Mango Malanshan Cultural Plaza
Mango Malanshan Cultural Plaza
Regional Studio
ARCHITECTS
Regional Studio
LEAD ARCHITECT
Wei Chunyu
LIGHTING CONSULTANT
Ldmk Lighting Design Inc. (Hn)
MANUFACTURERS
Dongguan Xinrong New Material Co.，ltd, Foshan Xiangzhongshengjin Metal Building Materials Co., Ltd., Guangdong, China, Xianning Csg Energy Conservation Glass Co.,ltd
INTERIOR DESIGN
Changsha Shima Architecture And Interior Design Inc、hmd Interior Design Inc
DESIGN TEAM
Liu Erxi、jiang Kangning、li Yifei、xiao Qian、ou Yangsheng、cao Kaiyuan、pei Weihua、ren Rong、ji Ruirui、ding Zili、cai Shenglin、liu Siyu、liu Qian、zhou Huan、zhang Jingcao、yang Ruyan、cao Guang、liu Xingyu、wang Rui、chen Xing、cai Fuqi、zhang Yi、you Ruoxuan、ye Yuqi、hou Shuaidong、xie Zifei、lei Lei、bai Zhe、ren Yaqian、ma Weiqian
HUNAN UNIVERSITY DESIGN AND RESEARCH INSTITUTE CO LTD
Luo Xuenong、wang Xin、zhu Jianhua、deng Yuan、liu Jian、zhang Ning、luo Yilun、zhou Hongyang、li Cheng、zhong Ming、liu Fuhua
PHOTOGRAPHS
Haohao Xu, Jinquan Kong
CLIENT
Hunan Malansha Mango Industrial Co,.ltd
CONSTRUCTION
China Construction Fifth Engineering Bureau Corp.,ltd.
AREA
55016 M²
YEAR
2023
LOCATION
China
CATEGORY
Cultural Center
Mango Malanshan Cultural Plaza explores the fluid and indistinct figure-ground relationship between the city and architecture. It aims to dissolve the closed boundaries of conventional architectural forms and revitalize daily urban life.
The project is located at the Malanshan Video Cultural and Creative Industry Park. Research has shown that media professionals, the primary users, have significantly irregular working hours, locations, and teams.
Media production requires a seamless connection with society, which can be challenging to achieve in enclosed, container-like spaces.
The project attempts to construct a spatial system of ‘Settlement as Creative Workshop’ in its design, and intertwine this system with the city, which serves as the ‘ground.’
This approach makes its spatial production mode align with the real behaviors and patterns of media production.
Blurring Figure-Ground Relations. The ‘Settlement as Creative Workshop’ consists of 12 concrete boxes, distributed randomly and freely across the site, oriented at various angles.
These boxes create a dynamic landscape of staggering, movement, wrapping, and rotation in scattered perspectives. The ground floor outside the boxes is elevated to create ‘void space’ for both the city and its citizens.
Unlike the clear and distinct figure-ground relationships of traditional streets, this project cancels boundaries and blurs the figure-ground relationship, creating a fluid interaction between the built forms and open spaces.
The ‘gap space’ is formed between the boxes: the rising ‘shallow hills’ sandwiched between boxes create a ‘gap space’ for commercial functions; boxes close to each other form narrow ‘gap spaces’ reminiscent of the sky slits seen in traditional dwellings; sunken steps and ramps between boxes form ‘gap spaces’ that act as pathways.
These ‘gap spaces’ enrich the ‘void spaces’ and enhance the social experience of public space. The relationship between ‘void space’ and ‘gap space’ echoes the integrated boundaries between architecture and nature, similar to a settlement.
The ‘Settlement as Creative Workshop’ and the city interpenetrate and communicate with each other.
Multi-dimensional Figure-Ground Relations. The figure-ground relationship is also evident within the ‘Settlement as Creative Workshop’ itself.
The transparent inner receding curtain and the solid fair-faced concrete form the figure-ground pattern of the interface.
A large shared lobby occupies the elevated space, offering non-office and non-practical functions such as cafes, bookstores, exhibitions, and performances. Thus, elements like verandas, courtyards, platforms, and lobbies create the ‘Figure’ of the architecture.
However, as one strolls through it, these elements also feel like parts of the city, resembling miniature squares and streets, which should be considered the ‘Ground’ of the city.
Ultimately, distinguishing between ‘Figure’ and ‘Ground’ becomes less important; what matters are the sensations of light, wind, vision, and experience while inhabiting these spaces.
