DEC 2010 VOL 24 (4)
Focus: The Aga Khan Award for Architecture - 2010 International: MAXXI by Zaha Hadid
18 IA&B - DEC 2010
Tangible, Intangible & Human Sarita Vijayan, Editor & Brand Director, IA&B talks to Li Xiaodong, Principal Architect, Li Xiaodong Atelier and the recipient of The 2010 Aga Khan Award for Architecture on his work, interpretations of context and ‘contextuality’ and the award winning design of ‘The Bridge School’. Photograph: courtesy Li Xiaodong Atelier
let’s partner Li Xiaodong is a practicing architect, educator and researcher on architecture. He graduated from the School of Architecture at Tsinghua University (1984) and received his Ph.D from the School of Architecture, Delft/Eindhoven University of Technology (1993). He established Li Xiaodong Atelier in 1997. His design work ranges from interiors and architecture to urban spaces. His work has won national and international design awards in China, Germany, the United States and the Netherlands. He is currently Chair of the architecture programme at the School of Architecture at Tsinghua University, in Beijing. Li is the recipient of The 2010 Aga Khan Award for Architecture for his project ‘The Bridge School’.
SV. We congratulate you on receiving The 2010 Aga Khan Award for Architecture for your design of ‘The Bridge School’. How do you see the impact of this recognition on your work? Li. It is an important recognition worldwide due to the publicity and fame of the award, which reconfirms that my practice is on the right track. SV. What according to you are the fundamental elements of your architecture? Li. A reflexive model of design thinking which sees architecture product as a process of constant conversation between designer and the overall condition (including tangible and intangible, human and physical environment) that he is designing with. SV. How do you define your practice? Do you see your work as a ‘niche’ or as mainstream design practice? Li. I share with the classic cannon that it is the responsibility of the architect to strive for the highest order of the human environments. Each project is unique and should add uplifting spiritual characteristic of the project to the built environment. The design should reflect an overall balance of aesthetic quality, tectonic order and precise detailing with the program. My design strategy starts with a careful analysis of the program and site in relation with the resource which will play central role in the overall integration of ideas. The concepts are conducted by both cultural and climatic environment of context and seek to capture the spiritual essence of “place”. The designs strive for tranquility and harmony suggested by space, light and structure order. Fixed architectural styles are avoided, as they limit potentials to be unique and creative. However, studies of the precedents of past experiences and knowledge are important for us to provide a solid background to solve new problems in hand. I believe that a good design product is the result of spiritual exploration of ideas with rational thinking, it engages with both technical knowledge and artistic judgment. The richness of a good design rely on how the matrix of detail, scale, proportion and common sense are carefully orchestrated. SV. Do you see your designs as sustainable models? Li. Definitely. I see especially my design as a mean to sustain not just itself but the community.
SV. You identify your work with spirituality. What connection do you see between your work and your spiritual explorations? Li. Peace, harmony and dialogue. SV. What parallels in terms of philosophy do you see in all of your projects? Do all your projects take form from a singular approach? Li. A multi-disciplinary discussion among all the components of design subjects in hand. SV. The Aga Khan Award citation explains the design of ‘The Bridge School’ as having very little influence of the area’s traditional building style. How do you interpret the role of the context in your architecture? Li. De-familiarisation is an intended effort in this case. A declining community needs strong dose of “medication” to pinch the consciousness. Yet, context is not ignored, integration is done through communication with the context (rather than aping the existing model). SV. You are closely connected to academics. What significant and emerging attitudes you see in students towards architecture? Li. I am a Professor of History and Theory of Architecture at the School of Architecture, Tsinghua University. Fortunately, the students’ attitudes towards architecture are much more diversified than before due to a much open environment of educational system as well as social and physical conditions. SV. India and China have a lot in common in terms of development and emerging urban scenario. What would be your approach while designing in India? Li. There should not be any existing model of design to be copied. Each design problem is a unique one which requires independent thinking, design is not about choices of styles, but ideas, concepts and philosophies which should be generated through a process of discussion with the condition to be designed.
To read more on The 2010 Aga Khan Award for Architecture and ‘The Bridge School’, refer to the article titled ‘Reconciliation and Conviviality’