老师专访—王帅中

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*为什么出国?

Why going abroad?



王帅中:我在本科的后半段有过一次在欧洲游学的经历,开始对欧洲建筑师那种不乏诗性,同时关注物质性和营造方式的本体式思考产生浓厚的兴趣,想要去体验这些思考背后的语境。

Wang Shuaizhong: In the later stage of my undergraduate study, I had a trip to Europe, and began to have a strong interest in the ontological thinking of European architects, which have the sense of poetry, while also paying attention to materiality and the method of construction. I wanted to experience the context behind these thoughts.




*在国外遇到了什么让你印象最深刻的事情?

What impressed you the most when you are abroad?



王帅中:芬兰人那种充满野性的生活方式让我深受感染。 他们最喜欢在冰天雪地里蒸桑拿然后赤裸着跳进冰湖,头发结冰了就再蒸,如此一般反复三四个来回。他们热爱自然,贴近自然的方式是回归自然的那种野性的生存状态。正是这种对于自然和文明的反差态度下才诞生了很多粗犷又极度细腻的建筑思考。

Wang Shuaizhong: The wild life of Finns infected me deeply. They like to have sauna in the ice and snow, then jumping into the ice lake, when their hair was frozen they will get back to sauna again, these usually repeats for three or four times. They love nature, and the way they get close to nature is keeping a wild living state. It is this contrasting attitude towards nature and civilization that gives birth to a lot of primitive and delicate architectural thinking.




*最想念祖国的什么?

What do you miss the most about China?

王帅中:归属感和一种混沌的复杂性。

Wang Shuaizhong: The sense of belonging and the chaotic complexity.




*你会回国吗?为什么?

Will you come back China? Why?

王帅中:会。根在那里。

Wang Shuaizhong: Yes, I belong to there.




*出国后在不同的背景下再看中国是否看得更清晰,有哪些感触?

Is it more distinct to view China in a different environment after going abroad? Any thought?

王帅中:不一定更清晰,但是视角会不同。在来北欧之前我并没有清晰的意识到国内那种充满市井气息的复杂性实际上是另一种混沌的美,也并不清楚实际上北欧所讨论的极少主义倾向在中国的语境下其实非常不同甚至并不存在。

Wang Shuaizhong: Not necessarily clearer, but the perspective will be different. Before I came to Nordic Europe, I did not clearly realize that the complexity of the civil life was actually another kind of chaotic beauty, nor did I know that the minimalist tendencies in Nordic Europe were very different or even non-existent in the context of China.




*你的学校有哪些教育特点?

What makes the curriculum of your school different from other architecture schools?

王帅中:阿尔托大学成立时的建校基本就是学科交叉,如今阿尔托大学的设计学院也在一直秉承并实践着这一模式。在这里你可以完全自由选课,任何设计,理工,商科的课程只要你有兴趣都可以选择,在相关领域达到30学分就有机会申请第二学位。北欧建筑教学注重实践,关注构造和细节的教学内容非常接地气,因此学习和工作并行是芬兰建筑学生的一个常态。多数学生毕业前就已经在几个事务所中参与过不少实际的项目。

Wang Shuaizhong: Aalto University was built on the basis of interdisciplinary disciplines, and now the Design Department of Aalto University is still practicing this model. Here you are free to choose any design, engineering, business courses as long as you are interested, you will have the opportunity to apply for a minor degree when you get up to 30 credits in the relevant fields. Nordic architecture teaching pays attention to practice, structure and details, its teaching content is very down-to-the-earth, so learning and working in parallel is very normal for Finnish architecture students. Most students have participated in many practical projects in several firms before graduation.




*你现在工作公司的特色和有趣的地方?

What are the characteristics and interesting points of your firm?

王帅中:平等,尊重和开放。即使作为一个兼职的建筑师,只要你有足够有力的idea也能改变整个设计的方向。

Wang Shuaizhong: Equality, respect and openness. Even as a part-time architect, as long as you have a strong idea, you can change the direction of the whole design.




*最喜欢的艺术家(绘画音乐电影等广泛范围)是谁?给你创作带来了什么影响?

Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?

王帅中:我很喜欢日本画家东山魁夷。深受北欧风景影响的他所绘制的不仅仅是一份纯净或抽象,更是他主观上对自然的感知。读他的画能清晰的感受到亚洲与北欧所讨论的极简在本质上的不同。

Wang Shuaizhong: Japanese painter Kaii Higashiyama is one of my favorites. Deeply influenced by the Scandinavian landscape, his painting is not only clean or abstract, but also his subjective perception of nature. His paintings clearly show the essential difference of minimalism between Asia and Nordic Europe.




*觉得自己的作品集有哪些迷人的特质?

What fascinates viewers the most in your portfolio in your opinion?

王帅中:以构造的关系性为线索来探讨从理论到实践的贯彻,以可读的结构关系作为新装饰,在抽象的理论和具体的营造间达到一种微妙的平衡。

Wang Shuaizhong: My design explores the implementation from theory to practice by using the relation of tectonic design as clue, and uses perceivable structural relation as new ornament to achieve a delicate balance between abstraction and concreteness.





W O R K

01.后自然:康塞普西翁自然馆
Post-Nature: Concepción Nature Pavilion
阿尔托大学|Aalto University, A”DS Group
王帅中个人作品|Wang Shuaizhong Individual work
指导老师|Instructor:Toni Kotnik, Pia Fricker, Luka Piškorec




这个项目试图基于筱原一男的理论体系来讨论建筑在自然中的可能性,尝试由筱原一男已有的“四种样式”来推演出适应于当下的“第五样式”。

This project aims to acquire a possibility of architecture in nature through the distinctive and chronological theory of Shinohara Kazuo, the idea is to purpose a “Style” developed by his consecutive four styles fits the contemporary plateau.




我们在讨论中提出了一种螺旋曲线的演变形式,新的第五样式既包含了无意义的、无参照的第四样式,又包含了第三样式中对抽象与具象之间相互关系的思考。通过这样的演进,自然和建筑的元素几乎在没有建筑师的介入下就能相互交织在一起。方案中通过对筱原一男称之为初等几何的这一通用技法的运用,建筑的生成,包括空间、结构,都完全是由初等几何所控制和确定的。

A form of spiral curve was purposed during the discussion, by which the new fifth style would incorporate both the anti-meaning, non-referential forth style and the interrelationship between abstraction and concreteness of third style. Through such sublimation nature and architectural elements intertwine with each other almost without the intervention of Architects. By wielding the universal tool of what Shinohara called elementary geometry. The formation of Architecture including space, structure all controlled and verified by the elementary geometry.




建筑基地位于蓼科山的一个陡坡上,该建筑一半由原有的土坡支撑,一半完全悬挑。此外不但将土坡延伸到建筑的内部,还加入了两个不同的“力形”的斜撑,直接回应场地和建筑之间的几何关系。

The building located on a sharp slope in Tateshina, where the building is half supported by the slope and half cantilevered. Besides extending the slope into the interior, two different forceful trusses were also created to dialogue between the site and building.




设计的基地位于智利康塞普西翁。一个美丽,危险且非常不稳定的地方。当我们在这里建造空间时,人类本能所追求的安全感必然会导致与自然的对抗和隔离。而对于基地原有结构关系的提取和再现则可以成为串联这一对立关系的媒介。通过对基地中场(结构关系)的建构,可以实现人工与自然,静态与动态,分离与纠缠间的对话,那么结构设计作为一种人为的干涉,就可以真实的表现基地的特征并能平衡基地中的冲突。而这一场的构成逻辑,则提取自从基地中感知到的结构,一种临界性。

The site is in Concepción, Chile. A very unstable place which is both beautiful and dangerous. When building a space on the site, the sense of security that human always seeking for will surely lead to a confrontation and isolation from nature. The extraction and reproduction of the context pattern could become the medium to concatenate antagonistic relations. The structure as a human interpretation thus becomes the bone of bridge to balance the contradiction and the true-expression of the site. Thus the dialogue between human and nature, steady and dynamic, separated and tangled appear through the field of tectonic composition, while its’ combining logic come from the extracted site pattern, as criticality.




基于场地的自然状态,一个类似跷跷板的结构生成了,它是一个可与自然互动的展馆。除了其微妙和临界化的结构表现之外,它还可以对基地中的四种可能的自然变化做出回应。每种变化模式都会改变其与地面的接触点,从而产生不同的沉积物。经过多年的交互演变,这个展馆将最终融入自然,成为一个既不像是人工的也不像是自然的中立状态。

Consider the site condition, a seesaw-like structure was designed to be an interaction pavilion. Besides its’ subtle and critical structure, it could response four possible variations to nature. Each variation mode changes the touching point to the land thus the sediments will be generated differently. Through years of interaction, this pavilion will merge into nature and becomes a neutral element which you will perceive it is neither artificial nor natural.





02.两个斜撑的房子
Two-Truss House
东京工业大学|Tokyo Institute of Technology
小组成员|Group member: Wang Shuaizhong, Shen Kewei, Zhang Ruijia
指导老师|Instructor:Taishin Shiozaki, Okuyama Shin-ichi




这个项目试图基于筱原一男的理论体系来讨论建筑在自然中的可能性,尝试由筱原一男已有的“四种样式”来推演出适应于当下的“第五样式”。

This project aims to acquire a possibility of architecture in nature through the distinctive and chronological theory of Shinohara Kazuo, the idea is to purpose a “Style” developed by his consecutive four styles fits the contemporary plateau.




我们在讨论中提出了一种螺旋曲线的演变形式,新的第五样式既包含了无意义的、无参照的第四样式,又包含了第三样式中对抽象与具象之间相互关系的思考。通过这样的演进,自然和建筑的元素几乎在没有建筑师的介入下就能相互交织在一起。方案中通过对筱原一男称之为初等几何的这一通用技法的运用,建筑的生成,包括空间、结构,都完全是由初等几何所控制和确定的。

A form of spiral curve was purposed during the discussion, by which the new fifth style would incorporate both the anti-meaning, non-referential forth style and the interrelationship between abstraction and concreteness of third style. Through such sublimation nature and architectural elements intertwine with each other almost without the intervention of Architects. By wielding the universal tool of what Shinohara called elementary geometry. The formation of Architecture including space, structure all controlled and verified by the elementary geometry.




建筑基地位于蓼科山的一个陡坡上,该建筑一半由原有的土坡支撑,一半完全悬挑。此外不但将土坡延伸到建筑的内部,还加入了两个不同的“力形”的斜撑,直接回应场地和建筑之间的几何关系。

The building located on a sharp slope in Tateshina, where the building is half supported by the slope and half cantilevered. Besides extending the slope into the interior, two different forceful trusses were also created to dialogue between the site and building.