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。
第五十二期为您奉上的是毕业于英国皇家艺术学院，在扎哈哈迪德建筑事务所工作的谢炜龙。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.52 episode is about Weilong Xie, who graduated from Royal College of Art and currently working at ZahaHadid Architects.

为什么出国？
Why go abroad?

本科在中央美术学院建筑学院就读，当时也是对国外的教育着迷，觉得自己要跳出国内建筑及艺术教育的条条框框出去接受新的思维启发和碰撞。另外自己对fashion有着浓厚的兴趣，而西方在时装领域的影响力很大，就奔着自己的偶像Alexander McQueen和Philip Treacy来到了伦敦。学习的旅程不是一个单纯的学校就可以囊括的，学习是和生活环境密不可分的，选择英国读书也是因为伦敦是个文化综合的大城市，艺术和文学的先锋沃土。我是对建筑之外的很多艺术门类感兴趣的，各种不同专业的相互影响和糅合给我打开了更宽广的大门。这大概来自在央美读书时所受的影响，我毫不犹豫地选择了英国皇家艺术学院作为下一个起点。

I finished my bachelor degree on architecture in CAFA Central Academy of Fine Arts. By then I had heard a lot of and was enchanted by foreign education that could broaden my horizon。 Also I felt like jumping out of the box of Chinese way of thinking to accept new inspirations and stimuli. Besides, because of my strong interest in fashion and the big influence that Britain has had on this industry, I came to London following the footsteps of my idols, Alexander McQueen and Philip Treacy.
The journey of study is not only about what school you are going for, but also it is deeply affected by life. The reason I chose London is that this city is so culturally diverse and full of violent jolt and pioneering minds in art, politics and literature. It is a fertile land for creativity.

To me, different art forms are more intriguing than architecture; therefore I become more open to absorbing diverse knowledge and mixing ideas in my profession. Being originally an art academy (CAFA) graduate, without any hesitation I chose RCA to be my new starting point.

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

在这里你可以更容易与大师或者艺术家零距离接触甚至合作。

Living in abroad and proximity to talent provides the chance and opportunities to get approached by the masters and the artists you admire and even work closely with them.

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

最想念的是美食。各地的特色菜肴和点心。还想念家乡南京的家人和北京读书时的日子。

I guess I miss the local Chinese food the most. Once I taste something really similar to what from my hometown or the place I lived in China, they just make me very homesick and miss my past student life.

你会回国吗？为什么？
Will you come back? Why?

其实现在中国市场很大，很多国际事务所都进军中国。可是我依旧需要在国外磨练获取自己所需的技能和人脉，对于我来说，这也是完全取自各人性格特点的事，国外尤其英国有更多自由空间，对于创作和生活都是，接触到的文化也比国内先锋，我喜欢留在国外继续深造。

Now everybody says China has the largest market which is true. Many foreign companies have started their branches in China to have their business grow. However, so far I really enjoy my experience in the UK and I still need to practice more in my career to gain skills and connections which are very crucial to me. Actually it depends on the individual’s personality and will. To me, the freedom and opportunities are the most attractions. Life here is about ideas and innovation. Everyone is equal to speak out his or her mind and keep their own attitude. London is very international, like a global urban city, and avant-garde that you can get any information from any culture the fastest. I love living here and wish to keep going ahead in my career abroad.

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?

其实现在所有事物都发生的太快，当然被忘记得也很快。社交网络的发达让时代变了，哪里都是。人们可以很容易看到各种讯息，珍惜的也就少了。但即便如此，我依然觉得中国在国外文化上作为东方的影响力远不如政治和经济。西方世界对中国的了解主要就是市场的疯狂膨胀，中国人越来越有钱还有污染很严重。可是谈及文化，他们其实没什么概念甚至不感兴趣，在他们的固有概念里，依然是日本文化主导东方世界。这一点其实是很遗憾的。中国文化艺术的影响力还在打开状态，艺术家，作家，设计师，建筑师等都在逐渐被知晓，可是作品本身带有深刻中国情结和底蕴的还是少数。我觉得出国后反而更加深地感受到日本文化的成功影响，就日本设计而言，其特点与自成流派并深得西方世界的认可和市场喜爱。其实多数西方人并不深究文化的源头却也能感受到独特的风格，说明已经非常成功地塑造了一个国际品牌的概念。中国在这点上还是摸索的状态，但终究是能挖回多少自己的根的问题。

Nowadays everything is moving too fast via the internet and does not get the chance to linger in people’s mind. Especially social media has changed the society everywhere. People would not cherish or appreciate things as much as before when everything was more difficult to get. Now all resources are available online; nevertheless, people here know more about Chinese politics and economy rather than our culture and art. Unfortunately, the fast development of economy and the severe air pollution are the main topics that people talk about China; and when it comes to culture they know so little are not interested at all. Although the force of Chinese art and literature is getting stronger and more popular abroad, the works that can really represent the depth of our cultural complexities are still in the minority.

On the other hand, Japanese culture is taking the leading role of Asia in their world.This makes me introspect what is making Japanese culture so successful, at least in my familiar profession, the design industry. The extreme minimalism and poetic aesthetics seem to be their recognized characteristics which make them really popular in the market. In fact, the western audienceis only keen on the surface of Japanese culture appreciating it as a beautiful object;and they do not go deeper to know from where it originates. However, Japanese culture, even in its superficial way, is making a successful international brand and is running very well. In conclusion, we need to find out who we are as the root in our history and play fully with it to exploit systematically.

你的学校有哪些教育特点？
What are the educational characteristics of your school?

英国皇家艺术学院，简称RCA，是一个设计平台很高的学府。本身学校由各个不同却相通的艺术专业组合，这点和中央美院很像。这个学校在教育上最大的优势就是打开思维的辩证态度和思考事物的角度。学校更是鼓励各专业学生互相交流合作来完成作品。

Royal College of Art is a college of high end education in design and art major. The platform of resource is very top-leveled. The whole college consists of different schools which is very similar to Central Academy of Fine Arts in Beijing. RCA encourages students to have dialectical thinking on surroundings and collaborate more with people from different departments to get varied point of views on design.

你现在工作公司的特色和有趣的地方？
What are the characteristics and interesting points of you firm?

在Zaha Hadid工作最大的特点便是一切围绕着Zaha Hadid本人。她是个很有影响力的大师，这点即便是喜欢她的或不喜欢她的人都不能否认的。她在建筑乃至设计领域的先锋影响可以说是革命性的。她把别人不敢想的东西都能造出来，可以说是个极具艺术家脾性的建筑师。只是很遗憾，2016年春天她突然离我们而去。她的逝去绝对是对公司很致命的打击，毕竟这个几百人的大事务所是建立在她的名字之上的，也一直是她的审美领导着往前走。现在核心骨不在，对这个大的肌体是损伤很大的，不过也不是没有希望往前继续。就像早先库哈斯说过该如何将建筑事务所往品牌化上打造，Zaha貌似也有了这样的想法。之前她一直不甘只在建筑里斗争，她的敏锐触觉早就想延伸到其他领域，因为她的风格不是只可以设计建筑有，对产品，汽车和时装都可融合。有人讽刺地说，Zaha的建筑都是被放大的产品。开设Zaha同名产品品牌是最好的延续她的设计语言和精神的道路。

Working in Zaha Hadid Architects is all about her. She was a pioneer of modern architecture, and nobody would doubt she was a master. What she brought to this field was revolutionary. She was brave to push the boundaries and make miracles. She had two lives that one was leading as an artist and the other was a charming woman. It is a big loss for our company but we still will move on with her legacy and design language. As what Rem Koolhaas said before, architecture companies should carry on like fashion houses to keep the DNA of brands moving on. It is a branding strategy that could enable Zaha Hadid Architects continue with the lead of some star architects that is happening now.

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

其实人在每个不同的阶段都会有不同的喜爱的艺术家。就举两个一直影响我颇深的吧，一个是来自冰岛的音乐家Bjork，一个是日本作家三岛由纪夫。Bjork是一个在呐喊的自然精灵，她的极致和灵动让她无论是在音乐还是在电影里都充满魅力。一首《All is full of love》久久萦绕在耳边多年。三岛由纪夫有一个单纯而强大的灵魂，他的作品里直白地道出人性的丑陋和不堪，却又嘲讽地带出自我精神的极致追求。每每读他的书都会有很强烈自我肖像画面感。

Everybody has his or her favorite artist in different period of life that based on their own experience. Here I just offer two names that have always inspired me and have made me review my life through time. One is an Icelandic musician, Björk, and the other is a Japanese writer, Yukio Mishima. Björk is a master of scream. Her voice is full of energy of nature like from spirit. Her unique style of performance in music and movies elevates her charm. The song of her < All is full of love> always rings in my head. Yukio had a very pure yet dark powered soul. His books showed us a lot of untold but true ugliness of humanity, and his self-irony writing reflected his ultimate pursuit of life. Sometimes I feel myself living in his books.

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

我觉得我最不一样的特质大概就是不像建筑教育背景下出生的人，这一点应该在我的作品集里充分得到了展现。其实目前依然有同事不认为我学建筑的，即便在Zaha这样的建筑事务所。建筑是很广的学问，通过我的作品集，你可以感受到我多元却又统一的设计语言。这全来自于不同事物给我的灵感以及我用建筑师的视角去探索别的门类语言所受的启发。我是个在建筑里待不住的人，做建筑所以只看建筑是很狭隘的一件事，只有把自己充分打开去接受不同的讯息并学会转化思维才能永远保持鲜活的创作热情。

In my opinion, my specialty is probably that I am not like one from traditional architecture background but yet very much like an architectural trained designer in the way. Through my works you can see how I put the thought of architectural space on fashion and product design and how I manipulate these different design genres. Still now some of my colleagues in Zaha Hadid don’t think I am from architecture school. The way I presentmy work and myself is very inspired by fashion and art. Because architecture contains a big variety of knowledge in all kinds of area, it brings influence to other design categories. We should not only focus on architecture but explore more other things within our spatial insight and get inspired by them from our unique point of view. That is how I continuously keep my passion and motivation to create and transform from different art languages to grow in my own way.

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 follow gooood? Any suggestions?

从2011年起就开始关注了，因为有打算出国深造，所以可以在谷德网这个平台上看到很多前辈的作品及经验交流。希望谷德可以做的更设计多元化，让更多领域的精英在这里展示他们的才华！

I started to follow gooood since 2011 when I planned to study abroad as it is a very nice platform that many senior Chinese overseas students could share their portfolios and experience. I wish gooood can be more diverse in design field that more talents in different design industries could be invited to show here.

W O R K

1. Skin of Air

这个伦敦城市机场的改造项目初始于2012年一个热门的政治辩题，伦敦市长Boris Johnson提出要在伦敦以外的海域修建造价高达473亿英镑的国际大机场。其方案是在海上建造一个机场的岛屿，开设最长的国际机型跑道以作为各类国际航班的中转港口。直达特快列车也将兴建作为连接机场和伦敦市中心的枢纽。这个提议引起争议，并在提议中提出关闭希思罗机场的某些航站楼以减少城市周边机场的客载量。因此，我在进行大量数据调查中明确了自己的态度，即扩建并充分利用城市中的机场资源以达到减轻其他周边机场负荷的目的。从而减去不必要的过分开销去建造一个天价的机场岛。英国的经济近几年一直不稳定发展，所以这种极可能亏空国库的项目应避免。目标锁定在伦敦城市中城市机场。其特点是小巧而方便出行欧洲，而缺点也是其仅有一条小型机跑道限制了客载量和航班可触及的飞行距离。但是其地理位置对于拓展机场周边的商业需求及激活皇家阿尔伯特码头的贸易有明显的优势。

“Airports are amongst the most stressful places as passengers have little or no control over their travel experience”, a report by the British Psychological society reveals. Delayed flights, schedule disruption, going through strict security, over-crowded terminals, lost belongings and finding departure gates make air travel as distressing as moving home. One in ten individuals chooses not to travel by air as a result of off-putting airport experience. Therefore, bringing the brand-new air-travel experience is the inevitable choice in the future. The long debate about increasing airport capacity in the UK entered a new phase last year. Heathrow operates at 98% of its capacity within a current limit of 480,000 flights per year, much closer to capacity than other major London airports and rival hubs in Europe. In terms of the too busy running of Heathrow, London Mayor Boris Johnson proposed the plan of building a massive £47.3bn six-runway Thames Estuary ‘Boris Island’. Many Londoners want to fly but how to change London airports – be it installing a new runway or building a whole new airport to the east of London – could have significant implications.

首先，如何在有限的基地上做到飞机跑道的延伸，这是一个面临的挑战。因为跑道的延展直接影响到机型的数量以及飞机的航行距离，从而间接影响到客载量的增加。介于此基地为泰晤士河边的货运港口，以航空母舰的大型船只为造型概念，同时借鉴其功能结构，把机场跑道架于航站楼之上。如此一来，首先可以达到凌驾于基地之上的跑道一定的延伸扩建，又可以充分利用土地资源做到打通南北两岸的目的。

Taking a view of all the airports in London, LCY itself is located in the very fine position in the city that provides very high quality and efficient services as mainly in business use. However, the limited land use restricts the further development of the airport and the commerce of the region. Expanding LCY to take a fully advantage of the site could contribute to the trade growth of east London and helping share the loads of other airports. Longer runway provides for more flights that will increase point-to-point airport capacity. Meanwhile, extending commercial area and bringing in new terminal experience would not only get appealing to more passengers but also create more jobs.

为了避免乘客在航站楼内非常闭塞的空间感受，中庭室内花园被赋予了新的候机体验。与室外飞机的起飞，降落等动态有交互感应的传感装置被设立在花园正中。会与屋顶跑道上飞机运动状态交互的记忆传感结构像一层羽翼的表皮为候机乘客带来直观的内外交流的虚拟场景。此传感装置由感光传感器，记忆金属和特定的折叠结构组成，传感线路顺着主干壳结构从屋顶延伸到室内，由传感器的指令运行加热装置达到记忆金属的形态改变。从而折叠结构随之运动发生形变。这是一全新的机场形式，航站楼内外的空间既被分隔又保持着互相交流的特殊候机体验，跑道被高架起同时滑行道环绕在航站楼周围，这些都是创新的尝试。因为节省了跑道的用地，所以航站楼的空间便被增大以用于更多的商务用途。餐饮，经济酒店，免税品商场等功能都得以增加。这充分地发挥了码头的土地利用，同时为伦敦市民提供了更多职业需求。

In this project, the extended runway is lift up to open more efficient land space for using other than separating the previous Royal Albert Dock by water. The new airport terminal is set under the runway like the form of aircraft carrier. Instead of keeping the negative feelings of remoteness, isolation and confinement that most airport terminal buildings convey towards passengers, the new LCY terminal is going to have interactive infrastructures which communicate with the movement of the airplanes above the runway and green spaces to improve airport experience. These actions encompass a new haptic relationship between the air-movement and a sensitive-reactive environment. The internal artificial garden reveals the outer dynamic air scenario. Furthermore, across terminal itself, the off-terminal leisure and commercial centre, offices, business hotel and restaurants make the airport more complex to local residents. It will be a new land mark for celebrating flying in London.

2.Alexander Mcqueen Flagship Store

这座旗舰店设计其实更多是精神上的纪念碑。我以此献给都崇敬他所打造时装帝国的所有人。McQueen的世界里多数充斥着黑暗的东西，他在用他的语言转化成美丽得不可亲近的形象。他的作品并不是某一条裙装就可以阐述他的思想的，而是一个整体的气场。每一场走秀都像是在叙述一个故事，一位不来自人间的女性，更像一个神灵。于是，在他走后，我幻想的他的天堂里，就是有两头极端的领域。一端有阳光冲破死寂，就象征他的爱，有无比的力量，化身成女战士，守护净土，还隐居着精灵；另一端则是在绝望的黑暗世界里祈祷，那一定有一座也是不食人间烟火般的教堂，像圣家族大教堂。（这也是为什么我常常把他比喻成时装界的Gaudi，也是非常自我地做着自己心灵世界里看到的）在那，乌鸦盘旋，狼嚎时起，荆棘丛生，住在树里的女孩暗暗出没，教堂里却歌声悠扬，带着希望。这座建筑就像驾驭在两端之间的临界桥梁，也是一个不死的生命。

The design of this flagship is a milestone mainly in spiritual terms. I dedicate it to all who admire him for the fashion empire he has created. McQueen’s world is filled with darkness, which he transforms with his own design language into forbiddingly beautiful images. His thinking is not seen in a single dress, but in the overall air. Every show of his seems to be telling a story, each about a female that does not come from this world, who may be better called a goddess. Therefore, when he has passed away, I often imagine his paradise is composed of two definitely different realms. In one of them, there is sunshine penetrating into to the deadly loneliness, which represents his love, there is an unparalleled power embodied in a female warrior guarding a piece of holy land, and there is a goddess secluded in the depth; while in the other, there is despairing darkness, in which prayers are being said, there is a cathedral, like the Sagrada Familia Cathedral ( that is why I often compare him to Gaudi in the fashion world), and there are ravens hovering in the sky, wolves howling sporadically, brambles crawling everywhere, little girls living in the woods who appear and disappear soundlessly, and chants wafting from inside the cathedral which are filled with hope. This building is like a bridge spanning the two realms. It is an immortal life.

McQueen的话很有启发性，他引导我思考起这些生命的进化历程。就慢慢演变成这套建筑的创造过程，好似在诉说一个破蛹而出的灵魂的故事。设计灵感来自McQueen的时装设计精髓和他的风格总结，对称、生态肌理、哥特、死亡崇拜、唯美华丽，这些词汇都对此设计产生了影响。他所塑造的造型多为超越人类本身的怪物，因此，设计初衷就是打造一个蜷缩在一个严密空间内的人兽杂交的怪物，之后让外皮与内部结构融合，使之有种由躯体剥开，外泄灵魂的感觉。

McQueen’s words are very enlightening. He caused me to reflect upon the evolution course of these lives, which seems to be telling a story about the soul, like that of the metamorphosis of a caterpillar. Hence the construction process of this set of buildings. The design comes from a summary of McQueen’s style and has been built upon the essence of his design. Symmetry, ecological texture, Goths, death cult, aestheticism and grandeur–all have their influence in the drafting of the design. Since most of the images he has created are monsters rather than humans, this design aims, too, to produce the image of a human-beast monster curled up in a tight space. The outside and inside are integrated then in such a manner that it gives the impression of the soul breaking out of the body.

结合灵感草图和对旗舰店大体空间及功能分布作为设计的起点。从McQueen的设计中提取出来其裁剪线和女性身体曲线作简单的构成。然后将其规整，加入骨骼感的结构线塑造出身体和骨架的图案。接着，从线到面，再从面到体。躯干的骨骼演化成纪念性的大厅，由此创造出概念中最初的主打空间。

The enlightenment draft, the overall space arrangement of the flagship, and the distribution of functions are all considered in the initiating of the design. The cutting lines and curves of female bodies chosen from McQueen’s design are used to form the general framework. This is then revised, with further structure lines added to form the shape of the skeleton and body. From lines to planes, from two-dimensional planes to three-dimensional shapes, the design is thus completed. The backbones will be the monumental hall, on the base of which the main showcase is to be constructed.

关于表皮立面的设计，更加想走仿生的路线。外表皮的设计简约，通过时装平裁手法对立面表皮进行服装打版处理营造由内部空间而得到的外部形态，开窗模仿了鲨鱼腮部的结构，使外观在不同角度的观赏下，呈微妙的变化。入口犹如一个怪兽的口，把顾客吸入室内。时装及艺术鬼才Alexander McQueen是当今影响力巨大的前卫大师。此旗舰店设计出自其个人的品牌Alexander McQueen。初始状态时，设计从中心的一个纪念性大厅入手，从McQueen的女装设计中得来的胸衣结构塑造出大厅的形态。从内部看，动物的脊椎和骨骼的肌理一览无余，其互相支撑自承重展现力一个神秘而神圣的空间，此空间为展览和走秀而用。而围绕此中心的空间多由坡道、楼梯等交通流线型的空间形式连接，达到可让客户围绕流线观赏中心大厅外观及商品区的展示。整个体验过程都犹如走进一个生物的体内，感受McQueen的品牌精髓。

As for the design of the elevation and building surface, I would like to adopt the bionic approach. Pattern cutting will be adopted in the pattern making of the elevation and surface, so as to achieve an outer shape from inside. The windows will be designed to resemble the structure a shark’s gills, in order that their shapes will alter very delicately with the different angles from which they are viewed. Alexander McQueen, a wizard in the world of fashion and art, is a very influential avant-garde master. The design of this flagship comes from his personal brand, Alexander McQueen. It begins with the monumental hall in the center, which is shaped according to the bra structure from McQueen’s design of women’s clothes. Viewed from inside, the animal backbones and skeletal textures are clearly presented before your eyes. They are so structured as to present a mysterious and holy space, which is to be used for exhibitions and shows. Around this center, there are streamlined spatial structures like ramps and stairs, on which customers can have a view of the exterior of hall and the exhibits in the commodity area.

家具的选择：我们选择了两种风格截然不同的家具，至轻和厚重两种极端的座椅。圆滑如石块的座椅让室内设计更有分量的点，而轻薄且结构鲜明的座椅符合旗舰店的设计风格。整套VI设计都围绕McQueen的设计展开。员工服的设计同样体现了品质，高质量的裁剪都是McQueen作品的延伸。购物袋设计也同样灵感来自McQueen对死亡的哥特追求与华丽结合，骷髅本身就是他惯用的图腾。在把手处处理成了指环状，四指可插入拎提。

Choice of furniture: We have selected two sets of furniture, which are of completely different styles. The heavy seats which are round and smooth like stone help to give a sense of profoundness to the exterior design, while the light and thin ones, which are of distinctive constructions, is in line with the design style of the flagship. The whole VI design is based on McQueen’s design. The design of the shop assistance uniforms is also of high quality. The genuine cuttings can be called follow-ups of McQueen’s works. The design of the shopping bags has also benefited from McQueen’s way of combining the pursuit of Gothic death with grandeur. The skeleton, for example, is a totem he has often used. The handles of the bags are shaped like rings, into which you can stick your fingers to lift the bags.

3. London Sorting Office Renovation

作为荒废已久的伦敦邮件整理中转中心，它位于伦敦繁忙的市中心，却一直被忽视。其体量也非常大，当时一层被用于伦敦时装周走秀会场。其地理位置一直是时尚人群的密集区域，由此这项改造便顺应其被后期使用的功能，被重新开发成伦敦时装周基地及买手市场。

This project is aimed to make renovation on the abandoned old sorting office in central London. Since it has been used as showroom sometimes for London fashion week, the strategy is to push it fully applied in fashion business as London fashion week center. Runway shows, designers’ showrooms for buyers, retail shops and some other related commercial use can be implanted in this old building.

可是其旧建筑的敦实特点和原先邮政局使用的私密性导致了开窗小，建筑面积却大因而内部昏暗的缺点。所以第一步思考是保留原建筑骨架而换一层新皮，从而做到全新采光的目的。经分析其周边建筑的日间阴影移动面积，找到了建筑内部常年阴暗的空间。打通串联这些黑暗空间作为主秀场，再往高处的亮堂空间作为买手展会和商业服务区。为了增加建筑与时装的关系从表皮设计到内部采光都是取自面料和纤维的设计灵感。光导纤维参与进室内秀场空间的结构构造之中，从天顶采光引入底层室内并打造梦幻的展示空间效果。屋顶有新设计的聚光盆。外立面则采用编织面料的结构进行变化做到类似蕾丝般的透光效果。建筑的主要结构在不被破坏的情况下被换了新衣和内饰。这是激活这个旧建筑重新被时装业使用的良好策略。

It was a 5 floored building which took big volume and had small windows on façade. These factors made the interior quite dark. After analyzing the shadows movement from the surroundings, I found some specific space in this building that always in shades. To replace these dark spaces, the new system of structure has been embodied into this big box which brings light from roof through the optical fibers woven in construction. Therefore dark rooms would become runway show space and the upper space where light could reach would be used as commercial service. As for the skin of the building, a new way of fabrication on façade has been introduced. Multiple layers of weaving structure are inspired by lace that almost can be seen through. It is putting on a piece of clothe on the volume to get the point of fashion is dressing architecture.

4. Lady Gaga costume designs

Works from Studio XO

这两组Lady Gaga 2013年专辑《Art Pop》宣传时的新造型是由伦敦的数位时装事务所Studio XO和Haus of Gaga合作完成的。在这两个作品中，在总监的引导下，我担任主设计师的角色，从概念确定到成品制作，都是由我主打，并和工程团队完成。其中，Anemone 白裙是一个从数字3D 到手工3D转化的过程结晶。在与机械工程师一同打造可被穿戴的遥控泡泡枪开始，数字模拟一直是主要手段。之后与其并行的是裙子形态的生成，要如何把机械装置融合在裙子里又能突出有机的造型，这个挑战着实发挥了我建筑学的思维。在Lady Gaga的身体上做可穿戴的“建筑”，这是很有意思的。在数字建模的基础上经多次修改，以及考虑到舒适性，我选择了用人造革来结构这个“建筑”。纯手工打版，裁剪及衔接。而Koons 黑裙则是用3D打印为主体展现的一个雕塑感极强的造型。灵感便是把和Lady Gaga有合作的Jeff Koons的雕塑捏塑在她的身上，达到艺术与人结合的完美状态。当时挑战了最大体积的3D打印时装的极限。整个设计过程全由我数位控制。

These two looks for Lady Gaga’s 2013 album <Art Pop> promotional events are designed by me in Studio XO. With the direction of the leader, I came up with the ideas of white and black, two organic form dresses. The white is called “Anemone” which is a remote controlled bubbling dress. I collaborated with a engineers team to build up wearable bubble guns and hand-made the leather dress. It was a design process of digital 3D to handed 3D transformation. Being wearable mixed with entertaining effect is the target of this piece. The black one is named as “Koons” as Lady Gaga was collaborating with Jeff Koons on her album cover. It was obviously inspired by Jeff Koons sculpture and completely pushed 3D printing technique on fashion at that moment.

5.Fetus

“胎变”是一个先锋的头饰作品，它映射着我们对人类进化起源的思考。我们的脸是在胚胎时期的分裂生长中最先成型的，之后有了辨识度，开始发展脸背后的一切中枢系统。可是当我们反过去思考退化，那人类的一生可否再还原储存在胚胎的早期分裂状态中，即脸的原型。此作品是和RCA首饰系同学Gwen Wei的另类合作作品。

The question is raised that where our face comes from, thus the very original form of face caught our attention as when we were still the fetus lying in the bed of matrix. The developing progress of our body in embryo period determines all what our life would be in postnatal growth. However, as an identification medium, face os not only seen as a singular layer of skin but working through the whole system behind that skin.

。

6.Lattice window

“花窗”的眼镜设计是和RCA同年毕业的女装设计师白鸽合作而成。主要是为她的同名女装2014春夏系列走秀而打造的迷人配饰。概念为批判性看待中国的传统女子被禁足深闺，透过花窗来窥视外面的世界的女性状态。在牡丹花遮住双眸的同时，古典女子的神秘和性感油然而生。

“Lattice Window” is a collaborated accessory for RCA graduate Ge Bai’s 2014 spring and summer women’s wear show. The idea is to critically reflect the forbidden restrain to traditional Chinese women when they can only see the outside world by peeping through their bedroom windows. When model put on the mask, they immediately showed the mystery and sex appeal of femininity.

7.Crystalise

这是为公司同事所定制的一件另类婚纱礼服。上衣部分全部由手工编织亚克力鳞片所制造的三维肌理效果。其结构有弹性方便穿着。

It is a wedding gown design for my colleague in Zaha Hadid Architects. The top part is all hand woven acrylic scales to create this 3D dimension crystal effect. Meanwhile, it is easy to wear as the textile is stretchy.

8. Zaha Hadid Design Works

这两个作品是我在Zaha Hadid Design品牌下主打的也是对我意义很大的两个作品。这两个设计都是有和Zaha本人紧密工作打造的。其中和Georg Jensen合作的Lamellae 系列更是被她亲自佩戴过。Lamellae系列源自北京的望京SOHO，这是首次挑战如何把实际建筑给演化为身体上的建筑。在不停的完善设计中对珠宝设计这方面的探索令我获益匪浅。而Amida桌则是最后一个和Zaha亲自接触的项目，设计是由Disney提出合作所创造的以星球大战人物 Queen Amidala为原型的概念书桌。

These two projects from Zaha Hadid Design were directed by Zaha herself and leading designed by me which are the most important works to me by far. During design process, I worked closely with Zaha and ZHD director to refine all details from beginning to the end.Lamellae collection was collaborated with Danish jewelry brand Georg Jensen and originally transformed from Wangjing SOHO towers in Beijing. It was my first time to play with actual buildings to make them into body architecture. Moreover, Zaha was wearing the pieces before she passed away.Amida desk was the last work I did with her this year and it was for Disney. The halo desk is based on Star Wars character, Queen Amidala.

When: 2012 to present
Where: London
Who: Weilong Xie, 谢炜龙
From: Nanjing Jiangsu
School & Firm: Royal College of Art, ZahaHadid Architects
Contact: weilong.xie1989@gmail.com

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