日本千葉

勝田臺住宅

日本千葉

Katsutadai House

建造時間：2013年

攝影: Daici Ano

這是一間住宅式商店，位于日本千葉縣勝田臺。一樓靠外的部分是一家法式蛋糕店，靠內(nèi)部分則是蛋糕店的廚房，二三樓是四口之家的住所。一樓和三樓之間形成了一個掏空的楔形，所以從街上看，住宅的上半部分就像是懸浮著的。這個掏空楔形在一天不同時間內(nèi)會呈現(xiàn)出不同的光效。白天，它是蛋糕店的采光井；夜晚，光線從縫隙中透射出來，猶如打開了一個百寶箱。通過蛋糕店透明的玻璃屋頂，可以看見建筑里居住區(qū)的一隅。商店沿街處的墻高為1.8米，越往里走墻就越高，因為我們想要打造一個熟悉的開放空間，類似由矮墻圍成的一片空地。

在這座建筑物中，店鋪空間與漂浮的居住空間似乎有一種相互守望的關(guān)系，在單體建筑里同時形成了一種特別的、獨立的存在感。每一個空間都與周圍的環(huán)境有一種特殊的距離感。店鋪空間是一種延伸至街頭的外景，四周只有矮墻；居住空間則與環(huán)境的脫離感更強(qiáng)，漂浮在街頭上方，靠街的一面沒有任何窗戶。因此，居住者無法直接看見其他房子，當(dāng)然其他房子的住客也無法看見這邊。另外，我們在居住區(qū)開鑿了風(fēng)道，將風(fēng)和外面的聲音帶到室內(nèi)，使居住者能夠感受到街道的氣氛。當(dāng)我們第一次參觀這座老房子的時候，一樓是商店，二樓是居住區(qū)，室內(nèi)窗簾緊閉，以擋住街上行人的視線。而孩子從樓上走到蛋糕店的腳步聲則讓他們困擾不已。因此，我們在方案設(shè)計中也考慮了是否能夠解決這些問題。

我們的方法就是在店鋪區(qū)和居住區(qū)之間增添一些美觀的東西，長度要足以改變兩個地方之間的空間感。我們計劃利用“情景”來改變建筑與環(huán)境之間的距離感，例如將蛋糕店的公共空間升高，讓居住空間更獨立。這些距離感會改變他們生活空間中的時間流向。

Located in Teshima, an old port town lying in Seto Inland Sea, “Teshima Yokoo House” sits as an art museum in such an old community as most of the people are the elderly.

This is the project by Tadanori Yokoo, an internationally renowned figure in art, as well as being a series of art projects that kicked in with the one in Naoshima, backed by FukutakeFoundation. This art museum opened in the summer of 2013, align with the start of Setouchi Triennnale 2013. It is originally composed of three of one-storey Japanese old houses .we repurposed, renovated and partly made extension.

The museum aims at identifying his works with the architecture itself. To achieve this, we first contemplated on how we can make close to these two ideas, two dimensions and three dimensions in a geometrical sense. Like his collage works, various scenes and experiences inside are figuratively amplified and collaged by each of screens effects, motion of visitors and natural daylights. Never will you encounter the exact same scene. Behind the purpose, true meaning underlies that we humans can’t avoid lifelong theme , “Life and death ” , as he insists through his works. “Teshima Yokoo house ” will be the aggregate that is constantly changing itself and circulating in the community.

Secondly, it is also important that this place plays a role in invigorating the elderly people who long lives in Teshima. This is a strong request from our client. To share the process and experience with them, we were making opportunity to let them know what this museum is for, and how this place will be side with their lives. For example, we held rice cake making festival, and showing construction process over the red glass. We actually had done making crushed tile with them to cover the bottom of the pond in the garden. As the theme of the museum says, this place literally is able to hold funeral. We hope this is going to be a hub for the locals, giving birth full of energy to them, and spreading as much.

Based on these two premises, we directed new route for visitors to zigzag between the inside and outside of the space. With the characteristic space of old Japanese wooden house, we worked on amplifying the image of his works and scenery of the garden by setting black, transparent glasses and mirrors. Among these special setting, red glass have technically a key to lose information of colors and change the other end of world into monochrome view, This also means the boundary between “l(fā)ife and death” and “ordinary and extraordinary ”, which in fact, he uses the color of red as an symbol for life. When you are about to start your journey in the museum, you notice the red stones in the garden visually disappear its existence. As you go inside and pass through the main house, you encounter the garden with its original color. Looking from the main house, the garden looked gloomy by distinct functions of different color of glasses. Across the river flowing under the main floor, you’ll finally encounter 227.3×546 cm of his three works,”Primitve universe”. This is also reflected in the black floor glass, and overwhelms visitors before they know it.