藤本壮介使得石卷市文化中心复苏成为一系列实体的山墙状建筑
sou fujimoto revives ishinomaki cultural center as a row of gabled volumes

由专筑网暖阳，小R编译

一所文化中心重现于石卷市

坐落于日本宫城县的石卷市綜合文化场馆，作为石卷市文化中心复兴工作的一部分而得以建立，而这部分工作所涉及的对象就是在2011年发生在日本东部的那场令人惊骇的大地震。这栋建筑由建筑师藤本壮介所设计，目标是创建一个文化综合体性质的场馆，作为石卷市复兴的象征，以及充当振兴社区的催化剂。这栋建筑涵盖了各种类型的多功能空间，并且包括了一个大厅，小厅，展览空间，公共画廊以及一个学习的空间，所有的设施都是为了吸引更加多样的游客群体以及加强游客的融入感。

A CULTURAL CENTER REBORN IN ISHINOMAKI
The MARUHONmakiart Terrace, located in Miyagi, Japan, was built as part of the Ishinomaki Cultural Center’s revival efforts following the devastating Great East Japan Earthquake and tsunami in 2011. Designed by Sou Fujimoto Architects, the goal was to create a complex cultural facility that would symbolize Ishinomaki city’s recovery and serve as a catalyst for revitalizing the community. The architectural vision encompassed various functional spaces, including a large hall, a small hall, an exhibition area, a public gallery, and a learning space, all intended to be accessible and inviting to a diverse range of visitors.


images © Masaki Iwata + Sou Fujimoto Architects

带有分割感的线性排列

在石卷市文化综合文化场馆的平面图中，由藤本壮介所领导的建筑师团队采用了一种简单且线性的设计方式，沿着一条狭长的大厅扩充大约170米（560英尺）。

为了创造一系列城镇形式的空间，通过对位于山墙屋顶顶端的平行四边形体积的应用，这种线性排列的项目被逐步分割开来。此外，这种线性的排列使得经常被市民所用到的功能空间得到了整合，例如练习室和工作室，这些空间也都会与大厅的空间产生联系。因此，这种多尺度的连锁效应的出现，进一步加强了线性大厅空间内部的分割感。

SEGMENTED LINEAR ARRANGEMENT
With the architectural plan for the MARUHONmakiart Terrace, the architects led by Sou Fujimoto embraced a simple and linear arrangement, extending approximately 170 meters (560 feet) along a slender lobby. To create a series of town-like spaces, the linearly arranged programs were segmented through the utilization of parallelogram volumes topped by gable-roofs. This arrangement allowed for the integration of functions highly utilized by citizens, such as practice studios and ateliers, which protrude into the lobby space. Consequently, the interlocking effects of various scales emerged, further enhancing the segmentation within the linear lobby.



创建舒适的空间

设计团队采用了一丝不苟的方式去确保整体的空间，包括家具的选择和放置，以及标志和灯光摆放的密度，以此来帮助市民们在他们的日常生活中找到一个安心舒适之所。并且，他们也致力于去营造一种氛围和环境，在那里，让当地的学生在课后有学习之所，也让人们有相互沟通和阅读的场所。这些房间和功能开始时类似于大厅空间中的一个个小房子。这种小房子和烟囱状的形式被放置在大厅的屋顶。与此同时这种设计的元素能够引入自然灯光并且提供通风，也能够模仿烟冲排烟的形象。

CREATING COMFORTABLE SPACES
A meticulous approach was undertaken to ensure the overall space, including furniture selection and placement, as well as the density of signs and lighting fixtures, facilitated citizens in finding a comfortable place within their daily lives. The intention was to foster an environment where local students could study after school, people could engage in conversations, and reading could take place. As these rooms and functions began to resemble huts within the lobby space, small house-shaped and chimney-shaped volumes were placed on the lobby roof. This design element brought in natural light and provided ventilation, mimicking the image of smoke exhaust.



更大的场馆，更人性化的结构

通过房屋和烟囱形式的结合，石卷市文化综合场馆的设计达到了一种大型设施和以人为本建筑场所间的微妙平衡。它独特的属性可以为人们唤起多种的印象，就像是一个小镇那样。而这种设计方法的意图不是去创建一种会给人们产生单一印象的地标性建筑，而是去产生一种模糊感，和灵活性，让人们在保持他们独特的个人想法的同时，去分享他们自己的见解。这种房屋状且并排的形式致敬了昔日北上河沿岸的建筑，与此同时，依靠着水上贸易，当地的建筑业也得以兴盛。

LARGE FACILITY, HUMAN-SCALE STRUCTURE
Through the incorporation of house-shaped and chimney-like volumes, the MARUHONmakiart Terrace achieved a delicate balance between being a 13,000-square-meter large facility and a human-scale structure. Its distinct identity evokes various impressions and meanings, akin to a small town. The intention behind this design approach was to create a building that would not impose a singular effect as a landmark but would embrace ambiguity and flexibility, allowing individuals to share their own interpretations while maintaining a strong presence. The row-like arrangement of house-shaped volumes pays homage to the memory of the buildings that once lined the former Kitakami River, which flourished through water trade.



灵活且统一的表演空间

场馆的大厅形式巧妙了回应了介于座椅数量和表演类型间的平衡。与此同时，第二层的座椅被窗帘分割开来，这使得人们可以根据需要来使用一楼中部大厅范围内的空间。此外，以黑色的背景为主要的组成部分的大厅内部，强调了舞台与观众席的交互感，以此来培养表演者和观众间的融入感。相较之下，小厅则是以带有折椅的平缓地板的形式为特色，不仅可以满足戏剧表演和音乐欣赏的需求，还可以满足展览和表演的需求。

FLEXIBLE AND UNIFIED PERFORMANCE SPACES
The large hall of the MARUHONmakiart Terrace was designed to respond flexibly to the balance between the number of seats and the type of performance. The second-floor seats were divided with curtains, enabling the utilization of the middle hall scale within the first floor as needed. The interior of the hall, characterized by a black backdrop, accentuates the presence of the stage and the audience seats, fostering a sense of unity between performers and spectators. In contrast, the small hall features a flat floor style with rollback chairs, catering not only to theatrical performances and music appreciation but also to exhibitions and shows.



藤本状介平衡了时代背景与项目本身

考虑到项目要求和场地背景，藤本状介的团队对石卷市文化中心进行了精细地研究。建筑师们考虑到了它的用途，历史，未来的前景，公共属性，以及适应的人群，并且识别出了可能发生在这个区域内的交互性活动。尽管这个建筑看起来是由简单地分割之后再聚合而成，但是，石卷市文化中心代表了对传统农村公共综合体设计方式的摒弃，转而为类似空间的探索与参与提供了一种新的途径。

SOU FUJIMOTO BALANCES PROGRAM AND CONTEXT
Sou Fujimoto Architects approached the MARUHONmakiart Terrace with precision, considering the programmatic requirements and the context of the site. The architects contemplated its usage, history, future prospects, public nature, and human nature, deciphering the interactions that would occur within the space. Despite the architecture’s seemingly simple composition of subdivided and clustered scales, the MARUHONmakiart Terrace represents a departure from conventional rural public complexes, offering a new way to contemplate and engage with such spaces.















项目信息：

项目名称：石卷市文化中心
建筑：Sou Fujimoto Architects | @sou_fujimoto
地点：日本宫城县石卷市
完工日期：2021年
摄影：© Masaki Iwata + Sou Fujimoto Architects
景观建筑：GLAC
工程：Arup
项目团队：Sou Fujimoto, Shintaro Honma, Masaki Iwata, Shohei Inada, Miki Shibata, Reo Akiyama, Sei Hosaka, Francesco Zonca, Tomonori Kitamura, Kozo Sasaki, Megumi Sato, Naganobu Matsumura, Hideto Chijiwa, Toshiyuki Nakagawa, Nobuyuki Tejima, Kanae Shimamura, Minako Suzuki, Kei Sasaki, Tang Li Qun, Hiroki Nakagawa, Seiya Ueki

project info:
project title: Ishinomaki Cultural Center
architecture: Sou Fujimoto Architects | @sou_fujimoto
location: Ishinomaki City, Miyagi, Japan
completion: 2021
photography: © Masaki Iwata + Sou Fujimoto Architects
landscape architecture: GLAC
engineering: Arup
project team: Sou Fujimoto, Shintaro Honma, Masaki Iwata, Shohei Inada, Miki Shibata, Reo Akiyama, Sei Hosaka, Francesco Zonca, Tomonori Kitamura, Kozo Sasaki, Megumi Sato, Naganobu Matsumura, Hideto Chijiwa, Toshiyuki Nakagawa, Nobuyuki Tejima, Kanae Shimamura, Minako Suzuki, Kei Sasaki, Tang Li Qun, Hiroki Nakagawa, Seiya Ueki