访谈：永山祐子

访谈：永山祐子

INTERVIEW: Yuko Nagayama

简介：

1975 出生于日本东京

1998 毕业于昭和女子大学

1998 加入青木淳建筑事务所

2002 成立永山佑子建筑设计工作室

2005 东京大学兼职讲师

2008 京都精华大学兼职讲师

2009 昭和女子大学兼职讲师

2010 Ocyanomizu大学兼职讲师

2011 名古屋技术学院兼职讲师

获奖情况：

2005 JCD “路易·威登京都” 设计奖

2004 中之岛火车站设计竞赛二等奖

2005 “筑波风格”概念屋设计大赛，第二名

2005 欧莱雅色彩科学和艺术奖，鼓励奖

2006 最佳新秀奖项，创作者和艺术家奖

2006 新兴建筑奖，“一座山上的房子”获得高度赞誉2010 TAYA更新竞赛，入围

2010 KYOAI GAKUEN学院教学建筑大赛，入围

2012 建筑纪录奖，vanguard2012

2014 家青年建筑师奖“Teshima Yokoo”博物馆建筑设计

导报：您的设计里想要探讨的主题是什么？

永山祐子：作为一名建筑师，我一直尝试着显现世间万象，我秉持着一个理念，那就是建筑不仅仅是一个结构性物体。同时，我还专注于每一项流程，比如设计背景以及客户对成品的满意程度。

导报：结合您自己的教育背景，能给我们谈谈日本的建筑教育吗？

永山祐子：与中国相比，日本的建筑教学提供了许多设计机会，包括从房屋设计到城镇规划各个方面。这些因素让我们在成为一个独立的建筑师之后，能够以多种视角和尺度来看待设计。

导报：在青木淳先生公司里的这段经历给您带来了什么样的影响？

永山祐子：他构思一个设计主题，不仅仅考虑到建筑结构，而且考虑到早期设计阶段需要的材料。他的思想便不受约束，源自于他对一切事物的好奇心。这些因素对我个人的观点形成有极大的影响。

导报：您的设计想法来自何处？

永山祐子：我的日常生活即是创意的来源。

导报：您如何描述自己的设计模式？

永山祐子：建筑设计不仅仅包括现场施工。它包含了一系列的活动，比现场施工花费更多时间，包括设计之前和完工之后。所以我将建筑的背景故事、概念和过程看得更为重要。

导报：您如何实现对项目的掌控？

永山祐子：为了共享项目理念，我一直尽力与所有的项目相关人员（包括承包商）交流，尽量以面对面的方式，运用简练、有说服力的言语进行交流。

导报：您在工作中的主要挑战是什么？

永山祐子：我一直在探索各种建造方式，希望一直能得到客户和当地人的肯定以及人们的理解。

导报：您如何看“Urbanprem 南青山”的设计吗？

永山祐子：这个地方有几座高楼和地标性建筑。利用这些特点，“Urbanprem 南青山”被设计成了这座城镇的标志性建筑。

导报：您如何看待信息化对建筑的影响？

永山祐子：我们可以共享CAD数据，运用PC、iphone、ipad这些工具检查重要的地方，即便是大工程，也可以实时检查，这让我这一类的设计师能够在有限的时间和空间里更随意地工作。

导报：与上一代建筑师相比，新生代日本建筑师的主要特点是什么？

永山祐子：正如我所说，我的创意来自日常生活。新生代设计师则喜欢运用人性化或小型建筑物的创意，关注日常问题和环境，这就与老一代建筑师不一样，他们往往倾向于从社会问题上取材。

我们把一座建筑物看作是一个能在人们内心创造某种感受的事物，而不止是字面意义上的实际建筑。也就是说，设计建筑物就是一种设计的体验。因此，与其说我们的作品像实物，不如说更接近于现象，其中不乏模棱两可的元素。

首先，我们在给定的环境中发现一种新的通用元素，并且运用到我们的建筑设计中。然后，邂逅这座建筑物的人们心中又会油然而生另一种新的体验。我们希望在不久的将来，这样一种循环可以在社会中生生不息。

我们的设计原则是将通用元素具体化，将其作为基础，不仅仅是定义为某种类型，如日本风格、欧洲风格、地方风格或都市风格等。我们希望描绘出一个普通而具有革新性的设计蓝图。例如，这些元素将会是“光”、“重力”、“时间”和“深度”等。尽管目前尚处于构想阶段，一旦我们让它在某个地方实现，它将不会受到各个时代不同氛围的影响，一直保持新鲜感，因为人类的本性就是喜欢猎奇各种新鲜事物。与惊喜不期而遇，人们会直观地感受到其焕发出的活力。我们认为这与时尚带给人们的感受是一样的。

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.

丰岛横尾馆

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.