【北京共享办公】胡同中的共享空间（前门、独栋）

Under the Zhengyangmen is an axonometric panorama created by Drawing Architecture Studio (DAS) for the co-working brand Ucommune for its branch at Dajiang Hutong in Beijing. Taking the Qianmen area where Ucommune is located as the subject, DAS explores the application of inclining oblique projection, rotated explosion, and road network in the panorama and tries to reveal the representational power of architectural drawing that transcends the reality while recording it.

▼建筑空间内的《正阳门下》，Under the Zhengyangmen in the interior space

斜轴测在中国传统的绘画中被反复使用——视角基本为端正的立面向45度角斜向拉出空间深度，主要建筑的立面保持水平竖直。在李西茨基（El Lissitzky）的斜轴测绘画里，端正的立面开始倾斜。扎哈（Zaha Hadid）受李西茨基的影响，用倾斜的轴测画建筑图。凭借建筑构件的导入，扎哈将李西茨基的抽象的至上主义绘画具象化，将建筑绘画抽象化。斜轴测从此不仅是一种数学上高度准确的图纸，记录现实的工具，它还是一种抽象的观念和美学范式。

Oblique projection was widely used in traditional Chinese paintings. The straight façade is stretched into a spatial depth in a 45-degree angle while the façade is kept horizontal and vertical. In El Lissitzky’s oblique projection paintings, the straight elevation starts to incline. Following his experiments, Zaha Hadid adopted inclining oblique projection in her architectural drawings. By integrating architectural components, Hadid visualized Lissitzky’s abstract Suprematist paintings and abstracted architectural drawings. Since then, oblique projection is no longer only a mathematically accurate drawing as a tool to document the reality, but has become an abstract concept and aesthetic paradigm.

▼从远处看画作全景，view of the whole painting from distance

在《正阳门下》的画面中，绘造社将斜轴测再倾斜，为原先看惯的、熟悉的老房子和老街区带来一种陌生感。李西茨基说轴测是建筑与绘画的中介。在绘造社看来，它也是具象与抽象的中介。

Inspired by Lissitzky and Hadid’s approach, in Under the Zhengyangmen, DAS inclines the oblique projection of the original houses depicted in the panorama and brings a sense of unfamiliarity to the familiar architecture and neighborhood. El Lissitzky once said that axonometric projection is the proun between architecture and painting. To DAS, it is also the proun between the figurative and abstract.

▼画面中的斜轴测建筑再次被倾斜，为原来熟悉的空间带来陌生感，architecture in the oblique projection is inclined again to achieve a sense of unfamiliarity

爆炸轴测图是为了把复杂建筑的每一个构件都展现出来，通常沿水平或垂直方向挪移，这样观者可以在脑中把构件复位到本来的位置。扭转爆炸图中的建筑构件就不再是简单的直线滑移。滑移路径是曲线，构件本身的角度在曲线滑移的过程中也在不断变化。尽管扭转滑移也有呈现被遮挡物的作用，但曲线与扭转为爆炸注入了新的能量。

Exploded axonometric projection is to open up each component of a complex architecture by moving it horizontally or vertically, so that the viewer can restore the component’s original position in mind. However, in a rotated exploded projection, the sliding of the architectural component is no longer a simple rectilinear movement. The sliding path is curvilinear and the angle of the component itself also keeps changing during the curvilinear sliding process. Although the rotated sliding is also used to reveal the blocked objects, the curve and rotation inject new energy to the explosion.

▼以爆炸轴测图为背景的空间细部， detail of the space took the  exploded axonometric projection as background

在设计上，建筑师通过简单的体块扭转，就可以把方盒子做成复杂的空间。同样在绘画中，当一张现有的建筑画被创作成一张扭转爆炸轴测图时，另一个建筑诞生了。在《正阳门下》中，建筑被特意地破坏掉，仿佛上演着一场激烈的自相残杀，通过切削、爆炸、扭转，屋顶、楼板、立面飞出了它们原有的位置，构成新的建筑, 以产生更精彩的画中空间。破坏成为另一种创造。

As an architect can create complex space out of a box by rotating simple volumes, similarly, when an existing architectural drawing is turned into a rotated exploded axonometric projection, a new architecture is actually designed. In Under the Zhengyangmen, the buildings are deliberately destroyed as if they are killing each other. Being sliced, exploded, and rotated, the roofs, slabs, and façades fly away from their original positions and together compose some new architecture in order to create a more spectacular space in the drawing. Destroy becomes another kind of creation.

▼建筑被刻意破坏，飞出原有位置构成新的建筑，the buildings are deliberately destroyed and fly away from their original positions and together compose some new architecture

前门一带的路网是北京少有的不规则路网。这一带的地图本身就是精彩的平面构成。对于城市，它们是交通和流线。对于绘画，路就是构图的基线。它们切分画面，就如同它们切分城市。但矛盾的是，它们实际上也在连接画面的不同元素。在《正阳门下》中，路网被作为了构图与连接工具；路作为狭长图形，将画面同时切割与缝合。

The road network in the Qianmen area is unusually irregular compared to those in other areas of Beijing. The map of this area itself is a fantastic graphic composition. To a city, roads are transportation and flow lines. To a drawing, roads are the baselines of the composition. They fragment the drawing, as if they do to the city. But paradoxically, they in fact also connect different elements in the drawing. In Under the Zhanegyangmen, the road network is used as a tool for composition and connection. The roads, as some long and narrow graphics, both slice and stitch the panorama at the same time.

▼不规则路网成为构图与连接工具，irregular road network is used as a tool for composition and connection

《正阳门下》中丰富的细节来源于前门周边真实的城市空间，但它们并不是被用来记录、表现和叙事，而是意在设计现实在二维世界中倾斜的，旋转的，碎片化的，嵌套的投影。《正阳门下》里，一切具象的都是抽象的，一切真实的都是虚拟的。