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15期为您奉上的是 基础研究所 创始人 王耀华 ，更多关于他，请至 ：Yaohua Wang 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.15 introduces Wang Yaohua, founder of PRELIMINARY RESEARCH OFFICE

▼ 视频 Video （视频为3分钟精华版，全文深度采访见下方文字。）

gooood x Wang Yaohua 王耀华

___________
建筑探索之路
Exploration process in Architecture

1.

为什么选择做建筑？
What made you choose to study Architecture?

我家里没有做艺术的，从小也没有特别热爱艺术或者看很多建筑。当初上大学的时候不想再学数学了，想学一个比较自由的专业，就选了建筑，虽然真正做了建筑之后发现数学很有用，那是后话。学了之后发现自己挺喜欢建筑的，而且还算擅长，就一直做下来了。

There is nobody studying arts in my family and I had not found my enthusiasm for architecture when I was a child. When I first went to collage, I intended to major in a subject that could be more liberal and for which I do not have to take maths lessons anymore. Although this was the reason why I chose Architecture, I found mathematics really useful after I stepped into architectural projects. Eventually I found I was good at my major and I got more and more interested in it.

2.

你读本科时为什么突然转学到SCI-Arc？那时你意识到的中美建筑差异是什么样的？
Why did you transferred to Southern California Institute of Architecture when you were in collage？What was the difference between Chinese and American architecture that you realized at that time?

当时由于国内客观条件的限制，我不能完全学到想学的东西。国家博物馆那个时候举办了一场数字化建筑展览，其中展示了一些扎哈学生的作品，我看了之后发现自己不光是在想法上有一些限制，在能力上就不知道该怎样才能做出那种设计。北交大的教育很扎实，但是当时在想法上受国内整体大环境的限制，开拓的空间并没有那么大。尽管我在大一，大二的时候自己不断去看书，但毕竟缺少对这些知识进行探讨的环境，都是一知半解，就想试试转学出来继续读。美国这边接受转学的学校不多，SCI-Arc算是其中之一。我刚出来的时候，全校也没有几个中国人，很多选择是因为机缘巧合，没有什么宏大的规划。我在国内自己读书的经历对我来美国继续接受建筑教育很有帮助，它让我来的时候不是一张白纸，对于一些想法或者观念或多或少有那么一些认识。SCI-Arc一直都比较关注建筑自身的东西，相对来说比较自由，某种程度上反映出来就是比较极端，想法比较开放。

I found I could not fully learn what I wanted to learn at that time, maybe due to the limitations caused by the objective conditions in China. The National Museum once held an exhibition on parametric architectural design, showing some of the works by Zaha Hadid’s students, which impressed me a lot and allowed me to realize the limitations in both of my thoughts and capacity to practice. Beijing Jiaotong University provided me with steady and moderate educations but lacking in opportunities to innovate and exploit. I read a lot of books during my first two years in collage but got few chance to discuss and probe into those knowledges. There are not many schools in America that accept transfer students, and SCI-Arc is one of them. At the time when I was abroad, the number of overseas students from China was small. I didn’t plan too much but the experience of studying in China was very helpful for me to continue to receive architectural education in the United States. SCI-Arc has always been concerned with the essential of architecture, which implies a relatively free context, but in some ways assumed to be more radical and extreme.

▼在SCI-Arc的设计作业，design projects in SCI-Arc

3.

你觉得美国东西海岸建筑院校各自的风格和特色分别是什么？
What do you think are the respective styles and characteristics of these representative architecture schools in America?

我觉得这些学校之间的交集现在越来越多，以前西岸和东岸分的很清楚。以SCI-Arc为例，对它你需要在一个时间轴上去判断。5年前看SCI-Arc，会发现它当时的关注点跟美国其他学校都不一样，但现在很多之前在SCI-Arc教书的老师在GSD教书，学校之间想法上沟通和交流也越来越多。

I feel that the intersection between different schools is getting more familiar, and the boundary between west and east coast has been blurred. For example, looking at SCI-Arc 5 years ago, you might find it distinguished in the emphasis of teaching from other schools in America. Nowadays many of the GSD teachers had previously been teaching in SCI-Arc.The communication and exchange of ideas between universities are quite frequent.

▼王耀华在GSD的毕设评图，final review in GSD

▼王耀华在USC授课，teaching in USC

_______________
从理性设计到风格化
From DIAGRAM to DRAWING

1.

这些年间，美国建筑圈的关注点有哪些变化？
In these years, what are the changes in the focus of architectural fields in America?

建筑做为一个文化实践这样的一种思维现在在美国变得得越来越被接受了，与之相反的是，在5年或10年前，建筑作为一种经济或政治实践被讲得比较多——设计师会画很多分析性的图表，分析密度、经济、收入等问题，然后倒推出建筑应该是什么样子。相对来说，当建筑被当做文化实践的时候，设计师会更加关注文化的反讽，隐喻和比喻。不过美国学术圈的发展基本上是在经过一个阶段之后就会朝另一个反方向走，很难说5到10年以后对建筑的认知会不会回归于经济实践。

你可以从圈子里大家聊的东西中发现这种转折。之前大家关注更多是diagram，现在更关注的是drawing，二者区别很大。关注drawing就是对于建筑最终形态的关注，而Diagram更关注建筑概念上的形成过程。此外如果你看双年展以及期刊杂志里大家讨论的问题，也可以很明显地感受到这方面的变化。

▼隐城 – 王耀华在SCI-Arc的毕设作品，关注diagram（点击这里查看更多）Latent City – graduate project in SCI-Arc, focused on diagram (click HERE to view more)

The thinking that architecture is cultural practice is now widely accepted in America. In contrast, 5 to 10 years ago, architecture was more regarded as economic or political practice, for which the designers were supposed to draw analytical charts to evaluate factors like density, economy and income, and then to conceive what the architecture should be like. When architecture is treated as a cultural issue, the designers will pay more attention to the metaphor and irony that architecture contains. However, it’s still hard to say whether the cognition of architecture will revert to its original connotation.

The turning point can be reflected on what people are talking about. Comparing with ‘diagram’, architects now focus more on ‘drawing’ , which ultimately refer to the architectural form rather than its conceptual process. In addition, you can obviously feel this kind of change through the issues discussed in biennials, magazines and journals.

▼凸起的墙壁（2015）关注drawing，Bulging Walls (2015) focused on drawing

2.

你现在偏风格化的设计是不是跟大家讨论的方向从diagram到drawing也有一定关系，而您现在开始研究理性和风格化的结合是否可以看做对当下主流的回应？
Then is it appropriate to say that your stylized design approach and its combination with rationalism is a response to the mainstream of design in current time?

现在在美国学术圈做风格化设计的人很少，对历史关注更多。我本身对历史——无论是建筑的历史还是人文社会的历史——都很感兴趣，但是美国现在好像没有历史作参考就不知道该怎么做设计了。5年之前，大家都在想什么样的形式是最新的，怎么做是我个人的，跟历史脱得越远越好，现在完全不是这样。周围的人都喜欢做某件事情的时候，我就不太想要做那件事情。现在大家都在讲历史，我就想做一些更风格化的东西。不过，随着个人的成长，我对事物的认知和理解有了一些转变，也增加了一些新的想法，做出来的东西肯定跟5年之前不一样。另外，建筑学的风格是在不断改变的，而且变化的速度越来越快，现在可能每3，4年就会出现一个新风格。不同的是，上世纪八九十年代的时候，建筑学学院里的一些想法，如解构主义、后现代，都是在社会上实践了一段时间后，才以10年或者20年为周期发生一次重大的方向转变。现在学院里面很多想法还没有机会在社会上实践就已经消失掉了。比如Neo-Pomo，美国很多学术界都在做这样的设计，这个潮流已经盛行2，3年了，却依然只是一个停留在学术层面的探讨，几乎没有任何实践的东西建出来，很有可能在一两年之后就消失了，目前为止还没有什么机会对社会造成真正的影响。对于我个人来讲，我觉得你不能去跟风，因为这个风现在变得越来越短；但是同时又要去又参与，因为这些正在进行的讨论又很有意思。所以要想怎么样在短期的、潮流的东西与把眼光放的更长远这件事之间去找平衡。

In the academic circle of America, people engage less in a stylized design approach but more interested in history – either of architecture or humanistic society. It seems difficult to do design in America without referencing to history and real cases. 5 or 10 years ago, everybody was thinking about doing something new and breaking away from history, which is totally different from now. As for me, I prefer to try things that people have not done, and like to do design in a more personalized way. But through these years my understanding of architecture has been changed, and my practice become quite different from 5 years ago. The style and tendency of architecture is constantly changing that every 3 or 4 years a new style is generated. What is different is that in 1980s and 1990s, the new trends of thought like deconstructionism and postmodernism were all practiced for 10 to 25 years before they were established and accepted. For now, new ideas might have disappeared before they got the opportunities to be practiced, for example, Neo-Pomo, a trend that has been popular for 2 or 3 years, still staying at a theoretical level with few real outcomes. It will possibly disappear in just one or two years. What I want to say is that it is not a good choice to follow suit, because the life span of a new trend becomes shorter and shorter. In the meantime you need to keep participating in those discussions because they do make sense, and it is necessary to think about how to find balance the trend-oriented objects with a long-term vision.

▼风格化设计 – 五台山观测塔（点击这里查看更多）stylized design – Viewing Tower, Wutai Mountain (click HERE to view more)

▼风格化设计 – 南京实验室（点击这里查看更多）stylized design – Lab III, Nanjing (click HERE to view more)

▼风格化设计 – 南京文化综合体（点击这里查看更多）stylized design – Nanjing Culture Complex (click HERE to view more)

▼风格化设计 – 功能紊乱的家庭场景，stylized design – Dysfunctional Family Scene

__________
对形式的探索
Exporation in FORM

1.

你本科和研究生的两个毕业设计都体现了对强权政治的反看或者迂回应对的智慧，你现在在思考形式的时候会联系到政治经济吗？
Both of your undergraduate and postgraduate projects suggested the wisdom of revolting against the hegemonism in a roundabout way. Will you relate your thinking on form to political and economic aspects now?

在我的两个毕业设计中，政治跟经济只是一方面，另外一方面还是建筑本身形式上的东西，比如同一个形式怎样应对不同的政治经济情况。在设计的时候，我会分别探讨这两个问题。同时把所有的事情都想清楚太难了，你要花一段时间去想一件事情，等这件事情想得差不多了，再花更多的时间去想另外一件事情；当两件事情都有点眉目了，再把它们联系在一起。

Politics and economy are only a part of the ideas in the two graduate projects of mine. They also probed into the form of architecture, and how the form reacts to varied conditions of politics and economy. In my design, I will deal with these questions separately because it’s too tough to figure out everything at the same time.You have to be concentrated on one problem, and go on to the next one when the first one has been solved. And only when you are clear about both issues that you could combine them together.

▼隐城 – 王耀华在SCI-Arc的毕设作品，体现对政治和经济的应对（点击这里查看更多）Latent City – graduation project of Wang Yaohua in SCI-Arc, response to political and economic situations (click HERE to view more)

▼The Salvaged Stadium – 王耀华在GSD的毕设作品，体现对政治的迂回应对（点击这里查看更多）The Salvaged Stadium – graduation project in GSD, revolt against the hegemonism in a roundabout way

2.

你如何看待形式？现在你对形式的兴趣在哪里？
What is your opinion about form? In which level can form interest you?

我目前比较喜欢去研究一些相对来说简单一点的形式。前半年我做了一些跟投影法相关的研究，尝试从莫兰迪画的一系列静物里面挖掘一些透视的法则，然后通过对这些透视法则的解译，来做一些形式上的探讨。现在我的关注点回到了另外一些层面上。最近我们在准备一个展览，会做大概4，5个比较大的模型。我在刚毕业的时候做了一些比较偏形式的设计。后来的很长一段时间里虽然我没有再做这样的设计，但是有了一些新的思考和想法，可以重新反馈到之前的东西上去，看看理性的研究跟风格化的设计怎么结合。

I currently prefer to engaging with the form that is relatively simple. In the first half of 2017, we did some studies related to the projection method, trying to dig some laws and principles of perspective from a series of still life paintings by Giorgio Morandi and then to make a discussion on what form is. For now I pay my attention back to some other aspects. Recently we are preparing for an exhibition that will include 4 to 5 large-scale models. I had not been doing stylized designs for a period of time since I graduated from university, but I have got some new ideas from the rational studies. I could use them to review my previous works to see how they could integrate with stylized approaches.

▼从绘画中寻找透视法则，并用到形式探讨之中，explore principals of perspective in paintings and apply them in form discussions

3.

你毕业之后的很多研究没有看出现实意义，如何看看待从入世到出世的这种变化？
The projects you did after graduation seemed hardly to have any practical significance. What do you think of becoming idealism after doing practical projects that fit into society?

对于现实意义我们要看得更长一点。我们做研究，不是说甲方看到之后就会给我们项目，而是可能在很长时间之后，这个研究才会为我们的设计提供帮助。有时候目标不能太明确，因为目标太明确的话你的眼光可能就会受到局限，所以需要漫无目的地做一些事情，不知道什么时候就会有一些意想不到的收获，而且帮助会更大。我本身比较喜欢偏学术一点的东西，而学术的东西不会都有现实意义，很多只存在于思考当中。比如我们研究圆圈跟直线之间的关系可以发展出很多不同的结果，至于它的现实意义是什么，我觉得这样的思考本身对于我个人来讲很快乐，就足够了。

We need to have a long-term vision on the practical significance of architectural studies. The research we did for a project may not attract the clients in the beginning, but it will contribute to the result in a circle of time. Sometimes the goals should not be too clear, or it will restrict your vision. It is necessary to do something aimlessly, which may lead to unexpected gains. Personally, I’m more enthusiastic about academic subjects that exist only in ideology and theory without any necessary practical significance, for example, to explore the relationship between an circle and a straight line. These subjects can bring various conjectures, and I think this is the most meaningful part for me, rather than to know how practical it can be.

▼投影研究，projection study

▼Yeouinaru Terminal – 韩国竞赛项目，将投影研究运用在设计中，Yeouinaru Terminal – competition project in South Korea, applying projection study in design

4.

在Object Study系列里面，你表现出一种对几何原型根据特定规则转换的兴趣，你的设计是更注重过程还是结果？如何看待运动性和实践性？
In Object Study, you showed interest in the transformation of geometric prototypes basing on specific rules. Is your design more process-oriented or purpose-oriented? What do you think of motility and time?

就像我刚才说的，对于我来说只要最后做得有意思就好了。我认为研究带来的是一种智力上的愉悦感，我可以从中发现一些之前不知道的东西，可能是结果上的，也可能是过程中的。因此过程和结果同样重要，只要能在研究或设计中让自我得到提升，我觉得就够了。

运动性对我们来说是必要的，因为我们想要去发掘一些几何规律以及物体之间的关系。在静止的情况下这种关系是无法被表现出来的，只能以一种动态的视角去传达，而时间是在展示一种背后的关系跟逻辑。

As I mentioned, everything makes sense as long as it makes you happy. The process of research provides me with an intellectual pleasure, from which I may find something that I didn’t know before, whether from the point of view on result or process. Result and process are equally important. You are supposed to learn something from both the process and result. Improve yourself and this is what research or design matters.

Motility is significant for our design because we want do explore the relationship between geometric laws and objects. This kind of relationship can not be presented in a static situation but in a dynamic perspective, in which timeliness reveals the link and logic hidden behind the appearance.

▼蒙版研究，masking study

▼投影研究，projection study

▼投影及偏移研究，projection and offset study

▼楼梯研究，stair study

。。。。

▼体块研究，volume study

。。。。

_______
画法几何
Descriptive Geometry

了解更多王耀华对于画法几何以及形式的思考和研究，请至 想法专辑No.31，想法专辑No.33，想法专辑No.34

画法几何是你在研究生里带的一门专业课，在objects study系列里你也表现出了对投影法的兴趣，现在电脑建模如此发达，对空间的理解也更多依据于数字模型，研究以上两个话题的建筑学意义是什么？
Descriptive Geometry is a professional course you teach for graduate students, and you also showed your interest in the projection method in Object Study. With the development of 3D modeling software, the perception of architectural space is more based on digital models, so what are the architectural meanings of studying these two subjects?

画法几何在历史上作为一种建筑学的设计方法，很大程度上影响了人们对于设计的思考和理解。通常我们会倾向于从人文或者社会学的角度去讲建筑学历史的发展，但其实它的背后是有技术做支撑的。画法几何就是当时的一种黑科技，帮助建筑师用二维的媒介去描述复杂的三维空间。这种技术手段会导致你对空间产生某种特定的理解。比如说盖教堂，它不光是宗教，社会或者经济上的应用，还包括其背后所运用的设计手段。我研究画法几何是希望以另外一种角度去解读历史。

之前没有Rhino,Maya这些三维建模软件，你必须通过二维的媒介去表达三维物体，除非直接做一个模型。建筑师这种职业的特点就是你本身的思考跟最后建造的过程是脱节的，我们并不是最后去盖房子的人，因此必然要用二维的媒介去表达，去描述三维的事情。现在我们可以直接在电脑上操作三维的物体，不会被限制在一个平面上，这就导致画法几何的意义发生了改变。画法几何在以前是唯一的设计手段，现在则变成了一种历史遗产，它的科技性会变弱，相应的，它的文化性会变得更强。你需要更多地把它当做一种文化遗产，去了解它的历史发展以及对于当时空间思考的影响。它不会让你的设计手段有突飞猛进的进步，但是会对你的思考有一些帮助。

▼画法几何在历史上是一种通过二维表达三维物体的设计方法，descriptive geometry was a way to describe a 3d object by 2d media for architects in history

Descriptive geometry was historically used as a method in architectural design, which greatly influenced people’s thinking and understanding of design. Usually we tend to talk about the development of architecture history from the perspective of humanity or sociology, but in fact it is supported by scientific technology. Descriptive Geometry at that time was a kind of “secret technology”, helping architects to describe a complex three-dimensional space through a two-dimensional medium. This technique can lead you to a certain understanding of space. For example, building a church involves not only religious, social and economic aspects, but also the design methods used behind. I study descriptive geometry in order to interpret the history from a new perspective.

When there was no Rhino, no Maya and no three-dimensional modeling software, you must present the three-dimensional objects by two-dimensional medias unless you make a model by hand. The characteristic of an architect’s profession is that your personal idea and the final construction process are out of touch. We are not the ones who build. Therefore, we must use two-dimensional tools to describe and express the three-dimensional objects. In current time we can build 3D models directly on the computer without being confined within a single plane. This will change the meaning of descriptive geometry. Descriptive geometry once was the only design method in the past which now has become a kind of historical heritage. Generally it turns weak in technological aspect but much stronger in a cultural category. You need to use it more as a cultural heritage to understand its historical development and its influence on spatial concept at that time. It will not bring rapid progress in design skills but will contribute to your thinking.

▼线条研究，line

另一方面，它是一种解译，把你的想法或者对于空间的构建解译到另一种媒介里。只要有解译，就会有对于解译的误读。之前画法几何关注于怎样尽可能精确地去解译，现在因为我们已经不需要依赖画法几何做设计了，所以我们会更加关注怎样把转译过程中的谬误当做一种对设计有意义的东西来看待。比如三维打印作为一种科技，它刚出来的时候人们会希望三维打印的结果跟电脑里面的三维模型越吻合，越精确越好。但是后来很多建筑师开始思考三维打印作为一种产出手段其本身的逻辑。三维打印是一层一层打出来的，但电脑里面的模型并不是一层一层建出来的，那么两者在解译的过程当中会有什么样的偏差？这个偏差又会带来什么有意思的结果？这种“lost in translation”的过程中往往会有一些有意思的东西展现出来。在一个韩国的竞标项目里，我在一系列物体之间用两个单点透视从不同方向去对同一物体做投影，投影后两者之间会产生交集，而这种交集的结果是之前单个物体所没有的，它具有自身的几何特点。

Moreover, descriptive geometry is like an interpreter that can interpret your idea of space shaping into another type of media. As long as there are interpretations, there will be misinterpretations at the same time. In the past, descriptive geometry focused on accuracy, but now it is more meaningful and interesting to utilize the mistakes occur in the process of interpreting since we don’t need to rely on descriptive geometry to do design. For example, when three-dimensional printing came out as a technology, people expected to receive an accurate physical model that is perfectly produced as what it looks like on computer. But later many architects began to treat 3D printing as a means of production itself. The 3D printing model is produced layer by layer, while the digital model is created in a different way. What kind of deviation will emerge from the process of interpretation? Will the deviation lead to any interesting results? This kind of “lost in translation” will finally bring valuable findings for your design. In one of my competition projects, which is located in South Korea, I used two single-point perspectives to project the same object in different directions, and then the intersection between these two projections was generated. This kind of intersection has its own geometric characteristics and is different from any other cases that had been done with only one perspective .

▼韩国竞赛，采用投影法生成形体，generate architecture by projections in a competition in South Korea

_______
美国创业
Start a career in America

1.

作为一个中国人在美国创业会遇到什么挑战和机遇?
What chance or challenge would you face when start a career in America as a Chinese?

作为一个中国人在美国创业困难和机遇是并存的。机遇在于你的背后有中国这么大的一个市场，你有很多美国同龄人没有的机会。美国建筑圈年龄层分得很细，里面有一些既定的规则，比如建筑师30岁的时候只能做一些装置之类的小项目，40岁了可以去做小住宅，50岁才有稍微大一点的房子能做。当然，如果你在大公司工作那是另外一回事，但总的来说美国建筑师的年龄结构比较固定，基本没有机会在30岁干大项目，从而多出很多时间去想一些“没用”的学术问题。大家想的可能并不是每年要做一个什么样的项目，而是自己的想法能对建筑学术圈带来什么样的贡献。我作为中国人可以尝试跳出美国的年龄层，在国内做一些规模比较大的项目，这导致我每天想的问题跟美国的同龄人稍微有些不一样。小尺度的问题，包括材料、建构手法等，这些问题实际上对于建筑学的思想和学术的进步非常重要。如果你一直想的都是怎么做更多的项目，往往会陷入一个死循环，每天都要思考怎么样去建立一些“关系”，赚更多的钱，然后这些钱其实最后又全用来养公司，这样的情况是我们不希望陷入的。我不想让我们的实践被项目绑着走，所以我们也在主动尝试把步子放慢一点，不只盯着明年做什么，而是想今后的5年、10年。现在做的东西看起来可能不那么现实，但也许在更长的一个时间段内它会有一些价值。你既要给大家稳定的收入，也要做一些研究性，探索性的项目，怎样平衡这两点很重要。

我不希望一直被动地去回应，而是要提前做一些研究，搜集一些想法。更重要的一点是，做研究项目想的问题跟做实际项目想的问题不一样，二者相辅相成。以柱网为例，不同国家对柱网有不同的规范，在国内会具体到要停几辆车。但同时柱网作为一种“grid”又是建筑学很本体的一个问题。如果你不做实际项目的话你不会以另一种角度去看待“grid”；但如果你纯粹是为了做实际项目的话，就不会更加细致地思考这个问题本身。如果你能一边做实际项目一边关注建筑本体，你就会从另外一种角度看待一些比较简单的建筑问题。

As a Chinese, there would be both chance and challenge to start a career in America. The chance is that you have the huge market of China, which makes it possible for you to do things that Americans at the same age could not. In America, there are some fixed rules on what you could do on a certain age. You may only do some small projects like installations on your 30s. When you reach your 40s, you could take small residential works and you could only engage to do large scale projects after you are 50. Of course things would be different if you work in a large company but it is common that most American architects have no chance to do large projects in their 30s. The result is that they have more spare time to think of some “useless” academic problems which I think are very important for the progression of architecture. In my situation, I am trying to jump out of this “age barrier” by participating some large projects in China. However, I still agree that small scale problems, including material and construction, are important to the progress of ideology in architecture. One might fall into an endless loop of building up connections and making more money for the company if his mind is filled up with real projects. I don’t want myself to be a slave of real projects so that I am trying to slow down to think more about where I will go in 5 or 10 years. What seems useless in the current stage may show its value in the long term. It is important to find balance between running a company and doing some experimental projects.

I don’ t want to always be the one to react to problems when they occurred. We should do some research and collect some ideas beforehand. What’s more, the focal points of practical projects and research are different and they would supplement each other. Take grid as example, it has very concrete regulations in different countries like the number of cars that could be placed between the columns is specified in China. On the other hand, grid is a very ontological problem in architecture. You will not think of the practical value of grid if you have no experience in real projects. Though you will pay no attention to the architectural meaning of grid if you only focus on practical works. When you combine the two aspects together, you could see basic architectural problems from a different angle.

▼吴淞城市规划，有机会参与大尺度项目，Wusong Master Plan, have chance to participate in large-scale projects

2.

事务所的项目主要来自哪里？你现在在做些什么项目？
How do you get your architectural projects? What kind of projects are you engaging with?

我们来来回回做了一些中国的项目，惭愧的是目前还没有一个建成。现在在湖州做的项目是最接近建成的了。此外我们还参加各种竞赛，包括一些规划类竞赛，比如宝钢旧厂房的改造，浙江理工大学时尚学院的规划投标，青岛的海洋馆，最近还做了几个在首尔的竞赛。总之过去是有机会就试着做，现在开始挑了。

我们在美国也有几个项目在进行，但是尺度相比来说比较小，比如最近在做一个游泳池和加州北部的两个小房子。这些项目虽然很小，但也有很多有意思的地方。同时我们现在还在准备一个展览和一本书，通过它们来探索一些更概念的想法。

We have engaged with some domestic projects but embarrassingly none of them has yet been built. The project in Huzhou should be the closest to completion. We have also participated in various competitions, including some planning competitions like the transformation of the old Baogang Factory, and the proposals for Fashion School of Zhejiang Sci-Tech University, aquarium project in Qingdao and some projects in Souel. In the past we tried to capture every opportunity to practice, but now we start to pick the projects.

We also have several ongoing projects in America, whose scales are relatively small, including a swimming pool project and two houses in northern California. Despite the small scale, these are all interesting projects that can provide some conceptual ideas for design.

▼王耀华工作室作品 – 青岛海洋馆入围竞标方案（点击这里查看更多）PRO project- Qingdao Aquarium, Competition Finalist (click HERE to view more)

▼王耀华工作室作品 – 澳大利亚市民中心（点击这里查看更多）PRO project- City of Ryde Civic Center (click HERE to view more)

3.

现在你的一天是怎么渡过的？未来有什么计划？对PRO未来的发展有什么预期？
How do you spend your day? What are the plans for your future? What are your expectations for the future development of PRO?

我大概早上6，7点起床，吃完早餐就来公司，因为一，三，五下午要去学校，所以上午对于我来说是一个很重要的时间点，所以会早睡早起。我在读书的时候也从来不熬夜，要把事情规划好，不要拖到最后一秒去做。

目前来看，我想好好做自己的设计，然后继续做自己觉得有意思的研究，有时间有机会的话就去参加一些实践。其实在纽约的时候我并没有想到自己会来洛杉矶，所以今后会怎么样比较难说。对我来说，洛杉矶空间更大，生活成本更低，我可以有一个更大的一个办公室，做很多在纽约做不了事情。同时洛杉矶的学术氛围很好。

I probably get up at 6 or 7 in the morning and go to my office after breakfast. Morning time is very important for me because I need to be at school on Monday, Wednesday and Friday afternoon. I always keep early hours, even during my school life. I’m used to planing things well and never put thing off to the deadline.

At present, I want to take care of my own design works, and then continue to do research that I find interesting. I will also participate in different projects if I have enough opportunity and time. In fact, when I was in New York, I didn’t think about moving to Los Angeles. So it is hard to say what it will be like in the future? For me, Los Angeles has more spaces and lower cost of living. I can have a bigger office here and do a lot of things that I could not do in New York. At the same time, the academic atmosphere in Los Angeles is quite good.

▼王耀华在洛杉矶的办公室，实践和研究并行，Wang Yaohua’s office in Los Angeles, doing practice and research at the same time

我刚搬来洛杉矶的时候一心只想把公司做大，觉得步子迈得越大，走得越快越好，做了一年后感觉压力特别大，思考全部放在实践上面，没有任何时间去想一些跟实践不相关的东西。所以过去半年我们开始有意把步调放慢了很多。公司变小了，经济负担也就变小了，相应的管理所需花费的时间成本就变低了，我们也就有时间去想一些未来能用的东西。

When I first moved to Los Angeles, I devoted myself to expanding the scale of my company. I expected to go as fast as possible. However, just one year later I felt I was under too much pressure so that we have deliberately slowed down a lot during the past six months. As the company becoming smaller, the cost of management and time have all been reduced and thus we now have enough time to concern about something that can work in the future.

▼正在接受采访的王耀华，Wang Yaohua during interview

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