在海外专辑第六十四期 – 胡一之

第六十四期为您奉上的是毕业于南加州大学的胡一之。

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海外存知己,天涯若比邻。
在海外专辑分享海外华人的故事。希望这份分享可以让世界更加海阔天空。
第六十四期为您奉上的是毕业于南加州大学的胡一之。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.64 episode is about Yizhi Hu who graduated from USC.

 

为什么出国?
Why going abroad?

可能我的学校不具有很强代表性。个人感觉就是在国内读建筑可以讨论的问题被禁锢的太厉害,仿佛有过多的敏感词,能摆到台面上来说的只能是被主流价值观接受的,任何一切奇怪的想法都会被视作异端。国外教建筑比较好的一方面就是接受各种看问题的方法,而且不急于求成。

In a fairly personal opinion, Chinese Architectural pedagogy is problematic regarding the issues we can discuss. We were somehow restricted to certain conventional rules which sometimes restrain your enthusiasm to go deeper. Western pedagogy, however, holds you back, which allows you explore more iterations during design.

 

在国外遇到了什么让你印象最深刻的事情?
What impressed you the most when you are abroad?

研究生毕设答辩,我在结尾花了不少篇幅粉饰了一个由于近年意大利经济萧条为背景,试图兴建大型公建来缓和就业并创收财政的故事。评委Michael Bell饶有兴致地对我说,你并不需要向我们证明一些东西,你整个基础研究和动画已经很说明问题了,我们回到之前问题的讨论。我意识到建筑学科可讨论的问题太多太泛,与其面面俱到不如将一个概念展开极致。

During the graduate thesis review, I spent some time on outlining a story behind the scene, trying to persuade jurors the impulsion of this project is plausible. Jury Michael Bell’s words made me realize I do not necessarily need to seeking meanings outside the architectural domain. It is better to be excel on developing your concepts rather than explaining everything.

 

最想念祖国的什么?
What do you miss the most about China?

父母家人朋友,发小,家里的狗。

Family, friends, my dog.

 

你会回国吗?为什么?
Will you come back China? Why?

将来会。不管从文化还是观念我都属于中国式,目前待在美国一是积攒经验二是还有好多没去的地方。美国人生活挺老派的,还是国内比较四个现代化。

In the future, I will. I feel more comfortable with Chinese culture. I temporarily stay here for experiences and places untraveled. American is old-school and pretty static.

 

出国后在不同的背景下再看中国是否看得更清晰,有哪些感触?
Is it more distinct to view China in a different environment after going abroad? Any thought?

出国后最大的感受就是祖国万般好,对比之后发现对国内的偏见太不客观。

I feel like many prejudices and critics to China can be biased.

 

你的学校有哪些教育特点?
What makes the curriculum of your school different from other architecture schools?

南加州大学对于结构和建构方面非常重视,同时尝试吸纳年轻先锋的建筑师来为学校注入活力。上学期我的前老板马岩松成了我的指导老师,在这样一个关注技术的学校也能产生非常天马行空的概念探讨。设计课少有限制,限制的减少意味着难度的增加,学生需要自己发掘隐含的规则。学院也会有打破陈旧的大胆尝试。系主任Wes Jones主张通过一个完整的调研来支撑每个人的毕业设计,今年是作此尝试的第一届,对于我们学生来说找到其间的平衡点尤为关键。

USC takes structure and tectonic seriously. In the meantime, it absorbs radical architects to enlighten students. Last semester Ma Yansong taught in our school, and it was a great experience involving a lot of conceptual conversations, pushed the limitation way further. The school is innovative; the agenda of using a directed research to support thesis is first tried this year. Faculty Chair Wes Jones assumes this new set of pedagogies would help us gain more knowledge and be more productive. As a student, finding a way to fit into the niche is critical.

 

你现在工作公司的特色和有趣的地方(如果没有就省略过)?
What are the characteristics and interesting points of your firm?

刚毕业就急急忙忙从加州穿过整个美国搬到纽约工作有诸多个人原因,由于我才刚入职没多久,评价难免有一些片面。CetraRuddy是一家纽约本土公司,项目主要是纽约的一些高层,虽然不是特别先锋但是质量都非常不错。让我喜欢的是作为100+人的商业公司,他们的阶级制度相对平坦,并给予新人充分的信任。我现在跟进一个多伦多的高层住宅的设计,老板及合伙人对每个员工意见的听取和设计权的下放是我觉得他们做大的原因。今年是公司成立第30个年头,下半年公司迁址之际有可能会扩张。

CetraRuddy is an international award-winning architecture, planning and interior design firm founded in 1987 by Principals John Cetra, FAIA and Nancy J. Ruddy driven by a commitment to design excellence and creating memorable place making. Our team is made up by over 100 passionate and talented professionals who share the same vision and commitment to the architecture and interior design of integrity.

 

最喜欢的艺术家(绘画音乐电影等广泛范围)是谁?给你创作带来了什么影响?
Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?

最喜欢chris ware和维斯安德森。理由很粗浅,我没有读过他们的理论,只是喜欢他们的画风。

I like Chris Ware and Wes Anderson, not from a theoretical point of view, just for their way of expressions.

 

觉得自己的作品集有哪些迷人的特质?
What fascinates viewers the most in your portfolio in your opinion?

我喜欢小尺度的设计,我小时候住在那种瓦片房的大院子里,和四合院不同的是它有着在如今建筑设计眼光看起来非常不合理的布局和流线,复杂琐碎且生活化。那种生活对我影响很大。我从来不憧憬设计摩天楼,我的理想是设计点小房子。

I like small – scaled projects. My childhood experience makes me easily get obsessed with trifles and convoluted circulations. I am dreaming of designing a small building, for instance, a kindergarten.

 

什么时候开始看谷德网的?有什么建议提供给我们吗?
When did you start to follow gooood? Any suggestions?

2013年的时候,那时候决定准备申请出国,谷德网给了我很多灵感和动力。我当时一直希望自己有机会上We Work For MAD专辑,不料时隔两年竟有幸在在海外专辑受访。衷心希望谷德网越办越好,越来越国际化。

From 2013, when I planned to pursue a study overseas. Gooood is an inspiring source, and more importantly, it encourages young people to become whom they have never imagined. I sincerely hope gooood will get greater and more international.

 

 

W O R K

 

1.

Santa Maria Del Fiore Observatory

南加州大学建筑系 研究生毕业设计奖
Graduate Thesis Prize 2017, USC School of Architecture
被next top architects转载
Date: May, 2017
Instructor: Wang Yaohua

在USC的毕业设计,侧重点在于找寻建筑背后未被实体化的维度,不单从形式上,更主要的是对堆叠投影法的研究,以及其具象化之后和主体联姻的假设。

Graduate thesis finished while I was at USC was meant to search the unforeseen projective rule sets behind the existing entities. By studying accumulative dimension, an actualized proposal of the abstract artifact will be revealed.

   

入手方法很平淡,查阅文献和总结历史。根据时间线罗列整个建造过程中的重要事件,从许许多多事件中便能理解现象的成因并感慨古人的智慧。一个没有造过房子的金匠,用砖建造了全世界最令人叹为观止的穹顶,Brunelleschi代表了当时佛罗伦庭人无所不能的自信。前人倾其一生筑此壮举,我觉得我有义务好好地将整个故事记录下来,用更大众的表现方法。

The starting point is plain, by massively study existing documentaries and historical record, a timeline was emerged to connect all the dots through history. A goldsmith with little architectural experience intended to achieve the world’s greatest dome at a time when the technology would not permit it. Brunelleschi represents Florentine’s ego of invincibility. Graphic novel is the strategy I used to illustrate the construction process to individuals who feel bored with reading literature.

堆叠投影法规则 PRINCIPAL RULES of ACCUMULATIVE DIMENSION

1. 两个一维物体不能平行,必须存在夹角才能交织成域。
2. 接收器(传感器)的形状可以决定二维成像的形状,并可以赋予第三个维度。
3. 二维成像结果的两端存在形变,是由距离差产生的结果。
4. 通过定义视线的传输距离可以反过来定义接收器的形状。

1. The 1-D object must not parallel to the seam-like aperture; They together weave the 2-d image with dimension belong to themselves.
2. The shape of receiver(Sensor) defines the distortion of the established image.
3. The perimeter of projection will deform once the distortion happens due to the end points of the seam-like aperture allows different angles of rays to cross through.
4. The distances that rays have traveled described the geometry of receiver.

堆叠投影法(Accumulative dimension)是我造的一个词,特指建造佛罗伦萨百花教堂时用绳索来定位高度的方法。将其抽象后,就能发现这其实是对单一维度进行一系列小孔成像的行为,其连续轨迹为一条垂直于世界平面的线。这套投影法在这个项目中影响到整个找形的过程和展廊的视线设计。

当我们看传统相机的原理,是将二维的域通过0维(点)的界面,形成二维的像;然而当我们叠加两个不平行的一维事物,便能将一维的域通过一个一维的界面(一系列的孔),动态地产生一个二维的域。也就是说,当你沿着墙移动,你将有机会看到两片墙后的每一个角落。这个机制正是构架内表皮上有纵横不同的开口的意义。

ACCUMULATIVE DIMENSION refers two intersecting one-dimensional openings would allow the light of a 2-d region to cross through. For example, by setting two seam-like apertures in front of an image, even if people standing behind two walls they are still able to view the entire field of the image by moving along with the aperture.

壁画分析 Fresco Analysis

尽管我们研究的照片样本存在透视,可我们依旧可以通过连接结构点(脚手架固定孔)和八边形的对角线还原出真实的蛛网格。而通过研究壁画的排布方法可以看出壁画的分布韵律并非严格按照垂直向的高度分布,而是遵循某种叙事性的隐含条件而展开的,当我们用三维模型还原这个差异的时候它看起来更加明显。这就对展廊的流线分布形成了限制。

By connecting structural joints and geometrical crease lines, a structural grid has been defined. However, the narrative sequence of the fresco was not perfectly aligned with the structural grid; it distributed rather emotionally and intuitively. This misalignment looks much intenser when we look at the cupola three dimensionally. This discrepancy introduced a set of constraints for circulation design.

 

   

   

   

 

2.

Wrigley Marine Institute of Biology

优秀学生作业奖(评委:汤姆梅恩,维斯琼斯)
Highest Academic Achievement Project (Thom Mayne, Wes Jones)
Date: December, 2015

建筑画的表现不仅仅是作为建筑叙事性的表达,更多的是在于帮助建筑叙事的展开,这是一个蛋生鸡的问题。信息的缺失会使故事展开陷入窘境,所以使整个事件充盈需要用更微观的角度介入其中。我对国内必须画立面这件事一直耿耿于怀,习俗convention 这个东西终究是要被打破的。这是个码农拯救世界的时代,二三十年后一个任何没有建筑学背景的人都可以用全息投影之类的科技来设计。我们有义务用更直观的表达方式让受众阅读。

Axonometric drawings are not only can tell the story efficiently but also help develop narrative architecture. The parent object is hard to determine. Lacking in information would impede the unfolding process of storytelling, so gaining a more sensitive perspective is crucial in such cases. I was wondering why elevation drawing is mandatory. Although I do respect drawing conventions, sometimes those traditions need to be eventually updated. In the next 20 to 30 years, the hologram would permit non-architectural background people to design buildings as they wish. We need a more literal way to convey our design intentions.

项目位于洛杉矶附近的catalina岛上,需要对该岛上现有的海洋生物研究所进行扩建,项目少有限制,可以自选用地。作为加州最好的浮潜圣地之一,这里却缺乏最基本的临水基础设施,亲水平台也缺少无障碍设计,苦不堪言。回到studio我没有将比较利于建房子的老研究所周边作为我的方案选址,而是直接将目标定在水边,与山坡接壤,和现有的码头停机坪相切,背对着存放潜水和划桨器材的仓库。

Catalina, one of the most famous kayaks and snorkel sites in California. We have little constrained on this design, but after scrutinizing the site there is imperative issue indeed. The Wrigley Institute of marine biology is going to build another scientific center for biological research and visitor admission. The concept of this project is based on three aspect of water, which is the most valuable asset in this site. These three treatments of water are about to be observed, absorb and interact with the water.

方案的地面部分下沉了2/3,避免对水平向的视线造成遮挡,同时半入水式的下层体量将拥有同时看到两种介质的视野。出于私密性和动静分区的考虑, 研究室全部位于上层体量,这时中间夹层的部分就形成了一个公共空间,我更喜欢称之为缓冲层(Cushion Layer),它不仅仅是为了削减建筑的体量感,更重要的是这个缓冲层是作为加强水域可达性的存在,这一点是从柯布的Carpenter Center得到的启发。整个缓冲层的开放直接取缔了原有的水域入口,形成一个新的内敛的小港口,同时方便研究人员下水采样以及浅海实验。

From the building form, it creates a cave-like space to let people experience different space before they enter the water. Moreover, the openness through the ‘cave‘ would provide a spectacular view for kayakers or snorkelers. The louver on the top of the building would absorb water whilst introduce the skylight into labs, since the HVAC system is all hidden in the layer between the ‘cave’ and the second floor. The artificial dock creates another pier to replace the existing slippery slope which is extremely dangerous when people walk with their bare feet. The U-shape would form a hub for boats to transit ocean samples directly to the labs, and the huge pipe would pump sea waters to the labs for research use.

 

 

3.

Tech School

Date: April, 2016

形式的讨论通常可以归结为两个方面,一为正常事物之缺失,二为异常事物之出现。抛开意向,感性和限制等诸多因素,设计方法可以极度粗暴地归纳为如何找到对比,不论是从语言亦或是想法。该案设计时大量精力放在了结构选型和体系上,折线的出现于严格的正交线产生对话,相似语言的共生和微妙的差别共同衍生大量“模糊空间”,所塑造的不确定性也就成了建筑本身的性格特征。

Our conversation regarding form can be attributed to two aspects: the absent of exists, or the emerging abnormal. Finding contrast stands as the fundamental rule among design methodologies, is usually helpful for us to determine geometrical language and morphology. Oblique elements and orthogonal volumes together weave the interlacing spaces with uncertainties, which allows more ambiguous spaces to sculpt the character of the building.

从组织关系看,它和之前的设计有极多相通之处。不同于传统的平面堆砌(Stacking Program),二层和三层的体量完全脱离,中间再一次形成了和前一个项目类似的缓冲层(Cushion Layer)。不同于前一个方案是为了流线可达性,这里的缓冲层从另一个角度看可以作为中庭部分的延伸横向延伸的极限状态,穿透了整个建筑。不仅作为增加采光的要素,更主要的是 形成遮蔽的开敞,模糊了二层流线的室内外边界。

A Certain level of consistency can be detected from each of these design. Not same as the traditional strategy of stacking program, isolation has been introduced between upper and lower floors. I would rather call it cushion layer. Instead of creating tunnels, the void part, in this case, is the extension of the atrium, penetrating the entire building which makes it light-permeable. As it creates outdoor spaces, it blurs aroma at the perimeter of different materiality.

在海外时间:2015年至今
在海外地点:洛杉矶,纽约
姓名:胡一之
籍贯:浙江温州
学校or工作单位:南加州大学 USC,MAD Architects,Preliminary Research Office,CetraRuddy
联系方式:yizhihu@usc.edu

When: 2015 to present
Where: Los Angeles, New York
Who: Hu Yizhi
From: Zhejiang, Wenzhou
School/Firms: USC, MAD Architects, Preliminary Research Office, CetraRuddy
Contact: yizhihu@usc.edu



发表评论

4 评论

  1. 对空间很敏感

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  3. Profile Photo

    太厉害了都看晕了。。

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    待我细细研究。。。

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