Spatial Progression 34
On the way to water, developing a space-in-motion is the third approach. In this
spatial progression, every transition-- from earth to the bridge, from the dark to the
light, from the bridge to the elliptical volumes containing the building’s secondary
functions--reveals the dynamism of this spatial sequence.
C
1. Lobby Area
2. Theater Ticket Booth
3.Theater Refreshment Booth
18 4. Student Dinning Room
5. Faculty Dinning Room
6. Vending Area
7. Serving Area
8. Dishroom
9. Kitchen
17
9 10. Video Game & Vending Area
7 11. Mechanical Room
19
16
A
13
8
12
6
4 3 2 27
5
35
14
A 25
11
24
12. Post Office Lobby
13. Working Room & Receiving
14. Radio Station Working Room 22
15. Secretary 23
16. Waiting 21
17. Conference Room
18. Administer Office
19. Newspaper Working Room 20
20. Display Area
21. Checkout Counters
22. Manager Office
23. Assistant Manager Office 26
24. Book Storage
25. Loading Deck
26. Game Room
27. Ramp
SECOND FLOOR C FIRST FLOOR
9
7 11
10
12
8
1
36
1. Gallery
2. Projection Room
3 3. Seating
4. Stage
5. Stage Storage
6. Cafe
7. Meeting Rooms
8. Ball Room
9. Chair/ Table Storage
10. Conference Room
11. Student Organization Office
4 12. Student Council Office
0 10 20 30
THIRD FLOOR
ELEVATION
DESIGN CONCEPT
How to animate the long path is an important question. I studied the design concepts of Beijing Sum-
mer Palace for reference.
38
Beijing Summer Palace is widely known for its 723-meter-long corridor connecting a group of histori-
cal buildings. Many principles of the Chinese traditional garden were applied in this design. The main
design concept is to create various views along the path of motion, by which the garden efficiently
organizes the long path and the buildings.
The Conceptural Analysis of Beijing Summer Palace
During the 500-foot-long path in my thesis project, I designed three sequential spaces
to create various views along the path of motion - the ramp, the lobby with volumes con-
taining the building’s secondary functions, and the dining space above water.
39
As a prelude, the curved ramp welcomes people to visit this place.
Study of Sequence
The lobby is the second space in the sequence. The spatial stairs, steel umbrellas and two
small bridges animate the big space.
The steel columns combine a curved line in the lobby; people walking through can feel the
permeable space. 40
The hollow columns have two functions: Inside the column are spaces for utilities; The hollow interior also brings
the sunlight into the space. 41
42
Interior Study - Relation between beam, wall, and objects
The end of the journey is the dining space above the duck pond. The overhanging balcony
in the dining room provides an elegant place for people to eat, to enjoy nature, to watch the
other people.
43
Here, I attempted to create a view which a Chinese poet described in his beautiful poem
‘Fragment’ seventy years ago.
The dialogue among Architecture, Nature, and People
Fragment
You are enjoying views on the bridge
Someone is watching you on the balcony
44
The moon adorns your window
You adorn someone else’s dream
BIan zhilin,1930
Briefly, the poem is about the relation between reality and dream. Here, It completely describes the relation between architecture, nature, and people.
Views of the Progression
Views of the Progression
Here, the red panels of the steel truss with their regular geometry and the picturesque natural landscape of the duckpond enhance one another,
creating a kind of harmony by contrast...
SUMMARY OF THOUGHTS
Looking back at the design process, I explored the
meaning of spanning, structural expression in design,
and I was impressed by an unmeasurable space where
nature and architecture merge into one.
I regard this thesis project as a significant step in my
architectural life. For me, the documentation of the
work offers me opportunities to rethink some ques-
48
tions about materials, light, space and the spirit of ar-
chitecture. The big achievement from this work is my
deeper understanding about structure, which, in most
of my former works, was hidden unhappily. Another
achievement is my understanding about the difference
between the professional and the architect of one’s
aspirations. As Louis Kahn said, “You can become an
architect professionally overnight, but to feel the spirit
of architecture from which one makes his offering takes
much longer”.
I would like to take this long journey joyously.
A C K N O W L E D G E M E N T
I dedicate my thesis book to those who supported me,
encouraged me, and loved me during the two years in
Blacksburg.
Thanks to my family. Your consistent supports encour-
aged me to finish the two years of study in Virginia
Tech successfully.
49
Thanks to my committee members: Bill Galloway,
Heiner Schnoedt, and Michael O’Brien. All your insight
and knowledge on architecture not only inspired my ar-
chitectural concepts in the past, but also encouraged
me to become a mature architect in the future.
Thanks to my beloved friends-Benjamin, Elon, Ying,
liwen ,and everyone in our studio. I am so happy that
I met all you two years ago in Cowgill and I enjoyed
every minutes that we spent together.
I will miss all of you...
B I B L I O G R A P H Y
Peter Blake, The Master Builders, Alfred.A.Knorf, New
York, 1961
John Lobell, Between Silence and Light: Spirit in the
Architecture of Louis Kahn, Boulder:Shambhala, 1979
Richard C.Levene, El Croquis 44 Tadao Ando, 1972
50
Peng Yigang, Analysis of The Traditional Chinese Gar-
den, People’s Republic Publisher, 1976
MichellenYeh, Anthology of Modern Chinese Poetry,
Yale Press, 1992
Virginia Tech’s Webpage of Campus Master Plan,
1994
VITA
Yongmei Gao
August 10th, 1972
2003-2005
Master of Architecture
Virginia Polytechnic Institute and State University
Blacksburg, Virgina 51
1995-2002
Architectual Designer
IPPR Engineering International
Beijing, China
1990-1994
Bachelor of Architecture
North China University of Technology
Beijing, China
