MAD no doubt is one of the most recognized architectural practices in China and worldwide. Every year,MAD receives countless job and internship applications. To be able to work at MAD will definitely enrichyour career as even though the people working here might have been lucky, but are undeniablyoutstanding. What could possibly be on the minds of the MAD interns?
Name: Lu Yun
Educational Institution: Hebei University of Technology（Tianjin）
Year: Grade Five
Who is your favourite architect? Why?
Basically, I acquired different merits from different architects. In terms of my favorite architect, I prefer to choose three that I have worked with before. President architect of HHD-FUN, Wang Zhenfei, taught me to design rationally and efficiently and how to take advantage of varied tools to simplify design; the former design associate director, Patrick, taught me how to supervise a team and vitalize every team member so as to achieve efficient work, also the rigor of Germen; And it’s my fortune to learn about negotiation skills with clients and enthusiasm to architecture from MAD partner, Dangqun.
What is the major characteristic of your current school’s education?
In my opinion, educational systems of most domestic universities are still waiting for exploration. Most outstanding architecture students have to grab knowledge in their own ways. It’s the same case with my college-basic technique is fine and students can get more freedom with the reformation of teaching system these years. Although I once complaint about the imperfect infrastructure and unhumanized system, it’s still my pleasure to meet some friends with the same ideal and several professors who enlighten my thought and offer me much help.
What have you gained during the MAD internship?
I confronted lots of brilliant architects and people who love life and architecture in MAD. After leaving Beijing, I frequently recall the scene in Hutong every time I walked through in the morning, the leisure of playing table tennis with colleagues after lunch, the furor of singing and playing games over night, and bright smiles when we prepared for exhibition and dreamed about future together in Aodi, Beijing. The youth and friendship in this period should be my largest harvest besides professional techniques.
What are your thoughts and feelings upon Chinese Architecture and the environment? Any suggestion?
The expanding desires of Chinese people have calloused them and also their dreams. What should architecture be in such kind of environment? To some extent, building itself imitate people’s temporal faces. Fortunately, some sagacious callings haven’t been swallowed, asking us “What is development?” “Must the new superior to the old?” “Have all the past to be denied?” “How much do we know about ourselves in front of exterior cultural shocks?”……..”Who am I? Where do we come from? Where are we going?”How Chinese architecture will look like after tens of years depends on people today, which generation needs to make a choice after long time reflection. Locked in our profession, neglecting distorted social framework, must lead us to a blind alley. Only to reconstruct correct civilization system can we nourish native Chinese architecture. In a word, ideology comes first, then comes architecture.
What is your dream?
My dream is to reciprocate my parents firstly, then marry with my lover, acquaint several lifetime friends and construct several beautiful buildings.
What would you do if you were not an architect?
If I were not an architect, I probably choose a totally different occupation in Chengdu, such as looking for an idle job with more free time to read some books, enjoy hot-pot and tea with some friends.
What is your dream project?
I’m a person that pretty values home. So called home, is composed of housing and courtyard. Yet in modern cities we can only get access to housing without courtyard. Therefore, my dream project is to design and build a house containing courtyard, waterscape, forest and earth by myself for my family in homeland, Sichuan.
What is your favourite project in your portfolio? Why?
I don’t have any favorite project in my portfolio. Because every project will become naive after second review several years later. My favorite should always be the next one. The two main projects below are two competitions I did in my fourth grade. Although they still need to be added more details, it represents myself in the past, pursuing for progress.
我从不同的建筑师身上和他们的作品中学到不同的东西，若谈到最喜欢的建筑师，对于慢热的自己来说，可能更倾向自己接触过的身边的建筑师。我对曾经一起工作过的三位建筑师很是敬佩，他们也教会了我不同的东西：HHD-FUN的主持建筑师王振飞，我在他身上学会了如何理性、高效的做设计，并利用好各种的工具，优化、简化设计；gmp北京前设计副总监 Patrick, 我在他身上学到了如何管理好自己的团队，如何让每一位团队成员都充满活力和自信，从而使团队高效、快乐地工作，同时也在他身上学到了德国人的严谨和细致；MAD合伙人党群，因自己工作时座位恰好在其正前方的缘故，有幸能旁听到她如何强有力地管理整个公司以及与业主谈项目的技巧，还有她对工作的热情以及对建筑的坚持，自己获益匪浅。
Reachable Space ‖ Remove the “urban opera” Phenomenon
Tutor：Wei Guanglong; Yue Xiaopeng
空间可达 ‖ 破除“城市歌剧”
Roger Trancik mentioned the city lost space in the <Finding Lost Space> in one book,one that is at the bottom of high-rise building square, they cannot be used as a socialspace, so it is not popular, and also lack of a “sense of place” (Thereness). Zhou Rongalso noted that the contemporary China more and more buildings and other high-endcity space design have the final results of all formed a kind of “Urban Opera”phenomenon. What people can understand the City Opera, who is actually the so-called elite, whether it is capital elite or political elite or artists, architects are alsoincluded, this group of people conspire. If the building is only as a work of art in thepresent city environment, especially the elite art exhibition space, which are out of mostpeople’s lives, this is undoubtedly a huge waste.
The design of the site in Beijing Xizhimen overpass traffic hub, which is also one of themost complex traffic area in Beijing. After investigation site for many times, we found outseveral problems and characteristics of space: 1 East to West vehicles (busesexcepted) driving during the day can not directly turn right to south, they need movearound the four viaducts circle to enter the South Road. The reason is the traffic is toolarge and direct the right path is too narrow; 2 The huge traffic flow to the area todiffuse in noise and automobile exhaust pollution; 3 CapitaMall shopping center, as theXizhimen business district, parking problem has become the current social problem; 4The surrounding environment is very complex, which is filled with all kinds of functionsand different volume of the buildings.
Design is carried out by the above main points. The accessibility of space is our focusin this design, which is not only meet the form of aesthetic and creation of city landmarkbuilding needs, through the continuous space and up to reduce the “Urban Opera”attitude, but also try to get rid of “Urban Opera” phenomenon. First we bold designseveral through the base inside the new viaduct, according to the different purpose ofthe vehicle weight organization streamline, alleviate the ground traffic pressure; wedesigned a large number of parking space in the building (for parking ) space, alleviatethe parking shortage. Area top-bottom floor is also our focal point. We tried to keep thepublic space, design three main square: Sunken Plaza – connecting the North Streetand CapitaMall shopping center, underground line inside the city square – for differentgroups of people go into the construction of the buffer area, vegetation square – barrierand absorb a large amount of traffic caused by noise and air pollution.
Roger Trancik 在<Finding Lost Space>一书中提到城市失落空间，其中一种即是高层建筑底部的广场，它们无法发挥社交空间的功能，不受人们欢迎，也缺乏一种“场感”（Thereness）。而周榕也提到当代中国越来越多的建筑以及其他高端的城市空间设计，最后出来的结果是形成一种“城市歌剧”现象。什么人能听懂城市歌剧，实际上是所谓的精英人士，不管是资本精英还是政治精英还是艺术精英，建筑师也包含在其中，这一群人达成合谋。如果建筑仅仅在当下城市环境中作为一个艺术品，尤其是精英艺术的展出场所，脱离了大部分人的生活，这无疑是巨大的浪费。
设计以这几个主要问题展开，空间的可达性是我们此次设计关注的重点，在既满足形态审美与塑造城市标志性建筑的需求上，通过空间连续与可达来降低“城市歌剧”的姿态，并尝试破除“城市歌剧”现象。首先我们大胆了设计了几条穿越基地内部新的高架桥，依据不同目的性的行驶车量组织流线，缓解整个场地的交通压力；我们在建筑中设计了大量的停车空间（对内停车与对外停车）与行车流向疏导空间，缓解场地的停车紧张问题；高层底部也成为我们关注的重点，我们极力保留了底层公共空间，设计了三个主要的广场：下沉广场 – 连接北面街道和嘉茂购物中心的地下流线、城市内部广场 – 作为不同人群进入建筑的缓冲地段、植被广场 – 阻挡和吸收大量车流带来的噪音和空气污染。
Reflection of design:
Western culture has a particularly important feature, that is everything they do is tosolve the problem. In this kind of thinking paradigm, the goal of research and design isto find the problem, and then solve the problem. Looking back at the design, we alsofailed to avoid this paradigm, and fall into the hands of the grand narrative conventions.But paying attention to spatial accessibility of most ordinary people and buildings is thesubject that makes me agree and pay close attention to.
Protection of historical block
Partner：Wang Bingtian; Zhang Ying
历史街区保护 ‖ 激活都市负空间
The present cities in China present a kind of rupture, even “great leap forword”,between rapid urbanization process and traditional history. The abundant historicalculture that city should bear is also being fastly swallowed and forgotten by fanaticismand restlessness of developement. Historical blocks in city which represent the past of acity are endowed with the cultural memory. However, in order to focus on the modelingof overall urban image, most of historical blocks have been abandoned.
Continued construction results in the material city today. The old blocks, desertedfactories and highway traffic lack of humanization inhibite citizens spirit. The theme ofthis competition is to explore how to activate these “negative” spaces in city so as totransfer them to “positive” ones. Here we choose Beijing quadrangle yard as a casestudy to discuss how to live these dead buildings.The culture of the historical blocks appear positive state attribute while its functionpresents negative state because of the contradiction between space attribute andpublic demands. The effect of “negative” puzzles people with the understanding of“positive” state so that historical blocks finally show negative state. Negative spacemeans the loss of culture and depravity of past experience. According to this meaning,Beijing Quadrangle-yard can be defined as negative space. We want to insert newurban functions under the ground of these historical blocks so as to activate its culturaland functional attributes, transfering them from negative to positive space. Theunderground system attracts large numbers of people. At the same time, historyreceives appropriate protection because of proper relation betweeen upground andunderground. In the future, the quadrangle-yard will contain residen andexhibitionfunction for tourists while the underground floors with multi-function will provide finecondition for living, entertainment,commercial, and office. Sunlight will become rare
downstairs, and every lightening well is importantly considered which should be adesign bright spot. The entrance slope combines this system with urban space around,offering a new way to explain the relationship between city and historical area.
Reflection of design:
Architect is always with humanities and social care grand, using design to let a person
forget pain heavy things in life, and make people complacent. Having this kind of thing
makes designer live separate temporarily, reveling in the self to create a utopia. But for
social details of inner experience and self-reflection, I still stick to the design of attitude.
Name: Lu Yun卢昀