来自孙昊德 (shd12@mails.tsinghua.edu.cn)对gooood的分享。（更多摄影作品 photography on gooood）更多请至：Sun Haode on gooood
Appreciation towards Sun Haode (shd12@mails.tsinghua.edu.cn) for providing the following description:

这组照片拍摄于洛杉矶。拍摄的内容是由具有强烈个人风格的建筑大师Richard Meier所设计的Getty Center。

当我们拍摄时，是一种对场景主动的、自觉的转译，我们控制着结果。

如果说作为一种表现，并带着既有的对迈耶和盖蒂中心的认识，拍摄的其结果不出意外的将是追求匀制的几何构图，稳定的空间结构，以及温和的、诚实的材质与色彩。“个人风格”即是一种预设。

然而真实的结果却是出乎意料的。相机的传输系统开了个令人紧张却让人惊喜的玩笑。

解构、重构、颠覆、升华。图像内的所有信息如同爆炸物，粉碎在无法感知的空间，由如同带有非中心的、并置的引力，进行了再一次的呈现。而这位“肆意妄为”的力量竟来源于我们完全信任的——计算、设备以及我们引以为傲的技术

微妙的划分、冲突的色彩、戏剧化的结构。图像中原本的建筑的线性几何形态和空间重新建构并且表达，产生了完全陌生却又显得合理的空间效果。由设备苏损坏造成的错误计算，导致了图像信息被重新“记录”，或者可以理解为一种缺失，同时由于计算是有一定程序逻辑的，是将信息再次“理解”，而不是“篡改”，即实现了这样一种表达，而不是“混乱”。仿佛这样一个空间也是存在的，以至于不得不承认这一次“背叛”超越了期望。

These photos were taken in Getty Center designed by Richard Meier with a strong personal presentation in architecture.

Photography, especially on architecture and space, is an active and self-conscious translation of the scenes through the lens. We get the controller and trigger of the results.

As a kind of presentation of the architecture and space, combined with an existed stereotype of the Meier’s design and Getty Center, the results of these photography would more likely be balanced position, stable construction of the space, mild and honest color of the material. This so called ‘personal style’ which is an expectation.

Obviously, the results are beyond expectation. The transmission equipment of the camera made a tense but surprising joke.
。
Deconstruction, reconstruction, subversion and nirvana. To the image, all the information contained in the image was exploded as the fragments in a space where we could not perceive. Juxtaposed and acentric gravitation assembled them into a new presentation. This kind of delirious power was from the calculation, equipment and the technology we were proud of.

Subtle dividing, conflicting colors, dramatic construction. To the architecture, the linear geometrical form and space were reconstructed and represented by the image. However, this complete defamiliarization somehow produced a rational effect of the space. The fault calculation caused by the physical damage of the equipment results in a ‘re-documentary’ of the information, meanwhile. Because of the logical procedure, this information is ‘recognized’, not ‘tampered’. As a result, it is not a chaos but a new presentation. This space seemed to be existing so that we have to admit that this ‘betray’ was beyond expectation.

所以，在设计中，我们应该如何看待“错误”，以及“错误”本身的形态与表现？由预设中不会犯错的技术或者说程序、规定，产生的一个并且令人费解，但又合理，有效，我们无法否认其在设计层面正确性的结果。

固有的，对于与期望不匹配的结果的恐惧，可能是来源于对技术依赖。数码相机将光裹挟的信息数字化，并模拟胶片的光学性能产生图像，储存于记忆卡中。一切都是绝对准确的、计划中的。于是我们会再对这些信息进行可预知的编辑，即通过运算、设备以及技术，实现我们预期的效果。如同使用传统胶片时，我们使用化学对底片的再次编辑。然而这一切都会向着我们希望的方向前进，我们的期望越强，对于技术的依赖也就越大。

建筑设计本身也可以理解为在特定群体意识影响下，个体对物质空间塑造和文化表达的带有预设结果的计算。我们利用设计方法和技术来保证设计的结果是“忠诚的”、“有效的”。而当这种计算背叛我们的时候，我们又将如何对待这一“错误”，这是一个值得我们思考的问题。而众多伟大的建筑往往也建立在某种“错误”之上。

从摄影到建筑，希望这组由“错误”产生的摄影作品可以提供一些新的想法与灵感。

So, how should we think of the ‘fault’ and the form and presentation of ‘fault’ in design? A confusing result made by the technology, procedure and regulation which should avoid mistakes is so rational and effective that make us cannot deny its correction in a perspective of design.

Inherently relying on the technology and method may cause the fear of the inconsistent results which do not exactly reach the expectation. As a simulation of chemical process, digital cameras store the information digitally and let us edit it. Just like what people do with the films in the darkroom, we use technology, equipment and calculation to store and edit the information with a strong intention, a sense of expectation. More we expect, more deeply we rely on the technology.

Architectural design can be also read as a calculation which is chasing a certain result, on the shaping of physical space and presentation of culture by individuals under an influence of group consciousness. We use certain design methods and technologies to insure ‘loyal’ and ‘effective’ results. So, there comes a question worth being discussed: how do we think of the ‘error’, when we are betrayed by the calculation. As we all know, a lot of great architectures are born with some kinds of ‘error’.

Form photography to architecture, I hope these image works made by ‘error’ can provide some new thoughts and inspirations.

作者：孙昊德 (shd12@mails.tsinghua.edu.cn)
清华大学建筑学院博士生，更多请至：Sun Haode on gooood

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