SUP素朴工作室丨中国北京案例

出品人：向玲 / Producer: Xiang Ling

编辑：石安，亓慧、庞任飞，张笑然 / Editor: Shi An, Qi Hui, Pang Renfei, Zhang Xiaoran

__________

“见素抱朴”

About “SUP”

“我们认为‘可持续’是一种摒弃浮华的、很纯粹的理念，自然采光、自然通风、水、土、回收材料，以及自然的材料都会是我们很重要的设计出发点之一。”

For us, sustainability is a pure and unadorned concept. Natural light, ventilation, water, soil, recycled materials, and other natural elements are always key starting points in our design process.

“SUP”中“S”可以理解为“Sustainable”，可持续性，也是我们二三十年一直坚持的方法；“U”可以理解为“Urban”；“P”可以理解为“Progress”或“Process”；综合起来就代表了可持续的城市进程。在这个过程中，我们试图以研究为抓手，探索扎根于中国的可持续实践原型。着重大写的原因是因为我们从来不觉得“可持续”是个单独的建筑问题，而是需要结合更广泛的城市环境来进行的。

当然也有个过程，因为我当初选择去德国访学，因为我认为当时德国的在可持续建筑设计方面有很多值得我们学习的地方。Thomas Herzog 教授的事务所是“HerzogundPartner”，一般“und”不太会大写出现，我曾经想东施效颦，用“SongundPartner”这种方式命名，想简写成“S+P”，后来把“und”放大了，想强调大家一起奋斗的意思，再后来就放弃了最早的个人主义的名字，变成今天的简写了。

在《建筑实践》采访我们的时候问了同样的问题，回答中的一句话是我们的不变的设计理念：我们对可持续建筑设计的态度建立在这 3 点基础之上：

第一，可持续大于一切；第二，城市大于建筑；第三，过程大于结果。

中文“素朴”除了音译外，其实来自于《老子·道德经·第十九章》“见素抱朴，少私寡欲，绝学无忧”。一方面，我们认为“可持续”是一种摒弃浮华的、很纯粹的理念，如同没有染色的“素”（生丝）一般；另一方面，“朴”字中的“木字旁”则代表了我们工作室希望将自然资源，包括自然能源和物质材料尽量用到极致的理念。自然采光、自然通风、水、土、回收材料，以及自然的材料都会是我们很重要的设计出发点之一。

▼SUP 素朴建筑工作室 logo，logo of SUP Atelier

The “S” in “SUP” stands for “Sustainable,” reflecting the commitment to sustainability that we’ve upheld for the past two to three decades. The “U” represents “Urban,” and the “P” stands for “Progress” or “Process.” Together, they signify a sustainable urban process. Throughout this process, we emphasize research as a foundation for exploring sustainable practices rooted in China. We capitalize these letters to convey that sustainability is never just an architectural issue—it’s something that must be integrated into the broader urban environment.

The “S” in “SUP” stands for “Sustainable,” reflecting the commitment to sustainability that we’ve upheld for the past two to three decades. The “U” represents “Urban,” and the “P” stands for “Progress” or “Process.” Together, they signify a sustainable urban process.

There’s also a story behind the name. When I went to Germany for academic exchange, I was inspired by the country’s advanced sustainable design practices. Professor Thomas Herzog’s firm, “Herzog und Partner,” typically doesn’t capitalize the “und,” but I initially wanted to follow that style and name the firm “Song und Partner,” abbreviating it to “S+P.” Later, I decided to emphasize the “und” to highlight collaboration, and over time, moved away from the personal, individualistic name to the simplified version we have now.

Throughout this process, we emphasize research as a foundation for exploring sustainable practices rooted in China. We capitalize these letters to convey that sustainability is never just an architectural issue—it’s something that must be integrated into the broader urban environment.

In an interview with <Architectural Practice>, we were asked the same question, and our design philosophy has remained consistent: our approach to sustainable architecture is based on three core principles. First, sustainability is above all. Second, the city takes precedence over individual buildings. Third, the process matters more than the final outcome.

There’s also a story behind the name. When I went to Germany for academic exchange, I was inspired by the country’s advanced sustainable design practices. Professor Thomas Herzog’s firm, “Herzog und Partner,” typically doesn’t capitalize the “und,” but I initially wanted to follow that style and name the firm “Song und Partner,” abbreviating it to “S+P.” Later, I decided to emphasize the “und” to highlight collaboration, and over time, moved away from the personal, individualistic name to the simplified version we have now.

The Chinese name “素朴” is not only a phonetic transliteration but also derives from Laozi’s <Tao Te Ching, Chapter 19>: “See the plain, embrace simplicity; reduce selfishness, decrease desires; abandon knowledge, and be free from worry.” For us, sustainability is a pure and unadorned concept, much like “素,” meaning unbleached raw silk. Meanwhile, the character “朴,” with its wood radical, reflects our philosophy of making the most of natural resources, including energy and materials. Natural light, ventilation, water, soil, recycled materials, and other natural elements are always key starting points in our design process.

In an interview with <Architectural Practice>, we were asked the same question, and our design philosophy has remained consistent: our approach to sustainable architecture is based on three core principles. First, sustainability is above all. Second, the city takes precedence over individual buildings. Third, the process matters more than the final outcome.

▼素朴办公室环境，office environment of SUP Atelier

The Chinese name “素朴” is not only a phonetic transliteration but also derives from Laozi’s <Tao Te Ching, Chapter 19>: “See the plain, embrace simplicity; reduce selfishness, decrease desires; abandon knowledge, and be free from worry.” For us, sustainability is a pure and unadorned concept, much like “素,” meaning unbleached raw silk. Meanwhile, the character “朴,” with its wood radical, reflects our philosophy of making the most of natural resources, including energy and materials. Natural light, ventilation, water, soil, recycled materials, and other natural elements are always key starting points in our design process.

▼素朴办公室环境，office environment ofSUP Atelier

我们的作品体量可能不大，但其中的科技含量还是比较高的。我从来不认为科技就是炫技，我甚至都不认为建筑学是一个必然要炫技的学科，经过老祖宗千百年来试错的技术，到今天仍然有其价值，所以我们希望把“素”和“朴”当成我们的标的，坚持把这种品质贯彻下去。

作为教师，我深知在建筑学发展的历史长河里，体量规模并不一定是评判其建筑学价值的参数。很多经典的东西很小，但它对建筑学的意义巨大。所以我们希望以谨慎的态度，先在一个小尺度的原型中，验证我们的研究，然后再去思考对其进行放大或推广的可能。这就是“SUP 素朴”的来源。

我们的作品体量可能不大，但其中的科技含量还是比较高的。我从来不认为科技就是炫技，我甚至都不认为建筑学是一个必然要炫技的学科，经过老祖宗千百年来试错的技术，到今天仍然有其价值，所以我们希望把“素”和“朴”当成我们的标的，坚持把这种品质贯彻下去。

Our projects may not be large in scale, but they incorporate a significant amount of technology. I’ve never viewed technology as a tool for showing off, nor do I believe that architecture needs to be about spectacle. The techniques passed down from our ancestors through centuries of trial and error still hold great value today. That’s why we embrace ‘simplicity’ and ‘purity’ as our core principles, and we strive to maintain these qualities throughout our work.

作为教师，我深知在建筑学发展的历史长河里，体量规模并不一定是评判其建筑学价值的参数。很多经典的东西很小，但它对建筑学的意义巨大。所以我们希望以谨慎的态度，先在一个小尺度的原型中，验证我们的研究，然后再去思考对其进行放大或推广的可能。这就是“SUP 素朴”的来源。

As an educator, I understand that in the long history of architecture, scale is not necessarily a measure of value. Many timeless works are small, yet their impact on architecture is profound. With this in mind, we take a careful approach by first testing our research through small-scale prototypes, before considering how to expand or apply it more broadly. This is the origin of the name ‘SUP 素朴’.

Our projects may not be large in scale, but they incorporate a significant amount of technology. I’ve never viewed technology as a tool for showing off, nor do I believe that architecture needs to be about spectacle. The techniques passed down from our ancestors through centuries of trial and error still hold great value today. That’s why we embrace ‘simplicity’ and ‘purity’ as our core principles, and we strive to maintain these qualities throughout our work.

▼素朴工作室部分代表作品，part of the school design projects of SUP Atelier

As an educator, I understand that in the long history of architecture, scale is not necessarily a measure of value. Many timeless works are small, yet their impact on architecture is profound. With this in mind, we take a careful approach by first testing our research through small-scale prototypes, before considering how to expand or apply it more broadly. This is the origin of the name ‘SUP 素朴’.

▼素朴工作室部分代表作品，part of the school design projects of SUP Atelier

建筑与环境

Architecture & Environment

建筑与环境

“我们隐喻的自然并不见的只是一种形态上的概念，’融隐于自然’并不完全是一种视觉的表征，更代表了它背后的生态学机制。”

Architecture & Environment

The ‘nature’ we refer to is more than just a visual metaphor, a building that fulfills its functional needs during its lifespan and, a century later, is repurposed or incorporated into a new structure is, in our view, another form of returning to nature.

“我们隐喻的自然并不见的只是一种形态上的概念，’融隐于自然’并不完全是一种视觉的表征，更代表了它背后的生态学机制。”

我们特别关注自然资源，而生态学正是支持我们研究的根基，比如可降解的材料，这里面很多原则跟可持续的原则是完全一致的。如今讲求的 LCA 全生命期评估，我们也在探求在建筑领域，从建筑的设计、到建造再到废弃，这种线性的模式是否能够转化成再生的循环。所以说“融隐于自然”并不完全是一种视觉的表征，更代表了它背后的生态学机制。比如一个建筑在它的使用寿命里很好地完成了功能需求，并在百年之后改造为新的建筑，或转化为新建筑的一部分，在我们看来也是回归自然的一种方式。

The ‘nature’ we refer to is more than just a visual metaphor. A building that fulfills its functional needs during its lifespan and, a century later, is repurposed or incorporated into a new structure is, in our view, another form of returning to nature.

“自然”其实需要放在更大生态学范畴来讨论的，这跟我在 90 年代的博士论文，以生态视角为切入点是很有关联的。在更大的范围里，“生态”、“绿色”、“可持续”虽然有着不同的侧重点，但它们的内涵甚至外延都是非常接近的。八九十年代一些国家开始了有绿色标准，再到今天，碳排放、气候变化，可持续的未来已经成为了全球的共识。所以我们隐喻的自然并不见的只是一种形态上的概念。

我们特别关注自然资源，而生态学正是支持我们研究的根基，比如可降解的材料，这里面很多原则跟可持续的原则是完全一致的。如今讲求的 LCA 全生命期评估，我们也在探求在建筑领域，从建筑的设计、到建造再到废弃，这种线性的模式是否能够转化成再生的循环。所以说“融隐于自然”并不完全是一种视觉的表征，更代表了它背后的生态学机制。比如一个建筑在它的使用寿命里很好地完成了功能需求，并在百年之后改造为新的建筑，或转化为新建筑的一部分，在我们看来也是回归自然的一种方式。

2005 年我在清华教“生态建筑学概论”时，一个日本留学生纯子给我留下了深刻的印象，她问“建造本身就是在破坏自然了，那么说生态建筑岂不就是在自相矛盾”，这个问题很切中要点。建筑对于人的生存与发展来说，是一个基本的必需品，我们并不能够回到一种虚无主义。那么如何在满足人类最基本的居住、工作、娱乐等需求的情况下，将建筑这个载体，变得更生态？这是我们一直以来探索的议题。

“自然”其实需要放在更大生态学范畴来讨论的，这跟我在 90 年代的博士论文，以生态视角为切入点是很有关联的。在更大的范围里，“生态”、“绿色”、“可持续”虽然有着不同的侧重点，但它们的内涵甚至外延都是非常接近的。八九十年代一些国家开始有绿色标准，再到今天，碳排放、气候变化，可持续的未来已经成为了全球的共识。所以我们隐喻的自然并不见的只是一种形态上的概念。

We focus heavily on natural resources, with ecology forming the backbone of our research. For example, degradable materials often align with sustainable principles. Today, as Life Cycle Assessment (LCA) becomes more prevalent, we’re exploring whether the linear approach in architecture—from design and construction to demolition—can be transformed into a regenerative cycle. So, ‘blending into nature’ isn’t just a visual concept but represents the ecological mechanisms behind it. For instance, a building that fulfills its functional needs during its lifespan and, a century later, is repurposed or incorporated into a new structure is, in our view, another form of returning to nature.

2005 年我在清华教“生态建筑学概论”时，一个日本留学生纯子给我留下了深刻的印象，她问“建造本身就是在破坏自然了，那么说生态建筑岂不就是在自相矛盾”，这个问题很切中要点。建筑对于人的生存与发展来说，是一个基本的必需品，我们并不能够回到一种虚无主义。那么如何在满足人类最基本的居住、工作、娱乐等需求的情况下，将建筑这个载体，变得更生态？这是我们一直以来探索的议题。

The idea of ‘nature’ needs to be discussed within a broader ecological framework, which ties back to my doctoral research in the 1990s, where I approached architecture through an ecological lens. On a larger scale, terms like ‘ecology,’ ‘green,’ and ‘sustainability’ focus on different aspects but share similar core meanings. In the late 1980s and early 1990s, several countries introduced green building standards, and today, with concerns like carbon emissions and climate change, a sustainable future has become a global priority. So the ‘nature’ we refer to is more than just a visual metaphor.

We focus heavily on natural resources, with ecology forming the backbone of our research. For example, degradable materials often align with sustainable principles. Today, as Life Cycle Assessment (LCA) becomes more prevalent, we’re exploring whether the linear approach in architecture—from design and construction to demolition—can be transformed into a regenerative cycle. So, ‘blending into nature’ isn’t just a visual concept but represents the ecological mechanisms behind it. For instance, a building that fulfills its functional needs during its lifespan and, a century later, is repurposed or incorporated into a new structure is, in our view, another form of returning to nature.

In 2005, while teaching ‘Ecological Architecture’ at Tsinghua University, I was struck by a question from a Japanese student, Junko. She asked, ‘Since construction inherently disrupts nature, isn’t ecological architecture a contradiction?’ Her question hit the core of the issue. Architecture is a basic necessity for human survival and development—we cannot revert to nihilism. The key challenge is: how do we make architecture—this medium that meets essential human needs for living, working, and leisure—more ecological? This question has driven our ongoing exploration.

The idea of ‘nature’ needs to be discussed within a broader ecological framework, which ties back to my doctoral research in the 1990s, where I approached architecture through an ecological lens. On a larger scale, terms like ‘ecology,’ ‘green,’ and ‘sustainability’ focus on different aspects but share similar core meanings. In the late 1980s and early 1990s, several countries introduced green building standards, and today, with concerns like carbon emissions and climate change, a sustainable future has become a global priority. So the ‘nature’ we refer to is more than just a visual metaphor.

▼旭辉零碳空间示范项目，北京，CIFI Demonstrative Project,Beijing

In 2005, while teaching ‘Ecological Architecture’ at Tsinghua University, I was struck by a question from a Japanese student, Junko. She asked, ‘Since construction inherently disrupts nature, isn’t ecological architecture a contradiction?’ Her question hit the core of the issue. Architecture is a basic necessity for human survival and development—we cannot revert to nihilism. The key challenge is: how do we make architecture—this medium that meets essential human needs for living, working, and leisure—more ecological? This question has driven our ongoing exploration.

点击这里查看更多，Click HERE for details

▼旭辉零碳空间示范项目，北京，CIFI Demonstrative Project,Beijing

点击这里查看更多，Click HERE for details

“‘生态、绿色、可持续’这 7 个字可以当成我们的标签，观其内核，我仍然会给它溯源到对生态学的关注上。”

The words ‘ecology, green, sustainability’ can be seen as labels for our work, but at its heart, it always traces back to a focus on ecology.

“‘生态、绿色、可持续’这 7 个字可以当成我们的标签，观其内核，我仍然会给它溯源到对生态学的关注上。”

以两个项目为例，第一个是我们做的首个达到德国被动房标准的展陈建筑“龙湖超低能耗建筑主题馆”。德国被动房标准是一个以科学家和工程师为核心，制定或者研究出来的标准，它非常关注维护结构的气密性以及热工性能。即便是在如此严苛以节能为导向的工程师标准体系里，我们还是把建筑师对自然的热爱融进去了。我们不仅在其中设计了天窗，更是采用了覆土的建筑体系，这两个策略都是从建筑师的思维出发的，加入了对人的考量。天窗虽然会造成热量损失，但会通过引入的天光有助于人们的心理健康，同时在夏天通过自然的开合方式调节室内温度。而覆土的设计，也是我们结合了中国传统园林的抽象意象，把覆土融入建筑空间的体验里，同时它还可以起到蓄热，保证热稳定的热工效果。与我们配合的德国工程师们都很理解，并尊重了我们的决定。

The words ‘ecology, green, sustainability’ can be seen as labels for our work, but at its heart, it always traces back to a focus on ecology.

Take two projects as examples. The first is our Passive House Pavilion of Longfor Sundar, which is the first exhibition building we designed to meet the German passive house standard. The German passive house standard is developed by scientists and engineers and focuses heavily on the airtightness and thermal performance of building envelopes. Even within this highly technical, energy-focused framework, we successfully integrated an architect’s inherent affinity for nature. In the design, we incorporated skylights and an earth-covered building system—both decisions grounded in architectural principles and with a focus on human well-being. While skylights may result in minor heat loss, the natural light they introduce significantly contributes to psychological health, while also providing natural ventilation for indoor temperature regulation during the summer months. The earth-covered design draws upon abstract elements from traditional Chinese gardens, integrating them into the spatial experience of the building, while simultaneously offering thermal mass that ensures heat retention and thermal stability. Our German engineering collaborators understood and respected these architectural decisions.

以两个项目为例，第一个是我们做的首个达到德国被动房标准的展陈建筑“龙湖超低能耗建筑主题馆”。德国被动房标准是一个以科学家和工程师为核心，制定或者研究出来的标准，它非常关注维护结构的气密性以及热工性能。即便是在如此严苛以节能为导向的工程师标准体系里，我们还是把建筑师对自然的热爱融进去了。

▼龙湖超低能耗建筑主题馆，河北，Passive house pavilion of Longfor Sundar,Hebei

我们不仅在其中设计了天窗，更是采用了覆土的建筑体系，这两个策略都是从建筑师的思维出发的，加入了对人的考量。天窗虽然会造成热量损失，但会通过引入的天光有助于人们的心理健康，同时在夏天通过自然的开合方式调节室内温度。而覆土的设计，也是我们结合了中国传统园林的抽象意象，把覆土融入建筑空间的体验里，同时它还可以起到蓄热，保证热稳定的热工效果。与我们配合的德国工程师们都很理解，并尊重了我们的决定。

点击这里查看更多，Click HERE for details

Take two projects as examples. The first is our Passive House Pavilion of Longfor Sundar, which is the first exhibition building we designed to meet the German passive house standard. The German passive house standard is developed by scientists and engineers and focuses heavily on the airtightness and thermal performance of building envelopes. Even within this highly technical, energy-focused framework, we successfully integrated an architect’s inherent affinity for nature. In the design, we incorporated skylights and an earth-covered building system—both decisions grounded in architectural principles and with a focus on human well-being. While skylights may result in minor heat loss, the natural light they introduce significantly contributes to psychological health, while also providing natural ventilation for indoor temperature regulation during the summer months. The earth-covered design draws upon abstract elements from traditional Chinese gardens, integrating them into the spatial experience of the building, while simultaneously offering thermal mass that ensures heat retention and thermal stability. Our German engineering collaborators understood and respected these architectural decisions.

▼龙湖超低能耗建筑主题馆，河北，Passive house pavilion of Longfor Sundar,Hebei。点击这里查看更多，Click HERE for details

第二个例子是我们的 RSC 海南生态智慧新城数字市政厅。在这个研发办公及服务配套的项目中，我们采用了景观性的建筑的方式引入自然。此外，咱们中国有句古话“小隐隐于野，大隐隐于市”，我们的初衷之一也是希望将这种大额投资的项目适度开放给公众。因此，我们尽量在核心功能的位置设置了空调，包围在核心周围的一大部分空间则采用了自然遮阳、自然通风以及覆土植被，作为气候调节器。这些不需要空调的空间既作为气候的防护缓冲边界，又可以开放给公众。

The second example is our RSC Eco-Smart City Digital Municipal Hall in Hainan. In this project, which integrates research, development, and support services, we adopted a landscape-oriented architectural approach to incorporate nature. Additionally, there is an old Chinese saying: “A small retreat is hidden in the wild, while a great retreat is concealed within the city.” One of our key objectives was to make this significant investment project moderately accessible to the public.

第二个例子是我们的 RSC 海南生态智慧新城数字市政厅。在这个研发办公及服务配套的项目中，我们采用了景观性的建筑的方式引入自然。此外，咱们中国有句古话“小隐隐于野，大隐隐于市”，我们的初衷之一也是希望将这种大额投资的项目适度开放给公众。因此，我们尽量在核心功能的位置设置了空调，包围在核心周围的一大部分空间则采用了自然遮阳、自然通风以及覆土植被，作为气候调节器。这些不需要空调的空间既作为气候的防护缓冲边界，又可以开放给公众。

To achieve this, we strategically positioned air conditioning units in the core functional areas, while a substantial portion of the surrounding spaces employs natural shading, natural ventilation, and earth-covered vegetation as climate regulators. These non-air-conditioned areas not only serve as a protective buffer against climatic extremes but are also designed to be open to the public.

The second example is our RSC Eco-Smart City Digital Municipal Hall in Hainan. In this project, which integrates research, development, and support services, we adopted a landscape-oriented architectural approach to incorporate nature. Additionally, there is an old Chinese saying: “A small retreat is hidden in the wild, while a great retreat is concealed within the city.” One of our key objectives was to make this significant investment project moderately accessible to the public.

▼海南生态智慧新城数字市政厅，RSC (Resort Software Community) Building in Hainan

To achieve this, we strategically positioned air conditioning units in the core functional areas, while a substantial portion of the surrounding spaces employs natural shading, natural ventilation, and earth-covered vegetation as climate regulators. These non-air-conditioned areas not only serve as a protective buffer against climatic extremes but are also designed to be open to the public.

点击这里查看更多，Click HERE for details

▼海南生态智慧新城数字市政厅，RSC (Resort Software Community) Building in Hainan。点击这里查看更多，Click HERE for details。

设计者、决策者，包括投资者需要承担起公益使命，而它所带来的福报和未来的影响会持续扩散。

It is vital for designers, decision-makers, and investors to embrace a public service mission, as the resulting benefits and future impacts will continue to grow.

宜兴城市污水资源概念厂是一次很有益的尝试，未来甚至有可能会成为一种趋势。将社会资源开放给公众其实是可持续的社会学角度一个重要的支撑。这个项目出发点就是可持续的设计，而环境的友好，经济的发展，社会的公平是可持续的三个重要支撑。

在环境友好上，我们花费了大量的精力，通过技术的革新实现了良好的建筑表现。在经济发展上，我们希望它能够造福当地，跟乡村的建设关联起来。在社会公平方面，我们希望打破人们对污水处理厂的固有印象、破解邻避效应，将其打造成对公众开放的科普基地，让人们真正看到里面发生了什么。

在环境友好上，我们花费了大量的精力，通过技术的革新实现了良好的建筑表现。在经济发展上，我们是希望它能够造福当地，跟乡村的建设关联起来。在社会公平方面，我们希望打破人们对污水处理厂的固有印象、破解邻避效应，将其打造成对公众开放的科普基地，让人们真正看到里面发生了什么。

The Concept WRRF Yixing is a valuable initiative that may well set a trend for the future. Opening social resources to the public is a significant component from a sustainable sociological perspective.

The Concept WRRF Yixing is a valuable initiative that may well set a trend for the future. Opening social resources to the public is a significant component from a sustainable sociological perspective. This project fundamentally revolves around sustainable design, with environmental friendliness, economic development, and social equity serving as three essential pillars of sustainability.

This project fundamentally revolves around sustainable design, with environmental friendliness, economic development, and social equity serving as three essential pillars of sustainability.

In terms of environmental friendliness, we invested considerable effort to achieve outstanding building performance through technological innovation. Our goal for economic development is to benefit the local community while fostering connections with rural development. Regarding social equity, we aim to challenge the public’s preconceived notions of wastewater treatment plants and dismantle the NIMBY (Not In My Backyard) effect, transforming the facility into an educational hub that allows people to witness the processes occurring within.

▼宜兴城市污水资源概念厂，Concept WRRF Yixing, the future-oriented Water Resource Recovery Facility & factory

点击这里查看更多，Click HERE for details

工厂有着严格的工艺流程需求、运输需求以及安全需求。因此，在设计中，我们需要将公众的流线和生产的流线分开，廊道就应运而生了。老百姓可以上到污水处理池的上空参观，体验一下有没有异味。此外，我们还特意设计了一部如同水流的双螺旋楼梯，这部楼梯取代了水厂希望树立的“水”雕塑，在满足交通功能需求的基础上，同时还造就了一处受人欢迎的网红景点。

Given the stringent requirements for processes, transportation, and safety in a wastewater treatment plant, we needed to separate public circulation from operational flow in our design, resulting in the creation of corridors. Visitors can access observation areas above the treatment pools, allowing them to experience any potential odors. Additionally, we designed a double-helix staircase that resembles flowing water, replacing the intended “water” sculpture of the plant. This staircase not only fulfills functional transportation needs but also serves as a popular attraction.

▼中央景观水池的双螺旋坡道，Double spiral ramp of central landscape pool

作为污水处理厂，需要展示出它过硬的污水处理技术。因此，我们在螺旋楼梯的边上，沉降池的中间夹缝的位置，设计了“池子咖啡”。咖啡馆引入了大量天光，自然采光，以及通风自然，后续经营也很好。咖啡馆中用的水，都是净化到可饮用级别的水，作为水的展示与污水处理厂关联了起来。此外，池子咖啡还起到了展示污水处理相关副产品的作用。比方由生物污泥加工过的肥料等，这些产品也惠及了周边的农田，展示出另一种自然循环的示范。

作为污水处理厂，需要展示出它过硬污水处理的技术。因此，我们在螺旋楼梯的边上，沉降池的中间夹缝的位置，设计了“池子咖啡”。咖啡馆引入了大量天光，自然采光，以及通风自然，后续经营也很好。咖啡馆中用的水，都是净化到可饮用的级别的水，作为水的展示与污水处理厂关联了起来。此外，池子咖啡还起到了展示污水处理相关的副产品的作用。比方由生物污泥加工过的肥料等，这些产品也惠及了周边的农田，展示出另一种自然循环的示范。

As a wastewater treatment facility, it is crucial to demonstrate advanced wastewater treatment technologies. To this end, we designed a café called “Pool Café” in the gap beside the spiral staircase and between the settling tanks. This café features abundant natural light and ventilation and has proven commercially successful. The water used in the café is purified to drinking standards, establishing a connection between the café and the wastewater treatment plant. Furthermore, the café showcases by-products related to wastewater treatment, such as fertilizers produced from treated biosolids, which benefit surrounding farmland and illustrate another aspect of natural cycling.

▼研发办公建筑南侧（底部研发中试区+顶部办公区）与池子咖啡室内，South side of R&D office building (bottom R&D pilot area + top office area) &Interior view of the coffee

宜兴的水厂最成功的就是他们的科普教育，在参观研学过程中，孩子们不再觉得污水处理是一件糟糕的事儿，家长们也会受到一些间接的教育，这个过程可能会逐渐打破我们社会中很多固有的想法。通过水厂的设计，我们也发现其中有很多传统的工艺体系是可以被优化的，进而使空间变得更有趣并开放给公众，而优化的过程和最后的结果不一定会更多地占用土地。所以我们设计者、决策者，包括投资者需要先树立起这个意识，承担起公益使命，而它所带来的福报和未来的影响会持续扩散。

宜兴的水厂最成功的就是他们的科普教育，在参观研学过程中，孩子们不再觉得污水处理是一件糟糕的事儿，家长们也会受到一些间接的教育，这个过程可能会逐渐打破我们社会中很多固有的想法。通过水厂的设计，我们也发现其中有很多传统的工艺体系是可以被优化，进而使空间变得更有趣并开放给公众的，而优化的过程和最后的结果不一定更多的占用土地。所以我们设计者、决策者，包括投资者需要先树立起这个意识，承担起公益使命，而它所带来的福报和未来的影响会持续扩散。

The most successful aspect of Yixing’s water treatment facility is its educational outreach. Through visits and educational programs, children no longer perceive wastewater treatment as a negative issue, and parents receive indirect education, potentially challenging many ingrained societal perceptions. Through the design of the facility, we discovered that many traditional processes can be optimized, enhancing the space’s engagement and accessibility to the public without necessarily increasing land usage. Therefore, it is vital for designers, decision-makers, and investors to foster this awareness and embrace a public service mission, as the resulting benefits and future impacts will continue to grow.

▼活动场景，Event scenario

竹与砖

Bamboo & Brick

“轻型复合的竹体系，隐含着容错，隐含着我们对于竹子本身的认识，还隐含着将来修补的可能性。”

The lightweight composite bamboo system inherently accommodates for errors, reflects our understanding of bamboo, and suggests possibilities for future repairs.

实际上，我们跟竹子结缘是来自于教学。15、16 年，朱宁老师和我带清华的一群非常活跃的孩子们参加了一个竹结构大学生竞赛，孩子们的作品获得了一等奖。我们也因此与支持赞助竞赛的竹材厂家，建立了很好的沟通与联系。

建筑需要满足很多的防火规范，而竹子并不是常规的建材，目前虽然竹构厂家可以解决竹材的耐久性问题，但还没有专门针对竹子的防火处理方法，所以我们在项目中更多的是将竹子塑造为“棚子”一类的开放形态。采用竹子建造围合结构，并保证其密闭性或热工性能就比较困难了。但在咱们中国传统建筑中，亭台楼阁作为典型且普及的文化载体，也不一定非得有墙，同时它们也是一定的耐候性的，可以挡雨、遮阳，甚至挡风。所以我们是想通过“亭”与“竹”与中国的传统建筑以及自然产生勾连，成为传承古代文人风骨的现代载体。

在建筑中，我们基本采用的都是现在非常普及的毛竹，而且毛竹的结构性能与表现也比较良好。有很多专家专门研究竹子，作为一种材料，竹子可以造纸、还可以加工成竹钢等。但我们却希望以一种加工过程最少、最坦诚的方式来表达它，国际上也有很多国家的建筑师将竹子作为建筑材料的，我们只能说我们是把它更加本土化、中国化，用我们自己的方式来走中国竹子的道路。

▼现代工艺与传统手艺，Modern craft and traditional handicraft

Our connection with bamboo originated in the classroom. In 2015 and 2016, Professor Zhu Ning and I guided a group of highly engaged students from Tsinghua University in a bamboo structure competition, where their project won first prize. This experience helped us establish strong communication and collaboration with bamboo manufacturers who supported the event.

Buildings must comply with various fire safety regulations, and since bamboo is not a conventional building material, there are currently no specific treatment methods tailored to it. Therefore, in our projects, we often shape bamboo into open forms, such as pavilions. Creating enclosed structures with bamboo while ensuring airtightness and thermal performance presents significant challenges. However, traditional Chinese architecture, particularly pavilions and towers, exemplifies cultural forms that do not necessarily require walls. These structures can provide shelter from rain, sun, and wind. Our aim is to connect the concepts of “pavilion” and “bamboo” with traditional Chinese architecture and nature, creating a modern expression that honors the essence of ancient literati culture.

In our architectural designs, we primarily use Moso bamboo, which is widely available and exhibits excellent structural performance. Many experts study bamboo’s versatility, noting its applications in paper-making and the production of bamboo steel, among others. However, we prefer to present bamboo in a manner that minimizes processing and emphasizes transparency. While numerous architects worldwide incorporate bamboo as a building material, our goal is to localize its use and develop a distinctly Chinese approach to bamboo construction.

▼竹篷乡堂 – 尚村，安徽宣城，Village Lounge – Shangcun, Xuancheng, Anhui

点击这里查看更多，Click HERE for details

▼云在亭 – 北京林业大学花园节信息亭，Swirling Cloud: Bulletin Pavilion for BJFU Garden Festival

点击这里查看更多，Click HERE for details

竹子的物理结构是空心的，这就导致了其寿命的弱化，当它的壳体朽掉，竹子的结构功能也就丧失了。现在很多的生态无害工艺，能够在一定程度上提升竹子的耐候性，但它始终是有一定的保质期的。我们研究了一些做法，其中最传统的、到现在为止也是最普及的一种做法，就是用麻绳与竹子的耦合。竹子粗细与截面尺寸并不是统一的，有一定变化，而麻绳则具有一定弹性，在捆绑时绳子提供的容错空间就非常有意义。所在采用竹子作为建筑材料的时候，我们第一个原则就是要容错。

竹子的物理结构是空心的，这就导致了其寿命的弱化，当它的壳体朽掉，竹子的结构功能也就丧失了。现在很多的生态无害工艺，能够在一定程度上提升竹子的耐候性，但它始终是有一定的保质期的。

一些国家的建筑师在做竹子的时候，是将几十根竹子捆绑在一起，以一种类似于混凝土钢结构或者木结构的清晰结构体系来解决结构安全的问题。但是在我们对竹子的了解过程中，我们发现竹子的物理寿命可能对于结构的整体寿命的影响度更大。所以第二点就是理解和接受竹子的寿命是很关键的。这种理解对于我们具体如何用竹子也很重要，比如能用 6 根竹子解决的跨度问题，我们就不会用更多的竹子，这也算是一种节约，第三点是我们秉承了中国传统建筑中需要定期修缮的思维，给建筑留下了修补的余地。

我们研究了一些做法，其中最传统的、到现在为止也是最普及的一种做法，就是用麻绳与竹子的耦合。竹子粗细与截面尺寸并不是统一的，有一定变化，而麻绳则具有一定弹性，在捆绑时绳子提供的容错空间就非常有意义。所在采用竹子作为建筑材料的时候，我们第一个原则就是要容错。

这三个认识让我们采用竹子作为建材充满信心，同时也让我们建立起了自己的竹子体系，比如我们开创了一套轻型复合的竹结构体系，结构下方采用竹子，上方的顶棚则采用棋盘格状的菱形的竹片。菱形格子可以变形，进而也简化了施工的难度。竹子的防水一定要做的特别到位，所以竹片层上方则是透光或者不透光的防水层。这种轻型复合的竹体系，隐含着容错，隐含着我们对于竹子本身的认识，还隐含着将来修补的可能性。

一些国家的建筑师在做竹子的时候，是将几十根竹子捆绑在一起，以一种类似于混凝土钢结构或者木结构的清晰结构体系来解决结构安全的问题。但是在我们对竹子的了解过程中，我们发现竹子的物理寿命可能对于结构的整体寿命的影响度更大。所以第二点就是理解和接受竹子的寿命是很关键的。这种理解对于我们具体如何用竹子也很重要，比如能用 6 根竹子解决的跨度问题，我们就不会用更多的竹子，这也算是一种节约，第三点是我们秉承了中国传统建筑中需要定期修缮的思维，给建筑留下了修补的余地。

▼材料回收利用施工过程，recycled material in Construction

这三个认识让我们采用竹子作为建材充满信心，同时也让我们建立起了自己的竹子体系，比如我们开创了一套轻型复合的竹结构体系，结构下方采用竹子，上方的顶棚则采用棋盘格状的菱形的竹片。菱形格子可以变形，进而也简化了施工的难度。竹子的防水一定要做的特别到位，所以竹片层上方则是透光或者不透光的防水层。这种轻型复合的竹体系，隐含着容错，隐含着我们对于竹子本身的认识，还隐含着将来修补的可能性。

▼材料回收利用施工过程，recycled material in Construction

The hollow structure of bamboo can limit its longevity; when the outer layer deteriorates, the structural integrity is compromised. Although many eco-friendly treatments can enhance bamboo’s weather resistance to some extent, it inherently has a limited lifespan. We have explored various methodologies, with the most traditional—and still widely used—approach being the coupling of hemp rope with bamboo. Given that bamboo comes in varying diameters and cross-sectional sizes, the elasticity of hemp rope provides valuable error tolerance during binding. Consequently, our first principle when utilizing bamboo as a building material is to accommodate for errors.

In some countries, architects bundle multiple bamboo poles to create structural systems akin to reinforced concrete or timber structures for safety. However, through our research, we have found that the physical lifespan of bamboo significantly impacts the overall lifespan of the structure. Thus, understanding and accepting bamboo’s limitations is critical. This knowledge guides our use of bamboo; for example, if six bamboo poles can effectively span a distance, we avoid using more, which also reflects resource efficiency. Furthermore, we embrace the traditional Chinese architectural philosophy that emphasizes the necessity of regular maintenance, allowing space for repairs.

The hollow structure of bamboo can limit its longevity; when the outer layer deteriorates, the structural integrity is compromised. Although many eco-friendly treatments can enhance bamboo’s weather resistance to some extent, it inherently has a limited lifespan. We have explored various methodologies, with the most traditional—and still widely used—approach being the coupling of hemp rope with bamboo. Given that bamboo comes in varying diameters and cross-sectional sizes, the elasticity of hemp rope provides valuable error tolerance during binding. Consequently, our first principle when utilizing bamboo as a building material is to accommodate for errors.

These three insights instill confidence in our use of bamboo as a building material and have led us to establish our own bamboo construction system. For instance, we have developed a lightweight composite bamboo structural system, utilizing bamboo for the lower structure and a diamond-shaped lattice of bamboo strips for the upper ceiling. This lattice design allows for deformation, simplifying construction challenges. Waterproofing is crucial for bamboo, so we ensure that a waterproof layer, whether translucent or opaque, is applied above the bamboo strips. This lightweight composite bamboo system inherently accommodates for errors, reflects our understanding of bamboo, and suggests possibilities for future repairs.

In some countries, architects bundle multiple bamboo poles to create structural systems akin to reinforced concrete or timber structures for safety. However, through our research, we have found that the physical lifespan of bamboo significantly impacts the overall lifespan of the structure. Thus, understanding and accepting bamboo’s limitations is critical. This knowledge guides our use of bamboo; for example, if six bamboo poles can effectively span a distance, we avoid using more, which also reflects resource efficiency. Furthermore, we embrace the traditional Chinese architectural philosophy that emphasizes the necessity of regular maintenance, allowing space for repairs.

▼竹管垅茶青市场可持续设计建造实录，福建宁德，Tea Leaf Market of Zhuguanlong,Ningde,Fujian

These three insights instill confidence in our use of bamboo as a building material and have led us to establish our own bamboo construction system. For instance, we have developed a lightweight composite bamboo structural system, utilizing bamboo for the lower structure and a diamond-shaped lattice of bamboo strips for the upper ceiling. This lattice design allows for deformation, simplifying construction challenges. Waterproofing is crucial for bamboo, so we ensure that a waterproof layer, whether translucent or opaque, is applied above the bamboo strips. This lightweight composite bamboo system inherently accommodates for errors, reflects our understanding of bamboo, and suggests possibilities for future repairs.

点击这里查看更多，Click HERE for details

▼竹管垅茶青市场可持续设计建造实录，福建宁德，Tea Leaf Market of Zhuguanlong,Ningde,Fujian

点击这里查看更多，Click HERE for details

材料的运用是建筑师的基本功，也是形成建筑师个性的重要载体。

The selection and use of materials are fundamental skills for architects and serve as essential mediums for expressing their individual identities.

材料的运用是建筑师的基本功，也是形成建筑师个性的重要载体。

我们的作品分为：竹系列、木系列、砖系列，还有钢系列。这些项目基本上也都严守着材料的可持续性，因为材料从生产加工到变成建筑部品的耗费蕴能量越低，蕴碳量就越低，蕴碳量越低，越碳中和越友好。所以我们精选了这几类，除了竹子和木材外，砖也是一种低蕴能量的材料，而钢铁或者金属虽然蕴能量相对较高，但却有着极大的重复利用价值，而且这几种材料的全生命期都可以形成一个循环。材料的运用是建筑师的基本功，也是形成建筑师个性的重要载体。

The selection and use of materials are fundamental skills for architects and serve as essential mediums for expressing their individual identities.

Our work is categorized into several series: bamboo, wood, brick, and steel. We adhere strictly to principles of material sustainability, recognizing that the lower the energy consumption and embodied carbon in the production and transformation into building components, the more environmentally friendly and carbon-neutral the materials are. As such, we have carefully selected these materials. Besides bamboo and wood, brick also qualifies as a low-embodied-energy material. While steel and other metals have relatively high embodied energy, they offer substantial reuse value, and all these materials can create a lifecycle loop.

我们的作品分为：竹系列、木系列、砖系列，还有钢系列。这些项目基本上也都严守着材料的可持续性，因为材料从生产加工到变成建筑部品的耗费蕴能量越低，蕴碳量就越低，蕴碳量越低，越碳中和越友好。所以我们精选了这几类，除了竹子和木材外，砖也是一种低蕴能量的材料，而钢铁或者金属虽然蕴能量相对较高，但却有着极大的重复利用价值，而且这几种材料的全生命期都可以形成一个循环。材料的运用是建筑师的基本功，也是形成建筑师个性的重要载体。

▼贵安新区清控人居科技示范楼，贵州，Tsinghua Eco Studio, Gui’an Innovation Park, Guizhou

Our work is categorized into several series: bamboo, wood, brick, and steel. We adhere strictly to principles of material sustainability, recognizing that the lower the energy consumption and embodied carbon in the production and transformation into building components, the more environmentally friendly and carbon-neutral the materials are. As such, we have carefully selected these materials. Besides bamboo and wood, brick also qualifies as a low-embodied-energy material. While steel and other metals have relatively high embodied energy, they offer substantial reuse value, and all these materials can create a lifecycle loop.

点击这里查看更多，Click HERE for details

▼贵安新区清控人居科技示范楼，贵州，Tsinghua Eco Studio, Gui’an Innovation Park, Guizhou

点击这里查看更多，Click HERE for details

2010 年到 2015 年间，以砖材建造的清华的“清芬园”是工作室全力投入了 5 年的项目，它不仅是工作室重要的里程碑，同时也奠定了我们今天很多工程的基础。“海南生态智慧新城数字市政厅”则采用了另一种砖材体系，干挂陶板也是一个很好的例子。

Between 2010 and 2015, we dedicated five years to constructing the ‘Central Canteen of Tsinghua University’, primarily using brick. This project not only represents a significant milestone for our studio but also laid the groundwork for many of our current endeavors. The ‘RSC Eco-Smart City Digital Municipal Hall in Hainan’ features a different brick system, highlighting dry-hanging ceramic panels as another notable example.

2010 年到 2015 年间，以砖材建造的清华的“清芬园”是工作室全力投入了 5 年的项目，它不仅是工作室重要的里程碑，同时也奠定了我们今天很多工程的基础。“海南生态智慧新城数字市政厅”则采用了另一种砖材体系，干挂陶板也是一个很好的例子。

▼清华大学南区食堂及就业指导中心，北京，Central Canteen of Tsinghua University, Beijing

Between 2010 and 2015, we dedicated five years to constructing the ‘Central Canteen of Tsinghua University’, primarily using brick. This project not only represents a significant milestone for our studio but also laid the groundwork for many of our current endeavors. The ‘RSC Eco-Smart City Digital Municipal Hall in Hainan’ features a different brick system, highlighting dry-hanging ceramic panels as another notable example.

点击这里查看更多，Click HERE for details

▼清华大学南区食堂及就业指导中心，北京，Central Canteen of Tsinghua University, Beijing

点击这里查看更多，Click HERE for details

钢结构体系的代表作品当属“北京动物园水禽馆”，它是工作室最早的项目之一，也是一座零碳科普馆。其中加入很多自然采光、自然通风方面的考量，包括今天关注的很多可持续的基本理念。在那个时候，我们都称之为“原型”，可以说是初代原型，往后都在慢慢迭代发展。

A representative work of our steel structure system is the “Waterfowl Pavilion of Beijing Zoo.” It is one of our earliest projects and serves as a zero-carbon science education pavilion. This project incorporates many considerations for natural lighting and ventilation, along with numerous sustainable design principles that we referred to as “prototypes” at that time. This initial prototype has gradually evolved and developed over the years.

钢结构体系的代表作品当属“北京动物园水禽馆”，它是工作室最早的项目之一，也是一座零碳科普馆，其中加入很多自然采光、自然通风方面的考量，包括今天关注的很多可持续的基本理念，在那个时候，我们都称之为“原型”，可以说是初代原型，往后都在慢慢迭代发展。

▼北京动物园水禽馆，Waterfowl Pavilion of Beijing Zoo

A representative work of our steel structure system is the “Waterfowl Pavilion of Beijing Zoo.” It is one of our earliest projects and serves as a zero-carbon science education pavilion. This project incorporates many considerations for natural lighting and ventilation, along with numerous sustainable design principles that we referred to as “prototypes” at that time. This initial prototype has gradually evolved and developed over the years.

点击这里查看更多，Click HERE for details

▼北京动物园水禽馆，Waterfowl Pavilion of Beijing Zoo。点击这里查看更多，Click HERE for details。

“无建斯建”

Building without Building

“无建斯建”与我们坚守的“自然原则”是相通的。最小干预，就意味着少做，而少做其实就意味着巧做。我们非常关注工艺设计和工匠手艺，设计其实也是门手艺，设计水平的高下很大程度上也决定了人们对建筑的接受度。所以，“无建斯建”意思就是说看上去好像没有动，实际上是花了很大的心血在后期指导施工的过程中的。

以奇峰村来说，原建筑本身是一座很常见的徽州民居，上方是储物阁楼，整个房子的通风与采光非常不理想。于是，我们保留了原来的主体结构，但重新梳理内部的空间，同时回收了原来的木楼板，将老房子的真材实料重新修缮，改造成了夹层的地板。

第二，我们在常规的坡顶上增加了 8 扇老虎窗用于采光，相比于垂直的窗户，天窗的效率是最高的，所以虽然只开了为数不多的几扇窗户，但是整体的光环境得到了大幅的改善。此外，老虎窗也形成了通风的通道，切割后的楼板在空间中形成空腔，将光与风引入到整栋房子当中。这样一来，虽然看上去没有做出巨大的变动，但从设计的角度上来说全都是新的，所以这是我们的一个原则。对于乡村改造更新，如果有机会再做，我们还会坚持这个原则。

The concept of “building without building” aligns closely with our commitment to the “principle of nature.” Minimal intervention means doing less, which ultimately signifies doing it more thoughtfully. We emphasize the importance of craftsmanship and the design process; design is itself a form of craftsmanship, and the quality of design significantly influences people’s acceptance of architecture. Thus, “building without building” implies that while it may appear as if no significant alterations have been made, substantial effort has been dedicated to guiding the construction process.

For example, in History Museum of Qifeng Village, the original structure was a typical Huizhou residence, featuring an upper storage loft and inadequate ventilation and lighting throughout. We preserved the main structure but reorganized the internal space, repurposing the original wooden floorboards into a mezzanine floor. Furthermore, we added eight skylights to the conventional sloped roof to improve lighting. Skylights are far more efficient than vertical windows; consequently, even with only a few additional openings, the overall lighting quality saw significant enhancement. These skylights also facilitated ventilation pathways, and the modified floorboards created cavities within the space, allowing light and air to circulate throughout the house. Thus, while it may seem that no drastic changes were made, every element of the design is new from an architectural standpoint. This principle guides our approach, and if we have the opportunity to engage in rural renovation again, we will continue to uphold it.

▼奇峰村史馆，安徽池州，History Museum of Qifeng Village, Chizhou, Anhui

点击这里查看更多，Click HERE for details

不一定要回避技术，但要对其进行实证迭代。

It is not necessarily need to avoid technology but should engage in empirical iteration.

在可持续策略方面，我们觉得是最适用的就是最好的。我在德国访学跟随托马斯·赫尔佐格教授，他是德国建筑师里的科学家，他对可持续建筑的研究实践在德国建筑界得到了高度的评价。但在这个求学的过程中，我自己反而在我们的实践里始终提醒自己跟最先进的技术要保持一定的距离。我们认为“最少让人介入的”可能是最好的，对于先进的设备与体系来说，也可能会面临“用”不好的问题，请专门的人员来运维，成本也会更高，所以我觉得适用是最好的。比如我在德国交流时，就参观了一座以计算机控制全部百叶窗的研究所，但同样的技术可能就不适用于其他地方，比如在我国某些地方的经济、管理甚至自然气候的制约下，它的运维成本是很高的。

所以我反而坚定了一个信念，就是，不一定要回避技术，但要对其进行实证迭代。在大量实践的原型考虑里，如果能够有机会不用上这些高科技，也达到类似的效果，那我们就会选择更朴素的方法。比如“清芬园”中可以从外部手动开启的天窗、既起到遮阳也起到通风作用的镂空花砖，以及海南项目中的镂空干挂陶板等。如果让我选一些可持续的技术，我会倾向于那些更原始的设计智慧，然后再通过技术对这些气候适应策略或是材料利用策略进行优化提升。在推广方面，媒体很重要，媒体要保持一定的职业观点，才能通过宣传为大众带来潜移默化的影响。

In terms of sustainable strategies, we believe that the most applicable solutions are the best. During my academic visit to Germany, I studied under Professor Thomas Herzog, a respected figure in sustainable architecture whose work has garnered high praise in the German architectural community. However, throughout this experience, I consistently reminded myself to maintain a certain distance from cutting-edge technologies in our practice. We believe that “the least human intervention may be the best.” Advanced systems and equipment often face challenges related to improper use, requiring specialized personnel for operation and maintenance, which can drive up costs. Therefore, prioritizing applicability is essential. For example, during my time in Germany, I visited a research institute that utilized a computer-controlled system for all its blinds. However, such technology may not be suitable in different contexts; in certain regions of our country, economic, managerial, and natural climate factors can significantly increase operational and maintenance costs.

Thus, I have become convinced that we do not necessarily need to avoid technology but should engage in empirical iteration. In evaluating numerous practical prototypes, if we can achieve similar outcomes without resorting to high-tech solutions, we will opt for simpler methods. In “Central Canteen of Tsinghua University,” for instance, we incorporated manually operable skylights that provide both shading and ventilation, along with hollow decorative bricks that allow light and air to flow. Similarly, in the Hainan project, we utilized hollow dry-hanging ceramic tiles. If I were to select sustainable technologies, I would favor those that embody more vernacular design wisdom and then use technology to enhance these climate adaptation and material utilization strategies. Regarding promotion, the media plays a crucial role. Maintaining a professional perspective is essential for the media to subtly influence the public through their coverage.

▼云寨村社区中心，Yunzhai Village Community Center

点击这里查看更多，Click HERE for details

色彩与“像素化”

Color & “Pixelation”

“色彩是建筑师不可回避的东西，单一色彩肯定是高级的表现，但是有一些多余的色彩，说不定也会使我们对于建筑的建造和表达有更深入的理解。”

Color is an unavoidable element for architects. While a single color can certainly convey sophistication, incorporating additional colors may provide a deeper understanding of building construction and expression.

“像素化外立面”的基本逻辑是想挑战常规。对于老百姓，甚至接受过建筑学教育的同学们，有时候也很难完全理解我们所说的“可持续”。作为教授，我们也希望使这个概念更鲜活、更多样化一些，像素化也是这种尝试之一。

色彩是建筑师不可回避的东西，我们相当长的一段时间里是把单一色彩当成是基本目标，一方面也是为了稳妥，安全，或者说在传统的建筑教育里的这种“纯粹性”可能会很有价值，因此，我们也不大敢打破这个窠臼。但是后来我们发现“色彩”在建筑学的训练里，是我们必须得挑战的一个“坎”，单一色彩肯定是高级的表现，但是有一些多余的色彩，说不定也会使我们对于建筑的建造和表达有更深入的理解。

关于“像素化”，最早在“岳阳县三中风雨操场”中是由于预算的限制，不得已而为之。面对立面采用低造价标准化的单元板材的情况，将项目所处的地形地貌图像进行像素化抽象处理，应用于立面色彩设计，既可活跃原本单调的校园环境气氛，又隐含了有趣的地理科普知识。

The fundamental logic of the “pixelated facade” is to challenge conventional norms. For the general public, and even for those with architectural training, the concept of “sustainability” can sometimes be elusive. As educators, we strive to make this idea more dynamic and varied, with pixelation serving as one of our approaches.

Color is an unavoidable element for architects. For a long time, we regarded a single color as a primary objective, mainly for reasons of stability and safety, as well as the value placed on “purity” in traditional architectural education. This created a hesitation to break from that mold. However, we eventually recognized that color represents a challenge we must confront in architectural training. While a single color can certainly convey sophistication, incorporating additional colors may provide a deeper understanding of building construction and expression.

The concept of “pixelation” was initially adopted in the “Indoor Playground (Doubling as Lecture Hall) of Yueyang County No.3 Middle School” due to budget constraints. Faced with the necessity of using low-cost, standardized panel materials for the facade, we abstracted the site’s topographical map into a pixelated form, which was then applied to the facade’s color design. This not only enlivened the otherwise monotonous campus atmosphere but also embedded intriguing geographic educational elements.

▼岳阳县三中学风雨操场兼报告厅，湖南，Indoor Playground (Doubling as lecture hall) of Yueyang County No.3 Middle School, Hunan

▼岳阳县三中学风雨操场兼报告厅，湖南，Indoor Playground (Doubling as lecture hall) of Yueyang County No.3 Middle School, Hunan 点击这里查看更多，Click HERE for details

点击这里查看更多，Click HERE for details

第二次运用“像素化外立面”是在“济南汇中星空间”。我是济南人，项目所在的场地正好离我曾经生活过的地方不远，所以我对这个地方特别熟悉。为了满足容积率，建筑沿用了地块原本的形态，呈现出圆角三角形平面。那么挑战就来了，如何将其塑造的更加有趣？于是我们就采用了模块化的、装配式的构造节点。模块化很容易单调，于是就希望在其中加入色彩元素。“汇中星”的色彩在我心中来源于济南黑虎泉的泉水，以及护城河里泛滥的云影，所以就是以蓝绿为主色，并进行一些紫色的红色跳色的处理。在我的记忆力，故乡二八月的云彩，特别绚丽，是支撑坚持用跳色的原因。除了色彩的差异，还有材质的差异，包括金属与玻璃的对比，最终形成了这种梦幻的效果。

第二次运用“像素化外立面”是在“济南汇中星空间”。我是济南人，项目所在的场地正好离我曾经生活过的地方不远，所以我对这个地方特别熟悉。为了满足容积率，建筑沿用了地块原本的形态，呈现出圆角三角形平面。那么挑战就来了，如何将其塑造的更加有趣？于是我们就采用了模块化的、装配式的构造节点。模块化很容易单调，于是就希望在其中加入色彩元素。

The second application of the “pixelated facade” is found in the “Jinan Huizhong Starry Center.” Being a native of Jinan, I am particularly familiar with this area, as it is close to where I used to live. To comply with the floor area ratio, the building retains the original shape of the site, resulting in a rounded triangular floor plan. This presented a challenge: how to create a more engaging design? We decided to use modular, prefabricated construction joints. However, modular designs can easily become monotonous, so we aimed to incorporate vibrant color elements.

“汇中星”的色彩在我心中来源于济南黑虎泉的泉水，以及护城河里泛滥的云影，所以就是以蓝绿为主色，并进行一些紫色的红色跳色的处理。在我的记忆力，故乡二八月的云彩，特别绚丽，是支撑坚持用跳色的原因。除了色彩的差异，还有材质的差异，包括金属与玻璃的对比，最终形成了这种梦幻的效果。

The color palette for “Huizhong Starry Center” draws inspiration from the Heihu Spring in Jinan and the reflections of clouds in the city moat. As a result, the primary colors are blue and green, accented with touches of purple and red. In my memory, the clouds in my hometown during February and August are particularly vivid, which influences my choice to use contrasting colors. Additionally, the design features material variations, such as contrasts between metal and glass, which together create a dreamlike effect.

The second application of the “pixelated facade” is found in the “Jinan Huizhong Starry Center.” Being a native of Jinan, I am particularly familiar with this area, as it is close to where I used to live. To comply with the floor area ratio, the building retains the original shape of the site, resulting in a rounded triangular floor plan. This presented a challenge: how to create a more engaging design? We decided to use modular, prefabricated construction joints. However, modular designs can easily become monotonous, so we aimed to incorporate vibrant color elements.

▼济南汇中星空间，山东，Jinan Huizhong Starry Center, Shandong

The color palette for “Huizhong Starry Center” draws inspiration from the Heihu Spring in Jinan and the reflections of clouds in the city moat. As a result, the primary colors are blue and green, accented with touches of purple and red. In my memory, the clouds in my hometown during February and August are particularly vivid, which influences my choice to use contrasting colors. Additionally, the design features material variations, such as contrasts between metal and glass, which together create a dreamlike effect.

点击这里查看更多，Click HERE for details

▼济南汇中星空间，山东，Jinan Huizhong Starry Center, Shandong

点击这里查看更多，Click HERE for details

在“黄海森林国际会议中心”的金属幕墙体系中，由于建筑本身比较复杂了，所以不仅在绿色上做了文章，同时在异形的入口位置上做了暖色系的屋顶板，进而形成色彩的对比。现阶段，我们努力让自己处于放松的状态，这对做设计来说非常重要。“色素像素”是一种尝试，也是我们表达松弛的手段，将来也许会坚持，但会进行发展与迭代。

在做设计时，我们最关注平面，平面背后隐含的是建筑师对于尺度、空间、色彩、虚实的理解能力。在做平面的时候，很多东西都已经在逐渐显现。第二我们特别关注剖面，因为在设计中我们整合了一套包括自然采光、自然通风、自然舒适度的生物气候缓冲层的逐级防护空间，并且可以突出局部采用空调等机械手段保证高舒适度的区域。这些核心元素能够在剖面里进行直观的体现。同时在剖面阶段，平面里曾经关注过的尺度比例，以及传统建筑学里关注的质感色彩又一次强化了。我们最放松的是立面，我们从来不会为了外在的形式去做建筑。相反，我们会先从剖面与平面的研究，形成对于形式的呼应。

在“黄海森林国际会议中心”的金属幕墙体系中，由于建筑本身比较复杂，所以不仅在绿色上做了文章，同时在异形的入口位置上做了暖色系的屋顶板，进而形成色彩的对比。现阶段，我们努力让自己处于放松的状态，这对做设计来说非常重要。“色素像素”是一种尝试，也是我们表达松弛的手段，将来也许会坚持，但会进行发展与迭代。

In the metal curtain wall system of the “Huanghai Forest International Conference Center,” our primary focus was on green hues due to the building’s inherent complexity. Additionally, we incorporated warm-colored roof panels at the uniquely shaped entrance to create a striking contrast. At this stage, we aim to maintain a relaxed mindset, which is crucial for the design process. The concept of “color pixels” serves as both an experiment and a means of expressing this sense of relaxation. In the future, we may continue to explore this idea while evolving and iterating upon it.

在做设计时，我们最关注平面，平面背后隐含的是建筑师对于尺度、空间、色彩、虚实的理解能力。在做平面的时候，很多东西都已经在逐渐显现。第二我们特别关注剖面，因为在设计中我们整合了一套包括自然采光、自然通风、自然舒适度的生物气候缓冲层的逐级防护空间，并且可以突出局部采用空调等机械手段保证高舒适度的区域。这些核心元素能够在剖面里进行直观的体现。同时在剖面阶段，平面里曾经关注过的尺度比例，以及传统建筑学里关注的质感色彩又一次强化了。我们最放松的是立面，我们从来不会为了外在的形式去做建筑。相反，我们会先从剖面与平面的研究，形成对于形式的呼应。

When designing, our foremost concern is the floor plan, as it reflects the architect’s understanding of scale, space, color, and the interplay between solid and void. Many elements begin to emerge during the planning phase. We also pay particular attention to the section, as our design integrates a tiered protective space that incorporates natural lighting, ventilation, and comfort levels. This enables us to highlight areas that utilize mechanical systems, such as air conditioning, to ensure high comfort. These core elements are intuitively represented in the section. Furthermore, the scale and proportion considered in the floor plan, along with the textures and colors emphasized in traditional architecture, are further reinforced at this stage. We feel most at ease when addressing the facade; we never design architecture solely for outward appearances. Instead, we begin with the study of the section and floor plan, allowing these elements to inform and resonate with the overall form.

In the metal curtain wall system of the “Huanghai Forest International Conference Center,” our primary focus was on green hues due to the building’s inherent complexity. Additionally, we incorporated warm-colored roof panels at the uniquely shaped entrance to create a striking contrast. At this stage, we aim to maintain a relaxed mindset, which is crucial for the design process. The concept of “color pixels” serves as both an experiment and a means of expressing this sense of relaxation. In the future, we may continue to explore this idea while evolving and iterating upon it.

▼黄海森林国际会议中心，Huanghai Forest International Conference Center

When designing, our foremost concern is the floor plan, as it reflects the architect’s understanding of scale, space, color, and the interplay between solid and void. Many elements begin to emerge during the planning phase. We also pay particular attention to the section, as our design integrates a tiered protective space that incorporates natural lighting, ventilation, and comfort levels. This enables us to highlight areas that utilize mechanical systems, such as air conditioning, to ensure high comfort. These core elements are intuitively represented in the section. Furthermore, the scale and proportion considered in the floor plan, along with the textures and colors emphasized in traditional architecture, are further reinforced at this stage. We feel most at ease when addressing the facade; we never design architecture solely for outward appearances. Instead, we begin with the study of the section and floor plan, allowing these elements to inform and resonate with the overall form.

▼黄海森林国际会议中心，Huanghai Forest International Conference Center

科研与教学中的平衡与融合 Balance & Fusion of Research and Teaching

我们会从全生命期、从整个生态系统来考量设计，希望融入自然元素，使建筑回到自然体系里。比如在“海南生态智慧新城数字市政厅”中采用的能够反映海南红土的干挂陶板体系、自然的覆土、景观中点缀的镜面不锈钢，以及当地的火山岩等。

科研与教学中的平衡与融合

计算机介入到设计，最重要的一方面就是现在有各种各样的模拟软件，可以帮助设计师对于建筑的热工表现、采光条件等进行研究预判。我对模拟有两个态度，其一就是我认为这种预判是必不可少的，另外一个态度就是要适当的宽容。因为建筑学背景的人来进行软件参数调整的时候，可能不会精准地按照教科书，而是会根据建筑学的实际的情况来调整，从工程师的角度来看，这些参数可能不够专业，但从建筑师的视角看，专业人士可能会钻牛角尖，导致参数看上去最科学，但模拟出来的结果不一定符合实际。

Balance & Fusion of Research and Teaching

模拟软件给出的趋势已经提供了很大的帮助，不需要太精确，精确了也没有意义。所以在建造完成后，我们需要对之前的模拟进行测试实证，最终才能形成从设计决策，到模拟辅助，到最后建成以后追踪数据收集反馈的完整体系。

我们会从全生命期、从整个生态系统来考量设计，希望融入自然元素，使建筑回到自然体系里。比如在“海南生态智慧新城数字市政厅”中采用的能够反映海南红土的干挂陶板体系、自然的覆土、景观中点缀的镜面不锈钢，以及当地的火山岩等。

我原来特别自豪的是中国的建筑师有大量的机会实战，能够将纸面作业变成实体建筑。但现在看起来这个趋势也在改变，可能也会像很多发达国家的情况一样，纸面的研究会越来越多，实体的建造总量会大量削减。机器介入，包括人工智能的发展，就要求我们同步学习。

计算机介入到设计，最重要的一方面就是现在有各种各样的模拟软件，可以帮助设计师对于建筑的热工表现、采光条件等进行研究预判。我对模拟有两个态度，其一就是我认为这种预判是必不可少的，另外一个态度就是要适当的宽容。因为建筑学背景的人来进行软件参数调整的时候，可能不会精准地按照教科书，而是会根据建筑学的实际的情况来调整，从工程师的角度来看，这些参数可能不够专业，但从建筑师的视角看，专业人士可能会钻牛角尖，导致参数看上去最科学，但模拟出来的结果不一定符合实际。

▼素朴工作室部分专利报道与奖项，Some patent reports and awards of SUP Atelier

模拟软件给出的趋势已经提供了很大的帮助，不需要太精确，精确了也没有意义。所以在建造完成后，我们需要对之前的模拟进行测试实证，最终才能形成从设计决策，到模拟辅助，到最后建成以后追踪数据收集反馈的完整体系。

我原来特别自豪的是中国的建筑师有大量的机会实战，能够将纸面作业变成实体建筑。但现在看起来这个趋势也在改变，可能也会像很多发达国家的情况一样，纸面的研究会越来越多，实体的建造总量会大量削减。机器介入，包括人工智能的发展，就要求我们同步学习。

▼素朴工作室部分专利报道与奖项，Some patent reports and awards of SUP Atelier

We approach design from a holistic, life-cycle perspective, embedding it within the broader ecosystem. Our goal is to integrate natural elements, allowing architecture to harmonize with nature. For instance, in the RSC Eco-Smart City Digital Municipal Hall, we employed a dry-hanging terracotta system that reflects Hainan’s red earth, utilized natural green roofs, mirrored stainless steel accents in the landscape, and incorporated local volcanic rock. These materials connect the building with its environment in a sustainable and meaningful way.

The involvement of computational tools in design is crucial, particularly with the variety of simulation software now available. These tools allow us to predict and evaluate factors like thermal performance and daylighting. I hold two views on simulation. First, it is indispensable for making informed design decisions. However, I also believe we need to be flexible in its application. Architects may adjust software parameters in ways that don’t strictly follow engineering precision, because we adapt the simulations to architectural contexts. While engineers might find this less rigorous, architects understand that over-reliance on perfect simulation can produce outcomes that seem scientifically ideal but don’t reflect real-world behavior.

The trend lines provided by simulation are invaluable even if the precision is not absolute. The key is to refine these simulations with actual performance data once the project is built. This approach completes a loop—from design decision-making, through simulation, to post-construction feedback and optimization.

We approach design from a holistic, life-cycle perspective, embedding it within the broader ecosystem. Our goal is to integrate natural elements, allowing architecture to harmonize with nature. For instance, in the RSC Eco-Smart City Digital Municipal Hall, we employed a dry-hanging terracotta system that reflects Hainan’s red earth, utilized natural green roofs, mirrored stainless steel accents in the landscape, and incorporated local volcanic rock. These materials connect the building with its environment in a sustainable and meaningful way.

In the past, I was proud that Chinese architects had extensive opportunities to build real structures, turning paper designs into physical architecture. But now, this trend is shifting, with more emphasis on theoretical research and a reduction in actual construction. As machines and artificial intelligence play a greater role, we must learn to adapt and integrate these technologies, staying aligned with both traditional craftsmanship and cutting-edge tools.

The involvement of computational tools in design is crucial, particularly with the variety of simulation software now available. These tools allow us to predict and evaluate factors like thermal performance and daylighting. I hold two views on simulation. First, it is indispensable for making informed design decisions. However, I also believe we need to be flexible in its application. Architects may adjust software parameters in ways that don’t strictly follow engineering precision, because we adapt the simulations to architectural contexts. While engineers might find this less rigorous, architects understand that over-reliance on perfect simulation can produce outcomes that seem scientifically ideal but don’t reflect real-world behavior.

▼宋老师在做科研时的照片，Photo of Professor Song while doing scientific research

The trend lines provided by simulation are invaluable even if the precision is not absolute. The key is to refine these simulations with actual performance data once the project is built. This approach completes a loop—from design decision-making, through simulation, to post-construction feedback and optimization.

In the past, I was proud that Chinese architects had extensive opportunities to build real structures, turning paper designs into physical architecture. But now, this trend is shifting, with more emphasis on theoretical research and a reduction in actual construction. As machines and artificial intelligence play a greater role, we must learn to adapt and integrate these technologies, staying aligned with both traditional craftsmanship and cutting-edge tools.

▼宋老师在做科研时的照片，Photo of Professor Song while doing scientific research

建筑设计并不是孤立的，方案做得再完美，也只不过开了个头，只有盯到工地，才知道建筑学是怎么回事儿，才能弥合理论的学术研究与建造工程的一线之间的距离。

Architectural design is not isolated. No matter how perfect the scheme is, it is only the beginning. Being on-site is essential for understanding architecture in its full scope and bridging the gap between theoretical research and real-world construction.

作为老师，教书育人和科学研究是两项基本工作。其中教书育人这个工作让我特别开心，因为在这个过程中我始终接触的都是青年人群，我自己会从他们那儿得到很多与时俱进的东西，年轻人思考中的多样性是一种非常棒的资源。教学相长，我们在对学生进行更专业的建筑学教育时，会接受到学生们很多非建筑学的反馈，将孩子们的“毛刺儿”变成一种“武器（反思的动力）”，这种互动中产生的火花是非常有意思的。

建筑设计并不是孤立的，方案做得再完美，也只不过开了个头，只有盯到工地，才知道建筑学是怎么回事儿，才能弥合理论的学术研究与建造工程的一线之间的距离。

还有，现在的博士后、博士生、研究生的培养越来越专业化，这就给我们提供了一个很好的契机，将工作室的一些项目跟研究生的培养环节很密切地契合起来。以真刀实枪的案例，同时匹配学生的特点，对他们进行专项的培养。工作室有很多具有探索性的原型性项目，学生们进来以后要跟着整个专业建筑师团队来做，而且很大的可能是去帮着盯工地。我自己也很珍视盯工地这个机会，你只有盯到工地，才知道建筑学是怎么回事儿，才能弥合理论的学术研究与建造工程的一线之间的距离。

Architectural design is not isolated, no matter how perfect the scheme is, it is only the beginning. Being on-site is essential for understanding architecture in its full scope and bridging the gap between theoretical research and real-world construction.

我非常喜欢找理论研究和一线的距离到底在哪里，因为建筑设计并不是孤立的，方案做得再完美，也只不过开了个头，之后的 30～40%在施工图阶段，最后的一大部分就在工地上。职业建筑师在重大环节达成高度共识以后，但仍然需要有人持续地在工地上调整小问题，这项工作就特别适合研究生们去完成。这个过程不仅为学生们展现了活生生的教材，也考验了他们的眼力以及发现问题的能力，这些经历对于学生们的成长大有裨益。

作为老师，教书育人和科学研究是两项基本工作。其中教书育人这个工作让我特别的开心，因为在这个过程中我始终接触的都是青年人群，我自己会从他们那儿得到很多与时俱进的东西，年轻人思考中的多样性是一种非常棒的资源。教学相长，我们在对学生进行更专业的建筑学教育时，会接受到学生们很多非建筑学的反馈，将孩子们的“毛刺儿”变成一种“武器（反思的动力）”，这种互动中产生的火花是非常有意思的。

As a professor, my core responsibilities are educating students and conducting research. Teaching, in particular, brings me immense joy because it keeps me connected with young minds. I gain a lot from their fresh perspectives, as their diversity of thought is a powerful resource. There’s a mutual exchange in teaching—while I pass on specialized architectural knowledge, students offer non-architectural feedback that challenges conventional ideas. I see their “rough edges” as catalysts for reflection, turning them into tools for growth. The creative sparks generated through this interaction are incredibly rewarding.

还有，现在的博士后、博士生、研究生的培养越来越专业化，这就给我们提供了一个很好的契机，将工作室的一些项目跟研究生的培养环节很密切地契合起来。以真刀实枪的案例，同时匹配学生的特点，对他们进行专项的培养。工作室有很多具有探索性的原型性项目，学生们进来以后要跟着整个专业建筑师团队来做，而且很大的可能是去帮着盯工地。我自己也很珍视盯工地这个机会，你只有盯到工地，才知道建筑学是怎么回事儿，才能弥合理论的学术研究与建造工程的一线之间的距离。

Moreover, the increasing professionalization of PhD, postdoctoral, and graduate education provides an excellent opportunity to align our studio projects with academic training. The studio undertakes many exploratory, prototype-based projects, which fit perfectly with student development. When they join us, they work alongside our team of architects and often monitor construction sites. Personally, I hold site visits in high regard—being on-site is essential for understanding architecture in its full scope and bridging the gap between theoretical research and real-world construction.

我非常喜欢找理论研究和一线的距离到底在哪里，因为建筑设计并不是孤立的，方案做得再完美，也只不过开了个头，之后的 30～40%在施工图阶段，最后的一大部分就在工地上。职业建筑师在重大环节达成高度共识以后，但仍然需要有人持续地在工地上调整小问题，这项工作就特别适合研究生们去完成。这个过程不仅为学生们展现了活生生的教材，也考验了他们的眼力以及发现问题的能力，这些经历对于学生们的成长大有裨益。

I’m particularly interested in understanding where theory meets practice. Architecture doesn’t exist in a vacuum; even the most perfect design is just the beginning. Around 30-40% of the project is realized during the construction drawing phase, but much of the final outcome depends on on-site adjustments. Even after major decisions are made, there’s a need for continual fine-tuning on the ground, and this role is well-suited for graduate students. The construction site serves as a living textbook, sharpening their observational skills and problem-solving abilities. This hands-on experience is invaluable to their development.

As a professor, my core responsibilities are educating students and conducting research. Teaching, in particular, brings me immense joy because it keeps me connected with young minds. I gain a lot from their fresh perspectives, as their diversity of thought is a powerful resource. There’s a mutual exchange in teaching—while I pass on specialized architectural knowledge, students offer non-architectural feedback that challenges conventional ideas. I see their “rough edges” as catalysts for reflection, turning them into tools for growth. The creative sparks generated through this interaction are incredibly rewarding.

▼宋老师与学生在工地跟踪项目时的照片，Photo of Professor Song with students at the construction site

Moreover, the increasing professionalization of PhD, postdoctoral, and graduate education provides an excellent opportunity to align our studio projects with academic training. The studio undertakes many exploratory, prototype-based projects, which fit perfectly with student development. When they join us, they work alongside our team of architects and often monitor construction sites. Personally, I hold site visits in high regard—being on-site is essential for understanding architecture in its full scope and bridging the gap between theoretical research and real-world construction.

I’m particularly interested in understanding where theory meets practice. Architecture doesn’t exist in a vacuum; even the most perfect design is just the beginning. Around 30-40% of the project is realized during the construction drawing phase, but much of the final outcome depends on on-site adjustments. Even after major decisions are made, there’s a need for continual fine-tuning on the ground, and this role is well-suited for graduate students. The construction site serves as a living textbook, sharpening their observational skills and problem-solving abilities. This hands-on experience is invaluable to their development.

我觉得建筑学是一个特别伟大的学科，特别值得人研究一辈子，在经历过各种各样的博弈，你才可能真正理解什么是建筑学。所以我教学的第二个重点就是科研，这跟我们实际的原型研究，以及建筑工地密切联系在一起。

▼宋老师与学生在工地跟踪项目时的照片，Photo of Professor Song with students at the construction site

对于建筑师来说，建造环节的落成就是研究环节的开始，我们会让学生们采集声光电热各种各样的数据，以实际的数据验证我们所研究的原型，有的时候证实，有的时候证伪，就是模拟与实际有出入，那么下次我们就会进行改进。我觉得非常的幸运我们能够将教学科研和实践两者结合在一起。

I believe that architecture is an extraordinary discipline, one truly deserving of a lifetime of study. It’s only after experiencing various challenges and conflicts that one can truly grasp the essence of architecture. That’s why research is my second key focus in teaching, which closely ties to our prototype explorations and construction work.

我觉得建筑学是一个特别伟大的学科，特别值得人研究一辈子，在经历过各种各样的博弈，你才可能真正理解什么是建筑学。所以我教学的第二个重点就是科研，这跟我们实际的原型研究，以及建筑工地密切联系在一起。

For architects, the completion of a building marks the beginning of the research phase. We encourage students to collect diverse data—ranging from sound, light, and electricity to thermal conditions—to verify the prototypes we’ve designed. Sometimes, the data affirms our hypotheses; other times, it reveals discrepancies between simulations and real-world outcomes, prompting us to refine our approach in future projects. I’m incredibly fortunate to be able to blend teaching, research, and practice into one cohesive process.

对于建筑师来说，建造环节的落成就是研究环节的开始，我们会让学生们采集声光电热各种各样的数据，以实际的数据验证我们所研究的原型，有的时候证实，有的时候证伪，就是模拟与实际有出入，那么下次我们就会进行改进。我觉得非常的幸运我们能够将教学科研和实践两者结合在一起。

▼学生们在采集数据时的照片，Photos of students collecting data

I believe that architecture is an extraordinary discipline, one truly deserving of a lifetime of study. It’s only after experiencing various challenges and conflicts that one can truly grasp the essence of architecture. That’s why research is my second key focus in teaching, which closely ties to our prototype explorations and construction work.

For architects, the completion of a building marks the beginning of the research phase. We encourage students to collect diverse data—ranging from sound, light, and electricity to thermal conditions—to verify the prototypes we’ve designed. Sometimes, the data affirms our hypotheses; other times, it reveals discrepancies between simulations and real-world outcomes, prompting us to refine our approach in future projects. I’m incredibly fortunate to be able to blend teaching, research, and practice into one cohesive process.

建筑学是包罗万象的，需要工程、科学、人文、社会等众多基础学科的支持，这些学科的发展都会影响到建筑学。

▼学生们在采集数据时的照片，Photos of students collecting data

Architecture is an interdisciplinary field, drawing from engineering, science, humanities, and social sciences—all of which shape and influence the discipline’s evolution.

首先，“碳中和”是一个很重要的关注点，它跟建筑以及城市的关联非常密切。“面向碳中和的建筑设计理论与方法”也是清华大学庄惟敏院士领导下的国家自然科学基金重大课题的研究内容。

建筑学是包罗万象的，需要工程、科学、人文、社会等众多基础学科的支持，这些学科的发展都会影响到建筑学。

几十年来，我国的建造条件、社会经济以及环境都产生了变化，过去建造的大量房屋也面临着完善和迭代更新的问题。我个人觉得还应该响应国家建设的需求，积极参与支持城市更新。

Architecture is an interdisciplinary field, drawing from engineering, science, humanities, and social sciences—all of which shape and influence the discipline’s evolution.

除此之外，我们还要坚持创造，树立世界的标杆，继续研究和探讨本土可持续的原型。毕竟我们还有大量建造以及城市更新的机会，要抓住这些机会，通过自己的建筑来跟国际朋友们交流。

首先，“碳中和”是一个很重要的关注点，它跟建筑以及城市的关联非常密切。“面向碳中和的建筑设计理论与方法”也是清华大学庄惟敏院士领导下的国家自然科学基金重大课题的研究内容。几十年来，我国的建造条件、社会经济以及环境都产生了变化，过去建造的大量房屋也面临着完善和迭代更新的问题。我个人觉得还应该响应国家建设的需求，积极参与支持城市更新。

建筑教育的未来，一方面需要紧跟潮流，另一方面还要深入地思考和挖掘建筑学的核心。建筑学是包罗万象的，需要工程、科学、人文、社会等众多基础学科的支持，这些学科的发展都会影响到建筑学。

除此之外，我们还要坚持创造，树立世界的标杆，继续研究和探讨本土可持续的原型。毕竟我们还有大量建造以及城市更新的机会，我们要抓住这些机会，通过自己的建筑来跟国际朋友们交流。建筑教育的未来，一方面需要紧跟潮流，另一方面还要深入思考和挖掘建筑学的核心。建筑学是包罗万象的，需要工程、科学、人文、社会等众多基础学科的支持，这些学科的发展都会影响到建筑学。

First and foremost, “carbon neutrality” is a critical area of focus, deeply tied to both architecture and urban planning. The research topic “Architectural Design Theories and Methods Aimed at Carbon Neutrality” is part of a major project under the National Natural Science Foundation of China, led by Tsinghua University’s Academician Zhuang Weimin. Over the past few decades, China’s construction conditions, socio-economic landscape, and environmental factors have shifted, and many of the buildings constructed during earlier periods now require upgrades and renewal. I believe it’s crucial to align with the nation’s developmental goals by actively engaging in urban renewal efforts.

First and foremost, “carbon neutrality” is a critical area of focus, deeply tied to both architecture and urban planning. The research topic “Architectural Design Theories and Methods Aimed at Carbon Neutrality” is part of a major project under the National Natural Science Foundation of China, led by Tsinghua University’s Academician Zhuang Weimin.Over the past few decades, China’s construction conditions, socio-economic landscape, and environmental factors have shifted, and many of the buildings constructed during earlier periods now require upgrades and renewal. I believe it’s crucial to align with the nation’s developmental goals by actively engaging in urban renewal efforts.In addition, we must continue to innovate and set global benchmarks, while also exploring and developing sustainable local prototypes. Given the numerous opportunities for construction and urban renewal in China, we need to seize these chances to foster international exchange through our architectural projects.As for the future of architectural education, we need to balance staying current with trends while deeply reflecting on the core of architecture itself. Architecture is an interdisciplinary field, drawing from engineering, science, humanities, and social sciences—all of which shape and influence the discipline’s evolution.

In addition, we must continue to innovate and set global benchmarks, while also exploring and developing sustainable local prototypes. Given the numerous opportunities for construction and urban renewal in China, we need to seize these chances to foster international exchange through our architectural projects. As for the future of architectural education, we need to balance staying current with trends while deeply reflecting on the core of architecture itself. Architecture is an interdisciplinary field, drawing from engineering, science, humanities, and social sciences—all of which shape and influence the discipline’s evolution.

▼宋老师教学时的照片，Photo of Professor Song during teaching

未来挑战

Future Challenge

目前正在进行的项目包括湖北乡村的土厂改造木构建筑，青海茶卡盐湖旁的小火车站，嘉兴高铁新城文化中心，以及海南五指山市毛纳村乡村振兴等。

Our current projects include the renovation of an earthen factory into a timber structure in rural Hubei, a small train station near Chaka Salt Lake in Qinghai, the cultural center in Jiaxing’s High-Speed Rail New City, and the rural revitalization project in Maona Village, Wuzhishan, Hainan.

▼海南五指山市毛纳村乡村振兴项目，Hainan Wuzhishan Maona Village revitalization project

我们下一步想要去继续探索学校这个建筑类型。学校会涉及到教育，实际的教育理念和设计师以为的教育理念可能会存在很大的差异，比如在建筑师眼中非常有意思的屋顶平台等开放式的空间，在校方或教育家的眼中可能会是不安全的隐患。此外，如何在面对南北差异的同时，坚持住我们一贯的理念，这些都是我们非常感兴趣的课题。将来还希望继续在污水处理厂等工业建筑上发光发热，把可持续的理念继续传播下去。

Looking ahead, we’re particularly interested in further exploring school architecture. Educational spaces involve specific pedagogical philosophies, and there can be a disconnect between what architects imagine and what educators need. For example, architects might find open spaces or rooftop platforms innovative, while school administrators may consider them safety risks. One challenge is how we can maintain our design philosophy while addressing the regional differences between northern and southern China. We also want to continue working on industrial buildings, like wastewater treatment plants, as a platform for promoting sustainability.

▼西安航天城第二中学，Xi’an Aerospace City No.2 middle School

▼西安航天城第二中学，Xi ‘an Aerospace City No.2 middle School

我们未来坚持的方向就是坚守住两头，一方面要高精尖，一方面也要接地气。

Our future direction will focus on balancing two extremes: pursuing cutting-edge advancements while staying grounded in practicality.

目前我们最想做的可能是例如航站楼、体育建筑等超大型的项目。我们希望去探索这些类型的组织逻辑以及设计面临的痛点是什么。

目前我们最想做的可能是例如航站楼、体育建筑等超大型的项目。我们希望去探索这些类型的组织逻辑以及设计面临的痛点是什么。在我 30 多岁刚在清华当老师的时候，建筑系曾经有过关于建筑学未来的探讨，当时老师们不太赞同以建筑类型来进行学术研究的划分。

在我 30 多岁刚在清华当老师的时候，建筑系曾经有过关于建筑学未来的探讨，当时老师们不太赞同以建筑类型来进行学术研究的划分。

我自己也在反思，建筑学的基本原理应该是跨类型的，是以问题导向，而不是以类型导向的。从学科发展的角度来说，以“类型”建立专门的研究是否有意义？所以我也在想，在经历了那么多的原型研究后，有没有可能借助超大型的建筑，从我们自己的观点去思考判断这种建筑类型的难点，以及类型的研究应不应成为建筑学发展的重要抓手。

我自己也在反思，建筑学的基本原理应该是跨类型的，是以问题导向，而不是以类型导向的，从学科发展的角度来说，以“类型”建立专门的研究是否有意义？所以我也在想，在经历了那么多的原型研究后，有没有可能借助超大型的建筑，从我们自己的观点去思考判断这种建筑类型的难点，以及类型的研究应不应成为建筑学发展的重要抓手。

我们未来坚持的方向就是坚守住两头，一方面要高精尖，一方面也要接地气。高精尖就是说在与发达国家的教授们、建筑师们交流的时候，我们的作品要很亮眼，要展示出高专业水准的特色技术；接地气就是说要适合当地，以尊重生态系统循环的做法，来解决问题，同时为建筑融入更广泛的公共性。

In the future, we are keen to take on large-scale projects such as airport terminals and sports facilities. We aim to explore the organizational logic behind these types and the unique design challenges they present.

Reflecting on my early years at Tsinghua, I recall debates about whether architectural research should be categorized by building types. Many professors at the time felt that dividing research by typology was limiting.

Personally, I believe that architectural principles should transcend typologies and be more problem-focused. From the perspective of academic growth, I question whether type-based research has long-term value. After years of researching various prototypes, I wonder if tackling large-scale buildings might offer fresh insights into design challenges and whether type-based research should play a central role in advancing the field of architecture.

Our future direction will focus on balancing two extremes: pursuing cutting-edge advancements while staying grounded in practicality. By “cutting-edge,” I mean creating standout work that demonstrates high-level expertise when engaging with architects and academics from developed countries. By “grounded,” I refer to developing designs that address local issues, integrating respect for ecological cycles while embedding broader public values.

▼宋晔皓，Song Yehao