Not a claim of authorship, but the design thinking and spatial strategy I contributed to an elevated linear-park project. Faced with three disconnected urban states — street, interchange, station — how one sequencing spine stitches them into a continuous walk, and how the trickiest sunken junction becomes the scheme's highlight.
The site spans three utterly different urban states: at one end, street-level commercial energy; at the other, station commuter flow; and between them, the trickiest node — a sunken level with parking on the left, a museum on the right, where ground and underground flows cross.
They are severed from one another, with no spatial thread to organize the four user groups — residents, commuters, drivers, museum visitors — into one.My read: the problem isn't a missing park, but a missing narrative.
My core idea: one continuous walking spine that strings the three zones into a spatial narrative with rise and resolution. Each zone carries its own mood and function, yet shares one design language — linear paving rhythm, cantilevered viewing pockets, sightlines bleeding between levels.Not three parks — one continuous experience.
Prologue. Takes up street-level flow and commercial energy, drawing visitors in with open paving and linear seating.
AThe most complex pivot. Parking on the sunken left, museum on the right — activated across two levels via cantilevered decks and a sunken atrium.
BCoda. Merges into the station's commuter flow, landing the narrative at a tightening spatial scale.
C"Zone B isn't a plaza — it's a confluence of four flows."
Mapped the entry/exit paths of four user types, identifying Zone B as the core conflict where parking, museum, ground and station converge.
Set the A–B–C sequence, giving each zone its own mood and function while keeping paving and component language continuous.
Introduced cantilevered deck pockets and a sunken atrium so the ground park and the sunken parking/museum interpenetrate in both sightline and movement.
Used cantilevered viewing pockets and linear paving rhythm as a motif across the whole line, stitching three zones into one whole.
On-site survey; mapped entry/exit paths and conflict points of four user types.
Defined the A–B–C sequence and each zone's mood.
Section studies of the sunken atrium and cantilevered decks.
Unified the component language; produced the scheme renderings.
Three once-severed urban fragments, organized under my sequencing framework into one rhythmic spatial experience. Most of all: Zone B turned from the hardest problem into the scheme's most recognizable dual-level node — the difficulty became the highlight.
Each page a 点, each link a 线, the whole a 面. Hover a node to trace its connections.