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ing it within the new museum's steel-frame exterior enclosure. Between the atelier and the new outer skin is a high-ceilinged trough of space for a gallery where selections from the artist's vast collection of objects are displayed alongside his own artworks—paintings, ceramic vessels, and other pieces made of wood and metal. Thin steel stair treads lead up to the second-floor display area masked by metal-mesh walls and an efficiency apartment for Mrs. Murai. Kuma's palette of pristine, white walls, neutral concrete floors, and crisp detailing complement the robust colors and strong forms of the artworks as well as contrast with the atelier's dark wood surfaces and well-used furniture.

Kuma's intention was not simply to place the artist's home and its contents on a pedestal: He integrated old and new. An elegant

The old atelier on the first floor (top right) has been salvaged (right) and placed within a new, white steel-framed container. In the main gallery (opposite and above), paintings by Murai are displayed with collaged elements from the former structure.

display case Kuma created stands on three legs of black steel and a fourth fashioned from a newel post that once stood at the top of the stairs. Made of wood, the post still bears teeth marks left years ago by Masanari's dog. A true marriage of the architect's passion for materials and the artist's love of the memory-laden, the new facade is covered with irregular, hand-cut wood planks harvested from the old house at the time of its deconstruc-tion. "We didn't have quite enough boards, so we put spaces between them," explains Kuma. The rhythmic

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