青这是我们的两难。一方面，谈到精确的施工品质，你会得到高度职业道德的保证。另一方面，谈到生意，我们却有错误的道德观。当然，人们会说，“谈合制”保障了日本营建的高品质是因为品质来自价格。但也因为这样，我们并不知道差别在哪儿，因为“谈合制”让其他很多合格的公司没办法参加竞价。

哈你可以再举一些在日本建筑历史里不断重复的错误吗？

青比如说，建筑的合用性只针对单一用途，像是学校、美术馆，或餐厅。万一多年后建筑的用途变了，即使建筑本身非常好，大部分还是得拆掉。我想改变这种情形，我想要不必拆毁就可以变成美术馆或餐厅的学校。看看动物吧，环境改变时，动物也会跟着适应和改变。如果它们不改变就死定了，日本的建筑也一样。

He is probably the only renowned architect who has painted the outside wall of a client’s house himself 　 just to make sure the brush-stroke texture came out right. Jun Aoki is unconventional in many ways. Every morning he walks an hour to his office with a rucksack on his back. He does not shy away from openly criticizing the works of his colleagues if he deems their buildings unhealthy to the urban environment 　 like the shopping complex by Tadao Ando in the Omotesando fashion district, which has replaced historical residential housings. And to inspire, to start discussion, he sometimes watches movies with clients, many of whom become his friends along the way. Kaori Senga, the proprietor of Aoki’s experimental O-House, remembers sitting down one day with Aoki to go through the moods of a Disney animation clip. “He wanted to see my reactions, get a sense of my life’s history, like a scriptwriter working on a film with a particular actress in mind.”

Aoki is a former disciple of Arata Isozaki, whose Louis Vuitton flagship store coincidentally stands opposite the disapproved Ando mall. European interns who work in Aoki’s studio are always surprised at the number of models he uses. (For easy retrieval, Aoki developed a special shelf, where models stick into openings in a wall so they can float freely in his office). “I find solutions in a deconstructive way. Step by step, I strip miniature houses of parts the client disapproves of.” And in the process, Aoki thinks (again) like a movie or theater director: “Architecture consists of light, and films relate to architecture because of light. Both have the same quality of describing atmosphere and space.”