MAD no doubt is one of the most recognized architectural practices in China and worldwide. Every year, MAD receives countless job and
internship applications. To be able to work at MAD will definitely enrich your career as even though the people working here might have been
lucky, but are undeniably outstanding. What could possibly be on the minds of the MAD interns?
Who is your favourite architect? Why?
There are many architects I aspire to; simply reducing it to a list will not do them justice. This list is not be limited to starchitects, in factit
includes many instructors that have taught me through my architectural educations and collaborators I have had the privileged to work with
in Sydney and around the world in recent years. They are all my ‘favourites’. If I must give an answer based on requirement, Smout Allen,
there Series Architect is one of many I admire. Their representation of architecture reflects so many possibilities in architecture communication
and allowing endless interpretation opportunities for its spatial quality.
What is the major characteristic of your current school’s education?
University of Technology, Sydney is a very young university and the architectural staff is also the same. But this makes it a major
characteristic because the young team brings great energy to the school, and is not afraid to try out the latest technologies and challenge
the current architectural debates. I encourage you to visit http://utsarchitecture.net/ & http://www.dab.uts.edu.au/architecture/index.html to see
the latest and up to date information, to judge for yourself what the major characteristics of University of Technology, Sydney in Australia are at
the moment. May be you’ll find something interesting and unexpected.
What have you gained during the MAD internship?
What is gained is not simply a short answer. Overall I have gained is the insight into MAD, reflected through each projects, architects and
interns. Most importantly, to recognise there is always a team of experts that makes any architecture possible.
What are your thoughts and feelings upon Chinese Architecture and the environment? Any suggestion?
I see so many opportunities to realise many great architectural proposals. The phenomenal speed of development gives every architect the
confidence their proposal will not easily top short on paper. It can be understood the architectural development in China is a complex one. If
some day the individual citizen is able to have a voice about the ‘architecture’ rather than the ‘building’ in their surroundings, Chinese
architectural development will see a new change, and that is something I look forward to.
What is your dream?
I don’t quite like to use the term ‘dream’, but I do believe in imagination and rigorous thinking. If I must give an answer, then it would be to
never just simply ‘dream’ it, but get given the opportunity to realise it. Being able to practice as an architecture and also be able to research
asan academia wouldn’t be a bad idea.
What would you do if you were not an architect?
If I weren’t an architect I would still hope to be in the creative industry. The impact and benefits of creativity in our life cannot be underestimated.
What is your dream project?
The use of ‘dream’ would indicate it cannot be realised, I would hope to see all projects I participate in the future to be challenging rather than
a ‘dream’. This will be not limited to the size of the project or even the monetary value of the project. May be it is to be able to have a project
that involves many creative professionals such as fashion designers to movie directors, to move away from the conventional architectural team.
What is your favourite project in your portfolio? Why?
Every project is a favourite, because every project I have undertaken proves to me the boundless territory architecture can take you to.
有不少建筑师都可以被我列为‘最喜欢的’;简单地一一列出并不能表示我对他们的敬意。 这份名单不仅限于明星建筑师，也包括了在我建筑学习过程所有教导过我的老师，以及在悉尼和来自世界各地，我曾荣幸地与之有机会合作工作伙伴们。他们都是我 “最喜欢的”建筑师。如果我必须按要求给一个答复,他们是Smout Allen,还有Series Architect。他们对建筑的呈现方式让我看到建筑的无限可能性。除开传统的平立剖，那些表现图所包含的层次非常丰富，具有很多层面的解读性。
UTS Library 2020
This is an era where we see bookstores shut the doors because eBooks don’t need a storefront to reach its reader. This era will see learning curriculum for schools change to catch up with technological advancement, as the next generation demand necessary technical skills in our working life. The era will see the library that once held papers, books andanalogue media to be redundant and replaced. The library will need to transform into a new building type to meet new demands. The library is no longer just storage for books. In this era, library building type will be challenged for its programmatic use, advance learning will take place in this site, and library visitors will no longer be satisfied with simply finding the hard copy of the books they’ve been searching for. Then how can this library be in 2020 to be competitive enough for its survival in program and building type?
在当今这个时代，我们将看到传统书店关闭，因为电子书不需要依靠店面进行销售。顺应时代发展, 为满足下一代的需求, 学校课程也将改革以便赶上科技的进步，我们学习日常工作生活上必要的技术技能。这是一个传统纸媒将被许多新媒体取代的时代。图书馆的定义也必须重新更换以符合这新新时代的要求。图书馆不再只是书籍的储存库。图书馆的建筑功能将受到挑战。此方案是提倡学习高科技的场所，在这里来图书馆的学者不再仅仅满足于找到他们所需要的书籍。那么如何才能让这图书馆从构思到建筑类型到了2020年能有足够的竞争力？
In collaboration with Melissa Riley and Ben Yee
This project explores how computational code can be used as a generator for design and structural control, testing of geometry and develops systems appropriate to large scale urban buildings and development. This is computation rather than computerisation. Computation is used to evoke architectural and structural responses to systems associated with designing for very large projects. We recognize the failings of megastructures. The advancement of computation now encourages us to explore unprecedented architectural design and construction process. As we revisit megastructures in current times, how can we learn socially, philosophically, technically, urbanely? Even make possible once again in this age of fast pace urbanisation? We begin this process by proposing an evaluation of assemblies against totality.
In collaboration with Andrew Toland, Melissa Riley and Albert Quizon Recent discussions have focused on its relationship between type, to other types, and to the role of type in forming the city as a whole. The central concern in collective transformation has not been what drives or how to bring about the individual transformation of a single instance of a type or types, but how a type transforms en masse, in an array, series, repetition, cluster, bundle, family or collection.
The studio brief was not constrained by a geographic location, its context is not a material condition but an abstract space of experimentation enmeshed in the historical discourse around the notion of type. This discourse provided an initial criterion of decisions about type and typological transformations to be evaluated against. Questions engaged during the studio were‐ what constitutes meaningful difference versus mere variation? Is it possible to use type and typology to sponsor true diversity? As clusters and groups of types can we explore moments of transition between dependence and autonomy?
Site conditions are essential to the study of typology. Each cluster of type aggregates differently as it is implemented on various site conditions. Our research agenda required the design of a site terrain with dramatic topographic variation to examine how type is responsive to variation of site context. The artificial setup highlights the need to consider the model as a material space for examination rather than a coherent functioning urban site.
此方案不受地理位置的限制，其环境也脱离物质条件的约束，但在历史建筑类型的概念里，各方位植入抽象的实验空间。这种语境提供了一个初步的，有关建筑类型和类型转换的设计决策标准并对其加以评估。每个类型的聚合集群不同，因为它是根据不同的基地条件实施。此设计研讨配合基地的地形变化所需什么样的设计，研究如何利用建筑类型变化作出对环境，地形 和人生活空间的适当反应。模型的设定仅供实验， 而不是企图实现一个完整运作的城市。
The low rise type in our design is a manifestation of instances of a row house type that has either deep overhangs or a roof terrace (both elements of climate response). It needs to be highlighted; type cannot exist without a context. The limitation of this evolution is based on contextual influence. This context can itself be a form of type at a different order of scale.
The concourse is an elevated datum that operates infrastructurally across scales. The concourse provides point to point connectivity across the urban fabric effectively nesting two or more tower assemblies together, both structurally and through circulation, while simultaneously providing shading over several urban cells effectively creating a layer of nesting beyond the scale of the urban grid. The high rise is intended to examine a different mode of spatial arrangement ‐ that of the multiplication of floor space.
This collective performance creates a number of opportunities that were explored in the model. As the individual towers are freed from the burdens of self support they can physically segregate creating a pocket of stacked floor space while simultaneously creating a mid level open air sky lobby. The towers also have the ability to lean away from each other, both in the upper and lower segments. The upper segments potentially lean away increasing their overshadowing impact while simultaneously opening up a central atrium through the centre of the cluster, while the lower segments potentially lean away as they hit the ground creating a sheltered undercroft condition while simultaneously contributing to the lateral stability of the assemblage.
The project overall may have concentrated on formal typological examinations, but projective speculations about programmatic optimality allows the reinterpretation of type across multiple levels. Typology is certainly not bounded by formal envelope qualities; context and the relationship between different instances within the same family, and between different types, heavily influences the reading of the resulting assemblage.
The result presents the most interesting spatial elements of the project: for example, how does the base of the towers related to the plazas, the passageway between row houses connecting into adjacent cells, the three elements that for the cluster of the tower and the concourse level? What sort of space does this create? What urban, programmatic or spatial possibilities does it generate?
A project for the Mediterranean Union
In collaboration with Farnaz Abedinnezhad and Christiane Whiteley
On 13 July 2008, French President Nicolas Sarkozy proposed a plan for the creation of a union made up of the all the littoral nations of the Mediterranean. A key part of this proposal would be the creation of a high-speed rail (HSR) line running along the shore of the Mediterranean basin, creating a single loop of infrastructure loop linking the Southern Europe in a loop with North Africa. What does this mean to the geographical region, its population and the economy at stake? Will this mean as we cut through this region of political instability to make a train ride from Beirut to Tel Aviv possible? During the Lebanese Civil War in Beirut between 1975 until the Taif Accord in 1990, a great fissure opened across the city, swallowing all signs of life. The region is already beset by immobility. Uneven development, political tensions, territorial conflicts, disputed borders, and travel restrictions are impedance for people to meet, collaborate in work and exchange. This proposal is a project for the Mediterranean Sea; this is a proposal for the Beirut node on this infrastructure loop.
2008年7月13日，法国总统萨科齐提议， 所有地中海沿岸国家组成的一个联盟来创建一个企划。这项建议的重要建设部分，是创建一个沿着地中海海岸运行的高速铁路（高铁）线，并连接南欧与北非以形成一个循环。这将对地中海区域以及其人口和经济起到什么改变？这代表我们必须通过此区域的政治不稳定地带，乘坐火车从贝鲁特到特拉维夫是一种前所未有的选择？ 从1975年黎巴嫩，贝鲁特的内战到1990年的塔伊夫协议，一个巨大的裂隙分割了个这城市，并全面吞咽生活的所有迹象。此地带深受交通行动不便的困扰，发展极不平衡，政治局势紧绷，领土冲突，有着争议的边界和旅行限制，甚至工作和交流合作方面也阻拦重重。这个方案是一个地中海的项目，是一个将贝鲁特设想成为地中海新高铁联盟的一个中东站的项目。
This proposal asks: in a city that is always in the state of constant flux, what needs to be positioned to stabilise the city itself? How will this infrastructure be used to engage and connect with the city? In response this project takes the architectural artefacts survived by the civil war as objects as forensic evidence of Beirut. Each used as targets to construct a series of corridors distributed over Beirut Solidere business district. This is specifically at captured moments that signify Beirut’s historical and political memory, used to engage the new high speedrail with the old city fabric of Beirut. This journey in and out of Beirut is curated; each entry and exit stitches traces of political instability through frames of landscape and fragmentation of urban fabric.
这方案问题：在一个总是有着不断变化的状态的城市，如何去稳定城市以达到城市本身需要的境况？如何用建筑建设来使城市联系呢？这个项目认为建筑是证据，在 鲁特内战幸存下来的建筑文物就是最有力的证物。这些具有历史性的文物成为目标，构建了一系列分布在贝鲁特Solidere商业区的门廊。这些将成为专门捕捉贝鲁特的历史和政治瞬间的存储器，用来连接老城市和贝鲁特新高铁站。贝鲁特的进出旅程经过仔细策划; 每一次进站的过程，都将为乘客展现贝鲁特的整合景观以及串连这座城市政治不稳定的过往与今昔的印记。
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