这是一个私人博物馆，用来展出和保存霍基先生收藏的绘画和葡萄酒。按照普密安的观点，收藏的本质不仅仅是收集事物，还包括重建事物、展示事物和建立新的意义。因此，霍基先生在这里通过收集写实绘画和建立新的意义的行动，可以准确地被认为是“收藏”。

 This is a private museum to exhibit and preserve painting and wines that Mr. Hoki has collected. According to Krzysztof Pomian, the essence of collection is not only just to gather things, but also to reconstruct them, exhibit them and establish new meanings. So, the action Mr. Hoki is performing here through gathering realistic paintings and aiming to establish new meanings can be exactly recognized as "collection".

有一次，AbyWarburg试图提出“Mnem产地图集”作为展示藏品的一种方法。他不能完成它，但我们觉得这个概念仍然有效。所以我们认为北井博物馆是建立北井先生藏品的建筑图集的一个机会。

Once Aby Warburg tried to propose "Mnemosyne Atlas" as a method to exhibit collections. He could not complete it but we felt the concept is still effective. So we thought Hoki museum could be a chance to establish architectural Mnemosyne Atlas of Mr. Hoki's collection.

他收藏的主要主题是写实油画，以神奇的手法神奇地描绘出细节，所以我们认为“画廊”最适合这些作品，应该被选为这一博物馆空间的原型。到目前为止，画廊很少单独作为建筑存在，并且一直被建筑师视为附属空间。因此，我们试图为这个设施生成所有的建筑元素，这一次只能从画廊的集合中生成。这个建筑只不过是一个画廊，也是一个画廊。我们的目标是建立“零度画廊”。

Main theme of his collection are realistic oil paintings miraculously painted in detail with marvelous technique, so we thought that "gallery" is most suited for these works and should be selected as an archetype of this museum space. Until now, galleries have rarely existed only by itself as architecture and always have been treated as subsidiary space by architects. So, we tried to generate all architectural elements for this facility only from ensemble of galleries this time. This architecture is nothing more than a gallery, but also less than a gallery. Our aim was to establish "Gallery Degree Zero".

在画廊里，人们不仅可以在传统的顺序移动中访问每一幅画，而且还可以随机进入，因为画廊稍微弯曲，人们一眼就能识别出所有绘画的位置。沿着遗址纵向挤出的画廊长达100米。参观者将面对超现实的绘画在一个无缝画廊，没有任何关节的完成和突出的存在的灯光。在画廊的尽头，他们可以享受外面的自然光和风景。休息一会儿后，他们将搬到下一个画廊去。这是这个博物馆的基本系统。所有的画廊都有相同的风格，但比例、尺寸和自然光的数量都在逐渐改变。通过这些微妙的控制，我们试图建立空间序列，就像波莱罗，在由重复的画廊组成的简单系统中具有不同的密度。

Inside galleries, people can not only access each painting in traditional sequential move, but also take a random-access way because galleries are slightly curved and people can recognize positions of all the paintings at a glance. Galleries that extrude longitudinally along the site, measure up to 100 meters long. The visitors will face to the super-realistic paintings in a seamless gallery without any joints of finish and outstanding existence of lights. At the end of a gallery, they can enjoy natural light and scenery outside. After a short rest, they will move to the next gallery. These are the fundamental system of this museum. All the galleries have same style but proportions, dimensions and amount of natural light are gradually changed. Through these delicate controls, we tried to build up the sequence of spaces, like a bolero, having different densities in the simple system composed only by repetition of galleries.

在外面，我们试图通过堆叠画廊来建立与环境相适应的存在。在西边，游客主要接近这个设施，画廊密集堆放，以平衡周围的房屋。在该设施面向森林的北侧和东南面，画廊是离散的组成，并清楚地显示了该设施的程序。有效地利用了特色结构，上面的廊道被悬挑，飞向30米长的森林。60厘米高的水平狭缝之间的画廊，作为一条路线的风，使树枝的树木在庭院内皮瓣。

Outside, we tried to build the presence fit in to the context by stacking galleries. In the western side where the visitors mainly approach to this facility, the galleries are intensively stacked to balance between houses around the site. In the north and southeast side where this facility faces to a forest, the galleries are discretely composed and show the program of this facility clearly. Using characteristic structure effectively, the upper gallery is cantilevered and flies toward the forest 30m long. 60cm high horizontal slit between the galleries works as a route of winds that makes twigs of trees inside courtyard flap.

正如这里所描述的，这个博物馆的设计完全是为了在最好的条件下展出这些藏品。同时，在仅使用画廊的有限条件下，我们试图答复Hoki先生的要求，即建筑也必须成为他收藏的一部分。

As just described here, this museum was entirely designed to exhibit the collection at its best condition. At the same time, under the limited condition using only galleries, we tried to reply to Mr. Hoki's request that the architecture also have to constitute a part of his collection.

 © Noda Gankohsha

(C)野田甘科沙