Tag Archives: 建筑

Bauhaus in Shanghai

Image Courtesy of Bundesarchiv / Photographer: Thomas Lehmann

Bauhaus is turning one hundred. The iconic German art school first opened its doors in 1919, in Weimar, and was shut down just fourteen years later, when the Nazis came to power in 1933. Over the course of its brief life, it became synonymous with modern design. It stripped furniture and building façades of ornamental frills, and its minimalist aesthetic set the tone for architecture around the world. By the middle of the century its imprint could be seen everywhere from Japan to Israel to Yugoslavia—though perhaps nowhere is it so visible as in the United States, where many of the artists and architects who studied and taught at the school, a number of whom were Jewish, fled in 1933.

Today, the “International Style” that Bauhaus popularized is viewed with more ambivalence: on the one hand, it gave us austere masterpieces like Mies van der Rohe’s Seagram Building in New York, and on the other, it led to the soulless corporate blocks that make so many downtowns look identical. In any event, Bauhaus’s function-first ethos still has a devoted following, in Asia as much as in Europe or the Americas. And even though a century has gone by, it may still have something to teach us today. That’s the thinking behind a recent series of workshops held in Shanghai to mark the school’s 100th anniversary.


包豪斯(Bauhaus)即将迎来 100 周年纪念。其代表性的国立包豪斯学校于 1919 年在德国魏玛创办,十四年后随着纳粹上台而被迫关闭。但尽管办学生涯短暂,包豪斯学院却给世界带来了极为重要的影响,并成为了现代设计的代名词。包豪斯主义主张减除家具和建筑外立面的装饰细节,这种简约的美学为世界各国的建筑设计奠定基调。到了上世纪中期,包豪斯风格的影响已遍及全球,从日本到以色列,再到南斯拉夫,到处都能看到它留下的痕迹。但是,受包豪斯主义影响最显著的莫过于美国,因为在 1933 年纳粹当政,在包豪斯学院学习和教学的许多艺术家和建筑师,都纷纷逃离到美国,特别是受到迫害的犹太人。

而如今,很多人对包豪斯倡导的“国际风格”保持矛盾心态:一方面,它给我们带来了像现代建筑大师密斯·凡德罗(Mies van der Rohe)在纽约设计建造的西格拉姆大厦(Seagram Building)这样简朴的杰作,但另一方面,它也催生了世界各个城市中大同小异、没有灵魂的商业大楼。

但不管怎么说,包豪斯强调实用功能性的理念,在亚、欧、美至今依然盛行。一个世纪过去了,关于它的理念,还有很多值得人们去探讨和学习的内容。为此,近来上海为纪念包豪斯学院的百年诞辰,举办了一系列活动和工作坊。

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

Sponsored by the Department of Culture and Education of the German Consulate General in Shanghai, the workshops were organized by Shen Qilan, a Chinese curator, educator, and writer who maintains close ties to Germany, where she completed her doctorate in philosophy. “Bauhaus is an outstanding intellectual tradition, but it’s not often talked about here,” says Shen. She organized the events with two aims. “First, to introduce people to the existence and value of the Bauhaus tradition. And second, to ask what that tradition has to do with our current moment in 2018 or 2019. Often we see things from 1919 as documents, as something from the past. Yet Bauhaus, I firmly believe, is relevant to the present.”


这一系列工作坊由德国驻上海领事馆文化教育处主办,由中国策展人、教育家及作家沈奇岚负责组织。曾留学德国的沈奇岚,在那里修完了哲学博士学位,至今还与德国保持着密切的联系。“包豪斯是一个很出色的思想传统,但是这边好像说得不太多。”沈奇岚说。关于组织这些活动的她有两个目标:“一个是让大家知道,包豪斯这个传统的存在和它的价值,第二是,这个传统它跟我们当下的 2018 年、2019 年有什么关系,因为很多时候我们去看 1919 年的东西,它就是个文献,是一个过去的东西。但我强烈感觉到,包豪斯跟我们当下还有联系。”

The workshops began in the spring, with a series of four sessions titled Bauhaus Class 1.0. “Shen Qilan invited several prominent scholars from the Chinese cultural scene,” says Oliver Hartmann, head of the Department of Culture and Education. “The first class was really successful: there were 100, 120 people sitting there drawing, working with fabrics, being creative, learning from Chinese experts about Bauhaus.” That success led them to organize Bauhaus Class 2.0, a longer set of six classes in the fall. “The first course focused on Bauhaus’s past, and the second one focused more on its legacy,” he explains. “The second course also had a practical dimension, because we did city walks: students went outside to experience and compare buildings, and they also visited our experts in their studios.” Both courses filled up quickly with people from a variety of backgrounds who shared little more than an interest in design—at least one parent even brought a child. Students who attended all four classes in the spring, or all six in the fall, and successfully completed the homework, received a certificate.


这一系列工作坊从春季开始,包豪斯课堂 1.0 (Bauhaus 1.0)包括了四个课程。领事馆文化教育处负责人郝立夫(Oliver Hartmann)说:“沈奇岚邀请了几位来自中国文化界的著名学者。第一次的课堂非常成功,来了一百多人,大家坐在一起画画,发挥创意,以面料为主题创作,向中国大师们学习有关包豪斯的知识。”

这一次课堂的成功使得他们又组织举办了包豪斯课堂 2.0(Bauhaus 2.0),在秋季开办,共包括了六节课。“包豪斯 1.0 关注的是包豪斯的过去,而 2.0 则会更关注它的传承与影响。包豪斯 2.0 也会更注重实践。我们组织了城市漫步,让学生到街上去体验和比较建筑,到工作室里与我们的专家会面。”郝立夫说。这两次开课吸引的学员都来自不同背景,甚至还有一位带孩子来听课的家长。所有学员们齐聚一堂,而他们之间仅有的共同点就是对设计的兴趣。所有参加包豪斯 1.0 或 2.0 并成功地完成作业的学员,​​都会获得一份证书。

Still, what does Bauhaus have to do with Shanghai, a city that after all is better known for its art deco treasures and its postmodern skyscrapers? As Shen explains, Bauhaus had an important, albeit indirect, influence in China. “The most profound impact it had was on architectural thought. Of course there wasn’t any direct influence, because no Chinese students studied at the Bauhaus, but its thinking was passed on,” she says.

When the Bauhaus school opened in 1919, at the start of the interwar period, German society found itself in the midst of radical economic and political upheavals. “It was a time of large-scale industrial production, and society as a whole was figuring out how to respond, in thought, in art, in culture, in design,” says Shen. Bauhaus responded with designs that prioritized efficiency above all else: from high rises to chairs, its forms are sleek and linear, reduced to their core elements. “What’s fascinating is that, at a time of momentous change, a group of particularly independent-minded people came to use their own means to address problems raised by the society and the times.” They offered an elegant visual language for a newly industrialized world.


但是,包豪斯与上海之间到底有何联系呢?毕竟在上海,更为人熟知的是这里的 Art deco 建筑和后现代风格的摩天大楼。沈奇岚解释说,包豪斯对中国是有影响的,虽然说是间接性的。“最深刻的影响就体现在建筑思想上。当然,直接影响是没有的,因为没有中国学生去包豪斯学院上过课。但是它的思想流传了下来。”她解释道。

1919 年,包豪斯学院成立时,正值两次世界大战的战间期,德国社会正经历一系列激进的经济和政治动荡。“这是一个大工业生产的时代,而整个社会在变迁的过程当中大家在考虑如何去应对,就是思想上、艺术上、文化上、设计上,其实都是在一个锻炼的状态。”沈奇岚说。对此,包豪斯的回应是一系列以效率优先的设计:从高楼到椅子,所有的外形设计均是圆滑、线性的,简约到只剩下核心要素。“这一点很刺激,当时代大变迁的时候,有这一批特别有想法的人用他们的方式去解决时代和社会给的问题。”他们为新工业化社会带来了一种优雅的视觉语言。

One hundred years later, artists and architects face a different context and a different set of challenges. For one thing, cities today are vastly bigger than they were in 1919, as Shen readily acknowledges. “Today in Asia, cities with populations in the tens of millions are normal. With tens of millions of people, how do you design housing, how do you design offices, how do you design streets? The spaces we live in are totally different.”

Yet that doesn’t mean that Bauhaus is no longer relevant. “We can’t use products designed by the Bauhaus to meet our current needs,” Shen explains, “but the school’s thought, its belief in responding to the needs of the times—that’s something we can use in the present.” 


100 年后, 艺术家和建筑师面临着不同的背景和挑战。首先,今天的城市比 1919 年规模要大得多,在新时代更需要我们在建筑和城市化方面提出新的解决方案,这点沈奇岚乐于承认。“现在在亚洲,几千万人口很正常,但是如果几千万人的话,住宅该怎么设计?办公室怎么设计、街道怎么设计呢?我们的生活空间,已经跟原来完全不一样了。”

然而这并不意味着和包豪斯也不再相关了。沈奇岚说:“我们不能用包豪斯设计的产品,去解决我们当下的需要。但是它的思维,它的那种‘面对时代要求去回应’的这个理念,是可以用在我们现在的。”

Both courses, Bauhaus Class 1.0 and 2.0, used the philosophy of this design tradition to look at the urban environments. One class, led by Bu Bing, turned students’ attention to the street just outside the cultural center, Middle Shandong Road. Students spent time watching the street, sought to understand it, and then invented their own symbolic system to respond to it. “You first observe the street, then you condense it to a symbol. You can capture this symbol in a photo, you can respond through dance, you can draw a map.” For students and teachers alike, this requires looking at a familiar environment with fresh eyes. “You have to look at the street again, this short stretch of road that’s only 400 meters long. We found that not one person had ever looked at it so closely.”


包豪斯课堂 1.0 和 2.0 这两个系列的课程,遵循这一设计传统的理念,审视着当代城市环境。其中一节课,由建筑家卜冰老师带领学生,将注意力投向了山东中路文化中心外面的街道。学生们通过观察街道、理解街道,然后创作出自己的象征系统。“你需要先观察街道,然后把它浓缩成一个符号。你可以在照片捕捉这个符号,也可以通过舞蹈、画地图来作出你的回应。”无论是对学生或是导师,这都需要你以全新的目光在熟悉的环境里搜索。“你必须到街上再看看,这 400 米长的短短的街道。但我们发现,没有一个人曾那么密切地观察过它。”

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

The Bauhaus workshops are part of a varied array of courses, exhibitions, film series, talks, and other events that the German consulate puts on in Shanghai. Shen sees these as an important platform for cultural exchange, where people can learn not just about a particular topic but about different modes of thought. “Germany has a very important tradition of kritisch zu sein, that is, being critical. If you say something, I won’t just agree with it—I’ll analyze it and maybe say that 70% I agree with, 30% I doubt,” she says. “They really respect intellectuals.” Both Hartmann and Shen stress the importance of making sure these exchange go both ways, so that people in the West can learn about China.


“包豪斯课堂”隶属德国驻上海总领事馆在上海举办的一系列课程、展览、电影、讲座等活动。在沈奇岚看来,这些活动是文化交流的重要平台,人们不仅可以从中学习像包豪斯这样特定的主题,同时能了解不同的思维模式。“德国有一个很重要的传统,这个德语叫‘kritisch zu sein’,就是说保持评价审慎的态度。如果你说了什么,我不会仅仅只是表达同意——我会分析一下,可能 70% 我会接受,30% 我要怀疑。他们很尊重知识分子。”她说。她和郝立夫同时强调要确保这些交流是双向的,让来自西方国家的人们也可以从中了解中国。

Shanghai is a few months ahead of the curve in celebrating the Bauhaus centenary. In 2019 events will take place around the world to commemorate the school, most notably a series of exhibitions called Bauhaus Imaginista. Shen is excited for so many people to learn about this tradition, whose life was a short as it was transformative. “Everyone can experience the power of art to change your life,” she notes. “That’s part of Bauhaus.”


上海其实是提前了几个月来庆祝包豪斯的百年诞辰。2019 年,全球将会举办一系列的活动来纪念这座著名的德国设计学院,其中最引人注目的是名为“Bauhaus Imaginista”的系列展览。沈奇岚很高兴能让这么多的人了解到包豪斯。包豪斯的生命很短,但它是一场巨大的变革。“大家会发现艺术它具有改变生活的力量。”她说,“而这就是包豪斯的一部分。”

Website: goethe.de/shanghai
WeChat: AKuB_Shanghai

 

Contributor: Allen Young
Photographer: David Yen
Additional Images Courtesy of Goethe-Institut China


网站: goethe.de/shanghai
微信: AKuB_Shanghai

 

供稿人: Allen Young
摄影师: David Yen
附加图片由 德国驻上海领事馆文化教育处 提供

Danchi Dreams

Toshima Gochome Danchi across Sumida River

DANCHI: Dreams of Modernity is a project by Tokyo-based photographer Cody Ellingham that captures the decline of Tokyo’s ultramodern dreams through its decaying apartment complexes. For the project, Ellingham explored over 40 Japanese public housing blocks, which are known as danchi.


DANCHI: Dreams of Modernity》(团地:现代化的梦想)是东京摄影师 Cody Ellingham 所创作的摄影项目,旨在通过东京市内荒废的公寓大楼,呈现这座城市超现代化梦想的衰落。Cody 探访了大约40个被日本人称为“danchi”(团地)的公共住房大楼。

Kawaramachi Danchi
Toshima Gochome Danchi across Sumida River
Kawaramachi Danchi

Danchi are often built in clusters of up to 70 buildings, with identical exteriors for individual apartments. They began being built in Japan in the 1950s to replace the wooden buildings that were destroyed during World War II. At the time, danchi represented the country’s post-war aspirations and its path towards a new modernity. The vast apartment blocks, often built on the suburban outskirts of the city, were meant to satisfy the booming housing demand of Japan’s rapidly urbanizing population. In 1960, the Hibarigaoka Danchi had even attracted a visit from the Japanese Crown Prince, but fast forward to today, the once-dignified housing complex is now being used as a car park.


“Danchi”通常是由多达70座公寓楼组成的密集建筑群,每一间的公寓楼都有着一模一样的外观。从20世纪50年代开始,日本开始建造 danchi,以取代二战期间被摧毁的木制建筑。当时,danchi 代表着日本的战后愿望及其走向新现代的道路。大片的 danchi 公寓楼群通常建在郊区,用来应对日本因为城市化迅速发展的人口膨胀带来的住房需求。1960年,曾经代表中产阶级地位的云雀丘团地(Hibarigaoka Danchi)甚至吸引了日本王储的访问,但这幢建筑如今已经被改造成停车场使用。

Hibarigaoka Danchi
Shibazono Danchi
Takashimadaira Danchi

As fewer and fewer Japanese choose to live in them, many danchi have fallen into decay. The ones that remain are now mostly inhabited by immigrants and the elderly. According to Ellingham, many of the surviving danchi are viewed by the public as being archaic and pointless – they are often not up to date with earthquake and fire safety standards, and many are not serviced by elevators.


从20世纪60年代以来,danchi 逐渐老化,其中一些甚至沦为荒废之地。今天,越来越少日本人愿意住在 danchi,现在居住在里面的大多都是移民和老人。Cody 表示,在人们眼中,danchi大都是一些过时的建筑,它们通常都不能符合现代地震和消防安全标准,许多甚至都没有装电梯。

Shirahige Danchi
Nakanoshima Tamagawa Danchi
Hiro Gochome Apartment

Ellingham tells us his thoughts about the project and how it began: “The exhibition was inspired by places. It started as an interest in form, but it’s evolved into an interest in why. It’s to understand the way a place can influence lives. In a way it’s quite Kafka-esque – you have the same life as the person next door to you.”


Cody 跟我们分享了他对这个项目的想法以及创作的初衷:“整个展览是以地点为启发的。一开始,我只是出于对形式的兴趣,但慢慢演变成对‘为什么’感兴趣,即地点是如何影响生活的。在某种程度上,这是非常卡夫卡式的——你和你隔壁的人有着同样的生活。”

Toei Hongo Itchome Apartment
Suwa Danchi
Hirao Danchi

Ellingham’s project is an attempt to record a part of Japanese history that will slowly fade away in time, as the danchi are destined to be demolished for newer residential buildings. Despite the melancholic mood conveyed in his photographs, Ellingham sees hope and beauty in the danchi that remain: “There’s a certain kind of nostalgia in these places. The look of it is cold concrete, but inside, you find playgrounds, mural art, community facilities, glimmers of hope, and thei original dream: tomorrow will be better than yesterday.”


Cody 试图通过这个摄影项目,记录日本的一部分历史。随着 Danchi 被逐渐拆除,新的住宅建筑取而代之,这些历史将会随着时间的推移而逐渐消失。尽管他的照片中透露着忧郁的情绪,但 Cody 依然在 danchi 中找到了希望与美丽:“这些地方有着某种怀旧之情。它的外观是冰冷的混凝土,但在内心深处,你会发现一丝希望,运动场、壁画艺术、社区设施,以及最初的梦想——明天会更好。”

Takashima Daira Danchi
Kawaramachi Danchi
Takashimadaira Danchi

DANCHI: Dreams of Modernity will be exhibited on May 12th, 2018. The exhibition will be held in Tokyo’s Koto District. To find out more about the event, click here.


《DANCHI: Dreams of Modernity》摄影展览将于东京江东区 2018年5月12日开幕。了解更多,请点击此处

Shibazono Danchi
Kamakota Apartment
Aoyama Kitamachi Danchi
Shibazono Danchi
Aoyama Kitamachi Danchi
Takashimadaira Danchi
Hirao Danchi
Hiroo Apartment
Mori Danchi
Takashima Daira Danchi

Website: danchi-dreams.com
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: danchi-dreams.com
Instagram: @cbje_tokyo

 

供稿人: George Zhi Zhao

The Eye of Binhai

 

无法观看?前往优酷

Tianjin Binhai Library is a futuristic space that was recently unveiled in October of 2017. Designed by Dutch architects MVRDV in collaboration with the Tianjin Urban Planning and Design Institute, the library is part of a greater plan to launch a cultural district in Tianjin.


2017 年 10 月,天津滨海图书馆正式开幕。该图书馆由荷兰 MVRDV 建筑设计事务所与天津市城市规划设计研究院合作设计,并作为天津滨海建成文化中心的一部分。

The highlight of the library is the auditorium. Boasting a spherical centerpiece that looks like an iris within the oval-shaped opening, the atrium has been nicknamed “The Eye.” Inside the atrium, terraced bookshelves run from floor to ceiling, rippling across the ceiling as if following the contour of the luminous orb.


整个图书馆的最精彩的部分是中庭的发光球形报告厅。这中庭有一个球形的中心,看起来像一个椭圆形的虹膜,因此又被命名为“眼睛(The Eye)”。再往里走,成排的书架从地板开始堆叠,既作为阶梯、座椅,且一直延伸到天花板,仿佛描绘出了中间发光球的轮廓。

The actual library is impressive in its own way. While less visually striking than the atrium, the building contains five levels and an area of 33,700 square meters with enough space to house a collection of 1.2 million books. The first and second floors contain reading rooms, books, and lounge areas, while the upper levels contain meeting rooms, offices, computer and audio rooms, as well as two rooftop patios.


而整座图书馆也独具自己的特色。虽不及中庭发光球的视觉震撼,但图书馆总面积达 33,700 平方米,足足有 5 层,设计藏书总量达 120 万册。一楼和二楼设有阅览室、藏书区和休息区,上层则设有会议室、办公室、电脑和音响室以及两个屋顶露台。

From initial design to opening, the library took only three years to complete, making it MVRDV’s fastest completed project to date. It’s a breathtaking achievement of design that’s quickly establishing a reputation as a must-see landmark for those visiting Tianjin.


由于施工周期比较紧张,图书馆从最初的设计到最终落成只花了三年的时间,成为 MVRDV 迄今为止进度最快的项目。这可谓是一个惊人的设计成就,并已成为天津必去的标志性地标。

Address:
347 Xu Sheng Road
Binhai New District, Tianjin
People’s Republic of China

Hours:
Tuesday ~ Sunday 10:00 ~ 18:00
Monday 14:00 ~ 18:00

 

Websitemvrdv.nl
Facebook: ~/MVRDVRotterdam
Weibo~/mvrdv

 

Contributor & Videographer: George Zhi Zhao
Images Courtesy of MVRDV


地址:
中国
天津市滨海新区
旭升路347号

开放时间:
周二至周日 10:00 ~ 21:00
周一 14:00 22:00

 

网站mvrdv.nl
脸书: ~/MVRDVRotterdam
微博
: ~/mvrdv

 

供稿人与视频摄影师: George Zhi Zhao
图片由 MVRDV 提供

studio O

Film by Elisa Cucinelli / Assistant Director: Kun Liang / Music: Huzi / Props: studio O

 

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The conventional mentality that places art, architecture, media, and design in separate categories has been completely discarded by studio O, a Beijing-based “ar(t)chitecture” studio. Besides architectural designs alone, they’ve created installation art for Beijing Design Week, collaborated with artist Elisa Cucinelli on a stop motion short video, and been involved in a variety of other projects that go beyond the services expected of a normal architecture firm. Led by Enrico Ancilli, Effi Meridor, and Cristiano Bianchi, the studio was established back in 2013 with the belief that a return to basics was long overdue.


位于北京的studio O是一家完全抛弃将艺术、建筑、媒体和设计按传统理念严格分类的“艺术与建筑’ar(t)chitecture’”工作室。除了建筑设计外,他们还为北京国际设计周创作了装置艺术作品,与艺术Elisa Cucinelli合作制作了一条定格短片,并参与了一系列超越常规建筑事务所基本服务范围的项目。该工作室由Enrico Ancilli、Effi Meridor和Cristiano Bianchi怀抱着期待已久的返朴归真理念创立于2013年。

For studio O, collaborating with creatives from different fields and engaging with different artistic and non-artistic disciplines are vital aspects of their return to fundamentals.“Historically, the best architectural results were achieved when people with different specialties were exchanging ideas: artists, philosophers, writers, and poets,” says Ancilli. “Nowadays, architecture has become too fragmented, too specialized, and too technical somehow. Artists are more direct and straight in their approach.”


对studio O工作室来说,与不同领域的创意人合作并参与到各种艺术和非艺术类项目对于回归本质至关重要。Ancilli说:“纵观历史,最好的建筑设计往往是由不同专业背景的人们——艺术家、哲学家、作家和诗人——进行思想交流的成果。如今,建筑设计逐渐碎片化,过于专业,甚至太过专注于技术了。而艺术家的做法则会更为直截了当。”

In our increasingly digitized lives, another part of studio O’s vision of returning to the roots of architecture also meant unchaining the shackles of our modern technological dependencies. Rather than solely relying on virtual images, studio O often prefers working with real materials to create physical and tangible models. Scoffing at the idea of a manifesto, which they consider to be too often riddled with empty and pretentious proclamations, studio O rather defines what it means to be an architect for themselves through their work.


在我们现今日益数字化的生活中,studio O工作室回归建筑本质的愿景从另一层意义上来说,也意味着解除我们对现代科技依赖所带来的束缚。在studio O工作室,设计师们不再仅仅依靠虚拟图像,他们通常更喜欢利用实质材料创建可触可碰的实体模型。他们对宣言之类的声明嗤之以鼻,认为所谓的宣言往往充斥着空洞和造作,而studio O工作室更倾向于通过自身作品来定义他们作为建筑设计师的真正意义。

“In the DNA of an architect, there should be the desire to explore, to deal with different cultural environments, traditions, and materials,” Ancilli says. After many discussions with some of his peers in Europe, who couldn’t fathom why he would move to China, his perspective on this became even clearer. “We shouldn’t fear what is different from us, closing ourselves in a comfortable, beautiful world. We should deal with the differences.”


Ancilli说:“在建筑师的基因中,应该有一股探索的欲望,以应对不同文化环境、传统和材质。”与身在欧洲的一些无法理解他移居中国的同行探讨过后,他自身的认知更加清晰了。“我们不应惧怕与我们不同的事物而把自己关在一个舒适美好的世界里。我们要去面对差异。”

“People often ask what kind of architecture we do,” Ancilli says. “I find it to be really interesting because it’s like reducing a certain discipline into a specific pigeonhole. What kind of art does this artist create? Classic? Neoclassic? Baroque? Modern? Bauhaus? Venetian Gothic? It’s funny and scary at the same time because it gives perspective to the crisis that creators of different disciplines are facing. We try not to follow any styles or trends at studio O. Sure, we’re influenced by other architects, but we try to keep a certain distance in order to develop our own ideas in an original way according to our own sensibilities.”


“人们时常会问我们设计的都是什么风格的建筑,”Ancilli说,“这让我觉得很有趣,因为它似乎把某一个专业缩窄至一个类别框框中。就像在问,这位艺术家创造什么风格的艺术作品?古典?新古典?巴洛克?现代?包豪斯风格?威尼斯哥特式?有趣又可怕,因为它承托出了不同领域创意人所面临的危机。在studio O工作室,我们尽量不去追随某一种特定的风格或趋势。当然,我们也会受其他建筑师的影响,但我们会尽量保持一定距离,以便通过自己的感触以原创方式来构筑自身想法。”

Echoing the sentiments of famous Italian architect Renzo Piano, Ancilli believes architecture is a contaminated craft, but the negative connotations of the word “contaminated” should be overlooked. “Architecture is complex, often requiring a balance between technique and art,” Ancilli comments. “But it’s contaminated from all the worst sides of life like money, urgency, and power. At the same time, it’s also been contaminated by the best parts of life, like our environment, history, and traditions.”


与意大利著名建筑师Renzo Piano的想法相一致,Ancilli也认为建筑是一种被“污染”了的工艺,但这里的“污染”不是一个负面的词。“建筑是复杂的,往往需要在技术和艺术之间做到平衡,”Ancilli解释道,“但它又受到来自生活各种糟糕面的‘污染’,譬如资金、时间限制和权力等。同时它亦受到生活中最美好事物的‘污染’,譬如我们的周身环境、历史和传统。”

studio O is in a constant state of evolution, adapting to the demands of an ever-changing world. They continuously seek out both challenges and inspirations with the same eagerness, moving forward with both open-mindedness and a sense of insatiable curiosity. “We have many things planned for the future,” Ancilli says. “We’re tracing a general direction for studio O, but at the same time, we don’t like to over-plan. We believe that the studio has to grow naturally.”


studio O工作室尚处于不断进化的过程中,以适应不断变化的世界之需求。他们持续寻求挑战和灵感,带着开放理念和永不满足的好奇心前行。“对于未来,我们有很多计划,”Ancilli说,“我们正在为studio O探寻一个大方向,但同时,我们也不喜欢过多做计划,而是想让工作室自然成长。”

Website: studioo.cc
Facebook~/studioo.cc

 

Contributors: Leon Yan, David Yen
Images & Video Courtesy of studio O & Elisa Cucinelli


Website: studioo.cc
脸书: ~/studioo.cc

 

供稿人: Leon Yan, David Yen
图片与视频由studio O与Elisa Cucinelli提供

 

Dachang Muslim Cultural Center

Cultural buildings have always been a specialty of prominent Chinese architect and professor He Jingtang. The Dachang Muslim Cultural Center will no doubt become another one of his masterpieces. Located in Dachang Hui Autonomous County in Hebei province, the project was planned by the local government to be an iconic design, that would embody the unique culture of Dachang and enhance the city’s soft power. 


文化建筑一直以来都是中国建筑师何镜堂院士的“拿手好戏”。大厂民族宫项目无疑是他的又一力作。项目位于河北省廊坊的大厂回族自治县内,当地政府希望通过民族文化宫的建设,打造大厂面向全国的一张特色文化名片,提升城市的软实力。

The Dachang Hui Autonomous County is a Muslim enclave just outside of Beijing. To invigorate the local Islamic culture and improve the quality of cultural life, the local government planned and developed the Dachang Muslim Cultural Center, a modern cultural complex that integrates the functions of a theatre, an exhibition space, convention hall and community center. It serves not only as a recreational center for the city, but it will also be an important cultural site for learning about the local religion and history. In addition to the many functions of the space, this ambitious project undoubtedly has posed many challenges to the design team, because of the area’s special ethnic composition, history, and religious beliefs.


大厂县是邻近北京的一个穆斯林族群聚居地。当地政府为了复兴穆斯林族群的伊斯兰文化,提升文化生活品质,兴建大厂民族宫。它是一个文化综合体,包括剧场、展览、会议、社区中心等功能。民族宫因此被赋予了多重功能,既是城市文娱中心,更是讲述当地宗教、历史的重要文化场所。项目所在地特殊的民族构成、历史文脉、宗教信仰,复杂的功能需求与文化地标的定位,无疑都给设计者带来很多挑战。

In his approach to design, He Jingtang has his own philosophy about architecture and innovation, which is typically based on the “two views”, or the holistic view and the sustainable development view, and the “three characters”, meaning the local character, cultural character and epochal character. Some of his previous award-winning work include the wrestling and badminton sporting venues built for the 2008 Beijing Olympics and the Chinese Pavilion for the Shanghai Expo in 2010, now renamed the China Art Museum. Taking the same considered design approach, the Dachang Muslim Cultural Center is similarly destined to become another classic structure.


在他的设计语言中,何镜堂有他自己的建筑和创新的哲学,基于”两观”,意为整体观和可持续发展观为出发点,还有“三性”,指地域性、文化性、时代性。他之前的获奖作品有2008年北京奥运会的摔跤和羽毛球场馆,2010年上海世博站的中国馆,现在被重名为中国艺术博物馆。运用同样考究的设计方法,大厂民族宫同样注定成为另一个经典的建筑。

Based on the traditional mosque, the design of the building subtly reinterprets the spatial structures of mosques with new kinds of materials and technologies. The supporting outer arches taper into elegant curves from the bottom up, while the cambering petal-shaped arches reflected in the water look even more graceful and enchanting. The top dome is based on visual abstractions of Islamic symbols and is constructed with hundreds of petaloid shells, creatively transforming the interior space into a semi-outdoor garden, gloriously filled with sunshine, fresh air and vegetation. The Dachang Muslim Cultural Center will certainly become a sanctuary of sorts that will show people the brilliance of Islamic culture and provide its local residents with a worthy spiritual home.


建筑以传统的清真寺为原型,通过新的材料和技术,以微妙的方式来演绎清真寺的空间结构:四周环绕的拱券从下到上逐渐收分形成优雅的弧线。当整栋建筑倒影水中,弧形的花瓣形拱券更显清晰灵动,散发出优雅气质。建筑的穹顶不是简单复制伊斯兰的符号,而是一种抽象和转译。我们以一系列花瓣状的壳体构成穹顶,创造性地将内部空间变为半室外的屋顶花园,融合了阳光、空气和绿色。它将伊斯兰炫丽灿烂的文化以及人们期盼美好生活的愿景以一种诗意的方式呈现。这是一个家园般的文化中心,它为社区居民尤其是穆斯林族群提供了一个心灵栖息的场所。

Contributor: Leon Yan
Photographer: Yao Li


供稿人: Leon Yan
摄影师: Yao Li

The Design of Gaga Café

In Shenzhen, China, it seems that there is no slowing down in the demand for Gaga Café’s brand of quality coffee, good food, and relaxing interiors. Following the success of COORDINATION ASIA‘s previous designs for Gaga, the new café at Wongtee Plaza in Shenzhen adopts a similar sense of style and refinement, but with a bit more punch and geometric boldness.


深圳的Gaga咖啡连锁店,以⾼质量的饮⾷和优雅舒适的环境正在迅速发展。协调亚洲继成功打造了前两家Gaga分店的内部设计后,在这家皇庭广场的分店延续了主设计风格,但添加了⼏分⼏何立体感。

The café not only entices visitors in from the outside, but it also encourages them to stay and linger for a while. The space has been designed across multiple levels; the walls, floor and ceiling all have unique characteristics and offer an interesting play between lighting and furnishings. One prominent feature is the wooden drop ceiling, which runs across the space from the entrance – in parts transforming into a metal mesh frame that supports hanging planters and a sculptural light volume.


咖啡店的设计主旨是不仅能吸引行⼈入店,并且鼓励顾客在店内停留片刻。这家店的内部空间设计呈现了多层次的构造,从墙壁、地⾯到天花板都体现出独特的风格,与灯光和家具相得益彰。⽊饰面吊顶贯穿于餐厅空间内,在入口区域转变成了铁丝网格样式,用于悬挂绿色植物以及⽀撑装饰吊灯。

COORDINATION ASIA designer Alberto Caiola explains, “The goal for (Gaga at) Wongtee Plaza was to create an environment that satiated both the energetic lifestyle of its patrons and the café’s delicate, yet delicious food.”


“皇庭分店的主要设计理念是既能满足顾客快节奏的⽣活方式,又能体现咖啡店精致的美⾷。”——协调亚洲的设计师Alberto Caiola解释道。

In order to make a connection with the first two Gaga concepts, COORDINATION ASIA selected a common palette of materials. Green is a featured color that oozes across different surfaces within the space, such as in the plush wall textiles and in hanging planter boxes. Black and white opaque tiles line the café, leading from the entrance to the service counter where tasty treats are beautifully displayed. And just like in the first two Gaga cafés, the use of natural wood creates a warm and relaxing environment for people to stop and recharge.


协调亚洲设计团队精⼼挑选的色彩和材料维持了品牌的视觉主旋律,并和前两家店的设计相呼应。绿色作为主色调贯穿整个内部空间,例如靠墙的沙发布料以及悬挂的盆栽。黑⽩瓷砖被交错使用,作为从入⼝处到收银柜的过渡。和前两家咖啡店一样,原⽊的使⽤营造出舒适温馨的氛围。

Furthermore, flexible seating schemes have been devised to help cope with the café’s busiest peak hours, with a variety of different options to cater for groups of all sizes – from small two person tables, high benches to large shared tables. Soft wall textiles have been arranged in an alternating rhythm to break up any sense of modularity and also help soak up unwanted noise, which is often a problem in the design of cafés. The selection of food that Gaga makes is highlighted in both the open display cabinet and the glowing screen of glass, which partially conceal the kitchen and give guests a glimpse into what’s going on behind the scenes.


自由式的座位能应付餐厅最繁忙的时段,其灵活性⼜方便根据不同场合和人数进行相应的组合安排。另外,墙面的软装布料的运用打破了陈规,并且能吸收额外的噪⾳,解决了咖啡店设计中普遍的问题。Gaga的美⾷不仅呈现在柜台,其亮点还体现在备餐区的开放窗⼝,顾客能看到食物的相关细节,对食物品质更放心。

Websitecoordination.asia

 

Contributor: Leon Yan
Photos Courtesy of COORDINATION ASIA


网站coordination.asia

 

供稿人: Leon Yan
图片由协调亚洲提供

VULCAN

VULCAN is the world’s largest 3D-printed architectural pavilion and recently was showcased at this year’s fifth Beijing Design Week. It was developed by Beijing’s Laboratory for Creative Design (LCD) using innovative, biomimetic design and construction techniques for a large scale structure.


近期世界最大的3D打印构筑物VULCAN亮相于第五十五届北京国际设计周。它是一件由北京的LCD(创意设计实验室)以革新性的设计理念和建筑工艺完成的大规模建筑结构作品。

The project’s name VULCAN comes from Latin, and is also the name of the Roman god of fire. In English, the name means “volcano”. The pavilion itself resembles a mushroom cloud from an erupted volcano, while up close, it rather resembles a very intricate spider’s web.


项目名VULCAN来自拉丁语,它也是罗马神话中火神的名字。 在英文中,他则是“火山”的意思。该装置本身的形状也很像是一个火山爆发出的蘑菇云,更靠近时,它又像是一个十足复杂的蛛网。

 

Although man-made and 3D-printed, VULCAN’s overall structure feels strangely organic and in a way biomorphic, especially when viewed from afar. It is perhaps not too surprising to learn that the architectural forms of the pavilion developed from LCD’s long-term research into the biological structure of cocoons. The arched curvilinear shape of the pavilion, which may resemble an elastic membrane at a distance, is actually on closer inspection, made up of numerous smaller triangular panels and millions of web-like filaments.


虽然VULCAN是人造结合3D打印的,但它的整体构架让人感觉异常 富有生机且带有生态感, 尤其是从远处看时。然而当你得知它的整个构筑的形式是源自LCD对蚕茧结构的长期研究就不会那么讶异了。装置的曲面弧度的部分,远看像是弹性膜,当你靠近时,则会发现那是由数不清的小型三角板和数以万计的网状纤维组成。

 

Constructed by more than 1000 different 3D-printed elements that were printed by 20 different large-scale 3D printers, VULCAN was built over the course of 30 days. It was then assembled on site in 12 days by a team of 15 people at Beijing’s new Parkview Green complex. Measuring 9.08 meters long and standing 2.88 meters tall, VULCAN currently holds the Guinness World Record for the largest 3D-printed structure.


VULCAN由20台不同的大型3D打印机打印出的1000多块3D打印模块组成,整个打印过程耗时30天。再由一个15人的团队于北京侨福芳草地现场耗费12天拼接搭建而成。整个装置长9.08米、高2.88米,VULCAN最近获吉尼斯世界纪录,成为世界最大的建筑学意义上的3D打印构筑物。

 

 

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It is a landmark achievement that further helps us understand how 3D printing technology can be used for the construction of large-scale buildings through innovative fabrication methodologies. And perhaps more importantly, it is an exciting technological feat that brings the future of architecture and art even closer together.


这是一个里程碑式的成果,它帮我们进一步了解了3D打印技术是如何通过革新构建方式用于大规模建筑物的构建。或许更重要的是,它将拉近未来建筑与艺术之间的距离。

 

Websitebjdw.org

 

Contributor: Leon Yan
Photos Courtesy of Laboratory for Creative Design & Beijing Design Week
Video Courtesy of Laboratory for Creative Design


网站bjdw.org

 

供稿人: Leon Yan
图片由创意设计实验室与北京国际设计周提供
视频由创意设计实验室提供

Shanghai Street Stories

Shanghai Street Stories is the blog of the formerly Shanghai-based Singaporean photographer Sue Ann Tay. The blog focuses on heritage architecture, communal living, and the local sites and sounds of old Shanghai. 


上海街头故事》是一位以前住在上海的新加坡摄影师苏安茶的博客。这个博客聚焦历史建筑、公共生活、当地特色地方和老上海之音。

Full of beautiful photography combined with intimate anecdotes and interviews, Shanghai Street Stories delves beyond the glossy futuristic metropolis to show a rapidly disappearing old world in Shanghai’s old lilongs and alley neighborhoods.


充满着美丽的画面结合私密的奇闻逸事和访谈,“上海街头故事”深入光鲜未来都市,展现予人一个正在迅速消失的上海旧弄堂世界。

From posts about Shikumen architecture and the influence of art deco, to historical Japanese comfort houses in the Hongkou district, the blog mixes photojournalism with fascinating academic references and historical photographs.


从石库门建筑和装饰派艺术的影响,到虹口区的旧时日本慰安所,博客在新闻摄影中融入迷人的学术性参考和历史照片。