To
To transform ancient architectural wisdom into modern monumentality
REGENERATING—is a historical reconstruction project with time penetration, which reinterprets the traditional Ming Dynasty royal palace-style architecture. The museum project consists of four layers of deformed volumes and two wings of vertical traffic flow core tubes. The deformed and stacked section organization increases the single building area and organizational capacity, showing the extremely rich topological aesthetics of the space without increasing its floor area. The overall symmetrical classic construction method is in line with the special geographical conditions of the historical site and the value requirements of future sustainable buildings. Through the combination of classic and modern building techniques, the separation effect of the building is created, "sinking, floating", which is both mysterious and monumental, compact in structure and free to stretch.
REMODELING
Traceability is the origin of the horizontal axis of time, Divinity is the beginning of the vertical axis of spirit.
Nanjing, China
Reflections on Geometric Symbols
&
Ceiling: Decorative Coffered Ceiling Guardrail, Staircase and Other Details
Reflections on the Divinity of Light & Material
To distort the perception of a modern pavilion:
‘Reframing—Reading between the lines’ is a visionary project that reimagines a traditional Chinese pavilion structure in Lion Grove Garden, Suzhou, composed of 525 wooden components, 78 polished steel double-sided reflectors, and 1 hollowed-out central copper shaft.
This transparent exhibition architecture changes visually from solid to ethereal depending on the viewer’s perspective. The exhibiting architecture highlights the subjective nature of seeing and the layered meanings of space. This pavilion not only does function like a traditional pavilion, but also it opens up discussions about the reinterpretation of cultural heritage within contemporary contexts.
REFRAMING
Exhibition is Construction Exhibition is Reality Suzhou, China
In the context of traditional Chinese gardens, pavilions are the main places for activities and rest in the garden. They connect the entire garden's touring routes (buildings, pavilions, corridors, rockery, bridges, ponds, vegetation), and have the closest relationship with the viewers. Therefore, this project, with pavilions as the starting point, became the topic of my following research.
From Tool to Shelter
Traditional Chinese pavilions are built in round, square, hexagonal, octagonal and other polygonal styles. Secondly, they can be divided into two types: open and closed. Open pavilions are mostly surrounded by the scenery in the garden. They are usually composed of simple mortise and tenon wooden columns supporting the pointed roofs. The space between the columns is not filled to release the open view, which was used by the ancient Chinese to enjoy the garden scenery and the night moon. Closed pavilions are mostly located in hidden places in the garden (in many places where bamboo forests, bushes, rockery and outer walls are enclosed). They are usually composed of simple mortise and tenon wooden columns supporting the pointed roofs. The columns are decorated with lattice windows and stitched to form a relatively closed private space, which was used by the ancient Chinese to rest and talk during their visit to the garden.
As one of the important intangible cultural heritages of Suzhou's traditional handicrafts, oil-paper umbrellas have a high degree of aesthetic accumulation and cultural literacy. At the same time, the polygonal space enclosed by the exquisitely handmade umbrella frame, umbrella handle and umbrella support has the original characteristics of architecture as a shelter (mostly seen in circles and octagons). This project uses "oil-paper umbrellas" as a carrier to re-deconstruct and re-combine the aesthetic and cultural structure of traditional intangible cultural heritage, transforming it into the top of a contemporary pavilion, maximizing the original long-standing cultural attributes and allowing viewers to feel the exquisiteness and agility of traditional Chinese craftsmanship.
From Folding Fan to Tile Roof
Through the demolding and arrangement of Suzhou's traditional intangible cultural heritage folding fans, they can be transformed into fanshaped burnt wood finish tiles on the roof of contemporary pavilions against seasonal rain and snow, representing the delicacy and agility of the folding fans and adapting to the movable functional characteristics of the modern pavilion tops through the ring connection of each layer.
1. Through the analysis and deconstruction of traditional oil-paper umbrellas, it can be found that the movable/shrinkable umbrella structure has the essential characteristics of architecture, as a shelter.
Transformation
From Lattice to Reflector
Chime Pattern
1. Through the extraction and deconstruction of the geometric elements of traditional Chinese garden flower windows, it is found that circles and triangles are the basic geometric shapes that constitute flower windows.
2. Through demolding and form transformation, the polished stainless steel material is given to achieve reflection with the surrounding environment.
3. Through replication and arrangement into groups, the reflector is given metal functional components to achieve a wind resistance rotatable reflective module.
2. Through the extraction and demolding of the core structure of the oil-paper umbrella, it can be transformed into the top of the contemporary pavilion. The movable umbrella tail track at a specific angle symbolizes the eaves of the traditional Chinese pavilion, forming the layering and agility of the building.
The flower windows in Suzhou gardens are an indispensable decorative element in Chinese classical gardens. They not only have practical functions such as ventilation and lighting, but also have unique decorative effects, which increase the brightness and dexterity of the wall, and at the same time can add to the beauty and cultural charm of the garden. The flower windows are in various shapes, including round, triangular, square, rectangular, hexagonal, octagonal, rhombus, etc. The flower windows in Suzhou gardens often use typical ancient gardening techniques such as framing, borrowing and leaking. Framing means using the window as a picture frame to show the scenery in the garden; borrowing is to introduce the distant scenery into the garden through the flower window, making the garden space richer; leaking is the mottled shadows left by the light passing through the flower window, making the scenery looming.
Wind Chimes Module
A. The diamond-shaped polished steel surface that rotates and swings with the wind naturally reflects the surrounding environment.
B. The Circular polished steel surface that rotates and swings with wind naturally forms an environmental feflection.
Through the intervention of the golden ratio, the proportional relationship between the roof and the building body is first transformed, and then adjusted again to achieve a more harmonious proportion between the roof and the whole. At the same time, the basic concept of single diagonal frame and leaked view of the building body is introduced, and the basic relationship between the bottom of the building and the viewer's sitting perspective is established.
The harmonious proportion relationship between the roof and the body of the building was determined by the above group, and then the way of fine-tuning the proportion of the sliding layer of the roof of the building and the way of framing and leaking the view at the junction of the upper layer of the lower body was deliberated and evolved, forming the relationship between the building and the viewer's upward perspective.
The harmonious and stable proportion relationship and framing method of the roof, the middle sliding layer, and the upper part of the main body were determined by the above two groups, and then the T-shaped entrance area of the main body of the building was tested and adjusted, forming the vertical space relationship between the building and the viewer.
Through the establishment of the architectural proportion relationship of the above three groups and the in-depth transformation of the framing method, the concept of borrowed scenery was once again deepened in the middle layer of the main building, forming a new architectural relationship with the viewer's horizontal perspective, and laying a solid theoretical and construction foundation for the overall concept, facade and space.
Details | Explosion Diagram
An inherent sustainable behaviour of architecture within human settlement
The formation of settlements should have the characteristics of human DNA. The internal whole has a very strong homogeneous structure, so the settlements can freely form and identify themselves. The architectural view does not necessarily have to maintain a straight line. A settlement is not just a collection of continuous elements. Sometimes a settlement is also a relatively unified whole, which has the inherent sustainability of the building and the organic vitality of the collective material.
How to change our architectural principles to adapt to the mysterious side of this historical site that has experienced thousands of years, so in this project, I challenged myself to put the extracted primitive geometric shapes (square, circle and triangle) into the logic of assembly and construction. By embracing this myth, the building complex is reimagined not as an ancient spiritual place, but as a modern retreat filled with wonder and whimsy, becoming a symbol that permeates the past and present.
RESHAPING
Form is something mobile, something becoming, something passing. The doctrine of formation is the doctrine of transformation.
SITE ANALYSIS OF LIANGZHU
ANCIENT CITY SITE PARK
Hangzhou, China
Liangzhu Site Park is located in the northwest of Hangzhou, located in Pingyao Town, Yuhang District, with a total area of 14.33 square kilometers.
The park is divided into four areas: city site area, Yaoshan Site area, plain low ba-long embankment area and Gukou high dam area.
Liangzhu Ancient City Site Park, with the ancient city site as the core, integrates the natural landscape and cultural heritage. The river network in the park is dense, the water system is developed, like a water city, reflecting the wisdom of Liangzhu ancestors to use and transform the wetland environment.
Supremacism to Constructivism
