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。
第九十五期为您呈现的是毕业于莱斯大学、目前就职于Diller Scofidio + Renfro的姜硕。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.95 episode is about Shuo Jiang who graduated from Rice University and is now working for Diller Scofidio + Renfro

为什么出国？
Why going abroad?

我爸爸是一名英语教师。从小耳濡目染，一直关注国外的文化。爸爸从小就鼓励我多出去多体验多感受多学习。所以研究生的学习就选择了去美国。

My father is an English teacher and when I was a kid, he told me all things about foreign culture. He was supportive and encouraged me to learn and experience. Then for my graduate study, I chose to study in the United States.

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?

最深刻的就是，学校里“乘风破浪”的教授们。虽然有些年龄比我父母都大，但仍然个个体力充沛。一位60岁的教授坚持天天健身。有位普里兹克评委的教授甚至可以驾车16个小时，两天内往返Marfa勘察基地。还有印象深刻的就是夜里两点或者早晨五点收到的老师的邮件吧。

The professors. They are older than my parents but they are energetic. One professor kept working out every day and one professor who was a Pritzker jury still drove 16 hours to visit the site in Marfa in two days. Another thing is to receive an email from the professor at an unexpected time, such as 200 pm at night or at 5 am in the morning.

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

爸爸妈妈，朋友， ktv

My parents, friends, and Karaoke.

你会回国吗？为什么？
Will you come back China? Why?

会。国内舞台更大，平台更广，我也希望在国内独立实践。

Yes. I hope to practice as an architect in china offering more opportunities and a larger platform.

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 abroad? Any thought?

不完全是。出国后，会对自己的国家文化有更深的认同感。同时，一些认为理所当然的事情在出国后会进行重新的审视与思考，有些事情的界限也会变得模糊，会更想到看清事情的本质。

Not exactly. When abroad, I had a strong feeling of self belongings of my own country. In the meantime, I felt uncertain about things that I used to be familiar with. The straight lines are being blurred and I am trying to figure out the inside of the facts.

你的学校有哪些教育特点？
What makes the curriculum of your school different from other architecture schools?

在Sarah M. Whiting的倡导下，学校对于建筑实践和理论都非常的重视。莱斯设置了四门建筑理论课程。更可贵的是这些理论课不是单纯的灌输知识点，而是以历史为契机探讨反思当前建筑的问题。当然最疯狂的就是数不清的阅读，观后心得，以及最后的论文吧。

跟老师的互动，不只发生于设计课中。每学期老师都会开展一些选修课，内容都是这些老师常年在研究或感兴趣的内容，课上大部分是大家一起就老师抛出来的观点与内容进行热烈的讨论。老师研究的领域都非常广泛，涉及到了人文历史科技等各个方面。设计课选修课结束后，一般会到老师家里做客，如果不是点披萨外卖或超市直接买现成的话，基本上是老师亲自下厨。

莱斯的系馆有两个大的公共空间，空间非常多变灵活，经常用作于展览，汇报，讲座。而在正式讲座之前，我们都有机会在学校的咖啡馆跟讲座者和老师进行一个更随意轻松的讨论聊天。可以问任何问题，气氛轻松，话题广泛，比起单纯的参加一个讲座来的更深刻。

建筑系有非常多的奖学金。我曾有幸获得了两次奖学金，一个是莱斯校友资助的授予作出贡献的国际学生的奖学金，一个是旅行基金。也是通过旅行基金，我展开了我的毕业设计在东京展开了前期的研究项目。三年的时间，感谢学校和老师给我的支持与鼓励。

Under the direction of Sarah M.Whiting, Rice is concentrated on architecture practice and theory. Rice Offers four architecture History Theory for each semester. It is not about what had happened in the past, instead it is about how it related to the contemporary and what we can learn from it. Of course, there are tons of readings and discussions and essays.

We are close to our professors. They teach not only design studio but also seminars involving their years of research and interests. We usually had a heat discussion about everything. Their researches include all kinds of aspect: history, human, politics, technology, and so on. At the end of the semester, we would go to visit their home and they would be cooked for us if not ordering pizza.

There is two main flexible public space inside Rice building where exhibitions, pin-ups, and lectures are held. Before the formal lectures, we students can have the chance to talk with the lecturer at a coffee house in a more casual way which we can discuss all kinds of things related.

Rice has all kinds of scholarships and I am honored to be awarded twice. One is for the contribution of international student and another one is travel scholarship. I have had the chance to visit Tokyo and started my thesis project in the end. Thanks to Rice and all my professors.

你现在工作公司的特色和有趣的地方？
What are the characteristics and interesting points of your firm?

DSR 的模型工作室有着各种各样的工具，3D打印机，还有学生时期不舍得买的各种材料。工作室就像一个小型的实验室，尤其是年轻的员工会经常泡在模型室做各种材料的研究，3d打印，以及空间模型推敲。

Diller Scofidio + Renfro’s workshop has all kinds of expensive material, tools, and several 3D printers. It is more like a laboratory and young architects are dedicated to exploring all kinds of models and technics.

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？
Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?

是枝裕和。最喜欢的电影之一步履不停，电影一大半的时间都几乎在一个空间里拍。更妙的是空间是动态的，随着故事情节而带来不一样的感受。这也影响到了我的最终建筑论文的设计，我希望去挖掘这些看似日常看似普通的建筑空间的潜力，通过这些品格特性去定义建筑。

Hirokazu Koreeda. One of my favorite movies is Still Walking. Most part of the movies is happening in one typical Japanese house. But what is interesting is that the space changes with the story and is instant. I was inspired by it and propose my thesis project of exploring the potential of everyday architecture and how does it related to architecture design.

觉得自己的作品集有哪些迷人的特质？
What fascinates viewers the most in your portfolio in your opinion?

跨度大，不止局限于建筑本身。还有就是我对建筑的态度就是拒绝做救世主，只表达更轻松的建筑实验与态度。

My portfolio is not all about architecture. Instead of saving the world, I wish to express a more light and happier attitude of practicing architecture.

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 follow gooood? Any suggestions?

很久以前。希望谷德越做越好，平台越来越大,我身边优秀的同学也可以有机会分享他们的作品。

Long time ago. I wish gooood is affecting all people and my friend can have the chance to share their works.

W O R K

01.

东京新公共领域
The new common ground in Tokyo city
Location:Tokyo
Director: Carlos Jimenez
Time: Fall 2019

设计提议 | Thesis proposal

毕业论文的契机来自对日常建筑的研究与挖掘。场地我选择了最繁华的涩谷区，理由很简单，当我漫步在表参道街头的时候，琳琅满目都明星或地标建筑，感官固然很刺激，但最吸引我的却是表参道内部的街区。建筑体量变得更加宜人，功能种类更加丰富，每一个独立的街区都有很多种进入的方式。这些日常的建筑都散发着迷人的魅力。这些空间与自然的亲密关系，材料的使用，流线的变化，使这些日常建筑完全融入整个街区，既静谧又活泼，既开放又私密。这些对立的特性，建筑元素的运用，便是我的毕业设计的研究方向。

My thesis focuses on developing an understanding of architecture as a physical medium of celebrating everyday life and communication for people and explore under the contemporary urban environment. The reason was simple. When I was walking around the street of the Shibuya area, I was occupied with all kinds of architecture icons, though exciting, what interested me most was the buildings inside the block. The scale of the buildings is more comfortable and the functions are more flexible with all kinds of accesses. The relationship between nature and architecture, the use of material, the flexible circulation are the key characteristics of the Everyday architecture which is the starting point of my thesis design.

▼1970 涩谷区现状，1970 existing figure ground

▼2017 涩谷区现状，2017 existing figure ground

前期研究 | The Void Metabolism

东京是一个实时变化的城市。不同于50年前建筑师们提出的新陈代谢运动，即围绕超尺度的核心平铺展开的发展结构，我提出在过去的五十年，尤其是涉谷区，这些新陈代谢是围绕着建筑之间的空隙展开的，即虚空间的新陈代谢。这些变化始终在两个维度展开，一个是整个社区周边的超尺度建筑，一个是社区内部不断更新的微尺度建筑。调研了五个典型街区，展开研究自二战后的演变，探讨建筑的更新对虚空间产生了何种影响。最终的研究落在了两个层面，一是超尺度框架的空间代谢，围绕四点展开：1.建筑作为地标；2.城市效率；3. 商住体；4. 自我隔离。二是微尺度框架，围绕着一个街区四个年代的发展变化。此外，研究进一步围绕建筑的构架以及如何影响虚空间的特性与品质。因此，设计新建筑的类型可以解放当代20世纪建筑功能的枯燥与单一，打破社交媒体给人们带来的隔阂与陌生，给城市的人们提供一个更舒适的空间。

Tokyo is a city of instant changes. During the past 50 years, Tokyo did not follow the idea from what the 1960s Metabolisms imagined. They integrated a building’s equipment and structure into something known as a megastructure core, proposing that separate rooms would be arranged around the core and could be thought of as capsules and that urban space could be made out of a network of slabs and as a dispersal of the power and financial capital. Tokyo continues to evolve like a living organism is that its urban structure lends itself to change on the basis of subdivided land. By developing the performance of the urban Void metabolism that arises out of these groups in a critical way, it is possible to arrive at a responsible, consistent approach to urban space through the design of Thesis. Through the comparison of the two diagrams, the Megastructure system can be cataloged as four features: 1. Architecture as Icon; 2. Urban Efficiency; 3.Commersidence; 4. Self Isolation. Micro-Development (Subdiviurban) refers to patterns that emerge when a suburb is subdivided after being swallowed in a wave of urbanization. As void metabolism is rooted in the void space, the following thesis analysis is concentrated on how the architecture structure is affecting the spatial quality of gaps. Therefore, it is possible to liberate the new building types from the programs of granulation and intolerant that came with the agenda of ownership in the 20th century and create tolerant spaces where people can live a more vital life for Tokyo to excel as a city.

▼超尺度建筑分析，mega-structure research

▼微尺度建筑分析，micro-structure research

▼场地地面空间研究，the ground of shibuya

▼场地地面空间研究，the common ground

▼场地地面空间研究，the common ground

▼街区现状究，the existing ground

▼建筑设计，architecture design

设计概念 | Thesis Design Concept

为了进一步理解场地的虚空间的现状，我通过分析8个地块，批判性概括为：公共场地的确失；多重流线的无效性；极小的虚空间；场地的封闭性等劣势；透明性；内外空间的渗透；多空的自然空间；以及连接空间的多重流线的优势。这些特性决定了最后设计的项目是为涉谷区这个功能混杂，尺度各异，又非常封闭的社区，创造一个开放的公共的，对抗社交媒体而能促使人进行真正的交流，包含各种生活场景的社区交流场地。

The research zoomed into 8 typical blocks in Jingu-Mae area, developing an understanding of the current field ground condition and how it related to the architecture structure system and explores both the advantages and disadvantages. The observation of the common ground can be characterized as: The Missing of the Common Ground; Self-isolation of the ground; The extreme smallness of the void space; Self-isolation of the ground; II Transparency; Permeability of internal and external space; A porous cluster containing Greenery; Linking gaps with multiple circulations.

Through architecture design, the field ground should be regenerated as a platform in which the architecture structure system is assimilated to it and thus, generated into new common ground. The Common ground is as a physical medium of celebrating everyday life, establishing the communication for people creating new contemporary architecture and urban environment.

▼设计概念，design concept

▼设计概念，design concept

设计过程 | Thesis design process

公共的空间场地被定义为项目的设计线索，建筑策略是在当代的复杂城市建筑背景下，实现共存性，开放性，互动性，共享性，来实现创造新的场地空间，提供新的生活方式的目的。因此最终选择了一个具有代表性的街区，与前期分析的几个街区存在着前期研究的共通的问题，又有微妙的变化，具体表现为经历了四代重大变革，建筑尺度也存在着巨大的差异。设计中最核心也是最大的挑战是如何在设计论文里叙述整个设计过程。不是单纯的拆除加建，也不是推倒重建，重要的是找到设计的界限，然后结合建筑空间，功能，材料，流线等各种因素，推导出最后的形态。过程始终围绕着如何实现共存性，开放性，互动性，共享性四点展开。对于共存性，首先确定整体与局部的关系，确定建筑尺度的类型，然后确立建筑新与旧的关系，最终引入新的日常生活的功能。为了达到社区的开放性，归类场地虽有的现存建筑，移除废弃的老旧建筑，清理被堵塞的虚空间，移除封闭的立面系统，打破楼板的单一空间并与自然发生互动。对于互动性，则围绕定义公共场地，通过楼梯坡道定义底层空间的流线，中部的多重流线，以及屋顶的流线和屋顶绿色空间。最后的共享性则通过整合室内外空间，最大程度的创造公共的领域，可开启的灵活的立面系统，以及功能的并置与交混。

The thesis project is a result of calling out for a new community and a new common ground to contain the new lifestyles and needs of people under the contemporary context. My thesis hypotheses, therefore, attempt to describe new spatial and action-related orders to regenerate the new common ground and bring back the Co-existence, openness, interactiveness, and shareness to the community. For Co-existence, The design process is closely connected to the former study of the existing conditions. To achieve the Co-existence Openness, Interactiveness, Shareness in the architecture design process of the thesis is required to regenerate the new common ground.The Co-existence can be described as follows: 1. Between parts and whole; 2.Between large and small; 3. Between old and new; 4.Filled with everyday life; Steps are as follows to achieve openness: 1. Cataloging the existing buildings; 2. Removing the buildings and clean up the voids; 3. Removing the Facade system; 4. Renovating the Facade system; 5. Cutting the Floors and Introducing the Garden spaces. The circulations system corresponds to the floor system which has been opened up and connected through the cutting strategies. The circulation system contains different architecture elements: the light-structure stairs, slopes, ramps, flowing floors, and core systems as buildings of the whole block. Shareness is no longer the opposite side of the private. It is a result of the contemporary urban context. With the social media system, people are exposed to the world and the concept of the Shares is becoming more acceptable and achievable.

▼设计过程，design process

设计展望 | Thesis Vision

最终设计的展望是创造一个平台，让人，自然，建筑的关系更加亲密，描绘出丰富的生活场景生活形态，承载着整个涉谷社区的希望。

For thesis, or contemporary practice, making something new is easy but what is difficult is how to define and approach the new. It does not matter that the project has to be something different or dramatic, even making a home or everyday architecture can be critical. The thesis is set on exploring the potentials of the urban structures, celebrating everyday life, establishing communication for people creating new contemporary architecture and urban environment.

▼平面图01，Plan 01

▼平面图02，Plan 02

▼平面图03，Plan 03

02.

新庇护所
A New Primitive Hut
Location: NewYork
Instructor: Michelle Chang
Time: Fall 2018

由于有承重力的的框架结构以及混凝土的发明，促使了多米诺建造系统的产生。建筑的立面与平面不受结构的限制，但是，屋顶的设计却承接了原来属于楼板的功能。概念清晰的现代主义的整体建造系统，加之当今的整合环境与安全标准的要求下，建筑设计需要重新思考与定位。通常一个建筑的整体组成部分，比如机械，电器，管道和暖通等，通常是作为独立的元素被搁置在建筑屋顶或之外。因此，设计的初衷就是探索如何将分离的元素概念性的极大的融入于整个屋顶的体量中。

The invention of load-bearing frames and reinforced concrete made systems like the Maison Domino possible. As the design of facades and plans were freed from the structure, however, the design of roofs became entangled in what had previously been the obligations of floor plates. The conceptual clarity of modernism’s total building systems, coupled with evolving environmental and security standards in the present day, has necessitated the design of architectural exceptions. A building’s integral components, like MEP and HVAC, are regularly designed as elements that sit proud of a coherent envelope. This studio investigates ways these detached parts can be conceptually and materially absorbed into a single volumetric roof.

屋顶 | Roof

在洛吉耶对于原始小屋的推理中，屋顶的创造是人类为了对抗自然环境而提供的庇护所。戈特弗里德·森佩尔则认为屋顶是为了保护火炉，而库哈斯推断从一开始，屋顶就是权力的象征。这些关于屋顶的问题在19世纪初期屋顶的特性开始同步于楼板。我认为从单纯的庇护所，到权利形式的象征，再消失于现代主义建筑中，屋顶已经涉及文化，经济，技术，环境之间的复杂关系，这也影响到了我对屋顶的批判性的思考，即屋顶应是透镜，审视尺度，形式，和比例等建筑的特性。屋顶不应该是单一的元素，我认为最终应是螺旋式蜕变，既不是完全的消失，也不是强势的形式语言，而是一个“新的庇护所”——对抗却交融着当代复杂的建筑背景，解决并不妥协于多样的结构技术要求，以及独立又融入与整个建筑设计中。

The roof is one of architecture’s primary constituent elements and the design of roofs has historically engaged form with performance. In Laugier’s account of the primitive hut, the roof was created to shield humans from nature; Semper contends that it came about to protect the hearth; and Koolhaas suggests that, from the beginning, roofs were made to signify power. Though these origin stories leave out the complex relationships among cultural, economic, and technical contexts, their reductive clarity serves as a lens for judging architectural qualities of scale, shape, and proportion. In my perspective, the roof will be spiral rising as a certain point, which neither will be vanishing nor representing power, instead, serving as a new primitive hut——anticipating the complex contemporary architecture context and the technical structure demands and finally combined into a single volumetric roof.

▼屋顶演变，evolution: roof

何为新庇所 | What is a new primitive hut？

新庇护所是暧昧的，“弱”形式的。在光怪陆离的纽约金融区中，新庇护所不是以常规的地标而出现的，恰恰相反，我有意识的将它对立，区别，又无法确定界限的放置在白天极度繁华夜晚也极度冷清的金融区。设计最关键的一步便是如何设定建筑的设计语言。第一个挑战就是定义语言，通过完全的建筑图形的表现定义一个物体。二维图形定义一个不稳定四边形，三维空间里的不稳定物体通过二维空间生成的椭圆体来减弱体量。弱形式因此产生，图形无尽衍生的，所以体量也是随着选定的四边形而最终定型。对于传统几何定律的解放意味着不能单单通过摆弄几个的四个面来控制它，而且很难对它有一个很明切很强力的感观体验。如果你切换不同的角度去观察它，空间会呈现各种不同的投射。一旦失去了对物体的几何解读，建筑的重点便落脚在了利用，加强，明晰与空间的暧昧关系。

最终，将弱建筑转译成建筑体量，化身为纽约的美食聚集地，包括集市，whole food，食物体验区，展览区，餐饮区，以及屋顶花园和用餐区。

▼设计方法，design method

▼设计过程，design process

▼结构系统，structure system

▼立面图，elevation

▼剖面图，section

The new primitive hut is a result of weak form. In uncertain NewYork, the new primitive hut is not an icon but on the contrary as an ambiguous object which reflects and merged into the diverse environment. What is the architectural language of proposing the weak form? The first step is to infinite four-sided figure, asymmetric, curtain, and unstable. Discipline relaxation of geometry was brought up meaning that it was difficult simply by that you could arrange the geometry of the surfaces in such a way that it was difficult to get that overall sense of where it was. As you move around it, it would appear to have different kinds of projections into space or at various times and at various times being differential into space. Once started to loosen the overall reading of it. The roof is a giant object and tries to figure out ways for it to have an ambiguous relationship to space. The new primitive is transformed into an architecture building and serves as a food hall for New York city containing food market, whole food, food exhibition and museum, restaurant and roof garden area.

▼平面图和透视图，plan perspective

▼平面图和透视图，plan perspective

▼平面图和模型透视，plan perspective

▼剖面细部，section detail

03.

废墟上的基础设施
Studio on ruin
Location: Mexico city
Instructor: Frida Escobedo
Time: Spring 2019

墨西哥新国际机场在施工完成百分之三十的时候，由于政治环境经济等复杂的原因突然被叫停。建筑的施工现场瞬间变成了废墟。前期研究这个项目的背景，起因等过程中发现，墨西哥城是一个充满着人类与历史遗留问题的城市，环境的破坏，经济的压迫，政治的复杂等等。墨西哥城其实是一片湖，水被人工抽干后，建造的一座城市，所以城市没有饮用水，但矛盾的是同时又常年面临洪水问题。为了解决这些问题，城市基础设施需要大量的被建造，比如调水工程，排水工程。洪水问题产生的垃圾问题。然而被终止的新机场项目暴露了各种相关的问题，每年场地下沉的速度并不能设计为机场跑道，机场内的垃圾场因经济问题而倒闭后，也是经年未解决的困境。机场建造中也破坏了依靠在水利人工湖泊的鸟类等。场地演变便包含了前期的整个研究，正是因为问题的复杂性与不确定性，设计的立意就需要更加的批判。整个设计最注重的并非是如何解决这些棘手的问题，反而是在这些问题依然存在的情况下，去倡导一种设计状态，设计过程。时间的设计就是贯穿整个设计的主题。

▼场地历史，history

The ambition of the project is to redesign and discover the value of the ruins. The site is located in Mexico city–the unfinished new international airport. The airport was under 30% constructions and was a result of various problems: Financial problems, environmental issues, water, and waste issues. These are the current situations of Mexico city and the studio was trying to explore the potential ways of facing these difficult situations. Of course, it is not a problem-solving design strategy and it is not possible to solve those serious complicated problems. Instead, the design is rooted in discovering the waste of the site and treat the architectural wasted. Infrastructure, as a result, is inhabited through designing by the time, Therefore, the studio focuses on the transferring process and time change of the infrastructure through representations.

▼地图映射，mapping

首先尝试的就是，如何将时间设计转化到场地上去，如何融汇两个不同的维度，并用建筑表现的方式传达这种思考。这张概念图包括了三个方面的思考，第一层是场地现在的废墟程度，第二层便是场地存在的大型基础设施，第三层是网格代表的时间是如何受二者因素而作用的。网格数量代表的时间的变量，网格是不存在变量的，内容并不会随网格大小而变化。所以网格数量越多越密集的地方就集中在，废墟最严重，最无法利用基础设施的部分。时间在整个巨型的场地中已然被规划清晰。设计思考推进到更近的维度，时间作用体现在两个方面。一个是最初的建筑制动力，在时间的促使下，逐渐演变成可利用的基础设施。制动力的原理即如何收集并转换场地中“废弃的材料”，比如混凝土，从而转化到基础设施的结构。时间带来另一个因素即为动能，为制动机器带来动能，以及回馈到场地中去，带动原有的基础设施。最后回到整个场地，表达了时间的整个过程。不设定时间，不设定最终的形态，重点在于表达建筑的声音与力量，时间和场地的相互关联。

The first thing is to transform the design of time onto the site and integrate two different dimensions and convey architecture thinking in the form of architectural expression. The mapping includes three aspects: the first level is the degree of the ruins, the second is the mega infrastructure existing on the site, and the third level is how to design time represented by the grid is affected by the two factors effectively. The number of grids represents the variable of time. There is no difference between the grid, and the content does not change with the size of the grid. Therefore, the larger the number of grids, the denser of the areas will be concentrated, such as the most ruined inaccessible parts of the infrastructure. Time has been clearly planned throughout the huge site. Zoomed in to a closer dimension, the initial building performance which has gradually evolved into waste infrastructure. The design principle is how to collect and convert the “waste material” on-site, such as concrete, and then transform it into the infrastructure. Another factor that time brings is kinetic energy, giving back to the original infrastructure. Finally, what is essential is to express the entire process of time. Without setting the timeline or final form, the emphasis is on expressing the interaction between the architecture, time, and ruins on site.

▼废料产能，waste to energy

▼设计过程，design process

04.

包豪斯博物馆
Bauhaus Museum
Location: Dessau
Individual work
Time: Fall 2016

包豪斯的博物馆设计，旨在为失去活力的城市带来生机，设计一座建筑空间，自然空间融为一体的博物馆。开放的底层公园，跟上层的博物馆空间实时互动。二楼的博物馆空间流线围绕着景观游乐中心组织，最外层公共空间不仅提供给灵活的展览也跟整个城市像互动。两层空间的界限被不同类型的院子笑容的非常模糊，三种空间相互映衬。

反之，地面绿化景观的设计也是围绕着庭院，上层的建筑空间设置。以中心的游乐广场为中心，我才用了更灵活自由的景观形式，让整个基地更灵活自由，更加充满活力。零散的小景观，与中心的广场，上部设置的庭院，都动态的交融在一起。

▼模型，model

The site is located in the central park in Dessau. My aim is to concern about how humans are able to create things that can become part of the existing landscape and capture such activities, associated with nature within the context of the existing culture. The almost flat site was previously a meadow, which is artificial and autonomous. The scheme is to reorganize the relationship between architecture and landscape. Instead of a giant museum on the floor, I especially designed and protected the site plan with a geometric pattern conceived as a complicated arrangement of vatu, like the repetition of puzzle pieces. The landscape for this project is a sort of guideline for creating a new landscape. The building plays the role of shelter like the trees in the forest. As the presence of the architecture appears, the landscape recognizes itself naturally according to the building, transforming into a unique and attractive landscape. In this project, I explore the ways of merging architecture into the environment.

A beautiful floating building emerges in the air as if the dream-like landscape planned on the ground was reflected onto a huge mirror. The courtyard plays an important role between the museum and the ground playground. The ground is designed to be both as a garden and the first plan of the museum for exhibition. Communication is important. I proposed a new nature that matches the human scale instead of exceeding it like today’s park. As the presence of the architecture appears, the landscape recognizes itself naturally according to the building, transforming into a unique and attractive landscape. In this project, I explore the ways of merging architecture into the environment.

▼总平面图和功能空间示意，masterplan & programme

▼首层平面图&效果图，ground floor plan & rendering

▼二层平面图&轴测图，first floor plan & axo

▼平面+透视，plan & perspective

▼内部空间透视，internal space perspective

▼剖面图&效果图，sections & rendering

在海外时间：2017-2020
在海外地点：休斯顿，纽约
姓名：姜硕
籍贯：山东，济南
学校：Rice University
工作单位：Diller Scofidio + Renfro
联系方式：sj54@alumini.rice.edu

When: 2017-2020
Where: Huston, New York
Who: Shuo Jiang
From: Jinan, Shandong
School: Rice University
Firm: Diller Scofidio + Renfro
Contact: sj54@alumini.rice.edu

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