In the mountainous and hilly areas of Sichuan, the design of streets and alleys usually takes into account the undulation and slope of the terrain to adapt to changes in terrain. The direction and layout of the street will be relatively flexible, extending or winding along the mountain terrain to adapt to the ups and downs of the terrain. Sometimes, terraces or terraces are used to create continuous connections between streets and alleys at different heights through graded and platform based design. Street and alley "is the most representative public space in the city, and the design hopes to continue the local nature of this" three-dimensional street and alley ", so that the space, crowd, and experience are simultaneously staggered, forming a unique community of the brand.
By setting up several independent small spaces in a large space on a plane, a nested volume logic is formed. The design hopes to change the structural independence of the space and perturb the stable spatial contour. By expressing the spatial structure in a path like manner, the crowd can meet in a staggered manner, allowing them not only to interact with familiar individuals, but also to create new links between unfamiliar groups.
The original plane iteration demonstrates the dislocation and deformation of community relationships. Under the premise of spatial geometry, the scale of streets and alleys and the relationship between courtyards guide the further development of design, reflected in the plane, which is a series of deformations of courtyards, interiors, and corridors. The polygonal geometric system constitutes the scale system of the interior building, while the hints of the walkway on the interior, stairs, and corners serve as a "connecting" operation to enrich the outdoor spatial effect, matching it with the social nature of the space.
The irregular plane and block shapes, asymmetric layout and form, variable scales and levels, and the use of light and line of sight create new combinations of spatial misalignment.
In the design, due to the super high rise of the original building, the stable spatial contour is broken through the placement of building boxes, forming a dynamic sense of floating, and thus reorganizing the relationship between indoor and outdoor views. Ultimately, from the first floor to the second floor, the sense of privacy gradually increases, and the connectivity of the glass corridor maintains a visual separation of the space.
The design hopes that the space will have more visual penetration perspectives, allow more interaction in the eyes of the crowd, break the strangeness of the crowd, and reconstruct the three-dimensional traditional streets and lanes in this space, which will not only become a place for people's daily activities, but also an important carrier of Urban culture, history, and social exchanges.
In this misaligned community, people can experience a unique spatial experience. The floating architectural box brings people into a confusing and interesting environment, making their choices more diverse. This design concept of staggered encounters creates rich and diverse interactive opportunities for residents and visitors in the community.
The design aims to allow different groups of people to misplace their identities in this public space and meet, get to know, and get to know each other as much as possible. To this end, we utilize the original height of the space to not only enrich the path of the vertical space, but also open up the boundaries between indoor and outdoor spaces, allowing different groups to blend in with this.
The spatial structure presents a unique form of a suspended box. Through nested volume logic and pathized spatial structure, people can traverse different small spaces, each with a unique atmosphere and function. Through the misaligned layout and form, people constantly discover new landscapes and perspectives while walking and observing in space, stimulating their curiosity and exploration desire. The asymmetry and scale of change in misaligned spaces create a dynamic feeling in space, enhancing its vitality and vitality.
There are supporting trees on Tanggu, which arrive and leave every day, all of which are carried in Wu. There is Fusang on Tanggu, which was bathed for ten days in the north of Heichi. Living in the water, there is a big tree. On the ninth day, it occupies the lower branch, and on the first day, it occupies the upper branch—— The Classic of Mountains and Seas · Great Wilderness Eastern Classic
The ancients believed that there was a black three legged crow crouching in the center of the sun, and its surroundings looked golden, so it was called the golden crow. The reason why the sun would rise and set was because this sun god bird was carrying Solar variation. In the bronze divine tree depicted in the Sanxingdui, 10 sun divine birds stand on top of the Fusang tree, responsible for receiving the sun and the endless Eastern energy. This is the story of the sun divine bird: the three legged golden black in ancient times.
There is also a legend that it is crows who brought tea seeds to their ancestors, which may explain why Tea culture has continued in the East for thousands of years. Tang style and Song custom, Gaotang market, tea soup is always brewed with tea people's reverence for heaven and earth, and their love for the secular world. The name "East Crow" not only tells the origin of Eastern culture, but also remembers the inheritance of history, and also contains the memory of tea in the bones of Chinese people.
Production process: the first layer is made of sand from Tengger Desert, clay from Jingdezhen, wheat straw, hemp and other materials three times, and the second layer is made of sand and fine yellow soil from Dunhuang Mingsha Mountain, completely following the ancient method and using Wei Jin techniques.
The diversity and flexibility of staggered spaces make them suitable for different types of buildings and can meet people's diverse needs.