墨西哥Reforma 27住宅楼｜Reforma 27. Image © Yoshihiro Koitani

Alberto Kalach：“想像一下，如果我们城市里所有的屋顶都是绿色的！”
Alberto Kalach: “Imagine if All Rooftops in Our City Were Green!”

由专筑网邢子，李韧编译

上个月，我开始了墨西哥城的探索之旅，在此期间，我有幸与六位著名的墨西哥建筑师和评论家见面。 并且与MiquelAdrià，Tatiana Bilbao，Victor Legorreta，Mauricio Rocha和Michel Rojkind等人的深入交谈（其中多人也参与了City of Ideas的未来作品项目）。 我问了很多不同的问题，但是两个问题是一致的：“这个时候你认为谁是墨西哥最好的建筑师？”和“你最喜欢过去十年中首都建成的哪一个建筑？”我所有的受访者都说到Alberto Kalach（1960年出生）和他的Vasconcelos图书馆（2007年）。与Kalach的访谈是在第二天访问另一栋标志性建筑的时候。 我们谈论书籍、图书馆和他的建筑想法。

Last month I went on an enlightening trip to Mexico City, during which I had a chance to meet with half a dozen leading Mexican architects and critics. Those meetings included insightful conversations with Miquel Adrià, Tatiana Bilbao, Victor Legorreta, Mauricio Rocha, and Michel Rojkind among others (many of which will also feature in future installments of City of Ideas). I asked them many different questions, but two were consistent: “who would you name as Mexico’s best architect at this moment?” and “what one building built in the capital over the last decade is your favorite?” All of my interviewees pointed to Alberto Kalach (born 1960) and his Vasconcelos Library (2007). My Conversation with Kalach took place the next day after visiting the library on the rooftop of another one of his iconic buildings,Tower 41 overlooking Bosque de Chapultepec, Mexico City’s Central Park. We spoke about books, libraries, and his idea of buildings as inventions.


墨西哥Vasconcelos图书馆｜Vasconcelos Library. Image © Yoshihiro Koitani

Vladimir Belogolovsky：你曾经说过，“建筑无需过多言语”，“建筑应当在图纸中阐述”。你不认为建筑可以被语言谈论或解释，至少对你自己来说是这样？

Alberto Kalach：我真的说过吗？ 当然，我喜欢谈建筑。 我喜欢维克多•雨果在巴黎圣母院谈论哥特式建筑，抑或是千禧一世的奇妙故事。 但我不喜欢建筑师谈论建筑。 我并不觉得很惊喜。然而，我喜欢Jorge Luis Borges，Umberto Eco等文学中的建筑。

Vladimir Belogolovsky: You once said that “verbal constructions about architecture are boring” and that “architecture should be read in the drawings.” You don’t think architecture should be talked about or explained, if not to others, at least to yourself?
Alberto Kalach: Did I really say that? Of course, I like talking about architecture. I love how Victor Hugo talks about Gothic architecture in his Notre-Dame de Paris or the wonderful stories of Scheherazade in One Thousand and One Nights. But I don’t like how architects talk about architecture. I don’t find it very exciting. Yet I love architecture in the literature of Jorge Luis Borges, Umberto Eco, and so many others.


墨西哥41号塔楼｜Tower 41. Image © Yoshihiro Koitani


墨西哥41号塔楼｜Tower 41. Image © Yoshihiro Koitani


墨西哥41号塔楼｜Tower 41. Image © Yoshihiro Koitani

VB：你工作室所在的41号楼非同寻常，因为它是附近最高的建筑，但奇妙的是你并不会意识到你身处一座建筑中， 建筑的一楼有花园，另一个花园在屋顶上，还有七个宽敞的通高开放式楼层，每个楼层都面向城市和公园。 你建议开发商在这里建一座商业大厦。

AK：是的。我们占据其中一层，其他几家公司，如建筑事务所、编辑部、保险公司也分别占据一个楼层。这座建筑的人工痕迹非常小。 建筑师用一个花园代替通常的封闭大厅，因为位于电梯、楼梯、交通空间以及地下车库入口的空间并不具有出租价值，如果为了这一点点租金而将这些辅助空间的面积增大的做法并不理智。所以在底部，我们只有一个花园和一个小的接待区。 屋顶花园开放供大家使用。 想像一下，如果我们城市的所有屋顶都是绿色的！

VB: This building here, Tower 41, where your studio is located, is very unusual, as it is the tallest in the neighborhood. But once you get in, you don’t feel like you’re inside of a building at all; it is a garden on the ground floor, another one on the roof, and there are seven spacious double-height open-plan floors in between, each facing the city and park. I understand that you own this land and proposed to a developer to build a commercial tower here.
AK: Yes. We occupy one floor and several other companies such as an architect, editor, and insurance company have one floor each. The footprint of the building is very small. It made total sense to have a garden in place of a usual enclosed lobby because by the time the space was allocated to the elevator, stairs, circulation, and underground garage entrance there was not much left for rent. It would be very greedy to try to find a few square meters to rent. So on the bottom we only have a garden and a small reception area. The roof garden is open for everyone to use as an amenity. Imagine if all rooftops in our city were green!


墨西哥Vasconcelos图书馆｜Vasconcelos Library. Image © Yoshihiro Koitani

VB：您的Vasconcelos图书馆是一个梦幻般的缩影。 这个几十年之久的建筑物具有掩盖时间的力量；它会将您带到过去和未来 ，因为只有在未来，空间才能如此慷慨，充满光明，而就过去来说，这座建筑的结构让人联想到诸如布鲁克林大桥和艾菲尔铁塔等杰出的工程奇迹。

AK：可以这样说。你是指建筑物屋顶的拉伸结构。

VB：这个大厦的设计方案通过层层竞标而最终确定，作为一个参赛者，你必须有独特的设计想法来吸引评审团的注意力。 你的想法是创建一个展览空间，在这里人们可以博览群书， 你能谈谈主要概念吗？ 你参考了哪些作品呢？

AK：建筑由不同的建筑类型组成，如塔楼、博物馆或住宅。 图书馆是建筑的基本类型。 历史上有许多具有标志性的图书馆建筑。自从我学生时代以来，图书馆是一个梦想的项目，如果你分析过图书馆建筑，你会发现大多数图书馆建筑都能用两种基本类型来概括，一种是迷宫式，例如Jorge Luis Borges的“巴别塔图书馆”中描述的六角形房间，这就是个非常复杂的迷宫，是一个让你完全迷失的图书馆。第二种是Boullée提出的18世纪启蒙模式，这是一个单一的广阔空间，这里有无限堆叠的书籍。说实话，Borges图书馆对我来说更有吸引力，但如果想要赢得比赛，就得考虑更多的公众因素，因此，一座公共建筑必须透明，充满阳光。

VB: Your Vasconcelos Library is a fantastic microcosm. The building, which is hardly a decade old, has this power of obscuring time; it sends you into both past and future – only in the future can spaces be so generous and full of light – and the past because the building’s structural elements are reminiscent of such venerable engineering marvels as Brooklyn Bridge and the Eiffel Tower.
AK: You could say that. You are referring to the tensile structures of the building’s roof.

VB: This building is a result of a competition and you said that as a contestant you have to make a statement to grab the jury’s attention. You mentioned that the idea was to make a gallery space where one could see all the books, all the knowledge at once. Could you talk about the main concept? What models did you have in mind?
AK: Architecture is made up of different building types such as towers, museums, or houses. A library is a type. There have been many iconic library buildings built throughout history. Ever since I was a student, a library was a dream project to me, and if you analyze libraries built or imagined in the past, you will see the two basic types. One type is a labyrinth such as the very complex labyrinth of hexagonal rooms described in Jorge Luis Borges’s The Library of Babel. It is a library in which you get completely lost. And the second type is the 18th-century Enlightenment model proposed by Boullée as a single vast space with endless stacks of books that would contain all the knowledge. To be honest, the Borges type of library is more attractive to me but we wanted to win the competition, and for that reason, a public building has to be transparent and full of light.


墨西哥Vasconcelos图书馆｜Vasconcelos Library. Image © Yoshihiro Koitani

VB：换句话说，你想使用这两个原型。

AK：当然。 因此，我们提出的建筑是一个空间。 我们利用Boullée拱形的中殿空间的意象，在建筑物中创造了一个广阔的区域，我们利用书架在这个广阔的空间中形成各式各样的路径，让人们环绕书架畅游其中。

VB：让我们来谈谈你的灵感，以及它们来自哪里？艺术、建筑学？ 还有什么地方？

AK：嗯，一开始没有什么灵感。 最初只是对于具体问题的回应，例如如何将特定需求与空间组合在一起？ 如何匹配空间功能与场地？如何适应给定的预算？

VB: In other words, you wanted to use both models.
AK: Of course. Therefore, the building we proposed was to have a single space. We used the image of Boullée’s vaulted nave space to create a single space in the building and we used the bookshelves themselves to create various atmospheres along the visitors’ paths in that single vast space.     

VB: Let’s talk about your inspirations and where they come from – art, architecture; where else?
AK: Well, in the beginning there are no inspirations. Initially, there is a response to a specific problem. How do you put together a particular program with the required amount of spaces? How do you marry the spaces and program with the site? How do you fit into the given budget?


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image Courtesy of Alberto Kalach


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani

VB：你认为我相信吗？在建筑语汇出现之前，建筑师的初始想法呢？ 我们回到这个建筑物本身。 它的最初思路并非来源于规划与预算，它来自你自己独特的愿景，在这之后，你开始寻找潜在的客户或开发商。

AK：但是这个建筑也来源于一个规划构思。

VB：你刚刚说过方案可以成就一切，每层楼都是一个开阔的空间。

AK：嗯，建筑与实际世界有关。

VB：但是，这不会导致建筑学的功利主义，而你是国内最好的建筑师，我在过去15年里一直在与建筑师交流，我们从来没有谈论过关于语汇的话题。自2008年经济危机之后，评论家的任何评论都可能被过度解读，因此我需要花一个小时了解建筑语汇，然后再告诉我你是如何思考的。

AK：但事实就是如此。建筑总是从特定的人类需求中诞生……嗯，如果你设想一个模拟棕榈树的树干，那是一个不同的故事。 当然，建筑可以受到绘画、故事、电影等因素的启发。

VB: And you expect me to believe all that? What about an idea coming from an architect before any of those pragmatics come into play? Let’s go back to this building here. It didn’t start with the program or the budget, or any of that. It came from you – you had a vision of a tower and only after that, you started searching for a potential client or developer.
AK: But this building started with a program as well.

VB: You just said the program could be anything. Every floor is an open space.
AK: You know, architecture is related to the pragmatic world.

VB: But it is not the pragmatics that lead to architecture and you are the best architect in the country! Everyone told me that. You know, I’ve been interviewing architects for the last 15 years and we never used to talk about pragmatics. Since the 2008 economic crisis and critics’ newly assumed agenda of criticizing anything that may be remotely interpreted as individualistic and artistic, I need to spend one hour talking about pragmatics before you tell me how you really think.
AK: But it is true, architecture always came out of particular human necessities... Well, if you conceive a column simulating a palm tree, that’s a different story. Sure, architecture can be inspired by a painting, a story, a film, and so on.


墨西哥41号塔楼｜Tower 41. Image © Yoshihiro Koitani

VB：那么这座建筑背后的灵感是什么？41号楼呢？

AK：真正的必需品！ 我的旧工作室就在这个地方，我当时没有工作。 我想如果我将这个空间出租，那么我每个月可以得到的 2,000美元。 这对我来说还不够。 所以经过研究，我发现在这里建造的最大高度是八层，我决定构思一个具有足够吸引力的项目。 显然，我想要一个很好的创意，然而除了把花园放在顶部和底部之外，并没有什么想法，我们还可以把北侧面向公园开放，而南面则接受来自冬天的阳光，东西墙封闭，使其成为结构的一部分，再使用对角线进行抗震设计。这里的塔楼是对结构与定位的最好表述。

VB: So what were the inspirations behind this building here, the Tower 41?
AK: Out of real necessities! I used to have my old studio here on this land, which I own and I had no work at the time. I thought – if I rent this space out, all I could get would be $2,000 USD per month. That’s not enough for me to live. So I researched what would be the maximum height that I could build here, which is eight stories, and I decided to propose a project that could attract other businesses. Obviously, I wanted a good project to work on, but at that point, there were no inspirations other than introducing the gardens on the top and bottom, opening views on the park in front of us, which is directly to the north, and opening to the south – to have sun in winters. Closing the east and west walls to make them part of the structure, using diagonals for seismic requirements, and here you have a tower, which is the expression of its place and structure.


墨西哥41号塔楼｜Tower 41. Image © Yoshihiro Koitani

VB：你说并不存在单一的建筑方式，建筑设计方法多种多样。那么你的方式是什么？ 你工作的思路是什么？

AK：嗯，我不喜欢工作太多，所以我试图以一种非常直接和容易的方式解决问题。（笑）

VB：让我们倒退一点 ，你真的认为你的图书馆是解决问题的直接方法吗？ 对我来说，你的空间非常复杂。

AK：是的，但在概念和结构方面都不复杂，这里有很多重复的元素，抑或添加，抑或减少，准确来说，这算不上真正的复杂性，它并不像Carlo Scarpa或Frank Gehry的作品那么繁琐。 无论如何，我喜欢在建筑中用不同的方法。 我想，建筑师应该有不同的设计思路。 正如每个人都有不同的面孔，每个建筑师都应该有不同的建筑方式。 这个过程很让人愉快，每个人有许多不同的表达方式。

VB: You said that there is not a single way of doing architecture; there are many. Which way is yours? What is the intention of your work?
AK: Well, I don’t like to work much, so I try to solve a problem in a very direct and easy way. [Laughs.]

VB: Let’s rewind a bit. Do you honestly think that your library is a direct way of addressing a problem? To me, your space is incredibly complex.
AK: As a result, yes. But conceptually and structurally it is not complex at all. If you take a section through the building practically at any point, they are almost identical. There is a lot of repetition there with certain elements being added or subtracted. It is an apparent complexity. But it is not nearly as complex as works by Carlo Scarpa or Frank Gehry. Anyway, I am fond of different approaches in architecture. There should be as many different architectures as architects, I suppose. Just as every person has a different face, every architect should have a different way of doing architecture. That’s very enjoyable to have many different expressions.


墨西哥Vasconcelos图书馆｜Vasconcelos Library. Image © Yoshihiro Koitani


墨西哥Vasconcelos图书馆平面图｜Plan of the Vasconcelos Library. Image Courtesy of Alberto Kalach

VB：我认为这是每个建筑师的目的——找到自己的表达方式。 那么你的目标是什么？

AK：仅仅的风格区分并不是我的设计意图。 我不认为建筑师应该关心不同的风格，因为人们不用担心有不同的面孔。 你有你的表情，你有自己做事情的方式。 建筑应该表达思路结构，当你置身废墟时，它就是一堆被遗弃的物品，其余的元素都消失了，我发现这非常有吸引力。 而且由于我们的气候，我们不必过分担心空间的封闭，也不用担心装饰，我喜欢让建筑物保持原有的样子。 我总是喜欢展示我的建筑的建造过程，这些没必要隐藏，人们可以通过这种方式了解很多建筑。

VB: I think that’s the intention of every architect – to find his or her own expression or voice. So what is your intention?
AK: Distinction is not my intention at all. I don’t think architects should be concerned about having different styles, as people are not concerned about having different faces. You have the face you have and you do things the way you do. Architecture should be about expressing structure. When you visit ruins, it is the structure that’s left; the rest is gone. I find that very appealing about architecture. And thanks to our climate we don’t have to worry about insulation, and I don’t worry about decoration either. I like to leave buildings undecorated. I always like to show how my buildings are built. Nothing is hidden. You can learn a lot about buildings that way.


墨西哥kurimanzutto 画廊｜Galería Kurimanzutto. Image © Pedro Rosenbleuth


墨西哥kurimanzutto 画廊｜Galería Kurimanzutto. Image © Pedro Rosenbleuth


墨西哥kurimanzutto 画廊｜Galería Kurimanzutto. Image © Pedro Rosenbleuth

VB：有什么特别想分享的吗？

AK：关于住房项目。 墨西哥全国工人住房基金研究所INFONAVIT可持续发展研究中心主任Carlos Zedillo说，住宅建筑占据了建筑总量的80％，如果我们只讨论这种类型的建筑物的外观，我们将改变我们的城市形态。 问题是——我们如何使社会住房有吸引力？

VB: Are there any particular concerns that you would like to share?
AK: I am concerned about housing projects. Carlos Zedillo (Head of the Research Center for Sustainable Development of the Mexican National Workers' Housing Fund Institute—INFONAVIT) said something quite fantastic. He said that 80 percent of construction is housing; if we address the look of just this one type of buildings, we will change the look of our cities. The question is – how do we make social housing attractive?


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image Courtesy of Alberto Kalach


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani


墨西哥Vasconcelos图书馆花园｜Garden at the Vasconcelos Library. Image Courtesy of Alberto Kalach

VB：路易斯•巴拉甘说：“你应该把房屋设计为花园，把花园作为房子。”而且，我看到，建造自己的房子后，你意识到也许你该成为园丁。 你能谈谈这个吗？

AK：这是一个夸张的事情......我曾经花了几个月的时间建造房子和花园，这是一项不同寻常的工作。建筑师应该对建筑物和周围环境给予同样的重视。 花园是建筑内部空间的延伸，它增强了建筑体验感， 这些空间不断成长的同时还延长了建筑物的使用寿命，我非常喜欢这一点。

VB: Luis Barragán said, “You should design houses as gardens and gardens as houses.” And I read that after you built your own house you realized that you wanted to be a gardener. Could you talk about that?
AK: It was an exaggeration... I remember spending months building a house and then once the plants came everything changed. It was extraordinary. Architects should give the same importance to buildings and what’s around them. A garden should be thought of as an extension of a house. Gardens enhance architecture; they keep growing and extend the life of buildings. I like that.


Casa Negro. Image Courtesy of Alberto Kalach


Casa Negro. Image Courtesy of Alberto Kalach

VB：我听说过你经常去拜访巴拉干的最后住宅，Casa Gilardi。 这个建筑对你有多重要？

AK：是的。 那个建筑很重要，巴拉干对我来说很重要。 他对建筑中被遗忘的东西特别敏感，甚至可以理解他们被遗忘的原因，因为欧洲的建筑思想主流是关于如何在第二次世界大战后重建城市，此时重点关心的是建立社会住房。 勒•柯布西耶（Le Corbusier）说：“房屋是住宅的机器。”而有一个来自瓜达拉哈拉的贵族，他对花园设计师费迪南德•巴克（Ferdinand Bac）的工作很感兴趣，他是艺术家的朋友。 他认为建筑是神秘的，它还可以为人们带来沉默、宁静、亲密的感觉。

VB: I heard you visit Barragán’s last house, Casa Gilardi, often. How important is that house to you?
AK: It is true. That house is important and Barragán is very important to me. He was very conscious about things that were forgotten in architecture. And it was understandable that they were forgotten because the mainstream of architectural thinking in Europe was about how to rebuild Europe after World War Two. The concerns were about building social housing. Le Corbusier said, “A house is a machine for living in.” And here there was this guy, a provincial aristocrat from Guadalajara, who was interested in the work of garden designer Ferdinand Bac. He was writing beautiful stories; he was friends with artists. He was in another world. But he reminded us about the mysterious qualities of architecture and that architecture can be about such feelings as silence, serenity, intimacy.


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani

VB：你还记得你是如何发现他的作品吗？

AK：在70年代中期，Emilio Ambasz策划的MoMA节目中首先看到他的作品。 我买了这本书至少十次; 每次有人从我那里“借”它，我就必须再买一本新的。（笑）

VB：MoMA于1976年举办了巴拉干建筑展。当我问Ambasz他是如何发现巴拉干的作品的时候，他说他在当地杂志上所发现的这些作品，所以好奇的是，你通过在纽约展览期间发表了一本书，从而更加深层地了解他的作品。 难道在这以前你不知道他吗？

AK：他当时并没有那么不出名，并且他的作品也并没有被认真研究过。 在墨西哥，这里的主流建筑师曾经说过他是在做环境，而不是建筑。 这个节目让他被人们熟知， 安巴斯（Ambasz）发现了他的才华，从此他的工作就有了转变。

VB: Do you remember how you discovered his work?
AK: I first saw his work published in the catalog of his show at MoMA curated by Emilio Ambasz in the mid-1970s. I have bought that thin book at least ten times; every time someone “borrows” it from me, I have to get a new one. [Laughs.]

VB: MoMA staged The Architecture of Luis Barragan in 1976. When I asked Ambasz how he discovered Barragan, since his catalog was the very first book on Barragan’s work, he said that there were publications on his work in local magazines. So it is curious that you discovered his work through a book published on the occasion of his exhibition in New York. Was he really unknown here before then?
AK: He was not that unknown, but he was not taken seriously. The mainstream architects here in Mexicoused to say that he was into scenography, not architecture. The show made him known. Ambasz discovered him. The opinion of his work changed immediately.


墨西哥41号塔楼｜Tower 41. Image © Yoshihiro Koitani

VB：在你的一个采访中，你说了一件非常有趣的事情：“我相信，一旦建筑物超过了一定的体积和规模，它们往往会更加自主地与景观相结合。 建筑物从地面上升，成为绝对的标志物。 建筑学中最伟大的设计是让建筑从他们的环境中脱颖而出。”你能否谈谈这种建筑创新理念？

AK：我说过 创新是一种心态。 建筑是创新设计，景观是创新设计，古根海姆是创新设计。朗香教堂是创新设计。 密斯的伊利诺大学工学院也是创新设计。

VB：你的图书馆是创新设计。

AK：我的图书馆是创新设计。 是的，有时你也可以创造新事物。

VB: In one of your interviews you said something very interesting: “I believe that once buildings pass a certain volume and scale, they tend to be more autonomous, less integrated with their landscape. The building lifts off the ground and becomes an absolute invention. The greatest ideas in architecture are the ones that break from their context.” Could you talk about this idea of architecture as an invention?
AK: I did say that. I suppose an invention is a state of mind. There are just buildings and there are inventions. Falling Water is an invention. The Guggenheim is an invention. Ronchamp is an invention.Crown Hall by Mies is an invention.

VB: Your library is an invention.
AK: My library is an invention. Yes, sometimes you can invent things. [Laughs.]


墨西哥Vasconcelos图书馆｜Vasconcelos Library. Image © Yoshihiro Koitani  

VLADIMIR BELOGOLOVSKY是位于纽约的非营利策展项目的创始人。 作为纽约库珀联盟的建筑师，他撰写了五本书，其中有《Conversations with Architects in the Age of Celebrity (DOM, 2015)》、《Harry Seidler: LIFEWORK (Rizzoli, 2014)》、《Soviet Modernism: 1955-1985 (TATLIN, 2010)》。他也举办了许多展览，其中有于2015年在阿根廷展出的Anthony Ames: Object-Type Landscapes展览，也有2013年至2015年展出的Colombia: Transformed (American Tour，还有Harry Seidler: Painting Toward Architecture (自2012年开始的环球之旅)，他的作品有2008年第11届威尼斯建筑双年展的Chess Game for Russian Pavilion。 Belogolovsky是柏林建筑周刊SPEECH的美国记者，他曾在20多个国家的大学和博物馆做过演讲。

Belogolovsky的“思想之城”专栏让ArchDaily的读者与来自世界各地最具创意的建筑师进行的持续的对话。 这些讨论内容也将展示给公众，本次展览主题与其2016年6月在悉尼大学首演的标题一致。“思想之城”展览在世界各地的场馆展出，从而探索不断变化的内容和设计。

VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985 (TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries.
Belogolovsky’s column, City of Ideas, introduces ArchDaily’s readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator’s upcoming exhibition with the same title which premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.


墨西哥Vasconcelos图书馆｜Vasconcelos Library. Image © Yoshihiro Koitani


墨西哥Vasconcelos图书馆花园｜Garden at the Vasconcelos Library. Image Courtesy of Alberto Kalach


墨西哥Vasconcelos图书馆草图｜Sketch of the Vasconcelos Library. Image Courtesy of Alberto Kalach


墨西哥Vasconcelos图书馆草图｜Sketch of the Vasconcelos Library. Image Courtesy of Alberto Kalach


墨西哥Vasconcelos图书馆草图｜Sketch of the Vasconcelos Library. Image Courtesy of Alberto Kalach


墨西哥Vasconcelos图书馆模型｜Model of the Vasconcelos Library. Image Courtesy of Alberto Kalach


墨西哥Vasconcelos图书馆草图｜Sketch of the Vasconcelos Library. Image Courtesy of Alberto Kalach


Casa Negro. Image Courtesy of Alberto Kalach


Casa Negro. Image Courtesy of Alberto Kalach


Casa Negro. Image Courtesy of Alberto Kalach


Casa Negro平面图｜Plan of Casa Negro. Image Courtesy of Alberto Kalach


Casa Negro模型｜Model of Casa Negro. Image Courtesy of Alberto Kalach


Casa Negro模型｜Model of Casa Negro. Image Courtesy of Alberto Kalach


Casa Negro. Image Courtesy of Alberto Kalach


墨西哥kurimanzutto 画廊｜Galería Kurimanzutto. Image © Pedro Rosenbleuth


墨西哥kurimanzutto 画廊｜Galería Kurimanzutto. Image © Pedro Rosenbleuth


墨西哥kurimanzutto 画廊｜Galería Kurimanzutto. Image © Pedro Rosenbleuth


墨西哥kurimanzutto 画廊｜Galería Kurimanzutto. Image © Pedro Rosenbleuth


墨西哥kurimanzutto 画廊平面图｜Plan of Galería Kurimanzutto. Image Courtesy of Alberto Kalach


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image © Yoshihiro Koitani


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image Courtesy of Alberto Kalach


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image Courtesy of Alberto Kalach


墨西哥Reforma 27住宅楼 ｜Reforma 27. Image Courtesy of Alberto Kalach


墨西哥Reforma 27住宅楼 ｜Construction photo of Reforma 27. Image Courtesy of Alberto Kalach


墨西哥Reforma 27住宅楼平面图 ｜Plan of Reforma 27. Image Courtesy of Alberto Kalach


墨西哥41号塔楼平面图｜Plan of Tower 41. Image Courtesy of Alberto Kalach


墨西哥41号塔楼模型｜Model of Tower 41. Image Courtesy of Alberto Kalach


墨西哥41号塔楼草图｜Sketch of Tower 41. Image Courtesy of Alberto Kalach


墨西哥41号塔楼草图｜Sketch of Tower 41. Image Courtesy of Alberto Kalach


墨西哥41号塔楼草图｜Sketch of Tower 41. Image Courtesy of Alberto Kalach


墨西哥41号塔楼草图｜Sketch of Tower 41. Image Courtesy of Alberto Kalach


墨西哥41号塔楼草图｜Sketch of Tower 41. Image Courtesy of Alberto Kalach


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