PARASITE
Director：Bong Joon Ho Writers：Bong Joon Ho(story by) Han Jin-won(screenplay by) Date of release: 2019
The film tells the story of Kim Ki-taek, the father of a family of four who are all unemployed and idle, until Kim Ki-woo, the eldest son, comes to the home of the wealthy President Park to apply for a tutor with a forged diploma, and the two families are drawn into a series of unexpected events.
该片讲述了一家四口全是无业游民的爸爸金基泽成天游手好闲，直到积极向上的长子金基宇靠着伪造的文凭来到富豪朴社长的家应征家教，两个天差地别的家庭因而被卷入一连串的意外事件之中的故事。
Perspective View of The Architecture
建筑空间透视图
（ Resource：Diagram created by art director Lee Ha-jun）
（ Resource： Poster created by designer Andrew Bannister）
Scene Model
场景模型
Art director, Lee Ha-jun created an open architecture scene specifically for this film."I'm not an architect, and I think there's a difference between an architect's vision of a space and a set designer," says Lee Ha-jun in an email interview with Indiewire. We prioritise set and camera angles among the elements, whereas designers who actually design homes for people go about it with the human being in mind. The two approaches are very different."
美术指导，李河俊专门为这部影片打造了一个开放式建筑场景。他在独立线报（Indiewire）的邮件采访中说道：“我并不是一位建筑师，我觉得建筑师对空间的设想与场景设计师是有区别的。我们将布景和摄像机角度放在优先考虑的元素中，而真正为人们设计居所的设计师，是以人为中心去进行设计的。这两种方式非常不同。”
As Ha-Joon Lee says, as a set designer he has to consider the way the space is divided in the director's script, for example, a character is in a certain position and others need to be able to 'watch' him/her secretly; if someone enters the house, another person needs to hide in a corner. He needed to establish very basic, yet very three-dimensional character relationships through the set design. He also needs to take into account the changing needs of the camera angles, for example his design structure is wide and has depth rather than height, because it fits better into the 2.35:1 ratio. In addition to the above, the set designer also needs to consider lighting, colour, décor and so on. Everything the set designer does is for the plot and for the shoot.
正如李河俊所说，作为场景设计师，他所要考虑的是导演剧本中的空间分割方式，比如某个角色在特定的位置，而其他人需要能秘密“监视”他/她；如果有人进入屋子，另外一个人需要躲在某个角落。他需要通过场景设计建立非常基本，却又非常立体的角色关系。同时还需要考虑摄像机角度的需求变化，比如他的设计结构是宽的，有深度而非高度，因为这样它才能更好得适合于2.35:1的画面比例。除了以上这些，场景设计师还需要考虑光线、颜色、装潢等等。场景设计所做的一切都是为剧情、为拍摄服务。
Based on the film and the plan , I recreated the scene from the film in rhino.
根据电影和平面图，我在rhino中重现了电影中的场景。
Scene Rendering
场景渲染
Plan
平面图
（ Reference：Zhihu, by Xin Sui）
Using the online floor plan as a reference, I drew up a plan perspective view. It is mainly divided into three elevations, lower ground floor, first floor and second floor. The first floor is a "large flowing space" in contrast to the parasitic space in lower ground floor and semi-basement spaces. The second floor is the living space. The lower ground floor contains storage and garage for the residence, and there is also a wartime bomb shelter type space hidden in the lowest level of the building, which is connected to the storage room.
以网上的平面图为参考，我绘制出平面透视图。主要分为三个标高，地下一层、一层、二层。首层是一个“流动大空间”，与负一层寄生空间和半地下室空间形成强烈对比。二层则是居住空间。地下层空间为住宅的储藏室和车库，另外建筑中还隐藏有一个战时防空洞式的空间，隐藏于整个建筑的最底层，与储藏室相连接。
Axonometric Exploded View & Pedestrian Flow Diagram
轴测爆炸图 & 人流流线图
The Metaphor of Hierarchy
阶级性的隐喻
Space Scene
空间场景
在建筑空间层面，最明显的就是利用建筑位置、空间尺度描绘出两个不同阶层的人的“上”与“下”的关系。富人住在一个温暖阳光普照的山景别墅区，多为大尺度空间和大面积玻璃；穷人住在半地下室，只有狭窄的窗户；寄生虫则住在深处的地下层，封闭幽暗没有窗户。这种建筑上的空间分层很形象地把阶层的差异表现出来。
Camera Language
镜头语言
In the relationship between the entire urban space The relationship between "up" and "down" is also depicted in the film several times using different camera languages. For example, when the Kim Ki-taek family escapes from the mansion to their home at night in the pouring rain, the director intentionally stretches the number of times and the duration of the "stairs" ( starting at 1 hour 32 minutes 30 seconds of the film and lasting 1 minute 45 seconds overall), so that they walk from the "upper level", which represents superiority, back to the "lower level", which represents poverty. The film reinforces the gap between the upper and lower classes and the beginning of the breakdown of the dependency of the Kim Ki-taek family. The process of breaking down the dependency of the Kim Ki-taek family is reinforced.
在整个城市空间的关系上在电影中也多次运用不同的镜头语言对这个“上”与“下”的关系进行了描写，例如当金基泽一家夜晚冒着倾盆大雨从豪宅逃回家里的时候，导演有意拉长了“下楼梯”的次数和时间（从电影的1小时32分30秒开始，总体持续了1 分45秒），让他们从代表优越的“上层”走回代表贫穷的“下层”，强化了上下阶级的差距以及金基泽一家的依附状态开始破裂的过程。
Derivative architectural works - Parasite
衍生建筑作品
Achitecture Design From 3,2017 to 6,2017 Location:Shanghai,China Instructor: Pei Long Academic Individual Work
Sitang new village vegetable market is located in zhangmiao residential area of baoshan, Shanghai. It is one of the earliest market buildings in Shanghai.While these complex spaces in and out of the market provide daily life support for citizens, their bizarre plots make these trivial scenes closely related to the evolution of the urban fabric.Through them, we can see the urban logic behind the strange construction activities.Therefore, in "Parasite", the narrator becomes a vegetable market in sitangyi village, Shanghai. Depending on the development of the residential area, it makes flexible changes according to the residents' activities, and continuously extends into the vegetable market in the streets and alleys, narrating the changes in the surrounding area by means of "Parasite".
西塘新村菜市场位于上海宝山张庙居住区，它是上海最早的市场建筑之一。这些市场内外的复杂空间为市民提供了日常生活的支持，其怪异的情节使这些琐碎的场景与城市结构的演变密切相关，通过它们，我们可以看到奇怪的建筑活动背后的城市逻辑。因此，在《寄生虫》中，叙述者是上海西塘新村的菜市场。根据居民区的发展，它会根据居民的活动做出灵活的变化，并不断延伸到大街小巷的菜市场，以 "寄生虫 "的方式叙述着周边地区的变化。
