Ramble – Office in Hutong – WEI Architects

胡同里的办公室 – 方家胡同WEI建筑

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信步辑,闲庭信步看世界。

gooood新推信步辑,信步辑是一个可以拥有许多子分类的专辑。这里为大家展现的是其中一个子分类:胡同里的办公室。北京,是中国的首都,在快速的经济发展下,这个拥有两千万人口的十一朝古都逐渐面目模糊。北京所特有的胡同也所剩不多。现在,这些弥足珍贵的胡同里有哪些工作室,它们的创意和生活又是怎样?

Ramble is album with several sub albums. Here is one: Office in Hutong. Beijing, as the capital of China, has a long history, and currently is going through fast economical development. Hutong, as the traditional urban typology of Beijing city, is slowly disappearing. We try to find the offices in those Hutong, discover their ideas and life.

今次的目的地是北京市东城区方家胡同46号WEI建筑设计。点击这里了解WEI Architects更多

This time, gooood’s searching steps stop at WEI Architects – No. 46 Fangjia Hutong, Dongcheng district, Beijing. More: WEI Architects on gooood

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WEI建筑设计所在的方家胡同46号院即原中国机床厂的厂址,是北京工业史上重要的“机床基地”。由于雍和宫、国子监、孔庙、钟鼓楼等离此地如此之近,让这处厂房无形中沾染了元、明、清三代古都的文化气韵。08年起方家胡同46号文化创意园区”在这里落成。有快捷酒店、小剧场、表演艺术团体、文化沙龙空间、建筑艺术、视觉设计、新媒体艺术、现代艺术中心等机构,各自具备不同的创新理念,呈现独特的艺术成果。

The 9000 m2 plot, once China Machine Tool Plant, played an important role in the industrial history of Beijing. The central location with The Lama Temple, Beijing Confucius Temple, Guozijian and Bell Drum Towers in the adjacent areas gives it a sense of cultural atmosphere, rather than purely industrial. In 2008, the establishment of the cultural and creative park revitalized the area. Lots of creative companies and studios in design, performing, visual art, modern art, etc, and design hotel, restaurants relocating here brought the neighborhood diversity and dynamic.

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方家胡同白天看起来与其它充满老北京生活气息的胡同无异,但若您周末傍晚上这走走,就会发现胡同两侧的酒吧和餐厅聚集了很多老外聊天喝酒,灯光迷离人声喧哗,比露天烤串的大爷们聊天还热闹。文化创意、休闲娱乐和市井生活在这里交融,让方家胡同呈现出层次丰富的面貌。

During daytime, Fangjia Hutong is buzzing with social activity as any other hutong one could find in Beijing. In the weekend however, it would be dramatically transformed into a popular commercial street with bustling restaurants and bars and blurred lighting effects.

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Wei 建筑设计占据了46号院临街的一侧,上世纪六七十年代的红砖房经过修整,露出了原本的面貌。夏天,仿佛能够遮天蔽日的高大槐树投下婆娑的树影,随着偶尔吹过的微风轻轻摇摆。

The office of WEI Architects located along the street from of the No. 46, the original facade of the brick building was revealed after the renovation and restoration. The leaves of the aged trees dangled in the wind, leaving the ever-changing shadow on the ground.

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WEI Architects

 

 

 

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关于WEI建筑  About WEI Architects

WEI建筑设计主张以代入式的情感设计为出发点,创造意境为主导的人和建筑的共同体,为建筑的使用者提供一个可以产生纯个人顿悟的场景。WEI建筑设计把它称之为“弥漫空间”。

魏娜及Christopher在纽约共同创立了ELEVATION WORKSHOP,并于2009年正式成立北京办公室-WEI建筑设计。作为在中国最活跃的年轻事务所之一,WEI目前的项目包括从几十万平米的大型综合中心、几万平米的超五星级酒店到几千平米的美术馆、学校、幼儿园及规模更小的高端时尚零售店和儿童会所等,并与世界顶级建筑师事务所一同受邀参与了包括北京、天津、内蒙古和四川省政府的多个重要项目的设计。WEI的作品已被包括domus、中国的时代建筑、美国的Archdaily、英国的DeZeen、荷兰的FRAME,德国的Gestalten、日本的六耀社等世界十几个国家的几十个杂志和出版社报道,并获得国内外多个奖项。魏娜主创的SongMax项目获得美国建筑师协会纽约分会(AIANY)2014年第五届室内设计大奖。2011年,山东日照规划馆的设计也被评为2010年“最阳光”设计奖。WHY hotel被评为2015年最佳新酒店、年度最佳酒店等国内外各种奖项。同时,魏娜也受到了包括美国CBS(哥伦比亚广播公司)、中国经济观察报、中国建设报、中国搜房网、中国建筑新闻网等各领域多家媒体的专访,并在世界多个国家的大学举办了建筑讲座和参与建筑评论。

WEI architects propel deriving from emotional design to create atmosphere driven synergy with interaction between people and building. “Suffused Space” as called by WEI is the field to inspire users to appreciate their own intuitive perceptions.

ELEV (Elevation Workshop) is an international multi-disciplinary architecture and design firm. Positioned at the crossroads of art and architecture, ELEV values a culture blend and issues of urbanism, as well as innovative and traditional construction techniques and materials. ELEV aspires to create a delicate, rich, and cultural humanistic architecture, carrying on the pursuit of quality and a personal experience to every detail of the built form, the spatial dynamics and the design process.

Originally founded in New York, ELEVATION WORKSHOP established its Beijing office, WEI architects, in 2009. As one of the most innovative and dynamic young firms in China, WEI architects has projects ranging from a large-scale complex center (about 400,000sqm), and a deluxe five-star hotel (20,000sqm) to museum design and small, high-end fashion retail stores as well as children’s development center and playground. Along with many world-class architecture firms, WEI has been invited to participate in the design process for many important projects in Beijing, Tianjin and Inner Mongolia. WEI’s projects have been featured in over twenty publications in over ten countries around the globe, including Time Architecture (China), Domus, Archdaily (U.S.), Dezeen (UK), FRAME (Netherlands), Gestalten (Germany), and Rikuyosha (Japan). Several of WEI’s projects have been nominated for international design awards. The “SongMax” store and showroom design was presented at the AIANY interior design lecture series in 2014. WEI also received a competition award in 2009, and the “People’s Choice” and the “Most Sunning Design of 2010” award for the planning pavilion in Rizhao, Shandong Province. WHY hotel was awarded “the 2015 Best New Hotel”, “Hotel of the Year” and other international and domestic awards. WEI has been profiled by international media, including CBS News, China Economic Observer News, China Construction News and others during which period WEI architects participated in many architectural lectures and discussion panels in the international design world.

 

办公室 OFFICE

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访谈 Interview 

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1,为什么选择把办公地点放在北京胡同里?遇到了什么好玩的事儿没?跟大家分享下。
Why do you choose this hutong as your office location? Could you please share something fun with us?

我是在北京出生、长大的,祖辈几代都是在胡同里生活。虽然我很小的时候就搬进了新型居住区的楼房,但对胡同里的老北京一直感觉很亲切。

我们事务所最早是在纽约成立的,那个时候,我们的工作室在布鲁克林的一个艺术家区。和现在这个空间很像,那是在居民区里的一个单层厂房,非常高的净空,100多平米完全开敞。那个厂房还有两个特别大的天窗,白天可以看到云和鸟经过,晚上可以凝望月亮当头。邻居有艺术家,也有充满民俗、过着平实生活的普通百姓。我特别喜欢那里。我回到北京以后就希望能找到类似的地方:一目了然的开场大空间,轻松自由的环境氛围。起初,我们在各个胡同里拜访过很多地方,当走进这个房子的那一刻,我们便知道:这是我们想要的地方。

I was born and raised in Beijing, and my family had lived in hutong for generations. Although I moved into a modern apartment building when I was young, I always feel connected with native beijingers who still live in hutongs.

Our firm was initially found in New York City. It was located in an art district in Brooklyn at that time. The space was similar to what we have now. It is a one-story factory building in a residential neighborhood, an open space about 100sqm with a very high ceiling. Two large skylights framed the clouds and birds above during the day and framed the moon during the night. Our neighbors not only encompassed artists, but also included ordinary people. My fond toward that site encouraged me to look for a similar environment after I went back to Beijing: a relaxing, open space that can be seen at a glance upon entering. We visited a lot of potential places in the hutongs but at the first moment we entered here, we immediately knew that this is the place we long for.

▽ Christopher在和胡同居民聊天,Christopher talking to the residents in Hutong

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2,在胡同办公一段时间后,你们觉得胡同的环境对工作有什么影响?
As you have been working in hutong for a while, how does the working environment have influence on your work?

我们在这里工作已经七年多了,见证了胡同里各种生活痕迹的变化。平时常与胡同里的街里街坊打招呼相互问候,有时坐在屋里也能听见他们之间的各种聊天,甚至为琐事的争吵。周围的野猫经常窗前经过,偶尔会登门拜访,也有过执着的野猫对我们的girl(事务所“镇店”二神之一的猫)感兴趣,天天来门口守望。墙外这几棵槐树和对面层层的灰瓦是我们窗外最亲切的景色。每天在工作室工作已经成为我们生活的一部分。

胡同里形形色色的生活片段中有街坊邻里的坦诚相待、有琐碎的家长里短、也会有纠纷,但是这些市井的生活,又是特别真实。在这里工作生活我有一种特别踏实和稳定的感觉。“小隐隐于野,中隐隐于市,大隐隐于朝。”我们的工作环境给我们提供了一个锻炼自己平和心态的场所,让我们更能用一种安心创作地状态来面对项目中的各种挑战。

We have been working here for 7 years and witnessing the changes in various activities in hutongs. We greet our neighbors outside, while even inside our office we could hear their talks and even quarrels now and then. Wild cats always pass by and sometimes visit. Once a wild cat was clinging to our office cat, girl and came here every day. Pagoda trees and grey tiles form the most familiar scene outside the window, and working in the studio here have already become a part of our life.

The fragments of hutong life are frank, trivial, quarrelsome, but real. I always feel steady and calm while working here. As the Chinese saying goes, “the greatest hermit will retreat into the noisiest fair”. Our working environment provides us a tranquil place to focus on design and confront with all kinds of challenges in our projects.

▽ 爱观察的girl与爱读书的Greenie,the observer – girl and the bookworm – Greenie

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3,为什么选择建筑专业并成为建筑师?
Why did you choose architecture as your major and profession?

从小我就对空间顺序有很强的记忆力。我对儿时的回忆有很多都是和所处空间的变化相关的。我记电话号码的方式也是记住按键盘时,手指移动的位置和顺序。

我很感激父母从小对我的支持。四岁的时候家里装修,请来的木工师傅人特别好,我和他们一起相处了很多天,期间我画了一个复杂的且占据一面墙的组合柜,我父母居然让工人按照我的画做了实物,后来那套组合柜一直用了二十多年,很长时间里它都是我的骄傲。

真正让我下决心走建筑设计专业是我十五、六的时候。初中毕业,父母带我一起旅行,我们去了镇江、南京、苏州、杭州和上海,去了很多园林,最后一站是豫园。我深深被豫园折服,惊讶小小的空间怎能有那么丰富的经历。很多人都特别喜欢我们的SongMax女装店项目,有人说店内空间具有未来感,但其实设计是从中国江南园林得到的启发。

I have pretty good memory about spacial sequence since I was young. A lot of my childhood memories were related to the changes of space. I could only remember phone numbers by memorizing the position and order while I moved my finger and pressed the keys.

I always appreciate what my parents have done for me. When I was four years old, we had some real great carpenters work for our house renovation. I spent a lot of days with them and designed a wall unit during. My parents, to my surprise, asked them to build it according to my drawings. The wall unit have been used for more than twenty years, and it has been my pride for a long time.

When I was fifteen or sixteen, one thing strengthened my determination to choose architecture as my major. After I graduated from middle school, my parents took me to Zhenjiang, Nanjing, Suzhou, Hangzhou and Shanghai on a trip. We visited a lot of Chinese gardens, and Yu Garden is the last stop. I was deeply impressed by the rich experience within such a tiny space. A lot of people share their appreciation for the Women’s Clothing Store Design for SongMax with us, but the futuristic interior is actually inspired by traditional Chinese gardens.

▽ 魏娜在SongMax女装店, We Na at SongMax

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4,您从耶鲁大学毕业,请聊聊耶鲁大学的建筑教育风格。此外在耶鲁大学学习您最大的收获是什么?
As a Yale alumnus, could you please talk about the educational style at Yale? In addition, what’s your biggest harvest during your education at Yale?

耶鲁大学的特点是包容。建筑学院在院长Robert Stern的带领下,汇集了各种风格的老师,学校鼓励学生做最好的自己。对我影响最大的一件事是我的第二学期在Tom Beeby studio的经历。我当时希望把建筑当做一种语言,来重述一个充满情感纠葛和自我挣扎的先锋戏剧。我的几个同学和朋友都觉得我这个疯想法肯定会被老师毙掉。结果Tom Beeby不但一路支持我,还在学期末给我写了意味深长的评语鼓励我。通过这个设计,我还和当时做评委的几位老师成为了朋友。去年,我应建筑学院院长邀请回耶鲁做研究生设计课评委嘉宾,遇到好几位当年的老师,他们到现在都还会提及我12年前那个疯狂又特别的设计。

Yale is characterized by its comprehensiveness. Under the lead of Dean Robert Stern, the School of Architecture gathers professors in different styles and encourages students to be the best of whatever they want to pursue. One thing that influences me the most happened during my second semester at Tom Beeby’s studio. I wanted to apply architecture as a language in order to iterate an avant-garde drama scene about emotional involvement and self-struggle. Several friends of mine believed that my crazy idea would not be approved by the professor. However, Tom Beeby not only supported me from the beginning, but also wrote a meaningful and encouraging comment on my project . I also became friends with several critics through this project. While I was invited by the Dean as a graduate studio critic and went back to Yale last year, I met several teachers who were critics of mine, and they still mentioned the crazy but unique design I did 12 years ago.

 

5,作为女性建筑师和公司创始人,你觉得自己最大的挑战是什么?
What’s your biggest challenge as a female architect and the founder of WEI Architects?

我先说优势。前两天我们在做一个项目的汇报,甲方听完以后感慨我们和他们以前见过的男建筑师都不一样,我们的设计具有明显的女性特有的敏感与细腻,而这正是很多项目需要的。在我们曾经做过的酒店类项目、厂房改造项目、学校及幼儿类项目里,都可以看到我们的特质给予项目的优势。很多时候好设计需要靠感觉,而很多感悟能力是与生俱来的。

我面临的挑战是职场女性普遍面临的挑战,有些传统观念仍然在影响现代女性的发展。不久前,当Zaha Hadid刚刚去世后,纽约时报做了一篇关于美国女性建筑师生存状态的报道,发现女性在职场的处境仍和10多年前(Zaha成为普利兹克第一个女性获奖者)一样普遍不尽人意。但与此同时,大家都知道,美国几个顶级大学的建筑学院新上任的院长都是女性。在中国,这个情况可能有些不同,女性建筑师普遍性问题并不显著,但是当到了某个层面后,会遇到越来越多的归根于某些传统观念的阻碍。

Let me talk about the pros first. Two days ago, after we finished a project presentation, our clients marveled at how we are different from those male architects they met before. Our design is featured by an feministic sensitiveness needed by a lot of projects. Those features brought many advantages to our projects, such as hotels, renovations, schools and kindergartens. Many times, a good design depends on senses, and some of them are inborn.

I confront with the challenge which is faced by female professionals in general. Some traditions still impede the development of modern women. After Zaha Hadid passed away, New York Times published an article about the current conditions of American female architects, claiming the fact that women in workplace are facing similar situation as they faced about 10 years ago while Zaha became the first woman to win the Pritzker prize. However, as we all know, several deans of top architectural schools in the U.S. are female now. In China, it might be different; the issue is not obvious for the general, but female architects will face more obstacles when they reach to a certain level. It has a lot to do with traditional gender stereotypes.

▽ 魏娜与团队在WHY酒店检验桁架结构承重,Wei Na at the site with her team

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6,我注意到您做的项目尺度跨越非常大,同时项目的形式十分多样,您如何看待形式?您提到所有这些作品都在自己提出的“弥漫空间”下进行探讨,请聊一聊“弥漫空间”以及相关的思考。
We notice that all your projects have pretty large scales and various forms. How do you define the form? As you once mentioned that all those works were created under your concept of “suffused space”, could you please take more about the “suffused space” and its related thinking?

去年我在纽约的MoMA看过一个展览,展示了毕加索一生做过的雕塑。那个展非常有分量。作为一个画家,毕加索在雕塑方面一直都是处于一种轻松、积极探索的姿态,方法、形式、内容及材料都是根据他人生不同阶段所处的环境和条件而变化。但看过那140多个作品之后,我可以感到每个作品都有着毕加索独特的气质,一种延续的、说不清的、却深深震撼我们的东西。

金刚经里有一句话:“凡所有相皆是虚妄,若见诸相非相,则见如来。”我们做项目,最终一定会有个物理的结果,但我觉得形式只是一个过程和方法,我们设计的目标则是一种意境。弥漫空间就是一个以意境为主导的,可以将所有物质及形体融入人的感性认知的空间。我在我们事务所七周年探讨会的邀请函里向大家讲述了弥漫空间的由来,并在探讨会上用了一个半小时给大家介绍了我们这七年里对这个理念不断的探索。这次的探讨会特别有意义。不是所有人都理解我的思考,也不是所有人对我的理念感兴趣,与我有相似思考和困惑的建筑师、艺术家、媒体甚至业主一起讨论,对我是最大的鼓舞。

我们在筹备一本书具体介绍“弥漫空间”的理念和实践,包括我在教学上的一系列尝试,欢迎感兴趣的朋友进一步关注。

Last year, I went to an art exhibition at MoMA in NYC, which included many sculptures by Picasso in his lifetime. As a painter, Picasso was always in a relaxing mood through his creation of sculptures. He was eager to explore distinct methods, forms, contents and materials, which were changed depends on the circumstances at different periods of his life. However, after I saw more than 140 pieces of his works, I could feel that there is a unique temperament of Picasso embedded in every piece, something unspeakable but astounds us continuously and deeply.

As the Diamond Sutra said, “Everything with form is unreal; if all forms are seen as unreal, the Tathagata will be perceived.” Architectural projects always yield physical results, but I only consider the form as just a process or a method, and our final goal of design is to achieve an atmosphere. Driven by the atmosphere, “Suffused space” defines a space where all substances and shapes shall be integrated into a perceptually cognitive space of human being. I explained the origin of “suffused space” on the invitation of our 7th-anniversary discussion, and used one and a half hours to introduce our exploration about the concept during the past 7 years. This discussion is significantly meaningful. Since not everyone understands my reflection or is interested in my concept, the fact that we could discuss the topic with fellow architects, artists, media and even clients who share similar thoughts are really encouraging for me.

We prepare to publish a book about the thoughts and practice of “suffused space”, including a series of attempts on pedagogy. Welcome to pay attention if you’re interested.

 

7,您提到公司7周年举办的探讨会让您有了很多思考,比如“我们如何能走出西方思考与评论的体系?”“我们是否能建立讨论东方思想的语境?”这两个话题,请更多的分享您的思考。
As you mentioned that you thought a lot in the discussion on the 7th anniversary of WEI Architects, could you please share more with us about these specific topics?

在我们事务所七岁生日前,我在纽约MoMA看了日本建筑师展。它对我的启发很大,让我决定以探讨会的形式来庆祝我们的七周年。参展的这组建筑师中有几位是我很喜欢、也一直关注的。虽然他们还没有走出西方思考和评论的体系,但这次他们作为一个群体,向西方展示自己的不同方向,是很重要的一件事。能在历史舞台上起到突出作用的思想,往往是通过一群有才华的人,在相似方向独立发展的同时互相激励。当一群人可以在一个共同语境中相互启发时,最终能产生超越个体能及的影响力和贡献。

然而,走出西方思考与评论的体系是很有挑战的。我们的建筑教育、建筑实践机制、建筑评论标准,都是从西方引进并被西方影响着的。西方的艺术、思想理论非常系统和连贯,一环套一环,紧密地相互索引。当我们讨论东方思想及审美的研究方法或展现形式时,常常会无法避免地引用现有的理论,而当这些理论是西方理论体系的一部分时,很多研究和讨论就会很容易被带进一个循环,从而失去意义。

Before our 7th anniversary, I went to A Japanese Constellation, an exhibition at MoMA which inspired me a lot, and I decided to celebrate our anniversary by holding a discussion. Some of my favorite architects are featured at the exhibition. Although they still follow the Western system of theories and critiques, it is important for them to present as a group with their own distinctive directions. Throughout the course of history, it is much possible for a community of talented people to play a prominent role by encouraging each other and developing in a similar direction individually. While they are able to inspire mutually in a shared context, they will finally exert impacts and make contributions that cannot be achieved by individuals.

However, it is really challenging to go beyond the Western theories and critiques system. Our architectural education, practical mechanism and evaluation criteria are all introduced and influenced by the West. Western theories systematically and continuously refer to each other. While we discussed research methods or representational forms of Eastern thoughts and aesthetics, it is avoidable to cite existing theories; if the cited theory is a part of Western theoretical system, many researches and discussions will be possibly turned into a meaningless cycle.

▽ WEI建筑7周年探讨会,the discussion on the 7th anniversary of WEI Architects

020-ramble-9-wei-arichitects

021-ramble-9-wei-arichitects   022-ramble-9-wei-arichitects

 

8,迄今为止你们印象最深刻的项目是哪一个,为什么?
What’s the most impressive project you have done? Why?

在我们七周年探讨会中,我说到我合伙人曾把我们的工作态度形容成“多宝格式设计”:即使业主只让我们设计个盒子,我们也要苦思冥想地设计个有各种机关的多宝格。团队内的同事们也一致认为这个比喻很贴切。因为这样的工作态度,所以很多项目对我们来说都刻骨铭心。

我们现在正在进行的中关村e世界大楼广场改造项目是一个比较复杂的项目。中关村片区的性质原本是科技产品大卖场,现在定位是成为科技金融中心。在诸多面临被改造的楼宇中,e世界大楼是最有代表性的。我们在做改造设计时,研究了很多人的行为方式和心理活动,希望能改变现在巨大建筑体量给人的疏离感。虽然不能对建筑形体做大改动,我们通过对立面、底商及广场地面的处理,让人和建筑产生更亲近尺度的关系。就像在我们胡同里会有这样真实的人与人交互的市井生活,我们希望为城市带来更多人性化的公共空间和交流场所。

In the discussion on our 7th anniversary, I mentioned that my partner once described our attitude at work as a “curio-box style of design”: Even if our client only asks us to design a box, we will design a curio box with various functions through a long process of deliberation. All of our colleagues agree with this simile. Because of such an attitude, a lot of projects are extremely significant to us.

The renovation of Zhongguancun e-Plaza that we currently work on is a relatively complicated project. The nature of Zhongguancun is a hypermarket of high-tech products, which is turned into a technological and financial center now. In a series of renovation projects, e-Plaza is the most representative one. We have studied a lot of behavioral patterns and psychological activities of human being, and hope to dissolve the sense of alienation that large building volumes exert on people through this renovation. Although we are unable to make big changes to its architectural form, a closer relationship between human and architecture is formed through our treatment of facades, commercial areas, and squares. As we live in hutong, where involves a lot of true interaction among people, we hope to create more public space on human scale and communicative sites for this city.

▽ 中关村e世界大楼广场, Zhongguancun e-Plaza

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IMG_7552

IMG_7555

 

9,对你而言,梦想中的最完美建筑作品是什么样的?
What’s the most perfect work in your mind?

我认为:建筑满足人物理需求的功能是可以被分析研究、被学习并被大数据化或者产品化的,但是真正的好建筑是应该超越简单的“机器”的作用,应该能为人提供精神生活的居所。满足功能性的设计可以做到近似完美,但为精神情感创作的意境却应该是具有开放性、具有启发性的。所以对我来说,我梦想的完美的建筑作品是超越了简单地解决问题的物理性,它应该能呈现一种理想的意境,激发使用者产生个人顿悟。但在它完成的同时,作品本身又能启示我们更高一层境界的存在,为我们提供下一个项目的追求方向。所以它应该是完美地“不完美”。

I believe that architectural functions which satisfy physical needs of human being can be analyzed, learned, turned into big data or commoditized. However, a great work should go beyond the duty of a simple “machine” and provide a shelter for spirit. A functional design is possible to be perfect, but a spiritual prospect should be open and inspiring. So for me, the most perfect work is beyond a simply physical solution, and presents an ideal prospect that inspires personal insights of users. While it was completed, the work itself is able to reveal us a higher level of existence and provide us a direction for our pursuit in next project. Therefore, it should be perfectly imperfect.

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项目 project

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▽ 北京顺义 WHY酒店, WHY hotel  (MORE更多)

WEI architects-1-WHY hotel_ WHY酒店-01

WEI architects-1-WHY hotel_WHY酒店-02.

▽ SongMax女装店设计, SongMax Women’s Clothing Store  (MORE更多)

WEI architects-7-Song Max Concept Store _SongMax女装概念店 -01

WEI architects-7-Song Max Concept Store _SongMax女装概念店-02

▽ 亚丁悬崖酒店,Yading Cliff Building (MORE更多)

WEI architects-5-Yading Cliff Building _ 亚丁悬崖酒店

▽ 小绿洲儿童会所,Parkview Green

WEI architects-2-PARKVIEW GREEN_小绿洲儿童会所-01.

WEI architects-2-PARKVIEW GREEN_小绿洲儿童会所-02.

▽ 沙滩四合院改造,Shatan Courtyard House

WEI architects-4-Shatan Courtyard House _ 沙滩四合院改造-02

▽ “悬“竹钢装置,Floating  bamboo steel sculpture

WEI architects-3-Floating  bamboo steel sculpture_“悬“竹钢装置

▽ 米蒂跳儿童主题乐园,Mitty Jump

WEI architects-4-Mitty Jump_米蒂跳儿童主题乐园-01

MORE:  WEI Architects  WEI Architects on gooood



发表评论

7 评论

  1. 把原结构露出来多好啊?选择四合院的理由不就是想要它的历史感,却被这样糟蹋了

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