There is an unmistakable spirit of "nature worship" in the Commune at the Great Wall. The first thing that one notices about this community of villas is that there are no private gardens or enclosing walls in evidence - anywhere. Unlike the usual run-of-the-mill villa projects, these villas were designed and landscaped to flow seamlessly into one enormous open-air garden, which is owned and maintained by every resident of the community. Each blade of grass, each tree, each stone - in short, the terrain itself - possesses a natural vitality that is only found in Mother Nature, as she was intended to be.
The landscape has been preserved in all of its rugged, original glory. Flowers of crimson and leavesof green, rolling clouds and torrential rains, the verdant trees and the surrounding hills maintain their delicate equilibrium with nature; undamaged, they are born of and will return to the natural ecosystem. In constructing the villas, architects only used natural, locally available building materials. These materials not only have the advantage of being inexpensive and environmentally friendly, they also preserve the local flavor of the project. The building materials - wood, clay, rough-hewn stone, bamboo, even a tract of earthern wall - are of the highest quality, yet manage to communicate a rustic, natural feel. Throughout the Commune by the Great Wall, one finds the familiar brick red and brown roofs of the Chinese countryside, walls of clay and piled stone, and natural gravel paths.
One thing that distinguishes Commune by the Great Wall from its counterparts is the refreshing originality and intrinsic artistic value of the project. Working within a circumference of eight square kilometers, the architects who created this community have expressed their creativity not so much by creating space, but by transcending and redefining the concept of space itself. The villas, situated at various points on the slopes of the hills below the Great Wall, range from the simple to the almost ornate - some are all boxlike simplicity while others are as elaborate as castles. One villa appears to be a traditional Chinese "siheyuan", or courtyard house, while another is a stunning "space montage" of a structure entitled "Empty Shell". Then there is the two-in-one "furniture house" that incorporates furniture into the basic structure of the house. In this house, the walls and floors are constructed entirely of furniture. The architects of the Commune by the Great Wall have worked with split-levels and multiple elevations, using techniques both intentional and oblique, to create profoundly moving architecture - an architecture rich in implications and imagery.
If there is a commonality to these unique and individualistic designs, it is that they are all extremely avant-garde. This naturally raises the question: What is a wealthy city-dweller, yearning for the pastoral beauty of the countryside and a place to set the mind at ease, to do? Which of the designs does one choose?
None of the villas in Commune by the Great Wall simply copy European or American architectural style; none of them are merely extensions of the traditional idea of the "county house". Instead, each is a thoroughly unique, thoroughly modern villa with the distinction of having the Great Wall of China right in the backyard. A project such as this, involving the designs of a large number of cutting-edge young architects, is a rarity in the world of architecture. Commune by the Great Wall is far more than simply a commercial enterprise. Each of the villas in the collection bears the unique stamp of its architect. Ideally, the buyer of a villa at the Commune by the Great Wall is much more than an ordinary homebuyer. He or she is a collector - a collector of the "art of architecture".
Naturally, these vanguards of the architectural world will occasionally find that there are limits, even, to what they can realize in their designs. For example, architects who favor a higher level of technical sophistication in their designs may find that workers on a project lack the technical skills to complete the design and may, therefore, opt for a "lower-tech" approach. And architects who wish to maintain the unity of their designs may find themselves responsible for finding the construction crew, outfitters, interior designers and furnishing specialists. In the end, the test of a truly professional architect or property developer is whether he or she can guarantee that these structures are comfortable to live in - that the house is, truly, a home.
"Suitcase House"
Gary Chang
Hong Kong, China
The design for "Suitcase House" represents a radical rethinking of the concepts of warmth, privacy, spontaneity and flexibility in architectural design. Gary Chang`s innovative design challenges the notion that a house should have a set, definite "shape". Its simple design demonstrates the importance of infinite adaptability in architecture.
At first glance, "Suitcase House" appears to be a series of layers, or strata. The first layer serves as a convenient storage space, which also contains service facilities and servants` quarters. This layer is located beneath the inlaid floorboards, and remains hidden from view until the floorboards are raised to reveal the space underneath. The ceiling provides storage of a different sort. It contains a set of panels that can be raised or lowered to serve as room dividers. The theme of "layering" is continued in the outer shell of the house, made up of a stratum of vertically arranged layers. This shell consists of an outer layer of double-glazed folding glass doors, and an inner layer of folding screens that encircle the house to form a sort of "open matrix".
The middle layer of the house is designed as a living, entertaining and activity space. It is an infinitely flexible space that can be adapted to suit the needs of residents by simply adding or taking away certain basic elements. With a minimum of effort, this level of the house can be transformed from one large empty space into a series of interconnecting rooms.
The house is located on a slope next to the Shuiguan Great Wall. To maximize the view of the Great Wall, the architect chose a north-south orientation for the structure. This orientation assures that residents will always be able to see the panorama of the Great Wall from anywhere in the house, whether they are standing or seated.
Tucked away beneath the inlaid paneling of the floor of the house are cleverly designed storage spaces, reminiscent of "cubbyholes" found in passenger cabins on luxury cruise ships. These cubbyholes are easy to open, user friendly and infinitely adaptable to the needs of residents and their guests. "Suitcase House" was designed with ample storage space in mind, which minimizes the need for furniture. And the simple, sleek design of "Suitcase House" ensures that, no matter what style of furnishings residents choose to add, they will only serve to compliment this unique and adaptable home.
"The Split House"
Yung Ho Chang
China
The "Split House" - also known as "Between the Mountains and the Rivers"- is located on a mountain peak, at the highest vantage point of the twelve buildings of Commune by the Great Wall. It consists of two wings that hug the peak of the mountain. In fact, the house has been cleverly designed to incorporate the mountain into the architecture of the house itself. The two wings of the house encircle the peak, creating a courtyard that is half natural, half architectural; thus is the environment "invited indoors".
There is also a small stream that meanders through the garden and up to the front door, at which point it flows beneath a glass walkway into the vestibule of the house. Visitors to the house, passing over the glass as they approach the door, are given the feeling that they are "walking" on the surface of the water itself. It is a natural space, a space that succeeds in bringing architecture and nature back together, the way they once were.
The Split House is remarkably versatile, in that the design can be adapted to the surrounding topography. The two wings of the house can placed anywhere from 0 to 360 degrees from each other, to suit the surrounding terrain. If the two wings are placed together, it is a single house. If the wings are opened up, juxtaposed, they will form two parallel houses. With the wings at 90-degree angles, the structure resembles a carpenter`s square; at 180 degrees, the wings form one very long rectangular structure; and at 360 degrees, they are back-to-back.
The Split House is an ecologically sound structure: it is a wood framed, earthern-walled house in the Chinese tradition, so its impact on the environment is minimal. The clay walls act as insulation to keep the house warm in winter and cool in summer. The Split House represents a respect for tradition, but is not an attempt to copy tradition. Rather, it is an attempt to create a new architectural vision for a modern China.
"Distorted Courtyard"
Rocco Yim
Hong Kong
Architecture is the art of creating relationships, designing interfaces. In designing cities, urban designers must constantly raise the question of the interface of private space and public space. In the case of Commune by the Great Wall, we have designed the community to be a microcosm of society by creating a hierarchy of spaces that define interaction: personal space (the shower or the bathroom), private space (sleeping quarters), social space (the living room or dining room) and community space (the larger environment).
Rocco Yim`s design for "Distorted Courtyard" is an updated version of the traditional Chinese courtyard. It is distorted both literally and figuratively. Literally, because he has made the traditional "perfect square" courtyard into a parallelogram, in order to suit the topography of the land and maximize the view of the surrounding landscape. It is distorted in the figurative sense as well, because Yim has maintained the security and privacy of a courtyard but distorted it slightly to reflect the more adventurous and open spirit of modern society. By opening up, or "distorting" the courtyard, he has created a fusion of the environment and man-made structure, the public and the private, that manages to overcome the bounds of tradition. The distorted courtyard is a modern vacation villa full of possibilities, capable of adapting to the needs of modern Chinese families and their changing activities and lifestyles.
The distorted courtyard was designed without rigid functional boundaries, designed for infinite flexibility. There are no set boundaries to limit the space, but residents can use the illuminated screens to divide the home into functional areas as they wish. They can set boundaries or overlap them at will, according to their own needs and activities. "Distorted Courtyard" represents the peaceful coexistence of modern architecture and the traditional concept of the Chinese courtyard home.
The walls of the courtyard serve to unify the structure. There are no superfluous elements here; only white walls, wood floors and stone walkways, which emphasize the simplicity of this country home. Delicate, lightweight bamboo blinds, of excellent craftsmanship, shield the windows on the exposed southwest side of the house from the sun. There is a sense of the eternal and the unchanging in this courtyard.
Shuiguan Great Wall Villa No. 3
Cui Kai
China
"See and Seen":
People go to the mountains for the scenery. For this reason, Shuiguan Villa No. 3 was designed to look out onto the scenic vistas to the north and northeast of the home. From the windows of Shuiguan Villa No. 3, one can see Villa No. 1 nearby and further away, the country club. In the distance is the most stunning scenery of all, the ascending peaks of the far mountain range. To maximize the view, the living room and dining room were designed to face the scenery to the north, while the bedrooms were left open to the vistas in the northeast. The most difficult thing about building villas in the mountains is to avoid "blocking" the scenery. In this case, the architect also had to keep in mind villas No. 4, 5, and 6, which will be located behind villa No. 3.
The living and dining rooms are built on a sunken terrace, which gives them the appearance of "crouching" in a thicket of trees. The sunken terrace itself has been covered with soil and greenery, transforming an otherwise unremarkable hillside into a "hillside of glass". The bedrooms are located in a section of the house that has been raised on stilts, in order to maintain the flow of the topography and allow an unobstructed view of the surrounding hillside.
Who`s coming for the weekend?
It is impossible to predict who, besides the owners and their staff, will be occupying a home. Weekend guests come and go, and it is sometimes hard to know how many people will be coming, if they are male or female, or what their relationships to each other and the owners are. The elegant, connected living and dining room of Villa No. 3 create the perfect setting for these sorts of gatherings. The guest bedrooms can be divided into a series of smaller or larger rooms to suit the number and type of weekend guests. The two restrooms can be divided as well - one for men and one for women, if need be.
The master bedroom is located further away, on a higher level of the house, allowing residents both privacy and excellent views from the windows. The expansive master bathroom affords stunning views as well. In fact, one can enjoy the view of the surrounding hillside - from the shower! Servants` quarters are located in a hall on the lower level of the house, which means that service personnel can come and go without having to enter the main rooms of the house, except for cleaning. The spacious kitchen is designed with an open floor plan, somewhat like a bar. There is a separate servants` entrance leading from the service kitchen to the dining area, so that meals can be brought in when hosting large parties, without disturbing the guests. In addition, the villa offers a laundry room, equipment shed, generator room and carport.
An illuminated courtyard
In the darkening evening, a string of bright lanterns illuminates your path home, as warm light radiates from the glass entry hall to herald your return. Light from the two-story living and dining room helps to illuminate the yard of the house. The scenery inside the yard changes with the time of day, as sunlight and electric light, trellises and trees throw picturesque shadows onto the walls of the yard. The scenery outside the yard is equally varied, offering up green grass, ivy, fall leaves and snowflakes, as the seasons change. This is a living representation of the harmonious dialogue between man and nature.
Easy to construct
Since the first phase of villa construction is relatively small in scale, and located in a mountain gorge quite far from the city proper, it would have been uneconomical to use poured concrete in the construction. For this reason, a steel framework will be used to construct the living room and bedrooms; brick and concrete will be used, in limited amounts, to construct the outer buildings and walls. Dirt excavated from the one-meter deep sunken living room can be reused to level out the garden and to landscape the rooftop, so that the dirt does not need to be transported away from the site. Large boulders from the building site can be sculpted and turned into conversation pieces, furniture or ornaments for the living room of the home. The house also incorporates energy saving and insulating features, apparent in this brief summary of the building materials:
Soil - parts of the house are covered with soil to improve insulation
Steel - girders and staircases
Aluminum - external fixtures and ornaments
Glass - windows, folding doors and lanterns
Stone - floors and the wall surrounding the house
Wood - beams, ceiling, outside patio and furniture
Sod - rooftop garden
Fine gravel - the floor of the courtyard
Repetition and Variation
This villa can be adapted to different building sites and terrains, as long as the terrain itself is varied enough to suit a multi-level design. One can alter the angle between the bedrooms and the living room, the spacing of the bedrooms themselves or the size of the overall floor plan. Designers can choose the type of glass they want for the glass lanterns - transparent glass, frosted glass, tinted glass, even glass with embossed patterns. They can make alterations to the standard built-in furnishings, or to the building materials used to construct the interior of the home.
"Furniture House"
Shigeru Ban
Japan
What is a "Furniture House"?
Furniture House represents a radically new concept in residential housing construction, something completely different from traditional building methods.
In typical residential housing construction, walls and columns are used to support the house and subdivide areas within the house. The furniture house, however, replaces traditional walls and pillars with furniture, of a uniform height, that is incorporated into the actual structure of the house and functions to support the structure, upper story and roof of the house. This "furniture-as-building-material" not only resists heavy winds and earthquakes, but also is strong enough to form the outer walls of the house as well. The difference between this furniture and typical furniture is that the furniture that forms the outer walls includes an insulation layer, and has been treated to keep it from weathering.
With the dwindling number of master carpenters and the decline of traditional craftsmanship, the price of high-quality woodwork has increased astronomically in recent years. In the case of furniture house, however, the process of creating the furniture and the framework of the house is one and the same. This brings the process of framing the house into the "workshop", and allows us to improve structural precision while reducing costs.
In the areas hit hardest by the recent Kobe earthquake, homes were toppled but most of the furniture within these homes emerged unscathed. On the surface, this might seem to have been fortuitous, but in fact the very solidity of the furniture exacerbated the tragedy, with negative consequences for residents and rescue workers. Still-intact furniture often blocked rescue teams from entering the rubble to search for survivors, and many of the injuries from the quake occurred when residents were crushed under heavy furniture. The "furniture house" system, however, uses a series of furniture of uniform height. The furniture is built right into the structure, functioning to support the roof and overall framework of the house, so there is no danger of the furniture toppling in a quake. The end result is an exceptionally stable, earthquake-proof home.
The furniture house concept is valuable not only for its decreased building costs and shorter building time, but also for its outstanding earthquake protection. At the same time, furniture house has achieved an elegance and modernity that places it in a class by itself. No other so-called "prefabricated" house has ever come close. The furniture house concept is the "vanguard of today`s changing lifestyles".
As a foreign architect designing a project in Beijing, I wanted to offer a modest and unassuming response to the cultural and natural environment of Beijing. At the same time, I knew that designing and building a house in a foreign country - where the levels of precision and attention to detail are perhaps not always as high as in Japan - would be a challenge. And the design fee for this project was less than it generally is in Japan. From the beginning, the plan was to build a series of ten of these homes. After the initial design, the fee for each subsequent home would only be 30% of the initial fee. It was very important to systematize the design process, therefore, so that each subsequent home could adapt to different terrains and building sites. But the lower fee was not an issue. The most important thing was that this was an excellent opportunity to take the plunge and explore the Chinese building industry.
To take full advantage of the spacious site, we incorporated a traditional Chinese courtyard into the design: all of the rooms of the home are spaced around a square central courtyard. Once the plan was conceptualized, we had to select a building process. I had heard that the craftsmanship of wooden homes in China had been declining for some time, and that wooden buildings were no longer in great demand here. Furniture craftsmanship, however, had remained quite high and much Chinese furniture was being exported overseas. For this reason, I chose to use my "furniture house" concept - which is an idea I have been working with, in various forms, for many years now. The furniture house system basically involves using prefabricated, insulated furniture for the structure, interior and exterior walls of the house.
In order to construct the modular furniture used the system, I first had to investigate standard sizes and construction materials used in China. I found that the materials I had used in previous furniture house projects, 2 by 4 wood planks and reinforced plywood, were unavailable in the Chinese factories I visited. Then I happened upon some bamboo plywood, beautifully finished with a woven pattern on the exterior. This sort of wood is generally used in concrete frameworks. When I held the plank in my hand, it felt as heavy and strong - perhaps stronger - than the structural veneer plywood used in Japan. I rushed a sample back to Japan for testing and, as I had suspected, the tests showed that the bamboo plywood was structurally stronger than the structural veneer plywood I was so familiar with. I started thinking that if we could compress strips of bamboo into plywood, then it would be possible to construct LVL (laminated veneer lumber) entirely out of bamboo. In other words, we could use bamboo to substitute for 2 by 4 planks and structural veneer plywood in the furniture system. We could also use bamboo for the interior and exterior wall finishes and the flooring, to maintain consistency throughout the project.
Since I discovered that bamboo can be pressed into plywood, I have been exploring and developing the possibilities of bamboo as both an ornamental and structural element in housing construction. I believe that this "Bamboo Furniture House" is an important leader in housing construction, leading and embodying Chinese modernity and contemporary construction.
Nobuaki Furuya
Japan
I believe that the main role of architecture is to encourage encounters between people and people, people and places, people and things. The primary task of architecture, whether urban or rural, is to create a space that people have never experienced before, offer them new vistas and the chance to explore unknown landscapes. Architecture is also a ground where people come together and encounter others amidst the anonymity of the city or the natural environment. For this reason, architecture is a space that represents the accumulation of memory, perhaps a collective memory. It allows people to reminisce about other encounters they have had, and to realize the value of those human encounters.
This villa in the forested hills beneath the Great Wall, offering distinctive topography and stunning views, represents an opportunity for people to encounter one another. The interior of the home has been "sculpted" from out of these very woods, which gives one the feeling of being within the forest, even when one is inside the home. In this architectural environment, it is easy to sense what the Swiss sculptor and painter Alberto Giacommetti meant by his quote about man "becoming a ball of light" when wrapped in the bosom of the vast forest. Here in this forest, this is something one instinctively senses when enjoying the four seasons and communing with nature and cherished friends.
Though the villa employs ordinary, locally sourced materials, innovative building techniques create a truly extraordinary space. The vertical slats on the windows of this home offer a variety of vantage points from which to look out onto the surrounding scenery. Change your position, and you will find that an entirely new landscape awaits you. The design of the villa encourages guests to be proactive - no longer are we just being "acted upon" by the scenery, we have become the actors ourselves.
"The L-Shaped House"
Kay Ngee Tan
Singapore
This villa was designed to make the most of the hilly, multi-level terrain on which it sits. The dining is suspended above the slope of a hill, where it receives ample sunlight and creates a pleasant contrast with the terraced hill to the south. Servants quarters and a parking garage are tucked away under the house, while the guest bedrooms are situated along the rise of an adjacent slope.
The design strategy was two-fold: to adapt to different types of terrains and meet the needs of a variety of residents. The house is a reflection of the many possibilities open to the designer. It can be altered to suit the contours of a terraced hillside, just as it can be altered to meet the various needs of its residents. The focal point of the home is the entry hall, located between the two wings of the house. The length of these wings can be altered to suit a variety of needs.
The floor plan of the house is marvelously clear and succinct; the space itself is profound and rich with implications. The two wings, arrayed around a central hall, are clearly demarcated and have their own unique character.
This is home far from the city, set amid the forested landscape where one can relax and enjoy the scenery. The walls of the house are a combination of brick and glass. The generous windows offer 360-degree views of the surrounding scenery, which allows residents to wake each morning to a view of the forest. The outer wall of the home thus become a metaphor for the forest outside.
Each of the bedrooms is designed differently, so that overnight guests can enjoy a different experience every time they visit. Every guest bedroom is simple and elegant, with two full stories and a sunroom. Some of the bedrooms face onto the forest, others face the stunning scenery to the south. Some offer guests a view of the setting sun from two story glass windows, others look down onto the central courtyard. Each bedroom offers a completely different experience.
The house was designed with ample public and private space. There are various small private nooks, as well as large public spaces scattered about the house. For example, the entry hall includes a sitting room for guests. There is a circular room for tea and snacks, and a large traditional Chinese hearth in the sunny central vestibule. A suspended staircase links the first and second floors. There is also a sunken living room that doubles as a "salon" and offers residents excellent views of the sunset.
The central hall can adapted to whatever use the residents wish. In the standard floor plan, the hall is open to the sky and to the outside. It is also possible to cover it with a roof, or a glass sunroof if residents prefer. It is also possible to build a small room onto the facade of the hall, or use it as a sun-filled Jacuzzi room.
The spacious, open dining room offers splendid views of the sunset and the nearby Great Wall. Residents and guests can enjoy their evening meal while watching the sun dip below the horizon. The extended dining table can accommodate both large and small dinner parties.
The simple design employs familiar, local materials, yet the result is a truly extraordinary space. One of the goals in designing this villa was to work with materials that are familiar to all, such as locally available brick made by local craftsmen, and use them to create a house that is very out of the ordinary. The main structure is constructed of brick and concrete, reinforced with steel, and the roof is framed wood and reinforced steel.
Kengo Kuma
Japan
Kengo Kuma`s design for Commune by the Great Wall is rich with implications - meticulous and careful scrutiny is required to decipher the full meaning of the design. This is not something that can be fully understood at a cursory glance. As with any important thing, one must transcend first impressions and view the design without any preconceptions. Fortunately, this is not an arduous or even unpleasant task; rather, it is merely a process of contemplation and reflection. Put simply, one must cast aside the dictates of tradition and abandon the usual categories, and use the eyes and ears of an explorer to see and to hear.
"Oneness, with the Great Wall"
Kanika R`Kul
Thailand
Oneness with the Great Wall - a description
Kanika R`Kul (Thailand, female)
Wide-open spaces, nature, friends, family.
Walls: form, space, straight lines, smoothness, obstruction.
Space: scenery, mountain ranges, trees, day and night, the Great Wall.
Veranda: open, extroverted, reaching out, terraced fields, oxygen, temperature variations, linkages, mosquitoes.
Inner yard: sheltering, introverted, tranquil.
"Culturescape"
Seung H-Sang
Korea
By disengaging the notion of landscape from its strict association with land and interpreting it in a tradition of an understanding of urbanity, we may open the possibility to find qualities in the existing that lie beyond scientific limits and parameters.
---Theodore Adormo
The first time I visited the site and saw how beautiful and rugged the surrounding scenery was, I felt a pang of doubt about building a project there. The site is dramatic - surrounded by steep mountains which enclose three valleys, and in the distance, the majesty of the Great Wall, as it snakes along the ridge of the mountains. To build here, I thought, would be almost irreverent, a selfish expression of human will. I also saw the ruins of several peasant houses which appeared to have been "defeated", as it were, by Mother Nature herself. Not surprisingly, I had some misgivings about how I could design on such a site. Therefore, when I returned from the site and began planning, the first thing I did was decide that all of the natural elements - rocks and trees - and existing local structures would have to be carefully protected and preserved.
When I began considering how to best maximize the functionalism of the surrounding mountain topography, I decided to divide the topography into sections first. That would be the best way, I thought, to ensure a natural flow between outdoor and indoor spaces. Dividing the project into sectors helps assure that the building harmonizes with other buildings and the natural surroundings.
The goal of my design was to create "architecture as landscape" - a landscape that can accommodate both functional and cultural diversity. Good architecture is, after all, not just something to be seen, but a place where people of diverse backgrounds can interact and communicate with each other and with nature. The natural environment that we have been endowed with combines with the architecture we have built to form a new sort of human landscape. That is why I have chosen to call this project "Culturescape". Culturescape forms the backdrop for a new sort of naturalism, a new sort of space and a new sort of lifestyle.
The club is situated at the center of the Commune by the Great Wall project; it is the nucleus both literally and figuratively. To ensure that the club is conveniently close to all of the homes within the project, it is located at the entrance to the two main valleys, the south and the east. It faces west onto the panorama of the Great Wall, commanding the most impressive view in the entire Commune by the Great Wall project. To the east of the club, one can see the east valley; mountain ranges are visible to the north and south. The gradient of the building site ranges from 0-10%.
Amenities at the club, which will be open to residents of Commune by the Great Wall and their guests, include two restaurants, a swimming pool, gallery and general store. The club will also house the Commune by the Great Wall management offices and employee accommodations. The club will be multi-functional, a place where various people can come together and share their cultures. As for the mammoth swimming pool, it simply must be seen to be believed.
The Chinese restaurant within the club offers ten private rooms with ten enclosed private gardens. When the restaurant is opened into one large hall, these small gardens are even more spectacular. One of the motifs in the restaurant is the series of small apertures or "gaps" in the walls. When light flickers through these gaps, it creates distorted patterns and a luminous play of light that suffuses the restaurant with a sense of mystery. All of the functional areas of the club (with the exception of the employee dormitories) are interconnected, linked by a series of corridors that link sections of the club at different elevations. The western restaurant above the Chinese restaurant and the swimming pool both command stunning views of the Great Wall. Both are excellent spots to watch the sunset.
As you enter the lobby of the club, you can see lovely trees that have been preserved as part of the interior landscape. The outdoor landscaping serves to link the architecture and the roads with the surrounding environment. There are fountains, wooden decks and parking lots, but most of the original landscape has been preserved. Man-made architecture is inextricably and delicately linked with the natural physical environment; therefore, the borders between the two should be handled carefully.
The overall impression one gets is that the five wings of the club somehow "grew" directly out of the mountain, rather than being constructed on top of it. The building materials used in the club also function to express the design philosophy. Consistent design and consistent use of building materials are the cornerstones of this philosophy.
For this reason, the building is constructed of natural materials such as wood, stone and steel plate that will gradually rust and change its color, over time, to harmonize with the environment. Rough-hewn stone from the building site continues this theme of unity with the environment.
All of these natural materials seem to have been present for a long time. It is as if they have always existed in nature and in our memories. They are a part of our past, and a reason for our present.
Chien Hsueh-Yi
Taiwan
Because of the unique historical and environmental significance of the site of Commune by the Great Wall, my guiding principle was to respect the history of the land by designing a structure that would blend seamlessly with the environment and with nature.
The most striking aspect of the structure is the rough-hewn stone wall that runs along the slope of the mountains here, a simple wall that contrasts nicely with the steep and intricately sloping hillside. The wall is made of stones from the building site. It is both a microcosm and an echo of the nearby Great Wall, though it also resembles a spinal column of sorts, a nerve, an artery providing the basic structure for life and linking the structure with the surrounding environment. The house is divided into simple rectangular spaces that both enclose and reach out. These open, rectangular spaces link the natural environment outside with the human activities inside, and serve to modify structural space to blend with natural space. The architecture of the house serves as a simple foil to the rugged intricacy of nature.
"Cantilever House"
Antonio Ochoa
China
Architecture is not the way an architect expresses himself. Architecture is something that expresses itself, through the medium of the architect. To put it another way: A house in the mountains is different from a house in the city, and a house in the mountains of Badaling is equally different from a house in the mountains of Sanya, though both houses may have been designed by the same architect.
Cantilever House is a natural consequence - a consequence not of the specific site, but of the slope of the mountain; a consequence not of the specific location of the sun, but of the need for the sun.
The house has not been designed for a specific resident, but simply for a resident of sensitive and cultivated tastes.
The house has not been designed to co-opt the Great Wall as a "neighbor", but simply to contemplate it.
What do I mean when I say that this house in the Commune by the Great Wall wishes to express itself through me?
Cantilever: The house can be attached to any slope in the valley. The access road to the house can be uphill or downhill. As few changes as possible should be made to the natural topography.
Austere: A simple geometry. Natural materials. Concrete, cement, red brick, wood, bamboo, glass. Simple use of materials.
"La promenade architectural": Walking through the house becomes a rich, stimulating, and uniquely spiritual experience.
Roof garden: In the Commune by the Great Wall, there are communal gardens, belonging to everyone in the community. This house also has a private garden, which lends its beauty to the surrounding scenery. It is the "Belvedere" of the landscape that is Commune by the Great Wall.
