ODA Architecture:

麓湖水镇A8地块A区设计师

自从ODA于2007年建立以来，已迅速成为最知名的公司之一，并通过提供具有创造力和突破性的设计很快建立了声誉。通过各种各样的项目，ODA试图调和对人类有益的、并能起到培养作用的垂直城市生活的条件：在观察的广阔视野中寻求庇护的欲望，室内和室外空间之间的无缝过渡，以及良好设计带来整体生活的改善。就本质而言，ODA所创造的价值可以以另一种形式再次复制。

ODA Architecture:

Designer of LUXELAKES Watertown A8 Parcel Zone A

Since ODA‘s inception in 2007, it has quickly emerged as one of the most recognized firms of its generation, promptly established a reputation for delivering imaginative and mold-breaking designs. Through a range of projects, ODA seeks to reconcile the conditions of vertical urban living with the qualities which benefit and nurture us as human beings: the desire for protected shelter while observing wide perspectives, the seamless transition between indoor and outdoor spaces, and the general improvement of life through good design. ODA creates value which by its nature can be replicated again in another form.

Mitchell Joachim，Maria Aiolova，Terreform ONE

简介

Description

Design with Life记录了一个非营利组织的一些项目和突破，它在坚定并持续地定义着社会生态设计以及合成生物学、建筑和城市系统中的其他深层次交叉领域的新方向。

在气候变化加速的充满挑战的背景下，建筑设计的核心学科正在发展并采用新的形式。总部位于纽约的非营利组织Terreform ONE建立了独特的设计策略，他们通过对自然材料，科学和社会生态设计中的新生领域的再生利用来做项目调研。这种设计方法使用实际的生活物质（不是对自然的抽象模仿）来创建新的功能元素和空间。这些基于未来的行动不仅立足于社会正义，而且在数字制造和制造商文化的应用方面也具有深远的意义。Terreform ONE通过整合对生物材料和有机体的使用来解决紧急的环境问题和城市社会关注。

Design with Life chronicles the breakthroughs and projects of a nonprofit that is defining resolute new directions in socio-ecological design and other deep-seated intersections of synthetic biology, architecture, and urban systems.

In the challenging context of accelerating climate dynamics, the core discipline of architectural design is evolving and embracing new forms of action. New York-based nonprofit Terreform ONE has established a distinctive design tactic that investigates projects through the regenerative use of natural materials, science, and the emergent field of socio-ecological design. This kind of design approach uses actual living matter (not abstracted imitations of nature) to create new functional elements and spaces. These future-based actions are not only grounded in social justice, but are also far-reaching in their application of digital manufacturing and maker culture. Terreform ONE tackles urgent environmental and urban social concerns through the integrated use of living materials and organisms.

Eran Chen, ODA Architecture

简介 
Description

Unboxing New York是在景观持续变化的纽约市中对各种现实建筑的融合产物。详细的图表和照片为50篇短文集做了丰富的说明，ODA将过去10年中开发的故事，灵感和方法结合在一起，以乐观的眼光挑战城市建筑的传统规则。

在像纽约这样的以法规为主导，并被强劲的衰退后发展热潮定义的城市中，建筑师受制于惯例和规定的参数。代码，市场和时间是架构师词汇中的常用词，如环境，比例和光线。因此，建筑师的力量已从基本的生活素质上移开了。这本书研究的建筑主题是以恢复以生活质量为首要目标的设计力量。

自2010年以来，Unboxing New York 是对纽约市不断变化的形状的幕后研究-揭示了改变城市的力量，理论和历史，研究了建筑师处理的常见惯例。通过将五本较小的书籍与各种短篇文章，研究论文，图表以及对项目关键方面的分析结合在一起，该书介绍了该行业的现实情况，并列出了在纽约这样受监管严格的大型城市中可进入且有吸引力的路线图，为城市生活创造了额外的价值。

凭借在纽约进行设计和建造的丰富经验-在50平方英里的区域内进行了50多次设计—ODA处于一个独特位置去领导这一探索。它亲眼目睹了这座城市的快速发展，在飞涨的工作量和有限的时间中，已经开发出一种直观的决策公式，设计可替代的合适建筑物，重新排序并突破传统的设计规则。

Unboxing New York is a collaborative testimony to the realities architecture faces in the evolving landscape of New York City. In a collection of 50 short texts, richly illustrated with detailed diagrams and photo essays, ODA weaves together the stories, inspirations, and methodologies it has developed over the last 10 years to challenge the city's architectural conventions with an optimistic outlook.

In a city like New York, dominated by regulations and defined by a strong post-recession development boom, the architect is bound by conventions and prescribed parameters. Code, market, and time are words as common in the architect’s vocabulary as context, proportion and light. Consequently, the architect’s power has been pushed away from fundamental qualities of living. Unboxing New York investigates these architecture topics to recover the power to design with quality of life as the number one objective.

Unboxing New York is a behind-the-scenes examination of the changing shape of New York City since 2010 -revealing the forces, theories, and histories that have transformed the city, studying the common conventions that architects deal with as a result. In a bind-up of five smaller books with a wide variety of short articles, research pieces, diagrams, and an analysis of key facets of projects, the book presents the realities of the profession and lays out an accessible and engaging roadmap to working within a large, highly regulated metropolis like New York to create valuable additions to urban life.

With prolific experience designing and building in New York--with over 50 designs within an area of 50 square miles--ODA is uniquely positioned to lead this exploration. The firm witnessed the city's rapid development firsthand, and under a soaring volume of work and no time to waste, it has developed an intuitive formula of decision making to design alternative as-of-right buildings that rearrange priorities and transgress molds.

Julia Watson

简介

Description

三百年前，欧洲启蒙运动的知识分子构建了技术神话。受人文主义，殖民主义和种族主义融合的影响，该神话忽视了当地智慧和本土创新，认为它是原始的。今天，我们逐渐意识到这种神话的遗产正在困扰着我们。

设计师了解减少人类对环境的负面影响的紧迫性，却延续了依赖于开发自然的技术神话。通过建立坚固的基础设施并支持高科技的同质设计来应对气候变化，我们忽略了几千年来关于如何与自然共生的知识。如果不实施以生物多样性为基础的软件系统，设计就本质上是不可持续的。Lo‐TEK源自传统生态知识，是多代人知识，实践和信念的累积体，与土著创新是原始的且与技术孤立存在的想法相反。它是先进的，旨在与复杂的生态系统可持续地合作。

本书以人类学家韦德·戴维斯（Wade Davis）的前言以及横跨山脉，森林，沙漠和湿地的四个章节为背景，探讨了秘鲁，菲律宾，坦桑尼亚，肯尼亚，伊朗，伊拉克，印度，和印度尼西亚。我们在当代环境中重新发现了古老的神话，激化了人性的精神。

Three hundred years ago, intellectuals of the European Enlightenment constructed a mythology of technology. Influenced by a confluence of humanism, colonialism, and racism, this mythology ignored local wisdom and indigenous innovation, deeming it primitive. Today, we have slowly come to realize that the legacy of this mythology is haunting us.

Designers understand the urgency of reducing humanity’s negative environmental impact, yet perpetuate the same mythology of technology that relies on exploiting nature. Responding to climate change by building hard infrastructures and favoring high-tech homogenous design, we are ignoring millennia-old knowledge of how to live in symbiosis with nature. Without implementing soft systems that use biodiversity as a building block, designs remain inherently unsustainable. Lo―TEK, derived from Traditional Ecological Knowledge, is a cumulative body of multigenerational knowledge, practices, and beliefs, countering the idea that indigenous innovation is primitive and exists isolated from technology. It is sophisticated and designed to sustainably work with complex ecosystems.

With a foreword by anthropologist Wade Davis and four chapters spanning Mountains, Forests, Deserts, and Wetlands, this book explores thousands of years of human wisdom and ingenuity from 18 countries including Peru, the Philippines, Tanzania, Kenya, Iran, Iraq, India, and Indonesia. We rediscover an ancient mythology in a contemporary context, radicalizing the spirit of human nature.

Michael Murphy, Alan Ricks, MASS Design Group

简介

Description

MASS Design Group成立于2008年，与健康伙伴（Partners In Health）和卢旺达卫生部（Partners In Health）合作，在Butaro区建造了医院，这不仅是一项建筑杰作，也为需要帮助的社区提供独特服务。从那时起，MASS就发展成为了由建筑师，规划师，工程师，电影制片人，研究人员和公共卫生专业人员组成的动态合作组织，这些专家在十几个国家中的设计，调研，政策，教育和战略规划等领域工作。

MASS受到持续的认可后（2018年美国艺术与文学学院建筑奖，2017年库珀·休伊特国家建筑设计奖），他们的最新项目，the National Memorial for Peace and Justice in Montgomery, Alabama, 已经精选出超过400本出版物，包括《纽约时报》，《纽约客》和《华盛顿邮报》。达拉斯晨报的马克·兰斯特（Mark Lamster）将该纪念馆称为“二十一世纪美国建筑最伟大的作品”。

Justice is Beauty主要描写了MASS在设计，研究和倡导正义与人类尊严的架构的最初十年。拥有30多个已在建或在建的项目，并为约20万人提供服务，此外，MASS在建筑实践中率先采用了沉浸式方法，该方法可为经济增长、人民生活和社会福利提供所需的基础设施，建筑物和物理系统，同时也在关注着拥有特殊文化背景和社会需求的地方社区。

Founded in 2008, MASS Design Group collaborated with Partners In Health and the Rwanda Ministry of Health to design and build the Butaro District Hospital in Rwanda, a masterwork of architecture that also uniquely serves a community in need. Since then, MASS has grown into a dynamic collaborative of architects, planners, engineers, filmmakers, researchers, and public health professionals working in more than a dozen countries in the fields of design, research, policy, education, and strategic planning.

Amid ongoing recognition (the 2018 American Academy of Arts and Letters Award in Architecture, the 2017 Cooper Hewitt National Design Award in Architecture), MASS's most recent project, the National Memorial for Peace and Justice in Montgomery, Alabama, has been featured in more than 400 publications, including the New York Times, the New Yorker, and the Washington Post. Mark Lamster of Dallas Morning News called the memorial "the single greatest work of American architecture of the twenty-first century."

Justice Is Beauty highlights MASS's first decade of designing, researching, and advocating for an architecture of justice and human dignity. With more than thirty projects built or under construction and some 200,000 people served, MASS has pioneered an immersive approach in the practice of architecture that provides the infrastructure, buildings, and physical systems necessary for growth, dignity, and well-being, while always engaging local communities with attention to the specifics of cultural context and social needs.

Robert Venturi，Steven Izenour，Denise Scott Brown

简介

Description

在1972年Learning from Las Vegas面世时引起了一场积极的讨论，它呼吁建筑师更多地接受“普通”人的品味和价值观，并减少其建造“英雄式”，自我强化纪念碑的谦虚性。

该修订版包括第一部分的全文，on the Las Vegas strip，以及第二部分的“Ugly and Ordinary Architecture, or the Decorated Shed”，是从第一部分关于建筑中的象征主义和城市蔓延的肖像学的发现中得出的概括。（第一版的最后一部分，关于Venturi公司和Rauch公司的建筑作品，不包括在修订版中。）新的平装本有更小的版面，图片较少，价格也比原版低。这个版本新增了Scott Brown的序言，Venturi和Rauch成员的著作目录以及关于公司工作的书目。

Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments.

This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work.

Robert Venturi

简介

Description

这本非凡的书于1966年首次出版，现已翻译成16种语言，成为建筑文学的重要文件。Venturi的“复杂性与矛盾性”是“非直接架构的温和宣言”，用最原始和引人注目术语表达了对现代主义纯粹主义的后现代反叛。350张建筑照片被用作历史比较，并阐明了作者在创建和体验建筑时的想法。Complexity and Contradiction in Architecture也是AIA第七届年度国际建筑图书奖的经典图书奖的获得者。

First published in 1966, and since translated into 16 languages, this remarkable book has become an essential document of architectural literature. A "gentle manifesto for a non-straightforward architecture," Venturi’s Complexity and Contradiction in Architecture expresses in the most compelling and original terms the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture. Complexity and Contradiction in Architecture was the winner of the Classic Book Award at the AIA's Seventh Annual International Architecture Book Awards.

简介

Description

瑞士建筑师Jacques Herzog和Pierre de Meuron比任何其他当代人都在挑战着建筑与艺术之间的界限。Natural History探讨了这一挑战，研究了这对强大的艺术领域如何借鉴过去与现在的艺术，并使建筑与当代艺术对话。该书与百科全书相呼应，展示了由加拿大建筑中心组织的展览中的自然历史博物馆结构。Herzog＆de Meuron以及其他艺术家的模型和项目围绕六个主题作品集进行构建，这些作品集揭示了建筑师工作的演进历史：挪用和重建、改造和疏离、堆叠和压缩、烙印和模型、联锁空间、美化与氛围。每个部分都以赫尔佐格的声明作介绍，有20余位艺术家，学者和建筑师发表了论文，包括Carrie Asman、Georges Didi-Huberman、Kurt W.Forster、Boris Groys、Urrike Meyer Stump、Peggy Phelan、Thomas Ruff 、Rebecca Schneider、Adolf Max Vogt、Jeff Wall。

More than any of their contemporaries, Swiss architects Jacques Herzog and Pierre de Meuron are challenging the boundaries between architecture and art. Natural History explores that challenge, examining how the work of this formidable pair has drawn upon the art of both past and present, and brought architecture into dialogue with the art of our time. Echoing an encyclopedia, this publication reflects the natural history museum structure of the exhibition which it accompanies, organized by the Canadian Centre for Architecture. Models and projects by Herzog & de Meuron, as well as by other artists, are structured around six thematic portfolios that suggest an evolutionary history of the architects' work: Appropriation & Reconstruction, Transformation & Alienation, Stacking & Compression, Imprints & Moulds, Interlocking Spaces, and Beauty & Atmosphere. Each section is introduced with a statement from Herzog, and more than 20 artists, scholars, and architects have contributed essays, including Carrie Asman, Georges Didi-Huberman, Kurt W. Forster, Boris Groys, Ulrike Meyer Stump, Peggy Phelan, Thomas Ruff, Rebecca Schneider, Adolf Max Vogt, and Jeff Wall.

Mitchell Joachim，Maria Aiolova，Terreform ONE

简介

Description

The Death and Life of Great American Cities 自1961年首次出版以来，就对本世纪大部分城市规划的目光短浅和学术傲慢感提出了直接且基本乐观的起诉，并成为了衡量该领域工作的标准。为了表现出色的即时性，Jane Jacobs撰写了有关使街道安全或不安全的原因；关于构成邻里的元素以及它在城市的更大生物体内所起的作用；关于有些社区仍然贫穷而另一些社区却不断再生的原因。她写出关于殡仪馆和物业单位窗口的有益作用，以及过多的发展资金和过少的多样性所带来的危险。Jane Jacobs总是富有同理心，热情洋溢且总是敏锐细致的作品为评估所有城市的生命力提供了重要的框架。

A direct and fundamentally optimistic indictment of the short-sightedness and intellectual arrogance that has characterized much of urban planning in this century, The Death and Life of Great American Cities has, since its first publication in 1961, become the standard against which all endeavors in that field are measured. In prose of outstanding immediacy, Jane Jacobs writes about what makes streets safe or unsafe; about what constitutes a neighborhood, and what function it serves within the larger organism of the city; about why some neighborhoods remain impoverished while others regenerate themselves. She writes about the salutary role of funeral parlors and tenement windows, the dangers of too much development money and too little diversity. Compassionate, bracingly indignant, and always keenly detailed, Jane Jacobs's monumental work provides an essential framework for assessing the vitality of all cities.