Instreet Beijing

 

Text description provided by the architects. Building on a solid reputation for urban regeneration and renewal, Kokaistudios recently breathed new life into an overlooked and underused Beijing street. Drawing on design interventions including a network of canopies and increased seating, the project overhauls a neglected district to set a new benchmark for China’s public spaces.

Kokaistudios was recently commissioned by property developer CR Land to redesign Galleria-Instreet (Hereinafter referred to as “Instreet”) in central Beijing. Calling for interventions both large and small, the extensive urban renewal project has transformed what was previously an underused, sparse space by injecting all-important human scale to invite public participation. The result is a clear flow to this formerly disjointed thoroughfare, as well as community-focused lifestyle elements to cater to both residents and visitors.

Located in Chaoyang District in the northeast of Beijing, Instreet is now representative of a hybridized public space prototype that is becoming increasingly popular in Chinese cities. Comprising commercial functions as well as residential, and typically pedestrian, they feature lifestyle elements aimed squarely at communities. In the case of Instreet, these include children’s play areas, a network of canopies to provide welcome shade, plentiful public seating, and flexible spaces for markets, concerts, and outdoor events of all kinds.

Despite several core landmarks - namely, a main entrance to both Phoenix Mall plus Sanyuanqiao subway station, as well as a long-redundant concrete bridge - the street lacked visual unity, its various elements disparate and unconnected. An absence of public seating contributed to not only the street’s empty feel, but also its non-human scale.

Kokaistudios’ first action was to demolish the concrete bridge that once connected the two ends of Instreet. An unnecessary feature along an already pedestrianized route, and disliked by locals, it was largely unused. Furthermore, it brought the negative effect of obstructing the line of sight from one end of the street to the other. Its razing opened up the space significantly, further highlighting the street’s distinct lack of character. At the same time, the bridge’s demolition presented multiple opportunities for design interventions.

A total re-landscaping of the area saw the introduction of instruments aimed at encouraging public interaction and use. In particular, a network of canopies running the length of the street visually interrupt the otherwise empty space. Not only does the string of shelters provide welcome shade, come nightfall they light up in a way that is not only atmospheric, but also brings safety and security. Resembling an archipelago, they are designed as oases of various activities. These include a children’s play area; clusters of green planters; as well as plentiful benches. At the centre is a versatile open-air platform for events of all kinds, further opening Instreet for future actions and possibilities.

Smaller interventions also play a part in Instreet’s redesign. For example, an intricate rain collection system and custom-made elements such as steel tree root guard meshes are representative of the project’s close attention to detail, and elevation in quality on what was previously in place.

Frontages of existing commercial tenants, as well as future ones, have also been given an overhaul. That includes a new louvered facade to a multipurpose facility comprising a gym, restaurant, and private club for residents. Now more visually and thematically linked, a mainstay of F&B outlets feature extended terraces, surrounded by planters. The smart wooden decks, combined with rough stone elements, as well as additional trees all make for a pocket of nature in the heart of Beijing. The overall effect is welcoming, comfortable and in keeping with Instreet’s refined lifestyle focus.

Completed in 2020, Instreet’s shift from underused, disjointed and bare, to a space that invites interaction through attractive, useful, and flexible facilities has been transformative both for residents, as well as the area’s economy. Now attracting higher-end businesses, as well as community initiatives by way of its multipurpose, open-air events platforms, the urban renewal project sets a benchmark for public space design in China.

Source: ArchDaily

Glass Public Toilet

Design statement from the architect Shigeru Ban:

There are two things we worry about when entering a public restroom, especially those located at a park. The first is cleanliness, and the second is whether anyone is inside. Using the latest technology, the exterior glass turns opaque when locked. This allows users to check the cleanliness and whether anyone is using the toilet from the outside. At night, the facility lights up the park like a beautiful lantern.

Shigeru Ban was born in 1957 in Tokyo, Japan. Established Shigeru Ban Architects in 1985. Founded the NGO Voluntary Architects Network (VAN, now an NPO) in 1995. Besides designing houses and museums, Ban is also involved in disaster relief activities. Recipient of numerous awards including the Pritzker Prize (2014), the Commandeur of the Ordre des Arts et des Lettres (2014), and the Mother Teresa Memorial Award for Social Justice (2017).

Source: The Tokyo Toilet

Old Is The New Gold

Sia Boey is one of the overdue and much anticipated urban rejuvenation project in Penang. The place played an important role in the early days of George Town but was later neglected to dilapidated state due to urban development in the vicinity. A lot of talks since then but no sign of any progress until recently. Photos of a drain teeming with Koi fish were being circulated in the social media for the past few months and have created quite a buzz among the netizens. It was touted to be the next big thing in Instagram friendly places in Penang. Finally it was opened to public recently. Official announcement from Buletin Mutiara below:

THE country’s first Urban Archeological Park at Sia Boey site (in the vicinity of Prangin Mall) was officially opened by Chief Minister Chow Kon Yeow this afternoon.

According to Chow, the park, which is part of the Komtar Phase 5 development project (total area of 5.73 acre), would be instrumental in telling the history of George Town.

The Sia Boey site is flanked by Jalan Dr Lim Chwee Leong and Jalan Magazine.

“Sia Boey was the trading hub during the earlier days in George Town and its activities were centred at the Prangin Canal where the 19th century Market Hall and shoplots are located.

“The Sia Boey Rejuvenation Project was launched on March 25, 2018 and the purpose of the project is to transform Sia Boey into an area of existing development as well as conserving heritage, green parks for a sustainable development.

“The project is also expected to add value to George Town’s Unesco sites since Jalan Lim Chwee Leong, where Sia Boay is situated, is considered to be the border of the Unesco heritage sites.

“The site (Sia Boey) is regarded as the buffer zone (Unesco heritage site), therefore it is important to retain its historical values,” added Chow.

The Chief Minister was accompanied by state Tourism Development, Arts, Culture and Heritage Committee (Petach) chairman Yeoh Soon Hin, Komtar assemblyman Teh Lai Heng, Pengkala Kota assemblyman Daniel Gooi and Penang Island City Council mayor Datuk Yew Tung Seang.

“I hope that the renovated Market Hall, which will be open for public use, will be fully utilised.  Those who are interested in renting it can contact the PDC Setia Urus,” Chow said.

Part of the Sia Boey site will make way for the construction of the proposed LRT station under the Penang Transport Master Plan.

The Sia Boey Rejuvenation Project project is undertaken by the Penang Development Corporation (PDC) with the collaboration of George Town World Heritage Incorporated (GTWHI) and Centre of Global Archeological Research USM.

Also present was PDC general manager Datuk Mohd Bazid Abdul Kahar.

The name ‘Sia Boey’ means the tail of a settlement in Hokkien and the Malays refer the site as ‘Ujong Pasir’ whereas the Tamil community calls it as” Kaalai Kadai’ during the 19th century.

Story by Tanushalini Moroter

Pix by Law Suun Ting

Source: Buletin Mutiara