Junya Ishigami, I would like to call him a young philosopher, perhaps mainly because the two projects of my favourite have nothing to do with architecture, but mainly a teaser to thoughts.
一） Table 很大很薄的桌子（10米 X 2.5米 X 3厘米 的桌子）
1. Table as the first project, mainly a very long and thin table (10m x 2.4m x 3mm)
If you asked me, how would he started this project, I would suspect that due to his knowledge in structure, he would like to present a very philosophical idea in a tangible way, which in certain aspect, similar to how we think in architecture - an intangible idea to a tangible "object".
The translator had not said much, but I would presume the story started like this:-
In the Japanese culture, we were talking about the imbalance in life, where we would need to make such effort just to maintain the harmony. It shows in the Japanese garden, where the monk carefully scrap the sand floor into landscape that represent the heaven.
而当人们为了他听起来可笑的想法莞尔时，他想的是如何让这一个不平衡的点子平衡起来， 就好像一个人生。 于是他开始了负面的追踪 - 小心翼翼的他开始计算每一个重量，从一个碟，到一个杯，好像我们人生里的每一个责任，每一个负面的情绪；而后他不厌其烦的移动每一个物品，让负重量可以均呈的散布，好像我们如何调配生命里的重与轻；他开始他的人生的作品，用一片薄薄的铝片（3厘米厚），他把它做成一个圈，在想象中的重量还没有来到前，这一张铝片好像一个孩子，全身弹跳着力量，想要把人生画成一个不停跳动的线条。 而生命到底不是那么一回事，于是杯杯碟碟，好像人生中的衣食住行，情欲割舍，一件件来到你的面前，一点点地把那拱起的生命力慢慢的给收复了，而当一切终于归了位，我们看到一个平衡的线，浮在空中，轻盈得像撑不住的把我们的一生平平的稳住，像一条不会再动的线。 只是当你细心的把时间流转了，原来那一个脉搏还在波浪般的起伏，等一个没有预料到的人生的惊喜或不测，来翻覆这一切，来回归一个动感的力度的呈现。
We could be laughing at his idea of doing the unnecessary, but he was thinking of balancing the unbalance. He started his research with subtraction methods, calculating everything he would like to put on the table, from a bowl to a plate, to even a small cup with its saucer, as if each and everyone of that representing our responsibility in life. He patiently moving every single object to create the balance distribution, as if how we balance our family-work- love-duty. he created a plane, with all the "weight" removed, curling like a baby, naive and energetic, almost springing to life at the very first moment it was born, till all these objects of desire coming to presence, the counter-weight helps to bring this curl piece into flatliner....only when you slow-motioned it, you noticed the slight movement on the plane, following perhaps the pulse of the mother earth, waiting for a moment where this could all be toppled with just a simple removal of a single object.
二）Cuboid Balloon 「四角い風船」
This cuboid balloon, or you may say "ship of wind", is floating in a very large volume, the actual weight of a tonne, diminishing like a feather, and its materiality disappeared in its reflectivity.
他的创造不在这个风船，而在面与面间的空间的变化。 这一个物体的浮动不定，改变了人与空间的对比，对话，时而空旷，时而低迷，而光在一霎那间，通过不平的反光面，反射在粗糙的石灰面上，像一片云飘过山头。 而空在这里体现了一个圆满的关系。
His creation is not about the balloon, but the space between the planes. As it float without a predestined direction, it changes the dialogue between human and space. Light captured and reflected from the balloon surface, symbolizing a cloud that had just passed the mountain. The void gains its substance with an infill.
改变的或者不是我们，而是一个看不到的变数，在人生的空间里漂浮，在一样的程式里幻成不同的结果， 而我们在不停的适应和求存中，或许要看清楚那一个光影，来肯定一个幻觉，肯定一个可以自主地力点， 而到了那一天，我们就可以看破这一个‘有’。
We might not have changed in anyway, but as the factors in life changes in its natural course, we adapt and live around it, The positive and negative force of life, sometimes is nothing but a perception.
有同事说Junya Ishigami 太空，而我或许因为儒家和佛学的思想，看到一个‘空’的哲学。
Some might argue of its seemed intangible thoughts, but with the ideology of Buddhism and Confucius, I appreciate the interpretation.
（来到这里， 你或许就会明白为什么我不称他为建筑师， 因为如果你必须用建筑来衡量他的轻重，那么你就没有看到他的用心。）
Maybe you would now understand the reason why I would rather address him as a philosopher.
＊ 照片来自：－１。 www.east-asia-architecture.org