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25期为您奉上的是DnA建筑事务所创始人徐甜甜的访谈，更多关于他们，请至：DnA_Design and Architecture on gooood

gooood team interviews creative from all over the world. Your recommendations and suggestions are welcomed! gooood Interview NO.25 introduces Xu Tiantian, Founder of DnA_Design and Architecture. More: DnA_Design and Architecture on gooood

出品人：向玲 Producer: Xiang Ling
编辑团队：向玲，陈诺嘉，刘丹阳，张学，韦紫昭 Editor: Xiang Ling, Chen Nuojia, Liu Danyang, Zhang Xue, Wei Zizhao
特邀编辑：李煦 Guest editor: Li Xu
英文翻译：江海啸（洛杉矶设计师，联系邮箱：jianh956@gmail.com）English translation: Haixiao Jiang (/Los Angeles based designer, Email: jianh956@gmail.com)

Interview
gooood x Xu Tiantian 徐甜甜

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求学，创业，发展
Study, Studio, Development

“Fifteen years after founding DnA studio, our approach towards architecture has exploded further to both directions: on one hand the essential elements such as the space, structure, detail, material, and more; on the other hand, how architecture can incorporate and engage in the social mechanism and address its various needs on a significant level.”

“We keep the size of our studio small. A lot of young people work there, they value work independence and responsibility.”

“We work with clients closely by having thorough discussions initiated by project’s inherent conditions. And we only provide the one design option that we consider the best.”

1. 清华和哈佛的教育经历对建筑实践产生的影响？

我在清华上学的时候比较早，教学还没有像现在这么开放多样。主要是一些基本训练，包括对建筑严谨的理解，思考和工作过程。现在看这是建筑师的基础素质。在哈佛我学的是城市设计，对于现在的建筑设计还是有很大影响的。城市设计阶段在建筑设计之前，涉及到建筑功能、体量和周边的关系等，在乡村的肌理里也需要这些系统化思考。

2. DnA现在关注的问题、工作室状态以及工作方式？

成立DnA十五年后，我们一方面更关注建筑本体，空间、结构、建构、材料、细节、实施落地等等；一方面也在扩大思考，建筑如何真正融合社会机制以及各种需求。比如这些年的乡建。在工作室层面我们一直保持小规模工作室的状态，工作室都是年轻人，比较看重工作上的独立性和责任心，而且一直都强调高效率，不提倡加班。每个项目都是和业主充分讨论，从项目自身条件线索出发；而且只提供一个我们认为最好的设计方案，我觉得这才是对项目真正负责任的做法。不管是甲乙方，大家的最终目标都是把项目有品质地建出来，如果在方案阶段就挑挑拣拣，可能是业主的态度问题也可能是设计能力问题。工作室保持小规模，可以有更大的自由度，如果不能做自己真正认为值得做的事情，不如不做。

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乡村建设
Rural Revitalization

“乡建不仅是乡村建造，它跟经济、社会文化等是结合在一起的，有更综合的复杂性。”

“公共建筑的针灸介入，是一种修复（restore identity），重续文脉，带动刺激后续发展，重点在于整体性。”

“Rural Revitalization is not only constuct buildings in rural region, it integrates the economic, social and cultural aspects and presents a more synthesized complexity.”

“Architectural Acupuncture introduces public programs to rural and villages, it restores village identity, recaptures its historical and cultural context, stimulates economic growth. It’s a holistic approach.”

从松阳开始
Start from Songyang

我们最早参与松阳的是大木山茶园的茶文化体验中心项目，2014年一月开始，中间因为各种情况，项目到现在还在施工状态。那个阶段松阳政府刚刚开始要发展乡村旅游，所以就帮助地方政府做了一些公益设计，2016年前有十几个项目，包括平田农耕馆，大木山茶室和竹亭等。通过这些小点位小体量的乡村项目，才真正开始了解松阳的地方文化历史以及建造方式，大家相互学习、理解，慢慢建立起了信任。

Our earliest involvement in Songyang started with the tea cultural center project at DaMuShan Tea Plantation. First started in January 2014, the project is still under construction due to various situations. During that period, we took these non-profit projects to support the local rural development. Prior to 2016, a dozen projects were set up including Pingtian Farming Museum, Damushan Tea Room, Bamboo Pavilion and more. Through these small-scaled rural projects, we learned to understand Songyang’s culture, history and local construction methods. It was a process to establish understanding and trust.

▼早期乡建项目 – 大木山茶室（点击这里查看更多）
Early rural project – Damushan Tea House (click HERE to view more)

▼早期乡建项目 – （左）平田农耕馆，（右）竹亭
Early rural project – (left) Pingtian Village Center, (right) Bamboo Pavilion

这之后我们提出了“建筑针灸”，以公共建筑作为针灸疗法的乡村策略，针对不同村庄特定情况，通过公共建筑重塑乡村的身份标识，点位激活文化经济发展，形成县域的城乡系统关联。松阳的乡村实践里每个村庄有所控制的小量建设资金的投入，保持一种可持续的有机发展的社会模式。

每个村庄都有自己的历史文化和不同的需求，在这个过程中建筑师就像医生问诊一样去各个村庄调研，挖掘每一个项目所在地自身的特点，针对不同情况确立项目功能及设计。红糖工坊，契约博物馆，王景纪念堂等，就是这样开始的。这些散落在不同村庄的小体量的改造或者新建建筑，都是通过深入调研分析各个村庄的历史传统工艺业态和生活需求，选取当地最具代表性的文化或产业元素，以村庄公共功能为载体，用类似中医”针灸“的方式介入乡村。

The concept of ‘Architectural Acupuncture’ is proposed thereafter with the strategy to utilize public architecture to develop rural areas, targeting unique characteristics of different villages and towns, new sets of identities are branded through the public architecture, give way to the revitalization of culture and the improvement of economy, fostering the urban- rural connective system across districts. In the case of Song Yang suburban development, each village manages a small amount of construction funds to maintain a sustainable social model of organic development.

Each village equips with its own history and culture. In response to the different needs of different villages, architect act like doctors conducting clinical researches in locations to uncover the unique characteristics of the villages. Based on the various conditions, projects are set up to best tackle program functions and designs. The brown sugar workshop, the contract museum, the Wangjing Memorial Hall, etc., began this way. These small-scale renovations or new architecture scattered around different villages are conducted through an in-depth analysis of the traditional craftsmanship and the basic needs of each village. By selecting the most culturally iconic or industrially iconic elements of the local region, and recognizing public functions as the cause, the villages are accessed in similar vein of the “acupuncture” in traditional Chinese medicine.

▼徐甜甜部分乡建项目，针对不同情况确定功能，part of Xu Tiantian’s rural projects, which were designed basing on various conditions
（上）红糖工坊（点击这里查看更多），(up) Brown Sugar Factory (click HERE to view more)
（中）石仓契约博物馆（点击这里查看更多），(middle) Hakka Indenture Museum (click HERE to view more)
（下）王景纪念堂（点击这里查看更多），(below) Wangjing Memorial Hall (click HERE to view more)

乡建不仅是乡村建造，它跟经济、社会文化等是结合在一起的，有更综合的复杂性。乡村有深厚的文化积淀，但是在社会的经济发展过程中往往被忽略。乡村包含了各方面的需求，其中最重要的是重拾对于自身文化遗产的荣誉感，重塑身份标识。与城市社区不同，村庄的社区往往是一大家族，村民对自己村数百年的历史都引以为豪。这些村庄可能是进入了一种休眠状态，需要被唤醒，让村民恢复对村庄的信心，推动村庄自身的发展。从实践的现实角度，乡村的约束条件比较多，建造技术低，造价低，传统农耕观念比较保守。

公共建筑的针灸介入，是一种修复（restore identity），重续文脉，带动刺激后续发展，重点在于整体性，和过去城市建设中的标志性（iconic）建筑的突出单体，不是一个概念。

Rural Revitalization is not only constuct buildings in rural region, it integrates the economic, social and cultural aspects and presents a more synthesized complexity. Rural villages have a deep culture heritage, but often overlooked in the process of social economic development. Villages require varied needs, the most important being able to re-champion cultural heritage, and re-form its own identity. Different from urban community, the rural community is usually consisted of a big village, villagers take pride in their hundreds of years of village history. These villages maybe in a state of hibernation that in need of awakening; to restore confidence of the villagers for their village, and push for its development. From a practical perspective, the rural environment has a lot of restrictions, including lower construction skill, lower budget, and the conservative attitudes that comes with traditional agriculture. farming mentality is still at large.

Architectural Acupuncture introduces public programs to rural and villages, it restores village identity, recaptures its historical and cultural context, stimulates economic growth. It’s a holistic approach, a concept different from the iconic individual building in the past urban development.

▼徐甜甜部分乡建项目，公共建筑介入重续乡村文脉，part of Xu Tiantian’s rural projects, restoring village identity by introducing public structures into the space

乡建项目投入使用后
Usage of rural projects after completion

和城市相比，传统的乡村公共空间非常单一，很多村仅有祠堂可以提供公共活动空间。对公共空间的需求和使用方式也不同，城市有各类功能明确的图书馆，剧场，美术馆，乡村需要的是多功能的，一个空间可以容纳多种使用方式。比如红糖工坊的生产季节仅在冬季，其他季节可以作为文化礼堂，村里的木偶戏剧场，广场舞空间等，最近又拓展成乡村集会场，并吸引城市居民参与。石门廊桥也是当地一个可以售卖特色农产品的市集，还并入半程马拉松的路线。有了这些公共空间后，当地返乡的文艺青年也会组织策划各种活动。比如在王景纪念堂里他们组织了线装书制作教学活动。王景是永乐大典的副主编，书籍活动和场地的主题的贴合也让活动备受关注。

Compare with cities, traditional rural spaces are monotonous. A lot of villages use ancestral memorial halls as public event spaces. The functions and needs required for public spaces are also different, cities have libraries, theatres and museums that offer specific public functions, whereas the villages need multifunctional space that can carry out different purposes. For instance, the Brown Sugar Factory only operates during winter and may be used as cultural hall, puppet show theater, plaza dance space and more in other seasons. Recently it has been expanded into a village market attracting local participation. The Shimen Bridge is also a place for hosting farmers’ market for local produce and specialty, which is selected into the route of the half marathon. With these public spaces, the returning local creative youths have gained opportunities to organize different events. For instance, they organized book binding classes at the memorial hall named after Wang Jing, the vice editor of the historic Yongle script. The connection between the event activity and the location where it happens help to attract a lot more attention.

▼石门廊桥，桥上可以开设市集和举办马拉松等活动（点击这里查看更多），Shimen Bridge, different activities are held on the bridge such as farmer’s market and marathon race (click HERE to view more)

▼独山驿站，水面上的村民活动空间，Dushan Leisure Center, activity space on the water

乡村公共建筑是一个新领域，没有先例，也没有具体规范参数，设计过程中会有考虑不足的地方，需要在后期跟进。比如红糖工坊本身就是一个整合传统家庭作坊的功能创新，第一年生产后需要根据实际使用效果进行空间提升。

Rural public architecture is a new typology with no precedents or specific codes or parameters for references. Any flaws in the design process need to be followed up with in later stages. For example, the Brown Sugar Factory itself is innovative program that intergrets traditional family workshop, but any additional space improvement needs to be based on the evaluation after the first-year operation.

▼红糖工坊，展示红糖生产流程（点击这里查看更多），Brown Sugar Factory, showing the work process of brown sugar production (click HERE to view more)

。

从松阳到世界
From Songyang to the world

从2014年1月份第一次到松阳算起，和松阳的合作已经持续五年多了。这个过程不是单纯的项目数量的累积，更是和地方政府当地社区共同探讨的系统化合作，通过建筑针灸介入，结合社会学人类学深度刻画松阳丰富的生活形态和历史文脉，提升文化生态产业经济等综合发展。

这种通过建筑介入推动地方经济文化社会发展的方式受到国内外各界广泛关注。2018年开始“松阳故事”建筑展分别在柏林Aedas建筑论坛、意大利威尼斯双年展主题馆和中国国家馆、法兰克福书展、维也纳建筑博物馆等展出。

▼“松阳故事”会议，event of Songyang Story
（左）威尼斯双年展，(up) Venice Biennial
（右）维也纳，(below) Vienna

It has been more than five years since our first collaboration with Songyang in January 2014. This process is not a mere accumulation of project numbers, but a systematic collaboration and exploration with the local government and local communities. Through architectural acupuncture, combined with sociological anthropology, Songyang’s rich history and its varieties of lifestyles are vividly portrayed, elevating cultural ecology while raising the bars for development of an organic cultural-industrial economic growth.

This approach of promoting local economy, culture and social development through architectural intervention has received wide attention from many fields of practice at home and abroad. Since 2018, the Songyang Story Architectural Exhibition was on display at the Aedas Architecture Forum in Berlin, the Arsenal of the Venice Biennale in Italy, the Chinese National Pavilion, the Frankfurt Book Fair, the Austrian Architecture Museum, etc.

▼维也纳“松阳故事”展览，exhibition of Songyang Story in Vienna

5月30日，在首届世界人居大会（UN-Habitat Assembly）上，联合国人居署（UN-Habitat）宣布和松阳县开展乡村可持续创新发展的合作，希望在全球范围推广松阳乡村建设以及统筹城乡的创新发展经验。

“松阳乡村创新发展项目”（Songyang Innovative Rural Development Programme）是人居署第一次在乡村方面的示范项目。该项目将以在松阳县的启发性实践为基础，展示如何通过在保护当地环境的前提下促进当地的经济、技术和文化的发展，实现乡村可持续创新发展。松阳这些年的社会实践有望为世界范围内的其他乡村地区提供宝贵的经验和启示。

The first UN-Habitat Assembly was held on May 30th announcing a partnership between UN-Habitat and Songyang County for a sustainable rural innovation and development project. It hopes to promote the innovation from the Songyang rural construction and share its experience in Urban Rural Linkages.

The Songyang Innovative Rural Development Programme is the first exemplary project of the UN-Habitat in the area of rural development. This project holds the Songyang innovative practice as its foundation, aims to showcase new methods of sustainable development that promotes local economic, technological and cultural growth while putting the preservation of the local environment at its forefront. The social practices of Songyang over the years is expected to provide valuable experience and inspiration to other rural areas around the world.

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建筑创作
Architecture Design

建筑师更多是靠性格不是性别。有时候需要学会把貌似是劣势的部分转变为优势。越是限制就越需要去深入寻找各种蛛丝马迹，这既是一种挑战，也是一种机遇，你会触及到超越平常惯性思维的部分。从这个角度说，能一直留在这个行业的都是有好奇心性格乐观积极的人。—-徐甜甜

The more restriction there is, the more you need to go into depth to uncover its clues. This is both a challenge and an opportunity, and you will overcome the ordinary stagnant thinking. Speaking from this perspective, those who manage to remain in this industry are those who are curious and optimistic. —-Xu Tiantian

1. 石仓村客家契约博物馆的屋顶线形开口让阳光落在水帘上形成一道彩虹。横坑村竹剧场则利用天然竹子形成一个巧夺天工的剧场。你充满创意的设计灵感来源是什么？
In Hakka Indenture Museum, a linear opening was designed on the roof, through which the sun creates a rainbow on the water screen. While in Bamboo Theater, natural bamboo was used to build the splendiferous construction. What inspires you to find these creative and fantastic design ideas?

契约博物馆的水渠是原来场地上的，从山上引水到村里，我们把它保留了下来，屋顶的开口不仅收集雨水，还可以通过屋顶上女儿墙高度控制光线，直射光只有在中午半小时左右才能进入室内落到水面上，保持室内空间的重心。因为夏天阳光特别强烈，我们就想加个喷雾，除了降温，和垂直的直射光叠加还可以形成室内的彩虹，由于它是光折射在人眼中形成的景象，所以当人的位置变化时，彩虹也会跟着变动。这就是一个很简单的思路，操作起来也不复杂。这也成了建筑空间体验的一个特点：夏季的正午时分，穿过契约博物馆的水渠，会有一道一直跟随你的彩虹。

The canal at the Hakka Indenture Museum diverts water from the mountain to the village, it is an existing feature of the original site, which we preserved and incorporated into the design. The openings on the roof not only collects rainwater, but also controls daylight by playing with the height of the parapet wall on top. The direct light can only enter the interior and reach the surface water for half an hour around noon, which helps to balance the spatial experience. We also wanted to add a mist spraying system due to the strong summer sun. In addition to cooling the space, the mist interacts with the direct light that comes in vertically and forms a rainbow inside the room. The rainbow is a phenomenon caused by light refracting in the human eyes, so depends on the position of the visitor, the rainbow transforms with it. This is a very simple idea and does not require complicated operation, yet it becomes a feature of the spatial experience: when you walk through the canals of the Hakka Indenture Museum at noon in the summer, there will always be a rainbow that accompanies you.

▼石仓契约博物馆，水渠将水从山上引入场地（点击这里查看更多），Hakka Indenture Museum with a canal diverting water from the mountain (click HERE to view more)

▼博物馆内部，光线通过屋顶缝隙照射到水渠上，interior of the museum, light shining on the water through the opening on the roof

竹林剧场是当时的村主任找到我们，希望我们能在山上也做一个类似大木山的竹亭。然而加工竹子必须用秋天和冬天的竹子，加工也很费时费工。有一天突然想到，经常看到山上的毛竹，横着都可以生长，根茎特别强韧，那我们能不能用生长的竹子搭出一个空间来呢？不需要材料运输，不需要建造，编织成一个空间。

这些都和日常的观察有关。一方面需要有理性的逻辑，另一方面也需要回归你的直觉和天性，有些判断是先于理智的，是在语言形成之前的。

The Bamboo Theater was initiated when the village director at the time invited us to make a bamboo pavilion similar to the Damushan Teahouse. However, the bamboo used for construction can only be harvested in the fall and winter season, and it requires a time-consuming and labor-intensive process. I remembered the moso bamboo that grow horizontally with its sturdy roots, and came to the question if we can utilize the existing bamboo grown on site to form the space? No material or transportation is needed, no construction is required, the space is simply woven with live bamboo.

These are all related to daily observations. On one hand, we need rational logic; on the other hand, we need to return to our intuition and instinct. There are judgements made prior to reason and linguistics.

▼竹林剧场，用竹子编织成建筑（点击这里查看更多），Bamboo Theater composed by natural bamboos (click HERE to view more)

2. 前期调研最关注什么，同时调研结果如何影响设计？结合实际例子谈谈从认知场地到挖掘场地独特之处的过程？

不同项目情况不同。不过都是从项目自身条件出发，尽可能利用现有文脉转换建筑语言。渔耕馆我们做了很久，前年就开始构思，但总觉得功能和概念不到位。前段时间了解到鱼菜共生这个理念，它也是粮农组织在提倡的一种现代农产方式，而丽水又有稻鱼共生这样的历史基础，与这个项目最贴切。这种情况下设计思路不顺，原因不在设计本身，而在于项目的基础资料不充分。

相比之下，王景纪念堂就很快。王村离松阴溪有一公里，没有什么自然景观。这个村庄早年被规划成了工业区，周围都是厂房，常住人口一千多，整个村庄已经没有传统乡村的面貌。这个项目的功能是在第一次场地调研就明确下来的，通过人文景观，展现村庄曾有的辉煌历史和荣耀感。现在它已经成了王村的一个标志，村里也逐渐恢复各种传统活动和仪式。

▼王景纪念堂，通过展现历史恢复村庄的传统活动（点击这里查看更多），Wangjing Memorial Hall, restoring traditional events in the village by recalling the history (click HERE to view more)

3. 你对于屋顶和天花的处理十分有特色，屋顶是您在创作的时候特别关注的吗？请问你通常怎样入手设计？从剖面还是其他？
The treatment of roofs and ceilings in your projects is very distinctive. Would you pay special attention to the roofs in your design? How do you initiate a design project? From section or other?

屋顶的设计其实是从地面出发的。红糖工坊的屋顶，是地面的灶台和工作区间的平面布置在屋顶的投影，契约博物馆是跟水渠相对应。

从剖面可以看到我们感兴趣的并不停留在某个具体的体量上，而在空间的上下呼应和连贯。不同建筑师有不同的处理方式，有的会通过具体体量来强调，我们比较喜欢隐性的“空”的对应，比如光线和水渠，保持空间流畅。当然这些都是和场地条件和功能也有关系，可以通过上面的天沟收集雨水，水渠里的水则是从山上的溪流引到村庄里来的。它形成了空间中心的一个切面。

The design of the roof started from the ground. The roof of the Brown Sugar Factory is designed with the projection of the area between cook stations and working area. In the case of Hakka Indenture Museum, the roof is designed in relationship with the canal.

From the section (of these designs) you can see that our interest does not lie in any specific volume, but the vertical connection and spatial continuation. We prefer implicit “airy” elements such as light and water to keep the space connected yet free of obstacles. Of course, these also derive from the site conditions and its functions. Rainwater can be collected through the gutter above, and the water in the canal is led from the mountain stream to the village. These airy elements become part of the section at the center of space.

▼红糖工坊，屋顶与地面工作区间呼应，Brown Sugar Factory, which roof corresponded with the working area layout

剖面设计的前提是空间秩序的逻辑架构。就好像剧本的故事情节，你是在建构某种空间的序列，而不是停留在营造某一个特定空间。我们在项目中会更关注空间的连续性，前后空间之间的关联和张力：或者是对比反差，或者是一种非常微妙的过渡。所有空间都是相对的。从小空间进入大空间，就会觉得后者很大，但如果从更大的空间进入，可能就会觉得这个空间很小。空间的明暗关系同理。这种空间秩序及其产生的张力才是我们真正想表达的，要走进空间里才能体会到。

We pay close attention to the continuity of space in this project, the correlation and tension among spaces, either by shear contrast or very subtle transitions. The experiences of spaces are relative. When you enter a large space from a small one, you will feel the space larger than it is, but if you enter a small space from a larger space, you may feel that this space is smaller. The same theory works with the light and dark relationship of spaces. These kinds of spatial order and tension are what we want to express. We can only experience them by walking into these spaces.

▼红糖工坊剖面，构建空间序列，section of Brown Sugar Factory, showing correlation and tension among spaces

4. 请问你如何看待光？
How do you treat with light in your projects?

处理光环境的目的不一定只是突出光，光的体现也需要通过暗来烘托。契约博物馆里刻意把空间压暗，制造里外的反差，也突出展柜上天窗的光线。参观者进入空间后要调整视觉，产生和外界空间的瞬间隔离，这时候其他感官反而会更敏锐，可以听到水渠中的溪流声，感受到室内较低的温度，以及穿堂风的气流等等。

To design light in an environment does not mean to make the light more outstanding, the experience of light can be carried out by its surrounding darkness in contrast. The space in the Hakka Indenture Museum is deliberately dimmed to create contrast from its bright exterior and to bring attention to the skylights above the display shelves. Upon entering, the visitors need to take a moment to adjust their eyes, this creates a sudden sense of isolation from the outside world. At that moment, the other senses are sharpened to help the visitors identify the sounds of the stream in the canal, to feel the cool temperature in the indoor space and the airflow in the interior space, etc.

▼石仓契约博物馆，室内外光线形成反差，Hakka Indenture Museum, the dark interior contrast with the bright outside

最近完成的独山驿站，二层空间利用光晷原理通过对光的角度的计算，在地上用黄铜可以标出二十四节气的不同时辰，光线透过屋顶正上方的圆洞形成光斑，落在不同的位置，就像一个时间装置。春夏秋冬光的轨迹会随太阳位置的变化来回往复。这个空间不再只是建筑的形态，材料细节，或者外面的风景。通过这个简单的装置，空间的尺度得以延展到太阳和时间的维度。

In the recently completed Dushan station, we marked deferent hours from the twenty-four solar terms with brass on the ground of the second floor. Through calculating the angle of the light with the principle of optics, spots of sunlight fall onto different marks through the circular opening on the roof, creating a complete time device. The trajectory of spring, summer, autumn and winter light reciprocate with the changing position of the sun. This space is no longer the mere form of architecture, or the mere details of the material, or the scenery outside. With this simple device, the measurement of the space is extended to the sun and the dimension of time.

▼独山驿站，光线透过屋顶圆洞形成光斑，Dushan Leisure Center, spots of sunlight fall onto the floor through opening on the roof

空间的氛围感不仅是在某个具体的尺度中，我们希望它提供的感受超越物理的尺度范围。

The ambience of space is not only limited to a specific measurement, we hope to provide experiences that exceed any physical dimension and scale.

▼独山驿站，光影形成独特氛围，Dushan Leisure Center, unique ambience created by light and shadows

5. 石材、木材、夯土和混凝土等您经常使用的材料是否和乡村建设有必然的联系？你如何看待材料与选择材料？

材料不应该变成一种限制，建筑师应该有能力去运用任何一种材料。我们的项目什么材料都有，既有轻钢结构，木装配，还有很多传统材料及建造。我常常开玩笑说如果让我一辈子都只用混凝土，那我就不做建筑师了。

但是材料也不能滥用，材料不仅是表皮，很多时候直接和结构建构关联，是项目文脉最直观的表达。每个项目可能都有特定的材料性。比如契约博物馆的石墙，采用山上的碎石块，成本较低，但是有种粗粝的表现力。换成砖，混凝土或其他材料就没有那种力量了。

▼项目使用不同材料 – 石仓契约博物馆，立面采用碎石块
Project using different materials – Hakka Indenture Museum, use stone to construct the walls

▼项目使用不同材料 – 油茶工坊，石墙与夯土墙相呼应（点击这里查看更多）
Project using different materials – Oil Workshop, stone structure corresponded with the rammed earth walls (click HERE to view more)

▼项目使用不同材料 – 豆腐工坊，使用木材作为建造材料
Project using different materials – Tofu Factory, using wood materials for construction

6. 近期的计划与对Dna的展望？

我们现在的工作重点还是集中在松阳。眼下进行的项目大概有5、6个。同时也有一些其他地方的项目。DnA一直都不是一个公司的概念，可能更像一种灵活的工作平台；每个项目开始都在“清零”，过程也都是较劲的，但是最后成果我们希望达到一种比较放松，“好像就应该这样简单”的状态。我觉得这是一个比较好的状态。专注于设计，可以不断有新的思考，也会有些不确定性。过于清晰一目了然的未来，也没太有意思吧。

▼进行中的项目 – （左）船运博物馆，（右）张玉娘诗文馆
Ongoing project – (left) Maritime Museum, (right) Museum of Poetry

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