Western Hills in the western part of Beijing where the Old Summer Palace is located—is far from the hustle and bustle of the city. This project’s design is a combination of cultural elements of Western Hills and modern oriental design techniques. A shaded corridor leads to a space possessing a fantastic view. The moment people enter the space, they feel as if they have walked into a beautiful painting that features both ancient elegance and modern freedom. “Let me forget my worldly worries and find peace in the woods of the Western Hills; the white clouds seem to have read my mind, and drift slowly down from the forest to keep me company.”
After the development of some alternative occupation to the terrain started in mid-2013, the architectural program is reviewed and discussed in order to effectively meet the wishes of the couple who today make this house their home.
Article source: Wei Yi International Design Associates
The concept, Wabi-Sabi, from Japanese aesthetics is the principle in the project. The materials with texture of modesty, rustic and asymmetry are used as the main substance in the space, trying to create an unrefined and lean atmosphere. Through the peculiarity of imperfection, the inhabitant are led to discern the hidden beauty of the truly excellence and here they can find their pure sanctuary from the turmoil world.
Main Material: oak veneered brushed and painted、special hand painting, German cement paint, titanium metal, Belgium chalkboard paint, grey glass, panDOMO, Engineered flooringns and thoughts are subside and dissolved into the state of serenity of heart.
Naito Shinjuku was established in 1699 as a stage stop along a major thoroughfare heading out of Edo (old name of Tokyo). Dropping the “Naito,” the district started to be called Shinjuku in 1920, the same year that saw the Musashino-kan Shinjuku emerge on Shinjuku-dori Avenue, which was also home to the Shinjuku Mitsukoshi store. Local merchants opened a 600-seat movie theater in the three-story wooden structure with tiled façades. In 1928, Musashino-kan Shinjuku relocated to its current site, a new cinema with 1,115 seats housed in a three-story concrete building. During the silent movie era, Musei Tokugawa was active as a narrator here. Later, an air raid over Tokyo caused a fire to burn the entire interior of the theater, but the building survived and became a symbol of post-war recovery. Cinema offered entertainment to the populace, and Musashino-kan entered the golden age in an alliance of more than 20 theaters. But the movie-going population peaked in 1958 at 1.1 billion tickets, and rapidly dropped to 1/3 of that patronage by 1965. Amidst a declining industry, the decrepit Musashino-kan was demolished in 1966 and rebuilt. Still standing today, the building initially consisted of a retail and dining complex seven floors aboveground and three floors underground. The first movie theater in this new building had 500 seats on the seventh floor. In 1994, the Cinema Qualite mini-theater opened. The seventh floor was closed in 2002, and the third-floor theater operations changed banners from Cinema Qualite to Musashino-kan Shinjuku. For the improvements made most recently, however, aseismic reinforcement work on the entire building prompted the Musashino-kan Shinjuku on the third floor to undergo a complete renovation.
The idea for a public toilet in Gdynia is closely related to the location of the given area. View of the open sea and extending walking paths, suggested concept of creating building that besides its primary function will be set in a seaside tourist character. Periscope building allows its users to observe sea from the interior not through the traditional window. By placing the upper mirror of this periscope mechanism at a height of 4m, view of the water is raised above the boulevard’s level and so the strolling people. Users of the public toilet can see an undisturbed yet always different image of the Baltic Sea. Monolithic, concrete building owes its shape to the hidden periscope structure, but due to the rounded arcade and used raw materials, building with its profile resembles the nearby breakwater, blending with the local landscape. In the gap between the women’s and men’s toilet, there is a tribune from which people can enjoy view of the Baltic Sea. Its form, in contrast to the traditional benches, can hold a larger group of people. Wooden finish of the tribune and its surrounding walls warms raw style of the building. Inside the toilet, as well as outside the building, walls are covered with concrete. Free space under periscope construction is filled with huge pebbles, reminding the breakwater. Simple interior exposes periscope’s mirror with Baltic Sea view. Direct access to the building allows independent use of all the toilet rooms. Whole object in its form and function blends with the coastal mood, creating entirely new point on the promenade path.
A private residence frames a spectacular natural context, on the hills surrounding the Galilee Sea. Folded in a plastered white envelope, the inner spaces are oriented towards the view and invite it to enter the family’s domain.
Xrange wraps a new layer of 80- 177cm wide by 7m high living spaces around an existing indigenous stone house to create an “extreme” new house of outrageous living proportion. The newly added programs of pantry, bar, study, library, dog house and bathrooms are new “rooms” averaging about 4m2 in footprint, but with soaring 7m headroom. The new house becomes a sequence of small narrow vertical spaces that interlock like the spaces within an ant colony.
The volumetric envelope is almost the first of the premises when confronting preexisting and program requirements. The contradiction between a latent hostility in an apparent idyllic condition of the place is also.