Tezzo Nishizawa Architects + Jun Aoki & Associates 京都市京瓷美术馆

　　京都市美术馆（现更名为京都市京瓷美术馆）是日本历史最悠久的公共美术馆，它代表着当时被称为“帝冠样式”的新兴风格，融合了日本传统的建筑元素和西方建筑特色。
　　The main building of the Kyoto City Museum of Art (renamed as the Kyoto City KYOCERA Museum of Art) is the oldest public museum architecture that represents the Imperial Crown Style, the emerging architectural style that amalgamate the Japanese traditional architectural elements and the Western styled buildings.

　　这座深受京都内外民众喜爱的美术馆于1933年开业，距今已有近90年的时间，既有的设施也越来越难满足当代的使用需求。具体来说，拥挤的大厅、售票处、咨询台、投币储物柜和洗手间等基本的功能早已不够用，同时展览区域也无法容纳需要灵活空间的大型当代艺术作品。基于这一状况，美术馆改造的目标也就顺理成章地确定下来：兼顾保护和利用，即一方面保留美术馆最真实的面貌，另一方则要使其回应现代需求。
　　The beloved museum by the people of and outside of Kyoto since its opening in in 1933 does not appeal to the functionality needs that have transcended for over 80 years. Specifically, its overcrowded lobby, ticketing and information desks, coin lockers, washrooms and other basic museum functionalities were no longer sufficient, as well as the exhibition areas not able to accommodate large-scale contemporary arts that require spatial flexibility. The goal has been set naturally: conservation and utilization. Two opposite ends of the spectrum are what to achieve by preserving the museum’s most genuine posture and responding to the modern requirements.

　　整体设计的核心在于贯通主楼由西至东的交通动线。西立面前方引入了通往建筑中心的坡道，一直延伸至位于地下的新主入口（原先是衣帽间）。游客将沿着楼梯进入中央大厅（原先是主展厅），并穿过位于东侧的日式庭园。建筑的其他增建部分包括能够满足当代艺术展览的宽敞空间、储藏室、无障碍设备、重新修复的内庭院以及咖啡馆和美术馆商店等。
　　Penetrating the traffic from West to East of the main building is the backbone of the overall design. In front of the West façade, the slopes that go down towards the center of the building are introduced and they lead to the new Main Entrance that is renovated from the underground cloakroom. Visitors walk the stairs up to the Central Hall (former Main Gallery) and through to the Japanese Garden on the East side. Other additions to the building are the newly built extension dedicated to the contemporary art exhibitions, storages, barrier-free equipment, revived inner court yards, café and museum shops.

　　谨慎的修复使得建筑能够在需要的时候满足可逆性以及新功能的大胆置入。这些建筑层面的改进也激活了美术馆周围区域的人流。
　　Carefully balanced between careful restorations of the building to allow reversibility and boldly inserting new functions if necessary, these architectural enhancements also led activating the flow of people in the surrounding area.

　　虽然美术馆自成立以来已进行过多次修复，但本案首次对整个修复过程和规划进行了记录。若建筑在未来再次进行翻新，本次的规划将被作为一个重要的历史参照点。
　　This will be the first time to record the entire processes and plans, despite its numerous restorations have been condu

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