建築師的關鍵字：東亞都市地景的30種閱讀術
Architectural Keywords:30 Ways to read East Asian Architects
作者：阮慶岳
出版社：田園城市
出版日期：2008年01月31日
語言：繁體中文
ISBN：9789867009319
內容簡介
體/皮、大虛、地之築、扭、minimum care是指別管太多嗎?、互動、弱建築、景觀建築．期程．過程城市．創造舒適、在自然與人造之間、 文化景觀設計、否定主義、形成、變譯、都市微囊、由心而生的美學、爿、曠達、精神、源、山、竹、自由自在、間、懷疑與信仰、處理現實、民間現實、探測現實、蕪、無私、墟
想像建築家作建築時，腦海中究竟會浮現出什麼呢？
作者基於這樣的好奇作為發想，首先邀請了包括日本、韓國、中國、香港與台灣等區域的10位東亞建築師。再請這10人各自推薦一位新秀與前輩的當代建築師（在各自的地域、文化與社會範圍內），由這十組30位建築師提出自己作建築時，最重要的一個建築關鍵字以及手繪稿，和一篇短文來闡釋。作者再則依照每位建築師的短文，為非建築專業背景讀者發展出可閱讀的文章。
這些有著某種文化與思想上的同流趨向性的東亞區域，在方才過往的20世紀，一直以著紛亂的獨自姿態，或向西方去求取對話可能，或各自不溝通的喃喃獨語。
這樣過了整個漫長的世紀，如今因為現代化近程逐漸接近，區域內對抗的壓力也在緩和中，似乎看到彼此對話與共同發聲的可能了，而且時代也似乎作著這樣的呼喚。
新世紀裡，東亞建築師的作品風格走向，以及他們從自己的地域與文化位置，所提出來對建築與都市的看法，將直接衝擊這個區域的整體走向，也間接影響人類大環境的未來變化，絕對值得注意與關切。其中，日本以堅實的現代性能力，持續向這個世界推出新的建築觀點；韓國近年表現極受矚目，在設計領域尤其讓人不敢忽視；中國建築師在二十一世紀的面貌，不但備受期待，也可能將扮演舉足輕重的角色；香港的位置一向靈活多變，在東方與西方、前衛與復古間，流轉自然；台灣近二十年內在變化急遽，在建築上也呈顯了某種複雜與多元的面貌。
不管你懂不懂建築，都可以從一個字開始去理解；這是一種新的眺看世界的方式——從東亞開始也由建築關鍵字開始。
作者簡介
阮慶岳 Ching-Yue Roan
現任實踐大學建築系副教授
著書二十餘本。其中文學著作《林秀子一家》入選香港亞洲周刊「二○○四年度十大華文書籍」，《重見白橋》獲二○○三年「巫永福文學獎」，《凱旋高歌》獲二○○三年台北文學獎文學年金。建築著作包括《弱建築》、《以建築為名》、《新人文建築》、《十人》、《屋頂上的石斛蘭》、《城市漂流》、《開門見山色》等。
2002年於台北當代藝術館策展《長安西路神話》與《黏菌城市》
2004年於台北當代藝術館與安郁茜聯合策展《城市謠言：華人建築2004》
2006年策展威尼斯建築雙年展台灣館《樂園重返：台灣的微型城市》
2006年在台中TADA與徐明松聯合策展《久違了，王大閎先生！》
阮慶岳 - 建築師的關鍵字：東亞都市地景的30種閱讀術
阮慶岳 - 建築師的關鍵字：東亞都市地景的30種閱讀術
序
從一個字開始：也是一種眺看世界的方式
這本書是從想像建築家作建築時，腦海中究竟會浮現出什麼的好奇作開始，然後再界定以東亞區域的建築家，來作為進行探索與執行的範圍。
本書參與建築師所涵蓋的東亞區域，在歷史上都曾因漢字的先後使用，而同時受到孔子主導儒家文化的影響，另外也因為皆接受佛教為主要的宗教形式，使整個區域在歷史的發展中，有著某種在文化與思想上的同流趨向性。
發展了百年左右的現代建築，是因應一個全然嶄新的時代思潮而生。雙元革命的法國大革命與工業革命，重新定義社會階級與權力結構，並在理性與實證的思想支援下，讓技術材料與個人自我性得到極大的發揮空間，城市與建築也因此必然要大改變以作回應，全球皆不能免。
雙元革命對東亞的影響，陸陸續續在十九世紀後期顯現。整個現象從初期的巨大衝擊與震撼，與因此必須立即的自我調整與回應，再經過二十世紀透過模仿與銜接，而逐漸能夠同步進行對話。到了現今的二十一世紀，東亞區域在全球各項領域裡，逐漸扮演崛起與自我發聲的角色，是清楚可以預見的趨勢，都市與建築是其中受矚目的一環 ，勢必更不能自免於外。
而方才過往的二十世紀，因為現代化腳程的差異，以及區域內各項戰爭與對抗的關係，使得整個東亞區域，一直以著紛亂的獨自姿態，或向西方去求取對話可能，或各自不溝通的喃喃獨語。這樣過了整個漫長的世紀，如今因為現代化近程逐漸接近，區域內對抗的壓力也在緩和中，似乎看到彼此對話與共同發聲的可能了，時代也似乎同時作著這樣的呼喚。
因此，本書的目的有二，一是鼓勵優秀專業建築人，能透過對自我建築關鍵字的思考與陳述，來與非建築背景的一般大眾作對話，讓一般人藉由此書，瞭解建築人的多面貌內涵；此外，也意圖藉此來建構東亞建築師彼此間初步的對話機制與平台，希望透過這三十位東亞建築人所提出的關鍵字與作品，讓在目前全球化與資本化過程裡，某種快速同質化現象下，地域與文化差異的特質得以繼續顯現，並藉以鼓勵多元區域價值系統與觀念的發展，共同豐富人類的多樣文明。
這本書邀請十位東亞建築師,區域包括日本、韓國、中國、香港與台灣。並請此十人各自推薦一位新秀與前輩的當代建築師（在各自的地域、文化與社會範圍內），這樣共十組三十名建築人。再由這三十位建築師各自提出其作建築時，最重要的一個建築關鍵字，並作短文闡釋，我依之各寫一篇文章作衍伸，文章書寫的調性，主要以非建築專業背景讀者的閱讀性為考量。
新世紀裡，東亞建築師的作品風格走向，以及他們從自己的地域與文化位置，所提出來對建築與都市的看法，將直接衝擊這個區域的整體走向，也間接影響人類大環境的未來變化，絕對值得注意與關切。其中，日本以堅實的現代性能力，持續向這個世界推出新的建築觀點；韓國近年表現極受矚目，在設計領域尤其讓人不敢忽視；中國建築師在二十一世紀的面貌，不但備受期待，也可能將扮演舉足輕重的角色；香港的位置一向靈活多變，在東方與西方、前衛與復古間，流轉自然；台灣近二十年內在變化急遽，在建築上也呈顯了某種複雜與多元的面貌。我相信在本書中邀請的東亞三十位建築師，所各自提出的共30個建築關鍵字，必然會透露出這個區域的某種建築態度與觀點，我無意在此過度剛性的來作個人解釋，希望直接留給閱讀者去感受。但為了給讀者一些初步的歸納印象，我在此稍稍作個簡單的分類，希望不至於單面化了原本建築師的想法。
我將這些關鍵字，大約以四種類型作分別，有些關鍵字可能同時位在不同的類型內：
1. 文化/哲學：
隈研吾/弱建築、五十嵐淳/由心而生的美學、金憲/大虛、承孝相/文化景觀、金壽根/否定主意、王澍/爿、童寯/曠達、童明/精神、嚴迅奇/源、林偉而/竹、王秋華/間、林友寒/懷疑與信仰、謝英俊/蕪、李承寬/無私、劉國滄/墟、廖偉立/自由自在
2. 設計手法：
藤本?介/在自然與人造之間、克萊因．岱森建築事務所/扭、北山?/minimum care是指別管太多嗎?、中村拓志/互動、汪工房/變譯、?本一成/都市微囊、崔文奎/體皮、金榮俊/形成、廖偉立/自由自在
3. 自然/環境：
長谷川逸子/景觀建築?期程?過程城市?創造舒適、北山?/minimum care是指別管太多嗎?、朴婤現/地之築、黎錦超/山
4. 都市/社會：
藤本?介/在自然與人造之間、汪工房/變譯、?本一成/都市微囊、王澍/爿、劉家琨/處理現實、徐尚志/民間現實、朱濤/探測現實、劉國滄/墟
在此要特別感謝受邀十位關鍵建築師的配合與協助，他們積極的參與，不僅使這本書順利完成，也因他們對各自範圍內前輩與新秀的推薦，讓本書涵蓋了更廣泛的時空性。
我不一一列舉參與建築師的各自特色，請直接細心閱讀他們的書寫與作品。但是，我特別想提到書中三位被推薦的過世建築師，他們的作品能列在書中，不僅見證第一代東亞現代建築師的優秀與成就，更是以文化與地域對現代主義作反思的最佳例子。三人分別是上海的童雋、漢城的金壽根，以及在德國與台灣兩地同有貢獻的李承寬，其中童雋的孫子童明，也是本書的新秀被推薦者，祖孫隔代同列書中，自有其承傳的啟發意味。
另外我也與來自中國北京、杭州與成都的史建、王澍與劉家琨，各自作了一個對談，以相對輕鬆的方式，談論目前中國的建築與都市發展現象，收在書後面的對話部分。
最後要特別謝謝《傢飾》雜誌主編劉湘怡全程的協助，如果沒有她的幫忙，我無法想像這書如何能這樣順利出來。
內容連載
主要建築師 克萊因．岱森建築事務所／愛思翠．克萊因＆馬克．岱森
建築關鍵字 扭．minimum care是指別管太多？．互動
影像提供 Katsuhisa Kida（作品：葉片教堂）；Ryota Atarashi（作品：Heidi住宅）
Key Architects Klein Dytham architecture / Astrid Klein & Mark Dytham
Architectural Keyword Twist．Does ’minimum care’ mean don’t deal with it too much?．Interactive
Photos Katsuhisa Kida (Project: Leaf Chapel); Ryota Atarashi (Project: Heidi House)
對我們而言，建築的關鍵字是「扭！」
所謂的扭，並不是什麼實質裝置，而是一種思考方法。放眼四望我們的生活環境，許多建築物充滿了因邏輯思考而生的筆直線條。筆直代表可預期性，線條不斷的向前跑，而且就只能依著之前運行的路線，繼續跑下去。
可預期性也許比較有安全感，但我們寧可選擇驚訝、運動與改變。我們希望能夠讓自己歷久卻彌新、讓工作是一種喜悅，而我們的策略與妙方就是：扭。扭可以顛覆期待性、創造歡樂，讓人們笑容滿面。扭可以使邏輯生出樂音來。願意跳支舞嗎？
The keyword for us in architecture is: ”Twist!”
The twist is not a formal device, but a way of thinking. Look around. There are a lot of straight lines in architecture, a lot of linear, logical thinking. The essence of all this linearity is that it is predictable. Lines run on. That’s what they do - they go on doing what they’ve done before.
Predictability maybe safe, but we prefer surprise, movement, change. The twist is the maneuver we use to make the old new, to turn a job into a joy. The twist subverts expectations, generates delight, and brings smiles to peoples faces. The twist makes music out of logic. Care for a dance dance?
阮慶岳：設計者是酒神的後裔嗎？
不管是東方的老子，或是西方的柏拉圖，思想底層裡似乎都暗示宇宙的平衡穩定與永久持恆性；甚至因之衍生出後續某些觀點，認為天地的和諧，就是被人類的創作物所破壞的。
因此，作為一個創作者，某個程度上就必須選擇自己的位置點，是要扮演能引路回復完美太初的順應者，或是通往未知新桃花源地的挑戰者？也就是說，要讓自己成為可被預期的直線順應者（當然或可經由這條原路而回返到太初的樂園），還是選擇成為通往不可知終點折扭線的挑戰者？宇宙以一種冥冥不可知的規範運作著，創作者不可免要思索如何與之應對。
希臘文明將太陽神阿波羅與酒神戴奧尼索斯並列共舉，顯示對宇宙理性秩序與人類感性慾望的雙重承認與接受態度，羅馬帝國之後的西方文明，逐漸有以太陽神單一為尚，貶抑酒神存在的傾向。但人類內在酒神後裔的那部分原質，並未因此消失，而且屢屢成為召喚藝術的泉源處所，因此代表理性與感性的阿波羅與戴奧尼索斯二者間的關係，並未在這樣的歷史轉化間真正得到確認，反而不斷在西方藝術史上顛簸起伏，顯現這矛盾的仍待挑戰與質詢。
宇宙的確存有浩瀚如天籟之音的韻律與節奏，然而人類個體的內在，也充滿各種未爆火山般的能量洶湧波盪，二者同時召喚創作的靈魂，難分也難捨；也因此，設計者必須能在之間自在往返，有如農夫巡視田畝、獵者穿梭山林般熟悉自由。扭，或就是一種穿梭的路徑，因為單道的直線必無法通往兩個互不相屬的國度，若不想錯失其中任一方，創作者必須要能尋思出一條自我路徑，讓自己不至於被框綁在理性或感性的單一面向裡。
但丁在《神曲》裡，就是把那些可以同時身在兩地的靈魂稱作天使。野兔與小鹿在原野裡被追捕的時候，本能會選擇一條往返曲折的路徑，而非速度可以跑最快的直線脫逃；然而這看似曲折無理也無目的的路徑，最後卻可畫出一條簡單的筆直線條或圓形，並引導他們返回原處巢穴。這事實似乎也說明了曲折與直線，或有其底層的某種互通關連，而非表面看起來那樣的決然斷分。
是的，扭一下的確可以增添生命許多歡樂。而且，可能不但絲毫不干擾冥冥宇宙的直線大道，反而是設計者一條到達同樣終點的私密幽徑呢！
Ching-Yue Roan: Are designers descended from Dionysus?
Whether discussing Lao Zhi from the East or Plato from the West, the ultimate layer of human reasoning seems to always hint at the balance and permanence of the universe. Some viewpoints extrapolated from this involve the belief that the harmony in heaven and earth is destroyed by the creations of humanity.
Therefore, as a designer, one must determine his own position to some degree--does one wish to play the role of someone who accommodates in order to restore the Original? Or as a challenger who searches for a new Paradise? In other words, does one want to let himself become a predictable straight line (which can lead us back to Eden), or does one choose to become a challenger, moving towards the ultimate unknown twist? The universe creates through profound, unknown principles; designers can’t help but to think how to respond to these principles.
Greek culture regards Dionysus, the god of wine, as important as the sun god Apollo, signifying an attitude of recognition and acceptance of both rational order and human emotion and desires within the universe. Western civilization after the Roman Empire gradually moved towards a single sun god, and began placing less value on the god of wine. However, the inherent traits of the god of wine found within humanity’s descendants did not disappear as a result. Rather, they became the inspiration of art time and again. As a result, the relationship between Apollo and Dionysus, representing the rational and emotional, was never truly affirmed within the twists and turns of history; instead, the history of Western art continuously shows that this contradiction is waiting to be challenged and explored.
The universe absolutely possesses colossal rhythms and cadences, yet at the same time, a vast array of surging power, like volcanoes waiting to be exploded, is found within humans themselves. These two inseparable phenomena call forth the creative spirit within us. As a result, designer must be able to roam freely between these two spheres, like a farmer inspecting familiar fields or a hunter freely roaming through forests. Twisting is a path through these fields and forests, as single straight lines cannot connect these two aspects. If a designer does not want to miss out on one aspect, he must be able to consider a path that is his own, so that he is not restricted to only the rational or only the emotional.
In his Divine Comedy, Dante regards those souls that can exist in two places at once ’angels.’ When hare and deer are being hunted down in open country, their instinct is to choose a path that twists and winds, rather than a straight line, which would allow them to run faster. However, in the end, a straight line or circle could be drawn over the paths they take, which are seemingly without any logic or destination, and one would see that they take the animals back to their original dens. This fact seems to also prove that twists adding to curves and straight lines can certainly increase joy in life. In addition, not only does this not interfere with the straight lines found in the universe, but it is perhaps a private path that arrives at the same designed ultimate destination.
推薦建築師 建築工作室／北山恒
建築關鍵字 minimum care是指別管太多？
影像提供 Daici Ano
Recommend Architect architecture WORKSHOP / Koh Kitayama
Architectural Keyword Does ’minimum care’ mean don’t deal with it too much?
Photos Daici Ano
我想的是儘可能創造出沒有人為意識及限制的空間。營造出一種狀態，讓存在於空間內之主體來決定空間的表現方式。沒有人為意識的多選擇性空間，才能表現人類的自由。
I want to create a space with no restrictions or artificial consciousness so as to form a condition that allows the objects within the space to determine the manner in which the space is displayed. Only a multi-selective space with no artificial consciousness can display the freedoms of humanity.
阮慶岳：建築本是協奏曲
某個程度上，建築像是我們生活（家、辦公室與商場等）的外衣。當我們在空間內進行活動時，建築就安全也舒適的庇護著我們。
衣服隨著季節、流行與個人改變，必須時時做出新舊替換，建築卻一直以一樣的面貌存在漫長的時間裡，難以隨著人的情境作變化。幸而空間本身以及使用性，還是可以在時日變遷中，不斷的做出自我調整，來適應不斷變化中的各樣生活真實需求。但是建築師能否體認這樣的現實，以及是否願意讓自己對空間與使用性的安排，有著可被使用者（或他者）介入並更換的自由，卻是值得注意與探討的議題。設計者的主觀介入空間，除了是要達成業主與使用者的需求外，同時有著要傳達自身對建築觀點的意圖，例如對美、空間、環境等的各種看法，都會想藉之一起做出呈現。
因此，為了控制與確認自己建築觀的不被破壞與干擾，最容易見到的方法，就是以強勢的方式，明確規定空間的內涵與位置。這樣的作法，短時間自然有其效應，但卻往往經不起時間流轉的挑戰；也就是容易在時間變換後，因缺乏調整性，而完全的不合時宜，反而容易被淘汰了呢！此外，空間其實有著在人的意識之外的主體性。當一個空間被塑造成形，就如同一個嬰孩的誕生於世，它會依自己的本性，決定出未來空間成長後，所當表達的韻味與方式；某個程度上，這已經與設計者的個人意識，相互獨立也共生並存了，有些像是父母與成長獨立過程中子女的關係一樣。設計者如果懂得傾聽空間本體的內在話語，雙方之間良善的互動，很可能會豐富並各得裨益；如果設計者視空間本質如無物，不但會壓迫了空間美感的發展，更是侷限了自我作品可藉由與他者對話，因之獲得收穫的可能。
相信空間有其本質主體，是設計者必要的謙遜態度；承認自己非空間宇宙裡，那個無上的唯一創造者，是與宇宙萬物對話的出發點。尊重客體的存在性，並退讓出自己獨據的位置，讓自然韻律與節奏，得以回應共舞吧！不要管得太多，因為建築本來就是一場協奏曲，而不是個人的獨奏表演。就像老子說的：無為而治。
Ching-Yue Roan: Architecture is a Concerto
To some degree, architecture is like the garments of our life (home, office and stores); when we are conducting activities within them, the architecture safely and comfortably shelters us. Clothes change according to seasons, fashion and individuals, and must be replaced from time to time. Architecture, however, does not change its appearance, and cannot be changed according to people’s whims. Fortunately, space itself and its function can continuously adjust itself over time, in order to suit the constantly changing lifestyle. Whether or not architects are willing to face this reality, weather they are willing to allow themselves to arrange space and usage, and weather they are willing to allow users of the space (or others) the freedom to change it, are topics that are certainly worth noting and exploring. Designers subjectively intervene in space; in addition to meeting the need of their clients and that of the space users, they also want to display and convey their own views on architecture, including their thoughts on beauty, space and the environment.
As a result, the easiest way to control and confirm that one’s own views on architecture are not ruined or interfered with is through a kind of forceful style, in which the space’s purpose and position are clearly stipulated. This method is effective in the short term, but often doesn’t pass the test of time. As time changes, it can become completely outdated due to a lack of adjustability, and thus quickly unnecessary. In addition, space has its own existence outside of human consciousness. When a space is formed, it is like a child being born; its inherent qualities will determine the charms and methods it expresses after it has matured. To some degree, this is independent yet still coexisting with the designer’s own consciousness, much like the relationship between parents and their children that are both independent. If designers understand how to listen to what a space is saying, then the interaction between the two will become richer and each will be benefited. If the designer simply views a space as a non-entity, not only will the development of the beauty of the suppressed, but it will also limit the dialogue between one’s works and others.
Believing that space is an entity in itself is a necessary ideal for designers. Admitting that you’re not the Creator of this universe is the starting point for to engage in dialogues with everything in the universe. Respecting the existence of other objects, and yielding one’s own position of ’sole occupier,’ allow the designer to dance with the natural rhythms and melodies of the universe. Don’t overly control, as architecture is not a solo, but a concerto.
As Lao Zhi said, ”Managing by not doing anything.”
推薦建築師 NAP建築設計事務所／中村拓志
建築關鍵字 互動
影像提供 Daici Ano（作品：銀座藍芬服飾店）；Nabuaki Nakagawa（作品：蓮花美容沙龍）
Recommend Architect NAP Architects / Hiroshi Nakamura
Architectural Keyword Interactive
Photos Daici Ano (Project: Lanvin Boutique Ginza); Nabuaki Nakagawa (Project: Lotus Beauty Salon)
我目前追求的建築是一種互動式的建築，一種空間性質會隨著人與環境的些微變化而變化的建築。從而，使生硬的建築脫胎換骨成具有輕弱纖細各種風情的建築。
例如：東京銀座的藍芬服飾店中設置了無數個小窗口，隨著經過的人及觀看角度的不同，可展現各種不同的風情。伊勢蓮花美容沙龍薄薄地塗了一層色階塗料，隨著經過的人、太陽光的強弱及方向、及觀看者對色階的適應程度，會展現出各種不同的風情變化。
We strive towards an ”interactive” architecture whose quality of space is transformed by people and slight ambient changes. Thus, strong and static architecture has been metamorphosed into delicate and varied architecture.
For example, in Lanvin Boutique, innumerable small windows give various expressions of architecture depending on people’s movements, sunlight at different times, and angles of observation. In Lotus Beauty Salon, an extremely light color gradation is applied to create a variety of expression that change with passers-by, direction and strength of sunlight, and the way viewers see colors.
阮慶岳：蝴蝶蝴蝶真美麗
建築是極為巨觀的藝術，也同時是極其微觀的。普立茲克建築獎得主的澳洲建築師Glenn Murcutt，曾在他剛完成的小住宅裡，以一天二十四小時的時間，不斷移動位置的獨處，他說他要真正的來感覺這個房子與周遭環境的互動關係。而且這樣的互動關係，是否是成功與和諧的，也是他用來檢驗自己建築的關鍵處之一。
究竟是怎樣的互動呢？也許就是一聲蟬鳴、一道破曉的曙光、一陣午後突然襲來的急雨。這些時時刻刻在發生的事情，都同時在與建築本體不斷的作著對話，並輕微也奧妙的改變了建築原本的姿態與韻味。大自然的美神秘也廣大，就像天空的雲影與星子，沒有一刻是相同重複的；任一棵挺拔的樹，也是無時不刻在生滅不停的改變中。美不是靜止的，而是不斷與周遭互動的一種持恆狀態。
當代建築越來越有脫離群體性，以自我為單一中心的趨勢。這趨勢同時也鼓勵了當代建築，對周遭環境採取某種防禦、甚至敵意的態度，陽光被視為炙熱的刀刃、雨滴成了煩人的噪音，微風也不再被人期待與歡迎的摒棄門外。但是不能與環境共存共生的建築，不免終要淪為呆滯的死亡體；只有能柔軟與環境共對話的建築，才是真正活著的有機體。如果建築能有著謙卑的友善態度，自然是寬大無心機的，必然願意無私的提供建築各樣源源不絕的生氣與活力。而且建築的最動人處，其實也常是隱藏在最細微的角落。若是只能見到建築宏觀之美，卻不能感覺到其中細微雅緻的變化性，就像雖然登上了人人稱讚的廬山，卻無緣見到煙雨之美一樣，當然是一種遺憾吧！亞馬遜熱帶雨林裡，一隻小蝴蝶微微拍動的翅膀，其實就牽動了整個宇宙的微妙平衡。每一個宇宙裡微小的物件，都有其存在的意涵，與其獨有的美。建築作為一個容器，更應懂得允許他事他物的善意介入，因為互動本就是生命持續下去的源頭力量。
然而真正幽微動人的互動，必須用沈靜的心來感知。因為建築的巨觀之美，人人皆可輕易感受到，而微觀之美，卻只有柔軟的心能有福氣可接收到。
如果此刻一隻南美雨林的蝴蝶拍動了翅膀，你立刻可以感受到一道無形微風拂過面頰，那你就是最幸運的那個人了！
Ching-Yue Roan: Butterfly, Butterfly, You are so Beautiful...
Architecture is a macro, and micro, form of art.
Australian architect Glenn Murcutt, winner of the Pritzker Prize, once spent 24 hours moving around within a house he had just completed. He said he wanted to fully experience the relationship between the house and the surroundings. Weather this kind of interactive relationship is successful and harmonious becomes an important way for Glenn to test his designs.
So what kind of interaction is this? It’s the chirping of a bird, the first ray of dawn, and a sudden afternoon downpour. At times like these, dialogues with the architecture occur, subtly changing its original bearing and charm.
The beauty and mystery of nature are vast, such as clouds in the sky or stars in the night-each is unique and never to be seen the same way again. Every tree is constantly changing. Beauty is not static, but rather continuously interacting with its environment.
Contemporary architecture is breaking away from the norm more and more, becoming more focused on the individual self. This trend encourages modern architecture to adopt a kind of defensive attitude against their surroundings, to the point can be even hostile. Sunlight is viewed as searing knives, raindrops have become a sound of annoyance, and the wind is no longer welcomed on the porch.
Yet architecture that cannot coexist with its environment will eventually die a lackluster death. Only soft architecture that can coexist with its environment will become a truly living entity. If a building can possess an attitude of humble friendliness, it will naturally become roomy and straightforward, inevitably and selflessly providing an unfailing supply of life and vitality.
Furthermore, the aspect of architecture that truly moves people the most is often hidden away in the smallest of details. By seeing only the macroscopic beauty of a building meanwhile neglecting the minute variations in its details is like going to the beach without seeing the beauty of the waves!
Even the fluttering of a butterfly’s wings deep within the Amazon rain forest influences the subtle balance of the universe. There is a meaning behind the existence of every tiny object in the universe, and each possesses its own unique beauty. Architecture is a vessel that should understand how to allow other people and objects to intervene with their good intentions, as interaction is the source behind life’s continuing existence.
Nevertheless, the truly profound interactions that move us can only be perceived when our hearts are calm. The macroscopic beauty of architecture is easily observed by all, but the microscopic beauty can only be seen and appreciated by those holding a gentle attitude.
If a butterfly in the South American forest flaps its wings, and you feel a subtle breeze blow by, then you are truly the luckiest person alive!
從一個字開始：也是一種眺看世界的方式
這本書是從想像建築家作建築時，腦海中究竟會浮現出什麼的好奇作開始，然後再界定以東亞區域的建築家，來作為進行探索與執行的範圍。
本書參與建築師所涵蓋的東亞區域，在歷史上都曾因漢字的先後使用，而同時受到孔子主導儒家文化的影響，另外也因為皆接受佛教為主要的宗教形式，使整個區域在歷史的發展中，有著某種在文化與思想上的同流趨向性。
發展了百年左右的現代建築，是因應一個全然嶄新的時代思潮而生。雙元革命的法國大革命與工業革命，重新定義社會階級與權力結構，並在理性與實證的思想支援下，讓技術材料與個人自我性得到極大的發揮空間，城市與建築也因此必然要大改變以作回應，全球皆不能免。
雙元革命對東亞的影響，陸陸續續在十九世紀後期顯現。整個現象從初期的巨大衝擊與震撼，與因此必須立即的自我調整與回應，再經過二十世紀透過模仿與銜接，而逐漸能夠同步進行對話。到了現今的二十一世紀，東亞區域在全球各項領域裡，逐漸扮演崛起與自我發聲的角色，是清楚可以預見的趨勢，都市與建築是其中受矚目的一環 ，勢必更不能自免於外。
而方才過往的二十世紀，因為現代化腳程的差異，以及區域內各項戰爭與對抗的關係，使得整個東亞區域，一直以著紛亂的獨自姿態，或向西方去求取對話可能，或各自不溝通的喃喃獨語。這樣過了整個漫長的世紀，如今因為現代化近程逐漸接近，區域內對抗的壓力也在緩和中，似乎看到彼此對話與共同發聲的可能了，時代也似乎同時作著這樣的呼喚。
因此，本書的目的有二，一是鼓勵優秀專業建築人，能透過對自我建築關鍵字的思考與陳述，來與非建築背景的一般大眾作對話，讓一般人藉由此書，瞭解建築人的多面貌內涵；此外，也意圖藉此來建構東亞建築師彼此間初步的對話機制與平台，希望透過這三十位東亞建築人所提出的關鍵字與作品，讓在目前全球化與資本化過程裡，某種快速同質化現象下，地域與文化差異的特質得以繼續顯現，並藉以鼓勵多元區域價值系統與觀念的發展，共同豐富人類的多樣文明。
這本書邀請十位東亞建築師,區域包括日本、韓國、中國、香港與台灣。並請此十人各自推薦一位新秀與前輩的當代建築師（在各自的地域、文化與社會範圍內），這樣共十組三十名建築人。再由這三十位建築師各自提出其作建築時，最重要的一個建築關鍵字，並作短文闡釋，我依之各寫一篇文章作衍伸，文章書寫的調性，主要以非建築專業背景讀者的閱讀性為考量。
新世紀裡，東亞建築師的作品風格走向，以及他們從自己的地域與文化位置，所提出來對建築與都市的看法，將直接衝擊這個區域的整體走向，也間接影響人類大環境的未來變化，絕對值得注意與關切。其中，日本以堅實的現代性能力，持續向這個世界推出新的建築觀點；韓國近年表現極受矚目，在設計領域尤其讓人不敢忽視；中國建築師在二十一世紀的面貌，不但備受期待，也可能將扮演舉足輕重的角色；香港的位置一向靈活多變，在東方與西方、前衛與復古間，流轉自然；台灣近二十年內在變化急遽，在建築上也呈顯了某種複雜與多元的面貌。我相信在本書中邀請的東亞三十位建築師，所各自提出的共30個建築關鍵字，必然會透露出這個區域的某種建築態度與觀點，我無意在此過度剛性的來作個人解釋，希望直接留給閱讀者去感受。但為了給讀者一些初步的歸納印象，我在此稍稍作個簡單的分類，希望不至於單面化了原本建築師的想法。
我將這些關鍵字，大約以四種類型作分別，有些關鍵字可能同時位在不同的類型內：
1. 文化/哲學：
隈研吾/弱建築、五十嵐淳/由心而生的美學、金憲/大虛、承孝相/文化景觀、金壽根/否定主意、王澍/爿、童寯/曠達、童明/精神、嚴迅奇/源、林偉而/竹、王秋華/間、林友寒/懷疑與信仰、謝英俊/蕪、李承寬/無私、劉國滄/墟、廖偉立/自由自在
2. 設計手法：
藤本?介/在自然與人造之間、克萊因．岱森建築事務所/扭、北山?/minimum care是指別管太多嗎?、中村拓志/互動、汪工房/變譯、?本一成/都市微囊、崔文奎/體皮、金榮俊/形成、廖偉立/自由自在
3. 自然/環境：
長谷川逸子/景觀建築?期程?過程城市?創造舒適、北山?/minimum care是指別管太多嗎?、朴婤現/地之築、黎錦超/山
4. 都市/社會：
藤本?介/在自然與人造之間、汪工房/變譯、?本一成/都市微囊、王澍/爿、劉家琨/處理現實、徐尚志/民間現實、朱濤/探測現實、劉國滄/墟
在此要特別感謝受邀十位關鍵建築師的配合與協助，他們積極的參與，不僅使這本書順利完成，也因他們對各自範圍內前輩與新秀的推薦，讓本書涵蓋了更廣泛的時空性。
我不一一列舉參與建築師的各自特色，請直接細心閱讀他們的書寫與作品。但是，我特別想提到書中三位被推薦的過世建築師，他們的作品能列在書中，不僅見證第一代東亞現代建築師的優秀與成就，更是以文化與地域對現代主義作反思的最佳例子。三人分別是上海的童雋、漢城的金壽根，以及在德國與台灣兩地同有貢獻的李承寬，其中童雋的孫子童明，也是本書的新秀被推薦者，祖孫隔代同列書中，自有其承傳的啟發意味。
另外我也與來自中國北京、杭州與成都的史建、王澍與劉家琨，各自作了一個對談，以相對輕鬆的方式，談論目前中國的建築與都市發展現象，收在書後面的對話部分。
最後要特別謝謝《傢飾》雜誌主編劉湘怡全程的協助，如果沒有她的幫忙，我無法想像這書如何能這樣順利出來。
內容連載
主要建築師 克萊因．岱森建築事務所／愛思翠．克萊因＆馬克．岱森
建築關鍵字 扭．minimum care是指別管太多？．互動
影像提供 Katsuhisa Kida（作品：葉片教堂）；Ryota Atarashi（作品：Heidi住宅）
Key Architects Klein Dytham architecture / Astrid Klein & Mark Dytham
Architectural Keyword Twist．Does ’minimum care’ mean don’t deal with it too much?．Interactive
Photos Katsuhisa Kida (Project: Leaf Chapel); Ryota Atarashi (Project: Heidi House)
對我們而言，建築的關鍵字是「扭！」
所謂的扭，並不是什麼實質裝置，而是一種思考方法。放眼四望我們的生活環境，許多建築物充滿了因邏輯思考而生的筆直線條。筆直代表可預期性，線條不斷的向前跑，而且就只能依著之前運行的路線，繼續跑下去。
可預期性也許比較有安全感，但我們寧可選擇驚訝、運動與改變。我們希望能夠讓自己歷久卻彌新、讓工作是一種喜悅，而我們的策略與妙方就是：扭。扭可以顛覆期待性、創造歡樂，讓人們笑容滿面。扭可以使邏輯生出樂音來。願意跳支舞嗎？
The keyword for us in architecture is: ”Twist!”
The twist is not a formal device, but a way of thinking. Look around. There are a lot of straight lines in architecture, a lot of linear, logical thinking. The essence of all this linearity is that it is predictable. Lines run on. That’s what they do - they go on doing what they’ve done before.
Predictability maybe safe, but we prefer surprise, movement, change. The twist is the maneuver we use to make the old new, to turn a job into a joy. The twist subverts expectations, generates delight, and brings smiles to peoples faces. The twist makes music out of logic. Care for a dance dance?
阮慶岳：設計者是酒神的後裔嗎？
不管是東方的老子，或是西方的柏拉圖，思想底層裡似乎都暗示宇宙的平衡穩定與永久持恆性；甚至因之衍生出後續某些觀點，認為天地的和諧，就是被人類的創作物所破壞的。
因此，作為一個創作者，某個程度上就必須選擇自己的位置點，是要扮演能引路回復完美太初的順應者，或是通往未知新桃花源地的挑戰者？也就是說，要讓自己成為可被預期的直線順應者（當然或可經由這條原路而回返到太初的樂園），還是選擇成為通往不可知終點折扭線的挑戰者？宇宙以一種冥冥不可知的規範運作著，創作者不可免要思索如何與之應對。
希臘文明將太陽神阿波羅與酒神戴奧尼索斯並列共舉，顯示對宇宙理性秩序與人類感性慾望的雙重承認與接受態度，羅馬帝國之後的西方文明，逐漸有以太陽神單一為尚，貶抑酒神存在的傾向。但人類內在酒神後裔的那部分原質，並未因此消失，而且屢屢成為召喚藝術的泉源處所，因此代表理性與感性的阿波羅與戴奧尼索斯二者間的關係，並未在這樣的歷史轉化間真正得到確認，反而不斷在西方藝術史上顛簸起伏，顯現這矛盾的仍待挑戰與質詢。
宇宙的確存有浩瀚如天籟之音的韻律與節奏，然而人類個體的內在，也充滿各種未爆火山般的能量洶湧波盪，二者同時召喚創作的靈魂，難分也難捨；也因此，設計者必須能在之間自在往返，有如農夫巡視田畝、獵者穿梭山林般熟悉自由。扭，或就是一種穿梭的路徑，因為單道的直線必無法通往兩個互不相屬的國度，若不想錯失其中任一方，創作者必須要能尋思出一條自我路徑，讓自己不至於被框綁在理性或感性的單一面向裡。
但丁在《神曲》裡，就是把那些可以同時身在兩地的靈魂稱作天使。野兔與小鹿在原野裡被追捕的時候，本能會選擇一條往返曲折的路徑，而非速度可以跑最快的直線脫逃；然而這看似曲折無理也無目的的路徑，最後卻可畫出一條簡單的筆直線條或圓形，並引導他們返回原處巢穴。這事實似乎也說明了曲折與直線，或有其底層的某種互通關連，而非表面看起來那樣的決然斷分。
是的，扭一下的確可以增添生命許多歡樂。而且，可能不但絲毫不干擾冥冥宇宙的直線大道，反而是設計者一條到達同樣終點的私密幽徑呢！
Ching-Yue Roan: Are designers descended from Dionysus?
Whether discussing Lao Zhi from the East or Plato from the West, the ultimate layer of human reasoning seems to always hint at the balance and permanence of the universe. Some viewpoints extrapolated from this involve the belief that the harmony in heaven and earth is destroyed by the creations of humanity.
Therefore, as a designer, one must determine his own position to some degree--does one wish to play the role of someone who accommodates in order to restore the Original? Or as a challenger who searches for a new Paradise? In other words, does one want to let himself become a predictable straight line (which can lead us back to Eden), or does one choose to become a challenger, moving towards the ultimate unknown twist? The universe creates through profound, unknown principles; designers can’t help but to think how to respond to these principles.
Greek culture regards Dionysus, the god of wine, as important as the sun god Apollo, signifying an attitude of recognition and acceptance of both rational order and human emotion and desires within the universe. Western civilization after the Roman Empire gradually moved towards a single sun god, and began placing less value on the god of wine. However, the inherent traits of the god of wine found within humanity’s descendants did not disappear as a result. Rather, they became the inspiration of art time and again. As a result, the relationship between Apollo and Dionysus, representing the rational and emotional, was never truly affirmed within the twists and turns of history; instead, the history of Western art continuously shows that this contradiction is waiting to be challenged and explored.
The universe absolutely possesses colossal rhythms and cadences, yet at the same time, a vast array of surging power, like volcanoes waiting to be exploded, is found within humans themselves. These two inseparable phenomena call forth the creative spirit within us. As a result, designer must be able to roam freely between these two spheres, like a farmer inspecting familiar fields or a hunter freely roaming through forests. Twisting is a path through these fields and forests, as single straight lines cannot connect these two aspects. If a designer does not want to miss out on one aspect, he must be able to consider a path that is his own, so that he is not restricted to only the rational or only the emotional.
In his Divine Comedy, Dante regards those souls that can exist in two places at once ’angels.’ When hare and deer are being hunted down in open country, their instinct is to choose a path that twists and winds, rather than a straight line, which would allow them to run faster. However, in the end, a straight line or circle could be drawn over the paths they take, which are seemingly without any logic or destination, and one would see that they take the animals back to their original dens. This fact seems to also prove that twists adding to curves and straight lines can certainly increase joy in life. In addition, not only does this not interfere with the straight lines found in the universe, but it is perhaps a private path that arrives at the same designed ultimate destination.
推薦建築師 建築工作室／北山恒
建築關鍵字 minimum care是指別管太多？
影像提供 Daici Ano
Recommend Architect architecture WORKSHOP / Koh Kitayama
Architectural Keyword Does ’minimum care’ mean don’t deal with it too much?
Photos Daici Ano
我想的是儘可能創造出沒有人為意識及限制的空間。營造出一種狀態，讓存在於空間內之主體來決定空間的表現方式。沒有人為意識的多選擇性空間，才能表現人類的自由。
I want to create a space with no restrictions or artificial consciousness so as to form a condition that allows the objects within the space to determine the manner in which the space is displayed. Only a multi-selective space with no artificial consciousness can display the freedoms of humanity.
阮慶岳：建築本是協奏曲
某個程度上，建築像是我們生活（家、辦公室與商場等）的外衣。當我們在空間內進行活動時，建築就安全也舒適的庇護著我們。
衣服隨著季節、流行與個人改變，必須時時做出新舊替換，建築卻一直以一樣的面貌存在漫長的時間裡，難以隨著人的情境作變化。幸而空間本身以及使用性，還是可以在時日變遷中，不斷的做出自我調整，來適應不斷變化中的各樣生活真實需求。但是建築師能否體認這樣的現實，以及是否願意讓自己對空間與使用性的安排，有著可被使用者（或他者）介入並更換的自由，卻是值得注意與探討的議題。設計者的主觀介入空間，除了是要達成業主與使用者的需求外，同時有著要傳達自身對建築觀點的意圖，例如對美、空間、環境等的各種看法，都會想藉之一起做出呈現。
因此，為了控制與確認自己建築觀的不被破壞與干擾，最容易見到的方法，就是以強勢的方式，明確規定空間的內涵與位置。這樣的作法，短時間自然有其效應，但卻往往經不起時間流轉的挑戰；也就是容易在時間變換後，因缺乏調整性，而完全的不合時宜，反而容易被淘汰了呢！此外，空間其實有著在人的意識之外的主體性。當一個空間被塑造成形，就如同一個嬰孩的誕生於世，它會依自己的本性，決定出未來空間成長後，所當表達的韻味與方式；某個程度上，這已經與設計者的個人意識，相互獨立也共生並存了，有些像是父母與成長獨立過程中子女的關係一樣。設計者如果懂得傾聽空間本體的內在話語，雙方之間良善的互動，很可能會豐富並各得裨益；如果設計者視空間本質如無物，不但會壓迫了空間美感的發展，更是侷限了自我作品可藉由與他者對話，因之獲得收穫的可能。
相信空間有其本質主體，是設計者必要的謙遜態度；承認自己非空間宇宙裡，那個無上的唯一創造者，是與宇宙萬物對話的出發點。尊重客體的存在性，並退讓出自己獨據的位置，讓自然韻律與節奏，得以回應共舞吧！不要管得太多，因為建築本來就是一場協奏曲，而不是個人的獨奏表演。就像老子說的：無為而治。
Ching-Yue Roan: Architecture is a Concerto
To some degree, architecture is like the garments of our life (home, office and stores); when we are conducting activities within them, the architecture safely and comfortably shelters us. Clothes change according to seasons, fashion and individuals, and must be replaced from time to time. Architecture, however, does not change its appearance, and cannot be changed according to people’s whims. Fortunately, space itself and its function can continuously adjust itself over time, in order to suit the constantly changing lifestyle. Whether or not architects are willing to face this reality, weather they are willing to allow themselves to arrange space and usage, and weather they are willing to allow users of the space (or others) the freedom to change it, are topics that are certainly worth noting and exploring. Designers subjectively intervene in space; in addition to meeting the need of their clients and that of the space users, they also want to display and convey their own views on architecture, including their thoughts on beauty, space and the environment.
As a result, the easiest way to control and confirm that one’s own views on architecture are not ruined or interfered with is through a kind of forceful style, in which the space’s purpose and position are clearly stipulated. This method is effective in the short term, but often doesn’t pass the test of time. As time changes, it can become completely outdated due to a lack of adjustability, and thus quickly unnecessary. In addition, space has its own existence outside of human consciousness. When a space is formed, it is like a child being born; its inherent qualities will determine the charms and methods it expresses after it has matured. To some degree, this is independent yet still coexisting with the designer’s own consciousness, much like the relationship between parents and their children that are both independent. If designers understand how to listen to what a space is saying, then the interaction between the two will become richer and each will be benefited. If the designer simply views a space as a non-entity, not only will the development of the beauty of the suppressed, but it will also limit the dialogue between one’s works and others.
Believing that space is an entity in itself is a necessary ideal for designers. Admitting that you’re not the Creator of this universe is the starting point for to engage in dialogues with everything in the universe. Respecting the existence of other objects, and yielding one’s own position of ’sole occupier,’ allow the designer to dance with the natural rhythms and melodies of the universe. Don’t overly control, as architecture is not a solo, but a concerto.
As Lao Zhi said, ”Managing by not doing anything.”
推薦建築師 NAP建築設計事務所／中村拓志
建築關鍵字 互動
影像提供 Daici Ano（作品：銀座藍芬服飾店）；Nabuaki Nakagawa（作品：蓮花美容沙龍）
Recommend Architect NAP Architects / Hiroshi Nakamura
Architectural Keyword Interactive
Photos Daici Ano (Project: Lanvin Boutique Ginza); Nabuaki Nakagawa (Project: Lotus Beauty Salon)
我目前追求的建築是一種互動式的建築，一種空間性質會隨著人與環境的些微變化而變化的建築。從而，使生硬的建築脫胎換骨成具有輕弱纖細各種風情的建築。
例如：東京銀座的藍芬服飾店中設置了無數個小窗口，隨著經過的人及觀看角度的不同，可展現各種不同的風情。伊勢蓮花美容沙龍薄薄地塗了一層色階塗料，隨著經過的人、太陽光的強弱及方向、及觀看者對色階的適應程度，會展現出各種不同的風情變化。
We strive towards an ”interactive” architecture whose quality of space is transformed by people and slight ambient changes. Thus, strong and static architecture has been metamorphosed into delicate and varied architecture.
For example, in Lanvin Boutique, innumerable small windows give various expressions of architecture depending on people’s movements, sunlight at different times, and angles of observation. In Lotus Beauty Salon, an extremely light color gradation is applied to create a variety of expression that change with passers-by, direction and strength of sunlight, and the way viewers see colors.
阮慶岳：蝴蝶蝴蝶真美麗
建築是極為巨觀的藝術，也同時是極其微觀的。普立茲克建築獎得主的澳洲建築師Glenn Murcutt，曾在他剛完成的小住宅裡，以一天二十四小時的時間，不斷移動位置的獨處，他說他要真正的來感覺這個房子與周遭環境的互動關係。而且這樣的互動關係，是否是成功與和諧的，也是他用來檢驗自己建築的關鍵處之一。
究竟是怎樣的互動呢？也許就是一聲蟬鳴、一道破曉的曙光、一陣午後突然襲來的急雨。這些時時刻刻在發生的事情，都同時在與建築本體不斷的作著對話，並輕微也奧妙的改變了建築原本的姿態與韻味。大自然的美神秘也廣大，就像天空的雲影與星子，沒有一刻是相同重複的；任一棵挺拔的樹，也是無時不刻在生滅不停的改變中。美不是靜止的，而是不斷與周遭互動的一種持恆狀態。
當代建築越來越有脫離群體性，以自我為單一中心的趨勢。這趨勢同時也鼓勵了當代建築，對周遭環境採取某種防禦、甚至敵意的態度，陽光被視為炙熱的刀刃、雨滴成了煩人的噪音，微風也不再被人期待與歡迎的摒棄門外。但是不能與環境共存共生的建築，不免終要淪為呆滯的死亡體；只有能柔軟與環境共對話的建築，才是真正活著的有機體。如果建築能有著謙卑的友善態度，自然是寬大無心機的，必然願意無私的提供建築各樣源源不絕的生氣與活力。而且建築的最動人處，其實也常是隱藏在最細微的角落。若是只能見到建築宏觀之美，卻不能感覺到其中細微雅緻的變化性，就像雖然登上了人人稱讚的廬山，卻無緣見到煙雨之美一樣，當然是一種遺憾吧！亞馬遜熱帶雨林裡，一隻小蝴蝶微微拍動的翅膀，其實就牽動了整個宇宙的微妙平衡。每一個宇宙裡微小的物件，都有其存在的意涵，與其獨有的美。建築作為一個容器，更應懂得允許他事他物的善意介入，因為互動本就是生命持續下去的源頭力量。
然而真正幽微動人的互動，必須用沈靜的心來感知。因為建築的巨觀之美，人人皆可輕易感受到，而微觀之美，卻只有柔軟的心能有福氣可接收到。
如果此刻一隻南美雨林的蝴蝶拍動了翅膀，你立刻可以感受到一道無形微風拂過面頰，那你就是最幸運的那個人了！
Ching-Yue Roan: Butterfly, Butterfly, You are so Beautiful...
Architecture is a macro, and micro, form of art.
Australian architect Glenn Murcutt, winner of the Pritzker Prize, once spent 24 hours moving around within a house he had just completed. He said he wanted to fully experience the relationship between the house and the surroundings. Weather this kind of interactive relationship is successful and harmonious becomes an important way for Glenn to test his designs.
So what kind of interaction is this? It’s the chirping of a bird, the first ray of dawn, and a sudden afternoon downpour. At times like these, dialogues with the architecture occur, subtly changing its original bearing and charm.
The beauty and mystery of nature are vast, such as clouds in the sky or stars in the night-each is unique and never to be seen the same way again. Every tree is constantly changing. Beauty is not static, but rather continuously interacting with its environment.
Contemporary architecture is breaking away from the norm more and more, becoming more focused on the individual self. This trend encourages modern architecture to adopt a kind of defensive attitude against their surroundings, to the point can be even hostile. Sunlight is viewed as searing knives, raindrops have become a sound of annoyance, and the wind is no longer welcomed on the porch.
Yet architecture that cannot coexist with its environment will eventually die a lackluster death. Only soft architecture that can coexist with its environment will become a truly living entity. If a building can possess an attitude of humble friendliness, it will naturally become roomy and straightforward, inevitably and selflessly providing an unfailing supply of life and vitality.
Furthermore, the aspect of architecture that truly moves people the most is often hidden away in the smallest of details. By seeing only the macroscopic beauty of a building meanwhile neglecting the minute variations in its details is like going to the beach without seeing the beauty of the waves!
Even the fluttering of a butterfly’s wings deep within the Amazon rain forest influences the subtle balance of the universe. There is a meaning behind the existence of every tiny object in the universe, and each possesses its own unique beauty. Architecture is a vessel that should understand how to allow other people and objects to intervene with their good intentions, as interaction is the source behind life’s continuing existence.
Nevertheless, the truly profound interactions that move us can only be perceived when our hearts are calm. The macroscopic beauty of architecture is easily observed by all, but the microscopic beauty can only be seen and appreciated by those holding a gentle attitude.
If a butterfly in the South American forest flaps its wings, and you feel a subtle breeze blow by, then you are truly the luckiest person alive!