We work for MAD/intern collection 65/实习生个人作品辑65

在MAD工作的实习生们,他们脑子里天马星空的想法是什么样的? 清华大学Qin Sizhi 覃斯之:我相信“梦想”只应该出现在PS和自传里。“虚荣心使人进步”

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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 enrich
your career as even though the people working here might have been lucky, but are undeniably outstanding. What could possibly be on the minds of the MAD interns?
 
MAD无疑是中国最受瞩目的建筑师事务所之一,同时在世界范围内也受到极高的关注。MAD每年都收到来自全世界不计其数的工作申请和实习申请。能够进入MAD学习和工作一段时间,职业生涯无疑会变得精彩丰富,在这里的人们,也许是幸运的,但肯定是优秀的。在MAD工作的实习生们,他们脑子里天马星空的想法是什么样的?

 

Name:  Qin Sizhi 
Educational Institution: Tsinghua University    
Year: Undergraduate
Nationality:  P. R. China
Email:  qinsizhithu@gmail.com
 

Who is your favourite architect? Why?

I love several religious architecture that I have been to: the Temple of Heaven, the Sheikh Zayed Mosque, the Dada Hari Stepwell and the Kenninji Temple. I think the emotion they convey are universal, awakening people’s yearning for “perfect world” which is embedded in their minds.

And among the architects, Louis Kahn, F. L. Wright and Ryue Nishizawa did great job. They believe in their building. Although it is extremely hard to construct every side of a whole world all by one architect, the attempt to build the “portals” to the “perfect world” itself moves me.

 

What is the major characteristic of your current school’s education?

“Macro-perspective”. The school emphasizes on training students about value judgment, which enable us to tell “big stories” from “big perspective”; but lacks enough discussion on how to express such humanistic ideals on form and tectonics level.

“Over-all abilities”. Under the system of Tsinghua’s education, collectivism, competition, inter-discipline vision and teamwork awareness are all demanded, which offer students more possibilities in future career, but at the same time, cooling down the passion and atmosphere on design.

 

What have you gained during the MAD internship?

Systematic methods to refine the form strategies. I participated in several “Shan shui city” researches. Such methods allows for maximum refinement of form before a real chance to build it comes. However, it further stimulates the office to respond to any design challenge with the same iconic way.

 

What are your thoughts and feelings upon Chinese Architecture and the environment?
Any suggestion?

Quality and Speed will eventually give way to the seeking on spiritual level. Recent years in China, the quality of buildings are improving and the way real estate develops are growing mature. But the production of cities lacks cultural confidence and awareness. However, I believe no ideal city life could be realized through only one round of urbanization, just like the way we refine our designs. This turn of urbanization has beeninevitably based on capital game to insure employment rate, painting farms into concrete jungle. I believed the next 30 years would be our “second round of urbanization”, a new generation of designers shall frame our work on how to repair the gaps that are left blank from a humanistic perspective. Maybe Tokyo is a better reference than New York in this turn.

 

What is your dream?

Oh, please leave that to Personal Statement and autobiography.“Vanity drives one forward”

 

What would you do if you were not an architect?

Never thought about it. Well, my other abilities than drawing are far behind the people I knew.

 

What is your dream project?

A project that allows people to position their own meaning in this world. These days I have been researching on re-enchanting the landscapes with architecture methods. I would love to see people again share the “emotional consensus” that we once had, no matter on which system it was based on.

 

What is your favourite project in your portfolio? Why?

I think the portfolio itself is. Because I have been trying very hard to take all these works as explorations into different directions under the same system. The portfolio you see could be seen as an early stage of a very long process. I hope as my experiences accumulates, single ideas will be discussed in detail. And my ideal picture is that when I reached the age of 80, all these works will constitute my whole set of convincing interpretation of the world.

 

名字:覃斯之
学校:清华大学建筑学院
年级:本科毕业
国籍:中国
电邮:qinsizhithu@gmail.com

 

最喜欢的建筑师是谁?为什么?

建筑的话,去过的几座宗教建筑都挺喜欢:天坛、谢赫·扎伊德大清真寺、达达·哈里井、建仁寺等。他们传达的感情更普世,是通过唤醒已经根植于人们脑中的对“完美世界”的向往来打动人。

建筑师里,路易斯·康、赖特、西泽立卫做得不错,能看得出他们信仰自己的建筑。虽然以个人力量来构建完整的世界观非常困难,但试图构建通往“完美世界”的“传送门”的努力本身就很动人。

 

你所在学校的教育特点?

“宏观视角”。在设计上学院对于价值观判断的训练使得学生擅长于所谓城市尺度上的“宏大叙事”,却同时疏于探究在建筑的形式和细部层面如何体现这些人文理念;

“综合发展”。同时在清华全校的教育体系下,集体主义、竞技精神、跨学科视角、团队协同等多方面能力都在被要求,这给予学生更多职业方向的可能,但时间精力上的冲突也容易消解专心做设计的氛围。

 

在MAD实习最大的收获是什么?

系统地完善形式策略。实习时我参与了数个MAD的“山水城市”框架下的研究性项目。这样的工作方式有利于作品在有建成的机会之前,将理念所对应的形式策略尽可能完善。但这样也难免进一步激励事务所用符号化的方式来回应所有的设计挑战。
 

你对中国建筑的感触是什么?建议是什么?

品质和速度最终将要转变成为精神层面上的探寻。近年来建筑品质提升很快,地产业运营模式也趋于完善。但流水线生产出的城市缺乏文化和精神上的自信。我认为任何理想的城市生活都无法仅通过一轮城市化来实现,就和我们做方案一样。本轮城市化不可避免地以确保就业率的资本运作为主线,粗暴地把农田刷满水泥;我想中国城市将在下一个三十年里迎来“第二轮城市化”,新一辈的设计师的要务应该是思考如何从人的视角来修补城市缝隙。也许东京是一个比纽约更好的参照。

 

你的梦想是什么?

我相信“梦想”只应该出现在PS和自传里。“虚荣心使人进步”

 

你如果不当建筑师会选择什么职业?

别的职业没想过。只有画图不比同学们差太远。

 

你梦想中的项目是什么样的?

允许人找到自己在世界中意义的建筑。近期在探索如何用建筑的语言为自然“复魅”。我希望恢复身处的这个社会中的人们曾经拥有的“情感共识”,无论是基于曾经的哪一套体系的共识。

 

在自己的作品集中,你最喜欢的作品是什么?为什么?

可以说最喜欢的“作品”就是这本“作品集”,因为我是尽可能地把所有作品作为一个系统下的不同方向来探索。现在的作品集是一个初始期的过程状态,我希望在将来随着阅历的丰富和经验的积累,单个的想法会在不同的设计里得到更深入地探讨。理想图景是在我八十岁的时候让所有作品构成一整套令人信服的对世界的阐释。

 

00

这本作品集的主题是“自然景观的‘复魅’-具有精神意义的场所营造”。基本都是我2013年的作品。简单地说我今年所做的就是在探讨天空、水、山、火光、森林、城市灯光等基本的景观能如何被赋予形象和空间上的意义,来提供给人相应的感情上的归属。

The theme of this portfolio is “re-enchanting landscape – place making of spiritual meaning”, basically consisted of my work in 2013. In short, it is about my discussion on how elements such as sky, water, mountain, lantern fire, forest and city light could be given meaning, making space and image of architecture connecting to people emotionally.

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01

这个方案是我在今年“八校联合毕业设计”时完成的。合作者是:张智敏、刘隆基。题目要求复兴北京天桥老民俗演艺区(其实只剩住宅楼)。我们组申请把地段改到天坛与原山川坛之间的中轴狭长地带,提出了一个脱离经济限制的非常理想化的探讨。

通过罗德胤老师的“乡土建筑学”课程,我们了解到唐代以后的宗法社会中(古希腊情况类似)戏台通常与宗祠、庙宇等组织在同一个院落里,而演出剧目也与信仰的对象有关。那么以庙会为载体的观剧活动实质上起到了在娱乐公众的同时将某个社会团体的核心价值观念传递给其成员的作用。

按照这个观点,目前的天坛的社会功能是不完整的。除了将其视作绿地和文物,普通游客很难感受到古人赋予天空山川的道德涵义。“地载万物,天垂象,取财于地,取法于天,是以尊天而亲地也”。我们组提出在中轴上建设一个演艺综合体,打开两坛边界并与之形成整体。我个人的部分以天空为主题。观众观看演出前漫步于屋顶布道,置身于天坛一望无际的绿地所留白的天穹和镜面屋顶中的天空镜像之间,产生对天空的敬畏感和对自身的渺小认知与反思。而檐口均控制在18m限高以下,保证圜丘与祈年殿的原有景观。主要剧场总平面布局参考两坛现有空间秩序,以圆弧控制曲面生成逻辑。屋顶步道中线留空,类似于传统祭祀空间中的“神道”。

我设计的室内剧场部分主要构思是公共空间结合发声构件,这样表演和其它仪式中人们可以和作为乐器的建筑互动。中心的星空大厅可以举行大型的集体仪式(如婚礼、成人礼等),并通过弦乐器与上方的平台有音乐的联系。空间形态参考了同样源自天空崇拜的哥特教堂的剖面与清真寺广场的平面原型。

This work was done during a joint-thesis-studio of eight Chinese architecture schools. Collaborator: Zhang Zhimin, Liu Longji. We moved our site from the so called Tianqiao traditional performance area (actually only residential towers are left) to the narrow space between the Temple of Heaven and the Temple of Mountain and Valley. We proposed a theoretical discussion regardless of economic limits.

Through the course of study on rural architecture, provided by Prof. Luo Deyin, we learnt that in the ancient patriarchal societies, stage usually stays together with temple (for God or ancestors) in the same courtyard. And the character and plot of the performance usually have something to do with the God that people believe in. The activities to watch the drama, to some extent, played the role to pass on the core value of the community to its members, while entertaining them. If this is true, the social role of the Temple of Heaven is incomplete now. Besides being seen as an antique and woods, it doesn’t work so well to help tourists to understand the moral meanings, the way our ancestors thought about sky.

“The mother earth gives birth to and nurtures all creatures while the heaven sends them warnings of disasters if they offend it. Thus, the former is always affectionate towards man and animals, whereas the latter is often august. ” My team proposed a performance complex on the southern part of Beijing central axis, opening up the boundary of the temples and connecting them. My part is about the sky. The visitors can walk on the roof terrace, placing themselves between the empty sky upon the woods of temple of heaven and the mirrored image of the sky, feeling about the greatness of the sky and reflecting on his/her own meaning. The roof edge is limited to 18m, to preserve the views from the Yuanqiu and Qinian Hall. The layout of the most important theatres are arranged according to the hierarchies of the neighboring temples.

Circles are used to control the roof surface geometry. The central axis allows no access, because it is traditionally preserved for God.

My interior space design for theatres is based on the idea to combine the building with instruments, which allows interaction with the people.

The central star hall hosts huge ceremonies like weddings, and connecting with the terrace above in sound. The space form originate from the combination of a Gothic Church’s section, and an Islamic square’s plan, both forms have been devoted to the worship of sky.

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02

去年做的徐卫国老师和林邱达老师的参数化设计Studio。合作者是:黄海阳、郝田。题目要求从一个小实验出发,观察现象,归纳算法,生形选形,在798厂区里设计一个展馆。我们组选择“被压扁的胶体再被拉伸”作为出发点。

我们的实验结果是产生了塌缩的树形分支形态,并研究了多种可能:两到三个边缘融合的情况以及初始气泡的情况。算法类似于元孢自动机,从最简单的二维正方形阵列出发,通过每个单元胶体量随着运算轮数改变和转移的迭代运算,我们得到了与物理实验结果相近的计算模拟结果。随后我们决定进行物理空间中难以进行的三维胶体塌缩模拟运算。也得到了不错的结果并将其制作成了小艺术装置(中期成果)。考虑到地段上能让人迅速联想起集体主义盛行时代的重复的东德式厂房。我们将这个能反映重复性秩序的重新自组织结果的形态应用在了两段形制相同的厂房之间,并将场地中的大树看作算法初始的干扰气泡,以得到最后的院子。

建筑以胶体塌缩的形态来赋予场地以这样的对比意义:记录一个最集体主义时代的产物如今被用于最自由主义的艺术家的工作与展览目的。

This is done in the parametric studio directed by Prof. Xu Weiguo and Prof. Lin Qiuda. Collaborators: Huang Haiyang, Hao Tian. We were asked to begin from observing an experiment, concluding it into scripting, generating form and selecting one, and finally design an art gallery inside the 798 factories. We selected the “compressed glue” as the starting point.

We got collapsed tree branch-like shape and studied several possibilities: the merging of two to three group, and with a bubble inside first. It worked in similar ways like Cellular Automaton. We began from 2-D square matrix. We calculated the relocation of the glue amount at each point and repeated them and got similar results like the physical experiment. After that we decided to conduct 3-D simulations which is hardly possible in real world. We got satisfactory result and made it into a small exhibition installation. The repetitive pattern of the East German style factories are easily associated with collectivism which was once popular in China. Our experiment is about the re-organization process of a highly disciplined order. We applied our result in between two similar factories, taking the tree on the site as the bubble to get a courtyard.

Here is the metaphor and contrast: a symbol of a past time of collectivism is now used by artists for the most liberalism purpose.

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03

这是一个自己做的小研究。想法源于两年前张利老师指导的博物馆设计Studio。是一个公墓设计。基本构思是利用建筑自身的几何特征以及群山的景观来赋予“死亡”以意义。

在工具理性的时代,任何试图再将生命的过程看作一个有伟大目的和有成就的终点的努力都是徒劳的。但第一,我意识到圆形可以给人以“完满”的感受,特别是当人置身于其中时。第二,“死去何所道,托体同山阿”山本身就有生命升华的文化涵义。建筑依托山体垂直分布,以逐级翻倍半径的圆弧墙体来暗示整圆。从山脚下院落尺度的小圆开始,送葬队伍会逐渐行走在更高海拔上更大的假想圆里。而越到高处的假想圆会囊括进更多座远山,给人以生命重新回到无尽的世界中的感受。

This is a small research done by myself. The idea began on Prof. Zhang Li’s museum design studio. It is a cemetery design. The basic idea is
to make death meaningful, making use of the geometry of the building and the scenery of the mountains.

In the time of instrumental rationality, any attempt to see life as a process with great purpose and fruitful ending will be in vain. But, firstly, I
realized that circle can bring people with a sense of fullness, especially when people are inside it. Secondly, “death deserves no mention, my
body goes with the mountain” mountain itself embodies certain cultural meaning about life and death. My building climbs the mountain cliff,
vertically arranged, doubling the radius of circular walls on each floor higher. From the small circle of courtyard at the foot of the mountain, the
group at the funeral will place themselves in bigger and bigger circles when moving to higher floors. The implied circle will take in more and
more mountains into it, suggesting that life is returning into an infinite process of the world.

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04

一个在哈尔滨某废旧工厂里的新社区活动中心。没中的竞赛。合作者:刘畅玥。

其实就是觉得哈尔滨很冷。希望城市里能够多一些“温暖”“家”和“故事”。所对应的建筑形态策略就是以日本灯笼为原形的双层皮。外表皮采用锈蚀钢板,是对旧工业区的回应。内表皮采用磨砂玻璃,以室内灯光来照亮。两层皮之间有室外活动空间。坡屋顶。檐口与遗址厂房保持一致高度,将建筑体量大部分藏在坡顶之下。和皮影戏一个道理,让建筑里的活动成为建筑的城市形象的一部分。此外,平面布局留有垂直于河岸的通道,增加人们进入厂区公园的机会。

This project is a new community center located in an abandoned industrial site. A competition work that didn’t win. Collaborator: Liu Changyue.We think Harbin is too cold. So we want the city to have more “warmth” “home feeling” and “stories”. And we came up with architectural strategies accordingly:The two layered skin is derived from Japanese lantern. The outer skin is made of rusted steel, in response to the memory of the industrial site. And the inner skin is made of sand blasted glass, illuminated by the interior light. Between them are grey spaces for outdoor activities.Slope roof. The roof edge stay in line with the height of the existing factories, keeping most building volumes beneath it.The projection of human figures on the glass shows the building is full of stories.Besides all, in plan layout, the space between the volumes stay perpendicular to the banks of the river, allowing more penetration into the park behind the building.

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05

一个在大连西郊森林公园里的社区活动中心。被提名的竞赛作品。合作者:南天、仇沛然、刘畅玥。

题目是生态。受启发于上个世纪70-80年代的日本(它当时面临类似于如今中国的生态问题并在社会的各个层面开展森林体验活动)我们将这座建筑设计为了一座森林体验中心。我们的思考是在社会达成对保护环境的共识前,推广经济上并不划算的生态技术能有多么成功呢?人们更愿意为了冰冷的数字和蓝绿色的节能分析图来保护森林,还是更愿意为了森林里居住的龙猫来保护它?

所以基本的建筑策略就是提供一个登高用的室外台阶,螺旋上升直达屋顶平台。建筑的室内活动功能与室外体验交织在一起。台阶时缓时急,人们能通过自己喜欢的方式来在垂直方向上体验森林,认知森林。临近水面螺旋扭动30度,留出观演用的台阶和亲水平台。

建筑的形象参考了奈良的那座唐风扑面的东大寺,还有传说中的“森女系”的服饰设计。认知森林的想法最初来自被奈良满街外表略萌的鹿咬了一口。

A community center in Dalian’s west forest park. Honorable Mention in a competition. Collaborators: Nan Tian, Qiu Peiran, Liu Changyue.

Ecological. Inspired by the movement to encourage people to experience the forest in 1970s Japan, we designed this building as a forest learning center. We doubt the chance of success to promote so called “green technology” while it is not so economic and had not been acknowledged by the society. Are people more willing to protect the forest for the cold digits and green and blue ecological diagrams, or more willing to protect it because Do-Do-Ro lives in it?

So the basic strategy is to provide an exterior step for climbing, going spirally to the top terrace. The interior programs are twisted with the exterior steps. They vary in slope angle, allowing people to experience the forest vertically in the way they prefer. The platform next to the surface of the lake twists 30 degrees, ending up with steps and stage for performance.

The refinement of the façade takes references such as the Todaiji Temple in Nara, and clothing design genre of “Mori Girl”. And the idea of learning about the forest comes from the fact that I had been bitten by one of the cute deer on the streets of Nara.

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06

一个互动投影装置。于雷老师指导并赞助制作的,并参加了“互动上海”和“北京DADA798”两次展览。合作者:秦承祚、刘畅玥、厉奇宇、常雨时、孙英博、齐轶昳。

我们希望用光线投影使得空间里产生移动的城市的感受。在布满通用插口的台座上布置有同样大小和比例的投影片。由于近大远小、近快远慢等原理。一个能在水平面的两个维度上移动的中关村超强亮度LED灯会随着它自身的移动改变墙上的城市投影,创造在城市里游走的体验。而游走的人,其大致位置会由径向分布的14枚超声波探头探测并将其极坐标位置转换为垂直坐标位置经过更复杂的数据处理再通过两台电机的运转使中关村超强亮度LED灯移动到相应位置。那么就更感觉是这个人在城市里游走了,他走城市走,他停城市停。运气好时这装置确实能按照我描述的方式运转。

An Interactive Projection Installation. Advised and sponsored by Prof. Yu Lei. It has been exhibited at two events: the Interactive Shanghai, and the Beijing DADA at 798. Collaborators: Qin Chengzuo, Liu Changyue, Li Qiyu, Chang Yushi, Sun Yingbo, Qi Yiyi.

We hope the projection of light could create a feeling of moving inside the city. We place plates with various patterns but of the same sized on the base. A very powerful LED light would move on X and Y axes, so the image of city on the screen would moving left and right, zooming in and out. The people moving inside this city would be watched by 14 ultra wave sensors radially arranged. His/her position will be …… processed to drive the LED light to move to the position accordingly. Then the person can feel the city moves in response to his/her movement.

It takes some luck for the installation to operate in the way I described.

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MORE:

Name:  Qin Sizhi  覃斯之
Educational Institution: Tsinghua University    
Year: Undergraduate
Nationality:  P. R. China
Email:  qinsizhithu@gmail.com



发表评论

46 评论

  1. Profile Photo

    佩斯北京旁边的小广场。。。

  2. 喜欢的不行,看到heaven觉得要落泪

  3. 效果图P得像油画。。其他先不谈,光这就不得不服。。。

  4. Profile photo of Kal-El

    平面图很不错!

  5. 这PS用得出神入化

  6. 从前面的几个问题的回答就可以看出有才华,思路清晰,视野宽阔,表达的言简意赅。引来羡慕妒忌恨很正常。现在社会有一种反智的倾向,见不得别人好,说实在的能进清华的基础就不赖,不服不行。比起一些靠出国混个文凭回来就充高大上的强。他这样水平的出国学习,水平再上一截应该不在话下。

  7. 草,做我男神可好??

  8. 基本全是合作 大家都意识到了

  9. 狮子已收到哈佛,耶鲁,康奈尔的建筑2的offer了,正在纠结中…还是去耶鲁吧,争取做大师[酷]

  10. 看来还是得看清华的

  11. 目前看到的最好的谷德作品集

  12. 设计方案对视角冲击力很大,就是对结构要求蛮多,其他专业都能做到位吗?
    [调皮]

  13. 没有思想的东西谈得上是“美”麽?,不能靠碰运气博得一时喝彩的所谓“美”而沾沾自喜,真正好东西要有思想的,何况建筑。要坚持自己的思想,随着大众评委品味的提高,前景是美好的,预祝成功!!![史莱克]

  14. 这么说吧。建筑到底是要美,尔后再论思想。那些一对乱曲面曲线的扯淡作品集都省省口水吧。

  15. 好哭了。。

  16. 好震撼……

  17. 目前看到的最好的谷德作品集

  18. 是的!目前为止看过的最好的作品集!没有之一!有条理!绝对清楚自己在做什么!

  19. 那个互动装置好像哈福搞这类似的东西时间也不长啊[音乐]

  20. 不说别的,就觉得里面的作品应该可以说是参数化和思维相结合的的正确使用方向吧,比之前看到的一堆感觉为参数而参数说不清道不明还浮夸的图要清楚和踏实的多。

  21. 一只鹿能把作品集做成这样还是可圈可点的。

  22. one of the best ‘we work for MAD’

  23. 图标分析,图解!表达能力佩服了!

  24. 合作太多,只有一个个人作品,作者实力不能完全了解,个人作品没有合作的内容丰富。

  25. 吊炸天的表达!!!!!!作品的创意也不错~

  26. 喜欢1号和4号作品,1号作品给人的感觉有点像流动的音符;4号作品让人觉得宁静,曲径通幽,废物利用,又很环保。

  27. 功力深厚。因为图面太赞了,所以也很难肯定地说自己是不是真的觉得设计本身就那么好。不过有一点是肯定的——没有感动只有感叹。比较喜欢三号作品。

  28. 这次的作品集有了质的飞跃,较前面的无论在深度,视角上有了更全面的诠释,作者很用心的在阐述自己对于建筑的理解,用:建筑的语言为自然“复魅”,这是建筑师的境界,建筑溶于自然,又体现个性。

  29. ……不讨论设计,单看图面,服了

  30. 超棒,唯一美中不足的是collaboration偏多

  31. nice picture. Logic connection is a little weak. Still good job.

  32. 这也是我看过的最好的作品集!

  33. 你的梦想是什么?

    我相信“梦想”只应该出现在PS和自传里。
    “虚荣心使人进步”

    仔细读过,的确不错。ps和自传可以给大家分享吗?

  34. 看过最好的作品集,没有之一!

  35. 对比之前发的作品真心觉得这个不错,无论是视野还是技术都很棒!希望Gooood多发点这样有水准的作品

  36. 建筑师爱建筑

    专辑之前几期有点掉谷德的档 终于有个是那么回事的了

  37. MAD系列到现在最喜欢的一个,图文很实在,想想之前的那个什么水龙头什么爱疯的手机壳的说一大堆就看点小小的设计(虽然不否定他们的思想、生活但是对中国的态度…………),相比文不对题什么的,这个好很多值得细看。

  38. 外行只能看个热闹,很喜欢!

  39. 难得清华的能够以如此中肯的视角看待建筑。

  40. 目前最喜欢的一期we work for MAD

  41. 虚荣心使人进步。有点意思,努力继续!!!

  42. 图漂亮,建筑有思想。超喜欢1、2、3号作品。
    “允许人找到自己在世界中意义的建筑”非常赞同!!!

  43. 封面页那只小鹿乱入卖萌啊~~要是作品集可以有GIF多好~~互动装置那个~~~

  44. 非常精致,难得的作品。设计者似乎一直在坚持着自己的设计,各种尝试。赞![爱心]

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