AA final paper

1

Asian Architecture [ARC 2213/2234]

PROJECT 1: CASE STUDY – PAPER SUBMISSION

The Integration of Sustainable Materials and Spatial Planning Strategies in Ningbo Museum

based on the Traditional Chinese Architecture to Achieve Green Architecture

NAME: LIM JERN JACK

STUDENT ID: 0317139

TUTOR: MS SHAHRIANNE

Asian Architecture (ARC 2234 /ARC60403)

2

CONTENTSAbstract……………………………………………………………...…………………3-4

1. Introduction……………………………………………………...………………….5-7

2. Design Concept towards Cultural Values……………………………….……..8-12

2.1 Cultural Values of Ningbo

2.2 Design Concept and Intention

3. Application of Materials…………………………………………………….…..13-16

3.1 Material Selection

3.2 Material Arrangement

4. Sustainability of Materials…………………………………………………...……..17

5. Technological Integration………………………………………………………18-20

6. Spatial Planning…………………………………………………………………21-23

7. Conclusion………………………………………………………………….………..24

8. Plagiarism Check……………………………………………………………………25

9. References…………………………………………………………………………..26


3

ABSTRACT

Ningbo, a seaside city with its proximity to Shanghai, acts as a major port on the Silk

Road since Tang Dynasty, has been undergoing redevelopment projects to adhere to

the idea of modernity. The architectural intention of erecting Ningbo Museum is to

accentuate the importance of cultural values based on its local context where it has been

compromising under the rapid development in China.

Objectives of this study are to investigate and comprehend the cultural conservation in

Ningbo city through the usage of sustainable building materials in Ningbo Museum as

well as the spatial planning strategies to achieve green architecture. The methodology is

to review data from the Internet and thesis written by Wang Shu who proposed his ways

of architecture.

The analysis on local cultural heritage is conducted and translated into comprehensive

information to facilitate Ningbo Museum which owns a few significant attributes as a

culturalnconservation and landmark. In ordernto substantiate thenconservation

elements, thismpaper willnemphasise on salvaged materials andnvernacular

construction method that applied on the building by the local workers.

The building envelope of NingbonMuseum hasnemployed the localnvernacular Wapan

tiling. It is a constructionnmethod that proceeded asna way of reconstructing walls

immediately using salvagednmaterials in the specific region after the occurences of

frequentntyphoons. Thenold bricks and tiles used on the Wapan wall were collected

entirely from the villages demolition that once occupied the site. Moreover, cavity walls

are created as an excavation to help it stay cooler in summer and warmer in winter. This

not onlynreflects the aspiration to restore the usage of local long-established materials in


4

Wang’s architecture, butnalso has annextra advantage of making the building

intrinsically sustainablenfor its usage of salvagednmaterials.

The museum was built by local artisans and craftsmen as a manner of holding in great

respect to the vernacular constructionnmethods. In the meanwhile, it became a

commentary on the Chinese cities’ erasure of the past in the name of progress.

Nonetheless, by combining the vernacular way of doing architecture with modern

technology, it enablesnthe urbannvernacular to develop and yet, stillnpreserve the

regional traditions in innovative ways.


5

1. INTRODUCTION

Figure 1.0 Ningbo Museum in a Bird Eye View

Ningbo Museum, a masterpiece designed by Wang Shu, the founder of the Amateur

Architecture Studio, who is the winner of Pritzker Prize 2012 for his inspiring way of

retaining Chinese vernacular architecture. Through the dense, moist air in the seaside

city of Ningbo, an extraordinary peculiar architecture leaps out from the senseless

business and administrative district. The museum owns a flat, pavedmlandscape,

scattered by featureless buildings. With the creation of a mountainous topography of the

building, Wang has sculpted the architecture, filled with a profusion of nature-

inspirednexperiences.

The museum, completed in 2007, covers an area of 43,000 m2 in a new business and

administrative district in Ningbo city which has a history of more than 5000nyears. It has

recently been redeveloped as a brand new and contemporary but sparselynoccupied city

(Brendan, M., 2012). The museum has a height of 24 m, consisting of 4 storey


6

rectangular buildings split vertically into several angularnvolumes, with rakingnwalls

reaching dynamically upwards in all directions. The museum acts as a metaphor of the

mountainous topography, made up of 3 ‘valleys’, 4 ‘caves’, 4 sunken courtyards, a body

of water with reed-covered banks that functions as the main entrance cutting through the

ground floor, representing the mountainous topography of Ningbo sitting along the

shoreline.

Ningbo Museum is the totem of the cultural part of Ningbo city itself. Envisaging a

natural formation, it is a comprehensive museum with the re-instatement of the rural

history into what Ningbo city has become today, an immensely urbanised city,

devoidkofkhistory.


7

Research Questions:

1. What defines green architecture in China?

2. What is contextual and vernacular architecture in China?

3. What is the importance of using sustainable materials to signify the museum in

the contextual architecture? And how is it applied in Ningbo Museum?

4. How the Chinese vernacular construction method enhances the building

structure of the museum?

5. The spatial planning strategies in Ningbo Museum play a vital role to shape its

identity. How does this contribute in creating and strengthening the cultural

values of Ningbo city?

Green Architecture


Ningbo Museum

Issue:

Sustainability

Salvaged Materials

Spatial Planning

Strategies

Vernacular Construction

Method

8

2. DESIGN CONCEPT TOWARDS CULTURAL VALUES

2.1 Cultural Values of Ningbo City

Figure 2.1 Traditional Houses in Ningbo

Yinzhou is a district of Ningbo city in Zhejiang province where the Ningbo Museum is

located. It was a farmland and fishing village, having a great history with 5000 years

(Brendan, M., 2009). Yinzhou was founded at 2000 yearsnago, during the QinnDynasty.

It administrated the Ningbo as a port and trading city, which operated the foreign trading

since 7thncentury to date. Thendeep-waterpportpcity of Ningbo is contemplated as a vital

economynpillar on the eastncoast ofnChina (Till, W., 2010).

Ningbo,nas the centrenof the historicalncity, comprises numerous culturally substantial

domestic, religious,nand institutionalnpremises asnwellnas tremendousnlandscapes.

Ningbonisnrich in ethnic assets, whereby it accumulated from the Tang,nSong,nMing,

and Qing Dynasties, that this has lead it to endow the prodigious historical and cultural

values to the city. By having all these values, Ningbo city was acknowledged by the


9

Chinese government asnthe firstncity to be declared as a CulturalnHeritage; Protected

City, ofnnational levelnimportance (Katrinka, E., Donald, H., 1999).

The development of the city isnstill progressing and has entirely altered the landscape of

Ningbo city. Owing to the urban planning, the vast population growth has induced the

condition of housingmshortage, resulting in the demolition of the ancient buildings in

order to give way to more high-rise residential blocks to be built. In addition, the field of

crop were razednto the groundnin favour of the governmentnadministrative structures.

The rapidnmodernisation of Ningbo has showed the insensibility of its stand on the

remarkable history and cultural inheritance that the people and the government of

Ningbo should be embracing.


10

2.2 Design Concept and Intention

Figure 2.0 The Surrounding Site of Ningbo Museum

As a culturalnlandmark setting in the contemporary business region, the museumnis

planned and deliberated regarding the historicalnreferences of the local context, and

intended to demonstrate its contrast to the contemporary environment. From the building

envelope to the building materials, from the spatial planning to the atmosphere created

in the museum, it has intangibly raised awareness on the cultural conservation and

emphasised the statement to against the city’s rapid modernisation that has no quality of

relevance to the contextual architecture.


11

Figure 2.2 Analytical Diagrams – Concept Sketches of Ningbo Museum

Figure 2.2 shows the analytical diagrams drawn by Wang. In opposition to face the ‘no

memorynzone’ that shows devoidnofncontext, Wang got the inspiration from the

traditional Chinese ink painting of natural landscape, and had decided to integrate the

hard mountainous landscape with the softnesskof water in his architecture (Garth, C.,

2013).

The 1:1 recovery of the Tuoshanyan irrigation of Tang Dynasty (AD 833) becomes an

access way to the main entrance of the museum, where it is the earliest heritage of the

localised cultural antiquity, symbolises the historic point.

Another entrancenof thenbuilding is however located on the secondnfloor, utilising the

form of mountainnand boatnas the focal point of this piece of architecture. The mountain

denotes to the pre-existing landformnof Ningbo whilst thenboat suggests the vital of

maritimentrading in the past and present of Ningbo city, making the museumnan icon

that represents the historynand culturenof Ningbo.


12

Figure 2.3 Locals making Wapan Masonry Façade

(Source: Amateur Architecture, 2009)

Wangnthen later assimilated his intention and notions to the indigenous vernacular

Chinese buildingntechnique, which is callednWapan.

Wapannwall is one of the Chinese vernacular constructionnmethods practised by the

people in the east of Zhejiang province, letting immediate restoration of the walls using

the rubbles of building wreckages, and grass stems, mud and white lime as the plaster.

This unique construction technique is gradually advanced and practised by thenlocal

artisans to deal withndestruction happened afternfrequentntyphoons (Guiseppina, S.,

2004). This construction method does not only give a strong building construction and

pleasant appearance, it also alludes to economical providence, energy saving, and

environmental friendly that make it a sustainable green architecture.


13

3. APPLICATION OF MATERIALS

3.1 Material Selection

NingbomMuseum consolidates the salvaged materials profoundly inndiverse ways. In

this context, Wapan walls are the main component in the museum that

effectivelykanchors the architecture to the local context, and hence on the plus side,

reveal themtruth-to-materials.

Figure 3.0 Variety of Façade Formations


14

Thenmuseum was erectednusing salvagednmaterials, for instance bricks, stones, tiles

andnconcrete, which are leftover gathered fromnthe demolition site of the deep-rooted

dwellings, as a prevention of wasting anything, implementing the custom of the hamlets.

Each chunk of the materials tells a story, presenting a meaning to the people.

The reintroduction of Wapan wall construction using salvaged materials indicates

Wang’s aspiration to reinstate the vernacular materials in the museum whilst making the

structure environmental friendly at the same time. It makes a strong statement to against

the phenomena of deconstructionkand massiveoconstruction in the urbanisationlprocess

in the city. Yet in the meanwhile, it contributes tonone of the contemporary paradigms of

workable green architecture that stresses on the prominence of using recycled building

materials.

3.2 Materials Arrangement


15

Figure 3.1 Free Arrangements of Materials on the Façade.

(Source: Evan, C., 2012)

The Wapanmwall of Ningbo Museum was astoundingly accomplished by the local

artisans and craftsmen as anmapproach of honouringmandmpreserving vernacular

constructionkmethods. With the aid of photos and drawings to help the craftsmen to

remember the construction techniques, Wang guided the wokrkers throughout the

construction.

With the creation of the humungous walls, handmadeknature of construction is actually

hard to be controlled according to the precise portions of materials in perfectlyhstraight

line askan exactkexecution of Wang’s design. Therefore, Wangmdecided to letmthe

naturektake itsmcourse and gave the artisans and craftmen a largemdegree ofkfreedom

in laying the blocks that have different forms (Brendan, M., 2009). This


16

imperfectionmdiscloses thembeautyminmhandmade nature to make contrast with its

surroundingkcontext that is said to be ankalienkworld ofktechnologicalpperfection

(Figure 3.1).


17

4. SUSTAINABILITY OF MATERIALS

The whole Wapan masonrygfaçade of NingbokMuseum was built using great quantity of

salvaged materials from the demolishedmsite of the villages, in which this reflects the

sustainable advancedmculture tendency, and the matter ofmecology andmculture

amalgamation.

Figure 4.0 Rubble of Demolished Site

(Source: Reuter, 2014)

With regard to aspect of the culture conservation, the salvaged materials that were

collected from demolished villages, is a brilliant way of sustaining the local culture in the

form of memory through the Wapanmmasonrymfaçade. Hence, the wall itself has

already acted as a gallery showing the history of Ningbo tradition to the visitors.

However in termkof economy, even though the materials collection required great

manpower, it had drastically cut down the building cost because these salvaged

materials are at no cost. The implementation of sustainable construction materials also

gives respect to the environment both in local context and global context.


18

5. TECHNOLOGY INTEGRATION

The strengthkof the Wapanwwall uses only the vernacular constructionktechnique is

frail, as a singlegmonolithicgWapangwall is not appropriate to be constructed exceeding

the height of 4 metres. Nonetheless in the case of Ningbo Museum façade, it was to

erect up ton24 metres, which means it is way highermthan themWapan walls

constructed in any of the old houses.

Furthermore, tonapplynWapan wall as the buildingnfaçade of thenmuseum,

thekthickness of the façade needs be at a minimum of 240nmillimetres. Yet, the

compressiongstrength of the Wapanmwallnmaterials is relatively low, and thembond

strengthnbetweenneach othernis low too which differs regarding the thickness and

length. It is proven to have a poor stability and compression strength in overall.

To deal with these challenges, Wang had been exploring solutions to achieve his desire

and more importantly, the equilibrium between vernacular building methods and

contemporary construction practices. After going through experiments of using the

materials, Wang had comemout with an inventive idea to adaptnandntransform the

salvagedgmaterials for this contemporarygproject. The total height of Ningbo Museum,

24nmetres, is divided intonindependentnwall blocks of 3nmetres to support thegloads,

whilst not weakening the overall strength of the wall.

After a series of discussion between Wang and the craftsmen, many wallgtestings were

carriedgout on site with the finalnprototypes producingna façadensystem from the

Wapannmasonrynandnmortar, combinednwith a concretenlinearnpanel (Figure 5.0).


19

Figure 5.0 A Section of WapannMasonrynFaçade

This final Wapannmasonrynfaçade consists of 4ncomponents, which are the

Wapannwall masonry, concreteklinearnpanel, mortalnand reinforcedkconcrete structure.

Owing to the lowncompressivenstrength of thenmasonry, it requires the periodicnsupport

of the hidden concretemledgers integratedkhorizontally into the panelnevery 3nmetres

(Elizabeth, G., 2012). The entire masonrykfacadensystem ismthenmtiednback to the

concreteklinear panel, and secured firmly together using tiembars tomform one single

component. Thisnhelps tonimprove the structuralgsafety of the wall. The 15ncentimetres

reinforcednconcretenlinearnpanel is the mainnload carryingsstructure, which is also the

waternprovingnsystem.


20

Figure 5.1 Cavity Wall

Figure 5.1 shows the section of the cavity wall constructed in Ningbo Museum. It

integrates the Wapan wall tiles on the surface and attached on the inner wall that

consists of cavity wall in between. This is however an innovative way of building a green

architecture, where it keeps the museum cool during summer, hot during winter, owing

to its low conductivity to the weathering effects.

The museum facades transform the salvaged materials into annenvironmentnpermeated

withnmeaning, retaining as anreminder of the villagesndemolition whilst simultaneously

presenting ancontemporaryntranslation of the vernacular masonrynconstruction. Wapan,

oncenconsidered asna lowlynmaterial of thenpoor, is now reinforcednin anmannernthat

grants it tonfunction on a scalendemanded by contemporarynChinesenstandards.


21

6. SPATIAL PLANNINGS

The movementnthrough the museum is notnexpeditious, but in calm and considerate

way, as if peoplenhavenbeenntransported to anpast, pre-technologicalntime. Wang has

imaginednhisnarchitecture as a kindnof Chinesengarden where a likely situation involves

a considerate scholar winding through thenlandscape, and high accessibility for disabled

are the key element of making a sustainable architecture. The circulation of the museum

was perceived as ‘anlabyrinth ofnpathways’, which means multiplenpathsninterconnect

with publicnspaces (Ong, G. Y., 2012). Asnanresult,ninhabitingnthenbuilding

isnwonderfully lcinematic.

Figure 6.0 The Main Entrance

The maingentrance, with its cobblestoned streets, surroundedgby a shallowgriver is a

symbolgof Tuoshanyan, which was builtgduringgthe TanggDynasty as an amenity for

waternconservation and recoverednbynWang (Figure 6.0). The implementation of a

body of water gives a sense of calm and welcoming to the visitors.


22

Figure 6.1 The Sunken Courtyard

The sunken courtyard is more than just pleasant in looking (Figure 6.1). It allows stack

ventilation to occur, in which the opening towards the sky as an outlet and openings on

the ground floor level as inlets. This naturally let the wind movement to take place, and

therefore the semi-opened spaces are well lit and ventilated.


23

Figure 6.2 The Pedestrian Ways

The voidsnslashing throughnthe buildingnintersect atnangles which instantlynrecall the

pitchednroofs of a localnvernacularkarchitecture. Thencuts arensized to recreatenthe

scalenof pedestriannlanes, where its interlockingksolids and voidsnof the roofmlevel

create an urban pocket of place, thus referencingkand creating thenspatial experience of

classical China. And thismismwheremthembuilding’s powermreallymlies, in its

ambitiousmsynthesis of the contemporarynand thentraditional.nTechnology-drivenmform

makingnand vernacular constructionnsystems arenused inntandem.


24

7. CONCLUSION

Wang Shu’snarchitecture is devotednto tradition,nhistory, a sensenofnplace, sustainable

usage of buildingnmaterials, and the users who may inhabitnit. In his designnof Ningbo

Museum, he is revivingna traditionnthatmwas lost,nand states that importancenof

recoveringnthe traditionalntechnique isnpragmatic,hhistorical andncultural.

The buildingnis at simultaneouslyka sculpturalnobject andnanfield-condition: architecture

andmurbanism. Thekattitude towardsnhistory in this architectural context suggests

anway forward Chinesenarchitecture thatndoes not need to rely on flashynrenderings

and iconicnforms, but still retaining the essentialnqualities ofnthe historicalkfabric that

make China’snancientncity sonappealing. These are the qualitiesnthat are

mostkendangered and vanishingnrapidly in the rushnof modernisation.

AsnWang said, “Chinancan civilise modernitynby its very ownmculture. Thekarchitect

must solventhe problem of how to make traditionalnmaterials to bencompatible with

current architecturalmtechnology” (Elizabeth, G., 2012). Wang means that by the

combination of traditionnwith current industry, it allows the urbanhvernacular tongrow

and still keepnthenregional traditionsnin the future.

8. PLAGIARISM CHECK


25Asian Architecture (ARC 2234 /ARC60403)

26

9. REFERENCES

Brendan, M., (March 2012). Ningbo History Museum. Domus 922, 66, 2-3.

Elizabeth, G., (2012) Traditional Materials Optimized for the Twenty-Past Century. 2012

ACSA International Conference, University of Washington.

Evan, C. (2013). Delirious Shanghai. Retrieved June 13, 2016 from:

http://archinect.com/delirious-shanghai/place-holder-ningbo-historic-museum

Garth, C. (2013). Architecture-Wang Shu’s Ningbo Museum. Retrieved June 15, 2016

from: https://cfileonline.org/architecture-wang-shus-ningbo-museum/

Guiseppina, S. (2015). Wang Shu: Façade as Material and Tactile Stratifications.

Screencity Lab. Pp. 2-5

JiaXin, H. (2013). Wang Shu’s Ningbo Museum: a Critical View. Retrieved June 14,

2016 from: http://www.masterplanningthefuture.org/?p=1229

Katrinka, E., Donald H., 1999, Case Study: Ningbo, China, Culture Heritage

Conservation in Urban Upgrading, 3-4.

Ong, G.Y. (2012). The Infinite Spontaneity of Tradition. Retrieved June 18, 2016, from

http://www.pritzkerprize.com/2012/essay

Till, W.(2010). Ningbo Museum by Pritzker prize winner Wang Shu. Retrieved June 13,

2016 from: http://www.architectural-review.com/ningbo-museum-by-pritzker-

prize-winner-wang-shu/5218020.article

ARC 2213/2234 ASIAN ARCHITECTUREPROJECT 1 LITERATURE REVIEWFINAL ESSAY MARKING SHEET (20%)


27

Name : LIM JERN JACKLecturer : MS SHAHRIANNE

CRITERIA 1 2 3 4 5 TOTALUnsatisfactory Developing Satisfactory Proficient Excellent (100%)

Content (40%)

No evidence of thesis statement

Has written a thesis statement (at least inferable), using appropriate language (although not necessarily with the best choice of words); may use passive voice verb(s)

Has written a thesis statement (at least inferable), using appropriate language (although not necessarily with the best word choice); at least one active verb

Has an understandable thesis statement, using some strong language, active verb(s), and appropriate descriptive words and / or phrases

Has a clear thesis statement, using strong language, active verb(s), and appropriate descriptive words and / or phrases

Consequences of the issue are absent

Consequences of issue are vague or confusing

At least one consequences of the issue is presented

Short and long term implications of this issue are presented

Short and long terms implications of issue are clearly outlined and linked together

Discussions and/or recommendations are absent or confusing

Discussions and/or recommendations are absent or inappropriate

One general discussion and/or recommendation is presented

One or two appropriate discussions and/or recommendations are presented

Two or more thoughtful discussions and/or recommendations are convincingly presented

Organization (20%)

Arrangement of details and ideas is confusing

Arrangement of details and ideas is unclear

Details and ideas are roughly arranged in a workable order

Details and ideas are well organized with a beginning, middle and end

Details and ideas are carefully arranged to add interest and clarity

Ideas are aimless and unconnected

Writing is very disorganized and few ideas are connected

Writing is sometimes off topic

Ideas generally relate to the discussions and recommendations being presented

Ideas and details build towards a convincing argument for the discussion and recommendations

Many run-ons, fragments and awkward phrasings making it hard to read the paper

Sentences are often awkward and/or contain run-ons and fragments

Sentences are generally well constructed but there may be one or two run-on, fragments or awkward sentences

Sentences are complete and well-constructed. There are attempts at making the writing interesting

Sentences are clear, complete and of varying lengths. Writing is interesting and convincing


28

Writing Conventions (20%)

Communication is unclear due to many errors

Communication is occasionally interrupted by the errors made

Communication is generally clear despite some errors

There are a couple of spelling, punctuation and/or grammatical errors

Correct spelling, punctuation and grammar

No evidence of sources

Uses at least 2 sources evenly in the paper




APA Citations (20%)

Paper has more than 4 parenthetical errors

Paper has no more than 4 parenthetical errors



Paper has no more than 1 parenthetical error

Paper has more than 8 cited page error according to APA guidelines

Paper has no more than 8 cited page errors according to APA guidelines




Comments (if any):


Education

AA final paper