Hutong Memory- 2030

Hutong Memory- 2030 MDes Interior Design 20/21- GSA

Wenfei Gao

Abstract

01

Introduc�on

02

Methodology

03

Content Chapter 1

The importance of preserving the material culture of Hutong

04- 06

Chapter 2

Material culture elements collec�on& Filter

07- 12

Chapter 3

Analysis of material culture elements& Form spa�al language

13- 19

Chapter 4

The new use of cultural elements in the future space

20- 30

Chapter 5

Final outcomes& Conclusion

31- 46

Chapter 6

Image resources& Bibliography

47- 48

Abstract The reason why choose this topic Research Ques�on Methods

Hutong is not only a place for living and transporta�on facili�es, but also an important part of Beijing culture and an crucial place for people’s collec�ve memory. Since the mid to late 20th century, Beijing embarked on a massive urban transforma�on to promote the development of society and beau�fy the city. In the process, Hutongs were largely destroyed and demolished, the new image of the city is constantly updated, but people ignore the collec�ve memory of the historical blocks and the con�nua�on of Hutong culture. As French newspaper Le Figaro, nothing seems to stop this cultural suicide now, Beijing is turning its great culture into mediocrity. In recent years, the government has realized the cultural value of the hutongs and has begun to stop tearing down the remaining hutongs in an effort to repair and protect them.

A�er years of educa�on and personal observa�on in Beijing, I find there are currently many architects trying to repair Hutongs in different ways.

How to inherit the Hutong Culture and maintain the urban memory of the block is an important task facing China now. The main theore�cal symbol and architecture, the deconstruc�on will be a powerful analysis and design tool. The research will cover how to analyze and evaluate cultural elements of Hutong that should be preserved and then how to use spa�al language to preserve those elements in the future, in order to explore a way to preserve the memory and culture of the past with the rapid development of the society. First, the collec�on of the cultural elements in Hutong collec�ve memory as a star�ng point, then create tables and drawings to analyze cultural elements and to translate them into a space elements, handmade models to try the feasibility of each cultural element in the space. The final outcome will be space blocks and ornaments based on cultural elements, crea�ng interior cultural elements to be used in the design of a specific func�onal space, in response to the enforceability of space as a medium for preserving culture. It will provide a new perspec�ve and strategy for the future urban development of Beijing while e retaining the culture.

1

Beijing Hutong is the mark of historical development and the material heritage, from the establishment of the Yuan Dynasty, the prosperity of the Ming Dynasty, the prosperity of the Qing Dynasty, the decline of the Republic of China. The development of tourism a�er the founding ceremony of the People’s Republic of China promoted the economic development of the hutongs, but at the same �me destroyed the culture, memory and characteris�c folk customs of the hutongs.Today, with Beijing’s rapidly expanding popula�on and the rapid development of its outlying urban areas, the hutongs of old town, which surround the city center, have suffered extensive demoli�on and stagnant development, and the residents of the hutongs are gradually moving away from hutongs, the collec�ve Hutong memories and the material culture contained in memories is also gradually disappearing. Hutongs are facing the risk of being replaced in the future.

Introduction Background Topic Aim Overview Case Study

In recent years, people are aware of the existence and change of Hutong, how to protect the remaining hutong culture and s�mulate hutong vitality in the future has become a noteworthy topic and has been widely discussed. There are many young architects thinking about and par�cipa�ng in this topic, such as “400 boxes of shared community ci�es” from Aoyama Zhou Ping, which a�empts to explore new ways of living in Hutong in the future. Ma Yansong’s “Hutong bubble 218” acts as a magnet to renew community living condi�ons and ac�vate neighborhood rela�onships by adding bubbles that transcend �me and space. Try to create a new dialogue between the old and the new space, tradi�on and the future in the old city. Le Architecture Studio redesign the hutong hair cu�ng device,intending to represent hutong haircut in a new way.

Based on the above background, this research por�olio will focus on exploring which material culture in Hutong is worth preserving and how to use the space as a medium to witness the history of Hutong material culture to con�nue to play due cultural value in the future.The aim is to provide a new way to preserve the material culture of Hutong by collec�ng the material culture of Hutong and transforming them into the space language.

Culture can be seen as a symbol for communica�on, architecture is a symbol system, so this ar�cle will focus on material culture, symbol and architecture, deconstruc�on for analysis and design.

The structure of the research report is divided into three parts. Firstly, the author collected the material culture in the Hutong, and then selected the cultural elements which are worth to be preserved by establishing the evalua�on criteria and test the feasibility of the elements in the spa�al model. Then analyzed, deconstructed, and recombined those elements that were selected to form a new space block. The resulting space blocks are then used in the final space design.

2

In the process of research, the author mainly used drawing, photographing, model experiment, making table as methodology.

Drawing, first of all, the author uses drawing as a method to extract the cultural elements in the Hutong from the fuzzy surrounding environment, clear material and cultural objects, free from other environmental factors.

Methodology

Model test, using clay to imitate photos to make cultural element model and plaster to make Hutong brick wall model, a�aching cultural elements to the wall, form different shape by pu�ng cultural element on the wall at different angles, the experiment was then photographed from different angles, and then again use pain�ng to draw the two-dimensional shape and three-dimensional volume formed between the elements and the wall. This model experiment shows abstractly the possibility of the space language which can be formed by the interac�on of cultural elements and space, and the drawing helps author to express this possibility concretely.

Crea�ng tables to evaluate, analyze, and judge the importance of retaining each cultural element. This method helped me make a clear and powerful choice of elements by comparing the scores worth retaining on behalf of each cultural element.

3

Chapter 1 The importance of preserving the material culture of Hutong

4

Material Culture& Cultural Symbol of Hutong

A Long and thin alley 700+ years history Material- Cultural Heritage Material Func�on& Social Func�on Living Space- People talk to their neighbors, do morning shopping, play games, collect deliveries, etc.

Transporta�on Facili�es The carrier of Beijing ci�zen culture and collec�ve memory

What’s Hutong?

The influx of outsiders The contradic�on between the decrepit dwelling house and the demands of modern living environment Urban moderniza�on& Government& Estate Developers

There are two kinds of culture in Beijing, one is the culture of Imperial City, the other is the culture of Hutong, and the Hutong is the carrier of the la�er. Culture is the accumula�on of beliefs, tradi�ons, languages and values of specific groups of people. Symbols are the basis of culture, and symbols are whatpeople give meaning to and then use to communicate with each other.

Hutong is a form of architecture. Architecture is the product of culturalmemory, it expresses what we s�ll hold to be valuable, and in order that socie�es do not lose a sense of self-iden�ty, �me, loca�on and context over the ages, architecture acts as a visual reminder. All the while the process of architectural development is s�mulated repeatedly; it assimilates the changes in the evolving socio-cultural schemata, expresses it and again serves as a reminder of the iden�ty, �me, context, loca�on and culture. Therefore cultural memory and the built landscape are constantly in the process o�ecoming (Tilley, Keane, Kuchler, Rowlands and Spyer, 2006: 305).

What happened?

The hutongs were demolished in great numbers Cultural Amnesia Collec�ve iden�ty is disappearing People move from hutongs

In 1944, there were 3,200 hutongs.

In 2003, there were 1,559 hutongs.

Led to what?

On both sides of the Hutong are the residences of the residents-courtyard. The essence of Hutong is the component of living space, the extension of courtyard, and the transi�on from public place to private place. Eighty percent of Hutong residents believe that Hutong is a daily public space for them, where they o�en play cards and chat.

However, since the destruc�on of Hutong began in the mid-20th century. As the French newspaper Le Figaro wrote that “nothing seems to stop this cultural suicide now, as Beijing is turning its great culture into mediocrity” . China will have only its capital, not Beijing.

The Beijing Master Plan (2016-2035) , officially released on September 29,2017, clearly states “the protec�on of the checkerboard road network framework and the pa�ern of hutongs”.

5

Memory& Identity of Hutong

Hutongs and the material elements that make up people’s lives are an important part of Beijing’s culture, but they are disappearing. Will these cultural materials con�nue to exist in the future?

Historical city is the mark of historical events and the reflec�on of its iden�ty.

For Beijingers, the collec�ve memory of the hutongs cons�tutes their sense of iden�ty. As Pierre Nora, collec�ve memory is “the way history enters social life, through which individuals, organiza�ons and na�ons interpret, recall and commemorate the past”.

One of the most important aspects of Hutong memory is cultural memory, which is built on three main components: func�onal/physical components, interac�on, and significa�on/symbol. At the same �me, cultural memory is an ac�ve catalyst of emo�onal dependence. Representa�on and cultural memory are specific to place, while space is a container for storing family stories and community memories. Therefore, the connec�on between Hutong’s cultural memory, daily ac�vi�es and landscape forms hutong residents’clear sense of the past and strengthens their a�achment to Hutong’s iden�ty. Such as Sally Stone, reckons that we preserve memories of each epoch in our lives, and these are con�nually reproduced; through them, As by a con�nent rela�onship, a sense of our iden�ty is perpetuated.

How to evaluate cultural elements of Hutong that should be preserved and how to use spatial language to preserve those elements in the future?

However, Beijing residents’sense of iden�ty has been undermined by a growing popula�on and a booming tourism industry in global ci�es. Moreover, the current government underes�mates studies of cultural memory and place. We can’t turn every city street into a museum, but we need to at least protect the symbols of the city that recall memories and events.

Architectural heritage provides a direct link to the development of a society. It is a link to the past and an opening to the future.

To answer the research ques�on, the first step is to collect and screen for Hutong elements that are worth preserving in the future.

6

Chapter 2 Material culture elements collection& Filter

7

Case Study- Element Collection Fig. 1 Yong Xu, Hutongs, 2019.

Fig. 3 Unknown, Hutongs 1980s, 2019.

How I selected them?

Fig. 2 Unknown, Beijing in the memory of the post-90s natives, 2018.

Fig. 4 Unknown, Shijia Museum, 2019.

《 Reflection of non- material cultural heritage in Beijing Hutong 》 Written by Yiqing Lu Relevance to Hutong material cultural Published in 2014 Published by Xian University of Architecture and Technology

Fig. 5 Yiqing Lu, Reflection of non- material cultural heritage in Beijing Hutong, 2019.

《The story of hutongs》 Written by 46 authors Relevance to beijing memory They all lived in hutong Subjective \Emotive Language

In the channels of Chinese literature, there is always a theme of Beijing Memories, from the most familiar TV dramas to books, which are repeated in the stories of Beijing’s hutongs. What people miss is not the Hutong architecture itself, but the life in it, so the momerable objects about the Beijing Hutong can be found in the informa�on media that reflects the hutong life as a theme, since these items were selected to be used in a film or book, I collected these elements from a wide range of sources.

In the process of reading books, watching movies, and social networking sites and forums, I have documented the memorable objects that people describe with great emo�on, with different uses and proper�es, I collected most of the different types of items that evoked collec�ve memory, subjec�vely removing items that were unusual or merely personal, as well as items of similar type, func�on or appearance, the result was a collec�on of 25 items, not all of which were memorabilia, but items that represented most of the general public’s memories.

Because of the special func�on of the Hutong, it is an outdoor space which is not only a basic building element, but also a place for people to communicate and relax in the hutong. Therefore, most of the elements I collected are architectural elements, entertainment elements, as well as other items related to daily ac�vi�es.

Published in 2018 (not important) Methodology: Collating\Ethnographic Research

Fig. 6 Xin Bing, The story of Hutongs, 2018.

8

Elements Collection

9

Evaluation Criteria

Before producing the Evalua�on of Cultural Element, I looked at UNESCO standards for the protec�on of material culture and got some inspira�on for a more objec�ve evalua�on of the importance of protec�on. I’m also thinking about the importance of preserving memories and what people focus on when discussing a memento. In addi�on, I also consider the rela�onship between material culture and space, so the usability of the objects in the space will be a criterion for my evalua�on.

10

Inventor: Unknown

Part of the building:

Materiality: Bamboo and wood

The feasibility of reuse in space

No

Subjec�ve thinking

Totally

Playing Diabolo Era of design: 220-280 (The three kingdoms period) The meaning of physical characteris�cs:

No

Interact with the residents:

Yes

Common in modern life:

No

13

Elements Evaluation I used clay to model the collected material elements, pas�ng them onto a wall made of simulated hutong pa�erns and features to test the element's reusability, interac�on with the space, and response, whether it is possible to form a new space block to pave the way for the elements to be transformed into a spa�al language.

Meaning: Diabolo is good for people’s health and belongs to the intangible cultural heritage, also is the witness of historical development and the inheritance of folk culture.

Folk- Literature: It is said that the Diabolo of the Qing Dynasty was not only popular among children, but also spread to the palace, which was loved by the women in the palace, who created different forms of Diabolo.

To see the evalua�on of all elements please look at document- Elements Evalua�on.

11

Buildin g

Enterta inment

Pinwheel

Archway

Daily Nec essities

A�er the evalua�on, 15 cultural elements were selected. They were divided into three main categories, architecture, life and necessi�es.

A�er the second classifica�on, they also contained some more detailed a�ributes, such as decora�on, communica�on and so on.

Store Cabbage

Screen Wall

Play Chess

Morning Market

Gate Pier

Playing Diabolo

Cane Chair

As a kind of urban iden�ty in the development of Beijing, Hutong Space Culture obtains its specific iden�ty and has value and significance through its internal factors. The iden�ty of local elements derived from spa�al elements will influence all aspects of the development of elements that form the characteris�cs of urban areas. These elements record the wisdom of life and crea�ve ac�vi�es of the people of Beijing, which are connected with the inner feelings of the residents and cons�tute a sense of a�achment to a place. Tom Porter states that, Architecture can be considered as a crea�ve expression of the coexistence of space and form on a human scale but its understanding together with all other concepts, is rooted in psychological space of our thoughts.

Gray Brick

Rolling Ring

Honeycomb Brique�e

Door Nail

Jump the Rubber Band

Bulle�n Board

Humans live in space, turning parts of space into symbols that make sense to them or adding other symbols from the outside; therefore, they have a constant interac�on with space. All objects and ac�vi�es are like a text containing a symbolic system that can be analyzed from a new perspec�ve.

How analyze these elements as symbols? What is its rela�onship to architecture?

Communica�on

Recrea�on

Decora�on

Space Par��on

Building Founda�on

Living Material

Interac�on

Space Connec�on

12

Chapter 3 Analysis of material culture elements& Form spatial language

13

Literature Review

In this paper, the literature review mainly covers three aspects. First, Hutong culture elements cons�tute the iden�ty of Hutong residents. The other is the rela�onship between material culture and symbol, symbol and architecture, the second is the applica�on of deconstruc�on between symbol and architecture.

The objects and ac�vi�es of everyday life in Hutong define the unique iden�ty of Hutong residents, and these objects and ac�vi�es can be regarded as material culture, which can be clearly iden�fied and remembered as a symbol, its meaning is also expressed more directly. The building en�ty has the objec�ve material image, the prac�cal func�on and the ideograph condi�on, therefore may regard the building as one kind of symbol or by the symbol composi�on system. At the same �me, language is also a part of the symbolic system. The construc�on of grammar is similar to architecture, so many architects use the method of deconstruc�on grammar to deconstruct architecture.

14

Material Culture and Symbol Material Culture not only refers to material objects, but also refers to non-material objects, as long as can be thought and cogni�ve are things.

Materials are not things, not en��es, but symbols; materials, objects, things are also symbols.

To say that they are signs is not to say that they represent a par�cular thing with a par�cular sound or word, not as a sign opposite to something, but rather that they exist to dis�nguish themselves from what they do not mean, they are marks produced and used to dis�nguish between different meanings.

The symbolic nature of things is also its cultural nature, which shows that it is in the human system of meaning dis�nc�on and expression, with its own cultural iden�ty.

Symbol and Architecture Architecture is an integral part of the symbolic system.

Symbols are all things which are based on conven�on, can replace something else and can be understood. The symbol is the medium of transmi�ng informa�on. The architectural symbol, just like the human language, conveys informa�on to the audience and displays the cultural significance and the spirit of the Times.

Semio�cs in architecture is a deeper explora�on of the discourse of the architectural environment, a way to understand the rich metaphors, ambigui�es, rhetorical nuances and metonymies that may appear in the meaning of architecture.

As Pa�n Thomas, in order to dis�nguish between architecture and architecture, there needs to be a conscious sign that the wall is not merely sheltering, suppor�ng, enclosing; it must embody a meaning that highlights and sustains the concept of the wall, not just its use, func�on, or external implica�ons.

The symbolic meaning of a building symbol is not accidental, it is formed by the long evolu�on of the structural similarity of the symbol and its content, when the symbolic meaning is established by conven�on, in the future, as long as people see this symbol image similar to the en�ty, they will naturally associate with its conven�onal symbolic meaning.

Any simple architectural symbols, once combined with social and cultural connota�ons, will express much richer meaning, the existence of symbolic rela�ons, but also make architectural symbols can express mul�ple meanings.

15

Architecture and Deconstruction The deconstruc�on method of symbols can be applied to the analysis of architecture.

Deconstruc�on emphasizes the decomposi�on, fragmenta�on, superposi�on and combina�on of symbols, and advocates the dissolu�on, separa�on, fragmenta�on, lack, incompleteness and absence of center of symbols.

Deconstruc�on believe that since words in a language can be rearranged, reversed, or misplaced, both architecture and language belong to a system of symbols, and architecture can acquire new meanings by changing the posi�on and order of its cons�tuent parts.

The work of postmodernism is full of architectural symbols, and the architects have rearranged and redefined the tradi�onal symbols, emphasizing the double decoding of architecture, exemplified by Casa Batllo by Antoni Gaudí, a series of metaphors or symbols can be seen on the façade, projec�ng balconies like models of many dead faces or skulls, and the middle of the building evokes images of plants and metaphors of the sea.

A�er the analysis of deconstruc�on method and personal experiments, I determine the method of deconstruc�on.

Method

Fig. 7 Antoni Gaudí, Casa Batllo, 1877.

Deconstruc�on: Cut, shi�, Rotate, Remove Exaggera�on: Zoom in, Zoom Out, Extend, Shorten Mo�f Repe��on: Repe��on, Reduce, Repe��on

16

Example- Element Deconstruction& Block Formation

To see the deconstruc�on of all func�ons please look at document- Deconstruc�on& Blocks.

17

Example- Element Deconstruction& Block Formation

Archway

Each element is broken down into three parts, the first of which is extracted, and then through the three-part decomposi�on process, finally forming a space block.

To see the deconstruc�on of all func�ons please look at document- Deconstruc�on& Blocks.

18

Translate Cultural Elements to Space Blocks

1

10

2

3

11

19

28

4

12

20

5

13

21 29

37

6 14

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30

7

15

38 23

31 39

24

32

25 40

17

33 41

8

16

26

34

9

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42 35

27

43 36 44

45

Then got 45 space blocks. How do these blocks make up usable space?

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Chapter 4

The new use of cultural elements in the future space

20

Case Study- Material& Auuthentic How do contemporary designers reuse and protect Hutong Culture?

Fig. 8 Origin Architect, Time Shard, 2019.

Fig. 9 KENGO KUMA AND ASSOCIATES, Beijing Qianmen, 2017.

The damaged part of the buildings are selected carefully and combine with glass. Other old objects and materials sca�ered around–old cornerstones, old bricks and �les–are collected and randomly mixed into the new walls and floors as �me fragments.

We designed the exterior as a combina�on of brick wall and glass curtain wall with extruded aluminum screen.

If the wood on Theseus’s ship was gradually replaced until all the wood was not the same, would the ship still be the same?

The preserva�on of a building in a ruinous state recognises this： Perhaps some�mes the best approach to an obsolete building is not to do anything, to let it crumble and decay, to let it be.

Fig. 10 B.L.U.E. Architecture Studio, Bai TaSi Hutong Courtyard House Renovation, 2016.

Fig. 11 LE Architecture, Hutong Reflection, 2015.

Turn an old and shabby courtyard into a desirable courtyard house for homestay. the Qing dynasty stones are chosen as the material used for the staircase in between the guest rooms and entrance.

Hutong haircut was used to be a part of familiar community life in “old Beijing”. “Hutong Reflec�on” is an installa�on able to be freely moved in small alleys，intending to represent hutong haircut in a new way.

Self Awareness ：Protec�on and inheritance of culture should not be straigh�orward appearance and material imita�on, out of the tradi�onal design thinking, how can I think of ways to protect Hutong culture?

21

Case Study- Speculative Design Specula�ve design is a way to use imagina�on to predict the future design, it does not limit the crea�ve ideas of designers, I try to use specula�ve thinking to find design inspira�on.

Fig. 12 Ron HERRON, Walking City on the Ocean, 1966.

Fig. 13 Liam Young, Plane City, 2021.

Move, Utopianism

Economic

The bridges over the canals

Densely Populated Areas

Comprehensive set of urban resources

Poli�cal and Cultural Dynamics

The magnificent palaces submerged in marble steps

Urban Nomad Houses

Retractable Corridors

Sustainable Self-Sufficient 10 Billions of People

Fig. 14 Calvino, I, Invisible Cities, 2013.

Fig. 15 Sally Stone, Undoing Buildings, 2019.

Her house is pieced together from parts, restaurant is the gym for bathing, bar is living room Boundaries between private and public Work and leisure are eroded Working from home is now considered normal

22

How I communiate my understanding from these case studies?

23

Speculative Thinking The case studies of specula�ve design inspired many of my crea�ve ideas and I used mind map to �e them together.

The �mely emergence of "specula�ve design" helps architects to break out of the bondage of ‘over-commercializa�on of design’, breaking the tradi�onal thought of "design for solving problems". Such as Adolfo Natalini, suggests that there is no point in designing buildings for consump�on and demand. Specula�ve design helps architects re-focus on the role of design as research as a way to imagine the future. As a unique perspec�ve, specula�ve design not only helps architects to think more comprehensively but also considers how it affects the trajectory of social development. According to Stanislav Roudavski and Gwyllim Jahn, the general idea that designers work to solve problems for others is becoming less important. This could inspire architects to use design to influence the thinking of future architects instead of addressing current problems directly in the field of architecture.

Any design should be based on the social context of reality to develop specula�ve thinking, architectural design is no excep�on. For example, James Augne argues that designers should consider the actual context and environment when designing specula�ve thinking and thinking about future products.

I use reality as a star�ng point to imagine that Hutong facing ex�nc�on and a massive outbreak of the virus. People working from home has become the norm. There is no longer a clear dividing line between work and home, it is �me to envisage new architectural models of possible future living environments and to consider possible future ways of preserving culture and integra�ng historical culture into life. The past and the future co-exist.

Co-existence encompasses the habits of the past and the new reali�es of the future. Where there is co-existence is where the change takes place. It is the place where old structures are represented as new en��es: The new past and the new present. Why did the past need to be reorganized into different en��es? This is because the typical context associated with the past has changed.

When the present is embedded in the past, it brings out new connota�ons and associa�ons related to co-existence. The past has been recontextualized. These rerepresenta�ons are important when they are connected in different ways to a new sedimentary layer.

I think, through specula�ve thinking, encouraging architects to speak and express ideas that are completely different from tradi�onal design, further a�rac�ng the a�en�on and discussion of the society, so that more designers get more a�en�on, facing the future field of architectural design, promote the new trend of architectural design. It helps me abandon the framework of completely ra�onal thinking and freely imagine an idealized future. At the same �me, the ques�on of combining space and culture in the future is put forward by using the method of specula�ve design, hoping to inspire more people to pay a�en�on to and think about the future architecture.

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Concept The project presents a framework for a future life that envisions people living in the future with the material culture and memories of Beijing’s hutongs in an alterna�ve way.

In the world of urban deser�fica�on, popula�on explosion, society development, a lot of hutongs have been demolished, preserving the important historical culture is the challenge facing humanity today.

It is �me to rethink how material cultures represen�ng a group of People’s collec�ve memories and sense of iden�ty can be reac�vated across �me and space in the future.

By transforming the material and cultural elements of the Hutong into the spa�al language and shaping the func�onal zoning, the work was used to design the spa�al connec�ons between future buildings in Beijing. Different architectural forms exis�ng in different use scenarios, according to the use of the crowd, the spa�al blocks of solid space is combined with the spa�al blocks of holographic image, and the spa�al blocks of holographic projec�on makes part of space become “evolu�onary architecture”. In the forma�on of a new func�onal space at the same �me telling the cultural history of the past.

The goal is to create awareness of new design strategies for future cultural preserva�on.

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Site Analysis

Location: Jianwai soho, Beijing, Chaoyang District

Func�on in this area: office, educa�on, stores, cofe, food store, some people live there Features: Surrounded by video stores and convenience stores, people will buy food to eat in the square and bask in the sun, but there is no entertainment, people don’t know each other, the atmosphere is awkward, but there is no privacy.

The elevators are very crowded during rush hours.

Fast-paced work, ignoring the cultural atmosphere of Beijing.

Most people who work here live in the suburbs and commute four hours a day.

What I change?

Suppose 2030, people live and work in this building, no longer need long commutes, Home Office component is the norm. Married and homestay.

The hot air balloon disperses the elevator pressure.

Through the redesign, the corridors between the buildings were added and different func�onal spaces were added.

Bring the slow life and cultural elements of Hutong here, and slow down the rhythm of people.

26

Activities Hutong is the place of People's daily life, there are many ordinary but memorable things, I an�cipat-ed the ac�vity of the Hutong and the future ac�vity of the space.

Play Music

Visit Exhibi�on

A�ernoon Tea

Reading

Play Chess

Talking

Swing

Do Exercise

Working

Fishing

Market

Take a Rest

Plan�ng

Express Delivery

Paper Cu�ng- Folk Ac�vi�es

Convenience Store

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A corridor of different func�ons connects the three buildings.

Eleva�on Plan

Reading

Afternoon Tea Folk Ac�vi�es

Shop Work Do Exercise+ Rest

Play Chess Fishing

Visit Exhibition Music Plan�ng Swing Talking

Market Express Delivery

Func�onal Par��on Map

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Space Blocks Each func�onal space is made up of volumes that imply its characteris�cs.

17 25 43

20 30 34

32 38 39 44

18 19 28 36 43

17 25 43

43 44 45

22 25 38

27 43

To see the space blocks of all func�ons please look at document- Deconstruc�on& Blocks.

19 21 28 43

16 23 29 30 43

31 32 42

14 24 29

16 26 35

20 36 37 45

19 37 40

3 6 14 29 29

Example- Play Music

To see the space blocks of all func�ons please look at document- Deconstruc�on& Blocks.

Recrea�on Interac�on

The band is located in the area of the Public Square and will not interfere with work from home due to the proper distance from the residen�al buildings on both sides.

A place where young and old people can relax. People can make an appointment to use their �me, the appointment informa�on will be displayed on the informa�on board.

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Chapter 5 Final Outcomes& Conclusion

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Axonometric Drawing- Floor 0

Work area, library, convenience store, rest area, sports area, afternoon tea area, folk activity area.

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Shared working space and can be used at any time by people whose home environment is not suitable for work.

Working Place Convenience store

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Library

Residents can read and rest here.

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Sports Space

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Rest Space

The walls of the rest area are opaque holograms where people rest on their inflatable beds.

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Corridor

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Afternoon Tea

Customized afternoon tea drinks based on each person's unique DNA..

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Axonometric Drawing- Floor 1

The area has a square, exhibition area, fishing, express delivery area, people grow their own vegetables.

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Exhibition Space

Folk ActivitiesSpace

People can hold different folk activities, such as paper-cutting and so on.

Painting and photo exhibitions about traditional culture to help young people learn more about traditional culture.

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Playing Chess

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Music+ Swing Space

People of different ages can use the space at the same time and have different activities.

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Talking Space

The talking space is next to the market space, where people chat during their leisure time and after shopping.

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Market Space

Here people buy daily necessities, such as vegetables, food, flowers and so on.

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Express Delivery Space

People will become more dependent on online shopping, so express transportation will also become more convenient.

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Result In this paper, Hutong cultural elements as symbols for analysis, and then use deconstruc�on to deconstruct and reorganize these elements, to give them new ways of use and meaning.

Semio�cs and deconstruc�on can help designers find and present the cultural meaning of architecture from another angle, and help designers ac�vely par�cipate in the con�nuous interpreta�on and reinterpreta�on of the process.

Architecture is analyzed as a cultural phenomenon. The form of a building is not merely the result of physical forces or any other purely causal factor. Rather, it is the result of a wide range of sociocultural factors.(Parsaee, Parva and Karimi, 2015) Architectural culture is a part of human culture, any simple architectural symbol, once combined with the connota�on of social culture, will express much richer meaning, the introduc�on of semio�cs into architecture not only has its reality, and it helps us turn our a�en�on to the experience form of human crea�ng architectural culture, rather than the building as an object, which can lead us to a world that we really need to explore.

The deconstruc�on can help us to recognize these symbols, to put them into new forms, to give them new value and to adapt them to a new future.

Conclusion The protec�on and reconstruc�on of architectural culture has always been a popular topic in the field of design.

Architecture is complex, it contains many factors, the essence of architecture is pluralis�c, no ma�er from any angle, it is only a part, a side, as a part of human culture, architecture reflects the characteris�cs of the Times. However, the integra�on of historical elements into modern architecture does not mean that it is archaized and retro, nor is it merely a change of materials. It is the use of modern architectural design concepts, according to living customs, cultural elements, etc. , to gradually integrate into architectural elements, taste the local urban style, extract from the daily living environment, rich in beauty and value of the elements in the use of modern design techniques, and performance techniques added to the new architecture. Both in line with contemporary design concepts and for the history of the reverie to leave a place.

In this work, cultural elements are reproduced from new forms and different perspec�ves are experienced to s�mulate the new vitality of historical culture and to encourage young people to face the new face of culture with new a�tudes, to s�mulate the interest of the next genera�on in history and culture. For Interior designers, design should not only change the external image of the environment, but also help the old culture to present in the space in a new form through the designer‘s own novel idea, to adapt to a new �me and place instead of being forgo�en.

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Chapter 6 Image Resources& Bibliography

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Image Resources

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Thanks MDes Interior Design 20/21- GSA Wenfei Gao

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