先锋设计专辑 NO.9 — 和谐共存 / Hao Ruan阮昊

零壹城市主持建筑师阮昊:回想起从清华到普林斯顿再到创立零壹城市的经历,曾每每希望将设计的各个方面做的完美而无懈可击, 却像是一个充斥了各种和弦和玩弄技巧的不和谐乐谱。唯一逐渐清晰的是一种设计的极度自我约束:寥寥几个简单的和弦就能创造出一段动听的乐曲才是美丽之所在。 “和谐共存”以内敛与内省的设计方式探讨

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非常感谢阮昊在gooood上分享他的作品
Appreciation towards
Hao Ruan for providing the following description:
 
 
 
 
 
 
IN BETWEEN DISSONANCE & POWER |和谐共存
A New Type of Chinese Plaza
 
 
 
 
 
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This project is a political interpretation of “noise”. If harmony metaphorically describes a society in
unity, then noise could be seen as dissidence (or resistance) to an otherwise smooth system.
Nowhere is the illusion of harmony and contention to noise more clearly expressed than in public
plazas in China, where the dominance of power is achieved through the plaza's bigness and
emptiness.
 “噪声”是一种不和谐的元素,它往往是对一个完美系统的背叛。这种背叛可以理解为一定范围
内的微差。一种较小的错位和偏差在某种程度上比整体性的改变要更具有影响力与革命性。比如一
片平整的道路铺地上忽然出现了一块微微翘起的地砖,便会有很多人在那里摔倒;然而当整个道路
铺地的每一块都变的起伏不平之后,摔跤的人也许会变的很少。
 
当建筑用于表达政治权力的时候,这种不和谐元素往往被拒之门外,其空间形式常是统一、和谐并
且具有纪念性的。对这一点体现最为明显的是中国城市中心的广场,这些广场拥有着几个特点:一
是巨大的尺度下只有在鸟瞰时才能看到的几何形态,以此形成的纪念性通过相比之下渺小的人体现
出它的宏伟;二是形态和功能上的贫瘠,虽然叫做市民广场但却罕有市民活动。这两者的结合形成
的完形体有着强烈的视觉效果,显示出一种近乎极权主义令人窒息的力量,以一种幻象的方式表达
其极权主义的意识。
 
However under the current condition which speech must be constantly released in dealing with
the increasing hidden social agitation, for the stable improvement of its society, the government
is obliged to offer a new gesture of openness. It is a gesture that is neither a smooth nor a
collapsed system, but the introduction of noise as slight off deviation of the original system, in
forming a new type of totalitarian plaza as a hybridization of power and dissonance. Namely, it is
a plaza that maintains the main figure of the power while allowing small changes to occur.
然而基于现实,假设只有“噪声”的出现才能够保证社会平稳向前发展,那么这些广场的建筑表达是否
应该对此做出回应?在这个前提下,作为极具象征性和表率意义的政治性广场,其建筑表达能否可
以在满足其政治功能(宏伟的形象和较少发生的仪式性活动)的情况下, 引入一些“噪声”的元素?
Having the government as a client, the project is a new design experiment for the civic square in
Shenzhen, a city next to Hong Kong and recently commissioned as the laboratory for the
country's political reform. The site of the plaza is 600 by 600 feet in front of the Chinese post-
modernism government headquarter, and within the new totalitarian project: 20000 feet diameter
pedestrian ring proposed by OMA.
本设计是一个以政府为假想业主,对深圳市民中心广场的实验性设计。之所以以深圳为例,是因为
这个毗邻香港的城市曾经也将会一直是中国改革开放的先锋。这个600英尺见方的广场背靠强烈符号
性的巨构政府大楼,被OMA设计的新极权主义水晶岛环绕。
 
 
 
 
 
 
 
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The aim is to at the macro level, maintain a totalitarian image and meet the program demand of
occasional ceremonies (e.g. parades) and mass assembly. Meanwhile at the micro level,
introduce dissonance space and program, an at hoc cultural market with passage between
subway and train terminals under the plaza. Rather than planned spaces for gathering and
protests, the newly introduced space will trigger and represent speech by increasing physical
contact and exchange of information.
设计的目标是对该广场进行一种全新的建筑表达定义:在整体上仍旧保留原有的政治意象、满足大
规模集会等仪式性活动的功能,使其看上去依然是强大政权统治下的统一形式;而在微观层面的局
部却形成一些引导言论的空间。这些空间不是一种暴力的抗议场所,而是通过增加人与人之间实体
的接触与信息的交换,对思想和言论进行可控制范围内的“释放与引导”——在本案中,它是一个位于
广场下方、火车站和地铁之间的地下通道与跳蚤市场的空间。设计试图通过广场上下空间的关系改
变权力建筑本身的自闭性,形成两种空间共存、在此基础上将对对方的感知通过设计达到最小化。
Inspired by the validation codes and Haha landscape, the main design idea in achieving this
hybridization is to take advantage of the large scale and introduce a series of subtle perturbation
of the original surface to the regards of its view and movements. These small changes are hard
to notice at the large scale, but having radical results at the human scale. A series of calibration
was carried out in order to explore the thresholds, namely how much deviation can be introduced
in this hybridization.
受到“验证码”和Haha景观的启发,设计最大程度上利用了广场的大尺度,通过一系列微妙的在视觉
和流线上的小动作引入对于广场表面的扰动。这些扰动正如文初所提的“微差”,在大尺度上很难被察
觉,而在人尺度上却能够产生极大的影响。为了探讨究竟多少扰动才能够达到一种平衡的混合,设
计进行了一系列的”校准”。
 
 
 
 
 
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The first set of perturbations is to redesign the dialectical relationship between the views from
official angle and non-official angle. The design turns flat plaza surface into surface that is slightly
curved and elevated towards the center. This gesture maintains the totalitarian view from the
official angle at the platform and the averaged area used by government. It avoids any
occurrence of dissonance. Series of diagrams shows the variation of projection, from flat to the
warping surface and the disappearance of openings. Subsequently, the original rigid flat grid of
parade performers subversively changes into a curved surface.
第一系列的扰动是对从“官方视角”和“非官方视角”辩证关系的重新设计:将广场原有的水平平面转变
为中心和北侧微微拱起的曲面。这一姿态使得从广场中轴线上的平台、以及官方活动使用最多的区
域中无法看到广场远方地面上人的活动,从而避免了两者在视线上的冲突。具有颠覆意义的是:倘
若在这个新的广场曲面上进行大型集会或阅兵,将不会呈现出传统广场上鸟瞰到的三维方阵,取而
代之的是一个视觉体量大幅减小的曲面。
 
 
 
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“Surface with depth” is to respond to the overwhelming totalitarian sceneries and landscape, the
government and the OMA ring. The areas with depth are pockets at much smaller and human
scale attempted for gathering. The spherical rendering shows how the totalitarian landscape
vanishes. In seeking for where the surface depth will take place, a computation calculation was
made via marking and rating the viewing direction according to its importance, and evaluating the
least exposed areas (shown as dark).
“带有深度的表面”是对于周边具有令人窒息的浓烈政治意象的政府大楼、城市环及其他城市景观,所
做出的一种积极的回应。带有深度的区域是一些亲近人尺度的小型“袋口”,随着袋口深度的增加,周
边的城市景观逐渐消迹。设计中“袋口”的位置是依据周边环境的重要性进行取点和视线计算后得出
的,它代表的是最不容易被曝光的区域(深色)。
 
 
 
 
 
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This surface perturbation will not be effective unless the space are occupied by people.
Therefore the second sets of perturbation takes movements of people into consideration, in the
hope of minimizing the perturbation while maximizing the effects in increasing physical contacts.
Movement simulations of ceremony performers, strollers, commuters and market shoppers were
run to read the secondary information out of the depth image. It decides the effective areas for
further perforation. Only the effective ones are kept and the location for depth and perforation
was reduced to minimal. Similarly, the surface edge condition is decided  to maximize the physical
contact of crowd movements. The entire plaza surface is elevated to eyelevel and only leaving
several touchdown points in joining the ground.
为了能够将广场表面的袋口处理有效的布置在人流聚集、通过的地方,第二系列的扰动将各种人流
的移动轨迹作为突破口。设计对广场中集会人员、散客、乘客和商贩这四种人流进行了模拟。模拟
的目的是在对于广场表面形态上的干扰最小化的同时,将其对广场本身空间的影响最大化。这一模
拟对通过颜色深浅标识的平面图片进行深层信息的读取,从而获得进行表面干扰的有效位置。同理
为了将人与人之间的实体接触最大化,模拟对于如何决定广场入口的位置与入口个数进行了研究。
在建筑形态上将整个广场表面抬起至与人视线齐平的高度,只在入口处与地面接触。
 
 
 
 
 
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The project introduces a new plaza as a new city landscape, subtly and subversively changes the
city skyline, achieving the in-between spatial co-occupancy of monolithic plaza surface and
partially concealed but potentially radical dissonance spaces.
设计以内敛与内省的设计方式探讨了一种新广场的可能性,它通过微妙的变动具有颠覆性的改变了
城市景观与天际线,实现了单一政治性广场的表面与若隐若现的潜在噪声空间之间的和谐共存。
 
 
 
 
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——————————————–
 
 
 
 
 
谷德您好!
 
亲爱的谷德:
您好!您让我以一种放松的、富有感情的方式谈一谈我的历程,包括对设计的态度和对行业的看法
和对未来的展望,我实在写不出来。我所经历的是一系列充满了紧张对立和理性思考的碎片,“历
程”恐怕无从谈起。
关于设计的态度, 我可以从所有研究、实践的作品中即兴的绘声绘色的拼贴 “提炼”出一个态度,但
它只是那些批判性思考碎片的一部分,或许下一秒钟就会发生变化,没有既定的答案。回想起从清
华到普林斯顿再到创立零壹城市的经历,曾每每希望将设计的各个方面做的完美而无懈可击,却像
是一个充斥了各种和弦和玩弄技巧的不和谐乐谱。唯一逐渐清晰的是一种设计的极度自我约束:寥
寥几个简单的和弦就能创造出一段动听的乐曲才是美丽之所在。
关于行业的看法,我还站不到那个高度看清这缸水的清浊与深浅,所以我这一点我也谈不了,我能
看清的或许只是其中这缸水里的一些鱼儿。我记得以前养过一缸鱼,不过现在想起来对那些颜色浓
艳而美丽的鱼儿早就毫无印象了,唯一清晰记得的是那条黑色的吸盘鱼。它虽极度丑陋,但却也极
度有趣。
关于对未来的展望,我最大的愿望便是在几年后能回答上述的这些问题,呈现给您一篇精彩的个人
综述。
以上就是我为什么写不出这个这篇文章的原因,希望我仍旧表达了一种真挚的态度。
 
祝好!
阮昊
 
 
 
 
 
 
Hello gooood
 
Hello gooood,
I had problems of being relaxed and emotional in writing about my design attitude, perspective of
the architecture profession and outlooks to the future per your request. In fact, what I have
experienced are just fragments of intensity and rationality.
On my design attitude, I am able to spontaneously refine my attitude from the collage of my
previous designs throughout the years as a student and then an architect. However such an
attitude is part of the fragments subject to change probably every second, therefore renders
itself moot. Despite tremendous efforts to make each design impeccable in every aspect,
together as a composition it remains an inharmonious melody full of different chords and playing
skills. I start to realize the beauty of restraints, namely just a few simple chords will be enough.
On perspective of the profession, my level of knowledge is like merely seeing some fish in a water
tank without being aware of its clarity and depth. So I am not able to write it either. But speaking
about fish, I do remember breeding it as a child. Rather than recalling any of those beautiful and
bright-colored fish, the only one that I could clearly remember was the black sucker fish. It was
dreadfully ugly yet extremely interesting.
On the outlook to future, my biggest hope is to be able to answer the questions above and write
you a great piece of essay.
So this is why I can’t write this essay you requested, but I hope what I’ve explained communicates
my sincerity.
 
Very best,
Hao
 
 
 
 
 
 
 
 
MORE:
 
 
 
 
 
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发表评论

8 评论

  1. 没能打动我,而且,从一开始我就觉得设定的“噪声”出发点不是很合理。个人之见,也可能是才疏学浅,不代表大众。

  2. 又一个精彩的乌托邦式作品。展现了思考和表达的“高完成度”。看得出作者在整合碎片现实的过程中做出的努力。
    首先,从89年之后,年轻一代对广场所代表的极权文化极度失望,而OMA的加建方案被作者精确的定义为new-totalitarian,一并质疑,从而触发了设计的动机。我想这是一个建筑师应有的态度,即使种种叛逆和愤怒,仍然要不断的在现实中寻找业主,去表达自己的态度,不管这个业主是私人还是政府。我个人觉得这个作品对我的触动跟Carsick Cars那首《广场》一样。只不过一个是艺术家的表达,一个是建筑师的表达。同样振聋发聩。
    从功能的角度看,地方政府的广场很少有政治集会事件,更多的是市民自发集会或文化集会(灯会之类),所以将政治曲面 文化口袋的重组设置在深圳是有意义的。而将“市”引入广场,恢复了中国古代城市中“市”作为唯一活跃的开放公共空间。
    其实在中国承担政治集会的广场从真正意义上讲只有TAM广场,作品中作者用四个开口通向广场上层,似乎是对TAM广场周围铁栅局部开口的一个另类改写.从手法上看,作者悄悄的把广场拱起,变成曲面,通过透视法迷惑老总们,最终曲面最高点的民众的Z向标高凌驾于观礼台的老总之上,从subtly 变得subversively ,作者于此是否心中窃笑?

  3. 很棒!

  4. 思想 方法 表达 清华的果然牛逼

  5. 那个广场表面的畸形透视关系,暗合了拯救大兵瑞恩结局中的墓碑排列,很耐人寻味哈。

  6. 思想层面、方法层面、表达层面俱佳,学习!!!小小“噪音”和“大合唱”的关系被关注,且在“敏感”空间(市政广场)并置,“并置”带来的思索和震撼远大于种种建筑语言“对比”形成的感官刺激

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