Overseas NO.104: Sun Shujian

The No.104 episode is about Sun Shujian who graduated from Technische Universität Darmstadt and is now working as an independent architect

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。
第一百零四期为您呈现的是毕业于达姆施塔特工业大学,现为独立建筑师的孙书剑。
个人工作室主页:15 Studio

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.104 episode is about Sun Shujian who graduated from Technische Universität Darmstadt and is now working as an independent architect. Official website: 15 Studio.

为什么出国?
Why going abroad?

想看一下西方的教育方式,也想去感受⼀下曾经学过的那些建筑现场。

I wanted to experience the European approach to education, and I also wanted to visit those architectural sites that I had studied.

 

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?

在国外的经历是一段整合的新鲜体验,不仅是学习中,也包括生活的方方面面。常常在这些经历中感到巧合性的一致,不论大家来自怎样的背景或者文化。这种有些微妙的统⼀让我觉得很有意思。

The overseas experience is an integrated, fresh experience, not only in terms of studies but also in all aspects of life. No matter from which background or culture my peers came, I often felt some sort of unity by coincidence in such an experience. This subtle feeling of unity was very interesting to me.

 

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

家人,朋友。那种有点怀旧的、熟悉的感觉。

I miss my family and friends, as well as the feeling of nostalgia itself.

 

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

会。回国之后跟家⼈的联系会更紧密一些,想多跟家⼈相处。

Yes. I will certainly get closer to my family if I go back to China and I really want to spend more time with my family.

 

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?

并没有觉得看得更清晰,国外⽣活好像使我站在⼀个平行于中国的语境中,这种疏离感让我以另一个角度看中国,其实也是反观⾃己。我想自⼰一直没有跟中国语境脱离开,所以也不能说看的更清晰,只是有了⼀些不同于以前的体悟,挺有启发的。

I don’t really think so, living abroad seems to make me stay in a parallel context to the Chinese one, and this sense of distance and detachment offered me another angle to look at China and also myself. I guess I have never really got detached from the Chinese context, so I cannot say that it is more distinct for me to view China, but I indeed have some different understanding from before, which is quite in-spiring.

 

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

学校比较注重⼿工模型,⼀切设计的思路都伴随着模型的推敲,从最初的概念到最后的呈现都需要通过⼿工模型。有些教研组对3D模型或者渲染甚⾄有排斥的态度,这个是我在国内没有过的体验。城市设计从1:500的实体模型深⼊推敲⾄1:200包括周边环境的模型,室内空间是从1:50实体模型的光影氛围深⼊⾄1:20的⾊彩材质,最后还有家具与功能氛围营造的模型拍照workshop。

Our school values handmade models a lot, and all the design ideas are supposed to be accompanied by modeling, from the initial concept to the final presentation. Some faculty members even have a reluctant attitude towards 3D modeling or rendering, which is something I have not experienced in China. The urban design process went from a 1:500 model to a 1:200 model which includes the surrounding environment, and the interior design process went from a 1:50 model emphasizing light and shadow to a 1:20 model emphasizing color and materials, and there was even a workshop for photographing the models with furniture and functional atmosphere.

 

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?

现在在慕尼黑的Bogevischs Buero建筑事务所工作,这⾥主要以住宅类项⽬为主,从城市空间的丰富度、公共空间与居住空间的关系及使用者的多样性为出发点,探索住宅类项⽬在目前社会中的可能性。WagnisART是⼀个⽐较典型能体现事务所特点的案例。这⼏年的工作中做过⼤大⼩小⼏个项目,也经历过一个项目的不同阶段。即便是同一类项目,深挖下去还是有很多新东西。

在积攒落地项⽬经验的同时,我也在跟朋友做⾃己的Studio,我们通过做竞赛来尝试一些感兴趣的设计方法,相比结果,我们更看重是否找到了一种有趣且可延展的设计思路。如果它可以在之后的实际作品中重现,会让⽬前的我们觉得更有意思。

I am currently working at bogevischs buero in Munich, where I focus on residential projects, exploring the possibilities of residential projects in the current society from the perspectives of the richness of urban space, the relationship between public and residential spaces, and the diversity of users. WagnisART is a typical case that embodies the characteristics of the firm well. In the past few years, I have been working on several projects including large and small ones, and I have also been through different stages of one project. Even if it is the same kind of project, there are still many new things that I can dig deeper.

While gathering practical experience with such projects, I was also preparing to found my own studio with a friend. We participated in competitions to try out new design approaches, and we were more interested in exploring inspiring and scalable design ideas than the results of the competitions. If the design idea can be re-used in actual works later, we will be more passionate.

 

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?

可能我没办法说出一个“最喜欢”的艺术家。最近让我⽐较印象深刻的是勒内·马格⾥特 (René Magritte) ,他具有哲学性的画作给我很多启发。画作里内与外,虚幻与真实,眼前的事物与不在场的事物等等,这些对立物之间模糊的共存关系,让我对建筑中空间的边界、渗透或融合有一些思考。

I probably cannot name a “favorite” artist. The most recent one that impressed me a lot is René Ma-gritte. Many of his paintings cover some philosophical thoughts, and they have inspired me deeply. The coexistence between the interior space and the external space, illusion and reality, the presence and the absence, and so on, has made me ruminate about the boundaries, penetration, or integration of spaces in architecture.

 

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?

这个作品集⾥展示的⼏个项⽬都是以一个与建筑不紧密相关的命题设计训练开始的,这是在学校期间偶然从⼀个设计课中学到的方法。我对这种⽅法很着迷,所以在之后的设计中继续⽤这种方法做训练。如果大家看了这个作品集对这种设计⽅法产⽣一点兴趣,可能就是这个作品集的迷⼈之处。

All the projects in this portfolio are based on a design exercise with an assigned theme. And the theme is actually not closely related to architecture. This is an approach I accidentally learned from a design class. I was quite fascinated by this approach and continued to apply it to my other works. If you saw my portfolio and also feel something, that is probably the fascinating part of my portfolio.

 

什么时候开始看谷德网的?欢迎你提出建议哦,谢谢。
When did you start to follow gooood? Any suggestions?

本科毕业前开始看的,看到很多有趣的分享,喜欢谷德!

Before the graduation of my bachelor’s study, I have seen many inspiring posts and I really like gooood!

 

 

 

 

 

W O R K

 

 

 

01.

德国驻梵蒂冈⼤使馆
Deutsche Botschaft beim Heiligen Stuhl in Rom
German Embassy to the Holy See in Rome Diploma Project
Critic: Prof. Dipl.-Ing. M. Arch. Felix Waechter

⼤使馆项目基地位于意大利罗马,南与城市公园、东与德国歌德学院相邻,处于以居住功能为主的片区。作为一个合居住与办公功能为一体的⼤使馆,如何在城市空间中连接现有建筑与自然环境、如何回应歌德学院、如何处理大使馆的私密性与公共性的关系是我在设计过程中关注的问题。

The embassy project is located in Rome, Italy, adjacent to the city park in the south and the Goethe-Institut in the east, in an area with mainly residential functions. As an embassy that combines residential and office functions, how to connect the extant buildings with the natural environment in the urban space, how to resonate with the Goethe-Institut, and how to deal with the relationship between the private and the public concerns of the embassy were the main issues I focused on in the design process.

楔形建筑体量的置入,⼀个由宽变窄的体块将建筑空间引导到城市公园。⼤使居住空间与常规办公 空间这两个主要功能以两个“L”的形式相扣,同时形成⼊口大厅空间与外部露台空间。办公人员与来宾通过入⼝大厅向两个功能⽅向分流。⼤使可以从居住空间穿过露台进⼊办公空间。⾯对歌德学院以⼤面积开窗的⽴面与歌德学院产⽣互动,并共享中间广场。另一侧⾯对相邻住宅则⽤⼤面积封闭的⽴面以满⾜私密性的需求,以均匀格网和拱形形制延续⽴面的逻辑。建筑较窄一端是主要来宾及大使的起居空间,⾯向城市公园开窗,营造相对自然的氛围。

The wedge-shaped architectural block connects the architectural space to the city park by tapering smoothly from wide to narrow. The two main functional spaces-the residential space and the working space-are interlocked in two “L” – shaped areas, forming the en-trance hall and the exterior terrace space in the meantime. Office workers and visitors are led to two functional directions respectively through the entrance hall. From the residential space, the ambassadors can enter the working area through the terrace. The façade facing the Goethe-Institut with its large windows echoes the Goethe-Institut and shares the middle square with it. The other side of the building faces the adjacent residences and guaranteed privacy with a large enclosed façade, meanwhile, the homogeneous grid and arched form ensure a consistent design style of the façade. The narrower end of the building is the living area for important guests and the ambassadors, with windows facing the city park to introduce nature to the inner space.

⼊口大厅的⾼窗使自然光滑落,营造罗马教廷相似的氛围。右侧的坡道通向⼤使馆会客空间,拱形开窗连结室内外,为大使馆活动提供室内外双重可能。外墙采⽤深红⾊的染色混凝土,让大使馆具有雕塑感,同时又与暖⾊系周边建筑相和谐。

The clerestory windows in the entrance hall allow natural light to slip through, creating an atmosphere similar to that of the Holy See. A ramp to the right leads to the embassy’s meeting hall, with arched windows linking the interior to the exterior, providing both in-door and outdoor possibilities for embassy activities. The exterior walls are consist of stained concrete in a deep red color, giving the embassy a sculptural feel while harmo-nizing with the warm color tone of the surrounding buildings.

 

 

 

02.

新型居住
Neues Wohnen
New Living
Critic: Prof. Dr. Elli Mosayebi
Teammate: Xue Peng

这是一次很有趣的设计体验。从一个小的命题设计练习开始,完成一个相对完整的建筑,之后再以倒叙的⽅式将建筑置于⼀个自选的文脉中。

Mosayebi教授的这次设计课旨在探索新型居住空间。对于无基地无项目规模⽆限制条件等什么都没有的情况下,这次的设计训练(Vorübung)是选择两个居住空间内的⾏为,⽐如读书、睡觉、做瑜伽、看电影等,然后组合在一起,再以室内常见的构件⽐如门、阳台、窗帘、桌⼦等为元素,重新解读并设计出一个符合命题的功能空间。我们以扶手作为元素,设计一个以烹饪与淋浴作为主要⾏为的空间。

It was a very interesting design experience. Starting with small themed design practice, we tried to complete a whole building, and then place the building in a chosen context in reverse order.

Professor Mosayebi’s design class is meant to explore new types of living spaces. For a situation where there is no base, no project scale, no constraints, this preliminary design exercise (German: Vorübung) is to select behaviors from two different living spaces such as reading, sleeping, doing yoga, watching movies, and then combine them together to reinterpret and design a functional space that fits the given theme, using common interior components such as doors, balconies, curtains, tables as design elements. We chose the handrail as our design element to construct a space where cooking and showering are the main activities.

⼀条线的两侧为两个分隔开的空间,但曲度却又隐喻着不在场空间的存在。扶⼿的水平方向曲线具有导向性,⼈们可以从淋浴空间引向烹饪空间。扶⼿在纵向空间的叠加,满⾜了不同人群对不同高度扶手的需求,也没有阻断空间的整体性。扶⼿也为使⽤者提供了便利,生活用品或浴帘可挂可搭,增添⾏为的舒适、趣味和私密。制作扶手的管状通道可以提供热水,满足烹饪、淋浴,又或者暖气、烘干的需求。

A line is flanked by two separate spaces, yet the curve is a metaphor for the presence of an absent space. The horizontal curve of the handrail is oriented so that people can be led from the shower space to the cooking space. The overlapping of the handrails in the vertical space satisfies the needs of different people with different heights of handrails, and does not interrupt the integrity of the space. The handrails also provide convenience for users, as household items or shower curtains can be hung or tied, which adds com-fort, fun, and privacy. The pipes that form the handrails can provide hot water for cooking, showering, or heating and drying.

我为这个空间定义了一个相对⾃由的自然环境,像是山中营地的公共空间。

I defined the natural environment for this space with quite some flexibility, just like a pub-lic space in a mountain camp.

由这个⼩练习出发,导出一个用连续的曲线连结并分隔不同空间的逻辑。延续之前的淋浴空间形式,圆形作为卫⽣间,与其连接的承重结构反向弯曲围成另一个房间。这堵承重墙分割出两个单元。每一层四个单元以风车形式排布于平面。与常见的⾼层居住空间不同,电梯与交通空间不再以一个集中的形式位于平⾯中心,而是作为风车排布的元素向四周发散,中⼼却以留白的形式空出圆形成通高中庭空间。从剖面中庭的变化可以看出整栋高层以居住空间为主,底层三层为商业办公空间。

From this small design exercise, a logic of connecting and separating different spaces with a continuous curve is derived. Continuing the previous form of the shower space, a circle is used as a bathroom, and the load-bearing structure connected to it bends back to form another room. This load-bearing wall divides the two units. The four units on each floor are arranged on the floor plan in the form of a windmill-like structure. Unlike common high-rise residential spaces, the elevator and walking spaces are no longer located in a concentrated form at the center of the plane, but as elements of a windmill arrangement that spreads out in all directions, with the center being left blank to form an inner courtyard space. The change in the profile of the inner courtyard shows that the entire high-rise is mainly residential space, with commercial office space on the bottom three floors.

整体居住空间延续设计训练(Vorübung)中通透连续的氛围。两个卧室内部的卫生间也是以开放或者半开放的形式与卧室相连。阳台与起居空间通过可以中旋或推拉打开的玻璃窗分隔,夏天室外与室内空间可以或全部或部分的相融。建筑中庭与外部城市环境没有明确隔断,模糊室内外边界。最后的选择中,建筑被置于法兰克福⽼城中⼼心一块⾼层街区与公园的边界上。

The overall living space carries on the open and consistent style of the preliminary de-sign exercise (Vorübung). The bathroom in-between the two bedrooms are also connected to the bedrooms in an open or semi-open form. The balcony is separated from the living space by a glass window that can be swung or slid open, so that the outdoor and indoor spaces can be fully or partially integrated in summer. The building courtyard is not clearly separated from the external urban environment, the transition from the building to the outside blurs the indoor-outdoor boundary. In the end, we chose to place the building on the border between a high-rise neighborhood and a park in the heart of Frankfurt old town.

 

 

 

03.

建筑学院
Architektur Fakultät
Architecture School
Critic: Prof. Dipl. Arch ETH Anna Jessen

项⽬目基地位于⽕车站旁,沿着铁轨,一种速度感与节奏感是基地带给我的第⼀感受。在最开始的设计练习⾥,我们被要求在30X30cm的⿊色色块中表现出建筑的构成元素。我⽤⽩色的线条的与色块表现连续与停顿,重现基地的速度与节奏。越黑的地⽅公共性越强,越白的地方越私密。

The project site is located next to a train station, and a sense of speed and rhythm along the railway tracks was the first impression that I got from the site. In the initial design prac-tice, we were asked to express the compositional elements of the building in a 30x30cm black color block. I used white lines and blocks of color to show continuity and pause, as well as to reproduce the speed and rhythm of the site. The area with more black color blocks demonstrates a stronger public trait while the area with more white parts has a more private connotation.

线条与留白作为元素被延伸到建筑设计中。⼈流由与⽕车站相连的地下空间开始,穿过开放的下沉庭院进入建筑内部。⾸层两侧的房间作为开放空间,在这个线性⽅向上依次排列列着报告厅、开放展览空间、咖啡吧与下沉阶梯空间。一层整体开放的学生工作空间完全打开,所有年级的学⽣可以在这⾥交流。⼆三两层相对封闭的空间属于不同教研室和功能空间。剖面上三个楔形采光筒将天光引入整体建筑内部,满足空间对采光的需求。顶层图书馆围绕中⼼屋顶花园,回归⾃然光。

Lines and white space are extended into the architecture as design elements. The flow starts from the underground space connected to the train station and enters the building through the open sunken courtyard. The rooms on both sides of the first floor serve as open spaces, and in this linear direction are arranged lecture halls, open exhibition spaces, cafés, and sunken stair spaces. On the first floor, the whole working space is completely open, so that students of all grades can communicate here. The relatively iso-lated spaces on the second and third floors belong to different teaching and functional areas. The three wedge-shaped skylights in the section bring daylight into the whole building, meeting the need for illumination. The library on the top floor is built around a central roof garden, allowing natural light inside.

 

 

 

04.

品酒屋
Monte d’Oiro Wine Tasting Room
15 Studio

在这个项⽬最开始的设计练习中,我们两⼈一⼈选择一个与红酒相关的形制,以此为命题,进⾏平⾯上的重组和碰撞。圆形和楔形是设计元素,然后在不交流的前提下各⾃尝试。功能和⾏为则尽量简化至最低需求,并保持流动的状态,以实现空间的纯粹性。

In the initial design practice of this project, we both chose a shape related to red wine as the subject to reconstruct and get inspired on a two-dimensional basis. Circles and wedges were the selected design elements, Then we each tried our design ideas based on them without discussion. Functions and user behaviors were simplified to the mini-mum required and kept in a flexible state to achieve purity of the space.

置⼊项⽬基地,楔形被定义为功能空间,圆形则是多次重现的元素,成为建筑中引向不同语义的线索,比如面向主路的圆窗、⼊口的圆型片墙、⼊口空间的圆形天窗和圆弧顶引出的落水。品酒室是一个完整的楔形空间,以开放的姿态⾯向葡萄田,引⼊夏天的风和葡萄的气味。压低的屋顶使视线产生趣味,画面随着使用者的⾼度变化。斜柱与屋顶和落水相接,增加弧形屋顶下灰空间的多样性。体量尾部的楔形灰空间则为室外活动创造可能。

Placed in the project base, the wedge part is defined as the functional space while the circle is considered as a recurring element. The circle becomes the structural hint leading to diverse semantic connotations, as in the case of the circular window facing the main road, the wall of the circular entrance, the circular skylight at the entrance area, and the waterfall from the rounded roof. The tasting room is, rather, a complete wedge-shaped space, open to the vineyards, offering the sense of summer breeze and the smell of grapes. The low roof, on the other hand, tricked the perspective of the visitors. As the visi-tors’ perspective changes, they will see different scenes. Slanted columns connect the roof and waterfall, adding variety to the gray space under the curved roof. Moreover, the wedge-shaped gray space at the end of the architectural messing creates possibilities for outdoor activities.

在海外时间:2014年⾄至今
在海外地点:德国
姓名:孙书剑
学校:达姆施塔特工业⼤大学
联系⽅式:www.15-studio.com
sun_shujian@hotmail.com
Instagram:shujian_s

When:2014-now
Where:Germany
Name: Shujian Sun
School: Technische Universität Darmstadt
Contact: www.15-studio.com
sun_shujian@hotmail.com
Instagram: shujian_s

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