The scheme is a reflection of “what city we need” and the response and hypothesis based on the local habits of Wuyishan.
In the middle of the night in the late nineteenth Century, the two human inventions changed the city, the elevator and the car. The elevators produced skyscrapers and made the city grow up to the high altitude; cars brought highways and made the city spread over the earth. The city began to design for cars, concession for the traffic system, walking space, and public entertainment.
Breaking through the invasion and domination of cars, the roads are wide enough, and pedestrians are small enough. All cars are of size. People lose their dignity on the streets and live in the high-speed running city mode. The city began to spread aimlessly, and in order to cope with the spread, the vertical space of skyscrapers was used.
The compact city is necessary, Corbusier has put forward the future of the city skyscrapers were green space surrounded by the vertical ecological concept, with people in the uphill, away from street life, between man and the fetters of rate, city will be lost unique downtown chaos.
Fujian province China Wuyishan City, accompanied by the China strategy mode of city development, urban development is done to the small city, the developing mode of replication, towering skyscrapers, the height of the road system expansion, has brought the modern city appearance for Wuyishan, but also gradually from the local culture,
The diversity of life has gradually become single, and the imprint of history has quietly disappeared.
The site is located in the South Gate street around the island, Island South Gate Street traffic system for city traffic flow brings convenient and smooth, but at the cost of road widening, South Gate Street of the old district continued to shrink down continuously. Located on both sides of the road have decreased; the skyscraper will be submerged, behind the block,
The living space in the district like disappeared in the skyscraper and traffic road in Wuyishan, the local way of life is waking life in the city engulfed Wuyishan city life began to become impersonal.
We tried to find the local street flavor, organize the cultural heritage into the city to help people find the sense of the street again, so we began to try to build a building to redefine the urban appearance of Wuyi city.
The design was inspired by the South Gate Street Bridge, named “Yu Qingqiao”, bridges in ancient Wuyishan, is located in order to make full use of water transport ship based heavy traffic traffic flow over the vertical space, form a pleasant shade shelter, rest, ancient public space exchanges and meetings.
So we tried to change the vertical space waste around the island brought to South Gate Street, bridge the intention of deconstruction, with its “Gallery”, “bridge”, “house”, the intention to re shape the same circle vertical space transportation system based on the above, the back is around the road around the island of the South Gate Street swallow squeeze,
To recapture the cultural life style of Wuyishan’s characteristic and retrieve the noise of the city of Nan Men street.
Who influences you graphically?
We have been influenced by different architects and artists all the time, and we try different expressions for different projects. The project inspires us to express the inspiration for the modern Chinese artist Yang Yongliang and his work “Landscape of the Mirage “
What defined the language of representation of the proposal?
The program is a reflection of “what cities do we need” and based on the responses and assumptions made in Wuyishan’s local lifestyles. Under China’s traditional culture, we convey the possibility of being a “Shanshui（landscape） city”. It is an expression of life in vertical space under the development of modern cities. In order to feed back the scene of Chinese traditional Shanshui Literati painting, the project’s expression form needs to express the “Modern Shanshui city” that we envisioned intuitively.
How important was it to reveal the structure in context?
The project base is chosen around the roundabout to provide a feasible direction of use for the development of remnants and unused base types for some urban development in cities with high land use rates. , It is necessary to satisfy the basic urban functions of the roundabout and to achieve the richness of land. To a large extent, it is determined that the project may be an upside-down triangle. At this time, the realization of structural support will determine the feasibility of the project rather than the utopian imagination .
An exterior objective representation of the project prevails rather than an interior subjective what is the effect and purpose of this?
It is necessary for the drawings that An exterior objective representation of the project prevails rather than an interior subjective. Our project is to explore the possibility of a return of folk vigor and humanity back to the community in a modern city with high-rise building. This is actually a question and irony. In ancient times, our predecessors lived in the “Shanshui(landscape)” and enjoy the life, with development technology,Living in the modern city, the crowded skyscrapers became our mountains, the expansion of the road has become our river, we will point this intuitive performance on the drawings, and The proportion is greater than the project itself, you can see even in the project building expression, more is the use of character activities to express a scene of local folk street life, the overall drawings give the impression that the first is the modern “Shanshui City “and” lively noise of the traditional folk culture “However, the crowded tall buildings in the drawings form Yamagata. The contrast between large-scale roads and narrow sidewalks, interspersing with many car warning signs and suggestive slogans are both in reflection and Question such a city environment. This is why the objective external manifestation of the project is better than the internal subjectivity because in the modern Chinese urban environment, the project itself is the contradiction between the pursuit of solutions and the examination of the present environment. Drawings only rationalize this paradox.
What defined the format for the perspectives views?
Due to the need to combine urban architecture into a mountainous area and retain the sense of layeredness of the Chinese Shanshui paintings, it is decided that the project can only use the shaft side or elevation view, and the background environment as the background without the need of details, the facade perspective is adopted directly, and the project itself Need to express the sense of hustle and bustle of people’s lives, and therefore need the most not affect the details of the shaft side perspective.
What was your work process in terms of project development and production of images?
Project renderings through the Sketchup to model, export draft, through the Illustrator to complete the basic coloring, as well as a variety of buildings, cars, people’s material, and finally in the Photoshop for the official composition and polishing, during which the graphics tablet will be used to carry out some pen stroke details. Analysis of the type of drawing through the Sketchup and Illustrator completed. The entire project is divided by three members of the group, Furong Li overall composition and logical layout, Changixong Li responsible for characterization and local depiction, Zhongsheng Zhang responsible for analysis and details
To what extent did the drawings serves as a tool rather than also final methods of representation?
In this regard, I think the drawings are just one of the ways you convey to the audience. Different projects need different ways of exploring and should not be limited to the exploration of drawings