A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.80 episode is about Tianze Yu who graduated from TU Darmstadt and is now working for WANDELLORCH ARCHITEKTEN.
Why going abroad?
Because I wonder what the people of my own age are doing on the other side of the world.
What impressed you the most when you are abroad?
I’ve visited some European countries. At first glance, they seemed to be similar for me, but after a while, I figured out many differences among them. I am attracted to the character diversity of different places.
What do you miss the most about China?
Most the Chinese Food.
Will you come back China? Why?
Yes, I’ve never planned to stay abroad for long.
Is it more distinct to view China in a different environment after going abroad? Any thought?
Yes, the character diversity I mentioned before also exists in China. Every building, every Street, every City differs in function, scale or material degree. I can’t agree with the judgement, that Chinese metropolises are stereotyped.
What makes the curriculum of your school different from other architecture schools?
Down to earth.
What are the characteristics and interesting points of your firm?
We are a young team feeds on competitions. There’s always a lot of work to do.
Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?
Quentin Tarantino’s films.
What fascinates viewers the most in your portfolio in your opinion?
It’s not fascinating, but it reflects how my methodology changed during the master study, not only to strike a balance among form, space and function, but also to bring a bit of experience of space quality.
When did you start to follow gooood? Any suggestions?
5 or 6 years ago. I personally admire the attention gooood payed to the young architects a lot.
W O R K
Kunsthalle am Dom
指导教授 | Instructor: Prof. Wolfgang. Lorch
The functional Arrangement of this project is relatively simple. I focused on the relationship between the museum and the plaza and the surroundings in the urban-design stage. The T-shaped volume forms a dialogue of lightness with the interfaces of the east- and the westside. The huge volume is eliminated by the cutting of the upper part and the skylight in the middle, at the same time, produces a both harmonious and confrontational relationship with the context. It makes its own place in the center of the bustling city of Cologne. The interior of the gallery provides a various space experience for the visitors.
Kloster in Würzburg
指导教授 | Instructor: Prof. Meinrad. Morger
I took some detours at the beginning of the project, mainly because I was unfamiliar with this very kind of relatively complex religious building type. Later, after a case study in the research trip and a summary of the main functions and spatial typology of the monastery, the ideas were gradually clarified. The design consists of three courtyards with different attributes，the entrance yard between the city and the core area，as a transition zone; the inner courtyard with the cloister that organizes most of the core functions; and the courtyard only enclosed by the upper floor，looking like a “gate”，providing more interaction between the in-and outside. May the cautiousness about the city and the variousness of the interior bring the stylites some peace and reflections.
The Bishop’s Winery
指导教授 | Instructor: Prof. Wolfgang. Lorch
特里尔是一座有着悠久历史的罗马天主教古城，直到如今从城市布局到地标节点都依旧充斥着强烈的符号语言。正如此次设计的对象-Bischöfliche Weingüter。城市形象符号与品牌形象在形式与内涵上结合起来，生发出与之逻辑相符的强有力的体量和结构。在城市设计层面，我选择在原址放置这个单体建筑，同时在场地南侧放置一个可与之抗衡的block。两个体量围合出一个半开放的院子。主入口正对老城，主立面自然地形成了品牌效应。在功能排布方面，整个房子被分为公共开放和生产两部分。他们分别与两个立面相匹配。内部空间形式同样如此。拱形符号在公共部分始终以不同的形式出现。参观者不止能品尝到酒还可以透过玻璃窗看到生产的过程。 地下部分作为新建与旧有部分的过渡，同样在空间形式上与他们有一定程度的统一。
Trier is a Roman Catholic city with a long history. To this day, the associated symbolic language is omnipresent in the city across different scales – from the city texture to the architectural details. The central theme of the design is the reinterpretation of these historical-atmospheric qualities and the appropriate translation of this language in the context of the design task of the episcopal winery. This creates a logical interaction between the environment, the volume, the structure and the function – creating a brand. The new building of the winery is based on the existing wine cellar, and to balance with it I put a second volume in the form of a block south of the property, which creates a semi-enclosed yard. The main entrance of the building faces the old town; thus, the main facade develops its urban space presence in an iconic form. As to the function, the building is divided into public and production areas. Based on the façade design, the functional arrangement can be read – technically influenced elements for the production are in dialogue with symbolic large forms, which shape the face of the public part. Visitors can not only make a wine tasting, but also experience the production process through the glass. The attached existing cellar harmoniously combines old and new without creating a stylistic break.