今天去了Neri&Hu(如恩设计)十年展，也是前几个月才知道如恩设计，11月左右参加特赞的活动见到了胡如珊，以为她是一个出道没多久的设计师，后来查了下她得资料，顿时吓尿，毕业于普林斯顿，2015英国的Wallpaper评出全世界Top100的设计师里，她和她得丈夫郭锡恩排在第22位，并且创建了如恩设计和设计共和两家公司。随后在微博上看到十年展并且延期一个月的消息，正好也对建筑非常感兴趣，那必须得来了；
他们的公司很有特点，红砖古老的阁楼和透明玻璃相结合，阁楼原来是民国时期英租界的公安局，难怪有一种庄严肃穆的感觉；展览在三楼，一楼是和二楼基本都是买各种顶级设计的产品，和Uliving很像。三楼的展厅并没有很大，基本都是如恩设计这十年所有的建筑作品，有酒店也有私人住宅，新天地的星巴克也是其中之一。
但今天最打动我的是展厅门口的宣言，内容如下：
十年很长，十年也很短。十年间，一些城市鲜易容颜，而另一些也可能被彻底更新或铲除；十年间，有些人青春依旧，只不过是微笑时眼角会隐约出现细纹，而有些人也许已经判若两人，丝毫不见曾经的踪迹。如恩设计的十年，我们依旧慢慢前行在自己最开始设定的那条道路上。这是一条我们知其意而不知其形的道路。我们知道自己前往的大致方向，但这条道路会是什么形状，依旧是个遥远的迷。通过这次展览，我们回首过去的十年，想再次问自己，我们是谁？
Ten years is a long time. Ten years is a short time. Some cities remain relatively the same in the course of ten years, while others may be completely uprooted or renewed. Some people may be unchanged exceprt for a few fine deepening their smiles, while others might take on an entirely new identity, devoid of any familiar traces. Ten years for Neri&Hu. Some aspects of our practice, the core essentials, persist resolutely, while other aspects, the impressionistic peripherals, have transformed beyond recognition. Looking back at the last ten years in an exhibition, we wanted to ask ourselves again, who are we?
我们坚信建筑能够成为文化生产和社会变革的范例，通过高度情境化和跨学科的方法制造意义。
We strongly believe in architecture as a paradigm for culture production and social change, aiming to create meaning and signification through its highly contextual and inter-disciplinary approach to design.
我们把公司创立在上海，一个混乱又多彩的城市。这里前所未有的城市发展速度迫使我们面对一个与记忆脱节，注重结果多于过程的城市。这已看似不幸的现实反而为我们创造了机会，让我们重新思考适应性再利用和历史性建筑改造这些挑战传统模式和意识形态的问题。我们相信城市肌理和建筑记忆应该被慎重的传承，传承的手法应该是适合当地实际的时代精神，而不仅仅是复制。通过细心处理和反复论证，我们的许多完工项目实现了对历史建筑的空间重塑，为老建筑注入生命。
We set up our practice in Shanghai, as colorful and as messy a place as one could hope for. The unprecedented speed of Shanghai‘s urban development forces us to confront to a city disconnected from its memory, a city that prefers deeds over deliberation. This somewhat unfortunate reality turns into an opportunity for us, provoking new ways of thinking about the issues of adaptive-reuse and historic restoration that challenge traditional modes and ideologies. We believe that urban fabric and architectural memory should be preserved with a critical and sensitive approach that exemplifies the zeitgeist within the specificity of our context, and is not merely reproduced. Through a delicate handling and negotiation of contradictions, we have shown in many built works the possibility of creating unexpected spatial experience in historic buildings, giving them new life.
我们相信在如此复杂的条件下，我们有必要对设计师的工作有更广泛的定义。我们相信多样性，相信它对多元化设计方法论的重新贡献。因为当代的建筑问题已跨越传统界限，所以我们在各方面的设计都以建筑设计为主导。在过去的十年里，我们在探索建筑设计的过程中，完成了大量的产品设计，平面设计和室内设计作品。一直以来，建筑师对空间的感悟和营造力都是我们研究的重心。
We believe that working under such complex conditions necessitates a boarder definition of our scope as designers. We believe in diversity and its profound contribution to creating an inter-disciplinary methodology for design. Because new sets of contemporary problems relating to building now extend beyond traditional boundaries, our practice embarrass architecture's supremacy in design thinking on all levels. Through our ten years of practice, we have shown extensive work in the realms of product design, graphic design, and interior design, alongside our architectural explorations. All the while, the architect's perspective on space and making is always at the center of our investigations.
因为每个项目的情况不同，所以我们坚持把研究作为一种设计方法。就项目类型，现场条件，功能和历史的关键性探讨对严谨的设计工作而言是必需的。在研究的基础上，我们希望我们的作品是体验，细节，材料，形式和光的有趣互动，而不仅仅是一种固有的模式和风格。我们每个项目最根本的重要性在于如何通过客观和形而上学的表达来实现项目的意义。
We insist on research as a design approach as each project bears its unique set of related issues. A critical probing into the specificities of program, site, function and history is essential to the creation of rigorous design work. Based on research, we desire to anchor our work on the dynamic integration of experience, detail, materiality, form and light rather than conforming to a formulaic style. The ultimate significance behind each project comes from how the built form creates meaning through its physical and metaphysical representations.
我们了解背景非常重要，但是我们也要知道建筑从来不是简单的理性思考的结果或者源于背景。建筑一定会反映个人的想法，以及文化情怀，我们并不掩饰这份传承。我们的生活的世界让我们理解并记住我们的身份，根植于这个身份的不止是我们共同的中国人血统，同时也一定包括我们的教育，启蒙老师，我们对事物的不断探索，和我们各自的执念。我们执着于我们的文化身份以及其所代表的价值观，通过上海和伦敦的办公室和设计团队，实践于国内和国际舞台，希望用重新诠释的中国美学冲击被误解的中国形象。
We recognize the importance of content, but we are also keenly aware that architecture has never arisen from purely rational thinking or directly as a result of its context. It has always reflected personal and cultural aspirations and ideals and we do not shy away from that heritage. Our constructed world enables us to understand and remember who we are, and embedded in that identity is not only our shared Chinese heritage, but certainly our education, our mentors, our continual exposure to ongoing discourse, and our personal obsessions. We have indeed been obsessed with our cultural identity and its representative value both within the national borders and on the global stage. We operate on many shores, from our Shanghai office to our London office and desire to challenge China's misrepresented image, while contributing to the defining of a re-iterpreed Chinese aesthetic.
在这个快速发展的城市并且紧张的工作节奏中，不一会儿我们可能就会忘记我们为什么来到这儿，为什么来找这份工作，而不是其他。每一天都有积极的、消极的、对的、错的声音进入我们的大脑，我们也就像一辆刚开到城市中的小汽车，因为拥挤的交通环境，不一会儿就迷路了。找到对的路远比跟随他人重要，看似表面的忙忙碌碌其实意义并不大。很享受一个人周末穿梭在城市中，因为这个时间没有人打扰，可以自由的思考，可以为上一周的生活做一个总结，也可以制定下一周的计划，很多时候不是我们不知道自己想要什么，而是我们根本不舍得给予自己时间去思考这些，因为刷微博刷朋友圈好像更加紧迫。每次参加完活动，都想要记录下来，但是因为种种的惰性拖延，让这些记忆渐渐销声匿迹，所以我们不能很准确的说出这些时光都经历了哪些，都获得了哪些，这也是我开始记录的主要原因。设计其实更多地时间应该用于独立思考，无论是用脑袋还是画笔，它绝不是机械性的记录收藏，这也正是它最迷人的地方，因为总有更好的想法冒出来让你兴奋不已。在接受别人的观点的同时，千万不要忘了自己的思考，而最好的时间正是周末行走在城市惬意的午后。