Under 35 – WAY Studio

Design is a constant never-ending pursuit. We hope that our architecture will allow people to enter a quixotic environment

Project Specs

Design:
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36期为您介绍的是 WAY Studio,我们采访了事务所创始人郑涛和黎紫翎更多关于他们,请至:WAY Studio on gooood

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.36 introduces Zheng Tao and Fernie Lai, co-founder of WAY Studio. More: WAY Studio on gooood

出品人:向玲 / Producer: Xiang Ling
编辑团队:陈诺嘉,武晨曦,刘丹阳,李诗蓉,徐馨羽,韦紫昭,历剑 / Editor: Chen Nuojia, Wu Chenxi, Liu Danyang, Li Shirong, Xu Xinyu, Wei Zizhao, Li Jian

 

未·建筑设计研究所是一个创新精神的建筑事务所,致力于建筑设计与艺术和科技领域的融合。WAY Studio 未.以艺术体验为出发点,并通过跨界合作探索新的可能性。

“WAY Studio is an innovative architecture and design studio with a focus on coalescing architecture with art and technology. With consideration for artistic representation at its core, WAY Studio has focused on discovering new possibilities through cross-disciplinary collaborations. Seeking new possibilities in every situation. We are interested in looking towards what is next, to find the balance between people and nature, culture and technology.”

 

 

▼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。Youtube链接:https://youtu.be/0OnHqM2k-08

 

 

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关于WAY Studio
About WAY Studio

 

“创立工作室的目的就是为了尽可能多的创造出有趣的设计,并持续探讨设计的可能性,持续实践,持续做自己喜欢的东西。”

“The establishment of our own studio is because we essentially want to form a team of our own, create work as we want, to stay true to our original intentions as designers. We wanted the opportunity to explore our own ideas.”

 

黎紫翎(黎):我与郑涛2008年于MAD(更多请至:MAD on gooood)认识,后续2012年在UNStudio(更多请至:UNStudio on gooood)又认识了Alan。在那之后我们虽然分道扬镳走了不同的道路但是一直保持联系。我们第一个独立合作并完成的项目是赫尔辛基古根海姆博物馆竞赛,当时我在滑铁卢,郑涛在北京,Alan在LA,是在三个时区完成的这个项目。是通过这个项目的合作我们固化了我们的兼容性及一致的理念。我们聊到最多的话题总是与未来相关,并在各种关于此的遐想中找到一个平衡点,过去现在与未来,传统、文化与科技的发展,也讨论精神与艺术层面的东西。我们的作品一直都是体现着关于这方面的思考与挣扎,试验,以及成长。

在那之后我们就开始寻找工作室的空间。说实话一开始我们都没有准备好,郑涛是自己踏出第一步的,然后我们随后才加入。我们就是这么一个矛盾体,而更多就是这些矛盾能让我们的作品碰撞出更有趣的火花。我们从来都不认为大家一定要和谐共处,反而更看重大家对于设计的不同方向的思考,从而形成多维度的解析。

Fernie Lai (FL): Tao and I met at MAD (more: MAD on gooood) in 2008, and then Alan, our third partner, while we were all at UNStudio (more: UNStudio on gooood), that was in 2012. We had continued our separate ways after, but we kept in touch. The first project we worked on together was the Guggenheim Helsinki Competition, I was back in Waterloo at the time, Tao was in Beijing, and Alan was in LA, three separate time zones. It was through this project that we really solidified our compatibility and our direction. Our biggest shared interest was the exploration of the future, torn between the past and present, traditions, cultures and technology, and spirit, and art. Our work continues to be a struggle between the balance of all these.

Shortly after that we started looking for an office space. To be honest, none of us were ready to take that leap. Tao was the one to take the first step, alone, and I joined him much later. But that is the nature of our team, conflicted, and it is exactly this conflict that sparks our creation. We never intended that we would always work in harmony, it is these differences in opinion that gives depth and dimension to our work.

▼WAY Studio成立初期办公室,office of WAY Studio at the beginning of establishment ©未/WAY Studio

郑涛(郑):公司大概有五六个人。我们擅长的领域不一样,没有明确分工。有时一起天马行空,突然一个人清醒过来,开始考虑落地的问题,总有一个人要理性一点。

Zheng Tao (ZT): We are now a team of five or six. Our strengths vary, but our division in terms of responsibilities are fluid. Our imagination will take flight together, and one of us will wake up bringing us back down to earth.

▼郑涛与黎紫翎一起工作(左:郑涛,右:黎紫翎)
Zheng Tao and Fernie Lai working together (left: Zheng Tao, right: Fernie Lai) ©未/WAY Studio

 

“优秀公司的经验没法套用在年轻事务所上,我们要吸收这些影响的优点,寻找自己。”

“Design tools of renown firms are not always applicable to young studios. We admit to their influences and find our own way.”

 

郑:我在06年加入MAD,那个时候非常受当时的氛围影响,团队虽然不大,但是很有活力,老马坚持的都是天马行空想要落地的设计,我们便想尽一切办法尝试实现它,这是一个让我受益非浅的地方,即便后来离开了,马工也说要坚持做好设计,我至今深信不疑。UNStudio是一家从设计到管理都规章制度非常成熟的国际公司。其实我还经历了几家大大小小的商业公司、FUN工作室等。在了解了不同类型的设计公司的工作形式后,突然迷茫了,不知道接下来该去哪里了,那就自己尝试实践下之前不成熟的想法吧。

在这几家公司工作的经验,对我们无论是在形式上,还是在做设计的逻辑上都有非常强的影响,但是这些优秀公司的经验是没法套用在年轻事务所上的。因为不同的阶段面对的挑战也不同,我相信每个人都有自己的路,至于设计,无论是形态还是状态,多少都是对我们有影响的,我们吸收这些影响的优点,总结缺点,并在这个基础上成长,实践,寻找自己。作为成熟的事务所,它们都有各自的方向和目标,这点我们需要学习。目前我们都会以放手去实践的态度的去面对每一个项目,可以在没有包袱的情况下探索设计的可能性,这也许就是小事务所的优势吧。也不会在意影响或者犯错这件事,毕竟再经历五年十年,一切都会更新。整个世界亦在不停地更新转型,我们也希望能一起成长。

ZT: I joined MAD when they were still a young firm. At that time, the atmosphere was particularly nurturing, the team was much smaller at the time, vibrant, and one could accumulate a variety of experiences. I later joined UNStudio, which at the time was already a well established international firm with well established systems of organization and design processes. Actually I also worked at a myriad of firms, big and small,  from commercial enterprises to design based studios. It was after experiencing a large spectrum of working styles that I felt lost, I spent a lot of time thinking about “what’s next” at the time, and these ideas led to building my own team in order to execute them.

Both MAD and UNStudio are world renown firms with their own unique strengths and characteristics. There is inevitably a large influence, especially on design methodology, style, design philosophy, etc., yet these tools are not always applicable or translatable to our own situation. In terms of design style, we admit to these influences, and from there we grow, learn, evolve and begin to find our own “way”. As mature firms, they both have well established design philosophies, this is something that is essential to the longevity of a studio and it is something that we are working hard to accumulate. Currently, we like to face every project with a clean slate and fresh attitude, to explore “what else” without being bogged down by a well established “image”. But we let not the fact that we’ve had these experiences hinder us, rather, we’d like to embrace it, on top of the fact that we will most certainly stumble in our way. The world is in constant motion, everything is moving faster than ever, and we would like to grow and evolve alongside it.

 

“整个世界亦在不停地更新转型,我们也希望能一起成长。”

“The world is in constant motion, everything is moving faster than ever, and we would like to grow and evolve alongside it.”

 

黎:我们在那些公司里经历了个人的成长,它们在我们的事业中都是非常重要的导师。但我们在聚在一起之前,三人都有着截然不同的人生经历。我小时候在加拿大,香港,台湾,北京都生活过,之后加拿大就读的建筑专业, 而事后又分别在香港、美国、英国、荷兰、北京都工作或实习过,毕业之后我还曾经跟一位荷兰的艺术家合作了一些雕塑项目。这些经验的累积与目前的设计实践相辅相成。UNStudio的设计的规律性,对于狂野的形态之下的自律与规律性。 MAD在探索的建筑是很东方的,为亚洲建筑师提升了更多话语权。他能够以东方审美观重新定义当代建筑,并探索它的可能性。这些都是我们一直感兴趣的,并希望能传承下来。

FL: It is where we experienced a lot of personal growth, they are our mentors through key stages of our career. But these were not our only experiences before deciding to start our own office, we have, between the three of us, we’ve had a myriad of experiences. I grew up in Canada, in Hong Kong, in Taiwan, in Beijing; studied architecture in Canada, and subsequently went on to intern or work in Hong Kong, Boston, London, Amsterdam, and Beijing. I even collaborated with an artist from Holland on several sculptural projects when I first graduated. We are the accumulation of our experiences, and our team, the accumulation of that accumulation. Our experiences make us who we are. UNStudio is a much more systematic firm, solution comes in systems and a lot of rational thinking, on top of  a strong balance between management and services; MAD’s pursuit of an oriental architecture stemming from Chinese philosophy is something that has opened the world’s eyes. He plays a key role in redefining what modern architecture should mean in China and thus the world. These are all things that create immense value and we hope to carry forward.

 

“如果不鼓起勇气迈出这一步,我们永远不知道接下来会怎样。后悔也是成长。”

“If we do not have the courage to take the first step, we will never know what will happen. Doubt is also a crucial part of growth.”

 

黎:人生中也没什么是容易的,但也没什么不可能的。建筑师的本职就是发现问题并提出具备创意性的解答。对新成立的小事务所来说,每一刻都很困难。我们在不同的环境里遇到不同的问题,找到不同的解决方式。作为设计师我们一直在成长,一直在进步,并努力的发出声音。

郑:一开始租这么大的办公室,我们已经倾尽所有。面对空荡荡的大桌子,也曾后悔要不要这么干;但是如果不鼓起勇气迈出这一步,我们永远不知道接下来会怎样。后悔也是成长。

FL: Nothing is easy, nothing is impossible. Our jobs as architects are to find solutions for problems that we face, creatively. To be honest, for a newly established small studio, it is never not difficult. But as designers, we are constantly growing and improving. Push forward, and you don’t forget why you’re doing this, that you’re trying to make a stand in the world and to find your voice in our era of architects.

ZT: We exhausted everything renting such an office space. It’s hard not to doubt yourself when faced with empty tables in the beginning; but if we do not have the courage to take the first step, we will never know what will happen. Doubt is also a crucial part of growth.

▼Way Studio现在的办公环境和工作场景,working scene of WAY Studio ©未/WAY Studio

 

“最满意的永远是下一个”

“The best is yet to come!”

 

黎:“最满意的永远是下一个”, 这是一个名言,但对于项目同样适用。将来的、未建成的项目所拥有的可能性更大,对我们的吸引力也更大。我们目前的状态就是争取一切的机会去实践、去成长。

郑:没建成的项目才能体现出设计师最好的状态。比如美术馆国际竞标,我们知道这个项目不会中,但是会把对项目的全部感受与想法表达在图纸上。后续的项目亦会自然的受这个项目的思维影响,从而历练我们的思维,后续的项目如有机会实践的话,它一定是优秀的,这才是建筑师该做的事。真实的项目往往要面对各种各样的限制,反而竞赛项目才更能体现一个事务所的追求。

FL: “The best is yet to come!” that is a famous saying, but I think it is applicable to design. Future projects, and projects that are not yet realized are what offers the most possibilities and thus becomes the most attractive to us. We are still in the stage where we are fighting for every opportunity to show the world what we are capable of.

ZT: Only projects not yet actualized are the best representation of the designer’s abilities. For example, the Guggenheim Helsinki competition, we knew we wouldn’t win, but we were able to condense and express our aspirations through this project. Through other projects after, we continue to pursue the ideas that were formed within this project, when eventually a project such as this can be built, then it will be an accumulation of and the evolution of all the ideas before it. That is the ultimate goal, it is also why competitions best reflect the real pursuit of a design studio.

▼部分WAY Stuido项目图片,part of WAY Studio’s projects ©未/WAY Studio

 

 

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设计理念和灵感
Design concept and inspiration

 

”我们的核心竞争力是我们的设计理念和想象力, 并倾其所有精力去研究它的可能性。”

“Our core competitiveness is in our design philosophy and where our imagination can take us. What comes to our mind, and to put all our effort into attaining these ideas.

 

郑:其实我们并不认为我们目前的提案有太多天马行空、太过于不切实际的想法,他们都是基于当下科技水平发展出的一些可能性,可能只是这些科技目前尚未被普及罢了。实际建成的项目当然会有一定的限制,科技技术确实是其中一项,但工具发明出来就是要被使用的,所以我们需要不停的去探索它的可能性,从而也会吸引到同样具备探索精神的合作方。当大家的理念一致的时候,沟通效率就会更高,项目实现的可能性也就越大。我们必须把全部精力用在自己最拿手的地方,让自己的作品被更多人知道,这样才可能有更多机会。我们一直在寻找自己的特点,可能要在多年之后,把过去做的东西排在一起,看看项目之间有什么联系,才能够找到。

黎:小事务所必须具备自己的特色。大规模的公司其核心竞争力在于服务能力,我们的核心竞争力是我们的设计理念和想象力, 并倾其所有精力去研究它的可能性。我们不想太早固化工作室的状态。我们十分享受现在这样拥有各种各样可能性的状态,如果太早立标签的话,会抹杀掉很多可能性。从多年的经验中我们发现,能够接触并建成我们的设计的甲方肯定和我们有一致的理念和共同的目标。

ZT: In our minds we have not yet produced something that is too far fetched, they are all based on our current advancements in technology, albeit it may not be readily available tools and materials in the field at the moment, but we believe it is not impossible to achieve! There is definitely difference between what is reasonably achievable within a project that is to be built right now, with readily available tools and materials, and a project that can be built with our current advancement in technology. But we believe that if what we have been doing can stand up to those challenges, then consequently, the clients who approach us will also be interested in exploring these possibilities, so we should not shy away from difficulties. We are continuously reflecting on what we are doing, on our own speciality, for what sets us apart. Many years from now, we’ll line up our work, and search for that commonality between.

FL: Small studios must have their own unique characteristics. The core competitiveness of a large-scale company lies in their service capabilities. Our core competitiveness is in our design philosophy and where our imagination can take us. What comes to our mind, and to put all our effort into attaining these ideas. We don’t want to define and set the parameters of the studio prematurely. We’re enjoying the state of having all kinds of possibilities right now. Once we label ourselves definitively, it reduces our opportunities to explore what we may not be familiar with. From our years of experience, we have found that a client who reaches out to us and brings the project to completion must have the same ideals and goals. When working with a client that already recognizes our abilities increases the efficiency in communication, in such cases, you are working together as a team rather than client and designer, and there are less hiccups in the realization of the project.

▼天马行空的设计方案,design proposals that may not be available at the moment ©未/WAY Studio

 

“希望我们设计的建筑可以让大家去到一个非现实的环境,而不是从一个现实去到另一个现实。”

“We hope that our architecture will allow people to enter a quixotic environment, rather than simply passing from one location to another.”

 

其实早期,我们也会看很多其他的设计项目,但后期发现我们的兴趣慢慢偏离而更多的时间看的是科学,自然,科技,艺术,甚至是哲学类的作品等。一开始兴趣导致,但看得越多,对我们潜意识的影响越大,也默默的成为我们的灵感来源之一。所以我们现在都保留这个探索新事物的习惯,并持续思考如何能把这些收获转换成设计里能使用的元素,我觉得是一个很好的个人习惯。

郑:灵感是在深入了解项目之后,经过长时间的思考,根据过去的一些经历,最后得出的意想不到的东西;是大家在思考和讨论后觉得值得往下一试的一个选择。我们生活的城市里大部分都是人工环境,人们每天从一栋建筑去到另一栋建筑,这种经历可能占据了人一生中至少一半的时间。既然现状如此,希望我们设计的建筑可以让大家去到一个非现实的环境,而不是从一个现实去到另一个现实。人生经历可以跟空间环境共鸣,产生一些有趣的体验。这个时代强调个人表达,我们就通过塑造物的里和外,让它与个人的经历产生共鸣,从而表达人的情感。

FL: Early on, we would often look towards other design projects, architectural or spatial, from other designers and architects. But more and more, we find our selves dwelling on other resources, science, nature, technology, art, philosophy, etc. In the beginning we looked out of interest, but the more we are exposed to these elements, the more they are embedded in our subconscious and thus becomes our inspiration. It is important to keep exposing yourself to new elements, and to constantly mull over its possibilities within design, to find opportunities to transform these ideas into elements or tools, to make this routine a habit if you will.

ZT: Inspiration is what arises unexpectedly after an in-depth understanding of the project, a long period of mulling it over, and a connection to past experiences; it is what everyone thinks is worth developing after much deliberation and discussion. Most of the cities we live in are made up of artificial environments. People go from one building to another every day. This kind of experience may take up more than half of a person’s life. Since this is the case, we hope that our architecture will allow people to enter a quixotic environment, rather than simply passing from one location to another. When someone experiences a space through the filter of their own life experience, it elicits an interesting resonance. In this time and age, individualistic expression is emphasized. Thus we explore how both the inside and outside of places are able to shape and resonate with the personal experience, thereby manipulating and expressing one’s emotions.

▼部分WAY Studio的概念设计方案,希望创造有趣的体验,part of WAY Studio’s conceptual designs, creating interesting resonance ©未/WAY Studio

 

 

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关于跨界
Cross-disciplinary collaborations

 

“跨的界越多,获得的信息量越大,反馈出来的东西就越丰富。”

“The more disciplines you come into contact with, the more knowledge you gain, and the richer  your ideas become.”

 

郑:一开始没什么项目,就只能接触到了一些跨界合作,这是一个初创事务所的真实写照(笑)。但通过跨界合作我们可以获得各种各样的经验——比如通过服装设计我们可以了解布料是如何制作并且拼接成服装的——这些经验可以转化到日后的设计当中。跨的界越多,获得的信息量越大,反馈出来的东西就越丰富。我觉得这是一条有趣的路,毕竟我们的初衷是创建一个研究型的事务所,用项目辅助研究,因此从小到大各种设计我们都会涉足。

黎:”旁观者清“,这也是我们为什么这么愿意“不务正业”的去参与跨界的合作,因为当你能跳出一个框框去思考一件事情的时候,你才能更加清晰的看到更多的东西。

ZT: The truth is there was very little business at the beginning, so we could only involve ourselves in a lot of cross-disciplinary projects, and that’s the reality of a startup studio. Through these collaborations, we can gain a variety of experiences — for example, through fashion design, we can understand how fabrics are made and then stitched into clothing — and these processes can be translated into the use of cladding designs. The more disciplines you come into contact with, the more knowledge you gain, and the richer  your ideas become. I think this path we took plays into our original intention of creating a research studio, so we treat these projects as cross-disciplinary research, and no matter whether the design is small or large we’re happy to get involved.

FL: This is also why we speak of “cross disciplinary” work so much and its importance, we learn more about our selves through the collaboration with others.

▼跨界合作 – 布料材料测试
Cross-disciplinary project – cloth material experiment ©未/WAY Studio

 

“与非本行人士多沟通能让我们更脚踏实地的去设计,设计还是应以人为本。”

“ It is important for us to ground ourselves in our design, and to remember who we are ultimately designing for, to focus not only on architecture, because ultimately we’re building for everyone.”

 

黎:我觉得科技的进步对建筑影响非常大,同时也带来了一些情感上的问题。科技与人的关系是什么?它究竟是不是可控?需不需要可控?我在大学的时候和同学一起建立了两个学生平台,一个是f_rmLAB,致力于研究技术转换成设计工具的一切可能性,另一个亦名为On Empathy,恰恰就是用于讨论与反馈当下社会状态(包括科技技术发展)与情感,并且这些对一个设计师应该如何面对相关问题。一开始主要面对学生与老师们,但我们后期发现当他向周边各行各业的人公开的时候,并能一起探讨一些感兴趣的或者当下的问题,都能触碰出一些别样的火花,也能从不同角度审视自己的方向。建筑设计师的圈子很小,跟其他人聊天可以启发自己从别的角度思考问题,所以去年我就延续了这个精神,在我们自己办公室办了一系列“沙龙”,邀请非建筑设计行业的朋友们,来给大家分享各自的作品或研究方向。与非本行人士多沟通也能让我们更脚踏实地的去设计,毕竟设计师本就是一个很容易自负的角色,但设计还是应以人为本。

FL: In the early days, we hosted a series of “salon“, a platform for cross disciplinary sharing and discussion. When I was still in university, I was involved in two student initiated platforms, f_rmLAB and On Empathy. Within f_rmLAB we focused our energy in exploring the different ways technology can be integrated through different stages of design. I think that the advancement of technology has a great impact on our approach to architecture today, but it also brings with it emotional obstacles. What is the relationship between technology and humans? What becomes the architect’s role with these vast changes? And so as an extension to these “conversations” on how to balance our struggles, myfellow classmates Connor O’Grady, Amrit Phull, Currim Sutera and I established a platform called On Empathy in order to discuss such or other related issues, In the beginning, we only thought to involve students and professors, but through looking for a venue sponsor overtime we became more and more involved with the local community, and they too took an interest in our discussion, the interesting thing is the perspectives they brought to the table induced a much more dynamic chemistry than if we had kept that conversation between ourselves. So when I graduated and returned to Beijing after, I continued this endeavor and started a mini series in Beijing as an extension of those previous conversations, to keep our selves grounded through conversations with “others”, designers easily fall into an egotistical ideal, architects especially, so it is important for us to ground ourselves in our design, and to remember who we are ultimately designing for, to focus not only on architecture, because ultimately we’re building for everyone. We have to be continuously expanding our expertises and understanding of the world.

▼OnEmpathy宣言和沙龙活动,On empathy manifesto and salon ©OnEmpathy

▼在WAY Studio举办的沙龙活动,salons held in WAY Studio office ©OnEmpathy

 

“信息对建筑设计的影响是潜移默化的,建筑设计最终还是要以人为本,在此基础上做出属于自己的东西。”

“The influence of information on architectural design is imperceptible, and as such, should ultimately be people-oriented, and from this basis, create something that belongs to you.”

 

古根海姆美术馆设计竞赛
Guggenheim Museum Design Competition

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黎:古根海姆项目是一个早期的实验,想在实体空间的体验上做科技方面的延伸。竞赛有一个大的主题是Illusion,由于我们与一些新媒体艺术家有过合作,因此除了在物理上做了一面巨大的镜子来重新衔接场地,立面上我们也做了设计,让它可以与个人手机终端产生联系,读取不同的资料,展现出不同的样式。人们去博物馆,可以看作品和介绍文字,或者通过互联网收集更多背景资料。有些博物馆会使用音声导览,里面甚至会插入一些小故事,这种体验是我们做设计的出发点。我很喜欢的一位艺术家叫Janet Cardiff,专注于创作跟人的体验有关的作品。她在video walk这个系列作品当中其中拍摄了德国的一个火车站,植入了一些历史真实的场景,也有一些幻想的东西,带给人不同的体验,但又要求观看者在火车站现场观看这个视频,这样就会形成一个时空交错的一个体验,也是我们想要表达的对于illusion的解析。最终古根海姆这个项目虽然没有实现,但其中的想法会被带到下一个项目中,或得到机会落成,或转化成新的想法。

科技与建筑结合只是我们的手法之一,我们的最终目的是创造一个场景或一种体验,将建筑与人的感触之间的距离拉近,通过时空空间科技和艺术为使用者带来更多属于自己的经历,并结合他们自身的记忆创造一些新的幻想。虽然技术上未能实现,但是我们回想过去、经历现在、幻想未来的过程已经是在进行一场时空旅行。我们在建筑空间中结合幻想元素,希望借此触发使用者新的空间体验。

FL: The Guggenheim submission was an early experimental project of ours where we wanted to extend technological possibilities into the physical space. One of the major themes of the competition was ‘Illusion’. In addition to physically erecting a huge mirror to reconnect the water and the park with a physical and literal illusion, we were inspired by our earlier collaboration with new media artists, and designed the façade to integrate AR technology allowing an extended personalized experience. Sensors in the facade connects to the visitors’ cellphone, interprets its data, and presents different information accordingly. Visitors will see exhibition or event information, collector will see affiliated works, curators will see collection of artists, etc. Audio guide are common in galleries and museums, but that experience can become much more interesting when history, stories, personal opinions are woven through a tour much like the work of artist, Janet Cardiff, her work focuses on human experience through different aspects of our senses, sounds, visuals, etc. In one of her series of video walk works “Alter Bahnhof”, she takes us on a curated journey through an old railway station in Germany, implanting facts along with fiction, it becomes an immersive performance rather than simply a tour. In the end, although the Guggenheim project was not realized, the ideas in it continues to traverse into other projects, transforming into new ideas, and more importantly, evolving along with the times.

The integration of technology should be balanced with consideration for the viewer. Our ultimate goal is to create a scene or an experience that can bring the distance between an architectural building and a human experience closer, using time, space, technology, and art in combination with one’s own memories to create a new personalized fantastical experience. Although physical time travel has yet to become a technical invention, the process of recalling the past, being in the present, and imagining the future is a sort of space-time travel in your mind. We combine fantasy elements in the architectural space, hoping to invoke a different spatial experience for our visitors.

▼古根海姆美术馆外观,Guggenheim Museum ©未/WAY Studio

▼建筑底部设置巨大镜面衔接场地,erect a huge mirror to reconnect the water and the park ©未/WAY Studio

郑:我们并没有过分强调科技在建筑设计中的作用,而是真正从人的需求出发做设计。AI知道一个人喜欢什么,但并不在乎他不喜欢什么;它只会给一个人他想听的、或AI认为他想听的东西,从而导致人们被科技束缚,不能全面了解外面发生的事情。我们对于科技的利用持谨慎态度,帮助人们获得不同的信息,是我们设计博物馆的初衷。

这个项目最重要的是,游客可以用VR或AR技术,通过不同的方式log in,并且看到不同的信息,从而使建筑立面产生了第三种可能性。创作是一个人的记忆,建筑则是一种功能性的、审美性的需求。我们为建筑增加了信息传递的意义,希望建筑除了具备功能性,还能更多地与人的情感和记忆产生关联。信息对建筑设计的影响是潜移默化的,建筑设计最终还是要以人为本,在此基础上做出属于自己的东西。这是我们的兴趣所在,也是我们能够坚持做下去的动机。

ZT: We don’t want to overemphasize the role of technology in architectural design, but rather design in reflection to human needs. AI may be able to detect general likes and dislikes, but it is not yet capable of reading moods, or that the greater environment may have adverse affect on choices; It provides a person with a selection of preconceived choices, which begins to create set boundaries, a biases bubble that distances oneself from external information. In this sense we are cautious about the use of technology;  Our intention is to ultimately use technology in a way that brings people closer to the human experience, rather than replacing it entirely.

The thing that stands out for this project is that visitors can use VR or AR technology to log in through a variety of channels and access different information, thus creating a third possibility for the façade, besides being an aesthetic representation and a weather barrier. The act of creation is part of a person’s memory, while the architecture serves a functional and aesthetic need. In doing so, we have expanded the significance of information transmission for architecture. We hope that architecture can become more attuned to human emotions and memories in addition to their functionality. The influence of information on architectural design is imperceptible, and as such, should ultimately be people-oriented, and from this basis, create something that belongs to you. This is where our interest lies and what motivates us.

▼通过手机从建筑立面读取信息,get information from the facade through mobile device ©未/WAY Studio

 

 

________
项目与探索
Projects and exploration

 

“形式只是一个载体,但也无可否认我们通常都是视觉动物,免不了被书的封面影响我们对它的印象。”

“Form is a vessel, but there is no denying that we are visual animals and that the cover of the book more or less has an effect on us, no matter what the content holds.”

 

MS-II餐厅
MS-II Restaurant

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郑:在建筑设计中,我们希望通过形式从物理上向人们进行直接的情感传递。MS-II餐厅作为一个改造项目,在对外的墙面有很多限制,必须要用红砖且不能开窗,但我们又不能让他最终形成一个高墙似的空间,毕竟餐厅还是需要依赖这个门面去带入客流。在进入的过程中,内与外被人为连接,形成一个前序。为了实现这个设计,本来设计是要使用机械臂建设的,但是咨询过技术人员后,最后是在硫酸纸上打印出1:1的砖块大小,铺一层硫酸砌一层砖,实现了真正的“按图施工”,建造的过程中,所有图纸压在墙体里的效果也特别壮观。

黎:这个项目甲方找到我们的原因之一,是我们擅长做艺术性比较强的设计。在前期沟通中我们就提出了“梦境”这个主题,其中是对一个他们餐厅的连锁的一个体验延伸。这个主题贯穿了整个餐厅的体验,其中外立面尤其重要,它是从现实世界跨入梦境的入口。为此我们做了很多探索,在有限的条件下,用震撼的墙体对梦境这一主题做出了答复。

ZT: In architectural design, we hope to directly convey emotions to people just from physicality and form itself. There were many restrictions when designing the MS-II restaurant as it was a renovation project, we had to maintain the usage of red brick in the front façade and no windows/openings were allowed to keep as much as possible to the original structure, this created a level of difficulty as we also did not want to simply build a wall, and the restaurant most definitely needed a recognizable facade in order to bring in customers. In fact, the facade, the process of entering is an important prelude, the conversation that the facade provides our visitors sets the tone for the entire journey. In order to achieve this design, we originally wanted to use a robotic arm, but after consulting with technical experts in the field, 1:1 paper plots of brick layouts were usedinstead, 20 meters of mylar, between each layer of brick, a layer of paper was laid down, and the entire wall was constructed literally “as drawn”. Before the facade was cleaned up after construction, you could see all the paper still sticking out of the facade, it was a spectacular view.

FL: One of the reasons why we were selected as the designers of this project is due to our strength in integrating artistic representation in the design. We proposed the concept of “Dreams” early in our communications. This concept infiltrates the entire dinning experience, of which the façade is particularly important. It is the threshold into the dreamscape that customers pass through from reality. To this end, we spend a lot of time exploring a suitable design despite all the restrictions of a renovation project and in the end came up with this dynamic design to express the fluidity of dreams.

▼餐厅外立面,external view of the restaurant ©曾皓,黎紫翎

▼外立面细部及施工过程,facade details and construction view ©曾皓,黎紫翎

黎:每个人的梦境都不一样,有很多可能性,我们在设计中的发挥余地也比较大,可以产生很多有趣的组合。我们想在一层表现出时空穿梭的感觉,但又不想做特别具象的东西,于是我们把形打散,用片状构件组合成三维空间。二层我们采用了丝绒这种特殊的材料,一方面是出于餐厅本身的需求,如果全用硬质材料,反射的杂音会影响用餐氛围;另一方面,这种材料触感非常好且非常有神秘感,与空间的氛围十分契合。我们当时参考了很多表演类的、戏剧性的东西作为参考,包括电影、故事性的作品、艺术品等,在材料和形态上获得了很多启发。

郑:整个空间戏剧感比较强,进入之后仿佛身处戏剧之中,受到环境的影响,大家都是不同的角色。比如厕所,它本来是一个私密的空间,我们把它反转了过来,旁边的抽纸是一个话筒,使用者会不由自主地做一些有意思的事情。

FL: Everyone’s dream is unique, with infinite possibilities, and we wanted very much to include this feeling of unstable fluidity within our design. We wanted to create the illusion of past without representing it literally, so instead, like in a dream, we selected a typical signature element of the past, arches, and went through a process of abstraction. On the second floor, we selected velvet as our main material. Functionally, this is for acoustics purposes, reducing noise which would improve the dining experience, on the other hand, velvet lends an air of mystery that fits our definition of the second floor’s atmosphere. While designing this project, we studied a lot of performance and dramatic works, including stage performances, movies, arts and installations, even integrated storytelling, these references, alongside our own experiences with theatre design, both provided a lot of inspiration for materials and the formal design of this project.

ZT: The whole space is an evocation of drama. After entering, you feel as if you’re in a production, and affected by the environment, everyone is playing a different role. For example, the washroom is generally a private space, but we flipped that on its side and made it a space of performance. The tissue box becomes a microphone; and the user will be involuntarily drawn to perform.

▼项目概念,不同的梦境,project concept of different dreams ©未/WAY Studio

▼餐厅一层空间,充满戏剧感,first floor space of the restaurant with an evocation of drama ©曾皓,黎紫翎

▼二层包间,使用天鹅绒材料,private room on the second floor with velvet ©曾皓,黎紫翎

▼变化而富有戏剧性的场景,dramatic views in the private rooms ©曾皓,黎紫翎

▼带有神秘感的空间细部,space details creating a mysterious atmosphere ©曾皓,黎紫翎

 

乐高项目
project using LEGO

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黎:我们每年会做多个竞赛,在竞赛中我们能做一些实验性的尝试。用乐高做设计其实就是用乐高拼接出我们设计的形态,与我们原本的设计理念并没有很大的偏差。区别在于乐高的组合形式有限,其本身就带有一定的建筑尺度和的可实现性。用乐高做模块实验有点像画分析图,它不会直接转化成设计,而是一个组合的过程,可以协助我们思考。更重要的是郑涛小时候没玩过乐高,这也算是弥补下童年遗憾吧(笑)

FL: We participate in multiple competitions every year. In competitions, we are able to experiment, it is our design research. The architectural LEGO set we used was a gift from a previous client, originally designed as developmental toys for children, they have recently experimented with the extension of its uses as well. When we were designing with LEGO, we used it much like we used other 3D tools, we had an idea or direction first, and LEGO became a tool for us to test those ideas while mimicking certain real-life restrictions, predesigned set modules and its method of construction reflected its achievability and a fair representation of architecture scale. The result did not deviate from our original intention too much, but allowed us to visit and expose certain problems. In the end, we found using LEGO to do models is a bit like drawing an analytical diagram, or a quick massing model. It had that added dimension apart from 2D diagrams, but very quick to assemble compared to other means of physical or digital model. It does not directly translate into design but plays a very useful role in brainstorming and in the design thought process.

▼用乐高做形体分析,use LEGO to do volume analysis ©未/WAY Studio

 

丝绸之路文化交流中心
Silk Road Cultural Exchange Center

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黎:丝绸之路文化交流中心最初是一个剧院综合体,包含大剧院、音乐厅、中剧场等空间。我们在剧院内部设计中受到了看与被看体验的影响,认为表演不止局限在舞台跟观众之间,正如同现在很多表演本身的设计也想要打破这种固有的关系。我们把表演者与观众的角色变换带到了公共空间的设计之中。此外,设计中我们也融入了以前做商场设计的经验。为了把人顺畅地带到商场的每一个点,商场设计十分注重人的流线。我们借鉴商场的流线设计,把空间内的流线联合在了一起,不设重复路线,中间埋藏了一些比较隐秘的快速通路。

FL: Currently in China, we face change more than architects elsewhere in the world. The West Hall of Silk Road Cultural Exchange Center is a renovation project for a project which was still in its original construction stage. The Silk Road Cultural Exchange Center was originally a mixed-use cultural complex, including Grand Theatre, Concert Hall, and Chinese Theatre. The biggest problem with the original site of the West Hall was the poor circulation of the space. The West Hall is intended to be an art museum, with exhibitions on both sides, but was lacking connections between the two sides.

▼文化交流中心,overall view of the cultural exchange center ©张辉, 黎紫翎

▼创造看与被看的体验,experience of seeing and being seen ©张辉, 黎紫翎

黎:这是一个在施工过程中进行改造的项目,原本场地最大的问题是空间不流畅。我们设计的西厅原本是一个美术馆,两边是展台,中间缺乏衔接空间。在重新设计的过程中,我们梳理了整个流线,用形态表述内部空间。光线对美术馆也十分重要。这个空间中原本有一个巨大的天窗,因为美术馆展示对光线要有很强的可控性,所以我们在天窗上设置了导光膜,使得射入室内的光线均为折射光线,非常柔和。自然光能使人长时间待在一个地方而不会感到不适,因此我们坚持保留了自然光,墙面的设置也是为了把光线带到更深的地方,同时满足功能性的需要。

FL: When designing this project, we were greatly influenced by the experience of theatre performances itself, to see or be seen. We believe performances should not be limited to the stage, many performances today explore disrupting this inherent relationship, and we extended that idea even farther into the public space. In addition, we also incorporated our previous experience in commercial mall design. In order to bring customers to every niche of the mall, mall design places explicit attention to the experience of its customers, including accessibility and the experience itself. We revamped the entire circulation, reconnecting the two sides with the addition of balconies and bridges that were expressed formally in the atrium. The original space contained a spectacular open skylight, but art museums call for intricate control over all light, natural or artificial, therefore we designed louvres under the skylight that would allow the museum to control infiltrating light according to outdoor conditions as well as its current exhibits. Natural light brings comfort to its occupants and allow people to stay in the space longer so we insisted on retaining this natural light source, in addition, we integrated atriums in our bridge additions that would allow the light to penetrate deeper into the space.

▼流线和采光分析,streamline and lighting analysis ©未/WAY Studio

▼柔和的室内光线,玻璃绿墙帮助光线进到更深的地方,sunlight defused by the skylight, glass walls with plants lead the light into deeper space ©张辉, 黎紫翎

黎:在这个项目中,我们考虑了不同的尺度。项目的整个形体,从灯光到墙面材料,都具备一定的雕塑性。我们甚至对门把手进行了设计。门把手是人们进出空间最先接触的构件,通过设计,我们把雕塑性的体验带到了触觉的层次。中部的空间起到呼吸的作用,人们从展厅出来要有一个沉浸思考的过程,从一个比较私密的空间来到了一个比较开放的空间,其中的体验很重要。

郑:这个项目使用的材料是日本的硅陶板,重量只有GRG的六分之一,所以我们可以做很多非常大的悬挑。材料表面我们做了很多纹理,掩盖了一些瑕疵,整体取得了很好的效果。空间最初状态很差,基本的交通流线问题都没有解决,有很多需要改进的地方,持续了两年才确定最终的解决方案。该项目涉及最重要的目的是连通所有展览空间,形成一个交汇点。美术展览空间最不希望人们看到美术馆本身,而是把注意力更多放在展品上。我们的设计用流线重新组合空间,主要提供了一种游览体验。在这个空间里,人们可以看到整个室外环境,展厅入口在人的视点下方,可以将游客在没有直接看到入口的情况下引入展览空间。

FL: In this project, we considered the full spectrum of scales, from the overall form, to lighting, to the texture of the wall materials, all of these are design like sculpting the space. We even designed the door handles of the main exhibition halls as we found this is the first thing one touches when entering a space, somewhat like a first impression. Through design, we extended the experience of art and sculpture into the design of this door handle, and instilled it through the sense of touch. The central atrium allows for visitors to breath, to contemplate between exhibitions as they move from the enclosed space that hosts exhibitions to the next. This moment of pause is also an important part of their experience.

ZT: There is a new material that we experimented within this project, Okijima panels, its weight is one sixth of GRG, which is what is commonly used for three dimensional forms in interior spaces, with its reduction in weight, we were able to achieve larger overhangs than normal, it also reduced the stress on the original structure. A layer of striations were added to the surface of the panels in order to cover up defects due to the time stress of production. The initial state of the space was very poor, even basic functional needs such as circulation were not thought through properly, there were lots of room for improvement, schematic stage lasted two years, with the design was constantly changing before we arrived at the current scheme.

The most important thing for us was to solve the initial problems with circulation, and creating a central focal point within the atrium. Our intention is for the museum itself to disappear within the entire experience, that the visitors focus on the art itself while the space becomes a backdrop for the deeper consciousness. In our adjustment to the circulation, we not only reconnected the entire space, but we added moments of pause to the entire journey, views towards the atrium like previously mentioned, towards the exterior space.

▼材料细部,material details ©张辉, 黎紫翎

 

 

______________
发展现状和未来展望
Current developments and future prospects

 

正在进行的项目
Ongoing Projects

黎:很多在建/在设计中的项目因为保密关系,暂时不方便与大家分享,但是我们也是很期待的。另外,每一年我们会挑一些概念竞赛进行思考和自我锻炼,前年是“2118”的太空漫游思考,而去年,纽约图书馆项目就是其中之一。这是一个不会被建的纯概念竞赛,选址在纽约中央公园。受到公园的启发,我们将通常去图书馆的经验反转过来,设计了一个会自己来到游客面前的图书馆。

FL: Other on-going projects are mostly confidential, for those, we will have to wait till they are completed to publish them. We try to participate in an ideas competition every year, to push our selves to think, to think beyond the present. The year before, we proposed a mobile-station for future living “2118” as part of the mini competition, and last year, we proposed another mobile project, the Lib-Ark project, located in New York Central Park. Inspired by the park location, we proposed a reversal of the normal library experience of visitors traveling to the library, and instead, had the library approach its visitors.

▼纽约图书馆,Lib-Ark project in New York ©未/WAY Studio

郑:中央公园是一个特别平整的场景,我们希望创造一个高点可以俯瞰整个公园。因此我们把阅览室设计成了一个缓慢移动的摩天轮,使用者待在一个阅览室里,可以在轨道上一直移动,在获得知识的同时,感受城市里真实生活带来的美景,度过充实的一天。摩天轮是很多人童年回忆的一部分,我们设计的摩天轮图书馆,也可能成为一些人的人生经历。传统阅读讲求身未动心已远,在这个图书馆里你在阅读的时候,身体也会随着摩天轮运动。

ZT: Central Park is a particularly flat landscape, so we wanted to create a high point overlooking the entire park. From this, we imagined the reading room as a slow-moving pod, kind of like a flat ferris wheel or a super slow moving roller coaster. The reader stays in one reading pod that continuously traverses the landscape. While absorbing knowledge through text and paper, you can also become absorbed in the real life beauty of the park, a fulfilling day. The ferris wheel is part of many people’s childhood memories and we hope this library we designed may also become one more memory to treasure. Reading is an activity where the body is still while the mind is in motion. In this library, when you are reading, your body will also move with the mind.

▼在平整的公园中设置 一个可以俯瞰的图书馆,design the library on a higher land overlooking the flat park landscape ©未/WAY Studio

黎:设计的时候最大的争议是:AI能不能真正读取人们的喜好?别人推荐的东西真的是我们想要的吗?团队里分成了两派,一派认为实体书不会存活下来,未来图书馆会通过算法了解使用者想要的书,然后迅速传输到他的手机;另一派认为传统图书馆里,我们可以随机拿起一本书,知识没有经过第一层过滤,是以平等的方式摆在人们眼前,可以创造更多的可能性,这是机器算法无法替代的一个体验。因此在这个项目里,我们设计了两条阅读线路。山体下埋有一个大型书籍储藏室,通过预约的方式直接将指定的书籍送到阅览室。另外在阅览室中会定期更换书籍,并且会留有人们看完的书,保留了在传统图书馆中和实体书相遇的场景。当下的技术让我们可以快速获取信息,在这个图书馆里,我们希望把思考和体验重新灌输到空间中,让人们缓慢地在“图乐园”里消磨一天。

FL: Along with the library in motion, we also incorporated technology in the sense that books of the library are stored in a central storage space beneath the “mountain” and you can access reading material via an app on your personal device and the books will arrive along with your pod. In this setup, the biggest controversy during our design was: how much of the library experience can be taken over by AI, which is something that is already happening in our daily lives; can AI really read people’s preferences? Is something recommended by others really what we want? The team was divided, on one hand some believed that the paper book will not survive and an algorithm will learn all reader’s preferences; on the other hand, some believed that the experience of one encountering a book randomly as it is all laid placed in a physical space, that that randomness of that experience is irreplaceable. Therefore, for this project, we designed two reading lines. There is a large book storage room buried under the mountain, and the designated books will be sent directly to the reading room by appointment. In addition, there will also be physical books offered in the reading room, as well as books that people have left behind, retaining the chance of encountering physical books in traditional libraries. Today’s technology means information is always readily available at our fingertips, but through this library, we hope to reignite the experience of reading and pondering and let people slowly pass the time in the “Lib-Ark”.

▼从图书馆内俯瞰公园,overlook the park from in the library ©未/WAY Studio

郑:目前有一个儿童培训中心在建,位于北京,我们与甲方在这个项目里打破了很多空间上的常规运用。也是一个改造项目,所以我们也利用设计把一些场地固有的问题转化成了一些有利的焦点。这个项目即将开幕,到时候也很期待与大家分享。另外今年我们在深圳歌剧院的竞赛中提交了提案“海上生明月”,并受邀为北京欧陆时尚购物中心,为那个下沉广场提供改造的可能性。 此外,在设计过程中的“真实”项目还包括一个桥梁设计,目前处在概念设计阶段、还有一个位于西海北沿的一个四合院改造、并且有很多还不能跟大家分享的项目,请拭目以待!

ZT: We currently have a children centre in construction in Beijing. In this project, we were able to traverse traditional usage of spaces. It is also a renovation project, so we also placed an immense amount of effort in transforming certain inherent problems within the site into something that would work in our favor. This project will be opening soon, and we look forward to sharing it with everyone. We also participated in the Shenzhen Opera house competition with our entry of “Rising Moon”, and was invited to participate in a vision competition for the sunken courtyard space of EuroPlaza. In addition, “real” projects that we are working on currently includes a bridge, still in its concept design stage, a courtyard renovation in the west sea area, and many others, please stay tuned!

▼WAY Studio其他设计项目,other design projects by WAY Studio ©未/WAY Studio

 

“设计是一种追求,既然独立了,就要敢想;曾经认为对的事情,要努力去证明。”

“ Design is a constant never-ending pursuit. Since we’ve become independent, we must dare to dream; what you once held to be right must be realized as much as possible.”

 

未来几年的发展蓝图
The blueprint of the studio’s future development

黎:落地项目会受到多方面的限制,包括时间、金钱、甲方等。竞赛对我们来说更多是对未来的设想。如果未来我们遇到类似的项目,就有前述的一些构思。这对我们及团队来说都能保持脑洞大开的状态。

此外,在项目中,我们发现在空间设计中融入恰当的软装的确能成就一个空间,反之亦然。小物件的设计及制作同时也能让我们提前利用小尺度对一些形态,材质,节点等进行实验。所以,我们也在开始研发一些自己的产品,包括家具、日用品等,可以与我们设计的空间配套使用,或者单独购买。我们第三位合伙人ALAN目前正在与工匠们进行家具和产品的研发,并在去年于温哥华室内设计展展出。

郑:坚持做好设计,是事务所最重要的工作。设计是一种追求,既然独立了,就要敢想;曾经认为对的事情,要努力去证明。事务所的初衷和未来发展都会坚持做有情感记忆的作品,探索在现实中创造非现实。我们通过竞赛来见证和探索自己不成熟的想法能走多远,在概念竞赛里我们可以把概念放到最大,做出实际项目里不可能做出来的设计。为了能更好地表达空间,在一些项目里我们也会主动做一些配套的艺术品或家具。

FL: Projects that are to be actualized are subject to various restrictions, including time, money, client’s needs, etc. For us, competitions are more about the imagination of the future. If we encounter similar projects later on, it will have been because we have already began to think about it. This is a meaningful exercise for us and the team, to keep our minds open wide and thinking.

In addition, We have also begin to pursue experimentation with products as we have found continuously in our own design that key objects can make or break the atmosphere of a space, it also gives us an opportunity to test design ideas, materials, etc, prematurely at a much smaller scale. Since then we have started to develop some of our own products, including furniture, daily necessities, etc., which can be used in conjunction with spaces that we design, or purchased individually. Alan, our third partner has been working with craftsman, producing prototypes of our own line of furniture and objects. They were on display at the Vancouver Interior Design Fair last year and can be found on our website.

ZT: Adhering to good design is the most pivotal work of the studio. Design is a constant never-ending pursuit. Since we’ve become independent, we must dare to dream; what you once held to be right must be realized as much as possible. The studio’s original intention and future endeavourswill always insist on projects that resonate with one’s emotions and memories, walking the line between fantasy and reality. We use competitions to witness and explore how far our wildest ideas can go. In conceptual competitions, we can put our imagination on over drive and create designs that one may not dare to imagine in actual projects. In order to further extend and express the spatial experience, we will also actively make supporting artworks or objects as part of our projects.

▼项目配套的门把手设计,door knob design for projects ©未/WAY Studio

▼WAY Studio其他项目 – 未·现实之外(点击这里查看更多
Other projects of WAY Studio – WAY-out-of-the-box (click HERE to view more) ©i-Joyer摄影

▼WAY Studio其他项目 – 快闪月饼店(点击这里查看更多
Other projects of WAY Studio – Moody Mooncake Pavilion (click HERE to view more) ©田方方

▼WAY Studio其他项目 – REVIVING 2118再生舱(点击这里查看更多
Other projects of WAY Studio – REVIVING 2118 (click HERE to view more) ©未/WAY Studio

▼WAY Studio其他项目 – “水·云·山” BMW沉浸体验展厅(与MAD合作项目,点击这里查看更多
Other projects of WAY Studio – BMW Immersive Experience-Water, Cloud, Mountain  (design with MAD, click HERE to view more)

▼WAY Studio其他项目 – 2015北京国贸三期圣诞节室外装置艺术-“圣诞树”(点击这里查看更多
Other projects of WAY Studio – “The Tree” (click HERE to view more)

 

后记
Postscript

在近期疫情之中,大家的生活都受到了一定的影响。所幸,团队都平安,并积极的作出了快速的调整,工作室本身并没有太大的影响,但对于生活与办公的界限,我们急需作出一些调整。我们在去年着手设计并施工的一个北京周边的院子,原本的意图是为了提供亲友在周末中喘气、亲近自然的一个场景。但在疫情当中,我们就搬迁到了这个本应是短住的小院里。其一是在居家办公的需求下,我们在家里需要一个更好的办公环境;其二亦是在疫情中社交隔离的大环境下,家人更需要这个能让他们能喘气、亲近大自然的空间。这段时间与经历促使了我们对于工作模式及消耗模式的很多思考。

In light of the affect of the virus in Beijing, everyone’s lives were affected somewhat. Fortunately, our team remained safe and adapted to this new situation quickly, and there was little influence to our actual work, but at the same time, we needed to make certain adjustments to the boundaries between home and work. Last year, we were working on a renovation project that we both designed and built. Originally it was intended as a temporary weekend getaway with family and friends in the outskirts of Beijing. One of the main reasons was that we were in desperate need of a better suited environment for home office, but more importantly, it allowed our family the muchneeded space and a chance to spend more time with nature under the circumstances of social distancing. This period of time induced a lot of reflection with regards to the way we work and our method of consumption.

▼郑涛和黎紫翎合影
Zheng Tao and Fernie Lai ©高原

More: WAY Studio。更多关于他们:WAY Studio on gooood

 

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