11 月 22 2008
東京カテドラル聖マリア大聖堂 St.Mary’s Cathedral,Tokyo
敷地：東京都文京区関口3-16-15
竣工：昭和39年(1964年)
設計者：丹下健三＋都市建築研究所
DOCOMOMO Japan 079
Location:3-16-15 Sekiguchi,Bunkyo-ku,Tokyo
Establishment:196４
Architect：Kenzo Tange,City Construction and Planning Research Center
感想：Impression
「形態と構造が美しく調和した宗教建築の傑作」
” Masterpiece at the religion architecture which the form and the structure harmonized with beautifully “
再建された聖堂 The reconstructed temple
この聖堂を訪れた時は、秋晴れの青空が高く広がった好日でした。JR目白駅から目白通りを西へ向かい日本女子大を過ぎると、間もなく向かい側の右手に著名な椿山荘、左手の奥に銀色に輝き、屏風を広げたような特異な形態の建築が見えてくる。「東京カテドラル聖マリア大聖堂」は40余年前に竣工したとは思えない斬新な造形で、古臭さを微塵も感じさせない存在感がありました。かつてこの地には、1899年に建てられた聖母聖堂があり、それが1920年に東京カテドラルとなり、東京大司教区の活動の中心となっていたが、45年の東京大空襲で焼失してしまった。戦後しばらくは日本の経済的事情により再建されない状態が続いたが、国内カトリック信者の熱烈な要請とドイツ・ケルン大司教区の援助により、復興計画が実現の運びとなった。そして1961年に指名競技設計が行われた結果、丹下健三氏の大胆な造形案が一等当選を果たし、丹下氏の設計により64年12月に東京カテドラル聖マリア大聖堂が落成しました。
When visiting this temple, it was to do the good day being the blue sky of the clear weather of autumn was spread high where. When passing opposite Japan Women’s University Mejiro street from JR Mejiro station to the west Soon, at the right hand in the opposite side, in famous Chinzansou, in the back of the left hand, it shines and the architecture with the form which is peculiar as it spread a folding screen seems to be silver. There was an existence sense which the atom, too, doesn’t make feel about the old-fashionedness by novel molding about which the completion of Tokyo cathedral Virgin Mary cathedral with not seeming was done equal to or more than 40 years before. Ever, there was a Holy Mother temple which was built in 1899 in this place and it became the center of the activity of the next of the Tokyo cathedral, the University of Tokyo eparchy in 1920 but the great Tokyo air raid in 45 had burned it down. After the war, for a while, the condition which isn’t reconstructed by the economic situation in Japan continued but is the country. The revival plan became the progress of the realization with the request about which the Catholic follower is perfervid and the help of German Cologne archdiocese. Then, in 1961, in the limited competition, after done, Kenzou Tange’s bold molding plan achieved first class election and Tokyo cathedral Virgin Mary cathedral was complete in December, 64 with the design of Tange.
迂回するアプローチ Detouring approach
聖堂へは、然程広くない敷地を考慮してか迂回してアプローチする形になっている。敷地西南の入り口から小広場へ進むと、屏風のような聖堂の南面が視界一杯に広がり、事務所棟の関口会館を左に曲がると奥に空高く屹立する鐘塔が聖堂の傍らに立つ。塔を過ぎてすぐ右に折れて駐車場となった広場を歩きながら右側の東南方向を向くと、聖堂入り口のある正面と正対する。ここまで迂回しながら連続するシークエンスの変化を魅せるアプローチが考慮されているのだが、そのような設計意図が竣工から40余年が過ぎた今、激変してしまっているようだ。竣工時(1964)の配置図を見ると、次のような変化が目に付きました。目白通りに面した西側の事務所棟の規模が大きくなって、当初道路側あった大きな入り口を塞いで、開放的だった道路側環境が閉鎖的になったこと。また聖堂入り口前に広がっていた扇形広場の芝生が失われて駐車場に変わってしまっていること。更に、敷地北奥に司祭の家が建てられて広場が狭くなってしまったことなど。竣工当時とは異なる交通量など社会環境の変化を考慮すると、駐車場の確保は致し方がないと言えます。しかし週末、結婚式などで大勢の人が集まった時は聖堂の周りが車で埋め尽くされてしまっている状況で、中世ヨーロッパ都市の教会のように道路から広場へ導かれ、教会へ到るまでの視界の変化による高揚感や聖堂前の開放性などが損なわれてしまっているのが残念です。
It becomes the form which approaches, detouring round about whether or not to consider scarcely wide site to the temple. When advancing towards the smoall square from the entrance in the Shikiji southwest, it is a folding screen. The chime tower which towers with the sky being high with the back is built in the side in the temple when the ascent of the temple as it is spreads to one cup of sight and turning to the left at Sekiguchi hall at the office building. When turning to the southeastern direction of the right while walking at the plaza by which a tower passed, and it turned it to just the right and was made a parking lot, it makes a correct position the front where there is a temple entrance. The approach which fascinates the change of the sequence which continues while detouring round to here is considered but the such design intention changes suddenly in now when about 40 years passed from the completion. When seeing the arrangement plan of (1964) in completion, the following change was noticeable. The scale of the office building in the west side which faced Mejiro street becomes big and at first, it is to have blocked up the big entrance which was on the side of the road and that the openhearted environment of the side of the road became exclusive. Moreover, it is the fact that the house of the officiant was built in the back in the site north side and that the plaza had become narrow and so on. When considering that the social environment such as the different traffic changes, it is possible to say that there is not a way of being in the securing of a parking lot with those days of the completion. However, when crowds of persons are gathered by the wedding on the weekend and so on, it is the status which neighborhood in the temple is buried in with the car. It is led to the plaza from the road which was conscious of the church in the Europe in the Middle Ages city and that the uplift sense by the change of the sight and St. Domae’s openness to lead to the church are compromised is sorry.
垂直的表象を持った空間 Space which has a vertical symbol
H.Pシェルの壁の側面に蹲るように配置された低層部分から聖堂内部に入ります。祭壇の十字架を背景に垂直に上昇していく聖堂の身廊空間が低層にあたる側廊から垣間見えると自然に気持ちが高揚してきます。聖堂中央に進むと、ここで初めて,8枚のH.Pシェルがつくり出す圧倒的な内部空間のボリュームや緊迫感を体感することができました。荒々しいコンクリートの壁が四方からうねり曲がりながら天上へ迫り上がって行く様子は圧巻で、自分を覆い包んでいるコンクリートの膜に日常感覚を破られたような強烈な印象を覚えます。コンクリートの膜は高さ40ｍまで上昇しながら狭まり、頂点で交差し十字形のスリットのトップライトとなって天上から柔らかな光が降り注ぐ。スリットは立ち上がりの8枚のコンクリートシェルの合わせ目の四隅も垂直に裂いて、三方にガラス、祭壇後背面には薄くスライスされた大理石がステンドグラス風に嵌め込まれている。うす暗い聖堂内を前後左右から射し込む明るく穏やかな色彩の光線で照らし、神秘的な雰囲気を漂わせています。聖堂の平面構成は、中世ヨーロッパの教会を意識して中央信者席の身廊とサイドアイルと呼ばれる両翼の側廊に分割されている。人間的尺度を越えた垂直的な上昇空間の身廊と人間的スケールでつくられた側廊が繋げられることで、閉じられたコンクリートシェルの足許を開放し、緊迫感を和らげて、聖堂の空間を多様で豊かなものにしています。
It enters from the few stories part which was arranged to crouch down to the side in the wall of the H.P shell inside the temple. The feelings uplift naturally when the nave space in the vertically with a background of the cross of the altar rising temple can be peeped from the aisle which hits a few stories. The first time by this place when advancing towards the center of the temple
,The volume and the tension of the overwhelming interior space which eight sheets of H.P shells create could be felt. As for the state the violent concrete wall is a welter curve from all sides, but to finish approaching heaven and for it to go, it daily learns the strong impression as torn in the feeling at the film of the concrete to be wrapping up by covering it in the highlights. The film of concrete narrows while it rises to the 40 m height, it intersects at the top, and becomes the top light of the cross-shaped slit and the soft light lashes from the heaven. It tears, that the four corners of the standing-up joint of eight sheets of concrete shells, too, are vertical about the slit and the marble which was sliced thin is put in the stained glass style by glass, the back behind the altar to the three sides. It lights up in the beam with the brightly quiet color to insert the inside of the dim temple in from back and forth either side and it has a mystic atmosphere. The plane composition of the temple is divided into the aisle of both wings which are conscious of the church in the Europe in the Middle Ages and are called the nave and the side aisle of the central follower seat. It opens the lower part of the concrete shell which was closed that a nave in the vertical rise space which crossed a human scale and the aisle which was made with human scale were linked, and of the tension it softens and it is doing space in the temple in the various and rich thing boiling.
近代における宗教建築の伝統と創造 Tradition and the creation at the religion architecture about the recent times
指名競技設計に勝利した丹下健三氏は、このカテドラルの設計にあたり「宗教的な崇高さ、荘厳さを漂わせるような空間」にすることを目指したという。その空間が備えるべき性格として考慮された点は、中世ヨーロッパの教会建築の伝統を60年代当時の近代的精神と近代の構造技術でいかに発展させていくかということであった。8面のH.Pシェルを組み合わせ、垂直に架構してつくり出されたカテドラルの主空間はカトリック信者の祈りの場として、中世ヨーロッパの教会のような荘厳な雰囲気を漂わせることに成功している。近代建築に於いては、人間的尺度(ヒューマンスケール)の空間への志向がその命題であった。しかし中世ヨーロッパの宗教建築では、人間的尺度を超えた(マスヒューマンスケール)空間が伝統的に志向され、その時代の構造技術を駆使し、天上から降り注ぐ光と闇のドラマが展開する小宇宙的世界が信者たちを高揚させてきた。近代建築における宗教建築というと真っ先にル・コルビジェの傑作「ロンシャンの礼拝堂(1955)」と「ラ・トゥーレット修道院(1960)」が頭に浮かびます。丹下氏は傾倒するコルビジェに習い、この東京カテドラルにおいて近代建築としての宗教建築の成立を指向したのではないか。60年代当時の最先端の構造技術であるコンクリートH.Pシェルを駆使して中世の宗教建築の伝統を継承するような人間的尺度を超える荘厳な空間を獲得し、同時に近代建築の命題である人間的尺度で聖堂の主空間を補完する側廊や付属施設がつくられている。中世の教会建築の伝統と新しい宗教空間の在り方をその時代の構造技術と表現方法によって継承し創造することに果敢に挑んだ結果は、形態と構造が調和した美しい外観と荘厳な内部空間に昇華したようです。この建築を気に入っていた丹下健三は竣工後もカテドラルを時々訪れて覗いていたという。そんな丹下氏は2005年3月に永眠し、20世紀の近代建築の遺産となったこのカテドラルで葬られた。見学を終え帰路につく頃はもう日暮れ時で、銀色に輝いていたカテドラルのシルエットは秋の夕陽に照らされ朱に染まり、目白の閑静な人間的スケールの街並みに溶け込んでいる風景が心に残りました。
竣工時(1964)のカテドラル The cathedral of (1964) in completion
It says that Kenzou Tange who won at the limited competition aimed to make ” the space as it gives off off religious nobility, solemnness” in case of design of this cathedral. The point which was considered as the character which the space should prepare for was the fact to develop a tradition at the church architecture in the Europe in the Middle Ages how by the modern mind at the time of the 60s and the structure technology in the recent times. It combines eight H.P shells and in the main space of the cathedral which was created, doing an engine frame vertically, it succeeds in having a solemn atmosphere like the church in the Europe in the Middle Ages as the place of the prayer of the Catholic follower. In the modern architecture, the intention to the space of the human scale was the proposition. However,at the religion architecture in the Europe in the Middle Ages, the space which exceeded a human scale traditionally was intended. Then, it used a structure technology in the times and the world having to do with microcosm where the drama of the light and the darkness which lashes from the heaven spreads out made uplift for the followers. Masterpiece ” The Chapel of Notre Dame du Hautin Ronchamp’s chapel(1955) ” and ” Sainte Marie de La Tourette(1960) ” of Le Corbusier appear on the head first when saying a religion architecture about the modern architecture.
Did Tange learn in concentrating Corbuseir and didn’t point the formation of the religion architecture as the modern architecture at this Tokyo cathedral? It wins the solemn space which exceeded the human scale as it succeeds to the tradition at the religion architecture in the Middle Ages using the H.P shell which is the most advanced structure technology at the time of the 60s and the aisle and the accessory structures to complement main space in the temple by the human scale which is the proposition of the modern architecture are made. The result of challenging to accede to the tradition at the church architecture in the Middle Ages and the state in the new religion space with the structure technology and the expression way in the times and to compose daringly seems sublimated to the form, the beautiful outward appearance which the structure harmonized with and the solemn interior space. It says that it visited a cathedral sometimes and that Kenzou Tange who liked this architecture peeped after completion, too. Such Tange dies in March, 2005. It was buried with this cathedral which was made the inheritance of the modern architecture in the 20th century. In the visit, when being on one’s ending way home, it was to be already at the time of the nightfall. The scenery of which the silhouette of the cathedral which was shining to the silver is compared with the setting sun in the autumn, it dyes to the vermilion and melts to the rows of stores and houses on a street with Mejiro’s silent human scale was left in the heart.
参照文献 Reference
新建築1965年6月号/新建築社 “The japan architect JUNE 1965″/published by Shinkenchikusha
人間と建築-デザインおぼえがき/彰国社/1970 “The human being and the architecture-The desailly in memorandum”/published by Shokokusha/1970
丹下健三-時代を映した”多面体の巨人”/日経アーキテクチャー/2005 “Kenzo Tange-It reflected times ” The polyhedral giant “/published by Nikkei Architecture/2005