PAST PRESENT FUTURE APPLYING FOR MArch Design for Performance and Interaction BOROU YU TSINGHUA UNIVERSITY BACHELAR OF ARCHITECTURE WORKS 2013 - 2017
Thank you for reviewing ! Email : email@example.com Address : School of Architecture, Tsinghua University, Beijing, P.R.China, 100084 Feb, 2017
PAST, PRESENT, FUTURE
Architecture is related to the past, present and future of human society. My academic interests can be summarized in these three areas.
Apart from a student of architecture, I percept myself as a dancer, with experience of learning and performing for nearly twenty years. Thus I am attracted by the connection of space, events and human activities. Tanztheatre in China is a design work about how dance makes sense in the combination of human experience and architectural space. In this design, space and action interact with each other, thus performers and audience form specific interpretation to the dance theatre and modern dance.
Also, the attitude towards history and the strategies used in urban renewal make me interested. I have participated in several projects of saving Chinese traditional architecture. At the same time, I explore my own method of designing as reutilizing and requalifying historical sites. The original city context of Beijing intoxicates me and I engaged the interest in works, such as Mending and Merging. And another work, Ordos 100+1, is a reflection of Ordos 100, unfinished Babel without accurate market analysis. There are still similar examples in China and other developing countries. And I hope architects could activate the negative remaining site and draw a lesson from the past.
And the future of architecture need to be regarded as important as the present and the past. I am on my graduation thesis recently, which is based on researches and experiments about robotic reducing material construction in architectural components. Technology innovation in this highly complex information age is going to change the architectural concept and construction mode fundamentally. In this field, the Bartlett school is in the forefront of the world. And I hope to deeper my understanding of digital architecture as well as smart construction here.
I wish to take responsibility as a problem solver with professional training, and to take leadership in this fast-paced era and complex environment. All these years I keep chasing for my goal, from professional study to dancing practice, as well as participating in public welfare projects. My career objective is to become an unconventional architect, taking history, technology and delicate emotions of human being into consideration, and not constrained in the traditional definition.
1 TANZTHEATRE in CHINA DANCING and VIEWING
2 MELTING YARDS WANGFUJING BUSINESS CONFERENCE CENTRE
3 LONELY COLLECTIVITY SANATORIUM for TRISTIMANIA
4 ORDOS 100+1 FACING the PAST
5 MENDING and MERGING CITY COMPLEX in HUTONG
6 OTHER WORKS
TANZTHEATRE in CHINA DANCING and VIEWING
Firstly, Tanztheatre in China is a work about how dance makes sense in the combination of human experience and architectural space. The connection of space, events and movements of human being leads to form architectural interpretation. Tanztheatre in China is a design work about the way space and events interact with each other. Performance space is formed by prototype derived from the documentary Pina Bausch. And people develope individual interpretation of the architecture and events inside, according to their own activities. Viewing is not only about audience, but about a perspective and scene to the city. The architecture provides dancers and audience with opportunities of viewing each other, and viewing/viewed by the city.
Academic Studio, Individual Work
Location: Huangpu District, Shanghai, China
Supervisor: Associate Professor Wang Hui (firstname.lastname@example.org)
Construction Area: 4000 ăŽĄ
I VIEWING the CITY from CITY PLAN II EXPLOSION DIAGRAM and the CONNECTION with CITY
The building is a place of viewing the city. Dancers view from the backstage, from under locations they can see the common city life, and from higher locations they can see the flyovers. It's dramatic to see different rhythm of life in a same building with different heights. The audience are provided with two windows. One is to see the three skyscrapers of Shanghai, the commercial centre of China, and the other is to see the scene of Huangpu River and the bridge of modern construction.
TANZTHEATRE in CHINA is designed as an
TANZTHEATRE WUPPERTAL&PINA BAUSCH
innovative and experimental dance theatre
Interceptions of the typical scenes
in Shanghai, China.
from the documentary, the pathfinder of Tanztheatre.
The structure of layers in traditional architecture is blurred. Abstract prototypes those derived from Pina Bausch’s
Glass box in woods
Water yard and reflection
Viewing the box as well as outside
YUN MEN, Du Hai, Crossing the Sea
YUN MEN, Xing Cao, Cursive
SHEN WEI, Chun zhi Ji,The Rite of Spring
Ta n z t h e a t r e c o n n e c t l o g i c a l l y a s a sequence of movements and events. And adjacent prototypes lead to an integrated dance scene.
PROTOTYPE Abstractions of the scenes and
The auditorium allows audience with a
integration by similar strategy.
specific trajectory, limited by walls and ramps, while they can choose a custom way in the track. At the same time, the changing process of walking leads to change of view in perspective and distance, thus changes the observed content. During the process, audience participate in the production of artistic meaning, with free interpretation to the dance theatre and modern dance.
DANCING and VIEWING Making prototypes concrete and vivid. When audience walk along the path, the scenes appear in proper order.
As a dancer, I make this design to salute Pina Bausch, the mother of modern dance. And I try to transform the spirit of modern dance from international to China culture society. Imagining Yun Men and
YUN MEN and SHEN WEI
Shen Wei performing on the same stage is
Imbedding the representative scenes
fascinating, this space might provide them
from YUN MEN and SHEN WEI, the
with more possibilities beyond familiar
two world-known Chinese dance
Kontakthof – Mit Teenagern ab 14
Kontakthof–Mit Damen und Herren ab 65
Roof and sunlight
Viewing the upper and the under
Beginning of the higher stage
Farest viewpiont, with the whole scene
SHEN WEI, Sheng Xi, Folding
YUN MEN, Shui Yue, Moon Water
SHEN WEI, Tian Ti, Ladder
SHEN WEI, Jingzhi de Yidong,Still Moving
I VIEWING the BACKSTAGE from CITY ROAD Loneliness is carnival for one person. Carnival is loneliness for a group of people.
II III IV VIEWING from the ENTRANCE When viewing outside, we see hazy scenes. We yearn for seeing performance, and we yearn for being seen. Everyone is a dancer in the city, II
along an unparalleled path.
Dance,dance, otherwise we are lost. ———— Pina Bausch
When people are inside the site but outside the building, the glass walls and water yard provide them with another perspective. The scene seems to remind people of Chinese traditional Garden, however, with pioneer modern dance performing.
Water yard mirrors the stage, the moonlight crosses the skylight window. Mirror, flower, water and moon represent illusion scene in Chinese culture, which lead the audience to think whether they are stepping in others' dream, or others are dancing in theirs.
Water yards put dancers and audience in different location, they could only get a view of each other but are unable to create communication. Dancers move audience with emotions and dispositions other than plain actions.
MELTING YARDS WANGFUJING BUSINESS CONFERENCE CENTER
Wangfujing is an active commercial district in Beijing, with department stores and five-star hotels. At the same time, there locates many traditional alleyways and yards that need to be protected. The theme for this studio is to design a Business Conference Center in the complex environment. I explore strategies to let the harmoniously building co-exist with architecture of different sizes. Thus, small spaces of same dimension as alleyways and small yards are created through the seven huge buildings. Users could gain scenes of the city, and they could feel the building is melting into the city. The inclined columns play a significant part in space forming. At the same time, glass model provides the design with transparent portrait. It is another way of interpreting melting.
Academic Studio, Individual work
Location: Wanfujing District, Beijing, China
Instructor: Professor Cui Tong (email@example.com)
Construction Area: 8000 ăŽĄ
EXTRACTION of NEARBY ALLEYWAYS
EMBEDDING SMALL DIMENSION
CONNECTING with LANDSCAPE and CITY
MASTER PLAN GENERATION PROCESS
The Wangfujing Business Conference Center locates at the west of Wangfujing Road, between two five-star hotels. A collectivity of traditional quadrangle courtyards locate to the west of the site. As the building is facing different dimensions to different directions, the dimension of itself should not be easily constrained to one of them. Seven buildings are set according to the existing texture of courtyards, and small atrium spaces are embedded into the buildings, according to the structure system of batter-posts.
DIFFERENT SCENES on DIFFERENT FLOORS
MODEL OF the BUILDING PRESENTS DIFFERENTLY according to DIFFERENT LIGHTING CONDITION or DIFFERENT DISTANCE When light shot the glass with a certain angle, glass disappears in the air. When light shot directly on the reflective glass, the profile appears. When viewing at a distance, the buildings seem to be transparent. When viewing near, the outline appears.
LONELY COLLECTIVITY SANATORIUM for TRISTIMANIA
TRISTIMANIA, with a typical label of lonely, was regarded as a minority and becomes a larger collectivity these years. It could be hard for the depressed patients. Misunderstanding from others, or even from themselves, could make them miss the best opportunity for therapy. Thus vicious circle appears. To avoid this from happening, this sanatorium is to provide the depressed ones with a place from daily life. They could communicate with similar people, and get medical care for a period. The architectural space seeks to provide depressed ones with faith, and provide the family and friends with a chance of knowing their inside world. At the same time, beautiful scenery at the sea could be helpful. People who are ignored, deserve more attention. People who feel lonely, might be ourselves.
Academic Study, Individual Work
Location: By the South China Sea 2nd Year
Construction Area: 2500 ăŽĄ 13
The building locates at the seashore, a lonely corner of the world, and depressed people get together here, to live for a period and to get therapy. Two axis with skylight constitute the whole space. A long terrace with rooms for tristimania lining both sides leads to a high red granite wall. At the end of the terrace people follow the light on the floor and turn right in a narrow high enterclose. After a few paces, the sea appears ahead. I do not believe in empathy, what one goes through could only be understood and remembered by himself, not able to be shared, relieved or transformed, no matter how well others care for him. However, every one of us has to acknowledge and go through it, to face the unpleasant part of life, and to become stronger and better. There is a common name for this process: GROW UP. What doesn't kill a person makes him stronger.
SECTION MODEL SCENES of LONELY PATH
When people walk along the terrace, they experience a procedure that emotion changes (nexct page). For depressed patients, making this procedure part of their daily life leads to better acceptance of the feeling change, and provides them with psychological suggestion that they could get over what they are going through. For common people, they might be family for the depressed people living here, and being in the space provides them with understanding of what people living here are going through mentally, even there is no 100% empathy. I WAt the beginning of the terrace, they are able to see the sea through a window right ahead. The thirst for sea leads them to go forward. II
As they go ahead, height of their viewpoint become lower, they could only look up to the sky but the sea disappears in their horizon. The red wall appears to be bigger and nearer. An unknown power makes people want to
turn back. However, if this happens, they would never be able to access the sea. To face one's own fear and they could find a path. Going ahead is the only way to find out truth. III
When people are close to the end of the terrace, some part of the wall become glass, and sunlight comes in. In a poem by Birulmi, he said "See outside, and you will see the miracle by god. See inside, and you will see god."
People couldn't access the sea here, and the path to the red wall is the only way. IV At the end of the terrace, people are blocked by the red granite wall, here the feeling of uncertainty is at the culmination. Nevertheless, they just have to step ahead a little step, and a new path guided by light appears. V People find themselves in a narrow high enterclose, and the sky appears ahead again, unimagined. VI Following the path and climb several stairs, the sea appears at the end of the enterclose. A broad platform reaching to the sea is waiting.
No man is an island, entire of itself; every man is a piece of the continent, a part of the main. any man's death diminishes me, because I am involved in mankind, â€”â€”John Donne
Âą0.000 - 0.500 - 1.500 - 4.500
SECTION of LONELY Every 3 rooms for users are connected by a short corridor, and 3 corridors are connected by a stair and an elevator. This corridor is a semi-commonality space for the users, where they could enjoy the sunshine and the scene of the yard. However, if they hope to enjoy the sea by person, they have to leave the corridor and go through the main terrace.
Âą0.000 - 0.500 - 1.500 - 3.000 - 7.000
SECTION of COLLECTIVITY 9 rooms for tristimania line on each side of the terrace. Every 3 of them make a group, connected with the terrace by a stair or a path. The room is a private place for users. Each room has a window open to the terrace, so the users could watch the activities happening in commonality and have a space of security at the same time. 18
ORDOS 100+1 FACING the PAST
ORDOS 100+1 is a project dealing with the relic of ORDOS 100. ORDOS 100 was a cluster of villas designed by 100 world-known architects in the city Ordos, north of China. However, just like similar examples in China and other developing countries, the project wasnâ€™t executed successfully and became an unfinished Babel. Years passed, leaving none of the villas finished, this district is now known as the Ghost City of ORDOS. Actually ORDOS is a city with precious history. 100, 000 years ago there lived the Hetao Man, and the first construction could retrospect to the Great Wall in Qin Dynasty. Facing the past, what architect could/should do is to be concerned. Recently, the relic of ORDOS 100 is a negative space. The design of ORDOS 100+1 is to add a modest architecture in the site, with the aim to activate the place as a human-friendly and functional one.
Academic Study, Individual Work
Location: Ordos, Inner Mongolia, China
Construction Area: 6000 ăŽĄ 3th Year
PLAN for ORDOS 100
PLAN for ORDOS 100+1
Villa for Merchant Prince
Exhibition, Gallery, Library and Plaza for Citizen
Negative Space between Buildings
Active Space between Buildings
Mongolion + Concrete Bungalows + Construction Remains of ORDOS100 + ORDOS 100+1
TRANSFORMATION of PEOPLE There lived the Hetao Man about 100,000 years ago. Later Mongolion dwelled around. After establishment of the People's Republic of China, more and more Han People began to settle down there, from herdsman and peasant to merchant prince around China. TRANSFORMATION of ENVIRONMENT At the time few people had been on the territory, ORDOS was prairie. Since the city developing, artificial environment gradually takes place of natural environment. Meadow becomes less and barren land grows. TRANSFORMATION of ARCHITECTURAL FORM The first huge architecture appeared could retrospect to the Great Wall in Qin Dynasty. Then came the focus on lab-type apartment buildings. Since modern times, a city has been established and homogeneity constructions began. In the procedure of capital expansion, ORDOS 100 was designed to be the stimulation for the developing city. And when it becomes relic, a new design named ORDOS 100+1 is executed.
Entrance for Tourists
Entrance for Citizen PROFILE
Tourists get through a narrow path and enter the main construction,
The main part of ORDOS 100+1 is built modestly underground,
Citizens enter the site from an inconspicuous building on the opposite side, which is one of the few
which appears to be a mirror box outside, modestly reflecting objects
hoping not to construct more disturbing objects in the site.
finished remaining of ORDOS 100.
They go down stairs and enter the main public part of ORDOS 100+1 through an open channel
And they find a huge vault of red bricks above head, with light shooting
underground, which hadn't been dumped after the foundation.
on the model of ORDOS 100. A circular ramp leads people to the bottom of the hall.
Model of ORDOS 100
VIEWING the EXHIBITION of ORDOS 100
When tourists go through the narrow mirror path, they know nothing about what they are facing. It's just like life. Passing the door, a hall appears in front of them, actually just under their feet. The model of ORDOS lays in the center of the hall, with sunshine shooting on it. Follow a circular ramp and get to the bottom of the hall. There appears an arch window, and tourists could see the submerged yard on the other side of the window, with citizens enjoying sunshine.
LIGHT EXPERIMENTS of BRICK VAULT
VIEW THE SUN FROM THE ROOM
Several constructions are remained unfinished of ORDOS 100, most of them are concrete canisters. In ORDOS 100+1, a brick vault is built inside the concrete canister. A hole is left on the top of the vault, so light could go through the arc skylight and fall on the ground. The brick vault and the concrete outside walls meet at an arch girder, and there is a window beneath. The size of skylight and the arch window are computed according to the solar altitude of Ordos. On the Summer Solstice, with the highest sun of the year, light shoots on the skylight and gets reflected by the concave lens embedded in the hole. On the Winter Solstice, with the lowest sun of the year, light transforms through the arch window and illuminate middle point of the ground. The route of sunlight is attractive and deserves to be focused.
MENDING and MERGING CITY COMPLEX in HUTONG
GARDENS in HUTONG HUFANGQIAO is a district of traditional alleys and courtyards in Beijing. A city complex is in the plan of future development, and the relation between the old and new need to be concerned. Traditional Hutong in Beijing and Gardens in Yanggtze Delta are specific architectural spaces for Chinese culture. They have similar spatial configuration, such as circuitous paths and humanistic landscapes. To modify the structure of Hutong by cleaning up unsuitable structures and putting in parametric constructions with diaphanous materials, suitable and functional spaces could be recreated for modern society. Existing houses are connected by smooth transparent constructions those imitate rockeries. Similar strategies are used in different part of the site.
Academic Studio, Individual Work
Location: Hufangqiao District, Beijing, China 3rd Year
Construction Area: 12000 ăŽĄ Supervisor: Professor Xu Weiguo (firstname.lastname@example.org) 2015.5-2015.7
Hutong, or called alleyways, could be deconstructed of three dimensions: INTERFACE, PATH, and NODE.
INTERFACE is about how the architecture face the environment.
RESERVED ARCHITECTURAL TEXTURE
NEW-CONSTRUCTIONS in COURTYARDS
TRADITIONAL YARDS & NEW YARDS
ROPE IMMITATING NEW-CONSTRUCTIONS
Most of the buildings in Hutong have walls of traditional material and are constructed in traditional ways.
PATH is formed between Interfaces. Interfaces bind with each other, and people walk through them.
NODE is the connection of Paths.
SCANNED MODEL FOR PARTIAL DISTRICT
RHINO & GRASSHOPPER MODEL IMMITATING ROPE
People easily get disoriented when first being in a Hutong. However, a Node could lead direction and intensify the location that one is in.
A Traditional Materials of Grey Bricks: The walls facing the outside environment or seen directly from outside streets are reconstructed as old ones. Roofs, columns and walls are reserved. B Transition Materials including Bricks and Glass: Walls between A and C are constructed of mixed materials, suggesting inside and outside of the site. Roofs and columns are reserved.
SIGHTLINE TRADITIONAL INTERFACES TRANSITIONAL INTERFACES
C New Materials of Transparency Glass: New materials could be seen directly at the center of the site.
OUTLINE OF THE SITE
VIEWING CENTRE from DIFFERENT PATHS When entering the district from different Paths, different views are gained. Thus one Node leads different directions.
There weren't paths initially. More people come and go, there appear paths. —— Lu Xun, Chinese Modern Author
For old buildings, only roofs are reserved.
AUTOBILES OUT THE SITE PEOPLE ALONG SITE ENTERING SITE CIRCLE LINE IN SITE
TRAFFIC SYSTEM of the DISTRICT
DIFFERENT VIEWPOINTS ALONG ONE PATH
Walking through a Path from the Outside to the Centre, the old buildings stand back and the new ones emerge.
ELETRIC FIELD Parameterization Design Studio INSIDE UNSEEN Theatre Design Studio Academic Studio, Individual Work Location: Haidian District, Beijing, China Supervisor: Associate Professor Lu Xiangdong (email@example.com)
Academic Studio, Collaborative Work Construction Area: 12000 ㎡ 4th Year 2016.3-2016.5
Location: Inside an Airport
Construction Area: 150 ㎡
Collaborator: Liu Xuanyu, Zhou Hao My Contribution: Concept 40%, Modelling 30%, Drawing 40% Supervisor: Associate Professor Huang Weixin (firstname.lastname@example.org)
Digging and Fixing the Bamboo I
Fixing the Wire Rope II
Fixing Bales of Straw III
STRAW MAZE DESIGN AND CONSTRUCTION Community Empowerment in Taiwan Public Welfare Project, Collaborative Work, Xinhuo Team
Location: Hualian, Taiwan, China
My Contribution: Concept 50%, Drawing 100%, Construction 20%
ZISHENG TEMPLE Surveying and Mapping Studio for Historical Architecture Academic Studio, Collaborative Work Location: Shanxi, China
Construction Area: 60 ãŽ¡
Collaborator: Qi Jia My Contribution: Surveying and Mapping 50%, Drawing 50%, Modelling 100% Supervisor: Professor Liu Chang (email@example.com)
RAINWATER COLLECTION SYSTEM FOR SLOPE CRESTS User-based Design and Construction Public Welfare Project, Collaborative Work, Wuzhi Bridge Team
Location: Xingguang, Chongqing, China
My Contribution: Concept 40%, Modelling 100%, Construction 30%
3nd Year 2015.7-8
THANK YOU FOR REVIEWING !
BOROU YU SCHOOL OF ARCHITECTURE TSINGHUA UNIVERSITY