出品人：向玲 / Producer: Xiang Ling
编辑：武晨曦，石安 / Editor: Wu Chenxi,Shi An
▼视频，Video
（全文深度采访见下方文字。视频为4分钟精华版，建议选择1080p高清版本观看）
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办公室现场
At the Office
察社办公室原来一直在胡同里，最早在东四，后来搬到方家胡同，又到石雀胡同。胡同里的好处是，干着干着活就可以出来溜达。后来之所以从石雀胡同搬出来，是因为胡同生活的一个缺陷，有时候在房间里能看见老鼠。我原也以为自己不怕老鼠，但是在房间里和它四目相对，才发现接受不了。所以当时几乎是逃出来。之后借朋友的地方，在雍和宫那边工作过一段时间，每天上下班回家沿着护城河走，于是就发现了现在这个地方。
第一次看的时候我就特别喜欢这个房间，它之前的租户把墙面刷成棕褐色，加上它是一个大约3×8.8米的长条形，短边向南，所以一进门，人们的视线就完全集中在朝阳的大窗户上。
▼位于北京东北二环的察社办公室，Chaoffice is located on the Second Ring Road in Beijing
我特别喜欢看窗户外面那座桥，很早以前去MOMA参观的时候也看见过它。我有一个想象，二环路上去机场的车会从这里拐弯，你会感觉到这个城市里的人仿佛是从这个拐点上嗖地一下就被“甩”到机场上飞走了。所以它的位置包含着一种动态，隐藏巨大的力量和场景感。同时，找办公室的一个前提，像在胡同里也一样，就是适合溜达。邻着护城河就特别好。像我一般每天白天工作，到了下午三四点，就能下来走走，很解压。另外一点就是我几乎一直都是一个人工作，所以也不需要太大的空间。
I was attracted by this room when I first saw it. I particularly liked looking out the window at the freeway overpass, which I also used to see when I visited MOMA a long time ago. I have an imagination that the cars heading to the airport on the Second Ring road would turn here, which makes me feel as if the people in the city are being “flung” from this turning point and flying away to the airport. So its location contains a dynamic that hides huge power and a sense of scene. At the same time, one of the prerequisites for finding an office, like in a Hutong, is that it is ideal forhanging around. Being next to a moat is even better. I usually work during the day, but at three or four in the afternoon, I can go downstairs for a walk, which is very stress-free.
▼察社办公室的窗台，外面是二环路高架桥，The bay window of Chaoffice, with a view to the freeway overpasson the Second Ring road
▼冬天，办公室附近的河道变成了溜冰场，In winter, the river nearChaofficeis turned into askating rink
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察社: 观察研究为主的机构
Chaoffice: based on observation and research
2008年我从学校毕业之后在都市实践北京办公室工作了6年，2014年离开，之后又和两个大学同学合伙开了公司（基本联合工作室）。也因为是裸着出来，所以几乎什么资源也没有。一开始我们几个是报团取暖的态度，但是后来发现大家的工作方式和思考方式都不太一样，朋友们也都进入人生下一阶段了，只有我自由自在没啥压力。再加上一些公司经营欠缺经验导致的危机，所以17年我们就把公司注销了，也是在这一年，察社办公室算是正式成立。
其实“基本联合”还存在的时候，就已经有察社这个名字了。它的本意是平行于“基本联合”、以观察研究为主的一个机构，后来发表的项目也都署了这个名字，所以就沿用下来。办公室每年做3个项目左右，基本一直就是我一个人的规模，去年招了一个小朋友小武。这个房间从一个人变成两个人办公，因为房间过于狭小，我还挺有压迫感。所以小武因为出国读书离开，我就想先“痛快”一年之类的，就也不急着招人。
After I graduated with my master’s degree in 2008, I had been worked at URBANUS in Beijing for 6 years. I left in 2014 and then started a company (OEU) with two university friends.In 2017, Chaoffice was officially established.
It was originally intended to be an institution parallel to OEU with observation and research as the main focus. Later projects were also signed with the name of Chaoffice, which has been used since then. The office is always a one-member-team, that is, all by myself, and basically takes about three projects every year.
▼察社办公室的工作台，大多数时候只有成直一个人在这里工作，The workbench in the Chaoffice, whereCheng Zhi is used to working alone most of the time
从2014年到2017年那段时间，我的工作挺不饱和的，所以有大量时间去做一些自发的研究性项目。这其中也包括阅读跟翻译。比如十五年后，我还在看爱丁堡读研究生时期的reading list，我语言并不好，阅读材料又往往艰深，过程其实是挺累的，基本上看完了我也就把整个文本都翻译了一遍。还有一件事就是我不论在哪工作都特别喜欢到处溜达，我觉得自己是一个好奇心挺强的人，所以溜达的时候就会发现好多奇奇怪怪的东西。
From 2014 to 2017, my work was not very demanding, so I had sufficient time to do some spontaneous research projects. This also included reading and translating. Fifteen years after I left school, I am still digging into the reading list from my postgraduate studies in Edinburgh. Honestly, I am not very good at languages and the reading material is often difficult, so the process is actually quite tiring. In most cases, doing reading means to translate the entire text.
Another thing is that no matter where I work, I really like to stroll around. I think I am a person with strong curiosity, which may explain why I always find various odd things when I walk around.
▼办公室的角落，摆放着成直的书籍、乐器和小物件，Acorner of the office, withCheng Zhi’s books, musical instruments and small objects
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“溜达”中的发现
Discoveries from rambling
“无常几种”是我的一个研究项目，其实就是观察和研究这些经久物，然后看他们现在变成什么样，拍短片记录下来，文献调查并编成故事。我觉得不管是阅读翻译还是研究性的调查，对我来说这些事儿跟建筑设计是平行的，它没有一个从属关系。换句话说，有时候我会觉得我不是传统意义上的建筑师，我不是每天硬挺地坐在这儿做设计，然后盖房子之类的。同时在做的有好几件事儿，都很长线，就像在滚几个大雪球。建筑只是其中的一件。建筑，阅读，写作，纪录片，观察研究，它们之间存在某种互相滋养的关系。
比如我还有一个研究项目叫“猫国”。因为我家住使馆区附近，每天在楼下都能看到很多流浪猫。每个大使馆的外面一般有两层墙，里面一层是使馆本身的砌筑墙体，外面一层是用铁栅栏围起来。所以这两层墙之间会存在一块模糊的区域。外面一个国家，里面一个国家。但两边的人都不会走进去。流浪猫们就占据了这里。我管它叫“猫国”。这背后隐藏的是人们政治，经济甚至军事活动塑造出的秩序和力，是我们看不见或者不会想到的，但它真实地在发挥作用。我的所有项目里边都会有这种潜藏的秩序跟力，对于这些看不见的东西，我都会感到特别好奇，特别有兴趣。
“Impermanence in Various Forms” is one of my research projects, which is essentially observing and researching these enduring objects, and seeing what they have become now. I record short films, conduct literature reviews and compile them into stories. For me, these things are parallel to what I do as an architect, and sometimes I feel that I am not an architect in the traditional sense, that I am not just sitting here every day doing design and building houses. I’m doing several things at the same time, all of them spanning a large period of time, just like rolling some big snowballs, and architectural design is just one of them. For me, architectural practice, reading, writing as well as documentary and observational research, they all feed off each other in some way.
▼成直溜达时发现的“猫国”，流浪猫占据了使馆区的一块模糊地带，The “Cat country”discovered by Cheng Zhi when he walks around, where stray cats occupy a blurred area in the embassy district
这个过程对我来说好像在培养某种习惯，做建筑的时候也就会习惯于去发现那些场地里隐藏的秘密。然后像猜谜语一样试图解密。
观察同时也是一个发现“反例”的过程。我会从中意识到什么事是不应该做的。换句话说，我观察这些被废弃又被使用的环境的时候，里边会有一些我觉得别扭的、不对劲的事。那当跨越到建筑设计的领域的时候。我就会避免这样做。
This process seems to cultivate a habit in me, so when I am doing architecture, I am accustomed to discovering the secrets hidden in the site, trying to decipher them like a puzzle.
Observation is also a process of discovering “counter-examples”. I will realize what should not be done. In other words, when I observe these abandoned and reused environments, there will be some things that I find awkward or wrong. Then when I cross over to the field of architectural design, I would avoid doing that.
▼成直在溜达时拍摄的照片，Photos taken by Cheng Zhi during his rambling
说回阅读那块，我对阿尔多.罗西（Aldo Rossi） 感兴趣，比如他写的《城市建筑学》（The Architecture of the City），里面有一章，讲城市里的经久物。某座房子，某片区域，某个构筑物，比如嵌在柏油路里的一段废弃铁轨，它们经历了漫长的历史时期，仍然存在于城市中，并且有一部分转变成了别的东西。我感兴趣的并不是那些被保护起来的“文物”，而是那些没被保护的：它们为什么还在那里，或者又为什么发生了改变，最后为什么消失？这些经久物可能被其他的人，或者其他的力量占据了，它会发生一些变化，然后存活下来，继续延续城市的历史。我觉得这是很有意思的一件事情。那我在溜达的过程中，可能就会发现它们。
Speaking of reading, I’m quite interested in Aldo Rossi. For example, in The Architecture of the City, there is a chapter on enduring typologies in the city. A certain building, an area, or an old structure like a piece of disused railway track embedded in the asphalt road, that has survived a long period of history and is still present in the city and has partly turned into something else. What actually interests me is not so much the protected ‘relics’, but those that are not protected: why are they still there, or why have they changed, or why have they finally disappeared? These enduring objects may have been occupied by other people or other forces, they may have changed and survived to continue the history of the city. I think this is a very interesting thing, and it’s likely to happen during my strolling.
▼察社办公室部分代表作，Part of the projects byChaoffice
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第一个项目
The first project
好多建筑师刚出来自己单干，如果没有资源的话，往往第一个项目都是亲戚朋友介绍的。西绒线胡同这个项目就是我的小学同学委托我做的，是对一个特别小的胡同杂院的改造。原来的房子没有光线，也不能通风，而且这个场地在尺度上有一种很强的割裂感，内部逼仄，外部又特别宏大，公共性和私密性之间也存在迅速的变化。所以我的设计目的就是要尽量让人不觉得那么割裂，让房间、光线、空气和人的动作可以尽可能地连续起来，而不是像孤岛一样被困在那个位置。
一开始我肯定不是主动地去选择一些小尺度的项目，但是做得多了，被人看见了，也就会有类似的项目找过来。时间长了之后，我开始变得熟悉这件事儿了，并且我发现当你对一件事情越熟悉，你反而会变得越好奇，越想发现里面更多的秘密。所以我也会有一种心态，就是觉得不如干脆多做一些类似尺度的项目，可能会让我有更多的发现。
When you become more familiar with something, you instead become more curious and want to discover more secrets within. So I also have a mentality that I might as well just do more projects of a similar scale, which might lead me to more unexpected discoveries.
▼察社发表的第一个项目：西绒线胡同杂院，House renovation in Xirongxian Hutong, Cheng Zhi’s first project released on media
点击这里查看更多，Click HERE for details
▼西绒线胡同杂院，改造前后对比，Before and after renovation
▼北面屋顶上的侧高窗大大弥补了室内里侧没有通风和采光的局面，The sunroof window faces the north to improve the air and lighting conditions
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“只做真实的项目”
Real projects only
所有人都在说“只做真实的项目”，没人愿意说在做“虚假”的项目，但是“真实性”对我来说是很特殊的。我不想浪费时间，因为我一个人的精力太有限了，我每年能干的就是这么多事儿，所以我会挺介意这个项目最后到底能不能落地，包括能不能让我自己有所表达，并有发表的机会。所以，很多项目只要个方案，或者落地前有大量不可控因素的我就推了。
另一方面，做独立住宅和公共项目不太一样的地方是，我要直接面对使用房子的人，要直接和住在这个房子里的人说话，中间没有翻译的过程。在每个项目开始之前我都要跟甲方聊很久。就像做心理咨询，我要明白人们内心最深处的渴望和需要到底是什么——从嘴里说出来的往往不是。这也是我所说的真实性的一部分。
People always say that they only do real projects, and no one wants to say they are doing “fake”, but “authenticity” is rather important and has a special meaning to me. I don’t want to waste time because my energy is limited. There’s only so much I can do each year, so I’m quite concerned about whether or not the project is going to end up on the ground, including whether I’m going to be able to express myself and have the opportunity to make it published on medias.
On the other hand, the difference between working on an independent house and a public project is that I have to speak directly to the people who use and live in the house, and there is no translation in between. Typically I will have a long conversation with my client before each project starts. It’s like doing psychological counseling, where I must understand what people’s deepest desires and needs really are – what they say out loud is often not true. This is also part of what I mean by authenticity.
▼察社办公室的项目模型，比起画图，成直喜欢将更多精力投入到做模型上，Project models.Cheng Zhilikes tospend more time on making models than drawing
我所有的项目都是，只要我做完了，我就不觉得好了。所以你要是现在让我说，我印象最深刻的项目就是还没开工的这个项目。就像我刚才说的，我特别需要了解每个项目的背景。实际上这也变成了我的某种习惯，我需要跟甲方反复地聊，反复地拜访现场，去发现现场的趋势，甚至有时候做一些小研究，然后才去想怎么做设计，怎么一步步推理得到最后的结果。
▼成直在工地现场，Cheng Zhi working on the project site
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屋顶：日常生活的新维度
Rooftop: a new dimension of life
拿我的第二个项目来说（磁器口大街杂院改造），它和第一个项目有点像，现场状况也特别“悲惨”，几乎已经看不出原来四合院的痕迹。它的环境实际上跟圣保罗、伊斯坦布尔、德里或者北非那些贫民窟没什么区别。当时我想看看屋顶的构造到底什么情况，就搬梯子爬上去，结果感受就和地面截然不同了，像是喘过一口气来。这是我做的第一个屋顶空间。
我必须承认，我的项目来源，往往是城市中的工薪阶层，普通市民，甚至低收入者。大家的居住环境很少在高档社区，或者空旷地带。这些场地在我们的城市中还是挺有普遍性的。
所以，除了这个项目，我对这些屋面的处理几乎都是出于类似的原因，就是地面上的需求不足，或者存在很大的问题。我觉得这可能是一个挺常见的城市状况。虽然说整体上它并不是一个高密度的区域，但是地面太拥挤了。虽然说平时生活主要还是在楼下，但是如果你有机会上到屋面的话，还是会给当下憋闷的状况提供一个新的维度。
I have to admit that my clients are often from the working class, or even low-income earners in the city. They rarely live in upscale communities or have much access to recreation spaces. It is still quite common to see such sites in our cities today, and the solutions I proposed for their roofs are basically for a similar reason, that is, there are lacks of use or significant problems at the ground level. Although daily life mainly takes place downstairs, if you have the opportunity to go up to the rooftop, it will provide a new dimension to the stifling situation at the moment.
▼磁器口大街杂院改造，屋顶在逼仄的胡同里带来喘息的空间，Renovation of a Hutong House in Ciqikou Street. The rooftop brings a space to breathe in the cramped hutong area
点击这里查看更多，Click HERE for details
▼山雀之家，突出的阁楼与周边村落形成对比，House of Mountain Birds. The extruding loft contrasts with the surrounding village houses
点击这里查看更多，Click HERE for details
▼台上之家，地形结合了桌面和座位，变成整个建筑中最让人兴奋的场所之一，House of Steps.Theroof terracecould very well be the most interesting space on the site
点击这里查看更多，Click HERE for details
▼跳墙之家，新加建的钢结构“提篮”趴伏在东房屋顶上，House Over the Wall. The steel structural ‘basket’ lies on the roof of the original building
点击这里查看更多，Click HERE for details
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塑造连贯的秩序
Creating coherence
就像刚才提到，我的项目都是这种位置不是特别好，环境存在劣势的情况。在改造之前，人们在这样的环境里生活的体验实际上是不爽的。所以我干的挺主要的一件事就是重新建立秩序和连接，然后不论是空间形态和尺度还是采光通风和视线，都尽量让它们连贯起来。
对于居住者来说，大家最容易理解的事是“玩命盖”，有机会他一定要变出更多面积，好像对土地的这种紧张感和渴望特别强烈。但是过多的面积，会让房子变成一个大体积的实心坨子。实际上，这样的房子通风采光都很不利。
在缝中之家这个项目的场地中，这更让整个胡同的环境变得像峡谷一样，两边都是特别高的房子，胡同又特别窄。所以我想做的第一件事就是怎么能让它产生采光通风，也就是所谓“喘口气”的机会。我们在它的总平上先拉了一道“缝”，开出了一个侧院，这个南北向的院子，在冬天太阳高度最低的时候，也能接受到阳光。同时房子的四个方向都可以开窗，从而重新获得了生机。
“缝中之家”的业主是一家三代人住在一起，对于这种大家庭来说，怎么鼓励家庭成员在公共空间里一块儿生活是非常重要的。很多人可能对公共空间是没有意识的，比如有些甲方会跟我提要求，说要建7个卧室，过年的时候二大爷回来，三姨回来都得有一间房子住之类的。但在我看来家庭生活好像不是这样。我希望塑造某种秩序，把人们从卧室里“拉出来”，而不是鼓励每个人窝在自己房间里看手机。还要提到空间里隐藏的这些秩序和力，“缝中之家”是一种尝试，空间被分解成高大和矮小两类。因为错层的关系，高大空间连接在一起，而矮小的私密空间各在各的角落。它在试图建立一种连贯性，让人们意识到公共空间里面的生活是成立的。
One of the most important things I do is to re-establish order and connection, and try to make them as coherent as possible, both in terms of spatial form and scale, light and ventilation, and views as well.
I want to create some sort of order that would ‘pull’ people out of their bedrooms, rather than trapping everyone in their rooms just staring at their phone screens. The design of“House of Cracks”tries break down the space into two types: tall and small. Because of the staggered levels, the taller spaces are connected, while the smaller, intimate spaces are in their own corners. It is an attempt to establish coherence and make people aware that life in public space is possible.
▼缝中之家，场地原貌、模型和改造后立面，House of Cracks. Original site, project model, and therenovated facade
点击这里查看更多，Click HERE for details
▼建筑主体离开邻居的外墙，错出一道缝隙，A gap has been left between the main body of the building and the neighbour’s facade to create an open-air “yard”
▼建筑中空间的高低变化，被扯开的缝隙，联通了不同的公共区域，Variety heights in the building, the “cracks” in between, connect different public area
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材料和建构是猎人的“捕兽夹”
Materials and constructions are like a hunter’s trap
我在材料使用方面没有主观上的偏好，甚至我觉得我对材料构造没有那么敏感。我完全是依据现场的状况和施工条件来做决定。
人们说起乡村里的房子，第一反应都是那些原生材料，比如石头、砖、木材等等。像山雀之家，它用了金属板屋顶和大面积的涂料，可能给人的感觉是它不属于村里，更像是一个城市里的房子。但其实我觉得恰恰相反，因为工艺和其他条件上的要求，在村里做石材、砖材、木材其实反而是昂贵的。反之，因为高度发达的路网和物流，近一二十年越来越成熟的工业生产体系。其实工业型材的使用和建造反而便宜。比如铝镁锰波纹金属板，我们在网上找到杭州的厂家，连生产加工到运输，一平米也只有100多块钱。
另外一点，我也不是完全对材料和构造节点没兴趣，毕竟建筑师无法避免一定要去操作这些事。去年我又翻译了我们学校几位老师写的一本结合理论实践的小册子（METIS），里面有一个观点我觉得说得挺对的，就是我们这种关心现场、关心背景、关心叙事的设计方式，不意味着它不关心建构，只是建构或者说材料、构造、细部和做法这些东西，对于我们来说更像是一个猎人的捕兽夹。这是一个特别好的比喻。捕兽夹要想好用，肯定是要讲究构造方式，但是它在使用的时候其实是要被隐藏起来的，你不能把它展现给猎物看。我对材料的看法也是类似的，我不会刻意去纠结或者凸显种材料或者某个节点做得漂不漂亮，一切的做法都是为了满足整体上那件“更大”的事儿。
I don’t have a subjective preference in terms of materials used, and I don’t even think I’m that sensitive to material and construction. I make my decisions entirely on the basis of the conditions on site.
Also, I am not completely uninterested in materials and construction nodes. After all, architects cannot avoid having to deal with these things. Last year I translated a booklet (METIS) written by several tutors in our school that combines theory and practice of construction, and there is a point of view that I think is quite true, which is that architects who are devoted to exploring the site, context and narrative can still put much focus on construction and materials. This can be seen as a hunter’s trap. For a trap to work well, it’s definitely about the way it’s constructed, but it actually has to be hidden when it’s in use, and you cannot show it to the prey. My opinion of the material is similar. I don’t get hung up on them or highlight them to make it look good, it’s all about to meet the larger goal.
▼跳墙之家，设计重现了砖石混砌的高墙，The recreated brick and stone facade ofHouse Over the Wall
▼跳墙之家，老屋顶扩充了狭小的屋面面积，The old roof, which has been occupied, expands the limited area of the roof terrace
▼山雀之家，坡面下面的钢梁在公共空间中暴露出来，变成空间感受的一部分，House of Mountain Birds.The steel pillar and beams beneath the slope are exposed in the public space, and they become part of the feeling it provides
▼过道之家，餐厅玻璃反射着庭院的景象，House of Passages. Outside the dinning room, the window reflect the view in yard
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▼过道之家，照明系统的辅助结构由拆除的旧门扇制成；南房卧室和洗手间通过既有的庭院石墙分隔，House of Passages. The structure of lighting system is made by original wooden door of south bedroom. In the south bedroom, the wall between toilet and bed room is the original stone wall in yard
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“写故事”在这个时代是有效的
Storytelling is effective in this era
关于叙事性的问题。我想从两个角度去说，首先这和我的学生时代有关。当时我们在西班牙南部的一个小城市凯蒂斯（Cadiz）待了十天，每个人都需要去发现城市中存在的各种问题和趋势。我发现的问题就是城市已经老龄化，没有什么精神。西班牙的房子中间都有一个天井，每户一般是三层或者两层，通常年轻人住在楼下，老人会住在楼上，围绕着天井，年轻人每天跑里跑外完成必须与外界发生的关系。老年人在里面颐养天年。个人、家庭和城市构成了一个完整的体系，但是随着老龄化，年轻人都去大城市打工，剩下的就是老人和新移民。所以老人慢慢搬到下面来住，上面的房子空着，或者租给留学生和新移民。慢慢地，城市中的房子就就变成一个个孤岛，原来那些天井变成了独立的存在，困在其中的老人渐渐和城市失去了联系。当时我的第一反应是想建一个养老社区或者养老院项目，但是很快就被批评无聊也无效。反复思考几轮之后最终为城市重新做了一个邮政系统，总局，分局，货物运输设施，投递处，邮筒甚至为老人设计的写信处形成一个完整的循环，通过这样的方式又把城市重新连接起来了。回想起来这其实就是在用叙事的方式，而不是用建构或者其他的方式解决城市问题。我从第一个项目开始也一直在做类似的事儿，慢慢也已经成了习惯。
另一个角度是我觉得写故事这件事在这个时代是有效的，因为对于今天的建筑师来说，你产出的并不光是那个房子。房子其实也是图像，建筑师同时也在做媒体的工作——如何去讲述这个房子，和如何去盖这个房子，几乎是同等重要的。在做设计的过程中，我一定会思考这个房子在讲一个什么样的故事，甚至有的时候故事会修改设计。写设计说明其实也是一种二次创作。说得再抽象一点，比如文学，我忘记是谁说的了：读者在阅读小说时产生的联想也是文学创作的一部分，我觉得这同是一个意思。建筑师在组织语言在解释这个房子的时候，实际上也会加一些新的东西进去，让它变成一个更完整的故事，所以叙事性在其中一直发挥着作用，前期它在影响设计，后期它又在影响媒体的表达。
I think storytelling is effective in this era because, for today’s architects, what they produce is not just a building. A building is also an image, and architects are also doing the work of the media – how to tell the story of a building is almost as important as how to make it implemented. In the design process, I will definitely consider what kind of story the building is telling, and sometimes the story will even modify the design. Composing a design statement is a kind of secondary creation.
When architects organize language to explain the building, they actually add new things to make it a more complete story. Therefore, narrative has always played a role in affecting design in the early stages and then it will influence the expression in the media.
▼不同的房子在讲述不同的故事，Each of the houses has its own narrative
▼用叙事的方式解决城市问题，慢慢变成了成直的习惯，It has become a habit for Cheng Zhi tosolve urban problems through the use of narrative
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不停地做事，不停地发声
Keep working and speaking out
首先标签不是自己能给的，你当然可以去试图影响跟控制这件事儿，但是从我的角度就会觉得这件事儿特别累。我无力去影响这个市场跟社会到底给了我什么样的标签，而且无论如何这个标签跟我肯定不是完全对应的，因为本身媒体环境就是一个充满误解的地方，所以我更愿意把精力放在我做的事情上，不停地做事，不停地发声，对于我来说就够了。
我原来会介意标签这件事，但现在我不介意了。我觉得误解是常态，只要别停在某一个点，然后新的误解代替旧的误解，持续不断就行了，如果停在某个地方，不前进，那样就真的变成一个彻底的误解了。但是无论如何，我肯定会希望大家理解我们是如何工作的，以及我们关心的是什么。建筑师干的就是特别现实的事儿，是花真金白银变成一个实实在在落地的东西。我的每个项目都是以“有效”为第一目的，所以我希望人们对我的认知就是“真实的状况”。
I can’t control what kind of label the market and society have given me, and regardless, this label does not fully correspond to who I am. The media environment itself is full of misunderstandings, so I would rather focus my energy on what I’m keeping doing and speaking out, which I think is enough for me.
I used to mind labels, but now I don’t. I think misunderstanding is the norm, but we can avoid from getting stuck at one point and let new misunderstandings replace old ones continuously, because it will become a complete misunderstanding if you stop somewhere and never move forward. Each of my projects is taking “effectiveness” as the first priority, so I hope people’s understanding of me is no other than the “real situation”.
▼成直在办公室做模型，Cheng Zhi making a model in his office
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“任性”的北京建筑师
Awilfularchitect from Beijing
一个趋势是私人的项目可能会越来越多，年轻人逐渐变成家里的主人，然后慢慢地大家会越来越意识到建筑设计的重要性。另外，北京中心城区的土地确实太饱和了，城乡建筑的不平衡也是一个挺严重的问题。所以我觉得北京郊区的广阔土地在未来会有越来越多的机会，现在北京周边恐怕有上百万套房子都存在被改造和重建的需要，只不过现在还没有被激发出来。
从建筑师的角度来说，北京其实多样性挺足的，有时候会出现一些完全意料之外的状况，甚至有时候让人挺惊喜的。北京的建筑师没有大圈子，都是哥几个一块儿聊，大家想事情的方式也不一样，特有意思。
▼成直和朋友们聚会，Cheng Zhi with his friends
前两年我特别喜欢一个智利的建筑师，叫Smiljan Radic。他在讲漂浮感，包括被包裹的状态。房子都做得非常好，我挺喜欢的。我一直以为他们是一个有点规模的事务所，结果我有天听他的讲座，他说他们就是一个5人工作室，然后我一下就觉得这事挺对劲的。所以说到未来发展，我觉得如果哪天真的哥们发达了，项目设计费巨高，我能再租三屋给打通成特别大一办公室，我最多也就是5个人，超过5个人我觉得干的事就不一样了。
有一个核心是，我还挺任性的，我只想自己想干的事儿，不想受到太多干扰。一方面，项目上我觉得可以不受限制，也不是说非做住宅不可，但是尺度别太大了就行。然后项目越有意思越好，能发挥的余地更大一点。我现在有好多项目，包括之前那些研究，现在都是暂停的状态。我还想写东西，实际上这个东西在脑子里转了好几年了已经。有点像小说，也有点像地方志，实际上它是一个假想的世界，然后会有某种隐喻，其实仔细想想和建筑也有关系。虽然感觉不一定能发表，但是我挺想写出来的。有好多想干的事现在还都没时间干，所以我也希望未来自己的时间能更多一点。
Lately I’ve been particularly appreciating the works by a Chilean architect named Smiljan Radic. His design talks about floating, including the state of being wrapped up. I was impressed by all those houses designed by him. I thought they were a relatively large firm, but I heard him give a talk one day and he said that they were a five-person studio, and I immediately felt like it was what I’m going to do. Imaging one day I earned megabucks to expand my office, I think it is still just a team of no more than five people. Otherwise I will be doing something totally different.
One important thing is that I think of myself as a wilful person, and I don’t want to be disturbed too much in what I’m doing. Now I’m working on a lot of projects, including the previous researches that are almost suspended. I also want to write something, and I’ve actually had this in my head for a few years. It might be a novel, or a bit like a local chronicle. Basically it will be a story about a hypothetical world with some sort of metaphors more or less related to architecture. It doesn’t feel like it’s going to be published, but I’d like to write about it. There are so many things I want to do that I haven’t had time to do yet, so it’s my wish to have more free time in the future.
▼成直，Cheng Zhi
*摄影师：朱雨蒙（拍摄项目：台上之家、过道之家、山雀之家、缝中之家）
Project photographer (for House of Steps, House of Passages, House of Mountain birds and House of Cracks) : Zhu Yumeng, Cheng Zhi
More：察社办公室。 更多关于他们请至：Chaoffice on gooood
