在三个月的时间里，这个项目将京都一家前服装店的两层楼改造成丹麦音响设备公司Bang and Olufsen的零售环境。这个弹出式商店填补了服装品牌离开和建筑拆除之间的时间空白，有效地给建筑带来了新的生命。
Over the course of three months, this project transformed two floors of a former clothing store in Kyoto into a retail environment for the Danish audio equipment company Bang and Olufsen. The pop-up store filled a temporal gap between the departure of the clothing brand and the building’s demolition, effectively giving a new lease on life to the edifice.
展示台是由Yusuke Seki专门为这个空间设计的。压在它们身上的混凝土块并没有放在那里，而是在现场浇筑的。每张桌子都是先将四块木头组装成一个模具，然后用混凝土填充。混凝土硬化后，模具的两边被移除，剩下的部分作为桌腿。这个设计是一个解决设计师长期以来思考的问题的机会：如何想象在制造混凝土时使用的木材的新用途，否则这些木材会被扔掉？利用模具作为建筑元素和家具部件是解决这个问题的方法之一。
The display tables were designed by Yusuke Seki specially for this space. The concrete blocks weighing them down were not placed there, but rather cast on site. For each, four pieces of wood were first assembled into a mold, then filled with concrete. Upon the concrete hardening, two sides of the mold were removed, leaving the remaining pieces to serve as table legs. The design was an occasion to grapple with an issue that had long been on the designer’s mind: how might one imagine a new use for the wood used in creating concrete, which is otherwise thrown away? To utilize the mold as both constructive element and furniture component was one way to get around this problem.
用于这一目的的木材是tsuga，一种相对昂贵的材料，经常出现在日本的神社建筑中，因此强调了赋予这一副产品的新价值。此外，拆除的模具元件，而不是被扔掉，随后被展示在商店里，作为建筑过程的叙述性痕迹。
The wood used for this purpose was tsuga, a relatively expensive material that is often seen in Japanese shrine architecture, thus underlining the new value given to this byproduct. Moreover, the removed mold elements, rather than being thrown out, were subsequently displayed in the store as a narrative trace of the construction process.
对回收材料和减少浪费的关注也影响了空间的设计。意识到商店的临时性质，Yusuke Seki努力尽可能多地重复使用原来的物质，以最小的手段达到最大的效果。墙壁和天花板一直保持在拆卸中的状态，照片被安装在货架曾经留下的空隙中。在一楼的后面部分，增加了白色的砾石，这是对京都周围的神社常见做法的参考，将空间的这一部分变成了一种神圣的复合体–反映了听音乐的体验可以同时成为一种精神的体验。
A concern with recycling materials and minimizing waste also informs the design of the space. Conscious of the store’s temporary nature, Yusuke Seki has strived to reuse as much of the original substance as possible and to achieve maximum effect with minimal means. The walls and ceiling have been left in a state of mid-demolition, with photographs installed in the cavities left by where shelves once were. In the back part of the first floor, the addition of white gravel, a reference to a common practice seen in Jinja shrines around Kyoto, transforms this part of the space into a sort of sacred compound – mirroring how the experience of listening to music can at once be a spiritual one.
在一楼的墙上涂上一层白漆，用一个简单的手势将一楼的两个不同的部分统一起来。在二楼，拆除了一块玻璃，同样把以前无法进入的中庭变成了另一个思考的空间。
A single application of white paint on the wall on the first floor serves to unify the two disparate halves of the first floor with a simple gesture. On the second floor, the removal of a single pane of glass has similarly transformed a formerly inaccessible atrium into another space for reflection.
Architects: Yusuke Seki
Year : 2019
Photographs :Tomooki Kengaku
Lead Architect : Yusuke Seki
Client : Bang&Olufsen
Contractor : And S
City : Kyoto
Country : Japan