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.
Why going abroad?
I want to see if the buildings are the same in reality with my imagination when I’m reading it in the book.
What impressed you the most when you are abroad?
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.
What do you miss the most about China?
Will you come back China? Why?
Of course, I hope I can make some contributions to Chinese architecture.
Is it more distinct to view China in a different environment after going abroad? Any thought?
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 .
What makes the curriculum of your school different from other architecture schools?
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.
Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?
Giorgio de Chirico，Alberto Giacometti and Gerhard Richter.
What fascinates viewers the most in your portfolio in your opinion?
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.
When did you start to follow gooood? Any suggestions?
I have followed longtime ago, and many album topics are very interesting and beneficial.
W O R K
L like Lewerentz
指导老师/Instructor：Prof. Anna Jessen
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.
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.
Exhibition pavilion for the Venice Biennale
指导老师/Instructor：Prof. Meinrad Morger
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.
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.
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.
Künstlerhaus in Düsseldorf
指导老师/Instructor：Prof. Meinrad Morger
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.
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.
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.
联系方式：www.zhengxiaowangxuan.com / firstname.lastname@example.org
When: 2014 to present
Where: Germany, Switzerland
Who: Zhengxiao Wang
School: Southeast University, TU Damrstadt
Contact: www.zhengxiaowangxuan.com / email@example.com