Overseas NO.85: Jiawen Chen

The No.85 episode is about Jiawen Chen, who graduated from Tongji D&I and Harvard GSD and is now working for TLS Landscape Architecture

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。
第八十五期为您呈现的是毕业于同济大学和哈佛大学、现就职于TLS的陈嘉雯。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.85 episode is about Jiawen Chen who graduated from Tongji D&I and Harvard GSD and is now working for TLS Landscape Architecture.

 

为什么出国?
Why going abroad?

在同济时就读环境设计专业时粗浅的接触了建筑、景观、室内各个专业,希望能够在景观方向进一步发展。

In the undergrad, I roughly dabbled in architecture, landscape and interior design. In the end, I found my passion in landscape architecture and hope to see more.

 

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?

普遍来讲生活的节奏比较随性,年龄对于人生的状态没有什么限制。比如学校里会有不少类似于已经做了十年金融行业转学设计的人。

Life pace is more personal. There is less social pressure on age vs. achievement. I’ve met many people who made a U-turn on their career or life.

 

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

大闸蟹。大闸蟹不仅不能带,不能运,不能养,上市时间还和假期回国时间完美错开。

Hairy crab. The season of hairy crab perfectly cross-missed the going-back-home season.

 

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

长远来看是会的。中国的设计行业正在不断变好,但还是有很多上升空间。而且也有回到熟悉的文化环境的想法。短期内会先多多体验,充实自己。

Eventually I would. The design industry of China is changing, and there is something needs to be done, especially by the designers of my generation. But as a short-term plan, I would go further and experience more.

 

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?

从国内到国外,只能说看待中国的角度更加丰富了,接触到的东西会比较广 。但我国是一个极其复杂的、没有先例可循的国家,以我目前的阅历还是难以看清他的位置。但看到了更多不同的国家、文化和人之后,对于理解自己的国家,有了更清晰的坐标系。

Standing outside of my country, I do see more but not a bit clearer. China is a very complicated and unprecedented place, and ’country’ is a very broad topic. After all, I still don’t see its clear shape, but viewing from more perspectives allows me to find a better coordinate to measure it.

 

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

同济大学设计创意学院很年轻,氛围自由开放 。学院的整体空间环境就很随性,门前还有「愤怒的小鸟」广场。 教学上也是一直比较超前,比如我就读时,大一基础课就已经加入了Arduino。总体来说,重在帮助学生拓展自己的可能性。

哈佛大学设计学院和我的本科院校相比就算是经典学院派了。但我非常喜欢的是学院对交叉学科的注重,这一点大阶梯状的studio空间就体现的十分明显了。甚至在一个建筑studio做景观也是可以的,我也从不同学科背景的伙伴们身上受益良多。

The College of Design and Innovation is very young. It has an open mind, very cozy vibe and international visions. When I was a student there, Arduino has already been included in the curriculum of freshmen year. Generally speaking, its objective is to open more possibilities for the young designers.

Comparing to my undergrad, the Harvard GSD has a long history with a well-designed and tested system. As the open studio space indicates, the inter-discipline learning environment is what I like the most. In a landscape studio, I met people from various backgrounds and learnt a lot from their insights.

 

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?

从刚刚入职以来,我一直有机会深度参与到设计当中,接触到的项目也比较多元化,做过非洲的植物设计,也研究过中式园林。公司会鼓励我做各种尝试,不论是设计上的还是表现形式上的。比如中式园林的设计尝试用了古典长卷画的形式来叙述和呈现。

At TLS, I’ve been involved in design all the time, from African plants study to Chinese garden design. People here value your input, and encourage you to try out new things, no matter on design or representation.

 

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?

欣赏的艺术家有很多很多,今敏是我很喜欢的一位导演。小时候看到他的作品感觉很震撼,佩服他无限的想象力,奇妙的世界观,以及把这一切具象化的能力。从他的作品中看到了浪漫派的理性力量,这是我一直努力在自己的作品中呈现的。

I still remember the excitement when I first time watch Papurika by Kon Satoshi. I was amazed how he concretized those splendid fantasies. In his works, I see the power of ration with romanticism, and this is what I always pursue with my own works.

 

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?

比较脚踏实地。

Being humble and earnest.

 

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?

本科的时候开始的,这么多年谷德的气质没有什么改变,祝越来越好。

From undergrad. Hope Gooood keeps this tempo.

 

 

 

 

W O R K

 

01.

暗黑旅游计划
Korea Remade
2018 ASLA Student Award – Award of Excellence
instructors: Niall Kirkwood, Jungyoon Kim, Yoon-jin Park

这是我所接触过尺度最大的项目,一次景观手段上介入领土、地缘政治的探究。项目的基地是位于韩朝边境的DMZ(非军事区,demilitarized zone)。DMZ宽4km将朝鲜半岛拦腰截断。自从1953年停战协议(理论上战争仍未结束)以来属于无人区,两侧有着严密的军事戒备。DMZ极其附近地带也是朝鲜战争时的主战场,留下了大量的战争残骸,包括战地遗迹、地堡、隧道、反坦克障碍等等,也留下了特殊的战后地质风貌和生态环境。

▼场地历史痕迹追溯,site historical interference

这些条件使得这块土地是独一无二的,也因此曾吸引许多设计师和艺术家,例如曾有建筑获奖项目是在DMZ建造地下温泉。然而,DMZ及其周边区域内仍埋藏有超过三百万个地雷,在将他们全部清理之前,一切诸如此类美好的设计都无法实现。而清理地雷是一个长期的、昂贵的过程。在2016年,仅有134枚地雷被清除,而对应的花费是一百万美元。因此我希望挖掘并利用其特殊的景观价值,寻找一个有可观经济效益的方式清理这片土地,消除两国之间的物理隔阂,帮助和促进其在未来达到真正意义上的统一。我将此计划称为「Korea 50 Dark Tourism(暗黑旅游)」。

▼暗黑旅游+地雷清理计划,Korea 50 Dark Tourism + demining process

「暗黑旅游」将原原本本的展现人类的悲剧和暴行的结果,先例如切尔诺贝利核电站等。因此DMZ中这些独一无二、历史深厚的「景点」的目的在于激发人类的同理心和反思。设计将最小限度的干涉场地面貌,重点主要在于可达性和流线设计,将战后残余、排雷过程、特殊地貌展现在游客面前。其最初的投入较小,获得的收入将用于排雷工作,因此可访问「景点」将逐渐增加,直至土地完全准备好,预计这个过程将持续50年。因此这是一个长期但是暂时的计划,最终少数「景点」将得以保留用以纪念和教育意义,而其他土地则可满足后续开发所需。

项目的灵感来源于访问基地时,看到DMZ周边已有的一些旅游项目——访问朝鲜人挖的幽暗地道——已完全的抹去了场地本身的性质。在地道中行走,广播播放着K-pop爱情歌曲,孩子们欢声笑语吃着冰淇淋,甚至这片曾经的战场有了自己可爱的吉祥物,俨然如同一个主题乐园 。

▼区域规划,regional planning map

For unification, the many millions of landmines need to be cleared before any development can occur. There are about 3 million mines embedded in the DMZ, while in 2016, only 134 mines were cleared at the cost of 1 million US dollar. In order to support this expensive and long-­‐term process, I’d like to introduce Dark Tourism to this exclusive post-­‐war condition. Dark Tourism is defined as tourism traveling to places that are historically associated with human suffering and deep tragedy. Dark Tourism locations, such as the former Chernobyl Nuclear Facility in the Ukraine and the camps of the Second World War in Germany and Poland, demonstrate the consequences and toll of immoral, inhuman and destructive actions. However at the same time Dark Tourism generates and provides the means and resources to address the future occupation of such places.

The contents of the dark tourism in DMZ would be using the unique geology and ecology as media, and making use of the remnants of the war (such as battle field ruin, tunnel, watchtower, and tank trap) to preserve the memories. Since the sites of the dark tourism are relatively tiny and scattered, it only requires little investments and land at the beginning. As time goes on, the revenue of dark tourism could fund the general landmine clearance, and finally get the land prepared for other developments and programs.

Ideally, it could be accomplished in 50 years, and the dark tourism sites will be transferred into historical and educational sites. It is a temporal program for the region that aims to truly dissolve the physical buffer zone towards complete unification.

▼可利用的场地遗迹,site memory + remnants

▼其中几种利用场地的尝试,selected experiments

▼汇报时采用「旅游手册」的方式,「tourist brochure」

▼后续作为「DMZ Guidebook」其中一辑发表,published as one volume in the ‘DMZ Guidebook’

▼浸入式体验除雷过程,demonstrating demining process

▼利用爆炸物敏感植物(Arabidopsis thaliana)塑造独特的生态美学,Using Thale Cress as sentinel plants to create unique local aesthetics

 

 

 

02.

Re-void:在东京挖掘自然
Re-void: Excavate Nature in Tokyo
Instructor: Toru Mitani

基地的位置位于东京「御茶之水」站,拥有两个地铁站点和一个JR站点,是一个典型的日式交通枢纽,高峰期需要由工作人员强行把人推进列车里 。基地虽然毗邻浮世绘中美丽的神田川,但在来往的人眼中,神田川不过是轻轨线路的一部分。所以一直以来,东京给我的印象是「满」, 甚至地下空间都塞满了极其复杂的地铁出入口和地下商场。 但Roland Barthes曾在『符号帝国』一书中提到日本的中心是「无」,即日本皇居江户城。尽管他所强调的是符号学上的意义,但我选择从景观的角度来进行诠释。

Tokyo, one of the world’s biggest metropolises, is the home of more than 9 million people. Tokyo has been such a big city since the Edo Period (17th -19th century). For the studio-1403, Excavate Nature in Tokyo, our site Ocha-no-mizu station is locates right at the Kanda River (canal), which is the legacy of the city from Edo Period. However, comparing to Edo Period, although the fabrication of the city is almost the same, there are much less public space along the river. Also, because of the infrastructure boom and extraordinary development of the subways and railways, now people pay very little attention to the river itself. For the residents of Tokyo, the Ocha-no-mizu area is mostly a commuting center that covered by concrete and steel beams. So my intention was to bring back the void-ness of the river, contrast and balance with the fullness of the city.

▼御茶之水区域从浮世绘中记载的景象发展至今的历程,Ocha-no-mizu from ukiyoe paintings to present

位于千代田的江户城至今仍是东京都内唯一的「void」,不仅仅因为她是禁区,处在由城墙、壕水、屋顶、树木构成的结界中;不仅仅因为那里绿树成林,与城市其他区域形成鲜明的对比;更是因为她的存在给予都市所有的运动一个空虚的锚点,而她的模样是模糊的,是只可远观的,是任由人们想象的 。因此,我希望利用基地原本特殊的地形条件,将皇居之所以为「void」的特点以设计手段一一投射其中,达到一种「urban void」的效果。于是即便只是局促的沿岸空间,也能从精神上放大「void」的效果。同时这也是一种对神田川的过去的映射和追溯,希望可以为已经被填满、已无可扩张的东京做减法,提出一种未来发展的可能性。

The Ocha-no-Mizu station has 3 subway lines and 1 railway line, which makes it one of the busiest stations in Tokyo. So instead of creating a real void, my strategy is how to create an illusion of void even at the center of Tokyo. Roland Barthes said in his book, that the center of Tokyo is a ‘void’. He is talking about the Imperial Palace of Japan, the only existing ‘urban void’. It is a void because of its ambiguity, inaccessibility, and imaginativeness. So reflected from its spatial quality and cultural symbolic meaning of the Imperial Palace, my strategies of creating ‘urban void’ are filling, framing, hiding and contrasting. For a city that has no more place to sprawl, I hope this subtraction methodology may be an alternative future that reflects the past.

▼从studio的主题Flow x Stay得出的「urban void」发想,the idea of ‘urban void’ came from the studio theme ‘flow x stay’

▼皇居之所以为「void」可借鉴的手法,keywords of the imperial palace

▼如何运用到场地当中,the implementation

▼对可达性进行控制,carefully designed and controlled accessibility

▼通过减法还原场地本真,创造任由想象的空间。借鉴了浮世绘里的表达手法,by subtraction and restoration, created a space full of imaginativeness. The representation referred to ukiyoe paintings

 

 

 

03.

针灸:富兰克林公园改造
Acupuncture: Franklin Park Restoration
Instructor: Silvia Benedito

基地Franklin Park是Olmsted在波士顿留下的礼物之一,是「翡翠项链」的一端。但当初的设计有很多已经不符合现代的使用需求。例如曾经市民享受的马球场、雪橇场,在现在看来都十分不合时宜,整个公园也脱离了人的尺度。Franklin Park经历过两次改造,但也都十分久远,现在公园内甚至有一个动物园。在场地调研时,老师要求我们拍摄一个视频来表达对场地的感受。当时正是波士顿的冬天,整个公园被厚厚的雪覆盖,看起来大而虚无,体验单调,人迹罕至,几处无人使用的儿童游乐设施更显得空间的寂寥。

This studio, the first semester in the Landscape Core sequence, explores the challenges associated with interventions in complex urban conditions: layered interventions; issues of connectivity, accessibility, and identity; and a need for contemporary programs. The site of this project is Franklin Park, which is one of Olmsted’s legacies to Boston. There are two parts of this studio, Outside-In and Inside-Out. In Pleasure Park I (Outside-In), Franklin Park was contextualized and analyzed through its potentials relative to spatial and environmental conditions, social use, and ecological performance. The second phase—Pleasure Park II (Inside-Out)— added detailed value to the overarching design idea developed during the previous sequence by zooming into a chosen area.

▼平面,plan

尽管这是GSD的基础课(core studio),比起彻底的重新设计,我更想用一个克制的手段来保留场地的历史痕迹,包括最初的设计理念和几次改造的故事,并让它重新适应当今的环境和需求。我把这种方式叫做「针灸」。根据调研和对微气候的研究,我选定了一些「hot spot」引入「playfield」,他们和周边现有的社区小花园和儿童游乐设施编织成网,潜移默化之中改变了公园的属性 。整个设计区域成为一个公园和城市的缓冲地带,潜移默化的为社区和公园本身带来活力。

The design is aimed to activate the Park. At present, the Park has several gaps with its context, especially the northeastern edge. As a result, the Park is vast, desolate, and lack of variety. So my idea is to bring people inside the park, and provide them with places to stay, then the proposed area will be a buffer zone between the dense residential and the spacious Golf Course, which is described by Olmsted as the city’s ventilation. Instead of doing a ‘surgery’ to the park, my strategy is an ‘acupuncture therapy’. It means rather than redesign or start over the whole park, the project is doing minimum interventions to certain spots, but changed the experience and atmosphere drastically and imperceptibly.

▼通过柔化边界和playfields系统改善场地,soften the boundary, remediate the site with playfields network

▼playfields尽量发掘场地原有的特性,利用自然元素和原有设施,playfields typologies – make the most of the existing condition

▼下沉式空间的尺度和体验都与原有公园体验产生强烈对比,the intimate sunken gardens contrast with the existing experience and spatial quality

▼植栽策略延续「克制」、「对比」的原则,the vegetation strategy follows the acupuncture concept

▼潜移默化中做出改变,an imperceptible therapy

 

 

 

04.

拥抱威胁:适应性滨海城市
Embrace the Risk:Adaptive Coastal City
Collaborator: Hannah Cusick
Instructor: Sergio Lopez-Pineiro

GSD景观的知名studio之一,Landscape Urbanism的基础课。我们的基地位于波士顿的海滨,如同许多滨海城市一样,面临着气候变化、海面上升等威胁(risk),这也是近几年学术和设计界探讨比较多的话题。但比起讨论如何延缓,或是如何适应这种变化,我们最初的研究着力于如何通过最基础元素——地形的配合,寻找出这些环境改变到来后的正面价值,并最大限度的将其发挥出来。所以,我们提出的「risk」其实是一种基于未来发展偏差的不确定性。

▼地形原型研究系谱图,topography prototype – genealogical tree

由于这种变化和偏差不是一蹴而就的,而是一种缓慢且始终处于反复运动之中的过程,很难用静态的图像表达。于是我们根据对「risk」的定义和理解,标记了「risk」变化的光谱(spectrum)来表示其过程,希望可以帮助我们理解其在各个时间尺度上不同的变化特性。由于studio的设计目的是提出一个较为完整的未来城市的原型, 我们便以这一变化光谱作为我们设计的索引(index),用它将设计的方方面面整合、吸附起来。

▼各个尺度时间轴,ecological timeline on various scales

“This studio aims to conceptualize and articulate the adaptive city, the city in a state of flux as it responds to changing environmental, programmatic, market, and sociocultural conditions and circumstances. The studio places emphasis on the contingent, the provisional, and the conditional, and asks students to amplify productive instabilities while inventing new types of urban and landscape form Landscape offers a distinct starting point for the project of city making.

Consequently, this studio will use landscape both as medium and as mechanism for testing and prototyping ideas on city making. Rather than understanding them as opposites, it will emphasize connections and hybridizations of urban systems and environmental dynamics. The term project consists of 3 workshops which focusing on different aspects, and an assembly session. The workshops are Landforms + Water Flows, Programs + Circulation and Vegetal Systems, and Buildings + Public Spaces.”

Our project began as an approach that focused on understanding coastal climate predictions as something we can embrace instead of try to prevent. Does Risk have agency for a coastal site? We define ‘risk’ in relationship to these predictions as future uncertainty about deviation from expected outcomes. The tree shows through the serial workshops, how we explored landform as prototype in consideration of ‘risk’ in different scales.

▼实验区域平面示意图,hot map (of one moment)

▼景观变化光谱,landscape spectrum

▼建筑、城市单元、植栽变化光谱,architectural module and vegetation spectrum

▼长短期变化时刻,momentary and long-term process

▼效果图,renderings

▼用动态影像+模型的形式展现不确定性,demonstrating the indeterminacy by video and model

 

 

 

05.

Core 4景观工作室课程作业
Landscape Studio Core 4
Collaborator: Gideon Finck + Greta Ruedisueli
Instructor: Rosetta Elkin

GSD core 4 studio比较有意思的是他的课程结构,是由七个比较零散的「课程作业」组成,十名左右的同学为一大组,从古巴Guantanamo基地出发,针对其他数个军事、政治上的争议地区展开研究。我们小组的基地位于Kansas州的Leavenworth,全市有三个美国安保程度最高的监狱,和若干个拘留所,也是拟定转移Guantanamo囚犯的目的地。针对这一争议,我们研究的主题是景观与边界塑造。在这样一个「监狱之城」,如何用其他手段替代带刺的铁丝和高压电网来定义界限。比起结论,设计过程比较有趣,我们通过一些艺术化的创作来表达对场地元素的理解。

The core-4 landscape studio at GSD is very special because it consists 7 workshops and 10 students work as a team. The study rooted at Guantanamo Bay area, focused on territorial and geopolitical issues of U.S. military bases. The site of our group located in Leavenworth, KS, where has 3 most secured prisons in the U.S. Our works experimented on the alternative boundaries by landscape. Here I’d like to share some of our artistic interpretations on the characteristic of our site.

▼铁丝网,植物根系,以及生长过程,barbed wire, roots, and growth

▼当地水资源分析,mapping of local water resource

▼新的边界尝试,before & after:the new boundary

▼其他一些基于场地生态、特性的研究,other research towards site ecology and identity

在海外时间:2015.7至今
在海外地点:波士顿,伯克利
姓名:陈嘉雯
籍贯:浙江杭州
学校:同济大学设计创意学院 / 哈佛大学设计学院
工作单位:TLS景观设计事务所
联系方式:jiawen-chen@outlook.com
个人网站:www.jchenla.com

When: 2015.7 – present
Where: Boston, Massachusetts / Berkeley, California
Who: Jiawen Chen
From: Hangzhou
School: Tongji D&I / Harvard GSD
Firm: TLS Landscape Architecture
Contact: jiawen-chen@outlook.com
Website: www.jchenla.com

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