gooood Interview NO.22 - Liu Jiakun

gooood团队采访世界各地的有趣创意人，欢迎您的推荐和建议。第22期为您奉上的是 家琨建筑设计事务所 主持建筑师 刘家琨，更多关于他们，请至：Jiakun Architects on gooood

gooood team interviews creative from all over the world. Your recommendations and suggestions are welcomed! gooood Interview NO.22 introduces Liu Jiakun, founder of  Jiakun Architects. More: Jiakun Architects on gooood

出品人：向玲 Producer: Xiang Ling
编辑团队：向玲，陈诺嘉，武晨曦，许江琦 Editor: Xiang Ling, Chen Nuojia, Wu Chenxi, Xu Jiangqi

Interview
gooood x Liu Jiakun 刘家琨

 (Please scroll down to see the English interview)

 

↑家琨建筑设计事务所部分作品一览，part of the projects of Jiakun Architects

 

 

成都这个城市对您的影响？

“我想是从容和随性吧。

 

 

文学修养如何影响世界观与建筑创作？

“文字是思想的基础。阅读和写作是形成思想架构的重要途径。理解力，想像力，感悟力，表现力等等都是可以在文学训练中得到的，它主要是一种素养，和建筑设计未必有直接关系，建筑设计是另一种表现工具。

 

↑刘家琨创作的小说作品
novel written by Liu Jiakun

 

 

西村大院的切入点是什么？如何在创造“院”的同时还能以舒适的方式将其放置在城市环境中？

“切入点是希望得到街道资源的最大化和公共空间的最大化，于是就四面沿街修建，得到了四面沿街的建筑和中间的大院子。无论大院子小院子，都是人为组织的围合空间，具备令人舒适的基础。对城市来说，高度和周边协调，有足够的开放性，内部有宜人的尺度，就有可能舒适。

↑西村大院（点击这里查看更多），West Village Bases Yard (click HERE to view more)

 

 

从巨型尺度项目西村大院到微尺度项目胡慧姗纪念馆，建筑的尺度如何影响形式语言？

“不同规模的项目各有其内在需求，或展现社区包容，或珍藏情感记忆，遵从这种需求，形式语言也就会随之而来。

↑（上）大尺度项目 – 西村大院（点击这里查看更多）
  （中）中等尺度项目 – 苏州御窑遗址园暨御窑金砖博物馆
  （下）小尺度项目 – 胡慧姗纪念馆（点击这里查看更多）
    (top) Large-scale project – West Village Bases Yard (click HERE to view more)
    (middle) Medium – scale project – Suzhou Imperial Kiln Ruins Park & Museum of Imperial Kiln Brick
    (bottom) Small-scale project – Hu Huishan Memorial House (click HERE to view more)

 

 

在水井坊项目里，用再生砖对应青砖，重竹对应木板等，你如何看待这种转译材料的手法？

“材料气质及其视觉联想只是传达传统意蕴的一个方面，除此之外还有许多，比如建筑和环境的关系，平面组织，空间形式，线路，光线氛围等等。我不希望只是简单的依靠传统材料和形式符号来继承传统，那样就难以向前了。

↑水井坊（点击这里查看更多），Shuijingfang Museum (click HERE to view more)

 

 

“再生砖”作为您对材料的思考与实践，您对其的推广开拓有更大的展望吗？

“再生砖的核心是对废弃材料的低成本再利用，如果有足够的废弃材料可以支撑办厂，工艺都是简单的成熟的。

 

↑使用再生砖的项目细部，details of the rebirth bricks using in the projects

 

 

您的作品没有明显的个人化标志，那么您所追求的建筑品质是什么？

“需要多明显？风格是双刃剑，容易标出自己也容易限制自己。我希望特质鲜明，但又不愿被“风格化”自我绑定。建筑不仅仅是为了“看”，建筑中有许多东西需要用心或有一定的专业知识才能感知，还有一些部分确实不可见，但强烈影响人的感受和行为。而细部自有其作用，专业人也明白。我希望我的建筑有全方位的建筑学品质，继续努力吧。

↑刘家琨其他代表作品
（上3张图片）鹿野苑
（中3张图片）四川安仁建川博物馆(聚落)文革之钟博物馆
（下3张图片）成都当代美术馆
  Representational projects of Liu Jiakun
  (top 3 photos) Luyeyuan Stone Sculpture Art Museum
  (middle 3 photos) Museum of Cultural Revolution Clock
  (bottom 3 photos)MoCA Chengdu

 

 

与当地施工队的合作中有哪些感悟？回访自己的建筑发现了哪些没有意识到的问题？

“对不同地区的施工水准的了解是设计的重要部分，这方面也需要“因地制宜”。我会回访，也经常发现当时没有意识到的问题，“建筑是遗憾的艺术”。

 

 

随着中国城市发展，建筑怎样回应社会巨变？

“社会变化太快，预测未来很难，我会积极观察认真感受，争取把握脉动并有所回应和创新。

 

 

能与您共事的年轻建筑师需要什么样的特质？

“热爱建筑，不那么功利，基本功不错。

 

 

今后希望投入到怎样的项目中，又希望坚持怎样的理念？

“对我来说现在最大的问题是设计时间不够。一切以“快”为主旨，虽然技术进步了，但总体未必就比以前创作条件好。我无法决定项目来源，只希望仍有业主和我共同追求建筑理想，给我足够的条件，使我有机会做出我心目中的好建筑。

 

 

 

 

English Text

 

1. What is your impression on Chengdu?
I think it should be the attitude of taking things easy and being casual.

2. How do you think literary accomplishments can impact on world views and architectural creation?
Thoughts are based on words. Reading and writing are both important approaches to form the ideological framework. You can get comprehension, imagination, perception and expressiveness, etc. from literary training, which is mainly an accomplishment that may not have direct connection with architectural design, which is another expressive tool.

3. What is the entry point of West Village? How can you place this “Village” in the urban environment while creating it?
The initial idea of this project is that I expect to maximize the usage of the street and public space. Starting with this concept, the design is spreaded along the street, creating a building covering the whole site with a big central yard. The size of the yard does not really matterm, because the artificial enclosed space provide people with a comfortable living environment. If a building coordinates with its surroundings in height and has enough openness with rational scales inside, it will be potentially a comfortable haven in the city.

4. From the project in a giant scale like West Village Basis Yard, to the project in a micro scale like Hu Huishan Memorial House, how do you think the scale can impact on the architectural forms and languages?
Projects in each scale have their own internal requirements,like expressing the tolerance of community or collecting cherished memories. Architectural forms and languages will follow subsequently if you comply with this kind of requirements.

5. In the project of Shuijingfang Museum, you replace black bricks with rebirth bricks, wood boards with anti-corrosive bamboo, how do you think about this material translation?
The characteristic and visual association of the materials is simply one aspect of expressing traditional meanings. Besides that, there are many, like the relationship between architecture and contexts, the plan organization, the space form, circulation and light, etc. I don’t think it is a good way to inherit our tradition simply through some traditional materials or formalized symbols, which would make it hard to move forwards.

6. As your consideration and exploration towards materials, do you have any further plan about developing and promoting the Rebirth Brick?
The core idea of the Rebirth Brick lies in recycle of the waste materials at a low cost. The process is simple and mature if there are sufficient waste materials that can support a factoryof Rebirth Brick.

7. What is your ideal architecture characteristic as it seems that there is no obvious identity in your projects?
How “obvious” it needs to be? The design style is like a double-edged sword, which can distinguish ourselves, but yet limit our thoughts. I expect all of my projects are distinctive, while not being restricted by this so-called style. Architecture concerns a lot other than visual effects, which means we need to evaluate architecture seriously or with some academic knowledge, let alone the invisible part that may bring significant impacts on people’s feelings and activities. It is evident to professionals that all details have their own roles. I expect that my projects could conceive a full range of architectural qualities and I will keep on going for it.

8. Do you have any inspiration during the cooperation with the local construction team? Is there any problem that you didn’t realize before revisiting your projects?
Understanding the construction quality of the local construction team is an indispensable part of design, which requires us to revise our design according to local conditions. Irealizesome problems that I didn’t pay attention to when I revisit my projects. It happens. But you know, “architecture is an art of regrets”.

9. With the development of China’s city, how does architecture respond to great social changes?
It is hard to predict the future in such a quick-changing social circumstance.  I will observe and feel this changing country with an active and serious attitude,to keep pace with it, respond to it and make innovations.

10. What quality should young architects equip with if they expect to work with you?
Being passionate for architecture, with less utilitarian purposes, and good academic knowledge.

11. What kind of projects will you expect to work on in the future? And what philosophy do you expect to insist on?
For me, the biggest challenge is that I do not have enough time to design. Today, everything aims for speed. Although the technology has improved a lot, no one can guarantee that the design environment is better than before. I can’t decide what the projects are. I could only expect that my clients could share the same architectural ambition with me, providing me with enough time and space to design a really good project from my heart.

 

摄影版权：©存在建筑，©家琨建筑设计事务所，©李自强
Photograph: ©Arch Exist, ©Jiakun Architects, ©Li Ziqiang

More: Jiakun Architects ,  更多关于他们：Jiakun Architects on gooood