來(lái)源：設(shè)計(jì)先鋒隊(duì)（ID:toot8448）

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In Tokyo's Daikanyama, an art place where creative salons gather, onn Hair Salon is like a carefully polished spatial poetic stone. Spicy Architects transformed the original residential unit into a 72-square-meter aesthetic space, with "mono no aware narrative on a blank canvas" as the core of the design - retaining the bed space (alcove) of traditional Japanese houses as a spiritual anchor, the subtle texture of the stucco wall and the delicate pattern of the linoleum form a neutral background, making each furnishing the protagonist of the story. When the customer sits in the barber chair, the greenery of the courtyard reflected in the mirror and the ancient props in the hand form a time-space dialogue, and each haircut action seems to shuttle between the longitude and latitude of Japanese aesthetics.

在東京代官山這片匯聚創(chuàng)意沙龍的藝術(shù)之地，onn 美發(fā)沙龍如同一方被精心打磨的空間詩(shī)石。Spicy Architects 將原本的住宅單元改造成 72 平方米的美學(xué)場(chǎng)域，以 "空白畫布上的物哀敘事" 為設(shè)計(jì)核心 —— 保留日式傳統(tǒng)住宅的床之間（壁龕）作為精神錨點(diǎn)， stucco 墻面的細(xì)微肌理與亞麻油地氈的精致紋路構(gòu)成中性背景，讓每一件陳設(shè)都成為訴說(shuō)故事的主角。當(dāng)客人坐在理發(fā)椅上，鏡中反射的庭院綠意與手中把玩的古道具形成時(shí)空對(duì)話，每個(gè)剪發(fā)動(dòng)作都仿佛在日式美學(xué)的經(jīng)緯間穿梭。

Pushing open the frosted glass door, the layout of the waiting area already hints at the philosophy of the space. The designer deliberately retained the wooden door frame of the original residence, but wrapped a layer of translucent resin on the inside, forming a visual metaphor of "old shell, new skin". The waiting sofa uses tatami weaving technology combined with a modern metal frame. The indigo fabric of the cushion comes from an old dyeing workshop in Kyoto. The white warp and weft lines exposed at the worn parts are just like the sand patterns in the dry landscape garden. On a rainy day, a frequent visitor found that the trajectory of water droplets sliding down the resin door frame was surprisingly similar to the direction of raindrops in the ink scroll hanging in the niche. This unintentional echo gives the daily scene a sense of Zen.

推開磨砂玻璃門，等候區(qū)的布置已暗示著空間的哲學(xué)。設(shè)計(jì)師刻意保留原住宅的木質(zhì)門框，卻在其內(nèi)側(cè)包裹一層半透明樹脂，形成 "舊殼新肌" 的視覺隱喻。等候沙發(fā)采用榻榻米編織工藝與現(xiàn)代金屬框架結(jié)合，坐墊的靛藍(lán)色布料來(lái)自京都老染坊，磨損處露出的白色經(jīng)緯線，恰似枯山水庭院中的砂紋。某次雨天，一位?？桶l(fā)現(xiàn)水滴在樹脂門框上的滑落軌跡，與壁龕中懸掛的水墨長(zhǎng)卷里的雨絲走向驚人相似，這種不經(jīng)意的呼應(yīng)，讓日常場(chǎng)景有了禪意。

The design of the barber area can be described as a "mobile studio". Spicy Architects abandoned the symmetrical layout of traditional salons and arranged six barber chairs in an irregular matrix. The track spotlights above each chair can be adjusted independently to create a light and shadow effect like the shooting scene of a fashion blockbuster. The mirror design hides ingenuity - the main mirror uses special coated glass, which reflects images with a slight grayscale, like the texture of old photos; the side mirrors are embedded in a rotatable wooden frame. When the customer turns the mirror, he can see the multiple overlapping shadows of the courtyard green plants and the niche furnishings.

理發(fā)區(qū)的設(shè)計(jì)堪稱 "移動(dòng)的攝影棚"。Spicy Architects 摒棄傳統(tǒng)沙龍的對(duì)稱布局，將六把理發(fā)椅以不規(guī)則矩陣排列，每把椅子上方的軌道射燈可獨(dú)立調(diào)節(jié)角度，創(chuàng)造出如同時(shí)裝大片拍攝現(xiàn)場(chǎng)的光影效果。鏡面設(shè)計(jì)暗藏巧思 —— 主鏡采用特殊鍍膜玻璃，反射影像時(shí)會(huì)略帶灰度，如同老照片的質(zhì)感；側(cè)鏡則鑲嵌在可旋轉(zhuǎn)的木質(zhì)框架中，當(dāng)客人轉(zhuǎn)動(dòng)鏡子時(shí)，能看到庭院綠植與壁龕陳設(shè)的多重疊影。

The "object theater" on the wall is the soul of the space. The designer retained the original storage cabinets in the house, but transformed them into open display racks, displaying the hairdressing props collected by the owner during his travels around the world: ivory combs from Paris in the 1920s, wooden-handled razors from the Edo period, and Bauhaus-style metal hairpins. On a display rack next to a barber chair, there is a badly worn wooden comb. The label indicates that it was used by the owner's grandmother when she was young. Whenever a customer asks, the barber will tell a story about the hair salon in the Showa era, turning the cold tools into a carrier of emotion.

墻面上的 "物件劇場(chǎng)" 是空間的靈魂。設(shè)計(jì)師保留了住宅原有的儲(chǔ)物壁柜，卻將其改造為開放式展架，陳列著主人周游世界收集的美發(fā)道具：1920 年代巴黎的象牙發(fā)梳、江戶時(shí)代的木柄剃刀、包豪斯風(fēng)格的金屬發(fā)夾。某把理發(fā)椅旁的展架上，放著一把磨損嚴(yán)重的木梳，標(biāo)簽注明是店主祖母年輕時(shí)的用品，每當(dāng)客人詢問(wèn)，理發(fā)師便會(huì)講述一段關(guān)于昭和時(shí)代美發(fā)廳的往事，讓冰冷的工具成為情感的載體。

The treatment of the Stucco wall shows the ultimate craftsmanship. A small amount of Japanese volcanic ash was deliberately added during construction to form a delicate texture like Japanese paper. When you run your fingers across it, you can feel the subtle granularity, which echoes the texture of the earthen walls of traditional Japanese teahouses. The linoleum on the ground uses a custom color scheme. The dark gray lines that are faintly visible on the light gray background are patterns extracted by the designer from the sand patterns of the dry landscape garden. In the shampooing area, the headrest of the recliner is wrapped in traditional blue-dyed fabric, and the bracket is a metal component modified from an old bicycle axle. When the guest lies down, the warmth of the fabric on the back of the neck and the coolness of the metal on the back of the hand form a wonderful tactile contrast.

Stucco 墻面的處理展現(xiàn)了匠藝的極致。施工時(shí)特意加入微量日本火山灰，形成如同和紙般的細(xì)膩紋理，手指劃過(guò)能感受到細(xì)微的顆粒感，與傳統(tǒng)日式茶室的土墻質(zhì)感遙相呼應(yīng)。地面的亞麻油地氈采用定制配色，淺灰底色上若隱若現(xiàn)的深灰紋路，是設(shè)計(jì)師從枯山水庭院的砂紋中提取的圖案。在洗頭區(qū)，躺椅的頭枕部分包裹著傳統(tǒng)藍(lán)染布料，而支架則是用舊自行車輪軸改造的金屬構(gòu)件，當(dāng)客人躺下時(shí)，后頸接觸布料的溫潤(rùn)與手背碰到金屬的冰涼形成奇妙的觸感對(duì)比。

The miniature courtyard behind the salon is a model of "borrowing scenery". The designer retained the wooden sliding door of the original house and changed it to a full glass material. The several Japanese maple trees and moss dry landscape outside the door became the dynamic background of the hairdressing area through mirror reflection. On an autumn afternoon, the sun shone through the maple leaves and cast mottled light and shadow on the mirror, forming a color echo with the customer's blond hair being permed and dyed. The barber laughed and said that this was "the perfect color matching of nature and man-made". The stone lantern in the corner of the courtyard was recycled from the demolition site of an old house in Kyoto. Although the engraving on the lamp holder is blurred, it has become a spiritual symbol connecting the past and the present.

沙龍后方的微型庭院是 "借景" 的典范。設(shè)計(jì)師保留原住宅的木質(zhì)推拉門，將其改為全玻璃材質(zhì)，門外的幾株雞爪槭與苔蘚枯山水，通過(guò)鏡面反射成為理發(fā)區(qū)的動(dòng)態(tài)背景。某秋日午后，陽(yáng)光穿過(guò)楓葉在鏡面上投下斑駁光影，與客人正在燙染的金發(fā)形成色彩呼應(yīng)，理發(fā)師笑稱這是 "自然與人工的完美調(diào)色"。庭院角落的石燈籠是從京都舊宅拆遷現(xiàn)場(chǎng)回收的，燈座上的刻字雖已模糊，卻成為連接古今的精神符號(hào)。

The lighting design follows the implicit principle of the aesthetics of "mono no aware". The main lighting uses hidden LED light strips, which only form a soft halo at the edge of the ceiling; the spotlights in the niches accurately shine on the furnishings, making them look like works of art suspended in the dark. The sound design incorporates the concept of "ma" in Japanese aesthetics - the background music is an ambient sound specially made by the designer, including the low-frequency vibration of a tram passing by in the distance, the sound of the wind in the courtyard, and the subtle timbre of traditional Japanese instruments. These sounds appear at irregular intervals, creating a mood of "silence is better than sound at this time".

燈光設(shè)計(jì)遵循 "物哀" 美學(xué)的含蓄原則。主照明采用隱藏式 LED 燈帶，僅在天花板邊緣形成柔和的光暈；壁龕內(nèi)的射燈精準(zhǔn)打在陳設(shè)物上，使其如同懸浮在黑暗中的藝術(shù)品。聲音設(shè)計(jì)則融入了日式美學(xué)的 "間"（ma）理念 —— 背景音樂(lè)是設(shè)計(jì)師特別制作的環(huán)境音，包含遠(yuǎn)處電車駛過(guò)的低頻震動(dòng)、庭院里的風(fēng)聲、以及傳統(tǒng)和樂(lè)器的細(xì)微音色，這些聲音以不規(guī)則的間隔出現(xiàn)，營(yíng)造出 "此時(shí)無(wú)聲勝有聲" 的意境。

Before closing late one night, the shop owner wiped the old razors on the display stand, and the reflection of the light on the metal surface overlapped with the neon lights of Daikanyama outside the window. In this salon transformed from a residential building, every design tells the story of "objects": the preserved beds record the past life of the space, the recycled stone lanterns carry the regional memory, and the carefully displayed old objects make every guest who comes here for a haircut a participant in the inheritance of Japanese aesthetics. Spicy Architects uses the wisdom of "subtraction" to create infinite narrative possibilities in a space of 72 square meters - when the sound of scissors scratching the hair is intertwined with the sound of the courtyard wind, when the self in the mirror looks at the ancient props in the alcove, the process of haircutting has long surpassed the shape itself and has become an aesthetic ritual of dialogue with time and space.

在某個(gè)深夜打烊前，店主擦拭著展架上的老剃刀，燈光在金屬表面投下的倒影與窗外代官山的霓虹交疊。這個(gè)由住宅改造的沙龍，每一處設(shè)計(jì)都在訴說(shuō)著 "物" 的故事：保留的床之間記錄著空間的前世，回收的石燈籠承載著地域記憶，而那些精心陳列的老物件，則讓每個(gè)來(lái)此剪發(fā)的客人，都成為日式美學(xué)傳承的參與者。Spicy Architects 用 "減法" 的智慧，在 72 平方米的空間里創(chuàng)造出無(wú)限的敘事可能 —— 當(dāng)剪刀劃過(guò)發(fā)絲的聲音與庭院風(fēng)聲交織，當(dāng)鏡中的自己與壁龕里的古道具對(duì)視，理發(fā)的過(guò)程早已超越造型本身，成為一場(chǎng)與時(shí)空對(duì)話的美學(xué)儀式。

△平面圖

編輯：夏邊際

撰文：豆寶寶

校改：吳一仁

編排：布忠耀

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