日本文化(一个集体主义社会),将集体绝对置于个人之上,为此,它有一种基本行为模式的语言,有助于理解群体之间或群体与个人之间的社会关系,从根本上说是基于尊重。这一准则被概括为二分法,或 “内-外 “的概念。

Japanese culture (a collectivist society), gives absolute priority to the collective over the individual, and for this, it has a language of basic behaviour patterns that helps to understand social relations between groups or between groups and individuals, fundamentally based on respect. This code is summarized in the dichotomy, or the concept, “uchi-soto”.

uchi,可以从字面上解释为 “内部”,代表最亲密的社会圈子,其中包括家庭、亲密的朋友、公司等各层,因此可以理解为家庭是日本社会准则的雏形,是uchi的主要元素。
soto,可以从字面上解释为 “外部”,代表那些不在亲密圈子内的团体或个人,但与他们有或可能有关系或联系。

The uchi, which could be interpreted literally as “inside”, represents the closest social circle, which includes layers from the family, close friends, the company etc, thus understanding the family as the embryo of the Japanese social code and the primary element of the uchi.
The soto, which could be literally interpreted as “outside”, represents those groups or individuals that are not within the close circle, but with whom there is or could be a relationship or link.

因此,”内”-“外 “不是一种否定或边界,相反,它构成了一种联系,同时也是一种交流代码。
两个概念或模式从uchi-soto的二分法中平行出现,被称为tatemae-honne,其中tatemae(字面意思是门面)代表必须向外投射的东西,对于它有明确的限制,而honne,代表那些只在uchi群体中行使自由的关系模式。

Thus, the uchi-soto is not a negation or a border, but on the contrary, it constitutes a link and at the same time a communication code.
Two concepts or patterns emerge in parallel from the uchi-soto dichotomy, known as the tatemae-honne, where the tatemae (literally the facade) represents what must be projected outwards, for which there are clear restrictions, and the honne, represents those relationship patterns whose freedom is exercised only within the uchi group.

日本文化中心的建筑受这些概念的支配,一方面,uchi-soto体现在一系列具有不同属性和类别的空间中,从最公共的广场到最私密的花园,控制封闭程度、透明度和与外部的联系,为家庭(miuchi)和个人(wathasi)产生自己的空间性。

The architecture of the Center for the Japanese Culture is governed by these concepts, on the one hand, the uchi-soto is manifested in a succession of spaces with different attributes and categories that go from the most public – the square, to the most private – the garden, controlling the degree of enclosure, transparency and connection with the exterior, producing its own spatiality for the family (miuchi), and another for the individual (wathasi).

另一方面,”Tatemae-honne “是通过向外投射日本文化中典型的坚固性和透明性而产生的,它由一个巨大的黑色固体块代表,被巧妙地汇集在玻璃上,其烧焦的木头纹理唤起了日本祖先的建筑技术,这与室内的温暖气氛形成了对比,从光线的处理到材料的处理都是如此。

On the other hand, the tatemae-honne, is produced by projecting outwards a condition of solidity and transparency typical of Japanese culture, represented by a large solid black block that is delicately pooled on glass and whose texture of charred wood evokes techniques of Japanese ancestral constructions, which contrasts with the interior where a warm atmosphere is experienced from the handling of light to the treatment of materials.

Architects: Maribel Moreno Cantillo, Álvaro Bohórquez Rivero
Area: 1050 m²
Year: 2018
Manufacturers: AutoDesk, Mitsubishi Electric, Toto, Adobe Systems Incorporated, Argos, Exiplast, Trimble Navigation, Ventanar
Developer:Universidad de los Andes, Embajada del Japón
Management And Auditing:Payc
Structural Calculation:CNI Ingenieros.
Interior Design:Monastral. SAS
Lighting Design:MTS Consultoría
Electric Design:Serticol.SA
Hidraulic Design:IHC Ingenieros. SAS
Foundation And Structure:Madoc SAS
Construction:Páez Casas Ingenieros. SAS
City:Bogotá
Country:Colombia