從三個(gè)項(xiàng)目實(shí)踐看建筑與結(jié)構(gòu)關(guān)于地域特征的內(nèi)在關(guān)聯(lián)

柳澤潤(rùn)

鹽尻市社區(qū)中心鳥(niǎo)瞰 ? Shigeru Ono（大野繁）

南相馬市兒童樂(lè)園外觀 ? Kawasumi·Kobayashi Kenji Photograph Office

關(guān)內(nèi)站北廣場(chǎng)夜景 ? Contempararies,Inc.

20世紀(jì)80年代，建筑評(píng)論家肯尼斯x 弗蘭姆普頓(Kenneth Frampton)提出了批判性地方主義。20世紀(jì)80年代末，后現(xiàn)代主義正值盛時(shí)，并涌現(xiàn)出解構(gòu)主義、分層城市等新思想潮流，建筑和城市設(shè)計(jì)同樣有新的思想，在高科技領(lǐng)域也出現(xiàn)了新的建筑表達(dá)形式。進(jìn)入21世紀(jì)后，這些“主義”消失了，各地的建筑師們?cè)诎盐债?dāng)?shù)孛窬犹攸c(diǎn)的同時(shí)，逐漸形成自己獨(dú)特的想法和概念，將建筑問(wèn)題與新的建筑表達(dá)聯(lián)系起來(lái)的活動(dòng)開(kāi)始得到發(fā)展。“景觀”一詞出現(xiàn)了新的注解，例如“城市景觀”“城鎮(zhèn)景觀”甚至“辦公景觀”，這些寬泛釋義，為建立景觀與建筑、建筑與城市景觀之間的關(guān)系提供了契機(jī)。

1 鹽尻市社區(qū)中心（Empark），2010

1.1 項(xiàng)目背景

鹽尻市是典型的日本區(qū)域性城市，共6.6萬(wàn)人口。近期，該市的產(chǎn)業(yè)結(jié)構(gòu)正被迫由第三產(chǎn)業(yè)轉(zhuǎn)為第四產(chǎn)業(yè)，農(nóng)業(yè)等第一產(chǎn)業(yè)以及某大型電子制造企業(yè)成為該市的支柱產(chǎn)業(yè)/企業(yè)，并且其作為葡萄酒產(chǎn)區(qū)正逐漸引起人們的關(guān)注。

2006年10月，該項(xiàng)目舉行了以社區(qū)中心為主題的設(shè)計(jì)競(jìng)賽，旨在為曾經(jīng)繁華的購(gòu)物街及主街注入新的活力，鹽尻市社區(qū)中心方案脫穎而出。直到2022年，日本各地都在持續(xù)舉行此類城市復(fù)興設(shè)計(jì)競(jìng)賽，此時(shí)距離城市中心區(qū)域空心化要求的提出已經(jīng)過(guò)去了很長(zhǎng)時(shí)間。21世紀(jì)初期，由政府主導(dǎo)的利用公共建筑和開(kāi)放空間的“社區(qū)發(fā)展”和“城鎮(zhèn)振興”呈井噴態(tài)勢(shì)，可以說(shuō)，我們已經(jīng)進(jìn)入了一個(gè)全新的時(shí)代，人們不僅關(guān)注建筑的持續(xù)影響力，更期待創(chuàng)造基于軟件的、經(jīng)過(guò)深思熟慮的、為市民而設(shè)計(jì)的空間。同時(shí)，建筑與地域特征的關(guān)系變得更加緊密，其中不乏為城市而設(shè)計(jì)的結(jié)構(gòu)性方案。

1.2 概念圖解

2006年，我第一次到鹽尻實(shí)地踏勘時(shí)，城鎮(zhèn)十分荒蕪，商業(yè)街并不熱鬧，站前區(qū)域同樣人煙稀少。盡管周圍的山脈有著壯麗的風(fēng)景，但鎮(zhèn)上幾乎看不到綠植，很難想象讓人們樂(lè)于聚集的場(chǎng)所會(huì)是什么樣子。正如前文所述，項(xiàng)目競(jìng)賽的目標(biāo)之一是復(fù)興城市中心曾繁榮的商業(yè)區(qū)，并打造一個(gè)能將年輕人聚集的場(chǎng)所，作為與當(dāng)?shù)厣鐓^(qū)建立聯(lián)系的標(biāo)志。

為回應(yīng)上述要求，我們提出了6個(gè)概念及相關(guān)圖解：1）環(huán)境再生；2）開(kāi)放-圍合系統(tǒng)；3）孵化區(qū)域領(lǐng)袖；4）路徑與島嶼；5）四個(gè)空?qǐng)雠c庭院；6）墻柱系統(tǒng)的新景觀。

“開(kāi)放-圍合系統(tǒng)”與軟件相關(guān)，而其他概念更關(guān)注建筑的自身構(gòu)架。我認(rèn)為“環(huán)境再生”更加重要，即如何在同一時(shí)間軸內(nèi)，建立當(dāng)代建筑與當(dāng)?shù)厣鐓^(qū)的聯(lián)系。對(duì)此，我在鹽尻城鎮(zhèn)的形成方式和平面構(gòu)成之間建立了聯(lián)系，并希望在“開(kāi)放-圍合系統(tǒng)”中通過(guò)墻柱的結(jié)構(gòu)體系重現(xiàn)源自森林的古老力量，這也與“墻柱系統(tǒng)的新景觀”概念一致。

由此，鹽尻這個(gè)從江戶時(shí)代就已存在的古老驛站城市，其歷史在鹽尻市社區(qū)中心的整體結(jié)構(gòu)設(shè)計(jì)中起到了主導(dǎo)作用。同樣，在御柱祭（Onbashira Matsuri）節(jié)日期間，附近的諏訪神社中舉行的御柱獻(xiàn)祭儀式也影響了墻柱景觀的隨機(jī)排布。我們希望通過(guò)建筑的結(jié)構(gòu)體系，以新的景觀形式呈現(xiàn)鹽尻已傳承百年的地方特色。這一理念十分適合城鎮(zhèn)復(fù)興。

2020年8月，鹽尻市社區(qū)中心迎來(lái)建成10周年紀(jì)念日，此時(shí)已累計(jì)接待游客超過(guò)600萬(wàn)人次，實(shí)現(xiàn)了每年接待40萬(wàn)游客的目標(biāo)，這座建筑已然成為社區(qū)內(nèi)不可或缺且受人喜愛(ài)的一部分。與此同時(shí)，“地域性特征和結(jié)構(gòu)”的概念在這個(gè)作品中再次得到了充分的體現(xiàn)。

2 南相馬市兒童樂(lè)園，2016

2.1 項(xiàng)目背景

2011 年3 月11 日，日本東北地區(qū)發(fā)生東部大地震。由于核電站被地震引發(fā)的海嘯破壞，擁有5.5 萬(wàn)人口的南相馬市鹿島鎮(zhèn)也不可避免地受到了核輻射的影響。

2013年夏天，我和建筑師伊東豐雄（Toyo Ito）一起到項(xiàng)目現(xiàn)場(chǎng)踏勘。在地震發(fā)生兩年后，核輻射仍影響著人們的生活，附近小學(xué)和幼兒園的孩子們都在體育館或人造草坪上玩耍，而不是在操場(chǎng)上。對(duì)于在海邊成長(zhǎng)的我來(lái)說(shuō)，在沙灘上玩耍是孩童時(shí)期每天都會(huì)發(fā)生的事情，因此我很難想象在缺乏與沙地和土壤接觸的環(huán)境下成長(zhǎng)，會(huì)對(duì)孩子們?cè)斐啥啻蟮挠绊憽?/p>

文化便利俱樂(lè)部有限公司（Culture Convenience Club Co.,Ltd.）作為一家私人企業(yè)，支持著由伊東豐雄和妹島和世（Kazuyo Sejima）創(chuàng)立的“共有家園”（Home for All）項(xiàng)目。該企業(yè)提議為孩子們打造一個(gè)室內(nèi)沙場(chǎng)，并得到了廣大制造商和企業(yè)在物資以及資金上的支持，最終于2016 年將項(xiàng)目建成。

2.2 回應(yīng)自然與傳統(tǒng)

兒童室內(nèi)沙場(chǎng)應(yīng)采取哪種形式？臨近小學(xué)及幼兒園的建筑更適合哪種形式？對(duì)我來(lái)說(shuō)，這一項(xiàng)目非比尋常，但我仍著手繪制了草圖。為回應(yīng)場(chǎng)地周圍宏偉的山脈，我將建筑的主要造型設(shè)計(jì)為雙屋頂。從小學(xué)的教學(xué)樓和幼兒園的庭院都能看到這對(duì)屋頂，它的幽默感足以成為小鎮(zhèn)的標(biāo)志。結(jié)構(gòu)設(shè)計(jì)同樣著眼于對(duì)形式的創(chuàng)造，試圖為每天生活在輻射和海嘯恐懼之下的人們帶來(lái)些許慰藉，并始終向市民敞開(kāi)大門。結(jié)構(gòu)又一次成為了內(nèi)在地方性的表現(xiàn)。

在南相馬，名為相馬野馬追節(jié)（Nomaoi）的武士節(jié)日，即所謂騎兵之戰(zhàn)，已有數(shù)百年歷史。除此之外，神道儀式也世代流傳。這種激烈的騎兵戰(zhàn)斗是此地孕育的崇高活動(dòng)之一，而戰(zhàn)士們的英勇精神所產(chǎn)生的力量，一定源自于他們與自然的關(guān)系。

2.3 結(jié)構(gòu)與空間

建筑的曲面屋蓋沒(méi)有用貫通梁支撐，而是通過(guò)小部件將環(huán)形梁水平連接、堆積，并將力流向內(nèi)引導(dǎo)，呈現(xiàn)出好像上升至天空的結(jié)構(gòu)效果，中心的柱子也象征著直抵天空的力量。通過(guò)精致的24mm環(huán)梁將木質(zhì)結(jié)構(gòu)的固有強(qiáng)度與內(nèi)部連接，使內(nèi)部空間的結(jié)構(gòu)體系呈現(xiàn)剛?cè)岵?jì)的效果。如果由象征性物體的相互關(guān)系所創(chuàng)造的空間，能夠給孩子和家長(zhǎng)們一些平靜的心態(tài)和面對(duì)明天的勇氣，它可能會(huì)為這座地域性建筑的持久性和可持續(xù)性賦予新的意義。

2021年12月，我再次來(lái)到這里。受新冠疫情影響，它的使用率有所降低，但我在設(shè)施的使用中依舊看到了居民對(duì)這座建筑的認(rèn)可。這些美好的使用場(chǎng)景讓我意識(shí)到，這個(gè)項(xiàng)目已經(jīng)成功地立于當(dāng)?shù)氐纳鐓^(qū)之中了。

3 關(guān)內(nèi)站北廣場(chǎng)，2022

3.1 項(xiàng)目背景

橫濱關(guān)內(nèi)最初為人所知，是因?yàn)樵?9世紀(jì)中葉的江戶時(shí)期，馬休x 卡爾布萊斯x 佩里（Matthew Calbraith Perry）曾到訪此地，當(dāng)時(shí)日本還是一個(gè)對(duì)外封閉的國(guó)家，后來(lái)橫濱逐漸發(fā)展為繁榮的港口城市。在19世紀(jì)下半葉，日本在東京新橋和橫濱之間修建了第一條鐵路，關(guān)內(nèi)一帶填海造地，成為了貿(mào)易中心，許多產(chǎn)業(yè)誕生于此，一些國(guó)際公司也紛紛入駐?！瓣P(guān)內(nèi)”這一名稱本就有著在某一區(qū)域內(nèi)容納外國(guó)人定居和促進(jìn)區(qū)域內(nèi)部交流的意思，換言之，它也代表著國(guó)際文化交流的基地。

20世紀(jì)60年代，飛鳥(niǎo)田一雄（Asukata Ichio）市長(zhǎng)上任，將城市規(guī)劃作為他推行的六大項(xiàng)目之一。城市的框架在很大程度上圍繞城市設(shè)計(jì)師田村明（Akira Tamura）的設(shè)計(jì)理念形成。橫濱從一個(gè)小鎮(zhèn)轉(zhuǎn)型為以關(guān)內(nèi)站為中心的城市，并在此過(guò)程中完成了一系列土建項(xiàng)目，例如關(guān)內(nèi)站的開(kāi)通、橫濱市政府的建設(shè)、大通公園（綠軸）以及港口的開(kāi)發(fā)等。

3.2 基于城市的設(shè)計(jì)

關(guān)內(nèi)站北廣場(chǎng)項(xiàng)目始于2011年，當(dāng)時(shí)成立了一個(gè)基于社區(qū)的設(shè)計(jì)小組委員會(huì)，由周邊的各個(gè)社區(qū)協(xié)會(huì)運(yùn)營(yíng)，共同討論車站的未來(lái)以及站前空間的利用。由于項(xiàng)目涉及多個(gè)部門，且建筑建于道路之上、高架鐵軌之下，需要較為復(fù)雜的協(xié)調(diào)及解決措施，導(dǎo)致施工周期過(guò)長(zhǎng)。

設(shè)計(jì)大屋頂?shù)南敕ú⒎莵?lái)自任務(wù)書(shū)的要求，而是源于一種直覺(jué)——這個(gè)場(chǎng)地需要通過(guò)一種形式，將關(guān)內(nèi)城市的多樣性與分散性整合。任務(wù)書(shū)中也沒(méi)有提到廣場(chǎng)，但我認(rèn)為這個(gè)大屋頂很適合體現(xiàn)關(guān)內(nèi)作為文化中心和開(kāi)放空間的城市形象。在屋頂結(jié)構(gòu)設(shè)計(jì)中，高架鐵軌的復(fù)雜結(jié)構(gòu)在底部被隱藏，便于人們從頂部和底部都能輕易地看到建筑。

我們想象著人們從JR關(guān)內(nèi)站的檢票口出來(lái)，向城市各處四散開(kāi)來(lái)。我們創(chuàng)造了一條寬敞的流線，它以輕松的弧形環(huán)繞著高架鐵軌，映射出城市的面貌，也柔和地包圍著車站前來(lái)往的人們。從關(guān)內(nèi)站北出口附近的任何一個(gè)地方，都可以看到這座具有城市廣度的建筑?！皬V場(chǎng)”這個(gè)詞會(huì)讓人聯(lián)想到長(zhǎng)椅、綠植和人們放松的畫(huà)面，但對(duì)我來(lái)說(shuō)，建筑天花上映射的風(fēng)景本身就是一個(gè)廣場(chǎng)，它時(shí)而呈現(xiàn)動(dòng)態(tài)影像，時(shí)而成為安靜、神圣的空間。廣場(chǎng)本就具有多面性，它會(huì)根據(jù)觀者的視角、位置以及時(shí)間的不同，不斷變換表達(dá)方式。這個(gè)廣場(chǎng)所塑造的景觀，與當(dāng)下的關(guān)內(nèi)城市氛圍十分契合。

1-3,7-8,12-14 柳澤潤(rùn)提供

4-6 Shigeru Ono（大野繁）攝影

9-11 Kawasumi·Kobayashi Kenji Photograph Office 攝影

15-19 Contempararies,Inc.攝影

In the early 1980s,the critic Kenneth Frampton referred to critical regionalism.In the late 1980s,post-modernism was at its height,and there were many new trends such as deconstructivism or layered cities,etc.New concepts of construction began to emerge in architecture and urban planning.At the same time,there was an era of new architectural expression of high technology.In the 2000s,these "isms" disappeared,and architects in each region began to develop their unique ideas and concepts,grasping the characteristics of the local community.Gradually,activities that linked architectural issues with new expressions of architecture began to develop.New interpretations of the term "landscape" have emerged,such as "cityscape" "townscape" and even "office landscape".These broad interpretations have served as an opportunity to establish a relationship between landscape and architecture,and also between architecture and the urban landscape.

1.1 Background

Shiojiri City is a typical Japanese regional city with a population of 66 000.It has recently been forced to change its structure from tertiary to quaternary industries,with agriculture and other primary industries and a major electronics manufacturer becoming its mainstay.Recently,the town has also been attracting attention as a wine-producing region.

The theme of the design competition in October 2006 was to propose a center as a catalyst to bring back new vitality to the once-bustling shopping streets and main streets.That was how Empark was selected.Such competitions for revitalizing local cities have been held continuously throughout Japan until 2022.It has been a long

time since the hollowing out of the central districts of regional cities was first called for.The 2000s witnessed a spurt in the use of public buildings and open spaces as a means of "community development" and"town revitalization" by government officials and administrators.We have entered an era in which the question is not architecture as a formative force,but rather a more soた-ware-based,well-thought-out space for the citizens.At the same time,the question of what is the space for citizens has a great deal to do with regional characteristics,and structural solutions for the city are also included.

1.2 Concept diagrams

When I first visited the site in 2006,the town of Shiojiri was deserted.The shopping street was unpopular and the area in front of the station was sparsely populated.Although the surrounding mountains offered magnificent scenery,there was little greenery in the town.I could not imagine a place where people would gather.As mentioned earlier,one of the objectives of the competition was to revitalize the city center,the once thriving shopping district,and create a place for young people to get together,and serve as a symbol to connect with the local community.

We proposed six diagrams to answer above questions:1) contextual regeneration;2) an "opens while it surrounds" system;3)fostering leaders incubation;4) paths and islands;5) four voids and courts;6) a new landscape with wall pillars.

The theme "an opens while it surrounds system" is related to soたware,but the others are related to rather architectural composition.What I found important here was the "contextual regeneration",i.e.,how to relate contemporary architecture to the local community within a time axis.Here,I created a link between the way Shiojiri was formed and its plan composition.In "an opens while it surrounds system",I wanted to recreate the ancient power of the forest that Shiojiri has lost by using the structural system of wall pillars.The proposal "a new landscape with wall pillars" is synchronized with the proposal of creating landscape with wall pillars.

Here,the history of Shiojiri,the old inn town that has existed since the Edo period,plays a major role in the structure of Empark.Similarly,the sacred event of dedicating a pillar during the "Onbashira Matsuri" at the nearby Suwa Shrine might have influenced this random landscape of wall pillars.We wanted to use the structural system of Empark to provide a new landscape of the unique local characteristics that have been passed down for hundreds of years.It would be a good fit for a town that wishes to revitalize itself.

In August 2020,Empark celebrated its 10th anniversary,and a ceremony was held.In response to the numerical target of 400 000 visitors per year,Empark has received more than 6 million visitors.The building has become a necessary,essential,and beloved part of the community.At this moment,the concept of "regional characteristics and structure" was brought into sharp relief through this work again.

2.1 Background

On March 11,2011,the Great East Japan Earthquake struck the Tohoku region.The town of Kashima,Minamisoma city,with a population of 55 000,was no exception to the effects of radiation from the nuclear power plant that was damaged by the tsunami.

I visited the site with architect Toyo Ito in the summer of 2013.Even though it was two years aたer the earthquake,the threat of radiation had not abated.The children of the adjacent elementary school and kindergarten were playing in the gymnasium or on the artificial turf instead of on the playground.It was difficult for me to imagine how much the lack of access to the sand place and soil would affect the children as they grew up,as I had grown up near the coast and playing in the sand by the sea was a daily occurrence.

The Culture Convenience Club Co.,Ltd.(C.C.C) is a private company that endorses the activities of "Home for All" organized by Toyo Ito and Kazuyo Sejima.It proposed to provide an "indoor sand place for children,"and various manufacturers and companies supported the project by contributing materials and funds.The project was completed in 2016.

2.2 Response to nature and tradition

What form should an indoor sand place for children take? What form would be appropriate for a site adjacent to an elementary school and kindergarten? It was a very unusual situation for me,but I drew a sketch of the building.It is an architecture with couple-like roof shape in response to the majestic mountain surrounding the site.The roofs can be seen from the elementary school building and the kindergarten yard,and are humorous enough to become the symbol of the town.The structure also created a form that would bring even a little comfort to the local people living under the fear of radiation and tsunami,and a form that would always be welcoming to people.Again,for me,the structure was pursued as a manifestation of something inherent in the local character.

In Minamisoma,a heroic festival called"Nomaoi" (wild horse chasing) has been held for hundreds of years.It is the so-called cavalry battle.Shinto rituals have also been performed for generations.This fierce cavalry battle is one of the noble activities nurtured in this area,and the strength that emerges from the fierce spirit of the warriors must be nurtured in their relationship with nature.

2.3 Structure and space

Instead of supporting the catenary-curved roof with through-beams,a structural system was created by piling up small parts,connecting horizontally with ring beams,stacking up,and channeling the flow of power inward as if rising towards the sky.The central pillar also symbolizes the power straight to the sky.By connecting the inherent strength of the wooden structure to the interior with the delicate 24mm thick ring beams,the structural system creates soたness and hardness in the interior space.If the space created by the relationship between these symbolic objects can give children and parents some peace of mind and the strengths to face tomorrow,it may renew the permanence and sustainability that architecture possesses as a local identity.

I visited this work last December in 2021.Although it was not used as frequently as before due to the Covid-19,I could see that the facility was used with regional respect.Here,a pair of parents and their children were quietly and peacefully playing with the sand.This smiling scene made us understand that this work was already well established in the local community.

3.1 Background

Yokohama/Kannai was known as the place where Matthew Calbraith Perry came to Japan in the mid-19th century during the Edo period when the country was closed to the outside world.Aたerwards,the city prospered as a port town.Later,the first railroad line in Japan was built between Shimbashi(Tokyo) and Yokohama in the latter half of the 19th century.The area around Yokohama and Kannai was reclaimed from the sea and became a trading center,where many industries were born and foreign companies established their bases.The name "Kannai"also meant to contain foreign settlement within a certain area and promote exchange within the area.In other words,Kannai also represented a base for cultural exchange with foreign countries.

In the 1960s,when Mayor Asukata Ichio came to power,he promoted urban planning as one of his six major projects.The framework of the town was largely formed around the urban designer Akira Tamura.It transformed into a city with Kannai Station at its center,including civil engineering projects such as the inauguration of Kannai Station,the construction of Yokohama City Hall and Odori Park (green axis),and the development of the harbor.

3.2 City-based design

Kannai Station North Square project began in 2011 with the establishment of a community-based design subcommittee.It has been carried out by various community associations spread around Kannai Station,discussing the future of the station and the space in front of the station.One of the reasons for taking so long to complete the construction was the wide variety of departments and parties involved in the project.Meanwhile,the building was constructed on a road and under an elevated structure,which imposed institutional restrictions that took time to resolve.

My initial proposal for the large roof was not based on a request to build a roof,but rather on an intuitive feeling that the site needed a form to integrate the diversity and dissipation of Kannai city.There was no request to design a plaza either,but I thought the large roof would be appropriate to embody the image of Kannai as a cultural hub and open space.In considering the structure of the roof,the complex elevated structure was temporarily removed from view from the bottom.The roof design made it easy to see the building from both the top and the bottom.

We imagined people coming out of the JR Kannai Station ticket gates,spreading out into the city.As a result,a single,generous line was created that forms a relaxed arc to wrap around the elevated railway tracks.This curve can be a screen that reflects the city and soたly surrounds the people walking in front of the station.It is also a structure with an urban expanse that can be seen from anywhere around the Kannai North Exit.The word "square" may conjure up images of benches,greenery,and people relaxing,but to me,the scenery reflected in the ceiling of the plaza itself can be a square,which sometimes appears as a dynamic image,and at other times as a quiet,sacred void.The plaza,with its multifaceted nature that changes its expression depending on the viewer's perspective,location,and time of day,is a landscape that I believe is appropriate for Kannai in this day and age.

鹽尻市社區(qū)中心（Empark）建成于2010年，旨在復(fù)興城市中心曾繁榮的商業(yè)區(qū)。為回應(yīng)項(xiàng)目要求，設(shè)計(jì)提出了6個(gè)概念及相關(guān)圖解：1）環(huán)境再生；2）開(kāi)放-圍合系統(tǒng)；3）孵化區(qū)域領(lǐng)袖；4）路徑與島嶼；5）四個(gè)空?qǐng)雠c庭院；6）墻柱系統(tǒng)的新景觀。

Empark (Shiojiri Civic Communication Center) was completed in 2010,aiming to revitalize the city center,the once thriving shopping district.Six diagrams were proposed to answer above questions:1) contextual regeneration;2) an"opens while it surrounds" system;3)fostering leaders incubation;4) paths and islands;5) four voids and courts;6) a new landscape with wall pillars.

1 鹽尻市社區(qū)中心6 個(gè)概念圖解

設(shè)計(jì)在鹽尻城鎮(zhèn)的形成方式和平面構(gòu)成之間建立了聯(lián)系，并希望在“開(kāi)放-圍合系統(tǒng)”中通過(guò)墻柱的結(jié)構(gòu)體系重現(xiàn)源自森林的古老力量，這也與“墻柱系統(tǒng)的新景觀”概念一致。

The design created a link between the way Shiojiri was formed and its plan composition.In“an opens while it surrounds system”,and recreated the ancient power of the forest that Shiojiri has lost by using the structural system of wall pillars.The proposal“a new landscape with wall pillars”is synchronized with the proposal of creating landscape with wall pillars.

2 鹽尻市社區(qū)中心一層平面圖

3 鹽尻市社區(qū)中心剖面圖

4 鹽尻市社區(qū)中心夜景

5,6 鹽尻市社區(qū)中心室內(nèi)空間

項(xiàng)目名稱：鹽尻市社區(qū)中心（Empark）

業(yè)主：Daimon Chuo Dori Area Urban Redevelopment Association

建設(shè)地點(diǎn)：日本長(zhǎng)野縣鹽尻市

施工單位：Kitano Construction Corp.,Matsumoto-Doken Co.,Ltd.

層數(shù)：地上5 層，地下1 層

用地面積：4 937.45m

總建筑面積：11 901.64 m

建成時(shí)間：2010.07

攝影：Shigeru Ono（大野繁）

南相馬市兒童樂(lè)園建成于2016年，建筑的主要造型為雙屋頂，試圖通過(guò)對(duì)結(jié)構(gòu)設(shè)計(jì)形式的創(chuàng)造，為每天生活在輻射和海嘯恐懼之下的人們帶來(lái)些許慰藉，并始終向市民敞開(kāi)大門。

Playpark for children in Minamisoma was completed in 2016.It is an architecture with couple-like roof shape.The structure also created a form that would bring even a little comfort to the local people living under the fear of radiation and tsunami,and a form that would always be welcoming to people.

7 南相馬市兒童樂(lè)園剖面

建筑的曲面屋蓋通過(guò)小部件將環(huán)形梁水平連接、堆積，并將力流向內(nèi)引導(dǎo)，呈現(xiàn)出好像上升至天空的結(jié)構(gòu)效果，中心的柱子也象征著直抵天空的力量。通過(guò)精致的24mm環(huán)梁將木質(zhì)結(jié)構(gòu)的固有強(qiáng)度與內(nèi)部連接，使內(nèi)部空間的結(jié)構(gòu)體系呈現(xiàn)剛?cè)岵?jì)的效果。

The catenary-curved roof was created by piling up small parts,connecting horizontally with ring beams,stacking up,and channeling the flow of power inward as if rising towards the sky.The central pillar also symbolizes the power of going straight to the sky.By connecting the inherent strength of the wooden structure to the interior with the delicate 24mm thick ring beams,the structural system creates soたness and hardness in the interior space.

8 南相馬市兒童樂(lè)園曲面屋蓋細(xì)部構(gòu)造

9,10 南相馬市兒童樂(lè)園施工過(guò)程11 南相馬市兒童樂(lè)園室內(nèi)活動(dòng)

項(xiàng)目名稱：南相馬市兒童樂(lè)園

業(yè)主：T point Japan Co.,Ltd.

建設(shè)地點(diǎn)：日本福島縣南相馬市

建筑設(shè)計(jì)：Toyo Ito &Associates，Architects &contemporaries,Inc.

施工單位：Shelter Inc.

層數(shù)：1 層

用地面積：697.82m

總建筑面積：153.34m

建成時(shí)間：2016.05

攝影：Kawasumix Kobayashi Kenji Photograph Office

關(guān)內(nèi)站北廣場(chǎng)項(xiàng)目始于2011年，建成于2016年。設(shè)計(jì)大屋頂?shù)南敕ㄔ从谝环N直覺(jué)——這個(gè)場(chǎng)地需要通過(guò)一種形式，將關(guān)內(nèi)城市的多樣性與分散性整合，并體現(xiàn)關(guān)內(nèi)作為文化中心和開(kāi)放空間的城市形象。

Kannai Station North Square project began in 2011,and was completed in 2016.My initial proposal for the large roof was based on an intuitive feeling that the site needed a form to integrate the diversity and dissipation of Kannai city,and be appropriate to embody the image of Kannai as a cultural hub and open space.

12 關(guān)內(nèi)站北廣場(chǎng)平面圖

項(xiàng)目名稱：關(guān)內(nèi)站北廣場(chǎng)

業(yè)主：橫濱市

建設(shè)地點(diǎn)：日本神奈川縣橫濱市

建筑工程：Totetsu Kogyo Co.,Ltd

電氣工程：Kyusyu Dengyosha Co.,Ltd.

層數(shù)：1 層

用地面積：785.32m

總建筑面積：875.71m

建成時(shí)間：2022.03

攝影：Contempararies,Inc.

14 關(guān)內(nèi)站北廣場(chǎng)剖面圖

15 關(guān)內(nèi)站北廣場(chǎng)與高架鐵軌

16 關(guān)內(nèi)站北廣場(chǎng)外觀

17 關(guān)內(nèi)站北廣場(chǎng)內(nèi)部空間

18 夜晚的關(guān)內(nèi)站北廣場(chǎng)與高架鐵軌

19 關(guān)內(nèi)站北廣場(chǎng)天花上映射的風(fēng)景