Oversea在海外专辑NO.26—程方力Fangli Cheng

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。第二十六期为您奉上的是在英国伦敦艺术大学学习建筑的程方力。

Project Specs

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为什么出国?
Why study abroad?

我想知道外国人怎么做设计。

I was curious how foreigners producing design works.

 

 

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

我觉得在西方文化中,特别关注人的本质与独立性。在我学院里,老师重要的职责之一,就是引导学生如何通过一种自我批判的方式挖掘自己的潜力,为未来的职业生涯建立自信。对这个国家来说,思维的差异性是社会发展的重要推动力之一。

Western culturehas a common feature,which pays attention to the personality andindividuality. As for my college,the teaching guides the students tappingtheirpotentials by the way of self-critical value, whichbuilds students’ confidence that benefitstheir careers in the future. In this country,the idealistic diversity could beone of essential factorsto promote the social development. 

 

 

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

父母,朋友以及食物。

I miss my parents, friends and food.

 

 

你会回国吗?为什么?
Will you come back? Why?

会的,在接下来的几年内。中国的发展是有目共睹的,但艺术设计产业的整体发展与西方仍然存在着差距,正因如此,中国将会有更多的发展空间与机遇。

The answer is yes. I will plan to go backin the next few years.China has become a multi-outlet international country, and there have been rapid developments in different industries,however, we are still fall behind some of the western countries in the aspect of arts and design. In that sense,I believe that Chinawould offer more opportunities.

 

 

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?

现在的中国几乎每个城市都是一样的‘曼哈顿式’,以至于文化的深层次发展,都在很大程度上依赖西方,西方文化提供了发展的‘方法论‘,但真正的发展应当依靠我们自身的文化实力,为此,我们可能需要更多的时间去思考与实践。

Most of the cities in China have been ‘Manhattanised’, even the cultural development that still relies on the Western. Western culture has been providedthe methodology of development. But we should realise, the essences of ourculture should be more important then ‘the method’. Therefore, it will be takingmore time to the consideration andimplementation.

 

 

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?

舞蹈家Trisha Brown, 她的作品是我整个研究的主线,身体与空间的关系,以及身体如何被空间构造限制。Woody Allen的电影启发着我如何将叙事结构引入到空间序列,Stanley Kubrick在2001:A Space Odyssey充满想象的荧幕质感激发着我对于‘思维不确定性’的在空间思考。另外,20世纪早期的维也纳文化也对我的作品有着深入影响,例如建筑师Adolf Loos, 心理学家 Sigmund Freud, 以及哲学家Ludwig Wittgenstein.

Choreographer Trisha Brown’s works certainly impacted on the outline of my current research- the relationship between the body and architectural space, and how the body movement could be constrained by the architectural structure. Woody Allen’s film inspired me to consider the narrative structure within the spatial sequences. Also, Stanley Kubrick’s film 2001:A Space Odyssey, which inspired me to question the ambiguity behind the solid structure of architecture. Additionally, the early 20th century Vienna culture is also relevant with my current project, such as, architect Adolf Loos, psychologist Sigmund Freud and philosopher Ludwig Wittgenstein.

 

 

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

我的作品希望能够提供一个思考建筑的切入点,重视人体尺度与建筑环境的互动;作为建筑师或者空间设计师应该如何定义存在于建筑结构与空间状态之间‘感知’?建筑构造在心理与生理行为之间又能引发怎样的共鸣? 在实际的方案运作中,这可能是值得思考的。在博士阶段的研究主要集中在建筑的功能性上,主要延伸出两个问题,建筑内部功能如何被理解为关于表演的编辑性事件?以及身体的表现行为如何衍生出含义模糊的功能逻辑?通过实际方案的完成,综合理论,建立一个批判性渠道,探讨建筑结构并非单一的被理解为‘使用’,应该包括一种更加广阔的,可与空间参与者行为交互的叙事性可能。

My research aims to provide apoint of penetration to consider the architecture, how would the body interact with the architectural environment? As an architect or spatial designer, how to define the ‘sensibility‘ between structure and inhabitable situation? How a structural system could resonate with psychological and physical actions? Those questions might be valuable for the development of practical project. My Ph.Dresearch engages with the functionalities of architecture, which arise the question of ‘how the architectural function could be understood as choreographed or performed events’, and ‘how would a performance generate the ambiguities of functions in turn’. This research will be based on the practical architectural project, and juxtapose with the theoretical frameworks. It will build a critical avenueto investigate the architectural structure is not only understood as ‘utility’, but also encompasses a wider narrative tension of how we bodily interact with space through the repetition.

 

 

请聊聊你学校的教育特点。
Please describethe educational characteristics the school you attended.

大学是书院制的,囊括了英国最知名的设计与艺术学院,这让我们不仅在硬件资源上得到共享,同时还可以获得与不同艺术领域的交流机会,例如电影和表演眼熟。

My university includes six prestigiouscolleges, whichis not only providing theprofessional hardware facilities, and also, we could get lots of opportunities to communicatewith different courses,such as film making and performance art.

另外就是教师配比,这边的教师基本都是外聘,我现在的研究督导组中,包括着长期工作在伦敦和纽约的建筑师与艺术家,以及维多利亚阿尔伯特博物馆和巴特莱建筑学院的高级研究员。这样一方面促进了知识的深度融合,另一方面也利于激发学生的独立思考能力。

Additionally, in my college, most of the lecturers and tutors are external. As for my supervisory team, which is including architect and artist who based in both London and New York, also the senior fellows of Victoria &Albert Museum and Bartlett School of Architecture.  This action benefitsthe fusion ofknowledge; and, it is really good to cultivate the independence of students’ elaborative faculty.

 

 

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  : )

很早之前。期待谷德能够发起一些更为广阔且深入的文化交流。比如邀请不同领域的设计师,艺术家,哲学家甚至文学家进行议题探讨,思维碰撞。谷徳已经是一个相对成熟的知识共享平台,希望谷徳的未来能够更加成熟与国际化。

It has been a while.I expect gooood could launch more broad and in-depth communication on cultures. For instance, by associating with different designers, artists, philosophersand writers, intend to explore more inspirational crash. In addition, goooodhas become a professional platform for the knowledge-sharing, I wish gooood can be more success and international in the offing.

 

 

 

 

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Narrative Structure and The Surreal Logic of Architecture.

叙事性结构与超现实主义建筑逻辑:

发生于1713年东伦敦炮兵巷第56, 57号内的故事。

这个方案被设定在炮兵巷的第56与57号建筑内(旧斯皮塔福德市场,伦敦 1713年),其内部充满着怪异的空间系统。是一次基于叙事结构的实验性空间项目,通过超现实主义将叙述性故事重新定义。整个方案是对英国著名讽刺画家威廉•贺加斯(1697-1764)的作品‘浪子历程’(1733)空间层面解读。

(两栋建筑史建于1690年,历史上经历过数次改造,这个方案是基于1972年改造后的建筑结构,联系乔治亚时期的建筑基本特征(蝴蝶形屋顶)。试图贴近乔治亚时期东伦敦地区的建筑环境,虚构故事发生时的场景。)

A Story of 56&58 Artillery Lane, East London, in 1733.

The research project site is NO.56 and 58 Artillery Lane (Old Spitalfields Market, London 1713), which have an alienated interior. It is an experiment on narrative structure achieved by employing surrealism to reinterpret a narration. This project is based on a spatial description of the story titled ‘A Rake’s Progress’ (1733) by William Hogarth (1697-1764), and it translates the original on a spatial level.

The two buildings were constructed at 1690, and have been re-constructed several times. Associated with the essential architectural feature of butterfly roof in Georgia Period, this project is based on the structure after the re-construction at 1972. It aims to simulate an environment of east London for the narrative during Georgia Period.

“一个表面上富有生气的物体是否真实存在,或者一个表面上看似死亡的物体真的已经失去生命?”引自于心理学家西格蒙德•佛洛伊德的文章‘论令人感知恐惧’(1919)。一个‘看似正常’的物体同时会拥有着正常构造?或者,‘看似正常’仅仅存在于基本的生理感知或心理解读;当信息被物体以正常的方式传递时,其内部构造就足以表达物体本质?

 “Double weather an apparently animate being is really alive; or conversely, whether a lifeless object might in fact not be animate?” The reference comes from Sigmund Freud’s article The Uncanny (1919). Whether a ‘seemingly normal’ object is also constructed by ‘normal’ structures?  To explain in more depth, the  ‘seemingly normal’ exists as a sort of human understanding or decoding, the message transmitted by the object in general. Yet, does the inner structure of the object can represent the essence?

基于对‘论令人感知恐惧’的研究,‘意识不确定性’成为了对故事‘浪子历程’分析的基本逻辑。从空间角度讲,故事信息被功能物体的符号所传达。然而,真正的空间功能将会干扰正常逻辑下空间参与者的期待。无关于建筑本身,陌生且怪异化的内部系统成为对故事主人公内心世界精神偏移的空间性解读,所有行为被设置于精神幻象的世界中-欲望驱使的好奇心被怪异的空间结构不断阻碍。方案打开了原有建筑的层层构造,虚构了一个发生在英国乔治亚时期(1733)东伦敦旧斯皮塔福德市场附近的荒谬故事。

According to the research on the article The Uncanny, “Intellectual Uncertainty” is becoming an essential part in the original story logic. Spatially, the narrative massages are conveyed by denotations of functional objects, which extend the general awareness of human beings. However, the actual function of objects would disturb the normal logical expect. Beside the architecture itself, the defamilarized interior structure is truly exists in the story actor’s inside,moreover, almost, all his performance through the story could be prevented by the curiosity in a fantasy world. The project opens the each layer of building to represent an absurd story around East London Old Spitalfields Market in 1733.

这个方案并不具备传统的建筑功能机制,如果把设计过程简单的分为初创与实际运行的话,这个方案应该是方案初创阶段的最根本部分,我的研究停留于此。希望探讨空间序列在抛开‘实际功能’的影响下,建筑结构能够通过其它媒介进行解读,在切实影响身体行为的同时,如何激发潜在的心理反馈与原故事之间的戏剧共鸣。简要的说,当我在组织空间序列时,思考着人体与空间之间如何能够发生戏剧式的互动,空间体验像解读戏剧情节一样,故事随着时间推进,内容主体才会对参与者逐渐打开。

The fundamental functions of architecture are not employed in this project.If design process can be assuming asconceptual research and practical operation, this project is likely to be a kind of fundamentalconcept. This project intends to be read as sort of media that narrative sequence couldbe instead of the practical function. If the space has a certain impact on the body behavior, the question is how to trigger the psychological reaction of audience following the story. In abrief, I was considering about the interactive relationships between a drama and body, the spatial organization is not just in a technical way-the inside space should create a journey for those audiences who step into, the further someone walking, more storiesis revealingthrough the movement and time.

 

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Functionality within Privacy and Publicity

空间私密性与公共性的功能范畴

以下的练习,是对Door: 11 rue larrey (1927, Marcel Duchamp),Self Portrait (1932, Claude Cahun)以及Les Amants2 (1928, Rene Magritte)之间的关系进行了探究,通过Beatriz Colomina(1993)的理论对比了空间私密性与公共性的功能关系,将其落实到两次‘staging functionality’的练习上,探讨存在于人与空间之间的‘ambiguous sensibility’. 最终的理论被发展成为两个实际的空间改造项目,以探讨空间故事如何存在于室内与室外的空间交界之间。

Besides the project above, I was setting uptwo practices through the methodology of ‘staging functionality’, in order to investigate the potentialcapacityaround the artworks of Door: 11 rue larrey (1927, Marcel Duchamp), Self Portrait (1932, Claude Cahun) and Les Amants (1928, Rene Magritte) and the juxtapositionwith Beatriz Colomina (1993) ’s theory of privacy and publicity. Hence, the concept was developed into the building reconstruction practices, whichexamined the questionof how the spatial narrative couldexist between inside and outside environment.

 

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When: Since 2011
Where: London UK
Who: Fangli Cheng 程方力
From: Taiyuan, Shanxi, China
School and Office: CCW Graduate School, University of the Arts London.
Ph.D(Doctor of Philosophy) Candidate. (Research subject: The ideology of architectural function within the body performativity)
Contact: f.cheng1@arts.ac.uk

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