花/叶/果实。花、叶、果是植物在大地和阳光的祝福下孕育出来的形态。小女巫实验室是一个展示藤本睦美作品的画廊，藤本睦美是一位配饰艺术家，她用独特的技术将这种瞬间的美蕴藏起来，升华为一种永久的美，不随时间变化，就像人佩戴的珠宝一样。这将是藤本睦美的工作室和展示她作品的画廊。她选择了位于广岛市中区的Tokaichi。该建筑位于流经该市并通往广岛湾的古老太田河与历史悠久的草代井上神社的交汇处。这里的位置既庄重又安静，时间慢慢流逝，是城市中一个美妙的地方。
Flowers / Leaves / Fruits. Flowers, leaves, and fruits are the forms that are created when plants are nurtured by the blessings of the earth and sunlight. Little Witch Lab is a gallery that exhibits the work of Mutsumi Fujimoto, an accessory artist who uses a unique technique to contain that momentary beauty and sublimate it into a permanent beauty that does not change over time, like a jewel worn by a human being. It will be the atelier of Mutsumi Fujimoto and a gallery to exhibit her works. She chose Tokaichi in Naka-ku, Hiroshima City. The building is located where the old Ota River, which flows through the city and leads to Hiroshima Bay, meets the long-established Kusayo Inou Shrine. The location is both dignified and quiet, and the time passes slowly, making it a wonderful place in the city.
工作室需要精细到十分之一毫米的工作，因此虽然它与画廊相连，但客户要求这两个空间保持独立。我们为画廊提出了一个新的元素，一种体验，参观者可以看到和购买艺术作品，并通过小女巫品牌体验艺术家的想法和意图，创造一个像实验室一样的画廊，在那里，艺术作品只为他们而创造。将自然材料转化为艺术作品的过程被归类为四个词，根据这些主题，创造了一个类似艺术的建筑装置，游客可以在其中穿行和体验。
The atelier requires delicate work down to the tenth of a millimeter, so although it is attached to the gallery, the client requested that the two spaces be kept separate. We proposed a new element to the gallery, an experience, where visitors could see and purchase works of art, and experience the artist’s thoughts and intentions through the Little Witch brand, creating a gallery like a laboratory where works of art are created just for them. The process of transforming natural materials into works of art was categorized into four words, and based on these themes, an art-like architectural device was created, which visitors could walk through and experience.
这四个主题是 1. 种植材料[FARM] 2. 用丙烯酸树脂封装材料[CONFINE] 3. 选择适合自己身体的花朵/树叶/水果和金属（配件）[PARTS]。4. 在工作室里将两者结合起来，形成作品[FIXED]。 设计是基于创造整体空间的双重结构，同时根据每个主题创造花瓶作为建筑装置，不会被作品的力量所打败，虽然是一个不到10个椿的小空间，但最终是一个花了相当多时间的项目。
The four themes are: 1. Growing materials [FARM] 2. Encapsulating materials with acrylics [CONFINE] 3. Selecting flowers/leaves/fruits and metals (accessory parts) that suit your body [PARTS]. 4. The two are joined together in the studio to form the work [FIXED]. The design was based on the double structure of creating the overall space while creating the vase as an architectural device based on each theme that would not be defeated by the strength of the work, and although it was a small space of fewer than 10 tsubos, it ended up being a project that took a considerable amount of time.
农场。在画廊内放置了一个花坛，以配合现有的俯瞰老太田河的大开口，造成河岸的绿色景观渗入画廊的印象。为了防止根部腐烂，花坛中废弃的水被一个玻璃漏斗和一个容器接住，通过在空间中容纳通常会流动和消失的东西，我希望在褐色的液体中传达大地丰富的生命力，就像咖啡。花坛会根据季节和时令定期补种。在这个空间里生长的材料将被用于未来的艺术作品，作品中充满了未来的可能性。
Farm. A flowerbed was placed inside the gallery to match the existing large opening overlooking the old Ota River, creating the impression that the green landscape of the riverbank was bleeding into the gallery. To prevent the roots from rotting, the discarded water from the flower beds is caught by a glass funnel and a container, and by holding in the space what would normally flow and disappear, I hoped to convey the richness of the earth’s life force in the brown liquid, like coffee. The flower beds are periodically replanted according to season and seasonality. The materials grown in this space will be used for future works of art, and the work is full of possibilities for the future.
禁锢。已经长大的花、叶和浆果被采摘下来，用丙烯酸树脂包裹起来，使它们同时具有生命的美丽和珠宝的光泽。为了传达这种仿佛时间停止的美感，我们想到了一种分期付款的方式，使花朵看起来仿佛漂浮在空间的中心。植物被分为三个元素：土、茎和花。结合大地的平面结构和茎的垂直结构，我设计了一个花瓶，看起来像一张倒置的桌子。花瓶的有机形状的灵感来自于降雨后在地面上形成的水坑，类似于大小不一的圆茎的管道从底部升起。主人亲自在一根3毫米的圆棒的横截面上垂直钻了一个1毫米的孔，这根圆棒的材料与花本身所披的亚克力相同，以一种连现场工匠都会惊讶的方式将花/叶/果与花瓶连接起来。大自然创造的花的颜色和形成的力量，以及用人类的手将它们永远封存所创造的光辉。我希望你在每件作品具有作为配件佩戴的功能之前，都能被它的美感所感动和打动。
Confine. The flowers, leaves, and berries that have grown up are plucked and encased in acrylic, giving them the beauty of life and the luster of jewels at the same time. To convey the beauty as if time has stopped, we thought of a staging that makes the flowers appear as if they were floating in the center of the space. Plants are divided into three elements: earth, stems, and flowers. Combining the flat structure of the earth and the vertical structure of the stems, I devised a vase that looks like a desk placed upside down. The organic shape of the vase is inspired by the puddles of water that form on the ground after rainfall, and pipes that resemble round stems of various sizes rise from the base. The owner himself drilled a 1mm hole vertically in the cross-section of a 3mm round bar made of the same material as the acrylic clothed in the flower itself, connecting the flower/leaf/fruit and the vase in a way that even the craftsmen on site would be surprised to see. The color and formative power of flowers created by nature, and the luminosity created by sealing them forever with human hands. I hope you will be touched and moved by the beauty of each piece of work before it has the function of being worn as an accessory.
零件。索拉亚苏井上神社一侧的墙上有四个铁盒，上面写着四季的名字。挡住现有开口的板子上随机放着圆孔，以便光线能够穿透它们，尽可能地传达神社的世界。打开盒盖后，里面的花被按类型详细分类，并贴上写有品种名称和花语的标签。即使是同一类型的花，在逐一比较时，大自然创造的形态的形状和颜色也有很大的不同。在这里，游客可以选择与自己的肤色和框架相匹配的花、叶子和浆果，并选择耳环和项链等配件，创造出独一无二的配件，为自己量身定做。
Parts. The wall on the side of Sorayasu Inou Shrine is lined with four iron boxes bearing the names of the seasons. The panels that block the existing openings are randomly placed with round holes so that light can penetrate through them and convey the world of the shrine as much as possible. When the lid of the box is opened, the flowers inside are classified in detail by type, and labels with the name of the variety and the language of the flowers are pasted on them. Even among the same type of flower, the shapes and colors of the forms created by nature vary widely when compared one by one. Here, visitors can choose flowers, leaves, and berries that match their skin color and frame, and select accessory parts such as earrings and necklaces to create one-of-a-kind accessories that are uniquely created for them.
固定的。为了消除与工作室的联系，在分隔两个空间的墙上开了一个由小拱门构成的开口。选定的花/叶/果和金属配件被带入工作室，并连接在一起。当石壁上的灯具发光时，门又被打开，只有当人穿上它时，工作才算完成。完成这项工作需要不到20分钟。在等待的过程中，我们希望参观者能够参观旁边的河流和神社，在准备接受作品的同时，度过一段宁静的时光。工作室和画廊的空间构成，这两个功能连接在一个空间里，它们不会相互干扰。通过在空间中创造一个类似于吸引力的装置，随着参观者的移动、选择和感受，品牌的价值自然增加，我们相信我们已经创造了一种新型的被动画廊，它诞生于科罗娜灾难。
Fixed. To eliminate the connection with the atelier, an opening made by a small arch was made in the wall separating the two spaces. The selected flowers/leaves/fruits and metal fittings are brought into the atelier and joined together. When the stone wall luminaire glows, the door is opened again, and the work is completed only when the person wears it. It takes less than 20 minutes to complete the work. While waiting, we hope that visitors will visit the adjacent river and shrine and spend some peaceful time while preparing to receive the work. The spatial composition of the atelier and the gallery, two functions that are connected in one space, is such that they do not interfere with each other. By creating an attraction-like device in the space, where the value of the brand naturally increases as visitors move, choose, and feel, we believe we have created a new type of passive gallery that was born out of the Corona Disaster.
Architects: FATHOM
Area : 20 m²
Year : 2022
Photographs :Tatsuya Tabii
Manufacturers : As One, Light Years
Design : Hiroyuki Nakamoto
Logo Design : grab., Tomokazu Yamada
Steel Works : KAMO CRAFT, Susumu Murata
City : Hiroshima
Country : Japan