7. Interior Reuse
Peizheng Zou
I was born in China and came to the UK for University at the age of nineteen. I finished my RIBA PART 1 at the University of Liverpool with a first-class degree and also I have been rewarded school scholarships since BA2. Before coming to the Royal College of Art, I had worked for David Chipperfield Architects and Studio Glume，designing both architecture and interior. I developed myself for working on different projects including public gallery, refurbishment of heritage buildings, residential, and furniture design.
During my time at RCA, I devoted myself to exploring the integration between space, arts, and culture. Additionally, I also have a strong interest in the history study, my dissertation about the discussion of European Centralism in architecture was evaluated as a distinction. Drawing，making，visiting，reading, thinking, and referring is my specific approach to design.
To join the reuse platform is a great delight for me, cause I am always fascinated by the old and historical architecture. I regard them as the monuments witnessing history and also the generator approaching the future. Considering the urbanization and the needs of being sustainable, how to reuse the existing buildings is one initial task for young designers.
My attitude towards the old and new is that the new should adapt to the old, therefore I rejected to destroy any pieces of the old church for non-functional reasons and treat design process as historic preservation. For me, the fundamental condition of reusing is about remaining, which also becomes a challenge - how the new program fits into the old building. I spent almost three months on researching, testing, and multidisciplinary analyzing. I evaluate a good design as good execution of how to transfer the concept into every stage, in terms of a conceptual idea or a beautiful presentation. So, on the one hand, I made an open discussion at the start, on the other hand, I required myself to be more practical when responding to the discussion. I spent much of my time making pages of drawings from the overall layout to the detailed junction, and also I have made over sixty models in order to get a more suitable solution.
During the time of quarantine, a mass of time is occupied by reading relevant books, referring to the proper artwork, and getting inspiration from films. Moreover, in the condition of staying alone, this project also becomes a media linking me to the outside world, the one that can reflect my personalities. I try to express myself by the cultural integration between my oriental aesthetics and experience of studying abroad.
The spirit of my design is never to dream to build a new Utopian world but to make infinite potentials by reassignments.
the study of corner — hand drawing/ developed surface/ models/ artifact
Size:
11/2019 -06/2020
site analysis
view from the landscaping — The new design landscaping contributed to creating a poetic moment for the public. In the landscape, both the public and writers explore the story of Uwe Johnson and the future interprets language.
site plan — I re-established a kind of wholeness by introducing a large area of wetland as landscaping. With time flies, the church, terrace houses, and dockyard will connect together by the power of nature.
section — Adjacent to the terrace house, the proposal divides the original church into three parts. The southern becomes the public library, the archive is located in the center and the northern side with sea views is transformed into apartments. A continues walkway link these three parts together and make it into a promenading architecture.
Ground floor of library — The main reading space is located on the ground floor of the library, the design follows the idea of the 'bay', metal bookshelves system is partly hanging from the ceiling. Sitting space beneath the windows is hidden between bookshelves.
view of courtyard — The central space of the original building is designed as an open courtyard full of water. The water is the representative of the island and meanwhile connect to life. A peaceful, poetic, and ethereal atmosphere is emphasized here.
view of archive — The project reworks the existing building, utilizing three main moves. The archive is placed on axis in the church, where the altar once stood, symbolizing the building's previous use as a place of worship. It acts as a ‘hinge’ metaphorically, linking the wing of the library, inserted in one aisle, and the retreat in the other.
writers' apartment — The four apartments are located on the northern side in order to capture the sea views. Approaching to domestic feeling, the design is highly affected by the vernacular architecture- beach hut.
writing space — Writing space is significant for the writers, before designing it, a series of researches are focused on the famous writers' writing table by pages of drawing. The one with a courtyard view is inspired by Jane Austin's one. Similar to Dylan James's boathouse, the study rooms supported by the cantilevers emphasize the connection with the ocean. As an extension of the structure, facing the grand ocean, the room offers an ideal space for reading, writing, and mediation.
platform for views — A platform is designed for views on the first floor above the archive. It is understood as the end of the journey inside the building, but also the start of the trestle.
The project reworks the existing building, utilising three main moves. The archive is placed on axis in the church, where the altar once stood, symbolising the buildings previous use as a place of worship. It acts as a ‘hinge’ metaphorically, linking the wing of the library, inserted in one aisle, and the retreat in the other. A central courtyard, filled with water, links and also separates all three elements. The water is representative of the island status of the site and its connection to life. The public enter the space through an incised corner, one that reflects the scale of the adjacent Georgian terracing, and utilizes the domestic symbolism in order to remind visitors of the neighboring terrace, but also the home Johnson lived in on the island; 26 Marine Parade. This entrance provides a public route through space, past the library and alongside the water and archive, out to the new rewilded landscape alongside the sea-side of the church.
In this landscape, the public and the writers may chance upon each other: both exploring the words and writing of Johnson, and future interpreters of language.