文/ Text：石澤瑪雅/ Maya Ishizawa

1911 年，美國探險家海勒姆·賓厄姆發(fā)現(xiàn)了當(dāng)今最具標(biāo)志性的印加建筑群——馬丘比丘。即使這一事件被稱為“發(fā)現(xiàn)”，當(dāng)?shù)厝艘龑?dǎo)海勒姆·賓厄姆所到之地是15 世紀(jì)所建造的梯田“安迪內(nèi)斯”遺址，而西班牙人在“發(fā)現(xiàn)”之前一個世紀(jì)就已到達(dá)印加土地。幸運(yùn)的是，馬丘比丘未并被西班牙殖民者發(fā)現(xiàn)，并且在植被的覆蓋下保存了近500 年之久。

在海勒姆·賓厄姆為該印加建筑群帶來價值時，秘魯民族國家建設(shè)核心是關(guān)于民族認(rèn)同的討論，這一過程從1821 年開始，且尚未得到鞏固。馬丘比丘和烏魯班巴河谷的其他印加考古遺址被選為這個新生國家的象征。印加建筑成為秘魯身份創(chuàng)立的利用最多的象征。然而，在286 年的殖民化和基督教化過程中，土著人民、印加文明的繼承者及其傳統(tǒng)沒有受到輕視。盡管如此，適應(yīng)能力較強(qiáng)的安第斯社區(qū)人民仍堅持守護(hù)他們在馬丘比丘等建筑中獲得的世界觀/傳統(tǒng)知識。

然而，即使如此宏偉的建筑與其所處的環(huán)境相呼應(yīng)，印加建筑與秘魯當(dāng)代建筑之間依然存在不連續(xù)性。這由資本主義無靈魂無靈感的建筑所助長。在前西班牙裔基礎(chǔ)上建造的“殖民風(fēng)格”已被復(fù)制延續(xù)；新殖民主義建筑和“奇恰風(fēng)格（chicha style）”已經(jīng)遍布秘魯城市。秘魯?shù)慕ㄖ从沉艘粋€受到殖民歷史創(chuàng)傷的社會，即使在后來融入全球文明，但仍未治愈。

路易斯·隆吉的建筑反映其中。路易斯·隆吉于1954 年出生在普諾，毗鄰印加人的圣湖的的喀喀湖。毗鄰印加人認(rèn)為他們來自的的喀喀湖。路易斯·隆吉認(rèn)為這里非常接近高原景觀。路易斯·隆吉具有意大利血統(tǒng)，在蓋丘亞族和艾馬拉人中長大，這使他與祖先和他們的傳統(tǒng)在情感上聯(lián)系在一起，而他們的傳統(tǒng)卻為強(qiáng)加于安第斯世界的西方文化霸權(quán)所破壞。

在外（美國和印度）學(xué)習(xí)生活15 年，路易斯·隆吉決心返回故土完成使命，即恢復(fù)秘魯建筑精髓，建造當(dāng)代印加建筑，設(shè)想可通過當(dāng)代印加建筑，將斷線重新連接，并通過自己的作品與人們聯(lián)系起來。

但路易斯·隆吉的探索，不是理論探索，而是實踐中的探索。隆吉正通過與當(dāng)?shù)氐慕涣?，從?dāng)?shù)厮夭闹邪l(fā)現(xiàn)靈感，利用光線以及在專業(yè)和學(xué)術(shù)實踐中學(xué)到的概念來尋找原始建筑。隆吉認(rèn)為自己很接近路易斯·康、野口勇、彼得·卒姆托、卡洛·斯卡帕，當(dāng)然還通過前西班牙建筑師作品（《普魯楚柯之獨(dú)木舟》、《馬丘比丘的月亮神廟》和《蒂亞瓦納科太陽門》）而進(jìn)行“交流”。

作為一位藝術(shù)家、雕塑家和建筑師，隆吉在創(chuàng)作時首先遵從自己的本能。他受到一些原則的啟發(fā)，這些原則通過實踐來闡述。首先，他把自然理解為一種神圣而完美的創(chuàng)造物。由此，他對環(huán)境和地點(diǎn)的尊重油然而生。其次，他接受“設(shè)計”一詞的倫理學(xué)解釋，認(rèn)為“設(shè)計”是由“德”（意為神圣）和“符號”（意為符號）構(gòu)成。他將設(shè)計定義為做出神圣決定的行為，這將賦予建筑師“地球守護(hù)者”的偉大使命。

只有接受這一點(diǎn)，才能理解彼得·卒姆托關(guān)于如何認(rèn)識良好建筑的主張：“只有當(dāng)它（建筑作品）能夠移動……”。他認(rèn)為建筑師的工作是創(chuàng)造神圣創(chuàng)造的能力。他遵循基督教和啟蒙主義的經(jīng)典思想，堅定捍衛(wèi)建筑理念，認(rèn)為建筑是拯救或毀滅世界的最有力的工具。第三，他受到路易斯·康關(guān)于“有靈魂的建筑”的思想啟發(fā)。第四，他認(rèn)為自己像路易斯·巴拉干一樣，深受美的“感動”。最后，他欽佩印加建筑師的勞動，認(rèn)為印加建筑師通過自己的作品向眾神致敬。因此，隆吉探求創(chuàng)造負(fù)責(zé)任的建筑，使建筑的環(huán)境和文化空間充滿靈魂，通過印加設(shè)計原則的再生，將現(xiàn)在與過去聯(lián)系起來，讓居住者和游客深受觸動。結(jié)果：隆吉的建筑在景觀中以雕塑的形式出現(xiàn)。

隆吉不僅喜歡在自然景觀（比如海濱別墅）中工作，他的作品還與廢墟中的舊建筑建立起內(nèi)在的聯(lián)系。他試圖通過作品連接建筑物的記憶，例如，Yuyanapaq 和市民劇院，在Yuyanapaq 案例展覽中，近代秘魯面臨恐怖主義和戰(zhàn)爭（1980-1992），而這場戰(zhàn)爭的受害者主要是印加人的繼承者，即安第斯農(nóng)民社區(qū)居民。在這部策展作品中，隆吉與主辦房屋Casa Riva Agüero建立聯(lián)系，該房屋歷經(jīng)平洋戰(zhàn)爭的洗劫。在展覽中，參觀這座百年住宅的過去與當(dāng)下的感受相呼應(yīng)，18 個月來，殘垣斷壁的居民都是戰(zhàn)爭的犧牲品，作品實現(xiàn)了鄉(xiāng)村與房屋之間的詩意隱喻。

市民劇院其中一部分在1998 年毀于一場大火，后來，經(jīng)過隆吉的改造，現(xiàn)為莎士比亞《李爾王》中的經(jīng)典場景。隆吉對舞臺上的觀眾席進(jìn)行了改造，將一個平臺與廢墟中的舊舞臺連接了起來，這個平臺后來成為了其他戲劇的舞臺。在這次改造中，隆吉試圖尊重這座建筑及其創(chuàng)傷歷史，在修復(fù)之前進(jìn)行了處理。

然而，隆吉最具代表的作品是《帕查馬克山丘之屋》。該建筑是一對知識分子的住所。隆吉運(yùn)用所有原則以指導(dǎo)建筑工作，恢復(fù)前拉美裔的象征和蹤跡，掌握并表達(dá)藝術(shù)、建筑和場所之間深刻的相互關(guān)系。隆吉利用在遺址中發(fā)現(xiàn)的當(dāng)?shù)夭牧?，在大海和前安第斯山脈丘陵之間創(chuàng)造了一種陸地藝術(shù)。

這些只是當(dāng)代馬丘比丘的第一批石頭。但建造馬丘比丘并不是一個建筑師的任務(wù)。作為教育者，隆吉旨在培養(yǎng)新一代秘魯（以及全世界）建筑師，尊重環(huán)境、地方和文化，為當(dāng)代馬丘比丘注入新的活力。

阿爾瓦雷茨海濱別墅 Alvarez Beach House

阿爾瓦雷茨海濱別墅 Alvarez Beach House

阿爾瓦雷茨海濱別墅 Alvarez Beach House

In 1911,Hiram Bingham,an American explorer revealed the most emblematic Inca complex nowadays,Machu Picchu.Even if this event has been called a “discovery”,locals from the area who guided Hiram Bingham to its location,cultivated the terraces [andenes] of the site that was built during the 15th century,a century before Spaniards reached the Inca land.Fortunately,Machu Picchu was not found by Spanish colonizers,and remained conserved under the vegetation that covered it for nearly 500 years.

When Hiram Bingham brought about the value of this complex of Inca architecture,the discussion on the national identity was central in the nation-state building of Peru,process that had only started in 1821 and that is yet to be consolidated.Machu Picchu and other Inca archaeological sites of the Urubamba river valley were chosen as symbols for this new-born nation.Inca architecture became one of the most exploited symbols for the creation of a Peruvian identity.Yet,during 286 years of colonization and evangelization,indigenous peoples,inheritors of the Inca civilization and their traditions were treated with disdain.Nevertheless,the resilient Andean communities could safeguard their worldview/traditional knowledge that has been captured in constructions such as Machu Picchu.

However,even when having such magnificent examples of architecture that converse with the environment where they are placed,there is a discontinuity between Inca architecture and the Peruvian contemporary architecture.This has been fed by a capitalist,soul-less and uninspired production of buildings.The “colonial style” that has been constructed over pre-hispanic foundations has been copied; neo-colonial architecture and the “chicha style” have invaded Peruvian cities.The architecture in Peru is the reflection of a society that has been traumatized by a colonial past and later integrated into a global civilization without being cured of its traumas.

These are the reflections that accompany Luis Longhi’s architecture.Born in the city of Puno in 1954,next to the Lake Titicaca,the sacred lake of the Inca,where they are thought to have come from,Luis Longhi feels very close to the altiplano landscape where he has grown.From Italian descent,he was raised among Quechua and Aymara people that connected him emotionally with the ancestors,and their traditions,undermined by the hegemonic Western culture being imposed over the Andean world.

After studying and living for 15 years outside from Peru (United States and India),he felt the call of the ancestors and the need to return to his homeland in order to fullfil a mission,to recover the essence of an architecture from these lands,and conceive what could be a contemporary Inca architecture,retying his production to the broken threads that connect us with them.

But Luis Longhi’s search,is a search in the practice,it is not a theoretical search.Longhi is looking for an original architecture through the communication with the place,the feeling of local materials,the playing with the light,concepts learnt along his professional and academic practice.Longhi feels close to Louis Kahn,Isamu Noguchi,Peter Zumthor,Carlo Scarpa,and of course,the ancestors,pre-hispanic architects that communicate through their works:the waka of Puruchuco,the Temple of the Moon in Machu Picchu,and the Tiahuanaco Sun gate.

Longhi,as an artist-sculptor and architect,obeys primarly to his instinct in the moment of creation.He is inspired by some principles that he has come to elaborate through his practice.First,he understands nature as a divine creation and hence,a perfect one.From here,he derives the feeling of respect to the environment and place.Second,he accepts the ethymological intepretation of the word “design” as being formed by De,meaning Divine and Signum,meaning Sign.He defines design then as the act of taking divine decisions,which would give to the architect the huge responsibility of “guardian of the planet”.

Only by accepting this he could understand the assertion of Peter Zumthor of how to recognize good architecture:“only when it (the architectural work) can move…”.He considers the work of an architect as the capability of generating a divine creation.Following classical ideas informed by Christianism and the Enlightment,he firmly defends the idea of architecture as the most powerful tool to save or ruin the world.Third,he is inspired by the thinking of Louis Kahn who talks about an “architecture with soul”.Fourth,he considers himself as having been,like Luis Barragán,“touched”by beauty.And finally,he admires the labor of Inca architects that honored their gods through their work.Hence,the search of Longhi is of creating architecture responsible,with the environment and the cultural space,charged with soul,that can move emotions in its dwellers and visitors,and that connects the present with the past,through the regeneration of Inca principles of design.The result:Longhi’s architecture appears as sculptures in the landscape.

Longhi has enjoyed working not only in the natural landscape,like in the case of the beach houses,but he has also established deep relationships with old buildings in ruins.In these projects,Yuyanapaq and the Municipal Theatre,he tried to connect with the memory of the buildings.In the case of the exhibition Yuyanapaq,the recent Peruvian past is confronted,marked by terrorism and a war [1980-1992] that has mostly been suffered by the inheritors of the Inca,the Andean peasant communities.In this curatorial work Longhi established a relationship with the hosting house,the Casa Riva Agüero,a house that has witnessed the sacking during the Pacific War.The tour in the exhibition corresponds to the tour into the past and feelings of this centenary house,and for 18 months,the dwellers of the house in ruins,were the victims of the war,achieving a poetic metaphor between the country and the house.

The Municipal Theatre,partly consumed by a fire in 1998 was adapted by Longhi to be the scenery of the classic Shakespeare,King Lear.He transformed the audience floor in the stage,connecting the old stage in ruins through a platform,that later became the stage for several other plays.In this intervention,Longhi tried to respect the building and its wounds,in order to leave them cured until it was restored.

Yet,the emblematic work developed by Longhi is the Pachamac hill house.In this building,a residence for a couple of intellectuals,Longhi captures all the principles that guide his practice,recovering pre-hispanic symbols and traces expressing with mastery the deep interrelations between art,architecture and place.Working with local materials found in the site,Longhi created a land art in between the sea and the hills of the pre-Andes mountains.

These are only the first stones of the contemporary Machu Picchu.But building Machu Picchu was not the task of only one architect.Longhi’s work as educator aims at raising a new generation of Peruvian [and worldwide] architects that respect the environment,the place and the culture,putting new stones in the contemporary Machu Pichu.

米斯特里歐海灘別墅 Misterio Beach House

米斯特里歐海灘別墅 Misterio Beach House

米斯特里歐海灘別墅 Misterio Beach House