5/26/2012

Hangzhou Civic Sports Center

Urban Concept
工程概况
The site for this project is located at the west side of Hangzhou new city, 2.6km to the CBD center. The facility has a total built area of 15,500 square meters. Above ground floor area is 46,700 square meters. The southwest corner is the entrance for the planned Metro Line and around the site are high-end residential districts. The north side is bounded by a primary school. Adjacent to Qian Jiang River, the site is a connector between the natural and urban life of the city, making it a perfect location for a sports complex. Our project is based on creating an urban plaza while also creating an icon for the lack of large-scale commercial facilities and distribution of leisure spaces. With the convenient transportation, the sports center radiates across the whole city.
该项目地块位于杭州钱江新城西侧, 距钱江新城核心商务区2.6km项目用地面积1.55公顷,地上建筑面积约为46700M2 ,场地内地势平坦,基地西南角为规划中的地铁四号线出入口。基地具有很高的亲水性,从基地穿过富春路就是新塘河,在基地东南面500m左右就是钱塘江。基地周边多为住宅用地,现已建成多个高档住宅小区。北侧为杭州市胜利小学及娃哈哈学前教育集团。针对地域周边缺乏大型的商业设施及集散休闲广场特点,我们在设计中融入标志性建筑和城市广场的概念。区块交通便捷,本案作为市全民健身中心能辐射城市各个区域

Design Concept
设计理念
Since the first rays of the Olympic flame lit by the sunshine of Mount Olympus, the mountain is deeply connected with sports. Hangzhou is a hilly city. Mountain climbing always becomes a popular out-door game for people there. The government carries out mass sports activities to promote national fitness program. We gave the concept of "SPORTS HILL" to create a "sports mountain” for the city.
自从第一束奥运圣火由奥林匹斯山上的阳光点燃的那一刻起,山与运动之间就建立起了深刻的联系。杭州市政府也积极倡导全民健身,而杭州多丘陵,游山成了一项热门的休闲健身运动。我们针对“全民健身”的场地需要,提出“SPORTS HILL”的概念,旨在打造一座“运动山”。

We create a new synthetic ground for sports activities while also an iconic figure against the relaxed background of the sports landscape. This building is a symbol of the new status of Hangzhou as one of the six ancient capital and international city. From a massing view, we design the podium and 42 meter tower in a stacked way in order to contrast with the complexity of the 70 meter tower. The roof is interconnected to make a continuous, differentiated sports landscape with cascading sports fields and pathways. This landscape features basketball courts, volleyball courts, badminton, and tennis, at various levels. The steel frame of the podium becomes the major structural piece for the curtain wall but also houses the circulation element for the facade. The sunken plaza becomes a big open space which has been designed as a microclimate ecological environment facing the school. It also can be entered from the civic square on the southeast.

设计通过体育活动创造出一个人造景观,同时也为新CBD区创造出一个地标性建筑,我们考虑到要用有限的投资做到最醒目的效果,因此合理分配工程投资成为了我们此次设计的重点之一。我们把裙楼和42米塔楼的体量做的尽量简洁,以体块的堆砌组合来体现建筑的纯粹之美。相对的,我们用较大的投资重点打造70米塔楼的外立面。所有建筑通过屋顶相连接使这个有连续性的,有功能分区的体育建筑通过不同的链接让人一目了然。屋顶设有许多室外球场包括有篮球,排球,羽毛球和网球场。部分全民健身中心建筑形成一个坡道式体块。此外,裙楼表面的钢架造型、下沉广场的生态水景也是我们重点打造的部分。整个设计中有开敞式下沉广场面向学校,有很多开放空间。室内和室外皆有体育空间,地块的南侧为大广场,在广场里有多变的花园和景观,提供给市民一个休闲,文化,活动,娱乐的城市客厅。
基地为朝向南偏东46度的长方形地块,长边长约210米左右,短边长约76米左右。建筑主体由两栋塔楼与连接两者的裙房组成,西侧塔楼高70米,东侧塔楼高42米。裙房呈阶梯状,最高处为30米。裙房与70米塔楼的连接处挑空一层,形成一个穿越式下沉广场。
两栋主楼分别设置在地块的东、西两侧,具体位置遵照任务书与规划条件的要求执行。裙房部分退南侧用地红线32米,北侧退红线8米。与东北侧住宅楼距离51米,间距满足规范要求。日照方面根据规范要求,经计算满足北侧地块的小学和幼儿园的日照要求。

The set back of the south side create a rectangular civic square. The civic square and the green belt integrate into a 6000 square meters long main entrance space. The civic square distributes the flow of people pressure from the major and the Metro Line and is covered with landscaping. The entrances that lead into the office building and the east recreation center are located on the west and east side of the squares respectively. The sunken plaza connects with the civic square to increase the depth of field effect. Three ground plazas, one sunken plaza plus a wealth of roof terrace plaza space create a rich and varied public area in order to attract more people to experience and stay longer within the design reflecting the lively atmosphere of a strong national fitness.

裙房往北侧的退让在基地南侧生成了一个长方形的主广场。主广场与城市绿化带融合成为一体,形成沿主干道的一个6000平方米的开阔入口空间。主广场既是基地内的集中绿化景观,又是一个人流集散广场,最大限度的为城市道路及未来的地铁四号线出入口分担了人流压力。此外在基地东侧及西侧也设置了两块次入口广场,西北侧广场作为办公入口广场,通过一个下沉广场与主广场连成一片,增加了主广场的景深。东南侧广场连接建筑东侧运动场地次入口。三个地面广场,一个下沉广场再加上丰富的屋顶平台广场空间,在临近城市干道的位置创造出丰富多变的公共空间以吸引更多的人进入体验并在地块内停留更长的时间,体现更加浓厚的全民健身的生动氛围。

The sunken plaza is 1.2 meters underground, which connects with the entry square by folding shaped steps. The garden plaza is shaded via a cantilevering roof, and a series of pools underneath allow for evaporative cooling to occur, while also interacting with the swimming pool behind the curtain wall, creating a lively water environment. It is spatially defined on all sides by topography, plantings, shelters and the plaza roof, creating a highly specific and integrated environment and small microclimate. The plaza roof and canopies offer shade, while plant-life and water features cool the air underneath based on principals of natural convection and evaporative cooling, creating a thermally regulated environment. This space is a lush and tropical atmosphere including public amenities such as gift shops, bookstores, and cafes, allowing people sanctuary from the stresses of city life.

下沉广场下沉1.2米,通过大片的折线形台阶与入口广场连接。下沉广场本身是一个挑高的灰空间,设置有形态活泼的水池,透过游泳馆的幕墙与馆内游泳池互动,渲染出一个活泼的水环境。我们通过对挑空部分建筑形态和檐口挡板的精心设置,加上生态植物的运用,在下沉广场形成一个小型生态微气候场。在空间上它各边由地貌、植被、檐口挡片以及广场屋顶所限定,创造了一个特别和集中的环境。广场屋顶和檐口挡片提供遮荫,而根据自然对流和蒸发降温的原理,植被和水景对下面空气的冷却创造了一个热功能得到控制的环境。这个空间洋溢着豪华的热带气氛,包括了各种娱乐休闲,比如礼品店,书店和咖啡厅,让市民远离城市生活的压力。

Organizational Concept
功能布局
According to the different type of space, we divided into two parts: “active” and “inactive”. Sports activities are located on the lower part of the tower and the podium, in clear groups for ease of orientation piled into a single piece of “active " area. The top of the tower is planned as a relatively “inactive” area with office, accessories and the VIP Club.

我们根据空间类型的不同在功能布局上面划分为动、静2个区域,塔楼的下部和裙楼由各种运动场馆有机堆砌组合成一整块“动”的区域。塔楼的上部都规划为相对较“静”的办公,管理用房以及VIP会所。

These two towers and podium are combined into a lively multi-stores complex where people can engage in sports indoors at all times of the year. The Swimming center is located at the first floor of the complex, nestled underneath the cascading sports landscape. All pools are contained within a grand open space making it a memorable and urban swimming experience. It can be entered from the south facade or from the civic square.

两个塔楼和裙楼组成了一个充满活力的多层建筑,人们随时都可以进入室内活动。游泳池位于坡道运动景观之下,综合体地面一层。所有泳池在一个大的开放空间内,在此人们可以享受到令人难忘的城市游泳体验。人们可以从南侧和市政广场方向进入游泳区域。

The recreation center is connected by the two towers on the southwest and northeast. It is organized by passageways which connect the sides of the site together into a network. Skylights provide daylight the interior spaces and offer views of people playing sports outside. Ground level functions such as galleries and restaurants cater to the general public, making the space a community center as much as a sports center.
娱乐中心与西南面和东北面的两个塔楼相连接,位于场地的交通节点上。建筑内部有天窗采光,可以观看外面的体育比赛。底层的画廊,餐厅等常见公共设施使这里更像一个社区活动中心而不是体育馆。

Structure and Materials
结构与材料
The main tower and podium is wrapped with three folding pieces, which covered with cellular aluminum. The twisted-folding shape has a dynamic trend of an upward spiral, which makes the tower an increasingly upright illusion. The trend of folding shape determines the density of the skin texture.

主塔楼表皮分三段式包裹,蜂窝金属铝板以折线的形态分层包裹住裙楼和塔楼。总体盘旋上升的外观形成一种向上的动态趋势,使限高70米的塔楼错觉上变得愈加挺拔。表皮展开加覆肌理,肌理疏密度根据包裹走势形态。

The design features faceted crystalline geometry embedded with crystal patterns in 3D cold lamination film, ETFE membrane, and local-shaped glass structure. They were wrapped into a tower on four facades hybridizing the graphic and the 3-D dimensional, hybridizing the depth of space, to create the illusion of volume in space, which achieves new complexities between flatness to depth and depth to flatness. They are used to heighten the sense of irresolution between flatness and depth as well as correlate graphic/pattern effects with mass inflections. The design features massive membrane bubble ‘windows’ oriented to allow views out to all angles of the city. The perforated stainless steel panel on the wall strengthened the crystal shape, as an attraction landmark for the city.

塔楼外表皮与钢架后面的幕墙通过大体块的平面的3D贴膜与凸起的ETFE膜结构的材质变化以及局部异形玻璃结构的设计包裹,在塔楼归整的四个立面上,混合平面图案和三维空间,混合空间景深,在空间中创造体量的幻觉,完成新的复杂性介于平面到景深与景深到平面之间,加深了景深和平面的不确定性并且和绘画般的图案效果整体形变紧密相连。透过膜结构和玻璃可眺望城市里精彩的每一个角落,除此之外,墙体的穿孔不锈钢铝板更加强了整个结晶体的形态,犹如城市里的一颗水晶,强烈的吸引人们的目光,成为区块的地标性建筑。使整个全民健身中心与周边商业充满无限商机。
The recreation center and swimming center will be constructed out of reinforced concrete frame and slab construction for economy. Certain areas such as the pools and large gaming courts will feature column-less spaces and increased beam depth. Other spaces will relax back into a 9M x 9M economical grid spacing. This column grid will be carried all the way down through the parking garage in the basement. The long span facade will be made from deep sculptured beams which will be stabilized by interior armatures. These beams will also contain the mechanical systems of the space.

文娱中心和游泳中心将采用钢筋混凝土结构配以板材,经济合理。泳池,大型竞技场等区域将不使用支柱,增加了横梁的深度,其它的功能场所都采用了9x 9米的间距,非常经济,这种圆柱网格将覆盖整个地下室。大跨度的立面上的横梁由内部楼板加固,这些横梁还包含空间的机械系统。

The south side facade connects the Podium and 42 meter tower through the transportation space. Five canopies are not only the supporting connections for the steel frame, but also offer shade. The external steel frame highlights the idea of a ladder and merges with the outer shape of the aerial layer, which makes an elegant liquid motion of a fluidity and dynamic transition.

裙楼和42米塔楼通过南侧的一整片立体交通空间来统一外立面,五片檐口挡片既是钢结构折角处的衔接构架,又为架空层起到避雨遮荫的功能,外部钢架顺着梯段的走势延伸,结合架空层的外观,形成疏密变化收放自如的肌理,使建筑的正立面充满动势。

Project name: Civic Sports Center, Hangzhou, China
Sketch Design: 02.2012 to 03.2012
Client: Hangzhou Sports Development Group
Program: Civic Sports Service Center and Public Sports Activity Center
Size: 72,700 m2 (above ground 46,700 m2, underground 26,000 m2)
Design: BLUA
LDI: Hangzhou Jiangnan Architectural Design Co., Ltd
Design team: Shou Zheren, Ge Liangjun, Chen Jian, Qian Haiping, Ma Li, Jiang Tianjiao, Zhang Hong, Zheng Jue, Xia Tingting, Tao Jiangjie, Shen Qing.
Structure: Hangzhou Jiangnan Architectural Design Co., Ltd
项目概况
项目名称:杭州市全民健身中心
建设地点:中国杭州
业 主:杭州市体育发展集团
设计时间:20122月~3
项目用途:杭州市全民健身服务中心及城市体育公共活动中心
建筑面积:7.27m2(地上建筑面积4.67m2, 地下建筑面积2.6m2
设计单位:BLUA
当地设计院:杭州江南建筑设计院有限公司建筑一所
设计团队:寿哲人,葛良军,陈戬,钱海平,马立,蒋天骄,张弘,郑珏,夏婷婷,陶江杰,沈卿
结构顾问:杭州江南建筑设计院有限公司结构所

4/24/2012

Hangzhou Civic Sports Center featured on architecture&culture magazine

Hangzhou Civic Sports Center featured on architecture&culture magazine

4/20/2012

4/18/2012

Hangzhou Civic Sports Center featured on DUDYE

Hangzhou Civic Sports Center featured on DUDYE magazine

http://dudye.com/bluas-new-sports-project-in-hangzhou/

4/17/2012

6/30/2011

Customutation /4(X+Y)=WORLD has been collected into the latest studio publication "total fluidity" documents ten years book


Customutation /4(X+Y)=WORLD has been collected into the latest studio publication "total fluidity".

The book collects 10 years of academic design research conducted at the Zaha Hadid master-class at the University of Applied Arts in Vienna. Under the leadership of Zaha Hadid and Patrik Schumacher the studio developed a distinct contribution to the emerging style of Parametricism. All elements of architecture become fluid, ready to engage with each other and with divers contexts leading to an overall intensification of relations. This style is architecture’s response to 21st Century network society. The radicality and consistency with this style is being pursued across all scales and programmers results in an impressive body of work. Academic design research can go deeper and farther than professional work in probing the consequences of a radical design hypothesis. Within academia architects can be more experimental. They can afford to be more principled and more self-critical, avoiding pragmatic compromises. The creative work of the Zaha Hadid Vienna studio testifies to this.

6/28/2011

Landscape Garden for LA Residence


Painting from the Client

Coming soon...

Building Type: Landscape
Office: BLUA
Client: LA Resident
All pictures Copyright © 2011 BLUA

6/27/2011

Resident Chroma Ⅲ





"Resident Chroma” contains the following 4 major sections: Resident Chroma origins, I, II and III. Each section has its own principle redefine “color”. They are mutually independent as well as mutually related.

“居住色彩”由以下四个主要章节:居住色彩原传,生化色彩1,居住色彩2和居住色彩3。每一个章节都有它自身的原则去重新定义“色彩”。它们既互相独立却又互相关联。

Resident Chroma origins is about the research works on the understanding about the color structure and drawing technic from the original artist and scientist, in that way searching out the problems and potential qualities to become the architectural issues.

Resident Chroma I is more about to explore the new opportunities for Material intelligence controlled by color.

Resident Chroma II is a discipline thesis research on the methodology creating the illusion through color effects.

Resident Chroma III is the final chapter to do the global onsite color application in order to achieve new complexities by changing the architectural space from flatness to depth and depth to flatness.

居住色彩原传是关于一些研究型的作品对于最早艺术家和科学家所开发色彩结构和绘画技术的理解。以此来寻找问题和潜在的可能,从而成为建筑界的论点。
生化色彩1更多探索关于一个通过色彩控制材料智能的崭新机会。
居住色彩2是一个学术性的论文研究通过颜色创造错觉的方法。
居住色彩3是最终章节关于在基地上建筑尺度的色彩运用,以此通过置换建筑空间从平面到景深与从景深到平面来完成新的复杂性。

Back to the classical “Unite d’Habitation” by Le Corbusier, the agenda for the onsite application is to rebuild the colorful façade which become both a thick surface and the new communication platform on the vertical way of the building in order to create the architectural illusions which makes exterior space inside and interior space outside. Surface patterning, color, relief, and materiality are used to heighten the sense of irresolution between flatness and depth as well as correlate graphic/pattern effects with mass inflections.

回到柯布经典的马赛公寓,建筑尺度的色彩运用试图重新改造色彩的立面,既作为一个厚的表面又作为大楼垂直方向的一个新的交流平台来创造出建筑错觉,置换室内外建筑空间。表皮的图案,颜色,浮雕,和材料属性的使用,加深了景深和平面的不确定性并且和绘画般的图案效果整体形变紧密相连。

6/26/2011

Resident Chroma Origins

“Color becomes contemporary as it moves away from indexicality, symbolism, codification, and ideation because this move away from signification allows color to register traces of a much more complex series of historically specific conditions and forces: those of technology, sensibility, capital, taste, materiality, manufacture. In other words, when working through the field of effects, color can do more to engage contemporaneity than when it works through the structures of meaning.”
Sylvia Lavin “What Color is it Now? 2004”

“颜色具有当代性,当它从索引、象征意义汇编以及观念中移除,从某种意义上因为这一举动让颜色更能追溯历史特定条件和环境下的一系列复杂性:技术,感知,资本,风格,质感,制造。换句话说,通过特效领域的工作,颜色可以更好地切合当代性的特质相对于它本身通过色彩结构的定义来工作。”
Sylvia Lavin “当今的颜色是什么?”,2004

“Color can be used in different ways: thin or thick, one-dimensional or layered. The thicker the color and the more layers the greater the variety of impressions and effects.”
Liisa Aholainen & Bas Gremmen “The Thickness of Color”, 2009

“颜色可以用不同的方式:薄或厚,一维或分层。颜色越厚,层数越多就有各种更大不同的影响和特效。”
Liisa Aholainen & Bas Gremmen 颜色的厚度, 2009

Left to right: drawings by Joe Sacco, Bill Plympton and Richard Sala. Stroke patterns in many sketch drawings like these are laid out in image space and do not follow the 3D shapes depicted by them. They control the painterly effects subjectively.

从左到右:绘画者Joe Sacco, Bill Plympton 和 Richard Sala。排线图案在很多像这样的手绘图中都被展现出空间感,它们没有跟随刻画的三维造型。他们主观地控制着绘画的特效。

The Five star Stories by Nagano Mamoru
As a tool color has been practiced directly by artists and designers in order to develop their own styles. In architecture color is an important means of expression.

五星物语 Nagano Mamoru
颜色作为一个工具被艺术家和设计师直接运用于创作他们自己的风格。在建筑中,颜色是一个非常重要的表达方式。

zebra’s tattoo patterns
The color of zebra’s tattoo patterns disrupt its volumetric surface, but also encase and delineate. Marking a change in direction at the juncture delicately change scale to conform to the narrowness of leg.

斑马的纹身图案
斑马的纹身图案色彩混淆了它的表面体积,但又包住并且描绘形体。在结合点改变方向,优美的尺度改变来顺应腿部的纤细。

Left to right: Hand-carved by a Maori craftsman,depicts traditional facial tattoos;Papua facial ornamentation;Chinese opera facial masks ornamentation.

The Papua facial treatments, the craftsman’s tattoos and the Chinese opera facial masks work with the accentuating enhancement of facial features. Both sets of enhancements serve as mediums of distinction. In the case of the craftsman’s tattoos, there exists an elaborate system of typical characters. All of the surfaces are topological diagrams, an expression of organic structure. Color both conforms and transforms, sometimes it transforms by conforming.
巴布亚脸谱,工匠的纹身,还有中国脸谱都增强了面部的特征。所有的增强都有不同方式的区别。在工匠的纹身中,存在一个复杂的独有的特征系统。所有的结构都是拓扑式的原型,一个有机结构的表达。颜色可以同时顺应或者改变,有时候通过顺应来改变。

精练的现代主义文化剥离所有多余的结构体系,标榜为纯净和真实,其中大部分,清除所有颜色的类型。因此,典型的现代主义建筑崛起,陶醉在一个永恒的粉饰。事实上,通过各种文化,白色象征着纯洁,完美和无暇,并作为一种教育的标志,它诉诸于智力。因此,理念降低了色彩的使用,导致了更少区域的“不纯净”,不值得信任的现实。

然而,当代建筑的有效性依赖于不纯净,不寻常,叛逆以及影响力。当代建筑装饰表面,它欺骗,它伪装,它扩张,它变化,它产生的气氛与情绪并且色彩就是一个最好的载体来完成这些效果。现代派chromophobia到当代派chromophilia的过渡回应并建立在几百年前从文艺复兴时期到巴洛克时期的类似转型之上,浮雕式灰色装饰画画法给明暗对比画法让路,被富有动态的色彩所强化,给巴洛克艺术与建筑带来了特有的绘画质感。

Chiaroscuro describes an invention in the art of painting to create the illusion of volumes in space. The gradation effected from the light to the shadowed side of a three dimensional object. For example in the Clarinet Player, by Picasso, a pyramidal form implies an image. The pyramid has a strong contour to give the sense the figure is standing in a deep space. The Portuguese, by Braque, uses a highly developed interlacing of horizontal and vertical gridding created by gapped lines and intruding planes that create shallow spaces. Only gradually is the observer able to invest this space with depth permitting the figure to assume substance.

明暗对比画法描述了一种发明在绘画艺术中,在空间中创造体量的幻觉。一个三维物体从亮面到阴影面的渐变效果。比如在《单簧管演奏手》,由毕加索创作,一个锥形体表示一个图像。锥形体有很强的轮廓线给人以一种感觉,如同日整个造型站立于一个很深的空间。《葡萄牙》,由巴洛克创作,使用了高度成熟的由间距的线和交叠的平面所组成的横向和竖向交叉的网格来创造浅的空间。只有渐变才能让观测者可以感受这种空间以深度的造型在虚假的物体中。


The base material before painted it matters, the material quality itself is important. Painting the materials is also changing the material properties as well as painting.
在绘画之前的基础材料有很强的关联性,材料本身的质感非常重要。喷绘材料在绘画的同时也改变了材料的属性


6/25/2011

Color is One/Resident Chroma Ⅱ



Color is One ------ Resident Chroma Ⅱ

Bin Lu This thesis is a discipline research about painting. It investigates the architect and the painter, trying to figure out architecture out of painting. In architecture color has been used as a final application to geometry, a last layer on tectonics, used as a lighting device, media, bringing out qualities of materiality, ornamental and generally decorative. Using color from the beginning in a generative way, one can gain the freedom to design architectural functions as multiple conditions in space rather than limited to objects.

In painting, color invokes the illusion of space, creating depth from flatness, while architecture wants real space to become illusion.

Robert Slutzky argued that color is primary. He studied color structure and then transposed it into a 3-D formal structure. In his Chube/Chrome project, he started a system of color relationships derived from Goethe's Farbenlehre, which he used to generate a series of conceptual models of architectural space, but he ended up with white and black. To extend his idea, I created special effects. First painting a flatten surface that had the painterly effect of depth from flatness to create 3-D geometry. By using color to paint the emergent patterns I discovered they either disappeared or conformed with the graphic patterns. Second I recreated the same surface with graphic figure on the flat parts and flipped the bottom surface to the top with red color. Color both conforms and transforms, sometimes it transforms by conforming. Hybridizing the graphic and the 3-D dimensional, hybridizing the depth of space, and hybridizing shade and shadow affects that reverse color gradient. The building is artificial, but the color is real.

The result of the thesis is the possibility of a goal oriented sketching (painting) process using color throughout the whole process of the design in a generative way that achieves new complexities between flatness to depth and depth to flatness.

Color is one.

这个毕业设计是一个关于绘画艺术在建筑学领域运用的学术性研究。它研究建筑师和绘画艺术家之间的关系,尝试将建筑从绘画之中解放出来。在建筑中,颜色被作为最后形体上的运用,构造上的最后一层,被使用作为一种灯光设备、媒体,不再具有材料的质感,具有装饰性和通常的修饰性。 从设计的开始就使用色彩属性以一种创造性的生成设计方式,可以从中获得自由,在空间中不同的条件下去设计建筑的功能,不仅仅只是局限于建筑形体。

在绘画中,颜色使用了空间的幻觉,从平面创造景深,同时,建筑需要让真实的空间变成幻觉。
建筑师罗伯特斯鲁茨基认为颜色是主要的。他研究颜色结构并将它转化成三维的空间结构。在他的《盒子/色彩》项目中,他开始于一系列的颜色关系从歌德的《Farbenlehre》所获得,他利用来创造一系列的建筑空间概念模型,但是他最终以黑色和白色完成。 为了扩展他的理念,我创造了一些特殊效果。首先,在一个平面上绘画,这些绘画将平面变成一些具有绘画效果的从平面到景深的三维物体。使用颜色来绘饰产生涌现的图案,我发现它们消失于平面之中或者融合于平面之重的图案。其次,我重新在相同的表面绘制平面上所具有的图案在平正的区域并且用红色把底部的物体表面置换到最顶层(幻觉)。颜色同时顺应或者改变,有时候它通过顺应来改变。混合平面图案和三维空间,混合空间景深,混合光影和阴影效果来反转颜色渐变。建筑是人工的,但是颜色是真实的。 最终的课题是可行性的完全手绘(绘画)主导的通过使用颜色贯穿整个设计过程以一种创造性的生成方式完成新的复杂性介于平面到景深与景深到平面之间。

颜色就是唯一。
Dimension:30"X10" Dimension:30"X10" Dimension:65"X32"
Special thanks to all my friends and SCI-ARC woodshop: Qing Cao,Monica McKay,Woody Wang,Zifan Liu,Shaochong Zhou,Cheeyoon Chun,Tiffany Liu,Gabriel Huerta,Brent Lucy,Jinming Feng,Xiaofeng Mei,Ye Li,Jiarui Liu,Liu Jing,Chuchen Feng,Yuhao Yang