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第68期为您介绍的是建筑摄影师 朱雨蒙。更多关于他，请至：Coppakstudio，Coppakstudio on goooodgooood 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.68 introduces architectural photographer Zhu Yumeng.
More about him: Coppakstudio, Coppakstudio 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
朱雨蒙 x gooood
成为建筑摄影师的契机
A moment to become an architectural photographer
“我看建筑的时候是带着一种素人视角……通常在一瞬间触动我的地方，更多是一些外在因素，比如当时的天气，吹过脸上的一阵凛冽的风，街边流浪艺人弹奏的歌曲，洒在建筑物里里外外的光线。”
“I naturally viewed buildings with a layperson’s perspective. ……what often struck me in the moment more often was external factors—like the weather at that time, a gust of cold wind brushing against my face, a street musician playing in the background, or the way light fell in and out of the space.”
我最早在外交部工作，是一名外交官，后来又去某国际组织工作。因为一直对建筑很有兴趣，工作关系又能去到很多地方，有机会去看很多建筑。 2018-19年我在华盛顿工作期间，借机参观了很多美东的建筑。记得有次去贝聿铭先生设计的国家美术馆东馆，坐在一个角落愣神的时候，突然产生了这样一个想法：既然一直对建筑这么感兴趣，又喜欢摄影，为什么不结合一下，去试试建筑摄影？
I initially worked at the Ministry of Foreign Affairs as a diplomat and later joined an international organization. I have always had a strong interest in architecture, and my job allowed me to travel frequently, giving me the opportunity to visit many buildings. During my time working in Washington from 2018 to 2019, I took the chance to visit many architectural landmarks along the East Coast. I remember one particular visit to the East Building of the National Gallery of Art, designed by I. M. Pei. Sitting in a corner, lost in thought, a sudden realization struck me: since I have always been passionate about architecture and enjoy photography, why not combine the two and give architectural photography a try?
▼早期任职外交官、国际组织时的朱雨蒙，Zhu Yumeng in his early career as a diplomat and international organization
这就是最初的契机，一瞬间的火花碰撞。于是从2019年回国后，开始用业余时间从事建筑摄影，并且发现这件事情真的很符合我最初的期待，做起来很开心。随着业务量的逐渐饱和，又在2022年辞去工作，变成全职建筑摄影师。
That was the initial spark—an idea born in a fleeting moment. After returning to China in 2019, I started doing architectural photography in my spare time and soon discovered that it was exactly what I had envisioned. It brought me great joy. As my workload gradually increased, I eventually left my job in 2022 to become a full-time architectural photographer.
▼互舍 – 建筑设计：神奇建筑研究室，Intertwine House – architectural design by Wonder Architects
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▼虚张声势之家 – 建筑设计：察社办公室，House of Bluff – architectural design by chaoffice
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▼ARVO酒店 – 建筑设计：大料建筑，ARVO 16:30 Hotel – architectural design by DL Atelier
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这完全是兴趣驱动的一个过程，跨度也确实很大，很“不搭界”。也因为是非科班出身，我看建筑的时候是带着一种“素人”视角，当建筑从书本中的表述变成眼前的呈现，除了其自身的形体、构造，通常在一瞬间触动我的地方，更多是一些外在因素，比如当时的天气，吹过脸上的一阵凛冽的风，街边流浪艺人弹奏的歌曲，洒在建筑物里里外外的光线。更重要的是那些建筑空间的使用者，步伐匆匆的上班族，屏息凝神的展览观众，喧闹的孩子。所有这些，让一座建筑在我眼前活了起来。
这些年与众多不同建筑师合作，他们的讲解让我学会以更专业的视角去看待和解读一座建筑，补足了我工作需要的重要一环。但我依然愿意时时回到素人视角，找到最初那些感知和感动，把它呈现出来。我想这是我之所以为我的东西。
This entire journey was driven by pure interest, and the transition was quite dramatic—seemingly unrelated fields. Since I did not come from a formal architectural background, I naturally viewed buildings with a “layperson’s perspective.” When architecture transitioned from something I read about in books to something I experienced in reality, what often struck me in the moment wasn’t just the building’s form or structure. More often, it was external factors—like the weather at that time, a gust of cold wind brushing against my face, a street musician playing in the background, or the way light fell in and out of the space. Most importantly, it was the people using these spaces—the hurried office workers, the deeply immersed exhibition visitors, the noisy children. All of these elements made the buildings feel alive in my eyes.
Over the years, I have collaborated with many architects. Their insights have helped me develop a more professional perspective in analyzing and interpreting buildings, which has been an essential part of my work. However, I still make a conscious effort to return to my initial “outsider’s gaze,” to seek those original feelings and emotions that first moved me, and to present them through my photography. I believe this is what makes my work uniquely my own.
▼朱雨蒙部分建筑摄影作品，selected architectural photographs taken by Zhu Yumeng
▼朱雨蒙于拍摄现场，Zhu Yumeng at shooting
与建筑师的合作方式
Collaborate with architects
有的建筑师会有比较明确的角度要求，也有的会不作任何要求，全凭我自己的认知来拍摄。更多的人落在这个光谱的中间地带，即有一些角度要求，剩下的看现场发挥。在拍摄现场时我一定会调动起百分百的认真和热忱，因为我知道一个项目通常代表着建筑师一两年甚至三五年的心血，像自己的孩子一样珍视。将这样的信任交给了我，不容得任何马虎和懈怠。
另一方面，需要承认观众中的绝大多数人不会去到建筑现场，只依赖一套照片来建立对建筑作品的认知。从这个结果来讲，我们也肩负很重的责任去把它完整、真实、美好地记录下来。
Some architects have very specific requests regarding shooting angles, while others provide no instructions at all, giving me full creative freedom. Most fall somewhere in between—they specify certain angles but leave the rest to my interpretation on-site.
When I am on a shoot, I give it my full dedication and enthusiasm because I understand that a project often represents years of effort for an architect—sometimes two, three, or even five years of meticulous work. They cherish it like their own child. Entrusting me with this responsibility means I cannot afford to be careless or indifferent.
On the other hand, it is important to acknowledge that the vast majority of viewers will never visit these buildings in person. Their entire perception of an architectural work will come from a set of photographs. This places a great responsibility on us as photographers—to document the project in a way that is comprehensive, truthful, and visually compelling.
▼北京城市图书馆 – 建筑设计：Snøhetta，Beijing City Library – architectural design by Snøhetta
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▼北京城市图书馆 – 建筑设计：Snøhetta，Beijing City Library – architectural design by Snøhetta
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▼上海大歌剧院 – 建筑设计：Snøhetta，Shanghai Grand Opera House – architectural design by Snøhetta
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前期准备、拍摄手法与叙事策略
Preparation, approach and storytelling
条件允许的话，我会提前至少一次去到项目现场，有些重要项目从施工期开始跟踪就更好，能够充分了解这个项目和它周边的环境是很必要的。前期勘场时，我还会花很多时间去看看周围，它处在什么样的城市环境或者自然地貌中，在周边生活的是什么样的一群人，他们会成为这个建筑的使用者吗，这个建筑给他们的生活带来了什么变化吗。
每次拍摄面对不同的建筑类型，不同的周边环境，对拍摄条件形成了不同的约束，这其实是令人兴奋的。为了实现想象中的视觉呈现，需要达成什么条件，克服哪些困难，其中哪些是可以协调的，哪些不可以，也就大致有了这样一个路线图。没有哪两次的拍摄所用到的拍摄策略是完全相同的。
Whenever possible, I visit the site at least once before the actual shoot. For major projects, it is even better to follow the construction process from an early stage. Understanding the project and its surrounding environment is crucial. During my preliminary visits, I spend a lot of time observing its context—what kind of urban environment or natural landscape it is situated in, what kind of people live nearby, whether they will become users of the building, and how this structure might impact their daily lives.
Every time I shoot a project, different building types and surrounding conditions impose different constraints on the photography process. This, to me, is exciting. In order to achieve the envisioned visual presentation, I need to determine what conditions must be met, what challenges need to be overcome, and which factors can and cannot be adjusted. This forms a rough roadmap for the shoot. No two projects ever follow the exact same photography strategy.
▼百子湾社会住宅/MAD Architects，Baiziwan Social Housing – architectural design by MAD
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▼首都国际会展中心二期/Zaha Hadid Architects+北京建院，Capital International Exhibition & Convention Centre (CIECC) – architectural design by Zaha Hadid Architects + BIAD
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▼北京城市图书馆 – 建筑设计：Snøhetta，Beijing City Library – architectural design by Snøhetta
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▼时光塔 – 建筑设计：OPEN Architects, 结构顾问：奥雅纳（拍摄委托方），Sun Tower, Yantai – architectural design by OPEN, photo commissioned by Arup
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自己的摄影风格
Own photographic style
我想人对于自身的认知和标签，都是来自于他人的反馈。这些年我的照片从合作的建筑师那里得到的关键词通常是“叙事性”、“故事感”等，这也是我一直努力的方向。
我当然对于场所中活动的人是敏感的，我会注意捕捉这个场所为人的活动创造了哪些新的可能，他们在新的空间中也许会停下脚步交谈，会坐下来喝杯咖啡，或者会斜身探出墙外，看看后面是否还有新的空间。当人的这些行为因这个空间而发生，他就和这个空间产生了联系，画面也因此就显得有机。
I believe that our perception of ourselves and our personal labels largely come from external feedback. Over the years, architects I have worked with have often used keywords such as “narrative” and “storytelling” to describe my photography. These are also the qualities I strive to cultivate.
I am particularly sensitive to human activity within a space. I pay close attention to how a place enables new possibilities—how people might pause to chat, sit down for a cup of coffee, or lean out of a window to see if there’s more space beyond. When these actions take place because of the spatial design, people establish a relationship with the building, and the image becomes more organic.
▼Voyage Coffee永嘉路502号 – 室内设计：刷刷建筑，VOYAGE COFFEE Rd.Yongjia – interior design by atelier suasua
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▼荏苒堂 – 建筑设计：神奇建筑研究室，Rěnrǎn Táng – architectural design by Wonder Architects
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▼满栗台 – 建筑设计：神奇建筑研究室，Mansutai – architectural design by Wonder Architects
▼东京单向街书店 – 建筑设计：BUZZ庄子玉工作室，One Way Street Tokyo – architectural design by BUZZ Architects
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“一张照片相对于被动式观看，我更希望提供一张能让人主动式观看的照片，一张触发想象力和探索欲的照片。”
“I hope my photographs encourage active viewing—images that ignite curiosity and the desire to explore.”
其实故事感不一定画面中非要有人的，它可能是远方升起的一缕炊烟，可能是大风吹拂下的树影摇曳，也可能是被礁石阻断激起的澎湃海浪。我着迷于这些细枝末节的东西，它们让人觉得除了在定格的一瞬间之外，前前后后似乎还在发生着些什么。我希望一张照片可以不只是投喂给观众，告诉他们这画面里有什么，而更重要的是激发他们的想象，让他们想知道这画面之外还有什么。大概类似于小津安二郎提到的“余味”。一张照片相对于被动式观看，我更希望提供一张能让人主动式观看的照片，一张触发想象力和探索欲的照片。
However, a sense of storytelling does not always require human presence in the frame. It could be a wisp of smoke rising in the distance, the flickering shadows of trees swayed by the wind, or the powerful waves crashing against rocks. I am captivated by these details because they create a sense of something happening before and after the captured moment. Rather than simply “feeding” viewers an image that tells them what’s in the frame, I want to spark their imagination, making them curious about what exists beyond the frame. This is somewhat similar to the “lingering aftertaste” that Yasujiro Ozu spoke of. I hope my photographs encourage active viewing—images that ignite curiosity and the desire to explore.
▼梅里泊度酒店 – 建筑设计：BUZZ庄子玉工作室，Poodom Deqin Meri Hotel- architectural design by BUZZ Architects
▼中关村国际创新中心 – 建筑设计：MAD Architects，ZGC Forum – architectural design by MAD
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▼ARVO酒店 – 建筑设计：大料建筑，ARVO 16:30 Hotel – architectural design by DL Atelier
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▼M001住宅 – 建筑设计：过半儿 guo ban er，House M001 – architectural design by guò bàn er
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在这个维度之上，我把“真实”和“日常”作为更高层级的指导原则。我会希望把日常发生的事件中有代表性的画面呈现出来，但不太会刻意去营造或等待一些奇观。
At a higher level, I take “authenticity” and “everyday life” as my guiding principles. I aim to capture representative moments from daily life rather than deliberately staging dramatic spectacles.
▼Voyage Patisserie – 建筑设计：刷刷建筑，Voyage Patisserie – design by atelier suasua
▼《町的漫步》展览设计 – 绘造社，A Walk in the Town Exhibition – curated by DRAWING ARCHITECTURE STUDIO
▼北京市中轴线申遗改造 – 改造设计：清华大学建筑设计研究院，Beijing Central Axis Renovation by THAD
拍摄视频也是如此，我会经常和建筑师商量着加入一点叙事性的元素，让这个房子鲜活起来，饱满起来。如果有人在画面中出现，我希望他(她)不止起到一个比例参照的作用，而希望看到这个人和这个房子，各自作为一个生命体，彼此产生互动和融合。幸运的是，多数时候建筑师都会接受我的建议，并给我很大的自由度。
The same applies to videography. I often collaborate with architects to incorporate narrative elements, making a building feel more vivid and full of life. If people appear in the frame, I don’t want them to merely serve as scale references; I want to see them interact with the space as living beings. Fortunately, most architects embrace this approach and grant me significant creative freedom.
▼云洞图书馆视频，建筑设计 – MAD Architects，Cloudscape of Haikou – architectural design by THAD
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▼宏恩观展览装置视频 – 装置设计：神奇建筑研究室，Hongen Daoist Temple installation design by Wonder Architects
等待时机，还是创造瞬间？
Waiting for the moment, or creating the moment?
我会概括成是“有计划的等待”，这其实已经是创造的一部分。通常对于项目现场和周边的了解完成后，我会对如何呈现这个建筑有一些想象，想象在什么样的时段会有什么样的光线和事件，建筑物会呈现出什么样的气质。我是依据这样的想象去等待的。
I would describe it as “planned waiting,” which is, in itself, a form of creation. After familiarizing myself with the project and its surroundings, I develop a vision for how the architecture should be presented—imagining what kind of light and events might occur at different times of the day and how they shape the building’s presence. My waiting is guided by this vision.
▼板泉之野民宿与营地 – 建筑设计：大料建筑，Ban Quan Zhi Ye B & B and Camp – architectural design by DL Atelier
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我不太会刻意去安排或者创造什么，更多是顺势而为。这个“势”就是前面提到的项目现场条件，它周围的地理环境，人文特点等。提前把握住“势”在哪里，是很重要的。
I don’t force moments or artificially stage scenes. Instead, I go with the natural flow of the environment—its geographical and cultural context. Identifying this “flow” in advance is crucial.
▼坡上之家/察社办公室，House on the Slope – architectural design by Chaoffice
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越来越聚焦到人本身
Centered on people
“过程中建筑师会带我认识一个个具体的人，那些住宅的屋主，书店的主理人……听他们讲述自己的生活，和对这个空间的畅想，觉得过瘾极了……我对于项目的最终视觉呈现也有了更多具体细致的想象。”
“Architects often introduce me to real people——the homeowners, bookstore owners…..we talk about their lives and their visions for these spaces. I find this experience incredibly fulfilling……This gives me a more detailed and specific vision of the final visual narrative for the project.”
近年来感到城市化进程逐步放缓，大体量地标性建筑慢慢减少，存量项目包括改造更新以及社区营造类的数量正在增加，从粗放的建造转向更加精耕细作，从尺度上和关注点上越来越聚焦到人本身，这也是我的关注点所在。
In recent years, urbanization has been gradually slowing down, and large-scale landmark buildings have become less common. Meanwhile, there has been a rise in projects focused on renovation, adaptive reuse, and community-building. The industry has shifted from extensive, large-scale construction to more refined, meticulous craftsmanship. The focus, both in terms of scale and priorities, is increasingly centered on people——which happens to be my area of interest as well.
▼乐知学校 – 建筑设计：大料建筑，LYCEUM SCHOOL – architectural design by DL Atelier
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我拍了很多中小体量的建筑，独栋的家庭住宅，社区中的微型美术馆，临时性的书店，不到十间客房的酒店等等。过程中建筑师会带我认识一个个具体的人，那些住宅的屋主，书店的主理人，周围那些有着有趣故事的邻居。我们会坐下来一起吃饭，听他们讲述自己的生活，和对这个空间的畅想，觉得过瘾极了。因为和这个地方有了更多的情感链接，有时会试着从本地人的视角去看待这座建筑。在拍摄的过程中，我对于项目的最终视觉呈现也有了更多具体细致的想象。
I have photographed many small- to medium-scale buildings, such as standalone family homes, micro-art museums within communities, temporary bookstores, and boutique hotels with fewer than ten rooms. Through these projects, architects often introduce me to real people—the homeowners, bookstore owners, and neighbors with fascinating stories. We sit together, share meals, and talk about their lives and their visions for these spaces. I find this experience incredibly fulfilling. Developing a deeper emotional connection with these places sometimes prompts me to adopt a local’s perspective when capturing the building. This, in turn, gives me a more detailed and specific vision of the final visual narrative for the project.
▼上生新所二期细化 – 建筑设计：OVAL欧华尔顾问，深化设计：拾集建筑 ，Columbia Circle Phase II – design by OVAL + XU Studio
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▼北京市中轴线申遗改造 – 改造设计：清华大学建筑设计研究院，Beijing Central Axis Renovation by THAD
曾经有设计师提出的要求希望不要看起来全都是横平竖直的建筑影像，而更像是朋友来这里玩儿时不经意拍出的照片。这对我的拍摄观念是一次很好的解放。我开始学着跳出建筑摄影的条条框框去看待这件事情，它的本质是什么，最终目的又是什么，是否有其他的路径可以达到。
不敢断言整个建筑或者建筑摄影未来的趋势，但对我自身的表达而言，会顺着“寻找人情味儿”这个方向继续下去。我并非对宏大叙事不感兴趣，只是宏大叙事掰开揉碎，构成它的一个个词汇、标点，终归是微观的个体。
Once, I was commissioned to photograph a flagship retail store, and the designer specifically requested that the images should not all appear rigidly structured and perfectly composed. Instead, they wanted them to feel like casual snapshots taken by a friend visiting the space. This was a liberating shift in my approach. It encouraged me to step outside the conventional rules of architectural photography and reconsider its essence—what is its core purpose, and are there alternative ways to achieve that goal?
I wouldn’t dare to make definitive predictions about the future trends of architecture or architectural photography. However, in my personal practice, I will continue in the direction of “seeking human warmth” in my images. I am not uninterested in grand narratives, but when you break them down, they ultimately consist of individual words and punctuation—small, micro-level elements. At the end of the day, it all comes back to the human experience.
▼VOYAGE COFFEE杨梅竹斜街22号 – 室内设计：刷刷建筑，VOYAGE COFFEE St. Yangmeizhu – inteiror design by atelier suasua
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▼卷宗一善书店 – 建筑设计：亘建筑，Juanzong Bookstore and Yishan Books in Shunyi Beijing – architectural design by genarchitects
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▼Jetlag日夜公园 – 装置设计：CATS顾问建筑师小组，Jetlag Books Day and Night Park – design by CATS
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最波折的拍摄项目
The most challenging project
波折谈不上，但跨度最长的显然是去年完成的北京艺术中心。从第一次工地拍摄，到完工后冬天和春天各一轮竣工拍摄，再到夏天筹备拍摄的视频，跨度有一年半多，去了不下十次。由于建筑体量的原因，每次的拍摄都需要前前后后的许多协调工作，投入了非常多精力和心血。
I wouldn’t call it particularly challenging, but the longest project I have undertaken was last year’s Beijing Arts Center. From the first construction site shoot to two rounds of completion photography in winter and spring, followed by video production in the summer, the project spanned over a year and a half. I visited the site at least ten times. Due to the building’s scale, each shoot required extensive coordination and effort, demanding a great deal of energy and dedication.
▼北京艺术中心 – 建筑设计：北京建院 + SHL + Perkins&Will，Beijing Performing Arts Centre – architectural design by BIAD + SHL +Perkins&Will
点击这里查看更多，Click HERE for details
我本是个喜欢新鲜刺激的双子座，这次拍摄对于我的耐心也是个很好的磨练。我需要一次次回到现场，在早就熟悉的空间中寻找新的角度、新的事件和灵感。这个过程中，我慢慢发现自己在和这座建筑一起成长，看着它准备好自己，开门纳客，也在和北京的副中心一起生长，从一片新规划的荒地到种满绿植，人们逐渐迁徙到周边来生活工作，周末来这里踏青。我感到和这座城市发生了更多链接。
▼北京艺术中心视频，Beijing Performing Arts Centre video
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As a Gemini, I naturally seek novelty and excitement. This project, however, was a great exercise in patience. I had to return to the same location again and again, revisiting familiar spaces while searching for new angles, fresh events, and unexpected inspirations. Over time, I found myself growing alongside the building—watching it prepare to open its doors and welcome visitors. Simultaneously, I witnessed the transformation of Beijing’s sub-center, from a newly planned empty land to a green space where people gradually moved in to live and work, where families came on weekends for a stroll. I felt a deeper connection with this city.
▼北京艺术中心 – 建筑设计：北京建院 + SHL + Perkins&Will，Beijing Performing Arts Centre – architectural design by BIAD + SHL +Perkins&Will
点击这里查看更多，Click HERE for details
Coppakstudio的工作日常，以及建筑摄影的未来
A typical day of Coppakstudio and the future of architectural photography
我2019年创立www.coppakstudio.com，副业到全职，算在一起是第六个年头了。目前工作强度还是比较大的。去年有九十多次飞行，加上高铁的出差就更多。我的一天只能用很无趣的八个字描述：白天拍摄，晚上修图。摄影说到底还是个体力活，我只能说因为喜欢，所以乐在其中。
I founded www.coppakstudio.com in 2019, and transitioning from a side hustle to a full-time career, I am now in my sixth year. Currently, my workload remains quite intense. Last year alone, I took more than ninety flights, and even more trips by high-speed rail. My daily routine can be summed up in eight simple words: shoot during the day, edit at night. At the end of the day, photography is still a physically demanding job. But since I love it, I truly enjoy the process.
▼朱雨蒙在工作中，Zhu Yumeng at work
有必要把快速变化的建筑行业和摄影技术作为事实予以承认，即随着技术进步，建筑摄影也许会消亡，或者也许内容会发生变迁，变成了其他形式的存在，就像忒修斯之船。我觉得也是顺势而为吧。人类从在山洞里生活的时候就有观看图像的需求，这个本质不会变。未来也许我们手上使用的工具变了，生产出的交付品不同了，但是围绕“观看建筑”这个大的命题，我猜应该还有很多可以做的事情有待挖掘。
It is necessary to acknowledge a reality: with technological advancements, architectural photography may eventually become obsolete, or its nature may evolve into something entirely different—just like Theseus’ Ship. I believe the key is to adapt to change. Since the earliest days of humanity, even when people lived in caves, there has always been a fundamental need to view images. This essential need will not disappear. In the future, the tools we use may change, and the final deliverables may take new forms. However, as long as the overarching theme remains “seeing architecture”, I believe there are still many possibilities to explore.
▼朱雨蒙个人照，Portrait of Zhu Yumeng
对未来的希冀
Aspirations for the future
首先，我的影像风格不算特别学术，也不是特商业。如果说有特点，大概是始终保持那种“普通人”的视角，去拍摄普通大众也能解读并能产生共鸣的建筑照片。我希望自己的照片能在建筑专业和普通人之间架起一道桥梁，这也是今后会继续努力的一个方向。
另一个想法，是想更多拍摄生长中的建筑。完工后一两年甚至更长时间的使用之后，建筑变成了什么样子？甚至对于竣工照片的拍摄，当空间落成之后，相比空空荡荡干干净净，是否考虑空间的使用者/运营者进驻一段时间，有了他们自己的气息之后再拍？
第三是，我想利用前面提到的这些技术进步，逐步简化拍摄装备。在拍摄心态上，依然保持认真和虔诚，但在拍摄行为上，我坚信“苦大仇深”的笨重拍摄方式，难以获得轻盈的照片。
First, my photographic style is neither highly academic nor overtly commercial. If I had to define a characteristic, it would be my commitment to maintaining a “layperson’s perspective”—capturing architectural images that both professionals and everyday people can interpret and resonate with. I hope my work serves as a bridge between architectural expertise and the general public, and I will continue to strive toward this goal.
Another aspiration is to document buildings as they evolve over time. How do they look one or two years after completion, or even after a longer period of use? When it comes to final completion photography, rather than capturing pristine, unoccupied spaces, should we consider photographing them only after the users or operators have settled in and left their mark on the space?
A third goal is to leverage technological advancements to gradually simplify my photography equipment. While I will always approach photography with the same level of dedication and reverence, I firmly believe that the burden of cumbersome, heavy gear does not necessarily lead to lighter, more fluid images.
▼野泡泡 – 装置设计：MAD Architects， Ephemeral Bubble – installation design by MAD
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▼进山的孩子 – 装置设计：大料建筑，Play with Nature – installation design by DL Atelier
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▼摘星塔 – 装置设计：众建筑，Constellation Tower – installation design by PAO
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以上三点，都是为了服务一个终极目标：
相对于把建筑拍“美”，我更在意把它拍“活”。
All three of these objectives serve one ultimate goal:
Rather than simply making architecture look beautiful, I care more about making it feel alive.
▼朱雨蒙，Zhu Yumeng
第一句话就开幕雷击了
捕捉建筑之美
DK
开幕雷击，每次进来一张黑白大像贴脸四目相对（捂脸笑）
哥们那可是外交部啊……真就干什么都会成功呗
网站不要再用黑白色色banner了，太吓人了
继续努力吧
之前看北京那几家事务所发出来的照片经常都写着朱雨蒙这个名字，以为是哪个会拍照的建筑师混成全职摄影师了，没想到是外交部的公务员，哥们也是很有生活了
那不简单哦，外交部