35岁以下创意人:王硕,META-PROJECT

王硕:不体验生活就没有创作的根本,中国建筑师的任务与欧美建筑师不一样。

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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4期为您奉上的是来自 META-PROJECT 的王硕。更多关于他:META-PROJECT on gooood

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are ordinary practitioners. gooood is tring to record the authentic living and working states of this era. Your recommendations and suggestions are appreciated!
gooood Under 35 NO.4 introduces META-PROJECT, Wang Shuo. More: META-PROJECT on gooood

 

▼ 视频 Video (全文深度采访见下方文字。视频为5分钟精华版,建议选择蓝光1080p观看。)

 

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做建筑不是一个偶然
I took architecture not by chance

“不同层次的城市叠加在一起,让我觉得趣味盎然…我一直想搞清楚这些趣味盎然的事物到底是什么?…我希望把这些空间上,或者是社会文化方面的原型推而广之,以某种方式带入到当今相对刻板的城市区域中去。”

“The city as a superimposition of different levels together always enchants me…I’ve been wondering what’s that so enchanting ultimately… I hope to derive and vary the spatial or socio-cultural prototype and graft it in some way in the rigid and formulaic urban areas.”

我小时候成长在北京一个大院里面,中学经常骑车穿城,从南到北去上奥数课。从那时起,我所经历的北京就是一个不断流动的日常状态。生活就像电影中从火车向外看的持续镜头一样在身边展开,有人哭有人笑有人唱歌有人打架,很鲜活。不同层次的城市叠加在一起,让我觉得趣味盎然。所以我心里一直有一个情结,想搞清楚这些趣味盎然的事物到底是什么?我希望把这些空间上,或者是社会文化方面的原型推而广之,以某种方式带入到当今相对刻板的城市区域中。

A native in an old compound in Beijing, in middle school I used to cycle through the whole city, from the southern end to the northern, to attend Olympic-math classes. Ever since then I experienced Beijing as a constant flow of daily life: unfolding like a sequence shot outward from the train window, face to face with people smiling, tearing, sauntering and humming or quarreling and fighting, fresh and vivid. The city as a superimposition of different levels together always enchants me. I’m obsessed and wondering what’s that so enchanting ultimately… I hope to derive and vary the spatial or socio-cultural prototype and graft it in some way in the rigid and formulaic urban areas. 

▼王硕眼中流动的北京,鲜活的生活场景,Beijing, a city keeps changing with vibrant living scenes

小时候我数理化特别好,但我的方法跟别人不太一样。好多情况下我都没有一步步的公式推演过程,而是综合很多信息后直接把答案写出来…建筑实际上也没有很严格的论证式解题过程,不是用公理一二三四就能推导出来的,但它又和凭“灵感”、“直觉”不一样。很多情况下需要综合很多信息,最后给出一个有效解决方案。从这一点上来说,我觉得我做建筑不是一个偶然。

I was a quick kid at the maths and sciences, but not so much like the others. Most times I gave no step-by-step precise formulary deduction, instead I leapt to the answer immediately after a synthesis of multi-thread information… Likewise, there’s no place for strict deduction in architecture argument either, you can’t bring it into being by following some formulas, while you can’t simply resort to ‘inspiration’ or ‘intuition’ either. Most cases demand plenty of information to be comprehended and synthesized to eventually reach a valid solution. In this sense, I’m aware that I took architecture not by chance.

 

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希望做对中国城市有意义有贡献的项目
Conscious to undertake projects meaningful and contributive to China’s cities

“建筑对我来说,不是一个统一审美框架下解决问题的学科。建筑是有一定的自主性,并能够融合很多其他学科的思考框架…我们不应该在心里设置对立的观念,不要总去比较西方好还是东方好,而应该看用什么办法能够更有效的发现和解决问题…让城市空间有机的生长和更新,才具有真正的生命力。”

“To me, architecture isn’t a discipline under a uniform system of aesthetics for solutions. Architecture has its own autonomy to a good degree of incorporating many other disciplinary mindsets… We shouldn’t perceive an idea of antithesis as which is superior, the West or the East, but search for the ever-better approach to discover and solve problems… only the urban spaces allowed to grow and regenerate organically have genuine vitality.”

在清华上学的时候培养了对建筑经典的理解。在美国上学则补充了很多艺术、人文、哲学的知识。之后工作需要把房子真正盖起来,又是一个完全不同的体验;后来到了欧洲,在OMA从事了一些大尺度的城市更新和规划项目,这让我有一个更灵活更广的角度去看待建筑这个问题。

In Tsinghua, I cultivated an understanding of the architecture classics. Then in the US I avidly took in the liberal-arts, humanities and philosophy. When entering the practice, I found myself in a brand-new experience as how to actually set up a building. Then I went to Europe and worked on several urban redevelopments and plans in a larger scale in OMA, rewarded with a more flexible and broad view on architecture.

▼在美国 RICE 大学念书期间,左图为参观 Donald Judd 的作品,period of studying in RICE University. The left picture shows the visit to Donald Judd’s project Untitled.

因为工作的原因,会跟很多跨专业的人配合,我发现建筑师可以利用建筑作为切入点处理很多问题,但是解决问题的方法不光是建筑学层面。所以建筑对我来说,不是一个统一审美框架下解决问题的学科,建筑是有一定的自主性,并能够融合很多其他学科的思考框架。

“全球化”号称把世界碾压成一种统一的审美体系,但在这之下还有很多暗藏的似乎矛盾的东西。这些观念上的对立都要通过我们运用实际的策略在实际的项目中去消解,而不是在“全球”与“本地”上非黑即白的。举个例子,华黎老师的高黎贡造纸博物馆: 所用的材料是本地材料,但做法是融会东西方技术的。比如说木板墙,不是传统的中国木墙做法,节点上倒有点像赖特在usonian时期的草原别墅的做法,最后又让云南本地工匠来手工制作。这个过程中完成了一个转换:本地的材料,工人,工艺,但实际的观念,是融会贯通后的体验。这种状态是我比较欣赏的。

Due to the work, I used to collaborate with many cross-disciplinary people and found architecture a capable entry point to deal with many problems, to which the solution lay not only in the architectural level. Therefore, architecture isn’t a discipline under a uniform system of aesthetics for solutions. Architecture has its own autonomy to a good degree of incorporating many other disciplinary mindsets…

‘Globalization’ is alleged to flatten the world into a uniform system of aesthetics, but there still remain many underlying contradictions. The contradictions need dissolution through real strategy in real projects other than an all-or-none stance between like the ‘global’ or ‘local’. Take Hua Li’s Gaoligong Museum of Handcraft Paper for example: all materials are local, while implemented in a way that integrated the knowledge from the East and the West. As for the plank wall, the joint echoed that of Wright’s in his Usonian prairie houses more than traditional Chinese joinery, while implemented by local Yunan carpenters. The process featured a transition of the local in material, builder and craft but the true meaning lay in the experience as a synthesis and sublimation. That’s the status I would admire.

▼建筑与不同学科融合,architecture incorporates many other disciplinary mindsets

我们不应该在心里设置对立的观念,不要总去比较西方好还是东方好,而应该看用什么办法能够更有效的发现和解决问题。包括我们常常谈起的胡同问题:到底应该拆除还是保留?其实这两极都不重要,重要的是在现有基础上如何改进这些人的生活状态,无论研究还是实践。让城市空间有机的生长和更新,才具有真正的生命力。我一直希望能做一些对中国城市有意义有贡献的项目。我本身做城市研究,而且很多研究都是关于北京的。但是不巧,当时OMA没有关注中国城市的项目,所以在2009年的时候我就离开和合伙人开始做META-工作室。

No idea of antithesis should be preconceived in our minds. Don’t fall into rivalry for superiority, the West or the East, but search for the ever-better approach to discover and solve problems. So is it with the heatedly debated hutong: demolition or preservation? It makes no point between the polar extremes, what really matters is how to improve on the inhabitants’ living status either from research or in practice. Only the urban spaces allowed to grow and regenerate organically have genuine vitality. It’s always on my mind to undertake projects genuinely meaningful and contributive to China’s cities in the current status. I did urban researches and many were set in Beijing too. Unluckily, OMA Beijing’s projects didn’t cover much Chinese cities by then, so I took leave and co-founded META-Project and META-Research with my partners in 2009.

▼2007年初META工作室成立时的景象,office of META-PROJECT when it was founded in the beginning of 2007

▼2017年的META-PROJECT办公室,一层为接待区,office of META-PROJECT in 2017 with reception area on the first floor

▼二层办公区,workplace on the second floor

▼忙碌的工作室,busy office

▼模型工作台,model table

▼左:王硕老师在指导工作,Left: Wang Shuo is directing the work / 右:工作室中的定制家具,Right: custom-made furniture in the office

▼左:休闲区,Left: relax area / 右:猫也是工作室的成员之一,Right: cat as member of the office

 

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不体验生活就没有创作的根本
No Life Experienced, No Soil for Creation

“我想研究现实中人的行为,然后把城市拉回到有助于促进人们交流的空间层面。”

“I want to study human behaviors in reality and bring the city back to the spatial level that facilitates the idea of communication between people.”

我们试图把城市当作一个活的有机体或者一个复杂系统去理解,研究的不光是北京中心的胡同,还有周边产业聚集区和城中村,以及一些筒子楼的居住状况。这些东西其实都充满了原创的活力。这种小尺度的创造力,是城市新的活力源泉。自发的东西,暗含许多涌动的价值。它们往往在社会学层面,人与人之间的关系层面,要优于一些我们通常认为成功的建筑。打个比方,筒子楼里面,楼道被加建的非常拥挤,肮脏破败,但是我们去调研发现,几层之间的小朋友会约在一起,到这里集合,到那边去玩。这是现在一些看似干净整洁的社区不能够提供的,因为人与人的联系在建筑原型被固化的过程中被打破了。

We try to understand the city as a living organism and complex system, covering not only hutongs in the traditional core of the city, but also emerging specific-trading clusters around the fringe of the city, enclave-villages in the city and the so called “tube apartments” in the old compounds, all throbbing with power of originality. The macro-scale creativity serves as the city’s fountainhead of new vitality. The spontaneous promises emerging values. In the socio-cultural level as well as that of interpersonal communications, it eclipses many cases of the star-architecture that we always celebrate. For example, in the tube apartments the ad hoc extension-jammed corridors used to be dirty and decadent, but investigations show there a venue for friends to gather for an outing impromptu. That’s what the decent-like communities can’t provide, because the human connection is disrupted as a result of the normalized architectural prototype.

▼胡同研究,study of Hutong

▼产业聚集区的研究,study of specific-trading cluster

▼筒子楼研究,study of tube appartments

所以我想研究现实中人的行为,然后把城市拉回到有助于促进他们交流的空间层面。对META,尤其对于我自己而言,都是要去体验生活的,不体验生活就没有创作的根本。通过观察胡同、城中村,我们发现公共空间一直是有相互渗透的细分层级的,所以从“新青年公社”开始,我们就在尝试这种原型,然后这个原型被进一步迭代,放到了现在新的[燕京里]社区里面。

Henceforth, I want to investigate the human behaviors in reality and bring the city back to the spatial level that facilitates the idea of communication between people. For META-, especially for myself, life demands experience. No life experienced, no soil for creation. By observing hutong and enclave-villages in the city, we found the communal space an interpenetrative multilayer system. Therefore, starting from the New Youth Commune, we kept trying this prototype in further iteration, till its transplantation in the newly renovated [Yanjinglane] community.

▼新青年公社:使用王硕老师通过研究找出的独特生活原型(点击这里查看更多)New Youth Commune: unique prototype applied (click HERE to see more)

▼燕京里:使用发展进化的原型,Yanjinglane: prototype developed

 

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建筑不再只是凝固的空间
Architecture: No Longer Just petrified Spaces

“通过智能硬件和软件平台的引入,人与人之间的关系,空间和人的关系,还有空间和硬件的关系变成了一个环。”

“By introducing the intelligent hardware and software platform, the interpersonal, space-human and space-hardware relationships are threaded up into a circle.”

我们把对城市的经验积累成知识包,经过跨学科的分析形成空间上的原型,尝试运用到设计里,产生了很有启发的效果。在“新青年公社”项目里,发生了很多有意思的事情。有个小伙子会理发,他就在邻里共享客厅里支个摊给别人剃头;然后里面有打乒乓球的,打台球的,下象棋的等等,这些场景不在建筑师的计划之内,但在预料之中。我们对混居的研究使得这个项目呈现出一种“流动的日常性”的生活方式。但是怎么超越混居的日常,以至于更有效地促进人与人之间的关系,还需要更进一步的挖掘和探索。

We accumulate experiences of the city into a knowledge packet, process cross-disciplinary analyses to form a spatial prototype and test it in our design, the results are remarkably inspiring. In the New Youth Commune, entertaining episodes stream out. A young man once trained in haircut just set up a stand ready to serve others in the communal parlor, and people go down there to play ping-pong, billiard and the chess too. Such scene falls beyond any “plan” but within the anticipation of the “design”. Our researches on hybrid dwelling shaped there a lifestyle of ‘flowing everydayness’. While how to transcend the hybrid fact to boost the social cohesiveness awaits further excavation and exploration.

▼新青年公社内自发地产生了丰富多彩的活动,various activities happened spontaneously in New Youth Commune

   

   

我们需要一个社区作为实验基地,[燕京里]就是这样一个基地。我们会持续的介入社区的运营中,调整社区的空间,结合智能硬件去统计空间的使用状况,以及空间中人与人之间的关联,再在这个基础上提出更新的社区模型。建筑不再只是凝固的空间,不再只是砖、玻璃、水泥这些基本元素构成的物理空间,而有了多维的激发人与人联接的层次。比如在[燕京里]我们将会有一堵墙,我们开玩笑叫它“坊伙墙”- 伙伴的“伙”,街坊的“坊”- Global Friends Wall,简称GFW。它里面会有很多的实时数据反馈来激发大家线上线下交流:比如这周有多少人熬夜聊天,有多少人睡觉懒床,谁的访客最多,谁订的外卖最多;就像微信运动可以激发人们锻炼的热情。通过智能硬件和软件平台的引入,人与人之间的关系,空间和人的关系,还有空间和硬件的关系变成了一个环。

We need a community to conduct experiments, to which [Yanjinglane] came timely. We’ll persist in intervening in the community operation, adjust the spaces and record the use status and user relationship with intelligent hardware to propose a community anew. Architecture is no longer just petrified spaces frozen physically in elements like brick, glass and concrete, instead it turns multi-dimensional in inspiring and connecting people. For example, in [Yanjinglane] we’ll arrange a wall called “Global Friends Wall”, shorted for ‘GFW’, (a wordplay on the Great Fire Wall). Upon it will appear all kinds of real-time data on people’s activities and communications both on- and off-line, like how many night birds chatting on a week, how many sleepers-in, who’s the most visited and who’s the top take-away food orderer… the same way the app Wechat Sport stimulates people to exercise. By introducing the intelligent hardware and software platform, the interpersonal, space-human and space-hardware relationships are threaded up into a circle.

▼燕京里:混合办公和居住的社区,Yanjinglane, a hybrid community of working and dwelling

▼燕京里功能图解,programme diagram of Yanjing Li

▼智能硬件与软件平台配合使用,intelligent hardware and specific app make the use of the facility more convenient

 

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设计有更好灵活性的规则
A more flexible rule for design exists

“规则或者说范式是不可避免的…不是没有规则,而是设计了更高级的规则”

“Rule, or paradigm, is inevitable…Not without rule, but to contrive a higher one. ”

规则或者说范式这个东西是不可避免的,任何一个时代,建筑学这个事情就是在找原型,在找规则。但是你的规则是不是灵活就很重要了,像Alejandro Aravena(2016年Pritzker建筑奖获得者),他做了一系列住宅就比较好,其实留了很多这种灵活的空间给大家加建,他的规则设置的比较灵活 – 他不是没有规则,而是设计了一个更高级的规则,这个规则有更好的灵活性。

Rule, or paradigm, is inevitable. In any era, architecture always means searching for prototypes and rules. But it’s important whether one’s rule is flexible or not, as Alejandro Aravena (2016 Pritzker Prize winner) illustrated in an “elemental” residential projects series: Ample flexible spaces were left intentionally for later extension, that’s a flexible rule – Not without rule, but to contrive a higher one with more flexibility.

▼Alejandro Aravena的作品金塔蒙罗伊住宅,2004年,智利伊基克(点击这里看更多)
摄影:克里斯托瓦尔·帕尔马 ——左图:得到财政资金支持的“半成品房子”,右图:居民自己动手实现的中产阶层生活标准,
Quinta Monroy Housing, 2004, Iquique, Chile ,Photos by Cristobal Palma — Left: An example of “half of a good house” financed with public money. Right: An example of middle-class standard achieved by the residents themselves. (click HERE to see more)

那么我们希望建筑空间本身里边,即使你看过去空间元素没什么变化,还是这些柱子,墙,廊子,桥,但是实际上它的组织关系,公共空间和私密空间这种不同的灰度关系,已经比我们原来所意识到的这种建筑原型已经往前走了一步了:通过调整公共和私密空间不同的灰度关系,来推动的生活方式的细微变化。

Therefore, we hope even though the spatial elements change little, the column, wall, corridor and bridge remain the same, their interrelationship, organization and the gradient of public-private spaces have already made a step forward from the prototype that we became aware to: by adjusting the gradient of public-private spaces, the lifestyle is improved in nuance.

▼新青年公社外观:常见的空间元素组合形成新的关系,New Youth Commune appearance, with common elements creating new interrelationship

▼新青年公社室内:私密空间与公共空间之间的灰度关系,New Youth Commune interior: the gradient of public-private spaces

   

 

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材料与颜色-正确的打开方式
Material and Palette – the right way to open

“材料不是用来装饰的…颜色是一种Color Coding –是对于功能的暗示。”

“Material isn’t aimed for decoration…And palette means color coding – to suggest programs.”

我希望材料都是原始的状态,石头就是石头,木头就是木头,水泥就是水泥。在这基础上,我觉得原色的东西有时候是不够强烈的,尤其是当你想激活空间里面某些特定事件的时候。比如在“新青年公社”,我们用了很鲜亮的颜色,但那个颜色其实是一种Color Coding – 是对于功能的暗示。我们希望颜色变成一种材料,不是单纯的装饰,是当做空间的标识来使用的。在我的观念里边,材料都不是用来装饰的,比如说我办公室的这个桌子,因为木头裂开了,为了防止裂缝进一步的扩大,需要嵌一块老的鸡翅木来做这种蝴蝶榫,其实这是材料本身的性质带来的,才是材料正确的打开方式 – 和我在这里画一个蝴蝶榫,是完全不一样的。

I hope every material intact in its own primitive status, stone as the stone is, wood as the wood is, and the cement as it presents itself too. Therefore, I don’t think the primary color strong enough, especially when thinking of activating some certain events in the space. For instance, in the New Youth Commune, we applied a bright palette, but effecting as a color coding – suggesting programs. We envision the colors as materials that identify the spaces far more than decorate the interfaces. From my view, material isn’t aimed for decoration, to which a table in my office attests well: the wood cleaved, to fasten the cleft up, there needs to be embedded a piece of seasoned wenge in the form of a butterfly tenon. Actually, it is the material’s nature that defines, the right way to open materiality – Quite another story from drawing a butterfly shape on the table surface.   

▼新青年公社:以色彩标识空间功能,New Youth Commune: using different colors to define the different functions

 

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三个研究及实践方向

“1. 新型城市文化的激活装置  2. 混合型的社区  3. 青年人户内生活方式的转变”

1, Activating devices for new urban culture; 2, Hybrid community; 3, Indoor lifestyle transformation of the youth”

第一条线索就是新型城市文化激活装置。通常是小而美的。它很小,但能起到很大的作用。实践的初期,我们希望能做到以小见大,也是机缘巧合,连续赶上了几个在东北的有趣项目。东北那个时候一是有非常匀称的工业时代遗留的框架,但处于时间上的转折点;第二就是空间上的临界点,东北在转型过程中需要一些更具文化价值的空间。我们在东北的三个项目:葫芦岛的海滨文化展示中心,水塔展廊,还有森之舞台,恰好成为了人与城市的触媒。在东北的粗犷框架下,需要一个很巧妙但又很令人兴奋的东西去推动城市生活,像用力搅拌一锅很浓的汤一样,才能产生更好的效果。

The first thread is the activating devices for new urban culture. Usually small and beautiful, but capable of leveraging something really big. In the beginning of practice, we aspired to try something multum in parvo, and by chance we encountered a series of intriguing projects in the Northeast. It’s inherited a balanced framework from the industrial era, but now faced with a turning of time and a critical point in space: In the very midst of transformation, the Northeast calls for spaces richer in cultural values. The triple works of ours there: The Beach Exhibition Center in Huludao, the Water Tower Pavilion and the Stage of Forest, all act as a catalyst between the city and the human. Within the very rough Northeastern setting, a tactful while exciting device is expected to animate the urban life, like a spoon stirring a thick pottage, the more effort, the richer savor.

▼左:葫芦岛海滨展示中心(点击这里看更多)Left: Huludao Beach Exhibit Center (click HERE to see more) / 中:水塔展廊(点击这里看更多)Middle: Water Tower Pavilion (click HERE to see more) / 右:森之舞台,Right: Stage of Forest

比如葫芦岛海滨展示中心,作为首创在那里的第一个项目,它直接传达出了这座城市想要表达的形象和理念。它有一定传媒的性质,本身又是一个文化建筑,在里面办过很多展览,后来悬挑下面还开了一个露天烧烤餐厅。这个项目一定程度上改变了一个三线城市相对贫瘠的文化生活状态。

For example, the Beach Exhibition Center in Huludao, Capital Group’s first project there, it plays a role of the media somehow, while affecting as a cultural facility there with many exhibitions held, and even an outdoor barbeque restaurant opened under the cantilever. To a certain extent, the project stimulates the third-tier city’s cultural milieu.

▼葫芦岛海滨展示中心,Huludao Beach Exhibit Center

   

沈阳的水塔展廊在一个旧厂区和新的住宅区之间。它是一个触媒,完成后的空间让周边人的生活产生了一些变化:有时上演二人转,拍婚纱照,还有人要在里面开迷你咖啡店。这些都是使用这个空间的人自己用出来的,不是能够被计划出来的。

Later we set about the water tower pavilion in Shenyang, sitting intriguingly between an old industrial factory and new housing complex. Like a catalyst, the spaces after completion introduced changes to the surrounding people: some performed a local sing-and-dance duet, some utilized there for a wedding photo stage, and some even envisaged a mini café inside. All grow out of the building naturally as a result of people’s ever-new utilizing, never to be planned.

▼水塔展廊,Water Tower Pavilion

▼水塔内部功能空间分析,programme and space diagram

▼展廊中产生不同的活动,various activities generated in the pavilion

我们新近落成的“森之舞台”,串起来一系列的跟山地相关的活动事件,是超越日常的 – 它是在我们希望发展的这一个方向上。

Then comes our recently completed“Stage of Forest”, threading up a series of experience and activities related to the mountain and snow, in a way transcending the mundane routine. This is expected development on our established direction.

▼森之舞台,Stage of Forest

另外一条线索就是混合型的社区,青年人在一起共享的生活方式。我们相信,城市研究必须建立在真实的城市现实的基础上,如果我们去凭空展望构想,那是另外的事情 – 叫“乌托邦”。“乌托邦”模型的启发性大于实践价值。我们2013年在北京设计周做过一个被评为“最受媒体欢迎”的展览叫[超胡同],它的副标题就是“在乌托邦和反乌托邦之间”,如何找到一个比较有效的模式去平衡理想的成份和现实的因素,是我们关心的议题。

Another thread is the hybrid community, a sharing and symbiotic lifestyle of the younger generation. We believe urban researches must be rooted in urban reality, and if to envision by imagining, that’s another story: called ‘Utopia’: an ‘Utopian’ prototype values in theory more than in practice. In Beijing Design Week 2017, we contributed an exhibition rated ‘hottest in media’ called ‘meta-hutong’, subtitled ‘Between Utopia and Dystopia’: just as it implied, how to find an effective prototype to balance the ideal frame and realistic foundation remain atop our agenda.

▼超胡同展览,META:HUTONGS Exhibition

第三条线索是我们一直关注的青年人户内生活方式的转变。青年人已经不再像以前一样固化在两居室、三居室的空间模型里了。我们希望能够研发未来青年人户内的居住模式,梳理空间模块新的组合方式,最后提出一些新的户型,作为下一代产品推向市场。作为年轻的建筑师,一开始可能做的项目会比较小,但我不希望这种小项目变成一个样板间,单纯为“经典好设计”背书,成为笼子里雅致的金丝雀。我希望这些项目能有一些持续发光的亮点,能带动更大范围的改变。

The third thread is the transition of indoor lifestyle of young generation that we’d paid sustained attention to. Unlike their parents, they’re no longer molded into on-the-shelf stuff like two-bedroom, three-bedroom unit and so. We aspire to develop a future dwelling typology, re-comb combination patterns of the spatial modules and finally present a few new unit layouts to the market as upgraded products. For a young architect, projects might be quite minor in the beginning, but I don’t want it to be reduced to a show room, readily endorsing for the ‘fashionable design’ like a self-preening caged canary. I hope such projects will constantly inspire people and lead to more changes widely.

▼年轻人居住行为变化及空间模块研究,transition of indoor lifestyle of young generation and study of the modular combinations accordingly

想要改变一座城市,要找到一个精准的切入点作为入口。做了这么多年城市研究,越发了解了城市的不可捉摸和预测。但下降一个维度,我们发现在社区内很多东西是可控的,人与人之间的链接数是有限的,可以花时间可以了解到他们之间相互依存的关系。所以我们就把城市尺度的知识降到社区层面运用。结合软硬件的研发,我们又发现在一个小小的居室里边,人的行为模式更是可以被精确的度量,于是可以去深入研究有可能产生的种种新模型…

To change a city, one has to find a precise point for breakthrough. Having delved into urban researches so long and so deep, we can’t be clearer with the city’s intangibility and unpredictability. However, once descended by a dimension, the community turns out to be controllable largely due to the limitedness of the interpersonal connections, which means the interdependency status is explicable. In this way, we descend knowledge in the scale of the city instead into that of the community. With the assistance of hardware and software in development, we find people’s behaviors capable of being precisely measured even in a little dwelling unit, which encourages us to delve into all kinds of promising prototypes in the future…

▼新的户型模型,paradigm of contemporary dwelling

 

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森之舞台
The Stage of Forest

“森之舞台的丰富性超越了设想”

“The Stage of Forest exceeds anticipation in richness. ”

“森之舞台”的丰富性,不论从物理空间的体验还是游客使用的方式上,都超越了我们的设想。我们的确在天花和地板上各设计了一个圆窟窿,但是通常意义上建筑师做这种窟窿,其实首先就是想要个窟窿(笑),它怎么被人用起来这是后话。然而后来看到很多人转发过来的照片,就是站在玻璃窟窿上面看到下面有人滑雪而过。屋顶上还有个椭圆形天窗,下雪的时候,人站在下面会看到有雪花和阳光同时飘落。雪水冻融,人们又发现有冰棱挂在天窗周边。在没有任何引导的情况下,“森之舞台”就被人们这么用起来了,这就是我希望能达到的效果。

As for richness, either in physical space experience or visitors’ ways of use, the stage of forest exceeds our anticipation. Exactly a pair of oculi were carved there too, one in the ceiling and the other overhanging floor, like any other architect would do just for the thing’s sake (laughs): what’s going on in the user’s hands would be another story. In this case, many snapshots on the scene were reposted to me to celebrate their findings, either catching a skier flitting by right below the floor oculus, or on a snowy day, snowflakes alighting in in accord with a sunbeam flowing down; after thawing and refreezing, a circle ice downpipes shine around the skylight. Without any deliberate indication, the “Stage of Forest” came into full use, rightly fitting in my aspiration.

▼建筑上开有两个圆洞,带来超凡体验,two circular holes on the architecture providing experience transcending the mundane routine

▼风景如画,圆洞留下美丽的光影,picturesque view with dynamic light shadows created by the round holes

其实那个山顶最高点原本有一个观景台,但是我们认为360度环看的时候,会同时看到过多的不同景色-自然和城市工业并置。后来爬到树稍上去取景,发现正好可以框出一个20多米宽,4米多高的一个画幅。这个长卷是非常纯粹的景致,整个松花湖全被囊括在里面,而她又会随着时间不断变化,云海也好,日出也好,雾凇也好,我认为这样在人和一览无余的自然之间建立一种关联,才打开了一种更加微妙的沟通感受自然的媒介。于是面向这个横向展开的景观设置了上层的三角形观景台。它下面正对野雪道,所以下面的混凝土基座扭转,从下层竖开的窗洞里可以看到很多人飞驰滑过。最后在三角形背靠的空间里又隔出了一个小的角落,加了一个弧形窗,下午的暖阳会从这个角度照进来,这个角落会充满温暖…早上欣赏壮丽的日出,下午有温馨的角落,透过屋顶上的圆洞,阳光打进来形成一个光斑,在粗粝的混凝土墙壁上缓慢划过…我希望人们在使用中慢慢的发现这些精彩。

Actually, there was a viewing deck right atop the hill, but in our opinion, the literally 360-degree panorama took too much to no point: The Nature and the industrial city upstage each other. Then I climbed atop the foliage to find a view, and luckily it hit me that a picture framed by over 20 meters in width and 4 meters in height was possible. The extending scroll now presents a pure scenery, includes the whole landscape of Songhua Lake and varies with time from sea of clouds, sunrise to soft rime… Only with a connection established between the human being and the boundless Nature this way can a nuanced medium turn on the telepathy with Nature. Therefore, facing the extending landscape, we perched a triangular viewing deck in the upper level, overlooking the wild skiing trail, which twists the concrete pedestal that lets many a skier flashing into lens, namely the upward carved oculus below. Finally, astern the triangle we screened a corner with an arc window added overhead thence flood in the warm in mid-afternoon, overflowingly cozy… Watch the sublime sunrise in the morning, lounge and bask in the afternoon sun or contemplate the spot projected by the sunbeam through the ceiling oculus, now slowing slipping upon the brutalist concrete… I hope people will encounter those modest wonders on their own and at ease while using it.

▼画幅取景,frame the scenery

▼建筑周边风景优美,breathtaking scenery

一开始就想做木头的外立面,但是在极端天气下木头会不够耐久。回想我2014年和王路老师去芬兰教一个studio的时候,看到过一个教堂建筑的木板瓦外立面上似乎刷了沥青,很耐久。后来才知道那个东西叫Tarring,把木头表面烧过后再在上面涂一层黑松焦油。芬兰人的船就用这种技术处理,这样的话船体就可以防水不被腐蚀。我后来发现日本也有这种做法,他们的做法是先用黑松焦油浸透木头再烧,最后呈现出来焦炭的感觉,叫做“烧杉板”,耐久性很好。虽然它近看是黑的,但因为表面被碳化,远看的时候就像铅笔芯,黑里还透点银灰的反光。我很喜欢这种既有体量感,又和周围环境略有反映的感觉。

后来才知道,日本这个技术一千多年前就有了,芬兰的技术是从日本传过去的。所以有意思的是,芬兰人可以说他们这个是本地做法(Local Material),但其实当年是从日本传过去的,再被本地转化。所以我认为死抱住“Local”这个定义其实不重要,关键是我们有没有可能在现有的条件下,再去制作适合当地使用的东西,哪怕是和外来的技术杂糅结合。

The first idea I came up with the façade was wood, but it’s not durable in extreme weather. Then I recalled in 2014, when I was co-teaching in a studio in Finland with Prof. Wang Lu, I happened to see a church seemed to have the façade shingles coated with asphalt, very durable. I didn’t know the very jargon until much later: Tarring, i.e. the wood being surface-burnt and brushed with a layer of black pine tar afterward. The Finns used to treat the ships this way to keep the hull waterproof and corrosion-resistant. Then I found a similar treatment in Japan, they saturate the wood in black pine tar in the first place burn next, thus rendering a feel of charcoal, called ‘burnt cedarwood shingle’, excellent in endurability. Though looking blackened when looked closely, it tends to take on a shade of the pencil shade, subtly shimmering with a silvery grey. I adore the tone being both volumetric and reminding of the ambient landscape.

Finally, I figured out the whole picture, it is the Japanese that invented the craft as early as more than one thousand years ago, later introduced to Finland. What is interesting is that the Finns could well defend it as their own local material, but actually originated in Japan and converted to the local context. Hence it makes little sense in sticking to ‘local’ in its literal sense, the point is whether we can take good use of the conditions at hand to start anew, to create anything that’ll attune the local and without reluctance to the outside for technical introduction or synthesization.

▼烧杉板立面,Tarring facade

 

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中国建筑师的任务与欧美建筑师不一样
The Chinese architects: on a different mission from the Western

“我们面临着中国青年人的大迁徙…虽然任何一个所谓的通用解决方案都不能够对应到一个个体上,但是我始终认为建筑师的价值并不局限于做高度定制化的东西…在中国当下,建筑师的目标肯定与欧洲的建筑师不一样。经济发展阶段不同,任务肯定也有所区别。我不认为有全世界通行的建筑师定义,倒觉得建筑师试图去解决和挑战问题的方法有一定的普遍性…作为中国的设计师,我们不能单纯的认为我们现在的任务也是创造独特的,标新立异的设计。”

“We’re confronted with a great migration of the youth generation in China…Although it’s impossible for any generic proposition to befit each of the individuals, still I won’t pin the architect’s value to highly-specialized customization… In China in the present status, architects are surely on a different mission from that of the Europeans. It reflects a different economic situation and stage. And I don’t think there’s a universal definition for the architects all over the world, on the contrary, they generally share the ways approaching problems… As a designer in China, we shouldn’t simply treat our mission as creating a dark horse or maverick just for its own sake.”

▼沉思中的王硕,孜孜不倦,朝着目标不断前进,Wang Shuo being absorbed in meditation, working hard toward his goal

我们发现胡同不是一个固化的东西。在我原来办公室所在的东四十条最里面,有个很深的九道弯,许多安徽人在里面聚居,建立了一个类似城中村的社区,甚至开始自发改造出一些“徽派”胡同门脸。里边没有一个北京人,全是外地人,做买卖的甚至不说普通话。

我们面临着中国青年人的大迁徙,这个情况也不是中国的特例,美国的青年也在60年代反文化运动中,藉由对体制的批判,在各个城市区域之间大量迁移。现在在硅谷看到的这些当年的嬉皮士,没有一个是硅谷人。北京也一样,三代北京人估计都在五环以外了。所以我们说研究北京,实际上研究的是城市里面的一些典型的,高频度的使用对象。在这种基础上整合出来的新空间原型,不存在一个过分“地域化”的问题。比如在吉林松花湖的“新青年公社”,里面住的也不都是吉林人,所以不能把它单纯的当作一个本地的社群来看待。

We find hutong no set pattern. In Dongsishitiao Lane where my office was situated, in its innermost there’s a deep zigzag inhabited by Anhui migrants, growing into a community like an enclave-village in the city, they even refurbished some of the archways and frontages into “Anhui-style” on their own. No Beijing locals there, all migrants, even Mandarin is rare to hear in the market.

We’re confronted with China’s great migration of the younger generation, and it isn’t an Chinese exception either since it had happened in the US in 1960s, namely the counter-culture movement, youths migrating in mass between different urban areas as a critical weapon against the established institution. Today in Silicon Valley, not a single survived hippie is native there. So is it with Beijing, a genuine local Beijinger that could date back up to three generations probably can only be found outside the fifth ring road. Therefore, when talking about researches on Beijing, we’re actually referring to the representative and highly-frequent objects in use. The new spatial prototype integrated thereout is immune to the ultra-regionalism syndrome. Take the New Youth Commune ashore Songhua Lake in Jilin for example, since its inhabitants aren’t all Jilin locals, it couldn’t be taken for granted as a local community.

▼中国年轻人大迁徙,migration of Chinese young generation

任何一个时代的人都有权利追求更大更好的房子,我觉得不用试图去弥合年轻人的追求和现实之间的差距。我们想解决的是一个城市的问题,如果中国所有年轻人都有钱去租一个或者买一个一百平米以上的房子,那我们压根就不应该做这种研究。任何模型、任何学说都是假说,我们所做的原型只是众多原型中的一个。我觉得中国人的居住问题,本质上并不是审美上的问题,更重要的是我们始终没有找到一个我们负担得起的生活方式。美国中产阶级在四五十年代找到了他们的理想,成功实现了美国梦:一个Suburbia的小房子,有前院后院,两三百平。他们的经济实力正好可以负担,他的生活就可以在里面按照他们需要的方式展开。但是中国现状很不一样,我们做很多调查问卷,始终在找年轻人的需求和痛点。

An individual in any era has the natural right to pursue a bigger and better house. So, I don’t think it commendable to make up for the gap between the youths’ pursuit and reality. It is a problem of the city that we’re endeavoring to solve. Suppose every Chinese youth could afford, either to buy or rent, a dwelling over one hundred square meters? Such assumption simply makes no sense. Any model or theory is a hypothesis, and the prototype we’re engaged to is just one of the many. In my opinion, the crux of housing problems in China doesn’t lie in aesthetics, but in the long absence of an affordable, hence sustainable lifestyle. The American middle-class found their idea in the 1940s and ’50s , succeed in realizing the American dream: a Suburbia house with front and back gardens, around two or three hundred square meters. Suitable for their income, therefore spacious for their desired lifestyle. However, it’s quite another situation in China in the immediate present. We’ve done plenty of questionnaires to inquire about the youth generation’s itches and sore.

▼当代中国青年户内生活方式研究,study of the indoor activities of the young generation in China

虽然任何一个所谓的通用解决方案都不能够对应到一个个体上,但是我始终认为建筑师的价值并不局限于做高度定制化的东西。一个特别的住宅,特别的博物馆,只有当社会发达到了一定程度,基础设施已经非常完善了,才需要那几个特别好的建筑作为里程碑。

在中国当下,建筑师的目标肯定与欧洲的建筑师不一样。经济发展阶段不同,任务肯定也有所区别。我不认为有全世界通行的建筑师定义,倒觉得建筑师试图去解决和挑战问题的方法有一定的普遍性。建筑史上法国也有这个时期,很多建筑师做大批量的预制化住宅;英国也有大量社会住宅实验的时期。但是他们已经度过了这个阶段,而到如今,都是一些小公司做一些特别奇诡的小房子。所以作为中国的设计师,我们不能单纯的认为我们现在的任务也是创造独特的,标新立异的设计,还是要回到它是否真的有效。

Although it’s impossible for any generic proposition to befit each of the individuals, still I won’t pin the architect’s value to highly-specialized customization. An extraordinary house or museum can only make sense when the society has so fully-fledged in public infrastructure to need a few outstanding artifacts as monuments.

In China in the present status, her architects are surely on a different mission from that of the Europeans. It reflects a different economic situation and stage. And I don’t think there’s one universal definition for the architects all over the world, on the contrary, they generally share the ways approaching problems. Back in history, we can see the French had also undergone such an epoch of mass prefabricated housing no less than the British experimented on mass social housing. That’s their past turned over and now it’s the piecemeal bizarre houses made by small firms that prevail. Obviously as a designer in China, we shouldn’t treat our mission as creating a dark horse or maverick just for its own sake. Whether it works or not demands returning for examination.

▼与来自不同地区的人交流思想,discuss with people from different areas to deepen the thinking

 

_______________
我始终是一个建筑师
After all, I am an architect

“但需要克服建筑师所赖以生存的一些条条框框”

“But gradually I find that we need to overcome the conventions that architects are accustomed to and rely on.”

我始终是一个建筑师。

作为一个青年建筑师,首先想的还是要搞清楚怎么把房子盖好。在这个基础上,还想在更广的范围内找到可以实现自己价值的事情。

如果建筑师认为自己就是盖房子的,建筑师只需关注纯粹的建造:那么光线、材料、工艺、甚至种种分析都是为了物理空间而服务,建筑就只是关于设计的协议(protocol of design)。而如果建筑师能够进入另外一个智识层面,参与到知识的协议(protocol of knowledge)中,跟来自各种渠道的知识打交道:把城市的现实,人的需求和反馈重新梳理整合,结合新的技术,给出一个真正行之有效的解决方案,是我更喜欢达到的状态。

After all, I am an architect.

For a young architect, the realization of a true standing piece of architecture always comes first. Further on, begins that of my exploration of an architect in my time, in a wider sphere.

Because, once the architect looks upon himself as a builder: single-mindedly constructing, then lighting, material, craft and even various analyses will be subjected to serve the physical space, then architecture will be reduced to a protocol of design. However, once the architect has entered into another intellectual level, namely joining the protocol of knowledge, he’ll come to full contact with information from all channels, recomb and integrate the reality of the city, people’s need and feedback into a truly valid solution in unison with new technology. That’s the status I prefer.

▼城市中的控制系统,cybernetic system of the city

对我来说挑战是:建筑师怎么能找到一种新的模式,把与社会有关的研究,以及据此研发的产品用来改进城市的社会文化生活方式,让人与人之间的关系产生一些好的变化。这就需要克服建筑师所赖以生存的一些条条框框:审美上的洁癖,对于材料和造价苛刻的追求。因为到最后不是说一个房子盖好了,好看了就能怎么样 – 事情的关键是它要被人使用。当人们可以很自然、很高频度的去使用这个空间的时候,它才具有最大的价值。

To me the challenge lies in seeking out a new prototype to take use of the society-related researches and productions developed that way to improve the socio-cultural lifestyle in the city, thereby introducing some positive changes to the interpersonal relationships. I find that we need to overcome the conventions that architects are accustomed to and rely on, such as the aesthetic mysophobia and undue criteria on materials and cost. Because after all, the completion of a building doesn’t mean the end, as if a beautiful look mattered how much – it is use for and by people that truly makes sense. So long as it’s used naturally and in high frequency, it’ll culminated in its true worth.

▼访谈中王硕与我们相谈甚欢,Wang Shuo having a pleasant communication during the interview

More: META-PROJECT。更多关于他:META-PROJECT on gooood



发表评论

6 评论

  1. Profile Photo

    以类型为切入点,让使用者和社会效益最大化。恩,是一个有责任感的设计师的归宿。至于怎么建造,那些都是技艺了。所以建筑师,不是一个技艺的活,而是一个给答案的人。弗兰普顿也不建议我们故意去搞些什么创造和创新。这个都是在解决人和当下社会问题时,自然演变出来的。而我们要做的就是接收这个逻辑和方法论。

  2. Profile photo of 苍云
  3. 是呀,人和人之间的链接数量是有限的,基于小尺度的人群和空间原型的研究很有意思,会有一种广见于微的发现冒险感

  4. 感觉很有道理,支持

  5. 很棒,给建筑自由发展的空间,梳理人和人之间的联系

  6. Profile photo of ZhangChi
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