從庭院的樹下開始Under the tree in the courtyard
“人 自然 建築”
“Human Nature Architecture”
我從小生活在北京郊區，童年印象最深的是我們家院子裏有一棵七、八十年的老樹。夏天我會和父親在樹下喝茶，整個院子籠罩在樹蔭下，非常涼快；冬天樹葉掉光了，陽光照進整個院子，我和姐姐偶爾還能在院子裏打羽毛球，院子裏充滿了家人的各種生活場景。每天早晨，樹上會有各種各樣的鳥的叫聲：燕子、喜鵲、麻雀等等，偶爾還能看見啄木鳥，基本上我每天起床都不用鬧鍾，到了晚上還會有貓頭鷹。老樹的樹根一直延伸到別家的院子裏，經過幾年又在鄰居家長出了新的小樹……這棵樹可能是我最原始的，對於人、自然和建築三者間關係的啟蒙。
至於學習建築，其實是一個特別偶然的事情。我在高中除了正常的學業外還是一名體育生，建築學是高考的第二誌願，在被調劑到這個專業前也沒學過繪畫，所以剛開始的時候是特別的艱難。然而，在之後的在學習中，越了解建築就越喜歡，越喜歡就越想做，久而久之就變成了現在這樣的狀態。
▼ 高中作為體育特長生的程豔春，Cheng Yanchun as a student with sports talent in high school
I lived in the suburb of Beijing since I was born. I remember most vividly is a seventy or eighty years old tree in the courtyard of my home. During the summer, I would have tea with my father under the tree. The shadow of the tree covered the yard and made the yard feels cool. During the winter, leaves fell off and sun shined the whole yard. My sister and I could play badminton sometime, and every life scene of my family life was filled in the yard. Every morning, all kinds of birds singing on the tree: swallow, magpie, and sparrow, sometimes even wood peckers, and so on. Basically we don’t need alarms to wake us up. During night, there would also be owls. The root of the tree extended to others’ yards, and new trees would grow in their yards after years. So, the old tree for me, might be the most original enlightenment of relationships between human, space, nature and architecture.
As for learning architecture, in fact, is a particularly accidental thing. Besides everyday study, I was a student athlete in high school. Architecture was my second choice when I was choosing major. I had never learned how to draw before I was assigned to architecture major, so it is hard at the very beginning. However, during years of study, the more I understand architecture, the more I like it. The more I like it, the more I want to working on it. After all, it became to this status.
▼ 設計中的程豔春，Cheng Yanchun doing design work
C+Architects的核心理念The core philosophy of C+ Architects
“希望從家的研究開始…也希望我的工作室像家一樣”
“I wants to start from home research…and i want my studio to become a home.”
以前，我在日本留學研究日本現代住宅，博士三年，學習了很多優秀的案例。因此，對於家，我有一些自己的看法。
首先，家是組成社會的基本單位，家的構成影響了社會的構成。城市是一個大聚落，作為觀念的家是抽象的，但每一個具體的小家是怎樣構成的？怎樣生活的？這是非常具體和實際的問題。一般來講，城市設計是從大尺度的區塊布置開始，但如果換一個邏輯，先考慮每個家庭是如何生活的，或者怎樣的城市更適合人居住，我們也許會得到一個不錯的答案。
另外，對於現在很多住宅設計，尤其是大規模住宅區，我們都不知道未來具體的使用者是誰。雖然住宅是具有商品屬性的物品，但絕對不能演化成為“商品家”。所以研究者要麵對非常具體的某一個人，及其對於空間具體的需求，又或是對於這個城市的需求。
Before, When I was in Japan, I studied modern Japanese housing. During three years of PhD, I studied a lot of good cases. So, to home, I have some of my own ideas.
First of all, “Family” is the basic component of society. The composition of family influences the composition of society. City is big settlement. The concept of the home is abstract, but to every specific family, how does it composite? How does it live? This is an extraordinarily specific and practical question. Normally, urban design starts with zoning arrangement, but what if we reverse the logic which means considering how does every family live here first, or what kind of city is more suitable for people to live, that is, from small scale to large scale, we might get another good angle.
Also, for many design of contemporary housing, especially large-scale residential, we do not know who are the future of specific users. Residential is an object that has commercial quality. It is what we called as commercial residential. But it cannot become “residential home”. So the researchers have to face the very specific person, his or her needs for space and the demands for the city.
▼ 在日本現場考察住宅案例時期（案例：森山邸-西澤立衛），study residential architecture in Japan (case study: Moriyama House-Nishizawa Ryue)
最初我成立工作室是希望從家的研究開始，所以取名叫“C+ Architects”。除此以外，還有一個原因，就是我希望我的工作室像家一樣，同事如同兄弟姐妹，可以互相幫忙並擁有共同的建築價值觀。我不太習慣把我的工作室看成是簡單的一個公司。
Initially I set up this studio that also wanted to start from home research, so it is called C+ Architects. Another reason is that I want my studio to become a home. Everyone can help each other like brothers and sisters, having the same architecture conception. I am not used to treat my studio simply as a company.
▼ 忙碌卻又和睦的C+ Architects工作室，busy while harmonious office of C+ Architects
▼ C+ Architects工作室的閣樓，loft space in C+ Architects
▼ C+ Architects工作室窗外美麗的樹影，shadow of the trees through the window
從傳統建築中看到了更多的智慧Discover more wisdom in traditional architecture
“希望未來能從這些建築中發展出更多的東西”
“I hope to develop more from these buildings.”
日本留學經曆對我的影響並不是某些具體的建築，而是總體上的感觸和經驗的反饋。看了那麼多的現代建築後，我反而對他們的傳統建築產生了特別大的興趣，這也是我正在思考的一件事情。很多現代建築師的經驗以及想法都是從傳統建築中發掘的，我自己也從傳統建築中看到了更多的智慧，包括國內傳統建築，希望未來能從這些建築中發展出更多的東西。
I think the influence is not from any specific building, but from reflection on feelings and experience. After visiting so many modern buildings, I was particularly interested in their traditional architecture. This is also what I am thinking about now. I found the experience and idea of many modern architects are explored from traditional architecture and also discovered more and more wisdom in traditional architecture, including Chinese traditional architecture. Therefore, I hope to develop more from these buildings.
▼ 從傳統建築中看到了更多的智慧，discover more wisdom in traditional architecture
簡單就是終極的複雜Simplicity is the ultimate sophistication
“用一個最簡潔的方式去解決問題，並且提供無限的可能，但這不意味著喪失個性。”
“Using the simplest way to solve problem and providing infinite opportunities, but it does not mean losing identity.”
一個人的設計首先要像自己，一定是自身經驗的直接反射，這和個人的成長經曆有非常大的關係。
很多人說我們的設計像日式的設計，我並不是很避諱這個說法。因為在全球如此緊湊的空間格局下，你很難不受到來自其他國家的影響。比如說，你在做設計的同時可能會受到美國的影響、日本的影響、歐洲的影響，甚至可能會受到非洲某個聚落的影響，因為你確實到過那裏並且有了經驗和記憶。這個就是我們所處的時代，可能我所選擇的設計方式湊巧用到了存在於某個地方的共同經驗。
當然這個問題還可以引申一下，比如現在很多人用的蘋果手機和相似手機產品，你很難說它是中國式的、日本式的還是美國式的設計，因為它一定是世界的。用喬布斯引用達芬奇的話說：“簡單就是終極的複雜” 。也就是我們常說的大道至簡。用一個最簡潔的方式去解決問題，並且提供無限的可能，但這不意味著喪失個性。比如雖然很多人都用蘋果手機，但每個人手機裏的app都不一樣，有著不一樣的微差，這些細微方麵反映了每個人的生活個性。
A person’s design must first be like himself. It must be the direct reflection of one’s own experience, this has very big relationship with the personal growth experience.
Many say that our design is similar to style of Japanese style. I do not mind this comment, because in the compact global setup, it is impossible to be not influenced by any country. For example, when you design, you might be influenced by America, by Japan, by Europe. You might even be influenced by a tribe in Africa, because you actually had been there and gained experience and memory. This is the era we live in, the design method that I chose might accidentally has some common experience with a place that existed somewhere.
Of course, we can extend this discussion. For example, many people are using iPhone and other similar mobile phone product. You can hardly say it is Chinese-style, Japanese-style or American-style design, because it must be global. Just like what Steven Jobs quoted from Leonardo da Vinci: “Simplicity is the ultimate sophistication”, which is what we used to say “true greatness is simplicity”. Using the simplest way to solve problem and providing infinite opportunities. But it does not mean losing identity.
For example, although people are all using IPhone, but the Apps in their phones are varied. The little differentiation reflects every person’s living habits in small aspects.
▼ 競園22號樓改造，攝影：夏至，Jingyuan No.22 Transformation, Photographer: Xia Zhi
▼ 梵天北京辦公室改造，攝影：夏至，Brama Beijing Office Renovation, Photographer: Xia Zhi
▼ 階屋剖麵模型，section model of Stair Pavilion
▼ 山水居模型，model of “Shanshui” House
低造價條件下如何控製建築質量How to control the quality of construction with cost limitation
“從空間、光線以及人與人之間的關係等多方麵來切入設計。”
“From the perspective of space, light, and the relationship between people, there are many aspects can be cut into this point.”
好的建築不一定非要是費錢的建築，判斷一個建築的好壞有很多評判標準。在實踐中，我們恰巧碰到了很多需要在有限造價內去解決問題的項目，實際上這是一個特別大的挑戰。如何在一個有限的條件下發揮創造力，讓這個建築有很好的體驗？我的理解是從空間、光線以及人與人之間的關係等多方麵來切入設計。
舉個例子，在那廂的設計中，我們將暴露在外的建築立麵塗上深灰色。一般的集裝箱外皮色彩都是非常鮮明的，具有強烈的工業感，顯然這並不符合山林中自然隱世的氣質。同時，深灰色不像黑色那樣是一個絕對純度的顏色，它可以反映出樹影和日光的微妙變化，讓人感到安靜。最重要的是，這個顏色還可以讓建築退到山林的樹影中而不會顯得突兀。相反，建築內部使用了大量的木材，營造出溫暖舒適的氛圍，與外立麵形成了對比。到了夜晚，溫暖的燈光從建築裏凸顯出來，而建築則退到了周圍的樹影中。
Good architecture does not have to be expensive building. There are many criteria for judging the quality of an architecture. In practice, we happen to encounter some projects that need to be resolved in a limited cost. In fact, this is a particularly big challenge. How to be creative in a limited condition, so that the building has good experience? My understanding is from the perspective of space, light, and the relationship between people, there are many aspects can be cut into this point.
In the design of Nashare Hotel, we painted the exposed facade with dark gray. Normal container has very bright color and industrial feeling. But apparently it does not consist with the quality of natural environment. Also, not like black, dark gray does not have absolute purity. It can reflect the nuanced change of shadow casting from the tree and daylight. And it is a color makes people feel quiet. The most important idea is that it can make the architecture back into the mountains and shadows without feeling abrupt. On the contrast, the interior of the architecture uses large amount of wood to create a comfortable atmosphere. During the night, the warm light become obvious and the architecture hides into the surrounding trees and shadows.
▼ 那廂酒店，攝影：許曉東，Nashare Hotel, Phtographer: Xu Xiaodong
克製Restraint
“‘簡單’的建築才能打動我。”
“The simplicity of an architecture is the only kind that strikes me.”
每個人對設計的理解不一樣，設計的作品也會不一樣。我希望用一個非常簡潔的方式去解決一個複雜的問題，而不是說這個問題本身已經很複雜了，我還要用一個更複雜的方式去解決這個問題。這是我自己對於設計的判斷。比如說像我們梵天辦公室改造的項目，業主在最開始就希望用白色，並隻用這一種顏色來設計這個辦公室，最後我們實際上是通過白色、庭院和光線構建起來整個空間。
我們一直堅持用一個非常簡潔的方式去解決複雜的問題，並且通過創造力，讓建築富有更多的可能性和體驗，這是我們近期持續探索的方向。在旅行或探訪建築的途中，也是這樣“簡單”的建築才能打動我。很多在照片上看起來很複雜、很炫的建築，到了現場會覺得根本不想進入，但相反，有些建築在照片上非常樸素，但是當視線一接觸到這個房子的時候，我就會覺得它太棒了。
Everyone has different understanding of design and causes his design is different from others. I hope to resolve a complicated problem with a simple solution rather than with a complicated one. So, it is my own decision of design. Take our Brama Beijing Office Renovation project as an example, the client at the beginning wants to use only one white color to design the office. Finally, we actually built the whole space through white, courtyard and light.
We have always insisted on a very simple way to solve complex problems, and through creativity, making architecture has more possibility and experience. I think this would be the direction that we will be keep discover recently. During the trip or visit of buildings, this is the only kind of architecture can strike me. Many architectures in the photo look very complicated and magnificent. But when in front of them, I do not want to enter. On the contrary, some buildings are very simple in the picture, but the moment I see them, it makes me think it’s gorgeous.
▼ “簡單”建築案例之鈴木大拙館，case of “simple” architecture – D.T. Suzuki Museum
▼ “簡單”建築案例之聖瑪利亞大教堂，case of “simple” architecture – Saint Maria Church
比如“比津造型”理發店的項目，我們設計了可升降布簾，給室內帶來一種朦朧和曖昧的氛圍，雖然看起來很簡單，但卻改變了理發店整體的形象。此外，我們還用一張鋼板折出一麵金屬屏風，通過這樣的方式賦予了傳統物件新的生命力。我們希望鋼板折完之後不會產生任何的皺紋，在工藝上特別要對這個材質的機理、質感以及反光狀態進行推敲。最開始希望用鍍鋅噴塗出朦朧的質感，但因為造價不得不做了一些妥協。
For example, the “Hair Focus” Hair Salon project, we consider to use operable curtain to create an ambiguous and blurry atmosphere. Although this design seems simple, it changed the overall image of the shop. Besides, the metal screen directly folded from a whole piece of steel plate gave the traditional objects a new vitality. We hope the steel plate will not have any wrinkle after folding, thus, in the process, we have to consider specifically on the texture and reflective state of this material. Initially, we wanted to use galvanizing to create a blurry texture, but we made some compromise based on the budget and choose a texture with lower price.
▼ “比津造型”理發店，攝影：夏至，“Hair Focus” Hair Salon, Photographer: Xia Zhi
此外，C+ Architects的項目很多家具會是特殊設計。在競園22號樓改造項目中，除了選用奧鬆板打造更加生態環保的家具外，我們還將一個可以直達洗手間的滑梯和家具組合到一起，做完之後大家都非常喜歡。很多人來我事務所應聘都是因為那個滑梯，他們看到這個滑梯，認為我們是一個特別有趣、輕鬆的事務所，最後來了發現被騙了，我其實是一個特別嚴肅的人。
Many furniture in our design are specifically designed. In the Jingyuan No.22 Transformation project, except using environmental friendly OSB as the main material for the furnishings，we also combined a slide that can directly access to the toilet and a furniture together，people all loved it. Later, many young architects applied our office because of this installation. When they saw the slide, they thought we were a very interesting and relaxing studio, but as soon as they come here, they will find out I am a very serious person.
▼ 競園22號樓改造，攝影：夏至，Jingyuan No.22 Transformation, Photographer: Xia Zhi
時間和建築Time and Architecture
“是選擇一個暫時的永久？還是一個可以循環的永久？”
“Would you choose a temporary eternity or a recyclable eternity?”
上個月的印度之行對我的影響非常大。起初，去印度的初衷是想參觀一些有名的現代建築（比如柯布西耶和康），然而最後發現這些現代建築對我的觸動遠不如那些老建築。印象中這裏的的氣侯偏近熱帶，木建築應該更適合這裏的風土，但在這次旅行當中，我一個木建築都沒有看到，反而看到了一個完全用石頭模仿木構的古堡，這讓我產生了特別大的感觸。
I went to India last month and this trip is extremely influential to me. In fact, the intension
of this trip was to see some masterpieces of modern architecture (such as Le Corbusier and Louis Khan), but in the end, those modern architecture was not as striking as the ancient architecture for me. From my understanding of Indian culture and local climate, there should be some wooden architecture. However, during this trip, I did not only see any wooden architecture, but an ancient castle made of stone, imitating wooden structure, which made me think a lot.
▼ 印度別具魅力的石材建築 – 阿達拉傑街井，the charming stone architecture in India – Adalaj Stepwell
建築的曆史有多久才叫久？很多石頭建築，人們最開始就把它們當成永恒的建築，但現在其中很多都變成了遺跡。然而，很多木建築卻有另外的性格，比如日本的伊勢神宮可以二十年更換一次，還有在法隆寺裏，同一個建築裏可以有來自不同年代的構件，有些是1000年前的，有些的300年前的，有些是幾十年前替換的，我國很多的傳統建築也是如此，這是非常有魅力的事情。是選擇一個暫時的永久？還是一個可以循環的永久？這是兩種非常不一樣的係統，我現在覺得後者所展現的美更有意思。
How long does a building’s history can be seen as “old”? From the beginning, people considered many stone architectures are eternal, but now many of them have become ruins. Thus, many wooden architectures, on the other hand, have different characters. The Ise Grand Shrine in Japan, for example, is reconstructed every twenty years. And also, in Horyu Temple, there are architectural components from different time periods. This is a very incredible thing, which exists in our traditional architecture too. Would you choose a temporary eternity or a recyclable eternity? These are two very distinct systems, which I am more intrigued by the beauty of the latter one now.
▼ 日本不斷維持翻修的法隆寺，Buddhist temple in the Horyu Temple area under constantly reconstruction
建築從哪裏來，最終將到哪裏去？我想，唯一的答案是自然。人們從自然中汲取建造材料，當建築結束其特定的使用功能後，又以各種方式回歸到自然中去，有如人的生命。現代建築的進化過程是在無限次的循環和更新，如果我們把建築放在這樣的時間軸線上來看，沒有永生的建築，如同沒有永生的人一樣。
建築設計是在處理人、環境和房屋三者之間的關係，所以建築本身和其內在關係是建築存在的基本屬性。以此來看，世界上目前沒有永恒的建築，最終成為了博物館甚至斷壁殘垣的金字塔、教堂和神殿，雖然仍舊存在於世，其屬性卻早已改變。那麼，如果換一種思維來切入建築呢？我們假定建築物一定不會永久存在，在設計當初就考慮如何建造建築以及如何讓建築優雅、得體的消失。長久以來我們欣賞“宮殿式”的美學，但同時“庇護所”卻更接近人的本質。
回想以前教堂或廟宇的建造，有些曆經了數十年甚至數百年，由於是用有機材料建造的，所以建築物在建設途中就已經開始腐朽了。在時間的流逝中，石頭和磚瓦在不斷風化的同時其韻味也在不斷增加， “一邊腐朽一邊建造”，我想這給了當時人們對建築本質進行思考的機會。
▼ 采用“永恒”石材建造的建築已經荒蕪 – 印度：法泰赫普爾西克裏，the architecture made of “permanent” stone material is now abandoned – Fatehpur Sikri
▼ 采用“永恒”石材建造的建築已經荒蕪 – 印度：薩克吉羅薩，the architecture made of “permanent” stone material is now abandoned – Sarkhej Roza
Where did architecture come from and where is it going? I think the only way to answer it is nature. People take materials from nature to build and when a building ceases to perform its function, it will end up in nature by different means. Just like human’s lives. The development of architecture is like the evolution of human being, in countless cycles and renewals. When we put architecture on a timeline, there are no eternal architecture, just like there are no eternal human lives.
Designing architecture is dealing with the relationship between people, environment and buildings. Therefore, architecture itself and its internal relationships are the basic attributes of the existence of architecture. From this point of view, there are no eternal architectures now. Although the pyramids, cathedrals and temples still exists, the relationship behind those architecture has changed and in the end became museums and ruins. Yet, what if we consider architecture with a different mentality? If we suppose that architecture would not exist for a long time, and, from the beginning of our design, to consider how to construct a building and make it disappear elegantly at the same time. For a long time, we appreciate “palace” aesthetic, but “shelter” architecture is closer to our intrinsic needs.
Old buildings made of stones and bricks, as time pasts, cumulate their charms as they are constantly weathered. If we consider the ancient constructions as cathedrals and temples, we would find that base on the situations, some are built in decades or even hundreds of years. Because those architectures are made of organic materials, some parts are already eroded during its construction. Thus, I think you could say they are “weathering while constructing”. I think this gives an opportunity for people to think about the essence of architecture.
▼ 采用“短暫”材料建造的建築/庭院在不斷更新下仍然彌久曆新 – 日本：龍安寺，the architecture/courtyard made of “temporary” material is still alive under constantly reconstruction – Ryoanji Temple
▼ 采用“短暫”材料建造的建築/庭院在不斷更新下仍然彌久曆新 – 日本：桂離宮，the architecture/courtyard made of “temporary” material is still alive under constantly reconstruction – Katsura Imperial Villa
光和建築Light and Architecture
“我們在設計初始，首先要確定太陽的方向…好的光線可以賦予建築生命力”
“When we design architecture, we first need to make sure the position of the sun…Good lighting can give an architecture a very different vitality.”
光非常的重要。我覺得主要是光和空間的關係，因為好的光線可以賦予建築生命力。
我們在設計初始，首先要確定太陽的方向。因為人要和太陽發生關係，建築也要和太陽發生關係，如何去設計太陽和建築的關係是設計房子時非常重要的一點。另外，不同地域的建築和光的關係是不一樣的。歐洲建築是礦物性的，大多是明暗對比清晰的二元關係；像中國、東南亞，還有日本的很多建築是植物性的，尤其是傳統建築房間的光線不是隻有明和暗，還有半透明。半透明的光線會讓空間更加細膩，幾種不同的光線關係能讓人感受到多重空間層次。
例如半壁店辦公室改造的項目也是在追求一種朦朧且多層次的光線效果。我們在中央樓梯間上方做了一個天窗，從天窗灑下的光線經過樓梯間兩邊的U形玻璃形成了漫反射光線。“樓梯光間”不僅能透射多種日光狀態，到了晚上也會有溫暖的燈光映出來。還有，在理發店的項目裏，我們也是想通過簾幕製造一種漫反射光線，讓理發空間顯得更加細膩和豐富。
▼ 半壁店辦公室改造的項目也追求朦朧且多層次的光線效果，攝影：夏至，Renovation of No.8 Building in Beijing Banbidian Industry Park, chasing for multi-level lighting effect, Photographer: Xia Zhi
Light is very important. I think especially in terms of the relationship between light and space, because good lighting can give an architecture a very different vitality.
When we design architecture, we first need to make sure the position of the sun, because people interact with the sun and so does architecture. Therefore, the relationship between the sun and the building is a very important aspect of architectural design. Also, based on my travel experiences, architectures in different regions have different relationship between building and light. European architectures are mostly mineral, thus mostly binary relationship between light and shadow occurs in those structures. On the other hand, in many buildings in China, Southeast Asia, and Japan, which are botanical, especially in traditional architecture. Light in buildings exists in a translucent condition which makes the space smoother, people would sense different spatial layers generated by different layers of light.
In Renovation of No.8 Building Banbidian Industry Park project, we placed a skylight above the central stairs. The light coming down from the skylight, reflected by the U-shaped glass panels at the sides of the stairs, diffuses and generates multiple conditions of daylighting. Then, at night, artificial light is also reflected. In fact, it is also pursuing a translucent, blurred and multi-layered light. Also, in our hair salon project, we try to generate a diffused lighting by using curtains, so that the spaces seem more delicate and various.
▼ 半壁店辦公室改造的項目也追求朦朧且多層次的光線效果，Renovation of No.8 Building in Beijing Banbidian Industry Park, chasing for multi-level lighting effect
機遇和挑戰Opportunity and Challenge
“在一個設計的時代，什麼樣的設計是一個好設計？…全球性的競爭，麵對同一個問題，中國的建築師會給出怎麼樣的答案呢？這個答案又是從哪裏來的呢？”
“In an era of design, what kind of design is a good design?…In the global competition, we are facing the same problem. What kind of solution will Chinese architects come up with? And where does the answer come from?
現在很多媒體都在關注設計，大家對自己生活的用品、住所，甚至到整個城市都開始有了更高的要求，這對於設計師來說可能是再好不過的一個時代了。但同時，它也引來了另外一個問題，在一個設計的時代，什麼樣的設計是一個好設計？或者說作為設計者，設計要做到什麼樣的程度？之前有朋友告訴我，覺得我們的項目都很有設計感，他很喜歡。但他說完之後我對“設計感”這個詞反應了很久，我並沒有把這個當成是他對我的誇獎，相反，我現在一直在反思，看似很有設計感的東西就是好的設計麼？我希望能從過去和傳統文化中找到這個答案，就像剛才我講的，傳統建築實際上是有很多優秀的智慧。
此外，我們現在麵臨的是一個全球性的競爭，比如我們在北京遇到一個問題，可能會有美國的建築師，澳洲的建築師或者歐洲的建築師來解決，麵對同一個問題，中國的建築師會給出怎麼樣的答案呢？這個答案又是從哪裏來的呢？如何在全球背景下、或者說全世界建築師共同思考的背景下找到自己的答案，這對一個年輕建築師來講，或者對處於任何階段的建築師來說，都是很重要的一個命題。
Nowadays, many presses focus on design, people have a higher requirement to their articles of daily use, house living, or even the city. So there will not be a better time for designers and architects. However, it brings another question: in an era of design, what kind of a design is a good design? Or as a designer, what level the design need to be achieved? Before, a friend told me he thought our project has a feeling of designed and liked it very much. Later, I considered this “design sense” for a long time. I did not take it as a complement. On the contrary, I questioned whether a project has a “design sense” is a good design? I hope to find the answer form the past and tradition culture, just like what I said, traditional architecture actually has many extraordinary wisdoms.
Moreover, we are facing a global competition. For example, when we having a problem in Beijing, we might have American architects, Australia architects or European architects to solve our problems. Then what kind of solution will Chinese architects come up with? And where does the answer come from? How to find our own answer in the global background? This is an important challenge to young architects, or architects at any phase.
▼ 認真工作的C+ Architects團隊，C+ Architects at work
全新的進展New progress
“建築不是一個物體，而是一個事件”
“Architecture is not just an object but an event.”
最近剛剛做了一個希望小學的設計，當地的風景很好，可以有不錯的自然體驗。我們希望通過這個學校重新激發當地村鎮的活力，將城市的優秀資源吸引到過來，同時改善環境。實際上，我們不光是設計了一個房子，同時還參與了整個項目策劃以及中間的協調過程，這次的經曆讓我覺得建築不是一個物體，而是一個事件。從最開始設計，實際上就是在設計很多的事件，最後再通過一個具體的形態把這些事件全部承載起來。
還有一個項目是獨立住宅改造，這也是我很感興趣的一個方向。現在，人們購買的房子首先是作為一個商品被設計出來的，雖然戶型和麵積不同，但我覺得大家的生活方式好像沒有什麼本質區別。因為規劃總是按照一個從大到小的邏輯順序，如果我們換一個角度，首先從設計符合每個人的住宅開始，讓人人擁有充分自由的空間，並可以選擇適合自己的住宅跟生活方式，再去想這個城市應該是什麼樣子，也許會有更好的答案。所以在這個項目裏，不僅要結合業主的需求以及他的生活狀態，我們在思考的是怎麼樣把一個原來帶有商品屬性的住宅變成一個真正的身體的延伸。房子像一件衣服一樣，需要設計的合身又得體，讓人感到舒服、優雅並襯托和反映出房子主人的氣質。
另外，我們還在設計一個幼兒園。項目位於山西太原，我們希望這個幼兒園能夠讓孩子擁有原始窯洞空間一樣的體驗，並且讓這個幼兒園與當地的社區發生關係，變成社區性的學校。孩子們在這個建築裏，既像是在原始的山洞裏，但又不是與世隔絕。與此同時，可以體驗到自然的風、水、泥土、石頭和木頭等元素，實際上是非常重要的，所以幼兒園在我的理解並不是設計一個安全舒適的房子就結束了，而是思考如何讓這個房子和兒童的成長及日常生活發生一個更健康的關係。能夠在無形中去促進孩童思考，可能是更重要的一個課題。就像我自己的家一樣，童年記憶裏的大樹與院子的關係、與房子的關係，一直對我影響都非常大。
We just finish a design of a Hope Primary school. We hope the school can bring vitality to the area, the excellent resource of the city to the school and change local environment. Actually we did not only just design the architecture, we are also involved in the whole project planning and the coordination. So, this project makes us feel that architecture is not just an object but an event. From the beginning of design, it is actually designing many events, it is just one object contains all the events through a form.
Another project is house renovation, this is also one of my interest. When we buying a house, first of all, the house is designed as a merchandise. In many condition, one might have a bigger house than another, but I think our lifestyle do not have any essential differences. Because the planning is always considering from a larger scale and then break down to smaller and smaller zones. If we consider from a different perspective, presuming that we design the housing suits each person, let people having enough free space and being able to choose their own housing and lifestyle, and then think about what the city should look like, maybe we will finally get a better answer. In this case, we combined the client’s need and life condition and make a housing that has merchandise quality to become a real extension of human body. House is like clothing, it should be fit and appropriate, and make people feel comfortable.
Also, we designed a kindergarten in Taiyuan, Shanxi. We hope the kindergarten can let children have an experience of primitive cave dwelling experience, let the kindergarten creating a relationship with local community and become a communal school. In this architecture, children are like in the primitive cave without feeling disconnected with the world. It is actually important to let children experience nature elements such as wind, water, earth, stone and wood. So, in my understanding, this kindergarten project is not just to design a building that is safe and comfortable. It is probably a more important topic to be able to promote children’s thinking in virtually. Just like my home, the relationship between the old tree, the yard and my house always have a great impact on me.
▼ 辦公室空間中的細節，details of the office
對年輕學子的建議Suggestions for architecture students
“最好的建議就是不去建議。不是每個人都要成為建築師。”
“I believe the best advice is not providing any advice. I don’t think everyone should become an architect.”
我覺得最好的建議就是不去建議。
首先我覺得不是每個人都要成為建築師。我們一個年級會有一百多個學生，真正能成為建築師的人非常少。我覺得大學應該讓大家通過專業學習找到自己真正的興趣所在、或者自己未來的發展方向，這樣才不會在進入社會的時候迷失。
I believe the best advice is not providing any advice.
First of all, I don’t think everyone should become an architect. We have more than one hundred students in a grade, but only few can become architects. I believe the aim of college is helping them finding what they are interested in or the direction of future, avoiding getting lost after graduation.
▼ 程豔春在學生中人氣很高，下圖是學生為他做的祝福卡，Cheng is popular among his students. Here is the greeting cards from Cheng’s students
未來的計劃Plan in the future
“讓這個世界變得更好。”
“Our future plan is to make the world a better place.”
我想就是讓這個事務所一點點變得更好，能在未來迎接更多的挑戰。同時，我任教的泛亞電競app下載新成立了一個城市高精尖研究中心，專門研究現在城市、鄉村建設中麵臨的問題，比如說社區營建、老城改造以及城市新中心的建設等等。
I think our future plan is to make our studio better, and to prepare for more challenges. Also, I am currently teaching at Beijing University of Civil Engineering and Architecture. The university has established a new high-technology and special research center focusing on studying urban and rural issues, such as community construction, old town renovation, construction of new city centers and so on.
▼ 程豔春在泛亞電競app下載進行教學評圖，reviewing student’s work in Beijing University of Civil Engineering and Architecture
因此，我想把更多的研究、教學和建築實踐結合到一起。對於目前中國的城市問題以及鄉村問題，是作為建築師無法回避的，如果能夠通過我們的工作讓身邊的環境，或者說讓這個世界變得更好一些，我覺得這是作為職業建築師最大的幸福，也是我作為建築師最大的計劃。
Therefore, I wish that I could relate my research, practice, and teaching closely. As architects, the current issues of Chinese cities and rural areas are inevitable. If our job can make our environment or even the world a better place, I think that is the most joyful thing, and it is my biggest plan as an architect.
