Summary

When we speak of ships, others think of hipwreckage. We, however, think of wind-inflated white sail. When we speak of eagles, the others think of a bird. We, however, are talking about the wing span. When we speak of black panthers, the others think of predatory animals. We, however, think of the untamed dangerousness of architecture. When we speak of leaping whales, others think of saurian. We, however, think of 30 tons of flying weight. We won't find the architecture in an encyclopedia. Our architecture can be found where thoughts move faster than hands to grasp it. 當我們談到船，其他人想到船的殘骸，然而我們思考的是風吹漲了白色的帆。當我們談到鷹，其他人想到鳥，然而我們談論的是展翅翱翔的空間。當我們談到黑色的美洲獅，其他人想到的是掠食動物，然而我們想到的是建築中未被訓服的危險。當我們談到跳躍而行的鯨魚，其他人想到的蜥蜴累動物，然而我們想到的是30噸飛行的重量。我們不願在一本百科全書中尋找建築。我們的建築能在思考移動中被找尋，更快於傳遞及掌握。
THE CITY IS LIKE A FIELD OF CLOUDS… The rubber-grid of a networked city. The buildings of the tower of babel were missing the material reinforced concrete. We are missing material of confusion of languages which we would need in order to complete it. There is no solution for the city. The strategies of urban planning operate on the matrix of diverging impossibilities. The architects have to choose one and claim responsibility for it. Clouds are symbols for conditions that change quickly. They form and transform themselves through the complex interaction of changing situations. Viewed in slow motion the architecture of urban development could be compared with patches of clouds. The vocabulary of urban planning should be placed in an architectural antique shop and replaced phantasms still to be defined, which fluctuate and flicker like television screens after broadcast. The while noise of urban strategies, as a digitally networked system without hierarchy, is the play of suburb and periphery which will mold and determine the image of our cities and quality they have to offer. The notions of center, axis and spatial sequence will have to be replaced by tangent, vector and sequence of images. We should not regret the loss of public space, but reinterprete it as a fluctuating, networked media event. One which acts more like a semi-conductor than a sequence of spaces. The development of architecture is also furthered by strategies, which are compromised by searching for lines and fields of possibilities, tied together by chance, anti-logic anti-authority. But the coincidence of systems- both as built space and as media space- becomes the basis for new designs and projects, the rubber- grid as the premonition of a dynamic design-net for cities like clouds. You cannot scare people more, than when you are going dissolve form. That is almost an attempted murder on formalistic architecture. 城市就如同雲的活動場地… 網路城市中的橡膠格子。通天塔的建造並未獲得預力混凝土的材料，而我們所遺失的是能夠使我們完成的其措詞混亂的材料。並未有為了城市而現的解決方式。都市規劃的策略在分歧之不可能性的矩陣中起了作用，為此，建築師必須從中選擇並負予責任。在快速變化的狀況下，雲成了符號。經由改變位置的複雜交互作用下，雲自己形成並自己變形，在慢動作的視點下，城市開發中的建築能夠比喻成雲的拼湊。城市規劃的語彙應該被安置於建築學中古時的商店，並更換於仍被定義的幻境，這樣的波動與搖曳就如廣播節目結束後的電視螢幕。都市策略的干擾期間，如同缺乏階級組織的數位網路系統，啟用於為了城市品質的所塑造及決定之圖像的市郊與邊緣上，其中心的觀念，軸線及空間的因果層級關係將被切線、向量及圖像層及所更換。我們不該對公共空間的損失而遺憾，而需重新解釋如波動的、網際媒體的事件。其一的作用較空間的層級更如同於半導體，建築的發展同樣在策略的引導下，能更進一步地在如此可能性的線段與場域搜尋之中，經由偶然機會纏綁一起，且在反邏輯、反權威的範疇下被妥協了。但此系統的巧合兼同於構造的空間與媒體的空間，變成了新設計思考的根據，此橡膠的網格就如為了雲朵般城市而生之強力設計網的預告。相較於當你想要解放形體時，你比較可以不必擔心人們。這就是謀殺形式主義建築的企圖。
此概念起始的重點為「密實的擠壓」（Tight Packing），此階段發展為「既不是鳥也不是翅膀」的想法：這首先的概念就是閃電的閃耀和皺摺的彎曲。瘋狂與表現的結構，其外觀如同鳥類一般，聯結著既有的建物，並且也具有相當調和的室內結構，給人相當深刻的印象。屋頂延伸的閃耀就如同魔術一般，就像是一顆令人耀眼奪目的水晶一般。
「建築系統的同步性」的概念為發展的目標。轉化（Conversion）伸展（Extension）開放建築
「引導公共性的空間」 Interface（介面） Sculptures（雕塑品）「傾刻空間」的概念，定義空間的材料全部為粗糙與不相乎干涉的，這並不是打算要表現出「忽略感」，但這卻被認為是一種都市空間的堅硬感刺進於內部空間。 Computer Controlled 電腦輔助的操作是相當有利於建築師的 UFA Cinema Center建造的唯一目的似乎就是讓人們成為都市空間活動的一部份，「觀眾即是主角」。

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When we speak of ships, others think of hipwreckage. We, however, think of wind-inflated white sail. When we speak of eagles, the others think of a bird. We, however, are talking about the wing span. When we speak of black panthers, the others think of predatory animals. We, however, think of the untamed dangerousness of architecture. When we speak of leaping whales, others think of saurian. We, however, think of 30 tons of flying weight. We won't find the architecture in an encyclopedia. Our architecture can be found where thoughts move faster than hands to grasp it. 當我們談到船，其他人想到船的殘骸，然而我們思考的是風吹漲了白色的帆。當我們談到鷹，其他人想到鳥，然而我們談論的是展翅翱翔的空間。當我們談到黑色的美洲獅，其他人想到的是掠食動物，然而我們想到的是建築中未被訓服的危險。當我們談到跳躍而行的鯨魚，其他人想到的蜥蜴累動物，然而我們想到的是30噸飛行的重量。我們不願在一本百科全書中尋找建築。我們的建築能在思考移動中被找尋，更快於傳遞及掌握。
THE CITY IS LIKE A FIELD OF CLOUDS… The rubber-grid of a networked city. The buildings of the tower of babel were missing the material reinforced concrete. We are missing material of confusion of languages which we would need in order to complete it. There is no solution for the city. The strategies of urban planning operate on the matrix of diverging impossibilities. The architects have to choose one and claim responsibility for it. Clouds are symbols for conditions that change quickly. They form and transform themselves through the complex interaction of changing situations. Viewed in slow motion the architecture of urban development could be compared with patches of clouds. The vocabulary of urban planning should be placed in an architectural antique shop and replaced phantasms still to be defined, which fluctuate and flicker like television screens after broadcast. The while noise of urban strategies, as a digitally networked system without hierarchy, is the play of suburb and periphery which will mold and determine the image of our cities and quality they have to offer. The notions of center, axis and spatial sequence will have to be replaced by tangent, vector and sequence of images. We should not regret the loss of public space, but reinterprete it as a fluctuating, networked media event. One which acts more like a semi-conductor than a sequence of spaces. The development of architecture is also furthered by strategies, which are compromised by searching for lines and fields of possibilities, tied together by chance, anti-logic anti-authority. But the coincidence of systems- both as built space and as media space- becomes the basis for new designs and projects, the rubber- grid as the premonition of a dynamic design-net for cities like clouds. You cannot scare people more, than when you are going dissolve form. That is almost an attempted murder on formalistic architecture. 城市就如同雲的活動場地… 網路城市中的橡膠格子。通天塔的建造並未獲得預力混凝土的材料，而我們所遺失的是能夠使我們完成的其措詞混亂的材料。並未有為了城市而現的解決方式。都市規劃的策略在分歧之不可能性的矩陣中起了作用，為此，建築師必須從中選擇並負予責任。在快速變化的狀況下，雲成了符號。經由改變位置的複雜交互作用下，雲自己形成並自己變形，在慢動作的視點下，城市開發中的建築能夠比喻成雲的拼湊。城市規劃的語彙應該被安置於建築學中古時的商店，並更換於仍被定義的幻境，這樣的波動與搖曳就如廣播節目結束後的電視螢幕。都市策略的干擾期間，如同缺乏階級組織的數位網路系統，啟用於為了城市品質的所塑造及決定之圖像的市郊與邊緣上，其中心的觀念，軸線及空間的因果層級關係將被切線、向量及圖像層及所更換。我們不該對公共空間的損失而遺憾，而需重新解釋如波動的、網際媒體的事件。其一的作用較空間的層級更如同於半導體，建築的發展同樣在策略的引導下，能更進一步地在如此可能性的線段與場域搜尋之中，經由偶然機會纏綁一起，且在反邏輯、反權威的範疇下被妥協了。但此系統的巧合兼同於構造的空間與媒體的空間，變成了新設計思考的根據，此橡膠的網格就如為了雲朵般城市而生之強力設計網的預告。相較於當你想要解放形體時，你比較可以不必擔心人們。這就是謀殺形式主義建築的企圖。
此概念起始的重點為「密實的擠壓」（Tight Packing），此階段發展為「既不是鳥也不是翅膀」的想法：這首先的概念就是閃電的閃耀和皺摺的彎曲。瘋狂與表現的結構，其外觀如同鳥類一般，聯結著既有的建物，並且也具有相當調和的室內結構，給人相當深刻的印象。屋頂延伸的閃耀就如同魔術一般，就像是一顆令人耀眼奪目的水晶一般。
「建築系統的同步性」的概念為發展的目標。轉化（Conversion）伸展（Extension）開放建築
「引導公共性的空間」 Interface（介面） Sculptures（雕塑品）「傾刻空間」的概念，定義空間的材料全部為粗糙與不相乎干涉的，這並不是打算要表現出「忽略感」，但這卻被認為是一種都市空間的堅硬感刺進於內部空間。 Computer Controlled 電腦輔助的操作是相當有利於建築師的 UFA Cinema Center建造的唯一目的似乎就是讓人們成為都市空間活動的一部份，「觀眾即是主角」。