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69期为您介绍的是 ARCHIS（如是）建筑设计事务所创始建筑师 孙诗宁。更多关于，请至：ARCHIS Design Studio on gooood

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.69 introduces Shining (Christina) Sun, founder of ARCHIS
More about: ARCHIS（如是）建筑设计事务所，ARCHIS Design Studio on gooood

出品人：向玲 / Producer: Xiang Ling
编辑：石安，亓慧，庞任飞，张笑然、高天旗 / Editor: Shi An, Qi Hui, Pang Renfei, Zhang Xiaoran, Gaotianqi

▼视频，Video
（全文深度采访见下方文字。视频为3分钟精华版，建议选择1080p高清版本观看）

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关于孙诗宁
About Shining Sun

“发现建筑的多种可能，并在不同的学科中找到共同的热爱……通过在不同学科的交汇处探索，逐步构建出属于自己的路径与实践方式。”

“To discover the many possibilities of architecture and to find a shared passion across different disciplines… Through exploring and innovating at the intersections of these fields, I’ve gradually begun to shape a path and mode of practice that feels uniquely my own.”

我在读小学的时候去了温哥华。因为我妈特别热爱艺术，从小到大，她也不管我要不要复习考试，有好玩的艺术活动和展览就会强行把我从家里拉出去，防止我变成一个书呆子。因此，即使到了高中，我经常也只能在全世界各地看展览和参观艺术家工作的时候拿着书，见缝插针的复习一下。这种饥饿式的教育，导致我在本科毕业后又想去读双硕士，前两年又回到哈佛继续读博。我朋友都说我怎么老是赖在学校里不肯走—我想大概是因为小时候总觉得学习学不够吧 (笑)。

I moved to Vancouver in elementary school. My mom is a huge art lover, and even in high school, she didn’t care whether I had exams coming up—if there was an interesting art event, she’d drag me out of the house to keep me from becoming a bookworm. So I often found myself studying in between gallery visits, books in hand during our art-filled adventures. Maybe that’s why, after finishing my undergraduate degree, I went on to pursue dual master’s degrees—and two years later, returned to Harvard for a doctorate. My friends joke that I just can’t leave school. Maybe they’re right. I think it comes from always feeling, as a kid, that there was never enough time to learn everything that I wanted to (laughs).

▼孙诗宁的涂鸦，Digital doodles by Shining Sun

因此，艺术渐渐成为了我生活中不可分割的一部分。我特别喜欢一个人待着练练琴或者画各种会动的“小怪兽” 来自娱自乐。作为一个理科生，我发现就算出门在外要练琴或者写文章，我也要挑充满美感的空间，不然就觉得没法好好发挥实力（虽然家里人都说这是我水平不行找的借口）。而建筑的作为一个复杂的通识学科恰好非常适合我这种太不偏科的人，既能满足我旺盛的好奇心，也能让我充分发挥想象力，因此自然而然地成为了我热爱的职业。

Therefore, I gradually came to see art as an inseparable part of my life. I especially enjoyed spending time alone, playing the piano or drawing little animated “monsters” in my leisure time. I realized that even when I was outside practicing piano or writing essays, I had to be in an inspiringly beautiful space—otherwise, I felt that I couldn’t perform at my best (though my family always joked that it was just an excuse for my lack of skill). Architecture, in many ways, became a natural choice for me—it satisfied my imaginative drive and all kinds of curiosities.

▼课业之余的闲弹，Playing piano has been my most therapeutic pastime

在本科期间，我被康奈尔大学的 Jenny Sabin 教授招募进了她的实验室，参与了早期算法设计与机械臂建造的研究与开发。听家里人说，我的许多祖辈都是数理化领域的开创者和学者。我想，也许正是因为这方面的基因，导致我对算法设计一度也非常着迷。那时，学校里的第一台机械臂就安装在这个实验室，它也成为了我本科期间最好的玩伴。

During my undergraduate studies, I was recruited by Professor Jenny Sabin at Cornell University to join her research lab, where I became involved in early research on computational design and robotic fabrication. My family often says that many of our family members were pioneers and scholars in the fields of math, physics, and chemistry—so perhaps I inherited a bit of those nerdy genes. For a time, I was deeply fascinated by computational design. At the time, the first robotic arm in our school was installed in that very lab—and it became my closest companion throughout my undergraduate years.

▼左图：Lumen——Jenny Sabin编织的MoMA PS1 发光庭院 “Lumen”；中图：孙诗宁与机械臂协作建造；右图：孙诗宁测试用于结构编织的合成树脂材料，Left: Lumen: The Glowing Courtyard of MoMA PS1 Laced by Jenny Sabin; Middle: Shining Sun’s co-production with robotic arm; Right: Shining Sun testing a synthetic resin material for structural weaving

Jenny 的设计实验室一直致力于在建筑与科学的交汇处探索新的设计模式，探索数学、生物、材料科学等在空间结构方面的创新。虽然康奈尔大学的建筑系是个很重视传统建筑建构和历史理论的地方，但Jenny却鼓励我不断地去突破传统的建造思维和框架。直到今天，我的设计方法和实践方式仍是在不同学科的交汇处探索与创新，哪怕算法设计并不总是我的首要工具。本科形成的跨学科的研究方法也让我在之后与多位科学家和艺术家的合作中，总能发现建筑的多种可能，并在不同的学科中找到相同的热爱。

Jenny’s lab is known for operating at the intersection of architecture and science, experimenting with new design paradigms inspired by mathematics, biology, and material science. While Cornell’s architecture program places a strong emphasis on traditional construction methods and architectural history, Jenny encouraged me to push beyond conventional boundaries and rethink how we build. That early exposure to cross-disciplinary experimentation continues to shape my design methodology today. Even though computatinal design is not always my main tool, I remain drawn to the intersection wherearchitecture, science, and art meet. The interdisciplinary research methods I developed during my undergraduate years have continued to shape my work, allowing me to discover new possibilities in architecture and to find shared passions across fields in my collaborations with scientists and artists.

▼左图：Guastavino 拱顶结构模拟，右图：人机互动投影音景装置，Left: Guastavino Vault Simulation; Right: Participatory Soundscape Installation

不过在漫天大雪的康村经历了五年魔鬼式的职业训练后，我渐渐意识到，建筑师不仅是“酷”，更是“苦”。这段吃苦的经历不仅让我这个手不能提、肩不能扛的人彻底脱胎换骨，也让我在面对充满挑战的项目时，多了几分从容与勇气。本科毕业后，因为始终对需要想象力和创造力的事充满热情，又去哈佛设计学院读了建筑（M. Arch II）和城市设计（MAUD）的双硕士。在那里，我对建筑产生了更为多元的理解。其中一个学期，我参与了由 Moshe Safdie 带领的设计课（studio）。与其他充满理想主义的建筑设计课不同，这门课不仅要求我们构想具有人文关怀的摩天大楼设计，同时也着重训练我们在面对城市设计中复杂的多方利益博弈时，如何进行有效的协商与协调。

After five intense years of intense, professional training in Ithaca, I gradually came to realize that being an architect isn’t just “cool”, but also incredibly demanding. That period of hardship transformed me.IIt instilled in me a newfound calmness and courage when tackling challenging projects head-on. After graduating, still fueled by a passion for imagination and creativity, I went on to pursue a dual master’s degree at the Harvard Graduate School of Design—one in Architecture (M.Arch II), the other in Urban Design (MAUD). My time at Harvard deepened and diversified my understanding of architecture. One of the most formative experiences was a studio led by Moshe Safdie. Unlike the more idealistic design studios I was used to, this course challenged us to design skyscrapers with a strong sense of humanism, while also confronting the complex negotiations and competing interests inherent in urban development.

▼孙诗宁与队友共同设计的摩天大楼（孙诗宁，左二），Shining Sun and her teammate co-designed a skyscraper in Moshe Safdie’s Humanistic Skyscraper Studio(Shining Sun, second from left)

整个芝加哥Site 78项目的设计由多位学生的方案共同构成。每位同学在独立设计一栋塔楼的同时，也需与其他塔楼的设计者进行沟通与协调，从而形成一个在多作者协作下完成的整体城市规划方案。我和搭档共同设计了位于基地中央、整体规划中最高的塔楼。作为地标性建筑，它通过模块化的退台结构，最大限度地引入无遮挡的东向景观，将城市岛屿与密歇根湖的视野尽收眼底。塔楼上的空中连桥区域被划分为由多种户型构成的住宅集群，营造出富有层次的垂直社区体验。

▼芝加哥Site 78的项目图纸，Drawings of Chicago Site 78 Project

The overall design of the Site 78 project in Chicago was a multi-authorship collaboration composed of proposals from multiple students. Each participant independently designed a tower while coordinating closely with the other designers to ensure a cohesive and integrated master plan could be realized. My partner and I co-designed the tallest tower at the center of the site. As a landmark piece, it employs a modular, terraced form that maximizes unobstructed eastward views, seamlessly framing both the city island and the vast expanse of Lake Michigan. The tower’s skybridge zones are organized into clusters of diverse residential units, fostering a dynamic, multi-layered vertical community experience.

▼芝加哥Site 78的项目模型：多作者协同的城市设计，Model of Chicago Site 78 Project: multi-authorship urban design

此外，我还在哈佛商学院与肯尼迪政府学院选修了多门与城市规划、商业管理及房地产相关的课程，并协助组织了2018年哈佛亚洲基金会举办的高峰会议“未来中国城市化浪潮：对中国及全球经济增长、城市治理与建成环境的影响”。会议探讨了中国城市治理的改革与重组路径，以及公共机构与企业在这一过程中各自潜在的发展优势等等。以上这些经历和学习对我后来运营事务所和与甲方沟通多多少少也有一点帮助。不过最终我发现，我还是适合做个不赚钱的建筑事务所（笑）。

在这近八年的本硕期间，我也曾gap一边在欧洲各地考察建筑一边在鹿特丹 Rem Koolhaas 主持的 OMA（大都会建筑事务所）实习工作。正是在那里，我接触到了 AMO 许多展览设计和研究类的项目，也跟许多美术开始了长期的合作。

Beyond the design studios, I also took urban planning, business management, and real estate courses at the Harvard Business School and Kennedy School on. In 2018, I helped organize the Harvard Asia Summit titled The Next Wave of Chinese Urbanization: Impact on Economic Growth, Urban Governance and the Built Environment within and beyond China. The summit focused on how China’s expanding and increasingly complex urban landscape is driving new approaches to governance and built environment, and explored the evolving roles of public institutions and private enterprises in this process.These academic and extracurricular experiences have been helpful for running my own practice and dealing with client relationships. That said, I’ve come to accept that I’m probably best suited to running a not-so-profitable architecture studio (laughs).

During my eight years of undergraduate and graduate studies, I also took a gap semester to travel across Europe studying architecture while interning at OMA (Office for Metropolitan Architecture) in Rotterdam, led by Rem Koolhaas. It was there that I became involved with several exhibition and research-based projects at AMO, which also marked the beginning of many long-term collaborations with art museums.

▼孙诗宁在鹿特丹OMA跟库哈斯和团队开会，Shining Sun attending a meeting with Rem Koolhaas and the team at OMA in Rotterdam

▼参与设计的的PXP项目的概念模型，Conceptual models for project PXP

实践之外，我也常常会读一些哲学和理论方面的书籍。对我来说，实践和理论一直也是个双生的结构，虽然两者之间始终存在一种间隙，如德勒兹所说的“分歧”（divergence），但我认为正因为有这样的间隙，理论与实践之间才得以相互影响。所以在成立独立事务所后，前两年我又决定回到哈佛大学设计研究生院，在 K. Michael Hays，Erika Naginski 和 Antoine Picon 教授的指导下进行建筑理论方向的博士课题。虽然导师们的要求非常严格，但是跟导师一起沉浸式思辨的每一天都感到弥足珍贵又欢乐。

由于兴趣广泛，我的路径曲折而多变。在不同领域的探索中，我逐步寻找着属于自己的轨迹与实践方式。或许要很多年后回望，才能找到一条将这些散落的珠子串联起来的线索。但至少在当下，我很享受每一个阶段所带来的挑战与乐趣。

Beyond hands-on practice, I’ve always been drawn to philosophy and theory. For me, theory and practice have always formed a twin structure—though there’s always a certain gap between them, what Deleuze calls “divergence.” Yet, I believe it is precisely this space that allows theory and practice to inform and enrich each other. After founding my own independent practice, I chose to return to the Harvard Graduate School of Design for a design doctorate in architectural theory under the mentorship of Professors K. Michael Hays, Erika Naginski, and Antoine Picon. Despite the academic rigor and high expectations, being immersed in deep intellectual research alongside my advisors has been both incredibly rewarding and inspiring.

With a wide range of interests, my path has been anything but linear—marked by continual exploration across disciplines as I gradually shape a trajectory and practice uniquely my own. Perhaps it will take years of hindsight to discern the thread that ties these scattered pearls together. But for now, I find meaning and joy in the distinct challenges each stage of the journey brings.

▼左图：在 K. Michael Hays 的后结构主义课上精读罗兰·巴特的理论；右图：与导师思辨，Left: A close reading of Roland Barthes’ theory in K. Michael Hays’s poststructuralism seminar; Right: Discourse with professor K. Michael Hays

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ARCHIS: ARCH + IT IS
如是：建筑 + 即是

“我将‘建筑’（arch）与‘即是’（it is）并置，组合成‘ARCHIS’这一名字。‘如是’意图去探索：建筑是什么，建筑可以是什么，以及为什么建筑。”

“I combined ‘arch’ (architecture) with ‘it is’ to form the name ‘ARCHIS’. ‘ARCHIS’ reflects my intent to explore: what architecture is, what architecture can be, and why architecture.”

2019年读硕士期间，在一个8万平方米左右的校园设计竞赛中，我主导设计的方案赢得了比赛。这也是我们事务所第一个实际落地的项目。由于校园设计的功能与规范都极其复杂，这个项目对于当时还在读书的我来说，挑战非常大，很怕自己hold不住。幸运的是，在深化中碰到各种难题时，好几位有经验的前辈的指点帮助了我们。也是在这个契机下，更多的志同道合的小伙伴加入了项目的深化，我就正式成立了自己的事务所。之后几年里，我们又陆续收到了新的校园设计的邀请。这两年，随着我回波士顿读博，整个事务所的运转不得不放慢脚步。但这个间隙刚好给了我时间去反思当下的实践模式和事务所之后想做的事情。

“ARCHIS”这个名字源自 Loos 著名的格言 “That is architecture”。 K. Michael Hays 对这段文字的解读，在我思考事务所名称时给予了我启发。他说: “所谓‘那’（that），指的并非只是建筑的物理经验本身，而是建筑的自主性（autonomy）—— 这是无法单单从与建筑的相遇抵达或者理解的部分。” (“What is that? The that which is architecture is not an actual physical experience, but the autonomy of architecture, which is inaccessible from our encounter with it.” ) 所以也就是那时开始，我觉得对我来说，建筑不只是造房子，而也是一种思考的模式。所以我希望把实践与理论放在一个双生(parataxical) 的并列结构上——这也是为什么我将“建筑”（arch）与“即是”（it is）并置，组合成“ARCHIS”这一名字。“如是”意图去探索：建筑是什么，建筑可以是什么，以及为什么建筑。

▼芝加哥Site 78人文主义的摩天大楼模型， Model of skyscraper design for Site 78 in Chicago

In 2019, during my master’s studies, I led the winning proposal for a campus design competition involving a site of approximately 80,000 square meters. This became the first built project of what would later become my design studio. Given the complexity of campus programs and regulations, the project posed a significant challenge—especially for someone still in school—and I was initially unsure whether I could manage it. Fortunately, several experienced mentors generously offered guidance as we encountered difficulties during the design development phase. This turning point also brought together a group of like-minded collaborators, and I officially established my own studio. In the years that followed, we continued to receive new campus design commissions. In recent years, however, as I returned to Boston to pursue my doctoral studies, the studio’s operations have necessarily slowed. Yet this pause has offered a valuable opportunity to reflect critically on our current modes of practice and to reconsider the future direction of the studio.

The name “ARCHIS” was inspired by Loos’s famous dictum: “That is architecture.” The question raised by this dictum is : what exactly is architecture? K. Michael Hays’ explanation of this phrase was inspiring to me. He said: “what is that? The ‘that’ which is architecture is not an actual physical experience, but the autonomy of architecture, which is inaccessible from our encounter with it.” It was around that time I came to see architecture not only as building houses but also as a mode of thinking. I wanted to place practice and theory on a parataxical structure—which is why I combined “arch” (architecture) with “is” (it is) to form the name “ARCHIS”. The phrase “ARCHIS” thus reflects my intent to explore: what architecture is, what architecture can be, and why architecture.

▼ARCHIS（如是）代表作 – 宁波市古林职业高级中学，Representative work of ARCHIS – Ningbo Gulin Vocational High School

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混合诗意
Synthetic Poetics

“我希望将多种媒介的特性交织在一起，通过跨媒介的转译、误读与错位，创造更为多维的作品。”

“I like weaving together and synthesizing intermedial characteristics to create more multidimensional works through Cross-medial translation, playful misreading, and strategic displacement.”

在西方的美学与艺术批评中，诗学（poetics）的关注点往往集中于图像（绘画）与文本（诗歌）之间的张力。在 Laocoön: An Essay on the Limits of Painting and Poetry (1766) 里，Gotthold Ephraim Lessing区分了诗歌的历时性与绘画的共时性，以此将不同媒介的艺术区分开来。相比之下，中国传统的书画以及园林所体现的诗意则更加综合，强调诗、书、画与空间的相互渗透与融合，比如体现在我们的“书画合璧，书画同理”的传统之中。因此，我希望未来在建筑实践中能进一步探索一种植根于历史传统和技法的“混合诗意”的创作方法，超越仅以文本、图像或Ekphrasis（艺格敷辞）为基础的单一叙事。当然这个跟我我个人兴趣爱好特别广泛也有关。因为我喜欢音乐、书籍、绘画、叙事、电影、文学等等。所以我会希望将多种媒介的特性交织、合成在一起，通过跨媒介的转译、误读与错位，创造更为多维的作品。

In Western aesthetics and art criticism, poetics has focused on the tension between image (painting) and text (poetry). In Laocoön: An Essay on the Limits of Painting and Poetry (1766), Gotthold Ephraim Lessing distinguishes between the diachronic nature of poetry and the synchronic nature of painting, using this dialectical pair to delineate the boundaries between different artistic media. The poetics embodied in traditional Chinese practices—such as calligraphy, painting, and garden-making—is far more synthetic, emphasizing the mutual reciprocity and synthetic making of image, text, and space.

Inspired by this, I hope to further explore in my architectural practice a creative method of “synthetic poetics” rooted in historical and cultural techniques—one that moves beyond singular narratives based solely on text, image, or ekphrasis. This approach also reflects my wide-ranging personal interests, spanning music, literature, painting, storytelling, film, and more. As such, I am drawn to weaving together the characteristics of multiple media—creating more multidimensional works through cross-medial translation, playful misreading, and strategic displacement.

开放的框架
The Open Work

宁波市古林职业高级中学｜Ningbo Gulin Vocational High School

面对比较快速建造的大尺度项目时，我们无可避免地需要思考如何应对“大”、“新”、“快速”、“廉价”等不可回避的问题。当代中国建筑的前置条件尽管随着城市化进程的放缓或许正在慢慢改变，但如何在有限的条件下运用建筑智慧塑造空间的品质与形式语言，对我们来说依然是一个值得探讨的问题。我们新近完成的宁波古林职业高级中学项目便是对这一问题的回应。从设计到建造，从场景到空间，“古林职高”经历了疫情、EPC总承包、低造价和短施工周期等现实挑战。我们在设计过程中更注重空间框架的设计和整体性的把握，策略性地塑造了一种整体效果。我们提前考虑到了不可避免的失控因素，比如图纸与现场的差异、施工方的即兴发挥等。我们以场景叙事为切入点，探索使用者如何在集体叙事中构建多重叙事性，从而生成有效、多样的城市设计。这种城市设计不是千篇一律、单一叙事的，而是让人们通过日常的空间实践，将城市空间转化为符合自己需求和愿望的场所，从而产生独特的“使用者的空间”和多样的城市空间。

When confronted with large-scale projects that require rapid construction, we are inevitably challenged to respond to conditions defined by “scale,” “newness,” “speed,” and “cost-effectiveness.” Although these preconditions of contemporary architecture in China may be gradually shifting with the slowing pace of urbanization, the question of how to use architectural intelligence to shape spatial quality and formal language within limited constraints remains highly relevant. Our recently completed project for Ningbo Gulin Vocational High School is a response to these very issues. From design to construction, from scenarios to spaces, the Gulin Vocational High School project navigated real-world challenges such as the pandemic, EPC (Engineering, Procurement, and Construction) contracting, low budget constraints, and a tight construction schedule. Throughout the design process, we prioritized the spatial framework and overall coherence, strategically delivering a controlled outcome.

We anticipated inevitable moments of loss of control—such as the discrepancy between drawings and on-site construction, or improvisations by contractors. Starting from narrative scenarios, we explored how users might construct multi-layered narratives within a collective context, thus enabling effective and diverse urban design. This kind of urban design resists homogeneity and singular storytelling; rather, it empowers people, through everyday spatial practices, to transform urban spaces into places that reflect their own needs and desires—generating user-defined spaces and a multiplicity of urban experiences.

▼宁波市古林职业高级中学鸟瞰视角，Aerial Perspective of Ningbo Gulin Vocational High School © 夏至（上）；朱润资（下）
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除了设计本身，大体量的项目也是对我们综合判断力与团队协同能力的挑战和磨练。在这个项目中，我们需要在面对不确定性与压力的情况下，始终保持设计的主动性与批判性；同时，我们也需要具备在复杂条件下通过协调、判断与调整，把控整个项目整合能力的能力。这些挑战促使事务所在过去几年中迅速成长，也让我也在与多方博弈的过程中积累了丰富的实践经验。

Beyond the design itself, large-scale projects also challenge and refine our overall judgment and team coordination. In this project, we had to maintain a proactive and critical design stance while navigating uncertainty and pressure. At the same time, we were required to coordinate, assess, and adjust across complex conditions to ensure the integrity of the project. These challenges have driven the studio’s rapid growth over the past few years, and through negotiating with multiple stakeholders, we have also gained valuable hands-on experience.

▼开放的剧场舞台：公共的大平台和观景平台，Open Theater: Elevated Public Platform and Viewing Deck © 夏至
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▼连通的报告厅+图书馆，Loop Library and Auditorium © 夏至
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“开放性”这个概念最早是在 Umberto Eco 1962写的《开放的作品》中被提出，来表达作者特意将作品的某些组成部分的安排留给观众来完成的方法和理念。“开放”这个概念有两个定义。首先，所有的艺术作品始终是开放的，因为观看者对作品的每一次接触都是对它的诠释，因此并不存在所谓的“封闭” 的作品。但我们更为关注的是开放性的第二个层面，则是艺术家决定邀请观众参与到作品的创作中，从而重新定义作品和观众之间的关系和赋予作品无限的可能性。这种开放性也可以在不同的音乐作品中看到。相比与古典音乐线性发展形式，实验音乐比如 Karlheinz Stockhausen’s “Klavierstück XI” 则把乐谱的顺序安排交给弹奏者。演奏者可以随机的在19个音乐小结中选择它们的连接顺序，即兴生成非单一秩序的音乐。在开放的作品中，我们看到其特征是系统性地实现开放性的意图，而这种开放性不仅是某种艺术的形式特征，更是一种不同于传统的叙事结构的体验。

▼《开放的作品》第一版（1962）与Stockhausen的即兴音乐，First edition of The Open Work (1962) & The aleatory music of Stockhausen

The concept of “openness” was first introduced by Umberto Eco in his 1962 book The Open Work, describing a creative method in which the artist intentionally leaves parts of a work unresolved, inviting the audience to complete them. There are two definitions underlying the concept of “openness”. First, Eco acknowledges that a work of art has always been open because every reception of a work of art is both an interpretation and a performance of it. There are no “closed” works because openness is an inescapable part of all artistic interpretation. But more importantly, the second degree of openness involves the artist’s intentional invitation for the audience to participate in the creation of meaning, thereby redefining the relationship between viewer and work, and imbuing the work with infinite possibilities.

This kind of openness can be observed in experimental music. In contrast to the linear progression of classical compositions, experimental works such as Karlheinz Stockhausen’s “Klavierstück XI” delegate the order of the score to the performer. The pianist is free to improvise the sequence among 19 musical segments, generating a non-linear and indeterminate musical structure. In such open works, we observe a deliberate systemization of openness—one that becomes not merely a formal characteristic of the artwork, but an entirely different mode of narrative structure and aesthetic experience.

▼二层平台，Upper floor terrace © 朱润资
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▼工艺美术专业庭院，Art School Department Courtyard © 朱润资
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在宁波古林职业高级中学的设计里，我们希望能够提供了一个类似 Umberto Eco 提出的“开放的作品”的样本。在这个校园的设计中，我们通过不同空间场景的塑造，尝试创造一个兼具‘沉浸’与‘互动’体验的空间，一个身处其中可以体会到各种可能性的校园，以实现开放性的意图。比如，在建筑群的形态上，我们采用了毯式建筑作为一种去中心化的开放的框架，使不同的功能单元可以根据学校的需求，灵活的变化。以此应对职业高中的更加复合的功能需求和增强实训室和普通教室的密切连接。在设计过程中，我们把建筑空间的叙事故事化、甚至游戏化。用“分镜设定”展开了项目的整体描述。4个专业的教学楼被称为“技能岛屿”。24个代表性的空间节点代表了通关路径上的关卡。“分镜设定”从而构成了不同时间线下的场景故事。

In the design of Ningbo Gulin Vocational High School, we aimed to create a spatial experience that reflects Umberto Eco’s concept of the “open work.” Through the orchestration of diverse spatial scenarios, the campus offers both immersive and interactive experiences—an environment where users can explore multiple possibilities and where openness becomes an architectural principle.Diverging from the isolated units in typically centralized layouts prevalent in traditional pedagogical models, the design’s mat building typology establishes continuous interior pathways linking diverse departments, informal learning spaces across various campus levels, and adaptable modular layouts capable of accommodating future needs. Using a non-orthogonal grid system and a series of connected courtyards for the educational buildings, the design interlinks the four specialized departments to promote cross-disciplinary interactions. This strategy addresses the hybrid requirements of vocational education and fosters closer integration between vocational training workshops and general classrooms.

Narrative played a central role in the design process. We developed a “storyboard” structure that guided the overall spatial composition. The four vocational teaching buildings were conceived as “islands of skill,” while 24 key spatial nodes became checkpoints along a path of progression. These storyboard sequences come together to form scene-based narratives unfolding across multiple timelines.

▼校园的设计可以是设计一个“世界观”，Designing a “World View” © 如是建筑

正如德塞图（de Certeau）所说，人们通过日常的空间实践，可以将城市空间转化为符合自己需求和愿望的场所，从而产生了独特的“使用者的空间”。我们希望当师生们穿梭在学校中，每个人都可以创造属于自己的故事。宏大或平凡，平行或交汇，独立或交织。我们希望这些开放的叙事里充满了偶然的事件、即兴互动的瞬间、不被限定的开始和不确定的结局。

As Michel de Certeau writes, “every story is a travel story—a spatial practice,” and “space is a practiced place.” Through everyday spatial practices, people transform urban space into places shaped by their own needs and desires, giving rise to what he calls a “space of the user.” Inspired by this idea, we hope that as teachers and students move through the school, each person can create their own narrative—whether grand or ordinary, parallel or intersecting, independent or intertwined. These open-ended narratives are envisioned to be filled with chance encounters, moments of spontaneous interaction, unbounded beginnings, and unresolved endings.

▼校园里面的故事线和内容按照学生的自我探索展开，故事有着开放式结局，不被限定的开始或结束，Storylines and plot developments unfold through the students’ daily encounters and path selection. All stories are open-ended in this open campus, without a predetermined beginning or ending © 如是建筑

西湖区双桥36班九年一贯制学校｜West Lake District Shuang Qiao Primary School and Kindergarten

设计位于西湖大学旁的九年一贯制学校与幼儿园项目时，我们发现随着教育系统的革新，单一功能的教学空间越已难以满足学科融合、教学多样性与体验式学习等需求。因此，在不突破规范和基本功能组成的基础上我们试图寻求一种不同的空间组织模式。我们希望能创造一个面向不同年龄段、富有开放性、包容性与生命力的校园环境，让学生在空间中学习，在场所中获得成长的体验。

▼西湖区双桥36班九年一贯制学校剖面图，Sectional drawing of West Lake District Shuang Qiao Primary School and Kindergarten © 如是建筑

In designing the new K–9 school and kindergarten adjacent to Westlake University, we sought to create an open, inclusive, and vibrant campus that supports multiple age groups, allowing students to learn through their environment and grow within their surroundings. Our aim was to explore an alternative spatial organization that complies with all regulations and functional demands while breaking free from conventional design paradigms.

▼西湖区双桥36班九年一贯制学校施工照片，construction photo of the West Lake District Shuang Qiao Primary School and Kindergarten © 朱润资

我们构建了一个连续开阔的平台，让学生在穿梭在不同课程之间能够在平台上奔跑、游戏、互动。连续、开阔的平台系统将不同年级的教学楼体串联，形成交流的教学之间的场所。平台下方错落布局着多层次的庭院与公共空间，让学习在自然中发生，让探索融入日常场景。通过空间重构，我们希望将学习从单一的教室中解放出来，使校园成为寓教于乐的理想场所。

We designed a continuous and expansive platform that allows students to run, play, and interact as they move between different classes. Beneath the platform, students can enjoy a variety of distinctive courtyards and public spaces, enabling them to learn within nature. This continuous, open platform system connects the teaching buildings of different grade levels, creating an in-between space where students are free to move, play, and engage with one another. The platform serves not only as a circulation path, but also as a place—a generator of diverse educational experiences. Below it, layered courtyards and public areas are thoughtfully arranged, allowing learning to occur amidst nature and exploration to become part of everyday life. Through this spatial strategy, we aim to liberate learning from the confines of the classroom and transform the campus into an ideal environment where education and play are seamlessly integrated.

▼西湖区双桥36班九年一贯制学校施工照，Construction photo of the West Lake District Shuang Qiao Primary School and Kindergarten © 朱润资

▼西湖区双桥36班九年一贯制学校模型，model of West Lake Shuang Qiao Primary School and Kindergarten © 如是建筑

跨学科合作与实验设计｜Interdisciplinary collaboration and Experimental design

对我而言，跨学科的协同创作一直是我对设计更深入理解与表达的渠道。2017年，我与徐冰老师及科学家团队在Chat GPT-2的时代共同发起了《人工智能无限电影（AI-IF）》这一实验电影项目。我们称它为“三无电影”：无导演、无编剧、无演员。这个项目不单单是一个具体的作品，而是一个能根据观众实时选择产生无限变量的开放式系统。不同于传统电影, 《人工智能无限电影》的开放的框架赋予了每个观众实时生成符合他们要求的电影叙事的可能。这种方法与我建筑实践中构建开放框架的思维在本质上都是对创作结构的重新书写——通过叙事或算法驱动的实时生成系统，重构作者、观众与叙事结构之间的关系。

▼《人工智能无限电影》， AI-IF (Artificial Intelligence-Infinite Film)

For me, interdisciplinary collaboration has always been a crucial path to gaining deeper insights and richer expression in design.

In 2017, together with Professor Xu Bing and a team of scientists, we launched an experimental film project “AI-IF (Artificial Intelligence-Infinite Film)”. We call it a “three-no film”: no director, no screenwriter, and no actors. What makes this project truly fascinating is that the film is not a singular creative project, but an open system that generates infinite variations based on the audience’s choices in real time.

This approach shares the same methodology as our architectural practice of building open frameworks. Both involve a structural rewriting—whether through narrative or algorithm-driven real-time generative systems—that reshapes the relationship between authorship, spectorship, and narrative structure.

▼《人工智能无限电影》在上海浦东美术馆展出现场，2021-2022，AI-IF (Artificial Intelligence-Infinite Film) exhibition at Shanghai Pudong Art Museum, 2021–2022

▼《人工智能无限电影》在平遥国际电影展首次公开放映，现场观众参与互动并提问，平遥国际电影展，2021，AI-IF’s public premiere with audience interaction and Q&A at the Pingyao International Film Festival, 2021

▼观众在使用GPT-2算法的互动操作界面体验《人工智能无限电影》，平遥国际电影展，2021，Audience engaging with the AI-IF through the interactive interface powered by GPT-2 , Pingyao International Film Festival, 2021

▼徐冰团队《人工智能无限电影》AI电影片花与展出现场，Movie trailer of the AI-IF (Artificial Intelligence-Infinite Film) and Exhibition at Museum of Art Pudong (MAP)

在Hartell Gallery展出的 “Polyphony”（复调）这个人机交互声像装置作品中，我尝试通过表演、声音和图像中实时生成的反馈循环（feedback loops），拓展人们对物理空间的感知，并探索人与数字空间的互动可能。虽然Polyphony并非建筑作品，但这个跨界创作实则蕴含了我对建筑的诸多思考：包括建筑中人与多重边界的关系、随身体感知而变化的空间、不确定性与随机触发的体验路径、运动与记忆的关联，以及多作者协同设计的可能性。尽管作品运用了前沿技术，但技术本身在这个作品里并不是最重要的。我更为感兴趣的是对这些相较而言难以算法化的因素的探索。

In “Polyphony”, an interactive audiovisual installation exhibited at the Hartell Gallery, I explored how real-time feedback loops—generated through performance, sound, and image—could expand our perception of physical space and probe the possibilities of human interaction with digital environments. While “Polyphony” is not an architectural work in the conventional sense, it embodies many of my reflections on architecture: the relationship between the body and multiple boundaries, spaces that shift with embodied perception, experiences shaped by uncertainty and chance encounters, the interplay between movement and memory, and the potential for collaborative authorship. Though the project employs advanced technologies, technology itself is not the focus. What interests me more are those elements that resist easy algorithmic reduction—elements that remain elusive, embodied, and emergent.

▼“Polyphony”（复调）展览，Hartell画廊，2016，“Polyphony” Exhibition, Hartell Gallery, 2016

▼“Polyphony”（复调）是一件通过表演者、视觉影像与声音实时互馈而生成的多模态交互装置，Polyphony is an interactive audio-visual installation that generates a simultaneous feedback loop between performance, image, and sound.

▼为艺术家 Taryn Simon（塔林·西蒙）在上海油罐美术馆的表演艺术项目所设计的展览舞台（未实现），Exhibition stage design for artist Taryn Simon’s performance art project

课业之余，作为哈佛艺术博物馆亚洲策展委员会的成员，我也希望为推动更多亚洲艺术家参与到美术馆的展览与学术机制中尽一份力。在过去两年与美术馆的密切合作中，我们策划并持续推进了具有学术深度与文化意义的艺术项目与公共活动，拓展了亚洲当代艺术在国际机构中的话语空间，也促成了多样的跨文化对话与合作。这个过程也不断激发我对策展、研究与教学之间关联的思考。

Beyond my academic pursuits, as a member of the Asian Curatorial Committee at the Harvard Art Museums, I have been committed to facilitate greater participation of Asian artists within the museum’s exhibitions and scholarly initiatives. Over the past two years of close collaboration with the museum, we have curated and advanced intellectually rigorous and culturally significant art programs and public events. These efforts have amplified the presence of contemporary Asian art within international institutions and fostered diverse cross-cultural dialogues and partnerships. This process has also deepened my understanding in curating, research, and teaching.

▼2024年哈佛艺术博物馆考尔德伍德庭院举办的书法创作“飞花散雪：王冬龄书苏东坡西湖诗”， Calligraphic Art Performance by Dongling Wang at the Harvard Art Museums

机器人建造语境下的非传统建构：

在 Fiberscape 这个项目中，我和搭档顾阅运用机器人建造语境下的非传统建构方法研究和转译了海洋中的玻璃海绵的空间形态。机器人建造语境下的非传统建构是一种基于对材料性质的深入理解而产生的独特的材料集聚方式。算法在此过程中将材料性能、形态生成、环境因素、设计意图与机器人建造控制等要素转译整合，形成一套自下而上的设计体系。我们发现，区别于层级分明的现代建筑，玻璃海绵的空间结构呈现出一种去中心化的纤维集聚状态。玻璃海绵的形态生成源于不同因子（agent）之间的非线性相互作用。这些因子之间并无明显的层级划分，而是拥有各自的行为模式，并通过吸引、排斥、平行等机制不断交互，从而改变其固有的运动轨迹，最终生成疏密不一、强度各异的纤维状空间结构。基于玻璃海绵的生物特性与材料研究，我采用集群智能（swarm intelligence）与多因子代理（multi-agent）系统对这一自然模型进行模拟与转译。

Robotics Fabrication and Weird Tectonics：

Non-traditional construction in the context of robotic fabrication embodies a distinctive mode of material aggregation grounded in a profound understanding of material properties. Algorithms integrate and translate factors such as material performance, form generation, environmental conditions, design intent, and robotic fabrication controls to establish a bottom-up design framework. In the Fiberscape project, my partner Gu Yue and I explored the spatial morphology of marine glass sponges. Unlike the clear hierarchical organization common in modern architecture, glass sponges exhibit a decentralized, fiber-like aggregation. Their form emerges from nonlinear interactions among multiple agents, each operating without hierarchy and following unique behavioral patterns. Through attraction, repulsion, and parallel mechanisms, these agents continuously interact, altering their trajectories and producing spatial fiber structures with varying densities and strengths. Drawing on the biological and material characteristics of glass sponges, we utilized swarm intelligence and multi-agent systems to simulate and reinterpret this natural model.

▼机器人建造语境下的非传统建构，Robotics Fabrication and Weird Tectonics

▼玻璃海绵的纤维结构，Morphology of Sea glass sponges

▼集群智能与多因子代理系统的算法模拟，Computer simulation of swarm intelligence and multi-agent systems in Processing

▼实体机械臂建造和电脑模拟，Robotic fabrication, physical prototyping and computer simulation

机器人建造的过程实际上是算法模拟的物化和转译的过程。我们自制了定制化功能配件（customized end effector），用于实现纤维的缠绕和强化。纤维通过装有树脂的容器，在浸润后，纤维再被拖曳出出线口附着到旋转的支架上，纤维在支架上相互粘附聚集，随着树脂的硬化与纤维聚集的增多，空间结构也将一步步被强化。

这套算法系统可以应用于不同的尺度，生成柱子、墙体，甚至天桥。我们设想 Fiberscape 能在现有的垂直摩天楼之间建立一套既是交通空间、也是城市复合公共空间的水平连接系统，通过微小的操作，激活彼此隔离割裂的摩天楼。Fiberscape 基于多因子代理（multi-agent）系统，通过改变因子的行为，即可改变其形态。因此，Fiberscape 具有跨尺度、适应性的特点，能够在不同场地中，以不同形态回应具体的限制与需求。

▼Fiberscape分析与建构视频，Video of the Fiberscape project

The robotic fabrication process is, in essence, a material translation of computational simulation. We developed a customized end effector to enable fiber winding and reinforcement. Fibers are drawn through a resin-filled container; after being saturated, they are pulled through a nozzle and attached to a rotating frame. As the fibers adhere and accumulate on the structure, the spatial form is gradually reinforced with the hardening of the resin and the increasing density of the fiber network.

This algorithmic system is scalable, capable of generating columns, walls, and even skybridges. We envision Fiberscape as a horizontal connective network linking vertical skyscrapers—serving simultaneously as circulation routes and vibrant urban public spaces—activating and reconnecting otherwise isolated towers through subtle interventions. Utilizing a multi-agent system, Fiberscape’s form adapts dynamically by altering agent behaviors, offering cross-scale versatility to respond to specific site constraints and programmatic needs with tailored morphologies.

▼Fiberscape项目分析与应用场景，Fiberscape Project Computational Simulation and Application Scenarios

___________
研究与爱好
Research and Hobbies

“铭写之为建筑”

我的博士论文旨在回应自1990年代中期以来，随着建筑师与理论家对符号学作为建筑阐释与理论建构主导范式的持续反思与质疑，建筑理论中逐渐浮现的一种新的取向。通过对当代中国建筑实践中若干创新路径的研究与分析，论文试图提出一种超越单一图像或文本的理论视角，并据此将建筑重新构想为一个游移于物质性与表意性之间的场域，而非植根于符号学体系的意义系统。论文将探索几个可被称为“当代综合诗学”之开放窍眼，以此不仅推动不同铭写艺术（如书画、铭刻与造园）的叠现机制，也使这些机制得以结构化为一种特定的建筑类型——或更准确地说，一种“铭写的建筑”。

The dissertation addresses a new ethos in architectural theory emerging since the mid-1990s as architects and scholars increasingly question the theory of the sign, which has been the “primary way to interpret and theorize architecture for nearly 50 years” (Hays “From Sign to Inscription” 2). To address this recognition, this dissertation explores several openings in contemporary Chinese architectural practice for what might be called synthetic poetics, which move beyond text or image alone to investigate imbricated inscriptive practices—such as calligraphy, poetry, painting, and garden-making. Through this, the dissertation organizes and reconceptualizes architecture not as a system of signs rooted in a semiotic framework, but as an expanded field of architecture standing at the threshold between materiality and signification – an architecture of inscription.

▼孙诗宁于 Springer Publishing出版的《中国城市的绿色基础设施》中与王冰合作发表的章节，The book chapter co-authored by Shining Sun and Bing Wang, published in Green Infrastructure in Chinese Cities by Springer Publishing.

▼在《时代建筑》发表的文章 “建造与营造参数化与智能”，“Production and Projection Parametrization and intelligence” on Time + Architecture

▼在《时代建筑》发表的文章 “城市设计实践中的技术与人本”，“Technology and Humanism in Urban Design Practice” on Time+Architecure

“那些物质痕迹、历史碎片、废墟与寓言空间，能为我们重新想象过去、并为构想未来提供无限的可能。”

“Material traces, historical fragments, ruins, and allegory open up new ways of reimagining the past and creating alternative futures.”

2015年左右，在范景中老师的鼓励下，我开始接触并收藏古籍。古籍对我来说是充满生命力的。瓦尔特·本雅明（Walter Benjamin）提出的“物质主义史学史”（Materialistic Historiography）研究方法给予我深刻启示：那些物质痕迹、历史碎片、废墟与寓言空间，能为我们重新想象过去、并为构想未来提供无限的可能。

Around 2015, under the guidance of Professor Fan Jingzhong, I began to research on and collect ancient Chinese manuscripts. To me, manuscripts are full of life. Walter Benjamin’s concept of materialistic historiography is profoundly inspiring to me—his emphasis on material traces, historical fragments, ruins, and allegory open up new ways of reimagining the past and creating alternative futures.

▼与范景中、白谦慎老师看古籍（左），范景中老师讲古籍（右），Reading ancient manuscripts with Fan Jingzhong and Bai Qianshen (left), Fan Jingzhong lecturing on ancient manuscripts (right)

中国古代与建筑相关的古籍善本其实并不多。与强调建筑理论著作（Western treatises）的西方建筑传统不同，中国古代由官方系统性编纂、记录建筑营造规范的古籍仅有两部：宋代的《营造法式》和清代的《工程做法》。然而，这两部文献的编纂目的并非指导设计实践，而是旨在规范材料、人工与装饰的用量标准。尽管它们常被称为“建筑论著”，但与西方以理论体系与设计理念为核心的 treatises 存在本质区别。

In fact, there are relatively few extant classical Chinese manuscripts specifically devoted to architecture. Unlike the Western architectural tradition, which emphasizes theoretical treatises, ancient China produced only two officially compiled and systematically recorded texts on architectural construction standards: the Yingzao Fashi from the Song dynasty and the Construction Practices from the Qing dynasty. However, the purpose of these texts was not to guide design practice, but rather to regulate the quantities of materials, labor, and decorative elements used in construction. Although often referred to as “architectural treatises,” these texts differ fundamentally from their Western counterparts, which center on theoretical systems and design ideologies.

▼李明仲营造法式三十四卷，明国十四年（1925）武进陶湘刻本，Li Mingzhong Yingzao Fashi, Thirty-Four Volumes, Ming Dynasty, 14th Year of the Republic (1925), Wujin Tao Xiang Edition

研读《园冶》、《芥子园画传》、《长物志》、《素园石谱》、《十竹斋书画谱》、《绘图园林花镜》等经典古籍也让我对中国艺术所蕴含的核心方法、哲学思想与美学精神有了更深的理解。不同于西方 disegno 所强调的普适语法与比例体系，中国的绘画与园林建造往往并非基于预设的图纸或形式构想，而是在实践过程中依赖现场经验与技术判断（technē）动态生成。

In classical manuscripts such as The Garden Treatise, Treatise on Superfluous Things, Stone Companion of Plain Garden, The Mustard Seed Garden Manual of Painting, and Illustrated Garden Mirror of Flowers, one can discern the core methods, philosophy, and aesthetic attitudes that define Chinese art. Unlike the Western tradition of disegno, which emphasizes universal grammar and proportional systems, Chinese painting and garden-making are often not based on predetermined drawings or formal concepts. Instead, they emerge dynamically through embodied experience and situational technical judgment—technē—during the process of making.

▼李明仲营造法式三十四卷，明国十四年（1925）武进陶湘刻本（左）；《工程做法》清雍正十二年1734 内府刊本（右），Li Mingzhong Yingzao Fashi, Thirty-Four Volumes, Ming Dynasty, 14th Year of the Republic (1925), Wujin Tao Xiang Edition (left); Construction Practices, Qing Dynasty, 12th Year of Yongzheng (1734) Imperial Edition (right)

《白雪斋选订乐府吴骚合编》是我特别喜欢的书。《白雪斋选订乐府吴骚合编》是现存明代最后一部较大规模地集选录、评点与文献于一体的散曲选本。其中精美的二十二幅刷印插图描绘了园林中的戏台、池馆、书斋等文人聚会、作诗、听曲之所，生动呈现了曲如画、园如剧的综合艺术体验。通过对古籍的研读与版本校勘，我逐渐拓展了对中国古典建筑与园林的理解，也在当代建筑实践中发现了重新诠释它们的可能性。收藏这些古籍不仅是兴趣爱好，也与我研究方向的形成密切相关。例如，在《文衡山拙政园诗画册》中，三十一组诗与画（iconotext）分别以不同方式唤起读者对园林的体验，并在互文的回响中生成新的联想。这种图文并置而非互译的关系，通过媒介间的互文性，揭示出原本隐而未显的空间意涵，也进一步启发了我对“综合诗意”的理解。

One of my favorite books is The White Snow Studio‘s Selected Anthology of Wu Sao Collection, which contains over 200 southern opera suites performed in the Kunqu style—the last major Ming dynasty anthology integrating musical scores, critical commentary, and literary texts. The most exquisite features are the twenty-two woodblock-printed illustrations depicting garden theaters, waterside pavilions, and scholars’ studios—spaces where literati gathered to compose poetry and enjoy music. These images vividly capture the synthesis of artistic experiences: melodies becoming landscapes, gardens transforming into theatrical scenes.

Through the study and collation of classical texts, I have gradually deepened my understanding of traditional Chinese architecture and gardens, while also discovering new possibilities for their reinterpretation within contemporary architectural practice. Collecting these rare books is not only a personal passion but is also closely tied to the development of my research interests. For example, in the Painted Album of the Garden of Artless Administration by Wen Zhenming, thirty-one pairs of poetry and painting (iconotexts) evoke the reader’s experience of the garden in distinct ways, generating new associations through their intertextual resonance. This relationship—one of juxtaposition rather than translation between image and text—reveals latent spatial meanings through the intermedial interplay and has informed my understanding of what I call “synthetic poetics.”

▼《长物志》清康熙写样本（左）；《白雪斋选订乐府吴骚合编》明崇祯十年（1637）张师龄刻本（右），Treatise on Superfluous Things, Kangxi Edition (left); The White Snow Studio‘s Selected Anthology of Wu Sao Collection by Zhang Shiling, 1637 (right)

读书和实践之外，我也非常珍惜教书的经历。教学和实践对我来说是一个双向重构的过程。学生的提问与反馈往往会触发我去思考一些原本已被习以为常的判断和惯性，从而重新审视自己的设计方法和理论研究。

Outside of my studies and practice, I also deeply value my teaching experience. For me, teaching and practice are a process of reciprocal reconstruction. Students’ questions and feedback often challenge my habitual assumptions, prompting me to critically reassess my design approaches and theoretical frameworks.

▼中央美术学院，科技与媒体艺术史简史2021秋季课程讲师，Lecturer of “An Introduction to the History of Technology and Media Art”, Fall course at the Central Academy of Fine Arts (CAFA)

▼上海交通大学，2022春季城市设计课程导师，Instructor at Shanghai Jiao Tong University, Spring 2022 Urban Design Studio

▼哈佛大学设计研究生院 2018年秋季学期《公共投影》课程期末评图评委，Harvard Graduate School of Design, Fall 2018, Public Projection final review critic

___________
关于未来
About the Future

展望未来，我希望以跨学科的协同机制与复合型的思辨方式来延展建筑这个通识专业的多种可能性。

Looking ahead, I hope to expand the possibilities of what an architect can be through interdisciplinary collaboration and hybrid modes of thinking, continually pushing the boundaries of our imagination.

▼孙诗宁，Shining Sun

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