世界上有趣，创新的事务所及工作室在一个怎样的环境中以怎样的模式进行工作？
gooood为您奉上<OFFICE真相>专辑。本期是第五十五期， 普罗建筑

What do the most interesting and innovative design offices in the world look like?
OFFICE FACT reveals the working method and the environment of them for you. This is the No.55 episode, officePROJECT

非常感谢 officePROJECT 予gooood分享以下内容。更多请至：officePROJECT on gooood
Appreciations towards for providing the following description:

出品人：向玲 / Producer: Xiang Ling
编辑：石安，亓慧，张笑然，高天旗，翁畅妍 / Editor: Shi An, Qi Hui, Zhang Xiaoran, Gao Tianqi, Weng Changyan

▼视频，Video
（全文深度采访见下方文字。视频为5分钟精华版，建议选择1080p高清版本观看）

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普罗
officePROJECT

在不断试错中探索属于中国地域的当代实践
Exploring a Contemporary Practice Rooted in the Chinese Context Through Continuous Trial and Error”

常可：普罗这个词代表着我们期望关注更大的范围，不想仅仅沉迷在特别具象而细微的内容上。普罗来源于法语里面无产阶级的音译。布尔乔亚也是法语，是资产阶级的意思，普罗大众就是对应的无产阶级的意思。普罗既是外来词，也是我们本土化过的词。普罗带有一点对共产主义或无产阶级的向往，总体上表达关心整个集体和共同价值观的愿景，我们想要探寻的是建筑设计背后的宏观和普适的思想与文化价值观。

普罗进一步的阐释，就是普世。普世就是说有一种集体性，而普罗的罗就是包容，包容集体性中个体个性的部分。这种普世中同时有个性的东西，是我们设计观中对这两者的探寻求索。

Chang Ke: The name of officePROJECT represents our desire to engage with a broader scope of concerns. We do not want to be confined to overly specific or minute issues. PRO is derived from the phonetic translation of the French word prolétaire, meaning the proletariat. Bourgeois is also a French term, referring to the capitalist class, while proletariat corresponds to the general public without capital. In this sense, PRO is both a borrowed word and one that has been localized through our own interpretation. It carries a subtle aspiration toward communism or the proletariat, and more broadly expresses a vision of caring for the collective as a whole and for shared values. What we seek to explore are the macro-level, universal ideas and cultural values that lie behind architectural design.

A further interpretation of PRO is universality. Universality implies a sense of collectivity, while the character Luo (罗) in PRO suggests inclusiveness—embracing individual distinctiveness within the collective. This coexistence of the universal and the personal is precisely what we continue to explore and search for in our design philosophy.

▼普罗建筑事务所logo&两位创始人合照，logo of officePROJECT and two cofounders of the studio

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连续研究系统
A System of Continuous Research

在一系列城市更新改造项目的探索实践
Explorations Through a Series of Urban Regeneration Projects

常可：我们开始事务所的时候并没有先入为主的设计思想。今年是事务所10周年了，我们计划把这些年积累的项目和实践逐步的做一些梳理，形成一个连续研究和实验的参照，最终形成一点小小的理论支撑为我们下一阶段的设计工作服务。

这10年的实践环境，包括社会和文化，所形成的系统性的学习过程，不仅让我们解决了别人的问题，也让我们获取到连续传递的知识和积淀。每做一个项目我们都会积累一些新的学习理解，我们会把这些新的理解再放到下一个项目当中，不断递进迭代，项目与项目之间也形成了联系。

Chang Ke: When we founded the office, we did not begin with a predetermined design ideology. This year marks the tenth anniversary of the practice. We plan to systematically review the projects and experiences accumulated over the past decade, gradually forming a framework of continuous research and experimentation. This process is intended to provide a modest theoretical foundation for the next phase of our design work.

Over these ten years, the practical environment—shaped by social and cultural conditions—has fostered a systematic learning process. It has enabled us not only to address the problems of others, but also to accumulate knowledge that can be continuously transmitted and developed. Each project generates new insights, which are then carried forward into subsequent projects, allowing for constant progression and iteration. In this way, connections are formed from one project to another, resulting in an interrelated and evolving body of work.

▼普罗部分代表作品，selected projects by officePROJECT

从留云草堂像一个当代的平面园林开始，到吴悦石艺术馆就发展成一个立体的园林并且逐步有了小社区的体感，再到优家公寓形成的真正的一个群体的青年社区，然后一直到我们的学校项目，更是一种综合式的社区。虽然他们是不同的项目，甚至是不同的类型，但他们在连续的推进后就衍生出一些超越性的更普罗更宏观的设计理念与内核。连续性是非常重要的，所以10年后的现在，迭代与沉淀的过程影响我们并将继续影响我们未来的项目，最后形成自己的方法、语言以及理念。

From Hall within Cloud, conceived as a contemporary planar garden, to Wu Yueshi Art Museum, where this idea developed into a three-dimensional garden with an emerging sense of a small community; then to YOU+ 2.0 International Youth Community, which formed a genuine collective youth community; and further to our school projects, which operate as integrated and comprehensive communities—although these works differ in program and typology, their continuous evolution has given rise to more transcendent, more PRO, and more macro-scale design ideas and internal logics. Continuity is essential. Ten years on, the processes of iteration and accumulation have shaped our practice and will continue to inform future projects, ultimately crystallizing into our own methods, language, and design philosophy.

▼留云草堂——画家许宏泉怀柔工作室，Hall within cloud – Art studio of Xu Hongquan ©孙海霆 / 普罗
点击这里查看更多，Click HERE for details

▼如故园——吴悦石艺术中心，Garden as Before: Design and Construction of Wu Yueshi Art Museum ©孙海霆 / 普罗
点击这里查看更多，Click HERE for details

▼二七厂1897科创城展示中心厂房改造——意义上的外部，The Renovation of Old Train Factory To CRRC 1897 Creative Display Center ©孙海霆 / 普罗
点击这里查看更多，Click HERE for details

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共生奇点
Symbiotic Singularity

基于现象学与人文体验的微观奇点
Microscopic Singularities Rooted in Phenomenology and Human Experience

李汶翰：奇点这个词是借前段时间的超级普罗展提出的，这个理念本身是具有一定模糊性的，它可以是一个空间原型，也可以是一个平面，还可能是某种功能模式的衍生。具体举一个例子来说，我们最近完成了城外诚的超级光合体育社区，这个项目有非常多的凹陷下去的运动场池，这些运动场池就是这个项目中的奇点。我们在设计的开始就做了一条让人一下子就进入到半空中的电梯流线，这样人先上到半空中俯瞰下面体育场的实时情景，然后就再下到运动场里面去运动。整个体验的流线成为了项目中被所有人都能感知到的奇点。奇点这个概念对于我们事务所很重要，我们希望通过这样的方式，可以把项目当中的甲方、合作方和使用者的共识串联起来，让大家能一起向着同一个目标愿景前进。

Li Wenhan: The term singularity was borrowed from the concept proposed in the recent exhibition of “HALF STAGE – SUPER PROJECT”. By nature, it carries a certain degree of ambiguity: it can refer to a spatial prototype, a planar condition, or even a derivative of a functional model. To give a concrete example, we recently completed the Sports socialization center on Furniture City-HYPER OXGEN. The project features numerous sunken sports-field basins, which function as the singularities of the project. From the very beginning of the design, we introduced a vertical circulation sequence that brings people directly into a semi-elevated position. Visitors are first lifted into midair to overlook the real-time activities of the sports fields below, and then descend into the fields to participate in the activities themselves. This experiential sequence—the movement through space—becomes a singularity that is perceptible to everyone. The concept of singularity is fundamental to our practice. Through it, we hope to connect the shared understanding of clients, collaborators, and users within a project, aligning them toward a common vision and enabling them to move forward together toward the same goal.

▼超级光合——激活老家具城的“运动细胞”，Sports socialization center on Furniture City-HYPER OXGEN © 朱雨蒙
点击这里查看更多，Click HERE for details

再举一个例子，留云草堂通过平面上的组合关系，让每个房间通过对角线的方式嵌套在一起，形成一系列粘连式的联通，在视线和游走的过程当中参与到一个又一个房间的活动中，而不是通过一个走廊消极的串着所有房间，此外双曲渐变的屋顶也进一步的暗示着这个特殊的平面奇点。我们希望通过这种建筑学上的语言影响留云草堂的主人使用这个建筑的方式，也就是画家本人的精神世界与生活模式之间的映射。本质上也是我们把想传达的核心理念都通过这种爆炸性的奇点呈现和凝聚起来。

To give another example, Hall within Cloud employs a planar compositional strategy in which individual rooms are diagonally interlocked, creating a series of adhesive, interwoven connections. Through this arrangement, one becomes visually and spatially involved in the activities of successive rooms while moving through the building, rather than passively passing through a corridor that simply strings the rooms together. In addition, the hyperbolic, gradually transforming roof further hints at this particular planar singularity. Through this architectural language, we hope to influence how the owner of Hall within Cloud inhabits the building—establishing a mapping between the painter’s inner spiritual world and their everyday mode of living. At its core, this approach allows us to present and condense the key ideas we wish to convey into these explosive moments of singularity.

▼留云草堂——画家许宏泉怀柔工作室，Hall within cloud – Art studio of Xu Hongquan ©孙海霆
点击这里查看更多，Click HERE for details

▼湖南安茶博物馆工场，ANCHA MUSEUM FACTORY © 存在建筑
点击这里查看更多，Click HERE for details

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材料
Material

让材料变身后呈现出全新的观感和能量
Allowing Materials to Transform and Reveal New Perceptual Qualities and Energy

李汶翰：建筑师很需要用材料的语言来说话。其实很多国外的大师在中国做项目容易走向水土不服，要想深刻的理解中国的国情、现实条件和文化背景并不是一件简单的事情。所以我们觉得本土设计师自己来做一些中国式的材料开拓和研究是非常重要的。

在留云草堂项目中，我们把最普通的彩钢板的构造方式做了一次革新，用双曲面的固定方法把它变成一种更新的构件，即阐述建筑的功能和理念，又实现了材料本身的表达。通过使用一种最工业化的代表场所本身的材料，让材料变身后呈现出全新的观感和能量。

Li Wenhan: Architects need to speak through the language of materials. In fact, many internationally renowned architects encounter a kind of “contextual mismatch” when working in China. Gaining a deep understanding of China’s national conditions, practical realities, and cultural background is by no means simple. For this reason, we believe it is essential for local designers to undertake their own explorations and research into material practices rooted in the Chinese context.

In the Hall within Cloud project, we rethought the construction logic of one of the most ordinary materials—color-coated steel panels. By introducing a hyperbolic fixing method, we transformed them into a renewed architectural component that both articulates the building’s function and concept, and allows the material itself to speak. By employing a highly industrial material that directly reflects the nature of the site, the material is transformed to present an entirely new visual experience and energy.

▼留云草堂中的屋顶，Roof of the Hall within cloud © 普罗/孙海霆
点击这里查看更多，Click HERE for details

▼扬州 “壹点”文创街区，Yangzhou Ideen Creativity Community © UNITU/span>
点击这里查看更多，Click HERE for details

运河美术馆选择洞石材料后有一种岁月和时间感，这其实是运河美术馆这座建筑的基因所决定的，它就位于京杭大运河的边上，说是大运河的起点也不为过，所以我们希望通过洞石让它有一种岁月的痕迹，同时又能和新潞文创园的整体相协调。园区的前身是个金属材料厂，原址遗存是各种高大的厂房和大小不一的工业院落，而美术馆在改造之前是员工的宿舍和食堂。所以我们针对类型学上的内容结合功能和活动的新需求，选择了不同的材料。比如陶棍、陶板与音乐韵律上的呼应，水泥压力板能通过雨水的冲刷产生独特的使用痕迹，让人们随着时间感受到微妙的变化，旨在把破败的工业区变成新兴的艺术社区。

After selecting travertine for the Canal Art Museum, the building acquired a sense of time and aging. This quality is inherent to the museum’s DNA: it sits alongside the Beijing–Hangzhou Grand Canal and could even be considered part of the canal’s origin. We therefore hoped that travertine would convey traces of time while remaining in dialogue with the broader context of the SINLOON Canal Creative District. The site was formerly a metal materials factory, and what remained were tall industrial buildings and courtyards of varying scales. Prior to renovation, the museum itself served as employee dormitories and a canteen. In response to typological conditions and new functional and programmatic demands, we selected different materials accordingly. Ceramic rods and ceramic panels echo musical rhythms; fiber-cement boards develop distinctive traces through exposure to rain, allowing subtle changes to be perceived over time. The aim is to transform a once-derelict industrial area into an emerging arts community.

▼新潞运河文创园——直接的诗意与戏剧的城市，Publi-City – Tongzhou SINLOON Canal Creative District ©夏至 / 普罗
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▼运河美术馆——没有大门的艺术馆，Canal Art Museum, A gallery without a gate ©孙海霆
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超级现实
Super Reality

在一系列大型公共竞赛中寻找属于我们民族特有的集体性和公共性，宏观奇点研究
Macro-Scale Singularity Research into Collective and Public Dimensions Unique to Our Cultural Context, Through a Series of Large-Scale Public Competitions

常可：社会发展得非常快，但是对于我来说，建筑最本质的是要回应我们现实环境中的问题或现象。通过设计启发大家对环境和社会的认识。“超级现实”的提出是希望大家能更加关注现实的问题。现实其实是一个很好也非常丰富的事情，盖房子本质上是参与了社会现实发展的进程，我们希望盖房子作为一个介质成为让我们发掘现实走向未来的过程。我们也可能会超越现实，做一些超现实的东西。希望大家看到我们的创作后能感受到我们对现实中的某些文化现象或者社会现象做出的回应。这种社会实践是建筑师的一种社会责任感，通过建筑去推动社会的进步。只有在真实的环境当中，你才能体会到很多东西，一个真实的建设，一个真实的实践，而不仅仅只是一个艺术品。

Chang Ke: Society is developing at an extremely rapid pace, but for me, the essence of architecture lies in responding to the problems and phenomena of our real environment. Through design, architecture can inspire people to reconsider their relationship with both the environment and society. The concept of Super Reality was proposed to encourage greater attention to real and pressing issues. Reality itself is rich and full of potential. At its core, building is an act of participation in the ongoing process of social development. We hope that architecture, as a medium, can become a way to engage with reality and project it toward the future. At times, our work may even move beyond reality and enter a more surreal dimension. Ultimately, however, we hope that viewers can sense our responses to specific cultural or social phenomena rooted in reality. Such engagement constitutes a form of social practice and reflects an architect’s sense of social responsibility—using architecture as a means to advance social progress. Only within real environments can one truly experience these qualities: real construction and real practice, rather than architecture existing merely as an art object.

▼村中城——容积率6.0的社会住宅社区，City in village —— a social residential community with a plot ratio of 6.0 © 普罗

▼渔岛公圆——蛇口渔港升级改造工程方案设计，Yudao “Park” —— Shekou Fishing Port Upgrade and Renovation Project Design © 普罗

▼光明科学家谷——“集约”的自然聚落，GUANGMING Scientist Valley —— “Intensive” natural settlements © 普罗

▼衢州文礼湖地标项目——什么是“发展中”的地标，Quzhou Wenli Lake Landmark Project —— What is a “developing” landmark? © 普罗

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工作方法
Working Method

在逐步向前推进和反复试错的尝试过程中找出潜在的奇点
Uncovering Potential Singularities Through Iterative Progression and Trial-and-Error

李汶翰：我们两个的分工不是那种特别明确的分工，比如一个人管设计，另外一个人管商务，同时也不是另一种模式，他管他的项目，我管我的项目。我们的分工方式其实是有点特殊的，这跟我们的工作流也是有很大关系，我们属于交叠式的分工，工作室的每个人都做设计，当一个人做设计并变成项目的主推者的时候，另外一个人就会化身成旁观者来审视复核这个方向的合理性和潜力，然后大家以身份交替的方法一起推进项目。

我觉得我们的项目有个很显著的特点，就是有着明显的利他性。虽然我们也有自己个性化的表达，但是我们还是希望把客户的需求，包括我们想讨论的社会性议题和我们自己在建筑学意义上的表达融合在一起。

我们的工作室早上10点开工，先各自忙碌梳理自己的东西，大概11:30左右会开始进行会议讨论，到了下午讨论清楚后，再回到各自的工作中。算是一个分-总-分的工作节奏。我们并不倚重灵感迸发式的方法来开展工作，我们是在工作流的讨论过程当中，逐步把项目当中潜在的奇点给它显现出来。这个事儿特别像解数学题，要解决的问题是明确的，针对的问题会有一个相对明确的答案，但是怎么来解这道数学题，是一个逐步向前推进和反复试错的尝试过程。我们以后也会延续和坚持这种工作方法，并逐步去完善和升级，让这个工作流在未来带给我们更多的意外和惊喜。

Li Wenhan: Our division of work is not conventional—neither one of us solely handling design while the other manages business, nor each managing separate projects independently. Instead, our workflow is deliberately overlapping: everyone in the studio participates in design. When one of us takes the lead on a project, the other becomes an observer, critically reviewing the direction for feasibility and potential. Roles alternate naturally, allowing us to advance projects collaboratively.

A distinctive feature of our work is its altruistic dimension. While we each maintain our personal architectural expression, we strive to integrate the client’s needs, social concerns we wish to explore, and our own architectural intentions into a unified whole.

Our studio day begins at 10 a.m. with each of us focusing on individual tasks. Around 11:30 a.m, we convene for discussion. After these meetings, we return to our workstations to continue developing the project. It’s a “divide–converge–divide” rhythm. We don’t rely on flashes of inspiration; rather, through iterative discussion and collaborative exploration, potential singularities gradually reveal themselves. The process is akin to solving a math problem: the question is defined, the answer exists, but the solution emerges through careful, step-by-step experimentation and adjustment. We intend to continue refining this method, evolving our workflow to generate even more unexpected insights and discoveries in future projects.

▼普罗的办公室日常，The daily work scene of officePROJECT

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未来 & 理想
Future & Ideals

我们心目中理想校园的畅想以及装置产品实验
Imagining Our Ideal Campus and Experiments with Installation-Based Products

李汶翰：我们未来希望尝试两个方向，大的方向是继续坚持更多的参与社会化的议题，包括国家新的政策出来以后，会有一些新类型的功能建筑，需要建筑事务所来参与探索：比如城市更新、深圳的校园实验等等。深圳的新校园计划在5-8年里就已经探索出了很多可行的空间模式，让学生能更好更健康的在高密度的城市中相对舒服的去成长和发展，并建立一个好的价值观。所以我们希望继续参与这些相对先锋的尝试实验。

Li Wenhan: Looking ahead, we hope to explore two directions. The first, broader direction is to continue engaging with socially relevant topics. With new national policies, new types of functional buildings emerge that require architectural offices to participate in their exploration—projects such as urban regeneration and experimental campuses in Shenzhen, for example. Shenzhen’s new campus initiatives have already explored many feasible spatial models over the past five to eight years, enabling students to grow and develop comfortably in high-density urban environments while cultivating strong values. We hope to continue participating in these relatively pioneering experimental projects.

另外则是从小的角度来说，我们关注艺术和社会实验装置，比如把大的社会议题，通过小的艺术装置来进行解决。我们把前段时间展览中的柱子挪到办公室继续利用，三米高的柱子在很大的展厅中并不让人觉得大，但是搬回办公室后就变得很有体量感，我们就可以利用这个柱子去做很多尝试，现在我们在慢慢的打磨这个空间实验，作为一个日常性的装置。我们也尝试做一些工业产品，比如说借超级光合项目的机会，我们做了一个冰盒儿产品的实验，把每个下凹的运动场转化成大小不一的不同纹理的冰块槽，让建筑理念外延到产品设计。

The second, more focused direction involves art and social experimental installations. For instance, we explore how large social issues can be addressed through small-scale artistic interventions. Recently, we relocated the columns from a previous exhibition to our office for continued experimentation. Three-meter-high columns that seemed modest in a large exhibition hall gain a strong sense of presence in the office. We are using these columns to test spatial ideas, gradually refining the space as an everyday installation. We also experiment with industrial products. For example, leveraging the Hyper Oxgen Space Center project, we conducted an ice-block product experiment, translating each sunken sports field into ice trays of varying sizes and textures—extending the architectural concept into product design.

常可：最近梳理我们过去10年的探索，发现我们都是在帮助社会进行一种“模式开发”。新的问题用新模式解决，并不是复制传统的模式解决新问题。我们并不仅仅满足人们在里面使用，而是考虑如何去运用现实的力量去创造新的价值，让社会往前发展。这种价值有可能是商业价值，有可能是社会价值，也有可能是环境价值。做设计本身就是在帮助开发商，帮助政府，帮助所有的人提供一个让社会向前发展的方案。

普罗包含“更大”这样的概念，比如说在全球的视野下，或者在全国的视野下，总之我们需要把当下的事情放在一个更宽广的视野下面，来重新看待应该怎么处理，要做成这个事情怎么样才能够往前去推动？比如深圳南山区的南方新住宅项目是一个超大的社会住宅。我们帮助政府去思考怎么去开发保障房，这种社会的责任，或者说社会的产品，最终创造的社区将成为城市的创新。

建筑师的价值和责任是独特的，他不能被开发商、政府取代，也不能或不应该被任何的团体或算法所取代。建筑师的专业或者价值观会对城市和社会的推动产生极大的影响，我们呼吁大家一定要去产生这样的影响，找到这样的领域，然后尽可能去发挥影响，而不是说只是在别人给定的范围或者框架内去做一些复制的东西。

Chang Ke: As we reviewed the past ten years of our work, we realized that much of what we’ve been doing is helping society develop new patterns. New challenges require new approaches, rather than applying traditional models to solve contemporary problems. Our focus is not just on how people use a space, but on how architecture can harness real-world forces to create new value and advance society. This value may be commercial, social, or environmental. In essence, design is about providing solutions that help developers, governments, and communities collectively move forward.

The idea of PRO carries a sense of “larger”—whether seen from a national or global perspective. We aim to place current issues within a broader context, reconsider how they should be addressed, and explore how to push them forward. For example, the Southern New Housing Project in Nanshan, Shenzhen, is an extremely large social housing development. We worked with the government to rethink how affordable housing could be developed responsibly. This kind of social responsibility—or “social product”—ultimately produces communities that become urban innovations.

Architects have a unique value and responsibility. They cannot be replaced by developers, governments, or algorithms. Their professional judgment and values can profoundly influence the city and society. We encourage architects to embrace this responsibility: identify areas where they can make a difference, maximize their impact, and avoid simply working within predefined boundaries or replicating existing solutions.

▼“半场”第二场展览《超级普罗》，The second exhibition of “HALF STAGE – SUPER PROJECT” opened ©尧迪 / 普罗
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迭代中的办公环境
Iterative Office Environments

普罗建筑到今年已经成立了十年时间，我们一直希望做的设计不是一个个孤立的个体，而是成为一系列连续相关的事件，我们的办公环境也自然延续着同样的思路，以下三个办公室是我们三个重要阶段的生活和工作过的地方。

第一个办公室是我们独立开工作室后首次自己设计的办公空间，我们称它为潮汐办公，是我们工作室第一个设计理念：潮汐空间的重要展示和践行场地。

This year marks the tenth anniversary of officePROJECT. From the very beginning, we have aimed to create designs that are not isolated individual projects, but rather a series of continuous and interconnected events. Naturally, our office environments have followed the same philosophy. The three offices described below represent key stages of our life and work over the past decade.

The first office was the first workspace we designed ourselves after establishing the studio. We called it the Tidal Container Office, reflecting our initial design concept: a space to showcase and practice the idea of tidal spatial dynamics.

第二个办公室是我们在疫情期间搬来的空间，恰逢当时线下的物理空间受到社会环境的巨大冲击。我们在整体压抑的环境下反而选了一个风景特别好的顶层空间来办公，窗外是一览无余的朝阳cbd，虽然时不时就面临停工转成线上的风险，但是我们对未来还是充满了笃定和期许，也是在这里办公的数年间，接连赢得了云端学校、青少年教育实践基地和衢州超高层双塔等重要国际竞赛第一名的卓越佳绩。

The second office was the space we moved into during the pandemic, at a time when physical, in-person environments were under tremendous social pressure. In contrast to the prevailing sense of constraint, we chose a top-floor space with exceptional views for our work. Outside the windows stretched the entire Chaoyang CBD. Although we faced intermittent risks of shutdowns and transitions to online work, we remained resolute and optimistic about the future. During the years we worked here, we achieved remarkable successes, winning first prizes in key international competitions, including Shenzhen Cloud School, the Youth Practice Education Base, and the Quzhou Supertall Twin Towers.

第三个办公空间是在同一栋楼里，我们利用了今年在北京建筑大学的超级普罗展当中展柱的珍贵遗产，做了一次大胆的再回收创作。我们把生活工作中的必需设施集成在展柱当中，于是就有了水吧柱，模型塔，展示台，打印座等等办公“装置”，由于展柱本身的瓦楞纸的材质属性，让它们天然具有特别好的加工可塑性。我们希望这些展柱成为工作室中用来mock up的几个锚点，让它们可以处在不断生长的状态中，它们可以继续用来测试灯光、材质、节点等等我们想继续做的实验，成为我们身边每天都可以用来实验的的建构之所，甚至理想化的期望将来这些承载着我们设计思考的展柱可以成为一个单独的作品来发表或做个微展。我们对办公空间的理解也从最开始的颜值和理念至上，走向了更内敛、实用的现象学体验与研究场所。

The third office, located in the same building, emerged from a bold experiment in reuse. We incorporated the precious exhibition columns from this year’s SUPER PROJECT Exhibition at Beijing University of Architecture into our workspace. Essential work and living facilities were integrated into these columns, creating “office installations” such as a water bar column, model tower, display podium, and printer station. The corrugated cardboard material of the columns provided excellent malleability for fabrication and adaptation. We envision these columns as anchoring points within the studio that can continuously evolve—serving as testing grounds for lighting, materials, connections, and other ongoing experiments. Ideally, these columns, which carry our design thinking, could even be developed into standalone works or small-scale exhibitions in the future. Our understanding of office space has evolved as well. From the early emphasis on aesthetics and conceptual expression, we have moved toward a more introspective and practical approach—a phenomenological environment for research, experimentation, and daily engagement with design.

▼李汶翰&常可，Li Wenhan & Chang Ke

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