陳曦

一樹建筑事務(wù)所創(chuàng)始人陳曦分享了對(duì)非正式設(shè)計(jì)的理解：它不具有永久場(chǎng)地、功能以及形式，甚至沒有任務(wù)書、法規(guī)授權(quán)和工業(yè)化設(shè)計(jì)執(zhí)行，而是一個(gè)巨大的空間，涵蓋關(guān)于場(chǎng)地記憶的挖掘、關(guān)于建造工藝的協(xié)作探索和關(guān)于有限時(shí)間與資源的動(dòng)態(tài)回應(yīng)。例如，星空裝置在兩米寬的城中村巷道中，用最輕盈的光纖材料和鏡面完成對(duì)厚重工業(yè)廢墟的介入激活；微建筑系列中利用微建筑單體融合社區(qū)協(xié)作的模式，在不同鄉(xiāng)村和地貌中服務(wù)本地社區(qū)，回應(yīng)本土景觀與場(chǎng)所。此外，在漢口城市展廳幼兒園中，用同一空間框架回應(yīng)場(chǎng)地兩邊不同的功能和領(lǐng)域法規(guī)，既可以作為一個(gè)銷售館，也可以作為一個(gè)幼兒園。

CHEN Xi, the founder of Atelier XI, shared his understanding of informal design: it does not have a permanent site, function, and form, or even a design brief, regulatory authorization, and industrial design execution, but a massive space that all about tapping into the site memory, collaborative exploration of construction technology and dynamic responses to limited time and resources. For example, Starry Alley,the installation within a two-meter-wide alleyway in the urban village, uses the lightest optical fibers material and mirror to activate the heavy industrial ruins.In the miniature series, the mode of collaborating miniature facilities with the local community can be used in different types of countryside or landforms to respond to local landscape and space. Furthermore,in the Wuhan City Pavilion & Kindergarten design, the major challenge is to create a spatial structure that serves as both a sales pavilion and a kindergarten at different times with entirely different themes and regulatory requirements.

案例1 深港雙年展龍崗展場(chǎng)-折疊時(shí)光線

案例2 隙縫里的星空

案例3 武漢漢口城市展廳幼兒園

案例4 微建筑系列1-桃屋

案例5 微建筑系列2-廢墟書屋