过程描述
Description of the Process

教学时程部分简要列出了一系列的独立作业。本部分将会讨论更多有关在本学期将会讲述的建筑过程方面的细节。
The series of discrete assignments is outlined in the calendar section. This section goes into more detail regarding the architectural process that will be followed during the semester.

概述
Overview

尽管在进行不同的项目，但是每一个学生都是实践课程文化的一部分，通过学习建筑多方面的内部运作来学习建筑。目标是创建一栋楼房，一个建筑项目。除此之外，该实践课程还考虑重力、自然、构造学、现象学、分子特性、结构力、材料性能和地点等问题。
Despite doing different projects, each student is part of the culture of the studio, learning architecture by learning the inner workings of its many different aspects. The objective is to make a building, an architectural project. Among other things, this studio considers problems of gravity, nature, tectonics, phenomenology, molecular characteristics, structural capacity and material performance, and site.

动态循环
Dynamic Cycles

建筑物的修建是一个依靠自身不断成长和积累的循环、动态过程。它来自于创建者的体验和情感经历。情感连接了思想和感官，在人生经历中不曾被遗忘，这肯定体现在设计之中。在将其变为现实的设计过程中，欢乐与痛苦，愤怒与珍爱，都是不可或缺的部分。没有这些情感，一切只是空想。含蓄的真情实感避免了过分的造作。直觉激发了创造，阐明追求的目标，这就是完美。完美永远不能获得，但是努力去追求完美的过程是重要的一环。这过程永无止尽，总是周而复始的继续向前。
The making of architecture is a cyclical and dynamic process always growing and building on itself.  It comes from within, from the history and emotional past of the author.  Emotion is the connector of the mind with the senses, and it is remembered through experiences that must be drawn upon in design.  Joy and suffering, anger and love: all are necessary parts of the design process to ground it in a condition of reality. Without them there is only the imagined.  And the modesty of real emotions avoids the excesses of those falsely created. Intuition inspires creativity and clarifies the goal, which is perfection.  Perfection is never achieved, but the attempt for it, the process, is the important part.  The process never ends; it constantly moves back upon itself to go forward.

设计过程并不是为了设计而设计，而是在于通过设计有所发现。通过设计和再设计，设计者会发现隐含着的重要特质，与有意识和无意识的想法产生共鸣。这种发现的惊奇感显示了设计的真正品质。在此过程中没有隐喻和类推，因为设计着重于表面。经历的本质，即它在空间中的存在和状态，才是最重要的。空间实际的品质才是重点，而非空间的使用，意即：特性是居住者利用材料的属性和空间特性建立的特定居住处。对于建筑，重要的是居住在这个空间能“表现出存在”，而非简单的占有。
The design process is not about making for its own sake, but about discovery through making. By making and remaking, the designer discovers the hidden qualities that are important, that resonate with both the conscious and unconscious mind.  It is this sense of astonishment, of discovery, that signals true quality in design. There is no place for metaphor or analogy in this process, since these accentuate the superficial.  The actuality of the experience, what it is to inhabit and be in a space, is of the utmost importance. The actual quality of the space matters, not the use of the space: a specific inhabitation by the occupant through the material properties and qualities of the space.  It is the "performance of being," of living in the space, rather than simply occupying it, that is important in architecture.

两部分：有意识和无意识
Two parts: The Conscious and Unconscious

这个过程包含两个部分：有意识和无意识，物质和精神。两部分都是建筑中所必需的支柱，结合在一起营造出循环往复的反馈，不懈地进行交流。通过尝试修正这两种情况，建筑师总是努力探索不能达到的完美状态。建筑就不再是造或建的过程，而是寻找和发现。这样，最终作品就会有深度，而不仅仅流于表面。主观上和客观上都要有所考虑。建筑师对抗物理极限时，也正翻越想象的极限，精神和物质的结合使得设计达到了更高的高度。
There are two parts to this process:  the conscious and the unconscious, the physical and the mental.  Both are necessary underpinnings of architecture, and together they create a feedback loop in which each constantly informs the other.  By trying to rectify these two conditions, the architect is always trying to discover that unachievable state of perfection.  Architecture becomes then a process not of doing or making, but of finding and discovering.  In this way, the final product has some measure of depth and is not superficial.  Both the subjective and the objective are taken into account. The architect is transcending metaphysical limits while pushing up against physical limits, the combination of the mental and physical pushing the design to greater heights.

这种结合将思想结合创造、对已知的量和观点（以物质的形式）的探索、以及材料的特性。人类身体以两种方式感受空间：对建筑材料的集中感受（比如它的温度，亮度，触觉，等等）和集中对建筑工程的思考（它的结构，性能，音效等等）。建筑物的生命是与建筑科学，有意识的限制定义的无意识的美，以及对客观真实性的主观讨论紧密联系的：这种二元性通过大脑过滤结合成一整体。正是技术能力和情感共鸣之间创造性的张力创造出了深度，完成了好的设计。
This union connects the discipline of thinking with the discipline of making, the discovery of known quantities and ideas in physical form and material properties.  The human body experiences space in two ways:  the senses focus on the building's material (its warmth, light, feel, etc.) and the mind focuses on the building's engineering (its structure, performance, acoustics, etc.). The life of the building is combined with the science of building, unconscious beauty defined by conscious limits, the subjective discussion of objective reality: this duality is filtered through the brain into one cohesive whole.  It is this creation of tension between technical capacity and emotional resonance that creates depth and is the fulfillment of good design.

正如音乐结合了科学的结构和情感的美妙，建筑连接了科学的真实性和情感经历。执行者的无意识结合了对责任、物质、道德观念有意识的认知，从而形成一系列两种形式的体验。这种注意力最终促成的建筑物对我们的两种感官都具有吸引力：它是触觉／物理世界和虚拟／精神世界的结合。在设计中必须提升这两种感官知觉。如果只有其中一种，设计就缺乏深度和力度。
In the same way that music combines scientific structure with emotional beauty, architecture combines scientific reality with emotional experiences. The freedom of the unconscious operator combines with conscious notions of responsibility, materiality, and ethics to form a concatenation of these two types of experiences. This focus leads eventually to a building that appeals to both sides of our senses: it is the junction of both the tactile / physical worlds with the virtual / metaphysical worlds.  Both of these must be advanced in the design. If only one or the other exists, then the design lacks depth and strength.