Miu Miu的项目位于著名的Prada东京中心的斜对面–也是由Herzog & de Meuron设计的–在过去20年里，这个优雅的街区已经成为建筑发明的展示场所。然而，与Prada全玻璃建筑的透明性相比，Miu Miu外墙低调的金属表面是不透明的，这使其具有更多的亲密感。建筑师们说。”与对一个拥有如此多奢侈品牌的场地的期望相反，东京青山的御幸街并不特别美丽或优雅。建筑是异质的–由不同高度和形状的独立建筑组成的大杂烩，既没有历史传统，也没有共同标准。这条街道从来没有想过要成为一个独立的空间，它是表参道和更远处的青山陵园之间的一个纯粹的技术和功能联系。尽管这里和那里有单一的树木，但气氛并不诱人，就像林荫道或广场。东京是纯粹的、典型的城市，它的领土被充分开发，完全没有我们在欧洲城市认为理所当然的个性的余地。
The project for Miu Miu is sited diagonally across the street from the celebrated Prada Tokyo Epicenter – also designed by Herzog & de Meuron – in an elegant neighborhood that has, over the past two decades, become a showplace of architectural invention. In contrast to the transparency of the all-glass Prada building, however, the understated metallic surface of the Miu Miu façade is opaque, which lends a more intimate quality. The architects say: “Contrary to expectations for a site that is home to so many luxury brands, Miyuki Street in Aoyama Tokyo is not particularly beautiful or elegant. The architecture is heterogeneous – a hodgepodge of freestanding buildings of different heights and shapes, with neither historical tradition nor common standards. Never meant to be a space of its own, the street is a purely technical and functional link between Omotesando and the Aoyama Reien cemetery farther down the road. Despite single trees here and there, the atmosphere is not inviting, like a boulevard or a plaza. Tokyo is pure, quintessential city, its territory exploited to the full with absolutely no leeway for the individuality that we take for granted in European cities.
10多年前，当我们为普拉达青山店规划玻璃建筑时，我们已经注意到这一点。当时，我们有兴趣抵消这种情况–一方面，将一个小广场放在建筑的侧面，另一方面，使结构完全透明，这样人们可以从四面八方看到内部，也可以从内部看到专门针对城市的景观。
We already noticed this over 10 years ago when we were planning the glass building for Prada Aoyama. At that time, we were interested in counteracting the situation – on one hand, by placing a small plaza to the side of the building, and on the other, by making the structure completely see-through so that one can see into the interior from all sides and can also look out from inside at specifically targeted views of the city.
在过去的十年中，这栋独特的建筑已经成为人们经常光顾的地方，因此，对于普拉达、我们的客户普拉达日本公司以及作为建筑师的我们来说，在规划位于街道对面紧邻的Miu Miu店时，必须考虑到这一点。我们一开始就尝试了几种不同的建筑类型。由于分区法规要求降低高度，我们探索了更小、更亲密的建筑的潜力。我们用以下想法来引导我们的想法：更像一个家而不是一个百货商店，更隐蔽而不是开放，更低调而不是奢侈，更不透明而不是透明。
Over the past decade, the distinctive building has become a much-frequented location and it was therefore important to Prada, our client Prada Japan and also to us as architects to take this into account in planning the Miu Miu store located in the immediate vicinity on the opposite side of the street. We started out by trying several different architectural typologies. Since zoning regulations called for less height, we explored the potential of a smaller, more intimate building. We used the following thoughts to channel our ideas: more like a home than a department store, more hidden than open, more understated than extravagant, more opaque than transparent.
最适合这些考虑和规格的类型学模型是一个直接放置在街道水平上的盒子，它的盖子略微打开以标记入口，并允许行人看里面。只有这样，他们才会意识到这个建筑是一个商店。在这里，在超大的顶棚下，两层楼的内部一目了然，就像用一把大刀把体积切开，把里面翻出来一样。内部铜质表面的圆润、柔软的边缘与金属盒外侧锋利的钢角相接，而用锦缎包裹的洞穴式壁龛面对着商店的中央空间，就像剧院里的木头。这家位于两层楼高的商店不仅在桌子上和陈列柜中展示了诱人的商品；它还像一个宽敞舒适的家，有诱人的沙发和扶手椅。
The typological model that best suited these considerations and specifications was a box placed directly at the level of the street, its cover slightly open to mark the entrance and allow pedestrians to look inside. Only then do they realize that the building is a shop. Here, under the oversized canopy, the two-storey interior is visible at a single glance, as if the volume had been sliced open with a big knife, turning the inside out. The rounded, soft edges of the copper surfaces inside meet with the razor-sharp steel corners on the outside of the metal box, while the cave-like niches clad in brocade face the central space of the shop like loges in a theatre. The shop on two tall storeys not only presents enticing goods on tables and in display cases; it is also like a spacious and comfortable home with inviting sofas and armchairs.
外墙既没有标志，也没有华丽的装饰；它是一个抛光的、镜面般光滑的表面，就像一个巨大的笔触将钢制镶板外墙的普通哑光表面扫平一样。这个表面吸引了过往行人的目光和好奇心。但是，目光并没有像商店的橱窗那样提供内部的视野，而是被颠倒了；观众遇到的不是预期的透视橱窗，而是自我反省。
The façade has neither logo nor pomp; it is a polished, mirror-smooth surface, as if one single giant brushstroke had swept smooth the ordinarily matte surface of the steel panelled façade. This surface attracts the gaze and curiosity of passing pedestrians. But instead of affording a view inside, as in a shop window, the gaze is inverted; instead of the anticipated see-through window, viewers encounter self-reflection.
虽然街道并不是一个鼓励人们逗留和环顾四周的地方，但建筑本身是一种姿态，向人们发出邀请，让他们走进去，呆一会儿。
While the street is not a place that encourages lingering and looking around, the building itself is a gesture that extends an invitation to come inside and stay a while.”
Architects: Herzog & de Meuron
Area : 269 m²
Year : 2015
Photographs :Nacasa & Partners
Engineering : Takenaka Corporation
Design & Build Contractor : Takenaka Corporation
Herzog & De Meuron Team : Jacques Herzog, Pierre de Meuron, Stefan Marbach, Iva Smrke Kröger, Yuko Himeno, Caetano Braga da Costa de Bragança, Osma Erik Lindroos, Roman Aebi, Cristina Génova, Carlotta Giorgetti, Yuki Hamura, Ryuhei Ichikura, Christina Liao, Áron Lőrincz, Keisuke Ota, Günter Schwob, Mariana Vilela, Tiffany Wey
Executive Architect : Takenaka Corporation
Structural Engineering (Sd Phase) : Schnetzer Puskas Ingenieure ag, Basel, Switzerland
Lighting Consultant : Sirius lighting Office Inc., Tokyo, Japan
Facade Engineering (Sd) : Emmer Pfenninger Partner ag, Münchenstein, Switzerland
Landscape : Vogt Landschaftsarchitekten, Zürich, Switzerland
Structural Engineering : Schnetzer Puskas Ingenieure ag, Basel, Switzerland
Façade Engineering : Emmer Pfenninger
City : Tokyo
Country : Japan