AREA gallery completion:2008.02

photo by Takahiro Shimokawa

Japanese

English

広島県府中市。県の東南部に位置し、三方を中国山脈の余脈である小規模連山に囲まれている。「府中」の名は、7世紀にこの地に「備後国府」が置かれ、備後国の政治・文化の中心であったことに由来する。備後府中といえば、家具のまちとしても全国的に有名である。今から300年ほど前より箪笥づくりが始まり、大正時代、第一次世界大戦後のバブル景気で家具の需要が急増すると職人の数も増え、家具産地としての地位を確立した。この建物は、ここ府中の山々が臨めるのどかな場所にある。敷地は間口6mが道路に接し、奥行きが50m程の細長い形状である。ショールームを兼ねたギャラリーということで、次の点について仔細に考察を重ねた。「展示される作品群の存在が際立ち、かつ空間との違和感が生じないこと。」「作品を内包する場所として、訪れる人々の心を魅了できる空気感が演出できること。」~これらは、建物がひとり歩きして適えられるものではない。また、それぞれに分割して考察すべきことでもない。この度の計画の柱は「バランス」であり、更にこのギャラリーならではの個性を存分に反映していけることに配慮した。建物は2階建とし、1階部分は敷地奥に隣接するもうひとつの施設「木になる創庫」へのアプローチとしている。建物の両側には、高さ約3・5mの樹木「コノテガシワ」が隙間なく90本生えている。その樹木に支えられているように、建物の上部が持ち上がった風情の意匠を選択。1階の壁は設けず、出来る限り細い柱と細い梁による構造解析をしている。地面には枕木を最奥まで敷き詰め、樹木との相性とともに硬質さの緩和を図っている。また、アプローチから上部を見上げた時、ふと森の奥底にいるような錯覚がもたらされる。「コノテガシワ」の葉は隙間なく密集しており、こんもりと円錐形の立ち姿である。一本一本にボリュームがあるので、隣どうしの密着感が緑の壁の連なりに見える。そして、コノテガシワ独特の丸みが、樹木に抱かれているような感覚をもたらす。2階は屋内と半屋内に振り分け、スペースの用途によって分割具合に自由性を持たせた。時には曖昧な境界が作品展示に有効な場合もあると推察されたためである。半屋外~つまり1階部分・奥へのアプローチの上部にあたる床面にはグレーチングを使用し、透明性とわずかな浮遊感を持たせた。地面の枕木や側面の樹木が視界に入ることで、屋外の空気感を感じることができる。この建物の室内と屋外の曖昧は、不思議な開放感をもたらす。さらに樹木の成長が、時の経過に伴いより建築との一体感を増していくと考えられた。また、テントによってゆるやかに屋根をかけることで、展示スペースとしての機能を満たしている。建物の2階は、銅板の壁によって四方を囲まれている。森を連想させる抽象的な木の葉の群れを、レーザー加工によって銅板に施した。葉型に切り取られた隙間越し~ちらちらと映る樹木の緑は新鮮な印象を与える。さらに夜間の表情も面白い。屋内には光の中に木の葉が舞うように、屋外には空から星が降ってきたように~。ギャラリーはある種の異空間である。「建物に惹き込まれ、内部の設えに心躍り、作品に感銘する」~この空気感を押し付けがましくなく演出できれば、人々はそこを訪れたいと思うのではないだろうか。決して敷居は高くなく、それでいて日常とは違う感覚をもたらしながら憩える場所。そして、作品を創り出す人々が、ここに「自身のアイデンティティを投影した芸術」を託したいと思える場所。この建物の計画は、このギャラリーが持つ意味を、様々な側面から考察することからスタートしたと言っても過言ではない。最も配慮したのは「人」である。勿論住宅も同様である。人が集う性質の建物には、人々の「心具合」について鋭敏であるべきと思われる。印象・居心地など、細部まで神経を注いで足りるというものではない。しかし、そこでの過ごし方に建物が強制力を持つべきでもない。建物の完成は、そこに集う人々との「共生」のスタートでもある。つまり、完成は終着ではなく始発である。このギャラリーが、人々の手によって「味わいと成熟」を深め続けてくれることを願っている。


河口 佳介 + K2-DESIGN
主宰 河口 佳介
             
It is built in Fuchu city, Hiroshima. It is located in the south east of the prefecture and is surrounded in three directions by small mountain range which is the extension of the Chugoku mountain range. The name "Fuchu" comes from history when there was Bingo Kokufu in the 7th century and this place was the center of politics and culture of Bingo Province. Speaking of Bingo Fuchu, it is well known in nation wide as the city of furniture. Tansu or the Japanese bureau have been made here starting about 300 years ago and in Taisho era, there was an increased demand on furniture resulted in increased demand of the craftsmen due to the bubble economy after the first world war and this area established itself as the town of furniture. This building is located in the tranquil area surrounded by mountains in Fuchu. The site has 6m opening facing the street, and is the elongated shape with about 50m in depth. As it is a gallery which also serves as a showroom, we gave much consideration to the following points. "The presence of the exhibition needs to stand out and they don't have the feeling out of space" and "produce an atmosphere that attracts visitors as a space where works are displayed". - the building itself cannot achieve these points. Furthermore, these two points cannot be separated when considering each point. The pillars of the plan this time is the "balance" and the uniqueness of this gallery needs to be reflected. It is a two-story building and the first floor is the approach to another facility "Kininaru Souko" which is located at the back of the building. 90 trees which are 3.5m in height called "Oriental Arbor Vitae" are planted on both sides of the building without any gap. The design which looks like the building is supported by those trees and the upper part of the building looks like being lifted up is selected. There are no walls in the first floor but thin pillars and thin beams are used as much as possible are used for structural analysis. Sleepers are layer through all the way back on the ground and they have a good balance with the trees and lessen the hardness. Also, when you looked up at the top from the approach, you may suddenly feel like being deep in the woods. As the leaves of "oriental arbor vitae" are dense without any gap, they have cone shape in a standing pose. Each tree is full of leaves and standing very close to each other and this make it looks like to be a series of green walls. The second floor is divided into indoor and semi-indoor and depending on the purpose of usage, it can be flexible in dividing them. As the leaves of oriental arbor vitae are distinctively round, they bring the feeling of being embraced by the trees. The second floor is distributed to the indoor and semi-indoor. This is because we predicted that ambiguous boundaries sometimes can be effective for exhibition. Grating is used for the floor surface of semi-indoor area which is the upper part of the approach to the back in the first floor in order to give it a transparency and a slight feeling of floating. With the view of sleepers on the ground or the trees in the side, it is possible to provide the outdoor feeling of air. Ambiguity for indoor and outdoor in this building leads to a strange sense of openness. In addition, the growth of the trees will increase the sense of unity with the architecture in time. Also, applying a tent fabric as a roof, it will satisfy the function as a display space. The second floor is surrounded by the walls made of copper plates. A flock of abstract leaves which reminisce the forest has been laser printed in the copper plates. The gap which has the shape of a leaf and the reflection of the green from the trees give fresh impression. The looks in the night time is also interesting one. It looks like the leaves are swirled up in the light in the indoor and it looks like stars are falling down from the sky in the outdoor. Gallery is a kind of unusual space. "Attracted by the building, thrilled by the interior and impressed by the work" - if one can produce the space without being intrusive, people would want to visit there. The place should be comfortable place which is easy to walk in while providing the different sensation from daily life. Also, it should be a place where people who produce the work feel that this is the place where "they would like to display their art works which reflect their identities". Planning of this building started with the consideration of the various meanings for this gallery. The most consideration went to the "people". Of course, housing is also the same. The building should be sensitive to the hearts of people who gather in the building. It is not enough to just pay attention to such details s as impression or coziness. However, the building should not enforce people how they should spend their time in the building. The completion of the building is also the start of the "coexistence" with the people who gather there. In other words, the completion is not the end point but it is a starting point. We hope that this gallery will continue to "mature and add more taste' by people.

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