先锋设计专辑 NO.6 —Yaohua Wang王耀华

Please refresh for images to load!!图多,没打开请刷新。Amsterdam Workplace, academic project VI 姗姗来迟的先锋专辑NO.6,来自隐藏城市作者王耀华。“我在学校的时候会专注的去学习。因为我觉得一个人从学校毕业后有充足的时间去自己做自己的事情,但是能跟老师学习的机会就那么几年…想自信就得先把伪装拿掉,

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姗姗来迟的先锋专辑NO.6<增补>
向玲
 
先锋专辑最初叫参数化专辑。一个朋友向我重磅推荐了王耀华的博客,于是便决定专
辑开篇由王耀华的文章(
1,2)启动。后来发现参数化并不是网站所热衷,相比之下,对
极具探索的先锋性精神更感兴趣,于是重整为先锋专辑。重整后的先锋专辑,首次由
我全程制作的便是第六期王耀华《隐藏城市》。记得编辑时,发现横版图放在网上看
不清,便请求发竖版图过来,王耀华于是把从未在媒体中发表的整套竖版图给了网站
。我本来对这个请求不报任何希望,因为这套图已用在他自己的书中,而书正在网络
上进行售卖。gooood正是依靠大家的无私帮助和付出才能有长期的持续更新。
王耀华的作品挺多也都挺有趣,2011年希望在NO.6《隐藏城市》后紧接着再发一期
增补。可惜因为增补中王耀华写的个人综述《婊子与牌坊》让我无法面对而叫停。
王耀华不计前嫌,在后来主动提出愿意制作一些有趣的东西分享给读者朋友们。他加
入了gooood。
当时他正在进行一系列个人项目,想借此专注的去关注和研究他自己感兴趣的形式。
记得他那时在洛杉矶上班的公司每天晚上规定的下班时间是晚九点。王耀华在见缝插
针中进行着这系列个人项目。两年后,他从洛杉矶搬到波士顿,在哈佛大学进行硕士
阶段学习,之前一系列的探索成果,在下面的展示项目:哈佛大学第一个学期课程中
得到体现。这些日子看着王耀华一步步成长和进步,再看他2013年新学期正在进行的
课程,现他开始尝试其他的,不同的东西。新的小模形体十分简练,和过往任何表
现都不同。未来不可预知和漫长。Stay hungry, stay foolish.  求知若饥,虚心若愚。
这个姗姗来迟的增补专辑晚了近两年,但内容比11年预定发表的更有趣。欣赏愉快! 
 
也欢迎朋友们将自己的作品或想法投递给gooood,或者推荐自己知道有趣的人。
开放,创新,改变世界。
 
 
 
 
 
 
 
 
Amsterdam Workplace, academic project VI
 
Architects: Yaohua Wang
Location: Amsterdam, The Netherlands
Area: 21,000 sqm
Critic: Ben Van Berkel, Imola Berczi
Year: 2013
 
 
 
Street view from south  南部街景透视
 
 
 
VFX is shortened for visual effects. VFX industry is in a stage of its middle-age. It is
younger than the mature and defined financial industries but older than the pimply and
adolescent .com startups. At the moment, the middle-age VFX industry, is facing
transitions.
 
 
VFX Market
 
Back to 10 years ago, almost 90% of the VFX studios were located in California. In the
2006, did the introduction of the UK financial incentives, which coincided with the
filming of the Harry Potter franchise, created “the perfect storm” – financial and culturally.
It created a nomadic dependency on government subsidies for the film industry
determined where the VFX companies were stationed. Currently, the VFX industry
became a wandering “Subsidy Nomad”. VFX companies were destabilized and moved
from country to country to chase after greater government subsidies. This instability was
at great cost for the companies, who suffered great moving costs because of the sunk
costs of infrastructure setup.
 
VFX Work Mode
The VFX work mode is also undergoing transformation. Traditionally, filming and VFX
post production were two separate process. VFX post production started after filming
was finished. But by then, most of the immediacy of performance was lost. The movie
Avatar introduced a new model, that James Cameron called Volume. Volume was an
system integrated VFX and filming. Large part of the special effects, such as the scene
production, had been completed before filming began. When filming, from the virtual
camera, the director could directly see the actors in the digital environment as their
digital characters. This greatly improved the effectiveness of the special effects.
Brought new dynamic for VFX industry’s work patterns and work space.
 
Core
In order to reduce the financial risk for the VFX companies to enter Amsterdam, this
design proposes an infrastructure for VFX industry.
The core of the building is a horizontally diverse and vertically contiguous office space.
Function is divided into three main groups: VFX Production Space, Film Production
Space and Knowledge Archive Space. The VFX Production Space contains the VFX
workspace, recess space and administration space. Film Production Space includes
large-scale film shooting space, office space. Knowledge Archive Space includes data
collection, model making, knowledge sharing. The spacial arrangement of these three
groups is basing on one dynamic diagram. In this diagram, by mobilize three circles, it
created rich composition conditions between themselves.
Thus, in terms of plans, each level has a unique spatial quality. For instance, The first
level is a dispersed spatial arrangement, three functional groups are relatively
independent; while the third level is a linear symmetric mode, which has a stronger
connection between the three functional blocks, which provides the possibility of closely
connection between the performances and post-production. At the same time, in the
section, between each layer has a continuous spatial progressive relationship, which
produces a vertical continuous experience. vertical and horizontal circulation is also
integrated in the core. For different types of staff in the building, this design provides
fast, medium and slow, three different types of vertical circulation systems.
 
Operation
As an infrastructure which designed for VFX industry, this design tries to provide
flexibility for different sizes VFX companies and their different operation modes. Small
or medium size VFX company can lease part of the building independently, at the
same time maintaining potential opportunities for cooperation with other companies.
Larger VFX company can lease three functional groups at the same time, to meet the
need for integration of the filming and post-production. At the same time, large-scale
multi-functional space can also be leased to cultural activities.
 
 
 
View from north east  东北部透视
 
 
 
VFX是视觉特效的简称. 可以说目前VFX产业正处在它的中年阶段,和传统产业相
比,它还年轻,和新兴的网络产业相比,它已经算是成熟。当下,中年阶段的VFX产
业,面临着一个转型期。
 
VFX Market
从市场模式上讲,VFX产业正在经历着由于不同国家之间的退税政策竞争所带来的冲
击。回到10年前,百分之九十的VFX产业集中在美国加州,当一个公司参与一个电影
项目时,这个公司会快速扩招,当电影项目结束后,公司就会收缩为之前的规模。这
种自由缩放性,就带来了VFX产业的群聚特点。VFX产业的退税政策竞争从2006年开
始,最先始于英国, 现在加拿大, 法国,新西兰等国也加入了竞争。英国在当时推出了将
近百分之50的退税回报,这意味着,如果一部电影的特效是在英国制作,英国政府将
会返回电影投资公司将近一半的投入。这样优厚的回报,导致的是电影投资方要求特
效一定要在某一个国家制作。VFX公司为了适应,被迫从加州搬离,或是在这些国家
开设分部。可是问题是,退税政策只把钱退给了电影的投资方,而VFX公司没有得到
任何额外的回报,还得在本来就微薄的利益里,抽出很大一部分钱用来开设分部,支
付员工的搬迁费用。这使得VFX公司得很小心的在经济薄冰上行走。
 
VFX Work Mode
VFX的工作模式同样正在经历转变。就整个电影的制作流程来讲,传统上,电影特效
和电影拍摄是分开的,当电脑特效开始制作时,表演已经完成,在这个时候,想要根
据特效的需要再去调整表演,已经是不可能了。电影Avatar向VFX产业介绍了一种新
的模式,这种模式被James Cameron称为Volume。Volume是一个整合了特效与拍摄
的系统。很大一部分特效,如场景制作,在电影开拍之前就已经完成。当电影拍摄的
时候,导演可以在虚拟摄影机里,直接看到演员在数字环境中以数字身份进行表演。
这样极大的提高了特效的时效性。也为VFX产业的工作模式和工作空间带来了新的变
化。
 
Core
在当下VFX的市场模式中, 为了减少VFX公司进入阿姆斯特丹时的投入和风险, 设计试
图提议一个为VFX产业而设计的基础设施节点. 同时这个节点应该做到能够回应VFX
产业目前所经历的工作模式的变化。
建筑的核心是一个平面多样并且垂直连续的办公空间. 功能被分成了三种主要的区块:
VFX Production Space, Film Production Space和Knowledge Archive Space. VFX
Production Space包含了特效公司的工作区域, 休息区域和管理区域. Film Production
Space 包含了大尺度的电影拍摄空间, 电影制作方的办公空间等. Knowledge Archive
Space 则包含了资料收集, 模型制作, 知识分享等功能. 这三种区块在空间中的排布产
生于一个动态的diagram,  在这个diagram中, 通过三个圆形连续性的移动, 在他们之间
产生了丰富的叠加与连接的关系.
这样, 在平面上, 空间在每一层上都有着独特的品质. 比如, 第一层是一种分散的空间排
布, 三个功能区块相对独立; 而第三层是一种线性且对称的模式, 在三种功能区块之间
有着更强的连接, 这就提供了把表演与后期制作连接的更紧密的可能. 与此同时, 在剖
面上, 每一层之间都有着连续的空间递进关系, 产生一种纵向的连续体验. 垂直和水平
交通也被整合在这个核心中. 面对建筑中不同种类的工作人员, 设计提供了快, 中, 慢三
种不同的垂直交通系统.
 
Operation
作为一个专门为VFX设计的基础设施, 设计希望满足VFX产业不同规模, 不同模式的工
作方式. 中小型的VFX公司可以单独租赁建筑内部的功能区块, 同时和建筑中其他公司
之间保持潜在的合作机会. 较大的VFX公司可以整体的租赁三种功能区块, 来满足将拍
摄和后期制作整合的需要. 同时, 建筑中大尺度的多功能空间也可以租赁给文化活动.
 
 
 
View from south west  西南部透视
 
Rooftop view from south east  东南部屋顶透视
 
Street view from south  南部街景透视
 
View from public entrance  公共入口
 

Detail view of north elevation  北立面近景
 

View towards staff entrance  工作人员入口
 
Outdoor mezzanine between Level 2 and Level 3  2层与3层间夹层
 
Interior view of level 3  3层内部透视
 
Outdoor mezzanine between Level 2 and Level 3  2层与3层间夹层
 
Interior view of level 1  1层内部透视
 
Outdoor view of ground level, towards public entrance  底部朝向公共入口透视
 
Outdoor mezzanine between Level 4 and Level 5  4层与5层间夹层

 
Look up towards one of the three main interior void  室内朝向竖向空间透视
 
View from Knowledge archive space down to VFX workspace.  知识档案层向VFX工作层透视
 
Panorama view of level 1 Knowledge archive space.  1层知识档案空间全景透视
 
Panorama view of level 3   3层全景透视
 
Panorama view of level 1  1层全景透视
 
Interior view of level 1  1层室内透视
 
History of VFX knowledge build up during last 100 years   过去100年VFX产业的知识积累  点击图片看大图 Click above for larger image
 
VFX market modes: outsource VS subsidy nomad  VFX市场模式: 外包与退税游牧  点击图片看大图 Click above for larger image
 
Pixar’s research papers and knowledge sharing platforms  PIxar的研究论文与分享平台
 
VFX work flows  VFX工作流程
 
Diagram of 3 main vertical structure groups  3个主要竖向结构组图表
 
Diagram of 3 main vertical structure groups (looking up)  3个主要竖向结构组图表
 
Diagram of level 3 — the symmetrical condition  3层–对称情况图表
 
 

Diagram of level 3 — the symmetrical condition  3层–对称情况图表
 
Level 1, level 5 and vertical structure groups in between them  1层,5层和它们之间的竖向结构图表
 

Diagram of level 2 — the mezzanine workspace  2层, 夹层空间图表
 
Core of the building  建筑核心图表
 
Fast, medium and slow three different types of circulations  快,中,慢三种流线模式图表
Generation of the core  核心生成图表
 
Studies about the essential diagram, which generated the core  核心生成图表研究
 
3 different ways of renting space in the building  3种使用/租赁空间的方式
Independent rent  个体租赁
Group rent  集体租赁
Event rent  活动租赁
 
 
Long section cut 1 剖面

 
Long section cut 1 剖面
 
Long section cut 2 剖面
 
Long section cut 2 剖面
 
Cross section cut 1 截面
Cross section cut 2 截面
 
 
 
 
1
The series works after Latent City, such as Beijing House, Amsterdam Bridge,
seems influenced by industrial design. What’s your idea about their form?
How do you see the difference between architecture design and industrial
design?
 
The Latent City's focus is not the form, so during the two years after Latent City, I want
to focus my attention to my desire of form, such as Amsterdam Bridge. Looking back,
those two years for me is very important two years, during that time I built up some
personal formal style, and this style became an open framework for myself, and it has
the ability of sucking more ideas beside form into it. About the difference between
industrial design and architectural design, I think, industrial design has a very direct
relationship between it and user, good or bad, beautiful or not beautiful; architectural
design has its own autonomy in front of it’s user, it’s more complex.
 
隐藏城市之后的一系列作品北京房子太原剧院阿姆斯特丹桥等都从工业设计
形式和机械形式吸取了众多灵感。你认为建筑应该像他们那样具有功能主义,还
是你没那么在意功能,只让自己感兴趣的形式自由驰骋?你如何看待建筑设计和
工业设计之间的界限?

 
Latent City的关注点不在形式,于是在Latent City之后工作的两年中,有一种想要
关注形式的欲望。所以我比较刻意的在阿姆斯特丹桥等项目里,专心的去搞形式,
把自己对形式上所感兴趣的一些想法,比较集中的表达了出来。现在回到学校后,回
过头来看,那两年对我来说是很重要的两年,在期间逐步构建的一些形式风格,给我
自己构筑了一个开放的形式构架,允许我现在把更多形式之外的东西吸收进去。当然
这个构架本身也还在继续发展。关于工业设计和建筑设计的区别,我觉得,工业设计
和使用者的关系很直接,好用不好用,漂亮不漂亮;而建筑设计在使用者面前有自己
学科的自主性,更加复杂,不单纯的以使用者的喜好作为衡量的标准。
 
 
 
 
2
From SCIArc to GSD, from west coast to east coast, how do you compare
them? Will you open to teacher when you are studying in the studio?
 
When I’m in school, I will focus on learning. Because I think a person after graduating
from school has plenty of time to do his own thing, but the opportunity to study with
teacher is only for a few years. Perhaps I am quite traditional, and more emphasis on
teacher-student friendship. I feel lucky, I have learned something very important from
every teacher, sometime is idea, sometime is style, and sometime is attitude towards
things. SCI Arc and GSD are very different, SCI Arc concerns about the architecture’s
internal problems, GSD spends a lot of time tries to outreach to other problems.
 
从SCI-ARC到GSD,从美国西部到美国东部,你在这两个地方感受到的教育和氛
围不同的地方在哪里,对你有哪些影响?你在课程中会开放接受老师个人的强烈
风格吗,在随后又如何摆脱?
 
我在学校的时候会专注的去学习。因为我觉得一个人从学校毕业后有充足的时间去自
己做自己的事情,但是能跟老师学习的机会就那么几年。而且学习时和老师的关系,
与工作时和老板的关系也是不一样的。也许我这个人还是比较传统,比较重视师生情
谊。我觉得幸运的是,从每个老师身上我都学到了些对我很重要的东西,有些是思
想,有些是风格,有些是对待事情的态度。SCIArc和GSD是非常不一样,SCIArc关注
建筑学内部的问题,GSD有很大一部分在关注建筑学周边的问题。
 
 
 
 
3
How do you see the relationship between sketch, physical model, digital
model, and rendering? Which part do you spend most of your time?
What’s your workflow? How many time you spend on studio work
everyday?
 
I will do sketch and then build digital model. Almost never do physical model. I don’t
know exactly why… of course when I was in undergrad school, I did a lot of physical
model. I think that’s the way how you suppose to learn. But, now it’s a habit for me to
use digital tools. Maybe that will change. When I am in school, I will spend every little bit
time I have onto Studio work.
 
你如何看待草图,实物模型,虚拟模型(含节点),效果渲染,实际建成效果之
间的关系和重要性区别。你设计的时候在哪一部分花费的时间最多。为什么?你
平常的设计方法和流程是怎样的?你平均每天在课程中花费的时间是多少?
 
我现在就是画草图,然后就做电脑模型,几乎不会在方案阶段做实体模型。也说不清
是为什么,当然在本科的时候,推敲方案的时候也做了很多实体模型,我觉得学习还
得那么来,不过现在直接从草图到电脑已经成了习惯,不过这个习惯以后也说不定会
改变。上学的时候,只要有时间就全花在Studio上了,我是一个比较偏科的人。
 
 
 
 
4
China has great opportunities for architects, but the future breakthrough
can not separate with now and history, how do you see the questions of
“Cultural self-examination” and "Cultural self-confidence" ?
 
I think in China, politic is far more interesting than architecture. Architecture became
something extra. I think the real breakthrough of Chinese architecture has to happen
after the breakthrough of Chinese politic. One day, when the politic is too boring in
China, then architecture can do something important. Under the current condition of
China, architecture created more problems than it solved. if you want to use
architecture to solve problem, maybe it’s better to have more great engineers than
more great architects.
In terms of cultural self-confidence, I’m afraid that’s too big a question for me to answer
here. I can only speak a little bit about architects. There are too many architects use
“tradition” as safe haven, and use “public” as cover for private interests. In order to be
confident, you have to take off your mask first.
 
西方文化是如今很强势的一极,但建筑和城市的发展若要有巨大的突破,机会极
可能或只有可能在中国。未来的突破不能脱离中国现在的现实和过去。你如何
看待这种背景下的“文化自审”和“文化自信”?
 
我觉得我国的政治太有意思,相比之下建筑就显得有点像是雪上加霜或是锦上添花。
可是问题是这个雪还正在下,锦也还在织,所以加点霜或是添个花其实真的无太多所
谓。这是一个很尴尬的处境。中国建筑发展的真正突破,还得是在其它问题突破之后
的事。有一天,政治太无聊,太稳定了,建筑就可以突破了。当下我国的环境,建筑
制造的问题比解决的问题多, 不过或许建筑本来就是制造问题的。如果想要用建筑来
解决问题,也许我们需要的是更多有作为的工程师,而不是更多有作为的建筑师。
文化自信是个太大的题目, 我怕我说不清楚, 只能说说建筑自信。我朝有太多的建筑师
一是打着救世济民的幌子做普渡自己的事,二是带着祖宗有灵的帽子穿着以夷制夷的
衣服。所以想自信就得先把伪装拿掉,承认自己能干什么,不能干什么,想干什么,
不想干什么。
 
 
 
 
5
What would you say about yourself? Your own advantages and disadvantages?
 
I think I'm not mature, and my interests are narrow. These are both good and bad.
 
你如何评价自己?觉得自己的优点和缺点分别什么?
 
我觉得我自己不老练,关注的问题范围比较集中, 这些同时是缺点也是优点。
 
 
 
 
 
 
.


发表评论

20 评论

  1. 为什么在国外上的本科 中文表达能力还是这么好!

  2. 他的了哈佛的毕业设计大奖

  3. 好吧,看来你把老师说的话可以杀死了,现在做建筑就得去创造,没有创新[开心]

  4. 感觉没有以前好了

  5. 给学霸跪了!求认识求勾搭,我也要上GSD![大哭]

  6. 机械版的mumuth~

  7. 佩服啊!膜拜ing。。。。佩服ing。。。

  8. 思考深度望尘莫及

  9. 后面的问答环节不错~~~~第三个问题,一口气问好多啊~~哈哈,

  10. 撇下建筑师先不说,但从学生阶段来说,除了Foral,没有谁的作品让我感到折服的,现在仔细看看,不仅仅是建筑本身包含着整体和细部的整合,也不仅仅是作品的细致,更重要的是他的态度,以真实、承认发生在你周围的一切而开始,没有轻易评论判断别人的好和坏,我认为正是这些点点滴滴的态度,才决定了现在能有这么成熟的作品,如果现在再谈起Yaohua,我会说,他的想法与态度更值得我去学习(当然作品依然让我感到折服)!

  11. 终于看到完整版了~~~~感谢foral的分享~!!顶一下

  12. 这就是未来啊~~好炫目

  13. 炫的我五体投地了······给跪了行么 大神一只啊····

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