伊东丰雄访谈(四)

  • 来源:建筑创作
  • 关键字:伊东丰雄,建筑,日本
  • 发布时间:2014-04-11 12:49

  古市∶基督教义上好像提到人类主宰自然,是以人类为中心的社会终究将征服自然的理论。但在我们日本,其实亚洲整体都是泛灵论的观点,神灵栖息于自然界万物之中的观点,这是一种敬畏自然、与自然共生的姿态。

  FURUICHI: THE CHRISTIAN DOCTRINE ASSUMES THAT HUMAN KINDS DOMINATE THE NATURE. IT’S A THEORY THAT HUMAN-CENTERED SOCIETYWILL EVENTUALLY CONQUER THE NATURE. HOWEVER, ANIMISM IS MORE POPULAR IN JAPAN AND ACTUALLY IN ALL ASIAN COUNTRIES INGENERAL. OUR WORLDVIEW IS THAT EVERYTHING HAS A SPIRITUAL ESSENCE IN THE NATURE, A VIEW THAT WE NEED TO RESPECT NATURE ANDCOHABIT WITH NATURE.

  伊东∶这在随古市先生访问不丹时感觉到了。人与动物都生存在自然中,比如有条牛走在道路中间,则我们的车也要停下来等它。狗也随处躺卧。令我们认识到人类其实相对自然来说是极小的存在。

  ITO: I had that feeling when I visited Bhutan with you. Humans and animals all live in the nature. When a cow walks in the middle of a street, our car needsto stop and wait for it to pass. The cow looks more powerful at that time. And the dogs lie everywhere. That makes realize that humans are only very teenytiny beings, compared to nature.

  古市∶其根本上是轮回的思想。甚至连个蚊子也不能杀。因为很可能明天你便转生为蚊子。

  FURUICHI: It is basically the idea of reincarnation. You can’t even kill a mosquito, because maybe in your next life you will become a mosquito.

  张∶当下时代有时真需要这种思想。现在,感觉像东京这样的大都会,城市开发总是本着支配自然的态度,我想该是对这种态度作出反思的时候了。

  Z: At the present times, we do need this way of thinking. In large metropolitan areas like Tokyo, I feel that the urban development is usually trying totransform nature. I think it’s high time to reconsider this issue.

  伊东∶是的。近代史基本上是建立在这种思想上的。已经到了该重新评估的时期了。因此,再次从这种亚洲的思想来思考能源等问题,我想既适合我们,又可以帮助我们创造出幸福的未来社会。我们需要努力去作这方面的事情。因此,这次的歧阜媒体中心便可以看作是这方面工作的第一步吧。

  ITO: That’s right. The modern times were built on the idea of transforming nature. We should reevaluate this right now. Therefore, thinking about energy issues from old Asian wisdoms is not only suitable to us, but it can also help us create a happy society in the future. We need to work hard on this issue, and the Gifu Media Cosmos could be seen as the first step.

  古市∶在东北震灾过后,伊东先生还就比如“人与人之间的关系”等为主题,创作了“所有人的家”等。请您讲讲这方面的内容。

  FURUICHI: After the earthquake in the northeast Japan, Mr. Ito designed the “Home-For-All” project under the theme of interpersonal relationship. Couldyou please talk about that?

  伊东∶这也是现在我们谈话内容的延长线上的东西,相对近代主义提倡征服自然,我觉得有必要用另外不同的逻辑来思考建筑和城市。在这样的思考过程中,发生了那次海啸、就是311 的那场震灾,震灾过后的复兴,会将灾区导向何方。在这方面,看看国家和县所推进的复兴计划,明显是推行近代主义的做法。要求大伙都搬迁到高地去。认为安全放心是第一。确实安全放心是重要,不过由此他们要抛弃一直爱护的自然,抛弃历史,抛弃这个地区的全部文脉,搬迁到高地便解决问题吗?我并不这样认为,我想应该是在继承这些历史内容的同时建设能够安居的城市。这里其实和公共建筑的场所是一样的,近代主义和我们所考虑的城市,家庭或地域这个问题是对立着的。为了彻底探究这个问题,我一直在灾区间来回奔波。

  ITO: That was something that extended from what we just talked about. Instead of conquering the nature, as is advocated by the modernism, I think wemust use an alter native logic to think about architecture and cities. During my thinking process, the tsunami hit and then the 311 earthquake struck. Whereare we leading the affected region with the redevelopment after the earthquake? The revitalization plans of national and local governments, which plan tomove everyone onto high lands, are obviously based on the modernistic thinking. They think safety is the highest priority. It’s true that safety is important,but does that mean we should abandon the nature we have cherished, abandon the history we have built, abandon all the culture legacies we have established in the region and just move to the highlands? I don’t think so. I think that we could build livable cities while inheriting all the historical relics. It’ssimilar to the case of public buildings: modernism and our cities, regionalism and our families, they are dialectical. In order to study this issue deeply, I havebeen traveling between the stricken areas.

  古市∶您是通过怎样的形式来参与的呢?

  FURUICHI: HOW DID YOU PARTICIPATE IN THE REDEVELOPMENT?

  伊东∶其中参与最深的是在岩手县的釜石市。我们为这里绘制了各种复兴的蓝图,虽然并非都能实现,重要的是让市政府和市民们理解,需要的并非只是一个复兴的规划,而是要建设向居民敞开的城市,终于在去年秋天设立了釜石的未来城市这个项目。开展了集合住宅、学校等几个项目的竞标活动,我担任了所有活动的评委主任,为精力充沛的年轻设计师赋予了今天的机会。

  ITO: I was most deeply involved in the Kamaishi City in the Iwate Prefecture. We have drawn various revitalization plans for the area, though not all ofthem could be realized. The key is to make the city government and the residents understand that not only do we need a revitalization plan, but we needto build cities that are open to residents. And finally we set up the Future City program in Kamaishi and organized bidding competitions for the design ofseveral projects, including residential buildings and schools. I served as the chairman of the judging committee of all those competitions, which offeredgreat opportunities for energetic young designers.

  古市∶在其他的地域呢?

  FURUICHI: What about other stricken areas?

  伊东∶其他的地域是“所有人的家”这个项目。

  ITO: We have the “Home-For-All” project in other stricken areas.

  古市∶具体是在哪个地方?

  FURUICHI: Where exactly?

  伊东∶这个项目除我之外,一起参加的还有妹岛和世女士和山本理显先生。现在已经完成了九处。分布在宫城县和岩手县。新的在福岛县也开始建设了。从今年到明年春天,还有几所完成。这些“所有人的家”被设置在临时住宅中,与近代主义作法建成的临时住宅不同,它是如同古代木构民居的缩小版般的、能安慰人们那样的空间。听到居住在临时住宅的居民们说真高兴有这样的设施,我们也是真心高兴。“所有人的家”真的成了小小的共同家庭。

  ITO: Besides me, Ms. Seijima Kazuyo and Mr. Riken Yamamoto have also participated in this project. We have already finished nine residences, whichare located in the Miyagi and Iwata Prefectures, respectively. There is a new one building in the Fukushima Prefecture and a few more will be completedlater this year until the spring next year. All these “Home-For-All” residences were built within the temporary housing units, which are different fromthe temporary housing built under modernism. Rather, these are miniatures of the ancient-style wood-structured residences, very comforting space forresidents. When we heard that the residents at the temporary housing were very happy to have these facilities, we felt really happy as well. “Home-For-All”has truly become small communal homes.

  古市∶“所有人的家”在电视上有不少介绍,不过让我们吃惊的是这是伊东先生的设计。

  FURUICHI: “HOME-FOR-ALL” HAS BEEN DESCRIPED A LOT ON TELEVISION, BUT WHAT SURPRISE US IS THAT THIS IS MR. ITO‘S DESIGN.

  伊东∶甚至我事务所中都有人问我说∶伊东先生,这个就这样行吗?好在最终都充分地理解了。

  ITO: Even the people in my firm asked me:”Is it O.K., Mr. Ito? Just like this?” Fortunately, they all fully understand the design eventually.

  古市∶“所有人的家”这个名字是怎么定出来的?

  FURUICHI: How did you come up with the name “Home-For-All”?

  伊东∶英语有“community house”(社区之家)一词,感觉太空洞了,我想如果称作“所有人的家”的话,估计大家会聚集过来,所以就这么定了。

  ITO: In English, there is a term “community house”, but that feels too insubstantial. I think probably everyone would come over if we name it “Home-For-All”, so be it.

  古市∶原来是这样。社区之家的话,听起来像官办似的。称作“所有人的家”,令市民产生容易亲近、容易利用的共鸣效果。

  FURUICHI: I see. Community house sounds like a government establishment, while “Home-For-All” feels more amiable and more usable, making people feelmore welcomed.

  张∶对呵。那种地方本来最缺的就是沟通交流。

  Z: Right. Communications are the mostly needed in places like that.

  伊东∶正是这样。

  ITO: Exactly.

  古市∶如果将自己关在临时住宅里,则人与人之间的关系更加疏远了。

  FURUICHI: If people shut themselves within the temporary housing, people would become even more isolated from each other.

  伊东∶就像患上自闭症。

  ITO: Just like being autistic.

  古市∶不少人由于这种原因而酗酒,最后导致酒不离手的那种中毒状态。到那时候就该变成社会问题了。

  FURUICHI: Many people become alcoholic because of that and end up being intoxicated and addictive to alcohol, which then becomes a social problem.

  伊东∶是的。

  ITO: Yes.

  古市∶这样的“所有人的家”的空间出现后,和动物是一样的,人们希望互相接触而聚集起来了。

  FURUICHI: With places like the Home-For-All, people would gather together with the hope of getting interpersonal contacts, just like animals.

  伊东∶对。在“所有人的家”开放后,喝酒的话大伙去那一起喝,这样便自然的互相聊了起来,由于增加了人际交往的机会而解放了人们的思维。

  ITO: That’s right. After the Home-For-All opened, people can go there and have a drink together if they want, where they could chat with each othercasually. The increasing of social opportunities relaxes people’s minds.

  古市∶精神给放松下来了。伊东先生现在开展这样各种的工作,我觉得是朝向某个新的方向吧。能讲讲您对将来的看法吗?

  FURUICHI: Relaxed mentally. These various projects Mr. Ito is working on are towards a new direction, I think. Can you talk about your visions of the future?

  伊东∶我自己本来是在日本最崇信所谓的现代主义、近代主义的时代中成长起来的,同时在这样的系统中思考建筑,所以可以说受到极大的影响。现在,包括远比我年轻的世代,或不限于在日本,当我们纵观海外、亚洲各国的年轻人,都在创作着现代主义的建筑,这样的话,当然无法对刚才前面提到的与自然的关系给出肯定的思考。比如,他们对自然的考虑也就是在露台上布置绿化、屋顶绿化这个程度而已。实际上远不是这样,我想应该采用让生活与自然的关系完全一体化那样的思维,创造出以亚洲的宗教思想、佛教思想、轮回思想为基础的建筑。我希望能与年轻人一起来思考这些事情。可是,当年轻人期待自己能成为世界有名的什么东西时,他们所创作出来的便成了是现代主义调子的、抽象而洁丽的建筑。我想有必要从根本上推翻这种思维。想说现在已经不是那样的年代了。为此,我在设计“所有人的家”时,最初搞了一个单纯的坡面屋顶住宅,所以被人说:“这一点都谈不上美丽,与您过去所作的相去甚远”。可是如果将歧阜的项目等夹在其间来看,思考的内容并没有什么大的区别。因此,新的建筑应该做成怎样,下来将边创作边改变,当然还没有确定下来,我也只是站在起点的阶段。至少可以说在这个阶段是处于同等的关系上,特别是年轻人是今后时代的主角,大可以抛开接受或追求欧洲的观念,我更希望他们能放眼新世界,不过现实中还没有实现。

  ITO: I grew up in a period when the so-called modernism was pervasive in Japan and studied architecture in a system like that, so I was largely affectedby it. Right now, at home and abroad, not just in Japan, all the young designers in Asian countries, including generations much younger than mine, aredesigning architecture within the framework of modernism. Given that situation, it’s definitely unlikely for them to think positively about the humannaturerelationship issue we just mentioned. For example, in their minds, thinking about nature merely means landscaping on the balcony or green roofs.In fact, it goes far beyond that. I think we need to adopt the idea of entirely unifying our life and nature, and to make architecture designs that are basedon Asian religious beliefs like Buddhism and reincarnation. I hope that we can think about these issues together with the young generations. However,when the young designers are eager to become world-famous, their designs are inclined to be modernistic, simplistic, and abstract architecture. I think it’snecessary to shovel off this idea. I want to say that the era of modernism has passed and now it’s a different era. Because of that reason, when I worked onthe Home-For-All project, I designed a residence with simply a single shed roof and were criticized, saying: “This is far from pretty, incomparable to whatyou have done before.” However, if you include the Gifu project I did in all my designs, what I have been thinking hasn’t changed much. Therefore, I haven’tdecided yet on what my new architecture would be like. I’m still at the starting line, prepared for changes as I create new designs. At least, I may say thatwe are all equal at this stage. Especially, the young generations will play the leading role in the future. I hope that they can open up to the new ideas in thenew world, throwing away the temptation to absorb or pursue European traditions. We still need to work on that.

  古市∶应该说在中国等一些国家,出现了提倡创造这种新世界的人,比如王澍先生等,创作出扎根自然的乡土内容。

  FURUICHI: In some countries like China, there are people advocating for creating this kind of new world and creating vernacular architecture rooted in

  nature, such as Mr. Shu Wang.

  伊东∶是的。这样的人逐渐不断出现的话,状况就会得到改变。发展到一定程度,便会实现质变的飞跃。

  ITO: That’s right. If we have more people like him, the situation will start to change, little by little, until it reaches the degree that brings us a fundamental revolution.

  古市∶这些话,估计对中国的读者来说是很意义深远的。

  FURUICHI: These words mean a lot to our readers in China.

  张∶中国在高速发展中,短时期内出现了大量的项目。为此,建筑师们或许大都在追求着一种建筑形象的比赛。有没有更崭新的形状可能是他们最关心的。

  Z: China is under rapid development and lots of projects have showed up in a very short period. Under such circumstances, maybe most architects arecompeting for creating new building forms. What they are concerned about architecture design is whether they can think of more innovative building shapes.

  伊东∶是的。在两、三年前我也去了不少次北京, 与北京的年轻建筑师聊起来,其中有人炫耀说自己已经做了十来个超高层的摩天楼,可是这种作法和心态是否合理呢?对日本的年轻人一讲,大家都觉得真可惜了那些项目了。如果这些有条件有机会的人能作为中心发挥作用,则或许转变得比日本还要快。

  ITO: Yes. I’ve been to Beijing many times a couple of years ago and talked with some young architects there. Some of them bragged about how manyskyscrapers they’ve designed, but is that the right way of doing architecture and the right attitude towards designing? When I told the story to the youngdesigners back in Japan, they felt very pity about those projects. If these people in China who have the opportunities to do these projects can play acentral role, maybe we could see changes sooner in China than in Japan.

  古市∶最近,中国也出现了很多年轻的工作室型建筑师。二十多岁、三十岁的人,不少都转向了与上个世代不同的方向。

  FURUICHI: Recently, there have been many young architects in China who work in studios, in their 20s or 30s. Many of them are going in a different

  direction from that of the last century.

  张∶最近从大学建筑系学生那听到不少反省的声音,他们对过去十来年中国建成的大量超高层建筑的形容是够了、烦了、厌了。他们渴望城市和建筑能有更多人性化的要素。

  Z: I’ve heard many voices of introspection from college students in architecture departments. The described the massive number of skyscrapers in Chinaas: “too much, too dull, and too boring.” They are eager to see more humanistic elements in cities and buildings.

  伊东∶我想新思维常常便是从这样的地方诞生出来。

  ITO: I think that’s exactly where new ideas will come out.

  古市∶下面请您介绍一下伊东建筑学校的话题。

  FURUICHI: IF YOU MAY, PLEASE TELL US MORE ABOUT THE ITO ARCHITECTURE SCHOOL.

  伊东∶好的。正好是在311 震灾那个时候,今治市在濑户内海的大三岛上建了我的建筑博物馆。这事本来和我也并非有缘,是偶然我在那里设计了一个艺术博物馆,那个业主提出把它作成我的博物馆。在和业主交往中说这说那的,我说了刚才提到的那些话,在说到我希望建一所能和年轻的建筑师一起思考今后的建筑的私人学校时,他便说那么这个大三岛的建筑不用作成我的东西,干脆作成你的博物馆好了。然后他便把这个博物馆捐给了市里。设施的运营由市来作,市里也觉得这是个好主意所以就同意了。不过倒是我觉得在那里创建私人学校也够麻烦的。主要是去的很麻烦。于是我就想∶要这样的话,干脆在东京也作一个,将两个设施互联起来说不定能实现某种有意思的成果,于是我又在东京设立了NPO [47] 法人。正好这个NPO设立起来的时候,发生了311 事件。于是,第一批的学生在当年四月聚集起来后开始了NPO活动,他们马上去了灾区,这就是对釜石的复兴规划的研究的开始。今年是第三年,学生们已经能够通过自主的思考,边和岛上的人沟通边探求那个大三岛的开发,希望为小岛的开发贡献力量。实际上成果也正逐渐呈现出来。之后我又创设了可以让小学生来思考建筑的儿童建筑学校,这个也在逐渐发展。

  ITO: Sure. It’s around the time of the 311 earthquake, when the Toyo Ito Museum of Architecture was built in Imabari City, on the Omishima Island of theSeto Inland Sea. This wasn’t my idea initially. I just happened to design an art museum and the client proposed to make it a museum of my architecture. Itwas during my conversions with the client, I mentioned those things I just talked about. And when I mentioned that I hope to build a private school whereI could think about the future architecture with young architects, the client said, “Well, why don’t we make this Omishima Museum your architecturemuseum, then?” Just like that, he donated the museum to the city and the city will be in charge of its operation. The city government also thought itwas a great idea, so they happily agreed. However, I felt it would be quite inconvenient to have my private school built there, especially because it’s quite inconvenience to travel there. So I thought to myself, well, maybe I should have another school in Tokyo and combine them together, which might make some interesting achievements. Therefore, I established the nonprofit organization47, ItoJUKU, in Tokyo. Then the 311 earthquake struck Japan. So the first cohort of the students gathered together in April of that year and started the NPO activities. They traveled to the stricken region, which marked the beginning of our study on the revitalization plan of Kamaishi. Now it’s the third year of the school, the students have already been able to think independently and to explore the development plans of Omishima while communicating with the island residents, with the hope to contribute to the development of the island. In fact, the achievements are gradually showing up. After that, I also established a children’s architecture school, which allow selementary school students to learn about architecture. This is also expanding steadily.

  古市∶大概有多少人?

  FURUICHI: How many people are there in your schools?

  伊东∶两个都大概各有二十来人。还有接下来请古市先生来作关于不丹介绍的集会团体,会员大约有两百来人。最近还在惠比寿开设了一个小工作室,上面提到的学生和会员们都可以来这个地方听讲交流。以那里为据点展开建筑学校的工作。

  ITO: Each of the two schools has about twenty or so. Also, we have about two hundred members in the assembly group, which is going to invite Mr.Furuichi to give us a lecture on Bhutan. I also started a small studio in Ebisu, where all the students and members can come to attend lectures and makeconnections. That will be my base of organizing the events at my architectural schools.

  古市∶这样的事情之前好像没听说有建筑师作过。大家都埋头自己的事情呢。

  FURUICHI: This kind of things has never been done by any architect before. Everyone was just doing their own businesses.

  伊东∶是的。连矶崎先生都说,怎么伊东突然开始关心起这些年轻人来了。

  ITO: That’s right. Even Mr. Isozaki said, “Since when did Ito start to care about these young men?”

  张∶这对下一代建筑师的培养太重要了。

  Z: This is very important for educating the architects of the next generation, though.

  古市∶我的老师丹下先生就总是提到必须考虑下一代的事情。丹下老师在自己勤于育人的同时,在当时设立新的日本建筑师协会时也作了很多工作。

  FURUICHI: My advisor, Mr. Tange frequently mentioned that we must think about the next generation. Besides being a great educator and teacher, Mr.Tange also made lots of efforts in establishing the new Japanese Institute of Architects (JIA).

  伊东∶那时我们都被丹下老师叫过去要求加入成为JIA会员,不过当时我们都还是少年狂妄的时代,也没有什么项目做,就好像开不了店,只能摆个摊子那样的人,觉得参加那种组织还早着呢。所以当时还逆着他的意思争辩了一番。估计丹下先生当时可火了。要是现在,我想应该是尽全力去做才对。估计丹下先生当时可能觉得我和安藤先生这一代要比矶崎先生、原先生[48] 的时代容易打动吧。所以把我们都召集过去了。

  ITO: We were all called for by Mr. Tange to join JIA, but we were still young and immature, without many projects at hand. It’s like we were not ready toopen our own shops yet, so just work as a street vendor. So I felt it was too early for me to join a professional organization like JIA and argued with Mr.Tange. I guess Mr. Tange got really angry with me. If it were now, I would definitely devote myself into it. Mr. Tange probably thought that our generation,like Mr. Ando and myself, was easier to persuade than those of the earlier generation like Mr. Isozaki and Mr. Hara48, so he invited us all over.

  古市∶还是这种使命感的东西,像这次有所触动槙先生,对新国立竞技场表达了观点。建筑师对社会发出建议和意见本身就是一种重要的社会活动。

  FURUICHI: It’s the sense of mission. Just like what motivates Mr. Maki to comment on the New National Olympic Stadium. It’s one of the importation socialresponsibilities to make comments and suggestions.

  伊东∶是的。话说回来,这次从不丹回来后,第二天去了天草[49]。早晨看电视,槙先生那篇报道被当作东京新闻头条消息播报了。

  ITO: I agree. About that, after we came back from Bhutan, I went to Amakusa49 the very next day. When I watched news in the morning, it was broadcastedas the breaking news .

  古市∶朝日新闻也在网络版上报导了。

  FURUICHI: Asahi Shimbun also reported it on its website.

  伊东∶媒体人估计都比较关心吧。

  ITO: The media were all concerned abo-ut it.

  古市∶我觉得建筑师向社会表达意见这样的事,和伊东先生建筑学校的活动是异曲同工的效果。

  FURUICHI: I think architects sharing their opinions to the public and Mr. Ito’s events at architectural schools both have similar social benefits.

  伊东∶是的。我将从东北灾区复兴来思考未来的城市作为一个大的命题,其中的一环便是请古市先生来介绍不丹的事情。灾区如果像刚才说的,只是为了安全放心,作成了近代主义思维的东西那可的确太可惜了。我希望这个事情能向其他的思维方面展开。

  ITO: I think so. Starting from the revitalization of the stricken region in the northeast, I will organize a symposium on thinking about future cities. One of the events will be inviting Mr. Furuichi to give us a lecture on Bhutan. If we only concerned about the safety issues in the stricken region and make the revitalization planned in a modernistic way, just like what we discussed, it would be a great pity! I hope we could tackle this issue with other alternative thoughts.

  张∶最后,请您向中国的年轻建筑师们讲几句吧。

  Z: LASTLY, COULD PLEASE SAY SOMETHING TO THE YOUNG ARCHITECTS IN CHINA?

  伊东∶中国年轻建筑师们现在都开足马力工作着。接下来作为下一步应该是交接给下一代的工作,希望那时这批人能再次带着全面的眼光、站在亚洲的视点上、基于与自然的关系来共有下一代的建筑。20 世纪是被西洋、特别是被欧洲近代主义所主导的时代,如今只有亚洲具备建设有意思的建筑的可能性。在这个意义上,这回应该是从亚洲,由我们来发表观点,并将这些思维影响到欧洲,我想已经进入创造这种建筑思想的时代了,我是很期待中国的年轻人努力作出成果来的。明年,在熊本的Art-Polis 将会举办由熊本县主持的亚洲建筑会议。准备在那里以大学为单位,邀请几个比如新加坡、泰国等的大学团队,在熊本举办一个像“所有人的家”那样的方案竞赛。知事非常支持,已经将这个计划向好多人作了介绍,最后当选出来的最优秀作品将在熊本实际实现出来。

  ITO: The young architects in China are all working very hard. The next step, I think, should be us handing over the job to the younger generation. I hope that these people would share the next generation of architecture, with a holistic view, with an Asian perspective and based on a relationship with nature.The 20th century was an era dominated by the western world, especially by the modernism in Europe. However, nowadays, Asia is the only place where interesting buildings could be built. To this end, now is the time when we should initiate our ideas and spread them to Europe. I do think it’s high time wecreate such architectural ideas in Asia. I am really looking forward to seeing the young Chinese architects to make great efforts and to come up with great works. The next year, the Asian Architecture Conference will be held in Kumamoto Artpolis, hosted by the Kumamoto Prefecture. They will invite several teams from universities in Singapore and Thailand to participate in a design competition, just like the “Home-for-All” project. The prefectural governor isfully supportive and has already talked to many people about a plan that the winning design of this competition will actually be built in Kumamoto.

  古市∶那可真有趣。

  FURUICHI: That would be really interesting!

  伊东∶是的。今后或许还有不少需要商量的地方呢。

  ITO: Exactly. We may have many interesting discussions in the future.

  古市,张∶谢谢。

  FURUICHI,Z: Thank you.

  PS:47.NPO, 非营利社会活动团体。

  NPO (Nonprofit organization), is an organization that uses surplus revenues to achieve its goals rather than distributing them as profit or dividends.

  48.原广司(1936-),是日本建筑师和东京大学荣誉退休教授。

  Hiroshi Hara, born in 1936, is a Japanese architect and professor emeritus at Tokyo University.

  49.天草,著名的度假圣地。地理位置在日本九州西部, 归熊本县管理。

  Amakusa is a famous resort place, made up of a series of islands off the west coast of Kyushu and is under the jurisdictior of Kumamoto Prefecture.

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