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媒體視角下的建筑學
Q&A：
1.您最初是在劍橋塞爾溫學院學習歷史專業，是什么機遇決定從歷史學領域轉向建筑學領域？
You originally majored in history at Selwyn College, Cambridge. What is the opportunity for you to move from History to the field of Architecture?
劍橋畢業后，我一直想從事新聞方面的工作。起初，我在一家建筑設計周刊做實習記者，后來成為了新聞編輯。對建筑的興趣部分源于這本雜志的工作經歷，讓我著迷于建筑以及規劃發展方面的政策。我也曾為一本房地產雜志《Estates Times》寫過一些專欄，現在叫《Property Week》。這些與建筑的一次次接觸開啟了我們之間的緣分。
After graduating from Cambridge, I always wanted to go into journalism. Initially, I worked as a trainee journalist for a weekly building design magazine, before becoming a news editor. I think my interest in architecture partly arose from working on this magazine, which fascinated me with architecture and policy on planning and development. I also wrote some columns for a real estate magazine, Estates Times, now called Property Week. These exposure to architecture began our lifelong relationship.
Property Week 數字期刊
Q&A
2.您寫過很多與建筑相關的文章，作為非建筑專業背景的評論家，您的視角與建筑專業人士有所不同，這種視角會帶來哪些優勢？
You have written a lot of articles related to architecture, as a non-architectural background, your perspective will be different from that of an architecture professional, what advantages do you think this perspective brings?
媒體能給建筑帶來的不同之處在于，如果你善于批判但不咄咄逼人，也許會比建筑師更客觀。正是因為我沒有受過相同的訓練，與建筑師相比，看待事物的方式會略有不同，或許對建筑與城市中其他參與者的關系會有更全面的認知。
The difference that the media can bring to architecture is that if you are critical but not aggressive, you might be more objective than an architect. It's because I don't have the same training that I would see things in a slightly different way compared to an architect, and perhaps have a more rounded view of how architecture relates to other players in the city.
2023 WAF年度最佳世界建筑：寧波惠貞高級中學 ?靠近設計/浙江工業大學工程設計集團有限公司
我認為問題不在于建筑師做了多少工作，這些工作可能是好的，可能是壞的，也可能是不重要的。大量的建筑作品是缺乏設計與深度思考的。不論大小，重要的項目通常有建筑師的參與。大量的滿足功能需求的“建筑物（building）”正在進行，但他們與“建筑（Architecture）”或“建筑師（Architects）”無關。如果是一些優秀工匠完成的建筑物，也可能非常出色，雖然大多數時候并非如此。
I think the problem is not so much work that architects do, which can be good, bad, or indifferent. A huge amount of buildings with very little design, input or consideration. I think that significant buildings of any scale or size usually have an architect involved. A lot of "buildings" are being built to fulfill functional needs, but they have nothing to do with "architecture" or "architects".Buildings can be excellent if they are done by good craftsmen, although most of the time they are not.
因此，我們不需要過多地評論周圍的建筑師，更應該思考的是經常看到的“非建筑（non architecture）”，也就是建筑物。
Therefore, instead of criticizing the architects around us, we should think about the "non-architecture" that we often see, i.e. the buildings.
2023 WAF年度最佳世界室內：19 Waterloo Street ?Anson Smart
建筑師為主角的“世界建筑節”
Q&A
3.上面所說的就是您建立WAF世界建筑節，并鼓勵建筑行業內部交流或討論的原因嗎？
Is that why you founded the WAF and encouraged communication or discussion within the architecture industry?
是的，WAF的創辦源自一個重要契機。那時我作為國際建筑雜志《建筑評論》（Architectural Review）的編輯，經常會與建筑師們一起參加一些房地產活動。我不禁問自己，建筑師負責大量的項目設計與建設，為什么沒有一個以建筑師為主角的活動？
Yes, the founding of WAF came from an important opportunity. At that time, as the editor of the international architecture magazine Architectural Review, I often attended real estate events with architects. I couldn't help but ask myself why there wasn't an event featuring architects, who were responsible for the design and construction of a large number of projects.
雖然那時有一些譬如美國建筑師協會AIA舉辦的年度活動已經在這么做了。然而，這些活動并非面向大眾開放的、一年一度的全球性活動，鼓勵每個人都可以來參加與交流。你不必像威尼斯雙年展或大多數雙年展那樣，必須經過某個策展人的挑選才能被大家看到。我認為任何人都可以展示他們想展示的東西，同行之間也可以相互評價。我成立WAF目標是做一些建筑主題活動，讓大眾了解優秀建筑背后的設計理念與創意，并將其打造成一場年度現場活動。
At the time, there were some annual events, such as the AIA's annual event, that already did this. However, these events were not open to the general public, annual global events where everyone was encouraged to come and network. You don't have to be selected by some curator to be seen by everyone, like the Venice Biennale or most biennales. I think anyone can show what they want to show and peers can judge each other. I set up WAF with the goal of doing architecture-themed events to educate the public about the design concepts and creativity behind great architecture, and to make it an annual live event.
我們之所以采用這種形式，是為了讓入圍的設計師現場展示項目。我想今年會有超過 500 個項目進行展示，因為我們不可能現場參觀 500 座建筑，也不可能參觀未來項目。因此，我們的替代方案是讓設計師進行展示，然后由經驗豐富的同齡人進行問答，選出類別優勝者。最終，各類別的優勝者可以互相競爭以獲得最高獎。
The reason we have adopted this format is to allow the shortlisted designers to present their projects live. I think there will be more than 500 projects on display this year, as it is impossible for us to visit 500 buildings on site or to visit future projects. So our alternative is to have the designers present and then have a Q&A session with experienced peers to select category winners. Eventually, the category winners could compete against each other for the top prize.
WAF現場 ?WAF
Q&A
4. 我們注意到這與其他獎項有所不同，特別是像您說的AIA或其他一些機構獎項，它們會在作品提交后給予表彰，但并不包含現場匯報，這種獨特的設置是怎么來的？
We've noticed that this is different from other awards, especially the AIA or some of the other institutional awards that you mentioned, which give recognition after the work has been submitted but don't include a live presentation, how did this unique setup come about?
人們為什么要來參加這樣的活動？答案是，因為他們要在這里展示自己的設計創意，不僅是在評委面前，還要在同行面前。所以你會看到在WAF項目匯報這種非常特別的互動。很多設計師一旦離開學校，除非是大型講座，否則很少有機會向同行展示自己的作品。WAF的這種匯報非常有趣的地方在于設計師們是在一個競爭環境中展示自己的作品。那么，他們該如何讓自己的想法脫穎而出？
Why would people come to an event like this? The answer is because it's where they want to present their design ideas, not only in front of the judges, but also in front of their peers. That's why you'll see this very special interaction at WAF. Many designers, once they leave school, rarely have the opportunity to present their work to their peers unless it's a big lecture, and what's really interesting about this kind of presentation at WAF is that the designers are presenting their work in a competitive environment. So how do they make their ideas stand out?
我認為這種互動模式是我們成功的因素，也是為什么匯報需要在現場發生的重要原因。人們可以看到現場演講，聽到評委的提問和評論。這一切都是公開的。
I think this interactive format is a factor in our success and a big part of why presentations need to happen live. People get to see live presentations and hear questions and comments from the judges. It's all in the open.
WAF公開匯報現場 ?WAF
Q&A
5.您是如何設置這些內容的？這種設計師之間的互動模式是一種很新鮮的想法。
How did you create these? We thought this mode of interaction was a very refreshing idea.
當我們開始做這個項目時，它是獨一無二的。不僅僅是建筑設計領域，其他活動也對這種模式做了一些借鑒。但我認為，WAF所創立的建筑師的社群是非常強大的，今年的世界建筑節有來自40多個國家的項目參加，數量相當可觀。這是一個建筑師們愿意參與的模式，因為它不是關起門來的評判，你可以在評審房間中直接面對評委。
When we started this project, it was unique. It's not just in the field of architectural design, but other events have made some references to this model. However I think the community of architects that WAF has created is very strong, and this year's WAF had a significant number of projects from over 40 countries participating. It's a model that architects want to participate in because it's not judging behind closed doors, you get to face the judges directly in the judging room.
評審房間中的匯報 ?WAF
Q&A
6.WAF現場會有不同的房間與不同的評委，如何保證評審過程的公平性？如何綜合不同評委的意見？
There will be different rooms with different judges at the WAF site, how to ensure the fairness of the judging? How to integrate the opinions of different judges?
每個房間的評審團都獨立負責一個主題。比如，在“居住建筑”主題中，評審團可能會看到16個入圍的項目，從16個團隊的項目匯報中選出一個優勝者。我們一般會設置三個評委，因為一個或兩個都可能產生爭議，而三個通常會得出確切的結果。我們盡量選擇來自三個不同的國家的評委，并盡量每個評審團有一名女性。這是一件艱難的事。現實是，女性擁有更多的家庭責任，因此即使她們想參與也會因為家庭責任或其他原因而不得不退出。所以我們一直在嘗試，即使有的時候不成功，但這份雄心是一直都在。
Each room's jury is responsible for a separate theme. For example, in the theme "Housing", the jury may see 16 shortlisted projects and select a winner from the 16 team presentations. We usually have three juries because one or two can be controversial and three will usually produce a definitive result. We try to choose judges from three different countries and try to have one woman on each panel. It's a tough thing to do. The reality is that women have more family responsibilities, so even if they wanted to participate they would have to drop out because of family responsibilities or other reasons. So we keep trying, even if sometimes it doesn't work out, but the ambition is always there.
當然，在WAF舉辦的這些年間，女性建筑師的數量已經逐步上升了，尤其是一些建筑學院的女性學生。或許評審團中女性的比例在相當長的一段時間內不會達到 50%，但我們可以嘗試使其至少達到 1/3，之后可以達到更高的比例。我認為這將是建筑行業的發展方向，也是一件好事。
Of course, during the years that WAF has been organized, the number of female architects has gradually risen, especially among female students at some architecture schools. Perhaps the proportion of women on the jury will not reach 50% for quite some time, but we can try to make it at least 1/3, and then even higher. I think this will be the direction of the architectural profession and a good thing.
評審團成員包括不同國家和性別 ?WAF
建筑行業的變革
Q&A
7. 可以和中國的讀者們介紹一下WAF·China嗎？對于中國設計公司和媒體來說，可能會更喜歡WAF，如果只是為中國項目特別舉辦的活動，會有一定的局限性。
Can you introduce WAF·China to Chinese readers? For Chinese design firms and media, WAF may be preferred because of the limitations of an event organized specifically for Chinese projects only.
我不認為全球性活動與國家或地區性活動是競爭關系，也不認為它們是并列關系。比如說，你可以想象人們參加了WAF ，同時他們還參加了WAF·China 的評選。我們組織國際評委觀看了中國建筑師的演講，他們入圍了WAF的候選名單，但他們也有可能贏得了WAF·China 的獎項。這有點像WAF 接受的所有參賽作品都來自WAF·China 。因此，我認為完全可以這樣做，但有時信息的傳遞可能會讓人搞不清楚活動是什么，以及為什么要這樣做。但是我喜歡這個想法，就像世界杯足球賽的模式，先舉行地區比賽，然后各地區的佼佼者再參加全國比賽。
I don't see global events in competition with national or regional events, nor do I see them as juxtapositions. For example, you can imagine that people participate in WAF and at the same time they participate in WAF·China. We have organised for the international jury to see a presentation by a Chinese architect who has been shortlisted for WAF, but who might also win a WAF·China award. It's a bit like WAF accepts all entries from WAF·China. So I think it's perfectly fine to do that, but sometimes the messaging can be confusing as to what the event is and why it's being done. But I like the idea of it being like the World Cup Soccer model, where there are regional competitions and then the best from each region go on to compete in the national competition.
2022 WAF·China 獲獎項目：花間堂·朱雀里酒店 ?S&Y Atelier（SEU ARCH）
這是一個可能性。如果我們有更多的時間，有更多的參賽作品，我們就必須這樣做。因為只有這樣才能真正從每個地區選出最好的設計。我們還沒有達到這個目標，但我認為這是一個有可能的模式。有一個國家的參賽作品數量足以讓這種模式看起來可行，那就是中國。
It's a possibility. If we had more time and more entries, we would have to do this. Because that's the only way to really select the best designs from each region. We're not there yet, but I think it's a possible model. One country that has enough entries to make this model seem feasible is China.
你可以在網站上找到所有項目的信息，這些都不是秘密。我們很高興中國有這么多參賽者，因為我們得到的關注越多，參賽作品的質量就越高 。但這并不總是對的，有時你收到更多的參賽作品，標準就下降了。在中國卻并非如此。
It's no secret that you can find information about all the projects on the website. We are happy that China has so many entries because the more attention we get, the higher the quality of the entries. But that's not always true, sometimes you get more entries and the standard drops. This is not the case in China.
有趣的是，盡管中國房地產市場出現了危機，但這并不意味著建筑師沒有做好項目，這是對建筑等領域進行的歷史性的改造。這是一個很好的例子，盡管市場上的其他地方存在一些問題，但事情可能會變得更好。
Interestingly, despite the crisis in the Chinese property market, it doesn't mean that architects aren't doing good projects, it's a historic transformation of fields like architecture. It's a good example of how things can get better despite some problems elsewhere in the market.
Q&A
8.您是否注意到如今建筑市場的變化，尤其是在中國，以前我們會有很多建設項目，然而現在整個房地產市場都在下滑。您對此有何看法？
Have you noticed a change in the architecture market today, especially in China, where we used to have a lot of projects, but now the whole property market is in decline? What are your thoughts on this?
中國的情況很有趣，這是由于它的金融結構和房地產市場。嚴重的過度融資和建設忽視了受眾的規模。比方說，群眾購買建設中樓房的能力。但是在世界其他地方，我認為也存在著不同的問題。在很多西方國家，由于人們希望在家工作，辦公室開發市場正在發生巨大變化。某些類型的辦公室會急劇減少，因此市場的走向幾乎是：要么是高端寫字樓，要么是極度廉價的寫字樓。這可能會導致將這些空置的寫字樓改建成住宅的工作大量增加，但是對我們來說是好事。但是中國的情況有所不同，因為當你建造住宅時，會把它改建成寫字樓嗎？這一點我不敢肯定。因為人們的工作趨勢是寧愿自己在家工作，一周至少兩三天，也不愿去辦公室。
China is in an interesting situation due to its financial structure and property market. Severe over-financing and construction ignore the size of the audience. Let's say the ability of the audience to buy what is being built. But in other parts of the world, I think there are different problems. In many western countries, the office development market is changing in a big way as people want to work at home. There will be a dramatic reduction in certain sorts of offices, so the market will pretty much go in the direction of either high-end offices or extremely cheap offices. This could lead to a huge increase in the conversion of these empty office buildings to residential, but that's good for us. But the situation in China is different, because when you build a residential property, do you convert it to office space? That's something I'm not sure about. Because the trend of people's work is that they would rather work at home by themselves, at least two or three days a week than go to the office.
2023 WAF已竣工建筑-住房類大獎：547 West 47th Street - The West Residential ?Ewout Huibers
因此，我認為這是一個特殊的現象。但我們應該明白，其他國家如日本也經歷過類似的階段，一切都會過去。總而言之，最重要的是變化通常對建筑師來說是好事。因為如果有人要改變，他們就會需要一個設計師。如果什么都不做，那才是壞消息。
Therefore, I think this is a particular phenomenon. But we should understand that other countries such as Japan have also gone through a similar stage and everything will pass. All in all, the most important thing is that change is usually good for architects. Because if someone is going to change, they are going to need a designer. It would be bad news if nothing was done.
Q&A
9.面對建筑市場的下行，WAF是否有相應的調整和應對措施？
So in the face of today's market going down, will WAF adjust and respond accordingly?
因為市場不會在每個地方下行，就像亞洲、歐洲與北美等市場的情況也不盡相同。但是可能會存在普遍的經濟衰退。當我們創立WAF時，在2007年時得到了所有贊助商的支持，情況很好。但是當我們啟動時，雷曼兄弟 (Lehman Brothers)已經破產了，世界陷入了金融衰退。但是，并不是所有的贊助商都放棄了，一些贊助商甚至增加了支出。因此，即使形勢并不樂觀，也總會有成功的案例。我們很幸運，我們在 2008 年得到了一些贊助，因為他們有能力這樣做。
Because the market won't go down everywhere, just as it's not the same in markets like Asia, Europe & North America. But there could be a general recession. When we launched WAF, we had all the support of our sponsors in 2007 and things were going well. But when we launched, Lehman Brothers had gone bankrupt and the world was in a recession. But not all sponsors gave up, and some even increased their spending. So there are always success stories, even when things don't look good. We were lucky that we got some sponsors in 2008 because they could afford to do so.
2008 WAF 于西班牙巴塞羅那舉辦 ?WAF
因此，在建筑業不景氣的時候，如果有 5% 的資金被沖走，就會像一杯啤酒上的泡沫一樣。但其余部分是仍然是一個大市場，即使在困難時期。
So, in a time of recession in the architecture industry, if 5 percent of the funds are wiped off, it will be like froth on a glass of beer. But the rest is still a big market, even in tough times.
Q&A
10.同時，您是否想采取其他方式來舉辦WAF ？
In the face of the current market volatility, do you want to take an alternative approach to organising the WAF?
不，實際上我們有850個參賽作品。我們能從世界各地的建筑中獲得多少參賽作品？這幾乎是無限的。我們今年可能會有大約 1600 人參加新加坡WAF，然而全世界有 120萬建筑師。
No, actually we have 850 entries. How many entries can we get from buildings around the world? It's almost unlimited. We will probably get about 1,600 entries for WAF Singapore this year, yet there are 1.2 million architects in the world.
因此，即使在經濟不景氣的時候，WAF的舉辦途徑也不會有太大的差別。讓人們參與進來的機會還是很多的。我認為最困難的事情是贊助商變得不同，因為有些人會認為需要靜觀其變，但有些人會認為需要在這個時刻花錢，因為會得到一些競爭優勢。所以我從來沒有感到悲觀，我只是覺得工作變得有點困難，但仍然可以試圖找出那些想要向上爭取的人，即使市場正在下降。
So even in a recession, the way WAF is organized doesn't make much difference. There are still plenty of opportunities to get people involved. I think the hardest thing is for sponsors to become different because some people will think they need to wait and see what happens, but others will think they need to spend money at this moment in time because they will get some competitive advantage. So I've never felt pessimistic, I just think the job gets a little bit harder but it's still possible to try and identify people who want to fight their way up the ladder, even if the market is declining.
WAF官方媒體合作伙伴 ?WAF
建筑師的話語權
Q&A
11.說到行業性別的問題，雖然建筑學院的男女比例較為均衡，然而在職場的女性建筑師的數量卻很少。您認為這種現象背后的原因是什么呢？
Speaking of gender in the profession, although there is a more balanced ratio of men and women in the School of Architecture, yet the number of female architects in the workplace is very small. What do you think is the reason behind this phenomenon?
我認為有幾個原因。首先，一些家庭因素會改變她們的職業道路。其次我猜測，很多接受過建筑師培訓或取得建筑師資格的女性，最終都會決定通過做其他事情來賺更多的錢，或者獲得更好的生活平衡。
I think there are several reasons for this. Firstly, some family factors can change their career path. Secondly, I suspect that many women who train or qualify as architects eventually decide to make more money or get a better life balance by doing something else.
做一名建筑師就是艱難的，你付出的時間很長，但獲得的回報可能很少。有時候，你看著那些當律師的同齡人，會覺得為什么工作那么辛苦卻只得到了別人一半的酬勞？也許是時候做出改變了。
Being an architect is just tough, you put in long hours and get probably very little in return. Sometimes you look at your peers who are lawyers and wonder why you work so hard but only get paid half of what everyone else does. Maybe it's time to make a change.
2023 WAF上的女性建筑師們 ?WAF
Q&A
12.您曾經在一些文章中提到建筑師有他們的責任，也有他們的權利。但是由于來自業主方、施工方的干預，以及最低標競價的亂象，導致太多建筑師面臨的問題是他們有責任、但沒有權利。您認為面對這種現象，有什么可行的解決之道嗎？
You have mentioned in some of your articles that architects have their responsibilities and their rights. However, due to the intervention from the owners, construction parties, and the chaos of minimum bidding, the problem faced by too many architects is that they are responsible but have no rights. Do you think there are any viable solutions to such a problem?
我認為如果建筑師要對某件事負責，那么他們就應該有權確保他們負責的事情得到妥善處理。然而通常情況下，建筑師無法執行他們的設計。比方說，承包商想要快速建造，所以他們雇用了其他人改變了設計，例如調換材料等。
I think if an architect is responsible for something then they should have the authority to make sure that what they are responsible for is handled properly. Often, however, architects are unable to enforce their designs. Let's say a contractor wants to build quickly, so they hire someone else to change the design, such as switching materials.
2023WAF 世界建筑節-交通運輸類 - 建成作品入圍：上海豫園站 ?行之建筑設計事務所 XING DESIGN
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建筑師處在了一個非常困難的位置上，因為他們最初決定的方案幾乎不會被完全建造出來。我認為這是一個問題，它涉及到法律以及文化等，但我認為認識到這個問題是件好事。現在有一種越來越明顯的趨勢，律師試圖在建筑師身上施加越來越多的義務，而建筑師卻無權在地圖上保證這些義務的履行。我認為這是一個關于客戶、律師和創作者的問題。
The architect is in a very difficult position because the scheme they initially decided on will almost never be fully built. I think it's a problem that involves the law as well as culture etc. but I think it's good to recognise it. There is a growing trend of lawyers trying to impose more and more obligations on architects who have no right to be on the map to ensure that those obligations are met. I think it's an issue about clients, lawyers and creators.
從根本上說，創作者與其他人不同。幾乎所有人的思維都是線性的，而創作者的思維是橢圓形的， 所以他們會比較慢。但是這是一件壞事嗎？建筑能用一百年，我們多花六個星期考慮又有什么關系？答案是沒關系，但這可能會導致承包商被四處針對。因此，你可以說這些不是問題，而是條件，因為它們無處不在。但建筑師需要為了自己艱難得站起來。我認為他們應該得到社會的大力支持。因為通常來說，批評建筑師太容易了。
Basically, creators are different from other people. Almost everybody thinks linearly, whereas creators think elliptically, so they're going to be slower. But is that a bad thing? Buildings last a hundred years, so what does it matter if we spend an extra six weeks thinking about it? The answer is it doesn't matter, but it could lead to contractors being targeted all over the place. So you could argue that these aren't problems, they're conditions, because they're everywhere. But architects need to stand up for themselves tough. I think they deserve a lot of support from the community. Because it's usually too easy to criticize architects.
2023 INSIDE 世界室內設計節-公共空間類入圍：前灘31文化演藝中心 ?如恩設計＆巴馬丹拿集團
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這就是我創辦WAF 的原因。事實上，我們并不幫助人們來這里解決技術和法律問題。我們想做的是提醒他們，建筑設計最重要的是什么，例如靈感。我們想要去看一些巨大的圖片，關于建筑師所做的出色的工作，然后精神煥發得回去工作。
That's why I started WAF. The truth is, we don't help people come here to solve technical and legal problems. What we want to do is remind them of what is most important in architectural design, such as inspiration. We want to go and look at some huge pictures of the great work that architects do and then go back to work refreshed.
2023 WAFX 建筑技術獎：南靖縣土樓保護與活化設計 ?城理設計
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2024 WAF
開始報名
（NEW YEAR）
攜手走過了又一輪春秋！
2024 WAF開始報名
期待在新加坡的相聚
2023 WAF
2024 年世界建筑節將于11月6日至8日在新加坡舉行，包括頒獎賽事、會議以及傳播建筑知識為一體，致力于表彰、分享和鼓勵優秀杰出的建筑設計。所有決賽入圍者都將現場展示他們的項目。
早鳥截止時間：2024年3月28日
最終截止時間：2024年4月19日
入圍名單公布：2024年7月
頒獎典禮：2024年11月6日 – 2024年11月8日
訪談｜栗茜
文案編輯/翻譯｜施方穎
提綱/校對/攝影｜Ming
發文編輯｜Qicy
審核編輯 | 07
