Overseas NO.23: Ruoyu Wei

In the twenty-third period, Wei Ruoyu, who is studying and working in New York, is offered to you.

Project Specs

Design Firm:

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为什么出国?
Why study abroad?

其实我最初的动机可能跟大多数人一样,换一个环境、体验一些不一样的东西、为设计找些新的灵感。所以最终做出这个决定并不难。在纽约生活学习一年后,回头看还是很值得的。

资源丰富是我在纽约的一大体会,哥伦比亚大学建筑系拥有全球最大的建筑图书馆,这让我在上学期间受益匪浅。我记得春季学期我修了一门研究中国现代建筑的课,为了研究当时建筑师如何在建筑中表达中国的现代性,我们从档案馆里调出了境外事务所在中国1913年左右参与的一些竞赛和建成项目的图纸。带着手套慢慢翻着那些一百年前墨线图,惊叹不已。学校里还有很多著名的教授,如史蒂芬•霍尔,伯纳德•屈米和肯尼思•弗兰普顿。我在校期间修过一门“建构文化研究”的理论课,就是肯尼思•弗兰普顿本人教授的。每周听他慢条斯理地分析各种历史上著名的建筑师的作品真的特别享受。最后的结课论文也是老先生本人亲手修改的,非常认真负责。

Actually my motivation to study architecture abroad was quite simple – just want to be in a different environment to get some inspirations, so toarrive at this decision wasn’t that difficult. But when I look back over the past year in New York, I indeed believe that studying abroad has been a life-changing experience. What I have gained has been way more than what I initially expected. I am glad that I made a right decision.

Rich in resources is my strongest feeling when I studied in Columbia University. GSAPP has the biggest architectural library in the world which allow me to explore a lot myself.Once I took a theory course called ‘Building China Modern’.In order to investigate how architects express modern Chinese architecture in early 20th century we made an appointment to look at couples of drawing sets of Chinese projects by foreign architects. Flipping through those hand drawings was really an enjoyable experience. In school, there are also a lot famous professors such as Steven Holl, Bernard Tschumi and Kenneth Frampton. ‘Studies in Tectonic Culture’, another course I took, was taught by Kenneth himself. It reminds me the unforgettable semester during which I sit in the dark lecture hall every Monday morning and listen to Kenneth’s analysis of those master pieces.He is responsible to student and even edit on my final paper by himself.

 

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

今年夏天的时候, 霍尔带我们工作室的去他家喝酒,他家客厅里有一张很大的画水彩用的桌子。我问他每天都会画么?他说:“是啊,我每天起床都会画一到两个小时,已经好多年没有间断了。如果某一天早晨有事,我会提前起床画画。坚持这件事情时间长了,慢慢地就给了我设计上更多的帮助。”我听完很佩服, 绘画并不是难事,但坚持本身有一种令人折服的力量。

This summer Steven Holl invited us to his house. There was a very big table in his living room. Steven uses it for watercolor painting. I asked him whether he has kept painting for long. “Every day”, said Steven, “Yes, I paint every day in the morning, right after waking up. I have kept this hobby for years. If there is something else I have to do in the morning, I will get up from bed earlier and spare time for painting. And watercolor painting, in turn, brings me inspiration in my architecture design as well.” I was very impressed by his perseverance.

 

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

家人和朋友。
Families and friends

 

你会回国吗?为什么?
Will you come back? Why?

会,但还没有想清楚什么时候回。职业生涯才刚刚开始,要学的东西还有很多,应该要静下心积累几年再做打算吧。

Yes, but I am not clear that when I will be back. My career as an architect just began, and there are things to learn. I may stay here for a couple of years before making that decision.

 

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 goingaboard? Any thought?

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?对我来说好像没有,可能是我个人的问题吧。我在学校的日子比较简单,大部分时间都在工作室画图做模型。哥大一周三次设计课,课业还蛮重的。现在工作了,可能会有一些时间慢慢关注吧。

To be honest, I don’t think that has changed me a lot. Maybe I haven’t paid that much attention on these issues. My school life was very simple – I spent most of time staying at the studio and doing designs. Now I stepped out of school. I may have time to care more about these issues.

 

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?

我没有特别喜欢某一个艺术家,对各种流派风格都很包容。反而是所处的一种生活环境或者状态对我的影响更深。纽约浓厚的艺术氛围,浸入式地影响着我对生活以及建筑创造的感知和认识。我经常会在单位中午午休的时候到附近的Chelsea区转转。这里是纽约艺术家最活跃的地区之一。没有什么目的性地随便钻进一个画廊。不期而遇的灵感邂逅反而会植根于脑海更久。

I don’t have one particular artist that I like most. I am quite open to all genres of art. Instead, I believe that the life surroundings, or the state-of-mind, have affected me in a more substantial way. New York’s cultural atmosphere has infused my mind and soul, gradually shaping my perception and understanding of architecture design. During weekday’s lunch break, I often take a walk to New York’s Chelsea district near myoffice. It is home to some of the best and important galleries in the city. I visit these galleries without any purposes or aiming. But I am always able to get some great inspiration from my meandering.

 

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

我相信建筑“形式”的力量。我在哥大的三个作品都是在用不同的方法来研究建筑的形式和语言。Luminous support是从大师作品的解读和二维图形分析中建立自己的设计手法。Metaphysical Memorial是从关于“消逝”的抽象概念模型开始研究建筑的的组织。Armor是从一个中世纪盔甲的基本结构中出发来挖掘建筑空间的可能性。这些研究最终以建筑形式和空间本身来表达,成为一个新的独立存在的个体。

I believe in the power of  FORM. The three most recent designing works, which were completed during my studying at Columbia, aim to explore the forms and languages of architecture using different approaches. “Luminous Support” was derived from my personal interpretations of Master Architects’ designs as well as of two-dimension graphical analysis. “Metaphysical Memorial” was built upon the abstract concept of “fading” and then substantiated with form and structure. “Armor” was essentially a translation of the forms of the medieval armors. As a new substantive, myideas and concepts were finally presented through the form of architecture or in the formulas of space arrangement.

 

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 : )

本科四年级的时候吧。我觉得谷德上的各种专辑和采访比较有特点。关于建议,我希望谷德的“在海外”专辑可以邀请一些人介绍一下全世界各个建筑院校的具体情况,让国内有出国意愿的学生了解得更全面,找到适合自己的学校。我觉得仅仅美国的各个建筑研究生院就风格迥异:有的风格扎实,有的侧重多元化,有的理论很强,有的走参数化路线。至少我在申请的时候是很难了解得很具体。如果真去了不适合自己的学校,还是挺痛苦的一件事情。

比方说在我就读的时候我们院长是Mark Wigley,他比较主张学院设计课的多元化,所以秋季和春季学期可选择的20个工作室每一个都有不同的研究重点。很有可能两个同专业的学生三个学期下来受教育内容完全不同,这都是由自己决定的。学校提供的是一个平台,让你可以选择自己成长的路。我们的工作室老师大多是外聘的各种建筑师。其中一些会来往于各个常春藤大学,可能这个学期在哥大教,下学期就去普林斯顿或者哈佛教了,这都是时常发生的事。

Since the fourth year in my college. I like Gooood’s album interviews. In terms of the suggestion, I would like to see some more in-depthinterviews about graduate program settings of different schools under the “Overseas” album. These would help those people who have plan to study abroad better understand the differences among different schools and thus allow them to choose the one that best matches. From my personal perspective, every school has its own style. At least when I was applying for graduate schools, I had little access to this kind of information.

Diversity  is the strongest feature in Columbia University.We have almost 20 different studios with various approaches per semester which allow you to find your own way to pursue. It happens sometime that two students get totally different courses through the whole year. Most of the studio instructors in GSAPP are architects based in New York City.Some of them teaches in different Ivy League schools all the year round, maybe teaching in Summer and Fall in GSAPP, then Princeton in Spring semester.

 

 

1

Luminous Support

时间:2014年1月至2014年5月
指导教师:Steven Holl & Dimitra Tsachrelia
合作伙伴:于皓臣
基地:哥伦比亚首都波哥大

Time: Jan.2014 – May.2014
Collaborator: Haochen Yu
Instructor: Steven Holl & Dimitra Tsachrelia
Site: Bogota, Colombia

这个studio的研究内容是“建筑语言”。我们最初进行了大师作品分析。十二种语言不同的经典建筑分配给十二个人进行分析。分析图解绘制结束后,每两名同学进行随机组合,对建筑语言进行“Collisions”。这种结合可以带来新的不可预期的结果。为了强调研究的抽象性和纯粹性,设计并不注重建筑的具体功能,最终结果是完成度50%的构筑物。我的研究对象是密斯•凡•德罗的乡村别墅(Brick Country House),我的合作搭档研究的是勒•柯布西耶的Firminy Church。我们做了两种语言创造。在第一种语言中,我们选取了密斯在乡村别墅中墙体的一小段,将它挤出一个具有柯布Firminy Church 空间特征的混凝土壳体。这个壳体不仅是空间结构,同时具有采光功能。我们将这个壳体作为空间原型,对其进行一系列变形、创造出没有功能限制的地下空间。另一种建筑语言称为“透明的光炮”。它是密斯的材料透明性和柯布的建筑构件“光炮”的结合。这个地上构筑物由透明的曲面幕墙所构成。半透明的材质使得空间笼罩在柔光之中。

The purpose of this studio was to study architecture languages. The design was begun with analytical drawings and model studies. Each person was assigned to a masterpiece of modern architecture to study its language. After everyone made individual language analysis, every two people were grouped into teams and their languages were combined. The final design was only required 50% of completeness. Detailed programs or architecture issues were not mandatory.My study object was Mies Van Der Rohe’s Brick Country House, and my partner was Le Corbusier’s Firminy Church. We conducted two language creations. In the first one, Mies Van Der Rohe’s linear wall element was extruded into a volumetric concrete shell. The shape of the structural wall was transformed into the source of light – a luminous cut into a volumetric space. This typology then reiterated into a sequence of angular variations of ‘Luminous Support’ submerged under the ground to emphasize the sharpness of light in contrast to shadow. The second language, the ‘Transparent Light Can¬nons’, attempted to echo to the ‘Luminous Support’. It formed a language of curved geometry in layered. The translucent materiality allowed all spaces above ground to be washed in softer light. Like a music piece in two parts, the ‘Luminous Support’ and the ‘Transparent Light Cannons’ are two works in dialogue.

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2

Metaphysical Memorial

时间:2013年9月至2013年12月
指导教师:Karla Rothstein
合作伙伴:Kangsan Danny Kim
基地:纽约市皇后区

Time: Sep.-Dec.2013
Collaborator: Kangsan Danny Kim
Instructor: Karla Rothstein
Site: Queens, New York, United States
 
这个工作室的研究课题是定义一种新的纪念逝者的方式。指导老师Karla Rothstein同时是哥伦比亚大学建筑系Death Lab的主任。设计前期,老师要求我们利用抽象的空间模型来描述“消逝”。我做了两个概念模型,一个是利用石蜡在冰水中凝固所产生的形态来描述液体的扩散消逝。另一个是拉伸的纸模型,它传达的“消逝”概念是微粒在空气中密度的改变,比如云朵的运动。我们小组最终的设计是一个有机农场,逝者的躯体通过Promession(一种处理尸体的方法)被转化成了有机粉末、并用于农场耕种。有机体回归大地用于农作物生长,赋予逝者第二次生命。整个建筑的功能包括了仪式性空间、农厂用房和教育设施。前期概念设计中的“微粒聚散”被运用在了农场建筑的空间组织上。

This project was to define a new way to remembering the deceased individuals. The instructor for this project is Karla Rothstein, who is also thedirector of GSAPP’s Death Lab. The design was begun with defining “fading” using abstracted spaces models. I proposed two concepts. For the first concept design, I poured melting wax into ice water and tried to capture a diffusion status. The second concept was about a resilient paper model, which conveyed the perception of changes of particle density in the air, such as a cloud. The final design was an organic farm. The fertilizer for the farm came from corpses, which were processed through an approach called “Promession”. Dead people were back to earth and given a second life as they nurture the plants and fruits. The building included a memorial space, facility rooms, and educational rooms. The concept of “particle density change” was used to organize the building functions.

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3

Armor

时间:2013年6月至2013年8月
指导教师:Mark Rakatansky
基地:纽约大都会博物馆

Time: June. – Aug.2013
Instructor: Mark Rakatansky
Site: Metropolitan Museum, New York, United States

这个设计是由Mark Rakatansky所指导完成的。工作室的研究内容是“形变”。项目要求我们从大都会博物馆中选择某一展品、并对展品的构造和工艺进行研究、探索出新的建筑语言。研究的主旨即在保持某种物品本身的构造逻辑的前提下创造新的空间。设计之初老师要求我们每人做一组“形变“训练,即对两个属性相似的物品的形态进行互相转化;之后对这个概念进行深入、并形成建筑语言。我
的研究对象是盔甲,并以此设计了大都会博物馆武器展馆的增建项目。“节点-膜”系统是我对于盔甲特征的理解。盔甲的每一个功能构件都是以“膜”的形式存在,而整合这些“膜”、并且可以实现整个盔甲的功能性的元素是连接构件“节点”。整个建筑语言和不同尺度的空间创造都是基于“节点-膜”系统的概念而完成。

Armor was instructed by Mark Rakatansky. The theme of his studio was called “Metamorphic”. We were asked to select one piece of art from theMetropolitan Museum, abstract the characteristics of their structure and technique, and then translate them into a new form of architecture language. The basic idea of this project was to create a new space based on the original logics of an object.The project began with a series of “metamorphic” training, which aims to develop the abilities to change each of two same-type objects’ appearance into the other. My research objective was the Armor. I translated the characteristics of the armor into an extension gallery to the Met. Based on my design ideas, armor is a system made up of “Joint” and “Membrane”.  The function of the armor is operated through a “Membrane”, and “Joint” connects those Membranes and makes the armor as an integrated system. This design principle was applied on the entire building at different level of scale.

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4

Scenes Collage

时间:2012年4月
指导教师:赵劲松
基地:天津市西青区

Time: April.2012
Instructor: Zhao Jingsong
Site: Xiqing District, Tianjin,China

这个课程作业的题目是天津工业大学新的学生活动中心。这个设计比较有趣的地方是它的核心空间的设计。核心公共空间的设计没有从以往的平面图绘制开始而是通过三维透视图的拼接所产生。我希望通过这种方法可以达到更符合人视觉感知的空间。

This project was to design a new student center at Tianjin Industrial University. Rather than focusing on two-dimension plans as the starting point, the core public space of this building was built upon the concept of assembling three-dimension perspective drawings.  This design was sought tocreate a space that can coincide with human’s visual perception.

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5

Behavior Reflector

时间:2011年5月
指导教师:杨葳,Cristian Suau,贡小雷
合作伙伴:黄梦雅,Anna Ronayne
基地:天津市睦南公园

Time: May.2011
Collaborator: Huang Mengya, Anna Ronayne
Instructor: Yang Wei, Cristian Suau,Gong Xiaolei
Site: Munan Park, Wudadao, Tianjin, China

这是在天津五大道历史街区内的一处社区展廊。设计中我们试图用门板这个简单的建筑元素建立一种可以跟人互动的空间。可旋转的“空间门板”使建筑的空间组织可以由人的行为所定义。

This project was located at the historical district in Tianjin. The intent of this design was to create interactive spaces using spatial doors. These spatial doors can be defined by human behaviors.

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Hobby & Others

我觉得利用其它媒介创作和建筑创作在思考初期阶段是很相似的,都是一种自我价值的表达。这些绘画和照片背后多少都有一些我对空间和人的感知的思考。

In my opinion, the early stage of architecture creation is similar with that of other forms of art. They express self-value and ideas. These presented paintings and photos reflect my personal understanding about spaces and human perception.

▼以上三幅作品都是以二维图像的方式来表达空间的设想。
They express a space in two-dimension images.

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▼ 这是我的“边界”系列作品其中的两张,照片中符号化的水波纹和真正的水波纹共同影响着人对场地的感知。
These two photos come from the series of “Edge”. The symbolized ripples, along with water ripples affect people’s perception towards field.

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MORE
when: since Jun. 2013
where: United States
who: Ruoyu Wei 卫若宇
From: Taiyuan
How: Steven Holl Architects, Columbia University, Tianjin University
Contact: ruoyu@stevenholl.com
www.ruoyuwei.com

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