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2017一等獎作品“隱于世”

2019-04-26 12:39:46

UIA-霍普杯2017國際大學生建筑設計競賽
競賽主題:演變中的建筑
Architecture in Transformation
 
本屆“UIA-霍普杯2017國際大學生建筑設計競賽”延續“演變中的建筑”的主題,并以“改變與重塑”為設計題目。競賽評委會主席讓·努維爾先生認為:“21世紀的大都市不斷的蔓延,占用越來越多的土地和空間,同時它們又是松散廣漠的,城市的進化并不應當簡單以擴張的方式持續膨脹。你們會用哪種和周圍產生互動的、并具備生命力的建筑,讓所選擇的現有空間‘產生突變’?”
 
 此次競賽鼓勵學生大膽想象,設計能夠和周圍產生互動的并具備生命力的建筑,讓所選擇的現有空間“產生突變”。今年的競賽挑戰,極具原創性與未來色彩,是建筑設計思想的再度升華。
 
最終“隱于市 Always an Escape”在三千余組參賽作品中脫穎而出,獲得眾多嘉賓青睞 !
 
俗話說:內行看門道,
先“聽聽”專業評審們怎么說
……
 

評委會點評

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除了視頻,UED還邀稿了此次一等獎的獲得者們,下面,一起來看看他們對于此次作品的思路解析吧
 
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©陳譯民/張詩瑤/畢雪皎
 
【問題 | Problem】
 
“21世紀的大都市不斷的蔓延,占用越來越多的土地和空間,同時它們又是松散廣漠的。”
 
“The metropolis of the 21st century takes up too much room... It sprawls... It must not keep evolving simply by expanding.” 
 
城市的擴張無法抗拒:二十年前,記憶中的自然觸手可及,所謂的“城市”不過是被自然包圍的一片房子罷了;如今,隨著城市向四周窮盡其能地延伸,田野和森林早已被高樓大廈覆蓋,有時甚至城市的邊界就是另一座城市,“自然”變得遙不可及,成為了驅車數小時才能到達的各種景區。
 
The expansion of cities never stops. Twenty years ago, “nature” was something with reach, and the so-called “city” was just an area surrounded by nature. Nowadays, as cities expend all around, fields and forests have already been replaced by high buildings and large mansions, sometimes the edge of a city is just another city. “Nature” becomes unreachable destinations, taking us hours to arrive.
 
針對這一問題,我們希望通過在城市中建立一些非城市的東西來改變現狀,使無法與城市決裂的人們可以選擇暫時逃離城市,喚醒對自然的感知。
 
To solve this problem, we want to change the current situation by setting up some “non-urban” things in cities. They will allow people who can’t leave cities to escape from cities temporarily, and arouse the cognition of nature.
 
【概念 | Concept】
 
面對龐大的城市,直接通過改變城市的邊界來重塑城市與自然的關系顯得不切實際。我們想起了一個故事:
 
In this huge city, it is impractical to change the relationship between the city and nature by changing the boundaries of the city. 
 
“農場主希望用最少的籬笆圍出盡可能大的面積,他拜托一位數學家和一位哲學家幫忙。數學家很快給出了最優解——將所有籬笆圍成一個精確的圓形并告訴他無論任何形狀都不會比圓形產生更大的面積;哲學家思考了一下,只用很少的籬笆隨意地將自己圍了起來。農場主不解。哲學家解釋道:我不過是站在籬笆外面罷了。”
 
There's a fable discussing the boundary. “ A farmer wanted to cover the area as large as possible with the least fence, so he asked both mathematician and philosopher for help. The mathematician encircles all the fences into a precise circle and told him that no shape will produce a larger area than the circle. The philosopher, however, fumbled himself with little fence, he said: I'm just standing outside the fence right now.” 
 
在這個故事的啟發下,我們用另一種方式來定義城市與自然的界線——界線非城市的邊緣在城市內部也可以創造出與城市隔絕的邊界,因此即使在無限擴張的城市中也可以存在無數個與城市隔離的自然。因此在處理與城市邊界的時候,我們希望界面變得更簡單一些,不會干擾到城市本身的形象,同時它又展現出了清晰的生成邏輯,即用建筑所處的環境來定義其外形,確保身處其中的人們不會被復雜的城市所侵擾。
 
Inspired of this story, we found another way to define the boundary between the city and nature: Border is not the edge of the city, it can exist within the city, so there can be countless nature in this city. We hope that the interface will not interfere with the city, while its shape was determined by the environment to ensure that people will not be intruded by the city. 
 

©陳譯民/張詩瑤/畢雪皎
 
于是我們開始思考城市邊界的實體化表達。實際上,我們的先哲很早就以“園林”的方式將自然與城市隔絕開來,《宋書•隱逸傳》說:“吳下士人共為筑室,聚石引水,植林開澗,少時繁密,有若自然。”我們希望以園林的思想為原型來塑造城市中的“邊界”。不過,當今城市中高樓林立,傳統的造園形式顯然已經不能完成隔離的任務,因此我們只保留了園林“隔絕城市與自然”的核心,轉而尋求一種更加純粹的方式來對“隱”進行表達。
 
So we need to express the city's borders as entities. In fact, the ancients had used “Garden” to separate nature from the city. However, the traditional garden has been unable to isolate the city and nature while surrounded by tall buildings, so we need to find a purer form while preserving the idea of isolation.
 
老子在《道德經》中說:“故道大,天大,地大,人亦大。域中有四大,而人居其一焉。人法地,地法天,天法道,道法自然。”《詩•大雅•崧高》說:“崧高維岳,駿極于天。維岳降神,生甫及申。”在中國人的語境中,“山”是最原始、最自然的狀態,它代表了世間萬物,是天地崇拜的起源。山被中國人視為神仙的居所,是完全不同于世俗的、精神上的存在。
 
In traditional Chinese context, "mountain" is the most primitive and natural element. It represents all things in the world and is the origin of the worship of Heaven and Earth. The mountain is regarded as a dwelling place for the immortals, and is totally different from the secular and spiritual existence. 
 

©陳譯民/張詩瑤/畢雪皎
 
在這種視角下,原本構筑園林中必不可少的要素“樹蔭”、“流水”、“花香”、“鳥語”變得不再適用。因此我們剔除了傳統意義上的“自然”,取而代之的是最原始、最單純、我們祖先最崇拜的天地和山石,借此將內與外隔絕開來,阻止了城市對“自然”的侵入。營造出了一個純粹的、甚至神圣的內部空間。
 
From this perspective, some factors such as "shade, water, flower, bird"—which are essential for Chinese traditional gardens—are no longer applicable. So we get rid of the traditional expressions of "nature",and use the ancestral and truest symbols— Heaven and Mountain—to replace them.The inside of our design is isolated from the outside, keep the invasion of cities from "natural".It will be a pure or even sacred space.
 

【空間 | Space】
 
 

©陳譯民/張詩瑤/畢雪皎
 
本案的基地位于天津。近幾十年來,天津進入前所未有的城市擴張期,曾經的城市邊緣區快速發展成為了繁華地帶。基地所在區域曾經與自然相接,如今卻被建筑緊密得包圍,一側是擁擠的住區,一側是刻板的高樓大廈。在這塊土地上,居住、商業、辦公等不同功能被高密度地整合在一起,人們在“混凝土森林”里重復著高效卻單調的生活,遠離自然,迷失自我。
 
The site of our case is located in Tianjin. In recent decades,Tianjin has entered a period of rapid expansion. The urban fringe has developed rapidly into a bustling zone.This area was once connected with nature, but now it is surrounded by buildings, one side is crowded residential areas, another is rigid high-rise buildings.In this land, residential, commercial, office and other functions are integrated in a high-density manner, people in the‘concrete forest’ repeat an efficient and monotonous life, far away from nature and get lost.
 

©陳譯民/張詩瑤/畢雪皎
 
我們賦予了這棟建筑兩種截然不同的面孔,向城市的一側用一個純凈的方形混凝土盒子融入城市中千篇一律的“盒子建筑”,使得它并不會像其他刻意追求自然形態的建筑一樣給人“虛偽”的感覺。而向內的一側則以純粹的巖石覆蓋,用沒有規律地拼合制造出了原始的“山”的質感。與此同時在其內部巖石上有節制地嵌入白色盒子,暗示了外部城市的存在。
 
We give the building two distinct faces. Towards the city, we involve a pure square concrete box into the city filled with ‘box building’, making it unlike the building deliberately in a natural-form pursuit.While inside the building, the facade is covered with rough rock, forming an original ‘mountain’ texture by combining them irregularly. At the same time, the white boxes are embedded in the rock, implying the existence of exterior cities.
 
 

©陳譯民/張詩瑤/畢雪皎
 
建筑路徑被隱匿于巖石內部,并設置了三個依次遞進的序列,描述了一個關于逃離城市的夢境。三個階段代表著人們從城市到建筑里的三種不同心理感受,并以人工——自然的演進為向導。
 
第一個序列代表著“遺忘”,逃離城市的人們進入到建筑,隨著人在建筑中進程的推進,城市和自然反復交替地出現,建筑空間也交錯起伏。
 
第二個序列代表著“冥想”,由一系列無法觸及的抽象元素和純凈的空間要素組成。
 
第三個序列代表著“豁然”,也是建筑空間的核心部分,人為環境與自然環境相融合。
 
The path hidden inside the rock was divided into three progressive sequences, describing a dream about escaping from the city. This three stage represents three different psychological feelings from the city to the architecture. 
 
The first sequence represents ‘forgetting’, people escape from the city to enter the building. the city and nature alternately appear while people advance in the process of building.
 
The second one represents‘meditation’, consisting of a series of inaccessible abstract elements and pure spatial factors.
 
The last sequences represent ‘liberal’, which is the core part of building space, the integration of human and natural environment.
 

©陳譯民/張詩瑤/畢雪皎
 
● 從一個長長的坡道步入,周圍的城市漸漸隱在柱廊之下;
 
● As you step onto a long ramp, the city gradually hides under the colonnades. 
 

©陳譯民/張詩瑤/畢雪皎
 
● 第二個空間象征著遺忘,在一個與外界隔絕的空間逐步上升,忘記了對城市的印象,自此真正進入了建筑中;
 
● The second space represent oblivion. People rise gradually through the isolated space and forget the impression of the city. Since then, we start entering the building.
 

©陳譯民/張詩瑤/畢雪皎
 
● 第三個空間以水為核心,允許水中游泳的人同岸上經過的人互相對視,借此消除對未知的恐懼;
 
● The third space centers in water. Swimmers and passersby look at each other across the shore, therefore, their fear of the unknown disappears.
 

©陳譯民/張詩瑤/畢雪皎
 
● 第四個空間里人們只能抬頭觀瞧,視野里只有純粹的天空。
 
● In the fourth space, people can only look up and see. There is only sky in their vision.
 
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©陳譯民/張詩瑤/畢雪皎
 
● 第五個空間是一級級的臺階,將人們引向對面的山體卻無法觸摸。
 
● The fifth space consists of steps moving forward, leading people to the opposite mountain which they cannot touch.
 

©陳譯民/張詩瑤/畢雪皎
 
● 第六個空間是一個幽暗的長長的過道,只有盡頭有光線;
 
● The sixth space is a long, dark corridor with only light in the end.
 
 
©陳譯民/張詩瑤/畢雪皎
 
● 第七個空間是凝固的光,通過數千根導光管將陽光從外界引入室內,在室內形成一個穹頂,而人通過上升的廊橋穿過其中;
 
● The seventh space represents the solidification of the light. Thousands of light pipes lead sunlight into the exteriors. People walk into the dome-like space through a rising corridor.
 
 
©陳譯民/張詩瑤/畢雪皎
 
● 第八個空間象征著夢里的城市,人們經過一系列的空間再一次看到明晃晃的城市會產生一種恍惚的感覺,好像城市反倒不是真實的;
 
● The eighth space represents the cities in dream. People feel at a loss as they come across the bright city again after a series of spaces. Cities becomes somewhat unreal.
 

©陳譯民/張詩瑤/畢雪皎
 
● 最后一個空間是狹縫,人們最終下到地面要通過狹長的縫隙才能真正走進建筑內部,從明亮的光縫到開闊的山體和草地,象征著最終脫離了城市而走入了自然。
 
● The last space is a slit. People can truly enter into the building only through the narrow gap and down to the ground. From the bright light gap to the open view of mountain and grassland, we finally break away from the city to nature.
 
【結語 | Conclusion】
 
在這個時代,我們可能無法阻止城市的膨脹,但是我們不應該任其肆意地吞并土地生長成一個永遠無法逃離的監牢。在《隱于市》中,我們重新定義了一個界線,通過對人工與自然的探討對當今城市擴張做出了回應,它像一個烏托邦式的假想,但同時也為處理城市和自然的關系創造了新的可能。
 
During this time, maybe we're not able to stop the expansion of cities, but we shouldn't let them become huge prisons which we can never escape from. In our design,we redefine a boundary through discussing on artificial and natural to response urban expansion. It's not only a Utopian dream, but also a posibility to rebuild the relationship betwen cities and nature.
 
【作者|Designer】  
  指導教師:趙建波、李偉
 
 
                 陳譯民 | 天津大學                                  張詩瑤 | 天津大學                                  畢雪皎 | 天津大學
 
成果展示
 
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