Home, Ownership & Belonging in a Landscape of Change

Home, Ownership & Belonging in a Landscape of Change Housing Prototypes for Qing Cun Old Town, Shanghai, China

 Master of architecture special topics studio

Wentworth Institute of Technology Fall 2016

此设计上海工作坊特别想感谢上海奉贤青村镇政府提供给学生的 资源和环境让学生在拜访青村青村老街对设计有所启发，此外我们也 非常感谢同济大学建築所张鹏副教授设计提供的丰富的青村老街背景 资料跟来到美国波士顿参与学生的期末评图。 感谢专业建築师跟教授 Meliti Dikeos, Mark Klopfer, Weldon Pries, Alex Krieger, Brooks Mostue, Anne-Catrin Schultz, Ingrid Strong, and Michael Wolfson 对学生设计评论跟回馈，让学生的 作品发表跟成果能如此成功，也特别感谢建築系研究所系主任Kelly Hutzell 的支持，才能有这次的成果。 最後，感谢立业公社的朱傑女士工作坊的赞助跟支持，让工作坊 有机会到上海青村老街学习。

家的归属青村风光改造 上海青村老街房屋設計

温特沃斯理工学院 建築研究所特别专题设计｜2016 秋季

 ACKNOWLEDGEMENTS The studio would like to thank the Shanghai Fengxian Qingcunzhen People’s Government, who generously provided support for the studio.

Officials met with the students to discuss their aspirations, and provided resources and work space while we were on site. We are also grateful to Dr. Zhang Peng, Associate Professor of Architecture, Tongji University, Shanghai, who graciously shared detailed documentation drawings of the Qing Cun old town with us, and who attended one of our design reviews in Boston.

The critique and feedback of architects and educators helped shape and strengthen the research and proposals. Thank you to Meliti Dikeos, Mark Klopfer, Weldon Pries, Alex Krieger, Brooks Mostue, Anne-Catrin Schultz, Ingrid Strong, and Michael Wolfson. We are grateful for the support of Kelly Hutzell, Director of Graduate Programs and the Department of Architecture, which made the production of this document possible. And finally, a note of thanks to Zhu Jie, CEO of LiYeah Commune, a local entrepreneur who provided the services of an interpreter, and who first invited us to Qing Cun.

Home, Ownership & Belonging in a Landscape of Change Housing Prototypes for Qing Cun Old Town, Shanghai, China

Students

STUDIO CRITIC

Daniel Belcourt

Jennifer Lee Michaliszyn

Patrick Christen

Assistant Professor

Thomas Cracolici Carson Gentry Samantha Lane Crystal Montas Joshua Niemiec Walter Pond Joshua Pruitt Miranda Stuckey

TRANSLATION Janet Wu

Janet Wu

Wentworth Institute of Technology Master of Architecture Special Topics Studio | Fall 2016

目錄

4

74

简介

设计专题

家的归属青村风光改造 研究工作坊 上海考察行程

穿透多孔性 活化閒置空间 框架和填充

青村老街基地 现阶段议题 设计目标 设计準则评估 設計方法

134 附录

研究

评图记录

设计专题

文献目录

24 研究 传统建築类型学 材料再利用 材料层次 剪纸艺术 生活风俗考察

 contents

4

74

Introduction

Design Proposals

Home, Ownership & Belonging

Porosity

in a Landscape of Change

Slip-Spaces

The Design Studio

Frame + Infill

Travel The Site: Issues for Consideration Design Objectives Criteria for Evaluation Method: Research Design Proposals

24 Research Traditional Architecture Material Time-line Material Re-use Paper-cutting Social Investigation

134 Appendix Design Reviews Bibliography

introduction

简介

Home, Ownership & Belonging in a Landscape of Change

家的归属青村风光改造

The Design Studio

研究工作坊

Travel

上海考察行程

The Site:

青村老街基地

Issues for Consideration

现阶段议题

Design Objectives

设计目标

Criteria for Evaluation

设计準则评估

Method:

設計方法

Research

研究

Design Proposals

设计专题

Home, Ownership & Belonging / in a Landscape of Change the design studio This site of this studio is Qing Cun old town, a traditional

the traditional architecture and urban fabric are still

watertown about one hour by car to the south of down-

largely intact. It is now one of a hundred protected sites

town Shanghai. The old town is 1.8km long and threads

in the Shanghai municipality.

between the “old street” and the canal. The oldest

While it appears at first encounter to be isolated from

structure in the town is the “old bridge.” The crossing is

the changes taking place around it, Qing Cun old town is

800 years old, and the bridge itself is 400 years old. The

as much a landscape of change as the new building tak-

next oldest structures are 100 years old, with most of

ing place in the city center. Modernization and eco-

the buildings being about 40-70 years old. The old town

nomic development has caused a massive displacement

was the original village. Now, the modern city of Qing

of various demographic groups as local residents have

Cun has grown around the old town, leaving it isolated.

left for greater economic opportunity central Shanghai.

Qing Cun is a modest example of a traditional “Jiangnan”

Likewise, migrants from other regions have moved into

watertown. The area south of the Yangtze river is

the vacated houses, which have been turned into inex-

known as the “Jiangnan” or “south of the river” region.

pensive rental units. The demographic and social

As a river delta, it is a lush agricultural area. It is criss-

changes have resulted in the residents having very little

crossed by canals that historically irrigated the agricul-

sense of ownership of their homes and of the old town,

tural fields, and were used to transport goods and

and an accompanying lack of maintenance. That and the

products. The canals are part of a larger system that

age of the houses has meant the houses have become

connect with the Grand Canal, which connects Beijing

very dilapidated and the living conditions are extremely

and Nanjing.

poor.

Shanghai and China has gone through a period of rapid

The studio focuses on the design of housing prototypes,

urbanization in the last 25 years, where much of the tra-

and explores themes of home, ownership and

ditional architecture has been demolished to make way

belonging.

for new building. Unlike other similar sites in the area, Qing Cun has benefitted from benign neglect, and has not experienced either demolition or gentrification, and

Right Wentworth M.Arch students on the Old Bridge, QingCun, 2016

5

家的归属青村风光改造

TRAVEL

Every place I have been to in China is the most amazing place I have ever been... carson gentry master of architecture, 2017 wentworth institute of technology

We traveled for 10-11 days in the Shanghai area at the beginning of the semester in Fall 2016. For the first weekend, Students spent time in the Shanghai city center and saw examples from the many periods of architectural history of that city: from the site of the original walled city, to the Bund, to the Pudong new area and the hyper-dense urbanization and new architecture that characterizes recent building activity in China.

We spent the bulk of the work week at the Qing Cun old town. The students stayed just one block to the study area. They examined the structural, material and tectonic details of the domestic structures and gathering spaces of the old town. Through careful observation and diverse media, including on-site sketches, measured drawings, model, photography and the moving image, they produced a series of mappings, diagrams and drawings that formed the basis for specific architectural proposals that were developed in detail upon returning to Boston. Through an interpreter, the students also observed and interviewed a number of the residents.

Finally, before leaving China, the studio took a short 2-day trip to Suzhou and Hangzhou.

The classical

gardens of Suzhou together form a Unesco world heritage site. In Hangzhou, the students visited works

by Pritzker Prize winner Wang Shu who lives, practices and teaches at the China Academy of Art in that city.

6

家的归属青村风光改造 /上海青村老街房屋設計 设计工作坊 青村老镇距离上海南部约一个小时车程的小镇， 约1.8公里长的老街和运河为这座小镇的主要元素，在 小镇上最早的建築为这座老桥墩，这桥墩已有八百年 之久，另外一座桥也有接近4 0 0年的历史，除了桥墩 外，其次第二老的建築物也有一百多年的历史，镇上主 要的建築大约40-70年之久。） 青村是典型的传统江南水乡小镇，其位於长江以 南，所以被称为江南。长江叁角洲有富饶的农业生产 外，运河也为承载货物跟商品的主要运输管道，这些运 河也连接到北京和南京。青村老镇是早期的村落，现 在的青村镇的发展围绕著青村老街，但随著快速现代 化发展，青村老街的历史也被渐渐遗忘。 此设计专题主为距离上海市中心约一个小时的车 程的青村老街，是典型的水乡小镇，短短的25年上海跟 中国经历快速都市化，很多传统建築在这块快速发展 中逐渐被新式建築取代，然而青村老街很幸运地没受 到都市化影响而被保存下来，目前青村老街被选为发 展保护的城市，因为其还保有早期传统建築结构跟都 市纹理。在都市化发展中被孤立的青村老街，其风貌受 到周遭建设和经济快速发整的影响，大量人口转移到 上海市中心寻求更多的工作机会和发展。相同的，因为 人口大量的流失，很多的空房变为便宜的租房，这吸引 邻近外地来的工人来这打拼。这样的人口快速变迁和 迁移，导致居民和外地来的工人对青村老街很难有归 属感，因为缺乏归属感跟社区凝聚力，让大家对房屋的 维护和居住条件变得没那麽在乎，使得生活品质条件 下降。所以这个设计专题主要专研在房屋方案设计，以 透过设计住房的方式让居民对家能感到有所有权跟归 属感。

7

上海考察行程

2016的秋季学期初，教授带一群学生前往上海学 习及考察，我们花了10-11天旅行，在旅行的过程中，我 们了解当地建築演进历史跟文化风俗。 在上海第一个週末，学生们待在上海市中心，看到 许多经历过不同时期风格的建築，看见上海从早期上 海租借、外滩、到浦东新区的摩天大楼，这些风格诉说 著上海的演进，此外，学生也很幸运地能从上海中心大 厦的观景台上亲眼见證快速都市化的上海 除了在上海市中心看见快速都市化的上海，这次 实地考察我们花大部份的时间在上海奉贤区。奉贤区 的青村老街为此课程的主要专题。学生研习老街的居 家传统建築结构、建築材料、社区结构等以了解当地居 民的风土民情。学生透过亲身经历、用写生、照相、做 模型、移动影像记录以作为未来设计题材，我们也将这 些材料带回美国波士顿以建築设计图表方式研读。此 外，当地居民很热心的跟学生们分享他们在青村老街 的回忆，学生透过翻译人员，记录下这些非常珍贵的当 地居民的生活回忆。 在离开中国前，学生及教授花了两天的时间拜访 上海附近的城市：有中国威尼斯之称的苏州及杭州。在 苏州我们参观被世界联合国组织列为世界遗产的传统 中式庭院，另外，在杭州，我们拜访了获得建築界最高 荣誉的普利兹克奖获奖得主王澍在自己所任教工作的 中国美术学院的作品。

8

The Site / Qing Cun Old Town  ISSUES FOR CONSIDERATION

9

1.

Canal Pollution

2.

Living Conditions

3.

Rapid Urbanization and Migration

4.

Changing Family and Household Structure

5.

Property Ownership

6.

Traditional Vernacular Architecture

7.

Cultural Exchange

Canal Pollution

or improvised provision of electrical power. There are

The canal is extremely contaminated. In pre-industrial

also structural and fire safety concerns since the

times, the canal would have been the economic, social,

buildings often often rely on the walls of the adjacent

and architectural, center of the village. Now industrial

building as structural support, rather than maintaining

waste is released directly into the canal. In the old town,

their own structural integrity and fire separation. There

because there is no indoor plumbing, human waste is

is also a general lack of maintenance in the public realm

also dumped into the canal. Further exacerbating the

Communal spaces are littered with piles of leftover

problem is that human waste is used as fertilizer and

building materials that residents have collected and are

water from the canal is used for irrigation for growing

saving for some undetermined future use.

vegetables. All of this constitutes an unsanitary and

The town government has started to replace sections

unhealthy situation.

of the old town with new housing that provides

A regional solution is necessary to effectively clean up

electricity and indoor plumbing. While this represents

the canal. The different governing bodies that comprise

an improvement in living conditions for the residents,

the watershed would have to agree to limit industrial,

some of the changes have also resulted in the loss of

agricultural and human discharge into the waterways. A

architectural and cultural specificity. There has also

comparable case study is Boston’s Charles River. 50

been an abandonment of traditional techniques of

years after the 1972 Clean Water Act, nature has

shading and cooling that could have inspired new

repaired itself such that the river is now swimmable. At

sustainable builing practices.

the local level and at the architectural scale, the old

Which traditional architectural features can meet a

town should not turn its back on the water. The student

contemporary need? How can future new housing

projects continue to provide access and views to the

improve living conditions, be built economically, and

water, with the ambition it will be clean enough to use

reinterpret and re-introduce some of the qualities of

for recreation in the future.

the traditional architecture that has been lost?

Living Conditions

Rapid Urbanization and Migration

Due to a combination of a lack maintenance and their

Rapid urbanization has attracted many workers to

age, the physical structures have become dilapidated

Shanghai for work. Most of the working age population

and the living conditions are extremely poor. Many of

has left to find jobs elsewhere, and have rented out or all

the houses do not have indoor plumbing and retrofitted

but abandoned their vacated units. The remaining

青村老街

Site plan

Above The site plan of Qing Cun with representative views. Source: all site plan base drawings courtesy of Zhang Peng, Tongji University

10

11

Above Site sketch of Qing Cun Old Street by Ben Bruce, W.I.T. M.Arch 2015

has left to find jobs elsewhere, and have rented out or all

“private owner” or the “owner” of the government unit.

but abandoned their vacated units. The remaining pop-

Some very limited precedents have been set where pri-

ulation of the old town is comprised of the elderly and

vate (or pre-revolution) ownership is partially recog-

migrant workers from neighboring Anhui province who

nized. Some of the oldest original leases are set to

have moved into the town to take advantage of the

expire soon, sparking a nationwide conversation since

cheap rental housing. The government has also used

there has been no precedent set for what will happen

the old town to temporarily house people from other

when they do expire.

parts of the town whose homes are being rebuilt. There

Because many of the lease holders have vacated the

is some cultural tension between the various groups

town, and because the migrant workers are renters, and

who now live in the town.

consider themselves to be temporary residents

If the vision is to see the old town become a dynamic

(despite some of them having lived in Qing Cun for

community again, how can future new housing and the

decades) there is no sense of “ownership” either liter-

design of gathering spaces foster a sense of “belong-

ally, or as a sense of belonging and stewardship. This

ing”? How can future new housing attract new or

contributes to the lack of maintenance of the physical

returning residents to Qing Cun?

structures and to the public realm.

How can the design of new housing foster this sense of

Changing Family and Household Structure

“ownership” in the sense of “stewardship” or

China’s one-child policy was instituted in 1978. Even

maintenance?

though the policy was recently revised to allow for two children in some cases, China is facing the prospect of

Traditional Vernacular Architecture

an aging population. As China has modernized, the tra-

As a protected site, new buildings in Qing Cun have to fit

ditional extended family structure has become more

within the envelope of the original structure, but

nuclearized where adult children do not necessarily

beyond that there are no guidelines. The danger is that

want to live with their parents. As the population ages

new structures become superficial imitations of the

that may have to be the case again.

old, a sort of “Disneyfication” of the traditional village.

How can the design of new future housing accommo-

There has also been a loss of traditional building knowl-

date different kinds of family structure, providing sep-

edge and skills. In the past, the tradition of wood archi-

aration when necessary, and expand and contract over

tecture meant that even important structures were

time?

demolished and rebuilt. Because the structures are not that historic, or particularly refined examples of the

Property Ownership

typology, redevelopment rather than preservation is

Property ownership is extremely complex in China.

appropriate for the site.

Technically, all property belongs to the government,

As Dr. Zhang Peng of Tongji University articulated for

and is leased or rented to residents. There are three

us, the architectural design challenge is to evaluate

types of arrangements: the first is “private ownership,”

which traditional features still fulfill a contemporary

which is a 70-year lease. The second is government

need, and how to reinterpret them so that they have

owned housing that is subsidized, and provided to occu-

meaning in the present day. And, to detail the new

pants for a low monthly payment. The third is rental

building so that it is economical and feasible for

housing, where the occupant has rented from either the

unskilled workers to build.

12

Cultural Exchange As a trading port, the Shanghai area has a long history of cross-cultural exchange. Even in the older buildings in Qing Cun old town, architectural details show evidence of cross-cultural exchange. Dr. Zhang Peng pointed out two examples to us: First, there is no tradition of arched openings in traditional chinese architecture – so somewhere the person who built this house (top, one of the oldest in the site) had seen a western style window – perhaps in the city center.

A second example, in one of the finest and intact courtyard houses on the site, these two party walls have different profiles abutted directly against each other. The profiles of the end walls are distinctive to different regions in China, so even in the older buildings the architectural expressions of locations is evident.

For these reasons, architectural design that borrows from other cultures, or that is proposed by architects from other cultures, can be appropriate.

Top Western style arched opening

13

Bottom Abutting party walls with profiles from different regions

government objectives

DESIGN OBJECTIVES

In 2014, then Mayor of Qing Cun ( Mayor Pan), shared his

This design studio emphasized the fostering of a sense

vision for the site. The Mayor had grown up in the old

of “ownership” in the design proposals as it relates to a

town, and reminisced how residents used to bring

sense of “identity,” of “stewardship,” and of “belonging”

bamboo chairs out onto the street itself after dinner on

in order to:

warm evenings, to cool down, and to socialize. He also

1.

structures and public realm.

spoke fondly of playing hide and seek as a child and being able to thread from courtyard to courtyard, sometimes passing through people’s homes. His vision

2.

the influx of migrants by fostering a sense of

community (whether locals or migrants), perhaps artisan workshops.

“belonging” or of community 3.

Engender a sense of belonging through the expression of an architectural “identity".

The top priorities at the time were 1.

Address the social and demographic issues relating to the vacating of the old town and

was to re-establish the old town as a real residential supported by new enterprises such as guest houses or

Encourage “stewardship” or maintenance of the

Improve the living conditions of the current residents

2.

Stabilize the old structures

3.

Improve the water quality

CRITERIA Any design proposal must: 1.

Improve living conditons, and provide for the health, safety and welfare of the residents

2.

Consider the loss of traditional building skills and unskilled labor

3.

Consider who will live here? Who is it for? What types of families and households?

4.

Evaluate which traditional features still meet a current needs

5.

Be sustainable, using local materials, and passive cooling and shading strategies

Above Wentworth M.Arch. students meeting with the Qing Cun government

6.

Literally or visually connect to the water

7.

Connect to the surrounding urban context

14

基地 / 青村老街 现阶段议题 第一、运河污染 第二、居住品质 第三、都市化发展 第四、家庭结构转变 第五、土地财产所有权 第六、传统建築类型学 第七、文化交流传统

运河污染 现在青村老街的运河受到很严重的污染，在未进 入工业化，这个运河是村落经济、社会生活、建築发展 的中心，但现在因为工厂废弃物都直接排放到运河，让 运河受到严重污染，再加上老街没有现代化污水处理 系统，人体排放的废物也直接流入运河中，这延伸出 健康卫生的问题，因为目前农夫用运河的水和人体排 放的废物来灌溉施肥蔬菜。 联合各地方政府一同有效清理运河为唯一的处理 方式，各地方政府一起设立排放工业污水、人体和农

的居住生活品质。但在这些新式住宅，虽然居民有比 较好的生活品质，但丧失了传统建築所提供遮阳跟环 保的通风系统，这特徵的丧失让在环境节能上不如以 往。 第一、哪些传统建築特徵符合现代建築需求？ 第二、怎麽以新式建築重新诠释传统建築的特徵，同 时改善居住品质跟环境保護節能？ 都市化发展

业废物的条例来处理污水排放的问题。波士顿查理斯

快速经济发展都市化的中国，吸引很多远从外地

河为成功清理运河污染的案例，在1972年波士顿政府

来上海打工的青壮年。很多在青村老街上的青壮年人

设立清理污水法案，经过五十年，现在查理斯河已经可

口到其他地方找工作，他们把閒置房屋租出去或是空

以开放给民众在里面游泳。从这个案例中，鼓励青村老

著，所以目前老街上的主要的人口结构为青村的老年人

街运河改造，让运河回到污染前的样貌，提供民众一

口跟来自安徽打工的青壮年。政府也利用这些閒置的

个新的乾净休閒的水岸。

空房作为暂时安置那些目前房屋改建的民众，因为这

居住品质 目前青村老街大部份的房屋结构因为屋龄年长跟 长期缺乏维护，再加上目前许多屋主没有室内新式厕 所跟新的电路，延伸出居住安全问题，因为传统建築 房屋没有独立的结构跟电路系统，一但发生地震或房 屋失火，将容易引发严重的火灾跟房屋倒塌问题。因为 公共空间长期缺乏修复，使得青村老街的居住品质下 降，居民利用这些公共空间作为储放剩馀建材给未来 15

些住宅都有现代化的电路跟室内厕所，提升当地居民

发展。目前政府拆除老旧房屋，改建许多新式住宅，这

些原因，老街有不同年龄文化族群构成的社区。 如果重新构想活化青村老街社区发展，有哪些房 屋和公共空间的设计为这些来自不同文化背景的居民 可以有共同对青村的“归属感”？如何运用这些新式建 築设计吸引未来的居民跟以前居住在青村老街的民众 愿意继续住在青村老街？ 家庭结构转变 1978年的中国一胎化政策，改变中国人口结构，

虽然现在已经取消一胎化政策，不过中国正在面对人

存方式将重要结构打掉重建，所以，在这些条件下，为

口老化，正当中过现代化，传统家庭形态也随著改变，

了重新打造青村老街，老街上的建築需要以现代化方

现在的青壮年有比较低的意愿和自己的父母 住在一

式呈现来取代一昧模仿传统建築外貌的设计。

起，随著人口年龄结构老化和一胎化政策的取消，人 口家庭结构也渐渐成为议题。 在设计上，要如何设计出居住房屋形态可以弹性 提供给未来不同家庭组结构？ 土地财产所有权 中国的土地所有权是相当複杂的，目前大部份所 有权归属政府，政府以出租方式租给居民。出租方式

张鹏教授为我们述说 这个建築设计核心是重新评 估传统建築特徵符合现代需求，跟如何重新以现代化 方式重新诠释，在诠释的过程也同时能传达跟保有在 地化特徵，此外，在建築材料跟建造上提出经济实惠 的营造方式让没有受过专业训练的工人也能建造出安 全的住宅。 文化交流传统

分为叁种：第一， 私人所有权，这租期长达七十年。第

身为交易港口的上海，拥有长久跨文化交流，这一

二，为政府拥有房屋所有权，政府以补贴低价出租给居

带也是深受外国文化影响。在老街的老旧建築能看见

民。第叁，租约，租约为向私人出租或是政府出租，其

这受外国文化影响。同济大学张鹏教授指出这两个特

他为在文化大革命前所保留的私人土地财产所有权，

徵:

然而这样的案例已经非常稀少。现阶段，因为和政府早 期所签租期七十年的合约即将到期，然而因为这样的 案例都还未发生过，现在全国正热烈讨论这些七十年 合约租期的房子所有权的未来方向。 因为这土地所有权的原因，再加上这些外地暂时 打工的居民，青村老街已经渐渐丧失一种归属感，拥有 权的关係，这些情感的消逝导致居民们对房屋维护跟 公共领域的管理维护的热忱。

例如在传统中式建築中是没有拱门形状的窗口设 计，从这张照片中可以看到这个建築中能看见西式窗户 设计，这建築也是在青村老街上最古老的建築。 第二个案例中，从这张照片中能看到最细緻的庭 院建築，在这个外观墙面能看见这个轮廓不同於这江 南区域的设计，在这些案例中，建築设计是容许和其他 文化交流，或是设计来自於其他国家的建築师也是可 以被采纳。

怎麽样以新式建築设计的方式重新塑造居民的 归属感，利用这归属感激发人们对居家环境维护的热 忱？ 传统建築类型学 为了保存青村老街的样貌，在青村老街的新建築 必须要配合原有的建築外观跟结构，但除了外观外，因 为目前没有新式建築的设计準则，在这种情况下，政府 所建设的新房屋变成只呈现传统建築的外观，而整体 青村老街就像迪士尼化的小镇。 因为所有青村老街上的建築结构还没有既定的保 存方式跟修建维护準则，再加上传统建築技术知识技 术逐渐消失，根据历史发展，中国传统木造建築的保

16

政府目标

设计目标

在2014年，青村镇的潘市长分享了他对老街的愿

这个设计专题主要强调透过设计方式让重新营造

景。潘市长从小在老街上长大的记忆中，老街上的居民

对地方上的归属感，

会在晚餐後，搬出家里的竹椅，坐在街上乘著凉风和居

点为此设计专题宗旨：

民聊天，孩子们玩著捉迷藏穿梭在各家的庭院。这小 时候的回忆成为他对未来青村老街的愿景，不论是外 地来到上海工作的民众和当地居民都能共享这丰富的 社区生活。 为了创造出这丰富的社区生活，首先有叁个条件 第一，改善当地现有居民的生活条件 第二，强化老旧建築的结构

为了创造出这种归属感，以下叁

第一，鼓励民众对公共空间和建築结构的维护管理意 识 第二，为了解决人口结构问题跟外来工人之间的断层， 创造出社区归属感以吸引人口回流，并增进本地人跟 外地人之间的互动 第叁，透过建築设计重新塑造当地居民对地方上的身 份情感认同

第叁，改善运河的水质污染

设计準则评估

所有设计方案必须达到以下这几点： 第一，改善当地生活条件，提供健康、居家安全等给当 地居民 第二，在丧失传统建築技艺的时期，建築设计是否符 合营造可行性 第叁，建築设计是否考量使用者需求？家庭形态等使 用这条件 第四，评估哪些传统建築特徵符合现代居民需求 第五，建築设计必须符合永续发展的精神，利用当地建 築材料、遮阳等环境保护设计 第六，和运河视觉上跟实体上的联结 第七，联结建築设计和临近市镇发展

17

18

Method RESEARCH TOPICS 1.

Traditional Architecture

2.

Material Layering

3.

Material Re-use.

4.

Paper-cutting

5.

Social Interactions

While in Qing Cun, students lived close to the study

Material Layering

area. They examined the structural, material and tec-

While on site, the students observed and took rubbings

tonic details of the domestic architecture and gather-

of the successive layers of material that have been

ing spaces of the old town. Through careful observation

added to the structures of the old town over time. Each

and diverse media, including on-site sketches, mea-

layer expresses the changing cultural contexts and

sured drawings, model, photography and the moving

needs of the inhabitants at each successive time period.

image, they produced a series of mappings, diagrams and drawings that formed the basis for specific archi-

Paper-Cutting

tectural proposals that were developed in detail upon

The area is well-known for the craft of paper-cutting.

returning to Boston. Prior to embarking on the trip to

There is a visual similarity between the subtractive art

Qing Cun, the class conducted pre-travel research.

of paper-cutting and that of architectural wood carving of fenestration and screens. This research could lead to

Traditional Architecture

architectural

The students researched the traditional vernacular

traditional craft through the use of new technologies.

and

tectonic

reinterpretation

of

typology of the Jiangnan region “watertown.” They examined the structure, assembly, material and details

Social Investigation: Interviews and Observation

of the historical architecture, as well as the relationship

Inspired by Mayor Pan’s recounting of “Liang Feng” and

of the buildings to the water’s edge.

“Hide and Seek” the students also tried to research the

Material Re-use

ducted interviews through an interpreter with as many

Ingeniously constructed assemblages of building mate-

of the residents as they could, and observed how and

rials can be found all over the old town, testifying to the

when gathering spaces were used.:

stories and social practices of the old town. They con-

creativity and resourcefulness of the residents. The students documented these material piles as a part of their site analysis. They were further informed by research into the recent work of Chinese artists and architect that explore the re-use of material from demolished buildings, including the work of Chinese architect Wang Shu who won the Pritzker Prize in 2012.

Wang, together with Lu Wenyu founded Amateur Architecture Studio, whose work is defined by a sense of place and material re-use.

19

研究設計方法

DESIGN PROPOSALS: 1.

Porosity: A Contemporary Interpretation of the Traditional Courtyard House

2.

Slip-Spaces: A Systematic Landscape Design for the Public Realm

3.

Frame+Infill: Incremental Housing and Material Re-use.

The students then reorganized themselves into three teams to work on design proposals for housing prototypes for Qing Cun old town: Porosity: A Contemporary Interpretation of the Traditional Courtyard House This project is a contemporary interpretation of the traditional courtyard house. It defines “porosity” in several different ways. The first in terms of ‘social connectivity,’ such as in the old courtyard houses. The second in terms of ‘openness’ of configuration that accommodates different kinds of household and family structure. Finally it reintroduces literal porosity in the form of traditional techniques of shading and passive cooling.

Slip-Spaces: A Systematic Landscape Design for the Public Realm This project envisions new landscape design for the public realm that would support a new commercial and artisans district in a currently empty lot on the south bank of the canal.

Frame + Infill: Incremental Housing and Material Re-use This project assumes that Qing Cun remains the site of affordable rental housing. It uses the model of “incremental housing” to maximize the efficiency of the government subsidized portion of a dwelling unit, while residents can customize the rest of the house according to their (changing) needs over time.

20

研究設計方法 研究专题 一、传统建築类型学 二、材料再利用 叁、材料层次 四、剪纸 五、生活风俗考察：采访跟观察研究

为了研究青村老街的建築样貌，我们透过实地考 察、写生和摄影的方式记录下传统建築结构、材料等 特徵。我们将这些记录透过叠图、图画等方式呈现，以 作为往後建築设计构想背景的资料。

四、剪纸 这个地区的剪纸艺术非常著名。剪纸和木雕跟建 築的屏风设计有相同的减法艺术，这个研究可以延伸 至运用科技重新诠释建築构造。

在前往青村老街前，学生做了一系列的江南建築历 史文化研究，以下为五大研究主题： 一、传统建築类型学 学生研究江南一带的运河运河城镇的建筑类型， 透过结构、材料组成跟传统建築细节和类建筑结构跟 水岸关系来了解江南传统运河建築类型。

二、材料再利用 在青村老街能到处看到当地居民发挥创意利用回 收或剩馀的建築材料重新组装使用，学生在青村时，也 记录下这些回收材料以作为基地调查资料的分析。在 前往青村前，很多中国艺术家跟建築师，以回收材料作 为创作素材，荣获2012年普立姿克奖的中国建築师王 澍和他太太陆文宇，所打造的业馀工作室，也是以回收 材料为创作题材为宗旨。

叁、材料层次 学生透过观察跟用炭笔擦抹方式记录建築材料， 从建築材料分析中可以看见青村老街的历史和都市纹 理，也看见历史文化演变和民众需求。 21

五、生活风俗考察：采访跟观察研究 这研究受到潘市长的“凉风”和“捉迷藏”的故事 启发学生想了解当地居民生活风俗 ，学生透过采访居 民跟观察方式分析青村老街社区生活文化。

设计专题

一、穿透多孔性： 现代化传统中式庭院住宅 二、活化閒置空间：系统化景观公共空间设计 叁、框架和填充：半成品住房设计和资源再利用

一、穿透多孔性： 现代化传统中式庭院住宅 这个设计为以现代方式诠释传统中式庭院。这里 的穿透多孔性有不同的意思，第一，传土中是庭院联结 当地居民，第二，公共空间的开放可以接受不同种类的 家族形态，最後的多孔性是利用遮阳跟凉风使居家能 源使用上更有效率。

二、活化閒置空间：系统化景观公共空间设计 此设计透过景观设计的方式来提供新的公共空间 给引进新的商机跟艺术家到运河的南边。

叁、 框架和填充：半成品住房设计和资源再利用 这个设计是在假设如果青村政府继续提供经济实 惠的租屋的方案。利用半成品好房子的概念，政府完 成房屋架构，以最经济实惠的方式盖出房子的框架和 提供基本维生系统，然後剩馀的空间，居民可以以自己 的需求设计自己想要的房子。

22

RESEARCH

研究

Traditional Architecture

传统建築类型学

Material Layering

材料层次

Material Re-use

材料再利用

Paper-cutting

剪纸艺术

Social Investigation

生活风俗考察

Research / Traditional Architecture Introduction Prior to embarking on our trip to China, we studied

and the connection to the water. Through this loss of

the Jiangnan Area watertowns of southeastern China;

traditional craftsmanship, materials and methods, the

specifically the vernacular canal houses of the area.

new government barracks are almost entirely devoid of

While on site we were able to observe, sketch and

traditional architectural reference - and the traditional

photograph many of the structural, tectonic and

uses of the space. No people were observed sitting out

material details in person. Upon returning from our trip,

in front of the flat unshaded facade and unarticulated

our research focused on the analysis of the structural

paving of the government barracks. The spaces defined

and architectural techniques of the site in terms of

by the jogging of the facades and the deeper overhangs

material joinery; spatial conditions in layering and in

were gone. Moving forward, the goal is to reinterpret

section, massing; and passive strategies at various

the traditional characteristics of the vernacular

architectural scales ranging from the street scale to

typology and combine them with the desirable modern

the building scale to the detail scale. While on site, we

amenities of the government barracks to formulate

documented these conditions through sketches and

viable housing prototypes.

correlative photographs across both traditional and new government construction.

Some of the distinctive vernacular features include: • post and beam timber structure • brick infill walls coated in plaster • roof tiles of varying styles • the roof overhang and eave detailing • the jogging of party walls and façades • the connection to the water Some of the distinctive features of the government barracks include the addition of modern amenities such as: • electricity and indoor plumbing for each individual unit • the ease of constructability • the cost-effectiveness Based on this research, we have determined that the new government construction that is replacing the traditional canal house buildings (on-site) is lacking the desirable qualities of the vernacular architecture.

Specifically, the qualities we felt that were lost included 25

the lack of craft in terms of construction, material usage,

传统建築类型学

Jiangnan Watertown

Left Set of diagrams representing various spatial conditions along the canal of a traditional Jiagnan water town.

Source: Chen, Congzhou, Hongxuan Pan, and Bingjie Lu. Chinese houses : a pictorial tour of China’s traditional dwellings. Pleasantville: Reader’s Digest Association, 2008.

Plan

Section

26

single story vernacular

Elevation

Plan

27

Source: Base drawing courtesy Zhang Peng, Tongji University

Cast roof tiles Wooden roof rafter slats Roof timber purlin

Plaster coating Extrapolated eave ornament Black brick wall

Timber framing member

Metal window bar cage

Wood window mullions Wood window subsill frame

Ornamented ridge Wooden roof rafter slats King post Purlin Upper purlin

Private Space Social Space

Private/Social Space

Lower purlin beam Column

28

two story vernacular

Elevation

Plan

29

Source: Base drawing courtesy Zhang Peng, Tongji University

Cast roof tiles Brick and plaster aggregate eave

Fungal growth on plaster patina

Timber window header Wooden window frame

Wooden window frame Brick and mortar wall construction Brick and mortar wall construction Timber porch framing

Wood transom

Stone threshold base

Ornamented ridge Ridged purlin Purlin Casted stone slate roof tile Roof wooden rafter slats

Private Space Social space

Column Wood floor joists Plaster coated brick wall

Entry

Living

Back room

Dining

Kitchen

30

Government Housing

Elevation

Plan

31

Source: Base drawing courtesy Zhang Peng, Tongji University

Clay tiles painted black Wood soffit painted black

CMU block wall with plaster coating Wood fascia board painted blue

CMU block wall with plaster coating Metal awning support

Wood window frame and cage

Wood operable window

Ornamented ridge Ridged purlin Purlin Cast clay roof tile

Concrete beam

Roof wooden rafter slats

Bath

Social space

Private Space

Private Space

Social space

Concrete founation CMU brick wall w/ stark white plaster coating

32

Neighborhood scale Traditional Void Spaces Positive | Irregular spacing and angles between canal houses provides breaks in sightlines, light infiltration, connection to water, etc.

Negative | Narrow void spaces between buildings is inefficient usage of space, provokes collection of clutter

Street corridor hardscape Positive | Varied stone patterns create hardscape for street corridor (variation representative of material availability / range, creates context Negative | Rough, uneven surface makes it difficult to move on the street (especially w/ vehicles)

Connection to water Positive | Buildings are built on the water encouraging a connectedness with the canal Negative | Building volume impedes views of the canal from the street corridor

Narrow street corridor Positive | Encourages community intimacy with close quarters interaction

33

Negative | Street corridor is narrow and eaves are long detracting from light intake

New Government

Positive | Plumbing underneath street with concrete finish provides individualized plumbing for each housing unit, organized block layout Negative | Plan reads plain, sectionalized and uninviting through thick unscathed rectangular bars, no delineation at the block scale

34

block scale Traditional Building Plan Positive | Typical enclosure is modular, easily structured, and on a grid system. Equal spacing of vertical members, apertures dictated by arrangement of posts and beams Negative | No experimentation with angular walls or non-rectalinear building shapes, grid limits the size and placement of wall punctures

Staggered Facades Positive | Stepping in facade protrusion into street corridor breaks in geometry/informs a different experience/pace when walking through the old street Negative | Informs a slower pace, detracting from any privacy desired by the residents

Block Orientation Positive | Orientation of block (horizontally from east to west) places the majority of apertures on the north and south side of the buildings as a method of shading Negative | Daylight is limited by the strict placement of apertures on the north and south

Exterior Program Positive | Program of each unit spills out onto the street corridor, encouraging community engagement

35

Negative | Exposed to elements, eliminates privacy

New Government

Negative | No delineation from unit to unit; blends together and reads as a block

36

Research / Material Layering charcoal rubbings We investigated and recorded the layering of the materials on the site by taking charcoal rubbings of old town. We identified six representative cross-sections through the canal that corresponded with the material layers.

With this method, we discovered that the

material layering corresponded with time periods, and was best understood as a layering of time. The addition of each layer indicates changes with each time period in how each space is used for either everyday tasks or for social gatherings. Ironically, the exercise of drawing all the layers in sequence, flattened each layer in terms of individual significance. When we first arrived in Qing Cun, we questioned whether we had any authority or right to make recommendations as outsiders to the culture. With the construction of this material timeline, our design proposals could be considered just one more layer in a history of many.

37

材料层次

Temporal material layering Charcoal rubbings of the material textures in Qing Cun old town

38

3 1

1580-1664

The oldest bridge on the site dates back more than 400 years, to the Ming Dynasty. (The crossing itself is 800 years old.)

4 2 5

1911-1949

The oldest structures in the town date approximately to the beginning of the 1911 Xinhai Revolution, which ended the Qing Dynasty to establish the Republic of China; most of the original structures along the canal were built between this time and the 1949 Communist Revolution.

3

1966-1978

A footbridge on the western side of the town was constructed during the 1966-1978 Cultural Revolution.

The footbridge replaced a 6-meter granite plinth that had previously served as the connection. The original plinth still lies on the bank of the canal nearby.

1

4

1979-1989

After the 1979 “economic opening” the residents started to enjoy newfound wealth and decorate a new, taller 3-story housing typology with colorful mosaic tiles.

2 5

1989-2009

In 1990, construction began in the Pudong New Area opposite the Shanghai Bund. There was little new construction in Qing Cun during this time as people began to move out of the old town to the city center.

6

6

2010-

In 2010, the government began to construct new housing along the canal. Unlike the eighties’ ”tile houses,” the new housing had to comply with newly established historic preservation guidelines.

39

Timeline of Material Layering 1660-1949

40

材料层次

41

Timeline of Material Layering 1966-1979

42

材料层次

43

Timeline of Material Layering 1989-2010

44

材料层次

45

Research / Material Re-use introduction

Wa Pan

This research area was inspired by the ingeniously

Wa Pan is a building technique of found material

constructed assemblies of building materials that can

fragments such as ceramic brick and tile. This technique

be found all over the site. Zha jian is an expression that

was developed by the region’s farmers to speed up

is used in Qing Cun for the saving of leftover material for

reconstruction after damage from typhoons.

its possible re-use in the future. Roughly translated it means “to pick up or select leftover or random items”.

We used the term “pick and save” for this vernacular practice. Before going to Qing Cun, Shanghai, we studied Chinese architects and artists who examine or utilize material re-use in their work.

Sources: https://cfileonline.org/ architecture-wang-shus-ningbo-museum/

47

Miner, Al, and Laura Weinstein. Megacities Asia. Boston: MFA Publications, Museum of Fine Arts, Boston, 2016.

Above An example of Wa Pan in a local village

材料再利用 wang shu

song dong

The name of Amateur Architecture studio is inspired by

Waste Not

such as the approach of an amateur builder, such as

Waste Not is an installation of the full complement of

spontaneity, craft skills and cultural tradition. The studio utilizes knowledge of everyday techniques to adapt and transform materials for contemporary projects. Wang states, “to me architecture is spontaneous for the simple reason that architecture is a matter of everyday life. When I say that I build a “house” instead of a “building,”I am thinking of something that is closer to life, everyday life. When I named my studio “Amateur Architecture,” it was to emphasize the

goods belonging to the artist’s mother, Zhao Xiangyuan (1938–2009)—including the wood frame of her house.

Song’s mother was typical of the generation of Chinese who lived through the hardships of the Cultural Revolution in the 1960s and 1970s, abiding by the dictum wu jin qi yong (waste not). This guiding tenet deemed that resources be squeezed for all their value and nothing be wasted.

spontaneous and experimental aspects of my work, as opposed to being “official and monumental.”

Ningbo Museum The motivation behind this design is to remind people what life was like in the past in the harbor city of Ningbo.

By collecting recycled building materials from the area for construction of the museum Wang was seeking to make a building that could be a small city in its own right and bring up memories of the past. Furthermore, it preserves “wa pan”

a building skill that only the

craftsmen in this area know.

Above Ningbo Museum and material re-use facade design

Above Waste Not Exhibtion

48

Pile Key | 1 Brick Shed 2 Laundry 3 Food Storage 4 Fire Pit/ Table 5 Private Garden 6 Fire Pit/ Table 7 Infill Wall 8 Fire Pit/ Table 9 Bamboo Garden 10 Resident Gardens 11 Tile Pile 12 Shelter 13 Fire Pit/ Table 14 New Materials 15 Wood Pile 16 Fire Pit/ Table

Courtyards + Storage

1

2

Water Gardens

3 4 5

6

7

11

9 8

Outdoor Kitch Laundry

10 12

13

14

Hanging Garden

Informal structures We documented the sites along the Old Street where matieral piles were located and examined how these materials and techniques were being used to create informal structures that served the needs of the people. We found that common additions to the home included sheds for storage or kitchen extensions.

There were also outdoor spaces for laundry, balconies, and gardens both along the river and on the inner streets. The structures were adapted based on the amount of leftover space between the houses and the 49

programmatic needs of the individual occupants.

Pivate Garden

In

Info

Outdoor Kitchen + Laundry

Personal Space

15

Infill Pile

Temporary Material Storage

16

Brick Balcony

Home Additions [Kitchen + Storage]

Pile 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

50

B La Fo Fi P Fi In Fi B R Ti S Fi N W Fi

l

al

n

Material Piles

Material Piles

Brick

Brick

stacked

Material Piles

Piles

Brick

Brick

stacked

stacked

infill

s tacked infill

infill

corners

Material Piles Wood

ic nfill orners

Piles

corners

Material Piles

orientation

Wood

staCked

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Material Piles Wood

Wood

Material Piles

orientation

Wood

staCked

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orientation

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Corners

iC nfill orners

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orientation

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Corners

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Material Piles

Material Piles

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tile staCked

Material Piles tile

Tile

Material Piles tile

staCked

infill

staCked

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Corners M aterial Piles

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Waste

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isnfill taCked

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Uinfill tility

infill

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Corners

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Corners

Meeting the water

SHARED SPACE

RESIDENT GARDENS

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outdoor additions

Top Left Collage of Meeting the Water Bottom Left Section Diagram of Garden Top Right Collage of Outdoor Addition Bottom Right Section Diagram of Outdoor Kitchen

Outdoor Kitchen

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Enclosed Additions

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Enclosed Kitchen

Enclosed Kitchen

Section Diagram

Left Collage of Enclosed Addition Right Section Diagram of Enclosed Addition

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Research / Paper-cutting local craft Paper-cutting is a folk art localized to various regions of China. It is very much specific to Qing Cun and is practiced at the local community center. We were able to take part in the craft when we visited. It has been passed down from generation to generation for more than 2,000 years and is practiced by artists and as well as everyday citizens.

Paper-cut art is a subtractive process that takes place when a single piece of paper is either laid flat against a hard surface and cut with a blade or folded and cut with scissors to form a scene or symbol. The art is mainly decorative in function; it is displayed for festivals and other celebrations. A contrasting sheet is set beneath the cut piece, which may be more than a single layer, to enhance the voids left by the removed portions of paper.

Right Paper -cutting with scissors Left Paper-cutting with knife

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Bottom Modern example

剪纸艺术 folding

artists

Village Green Group

Contemporary Paper-cutting Artist, Li Shoubai

Above Folding Paper-cutting by Li Shoubai

Source: Li, Shoubai. Papercutting. Shanghai: Shanghai People’s Fine Arts Publishing House, 2016

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wood carving and fenestration Paper-cutting and wood carving are both subtractive processes. Through an architectural lens, paper-cutting has a clear visual connection with the fenestration details of traditional and vernacular architecture.

Comparisons with paper-cutting can be drawn to the window and door screens on site, and in the region.

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Top Left Fenestration Design in Suzhou Bottom Left Fenstration Design in Qing Cun Top Right Wood Carving in Suzhou Bottom RightWood Carving in Qing Cun

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FOLDING EXPERIMENTS We explored different folding techniques with modern technology. We applied the same cut template of a laser cutter to different folds to explore their potential for re-interpretation of the local fenestration and architecture.

Cut Template Diagram

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Folding Diagram

Final Iterations of Various Folds

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Research / Social Investigation Introduction This part of the research had two parts: interviews and

We interviewed people through an interpreter as we

the collection of oral histories, and observation. At first

encountered them on the old street. We had general

sight the old town looks like a village preserved in time,

list of questions, but mostly let people talk, and

but in fact it is as much a part of rapid urbanization as

listened. As designers and outsiders we were really

the center city. The working age population has left

taken with the historic structures and perhaps prone

to the center city for work, and migrant workers from

to romanticizing them. Speaking with the residents

neighboring Anhui province have moved into the vacant

revealed some unexpected perspectives. Many people

(rental) housing. Traditionally the old town was divided

had contradictory feelings about the houses that they

into three parts, with the fishermen and farming in the

lived in. Almost all the people who were from the old

west and merchants in the center and to the east. The

town had many fond memories of living there with their

houses in the western part of the town were therefore

family, yet in the same sentence told us how much they

less well-built or refined, and when the fishermen and

wanted their house to be torn down and replaced.

farmers left, more structures were vacated on the west side. Therefore today, the old town is divided with most of the Anhui migrants living in the western side of the old town, and the east is occupied mostly by people from Qing Cun or Fengxian District. More recently the government has used the old town as temporary housing for those who are being relocated into new housing.

While many of the structures and urban

context is intact, the Old Town is hollowed out socially.

Commerical Center

Fishing and Agriculture

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Migrant Cluster

Local Cluster

生活风俗考察

64

"We own to houses across the street from each other. We live in the small house next to the bridge and we use the larger house as a mahjong parlor where we spend time with friends and family."

"This is my home. When I came back after I served in the army for six years, all the shops on this street were gone

"This house used to be privately owned but the government placed us here before they tore down the tower we were living in."

"I have lived here for 60 years! I grew up in this house, it's 100 years old."

"We haven't lived here for long. We have rented our home for only four years."

"I want the government to tear down my house. That way I can move into a new house with a toilet!"

"I'm happy here because I can see my grandchildren but we want to leave and live in a tower again. Our children live in Nanzhou, that's the city where all the young people go to when there is no work at home."

"The factories are owned by the townspeople, and give jobs to the local women."

"When I was a little girl we went through the 'three years difficulty.' There was very little food and we were given rations donated by Canada. I stayed small, I'm shorter than my mother was!"

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"We are from Anhui, and are waiting to be able to move back. We don't really care for this small town."

"I've lived here my whole life and I talk to everybody!"

"Why are you in this old town? You should be in Shanghai looking at the new architecture."

"It's hard work living here, our house is very small."

"I found my husband here many years ago, he was raised here. Not much has changed until last year when the renovations started."

"This is my home, I have many memories of this place and all my children and grandchildren visit from Nanzhou."

"In the next year I will move into the residential towers across the canal."

"When the government takes over the rest of the old town they will put in shops and restaurants instead of houses."

"All of the people living in the government houses are eventually going to move into the towers, that's why the government built them poorly. They are only temporary."

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OBSERVATION Through observation we noticed that there was a consistent movement of people in and through the old town. Beginning in the morning people walk through the old town to the indoor/outdoor market. During the afternoon, many people are either at work or in a mahjong parlor just passing the time. The indoor/ outdoor market become very active again in the late afternoon around the time that people are getting out of work or children are leaving school for the day. After dinner hundreds of people gather in the public square on the far side of the main commercial street. This is where the entire community comes together to socialize and engage in physical activity. Children can run free while many of the adults participate in a dance class.

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Morning: Activity on the cross-streets and bridges leading to the main road and indoor/outdoor market

Afternoon: Small scale industry and mah-jong parlors active in the old town

Night: Activity at the public square and outdoor night market

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GATHERING SPACES

Bridges

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Courtyards

Old Street

Water’s edge

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研究

传统建築类型 简介

利用色彩缤纷的马赛克来装饰自己的家园，然而建築 风格也逐渐受到西方影响，同时也出现叁层楼高的建 築。在1990年上海浦东新区蓬勃发展，而当时建设都

为了研究青村老街的建築样貌，我们透过实地考

主要位在外滩的另一端，所以青村没受到太大的影响，

察、写生和摄影的方式记录下传统建築结构、材料等

随著经济起飞，大量在青村的人口移往上海市中心工

特徵。利用这些素材，加以和分析建築结构和建造技

作。2010年青村镇政府，著手规划青村的建设。在这

巧延伸至建築材料的组成方式、建築空间和建築尺度

次的材料层次研究中，我们发现历史文化跟建築发展

的关係。此外，我们也透过写生和摄影比较传统中式

的紧密关係，也发现每一层都有其特别的意义。

建築和新式集合住宅的建造方式，其中传统中式建築 柱樑木造结构、砖墙、各式各样的屋簷设计、不规则共 享墙、建築正面设计及用灰泥完成作为防水保护层的 建築外观等为典型的传统中式建築特徵，此外，在目前 新式建築中，能看到每家都能有自己的厕所和较好的 电力资源，建築手法上，新式建築简化了传统建造方

材料再利用 简介 在青村老街能到处看到当地居民发挥创意利用回 收或剩馀的建築材料重新组装使用。杂捡是启发於青

式。 基於这些研究和资料，我们觉得目前新式建築的 设计缺少了传统建築样貌的美，当我们在西区时，感受 到这些新式建築少了传统工艺、材料的特色，再者，也 断绝了和运河之间的联结，少了传统江南运河小镇的

村居民利用剩馀的材料，回收再利用。杂捡的意思是来 自於回收可以再利用的资源，杂捡为当地居民的普遍 的生活方式。在出发前往上海青村镇前，我们研究中国 建築师和艺术家利用回收资源作为创作题材。

样貌。新式建築的建造方式虽然很有统一的外观，这

杂捡运用在非常典型的江南中式传统建築方法『

统一的外观取代江南运河特色中的不规则共享墙和屋

瓦片』。其源自於江南一代农夫能在颱风後快速重建

簷的设计。我们希望政府在未来的建築设计中，提供

家园的方法，他们利用随手可得的砖头瓦片堆叠重建，

居家设施如：电力、厕所等同时，也能重新诠释传统建

这个方法既简单又快速。

築样貌，让青村镇继续保有这一百年的运河文化。

中国建築师王澍与妻子陆文宇一起成立「业馀建 築工作室」。王澍秉持建築是业馀作为创作理念，王

材料层次 碳粉拓印 利用炭笔塗抹方式记录和调查各式各样不同材料 的材质跟花样。我们将整条青村老街依材质区分出六 个不同特质的区域，发现出材料的运用和历史发展有

71

澍阐释「业馀」：「强调一种建築观是业馀的，实际上 就是在强调自由比準则有更高的价值，并且乐於见到 由於对信用扫地的权威的质疑所带来的一点小小的混 乱。」此外，实践建築是业馀的理念，他大量运用瓦片 这传统建築方法，想要提醒大众建築是贴近每天的生 活，另外，同时保留这项快失传的传统建築技术。

密不可分的关係。运河在青村镇的发展可以追遡到明

艺术家宋冬，在他的物尽其用展览中，以自己的母

朝，然而在老街上最老的结构为在1911年辛亥革命时

亲赵湘源的生活理念作为创作主题。『物尽其用』是

所建造，在1949年，青村老街开始蓬勃发展，除了建築

他母亲的生活準则，也是中国人经历过1960年到1970

外，西区的桥是在文化大革命时完成，此座六米花岗岩

年的文化大革命的生活写照。在汉语词典中关於物尽

所盖的桥联结了南北居民。在1979-1989年经济改革

其用的解释是：『各种东西凡有可用之处，都要尽量利

开放，建立经济特区，中国经济开始起飞，民众大量的

用，充分利用资源，一点不浪费。』节俭的美德是中华

文化的传统精神。 当我们拜访青村老街时，沿路上看到很多不同可 回收再利用的材料。我们记录下所有各式各样不同的 材料再加以分类，分为红砖，瓦片，瓷砖，木材和废弃 物，在更进一步以堆叠方式详尽分类，以作为之後设计 的素材。除了记录这些材料外，我们也发现很多当地居 民利用这些随手可取得的材料盖出额外的空间，例如 用砖头叠出的小型厨房，以竹子盖的曬衣架，花园，阳 台等创造出自己想要的空间。

此专题分为两部分，第一为采访当地民众收集这 些口述历史，第二为我们亲身体验及考察。青村老镇 似乎像是停在过去的历史中，但事实上，因为都市化的 快速发展，很多人离开这个小镇到其他大都市打拼，相 对地外来的工作者，如安徽居民，为了到上海工作，也 渐渐搬到青村居住。传统青村老街分为叁部分，西区的 民居的职业为渔夫，中区和东区为商人、商店集中的地 方，所以因为经济因素上，中区和东区的建築外观较为 精緻。因为运河受到污染後，原本居住在青村老街西区 的居民渐渐搬离这个地方，此区主要目前安徽的外地 工作者的暂时居住地方。

剪纸艺术 传统艺术

在青村老街时，我们透过翻译跟当地居民沟通，我 们问了一些问题请他们诉说青村过去的历史和他们成 长经验。身为设计师和旁观者的我们，我们可能会过度

剪纸艺术是传统特有的中国文化，剪纸为盛宴或

美化青村的历史，所以在访谈的过程中，得到很多出乎

庆祝的装饰。这项传统艺术在青村镇更为盛行，当地民

意料的观点，我们发现民众对青村老街的情感和自己

众会聚集在社区中心一起创作剪纸。在拜访青村时，当

的需求中产生很多矛盾的情感，因为大部份的居民在青

地政府办一场剪纸体验，让我们体验这超过两千年的

村有很多很美好的回忆，但他们同时也支持政府拆除

剪纸文化。

老旧的房屋，因为他们更渴望现代化的设施，像是冲水

剪纸是运用减法原理作为创作基础，剪纸有两种 不同的方式，第一，把纸放在玻璃上直接划出图案，第 二为将纸透过摺叠方式用剪刀剪出想要的图样。通常 用切割的方式，会在图纸下放一张对比颜色的纸，让切 割的过程中能比较容易看出哪里是需要剪去的。

马桶和较好的电力系统等，此外，民众也提到当地青村 老街的居民跟来自安徽的打工人之间的相处关係，虽 然来自外地，但他们也有跟青村居民一样的看法和需 求，希望能有较好的现代化设施，儘管他们没办法跟青 村当地居民有浓厚的社区情感外，他们还是能有和跟 自己一样来到外地打拼的夥伴互相勉励和一起生活。

相似的减法原理延伸到传统木工雕刻，从建築角

虽然老街上大部份的房子没有较好的维生系统如冲水

度看，这个减法原理可以直接跟传统建築的开窗设计

马桶和电力设备，大部份的居民还是很乐观的迎接每

有视觉上很大的关联性，因此，减法原理的剪纸艺术

一天，因为中国的经济快速成长和现代化发展。

和传统窗户及门扇设计作为比照。

在青村考察的这几天，我们发现来来往往的人们

为了更加探索如何透过镭射切割方式重新诠释这

在老街上移动。从一大早，大家会从自己的家走到外面

传统剪纸艺术和建築角度的开窗设计，我们用『囍』字

的市场采买食材、生活用品等，下午时，有些人在上班，

作为研究样本，『囍』的构造俱有建築意义，这样的镭

有些人打麻将消遣时间，到傍晚，学生从学校放学回

射切割和摺叠方式，让这项传统艺术有不同的意义。

家，下班的人们也开始回家，午後市场逐渐热闹起来， 居民在晚餐过後会聚在南奉公路上的人民广场，从是 各式各样的社交活动，小孩自由地跑来跑去，大人们学

生活风俗考察 简介

习有氧舞蹈等，晚上的人民广场相当热闹。 72

design proposals

设计专题

Porosity

穿透多孔性

Slip-Spaces

活化閒置空间

Frame + Infill

框架和填充

Design Proposal / Porosity Porosity:

Reimagining the traditional vernacular of the courtyard houses of the Qing Cu in order to establish connectivity. Specifically through the introduction of urban contextual relation, daylighting, passive heating/cooling strategies, flexible structural frames, programmatic gradation, and articulated walls. Currently, the existing on-site structures in the town have all fallen into a state of disrepair and are in desperate need of architectural reinterpretation and creative innovation. Taking advantage of the opportunity to incorporate passive strategies and potential social connections a new identity for the old town as well as revitalize the town with the inclusion of modern amenities.

Additionally, this housing prototype will be an effort to attract building artisans and craftspeople from outlying areas of southeast China in an attempt to facilitate a subtle shift in demographic composition/the transformation of the canal town. `

Introduction

Carson Gentry-Material Layering

Josh Niemiec-Social Investigations

This project is a contemporary interpretation of the traditional courtyard house. It defines “porosity” in Tom of Cracolici-Vernacular Josh Pruitt-Paper several different ways. TheCutting first in terms ‘social

connectivity,’ such as in the old courtyard houses. The second in terms of ‘openness’ of configuration that accommodates different kinds of household and family structure. Finally it reintroduces literal porosity in the form of traditional techniques of shading and passive cooling.

The goal was to establish social connectivity through the design of a housing prototype inspired by the traditional elements of the Chinese courtyard house.

By utilizing architectural strategies such as daylighting, passive heating/cooling, flexible structural frames, a gradient of public to private spaces, and articulated walls, the prototype addresses the inherent site conditions of Qing Cun, contemporary building implications, and the cultural heritage of the area.

Upon beginning this project, our group felt the need to reintroduce and reimagine the traditional vernacular of the courtyard houses of Qing Cun in order to encourage the renewal of building craft as well as communal engagement. The prototypes are cost-effective, and flexible to accommodate varied types of occupancy.

In taking advantage of passive strategies and flexible building modularity, the prototype introduces a new identity for the old town as well as revitalizes the town through the inclusion of modern amenities. This project is also representative of an effort to attract building artisans and craftspeople to facilitate a subtle shift in demographic composition, Introduce new economic functions and the transformation of the canal town whilst preventing gentrification.

Site Plan: Traditional courtyard houses that exist on site are shaded darker gray.

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穿透多孔性

Family Living Quarters Private Living Space

Family Living Quarters

Back Courtyard

Family Living Quarters

Central Courtyard

Public Living Space

Entry Courtyard

Private Living Space

Religious Altars

Family Living Quarters

2nd Floor Private Living Space

Entry Courtyard

1st Floor

Public Living Space

Rented Rooms

Rented Rooms

Central Courtyard

Rented Rooms

Family Living Quarters

Public Living Space

Entry Courtyard

1st Floor

Private Living Space

Private Living Space

2nd Floor

Yin Yu Tang House | The darker spaces show where the private functions are in contrast to the public spaces that are shown by the lighter gray spaces.

Courtyard Prototype | The darker spaces show where the private functions are in contrast to the public spaces that are shown by the lighter gray spaces.

Folding Wall Panel | Folding walls, shown in the above diagram, allow for the inhabitants of the house to easily change how public or how private a certain space is.

Shifted Roof Planes | By allowing individual spaces to have its own roof plane, it can be shifted to allow the right amount of daylighting. Assuming private spaces don't require as much daylight as the public spaces, the roof plane is shifted for each program in different orientations to the sun.

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Traditional Courtyard Houses We began by looking at traditional courtyard houses to understand how these structures were laid out and organized. Our first precedent was the Pingjiang Lodge, we observed that as a person moved through the main axis of the structure, they moved through a series of solid and void spaces beginning with more public functions directly off of the street and more private functions further back. After several courtyards a person reaches the most private spaces which are the family living quarters. Many of the traditional Chinese courtyard houses vary in size and layout. The interior courtyard is one of the only identifiable elements that is shared all types. In the diagrams the darker gray represents the rooms that have a more private function like bedrooms and other private living spaces while the lighter gray represents the public functions such as living space for entertaining guests. The middle row of diagrams calls out the entry ways which act as frames for the series of spaces that are just beyond the threshold. The bottom row of diagrams is a simple solid and void diagram of the procession of interior and exterior spaces.

First Row: The darker the gray the more private the function of the space in the different layouts of the individual house.

Second Row: The main entrances to each of the houses act as a frame that shows the preocession through the house.

Third Row: The gray spaces represent the solid space of the house in contract to the void space of the courtyard Fourth Row: Photographs of each of the houses that were investigated.

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Sources: Berliner, Nancy Zeng. Yin Yu Tang : the architecture and daily life of a Chinese house. Boston: Tuttle Publishing, 2003

Pingjiang Lodge

Pingjiang Canal House -Suzhou, China

- Suzhou, China

Yin Yu Tang - Anhui, China

Pingjiang Lodge

Pingjiang Canal House

Yin Yu Tang

Suzhou, China

Suzhou, China

Anhu, China

Organizational Grid Private Space

Privat Living Space

Privat Living Space

Entry

Entry

Entry/Informal space

Entry/Informal space

Entry

Entry/Informal space

Framed Thresholds

Solid & Void/ Interior & Exterior

Entry to lodge

Interior of the first courtyard

Exterior view from canal

View of entry courtyard at Peabody Essex Museum

Central courtyard

Central courtyard from second level

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Courtyard Houses Reinterpreted We then looked at modern reinterpretations of the traditional courtyard house. The first precedent that is Howeler and Yoon's SkyCourts project, which is a modern museum that uses a series of interior courtyard spaces that act as light wells that illuminate the interior galleries and capture outdoor spaces. The second precedent was the Sanhe Residence by Amature Architects. In this modern take on the courtyard house the main courtyard is left open on one side, framing a view of the landscape. The roof plane is a parabolic curve determined by the maximum curve accommodated by traditional roof tile. The third precedent twas the Stanga Housing in Croatia. The first reason we looked into this project was the articulation of the roof plane.

The second reason we took interest in this project was that it was built using the cheapest materials available, brick and plaster, and was constructed by untrained builders.

Top: Diagraming how the roof plan has been altered into a modern expression Lower: Photographs that demonstrate key features of each project Sources: http://www.howeleryoon.com/ projects/sky-courts ; http://www. sifangartmuseum.org/en/ctt.php?cid=159; http://www.sifangartmuseum.org/en/ctt. php?cid=159

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NJIRIC + NJIRIC Arhitekti : 1997/2003. n.p.: Madrid : El Croquis, c2003., 2003.

Sky Courts

Howeler + Yoon - Chengdu, China “A reinterpretation of the Chinese courtyard Sky Courts typology as a contemporary exhibition hall”

Howeler + Yoon | -http://www.howeleryoon.com/projects/sky-courts Chengdu, China

Sanhe Residence

Stanga Housing

“detailed functional and structural issues of the roof design. In order to fix the rainwater drainage issues, the hyperbolic roof surface is the natural solution”

“a reinterpritation of the patio house using the lowest technologies available. Brick, plaster, and non-qualified buildfers”

-http://www.sifangartmuseum.org/en

-http://www.elcroquis.es/

Amateur Architecture Studio - Nanjing, China

Sanhe Residence

Amateur Architecture Studio Nanjing, China

Rovinj, Croatia

Stanga Housing Njinc+Njinc

Rovinj, Croatia

80

Porosity / Daylight and Air roof orientation

site conditions To understand porosity through light and air, it is first

There is an absence of daylight in the existing houses.

necessary to understand the natural conditions on the

The design reintroduces this missing light. This is

site. Qing Cun has a humid subtropical climate with four

accomplished by altering the roof plane. Consistent

distinct seasons, 1111 mm of average rainfall, and 74%

with the progression of public and private functions in

average relative humidity, annually. Winds come from

the traditional courtyard house,, the spaces inside the

the southeast during spring and summer and from the

housing prototypes were given a gradiated amount

north in the fall and winter. On the Summer Solstice, the

of daylight based on the use of the space. More public

sun reaches 73 degrees and 27 degrees on the Winter

spaces received more light, and more private, less light.

Solstice.

To achieve these lighting conditions, the height of the volumes are lifted corresponding to the degree of their public or private-ness. Depending on the orientation of

Average temperatures in degrees Celsius:

the prototype, the roof planes are then manipulated to

Site Conditions

take advantage of diffuse northern light, and careful

30째55'33.3"N 121째34'34.9"E

to minimize solar heat gain by blocking direct light.

Spring: 20

Similarly, the fenestration in the prototypes also

Summer: 27

changes based on orientation to allow the southeastern tice

19

Sols

spring and summer air in and through, while blocking the

In the United States, the climate, rainfall, and latitude are most similar to Mobile, Alabama.

Su m mer

cold northern fall and winter winds.

Winter: 6

73째

Fall:

ce

째 27

r nte Wi

lsti So

Qing Cun Sun Path

Fall an

d Winte

r Wind

inds

mer W

nd Sum

a Spring

s

Sources: 3D model courtesy of Zheng Peng, Tonji University

81 Sun Path and Wind Direction Overlayed on Site

Qing Cun has a humid subtropical climate with four distinct seasons, 1111mm of average rainfall, and 74% average relative humidity, annually.

Winds come from the southeast during spring and summer and from the north in the fall and winter.

RoofRoof Orientation Orientation

En

try

En

try

Roof planes pushed and pulled Roofnorthern planes light pushed and pulled for diffused for diffused northern light

North Facing North Facing

Volumes lifted corresponding Volumes with gradiation of lifted Publiccorresponding or with gradiation of Public or Private use Private use

South Facing South Facing En

try

En

Courtyard subtracted from Courtyard subtracted from roof plane roof plane

try

En

try

En

try

East Facing East Facing

West Facing West Facing try En

try En

82

Porosity / Flexible Modularity Deep Courtyard Prototype The deep courtyard prototype is designed for local residents of Qing Cun, giving larger families the flexibility to either occupy the whole unit or rent additional space to other tenants. The unit transitions from more public to more private as the user moves deeper into the unit. To match the increasing privacy of the program, the embedded courtyards become smaller so that the gradient of privacy is legible in plan.

The configuration of this prototype is 12m wide by 18m long and can accommodate anywhere from 6 to 12 occupants. The size of the unit allows it to comfortably house a growing family, multi-generational family, or a mixed family and tenant occupancy.

83

Below Left (Deep Courtyard Prototype) Entry Level Floor Plan Below Right (Deep Courtyard Prototype) Second Level Floor Plan Below Middle (Deep Courtyard Prototype) Longitudinal Section Cut A.1

Multi-unit Prototype The multi-unit prototype is specifically designed for the migrants from other provinces that move to Qing Cun

Below (Multi-unit Prototype) Entry level floor plan and section

for work. Using the same footprint as the previous deep courtyard prototype, this prototype fosters a sense of community through the shared interior courtyard between the two separate units. Again, the private spaces (bedrooms, private living) are set away from the most public space in the structure. Each unit has the flexibility to house 1-3 people.

84

Shallow Courtyard Prototype The shallow courtyard prototype is designed for either local residents or migrants. This particular prototype is especially flexible and can accommodate the needs of any type of occupant because of its undesignated areas of program. The prototype can house 2 to 5 people and is 14m by 10m.

85

Below Shallow courtyard prototype entry level floor plan and section

Artisans Prototype The artisans prototype is specifically designed for either local residents or migrants that are practicing

Below Artisans prototype entry level floor plan and section

artisans, crafstmen, carpenter, smith, etc. Instead of integrating a courtyard (or courtyards) on the inside of the prototype (as in the other three prototypes), this arrangement places it on the outside of the structure in direct contact with the urban context. This is purposeful in that it encourages social engagment between the resident craftsperson and the pedestrian traffic. It is a small prototype (meant for only 2 to 5 people) conducive to indoor and outdoor activity as synonymous environments for working and living.

86

site Plan

87

Below Proposed urban configuration (in plan and section), designed for empty lot on the southern bank of the canal in Qing Cun

88

设计专题 / 穿透多孔性 簡介 这个设计为以现代方式诠释传统中式庭院。这里 的穿透多孔性有不同的意思，第一，传土中是庭院联结 当地居民，第二，公共空间的开放可以接受不同种类的 家族形态，最後的多孔性是利用遮阳跟凉风使居家能 源使用上更有效率。

建造方式、运用未受训练的工人，这些原因是为之後的 设计构想。

基地状况 为了了解青村的日光和风向，首先必须先了解地 理位置和气候，青村位在亚热带气候所以四季分明，年

此设计专题为重新诠释传统中式庭院建築，希望

降雨量为1111釐米，相对湿度为74%，春夏风向为东南

能运用传统中式庭院建築为设计元素活化青村社交

风，秋冬则为北风为主，夏至太阳为73度，冬至太阳位

生活，为了重新诠释中式庭院，此专题分为四个面向日

置为27度。四季平均温度：春20度;夏27度;秋19度;冬6

光、自然通风系统、弹性的柱樑架构和公共空间和私

度 。 其位置相当和气候等相当於美国的阿拉巴马州的

领域的关係，从这些面向，设计出适合青村镇的中式庭

莫摆尔市。

院。我们提出很多经济效力高和多功能的建築方式给 当地居民，这个设计方案为活化老街，希望能吸引这些 传统江南建築技术工人保留这些技术及结合现代化设 计，带给青村不同的样貌。

传统中式庭院

屋簷设计 在青村我们发现目前的房屋都少了很多自然采光， 所以希望能透过屋簷的设计，让自然光能被大量利用 点亮室内空间。这个光线设计跟空间关係紧紧相连，光 线的多寡会随著规画上改变，在较公共的地方如客厅，

从传统中式庭院我们能看出他们公共空间和私人

光线会最为明亮，然而到较隐私的部分如卧房，会有比

空间的组成关係。第一个案例研究是苏州的平江客栈，

较昏暗，为了达到这样的效果，屋簷的角度会随著室内

从街道走到房子内能看见功能上安排的转变，从公共

的空间而不同，为了运用北方的反射光线，房屋的方位

空间到较隐私的个人空间，这是很典型的中式庭院的

座向为东南方，同时可以阻挡冬天的北风。

安排，虽然有各式各样不同大小的中式庭院，但还是都 能看到内部庭院的设计为主要传统庭院设计的特徵。

大庭院設計

在图例中深灰色区块代表比较隐私的部分如卧室等私

这个大庭院专门是设计给有大家庭的居民拥有或

人空间，浅灰色则代表公共空间如接待宾客的客厅。在

是可以出租多馀的空间给房客。这个设计中可以看见

中间的图例显示庭院设计中的门槛不只是门槛，其更

由外到内，从较开放的公共空间到私领域的转换

区分各种不一样的空间。下面的图例为室内跟室外空间

了提供私领域，墙的厚度也随著增厚而庭院空间也渐

在整体庭院建築中的关係。

渐的变小。这个设计可容纳6到12人的空间在长18公尺

重新诠释传统建築 这些例子以现代建築的方式重新诠释传统建築 的精神，第一个为Howeler and Yoon的天空庭院设

，为

宽12公尺的範围，这样大小的空间适合给大家庭，多代 家庭及作为集合住宅。

集合住宅设计

计，这是一个现代美术馆，他们设计一连串室内的庭

此设计适合给外地到青村打工的居民，这集合住

院空间来采取自然光线作为室内展览场的主要光线来

宅以大庭院设计为基础，中间的庭园为主要的公共空

源。第二为王澍业馀工作室的叁合宅，这作品中能看见

间，这个空间可以增进居民的情感和对地方的认同感，

重新诠释中式庭院的精神，因为在走进庭院中，左边

此外在私领域的部分为房间跟客厅，单一住房可容纳

墙面开口，框架出外面的自然景观，此外在屋簷部分能

1-3人。

看出现代化的灵魂，屋簷的展现跟传统屋簷大相径庭， 但还是能看出是传统屋簷设计的影响，第叁个案例为 克罗埃西亚的叁塔家住宅（Stanga Housing），我们 89

选这个案例主要有叁个原因：屋簷结构的设计、低成本

小庭院设计 这个设计适合给当地居民跟外地来打工的居民， 这个小庭院设计的特性为居民可以以自己的需求调整

住宅内的配置，而此大小为14公尺宽10公尺长，可容纳2-5 人。

工匠住宅 这个工匠住宅提供给从事工匠、木工、铁铸的当地居 民和外地来打工的民众，开放式庭园可以增进工匠间跟社 区居民的交流，此住宅大小可容纳2到5人。

90

Design Proposal / Slip-Spaces

WATER INTEGRATION: PERFORATION EDGE

Slip-Spaces CONAL EXTENSIONS: VISUAL CONES

Resulting conal axes as an organizing strategy for landscape and urban design

RESULTING CONAL AXIS AND SYSTEMIZED LANDSCAPE

91

活化閒置空间

mapping As was typical of water towns in the region, Qing Cun formed around and along the canal. Traditionally, the canal was the town’s economic, infrastructural and social center. In modern times, the pollution of the canal has seen the town ‘turn its back’ on the water.

A mapping at the urban scale of the perpendicular relationship between the party walls of the houses and the centerline of the canal reveals that the bends in the canal creates wedge-like breaks in the urban fabric.

These passageways connect the old street to the canal and provide physical or visual access to the water. We called these in-between spaces ‘slip-spaces”.

The emphasis of this design proposal is a systematic landscape design of the public realm, while the housing prototype is left more schematic. The intention is to reconnect with the water, and promote investment in Top The relationship between the structures and the canal creates irregularly shaped spaces in between structures. The rhythm of these spaces inspired our investigation.

the public realm in order to encourage social interaction and economic activity.

92

catalog of slip-spaces The slip-spaces were rich and varied in terms of their spatial configuration, sequence to the water and material palette. Despite the reduced reliance on the canal for modern life, the slip-spaces were still used by the residents in a variety of ways.

Structure

93

Structure

Water

Structure

Bridge

Single Sided Boundary

Structure

Structure

94

end wall The slip-spaces are framed by the end walls of the houses.

The profile or silhouette of the end walls in traditional Chinese vernacular architecture is specific to different regions. Qing Cun boasted a variety of end wall types, revealing a history of migration. The variety of end wall construction was an inspiration for the design of the housing prototype.

95

Qiaoji | Upward turning spine

Xuanshanding | Overhanging Gables

More labor intensive construction process

Roof purlins extend beyond the end wall

Signifies a higher social status

Timber frame exposed on exterior edge of

Adapted from the fire wall construction type

end wall Passive cooling strategy for the warm climate

Yingshanding | Firm Mountain

Matouqiang | Horses Head

Most common condition in existing

Originated as a fire separation wall

vernacular structures

Rising in steps above roofline

Gable flush with end of wall

Native to the Anhui, Jiangxi, and southern

Beams sit on the brick infill wall then

Jiangsu provinces

plastered

96

typical slip-space conditions We identified five typical conditions on site and

place between two end walls to park a boat - a literal

analyzed each condition’s relationship to the canal.

“slip space”. It invites the water into the land. Base

Base condition one places the broad side of the home

condition five identifies a secondary canal that makes

adjacent to the canal. This is a common condition within

a 90 degree turn from the main canal. This 90 degree

the existing Old Town. Base condition two emphasizes

turn requires that the structures and the pedestrian

a bend in the canal and highlights the resultant

path address the change in orientation. Incorporating

trapezoidal space. Base condition three sets the

the canal in such a way helps to encourage interaction

houses back from the canal so that there is more room

not only amongst the villagers but also the canal, and

for social gatherings along the water and more space

restore its role as the social, commercial and ecological

for circulation. This is the typical condition created by

lifeblood of the community.

the demolition of structures along the water’s edge and its replacement with new government housing.

This condition provides space to bring commerce and

DEFINING THE IN BETWEEN // aBASE CONDITIONS DEFINING DEFINING THE IN IN BETWEEN BETWEEN // BASE // BASE CONDITIONS CONDITIONS condition four is THE a smaller condition that provides DEFINING THE IN BETWEEN // BASE CONDITIONS DEFINING DEFINING THE THE ININ BETWEEN BETWEEN // BASE // BASE CONDITIONS CONDITIONS social events back into the heart of the Old Town. Base

ON SITE BASE CONDITION BASE CONDITION 1: CANAL 1: CANAL ON SITEON SITE BASE CONDITION 1side : CANAL Base Condition 1 Canal places the broad of the home adjacent to the canal. This is a common condition within the existing Old Town.

ON SITE BASE CONDITION 1: CANAL ON SITE ON SITE BASE CONDITION BASE CONDITION 1: CANAL 1: CANAL

ON SITE ON SITE

ON SITE

BASE CONDITION BASE CONDITION 2: BEND2IN : BEND CANAL IN CANAL

BASE CONDITION 2: BEND IN CANAL

ON SITE ON SITE ON SITE BASE CONDITION BASE 2IN : BEND 2:IN BEND CANAL IN CANAL CONDITION 2: CONDITION BEND CANAL Base Condition 2 Bend inBASE Canal emphasizes a bend in the canal and creates a trapezoidal space

97

BASE 1 MATRIX BASE 1 MATRIX BASE 1 MATRIX

BASE 1 MATRIX BASE 1BASE MATRIX 1 MATRIX

BASE 2 MATRIX BASE 2 MATRIX

BASE 2 MATRIX 2BASE MATRIX 2 MATRIX BASEBASE 2 MATRIX

ON SITE ON SITE

BASE 1 MATRIX

BASE CONDITION 1: CANAL

ON SITE ON SITE ON SITE

ON SITE

BASE 1 MATRIX BASE 1 MATRIX

BASE CONDITION BASE CONDITION 1: CANAL1: CANAL

BASE 2 MATRIX BASE 2 MATRIX BASE 2 MATRIX

BASE CONDITION BEND CANAL BASE CONDITION 2: IN BEND CANALIN CANAL BASE2:CONDITION 2IN : BEND

BASE 2 MATRIX

BASE CONDITION 2: BEND IN CANAL

ON SITE ON SITE

BASE 2 MATRIX BASE 2 MATRIX

BASE CONDITION BASE CONDITION 2: BEND 2 IN: CANAL BEND IN CANAL

ON SITE

BASE 2 MATRIX

BASE CONDITION 2: BEND IN CANAL

ON SITE ON SITE

BASE 2 MATRIX BASE 2 MATRIX

BASE CONDITION BASE CONDITION 2: BEND2IN: BEND CANALIN CANAL

BASE 2 MATRIX

BASE CONDITION 2: BEND IN CANAL

ON SITE ON SITE BASE CONDITION 3: CANAL WITH SETBACK BASE CONDITION 3:WALK CANAL WALK WITH SETBACK ON SITE Base Condition 3 Canal Walk Setback setsWALK the houses back BASEWith CONDITION 3: CANAL WITH SETBACK from the canal so that there is more room for social gatherings ON SITE BASE CONDITION 3: CANAL WALK WITH SETBACK along the water and more space for circulation. This condition ON SITE ON SITE BASE CONDITION BASE CONDITION 3: CANAL3WALK : CANAL WITH WALK SETBACK WITH SETBACK provides space to bring commerce and social events back into the heart of the Old Town.

ON SITE BASE CONDITION 3: CANAL WALK WITH SETBACK ON SITE ON SITE

BASE CONDITION BASE CONDITION 3: CANAL3:WALK CANAL WITH WALK SETBACK WITH SETBACK

BASE CONDITION 3: CANAL WALK WITH SETBACK

ON SITE ON SITE

BASE 3 MATRIX BASE 3 MATRIX BASE 3 MATRIX

BASE 3 MATRIX BASE 3 MATRIX BASE 3 MATRIX

BASE 3 MATRIX

BASE 3 MATRIX BASE 3 MATRIX

BASE 3 MATRIX

BASE 4 MATRIX BASE 4 MATRIX

BASE CONDITION 4: BOAT 4SLIP BASE CONDITION : BOAT SLIP

ON SITE

BASE CONDITION 4: BOAT SLIP

BASE 4 MATRIX

ON SITE ON SITE ON SITE

BASE CONDITION 4:CONDITION BOAT BASE CONDITION BASE 4: SLIP BOAT SLIP 4: BOAT SLIP

BASE 4 MATRIX BASE 4 MATRIX BASE 4 MATRIX

Base Condition 4 Boat Slip is a smaller condition that provides a ON SITE BASE CONDITION 4: BOAT SLIP place between two end walls to park a boat. It is a personal condition that invites the water into the land.

ON SITE ON SITE BASE CONDITION BASE CONDITION 4: BOAT 4SLIP : BOAT SLIP

BASE 4 MATRIX

BASE 4 MATRIX BASE 4 MATRIX

BASE 4 MATRIX

BASE CONDITION 4: BOAT SLIP

ON SITE ON SITE

BASE CONDITION 5: SECONDARY CANAL 90 TURN90 TURN BASE CONDITION 5: SECONDARY CANAL

BASE 5 MATRIX BASE 5 MATRIX

ON SITE ON SITE ON SITE ON SITE

BASE CONDITION 5: SECONDARY CANAL 90 TURN BASE CONDITION BASE CONDITION 5: SECONDARY 5: SECONDARY CANAL 90CANAL TURN 90 TURN BASE CONDITION 5: SECONDARY CANAL 90 TURN

BASE 5 MATRIX BASE 5 MATRIX BASE 5 MATRIX BASE 5 MATRIX

ON SITE

BASE 5 MATRIX

BASE CONDITION 5: SECONDARY CANAL 90 TURN

ON SITE ON SITE BASE CONDITION BASE CONDITION 5: SECONDARY 5: SECONDARY CANAL 90 CANAL TURN90 TURN Base Condition 5 Secondary Canal 90 Degree Turn identifies a secondary canal that makes a 90 degree turn from the main canal. This 90 degree turn requires that the structures and the pedestrian path address the change in orientation.

BASE CONDITION 5: SECONDARY CANAL 90 TURN

BASE 5 MATRIX

BASE 5 MATRIX BASE 5 MATRIX

98

systematic landscape

99

The design proposal is a systematic urban and

material of the street references the old paving stones

landscape design for the public realm for a new

of the Old Street (B). As the user turns the corner, the

urban district on the south bank of the canal, which is

negative slip space is denoted by the reuse of roof

currently vacant. The public realm in Qing Cun suffers

tiles as a paving material (2). The user then crosses a

from a lack of maintenance, even though the old street

new bridge over a secondary canal, and experiences

and canal are very much considered a semi-private

a wider path of circulation, as delineated again by the

or communal space. As the user moves over the old

re-use roof tiles as a paving material (5). The paving

bridge to the new district, one first encounters the main

material corresponds to the conal axes, notifying the

gathering space, which is laid with loose brick to allow

user of the layering of program. Material delineation, a

for vegetation to penetrate the walk (A). The bamboo

reinterpreted circulation, and visual axial connections

dock helps to create a transition and signal between the

establish release points in the proposed plan, and help

water’s edge and the street edge (1). The main granite

to generate a welcoming, and communal environment.

100

urban diagrams

View Cones

Main path

View cones The existing view cones create a dialog between both sides of the canal. The view cones form an extension of People’s Boulevard and new landscape spaces. These axes are the organizing spaces of the new district.

101

Main path The public circulation along the south bank of the canal is continuous

New slip-spaces

Life-safety access

New slip-spaces A variety of new places to access the water are introduced Life-safety access Provision of access for firefighting, medical and private vehicles; as well as light and air.

102

new slip-spaces The design for new slip-spaces are coded through

Base condition five is framed on each side by the

material. Materials act as a kind of wayfinding.

same type of stone as base condition four, though it

Base condition one has a bamboo ground covering

is not as intimate in scale. This base condition uses

to mark access to the canal. Base condition number

materials to indicate where a house might have

two identifies a bend in the canal. The tile ground

stood if it were directly next to the canal.

covering is laid in two different orientations, which frames the space between the two end walls. The material bleeds out into the main walk way to let passersby know that these special spaces exist.

Base condition three uses the same tile as condition two. The ground covering denotes where a house would have been if it were next to the canal. Base condition four offers a boat slip. It is framed on all

VISUALIZING THE IN BETWEEN // MATERIAL SECTION

sides by stone, which does not require much upkeep.

Base Condition 1 BASE CONDITION 1: Canal CANAL

103

Base Condition 2 BASE in CONDITION 2: Bend Canal BEND IN CANAL

BASE CONDITION CONDITION 2 2:: BASE BEND BEND IN IN CANAL CANAL

Base Condition 3 Canal walk with setback BASE CONDITION CONDITION 3 3:: BASE

CANAL CANAL WALK WALK WITH WITH SETBACK SETBACK

Base Condition 4 Boat Slip BASE CONDITION 4: BASE CONDITION 4: BOAT SLIP SLIP BOAT

Base Condition 5 Secondary Canal 90 BASE CONDITION CONDITION 5 BASE Degree Turn5:: SECONDARY CANAL 90 TURN SECONDARY CANAL 90 TURN

104

Housing Prototype Details Through field research and first-hand interviews with the local residents during the trip, we learned that the existing housing units do not contain sufficient living area. Many of the residents’ daily activities spill out into the old street. The analysis of the vernacular housing showed that the size of a typical unit was dependent upon the available local materials such as the length of a timber post. By replacing the timber post and beam structural system with reinforced concrete, the size of the unit can be increased. The existing unit area is around 35 square meters (380 square feet) for a family of two, while the new structural system increases this to around 54 square meters (575 square feet). The

Typical Existing Unit Wall Construction | Timber post and beam structure with brick infill walls

new prototype can have either parallel and angled end

Area | 380 square feet (35 sqaure meters)

walls. Varied brick bonding patterns are used at the

Notes | Small interior forces resident to

end to increase visual and textural interest between

build makeshift additions

structures. They perform as a screening device and can allow the circulation of air in the humid climate.

The density of the bricks is increased and decreased to allow for larger and smaller apertures. The interior wall can have apertures that are glazed or open. This creates a pixelated lighting condition at night when the interior lights shine through. Over time the residents can start to fill in the walls with various materials. The filling in of the cavities in the pattern allows for personalization of the slip-spaces through the building out of informal structures.

Proposed Unit Wall Construction | Concrete post and beam structure with brick infill walls Area | 575 square feet (54 sqaure meters) Notes | Modern amenities / Ease of construction / flexible interior space

105

Parallel Slip Space Wall Detail | Dense

Angled Slip Space Wall Detail | Dense Interior brick wall: running bond Exterior brick wall: screen

Parallel Slip Space Wall Detail | Transparent

Angled Slip Space Wall Detail | Transparent Interior brick wall: running bond Exterior brick wall: screen

Parallel Slip Space Wall Detail | Personalized

Angled Slip Space Wall Detail | Personalized Personalized infill material Optional window Interior brick wall: running bond Exterior brick wall: screen

106

base condition 1

First is base condition 1, which is characterized by a widened stepped street and the introduction of a balcony condition overlooking the canal. This space allows for people to spill onto the street and occupy it as an extension of their homes.

107

base condition 3

Base condition 3 has a setback from the canal. This setback is converted into a promenade at the water’s edge that is articulated with bamboo trellises and greenery. The material of the paving changes in direction to denote which house the space is intended for, and a stepped street introduces layers of use that differentiates what is a pedestrian path and what is meant for sitting and relaxing. This condition encourages interaction with the water.

108

base condition 5

Lastly is base condition 5, which is a bend at the canal.

It is articulated with terraces at the water’s edge that includes greenery, as well as a boat slip to the right. The terraces are flexible and can be used as a seating area by the water with the pixelated end wall creating a play of light in the space at night.

109

Above Pixleated end walls Left Terraced seating area and boatslip

110

设计专题 / 活化閒置空间 製图 青村是典型的水乡小镇，早期运河为城镇经济、社 会、建设发展中心，但因为运河受到长期的污染跟废弃 物排放问题，运河不再像过去一样被受到重视。

置。青村老街面临公共空间缺乏修复又加上中国的房 屋所有权属於租赁的方式，所以在公共空间上比较缺 乏社区一同维护的意识。当民众从老街走到新市镇，他 们会先经过主要聚集广场，这个广场为比较贴近自然 的设计，地面上排列出较松散的砖头，让植物能自由生

在图中可以看见运河和房屋墙面呈现九十度垂直

长，设计以竹子做的出来的码头，这个码头为为老街和

的关係，垂直关係切割城市纹理，在这些通道除了视觉

运河的转接点，然而大理石的铺面作为老街街区的指

跟实质上连接老街跟运河，也提供民众亲近水岸的机

标，利用瓦片作为指引閒置空间，这会放在每个转角，

会，我们称这些閒置为溜走空间。

作为指引行人道閒置空间。步道材料为方向指引，这样

这设计专题为系统性的景观公共空间，利用系统 性的景观公共空间提供民众亲近水岸的机会，提升公 共空间品质及增进社区交流跟经济发展。

的设计创造出友善的环境空间。

景观设计图 景观

溜走空间图表 溜走空间根据空间上的安排跟运河和材料形成不 同的各式各样不同的组合，儘管现代生活对运河的依 赖性比较低，民众还是大量使用这些閒置空间。

外墙 这些溜走空间是由传统中式建築外墙所组成，传 统中式建築的外墙会随著地域的不同有不同的呈现， 青村老街上充满不同的外墙，显现出外地移民的历史，

现有的景观主要是从閒置空间连接运河两岸，此 设计是延伸这些景观到人民广场，创造出新的景观设 空间，哲些轴线也规划整理出新的区块。 主轴 沿著南端河岸的道路为主要的公共流动空间轴道 新的溜走空间 这些新的溜走空间提供民众亲近水岸的机会

这些外墙啓发此房屋专题设计。

公共安全设计

五种典型閒置空间 这轴道设 计提供给消防车、救护车跟私 人 汽车 在青村时，我们发现这些閒置空间大量被当地居

外，也有利用空气流通跟日照给周围的房屋。

民利用从中分析出五种这些閒置空间和运河的关係， 第一，为最典型的情况为房屋沿著运河发展。第二，因

新的溜走空间

为运河的弯曲让房屋跟运河之间产生叁角洲的情况。

为了让这些溜走空间能各自有自己的特色，结合

第叁，为房屋盖在运河的另一端，沿著运河的閒置空

各种不同的材料作为设计创作。每种材料都有自己的

间常常被运用为社交的地方，这是目前青村西区的主

特色，这些特色延伸至作为空间上的指引。在第一种情

要设计，这样的设计提供老街很多社交和商业机会。第

境会运用竹子作为铺面设计作为指引民众到运河，第

四，为狭窄的渔船停放的空间，这空间是运河和房屋

二种情境为了区分出运河弯曲处的閒置空间，我们利

直接连结的地方。基於这五种情形，我们提出九十度

用瓦片和其排列方式作为设计，这个瓦片的撲面会延伸

运河翻转设计，这九十度翻转发展结合总体景观结构

到老街，这样可以吸引从老街的民众到这閒置空间。这

设计和人行道设计，希望这翻转计画能增加民众之间

样的瓦片铺面设计也将运用到第叁种情境，同时指引

和运河的联结并带动老街的文化、商机和生态保育。

房屋跟运河的关係。第四种情境为为了提供船只可以

系统性景观

停泊的地方，将会运用石头作为铺面，因为石头不需要 经常维护也比较耐用。第五种相似於第四种情境，也

这个系统性景观设计只要是结合景观设计创造出

会运用石头。铺面设作为指引。

连接运河南端的公共空间，目前运河南端的河堤被閒 111

房屋设计：细节

在青村老街考察时，我们发现普遍当地居民的居 住空间非常狭小，因为这些狭小的居住空间，大部份的 活动都发生在家门外，所以大家使用老街的空间非常 普遍。当地的房屋大小取决於木材的长度，所以我们 提出以钢筋水泥构造取代传统的木柱樑结构以提供更 大的居家空间。以两人为主的居住空间，目前为35平方 公尺的大小，我们希望透过新的建築架构，提供54平 方公尺的居住空间。在墙面设计，我们提出平行排列和 角度排列，各式各样的砖头排列方式提供视觉和质感 上的享受。此外，这样的排列方式同时考量到潮湿的气 候，所以这可以帮助室内跟室外的空气流通。在采光方 面，砖头排列方式可以决定多少光线到室内，室内的墙 面可以随著居民需求填入不同材料，这样提供个人化的 需求，创造出自己想要的室内空间，在晚上时，外墙会 发出微微的光线，点亮晚上的老街。

社交空间 这些溜走空间提供景观设计上很大的弹性，此外， 这些溜走空间都有自己独特性。 首先，第一情境为拓宽街道和阳台设计，阳台提供 运河景观。第叁为退缩运河空间，利用竹子架构框架 作为陆地的延伸，引进绿色空间。为了指引行人到这空 间，不同的铺面设计作为指引，希望能作为让行人停下 来欣赏美景。 第叁情境为运河空间，将这个閒置的运河空间利 用竹子架出绿色空间，铺面材料指引出这个空间为人 行使用的休閒空间，这个空间鼓励民众之间的交流外， 也鼓励民众跟环境美景的互动。 第五情境为码头部分，阶梯会特别设计，提供在运 河旁的座椅，晚上时，因为墙面会发出微微的光线，这 光线伴随著运河美景。

112

Design Proposal / Frame + Infill Incremental Housing

Proposed Unit Providing Core and Infill with Person Needs Unit Area | Core 24.5 m2 ( 263.35 ft2 ) /

Incremental housing is a step-by-step process, which

Full Unit 49 m2 ( 527.43 ft2 )

starts with a starter core shelter. The starter core may be a kitchen, bathroom unit or just a bare lot with a utility connection. Owners control the expansion of their housing based on their needs and resources. This provides maximum flexibility in housing decisions for owners, while minimizing cost.

The government provides the core unit, which includes the minimum basic necessities such as

7m

kitchen, bathroom, and one bedroom. The proposed

(23ft )

Expands with User's Needs

core unit for the new government row housing is based on a minimum residential space for 2 to 3 people. The minimum residential space is around 23.8 sq.(3.5m by 6.8m). The width of the space is inspired by traditional structural systems as limited by the length of timber, Chinese fir. The length of the timber is from 3.5m to 7m. For the other half of the house, the government provides a structural frame and empty gabion cages. With a lower initial construction cost, the final unit when fully built out is two times larger than what the local government currently provides. This project proposes an affordable and inexpensive way for the government and the owners to cooperatively build housing. The advantage of this project is the ease of construction and local residents can reuse the found materials to complete or expand their homes as they desire.

113

Source: Aravena Mori, Alejandro and Andres Iacobelli, "Elemental: Incremental Housing and Participatory Design Manual," Ostfildern, Germany: Hatje Cantz (2016).

3.5 m (11.5 ft )

3.5 m (11.5 ft )

框架和填充

introduction

Existing Unit Government Row Housing Unit Area | 23.8 m2 ( 256.45 ft2 )

“Frame + Infill” is inspired by research on material reuse and the traditional vernacular architecture of the Jiangnan watertown. There are two meanings to the name “Frame + Infill.” The first is the structural meaning,

Bedroom

where the frame is a post and beam structural system,

The second is the conceptual meaning of “Frame + Infill”, through the creation of a system of building for local people to fill in according to their needs. This second concept of “Frame and Infill” is inspired by Alejandro Aravena’s Incremental Housing.

6.8m ( 22.3 ft )

and infill is traditionally of brick.

Bathroom

Kitchen

3.5m ( 11.5 ft )

Minimum Residential Unit

Traditional Wood Frame

For 2-3 People

Result of Local Wood Dimensions

poplution 1.3 bilion

20 m2 ( 215 ft 2 )

ft 3.5m-5m (11.5

-16.4 ft)

7m (23ft) poplution 0.3 bilion

77 m2 ( 828 ft 2 ) 114

existing Program These images show the existing programs, such as kitchen, bathroom and bedroom that the new government housing provides for the residents. When we were on site, we found a lot of informal structures that were built by the residents. The most common programs we found included both outdoor and enclosed kitchens, boathouse, balcony, laundry drying space, hanging gardens, and shed and lean-to structures for storage. Residents also further claimed outdoor space for private use by utilizing the in-between spaces for storing found materials such as tiles and bricks.

115

New Government Housing

Existing Informal Structures

Outdoor Kitchen

Enclosed Kitchen

Boathouse

Balcony

Clothesline Space

Hanging Garden

Shed for Storage

Interstitial space used for storage

Lean-To Structure for Storage

116

core + addition The diagram of the prototype housing shows the size of the full house at 49 sq.m (7m by 7m) and the core unit at 24.5 sq.m. In designing the structural frame, we studied a three-bay frame versus a five-bay frame. The five-bay frame provides more variations. The framework starts with three different modules: square, shift and L shape.

Additionally, there are four different types of roof forms: (1) the ridge on the short end of the module (2) the ridge on the long side

Framing Systems

(3) the ridge in the middle (4) a flat roof.

The permutations generated by combining the roof styles and prototype modules allow the system to be adapted to the typical site conditions of meeting the water, building along the narrow old street, and in a courtyard.

Roof Options

The units can be inserted into the existing context, within vacant spaces between the current houses, or by replacing buildings as they are demolished. From there, the units can combine to maintain the unique urban

(1) Long Assymetrical

fabric of the site.

(2) Short Assymetrical

(3) Pitched

117

(4) Flat

Bedroom Bedroom BEDROOM Bedroom BEDROOM BEDROOMBEDROOM BEDROOM

BEDROOM

BATHROOM

6.7 m

20 sq m

20 sq m

BATHROOM BATHROOM

6.7 m Bedroom

KITCHEN

POPULATION POPULATION | 1.3 BILLIONS POPULATION | 1.3 BILLIONS | 1.3 BILLIONS

6.7 m Bedroom

Kitchen UNIT ONE

Bedroom

KITCHEN KITCHEN KITCHEN

KITCHEN

Kitchen

KITCHEN

Kitchen

UNIT ONE UNIT UNIT TWO ONE UNIT TWO

UNIT TWO

BEDROOM: 12.25BEDROOM: sq m 12.25 BEDROOM: sq m 12.25 sq m KITCHEN: 12.25 sq KITCHEN: m 12.25KITCHEN: sq m 12.25 sq m

3.5 m

3.5 m

3.5 m

Each units hasEach slightly units different has Each slightly units settings different hasand slightly settings settings different are andbased settings settingsand are settings based are based on residents’ needs. on residents’ However, on needs. residents’ the essential However, needs. needs theHowever, essential for residents the needs essential for residents needs for residents are bedroom, bathroom are bedroom, and are bathroom kitchen. bedroom, and bathroom kitchen. and kitchen.

INCREMENTAL INCREMENTAL HOUSING INCREMENTAL HOUSING HOUSING

Incremental Unit sq m

77 sq m

7m POPULATION POPULATION | 0.3 BILLIONS POPULATION | 0.3 BILLIONS | 0.3 BILLIONS

(23ft)

7m

(23ft) 3.5 m

(11.5ft)

7m

7m

7m

7m

7m

(23ft)

(23ft) 3.5 m

3.5 m

(11.5ft) (11.5ft)

4.5 m

4.5 m

4.5 m

7m

(23ft) 7m

(23ft)

7m

(23ft) 7m

(23ft)

7m

(23ft)

Unit Modules

Square

Shift

L-Turn

Module Combinations

118

Top Left Site Responses: generic water condition

Middle left Site Responses: generic street condition

119

Bottom Left Site Responses: generic courtyard condition

120

Water Condition Section

Street Condition Section

121

Courtyard Condition Section

Water Condition Core and Frame

Water Condition Infill

Water Condition Complete Unit

Street Condition Core and Frame

Street Condition Infill

Street Condition Complete Unit

Courtyard Condition Core and Frame

Courtyard Condition Infill

Courtyard Condition Complete Unit

122

tectonics Traditionally wood post and beam construction was used on site for house-building. The frames used various carving techniques to produce the different connections. Many of the

members are joined

together with pegged mortise and tenon connections.

The frames were doubly supported to withstand the seismic and wind forces imposed on the structure. The spaces between the framing are infilled with various brick stacking methods. There were several cavity wall systems on site as well. The cavity systems were either structural or non-structural.

In the new government buildings, a layer of cement is applied to the surface of the bricks thus removing the charm and character of the brickwork and original plaster. The cement coating also prevents the walls from breathing. The infill walls are not able to withstand the seismic forces well. The new government buildings are showing wear; with pieces of the white coating beginning to flake off.

The proposed prototypes are modern reinterpretations of the traditional building systems observed on site. This proposal will attempt to provide simple construction methods for the residents to follow. A gabion wall system will hold up well against earthquakes. It also eliminates the need for a foundation. When foam is applied to the center of the gabion wall the thermal properties will exceed the existing systems on site as well as typical contemporary western wall systems. The foam will also create a watertight seal.

The pick and save materials can be used as the infill materials. The need for mortar is eliminated by the use of a gabion system. The components are dry set within the gabion baskets. Each infill material will have various limitations. The amount of foam in the middle of these materials will vary based on the thermal properties desired. In the situation of roof tiles drawn here roughly four centimeters of foam is necessary. The basket is 123

specified as one half of a meter in width.

Top Frame and Infill- Traditional.

Top Roof- Rafters, Decking, and Tiles.

Middle Cavity Wall- Traditional and New.

Middle Corner Connections- Mortise and Tenon.

Bottom Cavity Wall- Expansion.

Bottom Base- Concrete Slab and Stone Base.

124

125

Top Frame- Round Post and Beam Connection.

Top Infill- Brick Running Bond and Stucco.

Middle Frame- Round Post and Beam Connection.

Middle Infill- Brick Flemish Bond and Stucco.

Bottom Joinery- Corner Connections.

Bottom Infill- Brick Flemish Bond and Stucco.

Above Frame and joinery- contemporary interpretation as square post and beam

126

127

Top Gabion- Stone and Rubble.

Top Gabion-Caulk Tubes and Foam.

Bottom Frame- Square Post and Beam.

Bottom Frame and Infill- Empty Basket.

Top Gabion- Roof Tiles and Foam.

Bottom Frame and Infill- Roof Tiles.

Bottom Frame and Infill- Plastic and Foam.

128

Progression

In addition to the completed core units, the government should provide the post and beam structure and the empty baskets to aid in the development of the future additions. The recycling of these materials will create aesthetically pleasing and interesting façades drawn from a vernacular practice.

The evolution of a unit is a progression of infill over time, and is based on the inhabitants’ needs and the context. Through material use and program choices, the occupants can exercise and express an ownership of their spaces.

129

Above Core unit and frame

Above Frame and infill of re-used materials

130

设计专题 / 框架和填充

框架和填充

图解为房屋设计原基础模提案，完成房屋约49平

设计专题『框架和填充』的灵感来自於先早的研 究『材料再利用』和传统江南水乡建築。『框架和填 充』有两种解 释，第一，从建 築结构方面解 释，『框 架』为木构造的柱樑结构，『填充』为蛇笼建造的墙结 构取代传统砖块堆叠的墙结构。第二为字面上意义的 解说，此专题提出系统性的建造方法给当地居民，让他 们可以依照自己的需求和经济能力创造自己想要的空 间。

平方公尺。在木结构方面，我们提出叁组木柱樑架构和 五组木柱樑架构，在五组木柱樑架构中能组合出更多 方案，在室内跟室外空间上也有比较多弹性。此外，我 们提出叁组核心系统和填充空间的组合，平行组合、错 列和L型。在沿运河边的房子的排列方式，会主要以错 列或平行组合的方式增长，错列可以多出空间创造出 空间收纳船和捕鱼的工具等。 除了核心系统和填充空间的组合外，我们也提出

簡介

四种不同不同的屋顶设计，第一，屋脊在3.5m的那一

这个设计构想是受到智利建築师亚历杭德罗·阿

端，第二，屋脊在核心系统7m的那一端，第叁，屋脊在

拉维纳（Alejandro Aravena）的“半成品好房子” （

核心系统正中间，第四，平屋顶。屋顶设计和核心系统

Elemental

Housing），半成品房子为社会保障住房

跟填充空间的组合，并考虑各种基地的情况，例如在运

设计，在设计上提供基本生活空间，像是厨房、厕所及

河边、老街上和中式庭院，以提出适合的组合和排列。

房间，另一半留出空间，让房屋拥有者自己动手加以完 成。这种创新的方法又被称为“增量住房”，允许在较 为昂贵的土地上建造更加接近就业机会的社会保障住 房，并培养居住者的成就感和个人投资意识。我们将提 供相似的设计构想，目前政府所提供的居住空间，为两 到叁人的基本住宅面积大约为23.8平方公尺，然而基 本维生系统为厨房、厕所、卧房，目前房屋的尺度受到 传统木建材长度和宽度决定，因为传统木建材的场度 约3.5公尺到7公尺。所以我们提出此方案，政府提供完 成房子的核心，核心里有主要的基本维生系统为厨房、 厕所、卧房，另一半政府提供框架，此框架构成为木造 柱樑结构和空蛇龙墙面系统，此方案优点是政府和居 民合作一起盖出居民自己想要的家园，政府可以用低 建造成本创造出两倍大的空间，居民可以用自己的方 法盖出想要的空间。

現有狀況 照片为目前政府所提供的基本维生系统，厨房、厕

131

方公尺，核心部分为主要基本为生系统，其大小为24.5

这个设计方案可以盖在青村老街上目前閒置的空 间，或是现在即将被拆除的房子，因此运用这种方式可 以保持老街原有的样貌。

結構 我们在青村老街时看到当地工人也还运用传统木 构造建築来盖房屋。木构造因为不同的雕刻方式，可以 创造出不同的衔接点。榫卯为榫头卯眼的简称，是一种 传统木工中接合两个或多个构件的方式。其中构件中 的凸出部分称为榫（榫头，也称作笋头），凹入部分则 称为卯，最基本的榫卯结构由两个构件组成，其中一个 的榫头插入另一个的卯眼中，使两个构件连接并固定。 这种接准方式和穿斗是构造的优点是很耐强风和抗 震，穿斗式构架用料较少，建造时先在地面上拼装成整 榀屋架，然後竖立起来，具有省工、省料，便於施工和 比较经济的优点。同时，密列的立柱也便於安装壁板和 築夹泥墙。此外，空心墙系统支撑房屋结构。

所和卧房给青村的居民。在青村时，我们发现当地居民

目前政府所提供的房子失去传统中式砖块建築的

自己利用就地的材料盖了很多额外的生活空间，例如：

样貌，主要原因为建造方式和建築材料的使用，建材

室外厨房、船屋、阳台、曬衣架、花园和仓库等生活空

被水泥砖头所取代，墙面塗抹水泥让空气无法在墙面

间。

流通，再者，水泥砖头没有很好的抗震性。所以，这个

核心跟填充空間

设计专题提出用当代简易和低成本方式重现中式传统

建築。为了让当地工人能方便建造，我们提供蛇笼作为 墙面设计，主要原因，因为蛇龙有很好的耐震力，加上 蛇笼不需要地基，所以简化建造方式。塗抹泡绵在蛇 龙中间，就可以达到很好的隔热效果及防水渗透到屋 内。 加上当地居民随手可去得很多现成的建材或回收 物，这些东西都可以作为填充蛇笼的材料。泡绵塗抹 的量会依照各种材料的性质，例如利用瓦片为填充蛇 笼的材料，其需要大约四公分厚的泡绵以达到较佳的 隔效果，总墙面厚度约50十公分宽。 这个设计构想作为提供给政府未来在提供房屋给 当地居民能利用这经济效利高的建造方式，提供半成 品好房子：基本核心维生系统为厨房、厕所和卧室; 填 充的木框架为柱樑结构和空的蛇笼框架以方便居民可 以自己完成自己想要的空间，也同时保有物尽其用的 精神，创造出当地建築特色。

願景 这个设计构想作为提供给政府未来在提供房屋给 当地居民能利用这经济效利高的建造方式，提供半成 品好房子：基本核心维生系统为厨房、厕所和卧室; 填 充的木框架为柱樑结构和空的蛇笼框架以方便居民可 以自己完成自己想要的空间，也同时保有物尽其用的 精神，创造出当地建築特色。

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appendix

附录

Design Reviews

期末设计评图

Bibliography

文献目录

Appendix  design reviews List of Jurors Meliti Dikeos, Kelly Hutzell Mark Klopfer Weldon Pries Alex Krieger Brooks Mostue Anne-Catrin Schultz Ingrid Strong Michael Wolfson Zhang Peng

Below Professor Zhang Peng of Tongji University with Wentworth students in Boston

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Right Final Review; Frame+Infill Below Final Review; Slip-Spaces

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BIBLIOGRAPHY Ai, Weiwei: Never Sorry. Directed by Alison Klayman. Performed by Ai Weiwei. Milano: Feltrinelli, 2013. DVD. Ai, Weiwei, and Anthony Pins. Ai Weiwei: Spatial Matters: Art Architecture and Activism. Boston: MIT Press (MA), 2014.

Ai, Weiwei, and Caroline Klein. Ai Weiwei Architecture. Köln: Daab, 2010.

Aravena, Alejandro and Andres Lacobelli. “ Elemental.” The Index Award, 2011.

Art Review in The New York Times, “The Collected Ingredients of a Beijing Life.” Accessed Dec.02.2016 http://www.nytimes.com/2009/07/15/arts/design/15song.html Berliner, Nancy Zeng. Yin Yu Tang : the architecture and daily life of a Chinese house. Boston: Tuttle Publishing, 2003.

Bialobrzeski, Peter, and Stefanie Gommel. Nail Houses or the Destruction of Lower Shanghai. Ostfildern: Hatje Cantz, 2014.

Bolchover, Joshua, Christiane Lange, and John Lin. Homecoming: Contextualizing, Materializing and Practicing the Rural in China. Berlin: Gestalten, 2013.

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Chen, Congzhou, Hongxuan Pan, and Bingjie Lu. Chinese houses: a pictorial tour of China's traditional dwellings.

Pleasantville: Reader's Digest Association, 2008.

Chinese-architects- Office Profiles Architects. “Amateur Architecture Studio.” Accessed Dec. 02. 2016. http://www.chinese-architects.com/en/amateur Cheng, Liyao, Boyang Wang, Ru Jinghua, Peng Hualiang, Qijun Wang, Ran Wei, Yun Qiao, and Dazhang Sun. Ancient Chinese Architecture. Vernacular Dwellings. New York: Springer-Verlag Wien, 2000.

Chow, Renee Y. Changing Chinese Cities: The Potentials of Field Urbanism. Honolulu: University of Hawai'i Press, 2015.

Conan, Michel, and Wangheng Chen. Gardens, City Life and Culture: A World Tour. Washington, D.C.: Dumbarton Oaks Research Library and Collection, 2008.

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Goethert, Reinhard. “ Incremental Housing: Proactive urban Strategy.” Monday Developments (2010) : 23-25

Hung, Wu. A Story of Ruins: Presence and Absence in Chinese Art and Visual Culture. Princeton: Princeton University Press, 2012.

Inn, Henry, and Shao-chang Li. Chinese Houses and Gardens. New York: Hastings House, 1950.

Ji, Cheng. The Craft of Gardens. New Haven: Yale University Press, 1988.

Keswick, Maggie, and Charles Jencks. The Chinese Garden: History, Art & Architecture. New York: Rizzoli, 1978.

Knapp, Ronald G. China's Old Dwellings. Honolulu: University of Hawaii Press, 2000.

Knapp, Ronald G. The Chinese House: Craft, Symbol, and the Folk Tradition. Hong Kong: Oxford University Press, 1990.

Knapp, Ronald G. Chinese Houses: The Architectural Heritage of a Nation. Singapore: Tuttle, 2005.

Lu, Hanchao. Beyond the Neon Lights: Everyday Shanghai in the Early Twentieth Century. Berkeley: University of California Press, 1999.

Li, Shoubai. Papercutting. Shanghai: Shanghai People's Fine Arts Publishing House, 2016 Masterplanning The Future.“Wang Shu’s Ningbo Museum: a critical view.” Accessed Dec. 02. 2016. http://www.masterplanningthefuture.org/?p=1229 Miner, Al, and Laura Weinstein. Megacities Asia. Boston: MFA Publications, Museum of Fine Arts, Boston, 2016.

NJIRIC + NJIRIC Arhitekti : 1997/2003. Madrid : El Croquis, 2003.

Qi, Zhou. Shanghai Za Huo Pu. Shanghai: Tong Ji Ta Xue Chu Ban She, 2013.

Ruan, Yisan, Chenjie Zhang, and Jie Zhang. Shanghai Shikumen. Shanghai: Shanghai People's Fine Arts Publishing House, 2011.

Sheng, Hao, Joseph Scheier-Dolberg, and Yan Yang. Fresh Ink: Ten Takes on Chinese Tradition. Boston: MFA Publications, 2010.

Wallpaper City Guide: Shanghai. New York: Phaidon, 2006.

Wang, Joseph C. The Chinese Garden. Oxford: Oxford University Press, 1998.

Zhang, Qicheng, and Judith Farquhar. Ten Thousand Things: Nurturing Life in Contemporary Beijing. Zone Books, 2012.

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