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。
第五十八期为您奉上的是毕业于密西根大学的张旭。

张旭现于纽约SHoP建筑事务所任职，期间主要参与的项目包含位于中央公园南部1，428英尺高的111号（本文项目）以及坐落于布鲁克林市中心1，066英尺的超高项目。在此之前，他曾在纽约的贝考弗及合伙人事务所以及丹尼尔·里伯斯金事务所，东京的坂茂设计事务所，和西雅图的LMN建筑事务所等工作实习。在2016年他以建筑研究生毕业于密西根大学，并获得了2016年建筑学院内颁与学生的最高研究奖项并在学院内的公开展览展示其团队的研究成果。同时也作为密西根大学的学生代表去竞争2015年KPF的旅游奖学金项目中。他在2013年本科毕业于华盛顿大学建筑学院（西雅图），并于2019年获得华盛顿大学毕业10年内最佳校友的学院提名。

A bosom friend afar brings distant land near. The Oversea album shares the lives of Chinese living abroad with all. The No.58 episode is about Xu Zhang, who graduated from University of Michigan.

Xu Zhang is an associate at SHoP architects in New York, where he has worked on a series of high rise projects, including the 1,428 ft supertall residential project on West 57th St in Manhattan and a 1,066 ft supertall project in downtown Brooklyn. His prior work experience includes internships at Pei Cobb Freed & Partnership and Studio Daniel Libeskind in New York, Shigeru Ban Architects in Tokyo and LMN Architects in Seattle. He graduated in May 2016 from the MArch Program at the Taubman College of Architecture and Urban Planning at the University of Michigan, where he received the ASRG Architecture Student Research Award and presented the research for the associate exhibition. He has also been selected as one of the two candidates to represent University of Michigan to compete for the 2015 KPF Traveling Fellowship. In 2013 Xu graduated with a Bachelor of Arts in Architectural Studies from the University of Washington. In 2019 Xu was selected as one of the nominees for the University of Washington GOLD Award which recognizes the accomplishments of alumni of the UW Department of Architecture within ten years of their graduation.

为什么出国？
Why go abroad?

受父亲的影响，建筑变成了我从小的梦想，但是国内高考和大学划分专业的方式应该会让我止步在我的梦想前。来到美国之后反而给了我机会去选修我更擅长的建筑艺术类的课，通过自己的努力最终进入到了建筑专业。
Since my very young age, I knew I would become an “architect” under my father’s influence somehow. The Chinese university examination system might become the factor in shutting down my path toward architecture study. However, I got the opportunity of studying architecture pre-major classes during my first two years at University of Washington, and eventually made to my school department’s list.

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?

狗狗每年看病的花费比我贵。
The medical bill for my little dog is much more expensive than mine…

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

家人，朋友。
My family and friends I knew from high school.

你会回国吗？为什么？
Will you come back? Why?

会，希望在将来自己拥有自己的事务所后可以把一些自己对建筑设想带回国内，也出一分力。
Definitely, but will after I have my own practice in the future. Hoping to have the opportunity to merge what I have learned to the field.

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?

看的更清晰谈不上，小时候生活过的街巷，小区边上的小吃地摊，茶余饭后小广场上闲聊的左邻右舍，这些小时候忽视的地域特有的点滴现在反而变得特别的珍贵，有趣。对我而言所谓的文化，不只限于小时候口中的中国的那些“大文化”，更有趣的是那些在一个地域或者城市中看似无形，简单却又真实有力百年传承下来的生活习惯。
It’s a little bit hard to say. The little things I encountered in my hometown from my very young age as I am looking back are becoming more and more unique and precious to me. For me, the so-called Chinese culture is not only limited to the “big culture” that we usually referring to, but should be the seemingly invisible, simple but important living habit limits to a particular region or city that pass from different generations.

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

我的本科华盛顿大学是一个很扎实的学院，基本上学校的设计课由于要求方案的可行性可以让你无缝隙的衔接到真实的项目设计中，这一点为我当年进入到公司参与项目提供了一个非常好的基础。其次是超大比例的tectonic 模型是比须要有的元素，通过平面，正常尺度和超级细节化的大尺度模型之间的转换可以让设计方案的整体化更完善。

我的研究是在密西根大学安娜堡分校读的，学术气氛很浓，教学注重的要点是教授去引导和加强你个人批判性思考的能力和对设计方案的多元化。同时由于学校充足，会有很多教授领导的研究项目让学生参与的机会，可以接触到一些很有创造力的想法来扩展自己的设计思路。学校同时有强大的fabrication lab 和机器人的支持，也直接的为学生提供了更为丰富的设计资源。

My undergraduate University of Washington has a unique tectonic culture. It focuses on providing a very solid architectural background to students throughout the entire study. For students, to meet the diverse really project like studios with different requirements has reduced their gaps between the academic world and the practice field to the minimum, and I benefited a lot during my time at LMN Architects right after my graduation. To better helping you understand your design work, professors always asked you try to explore the project from different perspectives and scales, especially in super detailed, large-scale tectonic model.

The university of Michigan has a strong academic interest, and the works from our school are really creative and sometimes “wired” in a good way. Professors are more focused on strengthening your own critical thinking ability and being really supportive of your project development as long as you are still “controlling” it in the right direction. In addition, due to the huge research funding, there are multiple professor-led research projects and fellowships each semester for students to be involved with. The research topics are really unique and you will have the opportunity to work on the next new trendy thing in the field. Moreover, Michigan also has the most advanced robotic fabrication lab in the world for students to explore different design approaches.

你现在工作公司的特色和有趣的地方？
What are the characteristics and interesting points of you firm?

SHoP Architects 在短短20年内成为了在纽约最具影响力的建筑事务所之一。年轻人被赋予了项目上很多的责任这一点相比我在之前其他公司时很少经历过的。公司的工作环境非常好，而且合伙人会聆听年轻人的想法和尊重并且支持他们想在未来工作发展中着重获得的经验。

SHoP Architects has become as one of the most influential architecture firms in New York within 20 years of practice. Compare with other firms, SHoP Architects’ partners really value young professionals’ contributions and have been giving young people a lot of responsibilities for projects in different phases to boost their experience and career development. The working environment is amazing and there are lots of things going on for people to get involve with besides regular projects.

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?

一年前看到过杨泳梁的作品觉得很有视觉冲击力。“山水作品”远观和近景安全是两种截然不同的感受，传统的山水画通过数码和数字合成进而创造出属于新一代的山水认知。早期的蜃市山水作品看上去是模仿元代倪瓒的山水画，但以数码绘制的“假山水”，电线杆取代的树林，高楼取代的山体很具有讽刺意义。同时这种关注中国城市急速发展下所忽略的都市面貌巨变也给我很多设计灵感上的延伸。

Last year I encountered Yang Yongliang’s Shan Shui works online, and the powerful visual impact is still vivid. “Landscape work” forms two very different feelings from seeing it afar to a closer zoom scan. The traditional landscape painting recomposed with modern digital techniques and digital synthesis in creating a new generation of landscape awareness. His early landscape works seem to imitate the Yuan Dynasty Ni Zan’s landscape paintings, but the digital drawing of the “fake landscape”, the electrical power posts “trees”, man-made high-rise “mountains” is very ironic and distinct. At the same time, this concern about the rapid development of Chinese cities under the neglect of the urban landscape changes also informed lots of design inspirations to me.

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，但是总体来说方案关注的内容比较多元化吧，建筑尺寸之间的跳度也很大。我喜欢设计一些关于民生，社会和环境问题的课题。通过深度的分析和了解造成所面对的问题的历史背景后，通常喜欢先把所有的信息和对项目的态度表现在一个拼接而成的情景分析图上进而让设计的灵感根能够从一而终。还有就是自己的作品没有什么明显的风格也是现在这个阶段比较喜欢的，因为觉得还要经过多年的磨练和尝试后才会更清楚的知道自己擅长的风格和方向。

Fascinating might not be the proper word, but in general, I think the design focus and approach of the projects I am showing here are really diverse. The size of projects also jumps between fabrication objects to mega landform buildings. I like to focus on projects relates to, such as the 90% of people fundamental needs or projects involve with social and environmental issues. Through intense research, analysis and understanding of the historical background that formed the problems I am facing, I usually summarize my concept and feeling within a single situational drawing representation in order to remind me what is the most important “element” that I need to achieve though the design proposal. In addition, I really enjoy not having a “visible” style of my work in this stage of life due to I believe there is still a long way to me to really understand what’s my “direction” after expose myself to a wider range of works through practices and research.

什么时候开始看谷德网的？有什么建议提供给我们吗？
When did you start to follow gooood? Any suggestions?

应该是两年前吧，看着古德的平台内容愈发丰富和多元化，而且分享给读者的也是一些最跟进风向的信息和项目设计，同时也在为宣传更好的中国项目做出了很大的贡献。希望越办越好。

t was two years ago when I first started to follow Goood’s website. The platform is getting much more diverse and rich with different albums and unique projects. In addition, I also really appreciate the effort Goood team has been doing in sharing Chinese architect’ works around the world.

W O R K

夹中共享 | IN BETWEEN LIFE STYLE
微型共享公寓和公共图书馆的混合体 | Micro Housing + Public Library

同时在Next Top Architects上发表过。Featured in Next Top Architects.

密西根大学，2014,冬.
导师：Christina Hassan, Jonathan Rule. 团队其他成员：Tommy Nam, Kristen Gandy.
University of Michigan, Winter 2014.
Instructor: Christina Hassan, Jonathan Rule. Team: Tommy Nan, Kristen Gandy.

这个 studio 是要求我们在纽约布鲁克林的运河边去设计一个单身年轻人的微型住宅和公共图书馆的一个混合体。

人们如何生活，工作，享受人生一直都在改变。传统模式的家庭（特别针对纽约）在慢慢的消失，慢慢被单身，单亲，还有老年化家庭所取代。这种模式的转变同时在反问我们应该如何去定义现在人对家的理解。在纽约，大多数的年轻人在寻求同时有足够安逸的个人空间和可承受的房租时，通常是找不到理想的“家”, 而且需要和陌生人或朋友同事同居。而这个项目将通过提倡一种新的生活分享理念，给单身的年轻人在最小的投入下获得最多个人安逸生活空间的一个机会。

概念设计的初期，如何去平衡图书馆的公共区域和微型住宅的私密区域成为了我们设计的主要方向。通过对家庭模式转变的进一步研究，我们觉得既然大部分的纽约单身年轻人都在和其他人分享这自己的公寓，我们为何不将个人的微型公寓设计成一个只提供个人生活必要空间的面积，之后把生活上其他活动全部移到公寓外部，进而提出一个新的生活共享方式。

这种新的生活共享方式可以更好的去融合这种公共和私密空间的链接，而并非去对他们实行传统上隔离。因此，一种被我称作“夹中共享”的年轻的生活方式被定为主要的设计方向。传统上对私用和公用区域的分割在这个方案里是看不到的，那种固化的分割方式通常局限了两种 programs 之间的联系，和期间可能碰撞出的新的利用空间。

当一个个小型的共享空间被均匀的穿插在微型公寓的走廊里，这种水平和垂直方向的插入使得私用和公用区域紧紧的相融在一起，同时也让整个综合体变得有活力起来。共享的空间像小型的室内平台（阳台），提供着像阅读，娱乐，瑜伽，厨房，微型院等等的功能，同时也可以根据居民自己的需求去定义一个小平台的功能。当公共空间也从自己的微型房间内移了出来，使那再平凡不过的夹在混合体门口和自己家的门口之间的走廊变成了一个真实的社交互动平台，给上班忙碌了一天的人提供了一个在他们再熟悉不过的空间里去结交与他们兴趣相投邻居的平台。

这个方案中，1至3层被设计成多功能式的图书馆，4-12楼是由微型住宅组成。对于微型住宅，我们使用了传统的集装箱作为一个单位的大小。配合特别设计的滑行式的多功能家具，使得刚刚好的空间可以快速在不同的功能转变。当然谈到单身这个主要用户群体，我们也考虑到会不会有邻居间相爱最后需要住在一起的情况。所以相邻的公寓可以通过和同层，或者上层的公寓进行组合，进而提供不同尺寸和布局的公寓。

特别需要提及的是3楼的功能设定，它起到的是一个增加整个混合体功能性的一个区域。在工作时间里，它被视为图书馆的一部人，挑空的巨型空间成为了很好的阅读休闲区域；而到了晚上和周末，当公共图书管关闭了之后，它则变成了一个公开的空间为这个混合体的居民提供不同活动的场所，比如时装发布会，跳蚤市场，小型的婚礼，音乐演奏厅等等。当整个建筑内的所有区域。

This studio is about designing a mixture of micro-housing and public library near Gowanus Canal in Brooklyn, New York.

How we live and play is constantly changing. The classical family is disappearing, replaced by diverse new groups of singles, one-parent-families, and elderly people. This paradigmatic shift questions the status quo of what constitutes a home. In New York, the search for affordability and individual space with common amenities has led to the disjunction between the type and size of available living accommodations.

Such heavy shift in family type also creates new possibility in proposing new living style, so called “in between”. The conventional separation between private and public space would not be seen here. Instead, a co-shared semi-public space vertically breaks the boundary between public and private program, creates a continuous social interaction between residents within the building complex and also activate the passageway next to the micro apartments to t young people’s lifestyle.

Residents have more options to build their social networks by choosing to hang out from different semi-social hubs. Instead of spending resident’s 100% of their spared time inside their apartment, now they will spend around 65% of the time inside but the rest of their time to be socially connected with other young single residents.

During the weekend, some residents could enjoy their own afternoon inside their micro apartments, while the others couldn’t themselves among multiple social hubs meeting new people through different social events. Such shift in how single young people social with other residents is what “in between” lifestyle provides.

▼ Concept Diagram

▼ Site Map

▼ TYPE A Rent only, 130 units with removable furniture system that could let residents quickly switch the function of the room to bedroom, living room, kitchen, or bathroom in few seconds

▼ TYPE A+ Duplex apartments are combined by two or three micro apartments. There units could be treated as either a studio office or a two bedrooms unit to fits the residents daily life needs or increasing family size

▼ TYPE B Sell only, 36 units are designed for couples, with larger floor area and balcony space. Those units are usually adjacent to semi shared public space such as reading hub or movie hub in order to count more square footage into the unit

真正的链接体 | The Real Connections
链接底特律和它的市民 | Connections “Connect” Detroit with its People

同时在Next Top Architects上发表过。Featured in Next Top Architects.

密西根大学，2014，秋.
导师：Matias Del Campo. 马德朴.
University of Michigan, Fall 2014.
Heart Palaza, Detroit. Instructor: Matias Del Campo.

在1805年的底特律大火后，奥古斯塔斯·伍德沃德被指认为大密西根区域土地法官并带领城市重建运动。由于他个人对欧洲巴洛克放射式城市规划狂热着迷，以及借鉴同时期华盛顿大火后 Pierre L’Enfant 提出的规划方案，最终帮助他设计出，在我看来“臭名昭著”的伍德沃德规划。整个设计也将整体城市规划设计的中心从如何与运河更好的协调变成了上帝视角公路网的。

从这个规划不难看出它并没有根据城市自己的特点来规划，纯粹的集合崇拜反而使得所有的区域没有了特点与方向感。由于规划的 scale 没有考虑到未来城市发展的速度，后期随着时间的推移，市中心仿佛是成为了一个与周围居民社区隔离的陆上孤岛。

随着19世纪末到20世纪出，福特的汽车帝国的出现，使得人们的生活方式彻底的被改变了，也更直接的影响到了底特律的城市规划的进程。由于底特律周边小城市对汽车工业税收上的减免政策，几乎所有的汽车工厂全部从底特律中心转移到了周边的城市。作为当时最主要工作来源，工人们都搬到了离工场更近的地方。福特汽车的同时也为工人们在工场附近建立了员工住宅区，这一举动使得底特律市中心彻底被孤立了。汽车成了在当时公共交通极不发达时期真正的代步工具。甚至在找工作面试时，拥有自己的汽车成为了拿到工作的必要条件时，可见当时公共交通发展的匮乏。从地图中不难看出，几乎45%的市中心土地被规划成了单层或多层停车场，而剩下的土地被办公楼取代和很小的公共区域比如广场和公园。单一的城市功能分布以及缺少居住区域的划分，人们早来晚归，晚上虽然灯火通明但城市却空一人，这样的市中心完全没有家的感觉，反而更像一个“短暂”的公共车站，人们没有任何对城市情感的纽带。

我的教授 Matias Del Campo，马德朴 (2010 上海奥地利展馆设计师) 希望我们设计一个至少350米 (1，000 英尺) 高的超高建筑，以至于都有什么功能划分，有我们自己来决定。在 studio 开始初期同时给我们每个人分派了一个植物作为设计灵感的借鉴，比如形体，结构或是任何你感觉可以延伸设计的要素都可以被大胆的表现在你的设计里。我被分派到的是苔藓。它并不像一般植物在根茎叶的功能和形态上划分的很明显。它通常会由单细胞绿藻 (green Algae)，和植物皮层 (cortex) 组成，一些高级的品种才会出现有假根 (rhizins) 的情况。虽然有不同的分层，但是所有的细胞与营养的传送都有体内的绿藻完成，同时不断的从周围环境吸取自己本身稀缺的营养。这样的自我生存能力让我十分感兴趣，也同时恰好与底特律缺少多样性的公共功能相呼应。一个城市的发展，需要对自己所缺少的功能设定有非常清楚的了解，而并非只是一味的去从上帝视角去欣赏你精细设计的彩色功能划分。我将这个400米高的超高建筑看作是一个像苔藓一样的不断在吸收底特律稀缺的公共功能区域，并给它们提供一个相对自由选择楼层以及位置的方式去让这个垂直社区随着时间的推移，自己去形成一个相对不同的形态，进而真正成为一个同时提供可以让市民居住在城市里的机会，并且有更多的与城市的互动进而重建起情感上与城市的链接。

Woodward’s fantasy with traditional Baroque city planning caused the urban planning of Detroit in a less “planed” result. Isolated central urban space from the rest of the city and the less diversities land use minimize the interactive level within the city center. The unique historical background forced people to commute between city center and their home in a daily basis, which has formed an invisible wall not protecting the city of Detroit, but rather creating the separation between city and its people. City supposed to be occupied by people, no matter day or night. However, isolated the city of Detroit from its citizens at night, which makes the city not like a home to them, but rather like a bus station with no emotion bounds at all.

Roughly 50% of the current city center is surface parking, and the rest of it is primarily used as offices, and without any residential at all. Someone once said in order to redevelop Detroit, we need to recreate Detroit’s past. The old economic system has made people live near where the factories were located. People have less interested to live in the city due to the higher tax and less interactive environment.

Lichen, it seems compost through multiple different organic layers but actually, its whole body is made just one inter-connected system. By research its bio-structure, it forms a triangulation pattern in horizontal and vertical direction. There are numerous supplemental layers to provide the nutrition to the dominant fungus. City should also develop like this in order to be healthy growing overtime with different secondary supporting elements. The sky community utilizes lichen’s primary spatial layout principle in order to create a vertical interactive community locate at the heart of Detroit. Inside this vertical community, every building is interconnected with mixed of programs.

反转“死亡景观” | Reverse “Deathscape”
治愈内华达核武器实验基地 | Remedy Project for Nevada Testing Site.

同时在 Super Architects 上发表过。Featured in Super Architects.

密西根大学，2015，秋.
导师：Dawn Giplin.
University of Michigan, Fall 2015.
Instructor: Dawn Giplin. Featured publication in Super Architects.

这个是我在密西根大学的第三个设计。教授 Dawn 只是告诉了我们这次设计课需要在内华达州内设计一个你感兴趣的项目，至于多大，什么功能完全自己决定。我一直对那种被人类有意或无意彻底破坏掉的地区很感兴趣，我因为通常在极端的地区里，人们往往会去选择逐渐远离并且最终遗忘那片曾经的区域。内华达核弹头实验区这样的地方很自然的就成为了我想去更一步了解的区域。

1948年美国政府的一个决定，把内华达一片相当于44个曼哈顿岛的区域变成了一个充满核辐射的死亡景观，而且这个事件带来了的影响远远超过了我们的预想以及这边区域的地理界限。纵观历史上日本广岛和长崎的原子弹空袭；美国国内上升的癌症病例（由于美国国内40年内1000多个核武器实验所产生的辐射粉尘通过风向和飞机附着传播到周边区域）；以及现在世界各国所储备的核弹头和核污染，不论从那个方面去考量这个核发展，我们都或多或少在承受当年这个决定所产生的影响。

内华达的核武器试验区与拉斯维加斯只相隔短短的70英里，但是却以两种极端的形式存在在同一片区域。一边是一个人们慢慢建设成的沙漠中的绿洲赌城，灯红酒绿成为了它的代表。相反，试验区也是被人们慢慢“建设”，最后消耗成了一个人们“敬而远之”的死亡区域。这片区域的过去和现在对于我们并不陌生，但是我所想的是当60年后，这片已经被人们遗忘的地方同时被政府所抛弃，它会不会真的成为一片永恒的死亡遗境。（美国政府还在这里设有军事基地和核废料储存的基地）

纵观历史，我们作为人类，可以毫不讳忌的说我们已经征服了核能源破坏性的科技并且在不断的突破极限，但是现在，看看我们正在经历的雾霾，核发电厂爆照的核污染和种种那些，我们更需要去探超级能源能为造福环境并有积极影响的科技。

针对内华达的核武器试验地，我设想了一个完全由核废料作为全部能源自主行走的“治愈系”庞大机械体，会在100年的时间内逐渐的去把被核武器实验所污染的地表和地下环境变回60年前的样貌。这个设想也是在我做research的时候，看到了Leslie Dewan博士研发的新型核反应堆可以只用我们现在所产生的核废料作为全部的发电能源去为整个地球供电70年。有了这个作为设计的地基，进一步是我的想法不在是空想。

这个庞大的自主移动体在这治愈这片土地的时候，完全不需要人类的参与。刚开始的第一年，会把地表2米的所有土壤回收，并收集在土壤收集区去进行土壤的核辐射降解。5年后，自主移动体会在设定好有地下水资源的区域投放下“核种子”，通过首先对小区域的卫星环境进行净化和发展。整个机械体对于我来说，是有生命的。之所以被称作为种子就需要通过对自己的“牺牲”- 降解进而去提供植物生长的平台。就好比把自己的生命里注射到了土地里，去为不久的将来提供一个平台去创造未来的希望和可能性。10年后植被会在这片土地上不断的蔓延，但是机械体还是会在这边庞大的土地移动，为了把当年回收的土壤重新撒回这个区域里。但在之后的20到60年里，根据当时的环境，这些机械可能会停止工作，最终腐化成地表建筑的一部分，作为时间的印记，或是真是的治愈环境的博物馆，为下一代的人提供一个学习这个工程的场所。

这个不光只是一个对于环境治愈的方案，更是一个对于经历过核武器，核电厂爆炸有过直接或间接伤害的这些人的一个精神层面的治愈。还有通过使用曾经对环境造成了不可估量破坏的能源作为进行治愈的主要能源也是我们和下一代人们需要去思考的一个作为这类治愈方案的方向。

One government’s decision back in the 1950s to’ turn a sizable portion of the Nevada (equal to 44 Manhattan islands) into a completely radioactive deathscape, and the resulting outcome and influence of this decision is far more beyond the nuclear testing site’s physical boundary. From the Hiroshima catastrophe in Japan to the downwinder’s increasing cancer rate across the United States traced back to that time, we may have all suffered from this world changing decision

Nevada is as a place with extreme social conditions: it has Las Vegas on one side, and the Nuclear Testing Site on the other side (either of which is only 76 miles away from each other). It also mixes with the natural landscape, man-made “positive” landscapes and the negative deathscape. While we have a clear idea of what the testing site is for now, we must consider 60 years in the future. We may also question whether the site is necessary and if so, will it be isolated from these harms or will it become a forever forgotten isolated deathscape?

Throughout human evolutionary history, we surely have mastered the technologies for destruction, but now it is the time for us to master the technology for creation and rethink the other side of nuclear power.

A remedy project powered by nuclear reactors and run entirely based on nuclear wastes will gradually turn the most radioactive site on earth back to a nature landscape within a 100-year timespan. A mega bio-machine such as this would be able to clean the soil of the site during its journey while spreading the Nukeseeds in multiple locations where those nukeseeds will slowly “irrigate the site with potential,” and plant the seeds for the future possibilities. In addition, it would prepare the ground for both uncertainty and promise in this man-made deathscape.

It’ is not only a remedy project for the natural environment but also an emotional remedy project for those people who have suffered directly or indirectly from these actions as relates to nuclear tests. In addition, using the positive power of nuclear to fight against the damages done by the negative power of nuclear energy is what we need to consider now for these remedies to take lasting effect for future generations to see any lasting effects of remedial work.

绘画机器与人类活动的对话 | The Dialogue between Drawing Machines + Human Ambience

密西根大学，2015，冬.
团队其他成员：任思伟，Tommy Nam, Hyun Seong Min. 密西根大学学院建筑研究奖。
University of Michigan, Winter 2015.
Team: Siwei Ren，Tommy Nam, Hyun Seong Min. Architecture Student Research Grant 2015.

这是一个我在密西根大学的一个和朋友的团队项目。我们在2015年赢得了学院建筑研究奖并在学院内最后举办了研究成果展览。

绘画机器人与人类活动的对话探索了机器人如何通过感应器和设定好的机械运动来记录人们在一定范围的空间内的如何运动与互动。同一个地点在不同的时间内，通过把人们物理上的运动记录到二维的分析图上而产生一个个不同的记忆画片。而这个项目中期的设想是通过分析一个区域不同时间内的人们活动的特点而去针对一些要素而生成设计方案，比如说噪音有多少，人们活动的频繁度，或是对特定记录区域习惯性的应用。我们一共设计了两个绘画机器人，机器人一号主要用了距离，声音，光线的感应器来帮助记录人们的活动，同时选择了例如铅笔，马克笔一些正常的绘画介质。机器人2号则运用了更多的感应器，除了之前提到的那些，同时增加了对震动，温度的记录。绘画介质上我们通过设定震动感应器和为水彩比增加的水箱之间的时间上的关系进而为画片增加多一层的信息。

尽管所有的机械运动与感应器之间的机械运动都是事先设计好的，可以说是很精确一种记录方式，但是通过时间的推移与周围人群不断增加和叠加的互动使得画片的记录信息逐渐变得模糊。通常会针对一个地方进行15 分钟记录的叠加，当最终记录到1个小时的时候，则变成了一见独有的画片，更亲近与以艺术的方式去感官的记录。

The Dialogue between Drawing Machines + Human Ambience explores the dichotomy and synthesis of the interaction between programmed movement and human interaction through automated and sensory technology. The research focuses on the development of machines that generate drawings collecting the surrounding information of the place and time. Using sensors such as light, vibration, sound, and object sensors, the machines react and alter its path and form of motion based on the contextual ambience.

During the Wallenberg Lecture in 2015, held by Taubman College, Architect, Daniel Libeskind said this one re- mark that our ASRG team tried to accomplish in our research.

“Drawings draw you somewhere.”

Architecture has always lied in between the transformation and translation of drawings and actuation (the physical manifest). Many of these precedents reveal the pursuit of a prefect drawing; some embrace the effects of randomness and accumulation; others seek to reveal truth and objectivity; and all drawings analyze something or some place through special methods.

This collection of information about a specific place is translated into the drawing, hence making this drawing device an artifact that stores the memory of that place. Although the machine is scripted and programmed in such a way to have a base path, a default, the human interaction and context allows the drawing to accumulate with ink which starts to dissolve a perfect drawing and celebrates the amorphousness of the drawing, in other words, sloppy precision.

机器人 Fabrication | Robotic Fabrication

密西根大学，2014，秋.
University of Michigan, Fall 2014.

我比较喜欢去研究机器人fabrication过程中精确度逐渐变低的一个过程。Grasshopper编程的机械动作可以无限的重复，但是涉及到真实的材料时，每个材料的特性决定了制作过程中会有精确度的降低。对比电脑上的3D模型和最终成品时，过程中出现的不可控的“质变”有时又会创作出意想不到的成品。

固化的气球

从建筑空间上来讲，正空间和负空间通常被不同的对待，并且互有自己的特点。固化的气球是由在外部大气球内填充额外的小气球作为所谓的正空间，之后将石膏填充到气球间的空隙去充当负空间，再由重力去完成最后的成型工作。当最后成型后，两个空间的特质又被相互交换。这个互换的过程我比较喜欢，而且成品既可以当成是一个小的物体，或是一个大尺度像雕塑一样的pavilion.

毛毡做的灯

它是通过5个不同小UNIT组成的。同样不同的部分也是提前设计好的。这个作品选用的材料是毛毡，通过先在融化的蜡水里侵泡再由机器人手臂的最终塑形而组合成。虽然每个unit没有像原本设计的那样精确，但最后整个比较organic效果却是让整个形态更有生机。

Solid Balloons

The positive and negative form usually treated differently when relates to architecture space, and each form has its distinct characteristic. However, the solid balloon form a huge sculptural space integrated the positive and negative space together in creating a unique special experience. The two robotic arms set 12 different sets that have different rotations and extractions. Final form generates by a huge balloon as the positive form, which has four small balloons inside by creating the negative form inside with gravity force.

Rigid Soft Lighting

The Rigid soft is a robotically assisted luminaire, which explores the new possibility of using gravity in designing the organic form with robots. Research the felt’s maximum twisting and starching ability, then manipulates the form in achieving a stable level while maintaining its organic quality. Two robot arms were aided in the development of the constituent parts through the iterative process of torsion and retraction.

▼ 固化的气球，Solid Balloons

▼ 毛毡做的灯，Rigid Soft Lighting

When: 2008 – Current
Where: Seattle, Tokyo, Michigan, New York
Name: Xu Zhang 张旭
From: Changchun, Jilin, China

School:
华盛顿大学，2009-2013，本科建筑设计
University of Washington 2009-2013, Undergraduate, BA in Architectural Studies
密西根大学，安娜堡分校，2014-2016，研究生建筑
University of Michigan 2014-2016, Master in Architecture

Office:
1. SHoP Architects, New York, Designer, 2016/11-Present 设计师
2. Studio Joseph, New York, Junior Designer, 2016/6-2016/11 初级建筑师
3. Shigeru Ban Architects, Tokyo, Competition Intern Architect, 2015/5-2015/8
坂茂建筑设计，东京，竞赛实习建筑师
4. LMN Architects, Seattle, Entry Level Architect, 2013/8-2014/5
西雅图，初级实习建筑师
5. Charles Anderson Architects, Seattle, Intern Architect, 2013/5-2013/8
西雅图，初级实习建筑师
6. Studio Daniel Libeskind, New York, Extern, 2016/3 实习建筑师
7. Pei Cobb Freed & Partners, New York, Extern, 2015/3
贝律铭联合事务所，纽约，实习建筑师

Contact: info.xzsd@gmail.com

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