丸宏是长谷美陶瓷的主要生产商，包括陶器和瓷器。该地区以包括长崎县长谷美在内的地区命名，该地区的陶瓷餐具生产和批发的历史可以追溯到17世纪初。
Maruhiro is the leading producer of Hasami ceramics which includes pottery and porcelain. Named for the region including Hasami, Nagasaki prefecture, this area has a history of ceramic tableware production and wholesale distribution dating back to the early 17th century.
作为对原有旗舰店的改造，Yusuke Seki的设计将建筑知识与该地区的手工技术结合起来，并以此创造出一种完全针对特定地点和情况的体验。Seki的愿景是将设计师作为解释者。他的方法试图通过提取和翻译完整的当地环境的潜力来放大长谷川的遗产，使其人民团结起来。一个最小的设计干扰，对地板水平的修改，不仅利用了原有的空间，改变了用户直到现在所持有的观点和经验，而且还诞生了一个全新的内部流动感。
A renovation of the pre-existing flagship shop, Yusuke Seki’s design marries an architectural knowledge to the artisanal know-how of the region, and in so doing, creates an entirely location- and situation-specific experience. Seki’s vision is to posit the designer as interpreter. His methods seek to amplify Hasami’s heritage by drawing out and translating the potential of the complete local environment, unifying its people. A minimal design interference, a modification in the level of the floor,not only utilizes the pre-existing space to alter the perspective and experiences held by the users until the present, but also gives birth to an entirely new sense of flow within.
由25,000件作品组成，并与长谷美地区的众多陶器工厂合作，设计的概念和体验重点是一个堆叠的中央平台，层层叠叠的本地采购的不完美餐具和浇筑的混凝土。这些被称为 “Shinikiji “的每一件作品，在其各自的当地生产设施进行最初的烧制后，都被发现有缺陷。作为他重新评估设计过程的一部分，Seki恢复了这些作品，用它们来制作砖块，并在这个场合将它们转变为一种新的建筑材料。
Constructed of 25,000 pieces and in cooperation with numerous pottery factories from Hasami area, the conceptual and experiential focus of the design is a stacked central platform, layers of locally sourced imperfect tableware and poured concrete. Each of these pieces called “Shinikiji” in Japanese, were found to be flawed after the initial bisque-firing by their respective local production facilities. As part of his re-valuative design process, Seki revived these pieces, using them to make bricks, and transforming them to a new architectural material for this occasion.
收集在这里，这个舞台不仅代表了 “Monohara”，这个名字被赋予了在烧制过程中处理碎块的窑边特定区域，只存在于长崎，这些不完美的碎片已经积累了大约400年–这个地区漫长的工业历史的考古学上的千锤百炼，而且还创造了一种对这段历史的敬畏感，传达了每个单独项目的脆弱性，共同激发和培养对整体遗产的尊重。
Collected here, the stage is not only a representation of “Monohara”, the name given to the kiln-side specific areas where dispose its broken pieces on firing process, existing solely in Nagasaki, which have accrued these imperfect pieces for approximately 400 years—an archaeological mille-fille of the long industrial history of this region—but also creates a sense of reverence for this history, conveying the fragilely of the each individual item, engineered together to inspire and cultivate respect for the legacy on the whole.
Architects: Yusuke Seki
Year : 2015
Photographs : Takumi Ota
Country：Japan