来自 CPLUS 对gooood的分享。更多关于他们： CPLUS on gooood。
Appreciation towards CPLUS for providing the following description:

出品人：向玲 / Producer: Xiang Ling
编辑：石安，亓慧、庞任飞、张笑然、高天旗 / Editor: Shi An, Qi Hui, Pang Renfei, Zhang Xiaoran, Gao Tianqi

▼视频，Video
（全文深度采访见下方文字。视频为3分半精华版，建议选择1080p高清版本观看）

CPLUS十周年
专访程艳春

Special Interview for
CPLUS’s First Decade

gooood x Cheng Yanchun

______________
CPLUS的十年成长路
First Decade of CPLUS

对于建筑师来说，十年其实特别短暂。虽然感觉经历了很长时间，但从建筑师的整个职业生涯来看，十年的时间就像从婴儿到青少年的成长的阶段。在初期，事务所刚刚起步，难免遇到很多困难与挫折，同时也经历了许多意想不到的事情。事实上，我认为这十年是一个极为重要的打基础和成长的过程。我们在这段时间内不断摸索和学习，不仅要进行创作，还要思考事务所的未来成长与发展。

For an architect, ten years is actually a very short period. Although it may feel like a long time, from the perspective of an architect’s entire career, ten years is like the growth stage from infancy to adolescence. In the early days, the firm is just getting started, and it’s inevitable to encounter many challenges and setbacks, along with unexpected events. In fact, I believe these ten years are critical for laying a foundation and growing. During this time, we constantly explore and learn, not only engaging in creative work but also thinking about the future growth and development of the firm.

▼CPLUS办公室环境，office environment of CPLUS © CPLUS

▼程艳春老师工作时的照片，Cheng Yanchun at work © CPLUS

尽管如此，当回顾这10年，我们仍然完成了不少工作，也参与到了许多重要的项目。比如在2018年，我们通过国际竞赛参与了日本“越后妻有大地艺术节”，成功入选了国际20位参展艺术家的名单。这个结果让整个事务所非常兴奋，因为此前参展的艺术家多为像蔡国强、张永和这样的知名中国艺术家和建筑师。而作为一个年轻的事务所，我们通过国际竞赛，与像伊东丰雄这样的建筑大师在同一平台展示作品，这对我们来说是极大的鼓励。

Nevertheless, when looking back on these 10 years, we have completed a considerable amount of work and participated in many important projects. For example, in 2018, we entered the first “Echigo-Tsumari Triennale” in Japan through an international competition and were successfully selected as one of the 20 participating international artists. This result was very exciting for our entire firm, as the artists who had previously exhibited were mostly well-known Chinese figures like Cai Guoqiang and Yung Ho Chang. As a young firm, being able to exhibit our work on the same platform as a master like Toyo Ito through an international competition was a great encouragement for us.

▼CPLUS日本2018“越后妻有大地艺术节”作品，project by CPLUS at the 2018 “Echigo-Tsumari Triennale” in Japan © CPLUS

2020年上半年情况还算稳定，但下半年几乎所有项目都停滞不前。于是，我们开始深入推进“超级多米诺”方案的设计。同年，我们还参与了建筑师马岩松策展的北京建筑艺术双年展，并设计了一个未来可能应对传染病的医院方案。我们希望在这个特殊时期，建筑师能为未来贡献一些力量，将疫情视作契机，探索设计新型医院的可能性。

The first half of 2020 was relatively stable, but by the second half, almost all projects had come to a standstill. So, we began to deeply develop the design of our “Super Domino” project. That same year, we also participated in the Beijing Biennale (2020), curated by architect Ma Yansong, where we designed a proposal for a hospital that could potentially respond to infectious diseases in the future. In this unique period, we hoped that architects could contribute to the future by taking the pandemic as an opportunity to explore the possibilities of designing new types of hospitals.

▼北京建筑艺术双年展作品，project by CPLUS at Beijing Biennale (2020), curated by architect Ma Yansong © CPLUS

2019年正是我们迅速向上发展的关键节点，但恰逢疫情让我们碰到了巨大的瓶颈。尽管如此，这段时间也让我们在设计判断上有了显著的进步，虽然项目的推进速度远不及2019年之前那么顺利。我认为疫情后对任何事务所来说都是巨大的挑战，首先是如何生存下来。对于年轻的建筑师而言，不仅要生存，还需要有机会不断表达自己的设计理念，并通过项目落地传达这些想法，这是另一个层面的挑战。

最后，对于建筑师来说，还有一个更大的目标，就是能否通过建筑设计参与社会议题，提出更好的具有创造性的解决方案。我认为，建筑师的工作不仅仅是生存下去，还要在更高层面上承担责任和挑战，提出自己对世界的看法。

2019 was a crucial turning point in our rapid development, but the pandemic brought us to a significant bottleneck. Despite this, that period allowed us to make notable progress in our design judgments, although the pace of project advancement was far less smooth than it had been before 2019. I believe the post-pandemic era poses immense challenges for any firm, with the first being how to survive. For young architects, it’s not only about survival but also about finding opportunities to continuously express their design ideas and realizing these concepts through projects, which is another level of challenge.

Finally, for architects, we have an even greater goal—whether we can engage with societal issues through architectural design and propose better, more creative solutions. I believe that an architect’s work is not just about survival, but also about taking on higher-level responsibilities and challenges, and expressing their views on the world.

▼CPLUS部分代表作，part of the school design projects of CPLUS

“我们希望展览能够传递一种价值观，即建筑如何促进人与环境的互动，创造新的联系。”

“Our aim is to convey a value system that demonstrates how architecture fosters interaction between people and their environment, creating new connections.”

这次展览不仅是一个总结，也是一次归零的机会。通过重新梳理过去的工作，可以更清楚地看到自己做了什么，同时也促使自己重新思考：当初为什么从事这个职业？为什么要开设事务所？这种阶段性的归零能让我们以更清晰的视角面对不确定的未来，找出前进的方向。同时，展览的准备与一本书的出版同步进行，工作内容融合在一起，也使得整个过程相对轻松一些。

展览特别之处在于，我将它分为10个章节。首先，我钦佩的建筑师是那些能够不断超越自我的人，而非重复成功经验的人。我喜欢的建筑师是那些在不同阶段敢于否定过去，根据社会环境的变化，迎接新的挑战，创造新的内容。所以，在策划展览时，我没有试图用一句话或某个固定形式去总结自己，因为我们的每个项目都非常不同，每个项目的挑战方向也不一样——有的挑战材料，有的挑战空间，还有的挑战技术等。我们希望展览能够传递一种价值观，即建筑如何促进人与环境的互动，创造新的联系。

展览的10个章节，看似每一章讲述一个独立的故事，而这些故事合在一起，就是展览整体的主题。此外，我们还设计了展场，以向我们10年前设计的理发店致敬。因此，这次展览不仅仅是一次记录和总结，也是一种对过往工作的回溯与反思。

▼CPLUS十周年展览现场，CPLUS 10th Anniversary exhibition © CPLUS

This exhibition serves not only as a retrospective but also as an opportunity to reset. By reviewing our past work, we gain a clearer understanding of what we have achieved, while also prompting us to reflect on key questions: Why did we choose this profession? Why did we start this firm? This periodic reset allows us to face an uncertain future with a sharper perspective and helps us chart a path forward. The exhibition was prepared alongside the publication of a book, integrating both processes, which made the whole experience more seamless.

What makes this exhibition unique is that I’ve structured it into 10 chapters. The architects I admire are those who constantly push beyond their previous accomplishments, not those who simply replicate past successes. I appreciate architects who, at different stages of their careers, are willing to question their past work, embrace new challenges, and create new content in response to shifts in the social environment. Therefore, in curating this exhibition, I didn’t attempt to sum up my work in a single statement or format, as each project is distinct, with different challenges—some focused on materials, some on space, and others on technology. Our aim is to convey a value system that demonstrates how architecture fosters interaction between people and their environment, creating new connections.

Though the 10 chapters each tell an individual story, together they weave into the exhibition’s overarching theme. We also designed the exhibition space as a tribute to a barbershop we created 10 years ago. Thus, this exhibition is not only a documentation and summary of our work, but also a reflection and reevaluation of our journey.

▼CPLUS十周年展览现场，CPLUS 10th Anniversary exhibition © CPLUS

___________
世界观与方法论
Worldview and Methodology

对于建筑师而言，10年的时间相对来说还是比较短的，所以我目前还无法给自己的职业生涯做出一个全面的总结。我们事务所改名为CPLUS，主要原因之一是我不想以个人名字命名事务所，我认为事务所应该体现一种集体的价值观。我们的Logo从一个点逐渐扩展成一个圈，打破局限并加入更多元素，这与我们事务所的理念非常契合。

For an architect, 10 years is a relatively short period, so I’m not yet able to give a comprehensive summary of my career. One of the main reasons we renamed our firm to CPLUS is that I didn’t want to name it after myself. I believe a firm should reflect a collective value system. Our logo starts as a point and gradually expands into a circle, breaking boundaries and incorporating more elements, which aligns perfectly with our firm’s philosophy.

▼CPLUS logo，logo of CPLUS

我们始终认为，建筑并不是一个封闭的系统，它必须与外界联系，才能产生新的意义。这种联系包括最新的技术、工业生产方式、社会价值观和议题等。否则，建筑仅仅是单纯的空间形式游戏，逐渐走向封闭。我们希望建筑成为一种载体，能够通过它与更多的领域发生连接，从而使建筑学的影响范围更广泛，生命力更长。

建筑的最终目的是在人与环境之间建立联系，而不仅仅是设计本身。在人类还没有语言的时候，建筑已经存在了，人类生活在各种建筑空间中。因此，我们一直在探讨如何通过建筑设计，创造出更好的环境，促进人与人、人与环境之间的互动。我们关注的不仅仅是建筑物的物理状态，而是这些形式背后的深层意义。我认为，看不见的东西往往比看得见的更加重要，这也是我们在设计工作中处理的大量内容。

We have always believed that architecture is not an isolated system; it must connect with the outside world to generate new meaning. These connections include the latest technologies, industrial production methods, societal values, and issues. Otherwise, architecture risks becoming merely a game of spatial forms, slowly turning inward. We hope that architecture can serve as a medium, linking to a wide range of fields, thereby extending the influence of architecture and giving it a longer lifespan.

The ultimate purpose of architecture is to build connections between people and their environment, not just focus on the design itself. Even before humans had language, architecture existed, and people lived within various built spaces. Therefore, we are constantly exploring how to use architectural design to create better environments that promote interaction between people themselves and with surroundings. What we focus on is not just the physical state of buildings but the deeper meanings behind those forms. I believe that what is unseen is often more important than what is visible, and this is a significant part of what we work with in our designs.

▼CPLUS团队讨论场景，CPLUS team in discussion © CPLUS

建筑本身有其固有的规律，它是一个有材料、尺度和空间感的艺术形式。除了建筑的本质工作外，我们还力求通过它与更广泛的领域建立联系。举例来说，我们今年刚完成了两个项目。第一个是为泰康美术馆设计的空间装置“母体”。当我们接到委托时，美术馆展厅有十几米高，任务是设计一个独特的空间装置。经过我们团队的研究和讨论，我们希望设计出一个让人放松、与CBD的硬质空间特性形成鲜明对比的装置。最终我们设计了一个类似于“蛋”的装置，象征回归母亲子宫的感觉。这个设计不仅提供了视觉体验，还让参观者感到安全、放松，甚至唤起儿时的记忆。许多人在体验后表示，这个装置让他们想冥想、发呆，甚至小睡。这个项目不仅是一个空间装置，更是在结构、材料力学等多学科交叉的创新尝试。它既理性又感性，体现了建筑作为一种多维度载体的潜力。

Architecture follows its own inherent principles, being an art form shaped by materials, scale, and spatial experience. However, beyond its essential role, we also seek to connect architecture with broader fields. A recent example of this is a project we completed this year for Taikang Art Museum—a spatial installation called “Matrix-Space for All”. The museum’s exhibition hall is over ten meters high, and our challenge was to design a distinctive installation for this vast space. After extensive research and team discussions, we aimed to create something that would evoke relaxation and contrast with the hard, rigid characteristics of the surrounding CBD.

The final design was an egg-shaped installation, symbolizing a return to the womb. It provided more than just a visual experience—it made visitors feel safe, relaxed, and even evoked childhood memories. Many who experienced it mentioned that it inspired them to meditate, daydream, or even take a nap. This project was more than a spatial installation; it was an innovative experiment, blending structure, material mechanics, and multidisciplinary collaboration. It combined rationality with emotion, showcasing the potential of architecture as a multidimensional platform.

▼“母体——TA们的共享客厅”：泰康美术馆空间装置，“Matrix-Space for All”: Space Installation at Taikang Art Museum ©朱雨蒙
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第二个是我们今年设计的两个乡村项目，包括一栋住宅的设计以及一座村庄整体的规划设计。最初我对民宿设计兴趣不大，认为它是一种商业化行为。但随着农村项目的机会增多，我逐渐认识到，乡村不应是一个封闭的存在，而是要与城市形成动态联系。未来的乡村可能有新的乡村人群，他们可能是从城市回流的人，也可能是一直居住在乡村的人。乡村与城市互补，能为城市人提供新的生活方式。

建筑在这个过程中成为一种新的载体，承载着未来的生活可能性。比如，我们的项目 —— 母亲住宅，其实北京周边有很多村庄可以为年轻人提供一种城市里无法体验的生活方式，他们可以在村里租一个带院子的房子，享受更多的空间和自由。同时，我们也在考虑村庄建筑的适老化设计，确保老人能够在村中方便地行动，享受比城市中更宽敞的生活空间。乡村的发展将为中国人提供一种新的生活模式，这也是我们事务所关注的重要方向。

The second project we designed this year encompasses two rural developments: a residential building and a comprehensive master plan for an entire village. Initially, I wasn’t particularly interested in designing rural accommodations, viewing them primarily as a commercial endeavor. However, as opportunities for rural projects increased, I began to recognize that villages should not exist in isolation; rather, they should form dynamic connections with cities. The future may see the emergence of new rural populations, including individuals returning from urban areas as well as those who have always resided in the countryside. Villages and cities can complement each other, offering urban dwellers a fresh way of life.

In this context, architecture serves as a new medium, embodying future living possibilities. For instance, our project “Mother’s House” highlights how many villages around Beijing can provide young people with experiences unattainable in urban settings. They can rent houses with courtyards, enjoying greater space and freedom. Additionally, we are considering age-friendly designs for village buildings to ensure that elderly residents can navigate their surroundings easily and benefit from more spacious living conditions compared to what cities typically offer. The development of rural areas presents a new lifestyle option for people in China, and this focus is a significant priority for our firm.

▼母亲住宅，北京，Mother’s House, Beijing ©朱雨蒙
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“创造真正的新东西，意味着需要与新的事物结合。只有通过交叉和混合，才能产生真正的创新。”

“Creating truly novel ideas necessitates engagement with fresh concepts, as genuine innovation arises from cross-disciplinary collaboration and blending.”

我理想中的建筑师应当具备先锋性和批判性，通过建筑表达独特的声音，并通过具体的工作为社会问题提供解决方案。这样的建筑师不仅仅关注建筑本身，而是能够将建筑设计与更广泛的社会层面连接起来。

例如，在设计美术馆时，我们希望探讨是否能够创造出未来美术馆的一种新型解决方案。作为年轻建筑师，我们常常面对许多首次设计的项目，如酒店、美术馆、住宅等，这些都是我们重新思考和创造的机会。我们可以从第一性原理出发，不受以往经验的限制，思考这些项目的本质应当是什么样的。

In my view, an ideal architect should embody a pioneering and critical spirit, using architecture to express a unique voice and provide solutions to social issues through tangible work. Such architects not only focus on the buildings themselves but also connect architectural design to broader societal contexts.

For example, when designing an art museum, we aim to explore whether we can develop a new model for future art institutions. As young architects, we frequently encounter our first-time design projects, such as hotels, art museums, and residential buildings—each serving as an opportunity for rethinking and innovation. By approaching these projects from first principles, we can free ourselves from the constraints of past experiences and consider what the true essence of these projects should be.

▼泰康美术馆开馆展空间设计，北京，The Inaugural Exhibition Space Design for Taikang Art Museum, Beijing © 夏至
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这也是保持社会敏感性的重要原因。我们需要时刻观察社会的变化，关注新的技术进展，如自动化、人工智能等，了解这些变化如何影响建筑设计及其形式。只有这样，我们才能提出具有前瞻性的意见，而不是仅仅跟随潮流。

我认为，许多事务所已经具备了这种先锋性或研究性。虽然是否能将这种先锋性表现得淋漓尽致是另一个问题，但我们在讨论中经常探讨公共性和社会性等问题。我们事务所的名字中包含“plus”，旨在将建筑学与更多新元素结合，推动建筑领域的创新。创造真正的新东西，意味着需要与新的事物结合。只有通过交叉和混合，才能产生真正的创新。

This emphasis on social sensitivity is crucial. We must continuously observe societal changes and stay informed about new technological advancements, such as automation and artificial intelligence, to understand how these developments impact architectural design and its forms. Only then can we propose forward-thinking ideas rather than simply following trends.

I believe many firms already demonstrate this pioneering or research-oriented spirit. While the extent to which they can fully express this avant-garde nature is another matter, we frequently discuss issues of publicness and social relevance in our conversations. The inclusion of “plus” in our firm’s name reflects our commitment to integrating architecture with new elements, driving innovation in the field. Creating truly novel ideas necessitates engagement with fresh concepts, as genuine innovation arises from cross-disciplinary collaboration and blending.

▼由CPLUS建筑事务所创始合伙人程艳春博士出题的“2023营造大集”题目“内与外”，”2023 Construction Exhibition” titled “Inside and Out” by Dr. Cheng Yanchun, Founding Partner of CPLUS Architects
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“从中国生长且发展出的现代建筑脉络，又能为世界建筑的发展提供什么样的思考，我试图探索并通过实践来对此做出回应。”

“I seek to explore and respond through practice to the question of what insights modern architecture, rooted in China, can offer to the global evolution of architecture.”

总结经验的过程，其实也是逐渐看清自我的过程。我曾在日本留学，深感日本建筑师的卓越之处，尤其是他们能够通过现代设计手法讲述日本传统故事，无论是文化还是空间，这给我留下了深刻的印象。因此，我们的设计理念并非仅从现代建筑出发，很多灵感源自传统文化。比如我们常讨论的“内外关系”，就像中国园林一样，内与外同等重要。虽然我们的建筑形式非常现代，但其内核往往源自中国传统的居住文化，通过现代的手法予以呈现。这种对传统与现代的融合，对我来说意义重大。

现代建筑在建筑史中只占了很短的时间，如果人类历史有几千年，现代建筑也不过百年左右。而在这之前，建筑如何存在？我在日本和中国的研究室中，接触了很多关于聚落的研究，这让我学到了超越现代建筑的许多内容。聚落建筑没有建筑师的参与，却生动地反映了人与环境、人与人之间的互动。这种原始的表达，往往比现代建筑的许多技巧更具价值。

The process of reflecting on experiences is also a gradual journey toward self-discovery. During my studies in Japan, I was profoundly impressed by the excellence of Japanese architects, particularly their ability to convey traditional Japanese stories through modern design techniques, whether related to culture or space. This left a lasting impact on me. As a result, our design philosophy does not solely originate from modern architecture; much of our inspiration is rooted in traditional culture. For example, the concept of “inner and outer relationships” that we often discuss parallels the principles of Chinese gardens, where both aspects are equally significant. While our architectural forms are decidedly modern, their essence often draws from traditional Chinese residential culture, articulated through contemporary methods. This integration of tradition and modernity is deeply meaningful to me.

Modern architecture occupies only a brief moment in the history of architecture. If human history spans thousands of years, modern architecture has existed for only about a century. How did architecture exist before that? In my research in both Japan and China, I explored numerous studies on settlements, which revealed insights that transcend modern architectural practices. Settlement architecture, developed without the involvement of architects, vividly reflects the interactions between people and their environments, as well as among individuals. This primal expression often holds greater value than many techniques found in modern architecture.

▼由CPLUS与Naza design studio合作设计的中国厦门Nashare酒店，Nashare Hotel, Xiamen, China by CPLUS and Naza design studio © 许晓东
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▼半山腰凤凰汇店，北京，“Under Clouds, Galleria Branch”, Beijing © 陈冰
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“现代性或许只是一种手段，而非终极目标。”

“Modernity should be viewed as a means to an end rather than the ultimate goal.”

作为中国建筑师，我也时常会思考在中国的建筑师如何为世界现代建筑的展脉络做出贡献。虽然这个问题宏大，但中国的多样性为我们提供了丰富的可能性。中国有着巨大的地域差异，但其文化核心，例如中国人强调的天地人关系，是一致的。无论建筑形式如何变化，这种文化精神内核依然不变。因此，我一直在思考，人类的成长往往经历模仿和再创造的过程。能否在此基础上，超越现代建筑所传授的知识，从头开始，将现代性更自然地融入创作与生产的过程，而不是盲目追求现代形式。现代性或许只是一种手段，而非终极目标。

我们一个重要的设计理念就是“精确性”。在设计过程中，我们不仅仅是在创造，也是在不断精简设计。我们不为了设计而设计，而是消除不必要的元素。类似于在聚落中，村民的建筑行为都是基于实际生活需求，没有过多的装饰。这种精确和简洁正是我们所追求的。

设计的本质不是为了炫耀形式，而是为了解决实际问题，超越设计本身。正是这些理念和经历，塑造了我如今的设计方向，我更加倾向于做那些富有内在智慧的作品，探索看不见的、更加深刻的设计价值。

As a Chinese architect, I often reflect on how architects in China can contribute to the global discourse on modern architecture. While this is a significant question, the diversity within China presents us with rich possibilities. The country boasts vast regional differences, yet its cultural core—such as the emphasis on the relationship between heaven, earth, and humanity—remains consistent. Regardless of how architectural forms evolve, this cultural essence endures. I have been contemplating whether it’s possible to move beyond the knowledge imparted by modern architecture and start anew, integrating modernity more naturally into our creative and production processes, rather than blindly pursuing contemporary forms. Perhaps modernity should be viewed as a means to an end rather than the ultimate goal.

One of our key design principles is “precision.” In our design process, we are not only focused on creation but also on continual refinement. We do not design for design’s sake; instead, we aim to eliminate unnecessary elements. Much like the building practices of villagers, which are based on genuine needs and devoid of excessive ornamentation, we strive for a similar precision and simplicity.

Ultimately, the essence of design lies not in showcasing form but in addressing practical issues and transcending the design itself. These philosophies and experiences have shaped my current design direction, guiding me toward works that embody intrinsic wisdom and allowing me to explore the unseen, deeper values of design.

▼北京建筑大学教学5号楼空间改造，Space Renovation of No.5 Teaching Building in Beijing University of Civil Engineering and Architecture, China © 夏至
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▼北京竞园22号楼改造，Jingyuan No.22 Transfomation , Beijing © 夏至
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“从聚落出发”
“Begin with Settlements”

我认为中国的聚落形式极其丰富多样，像窑洞、四合院、依山而建的古崖居、干栏式建筑等，风格各异，令人赞叹。中国的聚落展现出极大的多样性，但每一种聚落背后都传递着明确的价值观，尤其是我们常提到的天地人之间的关系。因此，我们在展览的第一章选择从聚落开始，因为在经历了多年的学习和十年的事务所实践后，我愈加认识到建筑的根源何在，这个问题对于理解建筑的本质尤为重要。

人类日常生活的建筑其实存在于无数的聚落中。聚落的形成过程，不仅与地理条件、人际关系相关，还受到风水等文化因素的影响，如何利用材料和地形优势、避开劣势，都是建筑师在日常工作中经常面对的问题。

然而，今天的乡村已经不再是传统意义上的聚落。聚落在相对封闭的空间和时间中才能保持其独立性，而如今的乡村与城市紧密相连，无法再孤立存在。因此，当前乡村的建筑风貌问题，在某些情况下已经变得不再像以前那么重要，因为许多村庄已经无人居住，甚至建筑本身也破败不堪，这使得对传统建筑的复原或保护成为一个伪命题。

I believe the forms of settlements in China are incredibly rich and diverse, ranging from cave dwellings and siheyuan (courtyard houses) to ancient cliff dwellings and stilt houses. Each style is unique and awe-inspiring. While showcasing tremendous diversity, these settlements convey clear values, particularly regarding the relationships among heaven, earth, and humanity. Therefore, we chose to begin the first chapter of the exhibition with settlements, as my years of study and a decade of practice in the field have deepened my understanding of the roots of architecture—a crucial question for grasping its essence.

Architecture for daily life exists within countless settlements. The formation of these settlements is influenced by geographical conditions, interpersonal relationships, and cultural factors like feng shui. Architects frequently face the challenge of utilizing material and terrain advantages while avoiding disadvantages in their work.

However, today’s countryside is no longer the settlement in traditional concept. Settlements maintain their independence in relatively closed spaces and times, but contemporary villages are closely intertwined with cities and can no longer exist in isolation. As a result, the architectural character of today’s villages has become less significant; many are uninhabited, and the buildings are often dilapidated. This makes the restoration or preservation of traditional architecture a somewhat misguided endeavor.

▼KALHA酒店·“沃里屯”村落更新，河北张家口，KALHA Hotel – “Unico” Village Renewal, Hebei Zhangjiakou © 刘晶
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更重要的是，传统聚落中人与人之间的关系如何在现代村落中重新构建。我们在设计新建筑时，考虑的并不仅仅是单体建筑本身，而是如何将其融入新的社区环境中。如果未来周边的建筑都按照类似的思路重新建造，新的村落将呈现怎样的面貌？例如，在设计沃里屯村落时，我们制定了一个框架，但没有完成所有建筑的细节设计。建筑师擅长构建大的空间结构，而未来的居民可以根据自己的需求自由改造房屋，改变院落布局，实现空间的自然生长。

这与城市中的具体建筑有很大不同。城市建筑往往有明确的功能需求，而我们设计村落时，更关注的是创造一个能容纳共同生活理想的物理空间。就像一群志同道合的朋友住在一起，彼此分享音乐、设计或读书的兴趣。每个人都希望自己的邻居与自己气味相投，而不是关上门后面对一个令人不快的环境。

因此，在设计村落建筑时，我们不是仅仅关注建筑本身，而是从更广泛的角度思考人与人之间的关系，以及人与环境的互动。这种虚构式的思维方式，帮助我们重新设想未来村落的形态。

More importantly, we must consider how the relationships among people in traditional settlements can be reconstructed in modern villages. When designing new buildings, we think not only about the structures themselves but also about how to integrate them into new community environments. If future buildings in the surrounding area are constructed with similar philosophies, what will the new village look like? For example, in designing the “Unico” Village, we established a framework but did not finalize the details of every building. Architects excel at creating large spatial structures, allowing future residents to adapt their homes according to their needs and alter courtyard layouts to enable the natural growth of space.

This approach differs significantly from urban architecture, which often has explicit functional requirements. When designing villages, our focus is on creating a physical space that accommodates the ideals of communal living. It’s akin to a group of like-minded friends sharing interests in music, design, or reading. Everyone hopes their neighbors will resonate with them rather than facing an unpleasant environment behind closed doors.

Thus, when designing village architecture, we do not merely focus on the buildings themselves; we consider the broader relationships between people and their interactions with the environment. This imaginative approach helps us re-envision the form of future villages.

▼客房外立面，Guest room facade © 刘晶

▼与自然贯通的客房单元，Room units connected with nature © 船长 / 刘晶

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建筑即风景
Architecture as Landscape

懒坝美术馆实际上是我们第一个美术馆的建筑项目，这对我们来说非常难得。我还记得第一次到现场时，发现植被已经被砍伐得十分稀疏，这让我感到非常惊讶。因为在我的想象中，大地艺术节的场地应该是原始森林般自然的环境。我立刻向业主提出了要求，希望停止对场地的平整，保留现场的自然状态。我希望在这种原生态的环境中设计建筑。

场地位于山坡上，建筑从上下不同的角度都能被看到。鉴于大地艺术与自然的紧密联系，如何让这座3000平方米的建筑在场地中呈现出恰到好处的比例，成为我们首先考虑的问题。

我们对建筑的大小进行了多次推敲，包括院落和建筑本身的宽度。大地艺术强调与自然的融合，因此我决定设计一个内院，计划将来放置大型的艺术装置。当时曾邀请草间弥生来展出她的南瓜雕塑。内院虽然是经过设计的人工化空间，与外部荒野形成了对比，建筑则位于内外之间，既可以看到内院的景象，也能观望外界。通过建筑的洞口和二层的玻璃幕墙，内外空间得以贯通，建筑仿佛透明地存在于这两者之间。这是我们在设计中对内外关系的一种表达。

The LAB Art Museum marks our first architectural project for a museum, offering us a unique opportunity. I vividly recall my first visit to the site, where I was surprised to see that the vegetation had been significantly cleared. In my mind, the venue for the Wulong Lanba Land Art Festival should have resembled a primordial forest. I immediately requested the client to stop any site leveling and to preserve the area’s natural state, as I aimed to design the building within this unspoiled environment.

Located on a hillside, the building is visible from various angles both above and below. Given the close relationship between earth art and nature, our primary concern was to ensure that this 3,000-square-meter building would harmonize with its surroundings.

We engaged in extensive deliberation regarding the building’s dimensions, including the width of both the courtyard and the structure itself. Since the land art emphasizes harmony with nature, I chose to design an inner courtyard to accommodate large art installations in the future, including an invitation to Yayoi Kusama to exhibit her pumpkin sculpture. Although the courtyard is an intentionally designed space that contrasts with the surrounding wilderness, the building occupies a transitional space that allows views into the courtyard while framing the exterior landscape. Through the building’s openings and the second-floor glass curtain wall, the internal and external spaces connect, creating a sense of transparency.

▼武隆·懒坝美术馆，重庆，Wulong·LAB Art Museum, Chongqing © 直角建筑摄影
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最初的设计思路就是通过内院与外部空间的联系，形成内外一体的空间关系。二层展览区依靠自然光照明，天黑时展览自然结束；一层则由墙体支撑，使得从山坡上看，建筑如同漂浮在空中，隐于环境之中。而从更高处俯瞰，建筑就像大地上的一个装置艺术品，内外关系自然而然地成为大地艺术的建筑特色。

这个项目是通过一种原始、东方的思维来设计的现代建筑。虽然它可以是方块或是多个体量的组合，但最核心的理念是如何通过空间设计传达内外之间的联系。我们通过一个简单的椭圆形划定了建筑的边界，让内外空间相互交融。这种设计思路与四合院和中国园林的理念相似，当你打开大门，内外空间可以相互贯通。园林中的“外”有很多层次，围墙可以阻挡外界的喧嚣，墙外则是远山，更远的自然景观。建筑中存在近景、中景和远景，有时甚至会有盆景、微缩的自然景观。建筑中的器物、桌椅的纹饰也是自然的象征，构成了一个庞大的系统。

我们并没有试图复制传统建筑的形式，而是用现代方式表达传统空间的智慧和哲学观，这是我们工作中的一大探索。如何在现代设计中保留传统的空间特性，是我们一直在思考的问题。

Our initial design concept sought to establish an integrated spatial relationship through the courtyard. The second-floor exhibition area relies on natural light, with exhibitions concluding naturally at dusk, while the first floor is supported by walls, making the building appear to float above the hillside, seamlessly blending into its surroundings. From higher vantage points, the structure resembles a piece of installation art on the earth, where the relationship between the interior and exterior naturally becomes a hallmark of earth art in architecture.

This project was conceived using a primitive, Eastern mindset within a modern architectural framework. While the building could take the form of a cube or a combination of multiple volumes, the core concept revolves around conveying the connection between the interior and exterior through spatial design. We defined the boundaries of the building with a simple oval shape, allowing the inner and outer spaces to merge. This design approach echoes the principles of siheyuan (courtyard houses) and Chinese gardens, where opening the main gate facilitates a seamless flow between inner and outer realms. In a garden, the “outside” encompasses many layers; walls shield inhabitants from external noise, while beyond them lie distant mountains and broader natural landscapes. The building features foreground, middle ground, and background views, sometimes incorporating bonsai or miniature natural scenes. The patterns on objects and furniture within the building symbolize nature, forming an intricate system.

We are not attempting to replicate traditional architectural forms; rather, we aim to express the wisdom and philosophical perspectives of traditional spaces through a modern lens, representing a significant exploration in our work. The challenge of retaining traditional spatial characteristics within contemporary design remains a central question for us.

▼武隆·懒坝美术馆，重庆，Wulong·LAB Art Museum, Chongqing © Gao Tianxia
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“我们在创造一种‘第二自然风景’，通过建筑重新诠释人与自然的关系。”

“We are crafting a ‘second natural landscape,’ reinterpreting the relationship between humanity and nature through the medium of architecture.”

建筑本身就是一种风景，而城市则是人工化的自然风景。建筑来源于自然，最终又回归自然，因此可以看作是“第二自然”。在优美的自然环境中，建筑与自然风景之间需要保持一种平衡，首先应确保不破坏原有的风景。而如果建筑能够融入风景，成为其中的一部分，那将是最理想的状态。

我们在设计建筑时，首先会从尺度上进行考虑，结合地形，力求建筑无论是隐于环境，还是成为地形的一部分，都能与风景和谐共存。例如，我们设计的迷山艺术中心背靠村落，当村民眺望山景时，建筑是完全隐蔽的，因为它与山坡融为一体。而站在建筑内部向外看，却能欣赏到喀斯特地貌的壮丽景观。建筑仿佛隐藏在山洞中，实际上也成为了一个人工化的山洞。它有大量的灰空间，适应了阳朔一年中大半时间的雨季，使得雨水能够自然地穿过建筑，仿佛置身于真正的山体之中。同时，建筑的通风设计也与自然洞穴相似，大部分空间是开放的灰空间，室内面积相对较少，就像阳朔常见的天然山洞。从某种意义上说，我们是在创造一种“第二自然风景”，通过建筑重新诠释人与自然的关系。

Architecture itself is a form of landscape, while cities represent an artificial natural landscape. Buildings originate from nature and ultimately return to it, which allows us to view them as a “second nature.” In a beautiful natural environment, it is crucial to maintain a balance between architecture and the surrounding landscape, first ensuring that the original scenery remains intact. Ideally, if a building can seamlessly integrate into the landscape and become part of it, that represents the best outcome.

When designing buildings, we start by considering scale and topography, aiming for harmonious coexistence with the landscape, whether the building is discreetly nestled within the environment or an integral part of the terrain. For example, the design of the ME3 Art Center, which is situated against a village backdrop, remains completely hidden from the villagers’ view of the mountains as it blends into the hillside. Yet from inside the building, one can admire the breathtaking karst landscape beyond. The architecture appears to be tucked away in a cave, essentially functioning as an artificial cavern. It features expansive gray spaces that accommodate the rainy season prevalent in Yangshuo, allowing rainwater to flow naturally through the structure, creating a sensation of being enveloped by the mountain itself.

Moreover, the building’s ventilation design mimics that of natural caves; most areas are open gray spaces, with relatively small enclosed sections, akin to the natural caves commonly found in Yangshuo. In this way, we are crafting a “second natural landscape,” reinterpreting the relationship between humanity and nature through the medium of architecture.

▼“漂浮的岛屿”餐厅，重庆，“Floating Island” Restaurant, Chongqing © Gao Tianxia
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▼迷山艺术中心，阳朔，ME3 Art Center, Yangshuo © CPLUS

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材料与空间创新
Material and Spatial Innovation

材料在设计中扮演了重要角色，它必须与具体的空间场合相匹配。例如，在崖餐厅的设计中，我们采用了夯土墙，与北京建筑大学的土上工作室合作完成。夯土材料引起了我的兴趣，之前曾尝试过多次合作，但未能实现，这次正好给了我们一个合作的机会。

这项材料的应用面临挑战，因为这是世界上第一个采用薄壁夯土的项目，之前没有类似的实例。由于环境限制，我们将邻近围墙作为模板，用于夯土施工。为了节省空间，我们选择了薄壁夯土，将模板拆除后重新利用围墙。这种设计不仅减少了墙体的占地面积，还巧妙地结合了枣树的光影效果，让人就餐时能够感受到自然光线的变化。很多顾客对夯土的亲近感表达了喜爱，认为与土的自然材料有着深厚的情感联系。这种感觉与塑料或化工材料所带来的疏离感形成了鲜明对比。因此，选择夯土材料在餐厅设计中显得尤为自然和合理。

Materials play a crucial role in design and must align with the specific spatial context. For example, in the design of the Restaurant “Ya”, we used rammed earth walls in collaboration with Onearthstudio at BUCEA. My interest in rammed earth materials has been longstanding, and while I had attempted to collaborate on this before without success, this project provided the perfect opportunity.

The application of this material posed challenges, as it is the world’s first project to use thin-walled rammed earth, with no similar precedents. Due to environmental constraints, we used the adjacent wall as a formwork for the rammed earth construction. To save space, we opted for thin-walled rammed earth, dismantling the formwork to reuse the existing wall. This design not only reduced the footprint of the walls but also cleverly integrated the play of light and shadow from jujube trees, allowing diners to experience the changing natural light while eating. Many people expressed a fondness for the tactile quality of rammed earth, feeling a deep emotional connection to this natural material. This sentiment starkly contrasts with the alienation often associated with plastic or synthetic materials. Therefore, the choice of rammed earth in the restaurant design feels particularly natural and appropriate.

▼崖餐厅，北京，Restaurant “Ya”, Beijing ©许晓东
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此外，母亲住宅的砖材选择也是经过深思熟虑的。我们希望建筑在村子中呈现出温馨的感觉，尽管它的形式对村民心理可能产生冲击。我们选用了陶土砖，因为其性价比高且价格便宜。一些人询问为何砖是竖着铺设而非横着，我们的解释是，建筑结构并非砖本身，因此我们希望砖材更多地作为装饰。砖的竖排方式配合不同的砂浆颜色，旨在回应我们对温馨氛围的追求。在拍照时，还有邻居在旁边评论砖贴得非常不专业，虽然他自己从事瓷砖工作多年，但从未见过如此铺设方式。

Furthermore, the choice of brick for the Mother’s House was made with careful consideration. We aimed for the building to evoke a warm atmosphere within the village, even though its form might initially shock the local residents. We opted for terracotta bricks due to their high cost-effectiveness and affordability. Some questioned why the bricks were laid vertically instead of horizontally; our response was that the structure of the building is not supported by the bricks themselves, but we wanted the bricks to serve primarily as decorative elements. The vertical arrangement, combined with various mortar colors, was intended to enhance our pursuit of a cozy ambiance. During a photo session, a neighbor remarked that the brickwork looked unprofessional; despite having worked with tiles for many years, he had never seen such a laying technique.

▼母亲住宅，北京，Mother’s House, Beijing ©朱雨蒙
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对于材料的使用，我们注重根据场合和设计初衷进行选择，并经过几次加工赋予其新的表达形式。例如，在泰康母体装置中，我们选择了光滑的材料表面。初期方案中，结构师提出了带有纹理的选项，但我们希望避免具象的设计，例如西瓜或篮球等形状，追求一种更抽象的表现。最终，我们选择了一个没有纹理的光滑表面，以呈现未来感和原始感。这些设计选择反映了我们对材料的理解和处理，关注的是材料是否适合特定场合，而不是仅仅追求材料的独特性。

In our material choices, we emphasize selecting based on context and design intent, often processing them to create new expressions. For instance, in “Matrix-Space for All”, we chose a smooth material surface. In the initial proposal, the structural engineer suggested textured options, but we aimed to avoid figurative designs, such as shapes resembling watermelons or basketballs, and instead sought a more abstract representation. Ultimately, we opted for a smooth, untextured surface to convey a sense of futurism and primal essence. These design decisions reflect our understanding and treatment of materials, focusing on their suitability for specific contexts rather than merely pursuing their uniqueness.

▼“母体——TA们的共享客厅”：泰康美术馆空间装置，“Matrix-Space for All”: Space Installation at Taikang Art Museum ©朱雨蒙 / CPLUS
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“希望中国的小区能够消失，取而代之的是一种全新的住宅系统，创造出完全不同的城市形态。”

“I hope that traditional residential communities in China will disappear, replaced by an entirely new housing system that creates a fundamentally different urban form.”

在我开设事务所的十年过程中，我遇到过许多条件优越的业主，他们常常表达出一种愿望：希望在中国拥有一座真正属于自己的房子。这里的“真正属于自己”意味着从内部到外部都可以根据个人的喜好、生活方式和审美要求进行重新设计，从一个空地开始。

然而，许多业主即使住在别墅区，也会面临诸多限制，例如外立面的改动受到限制，整体格局基本固定。而在小区中，外立面更是与个人的关系较小，更多的是关注内部空间。因此，我在思考如何在不改变现有中国政策和法规的情况下，让更多普通人有机会住进真正属于自己的房子。

这一问题其实在我上学时就开始思考。我记得在研究生期间，曾在清华大学听过一个讲座，由日本的大林组主创建筑师讲述他们的住宅公寓生产方式。那次讲座给我留下了深刻的印象，看到视频中，五个人能够在短时间内建造一个几十层的公寓。这种方式类似于在宜家购买家具后进行拼装，预制梁的安装可以通过扫描二维码进行远程计算机控制，几乎没有现场监理的需求。讲座后，一位建筑师提问关于防水的问题，建筑师微笑着回答说90年代他们就已经不再需要考虑防水问题了。这也是我希望留学并考察国际先进住宅生产的一个重要原因。

During the first decade of CPLUS, I’ve encountered many affluent clients who often express a desire for a truly personal home in China. By “truly personal,” I mean the ability to redesign everything from the interior to the exterior according to their preferences, lifestyle, and aesthetic requirements, starting from a vacant lot.

However, many homeowners, even those in villa districts, face numerous restrictions, such as limitations on exterior modifications and fixed overall layouts. In residential communities, the connection between the exterior facade and individual homeowners is even more tenuous, with a greater emphasis on internal spaces. Therefore, I have been pondering how to provide more ordinary people with the opportunity to live in homes that truly belong to them, without altering existing Chinese policies and regulations.

I began contemplating this issue during my studies. I remember attending a lecture at Tsinghua University during my master’s program, where the founder of the Japanese construction company Obayashi Group discussed their approach to residential apartment production. That lecture left a deep impression on me; I saw a video showing how five people could construct a multi-story apartment in a short time. This method was similar to assembling furniture from IKEA, with the installation of prefabricated beams remotely controlled through QR code scanning, requiring almost no on-site supervision. After the lecture, an architect asked about waterproofing, and the lecturer smiled, saying they no longer needed to consider it since the 1990s. This was one of the key reasons I wanted to study abroad and investigate advanced international residential production.

▼超级多米诺·未来都市住宅的探索，Super Domino Future Urban Living Ecosystem © CPLUS

在博士期间，我继续研究住宅的不同形式和系统，思考中国城市住宅是否可以有新的可能性。尽管许多建筑师已经提出了类似的设想，如园林式城市，但城市仍然需要具备密度、效率和城市特有的特点。因此，我在博士期间的毕业设计中，将这些研究整合成一个新的方案。疫情的发生刚好让我有时间把它整理出来。我们选择办公室旁边小区的一栋住宅楼作为研究对象，分析其容积率和居民数量，结果发现重新设计后的住户数量不仅未减少，反而有所增加，并产生了新的街道。房屋可以在工厂预制并现场装配，如果搬家时，可以轻松搬到新的空间。这种系统重视提供城市空间的自由，而非单一的房产拥有权。即使不建房子，这个系统也可以转变为景观或园林，实现空间的灵活性。

技术上，我认为这个系统完全可行，但需要从头开始设计土地开发和住宅生产的大系统。这也是我希望挑战的方向之一。之前有一次采访，被问到我最想做的事情是什么时，我说希望中国的小区能够消失，取而代之的是一种全新的住宅系统，创造出完全不同的城市形态。

During my doctoral studies, I continued to explore various forms and systems of housing, considering whether there could be new possibilities for urban residences in China. Although many architects have proposed ideas like garden cities, urban areas still need to maintain density, efficiency, and urban characteristics. For my doctoral thesis, I integrated these studies into a new proposal. The pandemic gave me the time to organize my thoughts. We chose a residential building in the community next to our office as our research subject, analyzing its floor area ratio and the number of residents. The results showed that the redesigned housing not only maintained but actually increased the number of households, creating new streets in the process. Houses could be prefabricated in factories and assembled on-site, allowing for easy relocation when moving to a new space. This system emphasizes providing freedom of urban space rather than singular property ownership. Even without constructing buildings, this system could transform into landscapes or gardens, offering spatial flexibility.

Technically, I believe this system is entirely feasible, but it requires designing a large-scale system for land development and residential production from the ground up. This is one of the directions I hope to explore. In a previous interview, when asked about my most desired outcome, I expressed a wish for traditional residential communities in China to disappear, replaced by an entirely new housing system that creates a fundamentally different urban form.

▼超级多米诺·未来都市住宅的探索，Super Domino Future Urban Living Ecosystem © CPLUS

_______
未来展望
The Future

“理性是先导，感性是归宿。将我们的想法传达出去，同时为社会和他人提供设计价值，那将是作为建筑师的幸福之事。”

“Rationality leads the way, while emotion provides the destination. If we can engage with more unique projects and communicate our ideas effectively while providing design value to society, that would be a deeply rewarding experience as architects.”

通过我们过去十年的工作，我对建筑的价值观有了一些更明确的认识。我认为建筑应该能够创造更好的联系，这是我们工作背后的哲学观和价值观。我们一直在说，理性是先导，感性是归宿。最终的结果并不仅仅体现在设计本身，而是涉及看不见的人与环境之间的关系。建筑只是一个载体，只有创造了这种联系，才能产生新的东西，否则传统建筑设计的吸引力将逐渐减小。建筑不仅要满足功能和审美需求，这些都是会变化的；其意义还在于更深远的层面。

就近期而言，我们面临的首要任务是如何更好的生存，这也是许多年轻事务所共同面对的困境，尤其是在疫情和当前经济环境的影响下。这不仅是中国建筑师的问题，也是全球建筑师面临的挑战。尽管如此，我们也应关注更长远的目标。即便是一个小项目或小设计，也可能有机会挑战不同的领域。我们并没有特定的规划，比如一定要做大做强，但我们希望沿着这个方向前行。如果有机会接触到更特别的项目，并能够将我们的想法传达出去，同时为社会和他人提供设计价值，那将是作为建筑师的幸福之事。

▼其他项目，onther projects © CPLUS

Through our work over the past decade, I have gained a clearer understanding of architectural values. I believe architecture should foster better connections, which serves as the philosophical foundation and guiding principle of our work. We often say that rationality leads the way, while emotion provides the destination. The ultimate outcome is not just reflected in the design itself; it encompasses the invisible relationships between people and their environment. Architecture is merely a vessel; only by creating these connections can we generate something new. Otherwise, the appeal of traditional architectural design will gradually fade. Architecture must address functional and aesthetic needs, which are ever-changing; its significance also extends to deeper dimensions.

In the short term, our primary challenge is how to survive better—a predicament many young firms are facing, especially under the impacts of the pandemic and the current economic climate. This challenge is not unique to Chinese architects but is shared by architects worldwide. Nonetheless, we should also focus on long-term goals. Even a small project or design can present opportunities to explore new territories. While we do not have a specific plan to scale up, we aspire to move forward in this direction. If we can engage with more unique projects and communicate our ideas effectively while providing design value to society, that would be a deeply rewarding experience as architects.

▼程艳春，Cheng Yanchun

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