Micro-architecture is nothing new to the architecture world, however it had become the "toy" to most young architects, not only because it is a manageable size to its finest details, it is often for one self or that particular fan that would sponsor the weirdest idea.
We had Landscape Architect Ng Sek San who had done it in his experimental resorts both in the forest of woods or the forest of concrete.
在马来西亚，有锡山在自己家园里 -Ｓｅｋｅｐｉｎｇ Ｓｅｒｅｎｄａｈ搞上泥土为墙的土屋，玻璃透视的坦荡荡玻璃小屋，还有接下来好几件分散各地的绿色小居。
But you would find even more from the east - Japan, where Junya Ishigami and Sou Fujimoto had showcased in Design Datum 2009 and 2010.
而东方社会里，就数日本几个新锐建筑师玩禅意玩得最尽兴。 除了之前提过的 Ｊｕｎｙａ Ｉｓｈｉｇａｍｉ， 还有Ｓｏｕ Ｆｕｊｉｍｏｔｏ （藤本壮介）
Sou Fujimoto's projects to most of us would be an impractical sculptures, however the zen philosophy and the original design thoughts behind it are quite fascinating.
With Japan in his project's context, the flexibility in the anonymous space is already a legend, where shoji being changed with season, furniture being fold and unfold to change the function of a single room. Those are just a few to be named. Sou Fujimoto wants more, he would want the space with its dimension, form and volume to have a direct dialogue with the user's size, height and behaviors, and together they create a "chorus" - a pure interaction.
日本一个处处量尺度寸的文化里，却因为地方小有了无限活动自由的空间，厅是房，是餐厅，不过几样简单可以收纳的家具，一个空间就有了许多面貌。 可是藤本还是不满意的，他想让空间本身和人有一种对话，决定当下。 他的比例是一个洞穴，那么高低不平，宽窄不一的空间，因为个人需要和每一个人的高低肥瘦，就会有了许多不同的交集，而给了一个空间许多的变化。
He gave an example as it is in a cave, where you might be rolling up in a dent, catching a nap; the next person could have been putting his legs high and reading a book in the very same dent. The translation of space is no longer defined by furniture or any third element, but the space and the user and nothing else. There comes his first project, almost like a Jenga Block we enjoy playing.
The lumbers were screwed together forming a rather humble looking cuboid, with void being carved out in various height and volume, allowing user to pick the right setting for an activity on hand. Staying in it? Maybe not, but he did managed to experiment his ideas of "dialogue"
一些平行而锁起的原木， 在一个长体型的容量中，不停的挖空，而形成许多相通的空间。 随性自喜的选择适合的平面，高度， 体积，容量来进行活动。 这就是他的实验微型建筑。
The White Box where he challenged the idea of urban housing, putting many "small houses" on top of each other, in an attempt to realize the urban space (private vs public) in a mini setting of apartments. Till now, the units still vacant. Well, who can blame the untactful potential tenants? As I would never opt to stay in a house where I would need to run out of my warm bedroom into the open for a good hot chocolate over the other room.
Well, the next one, which he named the Box House, had finally put some layman sense into it. He jokingly called it " The Box Within The Box Within The Box".
The Box House is situated in a non-inspiring neighborhood. Sou Fujimoto wanted a garden of Eden. He build a big box with opening slightly higher than eye level, allowing eyesight to be directed to the trees crown and blue sky.
Putting the second medium sized box in it, thus creating an indoor garden, and defining the kitchen and living room. The window opening in this box is lowered to capture the indoor garden views.
The third small sized box would contain those needing privacy. With this simple stacking and layering of boxes almost similar to those ideas in a Russian Stack Dolls, he had one "Domestic Issue" solved.
这所房子 （Ｈｏｕｓｅ－Ｎ）所在地是一个杂乱的地区，而藤木在这样的一个地方想要制造一个伊甸园。 他先用一个大箱子，把建地和外界分开。 用略高的窗口把视线引向蓝天和树冠， 隔离了邻居或者不理想的格局。 再放一个中型箱子，设计了厨房，和客厅，这一回就可以把窗口拉低，让大箱子内的禅意花园那样清凉感觉。 再一个小箱子，放下了书房，睡房，简简单单的就解决了所有的问题。 我想他或者终于住进了一间家，明白有时设计的玩也该有一个底线，除非我们本来就在搞艺术。
I do understand how some cannot agree with him much, but I think those ideas presented is so original, and maybe, I would say maybe is for us to ponder further and to cultivate it to another level for a much matured solution to the very genuine question.