余夕雯

青山周平，一個(gè)在中國(guó)做建筑的日本設(shè)計(jì)師。

他在微博上擁有41萬(wàn)粉絲，這個(gè)數(shù)字在向來(lái)低調(diào)的建筑圈可以說(shuō)相當(dāng)驚人。如果以“建筑師”作為標(biāo)簽搜索，他可能是粉絲最多的一位。

有人喜歡他，是因?yàn)楦哳佒怠材樃鞣N明星，有人說(shuō)他是“裝修界的小栗旬”“日本霍建華”……更多人是因?yàn)樗牟湃A——他設(shè)計(jì)的每一件建筑作品，幾乎都是當(dāng)?shù)匚乃嚽嗄旰灥酱蚩òl(fā)朋友圈的必到之地。

秋天剛要開始的時(shí)候，青山周平來(lái)到杭州，在浙江美術(shù)館進(jìn)行一場(chǎng)關(guān)于“家和生活的另一種可能”的主題演講。現(xiàn)場(chǎng)座無(wú)虛席，連過道上都站滿了人。

他因一檔家裝改造節(jié)目爆紅

為什么有那么多人都喜歡青山周平？

時(shí)間倒回到2015年，在一檔家裝改造真人秀節(jié)目中，青山周平分別對(duì)35平方米和6.8平方米兩個(gè)北京胡同里的“老破小”舊房進(jìn)行了成功的改造?？催@類空間改造節(jié)目，最過癮的就是最后“新家”出爐時(shí)，新與舊的強(qiáng)烈對(duì)比，時(shí)隔幾年仍被大家津津樂道。

在節(jié)目里亮相的胖大嬸一家讓人印象深刻。雖然大嬸的女兒在五環(huán)外有房住，可為了外孫女能在城里的學(xué)區(qū)上學(xué)，一家五口只能湊合著擠一擠住在35平方米的房子里。

青山用13扇窗戶和56個(gè)儲(chǔ)物柜，打造出了嶄新的通透明亮的空間。桌子、餐臺(tái)、櫥柜可拉伸、可隱藏，都是“內(nèi)有乾坤”。天窗還可以160度旋轉(zhuǎn)，便于清洗。除了設(shè)計(jì)之外，他更看重一家人的情感關(guān)系。

兩期節(jié)目之后，青山周平就“紅”了，很多人關(guān)注了他，想找他做設(shè)計(jì)。

然而，對(duì)于“網(wǎng)紅”的稱呼，青山周平皺了下眉，覺得這并不是個(gè)好詞，他不喜歡。走紅后，他被問得最多的問題就是，“我家改造一下，一平方米要多少錢”？面對(duì)蜂擁而至的私人住宅求改造，他一一拒絕，并且明確表示不接商品房開發(fā)的項(xiàng)目。

“單獨(dú)的、普通的住宅設(shè)計(jì)和改造，我并不感興趣，哪怕業(yè)主出價(jià)很高?！鼻嗌街芷铰龡l斯理的語(yǔ)氣里帶著嚴(yán)肅，“除非是有社會(huì)意義、能給城市帶來(lái)影響力和變化?！?h3>他說(shuō)杭州連下雨都讓人喜歡

絕大部分設(shè)計(jì)師都希望人們通過作品了解自己，青山周平也不例外。在北京十幾年的生活和工作，他的確也做到了這一點(diǎn)。

走紅后的青山周平，在網(wǎng)絡(luò)上也比之前活躍了很多，變得更忙碌了，這種忙碌是他自己也未曾想到過的。除了業(yè)主找上門，還有不少品牌商給他發(fā)來(lái)邀請(qǐng)，希望他以建筑師的身份出場(chǎng)，做的事卻與建筑沒有太大的關(guān)系。但他更愿意讓自己安靜下來(lái)。

在杭州，青山周平找到這種他想要的久違的安靜，當(dāng)然很希望有機(jī)會(huì)可以在這里留下作品?！昂贾菀恢笔俏液芟矚g的一個(gè)城市，它讓人覺得很舒服，有點(diǎn)像日本的京都?！?/p>

盡管每次來(lái)，都是因?yàn)楣拢掖颐γ?，只能停留一至兩天，但這里仍給他留下深刻印象，“我從小就不太喜歡下雨天，但有一次在杭州靈隱寺邊上的法云安縵，剛好是下雨，就停下來(lái)看雨，這個(gè)感覺很難忘，這真是座連下雨都讓人喜歡的城市?！?/p>

青山周平說(shuō)，杭州是一座很藝術(shù)的城市，作為一個(gè)建筑設(shè)計(jì)師，他很留意這里的建筑。其中，建筑師王澍設(shè)計(jì)的中國(guó)美術(shù)學(xué)院象山校區(qū)讓他印象深刻。校園內(nèi)，還有由普利茲克獎(jiǎng)得主、日本著名建筑師隈研吾設(shè)計(jì)的中國(guó)美院民藝博物館，外形層層疊疊宛如茶田。旁邊的中國(guó)國(guó)際設(shè)計(jì)博物館，設(shè)計(jì)師是葡萄牙著名建筑家阿爾瓦羅·西扎。“一所學(xué)校，能有這么多厲害的建筑作品，非常了不起”。

和多數(shù)日本建筑師給人的印象相似，青山周平的審美偏好也有很濃的東方禪學(xué)意味。在廣島出生，從小喜歡自然，受到建筑師父親的影響，他從高中時(shí)期就開始看建筑類的書籍，之后又在大阪大學(xué)和東京大學(xué)攻讀建筑學(xué)學(xué)士和碩士。

大學(xué)的時(shí)候，他去世界各地的三十幾個(gè)城市背包旅行了一年，這次旅行對(duì)他日后的設(shè)計(jì)理念產(chǎn)生了巨大的影響，就是人與自然的關(guān)系。

這種無(wú)限接近自然的感覺，他說(shuō)在杭州也感受到了。

家應(yīng)該跟城市融合在一起

青山周平在日本家鄉(xiāng)并沒有買房，在北京生活了13年也沒打算買房。他和妻子租住在北京南鑼鼓巷一個(gè)大雜院一間40平方米的老房子里，并且樂在其中。對(duì)于“家”，他有自己的獨(dú)特理解，一種40平方米住出200平方米的氣勢(shì)。

從他家走路兩三分鐘，就有一個(gè)菜市場(chǎng)，那就是他的“另一個(gè)冰箱”——需要菜的時(shí)候隨時(shí)就可以買來(lái)新鮮的菜。

他的廚房和客廳也都很小，但是胡同里各式小飯館兒都是他的“餐廳”。

要工作的時(shí)候，可以去附近的咖啡廳，“其實(shí)這是我工作的地方，我的書房。我家沒有書房，我家的廚房很小，客廳很小，但家附近各種各樣的點(diǎn)都是我的生活范圍。這是我的家的一部分，家的延伸。總的來(lái)說(shuō)，胡同生活空間的擴(kuò)展，與200平方米和300平方米的大型公寓住宅生活相比，某種意義上可以享有更大的自由?！?/p>

這種聽起來(lái)有點(diǎn)前衛(wèi)的理念，他在很多的場(chǎng)合傳播過，他自己并不覺得這新潮?！拔覀冃r(shí)候住的房子，就是對(duì)自然開放、對(duì)別人開放的，慢慢才變成現(xiàn)在這樣子?！睂?duì)于家的概念，青山周平引用了這樣一句話：人本過客無(wú)來(lái)處，處處無(wú)家處處家。

青山周平說(shuō)，住在他家旁邊的鄰居，刷牙和吃飯都會(huì)在四合院公共的空間里，打著赤膊不穿衣服也覺得很自然，還喜歡搬一把凳子坐在院子里看電視。

他認(rèn)為，生活質(zhì)量和住房面積沒有直接關(guān)系，家就應(yīng)該是開放的，應(yīng)該跟城市融合在一起，我們的需求可以分散在城市的每一處。

“如果選擇小房子，可以通過設(shè)計(jì)，讓自己變得更開心?！鼻嗌街芷接钟幸惶鬃约旱男落J觀點(diǎn)，“小房子要突破原來(lái)常規(guī)的想法。比如，主臥要設(shè)在朝南最好的位置，這對(duì)于大房子是合適的，但對(duì)于在小房子生活的年輕人來(lái)說(shuō)，臥室就是年輕人晚上睡覺的地方，為什么一定要放在最好的位置？”

這些靈感來(lái)自他養(yǎng)貓的經(jīng)歷。青山周平說(shuō)：“貓可以敏感地感受到一個(gè)小空間里面最舒服的地方在哪里，所有它會(huì)根據(jù)時(shí)間不斷挪窩。雖然我們不能完全做到像貓一樣的生活，但可以學(xué)習(xí)它的生活方式，更開放，更自由?！?/p>

（本文圖片由謝豐毅攝）

Shuhei Aoyama is a Japanese architect living and working in Beijing， capital of China. Born in 1980， the young architect rose to stardom overnight because of a television program featuring remodeling old houses in a television program screened by Beijing TV in 2015.

In the program， the architect remodeled a 35-square-meter house and a 6.8-square-meter room， both situated in lanes in the old downtown of Beijing. The sharp contrast before and after as revealed in the episodes caused a big stir among audiences. His name went viral overnight online. His miraculous remodeling projects are kind of tourist attractions for young admirers. His Weibo， a Chinese social media that resembles Twitter， has 410，000 fans， a number quite amazing in the circles of architects. No other architect in China has a bulkier following.

However， Shuhei Aoyama does not like the fame very much and has turned down numerous offers to redecorate houses. “I am not particularly interested in designing and decorating single and ordinary living spaces even though huge amount of cash is offered， unless a redecoration project is of social significance and can bring impact and changes to a city，” stated the Japanese architect.

Most architects hope to let their projects speak for them. Aoyama is no exception. He has firmly established himself as an excellent architect since he came to China 13 years ago. He now enjoys a high profile online thanks to the 2015 television program.

In early August 2018， he visited Hangzhou and gave a lecture at Zhejiang Art Museum. He addressed the topic “Another Possibility of Home and Life”. The lecture hall was full， including many standing.

Aoyama has visited Hangzhou many times. So far all his visits to the city were just one or two days long. He has examined the city from an architects perspective and found he likes this city of arts. He is deeply impressed with the Xiangshan Campus of China Academy of Art designed by Wang Shu， the dean of the School of Architecture of the China Academy of Art and recipient of the prestigious Pritzker Prize in 2012. In addition to the things designed by Wang， the campus boasts the Folk Arts Museum designed by Kengo Kuma， a Japanese architect and professor with the Graduate School of Architecture at the University of Tokyo， and the China International Design Museum designed by Alvaro Siza， a Portuguese architect. “It is great to have so many wonderful architectural masterpieces on the campus！” remarked Shuhei Aoyama. He recalled a rainy day in one of his previous visits to Hangzhou. “I was at a temple not from Lingyin Temple. It was raining. I stopped to watch the rain. This experience is unforgettable. This is a city where even raining gives me joy，” remarked the architect.

A native of Hiroshima， Japan， he grew up loving nature. Influenced by his architect father， the son began to read architecture books in his high school years. He studied architecture in his undergraduate years and graduate years in Osaka University and Tokyo University. During these years， he spent a year touring the world on a shoe-string budget. He visited more than 30 cities across the world. The travel deepened his understanding of the bond between man and nature. He said he could feel the same amenity in Hangzhou.

He does not own a house either in Japan or in China. He and his wife dwell in a rented house in an old-styled compound in Nantongluo Lane in Beijing. The couple enjoys the 40-square-meter home in Beijing enormously. He said that it feels like a 200-square-meter one. Conveniently， it is just a 3-minute walk from the house to a food market， where he can buy fresh vegetables. To the couple， the market is like another refrigerator. The house has a small kitchen and a small sitting hall， but the couple can get all everyday things conveniently not far from the compound. There are restaurants in the lane. The couple eats out pretty much. He goes to a nearby café if he needs to do some work but does not want to go all the way to his office. He believes life in a small house in a lane enjoys much more freedom than does a 200-square-meter apartment. Whether one enjoys life has no direct bearing on the size of living space. A home should be open and should be merged into the city. Ones life can get satisfied in a city.

Living in the small house in the lane also inspires him. “I can make myself happier in a small house through my design. A small house breaks stereotypes and conventional thinking. For example， most people want their master bedroom to face the south. It feels all right in a spacious apartment. But for those young people living a small house， a bedroom is just where one sleeps. Why does a bedroom need the best space in a house？”