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6期为您奉上的是 王田田 。更多关于他：Wang Tiantian 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.6 introduces Wang Tiantian. More: Wang Tiantian 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 Wang Tiantian 王田田

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历程：黄岩 — 杭州 — 北京 — 杭州
Journey: Huangyan – Hangzhou – Beijing – Hangzhou

“选建筑是偶然…从杭州的中国美院毕业后到北京工作三年再回杭州念书是必然…我内心很想做一个像柯布的拉图雷特修道院那样具有公共性和社会性的建筑。”

“Choosing architecture is a coincidence to me, but going back to study in Hangzhou after working in Beijing for three years after my graduation from the China Academy of Art is a destinated. In deep down, I really want to be in charge of a project like Le Corbusier’s Couvent de la Tourette that responds to the society and the community.”

我的家乡台州黄岩是一个舒适的小城，它的东边有一座大山叫九峰山，在城市的很多角落都可以感受到它的存在，因此即使现在建了很多高楼，我依然觉得这个城市跟自然有一种很亲近的关系。我小时候住在奶奶家那种江南大家族的合院里，人和人、人和动物以及植物之间的关系都很亲密，那个状态挺让我怀念的。我内心很想做一个像柯布的拉图雷特修道院那样具有公共性和社会性的建筑。

▼故乡的九峰山，Jiufeng Shan in Huangyan

I came from Huangyan, a small and cozy town around Taizhou. A mountain calls Jiufeng Shan is located at its east, which can be seen even from many places in the town. For that reason, the city was felt close to the Nature even after many new modern towers were built recently. I was living in my grandmother’s house, a traditional Southern Eastern Chinese residential community with a huge family. In that community, both the relationships between people and the relationship between human and nature are rather intimate. It was an environment that I miss quite a lot. That makes me always think of designing a social and public project like Le Corbusier ‘s Couvent de la Tourette.

▼拉图雷特修道院，de la Tourette

我学建筑有点偶然，但学美术是一个必然，因为我从小就很喜欢画画。刚考上美院的时候，我上的是艺术设计学院，第二年才开始选专业，可以选建筑、工业设计和服装等。当时每个系的系主任都会来做专业宣讲，介绍他们的系。我记得王澍老师在宣讲的时候讲了一句话：“学好建筑首先要学会玩。”可能是这句话我让选了建筑，这是一个偶然。

毕业后我去北京待了三年，一直在一个叫百子甲壹的工作室里工作。那是一个不大的工作室，每个人都很平等。有件事情对我影响很大，工作室里每隔几周就会有一个同事来分享自己最近的研究成果，然后大家一起讨论，那个状态让我养成了用业余时间做一些小研究的习惯。北京有很多的艺术活动，我在周末的时候会尽量去参加各种艺术展览、演出，在那里认识了很多有趣的人。

To me, taking architecture is accidental, but studying Art is destined, for I have been loving painting since I was a child. I chose to get into the School of Art and Design when I was admitted by the China Academy of Art. It was in my second year in the college that we are asked to choose a major from Architecture, Industrial Design and Fashion Design, etc. The directors of all majors came and made lectures for their majors in order to introduce their field of studies. I remember that one quote from Professor Wang: “ you have to learn how to play well first before you learn how to study architecture.” Perhaps that inspired me to choose architecture. That was an accident.

I stayed in Beijing and worked in a studio called atelier 100s+1 for three years after my graduation of college. That was not a large one, yet everyone works equally there. There was one thing inspired me a lot: in every few weeks, a colleague in my studio would share the outcomes of what he had been doing research on recently. And then, everyone will talk about that. From that I developed a habit of doing small researches in my spared time. Beijing is a city of many this kind of art events, so I try to attend those exhibitions of arts or shows. I have learned a lot of interesting people from them.

▼在北京百子甲壹工作室工作，working in atelier 100s+1 in Beijing

在我刚去北京的时候，就觉得自己总有一天是要回到南方的，因为我很喜欢西湖，也很喜欢象山校园，此外我也算是王老师的一个忠实粉丝，回来念硕士有一定的必然性。中国美院的教育有两个特点：开放性和实验性。我在读本科的时候建筑系刚建系不久，各个方面对专业的理解都很开放，没有什么条条框框。在通常的课程之外，经常会有一些有想法的老师来做实验性的课程，这种环境很容易让人产生独立思考的习惯，我们会对很多问题抱有好奇心，同时也会去反思一直面对的日常问题。此外，学校这几年一直都在变化，每个学生都可以在这个体系里得到不同的收获，朝不同的方向发展。

I always think of going back to the South one day since I went to Beijing. Because I like Xihu Lake and like the campus of my college in Xiangshan. Meanwhile, I am also a big fan of Professor Wang. Thus, There is something not by chances in my decision of going back for my grad-school. The China Academy of Art ‘s curriculum is experimental and open-ended. The school was just founded when I was a undergraduate student, so they are open to all kinds of opinion about this profession, and not really restricted. They occasionally have some talented guest lecturers coming here for some experimental classes. Such environment is easy for us to develop the personality of critical thinking: we are curious about everything, and we are willing to think critically on the issues that we face everyday. Meanwhile, the school is ever changing. Every student in the system can benefit from the school differently and develop into a different direction.

▼2015中国美院研究生毕设作品云梯，graduate design Cloud Stair in China Academy of Art in 2015

从硕士毕业算起，我在王澍老师的工作室工作了大概一年多一点。王老师觉得在太快的节奏下很难做出好作品，因此工作室的项目数量受到了很多的控制，工作节奏很慢，这样就可以把更多的时间花在推敲和修改方案上面。这是我们现在工作的主要状态，会有意放慢设计过程的节奏，一个本来是两个月的项目我们可能会做一年甚至几年。

I had been working for more than one year in the office of Professor Wang Shu since I graduated from grad-school. He believes that it is hard to do a project well if the schedule is too fast-paced, so the amount of works we have in the studio was much controled. Since we workedon them in slow paces, we would be able to spend more time and energy on adjusting and improving our schemes. It is almost like how we work in our studio now. We will intentionally slow down our pace for our designs, so that we may spend one year or even a few years in a project that we could finish it in two months.

▼2016年威尼斯建筑双年展协助王澍老师布展，help Wang Shu prepare exhibition in the 2016 Venice Biennale of Architecture

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研究的两条线索
Two hints of the study

“一条是园林线索，一条是家的线索。”

“One hint is about the Chinese garden, another hint is about home.”

我做研究性的方案是阶段性的，跟自己当时的兴趣有关，大体可以归纳成两条线索，一条是园林线索，一条是家的线索。园林的线索包括白瓷砖房间、层园、临摹《环翠堂远景图》的计划、塔园和毕业设计等，而跳房子系列则属于家的线索，二者相互交织，都体现了我对于有趣空间的探索。

My experimental projects are periodically based. They mostly are relevant with what I am interested in at that time. They mostly can be categorized into two hints: one is about the landscape, the other is about home. While the hint about the landscape involves with room of white tiles, and layered circles, the plan of redrawing the painting of Horizontal View of HuanCui Hall, the Tower Garden, and my thesis projects, the series of Jumping Houses is about the hint of home. Both hints intertwined with each other, and both of them shows my investigation of interesting spaces.

________
园林的线索
Hint of Chinese garden

园林线索之毕设 “曲折模型”
Hint of Chinese Garden – Thesis Project “the Winding Model”

“你可以把这个系列看成是五个设计，也可以将其看成是对曲折的五次讨论。”

“You can consider this series as a series of five designs. Meanwhile, you can also view it as five discussions about winding.”

我的毕设系列是从一个很简单的词开始的，那就是曲折。你可以把这个系列看成是五个设计，也可以将其看成是对曲折的五次讨论。我截取了现存的园林中五个与“曲折”相关的片断，以此为基础衍伸出了五个新的空间。比如说我会从分岔的角度来理解曲折，也会从峰回路转的角度来理解它，同时它们也可以单纯是未来建筑的草图。

My thesis project starts from a simple word – winding. You can consider this series as a series of five designs, or you can also view it as five discussions about winding. I captures five moments about “winding” in current existing Chinese gardens, and evolve five new spaces from them. For instance, I will try understanding winding from the aspects of branching, or from the aspects of changing directions of routes. At the same time, they can also be viewed as mere schematic designs of future architecture.

▼毕设系列五个作品，五次关于曲折的讨论（点击这里看更多）thesis project series of five designs, five discussions on winding (click HERE to see more)

我始终认为设计和研究是可以并行的，因为截取的过程就是在重新定义曲折。设计可以从园林中某个曲折片段开始，而这个片段就是一个相对完整的小模型，可以变成一个独立的全新的空间。在自宅中，我把这种认识装在了一个具体的空间里面，而其他几个也都是比较完整的模型，可以引发出新的空间。其中云梯在当时以装置的形式实现了，我希望其他三个设计也能够在未来以某种方式实现。

I always believe that designing and researching can be parallel, because the process of capturing those moments is redefining folding. Designing can start from a short moment of folding, and that moment can be viewed as a relatively intact test-model with the potential of developing into an independent new space. I exhibited this idea into a more palpable space in my house. Meanwhile, the other couple models are also relatively intact models with the potentials of triggering new spaces too. Among them, the “Cloud Ladder” was developed into a installation. I do wish the other three designs could be realized in the future in one way or another.

▼云梯装置，以假山为原型，the installation of Cloud Ladder, inspired by the small rockery in the Humble Administrator’s Garden

五个曲折的片段是一个一个确定的，我在写论文的过程中进行了多次园林调研，当我意识到曲折不一定是形式的时候，对于之前不觉得与曲折有关的地方产生了不一样的体验。“曲折”的“曲”字还有深远的意思，有个词叫曲室，指的是藏在某个地方的比较隐蔽的房间。通过讨论产生出对曲折的新理解，我觉得这是设计和研究并行的好处之一。

Five moments of folding is determined one by one. I have done a few site-research during the time I was writing my thesis. As I realized that folding is not just about a formal quality, I started to change my view on places where I did not realize folding happen. The Chinese characters for“Folding” can imbed a even more profound meaning. For instance, there is a word call “Qu-Shi”, which means a room that was hiden somewhere more obscure. I think one of the advantages of parralleling designing and researching is getting new insights of folding through discussions on it.

▼分岔图书馆，演变自拙政园的八道游廊，Branching Library inspired by the eight winding verandas in the Humble Administrator’s Garden

▼峰回路转茶室，从曲廊获得灵感，Teahouse of Twists and Turns, inspired by winding veranda

▼环形美术馆，从苏州园林中迂回曲折的环形花园中获得灵感，Ring Gallery, inspired by the twisting circular yards in the Suzhou gardens

园林线索之毕设 “翠铃珑”
Hint of Chinese Garden – Thesis Project “Cui Lingong”

“我们自己很喜欢住在这里。”

“We love living here.”

我觉得把翠铃珑放在一个普通的住宅里可能会形成一个有趣的空间，但因为它以前没有出现过，所以我们并不确定在这里生活会怎么样，所以我把它叫做生活实验。在住了半年之后，我们发现自己很喜欢待在这里，这是一个很直观的感受。我们在这里找到了各自独处的角落，也可以共享这个空间。我们本来的设想是两个人一起在工作桌那边工作，然而后来雅琴选择在原来是餐桌的工作，这样就可以更加独立，这符合我们一开始的设想，即在这个空间里功能是可以互换的，餐桌不一定只是用来吃饭的。另外我们也很喜欢送餐口，除了送餐之外，一个人做饭的时候另一个人可以看到他。本来一个人在密闭的空间里面做饭是一件很寂寞的事情，但这个送餐口带来了意外的感受。从概念上来看这个空间还是运用了我们喜欢的概念，而从手法上来看可能会觉得有一些用力过猛。但是不管怎么说，它代表了我们当时的喜好，我们自己很喜欢住在这里。

I believe that putting the Crystalline Jade in a ordinary room will create a interesting space. However, because that have never occurred before, we would never know how lives would be like in here. Therefore, I call it a experiment of living. After living here for half an year, we have found that we were loving it, which was at really literal emotion. We have found corners for each of us to stay, although we can also share them. We have been thinking of working together on that desk for both of us. Yet, Yaqin chose to stay at where she was before, the dinning table, so that it can be even more independent. It matchs with our plan in the very beginning, which is that the programs of this space can be switched mutually, and the dinning table can be used for things other than having food. Meanwhile, we also like the opening for food delivery much. Besides delivering foods, it allows us seeing each other while one is cooking. As much as the fact that cooking on ones own is boring, the window for food delivery brings unexpected experience. Conceptually, this spaces was adapted by a concept we like much, but it does seem to be a bit forcefully excuted. But at the end of the day, it represents what we are into at that time, and we love living in here.

▼王田田自宅“翠玲珑”（点击这里看更多），Wang Tiantian’s home “Cui Linglong” (click HERE to see more)

▼夫妻二人可以拥有各自的生活和工作空间，Wang Tiantian and Luo Yaqin could have their own space of living and working in “Cui Linglong”

▼室内丰富的视觉关系，various visual connections

园林线索之“白瓷砖房间”，“临摹《环翠堂园景图》计划”和“层园”
Hint of Chinese Garden – “ Room of White Tiles”, “The Plan of Copying the Painting of ‘Horizontal View of Huan Cui Hall’” and “the Layered Garden”

“白瓷砖房间：一个极端抽象的园林。”

“Room of White Tiles: an extremely abstract Chinese garden.”

白瓷砖房间是一个完全用白瓷砖做成的空间，它可以被看成是一个极端抽象的园林，就如童寯先生所说：“没有花木也可以成园林。”我当时觉得园林里面的关系比内容更重要，所以设计了三个既像墙，又像家具的装置，把它们并置在一个空间里，既分割了空间，又联系了空间，形成了一种既断又连的空间关系，这种关系一直在我的兴趣范围之内。

The Room of White Tiles is a space entirely built by white tiles. Just like Mr Tongjun said, “a garden can be built without greenry”, I was thinking that the relationship within a landscape architecture is more important than the content of it. Thus, I design three installations that look both like a wall and furniture, and put them simutaneously in one space. They generated a spatial relationship that is both continuous and disrupte, by both divided and connected the space. It is a relationship that I have always been interested in.

▼白瓷砖的房间草图，三个既像墙又像家具的装置，sketch of the Room of White Tiles, three installations act both as walls and furniture

▼一个极度抽象的园林，an extremely abstract Chinese garden

“临摹《环翠堂园景图》计划：一个平行展开的世界。”

“The Plan of Copying the Painting of ‘Horizontal View of Huan Cui Hall’”: a parallel unfolded universe.”

临摹《环翠堂远景图》的计划产生于我看到这幅长卷之后，我觉得它既有趣又陌生，于是产生了临摹的想法，并以此作为进入古人世界的一种方式。在临摹的过程中，我发现它其实是一个平行展开的世界的，里面有山水，也有房子，有农耕的场景，也有娱乐的场景，尺度不断变化，随着视角的改变时大时小，时远时近，这跟我们现在观看事物的视觉方式很不一样。

The Plan of Copying<Horizontal View of Huan Cui Hall> occurred after I saw this scroll. It is interesting and foreign to me, and it can be used as a way of experiencing the world of ancient people. During the time I was copying, I found that it was actually parallel unfolded space with both the nature landscapes, houses, scenery of people working and entertaining. Both the size and the distance of the scale changes constantly, they are different from the perspective we observe things nowadays.

▼以临摹去了解古人的世界，experience the world of ancient people by copying the old works

“层园：把留园入口那一长串曲折的空间折叠到垂直的美术馆当中。”

“The Layered Circles: folding a series of zigzag spaces like the entrance of Liu Garden into an vertical art museum.”

层园是一个在CBD当中的美术馆假想设计，由于电梯的存在，高层建筑丧失了很多有趣的体验，所以我想在保证流线效率的同时，把留园入口那一长串曲折的空间折叠到垂直的美术馆当中，这应该是我对曲折最早的关注和研究。

The Layerred Circles is a schematic design of an Art museum in CBD. Because of the existence of elevator, high – rising towers lose a lot of interesting experiencee. Therefore, I was thinking that if we can fold a series of zigzag spaces like the entrance of Liu Garden into an vertical art museum. That was probably the time we started to focus and research on the quality of winding

▼把曲折的园林空间折叠到垂直的美术馆中，fold the winding space of Chinese garden to create a vertical gallery

真正的园林精神
the True Spirit of Chinese Garden

“园林的精神是很开放的。每个时代都会有一些人想去创造一片属于自己心中的园林，这就是园林精神。”

“The spirit of Chinese garden is open-minded. It is about the fact that there are always people in different periods of history think of their own ideal landscape and garden. That is the spirit of landscape.”

如果把古典园林当成设计的源头，那么在做完之后还要去验证它符不符合古典园林的原则，这肯定是有局限性的，因为古典园林是在过去那个时代的产物。但如果只是把园林当成一个开始，截取其中的一个片断，一个园林的观念，以此衍生出一个新的设计，局限力就变得很小。就像一个故事的开头很重要，但是它不决定故事的走向和结尾。还有一件事情对我的启发很大，博尔赫斯写过一本小说叫《小径分叉的花园》，其中描写的是一个中国园林。他读过几遍红楼梦，很喜欢中国，却没有来过。他杜撰出来的中国园林跟传统园林肯定是不一样的，但结果有很多中国读者对他描写出来的文学性的园林很感兴趣。所以我觉得园林从观念上来说是一个很开放的系统，它没有什么局限性。园林的精神是很开放的，每个时代都会有一些不安分的人，他们可能厌倦了城市的生活，觉得它太刻板，有太多太条条框框，于是他就会想方设法去做一些更有趣、更贴近自然的空间，我觉得这种行为很符合造园的精神。

If we take the traditional gardens as the beginning of our designs, then we would have to examine whether the design is really following the disciplines and dogmas of traditional gardens. It is certainly restricted, for the traditional gardens are what they have in the past. However，if we simply take the traditional gardens as mere beginning, capture a moment of them or an idea about gardens. The design generates from that can be much less restricted. Just like that although the beginning of a story is important, it does not determine how the story develops and ends. There are also another thing that inspires me a lot: Jorge Borges described a Chinese garden in his novel called “The Garden of Forking Paths”. Although he loved Chinese Culture and read The Story of the Stone for many times, he had never been to China. Therefore his fictional Chinese Garden is certainly different from the authentic traditional gardens. But that does not make the Chinese reader be short of interests on the garden that he literally described. The Spirit of Landscape and Garden is open-minded. There are always some ambitious people in their time. They might get bored by the living in the city, and they believe that it is too orthodox and too restricted, so they will start to design some spaces that are closer to the Nature and more interesting. I believe that this kind of activity follows the Spirit of Garden and Landscape.

▼截取古典园林片段运用在“翠玲珑”的设计中，select part of traditional Chinese garden and use it in the design of “Cui Linglong”

▼《小径分岔的花园》节选，excerpt from The Garden of Forking Paths

▼艺圃浴鸥小院，一处幽深的曲室，The Garden of Cultivation is a escape to the nature

我认为园林的精神在当下并没有式微，每个时代都会有一些人想去创造一片属于自己心中的园林，这就是园林精神。我们现在看到的苏州现存园林只是园林发展到非常繁复的状态后对园林精神的一种物质呈现，但并不是全部。每个时代都会有每个时代的园林，它们会跟城市发生关系。在一般人的印象里会觉得园林对于城市是封闭的，二者之间甚至存在一种批判的关系；但实际上有现成的例子，如清代袁枚的随园就是对公众开放的，它是一个非常好的公共空间，既有趣又自然。一个更极端的例子就是西湖，这是一个巨型的园林，跟城市发生了非常好的关系。

I don’t think the Spirit of Chinese Garden is dated nowadays. There would be people in each period of history think about their ideal version of landscape and garden. That is the Spirit of Chinese Garden to me. The Gardens in Suzhou that we are visiting nowadays is not the entirety of the Spirit of Chinese garden, but a physical show-off of it after it was developed into a really complicated stage. Each period of history has its own styles of Landscape and Garden, and they all interact with the cities they located. As gardens is enclosed and even exclusive to the cities in most people’s impression. In fact, there are evidences of the contrary. For instance, the Sui Garden of Shen Mei in Qin Dynasty was open to the public. It is a really decent Public space that is both interesting and casual. A more extreme example is the West Lake. It can be seen as a huge Chinese garden that interacts dynamically with the city.

▼西湖，一座开放的巨型园林，West Lake is a huge Chinese garden that open to the whole city

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家的线索
Hint of Home

家的线索之“跳房子”
Hint of Home – Jumping Houses

“一个建筑师要有创造力的话，首先对自己的家要有足够的想象力。”

“He who hopes to be a creative architect should first have enough imagination for his home.”

跳房子是一个系列。我在毕业后住过不同的出租房，跳房子系列是对这些出租房进行的一系列研究和假想的改造。当时学建筑总是会去研究大师，或者一些八竿子打不着的案例，它们都是书本上的很抽象的东西，于是我想与其这样，不如从自己个人的住所开始研究，这样就很直接，很有身体性。然后我就开始了这个计划。

在北京的时候我们住的是那种六七十年代建的公寓楼，墙壁有一半刷成绿色，厕所设在过道。那里的居住条件并不是特别好，但我跟雅琴都挺喜欢，所以我想从两个方面来看待它。一是记录它，即探索到底是什么东西让我们去喜欢它。建筑学会很明确地说哪种手法能产生什么样的空间，但是这里其实没有使用任何手法。我尝试了绘画、摄影等记录方式，甚至还写了一篇关于它的类小说，小说的内容就是把所有来过这里的人对房子的描写收集在一起，当然其中也包括我自己对它的认识以及在里面发生的故事。另外一点就是要探讨它的可能性，看它今后可以改造发展成什么样。

Jumping houses is a series. I lived in different rooms since my graduation from college. The series of Jumping Houses is a series about research and hypothesis on this houses. We have studied the master architects or some precedents that have nothing to do with us. Since they are all very abstract examples on the books, I thought that I ‘d rather start my research from the houses that I lived, which are more palpable and directly related to me. Since then I started this plan.

We were living in a typical residential house built in 60s or 70s last century during the time we were in Beijing. Half of the wall is painted green, and the bathroom was arranged next to the hallway. The living condition is not ideal, both Yaqing and I love it quite a lot though. Therefore, I would like to think of it in two aspects. One is to record it, which means to explore the nature of what make us enjoy it. In architecture, we will try to clarify each methods and the space it generates, but the use of design method is absent in there. I also try recording by drawing or photography, and I even wrote a fictional story about it. The story is about depicting description of this house from everyone who visited here. Of course, my own insights of the house and my own experience in the house are included. Another thing is to discuss the potential behind it, and to see what it could possibly develop and change into.

▼用绘画记录公寓楼中的生活，record the life in the old apartment by hand drawing

跳房子Ⅰ想要做的改动比较大，即是把整个公寓变成一座独立的住宅。我当时的尝试是想看看是否可以从一个房间开始设计，更具体来说的话是从一个房间的命名开始设计，比如说“跳来跳去的房间”，“六个面都是窗的房间”，“鱼池下面的房间”，等等。你会发现当给这个房间起了一个名字后，这个房间就已经被设计好了，再把它们组织在一起，就会形成富有趣味的空间。命名除了对房间自身作出定义外，还决定了房间跟其他房间的关系。这种命名房间的方式也影响了我对自宅的设计，比如我们把翠铃珑看成是既是三个房间又是一个房间的房间。

We want to made a rather drastic change on Jumping Houses I, which is to change the entire apartment building into one single residential house. I was intending to see if I can initiate my designs from a single room, more specifically , from the naming of a single room like “a house that jumping around”, “a room with windows in its six sides”, “a room beneath a fish pool”, etc. You will find that the design of the room was already done as you named it. New and more interesting spaces will be formed when you organized them together again. Naming the rooms not only defines the rooms themselves, but also decides the relationship between each room. The approach I used in naming rooms also impacts on my design of my own house. For instance, we consider the Crystalline Jade both as one room and three separate rooms.

▼跳房子I，从命名开始设计，将房间组织成有趣的空间，Jumping Houses I, started from naming the rooms and combined them to create interesting spaces

在跳房子Ⅱ中我想给自己设置更多的限制，于是把它当成了一个实际的改造项目，直接在现成的平面上进行改造。在这个设计中我尝试了一个更小的切入点，比如说用更奇怪的方式，像杜尚的门，穿过两个房间的桌子，凿壁偷光等，即是用一种很片段的方式来做设计。像是在“穿过三个房间的桌子”中，我跟雅琴坐在桌子的两头，虽然我们共享了一张桌子，但是却处在不同的房间，空间之间形成了一种既不封闭、也不开放的暧昧关系，这也是我当时比较感兴趣的地方。这些点子都跟创造新的空间关系有关，凿壁偷光是每个人都知道故事，也是一个很空间性的词语。有两个房间，我在它们之间的墙上开一个洞，只要在一个房间中点一盏灯，两个房间就都被照亮了，对于没有点灯的房间来说，就是凿壁偷光。这种空间关系在自宅当中也有体现，我会设计很多私密程度不一样的界面来联系不同的空间。

I wanted to set up more restrictions for myself in Jumping House II. Thus, I treated it as a realistic house reconstruction project and I designed my reconstruction from the existing plan. I tried to start from an even smaller topic in this design. For example, I try a weirder approaches like the “door of Duchamp”, “a desk spans through two rooms”, “capturing light from a mini-hole”, etc., which are all fragmented design approaches. For example, in “a desk that spans through three rooms”, Yaqing and I sit at opposite sides of the desk. Though both of us are sharing one single desk, we are in different rooms. An ambiguous relationship that was neither enclosed nor inclusive was created within the space, and that is what I got interested in at that time. Those are ideas that relevant with creating new spaces. “Capturing light from a mini-hole” is a story we all know, and is also a phrase imbedded a highly spatial quality. There are two rooms, and one hole was pierced between them. As long as one room was lite, both rooms will be illuminated. To the room that is not lite, it really captures the light from a mini-hole. This spatial relationship is shown in my own house: I try to design multiple dimensions with different levels of privacy to connect spaces.

▼跳房子II，从更小的切入点去进行设计，Jumping House II, initiate the design from smaller topics

在跳房子Ⅲ里我探讨了在一个大空间生活的可能性。当时我们在杭州租了一个毛坯房，是一个大平层。我们用软性的隔断，铺地，或者用家具来区分空间。自宅介于跳房子ⅠⅡ和Ⅲ之间，它既不是一个大房间，也不是很多小房间，它们是平行的，互相影响。一个建筑师要有创造力的话，首先对自己的家要有足够的想象力。

In Jumping Houses III, I discussed the potential of living in a larger environment. At that time, we rent a unfurnished house in Hangzhou, which is a huge single floor house. We try to divide spaces by flexible cutlines, matted floor or furniture. My house is in somewhere within the spectrum of Jump House I II and III. It is neither a large room nor many smaller rooms. It is house with all parelled and mutually interacted spatial qualities. He who hopes to be a creative architect should first have enough imagination for his home.

▼跳房子III，用软性隔断、铺地或家具区分空间，Jumping House III, dividing the space by flexible cutlines, matted floor or furniture

__________________
做小设计、小研究的意义
The Value of doing small scale designs and researches

“我不追求固定的风格，我的每一个设计都是具体的。一个特定的形式很容易被认为是风格，但是形式并不是由风格决定的。”

“I don’t follow any particular styles. Each of my designs is specific. A particular kind of form is liable to be read as a style, but forms should not be determined by styles.”

对我来说，空灵是一个很好的评价，我不追求固定的风格，我的每一个设计都是具体的。一个特定的形式很容易被认为是风格，但是形式并不是由风格决定的。以塔园为例，它是我为一位艺术家朋友设计的观展体验装置，现场由一圈环形的坡道围绕，于是我在垂直方向上做了一个塔，并在塔对应的位置设定特定的视角，从这些视角可以观看几幅比较重要的画。在平面上我用一条曲廊来区分三个观展的庭院，从这个角度上来讲，建筑的形式是由身体和视线的行为决定的，而不是风格。虽然我没有追求一贯的风格，但是我的不同设计之间的理念是相关联的。比如塔园和云梯，二者都是艺术项目，尽管看上去形式迥异，但是其背后想要探讨的问题是类似的。塔园更关注对景以及视线上的关系，云梯则更关注曲折的，身体性的经验。虽然形式不同，但这两点都跟园林相联系。

▼塔院草图，从特定地点可以看到特定图像，sketch of the Tower Garden, particular paintings could be viewed from specific point

For me, ethereality is a good compliment. I don’t follow any particular styles. Each of my designs is specific. A particular kind of form is liable to be read as a style, but forms should not be determined by styles. Let’s take the Tower Garden as an example: it is a experiential installation in a exhibition designed for a artist friend. The site is surrounded by a circular ramp. Therefore, I built a tower in the vertical direction and set up specific views for respected locations, from which you are able to see those important drawing in the exhibition. Since I divide three courtyard of visiting the show by a zigzag corridor on the plan, from this perspective, the form of the architecture is determined by behaviors of human bodies and sights rather than style. Even though I am not following any particular styles, the ideas behind different designs of my are relevant. Said the Towers Garden and the Ladder are both art project, and although each of them looks different, they are similar discourses to talk about. While the Towers Garden focuses more on the relationship between landscapes and view, the Ladder pay more attention on physical experience about winding. Although their forms are different, they both relate with topic of landscape and garden.

▼塔园实景，关注对景和视线上的关系，Tower Garden focuses on viewpoint and visual relationships

“假想的，虚构的项目既可以看成是未来建筑的草图，也可以作为文本承载思想，很有意义。”

“Spetacular or fictional projects are valuable for they can both be seen as draft scheme for future architecture, and a container of ideas.”

我认为我的设计理念还在形成过程中，每个项目都是一场独一无二的旅程，需要一个合适的开始，并且在做的过程中不断调整设计的方向，慢慢明晰自己的想法。我在本科毕业到研究生期间养成了利用业余时间做小设计、小研究的习惯，它们是一系列思维练习，可以让我保持思维的敏锐性，在我做自宅之前，是有一定量的思维训练积累的。有些成熟的建筑师也在做类似的事情，比如张永和老师，他早年做了很多概念设计，给中国带来了很多新的设计观念和思维。在日本也有建筑师像石上纯也、藤本壮介，在做项目之前会做一些很概念的设计，来表达他们的建筑观念。还比如上世纪五六十年代欧洲的Archigram，他们在更大的城市尺度上做了一些空想设计，对现在产生了很大的影响。这些假想的，虚构的项目既可以看成是未来建筑的草图，也可以作为文本承载思想，很有意义。博尔赫斯的《虚构集》里面写到了通天的图书馆，环形废墟，小径分叉的花园等，每个故事几乎都是一个个小世界的模型，本身就是一系列文学性的建筑方案，他们的存在说明了思想性的建筑存在的价值。

▼张永和的垂直玻璃住宅（左）/石上纯也的金门港运中心（右），Vertical Glass House by Yung Ho Chang (left) / Port of Kinmen Passenger Service Center by Junya Ishigami

I think my philosophy on design is still emerging. Each project is a unique journey, and they need to start in right way, adjust constantly as my idea gradually clarified. I developed a habit of doing small scale researches and designs during time between I graduated from college and went to grad-school. They are series of exercise of critical thinking that keep my brain sharp. Before I start working on my own house, I had already collected a amount of ideas on my own. Many mature architects are doing similar things. Like Chang Yonghe, he worked on a lot conceptual projects in his early years, which brought a numbers of new ideas and ways of thinking. In Japan, there are also architects like Jun’ya Ishigami and Sou Fujimoto who will do a few conceptual designs before doing real projects to express what they think on architecture. There are also something like Archigram from Europe in the 50s or 60s. Most of them are Utopian designs in larger city scale, but they impact profoundly on modern day design. These spectacular or fictional projects are valuable for they can both be seen as draft scheme for future architecture, and a container of ideas. Borges talked about stories about Babel Tower-like Library, circular relics and garden of forking paths. Each story is a model of a tiny world. Each story is a series of literal architectural scheme. The very existence of them is the evidence of the importance of Architectures of idea.

▼坚持利用业余时间做小研究，进行思维训练，keep doing small studies during spare time to keep the brain sharp

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