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第六十二期为您送上的是结业于南加州修建学院,在HMDG Inc事情的杨晓楠。
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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。
第六十二期为您奉上的是南加州建筑学院,在 HMDG Inc 工作的杨晓楠。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.62 episode is about Xiaonan Yang, who graduated from SCI-Arc and working in HMDG Inc.

 

为什么出国?
Why go abroad?

好奇美国建筑学校到底试图在做什么,不想一直隔着那么远自己瞎猜。

Trying to figure out what topic are those architecture schools in US focusing on. I don’t want to keep guessing.

 

在国外遇到了什么让你印象最深刻的事情?
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出国之前以为像我这样考英语做专业学习的学生是年轻出国人群的主体,结果发现和自己情况类似的只占少数。

I thought students with similar situation as me are the majority among young Chinese people who go abroad. I found out this is not true after I really getting to know them in Los Angeles.

 

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

亲人 朋友 北京

Parent, friends, Beijing.

 

你会回国吗?为什么?
Will you come back? Why?

会,但还不清楚时机。国内环境还是允许做更多更大胆的尝试,不成熟往往意味着机遇。

Yes but I still not sure about the best timing. There are more possibilities in making innovations in China. Immature environment brings opportunity.

 

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?

不清晰。人在哪儿对哪儿更清晰吧还是。但是不身处其中反而更能体会祖国全方面愈发明显的崛起。

No. People know more about the surrounding circumstance. However the progress that China achieved is becoming more and more impossible to ignore.

 

你的学校有哪些教育特点?
What are the educational characteristics of your school?

我认为学校在探索什么是未来建筑形式发展的可能方向。每个老师都有各自截然不同的形式语言和逻辑。老师和学生一块儿摸着石头过河而不是说教式的,所以出结果的时候往往有意想不到的惊喜。

In my observation that SCI-Arc is focusing on explore new form for next generation of architecture. Each Faculty has their own form language. Since the relationship between teacher and student is more like researching together but not preach, so the final presentation always even better than original expectation.

 

你现在工作公司的特色和有趣的地方?
What are the characteristics and interesting points of your firm?

现在我主要在负责一个山地上的私人住宅项目,学到比较多的就是在实际项目中对大量细节的把控和推敲。学生时期作业的细致程度是到达不了这个层面的。

I am working on a single family house locating in Beverly Hills. The strict controlling and rigorous consideration on small details make me learn a lot. This kind of deep degree of thinking is rarely to see in student project.

 

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?

汽车设计领域,日本动画,科幻电影。我没有刻意关注某个个人。符合我审美的作品都会潜移默化的为我提供养分。

Automotive design,Japanese cartoon,science fiction movie. I don’t admire single person. All the stuff that tally with my own aesthetic can transfer to nutrition for my design.

 

觉得自己的作品集有哪些迷人的特质?
What amazing character do your works have?

始终试图保持在控制中的混乱度和复杂度吧。

Trying to obtain chaos and complexity that produced by sophisticated control.

 

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?

我应该算是最早的一批观众吧。从一开始就在关注,后来变成习惯。可能的话尝试一些介绍国内外院校的内容应该会对学生们挺有帮助。

I know gooood from the establishment. Now it already becomes my habit every day. It would be helpful if you can introduce some of the top architecture schools in China and all over the world.

 

 

W O R K

 

1.

有进深的二维 | 2D Depth

取决于观察同一事物时所处的角度,获得的结果往往不尽相同。物体可以从悬浮的光滑完美扁平面转变弯曲为与之连续的充满光与影的曲面,这让认知在这一过程中始终处于摇摆不定的状态,介于二维和三维,阴影和光线,压缩和延展,确信和不确信之间。建筑学作为一个学科专业,在二维环境下投影作图并将之用于表述三维世界里的空间关系以及找到构建的方法从一开始就一直是建筑师最核心的工作范畴。其中的重中之重便是借由二维图纸建立三维空间或将三维空间重新表达在二维界面上这些过程所需要的转译行为。这种转译行为在建筑设计过程中会带来大量的信息缺位,从而带来结果上的模糊解释和自相矛盾的误读。正是这种“错误”作为驱动力不断推动项目设计向前发展。

Depending on the position of observing object, the result could be different. Object shift from a hovering perfect flat plane to a bent and curved continuous surface of light and shadow which allowing the brain to exist in blurred states…between 2 and 3 dimensions, between darkness and light, between compression and expansion, between knowing and not knowing. As the beginning of architecture as a profession, making drawing in two dimension to expressing spatial relationship in three dimension world and finding ways of construction is the crucial job of architect. It is the most important process that how does the translation happen from the 2d drawing to the 3d space or reverse. Especially during the process of design the huge amount of information missing brings the consequence of vague explanation and self-misreading. These mistakes are the impact that pushes the design forward.

有进深的二维是对内容在二维三维间转换时暧昧状态的一种描述。线条能同时处于多样的形式下,在几何上可以同时既是沟痕,缝隙又或者是折叠。而多重的操作界面也会参与到转译过程中。因为有不止一种解释是合理的,所以在同一观察点很难判断出正确的情况,或者说所有答案都是同时正确且错误的。随着所处位置的变化,观察到的形式不断地变化从而将时间这一维度带入到了项目中。有进深的二维使我们了解到观察固有的限制以及带来的多余信息。于是,界面消失又出现。形式时而被隐藏,时而被揭露。

2D Depth is a description of the dubious condition of contents translating between 2d and 3d. Lines stay in diverse forms simultaneously. It bears a unique topography of striating lines, gaps and folded operating on planes. In addition the multiple position of drawing plane would participate into the translation course as well. From the same point of view, since there are too many explanations which are tenable so that it is hard to tell the correct condition, in other hand, all answers are both right and wrong. Along with the change of position, the form varies continuously which brings the time dimension into the object. 2D Depth allows us to see the eyes’ inherent limitations as well as the excess of what they produce on their own. Faces disappear and again reappear. Forms are hidden and revealed.

▼左:不同层平面 / 右:生成过程图解。Left: Different Level Plans / Right: Generating Progress Diagram

   

▼鸟瞰效果图,Site Render

▼带基地模型,Physical Model with Site

本设计试图在West Smithfield市场区域为伦敦博物馆建立新的展览空间。由于周围现存建筑有着重要的历史纪念意义并给当地人留下无数回忆,所以设计概念的重点在于新建的同时保留原有建筑的空间逻辑。本项目利用原有建筑的平立剖面作为二维的起点,从这些高识别性的二维元素生成新的三维空间关系。而后将老建筑的图像信息按透视角度重新投影到上述提到的新三维物体上,在新建筑中生成了似曾相识但变形了的细节。这些被投影上去的二维信息又可以在更深的层面产生进一步的变化。观众在游览博物馆时记忆总在被唤醒。他们无法分辨哪些部分是新的因为一切看起来都如回忆闪现。游览者不得不一直转换他们的观察角度才能确认自己那一直与过去记忆冲突的当下观察。最终,新博物馆本身成为承载丰富历史的最有价值的展品。

This design is trying to bring a new exhibition area in West Smithfield Market for Museum of London. Since the context is full of historical meaning and already left deep memories, the most important concept of this new addition building is to establish new exhibition space and to keep the spatial logic of the original building at the same time. The project takes the existing building’s plan, elevation and section as the 2D start. Using these noticeable 2D elements the new 3D space relationship is built. Then the image information from perspective view of existing building is projected on to this new 3D object to create vaguely familiar details variation on the new building. This projected 2D then can generate even more in next level. By doing this when audience experiencing this new museum their memories would always be recalled. It is hard for them to tell which part of the museum is new because everything thing seems to be like a Déjà vu. Audience need to keep changing their position to confirm their observation that fights with memory. The museum itself becomes the most valuable exhibit that carrying the extremely varied history.

▼从伦敦传统建筑氛围中获得灵感,Inspiration From the Atmosphere of London Studying Traditional London Building

   

   

   

▼尺度转译图解,Dimensional Translation Diagram

▼渲染和模型,Render and Model

   

   

   

▼平面图,Plan

▼剖面图,Section Render

▼分解轴测图,Axon Exploding Diagram

▼细部轴测图,Close-up Detail Axon Render

 

 

2.
压缩失真塔楼 | Datamoshing Towe

什么是未来摩天大楼的设计策略?大厦再也不应该孤立于其所处的城市环境。无意义的图腾崇拜式的塔楼不过是一个卡在环境中巨大的障碍物或者低效的拥塞。我试图为墨西哥城探索一种新的摩天大楼的设计方式。基地位于墨西哥城核心历史保护区域并毗邻拉丁美洲塔。本项目利用压缩失真原理收集周围建筑的空间信息从而生成新大楼的内部空间,结构以及表皮。压缩失真是一种由于损坏压缩导致的对媒体对象明显的变形失真现象。我将大楼定义在两个互相垂直的主要方向上进行设计。一个方向面朝紧邻的拉丁美洲塔。另一个则是冲向旁边低矮的传统古建筑以及其间散落的羊肠小道。前者为新大楼提供了含有模仿拉丁美洲塔玻璃幕墙开窗状态信息的图像。后者则将城市情形像一幅被旋转为垂直方向的微缩地图一样投影并覆盖到新建筑的另一侧上。这些来自两个方向的图像信息被从外面挤入到建筑体量内部,并在其中形成了复杂的相互作用,最终在递进的层面中形成了内部空间,结构和外部表皮。原本扁平的图像被撕扯拉伸成有体量的形状。在这一过程中,新摩天大楼通过“错误的”将城市图像在三维空间下变形获得了周围环境的特征并将之转化为自己独特的形式。最终,压缩失真大楼与周围建立了有力的联系并与城市紧密呼应。

▼设计过程图解,Design Process

   

   

   

▼效果图,Render

What is the appropriate strategy for future skyscraper design? Skyscraper should no longer be isolated from its surrounding city environment. Meaningless totem type of tower is just a huge barrier or inefficient congestion that sticks in context. I try to explore new way to design skyscraper for Mexico City. The site located in historical area which right beside the existing Latino Americana Tower. By utilizing datamoshing theory this project gathers spatial information from surrounding buildings to generate the inner space, structure system and envelope for the new skyscraper. Datamoshing which also known as compression artifact is a noticeable distortion of media caused by the application of lossy compression. I define the skyscraper with two major perpendicular directions. One is facing the adjacent Latino Americana Tower. Another direction is towards low height traditional buildings and narrow path. In the first orientation the new tower obtain image information which is imitating the window condition of the glass curtain wall of Latino Americana Tower. On the other hand, urban circumstance is projected on another side of the building which almost like a miniature map that turned to vertical overlapping on the envelope. This image messages from two directions extrude into the volume from outside and form sophisticated interaction inside the tower which shaped the interior space, structure and envelope in progressive layers. Flat images are stretched into volumetric shapes. In this progress, the new skyscraper obtains the context characteristic and transfers it into its own form and space by mistakenly create variations of city images in 3D environment. As consequence, the Datamoshing Tower achieves strong connection with the context and cooperates with the city in a compact way.

▼结构系统图解,Structrural System Diagram

▼平面图,Plans

▼立面图,Sections

▼剖面图,Section

▼细部剖面,Close-up Detail Section

 

 

3.

物体与场域 | Object vs Field

 

这一课题为首尔的Jamsil体育综合体的再次发展做出提案。由于基地尺度巨大且城市化,所以对于项目的设计策略上更偏向于建筑性而不是城市问题。而且这种大尺度的项目允许我将不同性的并置作为研究重点。

This studio brings up proposals for the redevelopment of the Jamsil Sports Complex in Seoul. While the site is big and urban, this design approaches the project as primarily an architectural rather than urban problem. The tremendous size of the project allows for investigation of juxtaposition and difference as an architectural tactic.

Jonathan Lasker的画作强有力的说明了事物间不同的不同点以及将这些不同巧妙的组合在一起的方法。在二维和三维间,前景和背景间,相似和不同间,物体与场所间,总有着并不明晰的界限。而正是这些模糊的解释,使得类型各异的内容找融合为一体的方式。

Jonathan Lasker’s painting articulates the different differences and specific composition of different objects. There are always blurred lines between 2D and 3D, foreground and background, similarity and difference, object and field. These vague explanations make diverse contents find a way to compose as an entirety.

▼Jonathan Lasker的作品和细节,Jonathan Lasker Painting and Detail

▼透视图,Perspective

▼模糊解释类型各异的内容,Vague Explanations of Diverse Contents

波形曲线和网格往往在城市规划中扮演着场域的角色,它们本应是城市的基础设施。然而,通过有意的转变操作,曲线和网格反而在城市特定区域变成了物体。而类似这样的关系,物体变成场域,场域形成物体,场域作为场域,物体作为物体,证明了它们之间不同的关系。最终,物体和场域之间再也没有明显的区分而变得扑朔迷离。

Squiggles and grids are often play the role as field in the master planning, those meant to be as an infrastructure in the city in general. However the transformational manipulations of both squiggles and grids become objects in specific location in the city. This relationship, an object as a field, a field as an object, a field as a field, and an object as an object generates the different manifestation of the relationship of field and objects. As a result, the relationship of field and objects are no longer distinct but ambiguous.

▼模糊解释类型各异的内容,Vague Explanations of Diverse Contents

▼总平面图,Site Plan

▼剖面图,Section

▼模型,Model

   

 

 

4.

廻 | Labyrinths

博物馆被设计为一个严格控制复杂度的机器。建筑形式包含的每一个组成部分都同时有紧密的相互作用。这样的关系使得建筑空间多样化且内外部连成一体。而空间的复杂来自于有所限制的元素使用。

The museum is designed as a complexity-controlled machine. Every Component of the architecture formed different kinds of compact interacts to each other. These relations lead to a consequence that architectural space diversified and continuous. Spatial complexity originates from limited elements.

项目基地坐落于风景秀丽的杭州镜泊湖旁的一处坡地上。受中国传统园林启发,博物馆被设计为一个各部分玲珑互通的迷宫并为游客提供多种流线路径的选择。这一操作使得时间这一维度被赋予进博物馆的空间体验中。参观者得到的游览体验不是“入口-出口”线性式的,而是多向度的。他们需要在不断出现的空间暗示下保持回忆来准确判断自己在建筑中所处的位置。这一回想过程使得记忆被重新组合。最终,博物馆在每个游客脑中刻下不同烙印。

The site is located on a slope near Jingbo Lake in Hangzhou, where the scenery is fascinating. Influenced by Chinese ancient garden, the museum is designed as an interconnected maze. Museum provides multiple circulation routes as a labyrinth. This manipulation brings the time dimension into the space experience. Visitors obtained memories of the visiting which is not an “entrance to exit” mode, but a multi-aspects mode. They need to recall continually under the stimulus of the space hint to estimate their location in this building. This recall makes the piece of memories be recomposed. As a result, the museum is re-organized by visitors themselves.

▼基地分析,多种路径,Site Analysis, Multiple Circulation Routes

   

▼展览空间,Exhibition Space

   

▼灰空间,Gray Space

   

▼平面图,Plans

▼连续切片分解图,Parallel Successive Sections

▼模型,Model

 

 

5.

超大尺度结构体 | MEGA

这是一艘停靠在城市公园边的百万吨级别的巨型游轮。这座建筑提供了无限的功能的可能性。相比于建造一个独立的体育馆,它可以适应并容纳多种不同的大型活动同时发生。提案中一个“事件盒子”提升到高于周围城市环境的半空,从很远的地方就可以提示人们它的存在。整个结构体系从两边贯穿地平线并形成一个巨大的环状体, 同时在其间形成了一个朝向公园的中空画框。“拥挤”反而成为驱动着一结构高效率运转的关键力量。

This is a megaton cruise ship by the side of the city park which creates endless programmatic possibilities. Instead of a single gym, it can accommodate variety of events. We propose an event-box that floats high above surrounding city environments which is visible from afar. The whole structure system forming a gigantic loop ran through both side of the horizon which also shapes a void frame towards the park. Congestion is the driving force of the efficiency of this construction.

▼水平天际线,Horizontal City Skyline

   

▼视线通透,Sight Accessibility

   

▼剖透视图,Section Perspective

▼模型,Model

在海外时间:2014年至今
在海外地点:洛杉矶
姓名:杨晓楠
籍贯:北京
学校or工作单位:南加州建筑学院, HMDG Inc.
联系方式:xiaonanyang1989@gmail.com

When: 2014 to present
Where: Los Angeles
Who: Xiaonan Yang
From: Beijing
School & Firm: SCI-Arc, HMDG Inc.
Contact: xiaonanyang1989@gmail.com



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