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LAI Yard——the Reflection of “Light” and “Space”
LAI Yard——the Reflection of “Light” and “Space”
Nanjing, China
Project Featured on Mar 15, 2017
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LAI Yard——the Reflection of “Light” and “Space”
Nanjing, China
Project Featured on Mar 15, 2017
Firm
STATUS
Built
YEAR
2015
SIZE
5000 sqft - 10,000 sqft
BUDGET
Undisclosed
Located in the south of city, the plain historic house is introverted, which is different from its lively name in fact. Hundreds of years, silently stood at the alley and near the ancient city wall , it was listed as the protection buildings to being repaired. On the north of the original house, two pseudo-classic architectures were built to constitute three enclosed open courtyards. With the unsophisticated and narrow entrance, people bow to cross and rise brightly. Trees and buildings interweave silhouetted, elegantly and harmoniously. Ming Gu Design Organization stationed here fortunately. Objectively, the original conditions of the archaistic “LAI Yard” are not superior, coupled with the lack of time wash-out , its accuracy of process, using of material cannot hold a candle to the ancients’ handworks. Even so, it still reflects the memory and the desire of people in the present time and space for tradition.
“LAI Yard” is named after “Lai”, which means it is from far to here, from traditional to contemporary. We wish to convey the modern architecture in the traditional courtyard. The original design intention is to superimpose in a disorganized order, it could be a space of meditation, or a schoolroom, it hasn’t been implanted any function until the architecture is finished. The architecture designer stands in the courtyard every day to show various imagination of the raw space, to architect, and to perceive at the same time. Nowadays, the design has become a chat, we have inner battles every day in order to seek for the most suitable result.
The meditation area hangs over the base surface of the old house, and interacts with the courtyard. Original column system and transparent material together form an enclosed space, whose façade is facing the courtyard and merging into the Chinese-garden style scenery. The interior structure is inspired by primary and secondary ranks that correspond to deep and bright colors. The two narrow rooms that are located on left and right of the enclosed space are indented to ensure a sharp contrast to the master room in the middle. The layout of this project is decent, but also full with surprising details. Contrary elements, such as the old and the new, the interior and the exterior, the light and the dark, the conventional and the contemporary, are found to meet here, and merge into a harmony existence. Light and Space, are the only two themes that the architect emphasized. By blocking all incoming light in the original building, the architect leaves only the southeast side to allow daylight penetration. The vague light become tangible and visible through both internal and external roof structure and a series of construction. As time goes by, the light and the shadow also changes its angles from morning to evening, result in a vivid indoor atmosphere that is presented by “the light” and strengthened by “the dark”. Just like a couple who is in a love and hatred relationship, “light” and “dark” also involve nexus between worship and loathing, encourage and damage. In the darkness’ perspective, the light appears brighter and more attractive. The old well in the courtyard is appreciated as the source of “earth water”, which is mixed in a canal that is connected to drains for collecting the “heaven water” from the eaves. The canal lead the mixed water flow along the courtyard, revealing the architecture and the meditation area, as well as derive the courtyard communication. The bright façade and clear water act as a mirror, send the daylight from the courtyard to the ceiling inside in a form of gentle reflection. This project illustrate the architect’s philosophy and understanding of dualistic opposition theory, as well as the attempt to observe the truth and reality through such a method.
Does design start from function? Because of the commercial behaviors, buildings are increasingly endowed with functional labels, more and more modeling descend to a kind of simple packaging for space. Hu Shi once said, “Nature” is exterior world of objectivefacts. The creator sticks to the non-commercial pure land persistently, starts the construction from the environment, insists in the logical relationship of the courtyard, no longer varnishes the so-called flaws, no longer pursues the homogeneous illumination, allows the light to create space and returns the speech right of space to expressing proposition. The wall not far away seems to be covered with the slight shadow, it still has the desire with the faint smile and the pathetic temperament.
“LAI Yard” is named after “Lai”, which means it is from far to here, from traditional to contemporary. We wish to convey the modern architecture in the traditional courtyard. The original design intention is to superimpose in a disorganized order, it could be a space of meditation, or a schoolroom, it hasn’t been implanted any function until the architecture is finished. The architecture designer stands in the courtyard every day to show various imagination of the raw space, to architect, and to perceive at the same time. Nowadays, the design has become a chat, we have inner battles every day in order to seek for the most suitable result.
The meditation area hangs over the base surface of the old house, and interacts with the courtyard. Original column system and transparent material together form an enclosed space, whose façade is facing the courtyard and merging into the Chinese-garden style scenery. The interior structure is inspired by primary and secondary ranks that correspond to deep and bright colors. The two narrow rooms that are located on left and right of the enclosed space are indented to ensure a sharp contrast to the master room in the middle. The layout of this project is decent, but also full with surprising details. Contrary elements, such as the old and the new, the interior and the exterior, the light and the dark, the conventional and the contemporary, are found to meet here, and merge into a harmony existence. Light and Space, are the only two themes that the architect emphasized. By blocking all incoming light in the original building, the architect leaves only the southeast side to allow daylight penetration. The vague light become tangible and visible through both internal and external roof structure and a series of construction. As time goes by, the light and the shadow also changes its angles from morning to evening, result in a vivid indoor atmosphere that is presented by “the light” and strengthened by “the dark”. Just like a couple who is in a love and hatred relationship, “light” and “dark” also involve nexus between worship and loathing, encourage and damage. In the darkness’ perspective, the light appears brighter and more attractive. The old well in the courtyard is appreciated as the source of “earth water”, which is mixed in a canal that is connected to drains for collecting the “heaven water” from the eaves. The canal lead the mixed water flow along the courtyard, revealing the architecture and the meditation area, as well as derive the courtyard communication. The bright façade and clear water act as a mirror, send the daylight from the courtyard to the ceiling inside in a form of gentle reflection. This project illustrate the architect’s philosophy and understanding of dualistic opposition theory, as well as the attempt to observe the truth and reality through such a method.
Does design start from function? Because of the commercial behaviors, buildings are increasingly endowed with functional labels, more and more modeling descend to a kind of simple packaging for space. Hu Shi once said, “Nature” is exterior world of objectivefacts. The creator sticks to the non-commercial pure land persistently, starts the construction from the environment, insists in the logical relationship of the courtyard, no longer varnishes the so-called flaws, no longer pursues the homogeneous illumination, allows the light to create space and returns the speech right of space to expressing proposition. The wall not far away seems to be covered with the slight shadow, it still has the desire with the faint smile and the pathetic temperament.
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