《東京製造 Made in Tokyo》
作者： 黑田潤三 / 貝島桃代 /塚本由晴
Momoyo Kaijima & Yoshiharu Tsukamoto1992年，贝岛桃代和冢本由晴在东京成立了犬吠工作室。工作室以其对于住宅于文化建筑的研究而闻名，尤其是有关微型/临时城市空间的研究。代表书目有<Graphic Anatomy>《公共性——行为的生产》等著作，代表建筑作品有分离町屋（Split Machiya），塔之屋（Tower House）等。Atelier Bow-Wow is a Tokyo-based architecture firm, founded in 1992 by Yoshiharu Tsukamoto and Momoyo Kaijima. The firm is well known for its domestic and cultural architecture and its research exploring the urban conditions of micro, ad hoc architecture. Their representative books include "Graphic Anatomy", "Publicity - The Production of Acts", and their representative works include "Split Machiya" and "Tower House".生于1968年，东京工业大学硕士，曾任日本工业大学、千叶大学客座讲师，现任东京理科大学客座讲师。
Born in 1968, M.S., Tokyo Institute of Technology. He has been a visiting lecturer at Nippon Institute of Technology and Chiba University and is currently a visiting lecturer at Tokyo University of Science.
《东京制造》是一本关于东京都市日常无名建筑现象的书，书中罗列了21世纪初东京存在的70种“滥建筑”。所谓“滥建筑”，即”以憨直地对应周遭环境与内容，而非构成美学或形式为优先目标的建物”。
Made in Tokyo is a book about the everyday phenomenon of unnamed buildings in the city of Tokyo, which lists 70 types of 'Da-me Architecture' ( non-good Architecture) that existed in Tokyo in the early 21st century. The term 'Da-me Architecture' means a building that gives a priority to stubborn honesty in response to their surroundings and programmatic requirements, without insisting onarchitectural aesthetic and form.
作者作为长期扎根于东京的建筑师，基于东京建筑物“寡廉鲜耻的用途组合及空间构成”，对于将海外案例或日本的古典奉为圭泉的主流思想提出质疑。因为若是如此，东京便变成了只是充斥着该被唾弃的、毫无价值的建筑物的城市。如果身边淨是惨不忍睹的都市风景，那奉建筑名作为圭泉只不过变成展示自己的兴趣品味，扩张对漂亮照片的无谓惶憬而已。As an architect with long roots in Tokyo, the author questions the mainstream standard regarding to overseas cases or Japanese classics, based on the 'shameless spatial compositions and functional combinations' of Tokyo buildings. For if that were the case, Tokyo would become a city filled with nothing more than worthless buildings that should be scorned. If the city landscape around you is a miserable sight, then following the standard is just a way to show your own interest and taste and expand your unnecessary longing for beautiful images.
针对东京城市的这般“寡廉鲜耻”，作者提出“环境单元”概念，所谓“环境单元”，即在城市设计的层面与周围的环境得到了最大化的整合与关联的单元。并提出“环境单元”整合所制造出来的三种秩序：若将秩序一致的记为on,秩序不一致的（或者我们可以认为是一种“错位）记为off，据此对“环境单元”进行分类。In response to the "shamelessness" of Tokyo, the author proposes the concept of the'environmental unit', which is the unit that maximizes the integration and connection between the urban design level and the surrounding environment. and proposes three orders created by the integration of the "environmental unit"：2. the order of strcutureIf the order is consistent is recorded as on, the order is not consistent (or we can think of a "misalignment") is recorded as off, according to which the "environment unit" is classified.27 / 交流道球场 interchange court连接环7线与首都高加平斜坡道的两座螺旋车道的其中一座所围成的中庭被改造成了网球场（另一个被改造成停车场），外观是仿石砌的粗石砌风格。作者形容它“想象被螺旋斜坡道与车流白色噪音包围的网球赛，仿佛身处美国公开赛的观众席与欢呼声浪中一般充满临场感。”36 / 双重下水道御苑 twin deluxe sewerage garden污水处理厂位于首都高小菅交流道旁，屋顶有五座网球场和带有水池的日式庭园，与其余单纯的“复合”不同，有着政府将公共福利与公共危害捆绑销售的嫌疑。这是一个建立在新干线上方的神社，参道的斜坡与新干线的隧道平行，作者写道“在利用新干线通勤途中不知不觉就已参拜神社上百次。70 / 射击墓场 shooting graveyard自卫队基地的射击练习场紧邻着墓地，用土堤围住。由于高差的原因，从墓地看不到射击实况却能清楚听见枪声。枪声与墓地的组合使人毛骨悚然。犬吠工作室将他们的研究方法称为 “建筑民族志”（Architectural Ethnography），意在将实地考察和观测摆在城市研究的重要位置，从而通过当地人，而非建筑师和规划者的视角，去了解人们的生活环境，最终用建筑绘图的方式，将具有地域特色的研究表现出来。贝岛曾在采访中批评道，全球化、设计产业化和建筑教育使我们被困在了某种固定思维中——建筑师们认为“只有一种生活方式，即一种与标准化的尺寸相联系的生活方式”——而对犬吠来说，建筑的视野应当被放在更宽广的语境里，引发建筑师思考建筑背后和之外的东西，去发现“建筑背后的原因，整个历史和建筑工业，改变中的材料和技术，以及气候与环境” ，去思考 “人们生活的方式、文化和行为。”《东京制造》反映了东京的生活，东京经济的增长方式，以及密度对于建筑的影响。犬吠认为建筑是其所处社会的映射，空间和建筑是观看社会的重要角度，这便是建筑、民族志以及社会学之间相似的地方。有方专访 | 犬吠工作室创始人贝岛桃代：设计师应滋养行为的种子
《东京制造》——空间效益最大化的“精明建筑学” 豆瓣@猫崽
