凱特·古德溫/Kate Goodwin

尚晉 譯/Translated by SHANG Jin

李曉東訪談

Interview with LI Xiaodong

凱特·古德溫/Kate Goodwin

尚晉 譯/Translated by SHANG Jin

李曉東

1984年畢業(yè)于清華大學建筑系，1989-1993年赴荷蘭留學，就讀于代爾夫特理工大學獲博士學位。目前為一位實踐建筑師、教育者及研究者。

李曉東的設計領域包括室內、建筑和城市空間，曾獲多個國際級獎項：“橋上書屋”項目獲得2009年英國《建筑評論》雜志世界新銳建筑獎優(yōu)勝獎、2010年阿卡汗建筑獎優(yōu)勝獎、2012年英國《泰晤士報》世界八大環(huán)保建筑獎；“籬苑書屋”項目獲得2012年新加坡世界建筑節(jié)年度文化建筑類優(yōu)勝獎、2013年瑞典“建筑的必要性國際宣言”國際可持續(xù)社區(qū)建筑優(yōu)勝獎；“玉湖完小”項目獲得2004年英國《建筑評論》雜志世界新銳建筑獎特別推薦獎、2004年美國環(huán)境設計與研究協(xié)會年度最佳設計獎、2005年聯(lián)合國教科文組織亞太區(qū)文化遺產(chǎn)評審團創(chuàng)新獎、2005-2006年亞洲建筑師協(xié)會建筑獎——亞洲建筑金獎、2006年美國《商業(yè)周刊》/《建筑實錄》中國最佳公共建筑獎。2011年，李曉東被《智族GQ》雜志評為中國年度最佳設計師；2012年，被美國建筑師協(xié)會授予榮譽院士。

李曉東作為建筑教師，于1997-2004年執(zhí)教于新加坡國立大學建筑系，曾獲得2000年RIBA導師獎及2001年SARA導師獎。2005年，他回到清華大學建筑學院任教授至今，研究領域包括建筑文化、歷史與理論以及城市研究等。

LI Xiaodong

Graduated from School of Architecture at Tsinghua University in 1984 and did his PhD at the School of Architecture,Delft University of Technology between 1989-1993,is a practicing architect,educator and researcher on architecture.

LI Xiaodong's design ranges from interior,architecture to urban spaces,he has won both national and international awards,among which: his design for Bridge School in Fujian Province was the winner of 2009 AR(review) Emerging Architecture Award and winner of 2010 Aga Khan Award for Architecture,2012 Eight Sustainable Architecture,Times (UK); his Liyuan Library (Wattle School) was the winner of culture category of 2012 WAF in Singapore and winner of 2013 Architecture of Necessity in Sweden ; his Yuhu Elementary School won 2005 UESCO Jury Award for Innovation,2004 EDRA/Places Annual Design Awards (US),2004 AR+D Awards (UK) highly commended,2005-2006 ARASIA Gold Medal,and 2006 Business Week/Architectural Record China Awards Best Public Building LI Xiaodong was awarded man of the year in China (best designer) in 2011 by GQ magazine,and was awarded the Honorary Fellowship by AIA in 2012.

He also teaches architecture,he has won prestige international awards: RIBA tutor's prize (2000) and SARA tutor's prize (2001) for his inspirational teaching at the Department of Architecture,National University of Singapore Since 2005,he has been the chair professor of the architecture program at the School of Architecture,Tsinghua University,in Beijing He is also a researcher,his publication in articles,books in both English and Chinese covers wide range of interests,from cultural studies,history and theory of architecture to urban studies.

1 中國古畫中游魚/Swimming fishes in a Chinese painting

3 古建筑剖面，表現(xiàn)中國建筑傳統(tǒng)元素/Section showing the traditional elements of Chinese architecture

凱特·古德溫（古德溫）： 你曾寫過一本題目是《中國空間》的書。你是不是認為中國的文化對于空間的理解有一些特別之處呢？

李曉東： 這本書源于一個中西方空間概念對比的研究。我發(fā)現(xiàn)二者有明顯的區(qū)別：西方傾向于把世界看作一系列對象，而我們在中國和東方不大區(qū)分主客體。西方建筑從透視學發(fā)展而來，把建筑當作從“外”去看的對象。中國建筑的理念是從“內”去體驗。

在中國的傳統(tǒng)中，空間是在一個明確的體系內表達的，在不同的語境中可以通過想象（而不是邏輯）進行再闡釋。這種再闡釋的可能性使文化成為可持續(xù)的——就像中國的漢字，雖是數(shù)千年前創(chuàng)造的，但在今天仍是活的語言。中國人重道而輕器——這一點你從國畫中就能看到，留白與著墨是同樣重要的。比方說，畫一對游魚，水的存在是從白背景中意會出來的，而這是畫面中非常重要的一部分。因此，要實現(xiàn)令人滿足的空間體驗，就必須為觀者的想象留出空間。

我們還可以從中西方表達建筑的傳統(tǒng)上看到這種區(qū)別。在中國，人工創(chuàng)造的空間首先是形而上的，應當與大自然的秩序和諧。中國文化對空間的營造是與繪畫、書法和詩歌并列的藝術。明清私家園林就可以證明這一點。

古德溫：你認為當代建筑怎樣才能把中國傳統(tǒng)文化與現(xiàn)代結合在一起呢？

李曉東：中國建筑的技術語匯早在漢代就已確立，有柱、梁和三四種不同形式的大屋頂。兩千年過去了，變化的只有色彩和空間。所以， 在中國的傳統(tǒng)中，建筑的問題不在于單體造型，而是如何用相鄰的房屋來限定空間。

比如，紫禁城的魅力就在于層層遞進的空間體驗，而不是某個大殿。在這一點上，老子就認為重要的是“用”而不是“器”。中國傳統(tǒng)的合院住宅也是一個很好的例子。

現(xiàn)代建筑是西方創(chuàng)造的，我們中國要吸收這種新的思想。梁思成是中國現(xiàn)代建筑之父，也是清華大學建筑系的創(chuàng)立者——我就是那里畢業(yè)的。他的教學理念就是要把中國的傳統(tǒng)和知識與現(xiàn)代的形式熔為一爐。這無疑是我們探索民族特色與現(xiàn)代性之間關系的重要一步。但我的問題是：如果中國建筑自古就與“形式”無關，那我們又怎能將中國的傳統(tǒng)形式現(xiàn)代化呢？

我的大量研究和設計工作都集中在兩點上：我們能否用古代文化豐富當代建筑的理論和實踐；中國傳統(tǒng)概念如何以現(xiàn)代手段表達。這就是關鍵所在：我們需要找到我們的建筑發(fā)展道路，而不是模仿西方造型或者硬套中國傳統(tǒng)形式和裝飾。

古德溫： 這些思想是怎么在你的實踐中體現(xiàn)的呢？

李曉東：在我看來，過去的100年是建筑構造語匯形成的時代——現(xiàn)代主義、后現(xiàn)代主義、解構主義等等。理論和爭辯帶來了實用的語匯，但21世紀的全球化和文化碰撞改變了問題的焦點。所以，我認為今天的建筑應該用實際情況重新整合這些思想。

我在實踐中的努力可以稱作“自省的地域主義”，也就是更關注發(fā)現(xiàn)本原而非原創(chuàng)形式。

例如，我在巴厘設計的會議中心，通過結合現(xiàn)代功能與傳統(tǒng)材料和文化，營造出地域的歸屬感。在熱帶叢林中，秩序對于人類居住地是首要的，而我的設計就是從這一原則出發(fā)的。比如，當?shù)亟ㄖ弥褡诱陉枴@是功能性的——而這種材料的韻律更體現(xiàn)出巴厘村莊的秩序感。所以，重點是結合技術、地方材料、現(xiàn)代思想和傳統(tǒng)的認同感。

古德溫：你已經(jīng)談到建筑與環(huán)境之間的關系對于你作品的重要性。那你第一次意識到環(huán)境的空間內涵以及你可以在其中發(fā)揮的作用是什么時候呢？

李曉東：1984-1986年在黃山的經(jīng)歷打動了事業(yè)剛剛起步的我，那時我正在負責一座酒店的建設。變幻莫測的天氣、深遠恢宏的尺度，以及我對造山運動的歷史跨度的慨嘆，都推動著我的觀念向前。

遠望群山，你會看到連綿起伏的一條輪廓線。而一旦走入山中，你又會發(fā)現(xiàn)它是在你身邊連續(xù)不斷的空間關系。你對尺度、距離、質感和圍合的意識在一瞬間覺醒，讓你在其中感受到自我的存在。這是最美妙的一刻。

古德溫：你可以說一說這種感受對你作品的具體影響么？

李曉東：這個從淼廬和籬苑書屋上都能看到。它們所體現(xiàn)出來的都是建筑與周邊環(huán)境的關系，而不是一個孤立的建筑。

淼廬和玉龍雪山的環(huán)境是一體的。建筑與景觀相得益彰，進而提高了整體環(huán)境的品質。這就像是一個系統(tǒng)，各部分之間的關系大于任何個體；或者說是一個萬花筒，系統(tǒng)的整體性發(fā)揮著主導作用，而各要素的價值會被略去。

籬苑書屋的目的是建立一個平臺，讓人們去欣賞自然環(huán)境。它很單純，因為單純更能讓人感悟自然。

Kate Goodwin (KG): You have written a book called Chinese Conception of Space Do you feel there is something very particular about the ways your culture understands space?

LI Xiaodong (L): The book began as a research project comparing concepts of space in China and the West I found that there is a clear distinction: the Western tendency is to look at the world as a series of objects,while in China and the East we tend not to differentiate between subject and object So Western architecture develops from perspective,with the building understood as an object to be looked at from "without",while Chinese architecture develops from the idea that the building is something to be experienced from "within".

In Chinese tradition,space has been articulated within a defined framework that allows for reinterpretation in different contexts using imagination rather than through logic This possibility of reinterpretation is what makes the culture sustainable - it's like the characters in Chinese writing,which were created thousands of years ago but still form part of a living language.Chinese tend to focus on? the intangible rather than the tangible - you see this in Chinese painting,in which the blank surface is often just as important as what is inscribed For instance,in a painting that shows a pair of swimming fish,the presence of water,which can be inferred from the blank background,is a vital part of the image Allowing room for the visitor's imagination is essential if a space is to become a satisfying physical experience.

We also see a difference between Chinese and Western ideas in the way architecture has been represented by the two traditions For the Chinese,an artificially created space is first of all cosmological and should be in harmony with the order of nature.The articulation of space - as in the history of private garden design from the Ming and Qing dynasties -has been regarded by Chinese culture as an art form alongside painting,calligraphy or poetry.

KG: In what ways do you think contemporary architecture can bridge the gap between traditional Chinese culture and present-day conditions?

L: The technical language of Chinese architecture was already defined back in the Han Dynasty,about 2,000 years ago There were columns,beams and then a big roof,with three or four different roof types For the next two millennia,the only changes were to do with colour and space So in the Chinese tradition,architecture is less about individual building forms than about how space is defined by the structures that surround it.

The Forbidden City,for instance,is about experiencing space after space after space rather than appreciating individual buildings It's a concept articulated by the Ancient Chinese philosopher Laozi,who said that what is important is what is contained,not the container This is also exemplified in the courtyard typology of traditional Chinese housing.

Modern architecture is an invention of the West,and we Chinese have had to adopt this new way of thinking.Liang Sicheng,the "father" of modern architecture in China and the founder of the Architecture Department at Tsinghua University where I was trained,based his teaching on ways of combining Chinese tradition and knowledge with modern forms.This,of course,was an important stage for us in discovering relationships between identity and modernity But the question for me is: can we really modernise a traditional Chinese form if Chinese architecture has never been about form?

Much of my own research and design work have been focused on exploring whether contemporary architectural theory and practice might be enriched through dialogue with our ancient culture,and how the concepts of Chinese tradition might be expressed in modern ways This is what matters: we need to find ways of developing our architecture without aping Western models or relying on a superficial imitation of traditional Chinese forms and decoration.

KG: How are these ideas manifesting themselves in your own practice?

L: It seems to me that the last hundred years have been about the development of tectonic languages of architecture - Modernism,Postmodernism,Deconstructivism and so on Theory and debate have created a useful working vocabulary,but in the twentyfirst century globalisation and cultural conflicts have changed the issues.I think architecture today should try to reintegrate ideas with real-life conditions.

What I am trying to do in my own practice might be described as "reflexive regionalism." It's more about identifying original conditions than inventing original forms.

To take an example,my project for a conference centre in Bali creates a sense of regional identity by mixing modern functional thinking with traditional materials and culture In the tropical jungle,order is of primary importance for human settlements and my design grows from that principle For instance,local buildings use bamboo to filter the light - it's a functional thing - but the repetition in the material also reflects the sense of order you find in Balinese villages So it's about combining technology,local materials,modern thinking and a traditional sense of identity.

KG: You have described how key the relationship of building and environment is to your work Can you recall a moment when you first became aware of the spatial potential of the environment and your place within it?

L: A formative experience from the start of my career was my stay from 1984 to 1986 in Huangshan (the Yellow Mountain range) while I was supervising the construction of a hotel The changing seasons and weather,the distances and dimensions,as well as my consciousness of the vast timescale of the mountains' creation,all contributed to a change in my perceptions.

From a distance you think of a mountain range as a series of objects seen in silhouette But once you are within it,you start to perceive it as a series of spatial relationships that surround you Your awareness of scale,distance,texture and enclosure all come alive and you become conscious of your own presence within it Recognising this was a beautiful moment.

KG: Can you identify any influences of this experience within your own work?

L: Both the Water House and the Liyuan Library reflect the impact of this experience They are about the relationship of a building to its surroundings rather than a building as a discrete object.

The architecture of the Water House is integrated into the setting of the Jade Dragon Snow Mountain House and landscape complement each other so the quality of the whole environment is improved It's like a system within which the relationships between the parts are more important than the parts themselves - a kaleidoscope,where the integrity of the system predominates and the significance of the individual elements disappears.

With the Liyuan Library ,the intention was to create a framework that would help you to appreciate the natural environment It is simple because simplicity allows you to appreciate nature more readily.

I have discovered that if a building is too complicated,you risk diluting your intentions The amount of detail you can generate through computer drawings is wonderful,but you need to have a consistent and simple way of using those details When I'm working I need to be clear about the issues before I can generate ideas.Solutions emerge from a clear definition of the problem It's not about the details but rather about how you respond to and create a total environment.

KG: What role do you think the senses play in how we experience space? And how might this add to how we engage with architecture?

L: There are millions of sensors all over our bodies,taking in information about our environment and transmitting it to our brains They're like radar,scanning our surroundings and sending back signals The information we receive can't be quantified,so how we engage with these perceptions to create architecture is difficult to define.

4 紫禁城鳥瞰/Aerial view of the Forbidden City

5 北京紫禁城穿過大門和庭院的軸線/Axial view through protals and courtyards of the Forbidden City

6 感知空間展覽設計模型/Model,"Sensing Space" exhibition

在我看來，一個建筑要是太復雜，就會弱化設計的主旨。用計算機可以做出很多好的細部，但你需要統(tǒng)一而單純的手法來運用這些細部。我在工作的時候就會先明確問題，然后再發(fā)揮創(chuàng)意；方案就會在所確定的問題中形成。關鍵不在于細部，而是你如何呼應并創(chuàng)造一個完整的環(huán)境。

古德溫：你認為感官在我們的空間體驗中能起到什么作用？這對我們把握建筑又有什么幫助？

李曉東：我們的身上有無數(shù)的神經(jīng)細胞，把環(huán)境中的信息送入大腦。這就像雷達一樣，不斷地掃描并反饋信號。我們收到的信息不是量化的，所以很難確定我們如何用這些感覺來創(chuàng)造建筑。

我從21歲起就練太極，鍛煉自身的感官系統(tǒng)。太極講究內外兼修，調理氣息，以強健體魄。但它又不只是修身，還有養(yǎng)心，讓人的感官更加敏銳。

通過練太極，我也更容易感受到氣場這種物質元素的系統(tǒng)關系與和諧所帶來的能量流。對于中國人來說，這種永恒的能量在萬物中流動、不斷改變宇宙的觀念是非常重要的。所以，我在項目開始時做的第一件事就是分析場地和它的氣場，然后用建筑師的手法把我的發(fā)現(xiàn)轉譯到設計中。

古德溫：你作為建筑師對于空間的理解和認識還有其他獨到之處么？

李曉東：建筑師的工作要充分結合理性、直覺和經(jīng)驗的作用。當空間賦予你某種感受時，你會去尋找其中的原因，而這個答案就會成為你自己的語言。有時它是對空間的批判分析，會成為你自己的理解，并可以在將來用到?！肮饩€不錯，尺度適宜，材料別致”，這樣的認識都是需要積累的。你所到過的每個地方都會觸動你的心靈，讓你去探索更多的可能。經(jīng)歷越多就越開放，這就是我的心得。

古德溫：有沒有一個空間或建筑特別能讓你意識到自我和環(huán)境，尤其是“在場”？

李曉東：我最近去紐約州的布法羅做過一次演講，住在賴特設計的達爾文·馬丁之家。賴特在我心中是第一個關注空間而非建筑實體的西方建筑師。

在賴特設計的住宅中漫步，就是在體會他的設計思想。由于他是從自己的住宅和工作室的建筑實驗中學習建筑的，所以他能夠清晰地理解“現(xiàn)實”和“概念”。這就是融入空間的“在場”與身心異置的空間圖像之間的根本區(qū)別。

路易·康的金貝爾美術館是另一個例子，你可以從它的空間中感到所有的元素都是圍繞著一個整體——建筑、空間、光線、展品和置身其中的你。這就像陰陽：沒有陰，就沒有陽。

古德溫：你認為還有什么方式能讓建筑影響或改善人的體驗？

李曉東：空間的認知需要想象與現(xiàn)實之間的對話。這就像作家在寫故事——他們用想象力演繹自己對現(xiàn)實的體會。

中國的文學點明了建筑在我們生活中的重要性以及我們與它的關系。各種典故都以建筑作為敘事的背景，而中國建筑又映射著文學的體驗。中國的詩歌通常開篇就設定時空，沒有這個具象的環(huán)境就很難表達文意。可以說，中國文學里的每個故事都有“場所”。

中國的故事往往會給某個特定的空間賦予特殊的意義，這就決定了其中的人如何在相互之間發(fā)生關系，所以，空間在決定了一種社會模式的同時又描述了它。中國文化需要在時空和社會中把握人的位置，而有形的空間參照體系是這一過程所必需的。還拿紫禁城來說，你要在連續(xù)穿過五六座大門之后才能看到大殿。每個內院的長度都不相同，于是這種序列就形成了一種特殊的動勢。門檻也表達了不同程度的私密性，有宮廷則例規(guī)定了門檻的高度或門釘?shù)臄?shù)量，而這取決于官員的品第。

古德溫：英國皇家藝術學院也有類似的空間序列體驗：從喧鬧的皮卡迪利廣場到安納伯格庭院，進入17世紀的市政廳，再經(jīng)過大臺階到19世紀的主廳。你的裝置如何與這種遞進的空間和界限結合？

李曉東：這已經(jīng)是一個非常豐富的序列。街道上不僅材質和聲音不同，人群的背景也不同。而到了廳內又十分純粹。

一旦你進入裝置，我希望給人一種發(fā)現(xiàn)之旅，讓觀眾感到有另外的世界在伴隨著他們，并與之交匯穿插。不是路上所有的東西都清晰可見，而是像中國的畫卷一樣展開，讓人在時間中體會這段故事。最后，連續(xù)的印象將在人們心中形成一幅新的畫面。

古德溫：你能詳細說一說這個設計的構思么？

李曉東：感覺上你仿佛是在雪夜穿越林海，而這是通過細樹枝的迷宮和底面被照亮的地板來表現(xiàn)的。在前進的路上，你會發(fā)現(xiàn)給你希望和驚喜的小空間。在迷宮的盡頭是禪院，代表靈感與啟示。從認識論的角度看，它讓你去看、去悟，變“昧”為“明”。

我用樹枝是因為這種天然的材料不是建筑上常見的，把人們熟悉的材料以不尋常的手法用在不尋常的環(huán)境里會帶來特別的效果。當你創(chuàng)造的時候，往往需要的不是原創(chuàng)性本身，而是實際應用和再利用。在鄉(xiāng)村，你可以試著用樹枝融入自然；而在倫敦,是要在人工環(huán)境里營造看似自然的環(huán)境。

我還在禪院里放了一面鏡子，因為它可以改變空間的感覺。它沒有墻體的實在，而是呈現(xiàn)他物的幻象。即便是一個圍合的空間，鏡子也能讓它感覺很大。鏡子還經(jīng)常出現(xiàn)在風水中，而那是與環(huán)境和氣場有關的。

古德溫：你提到過用空間的對比給觀者的“意識一刺”，這要如何實現(xiàn)呢？

李曉東：這個裝置的核心概念與倫敦的關聯(lián)或者說非關聯(lián)在于，通過陌生化刺激人的意識。

這個效果在很大程度上來自隨空間移動而變化的氛圍。一開始，材質和尺度都很明確、很熟悉，同時又有一種迷失。到了禪院則是一種豁然開朗。這種對比和空間中的氣場讓人反觀自身的感受，使意識得以升華。

古德溫：你為這次展覽設計裝置的方法與平時的工作有什么不同？

李曉東：大多數(shù)建筑項目都有具體的功能要求，而展覽更關注審美的體驗。一方面，這更容易了，因為你不需要考慮實際的問題；另一方面又更難了，因為你要創(chuàng)造一個吸引人的空間——他們想要點什么卻又說不出來。對于我來說，主要的問題是怎樣激發(fā)人們的好奇心，并帶來想要的效果。

I've been practising tai chi since I was 21 to strengthen my sensory system Tai chi is about looking inwards as well as outwards; it's a system of breathing and energy flow that makes you stronger and more powerful It's not just physical; it's about focusing the mind through which all your senses become more alert.

Through tai chi I also train myself to be more receptive to what we call qi,a flow of energy made possible by the systematic relationship and harmony of physical elements For the Chinese,this idea of energy forever circulating,flowing through all things and continually transforming the cosmos,is very important So when I start working on a project,the first thing I do is analyse the site and the flow of energy through it Then with my training as an architect I hope to translate my findings into designs.

KG: What else do you think is distinctive about how you as an architect understand and perceive space?

L: Architects work through reasoning,instinct and experience and then put the whole thing together When a space makes an impression on you,you ask "why?",and the answer becomes part of your vocabulary Sometimes it's a critical analysis of space that you incorporate into your own understanding for future use Things like,"this lighting is good," "these dimensions work," and "this material is interesting" are perceptions you store up to explore later.Every place you visit generates puzzle pieces in your mind and you develop a palette of possibilities I find that the more experiences I have,the more open to possibilities I become.

KG: Can you recall a space or a work of architecture that has made you particularly aware of yourself and your surroundings,particularly "present"?

L: When I recently gave a lecture in Buffalo,New York,I stayed in the Darwin D Martin House by Frank Lloyd Wright To my mind Wright was the first Western architect whose work focused on space rather on the building as an object.

To move around inside Wright's houses is to understand his thinking about design Because he learned about architecture by experimenting with building his home and studio,he was able to establish a clear understanding of what is "real" and what is "conceptual" This is the fundamental difference between "being present" in a space - where you are absorbed with it - and looking at images of a space -where your mind is detached.

The Kimbell Museum by Louis Kahn is another example of a space where you feel each element contributes to a totality - the architecture,space,lighting,exhibits and even yourself within it It's like yin-yang: without yin,yang could not exist.

KG: In what other ways do you think architecture can enhance or influence human experience?

L: Space is perceived through a dialogue between imagination and reality It's like when a writer creates a story - they use their imagination to develop and re-interpret the reality of their own experiences.

Chinese literature clearly illustrates the importance of architecture in our lives and the relationship we have with it Chinese stories often situate their narratives within architectural settings and experiences in Chinese architecture can derive from literary texts In Chinese poetry,time and space are usually defined at the outset because without this concrete platform it is difficult for the text to communicate its message In Chinese literature,every story happens somewhere.

Chinese stories often attach a certain meaning to a particular space and this defines how a network of people can associate with each other - space determines and describes a social pattern In Chinese culture,it is important to be able to grasp one's position in space,time and society.The establishment of a structure of tangible spatial references facilitates this process It's,again,like the Forbidden City where you are led through five or six different gates in sequence before you arrive at the palace The length of each courtyard is different so the sequence builds a specific momentum.The thresholds themselves define varying levels of privacy,with regulations to govern how high a threshold can be or how many locks there are on a door,depending on the rank of the individual officer.

KG: The experience of visiting the Royal Academy of Arts has a similar sense of sequencing: moving from busy Piccadilly into the Annenberg courtyard,then entering the seventeenth-century town-palace,up the grand staircase and into the nineteenth-century Main Galleries How does your installation build upon this layering of space and thresholds?

L: This is already a rich sequence On the street you have a mix of different textures and noises,different people from different backgrounds Then in the galleries it's very pure.

Once you enter the installation itself,I'd like it to seem like a journey of discovery and for visitors to have the sense that alternative worlds run alongside their path and intersect with it Along the way,not everything will be visible and clear.Instead,the story unfolds like the painted image on a Chinese handscroll,something to be appreciated over time By the end,they will have gained a series of impressions that create a new mental landscape.

KG: Can you describe how you envisage the project in more detail?

L: Metaphorically,you are walking through a snowy forest at night - represented by a maze of slender branches or twigs with the white floor lit from below As you explore,you discover niches that provide hope and happy surprises At the end of the maze you arrive at a Zen garden which represents clearsightedness and inspiration From an epistemological point of view,this invites you to look and understand,to turn "blindness" into "vision".

I'm using branches because they are a natural material people don't expect to see in architecture And the unconventional application of a familiar material in an unexpected environment has a strong an effect When you want to be creative,it's often not about originality per se but rather about application and re-use In the countryside you might try to blend the branches with nature but in London it's about creating a seemingly natural setting within an artificial environment.

I have used a mirror in the Zen garden because mirrors have the power to change the feeling of a space It's no longer about the physical presence of a wall,but rather the illusion of something else The mirror makes the space seem expansive even though it is enclosed Mirrors are used a lot in feng shui,which is fundamentally about the environment and the flow of energy.

KG: You have spoken about creating a "pinch of consciousness" for the viewer by way of contrasting spatial conditions How do you hope to achieve this?

L: The core concept of the installation in terms of connection - or rather disconnection - to London is to pinch the consciousness by de-familiarisation.

Much of the effect will come from the changing atmosphere as you move through the space At first the texture,scale and dimensions are clearly defined and familiar yet there is a loss of orientation Then,in the Zen garden,you experience a new openness and sense of revelation This contrast and the flow of energy through the spaces invite you to speculate on your experience and heighten your awareness.

KG: In what ways has your approach to creating an installation for an exhibition differed from your usual practice?

L: In most architectural commissions there is a specified function and programme but with an exhibition it's more about aesthetic experience On the one hand it’s easier,because you don't have to think about practical issues.But on the other hand it’s more difficult because you need to create a space that people will find appealing - they expect something but they don't know what For me,the main question is how do you arouse their curiosity and generate the impact you want

英國皇家藝術學院德魯·海因茨建筑館館長，“感知空間：建筑之再定義”展覽（2014年1月25日-4月6日）策展人/Curator of "Sensing Spaces: Architecture Reimagined" (25 January-6 April,2014),Drue Heinz Curator of Architecture,Royal Academy of Arts

2014-07-15