2019年度學生組別得獎作品 Awarded Entries of Student Category 2019

金獎 GOLD

作品名稱: 建築成林
PROJECT NAME: ARCHITECTURE SUCCESSION

作品地址: 台灣宜蘭大元山林場
PROJECT ADDRESS: DAYUAN FORESTRY FARM, YILAN, TAIWAN

成員: 曹記嘉
MEMBER: TSAO CHI CHIA

在人造柳杉林疏伐預定地上,我嘗試建構一套地景消化系統。透過疏伐工作者與登山者的角度進入山林,以輕巧自由且能隨時更新的構築邏輯,試著修補自然與人之間早已失衡的供需關係,當人類以赤裸的姿態面對自然之時,建築的存在意義開始產生變化,「造房子」這件事,能否從根本的態度上符合環境自有的邏輯,讓建築不再作為一道分界,而能成為融合人與環境的媒介?

Architecture has always been built between human and nature. At the planned site of the forestry thinning, I want to construct a land-digestion system. Through those light and renewable construction designs for the use of logging and mountaineering, I tried to repair the unbalanced supply and demand relationship between man and nature. We may ask, can "Build" follow the logic given by the environment, making architecture no longer a demarcation, and then become a medium for the integration of human and nature?

金獎 GOLD

PROJECT NAME: SHAPE THE SHAPELESS—MIRAGE

作品地址: 浙江杭州千島湖
PROJECT ADDRESS: THOUSAND-ISLAND LAKE, HANGZHOU, ZHEJIANG PROVINCE

成員: 林塋珊. 趙凝, 陳殷, 吳家璐
MEMBERS: LIN YIN-SHAN, ZHAO NING, CHEN YIN, WU JIA-LU

設計位於浙江杭州千島湖獅城遺址上方,獅城在1959年因水庫修建而被大水所淹沒,如今在水下保存完好非常珍貴。然而現除了考古和照片,即使獅城近在咫尺也無法親眼所見。因此我們使用了光折射的原理,讓水下獅城以虛影再現於水上。

The location of the design is above the Shicheng site , which is under the tourist attraction “Thousand-Island Lake” in Hangzhou, Zhejiang province. Shicheng was flooded due to the construction of reservoir in 1959, but it has been well-preserved under water, which indicates it is very precious. However, except for archaeology and photographs, we cannot see Shicheng site with our own eyes even it is so close. Therefore, we use the principle of light refraction which is similar to the mirage, so that the original appearance of Shicheng is partly reproduced on the water.

銀獎 SILVER

PROJECT NAME: AQUATOUR

作品地址:雅加達
PROJECT ADDRESS: JAKARTA

成員:杜靖宜, 洪蘊璐
MEMBERS: DU JINGYI, HONG YUNLU

人類和自然的未來形狀定義

該方案著眼於東南亞地區的氣候難民問題。我們將鳥骨這一生命體的邏輯運用在建築有形的實現,在這種有形的空間當中實現自然的生態迴圈。未來,建築像生物一樣靈活既定、迭替迴圈。有形的建築都會進化為無形的自然狀態。

Shapes for the Future of Humanity and Nature

The project aims to solve the problem of “climate refugees ”in Southeast Asia. We apply the biological logic of bird bone to the shape of the architecture, with a positive recycling of ecology in the physical space. In the future, architecture evolves into a synthetic organism in an invisible natural status, flexible and adaptive.

銀獎 SILVER

PROJECT NAME: HOMO CIVILIS HONG KONG- LIMINALITY IN TIME AND SPACE, 1997-2047

作品地址: 香港中環添馬地區
PROJECT ADDRESS: TAMAR, CENTRAL, HONG KONG

成員: 鄧韻婷
MEMBER: TANG WAN TING

July 1, 1997 marked the end of British-Hong Kong.

What will happen to Hong Kong after 2047 has never been publicly stated.

This project considers this period 1997-2047 as the liminal space of Hong Kong. The word “liminal” is derived from the Latin root, limen, meaning “threshold.” Thus, liminal space is a “crossing over space” – having left something behind yet not yet arrived at the new destination.

For us, it is the time that allows Hong Kong people to review its past and contemplate its future. The in-between space of Hong Kong. It is the ambiguity and uncertainty of our society that leads us to self-exploration.

銅獎BRONZE

PROJECT NAME: NKA PAVILION

作品地址: 塞內加爾塞久區
PROJECT ADDRESS: SEDHIOU, SENEGAL

成員: 成民耀
MEMBER: SHING MAN YIU

非洲大陸上資源的無序開采和不同文化間的敵視引發了一系列武裝衝突,其後果是數百萬無辜生命的死亡和大量將生存希望寄託於他處的難民。通過宣傳和平的普世價值來紀念受害者有利於為構建團結型社會奠定基礎。沉思、回憶和同情是一座紀念建築物所詮釋的價值,以期建立一個更美好的世界。(根據Kaira Looro Architecture 建築競賽)

設計靈感來自於西非智慧圖騰(ADINKRA: BI NKA BI),圖騰描繪了兩尾魚追逐對方意味著雙方都不應發起戰爭,我希望藉由這紀念館可以宣揚這傳統的智慧。館內空間由亂中有序的建築語言構成不同的空間的曲線,同時地展現出非洲建築的傳統文化。

Intercultural hostility and the exploitation of resources on the African continent have triggered a succession of armed conflicts resulting in millions of innocent lives lost and refugees seeking hope in a better life elsewhere. Contemplation, memory, and compassion are the values that commemorative architecture must convey in order to build a better world. (In reference to Kaira Looro Architecture Competition)

The design inspiration came from the Adinkra symbol of Bi Nka Bi, featuring two fishes chasing each other, meaning “No one should bite the other” and standing Peace and Harmony. It has an architectural quality of external curves circling around a central void, forming a spatial ambiguity that is simultaneously outside and inside, an often blurred duality in African culture which to be encapsulated.

優異獎 HONOURABLE MENTION

作品名稱: 行走在有形與無形之間
PROJECT NAME: LIVING BETWEEN SHAPE AND SHAPELESS

作品地址: 中國浙江省安吉縣
PROJECT ADDRESS: ANJI, ZHEJIANG, MAINLAND

成員: 何欣冉
MEMBER: HE XINRAN

大都會在擴張,壓抑而疲倦隨便捷而來。通過設想自由工作者好友的別墅——一個在“有形”與“無形”之間不斷變化內外的院落空間聚落,我們試圖促進休憩和遊走的生活,從快節奏、高壓力的城市生活中回到人性、回歸自然。

The metropolis is expanding. Depression and fatigue go hand in hand with convenience. By imagining the villas of a group of freelancers—— a series of courtyards which constantly changing between "shape" (inner) and "shapeless"(outer, melted with nature), we try to promote the life of recreation and wandering, and return to humanity and nature from the fast-paced and high-pressure urban life.

優異獎 HONOURABLE MENTION

PROJECT NAME: PERFORMATIVE LANDSCAPE

作品地址: 香港屯門新界西
PROJECT ADDRESS: WENT, TUEN MUN, HONG KONG

成員: 袁雪瑩
MEMBER: YUEN SUET YING

作地
對倒是郵學用語,郵票一正一負相連叫對倒。地點是一個即將飽和的堆積區,整個環境都是相連的,由地質、 水質、空氣質素都如預期的差。在自然循環中頭尾是相連的,地下之物經歷時間的跨度轉化為另一物理狀態,存在於地上。建築作為媒介,介入兩地,重新連接環境與人的關係。 

「在水潭完全吞沒影子之後,我仍然久久地凝視水面。水面未留一絲漣漪。水藍得猶如獨角獸的眼睛,且寂無聲息。失去影子,使我覺得自己恍惚置身於世界的邊緣。我再也無處可去,亦無處可歸。此處是世界盡頭,而世界盡頭不通往任何地方。世界在這裡終止,悄然止住腳步。」

《世界末日與冷酷異境》 村上春樹

不同的流動:水池的倒影、玻璃的反射、風吹過熱氣球造成的光影變化。一切都顯得確實而朦朧,流形被籠罩於森林之間,延伸於對立的空間之上,擺進了歷史的側影。然後在一片連綿拱頂之下,光影空間曖昧地糾結著,不同的事正隱藏於森林的廣闊無盡中,其灰暗不明,令每個行為都成為實驗,這是一場迎向未知的冒險。

PERFORMATIVE LANDSCAPE
Tête Bêche, a french word for ‘head to tail’, refers to a joint pair of stamps that is upside-down in relation to the other. While the site is located on a landfill, it has an indispensable relationship with the environment. Noticing the unsatisfactory quality in site in terms of the land, water and air, in fact all the subterranean substance transform from different physical states across time and towards two ends, the underground and the ground. This project aims to intervene in between the two worlds, further to reconnect the relationship between environment and human-being through the language of architecture.

“Long after the Pool has swallowed my shadow, I stand staring at the water, until not a ripple remains. The water is as tranquil and blue as the eyes of the beasts. I am alone at the furthest periphery of existence. Here the world expires and is still. I turn away from the Pool and begin the walk back. On the far side of the Western Hill is the Town. I know she waits for me in the Library with the accordion.Through the driving snow; I see a single white bird take flight. The bird wings over the Wall and into the flurried clouds of the southern sky. All that is left to me is the sound of the snow underfoot.”

Haruki Murakami, Hard-Boiled Wonderland and the End of the World

There are different movements occurring, it could be the reflections of reservoirs, refractions of glass even the the shadow variation projected by hot air balloons. All these exact but obscure form of energy are enclosed in the landscape which is specially composed in this scheme. Constructing on top of landfill is an act of adding another layer of artificial element in this proposal. While the artificial landscape refers to tiers of vault roofs, the density and height of columns are settled so that to generate a perplexing interior quality. Meanwhile different activities conceals among the sea of columns, as they traverse, it leads to unknown paths of adventure.

優異獎 HONOURABLE MENTION

PROJECT NAME: SYMBIOTIC HARBOUR

作品地址: 香港尖沙咀
PROJECT ADDRESS: TSIM SHA TSUI, HONG KONG

成員: 何俊勳
MEMBER: CHUN FAN

有形與無形
人工與自然之間的張力

生於自然的植物與人造物截然不同,前者以不規則的姿態綻放,後者則經過審慎設計。兩者結合,將會程現一全新的形態。人工與自然之間的張力, 可見於香港路邊,當埋藏於石磚下的樹根鑽出地表時,一種有形下的無形誕生。

Shape & Shapeless
As Tension between Artificiality and nature

Shape, a form of existence, distinctive and foreseeable: shapeless, an existence of irrationality, metaphysical and integration. Such contrast can be translated into the tension between artificiality and nature - Artificiality, a sophisticated calculation; and Nature, an inevitable growing force. Two contrast at first glance, yet, together they can create something that neither sheer constructed by human nor purely generated by the natural way. It is a cooperation of both factions that achieve such kind of form, structure and aesthetic, a shape of shapeless which can be an element to enhance Hong Kong where is lacking nature and human connection. 

優異獎 HONOURABLE MENTION

PROJECT NAME: 3D ROBOTIC-PRINTED SERVICE PAVILION

作品地址: 徐匯區,上海
PROJECT ADDRESS: XUHUI, SHANGHAI

成員: 徐純, 高思捷, 黃楨翔
MEMBER: XU CHUN, GAO SIJIE, HUANG ZHENXIANG

形式的定義被新的材料以及材料的表現方式所挑戰,而建築師的身份認知也因突破性的建造方式而改變。當人,機器與自然超越了二維的上下關係糾纏為賽柏格的一體,建築變得模糊,複雜而不再可知。

The definition of shape is challenged by the new material and its performance, and the identity of architect is also changed by the innovative fabrication method. When human, machine and nature are weaved together as cyborg, architecture becomes vague, complicated and beyond prediction.

 

優異獎 HONOURABLE MENTION

作品名稱:向上
PROJECT NAME: UP

作品地址: 中國西藏拉薩北京路
PROJECT ADDRESS: BEIJING ROAD, LHASA, TIBET CHINA

成員: 郭岸
MEMBER: GUO AN

拉薩,離天空最近的地方,是一座真正的宗教之城。作為西藏的聖城,許多藏傳佛教人士把到拉薩進行一次精神之旅視為一種榮耀。設計構思來源於藏族宗教文化習俗—轉經,三個“有形”的展廳序列層層遞進,最後進入空中展廳,仰望 “無形”的展品—布達拉宮。無數轉經者向聖城拉薩朝拜的動態顯示在空中展廳的天花上,形成無數向布達拉宮靠近的星雲,與框內的天空中星空一起湧向布達拉宮,天人合一,物我兩忘。建築用簡單的形式試圖營造“無形”的宗教文化、地域特色,空間成為超越了人類和自然的場所。

Lhasa, the place nearest to the sky, is a true city of religion. Hundreds of temples and monasteries of varied size located all over Lhasa. As the holy city of Tibetans, many Tibetan Buddhists consider it as an honor to take a spiritual journey to Lhasa. The design idea comes from Tibetan religious and cultural customs-Zhuanjing, the gradual progression of three "shaped" exhibition halls, and finally entering the air exhibition hall, looking up at the "shapeless" exhibit-Potala Palace. The real-time information of countless pilgrims, which were on the way to the holy city, Lhasa, was shown on the ceiling of the air exhibition hall, forming countless nebulae approaching the Potala palace. They flocked to the Potala palace together with the starry sky in the rounded ceiling. Heaven and man, things and you were mixed. The museum tries to create "shapeless" religious culture and regional features in a simple form, and space becomes a place beyond human beings and nature.

優異獎 HONOURABLE MENTION

作品名稱: 藍色空間
PROJECT NAME: BLUE SPACE

作品地址: 廈門大學嘉庚學院南區外彈性集市

成員: 周怡伶, 潘涵
MEMBER: ZHOU YILING, PAN HAN

集市是什麼樣子的?水有形狀嗎?藍色是一種顏色?思考是無形?空間是有形?空間可以變換?現在有樣子嗎?未來可以有形狀?我們想創造一個藍色的空間,為了集市的現在的無形,更為了人們的未來的有形。

What is the market like? Does water have a shape? Is blue a color? Thinking is invisible? Is the space tangible? Can space change? Is it now? Can the shape be in the future? We want to create a blue space, in order to make the market shapeless, and to make people's future shape.

優異獎 HONOURABLE MENTION

作品名稱: 色彩無形,檔案有形: 香港城市城色彩檔案館
PROJECT NAME: ARCHIVE AS SHAPE, COLOUR AS SHAPELESS: HONG KONG CITY COLOUR ARCHIVE

作品地址: 香港九龍城
PROJECT ADDRESS: KOWLOON CITY, HONG KONG

成員: 丘俊延
MEMBER: YAU CHUN YIN

The Soul of a City is its Colour. It is the explicit visualizations of the vibrancy and life of a place. Without colour, Hong Kong or any other city for that matter, is nowhere but a place with just concrete boxes.

Colour is shapeless and ephemeral. In order to archive and capture it, we need a shape and a building to contain colour. The project is sited on the roundabout island below 3 highways, where history (Kowloon City) and future (Kai Tak Development District) convey. The archive consists of a reflective Boolean ceiling which captures the everchanging “current colour” of the city, the underground “Archivebot” where specific colour items are stored, surrounding by exposed rock surfaces. Again, old and new, shape and shapeless are juxtaposed and created tensions to create the dominant public space.

色彩是城市的靈魂。它是一個地方的活力和生命最直率的表現。失去色彩的話,香港或世界上任何一個城市,都只是一堆石屎盒子。

色彩是無形而轉瞬即逝的。要保存和捕捉色彩,就需要一個載體。這個項目位於一個的迴轉處,是歷史(九龍城)和未來(啓德發展區)交界。檔案館由兩個主要元素組成:一、以反射物料製作的雕塑天花,用於捕捉千變萬化的「當前色彩」;二、地下的檔案機械人,用於收藏指定的顏色物品,並且被外露的地下石層所包圍。再一次,新與舊以及有形與無形並置,其中的張力形成了整個建築最重要的公共空間。

優異獎 HONOURABLE MENTION

作品名稱: 景觀的非景觀
PROJECT NAME: NONE-LANDSCAPE OF LANDSCAPE

作品地址: 臺灣金門縣
PROJECT ADDRESS: KINMEN, TAIWAN

成員: 程子軒
MEMBER: CHENG ZIXUAN

隨著時代的發展,城市規劃大部分時候面臨著自上而下的設計,而我發現,在城市裡的某些地方,他的規劃設計可能是因為規劃者考慮不周全,或是經濟因素,更或是其他的原因,有些空間並不能對應使用者的需求。就像是居依德波的《景觀社會》裡說的,景觀將引導人們的思考模式,因此我希望用一種自下而上的方式介入進來,讓城市空間也可以是由居民自己創造的,而我使用的單元通過使用者自己當下的需求可以進行快速組合,他可以發展出不同尺寸,不同位置,不同功能的空間,甚至是裝置,甚至是傢俱。我認為,城市空間會變得更切合需求,當有引導的自下而上和自下而上同時發生的時候。

Nowadays, the regional pattern of development had become mostly in top to bottom. The results sometimes cannot be perfectly, let alone the unbeknown space insert in urban. If the urban design is consisted by the method in top to bottom also contain from bottom to top, combining the spontaneous method by residents, it would express more appropriate to urban contrive. So I convert the traditional structural method which called tenon “榫卯” to create a kind of self-assembled cube. The cube can be assembled into different object by resident in instantly and conveniently. After that the urban space could be changed more accurately and diversity by the cube with the dweller‘s requirement. Based it concept, I conceive the device also can change the classical ideology about space design in a shapeless way.

優異獎 HONOURABLE MENTION

作品名稱:「情」.「形」
PROJECT NAME: SPIRIT AND SHAPE

作品地址: 香港中環寶雲道
PROJECT ADDRESS: BOWEN ROAD, CENTRAL, HONG KONG

成員: 江卓健
MEMBER: KONG CHEUK KIN

「情趣」輕輕的一詞,「自然」比人間社會更高的價值。人要以各樣方式的修練才能接近「自然」,並因程度有異而分出「人格」。中國建築中園林作為文人直接參與的生活世界的建造,以某種哲學標準體現着中國人面對世界的態度。

如果人可以生活在畫內的場景中,畫家寧可讓屋子小到只能放下自己的身軀。中國文人的書畫就是中國人看建築學的哲學,而不是像西方的觀點那樣,建造了建築再配上景觀。在中國傳統文人的建築學裏有着更重要的事情。

我相信要了解一處地方的形及無形,需要有情,感受這處的所有氣息,透過觀察繪畫想像。把無形的氣息建構出來。在建築設計的過程中,不單只需要有創造力及富有專業技術,還需要更重要的一環,這更能呈現中國文人對建築的思想,就是透過繪畫。過程中需要把「精粹意景」,「留白平衡」把無形的道表達在畫布上。透過現代建築設計的手法把畫與建築之間神粹充分展現。

The word "Interest" is so light, "natural" has a higher value than human society. People must approach the "natural" in the left-handed way, and divide the "personality" because of the difference in degree. The architecture of Chinese gardens as literati directly involved in the construction of the living world reflects the Chinese people's attitude towards the world with certain philosophical standards.

If a person can live in a scene in the painting, the painter would rather let the house be small enough to let go of his body. The paintings of Chinese literati are the philosophy of Chinese people watching architecture, rather than building a building and matching the landscape, as in the West. There are more important things in the architecture of traditional Chinese literati.

I believe that to understand the shape and intangibility of a place, you need to have feelings, feel all the breath of this place, and imagine through painting. Construct the invisible atmosphere. In the process of architectural design, not only need to be creative and professional, but also need a more important part, which can more reflect the Chinese literati's thoughts on architecture, that is, through painting. In the process, we need to put "intelligence" and "white balance" on the canvas. Through the modern architectural design, the spirit between painting and architecture can touch with us.

優異獎 HONOURABLE MENTION

作品名稱: 補山 - 山澗博物館

作品地址: 中國寧波
PROJECT ADDRESS: NINGPO, CHINA

成員: 黃維, 梁釗恒, 周騰飛, 戴佳佳
MEMBER: HUANG WEI, LIANG ZHAOHENG, ZHOU TENGFEI, DAI JIAJIA

項目位於寧波天一古村,基地原為自然山體,現為廢棄的採石場。設計希望通過有形的建築來修補破壞的山體,塑造建築和自然無形界限。同時,這種無形的界限也將彌補人與自然間的創傷,使二者重新達到一種和諧共生的狀態。

The project is located in Tianyi Ancient Village of Ningbo. The site was originally a natural mountain and is now an abandoned quarry. The design hopes to repair the damaged mountains through a tangible building, shaping the intangible boundaries of architecture and nature. At the same time, this invisible boundary will also make up for the trauma between man and nature, so that they can reach a state of harmonious symbiosis.

優異獎 HONOURABLE MENTION

PROJECT NAME: WOVEN LIGHT

作品地址: 香港中環
PROJECT ADDRESS: CENTRAL, HONG KONG

MEMBER: AU YUENG SUN HEI

天空被一幕又一幕的煙霞籠罩着,你多久已沒感受到陽光的溫暖了。 這窒息的街道,令人尋求一個隔絕的空間。

建築使用光纖的折射原理,用水管把陽光引去地下的空間,令地底也可以感受到陽光帶來的溫暖。

You look up into the sky, the environment is encircled by pessimism and cynicism, from the thick air and dense, suffocating streets of Hong Kong. The warmth from sunlight cannot be felt.

There is a space which can let people put aside their sadness and anxieties, avoid reality, and be guided into a totally isolated space of calm and serenity.

The concept of optical fiber is applied to the architecture. The density and scale of the material are adapted into the building scale through the use of water pipes.

優異獎 HONOURABLE MENTION

作品名稱: 知識遊民之歌
PROJECT NAME: SONG OF NOMADS

作品地址: 香港啟德
PROJECT ADDRESS: KAI TAK, HONG KONG

成員: 劉力源, 葉子辰
MEMBER: LIU LIYUAN, YE ZICHEN

有或無“形”,關鍵在其邊界,與形的具體意義。原啟德機場到設計中港口的轉變,一方面是人們借由“有形”的船隻承載“無形”的思想、文化、藝術或不同的生活方式,在旅途中發酵昇華;另一方面,船某種意義上來說也是無形的,並非固定不動的有形的建築,而是一種動態的、有機的、充滿想像的概念建築。

With or without "shape", the key lies in its boundaries and the specific meaning of the shape. The transformation of the original Kai Tak Airport to the design of the port, on the one hand, people rely on "tangible" vessels to carry "invisible" ideas, culture, art or different lifestyles, fermenting and subliming on the road; on the other hand, the ship in a sense, it is also intangible, not a fixed, but a dynamic, vital, and a building that is full of imagination.

優異獎 HONOURABLE MENTION

作品名稱: 潮汐都市: 后海灣的人工自然
PROJECT NAME: TIDAL URBAN ARCHITECTURE: INDUCING ANTHROPOGENIC ECOLOGY IN DEEP BAY

作品地址: 香港后海灣
PROJECT ADDRESS: DEEP BAY, HONG KONG

成員: 林偉瀚
MEMBER: LAM JOSHUA WAI HON

后海灣米埔濕地的養份有六成來自珠江各都市的有機沉積物,透過200個都市島嶼,有形的建築聚集及測量沉積,透過潮汐力塑做出無形的自然生態,催化出與都市島嶼均等的濕地,由自然完成都市。於自然成形之後,建築亦於潮汐之下化之為無形。

Challenging the clichéd human-nature dichotomy, Tidal Urban Architecture envisions porous ‘ecological’ architecture and urbanism inducing shapeless ‘natural’ ecology. Mai Po Ramsar Wetland, the best natural reserve between HK and Shenzhen, is paradoxically situated on anthropogenic landscape and feeds on 60% of man-made nutrient from river sediment.
 
Tidal urbanism envisions strategically placed parallel urban stripes inducing settlement of nutrient-rich sediment under tidal dynamic, cultivating new land of anthropogenic ecology and human in concurrence.
 
Tidal gallery-cum-laboratory pioneers to measure tide and ecology. When the ecology and sedimentation landscape thrive after decades, the architecture decays and returns to nature. Incomplete in itself; Architecture is completed by Nature and shape yields for shapeless.

優異獎 HONOURABLE MENTION

作品名稱: 棲居萬峰林
PROJECT NAME: LIVING IN THE FOREST OF TEN THOUSAND PEAKS

作品地址: 中國貴州萬峰林
PROJECT ADDRESS: WANFENGLIN, GUIZHOU, CHINA

成員: 何嘉詠
MEMBER: HO KA WING

此研習探討於中國貴州萬峰林建造現代住宅區與現有侗族居民的關係。

該選址目前是一個侗族居住的古老村落。族群的文化記憶成為當地的「無形」元素。當地政府決定將其打造成一個「有形」的新式住宅區。中國建築師崔愷提出以巴黎奧斯曼風格建築作為設計藍圖。  

然而,在村落插入外國文化對侗族居民並不人道。本有的文化記憶將會與原有的村落建築一同刪去。

此研習疊加了三個規劃系統來代表選址的三層「無形」記憶:現有的村落規劃,崔愷擬議的規劃和現代城市方格網。

本設計以疊加的方式作為設計策略,為新住宅區尋找一個解決方案。設計將保留原本村落的文化記憶,與新型住宅建築並存。

The project explores the relationship between the new housing development and the existing vernacular houses at Wanfenglin (the Forest of Ten Thousand Peaks), Guizhou, China.

The site is currently an old village occupied by the ethnic group Dong. The cultural memory of the ethnic group becomes the SHAPELESS element of the site.

The local government decided to give a physical SHAPE to the area by developing it into a new housing complex. Chinese architect Cui Kai proposed to adopt a Parisan parameter block strategy. Yet it would be inhumane to insert a foreign culture at the site while erasing its own cultural memory.

The design strategy is to superimpose three planning systems: the existing village plan, CuiKai’s proposed plan and a modern generic grid. These represent three layers of memories.

Through superimposition, it is to find out a comprehensive solution that retains the memory of the historic fabric while adding a new architecture.

優異獎 HONOURABLE MENTION

作品名稱: 廊•場

作品地址: 北京市北京展覽館
PROJECT ADDRESS: BEIJING EXHIBITION HALL, BEIJING

成員: 王俊凱, 陳程芊, 張鵬
MEMBER: WANG JUNKAI, CHEN CHENGQIAN, ZHANG PENG

建築是有形的,而人的活動是由無形的心理所驅動的。人的活動於場所之中,需要無形的邊界約束。通過對場所的塑造,讓使用者的心理產生邊界,“如果公共空間的邊界不復存在,那麼空間就絕不會富有生氣”。有形的建築和無形的心理作用,使得人們對場所產生文化的歸屬感和認同感。

The architecture is tangible, while human activities are driven by intangible mind. Human activities in places require invisible boundary constraints. Shaping the place makes the users feel like being in a boundary. "If the boundary is too weak the neighborhood will not be able to maintain its own identifiable character." The tangible architecture and intangible psychological effects make people feel a sense of belonging and identity to the places.


主辦機構 Organizer

協辦機構 Collaborating Organizations

Shenzhen Registered Architects Association 深圳市註冊建築師協會 臺北市建築師公會 The Architects Association of Macau 澳門建築師協會

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免責聲明:香港特別行政區政府創意香港僅為本項目提供資助,除此之外並無參與項目。在本刊物/活動內(或由項目小組成員)表達的任何意見、研究成果、結論或建議,均不代表香港特別行政區政府、商務及經濟發展局通訊及創意產業科、創意香港、創意智優計劃秘書處或創意智優計劃審核委員會的觀點。
Disclaimer: Create Hong Kong of the Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organizers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Communications and Creative Industries Branch of the Commerce and Economic Development Bureau, Create Hong Kong, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee.

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