Wutopia lab completed China's first architectural model Museum in the way of predicting future cities.
Models in model
看东京的模型仓库，业主希望在这个博物馆里展示所有中国当代知名建筑师的建筑模型。当我翻看模型仓库的照片时，一个灵感闪电般击中我。既然博物馆集中展示的是各种建成或未建成项目的建筑模型，那么如果以宏观的视角观察这些千差万别的项目，然后一旦悬置它们的地域和时间的差异，它们其实可以一起构成一个世界。于是，我决定把整个博物馆设计成一个巨大的未来城市的模型。而这些收集来的模型就是这个未来城市肌理上的不同的构成部分，它们各自发散性地预言着不同的未来。这样的模型博物馆才是具有建筑学意义的，这就是Models in model。
Looking at the model warehouse in Tokyo, the owner hopes to display the architectural models of all the famous contemporary Chinese architects in this museum. When I looked at the pictures of the model warehouse, an inspiration hit me like lightning. Since the museum focuses on building models of various completed or unfinished projects, if we observe these different projects from a macro perspective, then once they are suspended in different regions and time, they can actually form a world together. So I decided to design the whole museum as a model of a huge future city. These collected models are different parts of the future city texture, and they predict different future in divergent way. Such a model museum is of architectural significance. This is“ models in model.”
”All the comforts of the country with none of its disadvantages“
东京的模型仓库货架上密密麻麻的模型让我想起了库哈斯在《疯狂的纽约》里引用的漫画家A.B Walker 在1909年三月在杂志上发表的漫画。库哈斯认为这代表了一种对摩天楼的乌托邦想象。2011年，我关于垂直城市的博士论文里引用了库哈斯的这段文字和图片。我认为20世纪初从欧洲到北美对摩天楼的各种想象形成了垂直城市的雏形。由此激发我要把博物馆设计成一个关于未来的垂直城市模型。
The density of models on the shelves of the model warehouse in Tokyo reminds me of the cartoon A.B. Walker published in the magazine in March 1909 quoted by Koolhaas in crazy New York. Koolhaas thinks it represents a utopian imagination of skyscrapers. In 2011, my doctoral dissertation on vertical City quoted this passage and pictures of Koolhaas. I think in the early 20th century, from Europe to North America, the various visions of skyscrapers formed the rudiments of vertical cities. This inspired me to design the museum as a vertical city model for the future.
《看不见的城市》中轻盈的城市之二中提到的完全建筑在高脚桩上的珍诺比亚帮助我确定了未来城市的基本架构。我希望作为城市一部分的模型是漂浮在这个未来城市的界面之上的。但我不想具体化这个未来城市的形象。为了突出的是建筑师们的建筑模型，这个城市应该是抽象的。最后我决定用高脚即直径为32mm的圆杆作为基本元素来构筑这个未来城市, the Last Redoubt（名字来自于1912年的科幻小说The Night Land）。
In the second light city in invisible city, zhennubia, which is completely built on stilts, helped me determine the basic structure of the future city. I hope that the model as part of the city is floating on the interface of this future city. But I don't want to crystallize the image of this future city. In order to highlight the architectural models of architects, the city should be abstract. Finally, I decided to build the future city with a high foot, a 32mm diameter round pole as the basic element, the last redoubt.
The Last Redoubt
Invisible structure construction
In total, we built last redoubt, a vertical city, with 5653 steel pipes. I designed the structural column and decorative column in the same size and visual to deliberately weaken the existing expression of the structure. These steel pipes form a continuous sequence and then become the separation interface of different areas of the vertical city.
Last Redoubt同时具有人和模型的两种尺度。在模型的尺度上，Last Redoubt有十几层高，所有的模型承板都是悬挑焊接在圆杆上的。不同的模型坐落在不同高度上的承板上，它们同时塑造Last Redoubt的形态。在人的尺度上，博物馆有个穿越各个展区的夹层。夹层是用悬吊的方式建造，吊杆一样是直径32mm的白色圆形钢管。我把夹层隐藏在钢管形成的界面中是为了避免在视觉上让两种尺度发生冲突。参观者可以隐秘地穿行在模型之间来观察模型。是作为博物馆重要的体验流线，同时它也是作为模型的Last Redoubt立体交通系统的一个部分。
Last redoubt has both human and model scales. On the scale of the model, last redoubt is more than ten stories high, and all the model bearing plates are cantilever welded on the round bar. Different models are located on bearing plates of different heights, and they shape the shape of last redoubt at the same time. On a human scale, the museum has a mezzanine that runs through various exhibition areas. The mezzanine is constructed by suspension, and the suspender is also a 32mm diameter white circular steel pipe. I hide the interlayer in the interface formed by steel pipe to avoid visual conflict between the two scales. Visitors can secretly walk between models to observe them. It is an important experience streamline of the museum, and it is also a part of the last redoubt three-dimensional transportation system as a model.
我用20世纪初美国画家William R Leigh所创作的关于未来城市的幻想绘画作品——Visionary City来命名入口大厅，它是Last Redoubt的卫城。Visionary City更像一个空空荡荡的旷野，只有the Stackes（叠城，头号玩家）孤零零地矗立在一侧，Stackes上的建筑沉默不言。不过当四周的玻璃通电后，玻璃背后的宏大的垂直城市突然出现在你周围，地面上会出现投影掠过这个世界的惊鸿，幻觉才是真的Visionary City。
I named the entrance hall, the Acropolis of last redoubt, after visionary City, a fantasy painting about the future city created by William R Leigh in the early 20th century. Visionary city is more like an empty wilderness. Only the stacks stand alone on one side, and the buildings on them are silent. However, when the surrounding glass is electrified, the huge vertical city behind the glass suddenly appears around you, and there will be a startling flash of projection across the world on the ground. The illusion is the real visionary city.
3 Main Zones
Last Redoubt的内城也是博物馆的主展区分成三个主要部分。分别为Tijuana（星际牛仔），Ironia（来自于铳梦里的City of Iron，我觉得名字太长就改成了Ironia）和Pod bay（2001太空漫游）。Tijuana和Ironia的差别在于根据原始平面尺寸而采用了不同的排列方式。Pod bay类似城市的广场，是Tijuana和Ironia两者的交汇空间。
The inner city of last redoubt is also the main exhibition area of the museum, which is divided into three main parts. They are Tijuana, Ironia and pod bay. The difference between Tijuana and Ironia is that they are arranged in different ways according to the original plane size. Pod bay is similar to the city square, which is the intersection space of Tijuana and Ironia.
原始平面的西南角有个圆形空间。我们决定用它作为VR展示，休息或者会谈之用。它是博物馆唯一的一个社交空间，仿佛城市的Pantheon。尽管我以 The Thunder dome（疯狂麦克斯）来命名它。但它是个被光洁光线所笼罩的平静的场所。
There is a circular space in the southwest corner of the original plane. We decided to use it for VR display, rest or talk. It's the only social space in the museum, like the pantheon of the city. Although I named it after the thunder dome. But it's a peaceful place shrouded in bright light.
On one side of the dome is the stairway into the mezzanine. I originally designed the space downstairs as a storage room. But when I stood in this room, I originally changed the floor into a perforated plate to reduce the weight of the mezzanine. As a result, the light leaked through the hole and splashed into the room. This light made my mind move. I decided to design this into a special exhibition hall. I named it tyell and paid tribute to the great "blade killer".
3 Sacred Spaces
Last Redoubt是作为完整的方形城市嵌入到原始平面中，它和凹凸进退的原始平面之间形成一些零碎的边角空间。我用红黄蓝三色标记了这三个空间作为特别的展出空间。他们同时作为这个城市的神圣空间联系着作为Last Redoubt的建筑模型博物馆和真实世界。红色是Olympus（苹果核战记），蓝色是Asgard（雷神），黄色是Arrakis（沙丘）。它们其实也象征了一件事，纯粹的空间终究要突破界限更华丽地拓展未知的领域才能持续性发展。
Last redoubt is embedded in the original plane as a complete square city, and it forms some scattered corner space between the original plane of bump advance and retreat. I marked these three spaces with red, yellow and blue as a special exhibition space. They also act as the sacred space of the city, connecting the architectural model Museum and the real world as last redoubt. Red is Olympus, blue is Asgard and yellow is arakis. In fact, they also symbolize one thing, pure space will eventually break through the boundaries and expand the unknown areas more luxuriously to achieve sustainable development.
原始平面上有3个阳台，我可以置之不理。但我觉得任何伟大的城市和文明一定会拓展它的边疆去探索未知。我把这三个阳台看成Last Redoubt的三个航空港上的飞船。他们分别是The Eclipse（星球大战）代表着征服的野心，The Covenant（星际迷航）代表了好奇和探索， 就在Pod bay边上的金色The Serenity（萤火虫）则代表了勇气和运气。 它们证明了我的Last Redoubt和小说里等待死亡的Last Redoubt不一样，人类终究毫无畏惧地走出堡垒去开拓更广阔的天地。
There are three balconies on the original plane, which I can ignore. But I think any great city and civilization will certainly expand its frontier to explore the unknown. I think of these three balconies as spaceships on the three airports of last redoubt. They are: the eclipse represents the ambition of conquest, the covenant represents curiosity and exploration, and the golden firefly beside pod bay represents courage and luck They prove that my last redoubt is different from the last redoubt waiting for death in the novel. After all, human beings walk out of the fortress without fear to open up a wider world.
"Don't go into that good night gently, old age should burn and roar at dusk; rebuke, rebuke the disappearance of light."
The Night Land
白色的Last Redoubt之外就是 Night Land。作为对偶的一组关系，我把电梯厅设计成黑色，仿佛黑夜。夜色中矗立的黑色沉默的巨型城市The Peach Tree（特警判官）是Visionary City里白色Stackes的另外一面，它们隔着Stargate相互对视，但已经是两个世界了。正对电梯的是巨大的黑色数控墙，可以把信息包括图案显示在上面。它更像是Monolithic（2001太空漫游）。暗示了大门背后那个光辉万丈的Last Redoubt和Night Land的息息相关。
"April is the cruelest month. Lilacs grow in the wasteland. They mix memories and desires, and let the spring rain urge those dull roots."
I used to want to use curtains to separate the museum into a completely introverted and complete space. However, when the round pole stands up, the sunlight seems to be filtered in the museum. The whole museum looks real and untrue, and the entity is dispelled as if it still exists. It deeply touched and changed me.
Architecture needs architecture as a tool to think about the future destiny of human beings. Facing the future, architecture can't hide behind the shells of history, context and region, but take these as the starting point to create a greater future or humble gods. Firmness and permanence may be an illusion we insist on. But the openness, temporality, diversity, contingency, accidental or transient amnesia, instant inspiration, ephemeral beauty and slight vulnerability are also worthy of architectural attention and creation. Yes, I see the architectural model Museum as an architectural manifesto.
"Honey, dream big."
设计公司： Wutopia Lab
摄影： CreatAR Images
Models in Model
Architects: Wutopia Lab
Lead Architect: YU Ting
Project Architect: Wutian SUN
Design Team: Haixu ZHANG, Ben ZHANG
Construction: Shanghai Maichang Construction Ltd.
Location: Fengyuzhu Headquarter, Shanghai, China
Area: 1000 m²
Completed: January 2019
Photography: CreatAR Images