人物訪談

1、 能談?wù)勀阍谥袊?guó)的幾個(gè)項(xiàng)目設(shè)計(jì)過程中不同于美國(guó)本土的幾個(gè)方面嗎？這種不同的地域文化是如何影響到創(chuàng)作的？

建筑的每一個(gè)場(chǎng)地和環(huán)境都是獨(dú)一無二的。當(dāng)我在中國(guó)工作時(shí)，我試著用有意義的概念將建筑與場(chǎng)地之間相結(jié)合。例如，成都“來福士廣場(chǎng)”的靈感來自曾經(jīng)居于成都的杜甫（713-770）的一首詩(shī)。

2、我觀察到您的作品中，在簡(jiǎn)潔的形體下往往會(huì)局部做一些復(fù)雜的精巧的變化，您是想要通過這種方式強(qiáng)調(diào)某些深層的意義嗎？

我相信建筑需要與項(xiàng)目和場(chǎng)地錨定。建筑的意義必須深深植根于它誕生的條件，而不必追趕潮流。我的第一本書《錨固》描述了一棟建筑與建筑場(chǎng)所、其文化、及其本源的關(guān)系。如果建筑具有更深層次的原始概念，而不追求概念是否宏大，則將賦予建筑以意義。概念的思想和哲學(xué)希望，甚至幽默感和故事性比風(fēng)格更加重要。

3、聽說您多年來一直有畫水彩畫的習(xí)慣，它僅僅是一個(gè)個(gè)人的愛好，還是水彩畫會(huì)對(duì)您的創(chuàng)作思考有特殊的意義？

我的想法大多來自繪畫。畫畫的時(shí)候，我可以把主觀和客觀結(jié)合起來；這是一種開放思維和自由感受的方式，而且結(jié)果往往令人驚喜。除了只能在5×7英寸的素描本上創(chuàng)作，其他我不做任何限制。為了更接近一種夢(mèng)幻般的個(gè)人感受，我喜歡在早飯前的黎明時(shí)分畫一些簡(jiǎn)單的素描和水彩畫。有時(shí)候我會(huì)對(duì)一個(gè)建筑項(xiàng)目進(jìn)行構(gòu)思，這些主觀的探索將開辟嘗試新的思路，從而可以在工作室里通過草圖模型進(jìn)行嘗試。以這種方式開始會(huì)讓我感覺快樂，并為我?guī)盱`感。

4、您做過很多美術(shù)館的項(xiàng)目，那你是如何考慮到讓建筑去滿足觀展者在觀展過程中的藝術(shù)與精神上的融合？

建筑的作用是為展出的每件藝術(shù)品帶來一種具有靈感之光的空間能量。我在設(shè)計(jì)赫爾辛基奇亞斯瑪（Kiasma）當(dāng)代藝術(shù)博物館時(shí)，我的雕塑家朋友理查德·諾納斯（Richard Nonas）告訴我，“史蒂文，我的雕塑位于地板和墻的交界處，那里必須是一個(gè)直角！”今天，我們看到兩種類型的藝術(shù)博物館:白色盒子——建筑可以從藝術(shù)中吸取生命，或者表現(xiàn)主義形式——其復(fù)雜的幾何形狀掩蓋了藝術(shù)。我們對(duì)第三種方式感興趣：建筑的空間能量為人帶來靈感，而至上的藝術(shù)令人著迷。

歷史悠久的偉大博物館——如柏林的阿爾特斯（Altes）博物館——是建筑藝術(shù)對(duì)文化做出巨大貢獻(xiàn)的例子。當(dāng)然，展覽空間也很重要，但是，整個(gè)博物館的體驗(yàn)更重要，當(dāng)你在停車場(chǎng)打開車門時(shí)，體驗(yàn)便開始了。

5、您似乎偏愛半透明的玻璃，透過半透明的玻璃的朦朧的光線讓建筑的存在顯得溫暖柔和。能談?wù)剬?duì)這種朦朧的光線的更深層次的作用嗎？

建筑的感性精神和形而上學(xué)力量是由光和影的品質(zhì)驅(qū)動(dòng)的。光影通過實(shí)體和空隙，不透明、透明和半透明塑造。建筑的視覺感受和感官感受到的是根據(jù)光影條件形成的。11月，德克薩斯州休斯頓美術(shù)博物館將開設(shè)一座新的美術(shù)館，那里的陽光炙熱。因此，陰影和漫射光在設(shè)計(jì)中變得非常重要。在這種環(huán)境下，你看到的光線與在斯堪的納維亞半島的奇亞斯瑪博物館或挪威哈馬羅伊的克努特·哈姆生中心看到的完全不同。我們依靠陽光的力量來創(chuàng)造陰影、反射光和柔和的光，這樣我們就可以液化光線，使之成為一種存在，而不是一種壓抑的元素。

6、您是如何將抽象的設(shè)計(jì)概念轉(zhuǎn)變成建筑語言的呢？有沒有一種特殊的邏輯存在？

對(duì)現(xiàn)象的體驗(yàn)——對(duì)空間和時(shí)間的感知有別于對(duì)物體的感知——為建筑提供了一個(gè)“前理論”基礎(chǔ)。這樣的感知是前邏輯的；它需要暫時(shí)放棄先天思維?，F(xiàn)象學(xué)作為一種思考和觀察的方式，成為建筑構(gòu)思的媒介。雖然現(xiàn)象學(xué)讓我們重新認(rèn)識(shí)到真實(shí)哲學(xué)中生活經(jīng)驗(yàn)的重要性，但它依賴于對(duì)預(yù)先存在的條件的感知。

建造一個(gè)非經(jīng)驗(yàn)建筑需要一個(gè)概念或者一個(gè)構(gòu)型想法。在每個(gè)項(xiàng)目中，我們都從無序的信息、混亂的目標(biāo)、不確定的項(xiàng)目、無限多的材料和形式開始。所有這些，就像模糊的煙霧，在緊張的氣氛中旋轉(zhuǎn)。建筑就是在這種不確定性的作用下產(chǎn)生的結(jié)果。為了進(jìn)行感知，我們必須摒除懷疑，解放頭腦中理智的那一半，而只是簡(jiǎn)單地玩耍和探索。理智和懷疑必須讓位于探索。愉快地放棄后方可得到創(chuàng)新精神。并且研究先于融合。

7、光是否可以作為限定建筑空間的一種材質(zhì)呢？

光和空間——桑福德·克溫特稱之為“無盡呈現(xiàn)的虛空”——是建筑將是否可將意義具體化的核心。就像音樂中的聲音和節(jié)拍一樣，建筑中的空間和光線是一種手段，但它們本身卻什么也不是。在給出一個(gè)組織化的理念之前，空間什么都不是。然而，人們無需了解驅(qū)動(dòng)設(shè)計(jì)的理念，就能體驗(yàn)到優(yōu)秀空間帶來的非凡樂趣。

建筑中對(duì)光線的體驗(yàn)——重疊的視角——就相當(dāng)于空間聲學(xué)。如果你有一首音樂，你有配樂，你有節(jié)奏，你有某種復(fù)調(diào)，你有某種結(jié)構(gòu)，但是只有聲音才能賦予其生命。否則只是一種抽象概念。建筑也是如此：你有空間概念，概念策略，但沒有一個(gè)是真正有生命的，除非你給它注入光。

8、您是怎么讓光變成建筑的一部分甚至說建筑的靈魂的呢？

沒有光，空間將被遺忘。建筑通過光線營(yíng)造出的寂靜的感覺來進(jìn)行表達(dá)。光度對(duì)于空間體驗(yàn)來說是不可或缺的，就像孔隙度對(duì)于城市體驗(yàn)來說是不可或缺的一樣。我們從一開始就對(duì)作品的空間、光線和概念有所構(gòu)想。通常在繪制概念水彩畫時(shí)，我們會(huì)在第一幅素描中就繪出光線。光是建筑概念中不可或缺的一部分，不同場(chǎng)地和地點(diǎn)都具有獨(dú)特的光線。從建筑之初就足見光的無限可能性，這種可能性也將延續(xù)到未來。新空間的啟示，就像交織的語言，在光中溶解和重現(xiàn)。宏偉的空間中，光線變化塑造空間構(gòu)型。

9、您認(rèn)為建筑師在設(shè)計(jì)大型商業(yè)建筑與公共建筑的立場(chǎng)是否有所不同？

我們一直努力致力于公共建筑和公共空間的創(chuàng)造。當(dāng)我們接到大型商業(yè)項(xiàng)目時(shí)，如北京的“當(dāng)代萬國(guó)城”或成都的“來福士廣場(chǎng)”，我們重新制定了開發(fā)計(jì)劃，以塑造一個(gè)大型公共空間。在成都，開發(fā)商打算建造一組裙房，頂部建設(shè)一個(gè)購(gòu)物中心和兩個(gè)塔樓—— 一棟辦公樓和一個(gè)住宅。我們對(duì)此進(jìn)行了改造，取而代之的是將購(gòu)物中心下沉到一個(gè)有游泳池和噴泉的大型公共廣場(chǎng)之下，周圍建設(shè)住宅和辦公項(xiàng)目，使陽光穿梭其間。

1.Could you say something about your design process in China, which is different from that in the US? How does this different regional culture influence the creation?

Each site and circumstance for architecture is unique.When I work on sites in China, I try to make meaningful conceptual connections to a site.For example, in Chengdu, our “Sliced Porosity Block” began with a poem by Du Fu (713-770) who lived in Chengdu.

2.We have observed that in your works, under the concise form, some complex and delicate changes are often made locally.Do you want to emphasize the deep meaning in this way?

I believe that architecture needs to be anchored in its program and site.Its meaning must be deeply rooted in the conditions of its inception, and therefore it’s unfazed by fashion.My first book, Anchoring, describes the relation of a building to a site,to its culture, to its metaphysical origins.If architecture’s original concept can get deeper, rather than broader, it builds a meaning on the site.It fortifies a locus of thoughts and philosophical hopes, or even humor and stories, which are oblivious to whatever style it is.

3.We heard that you have been painting watercolors for many years.Is it just a personal hobby or does watercolor have special significance to your creative thinking?

In general, I generate my thoughts through painting.When I draw and paint, I connect the subjective and the objective; it’s a way of open thinking and freefeeling, and it’s unpredictable.I don’t make any restrictions except using a five-byseven-inch sketch pad.In order to get closer to a dream-like subjectivity, I like to make these little drawings and paintings at dawn before breakfast.Sometimes, if I’m thinking about a building project, these subjective studies open experimental paths to be tested in the studio in rough sketch models.There is a joy in this way of beginning; it’s inspiring and light.

4.You have done a lot of art gallery projects, how do you consider that architecture can satisfy the visitors' artistic and spiritual integration during the exhibition?

The role of architecture is to form a spatial energy with inspirational light in respect of the expression of each artwork.While I was working on the Kiasma Museum of Contemporary Art in Helsinki, my friend the sculptor Richard Nonas told me “Steven,my sculpture exists where the floor meets the wall, and I must have the right angle!”Today, we see two types of art museums: the white box—where the building can suck the life out of the art—or the expressionistic form where the complications of the geometry overshadow the art.We are interested in a third way: where the spatial energy of the architecture is inspiring, while the primacy of art is engaging.

Historic, great museums —such as the Altes Museum in Berlin — are examples of the great cultural contribution of art of architecture.Of course, exhibition space is important, however, the whole museum experience is important, and it begins when you open your car door in the parking lot.

5.It seems that you prefer translucent glass, through which the hazy light makes the existence of the building appear warm and soft.Could you talk about the deeper effects on this dim light?

The perceptual spirit and metaphysical strength of architecture are driven by the qualities of light and shadow, shaped by solids and voids, by opacities,transparencies and translucencies.What the eyes see, and the senses feel in questions of architecture are formed according to conditions of lights and shadow.

In November, we’ll open a new gallery building for the Museum of Fine Arts, Houston in Texas, where the sunlight is very hot.So, shade and diffuse light have become very important in the design.In this context, you’re looking at light completely differently that ina place like Scandinavia, such as in our Kiasma Museum or the Knut Hamsun Center in Hamar?y, Norway.The sun becomes a force to be employed and used to create shadow, reflected light, and soft glows so that we can liquify the light and it becomes a presence rather than an overbearing element.

6.How do you translate abstract design concepts into architectural language?Is there a special kind of logic?

Experience of phenomena —sensations in space and time as distinguished from the perception of objects — provides a “pre-theoretical” ground for architecture.Such perception is pre-logical; it requires a suspension of a priori thought.Phenomenology as a way of thinking and seeing becomes an agent for architectural conception.While phenomenology restores us to the importance of lived experience in authentic philosophy, it relies on perception of pre-existing conditions.

Making a non-empirical architecture requires a conception or a formative idea.In each project we begin with information and disorder, confusion of purpose, program ambiguity, an infinity of materials and forms.All of these elements, like obfuscating smoke, swirl in a nervous atmosphere.Architecture is a result of acting on this indeterminacy.To open architecture to questions of perception, we must suspend disbelief, disengage the rational half of the mind, and simply play and explore.Reason and skepticism must yield to a horizon of discovery.The creative spirit must be followed with happy abandon.A time of research precedes synthesis.

7.Can light be used as a material to limit the architectural space?

Light and space — what Sanford Kwinter calls, “the void endlessly presented” —are at the heart of architecture’s ability to concretize meanings.Like sound and time in music, space and light in architecture are the means, and yet they are nothing in themselves.Space is nothing until given an organizing idea.Yetthe idea driving a design need not be known to experience the phenomenal joy of a good space.

The experience of architecture—the overlapping perspectives— is the equivalent of spatial acoustics in light.If you have a piece of music, you have the score, you have the rhythm, you have some kind of polyphony, you have some kind of a structure,and then there is sound that executes and brings it all to life.Otherwise, it is just an abstraction.The same applies to architecture: you have the spatial conception, the conceptual strategy, but none of that is really alive until you infuse it with the light.

8.How do you make the light become part of the building or even the soul of the building?

Space is oblivion without light.A building speaks through the silence of perception orchestrated by light.Luminosity is as integral to its spatial experience as porosity is integral to urban experience.We conceive of the space, light, and concept of a work from the very beginning.Often in concept watercolors, the aspects of light are there in the first sketch, integral to the concept of the architecture, unique to the site and place.The infinite possibilities of light have been evident from the beginning of architecture and will continue into the future.The revelations of new spaces, like interwoven languages, dissolve and reappear in light.In magnificent spaces, light changes and appears to describe form.

9.Do you think there is a difference between architects' position in designing large commercial buildings and public buildings?

We have tried to focus on public buildings and the creation of public space.When we have been given large commercial projects, such as “Linked Hybrid” in Beijing or“Sliced Porosity Block” in Chengdu, we have reorganized the developer program to shape a large public space.In Chengdu, the developer was going to build a podium with a mall and two towers on top—one offices and one residential.We reworked this and instead sunk the mall below a large public plaza with pools and fountains,surrounded by the residence and office programs “sliced” for sunlight.

Shanghai Cofco Cultural & Health Center,2016-2018上海中糧文化健康中心（ 2016 - 2020年 ）

Shanghai Cofco Cultural & Health Center,Shanghai, China上海中糧文化健康中心（ 中國(guó)，上海）

University College Dublin Future Campus Competition, 2018都柏林大學(xué)學(xué)院未來校園競(jìng)賽（ 2018年 ）

University College Dublin Future Campus Competition, Dublin, Ireland都柏林大學(xué)學(xué)院未來校園競(jìng)賽（愛爾蘭都柏林 ）