伊尼亞基?加爾尼塞羅

簡(jiǎn)介 Biography

活躍于學(xué)術(shù)領(lǐng)域和專業(yè)實(shí)踐，伊尼亞基·加爾尼塞羅是一個(gè)獲得國(guó)際獎(jiǎng)項(xiàng)的建筑師，歐洲哲學(xué)博士，曾在西班牙馬德里理工大學(xué)和美國(guó)康奈爾大學(xué)學(xué)習(xí)。最近，以西班牙館主任的身份，憑借參展作品《未完成的》在2016年威尼斯建筑雙年展上斬獲“金獅獎(jiǎng)”。

加爾尼塞羅在多次競(jìng)賽中脫穎而出，完成了多個(gè)項(xiàng)目，其中包括C.E.U.大學(xué)、巴耶卡斯社會(huì)住房、位于阿爾巴塞特的一所高中、瓜達(dá)拉哈拉阿拉伯塔的修復(fù)、位于馬德里市的新司法區(qū)檢察官辦公室、位于原馬德里屠宰場(chǎng)的馬德里馬他臺(tái)羅16 號(hào)機(jī)庫藝術(shù)中心以及彼奇民居。

他的作品已被世人所公認(rèn)，曾斬獲2016年“金獅獎(jiǎng)”；2015年“美國(guó)建筑師協(xié)會(huì)紐約分會(huì)（AIANY）住宅獎(jiǎng)”；2012年“設(shè)計(jì)先鋒獎(jiǎng)”；2012年“豪瑟獎(jiǎng)”；2011年“新興建筑記錄獎(jiǎng)”；2009年“羅馬獎(jiǎng)”；2012年“COAM獎(jiǎng)”；2012年“FAD西班牙建筑和輿論獎(jiǎng)”；2013年“巴巴拉·卡布其獎(jiǎng)”（榮譽(yù)提名）；2007年“BSI門德里西奧大學(xué)（入圍）”入圍2009年“建筑摘要獎(jiǎng)”及2013年“BIGMAT獎(jiǎng)”；2004年“Luigi Cosenza獎(jiǎng)”。他曾參加過2011年英國(guó)皇家建筑學(xué)院（RIBA）“國(guó)際新興建筑師展”；2011年“布拉格建筑周”以及2012年日本“GA畫廊”展。他曾在如康奈爾大學(xué)、哈佛大學(xué)亞太國(guó)際大學(xué)院、萊斯大學(xué)、伯克利大學(xué)、威尼斯建筑大學(xué)、卡爾頓大學(xué)、羅馬第三大學(xué)、羅馬智德大學(xué)、卡爾加里大學(xué)、智利天主教大學(xué)、杜布羅夫尼克Days of Oris 大學(xué)、布拉格塞萬提斯學(xué)院、ROCA倫敦展廳（London Roca Gallery）、巴塞羅那拉薩爾大學(xué)、馬德里理工大學(xué)建筑學(xué)院、塞維利亞大學(xué)和納瓦拉大學(xué)等學(xué)術(shù)機(jī)構(gòu)演講。

他一直是一個(gè)名為“對(duì)稱性”建筑平臺(tái)的聯(lián)合主管，該平臺(tái)提供城市內(nèi)羅馬建筑和現(xiàn)代建筑戰(zhàn)略。他的博士論文，主要關(guān)注路易斯·康和羅伯特·文圖里有關(guān)羅馬的各種發(fā)現(xiàn)和聯(lián)系。

自2012年以來，他與合作伙伴洛倫娜·德爾·里約（Lorena del Rio）共同經(jīng)營(yíng)黎加工作室。

Active in both the academic field and a professional practice, I?aqui Carnicero is an internationally awarded architect, European PhD and academic with experience at the Polytechnic University of Madrid and Cornell University. Recently awarded with the Golden Lion at the Venice Architecture Biennale 2016 as director of the Spanish Pavilion with the exhibition "Unfnished".

Carnicero has won several competitions and completed many projects, including C.E.U. University, Social Housing in Vallecas, a High School in Albacete, the restoration of an Arab tower in Guadalajara, the new District Attorney’s Offce in Madrid’s City of Justice, Hangar 16 Matadero-Madrid at the former slaughterhouse of Madrid, and the Pitch′s house.

His work has been recognised with the Golden Lion 2016, AIANY Housing Award 2015, Design Vanguard Award 2012, Hauser Award 2012, Emerging Architecture Award Architectural Record 2011, Rome Prize 2009, COAM Award 2012, FAD Spanish Architecture and Public Opinion Award 2012, 2013 Barbara Cappochin Award (Honorable Mention), BSI University of Mendrisio (selected) 2007, shortlisted Architectural Digest award 2009 and BIGMAT 2013, Luigi Cosenza 2004 and exhibit at the RIBA exhibition International Emerging Architects 2011, Architecture week in Prague, GA Gallery Japan 2012, and lectured at prestigious institutions such as Cornell, Harvard GSP, Rice, Berkeley, IUAV, Carleton, Roma Tre, La Sapienza, Calgary, Catholic University of Chile, Days of Oris in Dubrovnik, Cervantes Institute in Prague, London Roca Gallery, Barcelona La Salle, Madrid ETSAM, Sevilla and Navarra University.

He has been co director of "Symmetries", an architecture platform that relates roman and contemporary strategies in the city. His Ph.D. dissertation focuses on Louis Kahn and Robert Venturi’s discoveries and connections with Rome.

Since 2012 he runs the offce Rica Studio with her partner Lorena del Rio.

訪談 Interview

1，你能給我們介紹一下《未完成的》在威尼斯建筑雙年展的情況嗎？

亞雷漢?德羅阿拉維那（Alejandro Aravena）邀請(qǐng)所有國(guó)家館的策展人分享他們認(rèn)為過去兩年建筑遭遇的主要問題。

西班牙是建筑業(yè)受經(jīng)濟(jì)危機(jī)影響最嚴(yán)重的國(guó)家之一。在這么短的時(shí)間內(nèi)建造這么多的建筑物，這在世界上沒幾個(gè)地方能做到。缺乏對(duì)這些項(xiàng)目是否必要或有效的反思，導(dǎo)致隨后發(fā)現(xiàn)其竣工或維護(hù)在經(jīng)濟(jì)方面不可行時(shí)，許多建筑物便被放棄。這些建筑物在整個(gè)西班牙領(lǐng)土上的大量出現(xiàn)，給人一種大量建筑物未完成的整體印象，其中時(shí)間因素在建設(shè)建筑物準(zhǔn)則中不作為考慮因數(shù)。

使用攝影作為過濾器來描繪這一現(xiàn)實(shí)，展館中心空間展現(xiàn)了那些曾經(jīng)批判最近建筑業(yè)發(fā)生各種不良現(xiàn)象的人的樂觀看法，認(rèn)為這些留存下來的未完成建筑倒是一個(gè)機(jī)會(huì)。

雙年展覽上，在西班牙館中推出的“未完成的”主題展覽，旨在引導(dǎo)人們關(guān)注過程而不是結(jié)果，試圖發(fā)現(xiàn)對(duì)建筑環(huán)境持樂觀態(tài)度時(shí)產(chǎn)生的設(shè)計(jì)策略。

2，在此過程中的關(guān)鍵挑戰(zhàn)是什么？

展覽匯集了過去幾年建設(shè)的建筑實(shí)例，這些建筑物在西班牙過去幾年面臨經(jīng)濟(jì)的環(huán)境中產(chǎn)生，為發(fā)展和適應(yīng)未來需要而設(shè)計(jì)，同時(shí)信賴于時(shí)間流逝之美。這些項(xiàng)目吸取了過去的經(jīng)驗(yàn)教訓(xùn)，并認(rèn)為建筑是未完成的東西，處于一個(gè)不斷發(fā)展的狀態(tài)，真正服務(wù)于人類。目前我們?cè)趯I(yè)方面的不確定性，與我們?cè)诖擞懻摰脑掝}有較強(qiáng)關(guān)聯(lián)性。

主要挑戰(zhàn)將是如何注重各種機(jī)會(huì)，反思拆除和建設(shè)新事物之前在我們星球上已存在什么。

3，依你看，建筑設(shè)計(jì)、藝術(shù)、展覽、演講這些不同領(lǐng)域有什么聯(lián)系？

所有這些事情都是與我們自己的親身經(jīng)歷聯(lián)系在一起的，我們通過親自參與當(dāng)前社會(huì)問題獲得親身經(jīng)歷。我們的日常生活，我們所處的環(huán)境，處處充滿通過設(shè)計(jì)來改善事物的各種機(jī)會(huì)。藝術(shù)、展覽和演講是交流的媒介。其中最重要的方面就是你想傳達(dá)的想法以及它們?cè)谖覀兊恼Z境中所具有的相關(guān)性。

4，以馬德里瓦尼卡斯社會(huì)住宅為例，你能描述一下你的設(shè)計(jì)方法和過程嗎？

在西班牙，設(shè)計(jì)社會(huì)住房面臨真正的挑戰(zhàn)就是在設(shè)計(jì)過程中，建筑師必須處理大量法律法規(guī)。這種情況因建筑物重復(fù)建設(shè)而形成非常單調(diào)景觀，建筑物材料和建設(shè)方案彼此非常相似。我們的做法正挑戰(zhàn)現(xiàn)有法規(guī)和規(guī)范的束縛。我們的關(guān)注重點(diǎn)是發(fā)現(xiàn)一種方法，通過營(yíng)造共同空間，提高集體觀念。通過提取戰(zhàn)略空白，我們對(duì)以前法律法規(guī)要求的原狀作出各種改變。如果人們通常聚集在一起，這些空白將成為日常生活的活化劑，從而加強(qiáng)他們的社區(qū)觀念。

5，你的設(shè)計(jì)起點(diǎn)是什么？

我的設(shè)計(jì)起點(diǎn)每時(shí)每刻都在變化，但通常情況下，在開始設(shè)計(jì)之前，我會(huì)考慮法規(guī)、綱領(lǐng)性要求、經(jīng)濟(jì)約束、環(huán)境等方面的所有約束。一旦你了解了項(xiàng)目復(fù)雜性，你就可以像玩拼圖游戲一樣，將所有組件拼在一起。

6，你如何發(fā)現(xiàn)項(xiàng)目需求？

源于對(duì)客戶和背景需求的綜合考慮。當(dāng)前需求在未來也可能發(fā)生變化。一個(gè)好的設(shè)計(jì)必須在原戰(zhàn)略中考慮不確定性。

7，你的思想來源和設(shè)計(jì)依據(jù)是什么？

很多方面，但主要是我自己的生活體驗(yàn)、旅行、閱讀、學(xué)習(xí)別人、在不同地方居住、體驗(yàn)不同的文化，在與來自世界各地的不同學(xué)校的學(xué)生接觸……

8，如何使建筑與現(xiàn)場(chǎng)和景觀完美整合？

對(duì)它們進(jìn)行研究。研究生態(tài)學(xué)與天氣條件；從能源的角度將建筑視為生態(tài)系統(tǒng)的一部分；了解它的重要性和與場(chǎng)地的關(guān)系；不要過多地改變以前的建筑狀態(tài)。

9，在你看來，新材料和新技術(shù)如何影響建筑？

影響很大。作為設(shè)計(jì)師，即使我們的建筑調(diào)色板更加廣泛，我們?nèi)匀皇褂霉I(yè)革命時(shí)期的建筑材料。并不總是需要發(fā)現(xiàn)新材料，以獲得新的解決方案；相反，我們可以通過非常規(guī)方法使用傳統(tǒng)材料，創(chuàng)新解決方案。垃圾也可用作建筑材料。壓實(shí)土還沒有被充分利用，通過無限的組合，干預(yù)混凝土澆筑和混合過程，可以獲得新材料。

10，你是怎么理解當(dāng)前的創(chuàng)新？

我認(rèn)為，今天的人們太多為了創(chuàng)新而創(chuàng)新，卻沒有反思這些發(fā)明可以改善什么。我更感興趣的是仔細(xì)研究我們現(xiàn)在面臨的各種問題，通過修改或適應(yīng)已經(jīng)存在的東西進(jìn)行創(chuàng)新。媒體非常樂于把建筑師形容為事物的締造者，這可能會(huì)讓我們變得糊涂。

11，請(qǐng)談?wù)勀銓?duì)未來10年設(shè)計(jì)的設(shè)象。

我認(rèn)為下一個(gè)10年更多的是契機(jī)，我們可重新定位規(guī)模、理念和設(shè)計(jì)策略，更多地關(guān)注社會(huì)中的弱勢(shì)群體。幾十年來，人們一直認(rèn)為優(yōu)秀的建筑師是那些在大量預(yù)算和沒有限制的基礎(chǔ)上建造的標(biāo)志性建筑的人。我想設(shè)想一個(gè)新的場(chǎng)景，那就是建筑師可真正幫助改善人們生活條件。那里不存在設(shè)計(jì)野心；那里好設(shè)計(jì)能夠真正與眾不同。

1, Can you introduce to us the exhibition of "Unfnished" in the Venice Architecture Biennale?

Alejandro Aravena invited the curators of all the National Pavilions to share what they thought it has been the major issue that Architecture has suffered in the past years.

Spain is one of the countries where the practice of architecture has been most affected by the economic crisis. There are few places on earth where such large numbers of buildings were built in such a short period of time. The lack of reflection over whether these projects were necessary or valid resulted in the subsequent abandonment of many buildings when their completion or maintenance was discovered not to be economically viable. Their appearance throughout Spanish territories has generated a collection of unfinished buildings where the factor of time was eliminated from the formula for making architecture. Using photography as a filter to portray this reality, the Pavilion's central space represents the optimistic view of those who have fought back against this recent past, understanding these inherited constructions as an opportunity.

The "Unfinished" exhibition, presented in the Spanish pavilion at the Biennale, seeks to direct attention to processes more than results in an attempt to discover design strategies generated by an optimistic view of the constructed environment.

2, What is the key challenge in the process?

The exhibition gathers examples of architecture produced during the past few years, born out of renunciation and economy of means, designed to evolve and adapt to future necessities and trusting in the beauty conferred by the passage of time. These projects have understood the lessons of the recent past and consider architecture to be something unfinished, in a constant state of evolution and truly in the service of humanity. The current moment of uncertainty in our profession makes its consideration here especially relevant.

The main challenge would be bringing attention to the opportunity of rethinking what already exist before demolishing and building new things in our planet.

3, As for you, what is the connection of these different areas: architectural design, art, exhibition, lecture?

All this things are connected in our own personal experience by being involved in the current issues our society is suffering. Our daily life, the context where we live in is full of opportunities for improvement of things by means of design. Art, exhibitions and lectures are a medium to communicate things. The most important aspects of them are the ideas that you want to convey and the relevance they might have in our context.

4, Could you describe your design approach and process, taking the Social Housing in Vallecas Madrid as an example?

Designing Social Housing in Spain is really challenging for the amount of regulations that architects have to deal with in the design process. This situation is creating a very monotonous landscape of repetitive buildings where materials and constructive solutions are very similar to each other. Our approach here was challenging regulations and codes. The main focus was oriented in discovering a way to enhance the idea of collectivity by creating common spaces. By extracting strategic voids we distorted the original shape that the regulations invited us to use. These voids became activators of the daily life where people usually gather reinforcing the idea of community.

5, What is your starting point of designing?

It changes every time but usually starts by setting all the constrains on the table: regulations, programmatic demands, economic constraints, context, etc... Once you can see the complexity of the project at once you can start playing with all the pieces as in a puzzle.

6, How can you fnd out the demand of the project?

It comes from the combination of the client and the context′s demands. The current needs might change in the future. A good design must consider uncertainty as part of the original strategy.

7, What is your thinking source and the basis of design?

It comes from many places, but mainly from my own life experience, traveling, reading, studying others, inhabiting heterogenic places, experiencing different cultures, being in contact with students from different schools around the world…

8, How to make the integration of the architecture with the site and landscape?

Learning from them. Studying the ecology and the weather conditions. Considering architecture as part of an ecosystem in terms of energy. Looking at its materiality and the relationship with the site. Not altering too much what was there before architecture arrived.

9, ln your opinion, how do new materials and technologies infuence architecture?

In a big way. We are still operating as designers with materials incorporated in construction in the industrial revolution, even though our construction palette is much wider. Is not always necessary to discover a new material to produce new solutions, innovative solutions could be achieved by using traditional materials in unconventional ways. Garbage could be used as a construction material. Compacted earth has not been exploited enough and the infinite combinations with which you can intervene in the process of casting and mixing concrete could generate what it could be perceived as a new material.

10, What's your understanding about innovation nowadays?

I believe there is a great ambition today for innovation for the sake of innovation without reflecting on the improvements that these inventions could. I am much more interested in studying carefully the problems we have nowadays and innovate by modifying or adapting things that already exist. There is a big interest in the media to present the architect as an inventor of things and this might lead us to stupidity.

11, Would you like to talk about your imagination of the next 10 year’s design?

I would like to imagine the next 10 years as an opportunity to re orientate the scale, the ideas and design strategies to focus more on the less privilege ones of our societies. For decades the good architects have been considered those who have built iconic buildings usually with huge budgets and no constraints. I would like to imagine a new scenario where architects can really help improving the living conditions in places where there is not even ambition for design. Places where a good design can really make a difference.