竹林
Recapture the blurriness between indoor and outdoor in the working environment of one of the Hok Tsui most traditional industry that remains till today.
竹林
When the agricultural community was first formed, majority of the villagers’ activities concentrate around the watch tower. As industries moved in attracting non-clan people to either visit or work, the focal point of the village has shifted outwards and the social cohesion of the village has been diluted. To avoid a second invasion into the cultural identity of the inhabitants, the artist residency is integrated into the existing village in the form of a backstage of an event space used to celebrate Hok Tsui’s traditional festival.
Small discrete masses follow topography
Framed perspective views
Preserve trees
Master planning of the artist village follows the principle of respecting the landscape and the ecology that inhabit it. Peripheral of artists studios delineate a strong perspective view from the amphitheater to the gallery that sits on the highest point of the hilly village.
Visitors circulation
Artists circulation
Villagers circulation
Circulation path are coordinated in a way such that the private circle of various stakeholders are retained. Vehicle and pedestrian are separated for more efficient logistics.
Zoning
Programmes
Privacy zoning
Amphitheater zig-zag circulation
Zig-zag explorative circulation
Footbridge zig-zag circulation
Pathway at various levels are designed to allow users to have the experience of wandering inside a natural grove that offers dynamically changing vista. Artists studios are included as part of the journey leading towards the gallery.
Collaboration between art, industries and local residencies.
Artists
Offer innovative ideas and experience of using the latest design tools.
Workers
Provide technical support to the production of art and offer professional advice.
Villagers
Share traditional techniques of handling material and add novelty to artworks by their historical and cultural assets.
G/F PLAN
1/F PLAN
To provoke interactions between artists and villagers.
Every interaction begins with something people familiar with and addresses their daily lives.
Automobile maintenance
Despite being imported, the automobile maintenance industry has became part of the historical layer that depict the presence Hok Tsui village.
Paper crafting
The three villages in Shek O unite to organize a temple celebration each year. Villagers make traditional Chinese crafting that are used during the festival.
The design of 竹林 fuses craft-like structures into the natural landscape to create a main event space where people can gather to celebrate their festival.
The structure houses three studios, two of them are related to the festive culture and one is related to the industry of Hok Tsui, namely Flower Board Art, Folk Crafting and Kinetic Sculpture. Since the former two studios feature Chinese art and the latter one featured Western Art. The design aims to captured and express the contrast between them.
To express the contrast between functions, the linearly arranged folk craft studio is bending away from the kinetic sculpture studio, and is connected at one end to the flower board studio. The two wider breaks defined by the floating modules of the folk craft studio each connected to one of its neighbouring studios.
Building gesture is reflected in the production of art form.
The types of studio space offer to artists reflect the production sequence of the art form. Beauty of space lies in the contrast between hierarchical production of Western mechanical arts and sequential production of Chinese traditional arts.
Western Mechanical Arts
The production of Western mechanical arts requires an iterative process of transition between functional units. The elements are being assembled in a large ambiguous void delineate by regular blocks around it.
Chinese Traditional Arts
The production of Chinese traditional arts form go through a procedural pathway in which one work stage is completed before the output is brought to another stage.
G/F PLAN
1/F PLAN
R/F PLAN
Seasonal metaphor.
The contrast between Western and Chinese art form is metaphor through the use of material as a metaphorical scenic representation of tree shadows found in the summer and winter.
Summer
Randomly arranged gabion columns use cages of stones to filter light onto the ground as shadow projected through the tiny gaps of leafs.
Winter
Between tensile membranes covering the zig-zag pathway, leading into the flower board studio, are narrow slits that project light as a form of bare tree branches onto the ground.
竹林 is a project of the City University of Hong Kong
developed in the Bachelor of Science in Architecture in 2016 by:
Students: Timothy Ka Kui Lam
Master Plan developed by : Timothy Ka Kui Lam, Javee Pui Yeung Lam, Tina Tin Yan Yum
Faculty: John Cheng