人物访谈：巴斯· 布林克

1.您成立70F建筑事务所已有17年，能不能和我们分享一下，您是如何保持对建筑设计的极大热情？

没错，建筑事务所已经成立很多年了。我想关键在于，建筑代表的是一种生活方式。要做我就专心投入地做，要么就不做。这是设计好作品的核心要素，也是取得好成绩所必备的。我们这里有固定的核心团队，也有一小部分年轻的实习生在这儿实习。因此，我们可以不断拓展新的主题，捕捉不同时间阶段的重点。建筑是一个不断变化的动态领域，需要我们不断地去适应，去改变，去倾听，去变革，去掌控。

2.您一般是如何开始一个设计的，设计理念往往是源自哪里呢？

所有项目开始之前，我们都会与客户进行深入的会谈和探讨。最重要的就是要收集我们所需要的全部信息。不仅仅是固定数据（例如：3间卧室、2间浴室等），建筑上的构想和空间布置方面的要求，同样重要。问题是，客户很难描述清楚自己所需要的，或者表达自己脑海中的空间感。这也就需要我们思维灵活，富于想象。我们要通过精准的提问，去挖掘客户内心的想法。确定设计理念是整个过程中最为重要的环节，同时也是最花费时间的。设计理念是各个项目的支柱，会影响到后面每一个阶段；后期如果出现疑问，或者找不到好的设计思路时，往往需要回头参考设计理念。比如，在Duivenvoorde游客中心项目中，我们足足花了6个星期的时间来寻找设计理念，经过反复的推敲，讨论，起草，和修订，终于找到了满意的答案。然而，客户却不太理解我们的理念，因为那时候还没有太多能体现这一理念的东西。只有整个建筑竣工之后，客户才真正理解其含义。

3.在整个职业生涯中，您还曾参与过建筑学教育，那么您向学生传递的是怎样的建筑观呢？

很荣幸成为世界多所大学的客座教授。在建筑领域，教书育人是我最热爱的工作之一。在大学里，你会遇到很多极具天赋的年轻人，他们有着独到的眼光，常常提出有深度的问题，很有意思。我希望把我所知道的都教给他们。而在这个过程中，我自己也受益匪浅。在课堂上，最重要的是要学会问问题。学会如何准确的向客户提问，向项目提问，最重要的是，向自己提问。比如，我的设计思路和设计方法想表达什么，为什么这么设计？在卢布尔雅那大学（斯洛文尼亚）的时候，我曾经让学生们设计一座“宁静教堂”，让人们可以在城市中体验，甚至是购买一片宁静。先不说建筑效果，学生们首先要做的是理解并深入思考宁静这个词在当代的含义。我的课堂上总会有大量讨论和交流时间。绘图简单，思路难寻。在绘制图纸之前，我们需要进行认真思考，反复讨论。

4.您的许多建筑作品体量不大，造型简洁，但在外表皮的选材和设计上却颇为关注，能谈谈您是如何处理建筑表皮的吗？

对我们而言，体量不是最重要的。所有建筑都以理念为基础，进行建筑环境和设计的选择。对每个建筑而言，困难的是要确定最佳设计方案、平面布置图、以及建筑物正面解决方案。此外，我们设计的建筑是综合考量所有建筑参数的成果。所以，建筑表皮不仅仅是建筑表皮，而是一个完整流程的效果体现，与其它方面也息息相关。一般而言，您所说的建筑表皮正是建筑风格的体现。所以对我们所设计的建筑至关重要。建筑正面所选用的材料，其材质和使用方式，是建筑风格的总体表现。但在选择正面用料之前，还需要进行严谨深入的研究，以确定建筑正面的最终方案。在这方面，绝对不能随心所欲，其对整个建筑效果的影响远超过我们肉眼所看到的。

5.您认为“越是简单的设计，越需要时间使设计精确”，能具体和我们谈谈如何让简洁的造型更精确吗？

要达到简洁的效果，就需要大量的工作，确实如此。相比而言，建造审美复杂的建筑则容易很多。其中一个问题就是精确性；在我看来，要做到精确，需要对每个已知的建筑元素进行推敲，我们在工作中就是这样做的。比如，建筑正面采用的插钉术，或者主梁等子系统的建造，都要仔细推敲，谨慎选择。而对于这些，建造商通常会随意选择。比如我们曾在2008年巴塞罗纳设计建筑节上获奖的Sheepstable项目，所有必要的建筑零件，包括建筑正面的支撑板，都经过谨慎考量，以确保其位置的精确性。让建造商抓狂的是，这些小问题竟然对最终效果至关重要。另一个问题是审美上的简洁。外观上的简洁并没有固定的模式。在开始的时候，或者处理偏差的时候，都需要有具体的设计方案来确保与整体外观的融合性。我们需要制定具体的设计方案，但可能不会展示出来。所有简洁效果的实现都并非偶然。

6.您的许多项目都在荷兰，荷兰的地域文化和气候特征对您的设计有怎样的影响呢？

在荷兰，气候条件和预算是关键因素。在这里往往需要大量的绝缘材料，因而预算也会比较高，如果没有这个问题，我们在荷兰的项目会轻松很多。另外，荷兰的湿度也常常造成材料使用方面的困难。但我们也有收获——学会了如何通过方案上的创新来达到预期效果，同时控制好成本。这需要有充足的知识储备，而我们多年以来积累的专业技术知识就派上了用场。选用的建筑材料主要是木材和砌砖，都是典型的荷兰建筑材料，尤其是砌砖。然而荷兰建筑业主要采用标准方案或过去用过的方案来处理这些材料，建筑商发现很难改变他们的固定模式。我们一般会再三考量这些建筑方法，然后说服他们尝试新的方案。要做到这一点，简单来说就需要“了解你的材料”。或者，就像我常常和学生们开玩笑地说，不是我吹牛，我只是懂得多……

总之，不同的国家有不同的情况。比如，在意大利托斯卡纳区附近的奢华度假屋项目中，关键的是要了解当地政治背景，在正确的地方认识正确的人。再比如在伊朗，沟通成了关键问题，不仅仅因为语言不通，更重要的是当地人的表述总有很多言外之意，令人难以琢磨。在进行伯利兹城精品海岛度假村时，我们要将建筑材料从伯利兹城海运到小岛，为了减轻运输压力，同时抵御飓风，我们需要在45分钟左右将材料运至目的地，所以我们选择的是轻型建筑材料。

7.您对中国当代建筑有什么看法？如果有机会的话，您想在中国开展什么项目呢？

我印象里，中国的建筑一般规模比较大，建筑物数量也很多，这一点比较有意思。中国的当代建筑发展水平很高，我一直在想，应该怎样才能在这样一个人口稠密的国家开展项目。中国在城市规划和建筑方面肯定是花费了大量精力，这也是我认为不可思议的地方。我们将很愿意在中国开展私人住宅、公寓大楼、设计酒店等项目。目前我们事务所主要专注于后者，也就是设计酒店或者称之为精品酒店。我们发现节假日期间，人们的活动方式和出行方式都有很大变化。这是我们想要进一步调查的，我们希望以此为基础，可以制定出前沿的创新性酒店设计理念。

8.我们知道您还有许多室内设计作品，您是如何通过材料与色彩来体现室内空间特色的呢？

没错，除了建筑设计之外，我们也进行室内设计，比如，位于阿姆斯特丹的Acibadem国际医疗中心。在某种程度上来说，室内设计和建筑设计是一样的。都需要有创新性，都以设计本身为核心。但相比而言，室内设计更注重细节，精确性要求更高。室内设计在材料和纹理的选择上要求更高，因为室内设计你可以近距离感受得到，如果效果好，甚至会为之震撼。但如果不使用纹理，那么设计效果很容易会黯然失色。要达到材料与色彩之间的和谐，让人有“宾至如归”的感觉，尤其是住宅或酒店的室内设计。我们可能倾向于选择极简主义设计。设计应该突出功能性和空间性，同时又不会让人觉得像在电影里一样，所有设计环节都要认真仔细。这也是为什么我们要实现万能设计，从外套到车钥匙的摆放位置，我们都会考虑到。一般客户找到我们的时候，会跟我们讲很多很多想法，而这些想法并不一定适用。我们要做的就是将客户所提出的想法都融合到同一个设计作品中。因为需要充分了解和尊重客户的需求，我们一般会与客户进行很多次的商讨。很多地方我们都会为客户量身定制，不放过任何小的细节，哪怕是一个壁橱。比如我们设计的Villa Frenay，就很好地体现了园艺与住宅、空间与细节的和谐美。要给出好的设计方法，需要具有创新能力，同时要能够切身体会客户的想法和需求。

9.能和我们分享一下您从业以来遇到的最具挑战性的项目吗？

我想到目前为止，最具挑战性的项目应该是Duivenvoorde游客中心了。当时客户要求的是，建筑外观上像一个坐落于中世纪大花园中的谷仓（一扇窗都没有），而功能上像一个现代餐厅（很多扇窗），这完全就是自相矛盾的，设计非常困难。而设计方案出来后，实施过程又遇到困难，因为没有建造商能够实现我们想要的效果。所以我们要参与到所有环节中，进行必要的监督指导，从草图开始。建筑正面有可以打开的天窗，而实现这一点所需的所有机械零件都要隐藏起来。比如，框架木材宽度仅为67mm，却需要与玻璃相匹配安装，两侧的天窗有不少机械零件，而这些零件都需要隐藏起来，难度可想而知。我们还有一项艰巨的任务，就是保证客户实时了解我们的最新进展，并且始终能相信我们所做的选择。好在最终的结果很理想，还赢得了2018凡尔赛大奖。但这确实是目前我们遇到的最具挑战性的项目。另一个比较有难度的项目是位于阿姆斯特丹的Moravian教堂。这一项目曾入围新加坡世界建筑节提名名单。当时由于全部资金都是明显处于弱势地位的教堂群体个人攒下的，所以数额不大，预算有限。为了一切从简，我们专注于设计的核心部分，也就是“明亮”和“白色”，以此为基础保证建筑的专业水准。

10.您认为70F建筑事务所未来的发展方向如何？

作为一家事务所，我们始终在不断前进和发展。我们的作品在全球范围内得到广泛认可，因此我们的视野以及能力毋庸置疑。我们在逐渐接手大型项目，但同时也要保证有出类拔萃的经久不衰的作品出现。目前主要专注于能给更多群众带来更多体验的多功能的建筑，例如酒店和公寓大楼等。除了本地的一些此类项目之外，我们也愿意并且已经开始着手其它国家或地区的类似项目。

1. It's been 17 years since you founded 70F,could you share with our readers how you have maintained the great passion for architectural design?

Yes, it’s been a long time already. I guess the thing is, architecture is a lifestyle. I can only do it with passion, or not at all. It is in the core of any good architect, and a must for any top result. Also we have a fixed core team of people we work with, and a small group of interns and young architects who do internships here. This keeps us keen on any new theme or sense of what’s important to focus on for any moment in time. Architecture is a dynamic field; we need to adapt, change, listen, evolve, innovate and take charge towards it continuously.

2. How do you start the design of a project?And how the design concepts are activated and generated?

We start all of our projects with in depth interviews and meetings with the client. It is paramount to have all the input needed. More than just the absolute numbers (3 bedrooms, 2 bathrooms etc.) the definition of their architectural and spatial wishes is important. The problem is people find it hard to describe their feelings or express them in a spatial sense. That’s where we have to be smart and creative, asking the right questions to find the answers the client didn’t even know they had. Finding the concept is the most important and time consuming part of the process. The concept becomes the backbone of every project which is important in any stage later on; something to fall back to when you are in doubt or searching for a design solution. Finding the concept for the Duivenvoorde visitors Centre for instance, was a six week process of intense thinking, debating, sketching and reviewing. After these six weeks we were happy as can be having found the answer, while the client didn’t understand because there was nothing much to show for it yet. Only after the building was finished, they really understood.

3. Architectural education is included in your career. What architectural views you’d transmit to your students?

I am a visiting professor at several universities in the world. Working with students is one of my favourite jobs in architecture. You are met with huge talent, fresh eyes, good questions an interesting people. I love teaching students all I know. At the same time, in return the whole experience teaches me new things. The core of my lecturing lies in learning to ask the right questions. That could be questions to your client, to your project but most and foremost to yourself. What do I want to express with this design or solution, and why? At the university of Ljubljana, Slovenia for instance, I had the students design a Silence Chapel, a place within the city where one could still experience or even buy a piece of silence. Apart from the architectural outcome, first there is a take and reflection on the issue of silence in current times by the student necessary. There is a lot of dialogue in my teaching. Drawing is easy, thinking is more difficult. I think we need to contemplate hard and debate intensely,before we start drawing.

4. The volume of most of your buildings is not very big, and the moulding is concise. However,you focus on the design and the choice of materials for the skin. Could you say something about your treatment on the building skin?

For us, size doesn’t matter. All buildings have their context and design choices based on the concept. The challenge with every building is to find the best design, floorplan and façade solution. Moreover, our buildings are an integral result of all building parameters. So the skin is not just a skin, it is the result of an integral process related to everything, not just anything. Often, the skin of the building as you call it, is the thing expressing the architecture of it. Therefore it has huge importance to the buildings that we make. The choice of the façade material, it’s texture and the way it is used becomes the overall expression. But it is the result of a serious indepth research that defines the final façade solution. This is something far from arbitrary, and can be felt more than it can be seen.

5.You think "the simpler you design, the more time you need to make the design more accurate". Would you specifically tell us how you would make the concise moulding more accurate?

It is a true that in simplicity often lies a profound battle to make this simplicity happen. It is much easier to make a not-simple building, aesthetically. One issue is accuracy; in my opinion and in our buildings we realise this by deciding on every available construction element. It could be saying something about a nailing pattern that will be used in the façade, or the position of sub construction like girders that would normally be chosen randomly by the builder. If you look at our Sheepstable project for instance, a project with which we won the World Architecture Festival in Barcelona in 2008, you will find that all necessary construction parts down to the supporting slats of the façade were given a specific and consequent position. Driving the builder insane, it turned out to have been crucial in the end result. Another issue is the demand for aesthetic simplicity in general. There is no standard solution to generate a simple look. Every opening or deviation needs a specific design solution, in order to make it fit the general look. It should be there, but not show. Simplicity and accidentality do not combine.

6. Most of the projects you designed are in the Netherlands. How would the regional culture and climate affect and influence your design?

In the Netherlands especially the climate and budget are key factors. Creating our architecture would be much easier if there would be less insulation demands or a bigger budget. Also the specific humidity often leads to a challenging use of materials. The good thing is, it has made us very creative into finding solution to get it the way we want it, at a low price. This requires huge knowledge of building techniques, which we have acquired over the years. The building materials we use are predominantly wood and brickwork, both typical Dutch building materials, especially the latter. The Dutch building trade however is focused on standard or proven solutions for these materials, and builders find it difficult to change their ways. Rethinking these construction methods and convincing them to try a new solution is part of the job and can only successfully be done by simply ‘knowing your stuff’. Or, as I often tell my students humorously; I am not arrogant, I simply know better...

Different countries bring a different context in any case. We are doing a project of luxury holiday homes in Italy,on the edge of Tuscany, where politics and knowing the right people in the right places is important. Or our project in Iran, where communication is an issue not only because of the language, but also because of the customary rules that are invisible written between the lines. And our boutique island resort in Belize offers the challenge of hurricanes and light construction materials in order to be able to easily transport these materials to the small island some 45 minutes by boat from Belize city.

7. What do you think of the contemporary architecture in China? If you have a chance, what kind of project you’d like to design in China?

I think China is a very interesting country, mainly because of the scale and numbers things are being done in.Your contemporary architecture evolves on a very high level and I always wonder how the interaction in relation to such a densely populated country works out. It’s a super scale kind of city planning and architecture the Chinese seem to be working with, which is fascinating. We would be very keen on doing a private house, an apartment building or a design hotel in China. Our office focus at the moment is on especially the latter, design- or boutique hotels. We see a huge shift in the way people experience and move around while on holiday. This is something we want to investigate and show in a new, forward looking hotel design concept.

8. We noticed you also design a lot of interiors.How do you apply the materials and colours to express the space characteristics?

Yes, we also do interior design which is an extension of our architecture, like the Acibadem International Medical Centre in Amsterdam. In some way it is the same as architecture; both creative and focused on designing. But interior design is more detailed and refined in another way. Materials and textures are more intense in an interior because you experience them up close and can be overwhelmed by them, but at the same time can easily become dull when you don’t use any texture at all. It’s all about the balance between materials, colour and making it an interior where you long to ‘come home’ to, especially in designing a house or hotel interior. We tend to be on the edge with our minimalistic designs. The design must be functional and spatial but at the same time not give the feeling you’re on a filmset and have to be careful with every design solution. That’s also why we design a spot for everything, from your coat to your car keys. When a client comes to us, they usually have a ton of ideas and they never fit. It is our job to combine their many ideas in to one design that captures everything they want. It’s very personal and therefore we have a lot of consultations with the client. We do a lot of customization and design everything up till the handles of cabinets. A good example of this is Villa Frenay, which turned out to be a very balanced project on garden and house, space and detail. To make a good design you need more than creativity,you have to empathize with your client.

9. Would you please share with our readers the most challenging project since you took up the occupation?

I guess the most challenging project so far was the Duivenvoorde visitors Centre. The completely contradictory demands of a building that should look like a barn in a medieval monumental garden (no windows) but should function like a modern restaurant (lots of windows) was challenging. Executing the solution was even more challenging, since there was no builder able to make what we had in mind. So we had to engineer everything from scratch; the façade had to be openable, but without showing any of the mechanical parts necessary to do so. With a limited frame wood width of 67 mm having to fit the glass and the mechanical parts for the hatches on two sides as just an example of part of the problem, the challenge becomes clear. Keeping the client in the loop and convinced of the choices we had made at the same time was also part of this tedious process. It turned out very well in the end, even winning the Prix Versailles 2018 with it, but it must have been the biggest challenge so far. Another demanding project was the Moravian Church we built in Amsterdam and was nominated for the World Architecture Festival in Singapore. The budget, all money saved privately by the predominantly underprivileged church community, was very limited. By keeping things simple an focussing on the core of this design, being ‘light’and the colour ‘white’, we managed to keep the level at a high architectural standard.

10. What do you think the trend and development direction of 70F?

As an office we are growing and developing continuously. Our architecture is being appreciated worldwide so there is no doubt on our vision or take on it. We are slowly but surely working on larger projects but at the same time we need our contact with the projects to be eminent and constant. Our focus now is on buildings that have a verity of functions and offer a wider experience to a larger public, like hotels and apartment buildings. Working on some local projects within this focus, we are also interested in and focussing on doing this somewhere else in the world.