簡介 Biography

秘魯建筑師路易斯·隆吉曾在利馬就讀于里卡多·帕爾馬大學(xué)，在Juvenal Baracco 設(shè)計工作室工作兩年，然后去了美國攻讀研究生。他在費城的賓夕法尼亞大學(xué)獲設(shè)計學(xué)院建筑設(shè)計碩士學(xué)位和美術(shù)（雕塑）碩士學(xué)位，并在波士頓的哈佛大學(xué)設(shè)計研究生院獲建筑、藝術(shù)和景觀設(shè)計計算機動畫應(yīng)用專業(yè)碩士學(xué)位。在費城，他曾與巴克里希納·多西、安得勒·桑托斯等諸多世界知名建筑師共事，其中還有路易斯· 康的學(xué)生，例如：馬歇爾· 邁爾斯和大衛(wèi)· 斯洛維奇。隆吉曾在母校里卡多· 帕爾馬大學(xué)任教，現(xiàn)任教于利馬UPC 應(yīng)用技術(shù)大學(xué)。他在全球眾多大學(xué)中擔(dān)任客座教授。

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——恢復(fù)秘魯建筑精髓，建造當(dāng)代印加建筑。2003 年，路易斯·隆吉首次代表秘魯參加捷克共和國在布拉格舉行的著名PQ-2003 第十屆舞臺設(shè)計和劇場建筑四年展。

2004 年，路易斯·隆吉代表國家參加第四屆伊比利亞美洲建筑雙年展，其紀(jì)念博物館設(shè)計作品Yuyanapaq-to Remember 實現(xiàn)了物體的建筑特征。

2007 年，路易斯·隆吉再次代表秘魯在布拉格的PQ-2007 中出版了其第一本書《場景建筑》，獲得了專家的一致認(rèn)可。

2008 年，路易斯·隆吉代表國家參加威尼斯建筑雙年展和西班牙馬德里伊比利亞美洲設(shè)計雙年展。

2010 年，路易斯·隆吉的作品入圍第七屆伊比利亞美洲建筑雙年展，憑借Pachacamac Hill House 項目獲得第二十四屆秘魯建筑雙年展建筑金獎。

2012 年，路易斯· 隆吉獲得安第斯胡里亞卡Néstor Cáceres Velásquez 大學(xué)榮譽博士稱號。

2013 年， 路易斯· 隆吉獲得世界建筑新聞英文平臺WAN21FOR21 國際大獎，作為21 個專業(yè)機構(gòu)之一，旨在創(chuàng)造21 世紀(jì)世界建筑創(chuàng)造新趨勢。

2014 年，路易斯·隆吉獲芝加哥伊利諾伊理工學(xué)院密斯皇冠美洲獎提名。

路易斯·隆吉的作品得到廣泛認(rèn)可，作品強調(diào)其對當(dāng)代印加建筑的追求，作為講師和國際教授，其追求體現(xiàn)在工作之中，最近參與的出版物如下：《世紀(jì)世界建筑圖集》，《現(xiàn)代建筑8》和《建筑細(xì)部》。路易斯·隆吉現(xiàn)擔(dān)任利馬隆吉建筑師事務(wù)所首席執(zhí)行官，利馬的秘魯應(yīng)用科學(xué)大學(xué)建筑學(xué)院高級講師，多所大學(xué)客座教授，其中包括：夏威夷大學(xué)馬諾阿分校建筑學(xué)博士，蒙大拿州立大學(xué)波茲曼分校建筑專業(yè)首席特聘教授，智利智利圣瑪利亞理工大學(xué)建筑專業(yè)高級研討會成員。

Peruvian architect Luis Longhi studied in Ricardo Palma University in Lima,in the design studio of Juvenal Baracco,with whom he worked for 2 years,before leaving to the United States for his post-graduate studies.He made his Master in Architectural design and Master in Fine Arts (sculpture) in Penn Design (University of Pennsylvania) in Philadelphia and Computer Animation applied to Architecture,Arts and Landscape Architecture in GSD Harvard University in Boston.He worked with recognized world architects like B.V.Doshi,Adele Santos,and some of Louis Kahn disciples in Philadelphia such as:Marshall Meyers and David Slovic.He taught in his Alma mater,Ricardo Palma University,now teaches at UPC University of Applied Sciences,in Lima.He also is Visiting Professor at many Universities around the world.

After studying and living for 15 years outside of Peru (United States and India),he felt the call of the ancestors and the need to return to his homeland in order to fulfill a mission,to recover the essence of an architecture from these lands,and be able to build what could be a contemporary Inca architecture.In 2003 represent his country for the first time at the prestigious PQ-2003 Tenth Quadrennial of Stage Design and Theatre Architecture in Prague,Czech Republic.

In 2004 represents his country at the Fourth Ibero American Biennial of architecture with his work“Yuyanapaq-To Remember” memory museum design on reaching architectural features of object.

In 2007 again it represents Peru in the PQ-2007 in Prague where he presents his first book entitled“Scene Architecture” received unanimous acceptance by specialists.

In 2008 he represents his country at the Venice Biennale of Architecture and the Design Ibero American Biennial in Madrid,Spain.

In 2010 he was finalist at the Seventh Ibero American Biennial of Architecture and won the Gold Medal for Architecture in the XXIV Peruvian Biennale with the “Pachacamac Hill House”.

In 2012 he received the title of Doctor Honoris Causa by the University Néstor Cáceres Velásquez Andean Juliaca.

In 2013 won the WAN 21 FOR 21 International Award from the English Platform:World Architecture News,in recognition of the prfessional practice as one of the 21 offices intended to set new trends in world architecture in the XXI century.

In 2014 he was nominated to the Mies Crown Hall of the Americas Award from the Illinois Institute of Technology,Chicago.

His work has been widely recognized emphasizing its quest for a Contemporary Inca Architecture reflected in his work as Lecturer and International Professor highlighting its participation in recent publications as:Atlas of World Architecture of the century,Architecture Now 8 and Detail Magazine.He currently serves as CEO of Longhi Architects in Lima,is senior lecturer at the Faculty of Architecture at the Peruvian University of Applied Sciences in Lima and visiting professor at various universities among which are:the PhD in architecture from the University of Hawaii Manoa,the Chair for distinguished professors from the Faculty of Architecture at Montana State University in Bozeman and advanced Workshops of the Faculty of Architecture of the University Federico Santa María de Valparaiso in Chile.

隆吉建筑師事務(wù)所 Longhi Architects

隆吉建筑師事務(wù)所成立于1996 年，事務(wù)所旨在通過嚴(yán)謹(jǐn)?shù)脑O(shè)計和研究實現(xiàn)跨學(xué)科實踐，提供創(chuàng)新的解決方案。事務(wù)所由創(chuàng)始人路易斯·隆吉擔(dān)任負(fù)責(zé)人和設(shè)計總監(jiān)。作為一個協(xié)作型企業(yè)，事務(wù)所團(tuán)隊專業(yè)成員不超過10 人，均致力于建筑實踐。

事務(wù)所專注于專業(yè)藝術(shù)方面，設(shè)計并建造世界公認(rèn)的劇院舞臺、公共設(shè)施和小型建筑項目，遵循的基本原則是使建筑與大自然融為一體。

Founded in 1996,Longhi Architects is an interdisciplinary practice involved in rigorous design and research that yields innovative solutions.With founder Luis Longhi serving as principal and design director,the firm consists of a small group of never more than 10 professionals,who remain committed to the practice of architecture as a collaborative enterprise.

The firm specializes in the artistic side of the profession having design and executed world recognized Theater Stages,Public Installations and small size architectural projects where the integration with nature is fundamental.

教學(xué)興趣與理念的陳述 Statement of Teaching Interest and Philosophy

幾年前，我首次受邀做國際演講，那一刻，我體會到理解和/或找出“那個”產(chǎn)生建筑合理過程的需要。

經(jīng)過多次嘗試，我在作為教授和建筑師的過程找到了一些邏輯，得出的結(jié)論便是第一堂課的標(biāo)題——“生活的本能”。童年時期因為閱讀缺失，我不得不通過其他技能來彌補遺憾。在我的建筑和教學(xué)整個過程中，感性、本能和直覺占據(jù)主導(dǎo)地位。

在我看來，教授建筑是一種“傳播”行為，而不是展示如何做事。學(xué)生讀大學(xué)的目標(biāo)是成為建筑師；然后發(fā)現(xiàn)如果他們成為建筑師，他們所具備的優(yōu)勢是什么。我們應(yīng)該教給他們的第一件事是什么？首先，必須向?qū)W生說明，站在他們面前的是這樣的人，只是一個在這一領(lǐng)域有更多經(jīng)驗的人，不管有無答案都感激他們會回答問題，一個會毫無保留地傳遞給他/她內(nèi)在自我的人。

對我來說，我學(xué)到了一些有助于我傳達(dá)信息的語句：

首先，應(yīng)認(rèn)識到自然是神圣的創(chuàng)造，因此自然是完美的。這一陳述直接的后果是，對自然的任何干預(yù)都成為改造完美的嘗試。其次，對工具的理解，人類改造自然的工具是“設(shè)計”。在詞源上，設(shè)計被定義為兩個詞的推論：神圣和符號，因此可以將設(shè)計定義為“做出神圣決定的行為”。第三，自人類出現(xiàn)以來，自然和設(shè)計一直共同存在，因此，世界的過去、現(xiàn)在和將來的樣子都是設(shè)計師的職責(zé)。第四，建筑師的重大責(zé)任是改造自然，這意味著他們要改造完美并且使自然更加完美。換句話說，理解為建筑是自然的本質(zhì)。

以上四點已成為我每次提出新架構(gòu)或了解現(xiàn)有架構(gòu)時必須考慮的基礎(chǔ)。

傾聽環(huán)境并與之建立關(guān)系至關(guān)重要。這種關(guān)系與人類所擁有任何其他關(guān)系相似，它可以直接、復(fù)雜、浪漫、尊重、理智或瘋狂。

于我而言，這種關(guān)系非常直接，即直觀和敏感，并沒有涉及重要分析和/或理性。因此，在教學(xué)時，我傾向于與學(xué)生建立一種類似于我已經(jīng)與環(huán)境建立的那種關(guān)系，這樣很容易體會到教授和學(xué)生與自然之間的交流。

Few years had passed since the first invitation to lecture internationally.At that moment,I experienced the need to understand and /or to find out “that” rational process to produce architecture.

After several intents to find some logic to my process as a professor and as an architect,the conclusion was to title “Living by Instinct” to that first lecture.Facts as not being able to read in my childhood have had pushed me to compensate that disability with the development of other skills.Sensibility,instinct and intuition dominated my process both in my architecture as well as in my teaching.

Teaching architecture as I see it is an act of “transmitting” not that of showing how to do things.Students go to the university with the aim of becoming architects; of finding out if,they have what it takes.What is the first thing we should teach them? First,we must explain that the person standing in front of them is only someone with more experience in the field,someone that will appreciate questions for which he or she have or not have an answer,someone who will transmit his/her inner self with not limitations.

In my case,I have learned few statements that help me transmit:

First,the understanding that nature is divine creation therefore it is perfect.The direct consequence to this statement is that any kind of intervention in nature becomes an attempt to transform perfection.Second,the understanding that the tool that humanity has to transform nature is “design”.Etymologically design is defined as the corollary of two words:divine and sign,therefore one could define design as “the act of making divine decisions”.Third,the understanding that nature and design have been together since mankind creation,therefore the world was,is and will be designer’s responsibility.Fourth,the understanding that architects great responsibility is that of transforming nature,this means transforming perfection with and to perfection.In other words,the understanding of architecture as the nature of nature.

These four statements have become the fundaments to consider each time I have to either propose new architecture or understand existing architecture.

It is fundamental to listen to the environment and to establish a relationship with it,this relationship will be similar to any other type of relationships that humans have,and it can be direct,sophisticated,romantic,respectful,sane or insane.

In my case it is very direct,meaning intuitive and sensitive with not major analysis and/or rationality.Therefore when I teach,I tend to transmit and establish a relationship with the students similar to the relationship I have already established with the environment,then it is easy to appreciate communication between professors students and nature.

人物訪談 Interview

導(dǎo)報：您認(rèn)為建筑與雕塑藝術(shù)是否具有關(guān)聯(lián)性？如何理解它們之間的聯(lián)系？

隆吉：對我來說，它們都是非常相關(guān)的，但我很清楚，建筑必須發(fā)揮作用，而雕塑是有更多的感動感情，當(dāng)你使用最好的他們兩個你會有靈魂的建筑，精神建筑。

導(dǎo)報：通過對建筑材料的巧妙利用，您的作品更具有人情化的特征，您期望使用者在您的建筑作品中有一些什么樣的感受？

隆吉：藝術(shù)是少數(shù)東西之一，如果不是唯一一件能讓人靈魂投入物質(zhì)的東西。我的意思是，每一個建筑，即使是每一件小禮樂都被藝術(shù)、美、健康的精神所觸動。

當(dāng)我把工作交給客戶后的幾年里，我能感覺到每一件事都是對未來的記憶，我理解這種感覺是對下一步工作的啟發(fā)。我很肯定游客會有這樣的感覺。

導(dǎo)報：您對現(xiàn)代鋼筋混凝土等材料如何看待？

隆吉：現(xiàn)代現(xiàn)澆鋼筋混凝土是我最喜歡的材料，因為它的靈活性與形式，我認(rèn)為它是最合適的材料為雕塑家建筑師，它的結(jié)構(gòu)能力可以計算，因此建筑師能夠履行雕塑家。石頭從現(xiàn)場而不是從其他地方是在特定的地點人工干預(yù)的完美結(jié)合，理想的建筑改造的地方。鑄石（大理石灰塵、大理石碎片和水泥的混合物）是粉刷復(fù)雜體積的理想材料，因為它們是統(tǒng)一的。

導(dǎo)報：在您的建筑作品中，圓形、折線等形式經(jīng)常出現(xiàn)，這些抽象化的符號有什么更深層次的意義嗎？

隆吉：我想相信他們是我文化的象征，但我不得不承認(rèn)，他們只是來自我的直覺記憶；然而，出生在秘魯?shù)陌驳谒股矫}，有邏輯地認(rèn)為它們是印加人和前印加人在紡織品、陶瓷和建筑中看到的符號。

導(dǎo)報：您怎么看待建筑和自然的關(guān)系？

隆吉：對我來說，建筑應(yīng)該是自然的延伸，如果自然是由神來創(chuàng)造的，那么建筑同樣也應(yīng)該要求做到與自然和諧統(tǒng)一。完美應(yīng)該鑄就完美；如果我遵循自然的理念，那么我的建筑也同樣應(yīng)該被賦予這樣的理念。

建筑與自然應(yīng)該永遠(yuǎn)是同義詞，我們的城市是由各種各樣的建筑組成的，從自然中取材，因此這些城市的未來建筑理念應(yīng)該是更加回歸自然。

導(dǎo)報：您認(rèn)為秘魯傳統(tǒng)的建造和手工技術(shù)在您的設(shè)計過程中起著什么樣的作用呢？

隆吉：傳統(tǒng)建筑是印加最重要的文化之一，在秘魯，這一寶貴的傳統(tǒng)元素被運用在眾多當(dāng)代建筑中；在我們的案例中，達(dá)到美學(xué)結(jié)構(gòu)的要求是對建筑設(shè)計-建造過程最基本的要求。

導(dǎo)報：在您的建筑中，建筑形式經(jīng)常與光有互動關(guān)系，您在設(shè)計過程中是如何把握光，讓其成為您設(shè)計的一部分的呢？

隆吉：我將太陽視為建筑中最重要的設(shè)計組成部分，我希望在建筑里的每個房間都能看到自然光，因此我會思考如何通過屋頂、地板和/或建筑的任何或所有傳統(tǒng)或非傳統(tǒng)的設(shè)計來實現(xiàn)這一目的。陽光不僅可以取自于建筑的上部，還可以從下方獲取。通過繪制盡可能多的建筑剖面圖來捕捉光線對我們的設(shè)計過程也有很大的幫助。

導(dǎo)報：您認(rèn)為當(dāng)代印加建筑前進(jìn)的方向是什么？

隆吉：在建立一個新標(biāo)準(zhǔn)的同時，必須要同時尊重傳統(tǒng)和現(xiàn)代元素。保持秘魯傳統(tǒng)文化與現(xiàn)代元素對于區(qū)域影響的完美平衡，是當(dāng)代印加建筑未來的發(fā)展方向。

導(dǎo)報：在您的建筑內(nèi)部，往往直接展現(xiàn)著建筑材料本身的質(zhì)感，您想通過這樣的設(shè)計表達(dá)什么呢？

隆吉：在賦予建筑藝術(shù)美感的時候需要完美運用每一種材料的質(zhì)感，使建筑由內(nèi)而外地可以感受到自然的氣息，因此在盡可能的情況下，讓建筑材料的質(zhì)感和整個建筑環(huán)境都可以體現(xiàn)出這一點。

導(dǎo)報：在您的建筑內(nèi)部，幾何元素的疊加使得空間呈現(xiàn)出一種樂高般超現(xiàn)實的感覺，您是如何把控幾何元素的應(yīng)用的呢？

隆吉：作為一名雕塑家，我的專業(yè)知識和經(jīng)驗對建筑的構(gòu)圖有很大幫助，特別是對內(nèi)部空間的感知。此外，多年來與知名的現(xiàn)代建筑大師共事，我掌握了平衡和比例的概念。

WARA:Do you think architecture is related to sculpture? How to understand the relationship between them?

Longhi:To me they both are very related but I have it clear that architecture has to function while sculpture is there more to move feelings,when you use the best of both of them you will have architecture with soul,spiritual architecture.

WARA:Do you think architecture is related to sculpture? How to understand the relationship between them? Through the ingenious use of building materials,your works are more humanized.What kind of feelings do you expect users to have in your architectural works?

Longhi:One of the few things if not the only one that gives soul to the materials is art.Every piece of architecture,I mean even every Lille piece shod be touch by art,by beauty,by the spirit of wellness.

When I visit my work years after I turned them to my clients I can feel every piece of them as a memory of the future,I understand this feeling as inspiration for what is next to do.I am very sure that visitor feel things like that.

WARA:What do you think of modern reinforced concrete and other materials?

Longhi:Modern cast in place reinforced concrete is my favorite material because its flexibility with forms,I think it is the most appropriate material for a sculptor-architect,it ‘structural capabilities can be calculated therefore an architect is able to perform as a sculptor.

Stone from the site not from other place is the perfect associate for artificial interventions in that specific site,ideal to transform the place in architecture.

Cast stone (mix of marble dust,marble chips and cement) is the ideal material to stucco complicated volumes given them unity.

WARA:In your architectural works,circles,broken lines and other forms often appear.What is the deeper meaning of these abstract symbols?

Longhi:I want to believe that they are symbols of my culturebut I have to admit that they just come from my intuitive memory; nevertheless being born in the Andes of Peru it is logic to think that they are symbols that I saw in textiles,ceramics and architecture of the incas and pre incas.

WARA:What do you think of the relationship between architecture and nature?

Longhi:For me Architecture should be an extension of Nature,ifnature is divine creation,then architecture should get the same condition.Perfection should bring toperfection; if I follow nature,my architecture should be as good as nature.

Architecture and nature should be synonymous never the less our cities which areorganize by many pieces of architecture are taking away nature from nature,while the destiny of new cities should be to keep the nature of nature.

WARA:What role do you think traditional Peruvian construction and handwork techniques played in your design process?

Longhi:Tradition in construction is one of the most important gifts from Inca culture,in Peru,it is impossible not to use thisbenefit in contemporary construction; in our case,it is essential the design build processwith the intention to reach artistic construction.

WARA:In your buildings,the architectural form often interacts with the light.How did you grasp the light as a part of your design process?

Longhi:I see the Sun as the most important ingredient of architecture,the intention to reach natural light in every room of a building gives the chance to speculate in how to bring light to them through the roofs,floors and/or any or all traditional or not traditional parts of the building.It helps to think that sunlight not only comes from above but also from below.The search for light by drawing as many sections of the building as possible is also of great help in our design process.

WARA:What do you think is the direction forward for contemporary Inca architecture?

Longhi:It is important to respect both,tradition and globalization in order to reach a new order.The perfect balance ofregionalism given by Peruvian traditions and technology given by globalization should take us towards contemporary Inca architecture.

WARA:The interior of your buildings often directly reveals the texture of building materials themselves.What do you want to express through this design?

Longhi:The practice of artistic architecture demands to call for the nature of each material to be used,I see nature coming from inside to express itself in the outside therefore when possible my buildings try to show the nature of materials as well as the nature of the site.

WARA:In the interior of your building,the superposition of geometric elements makes the space present a surreal feeling like Lego.How do you control the application of geometric elements?

Longhi:My training as a sculptor helps me a lot in the composition of buildings especially in the perception of the inside spaces.

In addition,the many years working with important modern masters of architecture gave me the discipline to understand balance and proportions.