架构师提供的文本描述。冈玛被认为是伊萨基最伟大的杰作之一，现代艺术博物馆，它见证了伊萨基的建筑思想，并代表了他的成就的总结。这份表格是对博物馆的概念表述，是一种空洞和框架。

Text description provided by the architects. Considered one of Arata Isozaki’s greatest masterpieces, the Museum of Modern Art, Gunma stands as a testimony to Isozaki’s architectural ideology and represents a summary of his achievements. The form is a conceptual statement about the museum as void and frame. 

 Courtesy of Arata Isozaki

阿拉塔·泽扎基(Arata Zerzaki)提供

利用一个12米的立方体作为比喻形式来表达一个框架，伊泽扎基把博物馆变成了一个展示和隔离艺术品的舞台和容器。更多关于现代艺术博物馆，冈玛后休息。

Utilizing a 12-meter cube as a metaphorical form to express a frame, Isozaki turned the museum into a stage and a container for displaying and isolating artwork. More about the Museum of Modern Art, Gunma after the break.

伊泽扎基使用纯立方体使建筑变得失重，并使建筑变得非物质化。没有维度在立方体中有层次，因此静谧和安息在结构中表现出来。每个成员的平等使得任何力量都作用于立方体的观念恶化，而掩盖正面的铝制方块隐藏了结构，以进一步暗示一个失重的形体。

Isozaki’s use of a pure cube makes the building weightless and dematerializes the architecture. No dimensions have hierarchy within the cube, and therefore stillness and repose is manifested within the structure. The equality of every member deteriorates the notion that any forces are acting upon the cubic forms, and the aluminum squares that mask the facade hide the structure to further allude to a weightless figure.

博物馆的立方体结构围绕着每一个空间创建了一个三维框架，隐喻地将艺术与周围的贡玛-无莫里公园隔离开来。就像一个框架将一幅画与它的上下文隔离开来一样，博物馆的空间框架将室内空间与景观分开，只将它们奉献给艺术。

The cubic structure of the museum creates a three dimensional framework around every space, metaphorically isolating the art from the surrounding Gunma-no-mori Park. Just as a frame isolates a picture from its context, the spatial frame of the museum detaches the interior spaces from the landscape and devotes them only to the art. 

极简主义的设计也是为了限制建筑与展品的竞争，并为心灵的反思创造空虚。然而，博物馆非但没有自我中和，反而不可避免地成为了自己的艺术作品。

The minimalist design was also meant to restrain the architecture from competing with the exhibits and to create emptiness for the mind to reflect upon itself. Rather than neutralizing itself however, the museum inevitably became its own work of art.

在带正门的轴线上，一座不朽的楼梯在12米长的长方形之间攀爬到第二层的礼堂和画廊空间。两面反射大理石墙包裹着台阶，把它们挤成无限。在主楼梯东边的一排立方体内，是主大厅。

On axis with the main entrance, a monumental stair climbs between to rows of 12m cubes to the second floor auditorium and gallery spaces. Two reflective marble walls encase the steps and extrude them into infinity. Within the row of cubes to the east of the main stair lies the main hall.

大厅的另一端是一座大理石雕塑，类似于一系列台阶，然而它们太大了，无法攀爬。当一个人右边的墙向远处会合时，雕塑的倾斜边缘和不成比例的大小抓住了视角，把它扔回了观众身上。这个博物馆空间网格的单一动态体验描绘了一个戏剧性的概念，即每个空间都是艺术品的舞台。

At the far end of the hall lies a marble sculpture resembling a series of steps; however they are too large to climb. As the wall to one’s right converges into the distance, the skewed edge and disproportioned size of the sculpture grabs the perspective and throws it back on the viewer. This single dynamic experience of the museum’s spatial grid portrays the dramatic concept that each space is a stage for the artwork.

现代艺术博物馆的第一阶段建于1974年。在这一点上，博物馆建议的双边对称，它是A：B：C：C的立方形式的划分。整个外观的图案创造了对称，然后在形式中暗示，但不是字面上完成。

The first stage of the Museum of Modern Art, Gunma was completed in 1974. At this point the museum suggested a bilateral symmetry with it’s A:B:C:C divisions in the cubic form. The pattern across the façade creates the symmetry that is then implied in the form, but is not literally completed. 

设计一个额外的B：一个除法的形式将满足对称性，但第二阶段在1994年打破了这种对称性。由于场地的限制，伊泽扎基不能在博物馆的西侧再增加两个部分，取而代之的是在这个等式中只增加了一个12米的立方体。这个立方体在二楼有一个旋转的剧院，它突破了玻璃的正面，抵消了图案的正面所产生的对称性。

Designing an additional B:A division to the form would have fulfilled the symmetry, however stage two in 1994 broke that symmetry. Isozaki could not add two more sections to the west side of the museum due to site restrictions, and instead added only one 12m cube to the equation. This cube holds a rotated theatre on the second floor that breaks through the glass facade and counteracts the symmetry produced by the patterned facade.