伊尼亚基・加尔尼塞罗

简介 Biography

活跃于学术领域和专业实践，伊尼亚基·加尔尼塞罗是一个获得国际奖项的建筑师，欧洲哲学博士，曾在西班牙马德里理工大学和美国康奈尔大学学习。最近，以西班牙馆主任的身份，凭借参展作品《未完成的》在2016年威尼斯建筑双年展上斩获“金狮奖”。

加尔尼塞罗在多次竞赛中脱颖而出，完成了多个项目，其中包括C.E.U.大学、巴耶卡斯社会住房、位于阿尔巴塞特的一所高中、瓜达拉哈拉阿拉伯塔的修复、位于马德里市的新司法区检察官办公室、位于原马德里屠宰场的马德里马他台罗16 号机库艺术中心以及彼奇民居。

他的作品已被世人所公认，曾斩获2016年“金狮奖”；2015年“美国建筑师协会纽约分会（AIANY）住宅奖”；2012年“设计先锋奖”；2012年“豪瑟奖”；2011年“新兴建筑记录奖”；2009年“罗马奖”；2012年“COAM奖”；2012年“FAD西班牙建筑和舆论奖”；2013年“巴巴拉·卡布其奖”（荣誉提名）；2007年“BSI门德里西奥大学（入围）”入围2009年“建筑摘要奖”及2013年“BIGMAT奖”；2004年“Luigi Cosenza奖”。他曾参加过2011年英国皇家建筑学院（RIBA）“国际新兴建筑师展”；2011年“布拉格建筑周”以及2012年日本“GA画廊”展。他曾在如康奈尔大学、哈佛大学亚太国际大学院、莱斯大学、伯克利大学、威尼斯建筑大学、卡尔顿大学、罗马第三大学、罗马智德大学、卡尔加里大学、智利天主教大学、杜布罗夫尼克Days of Oris 大学、布拉格塞万提斯学院、ROCA伦敦展厅（London Roca Gallery）、巴塞罗那拉萨尔大学、马德里理工大学建筑学院、塞维利亚大学和纳瓦拉大学等学术机构演讲。

他一直是一个名为“对称性”建筑平台的联合主管，该平台提供城市内罗马建筑和现代建筑战略。他的博士论文，主要关注路易斯·康和罗伯特·文图里有关罗马的各种发现和联系。

自2012年以来，他与合作伙伴洛伦娜·德尔·里约（Lorena del Rio）共同经营黎加工作室。

Active in both the academic field and a professional practice, Iñaqui 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.

访谈 Interview

1，你能给我们介绍一下《未完成的》在威尼斯建筑双年展的情况吗？

亚雷汉・德罗阿拉维那（Alejandro Aravena）邀请所有国家馆的策展人分享他们认为过去两年建筑遭遇的主要问题。

西班牙是建筑业受经济危机影响最严重的国家之一。在这么短的时间内建造这么多的建筑物，这在世界上没几个地方能做到。缺乏对这些项目是否必要或有效的反思，导致随后发现其竣工或维护在经济方面不可行时，许多建筑物便被放弃。这些建筑物在整个西班牙领土上的大量出现，给人一种大量建筑物未完成的整体印象，其中时间因素在建设建筑物准则中不作为考虑因数。

使用摄影作为过滤器来描绘这一现实，展馆中心空间展现了那些曾经批判最近建筑业发生各种不良现象的人的乐观看法，认为这些留存下来的未完成建筑倒是一个机会。

双年展览上，在西班牙馆中推出的“未完成的”主题展览，旨在引导人们关注过程而不是结果，试图发现对建筑环境持乐观态度时产生的设计策略。

2，在此过程中的关键挑战是什么？

展览汇集了过去几年建设的建筑实例，这些建筑物在西班牙过去几年面临经济的环境中产生，为发展和适应未来需要而设计，同时信赖于时间流逝之美。这些项目吸取了过去的经验教训，并认为建筑是未完成的东西，处于一个不断发展的状态，真正服务于人类。目前我们在专业方面的不确定性，与我们在此讨论的话题有较强关联性。

主要挑战将是如何注重各种机会，反思拆除和建设新事物之前在我们星球上已存在什么。

3，依你看，建筑设计、艺术、展览、演讲这些不同领域有什么联系？

所有这些事情都是与我们自己的亲身经历联系在一起的，我们通过亲自参与当前社会问题获得亲身经历。我们的日常生活，我们所处的环境，处处充满通过设计来改善事物的各种机会。艺术、展览和演讲是交流的媒介。其中最重要的方面就是你想传达的想法以及它们在我们的语境中所具有的相关性。

4，以马德里瓦尼卡斯社会住宅为例，你能描述一下你的设计方法和过程吗？

在西班牙，设计社会住房面临真正的挑战就是在设计过程中，建筑师必须处理大量法律法规。这种情况因建筑物重复建设而形成非常单调景观，建筑物材料和建设方案彼此非常相似。我们的做法正挑战现有法规和规范的束缚。我们的关注重点是发现一种方法，通过营造共同空间，提高集体观念。通过提取战略空白，我们对以前法律法规要求的原状作出各种改变。如果人们通常聚集在一起，这些空白将成为日常生活的活化剂，从而加强他们的社区观念。

5，你的设计起点是什么？

我的设计起点每时每刻都在变化，但通常情况下，在开始设计之前，我会考虑法规、纲领性要求、经济约束、环境等方面的所有约束。一旦你了解了项目复杂性，你就可以像玩拼图游戏一样，将所有组件拼在一起。

6，你如何发现项目需求？

源于对客户和背景需求的综合考虑。当前需求在未来也可能发生变化。一个好的设计必须在原战略中考虑不确定性。

7，你的思想来源和设计依据是什么？

很多方面，但主要是我自己的生活体验、旅行、阅读、学习别人、在不同地方居住、体验不同的文化，在与来自世界各地的不同学校的学生接触……

8，如何使建筑与现场和景观完美整合？

对它们进行研究。研究生态学与天气条件；从能源的角度将建筑视为生态系统的一部分；了解它的重要性和与场地的关系；不要过多地改变以前的建筑状态。

9，在你看来，新材料和新技术如何影响建筑？

影响很大。作为设计师，即使我们的建筑调色板更加广泛，我们仍然使用工业革命时期的建筑材料。并不总是需要发现新材料，以获得新的解决方案；相反，我们可以通过非常规方法使用传统材料，创新解决方案。垃圾也可用作建筑材料。压实土还没有被充分利用，通过无限的组合，干预混凝土浇筑和混合过程，可以获得新材料。

10，你是怎么理解当前的创新？

我认为，今天的人们太多为了创新而创新，却没有反思这些发明可以改善什么。我更感兴趣的是仔细研究我们现在面临的各种问题，通过修改或适应已经存在的东西进行创新。媒体非常乐于把建筑师形容为事物的缔造者，这可能会让我们变得糊涂。

11，请谈谈你对未来10年设计的设象。

我认为下一个10年更多的是契机，我们可重新定位规模、理念和设计策略，更多地关注社会中的弱势群体。几十年来，人们一直认为优秀的建筑师是那些在大量预算和没有限制的基础上建造的标志性建筑的人。我想设想一个新的场景，那就是建筑师可真正帮助改善人们生活条件。那里不存在设计野心；那里好设计能够真正与众不同。

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.