© Nobutada Omote

诺博塔达·奥莫特

“特斯希马洋屋”坐落在位于塞托内海的港口古镇特希马，坐落在一个古老的社区里，因为大多数人都是老人，所以“特斯希马洋屋”就像一座艺术博物馆。

Located in Teshima, an old port town lying in Seto Inland Sea, “Teshima Yokoo House” sits as an art museum in such an old community as most of the people are the elderly.

 Ground Floor Plan

这是一位国际知名的艺术人物横田正里的作品，也是一系列由福井基金会资助的在老岛的艺术项目。这个艺术博物馆于2013年夏天开放，与2013年Setouchi Triennale的开始相一致。它最初是由三幢一层楼高的日本老房子组成的.我们重新使用，翻新，部分扩建。

This is the project by Tadanori Yokoo, an internationally renowned figure in art, as well as being a series of art projects that kicked in with the one in Naoshima, backed by Fukutake Foundation. This art museum opened in the summer of 2013, align with the start of Setouchi Triennnale 2013. It is originally composed of three of one-storey Japanese old houses. We repurposed, renovated and partly made extension.

 © Nobutada Omote

诺博塔达·奥莫特

博物馆的目的是鉴定他的作品与建筑本身。为了实现这一点，我们首先考虑了如何在几何意义上接近这两个概念，二维和三维。和他的拼贴作品一样，作品中的各种场景和体验都被各种屏幕效果、游人的动作和自然的白光象征性地放大和拼贴。你永远不会遇到同样的场景。在目标的背后，我们人类无法回避终生主题“生与死”的真正意义，正如他在他的作品中所坚持的那样。“特希马横屋”将是一个不断变化并在社区中流通的集合。

The museum aims at identifying his works with the architecture itself. To achieve this, we first contemplated on how we can make close to these two ideas, two dimensions and three dimensions in a geometrical sense. Like his collage works, various scenes and experiences inside are figuratively amplified and collaged by each of screens effects, motion of visitors and natural daylights. Never will you encounter the exact same scene. Behind the purpose, true meaning underlies that we humans can’t avoid lifelong theme , “Life and death ” , as he insists through his works. “Teshima Yokoo house ” will be the aggregate that is constantly changing itself and circulating in the community.

 Event Mochi-maki. Image © Nobutada Omote

Mochi-maki事件。图像(Nobuada Omote)

第二，同样重要的是，这个地方在振兴长期居住在特希马的老年人方面起着重要作用。这是我们客户的强烈要求。为了与他们分享这个过程和经验，我们创造了机会让他们知道这个博物馆的目的，以及这个地方将如何与他们的生活为伍。例如，我们举办了米饼制作节，并在红色玻璃上展示了施工过程。我们实际上已经用他们做了碎瓷砖来盖住花园里池塘的底部。正如博物馆的主题所说，这个地方可以举行葬礼。我们希望这将成为当地人的中心，让他们充满活力，并传播开来。

Secondly, it is also important that this place plays a role in invigorating the elderly people who long lives in Teshima. This is a strong request from our client. To share the process and experience with them, we were making opportunity to let them know what this museum is for, and how this place will be side with their lives. For example, we held rice cake making festival, and showing construction process over the red glass. We actually had done making crushed tile with them to cover the bottom of the pond in the garden. As the theme of the museum says, this place literally is able to hold funeral. We hope this is going to be a hub for the locals, giving birth full of energy to them, and spreading as much.

基于这两个前提，我们为游客提供了通往空间内外曲折的新路线。我们以日本老木屋的特色空间，通过设置黑色透明眼镜和镜子，放大了他的作品形象和园林景观。在这些特殊的环境中，红色玻璃在技术上是失去色彩信息、将世界另一端变成单色视角的关键，这也意味着“生与死”与“平凡与不平凡”之间的界限，实际上，红色是生命的象征。当你即将在博物馆开始你的旅程时，你会注意到花园里的红色石头在视觉上消失了它的存在。当你走进屋内，穿过主楼时，你会看到花园原来的颜色。从主楼看，由于不同颜色的眼镜，花园显得阴郁。在主地板下流过的河上，你最终会看到他的三部作品“宇宙普世”中的227.3×546cm。这也反映在黑色地板玻璃，并压倒游客之前，他们知道。

Based on these two premises, we directed new route for visitors to zigzag between the inside and outside of the space. With the characteristic space of old Japanese wooden house, we worked on amplifying the image of his works and scenery of the garden by setting black, transparent glasses and mirrors. Among these special setting, red glass have technically a key to lose information of colors and change the other end of world into monochrome view, This also means the boundary between “life and death” and “ordinary and extraordinary ”, which in fact, he uses the color of red as an symbol for life. When you are about to start your journey in the museum, you notice the red stones in the garden visually disappear its existence. As you go inside and pass through the main house, you encounter the garden with its original color. Looking from the main house, the garden looked gloomy by distinct functions of different color of glasses. Across the river flowing under the main floor, you’ll finally encounter 227.3×546 cm of his three works,”Primitve universe”. This is also reflected in the black floor glass, and overwhelms visitors before they know it.

 © Nobutada Omote

诺博塔达·奥莫特

Architects Yuko Nagayama & Associates

Location Teshima, Teshimakarato, Tonosho, Shozu District, Kagawa Prefecture 761-4662, Japan

Category Museum

Architect in Charge Yuko Nagayama, Daisuke Yamagishi

Artwork And Concept Tadanori Yokoo

Area 185.0 sqm

Project Year 2013

Photographs Daichi Ano, Nobutada Omote