Anti-Constant is not only a characteristic of my architecture but also the design philosophy I advocate. Just like the dancer in the image, it is dynamic, ever-changing, and never constant. Contemporary architecture and urban spaces are static and fixed, which leads to numerous urban and architectural issues. In terms of space, the efficiency of fixed spaces declines over time. To meet the growing demands, people must build higher-density buildings and demolish old ones, resulting in urban problems and resource waste. For users, rigid spaces fail to create a sense of belonging unique to the individual, and thus architecture is often seen more as a machine. Therefore, we need to rethink architectural design with a dynamic mindset to address the diverse functional needs and the individualized spiritual needs of users. In this portfolio, I approach each building through the lenses of medium, urban spaces, boundaries, and materials, integrating dimensions like time and function, and considering them with a dynamic mindset. I hope that each building is unique for every user at every moment.
[Medium]
A Whisper of Buddha I
[Boundries] [Urban Spaces] [Materials]
When I Take Off My Suit
Talking to the Boundries
A Masonry's Life
A Whisper of Buddha
[Anti-Constant Medium]
Date: 2024.6.20
Site: Fuzhou, Fujian Province, China
Instructor: Yuanchuan Yang, Yanmu Chen
In this project I hope to promote Buddhist culture to the public in a special form: "Incense". Incense is a characteristic of Buddhist culture, and it is also a medium for people to convey wishes and blessings to Buddha, which connects Buddha and people potentially. Therefore, I used incense and light to redefine the space of the building, making it gradually interact with the visitors and guide them from the human world to the religious world. The ethereal changes of incense in the light are under the action of the magic and gentle, like the Buddha's whisper. So I call it “A Whisper of Buddha”. What’s more, the religious world represented by Buddha and the scientific world represented by human beings are opposed to each other originally. However,the balance and connection are generated through architecture, incense and light together strike a balance and connection between the religious world and the scientific world. Overall, I utilized vaious features of the constantly changing medium：Incense，creating a space that is unique to the visitors of this moment.
Buddhism represents the world of religion,which is opposed to the world of science. It focuses on spirituality and it is a belief formed through thoughts and understanding presented in the form of faiths and principles.
Human represents the world of science, which is opposed to the world of religion. It focuses on materiality and it is a set of laws summarized through facts and practice presented in the form of formulas.
Incense is a symbol used by people to pray for the Buddha. It potentially connects the religious world and the scientific world and conveys people's wishes and blessings to the Buddha.
The Connection of Architecture
The site is located on the Drum Mountain in Fuzhou, Fujian Province, China, at the foot of a temple, which is the only way to burn incense and worship Buddha. The site was originally deserted with grass, cliffs and pools. I took advantage of the elevation difference of the site itself and embedded the building in it. Therefore, passers-by on the way up the hill will be attracted by the mysterious and hazy scene of the wide lawn and the distant building with wisps of smoke, and the dialogue between people, incense and Buddha will also start here. I want this building to be a container of light and incense, connecting people and Buddhas.
To make Buddhist culture visible, I extract the basic spatial forms of Buddhist space and then I use three basic types of incense: Backflow Incense, Straight Incense and Censer to redefine the traditional space form elements, forming a human space that can be felt and interacted with visitors .
Buddhist space
Human Space
Incense
Backflow Incense Using incense to redefine space
Incense Texures
Straight Incense Censer
Civilizing Worship Memoria Transportation
In the roof definition system, I use the prism principle to disperse the sunlight through the prism, and project it onto the rising straight incense. In this way, the rising incense has a colorful form to redefine the roof.
In the ground definition system, I want to explore the connection of incense fluency and space forms. I use differnt space forms ranging from arc space, gap ground and stairs to interact with incense from different hight to give ground elements a new definition.
In the wall definition system, I make the wall, the incense and the light react with each other to produce different visual effects by using the backflow incense column, incense textures and the combination of incense and holographic projection.
Incense & Time
Incense, architectural and light interweave with each other, forming a mood of buddhist. They guide visitors from the human space into the Buddhist space gradually. The scene of incense and light seen by later visitors is that of former visitors burning incense, which is the embodiment of time in this building. "Predecessors burn incense, posterity will be blessed" is the essential meaning of Buddhism to burn incense and worship Buddha, and this is imperceptibly expressed in this building.
Incense Connects Human & Buddhism & Time
Based on the Buddhist gesture of burning incense, I intertwine human space with Buddhist space in the form of a double-loop streamline. The incense that produced in Buddhist space becomes the media to produce ineratctive light and incense phenomena in human space.
Dream Hall
Incense
Texture Light Sight
Roof Defenition
Incense rising from the Buddhist space is rendered in color by light refracted from a prism. This can be seen by the visitiors at the intersection, leading them into the building.
入云處
Cloud Entrance
Human Space Incesence
Wall Defenition
Entrance Defenition
The particles of incense produce dundar, the textures of incense are illuminated by light on the walls, both of which guide the visitors to the next space.
Buddhist Space
Incense, lit by monks from the Meditation Pavilion, travels along the wall into the Mural Pavilion. Murals about the life of Sakyamoni are projected on the walls through holographic projections, creating fantastic light and shadow effects with rising incense.
畫云閣 畫云閣
Mural Pavilion
踏雲道
Exhibition Road
踏雲道
Cloud Platform
Ground Defenition
The smoke rising from the Buddhist space spreads along the glass floor of the house, creating a unique texture. It guides the visitors walk through exhibition hall in an S-shaped routine. At the same time, rising smoke creates an ethereal wall for the sermon hall above.
Meditation Pavilion
成佛路
Truth Tunnel
Ground Defenition
The backflow incense flowed down the steps into the pool, making the hazy ground merged with the distant clouds. The incense released into the pool by the visitors gathers and sinks along the pipe, forming ethereal columns of smoke that guide visitors step by step to the head of the ten thousand Buddhas, Sakyamuni.
講經堂
Hall
見佛台
Sakyamuni’s Space
Ground Defenition
Walking along Truth Tunnel, visitors will see different parts of the Buddha through the hole and interact with the incense in the meditation space. Looking up from the Ten Thousand Buddha Temple, people walking above seems to have become a part of the Buddha's niche.
Exchage From Human To Buddhism
萬佛祠
Buddhas’ Temple
彩雲閒
Sermon
Incense Phenomenon
Appealed by incense
The glass above the entrance reveals some of the light effects of the interior to the visitors, drawing them into the building with interest.
At the Cloud Entrance, The Dundar effect emphasizes the entrance to the space and leads people to start this journey of interacting with the incense.
The lights cast on the rising Incense. Their dynamically changing shadows are projected onto the walls to create special textures that lead to the next space.
Guided by light
People walk through the exhibition in a S-shaped routine along the textures of the incense. Above is the sound of chanting from the
Followed by textures
Buddhist Culture
Led by incense
Buddhist sight
sermon hall.
Through the water, half of the arc is the Buddha statue of Sakyamuni, half is the pedestrian walking down, and visitors are guided into the next space.
Facade Extracted from A Monk’s Daily
I abstracted the monk's daily behavior into a diagram to form the facade of the building. At different times, sunlight shines through the holes into the building, and at the same time, colored Windows and prisms react with sunlight, creating unpredictable light and shadow phenomena,which is just like the story of a monk's day.
Incense & Light Experiment
I want different times of sunlight to interact with different parts of the building. I put prisms on the roof and stained glass in the side window holes. I hope to use the dispersion of light produced by the prism and the Tindahl effect produced by the stained glass to give the fragrance a unique visual effect. 3:00 4:00 5:00 6:00 7:00 8:00 9:00 10:00 12:00 13:00 14:00 15:00 16:00 17:00 19:00
Dream Hall
The "Bathing Buddha Festival" is the birth date of Buddha Sakyamuni. On this day, the midday sunlight passes through the roof and disperses with the prism. The rising incense is rendered colored by the light. At this moment, the building is connected with time through light and incense.
Dream Hall
Sunlight at various moments enters the Dream Hall at different angles. The changing light shining through the stained glass produces a colorful Dundar effect . When visitors walk through colorful light, it is like they are experiencing a monk’s day.
Mural Pavilion
Mural Pavilion is inspired by the murals in the Mogao Grottoes: The Story of Sakyamuni Buddha - Crossing the city at midnight As the beginning of Sakyamuni's cultivation into a Buddha, the whole trip was especially spectacular. So I use holographic projection and incense to present a magnificent scene.
Exhibition Road
Exhibition Road is inspired by Sakyamuni's six years of hard practice. I make the space appear in a dark state. Visitors follow the S-shaped route guided by light and incense to find directions. It aims to express the hardship and confusion during the period of Sakyamuni's practice in the deep mountains.
Cloud Platform
Cloud Platform is inspired by the scene where Sakyamuni finally became a Buddha: Comprehension under a tree. The space is fused with the mountains and sky through the incense. Visitors who have passed through the dark space will have a sense of enlightenment when they come to such a space.
Plan
Extracted From Thanka Painting Scale
Mural Pavilion, Exhibition Road and Cloud Platform are the main spaces for the visitors to interact with the incense. They are inspired by three essential stories from Sakyamuni's path to Buddha,which contains the struggle, confusion andrealization. I seek the plan relationship of these three Spaces by referring to the top proportion in the Thangka painting, hoping to guide the visitors through the phenomena of incense and light.
Truth Tunnel & Buddhas’Temple & Sakyamuni’s Space
Truth Tunnel and Buddhas’ Temple is closely linked with each other on the plan, becoming positive and negative spaces for each other. Inspired by the grottoes and Dharma bells, they are designed as places of worship for the eight great Bodhisattvas. Along the Truth Tunnel, visitors can observe the eight Bodhisattvas from different perspectives and interact with incense in the meditation space. From the perspective of visitors in the temple of Buddhas’ Temple, the figures of visitors in the Truth Tunnel look like a Buddha statue through the hole. At this time, people and Buddhas become parts of the Buddhist niche together through the light and the shadows.
Sakyamuni’s Space is a platform for praying to Sakyamuni, the head of all Buddhas. The backflow incense in the pool released by visitors in Cloud Platform accumulates and sinks through the pipe to form an ethereal column of smoke, forming a unique space limit, and gradually guiding visitors to the Sakyamuni Buddha statue.In this space, the Buddha statue of Sakyamuni is clearly displayed in front of visitors. The divine nature is revealed in the effect of the incense, light and shadows.
The three Spaces respectively represent human, the fusion of human and Buddha, Buddha. These three kinds of human-Buddha spatial relations achieve the balance of human space and Buddhist space under the action of incense and light, which is the climax of the entire architectural space.
Truth Tunnel
Sakyamuni’s Space
Sakyamuni’s Space
Budhhas’ Temple
When I Take Off My Suit
[Anti-Constant Urban Spaces]
Date: 2024.5.31
Site: Fuzhou, Fujian Province, China
Instructor: Yuanchuan Yang; Allen Pang
PIAO is an abbreviation for the group of workers drifting in Fuzhou City. With a close connection with this site, different generations of PIAO have witnessed the change of different urban Spaces of the site. Today, with the increasing pressure of employment and rent, I hope this site can provide more possibilities for them. PIAO has two opposing patterns. At work. They wear suits and are precise and efficient. After work, they take off their suits and return to relaxation and entertainment. I hope the venue can meet the needs of PIAO for both work and relaxation. Therefore, I take inspiration from the action of PIAO taking off his suit, and use variable architecture to provide PIAO with two spatial modes of closure and openness, so as to meet the two different needs of PIAO at work and after work. When working, the whole area is closed to the outside world to ensure the working environment of PIAO. After work, the whole area is accessible on all sides, providing more opportunities for PIAO to socialize and relax. The problem of opposition and rigidity in the inner and outer spaces of the city is becoming increasingly serious, and I also hope to discuss more possibilities of the future of urban space through this project. Overall, I believe that future cities and architectural spaces will be functionally integrated, able to transform according to the needs of their users. This state of changing will also break down the boundaries between public and private spaces, creating a unique and dynamic urban textures.
“PIAO” is a group of workers who come from other places to seek job opportunities in Fuzhou City or who are local hardworking workers. PIAO’s Factories - PIAO’s Community - PIAO’s Temporary Houses, the site has served different generations of PIAO with different functions. Nowadays, with the rising employment and rent pressure, how the future site can better serve PIAO is the theme of our design discussion.
PIAO’s Daily ∞ 2 Mode Strategy
I have observed that there are two opposing life patterns in PIAO's daily life: Work Mode & Off-work Mode. Therefore, I hope that the district can also have these two modes to meet the needs of different periods of PIAO. When PIAO are working, the District is gated, pursuing personal and collaborative privacy; When PIAO take off their suit and leave work, the district is open for PIAO to socialize and relax.
Piao’s Generations
Fuzhou
“When I Take off My Suit”
PIAO‘s Daily
1960s - PIAO’s Factory Gated District
1990s - PIAO’s Community
Site’s History
SIte’s Textures
2 Mode Transformable Spaces
“When I take off my suit”, it is a turning point between the two modes of PIAO. Inspired from this action, I hope to meet the flexible conversion of two spatial forms through the way of transformable space. I summarized three deformation modes of folding/rotating/ unitization for transformation of surface and massing respectively, thus generating a district which can switch between two modes.
Gated Mode Open Mode
Gated Mode meets the needs of PIAO’s working: work/ cooperation /transaction/exhibition . When the district is in Gated Mode, it is isolated, just like the textures of the factory. I hope that it can create jobopportunities for PIAO and meet the needs of work.
Open Mode meets the needs of PIAO after work: social/sports/play /relaxation . When the district is in Open Mode, it is open to the city. I hope that PIAO can have interaction and contact with the people of this city to gain warmth and a sense of belonging.
Gated Plane
Gated Massing
Open Plane Open Massing
On Work Mode
This mode is designed for PIAO on work. I create an enclosed architectural strip facing urban space to interface isolates external interference, providing PIAO with a good public multi-employment environment;. For east side, I combine private office housing with community services. The diverse boundaries offer more possibilities for private offices and community activities.
Off Work Mode
This mode is designed for PIAO off work. Through the Transformable spaces, the texture of the site changes from closed to open, the routine changes from a two-dimensional seperated flow to a threedimensional connected flow , and the function changes from an eclosed architectural strip to a theme activity area centered on a ring.
2.Co-Working Seperation 1. Function Division
On-Work Mode PLan
Working Foramtion
Ring Formation
This mode is designed for PIAO on work. I create an enclosed architectural strip facing urban space to interface isolates external interference, providing PIAO with a good public multi-employment environment;. For east side, I combine private office housing with community services. The diverse boundaries offer more possibilities for private offices and community activities.
On Work Mode
The On Work Mode takes the building strip as the transportation core, making inside and outside are independent from each other. The architectural strip achieves integrity and isolation through a highly reflective interface, which is an urban enclosed space with the scale of the car.
Trading Gallery
Public Office Space
Shop
Private Working Corridor
Greening Unit Strip
2 Mode Transformable Spaces
This mode is designed for PIAO off work. Through the Transformable spaces, the texture of the site changes from closed to open, the routine changes from a two-dimensional seperated flow to a three-dimensional connected flow , and the function changes from an eclosed architectural strip to a theme activity area centered on a ring. I hope to provide PIAO with more possibilities for socializing and relaxing by integrating spaces inside and outside the city.
Off Work Mode
The Off Work Mode uses the inner pedestrian street as the traffic core, connecting the flow lines from different directions. Through transformable spaces, the architectural space is diversified and open, which is humanized open space in line with human scale.
Performance Center
Corridor Terrace
Mobile Camping Unit
Sky bar
Activity platform
Open Balcony
Rotating Art Gallery
Swimming Ring
Sports & Exhibition
Mobile Dining Car
Hot Spring Center
Open Square
Transformable Urban-Arch Spaces
Today, urban space and architectural space are fragmented and static, leading to the opposition and rigidity between public and private spaces. I believe we need to view cities and architecture as a unified whole and approach design from multiple dimensions. Future urban and architecture spaces, capable of self-transformation, will not only meet the diverse needs of individuals but also break the opposition between public and private spaces. As a result, the constantly changing texture of the city will be unique at every moment
Summary: Borrowing Space Theory
[1] The Oppositional Relationship
In architectural and urban spaces, public and private spaces are oppositional and fixed. As a result, these spatial boundaries limit human behavior and enhance the psychological separation between people .
[2] Transformable Spaces Connection
Transformbale spaces aim to switch between public and private spaces. This creates an order of "public - semipublic/semi-private - private," linking different groups of people across various spaces.
[3] "Borrowing" Diagram
"Transformbale Spaces" are like the movable rectangle in the middle. In a certain state, it can form a new spatial arrangement with the square. In another state, it can create a different spatial form with the rectangle. This is akin to buildings and urban spaces borrowing parts of them from each other. Therefore, I call it "Borrowing Space Theory."
Talking to the
[Anti-Constant
Date: 2023.9.15
The traditional concept of boundaries is fixed and unchangeable; it isolates as if there is always a boundary that restricts us, symbolizing authority. or break it. In this project, I hope to challenge the traditional fixed boundaries the boundary. Elastic Fabric is a special material that deforms in response translucency, thus creating entirely new spaces. Using Elastic Fabric as the hoping it will interact and converse with nature and people. Before visitors much like traditional boundaries, limiting and segregating human activity. tree stumps, stones, or their own bodies, the isolating nature of the boundary Overall, I hope that all visitors can find their own way of conversing with metaphor for
Site: Kenai Peninsula, Instructor: Pengxiang
[Anti-Constant Boundries]
2023.9.15
Peninsula, Alaska, USA
Pengxiang
isolates space and limits human activity. Our lives seem to follow this pattern, Most people conform to this boundary, lacking the courage to change boundaries and encourage people to create their own form of dialogue with response to forces generated by different actions, altering its visibility and the material, I created an installation by a lakeside in a deforested area, visitors touch the boundary, the entire installation is closed off and isolated, activity. However, when people attempt to interact with the Elastic Fabric using boundary is transformed, creating a variety of personal resting spaces. with this fluctuating boundary. This is not just an architectural issue, but a for life itself.
Lin, Yanmu Chen
Isolation & Restrictiveness
—Characteristics of Traditional Boundaries
Isolation and restrictiveness are characteristics of traditional boundaries. As shown in this photo, the boundary separates people from the internal space, creating a contrast between opposing scenes. Boundaries often symbolize authority, serving to limit and warn. As a result, people tend to conform to these boundaries, rarely attempting to touch or alter them.
Elastic Fabric
— Breaking The Traditional Definition of Boundaries
Elastic fabric is a new material that breaks the traditional definition of boundaries. Its shape, visibility, and translucency can change depending on the applied force and the degree of deformation. Therefore, I have explored the material's properties in terms of its deformation under force, visibility, and translucency, with the hope that elastic fabric can interact with different human behaviors.
Deformation
Visibility & Translucency
I simulated the interaction between forces from different directions and the elastic fabric in both planar and vertical forms. Under the action of various force, the two-dimensional elastic fabric is transformed into three-dimensional space.
In terms of translucency, as the fabric deforms, the gaps within it gradually increase, causing objects behind it to become increasingly clearer. Regarding visibility, during the day, people can clearly see the scene on the illuminated side of the fabric, while the other side remains invisible. At night, artificial light sources project people's shadows and the internal scene onto the elastic fabric.
“Talking to the Boundry”
I used elastic fabric to create three elements that represent spatial boundaries: line, plane, and volume. I then incorporated natural elements—people, tree stumps, and stones—as points representing active elements. I hope that the points, lines, planes, and volumes can engage in dialogue and interaction, forming a creative space that breaks traditional boundaries.
Elastric Fabric
Boundry Elements Active Elements
Natural Matter
A Deforested Lakeside Area
The project is located in a deforested lakeside area on the Kenai Peninsula, Alaska, USA. The area is rich in natural elements such as tree stumps, stones, fallen wood, grass and so on. I hope people can fully utilize these natural elements to interact with the elastic fabric boundary, creating their own unique space.
"Talking"
"Interaction"
Creativity & Possibilities
The structure of the installation and the fixation of the elastic fabric are achieved through mortise-and-tenon connections using the site's tree stumps and wood. Guided by these natural elements and the elastic fabric, visitors interact with the lines, planes, and volumes to create their own unique spaces. This breaks the conventional boundary limitations, forming diverse and creative exclusive spaces.
More Possibilities
Talking to "Line"
People use stones to alter the elastic fabric boundary, creating a corner for resting, reading, and socializing. At the same time, this changes the originally isolating boundary of the "line."
Talking to "Plane"
The elastic fabric forms a horizontal space where people can play and rest. This also alters the spatial limitations of the "plane."
Talking to "Volume": Daytime
During the day, people can use objects like tree stumps to break the original spatial limitations of the "volume," creating an interior space that accommodates diverse activities.
Talking to "Volume": Nighttime
At night, the light within the "volume" projects people's shadows onto the elastic fabric. Like a shadow play, it tells the story of each individual.
“Hoping that everyone can find its way to talk to their boundries in their life.”
A Masonry's Life
House for An Architect
[Anti-Constant Materials]
Date: 2024.10.15
Site: Anaya, Hebei Province, China
Instructor: Chenhao Ma
In my eyes, materials are like a person's life. Under the influence of time and nature, they fade, age, crack, peel, revealing deeper layers of material, showing a new character. Our lives are the same—from the pride of youth to the maturity of middle age, and finally to the broad-mindedness of old age. Our appearance and temperament, like these materials, undergo transformation; Easily worn-out materials fade early, while hard materials withstand erosion. Change and permanence symbolize the people we meet and lose in life, as well as the things we must steadfastly hold onto. Therefore, I hope to design a home for myself as an architect, one that presents different characters at different times. I have chosen five materials—masonry, salt bricks, tree bark, copper, and plaster. These materials interact with nature at different speeds and in various ways, causing the building to undergo continuous natural changes. The evolution of the materials simultaneously affects the functions and qualities of the space, reflecting the behaviors and psychology at different stages of my life. Therefore, through this story, I hope to discuss the meaning of time and life in the interplay of change and constancy. Why is this story called “A Masonry’s Life”?
You will know the answer.
"The walls transition is like our appearance, from youth, mature, to the wrinkles of age."
"At different stages of life, we reveal different temperaments and reflections on life."
"Just like barks, the outer layer of material peels, showcasing a different inner character."
" We met meanwhile losing someone, but something stays permanent."
Materials & Life
In my eyes, materials are like people's life. Under the influence of time and nature, they fade, age, crack, peel, revealing deeper layers of material, showing a new character. Our lives are the same—from the pride of youth to the maturity of middle age, and finally to the broad-mindedness of old age. Our appearance and temperament, like these materials, undergo transformation; Easily wornout materials fade early, while hard materials withstand erosion. Change and permanence symbolize the people we meet and lose in life, as well as the things we must steadfastly hold onto. Therefore, I wish to design a home for myself as an architect, one that presents different character at different times.
"Different materials gradually fade away in their own way."
"I hope to discuss the meaning of life and time through these materials "
"Materials are just like people's life, telling us different storis about time."
"Therefore, I built a house representing my life, as an architect."
Erosion of North Facade
Growth of South Section
— My Personality Changes — My Architect Life
The erosion of the North Facade symbolizes the changes in my personalities throughout my life. Using a 20-year time span, I abstract the personalities I had at the ages of 20, 40, and 60 into diagrams that form the building's facade. The three elements in the diagram, from left to right, represent different aspects of the personalities: experiences, appearance, and mindset .These represent the manifestation of my character and the architectural temperament at each respective time: Edgy, Gentle, Mellow
The Growth of the South Section represents the growth of my life as an architect. I have incorporated the wish lists from into this sectional diagram. I believe that architects, at different stages of life, must balance the relationships between various aspects of life. At 20, it is the individual and work; at 40, it is the individual and families; and at 60, it is the individual and life. The changes in the black-and-white backdrop of this diagram also symbolize relationship with these aspects.
My 40s: Gentle
My 60s: Mellow
Studio
Room
Room
Erosion of North Facade
Growth of South Section — My Personality Changes — My Architect Life
I use copper, salt bricks, plaster, and tree bark to form the north facade, hoping that they will react differently with nature to interpret the changes in my personalities during different periods. Each material undergoes erosion in its own way under the influence of nature and time: the oxidation of copper, the melting of salt bricks, the erosion of plaster, and the peeling of tree bark . Different types of erosion endow the north facade with different qualities during different periods,showing my personalities during different periods.
I also incorporate phenomena about growth such as the light on the masonry, the upward rising of the mass, the stacking of paper, and the growth of trees into the composition of the north section, hoping that they can metaphorically represent my growth as an architect. The various growth phenomena of different periods endow the architecture with fresh interior spaces, indirectly reflecting my behaviors and psychological development during different stages of architect life.
Salt Brick's Melting
Plater's Erosion
Erosion of 0~4M Facade — My Mindset Changes
Plaster, salt bricks, and copper, undergoes three reactions with nature: erosion, melting, and oxidation, making the wall form different featues. It is just like my mindset changes.
I combined different materials to form the wall, allowing of natural erosion, thus creating walls with distinct characteristics. the changes in my mindset, while the 4-10 meter
go
When I go back home, this space is for my families. The plaster a semi-open space that serves as a garden where the children floor hide vitality, as the children come to understand the
When I go back home, this space has transformed into an and copper doors create a space for rest and reading. walls, turning it into a vibrant indoor garden. This is the
My 20s: Edgy
My 40s: Gentle
My 60s: Mellow
Plaster
Erosion
Erosion Salt Brick Melting Melting Copper Oxidation Oxidation
When I
back home, this space is my architectural we create and design, while the second floor is dedicated and concrete become the main interior materials,
Erosion of North Facade —
On My 20s —
On My 40s —
On My 60s —
— My Personalities Changes
allowing them to evolve in its own way under various types characteristics. The wall between 0-4 meters symbolizes facade represents the changes in my appearance.
When I Go Back Home
Erosion of 4~10M Facade — My Appearance Changes
Tree bark and Cement creates a unique wall texture.Bark wall absorbs moisture, causing wrinkles, then crack and peel, revealing the wood material beneath. Vegtation begins to sprout and grow. It is just like my appearance changes.
My 20s: Edgy
studio . The angular space on the first floor is where dedicated to offices and meetings. Salt bricks, copper, reflecting the unique temperament of an architect.
When I Go Back Home
My 40s: Gentle
plaster has worn down, and the salt bricks have melted, forming children can run and play. The peeling walls on the second meaning of life through the cycles of decay and growth.
When I Go Back Home
an open bookstore for everyone. The remaining salt bricks The plants on the second floor have grown to cover the space where the elderly me enjoys the passing of time.
My 60s: Mellow
Peeling
Plan: On My 20s
The floor plan of the building is as sharp as I was at twenty. The protrusion on the north side of the building forms a design space for every architect. We discuss our plans around the conference table. We present our designs and showcase our models beneath the trees.
Plan: On My 40s
“How to deal with First Party Tommorow...”
"We introduce programs under the tree."
“We
Section: On My 20s
At twenty, I faced the challenge of balancing individual and work. I turned the first and second floors of the house into my architecture studio, while the third floor became my personal space and study. Work occupied most of my time, and my personal life and work existed in a parallel relationship.
As time erodes, the plan gradually softens. At transformed into a living room. The flow of the the wall. On the south side, under the tree, they
“This is our secret tree house.”
“We played on piles of
"Brick Corner is a nice place for designing."
lay up our draft papers as a monument wall.”
draft paper.”
Erosion
forty, I have families, and the floor plan has the space is continuous, my children can play around they build their secret base with draft paper.
Plan: On My 60s
The exterior walls of the building are worn away, and at sixty, I have entered old age. I have turned this place into a completely open bookstore where passersby can rest here . I have folded the draft paper into a large grandstand, where I share my architectural knowledge with them.
“I like to run around wall with my friends.”
“The
“Draft
“Tree
“The
Section: On My 40s
At forty, I faced the challenge of balancing individual with family. The arrival of my family brought many surprises to my life. As a result, the floors of the house were no longer independent, but connected by slides, integrating with the stairs. My children could play and have fun in different spaces.
Section: On My 60s
At sixty, I faced the challenge of balancing personal life with the essence of life itself. When the ground eroded and sank, and the counterweight lifted to open the roof, I knew it was time for retirement. I moved into my children's room, wrapping myself in the two different forms of life—the garden above and the bookstore below.
second floor is my bedroom and playground.”
paper produces layers of color over time.”
grows and becoms birds' home.”
“This is a bookstore which is open to everyone.”
counterweight opened the skylight and turned it into a garden.”
“The ground is eroded , the counterweight rises”
“Bark wall cracks overtime.”
Erosion
Whenever
As
The Tower is primarily composed of masonry, and its interior is filled with project storage ports. For me, it is a space that commemorates my architectural career
I begin or end a project, I take a roll of drawings from one of the project storage ports. At that moment, a beam of light enters through the opening
I grow old, with each step upward, sunlight from different angles pours into the Tower space through the opening, as if telling the story of my lifelong achievements in architecture.
Architect's Masonry Tower
This tower symbolizes my lifetime achievement as an architect. The interior of this tower is built with masonry, while the exterior is enclosed by a plywood framework, connected by a project storage port . Every time a roll of draft paper is taken from the installation, it symbolizes the beginning and end of a project. And with each completed project, a beam of light shines into the room from the sea.
Weathering
Tower Construction:
1.Exterior Plywood Wall Construction:
6mm profiled fibre-cement timber
10mm bark surface
40—300mm plywood, 1° Inclination
50/40mm timber counterbattens
85mm cavity
moisture-diffusing layer
100/150mm glie-laminated timber bean box element with 80mm rigid-foam insulation; vapour-retarding layer
15mm plywood
185mm constructrual cavicity
2.Interior Masonry Wall Construction:
15mm plywood
moisture-diffusing layer
85mm rigid-foam insulation;vapour-retarding layer
300/250/150mm masonry assembly, masonry dry stacking staggered joint system
3.Project Storage Port & Double -structure Connector
4.Roof Light with Fresnel Lens
Connection Instruction
Fading
Project Storage Port connects masonry and plywood structure: I used the dry stacking system for the masonry blocks and tenon system for the wooden structure. Both structural connections avoid the use of chemical adhesives, achieving a low-carbon design.
"On my 20s, I started my journey as an architect alone."
"On my 40s, I met many people, and many people have left."
"On my 60s, I came to understand the meaning of life."
"When I pass away, I hope to burn along with this house, leaving something permanent."
Permanency
The Funeral
"Architects are just like the masonry, we are always alone, but leave something Permanent."
