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在西扎的波爾圖建筑學院上學是怎樣的體驗(上)
文章是一篇采訪,被訪者為波爾圖建筑學院的學生
來源:自創

被訪者Filipa是一位葡萄牙建筑學院的準畢業生。

?Filipa

Q: 對于中國的建筑學學生來說,西扎主辦的波爾圖建筑學院似乎很神秘,我去參觀過你們學校,西扎設計的白色校區坐落在遠離鬧市的山坡上,有一個特別安靜的秘密花園,你如何評價場所的詩意和神性對人的影響?

For Chinese architecture students, the Porto School of Architecture hosted by Siza seems to be mysterious. I visited your school, the white campus designed by Siza is located on a hillside away from the downtown area embeded with a special quiet secret garden. How to evaluate the influence of space poetry and divinity ?

 

A: 場所的詩意和神性對我產生最大影響的時期是我在波爾圖建筑學院(下稱波鍵院)第二年做項目時體會到的。在大學二年級,波建院的學生有門課程是關于Carlos Ramo,那是一個在建校之前就隱秘在秘密花園里的一個教學空間(波建院有一個綠樹成蔭的后花園)。這個建筑物被設計成看起來像擁抱一棵樹的形式。這個建筑的每一間教室都可以看到窗外點綴著鮮花的茵茵綠地和樹林,其中有六間教室,每層三間。我在二層的中間教室上過課,秋天我可以在教室里看著落葉,冬天能感受到從建筑物側翼的空隙竄出的陽光,到了春天能看到綠草又生出來,這景象生機勃勃令人激動,這樣的環境對我那年的課程設計有很大的影響。回憶起那年,每當我遇到瓶頸的時候,我不知所措的時候,我就會逃離,去這個小花園盡頭里的涼亭,在那里靜靜觀察整個波建院和Arrábida橋,并且陷入思考。

I would say that the time in which the poetry and divinity of the space most influenced me was on my second year of Project in FAUP. On the second year of University, FAUP (Faculty of Architecture of University of Porto) students have classes on the Carlos Ramos pavilion, a building integrated into the special secret garden, which already existed before the construction of the school. The building was designed in a way that it looks like is hugging a big tree. The green grass, with some flowers and trees are seen from every classroom of this building, divided into 6 classrooms, 3 in each floor. I had classes in the middle room on the upper floor, and the fact that during the year I could see the leaves falling in Autumn, I could feel the sun during winter coming from in-between the branches and during Spring I could witness the new green leaves, with all of its life coming up, it was amazing, and had a big importance on the courses I did that year. During all of the other years, every time I felt stucked with a project, when I couldn’t understand how to solve a problem, I would go to this garden, and to the gazebo at the end of the garden, from where it is possible to gaze at all of FAUP and Arrábida’s bridge, to think.

波建院主教學樓廣場 FAUP piazza in front of main building
?Rendy
波建院 Carlos Ramos樓 FAUP Carlos Ramos pavilion
?Rendy

Q: 聽說很多同學經常做的課外活動是在校園里畫速寫,能說說校園里哪些細節是打動你的?

I heard that many of the extracurricular activities that students often do around campus are sketching . Can you tell me what details of the building make you impressed?

 

A: 是的,學校要求我們大學二年級以前必須只能手繪而不能用電腦做設計,同時我們也有手繪必修課。第一年的手繪課是每周八小時,第二年是每周四小時。學校是其中一個主要的寫生地點,因為學校有很多的特點,比如說入口走廊,盡端能容下三人同行而另一端則只能容納倆人。我喜歡的另一個細節是學校的圖書館,毋庸置疑。對自然光的處理,讓人忘記身處一個封閉空間,著實有趣,放置建筑雜志的空間有一個面向入口的夾層,給人帶來一種動中有靜靜中有動的感覺。

So, on the first two years in my school, it is mandatory to work only on paper, never on computer, and we also have compulsory drawing classes. On the first year we have 8 hours per week, and on the second year, 4 hours. One of the major subjects we draw on the first year is the school, as it has a lot of particular characteristics, like for example the main corridor, that in one of the ends fits 3 people next to each other walking, and on the other end only barely fits. Another detail of the school that I love is the library, of course. The way constant light is created, without the feel of being inside a closed space is really interesting, and the fact that the space where the architectural magazines are stored has a mezzanine opening towards the entrance of the library creates a feeling of being both in a quiet space and in a space with a lot of movement.

手繪- 一年級 sketch at first year
?Filipa
手繪- 一年級 sketch at first year
?Filipa

Q: 聽說西扎常常還沒去過基地就已經開始畫草圖了,西扎是一位怎樣的老師,你在他課堂里印象深刻的瞬間是什么,他對你產生了怎樣的影響?

I heard that Siza has already started sketching before he has been to the project site. What kind of teacher is Siza? What is the moment you are impressed in his class, and how does he affect you in your process to be a future architect?

 

A: 我在波爾圖上過一些課,有一次西扎出現在我們結構課的教室來檢查椅子,以確認哪一把需要維修,但是他從來不是我任何一門課的老師。盡管如此,我仍然認為學生階段西扎對我產生重要影響,不僅僅因為這個學校,也因為他對細節的重視,從一個窗戶到一把椅子,同時也因為閱讀他的文字。我們在大學期間也去過他的建筑參觀,后續我又自己去參觀他的建筑。我認為對于西扎做設計的方法還有很多要學習的地方,同樣還要學習他在闡述自己方案時候的簡潔性。

I’ve been to some classes in Porto, and once he went to my Construction class because he wanted to see some of the chairs, to see which ones needed to be replaced, but he was never my teacher in a course. Anyway, I feel that my entire path as a student was greatly influenced by Siza, both because of the school and the way he projected every single detail, from the windows to the chairs, and also because of his written works I read during university. We also travelled during university to some of his buildings, and others I visited them later and again. I feel that there is a lot to be learned in the way he designs, and also in the simplicity he shows when talking about his projects.

 

Q: 對于建筑學來說,審美的靈性很重要,你們都設置了怎樣的課程設計來進行啟蒙教育?

For architecture, aesthetics sensitivity are important. What kind of design studio have you set up for enlightenment education?

 

A: 對于我來說三年級的建筑理論課程很重要。老師看起來有點嚇人,因為他知道很多,但是我個人對什么是建筑以及建筑師能在世界中扮演的角色有了更好的理解。在建筑理論上老師介紹了很多建筑師,講述額他們維護的點和他們的作品。在這門課的實踐部分,我們進一步學習某一個建筑師或作品,并在書和雜志查找資料。這門課改變了我理解建筑的方式,直到今天。

For me one course that was really important in University was Theory of the third year. The teacher is a little bit intimidating, because he knows a lot, but I feel that after that course I could understand better what architecture was, and what role the architects can play in the world. In the theoretical part of the course, the teacher talked about different architects, the things they defended and some of their works. On the practical part of the course, we would develop the study of a particular architect or subject, and explore it through books and magazines. For me, this course changed the way I understood architecture and influenced me up until today.

 

Q: 很獨特的一點是西扎不提倡用3D建模和渲染圖來表達設計成果,西扎說一個好的建筑師要慢慢工作,能說說慢主要體現在那些設計思維里?

A very unique point is that Siza does not advocate the use of 3D modeling and rendering to express the design results. Siza said that a good architect should work slowly. Let’s talk about what kind of design strategy could be called slow?

 

A: 在波建院,設計課的周期是一年,項目都是一個人來推進。我們從城市尺度到建造尺度比如說門窗,一步步推進。我對慢建筑的策略理解是要讓項目“呼吸”。我們學校是鼓勵學生之間一起討論的,因為這能讓我們看到其他的觀點。同一個建筑做一年,可能給人感覺厭倦,但只要我們在場所,功能和限制條件下達到一種最優解,好的設計也就來到了。

In FAUP, project course (like design studio) is a course that takes one year, and that is developed individually. We are pushed to work from a city scale until constructive details, such as the windows and the doors. I would say that a slow strategy would be one that would allow the project to “breathe”. In my school students are pushed to talk to each other and discuss their projects together, because it allows us to see another point of view, another perspective on the project. After one year of the same project, it may feel that we’re tired of the same program, but it is when we dominate the place, the program and the restrictions, that the best projects arrive.

 

 

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在西扎的波爾圖建筑學院上學是怎樣的體驗(下)
文章是一篇采訪,被訪者來自波爾圖建筑學院。
馬海東 等1人贊過
2018.08.31
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