“We Turn Every Project into an Opportunity”: In Conversation with Giorgi Khmaladze
由專築網飛魚，小R編譯
建築師Giorgi Khmaladze於1982年生於格魯吉亞第比利斯。2002年畢業於第比利斯國家藝術學院，之後他被倫敦AA建築學院錄取，但他無法支付學費，因此他留在了格魯吉亞，做自己的項目，同時參加各種國際建築競賽。2010年，Khmaladze 是第一位獲得哈佛大學GSD全額獎學金的格魯吉亞人，該獎學金一部分由學校授予，一部分由格魯吉亞政府授予。這位建築師2012年獲得建築學碩士學位，之後回到第比利斯繼續工作。2014年，他的Gas Station/McDonald項目獲得了2014年ArchDaily 商業建築年度大獎，其他項目則有2010年上海世博會格魯吉亞國家館和第比利斯咖啡生產廠。他的小型辦公樓採用玻璃體量與裸露的混凝土結構結合設計。在下文中，我們探討了這位建築師的設計目的、靈感來源，以及項目的發展歷程。
Architect Giorgi Khmaladze was born in Tbilisi, Georgia in 1982. After graduating from the Tbilisi State Academy of Art in 2002, he was accepted to AA in London but at that time he could not afford studying there. He remained in Georgia, working on his own projects, as well as taking part in various international architecture competitions. In 2010, Khmaladze became the first Georgian who was accepted to Harvard’s GSD on full scholarship, which was provided partially by the university and partially by the Georgian government. He graduated with Master’s in Architecture in 2012 and returned to his practice in Tbilisi. In 2014, his groundbreaking Gas Station/McDonald’s in Batumi won 2014 ArchDaily Building of the Year Award in Commercial Architecture. The architect’s other projects include Georgia National Pavilion at 2010 Shanghai Expo and Coffee Production Plant in Tbilisi. We met at the architect’s small office located at an attractive prismatic glass volume with a pronounced concrete exoskeleton to his own design. We discussed the architect’s intentions, inspirations, and that every one of his projects starts from scratch.
Vladimir Belogolovsky（下文稱為VB）：作為一位建築師，你怎麼評價你的工作呢？
Giorgi Khmaladze（下文稱為GK）：我們為業主設計建築。事實上，在設計過程中，我們會成為合作伙伴。我們通過解決各種各樣的設計問題來回應他們的設計要求。但是最重要的是，我們把每一個項目當成一次營造空間的實驗和創新機會。無論如何，我們都在嘗試這種做法。當然，我們的業主並不是總知道自己想要什麼，因此我們建築師就需要堅持自己。我們與他們合作，幫助他們打開思路，有時幫助他們發現他們真實的想法和需求。
VB：在一次採訪中你提到，“在我們的工作室中，我們嘗試打破建築邊界來解決一些問題，同時做一系列嘗試”。
GK：一方面。我們的設計都會充分考慮當地的建造條件和預算。另一方面，我們行事低調，因為業主經常會對各種問題徵求我們的意見。他們選擇建築場地，這在格魯吉亞是一種典型的做法。
Giorgi Khmaladze: We work with our clients who commission us to design buildings. We actually become partners in the mission of achieving a common goal. We respond to their briefs by trying to solve various programmatic issues. But most importantly, we turn every project into an opportunity, of finding enough space for experimenting and innovation. We try, anyway. Of course, our clients don’t always know what they want, so the architects are often asked to assist them in preparing the brief. We are working with them to help them open up and sometimes even discover their true intentions and needs. We use those opportunities to our advantage.
VB: In one of your interviews you said, “At our studio, we try to push boundaries of design by challenging each project with the right questions and series of experiments.”
GK: On the one hand, we experiment as much as possible with the design by considering feasibility in terms of local construction capabilities and budget. On the other hand, we also try to be careful because very often clients ask for our opinions on all kinds of issues. They range from choosing the right site to developing a program. This is quite typical here in Georgia.
VB：第比利斯因它獨特的歷史結構而聞名，因此我們可以驚訝地發現在市中心有很多獨特的現代建築，它們的地理位置和偉大的古老地標平等共存。這座城市現在非常有活力和現代性，因為它包含的一些典型的現代建築。你對格魯吉亞現在的建築創新有什麼看法？你如何評價像你這樣的建築師的一些契機呢？
GK：你所描述的情況是以前政府想將格魯吉亞帶入21世紀所作努力的結果。當Mikheil Saakashvili開始執政（2004-2013），他非常強調城市中的現代建築，以及建築師在整個項目中位於主導地位。很多外國建築師被政府請來設計城市中的重要公共建築。在20世紀90年代內戰期間，這在建築界是非常令人振奮的事情，因為這裡並沒有建築師的太多機會。之後，建築師成為了城市更新修復的核心主力。這一發展由政府發起，但是由私人企業執行。因此，對於當地建築師就有很多機會，包括我的團隊。我們開始做競賽並提高討論的層次。這不僅只是專業的事，到處都是新建築，你不可能忽視它們。事實上，許多新建築的地理位置並不理想，管理也並不完善，但最重要的是，業主和公眾都對建築有很強的興趣。
VB: Tbilisi is known for its characteristic historical fabric, so it is surprising to see so many uncompromisingly contemporary buildings right in the heart of the city where they are positioned to be equal with prominent older landmarks. The city is now very dynamic and modern because it embraces very bold contemporary architecture. What do you think about the current state of architectural innovation here in Georgia? How would you assess opportunities for architects like yourself here?
GK: What you are describing is the result of our former government’s efforts to bring Georgia into the 21st century. When Mikheil Saakashvili’s government [2004-2013] came to power, there was a strong emphasis on modernizing the country and architecture played a very central role in this process of development. Many foreign architects were hired directly by that government to design a number of key public buildings right in the heart of the city. That was very refreshing for the profession because, during the civil war in the 1990s, there were no opportunities for architects here. Then architecture became an integral part of the renewal process. This development was led by the government but also followed by the private sector. So, many opportunities came for local architects, including my practice. We started having competitions and it raised the level of the discussion. It is not just a matter of professional circles. The new architecture is everywhere; you can’t avoid it. For sure, the situation here is still not ideal. Regulations are not always well defined but what’s important is that there is a strong interest in architecture both on the sides of the clients and the public.
VB：你認為你們工作中的主要目的是什麼？
GK：我的目的通常是滿足業主的需求並落實每一個項目。我必須採用建築語彙滿足業主。當然，我通常將設計賦予一些積極的情感，與自然的關係以及超越實用主義的需求等，這些都是重要的因素，同時試圖讓業主看到設計的價值。我不會將自己個人的想法強加給業主。他們討論時，我通常會回應他們。
VB：你能談談你的加油站和麥當勞建築嗎？
GK：這是很好的機會，將兩個完全不同的項目通過創新的解決方法結合在一起。設計概念是將兩個項目採用渾然一體的方式相互整合。然而，這兩個項目並不相同，在經驗和視覺上都應該分隔開。業主希望我們採用兩個低矮的體量，佔滿整個場地。但是我們提出將兩個功能塊壓縮成緊湊的形式。並且，將娛樂休閒空間佔主導部分。我非常滿意這一建築，並不是它的形式，而是事實上確實形成了很多公共空間。從餐廳裡，你看不到加油站，而在加油站，你也看不到餐廳。它們之間相互獨立，但又通過單一、渾然一體的符號化形式結合到一起。並不是每一座建築都需要符號化，但是對於這座建築，它的項目和形式上都非常成功，它有很高的辨識度，並且獲得了積極迴響。
VB: How would you describe the main intentions of your work?
GK: My intentions are always tied to my clients’ intentions and the specifics of each project. I must respond to the pragmatics first so that clients are satisfied. Of course, I always try to push the design to provoke positive emotions, celebrate nature and go beyond utilitarian needs is an equally important function. And I try to avoid clients who don’t see any value in design. Still, I don’t bring my preconceived notions to my clients. They start the conversation and I always respond.
VB: Could you talk about your Gas Station/McDonald’s building in Batumi?
GK: This was a good opportunity to combine two very distinctive programs that required an innovative solution. The idea was to integrate two programs into one in the most seamless way. Yet, these programs are so different that they needed to be separated both experientially and visually. The client expected us to occupy the entire site with two blocky, low buildings, each for its program, but what we proposed was to squeeze the two programs into a very compact form and leave as much space as possible open to recreation. I am proud of the result, not the form but the fact that so much space was given back to the public. From the restaurant, you can’t see the gas station and from the gas station, you don’t see the restaurant. They are completely independent and yet, work together as a singular, seamless urban form, an iconic form. Not that every building needs to be iconic but, in this case, it works successfully both in terms of its programs and form, which has become an icon that people recognize and respond to very positively.
VB：用一個詞或一個短語來形容你的建築風格或者你想要達到的感覺？
GK：簡潔但不簡單。激發靈感、無定義、未知、因調研為基礎。
VB：你可以談談你的設計方法嗎？
GK：它通常是一個過程，我們花大量的時間去研究它。我們從來不依賴於已經存在的解決方法。每一個項目都是獨特的，我通常需要一個安靜的空間去畫草圖，之後我的團隊配合我。我決定設計方向和概念。我們通過討論並最終確定方案，這在設計之初是很難預測的。確保設計方案的質量，同時一些業主也有他們自己的想法，我們會花足夠的時間進行比較，最終，我們會採取能夠接受的方式來解決這一問題。我們會不斷努力，直到達到想要的結果。在這種情況下，我們的建築師會遵從我的指導和想法。如果只是簡單地遵從業主的想法，就不會有創新。你必須超越想法。
VB: What single words or short phrases would you use to describe your architecture or the kind of architecture that you would like to achieve?
GK: Simple but not primitive. Inspiring. Undefined. Unknown. Investigation-based.
VB: Could you talk about your design approach?
GK: It is always a process. We spend a lot of time on research. We never rely on ready-made solutions. Every project is very specific. I typically need a quiet space where I initiate my sketches and then my team joins me. I define the direction and concept. I initiate discussions that eventually lead to results that are hard to predict in the beginning. To be sure everything has been considered and the best possible decisions are made, some clients bring their own ideas and we usually spend fair amount of time developing options for comparison, but at the end of the day, we only proceed with solutions that are acceptable to us. We never stop until we get to that point. In that sense, my architecture is led by my convictions and my ideas. And you can’t make anything distinctive if you simply follow your client’s brief. You must go beyond what you are asked.
VB：因此，你想成為什麼樣的建築師呢？
GK：我認為偉大的建築是在技術與想象力、個人與公共的需求，以及可利用的資源之間達到平衡。這一平衡是合適的比例，在不同的項目中是不同的。在每一個項目中，我們試圖明確這一比例。在很長一段時間裡，我們沒有固定的模式來思考現在的建築。但是現在，我們的時代已經到來。我希望把我們的每一個項目當成一種機會，來創造一些未知的東西並推動建築向前發展。
VB：但我欣賞你的作品時，我不能將它定義為格魯吉亞的建築。我看到的是一個不妥協的當代建築，它也可以位於其他地方。你有沒有對建築的地域性有一些思考呢？
GK：如果我們討論這些項目的形象，反映地域傳統特點確實不是我們的主要關注點。儘管有些形象已經確定。我們現在正在做的一個項目是歷史中心，它就採用明確的傳統平面和特點。因此，我們以某一種方式來回應文化背景，在我們的項目中，這種方式並不是明顯體現在立面和建築細節中。我們不想壓抑自己的潛能。不管怎樣，歷史感在當地建築中是一種折衷主義。在我們的設計中，我們希望去尋找它。
VB: So, what kind of architecture are you after?
GK: I think that great architecture is in a skillful balance between imagination, private and public needs, and available resources. The balance is in the careful ratio of these issues, which varies from project to project. In every project, we attempt to identify this ratio, and in this search, we want to be bold and brave. For a long time, we did not have stability and economic means to even think about contemporary architecture here, but now our time has come. I want to use every one of our projects as an opportunity to create something unknown and push architecture forward.
VB: When I look at your work, I can’t identify it with Georgia. What I see is uncompromisingly contemporary architecture that could be done in other places as well. Are you at all concerned with your architecture’s regional identity?
GK: Reflecting on the regional traditions is not a major part of our intentions in general, if we are talking about the appearance of our projects. Not that it is something predetermined, though. We are now working on one project in the historical center, which has clearly visible ties to traditional planning and character. So, we do respond to the cultural context in certain ways, but this isn’t necessarily evident in the appearance and architectural details of our projects. We try not to limit our potentials. Anyway, historically, the local architecture here is very eclectic. In our designs, we look forward.
VB：你從哪裡獲得靈感？
GK：我不能指出某一種方法。我的所有方案都來自於直覺。任何事情都會激發靈感。但是，再次強調，我們工作室通常從建築語彙和建築特性入手。
VB：如果讓你說出在建於15年前的最能代表格魯吉亞現代主義的某一座建築的名字，你認為哪一座最符合？
GK：我喜歡我們的當地建築公司Laboratory of Architecture #3設計的第比利斯媒體中心。因為它將一部分空間面向公眾，並且這座獨特建築非常具有創新性。另外還有另一個項目，是由MUA建築工作室設計的Fabrika招待所，這兩個項目都十分吸引大眾。
VB: Where do you derive your inspirations from?
GK: I can’t point to any particular sources. All my projects are developed very intuitively. Anything could become an inspiration. But again, our work always starts from the pragmatics and specifics.
VB: And if I asked you to name some buildings, built in the last 15 years that you think are the most representative of contemporary architecture here in Georgia, which ones would they be?
GK: I like the work of our local firm Laboratory of Architecture #3 and specifically their Mediatheque here in Tbilisi. I like projects that give back something to the public and this particular building is very inventive and generous. I would also name another project here in the capital, Fabrika Hostel by another local studio, MUA. Both projects engage the public the way I think architecture should.
圖片：Khmaladze Architects
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