Overseas NO.83: Wang Shuaizhong + Ziggy Chen

The No.83 episode is about Wang Shuaizhong who graduated from Aalto University, and Ziggy Chen who graduated from University of Virginia

Project Specs

海外存知己,天涯若比邻。
在海外专辑分享海外华人的故事。希望这份分享可以让世界更加海阔天空。
第八十三期为您呈现的是双人组:毕业于阿尔托大学、现就职于B&M Architects的王帅中,和毕业于弗吉尼亚大学、现就职于SOM的陈子奇。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.83 episode is about Wang Shuaizhong who graduated from Aalto University, now working for B&M Architects, and Ziggy Chen who graduated from University of Virginia, now working for SOM Washington DC office.

 

为什么出国?
Why going abroad?

王帅中:我在本科的后半段有过一次在欧洲游学的经历,开始对欧洲建筑师那种不乏诗性,同时关注物质性和营造方式的本体式思考产生浓厚的兴趣,想要去体验这些思考背后的语境。

陈子奇:之前有过一两次出国交流经历,深感不同的文化背景和社会形态会孕育出截然不同的设计思考方式,算是有种开眼看世界的感觉吧,同时也意识到一直处在一种环境里多多少少思维会陷入模式化,所以才想出国去看看

Wang Shuaizhong: In the later stage of my undergraduate study, I had a trip to Europe, and began to have a strong interest in the ontological thinking of European architects, which have the sense of poetry, while also paying attention to materiality and the method of construction. I wanted to experience the context behind these thoughts.

Ziggy Chen: I had several short-term oversea study experiences before, during which I felt that the design methodology can be very different due to the different cultural or social background. And also, one may become ossified if staying in the same context for too long. So I decided to study abroad.

 

 

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?

王帅中:芬兰人那种充满野性的生活方式让我深受感染。 他们最喜欢在冰天雪地里蒸桑拿然后赤裸着跳进冰湖,头发结冰了就再蒸,如此一般反复三四个来回。他们热爱自然,贴近自然的方式是回归自然的那种野性的生存状态。正是这种对于自然和文明的反差态度下才诞生了很多粗犷又极度细腻的建筑思考。

陈子奇:自由度吧。老师们对设计的容忍度比较高,不太提出批评,更多是一些改进建议,但自由度也是有好有坏吧。

Wang Shuaizhong: The wild life of Finns infected me deeply. They like to have sauna in the ice and snow, then jumping into the ice lake, when their hair was frozen they will get back to sauna again, these usually repeats for three or four times. They love nature, and the way they get close to nature is keeping a wild living state. It is this contrasting attitude towards nature and civilization that gives birth to a lot of primitive and delicate architectural thinking.
Ziggy Chen: Freedom. People don’t easily judge the design, they provide advice to improve instead of criticism.  But this kind of freedom can be harmful on the other hand.

 

 

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

王帅中:归属感和一种混沌的复杂性。

陈子奇:好吃的,还有朋友吧

Wang Shuaizhong: The sense of belonging and the chaotic complexity.

Ziggy Chen: Food and friends.

 

 

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

王帅中:会。根在那里。

陈子奇:会的,出国只是为了充实自我,在土生土长的文化环境才能真正挥的开拳脚。

Wang Shuaizhong: Yes, I belong to there.

Ziggy Chen: Yes. The reason that I chose to study abroad was to enrich my experience. To really achieve something, I’d choose to do it in my own cultural background.

 

 

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?

王帅中:不一定更清晰,但是视角会不同。在来北欧之前我并没有清晰的意识到国内那种充满市井气息的复杂性实际上是另一种混沌的美,也并不清楚实际上北欧所讨论的极少主义倾向在中国的语境下其实非常不同甚至并不存在。

陈子奇:反而更不清晰了,中国面临的问题是毫无先例可循的,生活在国外更能让人意识到中国现状的复杂,反而会有种不安感。我们这一代面临的挑战也许是前所未有的,需要更多地努力才能有立足之地。

Wang Shuaizhong: Not necessarily clearer, but the perspective will be different. Before I came to Nordic Europe, I did not clearly realize that the complexity of the civil life was actually another kind of chaotic beauty, nor did I know that the minimalist tendencies in Nordic Europe were very different or even non-existent in the context of China.

Ziggy Chen: More obscure actually. The confusion that China is facing is unprecedented.  Being in another country makes me realize that confusion even more, and also the feeling of unsecure. The challenge that our generation is facing is also unprecedented, meaning that we need more effort than ever to stand a chance in this situation.

 

 

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

王帅中:阿尔托大学成立时的建校基本就是学科交叉,如今阿尔托大学的设计学院也在一直秉承并实践着这一模式。在这里你可以完全自由选课,任何设计,理工,商科的课程只要你有兴趣都可以选择,在相关领域达到30学分就有机会申请第二学位。北欧建筑教学注重实践,关注构造和细节的教学内容非常接地气,因此学习和工作并行是芬兰建筑学生的一个常态。多数学生毕业前就已经在几个事务所中参与过不少实际的项目。

陈子奇:总体比较偏向传统学院派,但是没有明显的学术方向, 这意味着任何的设计思路都可以在一个比较扎实的学术环境里充分发展。从前沿的参数化到传统的节点细节都有在该十分擅长的老师。

Wang Shuaizhong: Aalto University was built on the basis of interdisciplinary disciplines, and now the Design Department of Aalto University is still practicing this model. Here you are free to choose any design, engineering, business courses as long as you are interested, you will have the opportunity to apply for a minor degree when you get up to 30 credits in the relevant fields. Nordic architecture teaching pays attention to practice, structure and details, its teaching content is very down-to-the-earth, so learning and working in parallel is very normal for Finnish architecture students. Most students have participated in many practical projects in several firms before graduation.

Ziggy Chen: School of Architecture in University of Virginia is more on the traditional side, it doesn’t have an overall academic direction. It means that you can fully develop any kind of design concept in a rigorous academic environment. There is a strong faculty specialized in wide range of topics from parametric design to tectonics.

 

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?

王帅中:平等,尊重和开放。即使作为一个兼职的建筑师,只要你有足够有力的idea也能改变整个设计的方向。

陈子奇:SOM是20世纪现代主义建筑最杰出的实践者之一,经过长时间的演变已经发展出了很成熟的设计语言。我个人感觉工作这段时间最有意思的方面就是需要快速推演方案,很能锻炼对设计的提炼和深化能力。

Wang Shuaizhong: Equality, respect and openness. Even as a part-time architect, as long as you have a strong idea, you can change the direction of the whole design.

Ziggy Chen: SOM is one of the best practitioners of modern architecture. They’ve developed a very unique and mature design language through long time of evolution. Personally, the most interesting aspect of my work experience in SOM is that the projects are processed in a very fast pace, which can quickly improve one’s ability to extract and develop the project.

 

 

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?

王帅中:我很喜欢日本画家东山魁夷。深受北欧风景影响的他所绘制的不仅仅是一份纯净或抽象,更是他主观上对自然的感知。读他的画能清晰的感受到亚洲与北欧所讨论的极简在本质上的不同。

陈子奇:今敏和Ridley Scott吧。我个人十分喜欢科幻电影。今敏和Ridley的作品都种硬科幻的气质,擅长通过细节一步步将浪漫宏伟的幻想具象化。对我来说建筑和电影在这方面有共通之处,应该具备严谨的方法论和英雄主义的内核。

Wang Shuaizhong: Japanese painter Kaii Higashiyama is one of my favorites. Deeply influenced by the Scandinavian landscape, his painting is not only clean or abstract, but also his subjective perception of nature. His paintings clearly show the essential difference of minimalism between Asia and Nordic Europe.

Ziggy Chen: Kon Satoshi and Ridley Scott. I like Sci-Fi movies a lot. They both are expert in materializing a rather romantic or majestic fantasy with articulated detail. Architecture and filmmaking have some similarities in this aspect. They all require rigorous methodology and a heroic ideology.

 

 

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?

王帅中:以构造的关系性为线索来探讨从理论到实践的贯彻,以可读的结构关系作为新装饰,在抽象的理论和具体的营造间达到一种微妙的平衡。

陈子奇:虽然都是课程作业,但是我会比较在意方案的真实感。从一些不切实际的构想出发,通过构思细节一步步将其赋予形状的过程是很有趣的思考游戏。这种具象的荒诞感可能是我大多数作品的特质吧。

Wang Shuaizhong: My design explores the implementation from theory to practice by using the relation of tectonic design as clue, and uses perceivable structural relation as new ornament to achieve a delicate balance between abstraction and concreteness.

Ziggy Chen: Though most of them are academic projects, I still look for the sense of realism in my design. The process of embodying the ideas from very unpractical concept is a very enjoyable mind game. This embodied absurdity may be the feature of my design.

 

 

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?

王帅中:我从大概15年发现谷德有很多新鲜的资讯和观点,是一个很好的学习和交流的平台。

陈子奇:大概是大三的时候吧,这个平台很棒,希望能越做越好。

Wang Shuaizhong: I have found that goooood has a lot of new information and opinions in around 2015. It is a good platform for learning and discussing.

Ziggy Chen: From about my junior year. It’s an awesome website, hope you guys keep the momentum.

 

 

 

 

W O R K

 

01.

后自然:康塞普西翁自然馆
Post-Nature: Concepción Nature Pavilion
阿尔托大学|Aalto University, A”DS Group
王帅中个人作品|Wang Shuaizhong Individual work
指导老师|Instructor:Toni Kotnik, Pia Fricker, Luka Piškorec

如果建筑是由结构产生的空间,那么结构一定能够生成或塑造各种空间类型,包括抽象空间。这个方案试图讨论如何通过结构关系来重塑和感知抽象的自然。

With the belief that architecture is a structure-generated space, the structure must be able to produce or shape every kind of space –including abstract spaces – the design was generated by rethinking structural solutions to reshaping and perceiving abstract nature.

什么是自然的本质呢?在肯尼思·L·巴顿和格哈德·里希特的启发下,我们认为对自然感知的终极实际上是人类的自我映射,是我们将自己的需求和情感输出给自然,然后再从自然中重新读取这些需求和情感。因此人类对自然的重塑,从根本上说是对人类自我情感和感知的重建。

What is the nature of nature? Inspired by Kenneth L. Patton and the drawing from Gerhard Richter, the perception of nature is ultimately human’s self-projection, it is we who project our own needs and emotions onto nature and then read those needs and emotions back again. The human reinvention of nature is fundamentally the reconstruction of human’s emotion and perception.

设计的基地位于智利康塞普西翁。一个美丽,危险且非常不稳定的地方。当我们在这里建造空间时,人类本能所追求的安全感必然会导致与自然的对抗和隔离。而对于基地原有结构关系的提取和再现则可以成为串联这一对立关系的媒介。通过对基地中场(结构关系)的建构,可以实现人工与自然,静态与动态,分离与纠缠间的对话,那么结构设计作为一种人为的干涉,就可以真实的表现基地的特征并能平衡基地中的冲突。而这一场的构成逻辑,则提取自从基地中感知到的结构,一种临界性。

The site is in Concepción, Chile. A very unstable place which is both beautiful and dangerous. When building a space on the site, the sense of security that human always seeking for will surely lead to a confrontation and isolation from nature. The extraction and reproduction of the context pattern could become the medium to concatenate antagonistic relations. The structure as a human interpretation thus becomes the bone of bridge to balance the contradiction and the true-expression of the site. Thus the dialogue between human and nature, steady and dynamic, separated and tangled appear through the field of tectonic composition, while its’ combining logic come from the extracted site pattern, as criticality.

基于场地的自然状态,一个类似跷跷板的结构生成了,它是一个可与自然互动的展馆。除了其微妙和临界化的结构表现之外,它还可以对基地中的四种可能的自然变化做出回应。每种变化模式都会改变其与地面的接触点,从而产生不同的沉积物。经过多年的交互演变,这个展馆将最终融入自然,成为一个既不像是人工的也不像是自然的中立状态。

Consider the site condition, a seesaw-like structure was designed to be an interaction pavilion. Besides its’ subtle and critical structure, it could response four possible variations to nature. Each variation mode changes the touching point to the land thus the sediments will be generated differently. Through years of interaction, this pavilion will merge into nature and becomes a neutral element which you will perceive it is neither artificial nor natural.

 

 

 

02.

两个斜撑的房子
Two-Truss House
东京工业大学|Tokyo Institute of Technology
小组成员|Group member: Wang Shuaizhong, Shen Kewei, Zhang Ruijia
指导老师|Instructor:Taishin Shiozaki, Okuyama Shin-ichi

这个项目试图基于筱原一男的理论体系来讨论建筑在自然中的可能性,尝试由筱原一男已有的“四种样式”来推演出适应于当下的“第五样式”。

This project aims to acquire a possibility of architecture in nature through the distinctive and chronological theory of Shinohara Kazuo, the idea is to purpose a “Style” developed by his consecutive four styles fits the contemporary plateau.

我们在讨论中提出了一种螺旋曲线的演变形式,新的第五样式既包含了无意义的、无参照的第四样式,又包含了第三样式中对抽象与具象之间相互关系的思考。通过这样的演进,自然和建筑的元素几乎在没有建筑师的介入下就能相互交织在一起。方案中通过对筱原一男称之为初等几何的这一通用技法的运用,建筑的生成,包括空间、结构,都完全是由初等几何所控制和确定的。

A form of spiral curve was purposed during the discussion, by which the new fifth style would incorporate both the anti-meaning, non-referential forth style and the interrelationship between abstraction and concreteness of third style. Through such sublimation nature and architectural elements intertwine with each other almost without the intervention of Architects. By wielding the universal tool of what Shinohara called elementary geometry. The formation of Architecture including space, structure all controlled and verified by the elementary geometry.

建筑基地位于蓼科山的一个陡坡上,该建筑一半由原有的土坡支撑,一半完全悬挑。此外不但将土坡延伸到建筑的内部,还加入了两个不同的“力形”的斜撑,直接回应场地和建筑之间的几何关系。

The building located on a sharp slope in Tateshina, where the building is half supported by the slope and half cantilevered. Besides extending the slope into the interior, two different forceful trusses were also created to dialogue between the site and building.

 

 

 

03.

曼哈顿基面
DATUM HUDSON
陈子奇个人作品|Chen Ziqi Individual work
指导老师|Instructor: Seth McDowell

这个方案是对曼哈顿城市形态的一种遐想。功能是一个城市综合设施,用以应对新兴的共享经济。基地在纽约目前最大的开发项目Hudson Yards旁。概念就是用一种更为水平的空间组合形式来取代摩天楼点状纵向的布局。这种布局形式类似城市空间的组合形式,能让功能之间的有更多交互的可能。

This project is a hypothesis of the Manhattan urban space configuration. The project is an urban complex that reflects the emerging shared economy. The site is next to Hudson Yards, the biggest new real estate development of NYC. The concept is using a more horizontal spatial relation instead of the vertical configuration of skyscrapers. This kind of space relation resembles how the city is structured, which allows multiple kinds of interaction between function clusters.

这个设计由于巨大的体量和复杂度带来了一些有特殊性的问题,例如如何应对有限的地面可利用空间,如何高效的组织功能区之间交通和物资供给,如何解决结构等等。对这些问题的回应最终决定了建筑的空间形式。

The enormous volume and the complexity of the project caused some peculiar difficulties. For instance, how to respond to the very limited available land, how to organize the circulation and supply between programs, how to decide the structure. The strategies that address those problems embody the project.

 

 

 

04.

设计外交
Design for Diplomacy
陈子奇个人作品|Chen Ziqi Individual work
指导老师|Instructor: Phoebe Crisman

这个设计相对比较实际,探讨了一个比较生僻的类型:大使馆。这类建筑因为安全需求有着十分严苛的设计限制,因此上世纪大多数的美国大使馆设计都采用了一种及其严肃刻板的范式,呈现出一种拒人千里的态度。这个方案位于意大利米兰,在基地的一侧有一座保留的历史建筑。为了塑造一种类似意大利传统园林的序列关系,方案在轴线,体量关系,流线等方面对意大利园林进行了结构。

This is a more practical project that discusses a comparatively uncommon topic, the embassy building. This category of project demands very strict design disciplines due to the security reasons. As a result, most of the embassy buildings in last century adopted a rigid model that appeared to keep people away. The project is in Milan, Italy. There is an existing historic villa on the east of the site. In order to create a spatial sequence that resembles the traditional Italian garden, the project reconstructed it from the aspects of axis, massing and circulation.

在设计的全程一直有来自大使馆的专家参与评图,他们对设计有着和建筑师完全不同的视角,给人一种和真实方案推进过程十分接近的氛围。平衡来自不同立场的不同的观点和就变得十分重要。

There were experts from the embassy participated the pin-ups. They have very different point of views from the architects, which made the discussion close to the real projects. Thus, balancing the comments from different perspectives is crucial.

 

 

 

05.

动物乌托邦
Animal Utopia
小组成员|Group member: Chen Ziqi, Wang Shuaizhong, Zhou Yilan, Han Fei
指导老师|Instructor:Zhu Shanyao

  

在很久以前,人类和动物和谐快乐的生活在自然中。然而随着人类的发展,钢筋和混凝土逐渐取代了森林,动物也逐渐失去了它们的栖息地并被迫迁徙。如何能将动物迁回城市并帮助他们适应当下的城市生活环境成为了设计的出发点。

Long time ago, human and animals live in nature together, with peace and harmony. When forests are replaced by steel and concrete, those animals gradually lost their habitats and are forced to migrate. How to bring animals back and help them adapt to the current urban living environment became the starting point of the design.

建筑的基地位于上海陆家嘴的中心。设计结合了蚁穴这一功能层次和流线组织既清晰又复杂的空间原型和上海摩天大楼的城市符号。既提供了动物对复杂生活环境和流线的需求,又让建筑完美的与周边城市肌理保持一致。

The site located in the center of lujiazui, Shanghai. The design combines the clear and complex spatial prototype of ant nest, a functional hierarchy and circulation, with the urban symbol of Shanghai skyscrapers. It not only provides the demand of animals for complex living environment, but also makes the building perfectly consistent with the surrounding urban context.

轻盈的结构和立面让巨大的建筑体量像一朵漂浮的云,消失在城市中。多孔的复杂流线成为动物理想的生活乌托邦和新的城市风景。
The light structure and facades allow the huge volume of the building disappeared into the city like a floating cloud. The porous and complex circulation become an ideal animal utopia and a new urban landscape.

 

 

 

06.

光的液化
LIGHT LIQUEFACTION
International VELUX Awards regional winner
小组成员|Group member: Chen Ziqi, Wang Shuaizhong, Liu Zeyu
指导老师|Instructor: Earl Mark

▼视频,video

这个设计是一个将阳光引入地下空间的装置,同时还有在沙漠中集水的功能。基地位于澳大利亚Cobber Pedy,该地区是世界最大的欧珀开采地和交易市场,但是由于气候酷热,大多数居民都居住在由矿道发展而来的地下空间。这个方案运用了类似欧珀微观结构的构件实现了在集水的同时,将日光以一种富有诗意的方式引入地下。

The project is a small device that brings the daylight into the underground space and collects water at the desert. The site is located at a town called Coober Pedy in the outback Australia. This is the biggest opal mining and trading place in the world, but most of the residents live in the underground dwellings developed from the mining tunnels due to the harsh weather. The project applied a component inspired by the microscopic structure of the opal. It can bring the daylight to the underground in a romantic way as well as collect the water.

在海外时间:2016年至今
在海外地点:赫尔辛基,东京,苏黎世
姓名:王帅中
籍贯:陕西西安
学校:阿尔托大学
工作单位:B&M Architects
联系方式:wangshuaizhong@126.com / wangshuaizh@gmail.com

When: 2016 until now
Where: Helsinki, Tokyo, Zurich
Who: Wang Shuaizhong
From: Xi’an, Shaanxi
School: Aalto University
Firm: B&M Architects
Contact: wangshuaizhong@126.com / wangshuaizh@gmail.com

在海外时间:2016年8月至今
在海外地点:夏洛茨维尔,华盛顿
姓名:陈子奇
籍贯:浙江嘉兴
学校:弗吉尼亚大学
工作单位:SOM华盛顿
联系方式:ziggychen@outlook.com

When: 2016 August till now
Where: Charlottesville, Washington DC
Who: Ziggy Chen
From:  Jiaxing, Zhejiang
School: University of Virginia
Firm: SOM Washington DC office
Contact: ziggychen@outlook.com

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