“造影与构架”工作坊

年份: 2023
地点: 中国上海
类型: 构筑物/休闲
状态: 建成
建筑面积: 30*3 m2
学员：侯雨彤、陈祯瑒、刘一鸣、王赫泽、沈含章、田乃稷、邓周欣悦、牟子雍、朱炳宇、方瑶、金晨雷
导师：陈东华、张准
点评嘉宾：郭屹民、潘晖
助教：胡晓劼、张冲冲、林峻田
摄影：上海当代艺术博物馆、陈东华

这次“造影与构架”工作坊，作为“影之道”展览的延伸教育活动，提出一个日常、易懂但又充满难度的命题：如何搭一个能遮荫/能抗风/大跨度/重量轻/造价低/动态活性（dynamic）的凉棚？在沿海南方，一个好的棚子构筑，它往往有一些共同特点：有遮阳挡雨作用，有足够跨度和覆盖面积；造价较低，满足日常使用；较为轻盈，方便搭建，减少对基础的要求；面对台风天气，能够抵抗被上掀的风险。这次工作坊，我们限定材料费不超过2.4万人民币，选用的材料都是日常的成品，其大小、长短、刚柔俱备，同时也是希望延续展厅内“伞构”的动态、轻盈、便宜等特点。

这些材料包括布料、鱼竿、鱼丝、木条、轧带、风铃、实心球、空心砖等等日常材料。鱼竿是南方沿海常见的物料，原本也是设定为这次工作坊的主材。我们开始便对这个材料进行了破坏测试实验，结果发现鱼竿所能承受的重量仅为2KG，与材料广告商标榜的重量相距甚远。因此我们只能临时调整策略，根据它们的材料极限以及所呈现的刚性与柔性，设计与搭建出三种不同状态的构筑。

而这种偶然、未知、多变的条件，促使我们在工作坊中重新思考“建筑师”或“设计师”的角色。当我们需要亲力亲为地搬运材料去实地搭建，我们也成为了另一种自发的“施工队”或“建造者”，逃脱那种建筑设计师设定好的蓝图，而在工作坊过程里临时又临场地发挥。这时候，我们的角色更像一位在台风天气中自救、自营的搭棚工人，而不是自我标榜建筑师身份的精英。而正是这些非建筑师身份的公众，在南方暴风与艳阳下，搭建出千万种形式的棚子与阴影。

“Shade and Shed”Workshop

Year: 2023
Location: Shanghai, China
Type: Structure/Leisure
Status: Built
GFA: 30*3 m2
Students: Hou Yutong, Chen Zhentuan, Liu Yiming, Wang Heze, Shen Hanzhang, Tian Naiji, Deng Zhou Xinyue, Mou Ziyong, Zhu Bingyu, Fang Yao, Jin Chenlei
Instructors: Chen Donghua, Zhang Zhun
Commentators: Guo Yimin, Pan Hui
Teaching assistants: Hu Xiaojie, Zhang Chongchong, Lin Juntian
Photography: Shanghai Power Station of Art, Chen Donghua

The workshop “Shade and Shed” directed by us is a research-based, long-term yet incomplete project. As an extension of the exhibition “The Shape of Shadow” at Shanghai Power Station of Art, the workshop focuses on process of study, design, test, build and use, while posed an everyday, easy-to-understand yet challenging proposition: how to build a shaded, wind-resistant, large-span, light-weight, low-cost, dynamic shed? In the coastal south, a good shed structure often shares some common characteristics: they provide shade and protection from the sun and rain, and have sufficient span and coverage; they are less expensive and meets requirement of daily usage; they are light, which makes them easier to build and free of structural foundations; and they are typhoon-resistant to reduce the risk of being toppled upwards. For this workshop, the cost of all materials is limited to RMB 24,000, and the chosen materials are all daily prefabricated products with various characteristics of size, length, rigidity and flexibility. At the same time, we hoped that the structure built in the workshop can continue the dynamic, lightweight and inexpensive characteristics of the “umbrella-like structure” in the exhibition hall.

The workshop used everyday materials such as fabrics, fishing rods, fish wire, wooden strips, rolling tape, wind chimes, solid balls and hollow bricks. Fishing rod is a common material in the southern coast and was originally set as the main material for this workshop. We started the workshop with a destructive test experiment on this material, and found that the weight that the fishing rod can bear is only 2 kilograms, which is far from the weight-bearing capacity advertised by the manufacturers. Therefore, we had to adjust our strategy temporarily, designing and constructing three different states of structures according to the limits of the material and time (only three days to build).

It is the contingent, unknown and variable condition that prompted us to rethink the role of “architect” or “designer” in the workshop. When we need to carry the materials to the field to build, we also become a kind of spontaneous “construction team” or “builder,” escaping from the blueprints set by the architect and playing on the spot in the course of the workshop. At this point, our role is more like a scaffolding worker who saves himself in a typhoon, rather than a self-proclaimed architect-elite. It is those non-architect members, the public, who have built millions of different forms of sheds and formed different shadows under the stormy winds and bright sunlight of the South.