青這是我們的兩難。一方面，談到精確的施工品質(zhì)，你會得到高度職業(yè)道德的保證。另一方面，談到生意，我們卻有錯誤的道德觀。當(dāng)然，人們會說，“談合制”保障了日本營建的高品質(zhì)是因為品質(zhì)來自價格。但也因為這樣，我們并不知道差別在哪兒，因為“談合制”讓其他很多合格的公司沒辦法參加競價。

哈你可以再舉一些在日本建筑歷史里不斷重復(fù)的錯誤嗎？

青比如說，建筑的合用性只針對單一用途，像是學(xué)校、美術(shù)館，或餐廳。萬一多年后建筑的用途變了，即使建筑本身非常好，大部分還是得拆掉。我想改變這種情形，我想要不必拆毀就可以變成美術(shù)館或餐廳的學(xué)校?？纯磩游锇?，環(huán)境改變時，動物也會跟著適應(yīng)和改變。如果它們不改變就死定了，日本的建筑也一樣。

He is probably the only renowned architect who has painted the outside wall of a client’s house himself 　 just to make sure the brush-stroke texture came out right. Jun Aoki is unconventional in many ways. Every morning he walks an hour to his office with a rucksack on his back. He does not shy away from openly criticizing the works of his colleagues if he deems their buildings unhealthy to the urban environment 　 like the shopping complex by Tadao Ando in the Omotesando fashion district, which has replaced historical residential housings. And to inspire, to start discussion, he sometimes watches movies with clients, many of whom become his friends along the way. Kaori Senga, the proprietor of Aoki’s experimental O-House, remembers sitting down one day with Aoki to go through the moods of a Disney animation clip. “He wanted to see my reactions, get a sense of my life’s history, like a scriptwriter working on a film with a particular actress in mind.”

Aoki is a former disciple of Arata Isozaki, whose Louis Vuitton flagship store coincidentally stands opposite the disapproved Ando mall. European interns who work in Aoki’s studio are always surprised at the number of models he uses. (For easy retrieval, Aoki developed a special shelf, where models stick into openings in a wall so they can float freely in his office). “I find solutions in a deconstructive way. Step by step, I strip miniature houses of parts the client disapproves of.” And in the process, Aoki thinks (again) like a movie or theater director: “Architecture consists of light, and films relate to architecture because of light. Both have the same quality of describing atmosphere and space.”