Collected Work of Collaborative Design Studio - Vision 42 / Qingliangshanmen

Collected Work

Collaborative Design Studio

Vision 42 Qingliangshanmen

CONTENTS

INTRODUCTION

02

STUDIO PARTICIPANTS / FACULTY

03

VISION 42

05

QINGLIANGSHANMEN

35

DRAWINGS

345

INTRODUCTION The combined Penn State Architecture and Landscape Architecture Departments inaugurated an Collaborative Design Studio led by Professors Ron Henderson and James Wines. The main objective, in addition to a collaborative format, is to design the space of cities - both landscapes and architecture - in an integrated manner.

The studio investigated two cities - New York and Nanjing - with comparative analysis of similar situations and conditions in each that address urbanistic issues such as urban mobility, public space, cultural vitality, equitability, conservation, and others.

Importantly, the studio demanded clear and audacious strategic thinking and design.

New York is a city of eight million located in the estuarine convergence of rivers and the bay. Nanjing is a city of seven million people located in Jiangsu Province on the Lower Yangtze River and is one of China's four greatest ancient capitals. Both New York and Nanjing are places of exceptional historic importance, economic strength, transportation access, and tourist attractions. The Pennsylvania State University workshop in Nanjing was in collaboration with Dongnan University and provided additional topical inquiries in preservation as the project site is adjacent to the UNESCO world heritage Ming City Wall.

STUDIO PARTICIPANTS / FACULTY Studio Students: Andrew Madl Anthony Mazzacano Becca Purtell Courtney Patterson Devon Beekler Drew Seifarth Emma Pritchett Eric Gabriel Jenna Collins Kyrie Yaccarino Laura Wake-Ramos Lauren Borrelli

Leah Grosso Lequan Clinton Liu Yang Melanie Ray Michael Morgan Patrick Nelligan Ricky Conte Ricky Fryer Seth Waldman Steffany Malarik Tom Wenner

Professors:

Teaching Assistant:

Ron Henderson James Wines

Zhen Tong

Elevate 42 vision 42 design New York, USA

Transfluence vision 42 design New York, USA

Third River vision 42 design New York, USA

Qingliangshanmen Nanjing, China

Devon Beekler

Lauren Borrelli

LeQuan Clinton

Jenna Collins

Richard Conte

Ricky Fryer

Eric Gabriel

Leah Grosso

Andrew Madl

Steffany Malarik

Anthony Mazzacano

Michael Morgan

Patrick Nelligan

Courtney Patterson

Emma Pritchett Perspective Perspective

Building BuildingFloor FloorPlans Plans

Lunar Reflections

Lobby

Admin./Info.

Lunar Reflections encompasses Chinese festivals that are known around the world. It takes the sites history and explores it through modern day design and concept.

Gift Shop

Auditorium

Re

t.

st.

The Chinese Lantern Festival and Chinese Mid-Autumn Festival are celebrated in this space by sitting stone pagodas within the moon gate water features. The stone pagodas remain present in the space throughout the year in moon gate circles seen protruding from the mote or as accents. On clear nights the moon gate circles act as mirrors that also reflect the moon within the space, which can be viewed year round. The pagodas, however, are lit during the Festivals and stand as relics to these celebrations.

Res

Gallery Space

Gallery Space

The lunar concept transitions into the museum with roofing units that mimic Chinese moon pavilions. It lends its style to blend in with the concept and the landscape. It allows visitors to take in the views of the site and to learn about the areas artifacts within the museum. Paths meander through small forest grooves and past reflecting moon gate pools with pagodas. Visitors can explore the different reflects and participate in festivals during different times of the year.

First Floor

Mid-Autumn Festival: This celebration is a harvest festival honored by ethnic Chinese and Vietnamese peoples. It is held on the 15th day of the eighth month of the Chinese calendar year, or for some on the night of the full moon between October and September. The festival brings friends and family together to give thanks and pray. One of the top destinations for this celebrating this tradition is West Lake (Three Pools Mirroring the Moon) three man made island stand and 3 stone pagodas rest alongside them. The candles in the pagodas are lit and the shimmering light reflects in the water. The moon can also be observed in the reflection of the water, that often outdoes the light of the pagodas.

Second Floor Not to Scale

Lantern Festival: This tradition is celebrated on the 15th day of the first

month of the lunar calendar. It is sometimes also celebrated in February or March. The tradition goes back as early as 206BC when children would carry paper lanterns to the temples with riddles in them. Another theory is that the celebration was to decline the darkness of winter and bring light into the night. The brightest paper lanterns are signs of good luck and hope. The festival can last up to a week and there are often fairs and other activities set up centered around the festival.

Not to Scale

Building Section BuildingSection

Not to Scale

Landscape LandscapeSection Section

10

50

100

North

Vegetation

Mote & Moon Pools

Terraces

Pathways

Vantage Points

Pagodas

Wall

Scale 1:1000 0

Vegetation

Landscape LandscapePlan Plan

Walkway

Not to Scale

Vegetation

Moon Pool w/ Pagodas

Mote

Vegetation

Walkway

Vegetation

Utility Road/ Walkway

Pedestrian Terrace

Vegetative Terrace

Pedestrian Terrace

Vegetative Terrace

Vegetation

Vegetation

Walkway

Vegetation

Not to Scale

Diagrams Diagrams

Lunar Lunar Reflections Reflections

Lunar Reflections encompasses Chinese festivals that are known around the world. It takes the sites history and explores it through modern day design and concept.

The Chinese Lantern Festival and Chinese Mid-Autumn Festival are celebrated in this space by sitting stone pagodas within the moon gate water features. The stone pagodas remain present in the space throughout the year in moon gate circles seen protruding from the mote or as accents. On clear nights the moon gate circles act as mirrors that also reflect the moon within the space, which can be viewed year round. The pagodas, however, are lit during the Festivals and stand as relics to these celebrations.

The lunar concept transitions into the museum with roofing units that mimic Chinese moon pavilions. It lends its style to blend in with the concept and the landscape. It allows visitors to take in the views of the site and to learn about the areas artifacts within the museum. Paths meander through small forest grooves and past reflecting moon gate pools with pagodas. Visitors can explore the different reflects and participate in festivals during different times of the year.

Mid-Autumn Festival: This celebration is a harvest festival honored by ethnic Chinese and Vietnamese peoples. It is held on the 15th day of the eighth month of the Chinese calendar year, or for some on the night of the full moon between October and September. The festival brings friends and family together to give thanks and pray. One of the top destinations for this celebrating this tradition is West Lake (Three Pools Mirroring the Moon) three man made island stand and 3 stone pagodas rest alongside them. The candles in the pagodas are lit and the shimmering light reflects in the water. The moon can also be observed in the reflection of the water, that often outdoes the light of the pagodas.

Lantern Festival: This tradition is celebrated on the 15th day of the first

month of the lunar calendar. It is sometimes also celebrated in February or March. The tradition goes back as early as 206BC when children would carry paper lanterns to the temples with riddles in them. Another theory is that the celebration was to decline the darkness of winter and bring light into the night. The brightest paper lanterns are signs of good luck and hope. The festival can last up to a week and there are often fairs and other activities set up centered around the festival.

Perspective Perspective

Building BuildingFloor FloorPlans Plans

Lobby

Admin./Info.

Gift Shop

Auditorium

Re

.

st

st.

Re

Gallery Space

Gallery Space

First Floor

Second Floor Not to Scale

Not to Scale

Building Section BuildingSection

Not to Scale

Landscape LandscapePlan Plan

Scale 1:1000 0 10

50

100

North

Landscape LandscapeSection Section

Vegetation

Walkway

Vegetation

Pedestrian Terrace

Vegetative Terrace

Diagrams Diagrams Not to Scale

Vegetation

Mote & Moon Pools

Terraces

Wall

Vegetation

Walkway

Vegetation

Moon Pool w/ Pagodas

Mote

Vegetation Walkway

Vegetation

Utility Road/ Walkway

Vegetation

Pagodas Vantage Points Pathways

Vegetative Terrace

Pedestrian Terrace

Not to Scale

Becca Purtell

Melanie Ray In it’s current state, the Qinhaui Riverfront in Nanjing is like any other contemporary development in China. It is an attempt to display the nation’s advancements in design while adopting Western ideologies of architecture and topography. The portion of the park adjacent to Qinglianshanmen and the Ming Dynasty city wall is unique to the river, celebrating the resilience of China’s oldest city wall. However, the history of this site begins with the Wu Dynasty wall foundations, and as the local government prepares to unearth the culture that lies below, a new approach must be taken to accommodate the ever changing dynamic of Chinese history.

ming dynasty wall drainage “moat” vegetation swath ming wall walk

With the advent of new technologies, the Qinhaui Riverfront Redevelopment will provide contemporary methods of UNESCO Heritage site protection, while at the same time preparing for new experiences as users enter the site. Just as the identity of the wall will be revealed with the future excavations of the site, the new riverfront park will reflect the state of the river dating back to the peak of the Stone City military stronghold and Wu Dynasty wall. In breaking away from the Westernized adaptation of a riverfront and revealing the conditions of the past, users will be given the opportunity to experience the wall in its original condition, while still maintaining the functionality of the park.

boating dock visitor’s center + park services flood mitigation garden

A museum dedicated to the eventual findings of the excavations is proposed across the river, maximizing views to Qinglianshanmen. An interactive glass wall directed towards the wall projects new information as it is shared with the public, giving users within the museum the opportunity to learn with the excavation team. As a further gesture to the past, the essential architectural components, such as the spatial organization and roof structure, are based on traditional Chinese methods dating back to the Shang Dynasty. A contemporary interpretation of the Xie Shan roof utilizes the sharp curves and wood structure typical to ancient Chinese design and the incorporation of the ‘jian’ spatial unit establishes order within the space.

To accentuate the experience as one walks throughout the park, an interpreted moat is incorporated into the design, providing dual functionality as a noise buffer as well as a flood prevention technique. Beneath the gravel surface penetrated by the natural landscape lies a drainage channel, directing water away from the wall and street and overcoming the volume of traffic with an underground stream of running water.

public plaza + dancing square

flood mitigation garden

PALIMPSESTIC DEVELOPMENT

nanjing city wall + stone city museum

1:50

redefining the qinhuai riverfront under the conditions of the past

5

5

4

layout of grid

DN

grid based on study of ancient chinese architecture and the ‘jian’ spatial layout

3

2

DN

1

first floor plan 6

10

(1) lobby (2) exhibition hall (3) interactive projection wall (4) auditorium (5) cafe (6) central courtyard (7) administrative offices (8) restrooms (9) gift shop (11) mechanical room

main floor plan

9 8

7

ground floor plan

extrusion of structure columns provide support and complete proportions true to chinese design

curvature of contemporary roof true to the curvature the xie shan roof, curves are extended to reinterpret the ancient form through the columns exposed through the roof and the peaks at the surface ends

surfacing and reinforcement a tensile mesh roof is then applied to the structure, maintaining exposure of the components and modeling the fluidity of ancient chinese buildings

In it’s current state, the Qinhaui Riverfront in Nanjing is like any other contemporary development in China. It is an attempt to display the nation’s advancements in design while adopting Western ideologies of architecture and topography. The portion of the park adjacent to Qinglianshanmen and the Ming Dynasty city wall is unique to the river, celebrating the resilience of China’s oldest city wall. However, the history of this site begins with the Wu Dynasty wall foundations, and as the local government prepares to unearth the culture that lies below, a new approach must be taken to accommodate the ever changing dynamic of Chinese history.

With the advent of new technologies, the Qinhaui Riverfront Redevelopment will provide contemporary methods of UNESCO Heritage site protection, while at the same time preparing for new experiences as users enter the site. Just as the identity of the wall will be revealed with the future excavations of the site, the new riverfront park will reflect the state of the river dating back to the peak of the Stone City military stronghold and Wu Dynasty wall. In breaking away from the Westernized adaptation of a riverfront and revealing the conditions of the past, users will be given the opportunity to experience the wall in its original condition, while still maintaining the functionality of the park.

A museum dedicated to the eventual findings of the excavations is proposed across the river, maximizing views to Qinglianshanmen. An interactive glass wall directed towards the wall projects new information as it is shared with the public, giving users within the museum the opportunity to learn with the excavation team. As a further gesture to the past, the essential architectural components, such as the spatial organization and roof structure, are based on traditional Chinese methods dating back to the Shang Dynasty. A contemporary interpretation of the Xie Shan roof utilizes the sharp curves and wood structure typical to ancient Chinese design and the incorporation of the ‘jian’ spatial unit establishes order within the space.

To accentuate the experience as one walks throughout the park, an interpreted moat is incorporated into the design, providing dual functionality as a noise buffer as well as a flood prevention technique. Beneath the gravel surface penetrated by the natural landscape lies a drainage channel, directing water away from the wall and street and overcoming the volume of traffic with an underground stream of running water.

PALIMPSESTIC DEVELOPMENT redefining the qinhuai riverfront under the conditions of the past

ming dynasty wall drainage “moat” vegetation swath ming wall walk boating dock visitor’s center + park services flood mitigation garden public plaza + dancing square

flood mitigation garden

nanjing city wall + stone city museum

1:50

5

5

4

3

2

DN

DN

1

first floor plan 6

10

(1) lobby (2) exhibition hall (3) interactive projection wall (4) auditorium (5) cafe (6) central courtyard (7) administrative offices (8) restrooms (9) gift shop (11) mechanical room

main floor plan

9 8

7

ground floor plan

layout of grid grid based on study of ancient chinese architecture and the ‘jian’ spatial layout

extrusion of structure columns provide support and complete proportions true to chinese design

curvature of contemporary roof true to the curvature the xie shan roof, curves are extended to reinterpret the ancient form through the columns exposed through the roof and the peaks at the surface ends

surfacing and reinforcement a tensile mesh roof is then applied to the structure, maintaining exposure of the components and modeling the fluidity of ancient chinese buildings

Andrew Seifarth LARCH 414: INTERDISCIPLINARY STUDIO

LANDSCAPE SCHEME

QINHUAI RIVERFRONT AND MUSEUM DESIGN N A N J I N G , P. R . C H I N A

LARGE SCALE LANDSCAPE ST R AT E GY: ACCROSS THE C O N C E P T: G A R D E N S O F S U Z H O U S C R E E N S TO L A N D S C A P E S C H E M E

FLOOD MANAGEMENT

YA N G Z T E WAT E R S H E D

NON- PRESCRIPTIVE LANDSCAPE PLAN

MUSEUM ENTRY VIEW: SCREENING VIEWS +

MUSEUM ARCHITECTURE SCHEME

ENGAGE INTEREST A DA P TA B L E P O C K E T S

ARCHITECTURE SCREEN

STRUCTURAL SUPPORTS

1ST FLOOR LANDSCAPE SECTION

BUILDING SHELL

ST RU C T U R E D E TA I L 2ND FLOOR

LARCH 414: INTERDISCIPLINARY STUDIO QINHUAI RIVERFRONT AND MUSEUM DESIGN N A N J I N G , P. R . C H I N A

C O N C E P T: G A R D E N S O F S U Z H O U S C R E E N S TO L A N D S C A P E S C H E M E

LANDSCAPE SCHEME

FLOOD MANAGEMENT

LARGE SCALE LANDSCAPE ST R AT E GY: ACCROSS THE YA N G Z T E WAT E R S H E D

NON- PRESCRIPTIVE LANDSCAPE PLAN

LANDSCAPE SECTION

MUSEUM ENTRY VIEW: SCREENING VIEWS + ENGAGE INTEREST

MUSEUM ARCHITECTURE SCHEME

A DA P TA B L E P O C K E T S

ARCHITECTURE SCREEN

STRUCTURAL SUPPORTS

1ST FLOOR BUILDING SHELL

ST RU C T U R E D E TA I L 2ND FLOOR

Laura Wake-Ramos

Seth Waldman

Tom Wenner

Kyrie Yaccarino

Elaine Yang

Drawings

Pennsylvania State University LArch 414 / Arch 491 Fall 2014