Overseas NO.77: Mangyuan Wang

The No.33 issue is about Mangyuan Wang who graduated from the University of Cambridge, UK, currently working at KPF Architects London.

Project Specs

Design Firm:

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。

第三十三期为您奉上的是毕业于英国剑桥大学建筑系目前正在KPF建筑设计事务所伦敦公司工作的王莽源 。

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为什么出国?
学习

Why go abroad?
Study

 

在国外遇到了什么让你印象最深刻的事情?

如果说是建筑上的话,我想应该是伦敦这座城市吧。我想一个充满文化积淀的城市应该是这样子的,她充满了无数细节,就连最微小的地方都能感受到设计的存在。而这些细节不是一蹴而就的,是一层层累积起来的结果。
相对应的,国内的城市是基本上没有细节的,你看到的只是一些大而无当的剪影。

Is there anything happened impressed you?

From the architecture perspective, I think it is London. When wandering around the city, you will always get excited because of some humble but exquisite details.
In contrast, Chinese cities have nothing to do with details but only monumental silhouettes.

 

最想念祖国的什么?

杂和乱。
出国以前没有什么感觉,但是在英国呆了这么多年以后,有时候回国会感觉国内的一些人和事非常的超现实,他们有时不是一种连续性的状态,而是一种极致的拼凑,这让我非常兴奋。
而回到英国,就会觉得这个国家大概什么都好,只是她有时候过于完整,反而缺少点什么。

What do you miss about China?

Messy and incomplete
Chinese people and the way they are living sometimes are super surreal. The landscape of the urban society keeps being interrupted and collaged. And there is something good and mystery about the extreme collaged cities.

 

你会回国吗?为什么?

当然,英国只是我人生的一个过程而已。

Will you come back? Why?

Of course, UK is only a middle stage of my life, never the last one.

 

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?

回答如上(最想念祖国什么),还有就是在国外看国内,有时候可能更客观,至少你不会神话很多东西。

Is it more distinct to view China in a different environment after going aboard? Any thought?

You can see some of the most top things in UK. Once you know how they work, you wouldn’t still keep worshiping them.

 

你学校有哪些教育特点?

先说说诺丁汉吧,诺丁汉的本科教育沿袭了英国传统的UNIT系统,每个UNIT由风格迥异的老师指导,所以每个UNIT 对于建筑的思考以及设计方式都非常不一样。举个例子,我原先的时候是在一个叫UNIT X 的组,这个组对建筑设计的思考走的异常极端,他们基本不做模型,每次的作业是一张或者多张A1手绘,对于建筑教育,他们几乎抛弃了一切常规的建筑材料,而去探索一些还处于一些微观研究领域的材料作为建筑材料,比如PROTOCELL, 或者一些极其小众的哲学领域,比如PATAPHYSICS。
之后我换到了另外一个UNIT, 他们做的就比较是建筑,也跟材料有关,跟现象学有关。但是设计的思路是用一种纯艺术的方式去探索一些超现实的空间表达,通过这种方式来引导最后建筑的生成。当然建筑是有功能的,但是功能很大程度上依托于你所寻找的一个题材。

再是剑桥,剑桥的建筑系小,而我们的设计研究所更小,每年大概收10几个人 (其实整个研究所包括4年级和5年级也就30号人左右)。剑桥的PART 2的教育体制跟所有其他英国学校都不一样,有别于其他学校出来或是DIPLOMA, 或是MARCH, 剑桥给PART 2 的学位是MPHIL, 这就意味着这里的PART 2是以研究为导向的设计。两年的课程,我们基本上是一个大设计加上一个小设计,其他的就是各种读书和论文。剑桥要求每个人在入学前需要有自己的研究方向,这基本上就有点PHD 的意思。所以我们这一届十几个人,每个人的研究方向都非常不同,有做地震的,平民窟的,城市传染病的,或者是城市跟性别,建筑跟动漫等等五花八门。因为剑桥大学的学科比较综合,所以每个人都会在学校找到相应其他专业的导师作为指导,从而把建筑跟其他学科结合起来,实现跨专业研究。

Can you discuss the pedagogical characteristics of the schools you attended?

Start with Nottingham, Nottingham’s undergraduate basically follows the UK traditional unit system. Each unit has very different design approach and characteristic. For instance, I used to be in a unit called unit X. this unit almost gave up all the traditional design methodology but explored some most avant-garde materials and philosophical thinking such as protocell and pataphysics to construct the way of architecture perception. But some of units treat architecture more like architecture though through a very peculiar way such as surreal reading, installation developing, and etc.

 Then Cambridge. Cambridge’s architecture department is restricted within a small scale. Our part 2 design research studio is even smaller. Normally each year they take 10 ish students (in fact the number of all 4th and 5th year students is merely 30 ish).Comparing to other British architecture schools, Cambridge’s part 2 course system is very different; it is a MPhil degree rather than Diploma or MArch, which means here the part 2 has to be a research-oriented design course. Before taking the course, you must to have a research topic to start with. Any topics are acceptable, in my year for example, earthquake and building, slum and politics, epidemic and urban, city and gender, and etc. Due to most of the topics are multidisciplinary, students are encouraged to collaborate with students/professors from other departments.

 

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?

MARK MANDERS, 我太喜欢这个艺术家了,他的装置有点神经质,又有点神秘主义色彩在里面。最近我在研究一些跟具象建筑有关的东西,而他的东西给我带来极大的灵感。

What is your favorite artist (in wider range such as art, music, movie)? What is the influence?

Mark Manders, of course. I love most of his sculptural installations, Mysticism, Schizophrenia and a bit of Gothic.

 

觉得自己的作品集有哪些迷人的特质?

就是不太愿意做自己已经做过的东西,喜欢去探索一些让我兴奋的设计手法和表现方式。

What amazing character do your works have?

I am always excited in exploring some new design and presentation methods, and I don’t like to repeat myself.

 

什么时候开始看谷德网的?欢迎你提出建议哦,谢谢。

几年前吧,同龄人(可能)做的东西,会比较有亲近感。建议的话,我觉得谷德网对内容,字体或者其他网络编辑方面还可以更好。

When did you start to surf on gooood? Any suggestions?

Couple of years ago; I think there is potential to further improve the website editing (format etc).

 

 

Work 作品

 

1
三习题
St Paul Cathedral (left), City as Filtration system (right)

左边的这幅作品是关于如何去重新评估古典建筑的当代性(以圣保罗大教堂为例)。
右边的这一组是关于一个城市,把一个城市定义为一个过滤器来研究她的内部空间构造。(未完成)

LHS, St Paul Cathedral, a large scale drawing,  is talking about the situation/modernity of the classical architecture in a western context.
RHS, City as Filtration system, inspired by Foucault/Magritte’s this is not a pipe. The work collection attempts to define a city as a filter mechanism and portrait how the spaces inside can be constructed. (not completed)

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未命名城市 Untitled site

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2

为一对夫妇做的复式室内设计 T.Duplex interior design

这个项目位于浙江省,一套250平米左右的跃层式住宅。这套住宅主要是给一对夫妇居住,同时预留一房间给儿子。业主原本希望有五个房间,两个主卧室,一个客卧,一书房,一个儿童房。如果按照常规的设计,250平米是能装得下这五个房间,但是问题在于常规的房间会使得整套住所变得非常死板,可以想象会有一条封闭的暗走廊通向各个房间,空间非但没有趣味性,而且会造成浪费,比如客卧的空间将一直闲置着只是为了等待一年中两三次客人的光顾,儿童房将会一直闲置着等待几年后业主儿子的孩子出生。而业主儿子也只是偶尔回家一两趟,这个儿子房间也将会大段时间闲置着。所以五个房间最后真正常规使用的只有一个业主卧室,另一个书房。

如何在保证业主提出需要5个房间的前提下使得日常生活中不会让这些空间被封闭或者闲置是个挑战。所以在整个设计过程中,设计师通过一系列空间的组合和门的变换来实现这种空间功能转化的灵活性。

This is an interior design duplex project for a couple in Zhejiang, China. Originally the client was expecting to have 4 proper bedrooms (master room, son room, guest room and baby room) plus a study. Though with area of 250 sq.m the flat is enough to meet the requirements, the layout would be likely a dark corridor leading to each room through a conventional design, which eventually ends up with lack of spatial interest as well as room use inefficiency.

Based on client’s brief, spatial ‘flexibility’ as the core concept was raised to potentially solve the inefficiency of the space use. A series of irregular doors were designed to manipulate the circulations between spaces, rooms therefore can be easily functional transformed. And the spatial perception is no longer fixed but keeps changing in different situations.

 

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3

中国式新陈代谢 China-ness Metabolism

这是一个历经了两年的研究项目,其结果包括一系列的论文,类型学研究以及设计。
整个研究源于对中国城中村生长结构的兴趣。

第一部分:通过前期对城中村空间布局以及社区的整体考察和记录,试图还原城中村空间生长的轨迹,以及轨迹背后的空间使用原因。城中村在变形过程中,在很大程度上跟上世纪日本新陈代谢运动所提出的一些理论极为呼应, 这便是这个课题题目的由来,研究中借鉴了新陈代谢运动中的一些空间分析方法来测试一系列城中村里面的空间问题。

第二部分:城中村空间的变形必然只是中国城市政策的表象,作为中国一种落脚城市,城中村背后所驱动的土地经济和人口管理是较为复杂的。城中村作为一种脱离了正常城市规划政策的区域,形成了一种完全是自下而上的生态系统。而这种生态系统与其说是城市不光彩的一面,不如说是一种极为聪明的来应对在快速城市扩张中所形成的土地和人口管理不协调的方式。这种生态系统是值得被研究和转化的。

第三部分:一种基于城中村生态系统的新的土地,空间和经济管理模式被提出来来应对目前城中村拆迁,农民补偿以及流动人口的城市居住问题:农民通过被补偿两种空间性质(居住空间和经济空间)来维持类似城中村中的生态系统,而这两种空间又由于在一个设计的整体框架中从而不会导致类似城中村里的诸多问题。这部分的设计实则是对这种新型管理模式的空间化。通过一套设计结构:人工土地,适应性空间结构和适应性空间行为, 来封装前面提出的管理模式所需要的物理建筑要求。

This is a two-year research design thesis including a series of essays, typological study and experimental design exercises. The research grew out of the early interest of the Chinese urban village phenomenon.

As the product of the land use dichotomy against the background of unprecedented Chinese urbanism, urban villages, based on the rental ecology system emerged from the informal urban rental activities, accidently establishing a housing provision mechanism which melts and absorbs various conflicts derived from urban policies and economical controls. Such a mechanism with its appearance of ‘informality’, however, challenges the current policies and conventional definition of urban space management, which finally leads to the reluctance of the local government.

Based on the early tyoplogical study and the analysis of the local land economy and urban space management policies, this design research attempts to recreate the duality of the land-use ownership system but on a 3-dimensional architecture scale. The coexistence of the villagers’ collective land -use ownership and governments’ state land-use ownership triggers the formation of the urban villages in the city whereas this thesis introduces a similar land use system but for artificial lands. Through the physical definition of the economic space boundaries, the order of the ‘private land’ is guaranteed, and the prebuilt villagers’ living spaces and public services become the 3d version of ‘state land’.

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4

The Secret of the Magdalen Laundries

这个故事起源于19世纪一项英国及爱尔兰天主教教会对妓女的‘拯救运动’。当时的天主教会认为妓女这一群体是肮脏的,需要被拯救。在运动的开始,妓女们被安排在修道院来洗涤白色床单等纺织物,通过刷洗,他们认为这样可以连同自己身上的罪恶也可以被洗去。然而,这项‘拯救运动’在一些利益的驱使下开始发生变质。除了妓女,凡是被天主教会认为是肮脏的女性都被强行的安排进了修道院来做洗衣工,其中包括单身妈妈,被强奸的女孩等等。而在修道院里,她们无论在身体上还是心理上都受到无休止的虐待。很多被折磨致死的女孩被安葬在修道院后院的墓地里。这个如同发生在中世纪的故事直到1996年最后一家类似的修道院的关闭才得以结束。

这个项目就是基于这段历史延伸出来的一个设计,这个设计是对原有在CORK 这个爱尔兰城市的天主教修道院遗址的城市回应。在这个设计里面安排了三条路径:教堂之路,圣洗之路和莫大拉们的梦境。这三条路径通过视觉,嗅觉和听觉交杂在一起,通过互相影响来升华各条路径原本的意义。除此之外,设计里还有一个大景观,由大片的芦苇,野玫瑰和钢板组成。

整个设计充满着隐喻。作为一个非常个人的设计,这个作品从一开始为设计制作的一系列水泥装置就倾注了个人对这个事件的感受,建筑的空间设计也是先从一系列抽象空间研究开始,然后慢慢跟装置整合成最终的建筑形态。

The story grew out of the ‘rescue movement’ in Britain and Ireland the 19th century, which has as its formal goal the rehabilitation of women who has worked as prostitutes. Unfortunately, this movement become increasingly distant from the original ideas of the ‘rescue’. It has been estimated that around 30,000 women including prostitute, unmarried mother, developmentally challenged women and abused girls, even young girls who were considered promiscuous and flirtatious, were admitted during the 150-year history of these institutions, often against their wills. In the asylum, they were called ‘Magdalenes’, or ‘Penitents’. The only thing they have to do was laundry. By scrubbing, they were supposed to wash away their sins along with the stains on the laundry. Sexual, psychological, and physical abuse while being isolated from the outside world for an indefinite amount of time.

Cork city in Ireland is a key city that the ‘movement’ originally took place. Based on this context, the project attempted to echo this part of history which has been treated as a scar of the city.

The project is constructed by three access routes: the journey to the chapel, the journey to the bathing, and the dreams of Magdalenes. Routes spatially separate different groups of people using the building, but visually, aurally reconnect them, therefore to elevate the meaning of poetic spaces. Apart form the main building, the project is also consist of a vast area of reeds field with wild rose garden scattered inside.

This is a very personal and metaphorical project to explore alternative architectural design approach. The design started with two made pieces (concrete blocks) accompanying with a series of abstractive spatial studies thereby to trigger the design essence and material texture.

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When: From 2008 to present
Where: UK , but different cities , from Nottingham where I did part one to Bath for job, from Cambridge for part two to current London
Who: Mangyuan Wang 王莽源
From: Zhejiang
School: RIBA PART 1 in Nottingham Uni, RIBA Part 2 in Cambridge Uni
Before Cambridge. I worked for FeildenCleggBradleyStudio in Bath, now I am in KPF London
Contact: mangyuangarden@gmail.com
00447448762579 (UK)
http://cargocollective.com/STUDIOMY (personal website)

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