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
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
novel written by Liu Jiakun
↑（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)
↑使用再生砖的项目细部，details of the rebirth bricks using in the projects
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
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.
Photograph: ©Arch Exist, ©Jiakun Architects, ©Li Ziqiang