訪談：隈研吾

（圖片）根津美術(shù)館

（攝影）FUJITSUKA Mitsumasa

訪談：隈研吾

（圖片）根津美術(shù)館

（攝影）FUJITSUKA Mitsumasa

INTERVIEW: Kengo Kuma

導(dǎo)報：您能否以馬頭町廣重美術(shù)館為例，介紹一下您設(shè)計當中的核心價值觀？

隈研吾：我的核心價值觀是以地理位置為重。

導(dǎo)報：您設(shè)計了許多的博物館，它們有沒有什么共同的關(guān)鍵元素？

隈研吾：要記得，內(nèi)容（即藝術(shù)作品）在建筑物中扮演著核心角色。 簡單地說，建筑應(yīng)該支持內(nèi)容，內(nèi)容才是最重要的。

導(dǎo)報：在博物館設(shè)計中，您通常采用什么方法來處理人與建筑空間之間的關(guān)系？

隈研吾：理清人流的順序。 他們?nèi)绾巫哌M博物館？ 進入博物館之前，他們可能走了什么路線？ 另外，對于博物館里的工作人員，這里也應(yīng)該是個快樂的地方。

導(dǎo)報：請描述一下您的設(shè)計方法和過程是怎樣的？

隈研吾：首先必須考慮建筑材料。形式并非首先考慮的因素。

導(dǎo)報：能否請您談?wù)勀陨韽拈_始進入設(shè)計至今的演變過程嗎？

隈研吾：我傾向于認為，我是在不斷發(fā)展進步的。這是一個很自然的過程。人會成長，會認識新的人和新的環(huán)境。與剛開始擔任建筑師那時候相比，我現(xiàn)在是截然不同的一個人。

由于教育模式對創(chuàng)造性思維的抹殺、傳統(tǒng)思維習慣的制約、動畫人對動畫藝術(shù)理解的狹隘、動畫片受眾定位的低齡化和國外加工行業(yè)的薪資誘惑等原因，導(dǎo)致目前中國動畫劇本存在的最大問題是缺乏創(chuàng)意。中國動畫要想打開國內(nèi)市場，走進國際市場，擁有既傳統(tǒng)又現(xiàn)代、既本土化又全球化的特色，首先要給予重視的就是找尋動畫劇本的創(chuàng)意。

導(dǎo)報：您認為在建筑實踐方面，西方國家、日本和中國之間有什么典型的差異呢？

隈研吾：差異僅存在于個人之間，并不存在于國家之間。因此我無法一概而論。 無論項目在哪里進行，我都接受并嘗試欣賞差異。

導(dǎo)報：日本建筑師之間的文化傳承是顯而易見的。從老一輩的黑川紀章、安藤忠雄到隈研吾、妹島和世，再到新一代的藤本壯介，這些建筑師都獲得了世界認可。這其中的關(guān)鍵因素是什么呢？

隈研吾：日本的氣候？日本有著美麗的自然環(huán)境，但也有自然災(zāi)害，并且由于多山地貌，適宜居住的地區(qū)是很有限的。所以，人們需要培養(yǎng)一定的智慧，才能為自己創(chuàng)造空間。

導(dǎo)報：日本的很多建筑都很精致，能否大致介紹一下日本建筑業(yè)的模式呢？

隈研吾：在很長一段時間里，白色、表面光滑的建筑風格十分盛行。但3.11日本東部大地震改變了這一切。我們回歸到更自然的土色建筑——不僅在物質(zhì)上，而且在理念上。

WAR：Can you give a detail description of your core values of design ? For example Nakagawa-machi Bato Hiroshige Museum of Art.

Kengo Kuma：My core value is to pay respect to the location.

Kengo Kuma：To keep in mind that the content (the art works) plays the central role of the building. Architecture should simply support the content, which matters most.

WAR：What way do you take in terms of dealing with the relationship between people and architectural space in Museum design?

Kengo Kuma：To provide sequences between people. How should they walk in to the space? What kind of paths might have they taken before coming into the museum? And it should be a happy place for people working in the museum, too.

WAR：How would you describe your design approach and process generally?

Kengo Kuma：Consider materials for the building. Before anything else. It is not a form that should come first.

WAR：Can you describe an evolution in your design from the very beginning till now?

Kengo Kuma：I would like to believe that I evolve all the time. It is natural to be like that. You grow, you get to know new people and environments. I am completely different from myself when I began to work as an architect.

WAR：In your opinion, what are the differences between western countries, Japan and China in terms of the architectural practice?

Kengo Kuma：Differences exist only between individuals. Not between countries. So I cannot generalize. I accept and try to enjoy differences wherever the project takes place.

WAR：The Inheritance of Japanese architects is very obvious. From the older generation kurokawa kiso, Andou tadao, to Kengo Kuma, Kazuyo Sejima, following the young generation Sou fujimoto, received approval in the world, what is the key factor among these?

Kengo Kuma：The climate of Japan? Beautiful nature, but not free from disasters, and habitable area is limited as the land is so mountainous. People needed to have nurtured wisdom to create spaces for themselves.

WAR：Many of the architectures in Japan are delicate, can you make a general introduction about the mode of the architectural industry in Japan?

Kengo Kuma：For a while, white, smooth-faced structures was dominant in style. But 3.11 East Japan Earthquake converted it. We are coming back to more natural, earth-colored architecture – not only in substance, but in ideas, too.