非常感谢 大料建筑 对gooood的分享。更多关于他们：DL Atelier on gooood。
Appreciation towards DL Atelier for providing the following description:

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

▼视频，Video
（全文深度采访见下方文字。视频为5分钟精华版，建议选择1080p高清版本观看）

大料建筑十周年

专访刘阳

Special Interview for
DL Atelier’s First Decade

gooood x Liu Yang

______
回顾十年
The past 1o years

非要说里程碑的话，我觉得可能是把之前的事务所搬到这儿（国子监胡同），应该是18、19年的时候。因为这个房子是我们自己设计的，在使用过程中也会对最初的设计有一些持续性的思考，所以它在某种程度上代表了我们对于设计、对于胡同、对于建造，对于各种各样的生活细节的总结。四五年之后回看起来，作为使用者去反复审视作品，这个视角和以前还是挺不一样的，对大料来说是一个重要的新的开始和阶段。

If I had to mention a milestone, it would probably be moving our previous office here (Guozijian Hutong) around 2018-2019. We designed the office ourselves, so there is continuous reflection on the initial design during its use, it represents, to some extent, our summary of design, of the hutong and its construction, and various details of life. When we look back four or five years later, as users who repeatedly review the work, the perspective has been quite different from before and marks an important new beginning and phase for DL Atelier.

▼位于国子监街的办公室，由大料建筑设计和改造，The office located in Guozijian Hutong, designed and renovated by DL Atelier
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我觉得十年可能还太短了。这十年里，我印象中大料一共做了70多个设计，实际盖出来了30多个，这个投入产出比好像还挺高的，所以我觉得我们可能运气比较好吧。

I think ten years might be too short. In the past decade, as far as I remember, we have completed over 70 designs and built more than 30 of them. The input-to-output ratio seems quite high, so we might have been quite lucky.

▼大料建筑部分代表作，Part of the projects by DL Atelier

“月亮舞台代表了我们一直向往的设计方向与方式。”

“The Moon Stage symbolizes the design direction and approach we have always aspired to.”

最满意的项目，可能恰恰是10年前我们最开始做的月亮舞台，因为它代表了大料或者说我个人设计的内核，甚至代表了我们一直向往的设计方向与方式。有不少去过月亮舞台的人告诉我，一走过峡谷，好像都会被“震”一下，说他们觉得太美了，当“美”这个词从他们嘴里说出来的时候，还是让我感觉挺高兴的。

The most satisfying project is probably the Moon Stage, which we first started doing 10 years ago, as it represents the core of the atelier’s or my personal design, and even symbolizes the design direction and approach we have always aspired to. Many people who have visited the Moon Stage told me that they felt “shocked” when they walked through the canyon, saying it was so beautiful. When the word “beautiful” came from their mouths, it made me feel quite happy.

▼月亮舞台（河北，马兰村），Moon Stage (Malan Village, Hebei)

▼月亮舞台模型和效果图，Model and rendering of Moon Stage

北京奶奶邓小岚老师数年来每周车程 4,5 个小时，来到河北山区马兰村，教那里的孩子们学习音乐。邓老师一直想给孩子们一个演出的地方，一个小小的露天舞台。我们听到这个故事后，来到了马兰村，见到了邓老师和孩子们。被她们的“纯净”深深吸引。我们想给孩子们一个同样“纯净”的地方，一轮由山坡而下，流入溪水中的“圆月”。平时，孩子们可以在上面玩耍，大人们可以洗衣钓鱼。演出时，这里又成了一个在月亮上唱歌跳舞的地方。

“月亮”舞台由小石块铺砌而成，石块的缝隙镶进了许多的玻璃球。在月光下，舞台闪闪发亮，像水面的波光一样。舞台背后藏一暗室，可作为后台，并有一楼梯连接着岸上的村庄。而舞台对面，还有一圆型看台，依河岸而下，流入溪水中，坐在这里的观众，可以看到半扇水上的舞台和半扇水中倒映的舞台共同画出了一轮完整的“圆月”。如果没有邓老师的热情，山村里的孩子可能一辈子也感触不到音乐的美好;而没有这些幸福的孩子，也便更不会有这月亮舞台的纯净。

“现在我比较在意的是每个项目真正建成、并且经过一段时间以后，它给这个世界到底带来了什么。”

“What I’m more interested in now is what each project truly brings to the world after it is built and has been in use for a while.”

实际上每个项目从设计到发展，最后到落地和使用，肯定都会有各种各样的问题，比如完成度，或者建造层面和功能使用上的一些遗憾，但是它可能并不妨碍项目本身所带有的那种精神上的力量。这种力量不仅是我们能够感受到的，而是在这十年间已经被充分地传达出去了，它能够让每一个关注它的人都能感受到其中包含的信息和力量，哪怕他们不一定实地去过。比如说我们在14年设计的景德镇三宝蓬美术馆，应该算是我们第一个建成的项目，我觉得它给景德镇带来了一些实际的变化，因为它和景德镇当时的发展阶段是吻合的，代表了景德镇从传统中跳脱出来的一个发展阶段。

In fact, every project, from design to development and finally to implementation and use, will certainly have various problems, such as the degree of completion, or some regrets in terms of construction and functional use. However, these issues may not prevent the project itself from carrying the spiritual strength. This strength is not just something we can feel, but has been fully conveyed over the past ten years, allowing people to feel the message and power contained within, even if they haven’t necessarily been there. For example, the Sanbaopeng Art Museum in Jingdezhen we designed in 2014 was our first completed project, and I think it brought some tangible changes to the area because it coincided with the development stage of Jingdezhen at that time, representing a leap from the traditional pattern.

▼三宝蓬美术馆（江西，景德镇），Sanbaopeng Art Museum (Jingdezhen, Jiangxi) © 孙海霆
点击这里查看更多，Click HERE for details

另外一个比较早的项目，一舍山居，因为建造成本很低，所以存在一些不够完美的问题，但它也是正好赶上了北京的民宿发展的上升期，后来也变成了一个非常受欢迎的地方，甚至也会被其他一些项目去模仿。模仿的点其实并不是建造，而是我们在民宿里设置了一个聚集大家的环节，从而带来了一种现在城市里边很难拥有的新的方式和生活体验，这是更好玩和更有意义的。从整体上来讲，我们的项目和设计也都一直是在发展的，有些时候是在预期之内，有些时候则是带来了一些瞬间的、意外的收获，现在再回看的话会觉得更有趣，也是我们更期待的。现在我比较在意的是每个项目真正建成、并且经过一段时间以后，它给这个世界到底带来了什么。

Another earlier project, the Yi She Mountain Inn, had some imperfections because of its low construction costs, but it also caught the rising trend of development of B&B industry in Beijing, and has since become a very popular place, even being imitated by some other projects. The point of imitation is not construction but the gathering atmosphere we created, which brings a new way of living and experience that can be rarely found in cities nowadays. Overall, our projects and designs have been constantly evolving, sometimes within expectations, and other times bringing unexpected, fleeting rewards, which are more interesting and anticipated when looking back now.

▼一舍山居（北京），Sanbaopeng Art Museum (Yi She Mountain Inn) © 孙海霆
点击这里查看更多，Click HERE for details

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个人成长
Personal Growth

“尤其今年我有了一种特别强烈的使命感，我希望能够给这个世界带来一些更强烈的刺激。”

“Especially this year, I have a particularly strong sense of mission. I hope to bring some more intense stimulation or stronger excitement to the world.”

其实直到疫情之前我都觉得没什么变化，那时候我还保持着一种自娱自乐的心态，把设计这个事儿当做自己的个人表达，然后带着我们一帮同事，跟合适的甲方一块去玩玩闹闹。但是现在，尤其今年我有了一种特别强烈的使命感，我希望能够给这个世界带来一些更强烈的刺激，或者说带来一些精神上的力量。有了这个想法以后，我们的设计也会在方向上产生变化。

比如说在2020年疫情在家的时候，我给自己编了一套说辞，说我们的建筑和设计可能更像某种喜剧，比如骑缘马场或者三宝蓬艺术中心，它会在戏剧化的场景中出现一些讽刺和调侃的元素，这些东西可能能够代表我们以前的某一些设计。但是后来我觉得这可能有点故弄玄虚，我其实没必要非得给自己套一个说法。

让我现在再去说的话，我觉得我们的方法特别简单，那就是极为直接、直白地把情感表达出来，包括在情感的转化方式上也是特别直接直白的。就像月亮舞台，我们想到了一个月亮的意向，然后就真的做了一个“月亮”出来。可能在某些语境下这是一个特别傻的事儿，但在我看来它是一种真诚的方式，而这种直白的转化往往也会带来力量，让人产生很直接的联想和共情。

Actually, I felt there hadn’t been much change until the pandemic. Before that, I maintained a self-entertaining attitude, treating design as my personal expression, and having fun with my colleagues and clients. But now, especially this year, I have a particularly strong sense of mission. I hope to bring some more intense stimulation or stronger excitement to the world. With this idea, our design direction will also change.

For example, during the 2020 pandemic when I was staying home, I came up with an explanation that our architecture and design may resemble a kind of comedy, like the Rider Partner Equestrian Club or the Sanbaopeng Art Museum, with ironic and teasing elements appearing in dramatic scenes. These elements might represent some of our previous designs. But later, I felt this might be a bit pretentious, and I didn’t need to force a label on myself.

If I were to describe it now, I think our approach is extremely simple, which is to express emotions directly and bluntly, including transforming emotions in a very straightforward way. Just like the Moon Stage, we came up with the idea of the moon and then we made this “moon” come true. In some contexts, this might be a silly thing to do, but in my opinion, it is a sincere way and the straightforward transformation often brings power, evoking direct associations and empathy.

▼骑缘马场（北京宋庄）Rider Partner Equestrian Club (Beijing) © 朱雨蒙 © 孙海霆
点击这里查看更多，Click HERE for details

▼直接、直白地转化情感，是大料建筑一贯保持的设计方式，Direct and straightforward translation of emotion, a design approach consistently maintained by DL Atelier © 朱雨蒙 © 孙海霆
High巣，点击这里查看更多，Click HERE for details
清舍民宿酒店，点击这里查看更多，Click HERE for details

“我觉得可能痛苦也挺棒的。至少我觉得从人类的角度来讲，痛苦所能带来的东西可能比快乐要多。”

“I believe that it is also a fantastic thing to suffer from pains. At least I think from a human point of view, misery can bring more things than pleasure.”

这十年的前两三年基本上没怎么做项目，我每天就是一个人看电影、看书，后来才开始认真地做设计。以前我们好像一直被关照着，被宠着，所以可能不太会有特别强烈或者特别深层次的思考和感受。但是现在，我觉得这世界本来的样子好像被我接触到了，这会给我带来更多的感受和思考。比如这话可能说起来特别矫情特别酸，就是我以前觉得快乐是一个特别重要的事儿，无论是你个人的快乐，还是设计能给别人带来的快乐。现在我好像就不这么觉得了，我觉得可能痛苦也挺棒的。至少我觉得从人类的角度来讲，痛苦所能带来的东西可能比快乐要多。

In the first two or three years I basically didn’t work on any projects and spent my days watching movies and reading books, only later starting to take design seriously. Before, it seemed like we were always looked after and pampered, so we might not have had particularly strong or profound thoughts and feelings. But now, I feel like I’ve come into contact with the true nature of the world, which brings me more feelings and thoughts. This might sound cheesy, but I used to think happiness was crucial, both for personal happiness and the happiness that design could bring to others. Now I don’t seem to feel that way anymore; I believe that it is also a fantastic thing to suffer from pains. At least I think from a human point of view, misery can bring more things than pleasure.

▼大料建筑办公室，Office scenes © 大料建筑 © 谷德设计网

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近期项目
Recent Projects

“基于之前的经验，对长城和项目的关系有了新的思考……我们和甲方彼此变得更加信任，所以也就可以更加‘肆意地’去玩。”

“Based on our previous experience and new thoughts on the relationship between the Great Wall and the project…our trust with the client has grown, allowing us to be more ‘unrestrained’ in our design process.”

三个小喜民宿 | Three Xiaoxi B&B projects

小喜民宿的三个项目是同时做的，并且业主要求要做不一样的东西，但所谓“三出戏”是在项目盖得差不多，准备发表的时候才总结出来的。其实很多建筑师都是这么干的，在设计之前其实想不到那么清楚，总之就先去做，之后再回顾的时候可能会带来更多的思考。以前这么做我也排斥过，后来觉得这是一个非常正常的事情。

让我们特别自豪的是，从甲方给我们的一些反馈来看，我们设计的部分通常入住率都会比较高，而且很多客人会来好几次，可能确实体验和感受是挺不错的。一方面我们自己玩了一把，设计出了一个还比较好玩的房子，另一方面也是回馈了业主，回馈了社会，造福了人类（笑）。

The three projects for Xiaoxi B&B were designed simultaneously, and the client requested that they be different. However, the so-called “three acts” were only summarized when the projects were almost finished and ready to be published. In fact, this is what many architects do; they may not have a clear idea before designing, so they just go ahead and do it, and when they look back on it later, it might lead to more thinking.I used to be against this approach, but later I realized it is a very normal thing to do.

We are particularly proud that, according to the feedback we’ve received from our clients, the occupancy rate of the spaces we designed is usually quite high, and many guests return multiple times, which suggests that the experience and atmosphere we created are quite appealing. On the one hand, we had fun designing these enjoyable houses, and on the other hand, we have also given back to our clients, society, and humanity (laughs).

▼“危险”三出戏，第一幕：《鹞子落》，“Three Acts about danger”: Act I: Harrierfall – Beacon Tower in My Yard © 朱雨蒙
点击这里查看更多，Click HERE for details

▼“危险”三出戏，第二幕：《猫和老鼠》，“Three Acts about danger”: Act II: Tom and Jerry © 朱雨蒙
点击这里查看更多，Click HERE for details

▼“危险”三出戏，第三幕：《混乱是阶梯》，“Three Acts about danger”: Act III: Chaos Is a Ladder © 朱雨蒙
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▼一系列“好玩的”房子，给游客带来城市生活中不常遇到的体验，A series of “fun” houses provide visitors with experiences not often encountered in city life © 朱雨蒙 ©熹游迹

我们现在在北京还在做另外一个项目，也是同一个业主，而且从规模和管理上已经更偏向于酒店而不是民宿了。但是我们设计的思路其实没有什么变化，基于之前的经验，对长城和项目的关系有了新的思考，当前的想法是在那做一个类似风化后长城的东西，直接的形式去表达一种直接的力量。因为有了之前的合作，我们和甲方彼此变得更加信任，所以也就可以更加“肆意地”去玩。

We are currently working on another project in Beijing for the same client. It is larger in scale and more like a hotel than a B&B in terms of management. However, our design approach has not changed. Based on our previous experience and new thoughts on the relationship between the Great Wall and the project, our current idea is to create something similar to the weathered Great Wall, expressing a direct form of power. Since we have collaborated before, our trust with the client has grown, allowing us to be more “unrestrained” in our design process.

▼正在进行的民宿项目，An under-going B&B project in suburban area of Beijing © 大料建筑

“我们其实挺擅长做大房子的，我觉得大房子比小房子更容易做……也就是说用一个很小的劲就足够达到体验和设计上的强度。”

“We are actually quite good at designing large buildings. I think large buildings are easier to design than small ones. This means that a small effort was enough to achieve a strong experience and design.”

乐知学校 |Lezhi Primary School

乐知学校和之前未能如愿落地的新港小学存在一些共同点，但可能并不是布局上，而是我们一直希望学校的楼层不要太高。一般的学校是4到6层甚至更高，但我们希望的是2-3层那样的状态，这样的话整个房子会掩映在树林里边，并且我们一般会留出很大的空地或者院子，让小孩可以出去玩。并且因为房子只有两层，孩子们在10分钟的课间也可以很轻松地走到户外玩耍，而不至于总憋在教室内。这样的场景对于孩子的身体健康和社交活动都会更好。

Lezhi Primary School has some similarities with the previous Xingang School, which failed to come to fruition as hoped, but it may not be in the layout. We have always hoped that the floors of the school buildings would not be too high. Most schools have 4 to 6 floors or even higher, but we prefer 2-3 floors. This way, the building is nestled within the trees, and a large open space or courtyard can be created for children to play. Also, because the building only has two floors, children can easily go outdoors to play during their 10-minute breaks, rather than being confined to the classroom. This kind of setting is better for children’s physical health and social activities.

▼广西乐知学校，Lezhi Primary School, Guangxi Province © 朱雨蒙

▼2014年，新港小学效果图。由于对设计初衷的过分坚持，这个项目未能如愿落地。Xingang Primary School. This project was failed to come to fruition as hoped due to Liu Yang’s insistence on the original design intention © 大料建筑
点击这里查看更多，Click HERE for details

至于说规模，乐知小学对我们来说其实不算一个太大尺度的项目，比如我们给北大附中做的一个分校是3万3千多平方米，这种规模是更常见的。在成立事务所之前，我在齐欣老师那儿就经常做大项目，我记得我20来岁的时候就已经做过180米的超高层，后来我们独立之后也会做很多大尺度的竞赛，包括在马尔代夫也做过30多万平方米的综合体竞赛。

As for the scale, Lezhi Primary School is not considered a particularly large-scale project for us. For example, the project we designed for Peking University Affiliated High School covers an area of over 33,000 square meters, which is a more common size. Before establishing our firm, I often worked on large projects with Professor Qi Xin. I remember designing a 180-meter-high skyscraper in my twenties, and after becoming independent, we participated in many large-scale competitions, including a 300,000-square-meter complex competition in the Maldives.

▼马尔代夫综合体竞赛效果图，Rendering of the mixed use design competition in the Maldives © 大料建筑

我们其实挺擅长做大房子的，我觉得大房子比小房子更容易做，小房子要用大劲，大房子反而是用小劲。比如说做小型民宿，必须在有限的空间里尽可能把体验强化出来，得用特别大的劲去展开。大房子从结构上和体验上其实都可以做得很放松，或者说可以以更舒缓的方式去让人感受一些东西。比如说乐知学校，我们在视觉上没有做任何的强调，但是我们把走廊的宽度增大到5米左右，就带来了进行各种活动的机会，也就是说用一个很小的劲就足够达到体验和设计上的强度。

We are actually quite good at designing large buildings. I think large buildings are easier to design than small ones. For example, when designing small guesthouses, you have to maximize the experience in a limited space. Large buildings can be easier to cope with in terms of structure and experience, or people can feel things in a more comfortable way. For instance, at Lezhi School, we didn’t emphasize the visuals, but we widened the corridors to about 5 meters, which provided opportunities for various activities. This means that a small effort was enough to achieve a strong experience and design.

▼乐知学校外观，2-3层的体量让孩子们可以在课间很轻松地走到户外玩耍，The low building volumes encourage children go outdoors to play during their break © 朱雨蒙

我们在成都麓湖现在有几个正在进行的项目，其中一个是儿童博物馆，规模大概5000多平米，预计今年六一就要开业了。在这个项目里我们也用了一些之前没用过的材料、工艺以及设计方法，最后达到的效果比我预期得要好。还有一个有婚礼堂的小岛也快盖好了。

We have several ongoing projects in Chengdu Luxelakes. One of them is a children’s museum, covering an area of over 5,000 square meters, which is expected to open on Children’s Day this year. In this project, we also used some materials, techniques, and design methods we haven’t used before, and the final result was better than I expected. There is also a small island with a wedding hall that is almost finished.

▼成都麓湖儿童博物馆（在建中），Luxelakes Children’s museum, Chengdu (under construction) © 大料建筑

▼麓湖花岛（在建中），Luxelakes Huadao (under construction) © 大料建筑

▼海口世纪海角商业街区（在建中），Century Cape Commercial complex, Haikou (under construction) © 大料建筑

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寻找生命的广度与深度
更加真诚地面对世界
Seeking breadth and depth in life
Be more sincere in facing the world

“经常还是会有不少困惑也挺好的，更加开放些的同时从过量的网络信息跳脱出来，自己寻找生命的广度和深度。”

“It’s good to have confusion often. I attempt to be more open and detach from excessive online information, seeking breadth and depth in life.”

岁数大了以后，睡眠变得更少，相应地感受世界的时间也变长了。我把手机里边的大部分APP都删了，朋友圈的话我只发，但也几乎不看了，所以突然好像每天的时间都变得比以前多了。我会在多出来的时间里写写字，画画画，还弹弹琴，虽然现在还弹不太好，但有一天我在拨弄琴弦的过程中突然感觉到情绪被表达了，并且即时听到声音的反馈，再推着情绪继续发声，那个时刻还挺激动的。现在会尝试去多做一些以前没有做过的事，不把自己封闭在某一种套路或者方式里边，别过于自洽了，经常还是会有不少困惑也挺好的，更加开放些的同时从过量的网络信息跳脱出来，自己寻找生命的广度和深度。还有一个事是我觉得“坚持”挺重要的，你可能不会马上得到回报或者反馈，但是当你持续地去做或者持续地去思考和感受，坚持到一定程度，你总是能得到一些回馈。

As I get older, and sleep less, the time I spend experiencing the world has increased. I’ve deleted most of the apps on my phone and stopped checking my social media feed, so suddenly it seems like I have more time each day. In my spare time, I write, paint, and sometimes play a guitar. Although I’m not very good at it yet, I once felt my emotions being expressed while plucking the strings, and the instant feedback from the sound pushed my emotions to continue, which was quite an exciting moment. Now, I try to do things I haven’t done before, not confining myself to a particular pattern or method, not being overly self-sufficient, and it’s good to have confusion often. I attempt to be more open and detach from excessive online information, seeking breadth and depth in life. Another thing is that I think “perseverance” is essential. When you persist in doing or thinking and feeling, you will always get reward and feedback, though not always immediately.

▼刘阳平时会在工作室里写写画画，Liu Yang usually writes and draws in his studio ©谷德设计网 © 刘阳

“相比于以前可能会耍点小聪明，现在则是会更加真诚地去面对这个世界。”

“Compared to before when we might have played some petty tricks, we are now more frank and sincere in facing the world.”

在以前的采访里，我说过我们“要做煽情的建筑”。我想现在，情可以接着煽，但我觉得更重要的是怎么“煽”，以及“情”到底是什么。如果说以前是“小情小爱”，现在可能就是“人间有真情，人间有大爱”（笑）。我们会有对世界和时代的使命感，至少我现在会有这些这些想法和冲动了。前一阵子跟刘家琨前辈聊天，他说建筑师在年轻的时候更多是靠经验、靠技巧去做建筑，但到了一定岁数之后，你构建的世界其实就是你自己性格的一个体现，它会和你自我表达的东西越来越契合。我自己也这么觉得，我们现在也越来越接近这样一个阶段了，相比于以前可能会耍点小聪明，现在则是会更加真诚地去面对这个世界。

In a previous interview I said that DL Atelier wants to create “sensational architecture.” Of course we can continue to be sensational, but I think what is more important is how to stimulate people’s sensation and what sensation really is. If the past was about “small love and affection”, now it is about “great and genuine love in the world” (laughs). We will have a sense of mission for the world and the times, at least for now I really have these thoughts and impulses. I recently talked with Mr. Liu Jiakun, who said that young architects rely more on experience and skills to create architecture. But as they age, the world they build becomes a reflection of their own personality, and it becomes more and more consistent with their self-expression. I feel the same way, and we are getting closer to this stage now. Compared to before when we might have played some petty tricks, we are now more frank and sincere in facing the world.

▼两个装置作品：左上：《一摸黑》左下和右图：《一人众灵呼吸》（深圳双年展）；Two installation works: top left: Eyes Closed; Right and bottom left: One Person, Spirits, Breathing
点击这里查看更多，Click HERE for details

“做设计会帮助我克服性格上消极的部分，同时可能也会放大我性格的优点。这就好像在和设计谈恋爱，我爱它，它也爱我，相互托底和相互成就。”

“Design helps me overcome the negative aspects of my personality while possibly magnifying the positive traits. It’s like being in love with design – I love it, and it loves me back; we are supporting and achieving each other.”

最近我也一直在琢磨这个事儿，我会觉得我性格上存在的一些很明显的缺点，比如说胆小，懒惰，骄傲，或者自私，它们反而给了我一种新的面对世界的方式和触角，设计变得像我的一个机甲，会驱使着我去克服问题或者做出抵抗。比如说，我是个胆小的人，但是我们的设计好像还挺大胆的，甚至是不计得失，一条路走到黑的那种，包括给业主或者其他人的感受也是这样的。又比如说我也是一个挺懒的人，但在做设计的时候又完全不惜力。每次告诉自己这个设计时间太紧了，一定别折腾，但是实际一做就搂不住了，就又朝着我们认定的最好的方式去埋头苦干了。又比如说我性格里会有骄傲和自私这样的问题，但在设计上我又是很谦逊的，我会完全站在对方的角度替业主、替使用者去考虑。

I have been thinking about this recently, and I think some obvious flaws in my personality, such as being timid, lazy, arrogant, or selfish, have actually given me a new way to face the world and connect with it. Design becomes like my armor, driving me to overcome problems or resist challenges. For example, I am a timid person, but our designs seem to be quite bold, even reckless, going all the way without looking back, which is also the impression we give to clients and others. Another example is that I might be a lazy person, but when it comes to design, I spare no effort. Every time I tell myself that the design schedule is tight and not to fuss, but once I start working, I can’t help myself and work hard towards the best approach we believe in. As for the arrogance and selfishness in my personality, oppositely, I become very humble in my design. I completely put myself in the shoes of the clients and users.

▼大料建筑部分项目模型，Part of the project models by DL Atelier © 大料建筑

可以说，做设计会帮助我克服性格上消极的部分，同时可能也会放大我性格的优点。这就好像在和设计谈恋爱，我爱它，它也爱我，相互托底和相互成就，是一个特别傻的状态，而且它并不可能永远像热恋那样美好，相爱就会相杀，有时候可能也会变成苦恋或者虐恋，但这些都是很好的经历和体验。

对现在的大料来说，甲方的需求变得越来越重要，而这跟我们自己想要表达的东西其实并不矛盾。我们会在甲方需求的基础上提出更多的见解，可能是甲方还没有顾得上去想的，而我们提出来了之后往往会一拍即合，让项目变得更大更强，产生1+1大于10那样的结果。

Design helps me overcome the negative aspects of my personality while possibly magnifying the positive traits. It’s like being in love with design – I love it, and it loves me back; we are supporting and achieving each other. It may sounds a bit silly, since it won’t always be as beautiful as being in the “honeymoon” phase. Loving each other can lead to hurting each other, and sometimes it may turn into a bitter or brutal relationship, but all of these are finally good experiences.

The client’s needs have become increasingly important, which does not conflict with what we want to express. We will offer more insights based on the client’s needs, often things they may not have considered, and we usually find common ground, making the project larger and stronger, with results where 1+1 is greater than 10.

▼刘阳在事务所，Liu Yang at the office © 谷德设计网

______________
未来想要大闹一场！
Make a tremendous uproar in the future!

“对于未来的期许，我觉得总结一下大概就是四个字：大闹一场，继续更强烈、更疯狂地去跟这个世界发生对话。”

“As for the expectations for the future, I think it can be summed up in four words: make a tremendous uproar, and continue to engage with the world in a more intense and crazier way.”

我们现在挺想做点更大规模的、城市级别的公共建筑，类似的项目可能能够影响到更多层面的人。但也不是完全绝对，我们是希望能够给世界带来一些更强烈的刺激和精神上的力量之类的。

这又要说回到10年前我们做的月亮舞台了，绝大部分人可能都是在没有去过那个项目的情况下，通过一张照片或者张艺谋冬奥团队拍的纪录片的某个角度，就感受到了邓小岚老师传达的那样一种精神力量和她那种干净纯洁的精神状态。从这个项目中我突然意识到建筑是有这种表达的可能性的，它能够传递精神，能够改变更多的人或者改变世界的一些面貌。所以不论是小建筑还是大建筑，我们都希望把它其中蕴含的强度传达出来，这是挺难的一个事儿，也没有找到一个具体的方法，但这是我们觉得必须去做的。

我还是挺任性的吧，有些东西可能是骨子里带的，也许是对自己莫名的一种认可，或者是要保持自己独立状态的一种骄傲。对于未来的期许，我觉得总结一下大概就是四个字：大闹一场，继续更强烈、更疯狂地去跟这个世界发生对话。

We are now eager to work on larger, city-scaled public buildings, as such projects may affect people on more levels. But it’s not an absolute; we also hope to bring more intense stimulation and spiritual strength to the world.

This brings us back to the Moon Stage we designed ten years ago. Most people probably felt the spiritual power and the clean, pure state of mind that Teacher Deng Xiaolan conveyed in this project, just through a photo or a certain angle in the documentary shot by the team of Zhang Yimou. From this project, I suddenly realized that architecture has the possibility of expressing such ideas, transmitting spirit, and changing the lives of more people or some aspects of the world. So, whether it’s small or large architecture, we hope to convey the intensity within it. This is a challenging task, and we haven’t found a specific approach, but it’s something we feel we must do.

I guess I am quite willful. Some things may be innate, perhaps an inexplicable recognition of myself or a sense of pride in maintaining my independence. As for the expectations for the future, I think it can be summed up in four words: make a tremendous uproar, and continue to engage with the world in a more intense and crazier way.

▼刘阳在大料建筑办公室门口，Liu Yang at the entrance of DL Atelier’s office © 谷德设计网

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