对话：冼剑雄
采访：Elena 伍星
被采访：冼剑雄广州瀚华建筑设计有限公司董事长、总建筑师
President and chief architect of Guangzhou Hanhua Architects+Engineers Co., Ltd.
ID：您是如何理解自然与不自然？What are you think about Natural and Un-Natural?
冼剑雄：我理解的“自然”与“不自然”并非是对立的概念。“自然”所指的更多是自然界中原本的现象，在其纷繁多姿的表象里其实隐含了很多的规律和法则。而“不自然”所指的是人类通过对自然现象总结归纳后再创作的结果。因此“不自然”应该是“自然”的提升，但它终究还是自然的。
The concepts of “natural” and “unnatural” are not contradictory in my understanding. “Natural” means more original phenomena in the world of nature, and there are lots of rules and laws hidden underneath the numerous surface of the natural world. While the idea of “unnatural” refers to men’s re-creation after induction and summarization of the natural phenomena. Therefore “unnatural” is the advancement of “natural”, and it is natural eventually.
ID： 建筑师既不同于艺术家，更不是单纯的设计师，他与城市空间和社会发展有着密切的联系，您是如何理解现代建筑师是以什么样的身份服务于社会？
Architect is different from an artist or a designer. It relate more to the urban space and development of society. How do you comprehend the identity of architect?
冼剑雄：城市和建筑本身就具有广泛的社会性，所以现代建筑师注定不可能是纯粹的艺术家，建筑师需要有多层次的知识结构、综合的思考能力和艺术修养。设计就是通过自己综合的思考，用与别人不同的方式去解决专业问题。
Cities and architecture are inherent with their broad sociality, therefore modern architects are impossible to be mere artists. Architects are required to have multi-level knowledge, comprehensive thinking ability and fine artistic culture. Design is a matter of solving professional problems with a unique way derived from the designer’s comprehensive thinking.
ID： 您的设计作品有非常多被行业所熟知，例如：“市长大厦和大都会广场、广东美术馆时代分馆”等，能否介绍一下“广东海上丝绸之路博物馆”这个项目？
Many of your works are well-known in industry, like Mayors Plaza, Metropolitan Square and Times Museum. Could you introduce the project “Marine Silk Road Museum”?
冼剑雄：在海上丝绸之路博物馆的案例中，我尝试用更简单纯粹的建筑语言和设计逻辑去解决项目的设计问题。其中最主要的结构空间关系是“关联舱体”——通过剖面中五个关联的椭圆舱体，恰好合理地解决了博物馆的空间、功能和大跨度的结构问题。在设计过程中，我并没有太多地关注它的外在形态，而是力图体现出内在的本原关系和建筑生成的逻辑。
In the design of the Marine Silk Road Museum I attempted to solve the problem by even more simple and pure architectural language and design logic. The key spatial configuration of the project is the “connected cabin”. Five connected oval-shaped cabins in the section work reasonably to settle the museum’s space, function and wide-span structure. During the design process I didn’t pay much attention to the external form of the museum, but rather to reflect its internal relationships and the generating logic of architecture.
ID：能否谈谈您这次“不自然2”的创作方向？
Could you talk about the idea of the creation in Un-natural II?
冼剑雄：这次“不自然2”的创作，我用了最简单的设计手法去体现对“不自然”的思考，将一件原整的石板通过不同的裁拼、折叠而成石屏，过程让人一目了然。设计的本原应该是通过设计者的思考和理解，用最节省、简单的方法去解决问题，这种“大道至简”的理念也正是现代设计最应该倡导的方向。
In the creation of Un-natural II I try to express my thinking of the “unnatural” through the simplest design manner by using a complete piece of stone and manipulate it thru cutting, pasting, connecting and folding, etc. to create a three-dimensional stone panel, the whole process is very clear to understand. The original design should be reflected through the designer’s thinking and understanding of the problem and solving it using the most economic and simple means. This is the very direction that modern design need to propose the most with the concept of “lest is the most”.
广东海上丝绸之路博物馆
广东海上丝绸之路博物馆
广东海上丝绸之路博物馆