Under 35 – Robot 3

Designers are more limited by themselves. We should do our best to stir up the energy of each project.

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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16期为您奉上的是 Robot 3 studio 创始人潘飞,王植,更多关于他们:Robot3 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.16 introduces Pan Fei and Wang Zhi, founder of Robot 3 studio

 

▼视频(视频为3分钟精华版,全文深度采访见下方文字。建议选择高清1080P观看。)

 

 

gooood x Robot 3

 

 

__________________
不断向前推进的设计之路
Moving towards design

 

潘飞:“人生在20多岁除了梦想也没有别的,内心燃烧的东西一直在寻找出口。2016年,机缘巧合,我和王植相互碰撞,决定一起做事情。”

Pan Fei: “Twenty-something means to keep on dreaming, seeking to light up the spark in mind. Fortunately I was able to start a career with my best friend Wang Zhi since 2016.”

 

潘飞:我出生在河南省郑州市,小时候画画,一小就特别喜欢这个。高中的时候,家里面单位分的房子,我去工地一点一点看着楼造起来特别有意思,所以后来在选择大学专业的时候,选择了和设计相关的专业,清华大学美术学院。可能和成长的背景有关系,我看一些事情有绝对标准,就是展现出来的能量,具体的过程和手段是比较次要的。

我上大学一直都对专业没有感觉,消耗精力多的是看闲书。当时苏丹教授上课给我们介绍了建筑师安藤忠雄,我就开始看安藤的建筑,一下子把我带进去了。再到柯布西耶,又到库哈斯,是对我走上这条路最重要的三个人,和建筑或者说设计空间关系不大,他们对现状和社会的挑战,对于自我的认识和重新发现,是最吸引我的,感谢学校给我一个契机能够知道他们,更重要我认识了一群朋友,王植是关系最好的,我和王植经常会聊理想,我的理想只是胸中有一团火不知道宣泄的通道。我大学没怎么学具体的生存手段所以毕业以后不知道能干什么,他当时去大学做老师了,一直在修行,去西藏修行,这个事儿对我影响蛮大的,所以我去杭州了,我们是两个维度的修行,他是形而上的,我是形而下的。零九年苏丹教授给了我一个机会,让我去欧洲待了三个月,所以我像安藤一样,西欧还有北欧的国家,整个串了一下。我当时在柯布的朗香教堂待了一整个晚上,对我的触动是决定性的。人生在20多岁除了梦想也没有别的,内心燃烧的东西在哪个地方是一个出口,一直在寻找,大概有十多年,机缘巧合,2016年我和王植决定一起相互碰撞做事情。

▼两人的大学生活,University life of Pan Fei and Wang Zhi

Pan: I was born in Zhengzhou, Henan. I started drawing since I was a child, and became enthusiastic about it. When I was in high school, I often went to the construction site to see the building that would later be my new home. I found it very interesting to see how those buildings were set up little by little. Therefore, I later chose to study space design in Academy of Arts & Design of Tsinghua University. One of my standard of judging things is that the power presented in a thing is much more important than its process and means, which may be influenced by my life experience.

At the beginning of my college life, I was quite confused about my major. I spent much time in reading. Su Dan, our professor, recommended us to learn about Tadao Ando, and I was totally attracted by his work. Later I got to know Corbusier and Koolhaas, who, together with Ando, are the persons that significantly influenced my way to design. Comparing to the architectural works by the three masters, what inspired me the most was the way they challenged the status quo of the society, and how they rediscovered their egos. My school offered valuable opportunities for me to know these people, and more importantly, I met a lot of friends, including my best friend,Wang Zhi. We talked much about how to achieve the ideas and unrealistic dreams that burning in our minds. There was a period when I felt lost after my graduation because I actually had not acquired enough practical means of survival. At that time, Wang Zhi had begun his journey in Tibet after working as a lecturer in collage, which had a great impact on me. Then I decided to quit my work and went to Hangzhou. We were living in two types of monasticism, metaphysically and physically. In 2009, thanked to Professor Su, I got an opportunity to stay in Europe for three months, and I traveled through a series of countries in Western and Northern part, just like what Ando did. I stayed in Chapelle de Ronchamp for a whole night. This experience redefined my life. Twenty-something means to keep on dreaming, seeking for an point to light up the spark in mind. I was looking for a chance, and fortunately I was able to work together with my best friend, starting from 2016.

▼潘飞的修行之旅:京藏骑行,Pan Fei’s travel: cycling from Beijing to Tibet

王植:大学主要是提供给我一个好的平台,大学最大的收获就是认识像潘飞这样的好朋友。上大学时我对常规意义上的设计很快就失去兴趣,我对一些哲学方面的问题更有兴趣。重要的人生阶段是2005年大学毕业后的十年,待在家里面读书、看电影、思考问题。2016年的时候想清楚一些问题,然后去找潘飞,跟他一起做些事情。

Wang: For me, the university is more like a platform. My biggest achievement in school was that I got friendships with people like Pan Fei. At that time I soon lost interest in conventional design studies. I felt much more interested in philosophical stuff. The most important period of my life was the decade after my graduation. I spent ten years staying at home, reading, thinking and watching movies. Until 2016, I thought I was able to figure things out. I found Pan Fei and decided to do do a collaboration with him.

▼王植的修行之旅:夏威夷(左)/ 科罗拉多大峡谷(右),Wang Zhi’s travel: Hawaii (left) / Grand Canyon (right)

▼王植在家修行期间看的部分电影和书籍,some movies and books Wang Zhi read during his stay in home

 

 

_____________________________
工作室成立,互补的性格将设计推向极致
The founding of Robot3. Two partners with complementary personalities.

 

潘飞:“态度大于理念,态度是知行合一,表里如一,你的态度和你的状态应该保持一致。”

王植:“把事情真正做到极致是我们最在意的。”

Pan Fei: “Attitude makes more sense than concept. Knowledge and behavior should be united as one, while outside appearance should also corresponds to inside.”

Wang Zhi: “What I concern the most is to push a thing to its ultimate.”

 

▼Robot3部分作品一览,projects of Robot3

潘飞:我们有一个好朋友叫韩冬,2014年我们一起聊天,我说咱们起一个工作室的名吧。因为韩冬对于人工智能比较感兴趣,他本能想就叫机器人,我说要不然叫Robot 3。这个词超过我的想像和理解范畴,恰恰是想做的事儿,很有代表性。正好我们三个关系都挺好,也暗含这个意思。

对于我来讲态度大于理念,态度是知行合一,表里如一,你的态度和你的状态,应该是保持一贯的东西。每个人所蕴含的能量,虽然说文无第一,但是有一个标准,能够接收到的自然明白无需多言。理念就是我们怎么看待自己要去做的这件事情,想通过这种手段,把真实的想法呈现出来。

王植:我们的理念是永无止境的前行。把对世界的认识,自身的能量,融入到我们做的事情中去。这个对于我们来说是最重要的,风格与形式这些反而是次要的东西。我俩有一个共同的想法,就是做一些具有真实价值,真正有意义的事情,

Pan: We have a mutual friend called Han Dong. We once chatted together in 2014, thinking about to give a name to our studio. Han had an interest in artificial intelligence, thus he instinctively came up with the name of robot. I said maybe we could call it “Robot 3”, a name that seemed beyond our knowledge and perception, which is precisely the field we were willing to explore. Besides, this name also suggests a strong relationship between the three of us.

In my opinion, attitude makes more sense than concept. Knowledge and behavior should be united as one, while outside appearance should also corresponds to inside. Your state and your attitude are supposed to be coherent. This might be the standard, or so-called philosophy of how we perceive things we are going to do. We hope to express both our state and our attitude.

Wang: Keep moving, and never stop exploring. The most important thing for us is to put our intelligence and energy into what we are engaging with. Form and style can be less important. The concept of both of us is to create something that really makes sense.

▼Robot3成立,“3”也有三个创始人之意,Founding of Robot3, “3” represented for the three founders

从左到右:王植,韩冬,潘飞
from left to right: Wang Zhi, Han Dong, Pan Fei

潘飞:我们两个无所谓分工,从头到尾,从开始接触一个项目到最后完成,我们都亲自上手。我俩的性格互补,每一个环节都会相互影响。一个人很难真正全面彻底地否定自己,只有你相信的人才会毫不犹豫给你一个真实的反馈,让你前进。我们每一个工作步骤里面,都是尽力向前探索,一直到项目结束。我们到目前的工作方式从来不是一张图纸或者所谓的“概念”,而是每一个阶段的可能性,身体力行,向前再走一步,达到我们能做到的极致,我比较相信苦行僧式的做法。

在具体的技术层面,我个人相对偏感性一些,先去感受这个场所蕴含的某种能量,某一个可以和人发生连接的通道,有点像艺术创作。而王植从精神层面思考这个事情应该是一个什么样的状态,我们呈现出来的作品是这种相互碰撞思考的结果。

Pan: There is not a clear division of our responsibilities. We work closely from the beginning to the end. We have got highly complementary personalities. In each stage of work, we are influenced and stimulated by each other. It is hard for people to thoroughly negate themselves. They can only receive valuable feedback from whom they can trust or appreciate and then keep progress. We try our best to explore, in each of our work steps. Our current method is to push the design forward in each of the steps, and to eventually achieve the ultimate goal in our minds. It can’t be simply defined by a drawing, or any so-called concept. I am more convinced of the ascetic approach.

As for the specific method for each project, my sensibility drives me to perceive the entry point that can be associated with people, which is like the first step of an artistic creation. Wangzhi is more sophisticated in the materialization of a design from a spiritual perspective.

 

 

___________________
独特性源于事物自身的能量
Uniqueness comes from the inherent spirit of things

 

潘飞:“风格是别人评价的,不是我们考虑的事情。能量对人的震撼,不用任何语言描述就可以感受到。”

王植:“之所以做的作品独特,因为这个事情本身是独特的,关键在于你是不是能够看到它,发现它,表达出来。”

Pan Fei: “We will never consider about style, because it is evaluated by other people. The true power is natural and indescribable, which directly reflects the attitude and status of the creator.”

Wang Zhi: “The design can become unique only when it is unique in itself and the key is that whether you can find and express it.”

 

▼Robot3风格独特的作品,projects of distinguish styles

潘飞:我们完全没有考虑所谓的风格或者说理念,我们碰到一件事情,就用最原始的方式思考它应该怎么开始,呈现的结果只不过是我们思考的结果而已。而所谓的独特性是因为每个人一定是独一无二无法复制的。东西放在那里,他在什么量级就是什么量级,你骗不了别人,更骗不了自己,这就是我看待作品的方式。

中央电视台就在我们老校区马路对面,我看着它从起地基到捅上天,很多人不理解这个楼,说难看、不合适,放眼整个北京,我自己觉得每次路过能感受到力量,除了天安门附近它是最强的。且不论这个力量的好坏,这是一个人的精神力展现,也是一座城市一个时代的选择和标志,无论你接不接受,这是库哈斯对于这个世界对于中国北京的解读方式。如果一件事我本能说出cao,那这件事还是挺打动我的。风格是别人评价的,不是我们考虑的事情。朗乡教堂柯布做的时候会想风格吗?像一艘船?神秘主义?或者表现主义?所有的这些都是后人赋予的,我认为柯布晚年又一次的跨越,浑然天成,那种能量对人的震撼,不用任何语言描述,人在那里就可以感受到。

Pan: We don’t intentionally seek for styles or concepts. We present our ideas in a most primitive way. What we present is simply the result of what we actually think about. Uniqueness depends on different ideas that are substituted by individuals, which means every subjective thought can be unique. Things are right there and they never lie. The quality of a design, whether good or bad, can never be concealed or denied. This is my view on design works.

The CCTV building is located right across from the old campus of our university. I witnessed its rising, and heard people’s disputation on its appearance. However, whenever I pass this building, I will get shocked by its power. It is what matters.This kind of power, whether good or bad, comes from the architect’s spirit and cognition. It is also a symbol of the city and the era, whether you accept it or not. The CCTV building represents Koolhaas’ understanding of Beijing, or even of the world. When I see something, I say “holy s**t ”, which means I really get touched by that. We will never consider about style, because it is evaluated by other people. Did Le Corbusier consider about style when he built Chapelle de Ronchamp?Primitivism or expressionism? These are all afterthoughts. The true power is natural and indescribable, which directly reflects the attitude and status of the creator.

▼从独特的视角出发,展现项目的能量,stimulate the energy of the project from a unique view point

↑武汉潘小会餐厅(点击这里查看更多)Panxiaohui Restaurant (click HERE to view more)

王植:我们一直觉得最重要的是隐藏在事物背后的东西。我们要做的就是把它抓住。之所以做的作品独特,因为这个事情本身是独特的,我们对于任何项目,都会去想最后做出什么样子,呈现一个什么样的结果,把这个事情做到100%。独特只是我们做事情的副产品。设计大部分挺雷同,我们觉得每个设计都要有它的闪光点,关键就在于你是不是能够看到它,然后发现它,表达出来。

所有的风格、特点、形式都是后人,更多的是学者,去评价和归类的。我相信真正冲在第一线的建筑师很少考虑风格形式这种东西,可能很多建筑师都不承认自己是什么风格。我想这些人做事情的时候,是把所有的精力,全部的能量,都集中在这个建筑和设计本身,考虑其他的东西都会分散他的精力和意识。企业界的各种重要的商业案例,像乔布斯、马云、马化腾,都是他们把事情做出来以后别人总结的。很多人都想去复制,但是从来没有人成功过。这是因为大多数人很容易本末倒置。先分清楚哪一个是本,哪一个是末,这个很重要。我们的想法就是把作品做到最好,其它都是次要的。

Wang: We strive to capture the values that are hidden behind. The design can become unique only when it is unique in itself. For each of our projects we will firstly think about the final result and then strive to make it 100% materialized. Therefore, uniqueness is just a result of our hard work. Designs have similar natures. We believe that each design has its shining point, and the key is that whether you can find and express it.

Styles, characteristics and forms are all summarized by later generations. Architects in the front-line hardly ever consider about these factors. They probably have no appetite for style issues because they are just invested in design itself. Too much consideration leads to distraction. For example, many people attempt to replicate the stories of Jobs and Ma Yun but never success. The reason is pretty simple. People sometimes put cart before the horse. You have to distinguish between what is cart and what is horse, and then devote yourself to your work.

▼从独特的视角出发,展现项目的能量,stimulate the energy of the project from a unique view point

↑Ideal Space餐厅(点击这里查看更多)Ideal Space Restaurant (click HERE to view more)

↑Lucky串吧2.0(点击这里查看更多)Lucky Restaurant2.0 (click HERE to view more)

潘飞:有些材料在别人眼里可能是不重要的,他们认为价格和价值是等价的,我认为这不对。材料应该是和作家的文字一样,有灵魂。

王植:材料都是物质,只不过在建筑师眼中成了材料。材料与材料之间是有联系的。这种联系可能是静态的,可能是动态的,这些材料最后组合成一个生物体,是一个有灵魂、有生命的东西。具体用什么材料对于我们来说不是很重要。另外,我们常常很好奇,探索怎么把看似最普通的材料,用不同的方式展现出来。打个比方,给大家发一支铅笔随便画,我们画出来就是涂鸦,但达芬奇画出来的就是艺术品。大家用的材料都是一样的。把材料本身所凝结的时间和能量完全显现出来,是我们想做的事情。

Pan: People may think some kinds of materials are too ordinary to use, as the price depends on the value. I think it is totally wrong. Material is like the texts produced by writers, with soul and life.

Wang: Materials are physical things. They become material when used by architects. The relationship between different materials can be static or dynamic, which will finally compose a living body, with soul and life. It is not important what kind of the material is. We are always curious about how to celebrate common materials in uncommon ways. We use a pencil to draw a figure of person or a bird, while Da Vinci draws it as a work of art. Materials are same, yet people are different. What we want to do is to bring out the spirit of the material that had been formed though its thousand years of history.

▼展现不同材料的能量——武汉潘小会餐厅,PVC帘子+金属(点击这里查看更多),show the energy of different materials – Panxiaohui Restaurant, PVC+metal (click HERE to view more)

▼展现不同材料的能量——野友趣,金属+木材(点击这里查看更多),show the energy of different materials – Great Friend Outdoors Club,  metal+wood (click HERE to view more)

▼展现不同材料的能量——Ideal Space餐厅,玻璃(点击这里查看更多),show the energy of different materials – Ideal Space Restaurant, glass (click HERE to view more)

▼展现不同材料的能量——Larp Cafe实景桌游空间,PVC帘子(点击这里查看更多),show the energy of different materials – Larp Cafe, PVC (click HERE to view more)

潘飞:所有的色彩都是人的反映,调动颜色就是调动自己,你在组织一个自我的世界。

王植:大家都知道,颜色对于人的情绪和心里是有影响的。色彩可以是一种语言,一种情绪,一种讲故事的方式。这个建筑适合什么颜色就用什么颜色,没有具体对哪一种颜色特别感兴趣。另一方面,现在中国的设计里面用的颜色相对来说比较单调,我们觉得这个城市、这个国家需要一些其他的颜色。

Pan: All colours response to people’s act. To mobilize the colour is to mobilize yourself. You are organizing a world with your own character.

Wang: We know that colours effect people’s emotion and psychology. They can be a kind of language, a method of expressing. We don’t have a specific interest in which color. We just choose the colour that is the most suitable for our design. In addition, the colours used in domestic designs are usually quite single. We think it’s necessary to use more palettes to express the cities and the country.

▼Larp Cafe实景桌游空间,不同颜色体现不同情绪(点击这里查看更多)Larp Cafe, colors effect people’s emotion (click HERE to view more)

▼山咖啡,同色系的色彩搭配呈现出统一而自然的感觉(点击这里查看更多)Banshan Cafe, create a united and natural feeling in a brown tone (click HERE to view more)

 

 

_________________________________
和甲方建立合作伙伴关系,共同把设计做到最好
Collaborate with clients to do provide best solutions

 

潘飞:“所谓创造者,受限更多不是来自于社会,而是你自己。”

Pan Fei: “For designers, the restrictions are not entirely from the society, but more from theirselves.”

 

Lucky 串吧

王植:我们都用铁皮屋代指串吧这个项目。我们所有项目最开始的出发点都是从项目本身出发,和业主紧密合作。我们和业主的关系与大多数设计师和业主关系不一样。我们是想和业主一起做成一件有意义的事情,就像合伙人一样。具体来说铁皮屋,我们和甲方之前就是朋友。最开始考虑这个项目的时候,是从经营的角度去想,怎么能让这个店活下去,让这个店火。铁皮屋的位置是回龙观的霍营地区,两条街布满了烧烤店,竞争极其激烈。那么小一个店,启动资金很少,怎么设计可以让它存活下去,让它挣钱。例如铁皮屋矮桌的设计就是考虑到差异化,提供新的用餐体验,吸引人来。最终结果很好,这个串吧经营短短一个月已经做到回龙观地区烧烤第一了,不到两个月的时间就做到了昌平区的第一。年底业主赚了钱,要扩大经营面积,又找到我们做第二个项目。

Wang: We call this project as“Metal Hut”. The outcome of our design can be quite different from what it had been conceived. We start from the project itself, and collaborate closely with our clients. The relationship we build with the clients is different from that of most designers and owners. We aim to achieve something together, just like we are partners. For the Metal Hut project, whose owner is our friend, our starting point was to increase net income and make the restaurant popular. The Metal Hut is located in Huoying of Huilongguan, in which the street is full of barbecue restaurants.It was a risk to put such a small shop in an area with fierce competition, especially with a limited budget. We used the low tables to offer a brand new experience to the restaurant to attractive people. The result was good. It became the best-selling barbecue restaurant in Huilongguan within only one month, and then the best-selling in Changping District within two months. At the end of the year, the owner found us to do the second project.

▼Lucky串吧1.0,用铁皮创造独特的就餐体验(点击这里查看更多)Lucky Restaurant 1.0, using corrugated metal panels to create unique dining experience (click HERE to view more)

潘飞:Lucky串吧二期的名字叫降临,借用了电影降临这个词,但是和电影没有丝毫关系,是特别个人化的解读。虫洞空间,也借用了概念,不一定准确,也可能是一种误读。人是挺有趣儿的复杂动物,他在不同的空间或时间身份可以切换。是不是我们做一个空间,可以让他切换到另外的状态?这是我们觉得特别有意思的地方。我们把看待事情的角度拧了两下。

王植:做设计时我们首先想怎么能最大限度满足他的经营需求,在这个基础上做出一个非常好的作品。比如说铁皮屋2.0的黑色隔墙,设计之初我们是从人们的用餐心理考虑,大家都喜欢坐隔间吃饭,因为这样有私密性有安全感。我们把所有的餐位都做成隔间。然后加入我们的理念经过一系列的简化,成了现在样子。在提供好的功能的同时又与众不同。开业前很多人觉得设计比较独特接受不了。但开业一周后,甲方告诉我们等位排号能发到八十多,非常火。我们的设计虽然看起来很独特,但在经营方面是给他加分的。我们设计的时候不是考虑传统意义上的建筑设计,我们更多其实是做艺术,像讲述一个故事,所以大家看项目照片时能感觉到其中蕴含了很多东西。

Pan: We borrow the idea from the movie Arrival but expressed a totally different thing. It was a very personal interpretation. The wormhole may indicate to the concept of a folded city. People’s living conditions can be switched in a flash when they shuttle between different urban areas. So we wonder if we can switch people into a new status by creating spaces. This is what we think is interesting. We just got our views “twisted”.

Wang: For the project of Metal Hut 2.0, we created the dark lattice walls as partitions of the dining area to ensure the privacy of each space. The design was simplified for several times to integrate function with characteristic. In the beginning, this design was not accepted by most of people, due to its uniqueness. However, a week later, the owner told us the restaurant’s sale was spectacular. Therefore, the uniqueness of the design provided an extra value for the business. We consider more about the art of narrative than conventional architectural design, which can be perceived straightly from the photos.

▼Lucky串吧2.0,黑色隔墙创造独特私密的就餐空间(点击这里查看更多)Lucky Restaurant2.0, private dining space created by black partitions (click HERE to view more)

潘飞:我们对于甲方,基本上实话实说,你想要啥,我想要啥,怎么想的我们会非常直接告诉甲方。当你对这个事情真正去投入情感,认真对待的时候,人和人之间有一个通道是敞开的。所谓创造者,受限更多不是来自于社会,更多是你自己。不要怕,往前走。我想到朋友韩冬的一句话:怕啥、慌啥!

王植:我们从来不认为和甲方就像坐在桌子两边这样的对立关系。大家是合作伙伴,紧密相连。某种程度我们很任性,和甲方沟通的过程中,其实是在找同类,看他是否确实是想做真正的、有价值、有意义的事情,这是我们判断的点。我们拒绝了很多项目,放弃了很多赚钱的机会,因为我们觉得这些业主心底里并不重视这个事情,只是单单为了挣钱。可以说,我们对待项目要比甲方自己更认真。我们需要的是大家包括业主把这个项目当作一件重要的事情,把它做成第一流的、有创造力的东西。如果甲方和我们具有同样的热情,我们就可以一起把这件事情推到一个未知的高度。做一个能够留存下去、触动人心的东西出来。

Pan:Our attitude to the clients is “to be honest ”. We will directly inform our clients of what we are thinking. When you truly devote yourself to something, there will be a pathway built between you and other people. For designers, the restrictions are not entirely from the society, but more from theirselves. Never be afraid to go forward. Just as my friend Han Dong said: “What are you afraid of ?”

Wang: We never set against our clients due to we actually are partners who are closely connected. To some extent, we are headstrong because we look for clients who are in the same league as us, having a desire to create valuable things. This is how we make judgements. We have refused a lot of opportunities because we felt the clients were actually not care about the project. Their only objective was to earn money. What we need is to treat a project seriously and turn it to a first-class work standing out from the crowd. When clients have the same enthusiasm as we do, we can together push the project into a new level, which will last long to make influence to people.

 

 

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用设计的能量推动城市前进
Contribute to urban evolution through design

 

潘飞:“每一个城市都有他自己的性格和特色,能做到尊重历史规律,尊重人性本能这两点就足够了。”

王植:“一个城市最重要的是活力,真正漂亮有趣的,一定是与众不同的,个性化的。”

Pan Fei : “Each city has its own character and feature. Respecting the history and human nature will be enough.”

Wang Zhi: “I think the most important thing for a city is its vitality. The real beauty must be different and characteristic.”

 

潘飞:每一个城市都有他自己的性格和特色,就算看上去千篇一律,但人不一样,活着的故事肯定不一样。不论是什么样的初衷,我认为都不需要拯救,救赎之道在天。不需要强制性地规划到生活的细节。大家怎么想,怎么用,自然就来了,挡不住的。能做到尊重历史规律,尊重人性本能这两点就足够了。

北京是一个巨大的权力板块下,绝对中央意识下规划的,表面规规矩矩有模有样的城市。高强度的重压反倒让人有一种超然的应对方式,两种力量结合在一起,成就了全世界独一无二的北京城,在巨大的板块阴影下生存着很多有意思的东西,多么顽强的生命力,中国人的魂就在这儿。大家就是在这种重压下找一个突破口,都已经是这么一个规规矩矩法力无边的城了,就设计这边缘且安全的行业而言还有什么不能做的,做不了想想肯定是没问题的。我觉得大家更可以放松自己,让人的能量体现,不要都是中式范儿、日范儿、欧美范、学院范儿的金钟罩护着,一不接时代地气,二没了旷久的精气神,我喜欢这儿是因为有那么些个人在这里,我觉得北京是一个非常有魅力的城市,全中国独此一家。

Pan: Each city has its own character and feature, while the cities can look the same. People are different. Everyone lives a different life. Regardless of any intentions, people are not in need of being “rescued”. Their way of living should not be compulsorily planned by other ones. People will naturally make their choice. Respecting the history and human nature will be enough.

The urban planning of Beijing is based on a huge domain of authority and an absolute awareness of centrality, which shows an apparent order and rule. The huge pressure stimulates a strong way that people correspond to their life. These two power combine to form a unique landscape in the world. There are many interesting things and creative ideas hidden behind. The pressure is also an origin of power, which pushes us to find a new breakthrough. At least we are able to think. We are supposed to be more relaxed and express our own energy, instead of being stuck in “Chinese styles”,“Japanese styles”,“Western styles”or “Preppy styles”. I like Beijing because there are various types people living here. It is very attractive and you will never find another city in China like that.

▼城市研究作品:爱沙尼亚-塔林艺术作品“巢”(左)/ 上海双年展 “蚁城”(右),urban study projects: Estonia-Tallinn art installation “Nest” (left) / Shanghai Biennial “Ant City” (right)

王植:我认为一个城市最重要的其实是活力。全世界范围很牛的城市都非常有活力,丰富多彩。真正漂亮有趣的,一定是与众不同的,个性化的。所以我更相信创造是自下而上,不是自上而下的。每个人都具有某种独特的东西,不同的人在一起就能碰撞出不一样的火花,不一样的创意。我不太相信个人可以规划整个世界,这样的世界太单调了。我相信普罗大众每一个人能把自身的特点表现出来,这个城市一定非常有意思,非常有创造力。设计师往往太自大了。我更相信每个人与生俱来的智慧,可能是老爷爷、老奶奶、小朋友,这个过程当然需要设计师,但更多是一种辅助或者是探索。不是我作为设计师说,我这个东西特别好,你们要完全接受。释放所有在这个城市里面生活的人的活力和创造力,这个城市一定是最棒的城市。这要比脑子里面推演出来的没有生命力的东西强的多。

我想所有的改变都是无穷的小改变,最后积累出来的一个结果。我们作为建筑师做自己能做到的,向前探索推进一点点,可能微不足道,但是我们相信一次次的贡献出来的那一点一点的改变会把这个城市向前推动。我对北京这个城市特别有信心,几千万人,在这个环境里面,在中国经济体量高速发展的状态中,一定会变得很特别,因为它本身有巨大的能量。未来十年二十年之内,北京一定会成为世界上最大的创新中心或者设计中心。这个城市汇聚了全国最优秀的头脑,最有趣最有创造力的人。单指设计方面,未来一定会是非常好。

▼白塔寺43号院,属于当下的北京小院(点击这里查看更多)Renovation proposal for no.43 in Baitasi (click HERE to view more)

Wang: I think the most important thing for a city is its vitality. The most interesting cities around the world is also vibrant. The real beauty must be different and characteristic. So I believe more in a bottom-up way, rather than a top-down way of developing a city. I trust in personal characteristics that can light up the spark of creativity. I do not quite believe that an individual can give a plan for the entire world. When the general public show their own characteristics, their cities must become interesting, creative and full of vitality. Design relies on a collective wisdom, which may come from either an old man or a little girl. Designers are more like an assistant for exploring, but not who you have to follow with. The best city is a city whose residents have the freedom to create. It is far better than the theoretical deduction in a person’s mind.

A radical change is a result of the accumulation of subtle changes. As architects, we should contribute to the development of city in our personal ways, although our ability may be insignificant. I am confident of the future of Beijing, and believe that we can make this city better. Tens of millions of people will provide a tremendous energy to push the development in economy. In the next ten to twenty years, Beijing will become the largest innovation centre or design centre of the world. This city brings together the smartest and the most innovative persons in China. The future is undoubtedly bright as for its development in design.

▼用设计给城市增加活力,make the city more vibrant by design

 

 

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亮出自己的想法
Show your own ideas

 

王植:“方法、形式、手段,这些都不重要,关键是给这个世界留下一点有益的东西,而不是制造更多平庸的东西。”

Wang Zhi: “Methods and forms are less important and we are willing to leave something useful to the world, rather than to produce mediocre objects.”

 

潘飞:我们想一件事一件事推着向前走,这个社会是划分层级的,所以别太在意。你可以更大胆的向前走,外部条件的限制反而让我们可以胆量更大,我觉得没有所谓的边界或者说规则,行业是安全的,规矩的,在这种一成不变,墨守成规的圈子里边,反而可以因地制宜非常自由,无所谓设计或者创意,只是把自己的想法晾出来而已。

王植:我们更相信的是质量,相信事情本身所具有的能量,蒙娜丽莎的画很小,但是会一直留存下去。一个建筑投资上百亿,但可能过二十年之后就拆了。我们的评价标准之一是时间。当把时间的维度拉得足够长,所有事情的价值和蕴含的意义都在发生变化。我们做的事情是不是还有意义和价值,是否还能留存下来,是否东西本身还有能量。方法、形式、手段,这些都不重要,关键是给这个世界留下一点有益的东西,而不是制造更多平庸的东西。另外是空间的维度。在不同的环境这个东西是不是还具有意义,还具有价值。在这种视角下观察我们做的东西,会变得非常不一样。我们能够把能量和精神通过某种通道传达出去就可以了,不一定是建筑和设计。我们不知道以后能怎么样,不知道能做到什么程度,就是尽我们所能地向前走。我们没有什么其它的计划,就是把眼下的事情做好。

Pan: We want to move forward stepwise. The society is hierarchical, and there is no need to worry about too much. The limitation of objective conditions encourages us to be bold and fast. The boundary or the rule does not actually exist. The industry is safe and regulated. It may be even easier for us to make progress in an industry that follows a stereotype routine of development. We don’t care about whether it is innovation. We just show our ideas.

Wang: Our belief relies on the quality and energy within objects. The paining of Mona Lisa is small in size, but can last forever. A building costing tens of billion may be demolished in twenty years. One of our evaluation criteria is based on a temporal dimension. We have to estimate if our design contains sufficient value and energy to last for a long time. Methods and forms are less important than expected. We are willing to leave something useful to the world, rather than to produce mediocre objects. The value and meaning of things are changing in the temporal dimension. This provides an interesting point of view for observing our design works. All we want to do is to express such energy and spirit through various types of forms, not merely through architecture and design. It is hard to say what the ultimate goal is, but we will try our best to make progress. We don’t plan too much. We just concentrate on the work at hand.

▼王植(左)和潘飞(右),Wang Zhi (left) and Pan Fei (right)

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