日本,箱根山,enoura瞭望台 / 杉本博司

在经过十多年的规划之后,杉本博司(hiroshi sugimoto)为odawara艺术基金会设计的enoura瞭望台于2017年开放。该建筑群坐落于日本的箱根山,由许多精心布置的建筑组成,包括一个艺术画廊、两个舞台、一座茶馆、几座大门和一座接待大楼——这些都是相模湾。为了更多地了解这个项目,以及艺术家和摄影师的愿景,designboom参观了瞭望台,身临其境的进行了建筑体验。

夏至瞭望台画廊,可以作为一个观景平台,他有一个的12米悬臂来俯瞰大海。

杉本博司认为,天空可以为我们的未来提供一些见解,通过太阳的变化来确定瞭望台的朝向:冬至,当新生命开始的时候;夏至,当季节的钟摆再次摆动;春分和秋分,是两个极端之间的转折点。他说:“我相信,如果我们再一次重温我们对天空的古老观察,我们就会找到指引我们走向未来的曙光。”

夏至瞭望台画廊下面铺满了oya石头。

odawara艺术基金会的创始人杉本博司说:“任务中麻烦的是如何恢复传统的建筑,这些方法在传给下一代的时候有失传的危险。”每一个组成enoura瞭望台的建筑都融合了日本传统建筑风格和方法,来提供日本建筑史的总览。然而,在参观这个地方时,很明显,这个复杂的建筑不仅仅是一种乡土类群的汇集,而且在参观了这些建筑奇观之后,更多的人将会被吸引到这个日本遥远的地方。

画廊里的参观者可以欣赏杉本博司的摄影作品。

这个建筑在一百米以上的海面上有一百米长,相反的墙是由玻璃窗户组成的完全没有柱子的空间,窗户有37个大的窗格,并排而且没有支撑。

显而易见的是在参观瞭望台的每一个方面时,都能在整个自然年对太阳升起的位置作出反应。例如,在冬至日的早晨,太阳从相模湾升起,阳光穿过一条70米长的隧道——照亮了它对面的一块大石头。以这种方式,该计划观察了一年中最短的一天,标志着死亡和重生轮回的一个重要转折点。

悬臂冬至光拜隧道,紧邻光学玻璃舞台。

冬至光拜隧道

与隧道平行的是一个用光学玻璃铺成的舞台,它坐落在一个hinoki cypress的框架上。在冬至的早晨,平台在捕捉到它边缘上的光时会发出光亮。与舞台直接相邻的是一座被毁的罗马礼堂的全尺寸娱乐设施。我们花了一段时间来深思,坐在圆形剧场里,玻璃舞台如何看起来像完美地漂浮在海面上。

冬至光拜隧道,在玻璃舞台旁边,用日本扁柏来建造“_kakezukuri”框架,用光学玻璃铺成。

关于“_kakezukuri”框架的特写。

杉本说:“就好像被一只看不见的手指引着,我被吸引到这个记忆中的地方。”

“今天的艺术应该表达什么?”杉本博司问道,这个直截了当的问题显然不能以如此简单的方式得到回答。相反,艺术家把enoura瞭望台看作是一个沉思的地方。杉本说:“在历史的黎明中,当古人第一次获得自我意识时,他们的第一步就是寻找并确定他们在浩瀚的星空中所占据的位置。寻找意义和身份也是艺术背后的原始力量。”(杉本博司enoura瞭望台日本designboom)(https://www.designboom.com/wp-content/uploads/2018/01/enoura_designboom_sugimoto14.jpg)

石头舞台

在日本,表演艺术的起源可以追溯到古代的“ama- no-iwato”。根据这个传说,黎明女神的舞蹈是为了吸引躲在山洞里的太阳女神。石阶的设计是基于能剧舞台的尺寸。在每一个舞台的四个角落都是巨大的石头,最初是为江户城堡的城墙设计的。石桥的轴线(见后面)与太阳的轴线相一致,因为它在春秋分时从相模湾升起。

“我的概念是剧本第一部分开始是黎明前夜的黑暗是赠送阳光,对于该剧第二部分的主要演员来说,当太阳直射到舞台后面时,他们又回到了地下世界。”,杉本博司对designboom说。

看一个视频,杉本博司在这里解释了这个项目。

在其他地方,梅氏门——最初建造在muromachi时期的风格(1336 - 1573)——保留了在当时的结构中发现的原始材料和禅宗风格。


after more than a decade of planning, the enoura observatory by hiroshi sugimoto for the odawara art foundation opened in 2017. set into japan’s hakone mountains, the complex comprises a number of carefully positioned structures — including an art gallery, two stages, a tea house, several gates, and a reception building — that overlook sagami bay. to learn more about the project, and the vision of the artist and photographer, designboom visited the observatory to experience its immersive architectural experience firsthand.

the summer solstice observatory gallery, which also culminates in a dramatic 12 meters cantilever overlooking the sea, doubling as a viewing platform

believing that the heavens could provide some insight into our future, sugimoto oriented the observatory around the annual movement of the sun: the winter solstice, when new life begins; the summer solstice, when the pendulum of the seasons swings back again; and the spring and autumn equinoxes, milestones at the midpoint between the two extremes. _‘I believe that if we turn once more to our ancient observation of the heavens, we will find glimmers that point the way to our future,’_ sugimoto continues.

the summer solstice observatory gallery is covered in oya stone

_‘the mission of the complex is to revive traditional building methods which are in danger of being lost, and to pass them on to future generations,’_ says sugimoto, who is the founder of the odawara art foundation. each of the structures that make up the enoura observatory incorporates traditional japanese building styles and methods in order to provide an overview of japan’s architectural history. however, upon visiting the site it is clear that the complex is more than just a compilation of vernacular typologies and after experiencing these architectural wonders, that many more will be drawn to this remote part of japan.

inside the gallery visitors can enjoy photography work by hiroshi sugimoto

one hundred meters above sea level and hundred meters in length, the opposing wall is made of glass windows – 37 large panes, side by side with no support – for a completely column-free space

it is evident upon visiting, that each aspect of the observatory responds to the location of the rising sun throughout the calendar year. for example, on the morning of the winter solstice, the sun rises from sagami bay and sends light through a 70 meter-long tunnel — illuminating a large stone at its opposing end. in this way, the scheme observes the year’s shortest day and marks a significant turning point in the cycle of death and rebirth.

cantilever winter solstice light-worship tunnel, next to the optical glass stage

winter solstice light-worship tunnel

parallel to the tunnel, a stage paved with optical glass sits on a framework of hinoki cypress. on the morning of the winter solstice, the platform glows as it catches the light on its cut edges. directly adjacent to the stage, a full-size recreation of a ruined roman auditorium has been constructed. as we took a moment to reflect, sitting in the amphitheater, the glass stage appears to float perfectly on the surface of the sea.

winter solstice light-worship tunnel, next to the glass stage, built with a ‘_kakezukuri’_ framework of hinoki cypress, paved with optical glass

close-up on the ‘_kakezukuri’_ framework

_‘as if guided by an unseen hand, I was drawn to this place of memories,’_ says sugimoto.

_‘what should art today express?’_ asks hiroshi sugimoto — a straightforward question that apparently cannot be answered in such a simple manner. instead, the artist sees the enoura observatory as a place for contemplation._ ‘at the dawn of history, when the ancients first gained self-awareness, their first step was to search for and identify the place they occupied within the vastness of the starry firmament,’_ says sugimoto. _‘this search for meaning and identity was also the primal force behind art.’_ ![hiroshi sugimoto enoura observatory japan designboom](https://www.designboom.com/wp-content/uploads/2018/01/enoura_designboom_sugimoto14.jpg)

the stone stage

the origins of performing arts in japan go back to the ancient legend of ‘ama- no-iwato. according to this legend, the dawn goddess danced in order to lure forth the sun goddess, who was hiding in a cave. the design of the stone stage is based on the dimensions of a noh stage. at each of the stage’s four corners are large stones, originally destined for the walls of an edo castle. the axis of the stone bridgeway (seen behind) aligns with the axis of the sun as it rises from sagami bay at the spring and autumn equinoxes.

‘_my conception was for the noh plays to start just before dawn as the murk of night is giving away to daylight and for the principal actors of the second part of the play to return to the underworld as the sun rises directly behind the stage_‘, says hiroshi sugimoto to designboom.

see a video where hiroshi sugimoto explains the project (designboom’s previous coverage) here.

elsewhere, the meigetsu gate — originally constructed in the muromachi period style (1336 – 1573) — preserves the original materials and zen style found in structures of the period. other buildings include the uchōten (‘listen-to- the-rain’) teahouse… see more images in the gallery below.