urban landscape furniture by HI-DESIGN INTERNATIONAL PUBLISHING (HK) CO., LTD.

Urban design is about place making, it is the art of creating and shaping cities and towns! Good urban design draws on local identity, is culturally responsive and peruses an agenda of environmental innovation or environment stewardship. As professionals our ambitions working in the urban realm go beyond the visual. Urban design embodies both the sciences and arts, is holistic in approach and aims at the creation of useful, attractive, safe, environmentally sustainable, economically successful and socially equitable places. When we think of urban design we approach the arrangement of places, from streets, blocks and entire cities as a collection of elements including buildings, public and private spaces, transportation systems, services, amenities and natural systems as a collective whole. We give form, character and a framework to places which orders these elements into a

preface_2 序言 _ 2

network of living streets and places – a city, a neighborhood, a plaza, and a park. We blend new and old, landscape architecture and city planning into functional and then attractive areas. Our work spans many scales and much of it is about connecting people to places, integrating the constructed environment and the natural environment, respecting our past and looking at innovative ways to build sustainable and distinct identity. At the larger scale we are creating neighborhoods such as Darling Quarter which prompted a shift in thinking about the importance of an inclusive public domain and changed the precinct’s retail strategy to provide more family friendly offerings. At the smaller scale we are imbuing areas with meaning to attract people back into forgotten city spaces or to remake connections and provide local identity. Our work is often both provocative and playful in nature, occupying a

Chris Razzell

space between science, art and landscape architecture. As urban designers with over 20 years experience our work transcends the individual disciplines of city and transportation planning, water sciences, engineering, economics, architecture, landscape and art. Our approach attempts to draw these sciences together with the ambitions of environmental stewardship, social equity and economic viability to create a vision for a place, and, to then bring that vision to life with appropriate resources and skills.

Chris Razzell, ASPECT Studios

城市设计关乎一方水土的建设，它是一种创建城镇的艺术！

好的城市设计会吸收本土气息，映射出一方文化，并随时关注环境创新或环境管理问题的最新进展。作为专业人士，我们对城市设计所追求的已经远超出视觉的范畴。

城市设计是科技和艺术的双重体现，是把这两者作为一个整体来创建一个实用、吸引人、安全、可持续环保、拉动经济并且能体现社会公平的地方。

所谓城市设计，就是把街道、街区以致整个城市作为一系列元素，对其进行布局设计。这些集成一体的元素具体包括了建筑物、公共和私人空间、交通运输系统、服务、便利设施和自然体系。我们把这些元素融入我们生活的街道和地区，赋予了这些地方外形、特征和整体构架的内容设计，最终组成了城市、街区、广场和公园。我们融混了新旧设计，协调了景观设计与城市规划，使其变成功能实用和引人入胜的地方。

我们的工作跨越很多领域，大部分工作关乎于联系人与空间、融合建设环境与自然环境以及通过尊重历史、着眼于创新创建出可持续的独特设计风格。从大处看，我们创建了 Darling Quarter 这样的街区，它让我们看到了对功能齐全的公共区域重要性思想的转变和应该提供更多的家庭便利商品的区域零售策略的转变。从小处看，它吸引着人们重新回到被遗忘的城市空间，或重新在人与地域之间架起了纽带并展示出了独特的本土气息，我们正在打造一个又一个这样的地区。我们的工作本质上是既好玩又刺激的，在科学、艺术和景观设计之间打造出一片天地。

经过 20 余年的经验积累，城市设计师们的工作已经超越了城市和交通规划、水利科学、工程学、经济学、建筑学、景观设计和艺术这些独立的学科界限。我们怀着可以实现环境管理、社会平等和经济可行性的理想，尝试着把这些学科融会贯通，来为一处地方设计苑景蓝图，并且用恰当的资源和技巧使之成为现实。

Chris Razzell, ASPECT Studios -5-

ARTWORKS /

contents 目录

公共艺术

Valentine to Times Square / 情人节来时代广场

Water Sky Garden / 空中水花园

Blue Charm / 蓝色魅力

WHATAMI / (WHAT AM I 的变体 ) 装置艺术作品

Fishes in the sky / 空中游鱼

Her Secret is Patience / 她的秘密在于耐心

Impression of the Infinite / 无限的印象

Clockwork Forest / 发条森林公园

Safe Harbor / 避风港

1.26 Biennial of the Americas / 美洲双年展

4- Dimensional Circle / 四维空心圆

ECOLE DES MARTEGAUX / 法国马赛学校

Little Tree / 动感树

Object Nr. 425 / 中文翻译

Brick Car / 砖车

Follow Me / 随我体验

Faces / 中文翻译

DIGITAL ORIGAMI TIGERS / 折纸虎花灯

Street Life / 街头生活

A Matter of Fiction / 翻开的书卷

Hope Tree / 希望之树

Minato Mirai Business Square / 海港的未来

Angel Place / 天使之地

ORGANIC BASIN / 生命之盆

Parkcycle / 停车周期计

Classify GREEN /

9 ARTWORKS 61 GREEN 99 LIGHTING AND WATER 133 PLAY AND GAME 171 PUBLIC FACILITIES 201 PAVILION& SHELTERS 261 SIGNAGE SYSTEM 269 LEISURE FACILITIES

城市绿化

CANADA BLOOMS GARDEN / 加拿大花园

SURFACE DEEP / 园艺墙

Green cast / 绿色梦幻墙

Green Invasion / 绿色入侵

Civic Center Victory Garden / 市中心胜利公园

The Garden That Climbs The Stairs / 阶梯公园

Kic Park / KIC公园

Carpark – Year of the Built Environment / 小型停车场──年度环境维护之典范

Not Garden & Not Again / NOT GARDEN和NOT AGAIN试验地块

Edaphic Effects / 土壤效应

Public Farm 1 / 公共农庄一号

In Factory / IN FACTORY 创意中心

LIGHTING AND WATER /

光与水

100

BIG LOVE NYC CLIENT: Times Square Alliance / 大爱纽约 : 时代广场联盟

102

FROZEN TREES / 冰树林

105

Water Island Morsbroich / 水心岛 MORSBROICH

106

Solar tree Streetlight / 树形太阳能路灯

108

Water Pavilion Aalborg / 奥尔堡享水阁

110

Ligthsails / 光帆

114

THE GARDENER’S OASIS / 园中绿洲

115

SunFlowers, an Electric Garden / 向日葵电子花园

118

Iluminación Calle Preciados y Arenal / 公主大道阿雷纳尔街道的街灯

120

PUBLIC FACILITIES /

市政设施

172

PACMAN / 可爱垃圾桶 PACMAN

174

Bicycle Stand / 自行车架

176

Sinus / SINUS

180

CITY OF PARIS LITTER BIN / 巴黎城的垃圾箱

182

FRENCH PUBLIC POST BOXES / 法国公共邮箱

183

H2POD / H2POD

184

GLASS RECYCLING CONTAINER / 玻璃回收容器

186

PlantLock / PlantLock

187

DYNAMIC DISPLAY / 动态展示

188

BUS STOP / 公共汽车站

Borrowed Light / 反光灯

189

Dotz tree grid / DOTZ 树下护网

121

Lily street light / 百合路灯

190

"Hojitas" Litter bin and ash-tray / “HOJITAS”垃圾箱和烟缸

122

Iluminación Paseo de Recoletos / 静修大道灯光

192

Olympia square Amsterdam / 阿姆斯特丹奥林匹亚广场

124

VERSO LIGHTING SYSTEM / 维尔森照明系统

194

CRECHE MUNICIPALE LEI PARPAIOUN / 育儿园的水上乐园

126

Solar Collector / 太阳能收集器

195

La Casa dell’Uccello / 乌切洛鸟巢

128

Musica / 音乐柱灯

196

Playground Fence / 操场围栏

129

Trafalgar Sun / 特拉法加的太阳

198

On the way to the sea / 一路到海边

130

Korin, Light Forest / 光林，光之森林

200

Woodland Park Crossing / 森林公园十字路口

PLAY AND GAME /

游乐设施

PAVILION & SHELTER /

保护遮蔽

202

BA_LIK pavilion / BA_LIK 亭子

206

[C]space DRL10 Pavilion / [C]SPACE DRL10 阁

210

Digital Origami Emergency Shelter / 数字折纸紧急避难所

214

Main Plaza Shade Structures / 中央广场遮阳设施

220

Aeolus - Acoustic Wind Pavilion Aeolus / ( 希腊风神 )——风声亭

222

STANZES / STANZES

224

THE LANTERN PAVILION / 灯笼屋

Infinity Bike racks/ 自行车停放架

230

Infinity Bus Shelter / 无限公共候车亭

158

Long Modified Bench Auckland / 奥克兰改良型长凳

231

New Amsterdam Plein & Pavilion / 新阿姆斯特丹广场和展亭

160

Walk the Line / 一往无前

234

Gordon Square Bus Shelters / 戈登广场巴士候车亭

164

Bench Around the Lake / 湖边长椅

237

BUS SHELTER CRYSTAL AND TOPAZE RANGES / 水晶色候车亭和黄玉色停车亭

168

Darling Quarter / 达令港广场

238

The Meeting Place / 聚会场所

242

Temporary Bar / 小憩酒吧

248

Bus Stop Symbiosis / 共栖型巴士站

250

RER TRAIN STATION RATP PARIS / 巴黎公共交通公司旗下的巴黎快速铁路网交通系统的火车站

253

TRAM STATION RATP PARIS / 巴黎公交公司的有轨电车站

256

Walkway Makes Connections / 步行街连接起一切

260

Grand Slams - Miki Tennis Dome / MIKI 网球圆顶式凉亭

134

Chemnitz Zoo – Recreation area “Pelzmühle” / 开姆尼茨动物园——儿童游乐场“埃尔察赫”

138

Rocket Park / 火箭公园

142

the REAL estate / 房地产

146

UNIRE~UNITE: YAP MAXXI / UNIRE~UNITE

150

KAGOME_ Living architecture / KAGOME_活建筑

152

Playground in Berlin-Friedrichshain / 柏林弗里德里希斯海因游乐场

156

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SIGNAGE SYSTEM /

导视系统

312

PROP seats / PROP 座椅

313

The Wheelbench / 移动长椅

314

Loco Bench / LOCO 长椅

317

Infinity Bench / 无限极长椅

262

SIGNAGE SYSTEM FOR THE PARK OF LA VILLETTE PARIS / 巴黎拉维莱特公园的导向系统

264

Merri Creek Trail / MERRI 溪路引导标识

318

SYSTEM OF MODULAR URBAN FURNITURE / 城市设施模块系统

266

Oakleigh Activity Area Wayfinding Strategy / 奥克利活动区指路标识

324

Gateshead Civic Centre Seat / 盖茨黑德市中心座椅

267

Green Spine / 绿色脊柱之路

325

Kloris outside seatings / KLORIS 室外座椅

326

POP-UP / 弹出式座椅

327

Solar Cell Seat / 太阳能电池座椅

328

stone & steel bench / 中文翻译

329

stone / 中文翻译

330

Gebogen Maaiveld / GEBOGEN MAAIVELD

333

Treebench / 移动树椅

334

its no picnic table / 没有野餐桌

LEISURE FACILITIES /

休闲设施

270

The ENZO / THE ENZO

272

Meeting Bowls / 约会碗

274

Reefbench / 礁石长凳

276

Public Stairs / 公共楼梯

278

SOFT Rockers / 太阳能软摇椅

280

The union family / THE UNION FAMILY

281

Streetwalk stools / 路边公共座椅

282

Binocular benches / 双目望远镜形长椅

284

Crater Lake / 火山湖

287

Planter-Benches / 花盆座椅

288

“Balance” Bench & “Fonte” Fountain /“平衡”长凳和“丰泰”喷泉

291

Elliott & Darby Street Upgrade / ELLIOTT & DARBY 路面升级工程

294

Hill with benches / 山中长椅

296

Pacú individual seat / PACÚ个性椅子

298

Bench / 中文翻译

299

CUBE bench & lighting / “魔方”长凳和照明

300

Butterfly Seats / 蝴蝶座椅

301

Garden Table / 花园餐桌

302

Field Chair / 中文翻译

303

Limpido / 透明长凳

304

London Quay / 伦敦码头

VALENTINE TO TIMES SQUARE WATER SKY GARDEN BLUE CHARM WHATAMI FISHES IN THE SKY HER SECRET IS PATIENCE IMPRESSION OF THE INFINITE CLOCKWORK FOREST SAFE HARBOR 1.26 BIENNIAL OF THE AMERICAS 4- DIMENSIONAL CIRCLE ECOLE DES MARTEGAUX LITTLE TREE OBJECT NR. 425 BRICK CAR FOLLOW ME FACES DIGITAL ORIGAMI TIGERS STREET LIFE A MATTER OF FICTION HOPE TREE MINATO MIRAI BUSINESS SQUARE ANGEL PLACE ORGANIC BASIN PARKCYCLE

公共艺术

artworks -9-

Valentine to Times Square 情人节来时代广场 Designer Mark Foster Gage Design Company GAGE/ CLEMENCEAU ARCHITECTS LLP Location NY, USA

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Mark Foster Gage Mark Foster Gage is at the forefront of a new generation of architects working to combine design practice with the use of today's most advanced technologies. Gage's designs have been exhibited internationally at venues including the Museum of Modern Art (MoMA) in New York City, the Museum of the Art Institute of Chicago, and the Deutsches Architektur Zentrum in Berlin. His firm, Gage / Clemenceau Architects was selected as one of the architecture firms to represent the United States in the 2010 Beijing International Biennale. He has won numerous awards including recently receiving an American Institute of Architects Design Award, and being named an "Avant Guardian" of architecture, by Surface Magazine. Gage was nominated as one of thirteen architects, internationally, for the inaugural Ordos Prize in Architecture - a select group that Rem Koolhaas referred to as "the next generation of great architects.”

“In the design we aligned our interests in some aesthetic theories of the Romantic period with a wide range of 21st century technologies, producing a sculpture that is at once recognizable, and, dare we say, beautiful, but also one holds a deeper reservoir of ponderous meaning the deeper you go,” said designer Mark Foster Gage. Rising 3.66m tall and standing on a 2' fluidly contoured podium, the sculpture is formed from a combination of robotically carved translucent pink Corian panels, all covered in a shimmering veil of laser-cut and patterned stainless steel. The eternally changing colored LED lights shift from hues of pink, purple and

设计师马克·福斯特·盖奇说： “在设计中，我们将罗马时代的美学理念与 21 世纪广泛应用的科技相结合，

magenta, matching the visual frequency of the translucent plates and creating

完成了短期内即被认可的雕塑作品，并且我们敢说这座雕塑不仅美丽至极，而且它就像一个水库，你接触

the effect of a luminescent glow.

越深，越能体会到其更深层的含义。”

"This inaugural sculpture has set the bar very high for our new Public Art

该雕塑高约 3.66 米，伫立在两个液态波形平台上，由机械雕刻的粉色半透明可丽耐大理石面板组合

Program," said Glenn Weiss, Director of Public Art for the Times Square Alliance,

而成，所有的面板皆覆盖在由激光切割的并有图案的不锈钢发光面罩下。LED 灯光从粉色、紫色到洋红色

"and since it has been erected, we have seen not only a remarkable reaction

不断变换着色彩，与半透明图板的视觉频率相匹配，进而营造出一种焕发幽冷色彩的效果。

from local visitors, but there has been significant international interest as well;

时代广场联盟的公共艺术总监格伦·韦斯先生宣称： “这一首座雕塑为公共艺术项目树立了很高的标准。” 首座雕塑屹立以来，我们不仅看到了当地游客的惊人反应，而且其国际反响巨大；有关该雕塑的新闻报道遍布于印度尼西亚、中国和泰国。”蒂姆·汤姆金斯表示：“我们期待在有限的三个星期的陈列期内有上

being covered by news organizations from as far and wide as Indonesia, China and Thailand." "We expect the sculpture to be viewed by upwards of 10 Million people, in person, even over its limited three week presence" said Tim Tomkins. Gage / Clemenceau Architects "Valentine to Times Square" is a significant

千万人来观看这座雕塑。” 由 Gage/ Clemenceau Architects 设计的“情人节来时代广场”在设计、建造和技术协调方面成绩斐然——在如此浩大的交易中，有 20 余家承包商和制造商参与其中。该雕塑很大程度上凭借其复杂的金属外表吸引人，是在纽约长岛一家汽车改装店装配完成的。

achievement in design, engineering and technical coordination– involving over 20 contractors and fabricators in a vast array of trades. The sculpture, largely due to its complex metallic skin, was assembled by a Hot-Rod shop in Long Island City, New York.

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Water Sky Garden 空中水花园 Visitors approach by a red boardwalk and intersecting bridges over a new water garden. Above their heads, visitors see the red netted forms moving in the wind; below they see “water drawings” amidst the reflections in the pond. The environmental component, however, remains invisible this project, a collaboration between the artist, urban designer, landscape architect and site team, takes the run-off water from the Olympic Oval’s 20,234 m2 roof and cleans it through its aerating system and plant selection. The red boardwalk and “sky lanterns” are inspired by the city’s cultural communities. Richmond has the largest immigrant population by proportion of any city in Canada with the majority of those immigrants being of Asian descent. The wooden boardwalk follows a curving path similar to the choreography of the Dragon Dance, a performance frequently seen in local Chinese festivals. The Nitobe Japanese garden and the Sun Yat Sen Chinese garden of the Vancouver region are important references, especially their material presence, intersecting paths and reflective ponds, and their framing of views. Water Sky Garden is a contemplative art environment that encourages participants to linger. The overhead netted forms provide a new visual experience, putting art in the sky. Made of colorfast 100% ultraviolet resistant expanded PTEE fiber nets, they are transparent and integrate with the landscape they inhabit, allowing viewers to look at them and through them at the same time. At night, they glow like lanterns.

Designer Janet Echelman Landscape architecture Phillips Farevaag Smallenberg Architects and urbanists Hotson Bkker Bomiface Haden Lighting and design Joseph Scott

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Materials painted galvanized steel, architectural fiber net, cedar bridges, aeration system, plants, lighting. Location Canada Area 6,967 m2

Janet Echelman Janet Echelman transforms urban space with soaring, building-scale sculptures that fuse with forces of nature: wind, water and light. Combining traditional craft with cuttingedge technology, she taps the potential of unlikely materials-- from fishing net to atomized water particles-- to create dynamic, accessible art environments in cities worldwide.

游客们穿过一个红色木桥，再过一个交叉小桥就进入到空中水上花园。抬头向上，呈现在游客面前的是随风飘动的红色网状物；低头向下则能欣赏池中的水面倒影。然而，这项由艺术家、城市设计师、景观设计师以及施工团队合作的工程，仍然无法预见其空中水花园的环境条件。空中水花园是从 20 234 平方米的奥林匹克椭圆形屋顶抽取径流水并且通过净化系统和植物的选择来净化水流。红色的木桥和“孔明灯”的灵感源于城市的文化社区。按比例计算，里士满是加拿大最大的移民城市，且绝大多数移民者来自亚洲。木板桥的尽头是一条曲曲折折的小路，这一设计类似于舞龙的编排，一种在中国当地传统节日中经常看到的表演。温哥华地区的新渡户日本花园和孙中山中国园林是其重要参考物，尤其是它们的物质材料、相交小径、有倒影的池塘及它们的外观造型。空中水花园是一个可供人们沉思的艺术环境，会让你置身于其中流连忘返。高架的网状物开发了一个将艺术放入空中的新视觉。它由 100％抗紫外线膨体聚四氟乙烯纤维网制成，纤维网不仅是透明的，而且与地面的景观融为一体。这使得观光者不仅能欣赏到纤维网，与此同时，还能透过它观赏对面的景观。夜间，纤维网像灯笼一样光芒四射。 - 15 -

Designer Deedee Morrison

Location WA, USA

Blue Charm 蓝色魅力 Blue Charm Reflects the Color of a Liquid Sky Blue Charm is a two-ton limestone and aluminum sculpture that is the most recent addition to the grounds of the IMA Sculpture Park in Roche Harbor. Deedee Morrison's Charm series is a body of work that has strong angular shapes and intricately cutout overlays. Blue Charm speaks to the contrasting dualities of the mechanical and organic, masculine and feminine, light and dark, strength and weakness found in life and in nature. These particular sculptures give a sensation of diverging ideas bound by dissimilarity and yet the charms seem to rest alongside each other in harmony. The creation of the Charm sculptures begins with a limestone rock that has been harvested from the quarry where Morrison works. As with much of her work, the sculptor uses laser cutting processes with the metal that introduces light and a sense of weightlessness into the work. Charm focuses on the correlation of contrasts - two very different elements that are inter-related and combined to create equilibrium. Symbols, such as unevenly balanced objects joined ask the question, "What am I bound to?" Morrison works with this quality of extreme contrasts through the creation of bulky sculptures made of metal and boulders that are intricately balanced with hand wrought chains to create a sense of the weight of fragility and balance. Blue Charm now resides in this 76,890 square meters microcosm of San Juan Island ecology

蓝色魅力反映了明朗天空的颜色。

that includes meandering forests, gently sloping meadows, freshwater and saltwater

蓝色魅力是一座重达两吨的石灰石和铝制雕塑，是罗奇港 IMA 雕塑公园最近添

wetlands, and limestone outcroppings. 75,000 annual visitors enjoy the sculpture along trails

置的景观。Deedee Morrison 的魅力系列是一批形状上棱角分明、各式剪影叠加的

and the Park's pond and inland ocean views throughout the reserve.

作品。蓝魅系列表现了生活中或大自然中对比鲜明的事物的二元性，如机械的和有机

Deedee Morrison is a sculptor and renewable energy artist. She works in a very industrial setting that is an inspired environment for an artist to create work. Her studio is in the home of the Old Republic Steel Mill and what is now the Wade Sand and Gravel Quarry in the heart of the “Birmingham District.” The sculptor works with limestone rock that has been harvested from an

Deedee Morrison

的、男性的和女性的，光明的与黑暗的，强势的与弱势的事物。这些特别的雕塑给人一种融合了相斥概念的感觉，然而其魅力却在于这些分歧达成了和谐统一。蓝魅雕塑的创作始于一块采于莫里森工作的采石场的石灰石岩石。就她的工作而言，这位雕塑家采用了激光切割的方法，让她的作品体现出金属光感和失重感。蓝魅聚焦的是相关事物的对比——将两种相关却又截然不同的元素相结合以达到平衡。符

area in the quarry with 600 million years of geological history. The process

号，比如将一对不平衡的物体放在一起，并提出问题，“我该怎么办？”莫里森通过

of harvesting the limestone brings a certain awareness and perspective to

将金属和巨砾用铰链错综复杂地缠绕而建的雕塑，形成这种极度的反差，给人以脆弱

her work. The second element of influence is the backdrop of the old steel

和平衡的重量感。

mill that brought in the industrial development of the whole region. The sculptures inspired by this environment are intriguing because the

蓝色魅力目前位于占地 76 890 平方米的圣胡安岛的生态园里，园中有蜿蜒的森

works are created using renewable energy technologies that can answer

林、平缓的草甸、淡水和咸水湿地、以及石灰岩。每年有 75 000 的游客享受着小径

many of the compelling energy challenges we face today - smarter, cleaner

边上的雕塑、公园池塘和内陆海的风景。

and more energy efficient as we evolve in our understanding of what serves our future and the future of our children best.

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WHATAMI （WHAT AM I的变体）装置艺术作品 Designer SIMONE CAPRA, CLAUDIO CASTALDO, FRANCESCO COLANGELI, ANDREA VALENTINI Design Company stARTT Consultant and realization Viabizzuno, Bologna (Light consultant and realization), Vivaio Le Ginestre, Roma (Green Technology consultant and land modeling), Coop. Atmo, Perugia (Steel manufacturing), BINDI Pratopronto, Roma (Grass supply and installation), ArticolArte srl by Meloni, Roma (Yard assistant)

WHATAMI is based on the manufacturing of an artificial archipelago-hill, generating smaller green areas in the garden and potentially outside the museum. WHATAMI is the corruption of "What am I", the industrial declination of the first puzzle invented in the eighteenth century for fun-learning by John Spilsbury, it could be dismounted along the geographic boundaries; a tribute to the maps of Alighiero Boetti, which is dedicated to the square of the MAXXI. The hill works as a garden, injecting “green” into the concrete plateau of the museum’s outdoor space, allowing it to serve as a stage and/or parterre for concerts and other events, or as a space to rest and look at the museum itself. The artificial landscape will be punctuated by large “flowers”

Supply Mechelli Mario & C., Viterbo (Land supply), Società Agricola L’Acquedotto Romano, s.r.l., Roma (Straw supply) , GRUPPO PORON, Roma (EPS supply)

providing light, shadow and sound.

Model YOAQLAB

places of the city waiting for rehabilitation.

Location Italy

stARTT

Area 600m2 Photographer stARTT, Cesare Querci

The materials proposed for the installation involve a two-fold recycling process; natural elements will come back to their original sites, the high-tech objects will be replaced in one of the abandoned

stARTT, studio di architettura e trasformazioni territoriali -office for architecture and territorial transformations-, was born in February 2008 from an idea by Simone Capra (Rome 1978) and Claudio Castaldo (Latina 1978), in order to design and manage, in every step, the transformation processes that affect the architecture and the space for human activities, starting from specific expertise developed inside or in network with other structures of professionals. In 2010 Francesco Colangeli joined stARTT project. stARTT focuses its production on man-made environment transformation at different scales of intervention and at different degrees of complexity: landscape, territory, city, urban planning, public works and private architecture are the private sphere of activity, each time crossed with the technical tools and metadisciplinary theoretical research.

意大利罗马的 WHATAMI 建在一座人工列岛小山上，在花园里和博物馆外生成小小的绿色空间。 WHATAMI 是“What am I”的变体，这个问题是由十八世纪最令人纠结的工业衰退引发的，并由约翰斯皮斯伯里为快乐学习而提出的。该作品打破了地理界线；这要归功给致力于建造罗马国立当代艺术馆广场的阿里杰罗 • 波埃蒂设计的地图。这个小山是一个花园，为博物馆的室外空间带来绿意，这个花园为音乐会等活动充当舞台，也可以是一个休息区，或是一个观赏博物馆的地方。人造景观中这些装置艺术作品可以随着光、影、音变幻出巨大的“花朵”。建设用的材料可以双重回收；自然元素将回归于自然，而高科技设计的物体将会取代等待修复的城市废弃区域。

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Impression of the Infinite 无限的印象 Impression of the Infinite approaches the concept of abstraction, purity and the immaterial, transparence and reflection, rigidity and fluidity … The installation takes on the appearence of a cloud particles, a sort of mist floating just above the floor. It seems to undulate within its space tracing the contours of an artificial cloud. Positioned like morning dew on artificial blades of grass, each drop’s mirrored surface returns a deformed image of its environment. By representing the environment in this way, each event is multiplied by its reflected image, a 360° mirror which also reflects the images reflected by the other globes, generating infinite reflections in a series of multiple, yet concomitant worlds. At twilight, the mirrors dim and small phosphorescent balls light up in quick succession, getting gradually brighter as the atmosphere becomes progressively darker. The cloud of reflections transforms into a cloud of fireflies. The silver dust is transformed into a star dust. Hybrid twigs, component of a new artificial landscape, abstraction of a fixed dawn landscape … Impression of the infinite. Impression of the infinite was created for the firm Technilum on the occasion of the festival "Heureuse Coincidence" a yearly festival of contemporary architecture in Béziers, South of France.

metamorphOse metamorphOse is a group of 5 young belgian architects located in Brussels, Belgium. They are Axel Cailteux, Celine Hautfenne, Delphine Termote, Amelie Schweisthal and Julie Neuwels. They have created the group metamorphOse in order to share experiences and rethink what they think architecture is throughout various scales. They use, as architects in different firms and with different centres of interest, their combined experiences of the city and the existing or future urban assets to put forward contemporary, sustainable or ephemeral interventions. They share the same desire to seek information, explore, discover and help others discover the potential in a given environment through construction and develloping ideas.

无限的印象采用了抽象、纯净与无形、透明与反射、刚柔并济的设计理念…… 该设施的外形如同是漂浮在地面上的雾珠 , 似乎在人造云朵中波动一般。像清晨人造草叶上的露珠一样，每一滴的表面都会呈现周围环境缩影的镜像。周围环境通过这种折射，每个露珠般的圆球所反射出的镜像都会成倍增加，一个球镜面 360°的反射还会再反射其他球体表面的镜像，这便产生了一系列更多的镜像，给人带来无限的遐想。黄昏时分，露珠圆球的镜面反光渐渐变暗，随之而来的是圆球表面熠熠磷光。随着周围环境逐渐变暗，圆球表面逐渐变亮，使之变成如一群发光萤火虫形成的云。一片银色云彩变成了一片星云。在树枝背景的映射下，一幅新的人造景观抽象

Design Company metamorphOse

成一幅黄昏风景图……无限的印象。

Location Béziers, France

无限的印象是为 Technilum 公司为庆祝法国南部城市贝济耶一年一度的当代建筑节“幸运的巧合”而修建的。

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Designer Deedee Morrison

Dimension 12' x 20' x 20'

Location Louisiana, USA

Materials Cast Steel and Aluminum with LED Lighting

Safe Harbor 避风港 60 industrial grade sheets of aluminum were laser cut, gracefully bent and re-fabricated over an interior armature to create the sculpture in Riverside Park. The historical cast iron bollard that anchors the sculpture is tethered to a sleek oversized contemporary buoy with hand wrought aluminum chains. Ocean blue panels are riveted to the interior of the structure to allow the vibrant hues of light to shine through and light up the sculpture at night. Safe Harbor took its cues from a port or harbor which is a place of refuge for ships. The bollard is utilized to secure a ship in port and the buoy is a floatation device frequently used to mark direction away from dangerous waters and towards safe passage. “With the Safe Harbor sculpture, I seek to re-think the shape of the recognizable and bring public art into the daily life of the community, creating a contemporary motif from the traditional design of a buoy.” states artist Deedee Morrison. 60 张工业级铝板经激光切割、弯曲后，通过室内电枢进行重新塑型，建成了河边花园中的这座雕塑。用来固定这座雕塑的铸铁系船柱由一条手工制成的铝质链条拴在光滑的巨大现代浮标上。海蓝色的嵌板被铆在雕塑内部，夜晚来临，当光打在上面，折射出多彩灯光照亮的球体。避风港作品的灵感来自于一处船只的避风港。系船柱被用来锚定港中的船只，浮标常被用来标识危险的水域和安全的水道。艺术家 Deedee Morrison 说“这部作品，是我对已知事物重新思考的见证，从而将公众艺术融入人们的日常生活之中，从传统的浮标设计中创造出当代主题。” - 30 -

Deedee Morrison Deedee Morrison is a sculptor and renewable energy artist. She works in a very industrial setting that is an inspired environment for an artist to create work. Her studio is in the home of the Old Republic Steel Mill and what is now the Wade Sand and Gravel Quarry in the heart of the â&#x20AC;&#x153;Birmingham District.â&#x20AC;? The sculptor works with limestone rock that has been harvested from an area in the quarry with 600 million years of geological history. The process of harvesting the limestone brings a certain awareness and perspective to her work. The second element of influence is the backdrop of the old steel mill that brought in the industrial development of the whole region. The sculptures inspired by this environment are intriguing because the works are created using renewable energy technologies that can answer many of the compelling energy challenges we face today - smarter, cleaner and more energy efficient as we evolve in our understanding of what serves our future and the future of our children best.

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Street Life 街头生活 Street Life is a large-scale sculpture commissioned by the San Francisco Arts Commission as part of the Leland Avenue Streetscape Improvement project in the Visitacion Valley neighborhood of San Francisco. The sculpture is constructed out of surplus parking meter heads attached to tall, arcing steel poles that sprout dramatically from the sidewalk like stalks of organically growing street furniture. Street Life gestures toward the pastoral and agricultural history of Visitacion Valley, while also referencing important elements that compose contemporary life along Leland Avenue. As the streetscape undergoes a radical transformation and improvement project, the social ecology of the street will, inevitably, be altered as well. By reusing elements of obsolete street furniture, Street Life punctuates the current moment in the evolution of the neighborhood and the community it supports. Street Life invites the viewer to contemplate a more sustainable future, where additional obsolete elements of the urban automobile infrastructure could be dismantled and fashioned into usable media for artwork. The street furnishings of today may well be the art supplies of the future. Designer Rebar Art & Design Studio Location San Francisco, USA

旧金山 Visitacion Valley 区的“街头生活”是一个大型雕塑，由旧金山艺术委员会委托建造，是 Leland 大街改造项目的一部分。这座雕塑是将多余的计价器表头固定在高大的弧形钢管之上，仿佛人行道上种植着带有高大杆茎和巨大苗芽的有机植物。雕塑既代表着 Visitacion Valley 的农耕历史，也包含有 Leland 大街现代生活的重要元素。鉴于街区改造计划是对街道环境彻底的改变和改进，街道的社会生态也将不可避免的发生改变。通过重复使用废旧的街道设施，这座雕塑的设计表现出对正在进行的街区改造和社区活动的支持。街头生活雕塑可以唤起人们对城市可持续性发展的未来的思考。城市交通基础设施以外的废弃部件可以拆除，并且用来制成时尚艺术品。今天的街道装饰很可能成为明天的艺术品。

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Rebar Art & Design Studio Rebar Art & Design Studio believes that the human environment—public spaces in particular—should be infused with ecological knowledge, resilient to changing social conditions, responsive to creative impulses, and filled with opportunities for benevolence, conviviality, and delight. They design to create these conditions. Rebar generates ideas, design solutions and works of art that engage public space, ecology, and the social fabric of the commons. Their clients include public agencies, businesses, nonprofits, educational institutions, and community organizations. Their mission is to inspire people to re-imagine the environment and our place in it. Founded in 2004 in San Francisco, Rebar’s practice is a hybrid, combining design thinking with the artist’s eye. Each project is an opportunity to innovate better cities, communities and organizations. Rebar’s studio is comprised of landscape architects, artists, industrial designers, architects and builders, and includes a large industrial prototyping shop.

Angel Place 天使之地 Floating birdcages, cobblestones, outdoor dining, granite paving,

Small shop fronts and tenancies are encouraged, to allow for

decorative street lighting, a traffic-calmed pedestrian street, and

a commercial diversity in the city centre. A thread of lighting

a new storm water system, form the core of a strategy to attract

elements expresses the labyrinthine-like quality of the laneways

people back into one of Sydney’s forgotten spaces.

and provides visual cues to pedestrians that wider connections

As part of the City of Sydney’s Laneways Revitalisation Strategy, ASPECT Studios’ proposal for the development of Angel Place, Hosking Place and Lees Court is intended as a key element in the economic reawakening of the city, facilitating the city’s

exist. The laneways are the setting for playful events such as the Sydney Festival Opening Night and they contain two performance spaces, the Angel Place Recital Hall and the Theatre Royal.

"night economy" and providing active frontages and fine-grain

The popular art project Forgotten Songs – which includes

businesses. Multiple small scale built form elements establish a

the installation of 120 birdcages suspended in the sky – has

linking thread through the laneways, and amplify the theatrical

returned to Angel Place permanently. The artwork, created for

qualities of the spaces.

the City’s By George laneways project by artist Michael Thomas

The upgrade will provide a safer pedestrian link to the popular City Recital Hall, and to George Street, Martin Place and the laneway life on Ash Street – also upgraded by ASPECT Studios. The materials palette utilises small units and detailed layout

Hill, scientist Richard Major, programmer David Towey and environment designer Richard Wong, uses birdcages floating

Design Company ASPECT Studios Team Lighting Art + Science – Lighting Design, Michael Hill - Public Artist, ARUP – Civil Engineers, MWA + Olsson Associates – Master plan consultants, Sam the Paving Man Builder Location Sydney, Australia Area 1,530 m² Photographer ASPECT Studios and Simon Wood

above the laneway to echo the sounds of birds that lived in the Tank Stream area before the city’s growth forced them to the outer fringes of suburbia and towards extinction.

to promote a rich tapestry for the central precinct lanes.

ASPECT Studios ASPECT Studios is a creative landscape architecture design studio committed to providing positive outcomes for people and places through contemporary, innovative and sustainable design. The Chinese studio is based in Shanghai. Sustainability is a core value of the Studio. Sustainability is a complex interplay of cultural, environmental, social and economic elements and we seek to balance these elements through a holistic design approach. This is demonstrated through numerous awards and the quality of our built and strategic work. The Directors of ASPECT Studios are respected professionals in Australia, having lectured at universities throughout the world. Solid working experience in China allows us to interpret local culture in a contemporary manner through a sustainable design approach. The knowledge of local materials and planting, our passion for new technologies also contribute to the successful completion of our projects.

悬挂在空中的鸟笼艺术品、鹅卵石街道、户外餐饮空间、花岗岩路面、装饰性街灯、没有车辆干扰的步行街和雨水收集处理系统，以上作为该方案的战略核心内容吸引着人们回归到悉尼被遗忘的空间中去。悉尼市推行对城市小巷进行大规模改造的战略，ASPECT 工作室承担了对 Angel Place, Hosking Place 和 Lees Court 三条小巷开发的任务，目的是将其作为复苏悉尼城市的经济、促进城市“夜经济”的发展、提供更多临街店面和小型商铺方面的关键举措。设计师运用多种小尺度的设计元素，将这些小巷和谐统一地串联在一起，形成了引人注目的空间氛围。由 ASPECT 工作室进行改造与升级的小巷，为市民营造出一条通向城市音乐厅、乔治街、马丁广场和槐树大街的更安全的人行通道。小巷是用小块精致的石材拼凑组成，错落有致，营造出丰富绚丽的视觉效果。小巷提供临街小店面和可供租赁的小档口，进一步丰富了市中心多姿多样的商业经营范围。小巷里各种交错变换的灯光，展现了小巷内迷宫般的品质，吸引路人去发现更多有趣的事物。小巷也成为举办如悉尼狂欢节晚会开幕式等庆典活动的场所，还拥有 Angel Place 音乐厅和皇家剧院两个演出场所。 120 个鸟笼悬挂在空中的壮观场面出现在 Angel Place 小巷中，这是引人注目的名为 “忘却的老歌 ”工程中的经典场景，如此气势磅礴的设计已成为天使之地永远的艺术品。这项作品是乔治巷改项目的组成部分，由艺术家 Michael Thomas Hill、科学家 Richard Major、程序设计师 David Towey 以及环境设计师 Richard Wong 共同完成。艺术家们通过悬挂在空中的鸟笼来唤起人们对曾经栖息于 Tank Stream 区域的鸟类的回忆，由于城市的发展，它们失去了这块栖息地，正面临灭绝的危机。

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OUTDOOR DINING AREA

1200

STEEL SOCKETS IN PAVING FOR REMOVABLE UMBRELLA

MINIMUM 1200mm REQUIRED FOR DDA ACCESS

OUTDOOR DINING AREA STEEL SOCKETS IN PAVING FOR REMOVABLE UMBRELLA

1200 MINIMUM 1200mm REQUIRED FOR DDA ACCESS

PAVING TYPE B 100x100x60mm GRANITE SETTS

PAVING TYPE A CITY OF SYDNEY STANDARD GRANITE PAVING

PAVING TYPE D 200x200x60mm GRANITE PAVERS

PAVING TYPE B 100x100x60mm GRANITE SETTS PAVING TYPE B 100x100x60mm GRANITE SETTS

PAVING TYPE A CITY OF SYDNEY STANDARD GRANITE PAVING

PAVING TYPE D 200x200x60mm GRANITE PAVERS

PAVING TYPE C 200x200x60mm GRANITE PAVERS 100x200x60mm GRANITE PAVERS 100x100x60mm GRANITE SETTS (EXFOLIATED) 100x100x60mm SANDSTONE SETTS

PAVING TYPE B 100x100x60mm GRANITE SETTS OUTDOOR DINING AREA

PAVING TYPE C 200x200x60mm GRANITE PAVERS 100x200x60mm GRANITE PAVERS 100x100x60mm GRANITE SETTS (EXFOLIATED) 100x100x60mm SANDSTONE SETTS EXISTING TRACHYTE KERB FLUSH WITH NEW RAISED CARRIAGEWAY

MINIMUM 1200mm REQUIRED FOR DDA ACCESS

REMOVABLE BOLLARD

STEEL SOCKETS IN PAVING FOR REMOVABLE UMBRELLA

OUTDOOR DINING AREA

PAVING TYPE D 200x200x60mm GRANITE PAVERS

MINIMUM 1200mm REQUIRED FOR DDA ACCESS

REMOVABLE BOLLARD

1500

STEEL SOCKETS IN PAVING FOR REMOVABLE UMBRELLA

1500

EXISTING TRACHYTE KERB FLUSH WITH NEW RAISED CARRIAGEWAY

PAVING TYPE D 200x200x60mm GRANITE PAVERS

DETAIL

TANK STREAM SANDSTONE CONCENTRATION

SANDSTONE DIFFUSION

DRAINAGE ‘TABS’

1500

SANDSTONE DIFFUSION

PROPOSED LOADING ZONE

DETAIL

TANK STREAM SANDSTONE DIFFUSION

SANDSTONE CONCENTRATION

DRAINAGE ‘TABS’

DRAIN DETAL 1:20

SANDSTONE DIFFUSION

PROPOSED LOADING ZONE

FINE GRAIN PAVING

FEATURE DRAIN

SANDSTONE PAVING

GRANITE PAVER & SETT

Central Precinct Laneways | Angel Place - Ash Street DRAIN DETAL 1:20

FINE GRAIN PAVING

FEATURE DRAIN

Paving Detail - Angel Place | DRAFT In collaboration with: SANDSTONE PAVING

Client: City of Sydney

GRANITE PAVER & SETT

Drawn: LH/LN Checked: SC/DD

Scale: Date:

1:100@A1 September 2009

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Central Precinct Laneways | Angel Place - Ash Street In collaboration with:

Dwg no. : Rev:

Paving Detail - Angel Place | DRAFT Client: City of Sydney

Drawn: LH/LN Checked: SC/DD

Scale: Date:

1:100@A1 September 2009

Dwg no. : Rev:

28063 - SK01 -

CANADA BLOOMS GARDEN SURFACE DEEP GREEN CAST GREEN INVASION CIVIC CENTER VICTORY GARDEN THE GARDEN THAT CLIMBS THE STAIRS KIC PARK CARPARK – YEAR OF THE BUILT ENVIRONMENT NOT GARDEN & NOT AGAIN EDAPHIC EFFECTS PUBLIC FARM 1 IN FACTORY

城市绿化

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CANADA BLOOMS GARDEN 加拿大花园 The garden designed by asensio_mah and developed in collaboration with students at the Harvard GSD, was installed at 2012's Canada Blooms garden show in Toronto. The installation was an extensive garden that unwraps and twists to create larger garden “pockets” while simultaneously providing an undulating surface that embeds a secret micro garden within its thickness. Garden parcels are located in the spaces created in between the unfolding surfaces, while smaller micro moss gardens are located within the thickness of the surfaces themselves, inviting visitors to interact with gardens of different scales throughout the installation. The surface itself unwraps to achieve many tasks, defining and framing protected planter spaces,

该园是由 asensio_mah 设计，并由哈佛大学设计研究生院的学生

creating multiple orientations for the moss garden, casting shade, while also forming a twisted

共同参与完成的，被安置在多伦多 2012 年的加拿大开花园艺展会上。

surface that undulates while structurally stabilizing itself. As a system, the surface is able to unwrap

花园延伸向远方，并非完全覆盖在地上，扭旋式的敞口如“口袋”一样，

at different angles to provide different scales of pocket gardens as well as different degrees of shade,

同时其波浪起伏式的设计，又产生裹包在其中的微型花园，让人感到神

producing different microclimates on the moss surface and within the garden pockets. This allowed

秘莫测。各个绿植地块位于不断变化的护栏之间，而更小一点的微苔藓

the designers to frame the distribution of different plant species based on suitable microclimatic

花园则在厚厚的护栏上，这样大、小之间的巧妙设计，让很多游客流连

zones produced by the overall installation form.

忘返。

In response to the brief for developing a temporary garden, a modular assembly approach for the

敞口的护栏可以达到多重目的，既围界了植被空间又形成了保护，

installation was adopted. The overall organization of the garden is an accumulation of 190 individual

还创造出多向伸展的苔藓园，阴阳有致，同时又形成了卷曲起伏的形状，

boxes, which on their own may be purposed and subsequently re-purposed after the event as planter

稳定了自身结构。护栏有规律地朝不同的角度敞开，再以不同的角度闭合，

boxes. This allowed for the installation to take on a utility beyond the short one week program of the

组成了大小不同的“口袋”花园，创造出不同大小的阴面，为苔藓成长

garden show and to be disassembled and subsequently redistributed as individual units.

提供了不同的微气候。这就使得设计者可以根据护栏总体的走势，在不同的微气候区种植不同的植被。

Designer Leire Asensio Villoria, David Syn Chee Mah

Teamwork Arthur Liu, Mark Rukamathu & Michael Smith

Design Company asensio_mah

Location Toronto, Canada

为了适应花园展示的短期性，设计者采用了积木式的搭建方法。整个花园是由 190 个独立的方块搭建而成的，方块本身可以根据设计组装造型，展览结束后，这些方块可以重塑作为花盆使用。这就使得这些方块在短短一个星期的展示会之后 , 可以被拆解并重新组装、单独使用。

asensio_mah is a multi-disciplinary design collaborative active in the design of architecture, landscape design, master planning, interior design and installations. asensio-mah was established by Leyre Asensio-Villoria and David Mah in 2002. asensio_mah is currently completing a number of projects in Europe and Australia and have published and exhibited their work internationally.

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Green Cast 绿色梦幻墙 The façade of the building is covered with planters made of aluminum die-cast panels, which provides space for facilities. The 3 (up to 6) aluminum panels, which also form planters, are made in monoblock casting. Each panel is slanted, and its surface appears to be organic, of which cast comes from decayed styrene foam. Equipment such as watering hose, air reservoir for ventilation and downpipes are installed behind the panels so that the façade can accommodate a comprehensive system for the building. Design Company Kengo Kuma & Associates

Maximum height 14.97m

Location Kanagawa, Japan

Structure engineer Makino Structural Design

Structure RC, steel-frame

Tree Planting Sugiko

Area 424.50m2

Aluminum Die-Cast Sanwa Tajima

SITE PLAN S=1/200

KENGO KUMA Kengo Kuma was born in 1954. He completed his master’s degree at the University of Tokyo in 1979. From 1985 to 1986, he studied at Columbia University as Visiting Scholar. He established Kengo Kuma & Associates 1990. He taught at Keio University from 2001 to 2008, University of Illinois at Urbana-Champaign in 2008, and in 2009, he was installed as Professor at the Graduate School of Architecture, University of Tokyo. He was awarded the International Spirit of Nature Wood Architecture Award in 2002 (Finland), International Architecture Awards for the Best New Global Design for “Chokkura Plaza and Shelter” in 2007, and Energy Performance + Architectutre Award in 2008 (France). He is an International Fellow of RIBA, UK, and Honorary Fellow of AIA in the US. Kengo Kuma is also a prolific writer / critic and his books have been translated into English, Chinese and other languages.

建筑的正面是由铝材压铸的板面做成的花盆墙体，该设计为设施安装提供了空间。3 至 6 块铝制板面形成统一整体，它们不仅是表皮，也是花盆。每块板面都是倾斜摆放，其外表看起来是有机的，因为表层覆盖的是一种腐烂的苯乙烯泡沫材料。像水龙带、通风用的贮气罐、

S=1/200

还有下水管都安装在铝板的后面，从而形成了大楼的一个综合的供给系统。

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S=1/200 S=1/200

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Green Invasion 绿色入侵

Denise Ampuero

Green Invasion tries to transform “El Pasaje Encarnación” (a street used as a parking spot in spite of its banning) into a long green carpet made with natural grass and ed with urban furniture (seats, tables, children playgrounds, flower pots, trash cans and sculptures) built with recycled materials such as rubber and plastic. Is in this way, that Green Invasion has a double connotation, it can be understood not only in a literal way but also in an Ecological sense. The strategy for the occupation of the area was introduced by the installation of an initial amount of grass and urban furniture. These ones began to grow with the help of the public and private instititutions and also by the citizens that wanted to be part of this growing virus. In addition, this idea can be imitated in others neighborhoods because the main goal is that every citizen can be able to create its own natural-sustainableurbanscape when the state has forgotten about them.

Architect graduated in 2006 from Universidad Peruana de Ciencias Aplicadas (UPC), part of Laureate Internacional Universities. In 2005 she took part in a landscaping and architectural workshop at the Oklahoma State University, EEUU. In 2007 and 2008 she has participated in two Arquitectum contests: “The Kube” and “Miraflores Lofts and Shops”. In both contests she received honourable mentions. During her studies and after graduated she has worked in several projects related with restoration, housing, commercial buildings and interior design. In 2010 cofounded the Pop Up architecture office with architect Gloria Andre Rojas and started to develop commercial and residential projects. They also have been recognized in local and international competitions. They received an honourable mention with the New Dance School for the Moulin Rouge in Paris and were one of the 5 projects selected to be executed in the Centro Abierto 2010 competition with the Green Invasion. This project consisted in a temporal urban intervention at the Historic Center of Lima during “La Gran Semana de Lima”.

Designer Genaro Alva, Denise Ampuero, Gloria Andréa Rojas Team Industrial Design: Claudia Ampuero Agriculture Engineer: Juan Carlos Jaullis, Ana Martínez Sculptress:Cecilia Rejtman Materials Recycled tires, Fertile Ground, Plastic mesh, Natural Grass, Recycled Plastic Bottles, Triplay, Enamel Paint, Liquid Silicon, Screws and bolts Location Peru Photographer Genaro Alva ,Pop Up Architecture, Musuk Nolte, Rodrigo Apolaya

绿色入侵工程是将原有的一条街道 El Pasaje Encarnación（虽然严禁停车，但还是被用做停车点的一条街道）改造成绿毯街道。该街道有天然草坪和各种城区设施（座椅、桌子、儿童乐园、花坛、垃圾桶、雕塑），都是由可循环再用的橡塑材料制成。正因如此，绿色入侵工程有了双重含义：实用又环保。绿色入侵工程的设计思路是为街道铺草皮，配备公用设施。这项工程在公、私很多机构以及市民的自发帮助下，日益壮大。此外，该工程还可以被邻近的社区仿效，因为该工程的目标就是当国家无暇顾及的时候，每位市民都可以为他们自己创造一个自然的、可持续的、绿色城市景观。 - 72 -

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The Garden That Climbs The Stairs 阶梯公园

The garden climbs the stairs, running in undulating lines of different textures and colors. Envisioned as a dynamic urban space; it moves in time and with the seasons. Its lush planting cascades down as though the garden was flowing or melting, bleeding the colors into each other. In one gesture, it narrates a story of landscape taking over and expanding over the Public Space and Architecture, therefore transforming the way that the stairs and the space is perceived and read by the user. It is a garden of contrasts: the contrast between native and exotic plants, between the red flowers and the green grass, between the green grass and the grey paving. In form, the garden engages the horizontal plaza with the rising vertical plane of the steps and the upright gesture of Eduardo Chillida’s sculpture. Like the famous Spanish Steps in Rome, the garden is not only designed for visitors to ascend and descend, but for them to linger, and just be. Designer Diana Balmori

Location Spain

Design Company Balmori Associates, Inc

Area 80 m2

Diana Balmori

Diana Balmori, founding principal of Balmori Associates, brings a breadth of experience in architecture, urban design, landscape architecture, ecology, architectural history and sustainability to her New York-based landscape urban design office. Recognized internationally, Dr. Balmori has been honored by numerous institutions, including the National Endowment for the Arts, the National Endowment for the Humanities and the American Institute of Architects. In 2006, Dr. Balmori was appointed a Senior Fellow in Garden and Landscape Studies at Dumbarton Oaks in Washington, DC.; Dr. Balmori serves her second term on the U.S. Commission of Fine Arts. A design educator as well as practitioner, Dr. Balmori, hold a joint appointment with the Yale School of Architecture and the Yale School of Forestry and Environmental Studies.

此公园蜿蜒曲折，顺着楼梯向上延伸，各部分的结构和颜色各不相同。该花园被预想为一个动态的城市空间，随着季节和时间的变换而改变。茂盛的植物似瀑布而下，好似整个花园都在流动并逐渐融合，颜色间相互渗透。花园以这样一种姿态描述着它所在的周围空间和建筑的风景故事，因此，它改变了走在其中的行人对楼梯和空间的感知和领悟的方式。这是一个对比感很强的花园：本地和外地植物的对比、红花与绿草的对比以及绿草与灰色路面的对比。在形式上，花园分布在一个水平广场上，广场上垂直分布着台阶和直立的 Eduardo Chillida 雕塑。这个花园就像罗马城著名的西班牙台阶一样，不仅方便游客上下台阶，而且为他们驻足观赏创造了便利条件。

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Designer Francesco Gatti

Area 1100 m²

Design Company 3GATTI

Materials Wooden deck, Steel structure, Brick walls, Acrylic boards

Location Shanghai, China

Photographer Shen Qiang

Kic Park KIC公园 An essential element in his designs has always taken account of inter-activity:

3GATTI

in this case between the people concerned (their actions and activities) and

The studio is born in Rome, then driven by an impulse, of a possible goal, to the “new frontier of the manner” in China, on Shanghai, fixed his second reference coordination. The choice is guided by the research of an occasion, he confirms that “. In fact I arrived in China, almost exclusively because being in love with architecture I look for an opportunity to practice it traveling around the globe. I am not a fast or competitive guy, and not appreciating the Chinese contemporary culture,, i believe that there will be a shorter age of job opportunities, I will return immediately to the relax Rome.

the influence of natural elements such as weather and sounds. This is the case with Kic Park where Francesco Gatti has imagined a pleated wooden floor destined to be suitable for all the functions that are indispensible in a public area (seats, green spaces, pathways, publicity panels). The image used by the architect to illustrate his idea – that of a sheet of paper cut and folded like a fan – brings to mind the epigenetic description that Deleuze gives of spaces characterized by the use of a fold: Development and evolution are concepts that have changed their significance, because today they designate epigenesist or the apparition of organisms or organs that are neither pre-formed nor built-in but formed from different objects that do not resemble them.

在本案建筑师的所有设计中，互动性一直是他考虑的一个重要元素：本案的互动性体现在人（人的行动与活动）和自然元素（天气、声音）间的相互影响。 KIC 公园的设计便属于这种情况，建筑师弗朗切斯科 • 加蒂打算在公共区域（座椅、绿地、小路、

In this way Gatti, using a generic and characterless basis, has accomplished plastic results that are both individual and original, and has introduced divergent intervals into an area that would otherwise be anonymous – thus enabling people to find their own personal space. The architect has covered the whole surface with wood, an ideal primitive material that is both flexible and hospitable. Where the wood rises up, one can see a living underworld made of grass and trees.

宣传板）内铺设褶皱形木地板，此地板本身便可用于所有必要的公共用途中。建筑师用图解来说明他的这一想法──将一张纸剪开并折成扇形——让人联想到德勒兹对于折叠式空间的渐变性描述：发展和演变的理念已经改变了他们的侧重点，因为今天他们定义的渐变说或生物体或器官的幻影既不是预先形成的，也不是内置的，而是由截然不同的物体构成的。通过这种方式，加蒂采用了随处可见的普通材料，成功设计出了独特的、原创的塑料制品。同时，他还在同一区域内置入了多个不同的隔断，使其区别于其他作品，也让人们能够找到属于自己的私人空间。

The architect in this way has predisposed specific spaces where people can chat together, have a rest, or even go skateboarding.

建筑师用木材，一种理想的原料，将整个表面覆盖。树木既便于利用，又能营造舒适的环境。哪里有高耸的树林，哪里就可以看到从地下生出的草木。建筑师通过这种方式为人们预设了一个可以一起聊天、休息、甚至是玩滑板的特定空间。

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In Factory IN FACTORY 创意中心 The bricks covering the ground are interspersed with strips which form the principal pattern of the project; these are composed of five different elements: – rows of red bowls containing bamboo plants – benches made of reflecting steel with the seat in corten and transparent resin – green grass – mirror glass with lamps hidden behind (to reflect the sky by day and a white light by night) – pools of water (black inside but with incorporated lighting) with goldfish and aquatic plants There is interaction between earth and sky through the effect of the mirror glass situated along the strips along the ground as well as the reflecting panels up above. The two series of “mirrors”, on the ground and in the air, act together to infinitely multiply the reflection of the visitors who transit the area. By night they reflect the light from the lamps hidden behind the glass, diffusing it from above to below.The area where these visual effects are most evident is the main courtyard (see photograph); here a visitor is embraced in a spatial experience due to the abundance of elements. Designer Francesco Gatti

Area 7700 m²

Design Company 3GATTI

Materials Concrete coated bricks, Steel wires, Corten, Stainless stell mirror, Mirrored glass, Painted stones.

Location Shanghai, China

点缀在砖面上的条形设计形成了中国上海 In Factory 创意中心的主要装饰图案特点；这些条形图案由五种不同元素构成： ─ 多排种有竹子的红色碗状物 ─多条带有光滑反射面的钢制长凳，凳面是考顿钢和透明树脂材料做成的

─绿草 ─镜面玻璃，后面安有隐性灯（白天反射天空，夜晚反射白光） ─水池，内有金鱼和水草（池内是黑色，但装有照明灯）凭借设置在地面条状物旁边的镜面玻璃和上面的反射板的反射光效，地面和天空也产生了交相呼应的效果。经过此地的游客被地面和空中的两种镜面相互反射，其影像在镜中被无限地反射。晚上，镜面便反射隐藏在背后的灯光，从上到下漫射开来。这种光效最突出的地方就是主庭院了（见图片）；在这里游客能体验到各种装饰设计带来的空间体验。

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BIG LOVE NYC CLIENT: TIMES SQUARE ALLIANCE FROZEN TREES WATER ISLAND MORSBROICH SOLAR TREE STREETLIGHT WATER PAVILION AALBORG LIGTHSAILS THE GARDENER’S OASIS SUNFLOWERS, AN ELECTRIC GARDEN ILUMINACIÓN CALLE PRECIADOS Y ARENAL BORROWED LIGHT LILY STREET LIGHT ILUMINACIÓN PASEO DE RECOLETOS VERSO LIGHTING SYSTEM SOLAR COLLECTOR MUSICA TRAFALGAR SUN KORIN, LIGHT FOREST

光与水

Lighting and water - 99 -

BIG LOVE NYC CLIENT: Times Square Alliance 大爱纽约:时代广场联盟

“BIG ♥ NYC,” a 3-meter tall glowing heart sculpture consists of 400 transparent, LED lit, acrylic tubes donated generously by the Austrian lighting company Zumtobel. The transparent tubes refract the lights of Times Square, creating a cluster of lights around the heart. The hovering heart will appear to pulsate as its tubes sway in the wind. When people touch a heart-shaped sensor, the heart will glow brighter and beat faster as the energy from their hands is converted into more light. “What better place for couples to celebrate love and public art than in the heart of Times Square – this year, we’re inviting couples from across America and New York to come to Times Square and publicly declare their love in front of the beautiful “BIG ♥ NYC” which will glow brighter on Valentine’s Day as a symbol of our month-long celebration of love.” Tim Tompkins, President, Times Square Alliance.

BIG – Bjarke Ingels Group BIG – Bjarke Ingels Group is a leading international partnership of architects, designers, builders and thinkers operating within the fields of architecture, urbanism, research and development. The office is currently involved in a large number of projects throughout Europe, North America and Asia. BIG’s architecture emerges out of a careful analysis of how contemporary life constantly evolves and changes, not least due to the influence of multicultural exchange, global economic flows and communication technologies that together require new ways of architectural and urban organization. BIG is led by partners – Bjarke Ingels, Andreas Klok Pedersen, Finn Nørkjær, David Zahle, Jakob Lange, Thomas Christoffersen and Managing Partners, Sheela Maini Søgaard and Kai-Uwe Bergmann – with offices in Copenhagen and New York. In all our actions we try to move the focus from the little details to the BIG picture.

“The heart reflects what Times Square is made of: people and light – the more people, the stronger the light,” Bjarke Ingels, Founder & Partner, BIG.

“大爱纽约”，是一个 3 米高的发光心形雕塑，由奥地利 Zumtobel 照明公司慷慨捐

“Like a daisy chain of human contact, the more people who hold hands or make

赠的 400 根透明的 LED 压克力灯管组成。透明灯管折射着时代广场的灯光，映衬在心形雕

contact with others while touching the heart, the brighter and faster the heart will

塑周围。这颗心能随风摇曳，好似一颗徘徊的悸动之心。当人们触摸心形的传感器时，这颗

pulse. The “BIG ♥ NYC” is an indicator of human energy in one of the most energized

心就会变得格外明亮，跳动得更快，这是因为它把人们手上的热量转化成更多光能的缘故。

places on earth.” Daniel Kidd, Project Leader, BIG.

“今年，还有哪里会比在时代广场的中心庆祝夫妇相爱和大众艺术更好呢？我们邀请来自美国各地和纽约的情侣到时代广场来，在美丽的“大爱纽约”雕塑前公开告白他们的爱情。

Designer Daniel Kidd, Bjarke Ingels Design Company Bjarke Ingels Group Collaboration Flatcut, Local Projects, Zumtobel, Robert Silman Associates

Team Jeremy Siegel, Julian Liang, Chris Falla, Sören Grünert, Marcella Martinez, BIG + Times Square Alliance + Flatcut + Local Projects and Zumtobel

“大爱纽约” 在情人节那天将会变得更加明亮，以作为我们长达一个月的庆祝活动的象征”，时代广场联盟总裁蒂姆·汤普金斯先生说到。 “心形反映出时代广场的组成部分：人和光——人越多，光越强，”BIG 公司的创始人及合伙人 Bjarke Ingels 说到。

Location New York, USA

“就像人接人的雏菊花环一样，在触摸心形雕塑时，越多的人手牵手或是与其他人有身体接触，心形雕塑就会越亮，跳动得也越快。“大爱纽约”是在纽约──世界上最具活力的地方之一──检测人体能量的指示器。”BIG 公司的项目负责人丹尼尔·基德说到。

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FROZEN TREES 冰树林

“FROZEN TREES” is a temporary installation for Christmas lighting in D. Pedro IV square in Lisbon. It builds an illuminated, frozen and fractal Christmas landscape that affects and alters the path of passers by. Thirty cylinders – structured, self-sufficient streetlights – are placed throughout the square, drawing a new landscape and context and inviting the visitors to new spatial experiences. Designed from the creative association of ”Rationell Variera” piece by K Hagberg/M Hagberg, and taking advantage from its shape, “FROZEN TREES” brings a domestic object to the scale of the town – thus dissociating it from its original function and leading to the loss of its identity as a single element, making a general call for creativity in the current socio-economic conjecture. The volumes, made of multiple holes, are visually trespassed and define an ethereal presence in the square. The installation takes the advantage from the holes of the original object and the translucent properties of its material – polypropylene plastic -, simultaneously flexible, non-inflammable and highly absorbent and potentiating the transmittance of light, either natural or artificial. Blending with the urban surrounding, “FROZEN TREES” presents different characteristics during the day and night: by day, the trees make surprising shadows and the ensemble makes an abstract, white and tracery landscape, through which we see the surrounding; by night, illuminated from inside by LEDs, the elements, as street lamps, explode with white light, creating a Christmas ambience with variable intensity.

Designer Diogo Aguiar, Teresa Otto Design Company LIKEarchitects Dimensions 10 prisms with 3,60 m high with pentagonal base (16 cm side); 10 prisms with 3,60 m high with decagonal base (16 cm side); 10 prisms with 3,60 m high with pentadecagonal base (16 cm side);

Materials 2400 plastic bags dispensers ”Rationell Variera” 2500 meters of metallic tubular (square section) - 10X10X1.5mm 100 meters of metallic tubular (square section) - 25X25X2mm 330 linear meters of 12-volt white LED tape 45 12-volt car batteries 10 battery chargers 4800 self-drilling screws 3.5x16mm; Photographer Dinis Sottomayor, FG+SG architectural photography - 102 -

FROZEN TREES

Escala 1/15

Escala 1/400

“冰树林”是一个临时建造在里斯本 D. Pedro IV 广场上为圣诞节提供光效的灯饰。“冰树” 冰清玉洁，由不规则的片形组成，可以在夜晚发出光亮，吸引行人驻足观看。这片 30 个圆筒形的“冰树”外形独特、自给自足、自成一景，散落于广场各处，让人眼前一亮，不由地想尝试新的空间体验。冰树林的独到的设计灵感来源于 K Hagberg/M Hagberg 设计的“Rationell Variera”系列产品，冰树林借鉴了它的外形特点，并将其本土化，使其更适合里斯本的城镇规模，因此，冰树脱离了其原始功能，且作为单独个体，它的特质也被削弱，冰树的设计对现今社会经济学创意猜想提

LIKEarchitects

出了整体的要求。 “冰树林”矗立在广场上，外观通透轻盈，是因为冰树主体被设计出许多孔洞。冰数承袭了 “Rationell Variera”系列产品外观有孔洞的优点，同时也延续了聚丙烯塑料透明的特性。该材料还具有韧度强、抗燃烧、吸光性好、透光性强（无论是自然光还是人造光）的特点。“冰树林”在白天和夜晚呈现出不同的景观，与周围环境融为一体：白天，冰树下有着大面的的树荫，令人称奇，营造出简约、白色的窗饰景观，人们可以在此观赏周围美景；夜晚，内置的 LED 灯使其散发光芒，如街灯一般，将白光洒满大地，营造出浓情浪漫的圣诞氛围。

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LIKEarchitects® is an award-winning practice focused on the design of ephemeral architectural objects and on socialy relevant international competitions. LIKEarchitects® is an award-winning practice focused on the design of ephemeral architectural objects and on socially relevant international competitions. The studio, of an experimental, provocative and innovative nature, was founded in 2010 by the young Portuguese architects Diogo Aguiar and Teresa Otto and proposes an architecture which is attentive to the current socio-economic situation, aims to boost places and involve the community in a critical participation of urban space, having Installation, Happening and Urban Art as daily references. LIKEarchitects’ work has been published both in national and international architectural magazines and books, and they have been invited to give lectures and interviews all over the world.

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Water Island Morsbroich 水心岛MORSBROICH Inside an existing water basin in front of the museum, a round water pavilion formed by an encircling wall of water has been placed. Visitors can pass the water basin and enter the installation by four footpaths. Once the flow of the water walls ceases, they can step inside the pavilion and will suddenly be enclosed in a space surrounded by walls of water. People may experience the water island as a communicative as well as a private place depending on whether they share the pavilion

Jeppe Hein 1974 born in Copenhagen 1997 Royal Danish Academy of Arts, Copenhagen 1999 Städel Hochschule für Bildende Künste, Frankfurt / Main lives and works in Copenhagen / Berlin Solo exhibitions (selection) 2011 21st Century Museum of Contemporary Art, Kanazawa, Japan 2010 Neues Museum Nürnberg IMA - Indianapolis Museum of Art, USA PICA - Perth Institute of Contemporary Arts, Australia 2009 ARoS Kunstmuseum, Århus, Denmark Contemporary Art Gallery, Vancouver, Canada 2007 Carré d’Art, Musée d’art contemporain de Nîmes, France Sculpture Center, New York The Curve, Barbican Art Centre, London 2006 Hayward Gallery, London X-Rummet, Statens Museum for Kunst, Copenhagen 2005 Espace 315, Centre Georges Pompidou, Paris 2004 P.S.1. MOMA, New York Group exhibitions (selection) 2011 Die Kunst der Entschleunigung, Kunstmuseum Wolfsburg, Germany Höhenrausch.2, OK Offenes Kulturhaus Oberösterreich, Linz, Austria 2010 EMSCHERKUNST.2010 - European Capital of Culture RUHR.2010, Essen, Germany 2007 The World as a Stage, Tate Modern, London 2005 Ecstasy. In and about altered states, MOCA. Los Angeles 2003 Interludes, 50th Biennale di Venezia

with a group of people or enjoy it on their own. Artist Jeppe Hein

Dimensions ø 5 m; height: 2,30 m

Material water, stainless steel, nozzles, electrical pumps, sensors

Photographer Stephan Babendererde, Nikolaj Svennevig

在博物馆前面的水池中，伫立着一座由圆形的喷水墙组成的水心岛。来访者可以通过水池上的四条步行通道进入水心岛。一旦水墙停止喷水 , 他们就可以步入水心岛中心，然后突然水墙喷发，人们便被隔断包围在里面。在里面，人们可以与他人共同嬉戏，也可以独自享受这意境。当然，这要看他们是喜欢独处呢，还是喜欢与他人共处了。

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Designer Koo, Jin-woog Design Company NOTHING design group Material Stainless Steel etc.

Solar tree Streetlight 树形太阳能路灯 NOTHING design group (Director: Koo, Jin-woog) and Asiana Airlines (President & CEO: Youngdoo Yoon) along with KOICA (Korea International Cooperation Agency) installed solar powered streetlights at, World Cultural Heritage appointed by UNESCO, Angkor Wat. The streetlights have been installed to protect the visual aspects of the site and provide safety towards tourists visiting. The solar powered streetlight project is the outcome of the agreement made between Asiana and KOICA early February of this year in which both parties agreed to provide free of charge aid activities around the world and promote and improve the nation’s image and brand value. This kind of International Social Contribution is meaningful and shows that a government and a corporate can both assist each other in contributing to society. NOTHING design group and Asiana has installed 16 solar powered streetlights around Angkor Wat and is planning to install around 5 to 10 additional streetlights a year till 2015. NOTHING design group and Asiana is aiding to preserve the World Cultural Heritage on Asiana’s destination and to protect tourists visiting these sites. In comparison to the original streetlamps that use incandescent lamps (150w), the contributed solar powered streetlights lower the CO2 emission to 240kg equivalent to planting 86 pine trees. Asiana is a leading company in green management and is trying its best in protecting the environment. Especially the newly manufactured solar powered streetlights have Asiana’s CI imprinted on the

NOTHING 设计集团（董事长：Koo, Jin-woog）、韩亚航空公司（总裁

stem of the streetlight. This kind of Green CSR (Corporate Social Responsibility) is a model to the

兼 CEO Young-doo Yoon）和 KOICA（韩国国际协力团）一起在 UNESCO（联

industry and clearly has a PR and social contribution effect.

合国教科文组织）指定的世界文化遗产——吴哥窟安装了太阳能路灯。安装这种路灯既能增加吴哥窟的视觉美感又能为游客的安全观光提供保证。

Nothing Design Group The Nothing Design Group is a group of young Korean designers, directed by Koo Jin-Woog. They create poetic and narrative designs that playfully address the relationship between people and their environment. Inspired by oriental philosophy, their work explores formless content: how ‘nothing’ can be designed into something.

太阳能路灯项目是韩亚航空和 KOICA 于今年二月初达成的协议。双方同意在世界各地提供免费资助，借以改善和提高国家形象和品牌价值。这种国际社会援助的意义深远，表现出政府和公司机构能互相协作为社会做贡献。 NOTHING 设计集团和韩亚航空在吴哥窟已安装了 16 个太阳能路灯，并

Koo, Jin-woog

计划在 2015 年以前，每年再安装 5 ～ 10 盏路灯。NOTHING 设计集团和韩亚

Jin-woog KOO Director of NOTHING design group Member of a Kwanju Design Center Advisory Committee(design) Member of a KOICA Advisory Committee(design) Lecturer at Konkuk University(Product design)/ Lecturer at Hongik University(Product design & Transportation design) Lecturer at Graduate School of Konkuk University(Industrial design) Member of a Samsung Electronic Ltd. Membership Advisory Committee(design) 2005 MA Industrial Design Department _ Graduate School of Hongik University(Korea)

航空正在帮助保护韩亚航空航线所能到达的目的地所在地区的世界文化遗址，

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并保护游客能安全地在这些地方游览。与原有的使用 150 瓦白炽灯泡的路灯相比，太阳能路灯将二氧化碳的排放量降低至 240kg，相当于种植 86 棵松树。韩亚航空是实行绿色管理的领军公司，且正在进其最大努力保护环境。最近生产的太阳能路灯灯杆上还特别印上了韩亚航空的企业形象。这种致力于环保的企业社会责任感是行业的楷模，并且能带来显著的公关和社会效应。

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Pierre Luu Pierre Luu is a sculptor and fountain designer living in France. His work explores the interaction between people and water in urban contexts. After studying water engineering and taking evening courses in fine arts, he now creates artistic wind and water devices and designs water installations at a landscape scale. www.art-et-eau.com

THE GARDENER’S OASIS 园中绿洲 This artistic installation has been designed to illustrate the paradoxical nature of water in the Mediterranean area: the need to collect water in a dry climate and the use of this precious element to nurture lush, oasis-like gardens. The installation uses common objects from gardens which are then re-imagined as water sculptures. The colors and textures of the pots piled as columns are a reference to the RomanoByzantine architecture frequently seen in the region. The watering cans in the middle of the basin are set in motion by a continuous flow of water and are a tribute to the work of the gardener. Designer Pierre Luu Material steal, aluminium, plexiglass, ceramic pots, metal watering cans Location Marseille, France

这个外观很艺术的装置充分体现了地中海地区水的矛盾特征：在旱季迫切需要集水，来供应这苍翠繁茂的绿色花园。该装置的搭建在花园里就地取材，让人不禁想起那些水雕塑。材质、颜色各异的花盆堆在一起形成几根柱子，这种装饰格调是这一地区常见的罗马诺拜占庭式建筑风格。喷壶在该装置的中心位置，通过循环供水完成作业，是花匠离不开的好帮手。 - 114 -

SunFlowers, an Electric Garden 向日葵电子花园 SunFlowers were initiated as a buffer to mask the loading docks at the edge of a development from the I‐35 highway. Instead of merely mitigating the site, the new design makes it an

Mags Harries & Lajos Héder Since 1990 They have created over 30 major public commissions. They came to this collaboration from the different worlds of art and architecture, but their focus is the same: to activate public space through art. Their art explores themes of water, energy, transportation and other elements that connect people and communities. They entice people into special vantage points, calling attention to views, sounds, or light effects. They use multiple elements throughout an area to create a unified art environment with functional components such as seats, lighting, shade, solar panels, and water play. They tailor their materials specifically to the project site and concept, ranging from standard construction materials like steel and concrete to ephemeral elements like water, light, and sound. Some components may be prominent, while others have a lighter touch and offer intimate experiences. Though diverse in form, their projects all share the same sitespecific approach.

attraction and an important facility. The 15 SunFlowers that form the Electric Garden are sculptural solar collectors that generate solar energy to be used for lighting at night. During the day they provide a shaded grove for a pedestrian path and at night the LED’s in the SunFlowers’ stamens glow with blue light. The additional energy that they produce is fed into the electrical grid, which is monitored online at muellersunflowers.powerdash.com. The project is both an icon for the sustainable, LEED certified development and a highly visible metaphor for the energy conscious City of Austin. Designer Mags Harries & Lajos Héder

Location Austin, TX

Design Company Harries/Héder Collaborative

Size 15 SunFlowers, 16’ high/ Site 30’ x 1,000’

Material Photovoltaic solar collector panels, steel, land forms and planting

The illustration Harries/Heder

Photographer David Newsom

向日葵的最初设计是作为一个缓冲地带，用来遮挡 I-35 号公路边上的装卸码头。新的设计使它成为一个极具吸引力及重要性的设施，而不是仅仅用来做遮挡。15 个“向日葵”形成了一个电子花园，这些太阳能收集器能在白天收集太阳能用于夜晚照明。白天它们可以供人们乘凉，晚上，向日葵上呈花蕊状的 LED 灯发出蓝色的光芒。剩余的电力会输送到附近电站电网，可以在 muellersunflowers.powerdash.com 上在线监控。这个项目既是一个可持续发展的符合 LEED 认证的象征，又是一个清晰表现出奥斯汀市能源意识的标志。

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Iluminación Calle Preciados y Arenal 公主大道阿雷纳尔街道的街灯 The design installed in calle Preciados, calle del Carmen and Arenal consists of a mix of spheres and discs that are distributed randomly in the streets. As a counterpart to the simplicity of the geometry that refers to the typical Christmas tree balls, the objects obtain presence only by a series of complex light patterns. The light elements, build of white colored luminous wire (with three spheres in red coloured LED wire) hang from a horizontal web at

Ben Busche

random heights creating a dynamic and moving atmosphere when

Ben Busche was born in Munich (Germany) in 1968 and studied Architecture and Urban Planning at the Technische Universität in Stuttgart, licensing in 1998. With the experience made at the Escuela Técnica Superior De Arquitectura de Madrid (Spain) in 1995 while realizing a university interchange, he decided to move to Madrid after finishing his diploma, acquiring experience in several architecture offices collaborating in various projects of big scale, most of all hospitals. Simultaneously, he carried on with his university career studying for doctorate grade at the ETSAM. In 2004 he founded the office for architecture and design Brut Deluxe operating from two bases in Madrid and Munich. Brut Deluxe is focused on the investigation and creation of space and its atmospheric qualities. The projects oscillate between different scales of urban intervention: from ephemeral artistic installations to industrial design, construction design and urbanism.

perceived by a walking spectator. Designer Ben Busche Team Theodore Molloy, Joao Gómez Leitao, Antonio Bernacchi

Size 900 m length, calle Preciados y Arenal photographer Miguel de Guzman

Location Madrid, Spain

西班牙马德里公主大道、卡门街道和阿雷纳尔街道上都随机安装了球状和盘状的灯饰。这些设施通过一系列复杂的灯光样式得以展示，以此来弥补传统圣诞树上圣诞球灯饰的单调感。由白色发光的电缆线（带有三个红色球体的 LED 灯线）制成的各种灯饰被高低不平地悬挂在一个水平网面上，行人游走其中时方能感受到灯光形成的动感氛围。

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Borrowed Light 反光灯 Kinetic Aluminum Sculpture with LED Lighting Borrowed Light is 2.7 meters high and has five cylindrical columns that create a cloverleaf design. The kinetic sculpture is made from 12 sheets of industrial grade aluminum that are laser cut and welded over an internal armature for stability and support. Each of the vertical panels features an intricate laser design that is backed with a bluish green material that creates a perception of depth. At night, LED lighting inside the sculpture causes it to glow and gives the work an added dimension. Designer Deedee Morrison

Location Oklahoma City , USA

带有 LED 照明的动力铝质雕塑反光灯 2.7 米高，并由五个管柱组成一个立体交叉的设计。该动力雕塑是由 12 张工业级铝板制成，铝板经激光切割，并在内部焊接了一个电枢片以保证稳定性和支持力。每个垂直方向的铝板都以一个复杂的激光设计为特点，铝板后面有蓝绿色的材料做衬板，在视觉上营造出一种深邃感。到了晚上，雕塑内 LED 的照明灯使其熠熠生辉，并给整个雕塑增添了维度感。

Deedee Morrison Deedee Morrison is a sculptor and renewable energy artist. She works in a very industrial setting that is an inspired environment for an artist to create work. Her studio is in the home of the Old Republic Steel Mill and what is now the Wade Sand and Gravel Quarry in the heart of the “Birmingham District.” The sculptor works with limestone rock that has been harvested from an area in the quarry with 600 million years of geological history. The process of harvesting the limestone brings a certain awareness and perspective to her work. The second element of influence is the backdrop of the old steel mill that brought in the industrial development of the whole region. The sculptures inspired by this environment are intriguing because the works are created using renewable energy technologies that can answer many of the compelling energy challenges we face today - smarter, cleaner and more energy efficient as we evolve in our understanding of what serves our future and the future of our children best. - 120 -

Lily street light 该项目是一个巨大的铃兰形路灯。由于天花板较多，为了节省用电而使用了 LED 灯泡。这些路灯将提供充足的光线，而路灯本身又会成为街头的装饰品。

百合路灯 The project is a street lamp in the form of a giant lily of the

灯身因其本身外形复杂而选用了玻璃纤维、碳纤维或可丽耐精制而成。

valley. Since there are many plafonds, in order to save will use LED bulbs. These lamps should provide plenty of light and the lamp itself should become an ornament of the streets. Body because of its complicated shape will made of fiberglass, carbon fiber or Corian Designer Tembolat Gugkaev

Tembolat Gugkaev Tembolat Gugkaev is a Russian designer, which surely goes to the world level. Working with plants and enterprises around the world, he won fame in the design industry. His works are distinguished by the originality and freshness of the decisions and have already received their fans in many countries in Europe, America and Asia. While most of his works exist in the form of concepts, but it begins to implement the most popular works. Tembolat Gugkaev was born in North Ossetia-Alania, learn many creative professionals, has long worked as a jeweler in the worldfamous jewelry company. He currently lives and works in St. Petersburg. Many travels around the world.

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Iluminación Paseo de Recoletos 静修大道灯光 The installation for the Paseo de Recoletos 08/09 expresses our hope for a new life cycle after the winter, similar to some traditional elements incorporated in the range of symbols of celebration of Christmas, like the green tree or the apple. In our case, the desire for the new cycle of life manifests in an explosion of colors similar to a flowered spring field. The luminous elements are manufactured of LED string and LED bulbs in all existing colors and hang from a horizontal wire web at random heights creating a dynamic and moving atmosphere when perceived by a walking spectator. 静修大道 08/09 的作品表达了我们对于冬季过后新一年的生活期望，这里的设施与庆祝圣诞节的一些传统要素相似，如圣诞树、圣诞苹果。就本案而言，对于新生活的渴望体现在缤纷的色彩中，此景好似春天田野中无数花朵盛开时的场景。发光组件由所有现有颜色的 LED 灯线和 LED 灯制作而成，随意悬挂在一个水平的网状物上面，高低不同，当行人通过时，会感受到动感十足、活力无限的氛围。

Ben Busche

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Desiner Ben Busche

Size 400 m length, paseo de recoletos

Team Romina Serrano

photographer miguel de guzman

Location Madrid, Spain

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VERSO LIGHTING SYSTEM 维尔森照明系统 Verso public lighting system is the result of a creative gesture that intends to join functionality with a distinguished contemporary image. The essence of the project reflects a conceptual approach that understands design as a mean of interaction between the creator and the user, provoking a reactive position in the urban anonymity of the contemporary. The result is an object that causes reactions, emotions and sensations in the observer, provocative pieces that explore the sensitive limits of their utilization.

AND-RÉ

TECHNOLOGY The challenge of the three-dimensional realization of the dynamic object has been achieved through an intensive research with three-dimensional modeling, working the angles and the connection breaking points, dematerializing the objective continuity of the elementary triangular section, seeking diversification of perception. HANDMADE CRAFTWORK The complexity of the object leads to a totally innovative manufacturing process, combining the latest cutting edge technologies with manual craftsmen manufacture, since no standard tools or materials available on the market are used in fabrication. The triangular profile is built from the ground by bending a single steel sheet, welded and polished by hand.

维尔森照明系统展示出一种创新的形象。这一创新形象将照明功能与一种高贵的现代造型有机地结合在一起。该项目的精髓是反映出一个理念，将设计解读成一种创建者与使用者间互动的手段，同时，激发了人们对当代城市陌生感的再感知。因此，此设计最终能引发观看者的回应及情绪、感知上的共鸣，并能探索该类设施用途上的局限性。

AND-RÉ is multidisciplinary Portuguese based office, with a global international action, dedicated to the study, research and practice of architecture, design and art. The firm is directed by the partner architects Bruno André and Francisco Salgado Ré. The genesis of their creative identity lies in a spirit of constant demand. Their creations are the result of hard work, inspiration, will and encouragement of active minds that doubt and question the paradigms of reality, imagining alternate contexts, allowing them to bend the corners of innovation and go beyond. AND-RÉ approaches main issues with fresh spirit, innovative methods and open minded personality. The office has been strengthening its position in the emergent architecture panorama, adopting an active critic posture before established contexts. Their goal is to pursue and maintain positive differentiated responses, in a time of fast paradigm changes. Currently the firm works on various programs, of different types and scales. Their mission is to achieve high levels of quality, innovation and creativity in all projects. “We love architecture. We love design. We love art and their relatives. We do it with pleasure!” AND-RÉ

技术动态物质的三维效果已通过对三维模型的强化研究、对角度和连接断裂点的操纵、对基本三角形截面连续性的消除和寻求感知多样化等方面得以实现。手工艺品因为市场上没有生产维尔森照明系统可用的标准工具或材料，所以它的复杂性引发了全新的制造过程，将最新的尖端技术与手工制作相结合。该项目从地面建起的三角形轮廓是通过把一张薄钢板折曲之后，经过手工焊接和手工打磨完成的。

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Designer Bruno André, Francisco Salgado Ré, Ricardo Guedes, Hugo Paiva

Design Company AND-RÉ Material Stainless steel

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Solar Collector 太阳能收集器 It is a solar-powered, web-connected, interactive sculpture. Angled shafts combine solar energy and online expression to create a performance in light each night. It is a collaboration between the community and the sun. Designer Rob Gorbet, Susan LK Gorbet, Matt Gorbet Design Company Gorbet Design, Inc. – commissioned sculpture Location Canada Photographer Gorbet Design, Inc. Materials 12 6”x6” aluminium shafts, angles and length determined by solar geometry; LED lighting, independently controlled by users of the Internet

太阳能收集器是带网络连接的可利用太阳能的雕塑。竖杆被安装成一定角度，将太阳能收集和在线功能整合在一起，每个晚上都闪闪发光。这是一个人类利用太阳能的项目。

Gorbet Design, Inc. Their innovative experiential art and design transforms and invigorates environments. For restaurants and retail, in airports and museums, on hotels and hilltops, inventive forms of interactivity bring audiences surprise and delight. http://www.solarcollector.ca

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Musica 音乐柱灯

Greyworld

As visitors approach the square they encounter a series of thirty metal columns. At first glance, each object would appear to be an ordinary bollard, ubiquitous in public spaces. However, these objects have been injected with a magic serum that has transformed them into elegant music boxes. As people pass through the space, the columns respond directly to their motion and spin gently, playing unique fragments of sound. A matrix of lights, embedded into the columns scores the music with a series of luminous notes. Together the columns form an urban choir, or orchestra, each with its individual voice that would come together to create a harmonious musical performance, capturing people’s presence in the space. The installation creates a series of digital melodies that weave together to create a unique composition, held in the air for a brief moment. 当游客走进广场时，他们会看到一连串的 30 个金属柱体。乍一看，每个金属主体像是在公共场所到处都有的普通柱灯。然而，这些柱体都已被注入一种魔力精华液，可以把它们变成优雅的音乐盒。当人们穿过这个区域时，这些柱灯会直接伴随人们的移动轻轻地旋转，并播放独特的音乐片段。镶嵌在柱体内的矩阵灯随着音调的高低而起着明灭的变化，为音乐柱灯加分不少。众多柱灯组成了一个城市合唱团、乐团，具有不同音色的柱灯个体共同完成了一场音乐表演，追随着空间中的行人。音乐柱灯的安装发出的一串串数字化旋律交织在一起便谱出了一曲独特的音乐，在空中一闪而过。

Design Company Greyworld

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Greyworld is a world renowned artists' collective that create art in public spaces. Primarily, greyworld's work is about play, and allowing some form of creative expression in areas of the city where there is usually none. Greyworld has created works in some hugely coveted locations across the world, and they now have permanent installations in fourteen countries. In 2004 he launched The Source, a permanent installation for the London Stock Exchange which was unveiled by Her Majesty Queen Elizabeth II and was watched by millions everyday on television around the world. In 2010, they unveiled "Paint," an installation allowing phones to paint on the city. Commissioned by Nokia, it has recently been nominated Interactive artwork of the year by the Design Museum. Other artworks were also created for the Kopernicus centre in Warsaw and the Centralworld centre in Bangkok. A few weeks ago, greyworld launched "Trafalgar Sun," a giant installation for Trafalgar Square, London.

CHEMNITZ ZOO – RECREATION AREA “PELZMÜHLE” ROCKET PARK THE REAL ESTATE UNIRE~UNITE: YAP MAXXI KAGOME_ LIVING ARCHITECTURE PLAYGROUND IN BERLIN-FRIEDRICHSHAIN INFINITY BIKE RACKS LONG MODIFIED BENCH AUCKLAND WALK THE LINE BENCH AROUND THE LAKE DARLING QUARTER

游乐设施

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Rocket Park 火箭公园 This project on behalf of the New York Hall of Science (NYHS) included Concept Planning through Construction Administration for the Rocket Park Mini Golf course. The project features an interactive outdoor miniature golf experience themed on rocket science physics. The nine hole miniature golf course with interactive components illustrates various concepts of rocket science physics, from Blast Off to Splash Down. Concepts are further explained through interpretive graphics. The nine hole course circles a central iconic practice area themed as a planetary and lunar landscape. Designer Lee H. Skolnick

Location Queens, NY, USA

Design company Lee H. Skolnick Architecture + Design Partnership

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LEE H. SKOLNI CK, FAIA Principal Lee H. Skolnick seeks to synthesize art, science, and architecture to create memorable and meaningful experiences, passionately developing and pursuing his philosophy of “design as interpretation.” He is the firm’s visionary, leading the staff to unlock each project’s “motivating story” to inspire curiosity, understanding and imagination and to translate them into concrete expression. By making a thorough exploration and translation of content the starting point for design, he has brought depth, authenticity, and vision to an array of diverse architecture and exhibition projects around the country, including the Muhammad Ali Center in KY; the Creative Discovery Museum in TN; and traveling exhibitions for the Smithsonian Institution. New York-based cultural clients include the Sony Wonder Technology Lab; the Paley Center for Media; the New York Hall of Science; the American Museum of Natural History and the Cooper Hewitt, National Design Museum. In 2003, Mr. Skolnick was elevated to the American Institute of Architects College of Fellows. In 2006, he received Lee H. Skolnick a Presidential Citation for Outstanding Achievement from the Cooper Union. In 2007, he coauthored the book “What is Exhibition Design?”. Translated into five languages, the book explores what constitutes successful design, Lee H. Skolnick seeks to synthesize art, science, and the various roles involved in exhibition design, and how new technologies expand the possibilities for both form architecture create memorable and meaningful and function. Into 2008, Mr. Skolnick was appointed the Foundingexperiences, Chairman of the Board of Architecture Omi. He passionately developing pursuing his “design currently serves on the Editorialand Advisory Board of thephilosophy Journal of theofNational Association for Museum Exhibition, entitled Exhibitionist, and, years visionary, served on theleading Board of the the Society as interpretation.” Hefor is several the firm’s staff for Environmental Graphic Design. He has served on panels and juries for the New York State Council on the Arts, the National Endowment for the to unlock each project’s “motivating story” to inspire curiosity, Arts and the American Institute of Architects. Currently, Mr. Skolnick is an Honorary Research Fellow at the School understanding imagination and to in translate of Museum Studiesand at the University of Leicester England. them into concrete expression. Professional Affiliations

American Association of Museums American Association for State and LocalNYHS History）针对火箭公园迷你高尔夫球这个项目是代表纽约科学馆（ American Institute of Architects 场的建筑工程管理项目而进行的概念化设计。该项目的特色是在火箭物 Architectural League Association of Children’s Museums 理学为主题的区域里打造一个互动性户外小型高尔夫球场。九洞迷你高 Association of Science-Technology Centers 尔夫球场与其相关组件阐释说明了各种火箭物理学的概念：从火箭升空 New York City American Institute of Architects

到宇宙飞船返回。通过说明性图形，对相关概念做出进一步解释。九洞 Board Memberships

高尔夫球场环绕着以行星和月球景观为主题的中心标志性练习场地。 Board Member, The Cooper Union Board of Trustees, 2012 Board Member, Longhouse Reserve, 2012 Chairman of the Board, Architecture OMI, New York, 2008 - present Exhibitionist Magazine Editorial Advisory Board, NAME, 2008 - present Board Member, Society for Environmental Graphic Design, 2001 - 2007 Awards John Q. Hedjuk Award for “Outstanding Contribution to the Theory, Teaching and Practice of Architecture”, 2012 Presidential Citation for Outstanding Achievement Award, Cooper Union, New York, NY, 2006 Distinguished Member Award, Society for Environmental Graphic Design, 2004 Exhibition Design Commendation, AIA, New York Chapter for the Creation of Live/Work Skyline/Street exhibit at the Center for Architecture, New York, 2003 George A. Ledlie Fund Prize, Cooper Union, New York, 1979 Education: B. Arch., Cooper Union, New York, NY, Recipient, George A. Ledlie Fund Prize Boston Architectural Center, Boston MA

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the REAL estate 房地产 Edge conditions in urban cities often create neglected public spaces that attract temporal activities of various kinds for a wide spectrum of people. "the REAL estate" project offers a new typology for public space that examines the boundaries between public and private domains in the urban landscape. The project is situated at the end of a wide modernist residential street that unexpectedly terminates

Designer Arch. Avi Laiser

Location Bat-Yam ,Israel

Design Company AL/Arch

Area 550 m2

Artist Dana Hirsch Laiser

Photographer Liat Ezra, Avi Laiser, Bat-Yam city aerial GIS, AL/Arch

by a massive concrete wall that functions as an acoustic barrier for a crossing highway. This edge condition is the caused for a long strip of neglected "junk" space which is used by the local residents for dumping trash, bonfire spots for Lag BaHomer (a Jewish holiday), drug activities, walking dogs and other illicit behavior. The project's main façade to the residential street is a see-through wall with a wooden entry gate to an outdoor room lying between the existing barrier wall and the new wall. Both are at the same height but one is obstructive and the other is inviting. Bold pink neon sign notes: "the REAL estate", suggesting that the real assets of dense urban cities are outdoor public spaces. For the surface of the park, they laid a continuous fabric formed concrete "blanket" that wraps over the existing acoustic barrier wall. The continuous surface starts on a man-made horizontal landscape and changes gradually to a sloped vertical wall. In this surface they curved seven cut-out wood niches that perform as intimate private spaces in the public urban landscape. Each niche takes the form of the human body as a single, couple or a group. - 142 -

Avi Laiser Avi Laiser an independent architect at "AL/ Arch", Tel Aviv. Avi co-founded "LA H*UB", an interdisciplinary group in Los Angeles. He holds a MArch (SCI-Arc) from the Architecture Institute of Southern California.

6 2

KAF TET BE’NOVEMBER STREET

AYALON HWY

3 3

2 2

1 Hydrotex – cast-in-place concrete mattress 2 Sunken wood niches 3 Plug in Grass carpet 4 Entry wall from Fiber cement planks 5 New grass 6 Steel structure

Site plan

城市边缘地带的公共空间常常被忽视，这就吸引了大范围的、形形色色的人在这里进行短暂的活动。 “房地产”项目提供了一个新型公共空间，重新界定了城市景观的公共和私人领域。该项目位于一条宽阔的现代化住宅区街道的巷尾。令人意外的是，这条街道的末端是一堵巨大的混凝土墙，这堵墙可以屏蔽一条高速公路的噪音。这种城市边缘的环境使这里成为了一个被忽视的“垃圾”地带，当地居民在此倾倒垃圾，在 Lag BaHomer（犹太节日）点燃篝火，进行毒品活动，遛狗、还进行其他非法活动。该项目面向住宅区街道的正面外墙是一堵带有木质门入口的透视墙，通过它可以进入到透视墙与原有混凝土墙之间的空间。两堵墙高度一致，但一堵是起阻隔作用的，一堵是邀请人们进入的。大胆使用的粉红色霓虹灯标志牌上写着：“房地产”，暗示着人口密集型城市里真正的地产是室外公共空间。设计师在公园的表面铺设了一个连续织物形成的混凝土 “地毯”，包裹着已有的隔音墙。这种连绵不断的表面结构始于人造水平景观，并逐渐延伸到倾斜的垂直墙面。设计师在这一表面切出了七个壁龛状区域，作为城市公共景观内亲密的私人空间。每个壁龛区域都是根据人体外形设计的，可供单人、情侣或群体活动。 - 143 -

urinal for 15 minutes

resting for 30 minutes

lawn for 45 minutes

BBQ for 90 minutes

the program for the project is referring to residues, that we found on the site

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ďŹ re camp for 120 minutes

tent for 360 minutes

hydrotex fabric ending Hydrotex FP220 fabric formed concrete “blanket”

Hydrotex FP220 fabric formed concrete “blanket”

waterprooﬁng of the wood boards

6 mm cementboard panel

Punctured fabric to allow grass planting

Compresed garden soil for planting

re-used wooden train tracks

30 cm gardening soil for planting Wood deck bench

Structural support of diagonal wood boards

steel anchors

Compresed stabilazing soil

150X50 mm wood board 20X40 mm wood boards

cast in place concrete foundation

20X40 mm wood boards Wood deck ﬂooring 40X20 mm boards

Geo-technical fabric on top of stone aggregates

150X50 mm wood board

9 Structural support of diagonal wood boards

20X40 mm wood boards

Longitude Section

1 7 2 1 5

8 5

1 Hydrotex – cast-in-place concrete mattress 2 Sunken wood niche 3 Plug in Grass carpet 4 Entry wall from Fiber cement planks 5 New grass

Cross Section

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6 Steel structure 7 Existing concrete acoustic barrier 8 Wood beams retaining wall 9 Neon sign “the REAL estate” 10 Ayalon FWY 11 Land fill

UNIRE~UNITE: YAP MAXXI UNIRE~UNITE UNIRE~UNITE, the winning project of YAP MAXXI 2012, built in the piazza of the MAXXI Museum of Modern Art and Architecture in Rome, Italy, focuses on all levels of Unity and connection between man and himself, man and his fellow man, and man and the earth. The key elements of the design are the Infinity System, a full movement signage program, and a ground graphic across the entire piazza reading. The Infinity System is a bench-like seating, resting, stretching, exercising structure, fabricated of marine-grade ply with ribs curving around the area with a surface cover of concrete canvas. The structure creates a continuous surface for all visitors to share and inhabit together, whereby creating a new fabric of connection into the urban environment. Each modular piece of the Infinity System is designed specifically to hold and support the body in healthful ways, and includes a full signage package which teaches the user to connect with his body, his friend, neighbor, and environment, in a new way, whereby breathing a new air of unity and connection into the space. Design Company Urban Movement Design

Location Rome, Italy

URBAN MOVEMENT DESIGN "Urban Movement Design (UMD) is an interdisciplinary design firm who’s prime intention is to problem-solve the building of our new world that is upon us." UMD’s core philosophy is one of integration and interaction, what they call "Human Sustainability". "As human beings are first of all creatures of our environments, we need to first feel connected to our environments for true health to occur". UMD believes in the power of collaboration and the joining of forces to promote true innovation, which is where real change lies. There is nothing new under the sun, only the power of collaboration breeds innovation. UMD’s founders, both trained in architecture and various movement therapies and modalities, encourage team members and collaboration within all other disciplines. They consider their work a partnership from beginning to end, with client, user, fabricators and builders.

“UNIRE~UNITE”作品赢得了 2012 年 YAP MAXXI 项目大奖。该项目建在意大利罗马的现代艺术和建筑 MAXXI 博物馆的广场上，作品着重诠释了人与自我、人与同伴和人与地球等各层面的内在合一。主体设计具有无限系统性、全动感性，为整个广场增添了一种象形图式的解读。无限系统是一个长凳式的可供休息、放松、拉伸和锻炼的结构，由航海级肋材弯曲环抱着这一空间，其表面由混凝土帆布包裹。整个作品展现了与城市环境共融的新思路，为游客创造了一种共享共融的氛围。无限系统的每一个单元都特别展示了身体的各种健康体验，并包含一个完整的引导标示系统，这些都教会了使用者以一个全新的方式将自身与朋友、伙伴和环境联系在一起，进而充分享受这种合一的惬意。

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KAGOME_ Living architecture KAGOME_活建筑 PPAG in cooperation with Simon Oberhammer and Stefanie Meyer designed and developed a structure out of living willow branches (5m long) which are rooting in a central humus bag. The accessible willow structure offers a sandy playing area for the young guests in the Museums Quarter in Vienna and will grow further throughout the summer.

Design Company PPAG architects in cooperation with Stefanie Meyer and Simon Oberhammer Photographer Simon Oberhammer

该作品是由 PPAG 与 Simon Oberhammer 和 Stefanie Meyer 一起设计完成的。这是一个用扎根于腐殖土袋中（5 米长）的活柳枝制作而成的结构。该作品被放置在维也纳博物馆区，穿过柳枝可以进入内部，里面有个供年轻人玩耍的沙园，柳枝在整个夏天将会繁茂生长。

VERTICAL SECTION

PPAG was founded in 1995 by Anna Popelka and Georg Poduschka. It is an innovation orientated architecture office based in Vienna. PPAG stands for the highest quality in planning and realisation of architectural solutions, as well as full support from the initial concept up to completion. PPAG works in all disciplines of architecture and all dimensions, from furniture design to urban planning. Partners: Anna Popelka, Georg Poduschka, Ali Seghatoleslami und Lilli Pschill.

PPAG architects - 150 -

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Infinity Bike racks 自行车停放架 Bike racks for stretching on before and after a workout. This modular design of three varying pieces can be reconfigured to enable a different choreography of stretches and to accommodate the site specific needs. Monkey Bar Bike Racks can be made from either solid steel or hollowed steel tube and all have a 31.75milimeter thickness for maximum comfort grip and are powder coated in color of choice with the choice of anodizing for better outdoor wear. Bike Racks also include a full signage and programmatic package which teaches and guides the users with exercises and stretches. Signage can be customized according to the configuration of the modules and for a specific population of users, as well as the possibility for signage to be either embedded in the ground by the modules, or as a handout, and QR coded for online access. Designer Urban Movement Design

Urban Movement Design "Urban Movement Design (UMD) is an interdisciplinary design firm who’s prime intention is to problem-solve the building of our new world that is upon us." UMD’s core philosophy is one of integration and interaction, what they call "Human Sustainability". "As human beings are first of all creatures of our environments, we need to first feel connected to our environments for true health to occur". UMD believes in the power of collaboration and the joining of forces to promote true innovation, which is where real change lies. There is nothing new under the sun, only the power of collaboration breeds innovation. UMD’s founders, both trained in architecture and various movement therapies and modalities, encourage team members and collaboration within all other disciplines. They consider their work a partnership from beginning to end, with client, user, fabricators and builders. 自行车停放架可拉伸开供自行车使用前后停放。这种三个不同组件的模块设计可以重新配置，能够按照不同停车地点的需要进行任意伸缩。Monkey Bar 自行车停放架可使用脱氧钢或中空钢管材制作，厚度最大可达到 31.75 毫米，便于手握，黑色哑光处理，选择符合室外活动的阳极氧化颜色涂层。该自行车停放架配有完整的标牌和全套使用教程，可供用户进行伸缩操练。标牌可以根据特定用户的要求和配置模块的需要进行个性化定制，它可以镶嵌在地上，也可以人工发放，还可以通过网上的 QR 码定制。

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Long Modified Bench Auckland 奥克兰改良型长凳

A series of different bench designs is connected to an imaginary line of benches running along the building, on the terrace at the rooftop, the facade and inside the galleries. In some places the bench sinks into the ground, gently ascending elsewhere, sometimes providing an opportunity to take a seat and relax, sometimes only offering a sculptural impression.

Artist Jeppe Hein Material Powder-coated aluminium and LED

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Photographer Jennifer French, David St. George, Nikolaj Svennevig

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Bench Around the Lake 湖边长椅 The idea for the Art & Nature Park at IMA in Indianapolis is to place a continuing bench all around the lake, although it will only be visible in certain places. A series of different bench designs will be connected to an imaginary line of benches running along the lake. In some places the bench sinks into the ground, gently ascending elsewhere, thus creating the impression of running underground. The bench designs borrow their basic form from normal park or garden benches seen everywhere, but are altered in various degrees to make the act of sitting on them a conscious physical endeavour. Each bench has feet, offers space to sit and a back to lean at. But unlike usual benches, they consist of elongated, winding, rapidly rising or falling lines of seating with high arches, sharp bends or small loops. With their modification, the benches offer not only an opportunity to relax and rest, but also promotes conversation between users and viewers lending the work active characteristics and social qualities. The visitor can use it as a bench and sit on it. At the same time, the bench has its own sculptural quality, thus inviting the viewer to look at it and to walk around and through its structure. Artist Jeppe Hein

Location Indianapolis, USA

Materials powder-coated aluminium

Photographer Indianapolis Museum of Art, Studio Jeppe Hein, Nikolaj Svennevig

针对位于印第安纳波利斯 IMA 的艺术与自然公园的设计想法是在公园湖的周围放置一个连续的长椅，虽然该湖只能在某些地方可以看到。一系列不同的长椅设计与想象中的长椅线条结合，摆放在湖的周围。长椅的设计在有些地方沉入地面，有些地方则稍微高于地面，给人一种穿越地面流动的印象。长椅的设计借用了标准公园或花园随处可见的长椅的基本形式，但为了人们就座时符合人体力学的规律进行了有益的尝试，做了不同程度的改变。每个长椅都有支脚，给人以坐下来倚靠的空间。但不同于一般长凳，这些长椅有加长的、迂回的、渐升渐降的、带有高拱型、急弯型、或是小弯型的座位。通过这一修改，这些长椅不仅给人们提供了一个放松和休息的机会，而且还促进了观光者和使用者之间的交流，由此发挥了这个作品积极的社交作用。观光者可以把它们当作凳子坐在上面。同时，长椅本身还具有雕塑的特质，从而邀请游客游走于这些座椅之中，欣赏它们的结构。 - 164 -

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PACMAN BICYCLE STAND SINUS CITY OF PARIS LITTER BIN FRENCH PUBLIC POST BOXES H2POD GLASS RECYCLING CONTAINER PLANTLOCK DYNAMIC DISPLAY BUS STOP DOTZ TREE GRID "HOJITAS" LITTER BIN AND ASH-TRAY OLYMPIA SQUARE AMSTERDAM CRECHE MUNICIPALE LEI PARPAIOUN LA CASA DELL’UCCELLO PLAYGROUND FENCE ON THE WAY TO THE SEA WOODLAND PARK CROSSING

市政设施

Public Facilities - 171 -

PACMAN 可爱垃圾桶 PACMAN The concept comes out from intense research, which nurtured the development strategy of the design. For the object to be fully successful it needed to go beyond the standard achievement of objective, functional, formal or plastic aspects. The objects needed an identity of immaterial civic dimension, fulfilling a role of social intervention. It became therefore necessary to create non-anonymous objects, admittedly present in the urban context, characterized by a positive identity, calling for a plural and democratic use. The developed line of objects, assumes an external similar identity, differentiated by the color - distinguishing the type of waste - and by the mechanism inside. The various types of the internal mechanism, made of high resistance stainless steel, meet the objective of avoiding actual contact with dirty surfaces and limit the visual and olfactory contact with the waste. The systems for organic waste and metal use a container (a drum with rotary counterweight axis) associated with the movement of the lid. Glass and paper systems use a fixed conduit, regardless of movement of the lid. It was predicted, in addition to the manual opening of the access cover waste disposal, a pedal that frees the hands and avoids contact with the object. The outer material is made of composite fiber, giving the object ideal resistance for harsh conditions, also providing an excellent response to acid waste liquids. The design is an innovative response to the ecological waste separation problematic, not only by the mechanical, functional and plastic aspects, but by the provoked mental perception and reinterpretation, resulting in mindset chance of users directly translated in social awareness.

Designer Bruno André, Francisco Salgado Ré

Materials Stainless steel structure and composite skin

Design Company AND-RÉ

Location Vilamoura, Portugal

PACMAN 为垃圾筒设计的首创之举，经过三年的研究与开发，在 2011 年葡萄牙的维拉莫拉开始大规模地投入使用。缜密的研究产生了该作品的设计理念，它一直支撑着这一设计的开发策略。为了使作品百分百的成功，我们需要在客观性、功能性、正式性、可塑性方面严格符合标准，也要在无形的民用领域发挥社会干预的作用。因此，创作非匿名作品变得十分必要，确定无疑地将他们展现在城市环境中，以一个积极的形象，要求多元的、民主的功能。排成一列的垃圾桶外观相似，但是颜色不同——以存放不同的垃圾——里面的机械装置也不同。这些不同的内置机械装置是由高阻不锈钢制成，防止与垃圾直接

AND-RÉ AND-RÉ is multidisciplinary Portuguese based office, with a global international action, dedicated to the study, research and practice of architecture, design and art. The firm is directed by the partner architects Bruno André and Francisco Salgado Ré. The genesis of their creative identity lies in a spirit of constant demand. Their creations are the result of hard work, inspiration, will and encouragement of active minds that doubt and question the paradigms of reality, imagining alternate contexts, allowing them to bend the corners of innovation and go beyond. AND-RÉ approaches main issues with fresh spirit, innovative methods and open minded personality. The office has been strengthening its position in the emergent architecture panorama, adopting an active critic posture before established contexts. Their goal is to pursue and maintain positive differentiated responses, in a time of fast paradigm changes. Currently the firm works on various programs, of different types and scales. Their mission is to achieve high levels of quality, innovation and creativity in all projects. “We love architecture. We love design. We love art and their relatives. We do it with pleasure!” AND-RÉ

接触而造成腐蚀，同时减少了人们看到垃圾和闻到垃圾的可能性。处理有机废物和金属的系统装置是安在一个装有可以移动的盖子的容器中（有旋转平衡轴的一个圆桶）。处理玻璃和纸的系统是用一个固定的管道，没有移动的盖子。除了手动打开垃圾处理口的盖子，其他都是自动的，包括避免用手接触垃圾的嵌板。垃圾桶的外部材料是用复合纤维制成，不但可以在严酷的条件下给箱筒理想的保护，也能极好地对付酸性液体垃圾。该设计对废物分装的环保问题，不仅仅在机械、功能和可塑方面给出了一个创新性的解决方法，而且也激起人们对观念和再解读方面的思考，从而让使用者直接触碰到社会环保意识的层面。 - 172 -

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Bicycle Stand 自行车架 PPAG architects designed, in cooperation with MN*LS a bicycle stand for the MuseumsQuartier Vienna. It results from a very sculptural idea, which is visible in the stand itself as with different filling stages which transform the stand to a public stage for the beauty of the bicycles itself. By the colour change of the continuous rod which alternately becomes a ridge and a spiral, starts up and gets back along the ground, reminds of the assembled bicycle frames or deliberately creates confusion. There are different ways of array-/hanging, lean on the side, etc. for large and small wheels. A hint of a bicycle repair shop with a pump or fitness training with a spinning bike. A solar-powered night light is built into the concept. The poster also rounded up the gas station idea at this point (MQ-fuel). Design Company PPAG architects in cooperation with MN*LS Graphics PPAG architects in cooperation with MN*LS Photographer MuseumsQuartier Wien

PPAG architects - 174 -

PPAG 与 MN*LS 共同合作，为维也纳博物馆区设计了这一自行车架作品。该项目源自于雕塑设计理念，从自行车架本身便可以看得出这种理念，它将车架转变为公共设施，可展示自行车之美。杆架色彩多样，时而弯曲拱起，时而螺旋上升，升起于地面又回到地面，令人想起自行车框架装配，带来一种人为的错综复杂的感觉。大、小自行车轮排列和悬挂的方式很多，还可以倚靠在一边。自行车修理店或者健身中心的动感单车也可以使用。该项目还设计了太阳能供电的夜间照明。招贴画则借鉴了加油站的理念（MQ-fuel）。

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Sinus SINUS The project was designed to efficiently save the space in the city. And the product has been made for a prominent Czech producer – the mmcité company as a diploma project at AAAD Prague. Systematic analysis of the city space and all its aspects along with the long-time experience of the mmcité company led to a project which effectively combines various functions applied to the protective elements of trees and thus allows effective utilization of space in dynamically expanding urban centers. The dominant element of the whole collection is an element that combines the sitting function and the protective grid for trees. It offers relaxation in places where there was not enough space for placing regular benches up to now. For a wider spectrum of application the system comprises two shape mutations – round and rectangular. A unique and entirely new concept of combined tree grid and seating elements are multifunctional in a sense. Seats, bicycle stands, and guardrails adopt surface grating without impeding the intended functions, giving the tree ample protection while people could have more public space. The fresh and elegant shape was further developed in the successive Sinus benches line. The dot perforation allows you to use Citépin technology for the seats, providing superior seating comfortable feeling.

Designer Roman Vrtiška Material galvanized steel sheets with powder paint finishor left natural to make visible the zinc.

ROMAN VRTISKA Graduated in Product Design studio at AAAD Prague. Lives and works in Prague. As a freelance designer his work range consist of furniture, tableware, accesories, graphics, interiors and also architecture. Since 2010 established a studio VRTIŠKA • ŽÁK with his colleague Vladimir Zak. Awards 2005 second prize in a national City Point competition for SNAKE bench design / special prize of mmcite for the waste separating bins collection NAPAPAN 2007 Books Books Books competition finalist, posted by Habitare (cooperation Doug Uk Lee, Timothy Austin), (FI) 2008 Czech National Award for Best Student Design for city furniture collection SINUS / Croy Concept Award / Students Agency Award / Czech Centers Award 2009 Second place in Czech Grand Design Award (Discover of the year) for city furniture collection SINUS 2010 EDIDA Elle Award nominee 2011 Dobry wzor for SINUS www.roman-vrtiska.com

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ILLUSTRATIVE PHOTO

440

ILLUSTRATIVE PHOTO

o160 0 o700

SNS210-01

SNS215-01

o160 0 o700

SNS210-01

SNS215-01

o160 0 o700

Citépin

SNS210-01

SNS215-01

TECHNICAL SPECIFICATIONS

Citépin

2 /5

TECHNICAL SPECIFICATIONS

SNS110 - SINUS TECHNICAL SPECIFICATIONS

Citépin

2 /5

TECHNICAL SPECIFICATIONS

2 /5

SNS110 - SINUS SNS210-01 / SNS215-01 - SINUS

2 /5

TECHNICAL SPECIFICATIONS

2 /5

SNS210-01 / SNS215-01 - SINUS

SNS110 - SINUS

该项目的设计目的是有效地节省城市空间。该产品作为布拉格艺术建筑与设计学院（AAAD）毕业设计项目，是为著名的捷克生产商 mmcite 公司制作的。通过对城市空间和各个方面的系统分析，以及在 mmcite 公司的长期经验，使这个项目能有效地将各种功能与保护树木结合到一起，从而可以在不断扩大的城市中心有效地利用空间。整个系列的主要特点是将休息功能和树木保护栏融为一体，在无法放置普通休息长椅的地方为人们提供可以休息的空间。为使其可以广泛应用，该设计包括两种形状系列——圆形和长方形。独特而全新的将树木护栏和座椅结合一体的理念实现了开发产品的多功能性。座椅、自行车架和护栏都采用表面光栅材料，不影响其本来的功能。在充分保护树木的同时，人们可以有更多的公共休闲空间。Sinus 系列采用了长椅清新淡雅的造型，座位点孔使用了 Citépin 技术，能为人们提供优质的座位和舒适的感觉。

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LSN130

ILLUSTRATIVE PHOTO

LSN135 LSN130

LSN135

Citépin ILLUSTRATIVE PHOTO

Citépin

LSN135

ILLUSTRATIVE PHOTO

Citépin

ILLUSTRATIVE PHOTO

ILLUSTRATIVE PHOTO ILLUSTRATIVE PHOTO

Citépin

450

455

440

ILLUSTRATIVE PHOTO

455

LSN135

455

LSN130

3180

450

3180

o160 0 o700

SNS210-06

3180

455

440

450

o160 0 SNS215-06 o700

450

3180

Citépin

LSN130 / LS TECHNICAL SPECIFICATIONS

TECHNICAL SPECIFICATIONS

SNS210-06 / SNS215-06 - SINUS

TECHNICAL SPECIFICATIONS

2 /5

SPECIFICATIONS 2 /5 LSN130 / LSN135 - TECHNICAL SINUS LSN130 / LSN135 - SINUS

2 /5 2 /5

SNS210-06 / SNS215-06 - SINUS TECHNICAL SPECIFICATIONS

2 /5

SNS210-06 / SNS215-06 - SINUS

TECHNICAL SPECIFICATIONS

2 /5

LSN130 / LSN135 - SINUS

2 /5

SNS510 - SINUS

ILLUSTRATIVE PHOTO

800

ILLUSTRATIVE PHOTO

280

145 600

S215-06

LSN130

670

TECHNICAL SPECIFICATIONS

670

2 /5

TECHNICAL SPECIFICATIONS

2/5

SNS530 - SINUS

SNS520 - SINUS TECHNICAL SPECIFICATIONS

2 /5

SNS510 - SINUS

Výrobce si vyhrazuje právo na změnu technické specifikace bez předchozího upozornění. Rozměry spodní stavby a způsob osazení výrobku jsou závazné. Rozteče kotev rozměřovat dle rozměrů dodaného výrobku. r. The Producer reserves the right to amend the technical specification at any time without previous warning. The size of foundation baseplate and the method of mounting of the product are imperative. Anchor spacing measure out by measurements of supplied product. v. Der Hersteller behält sich das Recht an Änderungen der technischen Spezifikationen vor, ohne vorher darauf hinzuweisen. Abmessungen der Fundamentierung - Unterbau und Art des Produkteinbaus sind verbindlich. Ankerabstand gemäß der gelieferten Produktabmessungen dimensionieren.

350

TECHNICAL SPECIFICATIONS

2 /5

SNS510 - SINUS ILLUSTRATIVE PHOTO

600

800

ILLUSTRATIVE PHOTO

280 880 350

880

280

145

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145

ILLUSTRATIVE PHOTO

LSN115

ILLUSTRATIVE PHOTO

CitépinILLUSTRATIVE PHOTO

455

LSN110

450

800

TECHNICAL SPECIFICATIONS TECHNICAL SPECIFICATIONS

2 /5

LSN210 / LSN215 - SINUS

LSN110

ILLUSTRATIVE PHOTO

Citépin

ILLUSTRATIVE PHOTO

Citépin

455

LSN215

LSN115

455

LSN210

2 /5

LSN110 / LSN115 - SINUS

LSN115

Citépin

800

455

450

LSN110

450

800

TECHNICAL SPECIFICATIONS

2 /5

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CITY OF PARIS LITTER BIN 巴黎城的垃圾箱 The bin’s architecture is symmetric, and whatever its location is it offers a coherent reading of its forms and functions. We choosed the removal of debris from above for the evidence of the gesture. The bags can be easily removed from the sides of the basket. The modular range includes a model for selective sorting, and another one for all types of

waste with a colour code for each container

determining the type of waste that corresponded to them. This modularity is allowed by the presence or the absence of side doors. Designer Emmanuel CAIRO

Location Paris, France

垃圾箱的结构是对称的，无论如何摆放，它都能对形式和功能进行一致的解读。我们以前是从垃圾箱的上面清走垃圾。而垃圾袋更容易从垃圾箱的两侧移走。模块化的范围包括一个垃圾分类模块和一个垃圾颜色代码模块，因为每个容器的垃圾都有对应不同颜色的代码。这种模块化垃圾箱对有没有侧门没有要求。

EMMANUEL CAIRO Design and architectural studies in Paris France from 1986 to 1991. Founder member of the Parisian design agency «Absolut Design» in 1992. From this date to 2000, He led many design project for BtoB and BtoC company (France Telecom, Sagem, Mitsubishi, Hewlet Packard, Presto, Dymo, etc.). In 2000, he created his new Design studio specially dedicated to urban, street furniture and public transport design with the same design philosophy: • A variety of projects themes scales, enabling me to offer a design in line with contemporary issues, whilst being attentive to usage and user context as well as the values conveyed by the city or company brand. • A dedicated approach to project success for both users and clients • A methodology, which encompasses the entire industrial design process and offers a solution within the proposed budget. • A focus to enhance user’s lifes and urban environment.

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FRENCH PUBLIC POST BOXES 法国公共邮箱 La Poste, French postal operator is the 2nd European operator in terms of turnover. La Poste launched a call for tenders to renew the design of its public post boxes never changed for 20 years. With our design Dejoie company has been awarded the contract to supply the entire range of the mailbox. Those models are manufactured from aluminium cast and are highly resistant to corrosion, making it suitable for use in any environments. Particular care was given to accessibility for all users. Two colors was retained, the yellow historical La Poste, and a dark grey color for the ancient towncenters. Designer Emmanuel CAIRO

La Poste，法国邮政运营商，是欧洲营业额收入排名第二的运营商。 La Poste 为更新 20 年来从未改变的公共邮箱进行设计招标。 Dejoie 公司通过自己的设计最终赢得了与 La Poste 公司合作的合同，为其提供所有邮箱的设计。设计邮箱的种类包括铸铝和强耐腐蚀型等适合在任何环境中使用的邮箱。邮箱的独特设计应满足所有用户。邮箱的用色有两种被保留了下来，一种是 La Poste 传统的黄色，另一种是古城中心区的深灰色。

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H2POD H2POD H2POD is a portable water-tank designed specifically for parks and urban environments. Its primary purpose is to drip-feed water to droughtstressed trees. This watering technique is the most effective and waterefficient method of watering trees. H2POD will replace the current the

Designer Steven Martinuzzo

use of traditional water filled traffic-closure barriers for tree watering. Aesthetically and functionally these are not well suited for tree-watering use in parks. Compared to these H2POD has about 50% greater capacity which reduces servicing costs.

H2POD 是一种专为公园和城市环境设计的便携式水箱。它的主要目的是浇灌干旱的树木。这种灌溉技术是最有效和水利用率最高的浇灌树木的方法。 H2POD 将取代目前使用的装满水的传统的封树浇水法。美观和功能很难同时在公园的树木浇灌中达到完美的统一。相比之下，H2POD 的容量增大了 50％左右，从而降低了服务成本。

Steven Martinuzzo Managing Director, CobaltNiche FDIA BA (Industrial Design) Dist. RMIT University Steve’s wide product development experience comes from a career spanning over 20 years. Throughout this time he has consulted to leading manufacturing clients in Australia, Asia, UK and USA on a diverse range of commercially-focussed projects, including iconic products such as grabhandles for Yarra Trams to some of the world’s most accurate scientific instruments. Steve is a co-founding director of CobaltNiche one of Australia’s leading and largest product development groups. His group has been recognised with numerous design awards, most recently two 2012 Australian International Design Awards. - 183 -

GLASS RECYCLING CONTAINER 玻璃回收容器 Emmanuel CAIRO proposed a modern design that perfectly matches the dynamic spirit of the new urban policiy of Paris. Th o se mo d e ls ar e m an u fact u r e d fr o m hi g h d e ns i ty polyethylene and are highly resistant to corrosion, making it suitable for use in any environments. Particular care was given to safety and accessibility for loading the bottles inside the containers. Designer Emmanuel CAIRO

Emmanuel CAIRO 提出了一个现代的设计，完全符合巴黎新城市策略的动态精神。这些容器的模型是由高密度的聚乙烯制造而成，具有很强的耐腐蚀性，使其适合在任何环境中使用。对容器内的瓶子的保护性和放置瓶子的便捷性设计尤为突出。 - 184 -

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"Hojitas" Litter bin and ash-tray “HOJITAS”垃圾箱和烟缸 It is made of a perforated, folded and welded aluminum sheet, and Painted white with thermo convertible polyester paint. The base is a concrete counterweight to maintain stability. A demountable ring facilitates litter bag replacement. A deeper ring contains little stones to put out and leave cigarettes stubs. The perforated metallic skin with a leaf motive attains an elegant and neat superficial quality for a habitually dirty and utilitarian product.

Designer Diana Cabeza

Design Company Estudio Cabeza

Size Ø32x98cm

它由一个带孔、折叠的焊接铝板制成，涂有白色热转换聚酯漆。底座是一个混凝土平衡装置，以保持稳定。可拆卸的圆圈便于更换垃圾袋。里圈有用于熄灭香烟和丢弃烟头的小石头。而叶子图案的带孔金属表面让这个通常被人认为很脏却又实用的产品具有优雅整洁的形象。

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Diana Cabeza

Architect. Studied at University of Belgrano, Buenos Aires Graduated with Honors from the Prilidiano Pueyrredon National School of Fine Arts. Designer specialising in urban equipment, driven by rethinking and designing urban elements and supports for community use in the public space. Her designs have been licensed out to foreign companies in Europe and Latin America. Her urban pieces furnish public spaces in the cities of Buenos Aires, Córdoba, Pergamino, Puerto Madryn, Mendoza, Trelew, Tokyo, Zurich, Paris, Washington, Nueva York, to name a few.

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CRECHE MUNICIPALE LEI PARPAIOUN 育儿园的水上乐园 This water game has been specifically designed for the use of young children. It is composed of four elements: a central disc with a small geyser and three totem-like structures from which water sprays out in mist and jets. The games are installed in brushed cement circle inscribed with a ring of black tile. Designer Pierre Luu

Location Fuveau, France

Material resin, fibreglass, tiles

水上乐园是专门为孩子们玩乐而设计的。共由四个部分组成：一个中央圆盘和三个类似图腾的结构，水以雾气的形式从中喷出。水上乐园位于圆形的混凝土基座上，上面铺设了一圈黑色瓷砖。

Pierre Luu

Pierre Luu is a sculptor and fountain designer living in France. His work explores the interaction between people and water in urban contexts. After studying water engineering and taking evening courses in fine arts, he now creates artistic wind and water devices and designs water installations at a landscape scale. www.art-et-eau.com

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BA_LIK PAVILION [C]SPACE DRL10 PAVILION DIGITAL ORIGAMI EMERGENCY SHELTER MAIN PLAZA SHADE STRUCTURES AEOLUS - ACOUSTIC WIND PAVILION AEOLUS STANZES THE LANTERN PAVILION INFINITY BUS SHELTER NEW AMSTERDAM PLEIN & PAVILION GORDON SQUARE BUS SHELTERS BUS SHELTER CRYSTAL AND TOPAZE RANGES THE MEETING PLACE TEMPORARY BAR BUS STOP SYMBIOSIS RER TRAIN STATION RATP PARIS TRAM STATION RATP PARIS WALKWAY MAKES CONNECTIONS GRAND SLAMS - MIKI TENNIS DOME

保护遮蔽

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[C]space DRL10 Pavilion [C]SPACE DRL10阁 This pavilion was the winning entry to an international design competition held by the world renowned Architectural Association school to celebrate the tenth anniversary of their Graduate Design course. The structure was designed for use by the general public and was located on Bedford Square

Alvin Huang

in London, near the British Museum where it provided a rare place for the

Alvin Huang is an award winning architect and designer with a profound interest in the application of advanced digital design and fabrication processes as techniques to drive the design, development, and construction of built structures. He is not only a proponent for the use of these tools and technologies as a means of challenging conventional notions of space and form, but also as a method for augmenting the role of the architect in the procurement of construction. Alvin received a Masters of Architecture and Urbanism from the AA DRL (2004) and a Bachelor of Architecture degree from the University of Southern California (1998). He is currently the director of Design Research for Amanda Levete Architects (AL_A) in London, England. Previous experience includes collaborations with Zaha Hadid Architects, Future Systems and DMJM Designs. His work has been widely published in the US, Europe and Asia.

public to sit and gather informally. Its visually striking presence invites inspection from a distance and more closely reveals the merging of many discrete flat concrete elements into a single continuous curved form with a thick base that is stepped and ramped to accommodate many different uses. As you move around, the appearance of the pavilion varies from opaque to transparent, producing a stunning three-dimensional moiré. The 12m span structure encloses while also providing a route through for passing pedestrians and blurring the distinction between inside and outside, shelter and stage. Designer Alvin Huang, Alan Dempsey

Location London, UK

Design Company Synthesis Design + Architecture

Area 100m2

该建筑是国际设计大赛的获奖作品，大赛是由世界著名的伦敦建筑协会学校为庆祝毕业设计课程设置十周年而举办的。本建筑是为普通民众设计的，位于伦敦靠近大英博物馆的贝德福德广场，在那里它为民众提供了宝贵的休憩和非正式聚会的场所。这个具有视觉冲击力的建筑在远处就很吸引人的眼球，走到近处 , 会看到很多分散而平坦的水泥板与单一连续弯曲的外形相结合 , 其底部有一个厚厚的、为适应不同用途而呈台阶和倾斜式分布的基座。当你走动时，亭子的外观由不透明变换成透明，产生一种绝妙的三维叠纹建筑效果。12 米长的跨越式结构围绕着小亭，为来往的行人提供了一条穿越的路

Alan Dempsey Alan Dempsey is founding director of Nex a multidisciplinary design office with international projects that range in scale from design, to architecture and infrastructure. Current work includes two bridges in Dublin, a pavilion with Sir Ken Adam in Berlin, and an installation for the furniture manufacturer Established & Sons at the Milan Fair. Alan is a registered architect in the UK and has previously worked with Farjadi Architects, OCEAN and finally with Future Systems, where he was a project director responsible for some of their most significant recent work. Alan studied at the Dublin Institute of Technology, Universidad de los Andes, Bogotá and the Design Research Lab at the Architectural Association in London.

线，使路人分不清是置身亭内还是亭外，是在小屋里还是在舞台上。

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Digital Origami Emergency Shelter 数字折纸紧急避难所 LAVA’s Digital Origami Emergency Shelter is a concept for an inhabited molecule. The design is based on a water molecule, referencing the Japanese Metabolist movement's idea of prefabricated capsules as living space. The base molecule can be shipped as a flat pack, cut out of local plywood, or dropped off by a helicopter. The interior can then be carved out of wood, cardboard, newspapers or other locally available materials. Chris Bosse said: "the project plays with ideas of prefabrication and personalised inhabitation, as well as stacking of multiple units,

Designer Chris Bosse, Tobias Wallisser, Alexander Rieck Design Company LAVA - Laboratory for Visionary Architecture Location Sydney, Australia Photographer Klaus Hesse, Peter Murphy

while giving an opportunity for individual expression". Each unit contains sleeping space for two adults and one child as well as a little space for eating and reading. Battery or solar operated LED light brings the shelter to life, turning it into a lantern,

由 LAVA 设计的数字折纸紧急避难所是一个居住分子的概念设计。

a sign of hope.

该设计以水分子为基础，同时参照了日本代谢运动用预制胶囊作为生活

For the exhibition LAVA created a scale model, made from CNC cut plywood sheets. In a real

空间的想法。基础分子可以打包船运，可以由当地的胶合板切割而成，

situation the flat pack would be folded into an origami molecule and filled with locally available material.

也可以用直升飞机空运到地面。室内空间由木材、纸板、报纸或者其他当地可用材料组成。Chris Bosse 说：“这个项目综合了预制、个性化居住和多个单元堆叠的概念，同时还为个性表现提供了机会。”

The Emergency Shelter exhibition featured shelters by local and international architects. The exhibition highlights the need for emergency shelters in disaster zones and the role of the design and construction industry in the aftermath of natural disasters.

避难所的每个单元都包含两个大人和一个小孩的睡眠空间，以及就餐和阅读的小型空间。由电池或太阳能驱动的 LED 灯为避难所的生活带来了光亮，使它犹如一只大灯笼，一个希望的象征。

Other Australian and international architects who designed shelters for the exhibition include Ateliers Jean Nouvel, PTW Architects, Tonkin Zulaikha Greer, Cox, Koichi Takada Architects, Sou Fujimoto and Terunobu Fujimori.

LAVA 为此次展览建造了一个由 CNC 铣削胶合板制成的比例模型。在真实的环境中，材料包可以折叠成一个折纸单元，内部填充当地的可用材料。

The Emergency Shelter Exhibition raised awareness and aid for the thousands of people who have been displaced by Japan’s natural disasters.

紧急避难所展览充分展示了本土建筑师和国际建筑师的作品。展览突出了灾区对紧急避难所的需要，也强调了设计与建筑业在自然灾害之后的作用。

LAVA

其他为此次展览活动设计避难所的还有 Ateliers Jean Nouvel、

Chris Bosse, Tobias Wallisser and Alexander Rieck founded the Laboratory for Visionary Architecture [LAVA] in 2007. It was established as a network of creative minds with a research and design focus and has offices in Sydney, Shanghai, Stuttgart and Abu Dhabi. LAVA combines digital workflow, local solutions and the latest digital fabrication technologies with the aim of achieving MORE WITH LESS: more (architecture) with less (material/ energy/time/cost). LAVA designs everything from pop up installations to master-plans and urban centres, from homes made out of PET bottles to ‘reskinning’ aging 60s icons, from furniture to hotels, houses and airports of the future.

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PTW Architects、Tonkin Zulaikha Greer、Cox、Koichi Takada Architects、Sou Fujimoto 和 Terunobu Fujimori 等澳大利亚及国际建筑师事务所。此次紧急避难所展览希望提高因日本自然灾害而流离失所的数千人的安全意识，并为他们提供援助。

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e and interior space

molecule and interior space

wireframe

areas

wireframe

rgency Shelter Exhibition

LAVA

Sydney 2011

Laboratory for Visionary Architecture

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Sydney 2011

LAVA

72 Campbell Street, Surry Hills Sydney NSW 2010 Australia Phone: +61 2 928 014 75 Fax: +61 2 928 181 25

72 Camp Sydney N Australia Phone: + Fax: + www.l-a-

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Main Plaza Shade Structures 中央广场遮阳设施 Rios Clementi Hale Studios was commissioned to create

provide the inspiration for overlapping bands of color and

canopies to provide shade while young replacement

sculptural angles, while the bipartite form experienced

Hale Studios 受托修建遮阳棚以提供阴凉。经与该

trees grow in. After discussions with the mayor and City

under the trellises and archways at the Mission San Jose

市市长和城市历史与艺术理事会讨论后，为遮阳亭的

historic and arts councils, the right balance was found for

informed the quality of the spaces beneath.

修建找到了适当的平衡。在弥补历史悠久的大教堂建

the canopy intervention that would honor many cultural influences while providing a complementary counterpoint to the historic Cathedral architecture.

The design for

the shade canopies takes inspiration from San Antonio’s handmade tradition and rich multi-cultural and ethnic history. The aesthetic character of the canopies was conceived as a woven ribbon through the trees with a structural system that blends in with the site and footings that disappear directly into the earth supporting a light and airy series of colored bands that float away from the steel structures and stand out against the green leaves

The innovative individual tilted panel system design provides several benefits, making them both economically and environmentally sustainable. The panel angles provide densest shade at the height of summer when it’s most needed, and allow more sunlight to filter through in winter. Movable tables and chairs allow people to sit in the most comfortable spots at any given moment and

Ojos de Dios (woven God’s Eyes), papel picado colored perforated paper craftwork, and indigenous textile design Design Company Rios Clementi Hale Studios Team Mark Rios, FAIA, FASLA, principal in

筑对位的同时，向历史上产生巨大文化影响的人表达致敬。该遮阳亭的设计灵感源于圣安东尼奥的手工制作的传统和丰富的多元文化和多种族的历史。凉亭的审美特点在于将编织缎带融合在当地建筑体系、扎根于泥土之中的树木上的构思，一条条轻盈的彩带在钢结构的亭子上浮动，与绿叶和蓝天形成鲜明对比。 Ojos de Dios（编织的上帝之眼），papel

congregate as they wish. Specific programmatic shade

picado 彩色穿孔纸带和土著纺织品元素为重叠的色

zones were chosen for casual seating as well as for

带和雕塑角度的运用提供了设计灵感。格子凉亭下面

optimal locations for performance.

的双边形和 Mission San Jose 拱门可以让人了解下

The steel canopy structures were designed as a kit of

and blue sky.

由于大树被替换成小树栽种，Rios Clementi

parts with individual components and assembly details worked out in advance at the local fabrication shop.

charge, Samantha Harris, ASLA, LEED AP, Chris Adamick, LEED AP Location San Antonio, Texas, USA

方空间的情况。创新的倾斜式独板设计有几个优点，符合经济和环境两方面的可持续性发展。板面的设计角度可以最大限度地满足盛夏时节遮阳，寒冬时节光照的要求。

Area 6272.63 m2 Photographer Nick Simonite

可移动桌椅让人们在任何时刻在最舒适的地方就座，或按照个人意愿聚集就座。特殊程序化遮阳区可以用来自定义就座，也可以执行自选区域就座。遮阳亭的钢结构是由设计好的一套零件，事先在当地制造车间组装后生产出来的。

Rios Clementi Hale Studios

Established in 1985, Rios Clementi Hale Studios has developed an international reputation for its collaborative and multi-disciplinary approach, establishing an award-winning tradition across an unprecedented range of design disciplines. Acknowledging the firm’s varied body of work, the American Institute of Architects California Council gave Rios Clementi Hale Studios its 2007 Firm Award, the organization’s highest honor. For its varied landscape work—from civic parks to private gardens—the firm was named a finalist in the 2009 National Design Awards. The architecture, landscape architecture, planning, urban, interior, exhibit, graphic, and product designers at Rios Clementi Hale Studios create buildings, places, and products that are thoughtful, effective, and beautiful.

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MAIN PL AZA PLAN

SAN ANTONIO

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110106

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Aeolus - Acoustic Wind Pavilion Aeolus (希腊风神)——风声亭 Aeolus is a giant stringed musical instrument, an acoustic and optical pavilion designed to make audible the silent shifting patterns of the wind and to visually amplify the ever changing sky. The sculpture is a giant aeolian harp, designed to resonate and sing with the wind without any electrical power or amplification. Vibrations in strings attached to some of the tubes are transferred through skins covering the tops, and projected down through the tubes towards the viewer standing beneath the arch. Aeolus sonifies the three-dimensional landscape of wind, using a web of aeolian harp strings. Almost like cats' whiskers sensitive to the slightest touch, the stings register the shifting landscape of wind around the artwork to be heard by visitors. The aim is for the public to be able to visualise this shifting wind map by interpreting the sound around them. For those tubes without strings attached, the tubes are tuned to an aeolian scale and hum at a series of low frequencies even when it's not windy. Beneath the arch a viewer can look out through a field of 310 internally polished stainless steel tubes simultaneously, each of which draws the landscape of light through the structure whilst humming at a series of low frequencies. These light pipes act to frame, invert and magnify the landscape around the pavilion enabling the viewer to contemplate an ever changing landscape of light. As the clouds and sun move across the sky throughout the day, the visual experience for the public will dramatically alter minute by minute, hour by hour. Designer Luke Jerram Aeolus - ruler of the four winds in Greek mythology. http://pansci.tw/archives/15557 http://inhabitat.com/charming-giant-sculpture-aeolus-makes-wind-audible-in-london/ acoustic-wind-pavilion-tubular-sculpture-london-7/

Luke Jerram FELLOWSHIPS, GRANTS & AWARDS Shortlisted for ARUP best engineering award 2012 Fellowship at Museum of Glass, Washington 2011 25th Rakow Award from The Corning Museum of Glass 2010 ACE Grants for the Arts Programme, Touring of Aeolus 2010 EPSRC, PPE Grant with ISVR, University of Southampton 2009 Nominated for Paul Hamlyn Foundation Award for Visual Artist 2009 & 2005 Nominated for Artes Mundi 4 Prize 2009 ACE Grants for the Arts Programme, Touring of the Dream Director 2008 Institute of Medical Image Award for HIV sculpture 2007 UK Clark Digital Arts Bursary, Watershed Media Centre 2006 AHRC Arts and Science Fellowship at UWE 2005-2006 Drawing Inspiration Award received for educational workshops 2006 Arts and Business Award, Strike a Match 2006 NESTA (National Endowment for Science Technology and Arts) Fellowship 2002-2005 ACE Arts Council Touring grant for Tide 2001 Da2 Digital Arts Development Agency Clarkes Digital Bursary 1999 www.lukejerram.com - 220 -

风声亭犹如一个巨大的弦乐器，是一个结合了声音和光感设计的小亭，它的设计可以捕捉迅速移动的“风声”并形象地将其在天空中的变化放大。这座雕塑凉亭是利用巨型风弦琴发声的原理设计而成，不耗费任何电能，也不使用扩音设备，凉亭随风吹产生共鸣。将琴弦安装在部分风管上，藉管口的风膜把流入风管的风传导到建筑的中心而发出声音，站在亭下，声音会直达行人的耳中。管中的琴弦能营造出悦耳的立体声效。琴弦如小猫胡须般敏锐，即使最细小的声音也会被捕捉到，并将各种音韵在风中流泄，让游人完全陶醉在大自然各种美妙的曲调中，显示出风声韵律的变换。那些没有装置琴弦的风管，长度则是经过特意设计，即使在无风吹过的时候，也可以发出阵阵低频的音调。在凉亭下，游客可以透过 310 个内部抛光的不锈钢管观赏不同的景致，每根钢管通过这一结构展现光的景观，同时发出阵阵低频的音调。这些光纤管可以构建、颠倒、放大凉亭周围的景观，使游客凝视不断变化的光的景观。随着一天中天气的阴晴变幻，公众的视觉感受也会时刻不同。

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In order to get the most functional space, the project

A continuous floor creates a flexible space.

Columns create benches, and are tilted to give lateral

The project has a transparent structure in order to give

stability.

natural light under the shelter.

The positions of columns create a sequence of overlapping

The structure has height so that it catches sunlight and

The translucent glass pattern and the structure creates a

spaces.

creates visibility.

lantern effect at night.

covers the largest possible area allowed.

The structure is positioned to create visibility.

Concept In order to create a pleasant meeting place for the people of Sandnes there are certain ambitions that has formed the project.

Det er ikke foretatt oppm책ling av plassrommet. Kommunens digitale kartgrunnlag ligger til grunn for prosjekteringen. Det tas forbehold om eventuelle avvik fra faktiske m책l p책 stedet.

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Det er ikke foretatt oppm책ling av plas Kommunens digitale kartgrunnlag ligg Det tas forbehold om eventuelle avvik

Gordon Square Bus Shelters 戈登广场巴士候车亭

Designer Robert Maschke, AIA Location Cleveland, Ohio, USA

The project consists of two bus shelters designed for the Gordon Square Arts District within Cleveland’s Detroit Shoreway neighborhood. The brief called for the creation of functional and iconic elements to be incorporated as a part of an ensemble of new pieces of public art slated for the highly anticipated Detroit Avenue Streetscape project. Conceptually, the design is conceived as a single stainless steel surface which wraps and folds to create the shelter. The singular material enhances the sculptural quality of the modestly scaled shelters. Folds in the surface are determined by the accommodation of functional, contextual, and structural variables, which merge to generate the shelter’s shape. A pattern of perforations moves across the surface of the shelter which responds to localized conditions of sun, wind and view. In the evening the shelters are internally illuminated, projecting a subtle dithered pattern on the surrounding buildings and surfaces transforming the existing context and incorporating it as a part of this new vibrant installation.

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该项目包括为位于克利夫兰底特律 Shoreway 附近戈登广场艺术区设计的两个巴士候车亭。项目

Robert Maschke, AIA

设计呼吁该项目为万众瞩目的底特律大街街景，将功能性和标志性元素纳入成为新公共艺术作品的一

Robert Maschke, AIA established Robert Maschke Architects Inc. in 1997 and since that time has been responsible for the design of a wide range of arts, commercial, and residential projects throughout the world. Over time, Maschke has cultivated a design sensibility that is 从概念上看，该设计是由一张不锈钢板经折叠而制成候车亭。这种单一的材料可以提升规模较小 simultaneously timeless in atmosphere, highly articulated in finish, and meticulous in detail. 的候车亭的雕塑质量。候车亭表面的折叠点取决于候车区的功能、环境和结构变化，这些因素组合在 He has continuously engaged the disciplines of design from a variety of positions throughout 一起决定了候车亭的形状。为适应当地的阳光、风和景致条件，候车亭表面遍布穿孔式设计。到了晚上， his career, and has served as a lecturer and design critic. Maschke believes it is critical to 候车亭内设有照明，灯光微微地投射在周围的建筑物和自身表面，改变了现有环境的同时作为崭新的、 understand current issues impacting the design disciplines in order to remain a part of the discussion that shapes design culture. As a member of the American Institute of Architects, 充满活力的设施的一部分与环境相融。 Robert Maschke has been the recipient of many honors and awards.

部分。将功能性和标志性元素纳入新公共艺术之中的呼吁将在万众瞩目的底特律大街街景项目中实现。

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MERRI CREEK TRAIL OAKLEIGH ACTIVITY AREA WAYFINDING STRATEGY SIGNAGE SYSTEM FOR THE PARK OF LA VILLETTE PARIS GREEN SPINE

导视系统

signage system - 261 -

SIGNAGE SYSTEM FOR THE PARK OF LA VILLETTE PARIS 巴黎拉维莱特公园的导向系统 The park of la Villette drawn by Bernard Tschumi architect in 1982 is the largest park in Paris. Emmanuel CAIRO developed a flamboyant project for the competition, on the scale of this 22.26 hectares park. It advocates the color red used by Tschumi «folies» as a true sign of recognition, confering identity and readable. The main devices are the monumental concrete

EMMANUEL CAIRO

letters for the main park entrances contrasting with the more scaled arrow

Design and architectural studies in Paris France from 1986 to 1991. Founder member of the Parisian design agency «Absolut Design» in 1992. From this date to 2000, He led many design project for BtoB and BtoC company (France Telecom, Sagem, Mitsubishi, Hewlet Packard, Presto, Dymo, etc.). In 2000, he created his new Design studio specially dedicated to urban, street furniture and public transport design with the same design philosophy: • A variety of projects themes scales, enabling me to offer a design in line with contemporary issues, whilst being attentive to usage and user context as well as the values conveyed by the city or company brand. • A dedicated approach to project success for both users and clients • A methodology, which encompasses the entire industrial design process and offers a solution within the proposed budget. • A focus to enhance user’s lifes and urban environment.

signs which are both a guide and a narrative support. All these devices, easily understandable by everyone, don’t enter in competition with the several visual codes that already exist in the park. Designer Emmanuel CAIRO

Graphic designer Thérèse Troîka

Location Paris, France

由伯纳德·屈米在 1982 年设计的拉维莱特公园是巴黎最大的公园。伊曼纽尔·凯罗公司开发了这个占地 22.26 公顷的炫目的项目，并开展了设计方案的竞赛。该公司主张使用屈米在《点景物》中使用过的红色作为公园的标识颜色，这样既易于识别又很醒目。其中最主要的标识建筑是公园主入口处的水泥字母纪念碑。跟其他箭头指示标志比，这个标识建筑既起到指示作用又具有象征意义。游客很容易便能看懂这些设施，同时它们的设计又跟公园里的其他具有视觉冲击力的建筑互不冲突。

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Merri Creek Trail MERRI溪路引导标识 Merri Creek Trail traverses a 27km path along Merri Creek from Mahoneys Road on the outskirts of Melbourne, to its confluence with the Yarra River at Dight’s Falls. ASPECT Studios was commissioned to create a signage strategy that would offer coherence and clarity along the trail’s length. This required the design and detailing of a signage family that could respond to the rigours of the elements and vandalism. The signage system aimed to create robust, long life and durable construction detailing, using materials that would retain their aesthetic integrity over many years. The result was a modular “kit-of-parts” utilizing vitreous enamel technology, giving councils the freedom to

create combinations of signage types as required. The signage was a complex suite of information and maps across many

Merri 溪路足迹遍历 27 公里，它沿着 Merri 小河从墨尔本郊区的 Mahoneys 路开始，一直绵延至 Dight 瀑布处这条小溪与亚拉河的交汇处。

categories including: wayfinding, directional, warning, informational, regulatory, permissible, alternate flood warning and alternate flood route.

Design Company ASPECT Studio

Photographer Andrew Lloyd

ASPECT 工作室受托设计建设一套引导标识，可以连贯而清晰地设置在这条溪路的沿途。同时，全部引导标识的设计和细节还要能够应对恶劣天气和蓄意破坏的考验。引导标识体系要造的结实、使用寿命长、耐用，因此，设计选用了可以长时间保持整体美观度的材料。所使用的材料可以长久地满足审美的需要。最终，一种利用搪瓷技术的“元件包”式模块，使设计团队能够自由组合制造出达到各种要求的引导标识。

Location Melbourne, Australia

引导标识是包含各类信息和地图的一套设施，内容包括：引路标识、导向标识、警戒标识、通知标识、法规标识、许可标识、洪水预警标识和洪水路线标识。

St Georges Road

5 mins 1 km

Heidelberg Road 5 mins 1 km

Rushall Station 5 mins 1 km

St Georges Road 5 mins 1 km

Heidelberg Road 5 mins 1 km

Rushall Station 5 mins 1 km

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Oakleigh Activity Area Wayfinding Strategy 奥克利活动区指路标识 The City of Monash has piloted a wayfinding strategy for Oakleigh Activity Area with the aim to roll it out to other Activity Areas in the municipality. With the increase in serious health issues attributed to the socio economic status of communities, promoting active transportation like walking and cycling has become a serious focus for Councils across Australia. Monash Council like other metropolitan Councils have been investing in “community infrastructure” projects like wayfinding strategies that facilitate movement and encourage walking over short car trips by creating a system of integrated signage and mapping. Key objectives were to create identifiable landmark elements and heads up information to direct and orientate people to the retail, community facilities and

Oakleigh station transport hub. A strong visible color palette was adopted to brand precincts and create a legible

莫纳什市在奥克利活动区试点使用指路标识，目的是在全市的活动区进行推广。

system of wayfinding elements in the public realm.

随着由社会经济状况造成的健康问题的日益严重，推行步行和骑自行车这样积极的交通方

Design Company ASPECT Studios

式已成为澳大利亚议会的热点话题。

Location Oakleigh, Melbourne, Australia

如同其他大城市的议会一样，莫纳什市议会也在社会基础设施上进行投资，比如建立道路指示标识，为人们的运动和短途步行提供一系列的地图指引和道路标识系统。该项目的主要目标是建立指示路标和警示信息牌，用来指引市民到达商场、社区活动场和奥克利交通枢纽站。牌子上使用鲜艳的彩色颜料，使得公共场所的道路标识信息清晰可见。

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Green Spine 绿色脊柱之路 The Green Spine redefines the gateway to the mostly rural and forested Yarra Ranges, creating a spatial and temporal experience for both vehicles and pedestrians that transcends the often vehicle oriented ornament of the traditional regional gateway. At the same time, the project a green infrastructure project that creates new travel behaviours by reclaiming the Maroondah Highway entry space to the Chirnside Park activity centre as a place for pedestrians, cyclists and workers. As the shared pedestrian and cycle trail winds its way through existing vegetation and new plantings, it provides access along the highway and linkages between residential, recreational, retail and commercial areas and public transport nodes. Seats provide pause points along its length and interpretative signage provides information on the site’s cultural history and on its water sensitive urban design.

Designer ASPECT Studios

Location Victoria, Australia

Public Artist Charles Anderson

Area 18,608 m²

Lighting Design MB

Photographer Andrew Lloyd

绿色脊柱项目为雅拉地区的大多数农村地区和森林地区的通道做了重新定义，为车辆和行人创造了超越传统的地域型通道的空间和时间的体验。同时，该项目为绿色基础设施项目，通过开拓从 Maroondah 公路入口到 Chirnside 公园活动中心线路，为行人、骑自行车者和上班族

The Green Spine welcomes residents home, and greets visitors with a strong avenue of indigenous and native tree planting, emblematic of the vegetation within the municipality. Designed as a collaboration between landscape architects at ASPECT Studios and artist and designer Charles Anderson, the Green Spine explores ways of delivering a truly integrated public art form as part of the gateway experience. It is celebratory, promotes sustainability and evokes the concept of ‘home’. The Spirit of Barak trail, part of the Green Spine, is named after William Barak, an elder and leader of the Wurundjeri tribe who was born near Brushy Creek, at the southern end of the trail, in the 1820s.

创造了新的出行机会。行人和车辆公用车道蜿蜒穿过植被区，这条绿色脊柱之路是通往高速公路以及沿途住宅区、娱乐区、商业区和公交枢纽站的纽带。这条路上沿途的座椅为人们提供了停留休息的地方，说明性标牌上的信息介绍了当地的文化历史背景和水敏性的城市设计。绿色脊柱路以其当地林荫大道和城市标志性植被的特色来吸引人们前来定居、接受各地游客来访。绿色脊柱路是来自 ASPECT Studios 的景观建筑师和画家兼设计师查尔斯 • 安德森共同设计完成的，该作品探

Central to the project is the integration of solar powered lighting, best practice water sensitive

索了将真正的公共艺术形式以通道体验来表达的方式。这条路的建成是

urban design treatment of water from roads, indigenous plantings, robust and natural materials,

可喜的，它促进了可持续性发展，并唤起了“家”的概念。

and strong tree planting to create a truly green spine.

巴拉克小径之灵是绿色脊柱之路的一段，以 Wurundjeri 部落长老和领袖威廉 • 巴拉克命名，巴拉克在 19 世纪 20 年代出生在这条小径的

3000

南端的布拉希河附近。 600 2500

该项目的核心是一体化的太阳能供电照明系统、最佳的水敏性城市道路积水处理设施、本土植被的种植、坚固且耐用的天然材料的使用和

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大面积树木的种植，形成了一条真正的绿色脊柱之路。

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ASPECT Studios is a creative landscape architecture design studio committed to providing positive outcomes for people and places through contemporary, innovative and sustainable design. The Chinese studio is based in Shanghai. Sustainability is a core value of the Studio. Sustainability is a complex interplay of cultural, environmental, social and economic elements and we seek to balance these elements through a holistic design approach. This is demonstrated through numerous awards and the quality of our built and strategic work. The Directors of ASPECT Studios are respected professionals in Australia, having lectured at universities throughout the world. Solid working experience in China allows us to interpret local culture in a contemporary manner through a sustainable design approach. The knowledge of local materials and planting, our passion for new technologies also contribute to the successful completion of our projects.

THE ENZO MEETING BOWLS REEFBENCH PUBLIC STAIRS SOFT ROCKERS THE UNION FAMILY STREETWALK STOOLS BINOCULAR BENCHES CRATER LAKE PLANTER-BENCHES “BALANCE” BENCH & “FONTE” FOUNTAIN ELLIOTT & DARBY STREET UPGRADE HILL WITH BENCHES PACÚ INDIVIDUAL SEAT BENCH CUBE BENCH & LIGHTING BUTTERFLY SEATS GARDEN TABLE FIELD CHAIR LIMPIDO LONDON QUAY PROP SEATS THE WHEELBENCH LOCO BENCH INFINITY BENCH SYSTEM OF MODULAR URBAN FURNITURE GATESHEAD CIVIC CENTRE SEAT KLORIS OUTSIDE SEATINGS POP-UP SOLAR CELL SEAT STONE & STEEL BENCH STONE GEBOGEN MAAIVELD TREEBENCH

休闲设施

ITS NO PICNIC TABLE

leisure facilities - 269 -

The ENZO THE ENZO The inner courtyards of the Museumsquartier in Vienna, which host several cultural organisations, museums and cafes, are the playground for 116 over-sized elements, made of coated EPS, which – joined in endless variations – can be read as characteristic, recognizable occupants on behalf of modern architecture in the preserved, historical complex of buildings. According to their precisely controlled form, the elements-named Enzis- offer geometrical surprises – mere crystallography! – through which they acknowledge the communal aspect of the site and reaffirm the social role of architecture. In 2010 PPAG developed in cooperation with the designers MN*LS a new family of Enzis: the

PPAG architects

Enzos: industrial manufactured out of polyethylen, using a Rotomoulding-procedure. The

design of the Enzo is a consequence of the new production method. The inversions provide the necessary stiffness. The Material is a lot more robust against vandalism, and not only the production speed, but also the product price could be significantly reduced. The Enzo‘s

维也纳博物馆区的内庭院里设有一些文化机构、博物馆和咖啡厅。场地里有 116

are 100% recyclable. The outer contour and size is exactly the same as that of the Enzi.

个大型 EPS（发泡聚苯乙烯）涂装设施。这些设施变化无穷，特色鲜明，在保守复杂

Thus the well-known combinatorial diversity for the different positions is secured.

的历史建筑中带给人们鲜明的现代建筑设计风格。其名为 Enzis 的精确的造型设计呈现出令人称奇的几何结构——晶体结构——通过这些设计可以展现出此处的公共空间特色，并突出了建筑的社会角色。 2010 年 PPAG 跟设计师 MN*LS 合作开发了新的 Enzis 家族产品：Enzos—— 采用滚塑模型工艺，工业化制造聚乙烯产品。Enzo 的设计是新生产方式的产物。倒立式设计为设施提供了必备的坚硬度。该材料更加坚固，可以抵御人为破坏。不仅仅生产速度得到提高，产品的价格也大幅度下降。Enzo 产品可 100% 回收利用，其外轮廓和大小完全跟 Enzi 产品一致，因此，保证了为大家所熟知的产品的多样性组合方式。

Design Company PPAG architects in cooperation with MN*LS Photographer MN*LS

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Meeting Bowls 约会碗

Low cost urban furniture, circular shaped: makes possible meetings between strangers. It was first made for Times Square as a social connection installation. The production was made sending via email CAD files from Madrid, the Meeting Bowls were cut using CNC mill in New Jersey. Each meeting bowl was assembled on site in few hours. The Meeting Bowls are social places for meeting and getting to know people, places for group discussion that promote a sense of community in a large city. Meeting Bowls are large objects shaped like bowls with seating to accommodate eight people. The inviting semi-spherical capsules are installed outdoors in spaces with high pedestrian traffic. They are designed to promote interaction by having those seated inside face one another. These "social" benches are more intimate than typical public benches. The Meeting Bowls are designed to generate a slight rocking motion as they rebalance when people step into and out of them. The gentle motion generated is intended to be relaxing and fun much like a swing but one for adults. Temporary and playful urban furniture, they encourage friendly dialogue between strangers in a close yet pleasant space. Meeting Bowls are meeting points and also places to interact; they help humanize a large city. Meeting Bowls was a Public Art Project supported by the Times Square Alliance, University of Alcalá, Consulate General of Spain in New York, Spain Culture New York and Spanish Ministry of Culture. During the two months event, the Alliance estimates that approximately 20,000,000 pedestrians saw Meeting Bowls and tens of thousands took photographs. Design Company mmmm...

Location New York, USA

Dimensions 5 ft. tall x 8,5 ft. diameter

Photographer mmmm...

Materials moisture resistance MDF

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低成本的城市装备、圆形的外观使陌生人相识成为可能。它起初是作为一个社交联系的装置为时代广场设计制作的。约会碗的制作是根据从马德里发来的 CAD 邮件中的图样，之后在新泽西州用数控铣床切割完成的。每个约会碗都是现场组装完成的，用时很短。约会碗是结识、了解他人的社交场所，是可以进行小组讨论以促进大城市群体意识的地方。约会碗是一个可以容纳 8 人就座的大型碗状物体。吸引人的半球形装置被安置在行人量大的户外空间。约会碗的设计目的是促进人与人之间的交流，因为一旦坐进来，就会和其他人面对面。这些供人“社交”的凳子比普通的公用长凳更能让人们亲密接触。约会碗的独特设计使其在人们进入或离开时会产生轻微的摇动，之后会恢复平衡。这种轻微的摇动会使人放松并感觉很有趣，就像是为成年人设计的秋千。作为临时的俏皮有趣的城市公共设施，这些约会碗鼓励陌生人在一个近距离但却有趣的空间内亲切地对话。约会碗是一个见面地点，同时又是一个进行交流的地点；它们帮助大城市变得更加人性化。约会碗是由时代广场联盟、阿尔卡拉大学、西班牙驻纽约总领事馆、纽约西班牙文化和西班牙文化部联合赞助的一项公共艺术项目。据该联盟统计，在历时两个月的活动中，约有 2000 万的行人看到了约会碗，并有数以万计的人给约会碗拍过照片。

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mmmm… mmmm… is a collaboration by Emilio Alarcón, Alberto Alarcón, Ciro Márquez and Eva Salmerón, who have been creating projects for public space since 1998 from Madrid, Spain. www.mmmm.tv

Reefbench 礁石长凳 With simple means, Remy & Veenhuizen created a defined area with special significance. The newly built school, where the firm of architects designed it, Ector Hoogstad Architecten, calls “a citadel that serves to shield against the ugliness of the surrounding building estate”, has a confined atmosphere. An autonomous village was shaped around a street of light. Remy & Veenhuizen chose to break through this confinement: “We wanted to give the students their own ‘escape area’”. This outdoor clubhouse is shaped like stylized dunes, dotted with classic seating elements. Contrary to what one would expect, the rolling shape of the landscape was not created by a computer. Its transparent slatted structure arose by experimenting with spatial models. “This way we keep our freedom of form”, Veenhuizen explains. By stacking their materials in an ingenious way, the designers discovered a method that allowed the slats to move slowly while the construction as a whole still remains solid. Thus, the wooden skeletons look like organic, almost living elements, offering a warm contrast to the school building. The same goes for the use of wood, which was banned from the inside of the building. The wood chosen is an eco-friendly variant of a light color: Accoya is a new type of wood. It is a so-called acetylated coniferous wood type, which has the same properties as tropical hardwood. Treating it with acetic anhydride creates a sustainable wood that is almost impermeable to water and that is UV resistant. The enormous wooden structures remain light in terms of weight as well as appeal through this use of Accoya.

Remy & Veenhuizen Partnership Remy & Veenhuizen since 2000 Tejo Remy, Nijmegen,1960. ! ! Art school Utrecht HKU, 1991. Rene Veenhuizen, Groningen, 1968.! Art school Utrecht HKU, 1993. Exhibitions Miffy the house ! ! Cental Museum ! ! ! Utrecht! 2011|2012 At the Greenhouse! ! Design biennale! ! ! Saint Etienne! 2010 Lezing ! ! University van Vigo! ! ! Vigo, Spain! ! 2010 Industry gallery! ! Art Miami! ! ! ! Miami! ! ! 2010 Droog design! ! Art Basel! ! ! ! Basel! ! ! 2010 Hands on ! ! ! Industry gallery ! ! ! Washington ! ! 2010 Kleur! ! ! ! Yksi Design huis! ! ! Eindhoven! ! 2010 Natuurlijk VROM ! ! Jaarbeurs ! ! ! ! Utrecht! ! 2010 ! ! ! ! Orange county museum ! ! Newport Beach! 2010 Saved by Droog! ! Salone di mobile! ! ! Milan! ! ! 2010 Sustain! ! ! Gallery Nexit!! ! ! Arnhem! www.remyveenhuizen.nl

设计师 Remy & Veenhuizen 用简洁的方式创造性地打造出了一块空间，意义非常。在一座新建的学校中，Ector Hoogstad Architecten 公司设计了这组长凳，它在周围不起眼的建筑中形成了一个亮点，给学校增添了一抹特色。街灯映照着周围的自然村。Remy & Veenhuizen 决定突破这种局限，“我们想给学生们建造一个自己的‘世外桃源’”。俱乐部的外部空间形状如沙丘一般，其中点缀着一个个古典的长凳。让人出乎预料的是，这种辊型外观并不是由电脑设计的。其透明的板条结构是从空间模型试验中得到灵感。Veenhuizen 对此进行了解释，“这种设计可以诠释我们一直追求的自由理念”。设计者在用独创的方式组建材料时发现了一种方法，它可以使板条慢慢滚动起来，而外观仍然看起来静立不动。因此，木质长凳的结构外观看起来像一个个有机生命体，与周围的学校建筑相比，让人感觉更加温暖。木质材料的使用同样让人感到温暖，而学校内部的装修是禁止使用这种材料的。所使用的木料是一种浅颜色的不污染环境的变体材料：固雅木，它是一种新型的木料，又被称作乙酰化的松柏科木种，它有着同热带硬木一样的特征。经过乙酸酐处理后，木料可以防水、抗紫外线。由于使用了固雅木，体型硕大的长凳重量轻，外观也很具观赏性。

Designer Remy & Veenhuizen

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Public Stairs 公共楼梯 This concept for public furniture was designed to engage the urban dweller with the city’s parks and plazas. The idea is to highlight the importance of these public spaces for the health of the city and its inhabitants. The stoop is a symbol for relaxing, chatting, and watching the world pass by; hence the bench takes the form of a multi-functional stoop. Its colors are playful to bring new palettes to the gray and brown of the city. Designer Alvaro Uribe 这个公共设施的设计理念是让城市居民可以在城市公园和广场活动。设计思路是要突出这些公共空间对城市良性反展及居民健康的重要性。阶梯象征着放松、闲聊及纵观世界风云变幻，因此，长椅采用多功能台阶的造型。它的颜色非常俏皮活泼，给灰、棕色的城市带来了新的色彩。

Alvaro Uribe Born in Miami, Florida, Alvaro Uribe grew up in Bogota Colombia. He later moved to New York where he graduated from Pratt Institute with a BA in Industrial Design. Uribe also expanded his studies to schools in Denmark and the Bauhaus in Germany. In the past years he has assisted in developing projects with recognized companies and designers such as Smart Design, Pensa, Ecco ID, Curve ID, Studio Dror, and Raison Pure. He currently is developing products with recognized groups like Nachtmann, Dansk, Nambe, Manifesto Vision, Billes Products, and Nicol. His work has been exhibited at the Museum of Modern Art in San Francisco and the Phyletische Museum in Germany. Uribe was also the recipient of the prestigious Rowena Reed Kostello Award from Pratt Institute, and other numerous competitions.

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SOFT Rockers 太阳能软摇椅 Design Company Kennedy & Violich Architecture (KVA MATx)

Recharge yourself and your electronics while relaxing with friends outdoors in MIT’s Killian

Team Sheila KENNEDY, James BAYLESS, Kaitlyn BOGENSCHUTZ, Wardah Inam, Jungmin NAM, Shevy ROCKCASTLE, Phil SEATON, Matt TRIMBLE, Adnon ZOLIJ

as outdoor rocking lounge furniture. Unlike conventional “hard” urban infrastructure, the

Courtyard! The MIT SOFT Rockers are smart, clean energy charging stations disguised SOFT Rocker leverages its environment in a dynamic manner by using the human power of balance to create an interactive 1.5 axis 35 watt solar tracking system. Soft power electronics designed for this project charge the 12 ampere-hour battery and store solar energy harvested

Photographer Phil Seaton

during the day. Put your body weight in play with an interactive, real time energy harvesting feedback loop that senses how you orient the rocker to the sun. Charge or run any USB device from speakers to cell phones and bring your friends to enjoy cool lighting loops at night for social gatherings. The leaf-like loop form of the SOFT rockers explores how standard softwood panels can be mass-customized to adapt their form to the latitude and sun angle of any site using parametric design software and automated fabrication with a lightweight Kuka robotic arm. The project advances digital kerfing methods developed by Christoph Schindler with wood joining techniques which enable softwood panels to be formed into a seemingly continuous undulating wood surface. The interdisciplinary SOFT Rocker project, led by Professor Sheila Kennedy and Jungmin Nam of KVA Matx in Boston, combines hi-tech and low-tech design strategies: it produces electricity but engages the body and works like furniture “by hand”; it mixes sun tracking and social dynamics; it is a site specific object and a flexible form family of “soft” wood construction. The SOFT Rocker blurs distinctions between pleasure and work and recasts power generation as an integrated and distributed public activity rather than a centralized, singular off-site project of “engineering”.

在麻省理工学院（MIT）的基利安方庭，你在室外跟朋友一起放松自己的同时，还可以给你的电子设备充电！ MIT 太阳能软摇椅从外观上看是室外休闲家具，实际上是智能的使用清洁能源的电器。与其他传统死板的城市化设计不同，这种软摇椅需要用户参与，通过人力激活 1.5 轴 35 瓦特的太阳能跟踪系统。这种软椅可以将白天收集的电能都储存在 12 安培的电池里。坐在摇椅里，人的体重可以让摇椅上的实时太阳能收集系统朝向太阳，进行太阳能收集。这个摇椅可以给任何 USB 设备充电，无论是扬声器还是手机。到了晚上，你还可以坐在酷酷的发光的摇椅里跟朋友进行交流。

Kennedy & Violich Architecture (KVA MATx)

Kennedy & Violich Architecture (KVA) is an interdisciplinary design practice that works at the intersection of architecture, sustainable building technologies and emerging public needs and lifestyles. Central to the work of KVA is the idea that the necessary infrastructure of buildings and cities can be transformed by design to enhance the experiences and activities of daily life. KVA offers clients professional services in urban design and architecture, construction documentation and administration, as well as creative programming and strategic planning for technology integration.

这个叶形软摇椅开发了标准化软木板的大批量定制方式，使用了参数设计软件和轻量级自动化 Kuka 机器人手臂，使其形状可以适应任何场所的活动以及太阳的不同角度。这个设计推进了 Christoph Schindler 木材接缝数字切口方法，使软木板表面形成看起来连绵不断波浪起伏的形状。这一涉及各个学科间合作的软摇椅项目由 Sheila Kennedy 教授和波士顿 KVA Matx 的 Jungmin Nam 领导，结合高科技和低科技设计。它通过人的参与来产生电能，工作起来如同一个“消耗人体力”的家具。它既有太阳跟踪系统又可以作为社交活动场所，它既是一个特别的物体又具有软木装饰灵活的形状。软摇椅使工作和休闲的界限不再那么明显，将发电变成了一种即集中又分散的公共活动，取代了集中化、单一的、需远距离传输的“电力工程”。

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Streetwalk stools 路边公共座椅 The Streetwalk stools were designed to create a sense of movement through the Streets of Sunderland leading pedestrians from the City Centre to the newly refurbished old town and gardens. The Stools incorporate color change and lighters making the stools visible at night and bringing the streets alive during the wet and cold winters. The Stools were part of a much bigger commissioning program in Sunderland including interactive video projections, lighting sculptures and sound installations. Designer Charlie Davidson Location Sunderland, UK

Materials coloured quartz,mica and marble chips

路边公共座椅的设计旨是在桑德兰街道上创造一种动感。把行人从市中心引向刚刚翻新过的旧城和花园。座椅富于颜色变化并安装有照明器，因此，在晚上非常醒目，让街道在潮湿阴冷的冬天也充满生机。路边座椅设计是桑德兰大测试项目的一部分。该项目包括视频投影，照明雕塑和音响装置。

Charlie Davidson Charlie Davidson is a designer of products, spaces and films. His work is diverse, for ever changing, experimental and hands on. He has designed street furniture, car adverts and toys, and can turn his hand to just about any problem that needs a smart solution.

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Designer Buro Poppinga Location Nieuw-Vennep, the Netherland Photographer Wim Poppinga

Binocular benches 双目望远镜形长椅 The Noordrand, the northern periphery of Nieuw-Vennep, strongly influenced the design of the ten benches. This hilly green belt area affords magnificent views across the polder towards Hoofddorp and Schiphol. The polder was allowed to develop with an eye to the future and little regard for the past. The shape of the benches is based on this outlook and bears an unmistakable likeness to a pair of binoculars. Binoculars are closed at the rear and on which people can sit in a variety of ways. The shape, however, only permits looking ahead. The benches frame the user’s view and offer a quirky shelter as well as privacy in the open polder landscape. But at the same time, they constitute an orchestrated chain of prominent beacons on the green slopes along the Noordelijke Randweg, an important access route for the residents of this area. A white – almost reflective – type of concrete was used so that the lights of traffic on Hoofdweg and

Buro Poppinga

Noordelijke Randweg illuminate the benches at night. An effect similar to headlights reflected in the eyes of animals at night. 位于 Nieuw-Vennep 北部边缘的 Noordrand，对这十个长椅的设计产生了极大的影响。这片丘陵绿化带区域赋予了通往 Hoofddorp 和 Schiphol 两个区的开拓地壮丽景色。这片开拓地的发展应着眼于未来，而非过去。长椅形状便是基于这种前景，并且与一个双目望远镜的外形极为相似。双目望远镜形长椅的后面是封闭式的，人们可以以各种方式坐在上面。然而，这种形状的长椅，只允许坐在上面的人向前看。这些长椅框定了人们的视野，同时在这片空旷的开拓地上给人们提供了一个奇特又私密的场所。与此同时，这些长椅也在绿茵茵的山坡上沿 Noordelijke Randweg 路──这一地区的居民的重要通道──构成了一串串指向标。长椅由几乎可以反光的白色水泥制作而成，因此，在晚上，Hoofdweg 和 Noordelijke Randweg 路沿途的交通灯便可以照亮长椅。这种效果好像动物的眼睛在晚上反射的灯光一样。

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Design for public space Public space is a film of which the experience can be directed and which can touch people. According to Wim Poppinga using space is different from actually experiencing it. If a space touches people appreciation is created. Appreciation leads to involvement. Involvement is the basis for a healthy community. In the past teen years Wim Poppinga developed a practice in a area were architecture, landscape architecture, art an product design overlap. He focuses his design activities on the development of public artifacts. His approach is characterized by the exclusive attention to the place, the product and its users. Wim Poppinga examines the location in a microscopic way and then develops product and design concepts that can stand their own in an increasingly complex, landscape and architectural context. These usually have a multi-purpose or hybrid nature. With his designs Wim Poppinga is creating defined areas, where there is room for meeting and exaction between users.

Doorsnede CC

section AA front view

back view

section BB

Detail 3

Detail 4

Detail 1

Detail 5

Detail 6

Detail 1

Detail 7

Detail 2

Detail 3 bottom view location sections B

Detail 4

Detail 2

C top view legs B

top view bench

Detail 5

view DD legs

Detail 6

back view legs

view EE legs

back view

Detail 7

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side view

front view

24° Studio architecture | design | furniture 24° Studio is a multidisciplinary practice established in 2008. It dedicates the investigation in working at the intersection of architecture, technology and environment. It is in the inherence to collaborate with the vast network of experts to deliver new solutions to the clients and audiences in realizing their aspirations. 24° Studio believes that the process of integrating multiple perspectives will lead to innovative result, thus redefining the connection between body and surroundings. Fumio Hirakawa, Principal At 24° Studio, Fumio believes in comprehensive communications and extended reserach as must do steps prior to design. Fumio currently Adjunct Instructor at Kyoto Seika University. Marina Topunova, Principal At 24° Studio, Marina believes in pursuit of innovation through exploration of building techniques, formal complexities, and new materials.

Crater Lake 火山湖 Crater Lake is an installation project exhibited at Kobe Biennale 2011 from October 1 through

Crater Lake 项目在 2011 年 10 月 1 日到 11 月 23 日间在神户进行展出，

November 23. The project was one of the winners for Shitsurai Art International Competition

该项目是在日本神户举行的 Shitsurai 国际艺术节中的获奖者之一。这种多用途

organized by the city of Kobe. This multi-use environmental installation serves as a meeting

的环境设施可以作为人们聚会的场所，每个区域都可供人们就坐、思考，因此，

place where every area can be used as seating for visitors to contemplate the surroundings,

人们可以在此进行社交活动。

thus invoking a social interaction within and around.

为了让造型有波浪起伏感，同时景观的表面又能光滑平整，设计师尝试了多

Multiple ideas and materials were tested to realize the complexity of smooth and undulating

种想法和材料。木质材料由于其结构承载力强，便于加工，具有自然本色，被选

form. Wood was chosen for its strong structural capacity, ease of work with, and natural

为建筑材料。建筑面对的一个主要问题是：不使用昂贵的木材蒸烘技术来表现结

qualities. One of the main issues was to express continuous and smooth surface without using

构的连续性、表面的光滑度。

costly techniques of wood steaming,

Crater Lake 景观设计可以让人们接触并观察周围的环境美景。更重要的

Crater Lake, an installation-environment where people have a place to meet to observe the

是，设计唤起了人们对可持续性发展的重视，这对神户人民战胜灾害重建城市来

beauty of the surrounding environment and more importantly to call forth an emphasis on

说是非常重要的。Crater Lake 坐落于神户人造岛 Port 上的 Shiosai 公园内。在

sustaining social interaction, which was the important catalyst that brought Kobe residents

Shiosai 公园里，能够观赏到神户市中心的山景海景图。

to revitalize their city after the disaster. The installation is situated in the man-made Port Island, Shiosai Park that provides a vast view of the Kobe urban center, its surrounding mountainscape and seascape.

地方。

Design intent of Crater Lake installation is to take this unique location into advantage; by creating an undulating wooden landscape that provides a variation of open and unconstrained settings with 360° viewing vista. Every surface may be utilized as seating and lying down surface. Additional seating stools are set in the middle of the space that can be reorganized accordingly to the user’s preferences. The gentle hill surfaces invites people of multiple generations by providing spatial conditions that allow to interact with the landscape space like a playground device, relax in the shade of the mount, and socialize by seating in preferred order. Designer Fumio Hirakawa ; Marina Topunova Design company 24° Studio Location Kobe, Japan

Crater Lake 景观设计利用了此处地理位置的特殊性和优势，选用木质材料搭造一个形状起伏的景观，提供了一个开放、不受约束并且能 360 度观赏景观的

Size 10 m DIAMETER x 1.7 m HEIGHT (MAX) Photographer 24° Studio

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景观的每一个表面都可供游人坐、卧。此外还有小凳安装在景观中间，人们可根据自己的喜好把小凳摆在不同地方。山上的景色吸引着各个年龄段的人们，大家可以在这个类似运动场的景观内欣赏周边的景色，在树荫下休息，或者选择自己喜欢的地方进行社交活动。

SUNSHIADING / SUNBATHING

PLAY SPACE

SEA BREEZE PROTECTION / DIFFUSER

COMMUNAL SPACE

APPLICATION DIAGRAM

STRUCTURAL PLAN

PLAN

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MATRIX DIAGRAM

SIDE ELEVATION

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FRONT ELEVATION

Hill with benches 山中长椅 Reiding park is a municipal public garden in the centre of Drachten. The park was in need of a thorough facelift, for which a spatial development plan was prepared. But the municipality of Smallingerland, to which Drachten belongs, was looking for something extra and unique. It commissioned Wim Poppinga to create a number of landscape elements for Reidingpark. That led to the design of benches arranged like an amphitheatre for The Hill in the park. The design consists of a meandering row of seating elements nestled against the hill. A path zigzags upwards across the entire width of the hill, and visitors can sit down in various spots, looking out over the public garden and the water feature. The seating elements along the ascending path have lights and are an impressive sight in the evening. This creates an attractive and striking meeting place that entices and invites passers-by to enter the park.

Buro Poppinga

Designer Buro Poppinga

Location Reidingpark Drachten, the Netherlands

Photographer Jeroen Musch

Reiding 公园是德拉赫滕市中心的市级公园。公园需要彻底的换装，因而特别制订了针对该地段的规划方案。但德拉赫滕市所在的 Smallingerland 区正在寻找一些特别的独树一帜的设计元素。于是该市委托 Wim Poppinga 公司为 Reiding 公园设计修建一些景观元素。这便有了公园里依山而建的类似露天剧场般布局的长椅设计。该设计由依山蜿蜒而上的座椅元素构成，长椅沿山路曲折而上横跨整个山体，游客可以在各个景点小坐休憩，俯瞰公园和水景。沿路而上的座椅都内置了灯管，在晚上则是令人难忘的夜景。这美丽的夜景吸引着途经这里的行人进入园区，使得这里成了路人们聚会的场所。 A

top view

section A-A

front view

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Pacú individual seat PACÚ个性椅子

Individual urban chair On its own, in pairs or in groups, offers multiple alternatives for urban social encounters. May be completed with the Rehué system, it can overwhelm social interaction areas. Designer Diana Cabeza

Team Diana Cabeza, Diego Jarczak, Alejandro Venturotti

Design Company Estudio Cabeza

Materials Precast concrete with black or brown pigment aggregate. Fixed to a base with chemical anchors or placed freestanding

独特的城市用座椅无论是成对或成组，座椅本身在城区的社会交往中都为人们提供了多种选择。如果连同 Rehué 系统一起，则能构成主要社交活动区域。

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Diana Cabeza Architect. Studied at University of Belgrano, Buenos Aires Graduated with Honors from the Prilidiano Pueyrredon National School of Fine Arts. Designer specialising in urban equipment, driven by re-thinking and designing urban elements and supports for community use in the public space. Her designs have been licensed out to foreign companies in Europe and Latin America. Her urban pieces furnish public spaces in the cities of Buenos Aires, C贸rdoba, Pergamino, Puerto Madryn, Mendoza, Trelew, Tokyo, Zurich, Paris, Washington, Nueva York, to name a few.

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Kim HyunJoo was born in Seoul, South Korea in 1980. She graduated in Hong-Ik Univ. IDAS as a Master of Product Design. In 2009, she's established Design Studio in Seoul and working in industrial and public design field. She won the Red-dot Design Award in 2008 in part of Furniture. Her recently outdoor facilities are selected as a Good Public Design from Seoul city.

Kim HyunJoo

CUBE bench & lighting “魔方”长凳和照明 Cube is a outdoor bench, and lighting as well which is made of granite. It seems to belean to one side without anchor bolt, but it never lean to one side due to the material characteristic; granite is really heavy material. “Cube” is a bench for a person, so it can be variously arranged. The grey color of the “cube” matches well with urban environment. 2010 SEOUL (South Korea) GOOD PUBLIC DESIGN selected. 2011 GYEONG-GI (South Korea) GOOD PUBLIC DESIGN selected. “魔方”是一个户外的长凳，其照明设备同样也由花岗岩制成。长凳看上去似乎要倾斜到没有锚栓的另一端，但事实上由于材质的特性它永远也不会倾斜，因为花岗岩是重型材料。 “魔方”是单人凳，因此它可以随意安放。灰色的“魔方”与城市环境相匹配。 2010 年入选首尔（韩国）优秀公共设计。 2011 年入选京畿道（韩国）优秀公共设计。

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Designer Kim HyunJoo Material granite, LED lamp Location South Korea Size W400 x D400 x H450 (mm) LED 3.6w, 12v

Limpido 透明长凳 ROMAN VRTISKA

This project was designed to be an invisible and pure functional piece in urban

Graduated in Product Design studio at AAAD Prague. Lives and works in Prague. As a freelance designer his work range consist of furniture, tableware, accesories, graphics, interiors and also architecture. Since 2010 established a studio VRTIŠKA • ŽÁK with his colleague Vladimir Zak. Awards 2005 second prize in a national City Point competition for SNAKE bench design / special prize of mmcite for the waste separating bins collection NAPAPAN 2007 Books Books Books competition finalist, posted by Habitare (cooperation Doug Uk Lee, Timothy Austin), (FI) 2008 Czech National Award for Best Student Design for city furniture collection SINUS / Croy Concept Award / Students Agency Award / Czech Centers Award 2009 Second place in Czech Grand Design Award (Discover of the year) for city furniture collection SINUS 2010 EDIDA Elle Award nominee 2011 Dobry wzor for SINUS www.roman-vrtiska.com

spaces. Its forms based on an archetypical shape of a bench. Due to the clear structure, benches very stiff but still very transparent. It is with soft looking, yet a strong steel-bar structure contouring an elegant shape and creating an exquisite bench with or without a back rest. With its nearly transparent effect, these pieces of furniture will standout in every private garden or public park, as well as on the street.

Designer Roman Vrtiška

Material galvanized steel sheets with powder paint finish

该项目被设计成都市内的一种隐形的、纯功能性的公共设施。其外形是典型的长凳式设计。由于结构清晰，长椅显得很死板，但同时也非常地透明。它看似软软的，但却是牢固的钢条结构，轮廓造型典雅且精致，有的长凳带靠背，有的则不带。凭借其几近透明的视觉效果，这些长凳在任意一个私家花园或公园，乃至街道上都会显得很出众。

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Kim HyunJoo Kim HyunJoo was born in Seoul, South Korea in 1980. She graduated in Hong-Ik Univ. IDAS as a Master of Product Design. In 2009, she's established Design Studio in Seoul and working in industrial and public design field. She won the Red-dot Design Award in 2008 in part of Furniture. Her recently outdoor facilities are selected as a Good Public Design from Seoul city.

PROP seats PROP座椅 “PROP” is a bench for outdoor space. It has simple, but unique shape. It looks like a propeller and a clover as well. 2011 JeonRaNamDo(South Korea) GOOD PUBLIC DESIGN selected.

PROP 是摆放在室外的长椅。它造型简单、独特，看上去像螺旋桨和三叶草。该项目已入选 2001 年 JeonRaNamDo（韩国）优秀公共设计。

Designer Kim HyunJoo Material granite, Hard wood Location South Korea Size W1180 D1050 H440

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Loco Bench LOCO长椅 Loco, designed by Ivan Palmini and produced by ALL+, is a modular system for urban furnishing, conceived from the basic project of a bench suitable for any waiting area. Further elements, with various functions, can be combined with Loco. In fact, the bench can be fitted with accessories to furnish, light up, contain and inform. In addition to the bench the system involves numerous elements, including a WiFi console, table, bike stand, horizontal and vertical signage, totems, bollards and covered and uncovered litter bins. These are made from anodised aluminum and steel (the same materials as the bench) to ensure aesthetic and formal coherence.

Ivan Palmini

Anodised aluminum is light and flexible yet strong, with remarkable insulating properties and resistance to weather conditions. This material welcomes sun, doesn't worry about rain and adapts to shifts in temperature. It is also eco-compatible and fully recyclable and therefore

Ivan Palmini was born in Civitanova Marche in 1960. After completing his studies in architecture in Venice, he worked in a specialized contemporary furniture store. This experience allowed him to develop problem-solving skills to mediate between the requirements of production and those of the clients. This is the source of his preference for interior architecture in its totality, and for the design of systems. With his taste for understatement he defines his working style as “applied design”. His projects include interior architecture, sporting goods stores and many retail stores for shoes and fashion accessories, a field for which he also designs trade fair exhibitions. In 2003 his “Osso” project was selected by ADI (Associazione Design Italiana) for the Compasso d’Oro, the prestigious national award. He has collaborated with many Italian manufacturers including Babini Office and Luconi. In 2007 he began his collaboration with the ALL+ brand for which he is acting art director.

has a low impact on the environment. The flexibility of the Loco system makes it perfect for various uses, from designs for public spaces to event sponsorship. The bench is available in four models and numerous sizes, up to a maximum extension of six meters. And that's not all; various materials can be used for the cladding, including wood, rubber, plastic and laminate. The single slat can also be further personalized with graphic and photographic

由 Ivan Palmini 设计、ALL+ 生产的 Loco 长椅，是一个城市陈设的模块化系统，希望能够设计出适用于任何等候区的长凳。Loco 还结合了各种功能的其他设计元素。事实上，与其他饰件相结合，该长椅还可以起到点缀、照明、收纳和告知的作用。除了长椅本身的功能，该系统还涉及许多其他元素，包括 Wi-Fi 控制台、桌子、自行车支架、水平和垂直标志、图腾、护柱及有盖、无盖的垃圾箱。这些都是由阳极氧化铝和钢（与长椅的材料相同）制成的，以确保审美和外观上的一致性。阳极氧化铝是一种质地轻、延展性好又坚固的材料，具有显著的绝缘性能和对恶劣气候条件的

elements, publicity applications and a choice of colors.

抵御能力。这种材料不怕日晒雨淋，能适应温度的变化。这种材料也是一种生态型材料，完全可以回收利用，因此对环境的影响很小。 Designer Ivan Palmini producer All+

Loco 系统特点灵活，应用广泛，无论是公共场所，还是各种赛事都非常适用。该座椅共四种类型，各种尺寸一应俱全，最大的座椅可以扩展到六米长。不止这些，座椅表面还可以包覆各种材料，包括木材、橡胶、塑料及压膜。座椅板面还可以进行进一步的个性化设计，比如添加图案和图片、公共宣传元素及不同颜色。

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Kloris outside seatings KLORIS 室外座椅 The Kloris outdoor sculpture is like an exploding abstract flower, emerging out of the landscape. Its movement which seems suspended in time, provides dramatically cantilevered seating. Kloris is a direct translation of the original design using the latest technology of computer controlled milled formwork. The shell is made of fibreglass and its finish has an innovative chrome effect which simultaneously embeds and reflects the surrounding environment. Design company Zaha Hadid Architects

Dimensions 6500 x 5100 x 80mm

Location London, UK

Photographer Simon J. Spode

Kloris 室外座椅犹如盛开的抽象花朵，拔地而起。Kloris 座椅为人们提供了引人注目的悬臂式座位，如同悬挂在时空里一般。 kloris 座椅是对原创设计的直接阐释，采用最新的计算机控制模板加工技术。外壳采用玻璃纤维制成，运用新颖的镀铬效果装饰，使其融入周围环境的同时又反衬出周围的美景。

Zaha Hadid Architects

Design Zaha Hadid Patrik Schumacher

Material Glass Reinforced Plastic with high gloss lacquer finish in chrome and gradations of green, steel base plates

Design Team Melodie Leung Tom Wuenschmann Yael Brosilovski

Kloris

Zaha Hadid

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Zaha Hadid, founder of Zaha Hadid Architects (ZHA), was awarded the Pritzker Architecture Prize in 2004 and is internationally known for her built, theoretical and academic work. Each of her dynamic and transformative projects builds on over thirty years of revolutionary exploration and research in the interrelated fields of urbanism, architecture and design. Working with senior office partner Patrik Schumacher, Hadid’s interest lies in the rigorous interface between architecture, landscape, and geology as her practice integrates natural topography and human-made systems, leading to experimentation with cutting-edge technologies. Such a process often results in unexpected and dynamic architectural forms. The MAXXI Museum in Rome and the London Aquatics Centre for the 2012 Olympic Games are excellent demonstrations of ZHA’s quest for complex, fluid space. Their earlier projects have also been hailed as architecture that transforms our vision of the future with new spatial concepts and bold, visionary forms. ZHA continues to be a global leader in pioneering research and design investigation. Collaborations with corporations that lead their industries have advanced the practice’s diversity and knowledge, whilst the implementation of innovative technologies have aided the realization of fluid, dynamic and complex architectural structures.

Cate Watkinson of Watkinson Glass Associates has over 20 years experience as an architectural glass artist, designing and fabricating architectural glass to commission for a wide variety of applications. During this period she has been instrumental in developing the potential of glass in the public realm. Her projects range from decorative glass panels for public and private buildings to street furniture and sculptural public art pieces.

Solar Cell Seat 太阳能电池座椅 Public seating illuminated by LEDs which are powered by photovoltaic cells (PV cells) incorporated into the seats themselves. Enough power can be stored to light LEDs for up to 12 hours per evening in summer and 3 hours per evening in winter.

Cate Watkinson

The simplicity of design, the independent unit with adjustable legs, means that it can be sited anywhere on flat surface making it a versatile and eminently user friendly solution to the public seating needs of town planners and urban designers in the 21st century. Power supplied by 31 solar cells producing 18 volts stored in batteries sited in seat unit. It is illuminated by LED light strips installed beneath a textured laminated glass seat top.

Designer Cate Watkinson

Materials Laminated glass and stainless steel

Location Sunderland, UK

Size 1.2m high x 2m long

LED 照明的公共座椅是通过安装在椅子里的光电管（PV）供电的。LED 里储存了足够夏季每晚 12 小时和冬季每晚 3 小时使用的电能。设计简洁，每个独立的单元都有可调节支架，可以安装在任何表面平坦的地方，灵活多样，解决了 21 世纪城市规划和郊区公共座椅的需求问题。电源由 31 个太阳能电池供给，可以产生 18 瓦的电量储存在椅子电池里。光源由安装在椅子带纹理夹层玻璃板下面的 LED 光带提供。

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Treebench 移动树椅 An ideal ( park ) bench needs the environment and the environment needs the bench too. To achieve that goal a bench contributes to the park as a walk, sit, rest, kiss, lie, meet, watch, dog walking, day-dream, stretch, think, decide, smoke and lunch spot. During visits to the park Rogier Martens was inspired by the plants overgrowth and mushrooms. In the design, he used the characteristics of mushroom. Mushroom is suddenly there and when the weather and temperature conditions change, they disappear. Using the Tree Bench is to surprise the park visitors in the same way. The Tree Benches can easily be attached to the trees using a suspension system. The Tree Bench will not hinder the tree itself. The Tree Bench doesn’t need explanation, the park visitors will understand immediately that the tree bench is made to sit on. The Treebench is designed for temporary use of up to 6 months because of growth of the tree. It isn't made to carry around.

Designer Rogier Martens

Client AANDEBOOM

Size 160 x 45 x 45 CM ( l x B x H )

Material waterproof laminated beechwood, stainless steel straps and lashings

理想的公园长椅跟周围景观是相辅相成的。公园里的长椅应该具有这样的功能—— 可以供人们坐在那里休息、跟爱人亲吻、躺下放松、跟朋友会面、欣赏风景、溜狗、发呆、伸展肢体，甚至可以坐在那里沉思、吸烟或者吃午餐。在公园里游览时，Rogier Martens 的设计灵感受到茂盛的植物和蘑菇的启发。在设计中他使用了蘑菇的特点──蘑菇会突然出现，但当温度和天气发生变化时，又会立刻消失。因此，移动树椅会带给游客如突然出现的蘑菇一样的惊喜。用一个悬挂装置便可以轻而易举地将树椅安装在树上。移动树椅不会影响树的生长，也不需要使用说明，游客会在第一时间了解树椅的座椅功能。按照树的生长周期，移动树椅设计成 6 个月的使用时限。它不能随身携带。

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ACKNOWLEDGEMENTS We would like to thank everyone involved in the production of this book, especially all the artists, designers, architects and photographers for their kind permission to publish their works. We are also very grateful to many other people whose names do not appear on the credits but who provided assistance and support. We highly appreciate the contribution of images, ideas, and concepts and thank them for allowing their creativity to be shared with readers around the world.

后记本书的编写离不开各位设计师和摄影师的帮助，正是有了他们专业而负责的工作态度，才有了本书的顺利出版。参与本书的编写人员有：

Adnon ZOLIJ

CAID Industries,

Diana Cabeza

Hugo Paiva

Agnes Ladjevardi,

Carmen Pereira

Diego Jarczak,

Hyder

Alan Dempsey

Cate Watkinson

Dinis Sottomayor,

Ivan Palmini

Alejandro Venturotti

Cecilia Rejtman

Diogo Aguiar,

James BAYLESS,

Alessandra Cianchetta,

Cesare Querci

Donald Jacob

James D'Addio

Alexander Rieck

Charles Anderson

Duncan Kramer

Jamie Woodley,

Alvaro Uribe

Charlie Davidson

Dylan Salmons,

Janet Echelman

Alvin Huang,

Chris Bosse,

Elise Oddy

Jangir Maddadi

Amale Andraos

Chris Falla,

Elizabeth Felicell,

Jennifer French,

Ana Martínez

Christiane Eberts

ElsVerbakel,

Jeppe Hein

ANDREA VALENTINI

Christina O`Haver

Emmanuel CAIRO

Jeremy Siegel,

Andrew Lloyd

Christopher Moore

enaro Alva,

Jeroen Musch

Andrew Lucia,

Claudia Ampuero

Florian Groehn,

Jerry Huang

Anna Kenoff

CLAUDIO CASTALDO,

FRANCESCO COLANGELI,

Joao Gómez Leitao,

Antonio Bernacchi

Dan Wood

Francesco Gatti

John Marmaras

ARM photo;

Dana Hirsch Laiser

Francisco Salgado Ré,

John Potter

Atelier Oslo

Daniel Kidd ,

Fumio Hirakawa ;

jonathan Fitch

Atelier Remy

David Biene,

Gabriele Merolli,

Jordon Gearhart,

Atsushi Takahashi;

David Eager,

Genaro Alva,

Jörg Bräunlein,

Avi Laiser

David St. George,

Gisela Erlacher

Joseph Gann

Ben Busche

David Syn Chee Mah

Gloria Andréa Rojas

Joseph Scott

Bjarke Ingels

Deedee Morrison

HASSELL

Juan Carlos Jaullis,

Brad Howe

Denise Ampuero,

Haviland Argo

Julian Liang,

Bruno André,

Desmond Ong;

Hendrik Albrecht

Jungmin NAM,

Buro Happold,

Diana Balmori

Herbert Wiggerman

Kaitlyn BOGENSCHUTZ,

Buro Poppinga

Diana Cabeza

Hotson Bkker Bomiface Haden

Kala,

Karen M’Closkey

Mark Foster Gage

Remy & Veenhuizen

Stephanie Pohl,

Keith VanDerSys

Matt Gorbet

Rens Plachek

Steven Martinuzzo

Kengo Kuma

Matt TRIMBLE,

Ricardo Guedes,

Steven Tucker,

Kerstin Weber,

Mattes Hoffmann,

Richard Gross

Sugiko

Kim HyunJoo

Matthias Armengaud

Rob Gorbet,

Susan LK Gorbet,

Kiyoshi Sey Takeyama

Melani Pigat

Robert Maschke

TamirTsadok

Klaus Hesse,

Michael Beitz

Rodrigo Apolaya

Tembolat Gugkaev

Konrad Fiedler

Michael Hawes

Rogier Martens

Teresa Otto,

Koo, Jin-woog

Michael Mitterer,

Roman Vrtiška

Tetsuo Kondo

Kristoffer Apeland

Michael Wetmore

Romina Serrano

Theodore Molloy,

Lajos Héder

Miguel de Guzman

Ruud-Jan Kokke

Thomas de Lussac

Lee H. Skolnick

miguel de guzman

Sahar Moin,

Tiffany Marston,

Leire Asensio Villoria,

Morné Hugo

Sandra Neto

Tilman Gebhardt

Liat Ezra,

MuseumsQuartier Wien

Sanwa Tajima

Tobias Peker,

Luke Hayes;

Musuk Nolte,

Sarah Carlisle

Tobias Wallisser,

Luke Jerram

Nick Simonite

Sean Williams

Valmik Vyas,

Mags Harries

Nikolaj Svennevig

Sebastian Fauck,

Veenhuizen

Manuel Magalhães e

Patrick Bingham Hall

Sheila KENNEDY,

Wardah Inam,

OPOLab

Paul Deeb,

Shen Qiang

Wim Poppinga

Marc Armengaud

Peter Heppel

Shevy ROCKCASTLE,

Yuval Tebol,

Marcella Martinez,

Peter Murphy,

Simon J. Spode

Zaha Hadid

Marcus Tucker

Phil Seaton

Simon Oberhammer

Marguerite Graham,

Phil SEATON,

Simon Wood

Marina Topunova

Phillips Farevaag Smallenberg

SIMONE CAPRA,

Marisa Bernstein,

Pierre Luu

Sören Grünert,

Mark Drummond Davis

Rehwaldt LA

Stephan Babendererde

本书译者为大连工业大学外国语学院的何心