曾任2007年香港建筑双年展策展人，2008年美国麻省理工学院客座副教授，南京大学, 新竹交通大学及同济大学客座副教授，美国TAC建筑师事务所协同主持人。其研究领域为合院建筑形态演变，中国寺庙建筑形态,传统及当代中国城市肌理与城市空间。

His design projects won several AIA Design Awards and Far Eastern Architectural Award, as well as Green Building Award and HKIA Award, and were exhibited at venues including Taipei Museum of Modern Art, Beijing Architecture Biennale, Shenzhen Biennale of Architecture and Urbanism, and Venice Architecture Biennale of 2008. He was also the curator of 2007/1008 Hong Kong –Shenzhen Biennale of Architecture and Urbanism.

ID：您是如何理解自然与不自然？What are you think about Natural and Un-Natural?

王维仁：谷歌上网查杜邦公司的Corian产品,你会看到:DuPont™ Corian® Countertops - unlimited possibilities for your home Corian® is the solid surface that gives you the ultimate in freedom of expression and ...;再看中文网站上的关键词,就更符合重视实用的中国人:可丽耐®人造石优点耐脏抗污性,符合美国国家卫生基金,容易清洁,坚固耐撞 ,颜色多…是世界第一块实心面板材料…

两句英文简短精要”提供家居的无穷可能”以及”给你无尽自由表现的实材表面”,道尽了化工材料科学家无尽的骄傲,也一枪打碎了我们对艺术品灵光aura和建构诗意的执着。如果本雅明在世,可能也会写一篇类似”机器复制时代的艺术品”的美学理论,从材料来重新定义作品的本真性 authenticity。

在Grasshopper和Rhino软件的支撑下,身处三维曲面造型泛滥的年代,计算机屏幕里平滑中性的表面是没有质感的材质。上课时谈到设计与材料,我会开玩笑建议不思考建构关系的学生:等到杜邦的材料研发的更好之后,他们的设计就可以一气呵成的铸造完成,在光滑平顺波浪起伏的未来世界中,很快就可以不用费心思考建构与材质问题了。

不必讳言,在做这个设计的时候,我多少有着样的心里障碍,也想用作品辩证一下这个矛盾两难。

 When you google DuPont Corian products from the internet, you will see:DuPont ™ Corian ® Countertops - unlimited possibilities for your home Corian ® is the solid surface that gives you the ultimate in freedom of expression and ...; look at the key words on the Chinese website, is more comply with the emphasis on practical:the advantages of Corian ® artificial stone is dirt stain resistance, meets United States national Health Fund, is easy to clean, sturdy crashworthiness, and multi-color ... is the world's first piece of solid panel material ...

 Two brief Essentials English “ unlimited possibilities for your home” and “There’s one solid surface that gives you the ultimate in freedom of expression and choice”,give the chemical materials scientists endless pride,and crushed the dedication of atworks Emmanuel aura and Construction of poetry. If Benjamin is still alive, he may also write a aesthetic theory that “artwork in machine replication era", from materials to redefine the true authenticity.

 On the support of Grasshopper and Rhino software, living in a three-dimensional surface modeling world, smooth and neutral surface of the computer screen is the texture of the material.When we discuss design and materials in the class, sometimes I would joke with students who does not thinking about building a relationship: recommend them to wait until DuPont materials research and development better, then they will complete their design coherently, in the wave undulating smooth future world, construction and material issues will not bother you.

 There is no denying how much disorder I had when i was doing this design, but I also want to use this work to dialectical contradiction.

 ID：我们知道您一直都在研究城市结构和肌理，也出版过很多有关这方面的建筑书，能否和我们谈谈您《再生天井：澳门历史的城市肌理研究》一书中的主要思想？We knew you are research Urban Fabric.Also had published a lot of architectural book about it,Can you introduce the main idea of the book < Regenerating Patio:Study of Macau Historical Urban Fabric>?

王维仁：中文应该是是"围的再生”. 围是一种巷弄组织成的住宅小区单元, 是十九世纪末的华人小区典型的居住建筑形态.

我们认为城市的肌理 也就是普通人的日常生活的建筑, 表现了一个城市的空间文化特色, 那么这些围就是澳门的北京胡同或上海里弄. 澳门的核心区作为联合国指定的历史保护城市, 虽然留下了教堂广场等建筑与公共空间,但是围和巷弄的传统空间肌理却在地产快速开发的过程中, 面临了消失的危机.

这本书是我们研究室帮澳门文化局和规划厅作的一系列城市设计规划的一部分, 希望利用这些传统建筑, 引入文化旅游改善小区生活作为老旧小区再生的触媒公共空间.

 The Chinese should be "Wai renewable”. Wai is a alleys organizational residential district unit, a typical residential architectural form of the Chinese community of the late nineteenth century.

 If we think that the texture of the city, that is, the ordinary people's daily life building, performance space and cultural characteristics of a city, Wai are those Beijing Hutong, Macau or Shanghai rationale Lane.the core area of Macau as a the Historic Preservation city designated by the United Nations, left the church Square, buildings and public spaces, but the the circumference and alleys traditional texture space is facing extinction in the process of rapid development of real estate.

 This book is part of a series of urban design and planning that our laboratory to help the Macao Cultural Affairs Bureau and the Planning Office, and we want to take advantage of these traditional architecture, to introduce cultural tourism and improve community life as the regeneration of the old district public space.

 ID：有人说您是公共关系建筑师，涉及的范围极关，有设计，策划、展览、教学等等，您是怎么认为的？Somebody said you are Architect of PR,you make design, planning, exhibition and teaching,etc..So what do you think about yourself?

王维仁：公共关系建筑师? 我猜想那是不是个翻译的错误? 我个性不善社交, 很少参与应酬, 团队里连个管业务公关的人都没有,研究室每个人都是作设计人员. 我的业务里没有策划和展览, 是别人邀请我参展和策展的, 建筑师获邀参展是一种荣幸, 也是重新思考作品的机会. 我在学校教书是没错, 很多好的建筑师都在教书: Kahn, Rafel Monel, Koolhass, 张永和, 王树...教书让人可以比较有作批判性建筑设计的机会. 我倒希望你说的是公共建筑师, 因为我比较关心公共性的空间与社会性的建筑实践,和日益迫切的环境与都市议题, 远多过于我对美学情趣和品味的琢磨.

 Architect of PR? Is it not a translation error? My personality is social awkwardness, are rarely involved in entertainment, not even have business public relation team, everyone in the Laboratory is designer, There is no planning and exhibition in my business, someone invited me to the exhibition and curatorial architects, that is an honor, but also a of opportunities for works rethink. Im teaching in schools, a lot of good architects are also teaching in the school:for example, Kahn, Rafel Monel, Koolhass, Yonghe Zhang and Shu Wang ... teaching can provide the opportunity to make critical architectural design, I'd want you to say a public architect, because I am more concerned about public space and socialnature of architectural practice, and increasingly urgent environmental and urban issues, far outnumber my aesthetic taste and pondering.

ID：能否透露一点您这次“不自然2”的创作方向？Would you like to share your creative direction of “Un-Natural two”?

王维仁：中国和东亚建筑文化选择木材而非石材作为高贵的建筑材料,在于木材本质的生生不息,因为地心引力和林木生长的竞争与向旋光性,大料实木大致上都是直线性的,也提供了中国大木作框架体系的理性与笛卡尔坐标的美学逻辑基础。

虽然中国也有赵州桥或陵墓地宫的石基和座台基的石刻传统,在工艺成熟度上明显的不如罗马拱廊和水渠,发展出来的石材构建文化和它表达的纪念性,中国人对石材的艺术表现,最高的成就应该是在早期发展出来的玉器文化了。

家俱和汉人的玉佩一样,是和人体朝夕相处互动的对象。中国人不用石材作家俱,最多是取镶嵌大理石面的纹理山水,固然是对木材的文化偏好,也是因为石材缺乏灵活的构建交接。在不自然石材的家居文化里,杜邦化工不自然的材料交接能力,是否提供了不自然的石材和自然人体互动的契机?

 Generally believed China and East Asia prefer choose wood instead of stone architectural culture as a noble building materials, wood is essence going, because gravity and tree growth, competition and optical activity, aniseed solid wood generally linearalso provides a rational system of large wooden framework with the aesthetics of the Cartesian coordinate logical basis.

 Although there the the Zhaozhou Bridge or mausoleum underground palace stone the coupons and LMH Chinese traditional stone carvings, maturity less than Rome arcade anddrains, however the developed of stone cultural and monumental is the expression of Chinese people stone's artistic, the highest achievement development should be in the jade culture.

 Home furniture and Chinese Han jade are the objects of daily life and human interaction. Chinese people do not have the stone for home furniture, take up mosaic marble surface texture landscape, no only the cultural preference for wood, but also because Stone lack of flexibility of building handover. Natural stone home culture, the DuPont Chemical unnatural material transfer capacity, whether or not to provide a natural stone and natural human interaction opportunity?