场域建筑工作室 (Approach Architecture Studio) 由主持建筑师梁井宇于2006年在北京创立。自成立以来,就坚持主持建筑师负责的精细化设计原则,而不以追求规模、效率及盈利为首要目标。其一系列建筑设计项目、学术研究及教学成果,为场域建筑赢得了持续的专业声誉。曾经获邀参加包括威尼斯建筑双年展、圣保罗双年展、深圳双年展等世界范围的重大建筑展览,建筑作品刊登在包括Domus, Detail, A+U等等在内的多家媒体,获得包括WA中国建筑奖优胜奖(最高奖)在内的国内外多个建筑奖项。代表作品包括北京伊比利亚当代艺术中心、上海民生美术馆、北京無用生活体验中心,北京大栅栏文保区的保护与发展规划与策划等等。服务业主包括北京市规委、深圳市国土规划局等政府部门,德国宝马、韩国现代、日本无印良品、耐克等跨国企业,及中国民生银行、华侨城等众多企业及开发商。
Approach Architecture Studio was founded in Beijing in 2006 by Liang Jingyu, the principal architect. Since its establishment, the studio has adhered to the principle of meticulous design led by the principal architect, rather than pursuing scale, efficiency, and profit as its primary goal. Its series of architectural design projects, academic research, and teaching achievements have won the studio sustained professional reputation. The studio has been invited to participate in major global architecture exhibitions, including the Venice Biennale, São Paulo Biennale, and Shenzhen Biennale. Its works have been published in several medias such as Domus, Detail, A+U, and have won multiple domestic and international architectural awards, including the WA China Architecture Award Grand Prix.
The studio's representative works include the Iberia Center for Contemporary Art in Beijing, the Minsheng Art Museum in Shanghai, the Wuyong Useless Space in Beijing, and the urban revitalization planning of the Dashilar in Beijing. Its clients include government agencies such as the Beijing Municipal Planning Commission and the Shenzhen Land Planning Bureau, multinational corporations such as BMW, Hyundai, Muji, and Nike, as well as numerous domestic enterprises and developers such as Minsheng Bank and Overseas Chinese Town(OCT).
无论是翱翔的飞鹰,还是盛开的苹果花,辛勤劳作的马儿,欢快的天鹅,分枝的橡树,蜿蜒的小溪,飘荡的云朵,以及穿越天空的太阳,“形式永远追随功能”,这就是规律。当功能不变时,形式也不会改变。花岗岩石头,沉思的山丘,能长存多年;而闪电则会一瞬间诞生、形成并消亡。
这是所有有机和无机物,所有物理和形而上学的事物,所有人类和超人类的事物,所有头脑、心灵、灵魂真实表现的普遍规律,生命可在其表达中被识别,形式永远追随功能。这就是规律。
路易斯·沙利文
建筑设计长期以来被“形式追随功能”的原则所主导,这种原则优先考虑理性、效率和技术,而忽视了主观经验和感受。这种设计方法导致建筑环境常常变得单调、冷漠,与人类的实际体验相脱离。我们提出了一个新的建筑设计宣言,将感觉置于设计的前沿。我们反对那种将功能视为形式的唯一决定因素的观念,主张设计应优先考虑用户的情感和心理需求。
我们的建筑宣言是“形式追随感觉”,并坚信建筑应被设计成能够引发积极情感、创造有意义体验的空间。我们承认人类感知和感受是复杂而多面的,我们致力于在设计中尽可能包容和体现这种复杂性。我们的设计方法基于同理心和对建筑环境的文化、社会和历史背景的深刻理解。
我们反对现代主义的简单化方法,这种方法过于强调效率和技术而忽视了人类的实际体验。我们认为建筑必须超越技术进步和功能需求的简单反映。建筑应该反映人类的生存状况,庆祝我们集体的价值观与愿望。通过将感觉置于我们的设计过程的核心位置,我们可以创造一个真正有意义、美丽、可持续的建筑环境。
我们所追求的建筑的诗意,存在于:平常与意外,地方与异域,自然与几何,光明与阴翳,瞬间与永恒,当下与期待,似曾相识与陌生,回忆与幻想,完美与侘寂,克制与礼赞,等等这些相对的概念中,它唤起我们清晰或朦胧的感觉。我们认为建筑的诗意是无法用言语来表达的,而是可以从建筑本身、空间和氛围中体会和感受到。建筑不仅是一个空间的实体,更是人们生活的舞台。我们坚信建筑应该是充满意境、意义和价值的存在,它能够引导人们感知、思考和回归内心。与当代主流建筑追求效率、速度、量产不同,我们主张关注地方特色、历史文化,注重人文关怀和建筑的永续性,从而营造出一个充满诗意、人文关怀和内涵的建筑空间。让建筑不再是冰冷、无趣和单调的存在,而是成为与人们情感共鸣的文化符号和生命之所。
形式追随感觉,则建筑必然是友善的。在设计中,我们必须始终关注用户的需求和感受。我们应该为用户创造一个舒适、安全、美丽的空间,同时尊重并保护周围的社区和环境。建筑应该是社会和谐的一部分,不应该是建筑师个人意志的体现,而应该是一种参与和合作的结果。因此,我们必须始终考虑建筑的社会和环境影响,寻求可持续的设计方案,以确保我们为未来的世代留下更美好的世界。这是我们的设计目标:为人类,为社区,为环境设计友善的建筑。
Whether it be the sweeping eagle in his flight, or the open apple-blossom, the toiling work-horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function,” and this is the law. Where function does not change, form does not change. The granite rocks, the ever-brooding hills, remain for ages; the lightning lives, comes into shape, and dies, in a twinkling.
It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.
Louis Sullivan
Modernism in architecture has long been dominated by the principle of Form Follows Function, which prioritizes rationality, efficiency, and technology over subjective experience and feeling. This approach has resulted in a built environment that is often sterile, alienating, and disconnected from the human experience. In contrast, we propose a new manifesto for architecture that places feeling at the forefront of design. We reject the notion that function is the only driver of form and instead advocate for a design approach that prioritizes the emotional and psychological needs of users.
Our manifesto posits that Form Follows Feeling and asserts that the built environment should be designed to elicit positive emotions and create meaningful experiences for users. We recognize that human perception and feeling are complex and multifaceted, and we seek to embrace this complexity in our designs. Our approach is grounded in empathy and a deep understanding of the cultural, social, and historical contexts in which our buildings will be situated.
We reject the reductionist approach of Modernism, which prioritizes efficiency and technology over the human experience. We believe that architecture must be more than a mere reflection of technological progress and functional requirements. Rather, it must be a reflection of the human condition, a celebration of our collective aspirations and desires. By placing feeling at the center of our design process, we can create an architecture that is truly meaningful, beautiful, and sustainable.
The poetry of the architecture we pursue exists in the juxtaposition of the ordinary and unexpected, the local and exotic, nature and geometry, light and shadow, the ephemeral and eternal, the present and future, the habitual and novel, reminiscence and fantasy, restraint and tribute, and other relative concepts. It evokes clear or hazy feelings in us. Architecture is not just a physical entity of space, but a stage for people’s lives. We believe that architecture should be an existence full of imagery, meaning, and value, which can guide people to perceive, think, and return to their inner selves. Unlike the contemporary mainstream architecture pursuing efficiency, speed, and mass production, we advocate paying attention to local characteristics, historical culture, humanistic care, and architectural sustainability, thus creating a poetic, humanistic, and meaningful architectural space. Let architecture no longer be a cold, dull, and monotonous existence, but become a cultural symbol and a place of life that resonates with people’s emotions.
Form Follows Feeling, thus architecture is inherently benevolent. In design, we must always prioritize the needs and experiences of users. Our aim is to create a space that is comfortable, secure, and aesthetically pleasing, while also respecting and protecting the surrounding community and environment. Architecture should be a harmonious part of society, not a reflection of the architect’s personal will, but rather a collaborative effort. Therefore, we must always consider the social and environmental impacts of our designs and strive for sustainable solutions to ensure a better world for future generations. Our design goal is to create architecture that is human-centric, community-oriented, and environmentally responsible.
梁井宇 Liang Jingyu
主持建筑师 Principal
自2013年起任清华大学建筑学院设计导师,毕业于天津大学建筑系,1996-2003年工作于加拿大蒙特利尔及温哥华,其中在2000-2002年间,梁井宇曾作为电子艺术家为电子艺界(Electronic Arts) 游戏公司设计游戏产品。2005年参加巴西圣保罗建筑与艺术双年展。2006年参加鹿特丹“当代中国”建筑、设计与视觉文化展。2007年他的数个城市研究项目在深圳和香港双年展两地展出。除了从事建筑实践和城市研究,同时他也是2007年大声展策展人之一,并作为“2009年深圳/香港城市与建筑双城双年展”的策展团队成员负责展览空间设计。2011年担任北京大栅栏文保区规划顾问、北京国际设计周“大栅栏新街景”策划工作。2016年,任15届威尼斯国际建筑双年展中国馆策展人。
Liang Jingyu is a design studio tutor at Tsinghua University's School of Architecture since 2013. He graduated from the School of Architecture at Tianjin University and worked in Montreal and Vancouver, Canada from 1996 to 2003. Between 2000 and 2002, he designed video game products as an electronic artist for Electronic Arts. In 2005, he participated in the Sao Paulo Biennale of Architecture and Art. In 2006, he participated in the "Contemporary China" exhibition of architecture, design, and visual culture in Rotterdam. In 2007, several of his urban research projects were exhibited in the Shenzhen and Hong Kong Biennale. In addition to architectural practice and urban research, he was one of the curators for the 2007 Get-it-Louder exhibition and was responsible for the exhibition space design as a member of the curatorial team for the 2009 Shenzhen/Hong Kong Bi-City Biennale of Urbanism and Architecture. In 2011, he served as a planning consultant for the Beijing Dashilar Preservation Area and was responsible for the "New Streetscape of Dashilar" plan for the Beijing International Design Week. In 2016, he was the curator for the Chinese Pavilion at the 15th Venice International Architecture Biennale.
叶思宇 Ye Siyu
高级合伙人 Senior Partner
毕业于青岛理工大学建筑系。主创建筑师,同时负责团队协调管理及事务所运营。主要参与项目有场域建筑新办公室改造、Ordos20+10、ARRTCO Collection时尚品牌旗舰店、大栅栏保护与更新计划、無用生活体验空间等等。
Graduated from the Architecture Department of Qingdao University of Technology. He is the lead architect and responsible for team coordination, management, and operation of the firm. He has been involved in various projects, including the transformation of the Approach Architecture Studio's new office, Ordos20+10, ARRTCO Beijing, Dashilar preservation and revitalization plan, and Wuyong Useless Space.
周源 Zhou Yuan
合伙人 Partner
毕业于贵州大学建筑学专业。她参与了伊比利亚当代艺术中心、上海民生美术馆、深圳双年展、西安大都荟、茅贡粮库艺术中心、大南坡等多个项目。
Graduated from the School of Architecture at Guizhou University. She has participated in numerous projects, including the Iberia Contemporary Art Center, Shanghai Minsheng Art Museum, Shenzhen Biennale, Xi'an Glorious Plaza, Maogong Barn Art Center, and Dananpo project.