gooood Interview NO.32 – Chris van Duijn

gooood团队采访世界各地的有趣创意人，欢迎您的推荐和建议。第32期为您奉上的是 OMA 合伙人 Chris van Duijn 的访谈，更多关于他，请至：OMA on gooood

gooood team interviews creative from all over the world. Your recommendations and suggestions are welcomed! gooood Interview NO.32 introduces Chris van Duijn, Partner of OMA. More: OMA on gooood

出品人：向玲 | Producer: Xiang Ling
编辑团队：陈诺嘉，武晨曦，石安，盖世昕 | Editor: Chen Nuojia, Wu Chenxi, Shi An, Gai Shixin

Interview
gooood x Chris van Duijn

▼Chris van Duijn

________________
OMA的发展与设计方法
Development of OMA and Design Methodology

“OMA在不同地区的办公室均处于同一层级，每间办公室都可以利用所在地的资源，提供全套服务。同时，通过合伙人之间的合作，办公室之间可以分享知识，保证每个项目都能体现出一种OMA式的思考。”

“Our offices are all on the same level. We run them in such a way that they can provide all the services, and make use of the local knowhow. At the same time, as all partners are working together, we also share knowledge between the offices. It is important to make sure that there’s still one type of OMA thinking in the projects.”

1.
OMA已经成立40多年，在全球多个国家设有工作室。你在2014年成为OMA的合伙人，负责亚洲的业务。请问您是如何成为OMA亚洲地区的负责人的？目前您所带领的团队是怎样的？请介绍一下您作为OMA合伙人的具体分工以及OMA在亚洲发展的历史和现状。
OMA was founded more than 40 years ago and has offices in several countries around the world. Could you please talk about your experience of becoming a partner of OMA and the leader of OMA’s work in Asia? What is the team you lead like? Please describe your role and specific tasks as a partner, and briefly introduce the history and current situation of OMA’s practice in Asia.

我于1990年代中期加入OMA。当时，OMA仅在鹿特丹设有办公室，约有40名建筑师在那里工作。它是一个小规模的学术工作室，并没有建成过许多实际项目。我从实习生开始，参与了洛杉矶环球影城等项目。之后随着公司发展壮大，我的角色也在逐渐改变。2000年初，OMA建成了西雅图中心图书馆，荷兰大使馆等项目。自那时起，OMA开始从理论型事务所向实践型转变，展现出完成实际项目的能力。公司变得更为成熟和专业，组织架构也发生了改变。过去，它基本由库哈斯一人管理，运作方式十分松散。为了应对全球化的工作和大型项目，公司必须建立更好的组织结构，以承担大型项目带来的更多责任。2000年初，我们在纽约开设了第一家海外办公室。不久之后，我们开始了北京CCTV总部大楼的设计工作，这也成为了我们在中国设立公司的原因。现在，OMA在不同地区设置了越来越多的办公室，使得我们能够在工作中结合地域知识，促进国际化实践。

I joined OMA in the mid-1990s. At that time, there were about 40 architects working in the office and only in Rotterdam. It was a very compact and academic office and we were not really building a lot of buildings. I started as an intern in those days, working on projects such as Universal Studios in LA for instance. Then the office developed and also my role. Around the beginning of 2000, OMA got a lot of projects built, such as the Seattle Central Library and Netherlands Embassy. So OMA transformed from a more theoretical office to an office that could show that it could actually do real projects and finish them. It was becoming more mature and more professional and the organization of the office changed. Previously, it was an office basically run by Rem in a very loose way. It was important for the office to become better organized in order to work globally and do big projects, because big projects also mean more responsibilities. That was also the moment when we started to grow and had the New York Office first of all, which started in the early 2000s. And soon after that, we started to work on CCTV in Beijing and it was also a reason for us to open an office in China. So we worked originally only from Rotterdam and then we increased the amount of offices. Thus we were able to work with local knowledge and combine it with our international practice.

▼洛杉矶环球影城模型，model of the Universal Studios in LA ©Hans Werlemann

2000年开始，OMA从一个个人工作室成长为了一家合伙人共同管理的公司。20年前，这种变化开始发芽，而在过去10年中，它逐渐成为了一种十分稳定的架构。现在我们有八位合伙人一起管理公司的各项事宜。这些合伙人各有所长，或负责不同的地理区域。以我个人为例，五年前，我决定成为香港办公室的负责人。在那之前，我一直在全球各地奔波，而现在我主要在香港工作，管控所有的亚洲项目。亚洲的工作氛围十分不同，这让我们很是振奋。在这里，工作节奏更快，而且更关注什么可为，而非什么不可为，氛围整体来说更加乐观。如今，香港办公室从一开始的20人扩展到了现在的50人，既有人来自大陆，也有人来自香港或其他国家，大家在不同尺度的项目上通力合作，共同完成从早期概念竞赛到项目执行的全部工作。值得一提的是，OMA在不同地区的办公室均处于同一层级，没有总部和子公司之分。每间办公室都可以利用所在地的资源，提供全套服务。同时，通过合伙人之间的合作，办公室之间可以分享知识，保证每个项目都能体现出一种OMA式的思考。

中国办公室主要由建筑师、规划师、以及一小组支持人员组成，他们来自15个不同的国家和地区。我们将员工分成小型团队，每个团队中包含不同国籍的初级和高级设计师，共同完成富有创意的工作。技术层面的设计贯穿项目始终，尽可能保证项目的执行符合最初的设计理念。

The beginning of 2000 was very important for the office as it was expanding and the organization changed from a one-man office to an organization of a partnership. It began 20 years ago and during the last 10 years we have been very stable in that sense. Now we have a partnership of 8 people, meaning that we share the ownership and the control on the office and everybody has his specialism or geographical focus. In my case, five years ago I decided to pick up the opportunity to run the Hong Kong office and work on all projects in Asia from Hong Kong, while previously I was working all over the world. We were just very excited because the atmosphere of working in Asia is very different. It is much faster and it is more about looking at what is possible, not what is not possible. So it was a much more optimistic drive in general. We have now grown the office originally from 20 to currently about 50 people. We have Chinese people, Hong Kong people, international people and we do projects of all scales and everything. We do early concept competitions in Hong Kong and also the execution. I think that is important because our offices are all on the same level. There’s not a head office and satellites. We run them in such a way that they can provide all the services, and make use of the local knowhow. At the same time, as all partners are working together, we also share knowledge between the offices. It is important to make sure that there’s still one type of OMA thinking in the projects.

In China, most of our people are architects and urban planners, and we have a small group of support people. We have about 15 nationalities in the office. We usually work with rather small teams, where we combine some junior and more senior people with different nationalities. They’re all creative people. They design and work on the technical parts, and are engaged in all stages of a project. In that way we try to ensure that the thinking goes hand in hand with the development and the execution.

▼北京CCTV总部大楼，OMA在中国成立办公室的契机（点击这里查看更多）
CCTV Headquarters in Beijing, from which OMA established its office in China (click HERE to view more)

“我们会以设计模型向业主提出大量设计想法，在过滤完所有信息之后，我们才会开始真正的设计。这是一个相当复杂而艰难的过程。”

“We work with model of elimination where we try to think quite broad in terms of ideas. We filter the information and then start the actual design. It is quite an elaborate process before we actually get to do the design work.”

2.
请介绍一下OMA在实际项目中的设计方法
Can you talk about the design methodology of your practice?

OMA并没有某种特定的形式语言或风格。在开始一个新项目的时候，我们总是从使用者的视角入手。使用者可以是工作和生活在项目中的人，也可以是项目周边的城市居民。设计不仅关乎建筑物本身，还与建筑如何被使用有关。如何能够让项目更有意义，为人们提供使用面积之上的价值？它是否能为其所处环境带来更多趣味，或是为特定公司或产业带来更多价值？思考项目的意义和贡献是设计的第一步，这需要我们与业主紧密合作，对基地文脉和特定产业进行详实的调研分析，理解其在世界上的发展潮流。我们希望在这一阶段可以引入尽可能多的利益相关者。最理想的情况是业主在早期就加入，其定位更像是设计的伙伴。我们会以设计模型向业主提出大量设计想法，然后一起对这些想法进行验证。有时我们会提出20个概念供他们反馈。在过滤完所有信息之后，我们才会开始真正的设计。这是一个相当复杂而艰难的过程。

We don’t have one specific formal language or style that we are known for. We always start a new project from the perspectives of the user. The user could be the people who work or live in the project but also the inhabitants of the city around it. From all the perspectives we try to design the architecture. So it’s not only about the object, it is much more about how the building is being used. How can this project be meaningful or relevant beyond providing just the square meters that people want? Can it be more interesting for its immediate surroundings or can it be more interesting for that specific company or industry? Thinking what meaningful relevant contribution can be is basically the first step. And that is based on working together closely with the client, but also doing analysis studies on the context or the specific industry, trying to understand what are the trends in the directions the world is heading to. And we like to involve a lot of stakeholders. Ideally, the client is involved very early and we like to see them more as a partner in the design. We also work with model of elimination where we try to think quite broad in terms of ideas and then we test the ideas with the clients. Sometimes we give them 20 ideas and they react. We filter the information and then start the actual design. It is quite an elaborate process before we actually get to do the design work.

▼OMA部分项目，selected projects of OMA

________
建筑与城市
Architecture and the City

“如果一个项目本身足够优秀，那么随着时间流逝，它自然而然会成长为一座地标。”

“If a project is good and appreciated and used well, it can grow into a landmark over time. ”

1.
OMA设计的许多项目都成为了城市中的地标。请介绍一下对于不同城市中的大型地标类项目，OMA一般是如何着手设计的？如何看待标志性项目与城市环境的关系？
Many of OMA’s projects have become landmarks in their cities. How does OMA generally begin a large-scale project in a specific city? How do you treat the relationship between a landmark and its city?

OMA的所有项目基本都与其所处环境有所关联。地标与城市的关系是项目设计中最重要的考量。我们的建筑十分城市化，而我们的城市设计项目则带有许多建筑特征，这使得我们的项目通常都与当地环境有着紧密的连接。

人们认为OMA的许多建筑都是“地标”，但是在我看来，“地标”其实并不是一个建筑术语。它是一个纯粹的政治术语，而且大多时候其目的仅仅是为了获得最多关注，导致了许多没有意义的设计。我们一般不会在这方面花费太多心思，而是把注意力集中在建筑和城市设计的需求本身。建筑如何能与其所处的城市区域、客户和使用者密切关联，并为他们带来价值？你不可能在一开始设计的时候就抱有项目会成为热门地标的野心。它必须有与这一地位相应的品质，而不是仅仅在表面上让人惊叹。如果一个项目本身足够优秀、受使用者和大众喜爱并且运营良好，那么随着时间流逝，它自然而然会成长为一座地标。

All our projects can always be explained from the context. The relationship between the landmark and the city is one of the most relevant considerations for a project. Our architecture is very urban, and our urban project is very architectural. That’s why our projects often have very strong connection with the local context.

A lot of our buildings are considered landmarks but I think landmark is not an architectural term actually. Landmark is purely a political term and actually in many cases often leads to very irrelevant design, in which the only purpose is to get maximum attention. We usually don’t want to work too much with such terms and we simply look at what the building or the urban design needs, how relevant it can be for that part of the city, or this client, or those users. You can never start designing a building with the ambition that this will become a popular landmark. It has to deserve that. It should not become a superficial type of project that is only about first impression or wow effects. If a project is good and appreciated and used well, both the daily users and those who pass by, I think then it can grow into a landmark over time.

▼OMA的“地标”项目 -Axel Springer园区办公楼（点击这里查看更多）
“Landmark” project by OMA – Axel Springer Campus (click HERE to view more)

▼OMA的“地标”项目 – RAI NHOW酒店（点击这里查看更多）
“Landmark” project by OMA – RAI NHOW Hotel (click HERE to view more)

“我们的许多项目都在讲述故事，试图将叙事性与使用者的体验结合在一起。相反的元素相互补充是一种帮助我们实现设计理念的有效方式。”

“Many of our projects tell a story. They have a narrative and we try to connect that narrative with experience for the users. Using two opposite elements complementing each other is a very good tool in this sense.”

2.
在德国Axel Springer园区办公楼和和韩国Galleria百货公司大楼项目中，OMA都在规整的建筑体块中植入了不规则的晶体状结构；台北表演艺术中心则创造了一个巨大的球形体量。这种异质化设计的依据是什么？它们对于所处的环境和人们的生活会产生怎样的影响？
In the projects of Axel Springer and Galleria Gwanggyo, OMA inserted irregular, crystal-like structures into the solid building structures; while for the project of Taipei Performing Arts Center, a huge, spherical volume was created. What is the basis for such “heterogenous” designs? How do they impact the environment and the life of people from the surrounding communities?

我们的许多项目都在讲述故事，试图将这种叙事性与使用者的体验结合在一起。它和不同使用者之间的关系有关，如建筑内的人和街道上的行人；也关乎城市与建筑之间的不同尺度，以及项目的不同功能。为了让人们可以读懂这个故事，你必须要创造某种特定的层级，清晰地展现出两个对立的元素，二者相互关联、相互补充。规则与不规则的形状对比便是常用的塑造此种层级的手段之一。在Galleria项目中，主体块为简洁的方形，应对城市和经济功能。业主希望得到一座最为高效的百货商场，因此建筑是方形的。方形体块能够完好地融入城市环境，真正成为周边区域的活力中心。同时，我们加入了晶体形状的对比元素，它为项目带来了一般百货商场中所没有的零售体验。它创造了一种创新的体验，并且在建筑内的使用者和街上行人之间建立起了强大的关联。看着这两个相互对立的元素——一个坚固、厚重而封闭，一个裸露在外、极度通透——你可以快速理解建筑和周边环境之间的关系。因此，让相反的元素相互补充是一种帮助我们实现设计理念的有效方式。

Many of our projects tell a story. They have a narrative and we try to connect that narrative with experience for the users. It is also about a relation between different users, like people inside the building and people on the street, and also between different scales of the urban and the architecture, and the program. In order to make that story readable, you have to make use of certain hierarchy so that people could clearly understand that there are two opposites that complement each other and relate to each other. Having the regular and irregular shape is one of those tools that you can use to make such a hierarchy. In terms of the Galleria project, there is a very simple cube as main massing which has a very urban function as well as economic function. The client wanted to have the most efficient department store, which is a square footprint. Also the cube works very well in the urban context, where it really became this clear epicenter of its surroundings. At the same time, we have this contradicting element with this crystal shaped roofs. It gives the project this kind of special retail experience that the typical department store doesn’t have. It creates an innovative experience and at the same time there is very strong relation between people in the building and people on the street. Basically, with two opposite elements – one very solid and heavy and opaque, and one extremely visible and exposed and transparent – you quickly understand the relation between the building and the surroundings. The two opposite elements complementing each other is a very good tool in this sense.

▼Galleria百货公司大楼，方形体块与晶体结构形成对比（点击这里查看更多）
Galleria Gwanggyo with opposite elements of a cube and crystal-shaped roofs (click HERE to view more)

▼通透的晶体结构使建筑内外形成关联，transparent crystal-shaped structure creating connection between inside the building and the city context

台北艺术中心则截然不同。建筑由一个方块和一个球体组成，没有使用超常规的形状，十分纯粹。我们使用正规的、仪式感的体块，却在它们的组合上内外对调，一改传统的剧院样式。标志性的球体元素悬挂在道路上方，下方车辆穿流而过，原本供人享受演出的仪式空间成为了公共领域的一部分，行人甚至可以看到坐在剧场里的观众。这又一次在城市空间和建筑内公共仪式空间之间建立起了强烈连接。这个项目中有两个简洁的体量，一个是不透明的封闭金属球，另一个是通透的、包含所有流线和服务功能的立方体，二者形成鲜明对比。此外，封闭形状之中的活动可以被外界看到，以一种全新的类型呈现出建筑的概念。

In Taipei it is very different. We don’t have this very extraordinary shape. They are all very pure. There is the cube and there is the ball. There is this kind of box that is hanging outside. We use these very formal, ceremonial volumes and its composition in such a way that we change the traditional theater and turn it inside out. This very symbolic element hanging outside and lifted over the roads – the ceremonial space where people enjoy the play – is part of the public realm with streets passing underneath. You can almost see people sitting in the theatre and enjoy the show. It is again establishing a much stronger relationship between the urban space and the public ceremonial spaces inside the building. We still use very simple volumes, but one is the opaque, very enclosed metal ball, versus the cube, which has all these transparencies and layers hosting all the circulation and back of house program. It is also the contrast between what is transparent and visible in terms of activities, verses this solid shape, that presents the concept of this building as a new typology.

▼台北艺术中心，不透明的球体与通透的方形体块形成对比，Taipei Performance Art Center, opaque ball contrasting with the transparent cube

“为了激发公司之间的协作，首先要创造丰富的场景，不是简单地将办公室放在种满植物的公园里，而是要创造一个整体环境。”

“In order to stimulate synergy between different companies, it’s important to have a wide range of variety of different conditions. It is more about creating an entire environment than just offices in a green park.”

3.
随着中国科学技术的发展，许多科技产业园区应运而生，OMA在这些园区中设计了杭州光棱、成都独角兽等项目。您认为科技园区里的建筑应该具备怎样的品质？相对国外，中国科技园区有着怎样的特色？OMA是如何通过建筑设计促进产业发展的？反过来，高新科技、数字产业等对于建筑设计会产生怎样的影响？
With the development of science and technology, numerous industrial parks have emerged in China, among which OMA has designed projects like Xinhu Hangzhou Prism and the Unicorn Island in Chengdu. What kind of quality do you think the architecture in the mentioned parks should have? In comparison to foreign countries, what do you think can be the characteristic of a technology park in China? How does OMA impact the industrial development positively through its architectural design? Conversely, how do high-tech enterprises and digital industries influence architectural design?

创意产业园对我们来说是一个很重要的主题，对于现阶段的中国尤甚，因为这里有很多机遇。看看硅谷这类传统创新园区，你会发现它们和我们正在讨论的创意产业园极为不同。由于没有经过中央规划，这些传统园区目前普遍遇到了瓶颈，其中的公司难以进一步发展壮大。现在，我们有机会继承这些园区的优秀品质，并且从它们所面临的问题中吸取教训。中国有着中央规划的悠久传统，可以将从政府部门到创新公司的不同产业结合在一起。然而，中国正在进行的许多创意园区项目依然建立在交通的基础上，与传统商务园区别无二致，没能有效利用硅谷中可以找到的优点。在OMA的项目里，我们十分看重不同公司之间协作的可能性。我们希望创造不同公司都可以共用的空间，让它们有机会实现各种正式或非正式的会面，这是传统商务园所不具备的特质。商务园中，道路和红线更多是将人们分隔开来，而非促进合作。创意产业虽然身处数码领域，但线下会议和实体制造依旧十分重要。尽管听上去有些矛盾，但是它们依然需要物理上的亲近。为了激发公司之间的协作，我认为首先要创造丰富的场景，从室外的休闲绿地到高效的会议中心、办公空间，以及空间之间的微小节点。这不是简单地将办公室放在种满植物的公园里，而是要创造一个整体环境。在我们的创意产业项目中，无论地点、规模，无论是单体建筑还是区域规划，我们都希望提供这样的环境。

I think this is a very important subject for us, especially in China at this moment, because there are a lot of opportunities. There’s a very big contrast when you talk about innovation parks if you look at the traditional innovation parks like Silicon Valley, which were not planned on any central level. But because they were not planned, now they basically suffocate. It becomes very problematic for companies to grow in these conditions. There is now the opportunity to learn from this and to actually undo the problems but also make use of the good qualities that it offers. In that sense, China has a tradition of planning centrally very well, combining all these different industries from governmental to the innovation industry and so on. However, if you look at many of the projects that are being planned in China, they are still very much based on transportation, so in the end many of those innovation areas look like traditional business parks. It’s not making use of those good qualities that you can find in Silicon Valley. In our projects, we find it very important to make sure that between different companies, there is a possibility of synergy. We would like to create spaces where different companies join, where they can meet formally and informally at its bases, which are often not the case in traditional business parks because of all those roads and plot lines that separate them rather than make them work together. Synergy is very important, and in this innovation industry there is still a very strong need for physical meetings and physical making of products although they are working in a digital realm. It’s a bit of paradox that there are still needs for physical proximity. In order to stimulate that I think it’s important to have a wide range of variety of different conditions from the very informal green outside to very efficient meeting centers, office spaces, and also all these little steps in between. It is more about creating an entire environment than just offices in a green park. In our projects in innovation industry worldwide in all scales, whether it’s a single building a huge master plan, it’s what we try to provide.

▼创造整体的创意办公环境 – 杭州光棱（点击这里查看更多）
Create integrated environment for innovative work – Xinhu Hangzhou Prism (click HERE to view more)

▼创造整体的创意办公环境 – 成都独角兽（点击这里查看更多）
Create integrated environment for innovative work – Unicorn Island in Chengdu (click HERE to view more)

以德国的Axel Springer项目为例，我们创造了一个中央空间，供所有人分享他们的数码工作。新媒体公司的主要工作是交流。人们在线上交流，每个人都坐在自己的家里、咖啡厅里或工位上，盯着自己的屏幕，人与人之间的互动越来越少。在这个项目里，我们设计了一个公共中庭作为办公空间，为公司内部和不同公司之间的人们提供交流的可能，这对于传统公司来说是不能允许的。一家公司可以同时拥有典型的办公室和此类极度休闲的空间，员工可以自行决定是在传统的办公隔间，还是开放露台办公。一开始的时候，公司们还会犹豫是否应在巨大的办公中庭里工作。现在，它们都把办公地点转移到了这里，因为人们喜欢这种数字合作环境。从这个意义上来说，建筑确实可以激发创意。

Axel Springer for instance. We created this central space where all the people can actually share their digital work together. Most of the work the new media building and the company does is communicating. They communicate online and digitally but it becomes less and less interactive because everybody is sitting behind his own little desk at home, in a café or in an office, staring at the screen. In this building, we have this common atrium space which is actually a work space. There is possibility for interaction for people between different companies and within companies that a traditional office would not allow for. They can have their classical office and this kind of extremely informal places both in one company. They can decide during the day whether they want to be using the typical cell office, or working on those terraces. Companies which were originally a bit hesitant about working in that large work atrium place are now all moving to that area because they really appreciate the environment of this kind of digital collaboration space. I think in that sense, architecture can actually stimulate innovation a lot.

▼Axel Springer园区办公楼，创造办公中庭（点击这里查看更多）
Axel Springer Campus, creating a working atrium (click HERE to view more)

▼中庭内的活动示意，activities in the atrium

“我们希望让摩天大楼在不同尺度上与周边发生关联。人们不仅能从远处看到大楼，也能在近处与建筑直接互动。”

“What we are often trying to do with skyscrapers is to make a project that relates to all scales. Not only from far away, but also make buildings related to the immediate surroundings.”

4.
近年来，OMA在中国沿海中标了一系列大型项目。请以一些项目为例，谈谈如何处理超高层建筑与城市尺度的关系。如何让大型项目成为城市的公共客厅，促进人与人的交流？
In the past few years, OMA has designed a series of major projects whose sites are located along the coast of China. Taking some relevant projects as examples, please talk about how to deal with the relationship between high-rises and urban scale, and how to make large-scale projects a public living room that can promote people’s interaction and communication.

总体来说，我认为摩天大楼几乎是一种城市类型，对深圳这座由摩天大楼组成的城市来说更是如此。它们是天际线的一部分，远远就可以被人看到。但是当你走近一栋大楼的时候，它变成了一个占据城市空间的障碍物，并没有真正为当地环境或城市特征做出贡献。这里的问题在于大部分摩天楼都依照裙房和塔楼的类型开发，周围环绕一小块绿地。我们希望让摩天大楼在不同尺度上与周边发生关联。人们不仅能从远处看到大楼的形状或建筑内的办公空间，也能在近处与建筑直接互动。以前海环球贸易中心为例，我们试图在建筑的四个方向上做不同处理，使其在大尺度上呼应途经的高速公路和四周的公园道路；并设置地下体块，让游客可以无障碍地进入建筑、直达裙房顶层。它不仅是一座矗立在城市里的建筑，还带来了城市性，使人们在进入大楼时感受强烈。我认为这是我们在设计城市以及高层建筑时所面临的挑战。

I think skyscrapers in general, especially in Shenzhen which is a city of skyscraper, is almost an entire urban typology. It’s very visible from far away and it’s part of the skyline. But the closer you get to it, the more it only becomes an obstacle that occupies space. It doesn’t really contribute to local or a specific urban identity. The problem is that most of the buildings in this type of development are all based on podium and tower typology, and a little bit of green space and streets around it. What we are often trying to do with skyscrapers is to make a project that relates to all scales. Not only from far away, or the work space inside the building, but also make buildings related to the immediate surroundings. For instance, in the Qianhai Global Trade Center project, we try to make a skyscraper that has very different relations to all four sides that have relation to the large scale, to the highway passing by, but also to the park strip around it, to the underground volumes allowing public to enter the building all the way up to the top levels. It is not just a building standing in the city, but also something that introduces urbanity that people can enjoy so that there’s also intensity when going in. And I think that is the challenge for designing urban, or tall building or skyscrapers in cities.

▼前海环球贸易中心，建筑与城市的关系分析，analysis drawing of Qianhai International Trade Center, relationship between the building and the urban context

▼前海环球贸易中心，不同立面回应不同的城市环境，Qianhai International Trade Center, different facades responding to different urban environment

前海国际金融交流中心（IFEC）虽然不是摩天大楼，但也是一个关于建筑城市性的好例子。项目为会展中心，位于前海一座主要公园和交通中心之间。通常来说，会展中心是公共建筑，但是从城市的角度上来看，由于一年中的大部分时间没有被使用，这类建筑经常成为城市中的障碍物。在IFEC中，我们尝试将其变为一栋十分城市化的公共建筑，与CBD一侧的交通枢纽建立实际联系，每天可以迎接成百上千人到来；同时，建筑还在公园侧创造了宽敞的室外连廊，直接与建筑核心区域相连。借此，建筑真正成为了公共空间的一部分，彻底消解了建筑与城市之间的界限。

IFEC is another example. It is not a skyscraper. It is between a major park in Qianhai and a central transportation hub. It’s a conference center and typically a conference center is a public program. But in urban terms it often becomes an urban obstacle because in most part of the year, the building is not in use. In IFEC, we try to make it into a very urban, very public building, by actually having this relationship between the station hall where hundreds of thousands of people arriving every day and the park with that very generous outdoor connection passing right to the heart of the building. By that it really makes the building a part of the public realm. Again here, the boundary between the architecture and urban space completely dissolved.

▼前海国际金融中心，以不同的形式回应公园和城市界面，IFEC Conference Center, responding to the park and the city in different ways

“我们的建筑并不是纯粹的建筑，还会加入城市、产品设计、舞台设计和功能规划等方面的思考。”

“Our architecture is not purely architecture, meaning we think in urban, in products design, and also in scenography and programming.”

5.
除了大型项目，你也会设计小尺度的室内和装置，不同尺度的项目会分别采取怎样的设计策略？如何体现OMA的设计特征？
In addition to large projects, you also cope with small-scale projects including interiors and installations. How do you decide the strategies for projects of different scales? How do these strategies reflect OMA’s identity?

我们的工作覆盖从小型室内项目到城市设计的不同尺度。作为建筑师，我们接受的训练让我们可以处理所有尺度的工作。建筑项目十分缓慢，有些项目从概念到建成要经历八年、十年、甚至十五年时间。与之相对，我们可以花几个星期就设计一场展览或一次时装秀。“一周设计、三周完成”的项目可以很好地刺激我们的灵感。这些短平快的小型项目也是我们的设计实验室。你可以提出一个直觉性的概念，然后在小项目中验证其在空间上的可行性。将小尺度项目与我们平时做的传统建筑和城市项目结合在一起是一种十分有趣的尝试。我们喜欢跨学科工作，因此我们的建筑并不是纯粹的建筑，还会加入城市、产品设计、舞台设计和功能规划等方面的思考。

For us, we work on all scales from indeed the small interior project to the urban scale. As architects we are trained to work on all those scale. What is important is that architecture is very slow. We have projects that take eight, ten, sometimes fifteen years from the concept until its completion. For instance, doing an exhibition design for a few weeks or a fashion show design like we do for Prada, is very nice because it’s stimulating to design a project for one week and finish it three weeks later. These fast and small scaled projects can also be used as a design laboratory. You can make an instinct concept and check how it works spatially. It is very interesting to combine small-scaled projects with the kind of traditional architecture and urban scales that we also work on. We like to work cross disciplines, so our architecture is not purely architecture, meaning we think in urban, in products design, and also in scenography and programming.

▼Prada时装秀，在小尺度项目中试验设计想法，Fashion Show for Prada, testing design ideas in small-scaled project

____________
改造与可持续设计
Renovation and Sustainable Deisgn

“比起区分黑与白，我们更关注在不同的灰色地带中寻找可能性。”

“What we are interested in is the different possibilities in between all these different shades of gray, other than black and white.”

1.
西澳大利亚博物馆BOOLA BARDIP以及北京尤伦斯当代艺术馆都是在旧建筑的基础上改造和扩建的项目，上海上生新所项目则是对一片城市区域进行改造。OMA如何看待新与旧的关系？如何在为历史建筑和地区注入新活力的同时，保留其原本的特色?
WA Museum Boola Bardip and UCCA are both projects that are renovated or expanded from an existing building; while the Shanghai Columbia Circle project is renovated from a comprehensive urban area. How does OMA look on the connection between the old and the new? How can we breathe new life into historic buildings and neighborhoods while retaining their original characteristics?

建筑改造也是我们工作的重要组成部分。放眼全世界的历史保护区域，你会发现城市中需要保护的区域数量正在呈指数级增长。人们越来越需要找到合适的方案，处理现有的街区、建筑或小型特色构筑物。我们在欧洲负责此类工作的时间较长，但它在亚洲、尤其是中国，也逐渐成为了一个重要的主题。有趣的是，对于一件事物是否应该保留的判断会随时间发生很大变化，这是一个十分主观的因素。在中国高速城市化的背景下，这也成为了我们设计上海上生新所的重要考量之一。这些建筑在当下也许没有建筑价值，但它们形成的建筑群十分独特，其中既有30年代的美丽建筑，也有90年代的楼房，因此我们需要以更加富有创意的方法来应对。从世界范围内的保护项目来看，保护主义者主张保留建筑真实的样貌，建筑师则希望建造一些东西，为项目带来新生。当这两种观念混合在一起时，便出现了两种对立的态度，一种尝试尽可能保留原貌，另一种则想要新建更多。比起区分黑与白，我们更关注在不同的灰色地带中寻找可能性。

I think working with existing buildings is quite a large part of our work. If you look at the history of preservation areas worldwide, you’ll see that the amount of area that is of cities and being preserved grows exponentially. There are more and more needs to develop strategies: how to work with existing neighborhoods, buildings or smaller features? We’ve already been working on that in Europe for a little bit longer, but more and more, this becomes a very important subject in Asia and in China specifically. What is also interesting is that the decision of what to preserve, or what not to preserve is changing very much over time. It’s a very subjective element. The speed of urbanization is so high in China, and I think that’s also one of the important items when we worked on Columbia Circle. The buildings may not have an architectural value today, but the entire compound is quite unique. In that sense, we should try to be more creative with all of the buildings, the beautiful monuments from the 30s, as well as the buildings from the 90s. If you really look at preservation projects worldwide, the preservationists preserve, keeping things authentic; while the architects build things forward, as they say, the new life. The moment they start mixing, suddenly there are these two opposites, where one is trying to preserve maximum, the other is trying to build new maximum. What we are interested in is the different possibilities in between all these different shades of gray, other than black and white.

▼新与旧的混合 – 西澳大利亚博物馆Boola Bardip（点击这里查看更多）
Mixing of new and old – WA Museum Boola Bardip (click HERE to view more)

在米兰的Prada基金会项目中，除了100%保留的历史建筑和100%的新建筑，我们还创造了许多介于二者之间的设计。一些新建成的物体看上去很古老，而一些历史物件则被赋予了新颜。内与外、新与旧的交错共同形成了一个新的项目。创造更加开放、广泛的解决方案是我们对于改造项目的兴趣所在。面对原本的建筑和环境，我们试图以更富创意的方式为其带来新的特色和生命。这是我们设计保护项目时所面临的挑战之一。

For instance, the project of Fondazione Prada in Milan. It’s a project where we have 100% preserved buildings and 100% new buildings. We also have a lot of in between, where all things are newly constructed that look old, and we have old things that actually look new. These inside and outside, old and new are creating one new project as a whole. I think that is what we’re interested in, trying to create a more open, more broad repertoire of solutions. It includes existing buildings and existing contexts, but we try to be more creative in giving it a new life and new identity. That is one of our challenges that we see in working with preservation projects.

▼新与旧的混合 – 米兰Prada基金会（点击查看：Prada基金会总部1，Prada基金会总部2）
Mixing of new and old – Fondazione Prada in Milan (click to view more: Fondazione Prada in Milan 1, Fondazione Prada in Milan 2)

▼新与旧在建筑中难以区分，you cannot tell the new from the old in the building

“可持续设计不是要让建筑看上去很绿，而是要在设计的早期阶段就考虑好低技和高技的解决方案。”

“Sustainability is not about making buildings look green, but it’s more about in the early stage of the design thinking about both low-tech and high-tech solutions.”

2.
在哥本哈根的BLOX综合体项目中，特别提到了一系列针对丹麦建筑能耗规定采取的节能设施与技术。对于体量巨大且复杂的项目，OMA在提升建筑能源效率方面有着怎样的经验和心得？如何平衡夸张的体量与节能需求之间的关系？
In the BLOX complex in Copenhagen, a broad sustainability vision has been developed to meet Denmark’s advanced low-energy requirements. What experience does OMA have in improving building energy efficiency of massive and complex projects? How to balance such gigantic volumes with the need of energy saving?

BLOX项目的建设恰逢2009年COP15——一场位于哥本哈根的气候峰会举办，业主迫切希望突破建筑在节能方面的界限。当时，虽然设计已经完成，但是我们还是仔细审查，寻找哪里可以比平常做得更好。从那时起，可持续性便成为了我们每一个项目设计的整体考量之一。上周我们的Springer项目刚刚获得了钻石认证，这是柏林对于办公建筑的最高评级。欧洲的可持续设计起步较早，亚洲仍处于发展阶段。可持续设计既高技又低技，往往始于简单的朝向设计和体块整合，因此我们通常会组建一个由传统和专业顾问组成的团队，从设计的第一天就开始思考如何以最有效的方式减少对环境的影响。

The BLOX project was important because it was in 2009 with the COP 15, which was the big Climate Summit in Copenhagen, and the client really wanted to push the boundaries. The design was already existing, but we were investigating what we could do more than the usual. I think from that moment, sustainability has been, basically in all our projects, an integrated part of the design. Last week we just received the Diamond Status for the Springer project, which is the highest status you can get for an office building in Berlin. In Europe designing for sustainability started a bit earlier, and in Asia it’s still in development. It starts usually with very simple things about orientation and massing compactness. The interesting thing is that it is both high-tech and low-tech. We usually build a team with traditional and special consultants, and start from day one we think about what are the most significant way to reduce the impact on the environment.

▼BLOX综合体外观（点击这里查看更多），external view of BLOX (click HERE to view more)

在BLOX项目中，我们开发了一套滴流通风系统，使得建筑在一年中仅会消耗极少的能源，同时让在办公室里工作的人们能够根据自己的需求增加或减少通风量。这是在传统办公建筑上的一次提升。比较讽刺的是，我们经常会看到许多项目的效果图上P满了绿植。然而，将植物运上塔楼并保持它们存活产生的二氧化碳量，远超这些植物转化氧气的能力范畴。可持续设计不是要让建筑看上去很绿，而是要在设计的早期阶段就考虑好低技和高技的解决方案。

In the case of BLOX, for instance, we have developed a trickle ventilation system, which means that throughout the entire year, we can use very little energy. But also it means people who work in the office can control for themselves if they like to have more or less ventilation. It’s an improvement to the traditional office. I think it is perhaps a bit ironic thing that a lot of the projects that you see today are all photoshopped with green. However, the effort you need to have green high up on these vertical towers, the carbon dioxide that it takes to put all the trees there and keep them alive are more than the carbon dioxide that those trees will ever turn into oxygen. It’s not about making it look green, but it’s more about in the early stage of the design thinking about both low-tech and high-tech solutions.

▼立面和细部，采用新的通风系统，facade and details, using new ventilation system

________
结构与施工
Structure and Construction

“我们希望可以将其他产业中的部分发现和技术带到建筑项目里，帮助其反抗重力。”

“We like to bring in some of the technologies and findings in other industries into the architectural project and try to defy gravity.”

1.
OMA独特的设计往往伴随着复杂的结构难题，北京的CCTV大楼便是一例。请介绍一下结构是如何介入和影响OMA的设计工作的。
The uniqueness of OMA’s design is often accompanied by sophisticated structural challenges as in the case of the CCTV building in Beijing. How does structure intervene and influence OMA’s work of design? Please share some experience.

我们十分喜欢研究结构来对抗重力。一方面，我们希望赋予建筑叙事性，让它们表达一些意义，而有些时候，结构是实现这个目标的重要手段。同时，我也发现建筑专业并没有什么创新性。几个世纪以来，我们一直在使用同样的钢结构、混凝土结构和石头盖房子。但是看看其他产业，它们在应用新技术上更具创造力。在海运业中，它们会使用巨大的悬臂、吊车和其他可操作元素；而在航空业中，它们可以做出极为轻巧和智能的产品。我们希望可以将这些产业中的部分发现和技术带到建筑项目里，帮助其反抗重力。这是建筑所要面对的挑战之一。

We like to work with structure and with gravity a lot. On the one hand, we would like to give buildings a narrative and make them explain something, and sometimes it’s important in a composition to do that. At the same time, I also think that our profession in architecture is not known for being very innovative. We keep on building the same steel structures, concrete structures and stone buildings since centuries. While you see that in other industries, they are much more creative and innovative in applying new technologies. If you look at the maritime industry, they have these large cantilevering, operable elements and cranes. And also in the aviation industry, they do things with very light weight and intelligent solutions. We also like to bring in some of those technologies, some of those findings into the architectural project and then try to defy gravity, which I think is one of all these challenges in architecture.

▼Prada基金会Torre大楼，采用对角线型结构（点击这里查看更多）
Torre -Fondazione Prada, a diagonal structure emerging from the rear of the building (click HERE to view more)

在Prada基金会项目中，我们使用了泡沫铝板。这种材料强度很高，航空业中会用它制造火箭，也可以在国防和军事工业中见到其身影。用它制成的夹层板重量极轻，且极具刚性。我们与一家德国的科学机构共同开发了一种方式计算此种夹层板的结构表现，结果显示在同等重量下，它比传统钢结构更加坚实。然而，这又涉及到建造之前的认证，而认证一种新的解决方案往往要花费数年时间，使得问题变得更为复杂。有时，你只能取得很小的进步。Prada基金会是我们与实验室合作测试新产品的项目之一，在此之前，这种材料从未被运用在建筑结构之中。

通常，在竞赛设计一开始的时候，我们就会与结构工程师合作。他们会对我们的小想法做出迅速回应，确定其是否可行。为了得到有趣的解决方案，我们需要在项目早期就与结构工程师保持紧密合作。

For instance, in the project of Fondazione Prada, we have aluminum foam, which is a product that was used in the aviation industry in rockets, and also in defense and military because it has a very big impact. And if you make sandwich panels of that, you can make very light weight sandwich panels and have an enormous rigidity. We developed with a science institute in Germany a way to calculate the structural performance of these sandwich panels, showing that it’s actually stronger than the traditional steel structure with the same weight. However, you always come to the point that you need to get certificates before construction. That is often where things become complicated because certifying new solutions is usually a process that can take many years. Sometimes it’s only very small step that you can take, not the large ones. This is one of those examples where we worked with laboratories on testing these products. It has not been applied to an architecture before with a structural contribution.

Usually, when we work in a competition, we work with the structural engineer from day one. They immediately response to a small idea and then decide whether we can do this or do that. It’s in a very early process that we work with structural engineers on interesting solutions.

▼Prada基金会总部，结构采用泡沫铝板，Fondazione Prada in Milan, using aluminum foam for structure

“中国公司有着强烈的提升欲望，它们渴望学习、成长，变得更好、更创新。”

“There is a strong drive to improve in China. Companies want to learn, to grow, and become better and innovate.”

2.
在中国，为了实现施工与设计的高品质对接，OMA做出了哪些努力？有哪些经验？
What efforts has OMA made in China’s projects to achieve high-quality design and construction simultaneously? Please share some experience.

从2003年我参与CCTV项目开始，中国的施工品质发生了很大改变。当时是我第一次来到中国，施工水平尚不及现在，建成10年的建筑看上去仿佛已有50年历史。这种情况改变得很快，许多立面公司已经可以做出与德国公司同标准的高科技、组织严密、干净整洁的产品。然而，不同地区的公司之间仍有着很大的落差，因此你需要找到合适的合作伙伴。在发展过程中，中国公司有着强烈的提升欲望，它们渴望学习、成长，变得更好、更创新。

在UCCA美术馆改造项目中，我们与一家名为White Glass的公司合作建造了项目的立面。当时我们做的事情恐怕只有在当下的中国才能完成。我们开发了一种流动的玻璃，几乎不用模具就可以制作，每块玻璃都拥有各自不同的三维起伏，无需框架支撑。从设计到开始施工，我们只有三个月时间。这家公司开发了各种方式，思考如何将设计概念转化为技术和产品。他们带来的提案和样品一开始也许会有错误和问题，但是会立刻更正，最终在有限时间内出色地完成了这项工作。这种对于开发独特定制产品的巨大热情令我感触颇深。据我所知，没有一个项目能在如此短的时间内完成此种规模的建造。

I think that the quality of construction in China has changed a lot since when I was involved in the beginning of CCTV which was in 2003. It was the first time I visited China. The quality of construction was not so good as it is today. Buildings that were 10 years old looked as if they were 50 years old. Things have changed very fast. A lot of those facade companies, for instance, now have the same standards as you would find in Germany. Basically, it’s all high tech, super organized and clean. Their quality standard is very high. At the same time, there was still a very big contrast between those companies and the typical quality level you’ll find elsewhere. You have to find the right partners. I think in this development there is a strong drive to improve in China. Companies want to learn, to grow, and become better and innovate.

For instance, we worked with a company called White Glass for the UCCA project for the facades. There we did something that I think is only possible in China today. We developed this idea of fluid glass almost without making molds, making every panel unique and having this three dimensionally corrugated glass without any mullions. We only had three months from the design to the start of the execution of the construction. There the company did really great work by developing all kinds of ideas, thinking about how that concept could be translated into technology and products. We managed to do that in this very short period of time. We worked with them. They came with proposals and made samples. Maybe in the first run, there were some problems and errors. But then they were fixed immediately after. It was great to see that there was so much interest in developing bespoke, unique products. As far as I know, it has not been applied in architecture on that scale with a very limited time available.

▼尤伦斯当代艺术中心改造，使用定制的曲面玻璃（点击这里查看更多）
UCCA Regeneration, using bespoke fluid glass (click HERE to view more)

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中国的城市化与乡村建设
Urbanization and Rural Development in China

“即便目前我们已经找到了非常高效的模式，但我们依然能够为城市设计的类型赋予各种各样的可能。”

“What it needs is much more variety in typology, but also in density, that we have different types of urban designs next to the current model that is already working very efficiently.”

1.
中国目前仍然处于高速城市化的进程中，OMA希望通过设计为中国城市带来怎样的影响和变化？
As China is still in the process of rapid urbanization, what kind of influence and change does OMA hope to bring to China’s urban environment through design?

根据中国城市规划的模型，中国的城市化以基础设置建设为根本，同时控制着许多参数和变量。这种模式可以让大规模的开发变得高度可控，我认为是非常可取的。然而现在的问题是，随着时间的推移，这些地区将如何发展？它们的可持续性如何？以欧洲为例，欧洲在上世纪50和60年代也经历了大规模的发展，在最开始的20到30年间，其发展的成效有目共睹。然而在这之后，衰退的问题逐渐显现。到了今天，大部分当时的开发项目正面临着被拆除的结局。因此，如何能让项目经受住年岁的考验是一个重要问题。以数量为基础的开放应当如何创造质量？这对于现有的、近期正在开发的乃至未来的城市项目而言都是一项挑战。中国现在也正经历着从“以数量为导向”到“以质量为导向”的转型，思考着如何以不同的方式来营造城市，突破以道路网络和裙房塔楼为主的开发模式。它所需要的不仅是原型上的多样性，还有密度上的多样性：即便目前我们已经找到了非常高效的模式，但我们依然能够为城市设计的类型赋予各种各样的可能。我们需要有更多的创意。

I think the urbanization in China is due to the Chinese model of urban planning, which is based on the infrastructure, and controlling a lot of the parameters and quantities. It has enabled a very controlled way of development of large areas, which I think is great. But the question now is how will these areas turn out over time? And how sustainable are these urban developments over time? If I look at Europe, where there were also large developments made in the 50s and the 60s, we see that they have turned out to function for the first 20 or 30 years. But after that, there was some decline, and actually, at the moment, most of them are being torn down. So I think it’s important to understand how can these projects grow old in a good way and how can this kind of quantity-based development create quality. I think that’s a challenge for both the existing, and the recently developed areas, but moreover, the future urban project. At this moment there is also a transition happening in China in thinking from quantity driven to quality driven, and thinking about different ways of urbanity, beyond the model I just explained, which is dominated by the road network and the podium tower typology. What it needs is much more variety in typology, but also in density, that we have different types of urban designs next to the current model that is already working very efficiently. We need more creativity there.

▼米兰Scalo Farini规划设计（点击这里查看更多），Scalo Farini in Milan (click HERE to view more)

▼弹性的经济发展策略，elastic economic developing strategy

人们之所以会去世界上不同的城市旅游，比如巴塞罗那、巴黎或纽约，是因为人们期待某种特定类型的街头生活。中国的街道体验是完全不同的，因为它们是基于非常本地化的参数而发展起来的。上述城市都经过了数十年的发展。如果想要让城市发展出自己的文化，你必须给予它们充分的时间，而城市化带来的巨大压力让时间变得十分紧迫。在项目的初期阶段就考虑这些问题是非常重要的，我想这也是我们还可以做得更好的地方。

在我们做过的一些项目中，比如上海市中心的石库门住宅区等，如何利用当地特征的确是一项挑战，因为你还要考虑开发新塔楼和新商业街区的压力。就目前我所看到的情况而言，这已经成为了政府优先考虑的问题，即寻找更加智慧的解决方案，而非只保留外立面，然后在立面背后大规模开发商业。我们需要制定更多策略，而不是在单纯的保留之后，再在旁边建造一座新的建筑。我们应当找到一些更具开放性的方式来应对既有的建筑，对于新的建筑也是一样。这不是一个非此即彼的问题，我们可以创造出另一种能够让边界变得不再明显的原型。我认为这是中国可以迈出的一步，因为它确实有机会、也需要这么去做。

In many cities in the world, you go there because you expect a certain type of street life, for example the streets in Barcelona, Paris or New York. In China the street experience is completely different, because they have all been developed on very local parameters. At the same time, these cities have grown over decades, and you have to give it time to grow its own culture. Considering that the pressure of urbanization is so high, there is not much time. It’s very important that it has already been done in the early stage. I think that’s where we can do much better still.

In some of the projects we’re doing, for instance, in downtown Shanghai, you have the Shikumen housing blocks, etc. Making use of those local qualities is really a challenge because on the other hand, there is the pressure of developing new towers and new commercial blocks, etc. I think at the moment, what I see is this is becoming a priority on the agenda of the government to find more intelligent solutions than only preserving the facades and building large scale retail behind it. At the same time, we need to develop more strategies than purely preserving and then building new next to each other. We should find ways where we have more open attitudes to work into existing buildings, and to new buildings. So that is not either or, but we can create topologies that blur the boundaries much more. I think that step could be taken in China because there is the opportunity and the needs to do so.

▼上海上生新所，创造更加丰富的空间策略，Columbia Circle in Shanghai, developing various space strategy

▼城市发展机遇分析，opportunity analysis in this urban area

“乡村也可以发展出不同的类型，这取决于它们自身的不同潜力。”

“There is possibility for development of different typologies for the countryside, depending on their potential.”

2.
城市建设之外，OMA也曾与中国高校合作，对中国的乡村进行了调研。您认为中国的乡村发展有着怎样的特点？是否会成为OMA在中国发展的机遇所在？为什么？
In addition to urban practices, OMA has also cooperated with Chinese colleges and universities in researches on China’s rural areas. What do you think are the characteristics of rural development in China? Will it be an opportunity for OMA’s further practice in China? Why?

这个问题涉及到我们做过的一些乡村项目，还有相关的一些展览和出版物。从我们找到的所有例子中，我们可以看见中国是极少数制定了明确战略来加大乡村发展力度的国家之一，它很清楚乡村的潜力，以及认真投资和规划乡村的必要性。世界上很多国家都只关注城市化而完全忽略了乡村。在我看来，乡村也可以发展出不同的类型，这取决于它们自身的不同潜力。我们一直在和中央美术学院等院校合作进行该领域的研究，并且有意向将这一研究继续推进下去。在未来，或许我们会开发出更多与乡村有关的设计项目。

This question relates to the countryside projects or exhibition and publication that we did. From all the examples that we have found, we can see that China is one of the very few countries where there is a real strategy to develop the rural areas more, understanding that actually there’s the potential, and also the need to invest and plan it well. In many parts of the world, the focus has been to urbanization only, and the countryside was completely ignored. I think there is possibility for development of different typologies for the countryside, different types of villages, depending on their potential. We have been working with CAFA amongst others on those studies. We have the intention to follow up on this research in China, and perhaps also developing more design projects in the future.

▼OMA在古根海姆美术馆举办的乡村研究展览，OMA established an exhibition on countryside study in the Guggenheim Museum

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OMA的未来展望
Future expectation of OMA

请谈一谈未来OMA在中国乃至整个亚洲地区的发展计划。
What are OMA’s future plans for developing in China and other parts of Asia?

抛开每个人都要面对的疫情问题，我们依然看到亚洲及中国市场有着许多机遇。我们可以负责不同类型的建设，包括公共项目、城市发展、历史保护以及乡村振兴等等。从小尺度的室内设计到超过500万平米的总体规划，从高层塔楼到文化项目，我们的工作范围十分广阔。在前海，我们有一个展览于12月18日开始展出；此外，我们还在设计接近300米的塔楼以及IFEC会议中心和酒店。在杭州，我们正在设计一栋位于未来科技城中部的多功能建筑。在厦门，一栋总部大楼正在进行中。我们还为创意产业提供多种多样的总体规划方案，成都便是一例。我们也设计小型室内项目，其中一个位于澳门。希望未来我们可以在中国和亚洲其他地区找到更多机遇，创造更多有趣的作品。

Despite all the pandemic problems that everybody is facing, we still see a lot of opportunities in Asia and in China, specifically for us, to work on the subjects that we can be relevant for, which include public projects, urban developments as well as preservation and countryside. We are working from the small interior scale to the large master planning scale of 5 million square meters or more, the tall towers and the cultural projects. In Qianhai, we have the opening of an exhibition on Dec. 18th. We’re working on a 300-meter-tall tower in Qianhai. And also on IFEC which is a conference center and hotel. In Hangzhou, we have a mixed-use building in the middle of the future Tech City. We are working on a headquarter in Xiamen. We do various master planning projects for innovation industry, such as one in Chengdu. We are working on small scale interior projects, for instance, in Macao. We’d like to find more opportunities to do some interesting development works in China and in other parts of Asia.

▼OMA部分中国项目 – 招商蛇口太子广场（点击这里查看更多）
Part of OMA’s projects in China – Prince Plaza (click HERE to view more)

▼OMA部分中国项目 – 上海陆家嘴金融城展览中心（点击这里查看更多）
Part of OMA’s projects in China – Shanghai Lujiazui Harbor City Exhibition Center (click HERE to view more)