德国品牌与设计委员会——设计为品牌增值

Lutz Dietzold 专访标志性奖·创新建筑奖年度建筑师-隈研吾先生

2020-12-29

Lutz Dietzold 专访标志性奖·创新建筑奖年度建筑师-隈研吾先生

“我想把混凝土时代抛在脑后”

L: Mr. Lutz Dietzold

K: Mr. Kengo Kuma

L: 隈研吾先生您好！很荣幸在此祝贺您获得标志性设计奖⋅创新建筑奖2020年度最佳建筑师ARCHITECTS OF THE YEAR荣誉。我是Lutz Dietzold，德国品牌设计委员会CEO。在德国品牌设计委员会60多年的历史中，我们一直在致力于发现和表彰国际建筑设计杰出的建筑师和设计师今年国际评审团一致决定将2020年度最佳建筑师奖项颁发给您。评审团相信，您的作品毫无疑问将在国际范围内对可持续建筑产生深远的影响力，具有示范作用。

K: 非常感谢。

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▲年度最佳建筑师奖奖杯

L: 您曾经说过：“我想把混凝土时代抛在脑后”。您用木头建造了建筑结构，建筑甚至桥梁。您认为必须改变什么才能使当代建筑师更多地参与以更自觉和可持续的方式使用建筑材料？

K: 在20世纪，建筑师对待每个建筑基本相同，混凝土和钢材曾经是建筑师唯一的选择。在工业化时代，这曾经是最好的解决方案。但进入21世纪，由于我们正面临全球变暖的环境危机并处于这种严峻条件下，我们应该决定做出变革。混凝土建筑给我们带来很多的紧张的心理负担，所以我想摆脱混凝土建筑。

L: 光线的应用在您的设计中扮演什么角色？

K: 我一直在思考建筑材料和光线。材料和光线应该一起规划。传统的日本建筑中，人们会考虑自然光，因为以前没有人造光。室内空间总是由自然光，光线反射和许多复杂的方式来体现。我想从传统的提示中获得光的使用的传统方法。

L: 因此，您都提到过，您在许多建筑物中以创新方式使用了日本的传统手工艺。从您个人的角度来看，建筑中的“日式”有什么新的内容？

K: 是的，“日式”建筑是一种在有限空间下的可持续方法。日本的土地资源非常有限，但是在严峻的现实条件下，人们应该努力在密度中创造幸福。而“日式”密度与密度下的私密空间规划密不可分。

L: 在您的人生中，决定您设计方式的重要时刻或人物是什么？

K: 是的，对我来说最重要的时期是1990年代。1990年代经济上是非常艰难的十年，因为在1980年代前，日本一直处于泡沫经济时代，直到1990年代初。幸运的是，我可以找到时间去各地旅行，去到偏僻的地方和小乡村。我可以和当地的工匠一起从事小型项目。我在1990年代从当地工匠那里学到了很多东西。我们在1990年代所做的项目很小，数量不多，但是我从那个时期的工匠那里学到的东西是我们2000年以后设计的基础。

L: 您是建筑材料方面的探索者，刚才您说到把混凝土时代抛在脑后，您还在从事哪些材料创新？

K: 我对柔软的材料非常感兴趣。木材比混凝土柔软，我也在寻找比木材更软的材料。我们使用最新的材料科技，许多新材料可供选择。最近我们使用碳纤维，我们对未来新型的材料科技都感兴趣。

▲森之野岐阜森林科学文化学院森林教育中心

L: 您认为当今建筑实践中最大的挑战是什么？

K: 19世纪之前，建筑师使用许多不同的材料。在20世纪，建筑师所使用的材料非常有限。在新冠疫情大流行之后，我们应该回归自然，回到材料的多样性。我认为这对我们来说是一个很好的机会。

L: 如果您看一下世界特大城市的人口发展情况，建筑如何为创造空间和与自然建立积极关系做出贡献？

K: 直到20世纪，人类向大城市迁徙，人类也试图使自己的建筑越来越高。在新冠疫情危机之后，人们应该回到自然，并应该回到农村。我希望我们可以做出改变，对此我很有信心。

L: 新冠疫情改变了人们使用建筑物的方式。您认为人们对建筑的期望是什么？

K: 是的，回顾建筑设计的历史，我认为设计应该由工匠领导。我认为工匠们将铺设通往21世纪的桥梁。

L: 隈研吾先生，非常感谢您的宝贵时间。关于您对建筑的理解以及您的建筑中体现的优秀。我们希望将来能看到更多优秀作品。再次祝贺您，隈研吾先生。

K: 也请允许我祝贺2020标志性设计奖⋅创新建筑奖的获奖者。我总是鼓励自己为下一个项目努力。感谢德国品牌设计委员会的支持。

L: 非常感谢！

K: 谢谢您！

“I want to leave the era of concrete behind me”

L: Mr. Lutz Dietzold

K: Mr. Kengo Kuma

L: Hello, Mr. Kuma. It is an honor to meet you in the virtual space to congratulate you on the title of honor ARCHITECTS OF THE YEAR, that jury decides Iconic Awards: Innovative Architecture goes to you this year. My name is Lutz Dietzold. I’m CEO of the German Design Council, which identifies and presents outstanding achievements in design and architecture for over 60 years. Several of your projects had been awarded to the Iconic Awards over the past years. It was the gesture of unanimity, that the polyphonic jury decided your work as a reference world-class architecture. A work no doubt gives an outlook of the future of sustainable world architectures, our populations, Mr. Kuma.

K: Yeah, thank you very much.

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▲architects of the year sculpture

L: You once said: “I want to leave the era of concrete behind me” and you built structures, buildings, and even bridges in wood. What do you think has to change that contemporary architecture is engaged more in using materials in a more conscious and sustainable way?

K: In the 20th century, like most architects, as I believed, concrete and steel was the only option for architects as of for every building. And in that industrial era, it was the best solution. But now in the 21st century, as we are facing the environmental crisis of global warming and in that severe condition, so we should decide to leave concrete. Those design wise as evidence of concrete have given us many stresses. So I want to be free from concrete.

L: Which role does light play in your design?

K: I am always thinking about material and light. The bright material cannot speak to us. Then the material and the light should go together. In traditional Japanese architecture, people think about natural light, because there is no artificial light. So always, the interior space was led by natural light and through the reflection and many sophisticated ways. I want to get the hint from those as a traditional method of using light.

L: So you mentioned in many buildings you use this traditional Japanese arts and crafts in an innovative way. What – from your personal perspective – is the “Japan-ness” new in architecture?

K: Yeah, Japan-ness is a kind of sustainable method is limited in that. Japan is more than that, especially the flat, the land in Japan is very much limited. But in that kind of severe condition, people should try to create happiness in the density. And the Japanese density is very much related to intimacy in the density.

▲morinos

L: What is the important moment or person in your life that shaped the way you design?

K: Yes, the most important period for me was the 1990s. The 1990s economically, it was the very hard decade, because in the 1980s we had bubble economy until the beginning of the 1990s. Luckily, I could find time to travel to local places. There are remote places and small villages. I could work with a local craftsman on small projects. Then I learned many things from the local craftsman in the 1990s. The projects we did in the 1990s are very small, and the numbers were not many but what I have learned from that craftsman in that period was the basis of our design after the year 2000.

L: You are an explorer when it comes to materials. We spoke about that a little bit, leaving concrete behind. Which kind of material innovation are you still waiting for?

K: As I’m very much interested in soft material, wood is softer than concrete. Also I’m looking for materials softer than wood. We are using materials of recent technology which is producing many new materials. Recently we are using carbon fiber, we are interested in materials for the future to come.

L: So connected to this, what do you regard as the greatest challenge in today’s architecture?

K: Before the 19th century, architects are using many different materials. In the 20th century the materials used were very limited. After Covid pandemic, we should go back to nature. And we should go back to diversity of materials. I think it’s a good chance for us.

L: If you look at the demographic development of the world’s megacities, how can architecture contribute to creating spaces and a positive relationship with nature?

K: Until 20th century, homo sapiens were gathering to big cities, and also homo sapiens tried to make their nests higher and higher. After this crisis, people should go back to nature and life should go back to agriculture. And also, I hope we can do that kind of big change. As Genus I am very positive in that direction.

L: With Corona in your eyes have an influence on world architecture as it changed the way people use buildings and what expectations they have for architecture?

K: Yeah, looking back to the history of architecture design, I think design should be led by craftsmen. I think in the 21st century the craftsman bridges.

L: Mr. Kuma, thank you very much for your time. An interesting insight on your understanding of architecture and your work of all the best for your projects. We hope to see more of them in the future. Keep safe and congratulations again Mr. Kuma.

K: Thank you very much and congratulation to the winners of the ICONIC AWARD. I always encourage myself to go the next station. Thank you for all the German Design Council.

L: Thank you very much!

K: Thank you.

Lutz Dietzold 专访标志性奖·创新建筑奖年度建筑师-隈研吾先生

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