↑ 中国馆屋面竹瓦施工过程照片(摄影：陆轶辰)

　　【记者】设计世博会展馆这样的临时建筑和非临时建筑有什么区别呢?你如何看待当代建筑对于“新”的追求?

　　What was the difference between designing a temporary building and a permanent one? What’s your observation of the pursuit of ‘new’ in contemporary architecture?

　　【陆轶辰】 建筑是有生命的，和人一样，有长有短。对于世博会这样的展馆，它们的生命就是6个月，开馆那段时间和6月的馆日，就是中国馆生命中最华彩的时刻。但生命短，不意味着不精彩。我们可以接受中国馆最后会以某种方式结束--作为建筑师，我们会不好受，但适时结束它，其实是保护它的一种方式。现在也有说法，一些城市想把中国馆在中国异地重建，我们谨慎地乐见其第二次的生命。

　　由钢和玻璃代表的现代建筑在新的时候很漂亮，旧了就不那么好;而很多老教堂、老房子却越旧越有味道，很大一部分原因是石、木、金属这些自然材料可以“记录时间”。中国馆虽然用了最新的胶合木建造技术，但我们却用它来表达传统的文化精神。不但大量采用木、竹等可以留下时间痕迹的自然材料，同时我们很关注构建这些材料的过程中，如何与自然因素的融合，比如光。

　　【陆轶辰】 Buildings have lives just like human, some long, some short. A pavilion for an event like the EXPO has only a life of six months with the apexes being the opening days and probably the ‘pavilion days’ in June. That the pavilion has a short life doesn’t mean it’s not spectacular. We could accept the China pavilion terminates in certain way – as the architect, we will not feel great, but to terminate it at the right moment is actually one way to protect it. There have been some words now that a number of cities are willing to relocate the China Pavilion to China. We will be carefully glad to see its second life.

　　Modern buildings made with glass and steel are all beautiful when they are new and not so when they are aged; many old churches, old houses have more and more quality as they age. A big part of the reason is that natural material such as stone and wood can ‘track the time’. Although the China Pavilion utilized the latest glulam building technology, we wanted to represent the traditional cultural spirit with it. Besides using a great amount of natural materials like wood and bamboo to record time, at the same time we also paid attention to how these materials react with natural elements such as light during the process of constructing them.

　　【记者】屋顶的形式和内部的功能是否有呼应?如果有，是怎么样的，如果没有，那您对于建筑形式与功能之间关系的态度是怎么样的?

　　Is there a dialogue between the shape of the roof and the internal programs? If there is, how is it? If not, what’s your altitude regarding the relationship between the form and function?

　　【陆轶辰】 我对纯粹的形式不太感兴趣，而更在乎观众在空间内部的感受。建筑被看到，是一个基本层次的事情，而更高的层次是对空间的感受。而功能是消解在空间中的。如果你们看我们当时在2013年中期的过程模型，其实有一些在建筑学层面上看，和屋面的体系更契合的。但展览建筑就是这样，取决于内部展陈的需求。这个建筑中包含着由清华美院师丹青老师设计的一块400多平米的，发光LED组成的“麦田”，展览层面上需要有一个无柱的大空间来让观众从各个角度来观看，使得屋面与内部最大的展览空间之间存在着另外一种契合。