在海外专辑第一百期 – 覃斯之

第一百期为您呈现的是毕业于清华大学建筑系和哈佛大学设计学院的覃斯之。

项目标签

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。
第一百期为您呈现的是毕业于清华大学建筑系哈佛大学设计学院的覃斯之。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.100 episode is about Sizhi Qin who graduated from Tsinghua University and Harvard Graduate School of Design.

 

为什么出国?
Why go abroad?

酷爱搜集新鲜事吧。把一个地方的新鲜事搜集完了就一定要去别的地方再看看。以后条件要是允许,可能还会想办法出地球瞧瞧的。

Maybe because of a love for new discoveries. After searching through one place, I will have to move on to the next. If it is possible in the future, I will try to go out of our current planet to take a look.

 

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 a wider range such as art, music, movie)? What is the influence?

应该算彼得·杰克逊团队拍摄的《霍比特人》和《指环王》吧。

首先,托尔金原著的精神内核是一个鼓励人出去冒险的故事。我还清晰记得甘道夫唆使比尔博踏上冒险之旅,去寻找恶龙守护的宝藏的时候,两人有过这么一段对话:“世界并不在你的书和地图里,而是需要你走出家门去探寻。当你回来时,你也会有一两个可以津津乐道的故事。” “你能够保证我能回来吗?”“不能。如果你能回来,你也不会是原来的你了。”

I should say it is the Hobbits and the Lord of the Rings filmed by Peter Jackson and his team.

First of all, the core idea of Tolkein’s original book is a story encouraging people to have their own adventures. I could still clearly remember the dialogue when Gandalf tries to encourage Biblo to take on the adventure seeking the treasures guarded by the Dragon.

“The world is not in your books and maps, it is out there. You will have a tale or two to tell of your own when you come back.”
“Can you promise that I will come back?”
“No. And if you do, you will not be the same.”

其次,最让我震惊和感到羡慕的是电影的主创团队,包括场景设计师阿兰·李、作曲家霍华德·肖,都是读着托尔金写的书长大的。这样一群非常有才华、又在各自领域积累了丰富经验的人被一个理想的中土世界所指引,从托尔金的文字描述出发,将自然地貌、建筑、服饰、音乐、武器、战斗方式方方面面的细节构想出来,构建出了一个既魔幻又可信的新世界。之后我了解到托尔金的原著也深受瓦格纳创作的《尼伯龙根的指环》的影响。而瓦格纳提出的终极创作理想便是实现关于“世界观”的“整体艺术”。这点对于我的意义是在接触当今的建筑学教育前为我树立了一个好作品应有的标准。

怎么去构想出一个新世界的方方面面?针对我最喜爱作品的分析也深深影响了我的创作思维方式。以下面这张我自己手绘的《霍比特人》的场景拼贴图为例:设计师从埃瑞博矮人组织森严的社会结构推测出类似于古罗马军团的制式头盔,又从他们作为矿工的职业习惯推测出他们习惯使用金属被捶平的转角装饰、对矿脉纹理的模仿以及对巨大岩壁体量感的崇拜…

Secondly, what makes me amazed and envious about is that the key creative team of the movies, including the scene designer Alan Lee and the composer Howard Shore, all have grown up reading Tolkein’s books. Guided by a fictional picture of Middle-Earth, such talented people with extensive experiences in their own fields worked together to figure out all the details from landscape to architecture, costume, music, weapons and even formations and combating skills. They have created a world of fantasy and yet make it truly convincing. Later I learned that Tolkein was deeply influenced by Wagnar and his Ring of the Nibelung. Meanwhile, Wagnar’s ultimate goal of creation is a work about world views, which he called a “Total Work of Art”. To me, this set up a standard of good work of creation even before I received modern architecture education.

How to figure out all the aspects of a non-existing world? The analysis and study of my favorite work has greatly influenced the way I create. Take my hand-drew collage of scene designs from the Hobbits as an example, the designer probably conjectures their army have the Roman legion style helmet from the machanical social organization of the Erebor dwarves, and then speculates the major profession as miners would shape those dwarves’ aesthetics to adore the hammered metal decorations, the imitation of mineral veins, and the worship of the vast volume of the mountain cliffs.

 

求学期间对你影响非常大的老师?
Which teacher influenced you the most?

我想办法从所有人身上学到东西。这里我就只提几位启发我去思考建筑中的“对”与“错”的老师吧:

首先应该是特仑苏·柯瑞老师了。柯老师除了是建筑师和教育者、还是一位木匠、同时还有两个神学硕士学位。从他的教学和作品里,我开始尝试去了解在“经济、实用、美观”之上,建筑形式还有一个“真”的维度。基于此,我开始理解为什么我会对赖特、路易斯·康的作品产生强烈共鸣。

再是张利老师吧(点击查看张利访谈)。张老师名言:“做方案,要么让甲方眼前一亮,要么让甲方眼前一黑”。从张老师那儿我学到了对设计概念如何向形式进行转换应该足够挑剔。记得选张老师的博物馆设计课,前一节课盛赞了我提出的概念方案,后一节课就怒斥我增添的和概念无关的细节是“丑恶”的。也是我第一次听说可以用“恶”来评价设计。

最后是GSD的艾尔克·胡夫曼教授。他是一位设计非常有浪漫主义气息的景观建筑师。在他的课堂上启发了我去反思我习以为常的系统性的思考方法。也是从那时起,我开始尝试去在设计中接受并表达不确定性。

很多时候别人会发现我在一个设计项目上花了完全不必要的时间。从我的角度来想,在认可与很多人探讨和深入思考后形成的“准则”后,我能判断出一个设计离它想成为的一个样子还有多远,而我作为建筑师的工作则是持续努力直到找到它。

I basically try to learn from everyone I encounter. Maybe here I can just talk about those teachers who inspired my thinking on the “right” and “wrong” in architecture.

First, it should be Prof. Terrence Curry. Aside from being an architect and an educator, Prof. Curry is also a carpenter and a Jesuit priest who holds masters of theology and divinity. From his teachings and works, I started to understand there is one other dimension of being “true”, above “strength, utility and beauty”. Based on this, I began to understand why I would have strong resonance with the works of F.L.Wright and Louis Kahn.

And Prof. Zhang Li (click here to check the interview with Zhang Li), famous for his words: “you make your clients’ eyes brighten up, or you make their eyes darken down”. There is no tolerance for just Ok projects. He taught me to be hypocritical about how design concepts should be translated into forms. I remember in one class of his museum design studio, he spoke highly of my conceptual design; on the next, when seeing me adding fancy but unnecessary details, criticized that my design is “bad”. That was the first time I learned a design could be “bad” even though it looks good.

At last, Prof. Eelco Hooftman in GSD. He is a landscape architect of romanticism and helped me initiate my reflection into the systematic way of design thinking I was used to. From his studio I started to feel free to embrace and even express the unexpected and uncertainty in design.

In many cases, I am found spending much more time than “necessary” on a design project. I just feel based on the principles I learned about and thought through with these professors and many others, I can judge how far the design is away from what it wants to be, and my job as an architect is to keep trying until I find it.

 

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?

本科头几年是学基础的时候,也迷茫了好一阵儿,对老师让我们摩拜的建筑大师们确实提不起兴趣。后来运气来了,找到一个好机会去欧洲游历了半年。从瑞典到意大利,从法国到希腊,我就坐着火车到处逛。当你一周前还在端详帕特农神庙严谨的几何关系、一周后站在圣家族大教堂下被高迪的恣意妄为惊掉下巴的时候,就发现其实建筑只是某个时代条件下的一个工具而已啦。创作无论是目的还是手段,都应该是非常个人的。别人制定的条条框框不过是对已经被创造出的东西的概括,按自己理解正确的方法来就好了。

后来我又印度、日本、土耳其、墨西哥,到处玩。我的关注点呢一方面是博物馆、剧院、宗教场所这些能反映当地文化的精神世界的方面,另一方面是当地的初始的自然地貌。小时候我玩一些像《英雄无敌》《帝国时代》这样的战略游戏嘛,“诞生点”是随机的。后来真的来到了游戏中到过的地方,我就不免去关注各个文明诞生的自然环境和它之后发展出的一套对于世界的看法之间的联系。

比如最简单的:“起始点”如果位于茫茫沙漠,面对夜空中璀璨的繁星,人们更倾向于认为世界是由独一无二的神力所主宰的;“起始点”如果位于山地丘陵,更容易认为每座山上都有个小神;“起始点”若是物产繁盛,大概会倾向于认为万物有灵。

这个关注点后来竟然成为了我创作的一条核心主线。当我们的世界被GPA、GDP、KPI、IRR改造成了理性人的社会,我希望我的设计能够唤起我们祖先那样最初面对自然万物时的原始情感反应。按马克思·韦伯的说法,就是给已经“祛魅”的世界“复魅”。或者说人话:让世界带点魔法,让我们对它永保好奇心。

The very beginning years of architecture education made me very confused. I just could not pretend to be fascinated with those “famous” architects’ work that we were supposed to be fascinated with. Later I was lucky to get a chance to travel all over Europe for half a year. From Sweden to Italy, from France to Greece, I took the train and travelled wherever the next stop could be. In one week, I was appreciating the rational proportions in front of the Patenon, in the next week, I would have my jaw dropped shocked by the reckless expression of Antoni Gaudi under the domes of Sagrada Familia. Then I realized architecture is just a tool of expression under the conditions of a certain time. Creation, by its purpose or its methods, should be a personal thing. The rules made by others are only conclusions for what have been created. We should just do what we believe to be right.

Later I continued my journey to India, Japan, Turkey, Mexico and everywhere. My focus on one hand are the museums, theaters and religious spaces which reflect the spiritual world of a local culture; one the other are the original landscapes where that culture was born. I used to play video games such as Heroes of Might and Magic and Age of Empires, the “birthplace” of civilizations are random in these games. And later when I travelled to these actual places, I could not help to notice the relationship between the natural environment of those “birthplaces” and the whole set of world views civilization later developed.

To take some simple examples: if the “birthplace” is in the midst of a desert, facing numerous bright stars, people tend to believe the world is dominated by one single power; but if the “birthplace” is in the midst of hilly landscape, people will perhaps believe each mountain has its own god; while if the “birthplace” is fertile and prosperous, animism tends to be widely accepted.

This special interest later became an important clue of my design exploration. When our world has long been transformed into a rational society with nothing more than GPA, GDP, KPI and IRR left, I want my design to awaken the primitive feelings towards all things in nature, just like what our ancestors did at their “birthplace”. In Max Weber’s words, to “re-enchant” the “dis-enchated” world. And in plain words, let the world have some magic so that we can keep our curiosity about it.

 

A Heavenly Theater

指导老师:许懋彦、程晓喜、韩孟臻、王辉
团队成员:张智敏、刘隆基
Instructor:Maoyan Xu, Xiaoxi Cheng, Mengzhen Han, Hui Wang
Team:Zhimin Zhang, Longji Liu

这个是我在清华的本科毕业设计。课题本身呢是希望我们在北京天桥地区做一些微更新的设计、植入一些演艺性的功能,试图去重振这个区域以前的繁荣景象。我当时在北京读了五年建筑,已经很厌烦了这类课题,就提出我们场地既然就在天坛旁边,不如就从概念层面上去探讨当代的空间怎么去重新阐释中国文化中“天”的精神意义。

中国古代对天的崇敬主要还是通过它的象征意义来作证统治的合法性嘛。这也是天坛修建的主要目的。天空之于现代人又可以有什么意义呢?一方面受杉本博司的摄影作品的启发,我们在设计中创造了一组“天空步道”,使人沉浸在纯粹的天空景象和它的倒影之间。我们相信当代的对天空涵义的理解应该是因人而异的。我们要做的仅是一个提供远离日常生活的体验、一个能提供平静和沉思心境的场所。

This is my graduation design in Tsinghua. We are supposed to do some research about renovation jobs and plug in some performance space to restore the Tianqiao area to its former prosperity. I was tired of such topics and proposed to focus our work on the pure theoretical level to discuss how the modern performance space could re-interpret the ancient spiritual meaning of “heaven” in Chinese tradition, as our site was just parallel to the Temple of Heaven.

Chinese ancient worship of the sky has symbolic meaning related to the legitimacy of ruling. And that was the purpose of the Temple of Heaven. What could the sky mean to modern people? Inspired by the photography work of Hiroshi Sugimoto, our design created a pair of “Sky Walks” that are raised to submerge people into a clean view of the sky and its reflection. We believed the modern meaning of the sky is personal. It is about the “awayness” from everyday experience, a place of peace and reflection.

室内空间的设计思路正相反,没有能看见天的视野。室内空间笼罩在黑暗当中。受巴洛克建筑传统的影响,主要的庆典集会和观演空间被设计为通过与建筑空间融于一体的弦乐器和管乐器要素来激发人们对“天空”的崇高性的想象。

Indoor performance spaces, on the other hand, have no view to the sky. Instead, it is full of darkness. Inspired by Baroque traditions, it is designed for the sublime imagination of the “heaven” by those instrumental elements integrated into the architecture and space.

 

Forest Walk

团队成员:南天、仇沛然、刘畅玥
Team:Tian Nan, Peiran Qiu, Changyue Liu

这是后来为一座森林公园的游客教育中心设计的提案。在开始这个设计竞赛之前,我们正好去日本游玩了一圈。日本有一个很有趣的现象:虽然它的国土基本已经被连成了一个连续的都会带,但每一座村庄都保留着它自己的神社。每座神社里都保留着一片用于宗教用途的小神林。只要看过宫崎骏的动画,比如《天空之城》、《千与千寻》、《龙猫》,都不难理解树林在日本后工业化的文化里的象征意义。后来通过研究,我们了解到日本社会将尚未受到中古时期中华文明影响和现代受到西方文明影响的早期本土文化比喻作“森林文化”。在上世纪八十年代左右,一股反思工业化弊端的思潮开始鼓励人们回到森林去建立起人与自然直接的感情联系,借此来推进环保和可持续发展的理念。

This is the design for a tourist education center of a forest park. Right before doing this competition, we travelled around Japan. One curious thing about Japan is even though its territory has basically been connected into one continuous metropolis, each village still kept its own shrine. And within each shrine, a small forest is alway preserved for religious purposes. One can easily understand the meaning of a forest in Japanese post-industrialized culture from the anime works of Hayao Miyazaki: Castle in the Sky, Spirited Away, Totoro … Later through research we learnt that forest culture was believed to be something “original” before any medieval Chinese and modern Western influences on Japan. Around the 1980s, a movement of reflection on the industrialization promoted the idea of going back to the forest and build up the affinity between people and nature thus creating sustainable awareness.

我们的设计正是基于这样的一种价值观。所有关于森林公园的教育功能都以螺旋状动线串联组织起来。从树木的底部直到顶端。我们都知道森林是一个分层的生态系统。尺度差异巨大的各种生物可以在不同高度上共生。我们的设计就是为了引导游览者一直向高处攀爬,在不同的高度和方向上去观览森林的全貌。这样运动和教育功能在空间和体验两个层面上就被螺旋交织在了一起。

Our design is based on that philosophy. The education programs are organized with a spiral circulation right from the bottom to the top of the trees. We know the forest is a layered ecosystem, so species of vast different sizes co-live on different heights. Our design leads visitors from the park climbing all the way up to be able to observe the forest in all directions and on all levels. So the sports and knowledge are intertwined together both spatially and experientially.

 

Phantom of the City

指导老师:于雷
团队:秦承祚(编程)、刘畅玥、厉奇宇、常雨时(摄影)、孙英博、齐轶昳
Instructor:Yulei
Team:Chengzuo Qin (Coding), Changyue Liu, Qiyu Li, Yushi Chang (Photography), Yingbo Sun, Yiyi Qi

这件为北京国际设计周提交的作品是关于城市景观的。在我读书期间(2008-2013),北京城内有大量的城市地标拔地而起。相信在北京的十二车道大马路上走过的朋友都能理解那种面对纪念碑式的建筑,个人的无力感。我们当时的想法是做一个简单的互动投影装置。代表着北京的各类地标建筑的抽象投影被投在墙面上,尺度巨大的城市影像被浓缩到一个宜人、可触摸的尺度上,并会随着人的活动与之产生互动。

This is a piece of interaction installation we created for Beijing Design Week. It was about cityscape. During my study in the city (2008-2013), numerous landmark buildings rose up from the ground. I believe anyone who has been through the 12-lane driveways in Beijing can understand that powerlessness an individual has in face of the monumental buildings. Our idea then was to create a projection installation that has very simple interactive mechanisms. Patterns representing all types of landmarks in Beijing were projected onto a wall. The massiveness of the city was then condensed down to a pleasant scale and became touchable and responsive for people.

我们所使用的技术(对我的队友来说)非常简单。一组超声波探测器收集来人的运动信息,然后将其转换为LED光源的运动指令。我们对待科技的态度不是去炫耀它,而是通过科技将更有人文关怀的愿景变得可能。

The technology we use was pretty simple (for my teammates, not for me). Ultrasound detectors collect the information about the person’s movement and transform it to the movement of the LED light source. Our attitude towards technology is not showing off, but use it to make our humanistic vision possible.

所以后来决定去美国留学时,我挺多朋友都劝我应该去耶鲁的,这样可以去更专注地发展这套设计理念。但我最后还是选择去了GSD,当时的想法就是还年轻,应该趁能接受新鲜事物的时候多见识些不一样的东西。在理解了更多的视角、掌握了更多种思考问题的方式,再回头来看最初的想法,理解会更深入一些。

So when I later decided to go to the U.S to study, many of my friends tried to convince me to go for YSOA, where I could be more focused on developing these concepts. But I went to GSD in the end, thinking that I should still try to see more different things while still young. Maybe after understanding more perspectives and mastering more ways of thinking, my understanding about what I set out to do could be deeper.

 

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

考察一所学校时,我们需要去看它在自己所处的社会环境中起到的作用。哈佛设计学院一开始是由一群从纳粹德国“逃”出来的包豪斯的创始人建立的。那会儿,学院代表的是社会最进步的力量,拥抱一切新的变化。GSD说白了就是包豪斯的2.0版,英文版。我去GSD那年,学院里到处贴着募捐活动的标语。标语这么说的:“这不是什么小项目,所以我们才会做它”。应该不难察觉到国际式的资本主义对这所学院的心态产生的影响吧。

具体点说,关于学院怎么把它的使命制度化,有三点我认为值得提到的。当然我只念了建筑2这一个项目,平时喜欢多和其它项目的同学交流,但仅以此也无法了解到GSD的全貌。所以就当抛砖引玉,希望听到更多人的观点吧。

第一点就是学科的交叉设置。既然学院创始人把设计作为改造社会的手段,那每个学科就再也不是一门独立的艺术形式了。他们被刻意地设置在一起,来激发各种新的可能性。这种跨学科的愿景也被空间化了:学院的教学楼就是一个由大台阶构成的共享工作(甚至居住)空间。在这只要你愿意,你可以去围观所有人的创作,也可以随便和人交流想法。如果你来GSD前就做好了计划,是可以自己去DIY课程,把它变成一个不存在的学位的。我建筑2的一位同学就用我们项目的选课自由权把他自己的两年时间几乎变成了政治经济学的博士预备学位。GSD也很希望学生们出去后都变成很不一样的人。

第二点,我认为是非常程序化的设计课教案。这点在核心设计课中非常明显。我有次问我城市设计硕士项目的一位朋友:你们的几位导师都怎么样呀?他告诉我其实导师本身的水平已经不太重要了。教案被设计得太完备了,每一步该做什么,成果标准如何都被设计得清清楚楚。以至于就算让我来教也能教的好(我也不知道这是夸我还是骂我)。一开始,很多别的国家不熟悉这套教学方法的同学(包括我)都不太能接受,觉得这不一个大工厂嚒。但之后我开始慢慢明白,这种训练是必要的。如果你将来是准备去解决复杂建筑问题的,那么必须学会逻辑性强、系统性地去推导设计。你还得学会精确描述你在做什么,这样才能将自己融于到一个更大、持续时间更久的创作过程中。

第三点,我认为是对批判性看法的容纳。GSD和任何地方一样,都有一套自己的主流教学思想。但GSD和其它地方很不一样的,是它自信到会去邀请意见相反的人来一起教书,或者甚至就请和GSD意见不一样的人来教书。而且这些人都会来。我记得第一个学期院长就请来了远在伦敦的彼得·库克。老先生对GSD教学的不满毫不掩饰,第一节课在看了一位本科就读于普林斯顿的女生的作品集后称赞有加,然后再看到她来GSD后做的设计,说:“我觉得你在GSD是浪费你的才华,回普林斯顿去吧”。对学生而言,你可以知道没有什么标准是绝对的。你可以博彩各家之言,实在找不到合适的还可以学习方法后自己创立一套自己的一家之言。

You have to look at a school’s role in its social background. GSD was founded by a group of Bauhaus founders who “escaped” from Nazi Germany. Back then the school represented a progressive power to embrace all the new trends of social change. GSD is the Bauhaus 2.0, English version. The year I went to GSD, there was a huge campaign with the slogan: “This is no small project, that’s why we are doing it.” You can also sense the impact of International capitalism’s influence on the school’s mentality.

To be more specific, I want to talk about three aspects of how GSD institutionalized its mission based on my experience in the MArch II program and some observation of the other programs. My perspective is very limited to my personal experience, and I welcome different ideas and discussions.

First of all, the intersection of disciplines. With a mission to transform society with design, each discipline is no longer treated as an individual form of art, they work together to instigate new possibilities. Such cross-disciplinary vision was spatialized: the Gund Hall is a connected terraced working (and living) space in which you can observe and exchange thoughts on each single student’s work, if you want to. And if you have a clear plan before you come, you can just customize your curriculum into a non-existing degree. One of my classmates even used his March II’s freedom of choice to make it a pre-PhD degree of political economics. And GSD welcomes that and wants her students to be different.

Secondly, proceduralized syllabus. This is very obvious in the core studios. Once I asked my friend in the MAUD core studios how are the studio advisors. He answered that the advisor’s personal judgement makes no big difference. What matters is the syllabus is designed so comprehensively that you just need to follow its instruction step by step. At first many students including myself could not accept it, we called it a “factory”. But later I understood such training was essential to prepare ourselves to solve complicated problems. You have to think logically and systematically to be able to describe the work you are doing and fit it into a much larger and longer creative process.

Thirdly, an openness for criticism. Like anywhere else, there are “mainstream” thoughts and methods in GSD. But unlike anywhere else, it is confident enough to invite tutors of contradictory ideas, or people who oppose the GSD way. And they will come. I remember the first semester our dean invited Peter Cook to fly from London to teach the option studio. Peter didn’t even try to hide his criticism towards the way GSD teaches students. On their first class, after going through a female student’s undergraduate work done in Princeton, Peter was very happy. But after looking at her work later done in GSD, he told her:”I think you are wasting your time in GSD, you should go back to Princeton”. For us students, you will learn here nothing is absolutely right or wrong. You can take a little bit of everyone’s theory you agree with, or you can create a new one if you truly cannot agree with anyone.

 

The Function of Time: Cultural Complex

指导老师:法希德 穆萨维
Instructor: Farshid Moussavi

我在GSD的第一个设计课是跟着法姐做的。中国建筑师不一定听说过她但肯定见过她的书,《形式的功能》《装饰的功能》《风格的功能》。书都特别厚,分门别类去按建筑的一些特征元素去绘制图解、记录。一开始的研究部分我从GSD的台阶状教室出发,老师还挺满意。后来要点题“时间的功能”,我就说了下什么能打动我——我站在纽约世贸双塔两座纪念水池边上,看着瀑布流入深不见底的深坑的时候,我感受到了时间的永恒,我能想象受难者家属也能感到心灵的抚慰。法姐能理解,很同意,她也能感受到。但她要求在她设计课上,一定得用她的图解的研究方法:分析我们这个艺术综合体里各个机构不同功能的运营时间段怎么不一样,有哪些可以合并使用,设计应该直接表达这种关系。我理解这个教学方法,也理解这个教学目的,但这个设计毕竟是写着我的名字的一件作品,我不做个能打动我的东西,那样没法向自己交代。我俩到最后谁也没说服谁。

The first studio in GSD is with Farshid Moussavi. Every Chinese architect should know her book – the Function of Form, the Function of Ornament and the Function of Style… They are thick, documenting buildings based on elements of architecture with 3D diagrams. At first, I started my study from the terraced space of Gund Hall. Farshid was happy about it. And the project moved on to address our topic “the Function of Time”, I talked about what function of time makes me feel great – when I was standing beside the monumental pools of the WTC center, watching and hearing the waterfall running into a deep hole, I feel the eternality of time. I can imagine that the family members of the victims could also feel the comfort in this space. Farshid agreed:”It is like…life goes on” But, in her studio, we have to use the diagrammatic way of research to analyze the timespan of opening hours of different institutions in our complex, and see how some of these programs could be combined. I totally understood the method and I totally understood the goal of this studio, but, this design was afterall a piece of work under my name. I can’t allow myself to do something I don’t feel excited about. So in the end, neither of us managed to convince one another.

最后的设计成果主要是从剖面上来探究功能组合的可能。第一学期结束后我也理解到GSD的老师们也希望教学的成果成为一系列研究的一部分。比如从法姐类型归纳的研究视角来看,可以被总结的规律性的方法才是有价值的;而个人一闪念的“好想法”就不在关注范围内。

The final design majorly discusses the possibilities to combine programs in section. So after the first semester, I started to understand in some studios, the students’ work is also seen as part of the studio’s product. Maybe from Farshid’s research perspective, patterns that could be summarized are valuable; but a flash of “good ideas” is not within the scope of attention.

 

Portmanian Architecture

指导老师:普雷斯顿·斯考特·科恩
Instructor: Preston Scott Cohen

斯考特教授是我仰慕已久的建筑师,我去过他设计的太原美术馆。形式的操作水平是一流的。

波特曼是我们父亲那辈建筑师仰慕的建筑师,开创了中庭酒店这个建筑类型,形式能力也是一流,而且他还是自己开发项目自己做设计。

本来,美国建筑圈里学院派建筑师和商业建筑师之间有一条清晰的鸿沟。像前几年捷徳、波特曼去世的时候美国建筑师们并没有什么动静,很多人都从没听说过他们;反倒是在中国因为建筑师大量进入地产公司就职,很多人都知道他们的贡献。刚好斯考特教授从小就是波特曼的粉丝,就想出了这么个题目,借着研究波特曼的机会,教我们如何精确地玩造型。

Prof. Scott Cohen was an architect I admire for a long time. I have been to his Taiyuan Art Museum. His mastery of forms is excellent.

John Portman is admired by our father’s generation. He started the type of atrium hotels. His mastery of form was excellent as well. Besides, he designs the project he develops.

Just a little background knowledge/fact, in the U.S, the academic architects and the commercial architects are two types of creatures. When architects like Jon Jerde, John Portman passed away a few years ago, there was no major reaction in the U.S. Many people didn’t even hear about them. However, in China, as many architects work inside real estate companies, many people know about their contribution. And it happened that Scott had been a fan of Portman since he was very young. That was how this topic came into being – learn how to play with form , and study Portman’s contribution.

我从斯考特教授那学到的第二重要的是他对建筑中几何关系的极度敏感,还有对研究的沉迷。很多在大多数建筑师看来差不多就行了的形式关系在他那里一定要得到精确的几何描述。对形式的操作好比给小白鼠做试验一样,是一个测试、失败、记录、回顾、反复的过程。比如下面这个酒店的形体变化就是由每个房间墙壁夹角的轻微改变带来的。

The second most important thing I learnt from Prof.Cohen is his extreme sensitivity towards the geometry in architecture, as well as his obsessions with form research. Many architects would be Ok with something roughly there. But in his studio, every geometric relationship should be accurately described. The manipulation of form is just like an experiment with some little mice – it is a process of test, failure, record, review and repeat. For example, the overall form of this hotel is an outcome of the slight angle change of its hotel rooms’ wall.

而我从他那学到最重要的是,同时作为老师和一名有自己的风格的设计师,他竟然会主动邀请人来当着他的面来批评他。我觉得能做到这一点太了不起了。记得当我们去亚特兰大的波特曼家里做客时,我问他老人家是如何去平衡自己作为开发商和建筑师的双重身份的。我没想到这问题竟引发了持续非常久的关于设计的目的的争论。波特曼宣称(即使是在玩形式)他也是以人作为对象来进行设计,而(某种程度上暗示)斯考特教授太过于沉迷于形式本身。这个争论一直持续到学期结束,已经比玩造型本身更有意思了。期末答辩斯考特邀请了波特曼全家、各种朋友都来了,最后就变成了我们围观他如何舌战群儒。

书念到这份上,我开始理解GSD教学的意义了。来这并不是来学什么先进高端的设计方法的。工作中不会太分对错的,更多的是执行和效率。来到这所学院就是去忘掉职务头衔,大家痛痛快快为一个事情的对错吵到底。

But the most important thing I learnt from Prof.Cohen is that, as a teacher and a designer with a very strong personal style, he would invite a group of people to criticize himself in front of his students. I think that is great. When we were visiting John Portman and his family in Atlanta, I asked Mr. Portman how could he balance his role as an architect and a developer. I didn’t expect this question to turn the discussion into the purpose of design. John claimed his architecture (while playing with form) is focused on people while sort of suggested Scott is too obsessed with the form itself. And this debate continued all the way to the end of the semester and became more interesting than playing with form. In the final review, Scott invited the entire Portman family and many other “supporters”. We had a great time watching him debate with everyone.

By studying so far, I started to understand the meaning of GSD. We don’t come here to get some more advanced design methods. In real work, we care much more about efficiency and execution. But coming to this school, we have to forget everything not related to design, like titles and fame. We come here to happily argue over right or wrong till the end.

 

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?

学校里有很多有意思的人。我们当时在自己家客厅办了一系列的讨论活动。请了在哈佛念书、教书、访学的很多朋友按话题来讨论交流。我觉得很难得的是无论你在学校外是什么身份,来到哈佛后大家都会主动去接受新的想法,平等地交流。

There were many interesting people. We hold a series of discussions on a weekly basis and invite students, professors and visiting scholars of all backgrounds to have discussions. It was very precious that despite whatever you are outside the school, everyone coming here is very open to new ideas and exchange thoughts equally.

 

Reimagining the Tradition (2016 Ivy League Spring Festival Gala)

筹办团队:孙陆(总策划)、刘庆楠(导演)、童流川(财务)、徐云飞(票务)、张格、高驰、贡献、常青(舞监)
场地:桑德斯剧场
设计团队:陈嘉雯、肖蔚
Operation Team: Lu Sun (Producer), Qingnan Liu (Director), Liuchuan Tong (Finance), Yunfei Xu (Ticketing), Ge Zhang, Chi Gao (Marketing), Xian Gong, Qing Chang (Stage Manager).
Site: Sanders Theater
Design Team: Jiawen Chen, Wei Xiao

我在哈佛的第二年,学联的主席孙陆找到我讲了她对下一届常春藤盟校春晚的愿景。她希望可以搞个“大新闻”,正在申请使用桑德斯剧场来举办活动。那会儿我正在上朱莉亚老师的一门舞台设计史的课程。我就向她两都提议去为桑德斯剧场做一次舞台设计,作为我课程的学习成果。

有这个机会我很激动也很有压力。我们要在一个新哥特教堂般的历史保护建筑里去庆祝一个中国的传统节日。新年夜里,2000多名学生、学者如何能在这个空间里去联想起自己的文化和传统?

我第一件要做的是构想出LOGO。图案主体是一个代表哈佛的大“H”字母。重叠的部分暗示“盟校”。同时这个图案又包含桑德斯剧场的一些基本建筑特征:哥特式的立面、玫瑰窗还有尖拱穹顶。使用的红色我也可以选择了从传统的节庆红向略微有浪漫主义、有点魔幻的红紫色去过渡。

During my second year in Harvard, Lu Sun, the president of the HCSSA found me and talked about her vision for the coming Ivy League Spring Festival Gala. She wanted it to be big news and started with asking for permission to hold the event in Sanders Theater. At that time, I was taking a course called the Art of Scenography taught by Julia Smeliansky. So I proposed the idea to the set design for the Spring Festival Gala performances in Sanders Theater to Lu and Julia. Well accepted.

I am excited about being able to have my work in the Sanders Theater, but it is also very challenging. We are doing a Chinese festival in a Neo-Gothic church looking building. By the New Year Eve, how can the 2,000 students and scholars relate this environment to their culture and tradition?

The first thing to design is the LOGO. It is basically an “H” standarding for Harvard, and many other Ivy League schools. At the same time, it embodied the basic character of the Sanders Theater – the gothic arches, the rose window and the pointed arch domes. And the Reds I decided to use show a gradience from Festival Red to a more romantic and magical velvet color.

怎么在空间里给大家施展一些魔法呢?蒂娜·博文,剧场经理,是这座历史文化地标建筑的保护神。她给我们团队50页厚的剧场使用规定,必须严格遵守。仔细研究过后,我发现我们其实啥也不能做。现有的木结构上不能钉东西也不许贴东西。一度我们导演都快放弃做舞台设计的想法了。随着准备工作的深入,我们开始发现演出需求与场地条件之间的冲突了。这个舞台没有后台,它其实就只是一个演讲台而已。届时,演员必须直接从地下室上到舞台,这意味着他们准备的时候是看不到舞台上的情况的,更不用说准备乐器和道具了。

因此我们决定要做一块巨大的幕布来把仅有的舞台分隔为前后两个空间。虽然只是一块悬挂的幕布,我们依然被要求预留两个安全疏散出口。蒂娜和我在场地里检查了所有可能的视角,确保在任何座位处都能看到至少一块安全逃生指示牌。

And how to do the magic in space? Tina Bowen, the theater manager was the protector of this historic landmark. She gave us a 50 pages regulation on how to use the theater. This is the bible of that place. After studying it, I figured out there is nothing we were allowed to do. Not a single nail or even tape were allowed to be attached to the wood structure. At one point, our director almost even gave up the idea to do a “set design”. But as our preparation continues, we found the conflicts between our performances and the site. There is no “back” stage of this “theater”, it is basically a lecture space. The performers need to come directly from the basement, and that means they have no sight to the stage while in preparation, not to say preparing their instruments.

So we decided to do a big backdrop to divide the stage into front and back. Even though it would just be a big piece of cloth, two egresses were still mandatory. Tina and I examined all the possible sightlines from the seating area to make sure at least one escape sign could be seen.

确定了这个方向后,我就去找朱莉亚老师请教具体的设计。她的建议是在舞台设计中,你需要用光线来创造空间。这点和在建筑中还不太一样。建筑中我们是用材料、墙体和竹子去创造空间的,光线是用来表达空间的。而在舞台设计中,光线自己强烈的变化就可以影响人们对空间甚至时间的理解。我就提出了这么一个提案。大幕的正面印着简单的图案。两侧带有一些新哥特建筑分割的装饰来呼应场地环境。中间留有空白用来作投影屏幕。大幕的背面是一层有漏空图案的不透光的材质。它的内容是一个有点魔幻感的中国图案。

After that I talked to Julia. Her advice is in set design, you need to think using light to create space. This is different from architecture. In architecture we use materials, walls and columns to create space. Light is something to express the space. But in set design, light itself can drastically change people’s perception of space and even time. So I proposed this design. The front side of the backdrop is printed with simple patterns consistent with the neo-Gothic architecture style of the site. Empty space in the center was kept for projections. The back side of the backdrop has one layer of opaque materials attached to it. It shows a very magical and chinese image.

在换幕的间隙,舞台的所有面光灯会全部熄灭,大幕正面的教堂图案也会消失。此时设置在大幕后方的一排背光灯就会打亮大幕,遮光布上镂空的传统中国建筑屋顶和飘在空中的灯笼就会显现出来。大家可以想象一下观众们脸上的表情。

During the intermission of plays, the front lights would all black out, the church images would disappear. A row of back lights would light up, and the traditional Chinese roof and flying lanterns would present to the audiences. Imagine the audience’s faces when they see this magic happen.

和灯光控制师一起,我们在彩排期间为每个节目制定了灯光方案(包括灯光的颜色、分布和运动方式)。

Together with the lighting operator, we created different light themes for different types of shows.

这个大幕的生产商在中国南京。生产商找遍了全城才找到了能复合我们要求的激光切割机。我们把图像按激光切割机的模数分块完成。这些模块被贴到九条竖向的幕布上。学联的志愿者们接力把幕布从南京运到上海,再从上海空运到波士顿,然后驾车去波士顿北部的小镇做了阻燃检测。一开始我们设想的是在舞台上把大幕连成一个整体后整体吊装。但没想到大幕在喷涂了阻燃剂以后的总重量极为惊人。出于安全考虑,剧场管理方不允许我们自己进行吊装作业。所以我们临时想出办法,租借来10根可以向上延展的柱子。大约20名志愿者被分为三组(因为我们只找到了三个爬梯),协调起来,去一寸一寸地把十根柱子同步抬高到一支的高度。

The manufacturing of this backdrop is in Nanjing, China. The manufacturer looked through the entire city to find laser cutters big enough to make our “panelized” opaque images. Then those panels were attached to nine stripes of the front side image. Then HCSSA volunteers one by one, helped us to transport it from Nanjing to Shanghai, and then to Boston then drove to a small town for a fireproofing burning test. The backdrop was supposed to be pieced together and hoisted to a fix rod above. But the backdrop turned out too heavy on the site. Out of safety concern, the theater management team forbade rigging operations by ourselves. So we changed our plan to do 10 extendable free-standing pillars. Around 20 volunteers were put into three groups (because we only managed to borrow 3 ladders) coordinated to raise the pillars inch by inch carrying the backdrop to the same height.

最开始的一个非常简单的想法实现起来竟然花费了这么多人巨大的努力。 我想怎么去描述建筑师的作用呢?就是先去描绘出一幅让大家相信是值得去实现的图景,然后坚持绝不妥协一定要实现出来。最打动我们的一幕是当我作为灯台的负责人,在和来自宾大的一支舞蹈团争论是否应该为她们的误导陪侧台光的时候,本来正在一旁非常警惕地盯着这群可能会毁了她的剧院的中国熊学生的剧场经理蒂娜,突然走向前来大声支持我们:“听他的意见!我自己之前是灯光设计师。你们应该用侧台光,会让你们头上的银饰显得更漂亮”。

It was such a simple idea in the beginning and took the efforts of so many to realize. I think the architect’s job is first to picture a dream that is worth the efforts to make it happen, and stick to Plan A, always. The most touching moment for our team is when I was arguing with one dance group leader from Pennsylvania about whether to use side lights for their performance, Tina, who had been watching closely aside to make sure these Chinese guys would not ruin her theater, suddenly stepped out supporting us: “Listen to what he says. I was a lighting designer. Use the side light. It shows your headwares better.”

 

The Foot of Harvard (Arts First)

委托方:哈佛大学
团队:刘畅玥、覃叩、吴青蔓
Client: Harvard University
Team: Changyue Liu, Kou Qin, Qingman Wu

那之后,又冒出来一个哈佛艺术节的校园艺术装置的公开征集活动。我有天正在哈佛院子走,心想我很快要离开这地方了,将来肯定会想念的。这时一旁有很多游客在和约翰·哈佛先生的塑像合影。他们总喜欢摸哈佛的左脚尖,觉得摸了将来小孩能考哈佛。我接着走,突然注意到旁边一座建筑侧墙上有八扇“盲窗”。很诧异为啥我以前从没注意到它们。作为一个建筑师,我对一堵墙非要装成一扇窗这事感到特别不快。于是我就给艺术节的主办方写邮件表达我的不快。他们竟然也很能理解我的这种不快。我们见面简要讨论了一下都有些什么可能后,竟然就直接把校园艺术装置的委托创作给了我。好希望以后所有项目都可以这么拿到。

Following that, there was an open call for an art installation from Harvard for “Arts First 2016”. I was walking through the Harvard yard one day, thinking I was going to leave and miss everything about this place soon. Lots of tourists were taking photos with the sculpture of John Harvard. Tourists always touch his left foot, thinking that could get their kids into Harvard. And then I walked a few more steps and noticed a side wall with eight “blind windows”. Why did I never pay attention to them? As an architect, I felt very uncomfortable about a wall pretending to be a window, so I wrote an email to the organizing committee of Arts First expressing my concern about this issue. And they quite understood my uncomfortableness and after we talked about all the possibilities, gave me the commission right away to do some art about it. I hope all other projects can be acquired in this way.

拿到项目后我就开始慌了。这地方所有人都能看到,学生、老师、游客。而我还没有明确的想法往盲窗里填什么图案。就赶紧找朋友们一起商量。经过几天的讨论还有和校方的交流,我们决定就用约翰·哈佛先生的左脚来做一系列的符号加工。吴青蔓,当时正在米兰学习时尚设计,承担了这次主要的插画绘制工作。我们希望透过这些窗户,看到的是哈佛不同的学科:化学、物理、地理、生物、建筑、音乐等等。我们用不同学科的图像语言来重新诠释哈佛的左脚。

I panicked because this time everyone from everywhere would see it, and I didn’t even have a good idea what the window should be like. I quickly called a few friends. After days of discussion and communication within ourselves and with the school, we decided to use John Harvard’s left foot as an icon. Qingman, who was studying fashion in Milan, did all the actual painting. We want the windows we create to look into different disciplines. Chemistry, physics, geography, biology, architecture, music and everything. What we created is John Harvard’s left foot interpreted in the visual language of different disciplines.

吊装的当天上午,我们非常兴奋。希望来来往往的学生会好奇这是什么东西然后停下来讨论。结果当天下午我去了趟医院就被扣留在那并开启了人生的下一章。所以也无从目睹后来反响如何了。

We were very excited the morning we managed to get those images glued to those blind windows. We hope the students passing by would be curious to discuss it. But I went to the hospital that afternoon and was kept there for the next chapter of my life.

 

你就职的公司的特色和有趣的地方?
What is special about the firm you worked for?

研究不同事务所如何运作是我的一项长期爱好。我很感兴趣去探究一家事务所是如何使用它独特的“设计工具”去达成它的使命的。我相信只有通过这样的研究,我们才能去产生可以被描述、被重复和改进的有益的知识。在我自己就供职过的事务所里,有三个多数人可能不太了解的,我觉得今天值得分享。

Studying how different firms work is my long time hobby. I am fascinated with how the unique “tools” of these offices can satisfy its mission. I believe only by studying that, we can generate knowledge that can be described, repeated and improved. Among the offices I myself had worked for, there are three of them many people may not be familiar with, I think worth sharing today.

 

Guan Zhaoye Atelier

严格意义上来讲,关肇邺院士工作室并不能算是一家“工作室”,更多是关先生、关先生弟子及再传弟子一起形成的一套观念和工作方式。我们熟知的清华大学校园被小河分为东西两侧:东侧主要是各种现代、后现代、未来科技感的块状大体量的建筑;西侧则以宜人的尺度、庭院式的花园、古典的空间秩序和立面比例还有红砖材质闻名。关先生在尊重和保留这种建筑传统中发挥了至关重要的作用,并把这种传统发展成了一种新的风格和方法。

Strictly speaking, this cannot be counted as an “office”. It is more about Prof.Guan, his students and the students of his students and their way of design. The Tsinghua University campus is divided into two parts by a little creek: the east side is full of modern, post-modern and futuristic buildings of massive scale; while the west side is famous for pleasing human-scale, courtyard gardens, classical spatial hierarchies and proportions and red bricks. Prof.Guan played a vital role in respecting and preserving that tradition and developing that tradition into a style and method.

大五的时候我刚从MAD实习回来,迈着轻盈的步伐走在专教,突然被我的毕设导师程晓喜老师喊住:“覃斯之,你站住!”。之后一年里就有幸在关肇邺院士的办公室参与了三个项目。我们那个实习虽然叫施工图实习,但我其实在MAD每天都在搞酷炫效果图。说实话,前一天还在捏山水城市的形,第二天就来做很古典的建筑立面,我一开始还真挺难适应的。为了切换过来,我有机会都去西区的食堂吃饭,吃完饭就在校园里边逛边想象电脑里的设计模型在实地空间里的效果会是什么样子。去思考一条校河两侧的空间为何给人感受差异如此之大。

Upon my return from my internship in MAD, I was caught off by my thesis advisor Prof. Cheng Xiaoxi and was lucky to work with Prof.Guan’s team for three projects. Our internship at that time was called CD practice, however what i did everyday in MAD was fancy rendering practice. To be honest, it was hard for me to switch from making freeform “Shanshui Cities” to doing very classical facades. So I tried to walk around in the west part of the campus very often, and try to imagine how those computer models should look like in the real site. Also, why the built environment on two sides of the river could be so different.

关先生在很多场合都向清华的师生们表达了他对待建筑的态度:“建筑师应该去追求得体,而不是新奇”。我认为对中国的城市发展是很好的警示。

Prof.Guan gave us many lectures about his attitude towards architecture: “architects should go for decency, not for novelty”. I think it is a very good warning for China’s urban development.

在经历过几个项目和大量去现场感受后,我逐渐开始明白这种空间感受差异的根源了。建筑师从来没有直接去设计过建筑,我们总是在设计我们认为可以用来代表建筑的一些媒介(图纸或者模型)。但是无论是哪一种媒介,他们都会丢失关于现实的某些方面的信息。CAD绘图软件会丢失所有不能用线来表示的信息;透视图会修饰掉关于图纸上深度的信息;计算机建模让建筑变得像一个可以把玩的物件,会丢失我们站在建筑边上的实际感受的信息。我们从来都不愿意,但我们永远都无法避免去被我们所使用的工具所“误导”。关先生(也许有六十年做建筑师的经验积累,如果不是七十年的话)是我见到的第一位能轻松克服这个障碍的建筑师。“草图”通常意义上只是表达某方面初步的想法的工具。但我从关先生那接过来的每一张草图都是一个对最终建成环境方方面面的完整想象图。

After working on a few projects and numerous “site visits”, I started to understand the reason behind the differences between the east and west part of the Tsinghua campus. Architects are not designing the architecture, we are always designing a medium (drawing or model) that we think can represent the architecture. But any medium ignores certain aspects of reality. CAD ignores everything that can not be represented as lines, perspective rendering ignores the accurate depth of space, digital models present the architecture as an object to play with and so ignores the actual feeling when standing by the side of a building. We never want to but we are always misled by the tools we use. Prof. Guan (probably with 60-70 years of experience in architecture) is the first architect I know that can easily overcome this obstacle. “Sketch” usually means something about initial ideas, but every sketch I got from Prof.Guan is a representation of the full imagination of the final built environment. He sketches perspectives on a blank sheet of paper (usually the backside of used calendar paper) with unbelievable accuracy.

做到这点非常不容易:一方面,毕竟我们所处的时代已经变得高度专业细分,当代建筑师从职责范围上已经和文艺复兴时期的大师相去甚远了;另一方面,清华的西区是在一套观念和工作方法的框架下,由非常有经验的“弟子和再传弟子们”一辈接一辈的人来完成的,在如今高度流动的职业环境中是一种奢求了。

This is very hard to achieve nowadays: on one hand, the architecture professions had become highly subdivided and specialized, modern architect’s role has been far away from the “master builders” of the Renaissance. On the other hand, the west district of Tsinghua campus is a work by generations of “students and students of the students”, which is a luxury in today’s highly fluid job market.

 

Peter Marino Architect

在GSD的第一个暑假,我特别想去看看建筑以外的设计公司什么样。但是申请了暴雪娱乐和迪士尼幻想工程师,但没有成功。最后我去了彼得·马里诺建筑事务所。虽然叫建筑事务所,但他们是纽约最著名的时尚旗舰店设计公司。像路易·威登、香奈儿、迪奥、芬迪、宝格丽在世界闻名的几条商业街纽约的第五大道、巴黎的香舍丽榭大道、罗马的孔多蒂大道上的旗舰店,基本都是由PMA设计的。

彼得是同时追求得体和新奇的,毕竟是做奢侈品牌的生意。不得体,客户就会失去老客户;不新奇,客户又吸引不来新客户。我个人是对时尚没有很多兴趣的。但我对彼得怎么去构建他的事务所很感兴趣。时尚旗舰店这部分业务的团队是按照品牌来分组的。每组里的人员构成差异都非常大。比如说,宝格丽的团队里有两意大利人就坐在我的旁边。每天听他两说德国人的段子都让我很开心。年轻的一个叫斯蒂法诺,有很强的热情不断向我介绍美国人的品味是有多差。他给我看了他们为宝格丽罗马旗舰店设计时用的参考图,是约翰·索恩爵士的私家博物馆。当他知道我从来没有听说过约翰·索恩时感到无比震惊。而我对他对我从来没有听说过约翰·索恩而感到无比震惊而感到无比震惊。

斯蒂法诺同学的摄影作品也在谷徳上发表过。我非常感谢他,让我在职业生涯还没开始的时候就明白不要往时尚和奢侈品领域发展,知道自己确实不是那块料。

In between the two years in GSD. I was trying to take a look at some different offices than architecture ones. I applied for Blizzard Entertainment and Disney Imagineering, but didn’t succeed. Finally I got into Peter Marino Architect, the most renowned interior design office in New York, famous for their flagship stores designed for Louis Vuitton, Chanel, Dior, Fendi, BVLGARI… all over the Fifth Ave in New York, Champs-Élysées Ave in Paris and Via Condotti in Rome.

Well, Peter pursues both decency and novelty. Running a business majorly serves the luxury brands – without decency, your client loses old customers; without novelty, your client can’t win new customers. Personally, I am not that into fashion. What makes me very curious is the way Peter structures the office. The fashion store teams are organized under different brands. Very different people work under Peter for these brands. For example, the BVLGARI team has two Italian guys sitting next to me, listening to their jokes about the German was an everyday fun for me. The younger guy Stefano Pasqualetti would love to show me why the Americans have really bad taste about everything and also showed me the references they use for BVLGARI Rome store – Sir John Soane’s Museum. He was shocked why I never heard about John Soane, and I was shocked why he’d thought I should hear about John Soane.

Stefano’s Photography on gooood. Thanks to him, I knew early in my life I had no talent for fashion and luxuries.

点击查看斯蒂法诺的摄影作品 Click to check Stefano’s Photography on gooood:
比萨情绪和纽约印记|EMOTIONS FROM PISA & A BRAND NEW YORK
Edra作品摄影集|Edra Photo Collection

另外一位年长的意大利人就根约翰·索恩本恩一样。我们周围所有的东西都是关于罗马城底下埋着的七代遗迹和古董的。我工位左边摆着一个银色的人体雕塑,右手边摆着一个玛瑙大吊灯。和宝格丽团队很不一样,路易威登团队就是一些特别潮的来自世界各地的年轻人-南韩的、香港的、秘鲁的。他们整个人设都完全不一样,甚至有一间专门的路易威登主题的会议室,里面陈列着所有属于路易威登宇宙的艺术品。再往前走几步你会看到香奈儿组的桌子上摆着50来块黑色大理石样品。我问他们彼得对这些样品啥想法。他们说彼得指着其中两块看上去一模一样的黑色大理石吩咐他们再去找十块介于这两块之间的不一样的黑色大理石来给他选。

所以你看,为时尚品牌做设计和为房地产做设计有着完全不一样的逻辑。在这,不需要太多关心土地价值、经济周期,甚至不用太关注场地(同样的铺位每隔几年就会被重新设计一次)。重要的是品牌的故事。这个故事会一直在改变,设计师需要有预见力,并用所有的知识、技能和想象力来雕琢出这个故事的所有细节。这样这个故事才会有人信服。

The other Senior Italian guy talked just like John Soane himself back to life. Everything around us is about all the antiquities seven levels down from modern Rome. I even got a silver sculpture placed on my left side and an agate chandelier on my right side of my workplace. In contrast, the Louis Vuitton team is made up of very newest-trend people from all over the world – Korea, Hong Kong and Peru. They have very different lifestyles and even have a Louis Vuitton meeting room setting up with all the “art pieces” that belong to the Louis Vuitton universe. Then a few meters away you will see 50 pieces of “different” black marble samples on the Chanel team’s desks. When asked what Peter said about these “different” black marble samples, they said Peter picked up two identical samples and asked them to find 10 more blacks in between these two blacks.

You see, the design for fashion has a totally different logic than design for real estate. There is not too much concern about the land value, economic cycles, even about the site (the same site goes through redesign every couple of years). What matters is the story of the brand. That story is ever changing and the designers should be able to envision and craft every detail of that story into materials, with all the knowledge, skills, and imagination, to make the story convincing.

了解了这么多,最后我还是被安排到了一个建筑项目上。第十大道239号豪华公寓,就正在高线公园的边上。客户是SHVO,一家专注于请明星建筑师做精品豪宅的地产商,以纽约历史上单位面积最高价拿下了这块土地,自然希望做出最不一样的产品。彼得的策略是让这栋楼里的八个户型各不相同。我的小boss社会经验比较足,他告诉我这可能是源于一种意大利的人信念,就是凡事都是手工打造的好。我十分同意买家得为这房子支付双倍的购房款(其实最后的售价确实是周围豪宅的两倍),因为这栋房子里八户完全不同的户型里的每一条线(卫生间的玻璃隔断分缝、厨房的台面、天花板上藏着的灯)全部都是纯(靠我这样的实习生的)手工画出来的。

However, I was then put onto an architecture project 239 Tenth Ave. It was a luxury condo right beside the highline park. The client, SHVO, got the land at the highest price per square foot ever in New York’s history and wanted to make it most unique. Peter’s strategy is to make all eight units different from each other. My supervisor told me there is probably the Italian mentality to value everything handmade behind this concept. I agree that should make the buyer spend twice the amount of money (they truly did) since every single line (bathroom glass, kitchen counter, ceiling lights) of these eight totally different units had been hand drawn and hand adjusted by the hands (of people like me).

简要介绍一下这个设计吧。高线公园是一个非常成功的城市景观,因此带动了周围的旧仓库、厂房更新为豪宅(其实建设高线公园所募集的资金相当一部分也来自于这些能从地价上升中获益的开发商)。但同时也给建筑设计带来了挑战,密集的游客会窥视周围的豪宅。所以这个项目八个户型是从最大化地利用景观资源和最小化对住户隐私的伤害的思路出发来做的设计。项目的3层和4层是共享背面的庭院的两套复式;5、6、7层的公共区域(客厅、餐厅、厨房)都朝西,俯瞰高线公园,层高各不一样;8、9层朝南,顺着高线的方向利用远处的视野,两层楼有不同的配色方案;10楼是双层高,在屋顶上有一个泳池。立面设计上,我们选择去忠实地表达内部的情况。后面遇到的挑战是怎么去减少立面构件的种类和保持立面的平整度。我们优先标准化可开启的玻璃窗的尺寸,通过他们的灵活分布来创造立面划分的随机性。我们尽力避免现场处理窗与墙体的交接,而是将整个立面细分成组,在工厂里预制好窗墙一体的幕墙模块,再现场吊装到楼板上。如果有机会去现场看,你看很清楚的看到这座建筑的幕墙平整度远高于紧贴着的那栋楼。

A brief introduction of the design: The highline park offers a great view as well as tourists’ uncomfortable gaze into private spaces. The 8 units are laid out in response to different view and privacy conditions on different heights. L3 and L4 are 2 units duplex sharing a courtyard on the backside to avoid tourists; L5, L6 and L7 all have living, dining and kitchens on the east side to overlook on highline, they varies in floor heights; L8 and L9 are facing south enjoy the view along the highline, but varies in color theme; L10 is double height with a swimming pool on its roof. We choose to express truthfully what happens inside onto the envelope. Then the challenge we face is how to reduce component types and control the flatness on the facade. We make operable windows’ sizes typical and adjust their location to create a randomness in facade divisions. Also conditions of window-wall joints are avoided to be done onsite, the whole facades are subdivided into window-wall panels, prefabricated and assembled onto the slab edge. If you have a chance to visit this building on the highline park, you can see the flatness of the curtainwall of this building is way higher than the silver building on its back side.

这段经历让我了解到建筑产业最高标准的项目是什么样子。除了我以外,项目上其它设计师年龄普遍在45-55岁左右。我们项目的联络盘里有42家以不同顾问命名的文件夹。我之前提到过,在一家典型的美国公司里工作并不一定需要你有多么好的创意,但需要你能系统性地去工作以及沟通协调。因为你是在和一套高度成熟和专业细分化的产业体系来一起工作。理解了所有的流程、标准以及每家顾问的职责和特点后才有可能去打破一些常规,做创造性的工作。

From that experience, I got an idea of the highest standard of the architecture design industry. Everyone except me on that project team were experts of their field around 45-55 years old. And we have 42 communication folders under each consultant’s name. As I had talked about previously, working in a typical American architecture firm does not necessarily require you to have brilliant ideas, it is more about working and communicating systematically, for you are working with a highly mature and specialized industry. Understanding procedures, standards and the role of different consultants is a must before you can be creative and break the rules.

在我实习将要结束的时候,我向团队指出彼得一直以来可能都是以他自己的形象作为这个项目的概念。我们都觉得很有可能是这样。我还告诉他们我之前另一位老板名字里有“岩石”和“松树”呢,你们猜那时我每天都在做些啥?我们要向他们学习,成为这样的建筑师。

At the end of my internship, I pointed out to the team Peter might, all this time, have been using his own image as the design concept. We all agreed that is probably true. I told them the other boss I worked for had “Rockery” and “Pine Tree” in his name and guess what I did everyday. We should all try to be architects like them.

 

Laguarda.Low Architects

早在2014年,在我去GSD上学之前,我有几个月的空闲。当时决定我应该去一个完全陌生的环境里呆一呆。那会儿身边的人都莫名瞧不起“商业”建筑。所有人的理想都是赢个竞赛、设计一座没有预算限制的博物馆、然后成为明星建筑师。但我想至少应该先亲自去瞧瞧“商业”建筑是怎么一回事,就申请去了一家当时叫“凯里森”的设计事务所。

在那里我了解到商业区的规划是一门学问。人们的消费行为有规律可循。很多人的生意通过合理的空间规划和组织可以起到“1+1大于2”的效果。建筑师在建筑形式以外,还有别的影响人们的手段。只有带着招商和运营的视角去进行空间设计,最终才能创造出有活力的空间。

可是在我实习完自己去逛了绝大多数的中国省会城市以后,我发现绝大多数建好的商场都设计得一样无聊。我就忍不住问自己了,商业综合体也许是亚洲城市里最重要的公共空间(当然有人会说是私有的公共空间),可以设计得不一样一点么?

记得是我来到深圳的当天,在那工作的我的高中同学就强烈推荐“你一定得去欢乐海岸看看”。我当晚就去了,发现确实是这座城市的“客厅”。所有年龄段的人都能在这儿找到自己喜爱做得事情。建筑和景观一道给人提供了非常丰富类型的空间体验,同时我又能感到有什么东西把他们串联成了一件完整的作品。(我当时并不能从天上看)但现在通过鸟瞰照片可以大致明白我在说什么。

Back in 2014, right before I went to GSD, I had a few months’ vacancies and I decided I should throw myself into a completely unfamiliar environment. Back then, people all around me for no reason despised “commercial” buildings. Everyone wants to win a competition, design a museum without budget constraints and become a star architect. But I thought I should at least get an idea of “commercial” buildings by myself and went to an office at that time called Callison in Shanghai.

I learned there that retail planning is a science. There are patterns about people’s shopping behaviour and how businesses could work together. Architecture form is not the only way we as architects can influence people. Energetic spaces can only be created by bringing leasing and management perspectives into space design.

However, later after travelling by myself to most of the provincial capital cities in China, I found most of the shopping centers look boring in the same way. I couldn’t help asking myself, as perhaps the most important public spaces (one can argue they are privately owned) in most Asian cities, could shopping centers be a little bit more than these?

The day I arrived in Shenzhen, my highschool friend working there suggested to me “you have to go to Happy Harbor”. I went there in the evening and found it was truly the “common room” for the city. All age groups could find what they love to do here, and the architecture together with the landscape were able to create vastly different spatial experiences while you could still sense something was there to string them into a whole piece of work. (I wasn’t able to back then but) you can get a sense of what I mean from this aerial photo of the “Happy Harbor”.

两年后,我在GSD准备毕业找工作了。在和LLA的一位设计总监面试时突然意识到我去过他们设计的项目。那时候我在学校正沉迷于设计“奇观”呢。我就想也许作为我职业生涯开端,跟着一群已经被证明有能力在城市最繁华的地段以巨大的尺度来创造惊艳的作品的人好好学习几年会是个不错的想法呢。

这之后我大约花了四年在这家事务所工作。我当然是想办法尽快去多学东西。但公司产生新知识的速度怎么也比学的速度快。怎么做到的呢?我记得现任的GSD院长萨拉·怀廷曾说过:“设计是去设计一个能产生设计的设计”。这句话用来解释LLA是如何运作的是最恰当不过的了。下图这样的“草图”是组织起整个工作流程的核心。绘图标准非常简单直白,囊括了所有对这类项目的成功至关重要的空间元素:塔楼落位与朝向、主力租户落位、商业动线组织、停车、滨水景观带… 这同时又是一个开放性的系统可以去吸纳所有人(通常是几位大佬,偶尔带一位年轻设计师)的想法来穷尽探索一块土地上所有的可能性。一般两轮快速设计研讨下来,就能产生最优解。

Two years later, When I was interviewing with one principal from Laguarda.Low Architects, it occurred to me that I had visited their project. At that time I was obsessed with creating “Wonders” in my student work and thought to myself maybe it is not a bad idea to start my formal career with the group of people who have proved highly skilled at creating great work at huge scales in city hubs.

Then I spent almost four years working in this office. I tried to learn as fast I could, but the office can just generate new knowledge faster than I learn. So why and how? I remember that Sarah Whiting, the current dean of GSD, once said:”design is to design a design to produce a design”. That perfectly explains how LLA has been designed to function. The type of sketch below unifies the entire workflow. Sketching standards are simple and straightforward to include all the essential spatial elements (tower locations and orientations, anchor stores, retail circulation, parking access, waterfront…) to make our type of project work. It is an open system to absorb everyone’s (usually by design principals, sometimes with 1 younger designer) idea to fully explore all possibilities of a certain piece of land. Within maybe two rounds of charrette, a best-and-only solution could always be found.

这个项目是LLA在深圳龙华区设计的红山6979,是一座TOD综合体开发项目。如果仔细观察草图的绘制方式,你会看到建筑与景观的边界被淡化了。事实上,你绝不会找到一座LLA的建成作品里室内外的体验会有割裂感。一系列的公共空间总是在尺度和比例上有巨大的差异,以此来为来访者创造有节奏的兴奋感。

This project is what LLA designed for Shenzhen Longhua District – Hongshan 6979, also a TOD mixed-use development. The way those sketches are drawn downplayed the boundary between buildings and landscape. In fact, you can never find a LLA project in which the indoor & outdoor experiences are abruptly cut off. And the public spaces should always be varying in size & proportion and yet connected so as to create a rhythm of excitement.

我下面用来举例的这个项目是最近在东京郊区刚刚建成营业的南町田公园TOD项目。建成后它瞬间就成为了东京最具人气的网红打卡点和消费目的地。这是一个“轨道交通站点综合开发”型项目,在汽车与轨道交通的换乘之间无缝植入了能满足人们所有类型的社交需求的空间。LLA的设计提案创新地将市郊公园和商业购物区融入了彼此,创造了前所未有的体验。

The project I am using as an example is a recent built project in suburban Tokyo. It quickly became one of the most popular shopping destinations. It is a TOD project that satisfies all aspects of social needs at a transition hub from car to railway. LLA’s scheme created a new type of experience by merging shopping experience and park experiences into each other.

下一步我们会接着在三维空间里来发展设计。很多“商业专家”永远都在念叨商业动线要“清晰”。我们的设计总监们总会拿威尼斯的街道网格来举例说明我们的理念-“清晰”不等于“无聊”。我们用变幻莫测的空间朝向、碰撞交错的形体、给人意外惊喜的地标、植栽、水体和自然材料的有机混合一道来给来访者创造轻微而令人感到愉悦的“迷失感”。而这正是“场所营造”的终极目的。增加人们对空间的亲近感从而使人流连忘返。从商业角度来说,帮助业主实现商业收益的最大化。

Next step we will move on to test design in 3D. Many “retail experts”, all the time, ask for “clear” retail circulation. Our design principals always use the street web of Venice as an example – “clear” is not equal to “boring”. It is the ever-changing space orientations, collision of forms, surprising landmarks, the fusion of plants, water and natural materials that together create a subtle and pleasing sense of lostness for visitors, which serves the ultimate goal of place-making – to create the affinity of the space and lengthen people’s stay, in other words, maximize the retail value for the client.

我们经常被要求注意“控制建筑和景观的尺度感”、“尽力让立面更简洁”。我想这些“规矩”背后的认知是不要局限于把建筑当作一个可以拍出好照片的物品来设计,而是作为能为空间里的活动提供能量的背景环境来设计。人的感受才是空间设计的核心关注对象。

We are always required to pay extra attention to “break down the scale of the buildings and landscape” and to “make our facade design simple”. I think the mentality behind these “rules” is not treating architecture only as a pretty object to be photographed, but as a background to empower the activities in between. People’s feelings are the core concern of space design.

正如我刚提到的,LLA的工作方式是一个开放性的体系。如果业主真心想要惊人的设计,这套体系就真可能产生惊人的设计。下面的这个项目是在深圳宝安核心商务区的中轴线上。我们的客户华侨城在项目的前期规划阶段期待一件把所有文化和商业功能有机整合在一起的作品。当我刚来到公司时,这张草图大作已经在某张桌子上画好了。我至今也没完全弄明白当时他们怎么画出来的,但经过无数次的努力,我至少研究清楚了难点都在哪里:

这个项目包括你能想象到的所有类型的功能需求:办公、酒店、公寓、零售、博物馆、剧场、教育、游客接待、摩天轮、观景台、游乐场、船坞、小山丘和蜿蜒的小溪流… 这每一部分的功能需求都需要通过宏观视角的审慎分析来确定位置和空间边界形态。基于此发展出了一系列自由奔放时而交叠的曲线来串联起整个场地的动线联系。与此同时,场地形态的整体构图也保持着几何上的统一性。

As I had mentioned, the way LLA works is an open system from which, when the client truly asks for amazing design, amazing design can really happen. This project is right in the central axis of the Bao’an CBD District in Shenzhen. OCT, the client was expecting an integration of all cultural and commercial programs in one piece work of art. When I came into the office, this grand piece of sketch was already there on someone’s desk. I still had no idea how they made it. But in my numerous attempts to study how it was done, at least I can introduce what the difficulties are:

The project consists of ALL types of programs – office, hotel, condo, retail, museum, theater, education, tourist center, ferris wheel, observation deck, playground, pier, hill and winding river… Each of these programs needs to be planned strategically about its location and configuration. Then everything got stringed together by free flowing strokes that intertwined with one another meanwhile keeping the overall composition geometrically unified.

这年头我们已经很习惯于见到自由曲面的建筑了。但他们当中“自由形体”的部分通常仅仅是建筑表皮。而在“欢乐港湾”这个项目中,每一条曲线都代表着一条贯穿建筑和景观部分的真实的动线的边缘。换而言之,形态就是人们的活动轨迹的真实表达。人们在空间里会产生的期待、探索和迂回都被仔细滴加以研究,并在总平面图上被精确操控,随后转化为三维的空间体验。随着标高的不断变化,迥异的景观随着人们在空间中的漫游而展开。人们时而会发现自己也称为构图中的一景。这这些图景被编制在一幅更宏大的整体画面中。

We have got used to freeform buildings nowadays, but most of the freeform part is just the building envelope. In this case of the O Bay, each of these curves on the masterplan is representing an edge of an actual circulation, throughout the entire building and landscape. In other words, the form is an expression of people’s movement. People’s anticipation, exploration and detours were carefully studied and manipulated on the masterplan and then turned into a series of spatial experiences. From the varying heights, views with infinite changes unfold for the visitors wandering through, and visitors once in a while will find themselves to be part of a view in the midst of a much larger overall composition.

目前“欢乐港湾”的建设已经接近完工。由LLA设计的摩天轮和近处的三个像外星大蘑菇的构筑物也已经开放。随着建筑部分和屋顶覆土植栽的完成,我相信实景一定比设计模型更能给人浑然一体的震撼感受。我已经迫不及待要去感受一下了。

This project is approaching its completion. I can’t wait to go there to take a look. The ferris wheel and the three alien mushroom looking structures (we called Pergola) have already been finished. As the architecture and the roof planting are going to be completed, I believe the real work will be even more breath-taking as a whole piece of art than our design model. I can’t wait to go there.

受限于篇幅。对LLA其它作品感兴趣的话可以点击公司网站链接:https://www.laguardalow.com/
Limited by the length of this interview, if interested in other works of LLA, you can check from this link: https://www.laguardalow.com/

 

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 thoughts?

我怀疑从一百多年起清政府派出的第一批留学生开始,就在被问这个问题。我的感触是中国可能是全世界最在意应该怎么看自己的国家之一:我们去海外各国,了解全世界,是为了以此作为标尺来衡量自己的进步或是落后。这是一种优秀的品质。

然而,我认为无论是中国还是美国,遭遇的挑战恰恰是对各自内部的不同之处的认识。以建筑设计为例,如今当我们想要一个非常特别、匠心独运的项目时,可能中国和美国都没法提供想要的解决方案。我们可能需要去欧洲、日本或是东南亚等等把文化多样性保存得更好的地方去寻求答案。我想在追求生产效率和资本收益的同时,也应该为解决独特而小众问题的实践保留关注度和生存空间。

另外,就我在美国的经历以及与其它行业的朋友的交流,美国社会相对中国有很明显的一点不同:很多建筑事务所、律所、诊所的负责人往往是年纪在七八十岁左右,开开心心亲自做着实操的工作。而在中国,盛传到35岁就应该担心被年轻人取代了。如果所有人都想要一样的东西,社会的潮流每隔一两年逆转一次,结果自然会是这样;但如果每个人都能通过接受教育找到自己擅长的细分领域,社会又能提供工作机会去让他/她不断在这个方向上积累经验,我想于个人于社会都会是一种更加理想的状态。

I suspect more than a century ago, the first group of Chinese students sent abroad by the Qing Dynasty had been asked the same question. China might be the country that cares most about how she should be viewed. We go abroad, try to understand the world, use our observations as a scale to measure our progress or being behind. This is a good virtue.

However, I think both China and the U.S. are facing the same challenge – to understand the differences within themselves. Take architecture design for example, suppose you want a very unique project, highly possibly neither Chinese nor the U.S firms could offer you a satisfactory solution nowadays. We might need to try our luck in Europe, Japan or South East Asia, where cultural diversities are better preserved. I think while seeking for higher productivity and capital returns, we should preserve some attention and spaces for practices that focus on special and minor fields.

Besides, based on my own experiences and information from my friends with other professions, the U.S is different from China in a significant way: we can easily find many leaders of architecture firms, lawyer’s offices, clinics to be in their 70s or 80s, happily doing hands-on work. However in China, I heard one should be worrying about being replaced by younger people once reaching their 35s. Well, if everyone fights for the same thing and the trend of the society turn over every couple of years, that is what we get; and if everyone can find what his/her interest, and the society can provide job opportunities for him/her to keep accumulating experiences, that would be a much more ideal state, either for individuals or the society.

 

你会回国吗?为什么?
Will you come back? Why?

文章发出来的时候,我应该正在回国的飞机上呢。

建筑师应该天然喜好充满变化的社会环境吧。美国社会已经发展得非常成熟并进入到一种稳定的状态。如今活跃着的一线美国事务所,绝大多数都是上个世纪成立的。

如果放眼于全球的土地,将时间刻度缩放到数百年的尺度,大规模的基础设施建设在某一地区出现应该是偶然而非常态。中国的城市在不断为建筑师提出新的命题。参与到这个进程中便是一份幸运。此外,我相信随着中国的城市化进入更新期,我们在这个宏大的试验中获得的经验教训也会对世界其它地区随后加速的城市化进程带来帮助。

By the time this article gets published, I should be on my flight back to China already.

I think architects naturally prefer a society full of change. The U.S society has already become very mature and stable. The majority of the most active american architecture firms were established no later than last century.

If we look at all territories of the entire world and use hundred of years as a scale of time, we would find large scale infrastructure construction of a certain area to be an occasion instead of a norm. Chinese cities are ever proposing new tasks for architects to solve. It is lucky for us simply getting involved in this process. Besides, I believe as China’s urbanization enters a new phase of urban-renewal, the experiences we got from this massive experiment will benefit other regions of our world which are accelerating their urbanization process right after us.

 

我可以借此机会简单介绍一下近两年来工作以外的一些探索和实践吧:
I can briefly talk about some of the practices I have been working on besides my employed job:

 

The Gift

举办方:招商集团
位置:深圳前海
团队成员:蒋方舟(文学)、姜慎微(插画)、闫筱荻(景观)、周显坤(规划)、马昭(结构)、何雨(策展)、索索(表现)
Competition Holder: China Merchants Group
Location: Qianhai District, Shenzhen
Team:Fangzhou Jiang (Literature), Shenwei Jiang (Illustration), Xiaodi Yan (Landscape), Xiankun Zhou (Planning), Zhao Ma (Structure), Yu He (Curation), SoS (Visualization)

蒋方舟和我是高中和大学的同学。去年上半年,蒋老师宣称了好几次要开始写小说了,正巧,我也念叨了好久不能天天只设计商场啊。心动不如行动。所以当看到深圳前海这个设计竞赛对参赛者没有往常的资质要求时,一拍即合觉得该弄点动静出来了。我们打算做一个文学与建筑的共同创作。

竞赛要求做一套规划、建筑、景观、结构、艺术全方面的提案,所以我们也喊全了各方面最有想法的小伙伴组建团队。如果有兴趣可以通过这两个链接查看蒋老师的小说原文和我们当时的思路:

Fangzhou and I were high school and undergraduate schoolmates. Earlier last year, Fangzhou had been claiming many times she was about to start writing novels. Coincidentally, I had been complaining to myself for too long that I have to design something other than shopping centers.

After learning about this competition to design a landmark for Qianhai Shenzhen, we decided that we have something to tell. We can have joint-work through Literature and Architecture.

The competition called for a comprehensive proposal covering aspects: planning, architecture, landscape, structure and curation, that’s why we summoned a team of the most thoughtful people from different backgrounds. If interested, you can check Fangzhou’s novel and our ideas through these links:

《我们在海边放了一颗巨大的蛋(上)》 | An Egg by the Seaside Vol.1
《我们在海边放了一颗巨大的蛋(下)》| An Egg by the Seaside Vol.2

可不幸的是,评委并没有读懂我们的想法。我们也没有入围决赛。即使是竞赛本身之后也没有了下文。没有关系,我们可以自己欣赏哈。如果没有耐心读完全文的朋友,可以快速浏览姜大师的插画作品精选,和我的精炼版剧情概括:

But unfortunately, the jurors didn’t seem to get our point, nor were we selected for the last round. Even the competition itself disappeared for some reason. No worries. We can be proud of our own work. If you don’t have enough time, you can quickly go through the selected illustrations and my short version of the story:

 

“普修凿蛋,众人观”
Protheu dug the egg, everyone else just watched.

 

 “普修凿蛋,众人散”
Protheu kept digging the egg, everyone else left him.

 

“普修凿完,众人还”
Protheu finished the egg, everyone else returned.

 

“众人又散,普修观”
Everyone else left again, Protheu gazed at the stars.

小说里的普修是一位以磨镜片为生的寡言男子,他生活的地方叫无知小镇。有一天海边来了一颗巨大的蛋,他二话不说就开始凿。谁想到,一时的冲动竟然开启了一场人类文明与宇宙的对话。那颗蛋最后竟然是一个宇宙中文明间可以用来对望的望远镜。

凿蛋的过程中,普修与小镇上的人时而迷茫、时而坚定、时而纷争、时而意见统一。他们会为自己的传统、经验和想象力所束缚,最终又因好奇心协助普修建成了望远镜,并造就了小镇的繁荣。这个过程让我们想起了柏拉图关于穴居人的隐喻。并以此作为地标设计的空间场景的灵感。

The character Protheu in the novel is a wordless man polishing lens for living. The place he lives is called the little town of innocence. One day a giant egg came to the seaside, he started diggin on it without a second word. This started the dialogue between humans and other civilizations of the universe. The egg turned out to be a telescope that civilizations can use to look at each other.

During the digging into the egg, Protheu and the residents of the little village had experienced confusion and quarrel. Their imagination was first trapped by their limited experience and tradition, but finally they helped Protheu finish the telescope out of curiosity and brought prosperity to the little village. This process reminds of Plato’s allegory of the Cave, and it became one inspiration of our scene design for the landmark.

讲回到设计本身,“看与被看”其实是业主在任务书中提出的概念。我们不想仅从形式操作的层面上来回应这个问题。我想应该先回答一个问题:深圳有什么精神是值得和世界来分享的?蒋老师用她文学创作的方法给出了答案:她把“看与被看”的关系放大到宇宙的尺度上。

Going back to the design, “watch and being watched” is the concept proposed by the client in the design brief. We don’t want to answer this only on the level of form manipulation. I wanted to answer the question first: what is the spirit Shenzhen should share with the world? Fangzhou gave her anwer by scaling up “watch and being watched” to universe scale in her literature way.

在这个设计中,地标的形式感尽可能被弱化。人们以聚集在一起的世界观察者的形象呈现。以人与人的汇聚与连接来象征城市的意义。

In this design, the landmark itself is formless. People are presented as observers of the universe. The meaning of a city is symbolized by the gathering and connection of the people.

此外我们也为项目提交了基本的结构和策展方面的设想,但很可惜没能获得经费来进一步深化设计。我们团队对这个作品的悠远意境都很满意,就商定有合适的机会一定接着把普修身处的世界接着构想出来。

Besides, our team also submitted basic proposals for structure, curation and so on. But unfortunately we didn’t get financed to develop the idea further. But we are all very happy with the infinite mood of distance in this work and agreed once we have a better chance, we can develop the world of Protheu further.

 

Cycle 101

业主:上海万科 + 华谊兄弟
位置:上海闵行区
团队成员:周娴(策划)、祝审含(建筑)、闫筱荻(景观)、姜慎微(标识)、张家宁(建筑)、胡悦(互动)、Aimage(表现)
Compeition Holder:Vanke Shanghai + Huayi Brothers
Location: Minhang District, Shanghai
Team:Sadie Zhou (Concept), Shenhan Zhu (Architecture), Xiaodi Yan (Landscape), Shenwei Jiang (Signage), Jianing Zhang (Architecture), Yue Hu (Interactive), Aimage (Visualization)

这个项目是为万科工作的朋友突然找到我的,说是因为他们想要些“猛烈”的东西。他们当时正在与华谊合作试图将外迁的大中华正泰轮胎厂的旧厂房进行改造。厂区面朝轻轨一侧需要向城市开放展示形象,立面与景观需要进行整体的设计。

邀请了五个团队:上海、杭州、深圳、伦敦、纽约的。我们就是那个纽约的。后来我们和另外一家进到了第二轮PK。很遗憾,我们的设计没有成为实施方案。但没关系,至少比上次有进步。

One day, a friend of mine who was working for Vanke Shanghai found me, saying they want something “striking” from us. They were working with Huayi Brothers to transform the old factories of “Dazheng” into offices. One side of the factory faces the city’s light rail and main road. They want to have an integrated design for the main facades and the landscape as an open gesture to the city.

Five teams all over the world were invited to compete: from Shanghai, Hangzhou, Shenzhen, London and New York. We were the one from New York and made it to the final round when only two teams left competed with each other. Unfortunately again, our proposal did not become the implemented one. No worries, at least we made some progress than last time.

第一轮提交的想法:1.旧建筑阵列状的开洞的形式感很强烈,应该在保留的基础上去强化;2.给每栋厂房符合自身应有气质的形象,戏称“小正”、“大正”、“老正”;3.厂房的编号可以以数字造型的景观构筑物的形式出现,激活整个场地。

In our first round scheme, I have made two basic design judgements: 1. The grid of openings on the original facades are very powerful, I want to keep and address them; 2. Each building should have its own unique character but unified under one family. We were joking about the family of “Little Zheng”, “Big Zheng” and “Old Zheng” (“Da” means “Big” in Chinese.); 3. The number of each building could project itself onto the site as landscape structures so as to activate the entire site.

“大正”是产业办公。我们在原方格窗的基础上增加了一层徐徐揭开的穿孔铝板表皮。一方面为背后的办公空间创造有一定私密感的“屏风”,同时作为“背景”为前方的广场营造轻松、自然的休闲、交流氛围。我们希望通过营造可以被亲身感知的社群感的场景来为产业园区吸引租户入驻。

“Big Zheng” is planned as a group of office targets for corporate tenants. We added one layer of perforated aluminum sheet “detaching” from the original facade. On one hand, it is a “screen” to create privacy for the office building behind it; one the other, it fosters a relaxed, natural atmosphere for the plaza in the foreground that encourages social interaction between the office uesrs. We want to create a scenario for people to touch and feel the sense of community as a more lively attraction for tenants.

“老正”是轮胎厂的历史博物馆。我们考虑将它的立面和广场设计为一个适合家庭活动的互动玩耍空间。建筑立面同样使用了穿孔铝板,但通过比例和对称性的处理使得这座建筑具有文化建筑的庄重感。通过整体的投影图案吸引广场上的人们进入一探究竟。与建筑形体相碰撞的是一套公共的观景动线,与广场上活动的人群形成对望的关系。我们希望建筑空间展示出的文化应该是可参与的方式来体验,并且能促进人与人之间的情感连结。

“Old Zheng” is a museum showcasing the history of the tyre factory. We would like to create an interactive and playful space fit for family weekend outings and extend this all the way onto the building facade. We also used perforated metal, but created a more formal character as a cultural building by adjusting the proportions and symmetry. The projection is behind the skin and arouses curiosities for people to step in. There is also a public circulation colliding with the building volume. It led to an observation deck that looked back at the people on the plaza. We hope the culture to be exhibited is participatory and forges stronger emotional ties among people.

这张图解简答地说明了我们关于“大正”和“老正”两座建筑分别的双层表皮的构想。由于原建筑的结构变动会涉及到更为复杂的审批流程,因此我们对原有开洞的保留仅在于概念上,新的有深度的立面作为独立支撑结构加建在原结构外侧。

This diagram illustrates our idea of the double skin for “Big Zheng” and “Old Zheng” respectively. As any changes to the original structure would cause more trouble for city approval, we keep our preservation of the existing openings to conceptual level. So the new facade with a depth for activities is designed to be a free-standing structure outside the original structure.

这次受邀参加的竞赛,极大增强了我们团队应对实际较复杂项目的信心。大家以后还需要“猛烈”的设计也欢迎找我们。

This invited competition greatly boosted our team’s confidence in dealing with real and complicated projects. If anybody wants anything “striking” in the future, please feel free to contact us.

 

42 Book & Space

业主:当代集团
团队成员:蒋方舟(概念策划)、周娴(运营策划)、闫筱荻(景观)、王暮格(照明)、付之航(建筑)、安一辰(建筑)、姜慎微(视觉)、邬晶晶(建筑)、胡悦(互动)、Aimage(表现)
Client:Dangdai Group
Team:Fangzhou Jiang (Concept), Sadie Zhou (Operation Consultant), Xiaodi Yan (Landscape), Muge Wang (Lighting), Zhihang Fu (Architecture), Yichen An (Architecture), Shenwei Jiang (VI), Jingjing Wu (Architecture), Yue Hu (Interactive), Aimage (Visualization)

业主是一家综合性集团下属的较年轻的商业地产管理公司。书店是一个更大的改造计划的一部分。业主本人爱好文学,希望在热闹的商场里创造出一个专门为向往孤独的人独处的空间。这是我从事商业建筑设计多年来第一次见到有业主不想让太多人来的,直觉告诉我这是一个做出些不同寻常的东西的难得的机会。

而且因为业主给到的限制要求其实很少。所以除了正常的室内设计工作,概念策划、营销和运营策划、视觉系统、商场顶层局部的花园景观设计、互动体验等等,也需要我们来做。由于之前的很多合作里已经互有信任和默契,所以很快组建了多专业的团队。

有幸和蒋老师再次合作。我们想了想,宇宙中没有什么比宇宙更孤独的东西了呀,就提出了“大师的星空”这个概念。蒋老师书读的比我多,她把书里书外的大师们看作天上的星星。大师之间通过书来互相启迪,就和星星彼此之间互相照亮一样。我想不要做高科技的宇宙,而是去做一个古老的神庙,从宇宙的尽端来回望星星的历史。很自然地,皮拉内西所作的古罗马遗迹的版画就成为了我们很重要的启发。

The client of this project is a young real estate management firm under a much larger business group. This bookstore is part of a much larger renovation project. The client himself is a literature lover. He wanted to create a space for being alone inside a crowded and noisy shopping center. As this is the first time during my few years of experience designing a shopping space to see a client who doesn’t want too many people to come, I sensed a precious opportunity to do something different.

Besides, as the initial restrictions from the clients are not too much, we need to undertake much more responsibilities than interior design: concept proposal, marketing and operation proposal, visual identity, interior design, interactive experience and some of the roof garden design. We quickly put together a team based on the tacit understanding from previous collaboration.

Fangzhou was again invited to work together. We thought what could be less crowded and less noisy than the universe, proposed the concept “the constellations of masters”. She reads lots of books and sees the “masters” illuminate one another through books just like stars illuminate each other. And I was thinking instead of doing a high-tech universe, we do an ancient temple to look back on the history of the stars. So the wood cut works of Piranesi’s imagined ruins of ancient Rome became an important inspiration for us.

我们这个项目内部有三层楼。我们把最主要的垂直交通空间用来做星星的纪念空间。天花上的浮雕吊顶是一个巨大的“时间之轮”的一小段。我们的平面设计师创造了一系列星星从生到死的历程,作为浮雕印刻在天花里。我们的照明设计师精心设计了隐藏的光源,来增加空间的神秘感。

We have three stories in this project, we made the major vertical circulation into a space to commemorate the history of the stars. The relief on the ceiling is a small part of an infinitely huge “wheel of time”. A series of abstract configurations recording a star’s birth to death is inscribed onto a curved ceiling. Our lighting design tried to hide all the light source in order to create a more mysterious mood.

项目的业主也非常喜欢我们的提案,很激动,后来就开始帮我们想方案了。有一天,业主团队告诉我有一个特别牛逼的想法——做一个“虫洞”,来把遥远的空间联系起来。我们想了想,觉得也还不错,但完善了一下,给加了一层金属边细节去暗示“星轨”的存在。

The client was very excited about the idea and started to think about design with us too. One day they told me very excitedly that they got a wonderful idea – a “wormhole” – to connect far away places. I thought that was not a bad idea actually and refined it with one more layer of hint implying the star trails.

这个空间不只是关于书的。业主和我们都认为书的存在是用来连接人与人的。我们创造了一套新的字体,用他们来创造了与透光吊顶相结合的“拼字游戏”。通过这样的方式,我们在空间中编织进另一层级的信息,希望借此来引起人们的探索发现的愿望。

“答案藏在星空里”。

The space is not just about books. The client and us both believe books are the means to connect people. We created a new set of fonts and used them to create “crossword” light ceilings. We embedded one more layer of information to the space hoping to intrigue discovery throughout the space.

“The answer lies among the stars”.

我们书店的一部分一直延伸到了购物中心的屋顶上,产生了一个小型的聚集空间。我们试图在文化空间的庄严性和社交空间的活跃性之间找到一个平衡点。空间里的所有元素都围绕着一个微微发光的“沉睡的”月亮展开——以陌生的方式来呈现我们熟悉的景致。我们希望这个月亮的存在可以使整个环境宁静下来。

Part of our bookstore extended onto the roof of the shopping center, thus creating a small gathering space. We tried to find a balance between the solemn of a cultural space and the dynamic of a social space. Everything is centered around a glowing “sleeping” moon, a familiar image presented in a very unfamiliar way. We want its presence to be able to calm down the atmosphere of the place.

另一个隐藏在竹林深处的小花园是四分之一座迷宫。迷宫两侧的镜面玻璃通过多次倒映的镜像来补全这个迷宫。在城市最繁华最核心的商业中心里,我们希望创造一个宁静的小角落,一个你可以和自己对话、可以去思考“宇宙的终极答案”的场所。至于植物的选择,我有天查了一下我们景观设计师名字里“筱”“荻”的涵义,忽然间好像明白了点什么。

The other garden we proposed is a quarter of a maze. The reflective glasses on two sides complete the maze with its reflection. In the heart of the busiest hub of the city’s shopping district, we want to create a tiny corner of tranquility, a place where you can look and speak to yourself and think about “the answer to the universe”. As with the selection of plants, our landscape designer Xiaodi’s name seems to mean “Bamboo” and “Silvergrass”. I think that is probably the reason.

这项目也快启动施工了。业主团队也很努力。我们希望在无数的尝试和学习后,可以让这座书店以完美的状态示人。任何人有任何好建议我们都欢迎~

This project is about to start construction. The client is trying their best. We hope after learning many lessons, this bookstore will finally come out beautifully. Any type of advice or help are most welcomed.

 

Prisoners of the Star

团队成员:蒋方舟、索索(表现)
Team:Fangzhou Jiang, SoS (Visualization)

这幅是我们受蒋方舟委托,为她的新的小说集《和唯一知道星星为什么会发光的人一起散步》构想的一幅场景画。我们把书中每个故事的核心场景收集到了一个虚构的星球里。每个故事的主角都是囚徒:时间的囚徒、时代的囚徒、蛋里的囚徒和永生的囚徒。我们会想办法将这些场景以及更多更好玩的故事变成动画、舞台剧和其他任何可能的各种形式。也希望有兴趣合作的朋友或是机构加入!

This scene is what we have created for Fangzhou Jiang’s new novel collection Taking A Walk with the Only Person Who Knows Why the Star Shines. We collect the major scene of each story into one fictional planet. The main character of each story is a prisoner: A Prisoner of Time, A Prisoner of her Time, A Prisoner in the Egg, A Prisoner of Eternal Life. We will try to turn some of those scenes and many more interesting stories into animation, stage play or any other possible forms. Anybody or any organization interested in collaboration, please feel free to join us!

最后附上我写给这本小说集的吹捧文来做结尾吧:
Finally, let me use this article that I write for this novel collection as an ending.

 

文学可以带给建筑什么可能?
What possibilities could Literature bring to Architecture?

在康德的时代,人们逐渐梳理出了身处世界的来龙去脉。人们思考建筑的目的,产生了“优美”(Beautiful)与“崇高”(Sublime)之辨。巨石阵、金字塔、大竞技场,它们承载着建造者对自己短暂的生命在宇宙中所处位置的认知,并明白无误地传递给数千年后的我们。这类为了回应人们对超越个体日常经验的关切的建筑物,我们称之为“奇迹”(Wonder)。

不幸的是,人类在20世纪的种种遭遇,成功解构了一切意义系统。一座座展现资本积累力量的巨大而又新奇的纪念碑拔地而起。可它们的力量感却再也无法给人以“崇高”的审美体验。

经历了“祛魅”的世界如何能够“复魅”?

《海边巨蛋》的缘起是2019年我邀请蒋老师一起为深圳前海湾构思一座新地标。那一年无论是中国还是美国,很多人对外面世界的看法都发生了改变。当蒋老师提出为地球和宇宙中的文明放下一颗文明之间互望的“水晶蛋”时,我看到了一种可能性:我们可以创造一个奇迹,通过它将现实世界连接到文学创作这个无限开放的意义系统。在这片寓言式的小说里:无论是处于宇宙文明起点的“普修”,还是处于宇宙文明终点的“罗米斯”,都在各自所身处的充满怀疑、迷茫、世俗之见的世界里保持了孩子般的好奇心。在“方舟宇宙”里,好奇心是受褒奖的品质,正如“普罗米修斯”盗至人间的火种一般珍贵。而我们设计的水晶蛋,不象征任何已有的意义系统,而是以它自身的独特存在去启发人们对宇宙的可能性开始自己的思考。

当《看星星发光》的创作开始时,世界已经进入到了2020年。人们习以为常的平淡逐一远离我们的生活,变成记忆中的美好。“方舟宇宙”里的星空究竟见证过怎样的历史?地上的瘟疫和战争、相爱与背叛,天上的星星们也会经历吗?幸运的是我们正巧接受了位于湖北的一座文化空间的设计委托。我们以一个双关数字“42”命名了这个空间:“42”作为湖北的身份证号头两位数字,承载了这片土里上人们在疫情初袭时的共同记忆;“42”同时是《宇宙漫游指南》里“生命、宇宙以及任何事情的终极答案”。同小说里真实与虚幻的两条相互交织的故事线相合:建筑空间中的浮雕铭刻着星球从诞生到毁灭的历程,天上的星座映射了地上的大师与大师之见的互相启迪。在这里,人与人的相遇与离别,都能在星空中追溯到踪迹。“答案藏在星空里”。

《边境来了陌生人》是蒋老师最新的一篇作品,2021年也即将到来。在二十一世纪即将开始时,我们曾憧憬着一个前所未有的时代;而在经历了这么多事情后,我们又不得不怀疑历史是否将再次重复自己。历史是否会成为宿命,取决于我们如何去对待记忆。我们正在尝试创造更新颖的空间形式来呈现和感知记忆与真实。

记得当我问起蒋老师“南十字星人”长什么模样时,蒋老师不假思索地告诉我他们都是“镜子”,每位“南十字星人”看到的世界是什么样,他就长什么样。于是我们据此构想出了这幅“南十字星人”视角下的“方舟宇宙”。我们的读到的、想到的、创作的所有思想,在宇宙最远古的角落里都有一位“南十字星人”在默默注视着。在他们看来,我们的思想和创造,都是宇宙的奇迹。

In the time of Kant, people gradually traced out the past and present of the world they live in. When people think about the purpose of Architecture, they start to tell the difference between “beautiful” and “sublime”. The Stonehenge, the Pyramids and the Colosseum are inscribed with their builders’ understanding of how their short lives were positioned in the universe, and clearly pass it on to us. Such structures that answer the concerns that surpass an individual’s everyday experience, we call them Wonders.

Unfortunately, what human kinds have gone through in the 20th century successfully deconstructed all meaning systems. Huge and novel monuments went up one after another, demonstrating the power of accumulating capitals. But their sense of power could never give us an aesthetic experience of “sublime”.

How could a world that has been “Dis-enchanted” be “Re-enchanted”?

The Egg at the Seashore starts with my invitation for Fangzhou to together design a new landmark for Qianhai, Shenzhen. In 2019, both in China and the U.S, many people have changed their view of the outside world. When Fangzhou proposed a crystal egg for the two civilizations of the universe to look at each other, I saw an opportunity: we can create a wonder to connect the physical world to the world of literature – an infinite open meaning system. In this allegorical story, both Protheu who is at the starting point of a civilization, and Romeus who is at the finishing line of a civilization, managed to keep the curiosity like a kid in a world full of suspicion, confusion and cynicism. In the universe Fangzhou has created, curiosity is a virtue to be awarded. It is as precious as the fire Prometheus had brought to mankind. And the Egg we created is no symbol of any existing meaning system, but an inspiration for people to start their own thinking about the possibilities of this universe.

When Looking at the Stars Shine got started, the world entered the year 2020. What we were used to left us one after another, became memories. What have the stars witnessed in the universe of literature? Would they experience the plague and war, love and betrayal as we have? Luckily, we got the commission to design a cultural complex in Hubei Province. We agree on naming this space with the number “42”. “42” are the first two digits of Hubei born ID number, and bear the common memory as the first people struck by the pandemic. “42” is also the “Answer to Life, the Universe, and Everything” in The Hitchhiker’s Guide to the Galaxy. Just like the intertwined storyline of the fantasy and reality, the architecture space here is also inscribed with the history of a star’s birth to death, mapped with the constellations of masters who illuminate one and another. Here encounter and departure can all find their traces in the sky – “the answer lies among the stars”.

A Stranger at the Border is the newest work by Fangzhou when 2021 approaches. When we were about to step into the 21th century, we once were longing for an era never imagined before. However, after going through all these that had come to us, we have to question whether history is going to repeat itself. Whether what had happened would become our destiny depends on how we treated our memories. We are working on creating more creative spaces to present sensible memories and realities.

When asked about what the “South Crossians” look like, Fangzhou answered without any hesitation – they are all “mirrors”. They look like the world they look at. Based on this description, we pictured out the universe from the “South Crossians” perspective. Please keep this in mind: what we are reading, thinking and creating, is being watched by a silent “South Crossian” in a far away corner of the universe. In their eyes, every thought and creation of us is a wonder of the universe.

 

 

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

年初的时候听说蒙古国给湖北省捐了三万只羊,现在应该快到了。我一直想着能不能赶回去尝一口。

I heard that earlier this year, when my home city Wuhan was first struck by the Covid-19, Mongolia donated 30,000 lambs to the people of Hubei Province. They should be arriving soon. I have been missing about my potential bite of them.

 

归国后有什么打算呢?
Any plans after returning to China?

过去几年战胜了一些小麻烦,比较费力气。我想先好好休息一阵,先陪父母全国各地逛一圈吧,见见朋友们。好吃的、好玩的、好看的不要有任何遗漏,欢迎大家推荐。

玩够之后我想再找家事务所,跟着落地经验丰富的师傅再多学几年吧。建筑道路很漫长,要学的东西还很多。也欢迎大家推荐。

In the past few years I made some efforts to overcome some trouble. I want to take a long holiday and travel around China with my parents and then visit my friends. Anything good to eat, to visit or to see, please feel free to recommend to me.

After that I want to find some design firm in China and someone with a lot of practical experience to learn from. The road of architecture is long and there is much more to learn. Feel free to recommend it to me as well.

 

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?

从你还是个博客的时候。最早了解BIG和MAD这样的新锐事务所也是通过谷徳。之后发现那个博客一直在成长,还保持了很好的品味。谷徳成长的经历对我们也一直是份激励。

过了几年我也交了《We Work for MAD》。很多在谷徳上了解到的人,他们的作品都被我下载到了硬盘里,再后来在现实中也产生了交集。隔几年看到这些人的变化,或是没什么变化,就很欣慰大家都还在这条道路上往前走。

一旦给谷徳提交了作品和想法,就会发现那之后的每一天都是为了给下一次提交作准备。所以那之后的每一天都会变得特别有目标感。所以呢,其实我觊觎这个《在海外》的第100期很久了。很高兴有机会去分享这几年的探索和思考。

Ever since you were still a blog. I remember I first learnt about cutting edge offices like BIG and MAD from gooood. After that I found the blog keeps growing and has a very good taste. The growth of gooood is also an inspiration for us.

A few years after that, I also submitted my story for We Work for MAD. And many people who have been onto gooood and had their works downloaded into my hard disk, later came into my real life. Every couple of years, I see these people’s change, or see these people haven’t changed, then feel very happy that all of us are still on the road.

Once submitted works and thoughts for gooood, you will find the following day as the first day of the preparation to submit for the next series. Then everyday after that became very purposeful. So, actually I have been putting my greedy eyes on the No.100 of Oversea series for a long time. I am happy to get this chance to share my thoughts and experiments.

 

在海外时间:2010年,2014年-2020年
在海外地点:斯德哥尔摩,波士顿,纽约
姓名:覃斯之
籍贯:湖北武汉
学校:清华大学、瑞典皇家理工学院、哈佛大学设计学院
工作单位:LLA建筑设计
联系方式:sizhi.qin@qinsizhi.com
微信号:sz433433

When:2010,2014-2020
Where:Stockholm, Boston, New York
Who: Sizhi Qin
From: Wuhan, Hubei
School: Tsinghua University, Royal Institute of Technology Sweden, Harvard GSD
Firm: Laguarda.Low Architect
Contact: sizhi.qin@qinsizhi.com
Wechat: sz433433

 

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