OFFICE真相专辑 NO.50 – 山水秀建筑事务所

出品人：向玲 / Producer: Xiang Ling

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

“延伸观”

Theory of Extension

山水秀成立于2004年，如今正值21周年。回顾过往的发展历程，大致可以分为三个阶段。前两个阶段分别涵盖了2004年至2012年、2012年至2022年两个时间段，而2022年起，则迈向了一个新的探索阶段。

第一个阶段持续了约八年左右。这一时期，我自海外学成归来，在上海创办事务所，并回归到自己熟悉的江南文化语境中展开实践。在这个阶段，我尝试在江南语境里将自身所学与感知表达出来，实践主要围绕文脉展开，特别是对于庭院空间的探索，追求建筑语言的自洽性。

▼山水秀建筑事务所logo，logo of Scenic Architecture Office

Scenic Architecture Office was founded in 2004 and is now celebrating its 21st anniversary. Reflecting on its journey, the firm’s development can be broadly divided into three phases: the first spanning from 2004 to 2012, the second from 2012 to 2022, and the third, beginning in 2022, marking a new phase of exploration.

The first phase lasted about eight years. After completing my studies abroad, I returned to Shanghai to establish the firm, re-engaging with the cultural context of Jiangnan, which I was deeply familiar with. During this period, my practice focused on integrating acquired knowledge with the Jiangnan context, emphasizing cultural continuity. A key exploration was courtyard spaces, striving for a cohesive architectural language that resonated with the region’s heritage.

▼山水秀建筑事务所工作环境，Scenic Architecture Office Environment

然而，到了2011年、2012年左右，一种焦虑感开始出现。当时，开始信仰建筑中结构与空间互相推衍的力量，同时对秩序的思考也日益深化，促使我进入第二个阶段。在这个阶段，从场地、功用、体验出发，运用结构与空间合体的本体语言来达成设计的目的，每一个建筑项目都被视为研究新秩序的机会。我着迷于新的结构和空间关系，并在几个不同的秩序体系方向上进行探索。这种研究不仅延续到具体的建筑实践之中，也贯穿于我的教学工作和博士论文写作。

这一时期，我提出了“延伸观”的概念，所谓的“延伸观”，即将建筑作为人的延伸，从这个观念去看待建筑，以及建筑跟整个人类社会、以及自然界的关系，从而获得了一种新的认知。2022年博士论文完成后，我出版了《形制的新生》一书（中文版与英文版）。此时，我开始思考未来的发展方向，进入新的探索阶段。目前，这一阶段仍在不断演进，我初步设想的关键词是“技术与情感的链接”。我希望能够将建筑视为一种有生命的载体，使其不仅承载空间与生活，也能承载当代技术与人的情感，并在这两者之间建立紧密的关联。

However, around 2011–2012, a sense of unease began to emerge. I became increasingly convinced of the generative interplay between structure and space in architecture, while my reflections on order deepened, ushering me into the second phase of my practice. During this stage, I approached design through an ontological language that integrated structure and space, with site, function, and experience as guiding principles. Each architectural project became an opportunity to study on new order. I was particularly drawn to exploring novel structural and spatial relationships, experimenting with multiple systems of order. This inquiry extended beyond architectural practice into my teaching and the writing of my doctoral dissertation.

During this period, I introduced the concept of the Theory of Extension, which considers architecture as an extension of the human body. This perspective reshaped my understanding of architecture’s relationship with human society and the natural world. In 2022, after completing my doctoral dissertation, I published REBIRTH OF FORM-TYPE in both Chinese and English. At this juncture, I began contemplating the future direction of my work, marking the transition into a new phase of exploration. This phase is still evolving, but my initial guiding theme is the connection between technology and emotion. I aspire to conceive architecture as a living entity—one that not only accommodates space and life but also seamlessly integrates contemporary technology with human emotion, forging a profound connection between the two.

▼《形制的新生：山水秀建筑作品选》封面与内页，Cover and inner pages of REBIRTH OF FORM-TYPE

“今天的建筑已然承载了过多的枷锁，变得过度复杂。我开始思考如何认清建筑的本质，并找到更清晰的发展路径，以避免持续处于被动应对的状态。”

“Architecture today has become burdened with too many constraints, becoming overly complicated. I began to reflect on how to recognize the essence of architecture and find a clearer path for its development, in order to avoid remaining ina passive coping state continuously.”

我认为人类文明的最独特之处就是有能力在反思中不断演化，每个阶段都是对过去的延传、反思和更新，而非简单的否定。因此，这三个阶段都包含了过去的想法，并在此基础上继续前进。从宏观视角来看，我所建立的理论框架依然围绕“建筑作为人的延伸”展开。这一视角最初源自博士论文期间对文化人类学的研究，使我得以从更广义的角度审视建筑。今天的建筑已然承载了过多的枷锁，变得过度复杂。它不仅涉及政治、经济、环境、权力、消费、资本等因素，同时也要背负技术的进步与滞后。在这一过程中，建筑师的角色变得越发辛苦。因此，我开始思考如何认清建筑的本质，并找到更清晰的发展路径，以避免持续处于被动应对的状态。

I believe that the most distinctive feature of human civilization lies in its ability to continuously evolve through reflection. Each stage is an extension, reflection and renewal of the past, rather than a simple negation.. My work across these three phases is not about discarding previous ideas but about building upon them, continuously moving forward. From a broader perspective, the theoretical framework I have developed remains anchored in the concept of architecture as an extension of the human being. This perspective first emerged during my doctoral research in cultural anthropology, which allowed me to examine architecture from a more expansive and interdisciplinary standpoint.

Today, architecture is weighed down by excessive constraints, growing overly complicated. It is deeply entangled with politics, economics, the environment, power structures, consumption, and capital, while also navigating the dual forces of technological progress and stagnation. As a result, the role of the architect has become increasingly demanding. This has led me to reflect on how to distill architecture to its essence and carveout a clearer path forward—one that avoids remaining in a passive coping state continuously.

▼1999年祝晓峰与Herzog&DeMeuron于GSD评图（左）；2000年祝晓峰在纽约与贝聿铭先生何可人周宇舫孟岩王辉等建筑师交流（右），1999GSD Final Reviewwith Herzog&DeMeuron (left); 2000, Zhu Xiaofeng communicated with I. M. Pei, He Keren, Zhou Yufang, Meng Yan, Wang Hui and other architects in New York (right)

“延伸观”便是在这样的背景下形成的。某种程度上，它与麦克卢汉的理论相通：我们创造工具，而后工具塑造我们。从这个视角出发，我得以重新审视建筑的种种枷锁，并思考为何要打破某些限制，为何要简化或复杂化建筑，以及如何采取合理的设计策略。这使得我的思考更加清晰，也让我能够以更加整体的方式看待自身的建筑实践。

It was within this context that the Theory of Extension took shape. In many ways, it resonates with McLuhan’s idea that we shape our tools, and thereafter, our tools shape us. From this perspective, I was able to critically reassess the constraints imposed on architecture, questioning which limitations should be broken, when simplification or complexity is necessary, and how to develop more deliberate design strategies. This framework has brought greater clarity to my thinking, allowing me to engage with architecture in a more overall and purposeful way.

▼祝晓峰老师于日常工作时，Photo of Zhu Xiaofeng at daily work

“建筑必然与自然、社会、技术等要素产生互动，并在这种互动中演进。”

“Architecture inevitably interacts with elements such as nature, society, and technology, evolving through these interactions.”

基于“延伸观”，我进一步归纳出建筑演化的三种基本途径（它甚至可能适用于任何人造物），也就是身心，本体，交互。“身心”，即建筑最初的动因，来源于人的身体需求与心理需求。“本体”，即一旦某种人造物被创造，它便具有自身的逻辑、特性与发展规律。“交互”，即建筑必然与自然、社会、技术等要素产生互动，并在这种互动中演进。这一层面具有双重效应：一方面，它推动建筑向前发展，另一方面，它也可能带来新的束缚，使建筑陷入某种固化的模式。

通过这一框架，我能够更清晰地判断建筑发展的方向，并在日常实践中运用这一思考方式。这不仅帮助我保持思考的连贯性，也让我在面对复杂的建筑实践时能够更为心安，从而摆脱无谓的焦虑。总体而言，“延伸观”不仅是我的学术理论，同时也是我在建筑实践中的核心信念。

Building upon the Theory of Extension, I have further distilled three fundamental pathways of architectural evolution—principles that may even apply to all man-made objects. These three pathways are Body & Mind, Ontology, and Interaction. Body & Mind refers to the initial driving force of architecture, rooted in human physical and psychological needs. Ontology acknowledges that once an artifact is created, it develops its own inherent logic, characteristics, and patterns of evolution. Interaction recognizes that architecture inevitably engages with nature, society, and technology, evolving through these interactions. This dimension has a dual effect: while it drives architectural progress, it can also impose new constraints, leading to rigidified modes of development.

This framework allows me to discern the direction of architectural evolution with greater clarity and apply this thought process in daily practice. It not only helps me maintain intellectual continuity but also provides a sense of stability when navigating the complexities of architectural work, freeing me from unnecessary anxieties. Ultimately, the Theory of Extension is not just an academic construct—it is the core belief that underpins my architectural practice.

▼事务所团队日常工作照片，Scenic Architecture Office Team while working

代表性作品

Representative works

“屋型和庭院一样，都能够在延续传统文化的历程中不断成为新技术和新文化的载体，并可能生成新的秩序。”

“Like courtyards, I believe roof forms can continuously evolve, becoming vessels for new technologies and cultural expressions while preserving traditional values, potentially generating new architectural orders.”

在《形制的新生》一书中，我将这些年的作品划分为三类。这一分类并非完全按照时间顺序排列，而是基于对庭院空间的兴趣、对坡屋型空间的探索，以及对新形制的尝试，例如六边形细胞和分叉等反笛卡尔正交系统的设计。

首先，关于庭院空间的作品，可以将其视为“身心”与“交互”的体现。这里的“身心”比较容易理解，而庭院空间使我们与自然产生交互。庭院自古以来就具备这一功能，这也是我对庭院空间特别感兴趣的原因。

其次，关于坡屋型的设计，可以将其视为“本体”的延伸。地方屋型代表了许多地域建筑最初的形制，例如中国的山墙屋顶和木构架体系。这种架构不仅承载了建筑的基本功能，还蕴含了丰富的文化意义。屋型涉及“身心”和“本体”之间的关系。我相信屋型和庭院一样，都能够在延续传统文化的历程中不断成为新技术和新文化的载体，并可能生成新的秩序。

In REBIRTH OF FORM-TYPE, I categorize my recent works into three groups. This classification is not strictly chronological but is based on my interest in courtyard spaces, exploration of sloped-roof designs, and experimentation with new forms, such as hexagonal cells and bifurcations—non-Cartesian orthogonal systems.

First, the works related to courtyard spaces can be seen as expressions of Body & Mind and Interaction. Body & Mind is relatively straightforward, while courtyard spaces foster interaction with nature. This function has been inherent in courtyards throughout history, which is why I am particularly drawn to them.

Second, the sloped-roof designs represent an extension of Ontology. Traditional roof forms, such as China’s gable roofs and timber framing systems, are the foundational shapes of regional architecture. These structures not only serve basic functional purposes but also carry rich cultural meaning. Roof forms explore the relationship between Body & Mind and Ontology. Like courtyards, I believe roof forms can continuously evolve, becoming vessels for new technologies and cultural expressions while preserving traditional values, potentially generating new architectural orders.

▼山水秀建筑事务所部分代表作品，selected projects by Scenic Architecture Office

在庭院空间的设计实践中，早期的朱家角人文艺术馆项目是一个具有代表性的案例。在这个项目中，我们将庭院植入建筑内部，使其与周围的环境——无论是自然环境还是古镇风貌——产生互动。这一项目不仅体现了庭院空间的功能，也展示了建筑与环境的融合。

The early Zhujiajiao Museum of Humanities & Arts project serves as a representative example in the design of courtyard spaces. In this project, we integrated a courtyard within the building, fostering a dynamic interaction with the surrounding environment—both the natural landscape and the historic townscape. This project not only highlights the functional role of the courtyard but also exemplifies the seamless integration of architecture with its context.

▼朱家角人文艺术馆，上海，Zhujiajiao Museum of Humanities & Arts, Shanghai © Iwan Baan

点击这里查看更多，Click HERE for details

随后，在前两年完成的余德耀美术馆项目中，庭院的设计开始呈现出更强烈的结构含义，并探讨了结构体系如何与社会活动相结合。通过半开放的庭院以及建筑内部类似庭院的空间设计，我们将艺术活动从室内扩展到田野、小镇乃至城市中。庭院与廊道系统成为连接美术馆与社会的媒介，而这一媒介的实现正是通过互承结构体系的手段来完成的。因此，我认为这两个项目在庭院空间的设计中具有相对重要的意义。

In the Yuz Museum project, completed in the past two years, the design of the courtyard took on a stronger structural significance, exploring how the structural system could integrate with social activities. Through the semi-open courtyard and courtyard-like spaces within the building, we extended artistic experiences beyond the interior, reaching the fields, town, and even the city. The courtyard and corridor system became a conduit between the museum and society, with this connection achieved through a unified structural approach. As such, I believe these two projects are particularly significant in the design of courtyard spaces.

▼余德耀美术馆新馆，上海，Yuz Museum, Shanghai © 梁山 点击这里查看更多，Click HERE for details

关于屋型的设计，最早的代表性作品可能是云锦路的活动之家。这个项目包括群岛书店、那行工作室以及一家法国餐厅。云锦路活动之家的设计采用一道道按不同间距分布的混凝土墙来支撑一系列灵动的折板钢桁架结构，这是我们折板结构系列的开端之作。自此之后，我们开始不断探索坡屋顶，特别是运用折板结构，完成了一系列作品，例如千浔社区中心、深潜赛艇俱乐部和西塘良壤市集。南京园博园的九间廊桥是我个人非常喜欢的作品。它挖掘了传统形制的潜力，突破了常规的设计逻辑。在这个项目中，我们将传统屋顶形式与主体结构相结合，采用隐藏在廊桥坡屋顶中的折板桁架结构跨越河流，通过悬挂的方式将桥面平台吊起。这种反向的延伸设计颇具创意，展示了传统形制做为技术载体的巨大潜力。

One of the earliest representative works in roof design is the Activity Pavilions at Yunjin Road, which houses the Archipelago Bookstore, Naheng Studio, and a French restaurant. The design of the pavilions features concrete walls spaced at varying intervals, supporting a series of dynamic folded plate steel trusses. This project marked the beginning of our folded plate structure series. Since then, we have continued to explore sloped roofs, particularly through the use of folded plate structures, resulting in projects such as the Dongyuan Qianxun Community Center, Deep Dive Rowing Club, and Art Gallery on Market. The Bridge of Nine Terraces at the Nanjing Garden Expo is one of my personal favorites. It explores the potential of traditional forms while breaking away from conventional design logic. In this project, we integrate traditional roof forms with the main structure, using folded plate trusses hidden within the sloped roof to span the river and suspend the bridge platform. This reverse extension design is highly creative, demonstrating the great potential of traditional forms as carriers of technology.

▼云锦路活动之家，上海，Activity Pavilions at Yunjin Road, Shanghai ©苏圣亮 点击这里查看更多，Click HERE for details

▼苏州东原千浔社区中心，Dongyuan Qianxun community center in Suzhou ©苏圣亮 点击这里查看更多，Click HERE for details

▼深潜赛艇俱乐部，上海，Deep Dive Rowing Club, Shanghai ©苏圣亮 点击这里查看更多，Click HERE for details

▼九间廊桥，南京，Bridge of Nine Terraces, Nanjing © 梁山 点击这里查看更多，Click HERE for details

最后是关于“自由细胞”系列的设计实践。这一系列的最初尝试是在一个单细胞的村民活动室设计中用了六边形的结构形式，后来又运用在嘉定的一个幼儿园项目里。随后，我们进一步挖掘了六边形边界的潜力，发展出Y字形的延展形式，比如大沙湾海滨浴场。还有谷歌创客活动中心，正是基于六边形边缘的Y字形延展。这一设计在平面上实现了有机的自由延展，同时结合了现代结构桁架技术与中国园林的空间布局理念，营造了丰富的空间层次。它不仅体现了技术与形式的结合，还重新探讨了建筑与自然的关系。技术在这里被视为一种手段，甚至园林的设计也是一种手段，最终目的是回归到一种与自然和谐相处的状态。

Finally, regarding the design practice of the “Free Cell” series, the initial experiment in this series featured a hexagonal structure in a single-cell community activity room, which was later applied to a kindergarten project in Jiading. We then further explored the potential of hexagonal boundaries, developing a Y-shaped extension form, as seen in the Dasha Bay Beach Resort. The Huaxin Business Center also incorporates this Y-shaped extension based on the hexagonal edge. This design achieves organic, free-flowing expansion in plan while blending modern structural truss technology with the spatial layout principles of Chinese gardens, creating a rich spatial experience. It not only demonstrates the integration of technology and form but also reconsiders the relationship between architecture and nature. In this context, technology is seen as a tool, with garden design also serving as a means to ultimately restore a harmonious coexistence with nature.

▼金陶村村民活动室，上海，Community Pavilion at Jintao Village, Shanghai 点击这里查看更多，Click HERE for details

▼上海华东师范大学附属双语幼儿园，East China Normal University Affiliated Bilingual Kindergarten in Shanghai © 苏圣亮

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▼谷歌创客活动中心 – 华鑫中心，上海，Huaxin Business Center, Shanghai 点击这里查看更多，Click HERE for details

最近，我们正在进行的“在水一方”项目尚未完工，它是一个科幻主题空间，知名科幻IP《三体》即将进驻，在空间中进行三体主题的演绎。这可能是我们迄今为止设计的最大规模的“细胞”结构作品，上下壳包裹的空间达到了6000多平方米，其空间形态犹如巨大的海浪，以波的形式呈现。在结构上，我们与结构师张准老师合作，完成了这个极致的混凝土双壳体建筑。我们的探索仍在继续，未来还会有更多新的尝试与突破。

Currently, we are working on the “By the Water”project, which is still under construction. This science fiction-themed space will feature the well-known sci-fi IP The Three-Body Problem, offering an immersive experience based on its theme. It is possibly the largest “cell” structure we have designed to date, with a space enclosed by top and bottom shells spanning over 6,000 square meters. The spatial form evokes the power of massive waves, presenting itself in a ripple-like structure. For the design, we collaborated with structural engineer Zhang Zhun to create this groundbreaking concrete double-shell building. Our exploration is ongoing, and we look forward to further innovations and breakthroughs in the future.

▼正在施工中的“在水一方”项目，the “By the Water” project under construction © 苏圣亮

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自然观与传统观

Understanding of nature and tradition

“与自然的连接是我们与生俱来的需求，我们尝试通过实践，重新唤起人们对这一问题的重视和感知。”

“The connection with nature is an innate need of ours, and we aim to rekindle people’s awareness and perception of this issue through our practice.”

我认为建筑与自然之间的关系这一问题可以从三个层面来探讨：What、Why 和 How。我们为什么要与自然建立连接？从本质上来说，我们人类最初也是自然的一部分，与自然的连接是我们与生俱来的需求。如果意识到自己正在从自然中剥离，我们自然会渴望重新建立这种连接，保持与自然的通道，这对于整个人类来说都是至关重要的。

I believe the relationship between architecture and nature can be examined through three key questions: What, Why, and How. Why should we connect with nature? At its core, humans were once an integral part of nature, and our need to reconnect with it is innate. If we realize we are becoming disconnected from nature, we naturally yearn to restore that connection and maintain a channel to the natural world. This is essential for all of humanity.

▼浦东新区青少年活动中心和群众艺术馆，Pudong Adolescent Activity Center and Civic Art Center, Shanghai ©苏圣亮 点击这里查看更多，Click HERE for details

我认为，这源于人类的本性，是一种藏于我们内心的需求，尤其是在当代社会。建筑本身是人类创造的产物，但它是否能够通过设计、空间和形式的巧妙运用，反过来影响我们，帮助我们重新感知自然、融入自然？通过建筑与自然连接，这种连接或许被我们抽象化了。抽象可能是艺术性的，也可能是物理性的，甚至是增强式的——它增强了我们与自然的联系，甚至可能是疗愈的、思辨的，让我们通过与自然的相处，去思考我们未来的走向。我认为建筑可以帮助我们实现这一点，这也是我对这件事情特别感兴趣的原因。因此，我们尝试通过实践，重新唤起人们对这一问题的重视和感知。

This desire stems from human nature itself, an intrinsic need, particularly in today’s society. Architecture, as a product of human creation, raises the question: can it, through thoughtful design, space, and form, influence us in return, helping us re-engage with and integrate into nature? The connection through architecture may be abstracted in various ways—artistically, physically, or even augmented—enhancing our bond with nature. It may also be therapeutic or contemplative, encouraging us to reflect on our future path through our interactions with nature. I believe architecture can help facilitate this, which is why I’m deeply interested in the topic. Through our practice, we aim to rekindle people’s awareness and perception of this issue.

▼格楼书屋，上海，Lattice Book House, Shanghai© 梁山

点击这里查看更多，Click HERE for details

“传统为我们提供了许多启发，无论是作为转译还是新设计的出发点，传统的核心在于其建构特征和空间特征。”

“Tradition offers us much inspiration. Whether as a means of translation or a starting point for new designs, the essence of tradition lies in its construction and spatial characteristics.”

传统对我来说，绝不仅仅停留在翻译的层面，而是应该像一种建筑材料或新技术一样，与传统平等地成为新的起点或灵感来源。我们的历史可以平等地成为激发我们创造力的源泉。中国传统建筑或建筑空间的基本配置，从空间角度来看，是建筑与庭院的对偶关系，一种配对关系。无论是富有的园林，还是经济条件有限的小院子，甚至是几平方米的小天井，都保持着与自然的沟通。这种关系在中国传统文化中一直占据重要地位。

此外，中国传统建筑的建构也具有很高的识别度和稳定性。在结构上它既具有一定的合理性，也存在一定的不合理性或冗余。例如，抬梁结构并非直接受力，但这种非直接性恰恰体现了中国传统建筑的独特之处。它在实用的同时保留了生活的情趣。在这些方面，传统为我们提供了许多启发。无论是作为转译还是新设计的出发点，传统的核心在于其建构特征和空间特征。围绕这些内核进行转译、发明或创新，我们便无需被符号所束缚，而是能够自信且健康地通过新设计延续传统的精神。

Tradition is not merely about translation; it should be treated as a new starting point or source of inspiration, much like building materials or new technologies—on equal terms with tradition itself. Our history can serve as an equal source of creative inspiration. The fundamental configuration of traditional Chinese architecture or architectural space, from a spatial perspective, reflects a dual relationship between architecture and the courtyard—a kind of pairing. Whether it is a grand garden, a modest courtyard, or even a small light well of a few square meters, all maintain a connection with nature. This relationship has always held great importance in Chinese traditional culture.

In addition, the construction of traditional Chinese architecture is both highly recognizable and stable. Structurally, it holds a certain rationality, but also includes aspects of irrationality or redundancy. For example, the raised beam structure does not directly bear the load, but this indirectness is precisely what distinguishes traditional Chinese architecture. It remains functional while preserving a certain charm of life. In these aspects, tradition offers us much inspiration. Whether as a means of translation or a starting point for new designs, the essence of tradition lies in its construction and spatial characteristics. By translating, inventing, or innovating around these core elements, we can avoid being confined by mere symbols and confidently and healthily carry forward the spirit of tradition through new designs.

▼苏州东原千浔社区中心，Dongyuan Qianxun community center in Suzhou ©苏圣亮

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园林可以被视为庭院的延伸或者更形而上的一个层次。它的起源是为了在庭院中安放一部分自然，如水、石、木，营造一种避世或隐居的状态，使人仿佛置身于山林的局部，获得一种意中之境。这种意境类似于山水画中的可居可游之感。园林中的小径漫步，可能让人恍惚间以为自己身处雁荡山或峨眉山的山脚。这种意境并非真实，而是一种意念中的境界，类似于文人画的内核。

因此，如果要达到这种境界，可以以此为依据进行设计，而不必局限于传统的水、假山或小桥等元素。尽管这些元素仍可使用，但明代和清代已经将其推向高峰。如今，若要创造具有园林意境的作品，相信可以有新的方法来实现。

Chinese garden can be seen as an extension of the courtyard or a more metaphysical layer. Its origin lies in placing elements of nature—such as water, stone, and wood—within the courtyard to create a sense of seclusion or retreat, where one feels transported to a fragment of the mountains and forests, achieving a desired state of mind. This ambiance mirrors the feeling of dwelling or wandering found in traditional Chinese landscape painting. Walking along a garden path might make one feel, for a moment, as though they were at the foot of Mount Yandang or Mount Emei. This ambiance is not literal but a mental state, much like the essence of literati painting.

To achieve this atmosphere, one can design based on this concept without being confined to traditional elements like water, rockeries, or bridges. While these elements still hold value, the Ming and Qing Dynasties have already brought them to their zenith. Today, I believe new approaches can be found to create works that capture the spirit of a garden’s essence.

▼东来书店, 上海，From East Bookstore, Shanghai 点击这里查看更多，Click HERE for details

形式与材料

Form and material

“形式在建筑中非常重要，需要警惕的是形式主义，就是让形式成为支配性成分或以形式为先导、为目的的设计。”

“Form plays a crucial role in architecture, but one must be wary of formalism, where form becomes the dominant element, driving design with form as the primary objective. ”

我认为形式在建筑中非常重要，需要警惕的是形式主义，就是让形式成为支配性成分或以形式为先导、为目的的设计。但即使是以形式为目的的设计，也未必是建筑师主动选择的，而可能是社会强加给建筑师的，或是建筑师不得不为之。

从延伸观的角度来看，形式主义背后的潜台词是资本、权力、消费以及实现它的技术。这些因素推动建筑追求形式，因为形式可以象征权力或带来消费利益。因此，社会、媒体甚至政策都在追求形式。我认为形式是建筑的重要组成部分，但建筑还包含其他内容，例如结构与空间的关系、使用者的行为，以及它是否能激发人与人、人与自然、人与技术的交流。

Form plays a crucial role in architecture, but one must be wary of formalism, where form becomes the dominant element, driving design with form as the primary objective. Even when form is the focus of design, it may not always be a conscious choice by the architect, but rather something imposed by society or a necessary response to external pressures.

From the “extension view,” formalism often reflects underlying forces such as capital, power, consumption, and the technology that enables them. These factors push architecture toward form, as it can symbolize power or generate economic benefits. Consequently, form becomes a focal point for society, media, and even policies. While form is undeniably an essential aspect of architecture, it must be understood in relation to other elements, such as the interaction between structure and space, user behavior, and its ability to foster communication between people, nature, and technology.

▼绿谷艺术中心，上海，Green Valley Art Center, Shanghai © 章鱼建筑摄影工作室

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“建筑的外在形式承载了社会对建筑的期待，从这个意义上理解，对形式的需求是正常且健康的。”

The external form of architecture carries society’s expectations. In this sense, the demand for form is both natural and healthy.

此外，建筑的外在形式承载了社会对建筑的期待。因为花费了大量资金建造，它需要美观，并作为公共资源拥有一个形象。从这个意义上理解，对形式的需求是正常且健康的。然而，我希望在实践中能够平衡地看待这个问题，警惕完全被形式支配的状态。在亚热带地区我们倾向于设计坡屋顶，因为它为我们带来了安全感。云锦路活动之家的形式来源于此，我需要这样一种形式为空间提供一种安定感和家的感觉。而在谷歌创客活动中心的设计，其三角形洞口是桁架斜腹杆之间的剩余空间，因此被设计为三角开洞，供人穿行。如果是传统墙体，可能不需要桁架结构，可以设计成弧形或月亮形，但这里的结构决定了三角的形式。

Moreover, the external form of architecture carries society’s expectations. With the significant financial investment in construction, a building must be aesthetically pleasing and represent a public resource with a distinct image. In this sense, the demand for form is both natural and healthy. However, I aim to approach this issue with a balanced perspective, avoiding being entirely dominated by form. In subtropical regions, we tend to design pitched roofs because they offer a sense of security. The form of the Activity Pavilions at Yunjin Road reflects this, as I needed a form that would instill a sense of stability and homeliness in the space. In the design of the Huaxin Business Center, the triangular openings were created from the leftover space between the truss diagonals, resulting in their triangular shape for ease of passage. Had traditional walls been used, a truss structure might not have been needed, and the opening could have been curved or crescent-shaped. However, the structure here dictated the triangular form.

▼云锦路活动之家，上海，Activity Pavilions at Yunjin Road, Shanghai ©苏圣亮 点击这里查看更多，Click HERE for details

▼谷歌创客活动中心 – 华鑫中心，上海，Huaxin Business Center 点击这里查看更多，Click HERE for details

六边形可能更多是我主观的选择，因为它可以作为细胞的一种抽象化形态，细胞的形状有时可能是五边形、六边形或七边形。我认为它反映了生命体的有机状态，并在某种程度上反笛卡尔系统。笛卡尔系统做为一种空间定位方法虽然使建造变得方便、规律且易复制，但它可能与生命体系以及宇宙运行之间存在某种矛盾。当代的数字化技术已经使我们能够相对容易地实现多角度、多曲率的设计和建造。六边形作为一种细胞的隐喻，促使我去追逐和探索它的可能性，使我们不再局限于正交体系中的上下前后左右运动，而是能够进行相对自然有机或环绕性的运动。比如环绕就是自然界中最基本的运动模式之一，我认为应该成为建筑中值得深入挖掘的方面。

The hexagon is perhaps more of a personal choice for me, as it serves as an abstract representation of a cell. Cells can take many forms—pentagonal, hexagonal, or heptagonal—and I believe the hexagon reflects the organic nature of life itself, offering a counterpoint to Cartesian systems. While Cartesian methods make construction easier, more systematic, and reproducible, they may conflict with the organic systems of life and the natural rhythms of the universe. With modern digital technology, we now have the ability to design and build with multiple angles and curvatures with relative ease. The hexagon, as a metaphor for cells, motivates me to explore its potential, allowing us to move beyond the rigid constraints of orthogonal systems—up, down, front, back, left, right—and embrace more natural, organic, and even enveloping movements. Circular movement, for example, is one of the most fundamental motions in nature, and I believe it’s a concept worth delving into deeply in architecture.

▼上海华东师范大学附属双语幼儿园，East China Normal University Affiliated Bilingual Kindergarten in Shanghai © 苏圣亮 点击这里查看更多，Click HERE for details

我们在呼唤一个新的时代的到来。工具已经具备，但突破尚未出现，我们期待材料的革新。

We are on the verge of a new era. While the tools are available, the breakthrough has yet to happen. We eagerly anticipate material innovation.

材料是非常重要的，且材料的世界极为丰富。然而，建筑可用的材料类型相较于整个大千世界中的材料种类来说是非常有限的。虽然许多装饰性的材料能够给建筑体验带来附着性的情绪价值，但建筑的本体还是不得不解决许多实际问题，例如安全性、牢固性、防火性等。比如防火要求使得钢结构体系变得不那么理想，尽管它轻便，但防火需求削弱了它的优势。此外，材料还需要防雨和耐候性，这些限制使得建筑本体可用的材料选择变得非常有限。

除了我之前提到的技术问题，选材的限制与结构也密切相关。你可以想象一下，如果在月球上或在一个重力系数较小的环境中，你可能只需要使用树枝、树叶或织物等轻质材料就能建造建筑。然而，在地球上，由于引力的限制，我们必须依赖更为坚固的材料。

Materials are crucial, and the world of materials is incredibly vast. However, the selection of materials available for architecture is limited when compared to the full spectrum of materials in the world. While many decorative materials can enhance the emotional value of the architectural experience, the core of architecture must address practical considerations, such as safety, stability, and fire resistance. For instance, fire safety requirements make steel structures less ideal—despite their lightweight nature, fire resistance needs diminish their advantages. Additionally, materials must be weather-resistant, and these constraints severely limit the options available for the building’s core structure.

Beyond the technical challenges I mentioned earlier, the restrictions on material choices are also closely linked to the structural design. For example, if we were on the moon or in an environment with lower gravity, we might only need lightweight materials like branches, leaves, or fabric to construct buildings. However, on Earth, due to the pull of gravity, we are forced to rely on sturdier materials.

▼市集上的美术馆，浙江，Art Gallery on Market, Zhejiang © 梁山

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如今，建筑材料的选择更多停留在表面装饰的层面，缺乏真正的力量。我渴望能够回归到一种单一性的材料（monolithic material），这里的单一性类似穴居的岩石和巢居的树枝所具有的单一品质，我梦想这样的材料能够将结构、保温、暖通系统、电气系统和给排水系统融合在一起，赋予建筑生命。这样的材料将使建筑师摆脱复杂的构造，重新追求相对自由的设计状态。如果有这样的技术突破，我认为这才是建筑技术真正的革命性进步。

我们现在也在呼唤一个新的时代的到来。工具已经具备，但突破尚未出现，我们期待材料的革新。材料不应被视为孤立的存在，它应与结构紧密结合。我希望未来的材料能够像玻璃一样，通过分层实现保温、发电，并调节透明性与外界的通透性。如果有机会进行研究，我会努力推动这一领域的突破。

Today, the choice of architectural materials often remains confined to surface decoration, lacking real substance. I yearn for a return to monolithic materials, where simplicity mirrors the natural qualities of cave rocks or tree branches in a nest. My vision is for a material that can seamlessly integrate structure, insulation, HVAC, electrical, and plumbing systems, imbuing the building with life. Such a material would free architects from the complexities of construction, allowing for a more liberated design approach. If such a technological breakthrough were to occur, it would truly mark a revolutionary advancement in architectural technology.

We are on the verge of a new era. While the tools are available, the breakthrough has yet to happen. We eagerly anticipate material innovation. Materials should not be viewed in isolation but must be closely intertwined with the structure. I hope future materials will be like glass, with layered capabilities to provide insulation, generate energy, and regulate transparency and permeability with the external environment. If given the chance to research this, I would eagerly work toward a breakthrough in this field.

▼英科中心，上海 / 山水秀建筑事务所+ 出品建筑事务所，Intco Center, China by Scenic Architecture Office + Doarchi © 梁山 点击这里查看更多，Click HERE for details

我喜欢的材料很少，玻璃是其中之一。最近我对发泡陶瓷产生了兴趣，因为它不仅是一种隔断材料，还同时具备保温性能。只要一种材料具备两种或以上的性能，我就会非常感兴趣，因为我认为这正是在推动我所期望的新整合性（integrity）的出现，而不是仅限于单一功能。如果一种材料只有单一性能，无论其表面多么美观，我都认为它较为普通。在日常工作中，我不可避免地会遇到材料选择的限制，这常常让我感到苦恼。如果未来有机会开展相关研究，我会非常感兴趣，因为这可能真正为建筑学的未来做出贡献。

There are very few materials that I like, and glass is one of them. Recently, I’ve become interested in foamed ceramics because it not only serves as a partition material but also provides insulation. I am particularly drawn to materials that offer two or more functions, as I believe this fosters the kind of new integration I’m hoping for, instead of being confined to a single purpose. When a material only serves one function, no matter how beautiful its surface is, I find it somewhat ordinary. In my daily work, I often encounter limitations in material choices, which can be frustrating. If the opportunity arises for related research in the future, I would be very interested, as it could make a significant contribution to the future of architecture.

▼阳光下的发泡陶瓷&发泡陶瓷在立面上的应用效果，Foamed ceramics in the sun & the effect of foamed ceramics on the facade

关于建筑教育

Architecture education

“我认为建筑师的核心能力——建筑师的自我——应当在学校教育中得到保留和发扬光大。”

“The core ability of an architect— the integrity around ontological elements — should be nurtured and emphasized within education. ”

关于建筑教育，我始终倡导对建筑本体的认识，正如我之前提到的“延伸观”，努力去挖掘建筑本体的能量。因此，我认为建筑师的核心能力——建筑师的自我——应当在学校教育中得到保留和发扬光大。建筑本体的概念一方面可以理解为老子所说的虚实关系，即实体与虚体以及身心的关系。另一个本体的根源则是森佩尔（Gottfried Semper）提出的建构理论中的四个要素，即建构的问题。其次，第二个层面可能与时代背景密切相关。存量建筑的改造将成为重要议题，因为现有的办公楼或住宅可能过剩。未来，人们可能需要更多的交往空间，或是针对老年学校等特定需求的空间。此外，城市与乡村之间的新平衡也将成为关注的焦点。因此，未来将会出现大量注重实用性的改造项目。我认为在学校教育中应当重视这一领域。改造不仅仅是完成一个小作业，而是需要从整个体系上考虑，甚至涉及如何复原建筑的结构本体，以及如何将这一结构空间转化为一个新的建筑。建筑学同时是一门优秀的通识教育学科，具备强大的统筹能力。这种统筹能力可以进一步延伸至项目前期的策划以及设计完成后的运营。第四点可能是关于未来。目前，无论是设计还是其他领域，仍然是以我们人类为中心的服务体系。许多建筑空间的设计都是基于这些身心需求而展开的。如果有一天人类的身心开始与机器结合，那么到了那时，建筑还会存在吗？机器人是否会自行设计并营造出优秀空间？我们人类将扮演什么角色？我们是否会设计机器人，或为机器人发布设计指令？建筑教育可能会转变为一种指令式的状态，最终由人类做出判断。或许会有这样一个阶段，未来的教育肯定需要对此作出回应和准备。我所说的不仅是建筑，其他行业也可能需要进行类似的思考。

Regarding architectural education, I have always advocated for a deep understanding of architecture’s essence, as outlined in my “extension perspective” concept. It’s essential to explore the inherent energy within architecture itself. Therefore, I believe that the core ability of an architect— the integrity around ontological elements — should be nurtured and emphasized within education. The concept of architectural essence can be understood both as the relationship between the tangible and intangible, or between the body and mind, as discussed by Laozi. Additionally, the roots of architectural essence lie in Gottfried Semper’s construction theory, which identifies four fundamental elements of construction. On another level, this discussion is deeply tied to the context of our time. Renovation of existing buildings will become an essential issue, especially as there may be an oversupply of office and residential spaces. In the future, there may be greater demand for social spaces, or facilities tailored to specific needs, such as senior schools. The balance between urban and rural areas will also be a focus in coming years.

Consequently, we will see a rise in renovation projects focused on practical use. Architectural education should place greater emphasis on this area. Renovation is not simply about completing a small project but requires considering the entire system, including how to restore a building’s structural essence and how to transform this into a new form. Architecture is a powerful liberal arts discipline with strong organizational capabilities, which can extend to project planning and operations once the design is complete. The fourth point concerns the future. At present, whether in design or other fields, human-centered service systems prevail. Many architectural designs are based on physical and mental needs. But what if, one day, humans start to integrate with machines? Will architecture still exist in the same way? Will robots design and create spaces independently? What role will humans play? Will we design robots or issue design instructions to them? Architectural education may evolve into an instruction-based system, where human judgment remains essential. This may mark a significant shift, and future education must respond to this change. This isn’t just a consideration for architecture; other industries will likely face similar challenges.

▼祝晓峰于2015同济实验班教学，Zhu Xiaofeng taught in Tongji Experimental class in 2015

我们的每个项目都会安排驻场建筑师，并且每个工地我都会在关键阶段亲自前往，定期与他们一起视察工地的工作进展。在实际建造过程中，我们面对的是一个复杂的工业体系或建造体系。这一体系包括设计院的配合人员，其中有优秀人才，也存在明显的不足。施工队伍、业主的眼光以及建筑工业的水平参差不齐。作为一个小型事务所，我们无法撼动整个工业体系，只能在有限的范围内引导和推动，寻找新的解决方案。然而，如果我们能够通过示范性的智慧传递出新的理念，并成为其他项目的参考，那么我们就能对行业的进步产生正向的影响。这是我们日常工作中一直在努力的方向。

For every project, we assign an on-site architect, and I make it a point to personally visit the construction site at key stages to regularly check on progress with the team. The construction process itself involves a complex industrial and construction system. This includes the personnel from design institutes, some of whom are highly skilled, while others have noticeable gaps in expertise. The construction teams, the owner’s perspective, and the overall quality of the building industry are all inconsistent. As a small office, we can’t overhaul the entire industrial system, but we can guide and influence change within our scope, continuously seeking innovative solutions. However, if we can demonstrate new ideas through exemplary work and set a benchmark for other projects, we can positively influence the progress of the industry. This is the direction we consistently pursue in our everyday practice.

▼祝晓峰于柏林Aedes山水秀作品展开幕式致辞，Opening Speech for the Berlin Aedes Scenic Architecture Office Exhibition © Erik-Jan Ouwerkerk

我们最近在虹口区的山阴路、欧阳路和甜爱路一带开展一个城市更新项目，这也是建设部的一个示范项目，虽然规模较小，但很有意思。该项目涉及几个小的点位，整体上是一种城市微更新。我们希望通过这种方式激活原住民社区，尤其是老龄化问题突出的区域，同时吸引年轻人回归，使不同年龄层的人能够共同参与，重新激活文化街区，恢复烟火气息。这是一个非常有趣且具有挑战性的命题。我的切入点仍然是建筑本体，即如何通过建筑结构和空间来实现与自然和社会的交互。此外，我们还在进行另一类改造项目，即公园的更新与设计。上海拥有众多公园，例如我们与徐汇区合作的两个规模较大的公园。当前，上海正致力于提升其作为国际城市的形象，推动公园围墙的开放，使其成为城市中的绿肺。同时，许多老公园需要进行设施升级和改造。

We are currently involved in an urban renewal project in Hongkou District, covering areas like Shanyin Road, Ouyang Road, and Tian’ai Road. This is also a demonstration project supported by the Ministry of Housing and Urban-Rural Development. While the scale is relatively small, it’s an interesting and meaningful initiative. The project includes several smaller sites and is a form of micro-scale urban renewal. Our goal is to revitalize the local community, particularly in areas with an aging population, while also encouraging young people to return. We aim to create a space where people of all ages can come together, reignite the cultural neighborhood, and restore a sense of liveliness. This is both an exciting and challenging endeavor. My approach focuses on the architecture itself—how we can use building structures and spaces to create meaningful interactions between nature and society. In addition, we are also working on park renewal and design projects. Shanghai has many parks, including two large parks we’re collaborating on with the Xuhui District. The city is currently working to enhance its international image by opening park walls and transforming them into green lungs for the city. At the same time, many older parks require facility upgrades and renovations.

▼正在进行中的欧阳路街道 255、254街坊片区示范城市更新项目，Project on going – Ouyang Road Street 255 & 254 Block Demonstration Urban Renewal Project

▼正在进行中的公园更新-康健园，Project on going – Park Renewal – Health Garden

此外，目前还有一些新建项目，比如今年夏天即将开幕的在水一方三体科幻世界，还有一些在教育领域。例如，我们正在青浦的西岑——华为小镇进行的幼儿园项目，还有我们在徐汇滨江正在建造中的宋庆龄幼儿园、即将建成的包玉刚实验学校新楼等等，都从不同视角对教育空间进行思考，探讨如何将教育空间与自然和技术相结合。

Additionally, we are currently involved in several new projects, such as the “By the Water” Santi Science Fiction World, which is set to open this summer, and some within the education sector. These include a kindergarten project in Xicen, Huawei Town in Qingpu, the Song Qingling Kindergarten under construction along the Xuhui Riverside, and the upcoming new building of the Bao Yugang Experimental School. Each of these projects explores educational spaces from unique perspectives, focusing on how to integrate education with nature and technology.

▼正在进行中的华为小镇幼儿园项目，Project on going – Kindergarten of Huawei Town in Qingpu

▼正在进行中的包玉刚实验学校新楼，Project on going – Bao Yugang experimental school new building

此外，还有丁乙老师的新工作室、以及位于湖北咸丰的唐崖城址世界文化遗产博物馆和游客中心。该项目位于山地环境中，旨在与历史及当地文化传统对接，同时运用新技术与地景结合，打造新的文化交流空间。

梳理一下这些新的项目，我们思考的问题主要集中在以下几个方面：一是存量改造，二是延续我们原有设计思路的项目，但在这三个门类之间开始产生新的交集，例如细胞与庭院和与屋型的结合。此外，我们还有两个项目分别位于三亚和呼伦贝尔，一个极南，一个极北。这些项目都处于与星辰大海相伴的环境中，涉及酒店或海边栈道等设计。我们正在思考如何在这种远离城市的广袤自然环境中设计建筑，这是我们之前未曾有机会尝试的领域，现在正开始进行探索。

Additionally, there are new projects such as Professor Ding Yi’s new studio and the Tangya City World Heritage Museum and Visitor Center in Xianfeng, Hubei. Situated in a mountainous environment, this project aims to connect with local cultural traditions and history while integrating new technologies with the landscape to create a space for cultural exchange.

When reviewing these new projects, we are primarily focused on the following areas: first, the renovation of existing structures; second, projects that continue our previous design concepts but are now intersecting in new ways, such as the integration of cells with courtyards and building types. We also have two projects in Sanya and Hulunbuir—one in the far south and the other in the far north. These projects are located in environments near the vast ocean and starry skies and involve designs for hotels and coastal walkways. We are exploring how to design in such remote, expansive natural settings—a field we have not previously had the opportunity to explore and are now starting to delve into.

▼唐崖城址博物馆，Tangya City World Heritage Museum in Xianfeng, Hubei

▼唐崖城址博物馆和游客中心 – 廊桥，bridge of Tangya City World Heritage Museum and Visitor Center in Xianfeng, Hubei

▼唐崖城址游客中心，Tangya City World Heritage Visitor Center in Xianfeng, Hubei

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以建筑本体为核心

Architecture as core

我们始终以建筑本体为核心，因此建筑本体是一个媒介，也是我们的方法和追求的核心。这个核心的四个方向或旋转维度中，第一对是个人与社会的关系。这里的“个人”指的是个体的身心，而“社会”则是集体。个人与社会之间存在着强烈且相互牵扯的关系，建筑在其中扮演了非常重要的角色，无论是城市改造、住宅楼，还是从个体家庭到社区的社会结构。

另一条线索是技术与自然的关系，我认为建筑在其中不应扮演被动的角色，而应成为主动的引导者。我希望建筑能够引导人类与技术、自然和社会建立联系，并通过建筑加强它们之间的交流，使它们能够相互借鉴或汲取对方的精神，从而共同推动地球向更好的方向发展。作为一个小型事务所，我们希望能够创造出示范性的作品，这就是我们的追求与野心。

Our work is always centered on the essence of architecture—both as a medium and as the foundation of our methodology and vision. This core unfolds across four key dimensions. The first is the relationship between the individual and society. Here, “individual” refers to the human body and mind, while “society” represents the collective. The two are deeply intertwined, and architecture plays a crucial role in shaping their interaction—whether in urban renewal, residential buildings, or the social structures that connect households to communities.

Another fundamental thread is the relationship between technology and nature. I believe architecture should not be a passive participant in this dynamic but an active force that fosters connection. It should guide the integration of humanity, technology, nature, and society—encouraging dialogue and mutual influence. Through this exchange, architecture can help these forces inspire one another, ultimately contributing to a more sustainable and meaningful built environment. As a small practice, our ambition is to create exemplary works that serve as models for new possibilities. This is both our pursuit and our aspiration.

▼祝晓峰，Xianfeng