No word appears on any of the drawings. The project is read through what is drawn and nothing else, which keeps the reading open and holds the silence the place asks for. 

Two hectares in Shanghai are treated as public ground in constant change, crossed and used like any other part of the city. The graves are modular semi-hollow elements that belong to no religion in particular, so the same form can receive different rites and different ways of remembering. 

The plans take their geometry from the I Ching, the book of changes, so that the drawing carries the idea the project is built on.

I made this entry on my own while I was still a student, on an exchange semester abroad. It sits on the line between visual research and design: the representation is the argument, and the two were developed as one thing.