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　　↑ 中國館屋面竹瓦施工過程照片(攝影：陸軼辰)

　　【記者】設計世博會展館這樣的臨時建筑和非臨時建筑有什么區別呢?你如何看待當代建筑對于“新”的追求?

　　What was the difference between designing a temporary building and a permanent one? What’s your observation of the pursuit of ‘new’ in contemporary architecture?

　　【陸軼辰】 建筑是有生命的，和人一樣，有長有短。對于世博會這樣的展館，它們的生命就是6個月，開館那段時間和6月的館日，就是中國館生命中最華彩的時刻。但生命短，不意味著不精彩。我們可以接受中國館最后會以某種方式結束--作為建筑師，我們會不好受，但適時結束它，其實是保護它的一種方式。現在也有說法，一些城市想把中國館在中國異地重建，我們謹慎地樂見其第二次的生命。

　　由鋼和玻璃代表的現代建筑在新的時候很漂亮，舊了就不那么好;而很多老教堂、老房子卻越舊越有味道，很大一部分原因是石、木、金屬這些自然材料可以“記錄時間”。中國館雖然用了最新的膠合木建造技術，但我們卻用它來表達傳統的文化精神。不但大量采用木、竹等可以留下時間痕跡的自然材料，同時我們很關注構建這些材料的過程中，如何與自然因素的融合，比如光。

　　【陸軼辰】 Buildings have lives just like human, some long, some short. A pavilion for an event like the EXPO has only a life of six months with the apexes being the opening days and probably the ‘pavilion days’ in June. That the pavilion has a short life doesn’t mean it’s not spectacular. We could accept the China pavilion terminates in certain way – as the architect, we will not feel great, but to terminate it at the right moment is actually one way to protect it. There have been some words now that a number of cities are willing to relocate the China Pavilion to China. We will be carefully glad to see its second life.

　　Modern buildings made with glass and steel are all beautiful when they are new and not so when they are aged; many old churches, old houses have more and more quality as they age. A big part of the reason is that natural material such as stone and wood can ‘track the time’. Although the China Pavilion utilized the latest glulam building technology, we wanted to represent the traditional cultural spirit with it. Besides using a great amount of natural materials like wood and bamboo to record time, at the same time we also paid attention to how these materials react with natural elements such as light during the process of constructing them.

　　【記者】屋頂的形式和內部的功能是否有呼應?如果有，是怎么樣的，如果沒有，那您對于建筑形式與功能之間關系的態度是怎么樣的?

　　Is there a dialogue between the shape of the roof and the internal programs? If there is, how is it? If not, what’s your altitude regarding the relationship between the form and function?

　　【陸軼辰】 我對純粹的形式不太感興趣，而更在乎觀眾在空間內部的感受。建筑被看到，是一個基本層次的事情，而更高的層次是對空間的感受。而功能是消解在空間中的。如果你們看我們當時在2013年中期的過程模型，其實有一些在建筑學層面上看，和屋面的體系更契合的。但展覽建筑就是這樣，取決于內部展陳的需求。這個建筑中包含著由清華美院師丹青老師設計的一塊400多平米的，發光LED組成的“麥田”，展覽層面上需要有一個無柱的大空間來讓觀眾從各個角度來觀看，使得屋面與內部最大的展覽空間之間存在著另外一種契合。