selected work 2014-2019

[ ARCHITECT + ] Selected Work 2014-2019

LUO Runke Harvard Graducate School of Design Master in Landscape Architecture

Central Academy of Fine Arts Bachelor of Design in Architecture

PROLOGUE

With exploding information cramming into our life, things are changing in an unprecedented rate. It's increasingly difficult for preconceived architecture types to correspond to our current circumstances. People mind-numbingly thriving to keep up with the inhuman hustles and bustles. On the other hand, a physical homogeneity in most of the newly built buildings and streetscapes gradually blanket our planet. The same steel army with smooth glass skins launch their approach to every corner around the world. They're poikilotherm from outer space.

There're numerous science fictions in the past few decades. People seem to be curious about the mystery future. We predict AI, Roberts, Replicant taking over the planet, they're somehow omnipotent, while the only superiors of human must be the abundant emotions with warm blood and tears. However, seiged by concrete and steel fortress, this character seem to fade away.I intercept a part in The Blade Runner 2049 above. Scenery of testing the Replicant's mind, this monotonous response might be the deadliest difference between a Robert and real human.

"Interlinked. - Interlinked.

What's it like to hold the hand of someone you love? Interlinked. Did they teach you how to feel finger to finger? Interlinked.

Do you long for having your heart interlinked? Interlinked.

- Do you dream about being interlinked? - Interlinked.

What's it like to hold your child in your arms? Interlinked.

Do you feel that there's a part of you that's missing? Interlinked.

Within cells interlinked. - Within cells interlinked.

Why don't you say that three times? Within cells interlinked."

- Blade Runner 2049, Test the Replicant

I wonder if the space people live could bring any difference. I proposed to reconsider about the architecture beyond any stereotype, and imagine constructing the building in a world where all the concepts of architectures are nonsexist. Personally, I would take the architecture as a natural phenomenon, growing spontaneously by architect's effort of elevating and translating. Thus the output would be more than a shelter mentioned by Vitruvius in the first place, but a vital could breathe and trace the changes through the time.

There're more roles architects could enact. In this portfolio, I try to illustrate the alternatives.

I am a relationship builder, connecting the emotional bond between the people and the surrounding environment; I am a narrator, recounting the historic and contemporary events contained in the place; I am a dream builder, bringing the Utopian illusions alive. As an architect, I sketch the vision of the future architecture and I'm convinced the efforts would leave traces in people's lifestyles. By no means should people ride steel monsters between concrete fortress, stop and rethink about the relationship as a molecule inside the nature. Even if the conflicts are inevitable.

CONTENTS

01. THE CLOUD - TWO ARTISTS' VILLAS AND WORKSHOPS Rebuild the Clouds, Translate the Natural Elements into Traditional Chinese Garden's Language, Beijing, as a Translator

02. NEW INLAND HARBOR Envision the Future of Boston Harbor at a Post-dam Age, Unleash Natural Forces, Boston, as a Predictor

03. NEVER - LAND KINDERGARTEN Reproduce upon Alice's Adventure in Wonderland from children's illusion, Italy, as a Dream Builder

04. "HYPHEN" - LANDSCAPE SUPERMARKET Extract Taste of a Territory, Envision Architectures of Water within Greater Oslo, Oslo, as a Recorder

05. INVISIBLE KULANGSU Explore the Boundary of Architecture, Art and Literature, Xiamen, as a Narrator

OTHER WORKS

01. MOTION SILHOUETTE Handmade Picture Book with Spatial Features

02. SLEEPING ISLANDS Lithography - Expressions of Sleeping Infants

03. A SILENT NOON Watercolor - Paintings of Ukiyo-e

01

THE CLOUD TWO ARTISTS’ VILLA AND WORKSHOP Rebuild the cloud , Translate the natural elements into traditional Chinese garden’s language Location: Qiyuan Village, Beijing Architect as a translator Instructor: Wenqiang Han, Yu Yang Individual Work “The goal of all structuralist activity, whether reflexive or poetic, is to reconstruct an object so as to manifest the rules of its functionin."

Roland Barthes: Structuralism Living in an era where practicality is our idol, people need to reconstruct their ways to read architectures. We need to trace back to the Idyllic life. Chinese garden is my reference. It creates nature inside the walls, to be more precise, it is the ideal world of ancient Chinese.

Unique spatial structures make Chinese garden a poem itself that narrates the nature. With all the elements of introduction, elucidation, transition, it naturally creates paths for visitors to go through garden with unique spatial experiences, the way they understand the landscapes. Topography exists in the garden with various combinations of pavilions and terraces. In my project, I work as a translator to analyze the languages of Chinese gardens and adapt them. Start from the poetic Chinese symbol cloud, I extract three models in three scales. List combinations of them by three relative positions: adjoining, intersecting, and disjoining. I aim to reflect the languages of the Chinese garden and its topography.

First Prize in CAFA Annual Outstanding Work Awards 2014 Published in CAFA Year Book 2014

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THE LOCATION

LANGUAGE OF TRADTIONAL CHINESE GARDEN

Trace back to the methods of ancient Chinese maps, narrate landscapes from a imaginative perspective

Paths of Walk and Stop - The garden serves as a landscape container and a stage of human activities. People act poeticallly as the garden indicates.

Hinter Bridge -Being attracted t o c r o s s . T h e t w o b r id g e s are indicators of the hidden s c e n e r ie s . T h e y c o n s t a ntly attract people to explore the mystery gardens on the other side of the water. It is the first shot of the whole episode.

听涛山庄

Hallway Labyrint -wandering With a series of gardens and hallways. Each garden is enclosed by interlocking hallways. People follow the twists a nd tu r ns of the path, like exploring a maze and enjoy the both views of indoor and outdoor gardens.

行云阁

Double Moons Arch Facing the circle view frame, people linger for short time period. Observed from long distance, the view frame reveals merely part of the scenery and they are everchanging.

垒石居

迷廊

西峰山村 漆园村供销社

漆园村

台山

叠廊

千年古树槐

框拱

阶山

梳廊

抱春 古树收义子 钟灵毓秀槐抱椿 榆 树 椿树 槐树形成三树合围母异树同根

成村于明代永乐年间 西 庙前有漆树园 村名由此 而得

Layer hallway - P a s si n g t h r o u g h A str aig ht for w a rd hallway exaggerates th e p ers p e ctive effect, colu m ns and beans form numerous layers in sequence.

THE 叠月门

笼纱亭

藕花水榭

看山楼

SITE

龙泉寺

村西有禅寺一座 伊斯兰教的礼拜寺 一处 回民井一眼 南山有寺庵遗址 十余处

围山 屏山

南照台村

引桥

掩池

- 03 -

mountains, Qiyuan Village remains pure environment with limited types of architectures. I intend to show the cultural and natural environments. Being halfway up the mountain, on the southeast corner the village, the site enjoys a broad view over densely organized traditional courtyard houses below.

半廊

that were partially utopian. So reading the maps is reflecting their memory path as well. I follow my ancestors’path. Through unique perspective, my diagram shows the site’s conditions based on my own understanding: far away from the hustles and bustles of Beijing, surrounded by continuous

窥障

Ancient Chinese maps are diagrams to unfold landscapes. The images are not only projected in the retina, they are also landscapes in people’s imagination. Ancient Chinese combine looking and thinking together through unique ways to observe and depict nature. They created maps

Hollow Wall Screen -Spying.

W it h u n i q u e s h a p e s o f natural figures, like leaf, moon and flower, the hollow wall provide people various view frames. People stop at each point and look though those hollows.

Mountain Threshold -Casting about, from curious to be enlightened in the end.

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3m

3m

1.5m

Kitchen

Living Room

Bath Room

Tea Bar

Garage

Living Room

Dinning Gallary

Bedroom

- 06 - 05 -

（ 1.5²x,1.5²y,1.5²z ) （ 1.5x,1.5y,1.5z ) （ x,y,z )

12

Quqing Bath Pool

Xingyun Hall

Yinyun Hall

12

12

TingYu Gazebo

云下茶室

04

行云阁

10

01

隐云轩

听雨轩

08

灈清池

12

Yunxia Tea Bar

N 瘦廊

Should Hallway

Second Floor Plan

E-E

D-D

C-C

09

07

09

B-B

06

01 A-A 02

06

04

03

10

01

04

02 05

13

01. Living room 02. Bedroom 03. Storage room 04. Bathroom 05. Studio 06. Teahouse 07. Gallery 08. Swimming pool 09. Garage 10. kitchen and Dining 11. Living room 12. Balcony 13. Sauna

A-A B-B C-C D-D E-E

Ground Floor Plan 1. 5 m

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6m

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02

NEW INLAND HARBOR GSD Landscape Core Studio â…˘ : Design for Littoral Land:From Episode to Adaptation Envision the future of Boston Harbor at a post-dam age, Unleash natural forces as labors Location: Boston Harbor, MA Architect as a predictor Instructor: Amy Whitesides, Robert Pietrusko Collaborated with Sufeng Xiao, Xin Feng "Different peoples choose different ways of interacting with their surrounding environments, and their choices ramify through not only the human community but the larger ecosystem as well."

William Cronon: Changes in the Land This studio probes the hyperbole around resilience planning and offers an alternative to the purely cosmetic after-effects of conventional resilient design proposals. We are committed to long-term scenarios of regionally specific and globally significant treatments that attend to the land that is left behind as the climate changes. Boston Harbor History is formed through continuously moving of soil, digging and filling.

Infrastructures like dams are built to change the relationship between land and water, shrinking and altering the boundary of Boston harbor, but natural forces have been always neglected or unwanted. In Boston landforming, labors like river and plants are also important soil moving agencies. Also, with the sea level rise, dams along the Charles are at risk, we claim to unleash the river by dismantling the Charles river dam and redefine the inland harbor by letting natural agencies to help form new harbor.

Fall 2019

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1630

1780

1840

1880

1920

1982

Soil Migration through Boston History - 15 -

- 16 -

5. Moon Island

4. Long wharf

3. Spectacle Island

6. West End

1. Deer Island 2. West Fort Point

Case Study: Dynamic relationship of Warter and Soil Boston Harbor History is formed through continuously moving of soil, digging and filling. Harbor changed through time relating to the movement of soil and also the incentives for the move. Back in the history, people used different tools to dig the hill and place the soil into the ocean to form new land. With the needs of commercial and trade, people excavate the soil from underground and dredge to move the soil away, allowing more opportunities coming in. These large scale soil movements are heavily relied on human labors.

Human use infrastructure to change the relationship between land and water, shrinking and altering the boundary of Boston harbor. Such infrastructures are like seawalls, dams, wharves and these have always been a dominant force in changing land, but natural forces have been always neglected or unwanted. Labors like river and plants are also important soil moving agencies. In history, people built 19 dams along Charles river, cutting the river into separate pieces, while the Charles river dam is at the mouth of the river, becoming the small wall that defines the boundary of the harbor. For building a dam, there is a large human labor investment in building, repairing, maintaining the dams, the life cycle of the dams is dramatically short. So we claim to unleash the river by dismantling the Charles river dam and redefine the inland harbor by letting natural agencies to help form new harbor.

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River has always been an actor in moving soil and reshaping edges of the land. Soil has been moved from one place to another, creating new conditions for other natural forces, like plants that could hold soil and reduce erosion. Therefore, we propose to combine human, water and plant labors in forming our new harbor in lower Charles river under the tidal condition after dam removal.

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Plan Strategy: 1. Redistribute soil along Charles river and reuse the materials from dismantling infrastructures by human labor. We define three marginal edges based on flood risk zones and their potentials of retreating: cut, filled and not changed. Cut areas are places where could be transferred into flood rooms and protect other places, while filled places are receiving soils and being protected. Materials from infrastructure are produced into different shapes to trap sediments that set foundations for natural agencies come into play. w 2. After dam removal, there will be different salinity along the Charles river and we propose to disperse a variety of salt-tolerant plant seeds in different places to let the land success itself and plants could also act as indicators for salt condition. You can play with the plant and river wheel model on our table later. Then we zoom into three examples can be pioneered along this new harbor- dam area as tidal wetland, BackBay waterfront as barrier island and Austin area as flooding canal.

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Back Bay: Barrier Islands

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Allston: Flood Canal

Charles River Dam: Tidal Wetland

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02

NEVER-LAND ELEMENTRARY SCHOOL BASED ON OLD FACTORY Extract element and transformation of scales from Alice's Advanture in Wonderland Location: Lake Maggiore, Italy Architect as a dream builder Instructor: Xiaohong Wang Individual Work The process of globalization has caused the decline of industrial town, in which the ceramic facto is also facing the fate of being renovated. In this project the factory will be transferred into a a children's activity center, in order to restore the vitality of local and set new industries.

The space will be set for children of all ages where they can find their own happiness, so that the educational demands of local children will be meet, also outsiders will be attracted to come with their children for camp activity, that will benefit to promote local tourism industry.

We tried to make break through from the traditional educational space, therefore, for the spatial design, we extracted the story of Alice in Wonderland and hoped that the children could experience a different world in the apace. Many contrast has been applied to the spatial design, such as the contrast between reality and fairy tale, old and new of the buildings, classical form and free space, makes the building full of feeling of dream.

Winter, 2018

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THE LOCATION

OLD AND NEW

Laveno-Mombello, Varese, Italy 45°54′N 8°37′/ 45°54′N 8°37′E

Pottery of Laveno Mombello - Unipol Kindergarten

Pottery Design of Cerro Historical Railway Structure

It has witnessed the story that made this remote small port one of the protagonists of the global pottery production.thus carrying outan intervention in the factory of L ave n o m e a n s h a n d li n g th e archaeologies of a story that is deeply rooted in thememory and identity of the area.

It is situated between the two massive hills that create a small inlet close to the valley. Laveno Mombello is a remote and silent harbor. Yet, it is one of the main piers of Lake Maggiore.

CABLE STATION

OIL PORT

Main Building

Circle Runway and Amusement Park

WATER PARK

The main part of the project which ser ves for m ost of the indoor a c tiv itie s o f c h ild r e n . T h e y could head for the advantures of different scales of themselves in the architecture.

Itis a plug-in circle of runway that connects the kindergarten's a rchitectu re a nd the bota nical garden and the railway. It is the soft boundary of two parts of the kindergarten.

MAIN PORT TRAIN STATION

FISH PORT

ALICE IN WONDERLAND: TRANSFORMATION IN SCALE In the novel, Alice experienced several different scales, she changes through the movements of plots. I extract this different scales respectively and correspond them to different spatial experiences. In this way, Alice's utopian world is brought into reality.

Children could experienced the magic of transformations in scales in different part of the architecture.

TRAIN STATION

Height Alice/ in

FISH PORT

200

Size Arch(X,Y,Z)/m (6,6,5)

20m

108

48

24

10

3

(6,6,10)

(6,12,10)

(12,12,10)

(12,12,12)

(15,15,15)

80m

“All grown-ups were once children, although few of them remember it.”

Antoine de Saint-Exupéry, The Little Prince Barrie’s Peter Pan and Saint-Exupéry’s Little Prince are two examples of the countless attempts to catch the shy handful of years that childhood comprises. Childhood is a time when reality is complementary to imagination. It is a crucial time that defines the deepest rock on which the corals of adulthood sediment.

Adults perceive architecture according to a functional logic: every space has its own use; For children, space is exploration, an ongoing and limitless opportunity, a background for their extraordinary adventures. Consequently, when a place cannot be made functional for adults anymore, it can still be suitable for children. The industrial archeology – former pottery of Laveno Mombello is a mastodon that fell asleep on the banks of Lake Maggiore. It is a 27,000-m2 titan that the logics of adults did not manage to wake up from its deep torpidity.

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THE PLOT AND ARCHITECTURAL ELEMENT

Chapter 1 Down to The Rabbit Hole "Down, down, down. Would the hole never come to an end?”

Chapter 1 Down to The Rabbit Hole

Chapter 1 Down to The Rabbit Hole “Before her was another long passage,

“People would walk with their heads downwards if I fall right through the earth.”

Chapter 2 The Pool of Tears “There were doors all around the low hall, but they were all locked.”

white rabbit was still in sight, hurrying down it.”

Chapter3 A Caucus-race and a Long Tale “The best way to get us dry would be a Caucus-race.”

THE PLOT R

+RABBIT’S FAN!

R

+RABBIT’S FAN!

+DRINK ME! +DRINK ME!

R

+EAT ME!

+DRINK ME!

+DRINK ME! +DRINK ME!

R

Chapter 5 Advice from a Caterpillar

“One side will make you grow taller and the other side will make you shorter.”

+DRINK ME!

+EAT ME!

+EAT ME!

+DRINK ME!

+EAT ME!

+DRINK ME!

+EAT ME!

Chapter 5 Advice from a Caterpillar “There was a large mushroom growing near her, about the same height as herself.”

+EAT ME!

+RABBIT’S FAN!

+RABBIT’S FAN!

+RABBIT’S FAN!

R

+RABBIT’S FAN!

R

+EAT ME!

+DRINK ME!

+EAT ME!

+EAT ME!

+MUSHROOM!

+DRINK ME!

+MUSHROOM!

+EAT ME!

+DRINK ME!

+EAT ME!

+MUSHROOM!

+DRINK ME!

+EAT ME!

+MUSHROOM!

+MUSHROOM!

+MUSHROOM!

Chapter 7 A Mad Tea Party “There was a table outside the house and the March Hare and the Hatter were having tea party.”

+MUSHROOM!

+MUSHROOM!

Chapter 8 The Queen's Croquet Ground

Chapter 8 The Queen's Croquet Ground “She walked down the little passage and then found herself at last in the beautiful garden.”

+MUSHROOM!

+MUSHROOM!

“She never seen such a curious croquet ground in her life: it was all ridges and furrows.”

+MUSHROOM!

+MUSHROOM!

+MUSHROOM!

+MUSHROOM!

+MUSHROOM!

+MUSHROOM! +MUSHROOM!

+MUSHROOM!

+MUSHROOM!

+MUSHROOM!

+MUSHROOM!

+MUSHROOM!

+MUSHROOM!

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+MUSHROOM!

- 28 -

N

GROUND FLOOR PLAN

16 02

CHAPTER I.

CHAPTER II.

CHAPTER III.

THERABBIT SENDS IN A LITTLE BILL

A CAUCUS RACE & A LONG RALE

A MAD TEA-PARTY

"something comes at me like a Jackin-the-box and up I goes !"

01. CHIMNEY STAIR

"William the Conquerer whose cause was favored by the pope..."

02. GRANDSTAND

"Twinkle, twinkle little bat,how I wonder what you are?"

03. HATTER CAFE

04 13

14

10

01

12 03

11 09 3m

CHAPTER IV. PIG AND PEPPER "I speak severely to my boy, he can enjoy the pepper when he pleases?"

04. PICNIC TERRACE

CHAPTER V. ADIVCE FROM A CATERPILLAR "Serpent! I must be on look-out for surpents, night and day!"

05. SERPENTINE GALLERY

CHAPTER VI DOWN THE RABBIT HOLE "Down, down, down, would the fall never come to an end?"

06. LIBRARY WELL

01. Entrance Hall 07. Workshopc 14. Grandstand

02. Tunne 08. Terrace 15. Runway

03. Kindergarten.

09. Librar 16. Station

04. Classroom 10. Research Center

12m

05. Roof Playground 06. Music and Dance classroom 11. Office 12. Cafeteria 13. Courtyard

SECOND FLOOR PLAN

N

02 04

CHAPTER IX. ALICE'S EVIDENCE "If she should chance to get involved in this affair, he trust you to set free."

07. ALICE CALSSROOM

CHAPTER VIII THE ROBSTER-QUADRILL See how eagerly the lobsters all advance! Will you join the dance?

08. LOBSTER DANCING ROOM

CHAPTER VII THE MOCK TURTLE'S STORY "Reeling and writhing, Ambition, Distraction and Uglification.."

09.TURTLE WORKSHOP

07

08

05

06

13

14

10 12

15

03

09 3m

CHAPTER X. POOL OF TRARS "Curiouser and curiouser! Now I am opening out like telescope!"

CHAPTER XI. QUEEN'S CROQUET GROUND "Off his head! Anything with a head could beheaded."

CHAPTER XII. WHO STLOLETHE TARTS "The Queen of Hearts, she made some tarts, all on a summer day..."

10. ENTRANCE HALL

11. WAVE PLAYGROUND

12. RESEARCH CENTER

- 29 -

01. Entrance Hall 07. Workshopc 14. Grandstand

02. Tunne 08. Terrace 15. Runway

03. Kindergarten.

09. Librar 16. Station

04. Classroom 10. Research Center

- 30 -

12m

05. Roof Playground 06. Music and Dance classroom 11. Office 12. Cafeteria 13. Courtyard

15

16

ALICE IN WONDERLAND

01

04

ACT Ⅰ : SLIDE ROOFTOP “Would you join us the barbecue party tonight?”

02

05

11

07

ACT Ⅱ : SLOPE CORRIDOR “Hurry up! I will be late for the landscape sketching course!”

01. Chimney Stair 02. Grandstand 03. Hatter Cafe 04. Picnic Terrace 05. Serpentine Gallery

13

08

06. Library Well 07. Alice Classroom 08. Lobster Dancing Room 09. Turtle Workshop 10. Entrance Hall 11. Wave Playground 12. Research Center 13. Tree Hole Tunnel

14

14. Neverland Express

10

15. Qundrill Port

ACT Ⅲ : GRANDSTAND “I will win this time! Dare you bet an peanut butter ice cream?”

16. Downsideup Cable

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04

"HYPHEN" SUPERMARKET BASED ON LANDSCAPE Extract taste of a territory, envision architectures of water within greater Oslo Location: Oslo. Norway Architect as a recorder Instructor: Sabine Muller, Elisabeth Sjodahl Individual work Hyphen Supermarket is a spatial development model for a Landscape Supermarket situated in Oslo. The Norwegian polder landscapes, once the icons of our food production. Can these areas play a new role in food and recreation need of in the Oslo population which today knows 170 different nationalities, food and culinary traditions?

The Park Supermarket balance has been set up around food and its consumers and is projected in the agrarian park landscape.It based on underlying soil types, new climate zones and raised water levels an entirely new landscape is introduced where the contents of a contemporary supermarket are cultivated and sold. Each department knows its characteristic growing conditions and product types. The climate household of the outdoor supermarket is supported by old techniques such as warmth accumulating snake walls and more contemporary solutions as insulating water spray 'roofs' and f loor heating on the basis of thermal warmth. Hyphen Supermarket is able grow with the need for diversity of food of the consumer and the renewing insights in agrarian techniques. The inhabitants will in this way be able to consume and recreate in a new Park landscape for the 21st century.

Nominated for AHO Annual Excellent Work Published in AHO Year Book 2018

Table Lace: Site Model - 35 -

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N

Slo w Food is an organization that promotes local food and traditional cooking. Promoted as an alternative to fast food, it strives to preserve traditional and regional cuisine and encourages farming of plants, seeds, and livestock characteristic of the local ecosystem. It was the first established part of the broader slow movement. Its goals of sustainable foods and promotion of local small businesses are paralleled by a political agenda directed against globalization of agricultural products.

The Oslo City

EATING HABIT OF IMMIGRANTS IN OSLO

Mexico

China

Morocco

Korea

Japan

Kjnnesbekken Turkey

Denmark

Greenland

Iran

Serbia

5km

Pakistan

Italy

Sweden

Guinea

France

TYPICAL LAYOUT OF SUPERMARKET IN OSLO

Arial view of the Site

- 37 -

Type of Landuse

- 38 -

Typology and Water

20km

ORGANIZATION OF "HYPHEN" SUPERMARKET GRAIN

SUGAR & COCOA

01. Mill 02. Bakery 03. Handmade Workshop

VEGETABLE & FRUIT

01. Handmade Workshop

The Oslo City Vestby

POULTRY & CATTLE

01. Handmade Workshop 02. Greenhouse Labtory 03. Curved fruit wall 04. Terrace Farm 05. Shared Kitchen

01. Handmade Workshop 02. Meat & Milk Factory 03. Milk the cow Farm 04. Barbecue Space 05. Shared Kitchen

Fishing spot

Supermarket Hub A

Akershus

01. Transportation hub： sightseeing shuttle/bicycle/ market truk 02. Supermarket point: collection of gain department and forrest department.

03. Storage: ordinary storage/ fridge

Supermarket Hub C

WATER PRODECT

July May. Have a bicyce tour all around the crop carpet, soak the eye to the golden green hill of wheat.

Take care of the fragile Lily inside of the greenhouse.

Take a shot through the looking glass.

Walk on the Flower Avenue and pick a peach.

Be surrounded by the sea of early summer buds.

Jan.

01. Fish Pass 02. Stair Fish Container 03. River Fish Farm 04. Land Fish Farm 05. Aquaponics Labtory

Sept.

Harvest sweat oranges on the terrace and te curved wall.

Make a lemon grass salad.

Pick your own Christamas tree from the forst and baked the turkey for thanksgiving.

Nov.

ENERGY STATION CLIMATE TOWER

RECEPTION

New climate zones (moderate, mediterranean and tropical) are created taking advantages of terrestrial heat and solar engergy. The climate tower forms warms zones by warm air fog.

Upstream: Wetland Park

The energy station collects waste from fish, cattle and poultry, waste from plants as well. The waste is converted to fertiles for the field.

01. Riverside Platform 02. Bridge 03. Artificial Islands 04. Riverside Pavilian

Ås

Supermarket Hub D

Entrance Hall

Bakery

Supermarket Hub Handmade Worshop Storage

Høllen Mill

Kitchen Vollebekk Factory

Søn

FOOD PRODUCTION PROCESSING -RECREATION -LABOUR -ENERGY -OXYGEN -COMPOST

-FRESH PRODUCTS -LOCAL WATER TRANSPORTATION -LOCAL ECONOMY

FOOD CONSUMPTION

Greenhouse

01. Zoo 02. Fungi Field 03. Herb and Spice Field 04. Handmade Workshop

01. Handmade Workshop

01. Tea House 02. Supermarket Cafe 03. Handmade Workshop

01. Flower Spa 02. Meditation Room 03. Handmade Workshop

FORREST

RICE & NUT

TEA & COFFEE

FLOWER

Supermarket Hub B

FOOD TRADE LOGISTICS

-HEALTHY FOOD -CULINARY EXCHANGE -PUBLIC MARKETS

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Mediterranean

Moderate

FUNGI

Tropic

Mediterranean

Tropic

Moderate

Mediterranean

GRAIN

Tropic

Mediterranean

Moderate

Tropic

Moderate

Mediterranean

RICE

Tropic

Mediterranean

Moderate

Moderate

Tropic

Mediterranean

FISH

Tropic

Mediterranean

Moderate

Tropic

Moderate

Peat | Clay

Peat | Clay

Peat | Clay

Peat | Clay

Peat | Clay Moderate

Mediterranean

MEAT

Tropic

Mediterranean

Moderate

Tropic

Moderate

- 40 -

Mediterranean

BERRY

Tropic

Mediterranean

Moderate

Tropic

HERB&SPICE Peat | Clay

Mediterranean

TREE

Peat | Clay

Tropic

POULTRY

Peat | Clay

TEA&COFFEE

Moderate

DIARY

Peat | Clay

Mediterranean

FRUIT

Peat | Clay

Tropic

Peat | Clay

CASH DESK

Moderate

VEGETABLE

Peat | Clay

Mediterranean

CASH DESK

SUGAR&COCOA

Peat | Clay

Peat | Clay

CASH DESK

TOBACCO Peat | Clay

FLOWER

PACKING

Peat | Clay

The supermarket balance has been set up around food and its Oslo consumers and is projected in the agrarian park landscape of Høllen. On good accessible locations and based on underlying soil types (peat and clay), new climate zones (moderate, mediterranean and tropical) and raised water levels an entirely new landscape is introduced where the contents of a contemporary supermarket are cultivated and sold. Each department knows its characteristic growing conditions and product types such as Pandan-en Risotto rise on water terraces, Tilapia fish in basins and kiwi' s and avacodos along undulating fruit walls. In this way people will be able to consume and recreate in a new Park landscape for the 21st century.

Moderate

Tropic

Mediterranean

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Tropic

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01. Crossing Forest 02. Moose Forest 03. Karesansui Flower Meadow 04. Berry Maze 05. Grassland Frame 06. Fish Pool 07. Mirror Field 08. Crop Carpet 09. Fruit & Vegetable Stitching 10. kitchen and Dining

10 m

40m

TRACE THE LANDSCAPE In the project, existed landscape plays an important role. I found axises of the site : a twisted river, a zigzag road, and a straight electricity cut.

The railway goes perpendicular to them. I extracted two topography boundaries . These lines form a grid to divide the territory to different sections. All the boundaries and axises naturally forms a grid which could divide the region into different sections. Each road has unique perspective and spatial experience. Each axis corresponds to a unique name which could represent the characters of the region.

THE JIGSAW PUZZLE Plates scattered and tightly sticked to each other, tastes of the territory are mixed. When people go further into the Jigsaw puzzle they would find different then parks as hightlights of the supermarket anf they could go deeper to taste each territory.

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CROSS FOREST

Flower Avenue

BERRY MAZE

Under the electricity cut is the Flower Avenue. THe flower river flows quietly in front of people. Lay down on the grass, have a picnic, explore deeper into the woods and rush into a deer.

Berry Maze " Two roads diverged in a yellow wood, will you choose the one that less traveled by?� You may face countless choices in Berry Maze. Walk along the meadering paths and you will be surprised to find little piece of land with berry on top.

Electricity Cut & The Versailles

Maze from The Versailles' Croquets

I found similarity betweeen the two, both with strong stright line of axis, which represents power and hard core. Thus I extracted this element, projected Versialles' plan on the site.

Croquets in Versailles Gardens are unique. With different facilities, they served as different containers of social activities. Maze is for hide and seek, people gain special spatial experience when wandering around.

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FRUIT & VEGETABLE STICHING

FLOWER MEADOW

Terrace Field Flower Meadow The Japanese dry garden uses merely sand to create landscape without a single waterdrop. What if we use flower. Enclosed by a circle of forest, the flower meadow is a fragrant lake, the dawn breeze rippling the quiet water. Live within the city so long, we should get away the hustle and the bustle in the city.

Terrain is curved into a terrace. Fruits and vegetables are planted in two kinds of patterns: perpendicular and parallel to the contours. Have an overview of the piece of green snitching on the top.

The climate household of the outdoor supermarket is supported by old techniques such as warmth accumulating snake walls and more contemporary solutions as insulating water spray 'roofs' and floor heating on the basis of thermal warmth.

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05

INVISIBLE KULANGSU SITUATIONAL NARRATIVES OF FICTIONAL REALITY Experiment new forms of architecture production, explore the boundary of architecture, art and literature.

Location: Kulangsu Island, Xiamen Architect as a narrator Instructor: Yufang Zhou, Zigeng Wang Individual Work “As this wave from memories f lows in, the city soaks it up like a sponge and expands. A description of Zaira as it is today should contain all of Zaira’s past. " Italo Calvino: Invisible Cities The overlap of memory, story and imagination makes us believe that Calvino’s cities truly exist.Initiated from Calvino's Invisible Cities, I illustrate the imaginations and memories popped up in my mind. I call it translation-translating the fiction into space by means of images.

Memories of old Kulangsu are scattered with the wind. I hope to extract some pieces of them, continue to narrate the story. I reconstructed Kulangsu Island through literary descriptions and gradually developed a series of images. Just like most architects work on the vertical section, this kind of narrative words and images could be fundamental tools for advancing creativity. For me, producing architecture is a process together with constructing narratives and producing images.

First Prize in CAFA Graduation Design 2019 Permanent Collection of CAFA Art Gallery

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— Thin Cities V —

— Cities & Desire III —

— Thin Cities II —

— Thin Cities IV—

— Thin Cities III —

— Cities & Desire III —

— Cities & the Dead IV—

If you choose to believe me, good. Now I will tell how Octavia, the spider-web city, is made. There is a precipice between two steep mountains: the city is over the void, bound to the two crests with ropes and chains and catwalks. You walk on the little wooden ties, careful not to set your foot in the open spaces, or you cling to the hempen strands. Below there is nothing for hundreds and hundreds of feet: a few clouds glide past; farther down you can glimpse the chasm’s bed. This is the foundation of the city: a net which serves as passage and as support. All the rest, instead of rising up, is hung below: rope ladders, ham- mocks, houses made like sacks, clothes hangers, terraces like gondolas, skins of water, gas jets, spits, baskets on strings, dumb-waiters, showers, trapezes and rings for children’s games, cable cars, chandeliers, pots with trailing plants.

Despina can be reached in two ways: by ship or by camel. The city displays one face to the traveler arriving overland and a different one to him who arrives by sea. When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red wind- socks f lapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports, the foreign merchandise the cranes unload on the docks, the taverns where crews of different Bags break bottles over one another’s heads, the lighted, ground- Boor windows, each with a woman combing her hair.

Now I shall tell of the city of Zenobia, which is wonderful in this fashion: though set on dry terrain it stands on high pilings, and the houses are of bam- boo and zinc, with many platforms and balconies placed on stilts at various heights, crossing one an- other, linked by ladders and hanging sidewalks, sur- mounted by coneroofed belvederes, barrels storing water, weather vanes, jutting pulleys, and fish poles, and cranes.

The city of Sophronia is made up of two half-cities. In one there is the great roller coaster with its steep humps, the carousel with its chain spokes, the Ferris wheel of spinning cages, the deathride with crouching motorcyclists, the big top with the clump of trapezes hanging in the middle. The other half-city is of stone and marble and cement, with the bank, the factories, the palaces, the slaughterhouse, the school, and all the rest. One of the halfcities is permanent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city.

Whether Armilla is like this because it is unfinished or because it has been demolished, whether the cause is some enchantment or only a whim, I do not know. The fact remains that it has no walls, no ceilings, no f loors: it has nothing that makes it seem a city, except the water pipes that rise vertically where the houses should be and spread out horizontally where the f loors should be: a forest of pipes that end in taps, showers, spouts, overf lows. Against the sky a lavabo’s white stands out, or a bathtub, or some other porcelain, like late fruit still hanging from the ‘boughs. You would think the plumbers had f inished their job and gone away before the bricklayers arrived; or else their hydraulic systems, indestructible, had survived a catastrophe, an earthquake, or the corrosion of termites.

Despina can be reached in two ways: by ship or by camel. The city displays one face to the traveler arriving overland and a different one to him who arrives by sea. When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red wind- socks f lapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports, the foreign merchandise the cranes unload on the docks, the taverns where crews of different Bags break bottles over one another’s heads, the lighted, ground- Boor windows, each with a woman combing her hair.

What makes Argia different from other cities is that it has earth instead of air. The streets are completely filled with dirt, clay packs the rooms to the ceiling, on every stair another stairway is set in negative, over the roofs of the houses hang layers of rocky terrain like skies with clouds. We do not know if the inhabitants can move about the city, widening the worm tunnels and the crevices where roots twist: the dampness destroys people’s bodies and they have scant strength; everyone is better off remaining still, prone; anyway, it is dark.

From up here, nothing of Argia can be seen; some say, “It’s down below there,” and we can only believe them. The place is deserted.

At night, putting your ear to the ground, you can sometimes hear a door slam.

— Trading Cities V — In Esmeralda, city of water, a network of canals and a network of streets span and intersect each other. To go from one place to another you have always the choice between land and boat: and since the shortest distance between two points in Esmeralda is not a straight line but a zigzag that ramifies in tortuous optional routes, the ways that open to each passerby are never two, but many, and they increase further for those who alternate a stretch by boat with one on dry land.

— Cities & Desire V—

— Cities & Desire I —

— Cities & Eyes V—

— Continuous Cities I—

— Cities & the Sky I—

— Cities & Eyes I —

There, after six days and seven nights, you arrive at Zobeide, the white city, well exposed to the moon, with streets wound about themselves as in a skein. They tell this tale of its foundation: men of various nations had an identical dream. They saw a woman running at night through an unknown city; she was seen from behind, with long hair, and she was naked. They dreamed of pursuing her. As they twisted and turned, each of them lost her. After the dream they set out in search of that city; they never found it, but they found one another; they decided to build a city like the one in the dream. In laying out the streets, each followed the course of his pursuit; at the spot where they had lost the fugitive’s trail, they arranged spaces and walls differently from the dream, so she would be unable to escape again.

There are two ways of describing the city of Dorothea: you can say that four aluminum towers rise from its walls f lanking seven gates with spring- operated drawbridges that span the moat whose water feeds four green canals which cross the city, dividing it into nine quarters, each with three hundred houses and seven hundred chimneys. And bearing in mind that the nubile girls of each quarter marry youths of other quarters and their parents exchange the goods that each family holds in monopoly-bergamot, sturgeon roe, astrolabes, amethysts--you can then work from these facts until you learn everything you wish about the city in the past, present, and future. Or else you can say, like the camel driver who took me there: “I arrived here in my first youth, one morning, many people were hurrying along the streets toward the market, the women had fine teeth and looked you straight in the eye, three soldiers on a platform played the trumpet, and all around wheels turned and colored banners f luttered in the wind. Before then I had known only the desert and the caravan routes. In the years that followed, my eyes returned to contemplate the desert expanses and the caravan routes.

When you have forded t he river, when you have crossed t he mountain pass, you suddenly find before you the city of Moriana, its alabaster gates transparent in the sunlight, its coral columns supporting pediments encrusted with serpentine, its villas all of glass like aquariums where the shadows of dancing girls with silvery scales swim beneath the medusa- shaped chandeliers. If this is not your first journey, you already know that cities like this have an ob verse: you have only to walk in a semicircle and you will come into view of Moriana’s hidden face, an expanse of rusting sheet metal, sackcloth, planks bristling with spikes, pipes black with soot, piles of tins, blind walls with fading signs, frames of staved- in straw chairs, ropes good only for hanging oneself from a rotten beam.

The city of Leonia refashions itself every day: every morning the people wake between fresh sheets, wash with just-unwrapped cakes of soap, wear brand-new clothing, take from the latest model refrigerator still unopened tins, listening to the last-minute jingles from the most up-to-date radio.

In Eudoxia, which spreads both upward and down, with winding alleys, steps, dead ends, hovels, a car- pet is preserved in which you can observe the city’s true form. At first sight nothing seems to resemble Eudoxia less than the design of that carpet, laid out in symmetrical motives whose patterns are repeated along straight and circular lines, interwoven with brilliantly colored spires, in a repetition that can be followed throughout the whole woof. But if you pause and examine it carefully, you become convinced that each place in the carpet corresponds to a place in the city and all the things contained in the city are included in the design, arranged according to t heir true relationship, which escapes your eye distracted by the bustle, the throngs, the shoving. All of Eudoxia’s confusion, the mules’ braying, the lampblack stains, the fish smell is what is evident in the incomplete perspective you grasp; but the carpet proves that there is a point from which the city shows its true proportions, the geometrical scheme implicit in its every, tiniest detail.

The ancients built Valdrada on the shores of a lake, with houses all verandas one above the other, and high streets whose railed parapets look out over the water. Thus the traveler, arriving, sees two cities: one erect above the lake, and the other ref lected, up- side down. Nothing exists or happens in the one Valdrada that the other Valdrada does not repeat, because the city was so constructed that its every point would be ref lected in its mirror, and the Valdrada down in the water contains not only all the f lutings and juttings of the facades that rise above the lake, but also the rooms’ interiors with ceilings and f loors, the perspective of the halls, the mirrors of the wardrobes.

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— Trading Cities IV — In Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black- and-white according to whether they mark a relationship of blood, of trade, authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain.

On the sidewalks, encased in spotless plastic bags, the remains of yesterday’s Leonia await the garbage truck. Not only squeezed tubes of toothpaste, blown-out light bulbs, newspapers, containers, wrappings, but also boilers, encyclopedias, pianos, procelain dinner services. It is not so much by the things that each day are manufactured, sold, bought that you can measure Leonia’s opulence, but rather by the things that each day are thrown out to make room for the new. So you begin to wonder if Leonia’s true passion is really, as they say, the enjoyment of new and different things, and not, instead, the joy of expelling, discarding, cleansing itself of a recurrent impurity.

— Cities & Desire IV— In the center of Fedora, that gray stone metropolis, stands a metal building with a crystal globe in every room. Looking into each globe, you see a blue city, the model of a different Fedora. These are the forms the city could have taken if, for one reason or another, it had not become what we see today. In every age someone, looking at Fedora as it was, imagined a way of making it the ideal city, but while he constructed his miniature model, Fedora was already no longer the same as before, and what had been until yesterday a possible future became only a toy in a glass globe.

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— I. Piano Island — Kulangsu Piano Musuem Above the sea is a thick, humid fog. My boat has been soaked in water for so long that I gradually forgot whether I am in the clouds or the sea. The water vapor varies from place to place, and you would never expect to be able to accidentally glimpse the white sails or masts of passing ships. Palm leaves are swaying on the island, and a steersman’s hoarse singing drifted into your ear while you still don't know where he is. Then I find myself in a mast forest, high and low, forming a mysterious array. The boat continued to move forward. At this time, it was almost dusk. The white mist was gradually swallowed up by salmon-pink sunshine. Outline of the mast forest emerged. I realized those masts were actually f loating towers illuminated with different colors of light.

The small island in front is the piano island. Piano is the only medium of communication. The speed at which the fingertips bounce between the black and white keys is the speech rate of the residents of Piano Island; piano sonata is serialized in newspapers and magazines; boys use the piano to say to I love you ... The tower has been constructed so high that you have no idea how it end in the depth of clouds. This is a tower of Babel, where all residents speak through piano. The principle of the Piano Island is that the piano skill determines the f loors where residents perform. Occupying the tower roof stage is the dream of each resident since their childhood. Here we never lack of anecdotes of it. No one truly arrived the top. You could only hold your breath, hear the magical sound of the piano leaping from the clouds.

— I I. Hanging Street — Kulangsu Ocean Research Center The islanders firmly believe the natural cycles: spring to autumn, day after day. The cycles decide their life patterns. In other words, the daily activities of islanders follow a fixed rhythm. Astronomers, rulers, and even islanders try their best to imagine the steady state.

Similar to the twenty-four solar terms, corresponding activities are created. A main street connected the island’s busy nodes. Islanders would hang everything over the street For example, in spring, they visit every small hilltop and bring back herbs and f lowers. The spring grass festival and f lower picking day of the island begin on April 23 and the fifth day of May each year. People tied moist f lowers and herbaceous plants with a hand-knotted twine to make a beautiful and firm knot, with the roots hanging upside down between the buildings and above the street. The petals and leaves are like waterfalls, like tunnels, like f lags, like curtains. When the f lowering branches are left with dense fragrance, spring is over, and the street is about to be decorated by another festival. In early summer, all family members will carry baskets of clothing and head to the stream. They orderly divide labors: granny sacks clothes on the shore, mother scrubs the clothing leader, and dad stands in the water to clean the foam. Kids are busy with chasing bubbles. Beginning on the sixth day of June, every household is washing new clothes. Pink embroidered sheets, hollow lace curtains...Unique soap fragrance aromas across the tip of your nose in each section of the street.

Chronically, there are Harvest Festival in autumn to dry wheat, fishing festival in winter to salt and wind-dry sea product in early winter.

There is also a market day every Sunday. Residents stay by their windows to yell and sell. People raise their necks to choose a variety of goods, and they exchange with rope rollers. The productive life of the islanders and seem to be relaxed and stable, because everything has rules to follow.

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— I I I. Treasure Palace — Kulangsu Architecture Amusement Park

— IV. Fortress Corridor — Kulangsu Ocean Club

Just like the passion for medieval treasure house, the rulers are always enthusiastic to showcase their private properties, either to gain visual or psychological satisfaction. The legendary Lord of the Nations is such a leader. He is obsessed with all kinds of buildings around the nation, ambitious but timid, he is too afraid to step out of his comfort zone.

In the past, each state would be carefully wrapped by a moat. Similarly, islands, states on the ocean, need barriers. Completely reversal, if the barrier f lowing around the landstate is called a moat, the solid barrier around the ocean-state is called a moat corridor or moat bridge. This solid barrier has the rigorous and prudent characteristics of military installations. There are strict rules for ships to enter the island: the island is surrounded by a circle of arch bridges in different size. Ships has to navigate to arch gates in different directions according to their dimensions. Oversized vessels could only be docked at public ports outside the corridor, people have to switch to a boat to continue their journey.

However, the rules somehow shrinks time and space and also slows down islanders’ life pace.

Over time, the moat corridor becomes soft and warm. Just like a town station, this little space carries people’s gathering and separation of the entire ocean-state. People explore multiple activities to fill the corridor. It is now a f loating joy city, a hub that connects the water and land. Gradually, it is difficult for islanders to imagine the monotonous coastline of the past.

Later, the Lord figures out a way. A large number of craftsmen are dispatched to various parts of the city, recording every buildings as models, and carrying them back to the palace with a crystal ball. The palace was quickly decorated with enormous models. The lord is also quite satisfied with his collection: under the smoke of dusk, he always looks at his miniature settlements with a cigarette, as if he is wandering inside.

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Colonial Architectures Topologies in Kulangsu

Extract architectural elements from Roof, Stair and Wall

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03. Exhibitions: CAFA Graducation Exhibition

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2nd. June-2nd.July. 2019, Beijing

GSD Gund Hall Student Forum Exhibition

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Oct. 2019, Boston

OTHER WORKS 01. Picture Book: MOVING SILHOUETTE

02. Lithography: SLEEPING ISLAND

03. Watercolor Paintings of Ukiyo-e

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LUO Runke Harvard Graducate School of Design Master in Landscape Architecture

Central Academy of Fine Arts Bachelor of Design in Architecture