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除了渲染效果图,我们还能怎样表达我们的建筑?第1张图片

鱼市/Fishmarket. Image © Deniz Basman, Louis Mounis

奥斯曼细密画作为一种建筑表现形式的探索
This Project Explores the Ottoman Miniature as a Form of Architectural Representation

由专筑网李琪,韩平编译

在接下来的几周,我们将分享一些并没有实际建成的学生作品,同时与KooZA/rch网站平台合作,通过实践来实现那些有探索性和代表性技术的方案。其目的是“探索此种建筑表达方式作为交流手段的实际作用”,同时在这个过程中,引发对当代绘画使用,形式和作用的思考与讨论。

Over the following weeks we will be sharing a selection of unrealized student projects, alongside realized schemes by practices who explore representational techniques, in collaboration with KooZA/rch. The aim is "to explore the role of the architectural drawing as a tool for communication" and, in the process, provoke a conversation about the contemporary use, format, and role of drawing.

除了渲染效果图,我们还能怎样表达我们的建筑?第2张图片

区域报告/Territory Report. Image © Deniz Basman, Louis Mounis

地中海/Deniz Basman and Louis Mounis

这个作品灵感起始于在地中海居住记忆的概念,最终以四个建筑项目呈现:一个酒厂,一个艺术空间,一个温室和一个鱼市场。

Mare Nostrum / Deniz Basman and Louis Mounis
This project began with the notion of the memory of inhabiting through the Mediterranean Sea, and ended with the presentation of four architectural projects: a winery, an art storage space, a greenhouse, and a fish market.

除了渲染效果图,我们还能怎样表达我们的建筑?第3张图片

酒厂/Winery. Image © Deniz Basman, Louis Mounis

除了渲染效果图,我们还能怎样表达我们的建筑?第4张图片

酒厂/Winery. Image © Deniz Basman, Louis Mounis

除了这四个项目外,这个毕业设计的主要内容还包括在地中海进行长时间的旅行。这次旅行用总数达210份的绘画,拼贴画,模型,照片和视频方式记录下来。

我们专注于将传统工艺作为记忆载体,更准确地说,专注于毛毯这一对象。我们进行了实验和研究,最终设计了一个由土耳其工匠编织的毛毯。此设计代表这四个建筑项目是延续了当地传统的符号与形式。

Besides these four projects, the main drive of this diploma project consisted of making a long trip through the Mediterranean Sea. This trip was documented in the form of 210 drawings, collages, models, photographs, and videos.
We focused on the idea of traditional craftsmanship as a vehicle for memory and, more precisely, on the object of the carpet. We conducted research and eventually designed a carpet that was woven by Turkish crafts people. Its design represents these four architectural projects in the form of traditional symbols.

除了渲染效果图,我们还能怎样表达我们的建筑?第5张图片

艺术空间/Art Storage. Image © Deniz Basman, Louis Mounis

KooZA/rch:你们为什么会使用拼贴画来表达建筑思想?

Deniz Basman and Louis Mounis:我们经常会采用拼贴画的形式,但是这次我们使这种方式能够适合我们正在进行项目的独特性。对于地中海,我们想用一个更个性化的手段,当然要与我们项目的叙事语境相关联,于是我们立刻想到了奥斯曼细密画。这是一种在地中海的国家使用了很长时间的表现形式。我们希望在这个项目里重新解读这种风格。

KooZA/rch: Why do you work with collage?
Deniz Basman and Louis Mounis: We have always worked with collage, but have always adapted this technique to the specificities of the project we were working on. For Mare Nostrum, we wanted to use a more personal technique—that was also linked to the narrative context behind our project—and we immediately thought of Ottoman miniatures. These are a form of representation that was used by nations around the Mediterranean Sea for a long period of time. Here, we aimed to reinterpret this style.

除了渲染效果图,我们还能怎样表达我们的建筑?第6张图片

艺术空间/Art Storage. Image © Deniz Basman, Louis Mounis

KooZA/rch:你们通过无透视的画面来探索并获得设计的深度,它对项目有多重要呢?

Deniz Basman and Louis Mounis:这种平面形式使我们能够专注于画面,或构图,的视觉效果。使形象“扁平化”像是一种“欺骗”的方式,让我们可以只展示我们想要展示的元素。换句话说,即时空间被建筑所干预,我们也能够展示出许多纯粹的空间氛围。这对于我们来说是一种在项目中的交流过程中,能从视觉上展现我们所想象的场景的方式。我们想把自己从随处可见的超现实的渲染图像分离出来,而不是在叙事或者叙述。

KA: You explore and acquire depth through flatness. How important is this to the project?
DB & LM: This flatness allowed us to focus on the framing, or the composition, of the visuals. "Flattening" the image allowed us to "cheat" when it came to the elements that we wanted to show; in other words, we were able to present a lot of context as well in tandem with architectural interventions. It was a way for us to visually affirm the imaginary elements that are also present in the narration of our projects. We wanted to detach ourselves from the super-realistic rendered images that we see everywhere, and rather tell tales and stories.

除了渲染效果图,我们还能怎样表达我们的建筑?第7张图片

温室/Greenhouse. Image © Deniz Basman, Louis Mounis

KA:是什么决定了绘画矩形框架的形式?

DB & LM:这种形式在传统意义上就是运用在细密画上的。印刷的尺寸依照地方传统也是非常小的,它们就像是明信片一样,捕捉记录着回忆。

KA: What dictated the rectangular, framed format of the drawings?
DB & LM: This format is traditionally used in miniatures. The dimensions of the printed versions were also quite small, as it also is traditionally, which made them appear as postcards – objects that captured memories.

除了渲染效果图,我们还能怎样表达我们的建筑?第8张图片

温室/Greenhouse. Image © Deniz Basman, Louis Mounis

KA:你们同意“媒介即讯息”这一观点吗?

DB & LM:我会选择去使用许多不同的媒介,比如说手织地毯,细密画,三维打印模型,照片,和出版物,因为我们将它们视为我们所想要述说故事中的叙事元素。例如使用一个毛毯就是我们质疑现阶段建筑可视化表达的方式之一,同时也表达我们为了完成一个项目,需对已经积累的知识进行反思的观点。

KA: Do you agree with the idea that "the medium is the message"?
DB & LM: We chose to use a lot of different mediums—such as a handwoven carpet, miniatures, three-dimensional printed models, photographs, and publications—because we saw them as narrative elements in a story that we wanted to tell. Using a carpet, for example, was a way for us to question the visual supports that we use in architecture – but also to reflect on the knowledge that needs to be accumulated in order to make a project.

除了渲染效果图,我们还能怎样表达我们的建筑?第9张图片

鱼市/Fishmarket. Image © Deniz Basman, Louis Mounis


出处:本文译自www.archdaily.com/,转载请注明出处。


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