aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum

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準建新聞

aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum

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Located in a mountain village beside a man-made lake two and a half hours’ drive north of Tokyo, the Tomihiro Museum is dedicated to the work of local poet-illustrator Tomihiro Hoshino. Since 1991, when the Museum first opened on the refurbished premises of a disused home for the elderly, an average of more than 1000 persons a day have made the trip here, for a ten-year total of over 4 million visitors—a surprising number considering the remote location.

坐落在一個人工湖兩個半小時的車程,位於東京北部旁邊一個山村,在富弘博物館致力於對當地詩人,插畫星野富弘的工作。自1991年以來,當第一個館就開一個廢棄的家中老人的翻新房屋,平均每天超過1000人在這裡取得了行程,為十年共超過400萬人次,數量驚人考慮到遠程位置。

A decade on, the Museum was long overdue for new quarters. An international design competition was held in 2002, and 1211 entries were received from 53 countries (637 entries from Japan, 574 from abroad)—again a surprising number. Short-listed entrants from among the many submissions were then interviewed, and our design proposal was selected: a grouping of small circular rooms inspired by soap bubbles.

十年上,該博物館是姍姍來遲的新宿舍。一個國際設計大賽於2002年舉行,來自53個國家(日本,574項637從國外) - 同樣數量驚人共收到1211項。從多份意見書當中入圍的參賽者進行了採訪,我們的設計方案被選中:小圓形的房間靈感來自肥皂泡的分組。

Diversity.

Our proposal called for simultaneous diversity. Whereas contemporary art museums typically opt for neutral, homogeneous “white cube” spaces, Day in and day out we tend to forget something so basic, yet the artworks very clearly remind us that all things are interdependent upon one another and in order to understand complexity we must find a way to appreciate complex things as they are. Thus, we should focus on relativity more than absolutes, particulars instead of generalities and decentralisation over centrality.

多樣性

要求同步多樣性我們的建議。而當代藝術博物館通常選擇中性的,均勻的“白立方”的空間,一天又一天,我們往往忘記東西,所以基本的,但藝術作品很清楚提醒我們,所有的事情都是相互依存的在彼此才能明白的複雜性我們必須找到一種方式來欣賞複雜的東西,因為它們。因此,我們應該注重相對論超過絕對,細節,而不是泛泛而在下放中心地位。

Self-Optimisation.

Step inside this cluster of qualitatively diverse spaces: light, dark, quiet, lively, warm. The building interior enfolds us with many different experiences like a walk in the woods, inviting a childlike sense of wonder and expectation as to what we might encounter next. Each circle has its own distinct size and functional environment according to how it is to be used. Moreover, attempts were made to incorporate such unquantifiables as “openness”, “closedness” and “coziness”.

自優化

步驟此群集定性不同的空間裡:光明,黑暗,安靜,活潑,溫暖。建築內部enfolds我們提供了很多不同的經歷就像在樹林裡散步,邀請驚奇和期待的孩子般的感覺,什麼我們可能會遇到的旁邊。根據它是如何被使用的每個圓都有其獨特的尺寸和功能的環境。此外,嘗試了將這類unquantifiables的“開放性”,“封閉性”和“舒適感”。

The circles have been laid out with an eye to their mutual interplay, almost as if trying to solve a puzzle. There was no one guiding principle, no one absolute solution. This compositional complementarity is an important characteristic of the Tomihiro Museum, or what we might call “self-optimised design.”

圈子已經制定了著眼於他們的相互互動,彷彿試圖解決一個難題。有沒有一個指導原則,沒有一個絕對的解決方案。這種成分的互補性是富弘博物館的一個重要特徵,或者我們可以稱之為“自我優化的設計。”

Circles.

All circles have centres; from the moment the radius is established, the corresponding circumference automatically generates a given circle. Circles are thus extremely strong shapes; their abstract clarity makes them highly attractive and emblematic, yet their absolute inviolate purity can make them seem unapproachable. Thus the question was, how to utilise circles in a relative, non-concentric way so as to give the floorplan the flexibility to respond to variables?



各界都中心;從半徑被建立的時刻,對應圓周自動生成一個給定的圓。圈子因而極強的形狀;他們的抽象的清晰度,使他們極具吸引力和象徵性的,但他們絕對不可侵犯的純度可以讓他們顯得高不可攀。因此,問題是,如何利用圓在相對的,非同心的方式,從而得到平面佈局的靈活性給變量響應?

The notion behind our design method was that the circles ought to give sufficient leeway to cope with any variables, even within an ever-rigid skeletal framework. We called it “circle planning”, in contrast to the prevailing norms of “grid planning”. From the design competition stage, we sought out collaborative participation from local residents, and in response to their input we made the circles larger or smaller yet always touching, thinking that a planar dispersion by circle planning would suffice to deliver the sought self-optimisation.

我們後面的設計方法的概念是,圈子應該給予足夠的迴旋餘地來應對任何變量,甚至在不斷的剛性骨骼框架。我們把它叫做“圈規劃”,相反,“電網規劃”的通行準則。從設計競爭階段,我們找了當地居民的合作參與,並針對他們的意見,我們所做的圈子更大或更小但總是感人,認為由圓圈規劃平面分散就足以為客戶提供尋求自我優化。

Square.

Why, then, does the building have a square footprint? Why not go for a more flexible free-form shape in keeping with the overall building site?

廣場。

那麼,為什麼不建設有一個方形的足跡?為什麼不走了更為靈活的自由形式的形狀符合全面建設網站?

Well, because we needed something strong, meaning somehow universal or abstract. Or to put it another way, we were looking for programatic universality that could have been generated at a different site, in a different dimension, then just dropped into place here.

好了,因為我們需要的東西強,意味著在某種程度上普遍的或抽象的。或者換一種說法,我們正在尋找這可能在不同的網站已經產生,在不同的維度,那麼就投進發生在這裡程序化的普遍性。

Freedom.

Not trying to cater to any specific regionalism, nor get caught up in the abstractions of contemporary architecture, was that not a kind of freedom? What we aimed for was an architecture in which opposities might simultaneously coexist—absolute with relative, pliant with rigid, abstract with concrete, simple with complex.

自由。

不是要滿足任何特定的地區主義,也沒有陷入了現代建築的抽象,是不是一種自由?我們的目的是一個體系結構,其中opposities可能同時並存,絕對與相對的,順從的剛性,抽象與具體,簡單,複雜的。

The new Museum exhibits a permanent collection of some 100 artworks by Tomihiro Hoshino for people of all different generations and titles and places and beliefs to see. Nature is filled with irrational things that cannot simply be dimissed as arbitrary, inexplicable mysteries and unpredictable spontaneous happenings. Tomihiro Hoshino’s artworks teach us to accept things as they are and enjoy living with them.

新館展示的一些作品100由星野富弘永久珍藏的所有不同的幾代人與職稱和場所和信仰看到。大自然充滿了不能簡單地作為dimissed隨心所欲,莫名其妙的神秘和不可預知的自然發生的事情不理智的事情。星野富弘的作品教導我們接受的事情,因為他們享受生活與他們。

>>相關資訊
作品名稱:富弘美術館 Tomihiro Art Museum
作品位置:Gunma Prefecture, Japan 〒376-0302 日本群馬縣MIDORIみどり市東町草木86
建築師:aat + makoto yokomizo
Architect In Charge: Makoto Yokomizo
總樓地板面積:2463 平方米
完成:2005年
Construction: Kajima Corporation
Construction Supervisor : aat+makoto yokomizo, architects Inc.
Structural Engineer : Mitsuhiro Kanada / Arup Japan
Service Engineer : Eiji Sato / E.S.associates
Electrical Engineer : Naoto Hattori / Arup Japan
Interior Designer : Makoto Yokomizo / aat+makoto yokomizo, architects Inc.
Color Planning : Mari Ozaki / OZ Color Studio
Graphic Design : Yukimasa Matzda / ushiwakamaru matzda office
Facade Planner : aat+makoto yokomizo, architects Inc.
Lighting Planner : Shoji Hiroyasu / Light Design INC.
Engineer: ARUP JAPAN (Mitsuhiro Kanada)
攝影:Shigeru Ohno, Makoto Yokomizo, Christoffer Rudquist, Christian Richters

>>相關圖片

圖檔Tomihiro Art Museum by t s, on Flickr

圖檔aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum - Photo 01(Photography by Christoffer Rudquist) by Forgemind ArchiMedia, on Flickr

圖檔aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum - Photo 02(Photography by Christoffer Rudquist) by Forgemind ArchiMedia, on Flickr

圖檔aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum - Photo 03(Photography by Christoffer Rudquist) by Forgemind ArchiMedia, on Flickr

圖檔aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum - Photo 04(Photography by Christoffer Rudquist) by Forgemind ArchiMedia, on Flickr

圖檔aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum - Photo 05(Photography by Christoffer Rudquist) by Forgemind ArchiMedia, on Flickr

圖檔aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum - Photo 06(Photography by Christoffer Rudquist) by Forgemind ArchiMedia, on Flickr

圖檔aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum - Photo 07(Photography by Shigeru Ohno) by Forgemind ArchiMedia, on Flickr
最後由 準建新聞 於 2007-05-06, 23:20 編輯,總共編輯了 1 次。
站長eaGer

aat + Makoto Yokomizo - 富弘美術館 Tomihiro Art Museum

文章 站長eaGer »

aat + Makoto Yokomizo 設計的富弘美術館(Tomihiro Art Museum)位於日本群馬縣東村(google maps),2006年八月隨王增榮老師造訪此處,將手邊的一些相片貼上來供大家瀏覽。

在看相片之前,請先看下面這張圖片,就會理解館內為何會有一堆圓形的空間了。

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相片有點多,不是很有次序,請多包涵。

https://www.flickr.com/photos/entayang/485878590/
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↗ 從停車場的方向前往富弘美術館的入口

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↗ 富弘美術館的入口/售票處

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最後由 站長eaGer 於 2007-05-06, 23:14 編輯,總共編輯了 1 次。
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