS

TAC

GEN

W oo d

l St ee

wo rk

ter

re te

Pl as

Co nc

or k kw

Br ic

es

to

ne

9 8 7 6 5 4 3 2 1

Bl u

Textured

Flat

G. Flat

VIS

TAC

Fig. Mean responses to the different attributes, varying between 1 and 9, for the investigated building materials, according to the three test conditions (GEN, VIS, TAC). Represented attributes: (a) Massive, (b) Complex pattern, (c) Warm, (d) Glossy, (e) Lively, (f ) Rough, (g) Flat.

74

75

MATERIALS

General evaluation(GEN)

Visual evaluation(VIS)

Tactile evaluation(TAC)

Material descriptions Brickwork

brickwork(6), stone(2)

brickwork(4)

brickwork(16), concrete(4),stone(3)

Blue stone

marble(4)

marble(5),(natural) stone(5)

glass(10),metal(3),plastic(3)

Concrete

concrete(9)

concrete(7)

wood(11),(natural)stone(3),gypsum(2)

gypsum(2)

wood(11),(wall)paper(3)

Steel

aluminuem(3),metal(2)

metal(7),aluminum(4),steel(2)

metal(7),aluminum(4),steel(2)

Wood

wood(3)

wood(4)

wood(19),fabric/textile(6)

Plasterwork

Whereas certain aspects appear to be related more to vision (e.g., color) or to touch (e.g., warmth), these sensory descriptions were not that strictly bound to the respective senses used for evaluation. Concrete was, for example, most commonly associated with cold during the evaluation in the visual test condition, whereas none of the participants taking the tactile test mentioned coldness in their associations. In all test conditions brickwork was associated with rough, blue stone with cold, steel with glossy, and wood with warm. And although color cannot be perceived by touch, several participants named color properties in association to the materials they touched blindly.

Table : Materials associated with the different samples during visual, tactile, and general evaluation by at least two participants. Number of participants naming the association are given between parentheses.

General evaluation(GEN)

Visual evaluation(VIS)

Tactile evaluation(TAC)

Brickwork

Strong(2)

Good insulator(1),fire resistant(1)

Grainy(2)

Blue stone

Expensive(4), heavy(3)

Expensive(4), sturdy(3)

Brittle(1), polished(1)

Concrete

Sturdy(4), bad insulation(1)

Unfinished(3), strong(2),cheap(1)

Heavy(4),fibres(2),thick(2)

Plasterwork

Unfinished(2), brittle(1)

Light weight (2ďź&#x2030;

Painted(3),cheap(2), bad insulation(1)

Steel

Flexible/bendable(4),sturdy(2)

Bendable(2),thin(1)

Painted(1), water repellent(1)

Wood

Unfinished(1)

Light weight(4),unfinished(4),splinters(2)

Fibrous(6), light weight(4), splinters(4),hairy(3), thin(2)

Brickwork

Rough(9), hard(3), warm(3)

Warm(6),rough(3),red(2)

Rough(10), hard(4),red(4), texture(4), massive(3)

Blue stone

Cold(8), dark(4),hard(3),smooth(3)

Cold(5),dark(2),hard(2)

Smooth(10),cold(9),glossy(7),massive(3),white(3),hard(2)

Concrete

Cold(7), hard(2),rough(2),soft(2)

Cold(7), massive(3),rough(3),warm(3)

Smooth(6),soft(5),hard(3),massive(2),rough(2),warm(2)

Plasterwork

Light(7),white(4),bright(3),cold(2),rough(2)

Light(7),white(4),bright(3),cold(2),rough(2)

Hard(7),white(4),warm(3),mat(2),rough(2),soft(2),uneven(2)

Steel

Cold(9),glossy(5),reflective(3),shiny(2)

Cold(9),glossy(5),reflective(3),shiny(2)

Cold(11),smooth(9),glossy(8),reflective(3),grey(2),hard(2)

Wood

Warm(11),soft(5),rough(3),pale(2)

Warm(11),soft(5),rough(3),pale(2)

Soft(9),rough(2),warm(2)

MATERIALS Tecnical descriptions

Sensory descriptions

Table : Examples of expressive and associative meanings mentioned by the participants during their visual and tactile evaluation of the building materials.

MATERIALS

General evaluation(GEN)

Visual evaluation(VIS)

Tactile evaluation(TAC)

Expressive meanings Brickwork

Trendy(1),modern(1),busy(1), aggressive(1)

Enjoyable(2),traditional(2),modern(1),simple(1)

Aggressive(1),traditional(2)

Blue stone

Luxurious(4),old(4),old-fashioned(2),lively(1),sad(1)

Pleasant(1),classic(1),luxurious(4),sensual(1)

Neutral(1),impersonal(1)

Concrete

Industrial(2),modern(2),open(1),sad(1),old(1)

Unpleasant(2),simple(1),industrial(1),lively(1)

Cozy(1),old(1)

Plasterwork

Neutral(9),pure(3),sterile(1)

Neutral(4),simple(3),pure(3),moderm(2),new(2),timeless(1)

Neutral(1),banal(1),simple(1)

Steel

Industria(7),modern(5),unpleasant(3),energetic(1)

Industrial(3), modern(3), pure(1), austere(1)

Clean(1),distant(1),industrial(1)

Wood

Natural(4),pleasant(3),neutral(1),fragile(1)

Enjoyable(2),natural(2),honest(1),lively(1),playful(1)

(Un)pleasant(2),cozy(1)

Brickwork

House(8),facade(4),wall(4),outdoor(4),loft(1),lego(1)

House(9),facade(7),bricklayer(3), outdoor(2),nature(2),tradition(2),wall(2),red desert(1)

Wall(5),house(3),pain(3),sanding paper(3),facade(2), tradition(1)

Blue stone

Nature(5),kitchen(counter)(5),floor(4),grave stone(3), aquarium(1),court building(1)

Nature(3),kitchen counter(3),floor(3),rock(2),water(1),rome(1),antique(1),grave(1)

Ice(2),ice skating(2),mirror(2),bathroom(2),decoration(1)

Concrete

Industry(2),loft(2),structure(2),parking space(2), tadao ando(1), fossil(1),russia(1)

Industry(4),construction(2),modern architecture(2), garage(2),depot(2),structure(1)

Animal (skin)(2), table(2),fur(1), stone-like(1), fireplace(1)

Plasterwork

Hospital(5),emptiness(4),modemism(2),snow(2),basic(2),cloud(1)

Empty(5),musuem(3),snow(3),hospital(3),wall(3),new building(2),doctor(2),greece(1)

Panel(3),toys(2),door(2),indoor(1),chalk board(1), crocodile(1), emptiness(1)

Steel

Industry(5),mirror(5),kitchen(3), bookshelves(3), car(3),construction(1)

Industry(4),mirror(3),magnetic board(2),pot or pan(2), car(2), bookshelves(2), electricity(1)

Fridge(2),boat(1),drum set(1),metal shovel(1),garage door(1)

Wood

Nature(7), furniture(6),tree(house)(5),garden shed(5),children(2),fire(2),chalet(1)

Tree(house)(5), nature(4), scale model(2),sauna(2),fire(2),furniture(2),chalet(2),vacation(1)

Clothing(3),furniture(2),couch(2),curtain(2),mustard(1),kiwi(1),carpenter(1)

Associative meanings

Table 5. Examples of expressive and associative meanings mentioned by the participants during their visual and tactile evaluation of the building materials.

76

77

Chapter Four 4.1 Overall design concept: Capturing Transparency 4.1.1 Glass line 4.2.2 Master Plan

Design Application

4.2 Design strategy 4.2.1 Story Line 4.2.2 Node 1: Introduction about Murano 4.2.3 Node 2: Information Center 4.2.4 Node 3: Historical showroom preservation 4.2.5 Node 4: City installation 4.2.6 Node 5: City green lung 4.2.7 Node 6: City service addition 4.3 Further design Glass art musuem addition Node 7 4.3.1 Case study 4.3.1.1 Corning Glass art Musuem 4.3.1.2 Rolex Learning Center 4.3.2 Design expression 4.3.2.1 Plans 4.3.2.2 Sections 4.3.2.3 Renderings

78

79

CONCEPT

Musuem and Library

GLASS LINE

Sculpture Park

Multi Functional Service Area

Here are the beautiful mosaic arts we found in Murano, Mosaic is the art of creating images with an assemblage of small pieces of colored glass, stone, or other materials. It is a technique of decorative art or interior decoration. Most mosaics are made of small, flat, roughly square, pieces of stone or glass of different colors, known as tesserae; but some, especially floor mosaics, may also be made of small rounded pieces of stone, and called "pebble mosaics".

Leisure Space Venini Showroom

Main Dock

80

Introductive for the Island

81

USING GLASS LINE AS STORY LINE TO CONNECT EACH NODES

Physical transparency connects spatial transparency.

Physical Transparency: Glass is colored by impurities in the batch ingredients, or by one of three processes; using a dissolved metallic oxide to impart a color throughout,forming a dispersion of some substance in a colloidal state, and suspending particles of pigments to form opaque colors. Of these methods, the intentional coloring of glass is usually accomplished by dissolving metals. The following table shows the colors generated when different metals are added to the glass paste. These metals are added to the paste in the form of metal oxides.The paste is a solid powder that usually resembles the color it will impart on the glass. The color a glass receives from a metal depends on the type of metal, the quantity, and the ionization state. Certain metals are well known to produce specific colors, and the intensity of the color is related to the amount of the metal present. Colors are created when the metal ions bond to the glass. The colors produced are a product of the metal used and its ionization state. There are detailed theories and calculations used to predict the color a specific metal ion will produce.

Phenomenal Transparency:

82

Node 1

Node 5

Main Dock

Sculpture Park

Node 7 Museum and Library

Node 2 & 3

Node 4

Node 6

Introductive for the Island

Leisure Space

Multi Functional Service Area 83

VARIOUS PARAMETERS OF EACH NODES

Names

Height(mm)

Dimension/Height

Main Material

30

0-13000

0

∞

Glass mosaic

466

1

40

5000

5800

0.86

Glass mosaic

459

2

50

28000

6500

4.3

Glass mosaic

958

3

60

17900

8000

2.23

Bricks

1200

4

70

1300

5100

0.25

Glass mosaic

289

Glass mosaic

2097

Solar Panel

1872

Degree of explicitness

Color

Mosaic Area（m2 ）

Dimension(mm)

Type of enclosed space

Node 1

Node 2+3

3 4

1 2

Node 4

80

84

19000

4000

4.75

85

Names

Type of enclosed space

2

Node 5

Degree of explicitness

Dimension(mm)

Height(mm)

Dimension/Height

1

70

19000

8000

2.375

2

70

54000

9000

6

Main Material

Color

Mosaic Area（m2 ）

Glass mosaic

90

Glass mosaic

335

1

Sloping Grass

Glass mosaic

Node 6

1

60

3600

2900

1.24

3

2

70

3600

2900

1.24

4

3

50

26000

5900

4

50

5700

1

50

2

240

Murano Brick

1 2

Glass mosaic

348

4.41

Glass mosaic

834

5000

1.14

Glass mosaic

81

13000

10000

1.3

Glass mosaic

130

70

21000

4000

5.25

Glass mosaic

792

3

70

20000

8000

2.5

Glass mosaic

895

4

80

9200

8000

1.15

U-Glass

Node 7

4

3

2 1

Area of Mosaic in Total Weight of Mosaic in Total 86

8014m2 20，035 ton 87

Glass production waste which we can use as glass line materials Solid waste is caused by the glass fragments that are not used in production as well as from the packing materials used in delivering products. Solid waste from the glass manufacturing industry is not a major contributor to the pollution found on Murano. The glass manufacturers collect and separate glass fragments according to color and eventually recycle the used glass. The used glass can only be used to form darker colors and therefore there is a limit to how it can be recycled.

Glass that is incapable of being used again is shipped to waste management facilities located off the island. Waste from packing materials is collected and brought to a landfill located on the outskirts of the island. A lot of the packing that is used ends up as waste elsewhere after the products have been shipped. There is also pollution caused from residential and non-glass manufacturing companies located on Murano.

From the table leftside, The annal solid glass waste reaches up to 13000 tons. From the previous accounting, the dosage of whole mosaic pavement is 20,035tons, that means only two years, the raw material of glassline design can be gathered enough. It further approved the feasiblity of our project.

Fig: Glass fragements without classified

Fig: Glass fragements without classified 88

89

DESIGN GUIDELINES As previous analysis mentioned, the most significant issue in Murano is the use of the space, people almost only using one street.

The reason why the problem happened is because: 1, some spaces are using as private area, and the traffic stop at that private area, which become barriers of continuity openspaces. 2, some part of the spaces are abandoned or half abandoned, the quality of the spaces are low and need to be requalified.

In Venice, everyone should follow one precondition in front of finding the methods to handle urban problem: Protect Venezia architectures and urban morphology, with this guideline, we find two methods in our masterplan to handle the problem of space using.

Two methods 1, land replacements to deal with the problem of private area

old circulation

Area = 10 m²

new circulation

Area = 10 m²

2, reuse of the half abandoned spaces and give them a new function.

In our Masterplan, first we find the historical map of Murano, in order to figure out what is the urban morphology before the spaces are abandoned, we would like to restoration the spaces or the architecture first, and then re-qualified each spaces with specific methods.

Hotel + residential Abandoned Residential

90

91

MASTERPLAN

92

93

ACCESSIBILITY

BEFORE

94

AFTER

95

OPEN SPACES

BEFORE

96

Public Green Area Private Garden

AFTER

97

INTERVENTION EVALUATION

BEFORE

98

Important Architecture Architecture abandoned Architecture not used Normal Architecture

Conservation Architecture Transformation New Architecture Without Change

AFTER

99

FUNCTION

BEFORE

100

Factory + showrooms Others Showrooms Supermarket Restaurante

Education Cathedral Musuem Factory Residential

Education Cathedral Musuem Factory Residential

Others Showrooms Supermarket Restaurante

AFTER

101

THE NODES Names

Node 1

NODE 1 - Main Dock

Type of enclosed space

Degree of explicitness

30

Dimension(mm)

Height(mm)

Dimension/Height

Main Material

0-13000

0

∞

Glass mosaic

Color

Mosaic Area（m2 ）

466

Current Situation

102

103

THE NODES

NODE 1 - Main Dock

Old Plan

Section

104

New Plan

105

106

107

THE NODES

NODE 2 - Introductive for the Island

Names

Type of enclosed space

Node 2+3

Degree of explicitness

Dimension(mm)

Height(mm)

Dimension/Height

Main Material

Color

Mosaic Area（m2 ）

1

40

5000

5800

0.86

Glass mosaic

459

2

50

28000

6500

4.3

Glass mosaic

958

3

60

17900

8000

2.23

Bricks

1200

4

70

1300

5100

0.25

Glass mosaic

289

3 4

1 2

Unused Factory

108

Factory + Showroom

109

THE NODES

NODE 2 - Introductive for the Island

Old Plan

New Plan

Tourist Center New Public Area

With Glassline of Node 2

Old Perspective of Node 2 110

New Public Area

Show room

Route

Murano History Exhibition room

New Accesibility of Node 2

New Architecture Function of Node 2

Old Half Abandoned Area

Factory and Showroom

Route

Half Abandoned Factory

Old Accesibility of Node 2

Old Architecture Function of Node 2 111

112

113

THE NODES

NODE 3 - Venini Showroom

Architecture Conservation Introduction of Venini

1, Paolo Venini Paolo Venini (1895 â&#x20AC;&#x201C; 1959) emerged as one of the leading figures in the production of Murano glass and an important contributor to twentieth-century design.

2, Venini In 1921 Venini and Cappellin opened a glass factory on the islands of Murano, the historic glass production center in the lagoon of Venice, Italy, under the name Vetri Soffiati Muranesi Cappellin Venini & C. With Luigi Ceresa and Emilio Hochs as investors, they arranged to purchase the recently closed Murano glass factory of Andrea Rioda, hire the former firm's glassblowers, and retain Rioda himself to serve as technical director of the venture.

Their plans went quickly awry, however, when Rioda died before production had begun. Several of the principal glassblowers decamped to found a competitor firm under the name Successori Andrea Rioda. Nonetheless, the venture was successfully launched and prospered with support from the founders' distribution contacts in Milan. The firm also benefited from a commitment to introducing new, modern design concepts.

Following disputes, Cappellin withdrew from the firm in 1925, taking most of the firm's master glassblowers and launching a competitor. Venini reorganized with new glassblowers and, first as Soffiati Muranesi Venini & C. and later as Venini & C., achieving a position as a design leader among Murano firms.

Venini himself played a role in designing several of the firm's best-known products, including the famous "fazzoletto" (handkerchief) series which he created with designer Fulvio Bianconi.

Following Venini's death in 1959, the firm was initially continued by other family members and then sold in 1985.

114

115

3，The Venini showroom VENINI is a glass art brand which is famous around the world, it was established by Paolo Venini and Giacomo Cappellin in 1921. Until now, Venini Showroom is the most innovative and successful of the glass furnaces based in Murano, and produce really beautiful, world-glass pieces through collaboration with some of the top designers and architects in the world, some of the current collaborators include Tadao Ando, Mario Bellini and Massimilano Fukas.

Carlo Scarpa was one of the earliest artistic consultants engaged by Venini, and he has designed a large number of unique and beautiful pieces for Venini that are still in production today. The showroom in Murano was also designed by Scarpa. He started collaborating with Venini in 1932 and, acting as artistic director until 1946, he designed objects d’art and lamps. He has left an extremely important mark in both the designs of models and research into the most sophisticated techniques.

The existing Venini showroom is the made of four parts, a main exhibition room, a special showroom , a countyard, and a factory. The first one is the main exhibition room, it includes the exhibition area and the office area, the main exhibition room maintain the traditional way of exhibition, the front is window shop and the backside is the office area.

The shop window lists the important architect’s and artists’ glass work,in the office area, the officer can do the business with designers or purchasers. The special showroom can be entered from the main exhibition room, it is designed

by Carlo Scarpa, which we can easily see the Carlo scarpa’s architectural style, the elegant marble pavement, the large spiral staircase with a large crystal droplight hanged in the middle. This room exhibits more exquisite glass arts. The courtyard is also designed by Scarpa, but now it is not open to the tourists. The factory is behind the shop which is also not open to the tourists now. Maybe in the future, the factory also can be a visit site for tourists, in order to make more people know Venini better.

For this node, it is not necessary to apply a new design, because the existing situation of the showroom is quite wellworked. We we want to make it as a very important historic pot in Murano, and maintain the Scarpa’s showroom as a very important sightseeing for tourists.

Office

Show Room

Show Room

0

116

2

5

10

Venini Showroom 117

THE NODES Names

Node 4

NODE 4 - Leisure Space

Type of enclosed space

Degree of explicitness

80

Dimension(mm)

19000

Height(mm)

4000

Dimension/Height

Main Material

Color

Mosaic Area（m2 ）

Glass mosaic

2097

Solar Panel

1872

4.75

Current Situation

118

119

THE NODES

NODE 4 - Leisure Space

Old Plan

After Design

Pavillion

New Plan

Glass Line (pavement)

Oringinal Trees

Current Situation 120

123

124

125

THE NODES

NODE 5 - Sculpture Park

Names

Node 5

Type of enclosed space

2

Degree of explicitness

Dimension(mm)

Height(mm)

Dimension/Height

1

70

19000

8000

2.375

2

70

54000

9000

6

Main Material

Color

Mosaic Area（m2 ）

Glass mosaic

90

Glass mosaic

335

1

Sloping Grass

Current Architecture

126

127

THE NODES

NODE 5 - Sculpture Park

Old Plan New Entrance

New Boundary Route

New Accesibility

Old Entrance

Old Boundary Route

New Plan

Old Accesibility

New Entrance

New Sculpture Park of Node 5

Old Entrance

Old Perspective of Node 5 128

Glass line in Node 5 129

130

131

THE NODES

NODE 6 - Multi Functional Service Area

Names

Type of enclosed space

Degree of explicitness

Dimension(mm)

Height(mm)

Dimension/Height

Main Material

Color

Mosaic Areaďź&#x2C6;m2 ďź&#x2030;

Glass mosaic 1

60

3600

2900

1.24

3

2

70

3600

2900

1.24

4

3

50

26000

5900

4

50

5700

5000

Murano Brick

240

1 Node 6

2

Glass mosaic

348

4.41

Glass mosaic

834

1.14

Glass mosaic

81

Current Architecture

132

133

THE NODES

NODE 6 - Multi Functional Service Area

Old Plan

Residential Education Showroom Church Service Others

New Plan

Private Garden Area Route

With Glass Line

New Accesibility

Old Architecture Function

1

4 2 Private Garden Area Route

Old Perspective 134

Old Accesibility

3

5

New Architecture Function 135

1 After

1 Before

5.000

2

3

4

5

0.000

Unused residential area change into hotel or restaurant, etc.

136

137

138

139

THE NODES

140

NODE 7 - Museum and Library

141

CASE STUDY - Corning Glass Art Museum 11

3 10

9

6 4

9a

5d

5b

8 3

5c

2

7

3

5a

1

Function of Floor 0

The campus of The Corning Museum of Glass is a collection of modern glass architecture, influenced by five generations of architects, each with the goal of creating a fluid space and incorporating glass wherever possible.

3

Function of Floor -1 1. Admissions Lobby 6. Changing Exhibitions Gallery 2. Contemporary Art+ Design Galleries(1990-2015) 7. Contemporary Glass 3. Amphitheater Hot shop 8.Courtyard Hot shop(seasonal) 4. West Bridge 9. The Studio 5. Innovation Center 9a. Make your own Glass Pavllion(seasonal) 5a. Innovation hot shop 10. Garder Gallery 5d. Flameworking Demo 11. Rakow Research Library 5b. Glass breaking Demo 12. Audio rooms 5c. Optical Fiber Demo 13. shops

Source: www.archdaily.com

Explore Glass

Experience Glass

Understand Glass

Other Service Function

Circulation 142

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CASE STUDY - Corning Glass Art Museum Phase 3. CAFE of Corning Musuem of Glass Architects: Smith-Miller + Hawkinson

3 1

4 5

2

The Smith-Miller + Hawkinson expansion included two prominent additions, one to the east and one to the west of the existing building. The western addition encompassed the Auditorium, Coffee Bar, and glass bridge and passageway (known as the West Bridge) that linked the former Steuben Glass factory to the Birkerts’ building. Also included in the western addition was the Hot Glass Show demonstration stage, where visitors were first able to see live, narrated glassmaking demonstrations.

The Museum’s expansion and renovation was completed in 2001, resulting in a 117,400 square-foot facility. A redesigned 18,000 square-foot GlassMarket, one of the largest Museum shops in the country, occupies most of the lower level of the Museum.

Phase 4. Library facade transformation

Phase 1: Modern Glass architecture Architects: Harrison & Abramowitz L" shape , International Style Glass, influenced by Ludwig Mies van der Rohe.

The general aesthetic of the original building designed by Harrison is represented by the clean lines and clear functionality associated with the International Style, which developed from the philosophical and theoretical ideas for modern architecture promoted by the celebrated German-American architect Mies van der Rohe(1886-1969).Characteristic architectural elements of this modernist style include a square or rectangular footprint, a simple cubic "extruded rectangle" form, exposed steel and glass construction, windows running in broken horizontal rows forming a grid, and 90-degree façade angles.

Architects: Bohlin Cyminski Jackson The architects from Bohlin Cywinski Jackson, responded to a number of criteria for the new Library, including providing different levels of security for its rare collections and designing a series of climatic environments within the building in response to the varying needs of the collections. The building was designed to protect the Library’s holdings from the risks associated with the Museum's location in a flood plain, which was also a primary component of the building designed by Birkerts.

Phase 5. Courtesy of Corning Museum of Glass

Phase 2. Biomorphic and Organic Modernist Style Architects: Gunnar Birkers The exterior of the building reflected Birkerts’ understanding of the circle as an inherent architectural form, reminiscent of academia and solitude, and the exploration of the properties of hot and cold glass. Birkerts described his building as both free flowing and amorphous, similar to when glass is heated at the furnace, and crystalline and structured, as when glass is cooled.

The façade of the building’s undulating perimeter is composed of rolled glass with stainless steel backing. Mirrors beneath the windows allow light into the building indirectly, minimizing glare and heat gain and protecting the fragile objects on display.

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Architects: Thomas Phifer and Partners Location: The Corning Museum of Glass, 1 Museum Way, Corning, NY 14830, USA Area: 100000.0 ft2 Project Year: 2015 Photographs: Courtesy of Corning Museum of Glass The Corning Museum of Glass North Wing Expansion provides 100,000 square feet of new space, including spacious light-filled galleries for its collection of contemporary works in glass, as well as one of the world’s largest facilities for glassblowing demonstrations and live glass design sessions.

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CASE STUDY - Corning Glass Art Museum The light of the corning museum is worth learning from this case, and with the white background and the light in the architecture, the glass arts can be introduced in a right way.

roof glass with designed pattern

roof beam

exhibition wall

outside wall

What we can learn from Corning glass museum?

1, The functions composition of a glass museum.

2, The exhibition way of glass arts: light, background wall, roof.

3, The circulation of the museum: continuity 4, The extension of a museum based on the historical architecture.

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CASE STUDY - Rolex Learning Center

Architects: SANAA Location: Lausanne, Switzerland Project Year: 2010 Photographer: Yao Meng

148

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CASE STUDY - Rolex Learning Center

Open spaces in Rolex Learning Center The building, designed by the acclaimed Japanese firm SANAA, features one of the most impressive concrete surfaces, creating a fluid space for students to enjoy. Interesting comments by Ryue Nishizawa on the relation between organic forms in architecture and human life. While the building is a perfect rectangle when seen in a plan view, the curves and slopes which define the interior space give the building a totally organic look.

Library

Working area

Research Collection

Offices

Offices Bookshop

Main Entrance Bank

Working Area

What we can learn from this architecture?

Cafe

1, A series of consecutive open spaces.

Ancient Book Collection

2. Organization of functions unites.

Multipurpose Hall

Food Court

Restaurant

Function Inside

Parking Entrance Pedestrian Route

Open Spaces Continuity 150

Circulation Flow Inside 151

THE NODES

NODE 7 - Museum and Library

Names

Type of enclosed space

Degree of explicitness

Dimension(mm)

Height(mm)

Dimension/Height

Main Material

Color

Mosaic Areaďź&#x2C6;m2 ďź&#x2030;

1

50

13000

10000

1.3

Glass mosaic

130

2

70

21000

4000

5.25

Glass mosaic

792

3

70

20000

8000

2.5

Glass mosaic

895

4

80

9200

8000

1.15

U-Glass

Node 7

4

3

2 1

Changes From 2003-2007 Normal Condition New Architecture Architecture abandoned Architecture not used

2003 152

2007

2012

2015 153

THE NODES

Accesibility Analysis

NODE 7 - Museum and Library

Land-use Analysis

Old Plan

Space Belongs to Factory Private Garden Public Green Area

Public Space

New Plan Architecture Function Analysis

Cathedral Resturante Supermaket

154

Architecture Condition Analysis

Showroom

Architecture Normal

Musum of Glass Factory

Architecture in Bad Condition Architecture Not Used

155

THE NODES

NODE 7 - Museum and Library Two main entrances

Strategy of Architecture Extension

A Series of Consecutive Spaces Design Area

building in bad condition

Old Museum in a good quality

building not used but in good condition

These analysises are aiming to discribe how we generate the masterplan,

Current Architecture Condition

Library courtyard

Library to Museum

New Museum Courtyard

Old Museum Courtyard

Way to Old Museum

Design Area

Demolish

Library

Service center

Oringinal Buildings

Not change

Renovation

Office

Musuem

New Buildings

Strategy for Exsiting Building 156

New Entrance

Glass Line

Architecture Function

Architecture Strategy 157

NODE 7

New Museum and Library

Strategy of Architecture Function unit

Function Unit Inside

Previous Analysis shows that the situation of the use of the current Musuem is good, therefore we won't change anything of the existing musuem, we only put emphysis on the part of extention of museum.

Due to our concept is CAPTURING TRANSPARENCY, we would like to create two kinds of spaces, one is function unit, which is used for people doing things without talking, and the other is commonground inside of architecture, which is used for people to communicate with each other.

Development of Function unit

Design of Unit

Unit Volumn

Unit Area Common ground

One Unit 158

Several Units Connect with Each Other

Units in Extension of Museum 159

NODE 7

Ground Floor Plan

Audio room New Glass Musuem

Library

New Glass Musuem

Office Restaurant

Workshop

Old Glass Musuem

N

0 4 8 160

16m 161

NODE 7

First Floor Plan

Audio room New Glass Musuem

Library

New Glass Musuem

Office Restaurant

Workshop

Old Glass Musuem

N

0 4 8 162

16m 163

NODE 7

New Musuem and Library - Ground Floor

Art unit

Modern art unit

Glass History unit

New museum - hall 1 Reception Reception

Audio room

Service unit Office

New museum - hall 2

Magazine unit

New museum - hall 3

Shop

Restaurant

Workshop

0

164

5

10

165

NODE 7

New Musuem and Library - 1st Floor

Art unit

Modern art unit

Glass History unit

New museum - hall 1 Reception

Reception

Magazine unit

Audio room

Office

New museum - hall 3

New museum - hall 2

Library

Office

Museum

Shop

Old Museum + New Museum + Audio room + Service Center

Restaurant

New Museum Hall 1 + Hall 2 + Hall 3

Museum Circulation

Old Musuem -- Service -- New Museum Workshop

New Musuem -- Service -- Old Museum 0

New Museum Circulation 166

5

10

Hall 1 - Hall 2 - Hall 3 - Courtyard 2 - Service center 167

NODE 7

Sections

1 6.600

3 4

1

0.000

Section 1-1

3

4

7.500

2

0.000

2 Section 2-2

4.500

0.000

Section 3-3

3.300 0.000

Section 4-4 168

169

170

171

172

173

174

175

176

177

178

179

180

181

182

183

Chapter Five

References and Bibliography

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BIBLIOGRAPHY BOOKS

ESSAY

Yoshinobu Ashihara, The Aesthetic Townscape, The MIT Press, 1983

“Transparency” that Breaks the Frame: Inclusive Space in Urban Landscape Regeneration, 2015, Fang Wei, Tsinghua University, Beijing

Peter Brook, The Empty Space, Atheneum, 1968

Andrea De Matteis.2011.FAKE VENICE

Gabriele Cappellato, Venezia.architettura contemporanea, Editrice Compositori, 2007

黄晔 , 戚广平 《田子坊历史街区保护与再利用实践中商居混合矛盾的财产权问题》2015, 西部人居环境学刊

Gordon Cullen, Concise Townscape, Taylor & Francis Ltd., 1961 Guy Debord, Society of the Spectacle, PUBLISHER, 1967 Giulia Foscari, Elements of Venice, Marsilio, 2014 Jan Gehl, Life Between Buildings: Using Public Space, Island Press, 1971 Siegfried Giedion, Space, Time and Architecture, Harvard University Press, 2003 Linda Groat, David Wang, Architectural Research Methods, Wiley, 2002 Rem Koolhaas, Elements, Marsilio, 2014 Rem Koolhaas, Bruce Mau, Hans Werlemann, S M L XL, Monacelli Press, 1995

WEBSITE

Kevin Lynch, The image of the City, The MIT Press, 1960

http://www.labiennale.org/en/biennale/history/

Franco Mancuso, Venezia è una città. Come è stata costruita e come vive, Corte del Fontego, 2009

http://www.labiennale.org/en/venues/arsenale.html

Paolo Maretto, Venezia, Vitali e Ghianda, 1969

http://www.elputnam.com/eyemind/Putnam.html

Tom McDonough, Guy Debord and the Situationist International, The MIT Press, 2004

https://zh.wikipedia.org/wiki/%E5%B1%95%E8%A6%BD%E6%9C%83

Christian Norberg-Schulz, Genius Loci: Towards a Phenomenology of Architecture, Rizzoli, 1979

http://www.designboom.com:8080/architecture/thomas-phifer-corning-museum-of-glass-new-york-03-19-2015/

Adele Re Rebaudengo editor, Pavillions and Gardens of Venice Biennale, Photos by Gabriele Basilico, Contrasto, YEAR Aldo Rossi, The Architecture of the City, The MIT Press, YEAR Colin Rowe, Robert Slutsky, Bernhard Hoesli, Transparency, Academy Editions Architecture Series, St. Martins Press, 1995 John Ruskin, The stones of Venice, 1898 Michela Scibilia, Guida completa all’isola di Murano, PUBLISHER, 2007 Camillo Sitte, The Art of Building Cities: City Building According to its Artistic Fundamentals, 1889 Thiel 1986 COMPLETE REFERENCE Roger Trancik, Finding lost space: theories of urban design, PUBLISHER, 1986 Egle Renata Trincanato, Venezia minore, Edizioni del Milione, 1948

Great Thanks to

Alan Windsor, Ruskin's Venice: the stones revisited, PUBLISHER, 2000 Joachim F. Wohlwill, The study of behavioral environment, Academic Press, 1974 环境心理学（林玉莲 胡正凡编着）中国建筑工业出版社

Professor. Paola Pellegrini and all the Professors who taught us in Politecnico di Milano

Peter Zumthor, Atmospheres, Birkhäuser Architecture, 2006 Peter Zumthor, Thinking Architecture, Birkhäuser Architecture, 2006

Phd. Fang Wei from Tsinghua University Thank you so much !

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