High Life Issue #4

品 26 #4 2017 年 1 月 “建筑是一个社会的实物投影，因此我们必须尊重 这些限制，但同时避免失去创作自由。 “处所元素与地方本身有关。各地都有自己的特 色，我们必须考虑到气候和资源。例如在澳门，人们需 要小心使用玻璃。这就是拱廊和百叶窗在过去被广泛使 用的原因。” 在被问及他最满意的作品时，他露出微笑，或许是 在回想自己的得意之作。 “我最喜欢的不一定是最好的。有时，这取决于客 户给我们多少自由以及我们与项目的个人关联。 “如果不得不选，我认为武装部队研究所是我最出 众的作品之一。” 马若龙展示了他为这座建筑的一些原始设计，并继 续道，“看这里的形状，还有这里，这是为了保护土地 上的古树。我不想只是简单地挖出来，几个世纪以来它 们已经成为那片土地的一部分。这个项目在圈中有一些 影响，连哈迪德也表示赞赏。 “其灵感源自澳门的船坞，采用了它的颜色和形 状。我们尊重所有的地方文化。我当时还很年轻，那是 20世纪80年代末！” 他钟爱的另一个作品，是为2010年上海世博会设 计、代表澳门的「玉兔宫灯」，“因为它为人们带来快 乐。” “我真心认为艺术和建筑必须让人感到快乐。这虽 然是陈词滥调，但一点不假。从来没有一件作品吸引如 此多人给我打电话。” 不过马若龙并不满足于他目前为止的作品。 “要永远记住，我们不是唯一，亦不是最好的，因 此我们要继续探寻。我总是努力做到这一点，”他微笑 道。 “You see, the combination of colors used in Chinese architecture has nothing to do with the ones used in European buildings. Even India was a great influence with its bright, cheerful saris. Growing up inMacau exposes you to these things. To beMacanese is to be universal.” It also gave hima sense of the “other” and a desire to understand. “I have always believed that architecture has to have an element of Ethnos and one of Topos. The first relates to people, their cultural fingerprint al- most. When you are designing a building for Macau it cannot have the same principals of a building in Europe or Africa. Why? Because the cultural reality is different and we have to understand and respect this – even within a globalized world. “Architecture is only the physical projection of any given society, so we have to respect these restrictions but at the same time avoid losing our creative freedom because of them. “Topos relates to the place itself. Places have their own spirit. So we have to take into consideration the climate aswell as resources. InMacau, for example, one needs to be careful in the usage of glass. That is why arcades and blinds were sowidely used in the past.” When discussing his favorite works he smiles, perhaps reflecting on his greatest achievements. “Like in anything, my favorite works are not necessarily the best ones,” he replies. “Sometimes it is the combination of how much freedom the client gives us and our personal connection to the project. “If I absolutely had to choose, I think the Institute for the Armed Forces was some of my best work.” Showing some of his original designs for the building, Marreiros continues, “You see the shape here and here? This was to protect ancient trees that were in the land. I did not want to just take them out – they had been part of it for centuries. The project had some impact in the circles and even Hadid made a compliment. “It was inspired by the shipyards of Macau and I used the colors and shapes, so we did respect all of the local culture. I was very young at the time – this was the late 1980s!” Another favorite is the Rabbit Pavilion he designed to represent Macau at the 2010 Shanghai World Expo, “because it makes people happy.” “I honestly feel art – and architecture – has to make people feel joy,” he says. “I know it is a bit of a cliché to say so, but it’s true. I never had so many people call me like I did for the rabbit.” Marreiros, though, isn’t content with his life’s work just yet. “It is important to always remember that we are not unique nor are we the best, so we need to keep searching. I always strive to do that,” he smiles.