安西水丸展览设计解析：世田谷文学馆展厅空间设计与艺术融合-展集网

安西水丸展览设计解析：世田谷文学馆展厅空间设计与艺术融合: 10-30

©Satoshi Asakawa

在世田谷文学馆举行的插画家安西水丸展的会场设计，考虑了对作家的主题的东西的看法和制作方法传达的空间。原本常设展用的展示室是特征性的下天花板和不可动的大型玻璃柜作为决定空间的要素已经存在。

无视这一点而构成的话，就不能发挥空间所具有的潜力，配合下天花板的线条建造墙壁，建造空间中最大高度的墙壁，一边在玻璃柜周围空着开口一边建造墙壁，吸收不协调感，吸收已经有的特征要素我考虑了以最小限度产生最大限度的效果。
通过打开各种各样的开口部，被切掉的剪影成为大的书割，不仅仅是创造窥视的乐趣和世界观，也有在小作品排列了500件以上的展示中从好的意义上缓和集中力的目标。
作为水丸先生的插图的制作方法，首先，在画线的基础上重叠透明的胶卷，切出彩色座椅贴上。学习了那个方法，剪下插图，贴上，像工作一样构成了空间，这种行为本身就产生了空间和作品的协调。
The venue design of the illustrator Anxi Shuimaru exhibition held at the Shitaguchi Literature Museum takes into account the views on the author's theme and the space conveyed by the production methods.
The display room originally used for permanent exhibitions has a characteristic lower ceiling and immovable large glass cabinets as the determining elements of space. If we ignore this point and construct it, we cannot fully utilize the potential of the space. By building walls with the lines of the lower ceiling and the maximum height of the space, we can create walls with empty openings around the glass cabinet to absorb the sense of disharmony and the existing characteristic elements. I have considered minimizing and maximizing the effect.
By opening various openings, the cut silhouettes become large book cuts, not only creating the pleasure of peeping and worldview, but also achieving the goal of easing concentration in a good sense through the display of over 500 small works.
As a production method for Mr. Shuimaru's illustration, first, overlap transparent film on the basis of the drawn lines, cut out colored seats and stick them on. After learning that method, cutting out illustrations, pasting them, and creating space like work, this behavior itself creates a harmony between space and the work.

世田谷文学展厅

Kakuremizumaru-san

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世田谷文学展厅是想创造在没有动线的空间里与看漏的作品相遇的机会就像小说中所说的伏笔一样，将已经进入故事中的心情融入空间设计中，可以感受到疲劳感的减轻和对到访的满足感。在混沌般的表现中，实际上是有关系的，试着用整个文学馆来表现这样的设计。下面记载的是在发表时提出的三条概念。
I want to create an opportunity to meet the leaked works in a space without moving lines, just like the foreshadowing in novels, by integrating the emotions that have already entered the story into the space design, I can feel the relief of fatigue and the satisfaction of visiting. In the chaotic expression, there is actually a connection. Try to use the entire literary museum to express such a design. The following are three concepts proposed at the time of publication.

©Satoshi Asakawa

©Satoshi Asakawa

【特征】世田谷文学馆展示室的特征，平时被认为很难使用的部分反而被认为是个性，以改变文学馆已经有的东西的看法，发现新的价值利用，那样的展示空间作为目标。
【Features】The characteristic of the display room at the Shitiangu Literature Museum is that the parts that are usually considered difficult to use are instead regarded as personalities, aiming to change the perception of what the literature museum already has, discover new value utilization, and use that display space as the goal.

©Satoshi Asakawa

©Satoshi Asakawa

©Satoshi Asakawa

©Satoshi Asakawa

【视点】想水丸先生对独特的东西的眼神，一定是由于各种各样的东西的看法。以与作品一起感受到对看法有各种各样的看法的展示空间为目标。
【Viewpoint】I think Mr. Shuimaru's gaze towards unique things must be due to various perspectives on things. The goal is to create a display space where you can experience various perspectives with your work.

©Satoshi Asakawa

©Satoshi Asakawa

©Satoshi Asakawa

©Satoshi Asakawa

【感觉】以传达水丸先生拥有的感觉(品味)的空间为目标。比起新的东西，更喜欢经常使用的东西的水丸先生。正因为是那样的水丸先生才能做的准备，一定会以更加喜欢作品和水丸先生的展览会为目标。
【Feeling】The goal is to convey the feeling (taste) space that Mr. Shuimaru possesses. Mr. Water Pill, who prefers frequently used items over new ones. It is precisely because of the preparation that Mr. Shuimaru can make that he will definitely aim to enjoy his works and Mr. Shuimaru's exhibition more.