訪談：永山祐子

訪談：永山祐子

INTERVIEW: Yuko Nagayama

簡介：

1975 出生于日本東京

1998 畢業于昭和女子大學

1998 加入青木淳建筑事務所

2002 成立永山佑子建筑設計工作室

2005 東京大學兼職講師

2008 京都精華大學兼職講師

2009 昭和女子大學兼職講師

2010 Ocyanomizu大學兼職講師

2011 名古屋技術學院兼職講師

獲獎情況：

2005 JCD “路易·威登京都” 設計獎

2004 中之島火車站設計競賽二等獎

2005 “筑波風格”概念屋設計大賽，第二名

2005 歐萊雅色彩科學和藝術獎，鼓勵獎

2006 最佳新秀獎項，創作者和藝術家獎

2006 新興建筑獎，“一座山上的房子”獲得高度贊譽2010 TAYA更新競賽，入圍

2010 KYOAI GAKUEN學院教學建筑大賽，入圍

2012 建筑紀錄獎，vanguard2012

2014 家青年建筑師獎“Teshima Yokoo”博物館建筑設計

導報：您的設計里想要探討的主題是什么？

永山祐子：作為一名建筑師，我一直嘗試著顯現世間萬象，我秉持著一個理念，那就是建筑不僅僅是一個結構性物體。同時，我還專注于每一項流程，比如設計背景以及客戶對成品的滿意程度。

導報：結合您自己的教育背景，能給我們談談日本的建筑教育嗎？

永山祐子：與中國相比，日本的建筑教學提供了許多設計機會，包括從房屋設計到城鎮規劃各個方面。這些因素讓我們在成為一個獨立的建筑師之后，能夠以多種視角和尺度來看待設計。

導報：在青木淳先生公司里的這段經歷給您帶來了什么樣的影響？

永山祐子：他構思一個設計主題，不僅僅考慮到建筑結構，而且考慮到早期設計階段需要的材料。他的思想便不受約束，源自于他對一切事物的好奇心。這些因素對我個人的觀點形成有極大的影響。

導報：您的設計想法來自何處？

永山祐子：我的日常生活即是創意的來源。

導報：您如何描述自己的設計模式？

永山祐子：建筑設計不僅僅包括現場施工。它包含了一系列的活動，比現場施工花費更多時間，包括設計之前和完工之后。所以我將建筑的背景故事、概念和過程看得更為重要。

導報：您如何實現對項目的掌控？

永山祐子：為了共享項目理念，我一直盡力與所有的項目相關人員（包括承包商）交流，盡量以面對面的方式，運用簡練、有說服力的言語進行交流。

導報：您在工作中的主要挑戰是什么？

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地人的肯定以及人們的理解。

導報：您如何看“Urbanprem 南青山”的設計嗎？

永山祐子：這個地方有幾座高樓和地標性建筑。利用這些特點，“Urbanprem 南青山”被設計成了這座城鎮的標志性建筑。

導報：您如何看待信息化對建筑的影響？

永山祐子：我們可以共享CAD數據，運用PC、iphone、ipad這些工具檢查重要的地方，即便是大工程，也可以實時檢查，這讓我這一類的設計師能夠在有限的時間和空間里更隨意地工作。

導報：與上一代建筑師相比，新生代日本建筑師的主要特點是什么？

永山祐子：正如我所說，我的創意來自日常生活。新生代設計師則喜歡運用人性化或小型建筑物的創意，關注日常問題和環境，這就與老一代建筑師不一樣，他們往往傾向于從社會問題上取材。

我們把一座建筑物看作是一個能在人們內心創造某種感受的事物，而不止是字面意義上的實際建筑。也就是說，設計建筑物就是一種設計的體驗。因此，與其說我們的作品像實物，不如說更接近于現象，其中不乏模棱兩可的元素。

首先，我們在給定的環境中發現一種新的通用元素，并且運用到我們的建筑設計中。然后，邂逅這座建筑物的人們心中又會油然而生另一種新的體驗。我們希望在不久的將來，這樣一種循環可以在社會中生生不息。

我們的設計原則是將通用元素具體化，將其作為基礎，不僅僅是定義為某種類型，如日本風格、歐洲風格、地方風格或都市風格等。我們希望描繪出一個普通而具有革新性的設計藍圖。例如，這些元素將會是“光”、“重力”、“時間”和“深度”等。盡管目前尚處于構想階段，一旦我們讓它在某個地方實現，它將不會受到各個時代不同氛圍的影響，一直保持新鮮感，因為人類的本性就是喜歡獵奇各種新鮮事物。與驚喜不期而遇，人們會直觀地感受到其煥發出的活力。我們認為這與時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.