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Jan Clostermann是一名拥有20余年全球项目设计经验的建筑师，多次摘得国际建筑奖项。Jan先后于德国柏林工业大学和英国AA建筑联盟学院完成建筑学专业，在AA攻读期间，获得了学院奖学金。Jan于2015年创立CLOU，此前，他曾就职于获得过英国皇家Stirling Prize的建筑事务所，在伦敦、鹿特丹、新加坡、上海等地主持设计不同类别、不同尺度的项目，积累了丰富的经验。
在成功完成了新加坡克拉克码头与上海国际客运港等亚太项目后，Jan于2005年来到北京，带领团队设计了北京东直门地标建筑来福士广场、上海港国际客运中心、北京大兴首开万科中心、远洋京棉新城、成都天府环宇坊、住总万科生活广场、220米超高层深圳水湾1979、青岛大荣生态科技园、成都武侯星悦荟等一系列作品。
1 ·.
孩童时期，建筑就成为了理想。
2 ·.
两段截然不同的学习经历，塑造了我们的建筑意向——城市与社区的建造。
之后我去了柏林，因为我想到大城市感受一下不同的生活方式。我在柏林学习了3年，这个城市给我带来了无与伦比的体验。那时候，我们在非常大的组群里学习，但每个人都在独立完成自己的工作，所以你必须要遵循自己的时间安排。
Then I went to Berlin, because actually I wanted to experience a big city, and what that was like compared to where I came from. I was studying there for 3 years and it was an amazing experience of a city. When I was in Berlin, we studied in very large groups and everyone was working individually -you had to really make sure that you follow your own schedule.
其实，我一直在寻找一种不同的学习体验。我曾听说过英国AA建筑学院，在AA，你会跟随一位教授学习1年，每2-3天会有一次面对面指导，这有点像在设计公司工作。我对这样的学习形式非常感兴趣，所以我用这样的方式完成了最后两年的学习。
But I was looking for a different kind ofeducation. Very early on, I heard about the AA. At the AA, you follow oneteacher for 1 year. You can meet him every 2 or 3 days, so, it's kind of likeworking in an office. I was very interested in trying that out, so I did thatfor the last 2 years.
我的教授他就像一个天生的教育家，也应该是AA最年长的教授了，他可以说是我在建筑领域里的启蒙者，启发了我对建筑的兴趣方向。在我教授的印象中，社区总是和一些在旧时代生活的小社团、小城镇中的一些安静的或诸如此类的事物联系到一起。但随着城市化，容纳人们的唯一方法就是在城市中高密度地生活。对我而言，城市是人们如何共同生活，如何共同创建社区。你能在非常密集的环境中创建一个社区吗？你会怎么做？这是我学习之初就产生的基本兴趣。
My teacher, he was a born educator. What he wasinterested also made me very interested in.
Because communities in his mind were alwaysassociated with something quite from old times when you live in small groups, asmall village or this kind of thing. But with urbanization, the only way toaccommodate people is to live in high density in cities. Can you also create acommunity even if you live in really dense surroundings? How can you do that?This was kind of the essential interest that I had from the very beginning.
成都天府环宇坊
3 ·.
4 ·.
CLOU的初现，颠覆的设计观念，接受全新的挑战。
武侯星悦荟
In the beginning, I moved to Rotterdam. Shortlyafter the office had a project here on the bund in Shanghai. They asked whowanted to go. There weren't many people that wanted to go, but I said, yesdefinitely, I'm really interested. This was an excellent opportunity to traveland see other influences that would actually help me to form as an architect:just like what Frank Lloyd Wright did -his architecture only became interestingonce he actually saw other cultures and was inspired by them.
在当时，设计的过程其实是你需要在每个项目都贡献灵感。虽然事务所很大，但一切都取决于Alsop自己的灵感和绘图，所以这很难教会别人或是学到什么，因为灵感都存在于他的脑海里。后来我就在想，如果我有自己的办公室，我是不会这样工作的。
Plus, you were a little bit further away fromWill Alsop himself. At the time, the design process became a bit like that hehad to give inspiration for every project. The office was quite large, buteverything depended on his own inspiration and drawing. It was very difficultto teach people anything or for people to learn anything, because it just cameout of his mind. So, something I thought was, if I had an office, I would notwant to work like this.
搬来上海后，我们可以更加独立地进行创作设计。此后不久，北京来福士广场项目赢得了设计竞赛。由此，我们在北京设立了办公室。团队建立之初只有6个人。自我们启动来福士广场项目后，大约3-4年间我们很快从5人团队发展到30人。在上海、北京，甚至在我们之前做过克拉克广场的新加坡都设有办事处。但此时的伦敦总部办公室的情况并不太好，每个办公室的负责人决定独立进行运营。
In Shanghai, we could design a little bit moreindependently. We did the competition to design Raffles City Beijing, which wewon. So, I set up an office in Beijing. We had at the beginning six people ingeneral. Since we started doing Raffles City, we grew this office to 30 peoplevery quickly over 3 or4 years. We had offices in Shanghai, in Beijing, even inSingapore where we had done Clarke Quay before. At the same time back home inLondon, the office wasn’t doing so well. So the directors in each of the officedecided to do it independently.
立方长廊
5 ·.
In 2015, we formed CLOU Architects and justbecame independent: We have our own design approach. We have our own clients.We have our own teams. We have our own friends. CLOU means a main point, aspecial invention. It's something special, something extra.
CLOU Architects是一个非常国际化的团队。在疫情之前，我们50人左右的团队中几乎有一半人来自20个不同的国家，这样可以确保团队多元化，我们始终有不同的声音、不同的观点。在我们的设计中，文化也至关重要。我们将室内设计师、景观设计师和平面设计师引入整个设计工作流程，每个人都可以贡献自己的想法。实际上，我和我的同事们一直致力于贯彻执行这样一个工作流程，并且得到了大家的认可。
CLOU Architects is a very international team.Before the pandemic, we were maybe 50, and almost half of us were from abroad,and we had 20 different nationalities. By choice, we can always make surethere's not just one homogeneous group where all think the same, or speak thesame language. In our design, culture is also very important. We bring interiordesigners, landscape designers, and graphic designers into the work process.Everyone can contribute an idea to this process.
It's actually the job of me and my colleagues toedit this process, and make sure it is going in a way where you recognize: thisis a great idea.
6 ·.
When CLOU was formed, I suppose the positioningwas still filling a niche market. We are doing shopping mall projects, so wehad to really look very hard for clients that share our ambitions and ourinterests about these spaces. But in all these years, we established a team anda reputation without Beijing office that stood for very innovative, veryunusual, striking retail projects.
We start the design process by downloading alldata from the client, and really understanding them and trying to put ourselvesinto their shoes. We find it much easier to do something that's interesting,and can actually avoid just doing a standard design if we find a problem thatmaybe the clients are not aware of. The more problems you can actually solve,the more unique, the more fulfilling, and more special the design solution canbecome.
诺和木勒凯德广场
以北京来福士广场为例, 我们需要在2008年奥运会之前完成项目设计。这个项目有一个中庭，它的中心是雕塑结构。这在早期是一个非同寻常的构思，我们称之为水晶莲花——这个灵感非常合乎逻辑。但是设计的流程并不是我们照着一张莲花的照片然后设计莲花，而是从务实角度出发。大致说来，在设计过程中我们清楚地意识到我们需要在中央放置一些商店，这也是客户一直在考虑的关键问题之一。我们所做的就是试图解决如何吸引人们上楼的问题，甚至可能为此需要创造一些当时并不存在的东西。每个上楼的人都可以成为建筑评论家、摄影师，并有助于激发他人对此的兴趣。这实际上是这种设计手法的早期示例，同样也是公司名称CLOU的起源。整个项目中庭的雕塑就是最关键的核心。因此，作为建筑师和设计师，我们应该不断开发新类型并不断创造我们可以称之为CLOU的东西。这是一次了不起的学习经历，因为这是我们所有人一起探索的旅程。
For example, Raffles City: we were doing thisproject with a deadline to 2008 before the Olympics. We had basically an atriumthat has a sculptural structure in the centre. Very early on, there aredifferent levels of storytelling. Our inspiration was very logical: we calledit the Crystal Lotus. But the design process is not that we look at a photo ofa lotus, and then design the lotus; how it came about was very pragmatic: Itbecame clear during the design process that we needed to put some shops in themiddle, we were trying to solve the problem of attracting people to upstairs,maybe even to create something which at the time didn't really exist. So, thisactually goes back to the name of the company CLOU: You could say thissculpture in the middle is the CLOU of the project. So as architects anddesigners, we can keep developing new typologies and keep creating what we call‘clous’. It was an amazing learning experience, because it's a journey that weall took together.
©北京来福士广场 Raffles City
业主单位：凯德置地中国控股私人有限公司
设计单位：CLOU Architects 柯路建筑
建成时间：2009年
项目面积：地上97,500平方米，地下48,000平方米
项目地点：中国北京
7 ·.
The influence that COVID had on us were twothings: What we realised was that our interest in all these projects isactually about social space, how people live together, and how you can actuallycreate something that attracts people and becomes part of the urban realm. It'scertainly not because it's convenient to go for shopping - it is actually tosocialise or to be not alone. This is the main purpose of these places and Ithink clients realise that this becomes more and more important. It was alearning curve not only for us, but also for the clients.
There are many very nice clients and developersthat we love working with. This has set up a growth process so that we're goingwith the flow. So, in that sense, the pandemic actually reassured us in ourconvictions. At the same time, it was also reinforcing our realisation that wereally have to grow, so we can use this opportunity to be able to design more projectsand to keep developing. This actually also meant that we had to grow a lot, andthis became one of the reasons why we've opened the office in Shanghai.
我们正在做的事情对城市发展非常重要。CLOU一直在探索设计“愿景项目”，一个颇为有力的例子是SUPER TENT“超级帐篷“，这个项目并没有业主委托，项目的想法是创造一个巨大的屋顶，下面是三维城市景观，并与交通基础设施相连。这或许只是为了创造一种我们将来可以利用的城市奇观或城市特色。有时候，我们所做的这些设想可能需要2-3年的时间才能找到真正实现的方法。但这不仅是和健康生活有关，而且作为建筑师，我们有责任为后代考虑实现碳中和。这不仅能确保能源合理运用，也能确保项目具有社会可持续性。
What we're doing is very important for urbandevelopment. CLOU has always been doing what you could say are vision projects.A strong example is the Super Tent, which is a project without a client. It wasthis idea about creating a big roof with a three-dimensional city scapeunderneath, connecting with transport infrastructure. Just to create a sort ofurban spectacle, or an urban speciality that we could in the future look to tapinto. Sometimes these visions we do take 2 or 3 years until they can find theirway into a real project. (Sustainability) is not only about everything that hasto do with healthy living, about the fact that we have a responsibility to thegenerations that come after us, that we reach a carbon neutrality, it's that wemake sure not only energy wise, but there's a social sustainability to theproject.
© SUPERTENT
项目名称：SUPERTENT超级帐篷
设计单位：CLOU Architects 柯路建筑
设计团队：Jan Clostermann，Christian Taeubert，Sebastian Loaiza，Tait Kaplan，Wenlei Ma，Weiqing Wang，Sara Fontana
8 ·.
Find the CLOU！
I think it's very important to start as early asyou can. Even if it's late, don't just stop now.
Architecture is an art form that gives you aspecial experience. Sometimes we have to be the careful ones, sometimes we haveto be the opposite we have to be the brave ones. In the end, it's still ourresponsibility as architects to do whatever it takes to make sure that, thebuilding, the architecture, is up to scratch. No matter how difficult it is.And it's actually a contribution to the urban environment.
The End
地建师「筑梦者」计划
构筑一个真实的地产建筑师
