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以下文章来源于Non Architecture 竞赛 ，作者Non Architecture
竞赛介绍
未来的问题我们的世界瞬息万变，雄心和挑战同等重要。在这种情况下，设计可以发挥巨大的作用。我们想象的世界是怎样的?还有哪些可能性我们还没发现?在危机中的世界，建筑会变成什么?什么还不是架构?
主题五:虚拟现实技术使沉浸和体验以前从未想过的世界和环境成为可能。虚拟环境旨在暂时将我们带到另一个现实——未建成的设计、异域和想象的场景。先进技术的使用，如虚拟现实技术在建筑场景中的应用，作为建筑设计的表现媒介，正变得越来越占主导地位。这种表现方式有两个目的:物理建筑的模拟或功能性虚拟场所。我们所说的“虚拟”不仅仅是虚拟现实，那只是模拟现实的一种意义。虚拟开始于人们不再看到代码而开始看到设计好的用户界面的那一刻。从那里开始的一切都是虚拟的，从那里开始的一切都可以设计成以视觉形式呈现给最终用户。这包括社交媒体的运作方式，所有年龄段的视频游戏，应用程序，软件，网站等等。物理建筑的模拟是虚拟建筑最常见的目的，并且越来越多地被用于可视化、理解和呈现建筑设计。我们已经看到了一个渐进的但是从纸上的图形可视化到计算机屏幕和其他设备上的数字媒体可视化的持续转变。虚拟建筑的第二个目的涉及虚拟场所的功能组织和电子表示的设计和创建。建筑师设计建筑物是为了给人们提供生活、工作、娱乐和学习的场所。这些场所体现为内部空间被称为房间、大厅、剧院等的建筑物。设计虚拟场所的一个新兴概念是为人们提供一个社交、工作和学习的电子场所。建筑和房间的隐喻可以被重新审视并用于虚拟场所，这表明虚拟场所有可能由建筑师设计，然后由程序员建造。在现实世界中，我们可以说架构是关于构建一个界面和用户体验，就像在数字世界中一样，以至于“架构”这个词目前被用于定义任何类型的系统结构，如网站和应用程序。出于这个原因，架构师更倾向于设计界面和用户体验，因为这是我们领域的固有特点。我们可以想象，技术有能力创造一种新的空间形式，因此，在建筑中，用户可以在一个增强现实和虚拟方面的环境中参与自己的身体存在。
由于虚拟建筑的用户没有物理需求或范围，空间的几何描述并不具有与物理建筑相同的意义。虚拟空间，具有突现性虚拟异质和异时性，为建筑思辨提供了一个新颖的平台。虚拟建筑，这些环境的内容，是非物质的，但感性的，不受物理世界的限制，可以让我们看起来像-把我们带到-任何真实或想象的东西。虚拟系列赛符合联合国可持续发展目标(SDG)第4、5、8、9和12号。虽然大多数可持续发展目标看起来与设计相去甚远，但其他目标则直接依赖于设计。虚拟现实技术目前如何改变建筑领域?如果你在这里，可以成为任何地方的虚拟存在呢?我们最终会创造一个反映我们自己的世界还是一个完全不同的世界?它会是一个自由、平等和自我表达的地方，还是一个企业控制、环境和社会退化的地方?Virtual是一个设计挑战的汇编，旨在从不同的角度接近虚拟环境的想法。
2020年，我们启动了有关未来问题的竞赛的第二阶段。为了与我们的风格一致，我们发起了9+2-共11项关键主题来进行研究，与其说是一个计划，不如说是一个由各种竞赛平行运行并从不同角度探索同一主题的研究生态系统。
我们的探索之旅将继续第五个主题：VIRTUAL（虚拟）。
SAMMARY
In 2020 we started the second phase of competitions to address the issues of tomorrow.
In line with our style we propose 9+2 themes – eleven critical topics to work on. Rather than a program, a research ecosystem composed of various competitions running in parallel and exploring the same theme from different perspectives.
Our exploration journey will continue with theme five: VIRTUAL.
我们诚挚邀请您一起来欣赏2022年电子游戏建筑设计·双图挑战赛获奖作品！
同时也邀请您关注 NON ARCHITECTURE 正在举办的设计竞赛，欢迎您的参与！
获奖作品
冠军（共2组）
获胜组1
the unmistakably human nest – the human magpie
作者：
Friedrich Münkel 【德国】
关键词：
#旅行#构件环境#游戏化的都市生活#乌托邦#数字世界与物理世界的交互
作品解读
Limasse Five的《创始E》:你漫步在退化扩张的迷失迷宫中，曾经的人类城市。无边界的维度。不人道的规模。当你走在自己的道路上，不知道为什么，也不知道在哪里，你在不间断的恐惧中跟随无法到达一个地方，陷入无尽的深渊。被隐形对手骚扰到难以呼吸。在你的恐惧和希望之间摇摆，开始质疑你自己的理智，你什么都不想，只是想打破这些维度。
“NaissanceE” by Limasse Five: You meander through the lost labyrinth of the degenerate proliferation, that once human, urban. Apeirophobic dimensions. Inhuman scale. As you walk your path, not knowing why or where, you follow the unreachable in constant fear of falling into endless depth. Being persecuted by an invisible opponent, breathing down your neck. Questioning your own sanity in sway between your frights and hopes, you wish nothing but to break out of these dimensions.
对我来说，这款游戏是对当代社会的隐喻。在表面上的平静中无法言喻的恐惧表现为自我怀疑、对未来和我们的建筑环境的焦虑。有体现《创世E》的场景映射到现实生活场所。我们在创作中被遗忘的角落不针对任何人。
To me this game is a metaphor for contemporary society. Unspoken frights during apparent peace manifest in self-doubt, anxiety about the future and our build environment. There is real-life places which embody scenes of NaissanceE. Forgotten corners of our creation not meant for anybody.
“明显的人类巢穴”位于《创世E》的无尽边缘，但也可能存在于我们城市的这些隐藏角落里。它是游戏的对立面，体现了安全、简单与和平的梦想。我想象玩家收集人类物品来建造自己的巢穴，就像一只爱上自己的人类喜鹊。让这场可怕的冒险变得有意义。
The ”unmistakably human nest” is located somewhere at the edge of NaissanceEs’ endlessness, but could also find a place hidden in these corners of our cities. It is the antithesis of the game and embodies a dream of security, simplicity and peace. I imagine a player collecting unmistakably human objects to build his/her own nest like a human magpie in love with itself. Giving sense to the otherwise terrifying odyssey.
找到并建造你自己的巢。
Find and build your own nest.
——Friedrich Münkel
获胜组2
Hyper-Learning and Unlearning: Compression: Excursions on Media Ecologies
作者：
Xinyue Zhang 【中国】【巴特莱特建筑学院】
Yue Hua【中国】【巴特莱特建筑学院】
Anqi Wang【中国】【巴特莱特建筑学院】
Jindi Jia【中国】【巴特莱特建筑学院】
关键词：
#虚拟文化#推测#传媒生态#电竞界#密码#叙述
作品解读
数字技术对社会各方面的普遍影响要求我们重新思考知识和学习的概念。当前的大流行病和被迫转向线上教学就是数字化学习持续趋势的最新例子，通过在线课堂、MOOC、视频和交互式教程……
The pervasive impact of digital technologies in all aspects of society requires us to rethink notions of knowledge and learning. The current pandemic and the forced shift to online teaching are just the latest example of an ongoing trend of digitizing learning, through online classrooms, MOOCs, video, and interactive tutorials…
数字技术不仅影响我们的学习方式，还影响我们需要学习什么，以及学习的内容。随着对信息的持续和即时访问，以复制信息为重点的传统学习方式将不再有效。此外，科技正在越来越多地了解我们，根据我们先前的行为定制信息来满足我们的个人需求。
Digital technologies are not only affecting how we learn, but also what we need to learn, and what is doing the learning. With constant and instant access to information, traditional ways of learning focused on reproducing information are no longer valid. Furthermore, technology is increasingly learning about us, tailoring information to our personal needs based on prior behavior.
该项目反映出媒体生态在难以区分的“数字”和“物质”学习环境上的影响，它质疑教育机构和基础设施的作用。通过纳入机器学习，该项目推测平台的作用、混合现实应用程序、使游戏化，并质疑人类在压缩城市中航行时必须（不）学习哪些技能。我们的项目探索了媒体饱和环境中数字和材料学习环境的模糊：超学习和忘却。
The project reflects on the impact of media ecologies on the blurring of digital and material learning environments, questioning the role of educational institutions and infrastructures. By including machine learning, the project speculates on the role of platforms, mixed reality applications, gamification, and questions what skills we must (un)learn as humans navigating Compressed City. Our project explores the blurring of digital and material learning environments in a media-saturated environment: hyper-learning & unlearning.
——Xinyue Zhang、Yue Hua、Anqi Wang、Jindi Jia
荣誉奖（共7组）
荣誉组1
Manifold Pinball City
作者：
Cheng-Yuan, Shih【中国台湾】【OTTODD 工作室】
Zichun, Yang【中国】【OTTODD 工作室】
Yuting Pu【中国】【OTTODD 工作室】
关键词：
#弹球明星#弹球拱廊#流形花园#重力翻转#电子游戏都市主义#老式电子游戏#图形
作品解读
弹球台——一种街机游戏，将球滚动并发射到专门设计的柜子中。玩家根据其设计控制脚蹼击球，通过击打各种灯、保险杠、坡道和其他目标来收集积分。
Pinball — an arcade game in which the ball is rolled and launched into a specially designed cabinet. Players control flippers to hit ball to Collect points by hitting various lights, bumpers, ramps and other targets according to its design.
随着他们在街机上的成功，弹球游戏最终进入了带有主题的视频游戏中。以最经典的一款——《3D Pinball for Windows》为例。玩家作为太空舰队的一员，完成任务以提高等级。闪烁的色彩、灯光和电子音乐将玩家带入虚拟游戏世界。
With their success in arcades, pinball games eventually made their way into video games with themes. Take the most classic one – 3D Pinball for Windows as instance. Player as a member of a space fleet that completes missions to increase rank. Flashing colours, lighting and electrical music draw players into a virtual game world.
我们可以将城市想象成一个无限的弹球空间(游戏邦注:我们还参考了另一款游戏《流形花园》中的重力翻转和空间理念)。在重力的影响下，弹球(你可以联想成人)被发射击中目标然后完成任务。
Just imagine city as a manifold and infinity pinball space ( We also referred the gravity flipping and spatial idea from another game Manifold Garden). Under the influence of gravity, pinball (which you can associated to people) are launched to hit the target to finish the mission.
——Cheng-Yuan, Shih、Zichun, Yang、Yuting Pu
荣誉组2
Manifold Data
作者：
Corentin DUBREUIL【法国】
Charlène PINARD【法国】
Sara OBSER【法国】
Benoît VAULEON【法国】
关键词：
#图形和美学#虚拟空间治理#虚拟城市的基础设施#限制和边界#获得信息和教育
作品解读
我们选择通过在电子游戏《流形花园》中设置一个新关卡来呈现现实世界和虚拟世界之间的复杂性和相互联系。
We choose to represent the complexity and interconnection between the real and virtual world by anchoring a new level into the videogame Manifold Garden.
我们重新诠释了游戏的标志性元素立方体，用内部(真实世界)和外部(元宇宙)的概念来描述这两个世界。
We reinterpreted the cube, an emblematic element of the game, to describe these two worlds using the notion of inside (real world) and outside (metaverse).
在立方体内部，莫比乌斯环和树木是人类自存在以来所有知识和资源积累的结果。
Inside the cube, the Möbius and trees, are the result of an accumulation of all the knowledge and resources of the humanity since its existence.
立方体的外部面允许在两个世界之间交换数据，元宇宙扎根于现实世界。
The external faces of the cube allow an exchange of data between the two worlds with the metaverse taking root in the real world.
带有印刷电路图案的薄膜是一个无意识的多孔边界，围绕着由塔楼体现的无限数据城市。这些都是相互关联的。
The membrane, with its printed circuit pattern, is an unconscious and porous border surrounding an infinite city of data embodied by the towers. These ones are all interconnected.
因此，玩家可以通过楼梯和入口从一座塔移动到另一座塔来探索这个数据架构。
As a result, the player can explore this Data architecture by travelling from one tower to another using staircases and enlightened portals.
灯光是元宇宙所提供的所有情感可能性的隐喻。相反，重复和网络内涵的建筑是一种展示其可能的非人性化的方式。
The lights are a metaphor of all the emotional possibilities offered by the metaverse. On the contrary, the repetitive and networks connoted architecture are a way to show its possible dehumanisation.
最后，这个重新创建的关卡提供了一个包含多个问题的旅程，从而带来了情感和敏感的体验。
At the end, this recreated level offers a journey with multiple issues leading to an emotional and sensitive experience.
——Corentin DUBREUIL、Charlène PINARD、Sara OBSER、Benoît VAULEON
荣誉组3
Museum of Fantasy
作者：
Koko Li【中国台湾】
关键词：
#限制和边界#超光速#接线图#超现实主义#拼图
作品解读
超现实主义挑战“形式追随功能”的设计原则。
Surrealism challenges the design principle of ‘form follows function’.
超阈(Superliminal, 2020) 是一款使用视错觉的第一人称益智游戏，允许玩家缩放对象以建立“连接”以填补空白或达到不同的级别以便继续前进。也可以将物体放在按钮上以打开通往下一个房间的门。因此，玩家的目标是弄清楚如何“完成”架构。
Superliminal (2020) is a first-person puzzle game using optical illusions which allows the players to scale the objects to build ‘connections’ to fill up the gaps or and to reach to different levels in order move forward. As well as placing an object on a button to open the door to the next room. Therefore, the aim for the players is to figure out how to ‘complete’ the architecture.
该项目是我们所熟悉的事物，如象棋、骰子、名画、雕塑等。这是玩家在游戏空间中创造“连接”的方式，如楼梯、坡道和桥梁。例如，你可以通过放大一幅画来做出一个巨大的斜坡。
The objects are things we are familiar with, such as chess, dices, famous paintings and sculptures, etc. These are how players can create ‘connections’ in the game space, such as stairs, ramps, and bridges. For instance, you can make a huge ramp by scaling up a painting.
我的最终想法是重新设计完成场景的奇异建筑，以一个新的角度来探索建筑。重新思考我们如何使用不同的材料创建建筑环境，以及电子游戏建筑如何将梦想和现实结合起来，并超越我们的想象。
Finally, my concept is to redesign the bizarre architecture of the finish scene in order to explore architecture in a new perspective. Rethinking how we can create architectural contexts with different materials as well as showing how videogame architecture unites dream and reality and transform it beyond our imagination.
——Koko Li
荣誉组4
The Autonomous Narrative City of Dark Souls
作者：
Jialiang Huang【中国】【康奈尔大学】
关键词：
#虚拟城市的基础设施#自治#乌托邦#类型学#轮回
作品解读
《黑暗之魂》是一款奇幻背景RPG游戏。玩家用自定义角色开始游戏，遵循游戏地图，发现自己身处一个衰败的王国。游戏通过与极简元素的互动来呈现其模糊的故事。
The game Dark Souls is a fantasy setting RPG. Players started the game as their customized character, following the game map, and found themselves in a decaying kingdom. The game presents its obscured story by interaction with minimalistic elements.
在这个项目中，我对游戏遭遇、行动和游戏叙事的体验都体现在建筑形式中。该项目的设计使用类型学研究来重新解释《黑暗之魂》的结构，并提取个人对媒体的独特体验和理解，并开发新的空间。
My experience with the game’s encounters, actions, and game narrative, is incarnated into architecture forms in this project. The project’s design uses typological studies to reinterpret the structure of Dark Souls and extract the person’s unique experience and understanding of the media and develop new spaces.
通过对叙事结构属性和节奏的分析，将每个故事章节中的点、线、面联系重构为一个完整的空间。
Through the analysis of the narrative structural attributes and rhythm, the connection of points, lines, and surfaces in each story chapter is restructured into an integrated space.
这些空间不是旧故事的表演场所，而是通过人们的互动产生新故事的地方。
These spaces are not places where the old story would perform, but places where new stories would generate through people’s interaction.
我想这将是一个自治的城市结构，在那里新的社会互动将被鼓励进行。因此，系统以圆形的平面布局，人们可以在没有等级限制的情况下自由地浏览叙事空间。
I imagine it would be an autonomous urban structures where new social interaction will be encouraged to be performed. Thus, the systems are layout in a circular plan where the people have the freedom to navigate the narrative spaces without the hierarchical restrictions.
我希望用《黑暗之魂》中无声的建筑叙事作为建筑设计的工具，给人一个自由自主的空间。
I hope to use the silent architectural narrative in Dark Souls as a tool of architectural design, giving people a free and autonomous space.
——Jialiang Huang
荣誉组5
Roguelike-Entropy
作者：
Kelvin Tsang【澳大利亚】【NWMN】
Patrick Tran【澳大利亚】【FMD Architects】
关键词：
#建筑聚集#非线性叙事#猎奇赛博朋克#社会组织的新形式#生态危机
作品解读
人类进步可以概括为建筑增生。
Human progress can be summed up as architectural accretion.
《Hades》，这是一款roguelike电子游戏，它展示了游戏玩法、机制和叙述是如何交织在一起，从而呈现出一种沉浸式的体验，探索死亡、记忆和累积知识的主题。
Hades, a roguelike videogame, showcases how gameplay, mechanics and narrative can be interwoven to deliver a world-immersive experience that explores the themes of death, memory and cumulative knowledge.
《Hades》的生命-死亡-重复结构类似于人类文明如何通过不断的知识层级代代相传而取得进步。死亡通常是失败的代名词，而 Roguelike 游戏则鼓励玩家将频繁的死亡视为进步的标志。
The live-die-repeat structure of Hades is analogous to how human civilisations have progressed through a constant layering of knowledge passed on from one generation to the next. Whereas death is typically synonymous with failure, roguelike games encourage players to expect frequent deaths as progress markers.
《Roguelike Entropy》呈现了Hades世界的延伸，它将建筑知识和人类进步视为一个不稳定的异构集群，通过建立在先验知识和记忆之上的永久分层过程而不断进化。
Roguelike Entropy presents an extension of the Hades world that sees architectural knowledge, and human progress at large, as an unstable, heterogeneous cluster that is ever-evolving through a perpetual layering process that builds upon prior knowledge and memories.
根据这个定义，建筑与历史和环境条件密不可分，所以“白板”的方法是不可能的，尤其是在我们生态日益衰退的气候下。
By this definition, architecture is inextricably linked with history and environmental conditions, so a Tabula Rasa approach is impossible, especially in our climate of increasing ecological decline.
当应用于建筑实践研究时，构建世界的电子游戏制作过程、环境设计、讲故事和用户体验复杂交织，这可以为解决我们今天面临的生态危机提供不同的策展视角。建筑不仅要呈现审美的视觉效果，还要对环境影响、历史结构和超越人类形式的用户体验做出回应。
When applied in architectural practice and research, the video game-making process of world-building, the complex meshing of environmental design, storytelling and user experience could provide different curatorial perspectives in addressing the ecological crisis we face today. Architecture must not only present an aesthetic visual but respond to the environmental implications, historical fabric and user experience beyond the human form.
——Kelvin Tsang、Patrick Tran
荣誉组6
Back me to the Earth
作者：
Xian Zhu【中国】【达姆施塔特大学】
Xi Luo【中国】【达姆施塔特大学】
关键词：
#赛博朋克和反乌托邦情景#火星#人工智能#猫#外星环境地球化
作品解读：
一系列可持续发展的策略也无法阻止环境的持续恶化。地球正处于迅速解体的状态。人类似乎无法在这场灾难中幸存下来。
A series of sustainable strategies couldn’t stop the continued deterioration of the environment. The planet is in a state of rapid disintegration. It seems that humanity will not survive this catastrophe.
然而，谁能预料到早已被放弃和遗忘的火星移民项目会在不经意间实现技术奇点——一种完全由人工智能自主主导的进化。在一个没有人类的城市里，机器人和植物群成为了主角。他们改造了火星，重建了气候，激活了磁场，实现了网络城市的城市化。
Yet who could have predicted that the Mars migration project, long since abandoned and forgotten, would inadvertently achieve a technological singularity – an evolution entirely self-led by AI. In a city without humans, robots and flora became the dominant role. They have terraformed Mars, rebuilt the climate, activated magnetic field, and urbanised the cyber city.
一切都和人们最初设想的一样。唯一的区别是，人工智能无意与人类分享其技术，因为算法已经证明这种行为是毫无意义的。这次轮到他们抛弃人类了。
It’s all just as people originally envisioned. The only difference is that the AI has no intention of sharing its technology with humans, because the algorithm has proven that such behaviour is pointless. It is their turn to abandon humans this time.
参考游戏：Stray
Referenced videogame: Stray
故事讲述的是一只流浪猫不小心掉进了一座有围墙的城市，城里到处都是机器人、机器和变异细菌。我们设想了一个新的火星场景，主角猫必须带领后代与他的无人机同伴同甘共苦，到达发射塔。他们最终的任务是将火星技术带回地球并试图拯救地球。
The plot centres on a stray cat that accidentally falls into a walled city filled with robots, machines, and mutant bacteria. We have imagined a new Martian scenario in which the main character, Cat, has to lead the offspring through thick and thin with his drone companion to get to the launch tower. Their finalised Mission is bringing Martian technology back to Earth and trying to save the planet.
——Xian Zhu、Xi Luo
荣誉组7
Little Town
作者：
Andrea Trenti【意大利】
Eleonora Santoro【意大利】
关键词：
#数字世界与物理世界的互动#提高意识#虚拟城市的基础设施#升级改造#虚拟可持续性
作品解读
一款以自由解读为特征的恐怖类平台游戏能不能有建筑模拟DLC？把《小小梦魇》中的旅程想成一条成长之路，答案或许是肯定的。随着六号和Nomes在鼹鼠号重新出现，在前者的救赎和后者的解放的结局中，需要重建是显而易见的。重建盟约和家园。
Can a horror-style platformer characterised by free interpretation have a building simulation DLC? Thinking of the journey in Little Nightmares as a growth path, the answer may be yes. As Six and Nomes re-emerge from the Mole, in an epilogue of redemption for the former and liberation for the latter, the need to rebuild is tangible. Restoring bonds and Home.
你将指导他们去创建自己的城镇。创建一个应该与他们过去居住的社区相反的新社区。一个充满希望和乐趣的地方，致力于可持续发展，而不是专注于大规模过度生产和贪婪。
They’re going to create their own town and you’re gonna guide them. A new community that should be the opposite of the one they were used to live in. A place full of hope and amusement, dedicated to sustainable development, instead of being focused on mass over-production and greed.
选择哪条路？急性的发展还是从容不迫？没关系，重点是平衡。居民、污染和可持续性应该保持平衡。你将用从鼹鼠号沉船中获得的金属和木头碎片建造村庄，让过去重获新生。选择更适合您成长理念的房屋、服务和工程类型。当心，鼹鼠号是你的材料仓库且正在逐渐消失。
Which path to choose? Galloping towards development or taking your time? Doesn’t really matter, the focus is the balance. Inhabitants, pollution and sustainability should keep their equilibrium. You’ll create the village from scraps of metal and wood, obtained from the Mole wreck, the past getting new life. Choose the type of houses, services and works better suited for your idea of growth. Be careful, the Mole is your warehouse for materials and is gradually falling apart.
欢迎来到小镇
Welcome to Little Town.
——Andrea Trenti、Eleonora Santoro
编辑优选（共6组）
编辑优选1
‘Da-ka’ City: Gamification of Café-Hopping
作者：
JIA MIN + WONG【马来西亚】【RDC建筑事务所】
CHAER SHEAN + LEE【马来西亚】【KLO+工作室】
YI KAI + WONG【马来西亚】【ESCAPE工作室-皮尔逊学院】
关键词：
#数字世界与现实世界的交互#数字孪生与建筑复制#数字体验的游戏化
作品解读
“Da-ka”城是一条咖啡馆之路，探索了马来西亚新山最近的咖啡馆热潮。巧合的是，这些新建的咖啡馆都有着被过度渲染的美学特征:裸露的砖墙、水泥地板和爱迪生灯泡。由易于访问的Pinterest和Instagram图像塑造，形成了千篇一律的美学风格，它反映了建筑环境、数字算法和关键字输入之间的相互联系。爱喝咖啡的人在Instagram上上传和分享照片，从而不断接触到时尚咖啡馆。我们如何打破这种创造统一的、人造的美学风格的循环，这种风格正在柔佛新鲁蔓延?
‘Da-ka’ City is a Cafe-Hopping Trail that explores the recent cafe boom in Johor Bahru, Malaysia. These freshly-built cafes coincidentally share the overplayed aesthetic features: the exposed brickwall, cement floor, and Edison bulbs. Shaped by the easily-accessible Pinterest and Instagram images that result in cookie-cutter aesthetic style, reflecting the interlinkage between the built environment, digital algorithms and keywords inputs. Cafe-hoppers upload and share images to Instagram resulting in constant exposure to trendy cafes. How do we break this loop of creating the unified, faux aesthetic style that is spreading across Johor Bahru?
在《女神异闻录 5》中，建筑替身是根据现实生活中的城市创建的，为玩家提供身临其境的环境，让他们体验普通高中生的生活。我们发现构建的游戏领域与基于主题元素构建的咖啡馆内部有相似之处。为了探索打破视频游戏环境的构建领域如何转化为重新协商替代咖啡馆空间的方法，我们研究了故障、剪墙和其他越界技术：建议墙壁像纸一样薄，物体也不成比例 。
In‘Persona 5’, architectural doubles are created based on real-life city, for an immersive environment for player to experience the life of a normal high-schooler. We found resemblance of the constructed game realm to the constructed interiors of cafes that based on thematic elements. To explore how breaking the constructed realm of videogame environment could be translated into methods of renegotiating alternative cafe spaces, we studied glitching, wall-clipping and other going out-of bound techniques: where walls are proposed to be paper-thin and objects are disproportionate.
这些空间后来被转化为一组印章图案，咖啡馆的顾客可以在其中收集印章，以完成咖啡馆接力点卡。
The spaces are later translated into a set of stamping patterns, where cafe-hoppers could collect stamps, to complete the cafe relay point card.
——JIA MIN + WONG、CHAER SHEAN + LEE、YI KAI + WONG
编辑优选2
Rediscovery of the Existing Architecture
作者：
Shumeng Liu【中国】【弗吉尼亚理工大学】
关键词：
#电子游戏#图形美学#纪念碑谷#错觉#用户界面
作品解读
在电子游戏世界中，现实是没有限制的，一切皆有可能，使我们能够以全新的视角重新发现现有的建筑。
In the world of videogames, there are no limits of reality, everything becomes possible, which enables us to rediscover the existing architecture from a whole new perspective.
我最喜欢的电子游戏是《纪念碑谷》，这是一款独立益智游戏，讲述了玩家角色艾达公主的旅程。这座建筑被拆解成不同的体量。游戏的核心机制——像移动平台一样的互动被应用到建筑中。这允许人们操纵角色并与环境互动以找出隐藏的人行道以穿过建筑物从一个点到另一个点。
My favorite videogame is Monument Valley, which is an indie puzzle game illustrating the journeys of the player character Princess Ida. The building is disassembled into different masses. The central mechanic from the game – the interactions like moving platforms – is applied into the building. This allows people to manipulate the character and interact with the environment to find out the hidden walkway to move through the building from one point to another.
——Shumeng Liu
编辑优选3
Subnautica Bubble Visions
作者：
JP Maruszczak 【美国】【heron-mazy工作室】
Roger Connah【英国】【heron-mazy工作室】
Jose Manuel Vega Perez 【墨西哥】【heron-mazy工作室】
关键词：
#水生#野生# 游戏模组 #故障#多型体
作品解读
这些后人文主义和去人类中心主义的谣言是什么?今天的流言除了冒险的特工。我们总是不得不重新考虑“人”是什么;大自然已经变成了野性的景观，让我们的行为和神秘重新变得野性。让我们先从被洪水淹没的东京与生存游戏《Subnautica》的结合说起。
What are these rumours of post humanism and de-anthropocentrism? What are rumours today except operatives for adventure. We have always had to reconsider what “human” is; nature has become the feral landscape for re-wilding our actions, our mysteries. Lets start with the merging of a flooded Tokyo with the survival game Subnautica.
斯洛特戴克的“亲密考古学”和斯特耶尔的泡沫视觉的全景混搭。代代木竞技场坐落在东京，就像被洪水淹没的城市中的一座虚拟母舰——这是前所未有的适应性改造，一个泡沫无人机作为住房的重新开放的世界;不是人类应得的，而是人类需要的。
A panoramic mashup of Sloterdijk’s “archeology of the intimate” and Steryerl’s bubble vision. Here Yoyogi Stadium sits in Tokyo as the flooded city in the city a de-realized virtual mothership – this is adaptive re-fit like never before, a re-bloomed world of bubble drones as housing; not what human beings deserve but need. We see climate change as a surfer, where we ride the threats inside our bubble drones, new adaptable feral houses of man and family.
我们将气候变化视为冲浪者，在我们的泡沫无人机中，我们驾驭着威胁，人类和家庭的新型适应性野生房屋。我们的警报只能在运动中计划;从失落的图标，航海母舰体育场，泡泡社区将热寻求冒险和变化，形成一个新兴的生态系统，为所有生命形式。这是一个可导航的游戏模组转码景观，它跨越了实际/虚拟的鸿沟，重新编写了水下的动态，将建筑放置在任何地方，而不是这里:其他地方。
Our alarm can only be planned in movement; from the lost icon, the nautical mothership stadium, the bubble communities will heat-seek adventure and change, forming an emerging eco-system for all lifeforms. It is a navigable transcoded landscape of game mods which cuts across the actual/virtual divide and re-scripts the dynamics of the subnautica to situate architecture anywhere but here: elsewhere.
——JP Maruszczak、Roger Connah、Jose Manuel Vega Perez
编辑优选4
Call-Last
作者：
Junlin Chen【中国】【重庆城市科技学院】
Antao Yang【中国】【重庆城市科技学院】
Hongkai Chen【中国】【重庆城市科技学院】
Weitong Bo【中国】【重庆城市科技学院】
关键词：
#赛博朋克和反乌托邦场景#数字世界与物理世界的互动#社会组织的新形式#粗野主义#信仰
作品解读
在电子游戏中，建筑不仅仅是一个背景，而且发挥着比想象中更大的作用。大多数时候，玩家在做出决定时会受到环境或建筑物的影响。
In video games, architecture is more than just a backdrop and plays a bigger role than imagined. Most of the time, players are influenced by the environment or buildings when making decisions.
玩家将来到一个正在经历战争、核冷、阶级压迫的城市，扮演一个名为“来电者”的游戏角色，反转核心，隐藏控制室，废弃街道，电话亭在水中，象征着电话铃声的审判，在生存的同时，发现背后的真相。
Players will come to a city that is experiencing war, nuclear cold, class oppression, play a game character named caller, inverted core, hidden control room, deserted streets, phone booths in water, symbolizing The phone ring of the trial, while surviving, discover the truth behind it.
城墙保护也守护着每一位公民，而城市中心的真相等待着被听到。隐藏你的足迹，不要让他们找到你！
The walled protection also watches over every citizen, while the truth in the heart of the city awaits to be heard. Hide your tracks and don’t let them find you!
——Junlin Chen、Antao Yang、Hongkai Chen、Weitong Bo
编辑优选5
I Am Not Just Eating!
作者：
Anindia Pradita【印度尼西亚】
关键词：
#虚拟城市的基础设施#数字空间3D/2D建筑#为了更好的未来#因为孩子们#因为孩子们#融合的思维模式
作品解读
我不只是吃！灵感来自传奇的《吃豆人》游戏。该游戏最初被称为 Pakkuman，这基于日本的拟声词“paku paku taberu”，指的是嘴巴连续张开和闭合的动作。
I Am Not Just Eating! is inspired by the legendary Pac-man game. The game was initially called Pakkuman, based on the Japanese onomatopoeia term “paku paku taberu”, referencing the mouth movement of opening and closing in succession.
这个想法是通过注入今天关于环境的问题来修饰这款游戏。除了不断吃“能量颗粒”，《吃豆人》还可以做得更多。所以每次吃豆人经过时，它都会散布小球并种植“绿色植物”，作为环境恢复的可视化。
The idea is to retouch this game by infusing today’s issue about environment. Instead of only eating “power pellets” continuously, while walking through and thoroughly Pac-Man can do much more. So every time Pac-Man passes by, it will spread the pellets and plant “greeneries” as a visualization of environment recovery.
扮演敌人的幽灵被设计成不同的颜色，代表不同的攻击属性。现在，“他们”将从事对我们的环境有害的活动，以阻止吃豆人实现其改善环境的目标。
The ghosts which play as enemies were designed with different color referring to different personalities of attacking. Now, “they” will be doing activities that are harmful to our environment to prevent Pac-Man accomplishes its goal to make a better environment.
有趣的是，我们可以同时使用两种媒体（视频游戏和建筑）并为所有世代进行社交、教育和提高对美好事物的认识。
It is interesting that we can socialize, educate, and make awareness of something good with two media at once (video game and architecture) and for all generations.
——Anindia Pradita
编辑优选6
New London 1858
作者：
Eddy Choi 【韩国】【弘益大学】
关键词：
#数字空间3D / 2D建筑#建筑重构#虚拟城市中的基础设施#蒸汽朋克和反乌托邦场景#另类历史（如果？）
作品解读
伦敦冻结了。是从建筑角度重新诠释电子游戏Frostpunk（2018）的新虚拟城市。这个项目的历史背景是1858年第一次工业革命时期的伦敦。设置一个场景，在大冰河时代之后使用蒸汽机重建冰冻的伦敦，代表第一次工业革命的文明。
London has frozen. is a new virtual city that reinterprets the video game Frostpunk (2018) from an architectural perspective. The historical background of this project is London in 1858 during the First Industrial Revolution. Set up a scenario of reconstructing frozen London after the Big Ice Age using steam engines, civilizations representing the First Industrial Revolution.
我提出了在冰雪覆盖的伦敦城市进行新的扩建和重建的想法。在建筑的屋顶和冰冷的石头上，这被认为是坚实的地面层，我提出了一种新的城市形式，强调代表伦敦第一次工业革命的蒸汽机和钢铁工业。形成城市的最基本设施，如住房、社区和工厂，都是参考Marc – Antoine Laugier的原始建筑小屋理论设计的，主要使用的材料是铁。
I approached the idea of a new extension and reconstruction on the ice-covered city of London. On top of the roof of the building and on the icy stone, which is recognized as a solid ground layer, I propose a new urban form, emphasizing the steam engine and steel industry representing London’s First Industrial Revolution. The most basic facilities forming the city, such as housing, communities, and factories, were designed with reference to Marc – Antoine Laugier’s theory of primitive architectural hut mainly used materials called iron.
中间的炉膛作为城市的主要动力，向所有建筑物输送蒸汽，额外的蒸汽通过管道输送到各种设施，以运转城市。放射状的城市形态旨在均匀地传递从城市中心（炉膛）散发的热量。
The middle Hearth serves as the main power of the city to deliver steam to all buildings, and additional steam is delivered to various facilities through pipes to operate the city. A radial urban form was designed to evenly transfer the heat emitted from the center of the city (Hearth).
——Eddy Choi
入围奖（共13组）
入围组1
Zelda Legendary Entity Experience Hall
作者：
Zinuo Chen【中国】【西南交通大学建筑学院】
Dian Rui【中国】【东京大学建筑与城市规划学院】
Guanyu Zhou【中国】【重庆大学建筑与城市规划学院】
关键词：
#塞尔达传说#空间转译#体育游戏
作品解读
该设计以《塞尔达·野息》的游戏机制为基础，扩展并形成建筑设计机制，致力于呈现塞尔达游戏的实体空间，在还原游戏的基础上进一步丰富玩家体验。
This design is based on the game mechanism of Zelda · Wild Breath, expands and forms the architectural design mechanism, devotes to presenting the physical Zelda game space, and further enriches the player experience on the basis of restoring the game.
在设计过程中，主要采用空间转换和空间构图设计手法，提取游戏中的特征空间和元素，按照关卡逻辑将其转化为建筑空间，再利用空间构成设计游戏关卡和建筑造型 具有物理游戏的特殊功能。
In the design process, space translation and space composition design techniques are mainly used to extract the characteristic space and elements in the game and translate them into architectural space according to the level logic, and then use space composition to design the game level and architectural modeling with the special functions of physical games.
在宏观层面上，本次设计致力于打造新的地标性建筑，希望对周边城市的文化发展产生一定的影响;同时考虑到建筑的生长，可以沿着塔继续生长，为玩家提供游戏探索的乐趣;结合建筑空间与VR现实的交互，以实景增强为游戏核心，融合虚拟与现实，打造独特的游戏体验。
On the macro level, this design is committed to creating new landmark buildings, hoping to have a certain impact on the cultural development of surrounding cities; At the same time, considering the growth of the building, it can continue to grow along the tower, providing the fun of game exploration for players; Combining the interaction between architectural space and VR reality, taking real scene enhancement as the core of the game, integrating virtual and reality, to create a unique game experience.
——Zinuo Chen、Dian Rui、Guanyu Zhou
入围组2
Crazy Dave’s stronghold
作者：
Xuewei Zheng【中国】【杭州木量设计】
Haixiao Yan【中国】【杭州木量设计】
关键词：
#植物大战僵尸#疯狂戴夫#太阳能朋克和乌托邦场景#城镇#社会组织的新形式
作品解读
在《植物大战僵尸》(2009)的背景下，我们构建了一个以疯狂戴夫为主导的场景，一个贪婪而热爱植物的发明家的据点，一个太阳能朋克的小镇，以及一种新的社会组织形式。
Under the background of the Plants vs. Zombies(2009), we constructed a scene dominated by Crazy Dave, a stronghold of an inventor who is greedy and loves plants, a town of solarpunk, and a new form of societal organization.
疯狂戴夫的据点，是由七种功能不同的社会模块组成的以一种新型城镇。在末日的背景下，小镇发划分为内围与外围两种不同的社会组织形式。
Crazy Dave’s stronghold is a new-type town composed of seven social modules with different functions. In the siege of zombies, the town is divided into two different organizational forms: the inner and the outer.
外层由Lure模块（闻起来像大脑的房子可以引诱僵尸）、Base模块（游戏原型，分为两种可转换的种植模式）、Supply模块（卡车仓库、装备雷达进行联络）、Obstacle模块（保护 入口和出口和控制僵尸路线）组成。它的主要用途是消耗和抵御丧尸的入侵，防止丧尸进入内部。
The outer is composed of Lure module(the houses smells like brain can seduce zombies), Base module(the game prototype, divided into two convertible planting modes), Supply module(truck depot, equip radar to contact), and Obstacle module(protect the entrance and exit, control the zombie route). Its main purpose is to consume and resist the invasion of zombies and prevent zombies from entering the inner.
内围由日常模块（疗养院）、科学模块（高大圆润的塔楼，象征着科技与现代，控制着整个城镇的运行）和实验模块（在建）组成。内围的任务是完成植物的垂直种植技术。一旦戴夫完成实验，植物将突破种植区域的限制，最终解决丧尸危机。
The inner is composed of Daily module(sanatorium), Scientific module(the tall and sleek tower, symbolizes technology and modernity, controls the operation of the whole town) and Experimental module(under construction). The mission of the inner is to study vertical planting technology. Once Dave completes the experiment, plants will break through the limitation of planting areas and finally solve the zombie crisis.
这也是人类的未来吗？
Is this also the future of humanity?
——Xuewei Zheng、Haixiao Yan
入围组3
AnimalCrossingNewAtmospheres
入围组4
Growing Culture: How NFT Games Evolve
作者：
Fathiyya Nadia Subagja【印度尼西亚】【门洛帕克学校】
关键词：
#NFT#第一人称射击游戏#虚拟现实#非物理学#奢华
作品解读
世界已经逐渐转向虚拟现实世界。创造如此大的维度需要包含一些乐趣。NFT作为一种珍贵的财产，可以在网络游戏中使用。在业务中，总是有来自独特和独特的客户的满意。在这个新时代，永远不要害怕表达自己。
The world has gradually shifted to the world of virtual reality. Creating such a large dimension necessitates the inclusion of some fun. NFT, as a prized possession, can be used in online games. There is always satisfaction from the unique and distinct customers within the business. In this new era, never be afraid to express yourself.
这种构建解释了游戏易用性和丰富的NFT艺术品之间的关系。未来主义的主题与幻想相结合，激发了全世界的创造力。它有可能改变我们所有人。
This build explains the relationship between ease of use in game and the opulence of NFT artworks. The futuristic theme combined with fantasy inspires creativity throughout the world. One that has the potential to transform us all.
在这个虚拟游戏世界中，植物种子代表了人们可以随时发挥最佳自我的地方。这个项目的灵感来自NFT世界和FPS游戏《Apex Legend》，反映了孩子想象力和乐趣的真正之美。
In this virtual game world, the plant seeds represent an always available spot for people to expand their best selves. This project, inspired by the world of NFT and the FPS game Apex Legend, reflects the true beauty of a child’s imagination and fun.
——Fathiyya Nadia Subagja
入围组5
Find Another Self
作者：
Wenhao Huang【中国】【利物浦大学】
关键词：
#数字孪生与建筑复制#数字空间3D/2D建筑#用户体验#图形和美学
作品解读
这个项目主要聚焦于将虚拟世界转化为现实，源自雷亚游戏的音乐节奏游戏《Deemo》，该游戏讲述了一个年轻女孩Alice在一次严重的车祸后被困在梦中并试图离开梦想的故事。在她的梦里，爱丽丝遇到了两个陌生人，Deemo和Mask小姐，他们原来是她的哥哥，也是她性格的另一面。然而，直到她即将离开梦境，回到现实世界，她才弄清楚真相。
Mainly focused on translating virtual world into reality, this project is generated from the music rhythm game “Deemo” by Rayark Games, in which told a story of a young girl Alice who is trapped in and tries to leave her dream after a serious car accident. In her dream, Alice meets two strangers, Deemo and Miss Mask, who turn out to be her brother and the other side of her personality. However, she doesn’t figure out the truth until she is about to leave the dream and come back to the real world.
该项目旨在代表两种共存人格。该项目根据“Deemo”的故事情节建造，由3个区域组成。4个反映两种性格的建筑物或场所被放置在游戏中可能同时出现Alice和Mask小姐的位置对应的位置。参观者可以通过4个建筑物/场地的特定部分所产生的截然不同的氛围来体验两个人物之间的差异。项目按照游戏中的场景设计成哥特式风格，坐落在主题曲中提到的那座山旁边。
The project aims to represent the coexistence of the two personalities. Built according to the storyline of “Deemo”, the project consists of 3 areas. 4 buildings/sites reflecting the two personalities are placed in the positions corresponding to the game where Alice and Miss Mask may appear at the same time. Visitors are able to experience the differences between the two figures through the distinct atmospheres produced by the specific parts of the 4 buildings/sites. In accordance with the sceneries in the game, the project is designed in Gothic style, sitting next to the mountain mentioned in the theme song.
——Wenhao Huang
入围组6
City of Machine Swallow
作者：
Yixing Xu【中国】【西安交通利物浦大学】
关键词：
#数字空间三维建筑#虚拟城市的基础设施#虚拟世界中的社交互动#移动性和 3D 体验#蒸汽朋克
作品解读
这个设计是基于《最终幻想XIV》的世界观，为诺夫兰特的矮人建造一座城市，他们对机械的东西有着极大的热情。在《最终幻想14》中，我们可以发现设计师对于城市建筑有着很多的思考，这些丰富有趣的地图和场景在像视觉小说一样被欣赏的同时，也成为了玩家在使用中的社交和娱乐广场。
Based on the world view of Final Fantasy XIV, this design is to build a city for the Dwarves of Norvrandt, who have great passion for mechanical things. In Final Fantasy XIV, it can be noticed that the designers have a lot of thinking about the city architecture, and these rich and interesting maps and scenes, while being appreciated like visual novels, also become the social and entertainment plazas for players in use.
就像元宇宙对虚拟现实的功能诠释:元宇宙为人们提供了一个虚拟的社交空间。事实上，这一理念已在许多网络游戏列表中得到广泛应用。玩家需要一个舒适的场所，有不同功能的可能性与朋友或陌生人交流，在互动中，只属于这个场景的亚文化模因会自发产生。
Just like the metaverse’s functional interpretation of virtual reality: The metaverse provides a virtual social space for people. In fact, this concept has been widely implemented in many MMORPGs. Players need a comfortable place with possibilities of different functions to communicate with friends or strangers, and in interaction, subculture memes only belong to this scene will be spontaneously generated.
我希望在作品中表达的是如何创造这样一个空间，既有故事又有功能的地方。人们可以自由自发地来这里约会；或者只是停下来闲逛，偶然发现新事物；或者像学者一样挖掘这个虚拟城市的每个角落，从场景的每个细节中发现埋藏的故事。
What I hope to express in the works is how to create such a space, where story and functions are both given to the place. People can freely and spontaneously coming here to date; or only stop and hang out, fortuitously find new things; or act like scholars digging in every corner of this virtual city to discover the buried story from every details of the scene.
——Yixing Xu
入围组7
Portal City
入围组8
Pokemon GO City
作者：
Michael Yeung 【中国·香港】
Leo Lee【中国·香港】
Ming Xu【中国·香港】
关键词：
#虚拟世界中的社交互动#数字空间3D建筑#虚拟城市的基础设施#现实生活中的游戏#幻想
作品解读
“Pokemon GO City” 代表了曾经轰动全球的 Pokemon GO 融入我们世界的世界。无数神奇宝贝居住在我们的城市等待被收集并成为训练家的朋友。
Pokemon GO City represents the world where the past global sensation Pokemon GO is integrated into our world. With countless pokemons residing in our city waiting to be collected and become trainers’ friends.
必须在整个城市收集资源以加强自己的团队。作为Pokemon GO世界的标志性建筑，三支队伍控制的道馆是我们项目的重头戏，道馆可以让训练家捕捉稀有的传奇神奇宝贝，恢复资源，也是训练家对战的主要舞台。
Resources have to be collected throughout the city to streng then one’s team. As icons of the Pokemon GO world, gyms controlled by the three team sare our main focus of the project, the gyms allow trainers to catch rare legendary pokemons,rejuvenate resources and also the main stage of battle between trainers.
体育馆也位于城市的地标中，现实世界中的同步结构将成为引人注目的奇观。道馆内部图解展现了现实中宝可梦对战的宏大与奇幻，争夺道馆的所有权，代表红/黄/蓝三队扩充势力。
The gyms also reside in cities’ landmarks, synch constructs in the real world will be spectacles to behold. The interior of the gym is illustrated to show the grand scale and fantasy of pokemon battles in reality, fighting for ownership of the gym, representing the red/yellow/blue team and expand their forces.
——Michael Yeung、Leo Lee、Ming Xu
入围组9
The Destiny “Hunters Raid”
作者：
PETROS STAVRAKIS【塞浦路斯】【双人工作室建筑师】
ANDREAS STAVRAKIS【塞浦路斯】
关键词：
#探索的焦点#元宇宙#未来主义#空间#卫星
作品解读
命运“猎人突袭”设定在未来，在那里人类试图保护自己免受银河系的威胁。守护者通过卫星登陆火星，保护地球免受猎人的入侵。
The Destiny ‘Hunters Raid’ is set in the future, where humanity is trying to protect itself from a galactic threat. The Guardians land on the planet Mars via satellite to protect the planet from the invasion of the Hunters.
由于卫星内部隐藏了大量的设备和能量，所以这也将成为猎人的突袭点。
The satellite will become the raiding point of the hunters since it hides a lot of equipment and power inside.
宇航员们将放弃卫星并分散在地球广阔的表面上，好在猎人发现已着陆卫星的存在之前将其消灭。
The astronauts will abandon the satellite and scatter over the vast surface of the planet to destroy the hunters before they discover the existence of the landed satellite.
该卫星采用钛合金和秘密武器进行设计，它可以抵御任何攻击。卫星的设计是基于守护者的盔甲来提醒它自己的存在，即使最后它被猎人征服了。
The satellite is designed with titanium and secret weapons to withstand any attack. The design of the satellite was based on the armor of the guardians to remind it of its existence, even if in the end it is conquered by the hunters.
在卫星内部，宇航员可以被运送到“舞台”，在那里他们将升级武器和装甲并从猎人那里收集新装备。
Inside the satellite, astronauts can be transported to the ”Stage”, where they will upgrade weapons and armor and collect new equipment from hunters.
——PETROS STAVRAKIS、ANDREAS STAVRAKIS
入围组10
The Hyrule Pavilion
作者：
Enrique Rivera【委内瑞拉/厄尔多瓜】【西蒙·玻利瓦尔大学】
关键词：
#文明#纪念碑#纪念性的#遗产的重建
作品解读
《塞尔达传说》是电子游戏历史上的一个神话传奇故事，在这个故事中，林克在海拉尔王国打败邪恶的过程中充满了牺牲和勇敢。
The Legend of Zelda is a mythic saga in the history of video games, in which Link’s journey is full of sacrifices and bravery on his quest to defeat the evil in the Hyrule Kingdom.
《荒野之息》是一款因其出色的游戏玩法、美丽的风景和建筑而备受赞誉的游戏。因此，海拉尔馆将这款电子游戏重新想象成现实生活中的建筑，以纪念英雄、公主的转世，以及四位海拉尔战士的牺牲，他们献出了自己的生命和灵魂来击败加农。
Breath of the Wild is an acclaimed title for its excellent gameplay, beautiful landscapes and architecture. Therefore, The Hyrule Pavilion reimagines this video game as a real-life building to honour the reincarnations of the Hero, the Princess and the sacrifice of the four Hyrule Warriors who gave their lives and souls to defeat Ganon.
该方案基于一个放置大师剑的中心空间。这个区域被一个顶部有Sheikah符号的设备照亮，它在游客身上投下阴影，提醒他们Sheikah种族对Ganon的支持。四个结构墙包围并统一了这个空间。每一个都代表一个战士和他的种族:Urbossa (Gerudo)， Mipha (Zora)， Daruk (Goron)和Revali (Orni)，他们被认为是王国的支柱。
The proposal is based on a central space where the Master Sword would be placed. This area is illuminated by an Oculus with the Sheikah Symbol on top, which cast a shadow over the visitors as a reminder of the support provided by the Sheikah race against Ganon. Four structural walls surround and unify this space. Each of them represents a warrior and its race: Urbossa (Gerudo), Mipha (Zora), Daruk (Goron) and Revali (Orni), which are considered the pillars of the realm.
周围供奉着地方文物和不朽英雄的雕像，作为保护和荣耀的象征。
The surroundings are dedicated to regional artifacts and the statues of the immortal heroes, as a symbol of protection and glory.
——Enrique Rivera
入围组11
Memories Center for the Finch Family
作者：
Yuying Wang【中国】
关键词：
#太阳能朋克和乌托邦场景#元宇宙的社交互动#人工智能和机器人#来世
作品解读
新的游戏关卡的灵感来自行走模拟器类型的游戏，伊迪丝·芬奇的遗物。最初的游戏玩家通过墓地的隐藏入口找到了它。设计的想法来自于芬奇的死亡诅咒和关于它的书籍。
The new game levels are inspired by the walking simulator type game, what remains of edith finch.The original game player found it by going through the hidden entrance to the cemetery. The idea for the design came from the Finch’s death curse and the books about it.
老房子的房间里摆满了书籍、照片和其他东西，从某种意义上说，它们也是一种记忆方式。在某种程度上，家庭死亡诅咒也是一个永无止境的循环。博尔赫斯说，如果有天堂的话，它一定像一个图书馆。
The rooms of the old house are full of books, photos, and other things that are, in some ways, also ways to remember. In a way, the family death curse is also a never-ending cycle. Borges said that heaven, if there is one, must be like a library.
因此，就像树木生长的方式一样，我创造了来世的芬奇中心，它有环形的台阶、书架和拱形的窗户元素，代表着生命的日常重复。展览展示了伊迪丝的儿子克里斯托弗在虚拟的来世中与母亲重逢。
So, in the same way that the trees grow, I have created the Finch Centre of the afterlife with its circular paths of steps, shelves of books and arched window elements that represent the daily repeating of life.The presentation shows Christopher, Edith’s son, reunites with his mother in a virtual afterlife.
——Yuying Wang
入围组12
The Lava house – living in harmony with nature and environment
作者：
Richard Mathieu【德国】
关键词：
#数字空间三维建筑#虚拟房地产和所有权#人文的共存#气候和自然友好型建筑#可持续性概念
作品解读
我的熔岩屋项目通过使用气候友好型节能概念以及使用 《我的世界》 重新思考有机建筑，解决了当今社会的一些重大问题，例如气候变化和环境破坏。
My Lava house project addresses some of the significant issues of today’s society, such as climate change and environmental destruction, by realizing a climate-friendly, energy-saving concept and rethinking organic architecture using Minecraft.
熔岩屋通过其布局与它所建的山融为一体，并使用当地的材料，如谨慎林业的云杉木材以及洞穴中的石板和铜来建造它。该概念的中心思想是利用房屋所在的山沟状洞穴的开口来创建一个自热系统。
Lava house melts with the mountain it’s built on through its layout and uses local materials, such as spruce wood of prudent forestry as well as slate and copper from the cave, for its construction. The concept’s central idea is to take advantage of the ravine-like cave’s opening, on which the house is built, to create a self-heating system.
将单层建筑放置在洞穴上可以吸收地下流动的熔岩的热量，从而产生天然的地暖。
Placing the single-story building onto the cave allows absorbing the warmth of the lava, which flows underground, to create natural underfloor heating.
这些延伸到房子内部的岩石储存了热量，为居住者和在北方寒冷气候下通常无法生长的植物创造了一个舒适的温度。
The rocks, which reach into the house’s interior, store the warmth and create a pleasant temperature for its residents and for plants that generally couldn’t grow in the boreal zone’s cold climate.
熔岩屋创造了建筑与自然的共存，人类可以在不破坏环境的情况下利用它。在尝试创建有助于解决当今和未来环境问题的架构时，这是一种追求的基本方法。
Lava house creates a coexistence between architecture and nature, in which the human takes advantage of his environment without damaging it. It is a fundamental approach to pursue when trying to create architecture that helps solve today’s and tomorrow’s environmental issues.
——Richard Mathieu
入围组13
Tower of Confusion – An Optical Illusion Game
作者：
Lima Bruno de Almeida Trindade·Renata【巴西】【里约热内卢的教皇天主教大学】
关键词：
#万花筒#拼图游戏#限制和界限#易变的#混乱
作品解读
《Tower of Confusion》是一个被设计成与精彩游戏“FEZ”相结合的关卡，其中主角“Gomez”在2D和3D宇宙之间穿梭。因为这款游戏大部分时间都是围绕着塔导航展开，所以《tower of Confusion》的理念就像一个垂直迷宫关卡，基于两个主要前提:
Tower of Confusion is a level designed to be integrated into the amazing game “FEZ”, where the main character “Gomez”, navigates between the 2D and 3D universe. As the game for the most part, takes place in tower navigation, the idea of the Tower of Confusion, comes as a level that would be a kind of vertical maze, based on two main premises:
第一个概念基础是万花筒，在一个真正的视觉错觉游戏中，每个平台都表现出转向场景两侧的自动化。
第一个概念的基础是万花筒，在一个真正的视觉错觉游戏中，每个平台都表现出转向场景两侧的自动化。
The first conceptual foundation is the kaleidoscope, where each plateau presents the automation of turning to both sides of the scenario, in a true optical game of illusions.
第二个灵感来自巴别塔，这个象征性的建筑形象的灵感来自于Etemenanki(一座建造在巴比伦城的金字塔/寺庙)，出现在圣经中，它本身就是一个普遍的混乱，因为在希伯来语中，BALAL这个词的意思是混淆，混合。
The second inspiration is the Tower of Babel, this emblematic architectural figure inspired by the Etemenanki (a ziggurat/temple built in the city of Babylon) and present in the Bible that is by itself a general confusion, since in Hebrew, the word BALAL means to confuse, to mix.
每一步都有不同的挑战，其中包括攀登台阶、管道谜题、雷区、带着经典马里奥兄弟游戏中的“复活节彩蛋”的草地着陆，以及最后的挑战，“Boss”是城市化和城市的最大敌人，可怕的汽车在胜利前的最后阶段变成了巨大的“变形机”。
Each step has a different challenge, among them, a climbing step, a pipe puzzle, a minefield, a grassy landing with “Easter Eggs” from the classic Mario Bros game, and the final challenge, the “Boss” who is the greatest enemy of urbanism and cities, the dreaded Automobile that turns into a giant “Transformer” in this last stage before victory.
——Lima Bruno de Almeida Trindade·Renata
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