gooood团队采访世界各地 35岁以下的年轻创意人，他们有的是创业者，有的是业主，有的是普通职员。我们探访众生百相，记录这个时代年轻人的面貌和真实状态，欢迎您的推荐和建议。
第41期为您介绍的是 Archcomic （微信公众号：Archcomic），我们采访了创始人庹航（联系邮箱：thcafa@sina.com）。更多关于他们，请至：Archcomic on gooood

gooood team interviews creative individuals under 35 years old from all over the world, some are pioneering founders, some are clients, some are ordinary practitioners. gooood is trying to record the authentic living and working states of this era. Your recommendations and suggestions are appreciated!
gooood Under 35 NO.41 introduces Tuo Hang (Contact: thcafa@sina.com), founder of Archcomic (WeChat: Archcomic, only in Chinese). More: Archcomic on gooood

出品人：向玲 / Producer: Xiang Ling
编辑团队：陈诺嘉，武晨曦，刘丹阳 / Editor: Chen Nuojia, Wu Chenxi, Liu Danyang

____
回溯
Back Track

我从小就喜爱画画，6岁开始每个周末以及假期都在绘画班学画。直到高三之前，我都是想要报考中央美术学院的造型专业，希望未来可以当个油画家。但是父母觉得“艺术家”作为职业不稳定，恰巧发现中央美术学院有建筑学院，可能是觉得建筑师比艺术家看起来靠谱一点，便极力劝说我学建筑。当时美术班的老师觉得我性格相对理性，也算是比较适合学习建筑。而对我个人来说，建筑专业的考试相比造型专业也更容易一些。种种因素影响下，我最终决定报考建筑专业。

I has been into drawing since I was a child. Until senior year of high school, I still hoped that I could become a oil painter in the future. However, my parents thought that being an architect would be more reliable than being an artist and they tried to persuade me to study architecture. Under the effect of many factors, I decided to study architecture in the end.

▼庹航大学时期的建筑绘画作品，architectural drawing of Tuo Hang during university study

我2005年考上了中央美术学院建筑系，2010年开始在本校继续读研，其中2011年10月至2012年8月在日本东京艺术大学交换学习了一年，期间参观了许多精彩的建筑，对我来说那是一段非常重要的经历。旅行中我也从来不带笔，基本不画建筑速写。因为学生时期资金有限，每到一处时间都非常紧张，我的旅行都是在不停走动。在参观一栋建筑之前，我会找到它的平面图来仔细研究，形成一个大致的印象。到达现场时，我会将图纸的内容、自己的印象和实际的体验进行关联，从而形成比较深刻的记忆。

In 2005, I admitted the architecture department of the Central Academy of Fine Art and started my graduated study in the same school. I studied at Tokyo University of the Arts as an exchange student from October, 2011 to August, 2012. During that period, I visited many splendid buildings, which was an important experience for me. I rarely make architectural sketches when traveling. As I didn’t have much money as a student, my travel time was very limited and I had to keep moving from one place to another. Before visiting an architecture, I would find and study the plans of the building to form a general impression. When I arrived at the site, I would connect the drawings and my imagination with the real experience, creating deep memories of the building.

▼研究生期间在日本和欧洲游学，traveling in Japan and Europe during graduate study

2013年研究生毕业之后，我进入北京市建筑设计研究院有限公司（BIAD）工作，2017年10月创建了Archcomic，发表了第一篇建筑漫画《东京国际会议中心》。现在，我就职于中冶建筑研究总院有限公司。

After I graduated from the graduate school in 2013, I started to work in BIAD. I established Archcomic in October, 2017 and published my first architectural comic Tokyo Forum. Now I am working in Zhongye Architecture Design and Research Company.

▼Archcomic发布的四篇建筑漫画，four architectural comics created by Archcomic
（左上）东京国际会议中心，(upper left) Tokyo Forum
（右上）国立西洋美术馆，(upper right) National Museum of Western Art
（左下）朗香教堂，(lower left) Chapelle de Ronchamp
（右下）美秀美术馆，(lower right) Miho Museum

______
创作契机
Beginning of the Creation

我个人很喜欢漫画，希望能把漫画与自己的本职工作做一些结合。当下是信息碎片化的时代，需要有人来制作和传播一些值得深入思考的内容。传统的手机阅读还是以图文搭配的形式为主，我个人觉得比较枯燥。而用漫画的形式来讲述建筑，不仅可以创作连续的图画来直观地表现人物在环境中的运动，还可以配上简单的文字，使其更容易被理解。

2017年5月，我完成了一个自己一直在负责的工程设计，时间上有了空闲，就想自己创作一些东西。因为我很喜欢看漫画，于是决定创作一篇关于建筑的漫画。第一篇漫画绘制的过程并没有一开始想的那么理想。我最初计划用两个月完成，结果从5月画到了9月，一共用了4个多月的时间。这毕竟是我的第一次创作，而且用的是相对不可控的业余时间。最难的部分是将故事脚本转化为漫画分镜。只有将这一步做好了，故事才能成形。

I personally enjoy reading comics and wanted to combine comic and my work as an architect on some level. In this era of information fragmentation, there should be someone to produce and spread some in-depth contents which need consideration. I feel the traditional reading form of texts and images on the mobile phone is relatively boring. If we describe architecture by comics, we can not only directly show people’s movement in the environment through continuous images, but also make architecture more easy to be understand by adding simple introductions.

In May, 2017, I completed a project which I had been in charge of for a long time. Then I gained more spare time and wanted to create something by myself. As I love reading comics, I decided to draw a comic about architecture. The process of drawing was not as ideal as I imagined. At the beginning, I planned to complete the comic in two months. However, it took more than 4 months to do the work, from May to September. It was my first time to draw a comic and I could only do it in my spare time which was hard to control. The most difficult part was to translate the script into story boards. Only when this step was done well, could the story take shape.

▼漫画创作环境，working environment

_________
四篇建筑漫画
Four Architectural Comics

东京国际会议中心
Tokyo Forum

《东京国际会议中心》是我去日本后第一批参观的建筑之一，虽然在国内名气不大，但当年在日本是一个非常重要的国际投标项目。完整参观之后，我发现它在建筑与城市的关系上处理得很精彩。这个项目的研究资料相对较多，顺理成章地成为了第一个主角，漫画内容里面的分析图就是当时在东京艺术大学完成的研究作业。因为是第一个作品，很多操作上的事情还没有想清楚，没有绘制完整的分镜稿，故事逻辑比较像是“纪录片”，画面技法也在摸索。

Tokyo forum is one of the first buildings I visited in Japan. Although it is not familiar to Chinese people, it was an very important international bidding project in Japan at that time. After visiting the whole project, I found it brilliant in handling the relationship between the architecture and the city. There was a relativity large amount of research materials on this project so that it naturally became the subject of my first comic work. The analysis drawing in the comic was exactly from my graduate work in Tokyo University of the Art. As it was my first comic, I had faced many problems during work. I didn’t draw all the story borads and the logic of the story was somehow like an documentary. My painting technique was also under developing.

▼东京国际会议中心漫画节选，使用了很多分析图，selected pages of Tokyo Forum, using a lot of analysis diagrams

点击这里阅读完整的《东京国际会议中心》
Click Here to read the whole comic

国立西洋美术馆
National Museum of Western Art

画完东京国际会议中心后，我开始对“建筑漫画”有了新的想法。对我来说，国立西洋美术馆是个惊喜。去日本之前，我并不知道它的存在；去了之后，我被“中央大厅”深深打动了，一直念念不忘。第二篇决定画《国立西洋美术馆》，就是为了它的中央大厅。最初，我想沿用之前的“分析图“形式，但是在准备的过程中，我总觉得分析图与我记忆中的体验千差万别，无法传达出当时打动我的空间魅力。这时，我才意识到“漫画”这种形式应当使用连续的镜头来再现空间中的体验，就此奠定了我们创作的核心。

After making the comic of Tokyo Forum, I have gained new ideas on architectural comic. For me, the National Museum of Western Art was a surprise. Before I went to Japan, I had never heard of it. When I stepped into the building, I was deeply impressed by the centeral lobby which has been imprinted in my mind. I decided to draw the National Museum of Western Art in my second comic was just because of the central lobby. At the beginning of the work, I planned to continue the form of analysis drawing. However, I found the analysis diagrams were quite different from the experience in my memory, and it could not convey the charm of the space that had impressed me. Then I realized that drawing a comic, I should use continuous scenes to recall the spatial experience, which became the core of my future creation.

▼国立西洋美术馆漫画节选，使用连续的画面表现人在建筑中的感受，selected pages of National Museum of Western Art, using continuous pictures to express people’s experience in the architecture

点击这里阅读完整的《国立西洋美术馆》
Click Here to read the whole comic

朗香教堂
Chapelle de Ronchamp

《朗香教堂》是我们团队合作完成的第一篇漫画。最初的脚本来自于我的师父，也是工作中的领导，他是一位柯布西耶的爱好者和研究者。原本这篇是准备和《国立西洋美术馆》同步创作的，但是后者在创作的过程中遇到了很多没有预见的问题，直到19年8月份才完成。回头再看《朗香教堂》的脚本和已有的分镜，觉得不太满意，便做了一些修改，增加了阿兰神父和柯布西耶的对话，强化了阿兰神父的形象。之前的部分分镜由我在中央美术学院的学弟、也是我的同事段邦禹绘制成了正稿。他很有热情，新的分镜完成之后，我负责画线稿，他负责上色，经过一年左右的时间，最终在20年1月份得到了比较满意的作品。很多读者认为故事中参观朗香教堂的情节非常真实，唤起了他们以前参观时的记忆。实际上我并没有去过朗香教堂。

Chapelle de Ronchamp was the first comic completed by our team. The initial script was developed by my mentor, who was a fan and a researcher of Le Corbusier. Originally it was supposed to be created with the National Museum of Western Art simultaneoursly. However, the latter encountered many unexpected problems in its creation and was not finished until August, 2019. After that, I reviewed the script of Chapelle de Ronchamp and the story boards that had been finished, and felt them not very satisfying. Then I made some adjustment and added conversation between Priest Allan and Le Corbusier into the story, strengthening the image of the priest. Duan Bangyu, a junior fellow student of mine and also my colleague, transformed the previous storyboards into formal manuscripts. He was very enthusisastic in this work. Affter the new storyboards were completed, I made the line draft while he was in charge of coloring. It took us about a year and finally, we achieved a relatively satisfactory outcome in Janaury, 2020. Many readers found the stoy in Chapelle de Ronchamp was so real that it could recall their visiting memory. In fact, I have never been to Chapelle de Ronchamp.

▼朗香教堂漫画节选，强化阿兰神父的形象，使故事更具戏剧性，selected pages of Chapelle de Ronchamp, emphasize the image of Priest Allan, making the story more dramatic

点击这里阅读完整的《朗香教堂》
Click Here to read the whole comic

美秀美术馆
Miho Museum

连续创作了两个柯布西耶作建筑的漫画之后，我想画一下其他建筑师的作品。我老婆建议我画美秀美术馆，当时刚好也是在肺炎疫情初期，时间相对宽裕，如果能在5月份完成，就可以用做对贝聿铭先生的纪念了。在故事结构上，我从《盗梦空间》中得到了灵感，采用“嵌套”的叙述结构，以《桃花源记》作为故事开篇。《贝聿铭的桃花源》创作过程很顺畅，大概用了两个月时间绘制，刚好在5月中旬发表。远在美国的贝建中和贝礼中两位先生，看了之后也很喜欢。

After creating two comics on Le Corbusier’s works in a line, I wanted to draw some buildings made by other architects. My wife suggested me to take Miho Museum as the new subject. It was at the beginning of the epidemic of the coronavirus and I had plenty of spare time. If the comic could be completed in May, it could be a memorial to Mr. Leoh Ming Pei. I was inspired by the film Inception to use a nesting structure to tell the story, which began with the story of An Idyllic Land of Peach-Blossom Spring. The creation of The Peach-Blossom Spring of Leoh Ming Pei was proceeded smoothly. We spent about two months drawing and published it just in the middle of May. Mr. Bei Jianzhong and Bei Lizhong expressed their fondness in this story from America.

▼美秀美术馆漫画节选，从桃花源记插入，表达建筑给人的体验，selected pages of Mino Museum, starting with An Idyllic Land of Peach-Blossom Spring, showing the experience in the museum

▼穿过隧道，柳暗花明，go through the tunnel into a new world

▼连接隧道和美术馆的桥梁，bridge connecting the tunnel and the museum

点击这里阅读完整的《贝聿铭的桃花源》
Click Here to read the whole comic

________
选题和创作
Subject Selection and Creating Process

Archcomic的团队成员都是在建筑行业工作，利用业余时间进行漫画创作的。从故事脚本创作到绘制排版，再到运营，使用的都是专业漫画的制作流程，这也是我们目前漫画内容制作周期比较长的原因。

The team members of Archcomic are all working in the architectural industry and they are all using spare time to make comics. We introduced professional comic making process into our work, from script writing, drawing and layout, to operation. It is the reason why our comic making cycle is relatively long.
选题
Subject Slecetion

我们最初的计划是画10座建筑，其中5座位于日本、但是不限于日本建筑师设计；另外5座是柯布西耶的作品。选择柯布西耶，很大程度上是因为他的名气。读书期间，实际上我对于柯布西耶的作品缺乏理解，更多地是把他当作现代建筑的先驱来认识。直到后来去到日本和法国之后，才有了更深的体验。也更希望去继续了解他的作品了。

At first, we planned to draw ten buildings, 5 of which were located in Japan while the architects were not limited in Japanese. The other 5 would be works of Le Corbusier. We chose Corbusier mainly because of his fame. However, when I was an architecture student, I lacked understanding in his works, only regarding him as a pioneer in modern architecture. I have gained in-depth experience on his works since I went to Japan and France, which made me more eager to understand them.

▼国立美术馆绘制过程，working process of the National Museum of Western Art

脚本制作
Script Creation

最初我只是想分享建筑物本身，但是在编写脚本的过程中，随着资料的收集，我发现一栋建筑前前后后有很多有意思的点，故事也就越写越长。内容的创作首先是基于真实的或想象出来的空间体验，然后通过各种专业的资料来进行补充和优化。在思考和创作的过程中，我对建筑作品本身已经烂熟于心，并且会让自己“沉浸”在建筑中，忍不住想要流连忘返，这样读者在阅读中才会有类似的体验。

At first I merely wanted to share the architecture itself. When I was writing the script, I found that there were many interesting aspects of one building as more and more information was discovered, which made the story longer and longer. The content was first based on real or imagined spatial experience, which would be complemented with professional materials。 When I was thinking and drawing, I had already been quite familiar with the architecture. I would let meself immersed in the space, enjoying myself so much as to forget to leave. Only then the story could give a similar experience to the readers.

真实与虚构
Reality and Fabrication

背景资料的收集和整理主要是基于故事主题。我们是在主题确定后再来查找相应的真实背景资料。落到最终的故事中时，我们会尽量保证事件的真实性，部分戏剧性的内容是为了方便理解而进行的再创作。至于多少是事实多少是虚构，并没有固定的比例。

The background masterials are mainly based on the theme of the story so that we will start collecting information after determining the topic. When it comes to the final story, we will try our best to keep the events in the story real and add some dramatic content to help the readers to understand the architecture. There is no fixed percentage of how much is real and how much is fabricated.

专业与通俗
Professional and Popular

一开始我想做得偏专业一些，受众主要是建筑行业的从业人员。但是在创作的过程中，我发现过于专业的东西读者门槛较高，不利于内容的传播。深入思考后觉得如果专业内容太多，对于我们来说也很难操作。而且从创作的角度来讲，我们只是在创作以建筑为故事背景的漫画，并不需要太在意受众的区分。于是我们添加了一些相对没有那么专业的内容，使得整个故事更加通俗。读者如果对这个建筑项目感兴趣，在自己去搜集相对专业的资料研究就更好了。

I originally wanted to make the story more professional and mainly targeted on the imployees in the architectural industry. However, during the process of creating, I found that it needed more knowledge to understand too professional contenct, which was not conducive to the spread of the content. After in-depth consideration, we realized that it would also be difficult for us to operate if the story was too professional so that we decided to add some relatively less specific contecnt, making the story more popular to the public. It will be our pleasure if the reader find the project interesting and collect more professional information by themselves.

创作风格
Style of Creation

我的作品风格主要是来自我的个人喜好。我比较喜欢“硬核”画风，虽然写实风格绘制起来比较慢，但是我很享受这个过程。色调则是根据建筑物的特点确定的。比如《贝聿铭的桃花源》，后半部分的颜色就更加鲜艳。

The style of my work is mainly decided by my personal preference. I am more into “hardcore” painting styles. Though it will take more time to draw in realistic style, I enjoy the process a lot. The palette of the story is determined by the characteristics of the building. Like in The Peach-Blossom Spring of Leoh Ming Pei, the second part of the story was in a more vivid tone.

▼美秀美术馆后半部分色彩更加鲜明，与建筑特点有关，the color tone is more vivid in the second part of Miho Museum, corresponding to the characteristics of the architecture

___________
感想和未来计划
Reflections and Expectations

对于我个人来说，家人的支持让我有信心坚持下去。对于团队来说，读者的喜爱就是我们的动力。虽然我们一共只发表了四篇文章，但是每一篇都比上一篇的阅读量高很多。这让我们觉得自己在做一件很有意义的事，完成之后很有成就感。

目前，公众号是由团队中的专门成员来运营的，这样我们就可以专心于内容的创作。由于团队自己的内容创作周期比较长，因此公众号现在已经转换成了一个用漫画、插画或绘本等形式表现建筑设计或行业故事的平台，会承载一些价值观相互认同的内容创作者的作品。

For me, the support from my families gives me confidence to keep on working. For the team, the love from our readers is our motivation.

As the working cycle of creating our own content is relatively long, our official WeChat account has been transformed in to a platform to tell the stories of architectural industry through comics and illustrations, conveying the works of other content creators with the same value as us.

▼公众号截图和成长历程，screen shot of the official account of Archcomic on WeChat and the growth process of Archcomic

除了原有的建筑漫画创作，我们也在与一些外部机构合作，一起关注建筑行业的过去、现在以及未来。建筑漫画仅仅是我们的起点，未来要做的事情还有很多。因为计划还有可能调整，今后的故事创作还不方便透露，希望大家多多期待我们接下来的作品！

▼庹航漫画肖像，portrait of Tuo Hang in the comics

公众号：Archcomic
WeChat Official Account: Archcomic (only in Chinese)

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