根深蒂固的人工制品增长–现在，生物体和人工制品之间的平衡正处于交叉点。我遇到了一篇发表在科学杂志上的文章，题为 “全球人为质量超过所有生物量”（自然：2020年12月9日在线发表）。根据这篇文章，被称为人为质量的人类制造的人工制品已经开始超过所有全球生物量。此外，据报道，这一趋势的主要原因是建筑材料。这种情况意味着，到目前为止，继续产生 “完全为人类设计的建筑 “已经达到了极限。在这种情况下，建筑的作用是什么，一个人类的住所？
Ingrained Artefacts Growth – Now, a balance between organisms and artefacts is at the crossover point. I encountered an article published in a scientific journal titled “Global human-made mass exceeds all living biomass” (Nature: published online 9th December 2020). According to the article, human-made artefacts referred to as anthropogenic mass has begun to surpass all global living biomass. Furthermore, it is reported that the dominant cause of this trend is construction materials. This condition implies it has reached a limit to keep generating the “architecture solely for humans” produced so far. In this context, what would be the role of architecture, a humans dwelling?
从本质上讲，建筑的主要作用是保护自己不受自然界残酷力量的伤害。我们经历的自然灾害越多，自然和空间之间的墙就越牢固。人类和其他生命形式的内部和外部的分离已经更加明显。另一方面，人们清楚地认识到，大自然提供的环境可能是丰富和美丽的。这就是为什么花园被种植，外墙和屋顶被绿化。然而，作为装饰性和便利性的景观所种植的植物只是从人类的角度进行规划。它们作为人类生活空间的延伸而存在，而不是作为野生动物的空间。事实上，”根深蒂固的人工制品增长 “的现实在于 “无意识地扩大人类空间”。
Essentially, the primary role of architecture is to protect itself from the brutal force of nature. The more we experience natural disasters, the more solid the wall between nature and space has become. The separation of interior and exterior for humans and other life forms have been more distinctive. On the other hand, it is understood well that the environment nature provides could be rich and beautiful. That is why gardens are planted and façade and rooftops are greened. However, the plants grown as decorative and facilitated landscapes have been planned only from the human perspective. They exist as an extension of living space for humans, not as a space for wildlife. The reality of “ingrained artefacts growth” is, in fact, lies in “unconsciously expanding human space.”
所有的人类、植物、动物和昆虫都在共同进行着在地球上 “生活 “的项目。地球是包括人类在内的各种生物体的一个无形的集合体。建筑是否可以成为一个容器，将这些生物体作为一个整体来容纳？
“鹤冈之家 “是一个试图不仅容纳人而且容纳其他生命形式的建筑。
All humans, plants, animals, and insects have been co-proceeding the project “to live” on Earth. The earth is a formless assembly of various living organisms, including humans. Could architecture be a vessel to hold these organisms as one whole unit?
“Tsuruoka House” is an architecture that attempted to hold not only people but also other life forms.
环境的基础设施–通常情况下，场地往往在二维平面上被划分为 “花园 “和 “房屋”。然而，用这种设计方法，自然和建筑之间的关系往往只是挨着。那么，将 “花园 “和 “房屋 “在一个横断面上相互堆叠起来如何。所有的楼层都将是地面层，在它们下面提供类似于地下的空间。一种相互影响的关系很可能会出现。土壤的厚度被规划得越深越好，这样分层花园就会成为一个小森林，承载着地被植物、灌木和小树的混合物。这种方法与现代屋顶绿化相反，后者追求更薄的土壤。通过向其他可用的生命形式开放花园，为它们提供一个居住的地方，并共同创造社区，”花园 “成为一个 “环境”。
Infrastructure for Environment – Usually, the site is often divided into “gardens” and “houses” in a two-dimensional plane. However, with this design method, the relationship between nature and architecture tends to be just next to each other. Then, how about stacking “gardens” and “houses” on top of each other in a cross-sectional plane. All floors would be the ground level, providing underground-ish space below them. A relationship that influences each other is likely to emerge. The thickness of the soil was plotted as deep as possible so that the layered garden would be a small forest hosting a mixture of ground cover plants, shrubs, and small trees. This approach goes against modern rooftop greening, which pursues thinner soli. By opening the garden to other available life forms, providing them with a place to inhabit, and co-creating the community, the “garden” becomes an “environment.”
设计环境以支持其他生命形式的居住地的一个基本条件是土壤中清晰的雨水排放。在反复研究了雨水在重力作用下自然下落的横截面后，得出了一个结论，即引入连续的拱形板。雨水从山上流向拱形板的谷地，并从谷地垂直带过核心。水流产生了建筑的形状。这种方法类似于土木工程的设计，如灌溉渠道和水坝。土木工程设计要求在恶劣的自然环境中，坚定地集中保持土壤和有效地遮挡雨水。
An essential condition to design the environment to support other life forms of inhabitance was clear rainwater drainage in the soil. Following the repeated studies of the cross-section where rainwater naturally falls with gravity, a conclusion arrived at introducing continuous vault slabs. Rainwater flows from mountains to valleys of the vault slabs and is carried vertically from valleys through the core. The water flow generated the shape of the building. This approach is similar to the civil engineering design, such as irrigation channels and dams. The civil engineering design requires determined concentration in hold soil and shed rain efficiently within the harsh natural environment.
事实上，要支撑起自然环境并不容易。与静态的人工制品不同，自然环境不能被控制。堆肥本身已经很重了。除此之外，还有暴雨的重量，每年生长和增加的植物，都需要考虑。当不可预测的和不稳定的生物和气候成为建筑设计的要求时，设计越是进展，拥抱环境就越是可怕。即使如此，我们还是面对自然界不可预测的风险，设法建立 “环境的基础设施”，安装过流管道以应对倾盆大雨，设计具有层状结构的土壤基础，将具有保水功能的高密度堆肥置于植物根系可以到达的上层，将排水通畅的低密度堆肥置于下层，并通过限制屋顶和室内外边界周围的土壤位置来减轻重量，使蒸腾作用能够软化太阳热。
In fact, it was not easy to hold up the natural environment. Unlike static artefacts, the natural environment cannot be controlled. The compost itself is already heavy. On top of that, there are weights of torrential rains, growing and increasing plants every year that need to be considered. When unpredictable and unstable organisms and climates became requirements for architectural design, the more the design progressed, the scarier it was to embrace the environment. Even then, we faced unpredicted risks of nature and managed to build “infrastructure for the environment” by installing over-flow pipes to cope with a downpour, designing the soil foundation with layer structure by placing high-density compost with water retention at the upper level where the plant roots can reach and positioning low-density compost with clear drainage at the lower level and reducing the weight by limiting soil location at the rooftop and around the border of interiors and exteriors that allow transpiration to soften solar heat.
为什么我把精力放在创造 “环境的建筑 “上。这是因为人们期望 “环境建筑 “能够为 “人的空间 “带来新的合理性。
Why have I put my energy into creating the “architecture for the environment.” It is because there was an expectation that “architecture for the environment” could bring new rationality for “spaces for people.”
通过用相当厚的土壤包裹空间，可以有一个像山洞一样的地方，在那里你会感到更凉爽，在夏天不会感觉到外面的热量。在地板周围可以有一个依偎的地方，而在冬天，核心部分有来自地暖的温暖的土壤。大地可能对人们的日常生活产生积极的影响。形成的连续的拱形石板可以遮挡雨水，提供了一个具有浅层天花板高度的区域。这看起来似乎是负面的，但与一般的平坦的板块相比，这将是一个更招人喜欢的结构，适合人们的生活。
By enveloping the space with fairly thick soil, there could be a cave-like place where you feel cooler, not feeling the heat from outside in summer. There could be a snuggly place around the floor and the core with warmed soil from the floor heating in winter. The earth may affect people’s daily life positively. The continuous vault slabs formed to shed rain offers an area with a shallow ceiling height. This may seem negative at a glance, but it would be a much more beckoning structure for one’s living compared to the general flat slab.
该板块在顶部制造了一个3500毫米的开放高度的天花板，在谷底，高度降低到2000毫米，用手就可以够到。如果该结构是可触及的，可以将眼螺栓、环形螺母和电线连接到塑料端锥上，它将允许我们在所需的位置悬挂吊床、吊灯、花盆。可触及的结构也许能够在人的日常生活中产生创造力。它将是不仅支持环境而且支持一个人的生活的结构。
The slab fabricates a 3,500mm open high ceiling at the top, and at the valley, the height lowers to 2,000mm, reachable by hand. If the structure is reachable, eye bolts, ring nuts, and wires could be attached to plastic end cones, and it will allow us to hung hammocks, pendant lights, planters at the desired location. Reachable structures might be able to generate creativity in one’s daily life. It would be the structure to support not only the environment but also the one’s living.
与自然共生–在施工过程中，一个严重的疑问仍然留在我的脑海中。由建筑结构–人工制品–支持的环境是由人类的手 “管理自然”。然而，环境不应该是指 “未被触及的自然 “吗？
Living with Nature – During the construction, a serious doubt still remained in my mind. The environment supported by the building structure -artefacts- is “managed nature” by human hands. However, shouldn’t the environment mean “untouched nature”?
当我在想的时候，我想起了我作为一个学生的经历，在意大利的乌尔比诺参观一个砖石村，对废墟进行调查。有一个废墟坐在空旷的山顶上。进入一个本来是客厅的空间，屋顶是烂洞的，令人惊讶的是，我发现房间里面有一片小树林。如果没有建筑，这个地方肯定只是一个长满草的山顶。但人类建造的文物遗迹显然使这个地方的各种生物多样化。外部的石墙让本地的常春藤垂直生长，屋顶保护灌木免受强烈的阳光照射，而地砖则为小树的生存提供了足够的雨水。人造物在环境中产生了可变的品质，为多种生物提供了一个场所。
When I was wondering, I remembered my experience as a student, visiting a masonry village in Urbino, Italy, for an investigation of the ruins. There was a ruin sat on the open hilltop. Entering a space that would have been a living room with a rotten holed roof, surprisingly, I found a small forest inside the room. If there was no architecture, this place must have only been a grassed hilltop. But vestige of artefacts built by humans clearly diversified a variety of organisms in this place. The external stone walls let native ivy grow vertically, the roof protected shrubs from intense sunlight, and the floor tiles held enough rainwater for small trees to survive. Artefacts generated variable qualities in the environment, providing a place for multiple organisms.
回顾这一经历，我重新认识到我的项目目标，即提出 “人类的建筑 “也可以是环境的，反之亦然。人类和自然，土壤和植物，植物和动物。通过尊重所有生命在各个方向上的供应和需求，建筑可以成为协调每个人在生存中的作用的纽带。如果我们能够建立一种结构，促进相互之间的互补关系，也许就有可能为未来的建筑寻求一个方向。
Recalling this experience, I reacknowledged my aim for the project, to present that “architecture for humans” could also be for the environment, and vice versa. Humans and nature, soil and plants, plants and animals. By respecting supply and demand among all beings in every direction, architecture could be a link to harmonise everyone’s role in existence. If we could establish a structure that fosters mutual and complemental relationships with each other, it might be possible to seek a direction for future architecture.
在 “鹤冈之家”，随着时间的推移，植物会生长，鸟类和昆虫会引入非计划的物种。最终，一个小森林可能出现。然后，几十年后，现有的生命形式将成长，并完全隐藏建筑，最终，它们的生物量必须超过人类制造的建筑的质量。然而，这一座房子不会给改善全球环境带来任何潜在的效果。
At “Tsuruoka House,” over time, the plants will grow, and birds and insects will introduce unplanned species. Eventually, a small forest could appear. Then, after decades, existing life forms will grow and hide the building entirely, and ultimately, their bio-mass must surpass the mass of human-made architecture. Yet, this one house would not bring any potential effect to improve the global environment.
相反，创造一种生活，在这种生活中，人类和其他生物形式可以直接连接成你我的关系，并保持舒适的距离，在环境中欣赏对方的祝福，由生物和人工制品之间的适当平衡来维持，这就是我简单想要的。
But instead, to create a life in which humans and other living forms could connect directly as a you-me relationship and keep a comfortable distance to appreciate each other’s blessing within the environment sustained by an appropriate balance between organisms and artefacts, this is what I simply wanted.
Architects: Kiyoaki Takeda Architects
Area: 206 m²
Year: 2021
Photographs: Masaki Hamada (kkpo)
Manufacturers: Atom Company, Sanko, TAJIMA ROOFING, Toyo Materia
Architectural Design: Kiyoaki Takeda, Miyuki Sakuyama
Structural Design: ASA, Akira Suzuki, ASA
Lighting Design:Toshio Takeuchi
Landscape Design Gardening:Echigo Kokesho
Text Translation:Mami Sayo
Furniture Design:SIGN CRAFT, SIGN CRAFT
Country:Japan