第三教師
——西交利物浦大學新設計樓：學生走向建筑師之路

柯石安/Pierre-Alain Croset

尚晉 譯/Translated by SHANG Jin

第三教師
——西交利物浦大學新設計樓：學生走向建筑師之路

The Third Teacher—The New Design Building at XJTLU: How Students Become Architects

柯石安/Pierre-Alain Croset

尚晉 譯/Translated by SHANG Jin

1 二層平面/Second fl oor plan

2 首層平面，玻璃墻作為學生作業(yè)的展示架將中央?yún)^(qū)域分出材料圖書館，將兩側(cè)分出不同的工作室/Ground fl oor plan.A glass wall, used as a permanent showcase of the students'work, divides the central area with the Materials Library and the lateral ones with the di ff erent workshops.

2015年當我來到蘇州擔任西交利物浦大學（簡稱“西浦”）建筑系擔任主任時，我被告知西浦的南校區(qū)在建設一座新的“設計樓”，供建筑系和工業(yè)設計系共同使用。我意識到這座新的建筑將成為批判性反思空間與建筑教育關(guān)系的好機會。雖然在那個時刻，我無法想象到?jīng)Q策、設計和實施過程中的各種困難。這座新的設計樓于2016年8月啟用，總建筑面積約7000m2。建筑系有450名學生和40位教職員工，工業(yè)設計系有250名學生和20位教職員工。在第一學年結(jié)束之際，借助米蘭·奧格尼亞諾維奇用照片記錄的這座建筑在整個學年中的日常生活，就可以對設計的過程和結(jié)果進行一次批判性反思了。

1 對總體布局的批判性反思

當我來到西浦時，新設計樓已在施工。建筑本體的設計是由英國BDP百殿建筑設計（上海）公司完成的，西浦南校區(qū)的總體規(guī)劃也是這家公司負責的。主要的限制條件在于平面的特殊形狀，使3種不同空間組合在一起：容納大講堂的橢圓形，教室圍繞著中庭形成的不規(guī)則四邊形，以及連接兩個主體的玻璃幕橋。建筑系對此提出了調(diào)整，其中唯一被設計公司接受的是去掉上層的講堂，改為通用的“設計工作室”。在對平面的初步檢查中，我發(fā)現(xiàn)總體布局對兩個系的空間分隔仍是相當模糊的。對設計工作室沒有提出任何明確的分隔，而是作為一般的“開放空間”，學生使用普通的課桌，每人只有60cm寬的空間。

在那個時刻去改變建筑的結(jié)構(gòu)和立面已經(jīng)是不可能的，但西浦的管理高層提出調(diào)整內(nèi)部布局的可能性。這樣就有機會構(gòu)建出一種更為理性的組織方式：突出兩個系共享的最重要的空間，同時需要為戰(zhàn)略規(guī)劃中購置的新設施安排位置：一個材料圖書館、一個展廳及數(shù)字化制造高級實驗室。我提出將所有的工作室和檔案空間集中在首層，環(huán)繞中部的材料圖書館。材料圖書館采用具有啟發(fā)性的雙層廠房空間的意向，局部以夾層存放各種材料。這樣，進入學院的第一感受就是學生制作模型的場景。工作室為設計學院創(chuàng)造出統(tǒng)一的形象，使大樓與建筑施工和工業(yè)制造的過程緊密相連。

在二層，中庭很容易改造為展覽廳，成為整座建筑的中心。而上層也圍繞它進行組織：工業(yè)設計系在這一層，第三四層是建筑設計工作室。第五層是兩個系的辦公室。

2 建筑學院鮮明的建筑特征

如何為建筑教育來設計具體的空間？在我看來，要成為建筑師，學生就需要從日常設計實踐中學習，因此設計樓的一個關(guān)鍵理念就是將學生的個人工作空間放在學院的中心，而不是在傳統(tǒng)的教室中。我曾在一次工作坊中和都靈理工大學的建筑學碩士思考這些問題，那次活動的主題是P.L.奈爾維于1947年在著名的展覽宮中設計的一座新建筑學院1）。作為這一設計作品的參考，我引用了教育學家洛里斯·馬拉古齊的著名理論。這一理論曾成功地在雷焦·埃米莉亞的“幼兒園模式”中進行試驗，但從根本上看也適合培養(yǎng)建筑師和設計師：學生從老師和同學身上學習，也從“第三教師——空間”中學習。

On arriving at Xi'an Jiaotong-Liverpool University (XJTLU) in Suzhou 2015 as the new Head of the Department of Architecture, I was informed about the construction of a new ‘Design Building' on the South Campus to jointly house the Department of Architecture and the Department of Industrial Design. I realised this new building could represent a great opportunity to re fl ect critically on the relationship between space and architectural education. Nevertheless, at the time, I couldn't imagine the difficulties involved in the process of decision, design and realisation. The new Design Building opened in August 2016, with a capacity of 450 students and 40 academic sta ff for Architecture,and another 250 students and 20 academic sta ff for Industrial Design, with a total fl oor area of around 7,000 square metres. At the end of this first year of activity it is now possible to sketch a critical reflection on the process, and on the results, with the support of the photographs of Milan Ognjanovic who documented the everyday life in the building during all the academic year.

1 A critical re fl ection on the general layout

When I arrived at XJTLU the construction of the new design building had already begun. The base design had been made by the Shanghai branch office of a British architectural company BDP(Building Design Partnership), also responsible for the overall master plan of the XJTLU South Campus. The main constraints were contained in the particular shape of the plan, resulting of the assembly of three di ff erent types of space: an elliptical part for hosting the big lecture theatres,an irregular four-sided part for the classrooms organised around a central void with skylight, and a connecting glazed bridge between the two main volumes.The only changes already proposed by the Department, and accepted by the design company,were the elimination of the lecture theatres in the upper floors, replaced by generic "design studios". From a first examination of the plans I veri fi ed that the general layout had remained quite vague about the repartition of spaces between the two departments, and that nothing had been proposed for a clear partition of the design studios,organised as generic "open space" with groups of students organised around rectangular tables, with only 60 cm for each student.

It was impossible to change the structure and the facades of the building but the senior management of XJTLU offered the possibility to modify the general layout. It was possible to imagine a more rational organisation that could highlight the most significant spaces to be shared by the two departments. It was also necessary to fi nd a place for some new equipment approved in the strategic planning: a Materials Library, an Exhibition Gallery and an advanced Lab for Digital Fabrication and Prototyping. I proposed to group all the workshops and archival spaces on the ground floor around the central Materials Library, following the inspiring image of an industrial factory with double height volumes partially covered by mezzanine floors for the storage of materials. In this way, the first experience on entering the building is the intense activity of students producing models and objects.The workshop provides a coherence of identity for a School of Design strongly related with the processes of building construction and industrial fabrication.

On the fi rst fl oor, the central void could easily be transformed to an Exhibition Gallery, to be considered the heart of the entire building with the upper fl oors organised around it: the spaces of Industrial Design on this fl oor, the second and third fl oors for the Architecture design studios, the fourth fl oor for the offices of both departments.

3.4 剖面，兩層高的首層設有工作室，上面的4層圍繞中庭組織起展覽空間/Sections.The double height ground fl oorwith workshop equipment, the four upper fl oors organized around the central courtyard used as an exhibition space.

對于建筑系學生來說，這位“第三教師”尤為重要。我記得許多美輪美奐的學院建筑讓學生從它們的空間中得到啟發(fā)成為建筑師，比如密斯·凡·德·羅的芝加哥克朗樓、阿爾瓦羅·西扎設計的波爾圖建筑學院和利維奧·瓦契尼設計的南錫建筑學校。對于西浦，建筑已經(jīng)完成設計并開始施工，這在很大程度上限制了再創(chuàng)造的可能。此外，還有預算和時間的制約。因此，我決定將注意力集中在3種不同工作空間的關(guān)系上：一是在學期開始分配給每個學生的個人專用桌，它將成為日常生活工作的“第二個家”；二是小型工作單元（即設計工作室），學生們在這里通過團隊合作相互學習，并在每周教學中接受教師指導；三是集體空間，學生們在此向同學、老師和外請專家公開展示和討論設計方案。

如何在不規(guī)則的建筑形體中組織這3種空間？如何保證每個學生無論在大樓的哪個位置都有良好的工作條件，同時避免過度分隔？在第一次游賞蘇州傳統(tǒng)宅院和園林之后，我就對木立面的現(xiàn)代特征著了迷，成對的門扇形成了千變?nèi)f化的構(gòu)圖。我認為這種“中國現(xiàn)代性”圖案是中國的國際建筑院校豐富的靈感源泉。同時我想起了阿爾伯蒂的名言：“事實上，根據(jù)哲學家的論斷，如果城市就是一座大建筑，而且反過來建筑就是一座小城市，那我們何不將它的組成部分——庭院、涼廊、大廳、門廊等——也都視作小建筑？”2）想到這兩個例子，我決定將這些工作空間沿著兩條大走廊布置，讓它們營造出中國傳統(tǒng)城市街巷的感覺，并加上了木立面和雙扇門。就像在城市中街道是公共的而住宅是私密的一樣，明確區(qū)分個人工作與社交空間是可能的。每個學生都可以待在一個小工作單元里，享受個人工作的最佳條件。同時4m寬的中央“大道”可以作為公共社交空間，而不只是連接空間。模仿蘇州傳統(tǒng)立面結(jié)合模數(shù)化韻律與流變的手法，我設想出連續(xù)移動雙扇門來實現(xiàn)不同功用的方式。因此，門扇做成了雙面：一面涂色，一面覆軟木。當所有門扇都閉合時，就只能看到連續(xù)的木立面；而全部敞開時，學生可以將設計作業(yè)釘在軟木面上。

5 設計工作室可作為靈活的空間/The Design studios as a fl exible space

6.7 獨立工作空間與團隊工作的空間/A space for individual design work and teamwork

8 評圖/Final review

9 獨立工作空間與團隊工作的空間/A space for individual design work and teamwork

10 個人作業(yè)展/An individual exhibition

11 運用從中國傳統(tǒng)色彩演化而來的顏色，不同設計工作室的木門分別涂刷成黃色、紅色、深藍與深綠/The wooden doors of the design studios are painted alternating the four colours of the Chinese tradition: yellow, red, dark blue and dark green

2 A strong architectural identity for a School of Architecture

How to design speci fi c spaces for architectural education? In my opinion, to become an architect the student needs to be educated through the daily practice of the design activity, and for this reason a key concept of the Design Building was to put individual workspace of the students in the centre of the school, not traditional classrooms. I had the occasion to reflect on these questions working with a group of students of the Master program in Architecture at the Politecnico di Torino in a studio dedicated to the design of a new School of architecture1) in the well-known "Palazzo delle Esposizioni", realised by Pierluigi Nervi in 1947.As a reference for this design work, I used the famous theories of the pedagogist Loris Malaguzzi,successfully experimented in the "kindergartenmodel" of Reggio Emilia, but fundamentally appropriate also to form architects and designers:students learn from teachers and from other students, but also from the "third teacher that is the space".

For architecture student, this "third teacher"is particularly important, and I remembered some beautiful schools as the Crown Hall of Mies van der Rohe in Chicago, the Architecture School of Oporto designed by àlvaro Siza, or the School of Nancy designed by Livio Vacchini, where fortunate students are stimulated by the space to become architects. At XJTLU the fact that the building was already designed and in construction restricted a lot the possibility for invention. Other constraints were the necessity to comply with the budget and limited time. I decided for these reasons to concentrate my attention on the relations between three different categories of workspace: the individual desk which every student takes possession at the beginning of the semester, becoming a "second home" for the working everyday life; the small work unit (the design studio) in which the student learns from other students in the teamwork, and learns from the teacher in the weekly tutorials; the collective space in which the student has to exhibit and discuss publicly the design work in front of other students,of the teachers and of the visiting critics.

12-20 大走廊仿佛傳統(tǒng)中國城市的街道，有著木立面與木門，這里同時是展示與討論學生作品的公共空間/The large corridors evoke the streets of a traditional Chinese city, with wooden fa?ades and wooden paired doors, to be used as a public space for exhibiting and discussing the students' work.

How to organise these three categories of space in an uneven shape of the building? How to ensure good working conditions for each student, regardless of the location in different parts of the building, and at the same time how to avoid an excessive fragmentation? Since my first visits to the traditional courtyard houses and gardens of Suzhou, I was fascinated by the modern character of the wooden fa?ades, with paired doors offering a dynamic, ever-changing composition. I considered this image of "Chinese modernity" as a powerful source of inspiration for an international Department of Architecture in China, and at the same time I remembered the famous quote of Leon Battista Alberti: "In fact, if the City, according to the judgment of the philosophers, is like a great House,and the opposite the House is a small City, why don't we say that members of it as the courtyard,the loggias, the Hall, the porch, and all these are still the same like small houses?"2)With these two references in mind, I decided to organise the work space along two large corridors which could evoke the streets of a traditional Chinese city, with wooden fa?ades and wooden paired doors. As in a city, where the streets are public and the houses private, it was possible to obtain a clear separation between the spaces for the individual work, and the spaces for the social interaction. Every student could stay in a small work unit o ff ering the best condition for the individual work, but at the same time the space of the central "streets", with a width of four metres, could be used as a common social space, and not only as a connective space. In the same way as the traditional Suzhou fa?ades associate modular repetition and fl exibility, I imagined how the paired doors could be moved continuously following different uses. For this reason, the doors have double faces: one face painted, and one face covered with cork. When all the doors are closed, you perceive only the continuity of the wooden facades,while when they are open the students can pin up their design work on the cork surface.

Due to the great thickness of the building, I was conscious that the central working spaces could not bene fi t from natural light, but at the same time I wanted to o ff er to all the students the same basic equipment: a table of 90 × 180 centimetres facing a wall covered with cork for collecting sketches,drawings and photographs. To organize the spaces in relation with the different years of study, it was necessary to consider the special condition of XJTLU, with a double degree that offers Bachelor students the chance to migrate to the University of Liverpool after the second year. By the fact that this option is presently taken by more than 50%of the students, it is necessary to organize design studios for very variable numbers of students:more than 200 students in Year 2, less than 100 students in Year 3 and Year 4, and a maximum of 25 students for the Master program every year. I decided for this reason to concentrate on the 2ndyear students in the central space, offering them only the basic equipment of the individual table with the cork wall, while the other design studios would have gained an additional space between the partition walls and the irregular shape of the fa?ade,to be used for the teamwork and for producing big urban models. In this way, the students who will remain after the second year will have a better working space. Following the progression of the programme, the students occupy four square metres in the second year, six in the third year, eight in the fourth year, while the Master program offers ten square metres for every student. This organisation of the design studios allows for constant interaction between students of di ff erent years, especially when reviews are organized along the corridors: in this way students learn from other students, with year 3 students facing year 2 students in the same corridor,and year 4 students facing Master students on the both sides of the central void.

由于建筑進深很大，我意識到中部工作空間無法享受自然光，但同時我希望所有學生都有相同的基本配備： 面對軟木墻的90cm×180cm桌子，軟木墻可以收集和展示學生的草圖、圖紙和照片。為了按不同年級組織空間，就必須考慮西浦的特殊條件。這所大學讓本科生有機會在大二后轉(zhuǎn)到利物浦大學讀第二學位。由于現(xiàn)在已有50%以上的學生作出了這種選擇，就必須根據(jù)學生人數(shù)的變化來組織設計工作室：大二有200多學生，大三、大四則不到100人，而每年的碩士生最多25人。因此，我決定把大二學生集中在中部空間，僅為他們提供基本配備：帶軟木墻的個人專用桌。其他設計工作室可以使用分隔墻和立面不規(guī)則形體之間的額外空間，在這里進行團隊合作，制作大型城市模型。這樣，在大二后留下的學生會有更好的工作空間。隨著年級的增長，大二學生有4m2，大三有6m2，大四有8m2；而碩士生每人有10m2。設計工作室的這種組織方式讓不同年級的學生可以經(jīng)常交流，尤其是在走廊進行評圖時。這讓學生可以相互學習：在同一條走廊中，大三學生面對著大二學生；而在中庭兩側(cè)，大四學生面對著碩士生。

3 擔任施工顧問

21.22 將設計工作室作為中國小城的概念草圖/Sketches illustrating the concept of design studios as a small Chinese city

設計與實施的困難主要在于一切都是在沒有正式的建筑師委托下完成的。作為系主任，我有法律上的授權(quán)，可以代表用戶的利益，但我對中國的設計和施工情況一無所知。一開始沒有專業(yè)團隊，很難表達我的意圖。當剛從都靈理工大學畢業(yè)的盧泉清在2015年6月來到蘇州讀我的博士時，情況改變了。從此開始，她負責新布局的圖紙，并參加了最初與校園管理辦公室及施工單位的所有會議。隨后2016年3月來了第二位博士生林謙，他協(xié)助我完成關(guān)鍵圖紙。最后，我的同事錢立安在施工最終階段作為顧問進行了合作。

3 Working as a consultant of the construction company

The difficulties of design and realisation were mainly related to the fact that anything was done in the absence of any formal assignment as an architect. As Head of Department I was legitimately authorized to represent the interest of the users,but I was totally ignorant about how to design and build in China. Without a professional office, it was at the beginning very difficult to communicate my intentions, but something changed when LU Quanqing, who just graduated from Politecnico di Torino, arrived in Suzhou in June 2015 as an incoming PhD student under my supervision.From this moment, she became responsible for the drawings of the new layout and she participated to all the fi rst meetings with the Campus Management Office and with the construction company.Successively a second PhD student, LIN Qian,arrived in March 2016 and assisted me on the de fi nitive drawings. Finally, my colleague TSIEN Li-An collaborated as a consultant in the last phase of construction.

23-25 2017年2月，蘇州建筑國際工作坊最終評圖/Final exhibition of the Suzhou Architecture International Workshop (February 2017)

一開始，我認為自己作為負責設計的建筑師的顧問就可以，希望任何與室內(nèi)設計有關(guān)的決策都能以一套統(tǒng)一完整的圖紙為基礎。不過，我很快意識到，不僅當?shù)卦O計院無法準確讀懂我的草圖，而且沒人想面對延誤工期或提高成本的風險來調(diào)整已經(jīng)審批的方案。在多次誤解之后，我最終明白應該采取不同的策略：根據(jù)施工階段逐步推進，并等待施工單位的問題。西浦校管辦的項目經(jīng)理劉云鵬在這一過程中為我提供了幫助，建議我避開建筑師直接與施工單位對話，以此建立相互理解。關(guān)于材料和建筑細部的最初決定在首層上。為了凸顯工作室區(qū)的工業(yè)特征，我提出將地面留作素混凝土，用長長的一排玻璃架將中部核心筒與周圍空間隔開。這些玻璃架將作為展示學生優(yōu)秀模型的永久展架，通過用玻璃蓋住厚重的混凝土柱，讓所有的承重結(jié)構(gòu)都能營造出輕盈通透的形象。為了讓合作方理解這種做法的意義進行了多次討論。

通過逐漸與施工單位積累互信，就越來越容易進行調(diào)整，從而提高空間品質(zhì)。例如，中庭的掛板最初是建筑長邊用仿木鋁板，短邊用玻璃——與旁邊的環(huán)境樓做法一致。由于需要將中庭改造為展覽空間，我提出四邊統(tǒng)一掛鋁板，并用明快的顏色給空間帶來活力。色調(diào)則從暗到亮，與自然光正相反：紅色在頂部，橙色在中間，黃色在底部。

最細致的問題是門的施工，因為我希望讓人從中品出一種“中國味”，同時又不會覺得做作。借助大量蘇州古典園林門扇的照片和測繪圖，我發(fā)現(xiàn)需要至少5cm的厚度。這不僅是為了尊重原比例，也是為了滿足輪換展板所需的強度。我們按1:1的比例制作了一整套圖紙，以便用木藝公司制作的模型來測試方案。我想讓門閉合時的表面與底部及門楣齊平，這樣當關(guān)上所有的門時，就只會看到連續(xù)的木立面。為了精確組裝門扇進行了多次現(xiàn)場討論，并根據(jù)建筑的不規(guī)則形為門扇提供了4種模數(shù)（180cm、190cm、200cm和230cm）。接下來的問題是色彩的選定。我希望用中國傳統(tǒng)的4種典型色彩（黃、紅、深藍和深綠），但沒有人能告訴我如何找到這些傳統(tǒng)色彩的準確成分。最后，我提出用《乾隆皇帝像》和《科舉圖》等繪畫作為直接在門扇上試色的參照。不同的色彩沿著兩條內(nèi)街交替變換，中部的設計工作室是紅黃，與展庭的明亮色彩相連；外部工作室是藍綠。這些交替的色彩在第三四層上進行了反轉(zhuǎn)，所以能從任何地方同時看到全部4種色彩。

26.27 2017年4月，“塞爾焦·帕斯科洛建筑事務所：住宅匯總”建筑展/Exhibition "Sergio Pascolo Architects _ Total Housing" (April 2017)

At the beginning, I thought that it would have been possible to become a consultant of the architects in charge of the design, in the hope that any decision regarding the interior design could be founded on a set of complete and coherent drawings. However, I quickly realized not only that the local design institute couldn't interpret correctly my sketches, but also that nobody wanted to change the approved plans, in the face of the risks of slowing the construction, or increasing the costs.After many misunderstandings, I finally realized that I should follow a di ff erent strategy, proceeding step by step according to the di ff erent phases of the construction, and waiting for the questions of the construction company. LIU Yunpeng, the project manager for XJTLU's management office, helped me in this process, proposing me to speak directly with the building company, bypassing the architects and facilitating in this way the mutual understanding.The fi rst decisions for materials and building details were to be taken on the ground floor. To highlight the industrial character of the workshops area, I proposed to leave the fl oor with the bare concrete,and to separate the central core from the lateral spaces by a long row of glass shelves, to be used as a permanent showcase for the best models produced by the students. Many discussions were needed to make them understand the importance of moving the glass to cover the heavy pillars in concrete, so that all the bearing structure could be hired for producing an image of transparency and lightness.

Little by little grew the mutual trust with the building company, so that it became increasingly easier to propose changes for increasing the quality of the spaces. For example, the cladding of the central void was originally with panels in aluminium imitating wood for the long sides, and with glass along the short sides, as it has been realized nearby in the Environment Building. In the face of the need to transform the central void in an exhibition space, I proposed to unify along all the four sides the cladding with aluminium panels, but at the same time to vivify this space using bright colours,following a graduation from the darkest to the clearest which appears inverted with respect to the natural intensity of sunlight: red top, orange in the middle, yellow down.

28.29 玻璃墻作為學生作品的永久展覽/The glass wall as a showcase for the permanent exhibition of students' work

30 材料圖書館的想法是將它設計為有3個房間的展廳，中間的房間有兩層高，運用3種材料（聚碳酸酯、鋼和竹子），混合傳統(tǒng)與現(xiàn)代元素/The idea of the Materials Library as a Pavilion with 3 rooms, the central one with double height, and 3 materials (polycarbonate, steel and bamboo), as a mix between tradition and modernity.

31 首層，材料圖書館在左側(cè)，作為學生作業(yè)展示的玻璃墻在右側(cè)/View of the ground fl oor, with the Materials Library to the left, and the glass wall used as a showcase for the students' work

32 入口大廳，大玻璃窗正對著工作坊的部分/Entrance lobby,with the big glass opening the view towards the workshop facilities

材料圖書館仍在施工中，其中將長期展出約500種樣品，并分為3個房間：供小型展覽和研討會用的雙層高中廳，以及分在兩層上的側(cè)廳。這個空間2017年被用于碩士畢業(yè)設計展。關(guān)于這個立面也有很多討論。在我最早的一張草圖中，我提出了用3種材料作掛板的簡單想法：聚碳酸酯、鋼和竹子。用聚碳酸酯和鋼做掛板的技術(shù)方案經(jīng)過與校管辦出色團隊的合作輕松制定出來，但他們總是讓我給出用竹子完成最終部分的圖紙。我回答：“竹子是在中國廣泛使用的一種優(yōu)美材料。找到杰出的工匠就能施工，但這種方案是畫不出來的。”兩個系的同事胡安·卡洛斯·達拉斯塔和魯杰羅·卡諾瓦提出與20名學生組織一次竹材工作坊，為創(chuàng)造妙趣橫生的圖案帶來了機會。3位來自上海的杰出工匠向建筑系和工業(yè)設計系的學生傳授了竹材的營造技藝，并讓他們親手嘗試制作1:1的優(yōu)美竹柵欄。工作坊結(jié)束后選出了4個最佳方案來實施，并將在夏季完成。這樣，和用來陳列學生優(yōu)留模型的玻璃墻一起，材料廳頂部的竹墻將成為展示學生創(chuàng)造力的平臺。

項目信息/Credits

室內(nèi)設計/Interior Design: 柯石安與盧泉清、林謙，錢立安合作/Pierre-Alain Croset, with the collaboration of LU Quanqing, LIN Qian, TSIEN Li-An

項目管理/Project Management: 劉云鵬（西交利物浦大學校園管理辦公室）/LIU Yunpeng(Campus Management Office, XJTLU)

繪圖/Drawings: 林謙/LIN Qian

33.34 材料圖書館的兩層高空間作為2017年6月碩士課程最終展覽/The Materials Library used for the fi nal Master Exhibition (June 2017), with the central double height space

攝影/Photos: Milan Ognjanovic

The most delicate issue was the door construction, because I wanted a "Chinese touch"to be recognisable, but at the same time avoiding any risk to obtain the image of a fake. With the help of many photos of doors in historical gardens of Suzhou, together with survey drawings, I was convinced of the need to observe a thickness of at least five centimetres, not only for respecting the original proportions, but also for obtaining something solid enough to respond to the function of rotating display panel. We produced a complete set of drawings in scale 1:1 for obtaining the possibility to test the solution with a mock-up realised by the wood handicraft company. I wanted the closed-door surface to be on the same plane with the basement and the lintel, so that, when all the doors are closed, it would have been possible to perceive only the continuity of the wooden facades. Many discussions on the site were needed to obtain this precision in assembling the doors,with four different modules (180, 190, 200 and 230 centimetres) for adapting the doors to the irregular geometry of the building. Other problems concerned the final choice of colours. I wanted to use the four typical colours of the Chinese tradition (yellow, red, dark blue and dark green),but nobody could indicate me how to fi nd the exact composition of these traditional colours. In the end, I proposed to use some paintings, as a Portrait of the Qianlong Emperor and a View of a Civil Servant Exam, as a reference for painting directly some samples of colour on the doors. Along the two internal streets, the colours are alternate, with the red and yellow for the central design studios in continuity with the bright colours of the exhibition courtyard, and the blue and green for the external studios. These alternate colours are inverted between the second and third floor, so that it is possible to perceive simultaneously all four colours from any part.

The Materials Library, still under construction,will house a permanent exhibition of about five hundred samples, and is divided into three rooms:a central room with a double height for small exhibitions and seminars, the lateral ones organized in two levels.The space has been used this year for hosting the final exhibition of the Master Thesis.Many discussions regarded the fa?ade. In one of my fi rst sketches, I represented the simple idea of a cladding with three materials: polycarbonate, steel and bamboo. The technical solutions for realizing the cladding in polycarbonate and steel were easily defined with the excellent team of the Campus Management Office, but they continuously asked me to have some drawings related with the final part to be realized in bamboo. I answered: "Bamboo is a beautiful material used in China, please find some excellent craftsmen and we will do it, we cannot draw a solution". Two colleagues of both departments, Juan Carlos Dall'Asta and Ruggero Canova, proposed to organize a bamboo workshop with twenty students, offering the opportunity to experiment some ways of creating an interesting pattern. Three excellent craftsmen, coming from Shanghai, instructed the students of Architecture and Industrial Design about the art of building with bamboo, offering them the possibility to experiment with their hands, at a scale 1:1, how to create the beauty of a bamboo fence. At the end of this workshop, the four best proposals have been selected for the realisation, to be completed during the Summer. In this way, as for the glass wall used as a permanent exhibition which houses the best models produced by our students, the bamboo wall crowning the Materials Library will be a showcase of the creativity of the students.

35 2017年4月在材料圖書館舉辦的竹材工作坊/Bamboo workshop (April 2017) in the Materials Library

注釋/Note

1）設計小組由柯石安（建筑設計），盧恰諾·雷（建筑遺產(chǎn)），米凱拉·孔巴（歷史），卡泰麗娜·蒂亞佐爾迪（智能建筑）指導，2009-2010年第一學期/Design unit directed by Pierre-Alain Croset(architectural design) and Luciano Re (building heritage), together with Michela Comba (history) and Caterina Tiazzoldi (smart building), first semester 2009-2010.

2）Leon Battista Alberti, De Re Aedi fi catoria (On the Art of Building), 1452, Liber I (Book 1), De Disegni (On Design), MIT Press, 1988: 27.

工作單位：西交利物浦大學建筑系

2017-06-19