日本建築の美　Aesthetics in Nippon Architecture　

敷地：神奈川県鎌倉市雪ノ下

大きな地図で見る

竣工：昭和26年(1951年)

設計者：坂倉準三

DOCOMOMO Japan 010

Location:Yukinoshita,Kamakura City,Kanagawa Prefecture

Establishment:1951

Architect：Junzo Sakakura

感想：Impression

「鎌倉、鶴岡八幡宮の森と調和した戦後日本の小さな近代建築」

鎌倉時代の遺構、鶴岡八幡宮境内にある平家池と呼ばれる池の汀に、周囲の風景とは異質な白い直方体の箱が軽快に浮かんでいます。西に廻って正門から中に 入ると神社の参道を模した一直線の石畳のアプローチが敷かれ、その正面に二層の小規模な美術館が堂々とした姿を見せている。

中庭を取り囲むロの字型の平面でスレンダーな鉄骨柱と大谷石の壁からなる基壇部がアスベストボードとアルミ金具で外装された展示の主要部分が納まる2階部分を支える構成になっています。正面の幅広い大階段を上った2階 に中庭を取り巻いて螺旋形に配置された各展示室があり、時計周りに巡って鑑賞しながら、南側のテラスに出て中庭を見下ろすと、中心にイサム・ノグチが製作 した彫刻が置かれ、眼を楽しませてくれます。地上階に繋がる階段を降りると、軒天井が大きく掛けだされ、蓮に覆われた池に迫り出す半屋外のテラスが出る。 南の眩しい陽光が水面に反射し、広い軒天井に池の揺れる波紋が映しだされる光景は幻想的で、ここに佇んで眺めていると時の流れを忘れさせてくれるほど魅力的な空間です。2階 の螺旋形の展示スペースを巡って、四角い中庭を望みながら、階段を降りると、池に面した開放的なテラスに導かれるという流れるような展開に動線の巧みさを 感じました。現代の大規模な美術館のように大空間があるのではなく小さな部屋が中庭を囲んで連続していて、全体を経巡るという感覚があります。全体構成は 設計者の坂倉準三が師事したル・コルビジェの「無限発展の美術館」というコンセプトに拠っているという。

終戦間もない頃に本館が完成してから50年以上の歳月が流れた今日では、搬送のエレベーター設備がないなど美術館としては機能的な欠陥を抱えている。しかし鶴岡八幡宮の森と白い箱の近代建築が対比的に共存し、歴史と近代が文化的に深く調和している風景は、美術館が大規模化していく傾向の昨今、地域の美術館の在り方を問う貴重な戦後日本の社会的資産であると思われます。

”The modern architecture that Japan is small after the war which was harmonized with the forest in Kamakura, Tsuruoka-hachimangu”

The heterogeneous white box of the rectangular parallelepiped occurs to the beachat the pond which is called the Heike pond which is in the ruins, the Tsuruoka-hachimangu precincts in Kamakura era lightly with the scenery around. It isshowing the appearance that an approach by the straight stone pavement whichimitated an approach to Shrine at the shrine is laid when taking effect in the west and entering from the front gate in and that the small-scale museum in 2 layers is stately in the front.

The podium stylobate part which consists of the wall of the tuff with the thin steel frame pillar in the plane of the character type of ロ which surrounds a court is anasbestos board and aluminum.It becomes the composition to support the 2nd floor part where the main part of the display which was done in the exterior with the metal fittings is delivered by. There is each exhibition hall to have surrounded a court to the 2nd floor which climbed the wide big stairs in the front and to have been arranged in the spiral form. The sculpture which Isamu Noguchi manufactured in the center is put and delights eyes when going out to the terrace in the south side while coming around, being clockwise and appreciating and overlooking a court. The terrace of the protruding half-outdoor comes out at the pond which was covered with the lotus flower with the eave soffit beginning to be roughly hung when going down the stairs which connect with the ground floor. In the dazzling sunlight in the south, in the surface of the water, it is reflected and the the forget flow at the time when pausing respectively and looking the more fantastically it makes, more charming space the scenery to reflect in the purl that the wide eave soffit can shake a pond is. When going down the stairs while wanting a square court concerning the display space with the 2nd floor spiral form, it felt the skillfulness of the line of flow by doing out the spread to be led to the openhearted terrace which faced a pond as it flows. There is a feeling that the small room travels by that there is not large space like the large-scale museum in today, surrounding a court, getting off continuously and passing through the whole. It says that the whole composition is supported by the concept, ” the museum of the infinite development ” of Le Corbusier which Junzo Sakakura of the designer did in the teacher thing.

The museum as there are not elevator facilities of the conveyance in today which the equal to or more than 50 year time flowed through after the main building was complete when not being during the end of the war, too, and so on as for being, it has a functional flaw. However, the forest in Tsurugaoka-hachimangu and the modern architecture of the white box coexist contrasting-ly and the history and the scenery which the recent times harmonize with deeply, being cultured are social assets in Japan after the war which is valuable which asks the state of the museum in the area in these days of the tendency that a museum is magnified.

参照文献 Reference
「DOCOMOMO20JAPAN 文化遺産としてのモダニズム建築展　DOCOMOMO20選」/2000 “Documentation and Conservation of buildings,sites and neighborhoods of the Modern Movement”/2000

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