3.Noriyuki Yano

© Noriyuki Yano

 © Noriyuki Yano

3.Noriyuki Yano

由NAF架构师提供的访问

Interview provided by naf architect & design

1A.你是怎么得到这个项目的？客户是谁？他问你什么？

1a. How did you obtain this project? Who is the client and what did he ask you?

客户名叫加藤健二先生，他在广岛市开了一家牙科诊所，学习日式绘画作为业余爱好。他的老师是日本风格画家，广岛日本风格绘画协会名誉会长，曾多次获奖。加藤先生一直在计划建立一个卡库多·戈阿米博物馆，希望向更多的公众展示戈阿米先生的作品。加藤先生看过我几年前建造的商业综合体平面图，认为我是博物馆建筑师的最佳人选。

The name of the client is Mr. Kanji KATO who owns a dental clinic in Higashi Hiroshima city and studies Japanese-style painting as a hobby. His teacher is Mr. Kakudo GOAMI, a Japanese-style painter and a honorary president of Hiroshima Japanese-style painting Association, who has received numerous awards. Mr. KATO had been planning a museum of Kakudo GOAMI with the hope of exhibiting the works of Mr. GOAMI to a greater public. Mr. KATO had seen my project, FLAT FORM, a commercial complex built several years ago, and considered that I was a optimal candidate for the architect of the museum.

 © Noriyuki Yano

3.Noriyuki Yano

3.Noriyuki Yano

© Noriyuki Yano

1B.这是私人博物馆还是对每个人开放？里面到底展示了什么？

1b. Is it a private museum or open to everybody? What exactly is on show inside?

这是一个由加藤先生亲自资助和拥有的博物馆，但是任何人都可以来参观。在那里展出的所有作品都是Kakudo GOAMI先生的作品，由艺术家本人或加藤先生拥有，因此，其中许多作品没有在公共博物馆展出。

This is a museum funded and owned personally by Mr. KATO, but anyone can come and see. All the works exhibited there are those of Mr. Kakudo GOAMI, owned either by the artist himself or Mr. KATO, thus, many of which had not been exhibited in public museums.

 © Noriyuki Yano

3.Noriyuki Yano

3.Noriyuki Yano

© Noriyuki Yano

2A.请介绍一下设计过程。你是怎么最终变成这样的？

2a. Please tell about the design proces. How did you come to this final shape?

戈阿米先生的作品给出了各种灯光的鲜明形象，因此，我决定设计一座以自然光为重点的建筑。顶部的软漫射光，顶光通过白色圆柱体直接浇筑的光，使光线凝结在一楼，墙壁上的狭缝反射在外部绿色上的软光，从混凝土墙壁上的432个平板玻璃中浇灌出的图形光的碎片，空间中充满了各种各样的灯光。作为一个展览空间，不需要像柱和梁这样的结构，而是尽可能大的墙。博物馆的重要因素是将自然光和风结合在一起，因此在不影响展览的范围内，用狭缝将角切成薄片。这个想法会让建筑的结构变得脆弱，所以我们研究了一个合理的形状，它在结构上是稳定的，比如折叠一张纸，折纸，很多时候做几个角落，用模型和计算机进行三维结构分析。

The works of Mr. GOAMI give striking image of various lights, thus, I decided to design the building focusing on natural light.  Soft diffused light from top light, direct light pouring  from top light through white cylinder for condensation of light spreading on the first floor, soft light from slits on the walls reflecting on the exterior green, fragments of graphical lights pouring through 432 plate glasses on the concrete walls; the space is filled with various kinds of lights.  As an exhibition space, there was no need for structure such as columns and beams but as large wall as possible.  The important factor of the museum was to incorporate natural light and wind, so corners are sliced with slits to the extent which would not interfere the exhibit.  This idea would have left the building structurally fragile, so we studied a rational shape, which was structurally stable like folding one sheet of paper, origami, many time to make several corners, with models and three-dimensional structure analysis by computer.

 © Noriyuki Yano

3.Noriyuki Yano

3.Noriyuki Yano

© Noriyuki Yano

2B.博物馆建筑与周围环境有什么关系？这个博物馆是什么样的街区？

2b. What is the relation between the museumbuilding and its surroundings? What kind of neighbourhood is this museum standing?

该遗址被发现在一个平静和平的乡村场景，在那里它变得完全黑暗的夜晚，没有路灯。当它变得黑暗时，这座建筑就会自动亮起来，向周围柔和地投射光线。它成了这个地区的一个地标。(鼓掌)

The site is found in a calm and peaceful rural scene, where it became completely dark at night with no streetlights.  This building is automatically lit up when it becomes dark, softly casting light to the surrounding.  It became a landmark of the area.   

 © Noriyuki Yano

3.Noriyuki Yano

3.Noriyuki Yano

© Noriyuki Yano

3.展出的物体(日本画)与建筑空间的关系是什么？

3. What is the relation between the object on display (Japanese-style painting) and the architectural space?

请参阅2a的答复。

Please refer to the response of 2a.

 © Noriyuki Yano

3.Noriyuki Yano

3.Noriyuki Yano

© Noriyuki Yano

4.是什么使这个博物馆有别于普通的博物馆？

4. What makes this museum different from a regular museum?

我的重点是在展览空间内尽量考虑自然环境的因素，展览空间内的人工灯光是最少的，基本上是用全年变化的自然光来看，会因一年中的天气而有不同的印像，而展览空间是刻意设计的，是为了容易受到自然环境的影响而设计的。

I focused on taking in as much factors from natural environment as possible in the exhibition space.  Artificial lights in the exhibition space are limited to the minimum.  The works are basically viewed with natural light which changes throughout the year, giving different impression by the weather of the day and time of the year.  The exhibition space is intentionally designed to be susceptible to the natural environment.

 © Noriyuki Yano

3.Noriyuki Yano

3.Noriyuki Yano

© Noriyuki Yano

5.参观这座大楼后，你希望游客得到什么样的印象？

5. What impression do you hope the visitors obtain after visiting the building?

我希望参观者们能通过这座建筑感受到卡库多·戈阿米先生的绘画所营造的深沉和温柔的气氛，这种气氛是以日本独特的四季变化中的东方精神为基础的。

I would like the visitors to feel, with their entire bodies, through this building, atmosphere of profundity and gentleness created by the paintings of Mr. Kakudo GOAMI, which is based on noble spirit of Orient in the changes of four seasons unique in Japan.

 © Noriyuki Yano

3.Noriyuki Yano