人物訪談

1.您是如何在設(shè)計(jì)中保持創(chuàng)新和創(chuàng)造力的呢？

在這個(gè)日新月異的世界里，新技術(shù)、新材料和新可能性幾乎每天都會(huì)出現(xiàn)，我們沒(méi)有理由不去創(chuàng)新，我們要結(jié)合所有事物去使我們的想法具體化。創(chuàng)造性的理念可以來(lái)源于我們身邊所有的環(huán)境，如自然環(huán)境、人、材料、建筑結(jié)構(gòu)、人與人之間的情感、關(guān)系等。人類的大腦是無(wú)限的，我們周?chē)兄鵁o(wú)窮無(wú)盡富有創(chuàng)造力的事物。如果能認(rèn)識(shí)到這一點(diǎn)，那么你的想法永遠(yuǎn)不會(huì)枯竭。

2.您是如何開(kāi)始設(shè)計(jì)，您的設(shè)計(jì)理念都是怎么形成的呢？

“場(chǎng)所精神”通常是我的靈感來(lái)源，它喚醒了我所有感官，激活了我的大腦使其形成圖像和序列，這些圖像和序列就形成了一個(gè)真正的建筑物了。通常，我會(huì)相信我對(duì)某個(gè)項(xiàng)目或地方的第一直覺(jué)。之后，雖然最初的想法經(jīng)歷了許多階段和變化，但它始終是項(xiàng)目的核心。這是一種來(lái)自意識(shí)思維的建筑直覺(jué)，與功能和工程相互協(xié)調(diào)。

3.您能向中國(guó)讀者介紹一下貴國(guó)的文化和建筑環(huán)境嗎？它們?cè)谀穆殬I(yè)生涯中起著怎樣的作用？

雖然克羅地亞是一個(gè)相當(dāng)小的國(guó)家，但它在許多領(lǐng)域擁有多樣性。我們有一種文化，它涵蓋了歐洲的所有歷史。克羅地亞首都薩格勒布市綿延幾百公里，有著強(qiáng)烈的中歐特色。克羅地亞有許多不可思議的景觀和建筑，如羅馬競(jìng)技場(chǎng)、中世紀(jì)的防御城堡、拿破侖一世時(shí)期的基礎(chǔ)設(shè)施系統(tǒng)和道路網(wǎng)絡(luò)、教科文組織遺產(chǎn)遺址的幾件杰作以及各種當(dāng)?shù)亟ㄖz產(chǎn)。克羅地亞的氣候和地理是一個(gè)非常重要的因素，從地中海和大陸氣候到山地氣候和景觀。豐富的文化和建筑材料為我們了解克羅地亞的遺產(chǎn)及建立自己的當(dāng)代建筑印記奠定了重要基礎(chǔ)。

不過(guò)，我不得不說(shuō)，雖然我們的設(shè)計(jì)并沒(méi)有追求特定的建筑風(fēng)格，但都盡量把本地的環(huán)境與我們自己的設(shè)計(jì)理念結(jié)合起來(lái)。無(wú)論何時(shí)，我們都會(huì)以同樣的態(tài)度進(jìn)行設(shè)計(jì)。

4.克羅地亞保持著傳統(tǒng)的城市風(fēng)格，有許多歷史建筑。您如何處理新建筑與舊建筑和城市之間的關(guān)系？

克羅地亞的建筑師有時(shí)覺(jué)得這是一種負(fù)擔(dān)，而不是一種解脫。雖然我同意一定程度上必須保存有價(jià)值的歷史作品，但對(duì)于此我們更傾向于保存一切，有時(shí)只是因?yàn)樗且郧暗倪z留。這不是阻礙發(fā)展和淘汰市中心和商業(yè)區(qū)當(dāng)代建筑的充分理由。不容誤解的是，我并不主張殘酷地使現(xiàn)有的城市中心退化，但是我們的城市是有生命的實(shí)體，必須經(jīng)歷改變和成長(zhǎng)，與我們的需求和技術(shù)保持相同的發(fā)展速度。這聽(tīng)起來(lái)可能很簡(jiǎn)單，但實(shí)際上，這是一個(gè)非常復(fù)雜的遺產(chǎn)處理問(wèn)題。

根據(jù)我們自己的經(jīng)驗(yàn)，我必須說(shuō)，有時(shí)無(wú)法與現(xiàn)有的元素建立有意義的聯(lián)系，而必須在尊重古老作品的同時(shí)有自己的觀點(diǎn)，賦予建筑自主性。

5.您所承接的項(xiàng)目范圍廣泛，從小規(guī)模的建筑和獨(dú)戶住房到大型商業(yè)或文化建筑和城市摩天大樓。那么，什么樣的建筑會(huì)讓您感到更興奮？

在我看來(lái)，僅僅是建筑的大小并不是衡量其價(jià)值和重要性的真正標(biāo)準(zhǔn)。一個(gè)項(xiàng)目和思想流動(dòng)的真正精髓是讓我們感到興奮的東西。設(shè)計(jì)的樂(lè)趣在于挑戰(zhàn)性，挑戰(zhàn)在于考慮自己的建筑敏感性和靈感的同時(shí)如何才能使項(xiàng)目成為指定地點(diǎn)和客戶的最佳項(xiàng)目。建筑整體令人感到興奮，當(dāng)面對(duì)如此多的元素：方案、環(huán)境、理念、預(yù)算、客戶……，設(shè)計(jì)過(guò)程充滿挑戰(zhàn)且具壓倒性。我們一次又一次地絞盡腦汁并“耗盡”創(chuàng)意思維使得每一個(gè)項(xiàng)目都會(huì)最終成為一件實(shí)實(shí)在在的、有用的藝術(shù)品。

6.您對(duì)材料的運(yùn)用新穎而豐富，如石屋“Hi?a”。您是如何進(jìn)行材料的選擇和組合的？

我們使用的材料是不受時(shí)間影響的，我們之前使用過(guò)并且以后會(huì)繼續(xù)使用。建筑師必須了解它們的獨(dú)特特性和可能性，才能以一種可取的方式來(lái)深刻了解這些材料。

我們接受當(dāng)?shù)貍鹘y(tǒng)的信仰，將其與我們的創(chuàng)意和可利用的新技術(shù)結(jié)合起來(lái)。這使得我們能以新方式使用“舊”材料。材料的本質(zhì)被保留下來(lái)，而留下了當(dāng)代印象。

7.您職業(yè)生涯以來(lái)遇到的最具挑戰(zhàn)性的項(xiàng)目是哪一個(gè)？可以就此談一談嗎？

對(duì)我來(lái)說(shuō)沒(méi)有一個(gè)項(xiàng)目是最具有挑戰(zhàn)性的。我們的每一個(gè)項(xiàng)目，無(wú)論大小，都有必須處理的一個(gè)或多個(gè)具有挑戰(zhàn)性的因素。小型度假住宅或大型足球場(chǎng)的實(shí)用性、美觀或設(shè)計(jì)這幾方面都是我們?nèi)粘９ぷ鞯囊徊糠?。挑?zhàn)并不在于規(guī)模大小，而是內(nèi)容和條件。但正如我前面所說(shuō)的，挑戰(zhàn)是使這個(gè)職業(yè)不可思議和興奮的其中一方面。

8.您對(duì)中國(guó)建筑的印象如何？如果有機(jī)會(huì)，您希望在中國(guó)留下怎樣的作品？

十三年前，我們來(lái)過(guò)中國(guó)，這是最令人印象深刻的地方之一。雖然我們對(duì)當(dāng)代中國(guó)建筑的構(gòu)造并不十分熟悉，但沒(méi)什么能夠像以前和現(xiàn)在的中國(guó)一樣，無(wú)論是舊中國(guó)還是新中國(guó)，兩者都是極具有壓倒性的優(yōu)勢(shì)。我欽佩中國(guó)奮力向前，關(guān)注未來(lái)，同時(shí)也尊重古老建筑。持續(xù)的發(fā)展和對(duì)地理邊界以外影響的開(kāi)放思維就證實(shí)了中國(guó)在建筑等每一個(gè)領(lǐng)域都有保持領(lǐng)先的渴望。

在中國(guó)進(jìn)行建筑創(chuàng)作是非凡的挑戰(zhàn)，僅僅是應(yīng)對(duì)陌生的環(huán)境就已經(jīng)很具挑戰(zhàn)性，而條件本身則是令人興奮的。不論規(guī)模和方案如何，我想留下一件作品，展示PROARH以何種方式符合真實(shí)的地方“場(chǎng)所精神”。

1. How do you maintain the constant innovation and creativity in your design?

In this ever changing world where new technologies, materials and possibilities emerge on almost a daily basis, it is hard not to be innovative and use everything on our disposal to materialize new ideas.Creative ideas in particular can be drawn from our surroundings such as nature, people, textures,structures, emotions, relationships and so on. The human mind is limitless, we have an inexhaustible content of creativity surrounding us and if you have the ability to recognize that, you can never run out of ideas.

2. How do you start a design, and how are the design concepts triggered and generated?

Genius loci is usually the trigger, it awakens all the senses and activates the creation of brain images and sequences that later take shape of a real building. Usually the very first sensation I get about a project or a place is the right one. Afterwards, the initial idea goes through many stages and changes, but it is always at the core of the project. This is a sort of an architectural intuition which is then recognized by my concious mind and it coordinates with function and engineering.

Croatia is a rather small country, but it possesses diversity in many areas. We have a culture that is a complete imprint of an overall European history. In a span of several hundred kilometers lies Zagreb,the capital with a strong middle European feel. Croatia offers many incredible sights and structures such as the roman arena, defense castles from the middle ages, Napoleonic infrastructure systems and road networks, several masterpieces on the UNESCO heritage site and large diversity of local authentic architectural heritage. Our climate and geography are a very important element that ranges from Mediterranean and continental climate to mountain climate and landscape. This abundance of cultural and architectural materials makes an important base from which we can learn about our heritage and build our own imprint of contemporary architecture.

Nonetheless I must say that we do not pursue a specific architectural style in our designs, but we try to combine local conditions and our own design ideas. We are set to apply the same attitude wherever we are called to design.

3. Could you introduce to the Chinese readers the cultural and architectural environment of your country?And what role they are playing in your career?

4. Croatia maintains the traditional city style and has many historical buildings. How do you deal with the relationship between the new buildings and the old ones and the city?

Sometimes architects in Croatia feel like this is more of a burden than a relief. I agree that there must be a certain level of preserving valuable historical pieces, but here we tend to preserve everything and sometimes only because it is old. That is not a good reason to hold up development and allow contemporary architecture to be pushed out of city centers and downtown areas. Not to be misunderstood, I do not advocate ruthless degradation of existing urban centers, but our cities are living entities and they have to grow and change in the same pace with our needs and technologies. It might sound simple but in reality it is a very complex question of approach towards heritage.

From our own experience I must say that sometimes you cannot make a meaningful relationship with an existing element and you have to make your own statement, while respecting the old, giving it an architectural autonomy.

5. Your repertoire ranges from small-scale buildings and single family houses to large commercial or cultural buildings and city skyscrapers. What kind of buildings will make you more excited?

I believe that the mere size of the building is not a true measure of its value and importance. The true essence of one project and our idea flow is what is making us excited about it. The pleasure in designing is the challenge of making it the best possible project for a designated place and client, taking into consideration our own architectural sensibility and inspiration. owevptation and Renovation of Home of Revolution in Nik?i?, Montenegro awaits the realization.Architecture overall is exciting, the design process is challenging and so overwhelming when you deal with so many elements: the program, the environment, the idea, the budget, the client…We brainstorm and ‘drain’ our creative mind over and over again with each and every project to end up with a tangible and usable piece of art.

6. Your application of materials is novel and rich, such as the stone house, Hi?a. How do you elaborate on the choice and combination of materials?

The materials we use are timeless, they were used before us and will be used long after our time. The architect must understand their unique characteristics and possibilities to master them in a wanted way.

We embrace the wisdom of the local tradition and merge it with our creative ideas and the new technologies that are available to us. That makes it possible to use ‘’old’’ materials in new ways. The essence of the material is preserved, but the impressions are contemporary.

7. Which is the most challenging project you have

encountered since you started the career? Could you say something about it?

There is no project that I could single out as the most challenging one. Every project od ours, small or big, had one or more challenging elements that we had to deal with. Functional, aesthetic or engineering struggles are a part of our daily work, in small family retreats or large football stadiums. Scale is not the challenge, the content and conditions are. But as I previously said, that is one of the things that make this profession ever surprising and exciting .

8. What's your impression of the Chinese architecture?If you have a chance, what kind of work would you want to leave in China?

We have visited Chin thirteen years ago and it is one of the most impressive destinations. Although we are not thoroughly familiar with contemporary Chinese architectural production, there is nothing like old and new China, and both are positively overwhelming. I admire the pushing forward and focus on the future, while respecting the Old. Constant growth and open-mindedness to influences out of your geographical frontiers only confirms this aspiration to exceed in every filed including architecture.

Building in china would be an extraordinary challenge, just dealing with unfamiliar surroundings,conditions is exciting by itself. No matter the size and program I would like to leave a piece that shows how PROARH coped with authentic, local genius loci.