SMALL IDEA是壹格學(xué)社推出的一系列有趣的Studio課題，我們親切地稱之為“小方案”，小方案不一定在尺度上非常小，但是都基于對(duì)我們生活的社會(huì)的敏銳觀察，著眼于一些非常細(xì)微的切入點(diǎn)，試圖通過以小見大的方式來呈現(xiàn)一系列有深度的設(shè)計(jì)。在我們這組課程中，導(dǎo)師將通過線下/線下+小組交流的方式，最終帶你完成一個(gè)實(shí)際可用的獨(dú)立項(xiàng)目，為你的設(shè)計(jì)學(xué)習(xí)和申請(qǐng)?zhí)泶u加瓦。
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SMALL IDEA 課題47
電影中的建筑：王家衛(wèi)眼中的親密空間
Spatial Intimacy in Wong Kar Wai’s Universe
建筑設(shè)計(jì)，城市設(shè)計(jì)方向
“The moment when a film can completely read the city, their relationship would no longer be a dual-opposing one, both can offer the means to re-live, re-think, re-practice. Enterfilmic space to open up the interiority of the city or immerse in the city and allow filmic imagery to be guided by community, architectural space and place to realize a brand-new vision.”
Wong Kar Wai
當(dāng)一部電影可以完全理解這座城市的時(shí)候，他們的關(guān)系將不再是一個(gè)雙重的對(duì)立面，兩者都可以提供給人們重新生活，重新思考，重新實(shí)踐的方式。進(jìn)入電影空間，開辟城市內(nèi)部空間或沉浸在城市中，讓電影圖像以社區(qū)，建筑空間和地點(diǎn)為指導(dǎo)創(chuàng)造出全新的視覺觀感。
王家衛(wèi)導(dǎo)演的電影故事由許多不同的建筑元素構(gòu)筑而成，超越熒幕之上，構(gòu)筑這些故事的元素背后究竟是什么。
01
BACKGROUND
課題背景
Wong Kar Wai and Space
Su Lizhen ascended the stairwell of a hotel lobby, a stairwell that kept turning, convoluted like her own mind. She then paused at the top of the stair, seemingly had a change of heart before eventually descending. She knocked on the door of the claustrophobia-inducing bedroom. The man inside looked as if he has waited for inordinate ages. A stairwell, a door, a wall, four walls, a lobby, a window, multiple windows - architectural elements are the essence of Wong Kar Wai’scinematic language. The movie frames unravel the illusion of space, time and memory, intertwined and weaved into the movie’s narration. Wong’s two most prominent examples of constructed cinematic space are In the Mood for Love (2000)and Chongking Express (1994).
What role did his architecture play in the visual expression of movies? In which ways can cinema inspire architecture? How does one envision then enter the space behind the screen? What exists beyond the frame of the camera?
蘇麗珍登上了酒店大堂的樓梯間，一個(gè)不停轉(zhuǎn)彎的樓梯間，猶如她迷茫的心靈。最后她在樓梯頂部停了下來，似乎在最終下降之前心理發(fā)生了變化。她敲開了幽閉恐怖癥患者臥室的門。里面的男人看起來好像等待了許多年月。樓梯間，門，墻，四面墻，大堂，窗戶，各種不同的窗戶 -這些建筑元素都是王家衛(wèi)的電影語言的精髓。電影中空間，時(shí)間和記憶，交織在一起，編織成故事。 Wong的兩個(gè)最著名的構(gòu)建電影空間的例子是In theMood for Love（2000）和Chongking Express（1994）。
建筑在電影的視覺表達(dá)中扮演什么角色？電影可以通過哪些方式激發(fā)建筑風(fēng)格？人們?nèi)绾卧O(shè)想進(jìn)入熒幕背后的空間？超出鏡頭畫面的是什么？
02
TASKS
課題任務(wù)
WHAT: Dwelling for Character
The exercise is to design a house where a character from Wong Kar Wai’s movies would live. The students choose a persona from one of the presented movies, carry out a series of spatial analysis of scenes to reconstruct and reinterpret the space. The analysis will lead to the development of a design thesis. The concept taken from the movie informs the next design development. The exercise is not only conceptual but also take into account the practicality of the house as a dwelling place. The students should carefully consider the demographics of the chosen character as if he/she were a real-life client.
這個(gè)項(xiàng)目是什么：為角色設(shè)計(jì)一個(gè)住所
課題任務(wù)是為王家衛(wèi)的電影中的一個(gè)人物設(shè)計(jì)一個(gè)住所。學(xué)生從王家衛(wèi)其中一部電影中選擇一個(gè)人物，進(jìn)行一系列場(chǎng)景空間分析，重建和重新詮釋空間。場(chǎng)景空間的分析將形成主要的設(shè)計(jì)思路。而從電影中獲取的概念將推動(dòng)設(shè)計(jì)的進(jìn)一步發(fā)展。這個(gè)設(shè)計(jì)不能僅僅是概念性的，而且還應(yīng)考慮到房屋作為居住地的實(shí)用性。學(xué)生應(yīng)該仔細(xì)考慮所選角色，就像他/她是真實(shí)的客戶一樣。
WHY: Delve Into the Intimacy Between Cinema and Architecture
To understand the constructed visual experience of cinematic space, to get behind-the-scenes,beyond the cropped view of the camera, to interpret the conceptual and artistic intentions of the director, to learn from the visual story-telling how to choreograph the viewers’ experience and in turn, to take on the role of the director yourself, orchestrate a spatially intriguing experience for the house’s occupant.
為什么要這樣做：深入了解電影與建筑之間的親密關(guān)系
要理解所構(gòu)建的電影空間的視覺體驗(yàn)，設(shè)計(jì)許與導(dǎo)演的概念和藝術(shù)意圖有所呼應(yīng)，從視覺故事中學(xué)習(xí)如何編排觀眾“體驗(yàn)，反過來，像導(dǎo)演一樣，給予居住者一個(gè)有趣的空間體驗(yàn)。
03
SCHEDULE
課程安排
STUDIO OBJECTIVE
Through the close reading of scenes and spaces in Wong Kar Wai’s two outstanding works In the Mood for Love and Chungking Express, the students come to grasp profound understanding of a character and his/her surrounding. They will then develop a concept and design the house where their chosen character would live.
人數(shù)：6-8 人，獨(dú)立項(xiàng)目
難度：中高級(jí)
專業(yè)：建筑設(shè)計(jì)，城市設(shè)計(jì)
針對(duì)人群：大三及大三以上，對(duì)項(xiàng)目感興趣的同學(xué)
授課形式：小組課+1VS1+中期評(píng)圖+軟件輔導(dǎo)+設(shè)計(jì)推進(jìn)+末期評(píng)圖
開課時(shí)間：課程2019年7月初開始，連續(xù)五周
Calendar
Week 1
C1: Introduction. Pin-up: movie analysis. Assignment 00 due.
C2: Pin-up: Physical reinterpretation of a scene. Concept initiation.
Assignment 01 due.
Week 2
C3: Desk crit: Concept solidified.
C4: Desk-crit: Massing Massing Schemes.
Week 3
C5: Desk-crit: Schematic Design. Assignment 02 due.
C6: Mid Review
Week 4
C7: Post mid-review update. Design Development.
C8: Desk-crit: design development. Draft review.
Week 5
C9: Final review. Reflection.
04
LECTURER
課程導(dǎo)師
An Hoang
哈佛大學(xué)設(shè)計(jì)學(xué)院建筑學(xué)碩士
阿默斯特學(xué)院藝術(shù)學(xué)學(xué)士
Harvard University 哈佛大學(xué)設(shè)計(jì)學(xué)院建筑學(xué)碩士。17歲從高中得到美國(guó)大學(xué)的全獎(jiǎng)學(xué)金，從此在美國(guó)開始讀書。本科畢業(yè)于Amherst College 阿默斯特學(xué)院藝術(shù)學(xué)，畢業(yè)繪畫作品被評(píng)選最佳藝術(shù)作品。大學(xué)二年級(jí)時(shí)，受到哥倫比亞大學(xué)的破格錄取，直接參加了New York－Paris在巴黎的第二個(gè)學(xué)期。曾獲的獎(jiǎng)項(xiàng)包括Nagle Travel Fellowship, Athanasios Skouras Fine Art Prize等。工作經(jīng)歷包括北京X6國(guó)際建筑公司，麻省TIA Architects，紐約Sage and Coombe Architects。對(duì)多種文化非常感興趣，除了英文，還學(xué)過其他外語包括中文，法語和日語，有了豐富的國(guó)際經(jīng)驗(yàn)。擅長(zhǎng)建筑概念抽象思維，用圖像表達(dá)抽象的概念，建筑與美術(shù)跨學(xué)科合成，多文化背景研究， 很希望能幫助到壹格又有熱情又有志氣的學(xué)生。
05
SYLLABUS
授課時(shí)間
2019年7月初正式開始，連續(xù)5周，有意向的同學(xué)可咨詢獲取詳細(xì)課程方案
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