Scope │ Issue 127
Gallery U, Shizuoka, Japan
日本靜岡縣 U藝廊
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岡田哲史建築設計事務所
Satoshi Okada Architects
Scope │ Issue 127
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岡田哲史建築設計事務所
Satoshi Okada Architects
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; to contain his fleece of super cars, the client commissioned a pavilion in adjacency to his residence. 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 thin 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 are instead 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. The gallery is equipped with an underground extension, manouvred via a car lift that literally doubles the capacity of the indoor space. Besides the pit, lateral pockets contain the engine and a storage room. 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 from the 16th century.
這間藝廊自 2012 年開始設計與建造屬於第二期工程,整體工程包括U別墅(Villa U)。建築地點俯瞰著太平洋(Pacific Ocean),周圍環繞著大片竹林。為了擺放收藏的超級跑車,業主委託建築師在其住宅旁建一座亭子。岡田哲史(Satoshi Okada)注意到建地周圍擁有豐富的自然環境,因此構思了一座看不見的建築,除簡薄的平屋頂外,所有部分都是透明的。藝廊四面包覆著玻璃,並採用超薄鋼結構。後者採用了向 18 世紀威尼斯方濟各教士(Venice, 18th century, Franciscan priest)及數學家卡羅.羅多利(Carlo Lodoli)學習的懸鏈線原理,他將此原理應用於聖方濟各修道院(San Francesco della Vigna)的小窗台設計,利用朝邊緣縮小的肋板將負載轉移到周圍的 V 形廊柱上。但提到這個概念,世人直接聯想到的是維奧萊–勒–杜克(Viollet-le-Duc)於 1865 年設計的市集廳。其廊柱也是錐形的,因此底部橫截面看起來相當細。這間藝廊在地下延伸部分設有機械設備,透過運車電梯,加倍室內空間容量。除了中間的凹槽,側邊凹穴內也設置了發動機和儲物間。輕盈的軸承元件與透明覆層創造的重量空間,讓業主從竹林處可以隱約瞥見車子。這座藉由透明度來表現建築強度,幾近難以察覺且看起來極為脆弱的建築,就如16 世紀日本藝術家長谷川等伯(Tohaku Hasegawa)創作的《松林圖(Shorin-zu Byobu)》 折疊屏風上,雲淡飄渺的松林。
Principal Architect:Satoshi Okada
Collaborator:Lucia Rocchelli.Lisa Tomiyama
Structural Engineering:Hojo Structure Research Institute.Akeno Facility Resilience
Contractor:Daido Kogyo Co.
Character of Space:Private Gallery for Super Cars
Building Area:182.25 m²
Principal Structure:RC.Steel
Location:Shizuoka, Japan
Interview:IW Editorial Dept.
Photos:Satoshi Shigeta
Text:Satoshi Okada Architects
Collator:IW Editorial Dept.
主要建築師:岡田哲史
參與設計:露希亞.蘿切利 富山麗莎
結構工程:Hojo Structure Research Institute /
Akeno Facility Resilience
施工單位:Daido Kogyo Co.
空間性質:私人超級跑車藝廊
建築面積:182.25 平方公尺
主要結構:鋼筋混凝土.鋼鐵
座落位置:日本靜岡縣
採訪:傢飾編輯部
影像:Satoshi Shigeta
文字:岡田哲史建築設計事務所
整理:傢飾編輯部
Satoshi Okada Architects
岡田哲史建築設計事務所