Vortex, Insect / Zhang Hao and Zhang Haiyang

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Appreciation towards Zhang Hao and Zhang Haiyang for providing the following description:

2016上海市重大文化设施国际青年建筑师竞赛 图书馆二等奖获奖作品

▽ 漩涡，甲虫，vortex, insect

楔子：视而不见的现实焦虑   PREFACE: REALITY ANXIETY

今天的建筑设计行业已陷入失语的境地。

面对公共建筑，人们不假思索地玩味”城市舞台””公众广场””都市森林”等灵活万能、政治正确的词汇；或是回到历史悠久的”光影””尺度””诗意”这些先验的语言图式。在这个合力建构的抽象句法世界以外，汹涌的社会变化似乎都可与我无关。 附和于高速城市化和资本驱动，此类”脚踏实地”建设行业的诚实努力，却只会缓慢麻木我们的学科知觉。

依托三馆竞赛这一特定命题，我们尝试挖掘得更深入一些，并希冀以此触及图书馆这一建筑类型的本质和现实焦虑。

图书馆曾经是公众的知识传播谱系中重要一环，《韦氏词典》对“Library”一词的解释为：a place where books, magazines, and other materials (such as videos and musical recordings) are available for people to use or borrow。人们前往图书馆去借阅书籍/杂志/录像带/光盘等知识载体，这是图书馆的基本功能属性。在资讯的大规模存储传播主要依靠于印刷品的时代，图书馆几乎是自动地获得了一种等同于知识本身的庄严感。维姆文德斯极具野心的电影《Wings of Desire》中，天使们穿梭于汉斯夏隆设计的柏林国家图书馆内，倾听人们的内心独白。可以说，图书馆在一定程度上接替了教堂的位置，人们在这寻求心灵的沟通与慰藉。

Today’s architectural design industry has fallen into the situation of aphasia.

People unthinkingly repeating the flexible, politically correct concept words such as “urban stage” “public plaza” “urban forest” ect; or returning to the transcendental design language of “Light and shadow” “symbolic and poetic”. The huge social change that is happening in china right now seems could have nothing to do with the whole design industry. Devoted to the crazy urbanization, full filling the demands of the construction market, such an honest effort can only slowly numb our consciousness as a designer.

In this competition, we try to investigate more, and thus hoping to reach the reality anxiety of the LIBRARY.

时至今日，我们都已隐隐察觉到了一些变化。通讯技术的蓬勃发展瓦解了地理上的壁垒限制，数字网络的蔓延又推动了更具传播性和娱乐性的碎片资讯媒介的渗透扩张 ——“过去借由上帝和神话故事传播的文化，现在已由清洁剂广告和动漫英雄人物来代工了”（罗兰·巴特语）。 《娱乐至死》中更是悲观地写道：“在电报创造的信息世界里，人们失去了行动的能力，源源不断的信息和它的受众之间很少或几乎没有任何关系”、“到处是水，却没有一滴水可以喝”。

At the present time, we gradually become aware of certain changes. The development of communications technologies breaks the geographical boundaries, and the expanding of digital networking also promotes the penetration and expansion of informational fragments which are easier to spread and more entertaining.

寓言与宣言：概念的重塑   ALLEGORY & MANIFESTO: REMODELING OF CONCEPT

更现实的问题是，我们在多大程度上、在何种方式上还需要一个“图书馆建筑”。一线城市的公共图书网络系统铺设其实已非常完备，北京借还书“一卡通”已覆盖近两百家区县级、乡镇级图书馆，这些大小图书馆悄无声息地消没在城市建筑肌理中，吸引着一些中老年读者和备考一族。对大多数人来说，似乎已不再需要从图书馆获取什么了。在眼前的手机app、电脑软件、各类屏幕间工作和生活，全情拥抱比之纸质印刷品更加全面体贴易于消化的信息世界，然后到周末，去世界上最孤独的图书馆看一看大海喝一杯咖啡—— 这才是都市人的文艺理想世界。

所以，在设计的最开始我们先写下了一段寓言——我们尽可以承认了吧，人们已经不再需要前往具体的图书馆建筑去获取知识了，在这个微博、微信、豆瓣时代，在这个P2P C2C C2O O2C时代，以纯粹印刷媒介作为载体的图书馆正在式微，直至最终死亡。知识已经从书本中碎片化而出，并且以“清晰度”更高的媒介方式贴合着人们的需求，图书馆正在失去它的威严。

《理解媒介》一书中缘引了爱伦.坡的一则有趣的“水手自救”的比喻：水手陷入了大海的漩涡之中，自救的唯一办法，是冷静地观察漩涡的动态，再顺势而为。同样，我们并不打算与汹涌的资本力量混杂的媒介环境进行对抗，更大的企图在于“揭示”，将“观众”置入这个漩涡的中央，这样，他们终于得以真正“看见”，这无可阻挡而又人人卷入的场景。

A more realistic issue is, to what extend and in what way, do we need a “library building”. The network of public books in some first tier cities is already very complete. To the most of people, there is no need to get anything from libraries. The ideal world for urban citizens is already achieved by mobile app and computer software. They already get used to live and work in various sizes of screens, and embrace the universe of digital media which assimilates more easily and is more comprehensive and considerate than the world of paper media.

Therefore, we write the ALLEGORY in the beginning of our design: We have to confess that people no longer need to travel to a specific library to acquire knowledge. In this era which is full of Twitter, blog, P2P, C2C, C2O, O2C, the library with paper media is declining and eventual to death. Knowledge is fragmented out from books, and fit people’s needs with high definition. The library is losing its dignity.

至此，整个“病症”又可以被归纳为一句话——图书馆这一完全关于“知识”的建筑类型，却在如今的公众知识生产、传播、消费、碎片化、再消费这一整体谱系中被不自觉地边缘化。在此前提下，比起设计一个新的图书馆建筑，更紧迫的命题是如何在新媒体时代，重塑一个“图书馆”概念。

宣言——图书馆将回到公众知识媒介谱系的核心。它会需要一个全新的自上而下的空间结构去重塑知识的神圣性，同时将更具包容性地去整合信息产业的芜杂场景需求、去回溯知识传播的来龙去脉。最终，它将成为关于“知识谱系”自身的图书馆。

Under such circumstances, a more emergent preposition is to redefine the idea of “library” in the era of new media rather than to design a new library building.

MANIFESTO: The library will return to the core of the public knowledge of the media spectrum. It needs a new spatial structure to reshape the sanctity of knowledge thoroughly, while the more inclusive way to integrate the needs of the information industry and scene, It will go back to the dissemination context of knowledge and become the library of knowledge Pedigree eventually.

中枢神经：媒介与空间的双重结构   CENTRAL SYSTEM: DUAL STRUCTURE OF MEDIA AND SPACE

不言而喻，人们接受任何信息都须经由一种载体，马歇尔.麦克卢汉更一步指出，信息媒介载体自身已包含一种信息 —— 我们都已知道，同一则新闻，经由电台收听或电视播放、或是APP推送的受众体验差别。论及传统知识媒介的没落，人们自愿从书本走向屏幕的现实，无可避免需要探讨各类媒介是如何被受众“自愿”选择并接受，又是如何潜移默化地浸染一切社会行为。

It is self-evident that people accept any information must through a medium. While we talk about the fall of traditional knowledge media and the reality that people voluntarily move from paper books to electronic screens, we have to investigate how those media are chosen and accepted by the public and how they influence our social behaviors imperceptibly.

▽ TED 三棱镜，TED prism

提取出知识媒介面向受众最突出的三个基本属性:T(topology)，E(experience)，D(definition)，即拓扑度&交互体验度&清晰度，T(topology)代表媒介的自我演绎的潜力和能力，包含了媒介的时间性线索; E(experience)代表媒介本体的开放程度，以与受众的信息互换程度为主要衡量标准; D(definition)则来源于麦克卢汉的媒介理论，强调媒介对客体各项知觉的调动能力。这三个属性值的组合，决定了一项信息传播媒介的强度和寿命。拥有了这一工具—TED—一把手术刀和一台标签机，我们得以对瞬息万变纷杂无序的媒介漩涡加以切片、标签、比对、归类。

The most prominent properties that knowledge medium faces towards the public can be concluded into three basic points: T(topology),  E(experience), D(definition). T (topology) represents the potential and ability of medium’s self deduction, and includes its temporal cues; E(Experience) represents medium’s degree of openness and considers the public’s degree of information exchange as main criteria; D(definition) is originated from the media theory of Marshall McLuhan, emphasizing the transfer ability of medium towards objects’ perceptions. The combination of these three properties decides the strength and lifespan of an information medium.

丰富的资讯媒介在以TED切片分析后，可整合为以上七个层级。此七个层级的阶梯也暗合着媒介由冷至热的逐级变化。可以比较直观地观察出一个规律：一种媒介的TED值越高，就越是能直接刺激于人的“基本感觉”（视/听/嗅/触/味觉）。从书信到彩信到微信，再到正步入的VR世界，人们投入越来越充沛的视/听/触觉以获得越来越直接的感官刺激，这似乎也符合人类的生理本能和进化逻辑；而媒介的TED值越低，直接给予的刺激则越少——阅读一段文字，只存在极少量的视觉行为，大量的信息需要阅读者自行补充，一千个读者会有一千个哈姆雷特——冷媒介调动的是每个参与者的“直觉”。

不利于浅层体验的冷媒介正在并且将在未来更显著地收缩，但并非出于最终消亡的预见，而是一种挤压与固化，弗洛伊德所谓“保护性抑制”；丰富的碎片媒介将从固化后的核心拓扑而出，就像植物的根茎，以更柔和更致密的方式蔓延在土壤内，并随时可以遵循线索回到内核本身。

After a diagnosis of TED, the rich information media can be integrated to seven levels which also imply a gradual transition of media from coldness to hotness. A law can be observed directly: the higher the TED value of a media is, the more directly it can stimulate human primary sensations (taste, smell, vision, hearing and touch). From letters to imessager, then VR, people devote more and more visual/auditory/tactile senses in order to get more and more direct sensory stimuli, which seems to accord with human biological instincts and evolutionary logic reasonably. However, the lower the TED value is, the less the direct stimulus is – reading a paragraph only includes limited visual behaviors, and needs more information that need to be supplied by readers themselves – cold media is stimulating the “instinct” of every participant.

物理空间是知觉的容器。在碎片化的媒介社会，我们拥有了更丰富的知觉神经，它纤细灵敏，触角广阔，我们进化出了“千里眼”和“顺风耳”——“电子媒介是中枢神经的延伸”。在这个全新的空间策略（或者叫容器策略）里，媒介和场景、知觉和行为、序列和空间将互相引用和暗示。

Physical space is the container of perception. In the society filled with fragmental media, we have richer sensory nerves which are more sensitive and can reach broader, and we also evolved our own gifts of clairvoyance and clairaudience – “the digital media is the extension of central system.” In this completely new spatial strategy, medium and scene, perception and behavior, order and space will cite and imply each other.

▽ 场地透视，site perspective

▽ 场地平面，site plan

▽ 分析图，diagram

▽ 外部透视，external perspective

▽ 屋顶透视，roof perspective

▽ 塔内透视，tower perspective

▽ 室内透视，internal perspective

有必要重新厘清我们在媒介切片手术与建筑空间策划之间搭接的诸多联系。故重新组织语言如下：

本设计基于对纷杂知识媒介的特征分类和空间组织来表明我们对“图书馆”这一建筑类型的思考与焦虑，并以此扩展到对整个社会知识谱系的观察。一方面，设计通过向心性的营造和“纪念碑”的重塑来完善自上而下的知识生产脉络，将作为知识源头的可拓扑性极强、体验度和清晰度较低(TED值趋向于0)的冷媒介压缩在一个核心空间，重塑知识的威严。另一方面，外围的大空间依照热媒介的显性特征被区分为三层（分别对应TED三个分项的峰值），媒介特征直接关联到人们的行为并将映射到具体空间形态。三层空间结构纵向上被各类交通所贯穿，并在横向上与冷媒介内核搭接，最终形成一个媒介与空间网络。

外部无方向、平面均质的大空间展示了当代媒介手段的激荡和自发生长；被压缩冷却的“藏书塔”则作为知识的沉淀成为文明的灯塔。这种理想范式的塑造不但是对当下知识生产传播漩涡的寓言，也是面向未来的宣言。

It is necessary to reorganize language in oder to figure out the relationship between media and spacial schemes:

Classifying characteristics of various knowledge media and organizing spaces, this design shows our contemplation and anxiety about  the “library” as an architectural prototype, and expands into an observation about the intellectual genealogy of the whole society. On the one hand, the design completes its own knowledge network from top to bottom, and compresses cold media, which has higher T value and lower E value and D value, into a core space in order to restore the nobility of knowledge. On the other hand, external large space follows dominant characteristics of hot media and divides them into three levels (which correspond to the three properties of TED values), and the characteristics of media are directly related to human behaviors and are reflected on specific spacial morphology. Three spacial structures are run through various transportation vertically, connected with the core of cold media horizontally, and finally form a medium and its own spacial network.

The directionless and homogeneous large space on the external world shows the surge and self-development of modern media; the compressed “tower” appears as the consolidation of knowledge and becomes a light tower of civilization. This ideal moulding is not only an allegory about current whirlpool of knowledge diffusion, but also an manifesto towards the future.

▽ 一层平面，first floor plan

▽ 二层平面，second floor plan

▽ 三层平面，third floor plan

▽ 塔平面，tower plan

结语：出口与甲虫   EPILOGUE: EXIT & INSECT

吉尔·德勒兹评论卡夫卡的《变形记》时说，格里高尔终于变成了一个甲虫，其因由并不在于“变化”或是“模仿”，而是主人公在日复一日的家庭社会负荷之下最终寻求到了一个“出口”。同样我们并不认为一个图书馆概念方案能够解决多少现实问题，并且设计也不应以此作为目标，一切具有创造性的设计作品、艺术作品，总是能够揭示并提供一个潜匿的压力的“出口”，如果运气好的话，我们才不会需要在任何一方面以任何一种隐秘的方式变形成“甲虫”。

未完待续。

Gilles Deleuze commented that Gregor (character in Kafka’s “Metamorphosis”) finally turned into an insect, whose cause is the character eventually seek a “exit” under the big pressure of the family and society, Similarly, we do not believe that this concept design competition of the library could solve any practical problems, and also it should not be the goal of any design work, all creative design and artistic works, always able to reveal or provide a Secret “exit” to the audience. Then we won’t need to secretly change into an “insect” if we are lucky enough.

To be continued.

MORE: Zhang Hao, Zhang Haiyang (zhanghao1113@126.com)，更多请至：Zhang Hao and Zhang Haiyang on gooood