专访Wise Architecture创始人崔淑熙
Interview with Sook Hee Chun, Founder of Wise Architecture
2014-12-10 13:33:52    | keywords: Wise  Architecture  Sook  Hee  Chun  访谈 
专访Wise Architecture创始人崔淑熙
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By 90degree

 
问:您能否详细介绍一下Wise Architecture?
Q: Can you talk about Wise Architecture in detail?
 
答:2008年10月我们在纽约开设了一个设计工作室,当时正值世界金融危机暴发,而纽约又是这场危机的始发地。然而,早在这场全球性经济危机发生之前,我们的建筑设计行业就一味地迎合城市发展和城市大众所追捧的一些浮华之风,大多数建筑事务所都以设计大型、异状建筑体为主流,形成了势不可挡的浮躁性行业浪潮,设计缺乏冷静的思考,建筑体块也显得相对空洞。就这个角度而言,当时的行业人士都将这一浪潮视为一个神奇的摩法棒,并试图借助于它的力量开拓新市场,创造新财富。
 
反之,一些小型的建筑设计工作室更为注重设计作品在人们日常生活中的舒适度和实用性等重要因素,同时也将普通民众的经济承受能力纳入到考量的范畴中。而这些也正是我们工作室所注重和追求的,我们重视建筑设计在日常生活中的积极影响,重视每一个设计细节的实用性与功能性。韩国文学家金秀龙曾在他的一本散文集中有过这样一段描述:“写成一首诗并不是依靠你的‘头’或‘心脏’,而是你的整个‘身体’赋予实实在在的力量。你是在用你的‘全身心’在写诗。全身心的激情涌动才能促成优秀诗作的诞生!”。这里所说的“写诗”,其实与建筑设计同理:实实在在的全身心投入,才能设计出优秀的建筑作品。
 
A: We opened an office in New York on Oct. 2008 when the whole world was staggering under the impact of the financial crisis that started there. Prior to the global economic crisis, many of the buildings that the major architect offices in our architecture market designed were of a large scale and had unusual shapes to satisfy the vanity of a city and the people living in the city. Unlike the overwhelming effect of rendering, the spaces felt hollow and they were the result of a lack of consideration. This is because it is considered a magic wand to pioneer new wealth and new markets in this perspective.
 
On contrast, smallness starts with the everyday life and it reminds people of the significance of everyday life. The term implies words like easy and comfortable, relaxing, insightful, affordable etc. We pursue such a value in everyday life, smallness in projects in our office. “Writing a poem is not doing by your ‘head’, not by your ‘heart’, but by your ‘body’. You are writing a poem with ‘all your body’. Being more punctual is pushing forward with all your body.” – “Spit, Poetry!” a collection of Soo-Young Kim’s prose, Mineumsa (1975) The phrase “Writing a poem” can be replaced by “architecture” in these sentences. 
 
问:您能否谈谈韩国的建筑设计行业?
Q: Can you talk about Korean architecture industry?
 
答:建筑行业的生态系统就类似于苔原生态,上面散落地生长着大大小小的草皮,而这些草皮能从干枯的草种中吸收的养分则着实有限,但消化系统却能够适当地将这些有限的养分输送的各个部位,维持基本的生存需求,以待寻找到更为适宜的生存空间。
 
建筑行业的生态系统需要建筑师自身的“多重定位”来维持,因为这个行业中总会不断地涌现出全新的领域和全新的作品。例如,建筑设计应当如何站在市场营销的角度为一个企业树立适当的企业形象?面对一个建筑设计项目,应当如何合理施行?我们如何能够准确预测建筑设计的未来趋势,并将其应用到实际运作中?对于一个城市公共项目,我们应当如何正确应对?诸如此类的众多问题都值得我们建筑师认真思考和对待。
 
A: The ecosystem of the architectural market is similar to that of the tundra where a few patches of grass are scattered here and there. The amount of nutrients they can actually absorb from the stiff and rough grass is relatively small, but the chambers of the stomach that is divided into multiple compartments help them to survive until they find the next feeding area. 
 
The architectural ecosystem also requires architects to be “multi-positioning”, because there are always new fields and new works coming up. For instance, how does architecture build an image of a company in the marketing point of view? How is an architectural program developed? How can we forecast a trend in architecture and apply it to the market? What should we do to work on an urban public project? There can be more questions to ask. Architects need to engage in such issues.
 
问:您心目中的优秀建筑设计应该是什么样的?
Q: What’s your opinion on good architectural design?
 
答:优秀的建筑设计必须具备良好的实用性。在一个建筑设计项目中,客户往往更为看中的并不是建筑外观或建筑空间的美观度如何,而是建筑空间的实用性。建筑空间所具备的实用性和功能性越多,建筑本身的价值也就越高。这不仅仅是由于人们可以灵活、充分地利用空间的多功能性,更为重要的是,由于空间的用途不同,能够实现建筑整体外观和环境的多样化。而建筑外观和建筑环境的多样化也能够进一步促成整个城市面貌与城市环境的多样化,为城市不断注入新鲜、有趣的活力元素,营造出“万花筒”般的城市风貌。
 
A: Good Architectural design must be used well. What a client usually wonders about during an architectural project is not the actual appearance of the space or the external appearances; they are often more curious in how the space is used. The more layers of uses for the space, the better. That’s not only because a user can use the space in various ways, but because the different uses can keep changing the appearance and the atmosphere of the building. Particularly when the different uses of a building can change its appearance and the atmosphere of a city, it creates an interesting phenomenon because the appearance will keep giving new meanings to the surrounding context. We call this “multipli.city”. 

问:在建筑设计界,您最为仰慕的建筑师是哪一位?
Q: Who do you admire most in this profession?
 
答:彼得·卒姆托,一位脚踏实地对建筑执着的建筑设计大师。
A: Peter Zumthor, the greatest grass eating architect.
 
问:您近期都在关注建筑设计行业的哪些方面?
Q: What are you focusing on in architecture industry recently?
 
答:曾经有人问过我们:“你们是否会在建材展会上选择所需要的相应材料?”这个问题本身无可厚非,但我们从未这样运作过。因此,我们只能回答:“我们尚处于研习如何最为合理地应用普通材料的过程中。”事实上,我们也的确正在实际工作中,不断研究诸如水泥、木材、钢材、有色金属、玻璃、砖块等这些常用建材的相应性质,并且我们认识到,作为一名建筑设计师,必须熟悉这些原材料,并对其进行科学、合理地应用。
 
建筑师往往能在材料选择的过程中,为既定的项目环境制定出合理的材料使用方案,进而避免使用复杂的人工合成材料,而采用简单、环保的传统现成材料。因此,建筑师有必要对传统现成材料的合理使用进行更为深入的了解,并积累更多建材使用的相关经验。随着我们的了解不断深入和经验的不断积累,对于具体项目中的材料应用与组合也就逐渐趋于明朗。
 
A: Somebody asked “Do you choose architectural materials at an architectural material exhibition?” This is an understandable question, but we have never been to such exhibitions. So our answer was “We are still in the course of learning how to make the best use of the ordinary materials.” Such materials include concrete, wood, steel, non-ferrous metal, glass, bricks and etc. We are still learning the nature of these usual materials as we work, and we realized that an architect must be familiar with raw materials and take good care of them. 
 
This is because choosing materials is a way for an architect to suggest a solution to given conditions, and the solution can sometimes be a combination of simple materials rather than that of sophisticated artificial ones. Thus, an architect needs to have a better understanding and the wider range of experience in using readily available materials. As our experience grows to be deeper and wider, the way of producing basic combinations start to gain its clarity. 
 
问:能否和我们分享一些您的设计作品在设计阶段或施工阶段中的幕后故事?例如,“L形方寸住宅”或“韩国战争与女性人权博物馆”等等?
Q: Can you share some stories behind your projects? The stories during design phase or construction stage, etc. Such as the project “the L Square House” or “The Museum of War and the Woman’s Human Rights”, etc.?
 
答:韩国战争与女性人权博物馆,其入口十分普通,大厅、信息服务台、大型展览空间显得平易近人。战争与女性人权博物馆位于Sungsan-Dong住宅小区的纵深处,唯一的大门比普通住宅的大门还略小一些。那儿没有大大的标识牌显示其为博物馆,仅有步道指示牌引导着游客进进出出,由此得出这个地方所要诉说的故事。游客在此获得了一种不确定的体验,类似那些年长的妇女曾经的经历——被战争带走并成为慰安妇。
 
博物馆的这座屋子有着三十年的历史,占地330.5平方米,内里的庭院被闲置已久、荒草丛生,其所处的住宅小区环境十分静谧。改造前,小屋的空间十分狭小,很难实现博物馆的设计,小屋的扩建工程因为预算和停车空间等事宜变得十分困难,此外,外墙和挡土墙之间的场地也被用作半独立户外空间。小屋传统的粘土砖和户外围墙之间的空间赋予游客一种进出小门伴随的室内和室外的过渡体验。
 
8月的第二个星期,设计邀请赛正在进行,那些曾经是慰安妇的年长妇女以及市民团体和学生在关闭的日本大使馆前进行例行的周三抗议活动。抗议活动持续一个多小时,使馆内却丝毫没有反映。只有监控摄像头一直对着他们。我们将这一情景看在眼里——炙热的夏天,抗议者们挥汗如雨,日本大使馆却大门紧闭,躲在红墙的保护里。由此,我们所设计的博物馆虽然体积小,却会有强烈的存在感。这一构思诞生于Sungmi山脚。
 
A: This museum doesn’t have a nice entrance, a lobby, a kind information desk or a large exhibition space. The Museum of War and Woman’s Human Rights sits deep in a residential area of Sungsan-Dong, and has only one door that is smaller than a normal-sized gate of a house. There is no big signboard telling us about the museum. Instead, a guide walks with visitors inside and outside of the museum and tells us the story of the place. Visitors experience this uncertain situation in which is somewhat similar to the one that the elderly ladies experienced when they were taken away to the war as comfort women. 
 
The house is located in a quiet neighborhood and is 30 years old and 330.5m2 in size, and has a garden with thick grasses that appears to have been abandoned for a while. The house is too small to accommodate and realize the originally planned program for the museum, and as an extension of the house was difficult because of practical matters of budget and parking space, the spaces between walls outside and the retaining walls are used as semi-external spaces. The space between the house of traditional clay bricks and the brick screen that surrounds the house enables visitors to have a cross-experience of the inside and outside as they enter through the small gate. 
 
In the second week of August when the invitational design competition was going on, the elderly ladies who were former comfort women, civic groups and students were carrying out their usual Wednesday protest in front of the closed Japanese embassy. The protest went on for over an hour but there was no response from within. Only the CCTV camera was looking at them. As we was taking in this scene where the protesters were sweating heavily in the scorching summer heat and the Japanese embassy was firmly shut and protected by red walls, we wanted to build a museum that might be small but has a strong presence. That’s how the museum was born at the foot of Mt. Sungmi.
 
问:能谈谈您对建筑设计未来发展趋势的一些看法么?
Q: Can you talk about the trend of architectural design? 
 
答:在我们的建筑设计工作室成立之初,那时的建筑风格趋于“夸饰”。我当时甚至怀疑一些项目建成的可能性,在心里疑惑:“这样的设计真的能够最终建成么?”,那些设计似乎显得过于浮夸。每当我在杂志上看到一些十分夸张的建筑作品时,便会反问我自己:“你是想不出如此夸张如此不切实际的设计的,不是么?”
 
有一部分设计师持有与我相似的观点,他们认为务实是最为明智的设计态度。而事实上,对于我们这些设计师而言,明智的建筑设计态度还应该包括:注重常规建筑设计惯例,而非纸上谈兵、夸夸其谈;尊重“建筑施工的全过程”,设计出切实可行的建筑方案;专注于实质性的方案设计,而非一味地讲求建筑造型的别出心裁;设计过程中,坚持手工制作建筑模型,而不是以计算机模拟模型替代;遵守职业道德,赢得客户信赖。
 
A: When we opened the architect office, the architectural trend was “exaggeration”. I even doubted the possibility of some projects that were going to be built and thought “Is it really possible?” because they seemed too exaggerated. I thought some architectural works that I saw in a journal were exaggerated and were saying to me “You haven’t even thought of this way, have you?”
 
But I couldn’t agree with such an attitude, and some of us thought that honesty is the wisest attitude. And for us, the architectural interpretation of the wise attitude is: daily observance rather than lengthy discussion; respect for “building”; an approach that focuses on a program rather than a shape; the working process where we build a model with our hands rather than using computer modeling; and work ethics that a client can trust.
 
 
个人简介
崔淑熙,美国建筑师协会会员,绿色建筑认证专家,注册建筑师,曾就读于韩国梨花女子大学并获建筑学学士学位,后又在美国普林斯顿大学攻读并最终获取建筑学硕士学位,并曾在多家知名建筑设计企业任职,其中包括纽约格瓦思梅·斯格尔建筑师事务所和首尔履露斋建筑设计与规划事务所。
 
Profile
Sook Hee Chun, AIA, LEED, received her Master of Architecture from Princeton University after received BS in Architecture from Ewha Womans University in Korea. She is a registered architect whose background includes such prestigious design firms as Gwathmey Siegel & Associates Architects, New York and Iroje Architects and Planners, Seoul, Korea.

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