We work for MAD 特别篇－－－MAD合伙人访谈之早野洋介
We work for MAD Special —–MAD Partners Interview – Yosuke Hayano

从2010年春到2013年夏，我在MAD的建筑师岗位上工作三年，这期间以业余爱好的形式做了gooood，并与MAD的同事开始了We work for MAD专辑。至今为止，这个专辑陪伴大家走过5年有余，这五年多来我们分享了形形色色的有趣实习生们的作品与想法，也为大家展现了两位具有代表性的正式团队成员的风采。而MAD的合伙人的生活与工作是怎么样的状态？他们大胆先锋的作品怎么实现从纸面到建筑？他们是如何将成立仅11年，根植于中国大地的MAD打造成一个获得世界认可的国际化明星建筑事务所。他们如何合作？他们如何管理？他们对未来的期许是什么？他们遇到的困难与他们直面而迎的挑战是什么？还有他们最近都在做什么？…….

这一期为大家带来MAD合伙人访谈之早野洋介，这是We work for MAD的第77期。

I established ‘gooood’, whilst working as an architect at MAD between spring 2010 and summer 2013, as an album of articles ‘We work for MAD’. Over the last 4 years we’ve shared a wide range of fascinating ideas and portfolios from the interns at MAD as well the achievements from two of the senior architects there. But what do the partners look like in everyday life? How do the bold and avant-garde designs come to life, from 2D drawings to 3D buildings? What did they do to make MAD, established in Beijing only 11 years ago, to be a world famous architectural office? How do they work together? How do they manage the team and projects? What are their expectations for the future? What are the difficulties and challenges they will have to face? And what have they been doing recently?

NOW, We publish the ‘We work for MAD’ NO.77 – MAD Partners Interview – Yosuke Hayano

向玲 gooood创始人，总编
Ling Xiang, gooood founder, chief editor

1
第一次和马岩松见面是什么时候，当时的情况是怎么样的？你们因为什么契机开始合作？
When was the first time you meet with Ma Yansong? What was the occasion? How did you two start to work together?

我从AA获得硕士学位后，我当时的导师Patrik (Zaha Hadid建筑事务所的合伙人) 邀请我加入他们的工作室。几个月后，之前在耶鲁大学是扎哈学生的马岩松也加入了工作室。最初，我们只是不同的竞赛项目中各自工作，后来我们一起参与了广州大剧院这个项目，那是我和马岩松第一次合作。

后来我们因为在北京的一个总体规划项目被一起调派到了中国，与客户和设计院一起合作。后来因为某些原因项目取消了，整个团队被要求返回伦敦。但那时我和马岩松私下已经有机会做一些小型项目了。经过深思熟虑和交流后，2003年我们决定辞去扎哈事务所的工作并专注做手上的项目。2004年4月也有了自己的事务所。

After I graduated from Architectural Association in London with my master degree, my tutor Patrik Schumacher, who was the partner of the Zaha Hadid Architects, asked me to join Zaha’s office. After a few months, Ma joined as well as the student of Zaha from the Yale University. We did some competitions separately before we got the big chance to work together for the Guangzhou Opera House. That was the first time we worked together.

Then we got a project of a new master plan in Beijing and we were sent to China to work with client and LDI for this project. But the project was canceled for some reason, and the team was asked to come back to London. However, Ma and I already got some opportunities to do small private projects here in Beijing. We talked a lot and decided to leave Zaha’s office and started to work on that project in Beijing in 2003. Then we had our office’s opening in April of 2004.

2
我注意到你本科双学位中有材料工程学这个学位，请问这段教育经历有给你未来的建筑从业经历带来哪些影响或者说不同的地方？
I noticed you have an undergraduate degree in Material Engineering, could you please tell me how this degree influenced your practice, or in which area you found it different from what you’d learned?

我在东京早稻田大学时主修的是材料科学，主要研究各种材料的组成结构，探讨如何改进材料的强度和改变材料的性能。当时我有一个好朋友是学建筑的，所以我也经常有机会接触到建筑专业。慢慢我也喜欢上了这门学科，对建筑与人和城市密不可分的关系特别感兴趣。后来我也在早稻田大学获得了建筑学学位。建筑学的学习经历让我对物质、材料和尺度有了不同的认识。

I studied material science in Waseda University in Tokyo. It’s more about studying what’s the component of each material and how to make stronger materials, how to change the behavior of materials. When I was studying there, I had a good friend whose major is architecture, so I always watched him studying architecture. Then I got more and more interested in architecture as it is more involved with humans and city. Later I also got a degree in Architecture from Waseda University. The experience there gave me different points of view that were more about objects, materials and different scales.

3
您是一位日本注册建筑师，你能给大家讲讲日本和中国建筑现状中你个人觉得最有意思或者最有代表性的特点或者对比吗？
You are a licensed architect in Japan. Can you share with us anything interesting in terms of current architecture industry in Japan or in China, difference or anything impressive?

在日本，私人住宅依然占据了建筑市场大量的份额。这种小型项目给建筑师独立作业的机会，从最开始的和业主沟通，到研究相关条例确定可建造体量，地块物色，预算把控，再到承包商挑选等等，都需要建筑师照顾到整个过程中的每一个细节。建成后建筑师也需随时与业主及承包商保持沟通，处理设计阶段没有预警到的实际问题。建筑师和建筑的关系还是非常密切的，这在中国不太一样了。在中国的项目尺度往往大得多，没办法让建筑师每一方面都兼顾得到。在中国往往是业主领着项目走。

另外在日本，承包商往往能保证高标准的施工质量，也同时重视项目的功能和设计。在设计过程，日本建筑师与承包商对于如何在预算内实现建筑设计及功能会进行非常紧密且细致的讨论，并对施工图、施工方式及施工现场提出建议以保证建筑满足功能需要。施工时一旦发现错误，他们也会及时指正。这样的工作方式便建立了一种独特的成熟的校验系统中，建筑师，承包商，有时甚至结构工程师会密切保持沟通，确保建筑的可用性及尽可能长的使用寿命。但在中国这不容易实现。在中国，甲方掌控着过大的权力，而在日本这一切都是建筑师的责任。日本建筑师需要对包括日程安排、开支、预算控制、合作方协调等一切相关问题负责。比如在日本，工程师的甲方是建筑师而不是业主。当然这种情况一般在小型建设项目中出现，大型方案也会是不同的运作模式。

In Japan we still have a huge market for private houses, which gives architects opportunities to take care of the overall process of such small projects by themselves, from the very beginning of talking to the client, finding land together by checking how much volume can be built by regulations, controlling the budget, looking for the contractor, etc. Doing this kind of small projects, the architect has to take care of many issues which might be taken up by design architect and LDI in many other countries. After the project is completed, the architect will keep communicating with client and contractor if there are any problem after using, something that was not predicted in design phase. This is why the relations between the architect and the building is more intimate. This is quite different from China. The scale of project in China is much bigger. So the responsibility for architect is different. It’s not possible for architect to take care of every single aspect. It’s more often that the client to make the project going to the one direction.

Also another thing in Japan: the contractors has outstanding capabilities to keep high quality of the construction and they care both functions and design. In the process of design, we have very extensive and detailed conversations with contractors to make feasible and functional details for projects to stay within the budget. They keep providing comments over drawings, ways of construction and construction site to make sure the building can satisfy required functions. Even during the construction, they will point out problems which was not well considered in drawing phase if there’s any. This establishes a mature checking system, the architect, the contractor and sometimes the structure engineer, they keep communicating to make this building usable, that makes sure this kind of small project can be used for a long time. This is quite a good system of construction in japan. It’s too difficult in China to do this because of the scale, speed and complexity. Actually, in China, clients have so much power to control the project, while in japan architects take up the responsibility. The architects in Japan must be the one to be responsible for all, including the schedule, costs, budget and negotiation with other collaborators. For example, engineers sign contract with the architect, not directly to the client. But this is only limited to small projects. It’s a different story when it comes to a big project.

▼工作中的早野洋介 Yosuke Hayano is working

4
你现在在mad的主要工作是什么？三位合伙人的分工如何？合伙人之间会在方案设计讨论时会产生分歧吗，通常你们都是怎么解决的？
What’s your main scope of work in MAD? Does it happen that partners have different opinions when discussing projects? Usually how to solve the problem?

MAD的北京工作室大概有80位员工，同时在大概10个不同阶段的方案上工作。我们三位合伙人在每一个项目上从头到尾一起工作，当然每个项目我们都有设计团队。马岩松统领从最初的概念设计到施工完成的所有设计。党群负责与业主、各合作方之间的所有沟通、项目会议，并且管理整个工作室的运作。至于我，则更侧重于每天设计实践的工作，项目设计深化工作、项目团队内部具体沟通等。业主和设计院在建造的不同阶段会对设计有不同的理解，所以每天我们都会面临新的挑战，也必须找到解决方法回应这些问题并保证方案不偏离原定的概念。每天我都会花大量的时间和各个团队探讨设计，监督并推动设计前行。

如果我们三位合伙人有了分歧，我们会充分交流讨论。我们会尝试从最根本的“MAD到底是怎样的”找到出路。我们会尝试去做没有多少人尝试过的项目，会提出多个解决方案，反复对比最后选出最好的一个。

We have around 80 people in our Beijing office. Around 10 projects various in different stages are going on. All of us three work from the very begging to the end of each project. We have project teams for each project. Ma leads all design related throughout the whole process, from the very beginning of concept design to the end till the project is completed. Qun takes care of all communications, meetings with clients, collaborators and consultants, as well as the overall management of the office. Then me, I’m more about conducting daily design work, which includes daily internal communications with each project team, and detailed design rationalization. Usually clients and LDI have different understandings during the process, so every day we face new problems and we have to find out solutions to stick to our original design concept but solving out the client’s or LDI’s requests. Every day in the office I spend much of my time talking to each team member about the state of the design, give out supervision and push projects forward.

When three partners have different opinions, we discuss a lot. We try to find out what MAD is about. We try to do the project that not many people had tried before. That’s why we spend lots of time to test different solutions, then we compare and find the best one.

▼（左 left）早野洋介 Yosuke Hayano（中 middle）马岩松Ma Yansong（右 right）党群 Dang Qun

5
MAD在中国的项目很少涉及旧项目的改造，于是我们觉得，日本的四叶草之家就变得非常的特别。当MAD面对一个改造项目和全新的项目，MAD的态度与设计想法会有何不同？
MAD’s projects in China didn’t involve many redesign/renovation projects, that’s why we think the Clover House so special when we saw it. When MAD takes in a renovation or a brand new project, what’s the difference of MAD’s approach on it?

这么说吧，我们不可能再建一个全新的城市了。像纽约、北京、上海这些大城市，都是在漫长的历史中慢慢建起来的。历史不断前行，人类不断犯错，又不断修正错误。从这个角度来说，我认为所有的东西其实就是重建。对于那些改造和重建项目，建筑师必须了解建筑从前的面貌，它和周围环境的历史关系，它的可取和不可取之处，以及如何将历史记忆带回改造后的建筑。建筑师需要谨慎地考虑如何嵌入新元素进而提升居住环境。我认为改造项目不只是限定那一座特定的建筑，而是连带其周边环境的整体考虑规划。

Well, we cannot build a new kind of city. Cities like New York, Beijing, Shanghai, they are all built on their history. As history goes, humans make mistakes and also changes to adjust mistakes. In this way, I think everything is rebuilt. For those renovation or rebuilding projects, you have to understand how the project looked like before, how its relations with surroundings it was, what is valuable and what is not, how to bring memory into the history of the project. You have to be really careful to take new elements into consideration to make better living conditions. Therefore I don’t think renovation project is about one particular building, but it’s more about its surroundings and environment.

▼四叶草之家 Clover House

6
继续改造的问题，当MAD面对这个改造项目的时候，是如何开始的，以及如何到达现在这样一个结果的？
For this renovation project, how did it start, and how did it go to current status?

这个项目的业主是我从小学到初中的同学。他一直对以本土师资为不同国籍儿童提供教育的幼儿园非常感兴趣，也做了许多相应的调查和研究。他相信学习语言的最好方式是将语言融入日常的生活中，所以他希望他运营的幼儿园应该给孩子们家的感觉。同时他也认为不同年代的人，比如孩子的祖父母辈，和孩子一起生活将有助于他们的成长。在这种信念的驱动下，他在长大的地方－他父母的家创办了他的幼儿园。幼儿园逐渐受到了大家的欢迎，也开始接收更多的学生。我们碰面的时候，他告诉我他非常欣赏MAD的作品，觉得MAD希望把这个地方改造成既是家又是幼儿园的想法非常棒。概念设计方面，我们灵感的来源于既是宗教场所又是公共活动空间的日本寺院。业主也认同这个方向后，我们决定保留建筑原有的木结构部分，让它如骨架一样支撑起内部空间，外面再以一个巨大的屋顶覆盖。这样，建筑既保留了它的旧有记忆，也可以向孩子们展示房子的构造。建筑的新结构有部分打开，让出空间供人们穿行。屋顶也不是完全封闭的，人们透过窗户可以看到这座小房子里的日常生活。现在，这个新结构已经完工。项目落成时也将会举行一个完工仪式。

The client is my classmate from elementary school to junior high school. He is always interested and studies a lot about the kind of kindergartens that provide education to kids of different nationalities with native teachers. He’d like to have a house environment because he believes that it’s better to learn a language in daily life. He also likes the idea that grandparents can live together with the kids, so the kids can grow up with different generations taking care of the kids. He started this kindergarten in his parents’ house where he grew up since little. The kindergarten became popular so they accepted more students. When we met again, he said he really likes the works of MAD and he thinks it’s a good idea to have MAD to do a very special project that is both a big house and a kindergarten. For design concept, temples in Japan that serves both as religion space and public space came to our mind. The client agreed with our idea so we processed further by keeping the original house structure as skeleton and build a huge roof to cover it. In this way, we can keep the memory of the house and showed the kids how this house is constructed. We open part of the frame where people can pass between. We also open the roof structure. People can see what is happening inside this small house. Now the basic new frame is already finished. Then there will be a ceremony for the construction completion when the project is completed.

▼四叶草之家 Clover House

7
我们在网上发布了日本四叶草项目之后，有评论指出这个项目是一个“难得的风格转变”，你如何看待？此外对“风格”这样的标签定义，您如何看待？
Some readers commented the clover house as “impressive style change.” How do you take this? And besides the project, what do you think about such word as “style?”

我们从来不谈论风格，我们更在意传递的态度和一个特定环境的情感。还记得我们最初设计的“鱼缸”，我认为它完整地传递了我们想表达的态度。我们并不用诸如学校、医院等建筑类型去定义建筑，而是考虑空间里会发生的行为、活动，人们之间的互动方式，以及建筑在这其中将起到何种作用。鱼缸是我们对这些问题的思考的一个阶段性成果，而所有的项目归根结底要解决的也是这些问题。所以我说我们没有风格，只有态度和建筑语言，并在不同的尺度里将它们表达出来。

对于这个项目，我们让空间对孩子充满足够的独特性和吸引力。我们是在充分尊重现状环境的基础上，使这个项目成为带有MAD色彩的有意思的建筑。

We don’t talk about style, this is more about attitude and emotions that we want to deliver regarding the contexts. I remember the fish tank we made at the very beginning, it showed our attitude very well. We don’t rely on architectural typology like a school, hospital and so on, we tried to really think what kind of activities they will have, how people interact, and how architecture work on these activities. We use this fish tank to understand these questions. I think all projects are about these questions. That’s why I said we have no style, but attitude and language. We keep this attitude and language in projects of different scale.

We try to make the clover house unique and attractive enough for kids. We try to respect the existing surroundings and at the same time made it a little bit special like MAD kind of architecture.

▼ “鱼缸” fish tank

8
我们注意到这也是mad首次做幼儿园项目，在这个项目中，你们认为最具挑战的地方是什么？
We know that this is the first time MAD does a kindergarten project. What do you think is the most challenging part?

主要的挑战有两个。这座幼儿园并不是建在东京这样的大都市，而是位于一个风景优美但每座建筑都大同小异的小镇。在那里的多数设计师和施工人员都习惯了千篇一律的东西，这让我们在寻找合适的承包商上耗费了不少心神。一般他们在熟悉的领域可以做到近乎完美，但面对一些特殊的要求，他们则首先习惯性说他们做不了。有时候你甚至可以感受到他们的抵触情绪，所以坚持我们的设计理念并逐步推进便变得非常困难。

另外一项挑战来源于技术层面。我们希望达到的“柔软”的效果，是施工队伍之前作业从来没有尝试过的。最初我们打算采用可塑性更高的钢结构，但那超出预算，我们只好选用技术挑战性很大的木结构去达到这种柔软外观。任何一个了解木结构的人在看过我们的成果后，都绝对会问是如何做到这种效果的。我们研究了日本所有类似的方案，最终和施工人员以及结构工程师一起想出了解决的办法。我们非常期待看到最终的成果，特别是挑战性极大的木结构的完成效果。

There are two challenges. The project is not in a big city like Tokyo. It is in a small town with nice views where all the houses look similar. As most designers and constructors are used to do similar things, to find the right constructor for this project is really challenging. They’ve been doing similar cases with extreme high quality and they’re used to it. When you ask them to do something special, they would just say “I cannot do it”. Sometimes you can feel their against feelings, so to stick to our concept and pushing it forward is very difficult.

The other challenge is technology. We tried to make something “soft” which is totally different from constructors’ past experiences. At first we wanted to use steel structure that is easier to bend, but it’s over budget. Then we had to use wood structure that is extremely technique challenging to form this soft outlook. If you ask anybody who knows about this kind of structure in Japan, they will definitely ask you how you did it after seeing it. We looked into all similar projects in Japan and finally came up with the solution with the constructor and structure engineers. We really look forward to seeing how it will be completed and how the challenge put the wood structure forward.

9
最近mad的哈尔滨歌剧院项目完工，请你评价一下这个项目。
How do you think of the recent completed Harbin Opera House?

我们用了六年的时间终于完成了这个大剧院。我们知道中国的公共文化建筑一般都是尺度巨大的。他们强势而醒目，完全超出了人的尺度。我们非常重视尺度问题，也花费了大量时间去把控它。这个大剧院不再是一个超人类尺度的巨型建筑，而是和周围景观有机结合，同时人们可享受其中的公共空间。

控制尺度其实非常困难。在远处人们会以建筑尺度去评判，靠近时评判标准又发生了变化，但大剧院在不同的评判标准中都是成功的。在远处，建筑是一个醒目的地标。随着距离的缩短，人们会看到这座充满创造性的建筑结构中包含着数不尽的细节。从河对岸看过来，哈尔滨歌剧院和文化中心的呼应关系恰到好处，如同正在“对话”般。再靠近一点，你会发现这座建筑带着深浅不一阴影的细腻纹理渐渐显露出来。来到建筑面前，你又会发现诸如木料、可透天光的贝壳结构等无比丰富而清晰的细节。我想你可以在设计里看到我们想要传达的内容和深度，我们对建筑在不同距离和不同空间尺度的设计意图。

在这个项目的建造过程中，我们对细节尺寸的把控异常执着。考虑到中国建造行业的情况，如现场工人手工技艺等，要达到完美的完成效果非常困难，。我们相应地调整了我们的态度，提出了让施工人员可以更容易接受的关于细节和材料的方案。我们不可能强迫施工人员达到我们所期望的丝毫不差，我们只能更耐心地建立了不同的系统来解决相应问题。我认为这是非常明智的选择，同时这也是极其宝贵的项目建造经验。

We’ve been working on this project for six years. We believe that from the very beginning the public culture buildings in China are always in huge scale. They are overwhelming and compelling. You don’t fell it in human scale. We paid attention to and spent a lot of time in controlling the scale, not making it as huge as an architectural object, but instead to merge it into a landscape with its surroundings, as well as a public park that people can really enjoy.

To control the scale is a big challenge. The scale with distance is more about architectural scale, while the scale when you get closer to the building, it’s another sense of scale. For the new opera house it is successful, as put successful design for different scales. From the distance, you see the object very clear like a landmark. Once you get closer, you understand this innovative structure is full of details. From the other side of the river, you can see the two buildings of Harbin Opera House and Recreation Centre “having conversations” with each other. When you get further closer, you will realize it is a nice subject having a little bit texture with different intentions that showing different shadows. Once you come across, you will find out more about various details, the wood, shell structure having top light, etc. I think you can find the depth in design we try to deliver, our design vision for the architecture from different distances and in different scales.

In this project, we are extremely conscious to control the details with very precise dimension. Considering the construction situations in China, it is extremely difficult to have perfect matching detail as it requires high craftsmanship on site. That’s why we changed our attitudes, we must bring up new ideas for the details and materials that the construction workers can adapt to. As we cannot force them to be exactly precise as we expected, we had to come up with different systems to solve various problems and tolerance. I think it is quite successful and it is a valuable experience for us to approach the constructions in China.

▼哈尔滨歌剧院 Harbin Opera House photo by Iwan Baan

10
你觉得MAD团队是怎样的团队？
How do you think of the staff of MAD?

我们的团队成员有着不同的背景，这些建筑师和实习生们来自全球各地。我们希望保持工作室的多样性。不管项目来自国内还是海外，不同的意见和想法对我们来说都是非常重要的。

同时，我们也希望我们的成员知道MAD是如何思考问题以及MAD前进的方向。例如，当我们结束国外的考察回到北京后都会举办分享会，跟团队交流我们的所见所得所想。同时，我们会不定期的举办关于中国文化的讲座。我个人经常会去中国的古城，比如开封，平遥和曲阜旅游。我非常喜欢探访那里的古建筑，观察人们是怎么样将中国传统文化融入到城市建设中。我认为这些都是值得MAD学习的内容。

We have staffs with diverse backgrounds. We have architects and interns from all over the world. We try to keep the diversity in our office. It is so important for us to have different opinions, no matter on domestic projects or overseas projects.

Also we’d love our staff to know how MAD thinks and where MAD is heading to. For example, when we come back from overseas tours, we will host sharing sessions to our staff to share what we saw, what the architecture there look like, how we think about it. Also we give out lecture on Chinese culture from time to time. Personally, I spend time to visit those historic cities, like Kaifeng, Pingyao and Qufu. I’m excited to explore those historic architecture, and see how people planned and designed the city based on Chinese culture. I think these are important and valuable for the office to learn further.

▼MAD团队 MAD Team

11
MAD今年11岁，您觉得这十一年，不变的、变化了的是什么？
MAD is founded 11 years ago. What has changed? What hasn’t changed?

11年前我们是一间默默无名的新生代建筑事务所。在这十一年中，我们经历了不少大型的国内外项目，比如之前说到的哈尔滨歌剧院。在项目进行的过程中，和业主、顾问以及不同合作方之间的沟通交流，让我们认识到在这种大型项目中，每一阶段都非常重要。过去的数年里，我们接到了普通工作室两倍甚至于三倍的委托，我们必须快速地适应，更深层次地学习和变得更成熟。我还是想再说刚才提到的“鱼缸”，一路走来我们的态度从未改变，而且也不会改变。

We started as a young architect firm 11 years ago. After 11 years of experiences, like the Harbin Opera House we talked above, we’ve gone through quite a few huge and important projects both domestically and internationally. As we went through the project process, such as communications with clients, consultants and different collaborators, we realized how important the each stage of process it is for this kind of big project. We’ve encountered double or maybe triple more projects than normal office do along the years, and it made us have to adapt faster, learn deeper and as well as being more mature. I’d still like to mention the fish tank as above. I don’t think we’ve changed the attitude, and for sure we won’t change in the future.

12
您觉得十年后的MAD会是怎样？
How would you think MAD would be in 10 years?

我好像已经回答过了吧。我们还有很长的路要走，感觉就好像我们每天都向计划的方向投石问路，走一步，再捡起石头再扔再走。我们会继续这样往前走。

希望在未来的几年，我们的工作室可以变得更强大更成熟。我们现在在美国、日本、欧洲等地有好几个海外项目同时进行，我很期待看到MAD在国际舞台上成为更好的建筑事务所。

I think I’ve already answered this question before. We know there is a long way to go. It’s like everyday we throw a stone out to indicate the direction we want to move forward. We go that direction, pick that stone up and throw again further. That’s what we’ll keep doing.

I hope in the years the office will be much stronger and more mature. And as we have quite a few overseas projects in the US, Japan and Europe, I look forward to seeing MAD to be a better architect firm on the international stage.

▼MAD办公室 MAD Office

13
你对其他两位合伙人的建议是？
What suggestions you have for the other two partners?

这十一年下来，我已经可以很流利的说中文了，但是他们两个一句日语都不会（笑）。他们该好好学点日语了。正如我提到的，我经常利用周末时间探访中国的古城，比如邯郸、南京、西安、开封、郑州和安阳。我也期待有空可以去一下各省的省会。古代人一定有某些原因才会在那里建都的。

在那里，我们可以回顾历史，想象曾经在那里居住的人们的最原始需求和渴望。相比我们，他们应该能更敏感地感受到自然的力量。有时，我也会去深山老林中拜访那些有700多年历史的寺院，人们得经过多长的时间才能找到一块宝地来建造这些建筑。这对于我们的建筑设计实践都是非常宝贵的知识。如果有一天，我能和他们两个一起做类似的事情，那应该会挺有意思。

After eleven years, I can speak quite good Chinese already, but they can’t speak Japanese at all (laugh). I think it’s time for them to start to learn some Japanese. As I mentioned, I’ve spent quite a lot weekends visiting ancient Chinese cities, like Handan, Nanjing, Xian, Kaifeng, Zhengzhou, Anyang. I’m also interested to visit those province capitals. Ancient people must’ve had some reasons to build their capital there.

When we’re there, we can go back to the history and try to imagine the original demands and the passions from people living there. They must’ve had much more sensitive feelings to the power of nature. And I visited some temples which are more than 700 years old in the mountain or in the very deep nature. There must be people spending so many years to find the best location to build something. These are all very precious knowledge for our architectural design practice. I think maybe we can do something like this together one day, and it will be very interesting.

▼平遥古城 Pingyao, Shanxi, China photo by Yosuke Hayano

▼大同-法华寺 Huafasi, Datong, Shanxi, China photo by Yosuke Hayano

▼杭州 Hangzhou, China photo by Yosuke Hayano

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