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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.

“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。

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。

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。

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.

“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

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瑞中建筑师和艺术家协会SCAA电影之夜活动花絮：

 

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.

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.

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. 

顺其自然 

LET IT GROW 

建筑师王彦与 Hans-Christian Rufer 对话

Architect Wang Yan, Dialogue with Hans-Christian Rufer

时间：2018年11月23日 , 19:00

地点：Sihlquai 131, 8005 Zürich

主持：孙慕蘭

海报：汪弢

摄影：李行建

英语报道：江天

中文报道：杨晴川

瑞中建筑师和艺术家协会SCAA十一月的活动中，建筑师王彦向听众展示了从瑞士学习后回到自己家乡中国上海的工作与教学。在瑞士的求学经历在他看来是一颗种子，回国后，这颗种子在家乡深根发芽，讲座的题目叫顺其自然，通过三个项目的介绍，王彦向我们展示了这颗种子在家乡的土壤中的自然生长。

During the SCAA event in November, architect Wang Yan presented his projects and teaching experiences from when he returned to his hometown Shanghai after having studied in Switzerland. The learnings from his studies in Switzerland are a valuable seed in his opinion. After returning home, this seed sprouted deep in his hometown. The topic of the lecture was to let it grow. By presenting three of his projects, Wang Yan showed how this seed grows in the soil of his hometown.

上海油雕院美术馆 

SPSI Art Museum, Shanghai 

© Photo credit: Wang Yan, GOA Architects

 

2007年初回上海，王彦的第一个项目是上海油雕院美术馆。项目位于金珠路，周边环境缺乏统一秩序，与旧馆直接相邻的是一座150米的高层建筑。旧馆主立面与街道呈约45度斜角，为了使展览空间尽可能灵活，建筑师首先拆除了旧馆的隔墙与外立面，并将建筑体量补齐使建筑主立面与街道平行，同时增加展览面积。因需保留与相邻高层建筑的地界隔墙，建筑师将其与主入口设计进行了整合，斜向的金属穿孔板在靠外一侧引导人们从前广场来到建筑主入口，并在靠内一侧围合出了一个内庭。

Back in Shanghai in early 2007, Wang Yan’s first project was the SPSI Art Museum. The project is located on Jinzhu Road, where the surrounding environment lacks a unified order. Directly adjacent to the existing building is a 150-meter high-rise building. The main façade of the existing building is about 45 degrees oblique to the street. In order to make the exhibition space as flexible as possible, Wang Yan first dismantled the partition wall and the façade, and completed the building volume to make the main facade of the building parallel to the street, at the same time the exhibition area was increased. Due to the need to retain the boundary wall of the adjacent high-rise buildings, the architect integrated it with the main entrance design. The diagonal metal perforated panels guide people from the main square to the entrance of the museum, and an inner court is enclosed on the other side.

© Photo credit: Wang Yan, GOA Architects

 

建筑外立面采用3mx2mx13mm的大尺寸混凝土板。为了营造体量的厚重感，混凝土板在建筑角端的平面为L型。当时国内建筑施工的精确性还较为欠缺，大部分生产厂家并无相关经验，经多方寻找，王彦最终寻找到一家具有相关施工经验的厂家。王彦注重对建造细节的精确控制，包括外墙面半嵌入式挂灯及不同界面交接处的拼缝处理。

The building’s façade is made of large concrete slabs of 3mx2mx13mm. In order to create a heavy sense of volume, the plane of the concrete slab at the corner end of the building is L-shaped. At that time, the accuracy of domestic construction was still relatively lacking. Most of the manufacturers had no relevant experience. After a long search, Wang Yan finally found a manufacturer with relevant construction experience. Wang Yan pays attention to the precise control of the construction details, including the semi-embedded hanging lamps on the outer wall surface and the seam treatment at the intersection of different interfaces.

大烟囱咖啡 

Chimney Cafe, Shanghai

传统文化中的园林空间，是王彦重要的灵感来源。他给听众展示的第二项目是于2015年完工的大烟囱咖啡。在上海油雕院美术馆建成五年后，美术馆决定在室外庭院建一个咖啡馆。局限于用地面积，面对如何在狭小的空间中进行设计，王彦将目光从西方转向了中国传统园林。他借鉴了江南古典园林中于小见大、曲径通幽的手法，通过流线的蜿蜒设置，在狭窄的空间中隔出了三个小庭院，小竹林穿插其间，创造了层次丰富递进的空间体验。

The garden space in traditional Chinese culture is an important source of inspiration for Wang Yan. The second project was Chimney Cafe, completed in 2015. Five years after the completion of the SPSI Museum, the client decided to build a cafe in the outdoor courtyard. Limited to the land area, Wang Yan was challenged on how to design an atelier within such a limited small space. He turned his eyes from Western design to the traditional Chinese gardens. He borrowed the principles from the classical gardens in South China. Through the setting of the path, three small courtyards were defined inside the narrow space. With the bamboo intertwining amongst them, a rich space experience is created.

© Photo credit: Wang Yan, GOA Architects

 

曲折的金属墙面材质为半哑光，能有限的镜面反射周遭，在与传统园林连廊空间相似的尺度下，抽象的表达了作者对于这个场所的理解：一边是现实，另一边为虚幻。

The tortuous metal wall is semi-matte and has limited reflection. The abstract expression of the author’s understanding of the place is similar to the traditional garden corridor space: one side is reality and the other side is fantasy.

© Photo credit: Wang Yan, GOA Architects

 

丰盈雕刻馆 

FENGYING ART MUSEUM, FUJIAN

第三个项目是丰盈雕刻馆（2013-2018）。项目基地位于丰盈雕刻厂区的中部，周围建筑体量较为杂乱，缺乏统一的秩序。基地北侧是业主希望保留的旧工作室，因为它象征着雕刻家十五年来的辛勤工作。这个项目给王彦的挑战是，如何在低成本、小体量、不可控的施工条件下，处理好与相邻体量的关系并同时赋予新建筑以自己的特性。

The third project is the Fengying Art Museum (2013-2018). The project is located in the middle of the Fengying carving factory area. The surrounding buildings were quite messy and in lack of a unified order. The North side of the site is the old studio that the owner wanted to keep, because it symbolized the hard work of the sculptor for fifteen years. The challenge for Wang Yan in this project was how to deal with the relationship between adjacent volumes under low-cost, small-volume, uncontrollable construction conditions and at the same time give the new building its own identity.

© Photo credit: Wang Yan, GOA Architects

 

首先通过封闭的外墙将雕刻馆与外界相隔，营造静谧的内部空间，同时在内部设置了三个不同形状的庭院，庭院中布植竹林，起到调节过滤室内光线的作用。建筑外立面是由建筑师和雕刻家共同创作的结果：石片高低起伏，象征着重峦叠翠的群山。

First the museum was separated from the outside by a closed wall to create a quiet interior space. At the same time, three different shapes of courtyards were set inside, and bamboo bushes were arranged in the courtyards to filter the light coming into the inner space. The facade of the building was created by architects and sculptors together: the varying heights and depths of the slabs symbolize the mountains.

© Photo credit: Wang Yan, GOA Architects

 

教学 

Teaching at CAUP 

自2014年起王彦开始在同济大学进行教学工作。教学的第一部分着重训练了学生对体量、比例和光影的敏感性，并在空间、尺度和材质方面更进一步体会空间氛围的营造。教学的第二部分在于引导学生完成一个完整的建筑设计，培养学生在城市环境中进行设计的综合能力。

Since 2014, Wang Yan has started teaching at Tongji University. The first part of the teaching focuses on training students’ sensitivity for volume, proportion and light / shadow, and further understanding the creation of spatial atmosphere in terms of space, scale and material. The second part of teaching is to guide students through a complete project design and develop students’ comprehensive ability to design in an urban environment.

 

对谈 

Conversation with Hans Rufer

讲座最后的环节是王彦与嘉宾Hans Rufer对谈。Hans Rufer是在苏黎世的建筑师，他和王彦都曾在Hans Kollhoff的教席学习过。提到讲座的主旨，一颗种子在自己文化土壤中发芽生长，Hans Rufer好奇于这颗种子是如何在一个陌生的环境中继续生长，在生长的过程中经历了什么变化，无论是主动还是被动的变化，建筑师又是如何看待或处理这些变化。

The final part of the lecture was Wang Yan’s conversation with guest Hans Rufer. Hans Rufer is an architect in Zurich. He and Wang Yan both studied at Hans Kollhoff’s chair. Referring to the main theme of the lecture, a seed sprouts in its own cultural soil. Hans Rufer is curious about how the seed continues to grow in an unfamiliar environment, and what changes have been made in the process of growth, whether active or passive. And how the architects view or deal with these changes.

王彦认为这颗种子来到了中国，接触到不同的土壤和环境，在设计的时候势必会遇到不同的问题。比如大烟囱咖啡馆，这个项目在城市环境中并不能看到外立面和体量，如何处理类似建筑中的建筑设计，这通常不是典型的在瑞士会遇到的问题。王彦也提到他在不同的地方看到了许多不同的空间解决方案，而这些方案组成了一个属于王彦自己的“图书馆”。在如今多元文化交流的情境下，这个“图书馆”可以有来自种子自身携带的基因，也可以来自落下的土壤本身，比如中国传统江南园林，甚至这个“图书馆”可以包括别的文化版图上的内容。

The seed comes to China and is exposed to different soils and environments, Wang Yan believes that when designing, it is bound to encounter different problems. For example, with the Chimney Cafe, the facade and volume cannot be seen in the urban environment. How to deal with this kind of architectural design, is not a typical problem encountered in Switzerland. Wang Yan also mentioned that he saw many different spatial solutions in different places, and these solutions formed slowly a “library” for himself. In the context of today’s multicultural exchanges, this “library” can have genes from the seeds themselves, or from the fallen soil itself, such as traditional Chinese gardens, or even this “library” can include contents from other cultures.

顺其自然，自然生长，我们期待这颗种子的继续成长。

Let it grow naturally, we look forward to the continuing growth of this seed.

瑞中建筑艺术家协会学生分会成立仪式以及学术沙龙

SCAA Student Chapter Opening Ceremony and Academic Salon

 

时间：2018年10月4日，18:30

地点：ETH HG D3.1

主持：刘奕秋

海报：汪弢

摄影：李行健 / Raphael Kunz

中英文报道：王弘扬

 

On October 4th, the student chapter of SCAA (SCAAs) organized its first event. The opening ceremony was combined with an architecture salon. The salon’s topic was “exchange”. In the first part of the event, Mulan Sun, the president of SCAA, and Hongyang Wang, the head of the student chapter, introduced SCAA and SCAAs. Then, four guest speakers elaborated their study and working experiences in both China and Switzerland.

十月四日，瑞中建筑师与艺术家协会SCAA的学生分会SCAAs举办了第一次活动。开幕式结合了学生分会启动仪式和建筑学术沙龙。活动的前半部由SCAA主席孙慕蘭和学生分部负责人王弘扬分别介绍了SCAA一年来的成就和新成立的学生分会对未来的展望。后半部由四位特邀嘉宾分享了他们在中国和瑞士的学习和工作经历。

“Happiness is only real when sharing”

“幸福因分享而倍加真实”

The event started with SCAA president Mulan Sun, and she briefly explained the purpose of SCAA and the establishments since it launched. SCAA promotes the communication between Switzerland and China in the fields of architecture and Art. Since the organization was founded more than a year ago, there have been high-quality events every month. So far, SCAA has 60 members, four corporate members and two honorary members. Not only in Switzerland, SCAA has also established a chapter in Beijing. Many people say that SCAA is unique compared with Swiss-Chinese organizations, and SCAA is there to be different.

开场由SCAA主席孙慕蘭介绍协会成立以来的概况。SCAA意在促进瑞中之间建筑和艺术方面的交流，成立以来以每月一次活动的频率出品了很多高质量的建筑艺术相关活动。目前已经有60多位注册会员，四个赞助公司和两位荣誉成员。不仅在瑞士，scaa也在拓宽国内的团队，北京分会也已成立。正如许多人所认为SCAA与其他许多致力于瑞中交流的协会不同，而SCAA正立足于不同。

“Nowadays Multidisciplinary is not only the trend is also unavoidable”

“跨界在今日不可避免” 

Afterwards, the head of SCAAs, Hongyang Wang, presented the board members, vision of establishing the student chapter and future plans.  The student chapter was grounded on the same belief of fostering mutual understanding between Swizterland and China. However, the student chapter will focus on academic events, aiming to serve students, scholars and young professionals. No matter which studies, everyone benefits from getting to know other fields, learning and understanding other professions. It is important to exchange ideas and generate conversations with young professionals and experts. It can even shape one’s future plan.

接下来，学生分会负责人王弘扬具体介绍了学生分部的成员，分部的目标和规划。学生分部建立在与SCAA相同的促进中瑞分享交流的共识之上，更加针对学者的学术交流和刚入职场青年的职业经验交流。不论哪个专业领域的学生，都会从跨界交流中获益匪浅；从与已入行资深人士的沟通中，获取为个人未来规划的有用信息。

“Sharing makes us understand Others”

“分享让我们更好的去理解别人” 

The first guest speaker Scott Llyod shared his visits in China and working experiences as an architecture exhibition curator. As an architect, he first talked about the importance of cooperating and understanding other team players, which can be only achieved by exchange. As an Australian, he moved away from the US and started to get to know China at an interesting historical point. In 2006, he was invited to be the curator of the 2^nd Architectural biennale in Beijing. Coming to Beijing before the 2008 Olympics, he witnessed an ancient country in drastic change. During organizing the exhibition in China, things happened in “Chinese speed”. The whole idea of the exhibition was formed in the last three months and was put together in three days on site. In 2016, Scott again was invited to curate an urbanization exhibition.

第一位嘉宾Scott Llyod分享了自己在中国旅游和策划建筑艺术展的经验。Scott首先从建筑师的角度阐述了不论在何种情境下，对于建筑很重要的就是与各方合作，分享便是理解团队中其他人的思想所必不可少得。Scott作为开放的澳洲人，在特别的历史节点上选择离开美国去了解中国。他刚好在08年奥运前夕受邀在北京策划建筑双年展。来到北京，他看到了一个正在巨变的古国。在紧张的筹备期间，有很多有趣的标志性的“中国速度“的事情发生，场馆在3个月内设计完成，最后布展关头场地又出问题最后三天内布置好。在16年，又再次受邀策划了关于城市化的展览。

“Experience the Architecture in its own Surroundings”

“城市中体验建筑” 

The second guest, Ruizhe Cheng obtained his Bachelor of Architecture at the Southeast university in China and is currently pursuing his master at the ETH. He presented his experiences and understanding of culture differences with a few important architectural books he encountered over years. He was astonished by the level of details in one Swiss architectural book. Many times, he felt limited by words and pictures in books. Being able to study in Switzerland and travel in Europe changed that. It enabled him to experience and embrace famous architecture and cities, and this has become important for his studies.

第二位嘉宾程睿智本科在东南大学读，现在是eth建筑系在读研究生。他将自己对中国和瑞士的学术、文化差异的理解，融入了一本本心仪的建筑书籍中。这些书在他的建筑学习过程中都有举足轻重的地位，其中一本启蒙瑞士建筑书中对细节的注重曾让他倍感震惊。但图片和语言的局限都让他很多时候不能完全理解书中的意境，现在能够在瑞士学习，并在周游欧洲各国，使能够他真正的体会并感受曾经在书里所看到的建筑、孕育他们的原生环境和他们所构筑的城市，这对建筑学习是至关重要的。

“Learn and Grow from Contrast”

 “从中瑞的差异对比中学习与成长” 

Our third guest David went to Nanjing six years ago from ETH for an exchange semester. To him, the difference between China and Switzerland is humongous, from population, scale and density of cities, culture to language. There were many memorable imprints in China that he shared, from Chinese food, the way of living to local people. The radical contrastbetween countries made him think, broadened his horizons and deepened his understanding of other countries and cultures.

David是我们第三位嘉宾，他在六年前从eth去南京交换学习一个学期。对他来说，中国和瑞士的差异很大，从人口，城市规模，城市密度到文化习俗语言都截然不同。他列举了在中国学习期间，从饮食，生活到城市、人文等各种让他印象深刻的经历。这些巨大的差异与对比让他开阔了视野，加深了对其他的国家与文化的理解。

“Politics and Architecture” 

“政治与建筑”

Famous architect Pascal was the last speaker. His architecture practice owns offices in Zurich, Shanghai and Berlin. He lived in China for 10 years and during his talk, he shared the design process of Ningbo Urban Planning Center, during which many unique political incidents happened.The building is an important landmark for Ningbo, and during the long period of design and construction, the mayor of Ningbo changed twice. It was examined by three mayors, and the whole process was prolonged by different opinions from different mayors. Based on this experience, Pascal hopes that architects should learn more about and even participate in social and political activities, because architecture doesn’t stand alone without social and political context.

最后一位嘉宾Pascal 是一位著名的建筑师，他成立的建筑事务所目前在苏黎世、北京与柏林都有分部。此次，他与大家分享了在中国生活工作过10年的经历以及即将在中国建成的宁波城市规划中心项目。他讲述了宁波城市规划中心在设计、竞标、中标、建造过程中所遇到印象深刻的事例。此建筑设计对宁波市很重要，整个设计过程经历了三届宁波市长的审查与调整，最终落成并且即将实现极其不易。他希望更多的建筑师意识到建筑与社会、政治密不可分，要多去了解甚至参与到社会、政治活动中去。

活动花絮：

SCAAs Team: 

Head of SCAAs: Hongyang Wang

Deputy head of SCAAs: Yiqiu Liu

Deputy head of SCAAs: Xingjian Li

 

Student Member 

CHF 50.- per calendar year 

Requirement: 
Please send a copy of your student card to scaas@scaa.ch.

Benefits:

– 1 personalised membership card with free admission to all SCAA and SCAAs events
– Personal invitation to vernissage and events
– Regular newsletter

加入学生会员 

每个日历年50瑞士法郎

要求：

请将学生证扫描件发送至scaas@scaa.ch

优势：

– 1张个性化会员卡，可免费参加所有SCAA活动

– 受邀参加多项活动及开幕式

– 定期通讯

http://scaa.ch/student-application-form/