5亿救下的‘布谷鸟别墅’，藏着柯布西耶弟子的叛逆实验

摘要：吉阪隆正作为柯布西耶的三位日本直系弟子之一，与前川国男、坂仓准三共同负责东京国立西洋美术馆（1959年）的施工落地。该建筑是柯布西耶"可无限生长美术馆"概念的罕见实现案例，其螺旋式扩展布局与墙柱分离结构体现了功能主义与地域适应的结合。

吉阪隆正作为柯布西耶的三位日本直系弟子之一，与前川国男、坂仓准三共同负责东京国立西洋美术馆（1959年）的施工落地。该建筑是柯布西耶"可无限生长美术馆"概念的罕见实现案例，其螺旋式扩展布局与墙柱分离结构体现了功能主义与地域适应的结合。

2024年5月，东京涉谷区一栋沉寂多年的私人住宅——吉阪隆正的《VILLA COUCOU》——因女演员铃木京香的介入免于拆除，并以预展形式向公众揭开面纱。这座1957年落成的建筑，不仅是勒·柯布西耶日本弟子吉阪隆正的代表作，更是一场关于混凝土、自然与居住哲学的实验。它与丹下健三的现代主义框架形成鲜明对比，却以粗粝的质感与流动的空间，重新定义了战后日本建筑的另一种可能。

In May 2024, a long-forgotten private residence in Tokyo’s Shibuya district—Takamasa Yoshizaka’s VILLA COUCOU—was rescued from demolition through the intervention of actress Kyoka Suzuki and unveiled to the public in a preview event. Constructed in 1957, this building stands not only as the representative work of Yoshizaka, a disciple of Le Corbusier in Japan, but also as an experimental manifesto on concrete, nature, and the philosophy of dwelling. In stark contrast to the modernist framework of Kenzo Tange, its rugged texture and fluid spatial dynamics redefine an alternative possibility for postwar Japanese architecture.

2024年5月，东京涉谷区一栋沉寂多年的私人住宅——吉阪隆正的《VILLA COUCOU》——因女演员铃木京香的介入免于拆除，并以预展形式向公众揭开面纱。

入口 / Entrance © Hitoshi Fugo

近藤住宅的诞生。VILLA COUCOU原名“近藤住宅”，是吉阪隆正为早稻田大学登山俱乐部同僚、法国文学学者近藤均设计的私宅。委托人近藤不仅是登山家，更以翻译多部登山著作闻名，其妻的昵称“COUCOU”（布谷鸟）成为建筑名称的灵感来源。吉阪在此项目中突破传统方型结构，以自由曲线与混凝土塑性回应场地限制：东西狭长的地块、南侧采光遮挡，最终形成向西开放的V形平面，将富士山景纳入视野。

The Birth of the Kondo Residence. Originally known as the “Kondo Residence,” VILLA COUCOU was designed by Yoshizaka for Kondo Hitoshi, a colleague from the Waseda University Mountaineering Club and a scholar of French literature. Kondo was not only an avid climber but also well known for translating several mountaineering works; the nickname “COUCOU” (after the cuckoo bird) given to his wife served as the inspiration for the building’s name. In this project, Yoshizaka broke away from conventional rectilinear structures, employing free-flowing curves and the plasticity of concrete to respond to site constraints—such as the narrow, elongated east–west plot and the shading on the south side—ultimately creating a V-shaped plan that opens to the west, framing a view of Mount Fuji.

1955年建成的《吉阪自邸》是建筑师吉阪隆正（1917-1980）早期的重要实践，其原寸断面模型与全身比例研究照片，揭示了柯布西耶弟子对"有形学"（Yukei-gaku）的独特探索。

铃木京香的保护行动。建筑曾因产权变更濒临拆除，2021年铃木京香接手后，联合杉本博司与新材料研究所展开修复，剥离后世改造痕迹，复原1957年的原始风貌。此举不仅让建筑重获新生，更促使其从私宅转型为公共文化遗产。2023年，铃木因此获日本建筑协会文化奖，VILLA COUCOU的预展门票更在5分钟内售罄，印证其文化价值的社会共鸣。

Kyoka Suzuki’s Preservation Efforts. Facing imminent demolition due to a change in ownership, the building was rescued in 2021 when Kyoka Suzuki assumed responsibility. Together with Hiroshi Sugimoto and the New Materials Research Institute, she spearheaded a restoration that stripped away later modifications to revive the original 1957 appearance. This act not only granted the building a new lease on life but also transformed it from a private dwelling into a piece of public cultural heritage. In 2023, Suzuki was honored with the Japan Architectural Association Cultural Award, and tickets for the preview of VILLA COUCOU sold out within five minutes—a testament to the building’s resonant cultural value.

一个空间的平面图越往后看越小，但高度却越高，这种情况很少见。/ It is rare to see a space where the floor plan gets smaller as you go back, but the height gets higher. © Hitoshi Fugo

结构实验与自然隐喻。吉阪隆正的设计深受早年在中国东北偶遇的“泥屋”启发，试图以钢筋混凝土模拟自然洞穴的有机形态。建筑整体无直角，平面呈“の”字延展，空间随纵深抬升，形成“前一层、后两层”的错落体量。悬臂楼梯从墙面挑出，台阶以粗犷混凝土浇筑，形似雕塑；天窗与彩色玻璃开口将自然光引入，昼夜光影随季节流转，呼应登山者“与自然共生”的理念。

Structural Experimentation and Natural Metaphor. Deeply influenced by an early encounter with “mud houses” in Northeast China, Yoshizaka sought to emulate the organic form of natural caves using reinforced concrete. The entire structure eschews right angles; its plan unfolds in a “の” (Japanese syllable) shape, with spatial volumes rising gradually into a staggered “one front, two back” configuration. Cantilevered staircases jut out from the walls, their robust concrete steps resembling sculptures, while skylights and colored glass openings usher in natural light. The interplay of light and shadow—dancing through the day and shifting with the seasons—echoes the mountaineer’s ideal of coexisting harmoniously with nature.

材料与工艺的叛逆。与丹下健三追求柱梁结构的精致表现不同，吉阪隆正刻意保留混凝土的粗粝质感：模板接缝的凸起被凿刻为装饰，雕塑家坂上正胜以废弃混凝土打造入口浮雕，木窗框拒绝预制构件，坚持手工维护。这种“未完成感”颠覆了现代主义对工业完美的崇拜，转而拥抱材料的原始生命力。

The Rebellious Materiality and Craftsmanship. In contrast to Kenzo Tange’s pursuit of refined expression through beam-and-column structures, Yoshizaka deliberately preserved the raw, tactile quality of concrete. The raised seams of the formwork were chiseled into decorative features; sculptor Masakatsu Sakaue even crafted an entrance bas-relief from discarded concrete, and wooden window frames were custom-fabricated rather than preassembled, maintaining a hand-finished aesthetic. This deliberate “unfinished” quality subverts modernism’s obsession with industrial perfection, instead celebrating the material’s intrinsic vitality.

顶部吊灯 / Ceiling chandelier. © Hitoshi Fugo

同为勒·柯布西耶门生，吉阪与丹下走上截然不同的道路。丹下以广岛和平中心等作品，将日本传统木构美学融入钢筋混凝土，强调结构的清晰与均衡；吉阪则摒弃框架逻辑，以流动的曲线与洞穴式空间，探索混凝土的“泥土性”。藤森辉信在《混凝土鸟巢结构》中指出，丹下通过隐藏梁柱弱化工业感，而吉阪的VILLA COUCOU“每一处凸起都是宣言”，将施工痕迹转化为装饰，挑战现代主义的功能至上原则。这种差异背后，是吉阪对“自然法则高于人类理性”的信仰——建筑不应征服场地，而应如泥屋般“融入大地”。

Both disciples of Le Corbusier, Yoshizaka and Tange ultimately embarked on radically different paths. Tange’s works, such as the Hiroshima Peace Center, integrate Japan’s traditional wooden aesthetics with reinforced concrete, emphasizing clarity and balance in structure; Yoshizaka, on the other hand, abandons the conventional framework in favor of fluid curves and cavern-like spaces, exploring the “earthiness” of concrete. As Terunobu Fujimori noted in The Concrete Nest Structure, while Tange softened the industrial edge by concealing beams and columns, Yoshizaka’s VILLA COUCOU boldly proclaims itself with every protrusion—transforming construction traces into decorative statements and challenging modernism’s dogma of functional primacy. Beneath this difference lies Yoshizaka’s conviction that “natural laws supersede human rationality”—a belief that architecture should not dominate its site but, like a mud house, seamlessly merge with the earth.

从花园一侧看去，可以清楚地看到它就像一个洞穴。/ Looking from the garden side, it can be clearly seen that it looks like a cave. © Hitoshi Fugo

从阁楼望向花园。/ View from the attic towards the garden. © Hitoshi Fugo

从阁楼望去右边是厨房，左边是餐厅和客厅，/ Looking from the loft, the kitchen is on the right, and the dining room and living room are on the left. © Hitoshi Fugo

2020年的修复工程中，杉本博司以竹篱与苔藓重塑庭院，暗合吉阪的自然观。如今，参观者需脱鞋携袋、轻装探访这座75平方米的“秘密基地”：天窗倾泻的光束、楼梯下的双层彩玻、书房原木桌的岁月痕迹，共同编织出时空交叠的沉浸体验。铃木京香收藏的当代艺术品（如辛迪·舍曼摄影）与原宅家具并置，既延续近藤夫妇的生活印记，亦赋予空间新的叙事层次。

During the 2020 restoration, Hiroshi Sugimoto reimagined the garden with bamboo fences and moss, subtly reflecting Yoshizaka’s philosophy of nature. Today, visitors are invited to explore this 75-square-meter “secret base” barefoot and lightly attired—a space where beams of light from skylights, dual-layered colored glass beneath the staircase, and the weathered patina on a solid-wood study table weave an immersive experience across time and space. The juxtaposition of contemporary artworks collected by Kyoka Suzuki (including photographs by Cindy Sherman) with the original period furniture not only preserves the living imprint of the Kondo couple but also layers the space with new narrative dimensions.

VILLA COUCOU的价值，不仅在于其作为“战后实验住宅”的先锋性，更在于它揭示了现代建筑的另一种维度——混凝土不必是冰冷的工业产物，亦可承载泥土的温度与自然的呼吸。在生态意识觉醒的21世纪，吉阪隆正未竟的“泥屋之梦”意外获得了当代回响：当建筑学会谦卑，方能在时间中永恒。

The value of VILLA COUCOU lies not only in its pioneering role as a “postwar experimental residence” but also in its revelation of another facet of modern architecture—that concrete need not be an austere, industrial product but can also embody the warmth of earth and the breath of nature. In an era increasingly conscious of ecological awareness, Yoshizaka’s unfulfilled “mud house dream” has unexpectedly found contemporary resonance: when architecture learns humility, it may well achieve timelessness.

若丹下健三的混凝土是理性的诗篇，吉阪隆正的VILLA COUCOU则是野性的散文——它提醒我们，真正的现代性，或许始于对原始的敬畏。

If Kenzo Tange’s concrete is a rational poem, then Takamasa Yoshizaka’s VILLA COUCOU is a wild piece of prose—it reminds us that true modernity might begin with a profound reverence for the primordial.