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
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
6/23/2011
SCI-ARC Graduate Thesis Final Review
Final Jury:
Patrik Schumacher(Partner at Zaha Hadid Architects, Co-director AADRL)
Michael Speaks(Dean, College of Design at the University of Kentucky)
Hernan Diaz Alonso(Xefirotarch, Graduate Programs Chair, SCI-ARC)
Tom Wiscombe(Emergent, Applied Studies Coordinator, SCI-ARC)
Marcelo Spina(Patterns)
Elena Manferdini(Atelier Manferdini)
Florencia Pita(fpmod)
John Enright(Griffin Enright Architects,Undergraduate Program Chair, SCI-ARC)
Tom Kovac(Kovac Architecture)
Todd Gannon
Especially,thanks to Jeffrey Kipnis, he influenced me a lot on this thesis project.
"There is nothing wrong with painting, painting is good!"
Jeffrey Kipnis
Patrik Schumacher(Partner at Zaha Hadid Architects, Co-director AADRL)
Michael Speaks(Dean, College of Design at the University of Kentucky)
Hernan Diaz Alonso(Xefirotarch, Graduate Programs Chair, SCI-ARC)
Tom Wiscombe(Emergent, Applied Studies Coordinator, SCI-ARC)
Marcelo Spina(Patterns)
Elena Manferdini(Atelier Manferdini)
Florencia Pita(fpmod)
John Enright(Griffin Enright Architects,Undergraduate Program Chair, SCI-ARC)
Tom Kovac(Kovac Architecture)
Todd Gannon
Especially,thanks to Jeffrey Kipnis, he influenced me a lot on this thesis project.
"There is nothing wrong with painting, painting is good!"
Jeffrey Kipnis
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