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。
第二十一期为您呈现的是在美国学习的王子耕。
A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.21 episode is about Zigeng Wang who is studying in the USA.
为什么出国？
Why study abroad?
上学。。。
Study…
在国外遇到了什么让你印象最深刻的事情？
Is there anything happened impressed you?
我对美国没什么期待和幻想。但我不得不承认，普林斯顿在很多方面诠释了一种学者理想和对教育的信念是我一直希望经历的。
I don’t have any illusions toward the United States. But I have to admit that Princeton is the ideal place for scholarsbecause of the beliefs on education, which is what I always wanted to experience.
最想念祖国的什么？
What do you miss most about China?
火锅和火锅周围的人。
Hot pot and people around hot pot.
你会回国吗？为什么？
Will you come back? Why?
会。待惯了。
Yes. I’m more used to the lifestyle.
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?
肯定会。我是一个对故土有感情的人，我的作品集叫“Narrator/ 叙事者”，我有叙述这片土地的愿望。
Definitely yes. I know where I belong to. I have the desire to narrate the strugglesin this nation, and this is one of reasons why I named my portfolio “Narrator”.
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(in wider range such as art, music, movie)?What is the influence?
我对纪实摄影，图像，音乐，戏剧，电影，文学都有兴趣。这些是我接触世界的形式，建筑也是其中一种。我的学术创作基本都基于对这些领域的嫁接，转译，误读之中。举例来说，我thesis的论述结构很可能会来源于上学期对《色戒》文本的比较研究。
I am enthusiastic aboutdocumentary photography, images, music, dramas, films and literature. These are the ways I understand this world, and architecture is one of them. My academic works are for most part based on grafting, translating and reinterpreting these areas. For example, my thesis in Princeton will embed some ideas from myrecent comparative analysis ofLust Caution.
觉得自己的作品集有哪些迷人的特质？
What amazing character do your works have?
1， 我很明确的知道学术作品和实践设计的性质和目的上的区别。
2， 我的学术作品大部分不是project，而是thesis。目的和方法是不同的。
3， 我的学术作品大部分都不具备建筑动机。
4， 我对谁干了什么不太在意，我不关心总体上的agenda，我在意自己想要表达什么。
5， 我厌倦作品在思维层面上的单调。
I am not sure that my works have unusual characteristics. If there is, I think it may be the following reasons:
1, I am clear about the boundaryand differences between experimental design and design practice in their nature and purposes.
2, Most of my academic works are not projects, but theses. The purposes and methods are different from each other.
3, The motivations of my academic works are seldom about architecture.
4, I don’tcare what others are doing, I don’t care the agenda in general, but I do care about what I want to express.
5，I am tired of works thataren’t intellectually stimulating.
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 : )
很久以前就有关注。真诚希望你们越办越好。
From long time ago. I sincerely hope that Gooood will gain greater success in the future.
[Lost and Choice]
Zi-Yuan-Jian Tea House（紫垣间）
Studio work, Chongqing University
Instructor: Liu Yanjun
November 2005
In ancient Chinese philosophy, there is an inevitable link between heaven and earth. The ancient Chinese believe that, the value of life can only beachieved when an individual infiltrates into heaven and earth. This ideological ramification of Confucianism dominates the construction of orthodox. It makes artificiality a collective of metaphors and a cultural carrier which is key to understand traditional Chinese culture. Beijing is the best representation of this value system. The city (ancient Beijing City), the palace (Forbidden City) and the residence (quadrangle) are the fractal structures of a Confucian society. This project, seated beside the moat of Forbidden City, is discussing the possibility of “attaching”cultureonto modern architecture.
Based on the understanding of Beijing, I designed Zi-Yuan-Jian Tea House spatially introversive. The exterior walls extent the street harmoniously and create a universe enclosed. The topological folding surfaces of the walls blur the boundaries of buildings and courtyards. The volume of buildings and the subsidiary relationship with its courtyard are no longer perceptible. A game of “lost and choice” is then created: the tourists are lost in the ceaseless choices and the memories overlap. Time and space are unlimitedly extended in the unceasing process of choosing.
This ambiguity is also represented in the redefinition of the “opening”. These “openings” create layers of space, which is borrowed from conceptionsin Chinese gardens.Meanwhile, the meandering paths keep the sight within a limited range, which makes the movements of staying and going through dramatic, and spatial narration can proceed progressively. Learned from the planning theory of Forbidden City, the courtyards are designed and named according to Eight Diagrams.
在中国古代哲学观中，万物都处在一个天地相应的系统中。古人相信，当个体与天地互相渗透时，个体的生命价值才能得以体现。这种礼教意识形态的衍生物直接支配所有正统的建造活动，他使人造物成为一种隐喻的高度集合体和文化载体。北京这座城市是这一系统性认识的集中体现，从城市，到宫殿，到住宅，都处在礼教社会的分形结构之中，紫禁城是这种文化载体的集大成者。我希望坐落在紫禁城护城河边的这间茶室，尽可能多的探讨现代建筑的文化“附着”的可能性。
基于对城市的理解，紫垣间是一个内向性的格局，外墙延续街道立面并明确内部世界的界限。内墙的拓扑形态模糊了实体与虚体的界限，房屋体量和院落附属关系不再明确，房屋的体量感不被感知，这种独特性创造出一种关于迷失和选择的空间趣味：游览者迷失在不断的选择中，记忆发生微妙的重叠，时间和空间在不断的选择中被无限的延长。
这种模糊性同样体现在对“洞口”（门/窗）的重新定义上，这些“洞口”形成层叠的景深关系，强调了借景与对景的中国园林特征。同时曲折的路径将视线遮蔽在有限的范围内，使穿越和停留具有戏剧性，空间叙事得已递进展开。院落借鉴紫禁城的规划理论，按方位确定命名和景观意向。
[Bohemian Sanctuary]
Artist Residence Complex Studio work, Chongqing University Annual National Architectural Design Competition for University Students Excellence Award November 2004
This project is about the ideal residential model for artists. In retrospect of the traditional residential district, Iestablish two behavior models based on Maslow’s hierarchy of needs. By analyzing the behavioral and psychological needs of different groups, we systematically understand their distinctive needs of living space and public space. These analyses help us decide our design focuses.
The nature of art requires a collective of living and working. A self-sufficient complex is in response to this request. The complex becomes the habitation of artistic intellectuals and pioneersof the city. Meanwhile, it is an anti-automobile city model.
这个项目探讨艺术工作者的理想居住模型。基于对传统住宅区的反思，我用马斯诺理论建立两种受众的行为模型，通过对各自的行为和心理需求分析，我们可以系统性的掌握了艺术家对住宅和社区的空间和环境需求的不同之处，为设计提供理论基础。
艺术创作的性质明确要求居住与工作的混合性和集体性。一个自给自足的综合体回应这种需求。在公共层相连而形成的综合体便成为一个城市文艺知识份子和城市先锋的聚集地。同时也是一个无需机动交通的立体城市范本。
[Celestial Street]
Chongqing Yangtze River Bridge Pedestrian System Personal work
August 2007
Yangtze River Bridge is a typical bridge designed for automobiles; it is the vital infrastructure connecting two important districts in Chongqing. The rapid transit threats the pedestrians’safety and walking experience. Aparasitic walkway underneath the bridge solves this problem. It not onlyoffers a comfortable walking option, but also provides a public spacewith multiple programs for the citizens, a dock and a Yangtze River HeritageMuseum.
The bridge can be treated as the host (target) in parasitism. By dismantling and transformingthe host language, and analyzing the environmental modulus and parameters, we can generate the parasite (the attacker)with opposite stance. This is an attempt to attack target with target’s own language.
长江大桥是一座典型的车行桥梁，联通重庆市两个重要区域的交通要道。快速车行交通时刻威胁着人的步行体验与安全。寄生在桥下的步行景观系统是解决这一问题的答案，他不仅为行人提供舒适的步行选择，同时也为市民提供一个容纳多种功能的公共休闲场所，一个升降码头，和一座长江文化博物馆。
设计将长江大桥看作寄主（目标物），通过对寄主语言的拆解和转化，结合模数和环境参数分析，生成附着在桥下的立场相左的寄生体（攻击者）。这是一次用目标物的语言去攻击目标物自身的尝试。
[Infernal Constructs (Wu Jian Zao)]
MIT “Develop” Exhibition– Film of Atelier FCJZ Theater Instructor: Yung Ho Chang
Exhibition Manager: Liu Xianghui
Role in the project: Film designer
February 2007
Statement:
1, This works designed to show the design projects of Atelier FCJZ over the yearsby the form of films. The related architecture projects are designedby the Atelier FCJZ. This works property belongs to Atelier FCJZ. I completed the movie under the instruction of Prof. Yung Ho Chang.
2, This work is made for nonprofit academic use only. Some visual images in this work are adapted from the film still of Hong Kong movie “Infernal Affairs”.
“Infernal constructs” is black-and-white silent movietrilogy. It is the exhibition project by the Atelier FCJZ in the “Develop” exhibition held in MIT.The film displays the built projects of the Atelier FCJZ. It constitutes by three parts:“With out”, “In between”, “To build”, which expresses three different phases in architecture design works: concepts and design, develop through designs, construction documentation. They are not only interrelated, but also independent. By redesign the narrative structure, the “Infernal constructs” becomes three relaters each sticks to one’s own version.
The “Infernal constructs” is in virtue of scene from the Hong Kong Movie trilogy“Infernal affairs”. It establishes the connections between the projectand the characters in the “Infernal affairs”. It obscures the scene in the movie and in reality. And finally it simplifies the relationship between the characters, reconstructs the story and connects the representation of architecture projects in series. The same scene appeared repetitively in three movies provides the possibilities of intercross narrative. It became the multiple meaning point, and made the three clues interconnected.
Inspired by the Japanese movie Rashomon(Akira Kurosawa), these three movies did not record three stories separately, but expressed different interpretations of three subjective relaters on their own point of view of the same story. The multiple meaning points become different themes indifferent movies, become the key process of the structure design. The meaning of the stories is not implied at the end of the narrative but cross through the whole process of narrative. The meaning gets away from all single-level investigation. By imitation and distortion of the truth, the truth cannot be reverted. The meaning finally melted in the design structure. By deconstructing and rebuilding the limited material (the filmscreenshots and the photos of the projects),“Infernal constructs” not only complete its basic task – introduce the design projects, but also weave a dream of structuralism: If the truth needs to convey through narrative, it will hide behind the production mechanism of narrative structure forever.
《无间造》是黑白默片三部曲。他是非常建筑在麻省理工学院举办的主题为“发展”的展览项目。用影片的方式展示事务所的建成作品。影片分为《无》With out，《间》In between和《造》To build三部，分别表达建筑设计工作的三个不同阶段：概念和设计，设计发展和施工文本。他们既有关联，又相互独立。通过对叙事结构的重新设计，使《无间造》成为三个各持一词的叙述者。
《无间造》借助香港电影三部曲《无间道》中的场景镜头，运用多种蒙太奇的手法使项目与《无间道》中的电影人物建立联系，模糊了电影场景与现实场景的界限，并最终简化人物关系，重构了故事情节，串联所要表现的建筑项目。三部影片中重复出现的项目（场景）为互有交叉的叙事提供可能，成为事件的多意点，使三条线索联系起来。
受日本电影《罗生门》的启发，三部影片不是对三个故事的分别记录，而是对同一个故事的三个主观叙述者，他们站在各自的立场，对同一个故事表达不同的解读。多意点在不同的影片中有不同的主题，成为结构设计的关键步骤。故事的意义不在叙述的结尾处，意义贯穿整个叙事，意义摆脱掉所有单层次的调查。通过模仿和曲解真相，真相变得无法还原，意义最终消融在这个结构设计之中了。《无间造》不仅完成了他的基本任务——介绍设计作品，同时通过对有限的图像素材（影片的截图和项目照片）的分解与重组，编织了一场结构主义叙事学的梦境：如果真相需要通过叙述来传达，那他将永远隐藏在叙事结构的生产机制之中。
[1984]
Masquerade of Totalitarian Society
Personal work
July 2006
This is a tentative transcript of George Orwell’s novel 1984. Words become images via decoding, reinventing the codes and encoding. Linguisticand semiotic conceptions are essential in these processes. The elements in the Orwellian dystopia are dismantled and systemized into the signified,and reconstructed with the new signifiers: the daily objects around us. The composition of daily objects becomes a linguistic Role. Seven categorizedRoles constitute a city, spatially corresponding to the different authorities they represent. This city of transcript reveals the totalitarian society undermasks, while directing and forecasting the masquerade. It is also my personal reading (or misreading) and salute to George Orwell.
这是一次对乔治奥威尔的小说《1984》的转译的尝试。通过解码，制码，编码的过程，将文字文本转换成图像文本。借助语言学和符号学概念，将作品所描绘的极权主义图景中的典型个体进行梳理和拆解，与日常生活中的物体进行能指与所指的替代重组，重组之后的“复合物体”成为语言学意义的角色。七个类型化的“角色”遵循空间权力的对应关系组成一座“城市”。这座转译过来的“城市”是对面具下的集权社会的揭示，是这场假面舞会的蓝图和剧本，是我对乔治奥威尔的误读与致敬。
[Memo for Get] (1984 Ⅱ)
A Codebook of Political Criticism
Personal work
Collaborator: Jiani Tong
September 2008
This project is about playing with censorship.
When we lack the freedom of speech, antagonism, criticism and sarcasm are not only harmful, but also fruitless. We need a strategy to face the authority’s surveillance, and to express our different attitudes and positions– a metaphorical strategy to evoke our own memories and introspection.Via text coding and graphical metaphor, analternativenarrative is provided, which may be more critical than directly going against.
这个项目探讨的是如果用设计应对审查。
在言论壁垒的环境下，对抗，抨击和讽刺的做法不仅具有伤害性，而且也是徒劳的，我们需要一种即能面对权力的监视，又能面对自身立场的表达技巧，一种隐喻的技巧来唤醒对历史祭奠与反思。通过文字编码和图像隐喻的方式，这个文本的设计提供了一种比直接对抗更具批判性的隐喻叙事的可能性。
[Beijing Blue – An Alternative Geographical Landscape of Capitalism]
— “A Beautiful Country” trilogy “美国”三部曲/ Chapter One Studio work (ARC505A F2013 Architecture Design Studio, Princeton University)
Advisor: Liam Young Cooperators: Liu Yang, Xu Dan, Liu Zuo, Wang Weibing, Sun Haiting Special thanks: Jerome Silbergeld, Maggie Hua, Wendy Wu, Li Zhe, Bu Shujian, Wang Xiang, Chen Minghong, Li Ning, Zhang Bo, Cong Wang, Youmi Oh, Chai Junyi, Li Yuan
Statement: Some footage in this film is taken from the Internet. All copyrights reserved to authors. This project is only for academic purpose, not for commercial use. All mentioning of Alibaba Group is fictional.
December 2013
Beijing Blue is the first episode of the “A Beautiful Country” trilogy. It is a critique of capitalism in the Data era, exploring the hyper-rational processes of the new digital market and its absurd geopolitical consequences.
Alipay is now the world’s largest e-commerce payment platform, with more than $500 million in transactions per day. It utilizes the time differential between trading and transaction to gather large amounts of sedimentary cash flow, making Alipay a new type of internet-based”Cloud Bank” withoutany physical supplement.
To maximize the amount of cash in the money pool, 4 principles and related strategies are used:
Principle 1: Transactions rather than objects.
Strategy 1: Delivery is meaningful, what to be delivered is meaningless.
Principle 2: As many transactions as possible.
Strategy 2: To create needs, to evoke desires, to impose the fear of lacking.
Principle 3: Transactions must be perpetual.
Strategy 3: It should be consumable.
Principle 4: Deliveryshould be as slow as possible.
Strategy 4: To utilize force majeure, to convince people it is worth waiting for.
Thefourbusiness strategies represented in the diary of MA Yun which formed the foundation and organizing principles of my critique. With Beijing’s severe air pollution problem as a backdrop, Beijing Blue narrates an alternative future operated by three companies: the air companyE-MPTY which relies on online transactions; the aircraft manufacturer Boeing which provides the physical transportation of the commercializedfresh air; and Alibaba, the owner of the online payment platform. These three companies work together to sell fresh air to the residents of Beijingand beyond. By describing the absurdity of daily life under a brutal capitalist logic, the film casts doubt on the political zealousness and the geopolitical predicament in the Data Era today.
这个短片是关于资本主义批判的”A Beautiful Country” trilogy “美国”三部曲的第一部。主要探讨了地缘政治在新的交易形式下的展现，数据时代的工具理性和其导致的荒诞结果。
支付宝是目前世界上最大的电子商务支付平台，每天的交易量超过500万美金。在交易的过程中，支付宝实际上可以利用交易时间差汇集大量的现金流沉淀，这种网络时代的支付形式使支付宝成为一种不需要任何实体和物理空间需求的“云银行”。
为了最大化这个资金池的总量，需要遵守四个原则和与之相对应的策略，分别是：
1， 交易而不是物品/ 运输什么不重要，重要的是运输本身（传递空盒子也是有意义的）。
2， 尽可能多的交易/ 创造需求，去商品性，增加文化暗示（空气不是空气），施加缺乏的恐惧。
3， 交易必须是持续性的/ 交易物应是消耗品。
4， 尽可能慢的运输/ 利用天气等不可抗因素，价格等级化。
这四个理性的商业策略是整个故事构架和批判的核心，在影片中以马云日记的形式出现。我以北京的空气污染为背景，构想了一个空气公司E-MPTY安珀蒂、运输空气的飞行器制造商波音以及支付平台支付宝三家公司合作向北京居民卖空气的故事。这个短片通过描述资本主义逻辑下的日常生活的荒诞，试图表达对数据时代的政治热望的怀疑与其在资本主义地理学景观的构架下的困境。
下方视频建议选择超清 VIDEO ▼
[Dukkha Tower–The Boundary of the Empire]
— “A Beautiful Country” trilogy “美国”三部曲/ Chapter Two Studio work (ARC504S2014 Architecture Design Studio, Princeton University)
Advisor: Andres Jaque
Cooperators: Liu Tanli
Special thanks: Feifei Feng, Zheng Han, Maggie Hua, Harry Mingxia Wei, Yshai D. Yudekovitz, Zhao Wen, Lluís Alexandre Casanovas Blanco May 2014
Dukkha Tower is the second episode of the trilogy “A Beautiful Country”, sequel to Beijing Blue. It investigates the boundaries of two cities, Dongguan and NYC, and by reinterpreting the geography of the global industrial chain, intends to depict a panorama of capitalist activities in today’s globalization era.
From a capitalist point of view, Imperialism is characterized by exploring unequal geographical territories, and utilizing asymmetrical spatial relations for the accumulation of capital. However, nowadays, this structural tension has been embellished or hidden into many invisibledimensions. After the Cold War, the acceleration of capital flows and cost reduction in telecommunication and transportation saw the continual expansion of offshore production. With coerced consumerism and cultural output, the manifestations of imperialism has become more and more secretive and complex. This project aims to expose these contradictions, tensions, indoctrination and domestication in the geographic landscape of capitalist activity.
As a metaphor for the empire, the Empire State Building provides both a physical boundary and a symbolic one. The reconstruction of the Empire State Building in section consists of two parts / worlds, which are articulated by different drawing methods – hand drawing and computer drafting.The Apple store of New York on the bottom of the tower is explicit, while above it, the tower inside the tower, suggestive of the city of Dongguan, ismasked. The two worlds are unaware of the existence of each other. The programs of the tower, containing typical events during capitalist production,are organized by the logic of The Four Noble Truths of Buddhism. By exposing the important and yet ignored appendices in the chain of capitalism, as the heterotopia bandaged by the empirical boundary, or the ghost behind the transparent curtain wall of Apple store, this project ultimately expresses the predicament and bondage of human beings.
这个项目是关于资本主义批判的”A Beautiful Country” trilogy “美国”三部曲的第二部。这个课题是探讨两个城市的边界。我选择了东莞和纽约。通过对一个产品（iphone）全球产业链的地理重置，探讨当今资本主义活动在全球化背景下的图景。
从资本主义的逻辑观点来看，帝国主义的特征在于通过开拓非均衡性地理环境，并利用空间交换所必然产生的非对称性关系来进行资本积累。而如今这种结构性的紧张状态被修饰和隐藏在很多不可见的维度。冷战之后，资本流动的加速和通讯交通成本的降低使离岸生产的规模不断膨胀，帝国主义的表现形式伴随着消费主义和文化输出的裹挟，变得越来越隐秘和复杂。我希望展现出资本主义活动的地理学景观中的矛盾与紧张，教化与驯服。
帝国大厦作为一个帝国的隐喻，提供了一个边界（帝国的边界和讨论的边界）。对帝国大厦在剖面上的重构由两个部分/世界组成，分别用不同的制图方式表达。底层的苹果店（纽约）是显性的，苹果店上面的塔中塔（东莞）是隐性的，这两个世界互相感知不到对方的存在。塔中塔按佛教四谛（苦集灭道）的逻辑组织在东莞的典型资本主义生产生活内容。他是资本主义链条中重要但隐秘的其余内容，是被帝国边界限定和教化的异托邦是苹果透明玻璃幕墙里时隐时现的东方幽灵。这个项目最终想展现的是人的困境与束缚。
When：2013-present
Where：USA
Who：zigeng Wang 王子耕
From：Beijing
School and Office：
School of Architecture, Princeton University
Contact：zigengw@princeton.edu
