清華大學南區(qū)學生活動中心，北京，中國

建筑設計：清華大學建筑學院素樸建筑工作室

Architects: SUP Atelier， School of Architecture， Tsinghua University

清華大學南區(qū)學生活動中心，北京，中國

Southern Student Center at Tsinghua University， Beijing， China， 2015

建筑設計：清華大學建筑學院素樸建筑工作室

Architects: SUP Atelier， School of Architecture， Tsinghua University

1　各向開放的校園活動場所

清華大學南區(qū)食堂及就業(yè)指導中心項目，是對清華中心校園環(huán)境的一次修補更新。項目位于校園南北干道學堂路與東西干道至善路的交叉口，三面臨路，一側面向廣場，是校園中心區(qū)的一處重要公共空間節(jié)點。整體設計利用地形東西兩側場地高差，為公眾設置了一條具有中式巷道空間意味的室內立體街道，不僅聯(lián)通了東西兩側高差2m的場地，實現(xiàn)了建筑各個界面的平層入口，更通過交通組織讓建筑底層成為有圍墻的開放空間，為來自校園各方向的師生提供公共活動的場所。

2　精心延續(xù)的場地環(huán)境文脈

場地內的原始地形、西北角標志性的綠化草坡、東南角的懸鈴木都在建筑和場地設計中作為文脈的延續(xù)被保留和尊重。為保留東南角的懸鈴木，建筑在體型上做了退讓處理， 在首層設置樹下咖啡平臺，在二、三層設置觀景陽臺，讓人們更好地享受綠色校園的怡人環(huán)境。

3　建筑本體的可持續(xù)設計

可持續(xù)設計策略，尤其是與建筑空間結合的被動式設計策略，不僅讓校園建筑室內空間舒適怡人，更降低了建筑的造價與運營能耗。建筑的地上部分借由公共中庭，被分為獨立運營的餐廳區(qū)與就業(yè)指導中心。中庭內的立體街道銜接了兩功能區(qū)的各樓層，如同共享的內庭院。頂部7個蛋形天窗，為室內帶來充沛的自然光，每個天窗頂部側壁設通風口，以便三層通高中庭內夏季熱壓及風壓通風。為中庭引入自然光影的同時，避免了夏季過熱的問題。

建筑的東西向進深達40m，為改善公共區(qū)及南側辦公區(qū)的自然采光通風條件，在建筑中庭南端設置了屋頂庭院，不僅庭院周邊獲得了采光通風面，也利用與屋頂庭院地面齊平的天窗為底部報告廳引入天光。

4　技藝合一的手工砌筑工法

早期清華大學的建筑，均以磚為主要材料，既有灰磚建筑，也有紅磚建筑，形成了清華大學特有的建筑文化氛圍，而這種氛圍，歷經(jīng)百年，隨著校園環(huán)境的整體認同，越來越多地得到了人們的認同。

在百年清華校園里建造一個磚的房子，既是延續(xù)校園百年文脈、向美麗的清華園致敬的機會，也是一個在實踐中重新認識、理解這一古老材料的絕佳機會。

今天的磚，更多地具有砌塊的屬性，而不是傳統(tǒng)粘土磚的概念了。因此今天在校園建造一個磚建筑，面臨的問題已經(jīng)大大不同于百年前。

首先，最純粹表達磚特色的結構和建筑合一的建筑類型，已經(jīng)難以滿足日益完善和嚴格的抗震規(guī)范等要求，實際上在北京這樣的高抗震設防地區(qū)，即便以磚作為不承擔結構作用的可以稱之為表皮性的建造，同樣面臨嚴苛的技術和規(guī)范上的挑戰(zhàn)。其次，作為磚這個材料主體，也已經(jīng)不再是清華百年老建筑中常用的粘土燒結磚，更多的是一種滿足環(huán)保可持續(xù)要求的，幾何尺寸為傳統(tǒng)粘土磚規(guī)格的砌塊。

1　西北角外景/Northwest corner of exterior view

2　清華校園總平面/Site plan of Tsinghua University campus

3　東南角夜景/Southeast corner of night view

To improve the living quality of the campus，a new building is built with multi-functions that combines a canteen for students and faculty members， a lecture hall， an exhibition hall， offices and other facilities for the Tsinghua Career Center，and storage for food serving all canteens on campus.

The project paid close attention to the following issues in design:

（1） The former busy and chaotic site should be transformed and made as a convenient and completely public place for the university.

（2） The terrain of the site should be taken advantage of in terms of easy accessibilities in all directions. Trees and vegetation should be preserved to keep the continuity and sustainability of the environment.

（3） As a public building on campus， it should be a building of sustainability， low cost and low energy consumption， meaning that passive strategies， local materials and appropriate construction methods are essential in design.

（4） Architecture represents the spirits of campus and will be passed down in future. The brickwork could be designed as artwork， just like painting or sculpture， which mixes art and wall together.

The site used to have a blind corner at the center of the campus， with dead-ended roads，chaotic traffic， mixed logistic and service route，unattended courtyard. All of these were mismatched with its location. The core idea of the design is to repair the urban texture in the campus context， to improve the environment of the site and to make it more accessible from all directions.

The sectional design takes the full advantage of the terrain of the site， creates a three-dimensional indoor street for the public， through ground floor on east and B1 floor on west. The north and south are also available as entrance. The entrance floor of the building on the one hand is functional and solid and on the other hand is a kind of cluster of open public space， which makes students possible to access and go across the building in all directions. Moreover，the entrance floor serves as a shortcut and meeting places for students on campus.

Old trees and the landscape relating to the terrain on the site are preserved as much as possible. The project is built on the site of former canteen and former chaotic backyard， without occupation of the former open green space and vegetation in north and west of the site. To keep the sycamores on southeast corner alive and create more nature friendly outdoor space， the outline of the building was designed to keep a distance of 5 meters at least away from the trunks， and provide double-deck balcony， bay window and wooden cafe terrace for people.

Sustainable strategies， especially those of passive design are adopted in the project to make the space more comfortable and reduce the cost and energy consumption in practice.

The building aboveground is divided into two main functions: the canteen and a career center，which are operated independently from each other. They are connected with a public atrium， which connects public spaces on different stories， like a traditional inner Chinese courtyard. On the top of the atrium there are seven egg-shaped skylight windows which bring natural daylight to the atrium. Each of the skylights has a small window on the side frame wall above the roof， which could be opened as outlet vent for natural ventilation. The three-storyhigh atrium works like a stack and with all inlets and outlets open， there is a stack effect to accelerate the natural ventilation and prevent the whole space from being overheated and make the atrium more comfortable in summer. Obviously， it significantly reduces the maintain cost and energy consumption for artificial lighting and air-conditioning in operation phase.

The depth of the building is more than 40 meters， to improve the daylight and natural ventilation for the public space and offices， a roof garden with side windows is inserted to the 3rd floor. The glass curtain wall with grating， facing south， draw more sunlight to the atrium courtyard.The flat roof windows on the timber floor of the roof garden will bring natural light down to the lecture hall. Among which two raised boxes with side windows are used for low cost chimney to accelerate the natural ventilation for the hall. The roof garden can be used as open cafe or party for the campus.

The exterior brick wall is also designed based on

4　室內設計結合場地高程/The site's elelvation being taken into consideration in the interior design

5　剖面/Section

從建構角度來看，唯一相同的是砌塊之間砌筑的連接方式，仍然沒有什么變化，盡管增加了穿筋和墊鋼片這樣的結構安全應對措施。

雖然有著這些變化，實際上從外觀看來，仍可以最大程度地延續(xù)百年清華磚建筑的歷史和文化脈絡，在構造和細部設計中傳承手工砌筑工藝的多種模式，例如清水磚的構造做法至少有5種方式：常規(guī)砌筑、花磚格柵砌筑（立面遮陽及通風口）、凹磚花墻砌筑、凸磚花墻砌筑、齒狀花墻砌筑等。這些做法為外墻面帶來生動的肌理，同時也適應了不同的功能需求。

例如，花磚格柵砌筑主要應用在需要通風和采光的地方，花磚構成了通風孔，同時也是很好的固定遮陽構件，成為低建造和運營成本的可持續(xù)設計策略的重要組成部分。為豐富花磚格柵的藝術效果，設計了磚縫間距的疏密變化，工匠按圖放線，在拉結鋼片上定位焊筋，砌好最底層一匹花磚，往上砌筑就便捷熟練了。

凹磚花墻砌筑，主要作為特殊空間的標識，比如用于西北角戶外樓梯處，實際上暗示著校園生活的一個場景：作為合影的背景墻，可與學生密切互動。240mm厚的凹磚墻，排磚砌筑全用丁磚，凹洞處采用160mm切割磚。讓傳統(tǒng)工藝回歸現(xiàn)代設計。

凸磚花墻砌筑，主要在東南立面轉角和東立面廊下，同樣體現(xiàn)了設計的一個重要出發(fā)點：建筑與藝術品是一體的，建筑的部品是可以做成設計過的藝術品的。尤其是嚴謹?shù)墓そ呈止て鲋u的過程，本身就具有藝術創(chuàng)作的屬性。凸磚的點位，實際上是經(jīng)過10多輪方案比較才最終確定，其目的在于同非常波普的超大的磚砌與貼膜共同構成“TSINGHUA”字樣，相匹配，是由清水磚砌塊點陣構成的藝術品。其中5塊磚砌塊，特意包上了專門設計的紫銅磚套，可供人觸摸，成為磚墻與人互動的媒介。

齒狀花墻砌筑主要用在東側廣場中的兩個出入口，通過這種看似隨機，實際上技法要求最高的在曲面墻體上的砌筑，構成兩個吸引視線的景觀小品，控制住東側廣場和東側門廊下的空間。

借助磚墻豐富的語匯，讓建筑各界面有了更生動細膩的表情，周邊公共空間的氛圍，校園生活的場景，也借此展開，隨時間而延續(xù)。

the idea of sustainability. In this project， the brick masonry walls are built not only as enclosure wall，they are also as sun-shading system and ventilation openings. The width of the gaps between bricks could gradually change from 30 mm to 100mm， to satisfy the required aperture ratio.

Bricks are constructed in more than 5 ways: conventional， zigzag， indented， overhanging， and that of a sun-shading system. They bring various textures for the exterior walls and meet different functional demands.

The brick for the sun-shading facade uses a special kind of customized bricks that have two rectangular holes and should be integrated with reinforced bar through the holes in vertical.Every 8 layers bricks will be integrated with stainless flat steel in horizontal. All the bars will be welded on the flat steel， and they will be integrated with the main structure to keep the brick sun-shading facade safe and stable. The rectangular holes are set to suit the gap between bricks， which could be changed according to the design， to meet the needs of sunshading or ventilation， and to keep the wholeness of the brick facade.

The masonry wall， as handmade constructed wall， could be more than a mere functional element. Some brick walls are designed as pieces of artwork，to emphasize the specificity of the space. Taking the walls under the east steel porch， next to the east entrance as an example， the overhanging bricks are settled as a painting， the brick wall is embodied with the capitalized characters of "TSINGHUA"， the name of the university.

The advantage of handicraft is adopted in the project. Since the brick walls are designed like artwork， the traditional craftsmanship prevails.

6 首層平面/Floor0 plan 1-衛(wèi)生間/WC2-入口/Entrance3-設備間/Equipment4-內院/Courtyard5-碗碟洗滌室/Scullery6-售賣窗口/Sale7-廚房/Kitchen8-冷餐廚房/Salad kitchen9-倉庫/Depot10-通風設備/Ventilator11-餐廳/Dining room12-走廊/Gallery13-電梯間/Elevatior room14-茶歇室/Tea break15-多功能廳/Multi-function hall16-門廳/Entrance hall17-門廊/Portico18-門房/Duty19-南入口/South entrance20-東入口/East entrance21-人防出入口/Entrance and exit of the civil air defense structure

7　東墻花磚/Brick pattern of east facade

8　東南角局部/Detail of the southeast corner

項目信息/Credits and Data

地點/Location: 清華大學校內/On the campus of Tsinghua University

項目建筑師/Project Architects: 宋曄皓，王麗娜，孫菁芬，解丹，陳曉娟，張小龍/SONG Yehao， WANG Lina， SUN Jingfen，XIE Dan， CHEN Xiaojuan， ZHANG Xiaolong場地面積/Site Area: 6380m2

建筑面積/Floor Area: 21，000m2

攝影/Photos: 夏至/XIA Zhi

WA： 在您近期的實踐中，對磚尤為感興趣。為什么？宋曄皓：其實我對磚、木頭這些材料的興趣由來已久。在從無到有想出一個東西（概念的生成）和讓這個東西如何落地（概念的落地）這兩者之間，我對后者的興趣更大。而如何讓概念落地，這個過程本身非常糾結，離不開設計者對材料屬性的了解和對構造的把握。

中國前所未有的建設量，正在催生著建筑從量到質的轉變。而建筑的質感和耐久度需要建筑材料和構造的保障。

WA： 在清華園里蓋房子，紅磚更多是一種不是選擇的選擇。在清華大學南區(qū)學生活動中心（又稱“清芬園”或“七食堂”）的設計建造過程中，和磚有關的心得有哪些？

宋曄皓：首先，磚作為一種傳統(tǒng)的砌筑材料，由于環(huán)保和抗震的原因，如今已越來越普遍地從結構用磚變?yōu)橐环N表面的裝飾材料。清芬園中所使用的頁巖磚，承擔的是一種介于承重結構和外墻裝飾之間的砌塊功能，擁有一定的物理熱工性能，也可以滿足北京地區(qū)抗震設防烈度的要求。我覺得，建筑作為技術與藝術的結合體，不能僅有藝術的表現(xiàn)力，還必須具備技術的支撐。

其次，磚不僅是我喜歡的材料，所有的建筑師都喜歡磚。我們現(xiàn)在處于一個大工業(yè)時代或者后工業(yè)時代，如何在可持續(xù)發(fā)展的背景下實現(xiàn)建筑的裝配化是一個課題。磚最大的特點在于小和有模數(shù)，我們的祖先早就借助磚，以一種很原始的方式，實現(xiàn)了今天炙手可熱的數(shù)字化設計，這種思路實際上可以啟發(fā)今天的建筑工法研究。

最后一點，磚建筑的藝術性體現(xiàn)在砌筑的工藝性上，或者說，磚建筑是一種以磚為媒介的手工藝，而手工操作最大的特點，其實是有微小的誤差。而這種誤差，是一種區(qū)別于機械、精確性的人工美?？偨ㄖ娣e多達20，000m2的清芬園在長達4年半的設計周期和施工周期中，在設計人員的嚴苛控制下，砌磚這道工序有時要歷經(jīng)多次返工。無論是否返工，實際上砌筑是工匠們時間、精力的投入，是經(jīng)驗和智慧的結果。此外，我們希望在這個項目中實現(xiàn)建筑師與藝術家的協(xié)同工作，比如我們請清華大學建筑學院美術組的王青春老師設計了東立面的磚套，再比如東立面外廊下的花磚紋樣設計和東側廣場上的兩個人防出口的設計，等等。我們希望通過這些小品的設計，體現(xiàn)磚建筑本身的建筑與藝術的一體化。

WA： 清芬園所在位置是清華校園南北向與東西向交通要道的交叉口，是一個比較中心的位置，而且周邊大師的建筑作品比較集中。南面是馬里奧·博塔（Mario Botta）設計的清華大學人文社科圖書館，西面是不久前落成的關肇鄴先生設計的清華大學圖書館李文正館，東面是王麗方老師設計的5～8號學生宿舍樓，北面則是斯特恩（Robert Stern）設計的蘇世民書院。面對這樣一種建成環(huán)境，您是如何將壓力化解為動力的？

宋曄皓：在清華，磚建筑的歷史非常悠久。從建校初期美國建筑師墨菲（Henry K. Murphy）設計的美式校園建筑，到楊廷寶先生、周維權先生、汪國瑜先生（1～4號學生宿舍樓），以及后來的關肇鄴先生和王麗方老師。我們在動手設計之前，對此做了一番仔細的了解。我希望我們的建筑可以盡量兼顧功能性與藝術性，在細節(jié)的設計上能夠與前輩們的設計保持一致的水準，在這個前提下，我們會有一些新的想法，比如恢復一些傳統(tǒng)的做法，用磚做窗臺下的披水板等等。更多的則是體現(xiàn)在整體把控和細部設計上，例如剛才提到的建筑、藝術一體化的設計，為學生們提供了攀爬和合影的空間，還有那些實際上是非常功能化的遮陽通風兼?zhèn)涞幕ùu墻。

當然，化解壓力最直接的方法就是在施工期間盡可能多去工地。我通常是每天去3次工地，最多的時候是一天去4次。遇到問題或者有什么想法，及時解決、及時溝通。

WA： 清芬園東立面和王麗方老師設計的5～8號學生宿舍樓（也是磚立面），共同圍合成了室外庭院。這兩類磚建筑在面對同一庭院時，具有怎樣的表情，又是如何進行對話的？

宋曄皓：清芬園和它東面的學生宿舍樓在一般人看不見的地方，比如地下服務用房、人防和能源中心，都是共用的。在設計上，王麗方老師的宿舍樓更加細膩，關注人的尺度；清芬園東面新建后的廣場利用地形做了一個朝東的緩坡，消化了建筑東入口本應該有的3步臺階，兼具人流集散功能和排水功能。相比宿舍樓之間更加生活化的廣場，清芬園東面的廣場則更加公共化和功能化，希望為學生提供更多活動空間。（感謝范路對此次訪談提出的寶貴建議）

9　東入口及連廊局部/East entrance and vestibule

10　花磚構造/Masonry construction

11　東立面北側局部/Northern part of east facade

12　花磚構造/Masonry construction

評論

韓孟臻：假如把清華大學校園建筑采用紅磚作為一項先決條件，那么擺脫了承重作用、作為飾面材料和結構荷載的紅磚，其形式又應基于何種設計邏輯呢？該項目提供了兩種頗具說服力的回答：作為可持續(xù)建筑技術中的外層表皮（技術邏輯）；作為具有手工藝價值的類藝術品（藝術邏輯）。建筑立面處理的主要特征，如大尺度的虛實對比、強調橫向的構成、隨機性的鏤空砌筑等，都確切地表現(xiàn)出紅磚表皮與框架結構的分離，繼而闡明了上述兩種形式邏輯。與建筑在整體尺度上對周邊環(huán)境的嚴謹呼應相比，基于藝術邏輯的、引人注目的數(shù)字圖案和字母形柱顯得有點過于輕松了。而基于技術邏輯的細部處理，因其與建筑整體在邏輯嚴謹性上的統(tǒng)一，表現(xiàn)出恰當而兼具藝術性的形式。

郭海鞍：這座建筑重新梳理了紛繁的校園環(huán)境，充分考慮了地形的變化和周邊的建筑風格，解決了復雜的場地問題。并且利用多孔渣土磚詮釋了對磚構建筑的建構邏輯思考。設計師通過不同的建構邏輯表達磚的多面性：利用較深的窗口、洞口表達了磚建筑的厚重與沉穩(wěn)；利用變化細膩的花磚墻表達磚建筑的空靈與通透。兩種語言交織在建筑中，相得益彰。整棟建筑體現(xiàn)了校園建筑的特質，沉穩(wěn)而不失活潑，莊重而不失細膩，巧妙地以最少的代價完成了最佳的效果。

13 東廣場人防出入口花磚墻/Brick pattern on the entrance and exit of the civil air defense structure at east plaza

WA: In your recent practice， you seem more interested in brick. Why？

SONG Yehao: That's true. I have been keen to the materials of brick and wood for a long time. I have much more interest in how to materialize an idea than just conceptualize it. How to make the concept materialized is a tangled matter， which depends on the designer's knowledge about the material's properties and the structure.

China's unprecedented quantity of buildings fuels architectural industry to change from quantity to quality. In fact， the texture and durability of architecture require guarantee of construction material and structure.

WA: In order to build a house on the campus of Tsinghua University， the material of red bricks is not merely a choice. What are the related experience to bricks in the process of building design of the Southern Student Center at Tsinghua University，also known as Fragrance Garden or The Seventh Dining Hall？

SONG Yehao: First of all， as a traditional masonry material， brick now has been increasingly used as surface decoration in a wide range， and less for structural purpose due to environmental conservation and unsatisfactory performance in earthquake resistance. The shale bricks used in Fragrance Garden take the function of masonry unit between load-bearing structure and exterior wall decoration， with certain physical and thermal properties that can meet the requirements of anti-seismic fortification intensity in the larger Beijing area. In my opinion， as the combination of technology and art， architecture shall not only have expressive strength in art， but obtain the support of technology as well.

Secondly， Bricks are not just my favorite material. However， all the architects are fond of bricks. We are now in a mega-industrial era or a post-industrial era. How to achieve the assembly of buildings in the context of sustainable development is a huge subject. As brick is remarkably featured with small size and specified modulus， our ancestors have long since managed to achieve the digital design of architecture mostly popular today by resorting to bricks in a primitive way. Such an idea can actually inspire today's research on architectural engineering methods.

Last but not least， the art of brick building is embodied in the skill of masonry. In other words，brick building is a kind of handicraft with the brick as the medium， while the biggest characteristic of the manual operation is with tiny errors， which is a kind of artificial beauty different from accurate machine production. With a total construction area of up to 20，000m2， Fragrance Garden was built with a four-and-a-half-year cycle of design and construction. Under the stringent control of designers， bricklaying sometimes underwent rework for several times. Whether there was rework or not，the masonry， which in fact required the time and energy of craftsmen， was the outcome of experience and wisdom. In addition， we expected to achieve collaborative work of architects and artists in this project. For instance， we invited WANG Qingchun，a faculty member from the Fine Arts Group of the School of Architecture at Tsinghua University，to design the brick case of the east facade of the building. For another example， we invited other artists to take in charge of the tilting pattern design under the veranda of the east facade as well as the two civil air defense outlets on the square easternside and so on. We do hope that through these design products， the integration of architecture and art in brick building can be represented.

WA: Fragrance Garden is located at the intersection between the south-north axial avenue and the eastwest-direction one nearby the campus of Tsinghua University. As it is of central location， architectural works of many masters is relatively concentrated here. To the south is the Humanities and Social Sciences Library designed by Mario Botta， to the west is the University Library designed by Professor GUAN Zhaoye yet to complete， to the east are the No.5 to 8 student dormitories designed by Professor WANG Lifang， and to the south is Schwarzman Scholars designed by Robert Stern. Facing such a building environment， how do you resolve the pressure into a driving force？

SONG Yehao: It has a long tradition for the use of bricks in architecture in Tsinghua University. We can find the American style buildings on campus designed by an American architect， Henry K. Murphy， during the formative years of Tsinghua，as well as other design works by YANG Tingbao，ZHOU Weiquan， WANG Guoyu （No.5 to 8 student dormitories） and GUAN Zhaoye and WANG Lifang. Before we start up the design， we have made a careful understanding about it. I hope that our architecture can try to take into account both the function and art elements， with the details of design in accordance with the level of our predecessors'. Under this premise， we will have some new ideas，such as restoring some traditional practice of applying bricks to be the apron flashing under the window and so on. Furthermore， in terms of overall control and detail design， such as the abovementioned integration design of architecture and art， we provided students with room to climb up and take group photos， as well as the functional tiled wall both for sun shading and ventilation.

Of course， the most direct way to eliminate the pressure is to go to the construction site as frequently as possible during construction period. I usually went to the site three times a day， with maximum four times a day. In the case of any problems or ideas， I would seek immediate solution and communication.

WA: The east facade of Fragrance Garden and the No.5 to 8 student dormitories designed by WANG Lifang， which also have brick facades， are jointly enveloped into an outdoor courtyard. When the two types of brick buildings face the same courtyard，what will be the expression of them， and how do they conduct a dialogue？

SONG Yehao: Some areas in Fragrance Garden and the student dormitories to the east are rarely seen by common people， such as underground service rooms， civil air defense facilities and the energy center， all designed for public use. The dormitories designed by WANG Lifang are more delicate with much attention to requirements of human beings. The newly built square to the east of Fragrance Garden used the terrain to make an eastward slope instead of setting three stairs of steps in the eastern entrance of the building，integrating the functions of distribution of people stream and drainage. Compared to the lively square between the dormitories， the square of the east of Fragrance Garden is more functional and more open to the public. We hope to provide the students with more space for activities.（Thanks for the precious suggestions offered by FAN Lu for this interview.）

14　南立面窗洞口局部/Window detail on the south facade

15　花磚墻給室內帶來的光影效果/Bricks bring shade into the interior

Comments

HAN Mengzhen: With no obvious load-bearing purpose， the red bricks that have been utilized for this building at Tsinghua University could either be merely decorative or structural. What kind of design logic is the use of red brick based on？This project offers two convincing solutions to this question: red brick be regarded as an external facade which presents a sustainable architectural technique， a "technical logic"， or deemed as artwork with the value of handicrafts， an "artistic logic"？ The key features of this facade design， including the large scale virtual/real comparison technique， lateral structure and randomly hollowed-out masonry wall， certainly present the separation of the red brick 'skin' and frame structure， which corresponds with the two solutions above. Compared to the strict relationship between the fullscale building and its surroundings， the connection between the noticeable， artisticlogic-based digital pattern， the letter-shaped column， and its surrounding seems a bit weak. The technical logic-based detail of the design illustrates an appropriate yet artistic form.

GUO Hai'an: The design of Student Center of Tsinghua University focused on the complexity of the old campus， including the cluttered environment， the terrain of the site， and the existing， red brick buildings that surround the site. By the usage of porous slag bricks which expresses the brick's variety， a deep thought of the logic of bricks was adopted. The architect designed the deep windows and doorways to exhibit the heaviness of brick buildings； on the other hand， they used the openings in the brick wall to express a certain transparency evident in the construction. These two methods were simultaneously utilized in same building and suit each other. This project is a representative case of campus building， which is solemn but still lively，grand but still meticulous， and achieved its ends at a minimum cost.