The Machine Of Earth by UD Architectural Design Institute

It’s like a club for the city, as well as a living room for the citizens.

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故事 索晓蝶 / 鲍勃胡
主设计师 胡博
设计团队 李灏 / 索晓蝶 / 顾蓉 / 冯方 / 骆思
Story: Xiaodie Suo/ Bo Hu
Chief Designer: Bo Hu
Design Team: Hao Li / Xiaodie Suo/ Rong Gu / Fang Feng / Si Luo

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故事
Story

未及实现的设计,在夜里悄悄变成好梦,好梦在下个季节偷偷照进现实。
静待开垦的处女地,不知城市的来临。
建筑师的白日梦里,房子开始飞行。

The design haven’t realized quietly becomes a good dream in the night, and the good dream secretly shines into reality in the next season.
The virgin land waiting for reclaiming,doesn’t know the advent of the city.
In the daydreams of the architect, house begins to fly.

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新区的夜晚,总是少失几许闹市的阑珊,好在有星空,有萤火。
四边形的幽暗草坡,聚落悠荡,蔓草起伏。

Grace席地而坐,幻想着一出自排自演的话剧;Francis凭空化舞,忆起空山竹林;Sophia手持书卷,仰头遐想书中塞尚的《日出》和梵高的《星夜》;Howar举起望远镜,浩茫的星空里,一颗流星擦破天际。
没有交集的故事在空荡的山坡相遇,相遇仅仅是相遇。

那不是流星,是一艘飞船。

Robert有个地球名字,叫做Robert。
他驶着飞船划过山林草坡,掠过巷弄厦宇。
无数的人在城市相遇,相遇仅仅是相遇。

荒芜的蔓草中,记忆的墟落上,庞然巨煞从天降。
飞船停架聚落,少年如临梦境。

Robert说,不够像。
于是飞船开始仿照大地的模样,扭动出山坡,遮蔽起聚落,生长出绿荫,蜕变出梯田。
Francis仿佛置身空山竹林,山坡在山坡之上,竹林在竹林之上;
Howar足下平地升起,在星空里靠近星空。

The night of the new city, always lacks some of the lively atmosphere, like lights and streets. But fortunately, there are stars, there is fire.
In the quadrilateral and dark grass, vaguely sees the settlement, with creeping grass ups and downs.

Grace sit on the floor, fantasizes a drama directed and played by herself; Francis dances out of the air, reminiscent the stretches of mountain and the sea of bamboo; Sophia holding a book, reverie the”Sunrise” of Cezanne and the “Starry Night” of Van Gogh; Howard raises his telescopein the vast sky, a meteor scraping the sky.
The stories have no intersection meet at the empty hillside; however, meeting is just meeting.

It is not a meteor, it is a spaceship.

Robert has a planet name, called Robert.
He sails the ship through the mountains and thegrass, passing the alleys and towers.
Countless people meet in the city, however, meeting is just meeting

In the deserted creeping grass, upon the ruins of memory, enormous ship flies down from heaven.
The ship stops on settlement, the young as if in the dream.

So the spaceship begins modeled on the appearance of the earth, twists to form a hillside, sheltersthe settlements, grows up green shadow, and transformsa field.
Francis seems to be inside those empty mountain and sea of bamboo, hillsides above the hillside, bamboo over the bamboo.
Howar rises from the ground, close to the stars in the sky.

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Robert说,要有光。
天空亮起光芒,飞船开始融化,溶洞贯通天地,光芒透射四方。

Robert says, there must be light.
Then, light illuminates the sky, the spacecraft begins to melt, cave through the heavens and the earth, shining all around.

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Grace听见鸟语虫鸣和星空光芒在头顶的空气里对撞,她的话剧有了新的“演员”;
光芒勾亮艺术馆的雕像,漫射在Sophia的书页,《星夜》的图腾在巨大的天蓬亮起,蔓延去向璀璨的夜空。

Grace hears thecollisionin the head of the air, birds singing and the stars shining. She has a new”actors” in her drama.
Light illuminates the statue of the art museum, diffusion in Sophia’s book. The totem of “Starry Night ” lights up in the huge sky canopy, spreading to the bright night sky.

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Robert说,来点儿雨。
闪电划过,雨水骤落,船作屋盖,四水归堂。
人们带着自己的小故事在巨大的屋檐下相遇成章。

Robert says, a little rain.
Lightning flashes, sudden rain falls, roof becomes the ship, Water gathered.
People with their little stories meet under the enormous roof.

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讨论
Discussion

胡博 Bo Hu

在开始设计构思一座城市的公共文化艺术空间时,我们先开始反思:见过太多城市的公共空间呈现出冰冷巨构体量阵列出的仪式森林和空荡广场,脱离出城市肌理和自然文脉的“空墟”,远离了人的尺度的活动面域。城市里的人将伴随怎样的感受从连续的现存片段走进这些忽如其来的断层空间,是否如一幕正剧跳接喜剧般的略作荒唐。

In begin to design a city public art and culture space, we start to reflect: we have been seen too many ritual forests and empty plazas, presenting by cold and giant structure, out of the urban fabric and natural context of “empty ruins”, far away from the human activities. How do the city people feel, when they suddenly walking into the section from the existing continuous fragments? Is it ridiculous such as the act of a drama jumping to a comedy ?

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“市民的客厅”,脑海里迸出的第一个词语。相信你家的客厅一定不是给客人看的,至少不主要是。它可以不大,但可以很丰富: 它可能和书室、厨间有着暧昧的边界,家人们带着自己的活动轨迹在客厅相遇,此刻它正如同化学容器,一家人的多样生活在此互动反应。一座城市或许也当有它自己的市民客厅,人们和故事在那里相遇和相聚。

“Living room of the citizens”, the first word appears in my mind. I believe that your living room is definitely notto show for the guests, at least not primarily to.It can be not too big, but must be very rich: there may be an ambiguous border among living room,reading room and kitchen. Familiesmeet in the living room with their own activities track. At this moment, it seems to be a chemical container, responding the interaction of the whole family. Therefore, a city may have its own living room, where people with stories meet and together.

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“聚落”和“融合”的想法在看过场地后萌生,原生的聚落散落在开阔的旷野,新生的巨筑破土探出完整的地幔,远山显露多少不安: 我们留几何给“过去”,存几许给“未来”?

我们试图营造一个多元的文化艺术交流容器,这里有集约和可供共享使用的空间,有不同内容的空间相互交融碰撞出的多媒介故事场所。

于是,我们构思着一巨形地景叠合下的聚落空间。

The idea of “settlement” and “integration” appear after the site. Native settlements scatter in the open desert. a new giant building breaks the complete mantle. The distant mountains show a little disturbed: How much do we leave to the “past”, and how much do we leave to the “future”?

We are trying to building a container mixing multivariate art and culture. There have intensive and shared space. There have media stories placescollided by different space.

Therefore, we conceive a giant settlement, under topographic Landscape.

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01 / 融合与混杂:空间 • 场所 • 事件
01 /Fusion and Mixed: Space • Place • Event

 

索晓蝶 Xiaodie Suo

“你站在桥上看风景,看风景的人在楼上看你。明月装饰了你的窗子,你装饰了别人的梦。”——《断章》卞之琳

看到城市公共空间,不知不觉想到了这样一首诗。

它可能是一个主角,吸引点,所有的视觉、听觉、嗅觉、触觉甚至味觉都可以聚集到这裡;它也可以是一个配角,装饰品,给真实世界带来色彩、花香、鸟语、柔软甚至甜蜜。

“You’re standing on the bridge to see scenery, while people are looking at you upstairs. The bright moon decorates the window of you, you decorate the dream of others.” —-“the broken chapter” ZhilinBian

When seeing “urban public space”, Iunconsciously think of this poem.

It can be a hero, an attract point, all the sight, hearing, smell, touch and even taste can be gathered here; it can also be a supporting role, decorations,bringing color, floral, birds, soft even sweet to the real world.

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回想每个人每天的生活,无一不暴露在城市公共空间里,街道、广场、绿植、水系等等,他们串联起城市所有功能,如同电路里所有的导线和小节点。

Recall everyday life, we are exposed to urban public spaceeverytime,streets, squares, plants, water and so on, they composite all the fuctions of city, like wiring and small nodes in the circuit.

 

顾蓉 Rong Gu

城市公共空间是一个可以发生并且可以触发交往与互动的场所。这种公共性会引发人们社会交往的需求,这种交往不仅仅限于语言交流,也包含着场所中与环境的互动,提供了人所需要的处于社会群体的体验感和归属感。

城市的公共空间由虚和实构成,开敞的空间提供发生事件的“地方”,界面提供事件的话题及行为的引导。这种活动空间重在对人的行为模式的组织,有序或是无序的。

City public space is a place where can happen and trigger communication and interaction. This publicity will enhance people’s needs for social interaction. It is not only for verbal communication, but also for the interact with the environment.The publicity provides the sense of experience an belonging for the group.

City public space constitutes by the imaginary and real. The open space provides for events, while theinterface provides guidance for the behavior and topic. This kind of activity space focuses on the organization for the human behavior, orderly or disorderly.

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02 / 建筑学场景的戏剧性:“空中楼阁“ 亦或 “建筑落地”
02/ Dramatic scene of Architecture: “Castle in the Air” or “Architecture Landing”

 

李灏 Hao Li

戏剧性的空中楼阁所体现的是目的性。在设计中我们有意的去创造戏剧性,去丰富公共文化空间,潜移默化的运用着电影、绘画、行为艺术中常出现的手法,满足着我们对于不循规蹈矩的渴求。现代人(未来人)的需求成为了设计师理想的载体,历经转变形成建筑空间,转变过程中的限制条件逐渐使得那些幻想更加生动、更加真实。

就像刚刚睡梦中的场景,被笔尖描绘,被构件搭建,细节清晰,各种材质最真实的展现在面前,仿佛又不像梦里那么完美,但是又获得了更多的空间趣味。建筑的落地性是建筑独特的魅力体现,虽然在3D建模软件中,建筑师可以肆意建造自己幻想出的建筑空间,肆意去打造戏剧性,满足需求,落地性就好像成为了一种束缚,在这种束缚下偶尔要放弃,不变的是坚持。

在落地性的抑制下,那些戏剧性可能会发生突变,可能会消失殆尽,在落地面前一切都不那么真切,幻想的总抵不过现实来的强而有力。带上这样的思虑我们从头开始,做一个有准备的美梦。

Dramatic castles in the air reflected the purpose. In our design, we intend to create a dramatic sense, to enrich the public art and cultural space. We use the technique of film, painting, performance art uncons-ciously to satisfy our thirst for unordinary. The demands of the modern (future) become the ideal of the designer,transform to the architectural space. During the process, the constraints make those fantasies more vivid and more real.

It is just like a dream sence, drew by pencil, build by components, with clear details, a variety of materials shown in front really. Although it is not as perfect as dream, but creates more interesting space.The uniqu charm is the architecture. Though in the 3D modeling software, architects can build their image architectal space freely, to create dramatic senceand meet the demand. The truth of architect become a bondage. Although sometimes we should give up, the only thing we don’t change is persisting.

With the limit of the truth, there suddenly must be some change in that dramatic.They may be disappeared finally. It is not so clear in front of the truth, and truth is not as strong as fantastic. So, with this thinking, we are ready to make a dream.

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索晓蝶 Xiaodie Suo

不想当将军的士兵不是好的棋手,同样没有梦想的建筑师也不是好的旅行家。
我们经常说,追求梦想,亦说实现梦想。
用来追求的梦想隐含着百分之九十的可能它不会那么轻易被实现;
而用来实现的梦想寓意着百分之九十的可能它没有那么需要被追求。
结论是,看你选用哪个动词。

A soldiers who doesn’t want to be a general is not a good chess player, also an architect who doesn’t have a dream is not a good traveler.
We often says, persueing a dream and making a dream come true.
A dream used to persue has ninty percent chance that it can not come true easily.
A dream used to be come true has ninty percent chance that it need not to be persue.
The conclusion is, which verbs do you choose.

 

顾蓉 Rong Gu

建筑师的空中楼阁和建筑的落地性是相互促进,引导和约束的关系。设计需要落地性的现实,但设计源于艺术的表达,不应被现实禁锢,天马行空的自由属性能激发创造的潜力,能为现实的建筑增添创新;同时,落地性的条条合理数据又能在一定程度上约束住过于天马行空的想法,并且建筑技艺的进步也会部分程度上将空中楼阁化为现实。所谓建筑师的设计,带着镣铐跳舞。

It has the mutual relationship of promotion, guide and constraint between “castle in the air” or will “Archi-tecture landing”. Design has the needs of reality. But the design comes from the expression of art, and-should not be limited by reality. Powerful and unconstrained of freedom not only can stimulate the potential of creation, but also can add innovation for the reality construction. At the same time, the reality can constrained the freedom idea, and the progress of technology can make our idea come true. The so-called design of architect, is dancing with chains

 

胡博 Bo Hu

几个戏剧化的场景里,我试图给每个场景预留落地的可能。记得在“儿童阅览室”的空间场景里,我坚持要一个“小房子”(伸向屋顶地景层的图书借阅亭)飘在中庭的上空,可能当时我觉得面对知识,所有人都是“孩子”,都需要仰望。其实,小房子下垂悬着的“金属水体”就可能成为日后支撑部分的掩盖体亦或其本身。

In a few dramatic scenes, Itry to make every sense to have the possibility to come true. Remember in the sense of “children’s reading room”, I insist on a “small house”(the books borrowing pavilion toward to the roof landscape layer) floating above the atrium. At that time, I feel everyone must be a child when they in front of knowledge and they need to look up to it. As a matter of fact, the “metal water” hanging to the small house may be the cover of structure, even the structure itself in the future.

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03 / 值得思考的绿色建筑措施
03/ Green Construction Measures Worth Thinking About

 

索晓蝶 Xiaodie Suo

现在几乎每一个建筑都在倡导生态、绿色,并不是画上了几颗星星就真正做到了生态。
真正的生态也许是集约资源,在我们拆了一块地的时候,可以重新运用拆下来的材料进行新的建造。
真正的生态也许是对内外皆和谐,大环境生态了,小环境才有可能真正的生态。
真正的生态也许不需要那么多复杂的技术,合理的考虑人们的需求,当地的气候和建造环境,动用建筑上的小设计,这是我理解的生态措施。

Nowadays, almost every building is promoting ecological and green. But, it is not really ecological with a few stars.
The real ecological may be intensive resources, when we remove a land, we can re-use the material re-moved to the new construction.
The real ecological may be harmony both inside and outside. The whole enviroment get ecological, while the small enviroment can have the possibility to get ecological.
The real ecological may not have too many complex technology. When we reasonably consider the needs of people, the local climate and the built environment, we make the place ecologically with a little design.
This is my understanding of the ecological measures.

 

冯方 Fang Feng

生态对于我来说:“生既是生命,生活;态既是形态,状态;也就是生命的原有形态。”所以,我认为建筑需要顺风顺水,我们所设计的城市,形成的真正有效的生态措施,就是尽最大可能性,让建筑融入环境,保持地域的原有面貌。结合当地城市人文,让建筑与周边环境地域共融共生,并且不断的可持续发展。

For me, ecology is:” life is life, to live; state is state, to form; they are the original form of life. Therefore, I think the building needs to follow the wind and follow the water. To make the ecological measures really effective in the city we design, we make the building merging into the enviroment and maintaining the original geographical appearance. Combined with the local culture, make the building be harmony with the surrounding environment, and sustainable development

 

胡博 Bo Hu

试着不要把“生态”和“绿色”当成技术,它们本该是设计的一部分。景观瀑布也许就在降雨后的一次“别有心机”的屋檐落水,自然的通风和采光也可能就在建筑形态随着场地文脉扭动的一瞬间产生。我想了想,好像可以试试不以叠加的方式投入生态技术,它该从设计本身长出来,它是景观,是形态,是材质和纹理,它就是建筑。

Try not to make the“ecological” and “green”as technology; they should be part of design.The waterfalls may appear after a falling rain, from the roof, “intentionally”. Natural ventilation and lighting also may ap-pear the moment the building twisting. I think, maybe we can try not to superposed ecological technolo-gy.They should be grow out of the design. To be landscape, to be form, to be material and texture, it is architectural.

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                      生态水循环系统                                                                    生态光系统                                                       生态风系统

结尾
END

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星移斗转,晨辉初露,雨过天晴,虹驻霓行。
一座城来,一场梦去。

Stars rotate, sunlight diminishes, rain passes, rainbowappears.
Here comes a city. Here passes a dream.

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