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Architects（建筑师）: Herzog & de Meuron Location（地址）: Tokyo, Japan Area（面积）: 269.0 sqm Year（年份）: 2015 Photographs（摄影）: Nacasa & Partners
Herzog & De Meuron Team（设计团队）: Jacques Herzog, Pierre de Meuron, Stefan Marbach (Partner in Charge).
Project Team: Iva Smrke Kröger (Project Director, Associate),Yuko Himeno (Project Manager), Caetano Braga da Costa de Bragança (Project Architect), Osma Erik Lindroos (Project Architect), Roman Aebi (Workshop), Cristina Génova, Carlotta Giorgetti, Yuki Hamura, Ryuhei Ichikura, Christina Liao (Animations), áron Lőrincz (Visualizations), Keisuke Ota, Günter Schwob (Workshop), Mariana Vilela, Tiffany Wey Executive Architect（执行建筑师）: Takenaka Corp., Tokyo, Japan Engineering（工程师）: Takenaka Corp., Tokyo, Japan Structural Engineering（结构工程师） (Sd Phase):
Schnetzer Puskas Ingenieure ag, Basel, Switzerland Design & Build Contractor（设计和建造承包商）: Takenaka Corp., Tokyo, Japan Lighting Consultant（照明顾问）: Sirius lighting Office Inc., Tokyo, Japan Facade Engineering (Sd)（立面设计师）: Emmer Pfenninger Partner ag, Münchenstein, Switzerland Landscape（景观设计师）: Vogt Landschaftsarchitekten, Zürich, Switzerland
From the architect. The project for Miu Miu is sited diagonally across the street from the celebrated Prada Tokyo Epicenter – also designed by Herzog & de Meuron – in an elegant neighborhood that has, over the past two decades, become a showplace of architectural invention. In contrast to the transparency of the allglass Prada building, however, the understated metallic surface of the Miu Miu façade is opaque, which lends a more intimate quality. The architects say: “Contrary to expectations for a site that is home to so many luxury brands, Miyuki Street in Aoyama Tokyo is not particularly beautiful or elegant. The architecture is heterogeneous – a hodgepodge of freestanding buildings of different heights and shapes, with neither historical tradition nor common standards. Never meant to be a space of its own, the street is a purely technical and functional link between Omotesando and the Aoyama Reien cemetery farther down the road. Despite single trees here and there, the atmosphere is not inviting, like a boulevard or a plaza. Tokyo is pure, quint essential city, its territory exploited to the full with absolutely no leeway for the individuality that we take for granted in European cities. 这个为时尚名牌MIU MIU设计的旗舰店位于著名的Prada东京青山旗舰店的沿街对角线上，这里的PRADA旗舰店同样是由Herzog & de Meuron设计的，作为一个高贵的邻居，在过去的二十多年里，它已成为一个建筑创作的秀场。然而，相对于用玻璃建造的全透明的PRADA建筑，MIUMIU的低调的金属立面是封闭内向的，更显示出一种亲切感。建筑师说：“与人们所希望的地标性相反，东京青山的美雪街是众多奢侈品牌的家，它没有特别的美丽和优雅。这里的建筑形式是各种各样的，是一个自由地融合了各种高度，各种形状，无论是古典传统的还是普通样式的建筑大杂烩，从来就没有想过自己会成为何物，这条街纯粹是一个表参道和街尽头的青山公墓之间的技术和功能的连接点。无论是这儿或那儿的单独的街道，氛围从来就不是吸引人的，如同大马路和广场一样。东京是一个纯净的，重要的都市，它的领地被完全利用，没有任何一点自由给个人，而在欧洲我们可以办到这点。
We already noticed this over 10 years ago when we were planning the glass building for Prada Aoyama. At that time, we were interested in counteracting the situation – on one hand, by placing a small plaza to the side of the building, and on the other, by making the structure completely seethrough so that one can see into the interior from all sides and can also look out from inside at specifically targeted views of the city. 我们在十多年前计划设计Prada青山玻璃旗舰店时就注意到了这一点。在那时，我们兴趣点在于对周围环境的反抗——一方面，将一个小广场放入建筑的一边，另一方面，通过将整个建筑结构做到可视性，人们可以从各个方向看到建筑内部，并且可以从内部看到城市的标志性景观。
Over the past decade, the distinctive building has become a muchfrequented location and it was therefore important to Prada, our client Prada Japan and also to us as architects to take this into account in planning the Miu Miu store located in the immediate vicinity on the opposite side of the street. We started out by trying several different architectural typologies. Since zoning regulations called for less height, we explored the potential of a smaller, more intimate building. We used the following thoughts to channel our ideas: more like a home than a department store, more hidden than open, more understated than extravagant, more opaque than transparent. 过去的十年里，这个独一无二的建筑物已经成为了人们蜂拥而至的地方，因此它对于Prada也变得非常重要，我们建成的Prada日本分部对我们而言依旧是一个需要纳入MIUMIU旗舰店设计考量的建筑，MIUMIU旗舰店位于街道的正对面附近。我们从尝试多种不同的建筑形式作为设计的开始。因为地方规范规定建筑高度宜低一些，我们探索了具有潜质的更小的，更具私密性的建筑形式。我们用了以下几了想法来引导我们的创意：更象一个家而不是一个商店，更隐秘而不是更开放，更低调而不是更奢侈，更封闭而不是更透明。
The typological model that best suited these considerations and specifications was a box placed directly at the level of the street, its cover slightly open to mark the entrance and allow pedestrians to look inside. Only then do they realize that the building is a shop. Here, under the oversized canopy, the twostorey interior is visible at a single glance, as if the volume had been sliced open with a big knife, turning the inside out. The rounded, soft edges of the copper surfaces inside meet with the razorsharp steel corners on the outside of the metal box, while the cavelike niches clad in brocade face the central space of the shop like loges in a theatre. The shop on two tall storeys not only presents enticing goods on tables and in display cases; it is also like a spacious and comfortable home with inviting sofas and armchairs. 最适合这几点考量和具体要求的模型类型是一个直接沿街道水平放置的方盒子，它的外表皮微微地打开，用来暗示入口和让行人看到内部，只让他们意识到这个建筑是一个商店。这儿，在这个巨大的天篷下，只能对两层的室内空间窥见一丝，如同一个体量被一个大刀切出了一条缝，将内部隐隐地展示出来。圆润的，柔软的铜质内表面的包边和铁盒外表面上的锋利的角钢相对比，同时在锦缎上有镍币大小洞的镀层面对着如同戏院包厢一般的商店中庭空间。两层的商店不光将精美的商品展示在展桌和展柜里，还让整个商店如同一个空间丰富，安逸舒适，有着吸引人的沙发和摇椅的家。
The façade has neither logo nor pomp; it is a polished, mirrorsmooth surface, as if one single giant brushstroke had swept smooth the ordinarily matte surface of the steel panelled façade. This surface attracts the gaze and curiosity of passing pedestrians. But instead of affording a view inside, as in a shop window, the gaze is inverted; instead of the anticipated see-through window, viewers encounter self-reflection. 建筑立面上没有标志和其他浮夸的装饰，它是一个抛光的，如镜面般光滑的表面，如同单支的毛笔扫过钢镶板立面的磨砂面一般。这个特别的表面吸引了行人的目光，让人们产生好奇。但是当不是用作提供内部景观，而是作为一个商店窗户，就不会那么有吸引力；这不是一个可以看穿内部的窗，观赏者只会碰到镜像反射。
原文标题：Miu Miu Aoyama
Store / Herzog & de Meuron 原文地址：http://www.archdaily.com/614983/miu-miu-aoyama-store-herzog-and-de-meuron/
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