非城非村、兼城兼村 | Neither City Nor Village, As City As Village
3#/8# exhibition hall transformation is the architecture exhibition project of BI-CITY BIENNALE OF URBANISM\ARCHITECTURE (SHENZHEN) Yantian Sub-Venue: Village as Kitchen in this year. This year’s BI-CITY BIENNALE OF URBANISM\ARCHITECTURE regards Urban Village, the outcome of conflict and integration of urban and rural, as the venue. In the overlapping of urbanization from top to bottom and self-development from bottom to top, Urban Village becomes an unusual space, neither city nor village, as city and as village. This mixed space provides the more convenient, cheaper living space and service facilities for different communities.
▼3#展馆鸟瞰，aerial view of 3# exhibition hall
Focusing on Village as Kitchen, our work is carried out in Dameisha Village, Yantian District with a method of phenomenon observation and space intervention. This theme brings daily household activities such as food and cooking to public activities and communications among communities. In traditional culture of Canton, cooking and diet activities shared in clan communities are always the carrier of communities’ publicity. They are especially more common during festivals, weddings and funerals. However, various local and outsider communities gather in Dameisha Village today, and there is certain estrangement in their social network. So we hope to promote community communication, revitalize publicity through our space practice.
▼8#展馆鸟瞰，aerial view of 8# exhibition hall
事件空间、日常空间 | Event Space, Daily Space
At the beginning of design, we take a particular interest in the following aspects. While artists, architects implant a temporary space phenomenon in Urban Village during exhibition period, we suggest that it should also bring a long-lasting influence on community renovation, neighborhood interaction and community integration. When we create event space, we are trying to make it both the sustainable daily life space for villagers after exhibition. We hope our space practice could be possible in both event and daily contexts. Based on the question mentioned above, with limited resource, we organize two characteristic private house spaces in Dameisha Village and integrate art space with daily space. We associate construction behavior with the place, so that the construction can be embedded in its space-time vein. When the exhibition comes to an end, if these spaces can still operate in a long term, the publicity can also be arisen by villagers’ daily life, which will be a benign process.
一次介入、一个断面 | One Intervention, One Section
We hope that our current work is able to get straight into the comprehensive history section of political economy, social humanity, geographical space and other aspects, where the relationship between history, present and future can be found, and the possibility to balance event and daily space can be discussed.
3# Children’s Playing House
Children’s playing house is a Hakka old house first built in the 1970s. After transformation, the house consists of art exhibition space and children participation space, these two spaces show stack-up and concatenation relationship. The daily space sequence is made up of public courtyard, outdoor stairs, second floor platform and children participation space. The event space represented by exhibition is located in the room on the first floor. At the same time, daily experience space can also be combined with event activities.
▼3#婴戏屋轴测图，axon of Children’s Playing House
In the process of transformation, we dismantle the original non-bearing walls at first and reveal the basic space structures, some of which are reserved and teased. The original porch between ground floor and courtyard is reconstructed. In order to strengthen the publicity of porch, yard and stairs, a lightweight pergola of wood grid structure is designed additionally, plants can be planted on it, and it can be used as children climbing frame, visitors’ seat, as well as a separation of the large courtyard. It is connected with next courtyard and there is also some limitation.
▼为强化公共性，原建筑加建了一个轻型的木格构花架，in order to strengthen the publicity of porch, yard and stairs, a lightweight pergola of wood grid structure was added
The old house’s ground space is relatively closed and low, and we imbed a series of continuous prototype spatial sequence into it. There are six double-slope ceilings，every two of them meet at right angles. The space is further unitized by two triangle partition walls which make the exhibits partially hidden, giving rise to the visitors’ curiosity. The cornice of second-floor space is low and getting increasingly higher inwards. Exposed beam frames and tiles are reserved for roof. The indoor floor and the first-floor roof act in cooperation with each other. They are designed as partly ups and downs. In the earliest scheme, we intended to open an arch through two bays and design a house in house space for children. Finally, due to the limited costs, a collected inwards semitransparent house in house is built through the original door on the partition wall.
▼室内地坪和一层屋顶相呼应设置局部的起伏，the indoor floor and the first-floor roof were designed as partly ups and downs
▼向内收束的半透明“屋中屋”， a semitransparent “house in house”
▼3#展馆场地平面图，site plan of 3#
▼首层平面图，plan level 1
▼二层平面图，plan level 2
8# The Older’s Overlooking House
The older’s overlooking house is originally built in the 1980s. After transformation, the house consists of art exhibition space and daily village community public space; two spaces show the relationship of surrounding and being surrounded. The daily space sequence is made up of public courtyard, outdoor stairs， tea room on the second floor and stair theater on the roof deck. An exhibition space on the first floor and an artist studio on the second floor are event space, surrounding the public space.
▼8#暮望屋轴测图，axon of The Older’s Overlooking House
On the basis of respecting the old house’s major structure, we reorganize the space. We integrate several small rooms which used to be rented separately into continuous exhibition units on the first floor. Also, the deciduous mosaic tiles are repaired, material texture of rammed earth wall is stripped, so that the new architecture space and the old historical remains are collocated, overlapped without priority order. In order to create indoor light atmosphere, high skylights are installed in the roof deck on the first and second floor, and the roof slopes serve as rest steps and theater. These daily spaces can also be combined with event activities. In our earliest scheme, continuous and vertical public space is designed for the middle bay on the first and second floor, directly connecting to the rooftop. Finally, due to limited reinforcing cost, roof steps are only constructed on the second floor. Standing on the rooftop and looking to the north, visitors can see Dameisha villages, resort area and fluctuant distant mountains from near to far side, complex city texture will unfolded before your eyes.
▼屋顶平台设置了高侧天窗，high skylights are installed in the roof deck
▼利用屋顶起坡形成休憩台阶和剧场，the roof slopes serve as rest steps and theater
▼天窗营造了室内的光线氛围，the skylight creates indoor light atmosphere
▼二层用作艺术家工作室，artist studio on level 2
一种平衡、一个起点 | A Balance, A Starting Point
After the exhibition opens, with the rapid implantation of art exhibition, public activities, studio and other contents, we observe that some space phenomenon is being stimulated. While government, owners, architects, artists, operators and others cooperate cross boundary, intense game for space power is generated. Under this background, we think the heterogeneous space model formed by overlapping of different space types and demands may present more possibilities. We are trying to answer the questions of relationship between event and daily space, short term and long-lasting function. The power game on this platform is more likely to get a dynamic balance. The heterogeneous space strategy is a contact agent and a starting point. We expect to lead and trigger some public phenomenon and activities through space; also, we expect to witness the continuous happening of community renovation, social symbiosis of Dameisha Village with government’s continuous guidance and owners’ positive feedback.
▼艺术展览和公众活动被植入旧的空间，art exhibitions and public activities were implanted in the old building
▼一层展厅，exhibition hall on level 1
▼8#暮望屋场地平面图，site plan of 8#
▼首层平面图，plan level 1
▼二层平面图，plan level 2
盐田分展场: 村市（是）厨房 3#/8#展馆改造
建筑师：周蔚 + 张斌 / 致正建筑工作室
占地面积： 3# 98m2 8# 142m2
建筑面积： 3# 168m2 8# 247m2
2017 BI-CITY (SHENZHEN&HONGKONG) BIENNALE OF URBANISM\ARCHITECTURE
Yantian Sub-Venue: Village as Kitchen, 3#/8# Exhibition Gallery Regeneration
Architects: ZHOU Wei + ZHANG Bin / Atelier Z+
Partner in Charge: ZHANG Bin
Project Architect: LI Zina
Project Team: YANG Jing, XU Ye, XIE Zhaorong, LIANG Xiaoxun, CHENG Ziyu
Location: Dameisha Village, Yantian District, Shenzhen City
Client: Shenzhen Yantian Bureau for Architectural Engineering Affairs
General Constructor: HANDAN HANYI CONSTRUCTION ENGINEERING CO., LTD.
Design Period: Jul. 31, 2017 – Sep. 19, 2017
Construction Period: Sep. 19, 2017 – Dec. 21, 2017
Building Area: 3# 98 m2 8# 142 m2
Gross Floor Area: 3# 168 m2 8# 247 m2
Structure: Masonry structure
Building Storey: 2 floors
Principal Uses: Exhibition, Art studio, Participation space for children, Teahouse for elderly people
Primary Materials: Oak finger joint plate, preservative-treated wood, solid wood composite wood floor, glass mosaic, ceramic tile, coating
Costs: About RMB 2 million
Photographs: CreatAR Images MAO Yingchen, LV Xiaobin
Video: CreatAR Images AI Qing, LV Xiaobin