Current Events |

August 4, 2019

| by admin

[Aug.08.2019] Bauhaus and its forerunner the Werkbund

Modern architecture between crafts, industrialization and artistic individuality:
the case of the Bauhaus and its forerunner the Werkbund

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Time: Thursday, 8. August 2019, 13:30 – 16:00
Place: Stiftung Bibliothek Werner Oechslin, Luegetenstrasse 11, 8840 Einsiedeln
Language: English
Cost: SCAA Members free, non-members CHF 20.-, Students CHF 10.-
RSVP: info@scaa.ch (Mrs. Ling Chen)

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Program:

13:30 – 15:00 Workshop Reviews and Presentations

Lead by Prof. Werner Oechslin

❊ Classic and History

Prof. FENG Jiang (South China University of Technology)
The Houses with Balcony Access in Dessau

Prof. Yao Donghui (Zhejiang University of Technology)
‘Das Englische Haus’:The book shaping German modern architectural kulturbild

❊ Teaching Models

Dr. Jiang Jiawei (Tongji University)
From Pictorial Illusion to Three Dimensions: A Study of Josef Albers’ mural Paintings in collaboration with Architect King-Lui u

Prof. Qian Feng (Tongji University)
Johannes Itten and his Teaching at Bauhaus

Dr. Wang Yulin (Tongji University)
The Visualized Bauhaus: A Case Study on László Moholy-Nagy’s Vorkurs

❊ General Topics

Dr. Lu Tan (Tongji University)
Disconnected Space: Walter Benjamin’s Philosophy of History in the “Ruins of the Bourgeoisie”.

Prof. Qing Feng (Tsinghua University)
Functionalism and Teleology

❊ Pre-modernism

Prof. Lu Yongyi (Tongji University)
Back to the Original: from primitive hut to learning by doing

❊ Italian and Chicago

Prof. XU Haohao (South China University of Technology)
The Modernism in Italy between Critical Rationalism and Interpretivism

Prof. Yang Jing (Tianjin University)
Chicago Tribune Competition and Skyscraper in Glass and Iron: the research of the unbuilt skyscraper project of Bauhaus

15:00 Keynote lecture by Prof. Laurent Stalder, director of the gta Institute, ETH Zurich

16:00 Apéro

Journal |

July 8, 2019

| by admin

[May.2019] Gravitational Field – Structure and Urban Regeneration 引力场4.0 结构与城市再生

引力场4.0

结构与城市再生

时间：2019年5月10日星期五18:30
地点：苏黎世建筑中心 ZAZ Bellerive, Höschgasse 3, Zürich
主持：孙慕蘭
海报：汪弢
摄影：Raphael Kunz
英语报道：Tian Chiang
中文报道：杨晴川

自2017年5月成立以来，SCAA的核心理念就是为中瑞之间的建筑和艺术交流提供高品质平台。今年5月，SCAA有幸在苏黎世建筑中心(ZAZ)举办了一场活动，由SCAA主席孙慕蘭女士主持。该活动将成为杭州建筑师事务所大象设计GOA与苏黎世理工大学(ETH)结构设计教席之间合作的开始.

Since its founding in May 2017, the inherent idea of SCAA had been to create a high-quality platform for exchanging ideas on architecture and art between Switzerland and China. This May, SCAA had the honour to host an event in ZAZ Bellerive, moderated by Mrs. Mulan Sun (President of SCAA) that is to be the beginning of a collaboration between Hangzhou-based architecture practice Group of Architects GOA and the ETH chair of Structural Design in Zurich.

整晚活动以大象设计GOA资深项目经理卿州的演讲开始，她解释了GOA以经验为本的整体设计理念，以及来自大自然的灵感如何塑造了每一个项目。拥有800名员工的GOA相信文化多元化的相关性。自成立20多年来，公司在中国（杭州，上海，北京，南京）设立了四个办事处，并在各个领域开展了1500多个项目：豪华酒店比如西湖著名的四季酒店，艺术博物馆或高层建筑，GOA总是仔细研究城市和自然环境，并深入到一比一的细节中去。经过与Renzo Piano建筑事务所为期七年的天目里项目的合作，GOA新的杭州总部将于2020年迁至其中。

The evening started with a presentation by GOA senior project manager Qing Zhou. She explained GOA‘s holistic philosophy of experienced-focused design and how inspiration from nature shapes each of their projects. With 800 employees, GOA believes in the relevance of cultural diversification. Since its beginning more than 20 years ago, the company has established four locations in China (Hangzhou, Shanghai, Beijing, Nanjing) and worked on over 1500 projects from various fields: Be it luxury hotels like the famous Four Seasons at the West Lake, an art museum or a new high rise building, the architects always carefully look at the urban and natural context and go into 1:1 details. After seven years of collaborative work with Renzo Piano on the innovative Maison Moree development, GOA will move its new Hangzhou headquarter to it in 2020.

ETH校友、现任GOA合伙人的王彦讲述了“引力场”项目背后的故事：“建筑艺术与公共文化的多重耦合”。想法是通过对城市景观的微妙干预，在被遗忘的城市空间上创建激活点。2015年，第一个名为“韧山水”的引力场是一个竹结构，以使地铁站前的通行广场更加生动。接下来的项目如“城市泡泡”或“城市三角洲”，同样也是人们公开参与的地方 – 即是艺术空间又是游憩场所。今年的引力场4.0项目将与ETH结构设计教席一起成为国际联合教学计划（计划于10月在上海完成）。

Wang Yan, former student at the ETH and now principal of GOA, told the story behind the “Gravitational Field” projects: “Multiple Coupling of Architectural Art and Public Culture”. It was the idea to create activation spots on unused city spaces through subtle interventions in the urban landscape. In 2015, the first Gravitational Field called “Flexible Landscape” was a bamboo structure to enliven a pass-through plaza in front of a subway station. Following projects, like “City Bubble” or “City Delta”, were likewise platforms that people openly engaged with – art spaces and playgrounds at the same time. This year‘s Gravitational Field project will be an international joint teaching initiative together with the ETH chair of Structural Design (completion planned for October in Shanghai).

作为结构设计教席的负责人，Joseph Schwartz教授介绍了他对这个建筑学科教学的想法。结构设计旨在平衡物理需要和创造自由的关系。不仅仅是关于力的承载，Schwartz教授认为其本质是由材料、力流和建筑概念之间的关系形成的三角形。教授用学生项目说明了“设计的艺术”，以非常自然的方式，用这个概念来创造非凡的结构解决方案。Schwartz教授教席的讲师兼博士后研究员Pierluigi D’Acunto展示了一个项目，其中胶合板成为ETH校园的一个活动特征，通过结构设计应用创造的空间。ETH讲师兼Raplab（快速建筑原型实验室）负责人Alessandro Tellini展示了他从混凝土壳体实验中学到的知识。曹婷博士和学生Simon Brandigi展示了由复杂光滑的多面体表面结构创造的有趣的有机空间。

As head of the chair of Structural Design, Prof. Dr. Joseph Schwartz presented the ideas behind his teaching of this architectural discipline. Structural Design aims for a balance between physical necessity and creative freedom. Rather than being merely about load bearing, Schwartz sees the essence of it in the center of a triangle formed by the relationships between material, flow of forces and architectural concept. The professor illustrated the “Art of Design” with student projects that, in a very natural way, work with this concept to create extraordinary structural solutions. Pierluigi D‘Acunto, lecturer and postdoctoral researcher at Schwartz‘s chair, showed a project where plywood boards became an activational feature on the ETH campus, simply through the space they created by the application of Structural Design. Alessandro Tellini, also lecturer at the ETH and head of the Raplab (Rapid Architectural Prototyping Laboratory), demonstrated his learnings from a concrete shell experiment. Dr. Ting Cao and Student Simon Brandigi presented the interesting organic spaces created by complex smooth polyhypar surface structures.

活动最后GOA资深合伙人胡凌华副总经理向观众作了结束语。ETH和GOA之间的合作将成为中瑞之间交流新可能性的起点。它具有很大的未来潜力，就像水中卵石激起的新圈子 – 新的领域。

For the closing words GOA senior principal Linghua Hu turned to the audience. The collaboration between the ETH and GOA are to be a starting point for new possibilities of exchange between Switzerland and China. It bears a lot of potential for the future, just like a pebble in the water creating new circles – new fields.

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Gallery |

July 7, 2019

| by admin

Gallery: [June.2019] Paysages Partagés 景观共享

Paysages Partagés

景观共享

时间：2019年6月22日星期五15:00-17:00
地点： 罗明君工作室 Haute Route 45a, 2502 Bienne
主持：孙慕蘭
海报：汪弢
摄影：Raphael Kunz

Journal |

July 7, 2019

| by admin

[June.2019] Paysages Partagés 景观共享

Paysages Partagés

景观共享

时间：2019年6月22日星期五15:00-17:00
地点： 罗明君工作室 Haute Route 45a, 2502 Bienne
主持：孙慕蘭
海报：汪弢
摄影：Raphael Kunz
英语报道：Tian Chiang
中文报道：杨晴川

伴随着夏季的到来，SCAA在瑞士最大的双语城市比尔（Biel）举办了第一场活动。此次活动邀请了三位嘉宾在艺术家罗明君工作室就 “PaysagesPartagés – 共享风景” 这一主题展开了讨论。

SCAA started the summer season with an event at the atelier of artist Luo Mingjun in Biel, Switzerland‘s largest bilingual city. Three guests were invited to spark an open discussion on the topic of “Paysages Partagés – Shared Landscapes”.

首先开讲的罗明君在瑞士生活了30多年，在瑞士和中国的双重景观中生活和成长。她选择了“Cliché”的主题来处理共享景观的理念。但她觉得十分困难，给这个法语词找一个对应的中文词汇，也许“误解”是其中的一个潜在含义。她试着将使用语言作为艺术创作的方式，并潜入法国小说家古斯塔夫·福楼拜的“庸见词典”。使用、改变、个性化这个文学作品，并通过创造一个新的互动景观使其恢复生机：她鼓励观众参与她的新艺术作品，让观众选择字典里的单词并以“庸见”为出发点创建新的定义，她之后会以此进行后续的创作。通过这种“翻译”，罗明君在一个远离她出生地的国家里处理她失去语言的感觉。

Having lived in Switzerland for more than 30 years, Luo had worked and grown between Swiss and Chinese landscapes. She chose the theme of “Cliché” to engage with the idea of Shared Landscapes. It was impossible for her to find a single-worded translation of this French term to Chinese but she found that “misunderstanding” was an underlying facet of it. Encouraged to apply language as a working art, she dived into the “Dictionary of Received Ideas” by French novelist Gustave Flaubert. She used, changed, personalized this piece of literature and brought it back to life by creating a new interactive landscape: She encouraged the audience to participate in her new art piece by letting them pick words of the dictionary and create new cliché-driven definitions that she would continue to work with. Through this kind of “translation” Luo processes her feeling of losing language since living in a country so far from her birthplace.

黎薇在罗明君的工作室展示了一个小展览。一个小摊位上摆着一些不寻常的东西：世界著名的金色Lindt兔子（瑞士知名巧克力品牌的典型产品）和毛茸茸的黄小鸡。乍一看它们都像你可以买到的短暂礼物，来自瑞士的巧克力和一种易于照顾的脆弱动物（中国父母常给孩子的礼物）。基于黎薇对“礼物”的独特理解，他改变了这些对象的属性。它们由耐用的硅胶制成，将永远存在。当中国向西方市场开放时，黎薇学校里最流行的东西是五彩缤纷包装的礼物。可这只关乎包装，与礼物的内容无关。那时的黎薇是一个安静和内向的人，在同学们面前显得奇怪，因此从未收到如此奇特的礼物。直到班里的学习委员需要他帮忙画画以参加比赛时，作为提供帮忙的回报，黎薇才第一次收到了这样的礼物。通过将礼物转变为需求，他终于通过商业交换成为了社会景观的一部分。黎薇说个人是如此弱小，毫无机会逃离社会环境，而这为他的展览增添了些许永恒的味道。

Li Wei presented a small exhibition within Luo‘s atelier space. A little market stand displayed some unusual objects: the world-famous golden Lindt rabbits and yellow-furred dead chicklets. At first sight they looked like the ephemeral presents you can buy, chocolate from Switzerland and a fragile animal to care for (which Chinese parents use to give their children). But with his very unique understanding of a “Present”, Li had changed these objects. They were made of durable silicone, bound to last forever. When China opened up to Western goods, one of the most celebrated things at Li‘s school had been colourfully packed presents. It was all about the wrapping and gesture but not about the content of the gifts. Quiet and introverted as Li was, he had always appeared weird to his fellow schoolmates and had never received such a fancy present; until the day that a school-mate needed help in drawing and Li offered him the trade against a present. By turning the present into a demand, he finally became part of the social landscape through this business exchange. Li finds there is no chance to escape from a social context and therefore added an eternal flavour to his exhibition.

艺术历史学家 Marina Porovic 分析了罗明君和黎薇在人生经历和艺术作品之间的差异，但她也看到了两位艺术家在对物体意义（如字典或巧克力兔）进行解构时的相似性。两人都在处理社交和文化错位的感觉，但与此同时仍提供了一个分享和加入的空间。对于克罗地亚出生的 Marina 来说，两位艺术家和她自己的共同点是“身份”。她发现在不同的环境中扮演不同角色和接受差异是有亲和力的。

Art historian Marina Porovic analysed the differences between the biographies and artworks of Luo Minjun and Li Wei but she also saw a similarity in how both deconstructed meanings of objects (like a dictionary or chocolate rabbit). Both worked with a feeling of social and cultural dislocation but still offered a space to share and join in. For Croatian-born Marina the common denominator of the two artists and herself was “Identity”. She found that there was an affinity in playing roles in different contexts and in the acceptance of differences.

SCAA活动本身就是一个共享景观的范例。观众并没有共同的母语，他们分别来自中文（8）、德语（8）、法语（2）、克罗地亚（1）甚至外太空（1：黎薇），因为语言的差异，在交流的过程中无可避免的失去了大量的信息，尽管如此，每个参与者依然通过讨论和交流，开辟走向新视野的新道路。

The SCAA event itself was a paradigm of a Shared Landscape. The audience did not have a mutual mother language. Natives from Chinese-speaking (8), German-speaking (8) and French-speaking (2) areas, from Croatia (1) and even outer space (1) had decided to come together in spite of the compromise to miss a lot of information just through language differences. Still every participant joined the discussions and activities and thus took part in setting the path to new horizons.

花絮：

Current Events |

July 7, 2019

| by admin

[July.19.2019] Prefabrication with Integration

PREFABRICATION WITH INTEGRATION
_____ Prefabrication architecture in china

Speacker:
Prof. Jingxiang Zhu, The Chinese University of Hongkong
Patrick Schwalm, Renggli AG
Time: Friday, 19.07.2019, 17:30
Place: ITA – Institut für Technologie in der Architektur, ETH Hönggerberg
Language: English
Cost: SCAA Member free, non-member CHF 20, Student free
RSVP: info@scaa.ch (Mrs. Ling Chen)

Followed by an aperitif

__________________________

For the upcoming event, we are thrilled to welcome Prof. Jingxiang Zhu 朱竞翔 to give a speech on the subjects of prefabrication and sustainable design.

Jingxiang Zhu is an Associate Professor at the School of Architecture Hong Kong (CUHK). His research focuses on new spatial structures, lightweight building systems and sustainable building technologies. Prof. Zhu has completed a multitude of built projects in Mainland China and Kenya, and has won the China Innovator of the Year Award in Architecture from The Wall Street Journal in 2012, First Prize of Local Academia in the Hong Kong Construction Industry Council Innovation Award 2015, Technique Exploration Award and Youth Explorer Finalist Award in the 4th China Architecture Media Awards 2016. He also designed the Dou Pavilion for China’s national pavilion at the 15th Venice Architecture Biennale 2016.

Gallery |

June 23, 2019

| by admin

[May.2019] Gallery: Gravitational Field – Structure and Urban Regeneration

Gravitational Field
— Structure and Urban Regeneration

Presenation:

Linghua Hu, Senior partner GOA China
Prof. Joseph Schwartz, ETH Zürich
Yan Wang, Partner at GOA China
Pierlugi D`Acunto, ETH Zürich
Ting Cao, ETH Zürich
Simon Brandige, ETH Zürich

Moderation:
Mulan Sun, President of SCAA

Date: Friday, May 10th.2019, 18:30
Place: ZAZ Bellerive, Höschgasse 3, 8008 Zürich
Photographer: Raphael Kunz

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Current Events |

May 21, 2019

| by admin

[June.22.2019] Paysages Partagés 景观共享

Paysages Partagés
景观共享
( A Project of ICI & AILLEURS Scholarship in Canton Berne)

Art Talk & Exhibition

Time: June 22 2019, 15:00 – 17:00
Place: Haute Route 45a, 2502 Bienne (Atelier Luo Mingjun)

Presented by
Luo Mingjun 罗明君 – Cliché 成见
Li Wei 黎薇 – Present 礼物
Marina Porobic – Identity 身份

Moderated by
Sun Mulan 孙慕蘭

Followed by Apéro riche

Language: English, Chinese
RSVP: info@scaa.ch (Mrs. Chen Ling)
SCAA Members free, Nonmembers CHF20, Students CHF10

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Landscape is actually a kind of visual effect, which is usually interpreted as a scene of a region. With the continuous expansion of human activities and the deepening of commercialisation, the landscape of human society has become intuitive or more visible to the naked eye. For example, overwhelming commercial propaganda and widespread dissemination of videos and images, landscapes are becoming more and more alienated and humans have completely lost their resistance to widespread images or expanded things. To be honest, the landscape is kind of “Deceit”. It deliberately tries to figure out people’s minds, gain people’s approval. The people who are willing to stay on the surface and do not intend to explore the essence are obviously more than before. Whether it is a “Concentrated Spectacle”, a “Diffuse Spectacle”, or an Integrated Spectacle, it is a means of domination in society. so, what or how is the new relationship between landscape and people today?

景观，其实就是某种视觉效果，通常被解释为一个地区的景象，随着人类活动的不断扩张，并且随着商业化的深入，人类社会的景观化也变得越来越直观，也就是越来越肉眼可见。比如铺天盖地的商业宣传，影像和图像形式的广泛传播，景观越来越趋于异化，人类对某种广泛扩张的来势汹汹的图像或者事物完全失去了抵抗力。实话说，景观完全是个幌子，它处心积虑地揣摩着人们的心思，获得人们的认同，而甘于停留于表象而无意探究本质的人在今天显然要比以往都要多。无论是集中的景观（Concentrated Spectacle）、弥散的景观（Diffuse Spectacle），还是综合的景观（Integrated Spectacle），都可谓社会中的统治手段。那么，如今景观和人的新关系到底如何？

___________________

Luo Mingjun, lives in Switzerland since 31 years. She is an artist who commutes between two different cultures. Previously, she obtained a complete academic education in Hunan province in China. In the early 1980s, when 85 New Wave has risen in China, young artists adopted the method of western contemporary art and applied “readymade products” to their works. Take a pioneering attitude, subvert or criticise the concepts of obsolete art. When she moved to Switzerland in 1987, during living and working in a foreign country, the inner conflict and anxiety of self-identity in the two different cultures became big subjects that the artist had to think about. Facing the transformation of ideology and cultural identity caused by two opposing cultural environments, she created an intermediate zone for her own dialogue and communication, a “Third Space”, or a “No Man’s Land” and got attention. Luo Mingjun will present the process and experience of her creation through the interpretation of some of her works in the lecture.

Li Wei, born in 1981 in Beijing, is a visual artist who currently lives and works in Beijing, China. He received his BA from the Sculpture department at the Central Academy of Fine Arts in 2007. Lí Wei adopts a hyperrealistic style in his sculptures, focusing on conveying the emotions of the figures. The objective and clinical themes in Lí’s works reveal his doubts in human nature, and of humanity’s cruelty and ignorance. His work has been exhibited in solo exhibitions including Nobody Cares, Red Brick Art Museum, Beijing (2015); Peace, Primo Marella Gallery, Milan (2014); Hero, Today Art Museum, Beijing (2011). Currently he joins the exhibition “Mirrors – The Reflected Self” with the artwork “Hi” in Museum Rietberg in Zurich.

Marina Porobic, born in 1978 in Zagreb, Croatia, studied Art History and English Literature at the University of Lausanne. After an internship in the Louvre Museum in Paris, she was scientifique assistant to the director in the Centre Pasquart in Biel. Before becoming an independent curator for the Abbey Church in Bellelay in 2012, she worked for the Federal Office of Culture in Bern. Marina Porobic is auteur and editor of several artists books and articles.

Download the pdf here: http://scaa.ch/doc/paysages.pdf

___________________

Other opening Hours in Atelier Luo Mingjun during the Project
Paysages Partagés :
June 20/21/26/27/28 2019, from14:00 to18:00
Finnissage: June 29, 11:00 – 13:00
Admission free

Recommend Program: Robert Walser – Sculpture
A “Presence and Production” Project in public Space
by Thomas Hirschhorn
June 15 – September 8, 2019, Place de la Gare, Biel/Bienne
www.robertwalser-sculpture.com
Admission free

___________________

Current Events |

April 25, 2019

| by admin

[May.10.2019] Gravitational Field – Structure and Urban Regeneration

Gravitational Field
— Structure and Urban Regeneration

Presenation:

Linghua Hu, Senior partner GOA China
Prof. Joseph Schwartz, ETH Zürich
Yan Wang, Partner at GOA China
Pierlugi D`Acunto, ETH Zürich
Ting Cao, ETH Zürich
Simon Brandige, ETH Zürich

Moderation:
Mulan Sun, President of SCAA

________________________________________________

Date: Friday, May 10th.2019, 18:30
Place: ZAZ Bellerive, Höschgasse 3, 8008 Zürich
Language: English
Cost: SCAA and SCAAs members free, non members CHF 20, Students CHF 10
Registration: info@scaa.ch (Mrs. Ling Chen)
Due to limited seating capacity, early registration is strongly recommended to ensure your participation

Program:

18:30 Door opening
19:00 Presentations
20:30 Apéro

Gallery |

March 30, 2019

| by admin

Gallery: [March.2019] Urban Living Stories 都市生活故事

都市生活故事

瑞士中国建筑师和艺术家协会三八国际女神节特别活动

时间：2019年3月8日星期五19:00

地点：苏黎世建筑中心 ZAZ Bellerive, Höschgasse 3, Zürich

主持：汪弢

海报：汪弢

摄影：Raphael Kunz

Journal |

March 30, 2019

| by admin

[March.2019] Urban Living Stories 都市生活故事

“城市总是提供着隐姓埋名、丰富多样和千丝万缕的联系，这些性质极好的沉浸在步行之中：一个人不必进入面包房或去找算命先生，只要知道这种可能性。一个城市所能包含的比任何居民所了解的都更多，一个伟大的城市总是可以用未知性和可能性来刺激想象力。“
– 丽贝卡•索尔尼《浪游之歌》

都市生活故事

瑞士中国建筑师和艺术家协会三八国际女神节特别活动

时间：2019年3月8日星期五19:00

地点：苏黎世建筑中心 ZAZ Bellerive, Höschgasse 3, Zürich

主持：汪弢

海报：汪弢

摄影：Raphael Kunz

英语报道：江天

中文报道：杨晴川

在今年的国际妇女节瑞士中国建筑师和艺术家协会（SCAA）举办了一场节日特别活动，三位瑞士顶级的女建筑师受邀参加了SCAA圆桌论坛，由SCAA副主席汪弢主持，论坛在苏黎世湖边一座漂亮的别墅ZAZ Bellerive举行。来自日本的Hiromi Hosoya，出生于韩国的Yoo Na Ho 和带有尼泊尔血统的 Maya Scheibler，组成了一个多元的专业小群体，表达了她们对城市生活故事有个人见解。每位嘉宾都带上自己选择的图片作为辅助，以讲述她们的故事。

On this year‘s International Women‘s Day the SCAA held a special event. Its team had invited three leading Swiss female architects to participate in a panel discussion in Zurich. SCAA vice president Wang Tao moderated the conversation, which took place in a beautiful villa at the lake – the ZAZ Bellerive. Hiromi Hosoya from Japan, Korean-born Yoo Na Ho and Maya Scheibler, with her Nepalese roots, formed a multi-facetted group of far-travelled professionals with personal insights on urban living stories. Each panel guest had been asked to bring images with them as illustrations to accompany the discussion.

Hiromi Hosoya是苏黎世Hosoya Schaefer建筑公司的合伙人，她分享了她从日本出生、美国求学、再次回到日本、最后来到瑞士的经历。她将东京大都会的鸟瞰景色和苏黎世的绿色并置起来。这些照片以及Hiromi作品的效果图展示了她对尺度的理解，她始终尊重当地的居民和他们的日常生活。“什么是城市生活？”是一个反复出现的问题，Hosoya Schaefer建筑事务所一直致力于一个名为“工业城市”的课题：重新思考数字时代的城市工业。该工作室认为未来城市需要更高的生产力。它需要将多功能复合使用与技术进步相结合，并同时实现零排放生产。Hiromi的最后一张照片展示了这些问题与实际社会生活有多密切关系的一个例子：随着社会老龄化，日本面临房屋被遗弃的问题。建筑师Kosuke Bando将一座空荡荡的老房子变成了“卫星办公室”。通过赋予建筑物透明度和功能，使其成为一个积极的空间，并通过数字媒介将其与城市连接。

Image copyright: Hiromi Hosoya

Image copyright: Hiromi Hosoya

Hiromi Hosoya is the partner of Hosoya Schaefer Architects in Zurich. With her images, Hiromi shared the story of her journey from Japan, where she had been born, over America, where she had studied, back to Japan and finally to Switzerland. She showed aerial views of metropolitan Tokyo next to green shots of Zurich. These photographies as well as visualizations of Hiromi‘s work revealed her sense of scale, always respecting the inhabitants and their everyday life. “What is urban living?” was a recurring question and Hosoya Schäfer Architects have been working on a project called “The Industrious City: Rethinking urban industry in the digital age”. The studio states that a city needs to be more productive in the future. It will need to combine mixed use with technical advancement while aiming for emission-free productivity. Hiromi‘s last image showed an example of how closely these issues are related to actual social life: With the aging society, Japan is facing problems of abandoned houses. Architect Kosuke Bando had transformed an empty old house into a satellite office. By giving transparency and purpose to the building, it became a positive space and by digital means created a linkage to the city.

Yoo Na Ho是荷兰建筑和城市设计公司KCAP苏黎世工作室的合伙人，她带来的照片展示了街道的居住生活。无论在土耳其的Gecekondu还是在韩国的市场，充满活力的街道空间都展示了私密和公共的融合。在KCAP的项目中，Yoo Na Ho 和她的团队努力实现私密与公共、新与旧之间的平衡。他们制定规则，以便保证城市中的“中间”空间以回馈人民。城市发展不仅要考虑公共可居住的地方，还需考虑能源、流动性和物流等因素。随着数字化工具的应用，城市可以扩大，但它们需要发展成为一个平衡的网络：景观、现有的公共结构和新的地标。

Image copyright: Yoo Na Ho

Image copyright: Yoo Na Ho

Yoo Na Ho is the associate partner of KCAP Zurich office. She brought pictures illustrating the inhabitation of streets. Be it in a Turkish Gecekondu or on a Korean market, dynamic street spaces show the urban merging of private and public. In the projects at KCAP, Yoo Na and her team work towards a balance of private and public, of old and new. They set rules in order to always keep certain “in-between” spaces that a city gives back to the people. Urban developments should not only consider public inhabitable places but also integrate factors like energy, mobility and logistics. With digitalization as a tool, cities can grow but they need to grow as a well-balanced network of landscape elements, existing public structures and new landmarks.

Maya Scheibler是苏黎世建筑事务所Scheibler&Villard的合伙人，她的视角将观众带至各个国家。这位年轻的建筑师展示了城市生活中的门槛空间。通过简单的扩展底座，尼泊尔巴克塔普尔的房屋提供了一个人们积极使用的半公共区域。Scheibler & Villard位于巴塞尔的一个项目旨在创建多样化的行走路径、社区和未定义的开放空间，以打破大型建筑结构中的匿名气氛。对于未来，玛雅相信城市间可相互学习。她展示了孟买市场的照片，作为致密和空旷可以共存的一个例子。更重要的是，人们在这些空间中发挥着主导作用，是人类设定着尺度。

Image copyright: Maya Scheibler

Image copyright: Maya Scheibler

Maya Scheibler is the partner of Scheibler & Villard architects in Zurich. Maya‘s insights took the audience to various countries. The young architect showed threshold spaces that make a difference in urban life. Through simple extended plinths, houses in Bhaktapur, Nepal offer a semi-public zone that people actively use. A project from Scheibler Villard in Basel intentedly creates diverse circulations paths, community areas and undefined open spaces to break up anonymous atmospheres in large building structures. For the future, Maya believes in cities learning from each other. She showed the picture of a market in Mumbai as an example of density and emptiness existing at the same time. And more importantly, people play a leading role in these spaces, it is the human who sets the scale.

汪弢问三位嘉宾是否认为瑞士有什么地方是可以指导或者能从其他国家的城市规划中学习和借鉴的。Hiromi重视瑞士人对建筑进行民主辩论的成熟度，以及他们坚信建筑物对生活产生重大影响的坚定信念。 Yoo Na强调了瑞士提供的灵活规划工具，这使得落实城市质量概念成为可能。 Maya认为，瑞士可以从世界其他地区学习如何处理密度与共享的关系。

Wang Tao asked the three guests if they thought Switzerland had something to teach to or learn from other countries’ urban planning. Hiromi valued the maturity with which Swiss people democratically debated about architecture and their firm belief that buildings made a significant difference in life. Yoo Na highlighted the flexible planning instruments that Switzerland offered, which made it possible to implement concepts about urban quality. Maya believed that Switzerland could also learn from how the topics of density and sharing were lived in other areas of the world.

观众热烈的提问说明城市生活问题关注并影响着每一个人。未来的城市和都市环境需要更有效地应对即将到来的社会和空间需求。结构的复合使用及灵活性是实现可持续居住的解决方案。然而，建筑只是提供可能性的载体，而人才是活出自己的故事的主角。

The lively questions from the audience showed that the matter of urban life concerns and affects everybody. The cities and urban environments of the future will need to react more efficiently to the upcoming needs of society and space. Combination of uses and flexibility of structures could be a way to affordable cohabitation. Yet buildings can only offer possibilities, it is the humans who are to live out their own stories.

Gallery |

March 30, 2019

| by admin

Gallery: [Feb.2019] Architektur der Unendlichkeit 电影之夜“永恒的建筑”

“永恒的建筑” – 神圣空间的魔力

与导演Christoph Schaub共度SCAA电影之夜

“Architecture of Infinity” – The magic of sacred spaces

SCAA Film evening with director Christoph schaub

时间：周四 , 2019.02.28

地点：Houdini Cinema / Bar，Badenerstrasse 173,8004 Zurich

主持：孙慕蘭

摄影：Raphael Kunz

Journal |

March 30, 2019

| by admin

[Feb.2019] Architektur der Unendlichkeit 电影之夜“永恒的建筑”

“永恒的建筑” – 神圣空间的魔力

与导演Christoph Schaub共度SCAA电影之夜

“Architecture of Infinity” – The magic of sacred spaces

SCAA Film evening with director Christoph schaub

时间：周四 , 2019.02.28

地点：Houdini Cinema / Bar，Badenerstrasse 173,8004 Zurich
主持：孙慕蘭

海报：汪弢

摄影：Raphael Kunz

德语报道：江天

中文报道：杨晴川

瑞中建筑和艺术家协会SCAA二月的活动以一个特别的电影之夜结束。在票早已售罄的Houdini电影院大厅，观众期待着电影导演Christoph Schaub为我们独家介绍他的最新作品“永恒的建筑”。观看电影之后导演Schaub与SCAA主席孙慕蘭进行了对谈并回答观众的提问。他谈到了在电影作品中获得的见解，以及他对灵性、神圣和无限/有限的态度。

Die SCAA schloss den Februar mit einem besonderen Filmabend ab. Im ausverkauften Saal des Zürcher Kinos Houdini erwartete die Zuschauer eine Privatvorstellung von Christoph Schaubs neustem Werk „Architektur der Unendlichkeit“. Anschliessend beantwortete Schaub persönlich die Fragen der Vereinspräsidentin Mulan Sun und des Publikums. Er erzählte von den Erkenntnissen, die er bei den Filmarbeiten gewann, und von seinem Umgang mit den Themen Spiritualität, Sakralität und (Un)endlichkeit.

对于这部电影，导演Schaub选择了两座在建筑设计上迥然不同的教堂。在田野间，卒姆托为Bruder Klaus设计的田园教堂在最小的空间中创造了一个世界，一个无限世界中的小剪影。与此相反，西扎位于Marco de Canavese市的巨大圣玛利亚教堂则是空气和光线的融合。

Für den Film wählte Schaub zwei Kirchen aus, die in der architektonischen Gestaltung nicht gegensätzlicher sein könnten. Peter Zumthors verwunschene Wegkapelle für Bruder Klaus erschafft mitten auf einem Feld eine Welt auf kleinstem Raum, einen schmalen Ausschnitt aus der Unendlichkeit. Alvaro Siza Vieiras gigantische Kirche Santa Maria in der Stadt Marco de Canavese ist dagegen eine Raumauflösung in Luft und Licht.

在制作建筑电影时，导演Schaub意识到不仅要选择神圣的建筑物作为拍摄对象。他决定寻找一种个人和情感化的方式来接近无限。因此他在电影中记录了“世俗神圣”的各个方面。他研究哲学主题，并在艺术和宗教中看到共同点，即二者皆寻求精神而不是物质。

Während der Arbeiten an dem Architekturfilm merkte Schaub, dass die Auswahl der Objekte nicht nur auf Sakralbauten fallen sollte. Er entschied sich einen persönlichen und emotionalen Zugang zum Thema Unendlichkeit zu finden. Somit dokumentiert er in seinem Film verschiedenste Facetten der „profanen Sakralität“. Er setzt sich mit philosophischen Themen auseinander und sieht in Kunst und Religion die Gemeinsamkeit, dass beide das Geistliche statt dem Materiellen suchen.

在Peter Märkli设计的雕塑家Hans Josephson博物馆，他展示了建筑、艺术和音乐如何共同创造一个精神无限的空间。房间的划分允许无数的雕塑观察点。鼓手Jojo Mayer在博物馆的墙壁和房间里演出，为电影创造出一个新的维度。Mayer认为音乐家是“时间的建筑师”。他的打击乐伴随着整部电影，给电影带来动态和节奏。

In Peter Märklis Museum für den Bildhauer Hans Josephson zeigt er, wie Architektur, Kunst und Musik zusammen einen geistlich unendlichen Raum erzeugen. Die Aufteilung der Räume ermöglicht zahllose Blickwinkel auf die Skulpturen. Der Schlagzeuger Jojo Mayer bespielt die Wände und Räume des Museums und gibt ihm dadurch eine zusätzliche Dimension. Mayer sieht Musiker als „Architekten der Zeit“. Seine Perkussionen untermalen den Film durchgehend und begleiten ihn mit Dynamik und Rhythmik.

导演Schaub拍摄了美国艺术家James Turrell和西班牙艺术家Cristina Iglesias的作品，据此他更扩展了“永恒主题”的外延。Turrell位于Zuoz的“Skyspace”将目光投向了天空和无限，Iglesias则将目光投向地下，甚至通过“淹没房间”把触角伸向海底。两者的共同点是与自然、自然规律以及自然混乱的关系。

Schaub filmt die Werke des amerikanischen Land-Art-Künstlers James Turrell und die der spanischen Installationskünstlerin Cristina Iglesias. Er verdeutlicht damit die Bandbreite des Themas Unendlichkeit. Turrells „Skyspace“ in Zuoz lenkt den Blick nach oben in den Himmel und ins All, Iglesias geht unter die Erde und mit „Submerged Rooms“ sogar unter den Ozean. Beiden gemeinsam ist der Bezug zur Natur, zu ihren natürlichen Gesetzen und auch zum natürlichen Chaos.

Schaub选择的项目不仅记录了关于“永恒”的许多建筑和创意方面的解释，它还让我们看到了导演的个人历史。电影描绘了导演自己对永恒情感的理解，并强调了“人”始终在作品前后出现的重要性。（例如Schaub想象电影中的六个主角同时一起共进晚餐会很有趣的场景。）

Schaubs Auswahl der Projekte dokumentiert nicht nur verschiedene architektonische und kreative Interpretationen der Unendlichkeit. Sie erlaubt auch einen Blick in die persönliche Geschichte des Regisseurs. Der Film bildet sein eigenes emotionales Verständnis von Unendlichkeit ab und unterstreicht die Wichtigkeit, dass immer Menschen hinter und vor den Werken stehen. (Schaub stellte sich beispielsweise vor, dass alle sechs Protagonisten als Gesellschaft bei einem Abendessen gut miteinander funktionieren würden.)

建筑通过限定创造出无限，并将其几近可感知化。而最后他们能感动的，总是我们每一个人。

Architektur lässt durch ihre Begrenzung eine Ahnung für das Unendliche entstehen und macht sie beinahe berührbar. Durch sie berührt werden am Ende immer Menschen.

出演:

Cast：

Peter Zumthor
Peter Märkli
Álvaro Siza Vieira
Jojo Mayer
James Turell
Cristina Iglesias

导演Christoph Schaub的其他建筑电影：

Other architecture films of Christoph Schaub:

Respunder a l’existent (Answer on the Excisting), 2011

Bird’s Nest (Herzog & de Meuron in China), 2008

Brasilia (An Utopia of Modernity), 2007

The Art of Justification (A portrait about the swiss ingenieur Jürg Conzett), 2002

The Shift in Meanings (A portrait of the architectural office Meili & Peter, Zurich),2002

The Travels of Santiago Calatrava, 2000

The Vrin Project, 1999

The White Coal, 1997

Place, Function and Form (A double portrait of the two Grisons architects Gion A.Caminada and Peter Zumthor), 1997

Il Girasole (The dream of a house in motion), 1995

More Information:

www.schaubfilm.ch

瑞中建筑师和艺术家协会SCAA电影之夜活动花絮：

Current Events |

February 25, 2019

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[March.08.2019] Urban Living Stories

URBAN LIVING STORIES
— SCAA special event on international women’s day

Panel Discussion with:

Hiromi Hosoya, Partner at Hosoya Schaefer Architects AG, Zürich
Yoo Na Ho, Associate partner at KCAP Zürich
Maya Scheibler, Partner at Scheibler & Villard GmbH

Moderation:
Tao Wang, Vice president of SCAA

________________________________________________

Date: Friday, March 8th.2019, 19:00 (Door opening at 18:30)
Place: ZAZ Bellerive, Höschgasse 3, 8008 Zürich
Language: English
Cost: SCAA and SCAAs members free, non members CHF 30, Students CHF 15
Registration: info@scaa.ch (Mrs. Ling Chen)
Due to limited seating capacity, early registration is strongly recommended to ensure your participation

Program:

18:30 Door opening
19:00 Panel discussion with Hiromi Hosoya, Yoo Na Ho, Maya Scheibler, moderated by Tao Wang
20:30 Apéro

________________________________________________

“Cities have always offered anonymity, variety, and conjunction, qualities best basked in by walking: one does not have to go into the bakery or the fortune-teller’s, only to know that one might. A city always contains more than any inhabitant can know, and a great city always makes the unknown and the possible spurs to the imagination.”

― Rebecca Solnit, Wanderlust: A History of Walking

Gallery |

February 20, 2019

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Gallery: [Jan.2019] Made by Robots – Visiting the NCCR Digital Fabrication Labs 参观ETH机器人制造实验室

机器人制造

参观苏黎世联邦理工学院的Arch_Tec_Lab和机器人制造实验室

Made by Robots

Visiting the Arch_Tec_Lab and the Robotic Fabrication Lab at ETH Zürich

时间：周四 , 2019.01.31 , 18:30

地点：Stefano-Franscini-Platz 1, Building HIB, ETH Hönggerberg

向导：Hannes Mayer

海报：汪弢

摄影：Raphael Kunz

Journal |

February 20, 2019

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[Jan.2019] Made by Robots – Visiting the NCCR Digital Fabrication Labs 参观ETH机器人制造实验室

机器人制造

参观苏黎世联邦理工学院的Arch_Tec_Lab和机器人制造实验室

Made by Robots

Visiting the Arch_Tec_Lab and the Robotic Fabrication Lab at ETH Zürich

时间：周四 , 2019.01.31 , 18:30

地点：Stefano-Franscini-Platz 1, Building HIB, ETH Hönggerberg

向导：Hannes Mayer

海报：汪弢

摄影：Raphael Kunz

英语报道：江天

中文报道：杨晴川

2019年SCAA第一次活动是参观NCCR数字制造实验室。高级研究员Hannes Mayer带着大家参观建筑，目前这里有90名研究人员致力于数字建造建筑。

The first SCAA event in 2019 took an interested audience to the NCCR Digital Fabrication Laboratories. Senior Researcher Hannes Mayer took young and old on a tour through the building where currently 90 researchers work towards digital building architecture.

自2016年以来，Arch_Tech_Lab大楼是苏黎世联邦理工学院建筑技术学院（ITA）的新家。在其二楼，令人印象深刻的木制屋顶结构延伸至整个大厅，覆盖近2’500m2的表面。该建筑由168个桁架，近50,000个板条组成，由一个机器人组装，约有200万个钉子。自由浮动的形式、照明和温暖的材料创造了与技术大厅不同的氛围。

Since 2016 the Arch_Tech_Lab building has been the new home of the Institute of Technology in Architecture (ITA) at the ETH Zurich. On its first floor, an impressive wooden roof structure stretches over the hall, covering a surface of nearly 2’500 sqm. The construction consists of 168 trusses, nearly 50’000 slats, and was assembled by a single robot with around 2 million nails. The free-floating form, the illumination and the warmth of the material create an atmospheric differentiation from the technical hall.

Hannes带着观众参观了布置在展厅中的各个原型和模型。在其中一个角落的钢杆模型证明了机器人可以创建复杂的空间结构，因为它们能精确地将元素放置在三维空间中。他们只需要一条无碰撞的路径。

Hannes took the audience around the large hall where prototypes and models were spread around. In one corner, a steel rod model demonstrated that robots could create complex spatial results due to their ability to place elements precisely in 3D space. They just needed a collision-free path to follow.

在另一个角落，一个扭曲的灰色柱子展示了通过编程，以高速（每分钟2厘米）建造一个独立的混凝土建筑元素。这种“智能动态铸造”还表明，需要积累来自许多领域的知识才能创造出这样的成果。

In another corner, a twisted grey column visualized how the programming of „perfect“ concrete could generate a free-standing architectural element in high speed (2cm per minute). This „Smart Dynamic Casting“ also showed that knowledge from many areas needed to be accumulated to create such a result.

在一楼，Hannes指着一个木拱结构，并解释了这种几乎绝种的带木钉的木材建筑技术如何通过数字化重新焕发生机。使用这种“空间木材组装”技术，可以在罗马的Instituto Svizzero建造一个凉棚，不需要任何胶水，钉子或螺丝。

On the ground floor Hannes pointed at a wooden arch and explained how a nearly extinct technique of timber-timber construction with dowels could come back to life through digitalization. Using this „Spatial Timber Assemblies“ technique it was possible to build a pergola at the Instituto Svizzero in Rome without any glue, nails or screws.

Arch_Tech_Lab还设有机器人制造实验室。这是一个巨大的机械大厅，配有四个六轴机器人，可在43x16x8m的空间中工作 – 这是全球最大的此类设备。工业机器人手臂的工作公差仅为0.02毫米，悬挂在天花板上。机器人是通用的工业机器臂。研究人员开发工具（所谓的“末端执行器”），为他们提供特殊能力。

The Arch_Tech_Lab also houses the Robotic Fabrication Laboratory. It is a huge machine hall with four six-axis robots that work in a space of 43x16x8 meters – the largest setup of this kind worldwide. The industrial robot arms work with a tolerance of only 0.02mm and are suspended from the ceiling. The robots are generally simple industrial arms. The researchers develop tools (so-called „end effectors“) to give special abilities to them.

通过一部电影，Hannes向参观者展示了这样一个配备专用末端执行器的机器人手臂如何仅仅利用砾石和长绳来建造亭子。当然，这是经过各种分析和物理模型的经验测试后的结果。另一个机器人能够生产混凝土加固网 – “网状模具”。机器人创建的自由形式允许在不使用模板的情况下塑造复杂形式的混凝土。

With a movie Hannes showed the visitors how such a robot arm, equipped with a dedicated end effector, could produce a pavilion out of nothing but gravel and a long string. Of course this was the result after various analyses and empirically tests with physical models. Another robot was able to produce reinforcement meshes for concrete – „Mesh Mould“. The free-forms the robot could create allowed complex forms to shape concrete without using formworks.

通过数字制造实验室的参观，Hannes不仅展示了智能机器的新可能性，还解释了从概念到制造的工作流程中人所发挥的控制性作用。建筑数字创新的建成案例都可以在Dübendorf的DFAB House进行参观。

With the tour through the Digital Fabrication Labs, Hannes did not only show the new possibilities coming with the smart machines but also how the digital workflow goes from concept to fabrication, always with humans as the controlling part. Examples of all the digital innovations used in architecture can be visited at the DFAB House in Dübendorf.

Gallery |

February 3, 2019

| by admin

Gallery: [Dec.2018] Guided tour «Walter Bosshard/Robert Capa-The race for China» 参观瑞士摄影博物馆

参观瑞士摄影博物馆

对话策展人Madleina Deplazes和作家张玮

时间：周日 , 2018.12.16 , 14:00

地点：Fotostiftung, Grüzenstrasse 45, 8400 Winterthur

向导：Madleina Deplazes (博物馆策展人) 和张玮 (<Eine mango für Mao>)

海报：汪弢

摄影：陈灵陈凯鸿

Journal |

February 3, 2019

| by admin

[Dec.2018] Guided tour «Walter Bosshard/Robert Capa-The race for China» 参观瑞士摄影博物馆

参观瑞士摄影博物馆

对话策展人Madleina Deplazes和作家张玮

时间：周日 , 2018.12.16 , 14:00

地点：Fotostiftung, Grüzenstrasse 45, 8400 Winterthur

向导：Madleina Deplazes (博物馆策展人) 和张玮 (<Eine mango für Mao>)

海报：汪弢

摄影：陈灵陈凯鸿

德语报道：江天

中文报道：杨晴川

瑞中建筑师和艺术家协会SCAA十二月的活动在Winterthur的摄影博物馆举行，博物馆策展人Madleina Deplazes 和《Eine Mango für Mao》一书的作者张玮向我们介绍了此次展览。展览是两位摄影师 Walter Bosshard 和 Robert Capa 在中国的摄影作品。展览的副标题“角逐中国”，描述的不仅仅是这两位“亦敌亦友”的摄影师在中国的竞争关系，也间接指明了展览的内容，20世纪30年代的中国抗日斗争。照片不仅记录了中国政府和军队在反抗日军侵华战争中的艰苦奋斗，还记录了当时中国普通民众的非正常日常生活。

Die SCAA Dezember Veranstaltung fand im Fotomuseum Winterthur statt. Museumskuratorin Madleina Deplazes und Autorin Zhang Wei („Eine Mango für Mao) begleiteten die Besucher auf einer dialogischen Führung durch die Ausstellung der Fotostiftung Schweiz. Thema der Ausstellung war das Werk zweier Fotografen in China: Des Schweizers Walter Bosshard und des Amerikaners Robert Capa. Der Untertitel „Wettlauf um China” spiegelt nicht nur das Konkurrenzverhältnis zwischen den beiden Fotografen – Freunde und „Feinde“ – in China wieder, sondern auch indirekt den Inhalt der Ausstellung: den chinesisch-japanischen Krieg in den 1930er Jahren. Es wurden nicht nur die harte Arbeit der chinesischen Regierung und ihrer Armee bei der Rebellion gegen die japanische Invasion gezeigt, sondern auch das Alltagsleben der einfachen Chinesen.

Walter Bosshard对现代新闻摄影的贡献是巨大的，他的新闻画报在1930年时取得了巨大的成功，吸引了数百万的观众，并使他成为世界上非常受欢迎的明星记者。他于1931年开始专注于中国的摄影，并于1933年定居北京。博物馆策展人Madleina Deplazes依照时间顺序为我们提纲挈领的介绍了摄影师Walter Bosshard在此期间（1931-1939）拍摄的大量作品，其地点包括南京、满洲里、内蒙古以及延安。

Walter Bosshards Beitrag zum modernen Fotojournalismus war enorm, und seine Art der Illustration von Nachrichten war 1930 ein großer Erfolg. Millionen von Lesern und Betrachtern wurden angesprochen und dies machte ihn weltweit zu einem äusserst populären Starjournalisten. Als Autodidakt hatte er sich 1931 in China mit der Fotografie zu beschäftigen begonnen und ließ sich 1933 in Peking nieder. Madleina Deplazes stellte die große Anzahl von Arbeiten des Fotografen Walter Bosshard während der Zeit von 1931-1939 in chronologischer Reihenfolge vor, von Nanjing über Manzhouli, die Innere Mongolei bis nach Yan’an.

Walter Bosshard: Soldaten der nationalistischen Armee beim Spiel in der Freizeit, China, 1938 © Fotostiftung Schweiz / Archiv für Zeitgeschichte

他见证了中国现代历史的许多重要或者平常的时刻：比如1931年拍摄的国民党第一次全国大会中集体为孙中山先生默哀的场景；1932年日军占领满洲里；1937年日军空袭北平后满地狼藉、伤员遍地的街道。

Bosshard erlebte viele wichtige Momente in Chinas moderner Geschichte mit: Beispielsweise Szenen der ersten nationalen Konferenz der Kuomintang im Jahr 1931, die gleichzeitig eine Trauerfeier für Sun Yat-sen war; wie die japanische Armee die Mandschurei 1932 besetzte, ihr Angriff auf Beiping und die japanische Allgegenwärtigkeit. Die Straßen voller Verwundeter nahm Bosshard unbeschönigt auf.

Walter Bosshard从1932年开始深入中国腹地，并于1935年左右来到重庆，他拍摄重庆的众多照片唤起了张玮小时候的许多回忆。其中一张照片展示了重庆江边的许多木质房屋，孤悬的撑在山坡峭壁上，张玮向我们介绍了她小时候在这生活的场景，许多年过去，已无法想象在遥远的瑞士，竟然能看到这些珍贵的照片，看到曾经的时光。

Walter Bosshard reiste ab 1932 tief in Chinas Hinterland und kam um 1935 nach Chongqing. Die Fotografien von Chongqing weckten in Zhang Wei viele Erinnerungen an ihre Kindheit. Auf einem der Fotos waren viele Holzhäuser am Flussufer in Chongqing zu sehen, einsam auf den Klippen des Hügels, und Zhang Wei stellte den Besuchern den Ort ihrer Kindheit vor. Durch die vielen vergangenen Jahre war es für die Autorin kaum fassbar, in der fernen Schweiz diese wertvollen Fotos zu sehen und dadurch in alte Zeiten zurückzublicken.

Walter Bosshard最为人知的是在1938年克服种种困难到访延安，成为第一位采访毛泽东主席的欧洲记者，并记录了前往延安途中的各个场景，以及延安当地军民的日常训练和生活。在对日作战中，中国将士极差的武器装备和训练水平，致使中方改变了作战策略，并强调游击战的重要性，同样在1938年期间，Walter Bosshard拍摄了大量中国游击队员在农村地区活动的资料。

Walter Bosshard war bestens dafür bekannt Schwierigkeiten zu überwinden.1938 besuchte er Yan’an. Er war der erste europäische Journalist, der den Vorsitzenden Mao Zedong interviewte und verschiedene Szenen auf seinem Weg nach Yan’an sowie das tägliche Training und das Leben lokaler Soldaten mit seiner Kamera einfing. Im Krieg gegen Japan veranlasste Chinas extrem armes Waffen- und Ausbildungsniveau das Land dazu, seine operative Strategie zu ändern und dem Guerillakrieg höhere Bedeutung beizumessen. Während des Jahres 1938 fotografierte Walter Bosshard eine große Anzahl chinesischer Guerillas in ländlichen Gebieten.

战地记者Robert Capa在此期间也在中国进行拍摄，记录了中国对抗日军的战事。其著名的年轻中国军人的摄影作品，从较低的角度朝上拍摄，相比于Walter Bosshard的同类照片，其拍摄更具戏剧性。

Der ungarisch-amerikanische Kriegskorrespondent Robert Capa fotografierte in dieser Zeit auch in China und zeichnete den Krieg Chinas gegen die Japaner auf. Seine berühmten Fotos junger chinesischer Soldaten wurden aus einem niedrigeren Winkel aufgenommen, und wirken im Gegensatz zu Bosshards Fotografien dramatischer.

展览的最后一部分，摄影作品围绕1938年汉口保卫战的前后发生。在日军入侵前汉口市民尚且平静的撤离准备到日军大规模空袭汉口后的尸横遍野。

Im letzten Teil der Ausstellung wurden Fotografien der Schlacht von Hankou gezeigt. Der Kontrast vor und nach dieser Schlacht von 1938 zeigte sich deutlich: Vor der japanischen Invasion bereiteten sich die Bürger von Hankou beinahe ruhig auf ihre Flucht vor, nach dem Luftangriff waren auf den Strassen nur noch Gefallene zu sehen.

这次展览展出了Walter Bosshard许多尚未公开的作品，并将战地记者Robert Capa的摄影作品并置展出。两位摄影师的“角逐中国”，也是这段特殊历史时期的宝贵见证。

In der Ausstellung wurden viele unveröffentlichte Werke von Walter Bosshard gezeigt. Im Dialog mit den Bildern des Kriegskorrespondenten Robert Capa ist der „Wettlauf um China” zwischen beiden Fotografen ein wertvolles historisches Zeugnis Chinas, bei dem ein Schweizer einen bedeutenden Beitrag leistete.

Current Events |

February 3, 2019

| by admin

[Feb.28.2019] Architektur der Unendlichkeit

“Architecture of Infinity” The magic of sacred spaces
— SCAA Film evening with director Christoph schaub

Date: Thursday, 28.02.2019
Place: Houdini Kino/Bar, Badenerstrasse 173, 8004 Zürich
Host: Swiss-Chinese Chamber of Architects and Artists (SCAA)
Language: Film in German with english subtitles
Cost: Free for SCAA and SCAAs members, CHF 20 for non members, CHF 10 for students.
Registration: info@scaa.ch (Mrs. Ling Chen) Due to limited seating capacity, early registration is strongly recommended to ensure your participation

Program:
18:30 – 20:00 Film <Architektur der Unendlichkeit>
20:00 – 20:30 Review and Dialogue with film director Christoph Schaub
Followed by an aperitif in Houdini bar

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Synopsis:
Temporality and age are inherent in every object and creature and, depending on one’s outlook, may transcend to infinity. How can this be imagined? What goes beyond it? The filmmaker Christoph Schaub starts his personal journey through time and space in his childhood, when his fascination with sacred buildings began – and his wonder at beginnings and ends. Schaub explores, together with the architects Peter Zumthor, Peter Märkli and Alvaro Siza Vieira, the artists James Turell and Cristina Iglesias and drummer virtuoso Jojo Mayer, the magic of sacred spaces, defined here as far more than church buildings. Who owns spirituality? The film follows “spiritual life” in architecture and the fine arts, but also in nature, and literally lifts it over and above the limits of thinking. A slightly floating camera immerses us in somnambulistic images, takes us on a sensual and sensing journey through vast spaces, and guides our eye towards the infinity of the starry sky and the depths of the ocean. Past and present, primeval times and light years, it’s all there.

Cast:
Peter Zumthor, Peter Märkli, Álvaro Siza Vieira, Jojo Mayer, James Turell, Cristina Iglesias

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We are looking for sponsors for this film event. You and your company can greatly benefit from the positive public attention and exclusive advantages. We deeply appreciate your support and look forward to a successful cooperation!

Contact: info@scaa.ch

Current Events |

January 22, 2019

| by admin

[Jan.30.2019] Made by Robots – Visiting the NCCR Digital Fabrication Labs

Made by Robots – Visiting the Arch_Tec_Lab and the Robotic Fabrication Lab at ETH Zürich

Guide: Hannes Mayer, senior Researcher and member of the board of Gramazio Kohler Research. He is the director of education and oversees all research, publication and exhibition projects at the chair.

Time: Thursday, 31.01.2019, 18:30
Place: Stefano-Franscini-Platz 1, Building HIB, ETH Hönggerberg
Language: English
RSVP: info@scaa.ch (Mrs. Ling CHEN)
Cost: SCAA Members free, non-members CHF 20, Students free

Followed by an aperitif in ETH Alumni Lounge at the ETH Hönggerberg
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The National Centre of Competence in Research (NCCR) Digital Fabrication is Switzerland’s initiative to lead the development and integration of digital technologies within the field of architecture.

Towards a Digital Building Culture

Initiated in 2014, the National Centre of Competence in Research (NCCR) Digital Fabrication aims to revolutionise architecture through the seamless combination of digital technologies and physical building processes. Over 60 researchers from six different academic disciplines collaborate to develop ground-breaking technologies for tomorrow’s construction. Their research allows Switzerland to take a leading position within the global field of digital fabrication. The NCCR Digital Fabrication is the first NCCR focused on architecture and construction funded by the Swiss National Science Foundation (SNSF). Initiated at ETH Zurich, it is partnered with EPF Lausanne, the Hochschule für Technik Rapperswil, the Lucerne University of Applied Sciences and Arts, the Bern University of Applied Sciences and Empa.

Truly interdisciplinary

To fully leverage the potential of digital fabrication, the following six disciplines intensively cooperate within the NCCR Digital Fabrication: architecture, structural design, materials science, computer science, control systems engineering and robotics.

The National Centres of Competence in Research (NCCRs)

NCCRs are cross-disciplinary research networks funded by the Swiss National Science Foundation (SNSF). They support research in areas of strategic importance for the future of Swiss science, economy and society.