Q. Why are you engaged in architecture?
問:你為什麼從事建築?
A. Architecture involves working with other people, so an architect can't simply become absorbed in his own world like other types of artist.
建築涉及許多的其他人，故建築師不能像其他類的藝術家一樣簡單的沉浸於自己的世界中創作。.
However, if he's swamped by everyday demands and forgets his own drive for personal expression, he will lose his raison d'être .
不過,如果每天他要求且忘掉了自己主控的個人創意表現,他將失去其存在的理由.。
Even if he enters a design competition, the probability of losing is overwhelmingly high.
即使他已進入設計比賽,仍將可能是概率很高的壓倒性失敗。.
Thinking about it, there's no other profession like architecture, in which the rewards don't always correspond to effort.
想到這,還有沒有其他行業,如建築一般,其獎勵並不總是對等於努力。.
Nonetheless, I've been pursuing this career for over thirty years
.儘管如此,我一直追求這種生涯長達三十年.
This is because I love architecture.
這是因為我愛建築.
This profession has been irresistibly fascinating for me.
這行業一直讓我不能忘懷的著迷。
Q. What is it about architecture that's so fascinating?
問:什麼是建築讓您著迷之處?
A. It always provides opportunities for new encounters and discoveries.
建築常可提供機會,並結合新的發現挑戰.
Take the project of the Fondation d'Art Contemporain François Pinault, for example.
以d'Art Contemporain François Pinault藝術創作基金會為例。
For that project, I studied the history of Paris' transformation since the nineteenth century, and considered the construction of the Eiffel Tower and the consequent raising of the curtain on the age of iron.
在這個專案,我學習了從十九世紀起巴黎的改造歷史，個人認為興建艾菲爾鐵塔開啟了鐵時代的來臨。.
I also reviewed the development of the "Grands Projets" along the Seine, reflecting on the significance of the river, and analyzing current social conditions.
我亦沿著塞納河思考檢討開發這項偉大專案,反映這河流的意義,分析目前社會的狀況.
In this way, I make myself aware of every issue I can think of around the problem at hand.
這樣,我察覺每一個議題,我能思考在我手上的有關問題.
This is how I begin my architectural studies, pursuing discoveries, seeking the answers to questions, and engaging in ongoing, abstract dialogues with the histories, cultures, and societies of various places.
我就是這樣開始我的建築學研究,追求新的創意,尋求解答問題,以及從事仍進行中的與歷史、文化、社會各處的重點對話。
In the process of realizing a building, there also needs to be down-to-earth discussions with many people.
在建築的過程,也需要紮實的與許多人討論。
Clients, consultants, construction companies, workers on the site, and all kinds of technicians contribute to the project.
客戶顧問、建築營造公司、現場施工者、其他技術人員,一起為專案做出貢獻.。
In architecture, unless we communicate effectively with others, we can't get the project done.
在建築領域,除非我們與別人溝通,否則無法讓做工程完成。.
With overseas projects in particular, I get quite exhausted just from the effort involved in coordinating the views of the different teams and unifying them into one.
尤其是海外工程，我須費盡心力去協調不同單位的人,統合使其意見為一.
Nonetheless, I learn a lot from these discussions, and they sometimes produce unexpected ideas.
儘管如此,這些討論給我很大的啟示,他們時而產生意想不到的想法。
Q. What does Osaka, or the Kansai region, mean to you?
問:為什麼是大阪或關西地區,對您而言其意義是什麼?
A. Perhaps because it's where I was born and spent my impressionable twenties, you could say this place is my origin.
答:也許因為那裡是我出生並度過20年成長歲月、你可以說這是我的起源地.
For instance, in the 1960s, there was a space called Gutai Pinacotheca in Nakanoshima, Osaka.
例如,在60年代,有一個叫Gutai Pinacotheca 在大阪的Nakanoshima。.
It was a base for the Gutai art movement --- a group of avant-garde artists led by Jiro Yoshihara, and which included such people as Kazuo Shiraga and Sadamasa Motonaga as members.
這是Gutai藝術運動的基地--一群前衛藝術家由Jiro Yoshihara率領,而其中成員包含有Kazuo Shiraga和Sadamasa Motonaga。
They pioneered what we now call performance art --- one running around on the banks of the river in Ashiya, with another releasing balloons into the air...
他們是現在所謂的表演藝術的先趨者—從Ashiya河岸延伸至升空的汽球::
Anyway, it presented me with a series of stimulating experiences, and made me wonder if what they were doing was really art.
無論如何,我非常高興有一系列刺激經驗而我還以為他們所做的是真正的藝術。
Another memorable place was a café called G-Sen --- or G-string --- on Center Street in Sannomiya, Kobe.
另一個難忘的地方是一個咖啡館叫G-Sen 或G-string –位於Sannomiya神戶中心街。.
Its interior was designed by Yoshio Hayakawa, and it was another of the Kansai region's cultural hotspots, frequented by such people as the graphic designers Ikko Tanaka, Tsunehisa Kimura, and Tadanori Yokoo.
它的設計者是Yoshio Hayakawa,該處也是關西地區的文化的熱門地點，經常出入的平面設計師有Ikko Tanaka, Tsunehisa Kimura, 及 Tadanori Yokoo.
Looking from a distance at these people working so energetically, I also tried to find a path for myself.
從遠處看,在這些人工作這麼積極,我也試圖找一條自己的路。
The time I spent in Osaka was the most fascinating and stimulating.
我在大阪的時光是最迷人及刺激的。.
Also, it was the people of Kansai who, after I started my own architectural office, gave me opportunities to design.
同時,也是關西的居民,在當我開始自己的建築事業時,給我機會設計.
Many courageous people put their energy behind my bold endeavors and shared my dreams.
這些許許多多英勇奮鬥的人將他們的能量投注於我的努力且分享我的夢想.
The climate of Kansai has made me what I am now.
是關西的氣候成就現在的我。
Q. Why do you continue to stay in the Kansai region?
問:為什麼你繼續留在關西地區.
A. One reason is that there are things one can never grasp unless you keep working in a particular place and a particular context.
原因之一是,有些事情是無法掌握,除非你持續在某一地點的,不斷擴大工作領域.
In my case, most of the projects I've been involved with are located around Osaka.
在我身上,我接的大多數專案均位於大阪附近.
They're concentrated in the region that stretches along the old Yamato River, where the Sayamaike Historical Museum and the Chikatsu-Asuka Historical Museum are located, to Osaka Bay and the Inland Sea.
他們主要集中在該地區綿沿舊Yamato，也是Sayamaike歷史博物館和Chikatsu-Asuka歷史博物館的所在地,鄰大阪灣和內海.
Their proximity was not intended, but in pouring my energy into each project, I've developed my own ideas about the relationship between the city and architecture, or between place and architecture.無意之中,在我將心力投入於每個專案，我將自己的思路著重於城市與建築的關係,或地方與建築之關係。
Also, it's the city of Osaka which is the subject of my proposals for urban spaces.
同時,大阪城是我的建議的城市用地主軸.
For example, my project for the Osaka Station area involves arranging freely-accessible roof gardens on the high-rise buildings around the station, and our project for Nakanoshima, which should be regarded as a key area in Osaka, is to renovate the island as a bastion of culture.
例如大阪車站地區Nakanoshima專案包含在高樓圍繞的大阪火車站設計自由無障礙的屋頂花園,應被視為在大阪一個關鍵的領域，創新是一個島嶼文化的堡壘.
I am currently planning such things as a floral exposition on the banks of the Okawa River, where Osaka is still remembered as a city of waterways.
我目前策劃花卉博覽會位於Okawa河岸,那裡仍是大阪市令人懷念的水道.
These proposals were generated of my own accord without any particular clients, so I don't know if they'll be realized or not.
這些建議是我自己沒有產生任何特定對象，所以我不知道他們以後是否成真執行。
Nonetheless, I want to tackle these projects with the same passion I give to everything else.
不過,我想用同樣的熱情付出全力來處理這些專案。
After all, the city of Osaka is the place where I live as an architect.
畢竟, 我是一名建築師而大阪城是我居住的地方
from Casa BRUTUS No.30 September 2002
moli試譯
Labels: 安藤忠雄
入口
漫步京都，走在路邊，一幅莫內的睡蓮就躺在池子裡，探頭去瞧個究竟，於是開始了安藤的建築之旅。 
就是在街道上，就可以隱隱約約望見裡頭的展覽，叫人忍不住要買票入內欣賞。 
進門就是圓弧形的清水混凝土，安藤入口的典型手法。 
遠處框景，進門會經過水道，就是日本人進入佛寺，必須潄口洗手的隱喻。 
水流往下，暗示動線往下沈，更以水瀑阻絕街道的車馬喧，心也要靜下來。 
障景，故意先露一點點景色給你看。
這水瀑，平面層很靜謐，但往下流的力道很強，形成類似保鮮膜般的一層水膜。 
又露出一角。
達文西的畫作：最後審判。
清明上河圖。
回頭往上望。
大師，您的清水模漏水了！ 
