This gallery is the second phase of a process started in 2012 with the design and construction of Villa U. The site directly overlooks onto the Pacific Ocean and its surrounded by a thick bamboo forest.

这个画廊是2012年开始的第二阶段的过程，与别墅U的设计和建设，该网站直接俯瞰太平洋和它的周围是一片茂密的竹林。

Conscious of the rich nature surrounding the site, Satoshi Okada conceived an invisible building, transparent in all parts but the thin flat roof. The gallery is glazed on all four sides and features an incredibly light-weight steel structure. This latter was designed following the principle of the catenary curve: learning from the Franciscan priest and mathematician Pad. Carlo Lodoli (Venice, 18th century) and from his application of this principle to the design of a small window sill at the cloister of San Francesco della Vigna, a ribbed slab tapers towards its edges and transfer its load onto perimetral V shaped columns. These are a direct memory of Viollet-le-Duc’s concept for a market hall designed in 1865. The columns are tapered as well, so that the cross section at the base looks rather slender.

意识到周围的丰富性质，冈田聪设想了一个无形的建筑，透明的地方，除了薄薄的平屋顶。画廊的四面都是玻璃的，并有一个难以置信的轻钢结构。后者是按照悬链曲线的原理设计的：向方济会牧师和数学家帕德学习。卡洛·洛多利(威尼斯，18世纪)，从他将这一原则应用到圣弗朗西斯科德尔拉维尼亚修道院的一个小窗台的设计中，一个带肋的板条逐渐向边缘倾斜，并将其荷载转移到外围V形柱上。这是对1865年设计的市场大厅的Viollet-le-Duc概念的直接记忆.柱子也是锥形的，所以底部的横截面看起来相当纤细。

The lightness of the bearing element together with the transparent cladding leave the scene to the client’s cars, visible between the bamboos. This barely perceivable and apparently fragile object states its intensity through transparency, like the fading pines of the folding screen Shorin-zu Byobu by Japanese artist Tohaku Hasegawa, 16th century.

轴承元素的轻盈与透明的包层一起，将场景留给客户的汽车，在竹子之间可见。这个几乎看不出的、明显脆弱的物体通过透明来表示它的强度，就像日本艺术家长谷川久谷(Tohaku Hasegawa，16世纪)的折叠屏风松树一样。

Photo credit: Satoshi Shigeta

图片来源：佐藤茂田

Firm Satoshi Okada architects

Type Cultural › Gallery

STATUS Built

YEAR 2018

SIZE 1000 sqft - 3000 sqft

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关键词：建筑，建筑新闻，室内设计，组合，规格，品牌，市场，产品画廊U