© Josh Lieberman

乔希·利伯曼

架构师提供的文本描述。山田-马基是位于日本岩手县中部海岸线上的一个城镇。2011年3月11日，一场毁灭性的地震和海啸袭击了该镇，荷兰海牙山田市的一位老朋友敦促几家大公司提供帮助。这些公司既有荷兰公司，也有国际公司，包括范德尔建筑师DSM、荷兰合作银行、日本荷兰商会、PA国际基金会和Stichting t Trekpaert。这个商业团体决定为小镇提供一个设施，让孩子们有一个玩耍、疗伤和聚集在一起的地方。经过与山田-马基当局的广泛磋商，2012年2月提议建立一个校外住房和社区中心，该基金会是以1643年一艘名为“布雷斯肯斯号”的荷兰船在山田湾登陆的岛屿命名的。这个岛被称为‘奥兰达-吉米(’荷兰岛‘)350年后，’布雷斯肯斯‘搁浅在那里。为山田町的儿童和人民建造一个课外设施-社区中心。

Text description provided by the architects. Yamada-machi is a town located on the central coastline of Japan’s Iwate prefecture. After a devastating earthquake and tsunami hit the town on 11 March 2011, several major companies were urged to help by a longtime friend of Yamada-machi in The Hague, the Netherlands. The companies were both Dutch and International, including the van der Architects DSM, Rabobank, The Netherlands Chamber of Commerce in Japan, PA International Foundation and Stichting 't Trekpaert. This business group decided to offer the town a facility where children would have a place to play, heal and come together. Following extensive consultations with the Yamada-machi authorities, it was proposed in February 2012 to establish an after-school house and community centre.The Foundation is named after the island where in 1643 a Dutch ship, called The ‘Breskens’ landed in the Bay of Yamada. This island was called 'Oranda-jima ('Holland Island') 350 years after the ‘Breskens’ stranded there. Build as an afterschool facility - community centre for the children and people of Yamada machi.

 Courtesy of Martin van der Linden + Ayumu Ota + Yuko Kawakita

Martin van der Linden Ayumu Ota Yuko Kawita提供

我们认为建筑是关于空间内的运动的。我们的设计充分利用了这种流动性，通过这种方式，我们通过建筑设计了一种身临其境的体验，并不断地改变观点。我们的建筑材料不限于木材、金属和混凝土。我们还认为光、影、反射、颜色和沉默是至关重要的组成部分。

We believe that architecture is about movement within space. Our designs take full advantage of this mobility, and by doing so we craft an immersive experience through architecture, with constantly changing viewpoints. Our building materials are not limited to wood, metal and concrete. We also consider light, shadow, reflection, colour and silence to be crucial components.

 Floor Plan

我们对空间的体验一直是通过上下文来过滤的。地理、气候、天气、光线、材料和结构周围的环境等环境因素一直都存在创造性的局限性。最初，建筑是从周围环境中创造出来的。例如，如果你要建造一座小屋，你就用了树木、泥土、草和石头包围着你。正因为如此，早期的建筑被归类为一个村庄或房屋的集合，有一个共同的相同，环境。我们仍然可以在世界各地看到这方面的例子。

Our experience of space has always been filtered through context. Contextual factors such as geography, climate, weather, light, materials and the structure’s immediate surroundings have always posed creative limitations. Initially, architecture was created out of its immediate surroundings. For example, if you were to build a hut, you used the trees, mud, grass and stones that surrounded you. Because of this, early architecture was grouped into a village or collection of houses with a shared sameness, contextually. We can still see examples of this all around the world.

 © Josh Lieberman

乔希·利伯曼

由于技术进步，过去的背景限制正变得越来越少：当天黑时，我们打开灯；当天冷时，我们打开加热器。建筑让我们创造了自己的环境。今天，作为建筑师，我们可以自由地建造任何东西，任何我们能想到的任何形状的东西。具有讽刺意味的是，尽管有这种技术上的自由，我们仍然建造旅馆、写字楼、购物中心和餐馆-甚至世界人民生活的家园-看起来都很相似。

Due to technical advances, the contextual limitations of the past are becoming less and less influential: when it is dark, we switch on the light, and when it is cold, we turn on the heater.  Construction has allowed us to create our own context. We as architects today are free to build anything, anywhere in almost any shape that we can dream up. It is ironic that despite this technological freedom, we still build hotels, office towers, shopping malls and restaurants — even the homes where the world’s population lives their lives — that all look fairly alike. 

也许我们已经忘记了，在这些空间中，我们对环境的敏感性创造并塑造了我们的身份。人类-事实上，所有的动物-对空间都非常敏感。也许我们感到孤独，悲伤，愤怒，没有爱，或普遍沮丧，因为我们无法满足在一个我们可以称之为我们自己的空间内连接和撤退的深刻需求。

Maybe we have forgotten that there are sensitivities to our context that create and shape our identity through these spaces. Human beings — all animals, in fact — are highly sensitive to space. Perhaps we feel lonely, sad, angry, loveless or generally depressed due to our inability to satisfy a deep need to connect and retreat within a space that we can call our own.

 © Josh Lieberman

乔希·利伯曼

建筑有能力通过建筑创造可能的世界。然而，我认为架构应该是一种重新审视上下文的方式，并加强存在的独特的上下文元素。这种独特性不应来自空间的形状，当然，这也可能是设计的一个要素。我认为独特性应该以上下文为起点。因此，建筑将充当环境的模式过滤器，并将有助于创造一个空间，当我们走过，帮助我们体验最终成为空间的身份。

Architecture has the ability to create possible worlds through construction. However, I think that architecture should be a manner of looking at the context again and reinforce the unique contextual elements that are there. The uniqueness should not come from the shape of the space, although this could be an element of the design as well, of course. I think that uniqueness should consider the context to be the starting point. As such, architecture will act as a modal filter of context and will help to create a space, which, when walked through, helps us experience what in the end becomes the space’s identity.

成就:

Implementation:

从项目一开始，我们就想建造一座建筑，在那里我们将使用当地的劳动力。我们决定当地的承包商，所谓的“大库”，或日本木匠。所有在现场工作的人都是山田人。我们决定使用木材，因为从设计的角度看，它很好地表达了我想与建筑一起创造的形象：一个简单的，安静的结构，从内到外设计。在外面，建筑被红木，雪松图案和颜色只会变得更加美丽，随着时间的推移，我认为这是重要的假象，许多日本建筑的塑料外观。

From the onset of the project we wanted to build a building where we would use local labour. We decide on a local contractor, a so-called “daiku”, or Japanese carpenter. All the people who worked on the site are from Yamada machi. We decided on using wood as from a design point of view it expresses well the image that I wanted to create with the building: a simple, silent structure, designed from the inside out. On the outside the building is clad with Redwood cedar pattern and colour will only become more beautiful over time, which I thought was important given the fake-plastic look many Japanese building have.

 © Josh Lieberman

乔希·利伯曼

结论:

Conclusion:

我认为建筑应该从我们在太空中移动时展现在我们周围的承诺开始。一开始，建筑只不过是一个封闭的区域，一个人类活动的容器和平台。因此，架构的开始相当纯粹和简单。但在不同的层面上，总是有另一个，更高的承诺，语境敏感性：我们的经验，在空间。

I believe that architecture should always start from a promise that unfolds around us as we move through space. In the beginning, architecture was nothing more than an enclosed area, a container of — and platform for — human activities. As such, architecture’s beginnings were rather pure and simple. But on a different level, there is always another, higher promise of contextual sensitivity: our experience within the space. 

研究表明，日光对于居住者的心理健康是极其重要的。建筑物的位置是这样的：冬季的白天会深入建筑物，而夏季的白天则会提供遮荫。孩子们将从下午3点到晚上5点或6点使用这个空间。正是在这些房子里，阳光将在建筑物内提供最多变的照明条件。在西侧，我们在一张木制的角落长凳上放置了一块白色聚碳酸酯垫窗。在这扇窗户后面是树木和橙色的黄昏灯光将投下美丽的阴影在这个聚碳酸酯面板，没有什么不像在日本米纸屏幕上看到的模式。我的想法一直是建筑应该加强它的背景，我相信光在建筑物中传播并在这些时间改变灯光的方式会创造出一部安静的戏剧，有意识地或不自觉地对孩子们的健康产生影响。

Studies have shown that daylight is extremely important for the mental well-being of occupants. The building is positioned in such a way that daylight during the winter months will fall deep into the building, while during the summer months an overhang will provide shade. The children will use the space from three o'clock in the afternoon until five or six in the evening. It is during these house that the sun will provide most changing lighting conditions within the building. On the west side we have placed above a wooden corner bench a mat-white polycarbonate window. Behind this window are trees and the orange light of dusk will cast beautiful shadows on this polycarbonate panel, not unlike patterns seen in Japanese rice paper screens. My thought has always been that architecture should enhance it's context and I believe that the way the light travels through the building and changes the lighting during those hours will create a quiet, theatrical play that consciously or unconsciously have an effect on the children's well being. 

 © Josh Lieberman

乔希·利伯曼

Architects Martin van der Linden, Ayumu Ota, Yuko Kawakita

Location Yamada, Shimohei District, Iwate Prefecture, Japan

Category Community Center

Area 196.0 sqm

Photographs Josh Lieberman