对话Thomas Tsang 曾庆豪：在时间推移的变革下还原自然Restore natural formed over time
采访：Elena 伍星
被采访：Thomas Tsang 曾庆豪
（香港大学建筑系任职助理教授 Assistant Professor at the University of Hong Kong） 他的作品侧重于跨学科的方法架构，词源浸泡的建筑文本和图像的起源，以及如何影响一个人的潜意识。此前，在香港深圳双年展，纽约建筑中心，芝加哥建筑俱乐部，罗马博物馆，上海当代艺术中心，佛罗伦萨大学的Stazione Leopoida，东京会馆 Jyosui-Kaikan 个展和在罗马举行的美国科学院“罗马50件遗失的宝物” 展出。
His works focus on interdisciplinary approach to architecture, immerse in etymology how the origin of architectural text and imagery, influences one’s subconscious. Previously, exhibited at the Hong Kong-Shenzhen Biennale, Center for Architecture in New York, Chicago Architectural Club, SpaziAperti with MARCO Museum in Rome, Ke Center for Contemporary Art in Shanghai, Stazione Leopoida at the University of Florence, Jyosui-Kaikan in Tokyo and solo exhibition at the American Academy in Rome “Rome in 50 Pieces: Department of Lost and Found.”
ID：您是如何理解自然与不自然？What are you think about Natural and Un-Natural?
Thomas Tsang：当我是个孩子的时候，我爱草莓。不是水果，而是草莓加工后的味道。由于不是经常可以看到草莓，所以我从来没有想到自己会品尝到“自然”草莓的味道。所以我一直吃加工过的草莓，这种非自然的味道一直围绕着我，直到我去了加州，在那里我第一次吃到了天然的草莓。对于自然的品质我是彻底失望了，所以我喜欢的水果仍是我孩童时在婆罗洲岛的味道和记忆，在那里草莓是不可能生长的。我对草莓的这种自然感觉，是个二分法的问题。
As a child, I love strawberry. Not the actually fruit but the artificial flavored taste of strawberry. It is uncommon to see the physical state of strawberry, so I never gotten myself to taste the ‘Natural’ taste of the fruit. So I spent entire eating strawberry which was aritificial constructed, it was Un-Natural taste which survived with me, until I went to California, where I had my first strawberry. I was completely disappointed by the Natural quality, so my taste and memory of this fruit has been cultivate as child, in Borneo Island, where strawberry would be impossible to grow. This Natural feeling I have with this fruit, the dichotomy of the question being asked.
ID：在您做过的这么艺术创作中，您最喜欢的是哪一个？为什么？为什么？ You had done a lot of artistic creation,which one is your favorite? Why?
Thomas Tsang：我热爱项目创建和思考的过程，我不太重视结果。不要误会我的意思，我喜欢为一个想法来进行的可视化的细节和精致的艺术创作过程。用另一个工作来衡量一个工作是十分困难的。一个很棒的工作经验是超越背景，超越地点，也超越了建筑专业理论，许多项目中都有一个共通之处，我的各种创作的关系和感情被我目前工作室的工作所区分。我最喜爱的艺术创作正在过程中，一切都是未知的。
I love the process of creating and thinking about the project, however I don’t get so attached to the outcome. Don’t get me wrong, I love working toward to visualizing an idea to the detail and refinement of artistic creations. In order to measure work to another work is difficult. One of the great experience working outside my context, outside my place, and outside of architectural discipline, with many of these projects have in common, my relationship and affection for various creation is divided between what I am currently working in my studio. My favourite artistic creation is beginning process, the Unknown..
ID：能否与我们介绍一下“香港中区警署监狱的院子里的“情有独钟”？Would you like introduce your work “Soft Spot” at the Former Prison Yard at the Central Police Station?
Thomas Tsang：在香港没有那么多的“情有独钟”，它的地方很有限。我为监狱和监狱体系结构的培训学校设计过，两者设计目的是非常相似的，都是旨在没有人受到伤害或自我伤 害。这些硬与软边缘的地方，你会注意到角落的墙壁是软的，家具的曲线，以获得更平滑的边缘。在中区警署监狱的院子最重要的殖民地结构相当显着，是香港最古老的结构。这次合作是一组艺术家和时装设计师一个概念化的想法，通过建立一个结构，用最少的手段（这也是我是德国艺术家约瑟夫·阿尔伯斯在台湾的展览的标题），以提供最大的效果。我想开发的主要是安装不接触地面的来强化城市监狱围墙，内墙分牢房，我原本想用弹性绳，但是政府官员警告说，围墙可能会被推倒。因为直径4毫米厚的软线开 关从弹性到山登山线，可以承受350公斤，足够自己爬了监狱墙外面。最后，我看到情有独钟越来越罕见了，成为了被遗忘的空间，继承建筑，景观，成为香港城 市主要的识别地标。
There is not so many ‘soft spot’ in Hong Kong, it is place defined by limits. I do have soft spot for prison, as architecturally trained, the institution guidelines for school and prison is quite similar, it is designed so no ones gets hurt or have self-inflicted injury. It is hard place with soft edges, you will noticed the corner of the walls are soft and furniture curved to get smoother edges. The site for Former Prison Yard at the Central Police Station is the one of the oldest structure in Hong Kong, find quite remarkable one of the most important colonial structure is prison. The collaboration was a group of artists and fashion designers, to conceptualize idea of building a structure to give maximum effect with minimal means (this is also title of exhibition I was earlier in Taiwan on German artist Josef Albers) - I wanted to develop an major installation which doesn’t touch the ground, from fortified urban prison wall to interior walls which divide the prison cell, originally I wanted to use elastic cords, however I received warning from government official it might pull down the wall. The 4 mm diameter thick cords switch from elastic to mountain climbing cords, with strength capacity to hold 350 kilograms, so enough to climb myself outside the prison wall. In the end, I see the soft spot as opporunity to see spaces which are becoming rare and forgotten, so the work deals with architecture, landscape, urban and mostly inherited of identifying significant of landmark in Hong Kong.
ID：能否透露一点您这次“不自然2”的创作方向？
Would you like to share your creative direction of “Un-Natural two”?
Thomas Tsang：我花了我一年在罗马的美国学院，并得到了罗马奖学金。在罗马，有很多的石头看起来一点也不自然。因此，这个问题带回给 我的最初的想法和原始的行为，就是切割石头。切割是在随着时间的推移自然形成的变革。所以我的想法是，通过凝视着不同的削减和标记，来揭示切割的前后过渡 状态。
I spent my one year in Rome at the American Academy in Rome, through a Rome Prize fellowship. In Rome, there is plenty of stone that doesn’t seem Un-Natural at all. So this question bring back to my first initial idea and primal act, of cutting the stone. Cutting is transformative which seeks out natural lines formed over time. So my idea is to reflect aspect of cutting, and gaze the different cuts and marks that reveals the state of transition, before and after.
ningxia public welfare center for senior and oprhan
mute projects
soft sport
Romus domus