架构师提供的文本描述。诺瓦利斯指出，“曲线是自由在规则上的胜利”，乔瓦尼·林多·费雷蒂(Giovanni Lindo Ferretti)曾唱过“直线代表快速”，奥斯卡·尼迈耶(Oscar Niemeyer)一直在解释：“吸引我的不是正确的角度。”也不像人类创造的直线，坚韧。吸引我的是自由的，性感的曲线。在我的国家的山里，在曲折的河流中，在海浪中，在天空的云朵中，在心爱的女人的身体里，我找到了一条曲线。所有的宇宙都是由曲线组成的。“

Text description provided by the architects. Novalis noted that “The curve is the triumph of the freedom on the rule”, Giovanni Lindo Ferretti used to sing that “Straightness is for hastiness” and Oscar Niemeyer kept on explaining: “It is not the right angle that attracts me. Nor the straight line, tough, inflexible, created by man. What attracts me is the free, sensual curve. The curve I find in the mountains of my country, in the sinuous course of its rivers, in the waves of the sea, in the clouds of the sky, in the body of the favorite woman. Of curves is made all the universe.”

 © Osamu Nakamura

中村三木(Osamu Nakamura)

2011年11月，一家位于东京的画廊“艺术阵线”要求意大利艺术家Massimo Bartolini设计一间470平方米的房间，位于日本新田县东町市的佐山当代艺术博物馆(Satoyama Museum Of Now Art)的四面。该博物馆由日本建筑师原广志设计，建于2003年，是2012年著名的国际艺术节Echigo-Tsumari艺术三人展(Echigo-Tsumari Art Triennale)的选定地点之一。他们的任务是在永久的艺术设施和建筑空间之间构思一些东西，以容纳和结合为博物馆服务的不同功能：酒吧、餐厅、书店和当地电台。出于这些原因，MassimoBartolini决定与建筑师LorenzoBini一起开发该项目。

In November 2011 Art Front, a Tokyo-based gallery, asked the Italian artist Massimo Bartolini to design a 470 sqm room situated in of the four sides of the Satoyama Museum of Contemporary Art, KINARE in Tokamachi City, Echigo-Tsumari region, Niigata prefecture, Japan. Designed by Japanese architect Hiroshi Hara, the museum was built in 2003 and was among the elected locations of the Echigo-Tsumari Art Triennale 2012, a prestigious international festival. The task was to conceive something in between a permanent art installation and an architectural space to host and combine different functions serving the museum: a bar, a restaurant, a bookstore and a local radio station. For these reasons Massimo Bartolini decided to develop the project together with the architect Lorenzo Bini.

 © Osamu Nakamura

中村三木(Osamu Nakamura)

一个35米半径的假想圆圈，刻在博物馆计划的完美广场上，是整个项目的起源和组织行动。一个弯曲的木制书柜，建在圆形弧形上，穿过正方形一侧的长方形房间(54x8.5米)，与大楼内院的宽玻璃窗一道标记和定义了酒吧和餐厅的空间。书店和电台放在书柜的背面，通过大间隙与主空间相连-要么完全开放，要么用玻璃片隔开-在矩形的两旁有两个主要入口。

An imaginary Circle of 35 m radius, inscribed in the perfect Square of the Museum plan, is the action that originates and organizes the entire project. A curved wooden bookcase, built on the circular arc that crosses the long rectangular room (54 x 8.5 m) on one side of the square, marks and defines – together with the wide glass window on the inner court of the building – the space of the bar and the restaurant. The bookstore and the radio station are placed on the back of the bookcase, are connected with the main space through wide gaps - either completely open, or isolated by glass sheets – and are served by two main entrances at the two edges of the rectangle.

 © Osamu Nakamura

中村三木(Osamu Nakamura)

书柜作为房间的背景，可以通过两种不同的方式来感知：从球场的室外空间看，它提供了一个正面的视图，看起来很平静和平坦；而从酒吧的内部空间来看，它只能通过强调曲线的强烈和极端的预见性来体验。除了它的空间功能外，书柜作为一个容器的东西。作为酒吧和书店的实际储藏室，其货架存放和展示库存的书籍和在未冷藏环境(大米、饮料、香料等)中可保存的食物。然而，还有许多其他的对象，其功能定义较少，有时还具有神秘的外观，使书柜充满活力。通过当地社区的合作和参与，弯曲的墙壁变成了博物馆内的一种“博物馆”，每天的物品、手工艺品、手工制品、纪念品、小摆设都被不断地展示、替换和交换，以物品交叉的原则。任何愿意拥有其中一个显示对象的人都可以拥有它，唯一的条件是将该对象替换为您自己的另一个对象。因此，餐厅的背景不仅仅是一个容器，而是一个不断变化的Wunderkammer，他的艺术家、收藏家和馆长都是博物馆的参观者。

The bookcase works as the background of the room and can be perceived in two different ways: from the outdoor space of the court it offers a front view and looks calm and flat while from the interior space of the bar it can only be experienced through a foreshortening perspective that emphasizes the intense and extreme nature of the curve. In addition to its spatial function, the bookcase functions as a container of things. Serving as the actual storeroom for the bar and for the bookstore, its shelves host and display stocks of books and provisions of alimentary goods that are preservable in unrefrigerated environments (rice, beverages, spices, etc...). Yet there are many other objects with less defined functions and sometimes enigmatic appearances animating the bookcase. Through the collaboration and the involvement of local communities the curved wall is turned into a sort of 'museum inside the museum' where everyday objects, handicraft products, handmade articles, memorabilia, knick-knacks are continuously exhibited, replaced and exchanged with the principle of the object-crossing. Anyone willing to possess one of the displayed objects is allowed to have it, the only condition is the substitution of that object with another from your own. Thus the background of the restaurant becomes, more than a mere container, an always changing Wunderkammer whose artists, collectors and curators are the visitors of the museum.

 © Osamu Nakamura

中村三木(Osamu Nakamura)

在房间的中心-在新书柜和现有的玻璃窗之间-一卷黑色平行的书，上面有一个钢结构和一块石膏板，宽10米，深4米，高3米，是厨房和吧台的主人。圆与方、曲线与直线、自由与规则之间的关系-以及该项目的两个主要建筑元素(弯曲书柜和正方形厨房容积)之间的对比-也可在酒吧凳子的细节中找到。

At the centre of the room - between the new bookcase and the existing glass window - a black parallelepiped volume with a steel structure and a gypsum board covering, 10 m wide, 4 m deep, 3 m tall, hosts the kitchen and the counter of the bar. The relation between circle and square, curve and straight, freedom and rule, can be found - as well as in the contrast between the two main architectural elements of the project (the curved bookcase and the boxy kitchen volume) – also in the detail of the bar stools.

 © Osamu Nakamura

中村三木(Osamu Nakamura)

Artek圆桌是通过当地河流Shinano的轮廓片段定制的。通常随机放置在房间里，桌子可以组合在一起-在开口、仪式或周年纪念的情况下-组成河道。两簇悬挂着的球形灯，按照西野道的相同路径布置，像云彩一样漂浮在天花板下，标志着桌子可以并排的位置。

The round Artek tables are customized through the marquetry of fragments of the outline of a local river, the Shinano. Usually randomly placed in the room, the tables can be combined – in occasion of openings, ceremonies or anniversaries – to compose the river course. Two clusters of hanging spherical lamps, laid out according to the same path of the Shinano, float under the ceiling as clouds to mark the position in which the tables can be juxtaposed.

 © Osamu Nakamura

中村三木(Osamu Nakamura)

悬挂在灯具上方，由薄金属棒连接到专用栅极上，2000块聚碳酸酯圆盘覆盖整个房间表面。这些非常轻的半透明圆圈随机分组并连接到一系列小型电动发动机上，突然开始缓慢地围绕着它们的错位集线器旋转，神奇地给下面的空间注入了生命。这种几乎看不见的运动让人回想起脉动生物的脚步声，不断地自我繁殖。这个装置在Echigo-Tsumari Triennale期间由德国艺术家Carsten Nicolai的配乐加以加强，是这个项目中最脆弱、也是最强大的元素，可以从餐厅的内部和博物馆中心的大广场上看到。

Suspended above the lamps, connected to a dedicated grid by thin metal rods, 2000 polycarbonate disks cover the entire surface of the room. Randomly grouped and connected to a series of small electrical engines, these very light translucent circles suddenly start to slowly revolve on their misaligned hubs, magically giving life to the space below. This almost imperceptible movement recalls footages of pulsing organisms continuously reproducing themselves. This installation, enhanced during the Echigo-Tsumari Triennale by a soundtrack care of German artist Carsten Nicolai, is the most fragile – but also the most powerful - element of the project and can be perceived both from the interior of the restaurant and from the large square court at the centre of the museum.

 Courtesy of Binocle

贝诺克尔