After introducing many interns, gooood writes a special focusing on MAD regular staff and its partners who always keep low-profiled while still attracting attention. Let's know about their design experiences and real situation. This is We work for MAD Special 2 profile of MAD senior architect Tiffany Dahlen.
Would you please introduce yourself to us?
My name is Tiffany Dahlen. I’m from the US. I received my Master’s Degree at the University of Pennsylvania. I’ve worked at MAD for four and a half years. I’m a senior architect.
Where is your hometown in America? Is there anything interesting?
I’m originally from Honolulu Hawaii. It’s a beautiful island. It’s a very popular tourist destination.
Why do you come to China for a job and work for years? Your good experience and unpleasant experience in China.
I arrived in Beijing in 2010, during that time the US was going through a recession. I had just graduated and I was looking for an interesting job at an office with complex projects under construction. At that time in America, there were not so many projects getting built. That’s why I originally moved to MAD because they do a lot of very interesting work that are under construction which I thought would be a really great experience.
I have had really great experience here. I like to travel, so during Chinese holidays I’ve taken the opportunity to travel around Asia. So far I’ve been to Shanghai, Hong Kong, Korea, Japan and Russia.
I haven’t had any unpleasant experiences. I think when I first moved here, I had some difficulties with the language and culture shock, but overall I think I had a really great experience.
What do you think of the current situation in architecture industry in China?
I think that there has been a change, a shift in the architecture industry since I moved here.
I feel like there was an almost careless fury and speed of building back in 2010, but now I think people have learned from their experiences and the market has become more mature and saturated.
Since I moved here, I can tell that the quality of construction and the quality of design have improved in the past four years. I feel like clients are becoming more mature and more aware of what makes a good design rather than just importing western design into China. They think more about what makes a good project and what makes a good design.
I feel like more projects are better than they were before.
Shanshui City promoted by MAD is rather oriental, do you understand the idea easily? I ask this question because I wonder whether you grasp the concept immediately or do you take some time to understand it? Do you think if there is any difference between your interpretation and the concept itself?
When I studied architecture in America, actually part of the architectural history and theory courses, we learned about Chinese architecture and design, so the concepts are very familiar to me. Since I’ve been here, I have been able to travel to Hangzhou, Suzhou, and I’m able to see historic architecture there. These are principles, actually the guiding principles of Shanshui City. I gradually grasp the concept of Shanshui City.
In this way, I think I understand and can relate to the principles of Shanshui City.
I think that my only cultural difference lies in the Eastern vs Western interpretation of spirituality.
I think the philosophies of design and space are ideas that transcend cultures, and that the integration of nature into the everyday built environment is something that we as humans innately seek.
Have you talked with your friends in America about your current job? What are their opinions about Shanshui City?
I showed them some of the published work from MAD. I talked to them about the project that we’ve done and they are very impressed by the design of it and the act of getting it built.
What’s your biggest achievement in MAD?
I worked on a project called Moon Landscape for Beijing Design Week. It was a really interesting project and it was very unique for me because I worked on it from the concept design up until the opening of the exhibition, I was able to see the whole process of design from the beginning to the end, and to be able to see them actually being built.
I think it was really rewarding for me to work on every facet of the project, to coordinate with the contractor, to work with the individual artists to determine how to showcase the artwork in the exhibition.
You have participated in many interesting projects-Lucas Museum, Nanjing Zendai Himalayas Center, Huangshan Mountain Village, Moon Landscape for Beijing Design Week etc. Is there any interesting experience that you can share with us?
I have been so lucky to have been able to work on so many great projects at MAD. Working at MAD, I’ve been able to work on a different type of project of different scales, from mixed use towers to museums to temporary exhibitions. MAD’s design approach and the concept of Shanshui City transcends scale, and it’s really interesting for me to see these guiding principles applied each of MAD’s projects regardless of the size or program.
What’s your hobby?
I like to travel and I also love to dance and watch ballet.
Whenever I travel to new cities, I try to look up local ballet companies and watch the performances. For example, a couple of years ago, I travelled to Russia and I was able to see a ballet performance in St. Petersburg. That was a very memorable experience for me because it combined two things I’m passionate about.
Please make a suggestion for your boss.
It’s a really important part of the design process to see built projects and construction sites. During my time at MAD, I have gone on construction site visits to the Conrad hotel and the Harbin opera house. While many of MAD’s projects are far away, there a few projects closeby such as the Chaoyang park plaza project or the Nanjing Zendai project that would be easy to visit during the weekends. I think we should try to have more office trips to see MAD’s projects.
黄山太平湖公寓 Huangshan Mountain Village
Modern people live in a competitive society with firm belief in efficiency; hence they find it difficult to understand why characters portrayed in Chinese paintings would brave torturous mountain paths to reach the top simply to enjoy a tea in a pavilion.
Located nearHuangshanMountains, the site of verdant scenery and limestone cliffs have long inspired artists and offered sheltered spaces for contemplation and reflection. Yet, as an increasingly popular tourist destination – further exposed by its UNESCO Heritage status –it risks to compromise this iconic landscape.
The impression we have of Taiping Lake in Huangshan is vague: Each visit to this place yields different views, different impressions.A bit mysterious, like ancient landscape paintings, never based on realism but rather, the imagination. This vague feeling is always poetic; it is obscure and indistinct.
This is the basic idea;we hope that residents will not just look at the scenery, but see themselves in relation to this environment, attention that is brought inward. In observing oneself one perhaps begins to notice a different self than the one present in the city.
- Ma Yansong
MAD’s design affirms the inherent significance of this landscape. Composed in deference to the local topography, the village provides housing, a hotel and communal amenities organized in a linked configuration across the southern slope of Taiping Lake. As its form evokes the geology of the region, the village blurs the boundaries between the geometries of architecture and nature.
For residents, the apartments will be a quiet retreat – an immersive, natural space. All apartments have spacious balconies which overlook the lake. Communal amenities and walking paths encourage residents to wander among the buildings. Each floor of each building is unique and accessed from shared social spaces, creating a seamless balance between private and public spaces. The same serene design sensibility of natural environment extends to the interior of the apartments.The use of local materials and the incorporation of plants and greenery enhance levels of comfort and well-being while simultaneously setting up a closer connection with local culture.
建筑高度: 60 米
设计团队:赵伟，Andrea D’Antrassi, 刘会英, Philippe Brysse, Achille Tortini, Jakob Beer, 卢岳南，卢家颖，Tiffany Masako Dahlen, Augustus Chan, Jeong-Eun Lee
Site Area: 102,900 sqm
Building Area: 70,000 sqm
Building Height: 60 m
Directors in Charge: Ma Yansong, Dang Qun , Yosuke Hayano
Design Team: Zhao Wei , Andrea D’Antrassi, Liu Huiying, Philippe Brysse, Achille Tortini, Jakob Beer, Luke Lu, Geraldine Lo, Tiffany Masako Dahlen, Augustus Chan, Jeong-Eun Lee
卢卡斯叙事艺术博物馆 Lucas Museum of Narrative Art
中国建筑师马岩松设计的卢卡斯叙事艺术博物馆（Lucas Museum of Narrative Art）坐落于美国芝加哥市中心密西根湖畔的博物馆公园。博物馆的设计犹如一片漂浮在基地上的白色山峦，它柔和地屹立于大地，轻触水面，同时向天际伸展；它具有自然的形态，又充满未来感。马岩松的设计理念是要让这座博物馆成为一个整体连续的场所体验，把周围的城市空间与环境融为一体，让博物馆成为人与自然相遇的大地艺术。
The architectural concept for the Lucas Museum of Narrative Art explores the relationship between nature and the urban environment. Inspired by the work of Frank Lloyd Wright and Mies van der Rohe, the design integrates the natural beauty of the park and Lake Michigan with the powerful man-made architecture of Chicago. The design furthers the Museum’s mission to be a place of education, culture, and inspiration.
The Lucas Museum design is both futuristic and timeless. Its continuous, undulating organic surface blurs the line between structure and landscape. As the harbor rises up to the land, it merges with stone surfaces that reach up to the sky and ultimately crescendo into a “floating” disc. The Museum is not an isolated object, but a spatial experience that is defined by the people who occupy it and interact with it. Its organic surface is made of a single material, a stone as primitive as it is futuristic, evoking the great achievements of architectural history. It is a place to discover and explore, to communicate and contemplate. More than a building, it is an urban vista for social interaction, bringing people closer to each other and to nature.
芝加哥论坛报（Chicago Tribune）著名建筑评论家Blair Kamin在博物馆概念设计方案发布当日发表评论文章中称：“今天公布的博物馆设计是马岩松职业生涯惊人的转折点，”并用马岩松的话作为结束语：“这座建筑不是关于我，而是芝加哥在创造伟大的现代主义建筑之后，引领芝加哥的未来，建筑是关于人和自然的！” 芝加哥太阳报（Chicago Sun-Times）称：“马岩松是新一代的中国建筑师，专注致力于现代建筑设计，同时对设计内容和整体环境极度敏锐。”快公司（Fast Company）称“博物馆是来自未来的金字塔。”
The tallest points of the Lucas Museum will feature an observation deck with 360-degree views, providing visitors with stunning panoramas of both Chicago and Lake Michigan. Inside, three levels of exhibition space in infinite loops will inspire the imagination to ponder endless possibilities, both in content and design.
The design for the Lucas Museum mirrors the objective of the artwork inside: It tells a story. The narrative ushers in the future of architectural design, exploring the relationship between man and nature. Its iconic design aspires to join the ranks of Chicago’s many cherished landmarks.
竞赛团队: 赵伟, Andrea D’Antrassi, Tiffany Dahlen, 李健, 吴开聪, 萧克良, 朴妍珍, Daniel Weber，Cesar d Pena Del Rey, Valeria Pestereva, 王艺祺，Sarita Tejasmit, 何晓康
Lucas Museum of Narrative Art
Location: Chicago, USA
Director in Charge: Ma Yansong, Dang Qun, Yosuke Hayano
Advisor: Bao Pao
Competition Team: Zhao Wei, Andrea D’Antrassi, Tiffany Dahlen, Kin Li, Wu Kaicong, Kek Seow, Younjin Park, Daniel Weber, Cesar d Pena Del Rey, Valeria Pestereva, Wang Yiqi, Sarita Tejasmit, Michael He
南京证大喜玛拉雅中心 Nanjing Zendai Himalayas Center
The Nanjing Zendai Himalayas Center is a city-scale urban project, with an overall building area of approximately 560,000 sqm. Working at this scale, MAD strives to capture a fully realized “Shanshui City”— a concept at the center of MAD’s designs that adapts the traditional Chinese Shanshui ethos of spiritual harmony between nature and humanity to the modern urban environment.
Built over 2600 years ago, Nanjing is an iconic city with equally rich traditional heritage and high modernization. With these two motifs in mind, MAD strives to achieve a balance of the city’s historic past and its high-tech future. The design of the Zendai Himalayas Center maintains and develops the philosophy of cooperation between humanity and nature, albeit in a modern setting. The carefully planned project seeks to restore harmony between humans and the environment by creating integrated, contemplative spaces that still meet the material needs of modern life.
The site is composed of six lots, two of which are linked by a vertical city plaza. Curving, ascending corridors and paths weave through the undulating commercial complexes, bringing people from the busy ground level to the vertical park for opportunities to wander among the buildings and gardens.
At the center of the site is a village-like community of low buildings, connected by footbridges and nestled into the landscape. This scene of footbridges, artificial hills and flowing water together creates a poetic moment at the heart of the project. The simplicity of the design concept is further captured through the use of clean construction materials, such as concrete.
On the edge of the site, the mountain-like towers are characterized by vertical sun shading and pervious glass screens that “flow” like waterfalls. These features provide interior spaces with energizing light and wind to form a subtle, calming ambience. The project mimics the site’s surrounding mountains and meandering rivers that are essential parts of Chinese aesthetic philosophy. Towers along the edge of the site act as a mountainous backdrop, while water features such as ponds, waterfalls, brooks, and pools connect buildings and landscapes to integrate all of the Center’s elements. This integration goes beyond form, with the water features functioning as reservoirs to collect and recycle rainwater for irrigation.
The Nanjing Zendai Himalayas Center project is currently under construction, and is estimated to be completed in 2017.
建筑面积：地上： 383,307平方米；地下： 181,562平方米
主要设计团队: 李健，赵伟，Andrea D'Antrassi，刘会英，吴开聪，Tiffany Dahlen，AchilleTortini，朱璟璐，张炉，童尚仁，萧克良， Matteo Vergano，王德元，Wing Lung Peng，Kang Mu-Jung，Lucy Dawei Peng，王涛，Benjamin Scott Lepley，William Lewis
Location: Nanjing, China
Type: Commercial, Office, Residential, Hotel
Status: 2012-2017, Under Construction
Site Area: 93,595 sqm
Building Area: Above Ground 383,307 sqm; Below Ground 181,562 sqm
Building Height: 120 m
Floor Area Ratio: 4.06
Client: Jiangsu Zendai Commercial Culture Development Co., Ltd
Associate Engineers: CCDI Group; Nanjing Kingdom Architecture Design Co., Ltd
Commercial Consultant: Boyi Architecture Design Studio
Facade Consultant: Konstruct West Partners
Landscape Architect: Earth Asia Design Group (EADG)
Transport Consultant: Sinclair Knight Merz (Shanghai) Co., Ltd
BIM: CCDI Group
Lighting Consultant: LEOX Design Partnership
Hotel Interior Design: Steve Leung Designers Ltd.
Directors in Charge: Ma Yansong, Dang Qun, Yosuke Hayano
Core Design Team: Kin Li, Zhao Wei, Andrea D'Antrassi, Liu Huiying, Wu Kaicong, Tiffany Dahlen, Achille Tortini, Zhu Jinglu, Zhang Lu, Victor Shang-Jen Tung, Seow Kek Leong, Matteo Vergano, Wang Deyuan, Wing Lung Peng, Kang Mu-Jung, Lucy Dawei Peng, Wang Tao, Benjamin Scott Lepley, William Lewis
“月境” “Moon Landscape”
施华洛世奇“Digital Crystal”的展览，意在探索数码时代里记忆的概念。本次展览展出了马岩松、刘峰、李鼐含、师建民、宋涛五位亚洲新锐设计师特别制作的作品，同时还有来自西方设计师Arik Levy, Maarten Baas, Random International, Yves Béhar和Ron Arad 的作品。每一位设计师以不同的方式，诠释着记忆如何在数码时代被人们感知，也探讨人类对事物、环境和时间不断变化的关系。
Invited by Swarovski, Ma Yansongcreates“Moon Landscape”, a big installation art piece for the “Digital Crystal”exhibition. The exhibition goes from 28th September to 3rd October 2013during the Beijing Design Week.
The mountain-shaped “Moon landscape” is both exhibition space as well as a piece of exhibited art work; it is composed by a group of black polyhedron structures, extending from indoor to outdoor. Walking through the black winding spaces, which feels as a surreal time travel, visitors will see each art piece in turnin each mount. When visitors go up with the stairs at the end of the journey to the overhead of the mountain, they will see the lighting digital moon, hanging over the silhouette-like mountain hills. The surface of moon subtly changes with time between natural scenes to digital image, indicating eternality from past to future.
The Swarovski “Digital Crystal” exhibition collaborates with some of the most exciting design talents to explore the concept of memory in the fast-developing digital age. Five newly commissioned pieces are from Ma Yansong, Liu Feng, Li Dinghan, Shi Jianmin, and Songtao, alongside art pieces from Western designers such as Ron Arad, Arik Levy, Maarten Baas, Random International, and Yves Béhar. Every designer explores with their unique perspectives how memory is felt in the digital age, as well as the relation between people and the constant change of things, environment and time.
设计团队：Tiffany Dahlen, Susie Jiang
结构设计：Steve Zuo, Thornton Tomasetti公司
Typology: exhibition space, art installation
Building Area: 400 sqm
Building Height: Exterior – 6m, Interior 7.5m
Directors: Ma Yansong, Dang Qun
Design Team: Tiffany Dahlen, Susie Jiang
Structural Engineer: Steve Zuo from Thornton Tomasetti
Construction Contractor: SOLUTIONS