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第51期为您介绍的是 一本造建筑工作室 创始人李豪。更多关于他，请至：One Take Architects 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.51 introduces Li Hao, founder of One Take Architects
More: One Take Architects on gooood

出品人：向玲 / Producer: Xiang Ling
编辑：武晨曦，杨子遥；盖世昕；熊玮 / Editor: Wu Chenxi, Yang Ziyao, Gai Shixin, Xiong Wei

___
回溯
About the past

我大部分时间是在陶瓷厂里长大的，它是一个既不是城市，也不是乡村的环境。我很小的时候就对美工、对包装有关的设计有所接触，这对我后来选择跟设计相关的行业应该是有潜移默化的影响。2003年去了中央美院读书，美院的建筑学教育和后来我自己做工作室所选择的一些方向有很大的关系，因为美院的教育结合了工科的建筑学教育和艺术行业相关的教育，它是一个结合的带有一点实验性的教育体系。在美院学完建筑之后，对建筑的理解可能会更加自由一些，会觉得建筑师是一个能量很大的职业，有一种可以无限探索的可能性在里面。就这样一步一步地走到了这个方向。

毕业之后我没有考研或者出国留学，而是选择先去实践：从小型的事务所到相对大一点的工作单位，在这个行业里面兜了一圈。当时我在第一个单位做的是偏小型的建筑，经历这样一个过程之后，还是选择回到了我自己更愿意做的小建筑的方向。2016年开始因为一些契机才开始做自己的小建筑品牌，到现在差不多是5年。

I spent most of my childhood in a ceramics factory, which was neither an urban nor a rural environment. I was exposed to art craft and packaging-related design since I was very young, and this may have implicitly influenced my later choice of entering the design industry. In 2003, I went to the CAFA, where the architectural education is well combined with art in its kind-of experimental teaching system, which I think is also relevant to what I’m interested to engage with as a founder of an architectural studio. After graduating from the university, my understanding of architecture seemed to be more liberal, making me feel that being and architect means you have great energy, with unlimited possibilities for exploration. This is how I came step-by-step to what I am doing.

I did not attend graduate school or study abroad after graduation, but chose to go into practice first: from a small-scale office to a relatively large firm, I went a long way in architectural industry. After all these experiences I returned to the practice on small projects, which is also what I prefer to do, and only in 2016, about 5 years from now, did I catch the opportunity to started my own studio.

▼学生时代的李豪，Li Hao during his studenthood

▼淄博陶瓷厂，李豪在这里长大
the ceramic factory where Li Hao spent most of his childhood

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一本造：“一气呵成”
One Take Architects：“All In One Go”

“我自己可以说是一个有点‘野蛮生长’的角色。”

I would call myself a ‘free-range’ person.

一本造最开始取的是“one take”的含义。因为建筑师的工作其实是一个需要不断反复，不断去推敲的工作，所以在这个过程当中我们有一个比较美好的期许，就是“一遍过”、“一气呵成”。这个其实很难在工作当中实现，但它意味着我们做任何一件事情，或者任何一个项目的时候，我们希望做好充足的准备。从工作室创立以来，我们几乎只做委托项目不做竞标，也是为了更有把握性地往前推进。而且每一轮我们只做一个提案，当你做好完全充足的准备，并且把每一步的思路都跟客户沟通或是思考到了一个程度的时候，是有很大几率可以一次性通过和一气呵成的，我们非常享受这样的工作方式。

The name of our studio came from the idea of “one take”, which suggests our optimistic expectation of “finish a thing in one action”. This is obviously only an idealized statement, since the work of an architect requires constant repetition and refinement, but still it reflects our attitude to be well prepared for every project we do, and then move forward with more certainty. In most cases we only take over the commissioned projects and only do one proposal per round, because we believe that when you are fully prepared and have adequately communicated with the client, there is usually a good chance of getting it “all in one go”. This is also what we extremely enjoy in our working.

▼左：一本造工作室团队部分成员合影；右：一本造上海团队
Left: part of the team of One Take Architects; Right: the Shanghai Office

创建工作室的时候我们只有2个人，现在差不多在10个人左右。我想把它控制在一个带有一点研发性质的小型工作室的程度。它需要一个不是太过商业化的氛围，需要每个人发挥能动性和协作性。因为我没有去过特别著名的工作室，也没有留学过，所以我自己可以说是一个有点“野蛮生长”的角色。一开始创作的时候也会有一些惶恐，因为你相当于是以一个完全的个体身份去对应整个建筑学市场，但是后来在我们拼了几年之后，发现这是一种很有趣的生长路径，你可以一直带着新鲜感和好奇心不断地前行，这种探索的感觉，我觉得也是我们工作室想一直保留下去的东西。

The studio started with only two people, and now there are about 10. I want to keep its scale as a small practice that slightly involves with research and development work. It does not have to be too commercial and it needs everyone to be innovative and collaborative. Since I have never been to a particularly prestigious studio or study abroad, I would call myself a “free-range” person. At the beginning there was a time of worries, as you were dealing with the whole architectural market totally as an individual. After a few years of working together with my team, we gradually found that it is in fact a very interesting path to grow, because you can keep moving forward with curiosity and fresh feelings，and this sense of exploration is something that everyone in our studio tries to maintain.

▼工作室插画，studio illustration

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自然生长的“游牧者”
A “nomad” who grows wild

“建筑师这个职业好像很难框住我，所以我在职业方向上也会有一种游走的感觉。”

I’m unlikely to be blocked in a frame by the profession of architect. This is why I use “nomadic” to describe my way of working.

一本造的“游牧”性质可以分为两个方面：一是身体的游牧，我们会更多地去项目所在地工作，在旅途当中感觉又自由又新鲜，并且你可以与场地和设计进行实时的反馈和沟通；二是知识的游牧，也就是不局限于建筑学基础的知识和关注点。我自己经历过很多的纠结，有时候会强烈地感觉到自己并不是一个单纯的建筑师，或者说建筑师这个职业好像很难框住我，所以我在职业方向上也会有一种游走的感觉，后面也就有了一些向艺术、新媒体以及公益领域的跨界，其实都是我自己想做的那部分。但是现在再让我去形容，我会更想用“迁徙”这个词。因为“游牧”带有一种“打完就走了”的感觉，“迁徙”则是在好奇心的驱使下，在不同的领域和地域之间游走，它背后其实存在一种责任感，我更希望让团队中的每个人在不同领域之间探索的时候都能得到一些相应的成果。

建筑相对来说需要带有一定的永恒性的气质，但是不管是花火计划，还是我们做的一些偏小型的空间装置，很多时候我会觉得一个特定的地域会需要用空间来表达一种观点、传达一种精神，或者给予一种非永恒的功能。它所要运用的其实也是空间和建筑学的知识，但是这种需求带来的感觉是又鲜活又强烈的，它瞬间爆发的能量会大于建筑的永恒性带给我的感受。

The “nomadic” nature of One Take Architects is embodied in two aspects: one is “physically nomadic”, which is because we would like to spend a lot of time on projects sites. It is exciting for us to be on the journey and receive real-time feedback from both the site and the design itself. The second is “intellectually nomadic”, which refers to knowledge and concerns that are not limited to the basics of architecture as a discipline. I have experienced quite a lot struggling finding the right direction, and sometimes I feel strongly that I’m not just an architect, or that I’m unlikely to be blocked in a frame by the profession of architect. This is why I use “nomadic” to describe my way of working, and later on I have done those projects that are related to art, new media as well as commonweal programs, which are all what I’m really willing to do. However, for now I would prefer to use the word “migratory” to describe my state of being, because “nomadic” in some way has a sense of “getting done and leave away”, while “migratory” is to wander between different fields and territories out of curiosity. I think there is a sense of responsibility behind it and I personally prefer to have everyone in the team get something out of it as they explore between the different fields.

Architecture in some way is expected to be “timelessness”, but I hold the view that sometimes a specific place needs to express an “opinion”, to convey a “spirit” or to provide a non-permanent function through the use of space. This has been embodied in many of our projects, such as Program SPARK and some of the smaller spatial installations we have done. Although it still needs to be realized with spatial and architectural knowledge, but the experience and emotion it brings to us is vivid and strong. Its instantaneous burst of energy is greater than what a “timeless” building can bring to me.

▼一本造工作室部分作品拼图，part of the projects of One Take Architects

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行走在建筑与公共艺术之间
Between architecture and public art

“公共艺术和建筑学一样有服务的功能，但它又不是那么‘重’。”

Public art has the same function as architecture to serve people, but in a less ‘heavy’ way.

01. 明镜台
The Shelter · Mirrored Sight

公共艺术和建筑一样，也是在用空间做表达，但是它在功能性上可能相对来说要比建筑学更少。另一方面，公共艺术对于精神性的需求，包括个人表达会关注得会更多一些。

拿明镜台这个项目来说，它是在锦屏县隆里古城的一个小装置。这个空间是没有硬性需求的，甚至没有任务书，相当于是要做一个艺术作品。我们在那呆了整整一个月去了解当地的一些社会和文化习性。我们发现了对该地区的生产和生活有着重要影响的一条河，河边是有着72个姓氏的古城，河对面有个祠堂，还有大量的稻田。所以我们的想法是能否在河的分界线的部分做一个能够让人与城进行对话的冥想屋。有了这样的想法之后，它的尺度、大小、高低、材料又开始回到建筑学里面去。我们用了当地的山木和竹子作为它的基础框架的素材；但是在空间精神性的打造上，我们又用了新的材料——建筑幕墙用的单透玻璃，相当于在河上立了一块镜面，镜面上方只有三角形的塔状冥想屋，从而跟河建立了一种唯一的对话关系。单透玻璃反射了周边的场景，它内部是没有灯的，当三角屋发光的时候，里面的人就完完全全地变成了一个精神的附着物，跟这座“城”在进行思绪上的对话和交流。明镜台是我对公共艺术的一个初探，在那之后其实才有了一种感受，就是公共艺术和建筑学一样有服务的功能，但它又不是那么“重”。你想传达的精神需要你从建筑师转换成一个更强有力的创作者的身份去进行表达。

Public art, like architecture, is also an expression of space, but it may have to be less considered in terms of functionality. On the other hand, public art is more concerned with the need for spirituality, including the expression of personal consciousness.

Taking the Shelter · Mirrored Sight as an example, which is a small-scale installation we built in the old town of Longli in Jinping county, there was no rigid requirement or even a brief for us to conceive its structure, and therefore it turned to be something like an art piece. We stayed in the site for a whole month to get to know the social and cultural habits of the area, where there was a river that had importantly influenced the production and life of the local people. The connection between the river and the old town inspired us to create a riverfront structure where people can do meditation and in the meantime to have a dialogue with the old town. We used locally sourced wood and bamboos to build the basic frame, while the mono-permeable glass was applied in the façades of the meditation room. In this way we set up a piece of “mirror” on the river, above which there was only a triangular, tower-shaped structure dedicated to meditating. The internal space was not equipped with light fixtures, it was illuminated through the diffused natural light on its glass façades, which made the person inside become an “attachment” of its spiritual world. This project was my first foray into public art, only after which had I realized that public art has the same function as architecture to serve people, but in a less “heavy” way. Sometimes you have to convert yourself to a more powerful creator instead of just thinking as an architect.

▼李豪对公共艺术的初探：明镜台装置（点击这里查看更多）
The Shelter · Mirrored Sight is Li Hao’s first foray into public art (Click HERE for details)

▼三角形的冥想屋在夜晚发出微光，the triangular structure for meditation glows at night

02. 内剧场
Internal Theater

内剧场是我认为更加接近公共艺术门类的一个创作，因为它是完完全全的个体创作。陶瓷厂是我出生和成长的地方，以前也回去看过，但是2017年回去的那一次才发现它已经倒闭二十年了，并且被拆掉了一半。当时刚好是过年的时候，所以拆了一半停下来了，准备年后再继续拆。那个时候我有一种强烈的感受，觉得自己的童年还有过去的记忆即将远去，像是一位德高望重的老人就要走了，但他的灵魂还弥留在这个世界上。工人俱乐部相当于是整个工厂的一个精神性的建筑，所以当时我就说，不行，我要做点什么东西。我们在拆了一半的工人俱乐部里做了一个剧场中的剧场，所以叫“内剧场”。这个剧场只存在了两天时间，就是为了让大家来跟它做告别仪式的，可以说是一场“回光返照”。

Internal Theater is a completely personal creation that I think is closer to the category of public art. It is located in the ceramic factory where I was raised. Not until I went back there in 2017 had I found out that it had been closed for twenty years. Since it was during Chines New Year, the demolition stopped halfway. At that time I had a strong feeling that my childhood and all those memories of the past would soon be vanished, like a beloved elder who was passing away. I suddenly realized that I had to do something to “save” this place and also the memories related to it. In the partly demolished Workers Club inside the factory, we set up a stage inside the existing theatre, hence it was named as “Internal Theater”. This project only existed for two days. It was an ephemeral space for all those former factory workers to mourn for the co-living era never to return.

▼“内剧场”装置概览（点击这里查看更多）
The Internal Theater (Click HERE for details)

做完之后，我们就开始邀请人们回来看，因为只有人回来看，记忆才能真正地在一个群体里出现。当时我做了一张海报，让父母发给他们认识的人，能来多少就来多少，结果在两天之内来了大概200多人，还让我挺惊讶的。很多人是驱车2个小时从城里面回来看这个剧场。而且看的过程是非常有趣的，我见到了这辈子不可能再见到的一些人。他们之间也会产生很多的“化学反应”，他们会按照当年的车间单位组成一个个小团体，一起来观摩这件事情。他们有了人生当中不可能出现的一天：他们又聚在一起了，有的哭，有的笑，有的回忆，有的拥抱。我给他们讲解了我为什么要做这个事情，然后大家又有了很多的回忆和思绪。

以后大家再回忆起这个工厂的时候，除了20年前的那一段记忆，他还能回忆起2017年的这次记忆。这个就是集体记忆让我觉得特别生动的一个面。我觉公共艺术的价值恰恰就体现在这一点上，就是原本是一件没有任何需求和公共性的事情，但是它因为一个个体的记忆被唤醒了，被观察了，然后它用它自己的能量去传达给人们一个信号，这个信号会被其他的人接收到，然后又会产生更多情感和精神上的连接。公共艺术项目会让我在做完之后觉得印象非常深刻，这跟建筑的领域的东西又有点不同。

After the theatre had been established, we started to invite people back their home to visit it. I made a poster for the plan and asked my parents to send it to as many friends as they knew. I was quite surprised when I saw more than 200 people coming back to visit this ruin-like place, and many of them had driven more than 30 kilometers for the trip. It was an extremely impressive experience for me to have met those people I would never expected to meet again in my life. There was also a strong “chemistry” between people who came, as they gathered as small groups just like how they had companied each other as workmates twenty years ago. They spent an extraordinary day in their lives: they were reunited, they hugged each other tearfully as if they were never separated.

When they think of the factory some day in the future, what comes to their mind will be not only the memory from twenty years ago, but also the day they met each other in the theatre that had eventually been demolished. This is what I feel most precious and affecting about collective memories, and also where the value of public art lies in: something that has no function or community-related narrative can be re-observed and re-energized due to the awakened memories of individuals, resulting in a more emotional and spiritual connection. Public art projects can always leave me feeling very impressed afterwards, which is a bit different from what is happening when I do architectural projects.

▼回到陶瓷厂工人俱乐部的亲友们，people came back to the Workers Club inside the ceramic factory

▼一座虚空的“纪念碑”，a hollow “monument” in the center of the club

03. 波普星
Pop Star

空间是一种手段和行动武器，这种手段在建筑设计和装置艺术上有不同的用法，但内部其实还是相通的。建筑设计更多是有比较明确的需求，但是装置的创作更多是一种“无中生有”，在这种情况下体验和情感的迸发是第一位的。但有时候情况也会完全反过来，比如一个装置项目，我们可能会用建筑设计的方法去做，即赋予它一种功能。拿我们2020年做的波普星项目来说，它的需求就是成为一座岛的标志物，一个坠落在岛上的新城。它是一个像万花筒一样的装置，同时又承担了瞭望台的作用，人们可以走进这个万花筒的内部去观看外面的世界。但当我们构建一个“能走进去”的空间的时候，就要考虑置入功能性的楼梯和栏杆，这就又回到了建筑学的讨论当中。所以说我们会在建筑和装置两个环节之间游走，并且适时地将不同领域的观点放置在对方的语境下去进行创作。

Space can be regarded as a means or a weapon that can be used in architectural design and installation art in different ways, but in fact it is essentially the same. Architectural design has more of a clear demand, while installation is more like “something out of nothing”, where the specific experience and emotion come first. However, it can be completely reversed, for example, we probably use an architectural method for an installation work, i.e. to give it a function. One example can be given here is the Pop Star project we finished in 2020, of which the idea was to create a symbol or a “neo-city” fallen on the island. It was a kaleidoscope-like installation that also functioned as a viewing platform that allowed people to walk in and observe the outside world. What is interesting is that when we create a space that can be walked in, it is almost inevitable to consider the functional components like stairs and railings, which leads us back to the architectural discussion. Consequently, we move between architecture and installation, and in the meantime, we place ideas from different fields in each other’s contexts whenever it is appropriate.

▼波普星：一个坠落在岛上的“万花筒”（点击这里查看更多）
A kaleidoscope-like installation “fallen on the island” (Click HERE for details)

▼观众可进入中心部位，Spectators can enter the central area

“技术跟空间最好是能够在实和虚、真和假之间完美切换，这也是我们非常感兴趣、并且希望更多地去探索的一点。”

“it will be ideal to make technology and space switch seamlessly between real and virtual. This is what we are very interest in and wish to explore more.”

我们的一些项目，比如“曼陀罗之丘”和“不确定的回忆”，都运用了一些交互的程序和技术。一开始我觉得我肯定还是偏向于从传统实体空间出发去创作，但后来也接触到了一些和新媒体、和数字技术有关的领域。我觉得这些技术可以像变魔术一样帮你实现传统空间所做不到的一些事情。作为建筑师来说，首先我肯定要拥抱这个技术。但这里面会有一些困惑，就是人类的思绪或者说大脑的运算力跟技术相比其实是一种弱项，所以人和技术之间会存在一种博弈，过于复杂的技术会让我产生一种失控的感觉，它会让你觉得技术是有点凉薄的。技术跟人的感情之间必须要有相通的部分，所以在做“曼陀罗之丘”的时候，我们虽然做的是一个数字艺术博物馆的主题，但它的情境的塑造其实是靠传统空间去实现的：我们将一个极为自然界的、极为非城市的元素置入到北京商业圈的最中心，这种氛围我觉得是无法用技术去塑造的，你必须要用空间的方式去让人意识到接下来要面临的部分。

In some of our projects, like Mandalas Pop-up Digital Art Museum and Uncertain Memory, we used interactive program and technologies. At first I inclined to start the design from solid space. Then I came into contact with some areas related to new media and digital technology. I found these technologies allowed you to achieve some magical things that could not be done in a traditional space. As an architect, I must embrace this technology. However, I also feel confused about the conflict between human and technology. Compared to technology, the operation ability of human brain is relatively inferior and I might lose control of an overly complex technology, which would make me feel technology a cold thing without emotion. There must be a connection between technology and human feelings. Therefore in the design of Mandalas Pop-up Art Museum, in spite of the theme of digital art, we shaped the place in a traditional space. We inserted a extremely natural, non-urban element into the center of a business circle in Beijing, creating an atmosphere that could not be achieved by technology. You have to use space to make people aware of what he or she will face next.

▼“曼陀罗之丘数字博物馆”外观（点击这里查看更多）
Mandalas Pop-up Digital Art Museum (Click HERE for details)

▼可倚可坐可攀的踏步，the steps for people to lean back, sit, or climb

新媒体和数字技术是特别适合跟传统的空间结合起来，然后形成点睛之笔的部分。它跟空间之间的边界最好不要太硬，因为实际上技术与人交互的接口种类并不是很多，比如说屏幕投影、全息投影，还有触感和声音的捕捉，总体上还是离不开这些。所以我觉得技术跟空间最好是能够在实和虚、真和假之间完美切换，这也是我们非常感兴趣、并且希望更多地去探索的一点。

It is particularly suitable to combine new media and digital technology with traditional space, making them the finishing touches of the project. The boundary between technology and the space is better to be vague because the ways of interaction between people and technology is actually limited. What we can do are no more than screen projection, holographic projection, or tactile and sound capture. Therefore, it will be ideal to make technology and space switch seamlessly between real and virtual. This is what we are very interest in and wish to explore more.

▼“不确定的回忆”运用了交互的程序和技术（点击这里查看更多）
the design of Uncertain Memory used interactive program and technologies (Click HERE for details)

_________________
花火计划：开源的营地课程
Program SPARK: An open source study camp

“任何的职业技能其实都可以做成一种课程去带给乡村的留守儿童。城市的小朋友们可以接触到的东西，乡村的小朋友也有这个权利去接触。”

“I think any professional skills can be made into courses and taught to the left-behind children in the villages. They have the same right to access to the things which the children in the city have access to.”

2017年的时候，一个偶然的机会，我认识了我们一直合作的公益组织“武汉种太阳社会发展与创新中心”的创始人李可欣。他当时在做留守儿童的乡村教育，我们聊着聊着就谈到了留守儿童的教育方式，在想能不能把一些专业技能和传统文化方面的技能以营地的方式带到乡村去。也就是说我们作为建筑师，把一些我们对装置的理解转化成小朋友们能够操作的课程，带到他们的身边。

In 2017, I coincidently came to know Li Kexin, founder of Wuhan Sunner Social Development and Innovation Center, which was a public welfare organization that we have been constantly cooperating with. They were focusing on the education for the left-behind children in the rural districts then and we talked about the education methods for the children. We wondered if we could bring some professional and traditional skills to the villages in the form of study camps. It means that we as professional architects, could transform our understanding of installation into practical courses for children, and teach them in the rural areas.

▼花火计划。左：Raise Me Up (2017)；右：嗨梯 (2018) ；
Program SPARK. Left: Raise Me Up (2017) ；Right: Hi Ladders High (2018)

▼花火计划。左：白日梦蓝（2019）；右：“盛放”（2021）
Program SPARK. Left:Blue Daydream （2019）；Right: “Blomming Time（2021）

我们会和公益组织一起商定要去的地点，通常是湖南、湖北、四川和云南这几个地方，因为这些都是留守儿童聚集比较多的地区。另外也有相关合作的地方公益组织和学校，我们会争取让专业导师团队把各个地方在几年之内都走一遍。每年暑假我们都会做一次这样的营地课程。课程的目的是让孩子们在几天之内体会一个空间创作者一辈子都在干的事情。从2017年开始到现在，我们一共做了4轮课程，一开始的体量相对小一点，之后的几年变得越来越完善。有一半的方案是我们来给小朋友们提前设计好，另一半就是让他们逐渐学习和创作的过程，每年的课程基本上都是这样来搭配。

每次课程会持续大概5天左右的时间，因为小朋友们都是10岁左右的孩子，好奇心和耐心其实都和成年人不同。但是我也会跟大家说，创作和建造的过程本来就是有些枯燥的，需要你用耐心去征服你的好奇心。课程中也会穿插大概4~5个小课，比如卷纸课和喷绘课等等，所以我们其实是把创作跟制作全程结合在一起，这样小朋友们的好奇心是一直有起伏的。

We would go to the decided places with the public welfare organization, which are usually Hunan, Hubei, Sichuan and Yunnan because these are the districts with more left-behind children. Besides, we also collaborate with local public welfare organizations and schools, trying to make our professional teaching team to visit all the places in several years. We will set up this kind of study camp every summer holiday. The aim of the courses is to let the children experience the life work of a space creator within a few days. Since 2017, we have made four camps. At the beginning the scale of the camp was relatively small and it gradually became more and more complete. We will design half of the scheme beforehand and teach the children to create the other half during the course. This is the regular process of the camps every year.

Considering the curiosity and patience of 10-year-old children are actually different from the adults, each camp would last about five days. I would tell them that the process of creating and constructing might be boring and sometimes you have to use your patience to conquer your curiosity. There would be 4~5 small classes, such as paper rolling class and airbrush class, interspersed in the course. It allows us to combine the construction with creative process, stimulating the children’s curiosity from time to time.

▼花火计划营地课程（点击这里了解更多关于“花火计划”）
The study camp conducted by Program SPARK (Click HERE to know about Program SPARK)

我们会把课程包共享给所有其他营地的志愿者，这样他们就可以在这个基础上再带着其他的小朋友进行创作，每个人都可以对它再进行编译，这体现的是一种程序上的开源；慢慢地，在不同的营地，其结果会呈现出不同的样式，最后形成一种实体上的开源。这些课程资料我们也会放在花火计划的网站上，不论是公益营地还是任何类似的项目都可以直接拿去用，为的也是制造更多分享的机会，鼓励更多人去推广这种专业型的乡村服务。我觉得不管是建筑师也好，艺术家也好，或者是医生也好，任何的职业技能其实都可以做成一种课程去带给乡村的留守儿童。城市的小朋友们可以接触到的东西，乡村的小朋友也有这个权利去接触。他们可能很难在小时候走出乡村，但只有接触到了这些东西，未来才有更多的机会和能力去和外界沟通。

We would share the course package with the volunteers of all the other camps so that they can teach other children to create works based on the package. Everyone can reinterpret the material, which is like an open source program. It will finally become an open source entity when different camps achieve results in different styles. We would also put the materials on the homepage of Program SPARK. Any similar project, whether it is a public welfare camp or not, can take it directly. Thus we could provide more opportunities to encourage more people to promote this kind of professional rural service. I think any professional skills, architects’, artists’, or even doctors’, can be made into courses and taught to the left-behind children in the villages. They have the same right to access to the things which the children in the city have access to. Maybe it is difficult for them to leave the countryside in their young ages. However, only when they are exposed to these things will they have more opportunities and abilities to communicate with the outside world in the future.

▼营地课程鼓励孩子们利用乡村中常见的材料
The camp encourages the student to utilize the materials that can be easily found in the countryside

以2018年的“嗨梯”为例，这个项目采用了乡村中随处可见的材料。首先我们给孩子们发放已经做好的长短不一的木棍，让孩子们来加工，把梯子的雏形先创作出来。梯子做好之后，我们就开始让孩子们做模型，把20多个梯子的形态进行重新组合。这个过程很像是大学里“建筑初步”课程的“workshop”。小朋友在做好模型之后还要给大家做演讲，来解释和推广自己的项目，比如说有的小朋友希望梯子组成的空间可以让人随时从任何一道缝隙中进出。他们对自己的设计解释得特别清晰，有的小朋友也会发出质疑，所以他们之间会有一种辩论的关系，我觉得这就是建筑师一直在做的工作。大家答辩完之后，我们会选出三个方案，然后直接把它搭建出来，让小朋友可以在实体空间里面进行分享和体验。

Take the Hi Ladders High project in 2018 for instance. This project used materials that could be found everywhere in the countryside. Firstly, we gave the children prefabricated wooden sticks in different lengths and let them build paper models of the ladders. After that, we let them make models using the sticks and rearrange the ladders in different forms. This process was much like the “workshop” of the “Preliminary Architecture” course in university. When the models were done, each child would give a presentation to the others, explaining and promoting his/her project. For example, one child wished that the ladders would form a space that people could go in and out through every gap. They explained their designs in a very clear way and some children would raise questions, which led to a discussion. It was exactly what architects do during their work. After the presentation, we would choose three schemes and realize them directly. Then the children could experience and share their ideas in the built space.

▼2018年的“嗨梯”项目，用木材搭建艺术空间（点击这里查看更多）
Hi Ladders High, 2o18, an art space built from wooden ladders (Click HERE for details)

做完“嗨梯”之后我们有了一些经验，就是我们发现使用乡村中的材料是一个非常好的点。比如2019年的“白日梦蓝”项目，我们使用了蓝白两色的雨水管，把它做成了一个巨大的敲击乐器；今年做的“盛放”用二手共享单车串联成了像旋转木马一样的大型玩具，孩子们骑得特别开心。这几个项目相当于都是一种对城市边缘的材料的装置化应用，一方面它们可以产生二次的价值，更重要的是它们最终变成了一个可玩的、能给孩子们带来快乐的事物。

We have gained some experiences after the completion of Hi Ladders High that we found it very beneficial to use materials from the countryside. In the 2019 Blue Daydream project, we built a large percussion instrument from blue and white rainwater pipes. This year, in the Blooming Time project, we combined second-hand ofo bicycles together to form a large-scale play structure like a carousel. Children rode on it and played happily. All of these programs made use of materials in the country skirt and turned them into installations. On the one hand, it could generate new value from old materials. What’s more, the materials were transformed into devices that could be played, bringing happiness to the children.

▼2019年的“白日梦蓝”项目，使用蓝白两色的雨水管制作出一个巨大的敲击乐器（点击这里查看更多）
Blue Daydream project in 2019, a large percussion instrument was built from blue and white rainwater pipes (Click HERE for details)

“我觉得这就像是在孩子们的心中做了一场烟花秀——你不会每天都放烟花，但是在烟花绽放的那一刹那你会觉得特别有趣和美好，那么这段经历就会印在孩子们的心中。”

“未来我们希望号召更多的年轻的建筑师、艺术家以及来自各行各业的人加入花火计划，有更多的人参与，就会有更多的‘花火’产生。”

“It is like establishing a firework show in the children’s heart. Though you would not shoot off fireworks every day, the moment of fireworks blooming in the sky is so interesting and beautiful that it will be imprinted on the children’s minds forever.”

“I wish to call on more young architects, artists and people from different professions to participate in Program SPARK. The more people join in the program; the more ‘sparks’ it will generate.”

虽然这些课程算是一个试点，我还是希望每年都能够有机会继续做下去。这个过程其实压力还是挺大的，因为工作室每年在七八月份的这个时间段都会有一次“断档”。而且从策划到购买材料到实验，再到跟小朋友们分享，我们要自己去走完整个环节，其实很耗费心力。但是我还是觉得第二年应该继续去做，因为做的过程是很开心的，而且当你看到小朋友们的笑脸的时候，会觉得一切都是非常有价值的。我觉得这就像是在孩子们的心中做了一场烟花秀——你不会每天都放烟花，但是在烟花绽放的那一刹那你会觉得特别有趣和美好，那么这段经历就会印在孩子们的心中。

教育的这种投入，我觉得它对于心理上的价值是很难用钱去衡量的，是无法代替的。未来我们希望号召更多的年轻的建筑师、艺术家以及来自各行各业的人加入花火计划，有更多的人参与，就会有更多的“花火”产生。所以在当下我觉得先把这个信念坚持下去是第一位的，今年是花火计划的第5年，未来我们也许还会做到第10年。

Though the course is just a try, I still hope that it could be continued every year. Actually the process is quite stressful because it would interrupt the work of our studio every July and August. In addition, it is very laborious to complete each stage, from planning and material purchase, making experiment, to sharing with the children all by ourselves. However, as the process is enjoyable and it is very rewarding to see the laughing faces of the children, I still feel that the program should be carried on. It is like establishing a firework show in the children’s heart. Though you would not shoot off fireworks every day, the moment of fireworks blooming in the sky is so interesting and beautiful that it will be imprinted on the children’s minds forever.

I think education is irreplaceable and it is difficult to measure the value of the effort in education by money. I wish to call on more young architects, artists and people from different professions to participate in Program SPARK. The more people join in the program; the more sparks it will generate. Currently, the most crucial issue is to persist the idea. It is the fifth year of Program Spark this year and we may greet the tenth in the future.

▼2021年的“盛放”项目，用二手共享单车串联成了像旋转木马一样的大型玩具（点击这里查看更多）
Blooming Time in 2o21, twelve ofo bicycles connected end to end, together formed a shape similar to a carousel (Click HERE for details)

▼快乐的营地记忆，the happy memories in the camp

____
乡建
Rural Construction

“非地域性跟地域性，首先它不是两个极端，‘云见’和‘清溪行馆’这两个项目都只是用到了地域性这件事情的一部分表达，只是显露的程度有所不同。

First we must understand that regionalism and non-regionalism are not two extremes. Both Silver Linings and Cloudy Courtyard partially used the idea of regionalism, showing it on different levels.”

云见民宿 + 清溪行馆
非地域性和地域性的探讨
Silver Linings Boutique Hotel + Cloudy Courtyard
Discussion of Regionalism and Non-regionalism

云见是一个改造项目，它的基底就是一个普通农村的4层小楼。这座楼本身没有太多的故事，所以我会更多倾向于让它的形态往新去走，但是材料要有讲究。我们当时的第一反应是去做一个跟竹材料有关的空间，因为竹子是最能代表竹海当地特征的东西，家家户户都在从事跟竹子相关的产业。在这个基础上，我希望这座建筑能够在形态上和传统的竹元素形成一个对比。所有的暖色调的部分都以竹海本地生产的竹子为材料，立面上的栏杆采用的是做过防护处理的原竹，盖板采用竹钢，内部家具用的是竹贴皮多层板，包括大堂的壁画也是我用剪断的竹鞭亲手固定而成的。这些材料是它的地域性的体现，而非地域性体现在我们通过功能来解决它的问题和形象，比如根据场地条件而决定的18个窗户的朝向和条状的院落等等。

Silver Linings is a renovation project transformed from an ordinary four-story building in the village. There was not much of a story in the building so that we were more inclined to create a new form with selected regional materials. The immediate decision was to make a space related to bamboos because bamboo is the most representative material of the local characteristics of Zhuhai and every household is engaged in bamboo-related industries. Then we hoped that the architectural form of the project would be a contrast to the traditional bamboo elements. All the warm colored objects were composed of bamboos from the Bamboo Sea. The railings on the façade were made of raw bamboo with protective treatment capped by bamboo steel. Interior furnitures were cladded by bamboo panels. Even the painting in the lobby was handmade by myself using cut bamboo roots. These materials were manifestations of regionalism. The form of the building, such as the orientation of the 18 windows and the ribbon shape of the courtyard, was decided by the functional needs and the site conditions, which was the result from non-regional thinking.

▼云见民宿改造自一个普通农村的4层小楼
The Silver Linings Boutique Hotel is renovated from an ordinary four-story building in the village

▼竹材料的使用回应了竹海的地域特征，the use of bamboo responds to the local characteristics of Zhuhai

清溪行馆其实又是反过来，它可以看做是皖西大屋的一种演变。我们选择了皖西大屋的形制，但是并没有选择它的形态。为了满足现代建筑的要求，它的材料，比如外立面的石头和木头，是完完全全从现场采集而来的。但是空间的突破方式是用了现代建筑的语言，比如体量交错角度和空间穿插等。最终的结果是3个大院套着24个小院，这会让当地人觉得特别亲切，但是他又看不到形象上的痕迹，所以会产生一种又亲切、又不知道为什么亲切的感觉。就像内剧场一样，你要给他一个记忆的切口，人在里面停留的时候，他会隐隐约约地感受到这种场景和景象是跟原有的自然的生活方式有所联系的。所以这两个项目的地域性的切入其实是以无形的方式穿插在其中的，如果不是太了解项目的人，可能猛地看过去会认为它是一个比较新的建筑。我们希望人们在看到图片和真正体验到实体空间的时候能够感受到一些偏差，这实际上会增加建筑的可读性。

Cloudy Courtyard used the opposite strategy and it could be regarded as an interpretation of the traditional house in west Anhui, from which we took the structural order but not the form. In order to meet the requirements of modern architecture, its materials, including the stone and wood used on the façade, were completely sourced from around the site. However, we transcend the usual space by using the language of modern architecture, such as the interlocking angles of the volumes and the interweaved spaces. Finally we got 24 small courtyards in 3 big courtyards, providing a familiar sense to the local inhabitants. However, as there was no trace of tradition on the architectural form, they could not figure out the reason why they felt familiar with the project. Like in the project of Internal Theater, you leave an opening to the memory and people will vaguely feel the connection between the venue and the original lifestyle when they are staying in the space. Therefore regionalism cut in these two project in a formless way. For those who don’t now the project very well, they may think it is a new building on the first sight. We wish that people could feel some differences between looking at the pictures and experiencing the real space, which would increase the readability of the building.

▼清溪行馆回应了“皖西大屋”的形制（点击这里查看更多）
The Cloudy Courtyard is a reinterpretation of the traditional houses in west Anhui (Click HERE for details)

▼优雅的屋顶折线，the elegant roof lines

“以设计师的角度看中国乡村，有两个我认为比较重要的点，就是教育和设计之后的共识。”

“From a designer’s aspect, I think there are two key points in Chinese villages. One is education and the other is the common view after the design.”

融入乡村是一个大的趋势，也是一个令人欣慰和兴奋的点。从一开始的“美丽乡村”改革到后来的乡村振兴，其实是一个从美学形态到产业和资源全面进入乡村的过程。以设计师的角度看中国乡村，有两个我认为比较重要的点，就是教育和设计之后的共识。

首先，通过设计介入，说白了就是造房子，但是在这之后还有些什么？这可能是我们在接下来会更多地去关注的事情。比如说现在的清溪行馆已经不完全是一个民宿了，它在某种程度上也成为了当地乡村振兴的标杆，未来在这片区域里面可能还会有更多的文化类型的建筑。这个项目完成之后，很快吸引了当地图书馆机构的注意，希望进行一些长期的合作。当图书馆要引入图书的时候，我们又会反过来去思考应该打造一个什么样的图书馆，我觉得这是最有意思的一点。我们当下正在清溪行馆的边上建造一个小型的图书馆，这个图书馆的特色是每周只放一本书，它是一种能够引发情感交流的图书馆，人跟书之间的关系会在一个像明镜台那么大的空间里面建立起来，同时它还会作为一个乡村文化中心来承载新的事件和节目。

另外一个很重要的部分就是教育。和物质经济不一样，教育是一个无法在短时间内提升的东西，只有在乡村的整体教育水平提上去之后，才会有更多的人回到乡村。这是一个需要一代代人慢慢去实现的过程。所以这里又回到了花火计划所探寻的目标，我认为有专业技能的人还是有义务去乡村尽一份绵薄之力。

The integration with the countryside is the main trend and we feel pleased and excited for it. From the reformation program of “Beautiful Village” to the strategy of Rural Revitalization, it is in fact a process of introducing both aesthetic structures and industrial resources to the rural districts. From a designer’s aspect, I think there are two key points in Chinese villages. One is education and the other is the common view after the design.

Frankly, making design intervention is to build houses. We will put more effort on what else we can do after the design is completed. Take Cloudy Courtyard for instance. It is no longer a pure guest house. It has become an example of rural revitalization in the village on a certain level and will stimulate the construction of more cultural buildings in this district in the future. As soon as the project was completed, it drew attention from the local library institute which came and asked for long-term cooperation. When introducing books into this project, we had to in turn think what kind of library it would be, which I think was the most interesting part. Currently, we are considering to build a small library beside the Cloudy Courtyard. It will be a library that could stimulate sentiment communication. There will be merely one book every week and people will build up their relationship with the book in a space of a mirror-stand size. It will also hold new event and performance as a village cultural center.

Another important issue is education. Unlike material and economy, education cannot be improved in a short time. Only after the overall level of education is improved, will more people return to the villages. This will be a slow process that will take generations of people to accomplish. It is the goal that we want to reach in Program SPARK. I think that people with professional skills are obligated to go to the countryside and make their contribution.

▼在乡村中工作，working in the rural environment

______
未来展望
Future Expectation

这两年的疫情让大家都变得比以前更谨慎，所以从现实的角度来讲，我觉得还是要先保证工作室生存下去。从创作的方向上讲，我可能会更多地集中在装置这一块，就是在精神上和心理层面上会思考得更多一些。当然我有时候也会怀疑自己应不应该集中在一个领域，或者集中在某种材质、工艺或者技能，但同时我又是一个不太会被一种形态和材料局限的人，很难刻意地去把自己框在一个地方。也许我们还可以继续再“玩”几年，这个过程里我可能会找到一个相对更加明确的方向。

The pandemic has turned people to be more cautious in the past two years. To be realistic, I have to ensure the survival of the studio first. On the perspective of design, I will focus more on installation, thinking more on a spiritual and mental level. Sometimes I wonder if I should concentrate on one area, a certain material, technique or skill. However, I am not the kind of person who will be limited by one form or material and it is difficult to frame myself in one place. Perhaps we can keep on “playing” for several years and find a relatively clear direction in this process.

▼李豪，Li Hao

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