日本富弘美术馆设计方案

发布于：2015-06-14 18:05:14 来自：建筑设计/公共建筑设计 [复制转发]

Japan Tomihiro art museum
设计方：aat + makoto yokomizo
位置：日本
建筑公司：Kajima Corporation
摄影师：Shigeru Ohno, 横沟真琴（makoto yokomizo）, Christoffer Rudquist

这是由aat + makoto yokomizo设计的富弘美术馆。该项目位于山里的小村，毗邻一个人工湖，距东京以北两个半小时车程。该项目致力于展出当地诗人及画家星野富弘的作品。自1991年博物馆首次开放以来，这里地处偏僻，人口趋向老龄化，但仍日均吸引超过1000名游客前来参观，十年来共吸引了超过400万位游客。十年后，该博物馆得以开启新的篇章，于2002年举办一次国际设计竞赛，并收到来自53个国家1211个报名方案（其中637个来自日本，574个来自国外），再一次惊人的数据。入围方案就是这个灵感来自肥皂泡沫的、由圆圈小房间组成的组合。

当代的艺术博物馆往往选择中立、匀质的“白色立方体”空间，但艺术作品清晰地提醒了我们，所有事物是相互依存的。为了理解其复杂性，设计团队认为需要寻找一种方式去欣赏这种复杂的事物本身的样貌。因此，该设计中关注的是相对性而不是绝对性，关注细节而不是总体，关注去中心化而不是向心性。走进这些或明亮、或阴暗、或安静、或活力、或温馨的品质多样的空间，建筑室内提供了许多不同的体验，就像森林里的漫步，充满孩子气的好奇和期待。根据自己的使用条件，每个圆圈都有自己不同的大小和功能环境。此外，设计中还整合了“开放性”、“围合性”和“舒适性”。
From the architect. Located in a mountain village beside a man-made lake two and a half hours’ drive north of Tokyo, the Tomihiro Museum is dedicated to the work of local poet-illustrator Tomihiro Hoshino. Since 1991, when the Museum first opened on the refurbished premises of a disused home for the elderly, an average of more than 1000 persons a day have made the trip here, for a ten-year total of over 4 million visitors—a surprising number considering the remote location.

A decade on, the Museum was long overdue for new quarters. An international design competition was held in 2002, and 1211 entries were received from 53 countries (637 entries from Japan, 574 from abroad)—again a surprising number. Short-listed entrants from among the many submissions were then interviewed, and our design proposal was selected: a grouping of small circular rooms inspired by soap bubbles.

Our proposal called for simultaneous diversity. Whereas contemporary art museums typically opt for neutral, homogeneous “white cube” spaces, Day in and day out we tend to forget something so basic, yet the artworks very clearly remind us that all things are interdependent upon one another and in order to understand complexity we must find a way to appreciate complex things as they are. Thus, we should focus on relativity more than absolutes, particulars instead of generalities and decentralisation over centrality.

Step inside this cluster of qualitatively diverse spaces: light, dark, quiet, lively, warm. The building interior enfolds us with many different experiences like a walk in the woods, inviting a childlike sense of wonder and expectation as to what we might encounter next. Each circle has its own distinct size and functional environment according to how it is to be used. Moreover, attempts were made to incorporate such unquantifiables as “openness”, “closedness” and “coziness”.

The circles have been laid out with an eye to their mutual interplay, almost as if trying to solve a puzzle. There was no one guiding principle, no one absolute solution. This compositional complementarity is an important characteristic of the Tomihiro Museum, or what we might call “self-optimised design.”

All circles have centres; from the moment the radius is established, the corresponding circumference automatically generates a given circle. Circles are thus extremely strong shapes; their abstract clarity makes them highly attractive and emblematic, yet their absolute inviolate purity can make them seem unapproachable. Thus the question was, how to utilise circles in a relative, non-concentric way so as to give the floorplan the flexibility to respond to variables?

The notion behind our design method was that the circles ought to give sufficient leeway to cope with any variables, even within an ever-rigid skeletal framework. We called it “circle planning”, in contrast to the prevailing norms of “grid planning”. From the design competition stage, we sought out collaborative participation from local residents, and in response to their input we made the circles larger or smaller yet always touching, thinking that a planar dispersion by circle planning would suffice to deliver the sought self-optimisation.

Why, then, does the building have a square footprint? Why not go for a more flexible free-form shape in keeping with the overall building site?Well, because we needed something strong, meaning somehow universal or abstract. Or to put it another way, we were looking for programatic universality that could have been generated at a different site, in a different dimension, then just dropped into place here.Not trying to cater to any specific regionalism, nor get caught up in the abstractions of contemporary architecture, was that not a kind of freedom? What we aimed for was an architecture in which opposities might simultaneously coexist—absolute with relative, pliant with rigid, abstract with concrete, simple with complex.

The new Museum exhibits a permanent collection of some 100 artworks by Tomihiro Hoshino for people of all different generations and titles and places and beliefs to see. Nature is filled with irrational things that cannot simply be dimissed as arbitrary, inexplicable mysteries and unpredictable spontaneous happenings. Tomihiro Hoshino’s artworks teach us to accept things as they are and enjoy living with them.

日本富弘美术馆外部实景图