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Martin Jones specified that through the Martin� Jones� Scholarship he wished to ‘provide an opportunity for an outstanding student or graduate of the School of Architecture to pursue a personal line of creative investigation and research’ (Royal Incorporation of Architects in Scotland, 2007/2008).

Lesley McIntyre was awarded the Martin Jones Scholarship by the Royal Incorporation of Architects in Scotland (RIAS) in June 2008.

This report documents how the Scholarship was utilised to enable Lesley to undertake a multidisciplinary and collaborative research design project within the context of the 2008 International Design Summer School as part of the 7th Shanghai Biennale, China.

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Dr�Lesley�Jayne�McIntyre�B.Sc., B.A. (Hons.), M.Arch. (Dist.), Ph.D.�

Introductory�PrefaceMartin�Jones�Scholarship�

2

Dr Lesley McIntyre is an Architectural & Design Researcher currently based at the University of Dundee. She was awarded the Martin Jones Scholarship to undertake a research & design project within the context of the 7th Shanghai Biennale.

Originally from Portstewart, a small coastal town in Northern Ireland, Lesley moved to Dundee in 2001 to study Architecture at the University of Dundee. She obtained her Bachelor of Science Degree in Architecture in 2004, her Bachelor of Arts Degree in Architecture (with honours) in 2006 and her Masters of Architecture Degree (with distinction) in 2007. In 2011 Lesley was awarded her PhD (funded by the Arts and Humanities Research Council (AHRC)) for the doctorate entitled: The�WayͲfinding�Journey�within�a�Large�Public�Building:�A�user�centred�study�of�the�holistic�wayͲfinding�experience�across�a�range�of�visual�ability�(McIntyre, 2011). Her multidisciplinary research is widely published and, through peer review, has been presented with several dissemination awards.

Lesley has worked within architectural practice in Northern Ireland and New York (employed as a RIBA Part 1 Architectural Assistant) as well as in Edinburgh and Dundee (employed as a RIBA Part 2 Architectural Assistant). She has held various academic responsibilities, these have included leading accessibility lectures and inclusive design workshops, the role of PhD seminar co-‐ordinator and tutoring within the Masters of Architecture programme (5th year architectural students) and the Humanities Design Research Unit of the Bachelor of Arts in Architecture degree (4th year architectural students) at the University of Dundee.

This combination of ‘real-‐world’ professional experience and academic training has enabled her to enhance skills in translating client briefs and user needs into the design of space and program, acquire an understanding of a range of architectural tactics in different design scenarios and utilise design research methods to develop an empathetic, ethical, user-‐centred and rigorous approach within her research.

The projects completed and experiences encountered as a result of the 2008 Martin Jones Scholarship have added rich and diverse elements to Lesley’s life experience, architectural design portfolio and research skills.

Biographical�PrefaceDr�Lesley�McIntyre

3

Martin�Jones�Scholarship:�Introductory�Preface� � � � P1�

Dr�Lesley�McIntyre:�Biographical�Preface�� P2�

Report�Outline:�Contents� � � � � � P3�

Martin�Jones�Report:�Contextual�Preface�� P4�

Martin�Jones�Report:�Introduction�&�Overview� � � � P5�

Martin�Jones�Report:�Structure�&�Readers�Notes�� P6�

1.0�7th�Shanghai�Biennale:�Establishing�the�Context� � � P7

2.0�International�Summer�School� � � � � P8

2.1 Introductory Foreword P8

2.2 SuZhou He 31’144.121’274: A Photographic Storyboard P11

2.3 Lectures, Work-‐shops, Presentations, Critiques P17

2.4 Design Group & Brief Overview P19

3.0�Group�5:�Design�Brief� � � � � � P20

3.1 Brief, Design Intent, Process and Outcome P20

3.2 Finding the ‘Identity’ P21

3.3 Finding the ‘Voice’ P23

4.0�Summer�School:�Outcome P67

4.1 Exhibition & Award Ceremony P67

4.2 Exhibition Catalogue P71

5.0�Conclusion�&�Reflection� � � � � � P83

5.1 The 2008 International Design Summer School P83

5.2 The Martin Jones Scholarship P84

6.0�Further�Information:�Sources�of�Publication�&�References P85

Report�OutlineContents�

4

In association with the 7th Shanghai Biennale titled ‘Trans-‐Local-‐Motion’ (figure 1), fifty students from design schools across the world1 were, through portfolio submission, selected to take part in the 2008 International Design Summer School. This initiative was hosted by the College of Architecture and Urban Planning (CAUP), Tongji University, Shanghai. Lesley was one of these invited students & the financial support provided by the 2008 Martin Jones Scholarship enabled her to participate.

In August 2008 she travelled to Shanghai, China, to embark on the activities of the Summer School. She became immersed within the exciting and creative forums, workshops, seminars, design debates and research discussions of the 2008 Design Summer School and the 7th Shanghai Biennale.

The five collaborative projects completed at the Summer School earned their place within the Students Exhibition of the 7th Shanghai Biennale.

Through critique by peers, academics and curators these projects were bestowed the prestigious Gold Award of the 2008 International Design Summer School.

1 Summer School Students were from: Academy of Arts and Design, Offenbach, Germany; Luzern University of Applied Sciences and Arts, Luzern, Switzerland; Konstfack University College of Arts, Crafts and Design, Stockholm, Sweden; University of Art and Design, Helsinki, Finland; University of Applied Arts, Vienna, Austria; HKU Utrecht School of the Arts, Utrecht, Netherlands; Willem de Kooning Academie, Rotterdam Holland; Designskolen Kolding, Denmark, University of Dundee, Dundee, UK; Royal College of Art, London, UK; Politecnico di Milano, Milan, Italy; Politecnico di Torino, Italy; Royal Melbourne Institute of Technology, Melbourne, Australia; University of Technology, Sydney, Australia; New York University, N.Y.,USA; University of Kansas, USA; Art Center College of Design, Los Angeles, California, USA; University of California, L.A, USA; Tongji University, Shanghai, China; Tsinghua University, Beijing, China; Beijing Forestry University, Beijing, China; Xian Academy of Fine Arts, Shaanxi, China; Southwest Jiaotong University, Chengdu,China; Huazhong University of Science and Technology, Wuhan,China; Xian University of Architecture Technology, Xian, China; China Academy of Arts, Hangzhou China; Hubei Institute of Fine Arts, Wuhan, China; Kookmin University, Seongbuk-‐gu, Seoul, Korea; Guangzhou Academy of Fine Arts, Guangzhou, Guangdong, China; Chiba University, Chiba, Japan; and Feng Chia University, Tiachung, Taiwan.

Martin�Jones�ReportContextual�Preface

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In section 1.0 the context of the 7th Shanghai Biennale will be outlined and the research themes, objectives and mission statement of the Biennale established. In section 2.0, the specific aims, briefs and processes of the 2008 International Design Summer School will be presented through an Introductory�Forward written by Quinsan Ciao, (Summer School Mentor). Photographic storyboards are used to document the site visit undertaken by the summer school members before the main activities of the 2008 International Design Summer School are reviewed.

In section 3.0 Group 5, the group Lesley was a member of, will be the focus. Group 5’s brief will be reviewed, the design process will be illustrated and a series of photographs and illustrations will describe the challenges, design intent and outcome developed from the brief.

In section 4.0 a storyboard of photographs and text will document: 1) The Process of Making the Exhibition Placed within the Shanghai Biennale, 2) The Exhibition Catalogue produced by all five Design Groups for the Biennale, 3) Group 5’s Exhibition in Situ at the Biennale, 4) The Complete Summer School Exhibition, 5) The Opening of the Biennale, 6) The Biennale Award Ceremony and 7) The Presentation of the 2008 International Summer School Gold Award.

Finally, in section 5.0, Lesley summaries her experience of the Summer School and Biennale before reflecting on how the Martin Jones Scholarship has enriched her as an Architectural Researcher and Designer.

Readers’�Notes:�

x This document is a repackaging of work completed, through collaboration, at the Summer School.

x A combination of text, illustrations and photographic storyboards are used at key stages throughout this report and are introduced by the text and description which precedes them.

x Please note that broken English may appear in this text as some content (especially within the exhibition catalogue abstracts) has been written by Summer School members who do not use English as their first language.

Martin�Jones�Report�

Structure�&�Readers�Notes�

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‘Trans-‐Local-‐Motion -‐ Fast City: Fast Passenger’ Foreword�by�Quinsan�Ciao

‘Hope cannot be said to exist, nor can it be said not to exist. It is just like roads across the earth. For actually the earth has no roads to begin with..., but when many people pass one way, a road is made.’ Lu

Xun, ‘My Old Home’, 1921

On the eve of the Beijing Olympic Games’ elaborate closing ceremony, fifty international students, young designers, and teachers arrived in China from various countries of the West, and East; Far and Middle. A ‘round table’ dinner meeting was promptly arranged by organizers and a small booklet (figure 4) of necessary codes, schedules, and badges were allocated to all members.

The following morning, instead of sticking to the familiar historical attractions and trendy hangout spots favoured by Shanghai’s regular tourists, these foreigners and accompanying Chinese partners dissipated into shabby alleyways and seedy streets mostly located adjacent to the walled residential compounds of post towers and skyscrapers. These dark, winding labyrinths are called ‘forgotten corners’ by the residents who still live there on street addresses that have become obsolete; alleys which have been eliminated on official municipal maps of the city – they get their mail only because of the old mailman’s enduring memory. Downloaded Google Earth aero-‐photos were used by the teams to navigate through the depths of these forgotten blocks. Derived from the location’s exact longitude/latitude, SuZhou�He�31’144.121’274 became the name of their mission.

The covert operations of a deadly, calculated, global terrorist network? Not exactly. We were designers and architects, not suicide bombers. Our mission was regeneration, not destruction. The alleys’ residents welcomed us and helped us with our endeavour. They led us into the alleys; showed us the old terrazzo basins outside their houses, the meticulously cared for flowers potted on eaves and sills, the oddly sized handmade door mats, the innovative bed frame turned bike rack hung on the outside wall of small added kitchens, the table supported by a bicycle wheel, the colourful and intricate rubber and plastic pipes used to reroute plumbing, all of these and much more can be found in the tiny courtyards. People here live lives; they are talented natural designers, innovators of necessary art.

In the beginning of our workshop, I eagerly joined a few other Tongji colleagues to claim that ‘I�was�born�in�Shanghai,�I�am�typical�Shanghainese.’ Shanghainese people are known to be proud of who they are, like New

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Figure�4:�Summer�School�Handbook�

2.0�International�Summer�School�2.1�Introductory�Foreword

9

10

Yorkers, like Parisians, like patriotic residents of all the world’s unique and vibrant cities perhaps. But after meeting the residents of these forgotten corners, I feel that I need to retract my claim. It is these people, not me, who can truly call themselves typical Shanghainese. I often fly though several continents in a few days, eat meals to go, rush through every task I find menial, while these people still spend several hours soaking vegetables in their terrazzo sinks each day before beginning to cook dinner. Living in the pace of twenty years ago is a particular diligence that embodies the best of Shanghai culture. With their terrazzo sinks, tiny rooms and simple lives, I found the forgotten part of myself and the forgotten part of my city. I find that I envy them for while some may not think of them as typical Shanghainese any longer, they are real Shanghainese. ‘Fast City, Fast Passenger’ may be the factual interpretation and true story of today’s China, today’s Shanghai, and today’s world. We have adapted, embraced and even accelerated this ‘fastness’. But we have forgotten the value of ‘slowness’ and that is too big of a price to pay.

In ‘The�Death�and�Life�of�Great�American�Cities’�(1961), author Jane Jacobs fiercely advocates the concept of the liveable city and the importance of people over excessively rational modern development. Now, the message seems startling clear and directly urgent as we survey this great Chinese city. It is based on an idea so simple and profound: a perspective of slowness. There has been evidential effort to preserve traditional architecture, buildings and architectural characteristics, whether Chinese traditional or colonial styled elements. There are many well maintained old buildings and renovation projects. There is a desire to make antiques out of everything old. It is easy to preserve the buildings and architecture, but it is more important to preserve the people; particularly, the people of Shanghai, the people who are ‘stuck’ in the ‘forgotten�corners’, the people with character, patience and a lot to offer. They have class and dignity. They are not ‘poor�people’.

The solution and answer for the site, SuZhou He 31’144.121’274, lies in the power of these people, sowing the seeds of their own regeneration. It is unacceptable to see these people move to one of the outskirt destinations which yesterday was farmland. The outward migration of city people must stop, the fast spread of urban sprawl must stop. We started out here with all the stealthy ambition and determination of a design-‐terrorist group but there is nothing to desecrate, nothing to destroy. In these small alleyways, we have found only inspiration, ingenuity, and life as it should be. What we have presented here in this exhibition venue is the humble collection of concepts, ideas, and itty-‐bitty pieces borrowed from, and inspired by, the sincere citizens of the site we were given. By�Quinsan�Ciao,�Kuwait�University�(Summer�School�Mentor)

‘To�approach�a�city�...�as�it�were�(an)�...�architectural�problem�...�

is�to�make�the�mistake�of�attempting�to�substitute�art�for�life�...�The�results�...�are�neither�life�nor�art.��They�are�taxidermy.’�

(Jacobs,�1961,p.�373)�

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(Jacobs,�1961,p.�462)�

11

The following photographs, taken by Lesley, present a visual introduction to SuZhou He 31’144.121’274. These photographs begin to tell the story of where the design brief was established. They provide observations which impart a compelling insight into the site, the people, their homes and their daily activities. Additional photographs of the site and people can be located within section 3.0 of this report.

2.2�SuZhou�He�31’144.121’274: ��A�Photographic�Storyboard�

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2.0�International�Summer�School

17

On arrival in Shanghai the fifty International Summer School members became immersed within an intensive two week design program which was hosted by the College of Architecture and Urban Planning (CAUP), Tongji University, Shanghai.

Armed with our personal creative design tool-‐kits (consisting of laptops, sketch-‐books, pens, design experiences and disciplinary differences) and after formal introductions, we were given a studio space which became our homes for the creative and inspirational days which followed.

The International Design Summer School was composed of design and architectural lectures, site visits, design collaboration, workshops and a series of group presentations and peer reviewed critiques. We (figure 5) were given briefs which responded to a main aim: ‘Based on the micro-‐vision of city streets, make deep thinking on present phenomena of global urbanization, pay attention to status of urban life and development including people flow and consequent problems, emotions and opportunities, explore the role that art and design plays in the process’(College of Architecture and Urban Planning, 2008).

Under the themes of the 2010 Exposition -‐ ‘Better�City�Better� life’ -‐ and the Shanghai Biennale – ‘Trans�Local�Motion’ -‐ (and inclusive of sub-‐themes of: urban design, historical design and Shanghai city life, memory, space, life, wisdom, metropolitan expression, passers, home, density and livingness) lectures were given by local, national and international architectural and design practices2.

The following photographs, taken by Lesley, document lectures given by contributors, presentations given by the summer school members and images from visits to the 2010 Shanghai Exposition.

2 Speakers included: Xing Tonghe (Chief Architect and Professor of Architecture at Tongji University) from Xian–Dai Architectural Group, Neville Mars (Architect, Chairman of the Dynamic City Foundation and Co-‐Author of ‘The Chinese Dream -‐ A society under construction’) from the Dynamic City Foundation and Opher Yom-‐Tov (Program Manager and Innovation Strategist), from the global design firm IDEO.

2.3�Lectures,�Workshops,�Presentations�&�Critiques�

Figure�5:�2008�Summer�School�Members�


19

Working in five teams of ten we, the International Design Summer School students, were given design briefs to propose solutions for improving life on a site (1km square) located on the banks of the SuZhou River in Shanghai (figure 6).

The site comprised the ‘old shanty town’ and the ‘new tower block city’. We became fascinated by the ‘shanty town’. It had no name, no post-‐code and the homes had no addresses. It is difficult for tourists to find this place on a map and proposals for the 2010 Exposition Plans for Shanghai have ignored that these people and homes exist. In architectural renders it is implied that the area is currently unused green-‐space.

The Summer School members set out to explore the backstreets and alleys of this Shanghai neighbourhood. We were able to appreciate the beauty and took inspiration from what we found existing on the site.

Divided into five design teams each group undertook one of the following research themes:

01 streets for retail/ free street pedlars/ flea markets

02 streets for free culture/sports/ entertainment events

03 conversations with architecture spaces

04 ideal planning for street trees and plants

05 re-‐applied and used for street advertisings

I was part of Group 5 and will now present, through illustrations, photographic storyboards and description, how we, as a group of multidisciplinary creatives, worked together, communicated ideas across different languages and created an outcome which was selected to be presented within the International Exhibition as part of the 7th Shanghai Biennale and won a prestigious award.

2.4�Design�Group�&�Brief�Overview

Figure�6:�The�Site:�Suzhou�River�Area�


20

Group 5: ‘reͲapplied�and�used�for�street�advertisings’

We were (figure 7): Chiyu Chen from the Royal College of Art, London, UK; Ian Ruaraidh Harrison from the University of Dundee, Dundee, UK; Yiying Lu from the University of Technology, Sydney, Australia; Lesley McIntyre from the University of Dundee, Dundee, UK; Alice Mela from the Politecnico of Turin, Italy; Dominik Premauer from the University of Applied Arts, Vienna, Austria; Lobke Rozemarjin from HKU Utrecht School of the Arts, Utrecht, Netherlands; Min Zhang from Tongji University, Shanghai, China; Aurora Rapalino from the Politecnico of Turin, Italy; Yiting Wang from University of California, California, Los Angeles; & Gabriel Wartofsky from the Art Centre College of Design, Los Angeles, California.

We came from countries across the world and from disciplines as varied as architecture, graphic design, illustration, fashion, industrial design and media arts. However, we found a shared set of research values, methodological approaches and design manifestos from which we developed our design project.

The following sections will delve deeper into the creative and iterative processes which developed into our research and design outcome. In addition to the written description which follows, the visual mapping and diagramming of the processes of the 2008 International Summer School and the work created by Group 5 is illustrated.

3.0�Group�5:�Design�Brief3.1�Brief,�Design�Intent,�Process�&�Outcome�

Figure�7:�Group�5�Design�Planning�

21

The brief of ‘reͲapplied�and�used� for� street�advertisings’ was advanced to produce urban proposals for an area of central Shanghai. Individually and as a group we found a deep appreciation of the place that we had been given to transform. This resulted in us reshaping our ‘advertising’ mission, adopting ethnographic methods and engaging with the people living along the banks of the SuZhou River.

Instead of attempting to change the place, we took inspiration from our surroundings in an attempt to give a ‘voice’ to the people of the site. Our general brief ‘advertising’ evolved into a much more in-‐depth analysis and recording of the place; its sights, sounds, textures, colours and the diverse view points of its inhabitants. We understood the site through the experiences and stories of the inhabitants and had ambitions to express the essence of the place from an inner point of view. We brainstormed methods of how to engage the people of the site in our ‘mission’ to advertise, through their voices, that they existed and lived there.

The group began the design process by finding a name for this community: the place with no name, the place not recognised as existing in the 2010 Shanghai Exposition plans. The place where hundreds of families built their homes, developed their businesses and lived sustainably. The first part of our mission was (through site visits, map research, discussion, iteration and working with the people on the site) to give the place an identity – a name.

Captivated with the number of graffiti ads common in the area (figure 8) we adopted techniques from advertising (especially guerrilla advertising) we combined both the cultural identity of the SuZhou River area – SuZhou� He with the exact geographical position (longitude and latitude coordinates) –� 31’144.121’274.� This was a starting point, the group giving recognition that this place, with no name, existed. SuZhou He 31’144.121’274 became the identity of the place and was made into a logo (figure 9) which was threaded through the creative process of Group 5 and the series of work which followed.

Figure�8:�Guerrilla�Graffiti�Ads�of�the�Site

3.2�Finding�the�‘Identity’3.0�Group�5:�Design�Brief

22

Figure�9:�The�Identity�of�the�Place�

23

With the identity of SuZhou He 31’144.121’274 established, Group 5 set out to further engage with the inhabitants of the place to find ways to bring out & celebrate the ‘voice of the place’. Applying a synaesthetic process (figure 10) we identified different ways in which communication through advertising media might work to capture the local perspective of their community.

It was through adopting ethnographic methods and engaging with the inhabitants of SuZhou He 31’144.121’274 that we began to really connect with the site and the brief. The Biennale and International Summer School themes of: architecture, urban space, cultural identity, memory, reconstructing the city, historical design and Shanghai city life, memory, space, life, wisdom, metropolitan expression, passers, home, density and livingness, remained at the forefront of design discussions, presentations and critiques.

With help from a Chinese translator we went to explore and document ‘the voice of the site’. We devised three investigations: ‘TͲshirts’, ‘Blue�Camera’ and ‘Sights�and�Sounds’ which will now be further explored. Together they illustrate ‘the voice of the site’. Each study is introduced by a title page which provides an overview and description of the contents and structure of what follows in terms of: 1) explanation illustrations (including aim, method statement and outcome) 2) preparation undertaken by the Group, 3) activity on site and interaction with the inhabitants of SuZhou He 31’144.121’274.

The overall objective and lasting impact of these recordings, narrative and photographic storyboards was that a memory bank recording life at SuZhou He 31’144.121’274 would be created. This was for the Shanghainese who have forgotten this traditional way of life and for the rest of the world to acknowledge its existence.

3.3�Finding�the�‘Voice’�

3.0�Group�5:�Design�Brief

24

Figure�10:�The�Synaesthetic�Process�

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SuZhou He 3

1’144.121’27

4.

As a gAs a group o

f explorers to

this new

exci ng dynamic site

we used a

Dictaphone t

o record the

sounds and

ac vity of the si

te and Photo

graphy

to record the

sights which ca

ptured

our aen on. Th

ese recordin

gs were

projected on

to a backdrop

of T-‐shirts

in the final

in the final e

xhibion.

[Method]

[Exploring]

[People]

To document the exploring of the site... the noises, the ac vi es, the people, and what we, as visitors, found inspira on in as we walked around the streets of the SuZhou River Bank.

[Aim]

[Places] [Ac vity]

67

The work created in the 2008 International Design Summer School was selected to be exhibited in the International Students’ Exhibition of Shanghai Biennale. The International Students’ Exhibition opened as part of Shanghai Biennale on 9th September 2008.

‘The�2008�Summer�School�installation�at�the�7th�Shanghai�Biennale�seeks�to�manifest�the�collective�sights,�diverse�viewpoints�and�sounds�of�a�‘Forgotten�City’,�which�is�being�ignored�

in�the�process�of�Shanghai’s�rapid�urban�transformation’��

(2008 International Design Summer School, 2008).�

‘This�students’�exhibition�generates�19�awards�including�gold�prize,�silver�prizes,�bronze�prizes�and�honourable�mentions.�The�gold�prized�was�won�by�‘Trans�Local�Motion�Shanghai�Streets’�created�by�2008�CAUP�international�design�summer�camp�of�Tongji�University’�

(Tongji University, 2008).�

�

The level of excellence in the project was recognised by the 2008 Shanghai Biennale committee who awarded the Tongji CAUP Summer Camp with their top exhibition prize of Gold�Award.

The following photographic storyboards, text and illustrations present the process of making the exhibition placed within the 7th Shanghai Biennale.

�

�

�

4.1�Exhibition�&�Award�Ceremony

�

4.0�Summer�School:�Outcome

71

The following set of Completed Project Profiles provides an overview to the works completed as result of the research themes:

x 01 streets for retail/ free street pedlars/ flea markets

x 02 streets for free culture/sports/ entertainment events

x 03 conversations with architecture spaces

x 04 ideal planning for street trees and plants

x 05 re-‐applied and used for street advertisings

Written by each group, and accompanied by a selection of process images, they present insight into each design team and include details of team members & a synopsis of completed works. These Project Profiles have been taken from the 2008 International Design Summer School Exhibition Catalogue (figure 11).

Following these Project Profiles are four photographic storyboards of:

x Group 5’s Exhibition in Situ at the Biennale

x The Complete Summer School Exhibition

x The Opening of the Biennale

x The Award Ceremony and Presentation

x The Gold Prize awarded to the 2008 International Summer School

4.2�Exhibition�Catalogue�

�

�

Figure�11:�Exhibition�Catalogue�

4.0�Summer�School:�Outcome

72

Theme:�‘streets�for�retail/free�street�pedlars/flea�markets’��

Concept�Statement:�The�life�of�a�street�vendor�influences�planning�decisions(figure�12)�

Design Team: Onno Blase, Clarissa Diaz, Xinkai Duan, Mats Lonngren, Rui Lu, Paola Monti, Minimin Shi, Zhuoran Wang, Yi Zhang & Junyi Zhenge. Mentors: Stefan Zinell & Jianwei Gao.

Synopsis:

Political and social decisions are often made at the top of the pyramid and are later trickled down to the base where they finally generate impact. Our project aims to reverse this process in taking the life of an individual as a starting point for urban planning, architecture, product and strategic design. In order to create the maximum positive impact we aim to combine commercial opportunities with possibilities for social change.

The general aim is to present solutions for incorporating diversity, density and quality of life into the site while respecting existing values, making the area more attractive to a broader audience while improving the professional abilities of its local inhabitants. Our solution on a general level is an urban strategy, consisting of a service network and an urban plan which are strongly defined by the commercial services along the riverside, the new marketplace, its pedestrian streets and dense compact housed with large communal spaces. Our service strategy, the ‘crafts network’ provides a framework for sales of crafts products and services, developing the areas commercial and professional opportunities making the area more attractive as a whole.

At the detailed level the street peddler moves through the neighbourhoods connecting the elements of the urban plan. The architecture draws its inspiration from traditional Chinese qualities and allows the peddler to move into these structures. His redesigned vegetable cart responds to the new environment allowing him to overcome ramps and adjust to his various needs. His important social function within the old Shanghai neighbourhood is not only preserved but increased by extending into new parts of the site, becoming the ambassador for the traditional Shanghainese lifestyle for the modern city.

Figure�12:�Group�1�Process�Images�

Project�Profile:�Group�1

73

Theme:�‘streets�for�free�culture/sports/entertainment�events’�

Concept�Statement:�‘Du�Wo’�–�A�design�Phenomenon�(figure�13)�

Design Team: Brian Frandsen, Sarah Jamieson, Raphael Krug, Betul Kurt, Liu Lei, Natasha Lops, Philip Maul, Zhang Qian, Konrad Regel, Xu Yingnan, Fran Zhong, Yang Wenqing & Fan Jiajun. Mentor: Marcus Bruckmann.

Synopsis:

Our project (ion) focuses on an area at Suzhou River in Shanghai, where growth, speed and time have different measurements than in the surrounding developed areas. It is a remarkably rich and extraordinary place.

But the project also works the other way round: us being the objects, the site being the subject. Therefore it is also about how the experiences we all had that enriched us.

Like the people living onsite, we use common materials and treat them in a straightforward way. But by putting additional content into it we fake and hack the usual objects we got information from before coming to Shanghai (internet services, travel guides) common objects for tourists staying in Shanghai (postcards, maps) and finally we assume a global hype in this micro-‐cultural system which we call ‘Du Wo’. By changing the way of perception we create a place to go to, to learn from and to use it as a very creative role model for urban societies with a lot of problems already solved, on which economically higher developed areas worldwide nowadays work on very hard: social connectedness, interaction of all kinds of human activities (living, working, leisure), being rooted in your life as an individual.

Do you Du Wo?


Project�Profile:�Group�2�

74

Theme:�‘conversations�with�architecture�spaces’

Concept�Statement:�SOͲHE!�Creating�a�selfͲsustaining�community�for�everyone�whole�preserving�the�rational�Shanghai�identity�(figure�14)�

Design Team: Arthur Leung, Ivo Tanis, Worapong Manupipatong, XING Zhang, Axel Undall, Prue Crome, Ying Zheng, Feng Chen, Xu Yaqing and Shen Ye. Mentors: Vera YU, Dirk Jehmlich, Xiaocun Zhu & Pius Leuba.

Synopsis:

With Shanghai’s current redevelopment process, it is easy to erase the traditional identity of Shanghai. The purpose of this project is to explore how we can preserve the identity, culture and the people at the Suzhou river area while trying to be as realistic as possible with the development plan.

The project is split into multiple parts, first a system for how the community would function. Urban plans for the site are based on the system according to the system plotting out development areas and infrastructural improvements. Small projects were developed to show examples of how the system could work.

Water Recycling System: We recognized the importance of water as a commodity in the future and so looked at a system collection of recycling might be applied to the area.

Affordable Housing Complex: With cost and the identity of the community in mind, we developed an open structure that would allow the local residents to participate in the creation of their own home and also preserve the openness of the community. This way, the identity of the community would be preserved within the area.

Over Water Public Square: A public space that connects the two sides of the SuZhou River.


Figure�14:�Group�3�Process�Images

75

Theme:�‘ideal�planning�for�street�trees�and�plants’

Concept�Statement:�嫦拢摛㆓倯▥�STREET�and�ALLEY�LANDSCAPE�(figure�15)�

Design Team: Huairou XU, Jia BAO, Manami IWABUCHI, Yunguan TAO, Liang LI, Song SONG, Chisa HAKAMADA & Jiin-‐sil KIM. Mentors: Yongqun CHEN & Qingsan CAO

Synopsis:

Making the City Green

MOVING GREEN

Everyone says we should make the site green, but HOW ? How do we fit in the narrow site?

Let’s make green by ‘greens’! So ‘the moving green’ is created. He doesn’t just walk on streets alone, sometimes they get together and become a bush or even a garden…… WHAT’S GOING ON???

PEDESTRIAN PATHWAYS WITH WATER BASIN

The unique water troughs form a unique street walk. This builds the leisurely and carefree old Shanghai character and style. It unifies with the city, creates the green metropolis.

DOORS

We can see every family’s life, because everyone doesn’t close the door. They communicate with each other. Visitors can understand their life by doors, and QUESTION why do we always close doors?

SUDARE BAMBOO

To introduce greenery into the alley we have explored as stems of planted screens.


Project�Profile:�Group�4�

76

Theme:�‘reͲapplied�and�used�for�street�advertisings’

Concept�Statement:�VOICE�OF�SUZHOU�CREEK�Ͳ�using�techniques�from�advertising�to�express�the�essence�of�the�place�from�an�inner�point�of�view�(figure�16)��Design Team: Dominik Premauer, Lesley McIntyre, Ian Harrison, Lobke Rozemarjin, Alice Mela, Aurora Rapalino, Yiting Wang, Chiyu Chen & Yiying Lu. Mentor: Gabriel Wartofsky.

Synopsis:

The installation seeks to manifest the collective sights, diverse viewpoints and sounds of this ‘Forgotten City’, which is being ignored in the process of Shanghai’s rapid urban transformation.

The group began this recognition process by finding a name for the Suzhou community. Fascinated with the number graffiti ads common in the area, we combined both the cultural (Suzhou River Area) and geographical (coordinates of area on a map) identities of this area into one logo. The colour blue was chosen for its association with the qualities and characteristics of the community: calm, clean, loyal, and surrounded by water.

We then set out to apply a synaesthetic process to visually document the voices of the people, to document the local’s perspective of their own community using photographs, and to record the sounds of the community to act as auditory memories for those Shanghai inhabitants who have forgotten this traditional way of life. We documented the voices of the people by giving them T-‐shirts to write their opinions of the community on. We then gave them disposable cameras to photo-‐document their view of their community, and recorded the sounds of the area whilst navigating through its streets.



83

From day one the International Design Summer School attendees were immersed within an intensive research & design program composed of site visits, design & architectural lectures and work-‐shops & presentations. We had fourteen days to engage with the design briefs, generate outcome & then present this work within the 2008 International Summer School Exhibition of the 7th Shanghai Biennale.

We (Group 5) experienced the magnificence of one of the largest cities in the world as we worked together to advertise the rich culture, tradition and voice of a community living along the banks of the SuZhou River. This intense design period, to satisfy the design brief and work within the themes of the Shanghai Biennale, was both thrilling and demanding. Brainstorming, mind-‐mapping and creative dialogue with other team members were the stages of the design process which were most inspiring and enabled us as a team to progress the brief and outcomes. As opposed to changing anything about the site, we wanted to work with the people of SuZhou He 31’144.121’274 and use methods to discover insights about them as a community and as individuals who live, work and play by the banks of the SuZhou River.

Throughout the research and design process there was a lot of iteration, focusing and staggered progression as we worked to create outcomes for consideration for exhibition in the Shanghai Biennale. We worked well together as a group of multidisciplinary creatives and were thrilled when the work was selected to appear within the overall exhibition and was presented with an Award. Inspirational snap-‐shots were recorded through photographs, sounds and narrative and some of my favourite photos have been taken at this Summer School (both my photographs and the remarkable images captured by the people of SuZhou He 31’144.121’274).

Visiting Shanghai and being immersed within the International Design Summer School was an amazingly creative, rich and inspirational experience. This ‘Architectural Design Adventure’ has provided a significant contribution to my portfolio and will have a long-‐lasting impact on my future research projects.

5.0�Conclusion�&�Reflection5.1�The�2008�International�Design�Summer�School��

84

Martin Jones bequeathed this scholarship to enable a student of Architecture to ‘pursue a personal line of creative investigation and research’ (Royal Incorporation of Architects in Scotland, 2007/2008). I was awarded this scholarship one year into the process of undertaking my Ph.D. As the 2008 Martin Jones Scholarship holder I am extremely grateful for the opportunities & experiences that this prestigious architectural award has provided.

At a critical time in my research career the scholarship has enabled me to travel, explore, take photographs, write, broaden my architectural design horizons and work with multi-‐disciplinary creatives from around the world. I have been able to independently explore many multifaceted aspects of architecture and design, work with my design group and the people of SuZhou He 31’144.121’274 and be immersed within the exciting context of the 2008 International Design Summer School and the 7th Shanghai Biennale. This would not have been possible without the support of the Martin Jones Scholarship.

The legacy of this scholarship is that it has presented me with experiences which have enhanced my knowledge of architecture, urban studies, design process, participatory involvement and creative collaboration. These experiences have made me, as an architectural designer and researcher, even more excited about different aspects of design, architecture, research, advertising, communities, ethnographic methods and future collaborations.

The new skills acquired, friendships made and work completed within this period of research and design have added rich and diverse elements in enhancing my architectural and design portfolio. The lessons discovered, discussions had, and methods adopted at the 2008 International Design Summer School have positively impacted on my subsequent research. They will have a lasting influence on my creative development as I continue to mature as a researcher and designer within the discipline of Architecture.

5.2�The�Martin�Jones�Scholarship5.0�Conclusion�&�Reflection

85

7th�Shanghai�Biennale:�

http://www.tongji.edu.cn/english/classidͲ61ͲnewsidͲ32836ͲtͲshow.html

http://www.shanghartgallery.com/galleryarchive/exhibition.htm?exbId=1759�

2008�International�Summer�School:�

http://2010en.shanghaibiennale.org/content.php?nid=22

References:��2008 INTERNATIONAL DESIGN SUMMER SCHOOL (2008) Exhibition For 2008 Summer Workshop. Shanghai. ARTINTERN CORP (2008) The 7th Shanghai Biennale. (online) Accessed 9th February 2012 COLLEGE OF ARCHITECTURE AND URBAN PLANNING (2008) CAUP�International�Design�Summer�School�2008�

Handbook,�Shanghai, Tongji University (Unpublished Work) DEPARTMENT OF SCULPTURE CHINA ACADEMY OF ART (2008) 7th Shanghai Biennale-‐Translocalmotion.

(online) Accessed 9th February 2012 http://fiberartnow.com/index.php/web/studio/post/56 JACOBS, J. (1961) The�Death�and�Life�of�Great�American�Cities,�New York, Random House. MCINTYRE, L. (2011) The Way-‐finding Journey within a large public building: A user-‐centred study of the

holistic way-‐finding experience across a range of visual ability. Dundee� School� of� Architecture.�Dundee, University of Dundee.

QING, Z. (2008) Press release: 7th Shanghai Biennale 'Translocalmotion'. (online) Accessed 9th February 2012 http://universes-‐in-‐universe.de/car/shanghai/eng/2008/press/shanghai-‐biennale-‐2008.pdf

ROYAL INCORPORATION OF ARCHITECTS IN SCOTLAND (2007/2008) Martin Jones Scholarship & Award. IN MCINTYRE, L. (Ed.) Dundee, Royal Incorporation of Architects in Scotland (RIAS).

TONGJI UNIVERSITY (2008) “Trans Local Motion” International Students’ Exhibition of 2008 Shanghai Biennale Undertaken by Tongji University. (online) Accessed 4th October 2011 http://www.tongji.edu.cn/english/classid-‐61-‐newsid-‐32836-‐t-‐show.html

Sources�of�Publication &References�

6.0�Further�Information

Documents

The Voice of Suzhou He