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.
Why study abroad?
Is there anything happened impressed you?
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.
What do you miss most about China?
Hot pot and people around hot pot.
Will you come back? Why?
Yes. I’m more used to the lifestyle.
Is it more distinct to view China in a different environment after going aboard? Any thought?
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”.
what is your favorite artist(in wider range such as art, music, movie)?What is the influence?
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.
What amazing character do your works have?
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.
When did you start to surf on gooood? Any suggestions? Thanks : )
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
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.
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.
Chongqing Yangtze River Bridge Pedestrian System Personal work
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.
[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
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。
Masquerade of Totalitarian Society
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.
[Memo for Get] (1984 Ⅱ)
A Codebook of Political Criticism
Collaborator: Jiani Tong
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.
[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.
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。
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。
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。
Who：zigeng Wang 王子耕
School and Office：
School of Architecture, Princeton University