感谢 Wutopia Lab 予gooood的分享。更多关于他们：Wutopia Lab on gooood
Appreciation towards Wutopia Lab for providing the following description:

出品人：向玲 / Producer: Xiang Ling
编辑：武晨曦，石安 / Editor: Wu Chenxi, Shi An

▼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）

Wutopia Lab十周年

专访俞挺

Special Interview for
Wutopia Lab’s First Decade

gooood x Yu Ting

______
01.

回顾十年
The past 1o years

Q: Wutopia Lab是在什么契机下成立的？为什么将“日常的奇迹”作为事务所的核心理念？
When was Wutopia Lab founded? Why is “Daily Miracles” the core concept of the studio？

Wutopia Lab成立于2013年。

我算是一个年轻成名的人，28岁完成了水清木华会所，29岁完成了九间堂。在我年纪很轻的时候，就在大的国营单位里获得了总建筑师的职位。在2013年我遇到了一个瓶颈。在这个情况下，我的夫人推了我一把，然后我离开了华东建筑设计院集团，成立了Wutopia Lab这个小工作室。

Wutopia Lab was founded in 2013.

I pride myself on being a young achiever, having completed the Shuiqing Muhua Residential Quarter Club at the age of 28 and Jiu Jian Tang at 29. Shortly after I started my career, I was offered the position of chief architect in a state-run firm. In 2013, after a period of confusion, I founded Wutopia Lab, which was conceived as a small studio.

▼俞挺在成立Wutopia Lab前完成的部分项目，Part of the projects by Yu Ting before Wutopia Lab was founded

“生活当中充满了各种陈词滥调和成见，不安分的我，想对这个东西说不。”

“Our lives are full of clichés and preconceptions, and as a ‘restless’ person, I want to express my resistance to that.”

“日常的奇迹”来自于我自己对生活的看法。生活当中充满了各种陈词滥调和成见，不安分的我，想对这个东西说不，你会发现你只要对这些东西做出一点点改变，对于习惯于这种陈词滥调的人来说，它无异于是生活当中的一个奇迹。建筑就是这么一个有效的工具。

建筑是人类生活的一个最重要的平台，它承载了我们许许多多的需求，功能性的以及精神性的，甚至是欲望的，可是我们总是成见地去塑造一个建筑。如果我们去发现人的差异，去反塑造建筑，这样的建筑就会跟别人平时所见有一点点不一样。当你看到不一样，并且由衷地发出一个感慨，那就是奇迹。这就是“日常奇迹”的由来。

后面我越来越感到它对我的重要，是因为我自己的人生遇到了一个重大的挫折，我的夫人遭受了死亡的威胁，在病床上挣扎。我们通过努力熬过了许许多多黑暗的日子，希望和勇气是黑暗当中的明灯，它们也能帮助你去找到奇迹。在这个时候你不仅要感恩，更重要的是用你手中的工具——建筑——去感恩，去帮助各种各样的人，意识到自己人生的价值。我们要用建筑设计这个武器将成见打破，让每个人的价值和尊严得到释放，这就是日常的奇迹。

The “Daily Miracles” comes from my perspective of life. Our lives are full of clichés and preconceptions, and as a “restless” person, I want to express my resistance to that. When there is someone who makes a small change to them, it will become a miracle for people who are used to such clichés. Architecture is such an effective tool.

Architecture is one of the most important platforms for human life. It carries many of our needs, functional and spiritual, and even desires, but we tend to shape a building from our stereotypes. If we discover the differences in people, shaping the architecture reversely, then it will differentiate from what people usually see. Miracle will emerge from the moment you see the difference and feel heartfelt admiration. This is the origin of “Daily Miracles”.

We have to use architectural design as a weapon to break down stereotypes and unleash the value and dignity of every human being. This is what I call “Daily Miracles”.

▼Wutopia Lab部分代表作，Part of the projects by Wutopia Lab

Q: 回顾过去的十年，您的事务所经历了哪些重要的发展阶段和转折？和创立之初相比，Wutopia Lab的设计哲学发生了哪些改变或发展？
Looking back over the past ten years, what are some of the key stages of development and transitions your firm has gone through? How has Wutopia Lab’s design philosophy changed or evolved from its beginnings?

2013年我还是一个大院建筑师。那时候我对我的职业产生的疑惑是，我要成为一个什么样的建筑师？作为职业建筑师或者一个大院建筑师，我已经获得了我们这个国家所有的奖项，包括勘察设计金奖，建筑学会金奖等等。在那个档口，自己才不过41岁。在工作室这10年当中，我开始要寻找新的设计方法、价值观，并且联系到我自己真正的价值观、人生观和世界观。

我把我的工作室分成三个阶段，第一个阶段是在2015年之前，第二个阶段是到2020年。

第一个阶段的重要项目是“水塔之家”。水塔之家触动我的是，当我把建筑作为工具，我可以改变一个原来在任务书中触碰不到的、没有办法把业务送到我面前的普通人的家庭。在这个过程中，我想到了整个社区的情绪，然后我对这栋楼做了整体上的改建，从而改变了这栋房子在整个社区里面的气质和定位，使社区变得有点不一样。

我们的城市在高速发展的时候，仍然留下了许许多多破碎甚至是不够好的空间。建筑师要用自己设计的眼光结合内容去帮助它，这就触动我推动了城市微空间复兴计划。我开始从一个将建筑作为目的职业建筑师，转型为一个将建筑作为手段，去帮助社会和个人进行改变的人。

In 2013 I was still an architect working for a state-operated firm. The doubt I had about my career at that time was, what kind of architect am I going to be? At that time, I was only 41 years old. From Wutopia’s 10 years of practice, I started to look for new design methods, values, and connections to my own true values, outlook on life, and worldview.

I have divided my practice into three phases, the first is 2013-2014, and the second is 2015-2020.

House on the house is one of the major projects in the studio’s first phase. What touched me about Tower House was that when I used architecture as a tool, I could transform the home for an ordinary person who was out of reach of the architectural brief and had no way to directly contact me. During this project, I considered the mood of the community as a whole, and then I renovated the building as a whole, which changed the atmosphere and positioning of the house within the whole community，which also made the community a little bit different in return.

As our city develops at a high speed, there are numerous fragmented and poor-conditioned spaces left in it. Architects need to use their talent to optimize them in a practical way, and this triggered me to promote the urban microspace revitalization program. Since then, I started to disassociate myself from an architect who takes architecture as an end in itself, to someone who uses architecture as a means to help society and individuals make changes.

▼水塔之家（2015），获得2016年中国建筑学会建筑创作大奖，House on the house
点击这里查看更多，Click HERE for details

2020年我夫人的癌症转移到脑子里，我在医院和她一起被关了50天，我们既经历了家庭的生离死别，也经历了当时众所周知的整个社会大环境的情况。我感受到了自己的痛苦，也感受到了普通人的挣扎。无助和绝望让我意识到，我们以前作为建筑师，真的如莎士比亚所说，身在果壳之中，却自以为宇宙之王。其实世界就是一个nutshell，我要做的是打破这个nutshell，在这个时刻我才能够由一个以建筑为目的的建筑师的角色，变成一个以建筑为工具的人文学者和艺术家。

In 2020, when my wife’s cancer metastasised to her brain, I was confined in hospital with her for 50 days, and we experienced both the life and death of our family. I felt the misery that had befallen me, and also the struggles of ordinary people. The helplessness and despair made me realized that we used to be, as architects, really, as Shakespeare said, in a nutshell but thinking we were the kings of infinite space. In fact, the world is a nutshell, and what I attempt to do is to break this nutshell, and it is only at this moment that I am able to change my role from that of an architect who uses architecture as a purpose, to that of a humanist scholar and artist who uses architecture as a tool.

▼果壳：混凝土3D打印度假别墅，2023 Nutshell

在这10年当中，有一样东西我其实很少提到，那就是“形式”。观念优先于形式，观念改变了，形式自然会改变；观念不改变，最终就是形式主义的内卷。昨晚我又做了一个决定：我要再一次把自己推出舒适区。我送女儿出去读书的时候，我站在一个著名建筑师的教堂，山风吹拂着我，我的学生问我，你站在这里有什么感受？我笑了笑：我可以比他做得更好。我曾经认为我可能做得没他们好，一旦有了这个想法，我要没有阻碍地去做得更好。

▼工作中的俞挺，Yu Ting is working for his design

“这10年当中，我可以把我建造的20多个微空间变成“俞挺的微空间复杂系统”，它还在扩张。”

“During these 10 years, more than 20 Humble Spaces had been turned into Yu Ting’s Humble Space Complex System, which is still expanding.”

Q: 您刚才提到了城市微空间复兴计划，经过10年的实践，这个项目如今取得了哪些成果？
You just mentioned the Urban Humble Space Revival Plan, after 10 years of practice, what are the results of this program today?

10年对很多人来说很长，但是对一个系统的构建而言其实是很短的。我的一个重要的方法论是 “复杂系统”。复杂系统里面有许许多多的子系统，这些子系统依照最简单的复杂系统（主系统）的指令，自组织，自运行，互相竞争，互相合作，来促动这个复杂系统能够可持续、长久地生存下去。

如果我把微空间复兴计划看成是一个长远的复杂系统，那么就要求每个所涉及的微空间都是复杂系统里的一个子系统，它们彼此之间可以相互联系，也可以没有联系。它们的建造是要用一个最简单的方式，而不是复杂的方式。所以这10年当中，我可以把我建造的20多个微空间变成“俞挺的微空间复杂系统”，它还在扩张。在设计微空间的时候，它会不断地触动你去思考怎么利用建筑这个工具去了解人，帮助人，促进人，去改变社区、帮助社区、提高社区，去改变自己，帮助自己，提高自己。

A decade can be a long time for many people, but it’s actually very short for building a system. One of my key methodologies is “Complex System”. It includes a series of subsystems, which follow the instructions of the simplest complex system (the main system), self-organize, self-run, compete and co-operate with each other to promote the complex system to be able to survive sustainably and constantly. The Urban Humble Space Revival Plan can be taken as a long-term complex system, and therefore each of the Humble Spaces involved is required to be a subsystem of the complex system, which may or may not be connected to each other. So, during these 10 years, more than 20 Humble Spaces had been turned into Yu Ting’s Humble Spaces Complex System, which is still expanding.

▼城市微空间复兴计划地图，Map of the Urban Humble Space Revival Plan

城市微空间复兴计划不仅仅是由个人推动、让这个城市越来越漂亮、越来越有人性的计划，更重要地，它也是我个人的修行和修炼。微空间复兴计划对我的第二个帮助是，我从中学到的经验和总结出来的知识，可以帮助我更好地处理大型和中型项目在城市公共空间里的关系和互动等等，这样我就可以更好地让我的公共空间成为城市里面有益的展示。所以它最后的成果其实是出现在你们看到的超大型的书店、图书馆和美术馆的这些思考当中。

Urban Humble Space Revival Plan is not only my personal drive to beautify and humanize the city, but more importantly, it is also my private way of practice and cultivation. Parallelly, the plan also helps me to better deal with the relationships and interactions between large and medium-sized projects in urban public context, so that I can better make my public spaces useful demostrators in the city. The final result is actually reflected in my concepts for those projects like large bookstores, libraries and art museums.

▼李斌之家（2017），Plain House,2017

▼古北一号地下森林，Underground Forest（点击这里查看更多）

________
02.

工作室的武器系统/色彩/金属
Weapons of Wutopia System/Color/Metal

“在任何一个设计当中，首先构筑的是plot。所有设计的阶段都按照plot去发展，那么我的选择就很简单。”

“In any design, the first thing that is constructed is the plot. all the phases of the design are developed according to the plot, then my choice becomes simple.”

Q: 您的工作室每年都要竣工至少6个项目，如何保证这样的高产？
Your studio completes at least 6 projects every year, how do you ensure such high productivity?

工作室基于的复杂系统，是把每个设计组看成一个子系统，我给他们的指令特别简单，就是所有大型的创意，所有的创意的源头必须有我，然后他们在发展的过程当中可以根据自己的喜好和内容发挥，但是在最后成品的节点，小至一毫米，或是一个色号的差别，必须要由我来掌控。这样的话既保证了产品质量的一致性，也保证了它的丰富性，因为在一个大型策略的限定下，下面各个组别的丰富性仍然可以呈现出来。

第二点是在任何一个设计当中，首先构筑的是plot。这个词是源于英译版的亚里士多德的《论悲剧》，它的要素的第一点就是plot，是剧本，是情节，也是架构。plot的作用是什么？当业主接受了我的plot，所有设计的阶段都按照plot去发展，那么我的选择就很简单，我不会超越 plot，这样就可以减轻许多无谓的工作量。

▼视频：Wutopia Lab十周年专访 – 员工篇

The Complex System that the studio is based on is to see each design group as a sub-system, and I give them a particularly simple directive, which is that I have to be involved in all the major strategies, and the source of all the innovative ideas.

What distinguishes our studio from others is that all our designs have a complete and clear plot, it may be straightforward, montage-styled or stream-of-consciousness, in short, it helps us to define the framework from the beginning to the end. With this bottom line, our project designers are free to add all of their own thinking. The point of developing a plot is that it dictates that we only have one proposal and that it will go through on the first try. We are a small team and our colleagues need spare time for their hobbies. We never waste our time on unnecessary overtime.

▼长生殿（2012），Kaisersaal of Longevity, 2012

我们工作室跟别人最不一样的点，就是所有的设计都有一个完整清晰的plot，它可能是平铺直叙的，也可能是蒙太奇式的，也可能是意识流的，总之它帮我们限定好了从开始到结束的框架，这个底线有了，我们的项目设计师就可以依据它去自由地加入自己所有的东西。

一个plot决定了我们只有一个方案，而且一轮过，我们可没有那么多心思去做三轮方案。工作室比较小，孩子们还需要大量的时间去学习调咖啡，调酒，去social，不能够把8小时以外的时间浪费在无谓的内耗当中。由于plot清晰，大家听得懂，所以我们不需要额外的效果图。我们工作室的效果图往往是在业主需要推广时补画。

第三，我没有模型，我从来不用模型推敲，模型是一样好东西，但是我不要求手下做模型。不做模型，就有效减少了内耗。第四，我们不做无谓的分析图，当你的plot非常完整，你何必还要画一些看不懂但花时间的漂亮的分析图？由此我们极大地减掉了设计工作中无用的80%的工作，让大家有效地去工作。这时候第五点就产生了：不用加班了。我们工作室最自豪的就是不用加班。

▼白昼奇境（2020），White Upland, 2020（点击这里查看更多）

“色彩只是我推究了大家的畏惧和胆怯而跨出的一小步而已，它不是我最后所要呈现的面貌，只是我人生道路上实践自己的一个训练自己的过程。如果连这点勇气都没有，做什么建筑师呢？”

“The use of colour just shows a small step I took after perceiving everyone’s fear and trepidation. It is not the final look I want to present, but just a process of practicing and training myself on my life path. If I don’t even have this courage, why should I still be an architect?”

Q: 和大多数中国的建筑师不同，在您的作品中经常会出现多种鲜艳的色彩，按照现在流行的话说就是多巴胺配色，您怎么看待色彩？
Unlike most Chinese architects, there is often a wide range of vibrant colours in your work. What do you think about colour?

首先我热爱色彩，而且我也很高兴，自2017年我推出钟书阁苏州店以后，我在谷德上看到越来越多有颜色的设计。我们为什么要拒绝颜色？我学过油画，我发现当你无法掌控复杂的颜色的时候，你会退后到黑白。

黑白有两种，一种是你经历过复杂颜色的训练以后，上升到黑白；还有一种是你无法掌控复杂的颜色，退到黑白，他们乍看上似乎是相似的，但这其中的力量的差距隔了几万个俞挺。你会发现在建筑界，把颜色刷白，暴露材料本色，仍然可以看出成千上万的建筑师，他的力量不够。当力量不够的时候，为什么不鼓励大家脱离舒适区，勇敢地去尝试他们不敢触碰的颜色丰富的东西？

I love colour, and I’m also happy that since I released the Zhongshu Bookstore in Suzhou (Metal Rainbow) in 2017, I’m seeing more and more designs with vivid colours on gooood. Why should we reject colour? When you find it impossible to cope with complex colours, you may retreat to black and white. There are two kinds of black and white, one is the development and growth after you have undergone trainings for using complex colour, and the other is the compromise you have to make because you can not really handle the colours. They seem to be similar in terms of results, but the difference in the power embedded in them is equivalent to tens of thousands of Yu Ting.

▼苏州钟书阁（2017），Metal Rainbow（点击这里查看更多）

▼欲望之屋（2018），His house and her house（点击这里查看更多）

▼飞翔的红山（2022），Hovering Kan-Too

只有经历过欲望，才能知道精神性的升华的重要，没有经历过欲望去谈精神性的升华，都是伪善。罗斯科说过，唯有色彩才能表达人的丰富性，它将那么复杂的色彩提炼成简单的色块，这种提炼是经历过复杂才能做到的，你去模仿他，你总觉得会少那么一种力量，那种能让你深陷色块当中的力量。所以我觉得色彩只是我推究了大家的畏惧和胆怯而跨出的一小步而已，它不是我最后所要呈现的面貌，只是我人生道路上实践自己的一个训练自己的过程。如果连这点勇气都没有，做什么建筑师呢？

Rothko once said, only colour can express the richness of human beings. He refined such complex colours into simple blocks, and this kind of refinement can only be achieved after experiencing the complexity, and if you go to imitate him, you will always feel that there is a kind of power missing, the kind of power that can make you fall deeply into the blocks of colours. That’s why I think the use of colour just shows a small step I took after perceiving everyone’s fear and trepidation. It is not the final look I want to present, but just a process of practicing and training myself on my life path. If I don’t even have this courage, why should I still be an architect?

▼朵云书院黄岩店，2021（点击这里查看更多）

▼独白美术馆，2022（点击这里查看更多）

▼砼殿（2023），全东北最大的清水混凝土巨构地下建筑
（点击这里查看更多）

“我要开始梳理我如何找到属于我俞挺的材料。”

“I’m sorting out how I can find the materials that speaks on behalf of me.”

Q: 在最近的几个项目中，您提到了自己对金属的迷恋，请谈谈其中的原因？我们由此也想到了您经常在作品中使用的穿孔金属板。您认为金属这种材料如何体现您的表达方式和表达方向？对于其他材料又有怎样的感情呢？
In a couple of recent projects you’ve mentioned your fascination with metal, please tell us about the reasons for this? How do you think metal as a material reflects your way of expression? How do you feel about other materials?

终于等到了我这两个月在思考的一个问题，今天借着谷德这个平台我也不讳言我的野心。大家明明争先恐后想要成为令人瞩目的建筑师，但是还要假惺惺地说，其实我还要这样那样子。情绪都已经烘托到这份上，我俞挺作为对自己有追求的人，显然要做跟大家不太一样的建筑师，我要开始梳理我如何找到属于我俞挺的材料。如果我把“建筑师”算成上句的话，我俞挺就要做一个单独的下句。

Finally, a question I’ve been pondering for the past two months, and I’m not shy about expressing my ambitions today on the platform of gooood. Everyone is obviously scrambling to become an architect of note, but they still have to pretend and hide their true thoughts. As a person who pursues himself, I, Yu Ting, obviously want to be a different kind of architect from everyone else. I’m sorting out how I can find the materials that speaks on behalf of me.

▼择胜居（2015），材料：纸；Paper House, 2015

▼一个人的美术馆（2016），材料：阳光板；One Person’s Gallery, 2016

▼八分园（2017），材料：穿孔铝板；Eight tenths Garden
点击这里查看更多

▼Wutopia五周年微展（2018），材料：亚克力板；Wutopia Lab Five Year Anniversary Mini Exhibition
点击这里查看更多

▼大连Lolly-Laputan儿童餐厅（2019），材料：亚克力板+穿孔铝板；Lolly-Laputan restaurant, 2019
点击这里查看更多

你会发现大多数建筑师在材料上都着迷于清水混凝土和白色涂料，商业建筑师们会用纸一样的大理石和金属。我一开始用了色彩，但色彩还不能够形成我希望的体积，建筑毕竟是要用体积来说话的。所以我回到了我年纪轻的时候，我在思考，我第一个喜欢的建筑师是谁？密斯·凡·德·罗。密斯用的第一个让大家感到异样的材料是什么？是金属，是第一次用钢。之前虽然有用铸铁形成的花纹，但是他用钢来表达出一个令人鲜明的形象。在他的设计当中，钢作为一种结构，一种装饰，还呈现出了一种玻璃感。

2008年我的好朋友拉乌带我去看了一个理查德·赛勒的展，他所用的那些钢板故意保留了淬火、锻打、铸造的痕迹，那么厚重的钢板，我在它围合的空间里感到自信。回来以后，我在想我应该用什么来表达我的建筑？一开始我的设计着迷于半透明，由于消防规范的缘故，我酷爱的半透明的亚克力是无法成为建筑外立面以及室内吊顶材料的，这使我不得不去面对一个新材料，就是穿孔铝板。我让它的金属性失去，变成了面纱，层层叠叠地在吊顶以及外立面上出现，构成了一个半透明的界面。

It can be found that a large amount of architects are obsessed with fair-faced concrete and white paint when it comes to materials. Commercial architects are more lilkely to use paper-like marble and metal. I started out with colour, but colour wasn’t yet able to create the volume I wanted, and architecture is after all about volume. So, I went back to when I was younger and I was thinking, who was my first favourite architect? Mies van der Rohe. What was the first material that Mies used that made people feel alienated? It was metal. It was the first time when steel was used. Before that, there were patterns formed in cast iron, but he used steel to express a striking image. In his designs, steel serves as a structure, a decoration, and also presents a sense of glass.

In the beginning I was fascinated by translucency in my designs, due to fire codes my translucent acrylic was not allowed to be a material for building facades as well as interior ceilings, which led me to a new material, perforated aluminium sheet. I let it lose its metallic nature and turn it into a veil, layering it on the ceiling as well as the facade to form a translucent interface. At this time my understanding of metal was still making it lose its materiality, but the loss of materiality became my quintessential icon. After that, I attached colour to it and it became my new signature. However, as an architect, what you shape is space and place, so in the third stage, I wondered if the veil of layers could enclose space, so you saw the emergence of my installation of enclosing space as well as the building, but the veil embodied a kind of lightness and elegant looks, which was still detached from the structure, so I tried to see if it was possible to merge the structure with the decoration. I tried to make the veil as a symbol. space, not recognisable as structure, but at the same time it is structure.

▼中国建筑模型博物馆（2019），材料：金属钢管；Models in model
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▼思南书局诗歌店（2020），材料：金属书架；Church in church
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这个时候我对金属的理解还是让它失去物质性，但失去物质性的金属成为了我典型的标志。之后，我给它附上了颜色，又成了我的标志性。可作为建筑师，你塑造的是空间和场所，所以在第三步，我在想层层叠叠的面纱是不是可以围合成空间，所以大家就看到了我围合成空间的装置以及建筑的出现，可是这面纱体现的是一种轻盈和好看，它和结构还是脱离的，于是我就尝试是不是可以将结构和装饰融为一体，让这个面纱所形成的空间，辨别不出结构的存在，但同时它又是结构。

在建筑模型博物馆，5000多根钢管里面只有1/4是结构，但它形成了你视觉的屏障，同时它又让整个体积呈现在你面前。到了这个阶段，我对金属产生了极大的爱好，我在想金属有那么多的可试探性，有那么多东西没有延展出来。在静态管理的两个月当中，我看了一系列锻刀大赛的视频，看到不同的金属通过锻打，通过合金可以展现出不同的肌理，突然发现金属的可表现性是那么多。

For the Museum of Architectural Modelling, only 1/4 of the 5000 steel tubes inside are structural, but it forms a barrier to your vision and at the same time it allows the whole volume to be presented in front of your eyes. By this stage I have developed a great love for metal, and I was thinking that metal has so many possibilities, so much potential that have not been explored.

▼奉贤齐贤耶稣堂（2023），材料：金属帷幕；Grey Church
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▼上海书城德必 WE（2023），材料：金属帷幕；Iron rain
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“我已经迫不及待地要说，金属会成为我的主要手段，而且是各种各样的金属。”

“I can’t wait to say that metal, any possible types of metal, is going to be my important instrument for design. ”

所以我来到了第三阶段，用自己的情绪做了“铜堡”，由此走向了full metal jacket的道路，也就是全金属的道路。这个时候你再看其他的建筑师，你只能在西班牙的普奖获得者那里知道有那么一组人是用耐候钢做建筑的，而其他人都没有这么极端的使用。我发现他们没有将金属做成体积，做成建筑，他们的耐候钢更多的还仅仅是视觉语言，而不是构造和结构语言。于是我就来到第四阶段，虽然还没做出来，但我已经迫不及待地要说，金属会成为我的主要手段，而且是各种各样的金属。未来可能还会在各种各样的金属当中找到一个特别的、俞挺的金属。

So I came to the third stage and made the “Copper Blockhouse” with my personal emotions, which led me to the path of “full metal jacket”, that is to say, the path of all-metal. When you look at other architects at this time, you can only know that a small part of whom used weathering steel for their buildings, for example, the Pritzker Prize winners from Spain, while the others did not use it to such an extreme. I realized that they didn’t make volumes out of the metal, and that their weathering steel was still more just a visual language than a tectonic and structural one. So, I came to the fourth stage, and although I haven’t made it yet, I can’t wait to say that metal, any possible types of metal, is going to be my important instrument for design. In the future, I might even find the most special one among all kinds of metals, and that will be regarded as Yu Ting’s metal.

▼铜堡（2023），全金属建筑；Copper Blockhouse
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_______
03.

思考与展望
Reflections & Perspectives

“我们如果要让建筑学变得像当初那样激励其他学科而存在，就需要把建筑学扩大成一个复杂系统。它培养的不是工具人，而是各种各样的人。”

“We need to expand architecture into a complex system if we want it to become as inspiring to other disciplines to exist as it was in the first place. It produces not tool man, but all kinds of people.”

Q: 您认为社会学和传播学与建筑设计的关系是怎样的?
How do you think sociology and communication relate to architectural design?

我们工作室有个口号叫做“建筑即媒体”，这可能会引起许多学术界的人的愤怒，因为我通过文化人类学和社会学的学习，揭示了这样一个大家不愿意承认，但是不得不接受的事实。设想一下，为什么大家要造那些雄伟宏大的建筑？为什么要造一些让人家觉得神圣、有禅思的小建筑？因为建筑恰如其分地表达了人的情绪、情感、价值观、人生观、社会观和雄心壮志，以及他想说的千言万语，并通过媒体传递出去。在这个时候，建筑就是媒体，建筑作为媒体的内容，被新的媒体工具传播出去，种在每个人的内心当中。

▼徐家汇书院，2023 年上海最热文化新地标（开馆至今最多一天接待读者 15433 人次。话题火爆全网，新浪微博相关话题阅读量 2384.2 万次，抖音话题播放量 356.9 万次，小红书收藏和点赞量 72 万次，B 站相关视频播放量 65 万次。
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▼上海地铁15号线吴中路站，2021（上海最美地铁站）

我记得我小时候刚刚改革开放，我们的挂历会把世界各地的著名建筑放在里面。我们那个年代的小孩和大人，脑海里一定会记得大本钟，卢浮宫，一定会记得美国国会山，这是为什么？因为挂历就是那时候的媒体，由此深深地映入到那时候年轻人的脑海当中，以至于在他们成为主流的90年代，他们会说我们要做白宫一样的、大本钟一样的建筑。这就是一种启蒙教育。所以如果你把建筑的媒体性剥离，那是很可笑的，只不过媒体性是一个双刃剑，它可以恶趣味，也可以很高级，一个建筑师如何有态度地使用媒体性才是考验建筑师的能力，而不是一概而论地把媒体性贬得一钱不值，可同时又希望自己的建筑可以广为传颂。

▼一米藏（2020），Instagram点赞量高达55万

▼结缘堂（2019），中国第一栋全碳纤维结构建筑，Shrine of Whatslove
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▼凡人三部曲：凡人纪念馆（2021）；Memorial of Everyman
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▼凡人三部曲：牛奶巧克力泵房（2021）；Shrine of Everyman
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▼凡人三部曲：黄金晒谷场（2022）；Golden Barnyard: Cockaigne of Everyman
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▼有空客厅（2019），入选Trend Watching: 2019最佳家居与园艺创新；Blue heart – Youkong Living Room
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彩蛋：
2个即将发布的上海文化地标：

▼上海书城，2023； Shanghai Bookcity, 2023

▼西岸漩心，2023；‘West Bund Orbit’, 2023

Q: 您对中国现在的建筑教育有什么看法？
What are your views on the current architectural education in China?

事实证明，当经济形势不利于房地产发展，不利于建筑行业发展的时候，建筑学教育的弊端就显现了。我当年批评建筑学教育是一个简单系统，它没有能够对未来世界的多样性和多变性做出策略上的应对，它只是根据旧的形式所训练出来的简单思维以及简单技巧进行培训，以至于培训出来的建筑师基本上都是应对旧的思维的人和工具，如果适应不了新时代的变化，一定就会被放弃。

当我从时代红利的迷幻当中拔出来看，却知道以前我们的成功不是建筑学的胜利，是时代红利馈赠给我的，现在大浪退去，才知道我们建筑学的教育是陈旧、落后的，是在裸泳。如果我们还着迷于把建筑学当成是培训某类特定目标的工具人的话，这个学科可能就如库哈斯说，离死亡不远。我们如果要让建筑学变得像当初那样激励其他学科而存在，就需要把建筑学扩大成一个复杂系统。它培养的不是工具人，而是各种各样的人，有理论家，有实验者，有具体工作的工程师或建筑师，只有培养出角色的复杂性，才能回馈学科，使得这个学科具有复杂性，从而变得与众不同。

“我手中的利刃是建筑学，而且是我的建筑学，是我自己经过这么多年积累的俞挺的新建筑学。”

“The weapon in my hand is architecture. More specifically, it’s Yu Ting’s new architecture that he has accumulated after so many years of practice.”

Q: 在未来您最想挑战是的是什么？
What would you like to challenge most in the future?

做人要专一。一开始我对建筑学的认知是，它是我的谋生手段，后来我觉得它可以帮助我去创造很多东西。现在我发现我可以跨界，我可以触动很多东西，并且我有一样工具是他们不具有的，就是建筑，所以建筑设计仍然是我未来最重要的工具，我也希望建筑设计这个工具能够变得更适应多样性，更适应多变性，而不是当房地产不好了，建筑师就没有职业了。事实上建筑师可以利用建筑这个工具做许许多多的工作，迎接许许多多的挑战。建筑学失去多样性的原因在于我们认知世界时的狭隘，我们要打开它。

所以你问我未来是什么？

未来你可以看到我触碰各种各样的边界，但我手中的利刃是建筑学，而且是我的建筑学，是我自己经过这么多年积累的俞挺的新建筑学。

It is important to be dedicated. In the beginning my perception of architecture was that it was my means of earning a living, then I thought it could help me to create all kinds of things. Now I find that I can cross boundaries, I can make others touched. Architecture is still the most important tool for me in the future, and I also hope that architecture as a tool can become more adaptable to diversity, more adaptable to versatility. Even if we are in a phase of declining real estate, architects will not lose their profession. In fact, architects can use architecture as a tool to do a lot of work and meet a lot of challenges. Architecture loses its diversity because of the narrowness with which we perceive the world. We have to open it up.
Only by cultivating the complexity of different roles can we give back to the discipline, endow it with complexity, and therefore make it distinctive.

What is the future?

In the future I’m going to touch all sorts of boundaries, and the weapon in my hand is architecture. More specifically, it’s my architecture. It’s Yu Ting’s new architecture that he has accumulated after so many years of practice.

▼左：Wutopia Lab创始人俞挺和闵而尼；右：Wutopia Lab团队合照

Wutopia Lab招聘链接：https://www.gooood.cn/job-wutopia-lab.htm

More: Wutopia Lab。更多关于他们：Wutopia Lab on gooood