gooood团队采访世界各地 35岁以下的年轻创意人，他们有的是创业者，有的是普通职员。我们探访众生百相，记录这个时代年轻人的面貌和真实状态，欢迎您的推荐和建议。
第11期为您奉上的是素建筑。更多关于他们，请至：SU Architects on gooood

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are ordinary practitioners. gooood is trying to record the authentic living and working states of this era. Your recommendations and suggestions are appreciated!
gooood Under 35 NO.11 introduces SU Architects, More: SU Architects on gooood

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

gooood x SU Architects 素建筑

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从边陲到魔都，再从魔都到乡村
From the border to Shanghai, and from the city to the rural

“在同济最大的收获是独立的思辨能力… …我开始思考那个哲学问题：“我是谁”的时候……就是要立足本土，正本清源，在我们中国丰厚无比的文脉中找自己的路… …城市建筑的文脉传承惨不忍睹… …在乡村实践更为自由。”

“What I have gained the most in Tongji University is mental analysis… when I started to think about that philosophical question of “who am I ?”…I decided to base on the local and to start from the very bottom, and thus, seeking for the way in the long history and culture of our own… the inheritance of cultural vein is terriable… we arrived a place with full of freedom in the village”

我出生在中国西北小城兰州，一个西部的移民城市，它既有西部狂野的民风，又有曾经一波知识分子移民带来的文化气氛，一种既“文”又“野”的成长环境。成长环境对我的影响就是，我内心狂野彪悍，但同时对文艺的事物无比敏感。跟做其他事情一样，做建筑的原因是觉得“来劲”。我不太喜欢循规蹈矩，而建筑是能带给我这种“来劲”感觉的事情之一。当然，选择建筑学作为职业还是受了我的好友李硕的影响。不过后来发现90%的建筑师还是挺没劲的，所以义无反顾放弃了常规建筑师之路，变成了现在的“野生建筑师”。披荆斩棘，也趣味无穷。

在同济最大的收获是独立的思辨能力。同济被人戏称为“八国联军”，建筑学是由四个学校合并而来的。所以它并没有像清华东南这些传统建筑强校那样的金字塔式结构，同济的氛围很自由，每个山头有各自的主张，各自的圈子，各自的资源等等。在同济读书的状态比较轻松，没有唯一的标准答案。这种自由的环境让我有了更强的思辨能力。比如读书的时候也受了潮流的影响沉醉于数字化建筑，而当我开始思考那个哲学问题：“我是谁”的时候，不自觉得必然会走到目前我们实践的价值观上来：这就是要立足本土，正本清源，在我们中国丰厚无比的文脉中找自己的路。时至今日，仍然有大量建筑师照搬西方的手法和形式语言在我们这片深邃的土地上做复制，我戏称为：“美国派”。那显然不是我们要走的路。

I was born in Lanzhou, a small city in the North-west China. In that place, you will find the wild custom co-exist with the cultural atmosphere, that brought by the former intellecturas. Grown up in such an environment made me wild inside while to be sensitive to art and culture. Like doing other things, the reason I do architecture design is because of my interest. I am not the one that is always following the lines and architecture looks so cool to me. I made up my mind to become an architect because of my friend Li Shuo. Soon after I reallised that 90% of the architects are not as cool as I thought thus I gave up my career of being a normal archcitect. I became a wild architect instead, facing countless obstacles as well as gainning happiness.

The independent mental analysis is the best thing I have learned in Tongji University. Tongji is jokingly called “Eight-Nation Alliance” by people, which architecture school was composed by four other schools. So in Tongji there is no pyramid structure like in Tsinghua University or Southeast University. The atmosphere here is freer, in which one could have their own opinions, find their own camps and take advantage of their own sources. Studying in Tongji is relatively relaxing since here is no standard answers. It is where I gainned the ability of independent mental analysis. I was influenced by digital architectural design when I was at school. When I started to think about that philosophical question of “who am I ?”, it became natural that we got back to the values we are practicing now. That is to base on the local and to start from the very bottom, seeking for the developing paths in the long history and cultural of our own. Until now, there are a large number of architects who are still “copying and pasting” the western forms and methods in our motherland of profound history and culture. I jokingly call them the “American Faction”. And for sure, that is not our way ahead.

▼同济学习时期的素建筑创始人马科元（左）和郭少珣（右），photos of Ma Keyuan (left) and Guo Shaoxun (right) when they were studying in Tongji, partners of SU Architects

放弃设计院工作投身于农村的原因：首先，在设计院里不是在做设计，而是在“算”设计：每做一个设计动作，就要立马计算各种数据。时间和精力不停在跟数据斗争，工作的内容更像是做“会计”，而不是做建筑师。设计思想会被各种繁文缛节束缚手脚。其次，设计院的工作结果更像是在“卖文本”：建筑师的成果不是建筑，而是色调优雅的分析图、是饱满热情的效果图、是打印精美的各种概念方案。然而真正到了建筑要落地的时候，又把建筑丢给“当地院”“总包方”“项目经理”。另外，目前我们的城市更像是一个头脑简单四肢发达的野蛮人，城市里建筑智力的密度很低，城市建筑的文脉传承惨不忍睹。建筑师最擅长用pinterest做设计，都是“拼贴意向图”设计法，很少有独立主张的原创作品。

所以我们去乡村，一方面，在乡村实践更为自由。我们百分之九十九的精力都能够投入到真正的设计学本身，而且能够快速建成落地，再回头审视思考。这种训练的效率是极高的，设计上的进步也是飞速的。另一方面，因为乡村保留了丰富的物质和非物质文化遗存，有我们足以深挖和学习的巨大文本，这些是是城市中早已消亡的。现在经常讲城市要在经济上反哺乡村，但我相信同时，乡村会在文化上反育城市。

There are many reasons why I gave up the jop in design institute and devoted into the rural construction. Firstly, the work I was doing in design institute was not design, but calculations related to the projects. Every time I was going to take a design action, we started to calculate. My time and energy were wasted in struggling with data, which made this job more like a accountant but an architect. The design ideas were restricted by the unnecessary and overelaborate formalities. Secondly, work of design insitute was more like “book selling”. What architects made was not architecure but elegantly colored diagrams, passionate renderings in well-printed proposals. However, when the architecture was about to settle, they would left the work to the LDI, the contractor and the project manager. Besides, the city that we are living in is like a simple-minded barbarian. The buildings in the city are low-intellectual constructions with little inheritance of the cultural vein. Architects are used to do design with pinterest, making collage without any personal opinions.

So we headed for the village. On one hand, we arrived at a place with more freedom. 99% of our energy could be devoted to the design process, in which we could quickly complete a project and spent some time to review. Though such high efficient practice we have improved a lot in design works. On the other hand, since there are still preserved the tangible and intangible cultural heritage, which are already disappeared in the urban places, it provided us a profound context to discover and study. We are always talking about city offering economic supports to the rural places. I believe that the rural will provide cutural supports to the urban in turn.

▼在乡村勘察基地，指导施工，study the site and guide the construction in the countryside.

此外回到城市项目，我们基本不大考虑住宅小区、商业综合体等商业目的非常明确的建筑类型，我们更愿意挑战公共建筑这类有智力密度的项目。但其实，目前我们最想做的是寺庙。寺庙是一个很有意思的建筑，它既有宗教性，又是世俗性；既有文化性，又要纪念性。西方的宗教建筑已经更迭数代，但是目前国内还未建成能体现本土文脉和宇宙认知的现代寺庙建筑，我觉得这是一个非常有趣的建筑。

Going back to the projects in urban places, we seldom participated in residential, commercial complexs, or other commercial projects. We are more into the projects of public buildings, which are with more intellectual efforts. In fact, we mostly like to build temples now. Temple is a very interesting architecture style, where religious and demotic characters, cultural and memorial features coexist. The religious architecture in western countries have already transformed and renewed. However, we haven’t had a modern temple that represents the indigenous culture and knowledgy of the universe and I think it will be an interesting direction.

▼在办公室工作的二人，working in the office

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兴奋与幸福
Excitment and Happiness

“建筑并不能让我兴奋，但可以带给我幸福……舞台和建筑只是不同特质的文本呈现”

“Architecture couldn’t make me excited. Instead it makes me happy… stage and architecture are only different ways of expressing”

比起话剧，建筑并不能让我兴奋，但可以带给我幸福。幸福和兴奋是两种概念，做建筑的成就感比较实在，你听不到掌声，但是它能带给我强烈的幸福感。从做方案到建成，包括跟施工队争吵的整个过程都很幸福。

做设计既是职业又是事业，而做话剧是一个比较随意的事情，所以我大部分的时间精力都在设计上面。而话剧则是有了想法之后，又有一段比较完整的时间才会做一个戏，然后演出。做设计和做话剧，看似差别极大，但是其实是完全相通的。在我看来，舞台和建筑只是不同特质的文本呈现，但在更加形而上的层面，有一个“本文”的东西是一致的：这就是你对世界的思考，对自己的思考，以及你的价值立场。而人物、剧情、舞美如同空间、材料、光线一样，是语言，是经过学习和训练可以掌握的。对我来说并不难。

当然，话剧和设计自身都有自己擅长表达的方向，两者的差异在于，话剧在线索上是单向时间线，但在叙述上是多向的时间线；而建筑正好相反。因此，建筑有形，而话剧无形；建筑持久而平静，话剧短暂而强烈。但在形而上则完全相通。在这点我受了索绪尔语言学的影响很大。

Comparing to stage drama, architecture couldn’t make me excited. Instead it makes me happy. Excitement and happiness are two different concepts. Achievements in architecture design are more-to-earth. I have a strong sense of happniess even if there are no claps. From the very beginning of design stage to the construction, the whole process, even the quarrels with the construction team, makes me feel happy.

Design is my job and my career, while the stage drama is just for my own pleasure. I spend most of my time and energy in design. Only when I have ideas in mind and have gained enough spare time, I will write a stage drama script and play it. There seems to be a big difference between these two, though their inner cores are connected. In my point of view, stage and architecture only different ways of expressing and they have much in common in the metaphysical view, which we called the substance. It is one’s reflection of the world, of his values and himself. The actors, the story and stage are languages, just the same as space, material and light which can be controlled by learning and practicing. They are not too hard for me.

Certainly, the stage drama and design each has its own expressing method. The difference is that the time line of the stage drama is monodirectional in clues but multidirectional in narration, while architecture design is just in the opposite way around. Hence, architecture is tangible while stage drama is intengible; architecure lasts long and peacefully while stage drama stays short but powerful. Though they are totally interlinked in the metaphysical view.The Linguistics of Ferdinand de Saussure has great influence on me.

▼马科元创作的话剧台照，用和建筑不同的形式来进行自我表达，photos of stage drama that created by Ma Keyuan, which is a different way to express oneself compared to architecture.

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沉下心来实践民宿
To devoted myself to the guest house

“素建筑每年只做4-5个项目，但我们完全不焦虑，我们相信，做一个有探索性的小房子，远比复刻10个大房子有价值得多……我们始终坚持认为：哪里的房子就应该有哪里的样子。”

“SU Architects only has 4 to 5 projects processing each year, which is unacceptable to other design companies. Yet, we are not anxious. We believe that it is more valuable to do a small but exporatory house than coping ten large buildings… We insist that, houses should be look like the way of where they come from. “

我们现在做的项目主要是民宿。一方面是市场的风向，另外一方面也是我们喜欢做民宿类的设计。因为大部分民宿都是在乡村，私人业主，设计的自由度和控制度是每个建筑师都梦寐以求的。同时，民宿的小体量又能让我们仔细推敲和打磨每一个细节。素建筑每年只做4-5个项目，这在其他设计公司是无法接受的。但我们完全不焦虑，我们相信，做一个有探索性的小房子，远比复刻10个大房子有价值得多。当然，这会给公司经营带来很大压力。举个例子，在设计院里完成300000平方住宅项目需要的时间和人力，跟我们完成300平方的民宿需要的时间和人力是一样的，但其中的设计费恐怕是指数级的差距。但尽管如此，我们这种事务所能够在市场中生存下来，的确是要感谢完全信任我们的甲方。

Most of our projects are guest houses. It is a market trend and we enjoy doing this kind of project a lot. Most of the guest house projects are in the rural places and managed by private developers. Thus we could have maximum freedom that all architects long for. Meanwhile, the small scale of the guest house leave us the possibilities to go over every detail. SU Architects only has 4 to 5 projects each year, which is unacceptable to other design companies. Yet, we are not anxious. We believe that it is more valuable to do a small but exporatory house than coping ten large modern buildings. Definitely, this will bring us more pressure in runing our company. For instance, a 300000sqm residential project in the design institute takes the same time and staff resources as we do a 300sqm guest house project, while the design fee is in exponential difference. Even though, we could still survive in the market thanks to the clients who completely trust us.

▼素建筑民宿作品一览，guest house projects by SU Architects

所谓的民宿其实就是城里人去乡村，用乡村的资源来驱动新的城乡互动的经济。城里人利用和改造乡村必然会带来积极和消极的影响。积极的影响是可以带动乡村经济的发展，改变就业观念，改善基础建设，最终形成乡村复兴的良性可能。但同时也会带来消极的影响。部分城里设计师照搬城市建筑，让乡村失去特色导致千村一面，这对乡村也是巨大的破坏。我们想要做的事情是真正在地得做不同的乡村设计，而不是把城里的东西搬过去。比如，近几年莫干山地区出现了很多新建筑，形式各异，仿佛是一个现代建筑展，但对浙西山村这个乡村的风貌还是有一些消极影响。我们始终坚持认为：哪里的房子就应该有哪里的样子。

The guest house is where urban residents go to the rural places, and where they occupy the rural place and source to earn money from the urban residents. The transforamtion implemented in rural places would bring influences of both positive and negative. The good point is, they would promote the economic development in rural places, change the employment value and improve the public facilities which would possibally promote the rural revival. On the contratry, there would also be the bad part, in which architects copying the similar design concepts as the urban places, destroying the villages’ identities and leaving them the same. We are here trying to do the real different designs for village instead of removing an object from the urban. In the recent years, for instance, there appeared many architectures of different shapes in Moganshan, which seems like a modern architecutre exposition. While it still caused a passive effect on townscape of such a village in Zhexi. We insist that, houses should look like the way of where they belong to.

▼伴屋，采用传统建筑形式，与周边环境相融合（点击这里查看更多）Half House in traditional architectural form, corresponded with the surroundings (click HERE to view more)

▼富有当地特色，与环境和谐的民宿建筑，guest houses with local characteristics, being harmonious with the environment

我们现在有至少50%的时间是在乡村当中在地调研和现场定夺。因为乡村的项目，工作内容和方法跟城市中完全不同。我们在乡村要保证作品从头到尾，从室内到景观，每个部分都是被设计控制的。而在城市设计的工作可能会被细分为方案建筑师、施工图建筑师、室内设计师、室内施工图建筑师、景观施工图设计师等等，而在乡村我们要做所有工作，这样才能保证一个作品的完整性。

要想把设计理念融入场地，首先要了解场地，要知道人在上面是怎么生活的，以及将来要怎么使用才能让它更加诗意，变得好看又实用。你要经常去跟当地人聊天、吃饭，了解他们的日常，尊重当地的习俗，把设计理念融入到当地，因地制宜。

More than half of our time is spent in the investigations and site judgement. The way we implementing the rural project is totally different from that in the urban. We have to ensure that, from the beginning to the end and from interior to landscape, every step of the project is under control. While in the urban projects, the work would be assigned to design architects, interior designers , architects for consctruction and interior drawings, landscape designers etc.. While in the rural project, we are involved in the whole process to maintain its integrity.

To intergrate the design concept into the place, we should firstly know better of the site. We have to know how the residents living here, and how we could make it more poetic and practical. We often talk and eat with the locals to have better knowledge of their daily life. Thus we could come up with the design idea with respect to the local custom as well as corresponding to the context.

▼伴屋，保留传统元素，形成诗意生活空间（点击这里查看更多）Half House, remain the traditional elements to create a poetic livi (click HERE to view more)

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深深深宅
The Deep³ Courtyard

“也许每个中国人的血液里都流淌着一个天地人的世界观，我们也许没有读过四书五经，但是某种东西藏在我们的基因里，潜移默化在我们日常当中。”

“Probably as a Chinese we all have a world view of universe and human deep in our mind. We might not read The Four Books and The Five Classics, yet something exists in our gene influences our daily lives.”

深宅的设计时间其实非常久远，大概5,6年前。我和甲方是通过朋友介绍偶然认识的，碰撞后感觉互相比较认可。甲方本来只想造两幢房子，前面一幢会客，后面一幢自己住。我的意见是，中国的房子是散开的，是在跟院子融合在一起的，所以原本两幢房子打散成了四幢房子和十个园子。之后在建成之后很久，有一次在看倪瓒的《容膝斋图》的时候，突然发现画跟深宅的格局有一种强烈的同构关系，而在设计之初完全没有想过这个事。慢慢我认识到，也许每个中国人的血液里都流淌着一个天地人的世界观，我们也许没有读过四书五经，但是某种东西藏在我们的基因里，潜移默化在我们日常当中。

The Deep³ Courtyard is a project we did about 5 or 6 years ago. The client was introduced by my friend casually and we made the agreement after a discussion of the project. The client originally wanted two houses, which one in the front for living, and the one behind for privte uses. My suggestion was that Chinese house are scattered and intergreted with the courtyard. Hence, the former idea of two houses are divided into four houses and ten gardens. Long after the accomplishment, once I was watching the “Rong Xi Zhai Tu” by Ni Zan, I suddenly realised that the painting has a strong isomorphic relationship with the Deep³ Courtyard. I have no idea of this at the beginning. I am gradually aware of that as Chinese, we probably all have a world view of universe and human deep in our mind. We might not read The Four Books and The Five Classics, yet something exists in our gene influences our daily lives.

▼深深深宅鸟瞰，由四个房子和多个庭院组成，藏于田野之中（点击这里查看更多）bird view of Deep3 Courtyard composed of four houses and many courtyards, hidden in the natural fields (click HERE to view more)

▼深深深宅，充满中国园林氛围的建筑空间，architectural space with a sense of traditional Chinese Garden in Deep3 Courtyard

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桐庐未迟
Tonglu Weichi

“我们的设计理念在施工队和我们的配合下得到了保留。村民喜欢我们做的房子，它可以让村子变得更好。”

“We were happy that our design concept was kept during the constructions. The villagers like the project and it makes the village better.”

桐庐景观资源非常丰富，有富春江，有丘陵，还有一些小山脉，文化底蕴深厚，交通方便。我们做民宿必须要考虑它将来的经营状况，因此在选点的时候以主要的客群为中心画了一个三小时到四小时的交通圈，而桐庐就在上海四小时交通圈范围内。通过当地政府的人的介绍，我们最终找到了这个地方。在施工过程中有很多地方需要调整，于是我们把设计公司从上海搬到了桐庐县，租了一个小房子，一直在工地上待着，经历了施工的每一个细节。令人欣喜的是，我们的设计理念在施工队和我们的配合下得到了保留。村民喜欢我们做的房子，它可以让村子变得更好，从设计和乡土上我们对这个项目都很满意。

Tonglu lies on a very diverse environment with Fushun River, hills and mountains. It has deep roots in culture and very convenient transportation.Considering the future management of the guesthouse, we drew a circle of 3 to 4 hours’ transportation from the site’s major guests to set the project location. Tonglu is right there inside the circle, four hours’ traffic from Shanghai. We finally found the place with the help of the local municipality. In order to deal with the numerous adjustments required during the construction stage, we moved our company from Shanghai to Tonglu county. We rent a small house and went through the whole precess including every detail. We were happy that our design concept was kept during the constructions. The villagers like the project and it makes the village better. We are satisfied in both design and the local circumstances.

▼隐于桐庐山中的建筑，architecture hidden in the mountain of Tonglu

▼传统与现代结合的建筑形式，modern architecture combined with traditional elements

▼在室内可以欣赏优美的自然景观，enjoy the natural view from the room

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两位创始人的工作方法，理念，以及挑战，还有对未来的观点
The method, philosophy, the challenge and the future views of the two founders

“我们接受彼此的不同，正是这些不同给我们带来了自己的思考与启发……我们的建筑观用比较抽象的话说，叫诗意的建造……希望今后能够以设计为出发点，在建筑学的某一方面有一点小的探索……年轻设计师应该放下容易得到的成就感，不断向前开拓。”

“We accept the difference of each other. It is the difference that inspires our own thoughts… To discribe our architecture vision abstractly is “poetic construction”… The young architects should drop the easy obtained achievements and keep moving forward.”

我们两个创始人创作上是平行和独立的，但我们基本的设计理念是一致的。虽然我们在合作过程中经常会针对某个设计有不同的见解，甚至产生争论，但这都是正常的。我们接受彼此的不同，正是这些不同给我们带来了自己的思考，而从这些思考中我们又会得到新的启发，这是一个挺好的状态。我们的建筑观用比较抽象的话说，叫诗意的建造。对于形式我们有自己的理解，只不过现在这些形式比较内敛，不那么张扬。我们之前在大设计公司工作时要做高大上的效果图，要让人感到震撼；而现在我们在做一些小房子，首先考虑的是跟环境相融合，不能看起来非常扎眼。形式不是我们追求的第一步，是设计完成后得到的结果。

素建筑更愿意做“作品”，而不是生产“产品”。因为我们是一个研究型设计事务所，所以还是希望今后能够以设计为出发点，在建筑学的某一方面有一点小的探索，而不仅是会运用一些前卫的设计手法做造型。素建筑最终可能也会是一个小公司。如果公司太大的话，我需要花更多的精力去管理人。

We are independent and paralleled in creation works, but are agreed on the basic design philosophy. Though we usually had different oppions in some of the projects, even argued, which were just so normal to us. We accept the difference of each other. It is the difference that inspires our own thoughts. It is good to us. To discribe our architecture vision abstractly is “poetic construction”. We have our own understanding of form and we prefer them to be introverted and modest. We were required to do appealing and stirring renderings in large design institutes. Now we are doing small-scale houses which are designed mainly based on the environment and should not be conspicuous. Form is not the primary, but the outcome of the design.

We prefer to doing a real project, than manufacturing a product. We are a research based studio and we hope that in the future we could take design as the starting point and step a bit further in some aspects of architecture itself, instead of just making appealing forms by advanced design methods. SU Architects will stay a small company, since we don’t want to put so much power in administrating.

▼素建筑办公室中一些研究性的小模型，research models in the office of SU Architects

在未来的挑战中，第一个困难是人才，我有个大的计划，计划把全国不同地域极具特色的当地民居，通过深入调研和考察，以一种研究式再生，让这些老房子新生。而这个计划对于时间和人员的需求非常大。另外一个困难是时间，这个互联网时代，干扰太多，让人眼花缭乱，大量的图像让建筑师做设计更加容易，同时获得成就感也更加快速，这种易得的成就感会让年轻人浅尝辄止，而无法继续前进。因此我可能需要更多的时间来梳理、思考和分辨，暗藏的建筑学思辨和发展的线索。

One of the future challenges for us would be the lack of talents. A big plan of mine is to make a deep research into the traditional residential of different regions and come up with a general solution to give new lives to these old buildings. However, this calls for a large amount of time and labor. Another challenge is time. In the age of Internet, we have more than before the interferences which could confuse us. Graphic works on the Internet, as references, make architects easier to do their jobs, which brings them easier and faster achievements. However, the easy-obtained achievements made the young satisfied easily and thus they would stop in improving themselves. I think I need more time to think of, to analysis and to distinguish the clue hidden in the development and mental analysis of Architecture.

▼素建筑办公室，工作氛围浓厚，office of SU Architects with strong working atmosphere

年轻设计师应该放下容易得到的成就感，不断向前开拓。因为整个时代进步得太快了，我的一个甲方两年前还是一个茶农。两年以后，他竟然会跟我说你这个水磨石的粒径太小，要大一点。甲方的学习能力非常惊人，整个时代的更新迭代能力也非常惊人。如果我们做设计还是东拼西凑，显然是不够的。我们希望做得更远，想得更深一些。

The young architects should drop the easy-obtained achievements and keep moving forward. The whole era is progressing fast. One of my clients was an ordinary tea planter with little sense in aesthetics two year ago. Now he is professional enough to discuss the granular size of terrazzo with me. The learning ability of our clients is amazing and so do the alternations of this era. We can no longer doing designs by simply pulling various sorts of things together. We would like to think more and ahead further.

▼素建筑创始人郭少珣（左）和马科元（右）Partners of SU Architects: Guo Shaoxun (left) Ma Keyuan (right)

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