范凌工作室 | FANStudio

范凌工作室探索空间的边界，工作涵盖：建筑、城市、基础设施、空间艺术和策略规划。范凌工作室的设计源于对当代生活持续改变和发展的仔细研究，在跨文化语境、跨学科和现代技术中寻找建筑和城市组织的新范式。我们相信建筑和城市发展将会从当今世界的挑战中学习到前所未有的创见和机遇，我们的工作是实用主义和乌托邦的结合，让其中的人们感受建筑和城市所具有的生命力、新体验和新思维。

FANStudio exists to discover the boundary of space. Established by Ling Fan in 2010, it is recognized for its work in: architecture, urban infrastructure, spatial art and strategic thinking.

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人员 | People

范凌

1981年生于中国上海，现居北京，从事空间艺术和建筑设计实践。范凌的工作注重研究、分析和策略，勇于推演并挑战边界条件。通过设计、评论、教学和研究等多种方式介入城市和社会文化问题。范凌毕业于美国普林斯顿大学，获建筑学硕士以及荣誉奖学金，现任教于中央美术学院建筑学院。

Ling Fan, Founding Principle

Born in Shanghai, now is based in Beijing to practice spatial art and architectural design. Ling Fan’s approach to design has always been studied, analytical and strategic in nature. He is willing to test boundaries. He intervenes into issues of urbanism and society with design, writing, teaching and researching. He received a Master of Architecture degree from Princeton University. He is an Assistant Professor at China Central Academy of Fine Arts. In 2009, Ling Fan was awarded Young Art Critic Prize. His design works have been exhibited and published widely.

获奖
2011 入选“艺术类特别计划”，中国
2011 入选第一届“未来艺术英才”计划，中国
2009 当代青年艺术评论奖，《美术观察》，中国

展览
2011 成都双年展，成都
2011 范凌个展，798超城空间，北京
2011 胖平飘计划，未来艺术英才计划入围展，北京今日美术馆
2009 实水虚石，韩国光州国际设计双年展，韩国光州
2009 设计走向生活，北京世界设计师大会主题展，北京中华世纪坛
2008 坐享悬绿，上海国际艺术双年展现场张江公共艺术展，上海张江

Honor
2011 Art Special Project Prize, China
2011 Focus on Talent Project, Beijing, China
2009 Contemporary Young Art Critic Award, Art Observation, Beijing, China

Exhibition
2011 Chengdu Biennale, Chengdu
2011 Solo Show, CU Space, Beijing
2011 Fat Flat Float, Focus on Talent Finalist Exhibition, Today Art Museum, Beijing
2009 Absent Pebble, Materialized Water, Gwangjiu Art Biennale, Korea
2009 Design into Life, World Design Congress, Beijing, China
2008 Floating Green, Shanghai Art Biennale, Shanghai

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团队 | Team

现在或过去一起工作的成员包括：柏鸣，白明明，Cressica Brazier，蔡佳时，蔡峰，曹筱袤，范凌，高敬涵，郭廖辉，郭照炜，过晓茜，胡琛琛，姜山，景斯阳，Tat Lam，李丹，李琳娜，厉之昀，梁爽，林凡榆，林佳玮，刘玉东，卢家兴，吕亚辉，任益德，史冰洁，时小雯，唐皓天，王宁，王禹维，谢雪泉，谢渊沫，叶骞，张明明，赵超，赵卓然 (截至09/07/2011)

Now and Before members include: Bai Ming, Bai Mingming, Cressica Brazier, Cai Jiashi, Cai Feng, Ling Fan, Cao Xiaomao, Gao Jinghan, Guo Liaohui, Guo Zhaowei, Guo Xiaoqian, Hu Chenchen, Jiang Shan, Jing Siyang, Tat Lam, Li Dan, Li Lina, Li Zhiyun, Liang Shuang, Lin Fanyu, Ling Jiawei, Liu Yudong, Lu Jiaxing, Lu Yahui, Ren Yide, Shi Bingjie, Shi Xiaowen, Tang Haotian, Wang Ning, Wang Yuwei, Xie Xuequan, Xie Yuanmo, Ye Qian, Zhang Mingming, Zhao Chao, Zhao Zhuoran (as at 09/07/2011)

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联系 | Contact

e: fanlingstudio@gmail.com | t: +86 10 84787332

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2011/10
范凌参加成都双年展。
Ling Fan participated in Chengdu Biennale

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2011/07
2010-2011 FANStudio作品集《三个建筑前的计划 + 三个前建筑的反思》
2010-2011 FANStudio Portfolio: 3 Projects before Building + 3 Pre-Architecture Reflections

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2011/06/11
关于胖平飘计划的延展讨论
Extended Dialogue on Fat Flat Float Project

对话人／Speaker：马岩松／Ma Yansong、王辉／Wang Hui、张轲／Zhang Ke、范凌／Fan Ling
主持人／Moderator:车飞／Che Fei, 由宓／You Mi

主办：超城空间／Organizer: CU Space
承办：中央美术学院建筑学院TEXTENT学社／Co-Organizer: TEXTENT, CAFA
时间：2011年6月11日下午1时－3时／ Time: 1pm – 3pm, June 11th, 2011
对话地点：北京798艺术区 悠之设计空间／Dialogue Venue: Youz Design Space, 798 Art Zone, Beijing
展览地点：北京798艺术区 超城空间画廊／Exhibition Venue: CU Space, 798 Art Zone, Beijing

联系：赵卓然(＋86 155 1003 6105)／Contact: Zhuoran Zhao (＋86 155 1003 6105)

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2011/06/11-6/24
胖平飘计划将在798超城画廊展出。
Fat Flat Float Project will exhibited at 798 CU Space.

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2011/06/06

“代沟“对话4在太原举行
Gap Dialogue 4 was hosted in Tai Yuan, China.

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2011/05/31

范凌受“中央美术学院艺术咨询网采访”。题为《迂回与进入空间的政治语境》
Ling Fan was interviewed by CAFA.COM.CN. The topic of the interview is Detour and Enter into Spatial Practice in a Socio-political Context.

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2011/05

范凌撰写的《为城市之熵集智》一文作为主题文章刊登在“《时代建筑》超限：中国城市与建筑的极端现象”专辑 (pp.29-32)。
Collective Intelligence for Urban Entropy has been published as featured article at Time + Architecture 2011-3 Issue on Extremes of Urbanism and Architecture in China.

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2011/05

范凌入选今日美术馆和马爹利艺术基金共同举办的“关注未来英才”计划。
Ling Fan is selected into “Focus on Talent” project hosted by Today Art Museum and Martell Art Fund.

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2011/04

范凌在西南交通大学讲座，题目为《意外》。此讲座为2011年成都双年展系列活动的一部分。
Ling Fan lectured at Southwest Jiaotong University. The topic is Contingency. This lecture is part of Chengdu Biennale events.

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2010/12

范凌对话王辉。范凌与都市实践建筑事务所合伙人王辉在中央美术学院设计大楼红椅子报告厅对话，题目为《从矶崎新的中央美院美术馆谈起》。该对话由《城市环境设计》杂志社主办，两位对话人为两代建筑师的代表，对话主题希望能够回归到建筑的内在性上展开。
Ling Fan Dialogue with Wang Hui. Wang Hui is the partner of Urbanus. This conversation is hosted by UED magazine. Two architects discussed topics around the art museum at CAFA designed by Arata Isozaki. This dialogue is part of “Gap Debate” that focuses on the interiority of architecture topics.
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2010/12/11

范凌参加域对话：建筑与艺术
AREAdialogues：Architecture and Art
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现在，公共空间不断吸收商业策略从而在终极的消费社会中存活、发展，文化空间与商业空间的区别越来越小。文化空间的使用者也毫无例外的成为了消费者，直接导致的结果是空间多样性的逐渐消失。过去独立甚至独特的活动不再具有本身的特殊性和丰富性。我们设想：新的消费者正重新寻找原来丰富的身份，以及这种身份所联系的空间感知。我们认为：消费的过程是一个空间体验丰富化、异质化和多样化的过程。

德艺术博物馆位于中国长沙，身处迅猛的房地产开发的纯消费空间之中。我们的设计是一个创造积极空间的进程。我们的设计希望抵抗空间“完成”的状态，像胚胎那样虽然有形，但未定型。从建筑学本身的角度来说，这个空间中并不存在一个屋顶、墙面和地面的精确定义，正是这种麦克卢汉所谓不确定、低定义的空间状态，使这个空间体具有一种发育的能量，不是去界定功能，而是去孕育使用。

2011-
Program: Museum
Size: 6,500 sqm
Status: In Progress

In contemporary cities, public space always absorbs the commerical strategies in order to survive and develop in this ultimate consumerism society. The difference between commercial space and cultural space is diminishing. The user of cultural space is also inclining to consumer, which directly results in the disappearance of spatial diversity. The activities used to be independant and unique are losing their characteristics. We assume: new generation of consumers are seeking their diverse identity and its associated spatial sensation. We propose: consuming could alternatively be a process of spatial diversification, hetrogenerazation and muliplication.

Taskin Museum of Art locates in Changsha, amongst the center of bursting real estate development. Our design strategy is to create an active space, which is against the condition of “completeness”. The space is like a embryo which has a figure but is not yet configured. From an architectural points of view, this space does not has a clear boundary and definition of roof, wall and floor. It is this kind of what McLuhan calls as “low-definition” spatial condition offers the building with the growing energy. The building does not confine functions but cultivate different uses and appropriations.

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范凌工作室作品集 2010－2011：前建筑，建筑前
FANStudio Portfolio 2010－2011: Before Building and Pre-Architecture

建筑前，前建筑

建筑前
到现在为止，我们在工作室里生产的所有“东西”离真实存在的实体建筑还有距离，这种状态可以暂称为“建筑前”。此时，我更觉得需要过去的工作进行反思，寻找空间发生前的线索。目的不在于佐证建筑即将出现的必然，而希望从焦虑和妥协中回归到空间创作的基本状态。这个状态是逻辑的也是感性的；是积极的也是批判的；是实验性的也是实践性的⋯⋯总之，我们做了一系列的物质化工作，包括设计、写作、教学、研究等发现、探索、捕捉、挑战空间的边界，不论物理边界、虚拟边界还是政治边界。

前建筑
我们不断寻找一种更原始的空间状态，这个状态中墙还没有变成墙，地面还没有变成地面。这个状态可以选择变成建筑构件，也可以选择变成另一种存在方式，例如空间装置。这种空间的胚胎是“前建筑”。在创造空间之前，我们先寻找“前建筑”，这是我们设计的黑匣子，但这个黑匣子既包含了物质化信息，也包含了政治和社会信息。“前建筑”需要阅读，不只是字面上的，有时还是粗暴的横切。我们把这个阅读的过程作为最关键的转化步骤。有时候，转化的结果并不是建筑，也会是空间装置、景观、城市和其他可能的空间物化介质。

这本册子同时记录上述两种状态：是建筑前的计划——进行中；是反思——从前建筑向前。

范凌（2011）

Before Building, Pre-Architecture

Before Building
Until recently, each thing  our studio produced was still distant from what can be considered a physical building. I will call this condition Before Building. At this moment right before a thing may turn into a building, I feel I need to reflect on this past work in order to capture the trajectory along which a physical space will come into being. This is not to prove the necessity of a building to be, but to return from the anxiety and compromise to the fundamental state of spatial practice. This mood is both logical and sensational, projective and critical, experimental and practical… Above all, we have created a series of material works, including design, writing, teaching, and research, to discover, explore, capture, and challenge the edge of space, whether it is physical, virtual or political.

Pre-Architecture
We never stop looking for a more primitive spatial condition, in which wall has not yet become a wall; floor has not yet become a floor. This condition could choose to be architectural elements, but also other modes of presence, such as spatial installations. This space embryo is Pre-Architecture. Before creating physical space, we always look for Pre-Architecture. This is the black box of design; yet, this black box contains material information and also political and social information. Pre-Architecture asks for a reading, but not just literally. On many occasions, the reading is a brutal cross-sectional cut. This reading process is crucial for the transformation of spatial awareness. It results in not always a building; sometimes, consciously or unconsciously, an art piece, landscape, city, and other media of materialized space.

This booklet records the two conditions described above: projects before building, and reflections that project from pre-architecture to materialization.

Ling Fan (2011)

详情请联系：fanlingstudio@gmail.com

For further details, please contact us：fanlingstudio@gmail.com

Selected Books, Magazines, and Catalogues of Solo Exhibitions

Urban Flux, “Fan Ling Solo Exhibition”, Beijing, Oct. 2011

AREA Asia, “Space for Urban Inhabitant”, Beijing, Jun. 2010

AREA, Italy, Jun. 2010

AREA Asia, “Urban Pulse”, Beijing, May. 2010

ID, “Please!”, Beijing, 2010

306090 Sustain and Develop, “Floating Green,” New York, Mar. 2010

TL, “Floating Green”, Belguim, Jan. 2010

Urban Flux, “Design into Life,” Beijing, Oct. 2009

306090: Dimension, “Extra Large: Dimension in Context,” New York, 2009

Zhang Jiang On Site, “Fat Flat Float”, Shanghai, Pi Li, (eds.), 2008

Pidgin 3, “Postcard Urbanism”, Princeton University School of Architecture, Princeton, 2008

Pidgin 2, “Fat Flat”, Princeton University School of Architecture, Princeton, 2007

Selected Texts and Interviews

“Collective Intelligence for Urban Entropy”, Time + Architecture 2011-3, Shanghai

“End of Form”, AREA 2010, Beijing / Italy

“Being Beijing”, co-authored with Cressica Brazier and Tat Lam, A+U 2010, Japan

“A Case Study as Being Contemporary”, in Urban Flux 2010/01, Beijing

“Being Beijing”, co-authored with Cressica Brazier and Tat Lam, A+U (Asia) 2009/10, Japan/ China

“From Xiaoqu to Megablock”, in Time + Architecture 2009/03, Shanghai

“Exhibition or Appearance”, in Time + Architecture, 2009/01, Shanghai

“Colloid Space and Modern Art Space”, in Domus, 2008/11, Italy/ Beijing

“On Close Reading: Building a Critical Interface”, in National Architecture Education Conference Essay Collection, Shanghai

“Five Polemic Points on the ‘Notes around the Doppler Effect and Other Moods of Modernism’”, in Time + Architecture 2008/01, Shanghai

“Interview with Peter Eisenman”, in Time + Architecture 2007/06, Shanghai

“Interview with Peter Eisenman”, in Pidgin 4, Princeton University School of Architecture, Princeton

“The Cloud in the Clock: A Fabricated Dialogue on Beijing,”  co-edited with Jonathan Solomon, in 306090: Dimension, New York

”Four Steps Representing a Chinese Handscroll,” in Pidgin 2, Princeton University School of Architecture, Princeton

“Reading the Image of IIT McComick Student Center,” co-authored with Fei Wang, in Time + Architecture 2006/01, Shanghai

“Le Dian: A Flat Sound Structure,” in Pidgin 1, Princeton University School of Architecture, Princeton

* downloadable content will be available soon.

Ling Fan was selected to “Focus on Talent” Project by Today Art Museum in Beijing. His “Fat Flat Float” Project exhibits at Today Art Museum in Beijing from May 6th, 2011 – May 18th, 2011.

“胖平飘”计划于2011年6月11日-24日在798艺术区超城艺术空间展出。

Fat Flat Float Project is exhibiting at 798 CU Space during June 11th-24th, 2011.

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关于胖平飘计划

Fat Flat Float Project

故事（recit）是复杂的主体－客体关系以及这种关系的发展。故事起源于主体和客体图像之间的（身份）分离，终结于不同身份的确认和吻合。
—— 吉尔·德勒兹《电影2：时间-影像》

当代图像技术和文化的发展重新界定了观看主体和被再现客体之间的关系。视觉技术所界定的两者新关系明显压制了观者和环境之间的联系。主体对于时间、空间的物质化体验逐渐被抽象的信息取代，一个人介入“时－空”的方式亦被规范化。我的兴趣在于把主体从熟悉的空间经验的固有信息对应中剥离，寻找、发现，甚至发明新的主体时空经验和关系，从而激发主体对于环境的物质化新鲜知觉。

“胖（Fat）平（Flat）飘（Float）”计划是三个相互关联的空间实验，试探性的寻找、发现和发明主观感知和客观环境之间存在的联系：

胖：手卷四观
研究不同身份的主体性如何成为某个客观机器、工具或机制的组成部分，使主体的介入得以“转移(displace)”，而非“改变（transform）”一个给定的客观环境？

平：平城胖视
研究观者的不同身份和主体性如何成为作用于理性系统（例如透视图、投影等精确、科学的再现方式）和艺术表现（例如艺术创作等非精确的再现方式或非再现方式）之间，成为具有模棱两可特征的中间界面？

飘：坐享悬绿
切断物与形在政治和物质上的习惯性关联，重新建立物质化的空间认知和介入空间的主体意识。

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Story (recit) in general concerns the subject-object relationship and the development of this relationship. Story begins with the distinction between the two kind of images, and ends with their identification, their identity recognized.

- Gille Deleuze, Cinema 2: Time Image

Fat Flat Float Project was three correlated spatial experiments I finished during 2007 – 2009.

The rapid development of the computer image production technique is part of a sweeping reconfiguration of relations between a viewing subject and modes of representation that effectively nullified most of the culturally established meanings between a viewing spectator and environment. The corporal experience of time and space has been replaced by information. The way of temporal and spatial intervention has also been formulated and regulated. My interest is to displace the fixed informative relationship between a subject and familiar spatial experiences. I try to discover, and even invent a new subjective temporal-spatial experience and relationship, in order to reactivate the sensation of the given environment.

Fat: Four Viewing Diagrams from a Handscroll
By closing reading a Chinese handscroll, I try to address the question how the subject with a complex identity become a component of the apparatus, whether social or technical, that subjectivity can intervene, if not transform, a pre-defined environment.

Flat: Read into Urban Flatness
Returning to a real urban environment with a dominant feature of flatness, I look into the question in what way the subjectivity could be becoming a precarious condition of interface between scientific rationalized system and highly personalized artistic expressions.

Float: Floating Green
By breaking the conventional political and material connection between matter and form, I try to re-establish a material spatial perception and a subjective consciousness of spatial intervention.

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团队：
范凌、郭廖辉、李琳娜、林凡榆、王宁（摄影）、王禹维、谢雪泉

Team
Ling Fan, Guo Liaohui, Li Lina, Lin Fanyu, Wang Ning (Photographer), Wang Yuwei, Xie Xuequan

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“小山水”是一系列微妙的城市实验，从空间和时间对城市环境进行非常规的介入。这个计划希望捕捉人在意外状况下的本性（nature）和自然没有任何关系。小山为1mm厚的硬物，小水为一桶清水。

小水：
方法：一桶清水，倾倒在人汇聚处。
观察：水带着灰尘、杂草、颜色……蔓延在城市空间中，最终流入下水道，或者干涸。在这个过程中，人们不得不对这个微妙的改变进行反应。

思考：
城市环境正蚕食自然，通过山水形态的模拟进行自然重塑只能徒劳无功。“小山水”并不艺术，而更接近是一个垃圾（waste）的积累过程。从这个角度来说，“脏”更接近自然（或者自然的历史）。除非遇到有物质化意识的介入，否则这个计划只会是没有生命的垃圾。

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团队：
范凌、高敬涵、厉之昀、卢家兴、时小雯（摄像）、王宁（摄影）、赵卓然

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Ling Fan, Gao Jinghan, Li Zhiyun, Lu Jiaxing, Shi Xiaowen (film), Wang Ning (photography), Zhao Zhuoran

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Active Naturalism

Active Naturalism, a 8,000 sqm office and business center building designed by a young Chinese designer Ling Fan, has been selected as one of the two winning proposals for a Xintiandi development area in Hangzhou, China.

Xintiandi is a large scale urban development to re-activate the industrial heritage on the outskirt of Hangzhou. The masterplan is designed by RTKL from USA. Nicholas Grimshaw Architects and Seire Architects from UK designed the major two mixed-use buildings. This project is the business center building that accommodates the developer of the whole area with programs of office, meeting, and hosting events.

The whole area initiated as the pursuit of large scale production and high efficiency during the period of Great Leap Forward, and was abandonded few years ago. The factory is regarded as the most efficient Fordist space.. When ultimate consumerism comes, the productivity created by transforming such space to commercial programs is even larger. Meanwhile, the city is expending to occupy what used to be nature. However, with the great green morality pressure, the city spend a large amount of expenses to reture the green, nature and ecology. High efficient geometrical space and organic natural space share the same spatial politics. The superimposition of the two kinds, on one hand, is our response to the existing socio-political context, while on the other, is our critique and reflection on either model.

This project is a superposition of a flexible spatial framework and an artificial landscape. The public program and office program are arranged alternately to enhance the accessibility between working, recreating, communication and other activities. The shift of different levels creates a more subtle layer change that encourage people to walk up and down and enjoy the slow working and life style. Through the interval between public space and working space, the whole building is a continuous loop. The core of the working space is an organic shape atrium, which brings wind, light and other natural elements back to the building to create a ambient working environment.

The spatial tention split the building horizontally on the second floor. The floor plate is distorted to connect the ground floor, which receives the city life into the building. The second floor is a flexible event space. It is a special space that receives all the spatial tensions from the artificial landscape. It also connects with the three floor open terrace.

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“积极的自然”项目被选为杭州新天地商务中心项目的两个最终入围设计之一。

杭州新天地项目是一个大型的工业遗存改造项目，整体项目由美国RTKL事务所规划，核心区由来自英国的Grimshaw和Seire建筑事务所进行设计。商务中心面积为8000平方米，位于核心区北侧，将容纳新天地的开发商进行办公、招商、会议和活动。

这个厂区始于大跃进时期对生产规模的追逐，而止于改革开放的生产效率和效益的诉求。这种空间在当时被认为是高效的福特主义的空间，在当代终极消费主义语境下却散发出了意想不到的更大生产力。同样，我们在工业环境下不断扩张城市，侵蚀自然，而在当代的绿色道德下却不得不花费巨大的还原自然和生态。高效的几何和有机的自然分享着同样的空间政治。两种空间的联盟，在我们的设计中一方面代表了对现有语境的回应，另一方面也代表了我们对于任何一种模式的批判和反思。

设计由一个灵活的空间框架体系和一个自然的人造地形体系叠合而成。我们把公共空间和办公空间交错布置办公空间向上或向下半层即可到达公共空间，形成办公、休闲、沟通的相互穿插。增加公共空间的可达性、利用率，形成高质量的办公空间环境。更细致的分层鼓励人们能够更多的使用步行上下楼的慢生活方式。通过公共空间和办公空间的交错，整个建筑形成一个连续的环路，串起不同的办公空间和公共空间。

建筑办公空间内部设置了一个有机形态的中庭空间，把风、阳光等自然要素带入建筑内部，形成了良好的办公环境。空间框架和人造地形两种空间类型容纳了串联和并联两种开放办公方式。
空间框架系统为办公室布局提供了自由度，这个空间所支持的串联式开放办公一方面继承了传统并联式开放式办公在开放性、透明性、高效性、灵活性上的优势，另一方面也解决了并联式开放办公在节能、通风、私密性等方面所存在的问题。
人造地形系统向上升起所形成组团式办公和会议空间两者间实现了并联的功能。同时两种办公空间所形成的空间多样性本身也增加了办公的和谐和乐趣。

建筑的空间张力在二层空间中拉开一条裂缝，一层随之发生的扭曲把城市生活引入建筑的二层，形成一个具有张力和灵活性的事件空间：展览、活动等都可以在这个空间中发生，成为整个办公楼的社会功能和生命力的重要体现。事件空间边缘是整个人工地形形成的空间扭曲，形成了空间的独特性，一直延伸到二层室外。事件空间和三层的山园之间通过一个波浪连接，活动可以延伸到三层的室外平台上。

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2011
杭州新天地商务中心J地块
办公、商业
杭州，中国
23, 900 平方米

2011
Hangzhou XTD J Plot
Office, Commercial
Hangzhou, China
23, 900 sqm

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杭州的水不仅塑造了城市的形态和文化，也同样以多样的姿态存在。水在文化上、艺术上具有浓厚的意味。中国传统的空间不断在屋顶、地面和墙面等建筑空间元素中寻找水的灵感。

方案由两个从水出发的系统复合而成：回波和潜流

回波：由外而内的水：面空间

波形成了由内而外的表面肌理系统，我们采用3毫米厚的镜面铝板进行不同穿透性的处理，形成了连续变化的表面肌理和透明度，使建筑对外形象统一而且多样。建筑在阳光变化和人位置变化下形成多样的透明、反射和折射效果，使建筑“波光粼粼“。从而产生了一种视觉统一性下的多样微观变化，也用一种积极的态度与周围新建筑和工业遗存之间形成动态关系。

潜流：由内而外的水：体空间

地块处在整个新天地地块的南侧入口处，是人流、车流等诸多动态因素汇聚之处，建筑体量随着流的变动而逐渐被挤压和变形。地块联系了东西两侧的商业业态以及南侧入口和北侧广场，形成了在基地内部穿越的潜在路径。建筑体量亦考虑为这几条潜在路径提供捷径的可能性，因此体量受到了明流和暗流的穿越、切片、摩擦，产生一个具有物质性的形体，像胚胎，具有成长的张力。充分回应了整个新天地开发的动态和发展本质。

圆和方、柔和刚：

空间：“波”启发的动态表皮系统和“流”启发的柔性体量之间的并置，形成了建筑空间以及建筑和周围环境的关系。

功能：两层系统之间有时粘连，有时脱离，塑造了室内空间，形成了功能的有机分布，包括：商业、餐饮、串联式办公、并联式办公、内院、中庭、公共平台、屋顶花园、顶层行政酒廊等多样的空间体验和使用可能性。

文化：两个系统一方一圆，一刚一柔，呼应了良渚文化的玉琮所代表的具有更广泛地域性和历史性的人文空间观。为整个建筑在功能的合理性、空间的丰富性和使用的高效性之外又增加了文化含义的深刻性。

氛围：波的表皮系统通过透明和反射的变化形成对周围环境的呼应。流的体量系统在底部形成柔性的姿态，和现有的商业建筑和工业建筑之间柔软切换；中部的刚性姿态形成自身的体量特征和形体感；上部的柔性姿态和天形成自然过渡。

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设计团队：王禹维、姜山、郭廖晖、赵卓然、史冰洁
多媒体：张学良、白明明、刘育东

形 ~ 无形 ～ 不定形
formal ~ formless ~ informal

物 ～ 材 ～ 物性 ～ 材效
matter ~ material ~ materiality ~ material effect

概念：

城市经验愈发支配人的感知，个体对于时间、空间的物质化体验逐渐被信息取代，介入“时－空”的方式亦被规范化。我的兴趣在于重新还原城市经验的时空性质，把个体从熟悉的城市经验的固有信息中剥离，寻找、发现，甚至发明新的主体时空经验和关系，从而重新激发个体对于环境的物质化新知觉。

方法：
时空经验通过两个线索的交叉获得的，一条线索是“形”：有形（formal）、无形（formless）和不定形（informal）；另一条线索是“物”：物质（matter）、材料（material）、物质性（materiality）、材料性质（material effect）。通过剥离物与形的习惯性存在，唤起对于时空的物质化意识。例如：在“坐享悬绿”作品中，草地被从习惯的地面上揭起，从一种更接近平面填充物的状态转化为一种供坐的“形”。

Idea:
urban experience dominates a human’s perception. The corporal experience of time and space has been replaced by information. The way of temporal and spatial intervention has also been formulated and regulated. My interest is to return to the physicality of urban experience. By displace the fixed informative relationship between urban experiences and individual, I try to discover, and even invent a new subjective temporal-spatial experience and relationship, in order to reactivate the sensation of the given environment.

Method:
The temporal-spatial experience is experimented in two trajectories: one is “form”: formal, informal and formless; the other is “matter”: matter, material, materiality, material effect. By displacing the object (both form and matter) from its original existence, I try to evoke the material conscious of time and space. For example, in the “floating green” project, the grass is lifted from the ground where it is used to be on, a status close to a flat infill on the plan, and transformed to a form that captures the sitting motion.