© Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

架构师提供的文本描述。这个项目的地点位于马祖河，中央流经丰山县。该计划旨在更新该地区，办法是整修一个现有的县长官邸，并为一座展览大楼提供扩建，以便建立一个文学博物馆，传播和提高人们对长期继承自曼尤时期的埃丘文学的认识。在这里，我们把现有的建筑视为一座雅世基(日本传统大厦)和新的展览延伸为一座相互连接的库拉(日本传统仓库)，而丹瓦(译为“花园”)则与完成场地内新空间关系的结构密切相关。雅世基将提供行政、研究实验室、餐厅和茶室的住宿设施，为当地人提供服务。库拉将作为“博物馆”街区，其中展览室，储存库和馆长室将设在。

Text description provided by the architects. The site for this project is situated by the River Matsu that centrally flows through the Toyama prefecture. The scheme seeks to regenerate the area by refurbishing an existing former-residence of prefectural governor and providing an extension for an exhibition block in order to create a literature museum that spreads and raise awareness of Etchu literature which has long been inherited from the Manyo period. Here, we have treated the existing building as a yashiki (Japanese traditional mansion) and the new exhibition extension as a kura (Japanese traditional warehouse) that interlink to each other, with niwa (translates to ‘garden’) that closely relate to the structures completing the configuration of new spatial relationship within the site. The yashiki will hold accommodations for administration, research labs, restaurant and tea rooms, which will provide services for the locals. The kura will act as the ‘museum’ block where exhibition rooms, repository and curator rooms will be located.

该网站是作为一个持续的景观，起源于马祖河。这条通道流经各种花园，如‘水边花园’和‘Matsu-Kage-no-Niwa(松树阴影花园)’，以及穿过展区，从南到北贯穿现场。现有的建筑(前县长官邸)和新的展区向重新布置的“满洋花园”开放，创造了属于博物馆的安静和平静的环境。

The site is designed as a continuous landscape that originates from the River Matsu. The approach route flows through various gardens such as the ‘mizube-no-niwa (garden of water-side)’ and the ‘matsu-kage-no-niwa (garden of pine tree shadow)’ as well as through the exhibition block, penetrating the site from south to north. The existing building (former-residence of prefectural governor) and the new exhibition block open out to the re-arranged 'Manyo Garden', creating quiet  and calm environment that belongs to the museum. 

展览区/Kura和DOMA(日本传统空间，地面裸露)

Exhibition block / kura and doma (Japanese traditional space with exposed soil floor)

展区由两种类型的空间组成-库拉是封闭的空间和DOMA是更开放的。库拉房间是“仓库”式的空间，存放着大量的展览项目和博物馆收藏，DOMA在它们之间穿行，为公众提供流通和开放的共享空间，以放松和享受建筑的空间质量。共有七个库拉空间，包括展览空间、仓库、馆长室、“拆包”室和植物房等。每个库拉的体积、面积和天花板高度取决于它的功能。库拉空间的周边墙壁都是用香槟酒、黄金、阳极氧化铝板完成的。一般来说，使用相同的完成材料，无论是内部还是外部，可能会成为一个视觉问题，因为不同的风化结果。阳极氧化面板的使用尽量减少了这种影响，并使游客在这个建筑内部和周围的旅程中体验到了一致的“感觉”。为了防止密封材料产生的污垢，面板之间的接缝是开接缝的，防水发生在面板的内侧。

The exhibition block consists of two types of spaces – the kura which are enclosed spaces and the doma which are more open. Kura rooms are ‘warehouse’-like spaces that holds significant exhibition items and collections of the museum, where doma weaves through in between them providing circulation and open shared space for the public to relax and enjoy the spatial quality of the architecture. There are seven kura spaces altogether with specific characters such as exhibition space, repository, curator's rooms, 'unpacking' room and plant room. The volume, the area and the ceiling height, of each kura is governed by its function. The perimeter walls of the kura spaces are all finished with champagne gold anodized aluminium panels. Generally, to use the same finishes materials both internally and externally can become an issue visually due to difference in weathering outcome. The use of anodized panels minimize such effect and enable visitors experience a consistent 'feel' throughout their journeys within and around this architecture. To prevent dirt created by sealing materials, the seams between panels are open-jointed, with water-proofing occurring on the inner side of the panels.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

这种材料的选择也受到了这样一个事实的启发，即铝是富山地区最重要的产业之一，而铸造作为一种建筑方法允许柔性制造。

The selection of this material was also inspired by the fact that aluminium is one of the most important industries in Toyama prefecture and casting as a construction method allows for flexible fabrication.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

有叶与叶相关联的伊藤曼约诗歌，铸造在这些面板上，与不同的模式工作。在铸造铝时，制作者可以随意地在叶片中滑动，使他们能够产生1858(2583㎡比表面积)独特的图案。此外，由于温度和湿度的变化，这些大面板的阳极氧化过程产生了略微不同的完成颜色，增加了额外的“独特性”的维度已经完全原始的产品。我们把这个结果看作是工程产品和天然材料之间的界面完成，为建筑提供了深度和平静。

There are leaves associated with Etchu Manyo poems casted into these panels with varying pattern work. The fabricators could randomly slip in the leaves when casting the aluminium, enabling them to produce 1858 (2583㎡ surface area) unique patterns. Also, the anodizing process for these large panels by accident create slightly differing  finish colours due to varying temperature and humidity, adding extra dimension of 'uniqueness' to what already are totally original products. We see this outcome as an interface-finish between engineered product and natural material that provides depth and calmness to the architecture.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

游客可以自由漫步在DOMA空间里，那里有一个大厅，自然发光的展览空间，图书馆和现有建筑之间不断的相互联系。天花板高度保持在2870毫米低，强调水平运动和视觉连接的花园在西侧的网站。在这个低矮的天花板区域内有5000毫米的垂直空隙，加上引入自然日光的屋顶灯，它沿着库拉墙滑行，在大的连续空间中提供明亮的反差。

Visitors are able to freely walk around the doma spaces where a lobby, naturally-lit exhibition space, library and the existing building continuously inter-link. The ceiling height was kept low at 2870mm, emphasizing the horizontal movement and visual connection to the gardens on the west side of the site. Within this low-ceiling zone are vertical voids of 5000mm plus with rooflights that bring in natural daylight, which slips along the kura walls to provide contrast of lightness within the large continuous space.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

DOMA的地板饰面是石头(Sanseikuro)，天花板是木百叶窗(富山雪松)。用于地板装饰的石头是一种从南到北的主要通道中使用的材料，将DOMA空间视为景观的一部分。防火天花板的百叶窗是针对在西部的花园，强调内部和外部空间的发展。照明和机械服务，如空调和通风设备隐藏在这些百叶窗后面，确保没有配件被固定在天花板上。

The floor finishes of doma are stones (Sanseikuro) and the ceiling finishes are timber louvers (Toyama cedar). The stone used for the floor finish is a same material used in the main approach that spans from south to north of the site, treating the doma spaces as part of the landscape. The fire-protected ceiling louvers are directed towards the gardens in the west, emphasizing the progression of internal to external spaces. Lighting and mechanical services such as air conditioning and ventilation devices are hidden behind these louvers, ensuring no fittings are surface fixed to the ceiling.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

花园和图书馆/悬臂和玻璃

Gardens and library / cantilever and glazing

与Manyo花园相邻的DOMA空间作为一个库发挥作用-尽量减少对列和分区的使用。一个能动的悬臂飞在上面，一个21米大的洞口，是花园的水平视野。通过使用3米长×7米的玻璃面板，还可以使毛刺最小化，这就需要最大限度地提高对外部景观的视觉曝光率。这使得游客能够下意识地进入空间，以各种方式放松地体验公共区域。

The doma space that sits adjacent to the Manyo Garden functions as a library – the use of columns and partitions are minimized. A dynamic cantilever flies above and a large opening that is of 21m frames a horizontal view of the gardens. Mullions are also minimized by using three 3m x 7m  pair-glazed panels – the visual exposure to the landscape outside needed to be maximized.  This enables visitors to subconsciously wander into the space and relaxingly experience the public zone in various ways. 

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)