「建筑师 张伊琳：重新定义当代建筑绘图与人本空间叙事 | 建世界 06」

「建筑学在世界各地经历着不同的发展阶段，蕴含着各自独特的文化与历史意义，也带来了不同的实践机会。专栏《建世界 | Chinese Architect in the World》将关注中国建筑设计师在全球各地的实践与探索，旨在促进交流的同时激发新的思考。」——建筑学院 Archcollege 编辑部

本期专访的主人公张伊琳，毕业于康奈尔大学建筑学院，现任职于 STUDIOS Architecture 旧金山办公室，担任建筑师与 Job Captain。其建筑绘图作品曾获 2025 Architecture Drawing Prize 国际建筑绘图大奖，并在世界建筑节、索恩爵士博物馆及纽约时代广场等国际平台展出。

教育与职业经历

2013–2016：伊利诺伊大学厄巴纳–香槟分校
University of Illinois at Urbana-Champaign
建筑研究学士（荣誉） BS in Architectural Studies (Honors)

2015–2016：加泰罗尼亚理工大学（巴塞罗那）
UPC–BarcelonaTech
建筑学院交流项目 Study Abroad Program

2016–2018：康奈尔大学建筑学院
Cornell University
建筑学硕士 Master of Architecture

2019–2021：Korth Sunseri Hagey Architects｜旧金山
Architectural Designer

2022–至今：STUDIOS Architecture｜旧金山
Architect / Job Captain

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获奖经历

The Architecture Drawing Prize – Winner（2025）
World Architecture Festival｜Top 15 / 229

Drawing of the Year – Shortlisted（2025）
Archisource｜Top 200 / 7000+

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展览经历

Abstract Mind｜CICA Museum｜韩国（2026）

The Architecture Drawing Prize 展｜Sir John Soane’s Museum｜英国（2026）

World Architecture Festival｜迈阿密｜美国（2025）

Visual Art Journal Showcase｜纽约时代广场｜美国（2025）

London Creates｜伦敦｜英国（2025）

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专业资质

美国加州注册建筑师（RA）
美国建筑师协会会员（AIA）
LEED AP BD+C

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采访目录

› 01. 个人专业背景与职业路径
› 02. 建筑绘图与空间记忆的研究方法
› 03. 国际奖项、展览与行业认可
› 04. 数字化与 AI 语境下的建筑表达
› 05. 实践经验与未来方向

一｜建筑绘图如何成为一种思想表达？

I. International Recognition

Redefining the Role of Architectural Drawing

Almost Forgotten/受访者 张伊琳 作品

Q：你的作品《Almost Forgotten》获得了 2025 Architecture Drawing Prize，你认为它最具突破性的地方是什么？

张伊琳：
这件作品的突破不在于形式，而在于我重新理解了建筑绘图的角色。它不再只是说明空间的技术图纸，而成为一种处理“记忆”这一非物质主题的叙事工具。我提出了“结构叠合（Structural Superposition）”的方法，将建筑的物理结构与人的心理结构并置，让空间成为记忆的承载体。悬置、断裂的体量既是建筑语言，也是记忆碎片的象征。

Q: Your work Almost Forgotten received the 2025 Architecture Drawing Prize. What do you see as its most significant breakthrough?

Zhang Yilin:
The key breakthrough lies in redefining the role of architectural drawing itself. Rather than serving purely as a technical representation of space, the drawing became a narrative tool for engaging with memory as a non-material condition. I developed an original method I call Structural Superposition, in which the physical structure of architecture is overlaid with the psychological structure of memory. The suspended and fragmented forms in the drawing operate simultaneously as architectural elements and as materialized memory fragments.

Q：为何这件作品可能会在国际评审中被注意到？

张伊琳：
是在数字表达与手绘肌理逐渐融合的过程中。当行业普遍陷入技术同质化时，我有意识地通过高精度建模、光影叙事与手绘肌理叠加，让画面既具数字秩序，也保留真实的温度。这种跨越技术与艺术边界的表达，使绘图成为一种独立的艺术形式，而非未来建筑的说明书。

Q: At what point did you feel the work might resonate with an international jury?

Zhang Yilin:
That moment came when digital precision and hand-drawn texture began to merge. In a context where digital tools have led to increasingly homogenized visual output, I deliberately combined high-resolution modeling, light-based narrative, and tactile drawing techniques. The result maintains digital order while preserving a sense of human presence. This crossing of technical and artistic boundaries allows the drawing to stand as an independent artistic work, rather than a mere illustration of a future building.

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二｜跨文化的空间情绪是否存在共识？

II. International Exhibitions

Academic Depth and Cross-Cultural Resonance

Q：你的作品曾在 WAF、索恩爵士博物馆、纽约时代广场等地展出，这些国际平台看重什么？

张伊琳：
这些展览的甄选标准虽各不相同，但核心集中在三点：思想深度、方法前瞻性与跨文化共鸣能力。学术机构关注作品是否具备博物馆级的思想厚度，而像世界建筑节这样的平台，更看重作品是否回应当代建筑议题与未来趋势。纽约时代广场的展出则验证了作品在公共语境中的情绪可读性。

Q: Your work has been exhibited at WAF, Sir John Soane’s Museum, and Times Square. What selection criteria do these platforms share?

Zhang Yilin:
Although these venues operate in different contexts, their criteria converge around three aspects: intellectual depth, methodological relevance, and cross-cultural resonance. Academic institutions such as Sir John Soane’s Museum emphasize conceptual rigor and historical continuity, while platforms like the World Architecture Festival focus on emerging directions within the discipline. Public venues such as Times Square test whether a work can establish emotional clarity within a dense visual environment.

Q：不同文化背景的观众，对你的作品有何不同解读？

张伊琳：
让我意外的是，不同文化背景下，观众对“空间情绪”的感知高度一致。无论是在伦敦、纽约还是首尔，观众都能感受到关于“遗忘”与“重构”的脆弱感。这让我意识到，最有力量的建筑语言并非风格，而是人类共有的情感体验。

Q: How have audiences from different cultural backgrounds responded to your work?

Zhang Yilin:
What surprised me most was the consistency of emotional perception across cultures. Whether in London, New York, or Seoul, viewers responded to similar feelings of fragility related to loss and reconstruction. This reinforced my belief that the most powerful architectural language is not stylistic, but emotional—rooted in shared human experience.

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三｜数字时代，建筑是否正在失去“人”？

III. Media Attention

Reclaiming the Human Dimension of Architecture

受访者 张伊琳 作品

Q：你的作品为何能引发国际建筑与艺术媒体的持续关注？

张伊琳：
因为它触及了当代建筑的一个核心问题：在高度数字化的时代，建筑是否正在失去以人为本的情感维度？当大量表达停留在视觉奇观层面时，我尝试用数字工具去探讨记忆、情绪与空间体验，让建筑绘图重新回到“人如何感受空间”的原点。

Q: Why do you think your work has drawn sustained attention from architectural and art media?

Zhang Yilin:
Because it addresses a critical question facing contemporary architecture: whether the discipline is losing its human dimension amid rapid digitalization. While much visual production prioritizes spectacle, I use digital tools to explore memory, emotion, and spatial experience. The intention is to return architectural drawing to a human-centered mode of expression, where technology serves meaning rather than replaces it.

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四｜什么是“结构叠合”？

IV. Original Contribution

Structural Superposition as a Narrative Method

Q：“结构叠合”如何将抽象的空间记忆转化为可学习的建筑语言？

张伊琳：
它不是形式操作，而是一种观察建筑的方式。我将人的心理结构与建筑的物理结构放在同一张图纸中，让线条、断裂与光影同时回应结构逻辑与感知逻辑。这使图纸不再只是技术文件，而进入一种介于绘画、模型与建筑之间的状态。

Q: How does “Structural Superposition” translate abstract concepts like memory into a visual architectural language?

Zhang Yilin:

It is not a formal gesture, but a way of seeing architecture. By placing psychological structure and physical structure within the same representational field, lines, ruptures, and light respond simultaneously to structural logic and perceptual experience. The drawing occupies a space between architectural documentation, model, and artwork—it constructs emotion as much as it depicts space.

Q：在 AI 与参数化工具盛行的今天，这种方法是否仍然成立？

张伊琳：
恰恰相反，工具越智能，人本指引越重要。AI 可以生成图像，但无法生成意义。我将 AI 视为可以被纳入叙事结构的“语言碎片”，而不是规则本身。这是一种人机协作的底层逻辑，而非对技术的依赖。

Q: How does this approach engage with AI and emerging digital tools?

Zhang Yilin:
The evolution of architectural language depends on how we reinterpret tools. AI can generate images, but it cannot generate meaning. I treat AI outputs as narrative fragments—materials to be folded into a human-led framework. As tools become more intelligent, the role of human judgment and intention becomes even more essential.

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五｜如何在技术决策中守住空间体验？

V. Practice and Leadership

Human-Centered Decision-Making in Technical Systems

Q：作为 Job Captain，你如何在复杂项目中做出关键技术判断？

Q: As a Job Captain, how do you make critical technical decisions in complex projects?

张伊琳：
我始终从一个问题出发：这项技术决策，最终会被人感知成什么样的空间？我将叙事与体验判断引入结构、机电与照明的协调中，把复杂系统转译为可执行、但不牺牲体验的技术路径。

Zhang Yilin:

I always start with a single question: How will this technical decision ultimately be perceived as space by people?

I bring narrative and experiential judgment into the coordination of structure, MEP, and lighting, translating complex systems into technical strategies that are executable—without compromising the spatial experience.

Q：你主导制定的 BIM 标准带来了哪些改变？

Q: What changes did the BIM standards you led bring about?

张伊琳：
我把 BIM 视为保护空间意图的工具，而不是消耗设计的流程。通过对关键视线、净高与光线的制度化标记，项目在深化阶段减少了体验层面的返工，也形成了一套可复制的“体验敏感型工作流”。

Zhang Yilin:
I treat BIM as a tool to protect spatial intent, not a process that consumes design. By institutionalizing the documentation of critical sightlines, clearances, and lighting conditions, the project reduced experience-related rework during later design development and established a replicable, experience-sensitive workflow.

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六｜未来：建筑图纸还能走向哪里？

VI. Future Direction

Bridging Drawing and Architectural Practice

Q：你未来最希望推进的方向是什么？

张伊琳：

一方面，我会继续围绕空间记忆与结构叠合进行研究，并将其系统化为可分享的方法；另一方面，我希望在更大尺度的实践中验证这种以体验为核心的技术决策方式。我的目标，是让建筑图纸重新成为连接技术、记忆与日常生活的空间艺术。

Q: What do you see as the next stage of your work?

Zhang Yilin:
I plan to advance along two parallel paths. In research, I will continue developing work around spatial memory and structural superposition, organizing it into shareable frameworks through publications and lectures. In practice, I aim to apply this experience-driven decision-making approach to larger and more complex projects. Ultimately, my goal is to reconnect architectural drawing and practice, and to reaffirm architecture as a spatial art rooted in memory, emotion, and everyday life.