Overseas NO. 18: Bai Li

The No.18 episode is about Bai Li who studied and work in Paris, France.

Project Specs

海外存知己,天涯若比邻。
在海外专辑分享海外华人的故事。希望这份分享可以让世界更加海阔天空。
第十八期为您呈现的是在法国巴黎学习和工作的李柏。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.18 episode is about Bai Li who studied and work in Paris, France.

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为什么出国?
Why going abroad?

当今世界目前仍以西方现代文明为主导。出国能让人亲历其中,更好地了解这个主导世界的现代文明的运作法则以及它背后的西方历史文化之源。只有深刻地了解了这些才能更好的结合中国的国情创造出适合中国的现代文明,而不是一味崇洋,或者自我封闭。

The contemporary world is still dominated by the western modern civilization. Studying abroad gives me an experience to get close to the western society to understand its rules and its background culture. I think only if we deeply know these, we can then create a Chinese modern civilization that is proper for the situation of China.

 

在国外遇到了什么让你印象最深刻的事情?
What impressed you the most when you are abroad?

法国文艺的中老年人。在法国有这样一批散发文艺气场的高素质人群,他们应该是西方现代文明鼎盛的一代,拥有知识、文化和财富。他们虽然年过半百,却保持着年轻自由的活力。他们让我看到了在一个健康的现代社会,人可以达到的一种生活状态和成功标准。

Those middle-age or old French people with the high cultural quality and artist atmosphere, they are the best generation of the western modern society, who have knowledge, culture and wealth. They keep a young vitality and show a free esprit. They make me see a state of life and a standard of success, which could be achieved in a healthy modern society.

 

最想念祖国的什么?
What do you miss most about China?

国外虽然环境好,但国内日常的生活方式却是我想念的,方便,热闹,活色生香。这种“过日子”的踏实感也许是中华民族特有的一种强大生命力的体现。

Although Europe has a better environment, what I miss mostly is the way of Chinese quotidian life, convenient and lively. The vivid life represents a strong vitality of Chinese people.

 

你会回国吗?为什么?
Will you come back? Why?

会。原因有两方面。建筑创作上,我希望可以创造出适合中国的,能传承传统文化的现代建筑;通过对西方的观察了解,我认为,弘扬中国文化可以弥补西方文明的一些弊病,为全人类找到一条更好的发展和生活模式,因此,我想回到中国,更亲密地接触她,更深刻地了解她。生活上,我更习惯于中国式;虽然欧洲现在有很多方面确实远远比中国发达,环境质量也好,但是我没有办法抹掉骨子里的东西去全盘适应西方生活方式。有人说,目前的中国还不如西方,虽然机遇多,但问题也多,我觉得,就需要我们用创造和建设来改变这一切,为自己,也为后人。

Yes, I will. The reason lies in two aspects. For my architectural creation, I hope to find a way to make modern architecture that will be proper for China and also carry on with the traditional culture. According to my observation and understanding of western society, I think to develop and expend Chinese culture could compensate for some of the weakness of western civilization and find for the whole human world a better model to develop and live. So I wish to return to China for better understand its traditional culture. For my life,  I like more Chinese style, just cannot make myself to wholly accept the western way of life. Perhaps someone will say that now China is not as well as Europe, in China we do have more chance, but we also have more problems. I think that’s why we must return to China. Our country needs us to build and create to change all these, for ourselves, also for the younger generation.

 

出国后在不同的背景下再看中国是否看得更清晰,有哪些感触?
Is it more distinct to view China in a different environment after going aboard? Any thought?

对祖国不同于以往的认识是在亲身体会到西方文明的弊病的同时产生的。相比西方现代文明,中国文化更有生命力。中华文明关注“人”本身,强调“修身”,即自我的修行。古有言,“修身,齐家,治国,平天下”,可见“人”为根本。而西方文明喜欢将事物抽象化,民主与法律固然好,但是相对于“人”本身,它们是外在的。在缺失宗教信仰的时代,若西方仅靠这些抽象的外在的东西来维系一个发达的物质文明是比较危险的。若是体现在美学方面,中国的传统美学都超越了艺术美的层面,强调内在而超越的道德,这是一个明确的美的标准。而西方美学大多仍停留在艺术层面,强调感官,这也是为什么这个时代西方美学标准出现了混乱,建筑亦然。“人”,是实实在在的生命,是受理性控制的生命,应当通过“修行”超越动物性。这是中国传统思想的精髓。虽然这个时代传统文化出现断代,但我们需要将它延续和弘扬,为了中国,也为了给这个世界找到一条更智慧的出路。

What I know about China that is different from before happened when I realized some western problems. Compared with western modern civilization, I think Chinese culture has a greater vitality. Chinese civilization focuses more “human” himself, emphasizes self-cultivating and the rise of one’s moral. There is an old Chinese saying “self-cultivating; family-regulating; state-ordering; then the land great governed”. We can see that “human” self is the most important. However, western civilization makes things abstract. It’s true that democracy and law are good, but for “man”, they are external. In the times religious faith missing, if western world maintains a developed material civilization only with those abstract things, I think it’s a little dangerous. In esthetic aspect, Chinese traditional esthetics exceeds the level of art to emphasize internal and transcended moral. This is a quite clear standard. However, most of western esthetics still stays on the artist level, emphasizing the sensory.

That’s why today for the standard of western esthetics, confusion appears, so for architecture. “Human” is life controlled by reason. We need self-cultivating to exceed animality. This is what Chinese traditional thought tells us. Though in our times Chinese traditional culture is having a disruption, we need to make it continued and expand it, for our nation’s “Renaissance”, and also for finding a more intelligent way out for the whole world.

 

最喜欢的艺术家(绘画音乐电影等广泛范围)是谁?给你创作带来了什么影响?
what is your favorite artist? What is the influence?

在建筑创作上,我很受柯布西耶的影响。这个影响在三个方面。首先是理性,也就是建筑创作的逻辑性,是将建筑创作上升到形而上的抽象层面,注重不同功能的抽象角色,强调它们的组合逻辑与等级关系。康德提出,人类文明应当在理性的指导下走向光明。理性是建筑解决人类社会问题的方法,是建筑艺术智慧的体现。丢掉理性,就丢掉了游戏规则,更无从制定评判标准。其次,是对自由的追求。很多人误解理性主义就是死板(当然也因为很多拙劣的理性主义建筑助长了这种误解),事实上,柯布精神绝对是追求自由和艺术表现的,无论是五项现代主义原则里的自由平面和自由立面,还是萨伏依别墅、朗香教堂等,都表达了这一点,只是这是一种理性控制的自由。人类文明不存在绝对的自由,那只代表荒蛮和无知。第三,是对空间的关注,简单的元素创造丰富的空间,考虑人置身其中的空间感受,这也是对“人”的关怀。这三点都是我在自己的作品中力求做到的。除了柯布,安藤、KAHN、CAMPO BAEZA,都是我极喜爱的建筑师。

然后,我也很喜欢中国的山水文人画,以及江南园林。它们是中国文人士大夫的作品,让我看到一种自然美的美学境界,一种中国传统文化里人融入自然的状态和这种状态背后的“道”。大象无形,中国式的建筑不因过分追求夸张的自我形态带来的感官刺激,而应谦逊地融入环境中,寻求与环境的和谐。这也是我今后做设计要努力的方向。

In my architectural creation, I am quite influenced buy Le Corbusier. This influence lies in three aspects. First of all should be REASON. That is to say the logicality of architecture design, which raises the designing of a building on the superorganic abstract level and emphasizes the abstract roles of different function, the logic of their combination and their hierarchy.  According to Kant, the human civilization goes to the lightness with the guide of reason. Architecture solves problems of human society with reason.  Reason shows the wisdom of architecture. If we lose reason when designing architecture, we lose the rule of game and the standard of the judgment. Secondly is FREEDOM. Many people think that rationalism means rigidity (honestly, a lot of bad rationalism architectural works have encouraged this misunderstanding). In fact Le Corbusier’s esprit is always chasing freedom and artist expression. No matter the five principles of modern architecture or his works as Villa Savoye, Ronchamp Church and etc. make a clear expression for this point. However, this freedom should be controlled by reason. There is no absolute freedom in human civilization. Absolute freedom means wildness and ignorance. Thirdly is SPACE. Luxuriant space should be made by simple elements. To consider the human feelings in space is humanistic concern of architects. These three points are what I am always chasing in my works. Tadao Ando, Louis Kahn and Alberto Campo Baeza are the architects that I like very much besides Le Corbusier.

I like also Chinese painting and classic gardens of Jiangnan. They are works of Chinese ancient literati. I see a height of esthetic, the beauty of nature. I see also a traditional state of life that is integrated into nature and its reason, in Chinese we say “Tao”. Great image without form, Chinese architecture should not just chase an ostentatious form to get a sensory stimuli, it should integrate modestly itself into the environment for a kind of harmony. This is also what I will pursuit in my architectural creation.

 

觉得自己的作品集有哪些迷人的特质?
What amazing character do your works have?

我的作品应该是可以体现柯布西耶精神的,严谨遵守理性的秩序,在理性中表达自由与张扬,用简单规则元素创造丰富空间。除此以外,我很注重建造。因为23岁的时候就有机会在我的老师刘立立先生指导下完成两项建成作品,所以之后即便是做课程设计,也很追求它们理想中建成的效果。

建筑既有抽象的一面,也有物质性的一面,我一直在寻找它们之间的平衡。不过这一切也只是现阶段的,停留在“术”的层面,“道”的层面还应该从我们的传统文化里寻找,这是我的信仰,也是未来要走的路。

I think my work could show the esprit of Le Corbusier: to respect rigorously rational order; to express freedom with reason; to create luxuriant space with simple and regular elements. In addition, I pay quite attention to construction. That’s because when I was 23 years old, I had the chance to build two works under the direction of my professor Mr. LIU Lili. Then for all my school projects, I pursuit their ideal effect of construction. Architecture has the abstract aspect and the material aspect, I am always looking for a balance between them. However, all these are just for the current stage and remain on the level of “method”. For the level of thought, I think I will search in the Chinese culture and philosophy, that’s what we call “TAO”, that’s my faith and my way in the future.

 

什么时候开始看谷德网的?欢迎你提出建议哦,谢谢。
When did you start to surf on gooood? Any suggestions? Thanks  : )

关注谷德网是从我来了法国之后。发现中国有这样一个国际性的设计网站很惊喜,并且还能看到很多国内设计的前沿报道。网站有过硬的专业知识背景,有想法,有创意。我希望谷德网可以继续立足中国的设计环境,走国际化路线,与年轻的中国设计师一起成长。

That’s after I began my study in Paris. When I found in China there is a design website quite international, I am quite excited. I can also see a lot of new information about Chinese design. I think this website has professional background knowledge and lots of original ideas. I hope that gooood could well stand in Chinese design environment and keep the international style, grow up together with Chinese young designers.

 

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W O R K

 

01. 

Vertical City
垂直城市

巴黎美丽城国立高等建筑学院杰出毕业设计奖
Felicitation Prize for the Graduation Project of ENSA Paris Belleville
ENSA Paris Belleville   Studio Laurent Salomon(school project, 2013)

在巴黎的东南面,一座300米高的塔楼,与埃菲尔铁塔呼应,成为大巴黎南部地区的地标建筑,是它的城市意义。然而它本身就是一座城市。在功能上,它容纳了一所大学,包括图书馆、报告厅、教室、餐厅、研究员和行政人员办公室以及学生和研究员公寓。塔楼运用了Campo Baeza的超高层建筑类型,方形平面,核心筒位于四角,与竖向每隔50米出现的技术层形成垂直框架。公寓和办公室这样的规则重复体量被安置在四边,围合出中庭。这些中庭成为了空中广场,面向不同的方向。其中,报告厅、教室、餐厅这样的特殊单一体量被悬挂其中,与住宅和办公室体量形成了完美的规则与特殊、重复与单一的组合。

在这座垂直的城,空间的延续性得到了最大的表达。没有一层楼的楼板阻断竖向空间。与之相配的是一套开放的交通系统。一系列楼梯和坡道,将垂直上升变得有趣。因而空间在这座超高层建筑里像某支交响曲,行进,盘旋,在朝向巴黎的方向,图书馆的阅览平台成为三个重复的重音。之后,空间继续盘旋,朝向天空。其实,那是一个世界,就在这座塔里。

In the southeast of Paris, a tower 300m high is designed to echo the Eiffel tower and become the landmark of south Paris, that’s its urban significance. Meanwhile, the tower itself is a city. Its function is a university, containing a library, several classrooms, lecture halls and conference halls, canteens, administration and researchers’ offices and school housing.

The tower adapt the typology created by Campo Baeza, squared plan, four core-tubes on the four corners, which form a vertical frame with the horizontal technical tubes appearing every 50m in the vertical direction. Those regular volumes, such as housing and offices, are put on the edges of the squared plan to enclosing a central court space. These central court spaces are “sky plazas” facing different directions. The singular volumes, as lecture halls, canteens and classrooms, are hanged in “sky plaza” to form a perfect combination with regular elements.

In this vertical city, continuity of space is expressed in the highest level. There is not one floor blocking the continued vertical space. An open circulation system is designed in this open space. They are a serial of stairs and ramps making the going up interesting. So you will find space in this tower is just like a symphony, marching and circling. In the central court facing Paris, the library’s large platforms become three repeated accents. Then, space keeps on circling to the sky.

In fact, there is a world, just in this tower.

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02.

Observation Deck of Qingdao Licun River Park
青岛李村河公园“景台”公厕

发表于   CASABELLA  12/2013(832期)—— Architects Under 30
LDG兰斯凯普(上海)  设计:2009  建成:2010   刘立立先生指导
Published on the the magazine CASABELLA 12/2013 (n832) – Architects Under 30
Landscape Design Group (Shanghai)    Design:2009   Construction:2010  directed by Mr. LIU Lili

这座建筑用它独特的造型挑战着人们固有的常识与认知观。在青山绿水间,LDG设计了一座具有灵性的建筑,以此来呼应山水之气。它具备不可捉摸的体量,动感的造型。对于设计师,这些要素似乎在设计之初就已注定。“景台”厕所在张扬的外表下,材质是自然、内敛、现代的。木甲板包裹了它的所谓立面和顶面,木材的亲和力削弱了造型的张力所带来的攻击性。你可以在它的顶棚下驻足避雨,当然也可以顺便使用它的其它功能,有趣的坡度经过人性化与情趣化的精心设计,为你提供步履的舒适,当你爬上景台,河道景观一览无余。回望坡道的起始端,希望您会感觉这是一座从环境中生长出的建筑,一切都是那么恰到好处。

This little building challenges our common sense with its special form. In the beautiful landscape, LDG designed an interesting building to echo its environment. It has an appearance of mysterious moving shape but a natural and simple envelop.  With wood decks covered, its attacking effect causing by its special form is weaken. You can stay under its ceiling when it rains and use its toilette function, or you just go up on its interesting and comfortable ramp till its roof to watch the river landscape. Then you look back the start of the ramp, you will feel this building is just like something growing up in this environment. Everything is just right.

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03.

Condorcet University Center
贡多西大学校园中心

巴黎美丽城国立高等建筑学院  Studio Laurent Salomon课程设计(2012-2013)
ENSA Paris Belleville   Studio Laurent Salomon(school project, 2012-2013)

作为一个容纳了会议中心、图书馆、研究中心、行政中心和餐饮中心的综合性校园建筑,这个方案同样涉及到规则重复元素和特殊单一元素的组合。

另一个重要的主题在于如何将城市公共空间引入建筑内部,创造丰富的室内公共空间。在形态上,这座建筑由一个水平体量和一个方盒子组成。在水平体量的部分,四个报告厅依次展开,并以一个巨大的朝向城市的餐厅体量结尾。地铁站的出口也设置在这个水平体量中,因而形成了一个下沉式的出站广场。在方盒子体量中,图书馆,一个具有自由度的空间类型,被与规则重复的办公体量组合。在这个方盒子体量中,公共空间被创造,一系列4.5米宽的坡道穿梭于其中,连接不同的楼层。方盒子的剖面图讲述了如何将自然光线和庭院引入室内空间。在图书馆内部,书库被一面巨大的墙隔于阅览空间以外,使得阅览空间获得最大程度的自由,充分满足单人阅览和集阅览的需要。一系列连续楼梯作为交通系统,通过建筑的开口被精彩地展示在城市面前。

As university building syntheses, this project contains a conference center, a library, a research center, an administration center and a school restaurant. It’s also about the combination between regular elements and singular elements. Another important issue lies in how to make urban space into the building to create luxuriant interior public space.

This building is composed morphologically by a horizontal volume and a box. In the horizontal part, four conference halls are arranged one by one. A volume of school restaurant facing the city terminates this part. The exit of subway station is also put in this horizontal volume, so a sunken square is formed. In the box the library, space with a certain degree freedom, is combined with regular elements, offices of researchers and administration. Public space is created in this box. A serial of 4.5m large ramps shuttled back and forth to connect different floors.

The section of this box tells how to make natural light and garden into interior space. In the library, a huge wall separate book zone and reading space to give a greatest freedom to reading space, satisfying needs of individual reading and collective reading. A serial of continued stairs serves as circulation system and are shown to the city by a large window with urban scale.

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04.

Paris Condorcet University
巴黎贡多西大学

巴黎美丽城国立高等建筑学院  Studio Laurent Salomon课程设计(2011-2012)
ENSA Paris Belleville   Studio Laurent Salomon(school project, 2011-2012)

贡多西大学基地位于巴黎北郊,呈线形,南北长近1公里,东西宽100米,这样的尺度对于巴黎这座大都市具重要的城市意义,直线形可以组织巴黎周边郊区的城市形态。这个项目的理念是“校园即城市”,教学空间和集合住宅组合,强调混合性。为了赋予基地最大限度的活力,两条平行的直线,包括项目内所有的规则重复元素(如教室、集合住宅),长度涵盖了整个基地,定义了校园的内部空间。学生住宅被架空在教学楼之上。作为
单一特殊元素的报告厅从教学楼体量中脱出,实验室作为相对于报告厅更自由的教学空间,被置于校园中间的空阔处。交通空间自成一体,与教室分离,并且朝向城市,以此空间的交流被创造并且向城市展示。图书馆、会中心、体育中心、行政以及餐饮被集中安置在基地南端的一幢单体建筑内,使得校园空间被赋予最大限度的自由。

The site of Condorcet University is located in the north suburban of Paris. This site has a linear shape, 1km long from north to south and 100m large from east to west. The scale has an important urban signification to Paris and the linear shape can organize the urban morphology of the Paris suburban.

The concept of this project is “urban campus”, school buildings are combined with housing to emphasize the miscibility. To give the site the largest vitality, two parallel lines are designed, containing all those regular and repeated elements as classrooms and housing, covering the whole length of site, defining the campus space. School housing is superposed on school buildings. Lecture halls, as singular elements, take their release from volumes of school buildings. Laboratories, more free than lecture halls, are put in the open space of campus. The circulation system is independent from the main volume, facing the city to create the communication of space and make it exposed to the city. All the other programs, such as library, conference centre, restaurant, administration and research center are all put in one building on the south of site to give the campus open space a largest freedom.

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在海外时间:2011年至今
在海外地点:巴黎
姓名:李柏
籍贯:江苏盐城
学校:同济大学,巴黎贝勒维尔国立高等建筑设计学院
工作单位:Atelier Salomon Architectes(Paris), Atelier LI(founded in Shanghai),Landscape Design Group(Shanghai)
联系方式:libai_archi@126.com

When: 2011 to now
Where: Paris
Who: LI Bai
From: Jiangsu Yancheng
School: Paris Belleville Architecture School (ENSA Paris Belleville), Tongji University
Office: Atelier Salomon Architectes(Paris), Atelier LI(founded in Shanghai),Landscape Design Group(Shanghai)
Contact: libai_archi@126.com

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