Overseas在海外专辑NO.39— 王雨田 Yutian Wang

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。

第三十九期为您奉上的是在哈佛大学设计研究生院学习的王雨田。

为什么出国？
Why go abroad?

感受不同文化的包容性。
To experience cultural diversity.

在国外遇到了什么让你印象最深刻的事情？
Is there anything happened impressed you the most abroad?

今年四月去看路易斯康的Salk Institute全程跟随一位在那里工作了几十年并且认识Salk本人的年逾七十的老奶奶讲解这座建筑。她对于这里的每一个细节，从空间的比例和场地外海平面的关系，到混凝土浇筑完成的局部，再到功能处理上的服务空间与被服务空间的关系，都了如指掌。她说她在这栋建筑里每隔一段时间就会有一点新的发现，说这句话的时候她的眼睛是闪着光的。她对建筑细致入微的审视与热爱那一刻让我非常感动，而康的建筑对我来说本身就有一种模糊了时间的状态，因此我仿佛回到了这座房子刚建成的时候，从而和过去建立了某种联系。
I went to Salk Institute did by Louis Kahn this April and guided by an old lady who has been working in the institute and happened to know Professor Salk. She knew every detail about the relation between the compositions of space and sea elevation, how concrete was made and interaction between multiple programs. She said that she always found something knew about this building once in a while. Her eyes were blinking when she was talking about all these. I was very moved by her careful inspection and great love on architecture. Kahn’s building to me inherently blurred the presence of time, I felt I was back at the moment when the building was just finished, and I felt connected with past.

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

家人，美食，家里的两只猫。
Family, food, two cats in house.

你会回国吗？为什么？
Will you come back? Why?

会回国。希望未来可以在中国独立建筑实践。
Yes I will. I am planning to open architecture firm in the longer future.

▼studio presentation

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?

我在20岁前去到了中国的每一个省，不同程度的体验了那里城市，乡村，山河。加上后来大学在广州生活了五年，这种种经历和我在北京的生活完全不同。这样一种对文化的多样性的敏感度已经浸入到了我的记忆中。有的人总说要去寻找属于中国的文化，仔细想想这个词有些太大了。出国后，我看到的中国反而是一个个或美好或混沌的片段组成的集合，它们不只是画面，也伴随着声音和嗅觉，都让我有着深深的归属感。而作为建筑师，乡愁的情怀往往最能触及设计中情感的最深处。
I have been to every province in China at the age of 20 and experienced city, village and landscape to different extents. After that I lived in Guangzhou for 5 years during my undergraduate. All these experience was extremely different from my life in Beijing. So this sensibility on cultural diversity has been emerging into my deep memory. Some people always say “Chinese cultural identity”, I think this notion is too big. After going abroad, what I see from China is rather a collection of either beautiful or chaos fragments, which consists of not only images but also sounds and smell, through which I feel a sense of belonging. As an architect, nostalgia sometimes touches the deepest part of emotion.

你的学校有哪些教育特点？
What are the educational characteristics of your school?

在哈佛上过的Neil Branner教授的关于城市规划历史和理论的课上，他讨论了福柯关于认识论（epistemology）的观点，有一句话我认为可以概括我对哈佛教育特点的感受，即“I would define the episteme retrospectively as the strategic apparatus which permits of separating out from among all the statements which are possible those that will be acceptable within, I won’t say a scientific theory, but a field of scientificity, and which it is possible to say are true or false. The episteme is the ‘apparatus’ which makes possible the separation, not of the true from the false, but of what may from what may not be characterized as scientific.”知识不是绝对中立的科学，而是可以被不同群体进行认知的方法论。因此对我而言，这个学校提供了一个不同知识储备的平台，而我们可以自己选择去相信什么。
Professor Neil Branner discussed about Foucault’s idea on epistemology on his History and Theory of Urban Interventions, one sentence from which I think summarizes how I feel about the education I received from Harvard, “I would define the episteme retrospectively as the strategic apparatus which permits of separating out from among all the statements which are possible those that will be acceptable within, I won’t say a scientific theory, but a field of scientificity, and which it is possible to say are true or false. The episteme is the ‘apparatus’ which makes possible the separation, not of the true from the false, but of what may from what may not be characterized as scientific.” Knowledge is not neutral, it is a methodology that can be understood by multiple groups. So for me, Harvard provides a platform of knowledge, and we can choose which to believe.

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?

我的恩师康默如（少康）先生对我的直接影响最深。我从15年前跟随他学习书法，这之间对书法艺术，山水，写意画的理解对我在建筑的思考都有着潜移默化的影响。书法艺术传递出的文化和视觉的属性从物化的具象文字被扩展到情感和精神的表达。书法的美不仅通过视觉上对于笔画构成中黑白的平衡来体现，更通过纸和笔具体的材料性的接触来记录时间的节奏，韵律和力量。书法艺术的现代意义不是简单的模仿古人的文字作品，而是通过书法作为一种方法来重新思考历史，文化，以及试图从已经存在的事务上建立新的价值。从这一点上来看，其中所触及到的话题和我感兴趣的建筑有着非常紧密的一致性。

▼少康草书作品

I was deeply influenced by my tutor Mr. Kang Moru. I have been studying traditional Chinese Calligraphy and my understanding on traditional Chinese art form has a great impact on architecture. The cultural and aesthetic attributes that conveyed by calligraphy was expanded from objective recording to emotional representation. Calligraphy is judged not only by its capacity of displaying balance between strokes of characters but also the rhythm and force that showed from brush and paper’s touching. The contemporary importance drawn from appreciating calligraphy is not simply a way of admiring ancestor’s artworks, but rather use calligraphy as a methodology to retrospect history and culture, and attempt to derive new meanings from old, bridging conflicted but intimate interaction among various art forms. In this way, the discussion it involves has a very intimate coherence with my interest on architecture.

▼王雨田书法作品

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

相对于抽象的空间探讨，我选择的作品都某种程度上体现了一种关系，自然与人为，历史与现在等等。每个设计的目的不在于单纯的回应它所在的场所，同时其背后的组织方式又可以从表象中抽离出来而形成可以影响建筑存在的新的价值观。
Compared to abstract spatial experiment, the works I chose mostly represent a being of relation, nature and artificial, history and present and so on. The intention of each design is not just responding to its context, at the same time the hidden organizational form is extracted and creates a new value that influences the existence of 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?

2013年开始关注，谷德网给我的感觉更多的是一种“分享”，非常喜欢这种氛围。最近看到了每个人专辑的第一期，非常期待更新。真心祝愿谷德网越办越好。
I started to follow gooood from 2013. Gooood creates a sense of sharing, which is what I admire. I recently watched “Everyone” album and expected to see updates. I sincerely wish gooood a better future.

作品 work

1.
重组自然 Reassembling the Nature
建筑设计／Architecture Design
指导教师／Instructor：塚本由晴，贝岛桃代 （犬吠工作室）／Yoshiharu Tsukamoto, Momoyo Kaijima (Atelier Bow Wow)

法国哲学家布鲁诺拉图尔的行动者网络理论认为在社会关系中非人类和人类同等重要，通过引入非人类要素可以进行对社会关系网络的重新定义。相对于简单的根据职业或阶级等定义社会群体，本理论将社会重新定义为不同组织的集合体，它们的规模和内容始终存在于变化之中。

多样化的自然环境形成了日本最特殊的生活方式以及文化。然而，伴随着20世纪工业化的发展和效率最大化的全新价值观的引入，日本乡村受到了工业化的侵蚀并导致了传统生产模式的衰退，包括打猎，收割农作物，森林伐木业的管理，尤其是林业的下滑影响了乡村的整体景观。

设计希望进一步的检验行动者网络理论在位于距离东京50公里外的乡村北本市，并且把当地重要的自然森林资源作为中介来产生出一系列的行动者网络，这个新的网络重新整合了自然资源，社会福利与教育系统和交通基础设施等相关方面。森林作为一种新形式的资本，在林业生产的过程中通过被赋予新的价值，可以引入多种组织的行为活动参与进来，从而从地理，空间以及社会的角度影响整个城市。

French philosopher Bruno Latour’s Actor Network Theory invites nonhumans to participate in with humans and re-identifies a new set of social network. Rather than simply defining social groups by occupation or class, this theory justifies social as a collection of associations that involves constant movement and change in both size and content.

Japan’s unique character has been shaped by the life and culture built with diverse nature. However, in the 20th century, the development of industry with the introduction of optimum efficiency value, the rural areas of Japan was invaded by industrialization and led to the decline of unproductive activities such as hunting, harvesting wild plants and forest management, with the decline of forestry impacting rural village landscape.

The project aims to further examine the Actor Network Theory in the context of Kitamoto city in Saitama Prefecture which is suburban village that is 50km away from Tokyo, and take forestry as an agency to generate a series of actor network that integrates with natural forest resources, social welfare and educational system and mobility infrastructure. Forest regarded as a new form of capital that can be optimized by bringing new values into the process of forestry production and engages multiple associations’ behaviors which articulates geographically, spatially and socially.

2.
特维灵盖特的客厅 Twillingate’s Living Room
建筑设计／ Architecture Design
指导教师／Instructor：Mason White, Lola Sheppard (Lateral Office)

特维灵盖特是一个具有超过400年的以传统季节性渔业支撑的位于加拿大纽芬兰岛的渔村。这里每年夏天都会有来自格陵兰岛融化的大型冰川伴随洋流而经过此地。因此它有一个别称，叫做冰川峡谷。如今随着人口老龄化严重和人口流失的问题，传统渔业已不再被作为主要特维灵盖特的主要经济来源，而旅游业成为了新的支柱。本设计希望讨论如何通过建筑来满足在一年中不同季节性的可变的功能需求，以达到旅游业增长的同时，保护社会生活和文化的当地性。在游客季节，它作为迎接游客的访问中心同时也是一个战士当地文化和手工艺商品的客厅。在非游客季节，它作为一个镇子的社区集中地来满足当地居民的活动和手工艺品的生产。

Twillingate is a fishing community which has more than 400 year’s history that is situated in Newfoundland Canada. Every year large size iceberg melted from Greenland passes through Twillingate with flow, and it has a nick name called “Iceberg Alley” because of this. In the present days, because of aging population and population loss issue, tourism as a new type of economy has alternated traditional fishing. The project aims to design a building that accommodates multiplied seasonality to balance between tourism and local lives. This building provides flexible spaces that are capable of switching among different programs that respond to the corresponding season and groups of people. For tourist season, it is a visitor center for tourist’s arrival as well as a town living room for exhibiting local culture and business. For non-tourist seasons, it is a community center serving for local residence gathering and craft production.

3.
双重性 Duality
建筑与城市设计／Architecture and Urban Design
指导教师／Instructor：Anita Berrizbeitia
合作者／Team Member：刘诗瑶／Shiyao Liu

本设计希望通过以住房为代表的居住空间引发的一系列更大范围的建筑与城市设计项目，来探索如何通过结合新的住宅类型和大范围的城市公共设施来构想一个对曼哈顿更有野心的展望。更具体的来讲，通过引入一系列在不同层面的公共空间联系河与城市并且最大程度的优化住房单元的视野，设计希望可以重新思考标准的可负担住房和商品住房的混合比例，并且试图为多样化的社会群体提供更平等化的住房机会，作为对纯资本化的城市形态的一种替代。

Our project aims to explore how new residential typologies combined with the re-organization of large scale mobility infrastructure can help rethink a more ambitious urban agenda for Manhattan’s East River. By the intervention of a series of public space on different levels that connect water and city and maximizing views of housing units, the intention of the design approach is to rethink about the typical proportional mixture of affordable housing and market rate housing, and try to provide more equitable housing for multiple social groups as an alternative of pure capitalized urban form.

4.
在水上 Above the River
建筑设计／Architecture Design
个人研究／Independent Study

由画家张择端绘制的巨型画作清明上河图描绘了宋代城市景观。在精湛的技巧背后，极为有趣的是在画面中围绕着不同类型的桥发生的人们的市井生活氛围，并延伸到了桥连接的两岸。在相当数量的中国南方传统古镇里桥都扮演着重要角色。它不仅作为服务村镇的交通基础设施也在桥的周围包含了紧密的商业业态和文化生活。桥可以作为一种新的建筑类型学去学习和理解，它同样具有在周边不同的环境条件下演变自身的尺度和形式的能力。本设计将朱家角古镇作为试验场来检验将桥和建筑的功能性结合的可能，并且观察它如何形成了一种基于现有情况重新解读的带有新的意义的城市景观。

The huge masterpiece Riverside Scene at Qingming Festival created by ancient Chinese painter Zhang Zeduan, in which depicts the city scene of Song dynasty. Behind his proficient skills, what particularly intriguing is the amiable atmosphere among people’s urban social life and the texture freely extends along riverside, and especially, those all kinds of bridges. The bridge plays a crucial role in certain number of traditional Southern Chinese village. It not only serves the village as transportation infrastructure but also embraces intimate commercial and cultural life along the bridges. Bridge is studied and understood as a new architectural typology that has its own way of adaptation in various sizes and forms in relation to surrounding buildings. The design takes Zhujiajiao village as a test ground to examine the possibility of integrating bridge with architectural and programmatic approach, and see how it forms an urban landscape that conveys new meaning based on the old.

When: 2014 – Current
Where: Cambridge, MA, USA
Name: Yutian Wang
From: Beijing
School & Office: Harvard University Graduate School of Design, South China University of Technology, Studio Pei-Zhu
Contact: yutianwang0805@gmail.com ; www.yutian-wang.com