Overseas NO.82: Quan Ke

The No.82 episode is about Quan Ke who graduated from University of Southern California and is now working for SOM

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。
第八十二期为您呈现的是毕业于南加州大学、现就职于SOM的全轲。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.82 episode is about Quan Ke who graduated from University of Southern California and is now working for SOM.

 

为什么出国?
Why going abroad?

接受更多元化的教育,获得更多到处走走转转的机会。

To receive more diversified education, to get more chances to travel around.

 

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?

在荷兰的工作时候周末会因为无所事事而感到无聊,而我发现当地的人却可以在室外的咖啡馆或者是自家的阳台安安静静的坐上整整两天,看看报纸聊聊天,一副平静而满足的样子。我惊讶于这种心如止水的状态的同时会去想是不是快节奏的生活让我们变得浮躁。由此我联想到在中国在建筑和其他类型的设计上细节的考量和完成度的把控与西方国家尚存差距的原因可能并不只是浮于表面的。

It was boring on weekends during my internship in Amsterdam, since choices were limited for weekend activities. However, locals just sit quietly at outdoor cafe, chatting or reading newspapers until Sunday night. I was surprised and wondering if fast-paced lifestyle made us fickle, which will probably have some subtle influences on design.

 

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

亲人,朋友,夜里喧闹的街道和小吃摊。

Family, Friends, Cities, Food.

 

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

会。即使接受了西方的建筑教育也积累了一些西方工作经验,我对自己的定义依然是中国建筑师。

I will, for sure. I always define myself as a Chinese architect.

 

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?

这个问题很难回答。出国后有了更多的视角,对特定的一件事会有更加清晰的认识。同时,接触的信息总量在不断增加,很多事情在更多维度下对和错的界限更加模糊,因此变的难以草率下定义,从宏观上看,中国变的更不清晰。

It is hard to give an accurate answer. On the one hand , I can see one specific issue more distinctly with more perspectives. On the other hand, with accumulation of information, it is more difficult for me to define something in a concise way. That is to say, from a broader view, China becomes not that clear for me.

 

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

这几年是USC从先锋派到实践派的转型期,使得学生可以在很传统的建筑体系中大胆尝试新鲜的概念和建筑形态,在扎实和实用的前提下天马行空。而洛杉矶这个的平台帮助学院吸引到了诸多当地一线的优秀建筑师设计师,导师的多样性使学生根据自身需要汲取营养,有机更多会去设计属于自己的路。

During the unsettled period, the trend of USC Architecture is moving from avant to practical, students are allowed to test their bold ideas and exaggerated forms within classical architectural system. The regional advantages help USC attract lots of great local architects and designers, thus, students get more chances to reshape their design perspectives.

 

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?

其实之前的UNStudio和现在的SOM在谷德已经有人写过详细介绍,虽然都是很老的帖子但是前辈们的总结都很到位。我的一点感悟是,好的概念很可能是脑子里一瞬间的灵感,但好的设计一定是无数时间无数汗水打磨出来的。

Both UNStudio and SOM have been introduced by GOOOOD, which are pretty complete and in detail. My personal conclusion is that a good idea can come up occasionally, but a good project is always polished with endless efforts.

 

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?

张择端。作为一个河南人,从小有太多机会看到《清明上河图》,一直很喜欢。在我看来,这幅画是这些年流行场景轴测图的鼻祖,《清明上河图》对我的设计方法和图像表达启发也颇多。大的尺度上,建筑和景观可以被当做一个容器,本身是没有生命的,我常常把设计建筑和景观的过程当做重组人的活动的过程,这样人类活动和建筑景观可以相互作用,而最后的平衡点促成设计的最终形态,一个相对来说拥有生命的形态。从建筑表达的角度,在一些建筑剖面图,即使在二维正投影的限制下,依然可以用人的活动来更生动的表达空间特性,剖面图的意义逐渐大于普通的工程图本身。

Zhang Zeduan. From my point of view, Along the River During the Qingming Festival is the originator of narrative axonometric drawing, which is popular in recent years. Along the River During the Qingming Festival inspired me on my design progress and drawing expression. I usually try to interfere my design with consideration of people’s activities, it is a back and force progress since these two factors always share mutual-influence. Some of my sectional drawings were also influenced by him, too. Even though sections are supposed to be purely 2D, it can still tell a vivid story when the people’s activities are expressed properly.

 

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?

直接。我只呈现与设计本身直接相关的图,而不会为了图面效果拖泥带水的放一堆无关表格和diagrams。此外,我比较在意的一点是,我希望我的每个设计的概念可以自始至终的贯穿,在几个月的设计过程中我会不停往回看,确保概念没有走偏。

Straightforward. I will not make so many irrelevant charts and diagrams. And also, I always check back during the design progress, making sure that the current work will never be too far from the original concept.

 

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?

2013年左右。古德是一个把实践和学术能很好平衡与结合的媒体平台。我期待谷德可以开展更多类似于We work for MAD的公司专辑。

From 2013. It would be good if more office collections can be set up like We work for MAD.

 

 

 

 

W O R K

 

01.

渐变的体量
Vault to Volume
Time: Spring 2016
Critic: Patrick Tighe

建筑的基地位于洛杉矶市中心的Broadway,是多层的博物馆。Broadway是一个很有特色的街区,不同时期不同尺度的建筑如同拼贴画一般排布在街道两侧。由于毗邻建筑的多样性,新博物馆并没有一个可以参照的Context,我就尝试用“拱”这样一个语汇去化解这个问题。

“拱”的形式这些年被玩的很多,但我并不想因此而避讳,因为在这个设计中,我追求的不是拱能带来什么样的空间形式,我更希望在我的建筑里把它当成一种符号的象征,成为这个建筑主题表达的一个篇章。

The “Vault to Volume” is a proposal for a multi-story museum. The site is on Broadway, downtown LA. Existing buildings on Broadway were designed and built at different times so that their architectural styles are quite diverse. Thus, there is no exact context to follow. I tried to introduce ‘Vault’ to resolve this problem. For me, I do not care what kind of space can vaults make up since I merely regard it as a symbol to convey my concept.

我的设计概念是“渐变”,随着建筑高度的提升,建筑空间先由拱的序列渐渐变为规则的长方体空间,进而变为柔和的非线性体量。在Broadway,老建筑相对较矮,新建筑大多是高层,“拱”作为西方传统建筑的重要语汇,可以很好的融合于低矮的老建筑们。而现代感较强建筑体量则可以在高处和高层建筑遥相呼应。关于渐变概念的另外一点考虑是,博物馆的展品通常是不同类型不同尺寸的,对空间和光线的要求也会有所不同,建筑由Vault渐渐转化成Volume的过程恰好可以使空间的尺度渐渐变大 。与此同时,采光则是从明亮的直射光开始,由昏暗的漫射光结束。

The concept of this design is the gradient follows the height. At the bottom of building, all the spaces are made up of different types of arches. As the building goes higher, vault spaces gradually disappear and transfer into box volumes, then smoothly end up with curvatures. As for light, the building starts with bright direct light and end up with dim diffused reflection, which is another kind of gradient. Different exhibitions will have different requirement on space and lighting, and the owner can arrange them according to spatial property and lighting conditions.

在剖面中,两种不同的表现形式代表两种不同的建造方式,我想给建筑的建造方式更多的可能性。 如果建造混凝土建筑,重复性最多的两种拱可以作为两种基础的Module,缩放和复制,如果建造钢结构建筑,结构和设备构件可以藏在墙体面板中,拱的序列依然清晰而纯粹。

For the structure, I provided two options, if the steel frame structure option is chosen, all structure and mechanical components will be hidden behind the panels, so the reading of the vault is still pure and clean. If the concrete option is to be built, two basic modules will be set up and scaled according to spatial needs.

 

 

 

02.

盒质建筑
“Boxness”
Time: Fall 2017
Critic: 王耀华

建筑,除去它最基础的功能,有时候会被赋予一些象征的含义,而这些象征的含义,很可能成为建筑师和他人沟通的媒介。比如把建筑比喻成一个盒子,在建筑拥有建筑特性的同时,盒子的特性是不是也应该被强调?

Some architects like abstract design concepts and explicit geometry. At the same time, a few architects frequently use metaphor to communicate with “the others” (the other architects, the clients, the public, etc). The metaphor of the box is one of the more popular ones: the stacked boxes, the bent box, the pixelated box, the unfolded box, and so on. It’s a direct way to explain a building possessing a cubical mass, and a convenient way to relate architecture to common audience’s daily experience.

我用折纸盒子的方式去研究建筑的体量,来保证建筑体量本身也承载纸盒子的特性,通过一系列为了适应场地和功能要求使建筑产生的形变,纸盒的许多特性依然在可控的范围内保存着。1.纸盒的纹理不会因为纸盒的倾斜而水平化,表现在建筑语汇上上则是立面的划分遵从纸盒纹理的方向而非楼板的方向。2.纸盒A的边角料可以以折面的形式与纸盒B产生关系,共同塑造出新的空间;纸盒B的边角料可以以折面的形式与纸盒A产生关系,共同塑造出新的空间,因此,在空间上,两个纸盒相互嵌套的同时产生了堆积感。3.当外力作用在纸盒的时候,纸盒会相应产生形变,表现在建筑语汇上,楼梯系统会“挤压”建筑本体,使建筑表皮产生褶皱,并同时表现在立面划分上。

By repeating the process of folding and unfolding, I used paper to study the massing, while ensuring the properties of paper box will be preserved after the programs were applied.

1. The texture of the box doesn’t need to be horizontal while the box is tilted by another force. In architectural language, the division of the facade is not decided by floor slab lines but by massing itself.
2. I found that if I shear the control lines of the box A I can make the A’s “arm” defining another space with box B, and same thing can happen from box B to box A. They embrace with each other and create undefined spaces.
3. When a circulation system was inserted into the boundary of box, we can imagine that the pressure will squeeze one surface and other surfaces will be bent in response. It is just like a system, when there is a movement, some volumes will react to that movement.

 

 

 

03.

马赛公寓的机械形态
Mechanical Unite D’Habitation
Time: Spring 2018
Critic: Wes Jones

Wes要求每名学生选取一个柯布西耶的建筑当做案例,通过2D描图和3D建模的方式进行分析,找到一些“瑕疵”,根据瑕疵进行再设计。我的案例是马赛公寓,针对点是商业空间。在柯步的方案中,商业空间被困在的建筑内部,可达性和可读性都存在很大的问题,远远不能满足当代集合住宅对商业空间的基本要求。我希望通过重塑马赛公寓的商业部分,带动整座建筑的重组,使之足以面对未来的各种可能性。

Every student was asked to pick up a precedent from Corbusier, trace 2D drawings and build 3D modeling in rhino. From this progress, we are supposed to summarize the imperfections and re-design based on critique. My president is Unite D’Habitation. In Corbu’s proposal, he simply make commercial streets as two layers in the middle of the building, most people would not come in, some neighbors may not even know. However, residential towers today cannot be simply regarded as cells for living. Instead, it should support some public activities. In another word, it means the commercial space should be easily accessible.

在我的方案中,公共空间和商业空间由玻璃盒子构成,它们打破原有体量的同时增加了公共空间的动感,而公共空间的屋顶自然而然成为了居民的活动空间。

In my proposal, public and commercial spaces are embedded within the volume as glass extrusions, expressing the movement. Their roof give residents a chance to walk out from corridors, and meet with their neighbors.

尼尔达纳瑞,汤姆梅恩,维斯琼斯和伦佐皮亚诺,他们在不同作品中用不同的手法演绎出了建筑的机械感,在一定时间内曾经引起过风潮。而我之所以在试图将马赛公寓“机械化”,是为了体现基于重复性单元建筑的生长潜质,在基础的机械框架下,modules可以按照初始规则复制,建筑可以在未来持续生长扩张。

Neil denari, Thom Mayne, Wes Jones and Renzo Piano used different strategies to “mechanize” their buildings. Of course, they have different objectives. For me, I designed this building in a mechanization way because I wanted every module get potential to duplicate. So the whole building can keep “growing” when it cannot fulfil people’s needs, which would be under the help of mechanical elements.

 

 

 

04.

灯塔
Light House
Time: Fall 2015
Critic: Larry Scarpa

南加州大学的海洋学院位于美丽的卡特里娜岛,老实验楼不能满足现有功能需求,需要一栋新的实验楼,场地可以在校园范围内自选。我的出发点十分实际:1.岛上景色优美,如果新实验楼能位于高处可以自然而然创造出更多的观景空间。2.新老建筑楼功能上联系众多,不能相距过远。3.校园公共活动空间有限,新建筑不宜占据过多校园空间。4.校园缺少地标。一番调研后,我决定将新实验楼建在老实验楼顶部。

老实验楼内部有一个庭院,为了不破坏它,我把新实验楼的中心空间做成了玻璃材质的内腔,并通过一些体量上的修剪来引入更多的光线,老建筑的庭院转换成了通高的的交通空间。建筑外立面的材质是U型玻璃,在夜晚,灯光和U型玻璃把建筑塑造成了一座灯塔,海上船只可以就此得到方向。

This project is the new laboratory building of USC school of maritime, which is located on  Catalina island. We can choose anywhere on campus as our site. Through the research I found that there are a lot of programmatic connections between the existing laboratory and the new one. If the new laboratory is to be built adjacent to the old one, it will occupy too many areas of land, where students usually do exercise. The scene of the island is beautiful, I want to create some spaces for sightseeing. So I ruthlessly made my site floating above the existing laboratory. In this way, the connection between two buildings is straightforward. Additionally, the building will be relatively tall so that people can take better views of the land. The new lab building will become the symbol of the campus, so I made it another role as the lighthouse by putting some lights behind the translucent facade. The existing building has a nice courtyard and I don’t want to destroy it. So I extruded the boundary of the courtyard to transfer it into a vertical circulation atrium. Through trimming, some opening were created to introduce more sunlight.

在海外时间:2015年至今
在海外地点:洛杉矶,阿姆斯特丹,芝加哥
姓名:全轲
籍贯:河南郑州
学校:大连理工大学,南加州大学
工作单位:UNStudio,SOM
联系方式:kequankk@gmail.com

When: 2015 to present
Where: Los Angeles, Amsterdam, Chicago
Who: Quan Ke
From: Zhengzhou, Henan
School: DUT, University of Southern California
Firm: UNStudio, SOM
Contact: kequankk@gmail.com

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