Architeture Portfolio 2023

TROY LEE, HOU ZHEN architecture portfolio 2011-2023 selected projects



TROY LEE, HOU ZHEN / 李 厚震 Liscensed architect in Taiwan Born in Taipei in 1985. After graduating from the chemistry department, I changed paths and pursued architecture, continuously honing my skills. Architecture has always been a cultural endeavor, requiring the collaboration and consensus of a team, a community, or even society as a whole. I see myself as an agent for reflecting on environmental sustainability and enhancing the quality of our living spaces, even the smallest improvement is meaningful. Education 2009-2013 M. Arch. I, Architecture Dept., Tunghai University, Taichung, Taiwan 2005-2009 Bsc. Science, Chemistry Dept. National Chiayi University, Taiwan Proficient in AutoCAD / Rhinoceros / SketchUp / Photoshop / InDesign / Microsoft Office / Physical Modeling / Freehand Drawing Language Mandarin-native English-fluent +886-970165037 [email protected] 3

2021-2023, TAIPEI, TAIWAN | 劉培森建築師事務所 RICKY LIU AND ASSOCIATES 2016-2020, BEIJING, CHINA | ATLAS STUDIO 4

2022 TAIPEI FINE ART MUSEUM - EXPANSION Project Architect Underground museum within a forest park. 2021 CENTER OF DISEASE CONTROL TAIWAN Architecture Designer New laboratory for CDC Taiwan. 2020 THE WELL HOUSE Project Manager/Lead Culture study on traditional S.W. Chinese wooden structure system. 2019 NINOSE HOUSE Project Manager/Lead Culture study on Japanses wooden structure system. 2019 THE INCENSE ROOM exhibition Installation/Spacial Design Song Dynasty incense culture study and smell interaction installation. 2018 THE TILE PAVILION Project Manager/Lead Tectonic development on traditional materials. 2018 KLEE KLEE retail interior Project Manager/Lead Interior Retail Design, tectonic/material study. 2017 DALI COMMUNITY CENTER Project Manager/Lead Culture preservation on Dong/侗族 minority building typology. 2017 WOODSTAGE retail interior Project Manager/Lead Commercial space development. 5

2015-2016, BEIJING, CHINA | KENGO KUMA AND ASSOCIATES 2014-2015, BEIJING, CHINA | LYNCH & SONG 2013-2014, CHENGDU, CHINA | 謝英俊建築師事務所 2012-2013, TAIWAN ATELIER 3 2010-2012, TUNGHAI UNIVERSITY, TAIWAN | ACADEMY WORKS M. Arch. I . 6

2016 MASTER PLAN AND ARCHITECTURAL DESIGN OF LAMEI VALLEY RESORT Senior Designer Conceptual design on tectonic and mountain environment. 2016 THE FLOATING KITCHEN Venice Biennale Project Manager/Lead Chinese food culture study and tectonic development. 2015 CUIHU WETLAND CENTER Senior Designer Conceptual design on tectonic and wetland environment. 2015 RENOVATION OF THE AMENITY BUILDING AT THE SEA SILKROAD ART PARK Senior Designer Conceptual design on roof tectonic. 2014 PUTAOGO BOTANICAL RESERVE Junior Designer / Structure Consultant Ecosystem study by using light weight steel structure. 2013-2014 YA’AN EARTHQUAKE REHABILITATION Junior Designer / Site Management Eco system study by using light weight steel structure. 2012 TAIPEI VERTICAL CITY exhibition Junior Designer / Site Management The publicity and privacy in high density living. 2012 ENTER: DORM ONE Graduate Thesis The publicity and privacy of the dormitory typology in Fengchia, Taichung. 2011 URBAN NEGOTIATION Urban Studio Observations on the hidden urban infrastructure. 7

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Selected Projects at RICKY LIU AND ASSOCIATES 9

RICKY LIU AND ASSOCIATES TAIPEI FINE ART MUSEUM EXPANSION Project Architect Competition - Schematic Design - Deveoped Design Opened in 1983, the Taipei Fine Art Museum (TFAM) is one of the most important contemporary art venues in Taiwan. Due to the rapidly changing art forms, the museum is seeking a larger and more flexible space for future exhibitions. Located in the important green leisure area of the northern district of Taipei City, and TFAM continues to play a significant role in the metropolitan cultural green corridor. Due to the limitation of a 12.45% building coverage ratio on the site, the expansion of the art museum will primarily take place under- ground. We aim to clearly present the interweaving logic of urban, natural, and artistic elements. The western side along the main transportation routes belongs to the urban context, creating a framework that makes it easy for pedestrians to access the park. The central axis of the site, extending in the north-south direction, is designated as a high-frequency cultural and artis- tic activity zone. The eastern portion is planned as an ecologi- cally sensitive educational jungle area that requires protection. These three axises will have distinct interpretations in terms of function, space, vegetation, and lighting design. The buildings hidden within the green park will play an important yet subtle role in the overall composition. Location Taipei, Taiwan Participate Duration Oct. 2021- May. 2023 Area 44,850 sqm Consultant LANDSCAPE - Shunsaku Miyagi, PLACE MEDIA, Japan LIGHTING - Paul Traynor, LIGHT BUREAU, Danmark GEOTECHNICAL - Sino Geotechnology, Inc STRUCTURE - Hsin-Yeh Engineering Consultants Inc. Client Taipei City Goverment 10

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YUAN SHAN PARK SITE THE SITE Government. Secondly, “connecting to the south” will The Taipei Art Park is positioned as the hub of contempo- enable the integration of the MRT commercial district, West rary art in Asia, and its future role is closely related to the District Gateway, and Taipei Contemporary Museum of Art urban planning and development of Taipei City. In addition through the MRT Green Corridor in the Yuan Shan section to connecting the planned Yuan Shan Park and Xinsheng and the Zhongshan section’s Linear Park. Lastly, “con- Park, it will also extend the artistic energy of the entire dis- necting to the north” proposes a new pedestrian bridge trict in different directions through various urban planning across the Keelung River to link Yuan Shan Hotel and Shilin projects in the surrounding area. Commercial District. Firstly, “connecting to the west,” by linking the green In the future, the Taipei Art Park will be able to closely transportation network to the riverside landscape corridor connect “art” and “nature,” making the new building of the and blue roads on the eastern bank of the Tamsui River TFAM a captivating artistic landscape and leisure spot. through the ongoing “Datong Regeneration Project” and “North District Gateway Project” led by the Taipei City 12

cap diaphragm wall cross wall inner buttress pull pile outter buttress STRUCTURAL ANNALYSIS MODEL structure. Therefore, in principle, there should be no issues of inadequate bearing capacity or excessive settlement. STRUCTURE Considering that the site is located near the Keelung River Considering the estimated long-term high water level and the entire area is underground, flood prevention and at the existing ground surface, the buoyancy forces are underground structural design are important issues in approximately 7-8 t/m2 and 10-11 t/m2. It is advisable this project. The groundwater level at the site is at GL-3M, to carefully assess appropriate measures to counteract and the surface consists of a clay layer (including backfill). buoyancy. Below the surface, between 10 to 15 meters, there is a layer of sandy soil. Beyond 15 meters and up to over 50 meters, Taking into account factors such as soil bearing capacity there is a thick layer of clay occasionally interspersed with and buoyancy forces from groundwater, it is recommend- thin layers of sand. ed to use a thick raft foundation combined with diaphragm walls, retaining walls, and anti-floating piles to resist water Since the building on the site is an underground structure, uplift forces. the total weight of the soil excavated for the basement is generally greater than the design load of the building 13

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1F THE AMPHITHATER SCRETE GARDEN GRASSY PLATFORMS B1 THE WHTE BOX LOBBY B2 THE BLACK BOX THE THEATER EXTEND THE EXHIBTION TO THE PARK THE WHITE BOX Based on the integrated planning concept of the art Located near the B1 entrance lobby, consist of two main museum and the park, we consider them as dual vertical exhibition areas: one is 1000 square meters with a clear extensions and interactions of “art” and “nature.” The park height of 5 meters, and the other is 600 square meters with organizes diverse activities throughout different times of a clear height of 7 meters. These spaces are designed as the day and attracts crowds with high-quality recreation- large-span, column-free areas enclosed by load-bearing al and scenic environments. While strolling in the park, walls with a thickness of 40 centimeters, ensuring efficient visitors can also obtain information about the thematic sound insulation. They are equipped with a 90x90 centi- exhibitions in the art museum and take the elevator down- meter electric truss lifting point system, offering maximum stairs to explore further. flexibility for exhibition setups. We do not recommend natural light in these spaces, but they can be transformed The large-scale artworks or related thematic activities into black box conditions. Additionally, we have retained in the underground exhibition spaces can also extend an extra entrance, allowing the two white box spaces to be upwards to the outdoor park’s grassy slope platform, combined into a larger exhibition and performance space achieving a three-dimensional expansion effect for the if desired. exhibitions. THE BLACK BOX LOBBY AS AN AMPHITHEATER It can be accessed directly from the entrance lobby via Visitors are guided into the underground art museum escalators to B2. Like the white boxes, the walls of the exhi- through a grand-scale landscape staircase, and they can bition areas are designed with 40-centimeter load-bearing also sit and enjoy performances in the lobby. Upon reach- walls. Each exhibition space is separated by a work prepa- ing the bright lobby, they can admire art pieces suspended ration area, significantly enhancing sound insulation. The from above and witness the play of sunlight and moving interior is equipped with infrastructure such as conduits, shadows on the ground. Facing the south, a spiral stair- suspension points, hangers, slots, and loops, catering to case becomes a focal point, with a bamboo green wall of the needs of cross-domain displays, including digital mul- a star-rated restaurant on the east side and a landscape timedia, performing arts, and new media art. Each of the courtyard outside the museum bookstore on the west side, four black boxes has its own dedicated work preparation allowing natural scenery to enter their view. area connected to a logistical service corridor, allowing flexible combinations based on the exhibition content. 15

YUANSHAN MRT STATION EXISTING PLAYGROUND It is recommended to integrate the 5,000 square meters of independently operated commercial space with the ground-level park to create a high-quality leisure and landscape environment that attracts visitors. By organizing diverse activities during dif- ferent time periods of the day (morning, afternoon, evening), the space can cater to various age groups. Outdoor art exhibitions, dance performances, children’s playgrounds, ecological education programs, cultural and creative markets, food and beverage options, leisurely walks, and morning exercises can be offered. 16

YUANSHAN HISTORICAL SITE TAIPEI FINE ART MUSEUM In terms of the commercial space layout, creative thinking can be applied to design a combination of different business formats. A star-rated restaurant can cater to food enthusiasts, affordable snacks can target the younger generation, convenience stores can serve the general public, an art gallery bookstore and cultural boutique stores can cater to art lovers, and the entrance hall can feature immersive interactive digital art projections to attract park visitors. Additionally, setting up four beverage kiosks within the park allows visitors to take a break and rest, further enhancing the educational and enjoyable atmosphere of the art museum. 17

RICKY LIU AND ASSOCIATES CENTER OF DISEASE CONTROL TAIWAN Architecture Designer Schematic Design - Deveoped Design During the COVID-19 pandemic outbreak, the Taiwan Centers for Disease Control (CDC) was also preparing to expand its research and vaccine development center. During my involvement in this project, my main role was to assist the team and CDC personnel in conducting requirement interviews to understand the usage relationships and space re- quirements. I was primarily responsible for the drawings of the animal laboratories, including snake and rodent laboratories, as well as the P3 laboratory located on the top floor. From this project, I learned the importance of personnel control, distinguishing between clean and dirty corridors, and HVAC systems’ crucial role in laboratory environments. Location Taipei, Taiwan Participate Duration Mar. 2021- Oct. 2021 Area 60,960 sqm Consultant LABORATORY ARCHITECTURE - David Bauermeister, ZGF Architects LLP LABORATORY M/E - Laura Halverson, Affiliated Engineers Inc. LABORATORY PLANNING - Kun-Lung Tsai, Insights Technologies Co., Ltd. CULTURAL HERITAGE - Ya-Ning Yen, Dept. of Architecture Cultural Heritage Preservation Center, China University of Technology Client C.D.C Taiwan 18

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Selected Projects at ATLAS STUDIO 21

ATLAS STUDIO THE WELL HOUSE Project Manager/Lead THE WELL HOUSE is a new boutique hotel that aims to situate itself contextually in the simple and austere lifestyle of the vil- lage. The challenge was to find ways to update the traditional methods of building with contemporary amenities and evolved design without losing the integrity that makes Dali what it is. The hotel is perched on the mountain side high-up in the village, directly looking down on an ancient well. Like all the structures in Dali, it faces the center of the village where the Drum Tower resides. From its perch, it offers a panoramic view of the village. Modern elements such as large windows to take advantage of the views, while still attempting to keep the rhythm and of the neighboring structures so as not to disturb the overall skyline. Location Dali Village, Guzhou Province, China Duration Sep. 2019-Aug. 2020 Area 405 sqm Client THE WELL HOUSE 22

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In Qingdongnan, the southeast region of Guizhou, tradi- The goal with the hotel was to elevate the comfort inside tional wooden buildings have largely been preserved and the building through the use of energy-efficient heating continue to be built today. Still, modernity has managed and weatherproofing. Another issue is the way sound is to creep in - one way being that concrete is used for the carried throughout the wooden house through the thin ground floor of the building. The challenge then is to de- partitions and floors. Soundproofing was added to the velop building language that can negotiate the differences construction to try to give a bit more privacy and serenity between the two and create a unified whole. to the space. To keep the construction as sustainable as possible the whole system of the building was designed to Traditional building has intrinsic knowledge about how make air-conditioning unnecessary — instead of cooling to deal with local climatic conditions in clever yet, simple the building through passive methods. The facade was ways. Elevating the structures on poles, open fire-pits, and designed with wind scoops to capture air from the valley even using a bit of smoke help traditional southwestern and ensure ventilation in the space clearing out the sultry houses relieve the damp in winter. feeling of summer. 24

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The material choice is local, in particular the use of cedar wood the region is famous for. Bricks often seen as lowly due to their common usage in building pig sheds, were elevated here in their deep earthy feel to something luxurious. Burnt and blackened bricks were hand-chosen to give a textural sensuousness to the first floor. As the village finds a bridge to the future and looks to tourism and exchange to do so, the hope is that The Well House pres- ents thoughtful solutions for merging the old with the new. By rooting design in the local aesthetics and material culture—the hope is to see Dali Village find a sustain- able path forward that honors and values the past. 26

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ATLAS STUDIO DALI COMMUNITY CENTER Project Manager/Lead The Dali Community Center is a contemporary design for a multi-purpose public space based on an interpretation of traditional building practice, and located in the Dong cultural community in Dali village, Guizhou. The design concept is based on a thorough understanding of traditional craft practice, a collaborative design process, and innovation within traditional skills to meet modern needs and contemporary forms of expression for public space. The building is meant to serve as a site of exchange between Dali residents and visitors to the village, and as a workshop space for the local textile cooperative, it includes an exhibition space, textile studio and retail space, small children’s library, com- mon storage area, and small public garden. Location Dali Village, Guzhou Province, China Duration Sep. 2017-Sep. 2018 Area 140.64 sqm Client Kuanghan Li, Global Heritage Fund, Programs Director Exhibition Venice Biennale 2018 - Free Space - Across Chinese Cities Design Society 2018 Shenzhen - Craft: The Reset KLEE KLEE 2019 Shanghai Award Architecture Digest 100 - Most Infuential Public Building 2019 www.thedaliproject.com 28

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Private House Granary Dali Center A new perspective was needed to reframe or adjust tradi- These granaries are enclosed structures raised on stilts, tional Dong architecture in order to meet these contempo- typically without windows—for storing grain safely inside— rary programmatic needs. As designers coming from the that are combined with a wrap-around external circulation outside of Dong tradition, it was possible to look widely whose exterior facade is a floor to ceiling row of slats that at Dong typology to see if there were elements of building allows grain and other produce to be hung from and dried. across building types that could be utilized to create more The building’s stilts very often land in a flooded plain, be- formal means for expression and function in the communi- low that can be a place to grow fish and keeps small mam- ty center. mals from being able to climb up into the granary and spoil the food. To extend the functionality and address some of One typology prominent in Dali as well as in other Dong the building constraints of the community center, ATLAS villages is the granary. Along with homes, the granary is a and GHF looked to the granary as a means of transforming common typology repeated throughout the built fabric. the built vocabulary within the traditional building system. 30

Overall Massing Vertical Connection Circulation Enclosed Space Facade Roof Openings Garden Views Out Ribbon Windows 31

This project, including both the formation of the textile cooperative and the design and construction of the community center has had an influence on contempo- rary design practice at multiple-levels. The project has contributed to topics such as on rural development in China, the strengthening and preservation of cultural autonomy for minority groups, conservation practice in living, evolving sites, and the revitalization of traditional craft practices in the industrialized world. The center’s design and emphasis on traditional build- ing technique, and even revitalization of lost technique, offers a case study in adapting Dong architecture to new uses in the village while still retaining cultural continu- ity. Regionally this project is part of a broader renais- sance for minority cultural groups in the area, resulting in a number of new initiatives and projects focused on cultural preservation And growing tourism. The community center’s design offers a critical strategy and approach that contributes a distinct perspective in the conversations surrounding these developments. 32

The exterior circulation combined with a slatted facade was a means of creating the lightness that the com- munity center needed. Using this element was a way to reduce the visual weight of the overall massing while still maintaining the size of each floor plate. The concept of this lighter, more transparent physical envelope was extended to wrap around both the second and third floor of the building. The slatted facade is also here being reimagined as something that will be covered in bundles of rice drying to one that could be draped in textiles as the women work to display and create the textiles within this coopera- tive space. While the building may look to an outside eye to be quite traditional — using the language of the granary for a building intended for public use was a counterintuitive concept for many in Dali. It pushed on the limits of tradition and framed a new way of looking at Dong archi- tecture. 33

The community center project was a means of creating a platform and dedicated space for various activities and initiatives in the vil- lage. The land for the construction is publicly held and was dedicated by the villagers for use in building the center. The center serves as a bridge point between Dali residents and visitors to the village, and a space for the textile cooperative to locate their efforts. The building project was directly engaged in cultural preservation due to the engagement with traditional construction methods and the direct collaboration with master trades people for various aspects of the design. Locally some skills that were known in the past had fallen out of practice in the village creating a knowledge gap and therefore fur- ther research was done into past techniques to find current solutions. To this end, a number of trainings, exper- iments, and visits to sites in neighboring villages were organized over the course of construction to ensure that best practice and a broader full spectrum of heritage construc- tion techniques were available for use. An example of this was the construction of the fieldstone retaining walls and foundation. These efforts required a partial reconstruc- tion of local historical knowledge. To summarize, the entirety of the building process engaged the local community direct- ly, including rituals and banquets to mark key stages of construction, and served to further reinforce the value of traditional building. 34

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ATLAS STUDIO NINOSE HOUSE Project Manager/Lead The site is located at the style protected area in Ninose, Kyoto, that means the colors and housing type and structure compo- sition are required to fit the Kyoto Building Standard. There are two levels in the plot, the height difference is 6m, and the higher level, which is adjacent to the main road, will be a home cook restaurant for locals. The lower level is going to be the owner’s family area, combine with a small gathering hall for temporary exhibitions and events. Therefore, the design issue is the relationship between two levels and two main programs, we introduce an object-like staircase in between as the vertical circulation, providing open spacial flow for the two programs. Location Ninose, Kyoto, Japan Duration Nov. 2019- Area 261 sqm 36

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ATLAS STUDIO 2 ROOF TOP PERSPECTIVE - ⽡亭屋⾯顶⾯⽴体图 THE TILE PAVILION Project Manager/Lead The Tile Pavilion belongs to a greater resort master planning, it’s acting as one of the public area of the whole complex, where was the traditional northern Chinese courtyard houses, made out of stone, clay and wooden roof frame with black tile one top. The site is located in between several existing traditional houses, apart from partial renovations, a public shaded place is needed for the resort, and it is The Tile Pavilion. The idea is using the existing black tile as roof material and play with the tectonic, trying to transform the traditional roof through a modern interpretation. Location Baoding, Hebei Province, China Duration Nov. 2018- Area 56.2 sqm 1 ROOF FRONT PERSPECTIVE 2 ROOF BOTTOM PERSPECTIVE - ⽡亭屋⾯正⾯⽴体图 - ⽡亭屋⾯底⾯⽴体图 CONDITIONS: Contractors, vendors & consultants must CLIENT: PROJECT NAME: REV. DATE: NOTES: 修正 / REVIEWED BY: ⽐例 SCALE: - ⽇期 DATE: 2019 verify all dimensions on site and notify this Solution 校对 / CHECKED BY: 图纸编号/ DWG NO ATLAS STUDIO Centre any discrepancies prior to carry out works. 保定翰林⽣态农业 顺利村⻘籽树⺠宿7号院 审核 / APPROVED BY: 图号： ⽡亭屋⾯⽴体图 Written dimensions take precedence overscaled 科技公司 DWG NAME: TILE PAVILION dimensions. NO. 7 COURTYARDS SHUNLI VILLAGE ROOF PERSP. 承包商，建材商&施⼯顾问等必须在现场确认所有的尺 ⼨，如有任何尺⼨差异请在作业前通知本设计单位，未 经允许，请勿擅⾃改动图纸，ATLAS保留对图纸的最终 解释权。 38

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The tile joints In order to let the natural light come in from the roof, we not be too big, or the rain water might flow back into the tried to give space in between each tile, and create an air pavilion. On the other hand, the tile and cable joint is the space for the ventilation and the sun light. For holding the key tectonic detail of the whole project, 3D printing joint is tiles, the cable system is introduced at two sides of the tile, made for the mock-up, each joint requires three parts, the and each tile has four joints connected to the cable, which cable holder, the tile connector and the anchor joint. Screw is part of the spacial truss system of the main roof struc- with the tile at four corners. ture, span is 13 meters. Therefore, the roof is becoming light and soft floating in The gap of two tiles is the result of trial and error, the goal the air, totally the opposite of the tranditional tile roof is making the gap large enough that there can be sufficient tectonic, emphasizing the weight and gravity of the roof lights reflected at the bottom side of the tile, but it should volume. 40

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ATLAS STUDIO KLEE KLEE retail interior Project Manager/Lead Klee Klee is a sustainable fashion brand focused on luxuri- ous, tactile, carefully designed clothes and accessories. The concept a spin-off from the well known independent Chinese fashion house, Zuc Zug. Klee Klee approached ATLAS in 2018 to design its first retail space in Beijing. The space is approx- imately 40 square meters and is located in Beijing’s Sanlitun neighborhood TaiKooLee North shopping district. The label decided to focus on their Let’s Blue! line of natural indigo-dyed denim. To highlight the immersive intensity of the color blue, the architectural strategy focused on choosing a singular material and color palette that would both contrast and compliment the clothing. The simple, earth-colored brick offers a warm backdrop of touch and color for the indigo-hued textiles. The basic module of brick is used in many permuta- tions to give texture and detail to the space as well as fold in different types of functionality. Conceptually the use of a single unit in a multitude of ways mirrors the traditional use of brick and ceramic tile in traditional Chinese architecture. Location Beijing City, China Duration May. 2018 - Nov. 2018 Area 41.8 sqm Client Zuc Zug 素然 Award ELLE DECORATION - China Interior Design Annual - Judge's list DESIGN360 - Spatial Design for Brand of the Year 2019 42

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ATLAS STUDIO WOODSTAGE retail interior Project Manager/Lead Woodstage is a new commercial concept and entrepreneur- ial experiment. The project comes from the team behind the successful event concept, Woodstock of Eating, a festival that combines contemporary street eats with a line-up of music and arts performances. Through a number of these events, they have grown a vibrant community of young entrepreneurs and artists in Beijing. Woodstage takes the archetype of the festival and prototypes it across a more permanent venue. Joy City Mall is a large urban lifestyle complex anchoring the surrounding residential neighborhood. Woodstage takes up 1400 square meters of commercial space in the complex. Typically the real estate within a large urban shopping cen- ter is only accessible and affordable for mass-franchised, or mass-branded retail concepts. The social and entrepreneurial innovation of the Woodstage model was to create a flexible space that would act as both a platform and test-lab for small scale start-ups to trial new dining or retail concepts in commercial space. Small-scale vendors could sign contracts for six months — making the ven- ue not only accessible, but ensuring it would feel dynamic by continually presenting new offerings. In this way, a community of small local business owners was able to gain a foothold in an urban space typically reserved for well-established brands. Location Joy City Mall, Beijing, China Duration May. 2018 - Nov. 2018 Area 1400 sqm Client Woodstock of Eating Visual Identity Meat Studio Lighting Design Ning Field Lighting Studio Award Architecture Digest 100 - Most Infuential Conmmercial Space 2019 46

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small stage entrance shop from ground floor food court main stage retail entrance from B1 B.O.H. food court The architecture of the space had to be unifying and yet For times when it is not in use or in semi-private use, cur- hold room for enough variety and difference to maintain tains around allow it to be closed off or open up depending an ephemeral, festival atmosphere. on time of day, event, and need. Spatial/graphic systems to present each small brand’s own The retail area of the space needed display systems unique visual identity had to be devised to be flexible and engineered to incorporate lighting and electricity, to hold able to be continually changed. The tactile brick materials graphics, and to display as well as store various products and soft ceiling lines bring a warmth to the space and yet for retail vendors who would change often. are durable for large crowds. The entire space had to have a clear identity and feel well- The primary spatial feature is the music/performance stage built and yet every element had to be flexible and trans- that allows crowds to gather at the heart of the venue. formable to accommodate different events and change within the day, week, month, or year. 48

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ATLAS STUDIO CHICTOPIA retail interior Project Manager/Lead When fashion becomes a spatial concept, how do we play the space elements as we play with the fabric? Chictopia is a new emerging brand founded by Christine Lau, graduated from Central St. Martines. The vivid colors and bold nature patterns on the fabric are definitely her signature art works. The showroom should be a stage that could reflect all of the alive art pieces, also shown as objects floating in the space, so we created several geometrical volumes for display and fitting spaces, by using curved semi-reflected glass, in order to reflect all the colors from the cloth. Also we are trying to make the space as “CLEAN“ as possible, as the artist treating her canvas, let the material itself tell the whole story. Location Location Yintai Mall, Beijing, China Joy City Mall, Beijing, China Duration Duration Dec. 2016 - Apr. 2017 Mar. 2017 - Jun. 2018 Area Area 70 sqm 100 sqm Client Client Christine Lau Christine Lau 50