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，有的是业主，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21期为您奉上的是洛杉矶设计师和教育工作者Ryan Tyler Martinez

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are clients, 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.21 introduces Ryan Tyler Martinez, a Los Angeles-based designer and educator.

出品人：向玲 / Producer: Xiang Ling
特邀编辑：王耀华（更多关于他，请至：Yaohua Wang on gooood）/ Guest Editor: Yaohua Wang (more: Yaohua Wang on gooood)
文本整理：Melody Ho / Text: Melody Ho
排版编辑：陈诺嘉 / Editor: Chen Nuojia

▼Ryan Tyler Martinez

____
背景
Background

“我喜欢知识、故事、阅读和叙事……我喜欢制作影片、平面设计、参观艺廊及美术馆，这些都是和建筑并行的。”

“I love knowledge, stories, reading about things and narratives…I love to produce films, graphic design and going to galleries and museums. Those are still in parallel with architecture.”

1.你的家乡是什么样的？你成为建筑师的原因是什么？
What is your hometown like and why did you choose to become an architect?

我出生在北卡罗来纳州的夏洛特，住在北卡东岸的威尔明顿，直到2011年移居洛杉矶。我会成为建筑师主要是因为我的父母。在我母亲怀着我、羊水破了的当晚，我父亲梦到他看到了我的名字在一栋建筑物上，因此从一开始他们就告诉我，我会成为一名建筑师。我的童年围绕着建筑玩具、绘画课等所有与建筑相关的事物。我曾一度反感，所以当我上大学时，头两年我读的是工作室艺术，但一年级过后发现我其实应该读建筑。最后我是以建筑和艺术双学位毕业。

I was born in Charlotte, North Carolina and lived in Wilmington on the east coast in North Carolina until I moved to Los Angeles in 2011. The main reason why I became an architect is because of my parents. The night my mother’s water broke when she was pregnant with me, my dad had a dream that he saw my name on a building, so from day one they told me I was going to be an architect. My childhood revolved around construction toys, drawing classes and anything relating to buildings. At some point I revolted and didn’t want to be an architect. When I started college, I was taking studio art in the first two years. After a year, I realized I was supposed to go to architecture school. I ended up graduating with both architecture and art degrees.

2.你曾感到压力吗？
Did you ever feel the pressure?

没有，我的父母很支持我做任何我想做的事。我没有感到压力，只是他们灌输我会成为建筑师的这个想法影响了我。

No. My parents were very supportive. I could have done whatever I wanted to. Just them feeding the idea that I could be an architect influenced my position on it.

3.除了建筑，你有其他兴趣吗？
Besides architecture, what are your other interests?

遗憾地我没有做很多建筑以外的事。我很喜欢当代史，我认为从杜尚到现在的观念艺术运动是迷人的，因为我喜欢知识、故事、阅读和叙事。如果不是建筑，我大概也会从事艺术相关的事，像是我喜欢制作影片、平面设计、参观艺廊及美术馆，这些都是和建筑并行的。有时我利用这些当作我作品的题材。

洛杉矶是一个参与活动、艺术及文化的好城市。我没有受过摄像的专业训练，只有在读工作室艺术时曾修过动画课。2008年时，数码单反相机刚开始增加了摄像的功能，我记得第一次到罗马时，买了这样的相机并制作了第一部影片。当我在南加州建筑学院时，我为我的2011年的研究生毕业设计做了一部影片，纯粹是因为喜爱作品的強度而想要做点东西。这意外地为我开启了许多新的机会，我从不认为自己是一名电影制作人或是想要以此作为职业，但是有很多有趣的项目和机会却因此而来。在那部影片之后我和HerwigBaumgartner拍了一部影片叫做建筑几何的进展，内容是在讨论现今的建筑几何议题，曾在蓬皮杜中心展出。我曾替哈佛的智识愿景运动做了一系列短片，介绍学校并访问一些人。我想制作一个系列，不仅是邀请讲者来演讲，还有能够呈现他们执业情况、幕后情景的短片，并且制作展览。

I don’t do a lot of things other than architecture, sadly. I enjoy contemporary art history very much. I think the conceptual art movement that was happening from Duchamp until now is something I find fascinating because I love knowledge, stories, reading about things and narratives. If I’m not doing architecture it’s probably something related to the arts, so for instance, I love to produce films, graphic design and going to galleries and museums. Those are still in parallel with architecture. Sometimes I use those as subjects that influence my work.

LA is a great city for events, art and culture. I didn’t have any formal training in film. I took an animation class when I was getting my studio art degree. Back in 2008, the DSLR camera started to be used to film. I remember the first time I went to Rome, I purchased a DSLR to film with. That was the first time that I made a film. As I moved over to SCI-arc for graduate school, I produced a film for the graduate thesis in 2011. It was just done out of pure love for the intensity of the work. I just wanted to make something. This first film actually opened the door to a lot of other things later on. I’ve never considered myself a filmmaker or wanting to produce film as a career, but there have been a lot of exciting projects and opportunities that came to me because of it. After doing that one film I ended up producing a film with Herwig Baumgartner called Advances in Architectural Geometry, that was shown at the Pompidou Center. The film was about current geometric subjects in architecture. I have worked on the Grounded Visionaries Campaign for Harvard; I did a series of films on the school and I interviewed some of its faculty and students in the process. I was interested in producing a series where, instead of only having someone sit down and talk about their work, the short film would also show their practice and the “behind the scenes” and the third component would be to produce a kind of gallery for the work.

▼Ryan Tyler Martinez为哈佛大学Grounded Visionaries Campaign拍摄的影片，Grounded Visionaries Campaign for Harvard: Films by Ryan Tyler Martinez
海外用户可以点击蓝色链接观看Vimeo视频：视频1，视频2
User abroad could click to watch the video on Vimeo: video 1, video 2

____
教育
Education

“我认为教育下一代培养自己并替自己做决定是重要的，我从中得到许多乐趣，因为我认为我在帮助他们找到自己。”

“I find it important to teach the next generation to cultivate and make decisions for themselves. It brings me a lot of joy to teach because I feel like I am helping students find themselves in a way.”

“透过建筑教育，你能做任何你想做的事，它教你从大尺度到细部的工作与思考方式。”

“With architecture education, you can do just about anything you want. It teaches you ways of working and thinking, from large scale to details.”

1.请告诉我们你的教学背景。
Please tell us more about your teaching background.

我刚拿到硕士学位就开始在南加州建筑学院教书。起初我是NanakoUmemoto的助教，后来我在伯克利教了一小段时间。我在研究生时学到的一件事就是教学和工作是并行的，我不认为该偏重其一，所以当我在盖里的事务所工作时我依然兼职教书。我认为教育下一代培养自己并替自己做决定是重要的，我从中得到许多乐趣，因为我认为我在帮助他们找到自己。离开盖里的事务所后我在南加州建筑学院全职工作，前后约三年，主要教视觉表现课程。上个暑假我开始担任伍德伯里大学的助理院长，除了我的行政工作，我也教设计课和毕业设计准备课程。这是我从2013年到现在的教学历程。

▼伍德伯里大学建筑学院学生作品，由M.Arch学生Parsa Rezaee绘制
Student Work at Woodbury University School of Architecture – Drawing by current M.Arch student Parsa Rezaee

▼Ryan在南加州建筑学院（SCI-Arc）教学时的学生作品
Student work produced while teaching at the Southern California Institute of Architecture (SCI-Arc)

I started teaching at SCI-arc right after receiving my Master’s degree. I was an assistant teacher in the beginning and taught with Nanako Umemoto, and later on I was a lecturer at UC Berkeley. The one thing I learned from graduate school is that teaching and working are in parallel. I don’t think it is just about one or the other, so I taught part time at SCI-Arc when I was working at Gehry Partners, LLP. I find it important to teach the next generation to cultivate and make decisions for themselves. It brings me a lot of joy to teach because I feel like I am helping students find themselves in a way. After leaving Gehry Partners I worked at SCI-arc full time. I taught at SCI-arc for about 3 years in total, mostly teaching visual studies classes. This past summer I took on a position as the assistant chair at Woodbury University School of Architecture. I teach thesis prep and studio in addition to my administration role. That’s the full circle of my teaching since 2013.

▼Ryan在南加州建筑学院（SCI-Arc）指导BSSA印度工作坊的视频
BSSA India Workshop while teaching at the Southern California Institute of Architecture (SCI-Arc)
海外用户可以点击这里观看Vimeo视频
User abroad could click HERE to watch the video on Vimeo

2.在美国建筑教育中，有什么传统是你觉得有成效的？
What are the traditions in American architecture education that you think are productive?

发生在过去三四十年的数码转变，我们开始往回专注于建筑本身而不是工具。在伍德伯里我们想培养学生能够让自己的职涯有明确的主题，并且想要盖些东西。我不认为建筑学校的宗旨是教建筑工法，我认为美国的教育是提供一个工作及思考的基础。当你有机会实践建筑时，就会有明确的脉络。比起设计，美国的建筑似乎更着重于经济，你必须付出极大的努力才能说服业主做些超越常规的东西。或许设计教育同时也是教学生能够利用不同的叙事方式与大众沟通。

Digital transformations happened in the last 30-40 years. We are starting to move back towards focusing on buildings as opposed to focusing on the tools. At Woodbury we’re interested in cultivating students to have a clearly defined “Project” for their career, but to also want to build things. I don’t think architecture school is about teaching construction methodology. I think education in the United States is more about getting a foundation for how you want to work and how to think about things. When you do get the opportunity to build, you can work on a very specific context. Buildings in the United States tend to focus more on economy than on design. You have to work extra hard to convince the clients of things that are beyond the typical or the norm. Maybe design education is also about teaching students to find an alternative narrative to communicate with the public.

▼伍德伯里大学建筑学院期末评图
Final Review at Woodbury University School of Architecture

3.除了建筑本身，建筑学校还提供了些什么？
Besides building, what else do architecture school provides?

透过建筑教育，你能做任何你想做的事，它教你从大尺度到细部的工作与思考方式。学校是安全的平台，让有创意的人能够推展界限并超越常规。最重要的目标就是培养学生成为领导者并学习承担风险。沃尔特•格罗佩斯曾说：“视觉艺术的终极目标就是完整的建筑！”，我认为建筑的终极目标就是完整的建筑，我仍是非常相信此事，希望就读建筑学院的学生毕业后还是会想实践建筑。

With architecture education, you can do just about anything you want. It teaches you ways of working and thinking, from large scale to details. The academia is a safe platform for creative people to push the boundaries and go beyond the norm. The ultimate goal for students I teach is cultivating their ability to become leaders and to take risks. Walter Gropius once said, “The ultimate aim of all visual arts is the complete building!” I think the ultimate aim of architecture is the complete building, and I still believe that very much. Hopefully the students who come to architecture school would want to build buildings by the time they are done with their education.

▼伍德伯里大学建筑学院Martinez Studio 5A设计工作室中期评图
5A Design Studio Midterm Review: Martinez Studio at Woodbury University School of Architecture

4.美国的建筑教育有什么挑战？
What are the challenges for American architecture education?

2018年的现在，最大的挑战是经济。根据一些私人公司的统计研究，学术单位永远是在经济衰退时成长。正因为现在美国的经济蓬勃，在学校的人少了，建筑学校就很难维持。

从教学的角度来说，我认为建筑已不再是一个批判性的论述，现在真正形塑人们对于是非感知的是对媒体、社交媒体及新闻的投射。例如现在设计课的挑战之一就是：当学生被要求设计时，会从Pinterest找寻灵感。以一个教育者来说我认为控制课程及衡量事物的观点是另一个挑战，因为同时能够影响学生的外在事物太多了。

我对于建筑产业的未来是很乐观的，因为科技日新月异，有很多新的工作流程让一切变得简单快速。我在这的时间点作为一个教育者是幸运的，我等不及要看到下个20年的发展，尤其是在这建成环境下，人们工作及建造方式的转变。

In 2018, one of the biggest challenges is the economy. If you look at the statistics that are produced from private companies doing research, academia always does better in recessions. Because the economy is doing so well in the United States right now, people enrolling in school is much lower. You can’t really have architecture school without students.

From a kind of pedagogical position, I think one of the biggest problems is this idea that architecture is no longer a critical discourse in the sense that what people are projecting out into the media such as social media and news is what is cultivating people’s perceptions of what is relevant. One of the challenges we’re facing in studio is, for example, when a student turns to Pinterest for design inspiration after being asked to design something. Another challenge I see as an educator is controlling and shaping a curriculum, a way of looking at things, when there are now so many other outside influences affecting students simultaneously.

I’m really optimistic about the future of our industry just because there are so many new technology advances and so many new workflows. It’s making things easier and faster. I feel lucky to be an educator now and I can’t wait to see what will happen in the next 20 years, especially seeing how that trickles down to people working and building in the built environment.

5.伍德伯里大学现在的建筑教育立场是什么？你会怎么归类这里的课程？
What is Woodbury’s current pedagogical stance on architecture education? How would you characterize the program?

建筑本科及研究生的院长Heather Flood做得非常好。她在这里四年了，她从重写本科一年级的课程开始，完全改造整个学校。去年因此得了建筑师杂志的设计课程奖。她对于伍德伯里的走向有十分明确的想法，与洛杉矶的所有学校都不一样。这在衔接学校与业界的部分将会是很大的转变，也很令人兴奋。她让我们专注在建筑、材质、社区、公共参与和表现法。会同IngalillWahlroos-Ritter院长、EwanBranda助理院长及建筑理学硕士主任，我感到非常幸运能够参与并对这项改变有所贡献。

至于学生的作品，我们非常重视尺度，从数码模型、图到更大的建筑作品。我们和本地的家庭建材商合作，让学生盖更多东西，意思是藉由使用一些现成材料像是2×4的角料、合板和电钻，利用特定且严谨的计算机技术发展概念，并且将它们盖出来。伍德伯里大学也与本地公司合作，让他们提供赞助以帮助学生制作作品。

Heather Flood, the Undergraduate and Graduate Chair of Architecture, has done a fantastic job. She’s been here for four years and she has completely transformed the school starting with rewriting the first year, undergraduate program, which won the Architect Magazine’s studio prize last year. She has a very clear direction on where she wants Woodbury to go and I don’t think it’s like any other school in Los Angeles. It’s going to be very different and also very exciting as far as trying to bridge the gap between academia and the profession. She’s been pushing for us to really have a focus on buildings, materiality, the community, public engagement and representation. I feel very lucky to be able to contribute and be a part of this change, along with the Dean Ingalill Wahlroos-Ritter and the Assistant Dean and director of the M.S. Arch program Ewan Branda.

As far as the student work, we are very interested in scale, from digital models and drawings to larger built work. We just put together a partnership with a local home improvement company and we are eager to build more. What that means is to go and purchase ready-mades such as 2x4s, plywood sheets and drills, develop an idea using specific and rigorous techniques in the computer and then go out in the yard and build it. Woodbury University is also working on teaming up with local companies who are interested in sponsoring studios to help influence the production of ideas here at the school.

▼伍德伯里大学建筑学院Martinez Studio 5A设计工作室模型
5A Design Studio Model: Martinez Studio at Woodbury University School of Architecture

6.你如何平衡自己与学校的教学方向？
How do you balance your own pedagogical interest with the school’s?

我不知道两者有没有这么大的不同，伍德伯里对于同时存在的各种声音是开放的。我自己的主题是图学、形状构图、框架和轮廓。我对于从表现法到文字的转译有兴趣，让建筑看起来像是一张图，但又不仅是一张图，进而成为设计工具。在我自己的课程里，现在我们做的是一个在比利时的当代平面设计的艺廊。我们利用知名平面设计师的作品作为出发点，让学生将平面转换成立体，然后作为一个建筑问题。利用这些形状、颜色和图面，研究它们与材质、结构、形式、形状和都市脉络的关联性。这和伍德伯里的方向蛮像的。

I don’t know if there is that big of a difference. Woodbury is open to having multiple voices simultaneously. My project deals with the graphic, shape composition, frame, and figurality. I’m really interested in the translation from the representation to the literal, having the building look like a drawing, and specifically not just a drawing but a graphic drawing. In my studio, we are currently doing a contemporary graphic design gallery in Belgium. We’re using work produced from famous graphic designers as a starting point to allow students to translate flat 2d figures into something more three-dimensional and then start to work on that as a building problem. It’s about taking these shapes, colors and drawings and seeing how they relate to materiality, structure, volume, form, shape and their context within the city. That’s very much in line with what’s going on at Woodbury.

____
策展
Curation

“我认为策展和影片制作都是建筑的一部分……这是一件关于一群人来看另一群人的过程，以及展览与建筑领域的连结。”

“I think curating and filmmaking are part of architecture…It’s about the people who are coming to see those other people and it’s about how that relates to the totality of what’s happening in architecture.”

1.请告诉我们你的策展背景。
Please tell us more about your curation background.

2014年，我和WilliamHu及AnthonyMorey在洛杉矶开创了一个活动叫做“艺术与建筑的一夜情”。一群朋友聚集在一起，为自己设下一个公开的期限以完成创作。由于要找到艺廊空间很难，所以我们发挥创意使用了汽车旅馆，因为场地空间弹性，而且价钱容易负担。三年来我们邀请了大约80位参与者来展出他们的建筑和艺术作品，这是我第一次的策展经验。

Back in 2014, along with William Hu and Anthony Morey, we started an event called “A One-Night Stand for Art & Architecture” in Los Angeles. A group of friends got together and we decided to make a public deadline for us to produce work. It was hard to find a gallery space, so we got creative in how we were displaying work. We ended up using motel rooms for their flexibility and affordability. Over three years we invited around 80 participants to come and exhibit both architectural and art works. That was my first curatorial experience.

▼艺术与建筑的一夜情：Jeff Halstead的展览作品
One Night Stand LA: Room exhibition by Jeff Halstead

▼艺术与建筑的一夜情：Sophie Lauriault的展览作品
One Night Stand LA: Room exhibition by Sophie Lauriault

▼艺术与建筑的一夜情：Publication Project的展览作品
One Night Stand LA Event and Publication Project

后来我很荣幸能够協助策画弗兰克•盖里在洛杉矶郡艺术博物馆的展览，这真的影响我对策展的理解很深。最近我被任命为伍德伯里大学楔形艺廊的总监。我们将展览与演讲系列结合，在每次演讲的间隔，我们展出来自各地的建筑师作品。

我认为策展和影片制作都是建筑的一部分，因为这些都是编辑、阅读、观看和谈论作品的一部分。我喜爱给予他人展出作品的机会，这让我非常有动力，因为我能感觉对论坛有所贡献。策展同时也能影响对自己作品的理解，不过到头来最重要的还是他人，这是一件关于一群人来看另一群人的过程，以及展览与建筑领域的连结。

Afterwards I had the great pleasure of helping assist curate the Frank Gehry show at LACMA which really influenced my understanding of how one curates. Recently, I was named the director of the Wedge Gallery which is the gallery at Woodbury University. We’ve cross pollinated that with the lecture series and so between the lecture series we’ve been putting on shows to showcase individual architects around the country.

I think curating and filmmaking are part of architecture. It’s part of editing, reading, seeing and talking about work. I love giving someone an opportunity to show work. That’s what motivates me because I feel like I’m contributing to the discourse. The experience of curating shows influences your way of understanding your own work. In the end it’s about other people. It’s about the people who are coming to see those other people and it’s about how that relates to the totality of what’s happening in architecture.

▼楔形艺廊视频：Andrew Kovacs，Wedge Gallery Video: Andrew Kovacs
海外用户可以点击这里观看Vimeo视频
User abroad could click HERE to watch the video on Vimeo

▼楔形艺廊视频：Bair Balliet，Wedge Gallery Video: Bair Balliet
海外用户可以点击这里观看Vimeo视频
User abroad could click HERE to watch the video on Vimeo

▼楔形艺廊视频：Joel Kerner，Wedge Gallery Video: Joel Kerner
海外用户可以点击这里观看Vimeo视频
User abroad could click HERE to watch the video on Vimeo

2.你如何看待建筑与艺术策展的异同？
How do you see the difference and similarity between architecture curation and art curation?

它们非常不同，但同时也十分相似。它们的相似之处在于人们能体验从物件本身到作者的诠释，而且两者都需要空间规划。在一个空间里策画空间有时是困难的，同时还要能替作品呈现作出合适的决策。或许它们没有这么不同，尽管主题非常不同。

They’re very different, yet they’re very similar. They’re very similar in that sense that people are coming to experience the translation from the object to the author. The other similarity is that you are still dealing with space. When you are curating a show it’s usually inside of a space, so to curate space inside of space becomes more problematic as far as how you make decisions on what’s appropriate to display the work. Maybe they’re not as different even though the subjects can be very different.

3.你对楔形艺廊的目标是什么？
What’s your goal for the Wedge Gallery?

楔形艺廊的展览是特别为学生设计的，我认为有责任让他们接触伍德伯里以外的对话。能让演讲者亲自谈论并同时展出他们的作品，我觉得是一件很棒的事。学生平常照课表上课，到了星期五晚上，他们经由走入他人作品而得到体验式的教育，这是为什么这些演讲不是传统的演说，而比较像是一项活动，这变成一种能激励学生参与的方式。就教育来说，或许我们应该要更具有实验性，并且对于新的教育传达方式有更开放的理解。出国学习也是另外一个好例子，不过在这里不需要出国，我们将各种小小的建筑介入带到伍德伯里大学。

The shows are specifically for the students. I feel the responsibility to expose them to other conversations happening outside of Woodbury. I think that bringing individuals to come and talk about the work and to actually see the work in person is fantastic. They’ll go to class as part of the curriculum, and on Friday night they get this type of experiential education of walking into someone’s work. That’s the general reason why the Wedge gallery and the lecture series are turning into something more like events as opposed to traditional lectures. It really becomes an exciting way to engage with the students. To speak about design education, maybe we need to be more experimental and open to new forms of academic translation. Studying abroad is another great example. Instead of going to a different country, we’re bringing many little architectural interventions to Woodbury.

▼伍德伯里大学楔形艺廊开放活动，促进学生交流
Andrew Kovacs opening at the Wedge Gallery: Woodbury University School of Architecture

“我身为20到30岁建筑师的立场，主要目标不是得到项目，而是替自己的作品培养一个明确的主体性。”

“My position on being a twenty or thirty-year-old architect is not so much about getting clients and buildings, but more about cultivating a clear body of work.”

4.年轻建筑师在美国的状态为何？
What is the status of young architects in United States?

从历史上来说，建筑师到50岁才真正开始能自立做建筑，我想这是因为我们需要透过长时间以累积大量的经验。在建筑师职业的初期，要找到愿意出资的业主十分困难。建筑师的职涯通常始于学校，毕业后可以做些展览或是建筑装置，然后做些室内、小住宅、大楼、摩天大楼和城市。这些事还是需要累积并学习的，如果你才刚毕业就盖摩天大楼，大概不会做得很好。所以我身为20到30岁建筑师的立场，主要目标不是得到项目，而是替自己的作品培养一个明确的主体性。图面、模型、建筑活动、文字、影片和设计教育都是支持这个目标的一部分。目前还不需要真正执业，不过内容需要合乎这样的主题，这是有特殊意义的“项目”，意旨你终其一生都在做的事，这样当你70或80岁的时候回头看，作品会有一致的论述。

As architects we often don’t start building on our own until we’re 50, historically speaking. I think it’s because of the amount of knowledge we have to acquire over a long period of time. It’s hard to find clients who will give money to architects at the beginning of their career. Someone’s career usually starts in school. Once you graduate you’ll move on to do exhibitions, and then maybe a pavilion. Finally you’ll do interiors, houses, buildings, skyscrapers and then maybe cities. There’s a kind of lineage to things and an architect will learn through all of it. If you get out of school and your first commission is a skyscraper you probably won’t do a very good job. My position on being a twenty or thirty-year-old architect is not so much about getting clients and buildings, but more about cultivating a clear body of work that is supported through things like drawings, models, architectural events, texts, films or design education. It doesn’t have to necessarily be practice just yet but it still should be in line with a specific theme. It’s the capital P “Project,” meaning what you are going to work on during your life, so when you look back when you’re in your seventies or eighties there’s a consistent narrative to the work.

5.建筑行业里有年龄差距吗？如果有，你的世代和前一个世代有何不同？
Is there a generation difference in American architecture field? If so, how do you compare your generation to the previous ones?

我会说在美国建筑界里有较小的年龄差距，在我们现在生活在的论述中，建筑作品是被归档及呈现于一套套特定的建筑主题或兴趣当中。一个50几岁的人，有可能跟一个20几岁做相似的事。人生中永远会有能够影响你创作方式的新主题，但这也能够同样以类似的方式影响不同世代的人。对我来说建筑是图像、图面、建筑摄影以及如何能够同时谈论这一切。这样就建筑好的地方，你不会因为你的背景、族裔、年龄和是非受到评判，你的作品、与同时期作品的关联性，会是纯粹的依据。

I would argue there are less generational gaps in American architecture. We now live and operate in a discourse where architectural work is now being archived and presented as sets of specific architecture themes or interests. Someone in their fifties could be working on something similar as someone in their twenties. There’s always going to be new subjects happening in your life that will influence how you work on things, but those interests could be influencing someone of a different generation in a very similar way. As far as architecture is concerned it’s about making images, drawings, and taking photographs of buildings and how you talk about all those things simultaneously. That’s why architecture is fantastic; you don’t get judged on your background, ethnicity, age, whether you’re wrong or right. It’s purely based off of the work you produce and how that work relates to other work being produced at that time it was created.

6.但是对于社会是有差别的吧？就像你形容年轻建筑师一样，不同年龄得到的机会不同，这样会影响你的看法吗？
But then to the society there is a difference. Just like would you describe young architects. Different ages get different opportunities. Will that influence the way you see it?

建筑师杂志之前访问我时将我归为千禧世代的建筑师。很多数据指出千禧世代是懒惰又自私的一代，但我完全不这么认为，我一直倾尽全力在付出，直到我工作的极限。有很多文化上的接触点是和建筑并行的，我认为那些和真正在建筑领域发生的事天差地远。回应你对于社会和业主的问题，我不认为这些是我们能够控制的，唯一能够控制的就只有做好自己的工作，其他的无须担忧，只要在有人来雇用你前做好准备即可。

大数据、隐私法、公共信息、话题标记和拥有能连结事物的选项影响我很深。我发现我的同侪都在替自己的作品建立索引。你画了好一张图，然后进入下一项作业，你从前面的图偷了些东西放到新的图，然后再根据图做个模型，这样一个持续自我剽窃的过程确立了所有的作品都互相连结。或许这不是什么新鲜事，不过尤其在现在这个后数码时代，这似乎是一个很一致的主题。或许这也是为什么我这么开放，不同世代没有阶层，而是一个场域的状态，先后不重要，信息还有信息的联结才是最重要的。

I was in Architect Magazine where they interviewed me as a millennial architect. There’s all these statistics about how Millennials are lazy and selfish. I don’t see that at all. I feel I’m constantly giving myself and my time to the point where I can’t even make work anymore. There’s a lot of cultural tangents that are happening in parallel to architecture that I think are way different than what’s actually happening within architecture. On your question about society and trying to get clients, I don’t think we can control it. It’s your job to do your work and that’s the only thing you can control. Everything else is out of your control. Just be ready when someone does come along to hire you.

Big data, privacy laws, public information, hashtags, and always having the option to connect to things influence me a lot. One thing I’m noticing amongst my peers is that everyone is indexing their own work. You do a drawing and you go to the next assignment. You steal something from the previous drawing and slip it in, and then you make a model out of it. It’s a kind of self-plagiarism and making sure there’s always a network between the work. Maybe that’s been around for some time but specifically now, post digital turn, it seems like a constant theme. Maybe that’s why I’m so open. Different generations are not hierarchical. It is a field condition. It doesn’t really matter what came first. It’s just the information and the information is a network of connectivity.

7.你如何平衡不同的角色？
How do you balance your different roles?

想少一点，多做一点。这问题蛮有趣的，有时我感到压力大又累，但是从来没有觉得我无法完成什么。我觉得焦虑其实可以促进生产力，同时经由练习就能熟能生巧，做越多速度越快，这大概就是为什么我现在能够处理这么多不同的事物，这是一些我曾分别做的事的长时间累积，或许最后这些小事会变成一件大事也不一定。

Think less and do more. That’s an interesting question. There have been times where I’ve been very stressed and tired, but I’ve never felt like I couldn’t get something done. I think anxiety can be very productive for people. It’s also about practicing doing things and getting better at them. The more you do them the quicker you are. Maybe this is where I am today with all these different subjects or interests. It’s an aggregation of a bunch of things that I’ve been working on separately over time and have gotten better at them. Maybe it’s leading towards one big thing as opposed to a bunch of little things.

____
作品
Work

“我希望藉由替过去建立索引，能够培养出一些不同的东西，但又能够对于论述还有其他正在被养成的好项目有所贡献。”

“I hope by indexing the past, I will be able to cultivate something different but will still be able to contribute to the discourse and all the other great projects that are being fostered today.”

1.你会如何描述你的兴趣和设计方法？可以给我们一些例子吗？
How would you describe your interests and design approach? Could you give us a few examples?

我常常替之前的项目建立索引，或是重新使用某些部分成为新设计作品的出发点。此外，我也看恩里克•米拉列斯和弗兰克•盖里的作品，尤其是他们职业初期的作品。我想身为一个设计师，或是一个喜欢利用不同媒介、功能和尺度来创造及发明的人，能够善于做某件事的唯一方法就是持续在一个议题或是技术上钻研一阵子，再转往不同的工作或设计方式。

I usually try to index or reuse something from a previous project as a point of departure for new design work. In addition to that, I also look at the work by Enric Miralles and Frank Gehry; especially the work they did at the beginning of their careers. I think as a designer or someone who likes to invent or create things specially with different mediums, functions, and scales – the only way to become good at something is to keep working on one problem or technique for a while before moving to a different way of working or design solution.

▼Ryan的设计作品，design works of Ryan

过去五年我有两个主要的兴趣：字型学和海报。我对于不同线条的外型或轮廓有兴趣，尤其是尖端、曲线和边缘，以及线条的结构如何开始转化成量体或是立体形状。字型学很有趣，因为它结合收集了不同形式的线条特色。最终我藉由编辑和使用现有的字型，做了根据自己喜好的编排。

There have been two primary interests of mine in the past five years; typography and posters. I’m interested in the figure or profile of different types of lines, especially with cusps, curves and edges, and how that line anatomy can start to translate into volumetric or 3-dimensional shapes. Typography is interesting because it has an already combined collection of different types of line characteristics. I end up curating what I like and don’t like by editing or reusing already made typography.

▼字型学研究，study of typography

海报是我另外一项关注的主题，我常常使用27乘40吋的画框，这是电影海报和超过24乘36吋图的标准尺寸。我对于构图和如何从一个外框开始设计有兴趣，我将这看作是在建筑基地上的研究，因为基地都有基地线，我用与研究海报同样的方式解读和理解这些基地外框。

The second subject that I have been focusing on are posters. I am often working with a 27×40 frame, which is the standard size of a movie poster, and drawings that are usually oversized or larger than a 24×36 print. I’m interested in composition and how you can start to design around a frame. I see this as research for when you work on a building site. All sites have property lines. I see these property frames the same way I read and understand my poster research.

▼海报设计，design of poster

2.你现在在做些什么呢？
What are you currently working on?

我最近刚在洛杉矶的WUHO艺廊完成了一项展览，我为BryanCantley这样一个有前瞻性的建筑师/艺术家策画并设计了展览，主题是淡化像是平面、剖面、立面和实体模型这类正交的图面之间的界限。大尺度的图面被使用于部分的展览设计，此展览在十月底时完成。

I recently just completed an exhibition at WUHO Gallery in Los Angeles. I curated and designed an exhibition for a visionary architect and artist Bryan Cantley. The show was interested in blurring the boundary between orthographic drawings such as plan, sections, elevations and physical architecture models. There was also a large scaled drawing/graphic that was used as part of the exhibition design. That show was completed late October.

▼WUHO Galley展览，exhibition at WUHO Gallery

我在过去两年做的现行项目是一名驻香港艺术家SimonBirch的纪录片。Birch在2017年策画并创造了第十四工厂，是在林肯高地老旧废弃建筑群中的临时美术馆。这是一部关于一名艺术家利用建筑和空间创造可以连结艺术作品的虚拟实境体验的纪录片，有90分钟，已完成了一半，我希望在未来几个月或明年完成。

An ongoing project that I have been working on for the past two years is a documentary for Hong Kong-based artist Simon Birch. Birch is the mastermind and creator of the 14th Factory, which was a pop-up museum in an old abandoned set of buildings in Lincoln Heights, California in 2017. It’s an interesting documentary about an artist using architecture and space to create an immersive experience that can start to relate to art work. It is a 90-minute film which is about half way done. I’m hoping to be done with it in the coming months or year.

▼第十四工厂视频，video of the 14th factory
海外用户可以点击这里观看Vimeo视频
User abroad could click HERE to watch the video on Vimeo

3.你的作品在现今的专业领域立场为何？
What is your work’s stance on current discipline?

就像我先前提过的，建筑师倾向较为开始他们的建筑职业。我想在我30岁左右的年纪，我对于理解我的作品还有其与现今建筑界更广大的对话（或是至少在我的建筑圈内发生的事）之间的关联性有兴趣。从我的观点看来我们现在是以一个调解的论述运作，我们住在一个媒体决定重要性的世界。现在有趣的部分是，我们可以看到不同的作者同时塑造多个建筑项目。

我对图面及其与建筑的关联性作为一种问题或是设计工具有兴趣，有很多人都在做类似的主题，我也欣赏他们的作品。我认为我们的工作是确定自己永远尝试超越平常并走向不平常。从专业的角度来看，我建档并研究在现在这个调解型论述之外的、一些不在世或是不再创作的人的作品，例如勒杜、彼得•保罗•鲁本斯、恩里克•米拉列斯等。我希望接下来的五年我可以专注于建筑，还有与图学有关的建筑概念。我希望藉由替过去建立索引，能够培养出一些不同的东西，但又能够对于论述还有其他正在被养成的好项目有所贡献。

As I mentioned before, architects tend to begin their building career at a much later age. I think being in my late twenties and early thirties, I’ve been interested in understanding my work and its relationship to larger conversations about what’s happening in architecture today. (Or at least what is happening in architecture within my sphere.) From my perspective it seems that we now function as a mediated discourse. We live in a world where what is relevant to media is what makes something relevant. The interesting part of today is that we get to see multiple architecture projects being cultivated simultaneously from different authors.

I think one thing I’m interested in is the graphic and how that relates to architecture as some type of problem or perhaps a tool for design. I think a lot of people are working on similar subjects and I admire their work. I think it is our job to make sure we are always trying to push beyond the familiar and move towards the unfamiliar. From a disciplinary stand point, I’ve been indexing or researching work from individuals who are no longer alive or work that is not currently part of the mediated discourse. Some examples would be individuals like Ledoux, Peter Paul Rubens, Enric Miralles, amongst others. I’m hoping that the next five years I get to focus on buildings and building ideas in relationship to the graphic. I hope by indexing the past, I will be able to cultivate something different but will still be able to contribute to the discourse and all the other great projects that are being fostered today.

More: Ryan Tyler Martinez