SMALL IDEA是壹格学社推出的一系列有趣的Studio课题，我们亲切地称之为“小方案”，小方案不一定在尺度上非常小，但是都基于对我们生活的社会的敏锐观察，着眼于一些非常细微的切入点，试图通过以小见大的方式来呈现一系列有深度的设计。在我们这组课程中，导师将通过线下/线下+小组交流的方式，最终带你完成一个实际可用的独立项目，为你的设计学习和申请添砖加瓦。
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SMALL IDEA 课题47
电影中的建筑：王家卫眼中的亲密空间
Spatial Intimacy in Wong Kar Wai’s Universe
建筑设计，城市设计方向
“The moment when a film can completely read the city, their relationship would no longer be a dual-opposing one, both can offer the means to re-live, re-think, re-practice. Enterfilmic space to open up the interiority of the city or immerse in the city and allow filmic imagery to be guided by community, architectural space and place to realize a brand-new vision.”
Wong Kar Wai
当一部电影可以完全理解这座城市的时候，他们的关系将不再是一个双重的对立面，两者都可以提供给人们重新生活，重新思考，重新实践的方式。进入电影空间，开辟城市内部空间或沉浸在城市中，让电影图像以社区，建筑空间和地点为指导创造出全新的视觉观感。
王家卫导演的电影故事由许多不同的建筑元素构筑而成，超越荧幕之上，构筑这些故事的元素背后究竟是什么。
01
BACKGROUND
课题背景
Wong Kar Wai and Space
Su Lizhen ascended the stairwell of a hotel lobby, a stairwell that kept turning, convoluted like her own mind. She then paused at the top of the stair, seemingly had a change of heart before eventually descending. She knocked on the door of the claustrophobia-inducing bedroom. The man inside looked as if he has waited for inordinate ages. A stairwell, a door, a wall, four walls, a lobby, a window, multiple windows - architectural elements are the essence of Wong Kar Wai’scinematic language. The movie frames unravel the illusion of space, time and memory, intertwined and weaved into the movie’s narration. Wong’s two most prominent examples of constructed cinematic space are In the Mood for Love (2000)and Chongking Express (1994).
What role did his architecture play in the visual expression of movies? In which ways can cinema inspire architecture? How does one envision then enter the space behind the screen? What exists beyond the frame of the camera?
苏丽珍登上了酒店大堂的楼梯间，一个不停转弯的楼梯间，犹如她迷茫的心灵。最后她在楼梯顶部停了下来，似乎在最终下降之前心理发生了变化。她敲开了幽闭恐怖症患者卧室的门。里面的男人看起来好像等待了许多年月。楼梯间，门，墙，四面墙，大堂，窗户，各种不同的窗户 -这些建筑元素都是王家卫的电影语言的精髓。电影中空间，时间和记忆，交织在一起，编织成故事。 Wong的两个最着名的构建电影空间的例子是In theMood for Love（2000）和Chongking Express（1994）。
建筑在电影的视觉表达中扮演什么角色？电影可以通过哪些方式激发建筑风格？人们如何设想进入荧幕背后的空间？超出镜头画面的是什么？
02
TASKS
课题任务
WHAT: Dwelling for Character
The exercise is to design a house where a character from Wong Kar Wai’s movies would live. The students choose a persona from one of the presented movies, carry out a series of spatial analysis of scenes to reconstruct and reinterpret the space. The analysis will lead to the development of a design thesis. The concept taken from the movie informs the next design development. The exercise is not only conceptual but also take into account the practicality of the house as a dwelling place. The students should carefully consider the demographics of the chosen character as if he/she were a real-life client.
这个项目是什么：为角色设计一个住所
课题任务是为王家卫的电影中的一个人物设计一个住所。学生从王家卫其中一部电影中选择一个人物，进行一系列场景空间分析，重建和重新诠释空间。场景空间的分析将形成主要的设计思路。而从电影中获取的概念将推动设计的进一步发展。这个设计不能仅仅是概念性的，而且还应考虑到房屋作为居住地的实用性。学生应该仔细考虑所选角色，就像他/她是真实的客户一样。
WHY: Delve Into the Intimacy Between Cinema and Architecture
To understand the constructed visual experience of cinematic space, to get behind-the-scenes,beyond the cropped view of the camera, to interpret the conceptual and artistic intentions of the director, to learn from the visual story-telling how to choreograph the viewers’ experience and in turn, to take on the role of the director yourself, orchestrate a spatially intriguing experience for the house’s occupant.
为什么要这样做：深入了解电影与建筑之间的亲密关系
要理解所构建的电影空间的视觉体验，设计许与导演的概念和艺术意图有所呼应，从视觉故事中学习如何编排观众“体验，反过来，像导演一样，给予居住者一个有趣的空间体验。
03
SCHEDULE
课程安排
STUDIO OBJECTIVE
Through the close reading of scenes and spaces in Wong Kar Wai’s two outstanding works In the Mood for Love and Chungking Express, the students come to grasp profound understanding of a character and his/her surrounding. They will then develop a concept and design the house where their chosen character would live.
人数：6-8 人，独立项目
难度：中高级
专业：建筑设计，城市设计
针对人群：大三及大三以上，对项目感兴趣的同学
授课形式：小组课+1VS1+中期评图+软件辅导+设计推进+末期评图
开课时间：课程2019年7月初开始，连续五周
Calendar
Week 1
C1: Introduction. Pin-up: movie analysis. Assignment 00 due.
C2: Pin-up: Physical reinterpretation of a scene. Concept initiation.
Assignment 01 due.
Week 2
C3: Desk crit: Concept solidified.
C4: Desk-crit: Massing Massing Schemes.
Week 3
C5: Desk-crit: Schematic Design. Assignment 02 due.
C6: Mid Review
Week 4
C7: Post mid-review update. Design Development.
C8: Desk-crit: design development. Draft review.
Week 5
C9: Final review. Reflection.
04
LECTURER
课程导师
An Hoang
哈佛大学设计学院建筑学硕士
阿默斯特学院艺术学学士
Harvard University 哈佛大学设计学院建筑学硕士。17岁从高中得到美国大学的全奖学金，从此在美国开始读书。本科毕业于Amherst College 阿默斯特学院艺术学，毕业绘画作品被评选最佳艺术作品。大学二年级时，受到哥伦比亚大学的破格录取，直接参加了New York－Paris在巴黎的第二个学期。曾获的奖项包括Nagle Travel Fellowship, Athanasios Skouras Fine Art Prize等。工作经历包括北京X6国际建筑公司，麻省TIA Architects，纽约Sage and Coombe Architects。对多种文化非常感兴趣，除了英文，还学过其他外语包括中文，法语和日语，有了丰富的国际经验。擅长建筑概念抽象思维，用图像表达抽象的概念，建筑与美术跨学科合成，多文化背景研究， 很希望能帮助到壹格又有热情又有志气的学生。
05
SYLLABUS
授课时间
2019年7月初正式开始，连续5周，有意向的同学可咨询获取详细课程方案
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