路易斯·恩里克·隆吉·特拉韦尔索Luis Enrique Longhi Traverso

简介 Biography

秘鲁建筑师路易斯·隆吉曾在利马就读于里卡多·帕尔马大学，在Juvenal Baracco 设计工作室工作两年，然后去了美国攻读研究生。他在费城的宾夕法尼亚大学获设计学院建筑设计硕士学位和美术（雕塑）硕士学位，并在波士顿的哈佛大学设计研究生院获建筑、艺术和景观设计计算机动画应用专业硕士学位。在费城，他曾与巴克里希纳·多西、安得勒·桑托斯等诸多世界知名建筑师共事，其中还有路易斯· 康的学生，例如：马歇尔· 迈尔斯和大卫· 斯洛维奇。隆吉曾在母校里卡多· 帕尔马大学任教，现任教于利马UPC 应用技术大学。他在全球众多大学中担任客座教授。

在外（美国和印度）学习生活15 年，路易斯·隆吉决心返回故土完成使命——恢复秘鲁建筑精髓，建造当代印加建筑。2003 年，路易斯·隆吉首次代表秘鲁参加捷克共和国在布拉格举行的著名PQ-2003 第十届舞台设计和剧场建筑四年展。

2004 年，路易斯·隆吉代表国家参加第四届伊比利亚美洲建筑双年展，其纪念博物馆设计作品Yuyanapaq-to Remember 实现了物体的建筑特征。

2007 年，路易斯·隆吉再次代表秘鲁在布拉格的PQ-2007 中出版了其第一本书《场景建筑》，获得了专家的一致认可。

2008 年，路易斯·隆吉代表国家参加威尼斯建筑双年展和西班牙马德里伊比利亚美洲设计双年展。

2010 年，路易斯·隆吉的作品入围第七届伊比利亚美洲建筑双年展，凭借Pachacamac Hill House 项目获得第二十四届秘鲁建筑双年展建筑金奖。

2012 年，路易斯· 隆吉获得安第斯胡里亚卡Néstor Cáceres Velásquez 大学荣誉博士称号。

2013 年， 路易斯· 隆吉获得世界建筑新闻英文平台WAN21FOR21 国际大奖，作为21 个专业机构之一，旨在创造21 世纪世界建筑创造新趋势。

2014 年，路易斯·隆吉获芝加哥伊利诺伊理工学院密斯皇冠美洲奖提名。

路易斯·隆吉的作品得到广泛认可，作品强调其对当代印加建筑的追求，作为讲师和国际教授，其追求体现在工作之中，最近参与的出版物如下：《世纪世界建筑图集》，《现代建筑8》和《建筑细部》。路易斯·隆吉现担任利马隆吉建筑师事务所首席执行官，利马的秘鲁应用科学大学建筑学院高级讲师，多所大学客座教授，其中包括：夏威夷大学马诺阿分校建筑学博士，蒙大拿州立大学波兹曼分校建筑专业首席特聘教授，智利智利圣玛利亚理工大学建筑专业高级研讨会成员。

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.

隆吉建筑师事务所 Longhi Architects

隆吉建筑师事务所成立于1996 年，事务所旨在通过严谨的设计和研究实现跨学科实践，提供创新的解决方案。事务所由创始人路易斯·隆吉担任负责人和设计总监。作为一个协作型企业，事务所团队专业成员不超过10 人，均致力于建筑实践。

事务所专注于专业艺术方面，设计并建造世界公认的剧院舞台、公共设施和小型建筑项目，遵循的基本原则是使建筑与大自然融为一体。

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.

教学兴趣与理念的陈述 Statement of Teaching Interest and Philosophy

几年前，我首次受邀做国际演讲，那一刻，我体会到理解和/或找出“那个”产生建筑合理过程的需要。

经过多次尝试，我在作为教授和建筑师的过程找到了一些逻辑，得出的结论便是第一堂课的标题——“生活的本能”。童年时期因为阅读缺失，我不得不通过其他技能来弥补遗憾。在我的建筑和教学整个过程中，感性、本能和直觉占据主导地位。

在我看来，教授建筑是一种“传播”行为，而不是展示如何做事。学生读大学的目标是成为建筑师；然后发现如果他们成为建筑师，他们所具备的优势是什么。我们应该教给他们的第一件事是什么？首先，必须向学生说明，站在他们面前的是这样的人，只是一个在这一领域有更多经验的人，不管有无答案都感激他们会回答问题，一个会毫无保留地传递给他/她内在自我的人。

对我来说，我学到了一些有助于我传达信息的语句：

首先，应认识到自然是神圣的创造，因此自然是完美的。这一陈述直接的后果是，对自然的任何干预都成为改造完美的尝试。其次，对工具的理解，人类改造自然的工具是“设计”。在词源上，设计被定义为两个词的推论：神圣和符号，因此可以将设计定义为“做出神圣决定的行为”。第三，自人类出现以来，自然和设计一直共同存在，因此，世界的过去、现在和将来的样子都是设计师的职责。第四，建筑师的重大责任是改造自然，这意味着他们要改造完美并且使自然更加完美。换句话说，理解为建筑是自然的本质。

以上四点已成为我每次提出新架构或了解现有架构时必须考虑的基础。

倾听环境并与之建立关系至关重要。这种关系与人类所拥有任何其他关系相似，它可以直接、复杂、浪漫、尊重、理智或疯狂。

于我而言，这种关系非常直接，即直观和敏感，并没有涉及重要分析和/或理性。因此，在教学时，我倾向于与学生建立一种类似于我已经与环境建立的那种关系，这样很容易体会到教授和学生与自然之间的交流。

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.

人物访谈 Interview

导报：您认为建筑与雕塑艺术是否具有关联性？如何理解它们之间的联系？

隆吉：对我来说，它们都是非常相关的，但我很清楚，建筑必须发挥作用，而雕塑是有更多的感动感情，当你使用最好的他们两个你会有灵魂的建筑，精神建筑。

导报：通过对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样的感受？

隆吉：艺术是少数东西之一，如果不是唯一一件能让人灵魂投入物质的东西。我的意思是，每一个建筑，即使是每一件小礼乐都被艺术、美、健康的精神所触动。

当我把工作交给客户后的几年里，我能感觉到每一件事都是对未来的记忆，我理解这种感觉是对下一步工作的启发。我很肯定游客会有这样的感觉。

导报：您对现代钢筋混凝土等材料如何看待？

隆吉：现代现浇钢筋混凝土是我最喜欢的材料，因为它的灵活性与形式，我认为它是最合适的材料为雕塑家建筑师，它的结构能力可以计算，因此建筑师能够履行雕塑家。石头从现场而不是从其他地方是在特定的地点人工干预的完美结合，理想的建筑改造的地方。铸石（大理石灰尘、大理石碎片和水泥的混合物）是粉刷复杂体积的理想材料，因为它们是统一的。

导报：在您的建筑作品中，圆形、折线等形式经常出现，这些抽象化的符号有什么更深层次的意义吗？

隆吉：我想相信他们是我文化的象征，但我不得不承认，他们只是来自我的直觉记忆；然而，出生在秘鲁的安第斯山脉，有逻辑地认为它们是印加人和前印加人在纺织品、陶瓷和建筑中看到的符号。

导报：您怎么看待建筑和自然的关系？

隆吉：对我来说，建筑应该是自然的延伸，如果自然是由神来创造的，那么建筑同样也应该要求做到与自然和谐统一。完美应该铸就完美；如果我遵循自然的理念，那么我的建筑也同样应该被赋予这样的理念。

建筑与自然应该永远是同义词，我们的城市是由各种各样的建筑组成的，从自然中取材，因此这些城市的未来建筑理念应该是更加回归自然。

导报：您认为秘鲁传统的建造和手工技术在您的设计过程中起着什么样的作用呢？

隆吉：传统建筑是印加最重要的文化之一，在秘鲁，这一宝贵的传统元素被运用在众多当代建筑中；在我们的案例中，达到美学结构的要求是对建筑设计-建造过程最基本的要求。

导报：在您的建筑中，建筑形式经常与光有互动关系，您在设计过程中是如何把握光，让其成为您设计的一部分的呢？

隆吉：我将太阳视为建筑中最重要的设计组成部分，我希望在建筑里的每个房间都能看到自然光，因此我会思考如何通过屋顶、地板和/或建筑的任何或所有传统或非传统的设计来实现这一目的。阳光不仅可以取自于建筑的上部，还可以从下方获取。通过绘制尽可能多的建筑剖面图来捕捉光线对我们的设计过程也有很大的帮助。

导报：您认为当代印加建筑前进的方向是什么？

隆吉：在建立一个新标准的同时，必须要同时尊重传统和现代元素。保持秘鲁传统文化与现代元素对于区域影响的完美平衡，是当代印加建筑未来的发展方向。

导报：在您的建筑内部，往往直接展现着建筑材料本身的质感，您想通过这样的设计表达什么呢？

隆吉：在赋予建筑艺术美感的时候需要完美运用每一种材料的质感，使建筑由内而外地可以感受到自然的气息，因此在尽可能的情况下，让建筑材料的质感和整个建筑环境都可以体现出这一点。

导报：在您的建筑内部，几何元素的叠加使得空间呈现出一种乐高般超现实的感觉，您是如何把控几何元素的应用的呢？

隆吉：作为一名雕塑家，我的专业知识和经验对建筑的构图有很大帮助，特别是对内部空间的感知。此外，多年来与知名的现代建筑大师共事，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.