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青山周平，一个在中国做建筑的日本设计师。
他在微博上拥有41万粉丝，这个数字在向来低调的建筑圈可以说相当惊人。如果以“建筑师”作为标签搜索，他可能是粉丝最多的一位。
有人喜欢他，是因为高颜值——撞脸各种明星，有人说他是“装修界的小栗旬”“日本霍建华”……更多人是因为他的才华——他设计的每一件建筑作品，几乎都是当地文艺青年签到打卡发朋友圈的必到之地。
秋天刚要开始的时候，青山周平来到杭州，在浙江美术馆进行一场关于“家和生活的另一种可能”的主题演讲。现场座无虚席，连过道上都站满了人。
为什么有那么多人都喜欢青山周平？
时间倒回到2015年，在一档家装改造真人秀节目中，青山周平分别对35平方米和6.8平方米两个北京胡同里的“老破小”旧房进行了成功的改造。看这类空间改造节目，最过瘾的就是最后“新家”出炉时，新与旧的强烈对比，时隔几年仍被大家津津乐道。
在节目里亮相的胖大婶一家让人印象深刻。虽然大婶的女儿在五环外有房住，可为了外孙女能在城里的学区上学，一家五口只能凑合着挤一挤住在35平方米的房子里。
青山用13扇窗户和56个储物柜，打造出了崭新的通透明亮的空间。桌子、餐台、橱柜可拉伸、可隐藏，都是“内有乾坤”。天窗还可以160度旋转，便于清洗。除了设计之外，他更看重一家人的情感关系。
两期节目之后，青山周平就“红”了，很多人关注了他，想找他做设计。
然而，对于“网红”的称呼，青山周平皱了下眉，觉得这并不是个好词，他不喜欢。走红后，他被问得最多的问题就是，“我家改造一下，一平方米要多少钱”？面对蜂拥而至的私人住宅求改造，他一一拒绝，并且明确表示不接商品房开发的项目。
“单独的、普通的住宅设计和改造，我并不感兴趣，哪怕业主出价很高。”青山周平慢条斯理的语气里带着严肃，“除非是有社会意义、能给城市带来影响力和变化。”
绝大部分设计师都希望人们通过作品了解自己，青山周平也不例外。在北京十几年的生活和工作，他的确也做到了这一点。
走红后的青山周平，在网络上也比之前活跃了很多，变得更忙碌了，这种忙碌是他自己也未曾想到过的。除了业主找上门，还有不少品牌商给他发来邀请，希望他以建筑师的身份出场，做的事却与建筑没有太大的关系。但他更愿意让自己安静下来。
在杭州，青山周平找到这种他想要的久违的安静，当然很希望有机会可以在这里留下作品。“杭州一直是我很喜欢的一个城市，它让人觉得很舒服，有点像日本的京都。”
尽管每次来，都是因为公事，匆匆忙忙，只能停留一至两天，但这里仍给他留下深刻印象，“我从小就不太喜欢下雨天，但有一次在杭州灵隐寺边上的法云安缦，刚好是下雨，就停下来看雨，这个感觉很难忘，这真是座连下雨都让人喜欢的城市。”
青山周平说，杭州是一座很艺术的城市，作为一个建筑设计师，他很留意这里的建筑。其中，建筑师王澍设计的中国美术学院象山校区让他印象深刻。校园内，还有由普利兹克奖得主、日本著名建筑师隈研吾设计的中国美院民艺博物馆，外形层层叠叠宛如茶田。旁边的中国国际设计博物馆，设计师是葡萄牙著名建筑家阿尔瓦罗·西扎。“一所学校，能有这么多厉害的建筑作品，非常了不起”。
和多数日本建筑师给人的印象相似，青山周平的审美偏好也有很浓的东方禅学意味。在广岛出生，从小喜欢自然，受到建筑师父亲的影响，他从高中时期就开始看建筑类的书籍，之后又在大阪大学和东京大学攻读建筑学学士和硕士。
大学的时候，他去世界各地的三十几个城市背包旅行了一年，这次旅行对他日后的设计理念产生了巨大的影响，就是人与自然的关系。
这种无限接近自然的感觉，他说在杭州也感受到了。
青山周平在日本家乡并没有买房，在北京生活了13年也没打算买房。他和妻子租住在北京南锣鼓巷一个大杂院一间40平方米的老房子里，并且乐在其中。对于“家”，他有自己的独特理解，一种40平方米住出200平方米的气势。
从他家走路两三分钟，就有一个菜市场，那就是他的“另一个冰箱”——需要菜的时候随时就可以买来新鲜的菜。
他的厨房和客厅也都很小，但是胡同里各式小饭馆儿都是他的“餐厅”。
要工作的时候，可以去附近的咖啡厅，“其实这是我工作的地方，我的书房。我家没有书房，我家的厨房很小，客厅很小，但家附近各种各样的点都是我的生活范围。这是我的家的一部分，家的延伸。总的来说，胡同生活空间的扩展，与200平方米和300平方米的大型公寓住宅生活相比，某种意义上可以享有更大的自由。”
这种听起来有点前卫的理念，他在很多的場合传播过，他自己并不觉得这新潮。“我们小时候住的房子，就是对自然开放、对别人开放的，慢慢才变成现在这样子。”对于家的概念，青山周平引用了这样一句话：人本过客无来处，处处无家处处家。
青山周平说，住在他家旁边的邻居，刷牙和吃饭都会在四合院公共的空间里，打着赤膊不穿衣服也觉得很自然，还喜欢搬一把凳子坐在院子里看电视。
他认为，生活质量和住房面积没有直接关系，家就应该是开放的，应该跟城市融合在一起，我们的需求可以分散在城市的每一处。
“如果选择小房子，可以通过设计，让自己变得更开心。”青山周平又有一套自己的新锐观点，“小房子要突破原来常规的想法。比如，主卧要设在朝南最好的位置，这对于大房子是合适的，但对于在小房子生活的年轻人来说，卧室就是年轻人晚上睡觉的地方，为什么一定要放在最好的位置？”
這些灵感来自他养猫的经历。青山周平说：“猫可以敏感地感受到一个小空间里面最舒服的地方在哪里，所有它会根据时间不断挪窝。虽然我们不能完全做到像猫一样的生活，但可以学习它的生活方式，更开放，更自由。”
（本文图片由谢丰毅摄）
Shuhei Aoyama is a Japanese architect living and working in Beijing， capital of China. Born in 1980， the young architect rose to stardom overnight because of a television program featuring remodeling old houses in a television program screened by Beijing TV in 2015.
In the program， the architect remodeled a 35-square-meter house and a 6.8-square-meter room， both situated in lanes in the old downtown of Beijing. The sharp contrast before and after as revealed in the episodes caused a big stir among audiences. His name went viral overnight online. His miraculous remodeling projects are kind of tourist attractions for young admirers. His Weibo， a Chinese social media that resembles Twitter， has 410，000 fans， a number quite amazing in the circles of architects. No other architect in China has a bulkier following.
However， Shuhei Aoyama does not like the fame very much and has turned down numerous offers to redecorate houses. “I am not particularly interested in designing and decorating single and ordinary living spaces even though huge amount of cash is offered， unless a redecoration project is of social significance and can bring impact and changes to a city，” stated the Japanese architect.
Most architects hope to let their projects speak for them. Aoyama is no exception. He has firmly established himself as an excellent architect since he came to China 13 years ago. He now enjoys a high profile online thanks to the 2015 television program.
In early August 2018， he visited Hangzhou and gave a lecture at Zhejiang Art Museum. He addressed the topic “Another Possibility of Home and Life”. The lecture hall was full， including many standing.
Aoyama has visited Hangzhou many times. So far all his visits to the city were just one or two days long. He has examined the city from an architect’s perspective and found he likes this city of arts. He is deeply impressed with the Xiangshan Campus of China Academy of Art designed by Wang Shu， the dean of the School of Architecture of the China Academy of Art and recipient of the prestigious Pritzker Prize in 2012. In addition to the things designed by Wang， the campus boasts the Folk Arts Museum designed by Kengo Kuma， a Japanese architect and professor with the Graduate School of Architecture at the University of Tokyo， and the China International Design Museum designed by Alvaro Siza， a Portuguese architect. “It is great to have so many wonderful architectural masterpieces on the campus！” remarked Shuhei Aoyama. He recalled a rainy day in one of his previous visits to Hangzhou. “I was at a temple not from Lingyin Temple. It was raining. I stopped to watch the rain. This experience is unforgettable. This is a city where even raining gives me joy，” remarked the architect. A native of Hiroshima， Japan， he grew up loving nature. Influenced by his architect father， the son began to read architecture books in his high school years. He studied architecture in his undergraduate years and graduate years in Osaka University and Tokyo University. During these years， he spent a year touring the world on a shoe-string budget. He visited more than 30 cities across the world. The travel deepened his understanding of the bond between man and nature. He said he could feel the same amenity in Hangzhou.
He does not own a house either in Japan or in China. He and his wife dwell in a rented house in an old-styled compound in Nantongluo Lane in Beijing. The couple enjoys the 40-square-meter home in Beijing enormously. He said that it feels like a 200-square-meter one. Conveniently， it is just a 3-minute walk from the house to a food market， where he can buy fresh vegetables. To the couple， the market is like another refrigerator. The house has a small kitchen and a small sitting hall， but the couple can get all everyday things conveniently not far from the compound. There are restaurants in the lane. The couple eats out pretty much. He goes to a nearby café if he needs to do some work but does not want to go all the way to his office. He believes life in a small house in a lane enjoys much more freedom than does a 200-square-meter apartment. Whether one enjoys life has no direct bearing on the size of living space. A home should be open and should be merged into the city. One’s life can get satisfied in a city.
Living in the small house in the lane also inspires him. “I can make myself happier in a small house through my design. A small house breaks stereotypes and conventional thinking. For example， most people want their master bedroom to face the south. It feels all right in a spacious apartment. But for those young people living a small house， a bedroom is just where one sleeps. Why does a bedroom need the best space in a house？”
他在微博上拥有41万粉丝，这个数字在向来低调的建筑圈可以说相当惊人。如果以“建筑师”作为标签搜索，他可能是粉丝最多的一位。
有人喜欢他，是因为高颜值——撞脸各种明星，有人说他是“装修界的小栗旬”“日本霍建华”……更多人是因为他的才华——他设计的每一件建筑作品，几乎都是当地文艺青年签到打卡发朋友圈的必到之地。
秋天刚要开始的时候，青山周平来到杭州，在浙江美术馆进行一场关于“家和生活的另一种可能”的主题演讲。现场座无虚席，连过道上都站满了人。
他因一档家装改造节目爆红
为什么有那么多人都喜欢青山周平？
时间倒回到2015年，在一档家装改造真人秀节目中，青山周平分别对35平方米和6.8平方米两个北京胡同里的“老破小”旧房进行了成功的改造。看这类空间改造节目，最过瘾的就是最后“新家”出炉时，新与旧的强烈对比，时隔几年仍被大家津津乐道。
在节目里亮相的胖大婶一家让人印象深刻。虽然大婶的女儿在五环外有房住，可为了外孙女能在城里的学区上学，一家五口只能凑合着挤一挤住在35平方米的房子里。
青山用13扇窗户和56个储物柜，打造出了崭新的通透明亮的空间。桌子、餐台、橱柜可拉伸、可隐藏，都是“内有乾坤”。天窗还可以160度旋转，便于清洗。除了设计之外，他更看重一家人的情感关系。
两期节目之后，青山周平就“红”了，很多人关注了他，想找他做设计。
然而，对于“网红”的称呼，青山周平皱了下眉，觉得这并不是个好词，他不喜欢。走红后，他被问得最多的问题就是，“我家改造一下，一平方米要多少钱”？面对蜂拥而至的私人住宅求改造，他一一拒绝，并且明确表示不接商品房开发的项目。
“单独的、普通的住宅设计和改造，我并不感兴趣，哪怕业主出价很高。”青山周平慢条斯理的语气里带着严肃，“除非是有社会意义、能给城市带来影响力和变化。”
他说杭州连下雨都让人喜欢
绝大部分设计师都希望人们通过作品了解自己，青山周平也不例外。在北京十几年的生活和工作，他的确也做到了这一点。
走红后的青山周平，在网络上也比之前活跃了很多，变得更忙碌了，这种忙碌是他自己也未曾想到过的。除了业主找上门，还有不少品牌商给他发来邀请，希望他以建筑师的身份出场，做的事却与建筑没有太大的关系。但他更愿意让自己安静下来。
在杭州，青山周平找到这种他想要的久违的安静，当然很希望有机会可以在这里留下作品。“杭州一直是我很喜欢的一个城市，它让人觉得很舒服，有点像日本的京都。”
尽管每次来，都是因为公事，匆匆忙忙，只能停留一至两天，但这里仍给他留下深刻印象，“我从小就不太喜欢下雨天，但有一次在杭州灵隐寺边上的法云安缦，刚好是下雨，就停下来看雨，这个感觉很难忘，这真是座连下雨都让人喜欢的城市。”
青山周平说，杭州是一座很艺术的城市，作为一个建筑设计师，他很留意这里的建筑。其中，建筑师王澍设计的中国美术学院象山校区让他印象深刻。校园内，还有由普利兹克奖得主、日本著名建筑师隈研吾设计的中国美院民艺博物馆，外形层层叠叠宛如茶田。旁边的中国国际设计博物馆，设计师是葡萄牙著名建筑家阿尔瓦罗·西扎。“一所学校，能有这么多厉害的建筑作品，非常了不起”。
和多数日本建筑师给人的印象相似，青山周平的审美偏好也有很浓的东方禅学意味。在广岛出生，从小喜欢自然，受到建筑师父亲的影响，他从高中时期就开始看建筑类的书籍，之后又在大阪大学和东京大学攻读建筑学学士和硕士。
大学的时候，他去世界各地的三十几个城市背包旅行了一年，这次旅行对他日后的设计理念产生了巨大的影响，就是人与自然的关系。
这种无限接近自然的感觉，他说在杭州也感受到了。
家应该跟城市融合在一起
青山周平在日本家乡并没有买房，在北京生活了13年也没打算买房。他和妻子租住在北京南锣鼓巷一个大杂院一间40平方米的老房子里，并且乐在其中。对于“家”，他有自己的独特理解，一种40平方米住出200平方米的气势。
从他家走路两三分钟，就有一个菜市场，那就是他的“另一个冰箱”——需要菜的时候随时就可以买来新鲜的菜。
他的厨房和客厅也都很小，但是胡同里各式小饭馆儿都是他的“餐厅”。
要工作的时候，可以去附近的咖啡厅，“其实这是我工作的地方，我的书房。我家没有书房，我家的厨房很小，客厅很小，但家附近各种各样的点都是我的生活范围。这是我的家的一部分，家的延伸。总的来说，胡同生活空间的扩展，与200平方米和300平方米的大型公寓住宅生活相比，某种意义上可以享有更大的自由。”
这种听起来有点前卫的理念，他在很多的場合传播过，他自己并不觉得这新潮。“我们小时候住的房子，就是对自然开放、对别人开放的，慢慢才变成现在这样子。”对于家的概念，青山周平引用了这样一句话：人本过客无来处，处处无家处处家。
青山周平说，住在他家旁边的邻居，刷牙和吃饭都会在四合院公共的空间里，打着赤膊不穿衣服也觉得很自然，还喜欢搬一把凳子坐在院子里看电视。
他认为，生活质量和住房面积没有直接关系，家就应该是开放的，应该跟城市融合在一起，我们的需求可以分散在城市的每一处。
“如果选择小房子，可以通过设计，让自己变得更开心。”青山周平又有一套自己的新锐观点，“小房子要突破原来常规的想法。比如，主卧要设在朝南最好的位置，这对于大房子是合适的，但对于在小房子生活的年轻人来说，卧室就是年轻人晚上睡觉的地方，为什么一定要放在最好的位置？”
這些灵感来自他养猫的经历。青山周平说：“猫可以敏感地感受到一个小空间里面最舒服的地方在哪里，所有它会根据时间不断挪窝。虽然我们不能完全做到像猫一样的生活，但可以学习它的生活方式，更开放，更自由。”
（本文图片由谢丰毅摄）
Shuhei Aoyama is a Japanese architect living and working in Beijing， capital of China. Born in 1980， the young architect rose to stardom overnight because of a television program featuring remodeling old houses in a television program screened by Beijing TV in 2015.
In the program， the architect remodeled a 35-square-meter house and a 6.8-square-meter room， both situated in lanes in the old downtown of Beijing. The sharp contrast before and after as revealed in the episodes caused a big stir among audiences. His name went viral overnight online. His miraculous remodeling projects are kind of tourist attractions for young admirers. His Weibo， a Chinese social media that resembles Twitter， has 410，000 fans， a number quite amazing in the circles of architects. No other architect in China has a bulkier following.
However， Shuhei Aoyama does not like the fame very much and has turned down numerous offers to redecorate houses. “I am not particularly interested in designing and decorating single and ordinary living spaces even though huge amount of cash is offered， unless a redecoration project is of social significance and can bring impact and changes to a city，” stated the Japanese architect.
Most architects hope to let their projects speak for them. Aoyama is no exception. He has firmly established himself as an excellent architect since he came to China 13 years ago. He now enjoys a high profile online thanks to the 2015 television program.
In early August 2018， he visited Hangzhou and gave a lecture at Zhejiang Art Museum. He addressed the topic “Another Possibility of Home and Life”. The lecture hall was full， including many standing.
Aoyama has visited Hangzhou many times. So far all his visits to the city were just one or two days long. He has examined the city from an architect’s perspective and found he likes this city of arts. He is deeply impressed with the Xiangshan Campus of China Academy of Art designed by Wang Shu， the dean of the School of Architecture of the China Academy of Art and recipient of the prestigious Pritzker Prize in 2012. In addition to the things designed by Wang， the campus boasts the Folk Arts Museum designed by Kengo Kuma， a Japanese architect and professor with the Graduate School of Architecture at the University of Tokyo， and the China International Design Museum designed by Alvaro Siza， a Portuguese architect. “It is great to have so many wonderful architectural masterpieces on the campus！” remarked Shuhei Aoyama. He recalled a rainy day in one of his previous visits to Hangzhou. “I was at a temple not from Lingyin Temple. It was raining. I stopped to watch the rain. This experience is unforgettable. This is a city where even raining gives me joy，” remarked the architect. A native of Hiroshima， Japan， he grew up loving nature. Influenced by his architect father， the son began to read architecture books in his high school years. He studied architecture in his undergraduate years and graduate years in Osaka University and Tokyo University. During these years， he spent a year touring the world on a shoe-string budget. He visited more than 30 cities across the world. The travel deepened his understanding of the bond between man and nature. He said he could feel the same amenity in Hangzhou.
He does not own a house either in Japan or in China. He and his wife dwell in a rented house in an old-styled compound in Nantongluo Lane in Beijing. The couple enjoys the 40-square-meter home in Beijing enormously. He said that it feels like a 200-square-meter one. Conveniently， it is just a 3-minute walk from the house to a food market， where he can buy fresh vegetables. To the couple， the market is like another refrigerator. The house has a small kitchen and a small sitting hall， but the couple can get all everyday things conveniently not far from the compound. There are restaurants in the lane. The couple eats out pretty much. He goes to a nearby café if he needs to do some work but does not want to go all the way to his office. He believes life in a small house in a lane enjoys much more freedom than does a 200-square-meter apartment. Whether one enjoys life has no direct bearing on the size of living space. A home should be open and should be merged into the city. One’s life can get satisfied in a city.
Living in the small house in the lane also inspires him. “I can make myself happier in a small house through my design. A small house breaks stereotypes and conventional thinking. For example， most people want their master bedroom to face the south. It feels all right in a spacious apartment. But for those young people living a small house， a bedroom is just where one sleeps. Why does a bedroom need the best space in a house？”