哈維爾?塞諾西安禓?阿圭勒

簡介 Biography

哈維爾·塞諾西安禓·阿圭勒是一位教、研、實踐并舉的墨西哥籍建筑師。

學術領域：1972 年，哈維爾以優異成績畢業于前墨西哥國立自治大學建筑學院。從那時起，在該大學建筑系教授兩門課程：“生物建筑學”——集中講授哲學理念和作品，以及“項目研討”課——指導將要畢業的學生論文。有一段時間，哈維爾擔任建筑學院學術秘書的職務。

專業領域：哈維爾設計了諸多項目：辦公樓、住宅、工廠和旅游項目及建筑。

研究領域：哈維爾致力于研究稱為“鐵絲網水泥”的建筑材料，可用于小型和超大型建筑。他的研究還涉及裝配式結構和噴涂聚氨酯建造房屋的氣動結構，避免了使用腐蝕性材料。

出版《生物建筑》，Elsevier 建筑出版社，2003 年，英國牛津。出版《有機建筑》，AM Editores 出版社，2008 年，墨西哥。出版《BioArquitectura en busca de un Espacio》，（《尋找空間的生物建筑》）Noriega 主編，1996 年，2004 年增補本。

獎項及展覽：2006 年，墨西哥國立自治大學建筑學院董事會授予哈維爾 Federico Mariscal 主席一職。2016～2017 年，哈維爾于貝拉斯阿特斯宮國家建筑博物館舉辦作品展覽。

Javier Senosiain Aguilar,the mexican architect has combined the professional practice with teaching and research.

In the academic activity:He graduated with honors from the former School of Architecture of the Universidad Nacional Autonoma de Mexico in 1972.Since then,he has been teaching two courses at the Faculty of Architecture of the Universidad Nacional Autónoma de México:‘Bio architecture’ which is focused on his philosophy and his work and a ‘Project Workshop’ in which he directs students’ thesis during their last year.For a period of time he held the position of Academic Secretary in such Faculty.

In the professional activity:He has developed a variety of projects:office buildings,houses,industrial plants and tourism projects and constructions.

In the research activity:He has dedicated his research to a construction material called ‘ferrocement’,used in small and oversized buildings.He has also researched pre-manufactured structures,as well as pneumatic structures which can be sprayed with polyurethane to build houses without the use of aggressive materials.

Publication of the Book“Bioarchitecture”,Architectural Press,Elsevier 2003 Oxford,U.K.Publication of the Book“Organic architecture”AM Editores Press,2008,Mexico Publication of the Book“Bioarquitectura en busca de un espacio”(“Bioarchitecture in search of space”) Editorial Noriega 1996,2004 enlarged edition.

Awards and exhibitions:In 2006,the Board of the Faculty of Architecture of the Universidad Nacional Autónoma de Mexico granted him the Federico Mariscal′s Chair.In 2016-2017 he held an exhibition of his work in the National Museum of Architecture at the Palacio de Bellas Artes.

關于哈維爾?塞諾西安禓?阿圭勒 About Javier Senosiain Aguilar

20 世紀工業革命和兩次世界大戰的短短幾年，使這個星球支離破碎。一些微弱的、幾乎聽不見的聲音，一如蒙克，在窒息中安靜的狂喊，試圖結束漫天的紅火，抵擋猛烈的雪崩，拯救被一波又一波沉重、灰暗的建筑摧毀的地球綠洲。摩天大樓填滿領空，房屋、公寓、工業建筑、工廠、辦公室、警衛站、紀念碑、道路、橋梁、高速公路占據地面——這僅僅是城市人造建筑的冰山一角。它們取代舊建筑，生長為新的地殼表皮。

微小的聲音被放大了。從地球隱秘的某處叫囂著，抽泣，重復同樣哀嘆的低語，苦痛已被遺忘，卻又被暗暗勾起。然而，它們未能強大至成為回聲，足以淹沒蒼穹，宣告世人的回聲。誰在聽這些聲音？誰真正擔心地球的健康？

人是理性的存在，這是真的嗎？是造物主的杰作，這又是真的嗎？這個上帝最完美的創造僅用了一個世紀，就摧毀了他的生境。曾經狂風驟雨，巨物橫行，環境兇險，原始人類前途未卜。但人類堅持探索——感激美好的土地，感受腳趾間的塵土堆積在皮膚上一層又一層的重量。那重量將一手鑄就人類的生存環境。

世上本沒有路

走的人多了，也就成了路。

誠然，人類應該創造屬于自己的道路。地球上游牧民族的歷史和定居人類的歷史幾乎等長，哪種生活方式教會了我們最多?游牧的生活方式自我衍生，世世傳承；今天，聲音漸行漸遠，勉強為研究者所知。而后者，定居人類的故事，曾經紅極一時并如今為人熟知。

After the Industrial Revolution,both world wars of the twentieth century,and discovering that just a few years were enough to mutilate the planet,we begin to hear a few faint,barely audible voices,such as Munch’s,a silent,stifled shout trying to put an end to the enormous red fire that definitively paralizes a growing avalanche,devastating the green areas of mother earth with waves of,heavy,gloomy gray buildings;skyscrapers that fill up airspace and cover the earth’s surface with houses,condominiums,industrial buildings,factories,offices,guard stations,monuments,roads,bridges,highways–just a few of the manmade objects found in urban zones.They have become the new covering,the new epidermis of the earth’s crust.

Small voices are raised.They clamor from some hidden part of the planet,a murmer that weeps and repeats the same lament,that transmits the pain for what has been lost.Nevertheless,they cannot yet multiply into an echo,a constant echo that deluges the firmament and tells all the listeners of the earth what is happening.Who is listening to these voices? Who is truly worried about the health of the earth?

Is it true that man is a rational being? Is it true that he is the master workmanship of the Creator? This most perfect creature of divine creation has needed only one century to destroy his habitat.When he took his first steps on the earth and each footstep erased by the wind,the rain or even the footprints of some larger animal,primitive man’s surroundings were undoubtedly hostile,agressive,rugged.But man continued his wanderings–gratefully wandering the good earth,feeling the dust between his toes,allowing the dust of the earth to accumulate layers on his skin.The dust of the earth was an essential part of his environment.

Walking where there is no path

A path is formed where one walks.

And it is true that man should create his own path even as he walks.It may be that the history of the nomads of the earth is as long as that of sedentary man and that we should evaluate which of the two lifestyles taught man most.The nomadic way of living was conceived and followed down through the centuries by the children’s children of the first nomads;today their voices are felt,barely a whisper to those who only know how to learn.Perhaps it is the second story,that of sedentary man,that is learned and tells us the story that once-upon-a-time resounded in the world.

“來吧，讓我們建造一座城市……不再居無定所，離散各處……有的人已經開始工作，朝著磚瓦瀝青搭建的物質世界，他們想象的恣意妄為的世界努力，沒什么能夠阻擋這進程?！?/p>

這是城市文明的開端，耶和華認為超乎一切的，人類愚蠢的驕傲。無數的書籍、文章、雜志、電影、視頻和其他媒體都見證了。我們能覺察到地球細小持續的斷裂聲，但磚和灰漿取代石頭，瀝青取代沙土，我們無視了這斷裂。

人類追求幸福矢志不渝，智力、創造力和取之不盡的自然資源變為人類的抓手。也許主要問題是環境，創造力和智力的產物都依托于特殊的地理位置。地理和氣候條件幾乎決定個人展現和創作。

生命架構始于對周圍環境特征的深刻認識：氣候、地形、可用的自然資源……“…動植物構架…渾然天成，與當地生態系統和諧共生。大多數時候我們從中獲得節約資源的訣竅。人類利用自然傾情提供的資源和工具，幾乎不需要再加工……因此不把自己強加于自然；而是與之結合?！?/p>

天人合一孕育出堪比仙境與伊甸園中的和諧美好。天人合一不僅保護自然免受涂害，更創造性的展示了形空極具美學的卓越運作。

每個偉大的建筑師都擔心自己項目的發展。它成為身體的一部分。精心設計的每一塊石頭、每種混合物、每種顏色、每一塊磚、每一根電線的彎曲、最后施工中電纜的每一圈組成像一條鏈，緊密相連。真正的建筑師懂得靜心傾聽內心的聲音。像陶工打造手中的陶土，建筑師在一瞬間創造永恒，彼時萬物靜默，唯有內心的聲音自成宇宙。

建筑師的語言是一個統一整體。反映在登峰造極的筆觸中，門、海灣、角落和縫隙、墻壁、天花板、屋頂、質地、材料等象征中，或是別的，構圖或塑形將要完成時，情感得到升華時，我們顫抖不已或驚愕萬分時，感受寧靜或與凹凸不平的墻壁溫暖擁抱時，建筑師的語言達到完整。

建筑使重現一個民族的歷史成為可能。為人們能夠破譯習俗、文化、宗教、政治和藝術供源給流。這本身賦予它巨大的歷史和社會文化價值。從美學上講，建筑讓我們盡情享受歡樂；冷酷的推理和肖像給了我們體驗藝術的機會。

“Come,let us build a city ...so that we may not be spread over the face of the earth ....and they have begun a work,and now nothing will make them stop what they have imagined to do and the brick took the place of the stone and asphalt took the place of the mortar.”

This is the beginning of the history of urban civilization,a beginning in which Jehovah feels,above all other things,the foolish pride of mankind.The course of this story has been documented by countless books,articles,magazines,movies,videos,and other media.We have been perceiving the break with earth in the small voices that whisper in our ears,but it is there when we see stone exchanged for brick and mortar,sand and its natural sealers replaced by asphalt.

The quest for wellbeing is one of mandkind’s clearest objectives and to obtain it,man makes use of his intelligence,creativity,and the natural resources readily available to him.Perhaps the main problem that man faces is the environment,as the results of his creativity and intelligence depend on his specific geographical location.Geographical and climactic conditions are a determining factor and to a great degree influence individual manifestations and creations.

Architecture of Life begins with a deep knowledge of the characteristics of its surroundings:climate,topography and available natural resources.“ ...vernacular architecture is ...a natural product that comes to establish a complete symbiosis with local ecosystems.In an economical search for natural resources,in most cases it obtains visible results.Man is able to avail himself of the resources and instruments that his environment provides in its most natural state and thus barely requires even a semi-industrial process....Here,man does not impose himself upon nature;he comes into union with it.”

This unity of man with his environment embodies total harmony,perhaps life the way it will be in Paradise,in the Garden of Eden.It is man’s penetration into his environment to the point of becoming one with it in such a way that nature is not hurt or wounded,finding not only protection but also a creative,aesthetic manifestation in one movement that brings about the perfection of shape with function in space.

Any real architect worries about the development of his project.He cannot isolate it from himself.His design is a chain consisting of each stone,each mixture,each carefully chosen color,each brick,each bend in the wire,each turn of the cable in the final construction.A true architect is one who stops to listen to the voices of his own language.Just like the clay in the potter’s hands,he creates his building in the eternity of an instant,giving priority to nothing in the simple silence of the voices that listen as he becomes one with his universe.

The language of an architect is a unified whole that is reflected in the culmination of his work and speaks for herself in a symbolism of doors,bays,nooks and crannies,walls,ceilings,roofs,textures,materials and other things that are,perhaps,more related to psychology,especially when the composition or shape come to fruition,to the exaltation of our emotions,making us vibrate or when they awaken within us the surprise of the unexpected,the feeling of serenity or the cozy embrace of a curving wall.

Architecture makes it possible to recreate the history of a people.It is an extremely important source that makes it possible to decipher customs,culture,religion,politics,art.And this,in itself,is what gives it such great historic and socio-cultural value.Aesthetically speaking,architecture allows us to savor joy;its stoney reasoning and its own iconography give us the opportunity to enjoy art experiencially.

人物訪談 Interview

導報：在您設計的建筑中，我們經?？梢钥吹教沾?、玻璃等色彩艷麗的材料。您怎么評價整體建筑色彩鮮艷，但大多數建筑師傾向于使用單一的顏色的現象？

哈維爾：高迪說顏色就是生命，馬蒂亞斯·戈里茨說墨西哥人隨心所欲地使用顏色，我從丘喬·雷耶斯的繪畫、路易斯·巴拉甘建筑中的顏色和墨西哥工藝品中的用色中受到了很大影響，當然還有高迪的特倫卡迪。

Snoopy (Mac Masters Beach,Australia 2010)

導報：您認為有機體在建筑設計中處于什么位置？

哈維爾：把它看成一個隱喻，即把建筑看作是一個有機的組織，在這個組織中，部分之于整體如同整體對于部分一樣重要，把建筑看作是一個和諧的統一的單位。同時，數個建筑具有統一性，因此能在整體中感覺到和諧。

導報：許多人認為，您設計的建筑造型獨特，常常讓人想起大自然中的花朵或海螺等自然生物，仿若令人置身童話。您怎么看？

哈維爾：在建筑項目中，我們習慣綜合研究，得出一個精煉和強化的概念，但一般來講，正式的結果是后驗的。在有機體建筑中就像當我們觀察云時，開始瞥見一個動物或植物，而不是人類發明的物體。形式的起源不是先驗的。

在墨西哥，有些建筑物以Teodoro Gonzalez de Leon 和 Francisco Serrano 的 El Pantalon（褲子）或建筑師 Agustin Hernandez 的 La Lavadora（洗衣機）的名稱而聞名，它們是正交的，并將它們與這些物體聯系起來。

導報：您設計的建筑外部形狀很獨特。您認為建筑設計中外部形態與內部空間存在何種關系？

哈維爾：內與外的關系很重要，反之亦然，就像說功能之后才是形式一樣，我認為功能和形式應該是一回事。就像在動物里面的有機體一樣，內部器官與外部和表皮一樣重要。

導報：您十分注重房間充足的采光。您認為光在建筑設計過程中起到什么作用？

哈維爾：在諸如繪畫、雕塑、電影、戲劇、舞蹈等視覺藝術表現形式中，光線都是優先考慮的元素。在建筑學領域，光是基礎。高迪認為，有兩種方式導致失明：黑暗和光線過剩。

導報：您如何理解當代建筑的有機性？

哈維爾：疫情禁閉期間，我們被迫暫停，開展深刻變革迫在眉睫。例如為減少化石燃料的使用，應避免人員流動以及供應物資和食物的流動，這意味著回歸我們的起源，回歸區域主義。

建筑反映社會，在當代建筑中，自然與人的結合是一種趨勢，換言之，有機建筑是趨勢。

導報：您的建筑作品造型奇幻，仿佛來自童話世界。您想用這種方式向現實世界表達什么特別的意義嗎？

哈維爾：在我們的建筑作品中，考慮人與動物同源，我們嘗試將人類視為動物。高迪評論說，“原創”一詞來源于“本源”一詞，他認為原創就是接近事物的本源。我們試著像動物一樣建造空間，就像巢穴、洞穴或軟體動物的外殼，讓屋所適應身體。該項旨在滿足人類生理和心理需求。

導報：這樣多變的造型會給施工帶來不便嗎？實際施工情況會不會與設計意圖不符？

哈維爾：并沒有，我們在大多數項目的施工過程中使用鐵絲網水泥，質量有保證，利于實現我們的設計理念。

導報：墨西哥的建筑色彩豐富。它對您的建筑作品有什么影響嗎？

哈維爾：的確，我的用色受墨西哥建筑的色彩影響很大，墨西哥建筑的色彩來自前西班牙，用灰泥和色彩覆蓋的金字塔建筑。

殖民時期的建筑用色同樣豐富，且受到當代壁畫家的影響。建筑師路易斯·巴拉甘的顏色對我有很大的影響。

導報：一般來說，您的作品體積不大。如果遇到比較大的建筑，您一貫的設計風格和思路是否適用？

哈維爾：適用，我認為從一支筆到一個城市，不論規模大小，設計原則都是一樣的。

導報：這種復雜多變的建筑建模的結構是什么，施工的難點在哪里？

哈維爾：該結構由鐵絲網水泥組成，內含有兩個鐵絲網并覆蓋有砂漿（水泥和沙子）的桿框架。它的形狀像一個蛋殼，很薄，這種形狀使其剛性十足。

WARA:In your buildings,we can often see ceramics,glass and other materials with colorful colors.The overall architecture is colorful,but most architects tend to use a single color,what do you think?

Javier:Gaudí said that color is life,Mathias Goeritz said that the Mexican uses color as he pleases,I have a lot of influence from the paintings of Chucho Reyes,the color in the architecture of Luis Barragán and the color in the Mexican crafts,and of course in the trencadis of Gaudí.

WARA:Where do you think organisms are in architectural design?

Javier:This question could be a metaphor,that is,to see architecture as organicisms in which the part is to the whole as the whole is to the part to see the building as a unit to obtain harmony.At the same time that several buildings have unity and therefore perceive harmony in the whole.

WARA:Your architectural modeling often reminds people of natural creatures such as flowers or conches in nature,which makes people feel a sense of fantasy like fairy tales.What do you think about it?

Javier:In a project we generally try to synthesize the research to reach a concept that is refined and reinforced,generally the formal result is a posteriori,in organic architecture is like when we observe the clouds and begin to glimpse an animal or plant not an object invented by man.The origin of the form is not a priori.

In Mexico there are buildings that are known by the name of El Pantalon (the pants) of Teodoro Gonzalez de Leon and Francisco Serrano or La Lavadora (the washing machine) of Architect Agustin Hernandez that are orthogonal and relate them to this objects.

WARA:The exterior shape of your building is quite unique.What do you think is the relationship between the exterior shape and the internal space in the architectural design?

Javier:It is very important the relationship of the interior with the exterior and vice versa,just as it is said that after the function comes the form,I think that function and form should be one and the same thing.Just as in animal organisms,the interior,the organs,is as important as the exterior and the epidermis.

Just as in animal organisms,the interior,the organs,is as important as the exterior and the epidermis.Aligual que los organismos de los animales tan importantes es el interior,los órganos,como el exterior y la epidermis.

WARA:You have paid enough attention to providing natural and sufficient lighting to your rooms.What role do you think light plays in the process of architectural design?

Javier:In the visual artistic expressions,light is a priority element,whether in painting,sculpture,cinema,theater,dance,etc.In architecture it is fundamental.Gaudí commented that there are two ways to lose vision:darkness and excess of light.

WARA:How do you understand the organic nature of contemporary architecture?

Javier:During the confinement due to the pandemic,we have had an obligatory pause that confirms the urgent need to make profound changes,such as avoiding the movement of people as well as the flow of supplies and food in order to reduce the use of fossil fuels,this means a return to our origins,to regionalism.Architecture is a reflection of society and as it combines in contemporary architecture there is a tendency for the natural and the human,that is to say,towards organic architecture.

WARA:Your architectural works have fantastic modeling features,which seem to come from the fairy tale world.Do you want to express any special meaning to the real world in this way?

Javier:In our architectural works we have tried to see humans as animals,taking their origins into consideration.Gaudí commented that the word "original" comes from the word "origin",he said that being original is to go to the origin of things.We have tried to build spaces as animals do,adapting their shelters to their bodies,like the nest,the burrows or the shell of the mollusk.

Flower House (Casa Flor_Naucalpan,Edo.de México,1994)

The result of the project was the outcome of trying to satisfy the physical and psychological needs of the human being.

WARA:Will such unpredictable modeling cause inconvenience in construction,and will the construction be inconsistent with the design intention?

Javier:No,the construction process we use in most of our projects is ferrocement,which is very noble and helps us to reinforce the architectural concept.WARA:The architectural color of Mexico is rich and varied.Does it have some influence on your architectural works?

Javier:Yes,there is a lot of influence of the color from the Mexican architecture,which comes from the pre-Hispanic architecture,the pyramids with stucco and covered with colors.

The colonial architecture also covered with colors and the influence of mural painters in the contemporary era.I have a lot of influence in the color of the architect Luis Barragán.

WARA:Generally speaking,the volume of your works is not large.If you encounter a relatively large architectural challenge,will your consistent design style and thinking be applicable?

Javier:Yes,I think the design principles are the same for any scale from a pen to a city.

WARA:What is the structure of this complex and varied architecture modeling and what are the difficulties in construction?

Javier:The structure is made of ferrocement which consists of a frame of rods covered by two chicken wire grids and covered with mortar (cement and sand).It is shaped like an eggshell,which is thin and its shape gives it rigidity.