Under 35 – Zhuang Ziyu

Promote a type of content and a way of experience, helping public to know deeper and more profound content.

Project Specs

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gooood团队采访世界各地 35岁以下的年轻创意人,他们有的是创业者,有的是业主,有的是普通职员。我们探访众生百相,记录这个时代年轻人的面貌和真实状态,欢迎您的推荐和建议。
第26期我们采访了 德国科隆RSAA设计集团RSAA on gooood)合伙人庄子玉

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are clients, some are ordinary practitioners. gooood is trying to record the authentic living and working states of this era. Your recommendations and suggestions are appreciated!
gooood Under 35 NO.26 introduces Zhuang Ziyu, partner of  RSAA  (RSAA on gooood)

出品人:向玲 / Producer: Xiang Ling
编辑:陈诺嘉,武晨曦,刘丹阳,张学,韦紫昭,历剑 / Editor: Chen Nuojia, Wu Chenxi, Liu Danyang, Zhang Xue, Wei Zizhao, Li Jian

 

 

▼视频(视频为4分钟精华版,全文深度采访见下方文字。建议选择高清1080P观看。)

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成为建筑师之路
The Stairway To Be An Architect 

 

1.

谈谈你的成长经历,以及为什么会选择学习建筑
Please tell us something about your life experience, and why you chose to study architecture.

“建筑相对比较综合,更多是让你建立一个对于整个社会更加完整的认知模型。”

“Architecture is a relatively comprehensive discipline, focusing more on establishing an entire cognitive model for the whole society. ”

选择学习建筑有偶然也有必然。高中的时候我比较喜欢产品设计,考量很久以后发现,在当时的中国工业设计整个行业的状态不是很好;学建筑的话,想象的空间和今后的可能性更多,所以最后我去学了建筑。建筑相对比较综合,更多是让你建立一个对于整个社会更加完整的认知模型。我从很早的时候就意识到要丰富自身的经历,这些经历都能跟我的项目产生关联。

It was accidental, yet, inevitable to choose architecture as my major and career. I liked the product design when I was in high school. However, after careful and thorough research, I found that the whole industrial design field in China was not satisfactory; nevertheless, I would have a bigger imaginary space and more development possibilities in the future if I studied architecture. Thus, I finally chose architecture. Relatively, architecture is a comprehensive discipline, focusing more on establishing an entire cognitive model for the whole society. A long time ago, I had realized the importance of enriching personal experiences, which could be relevant to my projects.

 

2.

学习和工作的重要时刻及体会
The important moments and experience during the studying and working processes.

我的本科后半段从中国去了英国,十几年前国内的建筑院校基本都是基于巴黎美院式的教学体系;到了英国,设计观念上的冲击是很大的,还好我很快就适应了另一种语境。而从伦敦本科毕业后到纽约学习建筑与城市设计,又是一个转变。现在我们即便只是做一个装置一个室内设计,都会从更大的城市维度去探讨。上大学的时候在学校做社会工作,其中的做事方法、思维方式,对后来回国参与项目定位及操作以及和业主的沟通,都有所帮助。这些经历可能为之后完善认知模型,明确设计探索的目标,甚至定位公司的设计方向做了一些铺垫。

I went to the U.K. from China during the second half of my undergraduate study. Ten years ago, the domestic architecture colleges were basically based on the Beaux-Arts teaching system; however, the design concept in the UK was extremely different from that in China. Luckily, I adapted to this context soon. Then, I completed my bachelor degree in London and studied architecture and urban design in New York, which was another challenge. Today, we would like to explore every project, even it is an installation or an interior design, from a larger urban dimension. In addition, the ways of doing things and the modes of thinking I learned from the social work when I was in the university did me a big favor when I came back to China to take part in the project processes including marketing positioning, operating and the negotiating with clients. I think, probably, these experiences have built up a stepping stone for the later improvement of the cognitive model and the determination of the design, exploration goal, and even of the development direction of the company.

“第一家公司决定了你以后自己开公司的模型……所有东西都是有来源、依据和传承的。”

“The first company where you worked would determine how your own company would work…Everything we talk about has its own source, basis and inheritance. ”

在纽约的时候,我在西萨佩里事务所工作,他原来在耶鲁做院长,因此公司有一定学术属性,但公司项目其实是以成熟的开发商为主的。对比大量先锋事务所以消耗设计师体力为基础来进行高强度的实践和探索,导致可循环性或者可持续性其实不强;在西萨佩里的时候工作强度为每周40到50个小时(这也是现在我们RSAA的工作强度)这样员工的稳定性和项目的稳定性都会更强。我们的业主也是以开发商为主,但是获取的项目多数都具有一定的探索性和较强的原创性。另一方面,不论是商务流程,还是项目节奏、项目进度,以及跟甲方的互动方式,都是按照非常专业化的模式操作的。

I worked at Pelli Clarke Pelli Architects in New York. César Pelli used to be the Dean at Yale, so the studio is kind of academic, while the projects we did were actually commissioned by mature developers. Some pioneering design studios conduct high-intensity practices and explorations by consuming architects’ strengths, which affects future development including recyclability and sustainability. On contrast, Pelli Clarke Pelli Architects has an average working hours between 40 to 50 hours per week (which is equal to RSAA), ensuring stronger stability for both staffs and projects. Although our clients are mainly developers, most of our projects are relatively exploratory and original. On the other hand, everything related to the project design, including the business process, the project pace, the project schedule, and the ways of negotiating with clients, is operated in a very professional mode.

▼庄子玉在西萨佩里事务所工作场景,working scene at Pelli Clarke Pelli Architects

很多人说你的第一家公司决定了你以后自己开公司的模型,我觉得这种说法非常正确。我在英国和美国的工作学习经历成为了我们操作项目时的参考原型。我们谈类型学的延展,谈城市文脉,谈建构文化,谈空间叙事,所有东西都是有来源、依据和传承的。从我的老师弗兰普敦,屈米那里有传承;从前老板佩里那里有传承;从你体验过的城市,认识和接触过的人那里有传承。这个“传承”是所有的个体体验和认知的建构;然后建筑师最终还是要把个人的认知还原到物理空间中,那就是你的作品,而这其中必有一定的关联。

Some people said that the first company where you worked would determine how your own company would work, and I think it is absolutely right. My experiences of working and studying in the U.K. and the U.S. have become the reference prototypes of our projects. Everything we talk about, including the extension of typology, the urban context, the construction culture, and the spatial narrative, has its own source, basis and inheritance. This inheritance comes from my supervisors Kenneth Frampton and Bernard Tschumi, my former boss César Pelli, the city I have ever experienced and the people I have ever known and met. This kind of “inheritance” is an integrated construction of all the individual experiences and cognitions; then, the architects will restore the personal cognition to the physical space, completing their own masterpiece, and definitely, there must be a certain relationship behind them.

 

 

_____
RSAA

 

3.

RSAA的运行模式
The operation mode of RSAA

“我希望能够进一步本土化,结合我们自己的的目标,明确我们要创造什么样的项目和内容,传递什么样的文化和观念。”

“I proposed an idea about further localization, expecting to combine with our own goals, determining the projects and contents that we want to create as well as the culture and the value that we want to deliver.”

在搭建中国公司之前,RSAA德国公司在中国已经有了一定的项目和商务基础。当时这对我来说是一个很好的机会,能以自己的想法和模式去创造一个新的公司。

其实我们早期在中国市场上积累了一定量的规划和城市设计项目,比如成都郫县新城规划,天津中新生态城规划等等,但这种项目很难产生落地结果和真正基于建筑内容的循环。同时也很难对团队产生长期的连贯性和成就感。所以大概在第三年的时候,我们意识到需要通过招投标去获取一些落地性很强的大型公建项目。从2012年我们中标天津四中开始,每一年我们都有大型公共项目中标 – 当时的市场还是政府层面的宏大叙事结构,注重的是规模和数量,非常标签化的形式表达。这种方式产生的项目有两个问题:第一,如果项目本身不是落地项目,它很难产生很好的社会层面的体验和反馈;第二,这种符号化的传播方式以及项目互动,很难真正产生市场层面的认知和和迭代。

2014年在德国的集团年会上我提出希望能够进一步本土化。这不是意味着我们要去结合本土市场,而是要结合我们自己的的目标,明确我们要创造什么样的项目和内容,传递什么样的文化和观念。

Before coming to China physically, RSAA GmbH has established some project and business foundations here. For me, at that time, it was a remarkable opportunity to create a new company according to my own willings and modes.

Actually, since the early time, we have done several urban planning and design projects in Chinese market, such as the Pi Country New Town Masterplan in Chengdu, Sino-Singapore Eco-City Planning in Tianjin, and etc., but for these projects, it is hard to complete the construction phase and deliever the architectural contents. At the same time, our project team could not have a sense of achievement on the long run. As a result, during the third year around, we realized that it was necessary to strive for some practical large-scale public projects by bidding. Thus, ever since we won the bidding of Tianjin No.4 Middle School in 2012, every year, we have won the bidding of large-scale public projects. But the problem is, at that time, the market was a grand narrative structure at the government level, and its focus was the scale and the quantity, indicating a very labeling expression of the form. The projects generated under this way would lead to two problems: first, the public would not get experience we intended to create if it was not a completed project; second, it was hard for the market and the public to actually understand the project in the way that we hope.

In 2014, I proposed an idea about further localization at our annual meeting in Germany. Instead of adapting to the local market, we expect to combine with our own goals, determining the projects and contents that we want to create as well as the culture and the value that we want to deliver.

▼成都郫县新城规划草图,中国市场早期项目,sketch for Chengdu Pixian Urban Planning, early project of RSAA in China

“我们希望推行一种内容和体验方式。”

“We expect to promote a type of content and a way of experience.”

在一个项目里,我们更多谈的是我们的特征性是什么?我们的态度是什么?它们是如何与主流市场方向以及整个社会大认知结构契合的?这些问题很抽象,但是更有利于帮助我们找到自己的位置,在市场中树立完全不同的态度。拿酒店为例,我们更愿意说酒店是一个生活方式的综合体,它的公共空间可以涵盖有共享办公的功能,它的客房又有地产属性。他的一些公共空间,可以提供一种精神性的空间体验 – 这是一种完全不同于传统类别化标签的定位。

同年我在重庆大学做了一个TEDx演讲,用通俗易懂的表达方式向大众传递一些非常本质的建筑设计诉求,如建构文化与建筑的自治性、文脉的传承与当下内容和空间的意义。比如我们结合天津四中,谈教育综合体,谈孩子在空间中的时间分配以及学习过程与空间的互动;结合济宁文化中心,谈如何在更纯粹的当代空间体验下实现商业价值和文化价值的互动,以及中国传统空间序列关系为何呈现出趋于欧洲传统街道的空间感受。我们可以用比较有新意的容易理解的方式谈论偏理论化的建筑问题,把这些问题和商业价值以及用户体验挂钩,同时也在传播层面获得了很正面的的反馈。

In a project, we focus more on our identity and attitude, as well as the way they correspond to mainstream markets’ trend and the overall social cognitive structure. They are abstract, but meanwhile, will help us find our place and build up a distinct attitude to stand out from the market. Well, taking the hotel as an example, we would like to describe it as a complex of lifestyles, because its public space can host shared working space and its guest rooms can be treated as a property, kind of. In addition, some of its public spaces can provide a psychological spatial experience, which is a location that is totally different from the traditional stylized label.

In the same year, I gave a TED lecture in Chongqing University, during which I expressed some exceedingly basic appeals of the architectural design in a straightaway expression, such as the structural culture and the autonomy of the architecture, as well as the cultural inheritance and the significance of today’s content and space. For example, with the Tianjin No.4 Middle School, we talk about the educational complex, kids’ time allocations and learning processes in the space and their interaction with the space; and with the Jining Culture Center, we talk about how to realize the interaction between the commercial values and cultural values, and the reason why the relationship of the Chinese traditional space sequence is more and more like the experience of the European traditional street space, under a purer contemporary space condition. That is to say, we can talk about some theoretical architectural issues in a more creative and understandable way. Thus, we can combine these issues with commercial values and user experiences, meanwhile, get positive feedback on the communication level.

▼庄子玉TEDx演讲,Zhuang Ziyu giving a TEDx lecture

2015年我们把工作室搬到了四合院,我们谈四合院的空间与周边的关系,谈四合院作为空间载体如何改变我们的体验,改变我们对于项目的认知方式。这些尝试,使我们逐步获得更强的公众认知,同时反馈到我们对待项目的态度以及操作项目的模式上。

We moved our studio to a Beijing Siheyuan. Since then, we have talked about the relationship between the courtyard and its surroundings, and how it influences our experience and our understanding of the project as a spatial carrier. These attempts bring us stronger public perception progressively, and meanwhile, are reflected in our attitude towards the project and the mode of operating the project.

▼鼓楼七号院,RSAA/庄子玉工作室在四合院的办公室(点击这里查看更多),Courtyard No.7 at the Drum Tower, the office of RSAA/Büro Ziyu Zhuang in Siheyuan (click HERE to view more) ©苏圣亮

▼院落中的玻璃体块,glass volume in the courtyard

▼鼓楼7号院办公空间及多功能空间,working space and multi-functional space in the Courtyard No.7 at the Drum Tower ©苏圣亮

我们其实并没有长期发展的既定目标,而是通过公司实践这个简单的载体,循序渐进地进行一种更加国际化而又本土化的探索,慢慢建立我们自己的语境、模式以及和市场以及行业在学术层面的互动。

In fact, we don’t have any certain goals of long-term development, instead, we expect to establish our own context, culture, mode and the academic interaction with the market and the architecture field gradually through a much more international and domestic exploration based on the practical work of our company.

▼RSAA部分建成项目一览,selected constructed projects of RSAA

 

4.

在团队中扮演的角色
The role you play in the team

“北京团队从项目量和内容性的创造上已经开始超越德国公司……我们不想丢掉在德国积累的经验,但会结合我们在中国的实践对其进行修正和迭代。”

“The Beijing team had begun to surpass the German team in terms of the project quantity and content…maintaining the culture we have cumulated in Germany, our Beijing team will do some adjustment and iteration according to our practice in China.”

2015年开始,市场有了一个很大的转变,找到我们的业主越来越多;外资公司的标签在淡化,因为比起国籍产品自身的的特征性对业主来说变得越来越重要。2016年,集团公司意识到北京团队从项目量和内容性的创造上已经开始超越德国公司;这导致了后来我们调整后的公司运营双轨制 – 北京是产生内容的重要容器,德国科隆也是,我们不想丢掉在德国积累的经验,以及最开始和德国合伙人开公司时设立的目标,但会结合我们在中国的实践对其进行修正和迭代。

这种迭代体现在我们在内容创新上对自己的实践和改造,比如鼓楼7号院的办公体验如何改变设计者的空间认知;比如五季金陵酒店有着非常纯粹的几何形态,但是整个空间体验、漂浮的体块以及软性介质介入的方式,都是与当地文脉相关的全新语汇 – 我们在持续地迭代我们的设计产品和用户体验,不论是从内容本身上,还是从内容的产生方式上 – 这是革新的意义。

▼鼓楼7号院屋顶活动空间,activity space on the roof of Courtyard No.7 at the Drum Tower ©张辉(上),苏圣亮(中)

Since 2015, the market has experienced a significant transformation, and the most obvious thing is that we have received more and more commissions; besides, there are fewer people caring about the label of the foreign companies, for compared with the nationality, our clients care more about the identity of the project. And it was 2016 when our company realized that our Beijing team had begun to surpass the German team in terms of the project quantity and content, and that contributed to reformation and our consequent operation mode. It is a parallel mode, which means both the Beijing team and Köln (Germany) team are based on the design itself, but furthermore, by maintaining the culture we have cumulated in Germany and the very beginning goal my partner and I have set when we founded this studio, our Beijing team will do some adjustment and iteration according to our practice in China.

This iteration is reflected in our practice and transformation on the aspect of the content innovation, like the Courtyard No.7 at the Drum Tower and the Nanjing Five Seasons Jinling Hotel. In the Courtyard No.7 at the Drum Tower, we explored how the working experience could change designers’ spatial perceptions; and in the Nanjing Five Seasons Jinling Hotel, although we used a really pure geometry, things like the whole spatial experience, floating volumes, and soft intervention were all new architectural vocabulary related to the local culture. That means we are continuously iterating our design and user experience, both in terms of the content itself and the way how the content is produced,- and that is the meaning of innovation.

▼五季金陵酒店,悬浮的体块,Nanjing Five Seasons Jinling Hotel with floating volumes

整个国家都在谈文化输出,整个市场都在谈年轻化倾向。35岁是一个门槛,超过之后,你的创意性、体验度和对市场反馈的敏感度都会下降。年轻人是现在的主力消费人群,而年轻的设计师人群对于市场的敏感度更高。过去,建筑师在35岁以前很难做出很好的大型作品,但在现在这个时代,我们能够作为公司接手一些这样的项目,积累经验,这是我们这一代的机会。

我们在中国搭建了比较完善的工作机制。上海公司和德国独立团队直接跟北京公司绑定,组成人员都在北京公司工作过四年或以上,统一性非常强。另外我们还增加了一个全新的室内团队,使得我们大部分中小型公建都能够做到建筑室内设计的一体化。当然也会做一些独立的室内设计,比如现在在西安口碑很高的云顶57餐厅。我们还在做规划设计,但是量不大,基本一年做一两个重点城市重要地段的规划或城市设计,比如刚刚完成的大连市城市设计导则,还有广州CBD沥滘片区(海珠湾)城市设计 – 这些项目可以作为我们在行业内的标签,展示我们对于大型空间和城市尺度的控制力。

▼室内设计项目 – 云顶57餐厅(点击这里查看更多)
Interior Design Project – the Top of Cloud Restaurant (click HERE to view more) ©如你所见

We are talking about the culture export, and the market are focusing on the tendency of the youthfulness. I think the age of 35 is a threshold because your creativity, experience and the sensitivity to the market feedback will decrease once you are beyond this age. At present, young people are major customers, while young designers tend to have a higher sensitivity to the market. In the past, it was impossible for architects younger than 35 years old to complete a good large-scale project, while now, we can receive some commissions of large-scale projects as a design studio to accumulate experience, which is exactly an opportunity for our generation.

We have built up a relatively perfect working system in China. Both Shanghai team and the independent team in Germany have a direct connection with Beijing team, and everyone has worked in Beijing team for at least 4 years, making sure a really strong unity. In addition, we have established a new team focusing on the interior design, which integrates interior styles of most of our public projects in small and middle scales. Also, we have done some independent interior design projects, such as the Top of Cloud Restaurant, one of the most popular restaurants in Xi’an. Besides, basically, every year, we do one to two urban planning or urban design projects of strategic areas in major cities, such as newly finished Dalian Urban Design Guideline and Guangzhou Lijiao CBD Masterplan. I should say it is not a large number, but the urban projects we have done can serve as our label within the architecture field, demonstrating our ability to control over the large spaces and urban projects.

▼规划项目 – 广州沥滘CBD
Urban Planning Project – Guangzhou Lijiao CBD

我们的北京团队大概有30个人,上海6个人,德国(隶属于北京的团队)4个人。我们每年能接到的项目大概是:2到3个5万到10万平方米的大型公建,5到8个小型建筑室内一体化公建,2到3个独立的室内项目以及2到3个装置和展陈设计。大多数项目只负责方案初设和后期控制,施工图是外包的,这样我们的项目量和项目品质也可以达到一个平衡。

There are around 30 people in our Beijing team, 6 people in Shanghai team and 4 people (who essentially belong to our Beijing team) in the German team. Every year, we can receive 2-3 large public building projects of 50,000 to 100,000 square meters, 5-8 small public building projects (for these projects, we are also responsible for the interior design), 2-3 independent interior design projects and 2-3 installation and exhibition projects. In most of these projects, we only involve in the concept design stage and post control stage.While the construction drawings, we find some others to finish them. In doing so, we can achieve a balance between the quantity and the quality of the project.

▼RSAA/庄子玉工作室项目插画合辑,illustrations of the projects by RSAA/Büro Ziyu Zhuang

 

5.

RSAA/庄子玉工作室的未来方向
The future of RSAA/ Büro Ziyu Zhuang

“我更像是一个内容生产者,需要平衡个人时间的分配和项目总量的关系。”

“I am more like a content producer, which means I have to balance my own time allocation and the total amount of projects.”

我们把自己看做一个内容型公司,在过去的1到2年间,产能扩大了很多,但是项目依然多到做不完。

作为建筑师,你很难放弃任何一次机会。可能一百个项目找到你,你只能做其中的7到8个,这7到8个里面最后能完成的可能只有2个,整个过程的死亡率很高。为了提高最后能够完成的项目总量,我们就要多接项目,然而接的项目越多,承担的风险和投入就越大,能分配到每一个项目上的精力就越有限,这是一个平衡关系。

在公司结构里,我更像是一个内容生产者,每张项目照片、效果图的角度,都是我亲自确认的;每一个新项目,都会自己去看地块;项目的重要节点汇报以及施工重要节点确认我都要亲自去做;重要的文本中涉及到表达层面的东西我也会自己控制。我不太干预整个项目的生产流程,但重要节点和最后的呈现状态我一定要亲自完成,这又涉及到个人时间的分配和总量的关系,不能一味扩大产能。我们是以服务业主为中心的商业公司,怎样处理这些平衡关系是我们接下来所面临的问题。

▼工作中的庄子玉,Zhuang Ziyu during work

We regard ourselves as a content company. During the past 1 to 2 years, our production capacity has been increased a lot, however, there are still numerous projects waiting for us to complete.

As an architect, it is difficult to give up any project. Imagine that there were 100 projects waiting for you, but you could only pick up 7 to 8 from them, in which you could probably only complete 2 of them finally. Such a high death rate, right? Then it comes to a thing about the balance. That is to say, in order to increase the number of projects we can finish, we need to do more projects. But the thing is that the more projects we do, the more risks and efforts there will be, indicating a limited focus on each project.

In the company structure, I think I am more like a content producer. In fact, I will check the angles of each photo and renderings, visit and research each new site, do each design stage presentation and construction stage presentation and control everything important in the project texts and expressions in person. It is not my style to intervene in the design process of the whole project, but I must finish the important phases and the final project states myself, which in turn, relates to the relationship between my own time allocation and the total amount of projects, meaning that it is impossible to just increase the production capacity. We position ourselves as a company centering on service, thus, in the next phase, we need to consider how to deal with and balance these relationships.

▼RSAA/庄子玉工作室部分作品一览,selected projects of RSAA/Büro Ziyu Zhuang

 

 

____
项目
Projects

 

6.

做建筑的“产品经理”
To become the “product manager” of the architecture.

“我们做一个项目,和产品经理对产品的定位是完全一致的。”

“When I design a project, it is in accordance with how a product manager targets his product.”

我在做一个项目、经营公司、甚至教学中,谈的全部是内容的体验和交互,这和产品经理对产品的定位是完全一致的。不同的是我们应对的产品——建筑——使用年限非常长。

以我们刚刚中标的北京莱太商业综合体为例,它在城市核心地段,靠近三环,旁边是美国大使馆,你处理这个产品要采取一种更长远的态度,和做一个装置,或是设计一个二线城市或山区项目很不一样。结合项目本身地块的特征和业主的诉求,你要提供不同的解决方案,没有办法从主观上做太多操作。

When I design a project, operate a company, and even give lectures, I always focus on the experience and interaction, which are in accordance with how a product manager targets his product, although my product is architecture – an item with a really long life cycle.

Take the Beijing Laitai Commercial Complex that we have just won as an example. It is located at the center of the city, near the Third Ring Road, and adjacent to the US Embassy, so it is quite different from installation or a project in a second-tier city or a mountainous area. It requires us to treat this complex project with a more long-term attitude. Thus, we are expected to come up with diverse solutions combining the characteristics of the site and client’s requirements, rather, from our own initiatives.

▼北京莱太商业综合体,Beijing Laitai Commercial Complex

尽管如此,我们还是可以主观选择项目的。前年我们做了铜陵项目,它是一个位于山里的小建筑,但是传播度很高。我们不希望它的传播造成市场对我们的认知偏差,认为我们主要做非标类的小项目,所以我们对传播渠道进行了一些控制;公司去年90%以上的项目都是学校、小型公共建筑、精品酒店、书院、售楼处等商业开发项目。我们的项目很多都是地产导向的,即便是像悦榕庄这样的高端酒店,其实也要搭配地产诉求来操作;大多数学校项目背后的地产诉求也非常强,这不言而喻。但是我们不做地产类的所谓住宅项目,我们所有的操作体验还是以市场行为导向和整个大环境为依据。

Even though, we can still choose projects according to our own preference. Two years ago, we did a small but widely spread project in the mountainous area in Tongling. Under this condition, we expect to maintain a correct perspective that the market puts on us, as the truth is that we don’t limit ourselves to the small non-bidding projects. Thus, in order to control the outlets to some degree, more than 90% of projects we did last year were commercial projects including schools, small public buildings, boutique hotels, academies,  and sales offices. Many of our projects are real estate-oriented. Thus, we are expected to combine the real estate requirements with the design when we do the school and hotel projects, even it is a high-end hotel such as the Banyan Tree. However, we have never done the residence projects that are truly estate-oriented, which means we still based on the market and the overall architectural environment when designing.

▼铜陵山居,山中的小建筑(点击这里查看更多),small project in Tongling (click HERE to view more) ©许挺(上),苏圣亮(下)

▼欧罗巴学校二期(点击这里查看更多),European School Campus No.II (click HERE to view more) ©Jens Willebrand

“每个产品都能为我们的整体价值带来一定的贡献,增加公司的丰富度,为建筑师和资本、时间对抗的过程带来一种平衡。”

“Each product will contribute to our overall value, strengthen the diversity of our studio, as well as bring a balance during the process where architects hold a disagreement with the capital and the time.”

去年由于项目规模偏大,很多开放商项目的市场依赖性强,导致预期的项目落地量偏少;所以今年我们重新定位,决定增加一些装置、快闪店等非标、非专业开发商的项目。这样我们跟市场互动会更频繁,操作项目的可能性会更高。我们希望最终落地的产品更加多样,可以对应我们的商业目的、学术目的以及内容目的的不同诉求。即便是一个装置,只要我们通过它获得了某种空间或材料体验的原型,这就是一个完成的作品。快闪店存在时间很短,可能不用应对保温、管线等建筑层面的问题,可以很快落地成为一个具有特征的空间体验原型,弥补我们在大型项目上由于时间等原因导致一些内容未能完成产生的缺陷。每个产品都能为我们的整体价值带来一定的贡献,增加公司的丰富度,为建筑师和资本、时间对抗的过程带来一种平衡。

Last year, because of the large scale and the strong dependency of the projects towards the market, we had fewer projects built up, making us reconsider our direction this year to design some non-bidding and non-commercial projects like installations and pop-up stores besides regular projects. In this way, we can have more frequent communication with the market, making sure a higher feasibility of the project. Actually, we expect for more diverse built-up projects to respond to our various commercial goals, academic aims, and contents. From our aspects, as long as we could get a prototype related to space or material experience, it would be a completed project even though it was probably just an installation. As is known to us, the pop-up stores have a really short lifetime, which means we can launch a distinct prototype of the space experience to make up some regrets existing in the large projects due to the lack of time, which made us consider little about architectural issues like the thermal insulation and the MEP system. Each product will contribute to our overall value, strengthen the diversity of our studio, as well as bring a balance during the process where architects hold a disagreement with the capital and the time.

 

7.

建筑的形式和类型学
Architectural types and the typologies

“我们所有学术上的诉求,和商业项目的经济诉求,以及市场和政治层面的诉求,是完全一致的。”

“All of our requirements on the academic profession, the commercial projects, as well as the market and the politics, are integrated. ”

建筑的形式最终涉及到每个人对学术定位的态度以及在学科内部寻求的方向。

我觉得有一系列传统观念需要被打破,其中之一是认为甲乙双方及商业和学术之间是对抗关系。其实我们和业主的关系非常融洽,因为我们的目标是一致的。我想获得产品原型,创造新的空间形式和体验,这是我们在学术上的立足点,恰恰也是业主找到我们的原因。我们谈本土化基于类型学层面的再创造,谈基于中国文化和当代中国人生活的的叙事方式对空间认知的影响,这也符合现在市场的趋势和中国文化输出的整体社会诉求。

可以说,我们所有学术上的诉求,和商业项目的经济诉求,以及市场和政治层面的诉求,是完全一致的。你对于学术的切入点是什么?你寻求的原生价值是什么?如果我们所追求的价值是回归到每一个人的真实体验,那我们的项目就既能取得商业上的成功,也能产生很好的学术互动。

今年我们在天津大学的教学成果(庄子玉作为研究生导师,在天大进行了为期一学期的研究生实验班教学。)是以公司操作项目的方式去进行教学实践,同时去获得的一系列和我们的内容体系相关的原型;教学成果也得到了天大领导们的认可,学术的实践也从某种程度上丰富了我们的体验以及项目以外不以获取的原型和深入思考。

The final form of the architecture will be related to individual attitudes towards the academics and the directions that the discipline looks for.

I think it is necessary to break up some traditions, one of which is the so-called opposite relationship between clients and architects, as well as the commercial issues and academics. Actually, thanks to our unified goal, we have built up a really harmonious relationship with our clients. I expect for a product prototype, a creation of the new space form and experience since they are the foundation of our academic profession, also, the reasons why our clients give us these commissions. We talk about the re-creation of the localization that is based on typology and how the narrative that is based on Chinese culture and Chinese people’s contemporary lifestyles will influence the spatial cognition, both of which are in accordance with today’s market trend and the requirements of Chines cultural output.

All of our requirements on the academic profession, the commercial projects, as well as the market and the politics, are integrated. We keep on thinking about the entry point of the academics and the initial value. And the truth is we believe that we will succeed both commercially and academically if we focus on everyone’s experience.

This year, I taught at Tianjin University. Instead of giving conceptual projects, I gave my students some real projects we were doing, and in turn, got a series of prototypes in relation to our design contents. Fortunately, we got positive feedback from the leadership teams at Tianjin University about our teaching achievements, as well as some extra inspirations and prototypes.

▼庄子玉天津大学研究生国际实验班终期评图邀请朱小地、李兴钢、何崴等进行教学评图,final review of the teaching program in Tianjin University has invited Zhu Xiaodi, Li Xinggang, He Wei and etc.

 

8.

项目尺度的跨越
The project scale

“不同尺度的项目本质上并不矛盾,因为人的体验最终会回归到个体。”

“Essentially, different scaled projects are not contradictory, as the destination of the experience is based on individuals.”

尺度的跨越是项目控制中比较有意思的部分。我们可以做城市尺度的项目,容量在几百万方,甚至能够影响一座一线城市的天际线。我们也会到乡村里盖一栋小房子,或者在展会上做一个装置。本质上它们并不矛盾,因为人的体验最终会回归到个体。

我们公司很有意思,大型公建和小型公建是一个团队;后期施工需要更强的专业性,是另一个团队;城市设计和装置设计是一个团队负责,因为这里面更多的是一种理念、一种态度、以及对于空间形式的控制,虽然尺度跨越很大,但是它们具有相似的话题性和切入方式。

我们与传统公司不同,不以项目类型界定自己,因为这个时代中,类型正在逐步被打破,如教育综合体、生活方式综合体,但是其中的体验都来源于人,是一致的。做城市设计会使用上帝视角,但最终还是要回归街道和内容,回归到人的体验。

The scale is a relatively interesting part of the project control process. We can do some projects under the urban scale with the area of millions, which even have the ability to influence the skyline of a first-tier city. Also, we can design and build a small dwelling in the countryside, or an installation for an exhibition. Essentially, they are not contradictory, as the destination of the experience is based on individuals.

One interesting thing about our company is that we have a single team responsible for both large and small public buildings; and a more professional team responsible for the construction process. Besides, we have a single team to take charge of the urban design and installation design, as these two designs are both related to concepts, attitudes and the control towards the space form. Thus, they have similar topics and start points in spite of different scales.

We don’t define ourselves by project types, which is different from other traditional design companies, under the contemporary conditions, there will no longer be any certain type. The most obvious thing about this is that there are emerging educational complex and lifestyle complex with essentially the same origin that is the individual. Thus, even though we have an overall view when we do the urban design, we will base on the streets, contents and individual experience.

▼RSAA项目尺度跨越很大,RSAA’s projects in various scales
(左上)广州沥滘CBD,(中上)济宁文化中心 ©张辉,(右上)天津四中 ©张辉
(左下)苏州万科精品酒店,(中下)铜陵山居 ©苏圣亮,(右下)“坛城” ©苏圣亮
(up left) Guangzhou Lijiao CBD, (up middle) Jining Cultural Center, (up right) Tianjin No.4 Middle School
(lower left) the boutique hotel of Suzhou Vanke, (lower middle) Tongling Recluse, (lower right) the Cloud Maze

 

 

9.

不同项目的操作模式
The operation mode of different projects

“越是大型的项目,我的介入越少……特征性强的小项目我个人的参与度很高。”

“The larger the projects, the less I involve in them. I mostly involved in some small projects with strong characteristics.”

越是大型的项目,我的介入越少,其操作模式越商业化。做大型商业项目时,我会找一个最重要的切入点,结合一些重要的内容点去处理具体的空间,这种介入是非常强势的。我们会直接跟业主沟通看完地块的空间体验和感受,然后给他们一些原型。我的团队会结合这些原型和以前的经验,出2到3个草案,最后确定一个给到业主。我们自认是能够把自己的认知融合到业主诉求里面的,所以通常不会给很多方案。

特征性强的小项目我个人的参与度很高,如铜陵山居。由于项目太小,可变性非常大,很难把它控制到一种原型上,因此我画了草图,由负责控制项目的总监结合我的草图进行设计。铜陵项目的人力投入非常少,只有一个室内建筑师和一个项目建筑师,后期都是我自己控制。

▼铜陵山居初期概念草图,conceptional sketch of Tongling Recluse

The larger the projects, the less I involve in them, and the operation process is more commercial. When doing large-scale commercial projects, I will intervene in the project from an important entry point and combine some important contents to deal with space. This kind of intervention is quite powerful. We will communicate directly with the client about the spatial experience and feelings of the site, and then give them some referential prototypes. My team will combine these prototypes with our previous experience to produce two or three proposals, and eventually determine the final solution. We believe we can integrate the client’s demands into our ideas and therefore we usually don’t give many proposals to them.

I mostly involved in some small projects with strong characteristics, such as Tongling Recluse. Since the project was really small and fluid, it was difficult to apply any model to it. I drew sketches of the project, and the director of the project used my sketches as a guideline in the design process. The design team of the Tongling project is quite small, including only an interior designer and an architect, and I was in charge of the post design work.

▼铜陵山居建成后外观(点击这里查看更多),view of the Tongling Recluse after construction (click HERE to view more) ©苏圣亮

而城市设计更像一个短平快的小型项目,设计周期通常只有几个月,时间跨度短,我们通常会结合内容策划或者城市定位去做。一些跟城市融合很强的小型公建项目,如我们正在给苏州万科做的一个精品酒店,更像是城市设计和室内设计的结合。建筑是既有建筑,能改动的空间很小,设计更多做的是城市分析,结合空间和功能定位,填充到现有的建筑框架中。

However, urban design is more like a short cycle and small project. The design phase usually takes only a few months. We would design with regard to content planning or urban positioning. We have some small public projects, which have a strong relationship with urban planning. For instance, the boutique hotel project we are designing for Vanke in Suzhou is more like a combination of urban design and interior design. The building is an existing building, which means we can’t change too much. The design focuses on combining urban analysis, and spatial and functional analysis altogether, and then fills them into the existing structure.

▼苏州万科精品酒店,the boutique hotel of Suzhou Vanke

广州恩宁路项目会在今年落地。项目位于老城区核心地块,规模只有几千平米,要做新型业态,设计流程和传统的不同,交互频率非常高。项目施工条件较差,没有大型机械的展开面,因此我们会对具体的节点进行特殊设计,其中涉及到很多技术层面的问题。 苏州颜家巷项目的立面材料我们采用了阳光板,不需要立面自承重,避免增加新的结构体系,很大程度上影响了成本和施工周期。

The Enning Rd project in Guangzhou will be completed this year. The site, located in the core area of the old town, with an area of only a few thousand square meters, is designed to hold new types of operations. The design process is very different from the traditional  since there are a lot of interactions during the process. The construction condition is relatively poor and we have to design the specific details of the project, which involves many technical problems. In the Yanjiaxiang project in Suzhou, we use light sun boards as the material for the facade, which avoids adding new structural system, greatly reduces the cost, and shortens the construction period.

▼恩宁路项目,the Enning Rd project

我们的团队体系灵活度非常大,对于项目的容纳度也非常高。很多设计的方向控制和城市有关,和技术有关,也和业主的实际诉求有关。在这种复杂的情况下,我们的工作模式也是多样化的,以充分应对这些变化。

Our team is flexible and tolerant with the projects. We encountered many different problems from the city planning aspect, technical aspect, and client’s demands. Under the complex circumstances, we have to work in flexible ways to deal with these challenges.

 

10.

系统的整合
The integration of the system

我把我们自己作为一个系统的整合方,去深入理解中国业主和中国人的诉求,但是可以通过不同的视角介入。如济宁文化中心,我们多年的海外经验,以及对于中国传统文化序列关系的理解,都在项目中有所体现。这个项目里,我们的合作方是天津规划设计院,我们在天津四中、天津文化中心等项目中有过合作,两个团队互补性很强。我们更理解好的体验方式,而他们在项目落地方面有着丰富的经验。在设计广场空间的时候,考虑到未来文化空间运营的时候,人们需要消费,吃饭喝水休息,要买文创产品,故而我们提出广场要体现一些商业特性,如科隆大教堂的商业广场,它具有一定的宗教性,又有商业界面,圣马可广场同理;天坛则不然,纯粹的礼治空间。所以基于当代的空间诉求,我们设计的广场和城市商业空间串联,可以带来不同的体验,文化和商业的互动,建筑界面价值的彰显。

Our team as an integrator, processing the demands from Chinese clients on the one hand, and providing different ideas on the other hand. Taking Jining Cultural Center as an example, we integrated our experiences overseas with our understanding of the sequence relationship of Chinese traditions and reflected them both in the project. In this project, we have a partnership with Tianjin Urban Planning and Design Institute. We have cooperated in projects such as Tianjin No.4 Middle School project and Tianjin Cultural Center project. The corporation is very productive and complementary, as we have a better understanding of the user experience and they have more construction experience. When designing the square space, we considered it as a commercial plaza, since people need to buy things while taking a break here. We thought of the commercial plaza of the Cologne Cathedral, which not only is a religious plaza, but also serves for commercial purpose, same as San Marco Square. However, the Temple of Heaven is purely a ceremonial space. Therefore, based on people’s appeal nowadays, we integrated the square with urban commercial space, which created both cultural and commercial experiences. Architectural design highlights the space.

▼济宁文化中心,Jining Cultural Center ©张辉

博塔设计的博物馆的柱网和我们的柱网不同,会在空间序列的变化上影响建筑体验。他想在建筑前加一个迷宫,对于欧洲建筑来说无可厚非,但并不适合趋于中国人体验的园林模式。这时我们就可以发挥国际化事务所的优势,用非常有同理心的方式去和他们协调,说服他们放弃一些大空间定位上的做法。我们跟何院士也会有一些认知上的分歧。作为老一代很多设计手法基于传统政府层面的宏大叙事结构,更多是一种仪式化的空间或符号化的转译,空间体验在他们的语境里要次于符号和形式意义。西泽立卫希望使用更自由化的平面设计方式,所以在总图关系里我们把他的美术馆放在了一个完全自由的景观中,期待一种非常柔软的碰触。这个项目对于我们来说是一个学习的过程,合作的大师都是非常值得尊敬的前辈。我们作为年轻一代,希望通过与他们合作找到自己的定位。这个过程既会产生经验,也需要我们进行反思。

The column grid Mario Botta designed for the museum are different from ours. His design would affect the architectural experience as the spatial sequence unfolds. He wanted to add a maze in front of the building, which is understandable for European architecture, but not suitable for the Chinese garden experience that Chinese people are used to. In this case, we are able to communicate with them effectively with our international experience and perspectives and convince them with a more suitable solution. We held difference ideas with Academician He. Design strategies from the last generation serve the government mostly, thus, the grand and magnificent space is more about a symbolic meaning, showing the power of the authority. The spatial experience is somewhat neglected. When we were designing the master plan, Nishizawa Ryue had an idea about a free plan building, and therefore we arrange his museum in a completely free landscape, expecting a very soft touch. The design process was a learning experience for us since all of our partners are masters of design. We, as the younger generation, want to find our place while working with them. We gained experience and learned our lessons during the process.

▼济宁文化中心鸟瞰,将不同风格的设计整合在一起,aerial view of Jining Cultural Center, integration of different design styles ©张辉

 

11.

铜陵山居
Tongling Recluse

项目之初,我们首先谈的是空间体验。很多人觉得铜陵项目不像传统的建筑,因为本来我们也没打算做一个传统建筑。这是一个改造项目,原有的建筑是传统的,我们没有办法太脱离。使用瓦片屋面更多是出于材料在地性以及原有建筑状态的考虑,而其空间形式则是基于一种类型学的考量。有一些随性的变异空间,一些剖面关系作为立面特征的表述,这些是我们设计的主旨,而屋顶上的瓦只是一个附加物,让建筑具有一种在地感。

In the beginning, we focused the spacial experience. Many people think Tongling Recluse is not traditional, because we did not plan to design a traditional building. As a renovation project, the original house is traditional and we can’t get away from it too much. In consideration of the existing condition of the building, the roof is designed with tiles, which is also the material on site. However, its spatial form is based on the thinking of typology. There is some random variation in the space, where you can find relationship between the section of the house and the façade design. These are the main focus of our design, rather than the tiles on the roof, which are additional objects to fit the building into its context.

▼铜陵山居外观(点击这里查看更多),external view of the Tongling Recluse (click HERE to view more) ©苏圣亮

项目中我们谈到了散点透视概念,房子从东到西有不同的视线焦点。建筑从中间切开,形成了两个新立面和一个中庭空间,与侧面大门产生关系。全新的起居室中,窗口与楼梯对位,高窗与分离的檐口对位,出挑的檐口则和山体对位,每一部分都是一个相对独立的视觉焦点,对应中国长卷山水画里的视觉体系。回到功能层面,建筑立面和空间呈现是相关的,而我直觉它还可以进一步延展,把立面拉长5倍甚至10倍。

We talked about the concept of cavalier perspective, where there are different focal points in the house from the east side to the west side. The building is cut off into two pieces and a central atrium in between, which creates an opening for the side entrance. In the new living room, the window is aligned with the staircase, the high window is aligned with the separate cornice, and the overhanging cornice is aligned with the mountain outside. The concept of these independent focus points is from the visual system in Chinese long-scroll landscape painting. From the point of functions, the façade represents how space is unfolding, and my instinct tells me that the façade can be stretched further by five or even ten times.

▼建筑从中间切开形成中庭,the building is cut off into two pieces, creating a central atrium in between ©苏圣亮

▼出挑的屋檐与山体对位,over-hanged roof corresponded with the environment ©苏圣亮

▼建筑室内,interior of the building ©苏圣亮

 

12.

林盘行馆
Sichuan Boutique Hotel

拿到林盘行馆项目的时候,我的第一反应是:机会来了,我可以把铜陵山居中由屋面引导的复杂散点叙事体系进一步延长。

林盘行馆是完全新建的项目,我们希望在屋面上做一些探索,创造一个软性的灰空间,给一系列独立的空间带来不同的视觉和空间体验。由于地块是圆形的,不可能做一个非常长的房子,所以我把它卷了起来,形成了一些折叠关系,每层之间产生了一种渗透感,创造出了完全不同的空间体验。林盘是川西的一种建筑组团形态,阐述了山林、流水和建筑单体之间的关系,具有很多小尺度的特征。由于屋面尺度已经很大,整体关系非常复杂,如果再引入大尺度材料,可能会让整个尺度感变形,因此我希望结合一些小尺度的变化。最终选择瓦顶屋面,是为了应对关系的诉求,和周围环境融合。瓦片的覆盖面积大约有10000多平米,尺度的跳跃感比较大,会有一定的尺度缺失。对于这个项目来说,这是一个相对的妥协。

When I got the project of Sichuan Boutique Hotel, I saw it as an opportunity where I could further practice the cavalier perspective that I introduced in Tongling Recluse project.

Sichuan Boutique Hotel is a completely new project. We hoped to do some exploration on the roof to create a soft gray space and bring different visual and spatial experience to the series of independent spaces. Because of the round-shaped site, it is not suitable for an elongated plan. I rolled the building up, which created some folding relationships between each floor and a completely different spatial experience. Linpan is an architectural complex in western Sichuan, stating the relationship between the mountain forest, the stream, and the architecture, which is mostly small-scale buildings. As the roof is relatively off the scale, if I chose to use large-scale materials, the overall proportion would be inappropriate. Therefore, I decided to use tile for the roof material, which is smaller in scale and can balance out the big roof. In the consideration of the relationship between the building and the environment, this tiled roof fits the building more into the context. The covering area of the tiles is more than 10,000 square meters, and the scale contrast is apparent. We slightly compromised on the scale problem for this project.

▼林盘行馆鸟瞰效果图,屋顶被拉长卷起,aerial rendering of Sichuan Boutique Hotel, whose roof is rolled up

▼内部空间效果图,rendering inside the Sichuan Boutique Hotel

▼林盘行馆施工现场,construction site of Sichuan Boutique Hotel

 

13.

项目后期控制
The project management after the design phase

我们对项目的跟进力度是比较大的,但是每个项目的投入方式完全取决于项目本身情况以及合同的约定。天津四中2012年就中标了,但盖得比较慢,去年才完成;济宁文化中心和五季金陵项目都会在今年完成,这两个项目都是前紧后松,直到现在我们还在对五季金陵的立面细节以及一些控制性的东西进行调整。五季金陵业主的项目团队很强,我们不需要在现场花大量时间;而恩宁路项目规模小,施工手法比较特殊,所以需要更多后期投入。我们不画施工图,但会审图,会对后期图纸和现场落地方式进行控制。

We follow up on the project with great efforts, but the construction schedule of the project depends on the condition and the contract of the project. Tianjin No.4 Middle School won the bid in 2012, but the construction had not been completed until last year. The Jining Cultural Center and Wuji Jinling project will be completed this year, both of which had a tight schedule at the beginning but slowed down afterward. We now still have to adjust the facade details and other things for the Wuji Jinling project. The construction team of Jinling project is excellent and therefore we don’t need to spend a lot of time on site. However, Enning Rd project is very small in scale and needs more attention for its special construction methods. We do not draw construction drawings but do review the drawings and manage the construction work on site.

▼五季金陵酒店施工现场,construction site of Nanjing Five Seasons Jinling Hotel ©张辉

 

14.

新项目披露
New Project Reveal

现在我们在设计的项目有北京为明学校海淀校区,面积在9万方左右,是一所从小学到高中的一贯制国际学校。其中运用了很多从四中项目中获得的经验,包括施工做法以及大空间和城市景观的关系处理。嘉陵江畔美术馆和贵州阳光书院都是非常有意思的小型公建,从空间类型上来看都是比较好的原型。之前未建成的腔体教堂项目,其原型可能会被用在今年的一个胡同快闪店中。怎么把教堂做到快闪店里?这是一个很有意思的问题。即便是同一个地块同类型项目,由于思维方式不同,也会有很多不同的呈现形式。

Now we are doing the Beijing Hotspring School Haidian Campus project, which is an international school with an area of 90,000 square meters and enrolls students from primary school to high school. The experience we gained from the No.4 Middle School project was helpful in this project, including construction methods and the relationship between the project space and urban landscape. Jialing Riverside Art Museum and Guizhou Sunshine Academy are both small and interesting public buildings, which could be a prototype in terms of space typology. The previous uncompleted cavity church project could be used as a prototype in a Hutong pop-up store this year. How to put a church into a pop-up store is an interesting question. Even if building the same type of projects on the same site, they may turn out differently with different ways of thinking.

▼北京为明学校海淀校区,Beijing Hotspring School Haidian Campus

▼嘉陵江畔美术馆,Jialing Riverside Art Museum

▼贵州阳光书院,Guizhou Sunshine Academy

▼北京感・感CAFÉ,胡同中的快闪店,Sense CAFÉ Beijing, a pop-up shop in Hutong ©苏圣亮

我们刚刚中标了北京莱太综合体项目,要把原来的商场升级成为一个以花卉为主题的商业综合体。成都悦榕庄项目刚刚通过了规划,已经开始逐步施工,它的空间形态不论对于运营商、还是度假酒店来说,都比较新颖。现在我们还在和万科谈一些其作为城市运营商定位的新兴业态项目,已经进行到了方案阶段。我们还会在上海建造一个25平米的空间体验装置。总的来说,今年的项目更有意思,更令人兴奋。

We have just won the bid of Beijing Laitai Complex project, the aim of which is to upgrade the original shopping mall into a flower-themed commercial complex. The Chengdu Yuerong Village project has just finished the planning and been put into construction. Its spatial form is relatively fresh for both the operator and the resort. We are also discussing with Vanke, whose position is the urban operator in this case, about some emerging commercial projects, and the projects have been already in the scheme phase. We will also build a 25-square-meter spatial experience installation in Shanghai. In a word, the projects are very interesting and exciting this year.

▼北京莱太商业综合体项目,Beijing Laitai Commercial Complex

▼成都悦榕庄,Chengdu Banyan Tree Hotel

▼“坛城”(点击这里查看更多),the Cloud Maze (click HERE to view more)  ©张辉(上), ©苏圣亮(中/下)

▼“坛城”2.0,the Cloud Maze 2.0 ©苏圣亮(上/下左),©张辉(中/下右)

 

 

____
认知
Cognition

 

15.

“流量建筑师”
Popularity Architect

“我们希望公众可以看到一些更深入、更有内涵的内容。”

“We hope the public can get to know deeper and more profound content.”

我们确实有流量,有一些传播的属性和特征,但是我们其实比较回避这个话题。建筑是一个长效的产品,它需要更多的公众认知和积累。但如果单纯从流量的角度去讨论,会让公众对于我们团队产生误解。

从产品的角度,建筑师作为内容的传播者,肯定希望更多人去体验和认知建筑,甚至去了解其背后的故事。这里其实是有矛盾和抵触的,我们在试图从这个关系里找到一种平衡。既然有流量有内容,必然会有一些品牌合作甚至媒体层面的互动。我并不拒绝,但也不拥抱,而是会进行比较仔细的筛选。我们会拒绝掉80%的邀约,只选择与我们的作品相关的内容与合作品牌。我们的目标是让建筑增值,因为业主找你做设计,你能够提供的不光是图纸,还有体验;你的内容要能够给他的产品带来更多价值。

We do have a lot of transmissions, as we attribute and deliver ideas, but we don’t talk about this topic too much. Architecture is a long-term product, which requires the public’s attention and recognition. However, if we only focus on the attention and advertising, it would lead to some misunderstanding about our team.

From the perspective of products, architects as idea spreaders, hope that more people get to experience and understand architecture, and even know the stories behind it. We are trying to find a balance in this contradiction. The idea is that the content and the traffic come together. Our team would some interactions with the media or cooperation with brands. My attitude towards it is neutral. With careful selection, we usually reject 80% of the invitations and only cooperate with brands that can relate to our content. Our goal is to add value to the building we design. Our clients come to us for design, but we want to provide not only the drawings but also the experience. Our content can bring more to their products.

▼品牌合作 – (左)戴森,(右)爱马仕走秀
Brand Collaboration – (left) dyson, (right) Hermès

我之所以要去教学,去做内容层面的深度挖掘,是希望消除我们在快消层面的大量传播对不了解我们的公众造成的误导。表层的东西当然有意义,但我们希望公众可以看到一些更深入、更有内涵的内容。

The reason why I want to give lectures and do in-depth exploration of the content is to eliminate the misguidance about our team caused by the fast-moving transmission nowadays. Even though the superficial content has its own value, we do hope the public can get to know deeper and more profound content.

▼天大教学评图,final review of the teaching program in Tianjin University

 

16.

建筑设计与媒体
Architectural Design and the Media

“我需要有态度的媒体来跟我们互动,找到一个相对契合的点。”

“We need interactions with the media that has its own attitude and manage to reach a balance.”

对任何事物,我们都要带着一种批判的眼光去看待。媒体对建筑师有评判,建筑师对媒体也有自己的观点。每个媒体的定位都是不同的。同样,我也会拒绝很多东西,以维持我的主线和价值体系的稳定,它能够产生更长远的效果。

作为建筑事务所,我需要有态度的媒体来跟我们互动,这样即使是同一个内容,在不同媒体的呈现方式也不一样,可以对应不同的人群,而这正是我想要的东西。我们和媒体能做的就是控制各自的内容,然后找到一个相对契合的点。

We should have critical thinking over everything. The media judges the architects, and the architects have their own opinions towards the media. Each media has its own position in the market. In the same way, I give up on a lot of things to stand my ground, which is essential in the long run.

As an architectural firm, we need interactions with the media that has its own attitude. In this way, the same content can be presented differently with different media and thereby serves different people, which is exactly what I want. Our firm has control over our content, so does the media. We can manage to reach a balance.

 

17.

最大的挑战和未来的计划
The Biggest Challenge and the Future Plans

“每个人都在试图和自己的物理极限抗争。”

“Everyone is trying to push his or her physical limits.”

一个人对新事物的接受程度会随着年龄增长变低,交互的速度会变慢,对于不同信息的反馈频次会变少。取舍和平衡是我面临的最大的挑战。一个人的精力是有限的,公司对我来说非常重要,它是我能够做的和想做的事情的延伸。我很感谢多年来一起工作的同事和合作方,我们能够有默契做一件事,继续往前走,这种状态是需要投入大量成本维持的。

在学术和创造方面,我们有一条很清晰的路线,在项目迭代上一步步走下去就可以,唯一的问题就是机会来临时有没有能力承接。但是个体、公司、社会和网络层面却有很多局限和不确定性,这是我们面临的另一个巨大挑战。此外,我们不可避免地处在地域性和全球化争论的洪流之中,作为一个小设计团队应该如何决策?这也是一件非常困难的事。这三个挑战相互交织,对立互动。

未来我希望设计依然是我们的主体,这是一种非常好的和社会以及世界交互的方式。把这件事情继续好好干下去,是我唯一的计划。

One’s acceptance with new things decreases with age, and the feedback on different information slows down as well. How to choose and balance is the biggest challenge to me, since I have little energy to spare. The company is very important to me for it allows me to do what I can do and want to do. I am very grateful to my colleagues and partners, who have been working with me for years. We move forward together with a tacit understanding, which is a state that costs a lot to maintain.

We have a very specific aim in the academics and creativity, which is to keep moving forward. The one problem would be that whether we can seize the chance or not. There are many limitations and uncertainties with different individuals, our company, the society, and the networks, which is another big challenge that we face. Moreover, we are inevitably caught in the middle of the debate about regionalism and globalization. What decision we should make as a small design team? It’s also a challenge for us. These three challenges are contradictory and interactive with each other.

In the future, I hope that design is still our main focus, which is a very good way to interact with society and the world. Stick to what I am doing right now and it is my only plan.

▼庄子玉,Zhuang Ziyu

More: RSAA/庄子玉工作室RSAA on gooood

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