畠山美術館（計画案）

Kikutake Kiyonori

東京都港区にある「畠山記念館」のための美術館の計画案である。茶道具を中心に、日本・中国・朝鮮半島の古美術をコレクションに持つ。計画案は複数年にわたり変更が繰り返されたが、それらは展示室の在り方と連動する構造形式を探るもので、大きく二つの方向に集約される。一方（上）は、コア構造によるもの。二階床スラブを貫くコアと外周に等間隔に並ぶ細い柱が荷重を分担し、シェル構造の曲面屋根を支える。コア内部を収蔵庫とし、コアの周囲に展示ケースを配して展示空間とする、合理性の高い平面計画である。もう一方（下）は、ラーメン構造によるもの。二階レベルを、長手方向の中央一列の柱の無い無柱の空間とすることにより、自由度の高い展示室としている。二階外周に残る角柱が大断面の桁・梁を支え、その上に大屋根がおおらかに載せられる。どちらも、持ち上げられた広い展示空間と屋根架構の関係が追求されている点では、「島根県立博物館」と共通する関心を見ることができる。［EK］

Kikutake developed a schematic plan for the Hatakeyama Memorial Museum of Fine Art. The client had a collection of antique arts from Japan, China, and Korea with an emphasis on tea ceremonies. The project went through several schematic iterations over course of a few years, in which Kikutake sought a structural system that corresponded to the spatial organization of each exhibition. In the end it was narrowed down to two design directions that utilized different structural systems. The first scheme was of the core structure. The core penetrated the second-floor slab, and shared the load with surrounding thin columns placed at even intervals to support the curved surface of the shell-structure roof. This was a rather rational plan in that it utilized space inside the core structure as storage and arranged display cases around it as exhibition space. The second scheme was the use of frame structure. In this scheme, there were no middle row of columns in the longitudinal direction on the second floor to make the exhibition room more spatially flexible. The columns remained around the building’s perimeter supported the joists and beams as well as a large precambered roof deck. Both plans featured a large volume of exhibition space realized by lifting it from the ground. In that respect, Kikutake pursued a similar model in his design for the Shimane Prefectural Museum. [EK]