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。
第七十五期为您奉上的是毕业于达姆斯塔特工业大学的王正骁。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.75 episode is about Zhengxiao Wang who graduated from TU Damrstadt.

点此查看王正骁在德国建成的植物园信息亭项目，Click here to see the Info-Pavilion project in Germany by Wang Zhengxiao

为什么出国？
Why going abroad?

去看看书上的房子和想象的是不是一样。

I want to see if the buildings are the same in reality with my imagination when I’m reading it in the book.

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?

看了很多想看的房子，其中令人印象深刻的都有相似之处。他们或自身就具有矛盾，以其为出发点；或者空间体验能造成与观者预想的错位。这些无关具体的形式与技巧，更能够引发人们思考。

I have seen many buildings that I wanted to visit, among them that impressed have the similarity. They all have contradiction and based on that or spatial experiences in those buildings have difference between preconception of visitors. These unrelated forms and skills can arouse people’s thinking deeply.

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

归属感。

Belongings.

你会回国吗？为什么？
Will you come back China? Why?

必须，希望能为中国建筑学做点贡献。

Of course, I hope I can make some contributions to Chinese architecture.

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?

不一定，但更清晰的意识到自己其实对于中国并不很了解。回国后一定要多到处走走看看。

Not really, but I can more clearly realize that, actually I don’t really understand about China. So I will look around more after returning home .

你的学校有哪些教育特点？
What makes the curriculum of your school different from other architecture schools?

感觉德国的理工大学在资源和结构方面都差不太多，有差别但会避免形成一所集中的超级大学，不同学校的侧重方向或者教学风格更多取决于学院的传统和教授。教育特点总的来说可能各个研究方向的体系相对清晰，课程设置的系统性比较强，教学的目标明确。

Actually technique universities in Germany have not big differences in resource and structure. So It can avoid formation of a super university. The emphasis or teaching style of different universities depends more on the traditions and professors of the college. Generally speaking, the educational characteristics may be relatively clear in the system of various research directions, the curriculum system ist relatively logical, and the teaching goal is clear.

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?

感兴趣和受启发的艺术家特别多，相对来说影响比较大应该是基里柯、贾科梅蒂和里希特。

Giorgio de Chirico，Alberto Giacometti and Gerhard Richter.

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?

这里介绍的三个方案分别是两个课程设计和毕业设计。因为看之前的专辑好像来自德国的同学比较少，所有希望通过介绍能让大家对于德国的学校有多一点的了解。这一阶段的方案受感兴趣的建筑师影响比较大，以结构作为线索提示整体的构成关系。希望以后能离他们远点，离自己近点。

There are 3 Projects that from the normal design projects and graduation project. Before there are less album of student from Germany, so I hope that, I can introduce something about Architecture teaching in Germany. The designs in this phase are greatly influenced by the interested architects, and the structure ist used as a clue to indicate the composition relationship. I hope I can stay away from them and get closer to myself in the future.

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?

很久以前就开始关注，很多的专辑选题都非常有意思，受益良多。

I have followed longtime ago, and many album topics are very interesting and beneficial.

W O R K

向莱韦伦兹学习
L like Lewerentz
达姆斯塔特北火车站
Darmstadt North
指导老师/Instructor：Prof. Anna Jessen

课程设计开始的前两周每个学生要选择一个调研过的Lewerentz的案例进行分析，然后选取案例中的一个元素、一种处理方法或者策略引用到自己的设计中。同时开设的选修课，要求对他的方案进行更完整深入的分析，持续一学期平行于课程设计。

In the first two weeks of design, we should choose a project of Lewerentz for analysis. Then select an element, a processing method or strategy from the project quote to our own design. At the same time, a seminar was offered, which was devoted to a more complete and in-depth analysis of his project, which lasted for a semester parallel to the design.

我分析的案例是St. Petri Klippan，参观时就被教堂空间所震撼。地面、围合和覆盖所使用的材料都是砖，原本感觉很重的砖所塑造出的空间对身体却有很强烈的包裹感。屋顶的支撑结构本身复杂而且形式感很强，但在空间中能够清楚的感受到结构系统并不是在自我表达，与整个空间氛围相和谐。而内部这一些列复杂精确的操作，最终以一种特别的形式韵律在立面上克制的呈现，似是而非，欲言又止。

The case I analyzed was that St. Petri Klippan, who was shocked by the church space when I visited. The ground, enclosure and overlay use bricks and the space molded by the material that is originally very heavy feels strongly wrapped on the body. The structure of the roof itself is complex and has a strong sense of form, but it is clearly felt in the space that the structure system is not self-expressing and harmonious with the whole space atmosphere. And the intrinsically complicated and precise operation, finally in a special form of prosody in the facade.

设计题目是达姆斯塔特的北火车站，不同于主火车站的是，使用者大多是旁边工厂区的上班族，早晚人流较大，而且反复使用车站，快速换乘是他们的主要需求。所以方案希望通过设计一个特殊的大空间，在保证流线简洁的同时，又能够产生与乘客不同行为相匹配的空间。方案采用两个T型钢结构支撑向下倾斜的屋顶，垂直向的空间将乘客从入口引下站台，到达混凝土框架与两侧的景观共同塑造出水平向的候车空间。通过两种结构体系并置的方式，分别支撑覆盖与围合，形成一个具有开放性的半室外空间。

The design is the North Railway Station in Darmstadt, which is different from the main railway station. The users are mostly office workers in the factory area next to the station, and there is a large flow of people in the morning and evening, and repeated use of the station, rapid transfer is their main demand. So it is hoped that by designing a special large space, the path can be kept simple while the spatial atmosphere matching with the passengers’ different behaviors can be generated at the same time. Two T-shaped steel structures are used to support the roof, the vertical space leads passengers down the platform from the entrance. The horizontal concrete frame and the landscape on both sides together create the waiting space for passengers. Through this two ways of structure system juxtaposition, support coverage and enclosure respectively, an open semi-outdoor space is created.

2.
威尼斯双年展的展览亭
Exhibition pavilion for the Venice Biennale
指导老师/Instructor：Prof. Meinrad Morger

这学期刚好有威尼斯双年展，所以课程设计以其为基础，对展览亭这一类型进行讨论。同样的，需要学生先对现有的所有国家馆进行分析，然后在Giardini片区内自己重新选地，设计一个新的展览亭。

This semester is just the Venice Biennale, so the design is based on it to discuss the type of exhibition pavilion. Similarly, students are required to analyze all existing national pavilions and then design a new pavilion within the Giardini.

关于选地，希望选择一块比较小的边角地，但同时又能够使整个片区变得更好，最好场地上能有地形或者树之类的环境要素。所以最终选在了Fehn的北欧馆旁边，在一侧能够强化入口的通道空间，在另一侧与其他国家馆形成小广场。同时有机会使整个园区的参观流线更加清晰，让河边的展馆更容易到达。

About the site, it is desirable to choose a smaller corner, but at the same time it can make the whole area better, and it is best to have environmental elements such as topography or trees on the site. So I finally chose the site next to Fehn’s Nordic Pavilion, where it reinforced the entrance space on one side and formed a small square on the other side with other pavilions. At the same time, it has the opportunity to make the path oft he whole park clearer, river pavilions easier to access.

方案设计有两个展厅，一个展厅浮在地上，离天空更近，用自然采光；另个展厅埋在地下，向土地开放，用人工采光。屋顶、支柱与基础组成的结构系统作为两个展厅相互关联的线索，同时塑造并划分内部的空间。展览的内容总是会变，要与时间对抗，展厅自身也应是艺术品。

The project has two exhibition halls, one is floating on the ground, closer to the sky and with natural lighting; Another exhibition hall buried underground, open to the land, with artificial lighting. The structure system of roof, pillar and foundation is used as the clue of interrelation between two exhibition halls, at the same time shaping and dividing the interior space. The contents of the exhibition will always change, to confront with time, the exhibition hall itself should also be a work of art.

杜塞尔多夫港口的艺术家楼
Künstlerhaus in Düsseldorf
毕业设计
Diploma Project
指导老师/Instructor：Prof. Meinrad Morger

设计要求为8种不同的艺术家设计一栋集合24间工作室及住宅的艺术家楼。在前期我注意到同学们总是讨论应该如何处理画家或者雕塑家的工作室，如何为他们争取朝向或者通过高窗去塑造稳定均匀的光环境，而诗人或者音乐家的工作室几乎无人在意，似乎最后怎么处理都可以，这种重视程度的差别只是因为前者的工作室可能空间特征更加明确。难道建筑师能为了追求看似清晰的概念就给艺术表达方式排出先后主次？难道建筑师就可以轻松的安排每个电影工作室旁边都是画家工作室，或者音乐家、诗人和摄影师的工作室总是挨在一起，就因为他们工作室的面积加起来刚好合适？艺术家是敏锐的，工作场所又对艺术创作有非常大的影响，建筑师究竟能为他们做什么？

The project requires designing an Künstlerhaus with 24 ateliers and residences for 8 different artists. In the early days, I noticed that the students were always talking about what to do with the atelier of a painter or a sculptor, and how to strive for the orientation or high window for them to create a stable and uniform light environment. But the atelier of a poet or musician is almost unconcerned, and it makes sense what to do with it in the end, just because the former’s ateiler may be relatively clear or demanding in space. Can architects differentiate artistic expressions in order to pursue seemingly clear concepts? Is it easy for an architect to arrange every film atelier next to a painter’s atelier? Or musicians , poets and photographers always work together, just because the area of their atelier fits right? Artists are keen and the workplace has a great impact on artistic creation. What can architects do for them?

这组案例参考从下到上分别是HdM的体育馆、Kerez的学校和Caruso St John设计的学生工作室。三个项目的类型和规模虽然都不相同，但是由于桁架结构的介入，似乎他们之间又能产生关联。更特别的是，结构对于空间感受的变化起到了非常大的作用，四个空间从下到上感觉越来越轻。这启发我可能一个特别的结构系统，能够使建筑在具有整体性、空间具有关联性的同时，形成感受不同的空间，从而使艺术家有更多的可能性，去选择自己创作所需要的空间氛围。关于任务书上不同艺术家所需的工作室面积，我觉得完全的一一对应可能没有必要，所以设计的是S、M、L、XL四种不同规格的工作室，不仅在使用上让艺术家能有更多选择，也为不同艺术形式之间的交流组合保留更多的可能性。

The reference of this group ist the school by HdM, Stadium by kerez and the student studio by Caruso St John from the bottom to top. Although the types and sizes of the three projects are different, it seems that they can be related to each other because of the involvement of truss structures. More specifically, the structure plays a very important role in the change of spatial perception. The four spaces are getting lighter from bottom to top. This may inspire me to have a special structural system that allows architecture to have a holistic, spatial relevance, at the same time to form a feeling of different spaces, so that artists have more possibilities to choose the space atmosphere that they need to create. I don’t think it’s necessary to have a complete one-to-one correspondence about the area required by the different artists on the programm, so I designed four kinds of atelier with different size: S, M, L, XL. It not only gives artists more choice in use, but also preserves more possibilities for communication combinations between different art forms.

方案分为三段，入口层和地下为公共部分，中间是工作室和居住，最顶部是展厅。工作室部分又可以由下到上分为四种类型：第一类是北面5间工作室，住宅在南面居中布置，工作与居住部分是分开的。第二类是4间工作室在角部，住宅布置在工作空间上方的夹层中。第三类是南北两面各一间工作室，居住部分在东西面。最后一层是一间的单独工作室。钢桁架作为一个独立的结构系统，从城市中穿入建筑，从上部再次穿出进入展厅，希望能让建筑在城市中呈现更开放的状态。工作室从下到上面积越来越大，同时结构构件越来越细，空间越来越开敞，感觉越来越轻。

The program is divided into three sections: the entrance flour and the underground flour for the public part, the studio and living in the middle, and the exhibition hall at the top. The ateliers can be divided into four types from bottom to top: The first one is the five ateliers in the north, the housing is centrally located in the south. The work and housing parts are separate. The second one is four ateliers in the corner, the housing is arranged above the workspace in the mezzanine. The third one is a atelier on both sides of the north and south, living on the east and west sides. The last flour is a separate atelier. Steel truss, as an independent structure system, penetrates into the building from the city and again from the upper part of the building into the exhibition hall, hoping to make the building more open in the city. The atelier is growing larger from bottom to top, while structural components are becoming more and more thin, space is becoming more and more open, feeling lighter and lighter.

一间间工作室既独立又相互关联，共同构成一个展体，像一个特别的灯箱伫立在港口，将艺术家的创作与生活最大程度的向人们展示，希望能够引起社会对于艺术家群体的更多关注，同时为城市增加活力。

Ateliers are independent and interrelated, they form an exhibition body together, like a special light box standing in the harbor, which shows the artist’s creation and life to people to the greatest extent, hoping to attract more attention from society to artist groups and increase vitality for the city at the same time.

在海外时间：2014年至今
在海外地点：德国，瑞士
姓名：王正骁
籍贯：北京
学校or工作单位：东南大学，达姆斯塔特工业大学
联系方式：www.zhengxiaowangxuan.com / wangzx911@gmail.com
When: 2014 to present
Where: Germany, Switzerland
Who: Zhengxiao Wang
From: Beijing
School: Southeast University, TU Damrstadt
Contact: www.zhengxiaowangxuan.com / wangzx911@gmail.com

点此查看王正骁在德国建成的植物园信息亭项目，Click here to see the Info-Pavilion project in Germany by Wang Zhengxiao

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