Overseas NO.106: Trax Wang

The No.106 episode is about Trax Wang who graduated from Harvard GSD and UC Berkeley, and is now working for Fogarty Finger Architecture

Project Specs

海外存知己,天涯若比邻。
在海外专辑分享海外华人的故事。希望这份分享可以让世界更加海阔天空。
第一百零六期为您呈现的是毕业于哈佛大学设计学院加州大学伯克利分校、现就职于Fogarty Finger Architecture的王一楠。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.106 episode is about Trax Wang who graduated from Harvard GSD and UC Berkeley, and is now working for Fogarty Finger Architecture.

 

为什么出国?
Why going abroad? 

高中的时候有幸参加学校组织的赴美夏令营,之后一直想着再出来多看一看。

I guess I was always planning to study abroad since I attended a summer session in the States during high school.

 

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?

大家都多多少少为自己的兴趣和梦想而活着。做毕业设计的时候机缘巧合认识了Robert Stephenson,一位65年毕业的校友。他听说我的毕业设计想研究市政厅的时候给了我很多帮助,并带我去他生活的小镇Jaffrey参加了一次当地的全员大会Town Hall Meeting。老爷爷带着我们在小镇转了一天,按历史发展顺序把小镇前前后后办公的场所和办公的特色全部梳理了一遍。他并不是学校的老师,也不是我毕业设计的直接获益人。他这种非常无私的帮助让我印象非常深刻。老爷爷从GSD毕业之后一边写书一边致力于他创办的南极洲环境保护的非盈利组织上,让我更加觉得这种对兴趣和梦想的执着追求真的是值得敬佩与学习的。毕业后发现老爷爷也真是时代的缩影,我们周围有许许多多的朋友在无畏地追求自己的兴趣和梦想的同时,也非常愿意无私地帮助着身边的人。

I was impressed to learn that most people I met abroad have a clear understanding of what they want for their careers and in life. Not only do they strive to achieve their goals but are also very supportive of the people around them that share the same interests. I had the opportunity to meet Robert Stephenson, MCP ’65, during my thesis project. Knowing that my thesis focuses on city hall in the context across urban core to urban edge, he invited me to his own town for a field trip. They were in the process of decommissioning their existing town hall, and I was lucky enough to attend their town hall meeting during the stay. Robert also took me on a tour of the town, showing me all the historical events and projects that led to the current curious predicament of their decision. Because my thesis has no immediate and personal benefit to him, I would say his accommodation and hospitality was not something I expected to receive. It is also worth mentioning Robert runs an NGO for Antarctica environmental preservation out of his own interests besides his full-time job as a writer and journalist. I guess it shows me that interests are the motivating force in paving one’s own path.

 

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

除了家人和学生时代的朋友们以外,可能是坐公共汽车吧。

My family and longtime friends of course. Other than that, it is probably to ride a bus just for fun.

 

你会回国吗?为什么?
Will you come back? Why?

近期还没有打算,希望先在职场拼出自己的一片小天地。小时候父母带着我移居深圳,深圳的那个“来了就是深圳人”的口号对我影响还是挺大的。其实身在任何一个城市都可以把它当成自己的家,我又何尝不是在经历着我父母曾经走过的路。

Not for the time being. My hometown Shenzhen, like New York City, is an immigrant city. I was raised in this city that exhibited a great level of inclusiveness, unlike other major megacities and metropolises around the country. I guess I am merely following my parents’ path here by settling in NYC.

 

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?

更清晰也更不清晰了。说来也惭愧,对中国近代史和现代史的学习我认为我在研究生学到的比本科多太多了。可能是我本科没好好听课,感觉我们自己的中建史在清代之后基本就戛然而止了。出国前我对中国建筑的原型基本还停留在抬梁式和穿斗式的地步。这导致很多时候我们在本科做设计的时候反而特别想特立独行地找出自己设计中能展现的中国元素。本科毕业后朋友推荐我读王军记者的《城记》,我感觉自己开始入门了。研究生时期在课上看到了很多珍贵的老照片,让我从第一人称和第三人称的视角同时更了解了自己生长的地方。

望眼于未来,我反而觉得更不清晰了。先不说时代飞速的发展和科技的进步,对于建筑和城市设计本身而言,我觉得也很难三言两语能够说得清楚。但是回头看,我们如果能把所谓的“中国元素” 在学术的平台上提炼成一个默认条件,才能探索更多对空间、材质、社会、经济以及生活方式的探讨。这几年有越来越多的学者在着力于研究这些方向,我觉得未来建筑学的教育与实践一定是令人兴奋而紧张的。

I guess yes and no. Yes, for the fact that I have learned so much about China during my graduate studies at Harvard Graduate School of Design that was never taught in such manner at my undergrad school. There is no extensive curriculum in my undergrad that examined modern architecture and urbanism in China. All academic endeavors somewhat end with the Qing dynasty as we learned in the course of traditional and vernacular Chinese architecture. I think it is such a greatly missed opportunity as we should have enough information to really form a great academic taxonomy to begin to understand what the best practices are and why. I do think that lacking these kinds of articulated research results in us, as undergrads, aiming to experiment in many design projects with so-called “Chinese elements”, such as those that share morphological similarities with calligraphy. This should have been taught by default so we can debate and explain the rationale behind the design from a higher baseline of understanding.

At the same time, I guess my answer is no because there is an increasing number of young architects and designers focused on filling this void. I do think in the near future there will be more to discuss and more to see in the context of Chinese modernism. We already see many emerging voices in the realm of pedagogy and professional practices. I cannot definitively envision how these new research and practices will move the nation forward culturally, economically, and socially, but for me, the next few decades will definitely be exciting.

▼在校时期的笔记,台北城市发展,sketches during school days

 

你的学校有哪些教育特点?
What are the educational characteristics of your school?

估计我们学校是“最不神秘”的学校了,大家可能都了解的七七八八了。

就我而言,我觉得最大的特点是对学生个体的鼓励。没有一个想法是错的,没有一个方案是不值一提的,没有一个兴趣爱好是不值得追求的。大家在讨论设计的时候,都是站在同等的“我是会做设计”的基础上讨论设计之外的东西而不是设计本身。

此外,因为我本身做了我们学院选修的毕业设计,我觉得这门课给了我一个在本科毕业设计的时候未曾接触过的学术研究方式启蒙。课题当然都是自己选,但是老师一上来不急着讨论设计课题,先上了好几节课系统地学习什么是毕业设计(Thesis)、毕业设计(Thesis)和课程设计(Project)的区别是什么、以及为何公众的兴趣与意愿(public interests)是毕业设计的核心。大家在本科都做过毕业设计,也知道Thesis和普通的课程设计可能会有区别,但是从未想过它背后有一套完整的学术体系支撑。可能这也能够反映出哈佛大学作为在北美第一个开设建筑、景观、城市规划与城市设计的学校的这个范儿吧。

It feels like Harvard GSD is one of the least obscure schools due to the great publicity our alumni received throughout the years. As for me, the school is always encouraging and aiming to bring out the best in all of us. There’s no wrong idea, no project too insignificant, or interest not worth pursuing. We discuss projects with the mutual understanding that we all know how to design a building. I do think this is very important, as I mentioned earlier in the so-called “Chinese elements”; the core of academic design projects is not just about how to lay out a unit or an egress stair, but rather the rationale behind it. Now, that doesn’t mean you can ignore the pracitcal elements, but that was what we’ve been taught to focus on at other schools.

I also think that Harvard GSD, as the pioneering university that really developed the disciplines of architecture, landscape architecture, urban planning and urban design in the U.S., still demostrates its leading role in defining the frontier of knowledge. For my thesis project, one of my instructors, Michael Hooper, gave us an extensive overview of what a thesis is and how it differs from a project. It is something I personally never thought of, and it just became such a fundamental backbone in defining my thesis argument and shaping my design research.

 

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?

我的导师Rick Joy跟我们说他自己开事务所前期走了很多弯路,痛并快乐着。如果让他重新做选择,他会把前面10年“碰壁“的时间缩短在大公司里摸爬滚打,接触到的东西可能更多而且学起来更有效率。我感觉自己可能最终更喜欢小事务所的工作方式,于是在毕业后在Perkins&Will熟悉北美的标准化和工作方式,之后因为移居纽约而来到了Fogarty Finger。

Rick Joy, a renowned architect who I look up to, once told me that if he were to start over again, he would probably have spent the first 10 years of his professional career at a well-established large-sized practice. One can learn so much because everything is already standardized and optimized. I totally agree with him, which is why I first joined Perkins&Will. After moving to New York, I thought it was the right time to pursue my plans of working at another renowned firm, albeit relatively smaller in size. That is when I joined Fogarty Finger in 2017.

Fogarty Finger Architecture

公司在近些年开始慢慢有了一些名声,从我17年入职的50人事务所迅速发展成了一个百余人的中型设计室,其中建筑设计和室内设计人手大致四六开。我常常开玩笑跟合伙人说我是因为建筑设计团队只有20人才来的,进来后发现一会儿功夫就一百了。

玩笑归玩笑,经过几年的工作我也成为我司接手纽约市内项目的项目设计师。我现在的公司虽然人数变多了,但员工分级还是比较少,在职业发展中能够给大家足够的空间探索自己想要的方向。只要你在某些方向表现得非常机灵,能够一通百通,公司也非常愿意让你有更多的exposure。我觉得我可以在相对短时间内做到在大公司可能需要八年至十年才能接触到的案子,是这个事务所最吸引我的地方。

Along the years, the firm has begun actively expanding, and we now have over 100 office employees, working from home of course. I often joked that I joined this firm only because I was convinced it had limited personnel for its architectural “ground-up” team, which quickly proved otherwise. All joking aside, I am still grateful that I was part of the team and now I am proud to be responsible for significant aspects of all incoming projects in NYC for all phases.

The firm is very flexible and comfortable with moving employees to find their best spots. There’s always opportunity to learn and be widely exposed to different aspects and phases of a project. Typically, you would need 8-10 years of experience, as stated in job requirements published by AIA, before you are assigned the complex tasks that I am currently responsible for. I do think my atypical career advancement is due in part, if not all, to the fact that this firm places an incredible amount of trust in its staff and is willing to promote individuals based on their merit rather than their years of experience.

Perkins&Will

公司大家应该都相对比较了解。跨国事务所,全球各地都有设计分部,设计项目从商业到文化教育类横跨几乎所有功能类型(除了住宅,这也是在从PW出来后我想去住宅设计事务所的原因)。事务所跟GSD其实有许多交集,包括面试我的两位项目总监也是校友,在我一面告诉他们“我就是冲着你们来的你们如果给我offer我就不面别的公司了”的时候他们也基本上当场就跟我愉快握手了。

在波士顿事务所里面最大的感受就是大家都像你的大表哥大表姐一样,整个公司氛围特别友好。公司内部配套设施蛮齐全的,也特别提倡做模型。项目的周期相对要长很多,一方面你可以有更多的时间在推敲设计、做手工模型上,但另一方面也意味着有点儿“熬”设计的感觉,这个就纯属看个人的偏好了。

在PW的一年时间里,公司的各路大佬也是争相照顾我。作为新人我一年的时间里解除了大致有七八个不同的项目。有给像麻省理工、达特茅斯、温特沃斯理工等高校的前期设计,也有像缅因医疗中心和费米实验室这样有特殊要求的公共建筑,还有像给波士顿火车南站和中心区的一些上架物业设计。由于部分项目的保密性质,在这里跟大家简单分享一些我负责的一些图纸与模型。

Perkins&Will is a renowned architectural practice that needs no introduction. The firm has a wide range of designs in its portfolio from civic and commercial to hospitality and science. Perkins&Will has an extensive connection with Harvard in the sense that many alumni work for the practice and lead its design teams, and also in the sense that the firm gives support back to the school. Prior to my interview with Perkins&Will, I was pretty much determined to accept an offer if they were to extend one to me. During my first interview with two directors at Perkins&Will, it appeared that I would be a great fit to the firm and vice versa. It was at this moment I knew working here was for the best.

The Boston office was just awesome. It is an experienced team that always sought out new perspectives. Because of its proximity to many world-class academic institutions, there are opportunities for projects that will have a profound influence on future generations. It is fulfilling knowing that you are making a significant impact to the world.

One of my interviewers was the firm’s design director. He oversaw pretty much all designs by this 150-staff firm, and I reported directly to him on all new studies. I was both honored and excited to work for him, and as a matter of fact, I worked on about 8 projects. Some of them are incredibly important, such as the institutional projects of Maine Medical Center and Fermilab, and urban designs in Boston adjacent to South Station and the Emeral Necklace. This is in addition to the works and projects for academia that include MIT (Massachusetts Institute of Technology), Dartmouth University and WIT (Wentworth Institute of Technology).

 

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?

感觉自己喜欢绝对耿直刚烈或是柔美的东西,不喜欢折衷的事物。建筑里面一定是Marcel Breuer和Paul Rudolph,看一根柱子都可以激动老半天,根本跳不出来。建筑之外我喜欢硬核摇滚,摄影我喜欢Joe McNally的作品,电影的话我一直很喜欢《十分钟年华老去》和《白日夢冒險王》的风格,导演的话那一定是斯皮尔伯格,16年研究生毕业恰好还是老爷爷来毕业典礼演讲,当他在上面说“祝大伙儿跑得比霸王龙都快”的时候感觉这辈子也是值了。

这些非常极端刚劲而柔美对我的影响就是让我学会了要走向极值。感觉自己在生活和设计上都同时在关注最大的尺度和最小的细节。我想这可能也是我选择现在Fogarty Finger的原因,我们的设计相对来说简约而不完全简单,有一点点那么现代粗野主义的味道。

I like things perhaps designed to pass their liminal stage and are ripe to an absolute upright. It could be perfectly minimalized, could be extremely candid, or very simply over-complicated piece of art. But nothing really in-between. The architectural style that closely resembles this is Brutalism, which is also dubbed “Heroic”. To me, Marcel Breuer and Paul Rudolph are the two quintessential architects of this Heroic style. I very much appreciate and enjoy these ambitious projects from a unique period in American history where urban cores were reimagined by the government. I also enjoy listening to metal rock and watching movies such as “Ten Minutes Older” and “The Secret Life of Walter Mitty”. Joe McNally is my favorite photographer and Steven Spielberg is my favorite director. I was thrilled that Mr. Spielberg was Harvard’s commencement speaker for 2016, and just hearing him wish us to “outrun the T-Rex” was one of the most memorable days of my life.

I guess aiming for “perfection” also helped me find my own voice in design and in life in general. I can often understand the bigger picture and bring that level of care all the way down to the details. Thinking back, this is probably why I chose to work at FFA in the first place. The work is clear-cut in an elegant and beautiful way. It kind of echoes my own preference in brutalist architecture but with a modern flair.

 

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?

本科和研究生的作品集其实都是多年前做的了,如果放在今天来看可能最大的特质就是没有年代感吧!设计上感觉自己比较擅长跨尺度的探索,不会因为尺度过大或者过小而迷失了设计的意图。图面上当时也有挺多探索的,感觉知道自己想要什么,比较有属于自己个性的表达。作品集放在网上后能看到有一段时间有挺多大同小异的表达方式和一些公众号探讨某一张图是怎么画的文章,有时也会情不自禁地“吃一个瓜”,但是最后还是会偷偷窃喜说画虎画皮难画骨,个人偏好和对一些图面理性的沉淀还是很明显的。

It has been a while since I finished up my portfolio of academic projects. Looking back, what stands out the most is the collection is not confined to a particular time or style. I think some of the trans-scalar design works are still relevant today, and the graphics are still suitable to meet current standards. It is a very personal collection of works and I am very happy there are still some tricks up my sleeve.

 

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?

应该是13年前后开始看谷德的,当时包括ID公社在内有很多平面设计和工业设计的门户网站,很高兴看到这么多年下来谷德越办越好,成为中国第一影响力与最受欢迎的建筑/景观/设计门户与平台。经常在这儿能看到一些在其他门户网站上没登出的设计,觉得是很有存在感的且不可替代的。非常希望看到更多的新型优秀的作品在谷德网上展示出来,祝越办越好!

Probably since 2013. It has been a great pleasure to follow gooood as it has kept up with everything and has become one of the most influential websites featuring architectural design. I would love to see more exclusive projects that are not always easy to find in other prominent publications. There must be a great number of architects and newly built / unbuilt projects worth mentioning.

 

 

 

 

 

W O R K

 

 

 

01.

CITY HALLUCINATION
美国境内市政厅的历史沿革和未来发展

毕业设计
Independent Thesis in Satisfaction of the Degree Master of Architecture in Urban Design
Distinction Honor; Urban Design Thesis Prize ’16; Published in Platform 9: Still life
Advisor – Felipe Correa, Michael Hooper

和大家介绍一下我在研究生时期做的毕业设计吧。我的题目是CITY HALLUCINATION,主题自然是研究美国境内市政厅的历史沿革和对未来市政厅发展做以简要的设计指导。

市政厅哪里都有,但是我们从未把它像学校、住宅、甚至是监狱一样系统地学习和归类过。一方面在杭州本科学习的时候,江湖传说杭州的当时新建的市民中心设计得太大了,必须要被动地拨出一部分使用空间给办公之外的功能使用(欢迎各路大神指正);另一方面似乎美国也面临着大大小小的市政厅的问题:贝聿铭先生设计的达拉斯的市政厅这些年逐渐变成流浪汉的聚集地、奥兰多的市政厅机缘巧合在布鲁斯·威利斯主演的《虎胆龙威3》里被实地爆破(拆除)了;德州埃尔帕索市则更绝,市政厅拆除前一天对面的酒店高价贩卖“市政厅最后一晚”套房,第二天大早能够在酒店吃着自助餐观摩爆破全程,市政厅爆破后原地建起了一个棒球场(也算是非常极端地人民的意志的一种体现了)。

The city hall is found all over the globe, and yet it is an understudied building both in terms of architectural history and typology. This thesis is less about resolving design problems on site, but rather “hallucinating” to design a position about what a 21st Century model of civic space should be. This thesis aims to examine the role of city hall as an acupuncture architectural and urban design project within the American urban landscape across from urban centers to urban edges.

It is both a taxonomic research that examines the arching attitudes towards the political, social, and spatial dimension of city halls across time in the context of American cities, and a combination of three design proposals with intention of deriving new designs and understanding of the city halls that aim to set the 21st century terms for a sense of the commons, democracy and monumentality moving from surface to type.

This thesis is important because it would open a discussion between the original manifestation of the city hall, current attempts to accommodate a larger suite of cultural and civic activities, and, in reality, the lack of civic activities that is commonplace in many contemporary city centers.

▼市政厅历史照片,Original photos: Lynn Lennon; Ghost photos: Kyle Penningto(图片来源

▼部分比较极端的市政厅拆除方式,Some of the more extreme ways of demolition

我的毕业设计试图将市政厅开始归为一个独立的建筑设计体系进行研究与讨论,希望通过这个毕业设计能够引起大家在当今社会对公共空间、人民的设计的重视。市政厅不应该是一个庞大的公共建筑群的一个统称,它应该有能力成为一个能够代表自己的独立门类。

The project would also discover a transition from surface to type for contemporary city halls that revives the sense of the commons which was lost; in particular, a type that might be able to both meet the administrative needs of city government and catalyze a new sense of public space with multi-functional urban activities across the various urban landscape.

▼世界上现存的最早的市政厅雏形,位于意大利科莫(注意办公的功能空间位于村民使用的市场之上,需要时政府官员可以在二楼透过窗户与楼下广场直接交流),The earliest prototype of a town hall in the world, Como, Italy

市政厅(City Hall)与村委会(Town Hall)起源于欧洲,现存最老的村委会位于意大利的科莫小镇。在村委会形成之前,一个区域内的大权主要是被教皇和贵族这两大力量所控制,村委会作为一个新兴的“第三者”,它的形成本身就代表了着一种“人民当家做主”的愿景。之后因为区域变大而形成的更复杂的市政厅则更加反映了一种人民的意志。美国的发展与村委会的建立是从美东的新英格兰地区开始的,在这些地方也能发现很多类似于科莫村委会的样子:办公的空间与村中心的市场毗邻,往往最繁忙的集市也是最能反应公众意愿的地方。这个例子在纽约其实体现得也很明显:美国建国之后,纽约将准备筹建的新市政厅选址定在了原市民中心一带(the old Common),虽然位于当时纽约行政区域相对靠北的位置,但也能看出来新规划的市政厅在城市轴线和公共空间的处理上有着很强的引导作用。市政厅本身相对体量已经比科莫的村委会大了很多,但是就是在今天,也可以看出公共与私密、室内与室外的处理上与科莫村委会有很多相似之处。

There is always a divide between architectural practices and pedagogical theories. In the realm of city hall and symbolic civic public spaces, this divide somehow seems even greater. The civic spaces have been wildly discussed throughout the centuries, from church-dominated medieval city center to modern symbolic civic axis spaces. On the other hand, built architecture always seems problematic, or in other words, unsatisfactory. Boston city hall serves as a great example: guided by Lynch’s idea of creating a legible image of the city, the physical manifestation, however, was described by the Boston Globe as “an atrocious waste of space” and “anti-urban”.

毕业设计的前半年广泛收集了一百个美国的市政厅案例,通过对城市概况、建筑原型和细部构造等三大方向、十个维度的简要分析后,我将市政厅向今天演变的趋势简要归类成“越做越大(monumental appearance),越做越少(office-oriented program)”。我觉得这个状态歪打正着特别适合借用库哈斯的City of the Captive Globe配图,似乎在21世纪的今天每一个街区上的楼都有成为当今市政厅的潜力,但是需要看到,在这些强有力的表象(surface)之下,这些建筑徒有其表的外型不能象征着一个新的城市建筑形态(type)。但是反而人民的中心其实一直就在那儿,市政厅建筑的精神应该放在将如何定义城市空间与包容的边界上,办公功能不是市政厅的唯一。

This divide, of course, is affected by the gap of time between the start of architectural design and the end of construction. However, I believe the other reason lies in the fact that there is insufficient research in terms of single architectural typologies together with a larger scale of public spaces typologies, which might set up a series of guidance, references, and facilitate debate over whether certain typologies could benefit certain cities more than other typologies.

In the light of this idea, a typological study, similar to the role of housing prototype studies, might start to improve this split along ideological lines. By rethinking the relationship between centered city halls with their adjacent urban context, we might begin to discover a new role of city hall in terms of providing both working spaces and public spaces.

▼市政厅早期的一些梳理,city hall analysis

▼研究时期整理的一个市政厅历史沿革的时间线,timeline of the historical evolution of town halls collated during the research

▼City of the Captive Globe. 市政厅越来越像办公室,到底哪个才是真正的市政厅?

研究之后我做了三个设计,分别对应着三个不同的城市形态:马萨诸塞州的波士顿(Boston, MA)代表城市中心(Urban Core),肯塔基州的帕迪尤卡(Paducah, KY)代表城市外围(Suburban),新罕布什尔州的杰弗里(Jaffrey, NH)代表城市边缘(Urban Edge)。这三个城市在我做设计的时候都有提案想要翻新或重建已有的市政厅,对我而言选择这些场地恰好是一个很好的机遇。

After an extensive research of city halls, I proposed designs of city halls across different urban landscapes from urban core (Boston, MA) to suburban (Paducah, KY) to urban edge (Jaffrey, NH). There was also an immediate need of proposals for city hall reconstruction or renovation when the thesis was conducted. I reckoned these sites would also serve as anchor sites in a practical way.

 

波士顿市政厅 | Boston City Hall

对于波士顿市政厅而言,由于已有的市政厅曾经有很多美好的设计被现世对安全的要求所忽视,我的设计便将重点放在如何在城市中心引入新的密度,将市政厅变成更大区域内的一个节点。与隔路相望的中心集市(Haymarket,注意市政厅与集市的关系与最早的村政府原型相似)在更大的尺度上重新找回市民的中心意义。同时,重新设计的市政厅广场将重新整合公共区域的位置,希望将原市政厅内部分被封的公共空间通过剖面的划分重新还给群众。新引入的密度以住宅为主,我在体量与视线上做了一些简单的处理,让更多的居民在原本无法看到市政厅的主干道上有更多视线上的联系,让大家知道从市外开车回来,只要看到市政厅就知道哦我到家了。

In terms of designing city hall for Boston, my design mainly focused on a re-introduction of the original town hall ideology where the town hall, when combined with the common market, becomes a representation of the common on a larger scale. A new edge of the civic center was created by aggregating density along the axis from the city hall to Haymarket, with the intention of introducing inclusionary housing in the context of downtown Boston. The new buildings were designed to celebrate the unique fenestration of existing city hall and were positioned deliberately to allow for new view axis from major commuting arteries.

 

肯塔基州帕迪尤卡市政厅 | Paducah City Hall in Kentucky

肯塔基州的帕迪尤卡市政厅面临的问题则有所不同。现存的市政厅是设计师Edward Durell Stone的作品。他和Marcel Breuer以及Paul Rudolph都有类似的教育背景,而且都是那个时期我非常喜欢的建筑师们。市政厅本身独具魅力,但它的位置已经独立在了当地人们活动的中心区域之外。因此我在设计中重新定义了原本的街区形态,将一个新的步行轴线建立在原本四方形的街区上,希望同样通过加大对密度在边界的堆叠重新找回市政厅与主干道之间的关系。几年后在加州游玩,发现这个想法和Pasadena的市政厅处理有些相似的地方,尤其是和主干道Colorado Blvd的关系。只恨当年研究和设计的时间还是不够长,否则一定有更多的案例能够让我的设计变得更好。

Paducah City Hall in Kentucky faces a curious predicament as it was designed as part of the 1960s urban renewal projects. Even though the city hall and city hall plaza were designed to display a level of transparency and inclusiveness for local residents. Here I proposed to introduce a thickened ground by refining existing blocks. City hall and city hall plaza would not be served by streets but rather by a combined block. By aggregating density along the edge of the street and adding new codes connecting anchored civic programs, the city hall plaza connects back to existing downtown center and becomes the new civic axis.

 

杰弗里村委会| Jaffrey Town Hall

最后是杰弗里的村委会(Town Hall)。就像人类文明的发展都跟大江大河或交通要道有关一样,杰弗里这个五千余人的小镇的发展离不开美国的高速公路。州际公路的发展让小镇中心向东南迁移,小镇最初设立的村委会在今天已经完全脱离了小镇的中心区域。对于这个小镇我认为在小镇建立一个新的村民中心更有意义。所谓水能载舟亦能覆舟,当今旅游业的发展让高速路和火车站变成小镇居民最不喜欢的事物。因此,如果新的村委会能在满足基本的办公与公共空间需要的同时,能够提出一些关于拥挤的车道等问题的解决方案,那么我认为这个设计是切题的。村委会的选址在小镇最中心的位置,几条高速路的交叠形成了一系列的十字路口。我的解决方案是提供一个类似于8字形的设计,让村政府在满足承载公共与政务的功能同时,利用建筑本身的形态将原本的“五道口”(抖个机灵)变成相对更加流畅的环岛,顺便连接了对面的火车站,形成一个更立体的村民中心。

Finally, for Jaffrey town hall in New Hampshire, I presented a more indigenous and contextual route in my proposal that examines the role of architectural and urban design for city hall in the context of urban edge. A few decades back, highways and public roads were introduced to this town and soon enough the town center was relocated a few miles southeast to its current location at the intersection of US 202, NH 124, and NH 137. It is simply impractical to introduce an axis or a visual connection from the existing town hall to the new center. A new town hall at the intersection makes more sense, and that is exactly what I proposed. For Jaffrey, one of the major concerns is the increasing traffic through these major arteries, and the intersection creates high traffic volumes that piles up for miles before the light turns green. It creates an opportunity for the town hall to truly be a representation of the common by facilitating the vehicular turns while creating a new centrality for the common.

 

 

 

 

02.

麻省理工学院本科生宿舍
MIT Undergrad Residential Report

项目位于MIT内,需要给本科生设计一个新的学生宿舍。这个项目分为两个阶段,一是前期对任务书的研究和编写,二是根据任务书竞标征选出中标的设计。第一阶段我们花了很多时间深入校园和学生探讨什么是21世纪最优的本科生宿舍形式,并和校内的规划部门最终一起编写了非常深入的调查报告。第二阶段有江湖传说最后因为一些人力不可抗拒的因素没有中标,我们都觉得挺可惜的。

As part of its Capital Renewal Program, MIT has been implementing a long-term plan to renew its undergraduate residences, with the intent to add new housing for 350-450 undergraduate students with amenity spaces at one site on MIT’s West Campus.

We developed detailed architectural programs and conceptual designs for each of the West Lot / West Garage project sites, in collaboration of MEP engineers, structural engineers, and other consultants. This report helped MIT make informed decisions on how to allocate the desired bed-capacity and amenity spaces on the site and will provide the basis for subsequent phases of design.

▼负责的场地模型,注意下侧一排建筑都是明星设计师在不同时期设计的学生住宅,Site plan, including the student residences designed by famous architects at different times

▼对于单元式住宅的一些梳理,analysis on residential clusters

▼研究期间每周在MIT和学生代表的例行讨论,discussion with student representatives at MIT

▼研究期间做了很多模型,可能是我参加的最像学术设计的一个真实项目了,models druing the research

 

 

 

 

03.

纽约皇后区弗农大道住房
Vernon Boulevard

这个项目是我入职后第一个实现的案子(也是公司迄今为止看到的比较棘手的一个),对我来说还是有一些特殊的意义。这个案子位于纽约皇后街区的临河面,实实在在的河景房。设计之初按照政府的控规其实可以承载七百余户,但是因为最近不平凡的事件在后期项目缩减了预算并控制了住宅数目。即便如此,场地上还有两百余户保障性住房。疫情最严重的时候,纽约政府几乎停了市内所有的建筑施工,这个项目因为为皇后街区提供了可观的保障性住宅被列为必要建筑(Essential Construction),正在如火如荼地冲刺完工。

项目包含三栋建筑,横跨三个不同的规划用地,靠近水岸并处在百年一遇的洪水位下,同时拥有商品房与保障性住房,项目早期的时候还有独立的老年保障性住房。这些夹杂在一起的外界因素也让我不得不把纽约市区划法一根筋地读完了,顺利成为可能是公司内部最懂得如何“遵纪守法”地在纽约造房子的员工。项目的问题其实就两个,一个是场地进深特别大,另一个是场地高差特别大。场地的进深大意味着同等限高条件下建筑变厚了而不是变高了,如何将多出来的建筑面积最高效地转换成住户是这个项目最大的问题也是最大的机遇。场地高差的现存问题是越低的地方限高越高,越高的地方限高越低。场地最高与最低的地方高度甚至超过了一层楼,如何定义整个项目的首层平面也是这个项目比较棘手的地方。

但也是这些困难,让我看到了一个公司合伙人作为资深设计师游刃有余的思考设计方式。很多时候我们的手赶不上脑子的速度,尤其在计算机辅助设计这一块体现得特别明显。在这个设计上我们很多时候都是在草图纸上或是iPad上涂涂画画。虽然说起来好像很普通,实际看到对方心手合一地最快给出一个看着就很成熟的方案还是会特别钦佩。

在这个项目帮助我从波士顿的设计氛围一下带进了纽约。我每年能接二十来个项目前期分析,同时会有另外两至三个逐渐成熟的项目在不同的设计阶段。就像我之前所说的,这个公司最吸引我的地方就是大家都用能力说话,你的天花板可能是你自己决定的。

Vernon Boulevard is a significant architectural landmark in the heart of Astoria. The site presents an ideal opportunity to redefine the character of the shoreline and streetscape of this neighborhood. To realize this vision, we had to overcome the exceptional challenges in complying with zoning regulations for a non-standard Queens rectangular block with deep slopes that limits the use, building envelopes and floor area bonus generated on-site.

For this project, one of my responsibilities was to work directly with the founding director to fully grasp and work within the NYC zoning regulations to create the ideal floor plate for the current marketplace, all the while creating a contemporary exciting new architectural landscape that would be well-suited to transform the site into a bold presence. Because the entire project is positioned to create an incredible amount of affordable housing, it was considered an essential construction during COVID.

This project helped further the fundamental and systematic understanding of professional practices in NYC. I am the lead member of feasibility studies team. I work closely with directors and founding partners in preparation of business development presentations and meaningfully participate in new project pitches with senior leadership. As I pointed out earlier, the firm does not hesitate in trusting its staff, and this provides opportunities to really stand out from your peers.

 

 

 

 

04.

NEW DIVIDE
曼哈顿滨水保障性住房

Distinction Honor; Published in Platform 8: An Index of Design & Research
Instructor – Felipe Correa; Teammate – David Jimenez

项目位于曼哈顿中城东部,毗邻联合国大厦,临水之上。这个设计试图通过对老年群体来重新解读高密度商住混合的都市滨水生活。42街与第1大道分别代表了商业与医疗研究两条主要干道,因为有意在交界处引入老年保障性住房的概念。一是为了关注到已有的社区老龄化与过半数老年人付不起房租的社会现象,二是通过地段本身能够承载商品房的特征达到场地的经济可持续性。

This project examines how autonomy plays role within the architectural and urban design context, and how the senior citizen demographic can help catalyze a high-density mixed-use housing project along the waterfront. A sector of the city which has not addressed in terms of affordable housing is the elderly sector. In recent years, the elderly population, aged 60 years and older, living in New York City numbered over 1.4 million, representing 17.2% of the city’s population. Due to increases in life expectancy and the approaching retirements of the large baby boom generation, this could impact a far larger segment of the city’s population in the future.

Escalating housing costs have brought city wide issues of affordability to all segments of the city’s population. Only 18% of seniors in Manhattan receive subsidies for housing, and half of them still cannot afford housing. Today, 53% of households headed by those between the ages of 60 and 69 pay more than 30% of their income on rent, which is a level considered to be unaffordable by federal standards. More than 19% of the New York City’s population aged 60 and older lives below the poverty level, compared to 9% nationally.

设计通过引入多层公共平台来解决场地南北近十米的高差,通过有意向第一大道堆叠密度来定义城市公共空间的边界,并通过上下两个延伸至水面的平台来突破现存的临水高架对景观面的阻挡。个人觉得这个设计在场地内部做了比较充足的手法,但是对于场地外譬如临水高架却又能保持中立的态度。是我自己比较喜欢的设计之一。

Thus, we proposed a senior citizen housing project, with input from senior citizen associations and the NYC housing authority, that would be financially viable with the right combination of market rate housing and senior citizen affordable housing.  We imagined this project would help define the presence of First Avenue by aggregating density along the edge of the block. The site’s drastic elevational changes were mitigated by a thickened pedestrian ground extending from the street line to the waterfront. These new public levels introduce a new connection to the ecological waterfront above and below the existing FDR drive.

 

 

 

 

05.

缅因州医疗中心
Maine Medical Center

项目位于缅因州波特兰市,主要由两个部分组成。一部分是现存住院部Coulombe Family Tower的扩建,另一部分是更大规模的新建部分Congress Street Development。由于缅因地处美国东北角,地广人稀,这个项目对于当地医疗体系有非常重要的意义,屋顶的停机坪也能让服务半径变得更大。

Maine Medical Center (MMC), located in Portland Maine, is the state’s largest medical center, licensed for 637 beds, with an unparalleled breath of services, including the state’s only allopathic medical school program, through partnership with Tufts University School of Medicine, and a world-class biomedical research center. The new expansion of the Coulombe Family Tower at MMC is now open, delivering 64 single-patient rooms dedicated to surgical and medical oncology care. The next phase of implementation includes the Congress Street Development, a new 280,000 square foot tower that will drastically increase MMC’s in-patient capacity by offering 64 single-patient beds and 19 highly adaptable surgical and procedural suites. By doubling medevac and air ambulance capacity, MMC is better positioned to serve its patients in remote areas of New England.

 

 

 

 

06.

Sketch Lights
艺术家工作室

我的一大兴趣爱好就是摄影,Joe McNally是我最喜爱的摄影师。本科有个短学期的课程,需要两周之内做一个艺术家工作室。场地在良渚,题目自拟,手绘出图。自然而然我想说那干脆做一个摄影师工作室好了,于是乎有了Sketching Light这个设计。Joe的看家本领就是把握光线,他的成果里没有人造光的影像极少。哪怕是看着特别自然的一个场景,其实也是摄影师精心布置出来的。我觉得从建筑的角度出发,除了比较正常的展厅啊工作间一类的功能,是不是可以利用建筑本身跟自然光的关系形成几个别具一格的场景。整个设计最后都是围绕着建筑中心空间的环境光氛围而展开,希望通过天窗和片墙的设置能够营造出一个类似伦勃朗光线的场景感。

We had a 2-week short term academic studio that focused on designing an artist workshop. My first choice was of course the photographer, Joe McNally. Mr. McNally has an exceptional understanding of lighting in photography, and I was wondering if, as a result, a workshop for Joe should display a level of natural lighting that you cannot get without the presence of the building. Sketching Light examines how architecture as an acupuncture gesture within the site can manipulate light into space. The final deliverables were two arch size boards and a handcrafted model.

▼两周设计课的成果:两张手绘的成图和一个挂面做的模型
The result of two weeks of design classes: two hand-drawn works and a model made of fine dried noodles

▼整理作品集时做的渲染与图纸,renderings and drawings made while sorting the portfolio

在海外时间:2006 年、2012年、2014年至今
在海外地点:纽约、波士顿、伯克利以及匹兹堡
姓名:王一楠
籍贯:广东深圳
学校:哈佛大学设计学院、加州大学伯克利分校、浙江大学
工作单位:Fogarty Finger Architecture、Perkins&Will、都市实践
联系方式:trax@traxwang.com

When: 2006 & 2012 & 2014 to now
Where: New York, Boston, Berkeley, and Pittsburg
Name: Trax Wang
School: Harvard Graduate School of Design, UC Berkeley Haas School of Business, and Zhejiang University
Office: Fogarty Finger Architecture, Perkins&Will, and URBANUS
Contact: trax@traxwang.com

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