IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8-建筑档案

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

特别鸣谢 | 首席领先伙伴

RARA 系统定制家居

以构建国际领先的系统定制家居品牌为理念

对“IDD世界领先设计对话”的支持

IDD世界领先设计对话，是广州设计周联合GIA广州设计周全球伙伴联盟中的中外设计领先机构、组织和媒体发起的一项对话世界设计领先者的国际设计交流计划，IDD世界领先设计对话以「MASTER MIND巨匠的思索」为思想探寻的的主旨方向，希冀通过与世界领先设计巨匠对话，探索世界领先设计思想，以世界领先推动中国领先，以中国领先影响世界设计。

十几年来，广州设计周对于中国设计与世界领先设计思索的交流对话从未停止，IDD世界领先设计对话以对话巨匠、发掘新声、臻选杰作三大内容版块构建年度运营体系，由此推动世界领先设计与中国设计之间的对话交流和发展。

对话巨匠，追随领先

Dialoguing With Masters To Follow The Leading

IDD将面向世界各国在设计领域具有领先建树、实践和思索的业界翘楚或机构，并联动中外领先设计机构、组织和媒体共同推举，每年甄选“IDD年度设计巨匠”，全年通过登门访谈、演讲论坛等形式对话“IDD年度设计巨匠”，探寻巨匠的思索，策划形成访谈视频、专题、出版刊物等内容，分别在HKDC香港设计中心的BODW+/viuTV进行全球播放，并在中外设计领先传播平台和渠道进行宣发和展示，希冀汇集世界领先设计思索，启迪中国乃至世界设计产业的更新发展。

对话巨匠，追随领先 | VOL.8

Chris Van Duijn

荷兰 | Netherlands

OMA

OMA是一家国际事务所，在传统的建筑和城市化研究框架内运作，而AMO则是一个研究和设计工作室，将建筑思想应用于传统领域之外。 OMA由八位合伙人领导，在鹿特丹、纽约、香港、多哈和澳大利亚均设有事务所。目前施工中的项目有：英国曼彻斯特“工厂”艺术馆、中国杭州光棱、美国休斯敦旧邮局改造、及中国深圳自贸时代中心等。已落成的OMA项目包括：台北表演艺术中心（2022年）、瑞典斯德哥尔摩Norra Tornen双塔式住宅楼（2020年）、德国柏林Axel Springer园区（2020年）及韩国首尔光教Galleria百货大楼（2020年）。早期知名建筑作品包括意大利米兰普拉达基金会（Fondazione Prada，2018年）、中国北京CCTV总部大楼（2012年）及葡萄牙波尔图市立音乐厅（2005年）。

OMA is an international practice operating within the traditional boundaries of architecture and urbanism. AMO, a research and design studio, applies architectural thinking to domains beyond. OMA is led by eight partners and maintains offices in Rotterdam, New York, Hong Kong, Doha, and Australia. OMA-designed buildings currently under construction are the Factory International in Manchester, Hangzhou Prism, POST Houston, and the CMG Times Center in Shenzhen. OMA’s completed projects include Taipei Performing Arts Centre (2022), Norra Tornen in Stockholm (2020), Axel Springer Campus in Berlin (2020) and Galleria in Gwanggyo (2020). Earlier buildings include Fondazione Prada in Milan (2018), CCTV Headquarters in Beijing (2012), and Casa da Música in Porto (2005).

- IDD对话巨匠系列专访 -

本期走进世界顶尖建筑设计事务所OMA

对话OMA合伙人及亚洲地区负责人Chris Van Duijn

一起探讨世界顶尖建筑设计事务所背后的领先意识

广州设计周 x RARA x Belong波噜昂联袂巨献

Chris Van Duijn

OMA合伙人及亚洲地区负责人

Partner of OMA & Head of Asia

Chris van Duijn于2014年成为OMA的合伙人，并负责OMA在亚洲的项目。他于1996年加入OMA事务所，参与了OMA许多最著名的项目，包括洛杉矶环球影城、纽约和洛杉矶Prada旗舰店(2001年)、波尔图音乐厅(2005年)和北京中央电视台总部大楼(2012年)。除了大尺度和复杂的项目外，他还参与了室内项目和小尺度项目的设计，包括私人住宅、产品设计和临时建筑，比如首尔的Prada Transformer(2009)。最近完成的项目包括韩国首尔光教Galleria百货大楼(2020年)、MEETT图卢兹会展中心(2020年)、法国卡昂的Bibliothèque Alexis de Tocqueville图书馆(2017年)、米兰的Prada基金会(2015年)和莫斯科的车库当代艺术博物馆(2015年)。目前在亚洲的项目包括杭州光棱(未来新湖中心)和深圳自贸时代中心。他还领导设计了位于波尔多的Simone Veil桥。Chris van Duijn拥有代尔夫特技术大学的建筑学硕士学位。

Chris van Duijn became partner in 2014 and is leading OMA’s work in Asia. Joining the practice in 1996, he has been involved in many of OMA’s most renowned projects including Universal Studios in Los Angeles, the Prada stores in New York and Los Angeles (2001), Casa da Musica in Porto (2005), and the CCTV Headquarters in Beijing (2012). In addition to large-scale and complex projects, he has worked on interiors and small-scale structures, including private houses, product design, and temporary structures such as the Prada Transformer in Seoul (2009). Recently completed projects include the Hanwha Galleria Department Store in Seoul (2020), MEETT Toulouse Exhibition and Convention Centre (2020), the Bibliothèque Alexis de Tocqueville in Caen, France (2017), Fondazione Prada in Milan (2015), and the Garage Museum of Contemporary Art in Moscow (2015). Current projects in Asia include the Hangzhou Prism and the CMG Qianhai Global Trade Center in Shenzhen. He is also leading the design of the Simone Veil Bridge in Bordeaux. Chris holds a Master of Architecture from the Technical University of Delft.

QUESTIONS ABOUT WORK & LIFE

关于工作和生活

作为亚洲区的负责人，您日常的一天是怎样的？

As the lead of Asia, what is your typical day like?

自从新冠疫情开始，情况发生了很大的变化。疫情之前，我有一半的时间是在亚洲出差，另外一半的时间是在鹿特丹工作。疫情之后，我的出差减少了很多。直到2022年春季，才可以前往除中国以外的亚洲大多数国家。最初我经历了很多不同的新冠疫情管控和隔离，但现在情况已经改善了很多。

That has changed a lot since Covid started. Before Covid, I was travelling 50% of the time through Asia, and the other 50% of the time I was working from Rotterdam. Since Covid, travelling has been reduced a lot, and only since Spring 2022 was it possible again to travel to most countries in Asia, except for China. So, I experienced a lot of different Covid regulations and quarantine initially, but now the situation has improved a lot.

当我不出差时，我通常在早上7点到8点之间开始工作，与香港办公室的各个团队进行线上设计会议。我们会和客户进行项目汇报，直到他们所在时区的工作日结束。之后，我会根据晨会讨论的内容准备设计推进的反馈，并处理其它的工作。

When I am not travelling, I typically start working between 7 and 8 in the morning and have virtual design meetings with the various teams in our Hong Kong office. We have presentations with our clients until the end of their working day. Afterwards, I have time to prepare feedback on design development based on what we discussed in the morning, and work on other office tasks.

PROGRAMMING WORK SCENE 工作场景

@Koen Samson- Het & Bureau

您在1996年以实习生的身份加入OMA，现在您是公司的合伙人之一。您能谈谈您是如何从一个年轻的设计师成长为公司的领导者的吗？

You joined OMA as an intern in 1996 and now you are one of the partners in the firm. Could you talk about how you grew from a young designer into a leader of the firm?

当我在鹿特丹附近的代尔夫特技术大学上学时，我非常关注OMA的项目。当我得到去OMA面试实习岗位的机会时，我带着我的作品集在上午9点到达，我本以为面试会考察我的设计能力，相反，我被问到是否会做模型。在我对这个问题作出肯定的回答后，我被要求在全天的测试中展示我制作模型的能力。直到第二天早上汇报开始，我一直在不停地工作。之后项目负责人告诉我，只要有空缺的实习生职位，他们就会给我打电话。几周后，他们果然给我打了电话，然后我加入了好莱坞环球影城总部项目组。在上学期间，我继续在OMA制作各种项目和竞赛模型，或忙于波尔多别墅的家具设计。毕业后，我正式作为一名建筑师参与Prada的项目。

While studying in Delft Technical University, which is close to Rotterdam, I followed the OMA projects very closely. When I got the opportunity to visit the office to interview for an internship, I arrived at 9am with my portfolio, expecting to have a discussion on my design skills. Instead, I was asked whether I knew how to build models. After my positive response to that question, I was then requested to demonstrate my skills in a full-day test. I worked non-stop until the presentation started the next morning, and the project leader told me that they would call me whenever an intern position is available. A few weeks later, they did call me and I started working on the Universal HQ project in Hollywood. During my studies, I continued to work on various projects and competition models, or furniture designs for the Bordeaux villa, until I graduated and started working as an architect on the first Prada projects.

NEW UNIVERSAL HEADQUARTERS 环球影城

©OMA

MAISON A BORDEAUX 波尔多别墅

©Hans Werlemann

正如我们所知，Prada纽约旗舰店是您在OMA的第一个项目。您能和我们分享一下作为一名年轻设计师时的一些故事吗？

As we know, Prada New York Store is your first project in OMA. Could you share with us some stories when you were a young designer?

事后看来，九十年代末以实习生的身份工作时，我见证了OMA发展的一个关键时期。千禧年前后的几年，是西雅图公共图书馆、波尔图音乐厅和荷兰驻柏林大使馆等关键项目的设计及建造时期。这些都是我们的代表项目，体现了OMA从一个学术性工作室转变为一个受人尊敬的实践性事务所，并证明了我们在OMA设计的东西是可以建造的。为Prada设计的众多项目，以及后来为北京中央电视台设计的中央电视台总部大楼项目，都是办公室成长过程中的重要里程碑。那是一个非常动荡的时期，也有很多机会，对我自己的发展也很重要。

In hindsight, I think I was witnessing a pivotal period in the development of OMA when I started working as an intern in the late nineties. The years around the millennium was a time in which key projects like the Seattle Public Library, the music hall in Porto and the Dutch Embassy in Berlin were designed and built. These are exemplary projects that capture OMA’s transition from an academic studio into a respected architectural practice, and proved that what we designed at OMA could be built. The projects for Prada, and later the design for the CCTV HQ in Beijing, were important milestones as the office grew professional. This was a very turbulent period, also with many opportunities that were important for my own development.

PRADA EPICENTER NEW YORK 纽约PRADA旗舰店

@Armin Linke(上）OMA(下）

SETTLE CENTRAL LIBRARY 西雅图公共图书馆

©Philippe Ruault

CASA DA MUSICA 波尔图音乐厅

©Hans Werlemann

NETHERLANDS EMBASSY BERLIN 荷兰驻柏林大使馆

©Phil Meech

CCTV 中央电视台总部大楼

©Philippe Ruault

自从您加入OMA以来，您一直与OMA的创始人雷姆-库哈斯紧密合作。您能谈一下他对您的影响吗？

Since you joined OMA, you’ve been working closely with Rem Koolhaas, the founder of OMA. Could you talk about his influence on you?

雷姆-库哈斯不仅接受过建筑师的职业训练，还从事过记者、电影制片人、批判性思维者、作家等多种身份和职业。他超越建筑领域的思考方式，保持好奇、不停探究和寻找超越建筑专业的更大联系，让我一开始就对OMA充满好奇。尽管多年来OMA在规模和组织上发生了很大的变化，但这种方法一直保持着，并影响着我们在世界各地的项目设计过程。

Rem Koolhaas was not only trained as an architect, but also as a journalist, filmmaker, critical thinker, writer and many more things. This attitude of thinking beyond the realms of architecture; being curious, investigative, and looking for larger relations that go beyond our profession, was what made me so curious about OMA in the first place. Although OMA has changed a lot in scale and organization through the years, this approach has remained and has shaped the design process for our projects in all regions of the world.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

WORKING ON SKETCHES 绘制草图

@Marko Seifert

在你的职业生活中，最令人难忘或最自豪的时刻是什么？

What is the most unforgettable or proudest moment in your career life?

我在职业生涯中迈出的最大一步是提出要在亚洲项目中发挥主导作用。多年以来，我们在北京一直有一个办公室，后来又在香港开办了工作室。尽管我们已经完成了中央电视台的项目，但我们并没有利用我们在亚洲的优势。甚至有一段时间，我们曾考虑关闭香港工作室，改成在鹿特丹办公室里完成所有的设计工作。然而，考虑到亚洲的规模和潜力，我相信我们可以做得更好。于是，我主动提出接受挑战，在一年的任期中领导OMA在亚洲的工作，目的是让香港办公室拿到新项目，转变为可盈利并充满活力的工作环境。

The biggest step I’ve taken in my career was proposing to take the lead on our projects in Asia. For years, we have had an office in Beijing, and later in Hong Kong. Despite having completed CCTV, we did not manage to take advantage of our presence in Asia. There was even a period when we considered to close our Hong Kong studio and do all design work from our office in Rotterdam. However, considering the scale and potential of Asia, I was convinced that we could do much better. I then proposed to take up the challenge of leading OMA’s work in Asia for a period of one year in order to transform the office into a profitable and energetic environment with new projects.

一年后，我们获得了新的项目，重组了团队，香港办公室重新获得了很多正能量。在随后的几年里，我们继续努力，雇用和培训新员工，开展新的日常工作。一切都在有条不紊地按部就班地进行，直到这一切突然停止......

After one year, we secured new projects, reorganized the team, and the office regained a lot of positive energy. We continued our efforts in the few years that followed, hiring and training new staff, and developing new routines. Everything was done systematically and step-by-step, until it all abruptly stopped…

新冠疫情开始后，一切都在一夜之间改变。我再也不能去香港了，团队也不能与中国的甲方见面，大部分员工与家人分离。但是，办公室里的每个人都承担起了责任，站了出来，这太棒了。在这些不确定的时期内，我们并没有遭受人员流动。尽管在两年多的时间里，我只能在线上与香港办公室的成员见面，但我们能在当前的项目上继续开展工作，并开始新的项目。我意识到在疫情之前的那三年里，我们建立了如此多的凝聚力，这真是太棒了。

With Covid, everything changed overnight. I was no longer able to travel to Hong Kong, we could not meet our clients in China, and most of our staff was separated from their families. But the great thing which happened was that, everyone in the office took the responsibility and stepped up. We had no turnover during these uncertain times. This has allowed us to continue working on existing projects and start new ones, even though I was only meeting them online for over 2 years. It is fantastic to realize that we had built so much cohesion in the office during those 3 years before Covid.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

OMA ACADEMIA OMA学术讲座

您在很年轻的时候就发现了自己对建筑的热情。您对想踏入这个领域的年轻人有什么建议吗？

You found your passion in architecture at a very young age. Do you have any advice for young people wanting to step into the field?

建筑学不仅仅是对砖和混凝土的研究。它也在为你提供思考社会问题的方法；关于人、城市和公共空间；关于艺术、创意和美学；关于技术和创新；关于历史和未来的挑战。换句话说，我们的领域是无限的，每个人都有很多创造的机会。

Architecture is not just a study of brick and concrete. It is also providing you with ways of thinking about social issues; about people, cities and public spaces; about art, creativity and aesthetics; about technology and innovation; about history and challenges in the future. In other words, our realm is unlimited, with so many opportunities for everyone.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

UNICORN ISLAND CHENGDU 成都独角兽岛

©OMA

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

TENCENT BROADBAND CITY 腾讯前海五带一城

©OMA

QUESTIONS ABOUT FIRM & PROJECT

关于公司和项目

OMA如何保持其在创意行业的领先地位？

How does OMA maintain its leading status in the creative industry?

我认为我们的地位在过去的三十年里发生了很大的变化。全球化背景下出现了更加多样化和广泛的建筑设计师和工作室。全球化使我们从彼此的项目中学习并在世界其他地方寻找客户变得更容易。虽然OMA曾经是十家最与时俱进的事务所之一，但今天有数百家我们应该去了解和关注的事务所。

I think our position has changed a lot in the past 30 years. Globalization has created a much more diverse and extensive landscape of architectural designers and offices. It has made it much easier to learn from each other’s work and to find clients in other parts of the world. While OMA was once one of the, say, ten most relevant offices, there are today hundreds of practices that we should know and follow.

另外，中国已经发生了巨大的变化。当我们开始中央电视台总部大楼的项目时，当时的建筑领域主要是由大型设计院主导的，负责设计建造无显著特征的建筑。在那之后，许多小型事务所出现了，发展了他们自己的建筑语言，在中国以外的地方开展项目，甚至获得了普利兹克奖。

Also, China has changed significantly. When we designed CCTV, the architectural landscape was mostly dominated by large design institutes, responsible for very anonymous architecture. Since then, many small offices have emerged, developed their own architectural language, worked on projects outside of China, and have even won the Pritzker Prize.

我们认为重要的是，明确OMA如何能够保持与时俱进。我们探索新的兴趣领域，观察传统建筑领域之外的趋势和现象。例如，当他人专注于城市化时，我们对农村地区发展进行研究。或者我们可以在整个大陆的范围内，探索那些完全关于能源的项目。有时这些研究最终以展览或出版物的形式发表，有时它会成为一系列项目的开端，比如我们的 “未来医院” 项目。

What we find important is to define how our office can stay relevant. One tool is to explore new fields of interest, observing trends and phenomena outside of the traditional architectural sphere. One example can be studies on the development of rural areas, while others focus on the urbanization of cities. Or we can explore projects that are solely about energy, at the scale of an entire continent. Sometimes these studies end up as an exhibition or a publication, and sometimes it can form the beginning of a series of projects, such as the hospital of the future.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

HOSPITAL OF THE FUTURE 未来医院

©DSL Studio(上）Riccardo de Vecchi(下）

我们知道，OMA的许多作品已经成为标志性的地标。您如何看待或定义这些建筑与城市之间的关系？

We know that many of OMA’s works have become iconic landmarks. How do you see or define the relationships between these buildings and their cities?

一方面，对于每一个项目，我们都在寻找机会使其独一无二又因地制宜。切入点可能是场地本身、所处城市、项目甲方、当地文化或气候。通常，我们将这些元素组合。另一方面，客户选择我们是因为我们是一家国际化的建筑公司，他们希望我们为当地的环境带来新的想法。所以我们需要结合这两个角度，在当地和全球的背景下，创造出回应这些需求的建筑。例如，我们最近为Axel Springer集团完成的新园区大楼，可以看作是我们对科技和媒体行业工作环境演变过程的回应。从硅谷的Apple苹果车库、到Facebook脸书园区、到Google谷歌总部，再到Foster + Partners设计的苹果总部。我们的项目是对这一序列的补充，但它也是一个专为该场地和城市设计的，非常具有柏林特征的建筑。

With every project, we are looking for opportunities that make it specific to its place. That can be the site itself, the city, the client, the local culture or climate. Often, it is a combination of these. On the other hand, clients select us because we are an international architecture firm, and they expect us to bring new ideas to the local environment, so we need to combine both perspectives. Working with both the local and global contexts allow us to develop buildings that have many layers. Our recently completed headquarters for Axel Springer, for instance, can be seen as our response to how working environments have evolved in the tech and media industries, starting from the Silicon Valley with Apple Garage, the Facebook Campus, the Google HQ and finally to the Apple HQ by Foster + Partners. Our project is an addition to this sequence, but it is also very much a Berlin building designed for this specific site and for this city only.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

AXEL SPRINGER CAMPUS 新园区大楼

©Laurian Ghinitoiu

在其他项目中，例如在中国的新总体规划项目，我们对挑战固守规划模式的解决方案感兴趣，并从当地或区域的元素中寻找灵感。在我们的成都未来科技城的总体规划项目中，我们摒弃了网格化，提出了一系列基于当地村庄类型的集群。每个集群的规划都是为了与现有的地形、水系和绿化区相联系。然而，最终的设计看起来却一点也不局限于本地。

In other projects, such as the new masterplan projects in China, we are interested in solutions that challenge planning stereotypes, and we look for inspiration from local or regional elements. In our masterplan for the Future Science and Technology City in Chengdu, we have discarded the grid and proposed a series of clusters based on the local village typology. Each cluster was designed to engage with the existing topography, the water system and the green areas. Yet the final design does not look vernacular at all.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

CHENGDU FUTURE CITY 成都未来科技城

©OMA

这就是为什么在一个地区设立一个设计办公室是如此重要；它让你在利用全球技术资源的同时，更贴近当地的文化。

That is why having a design office in the region is so important; it allows you to be closer to the local culture, while we also take advantage of our global knowhow.

杭州光棱项目即将完成，深圳自贸时代中心正在建设中。作为亚洲的牵头人，您如何看待亚洲市场的挑战，您对大流行期间和之后的不确定性有什么策略？

The Hangzhou project is about to complete and CMG Qianhai Global Trade Center is under construction. As the lead of Asia, how do you view the challenges in the Asian market and what are your strategies for the uncertainty during and after the pandemic?

在过去的几年里，亚洲，特别是中国的情况发生了很大的变化。许多项目停滞不前，开发商陷入困境，不同建筑公司之间的竞争日益激烈。但是，经济上的挑战时期往往也是创新的时期。作为一个事务所，我们对体量最大的项目不感兴趣，而是对需要创造力的挑战性项目感兴趣。我们期望在中国看到更多的再开发项目，更多的城市更新项目，并希望看到更多的社区项目。同时，全球经济像连通器一样运作。当中国的经济放缓时，亚洲和其他地区的经济体将出现和发展。

The situation in Asia, and especially in China, has changed a lot in the past years. Many projects have stagnated, developers are struggling, and there is mounting competition between different architecture firms. But often, challenging times in the economy are also times of innovation. As an office, we are not interested in projects with the largest volume per se, but rather in challenging projects that require creativity. We expect to see in China more redevelopment projects, more urban regeneration projects, and hopefully more community projects. At the same time, the global economy works like communicating vessels. When the economy in China is slowing down, other economies in Asia and elsewhere will emerge and develop.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

HANGZHOU PRISM 杭州光棱

©OMA

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

CMG QIANHAI GLOBAL TRADE CENTER 深圳自贸时代中心

©OMA

Q10

作为智囊团，AMO如何在实践中支持OMA？它是如何促进项目并增强品牌力量的？

As the think tank, how does AMO support OMA in practice? How does it facilitate projects and enhance the power of the brand?

AMO是一个标签，我们用在超出建筑领域的许多项目上。有时候，AMO和OMA项目之间有明显的联系。例如，当我们在特定主题的研究阶段开始一个项目时，AMO进行的基础研究工作可以构成建筑项目简介的基础。我们已经对某些类型的建筑做了研究，比如医疗类型建筑，它们构成了我们假设命题的 "未来医院 "项目的基础。考虑到技术的发展、人口的结构性变化以及对医疗设备和药品的全球生产链的依赖或不依赖，AMO的一系列研究提供了对未来医院的想象。

AMO is a label we all use for a wide range of projects that go beyond the architectural domain. Sometimes there is a clear relationship between an AMO and an OMA project. For instance, when we start a project with a research phase on specific subjects, such research groundwork can form the basis of a brief for an architectural project. We have done studies on certain typologies, such as hospitals, and they formed the basis of our hypothetical ‘Hospital of the Future’ projects. This series of work provides a view of what hospitals in the future could become, considering the development of technology, changing demographics, and the (in)dependance on the global production chain of medical equipment and medicines.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

AL DAAYAN HEALTH DISTRICT MASTERPLAN 健康园区规划

©HMC-AL DAAYAN

AMO的其他项目在很大程度上由设计主导，例如公开活动或时装表演的场景设计。因为这些项目比传统建筑项目有更多的自由，这些项目形成了一个设计实验室，或新想法的试验场。和传统的建筑委托项目进展缓慢不同，这些项目的设计周期很短，也很有趣。

Other AMO projects are very much design-driven, such as event design or scenographies for fashion shows. These projects form a design laboratory, or a testing ground for new ideas, as the conditions allow for more freedom than traditional architecture projects. They are often designed within a very short timeframe and are interesting, as they complement the painfully slow nature of most traditional architectural commissions.

另一种AMO项目可能完全没有实体部分，最终的结果可能是一个展览、一本出版物或一个标志的设计。例如我们的乡村主题展览、我们的能源项目或欧盟的旗帜等项目。它们表明，建筑思维可以很好地应用于其他创意领域。

Another kind of AMO project may bear no physical components at all, and the final results can be an exhibition, a publication, or the design of an emblem. Projects like the Countryside exhibition, our projects about energy, or the flag for the European Union are examples. They demonstrate that architectural thinking can very well be applied to other creative territories.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

COUNTRYSIDE - THE FUTURE 未来乡村展览

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

PRADA SS22 MENSWEAR SHOW PRADA22年夏季男装秀

©Agostino Osio

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

BVLGARI FINE JEWELRY SUMMER SHOW 宝格丽珠宝秀

©AMO

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

THE IMAGE OF EUROPE 欧洲旗帜

©AMO

QUESTIONS ABOUT FUTURE

关于未来

Q11

您如何看待科技发展和其他学科对建筑的影响？建筑学如何才能不断地发展？

How do you view the impact of science & technology development and other disciplines on architecture? How can architecture keep evolving?

我认为建筑是一个重要的媒介，通过引入人工智能、机器人和自动化系统、新的移动解决方案和可持续能源，将今天的生活和不久的将来发生的任何事情之间形成一种联系。科技进步将逐步进入我们的城市和建筑，但我不相信它将从根本上取代我们今天拥有和喜欢的大部分东西，比如日光、绿色空间、真实材料、隐私性、独特性和社交空间等，它们是永恒的。新技术将补充现有的技术。例如，我们可以将3D打印与真正的木材结合起来，或者将人工智能生成及优化的设计，与特殊设计和手工制作的组件结合起来。

I think architecture is an important medium for forming a connection between today’s life, and whatever happens in the near future through the introduction of artificial intelligence, robotized and automized systems, new mobility solutions and sustainable energy sources. Many of these technological advances will find their way into our cities and buildings, but I don’t believe that it will radically replace much of what we have and like today. Certain qualities are simply timeless - daylight, green spaces, real materials, privacy, uniqueness and social spaces, etc. New technologies will complement the current ones. For example, we could combine 3D printing with real wood, or combine AI generated and optimized design with instances of special design and handmade components.

Q12

有什么特别的项目类型是您感兴趣但还没有机会去做的吗？

Is there any particular project type that you’re interested in but haven’t got a chance to work on?

有太多感兴趣的项目了。但如果非要选一个渴望参与其中的项目，那就是设计一些真的“詹姆斯·邦德空间“。我是詹姆斯·邦德系列电影的忠实粉丝。早期的詹姆斯·邦德电影有一些特别出色的空间，非常有未来感和美感。

Just too many. But if there is one special project that I would love to work on one day, it would be the design of some true James Bond spaces. I have been a life-long fan of the Bond movies. The earlier films have especially outstanding spaces; very futuristic and beautiful.

Q13

公司接下来想关注的方面是什么？

What are the next asppects the firm wants to focus on?

我们喜欢多样化的项目类型，不受某一领域或类型的约束。同时，世界上有一些新兴的地区我们还没有去探索。我们是一群好奇的人，在不同的国家和文化中工作让我们充满灵感，也带给我们从未想象过的机会。

We like to work on diverse project types, and not to be bound by a certain realm or typology. At the same time, there are emerging regions in the world that we have yet to explore. We are a curious bunch. Working in so many countries and cultures is always inspiring, it has led us to opportunities that we would never have imagined ourselves.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

GALLERIA IN GWANGGYO 韩国光教Galleria百货大楼

©Hong Sung Jun

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

QUESTION ABOUT IDD

关于IDD

Q14

您如何理解设计背景下的 "领先 "一词？

How do you understand the word “leading” in the design context?

我想把世界上的 "领先 "改为 "与时俱进"。作为一个事务所怎样才能保持与时俱进？我们的专业如何保持与时俱进？在我们所做的每一个项目中，我们都会考虑该项目除了提供必要的建筑面积外，如何与时俱进。这可以被解释得很宽泛并联系到多个尺度，比如为项目用户、公共领域、城市、历史背景或某个行业提供的某种特质。将好奇心和保持与时俱进的目标结合，是我们每天早上起床的动力。

I would like to change the world ‘leading’ into ‘relevant’. How can we, as an office, stay relevant, and how can our profession stay relevant? In every project that we do, we consider what relevance the project can have beyond simply providing the necessary floor area. That relevance can be interpretated quite broadly and relate to various scales, a specific quality for the user of a project, for the public realm, for the city, for the historical context, or for a certain industry. The combination of curiosity and the ambition to stay relevant is what makes us get up in the morning every day.

IDD | 对话巨匠：走进全球顶尖建筑事务所OMA / VOL.8

TAIPEI PERFORMING ARTS CENTRE 台北演艺中心

联合出品媒体 | Belong波噜昂

国际设计新媒体Belong，2019年成立于美国纽约，以多学科角度探讨居住美学，聚焦艺术、设计及生活方式，用独特眼光发现新兴力量。

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