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。
第六十八期为您奉上的是在加州伯克利 UCB学习建筑学的李泓霖。
A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.68 episode is about Honglin Li, who studies architecture at UC Berkeley.
为什么出国？
Why going abroad?
出来学习, 顺便看看世界。
Study, and see the world.
在国外遇到了什么让你印象最深刻的事情？
What impressed you the most when you are abroad?
本科三年级学校项目第一次去欧洲的时候就先到了佛罗伦萨，不经意间漫步到了圣母百花大教堂面前。 尽管以前上课讲解过论文也写过但是第一次面对建筑实体在金色的夕阳下我还是惊呆了， 仿佛可以感受到文艺复兴和几百年的时光都凝聚在那一瞬间的空气和光线之中。 我觉得这就是旅行的意义吧，当你亲身面对的时候，你的视觉，听觉，嗅觉， 触觉在同一瞬间发生反应，才能感受到的东西。
The first time I went to Europe was in my third undergraduate year. We arrived in Florence, and I walked into Cathedral of Santa Maria del Fiore inadvertently. Even though I have studied it, wrote papers about it, I was still shocked and stunned when I was facing the architectural entity in the golden sunset the first time as if you can feel the Renaissance and hundreds of years of history are condensed among the air and the light at that moment. There is something that you can only remember when you stand in front of it directly, when your vision, auditory, flair, and tactile sensation react in the same moment. That, I think it is the meaning of travel.
最想念祖国的什么？
What do you miss the most about China?
亲人, 朋友。 感谢爸妈对我多年精神和经济上的支持。
Family, friend. I am grateful to the support from my mom and dad.
你会回国吗？为什么？
Will you come back China? Why?
会的。 我认为建筑师有别于工程师和艺术家的一方面，就是他们还担当相当大的一部分社会责任。虽然我目前还是在积累和学习阶段，不敢说自己是建筑师，但祖国发展日新月异，希望能贡献一点儿力量，去做点儿什么。
Eventually, I will. In my opinion, the architect has a considerable part of social responsibility, which is different from artists or engineers, although I am still learning and practicing, not an architect yet. I hope that one day I can contribute to my nation.
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?
去过很多地方之后感受最多的是The more I see the less I know， 因为每接触到一点新的东西都是打开新世界的一个大门, 而我对未知的世界和知识又是充满了好奇和敬畏之心。也许用一个参照体系来客观的审视另一个， 就能看到很多相同和不同之处， 但是并不是所有东西都是一一对应的， 整个世界就是一个矛盾的统一体。 我觉得心智的成长就是一个三观不断进化的过程， 原来觉得一些有悖逻辑的现象和问题也可以逐渐看到合理存在的解释，不再会只因为表像而盲目批判， 会更多的进行独立思考和自我批判，希望以后有一天可以做到即使带着复杂相悖的观念，依然能稳步前行。
After traveling around the world, the impression I get the most would be: The more I see, the less I know. Because I think every touch of something new is like walk into a whole new unknown world, and I feel curious and awe for it. Perhaps it would be easier to objectively examine it with another reference system and find similarities and distinction, sadly this world doesn’t work as a bijection, it more like a contradictory unity. In my opinion, the mental grew up is the process of finding a person’s self-value. Nowadays, I can do more independent thinking and self-criticism, and understand the existence of reasonable explanation behind some illogical problems, not criticize it blindly by the appearance. Hopefully one day I can keep walking steadily with a restless heart.
你的学校有哪些教育特点？
What makes the curriculum of your school different from other architecture schools?
伯克利一直都有多元， 包容，前卫和思想自由等特点， 建筑学院CED的教育也不要求学生接受某一个或某一类观点而是鼓励学生通过自己对自己定位来选择课程和教授，做自己的喜欢的领域。同一届不同Studio之间所做的课题差别也很大，会有其他建筑学校的做客教授带其中之一，有机体会体验一下其他高校教学的不同吧。
Berkeley has always been diverse, inclusive, avant-garde, free thinking, and many other characteristics. The education in College of Environmental Design (CED) does not require students to accept a certain of school, but it encourages students to find their interest through their selected courses and professors. Usually, there is more than one studio offered each year, and they all have a different topic, sometimes there will be a guest professor, and there is a chance to experience something different.
你现在工作公司的特色和有趣的地方？
What are the characteristics and interesting points of your firm?
之前在SOM的旧金山办公室是300人的规模，现在在哥本哈根只有30人左右的EFFEKT。主要是不知道以后自己会更适合哪样的环境，挑了两个”极端”来体验一下。 两个不同的事务所表面上可以看出在组成架构，设计哲学，项目内容上的差别都比较大，然而我更想去寻找一些更深层的东西。
I used to work in Skidmore, Owings & Merrill in San Francisco which has 300 people in that office. Now I have come to a 30 people pure design driven firm EFFEKT in Copenhagen. It seems that I am not sure for what kind of environment will be more suitable for me, I picked two “extremes” to experience it. These two firms have a distinct difference in firm structure, design philosophy, and project type. However, I want to find something more essential behind them.
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?
在欧洲时尽可能的把每个国家有名的博物馆都去了一遍，非常喜欢康斯太勃尔和透纳那个时期的现实主义和浪漫主义的风景画。传统中国山水画以”写意”居多，而那个时期的欧洲风景油画把对自然清新生动的感观放到了首位，认真观察沐浴在光线中的自然景色，寻求并把握色彩的冷暖变化和相互作用，把变幻不居的光色效果记录在画布上，留下瞬间的永恒图像。他们对我的设计倒是没有什么直接影响，只是后来启蒙了印象派。
I like Realism and Romanticism landscape painting, especially the work of John Constable and William Turner. Traditional Chinese landscape ink painting mostly is about the spirit. On the other hand, the European landscape painting back then is more likely expressing the fresh and lively sense of the great nature. The artists carefully observe the natural scenery that bathes in the sunlight, seek and control the change and interaction of cold and warm colors. They can capture the unpredictable light on the canvas, leaving the eternal image of the moment. I don’t think my design was influenced by this directly, however, later they inspired the Impressionist.
觉得自己的作品集有哪些迷人的特质？
What fascinates viewers the most in your portfolio in your opinion?
迷人算不上吧，觉得能有一点儿自己的风格，能表达一下自己的想法，有人喜欢就很好了。有的时候可能过分偏执于效果图，想通过一个足够真实的效果图来模拟建筑带给人的氛围感。总觉得看平面图和切面图是冷冰冰的，渲染图却可以带上一丝人情味。
It is not perfect. I am happy that it has its style, can express my ideas, and some people like it. Perhaps some time I get “obsessed” with photorealistic renderings. I try to express the atmosphere brought by the architecture and pass it to surroundings. I think the drawing of plan and section are cool but cold. However, renderings can be sentimental.
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?
本科就在看了。申请研究生的时候也认真看过许多大神的图，收获很大。很喜欢也很感谢谷德分享的一些来自不同风格的设计师但是质量很高的作品，真心希望能越做越好。
I started since I was in undergraduate school. It helped me a lot when I was preparing to apply graduate school. I like it has high-quality works from all different style workers. I sincerely hope it gets more and more success.
W O R K
1.
Vertical Versatility
Date: Spring 2014, 3th-year Undergraduate
Site: Florence, Italy
Type: Multifunction Ecology Sky Farm
佛罗伦萨作为最古典城市之一，市区仍保持古罗马时期的格局，95%的建筑完美地保留着文艺复兴风格。圣母百花大教堂无论是在历史地位，艺术造诣，高度和体量上都是无可撼动的绝对中心。“Vertical Versatility” 就是在这样的背景下提出的一个充满” 野心” 设想，意在形式上，特别是高度上，尝试” 挑战” 圣母百花大教堂在佛罗伦萨的中心地位，并试图” 打破” 文艺复兴风格的建筑在佛罗伦萨垄断式的格局。
Florence is one of the most classical historical cities in Europe. The urban design was preserved from the age of the ancient Roman, 95% of the architecture retains the Renaissance style perfectly. The Cathedral of Santa Maria del Fiore is the absolute center of Florence for it historical status, artistic attainments, the height and the volume. “Vertical Versatility” is an ambitious concept rooted in the context of the Cathedral of Santa Maria del Fiore and historical site in Florence. It was intended to “challenge” the center position of the Cathedral, especially in height, and “breakthrough” the monopoly of the Renaissance architecture in Florence.
“Vertical Versatility” 表面上几乎达到了大教堂的高度, 但在结构和材料上并没有刻意去冲突圣母百花在时间和空间上的永恒性。它的本质是一个构造简洁，体量足够轻盈的，安装和拆卸过程十分简单的”临时建筑”。尽管在外观材料上选择了现代化的反射度很高寿命相对较短的金属材料与经典而持久的砖瓦材料形成强烈对比，但通过对周围环境的反射，它又可以海市蜃楼般隐没于周围环境之中。
该设想通过对在历史文化城市中尝试后现代主义风格可行性的大胆试验, 来探讨建筑在时空中的永恒性与临时性, 研究内在矛盾的微妙复杂的自由性来理解伟大建筑存在的真正特质. 野心的表象背后的实质是向圣母百花大教堂和文艺复兴文明的致敬，对历史文化建筑的尊重与思考以及对这座古老城市的真挚的热爱。
“Vertical Versatility” on the appearance almost reached the height of the Cathedral. However, it was not designed for conflicting the time and space of eternity of the cathedral in structure and material deliberately. Essentially, it is a temporary structure with very lightweight, and easy install and dismantles process. A relatively short life cycle modern material with high reflectivity metal panel was selected for its exterior, which has a strong contrast compared to traditional brick and tile material in Florence. However, by reflecting the surroundings, it can hide like a mirage in the environment.
This proposal is an audacious experiment of the feasibility of postmodernist style design in a historical city. By exploring the meaning of eternity and timeliness in architecture, discussing the contradictory and sublet complex of the freedom to understand the real qualities of great architecture. The essence behind the ambition is not only a tribute to Cathedral of Santa Maria del Fiore and Renaissance civilization but also respect to the cultural and historical architecture and the sincere love for this ancient city.
“Vertical Versatility” 在功能上意在创造一个带有集市, 垂直农场, 烹饪学校和餐厅的公共空间，以代替该地原有的功能单一的集市。人们对不同功能的体验，实践和互动，不仅可以增进交流建立关系网，更可以对意大利的农业文化以及美食文化进行深入系统的学习和理解。
通过上下颠倒场地上原有的集市形式, ”垂直多样性” 的集市平台拥有了一个倒金字塔型的反射底面. 人们在地面不同的位置和仰角可以观察到佛罗伦萨重要历史建筑的反射成像. 此举为人们提供了一种对佛罗伦萨全新的观察视角. 使得”垂直多样性”与古城区和多个建筑建立起一种微妙的联系, 同时在形式上可以被理解为一个与圣母百花大教堂颠倒, 对立的”拱顶”.
Functionally, “Vertical Versatility” is aiming to create a public space with the market, vertical farm, gastronomy school and restaurants, to replace the single function market on the original site. People not only can experience different functionality, practice and interaction with each other to enhance the exchange of relationships, but also have a deep understanding of Italian agricultural culture and traditional food culture.
By flipping the original form of the existing market, the market stage of “Vertical Versatility” has an inverted pyramid-shaped reflected bottom. People on the ground in different locations and angles can observe the reflection of the important historic buildings of Florence. It provides people a whole new perspective of the city, and establish an indigenous connection with several historic buildings. It also can be considered as an opposing, upside down dome from The Cathedral of Santa Maria del Fiore.
因为佛罗伦萨独特的规划以及对历史城区保护，几乎没有建造高层建筑传统的现场施工的可能性。 因此在设想的构建过程中，“Vertical Versatility” 将在核心筒的建造同时开始在地面上建造第一个平台。当核心筒建到预定的高度时，第一个平台包括家具和机械设备同时建造完成，然后被提升到相应高度，完成安装。通过效仿学习类似A380巨型机库的建造手法, “Vertical Versatility” 将在构建时间和成本上拥有极高的效率。
Because of the unique planning and protection of the historic urban areas, there is almost no possibility of constructing high-rise buildings by using traditional construction site. Therefore, a new construction process was proposed. “Vertical Versatility” begin by building the core and assembling the first stage in the meantime. The moment the cores get to the predetermined height, the first stage finish with furniture and mechanical equipment, and it will be lifted to the corresponding height and complete the installation. By simulating the process of constructing giant A380 hangar, “Vertical Versatility” will have incredible efficiency in construction time and cost.
2.
Adaptive Reuse
Date: Fall 2014, 3th-year Undergraduate
Site: Sandusky, Ohio
Type: Social Ideas Exchange Center
“适应性改造” 作为该项目的主题，以永续设计为主导，意在以新的社交，创意和文化中心的形式，将一种认同感和价值观灌输到的滨水的闲置建筑之中，为桑达斯基注入新的活力。通过对现有城市规划以及现存建筑价值的研究，选择了三个独立的联排历史建筑作为改造目标。处于对预算和可行性方面的考虑，该提议保留了正对市中心的有历史价值的立面，承重墙以及主体木质结构和木质屋顶，重点对平面，其他立面和屋顶进行改造。通过横向连接三所不同建筑的楼板，并将所有楼板向后推移15英尺与保留的立面分离，形成一个贯通并且高耸的中庭，与双层的表皮结构和屋顶的温室花园相连，作为气候的缓冲区以应对当地明显的昼夜温差，增进建筑在能耗上的表现。
Adaptive reuse is the theme of this project, which driven by sustainable design, aims to instill a newfound sense of identity and value into one of the many leftover townhouse buildings in Sandusky, Ohio, in the form of a new idea exchange center for young artists and innovators. Through the study of urban planning and the evaluate the value of existing buildings, three individual townhouses were selected to be renovated. Considering the budget and feasibility, this proposal preserves the historical façade which facing downtown Sandusky, load-bearing walls and the main wooden structure and wooden roofs, focus on reforming the plane, other facades, and roofs. By connecting floor of three different buildings horizontally, and pushing back floor slab from the façade 15ft, creating a trip-high atrium. This atrium connects with double-envelope and winter roof garden, acts as a climate buffer to response the temperature difference between day and night, and to increase the performance of energy consumption of the building.
3.
819 Peen Avenue
Date: Spring 2015, 4th year, Graduation design
Site: Pittsburgh
Type: Culture And Performing Arts Communication Center/Office
匹兹堡曾是美国著名的钢铁工业城市，有”世界钢都”之称。但1980年代后，随着中国钢铁产量上升，匹兹堡的钢铁业务衰落，之后逐渐转型为以医疗，金融及高科技工业为主之都市。然而匹兹堡仍像很多成型较早的传统美国工业城市一样逐渐失去活力，下城区面临的相对老旧的建筑形式和功能上的单一性，以及公共空间的缺失等问题已经让居民感到不适。 这个提议是为匹兹堡下城区单调的商业大楼建筑群以及居民有限的活动空间提出的解决方案， 希望能打破写字楼的传统形式，并且探讨一种全新的建筑结构系统以及被动式设计系统。
Historically, Pittsburgh was one of the most famous steel industry city in the world, and it was called “The capital of world steel.” However, in the 1980s with the rising of steel production in China, Pittsburgh’s steel business declined, and it gradually transformed into a city with medical, financial and high-tech industries, even so, Pittsburgh city downtown is losing its vitality, struggle like many other earlier industrial American cities. The downtown has boring high rise commercial structure and functional singularity issue, lacking public space made the residents feel discomfort.819 Peen Avenue is aiming to provide a solution for downtown Pittsburgh monotonous commercial building complex and limited activity space for residents, which will break the traditional form of commercial buildings, and propose a new architecture structure system and passive design strategy.
现有的场地基于由2006年匹兹堡基金会所提出的The Behnisch Plan-“RIVERPARC”计划，意在解决现有州际高速阻断市民与河岸的联系的问题, 重塑人与水的自然空间, 希望能创造一个优先考虑行人无障碍的环境，允许空间通过密集使用而繁荣的社区。在RIVERPARC的计划中，这个独特社区将被称为”城市客厅”，为各个年龄段的人们提供广泛的机会享受市中心的生活。
The site was based on a master plan called The Behnisch Plan-“RIVERPARC” which was proposed by Pittsburgh Cultural Trust. It aims to reconnect downtown and water-front which currently cut off by Interstate freeway and rebuild the nature relationship between people and water, create an environment in which pedestrian accessibility is a priority allows for spaces to thrive through intensive use. Within RiverParc, unique neighborhoods are expressed as “urban living rooms” which offer a wide range of opportunities for people of all ages to enjoy downtown living.
遵循The Behnisch Plan-“RIVERPARC”计划的设计理念，该提议融合了丰富的底层设施，使公共街道和广场能够互相交流，摒弃单一化的功能，最大限度地为邻居们提供可以进行社会活动的场地。底部的文化和表演艺术中心以及中部的绿色空间将作为城市公共空间的一部分，自由度和灵活度很高的平面可以让多个领域的人聚集起来并方便展开小型的演讲和会议。 底部外围有一个螺旋式的走廊作为连接建筑内部和外部的模糊空间，人们可以通过这条走廊抵达任意一层，终点则是中部的空中花园。上部高层为办公区，一个倾斜的中庭被小块的绿地连接，形成庭院，露台和屋顶花园，以便每个工作空间都拥有充足的阳光，新鲜的空气和优化的节能措施。通过重新定义三种不同的建筑原型，底部公共空间的亲密性，中部绿色空间的自然性以及上部办公区的高效性。为匹兹堡市区树立一个新的形象，使下城区沿河地段重新焕发活力。
Following the design concept of The Behnisch Plan- “RIVERPARC” master plan, this proposal merges a wild range of ground facilities, so that public street and squares can communicate with each other, abandon the Functional singularity, maximize the social activities playground for neighbors. The lower part-culture and performing arts communication center and the middle part which is a considerable area of green space servings as one part of city public space. A free and flexible floor plan allows for the gathering of people from multiple fields as well as serendipitous meetings. The spiraling ramp not only works as the main circulation path but also as an ambiguous transition space between interior and exterior. Users can access any floor with this ramp, and its destination is the green space in the middle. The upper tower serves as office space, a diagonal atrium connected by small green space spared in each level, All floors are connected to the courtyard, terraces or roof garden so that every workspace is steps away from ample daylight and fresh air – natural ingredients for a creative workspace. By redefining three architecture typologies, the intimate of the lower part, the nature of the middle green space, and the efficiency of the upper tower, to create a new identity for the downtown Pittsburgh, transform it to be integrated into the public life of the city.
4.
LACMA 2.0
Date: Fall 2016, First-year Graduate,
Site: Los Angeles, California
Type: Museum
Instructor: Mark Anderson & Andrew Zago
Collaborator: Ernesto Rementilla
该项目意在为洛杉矶艺术博物馆的永久性藏品设计一个新馆，要求将课程前段完成的 “Problem Cloud”，一个盒子形状的拥有多层表皮的艺术设计，通过缩放和变形的手法，联系到设计中。该提议的核心设想为保留原有建筑的一条从主入口到La Brae Tar Pits的走廊， 提供一个垂直于中心广场的纵向路径同时以此作为建筑的主结构的平面。 新的设想拒绝平行于水平和垂直的传统城市布局，偏移将创造大面积的钝角三角形为公众提供积极空间。 通过延展和转换洛杉矶最重要中轴线Wilshire Boulevard，公共的人行道将过渡为博物馆的雕塑花园，绿地公园和露天剧场。人行道的扩展和延伸，模糊和融合了传统的城市空间与博物馆的广场关系。这种偏移轴线的布局方式使建筑的主体正向面对洛杉矶市中心, 也有效的与场地上原有的” 城市之光” ，售票厅和日本艺术展馆保持距离并相协调。新博物馆的倾斜和提升也与” Problem Cloud” 的形式相关，以此营造一个新的被遮蔽的，下沉式的雕塑花园。主体结构设想为两座巨大混凝土墙形成的” 峡谷” ，博物馆的不同展馆穿插于此间，并通过多样的” 桥” 相连接。
This project was required to design a new building for LACMA’s permanent collection by scaling and transferring the previous art project “Problem Cloud,” which is box shape geometry with several layers. The main design strategy is to maintain a promenade which connects the western part of the campus to La Brae Tar Pits. Provides a longitudinal path perpendicular to entrance plaza of the campus and sets up the direction of the main superstructure. The new proposal oriented disagree with paralleling the Boulevard and the traditional city grid, offset creates a large right-angled triangle positive space for the public, become “the plaza” of a city center. By extending and converting the most important central axis of Los Angeles, the public sidewalk will transform to the sculpture garden, green park, and amphitheater of the museum. The expansion and extension of the sidewalk, blurring and blending the relationship between the traditional urban space and the plaza of the museum. This layout of offsetting axis allows the building to face the city center. The tilt and lift of the building relate to the original box, creating a covered, sunken sculpture garden. Manifest experiential qualities of moving through layers. The canyon allows one to move in between the layers. As the main superstructure, the two walls hold the programs which weave in and out once in the museum. The wall is dematerialized through perforations which vary in size allowing for bridges through the canyon.
5.
Photograph
旅行即生活。李泓霖摄影作品。
Travel is life. Photograph works by Honglin Li.
▼荷兰赞瑟斯汉斯风车村，Zaanse Schans Windmill, Netherlands
▼西班牙巴塞罗那，Barcelona, Spain
▼意大利威尼斯，Venice, Italy
▼希腊圣托里尼，Santorini, Greece
▼意大利罗马，Roma, Italy
▼意大利五渔村，Parco Nazionale delle Cinque Terre, Italy
▼瑞士阿尔卑斯山，Alps, Switzerland
▼意大利锡耶纳，Siena, Italy
▼德国新天鹅堡，Neuschwanstein Castle, Germany
▼意大利米兰，Milan, Italy
▼希腊雅典，Athens, Greece
在海外时间：2011 至今
在海外地点：荷兰, 旧金山, 伯克利 CED, 意大利, 丹麦
姓名：李泓霖
籍贯：北京
学校or工作单位：OMA, 加州大学伯克利 UCB, SOM 旧金山, EFFEKT 哥本哈根
联系方式: www.honglin-li.com, honglin.li.arch@gmail.com
When: 2011 to present
Where: Netherland, San Francisco, Berkeley CED, Italy, Denamrk
Who: Honglin Li
From: Beijing
School/Firm: OMA, UC Berkeley, SOM, EFFEKT
Contact: www.honglin-li.com, honglin.li.arch@gmail.com
