文：加藤纮一教授，工程学博士，工程学院建筑系，日本东京大学

小川晋一之外再无建筑师可称得上“极简主义建筑师”。简约而不简单。极简主义代替现代主义。

《看不见的细节》一书收录了小川晋一根据自己所理解的小型建筑作品设计的作品。另一方面，新书的书名《简约而不简单》提到了小川晋一这样设计的原因。为什么采用简约结构？“因为简约而不简单”他回答道。在本文中，我将通过小川晋一的三篇文章分析他的建筑作品2。

当他说到“简约而不简单”的时候，第一时间想到了密斯·凡·德·罗所说的“少即是多”。事实上，小川的风格和密斯的风格有很多共同理念。如果我们认为（普遍的和无所不在的）这两个词是近义词，则密斯所说的“普遍空间”理念和小川提出的“无处不在的房屋3”具有相似性。然而，虽然现代主义在本质上追求通用解决方法，也就是说，将一种完美的解决方法应用于所有方案，且小川晋一的无处不在理论“可适用于任何方案，但是该理论与那些方案之间的关联性创造了一个在大千世界之中仅能适用于此的空间4”。换言之，同时追求小川建筑理论所提出的普遍性和个体化似乎有些自相矛盾的模糊性。

这种模糊性也是小川建筑中“看不见的”理论中所述的其中一个理论，小川称其为“多级构造/多层次建筑”。他解释道：“这是一种多图像重叠和异质空间概念5”。它与伯纳德·屈米于1991年在哥伦比亚大学提出的“六种概念”中的“第4种概念：叠加”极为相似6。

当您单单仅从表面看小川建筑时，第一个浮现在脑海中的印象可能是“这个设计很挑人”或“这个设计很挑生活方式”，事实上，当您看到屋主搬好家具，开始新生活的时候，您就会明白，您的这种第一印象仅仅是一种误解。小川将其解释为用于生活的房屋，也就是说“在这间房间里，我们能将各种不同的文化相互融合，比如城市与自然、西方与东方、爵士乐与古典乐，日式料理与西式菜肴7”。小川建筑的模糊性体现了一个事实，即白色的极简空间乍一看有极强的构造力，但事实上，它是一个可自由创造的空间。这似乎与小川建筑更偏向于“空间”（相比于“形式”而言）的事实有关。当我们提到小川的“窗户”时，这一点就更加清楚了。

自文艺复兴时期起，建筑物正面的入口设计和其结构成为建筑设计的一个最重要的主题。建筑物的正面图展现了建筑物的外观（正面）。然而，在小川的建筑中，往往不需要建筑的正面图，而重要的是从平面图和截面图中所得出的室内空间。

小川建筑的整体样式可大体分为两种：一种是由矩形平面和长轴方向上的横断面组成的作为一个整体的开放式结构的内部空间，另一种是由在短轴方向上的数个横断面和狭长的空间内的多重开放式结构组成。后者就是小川所说的“箱形涵洞8”，其朝向外面或外面的封闭式庭院。前者则适用于森林或山上的房屋，面向林木或大海等的自然环境。在这一风格中，室内空间本身就成为该建筑的正面。总体来看，其通过“看不见的细节”的设计理念，最大化地采用了窗户作为一个整体的横断面。也许这种样式在2007年为卡尔文·克莱恩展所设计的“房屋”得到了最清晰的展示。该理念被称为“森林中的玻璃屋”，时装展的参观者被看作是森林中的树木。

极简主义是材料的艺术。“空间”和“材料”是极简结构必须考虑的两方面。此外，必须采用“细节9”处理将材料相融合来构建建筑体系。在小川建筑中的这三个要素中，“细节”是看不见的，“材料”则含蓄地表达了其质感和物质性。因此，“因为空间可被转化为建筑外观，所以空间本身不仅仅是内部结构。”小川建筑设计的精髓在一个于，其不是一个“通过建筑形式定义生活的理想状态10”的“正规”建筑，它更像是一个“可以根据主体扩展而不断变化的、拥抱人类生活的”“空间11”建筑。

注释：

1这篇文章为小川的第二本书（作品集）《简约而不简单》（2014）所作。

2小川晋一“改变主题/超级交通/八个编码”（SD，1999年6月，第10-11页）；小川晋一 “真正的手迹/无处不在的房屋”（Kenchiku Bunka，2001年10月，第82-83页）；小川晋一“住宅的不均匀布局/简约×不简单”（Jutakutokushu，2003年4月，第58页）。

3小川（2001）和小川（2003）

4小川（2003）。

5小川（1999）。

6伯纳德·屈米，“六种概念”（A+U，1994年3月）

7小川（2003）。

8箱形涵洞是一种混凝土构建的暗道。它是否被隐喻为这种正面的空间图象？

9彼得·卒姆托将“细节”定义为：“成功的细节不仅仅有装饰的作用。他们不会破坏房间的整体性，也不具有娱乐价值。它们促使人们形成一种“细节融入于房屋”的理解（彼得·卒姆托建筑思考，Birkhäuse，扩充版第3版，2010年，第15页）

10小川（2003）。

11小川（2003）。

No architect deserves the title of “minimalist” much like Shinichi Ogawa. Not simple,but minimal. Not modernism, but minimalism.

The previous book, Invisible Detail was a collection of his works based on the concept of HOW Shinichi Ogawa realized his minimal architectural works. On the other hand, the title of this new book, Minimal is Maximal refers to WHY. Why Minimal Architecture ? "Because minimal is maximal" he said. In this paper, I would like to consider Ogawa’s architecture based on his own three articles2.

The first thing that comes to mind when he sais, "Minimal is Maximal" is the similarity to Mies van der Rohe's "Less is More". Indeed, it would be easy to fi nd a common idea between Ogawa's style and Mies'. The concept of “universal space”,which is often associated with Mies, and Ogawa’s "ubiquitous house3" appear to be similar if we consider the two words (universal and ubiquitous) synonymous.However, while modernism pursued a universal solution in its essence, that is to say, tacitly searched for an ideal solution applicable to all, the ubiquitous of Shinichi OGAWA is "having a neutrality that can exist anywhere but its relevance to that place creates a space that cannot exist elsewhere in the world but only here4". That is to say, there seems to be a self-contradictory ambiguity which pursues to be both universal and individual at the base of the philosophy of Ogawa’s architecture.

This ambiguity is one of the "invisible" concepts in Ogawa’s architecture. Ogawa himself called it "poly-construction / multi-layered architecture". He explained,"Concept of overlapping, and heterogeneous areas of various images5". It bears a strong resemblance to the “4th concept: Superimposition" out of the lecture "Six Concepts" given by Bernard Tschumi at Columbia University in 19916.

The fi rst impression that "It is likely to choose residents" or "likely to regulate the way of living" that sometimes appears when you look at Ogawa’s architecture superficially, can be understood as a mere misunderstanding, after you see the people who live there putting their furniture and starting their life. Ogawa himself described this as a house for living which "we can connect many things to each other in various cultures, such as cities and nature, the West and the East, jazz and classical music, and Japanese and Western food7". The ambiguity of Ogawa’s architecture is re fl ected in the fact that the white, minimalist space, which at fi rst glance appears to have a strong architectural force, is actually a space for allowing freedom. This seems to be related to the fact that Ogawa’s architecture is more architecture of “space” than that of “form”. This becomes even clearer when we consider the problem of the Ogawa’s “window”.

The design of the openings in the façade and its composition have been the most important theme of architectural design since the Renaissance. The elevation of the building was indeed its face (façade). However, in Ogawa’s architecture, an elevation is almost unnecessary. What matters is the interior space that emerges from the plan and the cross section.

The overall image of Ogawa’s architecture can be roughly divided into two types:a type that has an inner space with a rectangular plane and a cross-section in the major axis direction is an overall opening, and a type that has several cross-sections in the minor axis direction and a multilayer opening in the slender space. The latter is what Ogawa calls the “box culvert8”, and it opens to outside or to the courtyard which is the enclosed outside. The former stands in the forest or on the hill, opening to nature such as forest trees or the sea. The interior space itself becomes the façade in this type. It is an overall cross section with the maximized window realized by the "Invisible Detail". Perhaps this is most clearly shown in the 2007 "The House"designed for the Calvin Klein show. The concept was "Glass House in the Forest"and visitors to the fashion show were regarded as forest trees.

Minimalism is the art of materials. What will come to the extremely minimal architecture are “Space” and “Material”. In addition, there must be “Detail9” that connect materials together to build architecture. Among the three elements, in Ogawa’s architecture, “Detail” is invisible, and “Material” expresses modestly its texture and materiality. What appears as a result is “Space itself, and the space is transformed into the appearance of architecture, not just inside. The essence of Ogawa’s architectural design is that it is not a “formal” architecture like "de fi ning a beautiful ideal image of life by the form of architecture10" but a “space” architecture that "can be modi fi ed as an extension of the body and embraces the human life11".

1 This article is dedicated to Ogawa’s second book (collection of works), Minimal is Maximal (2014).

2 Shinichi Ogawa "Transforming Body / Super Traffic / Eight Codes" (SD June, 1999, pp. 10-11)； Shinichi Ogawa"Real Script / Ubiquitous House" (Kenchiku Bunka, October 2001, pp. 82-83)； Shinichi Ogawa "Dwellings for uneven distribution / MINIMAL x MAXIMAL", (Jutakutokushu, April 2003, p 58).

3 Ogawa (2001) and Ogawa (2003).

4 Ogawa (2003).

5 Ogawa (1999).

6 Bernard Tschumi, “Six concepts” (A+U, March 1994)

7 Ogawa (2003).

8 The box culvert is a concrete constructed underdrain. Has it ever been given as a metaphor such positive spatial image ?

9 Peter Zumthor de fi nes the “Detail” as follows: “Details, when they are successful, are not mere decoration.They do not distract or entertain. They lead to an understanding of the whole of which they are inherent part.” (P.Zumthor Thinking Architecture, Birkhäuser, 3rd expanded edition, 2010, p.15)

10 Ogawa (2003).

11 Ogawa (2003).