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2017一等奖作品“隐于世”

还邀稿了此次一等奖的获得者们,下面,一起来看看他们对于此次作品的思路解析吧
 
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©陈译民/张诗瑶/毕雪皎
 
【问题 | Problem】
 
“21世纪的大都市不断的蔓延,占用越来越多的土地和空间,同时它们又是松散广漠的。”
 
“The metropolis of the 21st century takes up too much room... It sprawls... It must not keep evolving simply by expanding.” 
 
城市的扩张无法抗拒:二十年前,记忆中的自然触手可及,所谓的“城市”不过是被自然包围的一片房子罢了;如今,随着城市向四周穷尽其能地延伸,田野和森林早已被高楼大厦覆盖,有时甚至城市的边界就是另一座城市,“自然”变得遥不可及,成为了驱车数小时才能到达的各种景区。
 
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 Nowadays, as cities expend all around, fields and forests have already been replaced by high buildings and large mansions, sometimes the edge of a city is just another city.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.
 
针对这一问题,我们希望通过在城市中建立一些非城市的东西来改变现状,使无法与城市决裂的人们可以选择暂时逃离城市,唤醒对自然的感知。
 
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】
 
面对庞大的城市,直接通过改变城市的边界来重塑城市与自然的关系显得不切实际。我们想起了一个故事:
 
In this huge city, it is impractical to change the relationship between the city and nature by changing the boundaries of the city. 
 
“农场主希望用最少的篱笆围出尽可能大的面积,他拜托一位数学家和一位哲学家帮忙。数学家很快给出了最优解——将所有篱笆围成一个精确的圆形并告诉他无论任何形状都不会比圆形产生更大的面积;哲学家思考了一下,只用很少的篱笆随意地将自己围了起来。农场主不解。哲学家解释道:我不过是站在篱笆外面罢了。”
 
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.” 
 
在这个故事的启发下,我们用另一种方式来定义城市与自然的界线——界线非城市的边缘在城市内部也可以创造出与城市隔绝的边界,因此即使在无限扩张的城市中也可以存在无数个与城市隔离的自然。因此在处理与城市边界的时候,我们希望界面变得更简单一些,不会干扰到城市本身的形象,同时它又展现出了清晰的生成逻辑,即用建筑所处的环境来定义其外形,确保身处其中的人们不会被复杂的城市所侵扰。
 
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. 
 

©陈译民/张诗瑶/毕雪皎
 
于是我们开始思考城市边界的实体化表达。实际上,我们的先哲很早就以“园林”的方式将自然与城市隔绝开来,《宋书•隐逸传》说:“吴下士人共为筑室,聚石引水,植林开涧,少时繁密,有若自然。”我们希望以园林的思想为原型来塑造城市中的“边界”。不过,当今城市中高楼林立,传统的造园形式显然已经不能完成隔离的任务,因此我们只保留了园林“隔绝城市与自然”的核心,转而寻求一种更加纯粹的方式来对“隐”进行表达。
 
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《道德经》中说:“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。”《诗•大雅•崧高》说:“崧高维岳,骏极于天。维岳降神,生甫及申。”在中国人的语境中,“山”是最原始、最自然的状态,它代表了世间万物,是天地崇拜的起源。山被中国人视为神仙的居所,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. 
 

©陈译民/张诗瑶/毕雪皎
 
在这种视角下,原本构筑园林中必不可少的要素“树荫”、“流水”、“花香”、“鸟语”变得不再适用。因此我们剔除了传统意义上的“自然”,取而代之的是最原始、最单纯、我们祖先最崇拜的天地和山石,借此将内与外隔绝开来,阻止了城市对“自然”的侵入。营造出了一个纯粹的、甚至神圣的内部空间。
 
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.
 

【空间 | Space】
 
 

©陈译民/张诗瑶/毕雪皎
 
本案的基地位于天津。近几十年来,天津进入前所未有的城市扩张期,曾经的城市边缘区快速发展成为了繁华地带。基地所在区域曾经与自然相接,如今却被建筑紧密得包围,一侧是拥挤的住区,一侧是刻板的高楼大厦。在这块土地上,居住、商业、办公等不同功能被高密度地整合在一起,人们在“混凝土森林”里重复着高效却单调的生活,远离自然,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.
 

©陈译民/张诗瑶/毕雪皎
 
我们赋予了这栋建筑两种截然不同的面孔,向城市的一侧用一个纯净的方形混凝土盒子融入城市中千篇一律的“盒子建筑”,使得它并不会像其他刻意追求自然形态的建筑一样给人“虚伪”的感觉。而向内的一侧则以纯粹的岩石覆盖,用没有规律地拼合制造出了原始的“山”的质感。与此同时在其内部岩石上有节制地嵌入白色盒子,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.
 
 

©陈译民/张诗瑶/毕雪皎
 
建筑路径被隐匿于岩石内部,并设置了三个依次递进的序列,描述了一个关于逃离城市的梦境。三个阶段代表着人们从城市到建筑里的三种不同心理感受,并以人工——自然的演进为向导。
 
第一个序列代表着“遗忘”,逃离城市的人们进入到建筑,随着人在建筑中进程的推进,城市和自然反复交替地出现,建筑空间也交错起伏。
 
第二个序列代表着“冥想”,由一系列无法触及的抽象元素和纯净的空间要素组成。
 
第三个序列代表着“豁然”,也是建筑空间的核心部分,人为环境与自然环境相融合。
 
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.
 

©陈译民/张诗瑶/毕雪皎
 
● 从一个长长的坡道步入,周围的城市渐渐隐在柱廊之下;
 
● As you step onto a long ramp, the city gradually hides under the colonnades. 
 

©陈译民/张诗瑶/毕雪皎
 
● 第二个空间象征着遗忘,在一个与外界隔绝的空间逐步上升,忘记了对城市的印象,自此真正进入了建筑中;
 
● 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.
 

©陈译民/张诗瑶/毕雪皎
 
● 第三个空间以水为核心,允许水中游泳的人同岸上经过的人互相对视,借此消除对未知的恐惧;
 
● The third space centers in water. Swimmers and passersby look at each other across the shore, therefore, their fear of the unknown disappears.
 

©陈译民/张诗瑶/毕雪皎
 
● 第四个空间里人们只能抬头观瞧,视野里只有纯粹的天空。
 
● In the fourth space, people can only look up and see. There is only sky in their vision.
 
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©陈译民/张诗瑶/毕雪皎
 
● 第五个空间是一级级的台阶,将人们引向对面的山体却无法触摸。
 
● The fifth space consists of steps moving forward, leading people to the opposite mountain which they cannot touch.
 

©陈译民/张诗瑶/毕雪皎
 
● 第六个空间是一个幽暗的长长的过道,只有尽头有光线;
 
● The sixth space is a long, dark corridor with only light in the end.
 
 
©陈译民/张诗瑶/毕雪皎
 
● 第七个空间是凝固的光,通过数千根导光管将阳光从外界引入室内,在室内形成一个穹顶,而人通过上升的廊桥穿过其中;
 
● 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.
 
 
©陈译民/张诗瑶/毕雪皎
 
● 第八个空间象征着梦里的城市,人们经过一系列的空间再一次看到明晃晃的城市会产生一种恍惚的感觉,好像城市反倒不是真实的;
 
● 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.
 

©陈译民/张诗瑶/毕雪皎
 
● 最后一个空间是狭缝,人们最终下到地面要通过狭长的缝隙才能真正走进建筑内部,从明亮的光缝到开阔的山体和草地,象征着最终脱离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.
 
【结语 | Conclusion】
 
在这个时代,我们可能无法阻止城市的膨胀,但是我们不应该任其肆意地吞并土地生长成一个永远无法逃离的监牢。在《隐于市》中,我们重新定义了一个界线,通过对人工与自然的探讨对当今城市扩张做出了回应,它像一个乌托邦式的假想,但同时也为处理城市和自然的关系创造了新的可能。
 
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】  
  指导教师:赵建波、李伟
 
 
                 陈译民 | 天津大学                                  张诗瑶 | 天津大学                                  毕雪皎 | 天津大学
 
成果展示
 
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