在海外专辑第六十期 – 杨思齐

第六十期为您奉上的是毕业于哥伦比亚大学,在Lynch Eisinger Design工作的杨思齐。

Project Specs

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。
第六十期为您奉上的是毕业于哥伦比亚大学,在Lynch Eisinger Design工作的杨思齐。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.60 episode is about Siqi Yang, who graduated from Columbia University and working in Lynch Eisinger Design.

 

 

 

为什么出国?
Why go abroad?

想看看外面的世界是不是真的很精彩吧。
To see the world.

 

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?

在纽约大家都挺认真做自己的,不太有人会对你评头论足,反而会来真心欣赏你独特的古怪。这个岛小的可怕,但也有令人敬畏的包容和开明。

I guess it’s the fact that everybody in New York is good at being themselves. It’s very unlikely that someone would judge you, instead a lot of times people appreciate your unique weirdness. Manhattan is a horribly small island, but she is awfully open to all the possibilities as well.

 

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

高中校门口的米粉店,大学寝室后身的烧烤摊,当然还有一起吃吃喝喝的朋友。
The tiny rice noodle shop near my high school, the street barbeque truck at the back door of my undergrad dormitory, and of course, my drinking pals.

 

你会回国吗?为什么?
Will you come back? Why?

会,觉得现在的生活是经历,不过却很难产生归属感。但有时候我觉得把自己考虑成世界公民也挺有意思的,四海为家。

Probably a yes, because what I am doing here, abroad, is just experiencing, it’s really special and everything, but it’s just super hard to grow a sense of belonging in my bones. Sometimes I’d rather think of myself as a citizen of the world, as a cosmopolitan.

 

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?

现在的看法比较模糊也有一点魔幻现实主义,可能不可避免的被不同的价值体系撕拉,我觉得任何时候讲都可能有一点基于当时的断章取义吧,不过更清楚的是究竟热爱的是哪一部分,我很怀念那种那种亲近的小街小巷文化和那股子氤氲的烟火气,人情味。

My understanding is now a little bit blurred and magical realistic, maybe I’m being inevitably torn by all the different kinds of values, it’s always so hard to tell, but I do know better about what I really love about, I miss dearly the close relationships in the neighborhood, being bathed in the great ambience of a complex of mixed feelings.

 

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

撇开多元化不谈,哥大还是很重视逻辑推理和历史教育在课程里的分量,接触的有很多老师都在OMA就职过,也有一些历史系的泰斗,这两个因素共同作用促使了这种气氛。下有图书馆上有studio,历史做根基才能有设计。不过正因为选择很多,不同studio和选修课的排列组合能体会到不一样的教育理念。每个人的理解也会不一样吧。

Put the diversity talk aside, GSAPP is taking argument and history education very seriously. I happened to know a lot of professors has OMA background, adding the fact that there are giants in history department like Mark Wigley and Kenneth Frampton, to me,these two factors formulated the current climate.They built a library beneath the studio, so we have to learn history before we do actual design, that makes perfect sense. However, I do think that different studio/elective arrangement may cause different thinking in this question.

 

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?

现在在纽约下城的一个小事务所工作,一共也就十来个人吧,是很舒适亲近的那种氛围,两个老板都是大约二十年前哥大毕业的学长。因为主要客户是Calvin Klein,更多的时候已经转成店面设计,但我觉得是一件很有意思的事情,不同设计领域的人对建筑的理解不一样有时候有一些很有意思的碰撞。新的创意总监走马上任,17nyfw获得巨大成功也让他们处在一个转型的阶段,于我而言能够直接和他们的创意部门合作,参与到这种变化还挺激动的。虽然说现在做的东西规模并不大,但对材料和细节的了解更深了,有的时候也会做一些家具和工装设计,反而觉得自己的设计领域扩大了。

I’m currently working in a 10-ppl office in Downtown Manhattan, it’s small, but has a very cozy feeling. Both my employers graduated about 20 years ago from GSAPP. Our current major client is Calvin Klein, so actually most of my days here are dealing with retail design, but it’s very fabulous in a way that knowing the different ideas from another design industry and the collision and merging between ours and theirs. After Raf Simons took over the chair of Creative Director and their huge success in 17FW, they are at their turning point for the moment, and I’m super excited to work along with their creative services and being a part of it. The design scale of mine is small, but I’m learning a lot more about detail and material,sometimes I design furniture and fixtures, and I feel somehow my field is getting bigger.

 

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?

亨利卢梭,我太喜欢他的画了,一辈子没有离开过法国但是却画出来最浪漫的热带植物,觉得他内心里有种野兽般的敏锐和诚实,是一个真正的造梦人。我也希望有一天也能就算对着植物园,心里却能装着星空,狮子和沉睡的吉普赛人,能自由的去建筑里创造我想要的氛围,保持少年般莽撞的想象力。

Henri Rousseau, I’d say, I’m so smitten with his work. He never left France yet he painted the most romantic rainforests. I think he’s got this kind of brutal acumen and honesty, he was a real dream maker. I just wish someday I could be as imaginative as him, and could always bring the stars, the lions even the sleeping Gypsies with me, though I might probably just happen to be in a botanic garden. I will be trying to maintain this sort of impetuous imagination as a teenager so that I could always create a certain ambience in my designs.

 

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

我觉得自己作品集缺陷挺多的,谈不上迷人吧。但如果说特点的话,我想努力去捕捉到我希望我的设计能创造的瞬间,然后用我自己的方式来传达和表现。再有就是很努力的去理解材料。

There are still many flaws in my portfolio, it might not strike people as a very fascinating kind. However, speaking of features, I put in all my efforts to try to capture the ambience of my design and translate it using my own words, to create some moments which are not boring and try to understand more about materials.

 

什么时候开始看谷德网的?有什么建议提供给我们吗?
When did you start to follow gooood? Any suggestions?

大概四五年前吧,读大学的时候天天都会刷一刷看看建筑世界的大事件。希望谷德持续作为一个窗口,带给我们更好的东西。
About 4-5 years, when I was in undergrad I would browsing gooood everyday and see what big has happened in our architectural world. Wish gooood could keep us updated and keep bringing us high quality feed!

 

 

 

W O R K

 

1.

集 | Fairland-Artfair as pilgrimage

Instructor: Galia Solomonoff
Time:2016

艺术品和它们的市场在世界经济占有的份额已经越来越大,艺术博览会也开始对城市和相关产业的发展有了愈发重要的影响。在短短不到一个星期的时间内却会对一个城市的经济和文化产业有一个瞬时却显著的促进。宾馆,酒吧等场所也会有营业额的激变。以伦敦的Frieze艺术博览会为例。艺术博览会场馆不大,但却年复一年对大半径范围有着极大的激活作用。

Artworks and Art market are becoming much more significant in world economy than any given day before, art fairs are starting to have a real influence on cities which hold them and related industries. Fairs might be as short as a few days, but the sudden impact they leaves behind is rather important to urban economy and culture. Also, there would be a huge increase in business of hotels and pubs. Think Frieze London as an example, the venue is not massive but yet it has a massive influence on a pretty large radius.

 

里约Saude区作为一个有着极多美术馆和博物馆的区域,也滋生了一些艺术博览会的临时结构,这个项目则探讨一种更加长久的建筑方式,场馆和明日博物馆共享Maua码头,用南美最有代表性的混凝土作为元素,在传统的无限方格中寻求突破。

Saude in Rio De Janeiro has a very artistic root and it’s a home for many art galleries and museum, feeds some temporary art programs in the mean time. Pier Maua is the site, and I try to use the most iconic material in Latin America which is concrete, as a structure to host the fair, and try to break the endless fair ground with several surprising spaces.

同时,在这些突破的空间里承担交通空间和现今每个不同的艺术博览会不尽相同的主题活动空间,也可以认为是一种在无限重复的平面里制造惊喜的可能性。博览会发生在二层空间,一层作为开放平面,参加博览会的游览者和博物馆的参观者仍然可以拥有一个完整的码头体验。

Meanwhile, inside these spaces I try to make them host some related programs as it became a ‘mandatory’ trend, this method could be considered as a way to create surprising spaces in an endless fairground. The fair is actually located at the second floor, so the ground floor is completely opened to the public and remaining them a sense of a compact pier.

 

 

2.

黉 | School of schools as an Urban Theatre

Collaborator: Ran Song
Instructor: Mimi Hoang, Eric Bunge

和巡游剧团的表演一样,一个由多个访问学校组成的建筑学院也可以回馈给公众不一样的设计体验。这个项目在设计一个学校建筑的同时也在思考建筑教育的不同课程可能性。一年中的不同时段都会有不同的建筑学院来参与到这个学校的课程之中,带来他们自己的教育特色,同时也需要这个学校提供教学空间。项目基地处在一个交通便利的三岔路口,有着较高的公众曝光度。

在这个前提下,我们将这个建筑学院设想成一个城市剧院。在建筑学院的内部,我们设计了一个机动平台来使功能空间像剧院后台为台上场景做准备一样为不同的课程准备功能,外部则有一个垂直的广场系统,方便公众的参与,来自各行各业的从业人员也能给予学院来自不同视角的新点子。

A visiting architecture school can provide fabulous shows to the public the same way as touring troupes and circus. This project is trying to figure a way to design an architecture school building as well as to rethink pedagogical possibilities of architecture education. Different schools come to this school/program on a rolling basis, bringing in new thoughts in curriculum, wishing to be hosted. The site of this project is at a very transporting friendly crossroad, resulting loads of exposure to the public.

Under this premise, we treat this visiting school as an urban theater. Within the architecture school, we did a robotic platform system helping those supportive spaces to prepare the studio as in theaters Back of House help staging different scenes during a given performance. On the outside, the building provides a vertical plaza system, help the public get more involved. People from different industries could provide ideas from different angles other than architects as well.

在这个由访问学校组成的学校内部,不同的学校有着不同的课程侧重,同时在设计课程进行的每个阶段也有不同的功能需求。我们设想方案里的机动平台可以将这些功能如模型工作室,带有课程需要参考书的小型图书馆,咖啡馆按时推送到不同的楼层(教室),来解决传统的功能排布方式下的低效。由于平台的移动,不同的studio之间也能实现由独立空间变成共享空间的互相转变,根据平台的位置也可以进行联合评图,大型讲座等一系列活动。

Within school of schools, different visiting schools have different emphasize of their program and need different function rooms. Also within different phases of design, studios may require various kinds of function support. Scenes should change very frequently. Conventional space mode may cause pedagogy low-efficiency. So we proposed a high-efficiency studio space which the institution can transform based on the need of different schools.

我们尝试着将基地上的广场元素也在建筑里重组再造,来增加建筑的公共参与度。在特定的时间,比如最终答辩时,整个学院对外开放,广场用以展示大比例模型,雕塑,最大的平台降落到最低处,一楼作为完整的展览空间,每一层的广场也可以顺理成章的成为交际空间,增强学院与外界的互动与交流。

The site of school of schools is on a hot spot with dynamic public flow and is around several public plazas. We try to expand the spirit of publicity of the site and propose for our school of schools a pedagogy mode with more public engagement. By creating continuing vertical plazas rooted on the site, we provide more space for schools to hold grand exhibition or conference to communicate with the public.

 

 

3.

寺 | The Forgotten Temple

Instructor: Thomas Phifer, Gabriel Smith
Time:2015

Fort Tryon公园是一个曼哈顿北部历史悠久的公园,植被丰富,也是大都会修道院艺术博物馆的所在地。项目选址在此,希望用传统木结构的建造方式与基地对话的同时创造一个冥想空间。

Fort Tryon Park is located in northern Manhattan and with a very long history, well afforested, and the cloister was there as well. All factors come together and make it a very beautiful site for a meditate space. This Project is trying to use the most traditional ways of wood construction and creates a dialogue between site and the space.

    

建筑只有走道空间和冥想空间两个部分,白色透光布立面朝南,正对基地里的三棵树,能够捕捉到一天内树影随光随风的变化。冥想空间稍高稍窄,营造一点适当的紧张感,使人的感官对周围环境更敏感,也能更专注与眼前的树影变化,这些影子也是冥想者与建筑外世界的唯一联系,在这个相对隔离的房间里遗忘时间和空间。

There are just two types of spaces in this project, a hallway, and a meditate space. The building is facing south with a semi transparent facade, confronting 3 trees on site, being able to fully capture the movement of the shadows on the screen. The meditate space is a narrow and relatively high volume, to create a tiny amount of anxiety helping people inside to be more sensitive and aware of the surroundings and focused on the shadow movements. The shadows would become the only connection between the occupants of the space and the outside world, they are going to lose track of time and space.

 

 

 

4.

铃 | Belltopia

Collaborator:Beidi Zhan
Time:2016

亚高山地位于美国亚利桑那州凤凰城北部,是保罗索莱里倾其半生所建造的实验性的新型生态城市乌托邦原型。以亚利桑那本土文化以及菲尼克斯城市发展为背景,我们选取了凤凰城城市边缘的一块场地作为建筑基地去建造我们理想中的新型乌托邦作为亚高山地的新型实验城市。

Arcosanti is located in Arizona, to the north from Phoenix, which was a arcology utopia model designed and constructed by Paolo Soleri for most of his life. Base on the background of Arizona local culture and Phoenix urban sprawl, we chose a marginal site as our new utopia for Arcosanti residents.

在方案开始阶段,项目中提供了十种PROGRAM(如图书馆,交通站,索莱里钟作坊等等)以及十种城市的INFRASTRUCTURE(淡水储存,太阳能收集,废品处理等等),每个社区必须选择一种PROGRAM以及一到两种INFRASTRUCTURE相结合并容纳一定数量的居民。在选择了索莱里钟作坊作为program之后,综合考虑钟作坊热能以及沙漠地区昼夜温差大且太阳能充足的先决条件,我们决定融入淡水储存以及太阳能收集两种INFRASTRUCTURES。

From the beginning, our project affords ten different major function programs (such as public library, transportation station, Soleri Bell foundry…) and ten different urban infrastructure ( water storage, solar energy collection, garbage recycle…). Each community must contain one program with one or two infrastructures and should also accommodate certain quantity occupants. After choosing Bell foundry as our program, we took the abundant heat energy and desert area climate into consideration, finally, combined water storage and solar energy collection in our design.

以储存的淡水作为热能储存以及保温的元素,在白天同时收集太阳能以及作坊火炉的热能以冷却社区内的高温,而在晚上沙漠温度下降时将热能通过水循环系统释放出来以维持社区内小气候的稳定。

Taking advantage of storage water as the thermal energy container. The water is able to store solar energy and furnace heat to cool the building during daytime and warm the community through water circulation system during night to achieve a more stable community climate.

在建筑形式生成的阶段,我们综合考虑了亚高山地的居住空间内含1/4球形公共空间的空间构成关系以及三明治形的上下散热面的保温空间构成关系,最终将居住单元悬挂于社区之上形成从下到上的储水-作坊&社区-居住-储水-屋面景观的垂直空间秩序。

During geometry generating period, we took Arcosanti residential-communal dome as spatial reference, we designed two heating water layers to sandwich living unit and finally reach WATER STORAGE-FOUNDRY & COMMUNITY- LIVING- WATER STORAGE- ROOF LANDCAPE space sequence.

底层居住平面与高层平面有着不同的对于社区空间的渗透关系,层数越高,居住的密度也越高。

Lower level and higher level residential plan has different penetration relationship with community and living unit densities.

在基地南北两端分别有两个陆上与水上运河交通节点,作为作坊的原材料以及成品运输的主要流向,以L形贯通作坊的室内车间。

Ground and canal transportation hubs are situated to the north and south, we use L shape circulation which driving through interior foundry to connection these two points.

 

 

5.

昼 | Do not go gentle into that good night

Time:2014

在高纬度的北欧地区,冬季的阳光是人们生活中的“稀缺资源”。在北欧的冬日里,一天的大部分时间都是黑夜,最短的光照时间只有几小时。由于平日里阳光的稀缺,人们会出现一些心理以及生理上的问题,例如,数以千计的芬兰人在冬季遭受到极夜带来的抑郁症之苦,他们长期感到乏力,无缘无故的悲伤,这些都是典型症状。此外,患有极地抑郁症的人喜欢睡觉,嘴馋,并且爱吃甜食,这些导致了他们许多不健康的生活方式。

When comes to high latitude areas, sunlight in winter becomes a kind of scarce resource for people living there. On an ordinary Northern Europe winter day, the night is longer than daytime. Sometimes daylight could only last for several hours. Because of the lack of sunlight, people living in Northern Europe have gained a series of physical and psychological disorders. For instance, thousands of Finns suffer from seasonal melancholia through those long, cold northern winters. They feel weak and undergo unreasonable sadness (These two are the typical seasonal melancholia symptoms) all the time when winter comes. Furthermore, those who have got melancholia sleep a lot and are obsessed with sweets, which result in their unhealthy lifestyles.

在这样特殊的地区中,我们希望提供一间可以延长光照时间以及释放适当强度的阳光来治愈北欧极地抑郁症人们的小屋。小屋作为新型的城市基础设施散落在北欧城市内的各个角落供所有市民使用,帮助他们缓解以及治愈抑郁症,度过漫长而寒冷的冬天。其工作原理是利用光能的储存与释放来营造具有充足光照的温暖环境,重要的是,它将不受外界环境的束缚,从而对北欧冬季短暂的日照时间起到补充的作用。

This project is a timber little house which can extend daytime and release a certain intensity of sunlight to ease the symptoms of seasonal melancholia. The releasing layer we install in the house interior imitates the natural lighting pattern and intensity somewhere in the same longitude of the project location but in a much lower latitude (may be somewhere around 30 degrees or lower) which means a bigger solar elevation and stronger intensity. These refitted houses can be considered as a new kind of city infrastructure and located all over the northern Europe cities to help citizens ease and cure their seasonal melancholia,prepping them up through a long winter.

项目的具体操作手段是通过将光导纤维嵌入木材表面纤维纹理内,得到一种新的搭建构件。构建分为内外两层,外层为接收端,采集日照时的阳光;内层为发射端,向室内放射储存的光能,通过底部的光循环系统将内外两层连接起来。光循环系统包括接收光纤、引入光纤、真空环形管循环器、引出光纤和光释放装置。通过这个装置,我们使得光的延迟效应得以实现,让人们在黑夜里也能沐浴在阳光中。在小屋内,太阳光的释放模拟同经度中低纬度地区的太阳照射情况,人们可以通过调控小屋的模拟纬度得到想要的光照效果,并且使得释放的太阳能的照射状态更为自然更为合理。

The operation mechanism is based on implanting optical fibers into the texture of raw wood material to create a brand-new building unit. The unit has two parts, one is receiver which is used for collecting sunlight during daytime and the other one is a signal source releasing the collected sunlight into interior space. The light cycle system below which consists of receiving fibers, introduction fibers, a vacuum ring pipe circulator and a releasing end connects these two layers together. We actually turn the ‘Light Delaying Effect’ into reality through the device and give citizens a chance to steep themselves in the sun even during the dark night hours. Because the lighting pattern is imitating the natural light mode in another latitude, people can choose any stimulated latitude they want to make the lighting result fill their expectancy.

 

 

6.

壳 | The Crater

Time:2017

塞内加尔的塔纳夫村是一个相对贫穷且拥有复杂宗教构成的村庄,为了给当地人提供一个能够容纳多宗教进行宗教活动的场所,我们在当地选取了一个开阔地块进行建造和设计。

Senegal Tanaf is a relatively poor village with multiple religions. In order to provide a sacred space to contain different religious activities, we choose an open site to settle our design and construction.

神圣的建筑可以为人们带来平静,反思和力量,这是一种原始的诉求。项目试图营造的是一个可以让所有人进入的神圣空间。在这里,人们放下烦恼,环绕而坐,收获来自天空与大地的原始力量,寻找内心的本源。圆形与光影将作为建筑的基本元素,通过环形片墙的偏移与错落捕捉光影,同时形成不同的冥想通道,最终将人们引入嵌入大地的主室。

The sacredness of architecture has an original appeal to human beings, offering serenity, introspection, and strength. It is my main intent to create a sacred space accessible to everyone. Here, free from the mortal coil, people can sit in circles, absorb the pristine strength from heaven and earth, and seek the origin of their souls. Circles and shadows are the two basic elements. Shadows are captured through the skewed and strewn annular walls, which form various hallways for meditation and lead people to the main chamber embedded into the ground.

项目使用当地的红土作为建筑的基本材料。在建造顺序上,首先下挖出主室与坡道,然后将挖出的土壤直接加工进行片墙的砌筑,这样就地取材可以节约运输成本,同时保证了建筑与其扎根的土地的统一性。计划采用当地传统的土壤加工方式,以当地人熟悉的方式建造以保证其完成度与质量。

项目目的不是建造一个独立的场所,而是为当地居民提供一种使用方式,环形片墙可以作为一种基本符号出现,被使用与灵活改造于不同的基地。

The project was constructed by the local red soil as the main construction material. First, we will dig out the main chamber, as well as the ramps. Then, we will directly process the soil and build the walls. This allows us to not only reduce the transportation costs, but also ensure the uniformity between the architecture and the earth it stands on. To guarantee the completion and quality,the traditional local method will be adopted to process the soil and undertake the construction.

Rather than an isolated venue, we intend to offer different applications to the local community. The annual walls can stand as a basic symbol, while the venue is used and adapted flexibly for various purposes.

在海外时间:2015-现在
在海外地点:纽约,美国
姓名:杨思齐
籍贯:湖南
学校or工作单位:哥伦比亚大学,Lynch Eisinger Design
联系方式:siqikikiyang@gmail.com

When:2015-now
Where: New York
Who: Siqi Yang
From: Hunan
School: Columbia GSAPP
Work: Lynch Eisinger Design
Contact: siqikikiyang@gmail.com

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