訪談：永山祐子

INTERVIEW: Yuko Nagayama

簡(jiǎn)介：

1975 出生于日本東京

1998 畢業(yè)于昭和女子大學(xué)

1998 加入青木淳建筑事務(wù)所

2002 成立永山佑子建筑設(shè)計(jì)工作室

2005 東京大學(xué)兼職講師

2008 京都精華大學(xué)兼職講師

2009 昭和女子大學(xué)兼職講師

2010 Ocyanomizu大學(xué)兼職講師

2011 名古屋技術(shù)學(xué)院兼職講師

獲獎(jiǎng)情況：

2005 JCD “路易·威登京都” 設(shè)計(jì)獎(jiǎng)

2004 中之島火車(chē)站設(shè)計(jì)競(jìng)賽二等獎(jiǎng)

2005 “筑波風(fēng)格”概念屋設(shè)計(jì)大賽，第二名

2005 歐萊雅色彩科學(xué)和藝術(shù)獎(jiǎng)，鼓勵(lì)獎(jiǎng)

2006 最佳新秀獎(jiǎng)項(xiàng)，創(chuàng)作者和藝術(shù)家獎(jiǎng)

2006 新興建筑獎(jiǎng)，“一座山上的房子”獲得高度贊譽(yù)2010 TAYA更新競(jìng)賽，入圍

2010 KYOAI GAKUEN學(xué)院教學(xué)建筑大賽，入圍

2012 建筑紀(jì)錄獎(jiǎng)，vanguard2012

2014 家青年建筑師獎(jiǎng)“Teshima Yokoo”博物館建筑設(shè)計(jì)

導(dǎo)報(bào)：您的設(shè)計(jì)里想要探討的主題是什么？

永山祐子：作為一名建筑師，我一直嘗試著顯現(xiàn)世間萬(wàn)象，我秉持著一個(gè)理念，那就是建筑不僅僅是一個(gè)結(jié)構(gòu)性物體。同時(shí)，我還專注于每一項(xiàng)流程，比如設(shè)計(jì)背景以及客戶對(duì)成品的滿意程度。

導(dǎo)報(bào)：結(jié)合您自己的教育背景，能給我們談?wù)勅毡镜慕ㄖ逃龁幔?/p>

永山祐子：與中國(guó)相比，日本的建筑教學(xué)提供了許多設(shè)計(jì)機(jī)會(huì)，包括從房屋設(shè)計(jì)到城鎮(zhèn)規(guī)劃各個(gè)方面。這些因素讓我們?cè)诔蔀橐粋€(gè)獨(dú)立的建筑師之后，能夠以多種視角和尺度來(lái)看待設(shè)計(jì)。

導(dǎo)報(bào)：在青木淳先生公司里的這段經(jīng)歷給您帶來(lái)了什么樣的影響？

永山祐子：他構(gòu)思一個(gè)設(shè)計(jì)主題，不僅僅考慮到建筑結(jié)構(gòu)，而且考慮到早期設(shè)計(jì)階段需要的材料。他的思想便不受約束，源自于他對(duì)一切事物的好奇心。這些因素對(duì)我個(gè)人的觀點(diǎn)形成有極大的影響。

導(dǎo)報(bào)：您的設(shè)計(jì)想法來(lái)自何處？

永山祐子：我的日常生活即是創(chuàng)意的來(lái)源。

導(dǎo)報(bào)：您如何描述自己的設(shè)計(jì)模式？

永山祐子：建筑設(shè)計(jì)不僅僅包括現(xiàn)場(chǎng)施工。它包含了一系列的活動(dòng)，比現(xiàn)場(chǎng)施工花費(fèi)更多時(shí)間，包括設(shè)計(jì)之前和完工之后。所以我將建筑的背景故事、概念和過(guò)程看得更為重要。

導(dǎo)報(bào)：您如何實(shí)現(xiàn)對(duì)項(xiàng)目的掌控？

永山祐子：為了共享項(xiàng)目理念，我一直盡力與所有的項(xiàng)目相關(guān)人員（包括承包商）交流，盡量以面對(duì)面的方式，運(yùn)用簡(jiǎn)練、有說(shuō)服力的言語(yǔ)進(jìn)行交流。

導(dǎo)報(bào)：您在工作中的主要挑戰(zhàn)是什么？

永山祐子：我一直在探索各種建造方式，希望一直能得到客戶和當(dāng)?shù)厝说目隙ㄒ约叭藗兊睦斫狻?/p>

導(dǎo)報(bào)：您如何看“Urbanprem 南青山”的設(shè)計(jì)嗎？

永山祐子：這個(gè)地方有幾座高樓和地標(biāo)性建筑。利用這些特點(diǎn)，“Urbanprem 南青山”被設(shè)計(jì)成了這座城鎮(zhèn)的標(biāo)志性建筑。

導(dǎo)報(bào)：您如何看待信息化對(duì)建筑的影響？

永山祐子：我們可以共享CAD數(shù)據(jù)，運(yùn)用PC、iphone、ipad這些工具檢查重要的地方，即便是大工程，也可以實(shí)時(shí)檢查，這讓我這一類的設(shè)計(jì)師能夠在有限的時(shí)間和空間里更隨意地工作。

導(dǎo)報(bào)：與上一代建筑師相比，新生代日本建筑師的主要特點(diǎn)是什么？

永山祐子：正如我所說(shuō)，我的創(chuàng)意來(lái)自日常生活。新生代設(shè)計(jì)師則喜歡運(yùn)用人性化或小型建筑物的創(chuàng)意，關(guān)注日常問(wèn)題和環(huán)境，這就與老一代建筑師不一樣，他們往往傾向于從社會(huì)問(wèn)題上取材。

我們把一座建筑物看作是一個(gè)能在人們內(nèi)心創(chuàng)造某種感受的事物，而不止是字面意義上的實(shí)際建筑。也就是說(shuō)，設(shè)計(jì)建筑物就是一種設(shè)計(jì)的體驗(yàn)。因此，與其說(shuō)我們的作品像實(shí)物，不如說(shuō)更接近于現(xiàn)象，其中不乏模棱兩可的元素。

首先，我們?cè)诮o定的環(huán)境中發(fā)現(xiàn)一種新的通用元素，并且運(yùn)用到我們的建筑設(shè)計(jì)中。然后，邂逅這座建筑物的人們心中又會(huì)油然而生另一種新的體驗(yàn)。我們希望在不久的將來(lái)，這樣一種循環(huán)可以在社會(huì)中生生不息。

我們的設(shè)計(jì)原則是將通用元素具體化，將其作為基礎(chǔ)，不僅僅是定義為某種類型，如日本風(fēng)格、歐洲風(fēng)格、地方風(fēng)格或都市風(fēng)格等。我們希望描繪出一個(gè)普通而具有革新性的設(shè)計(jì)藍(lán)圖。例如，這些元素將會(huì)是“光”、“重力”、“時(shí)間”和“深度”等。盡管目前尚處于構(gòu)想階段，一旦我們讓它在某個(gè)地方實(shí)現(xiàn)，它將不會(huì)受到各個(gè)時(shí)代不同氛圍的影響，一直保持新鮮感，因?yàn)槿祟惖谋拘跃褪窍矚g獵奇各種新鮮事物。與驚喜不期而遇，人們會(huì)直觀地感受到其煥發(fā)出的活力。我們認(rèn)為這與時(shí)尚帶給人們的感受是一樣的。

We regard an architecture as something that creates an experience in people's mind, not literary a physical building. In other words, a designing architecture is a designing experience. Therefore, our works are not like substance, but more like phenomenon, some of which have elements of ambiguity.

To begin with, we discover a new universal element in given context, and apply to our architecture. Then, people who have an experience in encountering the architecture find something new in themselves. We aim for this cycle to be taking hold in a society in near future. Our design policy is to embody the universal elements as a foundation. Not only be defined as a typology, such as Japanese style, European style, provincial style, or urban style; we aim to portrait a universal and yet innovative discovery. For instance, the elements will be "light","gravity","time" and "depth". Although all of these are conceptual, once it is realized in a space, this keep fresh without being influenced by the mood of times. This is due to human nature of seeking a fresh surprise. Encountering this kind of surprise intuitively make people realize that they are living at the exact moment. We consider this is in common with what the fashion can offer to people.

豐島橫尾館

WAR: What are the themes you want to explore in your design?

WAR: Would you please talk about the architectural education of Japan combined with your educational background?

WAR: What influences you when you work with Jun Aoki?

WAR: How do you get your design ideas?

WAR: How would you describe the mode of your design?

WAR: How do you control the project in its process?

WAR: What is the key challenge in your practice?

WAR: How do you think about the design of the Urbanprem Minami Aoyama?

WAR: What do you think about the influence of informatization on architecture?

WAR: What are the main characteristics of the Japanese young generation architects compared with the last generations?

Yuko Nagayama: As an architect I always attempt to develop an expression using variety of phenomena in the space, with the idea that the architecture is not only a structural object. In addition, I also focus on each process, like background behind the design, and comfort of a client after the completion.

Yuko Nagayama: In comparison with China, Japanese architectural program has many opportunities to design, ranging from houses to town planning. Those opportunities allow us to obtain various perspectives and scales in designing after being independent as an architect.

Yuko Nagayama: He always composes a design theme not merely from structure but materials in the early stage of design. His broad and flexible idea comes from his curiosity about everything. Those factors have so much influence on building my own point of view.

Yuko Nagayama: My daily life is my source of ideas.

Yuko Nagayama: The act of designing architecture doesn't complete within the process of on-site construction. It is a flow of many actions in the longer span of the time including before the designing and after the completion. So I put more value on the stories, concept and the process of construction.

Yuko Nagayama: In order to share project concept, I always trying to talk with all staffs (also contractor) who are involved in the project, in face to face as much as possible, with simple and persuasive words.

Yuko Nagayama: I’m trying to seek how to build up architecture, engaged and loved for a long time by the client and local area, gaining many people understandings.

Yuko Nagayama: This location has several heights and scales of building. "Urban Prem Minami Aoyama" was designed as a symbol of the town, making use of these differences.

Yuko Nagayama: We can share the CAD data and check the important points with devices like PC, iphone, ipad, etc., instantaneously even for big project, which allowed designers like me to work freely in limited time and space.

Yuko Nagayama: As I mentioned, my ideas comes from daily life. The youth generation is using the idea of the humanscale or small-scale structure that focus on daily issues and conditions, which is quite different from the last generations who tend to take ideas from social issues.