海外存知己，天涯若比邻。
在海外专辑分享海外华人的故事。希望这份分享可以让世界更加海阔天空。
第五十六期为您奉上的是毕业于南加州建筑学院的曹煜。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.56 episode is about , who graduated from SCI-Arc.

为什么出国？
Why go abroad?

国内更多的把建筑学作为应用型学科而非创造型学科，指向性过强，束缚过多。在这个大环境下想在外面获得更多的思考空间，也许此间带来的代价是北美的建筑教育可能并不能教会你技术细节上的东西，但是建筑师的独立思考能力和学科的宏观发展是我更感兴趣的。

I think in china, people intend to considered architecture as an applied course which has too much restrict instead of a creative course. But what I am eager is the ability of independent thinking and development of career in the long-run. So, I inclined to study abroad to find more creativity.

在国外遇到了什么让你印象最深刻的事情？
Is there anything happened impressed you the most abroad?

毕设开始前，校长告诉我们studio的人“你是在做建筑，不是去拯救世界，别想太多”
Before the thesis, In the studio our principal Hernan Diaz Alonso told us “ You guys are doing architecture , not saving the world, do not think too much ”.

最想念祖国的什么？
What do you miss the most about China?

食物和城市的尺度。
Food and the scale of cities.

你会回国吗？为什么？
Will you come back? Why?

最终会，建筑师总是向往回到培养自身的文化环境中，更熟悉也更有动力为之思考与创造。

Finally I will come back, because architects will always miss the culture which initially influence and create themselves and they are more intending to think and design for that culture.

出国后在不同的背景下再看中国是否看得更清晰，有哪些感触？
Is it more distinct to view China in a different environment after going abroad? Any thought?

看待国内的一切事物都更加暧昧了，来回比较并逡巡在两种不同的价值观内。这是一种很有趣的体验，有时候觉得国内的生活很魔幻。我们都在被国内几乎飞速的时代进步照耀着，我们不停的告别着又不停的迎接着新的价值体系。

Because I am deeply influenced by two different values, I actually see things in china more ambiguous. This is a quite interesting experience and even makes me feel magical realism. We are all impulse by the fast develop in china, and at the same time we have to gradually abandoned the traditional values and enhance the new values.

你的学校有哪些教育特点？
What are the educational characteristics of your school?

SCI-Arc还是一个关注于建筑形态和形式的学校，这一点饱受争议但也是其独具一格在西海岸处于先锋地位的独特点。

SCI-Arc的学生基本处于“放养”的状态，自由选题，自由表现。旨在一个相对自由的环境里通过几年的学习在最后的一次设计中发现建筑的“new power”力求在形式研究，可持续美学，生成类型学，几何类型学，以及时而的超现实主义上做到极致，这是前任校长 Eric Owen Moss总是强调的，所以在之前几年的毕业设计中甚至会有出现并不是在做建筑而是诸如装置设计或是只是在做一个效果的衍申设计的情况。最终呈现的布展学校对于图纸和模型的质量要求非常严苛，大比例模型和无数次的测试打印带来了最终布展的效果相当精致迷人。

SCI-ARC is a school more focus on the forms of architecture. This point makes SCI-ARC controversial but also accomplishes its unique position in west coast.

Students in SCI-ARC are free to choose the topic and choose the way they perform. The principle Eric Owen Moss always emphasis that he wants student find the new power of architecture , striving to achieve the ultimate in form research, sustainable aesthetics, generative typology, geometric typology, and sometimes surrealism. So, lots of the graduation projects in the early years are not about architecture, instead there are many installations or visual studies. School is extremely rigorous about the drawing and model in the final representation. Model in large scale and drawing which have experienced many times test print make the representation quite delicate and attractive.

最喜欢的艺术家（绘画音乐电影等广泛范围）是谁？给你创作带来了什么影响？
Who is your favorite artist (in wider range such as art, music, movie)? What is the influence?

Francis Bacon,他的作品表现各种恐怖、愤怒和兴奋的形象。笔触中隐含着内心的想象和情绪，虽然人物的形象被肢解甚至扭曲，但依然保持着可以辨认的形象。这种对于人像的观察思辨方式与我在建筑中进行的几何体与几何关系的探讨何尝不是一种映射，潜移默化影响着我。

Martin Margiela ,个人最喜欢的服装设计师，其早期夸张怪异的解构形式和剪裁影响我在抽离形式讨论设计表现形式时更加大胆。

My favorite artist is Frances Bacon. His works create the atmosphere of anger, happy and even terror. In his work, I can feel the subtle emotion and the imagination hide behind each twisted portraits. This unique way of speculative thinking inspired me to explore more in the geometry in architecture field.

Martin Margiela is my favorite fashion designer. Its early exaggeration of the weird form of the deconstruction and tailoring of the form of discussion in the form of withdrawal from the design of more bold

觉得自己的作品集有哪些迷人的特质？
What amazing character do your works have?

迷人谈不上，我的作品只是纯粹，融入了自己对建筑形体进一步的思考。在建筑的今天，反常和不定更加明显，建筑已经失去了永恒的属性，朝着更加多元的方向发展。关于什么是建筑的问题，或许我们应该从现代主义的思维方式中走出来，我尝试通过形态的角度去定义新的秩序，也是去发现新的思维方式，不断探究发现建筑的阈限。

Compare to the attractive, I think my work is just more pure which completely illustrate the exploration in architecture forms. With the developing in modern architecture, building has already lost its eternity and become more abnormal and diversity. In the question what is architecture, we should abandon the mode of thinking in modernism and try to define the new system through the perspective of forms, keep seeking the liminality of architecture.

什么时候开始看谷德网的？欢迎你提出建议哦，谢谢。
When did you start to follow gooood? Any suggestions?

从2011年开始关注谷德网，作为一个国内设计网站，具有独特的观点与年轻激进的讨论，希望贵网站越办越好。

I have been following gooood since 2001. As a designing website in China, it has an unique standpoint and provided a place for young architect to communicate.

W O R K

1. 顽固的球 Obstinate sphere

球是顽固的且兼具无限对称性，本设计旨在探究并深化建筑中的阈限极限与其矛盾性的关系。在罗伯特文丘里的《建筑的复杂性与矛盾性》一书中，着重讨论了形态生成的矛盾二元论。在这里我以文丘里的观点为出发，运用现代建筑设计方法，发掘清晰简单的几何体与复杂且暧昧的几何关系如何共生发展。设计主体则是基地位于洛杉矶艺术馆旁的美国电影学院博物馆（今后作为奥斯卡颁奖礼主场地使用）。

探究的目的并不是其过程或者结果，而是在于“中间状态”的极限值。最终从原始的几何体发展成新的形态类型并生成了其系统内部自我的美学体系。在起始的几何体系内，运用球的无线对称性去打破它。先设置一个球的存在，接着复制若干个球在整个体系之中，运用球与球的相切相融的几何关系推敲出一个最为基本的几何关系构架。然后通过放置一系列重复的球在多核几何中心点中，反复进行布尔运算。一组球在多个几何中心反复缩放并在彼此相邻重新定位由此建立作用于原有建筑的建筑体量，空间压缩和球体的相切同时在原有建筑的内部发生。每个球体相切相互作用于彼此，并通过削减其外部球壳，创造出一系列在建筑内部相互分割且相互作用的空间。维持彼此的延展性及其刚性的阈值，从而容纳了整个建筑包括一个1000人剧院的复杂功能的要求的同时引领整个空间体系到达一个混沌矛盾的状态。

运用原有基地，保留原有建筑，对其进行加建和改造，从垂直方向考虑，纵向拉伸整个建筑的体量，在符合建筑功能的同时释放了更多的公共区域。以此逻辑来解决实际的建筑功能需求。

This thesis interrogates the constantly evolving relationship between liminal figures in architecture to produce cohesion and a state of contradiction simultaneously. Robert Venturi, in his seminal book Complexity and Contradiction in Architecture, argued for the embrace of a messy vitality. Taking Venturi’s position as a point of reference, this thesis works with a contemporary approach to the coexistence of formal clarity with unruly formal logics. The project is the design of the Academy Museum of Motion Picture Arts and Sciences on the LACMA campus in Los Angeles.

It is the intention of thesis to evolve new speciation from the formal primitive, imbuing the absent figure with new aesthetic qualities.

A set of spheres is repeatedly scaled and relocated adjacent to one another The multiple geometrical centers thus established are used to carve and compress spaces within the original building mass, which is the existing May Company building.

Each sphere is arrranged tangentially to the others and bisected by cutting its shell to create a series of distinctive spaces in the building. Maintaining both malleable and rigid thresholds, the unique spatial requirements of each program are accommodated. The AMMPAS complex contains: a 1000 seat theater with an adjacent stage and lobby area, public spaces, a museum and multiple administrative offices.

The formal strategy is to extrude the existing building volume which re-orients the corner site to allow for for public areas and landscape, producing a new way of engaging the campus.

2. 映射者与被映射者 Actor and reactor

这个设计意在探究最为初等的几何元素：线，面，体的关系，并运用其相互作用的关系生成建筑体量。设计项目位于洛杉矶唐人街车站，改造成为一个兼具博物馆的交通枢纽综合体。利用计算机数字技术，模拟基地附近风的走向并抽象为线，通过抽离表象形式生成几何体系，在已经生成的线的基础上，重复利用线的指向性连接成为面。此曲面作为线的映射者同时又会成为建筑体量的被映射者。在基地中心随机放置三个基础立方体，利用产生的映射面去削减，产生最终的形态。原有的基础几何体则作为最终形态的被映射者存在于最终形态之中作为建筑功能的核心区域使用。

This project is trying to explore the relationship between three geometrical elements—the line, the surface and the body and use them to create architecture forms. The project in locating in Los Angeles Chinatown metro station, converse the station to a traffic hub. By using the digital technology, I simulate the direction of wind and abstract it into lines, generating the geometrical system without original form, and using the directivity of lines to create surface. This surface is not only the reactor of lines, but also the reactor of architecture forms. random set three cubes into the station, using the reactor surfaces to carve ，to create the form. The initial form will become a reactor still be used as core area in the final form.

至此完成了线-面-体基础几何体-映射面-最终形态真实世界-几何体系-建筑空间的三向映射与被映射关系。

Finally, I illustrate the relationship among lines, surface, basic geometry, mapping surface, final form, geometry system and architectural space in an actor and reactor state.

3. 未定义的形态：爆米花 Undefined form / popcorn

我们如何去定义一个形态，如何又把建筑结构，功能，表皮等各项元素重新归为未定义的状态，重新去审视它们并再次探究其相互关联的阈限。因为其形态的随意性和人工性，在这里拾取爆米花作为始发点。利用高速摄影机记录下爆米花爆开的每一帧，再使用数字建模技术重复这一过程，但因为人手工的随机性，在此过程中避免了单一参照物可能带来的单一性。作为纯粹研究形态的设计，基地位于东京涩谷的一个停车场里，避免任何的场地关系。将人工建模生成的爆米花模型植入其中再进而不断重复建模过程直至自然形成建筑形态。体量作为自由生长的几何形态不可谓不是未定义的。此时的建筑功能，表皮和空间是杂糅在一起的。而又因为爆米花的内部膨胀的特性，让结构自由生长在其中。

How can we define a form and how can we define the architecture structure, function and many other elements into a new, undefined state and re-examining and explore the relationship among them. Because of the randomness and artificially in form, I choose popcorn as prototype and use high-speed camera to record whole process of its pop. Then I use the modeling technology to express the process. As a project which explores the form, the experiment is located in a park in Shibuya, Tokyo to avoid the influence of space. A set of modeling popcorn locating to the base and repeatedly remodel to the architecture form. The form as an naturally growth is undefined. At this point, the architectural function, surface and space is also undefined. Because of the characteristic of exploration inside the popcorn, the structure is growing freely by itself.

去创造未定义的形态并非主要目的，探究整个形态的生成过程与真实爆米花之间的潜在关系并投射在建筑之中为整个设计的主旨。

Exploring the undefined form is not the main purpose, instead, the idea of this project is to explore the relationship between the growing process of the form and the real popcorn and convert it into architecture field.

4. 形变 Meta mophosis

这个设计从两个形体延伸而出，在形态学中寻求两者之间的交互点。希望构建出二者之间的共生的空间。这个空间将创造出与城市连接的可能性，作为一个剧院设计，内部的表演空间也将与城市的建构相互连接。

功能的组织划分为三个部分，中间的软性形体作为几何的主体也同样作为功能的中心。其包括了内部的表演空间极其自身的交通流线，形体在此设计中作为功能的延续。

项目的交通流线设计对于整个形体以及体量而言是以反向的逻辑进行的，为了让人群能够体验整个形体的特殊性并置身其次感受整个空间，观众将会从地下进入整个建筑空间内部。

对于整个设计而言，外立面的开孔同样起到了非常重要的作用，每一个开孔作为单个的要素布满了表皮，开孔的存在不仅仅是与形体的共生，更是对于功能的再一次演绎。从开孔的大小展现了功能的重要性与否。

Starting with two morphology object, the project is seeking the intersection between them. Furthermore, we also want to create a space in between. The gap between two morphology start to create a possibility to connect the city, and also we fill the performance space into it. We connect performance space with the city.

For program organization, the programs separated into three parts. The soft body, which displays as a center volume of the whole project, it contains interior performance space and have its own circulation.

We designed the circulation in to an opposite way of the form of the volume, in order to experience the volume we created between the object, audience first go underground to enter the project and go up with the escalators.

Aperture plays an important role in the entire project, it display as an individual object fill it the surface. The opening of the aperture not only related to the form, but also related to the privacy of the program behind from Lobby of the concert hall to the other, Form big apertures to the small’s.

5. 简单的装饰性 Sample ornamentism

教堂作为宗教建筑，内部柱网具有严谨的数理关系。此设计以威尔士大教堂为原型，拾取其中的柱式，数学方法分析其中的几何关系。再利用脚本设计软件重写编写其数理关系，使其发生扭曲等几何变形，从而重新塑造了整个柱式，作为柱式其失去本身实际的作用，为简单的装饰性。

Church as an religion architecture which is with the mathematical geometrical column relationship. This project base on the Wells Cathedral as a prototype and extract the column and using the mathematic geometrical way to analysis it. Using the digital way to re-compose the mathematic relationship to create a change in geometry deformation and re-arrange the order. As column it have lost the initial practical function and become decoration.

整个设计过程作为纯推理与反向推理的过程，旨在质疑建筑逻辑性的合理性并以现代建筑的逻辑反向计算结果。破坏其秩序不是失去组织，相反的，是在一个开放，灵活和有适应能力的系统下增加组织和逻辑性。

The whole project trying to question the Architectural logic and base on the contemporary architecture logic react to it. When I break the initial order of the system, it doesn’t become disordered, instead, it become more logical and flexible.

6. IVRV住宅 IVRV house

在设计是在SCI-Arc的habitat humanity studio完成的在洛杉矶一个犯罪率较高的地区完成了一个结合建造的团队设计项目。该项目的特点包括让居住者感觉到“安全感”。住宅名为IVRV，与 Greater Los Angeles的人类栖息地分会（一个为有需要的人建造房屋的非盈利组织）合作建造的。该建筑位于一个犯罪率高的低收入社区——West Athens，这片地由洛杉矶县捐赠。除去捐赠的劳动力和建筑材料，该建筑每平方英寸花费165美元（112英镑）。

Group Students in a design-build program at the Southern California Institute of Architecture have completed a house in a crime-ridden area of Los Angeles, with features included to help occupants feel “safe and secure”. Called the IVRV House, the dwelling was built in collaboration with the Greater Los Angeles chapter of Habitat for Humanity, a nonprofit organisation that constructs homes for those in need. The home is located in West Athens, a crime-ridden and low-incomeneighbourhood, and was built on land donated by LA County. Excluding donated labour and materials, the house was constructed for $165 per square foot (￡112).

立面遮阳板被该设计团队称为“生态幕墙”，同样具有环保效益。外层由黑色的外部金属板组成，设计它用于容纳薄的光伏电池板。内层由乙烯基片组成，它被覆盖了光催化材料，这种基片可捕捉并中和空气中的有害颗粒。这些幕墙层被粘在具有结构作用的铁管状框架上。IVRV是学校和我们团体第一个建成的项目，旨在颠覆住宅类型学——颠覆惯例的功能性关系

The brise-soleils, referred to as “eco-screens” by the design team, also have environmental benefits. The outer layer consists of black exterior metal panels that are designed to accommodate thin photovoltaic panels. The inner layer is made of vinyl strips coated in a photocatalyst material that captures and neutralises harmful particulates in the air.The layers are affixed to a steel tube structural frame. The IVRV House is our first completed project,turning the residential typology inside out – inverting and reversing convention functional relationships.

When: 2013 – Current
Where: Los Angeles, Tokyo
Name: Rome Cao 曹煜
From: Anhui
School: SCI-Arc
Office: Mad Architects , Isozaki&Aoki Associate
Contact: romearchgo@gmail.com

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