场域建筑工作室(Approach Architecture Studio)于2006年在北京创立。自成立以来，就坚持主创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. 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).
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.
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
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
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
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.