Rafael Pelli的事务所在全球范围内打造了多座宏伟的地标建筑，包括吉隆坡石油双塔、香港国际金融中心，以及旧金山Salesforce客运中心。

Rafael Pelli’s firm has conceived some of the world’s most epic buildings, including the Petronas Towers in Kuala Lumpur, the International Finance Center in Hong Kong and San Francisco’s Salesforce Transit Center. 

而这些大型项目的背后，都有着一段动人的回忆。Pelli先生的事务所最初只是康涅狄格州纽黑文市的一间独立工作室，是由其父亲Cesar Pelli于1977年创立的。这位传奇建筑师于2019年去世，享年92岁。如今，事务所更名为Pelli Clarke & Partners，团队规模100人左右，在纽约与上海等地均设有办公室。

But there’s an intimate history behind those massive projects. Mr. Pelli’s 100-person firm, now called Pelli Clarke & Partners, was founded by his father, legendary architect Cesar Pelli, in 1977. He died in 2019 at the age of 92. Starting as a single office in New Haven, Connecticut, where the elder Pelli also served as dean of the Yale School of Architecture, Pelli Clarke & Partners now operates out of New York and Shanghai. 

二十年来，身为合伙人的Rafael Pelli视可持续发展为事务所的核心宗旨；团队先后在美国与欧洲打造了一系列获得首批LEED认证的建筑作品。事务所同时也承接住宅类项目，包括纽约的Museum Tower、One Beacon Court、20 River Terrace，以及佛罗里达州阳光岛海滩的Armani Casa住宅。目前正在推进的项目还包括东京的Toro Asa、成都自然历史博物馆，以及奥斯汀的Block 185——谷歌即将进驻的一座“绿色”建筑。

A partner in the firm for two decades, Rafael Pelli has made sustainability central to its mission; the studio conceived some of the first LEED-certified buildings in the U.S. and Europe. His firm’s work also includes residential projects like New York’s Museum Tower, One Beacon Court and 20 River Terrace, and Residences by Armani Casa tower in Sunny Isles Beach, Florida. Current projects include Toro Asa in Tokyo, Chengdu’s Museum of Natural History and Austin’s Block 185—a “green” building leased in full by Google.

Pelli先生接受了Mansion Global的采访，分享了他对于城市未来、疫情下建筑师的挑战、可持续性的全新内涵等方面的看法，同时也展示了他个人的生活空间。

Mr. Pelli spent some time speaking to Mansion Global about the future of cities, how the pandemic is changing demands on architects, the new meaning of sustainability and his own living spaces.  

RP：这是一种渐进的变化。即使父亲已离开了我们，但更重要的是认可核心团队的成员们一直以来做出的贡献，他们许多人几乎从事务所成立之初就在此任职。人们常常会将建筑师想象为单打独斗的英雄人物——就像《源泉（The Fountainhead）》这本书里所描绘的——哪怕他们正带领着一支近千人的团队。这种过度神化的想法，尤其对于我们所承接的大型项目而言，是非常危险的。率先指出此事的人是我父亲，他总是说：“不对，这绝非是我个人的独角戏” ——他的背后有一群人在共同努力着。

RP: It’s an evolutionary change. My father is no longer with us. The most important change was to recognize there’s a core group of people who’ve been working at the firm almost since the beginning. There’s a tendency to look at architects as singular hero figures—like “The Fountainhead”—even if they’re leading an office of 1,000 people. That’s kind of a dangerous mythology, especially with projects as big as we do. My father was the first to say, “Hey, it’s not just about me.” There’s a group of people doing this stuff. 

MG：您的事务所以协作的团队文化而著称。在新冠疫情期间，该如何保持这种状态？

MG: Your office is famed for its collaborative culture. How did you sustain that through the pandemic?

RP：的确是有所变化的，而且非常具有挑战性。在此之前，大家总习惯于在一处办公，而疫情发生之后，具体办公环境发生了改变，如今需要投入更多精力让人们聚集到一起，并维持较高水准的参与度。我们工作中有一种约定俗成的文化，即积极征求包括设计团队与工作室之外的建议。我们充分尊重其他专业的意见，当然也包括业主以及项目的潜在租户。这个策略是一种纯粹的以创意说话的实践方法，甚至可以追溯到1950年代我父亲与Eero Saarinen共事的时候。工作虽然由Eero主导，但所有人都参与其中。

RP: It was transformed, and it was harder to do. It took more of an effort to get people together and to keep the level of engagement that comes naturally when you’re physically together. There’s a basic culture in the way we work where we solicit ideas beyond our own office and design team. We look to people from many other disciplines, and of course to clients and even tenants in client buildings. That approach stretches back to my father’s work with Eero Saarinen in the ’50s. It was a very ideas-driven practice. Eero was at the head, but everybody contributed. 

MG：近来有许多关于曼哈顿中城以及其它城市中心区的未来的讨论，您对此有什么看法吗？

MG: There’s been so much debate about the future of Midtown Manhattan and other urban cores. What’s your vision? 

RP：城市中心区很大程度上将回归其原来的样貌。那些促使它们出现并生长的因素也会持续存在——即人们对于沟通与聚集的普遍需求。其实，许多真正有意义的事件通常发生在正式会面之外：比如那些人们在一场正式会议之后随意提起的 “哦，顺便说一句” 的偶然性瞬间，这些都不能被科技所取代。在居住层面，越来越多的人希望在工作地点附近生活。所以，如今的住宅楼必须能够提供多样化的体验——兼具工作与社交属性——并拥有不同类型的空间。在市场层面，办公空间与住宅正在彼此融合，而它们也都属于城市中心完整生态的一部分。

RP: Urban cores will go back to being largely what they were. The very factors that led to their existence and growth remain—it’s that need to communicate, together. At root of that is a basic belief that a lot of really useful things happen outside of a formal meeting: the “oh, by the way” moment. That’s not replaced by technology. On the residential side, there’s an accelerated trend of wanting to be near your work. Multifamily residential buildings now must include varied kinds of experiences—work, social and both—with different kinds of spaces. It’s a kind of convergence between the workplace and the multifamily residential market. They’re part of a whole ecosystem of urban cores. 

MG：疫情是否使一些正在进行中的项目新生变数？

MG: Did the pandemic force you to make any U-turns in projects that were already underway? 

RP：大部分项目仍在按计划推进。我们被要求暂缓其中有一些项目，但同时这也促使我们在疫情期间探索出新的策略。它可能是办公大楼里可以对外出租的配套设施空间，用以缓解楼内的人口密度——即从超越空间层面的角度重新审视整个项目。当然，受疫情影响，我们的设计也对机电与空气净化系统提出了更加严格的要求。比如，我们一直在思考的是，如何赋予建筑更强的韧性。

RP: For the most part, most projects proceeded as projected. With some, we were asked to take a pause and look carefully at new strategies during the pandemic. It might have been amenity spaces within an office building that could be rented out so the population could spread out—looking at the whole package of spaces outside the space itself. And of course, there were hard looks at mechanical and air-filtration systems. How can we make buildings as resilient as possible?  

MG：自您从业以来，市场上关于可持续发展的相关需求经历了怎样的变化？

MG: How have demands around sustainability changed since you started practicing? 

RP：首当其冲的肯定是LEED认证——在定义绿色建筑方面，这是一次了不起的突破。在此之前，任何人都可以宣称自己的项目是绿色建筑。它至今仍然非常重要，但与此同时，人们对于居住者体验与健康的关注度也在增加，这意味着对于空气质量的关注和要求细化上升到了新的高度。其次，有关日照问题的研究工作也在不断深入，还有更广泛地倡导健康生活习惯的空间设计，包括思索如何鼓励人们多站起来走动，主动选择步行和爬楼梯等等。

RP: The first big push was definitely guided by the LEED building program—it was an incredible breakthrough to define a green building. Before that, anyone could call themselves green. It’s still vitally important, but what’s been added is focusing much more on the occupants’ experience and health. That means air quality gets a different level of detail and attention. Daylight issues are explored much more profoundly. And how do you promote healthy habits, like getting up and moving around? How do you get people to walk and take the stairs more? 

MG：这些想法又该如何在住宅建筑中加以应用呢？

MG: How do those ideas apply to residential buildings?

RP：以纽约为例，过去所谓的公寓配套设施仅仅意味着住宅楼的地下室有个洗衣房。令人惊喜的是，如今新的公寓楼里各项配套设施一应俱全，无论是从高级健身房到会议室，还是从咖啡吧到音乐播放室，或是可供工作的室内外空间。这一改变无不反映出人们对于健康关注度的不断增加，并且围绕提升舒适性营造出的一系列以人为本的空间体验。这些都是在鼓励人们可以离开办公桌，走出公寓。

RP: In New York, at least, amenities used to mean having a laundry room in the basement of an apartment building. In newer buildings, it’s amazing what you see, from really fancy elaborate workout spaces to meeting rooms, coffee bars, places to play music, places to work, places to sit outside and work. That goes along with this general thinking about wellness and trying to support the human experience in a way that contributes to their health. Part of it is getting them away from their desks and out of the apartment. 

MG：业主对于事务所的要求是否也发生了相应的变化？

MG: How is that affecting what clients demand from your firm? 

RP：目前我们接收到最多的要求之一是灵活性，如何通过巧妙的空间营造方式来实现不同的功能转换。比如，能否在带有厨房的餐厅享受一顿丰盛晚餐后，把门关上使其摇身一变成为一间瑜伽室？首先，如何随机应变运用空间至关重要，其次是探索空间在时间维度上的灵活性，即观察它会如何演变进化。热点事物总是日新月异，而这些都是开发商非常关注的话题。  

RP: One of the biggest desires right now is for flexibility. How can you create spaces that can be repurposed for multifunctional spaces, so you can have a big dinner with a catering kitchen, then close the doors and make it a yoga room? It’s key now to think flexibly about the use of space, then think about flexibility over time, meaning how spaces might evolve. The hot thing years ago becomes yesterday’s news. These things are on the minds of developers.  

MG：您自己的生活空间是一种怎样的风格？

MG: What’s the style of your own living space?

RP：我本人经常在康涅狄格州与纽约市两地间来回穿梭。我们在纽约的居所是一间位于15楼的公寓，可以俯瞰哈德逊河。大楼建于战前，最初的设计为装饰艺术风格（Art Deco），采用开放式布局。而在康涅狄格州，我们在Stony Creek小镇上购置了一间老式木屋。我们对它进行了许多微小的调整，但是保留了原来的外观和氛围。它有一个露台和一座花园——我和我太太都十分热爱园艺。我们夫妇通常居家办公，女儿则在上高中，由于康涅狄格州的住宅房间数量更多，它也更适合在疫情期间居住。

RP: I bounce between Connecticut and New York City. In New York, we’re in a 15th-floor prewar apartment overlooking the Hudson [River], originally designed in an Art Deco style with an open plan. In Connecticut, we bought an old cottage in a town called Stony Creek. We’ve done a lot of little things to it, but kept its look and feel. It has a deck and a garden—my wife and I love to garden. My wife and I were working at home, and our daughter’s in high school, so the Connecticut house was much more conducive during Covid, with lots of little rooms. 

本篇采访经过精简与编辑。

This interview has been edited for length and clarity.