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40期为您介绍的是 久舍营造，我们采访了事务所创始人范久江与翟文婷。更多关于他们，请至：Continuation Studio on gooood

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.40 introduces Fan Jiujiang and Zhai Wenting, co-founder of Continuation Studio. More: Continuation Studio on gooood

出品人：向玲 / Producer: Xiang Ling
编辑团队：武晨曦 / Editor: Wu Chenxi

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两位创始人
The two founders

▼范久江（左）与翟文婷（右）
Fan Jiujiang (left) and Zhai Wenting (right) ©久舍营造

“既是工作的合伙人，也是家庭的合伙人。”

“Not only work partners, but also life partners.”

范久江：我小的时候就对搭积木和画画特别有兴趣，两三岁时，只要有了积木和画笔，没有大人陪也可以趴在地上独自玩半天。可能对于空间的想象力也是从那时候开始培养起来的。我父亲曾在建设局（当时叫建委）工作过，做过市建材市场总经理，也担任过市城建中专的校长。这让我很小就对造房子这件事有了从设计到建造的懵懂认识。小时候，建筑师大概就是我最崇拜的人。因此，我从初中开始便立志要成为一名建筑师，很幸运，如愿以偿。

翟文婷：我出生在山西运城的稷山县。稷山属于临汾盆地，是传说中“后稷教民稼穑”的地方。如此悠久的历史，和相对缓和的城市发展速度，使得众多具有几百年历史的老房子（其中不乏国保和省保级别的珍贵文物），以一种真实的日常使用状态安静地伴随着我童年的生活。这种大地、建筑与人的同一性格和整体融合的前现代空间氛围，塑造了我最初的朴素空间观。而我的父亲又是带着施工队做土建的，家里的桌上经常堆满了各种手绘的蓝图。我那时觉得这些图纸非常好看，油墨的味道也很好闻，所以就很喜欢。

我和范久江的相识很偶然。我出差去杭州时朋友带我到他那玩，就这样认识了。随着了解的加深，我们都发现其实可以合伙做一些事儿。因此，我与范久江一起创建了久舍营造工作室。他在工作室主要负责设计部分的工作，我主要负责日常运营、管理和商务层面的工作。当然，我也会参与设计方案的讨论，提出我的建议和意见。

我们既是工作的合伙人，也是家庭的“合伙人”，这种关系使得我们可以无条件的相互信任，在遇到问题或者分歧时能毫无保留地表达并更好地理解对方。

Jiujiang Fan: When I was young, I was particularly interested in building blocks and painting. I could enjoy myself very much just with building blocks or some paints and painting brushes when I was just two or three years old. I guess that is when my sense of space started to develop. Plus, my father used to work in the Construction Bureau (called the Construction Committee at that time), and the City Building Materials Market as manager. He also served as the principal of the City Construction Secondary School. I always consider myself quite lucky, as growing up with my father, his experience provided me an initial understanding of the whole design & built process, which left me an impression at a very young age that architects are the people who I admired the most. Therefore, I have dreamed about becoming an architect since middle school. Fortunately, I made my dream come true.

Wenting Zhai: I was born in Jishan County, Yuncheng, Shanxi. Jishan belongs to the Linfen Basin, and is the place where the legendary “Houji taught people to harvest crops”. With such a long history and relatively slow urban development, there are still many old houses with hundreds of years of history (including precious cultural relics at national and provincial protection level), which I was fortunate to spend my childhood around. This kind of pre-modern spatial atmosphere and the harmonious relationship among architecture, nature and people shaped my initial spatial perspectives. When I was a kid, there were always all kinds of hand-drawn blueprints stacking on the table at home, as my dad was the leader of construction team. I remember that I was fascinated by those drawings, especially the smell of the ink, and that is when I started to realize how much I love architecture.

Jiujiang Fan and I met by chance. When I was on a business trip to Hangzhou, my friend took me to his place and that is how we got the chance to know each other. We both had the idea of working together after knowing each other better. Then I resigned from Guangzhou and came to Hangzhou to establish Continuation Studio with Jiujiang Fan together. In our Studio, he is mainly responsible for the design work and I am in charge of office management such as day-to-day business operations. Of course, I also participate in design discussion and put forward my suggestions and opinions. Not only we are work partners, but also life partners. This special relationship allows us to communicate with each other unreservedly with trust and great understandings.

▼翟文婷和范久江一起工作时的场景 ©久舍营造
Wenting Zhai and Fan Jiujiang working together

_________
关于久舍营造
Continuation Studio

“在工作室的实践中，我们可能最关注的是如何智性且诗意地营造。”

“In practice, what we have paid the most attention is how to build intellectually and poetically.”

在这个图像时代，人们很容易被某张建筑照片吸引，形成对一个建筑好坏的印象，这本身无可厚非。但是建筑师也因此特别容易以场景和形式作为出发点来制造诱人图像，从而放弃艰深的场所精神的挖掘塑造和批判性的思考。建筑在这一过程中被扁平化了。

我们觉得对一个建筑的评价，从来不是单纯通过照片等二维图像可以达成的。只有把建筑置入真实世界后的对现象知觉的综合才是有说服力的。因为建筑艺术与其他艺术相比，更全面和完整地表达了人与外部世界和绵延时间的复杂关系，而这种复杂多维的关系，又需要通过当下的各种物质的建构、形式的整合，以同一性的观念进行构想并建造出来，抵抗来自大地的重力。所以可以说，建筑讨论的是人如何在大地上获得存在与庇护的问题。这个问题，显然包含了智性和诗意这两个层面。要回答它，的确是超级艰巨的任务，也是我们会持续关注下去的事情。

In the age of visualization, people are more likely to be attracted by some certain architectural image and have a simple impression on the building which is either good or bad. This is understandable. However, instead of exploring spatial spirits and thinking critically, which is the difficult part of design process, architects tend to initialize design process by producing striking images of unique scenarios and shapes. Architecture is flattened during this image-producing process.

We believe that architecture can never be fully judged through two-dimensional images such as pictures. It is more convincing after placing architecture in the real world as that is when the perception of phenomena can happen. Because architectural art, compared with other kinds of art, expresses the complex relationship among man and the external world and the time span more comprehensively and completely. And this complex and multidimensional relationship needs to be conceived and constructed with the concept of identity through the construction of various materials and the integration of forms, so as to resist the gravity from the earth. Thus, it can be considered that when we are discussing architecture, we are actually discussing the question of how people can obtain existence and protect one’s being on earth. This question obviously includes intelligence and poetry these two aspects. It is an extremely difficult task to answer, which is also something we will continue to focus on.

▼久舍营造部分项目图片，part of Continuation Studio’s projects ©久舍营造

“设计者并非完全是使用者的代言人，他还是地方与场地的代言人”

“The designer is not only the spokesman of the user, but also the spokesman of the place and the site.”

建筑几乎伴随着人类文明的历史，它是一种人与纯粹自然之间的中介物。它既保护着人，又赞美着人；既防御着自然，又崇拜着自然。人们通过建造活动寻找安放自我的平衡状态，而设计者，既需要理解使用者，又需要理解场地与地方，并用物质建造的方式使得对两方面的理解产生共鸣。在这个过程之中，设计者并非完全是使用者的代言人，他还是地方与场地的代言人。某种程度上，设计者比较接近某些前现代文明中萨满的角色。这和我们对于自己角色的思考与定位是相关的，我们不愿意把设计者看成纯粹服务于使用者的角色，而认为双方应该共同真诚、礼貌地面对邻里、土地、自然，达成以更合适的方式来建造的共识。这也是我们为何用“营造”代替“建筑”或“设计”作为工作室的名称的一个重要原因。

Architecture is almost accompanied by the history of human civilization. It is an intermediary between man and pure nature. It not only protects and praises people, but also defends and worships nature. People seek the balance of self placement through construction activities, while designers need to understand the users, the site and the place, and resonate with the understanding of both two aspects by means of material construction. In this process, the designer is not only the spokesman of the user, but also the spokesman of the place and the site. To some extent, the designer is closer to the role of shaman in some pre-modern civilizations. This is related to our thinking and positioning of our own role. We do not want to regard the designer as a role purely serving the user, but believe that both sides should sincerely and politely reach a consensus on building in a more appropriate way to the neighborhood, land and nature. This is also an important reason why we use “build” instead of “architecture” or “design” as the name of our studio.

▼久舍营造工作室环境照片，the working space of Continuation Studio ©久舍营造

“我们经历了非常痛苦漫长的自我怀疑、审视与反省的过程”

“we have gone through a very painful and long process of self-doubt, scrutiny and reflection.”

久舍营造工作室从成立到现在已经五年了，成立初期，困难是内部与外部都有的。我们经历了非常痛苦漫长的自我怀疑、审视与反省的过程。首先，得习惯对自己的“直觉”进行怀疑与审视，看看所谓的直觉之中，是否夹杂了套路化的带入，去芜存菁地整理自己的直觉，也就是让直觉逐渐变为自觉的自我修炼。其次，得在每一步操作中即时反省，找到有可能背离设计意图和设计态度的点并加以修正，找到多余的言语进行精炼删减，有时甚至回到上一步重新思考。这部分工作，占据了方案推进的近一半时间，但对我们来说又极其重要。这个痛苦的过程可能是我们接近真实表达的唯一路径，所以也许将一直陪伴着我们的实践，而生活的心态也随之变得越来越踏实笃定。

It has been five years since the establishment of Continuation Studio. At the beginning, the difficulties were both internal and external. We have gone through a very painful and long process of self-doubt, scrutiny and reflection. First of all, we have to get used to doubting and examining our own “intuition”, to see if the so-called intuition is mixed with routine introductions, and to sort out our own intuition, that is, to gradually turn intuition into conscious self-cultivation. Secondly, we have to reflect on each step of the operation instantly, find out and correct the points that may deviate from the design intent and design attitude, find out the redundant words to refine and delete, and sometimes even return back to the previous step to rethink. This part of the work occupies nearly half of the project promoting time, but it is extremely important to us.

This painful process may be the only way we could approach the true expression, so perhaps it will always be with our practice. Meanwhile, the mentality of our life will become more and more stable.

▼事务所团队工作场景，working scene of Continuation Studio’s team ©久舍营造

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创作
Creation

“如何调动结构是我们每个项目都会重点讨论的问题。”

“How to mobilize the element of structure must be a key for the discussion in each of our projects.”

01.

鱼乐山房改造项目
Yule Mountain Boutique Hotel
点击这里查看更多 Click HERE to see more

结构是建筑不可缺失的物质性要素，因此只要在地球上建造，不管你关不关注，它都在那里等着你与之对话，那么与结构的任何对话都不可能是废话，都会参与到建筑的最终空间表达中去，而且可以表达得非常肯定和精确。利用结构要素来表达空间氛围，可能是最为精炼的建筑语言之一了。

所以如何调动结构这个要素参与空间与场所氛围的营造，一定是我们每个项目都会重点讨论的问题。

在改造项目中，结构是预先存在的，我们有时会发现原有结构对一些设计构想来说有很大限制。比如说在鱼乐山房的改造设计中，原结构的顶层因为坡屋顶和檐沟的结构设置，使得这些房间景观面的层高被压得很低，严重受限的窗洞高度阻碍了房间中看山的视野。因此我们从设计开始就做出了抬高顶层边梁的构想，后面的一系列对立面的水平分层的操作，也都在解决这个被抬高的巨大立面如何减弱四层楼高度与周边山景的协调问题。

Structure is an indispensable material element of architecture, so as long as it is built on the earth, whether you care or not, it is always there waiting for you to talk to it. Then any dialogue with structure can not be nonsense, and will participate in the final space expression of architecture, in an extremely positive and accurate way. It is probably one of the most refined architectural languages utilizing structural elements to express the atmosphere of space.

Therefore, how to mobilize the element of structure to participate in the creation of space and place atmosphere must be a key for the discussion in each of our projects.

In the renovation project, the structure is pre-existing, and sometimes it is limited to achieve certain design ideas due to the original structure. For instance, in the renovation of Yule Mountain Boutique Hotel, the top floor of the original structure was set at a low landscape level due to the sloping roof and gutter structure, which seriously restricted the window opening height and hindered the view of the mountains from the room. Therefore, we have made the concept of raising the top side beam from the beginning of the design. The subsequent horizontal layering operations of the opposite facades are also solving the problem of how to coordinate between the height of the four-story building and the surrounding landscape due to the raised huge facade.

▼鱼乐山房项目，Yule Mountain Boutique Hotel ©久舍营造

▼对原框架结构的操作，the renovation of the original concrete structure ©久舍营造

▼场地剖面与视线控制，section and sightline control ©久舍营造

▼由西侧敞廊看静院，可以看见茶亭，而主体建筑只能看见底层局部，looking at the inner courtyard from the west corridor, only the tea pavilion and the bottom of the main building could be seen ©久舍营造

▼台地高处看静院敞廊与茶亭，corridor of inner courtyard and tea pavilion viewing from the high terrace ©久舍营造

▼茶亭和阳台构造分解图，tea pavilion and balcony structure explosion diagram ©久舍营造

▼从廊道转折处一窥内院，peeping from the turning point of corridor ©久舍营造

02.

定海台房
Dinghai Terrace House

在新建的项目中，结构则从设计初始就是同步考虑的要素。

在定海台房的设计中，我们用了混凝土基座、钢结构框架和集合木屋盖三种结构体系。混凝土基座以内外统一的外廓体积和表面质感回应了建筑外部与山体的形态结合以及室内地面的连续台地的塑造。钢结构以较小结构尺寸的优势，获得了超常尺寸的景观开口以及梁柱交接时的更多灵活性，并且将纵跨房间开间方向的梁体，以合适的尺寸及与人的距离，组合成为木屋盖下的立体空间网格，以最轻的动作解决了空间的两次抬升与设备空间的置入问题，形成了强空间、弱结构的内部水平画面。

However, in a new project, the structure is considered synchronously from the beginning of design.

As an illustration, in the design of Dinghai Terrace House, we used three structural systems: concrete base, steel structure frame and assembled wooden roof. The concrete base has a unified external volume and surface texture, in response to combine the exterior of the building and the form of the mountains, as well as the indoor ground for shaping the continuous terrace. With the advantage of smaller structure size, the steel structure has obtained the super size landscape opening and more flexibility in the beam column connection. The beams that span the direction of the room opening are combined with suitable dimensions and distances from people. It becomes a three-dimensional space grid under the wooden roof, which solves the problem of twice space lifting and equipment placement in the lightest action, forming an internal horizontal picture with strong space and weak structure.

▼定海台房，外观和结构细部，Dinghai Terrace House. Exterior and structural detail ©久舍营造

并且，我们将中间一跨的房间拉长，使得中间钢梁略微接近跨度的极限，再在梁下正中插入一根精巧的细钢柱，柱身与立面的方形景框轴线错开，人在观景时身体可以倚靠在柱子上。这个动作将结构以质感和触感的方式重新拉回身体与手的感知，丰富了建筑氛围的体验。而顶部的集合木屋盖，则以抽象的椽条结构形态，以明显冗余的构造高度，获得了建筑顶部的结构力感，以及视觉上的节奏与韵律，同时，也容纳了通风窗的构造。这样，各种结构类型的轻重、冷暖、显隐，以及相互之间的传力形态，都在积极地参与对环境氛围的塑造，影响着体验者的整体感知。

In addition, we elongated the room in the middle span, so that the middle steel beam was slightly close to the limit of the span, and then inserted a thin steel column in the middle under the beam delicately. The column body was staggered with the axis of the square frame on the facade, so that people can lean on the column while viewing. This action calls the structure back to the perception of body and hand in the way of texture and touch, enriching the experience of architectural atmosphere. And the top assembled wooden roof, with its abstract rafter structure and obviously redundant structural height, obtains the structural strength of the building top, as well as the visual movement and rhythm. Meanwhile, it also accommodates the structure of the ventilation windows. In this way, the weight of various structural types, cold and warm, explicit and implicit, as well as the form of force transmission between them, are actively involved in shaping the environmental atmosphere, affecting the overall perception of the experiencer.

▼室内钢柱，steel column inside the house ©久舍营造

▼爆炸图，exploded axon ©久舍营造

▼室内空间，interior view ©久舍营造

03.

盈尺起山
Building a“Mountain”in a Tiny Area
点击这里查看更多 Click HERE to see more

“盈尺起山”这个项目是我们的自宅室内设计。在设计开始前，我们从项目非常规的40平米面积和3.7米层高出发，重新考察了常规的开发住宅或公寓所使用的常规层高和通用户型，发现这些层高和户型更多是从普遍意义上的空间消费者平均需求出发，并以开发项目的容积率、限高，设计与建造成本为限制，综合计算、倒推出的一系列经济的、最具普遍接受度的产品，这种产品又反过来规训了人们的生活习惯，最终建立了似乎是根深蒂固的“好”户型与层高的全体共识。

▼范久江和翟文婷的自宅室内设计，the architects’ own house interior design ©久舍营造

The project of Building a“Mountain”in a Tiny Area is our own house interior design. Before the design began, started from the project’s unconventional 40-square-meter area and 3.7-meter floor height, we investigated the normal floor heights and common user types used in conventional development residences or apartments. We found that these floor height and apartment types were more based on the average demand of consumers in the general sense, and taking the plot ratio, height limit, design and construction cost of the development project as constrains. After that, a series of economic and most widely accepted products have been launched through calculation and inversion, which in turn has disciplined people’s living habits, and finally established a general consensus on “good” house type and floor height that seeming to be deeply rooted.

▼置入一座山，put in a mountain ©久舍营造

▼木质大家具的置入为房间带来额外的储藏空间，the huge furniture creates extra storage space inside the room ©久舍营造

在详细设想了我们在这个空间中的可能活动之后，我们发现除了做饭和淋浴这些需要站立并伸展手臂来完成的动作外，其他的休息及娱乐的活动类型，对层高和房间的需求其实是很自由的，因此我们希望通过一个同时在平面和剖面都连续的地形来回应，充分利用好不同高度的地面上下空间，下方容纳厨卫和不同类型的储藏空间，上方获得睡眠与各种休闲娱乐所需要的不同高度。再加上窗外正对的杭州北高峰，一座与之相对的“山”的形态就呼之欲出了。山的内外、高下、虚实、孔洞，都在有效地解决了功能问题的基础上极大丰富了整个空间的感知尺度。

而平面的类似江南古典园林的流线转折，不仅有效遮挡了入户门外打开时的外部视线，增加的交通面积也和厨卫功能结合；也有效增加了空间利用率，放大了空间的身体体验。

山水和园林，的确是我们比较熟悉的审美对象，但我们并没有把它们扁平化为一种符号或者更为抽象的“意境”说法，而是试图讨论这种审美倾向中蕴含的更具普世化的，更能够被当代人（不仅是当代东方人）所感知和理解的空间价值，例如对景的不同观法与视知觉的关系，而不仅仅是传统文化层面的类型问题。这样，“意境”这个词就不会停留在自说自话的玄学或者像舞台布景似的穿越再现状态。作为中国的当代建筑师，我们当然有将自己的文化传统更好的编织进现代社会的时代使命，所以首先就不能把古典传统作为一个外部客体来操作，而是要将古典传统首先内化为自身不可分割的一部分，然后再去输出。这就要求我们对传统有更为深刻地现场阅读与感受理解。

▼动线图，circulation diagram ©久舍营造

▼功能分区，space division ©久舍营造

After imagining our possible activities in this space in detail, we found that in addition to cooking and showering, which require standing and stretching arms to complete, other types of activity such as rest and entertainment actually require nothing for the height of the floor and the room. Therefore, we hope to respond through a terrain that is continuous in both plane and section, make full use of the space at different heights of ground: below to accommodate the kitchen, bathroom and different types of storage space, above to get the height meets the needs for sleep and a variety of leisure and entertainment. Coupled with the Hangzhou North Peak facing directly outside the window, the certain form of a “Mountain” is ready to emerge. The inside and outside of the mountain, the high and low, the virtual and solid, and the holes, all have greatly enriched the internal experience of the entire space on the basis of effectively solving the functional problems.

The plane’s streamline, turning similar to the Jiangnan classical garden, not only effectively blocks the outside sight when the entrance door is opened, but the increased traffic area is also combined with the kitchen and bathroom, effectively increasing the space utilization rate and enlarging the physical experience of space.

Landscape and garden, definitely are the aesthetic objects that we are familiar with, instead flatten them into a symbol or a more abstract “artistic conception”, we tried to discuss a more universal space value contained in this aesthetic tendency, which can be better perceived and understood by contemporary people (not only the contemporary Eastern), such as the relationship between various views of scenery and visual perception, which is not limited as the typology on the traditional cultural level. In this way, the word “artistic conception” will not stay in the metaphysics of self-talking or the state of transcending and reappearing like a stage setting. As Chinese contemporary architects, we certainly have the mission of weaving our own cultural traditions into modern society. This requires us not to operate the classical tradition as an external object, but to internalize it, turn it into an inseparable part of ourselves, and then export it. This definitely needs us to have a deeper understanding of the tradition both on live reading and feeling.

▼卧室和下方的厨卫空间，the bedroom and the lower space for kitchen and bathroom ©久舍营造

▼从窗洞俯瞰厨房，overlooking the kitchen from the window ©久舍营造

▼生活的诗意，daily poetry ©久舍营造

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近期的实践与研究
Recent practices and researches

我们上半年完成了苏州郭宅和稷山翟宅两个高密度居住环境中的住宅设计。从这两个住宅设计过程中，我们逐渐明确了一种礼貌的建筑设计原则——尊重既有人居环境的历史与现实，从城市空间人类学（阵内秀信）的考察方式出发，在历时性的空间考察中，获得更为内核的场地与建筑氛围的定义。并将公共生活与私人生活在当代社群中的错位发展现实纳入了建筑周界与内部空间结构的分层构想与重新再组织之中，并试图归纳出既可以与地方风土（vernacular）和谐共存，又适合具体居住者生活架构的一系列空间组织原型。

而在南京迈皋桥廊桥竞赛、苍南渔寮观景台和大理驿站的设计中，我们进一步讨论了风景文化的问题。我们从人类学、地质史层面的考察出发，对一个地方或一个场所的风景观念进行发掘和构想，不再将风景简化理解为一种环境客体，而是把风景文化理解为一种主体与风土之间的“契机”（Augustin Berque语），亦接近某种“神话结构”（Claude Levi-Strauss），在对外部特定风光的凝视中，我们不仅看向外部，也同时可以看向自身。这构成了我们定义风景的基本标准。而观看的方式，则是另一个层面的操作，正是对于风景挑剔的选择（在这几个项目的选址、定位过程中，我们有相当大的自主性），造就了对观者的观看方式及所在空间的特殊要求。

In the first half of the year, we completed the two projects within high-density residential environments, one is Guo’s House in Suzhou, the other one is Zhai’s House. From the two residential design processes, we gradually clarify the architectural design principle of polite – respect for the history and reality of the existing living environment. Starting from the investigation method of urban space anthropology, we obtain a more core definition of site and architectural atmosphere in the diachronic space investigation. It also brings the reality of dislocation development between public life and private life within contemporary community into the layered conception and reorganization of the architectural perimeter and internal space structure, and attempts to summarize a series of space organization prototypes that can coexist harmoniously with local vernacular and suit the living structure of specific residents.

In the design of Nanjing Maigaoqiao Competition, Cangnan Yuliao Viewing Platform and Dali Pavilion, we further discussed the issues of landscape culture. From the perspective of anthropology and geological history, we explore and conceive the landscape concept of a place or a space. We no longer simplify understanding the landscape as an environment, but the landscape culture as an “opportunity” between the subject and the local vernacular (Augustin Berque). It is also close to a certain “mythological structure” (Claude Levi-Strauss). While gazing at the specific external scenery, we do not only look to the outside, but also to inner ourselves. This constitutes our basic criteria for the definition of landscape. At the meantime, the way of viewing is another level of operation. It is the picky choice of the landscape (during the process of siting, we had a considerable degree of autonomy), which creates special requirements for the way of viewing and the space where the viewers are located.

▼苏州郭宅（研究模型），Guo’s House in Suzhou (research model) ©久舍营造

▼稷山翟宅（效果图），Zhai’s House (rendering) ©久舍营造

▼南京迈皋桥廊桥竞赛（效果图），Nanjing Maigaoqiao Competition (rendering) ©久舍营造

▼苍南渔寮观景台，Cangnan Yuliao Viewing Platform ©久舍营造

▼大理驿站（效果图），Dali Pavilion(rendering) ©久舍营造

____
材料
Materials

我们倒没有什么特别喜欢用的建造材料，根据项目的需求，通常会选择最能体现氛围诉求的材料来使用。但我们对有一类材料使用方式非常反感，就是用一种材料伪装为成另一种材料。比如说仿木铝合金门窗，或者其他某些复合材料。这一类材料从视觉的单一角度出发，为了满足某种视觉风貌的要求，将材料属性中的本来完整出现的色彩、纹路、明度、强度、密度、硬度、触感、耐候性、吸水性等等分解，选择和视觉有关的属性保留强化，其他按照成本或耐久度要求而用各种复合材料来代替。我们并不认为复合材料本身有原罪，而是复合材料伪装成其他材料这个出发点是值得讨论和批判的。这不仅是对作为体验者的人的完整感受力的一种冒犯，也是对人的工具化倾向的一种助长。

从这个层面来说，可以凝结人类劳动痕迹，甚至可以随着时间流逝，呈现出时间的痕迹，并能依然维持体面（而不是全新）状态的材料可能是我们更喜欢使用的。比如说混凝土、木材、石头、砖砌体、可氧化的金属等等。

We don’t have any preferred construction material that we particularly like to use. According to the needs of the project, we usually choose the one that reflects the appeal of the atmosphere best. However, we totally disagree with the use of one type of material, which is to disguise one certain material as another. For instance, the wood-like aluminum alloy doors and windows, or some other composite materials. In order to meet the requirements of certain visual style, this type of material only takes visual perception into consideration, completely breaks down the original material properties like color, texture, brightness, strength, density, hardness, touch, weather resistance, water absorption, etc, only selects the properties related to visual attribution for retaining and strengthening, and replaces others with various composite materials according to the cost or durability requirements. We do not think that composite materials have the original sin, but the starting point that composite materials could pretend to be other materials is worthy of discussion and criticism. This is not only an offense to the complete sensibility of a person as experiencer, but also an encouragement to the human instrumentalization.

From this point of view, materials that can condense the traces of human labor, or even show the traces of time as time goes by, and can still maintain a decent (rather than brand-new) state may be preferred by us. For example, concrete, wood, stone, brick masonry, oxidizable metal and so on.

▼盈尺起山项目中使用的桦木多层板，birch laminates used in the project of Building a“Mountain”in a Tiny Area ©久舍营造

▼M.Y.Lab上海店空间改造项目，使用了黑色氟碳喷涂的铁板，橡木和白色涂料三种最常用的材料 ©久舍营造
in the project of M.Y.Lab Wood Workshop, common materials were put into use, including metal sheets coated with black fluorocarbon, oak panels and white paint
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▼定海台房的铁质扶手（左）和钢柱（右），iron handrail (left) and iron column (right) in Dinghai Terrace House ©久舍营造

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对于民宿项目的思考
Rethinking of Boutique Hotel projects

“艰深的观察与反思劳作，这可能是获得作品深刻性的唯一途径。”

“Difficult observation and reflection may be the only way we could achieve the profundity of the work.”

作为在杭州实践的小型建筑工作室，长三角地区发达的私营经济的确给初期的我们带来了不少精品酒店或民宿的项目。最近五六年，民宿业得到了迅猛的发展，从最初的高级农家乐升级为重视高品质设计的目的地式小型度假设施。但当一个行业发展得太快，虽然会迅速提升整个行业的标准，但也会有很多盲目、短视的热钱进入，似乎只要有一两张夺人眼球的照片能把消费者吸引过来就能赚到钱。也因此，民宿业主通常会对设计方案提出网红吸睛的要求，消费者也可能过于看重拍照打卡这件事从而降低对整体空间体验的要求。这种倾向，不仅助长了同质化的度假体验，也让很多怪诞、引人尖叫的肤浅形式层出不穷。这些设计，某种程度上都在破坏原本和谐的人地关系，对乡村的原住民也是一种潜在的冒犯，这是我们所反对的现象。

作为同样面临这些类似业主诉求的建筑师，我们当然也理解这些对“超常性”的要求在商业运营上的重要性。但如何应对这样的要求，其实有很多种途径。我们认为，通过深刻地阅读地方、场地和项目本身，从中理解出某种最深刻持久的特殊性，并围绕着它重新撰写建筑师自己的设计任务书，最终依然是可以导向一种“反常合道”的建筑呈现，帮助建筑师和业主达成共识和获得共通的价值。这与简单的用某种搔首弄姿的“超级”形式满足商业诉求的操作相比，诚然需要更加艰深的观察与反思劳作，但我们觉得这可能是获得作品深刻性的唯一途径，也是我们对如何评价一个好的建筑师的重要标准。

As a small architectural studio practiced in Hangzhou, the developed private economy in the Yangtze River Delta region has indeed brought us many boutique hotel projects in the early stage. In current five or six years, the boutique hotel industry has developed rapidly, upgrading from the original high-end farmhouse to the destination type small resort facilities with high-quality design. However, when an industry develops too fast, although it could rapidly improve the standards of the whole industry, there will also be a lot of blind and short-sighted hot money entering. It seems that as long as one or two eye-catching photos can attract consumers to make money. For this reason, the owners of boutique hotel usually put forward eye-catching requirements for internet celebrities in design, and consumers may also place too much emphasis on taking photos and clocking in, therefore reducing the requirements for the overall space experience. This tendency not only promotes the homogenization of holiday experience, but also allows many weird and screaming superficial forms to emerge in an endless stream. These designs, to some extent, are destroying the original harmonious relationship between man and land, and they are also a potential offense to the rural aborigines, which is the phenomenon we oppose.

As architects who are also faced with similar demands from owners, we certainly understand the importance of these “extraordinary” requirements in commercial operation. However, there are many ways to deal with such requirements. We believe that by deeply reading the place, site and project itself, understanding some of the most profound and lasting particularity, and rewriting the architect’s own design task book, this can ultimately lead to an architectural presentation of “abnormal harmony”, and help architects and owners reach a consensus and achieve the common value. Compared with the simple operation of satisfying the commercial demands with some kinds of “super” form, it is true that this needs more difficult observation and reflection. But we believe that this may be the only way we could achieve the profundity of the work, and it is also an important standard for us to evaluate a good architect.

▼创始人在工地现场，the founders working in the site ©久舍营造

_____________
对于乡建项目的思考
Rethinking of Rural Construction

“业主、施工方、设计方（建筑师）三者的紧密配合和互相制约非常重要”

“The close cooperation and mutual restraint among the owner, the construction party, and the designer (architect) are significant.”

定海台房项目是我们最难忘的乡村项目之一。这个项目当时只签了建筑的合同，但是最终为了控制整体效果，我们主动义务承担了室内的设计职责，并把建筑和室内在设计的时候就完整的整合在一体，两者的施工图几乎是不可分割的。施工图做完后，业主通过比较，确定了一家施工方，结果在下部做完后，施工方因为没有仔细读图、算低了造价而中途退出了项目。业主想办法从施工队伍中留了一位有经验的施工员，直接以点工的方式来做建筑施工。

为了能在这样的施工组织下完成项目，我们也不得不把建筑师派去现场，前后驻场了六个多月。从监督按图施工，到计算材料数量、寻找材料供应商；从发现现场问题到及时记录与工作室沟通、寻找解决和补救方案，到提醒业主提前准备下一步施工的材料、工序，我们几乎把甲方建筑师和监理的事儿都做了。虽然最后工地上出现一点小问题都习惯性地要我们到现场服务，但终究是把这个项目以前所未有的完成度扛下来了。

The most profound one should be the Dinghai Terrace House in Zhoushan. Back then, only the construction contract was signed for this project. However, in order to control the overall effect, we took the initiative to undertake the responsibility for interior design, and integrated the architecture and interior comprehensively during the design process. The construction drawings of the two were almost inseparable. After the construction drawings were completed, the owner determined a construction party through comparison. Nevertheless, after the completion of the lower part, the construction party withdrew from the project halfway because it did not read the drawings carefully and calculated lower the cost . The owner sought a way to retain an experienced constructor from the team and let him to do the construction work as an hourly worker.

In order to complete the project under such a construction organization, we had to send an architect to the site and stayed there for more than six months. From supervising the construction according to the drawings, to calculating the quantity of materials and looking for material suppliers; from discovering on-site problems, recording and communicating with the studio in time, looking for solutions and remedial plans, to reminding the owners to prepare the materials and procedures for the next construction in advance. We have almost done all the works of the architects and supervisors. Although once there are some small problems during the construction, we are habitually asked to provide on-site service, but after all, we have carried the project to an unprecedented degree of completion.

▼定海台房项目改造示意，Dinghai Terrace House renovation analysis ©久舍营造

经历了这个项目，首先我们对于乡村施工的大环境有了更清醒的认识，这和设计是否精细化似乎关系不大。精细化的设计也许反而可以以工厂预制的方式获得更好的完成度和经济性，反而是一些我们通常觉得反应手作劳动的手工工艺施工做法，却往往比较难以高完成度的实现。这和整个社会的人的状态变化是很有关系的，工匠蜕化为工人，创造降级为烂造，很少有工人会为自己做的不好的东西而感到羞愧了，这是一个令人沮丧的现象。

另一方面，我们对于乡村项目中，业主、施工方、设计方（建筑师）三者之间的关系也有了更细致的观察与理解。乡村项目、特别是与常规乡村习惯的建设施工差异较大的项目，业主和施工方可能甚至包括建筑师都是缺少经验的。因此三者的紧密配合和互相制约非常重要。以包工的方式招标前，必须以合同细节的方式约束施工方确实需要对施工图纸预先充分的理解，并且以合同的形式约定设计方在业主付给施工方费用时的话语权，还得有驻场建筑师充分的现场工作来配合设计方话语权的及时兑现。三者共同作用，才有可能相对高完成度地实现一些特殊做法的项目。

After this project, first of all, we have a more clear understanding of the overall environment of rural construction, which seems to have little to do with the refinement of the design. Actually, refined design could achieve a better completion and economy through factory prefabrication. On the contrary, some manual construction methods that we usually think reflecting sophisticated craftsmanship are often difficult to achieve with a high level of completion. This is closely related to the change of people’s state in the whole society. Craftsmen degenerate into workers, and their creations are downgraded to rotten ones. Few of them will feel ashamed for their bad works. This is a depressing phenomenon.

On the other hand, we have a more detailed observation and understanding of the relationship among the owner, the construction party, and the designer (architect) within rural projects. Rural projects, especially for those with large differences from the conventional rural construction, the owners and construction parties may even include architects are lack of experience. Therefore, the close cooperation and mutual restraint of those three are significant. Before bidding by contract, the construction party must be restricted in the details of the contract to fully understand the construction drawings in advance, and the designer must have the right to speak when the owner pays the construction party in the form of the contract. And the architect shall have sufficient on-site work to cooperate with the timely realization of the designer’s discourse right. Only when the three work together, it is possible to achieve some special practice projects with a relatively high degree of completion.

▼两位创始人和业主讨论工作
Fan and Zhai are discussing with their clients ©久舍营造

____________
感触、变化和挑战
Perceptions, changes and challenges

“出手越来越慢，越来越谨慎。”

“Our actions have become slower and more cautious.”

五年时间过得飞快，感触最深的变化是我们逐渐剥离了身上带有的惯性和套路思考，出手越来越慢，越来越谨慎了。另一方面，感受力和观察力却因为对自我的不断思维训练而增强了。自省、反思是痛苦和艰难的，但也是极其必要的，这将伴随我们的一生。

下一个五年，我们并没有给自己设定什么具体的目标，仍将沿着智性且诗意的方向继续探索、学习和实践。我们会试着在具体项目中，将思考的细枝末节归纳、分类、取舍，尝试更加当代、抽象、有张力的形式表达，——这也是我们当下面临的挑战。

Five years have passed so fast, and the most profound change is that we have gradually stripped away the inertia and routine thinking that we carry with us, our actions have become slower and more cautious. On the other hand, our ability of perception and observation are enhanced by the continuous thinking training of ourselves. Introspection and reflection are painful and difficult, but they are also extremely necessary, which will be with us throughout our lives.

In the next five years, we have not set any specific goals for ourselves, we will continue to explore, learn and practice along the intellectual and poetic direction. We will try to summarize, classify, and synthesis among the details of our thinking in each specific project, and try to express them in a more contemporary, abstract, and tense form. This is also the challenge we are facing right now.

▼范久江（左）与翟文婷（右）
Fan Jiujiang (left) and Zhai Wenting (right) ©久舍营造

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