Liu Yichun

INTUITION/IMAGINATION

How does intuition present itself to you – in form of a suspicious impression, a spontaneous visualisation or whatever - maybe in dreams?

Intuition is always triggered by the object. Of course, it’s more dependent on the subject’s perception, a sensitivity. Some people are naturally sensitive, while others acquire sensitivity through experience. For me, when I’m designing a specific building, immediately after arriving at a particular place, a vision of what the building might look like and feel like emerges in my mind, based on existing information. Although it may not be the final result, there are always some feelings that persist.

Will any ideas be written down immediately and archived?

No. My initial intuition in the first place always lasts for a long time.

?: How do you come up with good or extraordinary ideas?

There are always some ideas that arise emerge. But it’s not always easy to judge whether they are good enough. I always feel that an idea is worth pursuing when it solves more problems. Accordingly, it gets closer to the unique answer to the essence of things. Then, there is always an appropriate form to present it.

?: Do you feel that new creative ideas come as a whole or do you get like a little seed of inspiration that evolves into something else and has to be realized by endless trials and errors in form of constant developments up until the final result?

Sometimes, when the right time comes, a whole idea emerges in your mind, which is exactly what you have been wishing for. Most often, however, a partial idea gradually leads to the whole.

What if there is a deadline, but no intuition? Does the first fuel the latter maybe?

Intuition always exists from the beginning. If it doesn't, it will be more of a rational design evolution through iterations based on experience. Time constraints do not promote intuition.

INSPIRATION

What inspires you and how do you stimulate this special form of imaginativeness?

Anything can be inspiring, such as an existing object on site, its relationship with the surroundings or natural phenomena, and so on. In my architectural design, structure often becomes an important creative factor. Converting various demands of various elements into a particular structure is often the starting point for a unique form.

?: How do you filter between ideas worthwhile pursuing and bad ones that you just let go of?

Perhaps this relies on intuition, the ability to judge the rationality and form of things.

Has it to appeal to you primarily or is its commercial potential an essential factor?

Any need has the potential for development, and ultimately, it depends on us to judge which ones are important and worth paying attention to.

Do you revisit old ideas or check what colleagues/competitors are up to at times?

I always write some articles, or when I need to give a speech, I review past designs, old ideas, and current ones. There must be consistency between them. Peers are often a mirror for me, and they help me see the value of what I am doing.

CREATIVITY

Which time/place/environment suits your creative work process the best (tranquillity or pressure) and which path do you take from theory/idea to creation?

I prefer a quiet environment, but architectural design often exists under various pressures. This is always the case, at least in China. I enjoy a literary imagination, which finally returns to concrete structure and technical construction.

What is better in the realization process: speed and force creativity i.e. grasp the magic of the moment, or a slow, ripening process for implementation/elaboration?

In China, almost all projects have unimaginable speed requirement of design speed. Design often requires means making instant decisions and moving forward in a certain direction. What we can do is to ensure that all designs are based on a enduring thinking, which is what I mentioned earlier about the importance of consistency.

?: Do you have any specific strategies you use when you are feeling stuck creatively?

Architectural design, unlike art making, always has the potential to move forward in a certain way. It's just that the breakthrough moment you are looking for can come at the beginning or at the end. Excessive pressure is not necessary.

How important are self-doubt and criticism (by others) during such a process i.e. is it better to be creative on your own, only trust your own instincts, or in a team? 

Self-reflection and criticism from others are both important. We need to know the value of what we are doing in a broader historical and realistic context. And most of the time, these values are emerging through summary and discussion afterwards.

Should a creative always remain true to him-/herself including taking risks & going against the flow or must one, for reasons of (commercial) survival, make concessions to the demands of the market, the wishes of clients and the audience’s expectations?

Of course, one must always stick to him-/herself, take risks, and go against the prevailing trend. External demands and expectations are part of what you need to take care of, but you should guide them, not the other way around.

?: How is innovation still possible if one has established a distinctive style and, just in case, is it good to be ahead of one’s time even one hazards not being understood?

Style is naturally formed. It is not the purpose of innovation, but rather the result of continuous innovation. Novelty in style is not necessarily true innovation. I think it is every creator's dream to lead ahead of their time. Not being understood is not an easy thing to do either.

When does the time come to end the creative process, to be content and set the final result free - or is it work-in-progress with an endless possibility of improvement?

In the design and construction process of architecture, there always seems to be room for improvement. However, every creative process has an end, and contentment lies in letting yourself become an observer of people in a state of excitement, joy, and freedom in the space you created, seeing others excited, free, and joyful in the space you created.

?: In case of failure or - worse - a creativity crisis how do you get out of such a hole?

Move on to the next project

SUCCESS

?: “Success is the ability to go from one failure to another with no loss of enthusiasm.“ Do you agree with Winston Churchill’s quote?

I agree with this statement, but I don't think it has much significance.

?: Should/can one resist the temptation to recycle a ‘formula’ one’s successful with?

Repeating a formula, I think, is not related to temptation. Resisting temptation is always necessary.

?: Is it desirable to create the ultimate/timeless work, but doesn’t “top of the ladder” bring up the question of “what’s next?” i.e. isn’t such a personal peak “the end”?

A timeless work does not necessarily mean a personal peak. But we can only reach a peak before we can go to even higher peaks.

MY FAVORITE WORK:

It is the "vault-umbrella" structure, digesting all the needs and existing conditions into a simple structural unit, that creates a rich, powerful, and uniquely formed art museum.