Under 35 – Zigeng Wang - 谷德设计网

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44期为您介绍的是 Pills工作室 创始人王子耕。更多关于他，请至：Pills Architects 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.44 introduces Zigeng Wang, founder of Pills Architects.
More: Pills Architects on gooood

出品人：向玲 / Producer: Xiang Ling
编辑：武晨曦 / Editor: Wu Chenxi

▼王子耕在中央美术学院接受谷德采访（特邀采访人：叶扬）；文中部分观点来自本次采访。
Zigeng Wang during the interview with gooood at CAFA (guest interviewer: Yang Ye) . Part of the article content comes from the interview. ©王子耕

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回溯
Reminiscence

学习和工作经历
Study and Career

我是在大学环境里长大的，但是我们家没有人搞建筑。高考的时候主要是想离开北京，离开家里，看着中国地图东西南北各选了一个学校，专业也填的五花八门，只有一所学校填的建筑学，现在想起来好像有点随意。我挺庆幸误打误撞能在重庆上大学，重庆是一个有荷尔蒙的地方，野蛮，有活力。我想这对我的观念养成是相关的。毕业之后我就选择了回京工作，我是本科毕业5年之后才去的普林斯顿继续读书，2015年毕业之后就回国教书了，先在北京电影学院美术学院，然后在中央美术学院建筑学院，大概2年前做的工作室。

I grew up in a university environment, but there is no one in my family who engages in architecture. I feel quite lucky to have “accidentally” spent my college time in Chongqing, since Chongqing is a place full of hormone, a barbaric and energetic city to live in, which I think had contributed to the shaping of my ideas and concept. I went to Princeton 5 years after graduating from my undergraduate school and returned to China to teach in 2015. I had been worked at the Art School of BFA before I became a lecturer at the architecture School of CAFA, and I started my own studio about 2 years ago.

▼重庆大学时期大学五年级时期的照片（左）；普林斯顿大学研究生毕业时期的照片（右）；M.Arch1和M.Arch2年级合影（下）。Wang Zigeng at his fifth year of undergraduate study (left); graduation at Princeton University (right)；M.Arch1 & M.Arch2 Graduation photo (bottom) ©王子耕

▼在学校教堂举行的2015届毕业演讲，主讲人是电影导演克里斯托弗·诺兰
Graduation speech at the school’s church in 2015 given by Christopher Nolan ©王子耕

我的本科作品集是2008年左右做的了，还有我在普林读书时候做的“A Beautiful Country”三部曲，两者有大概5年的时间跨度。（点此查看王子耕本科和研究生期间的作品集）我是做了几年建筑师再出国的，我很清楚学术训练和实践之间的区别和关联。

工作室应该有自己的价值观和看待世界的方式。Pills成立之后我们是分两条线，其中展览项目中是有延续和强化“议题”的，我们也是这样做的，当然每一个展览也有各自的限制和要求，但总的来说我觉得是延续了我读书时期的关注点，这也是展览的价值，每一个展览其实都是建筑或者非建筑批评的外化。

如果你关注我们的公众号（Pills Architects），会看到关于展品的解读和思考。但这同样也给我们造成一定困难，就是展览和装置做多了，别人就觉得你只会做这个，于是就有更多的展览邀请，反而没什么建筑委托。我们可能是近几年受邀参加展览最多的建筑事务所，这可能在别的语境下对于事务所是求之不得的事，对于我们却带来不少问题。

▼“A Beautiful Country”三部曲之一，《苦塔》局部， 2014
partial view of Dukkha Tower from “A Beautiful Country” trilogy, 2014 ©王子耕

The portfolio was made around 2008. When I was studying at Princeton, I made a trilogy called “A Beautiful Country”, and the creation of these two collections had a span of about 5 years.（Click here to see Wang Zigeng’s portfolios during undergraduate and postgraduate period）I had been worked as an architect for a few years before I went abroad, and I’m well aware of the difference and connection between academic training and practice.

Running a studio means that you must have your own value and way of perceiving the world. In fact, after the founding of PILLS, the concept of “thesis” that I focused during my graduate study has been continued and strengthened in many of our exhibition projects, in spite of that each of them might be challenged by specific restrictions and requirements. I think it is precisely the value of exhibitions, each of which can be regarded as an externalization of architectural or non-architectural criticism.

The interpretations and thinking about each of our exhibits can be found in our official media posts, but it also caused us a certain difficulty, that is, the more exhibitions and installations we have done, the less architectural commissions will come to us. We are probably the architectural studio that has been invited to the most exhibitions in recent years, which might be attractive for a studio in other situations, but for us it has become a source of problems.

▼“A Beautiful Country”三部曲之一，《渔村童话》模型局部
“The tale of fishing village” from “A Beautiful Country” trilogy ©王子耕

▼“A Beautiful Country”三部曲之一，短片《Beijing Blue》，2013
“Beijing Blue” from “A Beautiful Country” trilogy, 2013 ©王子耕

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Pills工作室
Pills Architects

“我觉得“当代性”对我们是重要的，“提问”对我们是重要的，“答案的形式”对我们也是重要的。这是我们在众多事务所中保持独特的关键。”
“Contemporaneity is important to us, while “questioning” and “the form of answer” are also important to us. I believe this is the key to maintaining our uniqueness among the other studios and firms.”

我们这个路径在西方是一个常规路径，通过展览和装置积累业内认可，逐渐从小做大，从观念到建造。但是在中国好像不是那么回事。不过最近好了不少，一些朋友和师长照顾我，分给我一些建筑做。也有越来越多的人找上门。我觉得这个事情就是人的一种认知障碍，没有办法的，再加上国内对建筑师的认识比较单一化，这个就需要你有第一个成功的案例，第一个什么样会很大程度的影响你之后的道路。不过我觉得这倒不是什么大问题，我们才成立2年，对于一个2年的工作室，如果算上展览，我们积累的项目已经很多了，而且我平时还有教学任务，对于一个高校教师的工作室来说，我的工作已经很饱和了。

我们的项目来源也逐步在向建筑转型，我们和中国院的联合体刚刚入围了深圳十大文化建筑的最后一个标的，同时有几个国内重要的建筑展陈和集群设计在进行。另外，不同的事有不同的价值和做法，不能混为一谈，实际建造的建筑有他自身应该关注的问题，业主的利益，建造的质量，施工和设计管理，都是跳不过去的，不能简单地用thesis的方式去看待。

▼Pills工作室（左）；王子耕办公室和被收养的“副局长” （右）。Pills Architects’ office (left)；Zigeng Wang’s office with the adopted cat called “deputy director” (right) ©王子耕

▼Pills办公室内景，Pill’s office view ©王子耕

Our approach to practice is conventional if it were put in the Western context, where we accumulate recognition in the industry through exhibitions and installations, gradually growing from small to large, progressing from concept to construction. It is another story in China, but I do feel that things have improved a lot. Some of my friends and teachers have provided me with opportunities to work on architectural projects, and there are also more and more clients coming to find us. The studio has only been established for 2 years, to whom the current amount of projects, including exhibitions, is not small. Furthermore, as a university staff who have daily teaching tasks, I’m already saturated with the studio’s work. Our project sources are also transforming to architectural fields. Our collaborative project with China Architecture Design and Research Group has just been shortlisted as the last bid for the Top 10 Cultural Buildings in Shenzhen, while there are several important domestic architectural exhibitions and cluster designs ongoing.

▼Pills 2019年研究计划，部分研究计划已转化为展览或文章
Pill’s Research plan 2019, part of which has been transformed into exhibitions or essays ©Pills Architects

我们成立大概2年，刚起步，还不稳定，北京工作室大概10个人左右，另外美国目前有一个part time的团队。小工作室都会面临很多问题，有活儿的时候没人，有人的时候没活儿，很难说工作室的重心偏向什么，要看有什么样的委托。当然，大家都觉得艺术和展览是我们的长处，这个类型的项目就会多一些，但说实话，在国内一直做这个的话，在经济上是支撑不起一个事务所的，所以我们在经营上是比较多面的，主要是城市设计，建筑设计，展览展陈和我的一些装置制作。我们最开始想做杂志的时候，兴趣主要集中在资本与当代媒介、空间现代性与身份认同、环境控制与技术哲学、全球化与基础设施、影像与媒体技术这些领域和建筑学交叉的部分。做工作室之后，我们依然希望在维持经济正常运转的前提下，能每年有一个主题，形成一些研究成果。我觉得“当代性”对我们是重要的，“提问”对我们是重要的，“答案的形式”对我们也是重要的。这是我们在众多事务所中保持独特的关键。

Pills has been founded for about 2 years. It still needs time to grow and become stable. There are about 10 members in the Beijing office, in addition to a part-time team in the US. A big part of our projects relate to art and exhibition, which are also acknowledged to be our strengths. Honestly, it will be hard to financially afford an office focusing on such types of projects in China, and we therefore have adopted a multi-faceted way of practice, mainly including urban design, architectural design, exhibition design and some of my personal installation pieces. When we first started to do a magazine, our interests were mainly in the intersection of architecture and other kinds of fields like capital and contemporary media, spatial modernity and identity, environmental control and philosophy of technology, globalization and infrastructure, as well as video and media technology. After establishing the studio, we still hope to investigate a specific topic every year and produce some research results on the premise of maintaining our economic viability. Contemporaneity is important to us, while “questioning” and “the form of answer” are also important to us. I believe this is the key to maintaining our uniqueness among the other studios and firms.

▼Pills工作室部分项目，selected projects of by Pills Architects ©Pills Architects

“我们目前是用展览和艺术去平衡脑力过剩。”
“Exhibitions and art now are tools for us to counteract the excess of brainwork.”

我觉得我干的事都很常规，我也不明白为什么他们不这么干。这至少在西方是一个学术型建筑师的常规路径。我现在事情多了，操心的事都很实际，工作室建筑项目也慢慢多起来，跟以前学生时代的状态肯定是不一样的。但即使项目再多，我们也保持一年做一到两个展览，通过展览表达我们关心的议题。去年我们做了《制造人类：夏娃的选择》和《人工自然：剩下的果实》两个展览，分别在探讨人的进化和工具，以及数据和监视。今年做了《1994年》和政纯办个展的空间设计，《1994年》是一个偏个人叙事的单人剧场装置，讲的是我小时候和我父亲住过的一个小房子。政纯办那个蓝房子是关于集体主义的空间叙事设计。

I think what I’m doing is conventional, and the things I’m concerning about are quite practical. There are more and more projects to deal with, but typically we work on one or two exhibitions a year, through which we would like to convey our perspectives on the topics that we care about. Last year we revealed two exhibitions, “Manufacturing Human: Eve’s Choice” and “Artificial Nature: the Other Fruits”, respectively discussing on human evolution and tools, as well as data and surveillance. This year we have finished “1994”, a personal narrative installation telling the story about a small house I lived in with my father when I was a child; and the design for the solo exhibition by Polit-Sheer-Form, featuring a blue house with a narrative about collectivism.

▼政纯办个展“团结就是力量”空间设计，Pills，深圳坪山美术馆
“Unity Is Strength Solo Exhibition of PSFO” by Pills, at Pingshan Art museum ©Pills Architects
点击查看该项目详情，Click here to check more about the project

▼《1994年》，上海OCAT空间规训展
“1994” narrative installation at OCAT Shanghai ©Pills Architects

基本上我倾向于认为学术思考和实际项目是两件事。但也不能说是无关的，一定是相互有影响的。而且这两个东西有的时候是此消彼长，看你想要什么，以及如何把握这个度。我们目前是用展览和艺术去平衡脑力过剩。不是非要把你的想法塞到建造项目里，没有必要。实际项目里大部分有价值的东西都很难被理论化，要下工地或者多干活才能明白。

Basically, I tend to think academic thinking and actual projects are two different things, and they have an influence on each other. It sometimes becomes a trade-off, where you need to decide what you want and how you could handle it. Exhibitions and art now are tools for us to counteract the excess of brainwork. It is not necessary to shoehorn your ideas into a building project. Most of the valuable things in down-to-earth projects are difficult to theorize. You are supposed to visit the site personally, or work enough to understand them.

▼Pills工作室即将建成的建筑项目之一：山西运城五谷食肆项目（效果图）
One of Pill Architects’ ongoing architectural projects (render): The Five Cereals Foodcourt in Yuncheng, Shanxi Province

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代表作品
Featured Projects

铸忆
Steel Home Still
2018年展出于威尼斯
Exhibited at Venice Biennale of Architecture in 2018

筑境的薄宏涛最早找到我，他跟我都希望将程式化的建筑项目展示转向成为一次关于场所与记忆的探索。所以我们跳出常规的关于建筑物与代表性事件的描述，聚焦在“人”身上，这些个人的生活经验与个体记忆因而与企业历史形成了良好的互文关系。我们希望从个体和家庭叙事的微观史层面，去再现这座传奇的工厂中共同的集体记忆，进而来窥探以首钢为代表的中国近代化转型之路。在展览层面，我们通过一种沉浸式的展品呈现方式，帮助缺乏语境的国际观众有序地了解到上个世纪八十年代典型中国劳动者的集体主义生活，让观者产生和那个时代的共情。

蒋方舟的父子故事将时间重组，为有限的空间赋予叙事性和多重阅读的深度。观众在箱体空间中慢慢探索彼时的父子的生活。文字中父亲的日记、图纸、父子下棋的牌桌、父子生活的卧室和书房被一一呈现。每个房间都各不相同，每个房间都暗藏玄机，步入其中仿佛步入了一个特殊的时空，在这个时空中观众可以选择跟随父亲的视角，也可以听从儿子的解读。沉浸式体验将观众不自觉地融入情境之中，如同走进了曾经住过的老房子，妄图拼凑出过去的故事。文字赋予了空间以时间的密度和结构，将观众关在了被设计的时间里。我们从微观去切入整体，才能更具象并且有温度地表达大的时代叙事。

Bo Hongtao from CCTN was the first to find me. Both he and I were interested in transforming a display of stylized architectural projects into an exploration of places and memories. In that case we broke away from the conventional description of architecture and typical events and put our eyes on “people”, whose personal life experiences and individual memories formed an intertextual relationship with the enterprise’s history. We hope to reproduce the collective memory of this legendary factory from a micro-historical level of individual and family narratives, having a glance of the path of China’s modernization, represented by the renewal process of Shougang industrial park. At the exhibition level, we introduced an immersive way of presenting the exhibits to help international audiences who lack context to understand the collectivist life of typical Chinese laborers in the 1980s following a clear sequence, evoking the viewer’s sympathetic response to the life in that era.

Jiang Fangzhou’s story of a father and a son reset the order of time, giving narrativity and the depth of multi-layer reading experience to a limited space. The visitors could slowly go through the box-like space to explore the life of the two generations at that time. The diary and drawings by the father, the table where the father and son played chess, and the bedroom and study where they spent time together, this series of scenarios were presented one by one in front of the viewers, while each of the rooms hid an untold story. Just like stepping into a unique space and time, the visitors were allowed to follow the perspective of the father, or choose to listen to the interpretation given by the son. The immersive experience integrated the visitors into that situation unconsciously, as if they walked into an old house they once lived in, attempting to piece together the story from the past. The writing provided the space with the density and structure of time, locking the viewers in the designed scale of time. Only when we approach the entirety from a microcosmic perspective, can we master a warm and concrete language to express the grand narrative of time.

▼2018年威尼斯首钢《铸忆》展览现场，
Steel Home Still for Venice Biennale of Architecture in 2018 ©Pills Architects

黑色玛丽
Black Maria
坪山美术馆，2019
Pingshan Art Museum, 2019
点击查看该项目详情，Click here to check more about the project

《黑色玛丽》是坪山美术馆的首展中国当代建筑装置影像展的委托。黑色玛丽是一个“表里不一”的空间寓言。一个专门生产虚假的空间。模型为一个三层包裹性的结构，它的核心是一个放着婴儿床的绿幕房间。房间成为这样一套机器供给体系的终端。这个系统又隐藏在一个电影制景的假立面里，假面的来源是电影《闪灵》中囚禁作家一家的瞭望酒店。

Black Maria is a commission for China Contemporary Architects and Installation Art Exhibition, the first exhibition of the new opened Pingshan Art Museum. It was designed as a spatial allegory that have two opposite faces. A space dedicate to producing falsehoods. The model is a structure wrapped by three layers of skins, whose inner core is a green screen room with a crib in the middle. The room becomes the terminal of a machine supply system, and the latter is concealed in a fake facade for filmset, while the fake facade comes from the Overlook Hotel where the protagonist were imprisoned in the film The shining.

©Pills Architects

制造人类：夏娃的选择
Manufacturing Human: Eve’s Choice
UABB 2019 主展场
点击查看该项目详情，Click here to check more about the project

《夏娃的选择》是以伊甸园的故事为脚本的再演绎，现代人类的进化历史可视为动物性的退化与外置的技术能力增强的历史，技术不仅被人生产，亦令人类成为“人类”。人通过工具和技术的演进在不断地创造一种非生物的自身镜像，人不仅创造工具，工具也在重新修正人类的定义。我们在用这个作品探讨在人与工具之间的模糊地带，关于什么是人，谁又是造物主的古老问题。

Eve’s Choice is a reinterpretation of the Garden of Eden. The history of modern human evolution can be regarded as a history of the degeneration of animality and the enhancement of external technological capabilities. Technology is produced by human, but also makes human become “human”. Through the upgrading of tools and skills, human beings are constantly creating a non-biological mirror image of themselves. Tools are invited by human beings, and they are also recalibrating the definition of mankind. Through this work we tried to explore the ambiguous zone between human and tools, thinking about the old questions：what are human beings, and what are the creators.

▼《制造人类：夏娃的选择》展览现场，The exhibition venue ©Pills Architects

▼人偶及塑封正投影图，The puppet and the PVC Blister film – orthographic projection ©Pills Architects

▼轴测图 & 人偶3D打印分割模型，axonometric drawing & 3D print model of the puppet ©Pills Architects

人工自然：剩下的果实
Artificial Nature: the Other Fruits
UABB 2019 宝安区分展场
点击查看该项目详情，Click here to check more about the project

在《剩下的果实》里，我们用城市里常见的闭路电视设施，创造了一片由监视器、电线杆、施工防尘网组成的数据丛林。人作为数据的饲料，成为了滋养这片果实森林的果实。智慧城市所提供的新世界不过是旧世界的新外衣。而这层外衣将政府、科研机构、企业牢牢捆绑在一起，新的“数字复合体”催化着创新的需求和资本的希望。人作为未来城市的”数据喂养体”，似乎是难以避免的命运。

For the Other Fruits, we have used closed-circuit television facilities that are common in cities to create a jungle of data, consisting of monitors, telegraph poles and construction dust nets. Human beings, as the fodder for data, become the fruit that provides nutrition for the jungle. The new world offered by the intelligent city is just a new coat for the old world, by which the government, the scientific research institutions and the enterprises are firmly bounded together. The new “digital complex” catalyzes the demand for innovation and the desire for capital. It seems to be an inevitable fate for human beings to become the “fodder for data” in the future city.

©Pills Architects

▼第一版定稿方案图，proposal version 1 ©Pills Architects

这三个展览项目委托方，主题也不一样，但这三者确实都关心人和人所创造的系统之间的纠缠关系。

These three projects have different commissioners and topics, but they do concerned themselves with the entangled relationship between people and the systems they create.

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电影：另一种叙事工具
Films: another tool for narrative

电影是一种综合叙事工具，他的生产流程、拍摄中对现实的再现方式、视觉技术和空间营造手段都很有启发性。我们在《铸忆》和《黑色玛丽》，包括即将完成的《1994年》里，都运用了电影的某种技术手段或特征。在教学里我也希望把对电影的关注延续到央美，我在2019年开设了公共的讲座课《电影术：作为一种叙事技术》，今年准备做《剧场术：作为一种叙事技术》，这样一年剧场，一年电影，把叙事和媒介这件事持续作为一条线索串联教学的不同环节。今年因为疫情，我自己的事也太多，剧场这个课就没开，以后有机会再开。

Films are a comprehensive tool for narrative, of which the production process, the way of representing the reality, the visual techniques and the methods of creating spaces are all greatly inspiring and instructive. We used some kind of technical means or features of film making in Steel Home Still and Black Maria, as well as the upcoming “1994”, and I also want to continue my engagement of films to my teaching program in CAFA. In 2019, I started a public lecture course called “Film: As a Narrative Medium”, and this year I’m planning for “Theatre: As a Narrative Medium” as a counterpart, making narrative and media a clue to connect the different sections of teaching.

给姜文做“营造参谋”
Being an advisor for Jiang Wen’s film

和姜文导演的合作前前后后有两年多的时间，是一个漫长的筹备期，我基本参与了拍摄前的全过程。我的基本任务是带预览组完成数字资产和场景搭建，还有一些繁复的历史考据工作，来衔接美术组和导演组。姜文导演的艺术直觉是让人钦佩的，并且对细节有近乎执迷的追求。我印象特别深的是他说戏的部分，每句话几乎都是一个画面，电影已经在他脑子里了，所以他也根本不需要分镜头。我们拍摄的是1937年的北平，但是却几乎没有一个镜头是在北京拍的。屋顶戏是在云南搭的，城墙是在西安，钟楼是置景。我的这份工作是一个机会让我认真地了解我出生成长的这个城市的过往。当然也会感到惋惜。

The collaboration with Jiang Wen for the film “Hidden Man” lasted for about two years. It was a long period of preparation, and I was pretty much involved in the whole process before the filming started. My basic task was to lead the preview team to complete the construction of digital assets and scenes, bridging both of the art team and the director team, as well as some complicated historical research work to cope with. Director Jiang Wen’s artistic instincts are admirable, and he has an almost obsessive pursuit of details. I was greatly impressed with the part where he narrated the script. Each sentence clearly dedicated to a scene, and the film was engraved in his mind that even no storyboard was needed. The film tells a story that happened in Peking in 1937, but almost none of the scenes were shot in true sights of Beijing. The rooftop scenes were finished in Yunnan, the ancient city walls were shot in Xi’an, and the bell tower was created as a filming setting. Not until I did this work had I got the opportunity to seriously understand the city where I was born and raised. Of course I would say it was a pity.

▼《邪不压正》在云南拍摄的屋顶戏
The rooftop scenes in the film “Hidden Man”were finished in Yunnan

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对教学的看法
Approach to teaching

高等教育应该是发现自己的一段旅程，发现自己的使命、喜好、价值观、甚至缺陷。在这个过程中，与其说是传授，不如说是创造一个环境去催化这个过程，这个过程对于谁都不会那么顺利的。我也不希望创造一种温室的假象，我希望他们能接触到不同的价值，挑战自己的安全边界，确立自己的工作方法，最重要的是找到自己的独特性。

Higher education is supposed to be a journey of discovering one’s self, mission, preferences, values, and also defects. I would say my job is less about passing on knowledge and skills, but more about creating an environment that can catalyze this process of moving forward. For anyone it will not be a smooth path to go through, and I would never try to build an illusive hothouse for them. I expect them to be exposed to different values, challenge themselves to surmount their safe boundaries, establish their own ways of working, and most importantly, find their distinctive personalities.

▼和刘家琨老师合带央美实验班课程（左）；和刘晓都老师一起带清华及央美的学生在798调研（右）Experimental class tutorial at CAFA with Jiakun Liu (left); site visit with students from CAFA and THU, led by Zigeng Wang and Xiaodu Liu (right) ©王子耕

▼中央美院实验班评图（左）；在北京电影学院任职期间带学生参观调研特效工作室（右）。Experimental class review at CAFA (left); Zigeng Wang leading his students visiting the vfx studio during his tenure at Beijing Film Academy (right) ©王子耕

▼王子耕在TEDx上的演讲（左）；带学生下乡，和当地村民一起放烟花（右）。Zigeng Wang giving a speech on TEDx (left); Taking students to the countryside and playing fireworks with local villagers (right) ©王子耕

我最近一次能够自主命题的教学是雪城大学本科今年的Visiting Critic Studio。题目叫 “The Boundary of Selves: Domestic Space in the Age of Digital Screens”。我们通过对全景画（Panorama），活动电影放映机（Kinetoscope），电影荧幕（Cinema），电视屏幕（Television），电脑屏幕（Computer Screen (Early Internet)）以及智能屏幕（Smart Screen）六种历史上出现的屏幕的研究去介入这个议题，课题讨论的不是一个具体的家庭空间，而是试着讨论在数字屏幕时代下公共和私人的边界，以及建筑领域公共性的变化。这和我们一直以来对于技术媒介的关注是一致的，我希望让学生理解今天建筑学面临的挑战和机遇。建筑的底层逻辑在发生变化，而不是简单的消亡。

This year I was able to teach a self-proposed course by leading a Visiting Critic Studio at Syracuse University. The title of the course was “The Boundary of Selves: Domestic Space in the Age of Digital Screens”. It was intervened mainly through a research on the six types of screens that have ever emerged in history, including: Panorama, Kinetoscope, Cinema, Television, Computer Screen (Early Internet) and Smart Screen. Rather than discussing on a specific domesticate space, this research managed to examine the public-private boundary in the era of digital screens, as well as the changes in publicity of the architectural field. It was consistent with our long-term focus on technical media, and I hope that students can understand both the challenges and opportunities that architecture is facing today, and also get aware of the fact that the underlying logic of architecture is changing, not simply dying out.

▼王子耕受聘为雪城大学建筑学院2020年秋季学期访问教授，他将带领雪城大学建筑学院的部分学生完成为期三个月的工作室课程。Zigeng Wang is leading a studio at Syracuse University as visiting professor in 2020, through a three-month studio called The Boundary of Selves: Domestic Space in the Age of Digital Screens ©Pills Architects
点击查看该课程详情，Click here to check more about the course

▼雪城大学“The Boundary of Selves”工作室课程终期评图海报
Poster for the final review of the Visiting Critic Studio “The Boundary of Selves” ©Pills Architects

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被工作占满的日常
Everyday life filled with work

我每天都分身乏术，特别是开了工作室之后。非常羡慕那些精力旺盛的人。比如这篇采访，我已经拖了一年多了，感到非常抱歉。我可能需要更自律一些才能把工作生活安排得更好，但我也知道我不是那样的人。

在深圳坪山美术馆和政纯办、刘治治合作一个展览。在上海OCAT做一个关于童年的房子的装置。在751跟张亚东合作一个音乐装置。我们同时还在为深圳万科做超总的展厅设计。这些都是今年计划要落地的。还有几个集群设计的小房子，一个海边书屋和一个餐厅，一个废弃的发电站的博物馆改造等等，另外和李兴钢工作室合作一个校园规划的投标。我们工作室每年还有研究计划和衍生品计划，你可以看到我们从研究、教学、出版、艺术品，展览、到室内，到建筑，到城市设计，工作跨度很大，想干的事情也很多。另外除了央美的几门课程、科研任务和学校事务，我今年还要带雪城大学的studio课程。我的爱好很多，但目前基本都被工作占满了。

我最近一次单纯的被空间吸引是在我们的一个项目上，这是一个50年代苏联援建的发电站，废弃了已经十几年，设备被拆走，楼板留下不规则的洞口，每一根钢柱都因为设备切割留下形状各异的断面，荒草蔓延到室内，努力的从裂缝钻出枝丫，阴霾的光线从洞口漫射进巨大的残骸，让我想起第一次见到科尔多瓦清真寺时的震撼。时间留下的力量不是用语言可以形容的。我在那个下午待在那里不愿意走，这个建筑好像在告诉我一些事情。

Actually I don’t have a good solution to my overwhelming busy schedule, especially since I have opened my studio. I’m envious of those who are full of energy. As you can see, I’ve been putting off this interview for over a year, which I must say sorry for. I probably need to be more self-disciplined to arrange my work and life better, but meanwhile I clearly know I’m not that type of person.

I’m now working on an exhibition at Pingshan Art Museum in Shenzhen with Polit-Sheer-Form and Liu Zhizhi. An installation about house of childhood at OCAT in Shanghai. A musical installation collaborated with Zhang Yadong. The design of exhibition hall for Vanke’s headquarters in Shenzhen. All of the above are planned to be implemented this year. Other ongoing projects include a cluster of small scale houses, a seaside book store, a restaurant, a renovation project of a museum from an abandoned power station, as well as the masterplan for a school campus cooperated with Atelier Li Xinggang. Our studio also has annual programs on researching and derivative products, as you can see, its practice spans a pretty wide range from research, education, publication, artwork and exhibitions, to interior, architectural and urban design. There are always a lot of things to do. While working on the courses, research assignments and school affairs at CAFA, I’m also leading a studio at Syracuse University this year. I have numerous hobbies, however, they are mostly taken up with work at this moment.

The last time I was so attracted by a physical space was on the site of one of our projects. It was a Soviet-backed power station built in the 1950s, abandoned for over a decade, with equipment removed and irregular holes left in the floor slabs. Steel columns were cut by machines and thus have unique shapes in their sections, while the weeds spread into the structure, struggling to drill out from the cracks. Beams of light were diffused by the haze and filtered into the massive wreckage, reminding me of the first time I was shocked by the Mosque–Cathedral of Córdoba. The power that time leaves behind is not something that can be described in words. I stayed there for hours that afternoon and did not want to leave, as the building seemed to be telling me something.