訪談：胡聰寶 ╳ 設計簿
Interview : Tsung-Pao Hu ╳ Sirjibook
建築作品，是以建築的空間與外貌作為對建築精神的奉獻。不同的時代，不同建築師的作品，都是獻給建築神聖的供品。因此，建築專業會因時代改變，但建築永恆不變。風格，技術與方法，都不是建築的內涵，建築的精神才是真理。….路易康
時間：2015年7月30日
地點：胡聰寶建築師事務所
訪談&整理：劉宜娟、吳省甫、周佳怡
Date: July 30 2015
Location: Dr. Tsung-Pao Hu’s office
Editors: Jenny Liu, Amy Zhou, Xing Fu Wu
訪談當天，胡聰寶建築師介紹他最近的幾個作品。胡建築師是建築博士，現任在台灣科技大學建築系授課，近期的案子有住宅大樓、以及花蓮古蹟再利用的設計規劃。花蓮案是將舊有空間轉換為展場，提供社區居民使用與管理，進而成為社區的一個據點。在一陣談笑風聲中開啟我們今日的訪談：
The architect Mr. Tsung-Pao Hu received our interview talking about several of his recent projects. Mr. Hu holds Ph.D. in architecture and now teaches in National Taiwan of Science and Technology. His recent projects include a residential building and a project on the reuse of a historical building in Hualian. This Hualian project aims at turning an aged building into a space functioning as exhibition area for the local residents and making it a community center. Our interview with Mr. Hu unsealed with relaxed and cheerful conversation.
Q：想請教建築師做設計的手法?
A：先舉例我在新聯陽時設計的馬蒂斯小丘接待中心，對於此案我的優勢在於了解這塊基地的條件是什麼，有著面臨公園和山被包圍的特性。先了解住戶想要看的點是什麼以及太陽光的時間點變化，因此以環境為賣點是最為優勢。讓我想起美國參訪建築時，因此腦海中會想到哪些案子手法適合此基地使用，將建築大師的手法當作技巧操作，選擇了Ludwig Mies van der Rohe的案子手法，放置基地上先試試看感覺，所以設計操作是由這樣開始的。因應基地的現況條件，設計的手法重視:情境控制與鋪呈、創造出反差的視覺感受，讓人有驚喜感，讓原先的劣勢轉換為其優勢。
我做設計的核心想法是：重視半戶外與室內空間的連結關係，與環境的結合。
Q: Can you talk about how do you do a design?
A: Let me explain by an example. While I was with New Land, I designed the display house and sales center for the development project Matisse Hill. My advantage for this project was that I knew very well about the characteristics of the site. That is a place facing a park on one side and surrounded by mountains the other sides. I investigated the changes of sunlight during the day at the site and I thought my design should make the best-selling part, the beautiful environment, of this site stand out. And that reminded me of my trip to USA seeing those famous architectures. I started thinking which master techniques of which architectures might fit this project well. I chose a Ludwig Mies van der Rohe project. I first applied his way of design on the site to see how it felt. This is how I start a design. My first step is considering the current conditions of the site. My design emphasizes a lot on developing and maintaining a certain atmosphere and creating visual contrast so people feel surprised when they are inside the space, and that ends up turning the intrinsic disadvantages into advantages.
My core concept when I design lies in the emphasis of the connection between semi-outdoor space and indoor space and their integration with the environment.
Q：旅行對於你的意義?
A：以往我都在圖書館翻閱相關書籍，在還尚未有時間能出國時，只能如此。看書是無法真實的理解與感受其空間氛圍，因此旅行主要是彌補真實性的落差，所以旅行對於我而言是重要的；在旅行的過程中，我都在思考著哪些手法，是可以應用轉化在我的案子上，所以旅行對我來說是有幫助的。
Q: What does traveling mean to you?
A: In the past when I didn’t have the opportunities to go abroad, I could only read the architecture books in the library. That was what I could do. Reading couldn’t get me to truly understand and feel the space and atmosphere. Traveling abroad to see those architectures can fill up this gap. So traveling means a lot to me. While I’m traveling, I spend most of the time thinking what are the techniques which I can transform and apply onto my own projects. Traveling is very helpful to me.
Q：旅行中的感受如何記錄?
A：在參訪大師的作品時，因為我認為紀錄方法有限，現場感受時就盡可能吸收其空間與氛圍了。我的操作方式是:在現場時我會利用視覺移動去了解這建築的空間尺度；若沒有機會出國參觀，我則是會利用照片進行繪圖擬摩，最好是有平、立、剖面圖，再進而做模型感受其空間感。
Q: How do you record your thoughts during traveling?
A: I don’t’ think there are good ways you can really record your thoughts while you appreciate masters’ works. I try to absorb the feeling and atmosphere of the space as much as I can at the moment. While I’m on site, I move my vision to understand the space and measurements of the architecture. If I don’t have the opportunity to see certain architecture with my own eyes, I would do drawing and simulation based on the images of architecture. I would try to develop its plan, elevation and section, and further build a model to have a sense of the space.
Q：對於古蹟再利用規劃設計中，建築師扮演的角色為何?
A：我舉一個例子做說明，花蓮豐田車站旁的五味屋。這是一個很有趣的案子，在這裡面讓小朋友當老闆，回收不要使用二手物品，有鄰近學校的哥哥姊姊教導他們整理再販賣。因為社區的年輕人外流至城市，所以發起這個活動，讓鄰近學校的學生可來此做功課，也讓社區小朋友有人帶領與照顧。而建築師的職責，在於讓業者與使用者創造最大的誘因達到雙好的局面，而非是著重建築師個人。不論扮演什麼劇場，主要是讓環境與社區變得更好。
Q: Can you talk about what is the role of architect in a project of historical building reuse?
A: Let me explain with example. Five-flavor House, a small shop next to Fengtian Train Station in Hualian, is an interesting project. Five-flavor House is run by local children and teenagers. These young kids collect second-hand objects, tidy them up and put them for sale. This project was initiated because a lot of local young people leave the country for big cities. The students from neighboring schools can come here to do homework after school and the children can be taken care of by voluntary workers. The role of the architect in this project is to create the biggest incentives for the owner and users so as to reach win-win situation. The architect doesn’t really matter personally. No matter what kind of role an architect plays, his or her job is to improve the environment and the community.
Q：對於學生設計上的建議?
A：現在還是會覺得師徒制度還是很重要，而對於建築就是要保有熱情與真誠、對於案子與基地就要持有著負責的心。設計過程中一定會碰到瓶頸，當Alvar Aalto設計做到煩躁時，則會離開辦公室，回家放空隨意畫塗鴉，然而設計靈感又由此塗鴉中產生；因此我認為隨著時代的推進，使用的工具也所不同，但擁有手繪圖的能力依舊重要與不變的。
Q: What is the advice you would give to students in terms of design?
A: I still think apprenticeship is important. Architects must keep their passion and sincerity about design and they must have the sense of responsibility for their projects. Designer's block happens to every one from time to time. When Alvar Aalto becomes irritated in the middle of design, he would leave the office and go home drawing anything without thinking anything particularly. Oftentimes at such moment he would have design ideas again. Therefore, even though the tools that designers use would vary with technology advancement, the possession of hand-drawing skill is unchangingly important for designers.
介紹
胡聰寶建築師，台灣科技大學建築博士，深具人文底蘊與美學涵養。
懷著對建築的理想初衷，他長期耕耘公共建設；
近年來，他更在公共建設之外，開始投入住宅的規劃設計。
擅長以深厚的學理與建築素養為基礎，
考量居住者真正的使用需求，思索環境、建築與居住者的關係，
透過簡潔純粹且開闊的立面，讓空間的材質與肌理因光影的變化，
創造出空間的流動性與美好生活的更多可能性。
Profile
The architect Tsung-Pao Hu holds Ph.D. in Architecture at National Taiwan University of Science and Technology. Dr. Hu has solid training in liberal arts and aesthetics.
Driven by his vision about architecture, he has focused on public construction for a long time.
In recent years he allocated part of his efforts into the planning and design of residences.
On the basis of thoroughly-structured academic theories and architectural training, he put user’s needs into consideration and incorporate the relationship of environment, architecture and users into design.
A wide-open façade of simplicity and purity allows the material and texture of the space to project liquidity through the variation of light and shadow and create plenty of possibilities of a beautiful life.
建築作品，是以建築的空間與外貌作為對建築精神的奉獻。不同的時代，不同建築師的作品，都是獻給建築神聖的供品。因此，建築專業會因時代改變，但建築永恆不變。風格，技術與方法，都不是建築的內涵，建築的精神才是真理。….路易康
時間：2015年7月30日
地點：胡聰寶建築師事務所
訪談&整理：劉宜娟、吳省甫、周佳怡
Date: July 30 2015
Location: Dr. Tsung-Pao Hu’s office
Editors: Jenny Liu, Amy Zhou, Xing Fu Wu
訪談當天，胡聰寶建築師介紹他最近的幾個作品。胡建築師是建築博士，現任在台灣科技大學建築系授課，近期的案子有住宅大樓、以及花蓮古蹟再利用的設計規劃。花蓮案是將舊有空間轉換為展場，提供社區居民使用與管理，進而成為社區的一個據點。在一陣談笑風聲中開啟我們今日的訪談：
The architect Mr. Tsung-Pao Hu received our interview talking about several of his recent projects. Mr. Hu holds Ph.D. in architecture and now teaches in National Taiwan of Science and Technology. His recent projects include a residential building and a project on the reuse of a historical building in Hualian. This Hualian project aims at turning an aged building into a space functioning as exhibition area for the local residents and making it a community center. Our interview with Mr. Hu unsealed with relaxed and cheerful conversation.
Q：想請教建築師做設計的手法?
A：先舉例我在新聯陽時設計的馬蒂斯小丘接待中心，對於此案我的優勢在於了解這塊基地的條件是什麼，有著面臨公園和山被包圍的特性。先了解住戶想要看的點是什麼以及太陽光的時間點變化，因此以環境為賣點是最為優勢。讓我想起美國參訪建築時，因此腦海中會想到哪些案子手法適合此基地使用，將建築大師的手法當作技巧操作，選擇了Ludwig Mies van der Rohe的案子手法，放置基地上先試試看感覺，所以設計操作是由這樣開始的。因應基地的現況條件，設計的手法重視:情境控制與鋪呈、創造出反差的視覺感受，讓人有驚喜感，讓原先的劣勢轉換為其優勢。
我做設計的核心想法是：重視半戶外與室內空間的連結關係，與環境的結合。
Q: Can you talk about how do you do a design?
A: Let me explain by an example. While I was with New Land, I designed the display house and sales center for the development project Matisse Hill. My advantage for this project was that I knew very well about the characteristics of the site. That is a place facing a park on one side and surrounded by mountains the other sides. I investigated the changes of sunlight during the day at the site and I thought my design should make the best-selling part, the beautiful environment, of this site stand out. And that reminded me of my trip to USA seeing those famous architectures. I started thinking which master techniques of which architectures might fit this project well. I chose a Ludwig Mies van der Rohe project. I first applied his way of design on the site to see how it felt. This is how I start a design. My first step is considering the current conditions of the site. My design emphasizes a lot on developing and maintaining a certain atmosphere and creating visual contrast so people feel surprised when they are inside the space, and that ends up turning the intrinsic disadvantages into advantages.
My core concept when I design lies in the emphasis of the connection between semi-outdoor space and indoor space and their integration with the environment.
Q：旅行對於你的意義?
A：以往我都在圖書館翻閱相關書籍，在還尚未有時間能出國時，只能如此。看書是無法真實的理解與感受其空間氛圍，因此旅行主要是彌補真實性的落差，所以旅行對於我而言是重要的；在旅行的過程中，我都在思考著哪些手法，是可以應用轉化在我的案子上，所以旅行對我來說是有幫助的。
Q: What does traveling mean to you?
A: In the past when I didn’t have the opportunities to go abroad, I could only read the architecture books in the library. That was what I could do. Reading couldn’t get me to truly understand and feel the space and atmosphere. Traveling abroad to see those architectures can fill up this gap. So traveling means a lot to me. While I’m traveling, I spend most of the time thinking what are the techniques which I can transform and apply onto my own projects. Traveling is very helpful to me.
Q：旅行中的感受如何記錄?
A：在參訪大師的作品時，因為我認為紀錄方法有限，現場感受時就盡可能吸收其空間與氛圍了。我的操作方式是:在現場時我會利用視覺移動去了解這建築的空間尺度；若沒有機會出國參觀，我則是會利用照片進行繪圖擬摩，最好是有平、立、剖面圖，再進而做模型感受其空間感。
Q: How do you record your thoughts during traveling?
A: I don’t’ think there are good ways you can really record your thoughts while you appreciate masters’ works. I try to absorb the feeling and atmosphere of the space as much as I can at the moment. While I’m on site, I move my vision to understand the space and measurements of the architecture. If I don’t have the opportunity to see certain architecture with my own eyes, I would do drawing and simulation based on the images of architecture. I would try to develop its plan, elevation and section, and further build a model to have a sense of the space.
Q：對於古蹟再利用規劃設計中，建築師扮演的角色為何?
A：我舉一個例子做說明，花蓮豐田車站旁的五味屋。這是一個很有趣的案子，在這裡面讓小朋友當老闆，回收不要使用二手物品，有鄰近學校的哥哥姊姊教導他們整理再販賣。因為社區的年輕人外流至城市，所以發起這個活動，讓鄰近學校的學生可來此做功課，也讓社區小朋友有人帶領與照顧。而建築師的職責，在於讓業者與使用者創造最大的誘因達到雙好的局面，而非是著重建築師個人。不論扮演什麼劇場，主要是讓環境與社區變得更好。
Q: Can you talk about what is the role of architect in a project of historical building reuse?
A: Let me explain with example. Five-flavor House, a small shop next to Fengtian Train Station in Hualian, is an interesting project. Five-flavor House is run by local children and teenagers. These young kids collect second-hand objects, tidy them up and put them for sale. This project was initiated because a lot of local young people leave the country for big cities. The students from neighboring schools can come here to do homework after school and the children can be taken care of by voluntary workers. The role of the architect in this project is to create the biggest incentives for the owner and users so as to reach win-win situation. The architect doesn’t really matter personally. No matter what kind of role an architect plays, his or her job is to improve the environment and the community.
Q：對於學生設計上的建議?
A：現在還是會覺得師徒制度還是很重要，而對於建築就是要保有熱情與真誠、對於案子與基地就要持有著負責的心。設計過程中一定會碰到瓶頸，當Alvar Aalto設計做到煩躁時，則會離開辦公室，回家放空隨意畫塗鴉，然而設計靈感又由此塗鴉中產生；因此我認為隨著時代的推進，使用的工具也所不同，但擁有手繪圖的能力依舊重要與不變的。
Q: What is the advice you would give to students in terms of design?
A: I still think apprenticeship is important. Architects must keep their passion and sincerity about design and they must have the sense of responsibility for their projects. Designer's block happens to every one from time to time. When Alvar Aalto becomes irritated in the middle of design, he would leave the office and go home drawing anything without thinking anything particularly. Oftentimes at such moment he would have design ideas again. Therefore, even though the tools that designers use would vary with technology advancement, the possession of hand-drawing skill is unchangingly important for designers.
介紹
胡聰寶建築師，台灣科技大學建築博士，深具人文底蘊與美學涵養。
懷著對建築的理想初衷，他長期耕耘公共建設；
近年來，他更在公共建設之外，開始投入住宅的規劃設計。
擅長以深厚的學理與建築素養為基礎，
考量居住者真正的使用需求，思索環境、建築與居住者的關係，
透過簡潔純粹且開闊的立面，讓空間的材質與肌理因光影的變化，
創造出空間的流動性與美好生活的更多可能性。
Profile
The architect Tsung-Pao Hu holds Ph.D. in Architecture at National Taiwan University of Science and Technology. Dr. Hu has solid training in liberal arts and aesthetics.
Driven by his vision about architecture, he has focused on public construction for a long time.
In recent years he allocated part of his efforts into the planning and design of residences.
On the basis of thoroughly-structured academic theories and architectural training, he put user’s needs into consideration and incorporate the relationship of environment, architecture and users into design.
A wide-open façade of simplicity and purity allows the material and texture of the space to project liquidity through the variation of light and shadow and create plenty of possibilities of a beautiful life.
