Bamboo plywood and super-mirror stainless steel are the primary materials for this 9-day construction schedule.
L'Idiot Restaurant can help you think!? The "roughness" of the design stimulates a dialogue of active associations in the human mind.
里帝欧餐厅帮你思考！？“粗糙”的设计激起一种人内心中活跃的想法与设计之间的对话
An experimental installation attempting to make a garden remotely. A video of the game, "The Chaotic Rise and Fall of the White Masked Man and Other Common Acts," views the installation as a stage for living.
2009年在比利时秘密花园节上，BAM建筑设计工作室（北京）尝试如何远程打造一个花园。操作花园游戏的教程和指令则是通过电子邮件的形式发往比利时，该游戏由当地的合作者们在科翠雅克市布鲁艾勒博物馆的后院中共同“玩成”。
An installation exposing the perilous state of the Icelandic landscape, encouraging citizens to constructively embrace change within their pristine environment
Biornis-Aesthetope: A fully supported avian habitat green roof structure
完全满足鸟类栖息地要求的屋顶花园结构
The landscape design weaves into the Olympic park masterplan, culminating in the intensive energy of the Velodrome.
Bilbao architecture publication features BAM's design for the restaurant and profiles the firm
"Llamativamente Delicioso…" by Karine Monié describes the design of L'Idiot Restaurant, the featured interior design.
In the spirit of BAM's Fallen Oak Installation at Cornell University (working with the given materials of a site), 780 plastic bags are recycled into a sun canopy over a courtyard house this summer in the Capital. Not only does the canopy provide colorful shade, but it creates a surprisingly peaceful background noise in the breeze.
基于康乃尔大学落地橡木装置的理念。今年夏天在北京的一个四合院的遮阳篷下回收着780个塑料袋。遮阳篷不仅仅提供了荫凉，而且在微风中还产生了令人惊奇地和谐的声音。
BAM's garden and video installation "Garden Game" opened at the 2009 Secret Gardens Festival in Kortrijk, Beglium. Experimenting with how to make a garden remotely, a game of dice creates a maze of chaotically oriented hedge walls. The game is played by local teams of artists and builders who follow emailed rules. A video of the game views the installation as a stage for living: "The Chaotic Rise and Fall of the White Masked Man and Other Common Acts" is on exhibit at the Broelmuseum and a preview may be watched on You Tube - Kanaal van koenmoerman.
2009年在比利时秘密花园节上，BAM建筑设计工作室（北京）尝试如何远程打造一个花园。操作花园游戏的教程和指令则是通过电子邮件的形式发往比利时，该游戏由当地的合作者们在科翠雅克市布鲁艾勒博物馆的后院中共同“玩成”。滚动 骰子会产生一堵由障碍墙组成的混乱迷宫，跳舞者放置35张栽培床来使用骰子，一个手工制作的转盘，丝线和木柱，然后花园建造者使用骰子和转盘来准备并在栽培床上进行种植植物（竹子等等）。游戏由影像艺术家科恩莫尔曼纪录拍摄。戴着白色面具的人起伏的混乱状是录象装置的一部分，展现花园作为一个生活的舞台。该作品在布鲁艾勒博物馆展出。
L'Idiot Restaurant design and BAM shown in Travel+Leisure China Edition
里帝欧餐厅和BAM出现在《Travel+Leisure》杂志
China has embraced ballistic weather modification programs, employing as many as 35-37,000 and spending US $260m between 1995-2003. Shells, rockets, aircraft and hilltop burners are used to “seed” clouds with silver iodide or other chemicals that can either disperse moisture or make it fall earlier than it otherwise would.
中国拥有出色的天气控制系统，从1995年到2003年，中国雇佣多达37,000人并花费2.6亿美元利用炮弹，火箭，飞机来携带银碘化物或者其他化学制剂来凝结成云，达到驱散云层或者人工降雨的效果。
An era of Architecture comes to an end with famous buildings burning around the world. It’s time for the landscape to become the new urban iconography.
一个建筑终结的时代——世界各地许多著名建筑毁于大火。 将是园林景观成为城市新座标的时代。
January 2009 issue of Taiwan Tatler features L'Idiot Restaurant designed by BAM
台湾Tatler杂志2009年1月刊特别报道里帝欧餐厅的设计由BAM完成
WE People October 2008 issue now out featuring BAM and L'Idiot Restaurant in use.
January 2009 Issue of Conde Nast Magazine features BAM's L'Idiot Restaurant design
BAM设计的里帝欧餐厅出现在《孔德.纳斯特 》杂志的2009 年一月期刊上
L'Idiot Restaurant design by BAM published in Esquire Taiwan Edition
里帝欧餐厅和BAM出现在台湾出版的《时尚先生》杂志
In judeo-christianity and most monotheistic religions, objects can represent a view of the cosmos. Therefore nature itself doesn’t really have a role in the cosmological belief structure. The sun itself is not god; the winds and seas are not seen as gods but as creations of god, and thus revered in their given state. In the long run this result is a condition where, if you want to be closer to god, put a cross over your bed, a missusa on your door, and a prayer mat in you living room - but one's surroundings and physical environment carry almost zero importance. “Nature,” as creation, stays at a distance from the concepts which have evolved around judeo-christian worship. The distance between religion and nature impacts our understanding of what humans create, versus what is natural. For example, cities are unnatural, and by extension, designing "nature" and the landscape is also unnatural. By further extension, if landscapes are designed then they should appear as if they were not designed. Man made landscapes should appear as if god had created them.
In eastern thought and religious development, the same standard does not hold true. In Chinese pre-modern history, where divination traditions developed the first characters (written language), linguistics and cosmological perspectives grew together. Today’s Chinese language has one of the most direct connections to its pre-historic predecessors. As in many early cultures and civilizations, in myths and stories of creation, elements of nature where viewed as gods and heavenly beings. Thus due to China’s direct connection to its pre-historic roots through language, early views of man's existence in nature and the cosmos have traveled through time and continue to exist in modern society.
The result is that the landscape and nature around us are not viewed as created by one god, but are themselves gods, spirits, and ancient myths. One can see dragons in hills, phoenixes in the clouds, heavens in the mountains and purity in mist. The physical elements of nature provide harmony. Thus by controlling these elements it is possible to place oneself in a most auspicious cosmological structure. This means that if one is building a house, or planning a city, whether in ancient or current times, having a mountain or hill to the north places one's family and community at harmony with nature and the cosmos. Thus whether or not the mountain or hill existed there previously has nothing to do with living harmoniously with nature. Building a mountain or hill where one did not exist before is not understood to be a disruption of nature, but rather an optimization of mans existence within a greater cosmological structure.
In western thought, nature is a creation of god and is already perfect. It should not to be touched, manipulated or changed. In eastern thought, nature is a malleable element to be created, destroyed, moved and changed to better humanity's position within it. While one might begin to see eastern thought and position regarding nature a more truthful one, by acknowledging humanity's position on earth, and acknowledging the fact that humans have been designing nature to benefit humanity ever since we were monkeys. However, due to rigidity in social structure (in part resulting from a famously large population over huge amounts of land) flexibility of belief and evolution in understanding is not widely accepted. One's rules and beliefs are codified. Even though the landscape is understood and expected to be designed by humans, emulation of nature is so important that personal vision and artistic intuition are secondary to the “aesthetics” of nature.
在犹太基督教和大多数一神论的宗教中，事物可以代表宇宙的一种观点。所以自然本身在宇宙信仰架构中没有确切的规则。太阳本身不是上帝；风和大海不被看成是上帝但被认为是上帝的产物，并由此作为上帝的馈赠而被敬仰。长期持有这种观点的结果便是，如果你想靠近上帝更近一点，便在床上放一个十字架，将一个耶稣标志悬挂在门上，然后在客厅放一个祈祷用的坐垫 － 但是周围事物和物理环境无关仅要。“自然”，作为宇宙的产物，它存在于来自犹太基督教信仰研究理论的一个空间里，自然和宗教之间的距离影响着我们对于人类所创造事物的理解，与什么是真正的自然相对。比如，城市是不自然的，但是设计“自然”和景观也是非自然的，再则，如果景观被人为设计那么它应该表现得浑然天成看不出任何被设计的痕迹，人造的自然景观应该像上帝亲手创造的一般自然。
在东方思想和宗教发展中，类似的标准并非事实。在早于中国现代历史之前，那个时期占卜传统活动偶然创造了第一个书写的汉字，语言学和宇宙观点便融为一体。今天的中国语言与早于早于历史开始之前的先人有着密不可分的重要联系。在许多非常早期的文化和文明中，在神话和世间生灵的故事当中，自然界因素被当成是上天或者天上神灵。所以依照中国通过语言汉字与早期历史根源的密切关系，对于人类存在于自然界和宇宙中的早期看法经过千百年来仍然存在于现代社会。
结果便是，我们周围的景观和自然并不认为是只被一个神灵（上帝）所创造，它们是神灵自己，精神和古老的神话，那神灵可以看到山上的龙和云中的凤凰，高山中的天庭，和迷雾中的纯净。自然界的物理条件造就了和谐。所以掌握这些因素就有可能把自身放在一个最为有利的宇宙理论构架中。也就是说不管是现远古时期还是现代社会，如果一个人建造一栋房子，或者规划一座城市，将其座落于一个北部有山的地方，家庭和社会则与自然和宇宙相互处在一个无比和谐的生活状态。所以，不论先前北方有没有一座山，去人为地建造一座山并不认为是对自然破坏，只是让人类生活在一个更好的世界中的一种优化。
在西方思想当中，自然出自于上帝之手并且已经是完美的。不应该被触动，被操纵或是被改变。在东方思想中，自然是可以被创造的条件，可以被毁灭，移动或是利用它将人类的状态变得更好。这时候有人开始关注东方思想和状态，这种思想认为自然是更为真实的世界。通过证实人类的生存状态，并且也已得知我们人类从猿猴时候起就已经开始为得益于人类自己而设计自然。然而，根据人类对信仰和进化的社会结构弹性的强度（其中一个原因直接导致这种结果，便是人口基数过大），这种思想并不为广泛接受。这种规则和信仰被机械化。尽管景观是被理解和被人所以设计的，但是效法自然是如此重要，个人审美眼光和艺术直觉与自然美学相比是次要的。
Chinese culture is no stranger to giant engineering works. Throughout its history China has been pushing the bounds, testing the limits of its ecosystems through giant feats of human expression on earth. Works such as the Great Wall and Grand Canal remind us of the impact China has made on its landscape, and on the minds of its people.
While these examples of China manipulating its landscape for the betterment of its civilization are rooted in history, the mentality continues today, which has put China in a unique position regarding the role humanity plays in shaping the earth, and what it means to create and maintain society.
Engineering works today illustrate an explosion of progress and the need for innovation and creative thinking to overcome issues faced by no other nation on earth. For engineers and the field of engineering, China is the Mecca of possibility and experimentation which is rivaled by no other. Engineering in China is perceived to be the path to the future: China's approach toward problem solving is exemplary.
The only possible comparison to the magnitude of China's investment in its engineering programs is Dubai, the main difference being that China has real issues to deal with, people to account for, and a culture to uphold; as apposed to Dubai, where grand engineering works are for show. Dubai’s alchemy - it's desire to create "gold" from "metals" - has yet again proved unsuccessful. Thus while China's works may lack in clarity in terms of future long term thinking and sustainability, the truth still exists: China is working fervently on behalf of its people and culture, to not only attempt solving its problems, but the problems of the global world. Therefore engineering in China has a purpose: there is a need.
While the specific purpose of some of the superlative engineering works of China are sometimes politically opaque, the fact is that China attempts the un-attempted, and experiments, no matter where they lead, deserves recognition. Attitude matters.
The Hangzhou Bridge, the longest sea bridge in the world, connects Shanghai to Hangzhou and is over 40km long. Once the bridge opened, Chinese commuters were so taken by the magnitude of the structure, that gawking and rubber necking at the sheer size of structure became an issue. The bridge has become famous for car crashes. While local police forces clamped down on the situation by enforcing minimum speed limits, the fact remains that a structure so immense and powerful to the human psyche is far from uncommon in China.
The train line from Beijing to Lhasa is another feat of civil engineering prowess, fearlessness, and experimentation. Being the highest train line in the world, the cabins are pressurized with supplementary oxygen to help overcome altitude sickness; the windows are ultraviolet-repellent, and much of the structure is built on unstable perma-frost. The latter achievement regarding the structure begins to address Chinese ideas about what nature is and how it should be treated. Acknowledging the change in global temperature for the warmer, permafrost is no longer considered to be permanent. Thus engineering for these aspects of the rail depend heavily on cooling tubes to keep the permafrost permanently frosted - otherwise the structure would be in danger. Considering energy consumption for the construction and maintenance of the line, it is clear that this project is not sustainable. Considering the unstated political issues which arise from building a train line directly from the Chinese capitol to the heart of Tibet, the engineering feat is unique and exceptional.
While civil engineering works such as bridges and train lines do have environmental impact, we would not consider them environmental engineering works. However, the scale of some civil engineering feats are so massive - such as the Three Gorges Dam - that not to consider them as environmental engineering would be asinine. As a work of environmental engineering, the Three Gorges Dam has many short comings, one being that the amount of clean energy produced by the hydroelectric dam does not counteract the 'dirty' energy it will take to manage damaged ecological systems both up and down stream, as well as maintain the aggregation of silt deposits to levels that the structure can withstand. Essentially the impact is greater than its product. However, as a static structure, there is nothing which surpasses its imposition on the landscape. The magnitude of China spirit and power is aptly presented to the world.
The only thing possibly greater than the Three Gorges Dam is the massive de-desertification effort, which some say includes planting of over 300 billion trees in the past 20 years. China controls the weather patterns to induce rain in desert regions which are quickly growing larger. Such scientific experiments have definitely been attempted elsewhere, but have not been applied at such a scale or in pursuit of solutions.
The scale and scope of Chinese engineering reaches far beyond the wildest dreams and aspirations of most nations in the world. China is not afraid to confront problems and attempt solutions.
