MAD no doubt is one of the most recognized architectural practices in China and worldwide. Every year,MAD receives countless job and internship applications. To be able to work at MAD will definitely enrichyour career as even though the people working here might have been lucky, but are undeniablyoutstanding. What could possibly be on the minds of the MAD interns?
MAD无疑是中国最受瞩目的建筑师事务所之一，同时在世界范围内也受到极高的关注。MAD每年都收到来自全世界不计其数的工作申请和实习申请。能够进入MAD学习和工作一段时间，职业生涯无疑会变得精彩丰富，在这里的人们，也许是幸运的，但肯定是优秀的。在MAD工作的实习生们，他们脑子里天马星空的想法是什么样的?
Name: Lu Yun
Educational Institution: Hebei University of Technology（Tianjin）
Year: Grade Five
Nationality: China
Email: luyunarch@hotmail.com
Who is your favourite architect? Why?
Basically, I acquired different merits from different architects. In terms of my favorite architect, I prefer to choose three that I have worked with before. President architect of HHD-FUN, Wang Zhenfei, taught me to design rationally and efficiently and how to take advantage of varied tools to simplify design; the former design associate director, Patrick, taught me how to supervise a team and vitalize every team member so as to achieve efficient work, also the rigor of Germen; And it’s my fortune to learn about negotiation skills with clients and enthusiasm to architecture from MAD partner, Dangqun.
What is the major characteristic of your current school’s education?
In my opinion, educational systems of most domestic universities are still waiting for exploration. Most outstanding architecture students have to grab knowledge in their own ways. It’s the same case with my college-basic technique is fine and students can get more freedom with the reformation of teaching system these years. Although I once complaint about the imperfect infrastructure and unhumanized system, it’s still my pleasure to meet some friends with the same ideal and several professors who enlighten my thought and offer me much help.
What have you gained during the MAD internship?
I confronted lots of brilliant architects and people who love life and architecture in MAD. After leaving Beijing, I frequently recall the scene in Hutong every time I walked through in the morning, the leisure of playing table tennis with colleagues after lunch, the furor of singing and playing games over night, and bright smiles when we prepared for exhibition and dreamed about future together in Aodi, Beijing. The youth and friendship in this period should be my largest harvest besides professional techniques.
What are your thoughts and feelings upon Chinese Architecture and the environment? Any suggestion?
The expanding desires of Chinese people have calloused them and also their dreams. What should architecture be in such kind of environment? To some extent, building itself imitate people’s temporal faces. Fortunately, some sagacious callings haven’t been swallowed, asking us “What is development?” “Must the new superior to the old?” “Have all the past to be denied?” “How much do we know about ourselves in front of exterior cultural shocks?”……..”Who am I? Where do we come from? Where are we going?”How Chinese architecture will look like after tens of years depends on people today, which generation needs to make a choice after long time reflection. Locked in our profession, neglecting distorted social framework, must lead us to a blind alley. Only to reconstruct correct civilization system can we nourish native Chinese architecture. In a word, ideology comes first, then comes architecture.
What is your dream?
My dream is to reciprocate my parents firstly, then marry with my lover, acquaint several lifetime friends and construct several beautiful buildings.
What would you do if you were not an architect?
If I were not an architect, I probably choose a totally different occupation in Chengdu, such as looking for an idle job with more free time to read some books, enjoy hot-pot and tea with some friends.
What is your dream project?
I’m a person that pretty values home. So called home, is composed of housing and courtyard. Yet in modern cities we can only get access to housing without courtyard. Therefore, my dream project is to design and build a house containing courtyard, waterscape, forest and earth by myself for my family in homeland, Sichuan.
What is your favourite project in your portfolio? Why?
I don’t have any favorite project in my portfolio. Because every project will become naive after second review several years later. My favorite should always be the next one. The two main projects below are two competitions I did in my fourth grade. Although they still need to be added more details, it represents myself in the past, pursuing for progress.
姓名： 卢昀
学校： 河北工业大学（天津）
年级： 五年级
国籍： 中国
电邮： luyunarch@hotmail.com
最喜欢的建筑师是谁？为什么？
我从不同的建筑师身上和他们的作品中学到不同的东西，若谈到最喜欢的建筑师，对于慢热的自己来说，可能更倾向自己接触过的身边的建筑师。我对曾经一起工作过的三位建筑师很是敬佩，他们也教会了我不同的东西：HHD-FUN的主持建筑师王振飞，我在他身上学会了如何理性、高效的做设计，并利用好各种的工具，优化、简化设计；gmp北京前设计副总监 Patrick, 我在他身上学到了如何管理好自己的团队，如何让每一位团队成员都充满活力和自信，从而使团队高效、快乐地工作，同时也在他身上学到了德国人的严谨和细致；MAD合伙人党群，因自己工作时座位恰好在其正前方的缘故，有幸能旁听到她如何强有力地管理整个公司以及与业主谈项目的技巧，还有她对工作的热情以及对建筑的坚持，自己获益匪浅。
你所在学校的教育特点？
在我看来，国内大多数学校的教学体系还在探索，大部分学生也是单枪匹马杀出一条血路，我学校亦是如此，传统基本功教育还算扎实，也还在不断探索改革，学生也因此多了一些自由发挥。虽然学校基础设施的不完善与制度的不人性化让自己抱怨不少，但如今对学校还是充满感激，至少在这里遇见了这么多志同道合的朋友，以及给我思想启蒙和莫大帮助的几位老师。
在MAD实习最大的收获是什么？
在MAD遇见了很多优秀的建筑师和热爱建筑、生活的年轻人，离开北京之后，我总是想起每天早晨步行穿过北京老胡同的所见所闻，想起每天午餐后和同事一起打乒乓球、“压马路”的悠然闲适，想起通宵杀人游戏、通宵唱歌以及浩浩荡荡杀进各种饭店的澎湃青春，想起在奥迪北京彻夜布展与同事畅谈未来和梦想的笑貌音容。我想，除了专业技能外，我收获最大的，应该是这一段美好的青春和友情。
你对中国建筑的感触是什么？建议是什么？
对于这个问题，我想严肃一点。中国在这二十几年里，愈发膨胀的欲望、冷酷尖叫的速度已然让人窒息、麻木。人已如此，更何况人所造之居、之城、之天地？若把当下中国的建筑、环境表征一一细数下来，便可描绘出一幅鲜以被人所识得的自画像。我们每天面对自己，却熟视无睹。幸运的是，有三股清泉长流于世——血液基因的代代相传、思想脉络的绵延不绝、精华实物的岁月变迁。正是这三股泉水，让我们驻足让我们疑问“何谓发展？” “新的一定比旧的好吗？”“过去了的一定要全盘否定吗？”“文化断层下，面对外来冲击的我们对自己究竟还了解多少？”……“我们究竟是谁？我们究竟从哪里来？我们究竟要到哪里去？”。二十几年后的今天，需要更多人的驻足，需要更多人的反思，心明眼澈之后，何去何从取决于活在当下的人们，这一代是需要做出选择的一代。在当下社会框架之下闭门专业之内，只论建筑而建筑必定死路一条，重构正确的文明体系才能为滋养出中国建筑，因为“先为人，后为建筑”，这不是从日本舶来的“建筑”一词和西方的“ARCHITECTURE”所能等同的。
你的梦想是什么？
先尽孝道，娶一个心爱的姑娘，有两三个一辈子的兄弟，再盖几个漂亮的房子，这便是我的梦想。
你如果不当建筑师会选择什么职业？
如果不做建筑师的话，我可能更倾向选择一种完全不同的职业和人生。比如回成都随便找份清闲的工作，闲暇时间可以多看点书，和朋友们吃火锅泡茶馆打麻将，悠然自得，此生足矣。不过，这也仅仅是如果。
你梦想中的项目是什么样的？
我是一个恋家的人，所谓的家庭，是由家—住宅，庭—庭院组成，而现代城市里，只有家，没有庭。我赞同农业社会背景下的人地关系，因此我的理想项目是回四川老家给自己和家人盖个房子，有土地有庭院有水景有山林，亲手设计和并参与建造实现它。
在自己的作品集中，你最喜欢的作品是什么？为什么？
目前自己的作品里还没有最喜欢的，最初完成时的观摩欣赏，到后来甚觉幼稚，以至于不忍拿出来给人看，所以我最喜欢的，应该是我下一个作品。以下两个主要作品是我大四做的两个竞赛，现在看来很多地方还可以更完善和补充更多细节，后来想想作罢，未完成也是一种状态，至少它们代表了过去那个一直追寻进步的自己。
Reachable Space ‖ Remove the “urban opera” Phenomenon
Date：2012.6
Partner：Wang Bingtian
Tutor：Wei Guanglong; Yue Xiaopeng
空间可达 ‖ 破除“城市歌剧”
完成时间：2012.6
合作者：王秉天
指导老师：魏广龙 岳晓鹏
Roger Trancik mentioned the city lost space in the <Finding Lost Space> in one book,one that is at the bottom of high-rise building square, they cannot be used as a socialspace, so it is not popular, and also lack of a “sense of place” (Thereness). Zhou Rongalso noted that the contemporary China more and more buildings and other high-endcity space design have the final results of all formed a kind of “Urban Opera”phenomenon. What people can understand the City Opera, who is actually the so-called elite, whether it is capital elite or political elite or artists, architects are alsoincluded, this group of people conspire. If the building is only as a work of art in thepresent city environment, especially the elite art exhibition space, which are out of mostpeople’s lives, this is undoubtedly a huge waste.
The design of the site in Beijing Xizhimen overpass traffic hub, which is also one of themost complex traffic area in Beijing. After investigation site for many times, we found outseveral problems and characteristics of space: 1 East to West vehicles (busesexcepted) driving during the day can not directly turn right to south, they need movearound the four viaducts circle to enter the South Road. The reason is the traffic is toolarge and direct the right path is too narrow; 2 The huge traffic flow to the area todiffuse in noise and automobile exhaust pollution; 3 CapitaMall shopping center, as theXizhimen business district, parking problem has become the current social problem; 4The surrounding environment is very complex, which is filled with all kinds of functionsand different volume of the buildings.
Design is carried out by the above main points. The accessibility of space is our focusin this design, which is not only meet the form of aesthetic and creation of city landmarkbuilding needs, through the continuous space and up to reduce the “Urban Opera”attitude, but also try to get rid of “Urban Opera” phenomenon. First we bold designseveral through the base inside the new viaduct, according to the different purpose ofthe vehicle weight organization streamline, alleviate the ground traffic pressure; wedesigned a large number of parking space in the building (for parking ) space, alleviatethe parking shortage. Area top-bottom floor is also our focal point. We tried to keep thepublic space, design three main square: Sunken Plaza – connecting the North Streetand CapitaMall shopping center, underground line inside the city square – for differentgroups of people go into the construction of the buffer area, vegetation square – barrierand absorb a large amount of traffic caused by noise and air pollution.
Roger Trancik 在<Finding Lost Space>一书中提到城市失落空间，其中一种即是高层建筑底部的广场，它们无法发挥社交空间的功能，不受人们欢迎，也缺乏一种“场感”（Thereness）。而周榕也提到当代中国越来越多的建筑以及其他高端的城市空间设计，最后出来的结果是形成一种“城市歌剧”现象。什么人能听懂城市歌剧，实际上是所谓的精英人士，不管是资本精英还是政治精英还是艺术精英，建筑师也包含在其中，这一群人达成合谋。如果建筑仅仅在当下城市环境中作为一个艺术品，尤其是精英艺术的展出场所，脱离了大部分人的生活，这无疑是巨大的浪费。
此次设计选址在北京西直门立交桥交通枢纽，也是北京交通最为复杂的地段之一。经过多次的基地现场调研，我们发现了场地的几个主要问题和特点：1.自西往东行驶的车辆（公交车除外）在白天不能直接右拐向南行驶，需要绕四个高架桥大圈才能进入南向主道，原因是车流太大而直接右拐的道路过窄; 2.巨大的车流量让这片区域弥漫在噪音与汽车尾气污染当中；3.紧邻北京嘉茂购物中心，作为西直门商圈，停车位的不足成为当前社会条件下一大问题；4.基地周边环境极为复杂，充斥着各种功能和不同体量的建筑。
设计以这几个主要问题展开，空间的可达性是我们此次设计关注的重点，在既满足形态审美与塑造城市标志性建筑的需求上，通过空间连续与可达来降低“城市歌剧”的姿态，并尝试破除“城市歌剧”现象。首先我们大胆了设计了几条穿越基地内部新的高架桥，依据不同目的性的行驶车量组织流线，缓解整个场地的交通压力；我们在建筑中设计了大量的停车空间（对内停车与对外停车）与行车流向疏导空间，缓解场地的停车紧张问题；高层底部也成为我们关注的重点，我们极力保留了底层公共空间，设计了三个主要的广场：下沉广场 – 连接北面街道和嘉茂购物中心的地下流线、城市内部广场 – 作为不同人群进入建筑的缓冲地段、植被广场 – 阻挡和吸收大量车流带来的噪音和空气污染。
Reflection of design:
Western culture has a particularly important feature, that is everything they do is tosolve the problem. In this kind of thinking paradigm, the goal of research and design isto find the problem, and then solve the problem. Looking back at the design, we alsofailed to avoid this paradigm, and fall into the hands of the grand narrative conventions.But paying attention to spatial accessibility of most ordinary people and buildings is thesubject that makes me agree and pay close attention to.
设计反思：
西方文化有一个特别重要的特征，就是以解决问题为目的，在这种思想范式下，所谓的研究和设计就是找到问题，然后解决问题。回头再看此次设计，也未能避免此范式，并落入了宏大叙事的俗套。不过关注大部分普通人群与建筑的空间可达性，是自己至今还赞同并关注的地方。
Protection of historical block
Date：2011.12
Partner：Wang Bingtian; Zhang Ying
Tutor：Huo Junking
历史街区保护 ‖ 激活都市负空间
完成时间：2011.12
合作者：王秉天 张颖
指导老师：霍俊青
The present cities in China present a kind of rupture, even “great leap forword”,between rapid urbanization process and traditional history. The abundant historicalculture that city should bear is also being fastly swallowed and forgotten by fanaticismand restlessness of developement. Historical blocks in city which represent the past of acity are endowed with the cultural memory. However, in order to focus on the modelingof overall urban image, most of historical blocks have been abandoned.
Continued construction results in the material city today. The old blocks, desertedfactories and highway traffic lack of humanization inhibite citizens spirit. The theme ofthis competition is to explore how to activate these “negative” spaces in city so as totransfer them to “positive” ones. Here we choose Beijing quadrangle yard as a casestudy to discuss how to live these dead buildings.The culture of the historical blocks appear positive state attribute while its functionpresents negative state because of the contradiction between space attribute andpublic demands. The effect of “negative” puzzles people with the understanding of“positive” state so that historical blocks finally show negative state. Negative spacemeans the loss of culture and depravity of past experience. According to this meaning,Beijing Quadrangle-yard can be defined as negative space. We want to insert newurban functions under the ground of these historical blocks so as to activate its culturaland functional attributes, transfering them from negative to positive space. Theunderground system attracts large numbers of people. At the same time, historyreceives appropriate protection because of proper relation betweeen upground andunderground. In the future, the quadrangle-yard will contain residen andexhibitionfunction for tourists while the underground floors with multi-function will provide finecondition for living, entertainment,commercial, and office. Sunlight will become rare
downstairs, and every lightening well is importantly considered which should be adesign bright spot. The entrance slope combines this system with urban space around,offering a new way to explain the relationship between city and historical area.
中国现阶段快速的城市化进程呈现出一种与传统和历史决裂的“大跃进”状态，城市空间所承载的丰富的历史文化内涵正在逐渐被发展的狂热和躁动吞噬和遗忘。城市历史街区代表着城市的过去，它们被赋予了城市记忆的文化含义。着眼于“城市大形象”的塑造，让大部分历史街区在浮躁与媚俗的城市发展过程中被抛弃。
历史街区的文化属性呈现正状态，但空间属性与人群行为需求的矛盾却让它们在功能属性上呈现负状态。城市“负空间”意味着认知和感知的模糊，文化价值的丢失以及对城市体验的无情剥夺。我们想通过在历史街区地下植入全新功能体验，激活历史街区。地下系统将众多的城市功能纳入其中，人流的增加将激活该城市负空间区域，同时因上下建筑空间关系在设计中处理得当，地上的历史空间得到了很好的保护。未来的地上部分历史空间将包含原有的居住功能和新引入的展览功能，以向游人展示传统区域的历史文脉；而地下城市将成为城市空间向地下的延伸，富含多种功能的地下空间，交通便利城市设施齐备，为地下居民提供良好的短期生活，休闲，娱乐条件。日照在地下将成为稀缺资源，每个光照口在设计中都受到重视，其也将成为整个系统的设计亮点。地下系统的植入将为城市历史区域的保护提出一种全新的可能诠释手段。
Reflection of design:
Architect is always with humanities and social care grand, using design to let a person
forget pain heavy things in life, and make people complacent. Having this kind of thing
makes designer live separate temporarily, reveling in the self to create a utopia. But for
social details of inner experience and self-reflection, I still stick to the design of attitude.
设计反思：
建筑师总是怀着宏大的人文社会关怀，利用设计企图让人忘掉生活中痛苦沉重的东西，让人飘飘然，拥有这样的东西让设计者的生活暂时抽离，陶醉于自我营造的乌托邦。而对于社会细节的内心体验与自我反思，依然是我对于设计不变的坚持态度。
Supplement
MORE
Name: Lu Yun卢昀
Email: luyunarch@hotmail.com
