We work for MAD：intern collection 40

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?

MAD无疑是中国最受瞩目的建筑师事务所之一，同时在世界范围内也受到极高的关注。
MAD每年都收到来自全世界不计其数的工作申请和实习申请。
能够进入MAD学习和工作一段时间，职业生涯无疑会变得精彩丰富，
在这里的人们，也许是幸运的，但肯定是优秀的。
在MAD工作的实习生们，他们脑子里天马星空的想法是什么样的?

Name: Yan Jingbo
Educational Institution: Jinan University
Year: Fifth Year, Bachelor Degree
Nationality: China
Email: yan_jingbo@hotmail.com

Who is your favourite architect? Why?
Recently I have been paying attention to Peter Zumthor and his design Steilneset and feel that his pursuit of quality derives from material understanding, thus affection embodied in his final works. Actually designers of other fields have inspired me the most. Issey Miyake cloth reflects oriental wisdom and has architectural style and the fabric structure of BMW GINA indeed brings the field inspiration. In addition, futuristic films like 2001 Space Odyssey or Blade Runner are prophetic for new buildings and cities. These will be reflected to varying degrees in my Portfolio.

What is the major characteristic of your current school’s education?
Emphasizing output, my instructors encourage me to pursue what I think is right. 

What have you gained during the MAD internship?
I am really excited to have been engaged in MAD projects that constitute part of Chinese contemporary art. MAD’s application of Chinese philosophy to building temperament has greatly inspired me. I am also benefited making many friends here. 

 What are your thoughts and feelings upon Chinese Architecture and the environment? Any suggestion?
For buildings, there has been more concern on taste than history and environment. I really like MAD project of Huangdu Art Center, a combination of large-scale public building and Beijing Hutong culture, which I think is the implied beauty that should be presented in Chinese contemporary architecture. In view of environment, architects are rather restricted and owners, competitive mechanism and entire social values shall be involved. If any tiny part of this complexity in China is eased, that would be of great meanings, which is a challenge for architects. China enjoys opportunities and what architects need is to make themselves well prepared.

What is your dream?
Permanent passion for architecture.

What would you do if you were not an architect?
My roommate is a photographer who has made influences on me. If I were not to be an architect, I would practice photography or something graphic.

What is your dream project?
Make people feel relax in Building.

What is your favourite project in your portfolio? Why?
I believe works shall be based on self-criticism. Though ideas generated in lower grades have been denied by those of higher grades, they are all part of my mind. Arranged in time sequence, works are listed like a diary.

姓名: 颜景波
学校: 济南大学
年级: 本科五年级
国籍: 中国
电邮: yan_jingbo@hotmail.com

最喜欢的建筑师是谁？为什么？
最近关注最多的是彼得•卒姆托和他所设计的女巫审判纪念馆，我认为他对品质的追求是建立在对材料的理解上，所以建成的效果往往包含丰富的情感。而对我作品影响更多的是来自其它领域的一些设计师，我认为三宅一生的服装体现了东方人的智慧并且非常具有建筑感，而BMW GINA概念车的织物包裹结构确实给建筑界带来很多灵感，另外太空漫游或者银翼杀手等一些未来主义电影对新的建筑和城市有很强的预言性。这些东西会在不同程度上体现在我的作品集里。

你所在学校的教育特点？
比较注重结果的输出，我的老师一直鼓励我去追求自己认为正确的东西。

在MAD实习最大的收获是什么？
在MAD所接触的项目都是中国当代艺术的一部分，这一点很让人兴奋；事务所用中国哲学去营造建筑气质的这种追求给了我很多启发；还有就是在这里结识了很多朋友，和他们的相处使我受益匪浅。

你对中国建筑的感触是什么？建议是什么？
关于建筑，有太多趣味先入为主，而缺少对历史和环境的思考。我很喜欢MAD皇都艺术中心这个项目，一个大型公建对尺度的拿捏兼顾到北京的胡同肌理，我想这是中国当代建筑所应该呈现的含蓄之美。关于环境，很多事情建筑师单方面无法推进，这牵扯到业主，竞争机制和整个社会的价值观，但是中国存在的这种复杂性，如果能在设计中去晰释哪怕一小部分，我想都会非常厉害，这对建筑师来说是一种挑战。中国存在着大量的机会，建筑师首先要做好自己。

你的梦想是什么？
对事业有持久的热情。

你如果不当建筑师会选择什么职业？
我在学校里的室友是位摄影师，他给了我很多影响。如果不当建筑师的话，我想我会去接触一些摄影或者平面的东西。

你梦想中的项目是什么样的？
能让走进建筑的人感到放松。

在自己的作品集中，你最喜欢的作品是什么？为什么？
我认为作品应该建立在自我批判基础之上，到了高年级我的设计立场也会否定掉低年级时候的观点，他们都是我思绪的一部分,按照时间顺序把作品排列出来是最公平的，让他们看起来像一本日记。

 

01 Twist House
扭转住宅

Three aspects, fabric structure of BMW GINA,bubble-box mode of UN Studio and the view of world of parametric, jointly determined the design. The twist system with landscape feedback drove skin logic and structure logic, and even in a chance later furniture-scalar skin louver evolve into stairs and tables, forming a series of interior foldscape with abundant visual effects and spatial experience.

BMW GINA概念车的织物包裹结构，UN Studio的孖泡箱体模式和一个Parametric的世界观这三个方面成为了影响设计的关键因素，扭转这一带有景观反馈的动作驱动了表皮逻辑和结构逻辑，甚至在后期一个偶然的机会下家具尺度的百叶演化为楼梯和桌子，形成室内一系列带有丰富视觉和空间体验的褶皱景观。

 

02 Absorption & Insulation
纳•藏

In the early stage we made over 20 options in attempt to refute the view of necessaryconservation of form in energy-saving buildings. After analysis and selection of reasonableresults, we designed a folding basement with techniques of buoyancy ventilation, plantedroofs and ecological analysis. The basement had clear boundaries and was a product ofrational thinking with undetermined forms, romantic and vague. Undetermined form is thedynamic shading system over the middle yard. The form is vague but enjoys sophisticatedstructure. The structure may adjust in length in corresponding areas according to sunshineto achieve well-controlled transmittance in the yard and make the building resemblebreathing. This comparative conflict, together with landscape of Xixi Wetland andarchitectural context, forms the tension.

在初期，我们小组做出了二十个以上的Option试图去反驳节能建筑必须在造型上有所保守这个观点。在分析统计筛选出合理的结果后我们在一些如浮力通风，覆土屋面，生态分析等技术之上设计出一个折面的基底，它有着明确的边界，这样一个理性思维下的产物，上面却飘着不确定的形态，浪漫而模糊。不确定形态承担了中间院落上空的动态遮阳系统。它的形态是模糊的，但有着精密的构造，杆件可以根据日照情况在对应的区间内随机调节长度，使院落内的透光量得到很好的控制，并且使建筑看上去像是在呼吸。这种对比的冲突结合西溪湿地的自然景观和建筑文脉构成了建筑的张力。

 

03 Structural Ecologies& Mechanism
结构生态学&机械主义

Several decades ago, Stanley Kubrick had foreseen telephone, television and electronictelegraph in 2001 Space Odyssey, so to some extent we can predict the future through sciencefictions. When I was a junior, my view was influenced by a series of North American sciencefiction films with strong narrative structures and planned to present my view in one singlesmall design. Logical narrative in Iron man, Distinct 9, Transformers, Avatar and TheIncredible Hulk is confined to two modes, namely biological and mechanical modes. Mechanicalmode is a top-down concept driven product that can be subjectively controlled, such as TonyStark in Iron man, humans in Avatar and Transformers. Biological mode is a down-top datadriven product that presents a unpredictable emerging pattern, uncontrollable as mutation,such as aliens in Distinct 9, alien race in Avatar and the green giant’s mutation in TheIncredible Hulk. I chose structure windmill, with the most mechanical style, and structureecology language for the redesign and combine the two modes mentioned above into one singledesign.

早在几十年前，库布里克就在2001,Space Odyssey中预见了电视电话和电子电报，所以一定程度上我们可以通过科幻片去参照我们的未来。大三时我的建筑观受到当年在北美上映的一系列具有很强的叙述结构的科幻电影影响，从而想在一个小设计中体现出来。Iron man,Distinct 9，Transformers，Avatar，TheIncredible Hulk 这些电影如果把假设叙述的很有逻辑，不外乎两种模式，生物模式和机械模式。机械模式是自上而下的概念驱动产物，能够被主观的高度的控制，比如Iron man中的Tony Stark，Avatar中的人类，还有Transformers，而生物模式是一种自下而上的数据驱动产物,它呈现出一种难以预测的涌现模式，就像突变一样不存在控制机制，比如Distinct 9中的外星人，Avatar里的外星种族还有TheIncredible Hulk中绿巨人变异的情景。我选择了最有机械主义风格的构筑物风车并用一些结构生态学的语言对其进行了再设计，将前文讨论的两种模式叠加在一个设计中。

 

04 New Sequence of Old Town
老城的新序列

Old Tower-City Moat-Street-Hutong-Courtyard features the space sequence in old zones of Jinan. Due to historical reasons and current urban renewal, this sequence is vanishing and this design aims at its resumption. I started with non-constructive external space designs of streets, Hutongs and yards, and constructive part naturally came into being after figure ground.

城楼-护城河-街道-胡同-院落是济南老城区的一条基本空间序列，由于历史原因和当前的城市更新，这条序列已经消失殆尽，它的重现通过本次设计去解决。我首先去设计街道，胡同，院落等这些非建设性的外部空间，建设性的部分图底翻转之后自然形成。

 

05 A Piece of Cloth (A-POC)
一块布

“A piece of cloth” constitutes an essential part of design philosophy for Japanese fashiondesigner Issey Miyake. He stressed different ways of wearing as wrapping or tieing to turn apiece of cloth into three-dimensional cloth. The sheer pursuit of form reflects the orientalthinking. It is like western painting focuses on strokes while oriental painting stressesbone brush with a single line to convey profound conceptions. Inspired by Issey Miyake andbased on the design of New Sequence of Old Town, I tried another language to conduct high-density experiment on the same site and combine the sequence of Old Tower-City Moat-Street-Hutong-Courtyard into a continuous fabric-like structure.

“一块布”是日本服装设计师三宅一生设计哲学中非常重要的一部分。他强调用围裹或是系绑的不同穿戴方式，将一块平面的布变成立体的服装。一气呵成的这种对形式的强烈偏执体现了东方人的思维方式。这就如同西方绘画讲究笔触，而东方绘画讲究骨法用笔，往往用一根线条就能表达出更深远的意境。受三宅一生的启发，在老城的新序列这个设计的基础上，在同一个基地我尝试用另一种语言进行高密度实验，将城楼-护城河-街道-胡同-院落这种序列融入到一个连续的织物般的结构之中。

MORE: 
Name: Yan Jingbo 颜景波
Email: yan_jingbo@hotmail.com