专访| OSO 创始人Michael Sypkens

1.外部竹子框架设计灵感来自于哪里,能解释一下支撑点吗?

could you tell us about the design Inspirations of the exterior structure?

外立面的设计理念是打造一个具有三维透视感的外墙。这是从那些隐藏在景观中的传统日本建筑里提取的灵感。在主立面之外,你会看到一道绿植和庭院组成的葱郁混合而成的景观带(大门、栅栏、桥梁、灯笼等),融合的空间一并展开在访客面前。

The idea for the exterior screen is to make a 3-dimensional garden. This is taken from traditional Japanese architecture, where the building is usually hidden within the landscape. Instead of a dominant facade, you find a mix of greenery and garden features (gates, fences, bridges, lanterns, etc.) that bind the space together to greet the visitor.

在这个项目中,我们用竹子、苔藓和蕨类植物等,创建了一个介于门和栅栏之间的屏障。而建筑主体是用色泽深沉的灰泥完成的,突出了外立面植物墙的颜色和纹理。

In this project we created a large screen – something in between a gate and a fence – that is laced with bamboo, moss, and ferns. The building behind is finished in a dark plaster to bring out the colors and textures of the greenery and the screen in front.

 

2.很欣赏你们对材料的处理。你能告诉我们你的设计理念吗?

We admire your handling of materials. Can you tell us about your design concept?

材料方面以使用天然、有机和柔软的材质为主。主要的室内饰面是灰泥、和纸和竹地板——所有的饰面都采用柔和的配色(从白色过渡到米色)。从而创造了一个平和安静的环境氛围。该项目面向南面是一个明亮葱郁的花园,自然的装饰着空间,仿佛它是室内空间的延伸。

The material concept is to use natural, organic, and soft materials. The main interior finishes are plaster, washi paper, and the bamboo flooring – all absorptive materials with a pastel (white to beige) color palette. This creates a calm and quite environment. Since the project opens up to a bright, lush garden to the south, the natural finishes draw in the garden as if it was an extension of the interiors.

 

3.你最喜欢的材料是什么?为什么?

What is your favorite material? Why?

我喜欢使用取自当地的材料,不仅因为其更自然、可持续的属性,也源于当地特有的丰富历史特点,让我觉得意义非凡。

We like local materials not only because it is sustainable, but also because there is usually a rich history to its use and associations that we find meaningful.

但如果必须让我选一种,我一定会选灰泥(plaster)。它是简单而古老的。几乎所有的传统建筑都曾以某种方式使用灰泥。我们特别喜欢它持久、永恒和有机的品质。

But if we had to choose one material, we would say plaster. Plaster is simple and old. Almost all old buildings used plaster in one way or another. We especially like its durable, timeless, and organic qualities.

 

4.你是否受到了设计大师或著名建筑的影响?

Are you influenced by any master designer or famous architecture?

我们很钦佩来自世界各地的许多建筑师的作品,尤其是那些没有留下名字的古代建筑师。但由于我曾为隈研吾工作过,并近距离观察、体会到他的设计思想的精髓,所以也可以说他是带给我最多启发的建筑师。

We admire the works of many architects from all over the world, and even more so those anonymous architects of ancient buildings. But since we have both worked for Kengo Kuma, and observed the brilliance of his thinking from close range, we would say he is the most inspirational.

 

5.你认为设计要跟随某些趋势吗

Do you prefer to follow some design trends?

我们的确需要持续关注设计潮流,但我们这样做更多的是出于对趋势的好奇而不是灵感的采集。就像看新闻一样,很多趋势可以告诉我们世界上正在发生什么,但它不能告诉我们该做什么。设计师的任务应该是定义自己在这个世界中的位置。

We do follow design trends but we do this more out of curiosity than for inspiration. Like the news, trends can tell us what is happening in the world, but it does not tell us what to do. It should be the designers’ task to define their own position within the world.

 

6.当你开始一个项目时,最重要的工作是什么?

when you start to design a project,what is the most important part in this whole work?

最重要的是要了解项目的各项需求参数。它是场地条件、建筑方案、当地材料、预算要求和客户期望的综合需求。任何好的概念都必须以新颖和令人兴奋的方式响应给定的需求参数。

The most important is to understand the parameters of the project. This is a combination of the site conditions, building program, local materials, budget requirements, and client expectations. Any good concept must respond to the given parameters in a novel and exciting way.

 

7.你认为疫情会带来怎样的影响?会影响你的工作吗?

What kind of influence will the COVID-19 bring? Will it impact your work?

我想目前的情况对每个人来说都是困难的,但对我们来说,这也是一个重新思考我们的工作的机会。我们当然要更加关注环境。我们希望更多地关注当地的材料和技术,观察建筑如何对不断发展的技术和生活方式做出回应,同时也不可失去以往固有的工作方式。

I imagine the current situation is difficult for everyone, but for us it is also an opportunity to rethink our work. We certainly want to be more mindful of the environment. We want to pay more attention to local materials and techniques, and observe how architecture can respond to evolving technologies and lifestyles without losing sight of the past.

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