OFFICE真相专辑 NO.33 — waa未觉建筑

世界上有趣，创新的事务所及工作室在一个怎样的环境中以怎样的模式进行工作？
gooood为您奉上<OFFICE真相>专辑。本期是第三十三期，waa未觉建筑

What do the most interesting and innovative design offices in the world look like?
OFFICE FACT reveals the working method and the environment of them for you. This is the No.33 episode, waa

非常感谢 waa未觉建筑 予gooood分享以下内容。更多请至：waa on gooood 
Appreciations towards waa for providing the following description:

出品人：向玲 / Producer: Xiang Ling
编辑：武晨曦，石安，亓慧 / Editor:  Wu Chenxi, Shi An, Qi Hui

▼视频，Video
（全文深度采访见下方文字。视频为4分钟精华版，建议选择1080p高清版本观看）

_________
从伦敦到北京
From London to Beijing

张迪：我是高中二年级的时候去的英国，在谢菲尔德完成了本科。毕业之后第一年我在伦敦一家事务所找到了工作。工作一年之后，我去Bartlett读了master，然后在Foster工作了三年。我在Foster第二年的时候拿到了注册建筑师的执照。第三年的时候，我们当时在做的项目是MIT阿布扎比分校（Masdar），从它的master plan到第一期的建筑都是我们小组参与完成的。这个项目完工之后，我就辞职离开Foster了。有一次去建外SOHO见一个朋友，看到了带屋顶平台的房型，觉得环境特别好，所以就租下来开始做自己做事了。因为我妈妈也是设计院的，所以刚开始她帮我对接了一些特别小的项目。当时我们只有几个人，半年多以后Jack来中国旅行，当时我就说要不然你跟我一起，然后几个月之后他也离开Foster来北京了，一直到现在。

Di Zhang: I went to England in my second year of high school and completed my undergraduate degree in Sheffield. The first year after graduation I got a job in a London-based practice. After a year of work, I went to Bartlett for my master study and then worked at Foster + Partners for three years. I got my registered architect’s license in my second year at Foster. In my third year, the project we were working on was MIT Abu Dhabi (Masdar), and after it was completed, I left Foster and went back to China. I remembered when I visited a friend who was also an architect, there was a rooftop terrace in that office in Jianwai SOHO, and I thought the environment was pretty good. Later I rented an office in the same property and started my own business. There were only a few of colleagues at that time. When Jack came to China for a trip half a year later, I invited him to join us, and a few months later he left Foster and settled in Beijing, and has been doing so ever since.

▼张迪和Jack Young是大学同学，也是在Foster事务所时期的同事，Di and Jack were schoolmates, and also colleagues during their time at Foster

张迪：2010年左右我们还在建外SOHO，我们有一个室外露台，有时候把门打开，周五我们会叫所有人过来一起烧烤。后来我们去了苹果社区，租了一个双层独栋，我们把第一层留出来做了一个展厅，还办过几个小展览，之后又搬到了机电院。朝外SOHO是我们第一个最不像建筑事务所的办公场所，可能因为到了现在这个年龄段，有点折腾不动，另外项目压力和工作量也都越来越大，所以就settle到了一个正常的办公楼里面，交通方便，也不需要改造。

算上我和Jack，我们现在有14个人。事务所在这个尺度上我觉得比较好控制。因为我们是一个甲级资质的建筑事务所，所有项目都是从方案到施工完成，所以通常服务周期会比较长，人员也相对稳定。如果人特别多的话，有时候你会为了要养员工而去接项目，我还是希望我们的把控度和参与度可以更高一点。

Di Zhang: There are 14 of us in the office now, which think is a manageable scale. waa is accredited for Chinese Architect of Record Status (Grade JIA), so we usually have a long service period and relatively stable organization. I hope that we hold a higher level of control and involvement in the practice, because if there’s a large number of people, sometimes you have to take on projects in order to feed your staff.

▼waa事务所团队，waa’s team

_________________
合作：一个自我批判的过程
Partnership: a process of self-criticism

张迪：Jack是我的同学，也是我在Foster时候的同事，但我们之前并没有在一个project上工作过。他刚刚加入的时候，我们也经过了一段磨合期，到现在已经十二三年了。我们的性格和关注点都不太一样，但是我们在建筑审美上是高度一致的，所以没有什么大的分歧。从方式方法上讲，我是一个比较注重直觉和判断的人，比较坚定于自己想要的方向。Jack相对来讲思维要更发散一些，所以通常我可能会制定一个方向，然后他再来帮我发散。在这种不断碰撞的过程中，我们也会发生争执，但这也促使我们去不断地完成自我批判。所以最后我们拿出来的成果也是相对比较有说服力的。

Di Zhang: Jack is my schoolmate and also my colleague in Foster. Since he first became the collaborator around 12 years ago, we have been through a period of interchanging. Our personalities and focuses are different, but we are highly consistent in our architectural aesthetics. In terms of approach of design, I am a person who pays more attention to intuition and judgement, and is more determined in the direction I want to go, whereas Jack is a bit more open and divergent in his thinking. In the process of the collision of our thinkings, we may have disputes, but this also pushes us to complete self-criticism constantly.

▼工作中的张迪和Jack Young，Di and Jack at work

___________________
未觉建筑：想“匿名”的建筑师
waa: we architech anonymous

张迪：起名字的时候叫做we architects anonymous，我觉得anonymous是很年轻、很有意思的一个词。但是architects是一个职业，不能够拿它来当名字用，所以就改了一个有点像的词汇。anonymous其实是一个重要的点，因为我一直都觉得建筑师是谁这件事儿不是特别重要，重要的是你的作品和表达是什么样的，我们希望通过作品被大家知道，而不是通过某个人或者某几个人。建筑一定是一组人做的事情，可能每个人在每个点的角色或者位置不同，重要性不同，但它不是一个人能够完成的事情，尤其是在现在社会当中。所以很多时候大家会说“谁”的作品，我觉得那样对团队的人会有点不公平。

Jack Young：对于我们的作品本身，我希望它能够让更多人成为体验的一部分，而不是将建筑强加于人。从本质上讲，建筑的“匿名”体现在它无需与任何人或者名字联系在一起，它应当是一种不言而喻的存在。

Di Zhang: I think “anonymous” is a word that sounds young and chic. The name of our practice indicates to the fact that I always think it’s not that important who the architect is, but what kind of work and expression you make. We hope to be known through our work rather than a certain person or a few people. Architecture must be a work created by a group of people. People often regard an architecture as “somebody’s work”, which I think would be unfair to the team behind it.

Jack Young: We were trying to work in a way which allows other people to experience the building and not to impose that on people. In essence, the building should speak for itself without any need for any association with any individual or name.

▼waa事务所部分代表作，Part of waa’s representative projects

________________
讲述“建筑与情绪”的故事
A narrative of architecture and emotion

张迪：我们一直在讲“建筑与情绪”（architecture and emotion）的故事，其中“情绪”是在讲跟人的关系。这个“人”不是我们的甲方，也不一定是用户，而是在这个空间当中的每一个个体。我们希望我们的每一个建筑作品都能够使人跟他所处的环境和场景产生一种情绪上的互动，可能是通过视觉、听觉、味觉和触觉等等。有时候做建筑有点像拍电影，这些设计的手法可能都是桥段，其实到最后是希望人在场景当中能有一个情绪的反应，不一定是积极的反应，它可以是消极的，但我们希望他们“有反应”，而不是无感。

Di Zhang: We have been telling the story of “architecture and emotion”. This kind of narrative helps us infuse a sense of humanity within our work. “Human” here does not refer to our clients or even users, but to every individual in that place. We hope that each of our architectural works can make people interact emotionally with the environment they stay in. Sometimes doing architecture is like making a film. All these design methods can become a plot, and, in the end, we hope that people can have an emotional reaction to the scene, not necessarily a positive one. It can be negative, and it is much better than having no feelings.

▼waa代表作：银川当代美术馆，MOCA YinChuan
点击这里查看更多，Click HERE for details

▼waa代表作：杭州老鹰画室，The Eagle Artist studio in Hangzhou
点击这里查看更多，Click HERE for details

▼waa代表作：北京Playscape儿童成长中心，The Playscape in Beijing
点击这里查看更多，Click HERE for details

Jack Young: 在不同的设计实践中，我们可以运用各种不同的方式来“讲故事”。以银川当代美术馆为例，我们讲述的故事是一片罕有人至的土地，在一段时间内会发生怎样的变化。我们想要表达的是一种关于“地方”的叙事，人们需要去了解自己从何而来，以及建筑本身如何与它所在的景观产生直接的关联。在儿童成长中心项目里，我们讲述的是由孩子们自己创作的故事。对于平铺直叙的讲述，小孩子可能会很快觉得厌倦，但如果可以让他们在玩耍的过程中创造自己的叙事，应该会变得更加有趣。我想在孩子们的生活中，“玩耍”是唯完全能够由他们自己主宰的过程。

不同的项目会受益于不同类型的讲述方法。在一些大型项目的竞赛中，我们被要求充分了解城市，为城市带来它从前没有的东西，以及考虑如何将这些东西和人连接起来。这种类型的项目依赖于一种充满力量的叙事，它们会更容易被人理解。而另外一些项目，也是我觉得更有趣的项目类型，比如社区中心或者学校，它们会为使用者提供更多的掌控权，也就是将评判的权利交给观众，我们只需要去看他们自己如何使用这个空间。

Jack Young: There’s a number of different ways we can use storytelling in all design practice. Using the MOCA Yinchuan as an example, the storytelling was more about an abandoned that may be happened over a long period of time, which people may be not aware of about why their surroundings might look a certain way. We wanted to get across the idea of the narrative of the place, and the story being about the place itself and people learning about where they come from. How the landscape form was directly related to the form of itself.  With other projects as other types of stories we can tell, which also direct for Hide and Seek playground, the playscape, we used the story which the children generated themselves, because children aren’t really very interested in stories which are told directly, and they can get bored quite quickly. So, we give the children, the agency or the scope to create their own stories while they are playing. I suppose play is always a time of the children’s life which is under their control.

Certain types of projects will benefit from different types of storytelling. Sometimes a lot of large competitions require you to either understand the city or to bring some into the city that wasn’t there before and how you’re going to connect that to the people. So those type of projects really benefit from very strong narratives, which are easy for people to understand. Feel like you understand that place instead of people. Other projects, which I feel more interesting are the ones which we allow the user to take more control over the space. In that sense, we sort of give up the judgment to the general public and just see how they use the space. Those buildings may be sort of community centers or schools.

▼waa事务所部分项目模型，Project models by waa

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项目
Projects

银川当代美术馆：珍贵的“成名作”
MOCA YinChuan: a precious milestone

张迪：2011年我们接到这个项目。当时我们参加了西安曲江的一个的投标，也因此认识了银川当代美术馆的甲方，他邀请我们去看银川这个项目。在十几年前，政府有一段时间对博物馆和美术馆的建设是非常支持的，很多开发商会用艺术作为一个点来开发整体的板块。问我们有什么想法。我就建议说可以尝试做一个艺术的闭环，不光有美术馆，还可以有艺术家村，和一个雕塑公园。他觉得这个想法不错，就委托给了我们来做。

▼西安曲江创意谷湿地公园中标方案，QuJiang Wetland landscape competition (winner)

张迪：银美在我心里面一直占据着非常重要的位置，因为它是我们的第一个“成名作”。我觉得让我很欣慰的一点是银美一直很活跃，它不是一个停滞不前的美术馆，而是在不断蜕变。它一直在做西北的双年展，也和很多国内外的策展人和艺术家合作，可以说是西北地区最专业的当代艺术馆之一。这个项目让我们知道了怎样提供一个专业的、国际级别的艺术馆，这对我们来讲是一段很珍贵的经历。讲得大一点，我觉得它对当地也产生了重要的意义，因为它的周围环境是很美的，对于银川当地人来说，这给了他们一个很好的、在日常生活中接触艺术的机会。

Di Zhang: MOCA YinChuan has always held an important position for me because it was the first milestone of our practice. I feel appreciated that the museum has kept its vitality and continues to be self-renewed. It is the home of the Northwest Biennales and has also established partnerships with numerous curators and artists from home and abroad, making it arguably one of the most professional contemporary art galleries in the northwest region. This project has shown us how to provide a professional, international-level art gallery as a practice, which is a precious experience for us. On a larger scale, I think it has also had a significant impact on the local area because of its beautiful outdoor spaces. For the locals in Yinchuan, it gives them a great opportunity to engage with art in their daily lives.

▼银川当代美术馆，MOCA YinChuan, Ningxia
点击这里查看更多，Click HERE for details

▼流动的皱褶肌理还原了塑造当地地貌的沉积岩运动，The facade creases speak of documented time through material sedimentation

▼美术馆立面和室内空间，Facade and internal space

▼美术馆外部自然环境，Surrounding landscape

老鹰画室：“浪漫的集体主义”
The Eagle Artist studio: “romantic collectivism”

张迪：老鹰画室是一个艺术培训学校，在设计之前我其实对艺培机构不太有概念。去了现场以后才发现他们是几百个小孩聚在一个大车间里面，坐着小马扎画画，一画就是10个小时。我和Jack都挺震惊的，觉得这样的环境太封闭了。我当时最大的感受就是很想让他们“释放”，想让这些十七八岁的孩子感受他们的“青春”。我们希望创造一种人跟人之间的互动，让室内跟室外、公共和私有的界限变得模糊。学生在画画的同时，可以听到别人在打球，或者在吃饭的路上会看到别人在读书。这就是我想表达的那种“浪漫的集体主义”的状态。

▼杭州老鹰画室，项目可容纳3000个人同时上课，The Eagle Artist studio meets the requirement of 3,000 students taking classes at the same time
点击这里查看更多，Click HERE for details

张迪：在这个项目里我们需要满足3000个人同时上课的要求，再加上日照规范等等，对我们来讲其实是很大的挑战。但我们又不想把它变成一个非常刻板的校园，我们希望有人经过的地方尽量都能塑造出一种感受。

因为杭州的天气比较阴，所以我希望这些学生可以在一个相对比较光亮的、可以看到天空的环境中画画。我们在画室的位置用了PC板，做了北向窗。由于地块不是正南正北的朝向，所以我们很难做到全年都避开阴影。当时画画老师就说，必须不能有阴影，都则会影响小孩子画画。我们当时还特别做了日照分析，测出来夏天的几个月每天大约有2个小时是一定会有阴影的。但是如果调整成正南正北的话，就会损失掉很多面积，因为空间的角度就不一样了。这个事情我们也讨论了很久，后来还是按照我们的意思往下推进了。建成之后，我去现场的时候是有点忐忑的，因为我怕他们画画的感受不好。我问一个学生说，你们觉得画画的时候有阴影怎么办，他说我挪一下凳子不就好了，能看到天空是最重要的。

▼建筑中庭立面，Atrium elevation

Di Zhang: The Eagle Artist studio is a community for artist training. In this project we intended to create a kind of human interaction that could blur the boundaries between indoor and outdoor, public and private. Students can hear others playing football while they are painting, or see others reading on their way to dinner. This is the kind of “romantic collectivism” we wanted to express. In this project, we had to meet the requirement of 3,000 students taking classes at the same time, plus the sunshine regulations, etc., which was actually a big challenge for us. Meanwhile, we didn’t want to turn it into a stereotypical campus. We convinced it as a home where the individual feel connect and link to each other.

▼建筑外观，Exterior view

▼中庭空间，Atrium

▼项目整体鸟瞰，Aerial view

儿童成长中心：预料之外的“网红打卡地”
The Playscape: an unexpected “Internet-famous spot”

张迪：2018年的时候我刚刚生完孩子，我之前其实对小孩不是特别感兴趣，有了孩子之后，可能要带他去一些地方，慢慢开始了解了能带小孩子去的地方，知道了原来他们想要这样子生活、这样玩，对这样的东西感兴趣。Jack一直都是挺有童真的一个人，有一次我和他聊，说你们英国80后小时候都在哪玩。我说我们小时候最好玩的地方就是大水泥管子，整个人钻进去，堆土，挖洞。他说其实他们也差不多，然后他还给我找了好多照片，挺欢乐的。所以当时我就想到一个点，创造一个由山丘和管道构成的大地形，小孩在上面可以完全自由地玩耍。

Di Zhang: I was not the type of person who are passionate about kids. But since i had a baby in 2018, I had to take him to all kinds of places, and therefore I started to learn what children are interested in. Jack has always been a childlike person. Once I was talking to him, I asked him what kind of places you British guys used to play when you were a child. I said I remembered that the most fun place we had as kids was those huge concrete tubes, where we would burrow in and play with mud in that holes. He said they were actually similar to us, and then he found me a lot of photos that looked particularly joyful. At that time I came up with an idea: to create a big terrain of hills and pipes on which children could play with total freedom.

▼北京Playscape儿童成长中心，The Playscape in Beijing
点击这里查看更多，Click HERE for details

Jack Young: 在儿童成长中心的设计中，我们试图将一个缺失的社区，或者说一种被长期遗忘的城市生活重新植入到旧的工厂网络当中。我们将一个能够激发社区运作的元素叠加到空间当中，鼓励儿童通过体验和建筑本身来学习。起伏的山丘就是其中的一个重要元素。孩子们可以在他们觉得舒适的环境中进行探险和自我测试。山丘地形是真正的学习工具，而管道则是在此基础上的补充，同时也是将建筑连接起来的方式。我们没有对管道进行任何装饰，它们保留着原始的状态和结构。孩子们可以通过这些管道观察到他们平时发现不到的事物，从这个意义上说，这座建筑的重点并不在于其外观，而在于体验。它是一个供人使用的工具，而不是我们试图创造某种特定风格的建筑的结果。

Jack Young: The playscape was really our idea of trying to place a missing neighborhood or something which was missing for an inner city life into this old factory network. We took elements that we thought work in a functioning neighborhood, sort of superimpose them into the space. And one of the main driving factors for these components was how children learned through the experience and the building. One of the important elements is the mound. Children could test themselves and experience risk within and around, they feel comfortable with. The mound was really a tool for learning, and then also supplements on top of that is the pipes. The pipes were also a way of connecting the building together and allowing the children to explore something they can’t see around the corner.We didn’t really decorate the pipes at all. That was basically how we built them, how they perform structurely. In that sense, the building isn’t really about what it looks like. It’s a tool for people to use rather than us trying to create a building with a style in mind. The building itself is not visual. It’s about the experience.

▼场地鸟瞰，Aerial view

▼起伏的山丘和外露的管道鼓励儿童通过游戏体验自主学习，A big terrain of hills and pipes on which children could play with total freedom

Jack Young: 提到“网红”建筑，一方面，我认为网络为人获取建筑创意和信息提供了很好的平台；另一方面，这种感知只局限于我们的视觉或者想象，这其实会扭曲建筑的真实模样。但再从另一个角度看，网上的内容往往都是由喜欢这些建筑的人发布的，这至少能证明这座建筑能够满足他们的一些感官喜好。这其实是挺有意思的一件事。有时候，人们可能因为一座建筑的受欢迎程度而改变对它的评价。网络成为了人们认识建筑、提升对建筑的兴趣的一个非常有力量的渠道。如果人们因为网络而真正提高对建筑的参与度，建筑师和使用者之间因此而产生更多有趣的对话，那么我认为这对未来的建筑而言无疑是一件好事。

Jack Young: On one hand, I think the internet is a great place for people to source ideas for buildings and also promote their buildings. On the other hand, that only really works with our vision, the rest of the senses we’re imagining. In that sense, it’s quite distorted of what the real nature of that building is. But the other part is the most of the content on internet is produced by people themselves. People are not going to post this building unless they enjoy the experience. So, it must have been able to address the other five senses of that person and some of the other ones which makes them feel excited about being there. In that sense, it’s quite interesting because you’re not looking at a building purely from a critical point of view. And potentially sometimes the critics’ opinion can be actually downgraded because of people of spoken about this popularity. It’s quite empowering actually, how the internet has become a focus point for people’s interest in architecture. I think if that can really improve everyday people’s engagement in architecture, there might be more interesting dialogues between architects and people, and that can only be better for the future buildings.

▼屋面独立于建筑的室内功能而存在，The roof exists independently of the interior function of the building

▼贯穿室内外的游戏空间，Play spaces run throughout the interior and exterior

青少年科技馆：媲美环球影城的复杂度
Science Centre: Complexity that rivals Universal Studios

张迪：因为儿童成长中心这个项目，我们开始慢慢挖掘儿童的心理和行为。后来也接触到了更多以儿童或者低龄用户为对象的项目类型。比如今年我们在北京首钢六工汇有一个青少年科技馆项目，大概1万平米，需要改造一整栋楼。这个项目从开始设计到开始施工已经有两年的时间了，可能还需要再花费一年，因为它涉及的点实在是太多了。

这种类型的项目通常有个特点，就是你要想把它做得好，你就得做所有的事情，包括机电工程、精装、家具和灯具，我们需要把这些东西全部糅合在一起。你能在效果图上看到的所有事物，包括一个门把手、一个按钮、一个灯，都是由我们来指导不同的分包或者厂家去完成的，所以在协调上它是一个很大的挑战。

在复杂程度和协调难度上，能和这个科技馆相媲美的，我想只有环球影城了，因为科技的主题其实是非常宽泛的。我们在欧洲或者美国看到的科技博物馆或者展览馆，主要是以大空间做装置为主，但国内现在其实对环境的需求要比国外更高，它可能还更希望更华丽一些，更适合拍照一些，所以我们是要在打造场景的同时还能够展示它的科技含量。我们花了一两周的时间来整理任务书里要求的上百个道具，包括其中很多玩具都是直接从德国或美国采购的，还有很多具有科普性质的装置等等，我们需要去思考和设计如何把它们放在合适的场景当中，同时还要把不同的科技主题融合到4层楼（每层层高达到10米）的空间中去。这个工作量是非常巨大的，对于我们而言也是一次漫长的、全身心的考验。

Di Zhang: After The Playscape, we’re one step closer to tapping into children’s psychology and behaviour. We came into contact with more types of projects targeting children or younger users. For example, this year we have a project for a Science Centre in Liugong Hui of Shougang Industrial Park in Beijing, which is about 10,000 square metres and requires the renovation of an entire building. One of the characteristics of this type of project is that if  you want to achieve a desired result, you have to make sure every aspect, from the MEP, the interior, to each piece of furniture and fixtures, is well-concerned and covered. In terms of complexity and difficulty of co-ordination, I think the only project that can be comparable to this Science Centre is the Universal Studios, Because the theme of science is so broad, and for that we need to have the ability to create numerous settings and scenes while to showcase all its technological content. It took us a week or two to sort out the hundreds of props required in the brief, including many toys sourced directly from Germany or the US, as well as a number of installations for educating. In the mean time, we have to integrated all these installations into the proper sceneries, while also integrating different technological themes into the 4-storey (each floor is 10 metres high) space. It was a huge amount of work, and a long, full-time test for our team.

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回顾、感悟
Retrospect

张迪：从06年到现在，做了大概17年的建筑师，我的感受就是建筑师特别像一个杂家，我们总是希望我们的设计能够达到一个很高的完成度，但是在这个过程中发生的各种问题都需要你去协调和调整，所以最后的结果就是你什么都会管。我们有时候做项目，明明景观都不在我们合同内，我们不需要去设计，但我屡屡会说要不然我免费给你把景观也做了，因为我想要的是最后的结果。在设计上我是一个结果导向非常强烈的人，如果确定了这是我们要达到的效果，我就希望能够真正实现这个效果。当然，懂的人都会知道这其中的困难。

Di Zhang: I have been worked as an architect for about 17 years since 2006, and my feeling is that an architect is especially like a handyman. We always seek for a high degree of completion in each our designs, and are required to address all kinds of problems occurring in the process, which means that you have to ensure every aspect are taken into account. I’m a very results orientated person when it comes to design. Once I have determined what I want to achieve, I leave no stone unturned in my mission. Of course, anyone who has been through a similar experience knows how challenging it will be.

▼waa部分商业项目代表作，Part of waa’s commercial projects

Jack Young: 作为建筑师，有时候你并不能决定自己参与的项目类型。十几年前来到中国的时候，我还总是抱着必须做自己感兴趣的项目的想法。但后来我发现，有许多最美好的经历，恰恰来源于那些我从一开始并不报以积极态度，但最后获得了成功的项目。它们带给了我很多惊喜。所以我从这么多年的经验中体会到的是，不要过于在意一个项目是不是在各方面都十分完美。有时候你需要放宽心，去想想那些需要你去解决的问题本身包含着多少乐趣。我认为这对于年轻的建筑师来说也是很有意义的。

Jack Young: Sometimes as an architect, you’re not really in control of the type of projects that you work on. I came to China over 10 years ago. So fresh out of university almost still, I have preconceived ideas about what I was interested in. A lot of the time, some of my best experiences have been designs which I wasn’t really positive about when we initially started working on it and the actual successful outcome of it. That’s always a surprise. So, what I’ve learned over my years of experience, is that you shouldn’t be too concerned about taking those perfect projects. You should be quite loose about that and just think about how interesting the question you need to solve. And I think that is useful for younger architects.

▼事务所正在进行的文化项目：北京水电站美术馆，One of the ongoing cultural projects by waa: Hydroelectric Power Station Art Museum in Beijing

▼宁夏美术馆，Ningxia Art Musuem

▼左：温州美术馆；右：银川复朴博物馆，Left: Wenzhou Art Museum; Right: Fupu Museum in Yinchuan

Jack Young: 另一点，在文化的差异性上，得益于我们对身体和感官体验的关注，我和张迪总是能在我们的两种文化之间找到非常多的联系。在设计的过程中，我也总是试图去尽可能地捕捉到这些部分，而不是为了表达某种独特性而将我们的想法区分开。我们总是试图将所有人聚集在一起。

我们尝试着各种各样的项目，这也是在中国工作最有趣的地方之一。我们必须对自己想要实现的目标保持非常开放的心态。开始一个新的项目总是会面临种种麻烦，因为它需要我们去面对以前没有涉足过的领域。如果一个建筑师可以做到不去依赖他在过去项目中的经验，那么他就能够为这些新涌现的问题找到有趣的解决方案。

Jack Young: And secondly, when you talk about cultures, you always talk about differences between the cultures. Because of our focus on physiology and on how we experience the world through our senses, you can actually find a lot of connection between the two cultures. I really try to hold on to those parts of the design process, and not always try to separate our ideas into what makes this place different and what makes these people different. We are trying bring people together.

We work on very diverse projects, which are very different. That’s one of the interesting things about working in China. We have to keep a very open mind about what we want to achieve. Actually, it’s quite nerve racking to start a new project, which is some in an area we haven’t work on before. If you have the opportunity to not always rely on your past experience with projects, you can generate interesting solutions to questions which haven’t been answered before.

▼“窝儿”系列项目：移动图书馆，WO-ER series: portable libraries

▼美捷PARK项目效果图（在建），Meijie Urban Sport Park (ongoing)

▼BE1ST全民运动馆，BE1ST Sport Hall

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展望
Vision

张迪：我们现在在成都做一个大型的艺术学校，正在报建的过程中。另外之前提到的青少年科技馆项目，预计今年九、十月份可以完工。总体来说，任何项目类型我们都蛮感兴趣的，而很重要的一点是，你要得到一个信任你的甲方，然后要有非常强的耐力把项目往前推。我们做了很多周期长达三五年的项目，你要在这个过程中一直保持同样的热情度，其实不是太容易的。我们自己在实践的过程中也在不断地尝试，怎么让项目变得更丰富更好玩，而不是很死板的样子。今年我们可能会更多地做一些针对于儿童或者比较低龄的用户的探讨和思索，以及我们的一些相关成果的展示。

▼成都新亚艺术学校项目（在建），Chengdu Xinya Arts School (ongoing)

▼32中学项目（在建），32 Middle School (ongoing)

▼石嘴山总部项目（在建） ，Shizuishan Headquarters (ongoing)

Di Zhang: We are now working on an art school in Chengdu, which is in the process of being submitted for construction. We are also working on the Science Centre, as I mentioned, which is expected to be completed in September/October this year. Overall, we’re interested in any type of project, and it’s very important that you have a client who trusts you and then has the stamina to move the project forward. We had a lot of projects that took three to five years to be accomplished, and it’s not really easy to always stay in the same level of enthusiasm throughout the process. We’re constantly trying to find out how we can make our projects richer and more playful. This year, we will probably do more exploration and contemplation for children or younger users, as well as presenting some of our related results.

▼张迪和Jack Young在办公室，Di and Jack in their office

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