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对话赫尔穆特•雅恩,建筑设计不存在一劳永逸第1张图片


“我更喜欢形式追随影响”:赫尔穆特•雅恩(Helmut Jahn)访谈录
"I Prefer When Form Follows Force": an Interview with Helmut Jahn

由专筑网邢子,李韧编译

在过去的几年里,建筑师们的创新意愿发生了一些变化。现在最大胆的设想往往来自建筑的保守派,坦率地说,我更喜欢与他们交谈。目前对共同立场的坚持,让许多年轻建筑师更愿意去模仿,但对我来说,共同的立场意味着不去做同样的思考,这样就有了值得讨论的空间。

我最近与德裔美国籍建筑师赫尔穆特•雅恩(Helmut Jahn)在芝加哥办公室的谈话就是很好的例子。“建筑就是跟着你的直觉走。我更喜欢形式追随影响,而不是功能。”他这样告诉我。雅恩的杰出职业生涯较为曲折,但是他仍然坚持探索新想法。1985年,他设计的扇形平面的汤普森中心(Thompson Center)将平凡的政府大楼重新塑造为人流涌动的公共场所,其弯曲的彩色玻璃幕墙清晰地表达出对芝加哥后现代主义时期的热情,但是人们都认为这一时期已经结束,但现在似乎仍在继续,并包含了后现代主义运动。雅恩的建筑遍布了全球的许多城市,并推动了城市现代化进程,随着时间和经验的积累,许多曾经反对“少即是多”的叛逆思想也逐渐成熟,形成了细致、慎重,但却大胆的公共建筑。正如雅恩自己所说:“……任何你不需要的东西都有益处。你不仅要尽可能拥有更少的东西,而且要用你剩下的东西去做更多的事情。”

In the last few years something has happened to architects’ willingness to strive for originality. The boldest visions now often come from the old guard of architecture - and frankly, I enjoy conversations with them much more. The current insistence on having common ground pushed so many younger architects into a zombie-like copycat state of mind. But to me, common ground means not to think alike – then there is space for discourse.
My most recent conversation with Helmut Jahn at his Chicago office is a case in point. “Architecture is all about going with your gut. I prefer when form follows force rather than function,” he told me. His distinguished career has been one of twists and turns, and he is not planning to give up exploring new ideas any time soon. His 1985 quadrant-in-plan Thompson Center reinvented a mundane government typology into a soaring public place, with its curved colored glass facade decisively welcoming a postmodernist period to Chicago (one we thought had finished, but now seems to be ongoing, encompassing all of post-Modern movements as its mere shades and variations.) Jahn’s architecture shook and modernized a number of global cities, and with time and experience, what began as a rebellion against Mies’s “less is more” modus operandi matured into nuanced, measured, though unquestionably gutsy, production of towers, airports, convention centers, headquarters, and, most importantly, public spaces. As Jahn himself says, “...anything you don’t need is a benefit. Not only you have to have less things but with the things you have left you have to do more.”

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赫尔穆特•雅恩(以下简称“HJ”):如今有那么多平庸的东西正在形成……

弗拉基米尔•贝罗戈洛夫斯基(以下简称“VB”):不是一直都是这样吗?

HJ:不是的。热爱建筑的开发商已经不存在了。我曾经认识一些开发商,他们喜欢去建筑工地,在泥地里走动。现在一切都是为了生意,他们甚至在投资回收之前都不会有所行动。现在建筑都是为了盈利,一切都经过计算。没有情感,没有想象,没有创意。只有那么多简单的形式建筑……

VB:我认为有些建筑师无论在什么情况下都能设计出好建筑。让我们谈谈你的作品。一些评论家称你为“浪漫的现代主义者”,并将你的建筑称为“浪漫的高科技”。而你却说:“我们没有构筑装饰,而是装饰建筑物。”那么你是如何定义自己的建筑意图呢?

HJ:嗯,这些想法可以追溯到密斯之后,那时我刚在墨菲协会(Murphy/Jahn的前身)工作不久,并从20世纪70年代中期开始设计我的第一座独立建筑作品。当时,所有人都还在密斯“少即是多”的理念下教条地工作。所以,当我早期的建筑开始表现结构和色彩时,它立刻引起了人们的注意。1980年,芝加哥的施乐中心(Xerox Center)建成了。这是一个真正的突破。它引发了一系列独特建筑的生成,尤其是在芝加哥、纽约、费城和新加坡,其中最具标志性的是位于法兰克福的63层梅斯特姆大厦。但这只是引导下一个时期的前奏,这个时期始于上世纪90年代中期。

Helmut Jahn: …There is so much banality that’s being built these days…

Vladimir Belogolovsky: Wasn’t it always the case?
HJ: No, not really. Developers who would love to do buildings are no longer around. I used to know developers who loved going to a construction site and put their boots in the mud. Now it is all about business and they don’t even start before returning their investment. Building now is all about profit-making; everything is so calculated. There is no emotion, no imagination, no invention. There are so many simplistic one-liner buildings…  
VB: I think there are architects who will always produce good buildings no matter what the circumstances may be. Let’s talk about yours. Some critics call you “romantic modernist” and refer to your architecture as “romantic high-tech.” And you said the following: “We do not construct decoration, we decorate construction.” How would you define the intention of your architecture?
HJ: Well, these ideas go back to the times right after Mies, shortly after I just started working at C.F. Murphy Associates, the predecessor of Murphy/Jahn, and designing my first independent buildings from mid-1970s. Then everyone was still working within Miesean dogmatic “less is more” mode. So, when my early buildings started expressing structure and color they immediately attracted attention. Then in 1980, the Xerox Center here in Chicago, the one that curves around a corner, was built. It became a real breakthrough. That led to a whole series of distinctive buildings, particularly towers in Chicago, New York, Philadelphia, Singapore, and the most iconic became 63-story Messeturm in Frankfurt. But that was just one period that led to the next one, which started in the mid-1990s.

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VB:是什么导致了这种转变,在那之后你的工作如何发展?

HJ:
后来我遇到了Werner Sobek,一位杰出的德国建筑师和结构工程师。在我遇到他之后,我的建筑以所谓的“建构”而闻名,这是建筑师和工程师之间在早期设计阶段的的结合点。它没有那么关注美学,而是关注性能,关注如何建造建筑物以及材料的使用。

VB:你第一次见到Sobek是什么时候?

HJ:那是1994年,我们的第一次合作是设计曼谷机场的屋顶。紧随其后的是柏林索尼中心。Sobek是第一个告诉我“赫尔穆特,你不能这样做”的人。现在他经常对我说:“你不需要我了。你知道你需要什么样的结构。”我们密切合作并一直在交换角色,建筑师的思维方式像结构工程师,而工程师的思维方式像建筑师。这种合作产生了新建筑。德国邮政大厦于2003年在波恩建成,这是一个标志,在此之后我们的作品更加朴素,但却精致。

这些建筑表现得很好,特别是从我们开始与来自斯图加特的环境工程师Matthias Schuler合作之后。他所开创的公司Transsolar Energietechnik为建筑的可持续设计提供了策略咨询服务。我们合作的第一个项目是曼谷机场,当地工程师说我们的建筑不够环保。那时我们和Sobek一起拜访了Schuler。从那以后他就一直待在船上。建筑师需要推动创新,但如今创新变得更加困难,因为有太多已经确立的方法。由于我们的客户不再支持创新,这就变得难上加难。

VB: What caused that shift and how did your work evolve after that?
HJ: I met Werner Sobek, a brilliant German architect and structural engineer. After I met him my buildings became known for what we called Archineering, a collaboration between an architect and engineer at an early stage of design. It was not so much about the aesthetics but about performance and how buildings are constructed and the use of the materials.

VB: When did you first meet Sobek?
HJ: In 1994; our first collaboration was on the design of the Bangkok Airport’s roof. SONY Center in Berlin followed. Sobek was the first person to tell me, “Helmut, you cannot do this.” Now he often tells me, “You don’t need me. You know your structures.” We work very closely, and we exchange our roles all the time – the architect thinks like a structural engineer and the engineer thinks like an architect. That collaboration produced new kind of buildings. The Post Tower, built in Bonn in 2003, was a marker, after which the work became more restrained and refined.
These buildings perform better, particularly since we started our collaboration with Matthias Schuler, environmental engineer from Stuttgart. His pioneering company Transsolar Energietechnik provides consulting services on developing sustainable design strategies for buildings. Our first project together was the Bangkok Airport where the local engineer said that our building didn’t work environmentally. That’s when together with Sobek we interviewed Schuler. He’s been on board ever since. Architects need to push for innovation, but today it is so much harder to be inventive because there are so many ways of doing things that are already established. And since our clients are no longer supportive of innovation it is that much more difficult.

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VB:这就回到我们开始的地方。

HJ:如果在我的职业生涯中选出最好的15座建筑,它们都是与好客户合作的直接结果。现在,每当我提出任何有趣的概念时,我首先会听到他们回答:“但这不是很贵吗?”这反映在最近所有的建筑中,许多作品都是千篇一律的解决方案。显然,也有例外。但我们的客户不再支持创新。大多数客户都害怕风险。这是取得进步的最大障碍。

VB:早在20世纪80年代中期你曾说过:“今天我们没有任何公认的原则。所有的规则,所有的风格,要么已经死亡,要么正在受到考验。对我来说,这十分令人振奋。我们必须享受自由。”你现在似乎不同意这种说法,你是否仍然觉得所有的风格都已经消亡,可以自由地选择自己的方向?


HJ:不幸的是,我们不再有这种自由的可能性,而且环境也不允许。如今的客户是大公司、大银行和大开发商,他们的想法偏向保守。因此,他们更愿意与这些由集体领导的大型建筑集团打交道,而不是那些对建筑有态度的个人事务所。他们各地都有自己的办公室以及工程师,因此并不存在风险。当然,也有例外,但这个群体还是占主导地位。做简单的事情永远不会产生新的或进步的建筑概念。

VB: That goes back to where we started.
HJ: Well, if we point to 15 best buildings in my career, they are all a direct result of working with good clients. Now, every time I propose anything of interest the first thing I hear from them, “But isn’t it expensive?” And that is reflected in all the recent buildings – so many of them are cookie-cutter solutions. And most will not age well. Obviously, there are exceptions. But we no longer have clients who support an attitude of making something new. Most clients are afraid to run into a risk of making a mistake. And that’s the biggest handicap in terms of making progress.  

VB: Back in mid-1980s you said, “Today we don’t have any accepted principles. All the rules, all the styles, are either dead or under observation as to whether they’ll survive. For me, it’s exciting and exhilarating. It’s a kind of freedom we have to enjoy.” You don’t seem to agree with this statement today. Do you still feel that all styles are dead and that there is freedom to choose your own direction?
HJ: Unfortunately, we no longer have this freedom of possibilities and it is not the right climate when you can sell this attitude. Today, clients are big corporations, big banks and big developers. They all want to be safe. So, they prefer to deal with these enormous architectural conglomerates that are led by collectives, not individuals who have an attitude toward architecture. They have their offices everywhere, they have their own engineers, and there is no risk. Of course, there are exceptions, but they dominate.Doing what is easy will never produce architecture that is new or progressive.

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VB:然而,仍然有一些唐吉诃德式的建筑师在与各种困难作斗争。

HJ:
当然,我正在斗争,我们仍然可以找到工作。但这要困难得多。我不再接那么多项目了,与过去相比,真正的建筑师数量也正在减少。

VB:你说过你在为好的建筑而战,1966年你从德国来到芝加哥,从慕尼黑工业大学毕业一年后,你就一直是个战士。


HJ:我在Rotary Club奖学金的资助下来到伊利诺斯理工大学学习。最初的任务是设计一座特殊的法院,我拒绝了。我不想受到任何约束。然后,在视觉训练课程中,我们要求带上黑白纸,我每种颜色都带了一张,也许它不够黑或白,所以我的教授说:“这篇论文不是黑的也不是白的。去选择正确的颜色。”我回答道:“我没有纸了!那不是我来这里的目的。”(笑)。

VB:你去那儿做什么?

HJ:我不知道。我刚毕业一年而且是个叛逆的孩子。我能知道什么?后来,伊利诺斯理工大学建筑学院院长George Danforth建议我去办公室做兼职。我就是这样在C.F.墨菲协会(C.F. Murphy Associates)开始与Gene Summers的合作。我还记得自己很仔细地研究办公室里一些完工建筑的图纸。还有谁会这样做?现在每个人都在看着电脑屏幕。有实际经验的老建筑师在哪里?似乎大部分刚从学校毕业的年轻建筑师都在做很多工作。但人们在承担真正的责任之前必须先学习一些东西。

我记得在耶鲁大学的一次设计评论中,我和詹姆斯•斯特林(James Stirling)一起担任评审团,当时有一名方案能力比较弱的学生抨击了我设计的一栋建筑,于是詹姆斯说,“赫尔穆特,我们就选他吧。”然后他教育了那个家伙,他说,“关于设计你到底懂什么?我们知道如何设计。但你得学点东西。”嗯,我从来不是个好老师,因为我不善于倾听,也并没有耐心。(笑)。

VB: Yet, there are still a number of quixotic individual architects who fight against all odds.
HJ: Sure, I am fighting, and we still get jobs. But it is much more difficult. And I don’t build as much anymore. We have just a third of architects compare to what we used to.

VB: You said you are fighting for good architecture and you’ve been a fighter ever since you came to Chicago from Germany back in 1966, one year after graduating from the Technical University of Munich.
HJ: I came to study at the Illinois Institute of Technology on a Rotary Club scholarship. One of the first assignments was to design a particular courthouse; I refused. I didn’t want any constrains. Then for the course in visual training we were asked to bring black and white paper. I brought one of each color; maybe it was not black and white enough, so my professor said, “This paper is not black and not white. Get the right colors.” And I said, “I am not getting any more paper! That’s not what I came here for.” [Laughs.]

VB: What did you go there for?
HJ: I had no idea. I was just one year out of school. I was this rebellious kid. What did I know? And then George Danforth, the director of Architecture School at the IIT, suggested to me that I take a part-time job at an office. That’s how I started working with Gene Summers at C.F. Murphy Associates. I remember how carefully I studied drawings for some of the finished buildings at the office. Who does that anymore? Now everyone is just looking at the computer screen. And where are the older architects with real experience? It seems that mostly young architects, fresh out of school, are doing all the work. But people have to learn something before they are given real responsibilities.
I remember how in one of the design reviews at Yale I was on a jury with James Stirling and one student who had a very weak project attacked me for one of my buildings, so Jim said, “Helmut, let me take this one.” And he tore that guy apart. He said, “What the hell do you know about design? We know how to design. But you have to learn something.” Well, I was never a good teacher because I am not a good listener. I have no patience. [Laughs.]

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VB:很多建筑师把他们的办公室比作学校。那么你是怎么和员工沟通的呢?

HJ:我和那些我认为有天赋的人一起工作,所以这个过程比较值得。你需要很多人来设计建筑。所以,我依赖这里的许多人。我画了无数的草图,让我的设计师们做了无数的模型。我喜欢以身作则。

VB:当你开始自己职业生涯的时候,你对密斯的理论显得非常叛逆,认为这种方法具有限制性。但是,正如你提到的,随着时间的推移,你的作品变得越来越精致。现在你会说他的理论对你来说很有意义吗?


HJ:我并不想那样分析自己的作品,那要由别人来决定,我只是不断向前。现在我正在柏林设计一座新塔楼,欧罗巴中心2号,它的高度几乎是目前柏林最高建筑的三倍。这座建筑很简单,但是我做了很多模型来测试。在这里可以看到一些我从之前的项目中总结出来的东西。然而,你不能把想法从一个项目转移到另一个项目。每一座建筑的轮廓线都不同,每个场所都有不同的条件,每个项目都是对特定条件的呼应,建筑不仅仅是纯粹的形式给予。现在我们正在试验新的升降技术,为我们设计的塔楼带来更多可能性。此外,嵌入式玻璃面板的新型遮阳系统也有了使用的可能,这个过程永无止境。

VB: Many architects compare their offices to schools. How do you teach your staff here?
HJ: I work with people who I think have the talent, so it’s worthwhile to work with them. You need many people to design buildings. So, I rely on many people here. I make endless sketches and ask my designers to build numerous models. I like to think that I teach by example.

VB: When you started your career, you were very rebellious of Miesian approach that you saw as restrictive. But, as you mentioned, over the years, your work became more refined. Would you say that now his work has more relevance to you?
HJ: I don’t try to analyze my own work that way. That’s for others to decide. I just go forward. I am now designing a new tower in Berlin, Europa Center 2, which is going to be almost three times the height of what is currently the tallest building in the city. The building is very simple, but l made many dozens of models to arrive at that form. And what you have here I picked up from some of my previous projects. Yet, you can’t just carry ideas from project to project. Every skyline is different, every site has different conditions. Every project is a response to very specific conditions. Architecture is not just about a pure form-giving. Now we are experimenting with new elevator technology that brings new exciting possibilities to our tower design. Also, the use of new shading systems that can be imbedded into glass panels brings new possibilities. The process is endless.

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关于密斯的真实情况是,你只能用少量元素达到卓越效果,而不是元素堆叠。当我遇到Sobek的时候,我更加理解了这一点。自从我们认识之后,我开始觉得仿佛又回到了学校。以前,我习惯自己解决问题,或者依靠我的工程师,但对他来说就不一样了,从他身上我学到的不仅仅是解决问题的方法,而且学到了解决问题的原因。他就坐在我的旁边,当我设计的时候或者画桁架的时候他就会说:“这部分不在那里。”因此,作品的结构更加敏感。看看我1986年在奥黑尔设计的联合航空公司一号航站楼,Sobek肯定不会让我这么做。现在我觉得那个拱形屋顶就像是高科技的巴洛克风格。

建筑关于空间和光,但我更喜欢形式追随影响而不是功能。

VB:你能评论下汤普森中心吗?现在,它的未来并不确定,你如何看待它在芝加哥历史上的地位?

HJ:汤普森中心将政府大楼变成了公共场所。当1985年开放时,它作为这座城市的一个全新公共场所而创造了历史,这是一种将私人空间与公共空间相结合的新方式。当然,出于政治原因,这里从来不是一个经营良好的公共场所。它甚至不在周末开放,有很多禁止人行的限制。不过,在未来,我认为它会被谷歌这样的私人公司而使用。

最初的想法是朝着各个方向开放建筑。我从一个实体开始。但我觉得这座建筑必须要有一个公共广场,于是我把拐角以一定角度切开,并将它弯成弧形,代表政府大楼的传统穹顶。当我们封闭中庭时,我觉得建筑失去了一些东西。这就是为什么15年后在柏林设计索尼中心时就变成了开放的庭院。我记得当索尼公司的董事长看到这个模型的时候说:“雅恩先生,门在哪儿?”我回答:“没有门。”他说:“但是这样每个人都会进来。”于是我说,“你说对了!”(笑)那就是我们想做的东西,他再也没说别的。

What is true about Mies is that you can only achieve excellence with less, not with more. I understood it much more when I met Sobek. Ever since we met I started to feel that I went back to school. Before, I was accustomed to figure out things on my own or relying on what my engineers told me, but with him it was different. From him I don’t just learn a solution, I learn the reason for that solution. He sits right next to me when we design and when I draw a truss he would say, “This part does not want to be there.” So, the work became more responsive to structure. Look at the United Airlines Terminal One at O’Hare that I did back in 1986. Sobek would never let me do that. Now I think that that roof with an arch and a straight kink is something like high-tech baroque.
Architecture is about space and light, but I prefer when form follows force rather than function.

VB: Could you comment on your Thompson Center. Now, that its future is uncertain, how do you see its place in the history of Chicago?
HJ: The Thompson Center was a government building turned into a public place. When it opened in 1985, it made history because it became a new public place for the city. It was a new way to integrate private space with the public space. Of course, it was never a well-managed public place for political reasons. It is not even open on weekends and there are so many restrictions where people can and can’t go. Still, in the future, I can imagine it to be used by a private company such as Google.
The original idea was to open the building from every side. I started with a solid block. But I felt that the building must have a public plaza, so one day I cut the corner off on an angle and curved it to represent the traditional dome of government buildings. When we enclosed the atrium, I felt that building lost something. That’s why 15 years later while designing the SONY Center in Berlin the atrium there became the open courtyard. I remember when the chairman of SONY viewed the model and said, “Mr. Jahn, where are the doors?” I said, “There are no doors.” And he said, "But then everybody can come in.” So, I said, “You got it!” [Laughs.] That’s what we tried to do, and he never said anything else.

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VB:所以,正是汤普森中心推动了索尼中心的设计。

HJ:当然。索尼中心是为新社会和新趋势设计的新型城市空间。但你也可以回顾历史,从中学习。看看Sienna的公共广场,这是索尼中心的灵感来源。一个项目推动了另一个项目。

VB:我们来谈谈这种演变。1985年的汤普森中心推动了2000年的索尼中心,那么索尼中心之后呢?

HJ:2008年我们为迪拜Jebel Ali市的中心广场设计了一座多功能综合体,包括购物中心、酒店、公寓和娱乐设施,但由于当时的金融危机,该项目被叫停。这个项目将索尼中心推向了更大的城市规模。我认为从1995年到2008年是我建筑生涯中最有趣的时期。客户的大力推动产生了许多令人兴奋的项目。

VB:你说的很有代表性,因为在这段时间里,客户常常要求建筑师设计出具有标志性的作品。

HJ:看看企业建筑。这些建筑一直具有标志性。但在过去10年里,客户对这一点不再感兴趣,例如谷歌或Facebook,它们有郊区工业园,在纽约市区,它们便直接运用现有建筑。在这个时代,建筑不再是一种艺术形式,客户们想要的就是一个可以遮风挡雨的地方。他们不再关心建筑形象。过去,这些人会穿时髦的西装,但现在只会穿着t恤到处跑。许多公司不再修建新大楼,他们只是从开发商那里租用通用空间。

VB: So, it was the Thompson Center that pushed the SONY Center.
HJ: Absolutely. SONY is the new kind of urban space for new society and new preferences. But you can also look at history and learn from there as well. Look at public piazza in Sienna; that is an inspiration for SONY. One project pushes the next.

VB: Let’s talk about this evolution. Thompson of 1985 pushed SONY of 2000 and what did SONY push you to do next?
HJ: We designed a mixed-use complex with shopping center, hotels, apartments, and entertainment for the central plaza in downtown Jebel Ali in Dubai in 2008 but the project was stopped by the financial crisis at the time. That project took SONY to a much bigger urban scale. I think the period from 1995 to 2008 was the most interesting period for my architecture. There was a good push from clients to produce exciting projects.

VB: It is emblematic what you are saying because this timeframe coincided exactly with the iconic period when clients demanded from their architects to build very distinctive, signature-style structures.   
HJ: Well, look at corporate architecture. It was always iconic. But over the last decade clients are no longer interested in that. Look at Google or Facebook. They have suburban campuses and in New York they occupy existing buildings. They no longer consider architecture an artform. All they want is to have a roof over their heads. And they are no longer concerned with their image; in the past these people would wear stylish suits and now they run around in t-shirts. So many corporations no longer build new buildings; they just rent generic space from developers.

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VB:建筑师该怎么做呢?

HJ:嗯,建筑太难了。说起来容易做起来很难。你要知道,良好的建筑与你的直觉相关。你有一些想法,就必须继续做下去。不断提出这些问题很重要,这是做事的最佳方式吗?还有另一种方式吗?你不能停止寻找更好的解决方案,就像建筑师在密斯之后所做的那样。他们真的认为他已经达到了绝对的完美,从那时起,我们知道了如何一劳永逸地做建筑。但我们必须前进!

VB:你说过:“透明和直接穿过建筑物并不一样,它不只是一个物理概念,也是一个理性的概念。”你能详细说明一下吗?

HJ:看,没有透明的建筑。每座建筑都有许多元素,对我来说,透明总是和你入手的层次相关,这种想法是一层接着一层。我也喜欢从不同方面来看待建筑。

VB:最后,你能否评论下另一句名言,“我追求的是一座建筑,在那里,任何东西都无法带走。”

HJ:
任何你不需要的东西都有益处。你不仅要尽可能拥有更少的东西,而且要用你剩下的东西去做更多的事情。

图片:Helmut Jahn

VB: How can architects fight back?
HJ: Well, architecture is so difficult. It is easy to talk but very hard to do it. You know, good architecture is all about going with your gut. You have something on your mind and you just must go ahead and do it. It is important to keep asking these questions – is it the best way of doing something? Is there another way? You can’t stop at searching for a better solution just like architects did after Mies. They really thought he has achieved absolute perfection and from then on, we knew how to do architecture once and for all. But we’ve got to go forward!

VB: You said, “Transparency is not the same as looking straight through a building: it’s not just a physical idea, it’s also an intellectual one.” Could you elaborate on this?  
HJ: Look, there is no building that’s transparent. Every building has things in it. For me, transparency was always about the layers you put in. The idea is to read from one layer to the next. I also like the idea of seeing buildings differently from every side.

VB: And finally, could you comment on another one of your quotes, “I strive for an architecture, from which nothing can be taken away.”
HJ: Anything you don’t need is a benefit. Not only you have to have less things but with the things you have left you have to do more.

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VLADIMIR BELOGOLOVSKY是纽约非盈利策展项目的创始人。他在纽约库珀联盟大学(Cooper Union)接受建筑师培训,有着五本著作,包括《名人时代与建筑师的对话》(DOM, 2015)、《哈利•塞德勒:生活工作》(Rizzoli, 2014)以及《苏联现代主义:1955-1985》(TATLIN, 2010)。他也举办过许多展览,即Anthony Ames : Object-Type Landscapes at Casa Curutchet,拉普拉塔,阿根廷(2015)、哥伦比亚:转型(美国巡回展览,2013-2015)、Harry Seidler:建筑绘画(2012年世界巡回展览)、第十一届威尼斯建筑双年展俄罗斯馆国际象棋比赛(2008)。Belogolovsky是柏林建筑杂志《SPEECH》的美籍记者,他曾在20多个国家的大学和博物馆进行演讲。

Belogolovsky的专栏“思想之城”向ArchDaily的读者介绍了他与来自世界各地最具创新精神的建筑师的对话。这位策展人将这些对话在2016年6月悉尼大学的首次同名展览中公布,“思想之城”将在世界各地巡回展览,探索不断发展的内容和设计。

VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985(TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries.
Belogolovsky’s column, City of Ideas, introduces ArchDaily’s readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator’s upcoming exhibition with the same title which originally premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.

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