PERCEPTION OPERATION
PERCEPTION OPERATION 感 知 操 作
感 知 操 作
Gao Hua 高 华
Gao Hua 高
华
CONTENT Perception Operation East Williamsburg Palimpsest
2-3 4-23
Folding Water
24-45
“Speaking wall” Performance House
46-69
Urban Bricolage: In Between Urban Space Weight of air
70-87 88-101
Void- space
102-117
Undulating Line
118-131
Density and Porosity
132-145
Shell dwell- a minimal house
146-159
A Beijing courtyard house
160-177
Wood, Wood Joint, Wood Furniture
178-191
About Gao Hua
192-195
目录
感知操作 东威廉斯堡重写本
2-3 4-23
折水
24-45
对话的墙剧场
46-69
城市拼贴匠
70-87
空气的重量
88-101
空-虚
102-117
波动线
118-131
密度与多空
132-145
蜗居-极小住宅
146-159
一个北京庭院住宅
160-177
木，木节点，木家具
178-191
关于作者
192-195
感知操作
Perception Operation
The task of the critical, profound and responsible architect is to create
本质的，深刻的和负责任的建筑师的任务是创造和维护真实的感觉，而
and defend the sense of the real. Instead of creating, or supporting a world
不是创建，或支持幻想的世界。建筑的任务是加强我们的真实存感，不仅
of fantasy, the task of architecture is to strengthen our experience of the real
在经验感知和体验的领域而且也应该涉及到文化与社会的领域。
in the spheres of perception and experience, as well as in culture and social
建筑师的职责是保卫真实性和人类经验的自主权。在模拟，仿真和虚拟 性的当代社会背景下，作为建筑师的使命正是贡献出真实存在的试金石。
interaction. The duty of responsible architecture is to defend the authenticity and
尤哈尼 帕拉斯玛，具体表征的图像：建筑中的幻象与意象
autonomy of human experience. In the world of simulacra, simulation and virtuality, the ethical task of architects is to provide the touchstone of the real. Juhani Pallasmaa, The Embodied Image: Imagination and Imagery in Architecture
The ideal of perception in architectural and urban design has been
对于知觉的思考在建筑和城市设计中已经不自觉地在执行，接下来的项 目会展示这种理念。笔者一直在寻求两种基本的设计方法与策略，进而探 索空间操作的边界。正如这个关系图所表达的，这两种不同的设计途径既 有微妙的差别但是它们又同时交织在一起。
unconsciously executed where the following projects showing that. The author has been seeking two fundamental design methods that exploring the boundary of spatial operation. This graph illustrated two main design approaches which has subtle differences, and, they intertwined meanwhile.
eyes and mind
Body
眼睛与心
身体
“musician and painter” approach
“sculptor and dancer” approach
“音乐家和画家” 路径
“雕塑家和舞蹈家” 路径
observation
matter
观察
物质
tactile
体验
触觉
material
抽象
morphology
engergy
形态
能量
transformation
modeling
变型
模型
assembling
performance
组装
表演
虚无意象
材料性
experience abstract
nothingnessm
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spatial perception
ateriality
空间之感知
材料
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East Williamsburg Palimpsest
东威廉斯堡重写本
Palimpsest (Pal•imp•sest) noun
重写本.名词
Something having diverse layer or aspects apparent beneath the surface.
事物的表面下展现出多样的层次和面貌。
The wonder of city density and forest ecology system evoke the visual
基地位于纽约布鲁克林东威廉斯堡区，过去这里是著名的工业区，现在
imagination. Nature is an abundant source of wonder because we can
是一个混合了商业与办公，工业以及住宅的综合功能区域。对于城市密度
never fully match or master nature, God’s handiwork, by contrast with city
和城市森林生态系统的思考激发了视觉的联想体验。对比城市和建筑物，
and buildings. East Williamsburg dominated by high-density residential
大自然给予人们丰富的想象，这是上帝的创作，我们永远也不能凌驾于
and commercial buildings, paved surface, and factory zones that create a
它。高密度住宅，商业区，街道铺装了东威廉斯堡区独一无二的景观,这个
unique landscape, which city landscape trigger architect to make a collage.
城市景观引发建筑师的拼贴工作。在一张拼贴绘画中描述了三个重要的层
The collage drawing has three main domains, the raised habitation space,
面，被抬升的居住空间，自然环境的生长空间，和地下的生产工作空间。
nature phenomenal space, and the underground manufacture space. These
这三大主体在垂直方向上并置，在水平方向上相会交错。然而，这种想象
three domains are juxtaposed vertically as well as intertwined horizontally.
的图景是不清晰的，是迷离的，只有转移到具体尺度上才能具体化。在宏
However, the imagery drawing remains mystery and unclear. The shift
大的城市尺度与微小的桑拿小屋之间的不断切换，要求一种城市空间的策
between macro-scale (urban space) to micro-scale (sauna or bathe house)
略来回应这个尺度的变化，同时也要解决城市洪水和土地污染的棘手问
request a strategy for both issues (contaminated land and flooding) at different
题。
aspect of urban opportunity.
一个新的城市主张从拼贴绘画对森林系统的类比中得出：未来的东威廉
From the collage drawing the ideal of analogical forest transform into
斯堡区城市和生活具有的特征是脱离语境的，是分散情节的回忆。这种城
a new urban manifesto: the future of East Williamsburg urban life has de-
市生活空间因时而异，因时而异、因人而异、因事而异，体现出流变性、
contextualized characteristic and embody episodic memory.
多样性的特征。
The way of layering strip the urban fabric into multistory: the underground
这种把现有城市肌理层层剥离的方式表现在：挖掘地下空间使之成为新
excavate space for manufacture industry. The discharge channel for flooding.
工业的生产空间。城市地下洪水疏导体系。城市土地污染净化治理系统。
The IN SITU treatment remediation system. The insert “dots” at existing
安插一系列的“点”在现有的城市肌理之中。新的景观层。城市内的疏导
urban context. The surface of new landscape. The line of creek channel. The
河道。“罗马水道桥”作为基础设施支撑起居住和商业建筑单元。在城市
“aqueducts “infrastructure lift up the residential or commercial structure
上空连接建筑的桥和道路。所有的这些层次都是并置的关系，并且按照时
units. The bridge above the air connect the mass architecture horizontally.
间计划引导建筑。首先是对污染土地的挖掘和净化工作，接下来连接疏通
All of these layers are juxtaposition together follow the time guide line in
地表河水，并且与地下洪水疏通管道系统连接。与此同时，在城市景观层
which the first step is contaminated land excavation in order to purify the soil
种植树木和植被，修复生态连接系统。
and water. The next step is connect the Newtown creek channel and built the
在整个城市中，建筑行为的介入要尽量保证精简的数量和轻巧的质量。
underground flooding discharge channel. At same time the landscape plan to
新建的建筑单元将采用新型交叉复合木材产品及其技术。这种建造系统的
plant new forest and vegetation in order to re-connect the nature ecological
优势具有灵活性，零碳和可回收利用等特点。用这种交叉复合木材产品
system.
可以在工厂预制和完成所有的建造工作。这样的木建筑单元就像是一系列
The architecture intervention gesture need keep minimum and light
的“点”被安插在不同的城市肌理中，包括:废弃的厂房，现有建筑物的
weighted as best as it can. New building units can prefabricated by using
屋顶，曾经的船舶码头，两座建筑之间的空隙，或者城市放弃的空地。这
Cross-laminated timber (CLT) technology. The advantages of this system
些“点”作为小种子在城市空间生长，不仅仅增加了新的层次同时也连接
include flexibility, environmental friendly and recyclable. The CLT units like
着城市的过去与将来。每组单元的结构连接的方式依据不用的需要组合，
“dots” can insert into many different urban conditions such as: an abandoned
通过研究可以归纳成一整套类型学的建构逻辑来指导具体的组合。新的建
warehouse, a building’s roof, a shipping yard, a gap between two buildings,
筑并没有典型的建筑外立面，外观取决于单元的组合方式，这些单元可以
and a vacant lot. All of these “dots” works as incremental urban fragment.
根据需求的不同改变位置和结构。这些“点”包含公共使用空间如社区中
It add a new layer at the neighborhood, it can provide new communication
心，诊所，画廊等，同时主要提供私人生活或工作的空间，像是住宅或艺
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between old and new. Each of units aggregate or stack under the tectonic logic
术家工作室。这些建筑单元可以完全隐藏到旧建筑里，例如一个艺术家的
of typological study.
工作室建在一个废弃的老仓库里。外立面保持了原有的砖墙立面和巨大的
The new architecture intervention has no typical façade, the elements
运输通道开口，外观看没有任何不一样，但是在内部隐藏了一组新的木建
explore to the existing urban surfaces. The units also can replace or reposition
筑单元。这个内部建筑单元由四个预制的木结构建构起来一个类似大树的
freely by users demands. This new architecture program has public use space
空间。在不同的层次上，人们可以体验到丰富的空间变化。这种体验类似
like bath house, community meeting room, social clinic house, art gallery,
我们步行在北美的森林里，阳光从巨大的树冠的缝隙射入到土地上，大地
and private use space like artist studio, private house, office space. The new
与溪流相互融合，风声和动物发出动听的声音。这个只有十五米立方的艺
architecture intergrade with the old building, some of it even invisible from
术工作室展现了一个内在的亲密世界，这一切与城市空间只有一墙之隔。
exterior. For instance, the artist studio built-in an abandoned warehouse. From
最终，在这个城市空间里，所有的设计系统都是以一种即兴的方式在生
exterior it is only has brick wall and large openings, but inside, it is new
长，而不是单一方向的。这样的城市空间是均质的而不是等级分明的。对
wood construction units. The four units are organized like a tree-like place.
未来城市理想的构想就基于每个人都能在其中找到他们的记忆，并且可以
At different level, people can experience the diversity spatial experience,
修改与重写城市的每个细节。
like people walking in a northern forest, the canopy, light penetrate through leaves, the ground soil, the water and the sound. In this introverted world the architecture brings the intimate but people still surround by urban life. To sum up, in East Williamsburg urban proposal, all the elements and systems growth as a no linear way, it happens simultaneously. It is a homogeneous plan rather than hierarchy plan. The future urban hope is different people can find their individual story and has their own memory about this city. That means the architects only play as part of role in the large plan, this project need many profession and discipline to participant.
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Image 01 a collage drawing: collage urbanization
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图像 01 拼贴城市意象
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Image 02 a master plan drawing: a multilayer space
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图像 02 总平面图：多层空间
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Image 03 a multilayer vertical section drawing Image 04 a detached and floating world 图像 03 多层垂直剖面图 图像 04 一个分离的漂浮的城市意象
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Image 05 three main domains, space analysis drawing 图像 05 三层主导领域，空间分析图
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Image 06 an example of dot that insert on top of roof 图像 06 一个在屋顶上安插点元素的例子
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Image 07 multilayered axonometric drawing 图像 07 多层的轴测分析图
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Image 08 an example of dot that insert between two buildings 图像 08 一个在两座建筑物之间插入的点的例子
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Manipulation of units
CLT Unit Dimension
1unit Single
2units Stacked
2units Overlapping
2units Crossed
2units Erected
2units Serial
2units Parallel
2units Shifted
2units Angled
2units Erected
3units Overlapping
3units Erected & Overlapping
3units Stacked & Overlapping
3units Erected
3units Overlapping
4units Combination
4units Combination
5units Combination
5units Combination
5units Combination
Container Dimension The 48-foot (14.63 m) shipping container is a High Cube container in that it is 9 ft 6 in (2.90 m) tall on the exterior. It is 8 ft 6 in (2.59 m) wide which makes it 6 inches (15 cm) wider than ISO-standard containers.
Image 09 site diagnostics: five typical locations 图像 09 场地诊断：五个典型地址
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Image 10 a diagram of typology research 图像 10 单元建筑类型研究图表
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Image 11 architecture example: artist studio axonometric drawing 图像 11 建筑案例：艺术家工作室轴测图
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Image 12 architecture example: artist studio plan and section elevation 图像 12 建筑案例：艺术家工作室平面及剖立面
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Image 13 architecture example: artist studio axonometric drawing 图像 13 建筑案例：艺术家工作室平面图与剖立面图
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Image 14 architecture example: artist studio plan and section elevation 图像 14 建筑案例：艺术家工作室平面及剖立面
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Folding Water
折水：环境研究中心
The Environmental laboratory will locate at Fox Point that surrounded by
建筑设计长久关注的问题是关于：怎么用不同的视角理解自然，怎么操作
Providence River and Seekonk River. Water is key element both in topography
材料,怎么发现几何的氛围？在这个项目里具体的探索途径和方式是通过材
and ecological system about this site. Water transform between liquid, solid,
料的实验，捕捉未知的空间与结构。
and gaseous states. When water achieves a specific temperature and a specific
水（化学式：H2O）是地球表面上最多的分子，除了以气体形式存在于大
critical pressure, the liquid and gas phase merge to one homogeneous fluid
气中，其液体和固体形式占据了地面70-75%的组成部分。标准状况下，水
phase, with properties of both gas and liquid. This becomes the starting
在液体和气体之间保持动态平衡。我感兴趣的是水的形态在气态，液态与
point of a series of experiments that discuss a possibility of “soft, and weak”
固态之间自由的转化，特别是在其临界温度及压力（647k
architecture.
时，水分子会变为一种“超临界”状态，液态般的水滴漂浮于气态之中。
How can manipulate material performance in architectural design? For example, cutting and folding pieces of cardboard strategically can result in
及22.064MPa）
这种对于物质形态自由转化的研究成为我设计实验的出发点：我开始了一 场“变化”建筑的冒险，开始实验概念上的“软弱”建筑。
increased structural stiffness. We must explore the relationship of materials
设计操作原则的确定：
and geometry- how specifically to connect, score, mark, and fold this
第一：材料试验，如何改变僵硬材料的性质。首先在卡纸版上按照几何
cardboard. To test different grid systems in order to get a new form.
图案切割和折叠，通过不同的切割实验，寻找最大限度的软化卡纸板的几
Next, we must translate material geometry into spatial a structure. Combine
何结构。
cardboard with fabric and piano wire to construct a tension structure. The tension force gives cardboard a freeform surface. Or only use folded cardboard, stacking many layers of cardboard to construct a continuous spatial structure system. Finally, translate spatial structure into the architectural idea. The stack layer method was chosen because of the building elements become a whole,
第二：确定几何与材料的关系。这个网格线如何连接，如何折叠，以及 折叠的角度。 第三：转化成空间结构。方法一，把这张可以自由造型的卡纸板结与织 物和钢弦结合搭建成张拉结构。方法二，应用纸板变形后成为几何曲面的 可能性搭建成为曲面壳体结构。方法三，应用纸板折叠后形成的空间，把 多层的纸板堆叠形成空间连续结构体。
the structure is architectural elements as well as spaces. It is a non-hierarchical
第四: 把空间结构转译成为建筑概念。我选择堆叠空间连续结构这个方
architectural space. Where plans depend upon how to folding material in
法发展建筑理念。我寻求”自然一体”的体系，结构元素本身也是建筑
sections and elevations, where vertical circulation integrated with folding
元素，没有等级区分的混合体，空间的形成依赖于在剖面和立面的结构折
elements, where all the spaces are connected but structure element become
叠。垂直交通与支撑结构是一体。空间连续不分割，结构的折叠提供空间
the space zone defining, where volumetric space are according to the angle of
分区。垂直空间体积的变化可以根据结构空间的折叠角度而变化。
folding geometry.
最终，通过原则的设定，设计过程可以灵活操作，最终建筑是一系列变
By use basic rules, we can achieve a crystallized architecture. This process
化过程的凝结物，整个过成就像水的变形，这个过程也是从内到外的设计
is like the states of water. Even though the building has physical principles
过程。建筑的生成过程借助了一系列的工具和操作方法，是一个发现未知
we must obey, we can capture the complex changes and experience the rich
的过程。虽然建构必须具有物理稳定性，但是我可以体验到这个建筑的丰
spatial condition.
富的变化，建筑达到概念上的自由。
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Image 15 a photo of exterior space: the first floor's open roof
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图像 15 外部空间的照片︰ 一楼开放的屋顶
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Image 16 a cardboard been cut and bend Image 17 a paper been cut , fold and layered 图像 16 一个纸板被切割，弯曲 图像 17 一个纸被切割，折叠和叠加
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Image 18 a roof topography view Image 19 a diagram of lateral structure 图像 18 屋顶地形视图 图像 19 侧向结构的关系图
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Image 20 a series of study about folding cutting patterns 图像 20 一系列研究折叠切割模式
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Image 21 a series of study about light surface patterns 图像 21 一系列的研究光线表面的模式
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Image 22 a photo of evelation 图像 22 一个外立面的模型照片
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Image 23 model of architecture and site 图像 23 建筑与场地的模型
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Image 24 a detail photo of geometrical relationship 图像 24 一个细节的几何关系
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Image 25 a model photo of architecture facade detail 图像 25 模型的建筑立面细节
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Image 26 a photo of interior space: large span space without columns
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图像 26 室内空间的照片:大跨度空间没有柱列
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Image 27 a series photo of interior space: space sequence
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图像 27 一系列的室内空间照片:空间序列
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Image 28 aquarium exhibition floor plan, research and office floor plan 图像 28 水族馆展览平面图、研究和办公室平面图
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Image 29 site and landscape plan, green roof plan 图像 29 建筑工地和景观规划,绿色屋顶计划
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Image 30 a section cut 图像 30 建筑剖面
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Image 31 a section cut 图像 31 建筑剖面
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“Speaking wall” Performance House
“对话的墙”剧场
The project starts from the observation of natural phenomenon, such as the
项目开始于抛开以往经验的观察与感知自然的现象。应用手中的材料直接
projection of light, the curve of surface, the time of movement and the empty
去分析和研究光线的投影，弧形的表面，时间的运动轨迹以及立方体的空
volume of cube space.
间体量。
Observation of small tasks leads to a moment of scripting my threshold
这一系列的话题和练习是针对建筑核心问题热身训练，这些积累引发了
design – a black cube with dynamic space, in which walls serve as doors and
一个关于边界的设计，和对于边界的脚本描述。一个黑色的立方体空间被
screens. The four corners can be opened, can be folded. All of the elevation
定义为边界或者门槛，立方体的立面的四个角是可以打开或折叠的，直到
facades can be fully opened. Two people can encounter, interact, pass, and
整个立方体被打开。两个人可以在这个变化的空间里上演相遇，互动，路
leave each other within the movable space that created. This threshold
过，离别等不同的生活情景。这个立方体边界阐述了项目的核心观念，即
contains essential ideal of both simplicity and complexity.
一个事物中所包含的简单性与复杂性同时存在的状态。
A new abstract language is discovered by drawing the matrix of space
接着，一种抽象的语言母体产生于这个复杂的立方体的空间形态的变化
configuration. Each phase serves as a specific element that represents different
之中。这种抽象的语言里的每个短语和词汇都能表达不同的情绪和感觉。
emotions, Analogy is the key to find the logic and system of the space. The
类比性是寻找逻辑和系统的关键。最终的剧场功能组织可以灵活的变动，
final programming is flexible as well as the performance space always
因为现代剧表演对空间的要求都是不同的。观众可以与演员互动，建筑的
required. Audiences interact with performers and wall “speaking” to each
墙体可以互相“交谈”。空间的氛围重新连接起观众的感知，因为在这个
other. The atmospheric spaces reconnect the initial phenomenon. Because
开放空间的剧场里，墙体和空间组织永远在变化，观众感觉每次演出都是
the performance house has open plan, the space can change the arrangement
不一样的。建筑的平面是一个完美的正方形，这个正方形调整45度后把建
which audiences feel the space ever-changing. This architecture is perfect
筑周边的空间也激活了。空气，光线，声音，身体的移动，混凝土，玻璃
square in plan, but the square has rotated 45 degree that operation makes the
等所有的元素在创作一个场所，它可以重新连接观众对生命的体会和生命
ambience space alive. Air, light, sound, body movement, concrete, glass all
的“演出”。
of the elements create a place which reconnect audience’s sense of life and performance. The architecture starts from uncertain and unlearning, as professor Kyna
建筑始于不确定性和未知，就像莱斯利教授在她的书《创造力的风暴》 中所说的“ 创作的过程是渴望去探索你所未知的。” 正如这个项目就是 一个在未知建筑道路上探索的起点。
Leski said in her book<The Storm of Creativity> “ Wanting to know something that you do not know is the creative process. ” This project is the start point of making architecture in an uncertain way.
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Image 32 space matrix: the 54 phrases based on transformation rules
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图像 32 空间矩阵: 54个根据转换规则变化的短语
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Image 33 a black box threshold: simplicity as well as complexity
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图像 33 黑盒子出入口：简单性与复杂性并存
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Image 34 encounter entrance Image 35 a diagram of elements interactive each other 图像 34 与入口相遇 图像 35 元素互动的分析图
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Image 36 encounter the landsacpe Image 37 a tool to get red lighting and blue lighting color mixed 图像 36 与景观相遇 图像 37 红光与蓝光混合器
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Image 38 a script of dancer movement in space 图像 38 一个舞者运动空间的脚本
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Image 39 sketches to finding movement engergy 图像 39 寻找运动能量的绘图笔记
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Image 40 a black box threshold: the performance model
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图像 40 黑盒子出入口：执行模型
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Image 41 plan: the four typical space arrangements
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图像 41 平面：四个典型的空间布局方式
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Image 42 a series of photoes show the atmospherical space and light of interior
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图像 42 一系列的照片展示室内光线与氛围
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Image 43 performance space: stories-1
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图像 43 表演空间：故事-1
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Image 44 performance space: stories-2
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图像 44 表演空间：故事-2
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Image 45 performance space: stories-3
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图像 46 表演空间：故事-3
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Urban Bricolage: In Between Urban Space
城市拼贴匠：城市间隙
Principle: A proposal of urban bricolage space is a fragmentation city as
原则：当代城市空间是由无数碎片和无等级系统拼贴而成的。拼贴不仅仅
well as an un-hierarchical system. Using collage is not only as methodology,
是一种工作方法，同时也意味着一种思考方式和感受事物的途径。通过操
but also a sense of psychology thinking. By operating, mixing, pasting, and
作，混合，粘贴，分层等方式重组城市空间，引导出新的城市功能，新的
layering of urban spatial elements will leading to a new urban program, a new
城市形态，新的城市体验和生活。
space morphology, a new perception of urban life.
居住在空的情景中：庭院空间作为空的情景连续贯穿在建筑的组合方式
Inhabiting around voids: In this project the arrangement of the new units
中。庭院空间与住宅空间的关系是对等的，平行的。庭院的”空“是为了
around the courtyards spaces. The future courtyards preserve forest and
城市森林和绿植而准备，庭院的”空“是为了社区生活而准备。作为社区
plants integrate the natural conditions and Trees and soil into the developing
的公共起居室承载了休闲，市场，聚会等等公共生活。
neighborhood. The large courtyards aim to creating a sense of community.
房间作为基本的建筑元素：每个建筑体都是有一个五米乘五米的建筑体
Residences can share spaces for leisure activities, markets, and family events,
量组装而成的。就像是堆叠积木块的游戏，空间的序列可以在堆叠得过程
and so on.
中生成甚至改变。一个房子可以承载内部的功能是多样的，一个居住的空
Room as the basic units: in this project each building made up by the
寂可以改为商业空间或者家庭工作室。这种组团式的建筑在一个网格的体
assemblage of single rooms of five meters by five meters. The result is a tree
系中可以灵活安插，接入，分离，拆分成不同的形态。这个网格体系就是
dimensional sequence that can be organized differently through time. Single
一个立体的架构。
house, but can also become a workplaces, such as offices, ateliers, workshops,
打破网格的限制：在这个立体的架构里，每个体量在笛卡尔坐标轴体系
recreational activities like bars and small restaurants. Future residences can
里可以错位，旋转，位移。借用这些操作方式，产生了一些意外的”两者
find their place on this grid and several functions can be joined together.
之间“的空间。例如间隙空间，小天井，挑空的空间或者是连接的桥空
Breaking grid: each volume can shifting and rotating position on X Y Z axis, by doing this manipulation can generate some unexpected spaces. The
间，这些都会鼓励，激发社区居民的社会交流。城市空间再次为了居民的 生活存在感而存在，城市空间也是居民精神的家园。
in between spaces are many such as “gap space”, “the inner patio” ”cantilever shading” and “bridge” etc. By doing so, to encourage interactive and communication between residents, to provide more encounter opportunities. And the purpose is find a sense of belongs, where a “place” can become a spiritual home.
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Image 46 urban life scroll
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图像 46 城市生活长卷图
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Image 47 urban life scroll
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图像 47 城市生活长卷图
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Image 48 collage urban space model Image 49 a diagram of collage urban space 图像 48 拼贴城市空间模型 图像 49 拼贴城市空间思维导图
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Image 50 the city corner 图像 50 城市的角落
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Image 51 the public space lifestyle 图像 51 公共空间的生活方式
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Image 52 the city master plan 图像 52 城市总平面图
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Image 53 a diagram of cluster organization Image 54 diversity of living units plan 图像 53 组团的组织方式思维导图 图像 54 多样化的生活单元平面图
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Dudley street elevation
Dudley street section elevation
0
Image 55 longitudinal section 图像 55 纵向长剖面
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10m 20m
50m
100m
Image 56 figure-ground study 图像 56 图底研究
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Image 57 urban scroll: master plan collage
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图像 57 城市长卷图: 总平面拼贴
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Image 58 model study 图像 58 模型研究
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Image 59 model study 图像 59 模型研究
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Weight of air
空气的重量
Air and breathing is everyone can enjoy the cheapest, most liberal, the infinite.
空气和呼吸是每个人都可以享有的最廉价的，最自由的，最无限的东西。
Since the industrial revolution, architects and artists in the application of the
自从工业革命以来，无数创造家，建筑家和艺术家就在应用空气压力的原
principle of air pressure to the creation and invention. In the construction
理来创作和发明。在建筑中充气结构具有轻盈可持续和可折叠的特点。我
of pneumatic structure has the characteristics of lightness, sustainable and
的设计目标是：如何应用这些自然原理进行设计，同时又具有独特的美感
deployability. My project goal is how to apply the principle of air pressure
就成为这个项目的目标。如何应用廉价的充气包装枕直接搭建空间结构就
to design new pneumatic structure as well as new aesthetic. I focus on how
成为我关注的焦点。
to use cheap air pillow packages to construct a space or structure and object. First determine the connecting way of single element. I tested how to tie one
首先确定单个元素的连接方式，应用鱼线束缚气枕，形成四种不同的单 元。
然后研究如何应用这些单元组合成“组织体”。因为单元有两种类
air pillow by using fish wire, by tied different position forming four different
型，第一种是固定型，类似一种模数组件，第二种是一种可变型，因为外
units. After, applying this unit to congregate a “tissue”. Because units have
力的单元可以产生形变。进而“组织体”也可以分为固定与可变的两个类
two types, one is fixed form just like modular. Another one transformable form
型。每个组织结构可以按照自身的连接和搭建逻辑生成三种结构：中心生
just like sculpture clay which external forces can deform it shape. Therefore
长结构，边缘生长结构，堆叠生长结构。如果把三种以上的组织结构按照
“tissue” also has two different characters. Each “tissue” can develop three
几何规律连接可以形成一种新的混合结构体。这个混合结构体具有建构几
kinds of structures base on the “tissue” geometry: center growth structure;
何空间的特点，例如穹拱，圆桶，立方体，等等或其他有机几何空间。这
edge growth structure; and stacking growth structure. It generated a table
些空间几乎是最轻的建筑空间，因为它的材料就是空气。
that contain twelve organization forms, just using at least three organization
通过应用这些规律，可以总结出一个系统，这个系统有潜力应用到设计
types connect them by it geometry can produce a “mixed structure form”. This
和建筑的问题中。1500年列奥纳多·达·芬奇绘制了一个人背着一个空气
“mixed” object has spatial geometry for example dome shape, drum shape,
薄膜从天空中飞下，也许这是最早关于人类像鸟儿一样的轻盈飞翔的理
cube shape and so on and also can become a free form space by connect them
想。我想应用这种新型结构，用空气的建构去回应达芬奇的理想,
casually. This system can apply into big scale architecture space which the
的世界更轻更便宜更轻松。
让我们
basic material is air, this kind of space weight nothing but air. Leonardo Da Vinci drew a man fly by using thin air membrane at 1500, I wanted to echo this ideal by construction and design a new pneumatic structure that lighter and cheaper and easier.
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Image 60 installation model photo 图像 60 模型装置
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Image 61 installation model photo 图像 61 模型装置
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Image 62 detail: installation model photo 图像 62 细节: 模型装置
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Image 63 detail: installation model photo 图像 63 细节: 模型装置
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Image 64 detail: installation model photo 图像 64 细节: 模型装置
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Image 65 detail: installation model photo 图像 65 细节: 模型装置
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Image 66 detail: installation model photo 图像 66 细节: 模型装置
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Image 67 detail: installation model photo 图像 67 细节: 模型装置
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Prespective view_1
diagram: volumetric
plan view
diagram: geometric control
diagram: geometric control
Prespective view_5
diagram: volumetric
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diagram: volumetric
plan view
diagram: geometric control
Prespective view_4
diagram: surface connection
diagram: volumetric
diagram: surface connection
plan view
diagram: geometric control
diagram: surface connection
plan view
diagram: geometric control
Image 68 a diagram of elements generation 图像 68 元素家族图谱
diagram: surface connection
plan view
Prespective view_2
diagram: volumetric
Prespective view_3
diagram: surface connection
Image 69 detail: installation model photo 图像 69 细节: 模型装置
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one air pillow (tied in sides)
one air pillow (tied in middle)
two air pillow (tied in middle)
two air pillow (tied in sides)
center conggration (four elements)
center conggration (three elements)
center conggration (four elements)
center conggration (four elements)
edges connection (four elements)
edges connection (four elements)
edges connection (four elements)
edges connection (five elements)
Image 70 a diagram of elements generation 图像 70 元素家族图谱
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Image 71 detail: installation model photo 图像 71 细节: 模型装置
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Void- space
空-虚
“Space is nothing, yet we have kind of vague faith in it.”
“空间什么都没有,但我们有一种模糊的信仰” 罗伯特·史密森
Robert Smithson The primitive model for human architecture has two roots, one is tree
人类建筑的初始模型或者是从树居而来，或者是从穴居而来。这两种起
and one is cave. These two concepts had been developing thousands of years
源经历了千百年的发展，变成不同的建筑文化。但是也许会有其他的起源
thus became different architecture tectonic culture. But there may be other's
并没有被人注意，例如空想建筑大师伊托尼-路易斯-布雷设计的牛顿纪念
origin is not to be noticed by people, such as Cenotaph for Newton by French
馆，向我们展示了一种完美的球体空间，就像宇宙的空间，我认为这个方
architect Etienne-Louis Boullée. This imagination project shows us a perfect
案代表一种新的建筑起源，这里实现了天空，阳光，月亮，星辰与大地的
sphere space, like the space of the universe. I believe this project stands for a
轮回交替。这一个巨大的空洞世界是现实世界的“反转体”。就像布雷所
new origin architecture where nature and artificial space can reversing, where
说“ 我想将牛顿置于天空中。”
day and night can reversing, where geometry can reversing, and people’
我的空间设计就来源于这种空虚世界的启发。我通过抽离球体负型的实
experience about inside and outside can reversing. I think he built a prototype
验，寻找到一种偶然的“反转空间”，我认为这个反转的空间就是空虚。
about universe reversing, just like Boullée “I wanted to situate Newton in the
我的具体操作方法是铸造空气的负型。利用石膏的重量与气球相互挤压从
sky”.
而形成了一个个连续的球拱空间。这些空间互相接触的界面几乎是薄的透
My model design inspired by this void space reversing concept. I passed
明。或者因为气体压力的挤压，空间相互连接并没有分割的介质，只靠弧
out negative sphere model experiment, to find a kind of accidental "inverted
形的拱体连接。供体相互交接的边极为轻薄，然而这种轻薄却可以承载厚
space", I think the inversion of space similar Boullée’s concept. My operate
重的实体体积。仿佛洞穴上方支撑的巨大的岩石，通过模型的操作，石膏
method is casting negative form of air inflating balloon. The weight of plaster
模型形成一种大地景观，从外观看去是实在厚重的，然而内部空间却是十
squeeze with balloon to extracting a series continuous dome arch space. The
分轻薄，我认为这就是在视觉，空间，质量，感知上的一种“反转的力
share wall as thin as egg shell, or because the pressure squeeze so tight there
量”。
are no share wall to separate adjacent space. The supporting arch is very thin and connected near dome space, however these arch can support very solid heavy volume, like above cave has gigantic rock in mountain landscape. By manipulate negative space, this model can form a landscape scenario. I think this can be understand as void-space reversing through visual and spatial, material weight and people perception, is power of “reversing”.
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Image 72 a photo of the voids: casting shadow
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图像 72 空的照片: 投影
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Image 73 detail model: egg shell Image 74 the full moon 图像 73 细节模型:蛋壳 图像 74 圆月
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Image 75 model detail: opening 图像 75 模型细节: 开口
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Image 76 model detail: in-between spaces 图像 76 模型细节: 空间的之间
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Image 77 model detail: surfaces texture
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图像 77 模型细节: 表面结构
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Image 78 photo: primitive space 图像 78 照片:原始的空间
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Image 79 photo: primitive space 图像 79 照片:原始的空间
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Image 80 photo: primitive space 图像 80 照片:原始的空间
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Image 81 photo: primitive space 图像 81 照片:原始的空间
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Image 82 photo: primitive space fragments 图像 82 照片:原始的空间片段
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Image 83 photo: primitive space 图像 83 照片:原始的空间
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Undulating Line
波动线
An archive from Alvar Aalto museum has recorded the working process of
阿尔瓦.阿尔托博物馆的一份档案资料里完整的记录了他设计三十字教堂的
Vuoksenniska Church.
过程。
In order to reconstruct the design process, approximately 800 drawing were
为了再次建构这个教堂设计的诞生，大约需要八百张阿尔托的设计图纸。
analyzed.
第一个阶段:大约在1955年，五月十三号。
The first term: approximately May 13, 1955
第二个阶段：大约在1955年，九月二十二号。
The second term: from September 22, 1955
第三个阶段：大约在1955年，十月十二号。
The third term: from October 12, 1955
在第三个阶段，教堂东面的墙体，从几何的弧线变为有机的自由线。
In this term, the form of the east side wall, part C, was changed from the arc
第四个阶段：大约在1957年，十一月五号，最终的建筑设计完成。
to organic form.
对教堂的分析渐渐变成对教堂的重新发现。
The fourth term: final drawings November 5, 1957
新的诠释。
A line in 2D
在二维平面中的线：
Connect dots to dots A line in 3D Connect plan to plan A line in geometry Forms circles forms arcs forms serpentine
连接点与点 在三维平面中的线： 连接面与面 在空间几何中的线： 生成圆与椭圆，生成弧线，生成蛇形曲线。
How can a line become an organic shape?
一条线是怎么变成有机的自由形的？
How to articulate a “live line”?
如何去阐释一条“生动的线”？
Body has curve line_ touching
身体包含生动的曲线—触感
Heart beats has curve line_ hearing
心跳包含生动的曲线—听觉
Plants grow curve line_ viewing
植物包含生动的曲线—视觉
Water flow curve line_ moving
流水包含生动的曲线—韵律
To explore the language of curve line, to generate a series of line options.
探索曲线的语言，去设定曲线的生成原理，从直线到切
After I setting parameters to find different line movement situations. To
线到弯曲角度。曲线在线条的运动中生成和变化。曲线在设定的参数中生
analogous Aalto’s curve line.
成多种阶段。类比阿尔托的曲线，曲线在获得更多的自由，曲线在混合，
These series new line mixed, layered, tangled…
分层，在交错。通过全新的方法去解构阿尔托的曲线，在几何间可以找到
To reconstruct Vuoksenniska Church in a new way, however, this interpretation
一条通往诗意的道路。
comes from a very basic operation: to make an undulating line. The way to find a poetic line.
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Image 84 a synthetical drawing: plan section elevation axonometric
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图像 84 综合图纸: 平面 剖面 立面 轴测
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Image 85 the evolutionary history of line Image 86 space X-ray 图像 85 线条的进化史 图像 86 空间 x光透视
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TOUCHING
HEARING
MOVING
VIEWING
LIGHTING Image 87 a table graph of analogous morphology 图像 87 模拟形态图表
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Image 88 photo: undulating light installation-1 图像 88 照片:脉动光装置-1
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Image 89 photo: undulating light installation-2 图像 89 照片:脉动光装置-2
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Image 90 detail photo: undulating light installation-3 图像 90 细节照片:脉动光装置-3
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Image 91 detail photo: undulating light installation-4 图像 91 细节照片:脉动光装置-4
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Image 92 detail photo: undulating light installation-5 图像 92 细节照片:脉动光装置-5
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Image 93 detail photo: undulating light installation-6 图像 93 细节照片:脉动光装置-6
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Density and Porosity
密度与多空
I began with a carefully constructed assemblage of objects. By using two
项目开始于仔细的摆放安置一组“静物”，应用两种不同的素描排线技法
different hinge systems, I built the drawing based on two perspective views,
在张画面上建构两个不同透视角度。之后，再把画面的结构和画面中的物
which were then projected back onto the objects. A hinging mechanism
体画到“静物”上，也就是把一副二维的画面投射到白色的物体上。交叉
allowed me to project the drawing at complimentary angles. I built an X Y
素描排线，与斜素描排线分别作用于视觉平面，然后标记在物体上，这里
Z coordinate system to measure the still life objects by using small round
有一层视觉的翻译和误差。为了检查这种误差，我在笛卡尔坐标体系里应
dowels that allow the accurate measurement of various positions.
用装置可以准确测量定位物体在空间中的位置。
The next step I built a matrix of dot clouds in order to translate the physical
然后，借助坐标系统的定位在软件里建立一个点阵云，进而更加准则的
information into the digital model space. The digital model produced the
描述物体。数字模型的优势是能准确建立物体的负空间，也就是包围着物
negative space that took the focus away from the object creating a type of
体的空间而不是物体本身。这样，我们的关注度从对物体本身转移到物体
three- dimensional jigsaw puzzle, emphasizing the space surrounding the
间和物体的周边。在此基础上，用一个实体模型来模拟这个负形态。
objects.
在接下来的分析中，试图更加准确的去接近物体周边的每个信息。我们
In the last phase of analysis, I constructed a multi-layered, adjustable,
通过一个装置系统来解释这种信息。这个装置由无数层的半透明纸构成，
and interactive structure. The model allowed me to understand how vision
这些纸上记录着电脑模型里的信息，每个信息都是一个孔洞。空洞的大小
and perception change while moving around the model, thus allowing me to
依据信息量的多少而变化。在观察者接近这个装置时，身体的运动感知接
control the viewer’s understanding of density and porosity.
受到的信息时时刻刻发生着变化，这个变化由于密度的不同和信息的空洞 的疏密而不同。
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Image 94 digital simulation computation: the space measure system
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图像 94 数字模拟计算:空间测量系统
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Image 95 digital simulation computation: the space porosities Image 96 analogous model: the space porosities 图像 95 数字模拟计算: 空间的多空 图像 96 模拟模型: 空间的多空
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Image 97 Center of the projection calculation Image 98 a diagram of measure points 图像 97 中心点投影计算 图像 98 测量点数分析图
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Image 99 digital simulation computation: the space porosities and position-1 Image 100 adigital simulation computation: the space porosities and position-2 图像 99 数字模拟计算:疏密度与空间位置-1 图像 100 数字模拟计算:疏密度与空间位置-2
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Image 101 detail photo: analogous model-1 图像 101 细节照片: 模拟多空密度-1
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Image 102 detail photo: analogous model-2 图像 102 细节照片: 模拟多空密度-2
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Image 103 detail photo: analogous model-3 图像 103 细节照片: 模拟多空密度-3
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Image 104 detail photo: analogous model-4 图像 104 细节照片: 模拟多空密度-4
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Shell dwell- a minimal house
蜗居-极小住宅
The work investigates the ecological, economical, material, technical and
项目关注的是木材作为建筑材料的环保，经济技术和美学的价值。项目目
aesthetical properties of wood. The aim is to get acquainted with the lifecycle
标是探索木材在建筑中应用的周期。建筑师着手设计一个提供一个人居住
of wood and to study wood as a building material. Initially I started with
的独立房屋。设计回应了木材作为环境的一部分是怎样融合于自然的，同
the design of a single dwelling for one person. The work was to reflect new
时随着时间的变化一个独立房屋如何成长为整个社区的。
ideas and possibilities for the use of wood as well as to provide an ecological
这个独立房屋的设计着眼于未来，当人类过度的开发自然，居住的空间
answer to the problems arising in the chosen environment. Later the task grew
变得岌岌可危。人们开始迫切需要一种全新的生存空间。这个木结构的独
to encompass the design of a whole community.
立房屋及其衍生的社区可以漂浮在水面上，也可以锚固在任何传统建筑不
My work was to be situated in the near future, in a time when mankind is
可能存在的环境。每个独立的房屋为一个人的居住而设计，但是也可以容
slowly recovering from a total ecological disaster caused by excessive use of
纳二个人居住。居住的空间必须高效的利用空间并且满足生活需要：睡
natural resources. People have started an intensive search for new ways and
眠，休息，烹饪，吃饭，工作，卫浴，储藏。个个功能可以组合，也可以
place to live. This community can floats on water, anchor at island or any
交叉重叠。 但是，空间尺寸限定在十五平方米内。
changing places. The basic unit will be for one person, but it must also consider variations that accommodate two people as well. Each house should make effective use
这项工作是完全基于使用改性木材和复合材料结构。该设计解决方案已 考虑到的极端情况的可能性。结构由九个胶合木的弧形梁组成，内外立面 是由胶合板制成九个单独的部分，所有部件都是在工厂预制的。
of space and accommodate the basic necessities of living: sleeping, resting,
伟大的中国圣人，老子说：两者的起源之一;他们只是名称不同。秘密
cooking, eating, working, washing, and storing. Functions may be combined
就在于整体。为空间，克服内和外之间的张力主要是一个人 - 涉及空间连
and overlapped, and the dimensions should not exceed 15 square meters per
续性的实现哲学任务。一个有经验的或想象的发现可能引发矛盾的心理或
person.
生理上的关联：“内在感觉”也大多是有经验的或想象中的那样围墙，边
The work is entirely based on the use of modified wood and composite
框限定住我们内心，但也让我们感知“外部”，超越封闭的空间。
structures. The design solutions have taken into account the possibility of extreme circumstances. The structure consists of nine wooden ribs which are strengthened by circular floorboards. The cover is made of nine separate section of plywood. All components are prefabricated. The great Chinese sage, Laotse, says: The origin of both is one; they are different only in name. The secret lies in their unity. For the space, overcoming the tension between inner and outer is primarily a human – philosophical task involving the achievement of a continuity of space. An experienced or imagined discovery within space can trigger contradictory mental or physical associations: space becomes a territory in which horizons of human experience and life flow together, or part. The “feeling of being within” is also mostly experienced or imagined as confining wall. Borders turn us inward, but allow us to sense an “outside”, beyond enclosed space.
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Image 105 interior space experience: the space surround body-1
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图像 105 室内空间经验:身体被包围的空间-1
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Image 106 interior space experience: the space surround body-2
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图像 106 室内空间经验:身体被包围的空间-2
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Image 107 a series of model images: the construction processe
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图像 107 一系列的模型图片:建构的过程
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Image 108 detail photo: splited model-1 图像 108 细节照片: 拆分的模型-1
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Image 109 detail photo: model-2 图像 109 细节照片: 模型-2
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Image 110 plan 图像 110 平面
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Image 111 cluster plan 图像 111 组团平面
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Image 112 detail photo: splited model-3
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图像 112 细节照片: 拆分的模型-3
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A Beijing courtyard house
一个北京庭院住宅 四合院属典型的北方传统木结构建筑，根据房屋环境的不同来安排封闭的
Si He Yuan is typical traditional wooden structure building, the individual
庭院。我们思考着如何通过建筑修复与老北京生活的关系的问题。这主要
house arranged differently to enclosed courtyard, which Chinese lived in
是因为这个院子所在的胡同，是东城区的传统街区。居民的住宅共享者胡
more than two thousands history. For a Beijing client, rebuilding her Si He
同的生活空间，房屋共享者一道隔墙。街道狭窄，树木茂盛，在传统瞬间
Yuan has meant “an enhanced relationship with Beijing”. Largely because of
瓦解的当今，还有这样生动的居住和生活空间非常值得珍惜。
the communal life of her Hu Tong, which is in Dong Cheng district. Being on
对于这个特殊的居民，我们面临着三大挑战;如何保留传统的木结构建
the alley, you share walls with your neighbors, you are far more connected to
筑？如何将传统的生活方式融入现代生活和功能整合？而如何保持城市肌
your community.
理，同时满足迅速增加城市需求？
For this particular resident, we faced three challenges; how to reserve
该地块面积为六百平方米，位于历史保护区，限制高度为六米。庭院是
traditional wooden structure building? How to integrate the traditional
居民的核心价值，庭院空间是室内空间的延伸。在古代，人们用院落来避
lifestyle into modern life and functionality? And how to maintain the city
免外界不幸，无论外界多么嘈杂，生活在院内的人可以体验一个宁静的私
fabric while satisfy the rapidly increase urban demand?
人生活。每个院子里有它自己的故事，每个院子都有主人的生活。
The plot area is 630 square meters, which located in the historical protection
在这个项目里几乎所有的建筑材料都来自再循环材料，例如，旧砖，旧
area, the limited height is 6 meter, and only rebuilt traditional style is accepted.
瓦，旧木材柱和梁。它们来自于附近的拆迁建筑和城市的个个角落。入口
The courtyard is the core value of the resident, the empty space is the central,
木门和装饰石材是从周围的古董市场发现的。
and the extension of the interior space. In the ancient, people aim to avoid the
院子连接着的室内空间,有一个连廊空间。这是一个过度空间,也是一
outside unfortunate, and live a peaceful private life inside the courtyard. The
个“灰色空间”，这个空间可以定义公共空间和私人空间。天井让自然光
yard has its own universe.
线和新鲜空气进入房间,提供非常舒适的通风。每个厢房由“秘密”的连廊
Almost all of the construction materials are came from recycle materials, such
连接,在恶劣天气里人们不需要通过庭院就可以在不同房间穿行。
as, bricks, roof tiles, wood columns and beams. They all from other demolition
我们尝试了一个非常简单的和极少的设计在室内,使用原朴素的材料，
neighborhood buildings and other parts of the city. The main wood door and
但是用更精致和复杂的方式建造。细节通过使用材料如木材、竹子、米纸,
other decoration stones are found in the antique markets around the city.
和当地的白色石头，以及与当地掌握传统工艺工匠的合作。最终目标是清
The courtyard connect the interior space, it’s a transaction, and it’s a “gray
晰的,即在当代生活唤醒老北京生活的记忆。
space” which can define the public space and the private space. The patio lets the nature light and fresh air into the room, and the patio provide very comfortable ventilation. The pavilion is connected by the “secret” alley, people don’t need pass the courtyard in bad weather. We tried a very simple and minimal design at the interior, using materials similar to the original but in a more refined and sophisticated way in order to give relevance to the architecture itself for its history value. Details and finishing by using materials like wood, bamboo, rice paper, and local white stones. As well as the use of traditional local craftsmanship. The ultimate goal is clear, to evoke the memory of old Beijing life which also in the contemporary context.
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Image 113 court yard house plan 图像 113 庭院住宅平面
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Image 114 detail photo: materials 图像 114 细节照片: 材料
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Image 115 the new space relationship between houses 图像 115 房子之间新的空间关系
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Image 116 urban fabric with new house 图像 116 城市肌理与新的住宅
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Image 117 the photo of court yard space-1 图像 117 庭院空间照片-1
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Image 118 the photo of court yard space-2 图像 118 庭院空间照片-2
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Image 119 the photo of living space 图像 119 起居空间照片
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Image 120 the photo of dinning and kitchen space 图像 120 餐厅空间照片
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Image 121 the photo of bath space 图像 121 浴室空间照片
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Image 122 sky lighting-1 图像 122 天光-1
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Image 123 sky lighting-2 图像 123 天光-2
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Image 124 linkage sapce 图像 124 链接空间
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Image 125 detail photo: interior space
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图像 125 细节照片: 室内空间
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Wood, Wood Joint, Wood Furniture
木，木节点，木家具
Wood is an important material in our culture not only for building, but also in
木材是一种重要的建筑材料不仅在我们的文化中,但也生产艺术,手工艺品,
the production of art, handicrafts, and household objects. As a result, wood has
家居用品中。因此,木材的价值不能容易被计算，甚至人们可能不会看到，
values that can’t be readily calculated and some which may not even be seen
触摸到木材独特的生命。艺术家和建筑师往往选择木为材料来创作作品,原
or touched. Artists and architects have often chosen wood for the material in
因有很多。最明显的是,木材一直北欧国家的基本资源,每个人都可以用自
their work for many reasons. Most obviously, wood has always been readily
己的双手做一些木头产品。不同木材品种的不同特征和各种加工方法，以
available in the North country and everyone can make something out of wood
及完成木材的表面如此不同不仅成为了一个实际的问题,
with their own hands. Overtime, the different character of wood species and
建筑师的灵感来源。
也成为艺术家和
various methods of finishing wooden surface has become not only a practical matter, but also a source of inspiration for artists and architects
“艺术必须给予，生活的冲击，呼吸的感觉。”-康斯坦丁.布朗库西
“Art must give suddenly, all at once, the shock of life, the sensation of breathing.” –Constantin Brancusi
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Image 126 detail photo: weaving wood 图像 126 细节照片: 编织木头
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Image 127 photo: weaving wood 图像 127 照片: 编织木头
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Image 128 wood cube puzzle Image 129 wood cube puzzle: many different surfaces 图像 128 木头立方拼图 图像 129 木头立方拼图: 不同的表面处理
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Image 130 wood joints: to understand the wood fiber construction-1 Image 131 wood joints: to understand the wood fiber construction-2 图像 130 木连接: 了解木质纤维结构-1 图像 131 木连接: 了解木质纤维结构-2
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Image 132 the cloud chair:study model 图像 132 云的椅子: 研究模型
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Image 133 the cloud chair: prototype-1 图像 133 云的椅子: 研究原型-1
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Image 134 the cloud chair: prototype-2 图像 134 云的椅子: 研究原型-2
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Image 135 the cloud chair: detail 图像 135 云的椅子: 细节
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Gao Hua
高华
Summary:
简要:
As an architect and designer, Gao Hua focus on the core issue of architectural discipline: the space perception and material
作为一个建筑师与设计师，高华关注着学科的核心内容：空间的知觉与材料建构的诗学。
tectonic. His professional practice has ranged from urban to architecture to interior and furniture design, under different scale
他的专业实践包含了从城市尺度到建筑尺度，室内空间和家具，甚至微小的物品尺度。在不同尺度和不同文脉中，他始终在坚
and content. As a creative thinker, Hua always explore the essential of nature, human, and social phenomenon.
持探索自然，人，社会的现象学本质。
Contact Details:
联系:
Address: 230 South Main Street Unit 12, Providence, RI, 02906
地址：230 South Main Street Unit 12, Providence, RI, 02906
Email: huagaostudio@163.com
电邮：huagaostudio@163.com
Mobile: 4014405878
电话：4014405878
Website:
网站:
www.huagao.org
www.huagao.org
Education:
教育背景:
Master of Architecture, Rhode Island School of Design | RISD, Department of Architecture, 2014 – 2017
建筑学硕士，罗德岛设计学院建筑系，2014-2017
Aalto University, Department of Architecture, the Wood Program, 2012 – 2013 China Central academy of Fine Arts | CAFA, Advanced study of Architectural design, 2005 – 2006
阿尔托大学建筑系，木建筑项目，2012-2013 中央美术学院建筑系，高等建筑设计课程，2005-2006
Bachelor of Arts, China Central academy of Fine Arts | CAFA. Department of Design, 2001 – 2005
本科，中央美术学院设计学院，2001-2005
Practice:
实践:
Ultramoderne, Providence, as an architect, 2015 – 2016
Ultramoderne 普罗维登斯，罗德岛，建筑师职位，2015-2016
Red house China LTD, Beijing, as an architect, 2010 – 2012 GMP (Von Gerkan, Marg and Partner Architekten), Beijing Office, as an architects, 2008 – 2009
安东红坊，北京，建筑师职位，2010-2012 GMP 建筑事务所，北京，建筑师职位，2008-2009
Freelance designer (collaborate with Shi Shang architects), Beijing, 2005-2008
独立设计师 (与十上建筑合作)，北京， 2005-2008
Individual Projects and Researches:
独立设计作品与研究:
East Williamsburg Palimpsest, urban design and architectural design.
东威廉斯堡重写本，城市设计与建筑设计
Folding Water the Environmental laboratory, architectural design.
折水: 环境研究中心，建筑设计
Urban bricollage, urban design and architectural design.
城市拼贴匠，城市设计与建筑设计
Speaking wall Performance House, architectural design.
对话的墙剧场，建筑设计
Shell house dwelling, architectural design.
蜗居：极小住宅，建筑设计
Density and porosity, architectural and design research based project.
密度与多空，建筑学的课题研究
Undulating line, architectural and design research based project.
波动线，建筑学的课题研究
Weight of air, architectural and design research based project.
空气的重量，建筑学的课题研究
Void-space, architectural and design research based project.
空-虚，建筑学的课题研究
From wood to furniture, furniture design.
从木头到家具，家具设计，产品设计
Sounds of city installation art, Body in space drawing.
城市的声音装置，身体空间绘画
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Shared Authorship Projects:
分享设计著作权的作品:
Piiri house-Project completed in June 2013, shared authorship with wood program 2012-2013.
芬兰 Piiri 住宅项目，完成时间2013，与阿尔托大学木建筑项目小组共同设计，施工建造。
Ban Chang HuTong 15 residence-Project completed in 2012, shared authorship with Mitsunori Sano.
北京板厂胡同十五号，完成时间2012，与Mitsunori Sano先生联合设计。
Wangjing Kindergarten Beijing, shared authorship with Antonio Ochoa.
北京望京梦飞幼儿园，完成时间2013，与安东先生联合设计。
Wu Da Dao Urban renew international competition, shared authorship with Antonio Ochoa.
成都红星路三十五号，完成时间2008，与易介中先生联合设计。
Red star 35 Chengdu Cultural Creative Industrial Park, shared authorship with Yi Jie Zhong.
作为项目建筑师的作品:
Cooperation Projects:
芝加哥水平线，完成时间2015，与Yasmin Vobis, Aaron Forrest合作。
Chicago horizon, with Yasmin Vobis and Aaron Forrest.
MOMA PS1 青年建筑师国际竞赛，完成时间2016，与Yasmin Vobis, Aaron Forrest合作。
Recess MOMA PS1, with Yasmin Vobis and Aaron Forrest.
Weir 农场艺术装置，完成时间2015，与Yasmin Vobis , Aaron Forrest合作。
Weir Farm, with Yasmin Vobis and Aaron Forrest.
(参考资源: www.ultramoderne.net)
(Resource: www.ultramoderne.net)
淮安国际会展中心，完成时间2009，与Patrick Pfleiderer合作(GMP北京)。
Huai’an ICEC International Convention and Exhibition Centre, with Patrick Pfleiderer and GMP Beijing.
中国国家博物馆，完成时间2010，与Patrick Pfleiderer, Matthias Wiegelmann合作(GMP北京)。
National Museum of China, with Matthias Wiegelmann, Patrick Pfleiderer and GMP Beijing.
(参考资源: www.gmp-architekten.com/projects/convention-and-exhibition-center.html)
(Resource: www.gmp-architekten.com/projects/convention-and-exhibition-center.html)
(参考资源: www.gmp-architekten.com/projects/national-museum-of-china.html)
(Resource: www.gmp-architekten.com/projects/national-museum-of-china.html)
鄂尔多斯20+10，建筑方案，与安东先生合作。
Ordos office building, with Antonio Ochoa.
北京泉发别墅改造，完成时间2011，与安东先生合作。
Quan Fa private house, with Antonio Ochoa. (Resource: www.redhousechina.com)
天津五大道历史保护区城市设计与建筑设计，竞赛，与安东先生合作。
Publication:
发表:
Work In Progress Issue No. 16 RISD Architectural Press. Density and Porosity.
Work In Progress Issue No. 16， RISD建筑册子，发表作品：密度与多空。
Work In Progress Issue No. 16 RISD Architectural Press. Speaking wall Performance House.
Work In Progress Issue No. 16， RISD建筑册子，发表作品：对话的墙剧场。
RISD Architecture: Re:making Architecture. Ultramoderne: RECESS PS1
RISD Architecture: Re:making Architecture. RISD建筑系网站，发表作品：MOMA PS1。
(Resource: http://architecture.risd.edu/work-in-progress/ultramoderne-recess-ps1)
RISD Architecture: Re:making Architecture. RISD建筑系网站，发表作品：芝加哥水平线。
RISD Architecture: Re:making Architecture. Chicago horizon
RISD Architecture: Re:making Architecture. RISD建筑系网站，发表作品：建筑分析2015。
(Resource: http://architecture.risd.edu/work-in-progress/chicago-horizon)
Piiri 住宅项目网站 (资源: http://woodprogram.fi/portfolios/piiri)。
RISD Architecture: Re:making Architecture. Arch Analysis 2015: 15 New Buildings, 4 New Faculty
阿尔托大学建筑系年度作品集 2012-2013年度。
(Resource:http://architecture.risd.edu/work-in-progress/arch-analysis-2015-15-new-buildings-4-new-facult)
(参考资源: http://architecture.risd.edu/work-in-progress/ultramoderne-recess-ps1)
Piiri House project (Resource: http://woodprogram.fi/portfolios/piiri)
(参考资源: http://architecture.risd.edu/work-in-progress/chicago-horizon)
Aalto University Architecture Department Year Book 2012-2013
(参考资源:http://architecture.risd.edu/work-in-progress/arch-analysis-2015-15-new-buildings-4-new-facult)
Professional Skills:
专业技术:
Imaginative and creative thinking
富有想象力和创造性思维。
Ability to analyses and critically assess problems
能够分析和认真评估的问题。
Ability to see the big picture as well as giving attention to the smallest detail
能够看到大局，以及兼顾到最小的细节。
Ability to communicate effectively
善于进行有效的沟通。
Understanding of history, and cultural and environmental concerns
具有深入的历史知识，深刻理解文化和环境问题
Practical and technical understanding of building materials and elements, structures, construction and services
建筑材料和构件，结构，工程和服务的实际经验和技术。
Architectural drafting, drawing and model making
建筑制图，绘画和模型制作
Computation design, AutoCAD, Revit, Rhino, Sketch up, Photoshop, Illustration, In-design
计算机辅助设计：AutoCAD, Revit, Rhino, Sketch up, Photoshop, Illustration, In-design。
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