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24期我们采访了 大料建筑 （DL Atelier on gooood）创始人刘阳。

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.24 introduces Liu Yang, founder of DL atelier (DL Atelier on gooood)

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

▼视频（视频为3分钟精华版，全文深度采访见下方文字。建议选择高清1080P观看。）

____
回溯
Backtracking

“创业对我来讲其实是一个玩的过程，是我尝试改变生活方式和设计状态、寻求刺激的过程。”

“For me, the entrepreneurship, actually, is a process of having fun, also, a process in which I can try to change my lifestyle and design conditions, as well as to seek some excitements.”

我在胡同里长大。我的父亲是学机械设计的，我从小看他画图，对图板一点也不陌生。上高中的时候我最想学的是汽车设计，但是当时中国只有汽车机械设计专业，而我更喜欢外形。国外的汽车设计专业很多是建筑系或工业设计系下的分支，于是我一琢磨，决定学建筑，并且要在北京学。我觉得大环境很重要，这里有很多新信息，你能看到很多展览。

I grew up in the Hutong. My dad majored in the mechanical design. So, since I was a child, I have seen himdraw his design, making me really familiar with the drawing board. When I was a senior high school student, my dream was to study the automotive design, however, at that time, therewas only the major in the automotive mechanical design in China, while I was more interested in the appearance. And in the foreign universities, the major in the automotive mechanical design was a branch of the School of Architecture or the School of Industrial Design. Therefore, after a short consideration, I decided to study Architecture in Beijing. In my view, the overall atmosphere and circumstance are very important since you can get a lot of newly-updated information and visit numerous exhibitions here.

▼刘阳，Liu Yang

创业对我来说很简单。我觉得设计跟生活是连续的，你不能把它当成工作。我比较爱玩，愿意尝试新鲜事物，创业对我来讲其实是一个玩的过程，是我尝试改变生活方式和设计状态、寻求刺激的过程。我们公司规模一直很小，发展非常缓慢，甚至从规模上说谈不上什么发展。我最初的想法就是公司不要超过十个人。人少，经济压力就小。很多事务所发展到几十人甚至几百人，不得不接更多的活来养活这么多人，活来了又不得不加人，于是一直处在这种“不得不”的状态中。而当人少的时候，压力也就没有那么大。

For me, the entrepreneurship is a simple thing. I think the design should be integrated with the life and have never treated it as a job. I like playing and am willing to try something new, so for me, the entrepreneurship is a process of having fun, also, a process in which I can try to change my lifestyle and design conditions, as well as to seek some excitements. My firm has been kept in a small scale of a really slow development pace, or even from the scale aspect, I can’t call it like a development. Originally, I wanted to keep my firm in a scale of the maximum of ten people. Fewer people mean less economic pressure. A lot of firms have developed to a scale with dozens of, even hundreds of people, thus, they have no choice but to do more projects to pay their employees, and in turn, they need more employees to complete the projects. Consequently, they have placed themselves in a dilemma. However, if you only have a small team, you will not suffer from such big pressure.

▼大料建筑办公室，office of DL Atelier

我们一年只做5，6个项目，都能够自己设计，自己控制，这也符合我做设计的初衷：不是干活，而是寻求其中的乐趣。5，6个项目里如果有2，3个能完成，我觉得是比较理想的。别人看到建成的项目，觉得喜欢，然后来找我们做新的项目，以前一个项目设计费100万，后来一个项目设计费变成500万，量不增加，但是项目本身的质量越来越好，这是我希望的循环发展模式。

Considering this, every year, we only design 5 to 6 projects so that we can design and control thoroughly by ourselves, which is in accord with my very beginning mind: we are not working, but having fun. It will be perfect if we can build up 2 to 3 projects from our designed 5 to 6 projects. Others look at our built projects, and if they appreciate them, they will come to us to talk about some new projects. In the past, we only got one million for a project, but subsequently, we could get 5 million for a project, guaranteeing a higher quality on a basis of the constant number of the project, and that is my ideal circular development model.

▼工作中的刘阳，Liu Yang during work

“我最大的压力不是经济上的压力，而是有时做设计找不到兴奋点，又迫于时间压力，不得不做一个东西出来。”

“My biggest pressure doesn’t come from the economic aspect. Sometimes I am trapped in a dilemma where I can’t come up with an exciting idea or concept, however, under the pressure of time, I am forced to deliver a scheme.”

我觉得现在的北京没有2008年以前的北京好玩。以前的北京更没有秩序，大家在这种无秩序的情况下可以更疯狂、更真实地发展。2008年以后，条条框框越来越多，北京变得更规矩了，也就没有那么好玩了。我从来没想过北漂建筑师的问题。我身边的同事朋友，在北京土生土长的非常少，我也没太考虑过这个群体和那个群体有什么区别。我最大的压力不是经济上的压力，而是有时做设计找不到兴奋点，又迫于时间压力，不得不做一个东西出来。对于我来讲这样有点无聊，也会让我反思自己是不是变得麻木了。

I think today’s Beijing is less interesting than that before 2008. Previously, it was more disordered, providing people with a better environment to develop more crazily and truly. After 2008, under the condition of much more rules and regulations, Beijing has become more regular, but at the same time, less interesting. I have never considered about the issue of Beijing drifters. Most of my friends, as well as my colleagues, are not Beijing natives, neither have I ever cared much about the difference between the natives and non-natives. My biggest pressure doesn’t come from the economic aspect, but from the design itself. That is to say, sometimes I am trapped in a dilemma where I can’t come up with an exciting idea or concept, however, under the pressure of time, I am forced to deliver a scheme. For me, it is kind of boring, but fortunately, makes me reflect whether I am numb about the design.

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煽情的建筑
Sensational Architecture

“我们最关心的是情感和记忆。我们希望用率性的方式做出‘煽情’的设计。我们理想中的建筑是：午后，大树下，人们三三两两，聊天嬉笑，享受阳光和恬静”——大料建筑

“Our primary concern is the emotion and the memory. We expect to deliver the ‘sensational architecture’ through a natural way. Our ideal architecture is: in the afternoon, several people sit under the tree, chatting, playing, enjoying the sunlight and tranquilness.”——Atelier DL

作为设计师，我比较在意个人的情绪能不能跟设计产生更直接的关系。我做每一个项目的时候，会有意把我当时的和过往的情绪放进去。确实有几个设计说明中都说到，希望在空间的情绪上宁静一点，但并不绝对。比如我们做的儿童马场，就是想跟大家开个玩笑。我们做了一个具象的东西，设计手法似乎很低级，其实表现的是一个调侃的心态，挺放松。把不好玩的东西做得好玩，把小孩子玩耍的兴奋劲调动起来，创造一种快乐的气氛，这种空间的情绪和设计时调侃的情绪是吻合的。

As a designer, I care more about whether the personal emotion can have a more direct relationship with the design. Every time I design a project, I will intentionally integrate my emotions, both currently and previously, into the scheme. Indeed, some project descriptions have mentioned that we want a tranquil spatial emotion, but that is not required. For example, we just wanted to play a joke with people when we designed children’s racecourse in the project of Beijing Rider Partner International Equestrian Club. We designed a figurative project with a seemingly entry-level design technique, which actually expressed a humorous and relaxing state. We expect to turn something boring into something interesting and arouse children’s excitements of playing to create a lively atmosphere, and this kind of spatial emotion is consistent with the humorous state when designing.

▼大料建筑部分项目一览，selected projects by DL Atelier

很多话能写，但是说不出来。煽情的建筑比较理想化，是我们的一个目标。每个建筑师独立了以后都在寻找属于自己的独特的东西，而这个独特的东西必定是你擅长的，这样才有可能把它发展下去，做出成果。我认为我可能比较擅长煽情，射手座。煽情是什么？一件事物对你产生刺激，这个刺激如果够痛，够深的话就是“煽情”。比如《断背山》，整个叙事平淡如水，很松弛，但最后柜子里出现血衣的时候我一下子就哭了。这是一种特别成功的煽情，它是一整套连续的操作，把你的情绪完全吸引在其中，只需要一个点，就把人们的内心情绪引出来了。我哭的不是那件衣服，也不是两个主角；我哭的是我自己的过往，自己的情绪。把产生刺激的情绪点提炼出来，是我做设计相对独特的方式。

Sometimes, it is easier to write than to say. We aim for the sensational building which is relatively ideal. When being independent, every architect has been seeking something distinct that is his own identity, nevertheless, he can potentially develop this distinct identity and achieve something unless he is proficient in it. I think, probably, I am relatively good at making something sensational since I am a Sagittarius guy. However, what does the sensation mean? I think it is something by which you are strongly and deeply influenced, shocked and touched. Just like Brokeback Mountain, a plain and flaccid narrative, which made me tear unconsciously when I saw the blood coat in the cabinet at the epilogue of the story. This is a particularly successful sensation and a set of continuous development which makes you immerse yourself in, as well as light your emotions through a small incident. I didn’t tear for the coat, neither the two protagonists, but my own history, experiences and emotion. Extracting the emotional points that can arouse people’s mood is a relatively distinct way of designing for me.

▼一舍山居设计概念，营造有情感的空间，Conception drawing of Yi She Mountain Inn, aiming to create sensational space for people

▼可以看到山景的开放厨房，open kitchen with view to the mountain

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设计理念和实践
Design Philosophy And Practice

“手法只要去做，就会越来越好，而如果理解不对，就会越来越歪，事物的根源更为重要。”

“Techniqueswill be much better as long as you keep practicing, while the design will develop in a much wronger direction if you don’t understand it, thus, the origin is much more important.”

在这些年的实践当中，我们的方式和理念没有什么大的变化。到了我现在的年龄，越来越觉得坚持十分重要。从大三开始吧，我常去北大听研究生课，当时张永和老师说了一句令我印象深刻的话。他说：“北大的教学重心并不是教人设计的手法，而是帮助学生建立相对正确的对建筑的理解。手法只要去做，就会越来越好，而如果理解不对，就会越来越歪，事物的根源更为重要。”而我们基本上已经认准了要做煽情的建筑，并且一直在坚持。

During these years’ practices, there is little change in our design techniques and philosophy. At the current age, I feel more and more important about the persistence. Since I was a junior student at university, I have often gone to Peking University for auditing graduate lectures, and at that time, the words from Pro. Zhang Yonghe strongly impressed me. He said: “at Peking University, we focus on helping students to build up a relatively right understanding towards the architecture, instead of teaching them how to design. Techniques will be much better as long as you keep practicing, while the design will develop in a much wronger direction if you don’t understand it, thus, the origin is much more important.” And for us, basically we have decided on the sensational architecture and have been insisting on it.

▼新港小学效果图，透明化的学校（点击这里查看更多），Xin Gang Primary School with more transparency (click HERE to view more)

在新港小学项目中，我们考虑到学校是中国社会里相对纯净的地方，如果城市里的人们能够看到孩子们在学校里读书上课，追跑打闹的场景，那学校就成了美好的城市景观。所以我们把学校透明化，让孩子和校外的人之间相互吸引。而学校里的孩子们与其说是跟老师学东西，我觉得更多的是相互学，相互模仿，这也促使我们把学校内部更加透明化，让孩子们相互吸引。

我们把学校做成了井格形，一二层是公共空间，包括操场，食堂，图书馆，可以完全开放。教室需要满足采光要求，于是设在上面两层。再通过开窗等手段实现一层层相互叠加的空间场景，强化吸引感。我们前后花了两年时间解决设计中的所有规范、结构等问题，并且保留了最初的设计理念，但就在我们施工图进行中的时候，领导变更，要修改设计，我们为了坚持设计初衷，也就一气之下放弃了这个项目。

In the project of Xin Gang Primary School, considering that the school is a relatively clean world in China’s society, we thought about building it up as a beautiful urban landscape by opening the view of the scene where children can read, attend the class, play and have fun. Thus, we made the school transparent to establish an attractive relationship between children and people outside. For children in the primary school, they learn from their teachers, but more often, they learn from each other and imitate each other, and that gives us the motivation to open up the school, providing children with the opportunity for interaction.

We designed the primary school in the form of grids. The ground and second floors are public space, containing the playground, the canteen and the library, which can be fully open. Considering the light requirements of classrooms, we organized them on the two upper floors. Then, the openings on the facade like windows created a spatial feeling of stacking, enhancing the attraction of the building. By the time we produced the construction drawings, we had spent two years in total to deal with all of the code and structural problems and meanwhile, retained our initial design concept. Unfortunately, just then we encountered the change of the leaders, who asked us to revise our design. In order to insist on our initial concept, we gave it up in a pet.

▼新港小学模型，下层是公共空间，上层是教室，model of Xin Gang Primary School, which lower floors were public space while classrooms were on the upper floors

当年我特别在意设计概念的完整性，而现在我更在意项目是不是能够建成。如果把那个项目放到现在，我可能不会拒绝修改设计的要求，还会去努力找到更好的办法实现我们的理念。一个建筑盖不出来，就没有意义。我们现在选择项目最重要的标准就是它是否可以落地。

At that time, I cared too much about the integrity of the design concept, while now, I care more about whether the project can be built up. If I had the opportunity, I would probably not refuse the demands for revising the design, rather, try my best to find another way to realize our concept. It makes no sense if a design can’t become a physical existence. Now, the primary standard to choose a project commission for us is to consider that whether it can be built up.

▼新港小学效果图，丰富的空间与学生活动，rendering of Xin Gang Primary School with diverse space and activities

“形式其实不是绝对的，可能是一种惯性。”

“Actually, the form is not a sure thing, rather, sometimes, it is, probably, a habit.”

对我来说用几何塑造空间比较简单。就像中国人用筷子吃饭，西方人用刀叉，这是两种不同的用餐形式，导致了两种不同的菜品形式，但实际上也可能是反过来的。所以形式其实不是绝对的，可能是一种惯性。无论你使用什么手法，只要做到一定程度，就可以实现自己的想法；再往前一步，或许就可以提炼出自己独特的设计语言。这是一条漫漫长路，我可能一辈子都提炼不出自己的语言，但是要坚持，不断往前尝试。我们现在的几何形式跟几年前也不同了。过去一舍山居项目里方圆的组合，跟我们现在做的阿那亚儿童博物馆，尽管构成元素相同，呈现出来的却是两个状态，空间形式感完全不一样。

▼一舍山居富有几何感的外观（点击这里查看更多），Yi She Mountain Inn with geometric appearance (click HERE to view more)

▼一舍山居内院，由方圆组合而成，courtyard of Yi She Mountain Inn composed of square and circle

▼富有几何感的空间细部，geometric details of the space

For me, it is relatively easier to shape the space by geometries. Just like Chinese people tend to eat with chopsticks, while Western people tend to eat with knife and fork, these are two different dining forms that lead to two different dish forms, which perhaps, should be in turn actually. Thus, the form is not a sure thing, rather, sometimes, it is, probably, a habit. That means you can realize your concept eventually as long as you have achieved a certain level, no matter what design techniques you use, moreover, sometimes if you can go a little further, probably you can extract your own distinct design language. This is a long trip where I am bound to insist and try continuously, although maybe I can’t extract my own language throughout my life. Our geometric forms are different from those in previous years. In the project of Beijing Yi She Mountain Inn, we used the combination of the geometry of the square and the circle, while now, we used the same components in the project of Aranya Children’s Museum, but showing a totally different spatial and formal atmosphere.

▼阿那亚儿童博物馆，另一种形式的方圆组合，Aranya Children’s Museum composed of square and circle in a different way

形式，说重要也重要，说不重要也不重要。现在我挺在意形式的，至少做出来的设计要好看，要能够支撑我想要实现的想法。月亮舞台项目的形式非常简单，就是一个圆片放在河边，足够简练，也足够有力，可能是我们形式和氛围结合得最好的设计。所有人一看到这个项目，哪怕只是一张图片，都能感受到项目的纯净，被形式的氛围感染。就像是黑白照片和彩色照片，往往黑白照片更有感染力，因为它简化了很多东西，让人们的注意力不会被色彩吸引。在更加单纯的光影环境下，如果一张照片很吸引你，那可能就是其中基本的东西足够优秀。

We can’t decide whether the form is important. Now, I have begun to pay attention to the form, for at least the design should be nice-looking, as well as able to support my concept. The project of the Moon Stage, perhaps the best design that combines the form and the atmosphere, has a really simple form as it seems like just a circle piece beside the river, creating a pure space that leaves people a strong impression. For example, the black-and-white photos are tended to impress people more than the color photographs since they simplify a lot of things in case that people pay much attention to the color. Under a purer light environment, the basic elements will be highlighted, thus, if you are probably attracted by a photo taken in that environment, maybe it is because its basic elements are good enough.

▼月亮舞台，简单的形式创造出富有感染力的空间，Moon Stage, impressive space created by simple components

▼星月向日葵馆，简单的几何形式构成独特的空间氛围（点击这里查看更多），Hall of Starry and Sunflowe, unique space atmosphere created by simple geometries (click HERE to view more)

“丰富跟复杂只有一线之隔……一个空间可能丰富，可能单一，都只是表象，内部肯定要有一个空间逻辑在控制。”

“There is only a fine line between the diversity and the complication……A space can either be diverse or unitary, but that is only the appearance, and the thing is its internal spatial logic that controls the whole design.”

我从小是看王朔，听相声，听评书长大的，我觉得语言会潜移默化地影响人的思维习惯。我们在阿那亚做儿童博物馆，试图创造一个丰富的，让孩子有探索欲的空间。这个空间要一眼看不穿，让人有点找不着北，总是有新鲜感。为了实现这个想法，我们使用理性的逻辑搭建空间。简单的牙齿形状墙体既是结构，也可以形成小的辅助空间；圆形按照不同的规则摆动，形成了一个看上去无序的空间，实则很有规律。丰富跟复杂只有一线之隔。一件事情你能感知到它的可能性，是为丰富；当可能性多到一定程度，你完全不可知，就变成了复杂。我们需要用理性去调整其中的度。一个空间可能是丰富的，可能是单一的，其实都只是表象，内在肯定还是要有一个空间逻辑在控制。

I grew up accompanied by Wang Shuo’s literatures, comic dialogues and storytellings, therefore, I think that the language can potentially influence people’s thinking habits. We designed Children’s Museum in Aranya, expecting to create a diverse space for children to explore. This space should always be attractive and mysterious, without obvious spatial organization. In order to make this idea come true, we used the rational logic to create the space. The simple walls in the form of teeth act as the structure, as well as the separation and the boundary of the smaller service space; the circles are organized according to the different regulations, forming a seemingly disordered, yet actually, well-organized space. Thus, there is only a fine line between the diversity and the complication. It is the diversity if you can feel a sense of various possibilities, while it is the complication if you are in a thoroughly unknown situation because of too many possibilities. We need to adjust the degree of “possibilities” through a rational way. A space can either be diverse or unitary, but that is only the appearance, and the thing is its internal spatial logic that controls the whole design.

▼三宝蓬艺术中心外观（点击这里查看更多），External view of Sanbaopeng Art Museum (click HERE to view more)

▼丰富的内部空间，rich space inside the project

以前比较关心材料的概念性，即它对我的设计概念有什么作用。在景德镇的项目里，我们想要用一种材料，首先是本地的，同时又要有一种异质的感觉，即熟悉又陌生，最终选择了夯土，建造了一栋150米长的夯土房子。现在我选材料不会特别去想概念的事，而是更加关注使用者切身的感受。很多建筑师特别在意建造的真实性，我完全不会。为了满足视觉的感觉，我不排斥用假的材料。

Previously, I concerned more about the conceptuality of the materials, which is to say that I was more interested in the effect of materials on my design concept. In the project of the Sanbaopeng Art Museum in Jingdezhen City, we expected for a local resourced, but meanwhile, heterogeneous material, creating a familiar, yet strange feeling. Eventually, we decided to use the rammed earth to build up a 150-meter long building. However, at present, I don’t pay much attention to the conceptuality in the materials selection, rather, care more about users’ personal experience and feelings. There are so many architects concerning excessively about the reality of the construction, while I absolutely don’t. I think the fake materials are acceptable if it can achieve a certain visual effect.

▼三宝蓬艺术中心夯土墙细部，closer view of the rammed earth walls of Sanbaopeng Art Museum

___________
设计过程与反馈
Design Process and Feedback

“我会先考虑项目跟我以往的经历有什么关系，回到自己的内心去寻找项目的出发点。”

“At first, I will consider about the relationship between the project and my past experience, returning back to my heart to find the starting point for the project.”

我们大部分的设计都没有任务书。以前我特别在意任务书，认为它是工作能够顺利推进的关键。但是这两年我们遇到的甲方基本没有任务书，都是一起商量应该往哪个方向做，怎么做，连面积都是一边做一边确定的。我选甲方主要有三个依据。第一，能不能聊得来，是不是有眼缘；第二，项目能不能建成；第三，甲方资金是不是充裕。第一点最为重要，你只有和甲方充分沟通后，才能理解他真正想要什么，以及他想要的东西跟你的理念有没有结合的可能性。在了解甲方的想法后，我会加入我的感受和情绪。如果我和甲方是一类人，我的情绪，我的表达往往也是他们的情绪和表达，我们可以一起把项目的内涵和可能性发掘出来。

In most cases, we don’t have the brief for the project. In the past, I really cared about the brief, regarding it as the key element to develop the project. However, during these two years, instead of giving us briefs, our clients have tended to discuss together with us to see how the project should be developed, including the floor area that is determined during the discussion process. I have three major bases to choose my clients. Firstly, whether we can chat comfortably and leave a good impression on each other; secondly, whether the project can be built up; thirdly, whether the clients have sufficient budgets. The first one is the most important, since only when you have thoroughly negotiated with your clients, can you understand their genuine demands and whether there is any possibility to combine their demands with your own ideas. After understanding clients’ demands, I will integrate my feelings and emotions into the project. If we are birds of a feather, then we tend to share the same emotions and expressions, which means we can carry forward the meaning and the possibilities of the project together.

▼一舍山居设计概念，design concept of Yi She Mountain Inn

从设计方面来说，我会先考虑项目跟我以往的经历有什么关系。有的人做设计会向外看，即使做一个小房子，也会把方圆一百公里的场地，上下五千年的历史翻出来研究一番。我则是回到自己的内心去寻找项目的出发点，无论多么微不足道，只要能够找到，我就可以通过设计把它放大，用一座房子来表达它。我现在最大的压力和痛苦，就是有时会麻木，找不到那个点。所以我会试图寻找更多的刺激，比如看电影，接触更多人，吃不一样的东西，自己一个人玩，等等。这些都是对我生命的刺激，而设计是一个能让我的人生更有意思的出口，它和我的人生已经无法分离。

From the design aspect, at first, I will consider about the relationship between the project and my past experience. Some people are accustomed to looking outwards when designing the project, which means they will study deeply the history of the surroundings for hundreds of kilometers around. But for me, I prefer to return back to my heart to find the starting point for the project. As long as I can find it, however negligible it is, I will be able to amplify it through designing, expressing it in the form of the architecture. The biggest pressure and suffering I encounter now are that sometimes I think I am too numb to find that starting point. Consequently, I try to find more inspiration from seeing movies, reaching more people, eating different food and having fun myself, etc. All of them are the inspirations for my life, while the design, the indispensable thing in my entire life, is a way to make my life more interesting.

▼星夜向日葵馆设计概念，design concept of Hall of the Starry Night & Sunflowers

“把内心的想法物质化是一件特别爽的事情……充分了解房子建造的过程对于设计想法也很重要。”

“It is a particularly cool process to make an idea come true……Definitely, for architects, the full understanding of the construction process will benefit the design concept.”

不仅是项目完成后，施工的时候我也会经常去看。这一两年我们在北京的项目越来越多，现在光施工的项目就有四个，我一个礼拜有四分之一，甚至三分之一的时间在工地。工地上虽然有各种噪音，但反而让我觉得特别安静，心无旁骛。把内心的想法物质化是一件特别爽的事情，所以我每到工地都会特别兴奋。房子建好后我也会再去看，因为我特别在意建筑会对使用者产生什么样的情感上的刺激。我曾经去景德镇的项目里待了一天，看里面的人在干什么，偷看他们的表情，偷听他们的谈话，这些都是对我的设计的反馈。

I will visit the construction site after the project is completed, as well as during the construction process. In these recent years, we have much more projects in Beijing, including four projects that are under construction now, thus, I spend one fourth, even one third of my time on the construction site every week. Although it is noisy at the site, I enjoy a peaceful and dedicated internal world actually. It is a particularly cool process to make an idea come true, so I am very willing to visit the construction site. After the completion, I will visit my building as well, because I am really concerned about the emotional inspiration that users can get from the building. Actually, I have ever stayed in the project of the Sanbaopeng Art Museum in Jingdezhen City for a whole day, observing people’s activities, peeping at people’s expressions, eavesdropping their conversations, all of which are good feedbacks to my design. Definitely, I expect that my design can share something common between its users and me.

▼三宝蓬艺术中心施工现场
construction site of Sanbaopeng Art Museum

我做设计，肯定会希望使用者能够共同感受到一些东西。最近我们在国子监胡同里做了一栋小房子，占地面积不到100平米，设计前前后后大概花了一年时间，施工更久，直到上个礼拜还在修修补补。整个过程中，我跟业主沟通很多，关于对错，关于好坏，关于好恶，这一般是我自己判断设计的三个标准。我们在挺小的屋子中间放了一个大柱子，可能所有人都会觉得不合适，但业主不是立刻否定，而是尝试理解我为什么要这么设计。最后他经过三天的思考，同意了我的想法。一旦业主对设计有了充分的感受，他就会爱上这个设计，每天比工人到得还早，和工人一起干活，享受其中。由于这个项目离我的工作室很近，我们几乎每天也都会去看两眼，充分了解房子建造的过程对于设计想法也很重要。

Recently, we have designed a small house named Guozijian Space with the area of less than 100㎡in the Hutong of Guozijian. It took us one year round to finish the design and much longer to finish the construction, moreover, by the end of the last week, we had been working on some repair works. I have negotiated with the clients hundreds of times throughout the whole process concerning the right and wrong, the goodness and the badness, as well as likes and dislikes, all of which are my standards to judge a design. In this project, we organized a big pillar in the center of a relatively small house. That seemed inappropriate for most people, while my clients tried to understand my idea instead of rejecting me at once. Eventually, after 3-day consideration, he agreed with my idea. Once the clients have an every understanding about the design scheme, they will fall in love with it, arrive at the site earlier than workers and even work together with workers to enjoy the whole process. Thanks to its location which is quite close to my studio, my team and I would visit there almost every day, because for architects, the full understanding of the construction process will benefit the design concept.

▼刘阳在施工现场，Liu Yang in the construction site

_______
近期实践
Recent Practice

“我不喜欢总是做同一个东西，在挑选项目的时候也希望找一些没做过的类型。”

“I am not interested in doing the same thing all the time, thus, I expect for something I have never done before when selecting the project.”

我们目前在做的有几个民宿，还有一些博物馆，运动馆，类型很杂，我不喜欢总是做同一种东西，所以在挑选项目的时候也希望找一些没做过的类型。我们在怀柔有一个民宿在建，在工作方式上我们进行了一个新的尝试。我和几个朋友一起成立了一个公司，专门在北京周边收一些农村闲置土地改造成酒店或民宿。

Currently, we have been working on several types of projects, including guesthouses, museums and sports centers, since I am not interested in doing the same thing all the time, thus, I expect for something I have never done before when selecting the project. We have a guesthouse project under the construction in Huairou, to which we have applied some innovative attempts in the aspect of the working style. Some of my friends and I have established a company in order to purchase some vacant lands in the countryside to transform them into hotels or guesthouses.

▼清舍民宿，Qing She Guest House

在这个过程中，我们既是甲方，也是乙方。我们在前期沟通中定一个方向，然后有人负责前期拿地，沟通，投资；有人负责运营，推广。我只干自己最擅长也最感兴趣的部分，就是设计。在这种项目里我可以玩得更出圈，尝试一些以前没尝试的东西，如竹模混凝土等；长期合作的施工队也听我的，指哪打哪。里面有一些我并不是很肯定的东西，我把它当作设计上的刺激和冒险。

In this process, we are both clients and architects. In the early stage, we will decide a working direction through discussion, then, some of us will be responsible for completing for the land, negotiation and investigation, while some of us will be responsible for the operation and promotion. And for me, I am only responsible for the design – the part that I am best at, as well as most interested in. In these projects, I can take advantage of more freedom to try something that I have never done, such as the bamboo formwork concrete; meanwhile, the construction team that shares a long-term cooperation with me listens to me and follows my every instruction. Actually, there is something that I can’t make sure in these projects, but I treat them as an inspiration and an adventure in the design field.

▼竹模混凝土，bamboo formwork concrete

我们的第一个马场已经建完了，在通州，现在我们在做第二个马场。中国有上千家马术俱乐部，但是马场基本上都像是厂房或农民房，稍微好一点的学习欧美，类似农庄，没有一个现代的，设计感更强的建筑。在第一个马场项目里，我抱着调侃的心态做了一个方圆两百米的大马，打破了以前的条条框框。项目建成后在北京的马圈里其实引起了一点小轰动，很多人来参观，所以后来业主找我做第二个马场，现在正在设计当中。

Our first equestrian club located in Tongzhou has been launched, and now we are working on the second one. There are thousands of equestrian clubs in China, while most of which seem like factory buildings or farmers houses, meanwhile, although some of them have learned from the equestrian clubs in Europe and America and been built up as a farm village, expressing a bit better state, none of them are modern or aesthetic. In our first equestrian club project, I designed a large racecourse for 200 meters around with a humorous way, breaking the frames that restricted me previously. Actually, after the completion, this project caused a sensation in the group of equestrians in Beijing, attracting hundreds of people to come and visit. As a result, its clients requested me to design the second equestrian club that is being developed for them.

▼北京骑缘马场鸟瞰，aerial view of Beijing Qiyuan Equestrian Club

▼层叠的屋顶及细部，layered roof

我是在胡同长大的，我的小学，初中，高中都在胡同里面，所以我对胡同的感情很深，当拿到国子监的项目时，我们依照我对胡同的理解做了一个理想化的房子。现在的胡同大部分都是大杂院，很少有真正的私院。我小时候邻里关系非常融洽，难分你我，大家居住面积非常小，但是你会觉得整个胡同都是自己的家，心理上的面积很大。这些年胡同里停了很多车，还有电动摩托穿行，人们的公共生活空间弱化了，邻里之间的关系相对来讲也越来越弱。大约2007年开始，国家鼓励私人买下整个院子进行改造，于是在胡同里出现了越来越多的独院。这些院子里的生活质量非常好，但是它们大门紧锁，跟整个胡同空间完全没有联系，两极分化越来越严重。

I grew up in Hutong, and I spent my primary school life, junior high school life and high school life there, which built a close relationship between me and the Hutong. Thus, when I started to work on the Guozijian Space, I designed an ideal house based on my understanding about Hutong. Today, most of the houses in Hutong are like small residential communities, while few of them are truly private. When I was a little kid, we enjoyed an extremely harmonious neighborhood relationship, feeling as if we would own the entire Hutong space, and just because of this, even though everyone lived in a very small space physically, we could still enjoy a particularly generous space mentally. However, these years, there have been much more vehicles in the Hutong space, decreasing the public living space and weakening the neighborhood relationship. Since 2007 or around, our nation encouraged people to purchase the whole yard on behalf of themselves to take some renovated actions, contributing to more and more private yards in the Hutong space. In these yards, people can live a comfortable and high-quality life, yet in a thoroughly close atmosphere, without any relationship between the Hutong space, leading to much more difference between spaces.

▼可以升降的胡同住宅概念，concept of the Hutong residence which could be elevated from under the ground

这不是我希望的状态，于是我们想了一个办法，让胡同里的人既能有更多的居住面积，也能有大家一起交流的院子。我们运用立体停车场的机械装置，做了一个可上可下的房子。建筑可以有三层，有人的时候房子在上面，满足采光通风；降下去后房子的屋顶就变成了院子，可以跟其他院子连在一起。使用者可以和邻居协调，今天不在家，就把房子降下去，不影响邻居的采光。当胡同里有很多这样的房子时，就会增加邻里之间沟通的机会，今天你下去点，明天我上来点；某天都下去，把院子让出来给孩子玩；或者都上去，大家在天上玩。胡同的屋顶肌理特别好看，说不定还能碰到裸奔的彭于晏。

However, I don’t admire this way of living and designing, and that drives us to think up a solution to provide residents there with more living areas, as well as a public courtyard to communicate. Thus, we used the mechanical installations of parking structures to design a vertically moveable house. The space of this 3-storey house can be adjusted according to users’ demands, for example, when the house is located at the higher level, it can act as a living space with a good natural light and ventilation; and when the house is located at the lower level, its roof can act as a yard to form a continuous space together with other yard spaces. Users can negotiate with neighbors about it, such as lowering the house down when they are out to make sure the sunlight of the adjacent houses. When such houses scatter throughout the Hutong space, the opportunities for communication between neighbors will be increased. Imagining a scene that today, I lower my house a little bit, and tomorrow, you rise your house a little bit to guarantee the light and the ventilation, even in some days you and your neighbors lower or rise the houses together to create a large yard for children to have fun on the ground or even, in the air. The roof texture of the Hutong space is really beautiful and don’t laugh, maybe you are lucky enough to meet a streaking muscular man there.

▼不同状态下的住宅外观及室内，appearance and interior space of the residence under different conditions

虽然这个想法由于各种各样的原因没能完全实现，但是我们还没有放弃。后来有胡同的项目找来，我基本上都会先给业主灌输一套这个理念，如果不灵，就使出凌波微步，设计一个实实在在的好看的房子。

Although unfortunately, we couldn’t make this idea fully come true out of some reasons, we didn’t give up at all. Later, as long as the clients want us to design a Hutong project, I will instill this idea to them, and if I can’t persuade them successfully, I will try my best to design a genuinely beautiful house.

▼建成的胡同住宅外观，external view of the constructed Hutong residence ©孙海霆

▼住宅室内，interior space of the house ©孙海霆

________________________
影响设计的经历以及对未来的预期
Experience that can influence the design and your expectation for the future

我比较喜欢看电影，电影好玩的点在于它能够把你带到它所营造的时空中，让你跟着它体验一次不一样的人生。我觉得电影不是讲故事，而是在营造情绪，营造氛围，让我们接受到不同时空的刺激。最近我也喜欢看即时的表演，如歌剧，话剧，舞蹈之类，它们更加真实，感染力也会更强。前段时间我有一个音乐人朋友租了一个场地表演，演出的内容没有事先商量，这边弹一段钢琴，那边搭配着吹起笛子，接着响起歌声，还有舞蹈，表演者眼神的交流，或者更深层次的沟通，创造了一个和谐的状态，感染力极强，每个人都特别兴奋。我现在特别喜欢这样的现场表演。这些经历可能潜移默化地会对我的设计有所帮助。

I like movies, since they can bring me into a space-time created by themselves, leading me to experience a different life, and I think that is the most interesting about the movie. I don’t think the movie is a kind of storytelling, rather, a construction of emotions and atmospheres, bringing us some inspirations from different situations and space-times. Recently, I also like the impromptu, such as the opera, the stage drama, and the dance, all of which are more realistic and attractive. Some time ago, one of my friends, a musician, rented a space to give a performance without the presetting of the program. During the performance, the piano, the flute, the singing, and the dance merged subsequently into an integrity. The visual communication, or the deeper communication between performers created a harmonious and attractive atmosphere, exciting every person on the scene. Now I really love this kind of live performance. And probably, these experiences can leave a potential impact on my future design.

▼三宝蓬艺术中心设计概念图，从电影中获得灵感，design concept of Sanbaopeng Art Museum, inspired by movie

现在事务所的一个变化可能就是我们成立了新公司，自己当甲方。如果事务所真的发生了什么本质上的变化，很可能是因为我个人的原因：我看世界的方式，对世界的理解不一样了，让事务所产生一些新东西。目前事务所还是走老路，在持续坚持的基础上，一步一步去试着有所突破。我们最大的障碍就是会有找不着突破的时候，但也没有什么解决方法，只能去做一些以前没有做过的事，接触以前没有接触过的人，通过刺激来寻求一些变化吧。

As for the change, I think it is probably that we have established a new firm to be our own clients. If there were some essential changes in Atelier DL, it would be out of my personal reasons: I had a new perspective and a new understanding towards the world, so I wanted to add some new things to the studio. But currently, Atelier DL will insist on the original development direction, meanwhile, on this basis, trying to make some breakthrough step by step. The biggest obstruct for us is the moment when we can’t find any breakthrough we can make, but unfortunately, there is no other way, and the only thing we can do is to try something we have never tried and reach somebody we have never reached, seeking some opportunities to change through the inspiration.

▼大料建筑其他项目 – 天水SOHO幼儿园（概念）
Other Projects of DL Atelier – (left) Tianshui SOHO Kindergarten (conception design)

▼大料建筑其他项目 – （左）北京隐舍酒店（施工图），（右）玉溪工业遗存博物馆（施工图）
Other Projects of DL Atelier – (left) Beijing Yinshe Hotel (construction drawing), (right) Yuxi Industrial Heritage Museum (construction drawing)

▼大料建筑其他项目 – 马尔代夫综合体（概念）
Other Projects of DL Atelier – Complex in Maldives (conception design)

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