先日、愛知県の豊田市美術館に立ち寄る機会があったので、このブログで紹介します。
豊田市美術館は、建築家谷口吉生の設計です。本日は文化の日ですが、谷口氏は今年度、文化功労者に選定されました。父親の谷口吉郎と親子二代の受賞ということも話題となりました。
1983年、山形県酒田市に竣工した土門拳記念館（日本芸術院賞受賞）で頭角を現し、その後も多くの優れた美術館建築をつくり続けています。
豊田市美術館は、1995年竣工の建物で、発表当時話題となり、そのころ住んでいた大阪から見に行きました。すみずみまでよく考えられた空間構成やディテールに感動した記憶があります。
今回、以前から決まっていた、愛知県の会場で行われる用があり、その帰りに少し寄り道しました。(その用とは実は、グッドデザイン賞の二次審査会場（セントレアの近くの愛知県国際会議場）への模型やパネルの搬入と設営でした。グッドデザイン賞の二次審査は東京オリンピックとほぼ同時期に行われたため、例年東京の近郊で行われる二次審査の会場が、今年と昨年に限り、首都圏以外の地域に変更になったようです。）
四半世紀ぶりの再訪となりました。
I had the opportunity to visit the Toyota City Museum of Art in Aichi Prefecture the other day, so I’d like to introduce it on this blog.
The Toyota Municipal Museum of Art was designed by the architect Yoshio Taniguchi. Today is Culture Day (national holiday in Japan), and Mr. Taniguchi was selected as a Person of Cultural Merit for this fiscal year. The fact that he and his father, Yoshirō Taniguchi, both received this honor generated a lot of attention.
Yoshiaki Taniguchi gained recognition with the completion of the Domon Ken Memorial Hall in Sakata City, Yamagata Prefecture in 1983 (recipient of the Japan Art Academy Prize), and he has continued to create many outstanding museum buildings since then.
The Toyota Municipal Museum of Art is a building completed in 1995, and it was a topic of discussion when it was first announced. At that time, I went to see it from Osaka, where I lived. I have fond memories of being impressed by the well-thought-out spatial layout and details down to the smallest corners.
This time, I had a prearranged business to attend in Aichi Prefecture, and on my way back, I made a slight detour. (To be honest, the business was about transporting and setting up models and panels at the Aichi Prefecture International Conference Center, which is near Chubu Centrair International Airport, and it was for the second judging of the Good Design Award. Due to the fact that the second judging of the Good Design Award was held around the same time as the Tokyo Olympics, it seems that for this year and the previous year only, the second judging venue, which is usually held in the Tokyo metropolitan area, has been changed to a region outside the capital region.)
It was a revisit after a quarter of a century.
美術館へのアプローチ。駐車場で車を降りて、数十ｍだが、森を抜けていく感じ。
Approaching the art museum involves getting out of your car in the parking lot and walking just a few dozen meters, but it feels like you are walking through a forest.
ランドスケープデザインは、アメリカのピーター・ウォーター。
The landscape design was done by Peter Walker from the United States.
建物までは十分な引きがとられており、森を抜けると建物の全貌が姿を現す。
一見、単純な四角い箱に見えますが、その最初の印象を裏切るような多様な空間体験が、来訪者を待ち受けています。
Adequate space is provided between the building, and as you pass through the forest, the full view of the building gradually comes into sight.
At first glance, it may appear to be a simple square box, but a diverse range of spatial experiences that defy that initial impression awaits visitors.
このスロープは、どちらかというと帰り道用だが、このような園路（斜路・階段）を含め、全体に回遊性の高い動線計画になっています。
This slope is primarily designed for the return path, but the overall layout, including pathways like this one (slopes and stairs), is planned to offer a high degree of circulation throughout the museum.
企画展として、モンドリアン展が開催されていました。（２０２１年９月２０日で終了しました。）
As part of a special exhibition, they held a Mondrian exhibition. (It concluded on September 20, 2021.)
竣工から２５年以上も経っているとは思えないほど、きれいに保たれていました。
調べてみると、竣工２０年目の節目に、１年をかけて改修工事を行い、２０１５年リニューアルオープンしたようです。
細かい部分は少し変わっているのかもしれませんが、基本的な構成やディテールは変わっていないように思います。
２５年以上の時を経ても古さを感じさせないのは、改修工事がなされたことや、日頃のメンテナンスがよいこともあるでしょうが、建築のコンセプトやディテールの完成度が当初より高く、洗練されていたことも大きな要因だと思います。
It’s remarkable that the museum has been maintained so well that it doesn’t appear to have aged in over 25 years.
Upon investigation, it seems that they carried out renovation work over the course of a year around the 20th anniversary of its completion, reopening in 2015. While there might be some minor changes in specific details, the fundamental structure and design seem to have remained largely unchanged.
The fact that it still doesn’t feel outdated after more than 25 years can be attributed to both the renovation work and regular maintenance, but it’s also a testament to the high level of architectural concept and detail refinement that was present from the beginning.
チケット売り場 / Ticket Counter
モンドリアン展 会場内 天井高は結構高い。(6.6m)
The ceiling height inside the Mondrian exhibition venue is quite high, measuring 6.6 meters.
この展示室が一番天井高が高く、９．６ｍ。/ This exhibition room has the highest ceiling, measuring 9.6 meters in height.
谷口吉生氏の建築には、空調吹出口や感知器類、誘導灯などの設備関連機器をはじめとする夾雑物が極めて少ないことにいつも感心する。何もしていないようにみえて、このようにすっきりとした空間をつくるのは至難の業で、完成までには数多くの人知れぬ苦労があったものと推察される。美術作品に没頭するための環境として、一つのもっとも優れた答えを導いている。
I am always impressed by the fact that Yoshio Taniguchi’s architecture contains very few extraneous elements, such as air conditioning outlets, sensors, or exit signs. It may seem like nothing has been done, but creating such clean and uncluttered spaces is a formidable task, and it’s likely that there were many behind-the-scenes challenges during the construction process. This design leads to one of the best possible environments for immersing oneself in art.
天井高や、自然光の導入方法が、展示室によって、（ほとんど全部）違います。美術作品を良好な環境で鑑賞できるだけでなく、その背景としての空間の変化も同時に楽しむことができます。
The variation in ceiling height and the methods of introducing natural light differ from one exhibition room to another (almost all of them). This not only allows for the appreciation of artworks in an excellent environment but also offers the opportunity to simultaneously enjoy the changing spatial background.
壁面から、柔らかく制御された自然光が入ってくる展示室。/ Exhibition rooms where softly controlled natural light enters from the walls.
遠くまで、街の風景がよく見渡せる廊下。ところどころにホッと息がつける場所があり、緊張と緩和が交互に訪れ、全体として隙のないデザインでも、気疲れするという印象はない。
A corridor where you can have a clear view of the cityscape in the distance. There are places to take a breather here and there, and a sense of tension and relaxation alternates. Despite the overall flawless design, it doesn’t give an impression of being mentally exhausting.
こちらの展示室の天井高は、４．０ｍ。/ The ceiling height in this exhibition room is 4.0 meters.
さりげなく、グスタフ・クリムトの絵画が。/ Subtly, there are paintings by Gustav Klimt.
別館への連絡ロビー / The lobby that connects to the annex or separate building.
水のなかに泡による円環が浮き出して見える。（おそらく、ピーター・ウォーカーの作品）/ Circular rings created by bubbles appear to float on the water (probably a work by Peter Walker).
屋外展示空間。鏡のように見えるのは、ダニエル・ビュランの作品。/ Outdoor exhibition space. What appears like mirrors is likely a work by Daniel Buren.
別館の高橋節郎館。（文化勲章を受章した漆芸家）/ The separate building is the Takahashi Setsuro-kan, dedicated to Setsuro Takahashi, a renowned lacquerware artist who received the Order of Culture.
彫刻のある前庭。/ The front yard with sculptures.
もちろん、床、壁、天井の目地はぴったりそろえてある。/ Of course, the joints in the floor, walls, and ceiling are perfectly aligned.
作家の紹介ビデオが流れる、休憩スペース（導入部）。天井の円形のトップライトがアクセントになっているが、全体でみたら少しふつうの空間。
A video introducing the artists is playing in the introductory area, which also serves as a resting space. The circular skylight in the ceiling acts as an accent, but when viewed as a whole, it may seem like a somewhat ordinary space.
展示室１。天井高４．６６ｍ。/ Exhibition Room 1 has a ceiling height of 4.66 meters.
蒔絵の施された、ピアノとハープ。右奥へ進むと・・・/ A piano and a harp adorned with lacquer art (maki-e). As you proceed towards the right rear…
自然に対して開かれた休憩室がある。/ There is a relaxation room that opens up to the natural surroundings.
展示室２，天井高３．２ｍ。/ Exhibition Room 2 has a ceiling height of 3.2 meters.
ほぼ一筆書きで、受付に戻ってくる / It’s almost like a continuous loop, leading you back to the reception area.
この鏡も現代美術ですが、子どもたちや若いカップルは、かくれんぼなどをして楽しんでいました。/ The mirror is a work of contemporary art, and children and young couples were having fun, playing games like hide-and-seek around it.
エントランスコートを上から見る場所にたどり着く。（キャノピー上の汚れが若干気になる。ここはマメに掃除してもらうしかないか。）
You reach a place where you can view the entrance court from above. There is some slight concern about the dirt on the canopy. It seems like regular cleaning might be necessary here.
来館時、はじめに見たスロープをおりていく/ On the way back, you descend the same slope that you first saw when you arrived at the museum.
最初に訪れた場所へ。左に見える鉄の塊はリチャード・セラの彫刻。
Back to where you first visited. The iron mass to the left is a sculpture by Richard Serra.
すこし駆け足でこの美術館を巡ったのですが、展示されている美術作品だけでなく、美術館の空間そのものに癒され、訪れる前よりも何だか少し心が整ったような感じになっていることに気づきました。
Even though you moved through this museum relatively quickly, you realized that the museum’s space itself, in addition to the exhibited artworks, had a soothing effect on you. It left you feeling a bit more at ease and composed than before your visit.
