言语与空间:横跨住宅论和都市论的思考机制  

Words and Spaces:How Kazuo Shinohara's Thought Spans between Residential and Urban Theory

作　　者：奥山信一[1] 平辉[2] 

机构地区：[1]东京工业大学 [2]东京工业大学大学院

出　　处：《南方建筑》2013年第5期25-32,共8页South Architecture

摘　　要：本文试图阐明日本建筑师筱原一男的建筑论。筱原一男不但对第二次世界大战后的日本建筑界,并对海外许多年轻建筑师有着持续的影响。自1953年发表处女作"久我山之家"后,筱原的建筑师生涯一直持续到2006年去世。作为建筑师,其独特之处在于与作品平行的充满魅力的言说。以住宅设计为中心活动的筱原在书写住宅论的同时,其根底一直存在着对都市的观察,这让他与同一代的建筑师形成了明确的差异。对于住宅这一建筑中的极小空间,与涵盖人类社会的巨大都市,筱原是在设计时如何认识两者间的关系的?本文通过筱原的言语和空间这紧密关联的双方进行详细分析,把筱原概念中的根本机制归纳为"异形的并置"与"虚构性"两个关键词。This essay is intended to give a highlight on the architectural theory of Kazuo Shinohara, who is not only an influential architect of modern Japan, but also continuously having his influence on young architects even abroad nowadays. From his first project ＂House in Kugayama＂ in 1953 onward, Shinohara＇ s architectural career lasted to 2006 when he passed away. It is worthwhile being mentioned here, that Shinohara is an architect whose career includes not only design but also attractive writing. His writing ranges from a unique residential theory, an area that his main practice was involved with, to a sharp observation on contemporary city, which both formed a starting point of his design and separated him from other architects in the same generation. How could then Shinohara embody in his design the relationship between a house as the smallest unit in all buildings and a city as a metropolis flooded with people？ After a closer analysis of Shinohara＇ s words and spaces, this essay zooms right into two keywords, fundamental in Shinohara＇ s conception： ＂juxtaposition of disjunctive forms＂ and ＂fictionality＂ .

关 键 词：筱原一男 住宅论 都市论 言语与空间 现代日本建筑师 

分 类 号：TU-80[艺术—艺术设计]