人物訪談

導(dǎo)報：您如何看待建筑與人類生活及外部自然環(huán)境的關(guān)系？

平田：建筑就像一種生物，通過與人類生活產(chǎn)生聯(lián)系而變得鮮活起來。這樣一種存在于自然環(huán)境中的生物，就是我想達(dá)到的一種建筑的理想狀態(tài)。

導(dǎo)報：在設(shè)計過程中，您如何處理建筑形態(tài)與周圍建筑的關(guān)系？尤其是在場地周圍建筑密度相對較高的情況下。

平田：就像自然環(huán)境中每種植物的種子都各不相同一樣，至關(guān)重要的是選擇建筑種子時，要適合特定的環(huán)境。例如，在一個高度密集的環(huán)境中，我經(jīng)常選擇褶皺狀的 “種子”，讓建筑在一個非常有限的區(qū)域內(nèi)三維地展開。

導(dǎo)報：您如何看待建筑設(shè)計是一份終身的事業(yè)？

平田：建筑設(shè)計是一份可以終生從事的理想職業(yè)。我覺得這份工作比我能想到的任何個人愛好都有意思。

導(dǎo)報：您從十幾歲起就對生命科學(xué)感興趣。這對您 “仿生建筑”的設(shè)計理念有什么影響？

平田：我從小就喜歡抓昆蟲，所以對生命科學(xué)產(chǎn)生了興趣。那時，我發(fā)現(xiàn)昆蟲生活的外部自然環(huán)境和建筑內(nèi)部空間之間有著明顯的差異，我覺得這很有趣。我之所以進(jìn)入建筑領(lǐng)域，其中一個原因就是我有可能創(chuàng)造出類似于自然環(huán)境的建筑?？赡苓@就是激勵我創(chuàng)作出栩栩如生的建筑的原因。

導(dǎo)報：您認(rèn)為依據(jù)生命原理創(chuàng)造出的仿生建筑是21 世紀(jì)新建筑最具前瞻性的方向嗎？

平田：我認(rèn)為，仿生建筑會在21 世紀(jì)發(fā)揮核心作用。但仿生建筑并不僅僅是指生物形態(tài)的建筑。相反，隨著我們對生命的概念的拓展，建筑被視為生活世界的一部分，仿生建筑應(yīng)該成為一種新型的建筑形式。

導(dǎo)報：您為什么會認(rèn)為 “建筑便是去創(chuàng)造出 “纏繞的相容性”？

平田：我想重新審視建筑，因為它是生活世界的一部分。與此相反，20 世紀(jì)現(xiàn)代主義建筑的理念則是創(chuàng)造并控制純粹的空間。據(jù)我所知，他們之所以會有這種思維方式，是因為他們想在生活世界和建筑之間做出明確的區(qū)分。我的出發(fā)點是改變這種做法。生活世界就像一件織物一樣，各種不同的生物彼此糾纏。我的理念是，建筑是這個錯綜復(fù)雜世界的一部分，它并不是以可操縱的 “空間”為依據(jù)，而是以某種東西與其他東西相互糾纏的可能性上——纏繞的相容性（Karamari--纏繞，Shiro--可能或空間）。

水道橋9h 九小時旅館（日本，東京，千代田區(qū)神田三崎町）9h Nine Hours Suidobashi (Tokyo,Japan)

導(dǎo)報：您越來越注重社區(qū)建設(shè)、自然環(huán)境和人文關(guān)懷，而近年來建筑思維方式發(fā)生了巨大變化，您對此有何想法？

平田：我認(rèn)為 “東日本大地震”對我造成了巨大的影響。我參與了 “共同家園”（Minna no Ie）的抗災(zāi)項目。通過這次經(jīng)歷，我明白了如何從人們建立社區(qū)的行為中創(chuàng)造建筑。這段經(jīng)歷也提醒我，這就是人類最初的建筑方式。我依然渴望能夠?qū)崿F(xiàn)栩栩如生的建筑，但我當(dāng)下還有一個目標(biāo)——為人們創(chuàng)造一個聚集地，在人類進(jìn)行活動時，就會出現(xiàn)這個聚集地，讓它成為人們生活的一部分。根據(jù)這樣的想法，我設(shè)計了太田藝術(shù)博物館和圖書館項目。

導(dǎo)報：在嘗試建立聯(lián)系的過程中，您如何將自然形態(tài)拓?fù)涞娇臻g關(guān)系？

平田：據(jù)說，叢林中的一棵樹可以容納數(shù)百種物種。這些位置被稱為物種棲息的生態(tài)位。建筑也是在一個有限的建筑區(qū)域內(nèi)提供各種各樣的空間，即纏繞的相容性（karamari-shiro）。我希望用一種拓?fù)浣Y(jié)構(gòu)來創(chuàng)造建筑，這種拓?fù)浣Y(jié)構(gòu)能夠最大限度地發(fā)揮 “纏繞的相容性”。

導(dǎo)報：外觀上多了扭曲變形的褶皺，具有豐富的變化性。您希望這樣的外觀給城市里的人帶來什么樣的觀感？

平田：坦率地講，我不希望做出一個門面。例如，鳥兒在一棵樹周圍飛來飛去，占據(jù)了那塊領(lǐng)地，但沒有明確的邊界。我希望我的建筑能夠提供這樣的環(huán)境。

導(dǎo)報：很多人認(rèn)為您的設(shè)計打破了多層建筑形式的傳統(tǒng)定義，對此您怎么看？

平田：聽到很多人會這么想，我非常高興。20 世紀(jì)的建筑特征是樓層分層均勻。我認(rèn)為這樣的建筑會把人們局限在一個平坦的區(qū)域內(nèi)。這種建筑特征已經(jīng)成為一種頑固而強(qiáng)大的原型，我們幾乎不可能克服，因為當(dāng)前充斥著先入為主的觀念。即便是如阿道夫?路斯（Adolf Loos）這樣的20 世紀(jì)初的先驅(qū)者，也無法阻止這樣的原型占據(jù)主導(dǎo)地位。但我認(rèn)為，我們可以一種更具基礎(chǔ)性的方式進(jìn)一步發(fā)展路斯的三維思維方式，比如他的空間規(guī)劃。

水道橋9h 九小時旅館9h Nine Hours Suidobashi

浜松町9h 九小時旅館（日本，東京，港區(qū)）9h Nine Hours Hamamatsucho (Tokyo,Japan)

WARA:What do you think of the relationship between architecture and people's life and the external natural environment?

Akihisa:Architecture is like a living creature that comes to life through its relationship to people’s life.Such a creature existing in the natural environment is an ideal state of architecture that I aim to achieve.

WARA:In the process of design,how do you deal with the relationship between architectural form and surrounding buildings? Especially in the case of relatively high density of buildings around the site.

Akihisa:Just like each plant’s seed differs from each other in the natural environment,it is essential to select an architecture’s seed that is appropriate for a particular environment.For example,in a highly dense environment,I often select a pleat-shaped “seed”that allows architecture to unfold three-dimensionally in a tightly limited area.

WARA:How do you think about architectural design as a whole life activity?

Akihisa:Architectural design is a very desirable profession that allows you to engage in throughout your lifetime.I find the job more interesting than any hobby I can think of.

WARA:You have been interested in life sciences since you were a teenager.What impact does this have on your design concept of "buildings like life"?

Akihisa:I became interested in life science because of my childhood love for catching insects.Back then,I was amused by the clear difference between the outside natural environment that insects live in and the spaces inside a building.One of the reasons that drew me into architecture was the thought that I may be able to create architecture that resembled a natural environment.It may have been what motivated me to create life-like architecture.

WARA:Do you think that the bionic architecture created through the principles of life is the most forward-looking direction for new architecture in the 21st century?

Akihisa:I agree that life-like architecture will play a central role in the 21st century.But it does not simply mean biomorphic architecture.Instead,it should be a new type of architecture that comes into existence as we broaden the concept of being alive and consider architecture as a part of the living world.

WARA:Why do you think "architecture is the process of creating entanglement."?

Akihisa:My intention is to reconsider architecture as a part of the living world.On the contrary,20th-century modernist architecture stood on the concept of producing and controlling pure space.As I understand,their way of thinking came from a desire to make a clear distinction between the living world and architecture.The starting point of my thinking was to reverse this approach.The living world is like woven fabric in which a variety of different beings are entangled with each other.My concept,which considers architecture as a part of this woven world,stands not on the controllable “space”but on the potential for something to tangle with something else=karamari-shiro(karamari=entanglement,shiro=potential or room).

浜松町9h 九小時旅館9h Nine Hours Hamamatsucho

WARA:What do you think of the great changes in the way of architectural thinking in recent years,when you begin to pay more attention to community building,natural environment and humanistic care?

Akihisa:I believe that the Great East Japan Earthquake had a tremendous effect.In response to the disaster,I was involved in the Home-for-All (Minna no Ie) project.Through this experience,I saw how we might be able to create architecture from the very act of people building their community.The experience also reminded me that humans originally built architecture in this way.Living architecture is still what I aspire to achieve,but I now have an additional goal,which is to create a gathering place for people by letting it emerge from the activities that the people themselves conduct as part of their life.Such thinking prompted me to design projects like the Art Museum & Library,Ota.

WARA:In the process of trying to establish a connection,how do you topology the natural form to the spatial relationship?

Akihisa:A single tree in a jungle is said to house hundreds of species.They call these positions that the species inhabit ecological niches.Architecture is also about providing diverse niches,ie.karamari-shiro(potentials for entanglement) within a limited expanse of a building site.I wish to create architecture using a topology that maximizes the potential for entanglement.

WARA:Twisted and deformed folds will bring rich changes to the facade.What kind of perception do you hope this kind of facade will bring to people in the city?

Akihisa:If I may put it bluntly,I don’t want to create a facade.For example,there is a territory around a tree that birds occupy as they fly around,but there is no clear boundary.I want my architecture to provide an environment like that.

WARA:Many people think that your design has broken the traditional definition of multi-storey building form.What do you think of this question?

Akihisa:I am delighted to hear that many people think so.The architecture of the 20th century is characterized by uniformly layered floors.I believe such architecture confines people to a flat territory.It has become an obstinately strong prototype that is almost impossible for us to overcome as we are surrounded by current preconceived notions.Even the pioneers of the early 20th century,such as Adolf Loos,could not prevent such a prototype from becoming dominant.I believe,however,that we could further develop Loos’ three-dimensional ways of thinking,such as hisraumplan,in a more fundamental way today.

Sarugaku（日本、東京）Sarugaku,Tokyo,Japan

桝屋本店（日本、新瀉）Masuya,Niigata,Japan