Overseas NO.90: Jianshi Wu + Yitan Sun

The No.90 episode is about Jianshi Wu who graduated from RISD, now working for COOKFOX Architects, and Yitan Sun who graduated from RISD and CUHK, now working for CRÈME Design.

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。
第九十期为您呈现的是双人组:毕业于罗德岛设计学院、现就职于COOKFOX Architects的吴建师,和毕业于罗德岛设计学院以及香港中文大学、现就职于CRÈME Design的孙艺潭。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.90 episode is about Jianshi Wu who graduated from RISD, now working for COOKFOX Architects, and Yitan Sun who graduated from RISD and CUHK, now working for CRÈME Design.

 

为什么出国?
Why going abroad?

吴建师新的学习、工作和生活氛围。

孙艺潭在就读于香港的时候,就很好奇纽约的生活是什么样子的。很想尝试一下另一种文化和体验。

Jianshi Wu: Different learning and working environment. A new lifestyle.

Yitan Sun: When I was studying in Hong Kong, I was really curious about life in New York City. I’d like to give it a try and find out what’s possible, especially in a culture that is so different.

 

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?

吴建师在从上学到工作的经历里,能听到更多的“我怎么去做得不一样”而不是“我怎么做到一样好”。似乎没有绝对的好与坏,大家的心态都更开放一些。

孙艺潭主要还是思想的开放和宽容。不同背景的人们也可以在即使不同意很多观点的时候也可以给予理解和尊重。所谓的求同存异吧,毕竟纽约的人来自世界各地,从成长背景到世界观还是可以相差很大的。还有就是人们沟通比较直接,可以更高效地工作和生活。

Jianshi Wu: I can hear more “how do I do it differently” instead of “how do I do it as well.” It seems there is no absolute good or bad, people are more open-minded.

Yitan Sun: I would say it is mostly the open mind that people have. Even people may have different opinions towards certain topics, yet they still give decent respect and understanding to each other. I think maybe that’s what makes New York City grow as one of the best city in the world, where people from different backgrounds can live here in harmony. The other thing that impressed me is that people communicate in a pretty straightforward way. That ensures an efficient work and life balance in a busy city like this.

 

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

吴建师在家的感觉。

孙艺潭亲人,老朋友和食物。

Jianshi Wu: The feeling of being home.

Yitan Sun: Family, old friends and of course the food!

 

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?

吴建师应该说给我一种全新的角度。新的角度往往也会带来的思路。

孙艺潭不能肯定地说是否更清晰,但是可以用更多的角度去看吧。中国当下的国情和经济模式都是非常有意思的,其中有很多的机遇和挑战。美国作为老牌资本主义国家也是积累了很多优秀的建筑经验和法规,有很多值得学习的地方。

Jianshi Wu: It does give me a whole new perspective. In many occasions new perspective leads to new ideas.

Yitan Sun: I am not sure it is more distinct, but it naturally makes you to see China through a different lens. China’s model is very special and interesting in many ways. Therefore, there are many opportunities and challenges ahead. On the other hand, U.S as one of the best developed countries in the world is experienced in high quality buildings and comprehensive codes. I feel lucky to experience and learn from both.

 

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

吴建师RISD创作比较自由一些,接触到的同学朋友也都来自各个背景专业,可以互相影响。几年下来,也或多或少接触了摄影、雕塑、景观、电影。其实它们都是相通的。尺度、媒介、手法都可以一直变,学校想培养我们的是背后的独特缘由和想法。
记得毕业典礼上John Waters对我们所有人说“去把世界漂亮地搞砸吧!设计让人厌恶的服饰以至于它们无法被具有讽刺意义地穿上;用新想法去把我们吓倒;激怒那些过时的批评家;用科技去制造麻烦,而不是懒惰地社交;去做些会让我感到紧张的事!” 这些话当时听来振聋发聩,但对我后来潜移默化的影响是巨大的。

孙艺潭罗德岛的教育特点我自己的体会就是尊重个体的表达。建筑,陶瓷,珠宝设计,工业设计,摄影,电影等各式学科等等不同背景下的学生在一起上课经常可以从不同的角度去看艺术的多面性,从而突破自己对于世界理解的局限。

Jianshi Wu: I had more freedom to try stuff out at RISD. My classmates and friends all come from various backgrounds and art majors and we influence one another. I was exposed to photography, sculpture, landscape, and film more or less in those years. These disciplines are in a sense all connected. Scales, media and techniques can all change, but what the school wanted to cultivate more than anything else is the unique mind behind all that.
I still remember what John Waters said in our commencement, “Go out in the world and fuck it up beautifully, Design clothes so hideous they can’t be worn ironically. Horrify us with new ideas. Outrage outdated critics. Use technology for transgression, not lazy social living. Make me nervous.” It was shocking for me to hear this at the time but these words has resonated with me ever since.

Yitan Sun: Rhode Island School of Design encourages students from various backgrounds to express their own voices.  You are often in classes with people of all different backgrounds, from Architecture, Ceramic, Jewelry. Industrial Design to Photography, Film and many more. I learned a lot from my classmates because they pushed me to think outside of the box and realize how much I don’t know about the world.

 

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?

吴建师COOKFOX虽然在纽约中城,却有自己的露台花园。我们养蜜蜂、种菜,每年大家都可以领到诸如蜂蜜各种农产品,很有意思。这也算是一种对“都市农场”的实践吧。公司一直以来都在引领可持续、亲自然的设计。

孙艺潭现所在的公司是一个集品牌设计,工业设计,室内设计,建筑设计,城市规划为一体的工作室,也是一个有来自于世界不同背景的设计师们组成的大家庭。它的设计理念认为即使设计的对象有大有小,但都可以基于同一种解决问题的方法。在这里工作可以学习并体会从设计物品到设计空间的哲学和切入角度。

Jianshi Wu: Although we have a mid-town New York office, COOKFOX has its own terrace garden. We maintain an apiary and a little farm, and give our honey, produce occasionally. It’s really fun, truly a practice of the idea of “urban farm”.  The firm has been a leading advocate for sustainable and biophilic design for many years.

Yitan Sun: CRÈME Design is a collaboration of dynamic, international designers and creative professionals. Based on the idea that all design challenges require the same problem solving approach, they approach a chair, a restaurant and a building the same way to a logo or a block. As a designer here, I am trying to distill a method to design from an object to a space in an elegant and functional way.

 

最喜欢的艺术家是谁?给你创作带来了什么影响?
Who is your favorite artist? What is the influence?

吴建师最近比较对我有影响比较大的可能是Marc Newson, Thomas Heatherwick, Oki Sato/Nendo这些鬼才式的设计师。他们的背景都是偏重材料和制作过程本身,作品也都是以体验出发,自然不拘一格。他们是脱离了固定人设的设计师,我喜欢它们那种“玩”的状态。他们是真的热爱设计。

孙艺潭喜欢的艺术家有很多,随着年龄的增加对艺术的理解也会产生改变。近几年比较喜欢的艺术家是草间弥生和安尼施·卡普尔。两者都打破了他们自己那个时代很多已有的对于美或者空间的定义,另辟蹊径的表达着人生不同阶段的自我突破和感悟。这种勇气和精神经常鼓励着我不去盲目随从,并且永远保持对世界的好奇心。

Jianshi Wu: Most recently my influencer has been the “genius” type of designers like Marc Newson, Thomas Heatherwick and Oki Sato/Nendo. They all come from a background in materials and making. Their approach driving everything is to lead from human experience rather than any fixed design dogma. They seem to really enjoy what they are doing and are having fun throughout the process. I can feel their genuine love of design.

Yitan Sun: There are many talented and pioneer artists that I like and it’s hard to say who would be my favorite. It’s very subjective, also the work that resonates with me could change over time. In recent years, I have been encouraged by Yayoi Kusama and Anish Kapoor. Both of them are willing to challenge and break what has been defined in terms of aesthetic and space. Their work are reflections of the things they’ve been exploring and never stop trying throughout their lifetime. This spirit moves me deeply and drives me to always think differently and stay curious.

 

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?

吴建师从很久以前就有在陆续关注,希望可以看到更多元化、跨行业的声音。

孙艺潭大概2012年的时候开始关注谷德网,是难得的中文媒介的报道优秀建筑作品的好网站。后来看到谷德开始渐渐融合了更多的功能,比如提供了更多关于建筑竞赛,艺术资讯以及建立了连接设计师和业主的平台,也提供报道年轻设计师的渠道。为中国有这样原创的媒介而感到高兴。真心希望谷德越办越好!

Jianshi WuI’ve been following gooood since the very beginning. Hope to hear more diverse, multi-disciplinary voices from you.

Yitan Sun: I started to follow gooood around year 2012. It was a great channel to get to know great architectural works in both Chinese and English. Over the years, I saw gooood’s improvements by merging more functions in this platform. For example, nowadays designers can connect with the client through your website. There are definitely more information bridging art and architecture. Moreover, you provide a window for young designers to share their thoughts and experience here. It’s great to see gooood grow rapidly and I sincerely hope you are doing even better in the future.

 

 

 

 

W O R K

 

 

01.

纽约地平线
New York Horizon

2016城市景观概念作品 合作完成

在新与旧, 混乱与有序的不断磨合间,变化本身已俨然成为纽约这座城市的不变主题。这座城市对新鲜创意和前卫思想的一贯开放包容不但孕育了二十世纪的波普艺术热潮,更促使上个世纪的纽约接钵二战后的欧洲,成为现代主义建筑与国际风格派的主战场,“钢筋丛林”之称由此而来。蓬勃发展的代价是经济发展与空间限制、自然与人工、建筑与景观之间的矛盾被不断放大,并变得比历史任何时刻更加亟需关注和解决。

The ever-changing balance between old and new, chaos and order has long been the constant theme of New York, the biggest metropolis in the world. New York City’s openness and inclusiveness to creativity and avant-garde thinking has long been the major catalyst of its fast-paced metabolism. The catalyst that not only gave birth to Pop Art in the 20th century, but also granted New York the name “concrete jungle” by making it replace Europe and become the battlefield of modern architecture and international style in a post WW-II world. Such a flourish comes with its cost. As a result, the contradiction between city development and space limit, nature and artificiality, architecture and landscape is amplified to a point where attentions and answers must to be given.

▼鸟瞰效果图,Aerial Rendering

几十年来,这座城市的管理者与设计师试图对这个问题的各个方面交上自己的答卷。于是在纽约,各种功能、不同尺度的公共空间层出不穷。在这些项目里我们能看到凝结了一代乃至几代人智慧结晶,以及他们试图把自然融合于高密度的工业化城市背景下所作出的努力。从占地780英亩的中央公园,至上世纪60年代在室内实验性种植植被的福特基金会大楼(Ford Foundation Building),到千禧年之初由旧铁轨改造的高线公园(High Line)。这些前卫项目的实施无不伴随着巨大的争议和广泛的社会讨论,并且建成后对周边地区,无论是经济方面还是文化方面,都产生了积极而深远的影响。

For Decades, designers and rulers of New York City have been working together and trying to give answers to different aspects of the contradiction. Among these answers we see generations working together to create public space of all kinds of scales and functions, striving to bring back nature in a dense and industrialized urban context. Examples like the 780-acer-Central Park, The Ford Foundation Building from the 60’s with its experimental tree-filled atrium, and the High Line Park built on a disused section of elevated railroads in the beginning of the Millennium. The implementation of these avant-garde projects are all accompanied by huge controversy and extensive social discussion, and have had a far-reaching positive impact, both economically and culturally, on the surrounding areas upon built.

▼透视效果图,Perspective Rendering

上文提到的种种因素和范例均为“纽约地平线”这个概念设计的最终成型提供了土壤和启发。某种程度上,它们是乌托邦式畅想在纽约这个如此重视公共空间开发的城市里所得到的局部实施。我们相信建立乌托邦是认识任何一座当代城市最离经叛道,也是最高效的方式之一。因为在最纯粹的表现形式下,原本埋藏在城市噪音之中的矛盾和真相才往往会得以最原始地揭露。这种语境下的城市乌托邦有时比城市本身更加接近现实。

All the factors and examples mentioned above eventually led us to start envisioning our concept project “New York Horizon”. To some extent, they are all partial realizations of an utopian imagination of New York, a city where development of new public space is always in serious need of. As an efficient yet unusual way of opposition and comparison, we believe it’s very important to use utopia to better understand the reality of contemporary cities. Because sometimes the strongest ideas are better expressed in the purest, most extreme forms, and only then can it reveal fundamental issues and truth about a city that might otherwise be buried in noise. Utopia, if not more, should be just as true as the real city itself.

▼平面图解,Schematic Plan

通过大胆想像一个四面被水平延伸的横向“摩天楼”所环绕的下沉中央公园,我们实际在试图建立一个只属于纽约这座城市的“乌托邦”。希望在它在如放大镜一般揭露纽约现时所存在的种种矛盾与现实的同时,也可以打破以往传统摩天大楼给人的刻板印象,激发对话,从而引起一种对纽约未来新可能性的广泛思考。

城市的垂直发展与水平蔓延之间的矛盾,是我们在“纽约地平线”这个概念方案中试图探讨的第一个课题。方案的最初灵感建立在150年前中央公园设计者費德列·洛·奧姆斯特和卡弗特·沃克斯关于平等绿色空间的愿景之上,他们希望中央公园可以“在给定空间内,给城市里的所有居民提供方便而又最大化的景观享受”。然而随着时代发展,这种愿景已经愈发难以在当今的曼哈顿维持。一方面,人口的增长和高昂的租金迫使越来越多的居民搬到了城市边缘,城市的水平蔓延导致主要活动空间在城市外围的大部分人很难再便利享受到中央公园的自然景观。另一方面,动辄数百米高的摩天大楼如同雨后春笋一般在中央公园周边拔地而起,城市的垂直发展极大影响了身处园区内部时的视觉感受。而且限于曼哈顿相对狭小的街道网格,这些建筑往往形式上高而窄,功能上倾向垂直分布,结果是楼与楼之间缺乏横向联系,不同层高之间阶级分化明显,导致只有处于高阶层的少部分人才可以真正享受中央公园的景观。这一矛盾使得中央公园“平等”与”便捷”的设计初衷日渐难以维系。

▼概念示意图,Concept Diagram

Our project boldly proposes a continuous horizontal “sidescraper” around the full perimeter of an excavated Central Park. In doing so we are in fact creating an exaggerated, utopian version of New York City, in the hope that it could evoke conversations by setting up a new paradigm for skyscraper design, and eventually let people to rethink the future possibilities of New York City’s landscape.

The contradiction between vertical city development and horizontal urban crawl, is the first and foremost concern we want to address in our concept “New York Horizon”. The project’s inspiration builds upon Central Park’s creator Frederick Law Olmsted and Calvert Vaux’s theory of providing equally accessible common green space to all citizens and giving people “greater enjoyment of scenery than they could otherwise have consistently with convenience within a given space”. Their vision, however, is slowly becoming less true in New York nowadays. On one hand, more and more residents are forced to move to the urban edge due to population growth and high rent, making it harder for them to enjoy the park’s natural scenery on a daily basis. On the other hand, skyscrapers continue to rise higher than ever around Central Park, which greatly affects the visual experience from inside the park. Limited by the street grid, these buildings are often skinny and tall, thus functions only vertically.  While isolating individual buildings, this vertical form also encourages hierarchical differences, as a result, only the affluent few that can live and/or work on top of these towering skyscrapers are given the benefit and enjoyment of the park’s total stunning view. Everyday, the “equality” and “convenient” aspect of Central Park, which was envisioned almost two centuries ago, is becoming less true because of this contradiction.

▼局部剖面图,Partial Section

我们尝试重新思考并消解这种垂直与水平发展之间的矛盾,并从这个角度入手,设法突破纽约的边界限制,将庞大的建筑功能群重新引入位于城市中心的园区景观,使两者在互相受益的同时能够最终服务于更多的城市居民。与传统摩天楼基于地表而向上垂直构建不同,“纽约水平线”概念方案则通过将中央公园向下深挖至岩床层,在寸土寸金的纽约中心区重新找到了大跨度,复合建筑的新地基——断崖。这个将新公园四面环绕,总长7英里、深300米的类墙体巨型结构将会在30米的厚度中创造18平方公里(80倍于帝国大厦)的可用室内面积。在包含如公寓、店铺、博物馆、图书馆等功能分区的同时,保证了无论层高和朝向,所有室内空间和自然景观都有平等的视觉联系。再者,我们基于曼哈顿的城市网络,由南向北从第59街至第110街,在建筑空间与每一个主干道的接合点处设置垂直动线入口(主要动线循环系统:升降梯),引导人们前往底部公园区域和其他楼层。而次级循环系统(坡道与楼梯)将在内部横向连接不同尺度的独立功能空间。

这种思考方式在某种程度上反转了建筑在城市空间内的垂直参考系与水平参考系,使大跨度的巨型结构在纽约密集的街道网格限制下成为可能。结果是“纽约地平线”不但在垂直方向上提供了更多空间层次,缓解了当今城市只能由地表向外蔓延的趋势;又能在水平方向上突破街道的边界线制,横向延伸,与纽约密集建造的传统高层塔楼模式形成对比。

As a way to resolve this conflict, we strive to break the boundary limits in New York City and reintroduce large complex to the city center where landscape already existed, in order for them to better serve each other, and ultimately benefit the residents. “New York Horizon” envisions a new paradigm by digging downward to Central Park’s bedrock, which will reveal the park’s rugged natural terrain while also creating a continuous wall of skyscrapers on the cliff, and around its periphery to house habitable spaces with equally unobstructed views of the new underground park. The 1000 feet tall, 7 miles long wall of skyscrapers/mega-structure would create 7 square miles (80 times greater than the Empire State Building) of habitable indoor space. The seven-mile-perimeter wraparound mega-structure would contain apartments, retails, museums, libraries, etc. within the 100 feet deep inhabitable walls. Following Manhattan’s city grid, there are main circulation cores (elevators) that would align with every single street from 59th to 110th street to transfer people down to the park, as well as to other various floors. Secondary circulation (ramps, stairs) would connect separate spaces and programs in various scales.

In a sense, this approach inverted the vertical and horizontal coordinates for an architecture in the urban context, making it possible for a large-span mega-structure to coexist with Manhattan’s dense street grid. As a result, “New York Horizon” not only provides more layers to the urban fabric in vertical, relieving contemporary cities from the stress of urban crawling, but also breaks the horizontal limit of street boundaries, and contrasts against the city’s densely constructed buildings and towering skyscraper.

▼整体生成过程,Storyboard

我们希望在这个方案里探讨的第二个矛盾,是人造与自然的矛盾。中央公园的杰出设计常常使人们忘记了它实际上是世界上最大的人造景观之一。为了让它建成后更加接近一座自然公园,150年前的设计师们必须设法从新泽西州运送大部分可供植被生长的土壤,而后深度开凿与覆盖园区内本身崎岖不平的基岩层。中央公园今天被广泛称道的“自然”地形,实际上却得益于建造过程中大量的人工努力。工业革命以来,城市中的原始自然被人造表皮全面覆盖,而今城市中又不断出现试图模仿自然的人造空间,这种只有以纽约为代表的当代都市才会出现的人造与自然之间的矛盾关系,引起了我们对城市内部是否可以寻求自然本质这个问题的思考。

面对这个问题,我们选择反向改造中央公园,揭露一度被掩埋的地底基岩,由此还原它在历史最初的原始形态。由于过深的基岩会大幅提升高层建筑的的锚定成本,纽约的高层建筑群多集中于基岩较浅的下城与中城区域。中央公园有着相对较深的基岩层,天然不适合作为高层建筑的地基。这种对于传统高层建筑而言的不利因素,却出乎意料地因为我们选择向下建造而成为了一种天然优势。在覆盖其表皮的近3平方公里土壤被移除后,曾经一度被填充为扁平的中央公园却表现出更深层次的垂直空间变化和更具多样性的自然环境,被移除的土壤择被用于在曼哈顿周边欠发达地区建立更多诸如山丘的动态景观,使得登山、攀岩这样的户外运动在城市的心腹地带也成为可能。

在这个概念成型的过程中,人造景观试图模仿的自然空间却在剖除所有的人造因素之后得到了真正的重生,而被移除的部分却又讽刺性地成为另一个人造景观的极端案例。这种对原始自然近乎乌托邦式的“粗暴“还原,却被戏剧性地证明了其在某种程度上颇具理论依据的一面。虽然没有直接对问题作出任何解答,但我们希望通过提出这样大胆的概念方案,颠倒并放大纽约所存在的人造与自然的矛盾关系,间接引发大众对这个问题的进一步思考。

▼地质状况示意图,Geology Diagram

The second contradiction we want to address, is the contradiction between artificiality and nature. Established over 150 years ago, Central Park was so beautifully designed that the people of today overlook the fact that it is actually an artificial piece of land built upon the once rugged, bedrock-strewn landscape, 500,000 cubic feet of topsoil has to be imported from New Jersey and dumped onto the ground in order for it to show any semblance to a park. It might look effortlessly beautiful today, but it was in fact the result of enormous manpower and artificial efforts during the construction. Since the Industrial Revolution, the original nature has been fully covered by artificial surfaces in cities, now artificial landscape is coming back to our lives as a way to imitate nature. The contradiction between artificiality and nature, which can only be found in contemporary cities like New York, led us to ask the question: is there a place for original nature in cities?

Faced with this question, we chose to reverse the transformation of Central Park by digging down to the bedrock, thus restore the land to its original raw form. Central Park’s bedrock layer is relatively deeper compares to midtown and downtown Manhattan where most of today’s high-rise skyscrapers are, making it less cost effective for high rise skyscrapers to anchor themselves in. This disadvantage in the traditional sense becomes an advantage for a project digging downwards like ours, surprisingly. While introducing more natural diversity and verticality to the once flat 1.3 square mile Central Park, this reimagined parkland would also allow for hiking, climbing and other outdoor activities one would not normally find in a city center. Consequently, the soil removed from the park would be used to add a more dynamic landscape (mini-mountains, hills etc.) to underdeveloped plots all over Manhattan.

In the process of forming this concept, the real nature only sees its rebirth when the artificiality is completely removed, yet the removed remnant becomes another extreme case of artificial landscapes. This utopian, almost “brutal” restoration of the original nature, was somehow ironically proven to be in a way quite justifiable. Though no direct answers are given here, we hope by reverting and amplifying the conflict relationship between nature and artificiality in New York City, our bold design concept could indirectly trigger further reflections on issues like this.

▼室内空间,Interior Space

最后,我们希望通过“纽约地平线”讨论当代城市里建筑与景观的矛盾。将建筑与景观单独拿出来讨论,是因为它们对我们概念方案的重要性远远超过人工与自然的意义范畴。在纽约这样重视公共空间发展的城市里,可以发现两者之间存在不同的包容关系:大尺度下景观可以包围建筑(大型公园),小尺度下建筑也可以包围景观(庭院)。在摩天大厦这种尺度下,建筑往往偏向被自然景观所衬托和包围。矛盾在于:这两种包容关系是否真的互相独立而无法共存?

在方案构思过程中,我们不但寻找大尺度下将这两种对立关系颠倒的可能性,即景观被建筑包围的情况,并且更进一步,在此基础上试图让景观与建筑最终融为一体,互为你我而不可分割。“纽约地平线”利用高反射率的镜面表皮,将整个公园的镜像映射在四面巨墙上,突破景观的物理边界,进而创造自然景观无限延展至地平线末端的视错觉奇观,让观察者即使身处曼哈顿的钢筋丛林,也可以体会到一片看似永无止境的自然世界。建筑在包围景观的同时,并不试图压制景观,相反,朴素地建筑表皮的唯一目的却是隐身自我,映照自然。这种海市蜃楼般的梦幻景象和对无限空间的诗意体验,促使我们最终将这个项目命名为“纽约地平线”。

这种过于乌托邦式的畅想也许充斥危险,但缺乏畅想也一样危险。至此,通过对纽约这座城市里水平与垂直,人造与自然和建筑与景观这三组矛盾乌托邦式地重现和反思,我们全景式地呈现了概念设计”纽约地平线”的成型过程。

Lastly, we want to discuss the contradiction between landscape and architecture. It represents way more than natural and artificial to us, and we want to address them separately. In a city that pays enormous attention to the development of public space like New York, one can find two kinds of relationship between them: In large scales, architecture is surrounded by landscape such as parks, and in small scales, landscape can also be surrounded by architecture, such as a courtyard. In a big scale a skyscraper has, architecture tend to be surrounded by landscape. Here, the dilemma is: are these two relationships really independent from each other, and unable to coexist?

In “New York Horizon”, we want to turn this relationship inside out: seeking possibilities for architecture to surround landscape in a scale as large as Central Park, and further, trying to merge them, make them inseparable from each other. The reflective glass façade canvassing the wall of skyscrapers will reflect the park’s natural terrain and create the illusion of a never-ending natural world within the heart of Manhattan’s concrete jungle, while also offering New Yorkers’ a perspective of the landscape that is not limited by the park’s physical boundaries. In this case, the dynamic landscape is surrounded by characterless architecture that tries to be nothing but mirror that reflects nature. In the heart of New York City’s concrete jungle, a New Horizon is born. This dreamscape, along with the poetic experience it creates, eventually made us titled this project with the name “New York Horizon”.

An overdose of utopia might be dangerous, but architecture today is largely characterized by an underdose of utopia, which can be just as dangerous.  We presented our project “New York Horizon” in a panoramic view of rethinking the contradictions between horizontal and vertical, between nature and artificiality, between architecture and landscape. We think of them as three doses of utopia for a city like New York.

 

 

 

02.

鸟时钟
Bird Clock

2018 交互设计 合作完成

鸟时钟是我们为三星QLED电视的ambient mode功能设计的待机屏幕。这个设计是2018年Dezeen x Samsung Ambient Mode竞赛的finalist作品之一,并在德国柏林2018 IFA三星展台展出。

Bird Clock is designed for Samsung QLED TV’s ambient mode. It was one of the finalist design entry in 2018 Dezeen x Samsung Ambient Mode Competition, and it was showcased in IFA 2018 in Berlin, Germany.

▼鸟时钟,Bird Clock

现代社会时钟变得无比常见,却更少的被挂在墙上,而是更多以数码形式存在于我们的电子产品里。虽然方便,但 “看时间”这件事本身变得不再有趣,反而在无形中使人产生焦虑。反之,平板电视却在飞快地占领每家每户的客厅墙面空间,这些电视的待机屏幕也往往没有生机。三星QLED的ambient mode功能可以以节能的状态模拟墙面,并营造一种透视的幻觉。我们认为只是一个让“看时间”再度变得有趣的机会。

于是我们设计了鸟时钟这个交互作品。灵感来源于城市中无处不在的小鸟,总是零零散散在电线上栖息往来。电视上的三条线分别代表一小时、十分钟和一分钟。只要看鸟的数量就可以大概知道时间,例如六只鸟在第一条电线上,三只鸟在中间,四只鸟在最下面的电线上,现在的时间就是6:34.

▼视频,video

Clocks are everywhere nowadays, though less is still hung on walls, more have appeared in digital forms around us. Turn on any personal devices, time, often in plain numeric characters, will be the first piece of information that shows up. As convenient as it is, it can also be overwhelming sometimes, and make checking time more of a mindless errand rather than a joyful experience. Televisions, on the other hand, are increasingly taking up valuable physical space on the wall in our homes, yet not doing much when being turned off. With the introduction of the ambient mode, we see a perfect opportunity to utilize Samsung QLED’s gorgeous screen to create something beautiful and functional that can make checking time enjoyable and fun again.

As a result, we designed the “Bird Clock”. It is inspired by the elegant natural movement of the bird, and how effortlessly they could blend in with our cityscape and our living environment, finding homes under the roofs and sitting peacefully on electrical wires everywhere. The clock scene consists of three horizontal wires, and from top to bottom, they each represent a different time interval – every Hour, every 10-Minutes and every 1-Minute. Different count of birds indicates a different time. For example, when 6 birds are sitting on the top wire, 3 on the middle one and 4 on the bottom one, you can tell the time is 6:34 with just a glance.

▼房间里的鸟时钟,view in the room

动画的背景始终在随着室外的天气变化,可能是晴天,阴雨或者月夜。电视自带的亮度/色温感应器也可以将画面调节至人眼最舒适的程度。如果有人或者宠物走过,则会被动作感应器捕捉,鸟儿便会惊走又飞回来。这些充满生机的小细节使这个交互作品变得更加有趣。

The patterns are dynamic, it may show a wonderful morning glory, a full moon, or a clear sunny sky according to the real-time weather condition. The brightness sensor adjusts the image based on the amount of the light and the color temperature in the room so that the graphics always appear physical to the eye and in harmony with the interior space. In addition, when the user or his/her pet walks past the TV, the motion sensor can detect the movement, and the flock of birds would fly away for a short moment before circles back. This interaction, very much mimicking how birds would behave in real life, adds more delight and playfulness to the scene.

▼雨天,Variation – Rain

▼日出,Variation – Sunrise

▼夜晚,Variation – Night

比起传统时钟总是直白地展示绝对时间,我们更想突出“时间的流动”这件事本身。也许很多时候我们并不需要知道现在几点几分,时钟一直在那里,只要一只鸟飞来,落在了最下面的电线上,变会有“哦!又过了一分钟”的感受。每个小时,最下面两根电线的鸟会全部飞走,而一只鸟在最上面缓缓落下,于是一个小时便过去了。这是很一种让人放松地直觉性体验。

这个设计想达成的,无非是将一种焦虑感从“看时间”这个举动中剥离出去,从而去营造一种禅意的平静感。有时候太方便就没有了乐趣,生活的本质总是在当下的那一点点“不方便”之中隐现。

Bird Clock also gives a subtle notion of time passing by. Every time a bird lands on the bottom wire, it represents one minute has just passed. When all the birds on the lower two wires fly away, and one bird lands on the top wire, it means a new hour has just started.

Bird Clock is not designed to impose information on people with a sense of urgency as so many digital clocks do today. Rather, it is designed to delight us in a calming tone, to make us take a break from our busy schedule, appreciate the present moment and the joy of being a little bit inconvenient.

 

 

 

03.

雪松山环廊
Cedar Hill Loop

2017  景观装置设计 合作完成

“雪松山环廊”位于纽约中央公园,是一个的灵活多变,满足多种功能的夏季环廊概念设计。这个设计整体以一个地下环形结构为基础,顺应地貌隐藏在公园的自然山丘之下。升降机和一个圆形的轨道使得“环廊”可以自由改变高度和旋转角度,因此可以满足各种各样的空间需求,包括:独立戏剧演出、小型音乐会、各种展览等等。我们的出发点很简单,即在不破环公园草场本身的起伏开放空间、尊重场地本身的前提下,为这个空间增添更多可能性。

▼场地位置,Context Map

▼平面图,plan

▼空间生成示意,Spacial Variations

Cedar Hill Loop is a pavilion located at the heart of Central Park, New York City. As the most popular open public space in New York, Central Park was designed as a neutral land for different people to encounter and for various activities to overlap, which is only made possible by its openness and natural scenery. We believe a summer pavilion built in the heart of Central Park should respect what the park already is and try to be an enhancement of its original open, natural condition. With that in mind, we created the Cedar Hill Loop, an underground steel and timber ring structure, which follows the existing terrain of the Cedar Hill. The loop, powered by industry standard mast lifts and a circular rail underneath, is able to elevate and rotate itself to reveal spaces that are suitable for a wide variety of activities in different scales. Having nearly 30 feet of height difference, the sloped terrain of Cedar Hill is a perfect spot for the Loop to integrate itself in.

▼场地平面图,Site Plan

▼夜间视角,Night View

当没有功能性需要时,“雪松山环廊”可以旋转下降到完全消失,或只留下一点痕迹,在夜晚隐隐透出光线,成为长椅和聚会空间。因为建造在高地,即使采用下沉的设计也不会担心淹水。整个设计突破了建筑往往建造于地势之上的传统概念,另辟蹊径将建筑“镶嵌”在自然地貌之下,从而使得自然地貌在建筑设计中扮演了更加重要的角色。在不破环自然开阔空间的前提下,丰富了公园的空间多样性和可用性。

When not designated to any specific events, the loop can either be entirely hidden with only subtle indication of the periphery, or it can be slightly raised and become a large circular bench for people to gather together with indirect light leaking from inside that lights up the lawn during nighttime. The hill also helps with natural flood prevention in certain extreme weather condition.

▼室内视角,Interior View

 

 

 

04.

脱欧后的英国护照
Post-Brexit UK Passport Design

2017 平面设计概念 合作完成

2016年的英国的是一个矛盾的英国。一场脱欧公投近乎把这个国家的人们一分为二。无论人们持何种观点,脱欧终究将变成现实。也许是时候开始思考脱欧后的英国想给外界传达出怎样的形象?如何在认识到矛盾的同时依旧保持积极对话?也许一个新的护照设计可以给英国提供这样一个发声机会。每个人即使有不同的声音,也不代表彼此之间应该对立甚至仇视。我们想通过这个设计去倡导人与人之间的对话与交流。

The EU referendum vote divided the country in 2016. Whether we like it or not, Brexit is going to happen. So it’s time to start thinking about what image the UK wants to project and trying to create a positive vision for the future. A new passport could help achieve that. Having different opinion on things doesn’t mean people have to isolate one another. We try to promote conversation and understanding between people via our passport design.

设计灵感来自于塑料色彩滤镜。我们看到一个艺术家Pierre Jeanneau做的漫画书就用到了这个原理,即不同的色彩滤镜只过滤掉某种特定颜色,而使印刷品上的另一种颜色的图案得以显现。想想看,我们的思想是不是也有这么一层滤镜?透过滤镜而形成的固有思想导致我们无法拨开杂音,看到真正的世界?于是我们用英国国旗上的蓝色和红色的绿片去当护照的封面设计,每个人都可以领取自己喜欢的颜色。这个颜色的选择并不是要刻意去区分彼此的不同,而是想倡导大家只有听取不同的声音,才能看到更完整的世界全貌。

We drew our inspiration from color filters, like the ones used in a comic book made by artist Pierre Jeanneau. Our mind has filters too, and through it we see the world differently. That is the reason why we decided to provide two color choices for the passport cover: red and blue, the ones you find on the Union Jack. Shortly you will notice that your cover of choice is, essentially, a transparent color filter. Looking through it the whole world turns monochrome – the filter hides one color while revealing the other as black. Underneath, the Royal Arms is printed with two colors of threads weaving together, elegantly positioned at the center of the page just like the one on your old passport.

▼塑料色彩滤镜,Polychromie Blue Red

当封面合上的时候,每种滤镜只展现下层图案的一半。例如封面的国徽,由红蓝两色编织而成,在一种滤镜下依旧可以辨识,但不同的滤镜只能看到它的一个方面。再例如护照内页的平面设计,包括英国的风景名胜,透过蓝色的滤镜可以看到小鸟,透过红色的滤镜则变成了星空。如此一来,手持不同颜色护照的人只有和持用其他颜色护照的人合作,才能看到自己护照的全貌。

When closed, your cover reveals only one aspect of the pattern, yet you can still see the entirety. This weaving language can be found throughout the visa pages, which consists of great British attractions and sceneries, all embellished with a playful superposition of abstract creatures and nature scenes. A passport is a playbook to be explored with colors it is. Want to see the morning birds from the night stars? Talk to your friends, families, or that stranger next to your seat who has another color. Explore together. We choose our color like we choose our perspective on things.

▼内页,inner pages

这个设计是对每个人的一种提醒:英国的国旗缺了红蓝任何一个颜色都是不完整的。在同一片天下,有的人看到星星,有的人看到太阳,但更重要的是我们拥有着同一片美丽天空。

This passport is a reminder to all that United Kingdom is never complete with only one color on that flag. Some will see stars while others see the sun, what will never change are the timeless beauty they shine upon.

▼封面,cover

姓名:吴建师
在海外时间:2012至今
在海外地点:美国普罗维登斯, 纽约
籍贯:广东深圳
学校:罗德岛设计学院
工作单位:COOKFOX Architects
联系方式:wujianshi52@gmail.com

姓名:孙艺潭
在海外时间:2012至今
在海外地点:剑桥,里昂,普罗维登斯,纽约
籍贯:辽宁沈阳
学校:罗德岛设计学院,香港中文大学
工作单位:CRÈME / Jun Aizaki Architecture & Design
联系方式:www.yitansun.com

Name: Jianshi Wu
When: 2012 – Present
Where: Providence, New York
From: Shenzhen, Guangdong
School: Rhode Island School of Design (RISD)
Firm:COOKFOX Architects
Contact:wujianshi52@gmail.com

Name: Yitan Sun
When: 2012 – Present
Where: Cambridge, Lyon, Providence, New York
From: Shenyang, Liaoning
School: Rhode Island School of Design (RISD), The Chinese University of Hong Kong (CUHK)
Firm:CRÈME / Jun Aizaki Architecture & Design
Contact:www.yitansun.com

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