自然科學科博物館,日本博物館 日本 Matsunoyam  
  Architects/ 建築師 :  
 

Takaharu&Yui Tezuka Architects

  
  Project team/ 專案團隊 :  
  Takaharu Tezuka, Yui Tezuka, Masahiro Ikeda, Miyoko Fujita, Ryuya Maio, Mayumi Miura, Taro Suwa, Takahiro Nakano, Toshio Nishi, Tomihiro Sato, Makoto Takei, Hiroshi Tomikawa, Masafumi Harada, Hirofumi Ohno
  General contractor/ 營造廠商  
  Takahashi-Gumi  
  Completion date/ 落成時間 :  
  Summer 2003  
  Location/ 所在地 :  
  Matsunoyama, Higashikubiki-gun, Niigata prefecture
           
 

The Niigate region,200kilometresto the North of

  在東京北方 200 公里的 Niigate 地區，以多
    Tokyo, is well known for its very snowy winters   雪的冬天著名，積雪五米深是常見的。在
    .A five meter deep blanket of snow is not unusual  

這端的氣候條件下做研究和實驗，促使了
    . It was research into, and experimentswith.These   自然科學博物館的建立。
    extreme conditions that prompted the building of a    
    science museum in the region.    
         
         
           
   

The Japanese architects, Takaharu and Yui Tezuka

   日本的建築師 Takaharu 和 Yui Tezuka ，考
    think the museum therefore had to be operate in a   慮博物館必須適應凜冽氣候和特殊地理條
    context of severe climatic and geographic   件來經營
    constraints.    
         
    The couple use an expressive vocabulary, making  

這對建築師 利用季節的因素，使屋頂產生
    refernce to the season, to changes in clothing, to the  

變化 , 順應著地型配置。

    shedding of a skin.    
           
    The singular object has a strong impact on the   博物館強烈衝擊著森林原有的景色 , 建築物
    landscape. On the edge of a forest, their building   160 公尺長的外型有如一棕色的巨蛇盤踞在
    resembles a giant 160m long exuviae. Areddish-   深綠色的濃密森林。經過一段時間 , 季節的
    brown monochrome serpent, it stands out against   交替使原本金屬表皮生長出一片不平坦像
    the deep green of the dense forest backdrop. Over   青苔的綠鏽。
    time, the weather has left its imprint on the steel,    
    giving it an uneven patina    
         
           
   

The same material covers every surface, with no

  相同的材料覆蓋著每個表面 , 一部分的牆和
    architectonic hierarchy. Wall and roof would be   屋頂是難以區別的 , 另一部分不傾斜，反而
    indistinguishable, if the latter, by necessity did not   長而平坦，延伸至建築東方的高塔。
    slope. Long and flat, the eastern extremity of the    
    body suddenly rises up to from a tower.    
         
         
           
   

Panels of 6 mm Cor-Ten steel, from a single, all-

   在材質部份選擇 6 毫米的鋼鐵面板覆蓋而
    covering epidermis. This judicious choice of materials   成，結合美學和自然生態，使其施作起來
    combines aesthetic and ecological qualities, as well   更容易。表皮像有生命的隨著季節交替律
    as being easy to use. The skin is alive, and vibrates   動著 , 具有保護色的綠鏽會隨著日子一天天
    in tune with the protective patina whose tints vary as   的增長有著不同深淺的風貌。
    the day progresses.    
         
           
   

The Tezukas paid particular attention to detailing, and

  Tezukas 特別注意材質的細節部份，並且對
    their project resuscitates interest in this material with   隨著時間自然變化的材質感到興趣 , 這些材
    its natural ageing properties, which was the height of   質在八十年代流行 , 在流行之後，複雜而高
    fashion on the 1980s, before falling out of favour, A   度表現的外型 , 對於表皮的不滲水性是急切
    complex, high performance skin, impervious to water   需要的，能夠承受得住夏天和冬天 80 度極
    and the air, was an imperative, one capable of   端的溫差。金屬的 IPN 框架和外殼結合在一
    standing up to extremes of temperature, which   起，此時中間密封部份有絕緣體層存在。
    covers an overall range of 80.C between summer   由於鋼的低熱慣性， 其兩層外殼所包覆如
      and winter. A metal IPN frame and metal envelope are   洞穴的空間，有利於室內暖氣的運行。
    bound together, and the interior face is sealed with a    
    layer of insulation. Because of the steel's low thermal    
    inertia, the shell is double skinned so as to create a    
    cavity that facilitates an aerodynamic process for    
    heating the air.    
           
    The fact that the panels are suspended tempers the   事實上這些壁版的的膨脹和收縮是因為金
    expansion and contraction of the metal. The carcass   屬製成品高度的可塑性。其骨架本身能夠
    itself can support pressures up to 1.5 tonne per   支撐每平方尺 1.5 公頓以下的壓力。
    square metre, as much as a submarine..    
         
    From the micro to the macro, the museum enables the   博物館透過大大小小的大量玻璃窗戶幫助
    study of insects and small animals through massive   對昆蟲和小動物的研究 ( 最大的尺寸 4 公尺
    glass windows (the largest measures 14.5 m wide   高 / 14.5 公尺寬 ) 。
      by 4 m high).    
           
   

Alternatively, one can climb the steps of the tower

  建築師 在?盛的森林建立一個景觀塔，並
    for a view over the wooded landscape and admire   欣賞著四季的交替。唯一的能觸碰到的窗
    and observe the passing of the seasons. The   戶是丙烯酸做成的．絕緣體必須符合一個
    windows are in acrylic, the only technology able to   合理重量 / 尺度標準比例。
    meet the criteria of transparency, thermal insulation    
    and a reasonable weight/dimension ratio.    
         
         
           
    Inside the building, the museum programme unfolds in   在建築物內部 , 博物館的計畫不斷發展著 ,
    a continuous volume, whose bends and folds mark   其彎曲和摺疊標示著空間的過渡時期 : 會議
    the spatial transitions: conference rooms, insect   房間 , 昆蟲收集室 , 入口和烹調的工作室 ,
    collections, entrance and culinary workshops, all   每一個空間都相鄰服務著民眾。
    follow on one from the other, separated by enclosed    
    service ice spaces.    
         
           
   

Throughout the year, the volumes provide for

  這一年 , 工作室和討論會 大量相互的交替
    alternating exhibitions or displays concomitant with   ，提供展示會及展覽，所有主題的中心都
    the workshops and conferences, which all centra on   在討論自然界。 Tezukas 成功地製造出結實
    the theme of nature. The Tezukas have succeeded in   的金屬 防護膜 ，並緊密結合自然與視覺。
    producing a handsome, poetic image with their    
    protective metal cocoon, which intelligently weaves    
    physical and visual links with nature.    
         
           
           
      參考資料：Techniques architecture 2003 Ｄec. p. 38 43   姓名：張國偉　　　　學號：A9213016
           
      The De Cock House/Vincent Van Duysen