Under 35 – Shen Si

I own the city once I get on a bicycle.

Project Specs

Location:

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30期为您介绍的是沈思,一个既做建筑媒体、又做旅行策划,同时还在经营民宿的多元创意人。

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.30 introduces Shen Si, who is simultaneously involved in architectural media, travel planning and running guest house.

 

出品人:向玲 Producer: Xiang Ling
编辑团队:向玲,陈诺嘉,历剑,武晨曦,刘丹阳, Editor: Xiang Ling, Chen Nuojia, Li Jian, Wu Chenxi, Liu Danyang
英文翻译:江海啸(洛杉矶设计师,联系邮箱:jianh956@gmail.com)English translation: Haixiao Jiang (/Los Angeles based designer, Email: jianh956@gmail.com)

 

沈思
2013年毕业于清华大学建筑系,后供职于北京市建筑设计研究院旗下的『AC建筑创作』杂志社,为国家建筑专业核心期刊之一,任职新媒体主管4年,创立AC新媒体平台,包括微信认证公众号2个,微博认证账号1个,知乎认证机构号1个和1家淘宝店。作为责任编辑和策划编辑完成3期杂志的选题、采编及制作。

 

▼视频,Video(视频为4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。)

 


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回溯
Back tracking

“建筑学教育最终导向的职业生涯并不只有建筑师。”

“在杂志社工作可以广泛地接触到各种各样的人,帮助我更清楚地认识自己的喜好。”

“The architect is not the only career an architectural education leads to.”

“Working in magazine allows me to interact with a wide variety of people, which help me to gain clarity of my own preferences.”

我的母亲喜欢美术,三四岁的时候,我跟着她在家学画画,自此美术就一直是我的兴趣爱好。高中文理分科的时候,我很纠结于该如何选择。母亲在机缘巧合下了解到了城市规划这个专业,觉得特别适合我。这个专业处在文理交界的地方,既需要理科的逻辑思维,也需要人文和审美素养、感知能力。它就像一个熟悉的陌生人,一直站在那里等我。

▼小时候在画画的沈思,Shen Si in her childhood

毕业后选作做媒体并不是放弃建筑,建筑学教育最终导向的职业生涯并不只有建筑师。对于我来说,它更大的意义在于让我拥有了“建筑”或者“城市”的视野,用这个领域的视角去看待未来的职业道路。促成这个选择既有偶然也有必然。我比较喜欢文科,从小就对观察、探索,以及表达很感兴趣。在本科和研究生阶段我都是学院院刊的主编,尝试过一些编辑工作。毕业季,在北京市建筑设计研究院的面试过程中,一位所长翻看了我的作品集,就建议我去杂志社试一试。

▼沈思学生期间做主编的院刊,School Journal made by Shen Si as chief editor
(左) 青岛理工大学建筑学院院刊《海巢》,(left) Journal of Qingdao Technological University Architecture School
(右)清华建筑学院研究生院刊《四月》,(right) Journal of Tsinghua University Architecture Graduate School

▼沈思手工制作的作品集,handmade portfolio

当时我对这个行业并没有特别深入的认识,只是觉得与设计保持一定距离也许会对它有一些新的感受。在杂志社工作可以广泛地接触到各种各样的人,甚至可能跨出建筑圈子,看到不同的人在做不同的事,这帮助我更清楚地认识自己的喜好。从另外一个角度来说,我更多的认识到建筑是一个“局部”,是一个事件整体或者大社会环境中的一部分,建筑师在项目建造的过程中能够起到的作用是很有限的,常常能够做到“锦上添花”,但很少能“雪中送炭”。

For me, its greater significance lies in its ability that allows me an “architectural” or “urban” perspective, and to look into future career paths from this field vision. Working in magazine allows me to interact with a wide variety of people, and even outside the architectural circle. Seeing different people doing different things help me to gain clarity of my own preferences.

▼沈思在AC任职期间策划编辑的三期杂志,the three magazines edited by Shen Si during her occupation in AC
左:《职业性与教育观:清华大学开放式建筑设计教学专辑》2014-2015年全程追踪清华大学建筑学院的实验性设计教学,完成17次采访和30余组设计报道,以微信公众号、豆瓣小站、播客节目的方式记录教学过程,并最终将碎片信息再整合,以纸刊形式呈现。
中:《我们的刷屏时代:AC新媒体回顾专辑》精选2011年-2018年AC新媒体内容的2%完成一次回顾,并试图通过这次回顾反思“刷屏时代”中被遗忘与值得记住的事件和线索。
右:《建筑传播专辑:被动、主动与互动》以建筑作为观察和消费的对象,关注迅速演变的建筑传播生态,采访8家大众媒体品牌和数位参与大众传播的建筑人,试图用“内部”和“外部”的角度呈现出建筑与大众之间的理解、误解与互动。

 

 

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建筑媒体
Architectural Media

“如果一个学科没有对外发声的力量,学科内部发展也会遭遇瓶颈。”

“If a discipline does not have the power to speak out publicly, the internal development of the discipline will encounter bottleneck.”

我最近一直在思考建筑媒体的受众到底应该是什么样的人。一些价值观、审美观还是依靠大众媒体才能真正传播出去,建筑媒体其实没有能力突破这个屏障。随着越来越多的人关心城市建筑领域,拥有大众媒体从业经验的人可能会慢慢进入建筑媒体,只有让专业知识和大众传播产生有效碰撞,才能把圈内好的东西传播出去,获得大家的认可,这需要一个慢慢了解的过程。

大众媒体和建筑媒体能够在专业上互相补足,不能因为觉得他们不专业就不让他们发表观点,这会让专业化的东西更难扩散出去。我曾跟袁牧老师讨论过:为什么建筑没有像科学或者艺术一样普及教育呢?大家每天都会看到建筑,却只能看到形态,看到大裤衩、小蛮腰,然后就没有更深入认识了。我觉得不管是建筑师还是媒体从业者,都需要思考一下这个问题。

媒体首先是一个品牌,不管是价值观还是传播信息的方式,必须具备自己的特点。因为媒体在受众面前是一个独特的形象。老牌媒体在漫长的历史时间里已经树立起来强大的品牌力量,而对于新的品牌,在这个讲求特点的时代,应该做一些有意思的事情,传达一些有价值的观点。我们需要有一些新的小媒体品牌去传播更多有特点的声音。

I have been thinking about the kind of people our audience are. Some values and aesthetics still rely on mass media to pass on successfully. As more and more people are interested in urban architecture, media professionals with experience in the mass multimedia could slowly enter the field of architectural media. Only the collision of mass media communication and niche professional circle can spread the inside knowledge and be recognized by the public.

▼沈思在AC任职期间策划杂志《建筑传播专辑:被动、主动与互动》内页,inside pages of the AC magazine edited by Shen Si which theme was ARCHITECTURAL COMMUNICATION: Passive, Active and Interactive

 

 

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离开媒体后的创业经历
Business experience after leaving media

创业经历让我突然看到了很多条路,这是我从公司出来后最大的感受。

After my departure from a stable team environment, I became strongly aware of my own sense of existence, my interaction and reach with surroundings had expanded.

我的身体里可能还流着建筑师的血液,做了一段时间媒体工作后,我觉得一直在讲别人的事,想做成某件属于自己的事情的能量无法释放。离开杂志社后的第一个项目是一个地图社交APP,我一直对地图这种聚合信息、观看世界的模式很感兴趣。我们最开始想做一个基于地图的旅行工具,利用合伙人的技术优势,让手机以低内存记录GPS轨迹,然后把照片自动匹配到这个轨迹上去,添加声音、文字,快速生成一个位置准确、可共享的游记或者攻略。但工具类的APP变现速度慢,投资进来后就逐渐开始往餐饮领域发展,与我最初的设想距离越来越远,所以大概半年后我就撤了。

My first project after leaving the magazine was a map based social app, a travel tool based on mapping that allows the smartphones to record GPS tracks in low memory, then automatically matches the photos to the locations where they were taken, adding sounds and text, and quickly generate a shareable travelogue with accurate locations. However, the tool-based app monetized slowly. After the investment came in, the project gradually began to develop after the culinary industry. It went farther and farther from my original concept, so I quit about half a year later.

▼地图app界面,page of the map app

这时我的另外一位朋友也出来创业,办公室在二环边的一个屋顶上。第一次登上那片屋顶的时候,我们心里的屋顶情结就被唤醒了,这里是城市里的一块飞地,让我们从日常贴着地面的生活状态里抽离出来,重新拥有天空。我们打算在屋顶运营一个花园和农场,让人们忘记繁杂的城市生活,一起建造和种植,亲近土壤、植物,一起分享。“小屋顶”被我们定义成一个精神层面上和城市生活相反的空间,一种城市深处的Off Grid(离网生活方式)。我们自己设计建造了一个八十多平米的温室,像热带花园一般,作为共享空间来运营。然而我们的“建筑师之魂”为这个项目埋下了隐患。其实初期我们可以用一种“轻建造、重运营”的方式来启动,然而我们特别执着于自己脑中那个完美的景象,把大量时间花在了建造上了。把时间和资金全部投入一个不确定性很强的市场是商业的大忌,由于政策变化,前段时间我们的小屋顶被拆掉了,这一波学费还是挺贵的……

At the time another friend of mine was doing startup. We planned to operate a rooftop garden and farm, invite people to build and plant together and forget the bustling city life. This way we can be closer to earth, plants and celebrate the shared experience. We designed and built a greenhouse of more than 80 square meters. Like a tropical garden, we operated it as a shared space. However, we spent a great amount of time on construction, our small roof was demolished some time ago due to policy changes.

▼小屋顶外观,external view of the Small Roof

▼温室室内,interior of the greenhouse

做小屋顶的时候我没有稳定的收入,但是时间相对比较可控,我就尝试了很多自己感兴趣的领域,比如Airbnb房东、建筑艺术主题的旅行策划和领队,也偶尔写一点文章。从一个相对稳定的团队脱离出来之后,我特别强烈地意识到了自我的存在,比起团队的光环和保护伞,要完全用自己去面对周围的世界。虽然有时候会感受到个体的渺小无力、外界环境的不确定,但与周遭接触的深度和广度都大大扩展了,发现有很多爱好相似或者在做相似事情的人。这段经历让我突然看到了很多条路,这是我从公司出来后最大的感受。

While completing the Small Roof project, I experimented with a lot of different subjects to my interests, for example, hosting guest house style hotels, organizing and planning architecture themed travels, and the occasional writing. After my departure from a stable team environment, I became strongly aware of my own sense of existence, my interaction and reach with surroundings had expanded.

▼小屋顶上举办的各种活动
(左)露天电影放映,(left) outdoor cinema
(右)花艺活动,(right) floriculture activity

小屋顶项目带给我的最重要的收获是让我认清了自己不是个生意人,那个时候我和我的合伙人都是建筑师,关心一些看得见摸得着的东西,但是对经营不太敏感,所以后来我会找一些和我互补的人做合伙人。另外通过小屋顶我找到了自己认同的价值观,之后不管是做旅行、个人品牌、还是民宿,我都能从其中获取能量。最后,通过这个项目我认识了很多在城市小空间里创业的人,发现大家都在用自己的方式去实现梦想,我看到了他们的努力、挣扎和快乐,很真实,很有力量,也让人充满希望。

Through the Small Roof project, I came to realize the sense of value that ​​I resonated with, and I encountered many entrepreneurs that started businesses in the small spaces within the city. I discovered that everyone was realizing their dreams in their own ways. I observed their efforts, struggles and happiness. They were honest, empowering, and full of hope.

▼“空间创业一起谈”,认识许多创业者,meet young entrepreneurs during activities

 

 

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民宿
Guest House

“我喜欢空间、生活方式和旅行。“旅行住宿“是我的能力和兴趣最好的结合点。”

I enjoy spaces, lifestyle and travel. Designing “Travel Accommodation” was the best combination of my abilities and interests. ”

 

1. 为什么开始做民宿?

我喜欢空间、生活方式和旅行。在旅行途中最大的乐趣之一就是去住各种有个性的地方。“旅行住宿“是我的能力和兴趣最好的结合点。旅行的时候,自己在动,在不断吸收不同的东西;开旅店的时候,自己不动,不同的人像流水一样经过,我可以通过他们看到不同的世界。建筑或者空间这个概念对于我来说,是一个持续存在也持续变化的“交换机”——设计时投入自己的理念,又在运营的时候从使用者、从变化的环境里再发现、再创造。Airbnb也好,民宿也好,是开始这一领域探索的一个切入点吧。当你具有了一个身份标签后,就会吸引和这个标签相关的人和资源,迈出第一步后就会有第二步,有了第二步就会有第三步。

 

2. 民宿实施的过程是怎样的?
How did you choose and operate the guest houses?

我对Airbnb这个产品的定位其实很简单,就是为普通用户提供一个相对比较舒适又有个性的居住空间。如何花最少的钱做出有特点的东西,这是一个有趣的挑战。我一般会先从房子本身以及周围的环境出发,确定房子的主题。比如第一套民宿墙壁是浅蓝色的,沙发是黄色的,我就给它取名叫黄色潜水艇,然后根据这个主题,融合The Beatles主题的装饰。这套公寓在三里屯,有很多听音乐会的人去住,当客人们体会到设计的用意都会非常激动的留言。我想这种共鸣就是airbnb这种住宿形式对于房东和房客最大的回馈之一了。

How to make most things unique with minimum budget was an interesting challenge.I usually start by looking at the house itself and its surrounding environment to determine the theme of the house. For example, our first local homestay has light blue walls and yellow sofa, I named it Yellow Submarine, and then I integrated the house with decors related with The Beatles. That apartment is in Sanlitun, where guests often visit for music venues. When guests experience the thoughtful design, they are excited to leave a message. I think this kind of resonance is one of the biggest rewards for landlords and tenants in the form of guest house.

▼黄色潜水艇室内照片,interior view of Yellow Submarine

另外一套房子距离中国电影资料馆很近,我设定的主题是天堂电影院,很利于传播。还有一套房子在在六楼,找起来比较辛苦,这是它的劣势,但是进入房间,推开窗户就能看见三里屯繁华的景象,于是我把这个空间命名为世界尽头。基本上我都是根据现场的情况确定民宿的主题的,其实这些在建筑师看来都不算是“设计”,充其量只是一些小技巧。但它是一个完整的产品,从成本到定位,从设计到跟客人打交道,甚至到对一个城市旅游市场的了解,麻雀虽小五脏俱全,在这个过程中我对“旅行住宿“这个领域有了初步的认识。

There is also a house on the sixth floor, which is difficult to find. This is its disadvantage, but when you enter the room and open the window, you can see the bustling scene of Sanlitun, I named this space the End of the World. Basically, I determined the theme of the guesthouse based on the situation of the spot. In fact, these are not considered “designs” in the eyes of the architects. At best, they are just design tricks. But it is a complete product, from cost to positioning, from design to guest’s interaction, and even to the understanding of the city tourism market. The project maybe tiny but its fully equipped. In this process I gained an initial understanding of the field of “travel accommodation”.

▼天堂电影院室内照片,interior view of Heaven Cinema

▼世界尽头室内照片,interior view of World End

 

3. 在日本做民宿

在中国盖一栋房子做民宿,要面临各种建设和政策问题,在日本就完全没有这方面的顾虑。一方面是由于法律和政策都明确规范,另一方面也是遇到了很多做事严谨的合作伙伴。我们的房产中介是一位退休的日本一级建筑士,已经七十岁了,还亲自到枚方政府帮我们询问民宿的要求。地买下来之后,他又亲自买了礼物,带着我们挨家挨户拜访。实施过程中最大的困难在于可以投入的资金有限,要平衡各方面的投入使整体达到最好的效果。对于我们来说,这栋民宿更像是未来计划的一个支点和基地,并且希望它带来更多的可能性。

▼日本民宿,准备开始建造的土地鸟瞰,aerial view of the open ground in Hirakata to build the guest house

 

 

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旅行
Travel

“只要骑上了车,整个城市就是我的。”

“I own the entire city once I get on a bicycle.”

 

1. 自行车旅行提供了哪些不一样的视角?
What is different when traveling by bicycle?

第一,骑车的时候,人会处在一个完全打开的状态;第二,骑车的速度刚刚好。完全打开的状态是什么?不依赖先进的交通工具,完全依靠人力、不断付出努力才能前进;身体暴露在自然环境里,面对风,面对真实的气温,要上坡下坡——身体的开放,会让感官和精神都打开。尤其是当你独自一人骑车的时候,会跟外界环境发生更充分的信息交换,无论是对风景还是对人。此外,自行车旅行的速度介于徒步和自驾之间,不快不慢,随时可以停下,可以完全自主地控制自己在路线上的见闻。开放和速度带来了一种特别强烈的自由感,会有“只要骑上了车,整个城市就是我的”那种感觉。

The speed of travelling on bicycle is between hiking and self-guided driving. It is not too fast or too slow, you can stop at any time, and you are in complete control your own experience on the route. There is a sense of owning the entire city once you get on a bicycle.

▼自行车旅行照片,bicycle travel

 

2. 旅行之中遇到困难时,是什么让你坚持下来?

旅行总有终点,不管怎样你都会到达休息的地方。旅行过程中遇到的困难跟工作中一些根本无解的问题不一样,就像我在《单车环台湾骑行记》最后写的,几百公里看起来好像很难,实际上要做的事情很简单,只要一直往前骑,总能到达想去的地方。这种简单的逻辑让我很安心。

▼《单车环台湾骑行记》,book about bicycle travel in Taiwan

“经历很多困难后,遇到没有预期的惊喜,往往是旅行最让人着迷的部分。”

“The most fascinating part of traveling usually happens as a surprise after one experienced a lot of challenges.”

 

3. 哪次旅行经验最令你难忘?
Which travel is the most unforgettable?

从整个旅途来看,最难忘的是台湾,那里是我自行车旅行的开始,它给了我很强的圆满感。而最让人印象深刻的时刻往往是突然出现的。18年深秋我骑了一趟环富士山,一天要在山路上骑七八十公里。12月初的日本大概五点多天就黑了,气温很低,最后一个坡只能推着车往前走。富士山的自行车道很窄,而且因为靠近日本自卫队所在的区域,经常有军车开过。但当我终于爬到了山中湖,一下子被眼前的景色震撼了。当时正值富士山旅游淡季,湖边空无一人,湖面像镜子一样平静,只有天鹅偶尔游过划开涟漪,2018年最后一轮超级月亮,正好从富士山的另一侧升起来。我的心情就像从狭小的胸腔里被扔进湖面,一下子就爬到了巅峰。我本来不知道那天是满月,也无法预知到达的时候月亮正好升起。在经历很多困难,克服身体和心理上的障碍后,遇到这种没有预期的惊喜,往往是旅行最让人着迷的部分。

▼台湾旅行照片,photo of travel in Taiwan

The most impressive moments often came in a sudden. In the late autumn of ‘18, I biked around Mount Fuji, and I had to ride seven or eighty kilometers on the mountain road each day. Days get dark around five in early December in Japan, the temperature was low, and I could only push up the bicycle on the last mountain slope. The bicycle lanes in Mount Fuji are very narrow, but when I finally reached Lake Yamanakako, I was taken aback by the scenery before my eyes. It was the off-season to travel in Mount Fuji, with no one around the lake, its surface was as calm as a mirror. Only swans occasionally glided past stirring ripples on the water. The last round of the super moon in 2018 just rose from the opposite side of Mount Fuji. My heart felt like it was being taken out of its tiny chamber and thrown into the vast lake, reaching its peak.  I didn’t know that day was a full moon, and I couldn’t predict the moon at its level when I arrived. The most fascinating part of traveling usually happens as a surprise after one experienced a lot of challenges and overcame the physical and psychological hardships.

▼环富士山骑行照片,photo of bicycle travel around Mount Fuji

“一个地方最真实的是那个地方的人。”

“The most authentic thing about a place is the people of that place.”

 

4. 你觉得如何才能深刻感触到每一个旅行所到的地方?
How could we have deeper experience of the place we travel to?

一个地方最真实的还是那个地方的人,去的次数越多感受就越深刻。对某个地方认识深刻并不是说对那里的景点有多了解,而是知道那个地方的人怎么生活。

我去濑户内海艺术祭小豆岛的时候反复住过一间民宿,房东是东京人,90年代来中国学过汉语。他不喜欢东京嘈杂的环境,就搬到小豆岛租了一栋房子,自己住在二楼,一楼当民宿用。他是一个半路出家的舞台剧演员,每年会去东京演出两三个月,平时就在小豆岛跟一帮喜欢艺术和表演的朋友组织小剧团,举办写诗会等等,还很喜欢酿酒。

The most authentic thing about a place is the people of that place. The more you go, the more you experience that. When I went to Shodoshima for the Setouchi Art Festival, I lived in a local homestay. The landlord was a Tokyo native, he learned Chinese in China in the 90s. He didn’t like the noisy environment in Tokyo, so he moved to Shodoshima and rented a house. He lived on the second floor and used the first floor as a guest house. He turned stage actor halfway his career and traveled to perform in Tokyo for two to three months every year. He lives in Shodashima most days and organizes small theater troupes, holds poetry writing and so on, and he likes winemaking.

▼与小豆岛民宿房东的合照
photo with the owner of the guest house in Shodoshima

我的另外一位东京朋友是因为骑车认识的,刚开始是在他们的店里租自行车,后来每次去东京都会在店里买东西。他们品牌自己设计生产城市街头风格的自行车装备,在日本很多大型连锁体育用品店里都有专柜。直到我第三次去找她的时候才知道,他们的团队只有四个人。每一个看上去很小的团队或生活背后,其实都有一整套社会组织机制在支撑,比如冈山有很多生产帆布的小作坊,可以接受小批量的订单,他们才能按照自己的设计生产骑行裤。我们的专业、兴趣都能成为深入了解一个地方的入口,一次次的故地重游,与探索崭新的世界是截然不同的感觉。

I met my other Tokyo friend through bicycle. In the beginning, I rented bikes in his store, and always purchased things from his store every time I went back to visit Tokyo. His bicycle brand design and manufactures city bike equipment, and most Japanese sporting chain store carry them. I didn’t know until my third visit to his store. There were only four people on the team. Each small team or just life in general is actually supported by an organized system. Each visit is different from the last time, the experience is different than exploring brand new corners of the world.

▼东京浅草自行车店,bicycle store in Asakusa Tokyo

▼与其他旅店老板合影,photo with owners of other guest houses
(左)大阪旅店老板,(left) photo with the owner of the guest house in Osaka
(右)广岛旅店老板一家,(right) photo with the owner’s family of the guest house in Hiroshima

 

5. 如何记录旅行?
How do you record your travel?

我最近开始尝试拍摄视频,有时会租无人机。此外我会买最便宜的笔记本,做特别简单手账,把一天所有的票据都放在里面,然后写下行程和感受,每趟旅行一本。之所以强调简单和便宜,是我发现降低不必要的投入,才能尽量多的去记录细节和本质。时间久了,薄薄的本子逐渐变厚,再去翻阅的时候,会发现当时琐碎的感受稍纵即逝,当时无聊的细节竟然能成为回到过去的线索。

▼旅游手账,travel notes

胶片摄影和水彩对我的影响比较大。前两年开始,我开始只带胶片相机、画水彩,其实也是为了通过记录的方式帮助我降低旅行的速度。胶片对光线非常敏感,可以拍摄出单反无法再现的光线质感。而水彩虽然不好控制,但是会带来很多意外的感觉,速度比较快,下笔无悔。画画的时候要强迫自己静下来,去跟看到的东西进行对话。此外,画画是一个很好的与人交流的过程。之前有一次带队去濑户内海,在小豆岛半山腰上一间食堂里吃饭,吃完大家就在周围画画送给了店里。我们走的时候食堂正好下班,就送给了我们七个人七个麦芬蛋糕。画画让你用另外一种方式跟当地产生了特别的交流,每个人都能够找到适合自己的与世界交流的方式。

▼胶片相机拍摄照片,photos by film camera

Leading an expedition to Seto Inland sea, we dined in a cafeteria mid Seto Mountain. After the meal, everyone composed drawings to gift to the shop. The cafeteria staff was getting off work by the time we left and gave the seven of us seven muffins. Drawing prompts a special way of communication, everyone can find a way to communicate with the world on his own terms.

▼旅行水彩,watercolor works during travel

 

6. 建筑学的背景让你的旅行有哪些不同? 

建筑师往往会知道一些小众的隐秘之处,比一般人探索到更多有趣的地方,毕竟建筑品味好的地方,其他方面也都不会差,比如谷德网站上发布的新建筑,很多都是我的目的地。深入来说的话,建筑呈现出来的只是大家能看得到、摸得着的一种表象,其背后会有复杂的成因。建筑就像一个城市、一种文化的切面,让我可以顺藤摸瓜,把看到的东西和一些抽象的内容结合在一起,通过自己的视角读到不同的厚度,历史、政治、艺术,直至生活方式等各个层面就会以建筑为线索展开。

建筑与城市方面的专业知识让我可以对城市分布做出一定的判断。比如,在京都到奈良骑行前我把手机摔坏了,在没有导航的情况下,我选择修改行程,沿着从京都到奈良的河流骑行,保证自己不会迷失方向。真正开始骑行之后,我发现使用手机其实屏蔽了人的一些感知能力。在导航甚至地图发明之前,收集地理和道路上信息,感知周围肌理的变化,几乎是每个人的基本能力,而这种能力到今天已经基本丧失了。

▼京都骑行路线及沿路风光,travel route to Kyoto

有了这次经验,我去一些地方开始不查攻略。有一次大阪的一位民宿老板拿出地图为我介绍了他喜欢的地方,这些文化浓度高的地方都与城市的发展和特征紧密结合在一起,通过河流、主干道、设计和文化聚集点,可以摸出整个城市的脉络。于是第二天我就开始沿着自己感觉到的脉络骑车,从早期城市发源的天王寺到通天塔,然后沿着主干道到大阪城,再到中之岛,像侦探一样验证自己对城市的推理。城市融合了历史、文化、商业等各种各样的信息,当你能够亲身体验,并且融入个人的感知和判断,比起查过所有攻略再去旅行,会带来更多令人兴奋的经历。

▼大阪骑行路线及沿路风光,travel route in Osaka

 

7. 旅行让你对建筑产生了哪些新的理解?

我在不做建筑师之后才真正体会到旅行的乐趣。以前总觉得出去旅行是考察,要看各种各样的房子,分析建筑师的各种手法。不做建筑师之后,我在旅行中既可以纯粹从一个普通人的角度去感受,又可以把稍微专业一点的知识分享给普通人。这个交流的过程让我进一步认识到建筑只是致密的城市神经网络中的一个点。以枚方的T-Site茑屋书店为例,建筑本身并没有特别惊艳,但大到枚方作为大阪卫星城的基础设施建设,书店与城市交通枢纽顺畅的关系,辐射周围城区的多处改造项目,细节到根据不同商业特性设计的灯光氛围,每个书架上图书与生活商品的策划与摆放,甚至直到书店背后TSUTAYA的更广泛业务和经营……所有这些才能支撑起一个好的文化商业综合体,不仅仅只是打卡式的到此一游,而成为百去不厌的真实生活的一部分。

▼茑屋书店,view of TSUTAYA Bookstore

 

 

________
现状及未来
Current situation and future expectation

“我想把自己对于城市、建筑、以及生活的想法呈现出来,做一个内容生产者。”

“I want to be a content producer to present my idea about city, architecture and life.”

人一旦只做自己的事情,视野可能会变得越来越狭窄,只能看到自己想看到的东西。因此我把媒体工作当做一个信息的渠道,而同时又保留一部分精力做自己的事。我必须对宏大的叙事有所知觉,但是又不能被它裹挟,这是一种妥协还是一种平衡我现在还不能定论。

我最想做的事情还是把自己对于城市、建筑、以及生活的想法呈现出来,做一个内容生产者。从宽泛的意义来讲,民宿也是一种“内容”,短期的未来里会更投入,并向混合功能的、有文化属性和个人特征的理想旅宿努力。我也期待自己能有一些更加灵活的生活方式,在日本或者其他喜欢的地方停留更长时间,用文字、胶片、绘画更多的记录和呈现。我的职业道路变化挺多的,连自己的身份也不太能清晰地定义,但始终在自己喜欢的领域不断地尝试、投入,希望将来能把这些碎片拼成一幅完整的“作品”吧。

I refer to works in media as an information channel, at the same time, I preserve energy to accomplish my own endeavors. I must have a general understanding of the macro but cannot be sidetracked by it.  My career paths have constant changes, it is even hard to provide a clear definition of my identity, but I have never stopped exploring and investing in the fields I have appreciated, and hopefully all the pieces can create a complete “piece” in the future.

▼沈思,Shen Si

 

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