Harvard University丨GSD学生作品展
本篇文章为大家介绍Harvard University GSD 优秀学生建筑设计作品，通过这些作品可以看到哈佛大学设计研究生学院的最新研究方向，同时也可以借此开阔自己的眼界，提升自己的思维。如果你感兴趣，就请关注后续吧！
01 建造比拉斯
Building Biras
By MacKenzie Wasson
建造比拉斯：一个适应飓风的加勒比海度假胜地是为了应对加勒比频繁的飓风造成的破坏。该项目位于英属维尔京群岛郁郁葱葱的景观中，建立了一种新的度假模式，为当地居民提供安全保障、更好的客人体验和投资者提供机会，这些建筑类型植根于当地文化。开发和设计战略将颠覆性的商业战略与创新的建筑设计结合起来，以抵御5级飓风。该项目被挤压在三个山脊和三个水体之间，对岛上的四个主要环境区（水生、平地、山坡和山脊）制定了具体的建筑响应。
Building Biras: A Hurricane Adapted Caribbean Resortis a response to the devastation caused by frequent hurricanes in the Caribbean. Nestled in the lush landscape of the British Virgin Islands, the project establishes a new resort model that provides security to the local populace, a better guest experience and an opportunity for investors with site-specific architectural typologies rooted in the culture of the place. The development and design strategy pairs disruptive business strategies with innovative architectural design to withstand a Category 5 hurricane. Squeezed between the spines of three ridges and three bodies of water, the project formulates specific architectural responses to the four primary environmental zones of the island: aquatic, flat land, hillside, and ridge.
02 混合隐喻：重力、机器和移情的诗学
Mixed Metaphors: The Poetics of Gravity, Machines, and Empathy
by Morgan Starkey
“节点，即细节，是精神分析和实际构造的交汇处”
马可·弗拉斯卡里，故事细节
地心引力把我们和无生命的物质联系在一起——从字面上说，这种吸引力是我们物理的真实存在。也许更重要的是，当我们同情一个大会中的承重成员时，重力在形象和情感上把我们联系在一起，因为我们也承受着同样的力量。同理心是我们心灵的构造和物质结构之间的结缔组织，当我们的身体本身成为这些组合的一部分时，它允许我们“感觉”到环境中的物体。正是这些相互依存的部分在不稳定的平衡中结合在一起的构造表达，使得一个集合能够被一致地理解为一个更大的秩序、思想或系统的代表。
“The joint, that is, the detail, is the place of the meeting of the mental construing and of the actual construction” Marco Frascari,The Tell-Tale Detail
Gravity connects us to inanimate matter – literally – this attraction is the reality of our physics. Perhaps more importantly though, gravity links us figuratively and emotionally as we empathize with the load-bearing members in an assembly because we too are burdened by the same force. Empathy, the connective tissue between the construing of our mind and the construction of matter, permits us to “feel into” the objects in our environment as our bodies themselves become parts in these assemblies. It is the tectonic expression of joints holding together these co-dependent parts in precarious equilibrium that allows for an assembly to be coherently understood as representative of a larger order, idea, or system.
如果说连接点是建筑的精神和物理方面的联系，在那里构造隐喻讲述了建造它的社会的故事，那么这些细节就与建筑大体相似了——也就是说，一种人类创造力的模式，将隐喻和寓言叠加在一起，想象与现实的物理联系在一起。本论文认为“细节”的概念是无尺度的，在最好的情况下，一座建筑可以被解读为一个单一的细节，一个简单的机器，用来表达为抵抗想要摧毁它的重力所做的工作。它使力量的流动变得清晰易读，与它的计划和它的任务，作为一个统一的整体编排编排。
If the joint is the nexus between the mental and physical aspects of Architecture, where tectonic metaphors tell stories about the society that constructed it, these details become analogous to Architecture at large – that is, a mode of human creativity that imbricates the metaphorical, the allegorical, and the imaginary with the physics of reality. This thesis contends that the notion of the “detail” is scaleless, and at its best, a building can be read as a single detail, a simple machine of expressive elaboration of the work done to resist the gravity that wants to destroy it. It makes legible the flow of forces at play in coordination with and choreographed to its program and the ideas it’s tasked to represent as a unified whole.
19世纪末，纽约市最重要的政治机器负责人特威德（Boss Tweed）委托修建一座宏伟的新古典主义法院，装饰市政厅公园，试图确立塔姆曼尼厅的政治统治地位。在施工期间，特威德臭名昭著地侵吞了数亿美元（2019年），后来在未完工的法院被定罪并被送进监狱。因此，这座建筑的中心特征，即其美丽的艺术穹顶，从未完工，今天的建筑被一个简单的玻璃中庭所覆盖。这个项目试图“完成”这座建筑，一个倒立的穹顶被下面一个悬着的囚犯拘留团的重量压得岌岌可危。干预行动英勇地悬臂在市政厅公园上空，支撑在一个角落，在另一个角落用一个张力构件绑住。紧张成员的逗留是一个巨大的立体定位锚，作为法院大门。在每一个尺度上，这座建筑都试图将建筑结构转变成场景，设计出表面上效率低下的结构解决方案，具有现代法院所需的复杂循环和程序性问题。通过简单的机械和道具的组合，建筑不稳定地保持着平衡，在这里，社会学和物理重量的有意融合使法院的不同使用者通过其组成部分，每个部分都依赖于彼此来站立。
In late 19th Century New York City, Boss Tweed, the head of the city’s foremost political machine, commissioned the construction of a grand neoclassical courthouse to ornament City Hall park in effort to establish Tammany Hall’s political dominance. During construction, Tweed infamously embezzled hundreds of millions of (2019) dollars and was later convicted in the unfinished courthouse and sent to prison. The central feature of the building, its Beaux Arts dome, was therefore never completed and the building today is capped by a simple glass atrium. This project seeks to “complete” the building, with an inverted dome held precariously in compression by the weight of a hung prisoner detention mass below. The intervention heroically cantilevers over City Hall Park, propped on one corner and tied back with a tension member in another. The tension member’s stay is a massive stereotomic anchor that serves as the grand entrance to the courthouse. At every scale, the building attempts to turn the tectonic into the scenographic, choreographing ostensibly inefficient structural solutions with the complex circulation and programmatic concerns required by the modern courthouse. The building is precariously held in balance through this combination of simple machines and props, where an intentional conflation of sociological and physical weight orients the courthouse’s various users through its constituent parts, each dependent on each other to stand.
03 不那么肤浅：XL中的土语
Not so skin deep: vernacularism in XL
by Ziwei Song
项目重新探讨了中国典型的开发商项目，并从序列、感知、曝光和事件等方面探讨了乡土意象创造有效空间的能力。该项目的试验地点在重庆，这是中国典型的二线城市，开发商项目层出不穷。这些开发商正在建设的XL项目要么是作为“装饰棚”，用乡土屋顶作为顶层，表面上传达文化，完全追求效率；要么是作为“鸭子”，将整栋建筑包裹在文化符号中，扭曲程序以适应其标志性的形式。这两种模式不仅在传达城市和地方的形象文化方面，而且在营造有意义、舒适的生活空间方面也有着肤浅的内涵。难道没有一种方法可以超越图像文化的表层，融入到空间体验中去吗？因此，论文将文化的根源转向了文化的发起者。这一设计实验了本土形象的编排和创造空间的能力，取代了当今全球开发者的“装饰棚”和“鸭子”模式。重新接近开发商的塔楼规模，将传统院落的水平扩展，在致密化的挑战下，变传统院落的水平拓展，转变为垂直居住的拓展探索，带来了空间丰富的乡土感。通过这种规模的转变，XL tower的乡土风格满足了三个方面的需求：开发商对高效和可重复的地板的需求，城市对表达文化和身份的需求，以及居民对丰富、舒适、扩展的空间体验的需求，这些体验将他们与自然、邻居联系起来，以及活跃的社会生活。
The thesis re-approaches typical developer project in China, and explores the capacity of vernacular image to make effective space in relationship to sequence, perception, exposure and events. The project has its test site in Chongqing, a very typical second tier city in China proliferating with developer projects. Those developers are building XL project either as the “decorated shed”, that uses vernacular roof as the toppers to superficially communicate the culture and completely pursues efficiency, or as) or as the “duck”, which wraps the whole building in the cultural icon and distorts the program to fit its iconic form. Both modes are not only skin deep in communicating the image culture about city and place, but also skin deep in constructing meaningful, comfortable living space. Isn’t there an alternative way of building XL project that goes beyond the skin deep of image culture and woven into the experience of space? The thesis therefore turns to the vernacular cultural roots where developers borrow those cultural icons. The design experiments the capacity of vernacular image to choreograph and make space, replacing the “decorated shed ” and the “duck” mode of the global developer today. It brings the vernacular sensibility of spatial richness to re-approach developer tower scale, altering the horizontal expansion of traditional courtyard into the expanded exploration in vertical living under the challenge of densification. Through this shift in scale, The vernacularism in XL tower addresses three folds of need: the developer’s need for efficient and repeatable floor plates, city’s need of expressing culture and identity, as well as the resident’s need of rich, comfortable, expanded spatial experience that connects them to nature, neighbors, and the active social lives.
与将体验与形象文化割裂开来的皮塔楼住宅项目不同，这些乡土住宅类型是将厚度、丰富性和拓展门槛引入空间的典范。屋顶轮廓，花园墙的形象，与地方和文化联系在一起，但同时编排你的体验，组织节目，安排曝光和动作。本文提取了这些元素的丰富运用，并在XL中进行了实验，以转化典型高层开发人员的体验。具体地说，它采用屋顶轮廓，将您的视线引导到外部门槛，组织流向外部的循环流，并区分不同类型的居住空间。在改造XL塔时，当需要更高的天花板作为社交空间和两层空间时，它会向上扫至地面。土语根中的山墙限定了邻居的边界，保护了隐私，并禁止了单位和集体空间之间不必要的交流。花园墙为某些住宅构件（如卧室和工作区）提供了这种空间缓冲。至于如何从较小的单元建造XL，设计还着眼于当地寺庙和会馆的类型学，它们部署较小的单元来建造从小型私人单元到中型社会会议室到大型公民空间的各种规模。
Different from skin tower residential tower project that disconnects experience from image culture, those vernacular residential types are great examples introducing the thickness, richness and expansive threshold into the space. The image of roof profiles, garden wall, are associated with place and culture, but at the same time choreograph your experience, organize the program, orchestrate exposure and movement. The thesis extracted the enriched use of those elements, and experimenting them in XL to transform the experience of typical developer high-rise. Specifically, it takes the roof profile, which guides your view to outer threshold , organizes circulatory flow to exterior and differentiates different types of living space. When transforming tower XL, it sweeps up to floor above when needing higher ceiling for social space and two-storey space. The gable wall confining neighbor boundary in vernacular root protects privacy and prohibits unnecessary communication between unit and collective space. The garden wall provides this spatial buffer in certain residential component such as bedroom and working. As to how to construct XL from smaller unit, the design also looks at vernacular typology of temple and guild hall that deploys smaller units to construct a range of scales from small private units to mid scale social chamber to large scale civic space.
最后，将重庆江景XL塔楼的这种乡土主义想象，作为开发商未来装修棚塔的一种设想，并提出新的建议。意味深长的空间形象，不要试图建构出富有活力的、富有活力的形象。屋顶轮廓、山墙和花园墙交织在一起，同时设想了一种新的类型，使多户住宅具有活跃的社会中型集体空间。塔楼的最终设计建立在本地住宅的空间流动基础上，它支持灵活、适应性强的生活构件，同时也考虑到开发商塔楼规划的可行性。塔楼改变了传统内向的核心四个侧面，将中心空间腾出，成为一个被称为事件法庭的集体社交空间。活动场地内有各种类型的社会活动，从剧院、步行场、合作空间、运动场、画廊、雕塑花园到城市森林，是形成小型社区的关键。它还试图消解单元的概念，即一个家庭不仅是一个单元，而且可以在屋顶景观上享受丰盛的早餐、观看畅通无阻的城市景观和活动的社交场所。
Eventually the thesis is imagining this vernacularism in XL tower in the Chongqing river scape, as a projected future of developer tower of decorated sheds together with the new proposal. The project, not longer skin deep, tries to integrate culturally significant image to construct coherent, vibrant and active spatial experience. The roof profile, gable wall and garden wall weaves with each other and meanwhile imagines a new typology of brining multifamily housing with active social mid scale collective space. The final design of the tower builds both on spatial flow of vernacular dwelling that supports flexible, adaptive living components and the viable footprint of developer tower plan. The tower alters the conventionally introverted core to four sides, freeing the central space to collective social space known as the event court. The event court houses various types of social program ranging from theater, foot court, co-working space, sports court, gallery, sculpture garden to urban forest, key to the formation of mini community. It also tries to dissolve the notion of the unit that bounds and confines the living footprint—one family is not only one unit, but enjoys the rich opportunity vertically to eat breakfast on roofscape, to view the unobstructed urbanscape and the active social chamber in the event court.
04 方舟，一个复数的整体
Ark, a Plural Whole
by Konstantinos Chatzaras
把多元化作为当代时代精神，以城市为内在表现形式，研究一种脱离纯粹历史连续性的模式。因此，雅典是这种多元化最为明显的战场；它是一个城邦，孕育着大量的历史，充满了断裂而非连续性，征服者而非交替的统治者，以及现代性所产生的巨大冲击，这是由于其他历史城市所采用的抵抗力的缺乏。历史和风格的悲剧为古典、罗马、拜占庭、文艺复兴、奥斯曼、新古典主义和现代文化之间的一场奇特的舞蹈奠定了舞台，所有这些文化都在同一出戏中演出。这种组合模糊了时间和空间的意义：曾经连续的时期现在变成了同时的。一直保持纯洁的肖像画互相侵犯。
Accepting pluralism as a contemporary zeitgeist and the city as its inherent expression, a model that escapes from pure historical continuity should be studied. Athens therefore serves as the battleground where this pluralism is most evident; it is apolisthat incubates substantial history filled with ruptures rather than continuities, conquerors rather than interchanging rulers, and a massive shock produced by modernity due to the lack of resistance as such that was employed in other historic cities. The tragedy of histories and styles sets the stage for a peculiar dance between Classical, Roman, Byzantine, Renaissance, Ottoman, Neoclassical, and modern cultures, all performing in the same play. This combination blurs the sense of time and space: periods that were once sequential have become simultaneous. Iconographies that have remained pure invade each other.
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