在麻布十番规划的一个租户建筑。麻布十番位于高原和山谷交织的复杂地形上，场地被陡峭的斜坡和挡土墙包围。例如，邻近的Kurayamizaka（黑暗的斜坡）据说是由于树木茂密，足以覆盖斜坡，即使在白天也很暗淡，所以才得名。从面向场地的挡土墙顶部看去，邻近院子里的树木给建筑物投下了黑暗的影子。还有一些传说，被称为 "麻布七大奇迹"，是关于该地区的池塘、沼泽和形状奇特的树木。这片土地的地形奇特，曾经孕育了很多故事，但这些故事不再流传，作为遥远土地的记忆，已经被遗忘。当曾经熟悉但被遗忘和长期疏远的东西出现在我们面前时，我们会感到一种 "阴森 "的感觉。
A tenant building planned in Azabu-juban. Azabu-juban is located on complex terrain interwoven with plateaus and valleys, and the site is surrounded by steep slopes and retaining walls. For instance, the neighboring Kurayamizaka (Dark Slope) is said to have been so named for the trees that were dense enough to cover the slope, making it dim even in the daytime. From the top of the retaining wall facing the site, the trees in the neighboring yard cast dark shadows on the building. There are also legends, called the Seven Wonders of Azabu, which are about the ponds, swamps, and oddly shaped trees in the area. The topographical singularities of the land once gave birth to stories, but they are no longer handed down and have been forgotten as memories of a distant land. When something once familiar but forgotten and estranged over a long time appears before us, we feel an “eerie” sensation.
我最近对 "阴森恐怖 "感兴趣。这种兴趣的背后是对以下问题的认识。被迫生活在COVID-19的无形恐怖中，似乎越是采取各种措施，社会就越是同质化，异质化程度越低。我担心同质化的社会会被盲目相信安全和安宁的定型价值观所支配，并会剥夺我们的多样化身份。我们的日常生活更加复杂，充满了差异和偶然性。更重要的是，存在着诡异和神秘的迹象，以及潜在的焦虑和恐惧的因素。我相信现在是时候面对这种潜伏在日常生活中却被秘密隐藏起来的阴森气息了。通过他们的工作，生活在今天的建筑师应该提供宽容的空间，质疑制度化的价值观，恢复生命感。
I have recently been interested in “eeriness.” Underlying this interest is an awareness of the following issues. Being forced to live with the invisible terror of COVID-19, it seems that the more various measures are taken, the more homogeneous and less heterogeneous society becomes. I fear that a homogeneous society will be dominated by stereotyped values that blindly believe in security and serenity and will rob us of our diverse identities. Our daily lives are more complex and full of differences and fortuities. More to the point, there are spooky and mysterious signs and elements of potential anxiety and fear. I believe now is the time to confront this kind of eeriness that has been latent in daily life but secretly hidden away. Through their work, architects living today should offer tolerant spaces that question institutionalized values and restore a sense of life.
在这个项目中，由于租户建筑的性质，我们在设计时必须考虑到隐含的室内要求。业主的餐厅从一开始就计划包含在该物业中，但由于大流行病的影响，该餐厅被迫改变经营方式，因此无法确定对室内的具体要求。租户建筑的标准做法是确保尽可能多的灵活性，比如在假设租户最终会被替换的情况下，尽量扩大建筑面积。你也可以不考虑内部问题，而专注于外部设计。然而，我们没有根据方案将建筑分为内部和外部，而是在建筑本身寻求创造性。我们想研究建筑的自主性，无论内部的流动质量如何，建筑都将继续存在于这个地方。
In this project, due to the nature of the tenant building, we had to design it taking into account the implied interior requirements. The owner’s restaurant, which had been planned to be included in the property from the beginning, was forced to change its operations due to the pandemic, and thus specific requirements for the interior could not be defined. The standard practice for tenant buildings is to ensure as much flexibility as possible, such as maximizing floor space while assuming that tenants will eventually be replaced. You can also ignore the interior issues and focus on the exterior design. However, instead of dividing architecture into the interior and the exterior according to the program, we sought creativity in the architecture itself. We wanted to examine the autonomy of the architecture, which would continue to exist in this location regardless of the fluid quality of the interior.
由此产生的建筑唤起了被地壳变质作用部分抬升的地形。除了建筑主体的开口形式，以及附着在建筑上的楼梯、扶手、雨水槽和管道之外，建筑内部和外部还有许多不允许轻易探索设计基础的实体，例如似乎是即兴创作的照明装置，像石板一样独立存在的混凝土块，以及以不成形的方式切割的墙壁。貌似毫无根据的形式语言，使得即使是石板台阶和梁柱形式看起来也像是偏离了结构原理的无用之物。
The resulting architecture evokes terrain that has been partially uplifted by the metamorphic action of the earth’s crust. In addition to the forms of the openings in the building body, and the stairs, handrails, rain gutters, and plumbing attached to the building, there are many solids both inside and outside that do not allow easy exploration of the design basis, such as lighting fixtures that seem to have been improvised, lumps of concrete that stand on their own like stone plates, and walls chipped in unshapely fashion. The seemingly groundless language of form makes even the slab steps and beam forms look like useless objects that deviate from the rationale of the structure.
更深入地探讨，可以说，将建筑元素解构到物体的层面上，增加了可见的信息量。在这方面，在提取每个物体的二维轮廓时，我们仔细设置了塑造轮廓的 "线标"。例如，弧线的中心被设置在场地之外，相邻的线被安排为不形成锐角。
Delving more deeply, it can be said that deconstructing the architectural elements to the level of objects increases the amount of visible information. In this regard, while extracting the outline of each object in two dimensions, we carefully set the “line scales” that shape the outline. For instance, the centers of the arcs were set outside the site, and adjacent lines were arranged so that they do not form acute angles.
通过暗示形式不仅基于与邻里的关系，而且基于来自周围地形的元素，如挡土墙和空旷的护城河，我们试图打乱传统的建筑元素的层次结构。我们认为，这种方法会产生无数的幻觉，并导致建筑路径不汇聚在一个单一的逻辑上，而是充满了冗余，允许有各种解释。因此，建筑可能被表达为一种阴森的感觉，它违背了简单的理解，激起了某种焦虑。我们将继续向世界提出关于建筑的意义的问题，作为生活在不可预测的时代的指南针，它通过 "阴森 "的表达来找回失去的价值。
By suggesting that the form is based not only on the relationship with the neighborhood but also on the elements derived from the surrounding topography, such as retaining walls and empty moats, we attempted to disrupt the conventional hierarchy of architectural elements. We considered that this approach would create a myriad of illusions and lead to an architectural path that does not converge on a single logic but is full of redundancies that allow for various interpretations. Architecture, therefore, may be expressed as an eeriness that defies simple understanding and stirs up some kind of anxiety. We will continue to ask questions to the world about the meaning of architecture as a guidepost for living in unpredictable times, which retrieves lost values through the expression of “eeriness.
Architects: AAOAA, KOJI AOKI, a design
Area : 166 m²
Year : 2022
Photographs :Takeshi Yamagishi
Manufacturers : ENDO Lighting Corporation, Formwork, Mizumoto Machine, Panasonic, SOLSO FARM, Tanita Housing Ware
Structure Engineers : HSC
Building Contractors : BEANS LTD.
Interior Construction : Taisei Rotec Corporation
Design Team : Koji Aoki, Yuta Takahashi, Kaita Tsutsui
Collaborating Architects : a design
Country : Japan
