RSAA participated the Unternehmensforum Sichuan - Deutschland(NRW) +
March 23, 2020
”The "Drum Tower on Architecture" series of talks is hosting by Büro Ziyu Zhuang, dedicated to contemporary Chinese design practice and a new attempt in the exploration of architectural theory and practice. The entire series takes lectures, talks, and salons as the main forms to create an informal communication occasion for architects and even excellent practitioners in other industries.
Topic: Architect‘s Diary: "Architects use space to write diaries, and space is precisely the diary of the city. "
Panelist: Liu Yang
Liu Yang was born in Beijing in 1982 and graduated from the Department of Architecture of Beijing Construction University. He has worked in Non-Construction and Qixin Architecture for many years. In 2012, he and Xu Dan created the DL Atelier studio.
The most important thing about DL Atelier is emotion and memory. We hope to make "sensational" designs in a frank manner. DL Atelier has participated in many architectural and art exhibitions and won six international design awards.
△ Drum Tower on Architecture Vol.2
On December 26, 2019, Drum Tower on Architecture Vol.2 was held in Beijing Office of Zhuang Ziyu Studio, No. 7 Drum Tower. On the scene of the talk, Liu Yang used Architect‘s Diary: "Architects use space to write diaries, and space is precisely the diary of the city."as the theme, shared his years of practice and experience in the construction industry. At the same time, we launched the Weibo live broadcast for the first time, with 4,140 online views.
"Workshop-style personalised studio"
Ziyu Zhuang (Zhuang): I'm honored to invite Mr. Yang Liu today. There are many reasons to appreciate him. The first is his project works, because I have been saying that we are a commercial company. The hardest part of the project we design is that it is not pure enough. Therefore, I feel that as peers, I can achieve many highly completed works that are pure and there are a lot of experiences worth to learning from you today.
The first issue we invited was Zhang Dongguang. He shared about an endogenous construction method of construction culture or construction logic, which is called context (context), his construction logic and ideas. Today we hope to get a broader thinking and clue from Mr. Liu Yang.
Liu Yang （Liu）: First of all, thank you Ziyu for your invitation. Different from your office, we are more like a workshop, no matter the scale or our working status, it is more like a very personal studio.
From a song “Bump on head”, and the lyric is "The bag on the head is either large or small, some are knocked by others, and some are self-procured."
Liu: This was a song by He Yong, one of the three masters of Moyan at the peak of Chinese rock music more than 20 years ago. The first sentence of the song is like this, "The bump on the head is large or small, some are knocked, and some are self-proclaimed." I use it as the theme of today's communication, because I think it has something to do with our work status. My work status is a work that is based on my personal interest or personal orientation. I will even take the design and building of a house as my personal hobby, a container that can record every period of my life, every thought and experience.
In this process, some of this bump was "knocked" by someone, some was "knocked" by clients, some was "knocked" by the construction team, and sometimes it was self-finded, a persistent and persistent way of doing things It is full of daily communication between me and clients. I often ask for trouble, hoping to find a breakthrough to push things forward, and sometimes I am greeted by a "big bump" one after another!
We established the office in 2012. I was alone when I first established. The office is located in an alley. The house area is about two or three times the size of this house (Courtyard No.7 at Drum Tower). It is ideal to think about the problem at the beginning. The project is concentrated on some small houses. After six or seven years, about 10 houses will be built. If there is no building, there may be 40 to 50 houses or even more. At the end of the year, I will look at the folders in the computer to summarise the houses that have been designed in the past year. More often, those houses that have not been built in the end are more worthy of attention. I often find some exciting points from there to redesign, because I think the details of each project are worth using, and the details can better represent our working state.
△ Drum Tower on Architecture Vol.2
「2012 · All in black」
△Sponge cave x 2012 Loud Show "New Vision" magazine belonging to the Modern Communications Group held antiques in the VillageOr Hall in Sanlitun, Beijing. The exhibitor's proposition, I hope I can make a small house with a volume of 2x2x2 to be laid out in the exhibition. At that time, my son was just two years old, and the architect was relatively poor. There was no way to buy any toys for children. At that time, I wanted to take this opportunity to make a toy for him. A small house of 2 meters by 2 meters is a big world for children.
This sponge cave was originally composed of a two-meter square sponge. It is interesting that the child has multiple physical experiences in this space that he can bring to him. What is more meaningful is that he can change this space by himself. This sponge cave can allow the experiencer to recreate a space that belongs to him/herself. This is where the work is more fun.
「2012 · The Moon Stage」
△ Drum Tower on Architecture Vol.2
This project originated from a grandmother named Deng Xiaolan in 2012, who was born in Malan Village, Hebei. After retiring, Miss. Deng Xiaolan needs to take cars and trains 4 to 5 hours a week to return from Beijing to Malan Village to teach local rural children western classical instruments, hoping to enable local children to develop a love of music from an early age. Knowing Miss. Deng’s story, the TV station wanted to sponsor Miss. Deng Xiaolan to hold a concert for local children, so Miss. Deng found us, hoping to build a stage for the children.
The site was chosen on the edge of the river channel, leaning on the edge of the village, and the river running down from the height. We made a circle stage on the riverside, behind, which was the backstage. Performers could walk down the cave and then come out from the other side. On the opposite side we made a stage floating on the river.
△Renderings of The Moon Stage "All in black", this kind of exciting feelings and memories brought to me by the project itself can stay in my heart for a longer period of time. This is the working state I have been pursuing.
「2015 · Sanbaopeng Art Center」
△ Drum Tower on Architecture Vol.2
In 2015, we built an art gallery in Jingdezhen, Jiangxi. A local owner approached us. They hoped to build an art gallery on the edge of Sanbao Village, so that more artists could enter and create new works.
△Sanbaopeng Art Center "big box", which is like a spacecraft landing from outer space into this valley. We rammed this 150-meter-long house with local porcelain clay, which is the ideal picture of the coexistence of man and nature in my mind.
At the same time, in order to balance the needs of client, we apply porcelain elements to the building. Porcelain needs to be fired in the kiln during the manufacturing process. This process is a bit like film photography. What we see in the scene frame is completely different from the film that is scorched out. We give the "big box" an open and transparent imagination space, just like film photographers in the process of taking photos, with the imagination space to look forward to the film, we want to bring this experience to the museum People visiting.
「2016-2018 · Guozijian Hutong / DL Atelier studio」
△Aerial plan of the racecourse "God's perspective". This kind of human's understanding of the mysterious relationship between himself, the real nature, and the nature (god) in my heart and the brave way to establish a connection with it have always fascinated me. On the way back from seeing the scene for the first time, I decided to choose the most direct way to establish the relationship between people, horses, nature, and the city, and make the house a giant horse covering an area of 10,000 square meters.
At the operational level, we must solve all practical problems, such as the function of the streamlined markers; the corridor connecting several existing buildings; the entrance lobby that meets the reception waiting; and the less cost budget and urgency. The construction period requirements; and aesthetically make the original rigid factory buildings and empty venues rich and flexible; the customer group is divided here mainly for parents to take their children to learn equestrian; the image also hopes that it is completely different from The traditional equestrian club, breaking the inherent equestrianism is the stereotype of noble sports and so on.
/ Question x Liu Yang /
Zhuang: I found a relationship between people and nature within your projects that we are also mentioned before. For example, in the first work you shared “All in Black”, you are actually using an artificial object, or a very artificial material to simulate a natural texture, an attribute of existence. This nature can be changed by human operation, like your children can continue to dig that hole. What would you think is the real, ultimate nature? Is it a natural nature of human culture, or the so-called Context?
Liu: During the design process, I did not consider too much about the relevance of each of our projects. I think the houses are quite different in form. The only clue that runs through, I think it comes from my own past experience and practice accumulation. The so-called "nature" may come from my life, and my subjective consciousness is biased towards "personalized" expression. I think the question of whether there is ultimate nature is relative. As for architecture, I believe it leads humanity and exists in "nature".
Zhuang: The second question, the racecourse project is very surprising. As far as I know, Wright (Frank Lloyd Wright, American architect/interior designer, born in 1867) was the first Western architect to use bird's-eye view drawings. In the logic of so-called modernism, the "God's perspective" is not very emphasized, but everyone is still very keen on drawing the God's perspective. If you look back at the project of the racecourse, in fact, it has already been forbidden to fly over the sky, so everyone can only use this picture to see the bird's eye view of the racecourse in the future. So it’s very interesting that what you don’t see is necessarily unnecessary? Or can it be perceived through another level?
Liu: The project of the horse farm made me think about the various relations between man-made objects and nature. In the ancient times, the dialogue between people and the god of nature touched me. Can we also be established in a man-made city in an ancient way, what about the connection with nature? Perhaps the original and the future are connected together in seemingly opposite directions. I often say that projects are done days by days. I believe that the bird's eye view can bring you a space of imagination. This space can make people's perception of the proposition of "nature" through another level to understand the interpretation of the architect.
Fanshi Yu: I am very happy to have this opportunity to learn more about his project. I found that the style of the project in recent years has not been the same as the state of Liu Yang I knew during my university. Could you tell me what caused this kind of change? The second question is, I think that the architectural projects you share today are all for individuals, incorporating personalized and non-universal elements. This shows that first of all, you need to meet a particularly suitable owner, who wants to fit in with you. In addition, the volume of this building is relatively small and relatively independent. My question is, for some large-scale projects, when your very personal and subjective design concept meets the need to coordinate with each other and consider the needs of comprehensive human nature, what will you consider?
Liu: I think my thoughts are the same as those years at the university. Maybe the accumulation after graduation has made me more professional now. Compares to my college time, I was randomly doing my work. Now I can express myself by communicating ideas. I feel that my control and sensitivity to small-sized buildings come from my experience all the way. After graduating from university, I worked for a lot of practices and Qixin architecture for many years. Since then, I have been basically worked in a small-scale office with a dozen or twenty people. Later, I decided to set up the studio independently and as a partner. So my template is very simple, small company to operate some small buildings, and find their own set of methods "weapons" to make the firm survive. Rather than having a romantic personal feeling in my building, it is better to say that I like to use this unique and personalized design, which can stimulate my thoughts and the final building. Faced with large-scale projects, we are also integrating the experience accumulated along the way with the characteristics of personalization, hoping to meet the needs of clients and the user groups as much as possible. In general, we are still very lucky. Through the communication and feedback of the project from time to time, we have been able to complete the project.
△Panelists in Büro Zhuang Ziyu