The Japanese pine gallery

设计方：Taku Sakaushi (O.F.D.A.)

位置：日本 茨城县

分类：办公建筑

内容：实景照片

建筑设计负责人：Taku Sakaushi, Hirotoshi Takeuchi

结构工程师：nagasaka design engineering building

建筑公司：construction gunji

图片：30张

摄影师：Hiroshi Ueda

这是由Taku Sakaushi (O.F.D.A.)设计的松木画廊。该项目旨在延续Re-Tem Corporation公司办公室的回忆，并改善周边环境。原办公室正对着的道路根据规划要进行后退移位，对建筑自身的影响较大。因此客户采纳了建筑师的意见，以抽象的形式延续建筑的色彩和造型。

一般的办公室以存档公司资料为主，往往设计成封闭的仓库。因此建筑师希望增加一些额外空间，以满足公司未来发展的使用需求，如公司高层会议室或客户父母的本地交流。建筑师认为应该增加一些开放性空间，并与建筑主要功能有所区别的：因为建筑是一个框架，建筑自身是固定不变的，但它会成为周边持续变化的环境的框架；其次，建筑应与城市形成连续、互动的、开放的关系；最后，建筑应像一块灵活的海绵，能吸引人们进入。

公司历史资料库（A）正是遵循建筑退后的要求表达抽象的概念。相比之下，α空间（B）旨在营造前面提到的三点开放性空间，以扇形的形式对着花园和步道开放，容纳各种交流活动，并让客户欣赏到他充满回忆的松树。开放的α空间（B）渗透到封闭的空间（A），以及其他储存空间。烟囱状的空间是α空间（B）的眼神，以让阳光渗透到α空间（B）和封闭的空间（A）。皮膜化的钢板用于覆盖α空间（B），这种材料让人联想到客户公司曾作为钢材回收的发展历史。

译者： 艾比

This project was launched to inherit the memory of the initial building of Re-Tem Corporation and improve the surrounding environment. The initial office facing towards a planned road must be moved backward. The discussion on the possibility of dragging back the building with the constructor in consideration of the structure concluded that the building would collapse if dragged. The client agreed with our proposal for inheriting the colors and shapes in the memory of his family in an abstract manner without regard to the original building. The office, carving of deity and small shrine as well as the outline of the entrance of his birthplace were to be integrated into the overall plan.

The office to serve as an archive of corporate history tends to be something closed like a warehouse. However, we proposed the addition of some extra space in consideration of the future possible use of the site as a meeting point of corporate executives or for local communication by the client’s parents. I simply insist that the space should embrace something a little open with a purpose different from the main intention of the building. I will describe the three reasons below that have led me to this idea.

The first reason is associated with my idea “Architecture is frame”. An architect who was my teacher once said “A man will get ‘accustomed to’ a building”. I felt somewhat disappointed hearing that as getting “accustomed to” a building could also mean that one might lose the sense of freshness in the building. Since then, I have been thinking of the building that “no one gets accustomed to”, the concept difficult in principle. Buildings are fixed and do not change. However, the surrounding environment, neighbors and cars you see from a building, or people, furniture or pets if you turn your eyes into a room are not fixed. These will remain changing. Leaving aside the fixed property of buildings, I wanted to create a building that would always be new to you. To this end, I reached the conclusion that a building can only be a frame of these changing objects.

The second reason is related to my experience when working for Shinshu University in Nagano. In those days, I was addressing the problems of streets with closed-down shops in the Nagano city center. These problems apparently specific to local cities could also occur in urban cores. Once the sites with greengrocers, fish markets or bars are cleaned out to construct apartments or offices, the ground level will be ruined in a moment. To achieve a lively city, the ground level must essentially be revitalized by a building open to a city. The local problems might be caused by large retail stores, motorization or other factors that cannot be solved by architecture alone. However, something must definitely be improved with architecture, that is, to create a continuous crowd in the ground level developed as a city.

The third is related to an earthquake disaster. When the Great East Japan Earthquake occurred, I struggled to arrive at a hotel in a local city where I felt devastated by the images on TV. In Tokyo, a number of people unable to return home started to find themselves unknown where to go after the earthquake. Some public facilities that blocked the entry of people like a fortress were accused. I felt sure a building would be no fortress. I thought a building should be as flexible as a sponge that absorbs people.

The historical archive of the company (A) that follows the building outline as abovementioned is structured with twobys every 303 pitch as a modern, abstract equivalent of the existing building to express the notion of abstractness. In contrast, the α space (B) I decided to create for the threereasons above is designed to be widely open space facing towards the garden and promenade to enable various types of communications. The space is structured to be open fanwise so the client will be able to view his memorable pine tree. The open α space (B) has been inserted into the closed space (A), and the residual space is used to make the storage space. Also, a chimney-like space is extended in this α space (B) to let the sunshine not only in the α space (B) but the closed space (A) at the same time. The phosphate-treated steel plates are used to cover the α space (B) as a material that tells the history of the client company initiated as a steel recycler.

The garden serves not only as that for the α space (B) but as the promenade for the client’s parents. The footpath is made of concrete panels while the other sections are arranged with paving or garden stones found there as well as the gargoyles taken from the client’s birthplace. On part of the concrete wall partitioning the neighboring premises, the outline of the entrance of the client’s birthplace has been reproduced with concrete and the relief of the old office has carefully been preserved and placed on the wall. The carving of deity has been modernized with concrete in synchronization with the fan-like shape of the α space. It would be wonderful if the century-old company just reborn in the modern world can create a new mode of corporate communications here in the future.

日本松木画廊外部实景图