Principal architect of Jiakun Architects. He works as the chief architect and the projects led by him such as Luyeyuan Stone Sculpture Art Museum, Human Settlement Project Of Anren Jianchuan Museum, Department of Sculpture of Sichuan Art Institute, Series of Artiest Work Studios and Guangzhou Time Rose Garden, were selected by Chinese Young Architects’ Work Exhibition in Germany, Chinese Contemporary Architecture Exhibition in France and NAI China Comtemporary: Architecture etc.

domus: You curated the China International Practice Architecture Exhibition in Nanjing together with Arata Isozaki. What was your original plan and basic principles for choosing the architects who participated in the exhibition?
Liu Jiakun: The Nanjing International Practice Architecture Exhibition was promoted by the Chinese Cultural Ministry as a cultural and educational exhibition rather than an industrial one. In the majority of architectural exhibitions, works are presented through models and blueprints, but instead the main content of this exhibition was the construction process and the objects. The construction site of the exhibition, sponsored by the Pukou District government and the Sifang Corporation, was at the Nanjing Foshouhu Resort. After serious discussions, the curatorial team chose “Rebuilding Equilibrium” as the title of this exhibition, implying a critical reflection on social reality and represents people’s pursuit of harmony, the promotion of multi-dimensional elements and a desire for more interaction between the natural and man-made worlds. In order to reflect the latest trends in international architecture, the overseas candidates were nominated by Arata Isozaki. He has chosen some of the architectural avant-gardes exhibiting strong creativity. I was responsible for nominating local architects and focused mainly on two themes-”China” and “Practicality” – to represent the state of Chinese constructing practice. I chose young and middle-aged architects who are currently active in the Chinese architectural field an have taken part in important international architectural exhibitions.

domus: You have a profound understanding of literature and were once appointed professor at the Sichuan Liberal Arts College. We can also feel your spiritual expectations for space in your designs. Do you think these two subjects-literature and architecture-counter-influence and interact with each other in your works?
Liu Jiakun: After trying for so many years, I realized that in all practicality it is important to separate these two different fields. After all, one of them is manipulating words, while the other is manipulating objects. According to the saying by Denis Diderot, “We can neither chop wood with keys, now can we open doors with an ax”.
To repeat what I have already said, “the good expression of architecture can represent things which can only be expressed through architecture; a good expressiong of words can represent thins which can only be expressed through words”. When we are able to distinguish the differences, we can create a frame of reference between these tow areas, then their unique characteristics will be obvious and clear to us. That is to say, they can “borrow each others strength” without being farfetched. This “borrowing of strength” is closer to each medium’s essential character than metaphors, transference and applications. The “borrowing of strength” will not seen forced especially in the areas these two share, such as artistic conception, the transference of the experience or appropriateness.

domus: Urban space has changed tremendously with the incredible development in China. As an important cultural city in Southwest China, what are the unique conceptural characteristics and strategies for architectural design in Chengdu compared with other big cities?
Liu Jiakun: Chendu is one of the biggest cities developing at a super speed. In general, there is nothing twoo unique about its construction. As an inland area whose agriculture and cultivation has already developed to a highly advanced level, people tend to instinctively doubt international industrialization, while easily accepting a return to traditional styles. The pace of people’s life is relatively slow and peaceful there, therefore, the cities hardware has few special characteristics, but people still live very interesting and joyful lives. Most attitudes towards pursuing a casual and peaceful life are reflected in the local design and shown as a complete acceptance and sensitivity to the current fashion. But nobody is willing to be the first courageous guy to stick out his or her neck. “To follow and modify” is much more likely to be accepted than “to create originally”.

domus: You frequently use “low-tech” materials and love to explore the cultural richness of the materials. What is your philosophical opinion on these materials?
Liu Jiakun: My “low-tech strategy” is based on my early practical experiences of home building in the countryside. As I mentioned in my article “Narrating Language and Low-tech Strategies” in the 78th issue of Architects (1997), the term”low-tech” is not appropriate nomenclature. Compared with the “high-tech” methods that have been used as classic architectural language in advance countries, “low-tech” design deals with reality. It aims to use simple technology, and pays more attention to the low-cost and economical feasibility while emphasizing the exploration and utilization of technical advantages used since ancient historical civilization. We are trying to find the equilibrium point between high level-technology and architectural art through convincing design philosophy and complete intelligence. Only thus can we explore an appropriate architectural strategy suitable for countries or areas with poor economic onditions but profound cultural treasures.
Through many years of architectural practice, I still maintain my opinion that this strategy is very effective and that is becoming common opinion. In the architectural exhibitions about China held in Western countries in recent years, I have found this direction to be very helpful in shaping the characteristics that define contemporary Chinese architecture.

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