Ramble – Office in Hutong – PAO/PIDO

信步辑,闲庭信步看世界。信步辑是一个可以拥有许多子分类的专辑。这里为大家展现的是其中一个子分类:胡同里的办公室。第四期为大家介绍的是位于北京市东城区骑河楼南巷8号院的众建筑/众产品-PAO/PIDO。

Project Specs

信步辑,闲庭信步看世界。

gooood新推信步辑,信步辑是一个可以拥有许多子分类的专辑。这里为大家展现的是其中一个子分类:胡同里的办公室。
北京,是中国的首都,在快速的经济发展下,这个拥有两千万人口的十一朝古都逐渐面目模糊。北京所特有的胡同也所剩不多。
现在,这些弥足珍贵的胡同里有哪些工作室,它们的创意和生活又是怎样?

Ramble is album with several sub albums. Here is one: Office in Hutong.
Beijing, as the capital of China, has a long history, and currently is going through fast economical development.
Hutong, as the traditional urban typology of Beijing city, is slowly disappearing.
We try to find the offices in those Hutong, discover their ideas and life.

 

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第四期为大家介绍的是位于北京市北京城最中心区–东城区骑河楼南巷8号院的众建筑/众产品-PAO/PIDO
People’s Architecture Office/ People’s Industrial Design Office–Qihelou South Alley,Yard No.8,Dong Cheng District,Beijing 

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众建筑/众产品-PAO/PIDO

 
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这里是一个大四合院的一角,北屋两个开间,西屋三个开间,再加上院中房东加建的小平房,中间是一个小院子。
建筑师的改建策略是室内挑顶,暴露结构,然后四白落地,填充大尺度的家具;室外灰砖墙面,满爬绿植。

Located in the center of Beijing next to the Forbidden City, People’s Architecture Office/People’s Industrial Design Office occupies the northeast corner of a traditional courtyard house. This corner includes 2 main office spaces and a kitchenette which enclose a narrow courtyard.

The renovation of our office involved exposing the house’s original wood beam structure.  We were not permitted to make structural changes to the courtyard house and were limited by small spaces.  Our overall approach and furniture design reflect these constraints.

 

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众建筑

众建筑是由何哲、沈海恩和臧峰在北京创办的创新性设计的合资公司。团队成员来自海内外,包括建筑师、工程师和规划师等。

“设计为大众”是“众建筑”思考的起点和终点,我们认为建筑设计首先应当能被大众理解,其次应当积极策略地参与到构建大众文化的过程当中。众建筑在全球经济、国际流通、大规模生产、大众市场以及网络社会中审视和寻找设计创新的可能性, 并希望最终达到“设计影响大众”的目标。

We believe Architecture is for the Masses. It must be conceptually accessible and culturally pragmatic. However, this does not preclude it from innovation, quality, and authenticity.

In fact, it is the Masses that inspire our work.

We view design from the framework of realities of scale, global economics, global flows, mass production, mass markets, social networks. At the same time, we embed ourselves in the reality of the everyday. Our office is located in the hutongs in the heart of Beijing, functions as a laboratory to observe, test, and research.

 

众产品

众产品(People’s Industrial Design Office)由中国建筑师何哲、臧峰与美国建筑师兼产品设计师沈海恩于2010年在北京成立。产品与建筑的双重设计经验和教育背景直接决定了我们的设计方向与方法: 在空间中思考并设计产品,而非独立看待产品本身。

我们始终追求形式和概念的简洁与清晰,以及与实用性之间的创造性关联。

我们试图超越单纯的形式制造浪潮,尝试利用材料、运动、视觉效果,以及简单直接或高科技的工艺和方法寻找新的设计方向,并依靠这种全景式的视角, 持续不断地、创造性的重新定义使用者与产品之间的关系。

People‘s Industrial Design Office was founded by American product designer and architect James Shen and Chinese architects He Zhe and Zang Feng in Beijing China. Our design approach is defined by our education and experience working in architecture and product design. We are therefore adept at different scales and viewing our products not only as objects but as objects in space.

Our cross cultural backgrounds and vibrant setting in the center of Beijing are sources of unlimited inspiration. Our desire to innovate is a reaction to this environment.

We strive for simplicity and conceptual clarity.

Pushing beyond form-making we experiment with materials, movement, visual effects, and both primitive and hi-tech technologies. With this holistic approach, we re-define the ways users engage with products.

 

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为什么选择把办公地点放在北京胡同里?遇到了什么好玩的事儿没?跟大家分享下。
What was the reason to choose a typical courtyard in hutongs as your office?

我们把办公室设在北京城区最中心地段的胡同里,将自己置入至最日常的环境中,在其中观察生活、试验设计、找寻灵感、获得启发,与最具体的大众现实为伴。这样做是因为我们希望自己的设计最终能够面对真正的使用者:大众,而非其他。

We set our office in hutong at the most central part of Beijing and place ourselves in daily environment to observe life, draw inspiration, harvest enlightenment and design with the companion of reality. By this, we delicate our design to the final users, which are the common people rather than anyone else.
 
我们的办公环境很具有画面感:故宫东侧北池子大街的胡同里每天都车水马龙,有的是政府官员,有的是迷途的外国游客,也有踏步行进的武警战士或骑三轮车穿街过喊“羊肚羊羔”的小贩,以及很多很多的“大妈”“大爷”。这里并不浪漫:下水道会有气味,大妈会吵吵闹闹、邻居会不时大动干戈。而在一门之隔的工作室里,有人在这边画着图,有人在那边打着电话、争论着设计,可突然又听见外面的吐痰声,再配上点背景音乐什么的,相当蒙太奇。记得一次,公司正在开会,外面传来了个新鲜的声音“收旧手机收长头发……收旧手机收长发……”渐弱渐强,办公室瞬间就爆炸了,有同事立马跑出去一探究竟。
 
In many ways our surroundings are picturesque: Everyday the surrounding hutongs are busy with people passing by, soldiers marching, government officials returning to their fancy courtyards, lost foreign tourists, or tricycle vendors crying “goat tripe” while they ride, and of course the elderly hanging out and chatting. In actuality the hutongs are not so romantic. The smell of sewage is always present, cars often clog up the narrow hutongs, and every once in a while people fight in the streets. In the studio one might be quietly sketching while the person next to him is arguing on the phone on top of the sound of someone spitting outside. And all this with hip hop in the background. You might say this is a montage-like environment. I remember one time when we were in the middle of a meeting, a vendor was melodically crying out “purchasing old phones and long hair…purchasing old phones and long hair” floated into our office and then gradually faded away. We were all really curious about it, some even ran out to see. An everyday occurrence for some was something very new to us.

 

 

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在这种地方办公你觉得对设计有什么影响没有?
Do you think you are influenced by such working environment?

举几个例子:
办公室外穿梭而过的改装三轮车(游客三轮车,货运三轮车,家用小三轮车)直接导致了我们设计出了“三轮移动房车”;

从办公室四合院的生活经验中,认识到了老房子的各种问题:产权纠纷、空置、保温性差、密闭性差、设备老化、梁柱开裂等等。针对这些问题,我们提出了原样保留建筑,直接插入“内盒院”的想法。

早餐铺、小餐馆的家具再利用问题使得“圆凳椅”诞生;

胡同老人家中的老条凳使得我们产生了重新设计条凳的念头,能够适应工业化生产的众条凳;

胡同中的交通问题使得我们产生了设计电动踏板车的念头;

… …

可以说胡同的环境帮我们看清了很多社会的问题,我们想利用设计来解决这些问题,但是这些解决方法必须依靠现实的社会经济方式,而非陈旧的回忆或虚渺的幻想。
 
Here are some examples of how the Hutongs have influenced us:
Modified tricycles (tricycle pickups,tricycle pedicabs,tricycle shops) surround us. Their creative uses inspired our idea for the Tricycle House.

Our experience with our Courtyard House office space led to a deep understanding of numerous problems in such old structures. These include issues such as property disputes, vacancy, poor insulation, the lack of sewage infrastructure, insufficient heating in the winter, and aging wood structure. Our Courtyard House Plugin attempts to solve these problems without changing the original building.
 
In considering the idea of upgrading old stools used by the food carts and local restaurants around us we came up with the “stool chair,” a design that incorporates armrests and backrests into old stools.
 
The problems of traditional wood bench used by carpenters and the elderly in the hutongs led us to re-design a new bench suitable for mass production.
 
Traveling in the congested hutongs and making use of public transportation has informed our approach to designing a folding electric scooter.

 
Our experience in the Hutongs have helped us understand the surrounding social conditions and their problems. Our interest is to engage in these issues in a way that is realistic, direct, and contemporary rather than one that is abstract and based on reminiscing on a romantic past.

 

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“三轮移动房车”的确有城市另外一面的现实劲儿,同时不失态度。你们还有一个装置艺术作品“圈泡”,这个也挺落地的。请问你们对待装置艺术,建筑设计,工业设计这三者的态度是什么,对你们来说区分大吗?三种创作交互运作,产生过哪些有趣的碰撞?
“tricycle motor home” caters to the modern life, yet presents a dignified artistic attitude. Another of your works “circle bubble” is also designed close to people’s daily life. So what’s your attitudes on installation art, architectural design and industrial design and are there great differences to you? What interesting sparks are brought by their collision?

并不觉得我们的工作中有装置艺术这个类型。但我们会做一些概念的东西,这些东西里有我们想表达、想与大众沟通的概念。一般来讲这些概念的设计会比较夸张、思路比较清晰,如果大众的反馈是积极的,我们会进一步发展出适合工业生产的建筑或产品,到这个阶段就要做很多更细致的工作了。

建筑与产品对我们来说,都是在寻找解决与人相关问题的可能性,只是在不同层面而已。可以说这两个范围对我们而言从未分离,并且一直在互相影响。如我们试图让产品设计去处理空间关系,去试图联系使用者;让建筑设计能够照顾到更多使用者的具体情况。两者殊途同归。当然两者面对的范围与常用的方法是有区别的,如建筑其实常为定制设计,产品会对工业化有严重的依赖等。但我们正在努力制造两者之间的设计情况。

即可称为建筑,也可称为产品的设计项目。 如三轮房车,它能住人,但不是建筑。它能移动,是三轮车,可比一般产品要大很多。但是三轮房车所包含的“对土地问题的探讨”及“可以收纳的软结构”等想法发展出了我们接下来的模块化的内盒院和圈泡帐篷。它们都是介于建筑与产品之间的项目。

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Our interest is not in producing installation art. However we do have some more conceptual projects that address certain issues related to the masses. We approach these projects in an exaggerated manner so that we can achieve clarity and to generate discussion. The feedback that follows informs our development of these projects.

We think of Product Design and Architecture both as means to engage in social issues we’re interested in. Although our two offices are separate entities with dedicated designers, they certainly influence eachother in an intimate way. We approach our product design with considerations of space while we look at architecture from the macro scale to the micro scale of connection details.
 
The two areas do have their differences. For example buildings are usually custom built one-off designs while products are mass produced in high quantities. Over the years we’ve found that we have more and more projects that straddle both areas as buildings become more like products and products come closer to the scale of buildings. For example our Tricycle House is literally architecture on a product. It’s a space for living but it’s not a building; it’s a vehicle but unusually large for a tricycle.
 
One of the core issues that inspired the Tricycle House is the inability to own land in China. This together with mobility, foldable and transforming structures led to our Pop-Up Habitat and our Plug-in Courtyard House Plugin. These are all projects that explore an area between Architecture and Product Design.

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创作工业设计,你们遇到最大的挑战是什么?
What’s the biggest challenge you came upon in industrial design?

若仅指设计,常见问题是自己能够克服的,如工具、材料寻找、技术寻找、技术厂家寻找、制作等。但因为国内并没有成熟的产品设计的市场环境,我们不得不还处理品牌的工作,如策划,调研,市场,质检,运输管理等所有的事情。

在中国似乎无法成为一个独立的产品设计师。

此外就是当设计进入生产环节。

工厂追求更多的是效率,更习惯做固定的产品。创新对工厂来说是件冒险的事情,因为他们需要停下流水线上的作业,与设计师进行切磋磨合。所以找到合适的工厂与专注的工人也成了一件拼人品的事情。

In terms of design, when it comes to material, form, manufacturing, and functionality these are all issues we are able to resolve ourselves. However in China the product development industry is still in its early stages. Designers here don’t only have to be concerned about design but also with branding issues such as product planning, market research, marketing, quality control, shipping, etc. Designers take on a different form here.
 
Finding partners for product development is also difficult. There is a general fear of risk. Few businesses understand that innovation necessarily involves risk and investment. People are too used to taking ideas from others and following someone else’s lead. Also, much of the manufacturing industry is based on quantity and low cost so it is difficult for factories to justify investing in product development. They tend to be short sighted as any pause in their production line translates into lost revenue. Given this, we’ve still been able to find some partners willing to share our vision that have allowed us to continue our quest to innovate.
 
我看到凹凸桌的一些细部相当特别精致,但是这些细部也会抬高造价。你们会为了销量,而简化作品丧失部分品质但保留概念原型,让更多人使用到吗?为什么?
I found that the “concave-convex desk” is very delicate in details which will also lead to higher prices. So will you simplify the desk to just keep the conceptual archetypes at the sacrifice of partial quality in order to gain better sales volume? And why?

我们一直在努力简化凹凸桌。

但凹凸桌的核心是类榫卯的固定方式,这是不能简化的,我们不愿失去它结构的本质。凹凸桌像一个被放大的榫卯组件,这个结构使得多个桌面的组合不需要再增加固定的节点,相互间可以实现严密的扣合。
 
We are constantly improving our products including our Tetris Table. The shape of the design is essentially an enlarged mortise and tenon joint. The shape allow for a strong connection between the tables without any additional connections. Therefore the form is completely tied to its function; it is also what makes it difficult to produce. But cost is not solely dependent on ease of production or even design. Quantity and distribution can drastically lower costs and at the moment we do not have a good platform for this.

 

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Tetris Table
 
材料:木材、钢

凹凸桌由一套五张相互咬合的桌子组成,可分为五张独立的办公桌,也可组合为一张长条的会议桌。连接的关键在于桌腿与桌面的关系,以及桌面倒斜角边的设计, 这使得不同的桌子能相互卡住,并通过适当的摩擦力连接在一起,组合后抬起任何一端都不会散架。 桌面平面形状的不同凹进与凸起,让使用者能够具有创造性地使用每一张桌子。此外,桌腿的滑轮使得整个拼拆过程极为轻松。
 
Materials: Wood, Steel
 
The Tetris Table consists of five interlocking tables that can be separated into individual desks or combined into one long conference table. Perpendicular notches and protrusions invite users to occupy individual tables in creative ways. Table legs and chamfered table surfaces are designed to lock together with a friction fit connection, allowing the assembled Tetris Table to be lifted on either end without splitting apart. Additionally, lockable castors allow for maximum flexibility.

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这段时间邀请了詹远开题我们该聊聊住宅了。因为你们正在做一个不错的大型住宅区设计项目,所以网站有邀请你们作为回答嘉宾,在沟通过程中意外的发现你们最近还有一个项目—内盒院Courtyard House Plugin,是插入胡同老房子的小房子。看了一下资料,内盒院算是小型而独立的建筑,自带防水保温系统。你们甚至还做了产品手册。这种预制化,产品化和灵活化的建筑,你们做过市场调研吗?结果是什么?有多少潜在市场?每一个的零售价是多少?使用年限多久?一般的老板姓能否自行安装吗?如果请专业的人安装,安装费会占到总售价的多少?你们对这个项目最终的期盼是什么?
Recently, Yuan Zhan proposed a topic for “gooood Idea”—It’s time to take about residence. We’re very glad to have you in the discussions since you’re working on a very good large-scale residential project. I unexpectedly found from our communications that you’re carrying out another project “Courtyard House Plugin”, which is a small box inserted in Hutong. The material shows that the courtyard house is a small and independent space with waterproof and thermal insulation system. You even prepared a manual for it. Have you ever done market research on such prefabricated, commercialized and flexible buildings? What’s the result? How about the potential market? What’s the unit price and servicelife? Can they be installed by customers themselves? What’s the proportion of installation charge occupy in the product price? What’s your final expectation from this project?

 
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内盒院主要是一个社会产品而非商业产品。

这个项目其实是为北京大栅栏地区做的一个老旧四合院更新项目,目前正在施工阶段。但它作为一个试点项目,目的是提供一种全新的旧房改造方式,不是翻新,不是重建,只是插入一些高质量的预制化功能使用空间模块,为日后更多的老旧传统建筑能够使用。

大栅栏地区的老旧四合院现状是:随着人口的迁出和建筑的老化,四合院中留下了越来越多的空置房,无人使用,日渐残败。仍住在那里的居民也因为不稳定的环境与昂贵的改造费用而不愿意对现有房屋进行维护,房屋的保温、密闭性等性能得不到改善,形成恶性循环,居住质量越来越差。

Our Courtyard House Plug-in is not a commercially driven project but a socially driven one. This project is a part of the Beijing Dashilar Pilot project which has the aim of rejuvenating the historic neighborhood. The problem given to us was how do you make use of old partially vacant courtyard houses? This is a common situation in all of Beijing’s historic areas. No one wants to occupy these old buildings because of the poor conditions. And no one wants to renovate them because of the expense. Anyone willing to spend the money wouldn’t want to share the courtyardwith people already living there. Our approach is to not renovate, nor to tear down, but to plug in!

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内盒院以一种简单快速的方式实现了四合院的更新,并使之达到现代生活的使用标准。 我们希望在尽量保留原有建筑完整性且最少影响原院中或周边住户生活的前提下,充分利用四合院中的空置房:在现有的四合院空间中直接置入预制的模块内盒。这些模块内盒整合有水、暖、电等设施,并高效节能,有较好的保温、密闭性能,而且非常的轻,可拆分成单元板块(分为墙、地、顶及门窗板块),现场安装快速简易,安装仅需最一般的工人即可,稍有经验的居民也可自行完成安装。

通过这些模块内盒的置入,使得新的与旧的建筑被“蒙太奇”式的拼贴在一起。

在拥有两家原住户的大栅栏杨梅竹斜街72号四合院内,内盒院将会实现了初次样品搭建。使用预制模块,搭建过程将会安静、快速。内盒院系统的制造成本并不会比一般改造装修的费用高,甚至会更低。主体使用100毫米厚金属复合聚氨酯泡沫保温板,具有良好的吸声性能,保温性能,节能环保。

这一计划最终将形成一个操作导则,可以根据不同四合院的要求,选择置入不同功能和大小的内盒模块。

The Courtyard House Plugin consists of pre-fabricated modular units are inserted into the existing courtyard house structure while leaving the original conditions intact. We developed a special panel system that is mass produced and can be easily packed and shipped to any location. The panels are structure, insulation, interior and exterior finish all-in-one. A special connection detail incorporated into the panels allows just two people, inexperienced in construction, to assemble a structure with just a allen wrench. The result is a living space that exceeds today’s standards for energy efficiency. Infrastructural elements such as plumbing, floor heating, insulation, and wiring are integrated into the Plugin Units. The courtyards can therefore be upgraded to modern living conditions with minimum impact. Existing residents are not affect by the process, the old structures are left alone, and the modules are only plugged into vacant spaces. Inserting the plug-in is a soft approach to upgrading old buildings. We also see this project as an alternative to the artificial historicism rampant in China. Instead of clearing out the old and replacing them with newly built structures ours is a montage approach where the new and the old genuinely co-exist.

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众建筑成立4年左右,这四年发生了什么样的事情让你们印象最为深刻?
Peoples Architect has been founded for four years, is there anything that impresses you most in these years?

印象最深的是时常被当作工人。因为我们自己的习惯,喜欢亲手制作东西,经常会有周边的人认为我们是工人,提出些很不礼貌的要求,解释之后还不以为然。

建筑是综合跨学科的工作,建筑师需了解与掌握多种知识,如历史、文化、科学,也需要拥有广阔的视野,如全球化、城市、社会等,更应当拥有必须的技能,如木工、焊工、电脑软件等,这些都是进行创新的必要条件。而目前我们的教育与社会依然对劳作持有偏见,这也就决定了创新的式微与畸形。

中国的等级观念是这么的根深蒂固,在这样的社会中追求创新不仅是设计专业的事情,更是面对整个社会的战斗。

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We believe in getting hands-on with our work. That means we are in factories and on site involved in construction often working side by side with laborers. One thing we’ve found that has stuck in our minds is that each time we take on the role of a laborer we’re treated as if we’re of a different class and sometimes spoken to in impolite ways. Architecture is an interdisciplinary field. Our knowledge spans history, culture, art and science. Our perspective must be worldly and broad to engage urban and social issues in the context of a global economy. And our skills must include CAD, CAM, sketching, carpentry, machining, welding, mold design, etc. Creative solutions involve an intersection of all these aspects. This is the basis for innovation.

However the education system and social structure of Chinese society looks at labor with prejudice. In our eyes this prevents designers from engaging in one of the most important aspects of design. It is often within the process of making that we come up with our most creative ideas. And sometimes the creative step is in how something is made that in-turn naturally affects how it looks. But the idea that labor is not for the educated and cultured is deeply rooted in Chinese society. Innovation and progress is essential to improving our social condition and understanding materials and methods of production is a necessary part.

 

 
众建筑共有三位合伙人,据我所知,你们几乎所有的事情都要三人达成一致才会作出决定和执行。这在其它的事务所里面很少见,通常大家都有自己的打算和偏好,或者会有一方非常强势。你们是怎么做到这种高度统一呢?
You’re a three-partner company. As far as I know, you make almost all the decisions and performances only if you three reach agreement. This is very rarely seen in other Architects. Generally speaking, everyone has his own ideas and preferences or one is relatively stronger than others. How can you reach such high unity?

 
高度统一也不会的,有差异、有不同的观点和角度才有讨论的意义。争吵是常发生的事,无论是我们之间还是与员工之间,但关键是对公司的发展方向和价值观标准要有一致的认识,仅就事论事,针对具体操作的争吵只会对公司有好处。我们对公司的期望有一部分是希望它内部是一个相对民主的小社会,大家在这里可以畅所欲言,对公司的发展都能起到作用。‍
 
Universal agreement is not very common. Different points of views and drawing from our unique experience and background makes our discussions more meaningful. We’re always arguing, whether it’s between partners or with our designers. But the one thing we have in common is our purpose which is embodied in our name. And as long as our fights are for the sake of the same goal, the more we argue the more we’re able to ensure the final result is one that has taken multiple points of views into consideration. Our designs need to hold up to the criticism of society and our office is a microcosm of that. Anyone’s opinion in the office is welcome. The more we test out our ideas internally, the more likely our designs will be successful.

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主持建筑师(按姓氏拼音排序)
 
何哲(照片左):
出生于浙江金华。国家一级注册建筑师,建筑学学士,城市规划与设计硕士。2003年负责的乌鲁木齐中心区城市设计获得竞赛一等奖。曾主持北京前门大街及东片区保护与整治、深圳广电信息网络科技大厦等大型知名项目。

沈海恩(James Shen)(照片中):
出生于美国洛杉矶。毕业于美国麻省理工学院,获建筑学硕士学位。多次获麻省理工最高奖学金。曾主持台湾澳底别墅、瑞士诺华制药上海研发园区、深圳广电信息网络科技大厦等大型知名项目。

臧峰(照片右):
出生于甘肃兰州,国家一级注册建筑师,毕业于北京大学,获建筑学硕士学位。2006年获日本池下建筑奖学金。2008年参加英国伦敦V&A“创意中国”展览并获殊荣。曾主持上海世博会上海企业联合馆等大型知名项目。

获奖经历
-2012 “北京廿一客北京总部”获得文化部与深圳市政府共同举办的中国设计大展的提名奖
-2013 中国室内设计CIDA 2013年度两项大奖
-2014 “珠海现代有轨电车站艺术方案征集”竞赛活动优胜奖
-2014 空间设计作品被深圳关山月美术馆收藏,北京廿一客北京总部
-2014 国际地产奖International Property Awards两项大奖,三千渡项目
-2014 美国纽约Architizer的A+Awards 2014年度评审奖,三轮房车与移动花园
-2014 美国纽约Architizer的A+Awards 2014年度评审奖,圈泡屋pop-up habitat
-众产品方面
-2014红点奖(圈泡屋) -2013红点奖(凹凸桌)
-2013CIDA产品设计奖   -2013红棉奖    -2012红棉奖

展览经历
-2012 大声展中担任城市/建筑/产品的联合策展人并负责空间设计,北京
-2013 北京设计周,北京                                          
-2013 深港城市\建筑双城双年展,深圳
-2014 第四届城市艺术国际双年展,波兰
-2014 威尼斯建筑双年展,担任“穿越大栅栏”领航员单元,威尼斯

 

 

 

其它项目  Other Project

 

三千渡社区 River Heights Residences

“三千渡”社区
山西太原
2010至今
建筑面积500,000平方米
在建

“三千渡”项目位于太原市北部,紧邻汾河。为了在这样一个尚未完全开发的区域内迅速培育出都市建筑形态与相应的生活方式,我们有意缩小建筑的尺度,制造了整体性的视错觉: 将每个住宅单元塔楼拆分为三个”迷你塔楼”,三个”迷你塔楼”都拥有独立的住宅外形, 但共用一个核心筒,彼此间高低、前后错落, 带来更好的通风、采光与视野,并形成大量高低不一的屋顶花园,形成轮廓分明的都市天际线。不同楼体间外立面的视觉连续进一步增强了这种尺度的错觉。
   
通过整齐划一的外立面不断的重复,使轮廓分明的天际线与成组群的建筑共同构筑出一种整体效果: 后退的“背景”。建筑“背景”有效的烘托出周边与内部的绿色景观环境以及下沉广场等日常活动空间。

River Heights Residential Towers
Taiyuan, Shanxi
2010-
Building area of 500,000sqm
Under Construction

The context of the Riverside Heights Residential Towers is an undeveloped suburban location on the outskirts of Taiyuan. To promote urban livingin a tabula rasa environment we manipulated the scales of the towers to appear larger than they are; the result is a ‘metropolitan’ suburban development with an articulated skyline. To achieve this effect, the towers were subdivided into three mini-towers, each with the footprint of an individual housing unit. Three mini-towers share one core, vary in height and are capped by roof gardens. The consistency of the facades further enhances the illusion of scale.

The articulated skyline and groupings of the buildings suggest a collective form. Through repetition and highly controlled façades, the buildings act as a background, highlighting the surrounding landscaped areas of open green spaces and sunken plazas.

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“廿一客”办公总部 21 Cake Headquarters

北京
2011-2012
设计完成

“廿一客”是国内新兴的蛋糕食品专业公司,我们为他们设计了北京办公总部的室内空间。

我们利用红、黄、蓝三色的叠加与渗透,在空间内部填满各式各样的色彩效果。方法是将行走路径面对或侧旁的墙面设计为不同的彩色玻璃,通过人在空间中的移动,观看玻璃的角度与层数的变化,颜色的叠加及光线的各种反射,构建出一个无比虚幻的色彩世界。而二层通高的中庭是这个世界的中心,因为有直射的阳光和更多层的彩色玻璃,能够形成最为绚丽、玄妙的色彩效果。

办公空间的折梁桌(会议桌)与凹凸桌(多功能桌)是由“众产品”设计并制作;

客户: 廿一客(北京)有限公司
地点:北京朝阳区慈云寺桥莱锦创意产业园
建筑面积: 457 m2
设计主持:何哲,James Shen(沈海恩),臧峰
项目团队:刘秀娟,陈奕旋,梁邵肄,崔玉婧

Beijing
2011-2012
Completed

The design for the headquarters of 21 Cake, a popular gourmet cake franchise, relies on the  interaction of the three primary colors: red, yellow and blue. Selected walls of the office, namely those along circulation areas, are made of laminated colored glass. These glass panels of primary colors are ‘layered’ to create a full spectrum of changing colors. As one walks through the spaces of the office, changing vantage points in combination with natural and artificial light and reflections produce dramatic effects.  A double height central atrium topped with a skylight brings in light through the layers of color along the staircase and glass bridge on the second floor.

Conference tables and mobile work tables are designed and produced by our sister company People’s Industrial Design Office.

Client: 21 Cake
Location: Legend Town Creative Industry Park, Ciyunsi Bridge, Chaoyang District, Beijing 
Building Area: 457 sqm
Principals: He Zhe, James Shen, Zang Feng
Team: Liu Xiujuan, Liang Shaoyi, Chen Yixuan, Emily Kwak, Cui Yujing

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↑ 左:入口   右:从室外看彩色玻璃  Left: entrace  Right: stained glass seen from outside

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↑ 一层前厅 lobby on the 1st floor

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↑ 天井 atrium

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↑ 二层彩色玻璃 stained glass on the 2nd floor

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↑ 二层中央走道 central aisle on the 2nd floor

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↑ 楼梯间 stairwell

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↑ 一层办公区 office area on the 1st floor

 

 

三轮移动房屋  The Tricycle House

三轮移动房屋是为2012年大声展而做的, 目的是为了讨论在中国土地不私有制度的前提下, 能否拥有一种土地与住宅及自然景观相对松弛的关系:家庭住宅也可以是灵活的、可变的,停车场也可为人(而非车)所利用。生活不必完全围绕“车、房”而展开。三轮移动房屋由PP(聚丙烯)板制成:利用CNC对板材剔槽切割,而后折叠焊接形成空间。PP板的特点是折叠不会减弱强度,却能够拉伸延长或缩短。房屋因此能够完全打开或根据使用情况改变长度,并与其他移动房屋或移动绿地连接。PP板同时有着透光的特性,白天室内光线均匀,夜晚甚至可借用周围城市的灯光照明。

三轮移动房屋是一个完整的居住设施,内有洗手池、炉灶、澡盆,以上设施都可以隐藏入前设备墙中。也可通过折叠家具形成餐桌、书架和双人床。

The Tricycle House addresses the theme “The People’s Future” for the 2012 Get It Louder Exhibition in Beijing. Private ownership of land in China does not exist, and The Tricycle House suggests a future embrace of the temporary relationship between people and the land they occupy. In a crowded Chinese city single family homes can be affordable and sustainable, parking lots are used at night, and traffic jams are acceptable.  As a construction method we experimented with folded plastic. Each piece of the house is cut with a CNC router, scored, folded and welded into shape. The plastic, polypropylene, can be folded without losing its strength. Therefore the house can open up to the outside, expand like an accordion for more space, and connect to other houses. The plastic is translucent allowing the interior to be lit by the sun during the day or street lamps at night.

The Tricycle House is man-powered and operates off-the-grid. Facilities in the house include a sink and stove, a bathtub, a water tank, and furniture that can transform from a bed to a dining table and bench to a bench and counter top. The sink, stove, and bathtub can collapse into the front wall of the house.

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↑ 在城市中移动 moving in the city

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↑ 左:移动房屋 沐浴   中:睡眠   右上:用餐    右下:夜景 Left: tricycle house bathing  Middle: sleeping  Upper right: dining  Lower right: night

 

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↑ 分解示意图 Exploded View

 

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↑ 功能分析图 Multiple Uses

 

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↑ 移动房屋组合方式 Combining Tricycle houses

 

 

圈泡屋 Pop-Up Habitat

圈泡屋是一个轻质的多功能帐篷。其可叠可展的灵活构造十分有趣,外观具有强烈的视觉吸引力。此外,圈泡屋的安装十分方便,儿童即可独立完成。建筑师利用这些圈泡屋创造了一个无限延伸的多层临时城市。

The Pop-Up Habitat is a lightweight, multi-purpose habitable building block. The instantly deployable structure is playful and visually appealing. And it is so easy to assemble that even children can play. Architect creating an infinitely expandable multistory temporary city.
 
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在gooood上已发布的项目 Projects Published before

Mesh Sofa 网沙发
Juxing Tower Showroom 巨鑫国际展示中心
River Heights Pavilion 山西太原“千渡馆”

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MORE: 众建筑/众产品-PAO/PIDO

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