哈维尔•塞诺西安禓•阿圭勒

简介 Biography

哈维尔·塞诺西安禓·阿圭勒是一位教、研、实践并举的墨西哥籍建筑师。

学术领域：1972 年，哈维尔以优异成绩毕业于前墨西哥国立自治大学建筑学院。从那时起，在该大学建筑系教授两门课程：“生物建筑学”——集中讲授哲学理念和作品，以及“项目研讨”课——指导将要毕业的学生论文。有一段时间，哈维尔担任建筑学院学术秘书的职务。

专业领域：哈维尔设计了诸多项目：办公楼、住宅、工厂和旅游项目及建筑。

研究领域：哈维尔致力于研究称为“铁丝网水泥”的建筑材料，可用于小型和超大型建筑。他的研究还涉及装配式结构和喷涂聚氨酯建造房屋的气动结构，避免了使用腐蚀性材料。

出版《生物建筑》，Elsevier 建筑出版社，2003 年，英国牛津。出版《有机建筑》，AM Editores 出版社，2008 年，墨西哥。出版《BioArquitectura en busca de un Espacio》，（《寻找空间的生物建筑》）Noriega 主编，1996 年，2004 年增补本。

奖项及展览：2006 年，墨西哥国立自治大学建筑学院董事会授予哈维尔 Federico Mariscal 主席一职。2016～2017 年，哈维尔于贝拉斯阿特斯宫国家建筑博物馆举办作品展览。

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.

关于哈维尔•塞诺西安禓•阿圭勒 About Javier Senosiain Aguilar

20 世纪工业革命和两次世界大战的短短几年，使这个星球支离破碎。一些微弱的、几乎听不见的声音，一如蒙克，在窒息中安静的狂喊，试图结束漫天的红火，抵挡猛烈的雪崩，拯救被一波又一波沉重、灰暗的建筑摧毁的地球绿洲。摩天大楼填满领空，房屋、公寓、工业建筑、工厂、办公室、警卫站、纪念碑、道路、桥梁、高速公路占据地面——这仅仅是城市人造建筑的冰山一角。它们取代旧建筑，生长为新的地壳表皮。

微小的声音被放大了。从地球隐秘的某处叫嚣着，抽泣，重复同样哀叹的低语，苦痛已被遗忘，却又被暗暗勾起。然而，它们未能强大至成为回声，足以淹没苍穹，宣告世人的回声。谁在听这些声音？谁真正担心地球的健康？

人是理性的存在，这是真的吗？是造物主的杰作，这又是真的吗？这个上帝最完美的创造仅用了一个世纪，就摧毁了他的生境。曾经狂风骤雨，巨物横行，环境凶险，原始人类前途未卜。但人类坚持探索——感激美好的土地，感受脚趾间的尘土堆积在皮肤上一层又一层的重量。那重量将一手铸就人类的生存环境。

世上本没有路

走的人多了，也就成了路。

诚然，人类应该创造属于自己的道路。地球上游牧民族的历史和定居人类的历史几乎等长，哪种生活方式教会了我们最多?游牧的生活方式自我衍生，世世传承；今天，声音渐行渐远，勉强为研究者所知。而后者，定居人类的故事，曾经红极一时并如今为人熟知。

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.

“来吧，让我们建造一座城市……不再居无定所，离散各处……有的人已经开始工作，朝着砖瓦沥青搭建的物质世界，他们想象的恣意妄为的世界努力，没什么能够阻挡这进程。”

这是城市文明的开端，耶和华认为超乎一切的，人类愚蠢的骄傲。无数的书籍、文章、杂志、电影、视频和其他媒体都见证了。我们能觉察到地球细小持续的断裂声，但砖和灰浆取代石头，沥青取代沙土，我们无视了这断裂。

人类追求幸福矢志不渝，智力、创造力和取之不尽的自然资源变为人类的抓手。也许主要问题是环境，创造力和智力的产物都依托于特殊的地理位置。地理和气候条件几乎决定个人展现和创作。

生命架构始于对周围环境特征的深刻认识：气候、地形、可用的自然资源……“…动植物构架…浑然天成，与当地生态系统和谐共生。大多数时候我们从中获得节约资源的诀窍。人类利用自然倾情提供的资源和工具，几乎不需要再加工……因此不把自己强加于自然；而是与之结合。”

天人合一孕育出堪比仙境与伊甸园中的和谐美好。天人合一不仅保护自然免受涂害，更创造性的展示了形空极具美学的卓越运作。

每个伟大的建筑师都担心自己项目的发展。它成为身体的一部分。精心设计的每一块石头、每种混合物、每种颜色、每一块砖、每一根电线的弯曲、最后施工中电缆的每一圈组成像一条链，紧密相连。真正的建筑师懂得静心倾听内心的声音。像陶工打造手中的陶土，建筑师在一瞬间创造永恒，彼时万物静默，唯有内心的声音自成宇宙。

建筑师的语言是一个统一整体。反映在登峰造极的笔触中，门、海湾、角落和缝隙、墙壁、天花板、屋顶、质地、材料等象征中，或是别的，构图或塑形将要完成时，情感得到升华时，我们颤抖不已或惊愕万分时，感受宁静或与凹凸不平的墙壁温暖拥抱时，建筑师的语言达到完整。

建筑使重现一个民族的历史成为可能。为人们能够破译习俗、文化、宗教、政治和艺术供源给流。这本身赋予它巨大的历史和社会文化价值。从美学上讲，建筑让我们尽情享受欢乐；冷酷的推理和肖像给了我们体验艺术的机会。

“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.

人物访谈 Interview

导报：在您设计的建筑中，我们经常可以看到陶瓷、玻璃等色彩艳丽的材料。您怎么评价整体建筑色彩鲜艳，但大多数建筑师倾向于使用单一的颜色的现象？

哈维尔：高迪说颜色就是生命，马蒂亚斯·戈里茨说墨西哥人随心所欲地使用颜色，我从丘乔·雷耶斯的绘画、路易斯·巴拉甘建筑中的颜色和墨西哥工艺品中的用色中受到了很大影响，当然还有高迪的特伦卡迪。

Snoopy (Mac Masters Beach,Australia 2010)

导报：您认为有机体在建筑设计中处于什么位置？

哈维尔：把它看成一个隐喻，即把建筑看作是一个有机的组织，在这个组织中，部分之于整体如同整体对于部分一样重要，把建筑看作是一个和谐的统一的单位。同时，数个建筑具有统一性，因此能在整体中感觉到和谐。

导报：许多人认为，您设计的建筑造型独特，常常让人想起大自然中的花朵或海螺等自然生物，仿若令人置身童话。您怎么看？

哈维尔：在建筑项目中，我们习惯综合研究，得出一个精炼和强化的概念，但一般来讲，正式的结果是后验的。在有机体建筑中就像当我们观察云时，开始瞥见一个动物或植物，而不是人类发明的物体。形式的起源不是先验的。

在墨西哥，有些建筑物以Teodoro Gonzalez de Leon 和 Francisco Serrano 的 El Pantalon（裤子）或建筑师 Agustin Hernandez 的 La Lavadora（洗衣机）的名称而闻名，它们是正交的，并将它们与这些物体联系起来。

导报：您设计的建筑外部形状很独特。您认为建筑设计中外部形态与内部空间存在何种关系？

哈维尔：内与外的关系很重要，反之亦然，就像说功能之后才是形式一样，我认为功能和形式应该是一回事。就像在动物里面的有机体一样，内部器官与外部和表皮一样重要。

导报：您十分注重房间充足的采光。您认为光在建筑设计过程中起到什么作用？

哈维尔：在诸如绘画、雕塑、电影、戏剧、舞蹈等视觉艺术表现形式中，光线都是优先考虑的元素。在建筑学领域，光是基础。高迪认为，有两种方式导致失明：黑暗和光线过剩。

导报：您如何理解当代建筑的有机性？

哈维尔：疫情禁闭期间，我们被迫暂停，开展深刻变革迫在眉睫。例如为减少化石燃料的使用，应避免人员流动以及供应物资和食物的流动，这意味着回归我们的起源，回归区域主义。

建筑反映社会，在当代建筑中，自然与人的结合是一种趋势，换言之，有机建筑是趋势。

导报：您的建筑作品造型奇幻，仿佛来自童话世界。您想用这种方式向现实世界表达什么特别的意义吗？

哈维尔：在我们的建筑作品中，考虑人与动物同源，我们尝试将人类视为动物。高迪评论说，“原创”一词来源于“本源”一词，他认为原创就是接近事物的本源。我们试着像动物一样建造空间，就像巢穴、洞穴或软体动物的外壳，让屋所适应身体。该项旨在满足人类生理和心理需求。

导报：这样多变的造型会给施工带来不便吗？实际施工情况会不会与设计意图不符？

哈维尔：并没有，我们在大多数项目的施工过程中使用铁丝网水泥，质量有保证，利于实现我们的设计理念。

导报：墨西哥的建筑色彩丰富。它对您的建筑作品有什么影响吗？

哈维尔：的确，我的用色受墨西哥建筑的色彩影响很大，墨西哥建筑的色彩来自前西班牙，用灰泥和色彩覆盖的金字塔建筑。

殖民时期的建筑用色同样丰富，且受到当代壁画家的影响。建筑师路易斯·巴拉甘的颜色对我有很大的影响。

导报：一般来说，您的作品体积不大。如果遇到比较大的建筑，您一贯的设计风格和思路是否适用？

哈维尔：适用，我认为从一支笔到一个城市，不论规模大小，设计原则都是一样的。

导报：这种复杂多变的建筑建模的结构是什么，施工的难点在哪里？

哈维尔：该结构由铁丝网水泥组成，内含有两个铁丝网并覆盖有砂浆（水泥和沙子）的杆框架。它的形状像一个蛋壳，很薄，这种形状使其刚性十足。

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.