人，变得陈年，好多事情，前前后后，就能连系了起来－－为什么喜欢这些？而又不喜欢那些？一直对建筑和诗歌都很有兴趣－－原来两者都讲求结构和象征意味。就像篠原一男的建筑和言语。
篠原一男的建筑源自又超越对传统和日常的记忆。篠原从建筑的自律性入手，让房子游走于社会镜像和个体情感的边界，大胆提出“住宅是艺术”，将住宅当作实验和言说的对象。
他的一生共实现了三十多个住宅，晚年才开始涉足公共建筑设计，最终实现的屈指可数。篠原一男把自己创作生涯界定的4个样式。上世纪50至60年代，发表了以“伞之家”和“白之家”为代表的一系列与日本传统建筑研究密切相关的住宅作品。而后，他从日本传统中提取出象征元素并将之抽象为立方体，以“未完之家”为开端，于70年代初期发表了以“龟裂的空间”为主题的一系列作品。第三阶段的产生基于对东京城市的观察。他提出了“混沌”理论，并设计了“上原的住宅”和自宅“横滨之家”等一系列走向纯粹几何形态的复合构成建筑。第四阶段的代表作之一“东京工业大学百年纪念馆”（1986）是篠原建筑生涯的又一个里程碑。
从数学系高材生到转学建筑，从制图助教到独立研究室，从1954年发表处女座“久我山之家”到2006年留下遗作“蓼科山计划”病世，篠原一男将建筑置于抒情和逻辑冲突，象征和诗性的表达，符号与经验的转换之中。在其半个世纪的创作生涯中，他的“激进”不仅体现在对逻辑的痴迷，更表现在他勇于用自己的理论去瓦解自己。这也是他对艺术的态度：“艺术的母体是漂浮在人类内部的混沌。对于明晰的心情和情感而言，艺术是毫无必要的。”
1960
即便传统论可以认为是创作的出发点，但却不是回归点。Debate over tradition provides a starting point for creation but must not be viewed as its final goal.
花山北之家
1961
应该创造那种只在人类与空间的对话之中才能够获取现实感的，真正的“无用的空间”。那并非是单纯的“宽裕”，反之是生活的核心。因此我无法抛弃住居越大越好的想法。Only a space devoid of any special purpose permits us to discover reality by means of a dialog with space itself. Such spaces are not just empty, or superfluous, they stand instead as the core living space of any house....This is why I cannot free myself from the feeling that a dwelling ought to be as vast as circumstances allow.
成城的住宅
1962
住宅必须是美的。我一直认为空间之中必须存在着回响。虚构的空间需要精心的编导。A house has to express beauty. I am convinced its space should reverberate with a Fictive Quality endowed by art.
未完之家
1964
如果说合理性是展现人类理性活动的内容的话，那么非理性则是与人类情感活动相关的内容。If rationality is expressed in the human capacity for rational behavior, then irrationality is likewise bound to entail an emotive display.
当代聚落所表现的，并非和谐的美，混乱的美也未尝不可。The village community of today will not exemplify harmony as such but will invoke a beauty fo contrasts.
建筑的功能有时是象征，又有时会觉得是装饰。这般念头油然而生。.... 轮盘旋转，凝视着白色小球回旋着的轮盘，眼中只剩下幻觉。是该停止轮盘了。无从获知那是怎样精巧的机关，停下的轮盘上只画有3个记号。功能、装饰与象征。That such a term as "architectural function" gives rise not only symbolic, but also to decorative implications suggests the beginning of a race....Similarly, a roulette wheel gives only the illusion or impression of a small white ball rotating across the spinning disk. So stop the wheel: I can't make out how elaborate the control mechanism is, but motionless disk displays only three slots. Function, Decoration, and Symbol.
花山第三住宅
花山南之家
地之家
1971
横贯在日常性与非日常性之间的龟裂问题对我而言，一直都是作为基本问题而存在的。.... 在泛着铜色光泽的广间，抑或是在洋溢着天光的纯白垂直空间，我总是渴望着从中发现“物”的存在方式。The gap we perceive between everyday existence and its opposite has long preoccupied me as a fundamental issue....Whether in a spacious hall of gleaming bronze, or a skylighted vertical space of pure white overflowing with brightness, I strive for an objective definition of how things ought to be.
必须打破依然日常化的涣散的连续性。I seek to supersede the awful spineless continuum of the everyday.
上原的住宅
1972
我认为割裂性正应当是都市这一事物的基本整体结构。I feel the basic structure of the city is to act as an insulator.
东玉川
1975
我的都市是“目光的都市”。在这“目光的都市”，有时我会觉得窥视到了其中确切的结构性，有时则犹如瞬间燃烧那般。然而，这是非合理性恣意驰骋的世界。The city I'm alluding to is a "City of th Gaze".... This can be either an actual structural characteristic or it may be a temporary flare-up. Either way, this is a world of powerful irrationality.
在当代的某一时刻，异样的空间相互之间试图将对方融化、吸收，然而无论是融化还是吸收都绝无可能，各自不仅保持清晰的轮廓而凝结着存在，而且还纵横交织成为都市。由此当代都市被称为“共时都市”。For me the contemporary city is throughly synchronic. This is to say, its different space don't dissolve or absorb one another. Instead, each crystallizes in a definite outline, yet all remain interwoven.
高压线下的住宅
1977
设计新作品的直接目的虽然是进入前方未知的空间，然后把它变成自身的东西，但与此同时，面对已被创造出来并成为过去的空间，为了不让它们孤立、消失，即使微不足道也依然要将来自新到达阶段的养分回输。If any new work I aim to transport myself into the as yet unknown space before me and possess it as my own. Howere, never do I isolate, or negate, the space I have left behind. Instead, from the new point of view I have reached I seek to nurture the previous space in one, or even several, way.
裸形的空间、机械，以及野生，或者说是非洲的空间，使用这些毫无关联的符号，现在，在我心中形成某种想要表达的混沌。然后，追加上让混沌继续增加的符号和具体性。I have experimented with how to express a chaotic figment of my imagination using such disjointed symbolic concepts as Naked Space, Machine, or Savage [Africa] Space. This active manipulation of symbols, plus the application of Concreteness, serves to intensify th full impression of chaos.
同相之谷
1988
如今，我对于在司空见惯的日常化的连续行为之中，通过间断地插入非连续性形成的随机噪声怀有着兴趣。Recently, I have become interested in the Random Noise provoked when you insert a discontinuity into the relative continuity of the everyday.
在登月飞船和战斗机的片断中，会看到让人觉得丑陋的形式，但其中存在着机械之美，技术之美。通过零件及其结合而形成的整体来追求极致的性能，这表现为零度的机械。若将以往的机械做100度，那么如今便是零度。而就在将100度与零度看做相同层面时，与现代主义的新关系便诞生了。第2章，没错，便是“Modern Next”。 There is a machine-like beauity rooted in technology displayed by the shapes sometimes felt to be ugly of a contemporary jet fighter or the Apollo 11 moonlanding craft. The Zero-Degree machine expresses an extreme functionality through the combination of it parts. Looked at in this way, we might categorize the early 1920s technology admired by Le Corbusier as a Hundred-Degree aesthetic and refer to today's technology by the term Zero-Degree; if the two are considered as belonging to a single phase, a new relationship to Modernism will be produced. Thus Act 2 should be labeled th "Moder Next".
日本浮世绘博物馆
横滨国际客运码头
K2大楼
