National Treasure Artist

Chapter 181 Utopian Design? (One update, please subscribe)
"Utopian design."

"A plan on paper."

In the judges' seat, the masters sitting high looked at the young figure on the podium who was shining brightly, only to see Kenzo Tange, a world-class master in the island country, shook his head and sighed softly.

"Not always."

Marcel Nereski, the master of the classical school, shook his head and chuckled: "Technology is developing very rapidly nowadays. If it is fast, maybe in another three to five years, a structure to support it may be born."

Marcel's voice fell, and several masters burst into laughter.

Gradually, they walked out from the amazement at the beginning, and looked at Bai Gongtong's plan with a calm and regretful expression.

"Continue to appreciate this building that is destined to remain on paper. We only saw its mass relationship before, but we don't know whether the internal functions are satisfied."

Martin Klaisson had a slight smile on his face: "It's just a body size, it's nothing."

"Master Clayson said so."

"It's just that the better the plan, the more regrettable it is."

"The talent of this young oriental designer is really amazing, but unfortunately, his knowledge in structure is too shallow, otherwise he would not have made such a work."

Masayuki Kurokawa, Kenzo Tange and Marcel talked softly.

On their side, the two masters of modernism were silent.

On the stage, Bai Gongtong cut the projected picture to the next page, which is a very clear hand-drawn general map.

The general map shows the Sydney Opera House, the headland, and the connection and transportation between the headland and the surrounding sea and land.

The two masters of the classical school and the two world-class architects of the island country watched intently with smiles on their lips.

The modernist masters, Sa Lining and the others, as well as President Mason, looked at him seriously.

"Excellent general plan, the handling of various relationships is amazing."

Martin Klaisson praised.

"Indeed."

Marcel Nereski nodded in agreement.

Continue to study, and soon some masters discovered something puzzling.

"Pay attention to the space design around the Sydney Opera House building."

Kisho Kurokawa is very sensitive to the traditional culture of the nation. He frowned slightly: "This space seems to be intended to create a different artistic conception."

"There is an ancient culture in it."

The masters sat high, and when they heard the description, they turned their attention to the square around the Sydney Opera House on the general map.

"So it is."

Marcel Nereski nodded. At this time, he began to praise the archenemy of the classical school without hesitation. He pointed out:
"This square and its surroundings seem to be creating a certain kind of religion, belief and art. What people have to praise is that such an ancient space can be perfectly connected with the modernist opera house building, and the transition is very natural and even blended."

"It really deserves to be a talent that is unconstrained."

The master of eclecticism, Martin Klaisson said.

At this moment, among the jury composed of masters, the masters of the Western classical school and the American modern school seem to have completely lost each other.

In the face of Bai Gongtong's modern design works, the two masters of the classical genre, and even the designer leaders of the island country did not hesitate to praise, but they were smiling and relaxed.

But on the other side, the masters of the modern school kept their faces sullen and remained silent.

The reporters in the corridor on the second floor, as always, took every frame of photos and sent them to the outside world.

The host of the radio station in the corner of the corridor was still broadcasting live in a low voice: "What is that? I seem to have seen the interpretation of the Dream Age, and saw something that appeared in the local history of the Sydney Museum."

The host didn't know that just as she finished speaking, almost at the same time, a dark-skinned old man in a shanty town in Sydney suddenly trembled in a place far away from the N·S·W Art Museum.

The old man frowned and kept thinking.

"A designer from China."

Rubbing his old fingers, a figure appeared in his mind, and he seemed to have some hope in his whisper: "Could it be him?"

The old man stood up quickly, holding the radio in his hand, and walked out the door with a nervous face.

He heard that there were photos from the art gallery on the Internet, and he wanted to see with his own eyes the interpretation of the Dream Age that the host was talking about!
"The reason why I use such a shell-shaped roof is because the structure of the folded plate and the shell can create a large space without columns, and to a certain extent, it is separated from the building's dependence on vertical support."

Gongtong cut the picture casually, and did not explain too much about the general plan. The plane of the building appeared on the projection, only to see that Gongtong continued:
"And in a terrain like a headland, such a shape will make the building and the environment organically integrated, and it will grow out of the land."

After finishing speaking, Gong Tong took two steps on the podium, stood with her arms tied and continued:
"The opera house will radiate a sense of 'lightness'."

"In my country, China, in oriental buildings, the roof is supported by four-cornered pillars, the middle is raised, and the four sides are gradually lowered. You can easily perceive how rainwater and snow will drain from the roof. If the doors around the building and the interior of the building The screens are all open, and the huge roof seems to be floating in the air."

"Although it is also supported in the vertical direction, there is no heavy supporting wall in the interior. Therefore, there is very little feeling of force in the vertical direction."

When it comes to traditional Chinese architecture, Davidia Davidson is very proud, and her voice is much higher: "My sense of lightness comes from here."

Bai Gongtong took the initiative to talk about this lightness and this volume.

In the ears of several masters, everyone shook their heads secretly. The two masters of Marcel looked at the young man amusedly, while the two masters of modernism found it a bit harsh, accusing Davidia Davidia involuntarily with sullen faces, accusing him of why Don't find a structural engineer to discuss and discuss, otherwise why such a joke.

"The opera house I designed consists of three sets of huge shells, which stand on the base of a cast-in-place reinforced concrete structure with a length of 186 meters from north to south and a width of 97 meters from east to west."

Gongtong's eyes swept across the faces of the judges, and he understood their reactions in his mind, but he didn't care. Like a master of the classical genre, he still had a slight smile on his face, and began to In-depth explanation of the scheme, from plan to details, to elevation and section:
"The first group of shells is on the west side of the lot. Four pairs of shells are arranged in a string, three pairs face north, and one pair faces south. The interior is a large concert hall."

"The second group is on the east side of the lot, parallel to the first group, with the same form and slightly smaller scale than the opera hall."

"The third group is in the southwest of them. It is the smallest and consists of two pairs of shells. In my design, this will be a restaurant."

The voice is thick and high and talks freely.

The masters restrained their emotions and listened again.

Gradually deepening, they continued to send out praises again.

"The arrangement of internal functions, the use of opera and concert halls are perfect and classic."

After a long time, Master Marcel Nereski praised.

After his words fell, he leaned slightly on the seat, with a smile on his face.

"The streamlines and details of the building, and even the acoustics are extremely rare."

Master Martin Claisson shook his head and said.

"Although the opera house is a utopian building, it really incorporates the ideas of its designers."

Master Kisho Kurokawa praised.

"It's amazing. It's worthy of being the first young designer in the world to reach the first entry hall level."

Tange Kenzo showed regret, but responded accordingly.

The two masters of modernism, Chairman Mason glanced at the four of them, annoyed but remained silent.

At this time, the outside world.

The dark-skinned indigenous old man finally found a computer connected to the Internet at the home of a young man of the same ethnic group.

Among the pictures released by many reporters, the indigenous old man and even the young man operating the computer recognized the general picture from the numerous photos at a glance.

Their bodies trembled, their eyes widened.

With their mouths open, they were about to exclaim!
"Quick, go and search for the information of the Chinese designer of Davidia involucrata."

The native old man was the first to come back to his senses, and his breathing became short of breath. He shook the young man and kept urging him.

"Okay, good elder."

The young man quickly typed Bai Gongtong's name on the search page while browsing the webpage.

'World's Most Outstanding Young Person'

'Head of the Grand Louvre Project'

'First-time Hall of Fame Designer'

A series of evaluations that make people look up to and shock appear first.

Soon, the young man found the basic information about Baitongtong, and saw the photo of the Chinese designer at the same time.

"It's him!"

The young man let out a low voice.

"It sure is him!"

The native old man clenched his fists with excitement on his face.

Spinning nervously in the room, the old man kept recalling what Gongtong said to him when he was at the edge:

"I believe this will always be a holy place for you, and it will be a holy place for the whole city of Sydney and all people in Australia."

Reminiscent of the general plan he had just seen, a great longing suddenly arose in the old man's heart.

(End of this chapter)