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In this town with few vehicles on the streets, alongside the interlaced alleyways are series corridors and verandas formed by long overhanging eaves, under which people find their shelter to gather to have tea and play cards. This kind of relaxed and tranquil lifestyle is unique to the not enclosed but rather open west Szechuan Courtyards.
In order to remain the intrinsic cultural context and street texture of this ancient town, and to effectively adapt to modern ways of living, we use the original footprint of the demolished buildings as a start point to form an organism that is based on memory, and to reproduce the scale and intimacy of the original courtyard and alleys.
By adopting a more contemporary approach, we provide this ancient town with a self-grow ability. Within this organism, various living atmospheres and activities will slowly take root. This form of controlled voluntary generation will be freely explored and built by future occupants. 
The design goal starts with the overall area planning, aims to give a new ecology of courtyard life to Qionglai. As a small fragment of the entire organism, the selected site adjacent to the Wang’s Family house in the north and Wenmai Lane in the south, focuses on the comparison of old and new courtyard and alley spaces. The reclaimed building materials reinterpret the history of the town and adds a layer to the palimpsest.
The new “courtyard” will be presented as a fluid space that connects yards, alleys, terraces, porches and verandas and can accommodate various functions of today and in the future.

The “Farmers House Collective – Co-Living Under A Walnut Tree” is a new concept of hospitality located in Beigou Village, Huairou, Beijing. The project aims to establish an equilibrium between rural and urban life by establishing a platform for the integration and interaction between the two. The shared life of the project occurs as a result of carefully designed moments that foster interactions between residents and guests through a series of communal spaces. This aim for interaction generates a more ambiguous design language that is open for flexible use, co-habitation and adaptation.

The program:
Guests are welcomed in to the collective by the host. Fresh fruit and water are at hand before a casual stroll through the Beigou Village. Contemplating life as it unfolds, under a porch in a rainy day, or having dinner together with friends, are some of the casual life scenes that the collective offers. Rich in life but low in structure, spaces are open for unscripted communal moments typical of rural life.

The collective is suitable to accommodate up to three groups of guests at the same time which are welcomed into four rooms.

On Sharing:
Sharing in public is about the right scale and the right amount of privacy in order to provide just the right amount of intimacy. Large spaces can be undefined and intimidating while small spaces can feel crowded easily. Shared spaces need to allow for different types of interactions, from a quiet conversation to a medium gathering all within distance of each other.

The Architecture:
A rich pallet of rural textures and urban details provides guests with both familiar amenities and yet a whole new atmosphere. Choreographed compositions of smashed clay tiles form the facades while warm tones mark the entrance to the rooms. Integrating urban concepts with rural traditions of living provides a new lens to interpret the unique qualities that both have to offer.

位于北京怀柔北沟村的农屋系列改造方案的主旨在于介于农村生活及城市生活两者之间，寻找一个平衡的状态，以创立一种两者结合和互动的平台或模式，促使这种生活的趋向性能够找到其最合适的发展方向，与农村城市生活的这种必然结合，奠定一种可借鉴可延展的模版。

核桃树下的农居共享生活，因农户的存在使整个共享的空间使用关系变得更不可捉摸，即更有潜在的变化性。
居住群组的变化性，互动性，空间与各种群组的转换，使设计对于使用者的定义变得更加模糊，
也同时更具有其适应性。

客人到达时，主人在为客人准备水果迎接，
去北沟村里漫步时，坐在共享的空间里等朋友
出门前经过拿一瓶水，打个招呼
一起，用餐
下雨赶回院子，坐在雨棚下休息聊天
各种场景，都因这个共享区域的存在，而产生了交流。
也因为空间主人的存在，让使用者的关系变得没有更多的强制性，更自然更真实更符合空间里的心情。

空间的使用与分配
1．多少户入住最合适
我们针对的就是能促成这种沟通交流生活模式的群组，所以考虑到面积，交流感觉，定位为三个独立客房群组，共四间客房，可入住群组可以是一家人，可以是一群朋友，可以是两个群组等各种类型。同时，这样的密度，及陌生熟悉关系，更适合这个体量，也为了保证既然要沟通，就要提供沟通所需的条件。这样的沟通密度比较舒适，避免尴尬或负担太大。
2．怎样使用分享空间
分享空间不在于越大越好，需要人们在其中能保持自身的隐私又能更好的享受共享的快乐。当空间过大则整个空间会显得空寂，这样会于共享的概念相冲。空间过小则会拥挤吵闹是的不愿在此停留。共享空间中需要提供给不同人不同的空间，让他们带着这个空间互相分享。

建筑外观的处理
不希望强加城市生活的观念，反以重新利用现有建筑外墙材料的手法去实现对于两个方面的结合。将现有外墙的瓷砖敲碎，通过随便混合形成新的图案，重新砌上墙体。再通过对于门帘与房屋入口楼梯的色彩改变，实现一种区域性的温暖化，并给予客房增加仪式感，使客人有更好的归属感。

城市与农村的融合，应该是互相的理解与影响，也从不应该是单向的改变。

“The search of organized space in the measured and sensible line from what exists and what is dream.”

“The Architecture inhabits the liminal space between memory, dream and reality.”

“Redefining the traditional idea/ form of barriers between spaces in order to create a catalyst for social, cultural and knowledge exchange”

“An attempt to use organized space as the media to probe the extent of social interaction and isolation under the context of collective residency”

“Finding your own little space in the invisible boundaries and discovering your fellow travelers in a tangible separation.”

“To insulate is to associate, the physically and mentally reframing boundaries provides a field for visitors to recognize visitor's perception of neighbor, (in order to create a catalyst for social, cultural and knowledge exchange).”

“在理性的界限围合出的组织空间中感知什么是存在的什么是想象的。”

“建筑寄居在记忆、梦想和现实之间的有限空间中。”

“重新界定空间之间的传统理念/形式, 以便为社会、文化和知识交流创造催化剂。”

“试图利用有组织的空间作为媒体, 在集体居住的背景下探讨社会交往和孤立的程度。”

“在无形的界限中找寻自己的小空间，在有形的分隔里发现同路人。”

“以“隔”为“交”，在物理和心理两个层面重组人们对周围环境的认知，从而催化出意想不到的交流。”

The Yangshuo Impressions Sanjie Liu seats itself in one of the most dramatic landscapes in China. A blanket of greenery surrounds the site filling space between large karst towers of rock. With a landscape so grand, any attempt to dismiss it, let alone compete makes little sense. With this understanding, it was decided that the natural elements themselves would form the premise for what architecture would inhabit the site, one element in particular, bamboo.

The Impression Sanjie Liu is already well established, now in its 15th year of operation. This presented a situation where most existing structures would remain untouched. Instead focus was shifted to how new intervention could support a pre-existing condition. At present, large clusters of bamboo cover most of the site, creating walls and roofs of mingling pipes and leaves. The concept looks at borrowing the materiality of the bamboo, reconfiguring it to form new space. In doing so, this new space aims to in no way challenge, rather its intention is to augment, albeit very gently, the surrounding bamboo groves and hills.

Currently, there are two main areas of interest for the guest, one at either end of the lengthy island site. The first, the front gate and pagoda where guests enter and can wait. At the other end, the main stage, perched at the bank of the Li river. However, between these two points remained little interaction. It is here in this middle ground that two assemblies of architecture are introduced. The first, woven bamboo lantern structures, scattered where guests circulate, whose purpose is to guide and intrigue. The second, a stretch of canopy amongst clusters of bamboo, providing area to walk sheltered from regular rainfall. In these, the architecture relies on bamboo not only for its composition, but also its constant referral to sentiment of place.

Near the entry of the site, the lanterns begin small in stature, casting out signals of dappled light through their porous facades. Further in they become incrementally larger to a point where the guest can enter. Here, following the suspense of only viewing, features of the lantern can be experienced from both the inside and out. The makeup of the lanterns remains sincere, with a structure of lashed bamboo that is enclosed in a hand-woven mesh either side, the exterior coarser than the linear weaving inside. To the southern edge of the island the canopy shrouds itself within the massive masts of bamboo. At first glance, it appears to rely on little for support, only the columns of bamboo shooting up and through openings above. The ceiling takes on a shape of an inverted landscape, undulating between different levels of surfaces. The stepping surface of the canopy is covered entirely in irregular hand-woven bamboo, the intention to enchant while still extending recognition to the natural condition of the site.

In acknowledgment to the theatrical spirit of the Impressions Sanjie Liu, moments of performance make its way into many parts of the design: The hand weaving, bamboo playing off the tension of one another. The topography of the canopy ceiling dancing between columns of bamboo as if unsupported. Even the way guests are intended to move from lantern to lantern, in a narrative of interaction. Together these subtle hints encourage a particular frame of mind, readying the guest for the main feature.

Being situated in Beigou Village, Huairou, at the foot of the Mutianyu Great Wall, Beijing, such a space, seems to have much broader meaning than what it is being called.

A profitable extension of a newly constructed village resort, a more proactive and urbanized manner of communication emerged in the village, a sweet integration of originally contrasting life styles, an unprecedented cultural renaissance, a hint of the rural areas of China starting to be sliced apart as how it happened in the cities, or it is merely a space for food?

It is ambiguous as a space that the potential attributes of it may far exceed what it intended to achieve, in the culturally transitional period of a country that itself is uncertain about its own identity and the value of it.

Superficially, this is a place reconstructed and transformed from a farmer’s home kitchen to a restaurant that serves the traditional Beijing hotpot which is one of the most typical representation of the Old-Beijing-Culture, however, the location, the historical background and how the space has been designed and constructed, make any of its given names imprecise, unless being very general.

At such particular moment, when the pursuit of design becomes increasingly visible which makes China seem to be probably still one of the best places to experiment, the opportunities in the urban areas continue to shrink. The conflict between the booming eagerness to create utopian architecture in China and the dramatically decreasing demand, shifts the possibilities to imagine, from where architects in China are familiar with to where are interestingly considered as places that architects are only emotionally attached to.

As a result, all relevant creations which are meant to be the revival of certain types of culture or the sensitive reaction to particular kinds of social movements turn out to be repetitively numb and senseless.

Then what exactly is the place designed for?
It is a place that has been reconstructed and transformed from a farmer’s home kitchen to an Old-Beijing hotpot restaurant, which consists of six types of spatial qualities that accommodate a variety of activities that are possibly not either spiritually or formally capable of being associated.

There is a specific desired program, yet, it will be less numb if it makes people feel reluctant to define. 

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The project “Stone Village and the Hidden Hotspring” started ten years ago. The owner’s original intention was to save only several houses in his deserted home village in order to retrieve childhood memories once enjoyed. Later, inspired by experts of village construction who activate ancient villages by art, the idea was extended to then also revive the wider ravine lands. This 6-kilometer-long, 36-square-kilometer mountainous area is the southern ravine of Liang’s Town, where 9 deserted villages are located along 5 branching ravines. “Stone Village and the Hidden Hotspring” is meant to redefine one of these villages named Denghua Village. The sense of mission in this project has become more profound, as the personal nostalgia emotion is extended to local cultural preservation. It witnesses the exploration of a practical approach to the revival and sustainable development of rural area.
Rural China should not be labeled as poverty. Building a more beautiful and sustainable village is an important attempt to explore the path of China's economic transition and rural reconstruction. The activation of village should be based on agriculture, encouraging original farmers to return while introducing new farmers, and adhering to the concept of “building the countryside more like countryside”. It then becomes important to retain the texture of village, being sympathetic to what lay there before. “Stone Village and the Hidden Hotspring” will become a land of promise in the northern countryside, through the theme of “three types of enjoyments”. These refer to the host enjoying rural charm with the guests and the new farmers, guests and new farmers enjoying the shared space and the enjoyment in private spaces. In integrating the three types of rural experience into surrounding landscape and architecture, a village with a history of thousands of years will be subtly allied with the cultural spirit and natural charm of the project, bringing about a new lifestyle of the countryside and so strengthening the village’s potential capacity to keep up with the times.
Design of the architecture and space first provides a platform for retrospecting the value of history, bringing the tools and daily necessities that have been left in memory back “home”; secondly, it creates new space for new rural lifestyle. This combination preserves the impress of rural life while providing a possibility of flexible use. In realizing this, the stages of construction can be summarized as: preservation of the site, reconstruction with recycled materials, and new construction with new materials.
The central area of the project is regarded as the living room of the owner, providing space for public events and shared lifestyles; in the hidden woods and mountains, a quiet experience of seclusion is available. Landscape and natural spring water will also run through the entire site to show the three elements of new rural life, that is, “woods”, “hidden” and “spring water”. Stepping on the familiar slate tiles paved path, accompanied by the stars at night and the birds in the morning, the summer stream and the white snow in winter, people feel that they are integrated with the village and nature.

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LEO digital network has been the top digital agency in Chinese network with digital marketing services from media to creative to e-commerce to mobile to the smart TV sector, locally and even globally.
The network agency has approximately 600 employees (mostly between 20-30 years of age) and a client list including international heavy hitters and local start-ups, such as Coca Cola, Pepsi, Starbucks, Costa, Lindt, Michelin, Suntory and all other globally well-known and leading companies.

As a role model in the creative industry of China who has been consistently searching for new ideas and vitalized by young blood of the New Chinese generation, the restructuring of the company also brought an opportunity to creating a refreshing new image and taking the company culture to a completely new level.

Transparency
All meeting spaces and offices have been separated by using clear glass to allow natural light to be brought into the deep work space as a critical part of the design concept, to share, the space, the light and the purity of creativity.
Meanwhile, it is to challenge the controversial term “transparency” in a stereotypically understood Chinese working hierarchy.
The transparent, only separation between spaces become functional interfaces where meeting notes, brainstorming ideas to be written on, essentially omitting all boundaries and integrates all spaces.

Materiality
The tone of the entire space is designed to be raw to depict the creation process of ideas.
Reflective concrete finishing has been applied to the entire open work space to reflect outdoor light to the inside.
Ceiling is treated using concrete paint resembling the floor finishing, thus the lighter concrete finishing on the walls and columns dramatically brightens up the space and merges into the transparent clear glasses extending the space to the outside.

Offices, meeting spaces and shared meeting points are highlighted using solid wood as “the ‘accent’ painted on the raw canvas”, giving a buffering and slower rhythm into the movement and providing transitional zones into the spaces.

Creative atmosphere (open and communicative space)
Shared and communicative areas between teams in the office are simply created by different arrangement of furniture, therefore, reconfigures the pattern of movement.
Coffee areas, shelves with books, drinks, plants in a variety of scales are carefully placed, illuminated by raw, industrial street-lamp like lighting, making the space as multi-functional as library, cafe and bar, a place where the new generation appreciates the most, where idea exchange is facilitated and encouraged in an unnoticeable manner, proactively challenging the conventional way of working.
At night, the lights resemble the stars in the sky, breaking the boundary of the space, continuing limitlessly into the realm of imagination.

Making and Design process
To confront the impetuousness and ostentatiousness of the current social phenomenon in China, llLab. intentionally challenges the design process. Numerous of samples and assembly iterations have been conducted on site. Office walls are constructed by designers, construction workers and the end users together to realize and optimize the functional and aesthetic desires based on individual demands, e.g. office walls as book shelves, drink collection display, green wall etc.
Meeting rooms, where all patterns were conceptually sketched and handcrafted on site, while having their own characteristics, the foldable glass doors in between could be opened up generating one or multiple event spaces. Meeting room tables are made as part of the timber floor, then lifted up as the tables, which visually makes the meeting spaces more spacious and purer.
The whole design and construction process took only less than three months before the employees move in. The construction site served as an experimental workshop, designers from LLLAB and the constructors work closely together conducting tests on materials, finishing, lighting etc., realizing an intimate and honest ‘human-scale’ experience.

Flexible architecture is an experimental research for creating new space quality. From the traditional architectural point of view building must be rigid and heavy for protecting human beings from natural environment.
But now due to the advancement of technology, such as material development and invention of computational tools, architecture can be made flexible.
For example, we can use relatively soft materials for generating complex geometry. Or, we can simulate the behavior of Materials precisely so that the choices for the architectural materials becoming more and more. We can even manipulate the material performance by controlling the microscopic composition of materials.
Currently, the scale of flexible architecture is mainly researched in scales of pavilions or interior designs, but how the flexibility of materials and forms changes the quality of the space can be evidently observed.

The Wander Wood Pavilion is a robotically fabricated temporary installation at the University of British Columbia Campus. The pavilion is the result of the Robot Made: Large-Scale Robotic Timber Fabrication in Architecture workshop, hosted by SALA and UBC Centre for Advanced Wood Processing from October 13-17. The workshop was led by David Correa of the University of Waterloo, Oliver David Krieg of LWPAC, and SALA professor AnnaLisa Meyboom.

Fabricated and assembled over three days, the pavilion is conceived as an adaptable design to fabrication system that can be customized to suit local material availability and fabrication tools. Each participant is provided with the tools and skills to develop a unique version that can better meet their local needs. Built using the state-of-the-art eight-axis industrial robot at CAWP, the pavilion demonstrates how old materials and new technologies can reshape our built environment.

Starting with computational tools for parametric design, structural principles for wood construction, robotic CNC milling and digital workflow management, participants were provided with a unique insight into the new opportunities and challenges of advanced design to fabrication processes for timber structures. Parametric design and robotic fabrication are disruptive new technologies in architecture that allow us to build high performance structures of unprecedented formal complexity. Wood is a natural partner for these technologies because of the ability to easily mill and shape it with robotically controlled cutting tools. Wood is also highly sustainable – not only is it a renewable resource but it also stores carbon – making it one of the most sustainable building materials in the world.

This experimental structure demonstrates the new capabilities of the technology to develop innovative material applications that harness the unique properties of wood to animate public spaces.

Design & Development
David Correa
University of Waterloo
llLab. – Design Laboratory

Oliver David Krieg
LWPAC +IC
odk.design

AnnaLisa Meyboom
UBC SALA

UBC Project Leads
Jason Chiu
Jörn Dettmer
UBC Centre for Advanced Wood Processing

Dean Gregory
Campus and Community Planning

David Gill
UBC SEEDS Sustainability Program

Student participants
Zahra Asghari
John Chan
Selina Chau
Jessica Chen
Alex Floyd
Kemeng Gao
Junting He
Emily Kazanowski
Haobo Liu
Jia Liu
Bryn Martin
Jenna Ratzlaff
Theo Van Vugt
Trevor Vilac
Bahar Ziraknejad

Industry participants
Ivan Antoniw
Tony Bojarsky
Nelson Brito
Aiden Carruthers
Jamie Connolly
Andrew Drakeford
Mahdiar Ghaffarian
Elton Gjata
Michael Hiebert
Marco Kneifel
Mori Kono
Yehia Madkour
Sindhu Mahadevan
Logan Mohr
Nariman Mousavirad
Dai Ona
Aaron Oussoren
Jason Ramelson
Mallory Stuckel
Majd Sukkarieh
Taryn Sheppard

Teaching Assistants
Stuart Lodge
Derek Mavis

Funding

Forest Industry Innovation

This project is a collaboration between students, staff, faculty, and external partners as part of UBC’s SEEDS Sustainability Program

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