青莲院，位在日本京都府京都市东山区的天台宗寺院，是日本的国宝之一。如今这里正展出着吉冈德仁设计的全尺度“KOU-AN玻璃茶室”。该项目旨在“通过重新阐释茶道文化，追溯日本特有的文化起源”。





日本对于自然的感知是以其独特的空间感知为特点的，通过可被描述为能量或气氛的标示实现对周边环境的感官领悟。从日本茶道中可以看出这种对自然本质和内在的感官欣赏。

这一项目起源于于首先于2002年展示的透明日本居室的建筑平面图。这一理念后来被落实成一座透明的日本茶室，这是一个融合象征性日本文化意象的建筑项目。项目的设计在2011年Glasstress展上被出展，Glasstress是54届威尼斯双年展的平行展出。

2015年春季，在设计展出5年之后，“KOU-AN玻璃茶室”最终在Seiryu-den寺庙平台上被公开展示，Seiryu-den寺庙位于天台宗派青莲院围地，青莲院被指定为日本国宝之一。这将是世界上首次完整地照原尺寸展示“KOU-AN玻璃茶室”。

" Tracing the origin of cultures peculiar to Japanese by reinterpreting the culture of tea ceremony "

Japanese conception of nature is often characterized by its distinctive spacial perception involves the sensory realization of the surrounding atmosphere through what may be described as signs of energies or aura. Such way of sensual appreciation of nature's intrinsic and beauties can be recognized in Japanese tea ceremony practice.

This project originates in the architecture plan of the Transparent Japanese House, first presented in 2002. The idea has been developed into a transparent teahouse, an architectural project incorporating a symbolic Japanese cultural image. The design of the project was presented at Glasstress 2011, the collateral event of the 54th La Biennale di Vennezia.









最初，茶道文化起源于封闭的微观空间。“KOU-AN玻璃茶室”并不仅仅是从传统类型茶室演化而来的现代化茶室，而且是追溯日本特有茶道文化起源的一个项目。

“KOU-AN玻璃茶室”并没有所有传统茶室所有的卷轴或插花。然而，铺延在地板上的玻璃闪光使人联想起水面上的涟漪。同时，中午的一些时候，会出现彩虹色一样的光芒，那是太阳光线穿透屋顶上的一块玻璃棱镜形成的，看起来就像光之花朵。

In the spring 2015, after 5 years from the presentation of the design, “ KOU-AN-Glass Teahouse ” is finally unveiled at the stage of Seiryu-den which is in a precinct of Tendai Sect Shoren-in Temple designated as one of National treasures in Japan. This will be the first time that the completed full-scale work of " KOU-AN " is exhibited in the world.

Originally, the culture of Tea Ceremony was generated in the closed microcosmic space.

This " KOU-AN Glass Tea House " is not just a modernized teahouse that was evolved from traditional style teahouse but a project that traces origin of the culture which is peculiar to Japan.

" KOU - AN " does not have a scroll nor flowers that all the traditional tea houses have. However, glitters that reminds of ripples on surface of water spreads out on the floor. Also, at some point in the afternoon, there will be a rainbow light that is sunlight coming through a prism glass on the roof and it seems like a flower of light.

















吉冈德仁的设计理念是通过在一个微型空间茶室里体验与自然一起生发的时间，以及与自然融合的表层设计，追溯了存在于我们潜意识感官的日本文化起源。

在公元794年，时任日本天皇拜访了将军冢，他确信这里是日本首都的适宜之地，并开始建造首都。因此，京都天台宗派青莲院围地的京都将军冢是象征日本文化的所在地。

从京都到全世界，吉冈德仁希望通过项目，以及制作能够使我们联想起日本文化起源的作品，向人们提供新的体验。

Tokujin came up with the idea of tracing the origin of Japanese culture that exists in our unconscious sensation by perceiving the time that is created along with nature from the teahouse which is microcosmic space and by being released by superficial designs integrating with nature.

In A.D.794, A Japanese emperor at the time visited Shogunzuka and he was convinced that Kyoto would be a right place to be a capital of Japan and started constructing the capital. Thus, Shogunzuka in a precinct of Shoren-in temple in Kyoto is a place where the city of Kyoto which symbolizes Japanese cultures.

From Kyoto to all over the world, Tokujin is hoping to provide people new experiences through the project and by producing works that make us think of the origin of Japanese culture.















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