为什么出国？
Why go abroad?

继续专业上的学习。瑞士的建筑学教育和实践更接近于自己本科时对于专业的认知，也就决定来到了这里。

Continue my study in architecture. When I was graduated as a bachelor student from CAUP, Tongji University, I found that the academy education in Switzerland perfectly suit my design approach. So I decided to come here.

在国外遇到了什么让你印象最深刻的事情？
Is there anything happened impressed you the most abroad?

瑞士是个弹丸小国，阿尔卑斯山自东向西几乎横贯穿过整个瑞士，读书时在瑞士南部气候温和日照充沛的意大利语区，在那里阿尔卑斯山余脉缓和地向着波河平原绵延，葡萄藤田遍地，而实习时在瑞士北部德语区苏黎世，那里日照时间短暂，冷峻而严苛。记不得多少次坐着火车穿行于山南山北之间，往往在进入隧道前还是皑皑白雪，驶出隧道时却阳光灿烂，一山之隔，气候迥异。

大半年前因为毕业设计获奖的机缘，被颁奖给我的Boni家族邀请，去参加了为期一周的帕拉迪奥研讨会。整整一周都住在Vicenza这个小镇上，早出晚归，一个房子一个房子地去拜访帕拉迪奥的经典之作。可最难以忘怀地却是另一位同时期的建筑师 Vincenzo Scamozzi (1548-1616)的别墅Villa Pisani，坐落在小山顶端，当我们到达时它以一个纪念物的姿态矗立在上山小路的尽头。到达后站在宽广的前廊下，看着远处氤氲在意大利夏天黄昏光线里一望无际的乡野，感受着穿越建筑内部的风，同时仍在使用着的厨房里又传来了阵阵菜肴的香味。在那个瞬间，无法不觉得这真的是全世界最美的别墅。

那些根植于文化，地域和气候的建筑们往往令人赞叹不已。坐在Sigurd Lewerentz的St.Mark教堂里聆听唱诗班的歌声; 在南法历尽周折终于到达的Le Thoronet Abbey修道院; 夏夜的意大利，阿西西的上城人群散尽，灯光亮起的大广场; 不胜枚举——这些在旅行中的体验是受用终身的宝库。

Switzerland is such a tiny country. Great Alps goes through almost entire Switzerland from east to west. I studied in Mendrisio. The school locates in an Italian-speaking canton south of Alps, where the lower Alps territory spreads gently towards plain Po. There the weather is warm and sunny. The canton is full of grape fields. However I also spent almost 2 years in German-speaking city Zürich where the weather is rough and the winter lasts so long. I can’t remember how many times I take the train passing through Alps. Before entering the tunnel there are thick snows in the north, as soon as the train moves out of tunnel in the south, strong sunlights will shine on your eyes. Alps really gives different characters to the two sides.

Almost 8 months ago my diploma project was rewarded as graduation Prize Boni. Due to this reason the Family Boni invited me to participate in a Palladio Workshop lasting for one week. I was living in Vicenza during that week and all day long we went visiting Palladio’s master works. However the most impressive building I had visited was Villa Pisani designed by Vincenzo Scamozzi (1548-1616). The Villa located on the top of a small hill with a monumental gesture. When I was standing there under the wide entry portico, the continuous horizontal italian countryside fields could be overviewed from above. Together with the smooth wind and the tasty smell from the kitchen, I strongly realized that I had seen the most beautiful Villa all around the world.

These buildings are rooted in the culture, region and climate. They always strike me deeply in the soul. I can still remember these scenes: listening to the songs in Sigurd Lewerentz’ St. Mark Church; the struggles of arriving at Le Thoronet Abbey in south France; Assisi Cathedral Piazza’s lightings during a typical Italian summer night; and so on… These experiences in the travel will be my lifelong treasures.

Villa Pisani

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

归属感。
Belongings.

你会回国吗？为什么？
Will you come back? Why?

会的。建筑师和艺术家不一样的是，建筑过程有着相当大程度的社会性。设计只是其中的小小一块。设计之外的一切，我有着在自己的母语文化中完成的强烈意愿。

瑞士的建筑师身处的职业环境非常完善。看起来一切都好，却又担心自己沉溺于职业和生活上的舒适区域。希望将来自己能够在适合的时间走出自己的舒适区。

Yes I will. Architect is not like artist who could express himself/herself individually. The whole architectural procedure has to be done with all kinds of social comunications. Design only stands as a small part of it. All the other stages except design, I hope to finish them inside my own cultural environment.

Swiss architects have almost perfect practical environment and the architectural market gives enough freedom. Everything seems so nice and under control. However, I believe that’s might be a comfort zone where you are just used to all these good things. In the future I’d like to escape my comfort zone here in Switzerland.

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?

有太多的感触了。可以拿何伟(Peter Hessler)的中国三部曲来做参照。在这三本书里，何伟纪录了他在1996年来到了内陆的重庆涪陵后，从十多年前几乎说不出一句中文，生活中处处都充满着强烈的文化冲击，到十多年后成为了一个有些狡黠滑头的中国通的经历。

在国外生活的时间已经接近五年了，现在每当一回到国内，自己的心态竟然会变得像何伟那样，会带着些外国人的视角来看待以前所熟知并且深以为日常的市井百态，因为有着不同文化与习俗的参照，它们又重新焕发出了新的意义。同时，也因为开始了解西方的文化价值观，再来看何伟对中国的纪录，会对祖国越来越充满包容和耐心。

There are so many touches. Maybe I can take Peter Hessler’s three books on China as a reference. In these three series books Peter Hessler describes his personal experiences living in a small city near Chongqing. At that time he even could not speak any Chinese. However after more than ten years he becomes a real chinese expert.

I’m living in Europe nearly for 5 years. Nowadays every time when I go back to China, I realize that I start to see China as a foreigner. That makes me surprised. The daily life, which I used to be be familiar with, has appeared new meaning when I experience it with foreigner’s aspect. After all I start to be more comprehensive and patient with my country.

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

Mendrisio建筑学院偏安于瑞士南部边境小村子之中，承担工作室教职的教授几乎都是在欧洲浸溺于实践多年的建筑师。或许他们在实践中会有着另一套做法，但在教学方面却都非常明确的知道自己所要教的是什么，自己的教学要把学生带入建筑学的哪个思考方向上去。

非常具有针对性的教学，带来的现象就是教学过程中设计工具的异常多元化。在这里有这样的工作室: 每一个星期都明确规定学生们需要做出的实体模型数量和比例，桌上地上工具材料堆积成山，每次评图时图纸模型成果满满当当; 也有与之强烈对比的工作室: 一整个学期下来工作室里整洁如新，评图时只呈现简单的线图，通过和教授的对谈来打磨”概念”。

但尽管推进设计的方式不同，其探讨的对象都是建筑学科本身。每学期末为时一周的终期答辩，是整个学校的节日。穿梭于从本科生到研究生的不同工作室的评图，更是会对这种多元印象深刻。

Mendrisio becomes more attractive to young architecture students recent years. The teaching professors here all have many years’ practical experiences. Even though they might have other ways to achieve their thoughts in practice, they all clearly aware of what they will teach students in academy.

Teaching becomes the tool to express their different architectural opinions. Therefore you could find different ateliers with completely different, sometimes even opposite teaching methods. For example: there is an atelier where each week’s work is amounted precisely. Tools and model materials are laid everywhere on the table or ground; there is another opposite atelier. After one semester the atelier looks still like new. In every critic students only need to present simple line drawings and critics are done through talking about “concept”with professor.

Despite the different approaching ways, a common base is agreed that we only talk about architecture itself. Each semester’s final critic week will become a big festival.

毕设答辩

你现在工作公司的特色和有趣的地方？
Can you discuss the characteristics of the company you are working for?

现在工作于瑞士Burckhardt+Partner事务所，这是一家几乎只做瑞士本土项目的大型事务所。其法语区分部就已经有接近一百名员工了，却在组织结构上保持着如同小事务所一样扁平的设计流程。

我所在的洛桑分部，手头上正进行的方案有接近20个，其中竞赛仅有4个。刚听说这个比例时确实有点惊讶，好处就是刚刚开始工作，就能得到真刀真枪参与项目施工图绘制的机会。

I’m currently working in Burckhardt+Partner AG. It’s a huge office and almost all projects are done in Switzerland. There are nearly 100 employers only in its French-speaking branch. However inside the office there is not much hierarchy. The whole office works very efficient just as a small office.

Its Lausanne branch where I am working has almost 20 projects under-going. There are only 4 competitions out of these 20 projects. This is really an amazing proportion. The good thing for me is that I could work on detail construction drawings when I just start working here.

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?

很难说出最喜欢的是谁，在每个阶段喜欢的艺术家都不一样。最近两年来因为在意大利旅行的次数太多，也源于自己的个人兴趣，慢慢开始去了解经典文艺复兴之前的那批奠基者们。其中乔托(1267-1337)是个无法回避的名字，可一直被文艺复兴大师们的光辉所掩盖。他的那些画作，创作时间远早于透视法则被最终确立的年代，或许他是第一个有主动意识地去在二维画布上描摹刻画空间深度和空间层次的人物。在第二次去往阿西西的旅程里，一幅幅地仔细端详着他的那些壁画，作为背景的自然和城市在比例上无比的“奇奇怪怪”，但却有种原始而强烈的不寻常的空间感。

在当代，美国画家罗斯科(1903-1970) 和瑞士艺术家贾科梅蒂(1901-1966)在我看来是属于同一类人物，在他们那里，形式本身不再那么重要，形式变成了表达情感、观念的工具。他们的身上，有着身为建筑师注定无法企及的自由。

It’s difficult to say my favourite artist. Recently years I travelled a lot in Italy. Partly due to my personal interest, I get to know some early founder artists before classical Renaissance. Giotto(1267-1337) is an unavoidable name but his fame was covered by the following Renaissance Masters. His paintings which was achieved at the age far earlier than the perspective rule’s fix, revealed an unusual spatial depth in the two-dimension canvas. Probably he was the first man in the history who tried to do this on purpose. During my second visit to Assisi, I carefully watched his famous wall paintings inside cathedral. The nature and city in his painting exist as a background to express a kind of “strangeness” which could be easily perceived.

Contemporary I like Mark Rothko(1903-1970) and Alberto Giacometti(1901-1966). Form is not important any more. Form is just a tool to express their emotions and perceptions. They have a kind of freedom that can never be found from architects.

Giotto Assisi

Rothko in work

Giacometti in work

觉得自己的作品集有哪些迷人的特质？
What amazing character do your works have?

回归到建筑本身物质性的一面。不希望做出那些需要过多阐述才能被理解的方案。
Being concentrated to the physicality and materiality in architectural design. Hoping that the project could tell a story itself without too much extra explanations.

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?

喜欢谷德的各个专辑栏目。通过在海外了解到了在不同国家教育背景下的同龄人间迥异的想法，非常开拓见识。

I like the specific albums on gooood, like Oversea… Through Oversea I get to know the different personal thoughts provided by the young students or architects. No matter I agree with them or not, it’s still good to recognize how big the world is.

PROJECT
1.
苏黎世市内Käferberg公共浴场
Public Bath in Käferberg, Zürich

基地位于被苏黎世城市环绕着的Käferberg山中空地。Käferberg山是受苏黎世市民所欢迎的一处城市林地，周边也有着众多的城市基础设施。方案希望在山中的一片空地上建造起一座公共浴场，满足苏黎世日益高涨的对于浴场的需求，同时也提供了浴场文化的另一种可能性。

设计最初就明确了建筑物最终会与环境有所区别，可被识别的态度。上层的开放游泳池可被认为是森林中的湖，宽阔且浅，附属功能的建筑体量被窄窄地放置于空地两侧，尽量减少对于基地的空旷特征的感知。和上层开放游泳池并置在一起的是位于下层的热水浴场，光线透过顶部和侧边的立面进入，通过水面的反射塑造出和上层完全不一样的空间感受。

The site of this project is located in Käferberg, Zürich. It’s a hill full of woods and is surrounded by Zürich’s urban contexts. Nowadays, Käferberg works as a popular recreational place for Zürich citizens.

The program is a public building with an open-air swimming pool and an interior bath. It’s located in a rectangle clearing in the middle of Käferberg. The project contributes to both Zürich city and Käferberg itself. For the city, it will add diversity to the Zürich’s existing swimming culture and create a unique place in the forest. For Käferberg this project could become part of its infrastructure system.

The volumetric idea is trying to minimal interrupt into the site. The volumes are aligned along the edges of the clearing and are reduced as thin as possible. In this way the openness of the site is kept and a continuous space is given to the open-air swimming pool. The pool could be expressed as a lake in the forest.

Different with the experience of upper open-air swimming pool, the underground bath is a concentrated, dark and silent space. Only few lights could reach in this space through the holes on the roof or through the openings on the facades. With the reflections of the light, a poetic underground world is created.

2.
叙事空间:从圣经到当代。广场上的一座纪念物。
Space of Fiction: Translation from Bible to Contemporary World

这是个带有很强理论性质的方案。历史上每个时期都有画家去描摹他们心中的新约事件，他们创作的过程，就是把事件转移到图像所呈现的空间中的过程。对于相同的故事，历史长河中，数不清的画家到底都选择了多少种不同空间来呈现呢?

学期就这样始于对于画作中空间的研究。工作室每个学生都被分配到了一个圣经新约中的事件。我得到的事件是”耶稣受审”(“Jesus in front of Pilate”)。这几乎是整个新约里公共性最强的一个事件了，同时也有着明确的视线中心性。在这个故事里，”Stage”是最能被转移为建筑语汇的关键词汇。

基地被限制在罗马南郊的阿皮亚古道上(Via Appia Antica)。我选择了接近于古道尽端的一个叫Genzano di Roma的小镇作为基地。这个小镇拥有着非常独一无二的街道格局: 五条大道在尽端汇集在镇中心的主广场。于是我产生了在这个汇集点做一个建筑物的想法: 这个建筑物本身就是一个戏剧化出现在这里的”物体”，广场可作为一个被放大到城市尺度的”舞台”。

经过多轮在尺度，几何关系和视觉对位上的拉锯推敲之后，最终建筑呈现出这样的姿态: 顶层是一个被架起在空中的小陈列馆; 框架之内有一个位于二层的小咖啡馆; 与广场一街之隔的巴洛克时期的喷泉也可透过建筑被感知到。

Events described through text in Old and New Testaments have been widely translated in the image by painters for ages. This translation from one medium to another is also a translation through time: usually painters represent those events in their contemporary world. To achieve their paintings they have to imagine the physical set and landscape in which those events happened. Thus painting shows the way in which architecture is not only linked to a place or a time, but exist in itself through different places and times: the same story takes different forms and meanings by happening in different sets and times.

Each student will have to imagine the architectural set of an New Testaments event – Eden garden; the Wedding at Cana; Jesus crucifixion; Jesus talk with doctors in the temple, etc. – translated in the contemporary world. From original text to painting history they shall have to find the right contemporary architecture to house those mythical events.

The ambition: to understand that architecture, as myths, does not belong to defined places or times, and to explore the way in which it can modify the meaning and perception of events, through its autonomous way of giving form to places, and while being itself informed by other medias.

My given theme is Jesus in front of Pilate. The painting above might be one of the most representative art pieces. If we go through all the paintings on this theme in the history, we could realize one common thing. That is almost all the painters choose to imagine this event in a public space or in a place with public property. A centralized stage is required as an essential element.

Then I start to think about how to represent a stage for hosting this event. Palladio’s great work comes into my mind and becomes an important inspirational reference. Via Appia, set between Roma Circo Massimo and Castelli Romani, which is also the site assigned in this semester, is in itself of such beauty and complexity that it was the perfect place to explore. Each student has to choose their own site along Via Appia for their project. Genzano di Roma is a small town that has a unique urban street structure. There are 5 streets and all of them point towards the same dead-end: a public piazza.

The position of the project is very important in this design. It’s located along the open side towards the town. A Baroque style fountain, on the opposite side of the piazza, is a symbolic object for this town. It still can be seen through the void part of the building. A similarity can be found when it’s referred to Palladio’s theater. A theatrical and centralized stage is the same approach as him. But the different thing is the change of the scale. In my case, the building itself is a stage where the town’s street structure works as the background of the stage.

The building consists of two public functions. In the upper part it’s a history museum for this town. Meanwhile the town’s unique street structure can be displayed at the high position. Under the museum, in the inner frame it’s a bar. This glazed bar works as a stage where public activities happen.

3.
斯德哥尔摩市中心的一座百货商场
Department Store in Stockholm

Gétgatan是位于斯德哥尔摩中心的一条商业街，沿街的一块严整的矩形地成为了基地。由于功能面积大小的限制，建筑物需要像周边相邻的地块那样，严严实实地填满整块基地，因此设计的兴趣点转向了在内部使用一种有趣的混凝土结构系统。

混凝土核心筒在每一层都有着些许错位，同时仍然保持一定面积的上下重叠，和楼板一起形成了平衡性的结构系统。内部自由的空间也因此产生。

Götgatan is a street in the center commercial part of Stockholm. The site for this department store is just in the street corner with a strict rectangle boundary. It’s a quite limited site responding to surroundings. All the street blocks are fully filled in this area so the new building follows this city texture and stands as a solid object.

The main interest of this project is an attempt of adapting a new concrete structural system. Concrete cores are slightly displaced on each floor while certain surfaces are still kept overlapping vertically. Working together with the thick slabs, the whole structural system owns a balanced force flow. Flexible inner space is therefore shaped out.

4.
上海茂名北路，石库门改造成的博物馆
Folk Arts Museum in Shanghai

石库门建筑是一种典型的中西结合的风格产物。设计策略是挑选街区一整排弄堂进行改造，尽量少的去改动主体结构，保留原始的立面材料。每套住宅之间的隔墙被拆除，只保持承重柱，使原住宅前半部分打通成大空间以适应新功能的需求。在原住宅后半部分亭子间处，塑造出了一些通高的空间。唯一新加入的建筑元素就是位于这些通高空间顶部的金属屋面板。

In the middle pf 19th century, to meet the needs of rapidly increasing population, the people in Shanghai built the typical Shikumen houses along the linongs in the foreign concessions on an unprecedented scale. The single residences were of Chinese traditional courtyard housing style, but were arranged one next to another, like the western duplexes or condos.

The design task is trying to have a place to memorize Shikumen’s history and exhibit the objects related to it. The strategy of the design is to preserve as much heritage as possible. Based on this principle, only the elementary architectural form can be accepted in the design. One entire row is selected and all the outer walls are preserved as what they were. When people are passing by the museum they can only recognize the new metal roof panels, which are the only new added elements from the appearance.

The interior spacial order is renovated completely in the main exhibition hall in order to suit the new program while all load bearing structures are still carefully kept. Regular double-height spaces are created at the previous back-courtyard parts under the new metal roof. These narrow high spaces remind of the old life organization that normally happens vertically.

MORE:

WHEN: since 2011
WHERE: Switzerland: Mendrisio / Zurich / Lausanne
NAME : Tian Geng 田耕
FROM: Henan, China
SCHOOL & OFFICE: Mendrisio University School of Architecture, Tongji University School of Architecture; Burckhardt + Partner
CONTACT –www.atelier-geng.com / colaco87@gmail.com