這裡我們將繼續帶領大家走進空間設計的新紀元。
參觀2020年格拉斯哥藝術學院室內設計的作品。
以下作品均轉自
https://gsapostgradshowcase.net
並在原作者的基礎上加以解讀
#01
YUCHEN WANG
AN EXPLORATION OF DREAM SPACE
There are several age stages in our lives, and each is unique with its own charm and fantasy. I once floated in a dream, standing on stairs and seeing a boy’s life cycle from when he is a baby, to when he is a grizzled old man. From my perspective, life is a journey where we exploring the world in our own way.
The scene in the dream makes me wonder if there was a connection between space and time. I hope to explore the relationship between space and time in the process of gradually materializing the abstract world in dreams.
在這個項目中，你可能會看到一些與現實世界截然不同的空間關係。就我而言，這些神秘而詭異的空間關係更能反映夢境的感受和抽象的生命。當你踏入故事的時候，你可能會發現一些與你相似的東西，當你回頭看時，你的故事是什麼樣子的？
我想繼續夢中的幻想和神秘。通過《建築奇觀》（the Architectural Uncanny，1992），我發現使一個空間與眾不同的不是它的實際情況，而是我們附加在它上面的東西，比如故事、記憶和想像。
如前所述，為了讓夢境空間與現實有所不同，我參考了一些電影，比如《怪博士》（2016）、《盜夢空間》（Nolan，2010）和《埃舍爾的繪畫》，我發現有三種模式可以幫助我實現它：反轉、扭曲和鏡像效果。
在探索如何創造一個緊密相連的故事的過程中，我發現了一些有用的東西。在一個名為Cheers by Mayday的中國樂隊的音樂視頻中，我注意到時間的變化可以反映在我們不同年齡的物品中，例如，漫畫書和酸奶隨著時間的推移變成了公文包和香檳。剩下的是我們手中總有一些東西，我們在不同的年齡段所持有的東西會發生什麼樣的變化，這就使得一個故事合乎邏輯並緊密相連。我想創造一個生活故事，嘗試從生命周期中提取元素，根據12個年齡階段繪製草圖，並將其轉換為數字模型。我的想法是，人們一生中只有一次進入這個空間，進入後不能再回去，這意味著生命只能是一次，我們不能重新開始。
1
The corridor connecting the next space is filled with propeller-shaped blades that people need to find their way through, which is more likely to make them feel more engaged. At the same time, it fits in with the theme of vortex, which can be created by propellers.
連接下一個空間的走廊充滿了螺旋槳形狀的葉片，人們需要通過這些葉片找到自己的路，這更有可能讓他們感覺更投入。同時，它與螺旋槳可以創造的漩渦主題相吻合。
2
In this space, hemispherical objects on the ground will keep rising with the time, it can create obstacles for people when they are walking, giving them the sensation of stumbling, and this can simulate a feeling of when they learnt how to walk as a child. I believe that we all remember a feeling of when we're learning to walk, there's always somewhere between falling and not falling.
在這個空間裡，地面上的半球形物體會隨著時間的推移而不斷上升，它會給人行走時的障礙物，給人一種絆倒的感覺，這可以模擬一種小時候學會走路的感覺。我相信我們都記得當我們學習走路的時候，總有一種感覺，那就是跌倒和不跌倒。
3
This transition reflects the process of people’s growing up, when they come into contact with the outside world, light can gradually pass through the hollow of the top, implying the exploration of the world. In this corridor, the dark corridor itself implies the process of our growth, especially before people were exposed to social circles. When people walk through the corridor, the light will pass through the hollow part at the top, indicating the process when people gradually grow up and start to contact with the outside world and socialize with different people.
這種轉變反映了人的成長過程，當他們與外界接觸時，光線會逐漸穿過頂部的空洞，寓意對世界的探索。在這條走廊裡，黑暗的走廊本身暗示著我們成長的過程，尤其是在人們接觸到社交圈之前。當人們穿過走廊時，光線會穿過頂部的中空部分，這是人們逐漸長大，開始與外界接觸和交往的過程。
4
When we were born, we know very little about the world. It can be seen as that everyone is in a cube of their own. As we grow up and begin to experience the outside world, our little cubes are filled with all sorts of things that we experience. In this space, each frame represents a person's story, and as people begin to socialize and make friends, each person's story is exchanged. When the audience moves around in these frameworks, it represents the process of people’s growing up when they meet different people carrying their own stories and experiences.
當我們出生的時候，我們對這個世界知之甚少。可以看出，每個人都是在自己的一個立方體中。當我們長大後，開始體驗外面的世界，我們的小立方體充滿了我們所經歷的各種事情。在這個空間裡，每一幀都代表著一個人的故事，當人們開始社交和交朋友時，每個人的故事都在交流。當觀眾在這些框架中移動時，它代表了人們在遇到不同的人時的成長過程，這些人承載著他們自己的故事和經歷。
5
In this space, the partition is a vague transition, people can see the space inside, but people need to push the door to enter the next space. This door is as a divider between dream and reality. Because when people grow up, they have to face the pressure from study and work in life, sometimes people have to put their dreams aside in order to survive. When people push the door to get inside, it implies that they are forced to make a choice, when their life is entering the next stage.
在這個空間裡，隔斷是一個模糊的過渡，人們可以看到裡面的空間，但人們需要推開門才能進入下一個空間。這扇門是夢想和現實之間的一道鴻溝。因為人長大了，生活中要面對學習和工作的壓力，有時為了生存，人們不得不把夢想放在一邊。當人們推開門進去時，意味著當他們的生活進入下一個階段時，他們被迫做出選擇。
6
In this connection, the corridor is long and people have to walk a long way to reach to the next space. When the audience walks through this part of the road, they will find that the road is long and tortuous, which implies challenges and difficulties in life.
在這方面，走廊很長，人們要走很長的路才能到達下一個空間。當觀眾走過這段路時，會發現這條路漫長而曲折，這意味著生活中的挑戰和困難。
7
The final one is the road leading to the exit. When people come here, the steps will fall from the top step by step, which is to provide more time for the audience to think about their own life journey when they are leaving this space. I want to make the steps as long as possible, so people can have enough time to look back on their life journey when they step out of the space, and be able to have the opportunity to think about what they achieve and what they lose in their life, because we only have one chance to live, and it is a one-way trip.
最後一條是通往出口的路。當人們來到這裡時，臺階會一步一步地從頂部落下，這是為了讓觀眾在離開這個空間時有更多的時間去思考自己的人生旅程。我想讓腳步儘可能的長，這樣人們走出太空後，有足夠的時間回顧自己的人生歷程，並有機會思考自己的人生成就和失去了什麼，因為我們只有一次生存的機會，這是一次單程旅行。
#02
XINGYU CHEN
In this project, I tried to apply a nonlinear narrative to an experimental exhibition about the novel Invisible Cities (Italo Calvino 1972), and transform the description in the novel into the atmosphere, experience, and sound in the space. Compared with an exhibition with only one fixed path, a non-linear exhibition gives visitors more possibilities to piece together and explain the content. Visitors may go around in the exhibition, and all narrative order becomes uncertain. By doing this, it gives visitors more power to express their own meaning and independent understanding in the exhibition. Besides, the project changed the traditional experience in literary exhibitions that visitors just read text while standing. The translation of the novel text into spatial scenes provides visitors with a multi-sensory interpretation.
在這個項目中，我試圖將非線性敘事運用到一個關於小說《看不見的城市》（Italo Calvino 1972）的實驗展覽中，並將小說中的描述轉化為空間中的氛圍、體驗和聲音。與只有一條固定路徑的展覽相比，非線性展覽給了參觀者更多的機會來拼湊和解釋內容。
參觀者可能會在展覽中四處走動，所有的敘述順序都變得不確定。通過這樣做，使參觀者在展覽中有更多的力量表達自己的意思和獨立的理解。此外，該項目改變了傳統的文學展覽經驗，即參觀者站著看文字。將小說文本翻譯成空間場景為遊客提供了一種多感官的解讀。
#03
CHAEEUN LIM
Indoor life sustained by the massive widespread COVID-19 reminded us of the problems in the space we live in. Changes in life due to pandemics have seen various residential patterns emerge, and the demand for residential space to cope with these situations is increasing. On the other hand, space has been relatively static, so it has faced limitations in accommodating the diverse and changing lives of residents.
COVID-19使我們開始思考室內生活的可能性，長期的自我隔離所維持的室內生活提醒我們，我們生活的空間存在問題。由於大流行疾病導致的生活變化，出現了各種各樣的居住模式，為了應對這些情況，人們對居住空間的需求也在不斷增加。另一方面，空間一直是相對靜止的，因此我們要思考它如何適應多樣化和適應人的生活。
EXTENSION STRUCTURE TYPOLOGY
The expanded structural typology was derived from the architectural concept of space expansion: Parasitic Architecture. Through the case study, spatial expansion methods were classified by type. Among the types, folding, modular and sliding are usually attached to the facade using wood or concrete, expanding the space in a rigid and robust way/manner, but it was difficult to meet the definition of 'Flexibility'. This conclusion led the way to explore the inflatable structure.
擴展的結構類型學源於空間擴張的建築概念：寄生建築。通過案例研究，對空間擴展方法進行了分類。在這些類型中，摺疊、模塊化和滑動通常使用木材或混凝土附著在立面上，以剛性和堅固的方式/方式擴展空間，但很難滿足「靈活性」的定義。這樣更好的探索充氣結構。
通過想像人們如何使用泡泡以及如何在生活中創造新的交流方式來表達空間的。人們可以在一個安靜的泡泡中閱讀或冥想，感覺像是離開了家一段時間。孩子們有時可以帶著他們的朋友，像自己的窩一樣玩耍。他們也可以使用連接拉鏈與鄰居玩耍。在公園裡，人們可以把泡泡當作帳篷來獲得屬於自己的空間，從而安全地享受在外面的時光。
#04
JIAYI ZHU
「The Monster At Our Door」: Space as Medical Instrument Against Infectious Diseases
The whole research focuses on the medical effect space can provide to explore a kind of disease-free and heterotopias space through investigating the relationships between medicine and architecture, and disinfection measures space can provide. Combined with scientific and social issues, space demonstrates its medical potential to be speculated as a post-pandemic experiment.
整個研究的重點是通過研究醫學與建築的關係，為探索一種無病、異位的空間提供醫療效果空間，以及提供消毒措施的空間。結合科學和社會問題，太空展示了其醫學潛力，可以被推測為大流行後的實驗。
在禁閉期，超市配送是食品和日用品檢疫的主要方式，但也顯示出運輸資源不足和對食品安全管理的擔憂。因此，醫療空間被縮小為一個超市，重新定義和推廣作為一個基本的例子。空間作為一種醫療器械，是根據人體的健康特徵來構建的，以達到醫療效果，並充滿消毒監測和檢查。這座建築的鳥瞰圖就像一張顯示屍體碎片的X射線膠片。
This studio-archipelago enabled a fresh critique of disciplinary custom and practice. In a subject such as interiors, so entwined with the experiential, the material and the temporal, how could we bridge the space between the real and the virtual. When perspective is delivered through the narrow channels of the lens, mic, screen and speaker, how do we preserve meaning. When operating in a distributed way, how do we support diverse and distinct expressions of identity while maintaining meaningful interconnectedness.
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