MAD特别篇，将目光焦聚在大家一致很好奇但是又非常低调的MAD正式工作团队和合伙人身上。看看他们的设计之路、真实状态究竟是怎样的。We work for MAD特别篇第二篇–为大家介绍的是MAD的高级建筑师–Tiffany Dahlen。

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.

请给大家介绍你自己。
Would you please introduce yourself to us?

我是来自美国的Tiffany Dahlen。宾夕法尼亚大学硕士学位。我在MAD已经工作四年半了，现在是一位资深建筑师。

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.

你的家乡在美国的什么地方，那里有什么特色？
Where is your hometown in America? Is there anything interesting?

我来自美国夏威夷火奴鲁鲁。那是一个非常美丽的岛，也是很受欢迎的游客观光胜地。

I’m originally from Honolulu Hawaii. It’s a beautiful island. It’s a very popular tourist destination.

是什么契机促使你到中国来工作，且工作了多年。你在这个国家有哪些好的体验和哪些不好的体验。
Why do you come to China for a job and work for years? Your good experience and unpleasant experience in China.

2010年我刚到北京时，那时美国正在经历经济衰退。我那时刚毕业，希望找到一份可以参与很多有趣的在建项目的工作。但是那时在美国没有那么多项目在建。这就是我当初来MAD的原因，这家事务所在做许多非常有趣的并且在建的项目，我觉得在MAD将会是很好的经验。

我对中国的印象和体验都很好。我喜欢旅行，会抓住假期的机会去周游亚洲。目前为止我去过上海，香港，韩国，日本和俄罗斯。总的来说没有什么不好的经历。刚到这儿的时候是遇到过语言和文化冲击的问题，但是总的来说我认为这些对于我来说都是很好的经历。

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.

你对中国建筑现状的感触是什么？
What do you think of the current situation in architecture industry in China?

我认为中国的建筑行业已经发生了质变并且不断在提升。现在很多项目比原来好了很多。

2010年的时候还感觉中国建筑行业还是一味的追求速度的粗放型狂热，但是现在我认为行业眼界、经验、环境都有了提高，市场也变得更成熟更专注了。

自从我搬到中国，我能感受到在过去的四年里，建造和设计的质量已经提高了。甲方更加成熟，也意识到什么才是好的设计，而不是一味的把西方的设计复制粘贴到中国。他们现在思考的更多的是什么才是好的项目好的设计。

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.

MAD倡导的山水城市是相当东方的理念，对你来讲好理解吗？这么问也是因为我好奇老外在了解到东方语境理念时是马上就接收了还是要消化理解一下，最终会有哪些改变？
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?

事实上，我在美国学习建筑的时候，在建筑史和建筑理论课上我们会学习到中国建筑设计，所以我理解这个概念比较容易。我来了中国后，有机会去到杭州、苏州去看一些历史建筑，这些都是山水城市重要的背景参考。我认为我还是了解山水城市并且可以与山水城市的背景、实践应用联系起来。

我觉得我唯一的文化差异在于东西方对精神的理解。我认为设计和空间的哲学是可以超越文化的，把自然整合到日常环境的建造是我们人类与生俱来的探索。

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.

你有和自己在美国的建筑师朋友聊你现在的工作吗，她们对山水城市是什么样的反应？
Have you talked with your friends in America about your current job? What are their opinions about Shanshui City?

我向他们展示了MAD的一些项目、艺术作品和出版物，我们的设计和能够把这些设计实际建成给他们留下了很深刻的印象。

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.

你在MAD最大的收获是什么？
What’s your biggest achievement in MAD?

我曾经在北京设计周上参与过“月境”的项目。这是一个很有意思的项目，对于我来说很独特因为我参与了从最初的概念到设计完成再到最后的展览。我看到了从最开始到最后结束的整个设计过程，并且看见它最后被实现出来。

这些对于我来说很值得，比如能接触到这个项目的每一阶段、和甲方合作、和独立艺术家们一起工作从而知道如何在展览中展示艺术品。

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.

你参与了很多有意思的项目—-卢卡斯叙事艺术博物馆，南京证大喜玛拉雅中心、黄山太平湖公寓、还有2013年为北京设计周设计的月境等等，参与这些项目有哪些让你印象深刻的事儿？
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?

我很幸运能够在MAD参与很多特别好的项目。在MAD工作，我可以参与不同类型不同规模的项目，从综合体到博物馆再到艺术设计、展览。MAD的设计方式和山水城市的理念其实可以被应用到不同尺度，所以对于我来说，看到MAD提倡的设计理念应用在不同尺度的项目上，很有意思。

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.

你的爱好是什么？
What’s your hobby?

我喜欢旅行，也很喜欢跳舞和看芭蕾演出。
当我到一个新的城市时，我会去查询当地的芭蕾演出机构去观看芭蕾演出。比如说几年前我去俄罗斯旅游，就在圣彼得堡看了一场芭蕾演出。对我来说那是一次非常难忘的经历因为它一次便满足了我的旅游和舞蹈两个爱好。

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.

给你的BOSS提个建议吧。
Please make a suggestion for your boss.

看建成项目和看施工现场对于项目本身和设计师本人都非常重要。或许BOSS可以考虑安排到MAD项目所在地的公司旅行，专业认知实践和旅行合为一体：）

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.

参与项目介绍

黄山太平湖公寓
Huangshan Mountain Village

现代人是生活在竞争中的，信奉的是效率，因此他们很难明白中国山水画中的人为什么要经过曲折的小路登上云端的山峰，在一个叫“听松堂”的亭子下饮茶。在黄山的山水之中，有着诗人画家曾经有的诗句和画中的意境，是人在自然中感受的一种精神境界。

“我对黄山太平湖的印象一直就是模糊的，每次去她都呈现出不同的景色，因此她对我来说有几分神秘。像极了古代的山水画，从来不写实和临摹，一切都是随心和想象。模糊的感觉是充满诗意的，看不清，看不懂，所以经常会有人对着层层叠叠的山和水发呆。他们不仅仅是在看景，他们也看到了自己，和生活在大城市中的自己不一样。”
– 马岩松

建筑在山水中，就建成山水的样子，与壮美的天地自然融为一体。

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.

这是一组散落在太平湖边的山脊上的度假公寓。所有的房间均可饱览湖光美景以及远处的绵延群山。建筑与建筑之间由自然景观和廊子连接在一起，人们漫步于此，步移景易，同时享受着这里所提供的各种便利设施。

为了最大限度的强调自然环境，所有的公寓空间均设置了室外的横向花园，这些大的室外平台将公寓内部空间延伸到室外的自然景观中，人们可以随时享受户外迷人的景色和宁静的自然环境。公寓内部空间的设计同样创造出平和与安宁的环境。对当地天然材料和大量丰富植被的运用增加了人们居住于此的舒适感和幸福感，也和当地的文化建立起一种关联。

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.

中国黄山
类型：高级公寓
基地面积：102,900平方米
建筑面积: 70,000平方米
建筑高度: 60 米

主持建筑师:马岩松，党群，早野洋介
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

Huangshan, China
Type: Apartments
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。

芝加哥是一座谱写了美国现代建筑艺术史的城市，拥有现代主义大师密斯·凡·德·罗和赖特的多座重要作品。为了与这段历史对话，建造一座超越时代、充满想象力的作品，博物馆的创始人、星球大战之父乔治·卢卡斯今年初邀请了多位世界级建筑大师进行竞赛，马岩松领衔的MAD事务所以其浪漫而富于启发的与自然合为一体的方案胜出，也因此成为历史上首位在西方世界里设计标志性文化建筑的中国建筑师。

卢卡斯选择马岩松的设计方案，不仅因为它展现出的整体意境，更因为其内部空间所表达出的对神秘未来的敏感和勇敢探索。它拥有一个被称为“城市天穹”的巨大穹窿，这里可举行临时展览，音乐会等多种城市活动。穹顶中央，天光倾泻而下，激发人们往上走的好奇心，去探索叙事艺术的历史。围绕穹顶的是如同故事展开的环形展厅，沿着斜坡螺旋上升，引领游客进入一段穿越时空的旅程——叙事艺术的历史与未来叙事的数字媒介。博物馆还将通过包括教育中心、巨型档案馆、室外剧场以及四座影剧场在内的系列项目，与公众互动，完成其作为艺术机构的使命。当人们到达这座白色山峦的“顶峰”，将进入一个幻境般的漂浮360度全景观景台，欣赏整个博物馆公园的滨水美景以及芝加哥令人激动的天际线。

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。”

卢卡斯叙事艺术博物馆预计2019年建成。它对叙事艺术史的开创性展示、与环境的融合以及整体连续的空间体验，将使它成为芝加哥、乃至世界的全新标志性艺术教育中心，也将会是属于这座城市每一个人的巨大文化财富。芝加哥开启了现代主义摩天楼时代，它的城市天际线一直是新兴城市争相模仿的典范。与芝加哥在过去一百年所创造的现代主义建筑文明的辉煌相比，这座把自然和人、记忆与想象力紧密联系在一起的博物馆，其更为重要的使命是激发出下一代年轻人心中对未来的渴望。

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.

项目：卢卡斯叙事艺术博物馆
地点：美国芝加哥
类型：博物馆
时间：2014-2019

主持建筑师：马岩松，党群，早野洋介
理论艺术指导：包泡
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
Type: Museum
Time: 2014-2019

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

2014年全面开工的“南京证大喜玛拉雅中心”总建筑面积约56万平方米。MAD正在尝试通过这一城市尺度的作品，实践一座理想中的“山水城市”。

有着2600多年建城史的南京，极具人文传统，同时是中国现代化程度很高的城市之一。MAD一直秉持的理念，就是在现代城市中人和自然共生的传统哲学，重建人与环境之间的和谐关系。在满足现代生活的各种需求的同时，营造融合而富有生机的空间，实现人与自然在精神上的契合。

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.

项目基地由六个地块组成，其中两个街区被一座立体城市广场连接。不同尺度的连廊、走道穿插在几个连绵起伏的商业综合体中，引领人们从繁忙的地面街道漫步到立体公园，游走于建筑与景观之间。

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.

基地的中心区域由一些散落在绿毯上的坡顶小屋构成，呈现出小村落式的环境，为大尺度的城市项目提供了宜人的城市空间。小桥连接着村落，从一个街区到另一个街区，串联了假山、流水，构成了一幅充满诗意的画作。建筑采用混凝土作为材料，表现出材质本身的朴素。

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.

位于基地外侧的塔楼宛如高山，竖条的遮阳玻璃百叶，遮阳又透光，为室内空间提供了怡人的光线和风，如瀑布般流动于山体上，让整座建筑充满意境。塔楼扮演了高山流水的远景，而基地内水池、瀑布、溪流、水潭等的水景承接了意象并把隐喻具现化，模糊了远景与近景的边缘。这些项目内的水景同时也是雨水收集池，让基地内的水再用于浇灌，循环利用。

“南京证大喜玛拉雅中心”项目已经在有序施工中，预计将于2017年完工。

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.

地点：中国南京
类型：商业，办公，住宅，酒店
状态：2012-2017 建造中
基地面积：93,595平方米
建筑面积：地上： 383,307平方米；地下： 181,562平方米
建筑高度：120 米
容积率：4.06

业主：江苏证大商业文化发展有限公司
甲级设计院：悉地国际设计顾问(深圳)有限公司;南京金宸建筑设计有限公司
商业建筑设计：上海铂意建筑设计咨询有限公司
幕墙设计顾问：凯渥国际咨询服务（北京）有限公司
景观设计：泛亚景观设计（上海）有限公司
交通顾问：辛克莱工程咨询(上海)有限公司
BIM团队：CCDI集团建筑数字化业务部
灯光设计顾问：黎欧思照明（上海）有限公司
酒店室内设计：梁志天设计师有限公司

主持建筑师: 马岩松，党群，早野洋介
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”

受施华洛世奇邀请，马岩松为Digital Crystal展设计制作了名为“月境”的大型装置作品。本次展览于2013年9月28日至10月3日在北京设计周展出。

这件作品，以不规则的黑色多面体为母题，状如山石，从室外延伸到室内，从展览空间演化为艺术作品。行走在黑色的曲折空间里，整个展览犹如一场超现实的时空旅途，每一件艺术品都被安置在一个山体的内部，出现在沿途的空间里。当参观者沿着整个路线参观完之后，将在旅途的终点拾阶而上，来到整个展览空间的上空，等待他们的是一个发光的数字月亮，悬在一片剪影似的山峰之上。“月境”的表面随着时间发生微妙的变化，从数字化影像，到自然的真实，让人驻留在由过去通往未来的永恒瞬间。

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.

地点:北京
类型:展览空间,艺术装置
空间面积:400平方米
空间高度:外部6米,内部7.5米

主持建筑师：马岩松，党群
设计团队：Tiffany Dahlen, Susie Jiang
结构设计：Steve Zuo, Thornton Tomasetti公司
施工单位：SOLUTIONS

Location: Beijing
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

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