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7期为您奉上的是端木良锦和彼方设计的合伙人李煦。更多关于他：Li Xu on gooood , BE DESIGN on gooood

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, 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.7 introduces Li Xu, Partner of DMLJ and BE DESIGN. More: Li Xu on gooood , BE DESIGN on gooood

▼ 视频 Video （全文深度采访见下方文字。视频为4分钟精华版，建议选择蓝光1080p观看。）

gooood x Li Xu 李煦

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非典型北京人与典型的理工学生
Nontypical Beijingness and typical science student

我是一个地地道道的北京人，但是我又不是一个典型的北京人。如果大家看过《阳光灿烂的日子》就知道，北京人分两种，一种是在胡同里面的，另一种是部队大院的，我是属于部队大院的。我打小生活在西四环长安街沿线，那边都是部队大院，铁道兵啊、二炮啊、空政文工团啊，所以我成长环境就是一个大院儿文化，像一个相对封闭的小社会。我父母都是中学老师，所以我的生活环境比较单纯，家离学校非常近，从小学到高中我上下学都是贴着墙边儿走，连马路都不用过，每天5分钟到家，甚至高中晚自习后都是翻墙回家。

另一面，我是一个非常典型的理工科学生。小时候学画画，中学的时候数学好，当年也是凭着数学竞赛保送的清华。至于为什么选择了建筑系，是因为我当时既不想去学纯理的学科，也不想学纯艺术的学科，觉得建筑是一个艺术与技术相结合的专业，应该挺合适，所以就去了建筑系。

I am a Pekingese, but not that kind of typical one. There are briefly two kinds of Pekingese if you have watched the movie called “In the Heat of the Sun”; people who grow up in Hutong are the first kind of Pekingese, the other is who lives in the military compound. I belong to the later group. I was brought up at the intersection of the West 4th ring road and the Chang’an Street extension cord, where many military compounds sit. The place where I grew up was like an introverted micro-society, the atmosphere here was simple and sheer. My parents are both high school teachers, they have offered me a pure growth environment. The school was close to our home; I did not even need to cross any road on my way to the classroom. It only took me five minutes to get back home, sometimes could be even faster if I climbed over the wall after the evening self-study.

On the other hand, I was quite good at math in high school, a typical science student. I had won the Olympic math competition and was recommended for admission to Tsinghua University for that reason. Also, I used to learn painting and enjoyed that experience. So choosing architecture as my major was a decision that combined all advantages of mine. I did not want to be restrained in one field, science or art, and architecture seems to be the discipline of intertwined both art and skill. That could be my best choice.

▼李煦的母校十一学校，Beijing National Day School

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gap year|休学一年的全记录
Gap Year: A Record of one-year absence

“作为一个前辈或者是学长，你有义务让后面的学弟学妹少走弯路，得到更好的提升。所以我也希望把这种方式能够传递下去。”

“As a senior student, I have the responsibility to help the coming students, to show them with wider choices, and I hope they could know better about the future.”

我08年北京奥运会前去的美国，那个时候社交网络比较风靡，校内网大家都在用。自己在校内网上更新在美国学习、生活情况。 gap year是我在美国后才知道有这么一个概念，其实就叫休学一年。

去美国第一年的最大感受是觉得中国学生和外国学生有所不同。我在哈佛的专业是建筑学（MArch2）。那年从全球招了29个学生，各个国家都有，外国学生普遍年龄都比较大，有工作了很多年的职业建筑师，有带孩子来读书的。而我们中国学生基本上都是在国内读完本科或者研究生就直接去美国继续深造的。在第一年的学习中我发现，外国学生跟老师间的交流更像建筑师与建筑师之间的交流，他们很多人往往都已经有了好几年的工作经历，甚至有的人有自己的事务所。中国学生由于缺乏工作经验，跟他们相比是有一定差距的，这直接影响到学习的质量。

I went to U.S. right before the Beijing Olimpic Games in 2008. At that time social network was popular among students, so I kept recording my life in U.S. and post them online. After arrived in U.S., I started to get to know the concept of the gap year; it is just a year that absent from university.

As for the reason that I chose to be away from school-life for a short while is the disparity of our classmates. My major in Harward is MArch II; those 29 students were coming from all over the world. Most of the foreign students were much older than me and had many years of working experience. They were already professional architects, and some of them even keep studying after bearing a child, while Chinese students were freshly graduated and had no work experience. The discussions between professors and foreign students, some of whom had already started up their own business, were more like the debates between practitioners and architects. Comparing to these experienced classmates, we Chinese students were obviously inadequate, which directly exposed in the learning quality.

▼左：同届中国学生合影。右：听Moneo教的建筑评论课。/Left: photo with Chinese fellows. Right: Moneo teaching architectural criticism in GSD

在哈佛上完第一个学期后，我发现很多外国同学选择了休学，我觉得我也可以试试，便在08年秋季学期结束后开始找半年以上的实习工作。当时也是非常巧，被BIG录取了，决定去丹麦。

之前从来没有去过欧洲，我的第一个欧洲国家居然是丹麦，一个北欧的小国家，觉得还挺有意思的。去了以后发现丹麦人非常悠闲，生活安居乐业，工作没压力。也正是因为这点原因，做设计领域的人工作心态非常放松，创造力非常强。当时BIG是一个小荷才露尖尖角的小公司，有几十人，老板和合伙人都非常得平易近人，感觉是年轻兄长。公司的员工也非常多元化，各个国家的都有国际化，不光是欧洲，美国、南美、亚洲都有。一开始我会不经意地在网上记录些工作和生活的琐事，后面慢慢觉得有一点责任感，想把在国外学习包括工作上的见闻能够通过网络进行分享，让国内无论是学建筑的还是喜欢建筑领域的朋友都能得到一点了解。另外还有一点就是在我申请美国留学的时候，得到很多前辈学长指点，比如我的清华学长鲍威、同济的学长水雁飞，他们都是非常耐心地给我解答。当时我觉得这点非常好：作为一个前辈或者是学长，你有义务让后面的学弟学妹少走弯路，得到更好的提升。所以我也希望把这种方式能够传递下去。自从我休学出去到外国公司工作之后，后面据我所知百分之八九十的学生都会选择休学一年。之前很少，我觉得这也是引领了一个风潮。

After finishing the first term at GSD, several our foreign classmates decided to take a gap year. I found it was worth to try, and started to look for internships that last for at least half a year. Fortunately, BIG accepted my application; then I embarked on the journey to Denmark.

I had never been to the European countries before I set foot on Denmark. After arrived in there, I found the Nordics were living in a comfortable and relaxing way. Thus, the designers are eased and creative. BIG was still a small company at that moment, my boss and colleagues were as close as brothers. Working in a very international environment, the team members are coming from worldwide. At the beginning, I was just posting some trifles on the website to record my life and work in Danmark, gradually a sense of responsibility of sharing my experiences with the people who were learning or just interested in architecture started to emerge. Another reason that made me decide to share my life in this way was the help that I received when applying for the graduate school. The senior students from Tsinghua had helped me a lot, they had shown much kindness to me. And I think that was very important for the abecedarian: as a superior one, we have the responsibility to help the coming students, to show them with wider choices, and know better about the future. Thus to me, spreading a potential idea to them is a continuation of virtue. Since I took a year away from school, most of the fellow students would choose to have a gap year, which had hardly ever happened in Chinese students before. I think in some ways I lead this trend.

▼BIG办公室，BIG office

▼在BIG和同事讨论纽约W57项目概念模型，discuss the concept model of New York W57 project

▼左：丹麦住所。右：BIG工作日常。Left: accommodation in Denmark. Right: working in BIG

▼BIG的同事十分平易近人（左：李煦，中：BIG创始人BJARKE INGELS）colleagues in BIG were very amiable (left: Li Xu, middle: BJARKE INGELS, founding partner of BIG)

在丹麦那年，是目前为止我个人最怀念的一年。当时的心态非常放松，既不像是做一个正式的工作有很大的压力，要以此谋生，又不像是在学校里有学业上的压力，我更愿意把这一年称作一个叫“游学”的过程，就是你边游还边学。我在丹麦会利用周末的时间或者项目倒休去一个欧洲国家看建筑。我觉得那一年的收获对我建筑学本身，包括我个人眼界的开拓是非常有收获的。毕业工作后压力一大很难再找到当年的这种感觉了。

The year in Denmark was the time that I missed the most. I was so relaxed, not like the people who were struggling to make a living or under the pressure of school works. I would like to call this year “study voyage”, which was like learning during this trip. I used to spend a weekend or exchaning working days to travel to another country visiting the architectures there. I felt that period had become a cornerstone of my study in architecture and my own life. It is hard to experience that feeling again when you graduated and started your career.

▼在欧洲的游学经历，study voyage in Europe

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香港五年
Five Years in Hong Kong

“香港是一个比较多元的社会，工作需要有一个更好的沟通能力，这是香港给我带来的一些挑战。”

“Hong Kong is a society of diversity which requires an excellent communication skill of people who work there. And this has to be the challenge that Hong Kong has brought to me.”

香港是一个非常国际化的城市。我没有一下回到国内，也是希望能有一个过渡。之前我在BIG有过一年的工作经历，所以到香港选了一个相对更加职业更加商业化的大型事务所。在香港工作非常繁忙，香港同事工作非常努力。香港建筑市场并不大，所以公司项目大部分还是在内地。香港是一个比较多元的社会，你会有很多外国同事，包括香港的同事。跟他们在一起工作需要有一个更好的沟通能力，我觉得这是香港给我带来的一些挑战。我也非常幸运，之前的公司比较重用我让我负责一些项目，包括负责项目、给甲方汇报、给政府汇报。在香港这几年，我自己在项目管理、带团队等各方面的能力得到比较好的提高。香港市场相对小，相对闭合，不像内地各种类型的事务所种类很多。

我住在旺角附近，在香港呆了五年一直没搬过家。香港整体的城市交通非常方便，基本不需要开车，大家都是地铁或者公交车出行。相对北京因为摊得太开，公共交通压力又很大，所以交通问题非常头疼。

Hong Kong is an international cosmopolitan. Choosing to stay there instead of directly get back to the Mainland was trying to have an interim period. I used to work at BIG, a starchitect kind of firm, so when I got started in Hond Kong, I had chosen a relatively more commercial and professional company. The work in Hong Kong was hectic, and my colleagues were all extremely competitive. However, the local architecture industry was not as prosperous as it did, most of the projects come from the Mainland. It is a place full of diversity, all different kinds of cultures; your colleagues might come from all over the world. Working with the international team members, including the locals, requires an excellent communication skill and this has to be the challenge that Hong Kong has brought to me. Also, I am very lucky to be trusted by the company to responsible for some large projects, including of the part of presentations for clients and governments. The years in Hong Kong makes me more skilled at project management and I have grown up to be a team leader in all aspects. The Hong Kong’s architecture market is an introverted, professional one, unlike the various types of offices in the Mainland China.

I spent five years living in Mong Kok area and have never moved. Comparing to the traffic in Beijing, Hong Kong’s overall urban transportation is very convenient, barely need driving. We were all taking subway or buses traveling around the city. Because Beijing’s urban area has been stretched too much, the pressure of public transportation is very troublesome.

▼在香港五年的居住环境，living environment of the five years in Hong Kong

▼从办公室（左）和家（右）看到的室外景色。View from office (left) and home (right)

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采访转行建筑师与自己的转行
Interviews with career-changed architects and the career-change of myself

“我这个人兼顾理性和感性，一个事情很有意义的话，我会去做。”

“I am a man of sense and sensibility. I will do anything that is meaningful.”

转行建筑师这个系列完全是个人的想法。有一次从香港回北京，约了一些老同学见面，有比伏的陈兴，灵游坊的梁其伟还有我的大学同学做果汁的曹楠，以及端木良锦的祁天。我跟他们接触以后突然发现我大学学建筑的同学朋友怎么现在都没在做建筑，我觉得这挺有意思的，从北京回香港飞机还没起飞前我给向玲发了一个微信，说想做一个系列采访，当时向玲这边非常支持我，觉得是一挺好的视角。

回到香港后我电话采访也好，甚至我回北京当面采访也好，做了八个人的转行建筑师系列，没想到在谷德发布以后还是引起了挺大的反响。很多人都说身边建筑师都慢慢转行。我觉得挺开心的，通过自己的想法，慢慢得到很多人的关注或者讨论，借此衍生出很多其他的关注点。建筑师是一个相对综合的职业：执行力，动手能力，对细节的把控能力，都是建筑师带给他们的好能力。

The idea of interviewing architects who have changed their career path was entirely based on personal interests. Once on a break back to Beijing, some of our friends were gathered together, CHEN Xing from Bǐfú, LIANG Qiwei from S-Game, my classmate from Harvard CAO Nan who had started up a juice business, and my future partner QI Tian from DMLJ. After the reunion, I surprisingly found that all my classmates were not doing architecture anymore. And that was kind of interest to me. On my flight heading back to Hong Kong, I sent a message to XIANG Ling from Gooood expressing my orientation of a series of interview about career-changed architects. And she was very supportive, taking this as a unique starting perspective.

After returning to Hong Kong, I interviewed our eight guests who had changed their career paths either by telephone or directly meet then in person. And this had generated a prompt response on the internet; all the readers started to share their stories about career change. I was happy about this, by initiating a small topic, the whole industry began to notice this phenomenon, and generated a series of successive arguments. The architect is a job of complexity: executive power, the skill of doing handicraft, the capacity of detail control, are all the advantages that brought by learning architecture.

▼八个人的转行建筑师系列（点击这里阅读采访文章）interview of eight architects who had changed their career or created their own business (click HERE to see the interview)

我做完这个系列后很多人问我你不会做完这个系列也转行了吧？我当时回答，说不会。但慢慢事情就有变化了。在香港工作到第四年，建筑上香港这边学到的东西已经足够了，之前也非常辛苦，没有个人的思考时间，所以我在15年年底就辞职了。当时香港大学建筑系里招助教，徐甜甜老师正好在港大代课，我就做了她的一个学期的助教。

When we finished this interview series, a lot of people started to tease me of whether I would join their crew by doing something else. I soundly remember that my answer was “Absolutely not.” But thing got changed, after four years in Hong Kong, I have learned enough things and i have spent most of my time working, while seldom make my own time for thinking. So I resigned at the end of 2015. Hong Kong University was recruiting for TA at that time, and I applied for the teaching assistant position for Professor XU tiantian.

▼左：带香港大学学生在北京调研。右：带香港大学学生参加威尼斯双年展。/ Left: research in Beijing with students from Hong Kong University. Right: in Venice Biennale with students from Hong Kong University.

在这一年我中间会回好几次北京，我跟端木良锦祁天是非常好的朋友，我非常关注他做的东西，我慢慢对他现在做的事情有了更深入的了解和理解。我非常认同他现在做的事情，到后面我也希望自己能够参与到这里面，贡献自己的一部分力量。我在去年年底，正式地加盟了端木良锦团队。目前是合伙人之一。

我这个人兼顾理性和感性，一个事情很有意义的话，我会去做。我觉得端木良锦现在做的事情就是非常有意义的，它把中国传统的东西通过创新设计，包括弘扬工匠精神，很好地传递到国际上去。

During that period I often traveled between Hong Kong and Beijing, and started to get back in touch with my friend QI Tian. We were very close to each other in university, and I paid sustained attentions to the things he had been doing. I gradually get to know about this business and deeply touched by the meaningful choice he had made. After that, the desire of getting involved in this work making me joined to his team, DMLJ. At the end of last year, I become one of the partners of the company.

I am a man of sense and sensibility. I will do anything that is meaningful. What has DMLJ has delivered to the public is a thing with profound influence: it propagates Chinese traditional things, including with the spirit of promoting artisans, through innovative design to the international stage.

▼加入端木良锦，join in DMLJ

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端木良锦
DMLJ

“我们做这个品牌的其中一个理想，是希望能通过小型木器的创新设计，复兴已经被国人所遗忘的唐式审美，让大家有所了解。”

“One of our many goals in starting this brand is to revive the long-forgotten Tang Dynasty aesthetics by designing vintage small woodcraft.”

现在端木良锦团队一共有九个人，有三个合伙人，是核心团队。创始人是我在清华建筑系的同班同学祁天，他也是宾夕法尼亚大学建筑的硕士；另外一个是她的太太李渊君 – 宾夕法尼亚大学的电子工程专业；另一个就是我。三个人的分工比较明确，祁天主要是在产品设计和研发；她太太有一部分工作是团队的管理，还有一部分是我们木作的镶嵌技术研发；我很大一部分是品牌的管理和市场的开拓。在产品研发上我的工作重点是把所有的产品进行三维建模，比如说木包上的五金配件需要通过精确建模，3D打印测试好后才发给五金件制作厂批量生产。我现在很大一部分的工作是跟人接触，之前做建筑师包括跟甲方接触、跟施工方接触锻炼出来的能力现在非常有用。我们现在接触的人往上有政要夫人级别，往下面走有我们自己的工人，还有各种媒体等，所以我要随时转换自己的角色，包括跟不同的人打交道的方式，这对我也是一个非常大的挑战。

Right now we have a team of nine people; three of them are partners, who make up the core of the team. The founders partners are my classmate in the School of Architecture in University – QI Tian, who graduated from UPen in M.Arch; the other partner is his wife LI Yuanjun – she studied electrical engineering in the graduate school of UPenn; and the last one is me. We have a precise distribution of fields: QI Tian is mostly in charge of production developing and researching. His wife helps with the team management, and she is doing research of the insertion technology for our products. My job is mostly for brand management and market expansion. Regarding my position in the product’s development, I am focusing on developing the three-dimensional models for all our products. For instance, every metal hardware of our products has to be tested on a highly precise 3D printed model before sending to the manufacturer. A large part of my job is dealing with people, which is what I learned from dealing with clients and construction team back in the time I did architecture. Currently, we have to cope with a broad range of people from family members of significant political figures, different Media groups, to our workers. Thus, I have to switch my role constantly. The fact that I have to cope with different kinds of people in different ways is a major challenge to me.

▼工作室合影（右二：李煦，中：祁天，右三：李渊君）group photo of the DMLJ studio （second right: Li Xu, middle: Qi Tian, third right: Li Yuanjun)

▼端木良锦工作室，带庭院的500平米小楼，所有人在这里生活、工作，DMLJ studio, a 500 square meters building with a courtyard, where Li Xu and his partners work and live

我们工作室最经典的一款产品叫满嵌唐琴纹檀木手拿包或者叫长钱包，是一款拿在手上的钱包，它背面是用我们纯手工镶嵌的花朵纹理。这个纹理很多人刚开始看的第一反应说怎么那么像LV啊，这背后的故事我给大家讲讲，上面的花纹是源自唐代的宝相花。我们最开始发现这个纹理是在一本书上，是日本京都正仓院收藏的唐代国宝琵琶，这个琵琶是我们大唐时期的物品，被遣唐使从中国带回了日本献给了天皇。我们第一次看到感觉非常惊艳，唐人做得如此之精美。我们当时目标是用现代的工艺包括木头来复原这个花纹，钱包整面有大概60多朵宝相花，全部是我们手工用金丝南木、黄杨木镶嵌出来的。很多人觉得像是日本的东西或者像是LV的东西，其实恰恰是我们中国人自己的。这也是我们做这个品牌的一个理想，希望能把已经被国人所遗忘的唐式审美复兴，让大家有所了解。

One of the most classic designs we produced is a Patterned Wooden Clutch in Tang Dynasty style. The back of the Clutch is set with hand-made floral patterns. In the first glance, that easily reminds you of the typical Louis Vuitton handbag, but in fact, there is a story behind it. The pattern we are using is adapted from the Jewel Sign Lotus, a traditional floral pattern in Tang Dynasty. We found this pattern from a book, in which it presents a National Treasury of Tang Dynasty string instrument. The artifact is originated from Tang Dynasty and was brought to the king of Japan as a gift by Japanese ambassador two thousand years ago. We are astonished by the beauty of the pattern and highly impressed by the intricacy of Tang’s craftmanship. We intended to replicate these intricate pattern in woods by contemporary technology. Therefore, the entire surface of sixty flowers is hand-made by Golden Phoebe and Chinese boxwood. It may look like Japanese or Louis Vuitton’s design, but it is purely Chinese originated. That somehow resonates with one of our goals in starting this brand: to revive the long- forgotten Tang Dynasty aesthetics by designing vintage small woodcraft.

▼满嵌唐琴纹檀木手拿包，Patterned Wooden Clutch in Tang Dynasty style

▼钱包花纹来自唐代琵琶，the pattern on the clutch is from a pipa in Tang Dynasty

▼用金丝楠木和黄杨木手工镶嵌的花纹，handmade pattern composed of Golden Phoebe and Chinese boxwood

现在国人对中国传统更多了解是明清的东西，因为明清离我们近，保存下来的东西很多。在我们看来，中国美学最鼎盛的时期还是在汉唐，唐代是中国所有朝代里面最鼎盛的。我们叫盛唐。唐代线条、颜色非常惊艳，不像清代的雕龙画凤异常烦琐。唐代的东西有太多是值得挖掘的。可惜的是唐代的实物留存在国内的少之又少。做产品之前我们花了很长一段时间积累、调研、整理、梳理唐代的艺术创作。

Currently, our countrymen’s knowledge of traditional Chinese style is mostly from Ming or Qing Dynasty for artifacts from these two Dynasties are chronically closer to us and better preserved. To us, the paramount of Chinese Aesthetics achievement is between Han and Tang. Tang Dynasty is the most prosperous period in Chinese Ancient History. And we literally call it the Prospering Tang. The lines and colors in Tang style are exquisite and simplistic rather than being complicated like Qing style. There are much to discover and exploit from Tang style, yet there is little relics from Tang left in this country. We spent a significant amount of time in collecting, sorting and studying art and designs in Tang Dynasty.

▼研究唐代元素运用到产品中，discover from Tang style and apply into the product

▼中国传统特色产品与国际相结合，combine with the international trend

我对端木良锦非常有信心，我们得到了越来越多的媒体关注，包括人民日报、中央电视台都对我们进行了专访，后面我们会慢慢跟国内知名品牌和平台合作，希望能把端木良锦所秉承的理念更好地宣传，希望能够踏踏实实地做一个中国自己的品牌。

I am rather optimistic about the future of our brand. Currently, we are getting covered from an increasing amount of Media, including the People’s Daily and CCTV. We will gradually start cooperations with major domestic brands and platforms. We are hoping to let our idea be conveyed to a wider range of people while focusing on developing a Chinese luxury.

▼端木良锦产品展示包墙，products displayed on the unique feature wall in DMLJ studio

___________
恒筑 – 建筑创作
Hengzhu – Creation of Architecture

“我现在主要的精力都在端木良锦。建筑公司有我的合伙人团队，平时公司的运营管理还是靠深圳的合伙人们。”

“I am now concentrating in DMLJ. Thanks to my partners in Shenzhen, the architecture office is operating well.”

今年5月，我们在深圳的第一个项目云里智能园建成开园，是一个旧工业厂房改造项目。项目位于深圳龙华区坂田街道，离华为的产业园非常近，属于九十年代的仓库厂房转型。一共有六栋旧式仓库需要做全面外观和内部的提升。我们从建筑的外立面）做起，结合现代设计的手法和材料，把整个建筑进行更新换代。还有一个项目是在纽约曼哈顿暗黑风格的买手店叫Atelier New York，这个买手店主要是经营欧美暗黑风格设计师的品牌，他们的VIP客户包括Brad Pitt，Kanye West等知名人士。在设计风格上我们不希望它是简简单单产品展示，更多希望成为一个小的时尚聚合，所以空间里的家具装置都是灵活可变，有时候变成时尚发布会，有时候变成临时品牌的pop-up，也能开时尚party。项目处于纽约的历史建筑保护区，外立面不能变，所以所有的改造在建筑内部进行。建筑门脸是一个盒子，跟旁边的店铺有所区别，同时保留一定的神秘感。

The first project of our office is Shenzhen Winlead Intelligent Park which was finished and opened to the public this May. It is a transformation project, sitting in Bantian Street Longhua District, Shenzhen close to Huawei Industrial Parks. The park comprises a complex of the 90s’ decommissioned industrial building; six former warehouses need to be innovated inside-out. We started from the surface, with the modern design languages and innovative materials to convert these buildings for new use. Another interesting small project we did was in Manhattan called Atelier New York. It was a shop selling goth style design brand. Their customers including all celebrities such as Brad Pitt, Kanye West, etc. We would like the shop to be a party space for fashion, instead of being a simply displaying area. Thus the installations and furniture there are flexible to be moved and reoriented. Different spatial combinations could be adapt to fashion shows, brand’s pop-ups or even parties. The project locates in a historic district where the architecture’s facades cannot be restored. Thus the manipulation works can only be taken into interior space. The front view of the project is a box-like image, with some iconic feelings makes it different from other shops and to keep a sense of mysterious among surroundings.

▼深圳云里智能园（点击这里查看更多），Shenzhen Winlead Intelligent Park (click HERE to view more)

▼曼哈顿买手店，Atelier New York

________________
关于实业与创业的思考
Consideration in industry and enterprise

“真正你想去有所创造或者说真正做一个自己喜欢自己愿意去做的事，必须要有一个能沉下来的心态，这样的话无论是中间遇到什么困难遇到什么挫折你都能咬牙坚持下来，我觉得这个非常重要。”

“If you hope to make a difference in the career you are willing and enjoy to do, one has to let himself emerge in that business, so that you will have the persistence of overcoming regardless any hardships. I believe that is the essential part.”

我去年八月初回到北京后就一直就住在东六环外的宋庄。我们有一个500平米的小院，平时既在这里工作也在这里生活。将近一年我潜下心来踏踏实实地思考创业，包括做实业所面临的一些问题，是我这一年思考比较多的。四个字：实业很难。

只有真正身临其境去做才能体会有多难。更多的是外界的因素，比如想做一个五金件，很难找到一个非常合适的加工厂。因为我们是一个小公司，订单量没有那么大，能做得好的工厂他不接你的单，所以很多东西我们需要自己去解决。很多东西我们只能自己从零学起，自己来掌握这门技术，再培养我们自己的工人。这无形之中对自己的挑战是非常大的。现在大的环境大家都强调工匠精神，贴手机膜的也称自己是工匠精神，什么才是真正的工匠精神？对于我自己来讲，我觉得工匠精神是在传承的基础上要有所创新，把古人的东西结合到现代人生活或者是使用的方式上有一个更好的提升。

I have started living in Songzhuang, an outskirt village of Beijing, since I came back to Beijing last fall. I have been working and living in this 500-square-meter courtyard for almost a year, in which I could think and do the introspection of our business. What I have been thinking the most are the issues that we have encountered at the beginning of starting up a business. Briefly, doing industrial corp is hard.

One will never know how hard it could be until he/she get involved in that situation. Most issues I have met are external factors, things such as you could not find a suitable manufacturer for the piece of hardware that you want to make. We are a small company and have fewer orders; qualified manufacturers do not even bother to take these tasks. Therefore, we have to work on ourselves in many cases. Learning how to do the craftsmanship by ourselves from the very beginning, become adept at the techniques, and then start to train our staffs There is no need to mention the huge challenge behind all these works. Nowadays, everyone stresses on the Spirit of Craftsmanship. Even a phone case seller markets on that slogan. But what does the Spirit of Craftsmanship truly means? To me it is to bring innovations while carrying on traditional techniques and is to adapt the wisdom on the Ancient artefacts to improve modern living.

▼发扬工匠精神制造产品，make the product with craftsmanship

现代整个社会还是偏浮躁多一点，真正能踏下心来做实业的人比较少，大家都想去赚快钱，觉得我花了5年时间做一木盒子，还不如我花一年时间炒个房赚得多呢。我觉得真正你想去有所创造或者说真正做一个自己喜欢自己愿意去做的事，必须要有一个能沉下来的心态，这样的话无论是中间遇到什么困难遇到什么挫折你都能咬牙坚持下来，我觉得这个非常重要。

The contemporary society is a little bit impetuous. People who want to focus on their professions are few, but those who wish to make good money are common. If one can earn more money from gaming on real estates, why bothering to spend five years on designing a wooden case? If you do hope to make a difference in the career you are willing and enjoy to do; one has to let him/herself emerge in that business, so that they will have the persistence of overcoming regardless any hardships. I believe that is most important.

More: Li Xu on gooood , BE DESIGN on gooood

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