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　　【記者】從圖解上看，中國館這次使用到城市輪廓線和山水輪廓線的象形設計類比手法。和其他國家相比，象形設計在建筑上對中國近代影響似乎很大，您是如何看待象形設計以及象形設計對中國現(xiàn)代當代建筑設計的影響。

　　Looked from the graphic, the China Pavilion of this EXPO uses pictographic design methods and elements such as the city skyline and the curved mountain profiles. Compared with that in other countries, pictographic design seems more influential in contemporary Chinese architecture. What’s your perception of pictographic design and its impact to contemporary Chinese architecture?

　　【陸軼辰】 我們對這個房子“像”什么一點都不感興趣。好的建筑就和藝術品一樣，不同背景的人可以有不同的詮釋，如果大家對它的說法一致，反而說明這個藝術品的厚度不夠，不足以承載各種深度的信息。比如說，我們樂見：老百姓們看到的是個竹屋面;領導們看到的是傳統(tǒng)屋頂;建筑師們看到的是膠合木結(jié)構(gòu);參數(shù)化建筑師看到的是南側(cè)自然拋物線和北側(cè)直線之間的數(shù)理關系……很好，很和諧--建筑師的思考就在里面。

　　但我們有明確反對的，就是“具象”的設計。比如說傳統(tǒng)圖案、臉譜、燈籠、剪紙這些過于具象的符號模仿或淺薄裝飾，這個是價值觀問題，設計師應該寸步不讓。中國館在設計過程中有過各種大家難以想象的壓力，但至少在建筑層面上，我們沒有妥協(xié)，一些涉及到建筑層面的“裝飾”，最后在工程過程中也基本上被建筑師消解掉了。更重要的是，我們在配合的過程中，看到了業(yè)主對建筑師的信任和支持。大家現(xiàn)在看到的，是包括業(yè)主、清華美院各專業(yè)、總包等各個方面全力配合獲得的結(jié)果。要把這些背后的努力寫出來，會是厚厚的一本書。

　　【陸軼辰】 We are least interested in what the building ‘looks like’. Good architecture is like good art. People with different backgrounds may have different interpretation to it. If the comments from everyone are the same, it means the art doesn't have enough depth to take the various insights. For example, we would like to observe that the general public sees a bamboo roof in the pavilion; government officials see the traditional roof; architects see glulam timber structure; parametric designers see the geometric relations between the curves at the south and the folded lines at the north, etc. That’s very good and harmonious. Our thoughts as an architect are in there.

　　And we also have what we clearly would not want to observe, the real symbolic design. When it’s about the superficial resemblance of the symbols and ornaments, architects should firmly hold their ground because it’s a question of values. During the design process there was all kinds of pressure that people can’t imagine now, but we didn’t set back, as least in the architecture part. Some ornaments at the interface with the architecture also were basically diminished by the architects. More importantly, we observed that the client of trust and support of architects. What everyone sees now, it’s actually a result of the extensive cooperation of the client, all design departments of Tsinghua University and the contractors in all aspects. If we want to write about the effort behind it, we could get a really big book.　　

↑ 中國館南立面山水輪廓 (攝影：Sergio Grazia)