1.您能向我們的讀者分享一下建筑學(xué)習(xí)方面的經(jīng)驗嗎？其中又有什么事情讓您印象深刻深刻呢？

學(xué)習(xí)建筑學(xué)很重要的一點就是從整體性、功能性的角度思考如何讓建筑融入城市。

Jom Hutson的“悉尼歌劇院”工程讓我印象尤深。當(dāng)時的我剛滿20歲，剛學(xué)習(xí)建筑學(xué)不久，就踏上了環(huán)游世界之旅。悉尼與法國相隔甚遠(yuǎn)，在這個全新的環(huán)境里，我發(fā)現(xiàn)了“悉尼歌劇院”，這座建筑結(jié)構(gòu)嚴(yán)謹(jǐn)、面朝大海，當(dāng)時讓我尤為震撼，那一刻確實心潮澎湃，那種感覺就像站在一件藝術(shù)品前一樣，激動而驚喜，也想建造一座集外形功能性于一體的建筑，能給人們帶來同樣的感覺，而這就是我在建筑學(xué)習(xí)中上的第一堂課。

2.您在巴黎承建過很多革命性建筑項目，那么您又是如何處理施工地與周邊歷史悠久的街道乃至整個城市間的關(guān)系呢？

在巴黎，歷史悠久的街道與城市的關(guān)系非常重要。我們有時會碰到一些中世紀(jì)建筑地處“豪斯曼翻修”時期建筑與當(dāng)代建筑之間，誠然這表明了歐洲的興盛，我們很自豪，但是同時我們也要讓“新建筑”留下來，在城市里有一席之地。從這點來看，歐洲各國首都情況各有不同，比如在北歐、荷蘭等北方國家，但人們更接受這種融匯古今的做法。

如何融匯古今？在法國是個熱點問題。我的觀點是我們已經(jīng)從這些寶貴的歷史性建筑身上汲取足夠多的方法、創(chuàng)意，用以改造舊有建筑，使其滿足現(xiàn)代社會需要。當(dāng)代建筑工藝完全可以在保持舊有建筑原貌的基礎(chǔ)上，讓其重?zé)ㄉ鷻C(jī)。舉個例子來說，巴黎的La Ga?téLyrique是一座老劇院，我們把這座老劇院改造成了一座集展示當(dāng)代音樂、藝術(shù)于一體的文化展館，我們保留了這座歷史性劇院原貌，但加入了新設(shè)計滿足（現(xiàn)代人）新的生活方式。

3.您的建筑風(fēng)格新穎，用材多樣化，那么您又如何評價自己的作品呢？

很難重新回顧所有作品，但我可以說，我對自己的每一件作品都有過創(chuàng)新，我的作品重視內(nèi)部設(shè)施，同時也著力改善周邊環(huán)境。我渴望在每一個項目上分析、發(fā)現(xiàn)新的經(jīng)驗：可能是文化方面、地理方面、國家層面又或是某個特別地方，每一個項目及周邊的環(huán)境都幫助我重新規(guī)劃策略，以求切合實地發(fā)展需要。通過尋找項目、施工地間的關(guān)系，我們精雕細(xì)琢每一座建筑，這就表現(xiàn)為不同的配色、選材、外形和用量。

說到這里，（建筑的）各個立面是重點，立面就像城市和建筑間的“濾網(wǎng)”。不管從內(nèi)向外或從外向內(nèi)看，居住者都會把“立面”當(dāng)作基礎(chǔ)，“立面”對任何人來說都是首先引入眼簾，因此“立面”必須有表現(xiàn)力、吸引力，甚至有時候能在城市中樹立一個令人印象深刻的地標(biāo)，比如公共建筑或文化建筑。

我同樣關(guān)注自然光線，研究珍貴的自然光線如何進(jìn)入建筑內(nèi)部，不管是以一種精巧方式、以白光還是彩色光、亮光還是柔光，自然光的確可以“勾勒”空間，也是營造別致“氛圍”的關(guān)鍵。

4.您有為自己的作品做過手工模型，這些模型如何幫助您完善作品呢？

這些模型在施工過程中很重要，不同的階段都會做不同的模型，用作測試城市環(huán)境、技術(shù)信息等等。在工地，我們通過模型控制、檢驗項目施工是否偏離目標(biāo)，我們的精神、品質(zhì)是否依舊如是、倍受尊重。

5.您在許多作品中用色大膽，令人影響深刻。請問靈感源自何處？

我沒有明確的答案，甚至很難說我們的靈感、選擇是否來自過去所見所聞。

我的靈感來自旅行，我盡一切可能的多旅行！我確信能在不同的文化、城市、建筑、風(fēng)光中獲益匪淺。旅行中的體驗、感受、靈感都體現(xiàn)在我的作品之中。

當(dāng)代藝術(shù)家作品中的外形、配色同樣給了我深深的啟發(fā)。比如位于法國北部“北屯”（Béthune）的“國家戲劇中心”（Dramatic National Center）就受藝術(shù)家“皮埃爾.蘇蘭奇”（Pierre Soulages）作品的微妙影響。我曾在1999年承建“國家戲劇中心”首期工程，當(dāng)時為外墻選用紫色以突顯傳統(tǒng)紫色磚塊、映襯這塊傳統(tǒng)區(qū)域，十年后再次受托興建后續(xù)工程?？催^“皮埃爾.蘇蘭奇”作品后，我發(fā)現(xiàn)黑色的表面作用居然如此強(qiáng)大，可以精妙反射大量光線，讓材料質(zhì)感突出。因此，我們敲定黑色為后續(xù)工程配色，顯得深沉、有力。為了使首期工程和后續(xù)工程銜接自然，我們選用了編織金屬板承載黑色，大量的菱形同先前的紫色磚塊相得益彰。

6.您于2017年獲“歐洲建筑獎”（European Prize for Architecture）。作為第一位法國建筑師同時也是第一位女性建筑師榮獲此殊榮，您能分享下當(dāng)時的感想嗎？

我很高興得獎，尤其在我沒有主動申請情況下得獎，而且這個獎在歐洲是如此特殊。

事實上，我對歐洲充滿狂熱的感情。盡管我作為第一位法國人獲獎，但比起法國藝術(shù)家，我更喜歡把自己視作一位歐洲藝術(shù)家。

誠然，“歐洲建筑獎”是授予那些“承諾推動歐洲人文主義、建筑藝術(shù)前進(jìn)”的藝術(shù)家。我從自己職業(yè)生涯開始時就踐行這一承諾，用歐洲精髓讓我們的建筑、城市重?zé)攘Α?/p>

我很榮幸獲此殊榮，這個獎讓也讓我堅定決心將建筑藝術(shù)發(fā)揚(yáng)光大。

7.您的作品涉及建筑種類繁多，從文化設(shè)施、居民樓再到商用辦公樓，您現(xiàn)在還有興趣探索未來建筑類型嗎？

我當(dāng)然對探索新建筑類型非常有興趣。但我對未來建筑項目還沒有特別的設(shè)想…我希望讓建筑充滿激情與驚喜。

對于選址，我的答案依然如此。目前我們在斯德哥爾摩（瑞典）和帕拉馬塔（悉尼）都有項目，我喜歡發(fā)現(xiàn)新的建筑方式，這種方式完全不同于我們在法國的建筑方式。但我認(rèn)為我們可以在不同的地方學(xué)到新東西，中國可能就是個做項目的好地方。

8.您對中國當(dāng)代建筑有何看法？如果有機(jī)會，您想在中國設(shè)計什么樣的建筑？

我沒有任何“先驗”觀點，我總是把每一次機(jī)會視作一次新創(chuàng)作。經(jīng)驗證明，在新的國家工作，我們必須保持開放的心態(tài)，積極開發(fā)新客戶、探索新環(huán)境，這樣才能有所進(jìn)步。

客戶總是需要有能力的建筑商，有能力處理復(fù)雜的項目。我們以往的項目大多在一個甚至幾個方面十分復(fù)雜，（周邊）環(huán)境復(fù)雜、項目復(fù)雜、技術(shù)復(fù)雜等等。同時我也認(rèn)為客戶需要保持良好的溝通、項目背后堅定的決心、每次提出與之前不同的全新建筑。

1. Could you like to share with our readers your experiences in learning architecture? Is there anything that impressed you most?

An important point when one is “l(fā)earning architecture”, is to consider architecture as a whole, as a way to gather functions and people, to think and build a part of a city.

One project which impressed me has been the Sydney Opera from Jom Hutson. I was 20 then; I had just started my architecture studies and was undertaking a worldwide travel. Far from France, in a new environment, I found this organic but rigorous architecture facing the Ocean rather striking. That was a very emotional moment, with strong feelings as you sometimes get in front of an artwork. Getting emotions, being surprised, wanting to do to same by creating a building shape and functions, are to me essential in “l(fā)earning architecture”.

2. You have done many renovation projects in Paris. How do you deal with the relationship between the site and the historic street and even the city?

This relation between the historic street and the city is indeed very important in Paris. We have sometimes buildings from the middle-ages cohabiting with both Haussmanian buildings and contemporary architecture: this mixture is one of Europe richness and we have to be proud of it, but we also have to be careful to let architecture on the site leave, to enable the “new architecture” to express itself in the city.

From that point of view, European capitals react very differently, for instance in “Northern countries” (Scandinavia,the Netherlands, etc.), the mixture seems better accepted.

It is a highly topical issue in France: how to mix the new and the old? My point of view is that we have, accepted from some precious historical buildings, enough ability and creativity to make the old evolve to answer modern society’s requirements. Contemporary architecture can def i nitely make the old shine brighter, without altering it.That is for instance what we did with La Ga?té Lyrique in Paris: an old theatre we converted into a cultural place for contemporary music and arts, mixing new ways of thinking, of living, and an historical hall we had to preserve.

3. Your architecture form is innovative, and the materials used are various. How do you promote and realize each of your creation?

It is diffcult to resume a whole attitude facing each creation. But I could say that I try, for each project to invent a specif i c envelop, which both emphasizes the interior functionalities and improves the context around the project’s site. For each project indeed, I’m eager to discover and analyze a new universe: it can be a cultural universe, it can be also a geographic one, a country, a special site…each context and program help me to reformulate a new strategy, deeply adapted and developed. Thus, we are sculpting a building in relation to a site and a program,which leads to a choice of specif i c colors, materials, patterns or volumes.

Within this process, the fa?ades are one important point, as they are like a filter between the town and the program, and this filter is fundamental in the perception that the users will have, from the outside and from the inside. It is the fi rst materiality that everybody will perceive at fi rst sight, so it has to express, attract, and sometimes create a unforgettable signage in the city, speaking for example about public and/cultural equipment.

I am also deeply concerned by the natural light and due to that, we always study in details how this precious natural light will enter inside the project, in a delicate or generous way, in a neutral or colored way, in a bright or soft way: the natural light literally sculpts and shapes a space, it is a key point which converges to a specif i c“atmosphere”.

觀察組既往接受PCI的比例明顯高于對照組，差異有統(tǒng)計學(xué)意義（P＜0.05）；觀察組中合并高血壓、高脂血癥、糖尿病、腦卒中史、陳舊性心肌梗死及肺功能減退的比例高于對照組，吸煙史低于對照組，差異無統(tǒng)計學(xué)意義（P＞0.05）。見表1。

4. You make manual models for many of your designs. How do these models help you perfect your work?

The physical models are essential in our process, and we are doing new models on each stage of the studies.They are a way to test everything, from urban and contextual questions to technical details. They always keep a rule which is a strong guideline, when we arrive the site construction: a way to control and check that our objectives are not away, and that the spirit we wanted to instill is still kept and respected.

皇宮劇院，2010-2014年，法國Le Palace Theater 2_Bethune, France_built 2010-2014

路易?威登旗艦店，2011年競賽項目，韓國首爾Louis Vuitton Maison_seoul, Korea_competition 2011

5.The colors you use in many of your works are bold and very impressive. How do you get inspiration?

I do not have def i ned referents, even if it is diffcult to say whether our inspiration or decisions come from other people’s work we may have seen in the past.

I get my inspiration from travelling, which I do as frequently as possible! Indeed, I am certain that we have a lot to learn from different cultures, different cities, different architectures, different landscapes, etc. and in each of my projects I include sparkles of memories, feelings, inspirations, from my past travels.

Also, I am deeply inspired by contemporary artists, by their plastic work of shapes and colors. For instance, for the Dramatic National Center extension we built in Béthune, North of France, there is a delicate inspiration taken from the artist Pierre Soulages’ work. We had created the initial theater in 1999, with purple rounded shape reminding the traditional bricks colors traditional in this area and were commissioned to build the extension 10 years later. By looking at Pierre Soulage’s work, I had discovered that the black color could be so versatile and subtle in allowing in its surface an inf i nite amount of ref l ects and lights, and in the end, could become a wonderful material. So eventually, we coated this extension in black, as a deep and powerful color. To create a soft link with the initial volume, this black was implemented in the form of a kind of weaving metal panels, which are drawing large rhombuses, to remind the ones of the purple rounded shape. The waves of these panels, mat and glossy,take the light differently, depending on their degree of shine and their orientation to the light.

6. You received the 2017 European Prize for Architecture, and are and first French Architect,and the first female architect. Could you share with us your feelings at that time?

I have been very happy to receive this prize, especially because I had not applied for it, and because it is a specif i cally European one.

Indeed, I am an ardent passionate of my country Europe and I consider myself more a European architect than a French architect, even if I have been honored to be the fi rst French agency to receive it!

Also, the European Prize for Architecture is awarded to architects “who have made commitment to forward the principles of European humanism and the art of architecture”. I have tried since the beginning of my carrier to express and emphasize such a commitment, to use European roots to reenchant architecture and our cities.

So, this prize comes as a great honor and as an even bigger reason to make architecture shine.

7. Your work is in a variety of areas ranging from cultural facilities to residential, commercial and office buildings. Do you still have interest in exploring new area in the future?

Of course I have a deep interest in exploring new area in the future. But I do not think I have a special dream regarding future programs…I would like to keep building passionating projects, and to keep being surprised!

And concerning the location, I would answer quite the same. We are currently working on projects in Stockholm in Sweden and Parramatta (Great Sydney) in Australia, and I am deeply enjoying discovering “new ways of building”, following processes different from those in France. But I think we can learn from any place we work in;China would be a great place to start a project too!

8. What do you think of Chinese contemporary architecture? And what kind of work would you like to design in China if you have a chance?

I don’t have any “a-priori”, and always look at the opportunities as new fi elds of creation. To work in a new country,we need to be open-minded and look forward to discover a new client and a new context, which is a promise for a lot of improvement in our experiences.

Clients are looking for an agency capable of dealing with complex projects; most projects we have delivered were complex in one or many aspects: complex environment, complex program, technical challenge, etc. Also, I think clients are looking for dialogue, and for a strong determination to go beyond the program and to propose each time a brand-new Architecture.