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gooood Interview NO.9 introduces SO-IL Architects.
出品人 Producer：向玲 XiangLing 王耀华Yaohua Wang
▼视频 Video
Interview
gooood x SO-IL Architects
Florian Idenburg-F, Jing Liu–J, Ilias Papageorgiou-I
1.
So first question is why you name your office SO-IL?
最初，我们在2008年经济不景气的时候成立了工作室。虽然我们都来自不同的地方——Ilias来自希腊并且在那儿接受教育，然后去了GSD。Florian之前在荷兰学习并在日本工作。而我在日本和美国都学习和工作过——但是我们有共同的信念：我们相信建筑需要通过材料和形式来具体地实现。这是一个现实问题而不是规则和理论上的问题。所以SO－IL的目的是要把建筑方案转化为实体，这就是我们的根本的想法。
J: Well, originally it was because we started our office in the time of recession in 2008. But still, we very much believed from our background… Ilias is from Greece, was educated there, and then came to GSD afterwards. And Florian was studying in Netherland, and worked in Japan. And I studied in Japan and America, worked in Japan and here. So for us, we are not exactly… Even when during recession we still very much had the common that one can believe architecture need to be materialized and realized in some kind of solid form. And it’s a physical thing that’s not only limited by regulates, or theories. There is something more powerful in buildings being realized. So I think the SO-IL’s objective is about having a project, an architecture project, but also materialized the object to something physical. It was an intuitive statement for ourselves.
2.
Is that related to how do you start a project?
F：我们总是做很多研究，大胆尝试很多想法，并且通过交流，对话和测试来寻找设计的方向以及一些能够继续深入的想法。但像Jing所说的，我们总是会有一个核心概念。在每个项目里，包括一些大规模的项目，我相信都会有一个核心概念。
F: We always… I think search very board, go very wild, try many ideas, and through conversation and dialog and testing we come to, you know, possible directions, possible set of the ideas can be explored. But I think it’s very… as Jing is saying, it’s very essential that there is always an idea at its core. So I think you can see, between a project, some larger projects as well, some sort of exploration. Yet at the same time, I don’t see… I do think that every individual project also has an idea at its core.
3.
What is your take on contemporary architecture? Positive or negative? And how do you react to it?
F：要我说，其实每个今天建成的建筑都可以说是当代建筑。无论是历史风格的，怀旧的，或者未来主义的建筑，只要是在我们的时间里建成的建筑，都算是当代建筑。事实上所有能在今天生产出来的事物都是当代的。我们的时代最有趣的一点正在于其如此的广泛和多样。建筑建成的方式也是丰富多样的。回顾现代主义的话，每个人都在做着一样的事情，根本就没人在做不同的事。而我们如今的时代因为方法和立场的选择如此丰富而变得更有趣了。我们也想在这个既定的领域和定义中寻找一些什么，尝试从当下这个充满机遇的巨大的现实中开拓我们自己的空间。当然我并不是说这就是唯一正确的方式。
F: Very positive. I think, if I answer this question…every architecture that’s made today you can say it’s contemporary. Right? It’s of our time, even if the architecture is historic style, or nostalgic, or very futuristic. I think everything could be produced today is contemporary, is of our time. And so, what’s interesting of our time is that it’s so diverse, so multi-facet, so board. So there’s so many different ways of which architecture can be made. Maybe, if we look back, let’s say Modernism, everybody is doing the same thing. There’s been nobody doing anything (else) or whatever and that’s it. So, what’s interesting now I think is that there are so many different positions can be taken. So finding within that some sort of realm, some sort of definition is I think what we’re trying to do. But I don’t think we say this is the only way and everybody follows us. But it’ more trying to carve our some space within this very large field of opportunities of current exist(ence).
4.
What is your core idea of your position?
J：基于Florian刚才说的，我觉得我们能够在当前这个时代里进行建筑实践真是一件很幸运的事情。因为或许在以前的一些时代，建筑可以说只是一种工具，用来实现一些更大更虚的目标，比如社会理想。但如今，因为关于当代建筑的各种讨论变得丰富起来，建筑学这个领域本身也变得更活跃了。建筑不再被当作实现一些建筑以外的目标的工具了。而关于建筑本身应该是什么的讨论现在变得更有动力了，这是因为从前服务于其他目的的建筑如今需要找到自身对所处时代的表达。
F：你是说对于自建筑来说这是个更好的时代吗？
J：是的。建筑基本上变得更加独立了，而不需要服务其他一些有的没的。
F：例如可持续性。
J: I think I’ll just maybe answer your question by building onto what Florian was saying before, that I think we actually feel very fortunate to be practicing in these contemporary conditions because in many maybe past times and periods, there was a degree of architecture being the tool to achieve something that’s bigger, like social ideas, or kind of for the soft compositions. And I think because of the diversions in many discussions that’s going on in the contemporary architecture, this course itself is more active. You know, it’s not as a tool… a building is not used as a tool to achieve some other thing… some other position that’s outside of architecture itself. I think the discussion of what architecture should be as its own thing is more dynamic and more active today, because of the serving itself and trying to find its own expression of our time…
F: You’re saying this is a better time for autonomous architecture?
J: Yes. For architecture it’s basically more independent. It’s not at the service of some other…
F: Like sustainability.
5.
That is very interesting, actually, most of the architects today I think will declare that there is no autonomous architecture today.
F：像Jing刚才谈到关于实体的概念……我认为总是有两个问题需要回答：一是需求。这是项目存在的理由。也许你可以通过功能主义来回答这个问题。如果你不在某种程度上回应客户的需求的话，建筑项目是不会存在的。这是其一。但同时，除了满足需求，我们也尝试回答建筑学的领域里的问题。这并不是完全自发生成的空间。你总是地面对两种受众，两个问题都要回应。一是对需求的回答。二是建筑师在建筑学领域里自己期待的回答。而你刚才提到的那些关注社会或者能源问题的建筑，可能只回到了一种一个问题。而我认为能够同时回答这两个问题是很重要的。
F: No I think if you took a practice as what Jing was saying also the idea of solid objective is that it needs to be… I think you’re always right to answer two things. One is the need, for this project to exist in this world, which you could go over functionalism or responding to the brief. As always something interpretation of what is required or requested meaning you cannot build a building or a project if you don’t answer to some extent what the person needs. So that’s one. But then, apart from answering that question, we try to answer questions within, say the field of architecture. So we didn’t say it’s autonomous space as well. So you always have to give it to two audiences or to two… you know you have to answer two questions. One is just answering the brief. And the other is answering brief to expect for yourself, which is defining a project within, I think the main of architecture itself. Whereas, I mean maybe when you were speaking about, in say some of the practices that focus on social issues or issues of energy, it seems that those are projects only answer maybe one question. I think it’s important to answer both.
6.
Does that mean in order to do two things, you need to do twice the among of work?
J：这是常有的。但我们只能收费一次。
J: Often the case. But we can only charge once.
7.
Can you give some examples?
I：这回到之前Florian回答你关于我们怎么起步的问题。首先有了总体上的概念或者大致的目标，然后我们通过各种不同的尝试来找到最好的形式。这是自我采纳的但同时也适应功能上的需求。这个过程强度挺大的，要求通过大量的反复的研究来找到最佳的平衡。
I: I think it goes back to what Florian was saying in your question of how we sort of start and work on a project. So that is this sort of overall idea or consequential objective. And then we do all these different interventions trying to find the best of form. That’s self-adopt but also accommodates the sort of functions and needs of brief. That is sort of an intense process requires a lot of repetitive studies to find the right balance basically.
8.
So is this double side idea related to your academic experience? Because I know both of you are teaching. Or in other words, is your teaching related to your practice?
J：Florian教授一门核心课程。而我通常只指导论文和选修设计课。所以通常选择我的学生已经了解我们在实践中做哪类项目。所以在教育平台上，对实践项目的处理其实已经在你身边制造了某种学术氛围。我想是因为设计课的传统，你可以把一些现实世界中不得不面对的经济上或者实体上种种限制的想法推得更远。设计课可以超越这些限制，在更极端的的情况下去真正地测试这些想法的有效性。这反过来让我们得知在与设计课基本平行的现实世界中，这些设计概念到底能走多远。你知道，我们的工作室成立六年了。当初，我们觉得自己是最年轻的“小孩乐队”（Kids on the Block）。但现在不同了，最近在面对学生的时候，我意识到每隔两年就是全新的一代人。年轻的一代成长于一个社会全面高度链接的世界。他们看到的世界和我过去和现在看到的世界都很不同。年轻人也有很多值得学习的东西。我觉得参与和年轻人以及学生的对话交流，能够让我们保持先进性和积极性，正如我们现在进行的谈话。
J: I think obviously, Florian teaches a core a little bit. But I typically do more thesis advising and optional studios. So typically that the students chose me, you know, already know what kinds of projects we are working on as a practice. So there is that kind of governizing aspects of the practice already informs a certain type of realm of academic gallery around you on the platform of teaching. And then, I think because of the context of the studio, you are able to actually push some of the ideas that have some maybe limitation, you know, economically or just kind of physical constrains in the real world that we’re practicing in our studio. And to be able to push it even further beyond those limitations and really test, you know, the validity of your ideas to a more extreme level. I think those things can inform us back to our practice that how far we can actually push these ideas in concurrently basically parallel to the studio. And I think, you know, our studio is now six years old. When we started it, we very much felt that we were the youngest kid on the block. But I think now it’s on longer the case. Recently when I faced my students I realized you know, nowadays, every two years it’s a completely new generation. The younger generation they grew up in a completely socially intensity connected world. And they see the world quite different from how I saw and how I see the world. There’s a lot to learn from the younger generations as well. And I think just engaging these conversations with our younger staff and with our students…it also keeps us confronted and active with the dialog with…just like us…what’s happening today.
9.
When you start an office, there is a lot of risk to take, so how did you guys start as an office?
F：我们都认为在成立自己的公司之前需要先积累工作经验。我们成立的时间点不会太脆弱或者不稳定，而是一个非常有利于发展的时间点。这么说是因为假设你在成立的时候搭了经济腾飞的便车，那等于有一个泡沫的基础。而在经济触底的时候成立的话，就不会被动地参与大规模的项目之类的，这对我们思考和制定项目非常有帮助。而且我认为做每一件事都有内在的风险。天上不会掉馅饼。我们觉得能够做自己喜欢的事真是太棒了，所以你总得为此承担一些风险吧。在金融危机和一切都不确定的时期成立公司其实碰巧还不错，因为事情都得慢慢地发展，坚实得发展起来，而不是膨胀式得发展。
F: I think we all knew that we had to learn somewhere and then wanted to have our own firm at some point. I think we started at a time that…not to be very fragile and volatile time but I think it’s a very good time to stock. Because if you start somewhere in a way economic boom, it’s on a fake foundation. When say you start at the bottom of the economic condition, first of all it helps us very much think and formulate a project, rather than being pushed to make gigantic things or something. And, you know, like I think the risk is inherent in everything you do. There’s no funny life, right? We felt it would be a great thing to have our own practice and do the things we like. And you have to take some risks to do that. As it happened to be actually quite good that it was right in the middle of the financial crises and uncertainty. Because a lot of things grew very slowly, very solid rather then something inflated and…
10.
How do you guys collaborate as a team?
J：我们团队很小，所以沟通起来并不费力。我们三个每人都有着很不同的工作方式，但大家一起工作已经六年了，所以有种共同语言，让你并不需要讲太多就能知道对方所思所指。然而，实体模型在沟通的过程中是不可或缺的，因为无论大家有多了解对方，直到你看到模型放在你面前的那一刻，肯定都还会有大家脑袋里的想象完全不同的风险。这就是为什么我在一开始就说过实体的力量。像模型就是一种有力的手段来确保大家在最基本的建筑因素上，包括形式，材料和尺度上都不会各说各话。即使大家互相之间都很了解，模型仍然是种非常好的沟通方式。
F：对每一个设计，一开始的时候我们会一起非常努力地去确定一个核心概念。随着项目的进行，我们会分配工作，然后其中一个人会负责把项目跟到底。
I：我觉得其实有点像学校。一开始的讨论过后大家独立工作，然后大家再聚到一起来互相展示和交流讨论。有点学校的感觉。
J: Well, we are a very small team, so it doesn’t take too much effort to talk to each other. We just walk over… No, but we definitely… All three of us have a very kind of different way of working. But I think because we have been working for six years already together. There is a common language, so that you don’t need to basically say too many words to understand what others are thinking, what they are talking about. But there be still very much of value of the physical models as process of communication. Because even if with people who know each other so well, until you see a model in front of you together, there is a risk. And the risk is certain that what’s in your head is completely different from what’s in his head, you know, in the other person’s head. I think that’s why, I mean, goes back to what I said in the beginning about the power in the physical things. Like model is a very powerful tool for us to be able to make sure that we are talking about the same thing, you know, formally, materially, scale-wilds. You know, all those very basic elements of architecture. Model is a very good way to communicate that, even among people who know each other very well.
F: So every design we worked on is very much…something in the beginning very densely… you know… worked on together in a way to identify the core idea. And then as the project moves forward, we sort of divide our efforts a little bit so that one of us follows the project through to the end.
I: But then, I think it’s a little bit like a school maybe. People are independent…after the first discussion they worked independently, and then people come on together sort of present to each other, have discussions and give feedback to each other. That sense of…look like a school environment.
11.
Is there anyone always win the discussion?
F：获胜的总是Jing
J：没有胜负这回事，我们都是赢家。
F: Jing always wins.
J: No, there is no winning or losing. We are all winners.
12.
When you look back to the past 6 years, are you guys happy with what you achieved?
F：关于建筑，很有趣的一点是开始你的期望总是很高，然后却总是被摔得粉碎。如果你想真正地建起一栋建筑，总有很多……事情落空的风险总是很大的。只要看一下建筑专业和所有费用的比较，对任何想要建造些什么的人来说，花钱雇人设计的费用其实很少，但真正去建造却是很大的决心。所以让人们拿出一些设计方案其实很简单，真正最花精力的，其实在于怎样实现和建造这些方案。对我们来说如此，对客户或者所有愿意花一大笔钱来建造的人来说也是如此。而且现在是个缺乏信心的时期，人们很难做出一些长远的规划。因此我们确实参与了非常多的前期设计项目，开始时你会觉得很有希望去实现它们，最后很多却都落空了。但对于致力于造物的年轻的公司来说，我们对于自己能够建造和实现的事物还是非常兴奋的。
I：特别是六年对建筑公司来说其实并不长。
F：大部分的建筑建起来都需要五年了。
I：可能对科技公司来说，六年时段很长的时间。但对建筑公司真的不算长。
F: I think the funny thing of architecture is that you always have very big expectations and then you always get smashed continuously which you have to do. If you want to make buildings outside, there’s always a lot of…there’s a lot of risks that things don’t happen. Because just look at the architectural profession and the costs. And for anybody who builds something, the costs of getting somebody to design something is very little, but the decision of building something is very big. So it’s very easy to get people started to come up with ideas. But to realize those ideas, to build those ideas, that’s where the big effort lies. Both for us, and in a word, but also for clients or for people who are willing pay large sums of money to construct things. And because this time is an uncertain time, it’s very hard for people to make a long-term commitment. So we do get engaged in many many possible projects and you get very hopeful that you can realize them. And then, a lot of those don’t happen. But I think for a few of the young firm that is committed to making things, I think we’re quite exited of the things we have been able to realize, have been able to build.
I: Especially I think six years for architecture firms is not that long.
F: Most of buildings take five years to make.
I: Maybe for a tech company, six years is a very long time. But for architecture firms, not that long time.
13.
So did you achieve all your goal?
J：我们一直是没有目标的。我们刚成立的时候，和一些更有经验的人聊过。他们说这就像一场马拉松，起起伏伏。你以为在顶峰，马上就要下坡。你以为在谷底，却很快会反弹。对建筑师的职业生涯来说，有多长呢？四十年？你必须经历太多这样的起伏。所以很难去设定某种目标。无论何时你有所期望，事情是必定不会按照期望那样发生的。所以我们早就懂得不去设定一些具体的目标。
F：一旦你和科技公司或者一些别的公司比较，你就开始在竞争营销了。或许我们能达到一个很好的成绩，但这并不是我们的计划。这首先是一个对生活方式的选择问题。我们选择过一种有创意的生活方式，选择与那些喜欢和我们做共同喜爱的事情的人共处。从这个角度来说我们过得非常快乐，幸运的是我们能够一直做自己喜欢的事情。希望更多的人能有和我们一样的想法，这样我们就有更多的项目可以接了。但我还想说，能看到作品变为现实确实很欣慰。但是你也不可能期望每个项目都能实现。不过这也丝毫不会让设计理念贬值。
J: No, we never have any goals. We talked to some people who had their office ran much longer when we started, and then they just said, you know, it’s a long marathon. That’s gonna be up and down. You thought that you are at the top it’s gonna go down. You though you are at the bottom it’s gonna go up. Throughout the career of an architect, which is how much, forty years? You’re gonna be go through so many of that. It’s hard to have, you know, something. Whenever you have an expectation, it’s just very certain that it’s not gonna turn out that way. So we knew to not have very specific expectations.
F: I think indeed if you compare with tech, or many companies, you start to compete to sell the company maybe. And then, maybe we can sell as to A Gong? or something. But that’s not our plan. So first of all, a choice of living our lives in a certain way, which is living a life from the ideas, living a life, you know, with people being enjoy around with making things we enjoying making. In that sense I think we are very happy. And fortunately we can do that, but we can do the things we like. And hopefully we can get some other people to like those ideas too, so that we can build them. But I would also say, it is very nice to see work realized. But you know, we can’t expect that for every project to happen. And it doesn’t make the ideas less valid.
14.
If you don’t mind me asking, both of you worked for SANAA before, so how do you guys think that experience related to your practice?
J：你在SANAA工作更久，该由你来回答。
F：学校确实能学到许多东西，但从工作中学到的会更多。除了SANAA，我也在别处工作过。我觉得自己就从不同地工作中学到了更多。我在SANAA工作地时候还很年轻，从二十四岁到三十二岁。除了体验到与学校完全不同的文化和环境，我还学会了怎样去造物。在SANAA，对细节地重视，包括对构造和材料的推敲，还有比如有时把东西稍微移动一点点就能达到更好的效果，这些都是我在学校里不曾学习到的。这段精力也让我能够从不同的角度来看待事物。如果你在单一的系统和理念中成长，却突然来到一个全新的环境，这会让你大开眼界。对我来说，学习到不止一种方法来看待事物是个十分重要的经验。在SANAA工作的经验让我学会了从更多角度来思考一些我原本可能只会用某种方式解决的问题。这一下子就打开了更多的可能性。所以无论送技术上还是从思想上来说，在SANAA工作对我的影响都很大。
J: I think you worked there longer, so you should that question.
F: I think you can a lot learn in school. But I think you can learn more by working somewhere. I learned most by working at firms, I also worked somewhere else. I think…I worked there when I was very young, from 24 to 32. And apart from the experience of being in a completely different culture, and a completely different environment from where I went to school, I also learned how it is to, you know, make things. I think the focus there on the detail and how things get assembled, and material. And you know, that things are better when they are here, or just a little bit further away. I think are things I didn’t learn at school. And it also helped me look at things from a very different perspective because if you grow up in one system, in one philosophy, and suddenly come to completely different place, this opens up your mind. So that was for me also a very important experience to realize there are many ways to look at something, not just one way. And I think it was –able, valuable being there is that many of things I would approach in a certain way, you know, I saw different ways to look at things. And it opens up suddenly a completely new realm of possibilities. So both of the very technical, and then maybe the more philosophical way were very influential to me.
15.
Now you guys practice both in Asia and America, how do you guys see the difference of practice in those different culture context?
J：我觉得在亚洲，更强调空间的体验，而且这种对空间的体验也更多的是建筑本身的一部分。这可能是我们两个都从SANAA那边学习到的一点，虽然我在那只呆了几个月。在亚洲的文脉里，材料，制度，建筑都不仅仅是关于图纸，而是图纸能够给出的体验。无论是空间的密集性，材料的透明度或者光影，图纸必须转化为人能够感知的某种存在。因此在东方，空间的体验本身就是建筑的一部分。而在西方，也许是因为快速的生活节奏，又或许是因为建筑有更长的学术历史，关于建筑谈论得更多得是需要作为什么存在。建筑在亚洲强调感受，这很重要。
F：这很有趣。我知道在亚洲，人们认为石头也有思想，对吗？但路易斯康不是也和砖块对话吗？
J：但他们不能说话吧？太阳并不知其伟大直至其光芒照射在混凝土墙体的表面上。我觉得他很有思想。
F：当然，他来自东欧嘛（爱沙尼亚裔）。
J: I think the experience of the space is more of valued and also much of more part of the architecture…experience of architecture in Asia. And maybe that’s also something we both learned from, you know, working … I was there for only a few months. Just being in the kind of Asian context, that, you know, indeed the materiality, and the dimensions, and the architecture is not about diagram. It’s about the experience of the diagram. So it has to translate into something that people can feel, whatever the compression is, the translucencies, the light. So all that experience of the space as a concept is much more a part of the architecture. And I think here, maybe because life… the pace is much faster or maybe because architecture has more academic history to it. It’s more talking about what it needs to be. I think in Asia, it’s just how it feels. And I think that is very important.
F: That’s interesting. No, I know I think maybe in Asia there is spirit in stones, right? But Louis Kahn also asks what does the brick want, right?
J: But also they can’t set, right? The sun doesn’t know how great it is until it hits the side of the concrete wall. I think he has the spirit.
F: Yes, exactly. He was an Eastern Europe.
16.
Do you guys enjoy practice in Asia better?
J：其实两者都很重要。讨论事物需要变成怎样固然重要，但同时，确保这种需要最后转化成实体存在也同样重要。
F：对比这里，目前在亚洲我确实感受到一种更大的勇气。大致上，这里的人们对未来有更多的担忧，这当然和经济的起落循环有关。但在亚洲，看到人们如此乐观地去把事物变为现实让人精神为之一振。但活在西方其实也不错。所以才说，这种多角度地看待事物的能力很重要。
J: No it’s important both. It’s important to discuss what this thing needs to be. But then it’s also important to make sure that, what it needs to be actually translate into what it is in the end.
F: I do feel working in Asia there’s more courage in Asia, currently, than that is here. I think here, in general, people are somewhat more concerned or worried about future, which obviously has something to do with economic cycles, ups and downs. So I think it’s very refreshing to be in Asia and see sort of the super optimistic energy to realize things. But I think it’s also good to be in this world. So again, I think this multiple angles of looking at things is very essential to us.
17.
Last question, for the next 6 years, where do you see yourself will be?
I：我认为我们现在发展到处于一个有可能得到一些规模更大的项目的位置上。但同时，我们还是想要保持探索和创新。我们确实想做一些大项目，但我们也要确保作品里有我们一贯的品质。对我们来说重要的是能够保持一种平衡。因为可能成长总会有让人失去方向的危险。我们也在讨论这一点。这就是我们发展的方向。
F：我觉得这头六年，都就好像在测试到底是否有必要成立这个工作室。说不定我们就得回去帮别人干活。但现在我觉得成立这个工作室是个正确的决定。我们需要在现有的结构上继续扩大，让工作室更职业化，同时保持同样的热情以及我之前提到的探索精神。
J：我觉得也许能用锻炼作类比。要是一开始就挑战高难度，你的肌肉还没准备好。因此你可能就会屈服并害怕挑战了。但我们一直以来都稳定地成长，不会太快。我觉得我们现在已经准备好面对更大的项目了，随之而来的是一些我们以前不曾面对的挑战。但我们不懈地锻炼肌肉就是为了迎接这些挑战的。我希望面对每一个项目，我们都不会在害怕面前屈服和放弃，而要能够对事物保持敏锐的视觉，能够找到独立的设计，为建筑学也为自己保持我们一贯的探索。
I: I think we are at a position now maybe we are getting some larger projects. But I also think at the same time, we would like to maintain sort of notion exploration and doing new things. We do want to move to larger projects but we do want to keep this sort of aspect in our works. I think the important thing for us is able to maintain the balance. Because it’s always a danger when you sort of grow to maybe sort of lose that on the way. We are discussing about that. That’s the way I think we wanna move forward.
F: I think the first six years we are trying to find…like a first testing if it makes sense at all to have office. Maybe we have to go back to work for somebody. Now I think we feel we…there is a reason for us to have office. I think building the structure such to be in grow, also to professionalizing the office in a certain way while keeping the same energy and exploration as I mentioned.
J: I think basically, maybe the analogies of training, if you take on a too big of challenge in the beginning, you muscle is not there yet. And you get like scuffled by it. You kind of get scarred and you cannot handle that challenge anymore. But I think we have been growing quite steadily, but not too fast, and think we are good to take on bigger projects. And it comes with us is the different sets of challenges that we didn’t face before. But because you know we have been building it up slowly those muscles to be able to take on these challenges. And I hope that with very project that we do, we don’t get… we don’t bend in front of the fear or more like innormalized take off these challenges. Just being able to still keep a fresh eye on things, and being able to still find the independent projects in every project we do. And be able to explore something for the discipline and for ourselves
后记
By 向玲 XiangLing
2012年第一次报道了SO-IL Architects的Kukje Art Gallery，在网站过手的众多项目中，这个既刚也柔的项目给我留下了深刻印象。模糊暧昧并带有东方气质的作品具有多重可解读性。后来当耀华告诉我说他毕业后要在纽约开始生活，于是我给了耀华一个纽约地区的工作拜访单子，里面就有这个只报道过一次项目，但觉得相当特别的SO_IL建筑事务所。
耀华对SO_IL的看法是 ：“SO_IL是一个不形式，不功能，不商业，不激进，不大，不小的事务所。它的不形式，不代表它不产生有趣的形态，而是它在勇于产生形态的同时又不被某种形式语言所束缚。它的不功能，也不代表它不注意功能，恰恰相反的是，它对功能一直有着细致的解读，但是，它的建筑不是功能的简单拉伸，而是与它的形态之间持续着微妙的对话。不商业，不代表它的经营不成功，而是它经营的成功不在于对市场的追逐。不激进，不代表它保守，而是相对于革命，它更倾向于改良。对我来说，SO_IL的魅力就在于它身处于好多的不之间，却又同时清晰的知道自己想要什么。”
最近，网站又陆续的报道了SO-IL Architects的Bad Thoughts，tiNY，Spiky等项目，读者在评论中两次提到”日本“这个关键词，在不了解事务所主要创始人有SANNA工作经历的背景下，读者仅从作品便能感知到作品某种品质，说明这种品质相当重要。他们的作品，在我看来，相较于其它西方建筑师的作品更容易让东方人感到亲切，这种亲切来自与体量的到位，姿态的亲和，以及体验的细腻。就拿通常会被运用得十分强硬的金属材料来讲，金属在SO_IL手中是透明而柔软的，边界由此模糊，光影也由此细腻。而对金属材料变化式的巧妙柔和运用出现在他们多个项目中。SO_IL项目体现出一种东西交汇，刚柔并济的文化特征。这是我认为他们最迷人的地方。
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