UNRAVELING CONTAINER
CLIENT
LOCATION
COMPLETION
GFA
SCOPE
DESIGN TEAM
PHOTOGRAPHY
Nothing is Everything
Shanghai, China
May 2024
80 m2
Architecture
Renovation & Interior
Josh Ren,
Baoer Wang
WenStudio
"Great squares have no corners,
great talents are rarely polished,
great sounds are seldom heard,
great forms have no shape."
-Laozi
According to ancient Chinese
aesthetic theories proposed by
Laozi, the most straightforward
things have no edges, very large
talents don't need refinement,
the better the music, the more
profound and distant it sounds,
and the better the image, the more
abstract and vast it appears. The
aim is to praise natural beauty
over artificial beauty.
The project is located at SHUION
Shanghai Panlong Xintiandi,
adjacent to Panlong Temple,
nestled within Ancient Tree Square.
With a wish for simplicity, it
conceals edges within its square
shape. The interior structure
depicts an original space, built
according to square motifs. The
"grown frame" structure is cleverly
rotated at a 45-degree angle to
create a mezzanine space on the
second floor, creating a closer
relationship between people and
the building's lofty space itself.
Here, we explore the different
forms derived from the "square".
Through cutting, rotating, and
inlaying, we plan to unify the
"square". The orderly square
frames grow in layers in the space,
separating the kitchen, dining
area, and second-floor space.
All entrances and functional
areas are arranged in a "hidden"
manner above the square frames.
The wooden frames on the first
floor end at the height of the
facade. On the second floor,
these wooden frames continue
to grow, and the rotated blocks
are suspended above the building
space, disrupting the order of the
first floor and bringing regulated
vitality to the space.
The wooden frames become the
cashier counter, transform into
seats, and simultaneously serve
as functional shelves. Within this
seemingly monotonous square
frame structure, metal blocks
are embedded to cut the frames,
becoming another role in the
space. In the arrangement of
circulation, we try to open up
the facade as much as possible,
cutting the layering of the frontal
façade, embedding a metal piece, and connecting the square with the
interior space through transparent
glass doors. Dissecting one layer
of the frame with metal becomes
a huge revolving door, adding
another entrance to the building.
"Great squares have no corners, great talents are rarely polished, great sounds are seldom heard, great forms have no shape."
-Laozi
According to ancient Chinese aesthetic theories proposed by Laozi, the most straightforward things have no edges, very large talents don't need refinement, the better the music, the more profound and distant it sounds, and the better the image, the more abstract and vast it appears. The aim is to praise natural beauty over artificial beauty.
The project is located at SHUION Shanghai Panlong Xintiandi, adjacent to Panlong Temple, nestled within Ancient Tree Square. With a wish for simplicity, it conceals edges within its square shape. The interior structure depicts an original space, built according to square motifs. The "grown frame" structure is cleverly rotated at a 45-degree angle to create a mezzanine space on the second floor, creating a closer relationship between people and the building's lofty space itself.
Here, we explore the different forms derived from the "square". Through cutting, rotating, and inlaying, we plan to unify the "square". The orderly square frames grow in layers in the space, separating the kitchen, dining area, and second-floor space. All entrances and functional areas are arranged in a "hidden" manner above the square frames. The wooden frames on the first floor end at the height of the facade. On the second floor, these wooden frames continue to grow, and the rotated blocks are suspended above the building space, disrupting the order of the first floor and bringing regulated vitality to the space.
The wooden frames become the cashier counter, transform into seats, and simultaneously serve as functional shelves. Within this seemingly monotonous square frame structure, metal blocks are embedded to cut the frames, becoming another role in the space. In the arrangement of circulation, we try to open up the facade as much as possible, cutting the layering of the frontal façade, embedding a metal piece, and connecting the square with the interior space through transparent glass doors. Dissecting one layer of the frame with metal becomes a huge revolving door, adding another entrance to the building.