The project is positioned as public art space in community, being a crucial design practice in the urban renewal plan of Shaoxing Ancient City. Robust granite walls, extended glazing, herringbone slope roofs and rising drama stage complete the cultural ensemble, which emerges as a new public landmark for the city. Drawing inspiration from the large space combination of the old Shaoxing Machine Tool Plant, the distinctive volumetry of "longitudinal five-way, horizontal three-fold unequal herringbone slope modeling" had been completed in the first site survey. Two floors volumes on the east and west sides serve as the main exhibition spaces, and the middle transparent volume serves as a transfer hub. The foyer runs through the north and south on the ground floor, while a small temporary lecture hall are arranged on the second floor. Internal courtyards are inserted in exhibition spaces, which reasonably separates the solid volume and enhances indoor permeability. Horizontal three-fold unequal herringbone slope modeling alleviates the alienation of large-scale space itself, while the facades in black, white and gray tones make Xu Wei Art Museum ingeniously integrate into the surrounding built environment. Located on the south side of the venue, Green Vine Square connects the museum on the north side with Green Vine Study (former residence of Xu Wei) on the south side, paving the way for the frontcourt atmosphere. The square continues the construction logic of the museum, and ‘lifts up’ two herringbone slopes on the east and west sides respectively: the west side is slightly raised to create a flowing water scene, while the step-like setting on the east slope serves as a drama stage to provide an appropriate place for distribution and gathering. With the help of local sinking, the visitor center is ingeniously hidden under the east herringbone slope. The square as a whole is paved with dark stone. Meanwhile, an original ‘Xu Wei Statue’ stands on the southwest side of the museum, being the visual focus of the square. Referencing to the gardening means of viewpoint transformation, the “continuous bedding” is formed in the constantly moving and changing viewpoint shift; and a complete and unified space experience and impression foil is constructed for the visual and psychological integration of architecture and landscape - that is the so-called landscape spirit originated from Jiangnan.
UAD-ACRC is an exploration of returning to the original thinking of architecture. We try to design from the perspective of traditional, classic and large-scale architecture; from fast, tactical and conceptual working habits to new methods, new means and new ideas.
We think about how to enlarge the project to form a system; how to analyze from a macro perspective, and then get valuable research, so as to seek the independent thought, observation attitude, work interest and even professional height of project design. We pursue an open, enthusiastic and persistent team spirit. We break through the production methods, not limited to modern and fashionable technical topics, such as BIM and digitization.