Standardarchitecture, Beijing, China
01 October 2006
 

Auditorium Wuyi primary school 
The new auditorium has a seating capacity of 520 and is for the use of both the school and the residents of the adjacent neighborhood. The hall is used for stage performances, films and school events. The auditorium is separated from the school by a square yard. The school is an unobtrusive four-storey block, to which the expressive form of the auditorium forms a strong contrast. Its characteristic folded red roof makes it a striking feature of the neighborhood. 

The rear wall and the fa?ade form part of the roof, which is supported on both sides by a row of columns. The resulting galleries have walls of red brick in which the wheelchair ramps and the stairs have been integrated. The first floor on the West side of the building is recessed. The foyer beneath the overhanging roof receives daylight from both sides through its glass wall. The entrance pierces the vertical wall which rises from the ground as a continuation of the folded roof profile and marks the entrance like a massive sign; the roof is an ironical allusion to the debate that has been going on for decades about the integration of tradition in modern Chinese architecture.


Yangshuo Storefronts
The complex with shops on the ground floor and apartments above is situated in the center of the small tourist city of Yangshuo. The city is bordered on the East by the Lijiang River and on the other three sides by unusual Karst peaks. The design was preceded by a study of local use of materials and building techniques. Since the available location proved to be too large for a single building, standardarchitecture decided to incorporate the program in a number of smaller buildings separated by narrow streets. The layout takes into account the local tradition of maintaining a view of the surrounding peaks – in this case the Green Lotus Mountain and the Dragon’s Head Mountain – from the major alleys. Standardarchitecture mainly experimented in this project with construction possibilities of local materials. They used four materials for this purpose: the local Yangshuo stone, larch wood, small black roofing tiles and the Bamboo strips. The urge to experiment can be seen most clearly in the central hall. The building has been given a second skin with a screen of bamboo strips; they are positioned at a distance from one another at right angles to the wall to produce a very unusual visual effect on the fa?ade.

Wuhan CRland French-Chinese Art Centre
The site of the art centre is located across the street from the Wuchang Tanhualin historic area, about one mile away from the famous Huanghe Lou tower on the Yangtzi River. The expectation of the building was an important public space for the city and a monument for both the past and the ongoing transformation of the city. The fact that many famous Chinese intellectuals lived in the famous Tanhualin area across the street inspired us. We were interested in testing the possibilities of building something out of the ancient Chinese intellectual practice of ink and water. The art centre was conceived as an urban container, within which art objects, events, acts, concepts and activities flourish. In this art centre the container is made out of intuitive images of ink and water strikes. 

While the site conditions also take part in the formation of spaces: since the site is cut into a half by an unexpected urban infrastructure (a flood pipeline), the 30-meter-wide outdoor space became the central courtyard for spatial organization, around it seat the east and west exhibition hall and the floating bridge linking the two parts. In the 80-meter-long concrete bridge, the ink-water stroke texture coincides with the necessary structural elements for the 5.5-meter-high concrete hollow beam. This becomes an interesting moment when an image merges seamlessly with a structure. 

Xi’an City Wall Reintegration
Xi’an as had served as the capital city of China for more than thirteen dynasties and for over one thousand years. The boundary of the city has shifted, expanded and shrunk through history. The latest city wall of Xi’an, built in the Ming Dynasty, is now China’s only existing capital city wall, after the Beijing City Wall was destroyed in 1950s. 

Although the wall itself is well preserved, the city inside it and the landscape outside it were not. The old urban fabric inside the city has been gradually replaced in the past few decades by factories, shopping malls, and housing towers; and from the outside the wall is now awkwardly confronted by another wall of high rise office buildings and international hotel towers. While the landscape along the wall and the canal is heavily fragmented after years of shortsightedly constructing partial additions. The city wall has fallen into a status in the city that is little more than a boundary or a mere historic symbol.

PuDong “Dancing Triangles” Public Space 
The “dancing triangles” park is located in a Pudong district of Shanghai that is currently under crazy urban development. Its surroundings are mixed with left-over village houses, wholesale construction material warehouses, small factories and new housing compounds. The park is built by the famous developer Vanke as a central public space for the housing communities rising around it.

Like most of the new urban developments in China, the communites and supportive urban functions are separated by wide roads in this area. Immediately adjacent to the park there is going to be a Carrefour Shopping Centre, an elementary school, a community concert hall, and three different housing compounds. Even the side of the park is severely divided by two major crossing roads into four parts. Therefore the first intuition was to create a network that could help holding the dispersed parts and the community functions together. The “dancing triangles” works as elements that create sense of movement in the landscape, in the meantime functions as a strong central mark for the neighborhood(mainly for young city dwellers) ever since people start to see the first dancing triangle hundreds of meters away.
武夷小学礼堂

小学的新礼堂有520座的容积,除供学校使用外,还可以满足临近居住社区的需求。新礼堂可以举行舞台演出、放电影和学校的其他集体活动。礼堂与学校的教学主楼之间被一个矩形的广场分开,使礼堂特立独行的形象与不够突出的四层教学楼形成了强烈的对比。性格化的红色翻折屋面使礼堂成为跳出周围环境的醒目特征。

礼堂的后墙及正立面与屋面连成了一体(或者说是屋面的一部分),东西两侧各有一排立柱支撑,与贴着红色面砖的侧墙形成了廊下空间,使残疾人坡道和台阶被自然的整合在一起。建筑在西侧二层退进形成了凹龛,阳光可以透过玻璃外墙从东西两侧照射到带吊顶的入口大厅里。屋顶到正面翻折入地后又升起成为竖直墙体,然后被从正中穿透,形成有力的标志性入口。礼堂的屋顶形象作为讽刺性的暗示,质疑着聒噪了几十年的有关现代中国建筑中的传统性的争论。


阳朔小街坊

阳朔,漓江沿着它的东面缓缓流过,喀斯特奇峰星罗棋布地围绕着这座举世闻名的旅游小城,由底商和上层公寓酒店组成的综合小街坊就坐落在它的中心。设计的先决条件之一是来自对当地建材和建造手段的研究。为避免在可建设用地上建造体量过大的单栋建筑,标准营造决定用几条窄巷和若干小街坊来组合这个项目。考虑到当地城市肌理生成的传统,碧莲峰和龙头山主峰确定了建筑布局中主街巷面对的视觉走廊。在本项目中,标准营造主要试验了当地材料的建造可能性,因而阳朔石、杉木、小青瓦和毛竹片被选为了主要的四种材料,这种迫切的尝试可以从综合体中心建筑的外皮设计上清晰地看到:剖开的毛竹被一片挨着一片,按一定的角度脱开墙体排布在建筑外围,形成了像幕帘一样的非常别致的立面效果。


武汉凤凰馆—法中艺术中心

艺术馆基址隔街紧邻武昌最重要的历史文化街区—昙花林,著名的黄鹤楼在大约一英里外隔长江与此相望。艺术馆被期待建成为纪念性的地标建筑,不仅能够为城市提供一个重要的公共活动场所,而且能够映射出正在变迁当中的城市的过去和未来。

中国近代历史上许多文化名人(包括郭沫若等)都曾经在基地紧邻的昙花林居住过,这给以我们最初的一些激发,同时我们也非常好奇地想一试中国古代艺术化的知性游戏—水墨方式的建造可能性。艺术馆被想象成一件城市的容器,可以容纳精彩纷呈的各种艺术品、艺术事件、艺术表演、艺术概念和艺术活动。

空间布局同时也受到基地条件的影响:由于一条市政排洪沟从中央穿越了基地,从而产生了30宽的中心院落,围绕院落的空间组织形成了东部和西部分立的展厅以及飘在水面之上联系两个展厅的廊桥。80多米长的廊桥将水墨笔触的肌理与5.5米高、2.5米宽混凝土空心梁的孔洞内外符合起来,当一幅图景与结构天衣无缝的结合在一起的刹那不也如同水墨游戏般的有趣吗?


西安城墙景观整合

西安作为中国13朝古都已有上千年的历史,城市的边界在历史长河中不断变迁,来回地扩延或缩减。现今的西安城墙建于明代,是中国当代自北京城墙于20世纪50-70年代被逐渐拆除后唯一保留完整的都城城墙。 

除了城墙本身还保存完好以外,城墙内外的景象都不尽如人意。内城旧的城市肌理在过去的几十年里被工厂、商业中心以及高层住宅楼所逐渐替代,而城墙外侧现今却是尴尬地面对着由连绵的高层办公楼和豪华酒店塔楼形成的另一道“城墙”。同时,沿着城墙和城壕的景观也被经年短视的局部加建搞得非常支离破碎。城墙在城市中的身份已沦落为一道边界而不是稀有的历史象征。

标准营造最初是被邀请为城墙的一个片断做景观设计,而我们将项目的目标确立为寻找一套系统化的策略,从而更好的将城墙重新整合到当前的城市肌理和现代生活中去。经过综合性的历史研究,我们提议在城墙内侧开辟一片步行街区,这一街区是由当地传统院落式住宅衍生出来的茶馆、咖啡馆、酒吧、商店和小酒店等文化旅游、居住空间组成,在提供一个批判性的体验城墙的角度和浏览连续的城市历史地段、场所的同时,也有助于将城墙重新编织回城市肌理中去。在城墙的外侧,我们建议将植被绿化及水系整合起来,并营造出一系列的空间场所供当地市民及旅游者使用。

方案采用了中国关于“城”(即城市与城墙)、“市”(及街道与集市)、“野”(即景观与原野)的概念,使城墙的内外具有了清晰的特征。


上海浦东疯狂小三角公园

疯狂小三角公园位于上海浦东正在进行急剧化都市扩展的地区,周边环境混杂着残留的村庄农舍、大型的建材市场、小型工厂和新建的居民区。本项目是作为由著名房地产企业上海万科开发的住宅小区所配套的中央社区公园。

同中国大多数新的城市开发的情形一样,本区的住宅社区和配套功能设施被过于宽阔的交通干线分隔开来,邻近公园的周边将有一座大型家乐福超市、一所小学、一座音乐厅和三个不同的住宅小区建成,甚至连公园基地也被两条交叉的马路分割成了四块,因而首先的冲动就是要创立一种网络将分离的部分与社区功能合成整体,跃动的小三角成为了景观中产生动感的要素,同时也为居民(主要城市年轻白领)提供一种强烈的中心感标志,只要当人们从几百米之外就能看到的第一个小三角起就会感受到它们的存在。
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