这是一个改造以前的复古发廊的项目，它位于广岛市那珂区本多大道上的一条似乎被城市发展遗弃的狭窄小巷的建筑的二楼，走过去不远就是。这家店的名字是由店主的名字和姓氏创造的，而不是季节性的冬字FUYU。当我第一次访问这个地方并从店主那里听到这个店的名字和含义时，我对他的世界观感到惊讶，并认为FUYU可能是一种脱离世俗和传统的方式。我觉得有一种可能性，我可以用不同的方法创造一个空间。

This is a project to renovate a former retro hair salon on the second floor of a building on a narrow alley that seems to have been left behind by urban development, a short walk across the street on Hondori Avenue in Naka Ward, Hiroshima City. The name of the store was coined from the first and last name of the owner, instead of the seasonal winter word FUYU. When I visited the site for the first time and heard the name and meaning of the store from the owner, I was surprised by his view of the world and thought that FUYU could be a way to break away from the mundane and conventional. I felt there was a possibility that I could create a space with a different approach.

我想，是否有可能让不到10个椿的小空间尽可能地让游客感到宽敞，通过逐渐让发廊所需的功能从建筑的墙壁上漂浮起来，我能够让它看起来像一件具有艺术作品概念的功能的家具，而不是一个附带功能的建筑元素。在空间的中心，有一个名为 “头发 “的丝网印刷艺术作品，它是以Kohei Nawa的头发为基础。

I wondered if it would be possible to make small space of fewer than 10 tsubos feel as spacious as possible to visitors, and by gradually making the functions necessary for a hair salon float away from the walls of the building, I was able to make it seem like a piece of furniture with a function as an art piece concept, rather than an architectural element with a function attached to the space. In the center of the space, there is a silkscreen art piece called Hair, which is based on Kohei Nawa’s hair.

通过把艺术和家具平行考虑，并把它们安排在空间里。通过把艺术和家具平行考虑，并在空间中安排它们，我能够创造一个空间，在这个空间里，家具看起来就像一个艺术作品，通过把自己从结构中分离出来，脱离了它的功能。艺术，似乎伴随着发廊空间的功能，通过直接播种头发来创造。

By considering the art and the furniture in parallel and arranging them in the space. By taking the art and the furniture in parallel and arranging them in the space, I was able to create a space where the furniture looks like an art piece that has broken away from its function by separating itself from the structure. Art that seems to accompany the function of the hair salon space, created by directly sowing hair.

通过在空间中安排这两个元素，它们以相反的矢量脱离了彼此的定型。通过在空间中安排这两个元素，我们希望将空间升华为一个像画廊一样的发廊，让人们在狭小的空间中感受到无限的感官广度，像禅的世界一样被磨砺。

By arranging these two elements in the space, which have broken away from each other’s stereotypes in opposite vectors. By arranging these two elements in the space, we hope to sublimate the space into a hair salon like a gallery, and let people feel the infinite sensory expanse of the tiny space, which is sharpened like the world of Zen.

细节–接待台和长椅做成L型，仿佛在一个长方形的平面上画了一条线，四角凹陷。接待台和长椅被放置成L型，并刻意去掉框架上的接缝。对于切割间，在离框架30厘米的距离上建造了一个藤制屏幕。镜子和柜台的功能被嵌入屏风中。与建筑墙的距离变得模糊不清，因为你可以通过藤条看到建筑的主体。

Detail – The reception counter and benches are made in the shape of an L-shape as if to draw a single line on a rectangular plane with depressed corners. The reception counter and benches are placed in an L-shape, and the joints are deliberately removed from the frame. For the cutting booth, a rattan screen was built at a distance of 30cm from the frame. The mirror and counter functions are embedded in the screen. The distance to the wall of the building becomes ambiguous as you can see the body of the building through the rattan.

此外，藤条屏风的深度通过镜子被重复，使空间有一种宽敞的感觉。另外，通过使用透明的亚克力盒子来储存毛巾，毛巾和洗发水的功能似乎漂浮在墙上。悬挂在天花板上的空调被墙面上的开口框住，并通过钢网显示出来，看起来像一个物体。这样，通过将基础设施和装置与建筑框架分离，整个空间被赋予了一种漂浮感。入口处不是通过创造新的东西而成为门面，而是通过使用镜面将街道的背景反射到建筑上，并略微扭曲，使入口处看起来像一个虚幻的时空隧道。

In addition, the depth of the rattan screen is repeated through the mirror, giving the space a sense of spaciousness. Also, by using transparent acrylic boxes for towel storage, the functions of the towels and shampoo seem to float on the wall. The ceiling-suspended air conditioner is framed by the wall opening and shown through the steel mesh to look like an object. In this way, by separating the infrastructure and fixtures from the building frame, the entire space is given a sense of floating. The entrance is not a facade by creating something new, but by using a mirrored surface to reflect the background of the street onto the building and distorting it slightly, the entrance is made to look like an unreal space-time tunnel.

Architects: FATHOM
Area: 33 m²
Year: 2021
Photographs: Tatsuya Tabii
Manufacturers: BP., Miura Rattan, TAKARA BELMONT
Design:Hiroyuki Nakamoto
Art Selection:Taichi Enomoto, E.
Steel Works:KAMO CRAFT, Susumu Murata, Kamo Craft
Designer :FATHOM
Art:E.
City:Hiroshima
Country:Japan