However, with the gradual development of the narrative, metaphorical polysemy emerges. In terms of layout, the water drop shape is placed diagonally into the site, which not only elongates the moving line from the city interface to the entrance, but also makes the water drop shape more intuitive in front of the eyes. The profound eaves overhang and large area glass applications create a directionless floating roof, which presents a charming tranquility with the swaying shadows of the trees. The building does not have a clear main entrance.

Three exposed diagonal wooden posts are used to define the entrance space at the front. The cross section size of the wooden posts is similar to that of the surrounding tree trunks, which makes it easier to blend into the environment visually while enhancing the floating sense of the roof. To enter the exhibition space from the front, visitors will enter a lower transitional space under the eaves, and then gradually move to the space under the leaf-shaped skylight, which is covered with light. We deliberately control the interference of excessive direct light through the size of the skylight, so as to ensure the soft and quiet space atmosphere inside.

The project was completed in the form of wooden structure. The biggest challenge in the process of project implementation is the large span and overhang in the structure. After several rounds of structural tests, the final shape is this umbrella-shaped spoke-type arched architecture scheme, which is formed by inner, middle and outer circular steel beams and 68 radial red pine beams. A Floating Water Drop | Tianjin Zexin Exhibition Center The project is located next to a meandering tributary of the Yongding River.

In this vast expanse of grass, the external place is not clearly defined, and the relationship between the building and the place presents a sense of spontaneous floating. The design started with the roof, and we initially tried to use symbolic architectural language to establish a connection with the historical environment. This is like a crystal clear water drop quietly dissolves into the endless winding river. However, with the gradual development of the narrative, metaphorical polysemy emerges.

In terms of layout, the water drop shape is placed diagonally into the site, which not only elongates the moving line from the city interface to the entrance, but also makes the water drop shape more intuitive in front of the eyes. The profound eaves overhang and large area glass applications create a directionless floating roof, which presents a charming tranquility with the swaying shadows of the trees. The building does not have a clear main entrance. Three exposed diagonal wooden posts are used to define the entrance space at the front.

The cross section size of the wooden posts is similar to that of the surrounding tree trunks, which makes it easier to blend into the environment visually while enhancing the floating sense of the roof. To enter the exhibition space from the front, visitors will enter a lower transitional space under the eaves, and then gradually move to the space under the leaf-shaped skylight, which is covered with light. We deliberately control the interference of excessive direct light through the size of the skylight, so as to ensure the soft and quiet space atmosphere inside.

The project was completed in the form of wooden structure. The biggest challenge in the process of project implementation is the large span and overhang in the structure. After several rounds of structural tests, the final shape is this umbrella-shaped spoke-type arched architecture scheme, which is formed by inner, middle and outer circular steel beams and 68 radial red pine beams.