由专筑网王晓梦，刘庆新编译

来自事务所的描述：Maruhiro是生产陶器和瓷器，是Hasami制陶公司的龙头企业。该企业在长崎县，包括Hasami的地区享有盛名。这个地方生产陶瓷餐具的生产历史和贸易可追溯到17世纪早期。

From the architect. Maruhiro is the leading producer of Hasami ceramics which includes pottery and porcelain. Named for the region including Hasami, Nagasaki prefecture, this area has a history of ceramic tableware production and wholesale distribution dating back to the early 17th century.

© Takumi Ota

© Takumi Ota

Floor Plan/平面图

该项目是对现有旗舰店的翻新，建筑师Yusuke Seki的设计将建筑知识融入到当地手工艺领域。如此一来，创造出一种彰显地域特色和背景文化的体验场所。Seki先生的看法是把设计师变成一位翻译，试图通过解读当地整体环境的潜在可能并归纳，结合当地人们，来把Hasami的历史遗产价值扩大。他在设计中尽可能地少干预，对地板高度的改动，不仅让利用透视效果和当今使用者体验来改变原有空间，同时也创造一种全新的流动空间的感觉。

A renovation of the pre-existing flagship shop, Yusuke Seki’s design marries an architectural knowledge to the artisanal know-how of the region, and in so doing, creates an entirely location- and situation-specific experience. Seki’s vision is to posit the designer as interpreter. His methods seek to amplify Hasami’s heritage by drawing out and translating the potential of the complete local environment, unifying its people. A minimal design interference, a modification in the level of the floor, not only utilizes the pre-existing space to alter the perspective and experiences held by the users until the present, but also gives birth to an entirely new sense of flow within.

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

设计的概念和体验重点是一个由陶器堆叠的中心平台——这些陶器是通过与当地众多的陶器厂合作而选出的25,000件有瑕疵的陶瓷器具。把这些器具浇灌上混凝土，然后将其一层一层堆积上去。这里的每件陶瓷在日本被叫做“Shinikiji”，在生产过程中发现的带有瑕疵的半成品。作为建筑师重塑价值的设计过程的一部分，Seki先生让这些陶器重新利用起来，使其焕发生命光彩，将它们制成砖块，作为一种新的建筑材料用于此次设计中。

Constructed of 25,000 pieces and in cooperation with numerous pottery factories from Hasami area, the conceptual and experiential focus of the design is a stacked central platform, layers of locally sourced imperfect tableware and poured concrete. Each of these pieces called “Shinikiji” in Japanese, were found to be flawed after the initial bisque-firing by their respective local production facilities. As part of his re-valuative design process, Seki revived these pieces, using them to make bricks, and transforming  them to  a new architectural material for this occasion.

© Takumi Ota

这个舞台不仅是一次“Monohara”展览——这个名字代表在烧砖过程中一些次品会放置在砖窑的特殊场地，而monohara就是为这些特殊场地而命名的。而现在只有长崎累积了大约400年的瑕疵陶器产品的——一个有着悠久工业史的考古“千层酥”式的地区，同时也为这段历史创造了一种崇敬感，它传达了工业制品的脆弱，激发和引导人们对历史遗产的敬意。

Collected here, the stage is not only a representation of “Monohara”, the name given to the kiln-side specific areas where dispose its broken pieces on firing process, existing solely in Nagasaki, which have accrued these imperfect pieces for approximately 400 years—an archaeological mille-fille of the long industrial history of this region—but also creates a sense of reverence for this history, conveying the fragilely of the each individual item, engineered together to inspire and cultivate respect for the legacy on the whole.

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

© Takumi Ota

建筑设计：Yusuke Seki
Location: Nagasaki Prefecture, Japan
地点：日本，长崎县
Client: Maruhiro Ltd.
委托方：Maruhiro Ltd.
Project Year: 2015
项目时间：2015年
Photographs: Takumi Ota
摄影：Takumi Ota

Architects: Yusuke Seki
Location: Nagasaki Prefecture, Japan
Client: Maruhiro Ltd.
Project Year: 2015
Photographs: Takumi Ota

出处：本文译自www.archdaily.com/，转载请注明出处。