*리니어 뮤지엄 [ Nikken Sekkei ] Hoki Museum

예술작품은 사람의 심신을 정화시켜준다.
공간은 예술작품을 담는다.
미스터 호키선생의 개인소장품을 전시하는 프라빗 뮤지엄은 유화작품과 극사실작품을
전시하는 공간으로 전통적인 관람동선을 건축적 공간과 매치시키며
드라마틱한 공간을 연출한다. 그것도 단순한 몇가지 명제를 가지고서...
갤러리가 예술작품을 담는 그릇이자 그 자체가 예술작품이 되도록 설계된
리니어한 공간은 건축공간과 예술작품을 일체화 시키는 일련의 행위를 수반한다.
여기서 부터 출발한 리니어하며 연속적인 공간은 갤러리를 각도가 없는
단일공간으로 계획한다.
여기에 100미터에 가까운 길다란 갤러리에 끝에 외부의 빛과 자연풍경을
만나도록 계획되어진 작은 휴식공간을 주어 다음 갤러리와의 연속성을
이어간다.
-이와 같이 갤러리와 갤러리 사이에 자연을 만나도록 배치하는 것은
다음 공간에 대한 예우이며, 색다른 맛을 접하기 전에 입을 헹구는 것과
같지 않을까?-
또한 갤러리들의 관람법칙과 공간구성은 동일한 방식으로 구성되어 있지만
섬세한 컨트롤을 통하여 마치 볼레로의 극 구성처럼 리드믹컬한 시퀀스를
만들어 낸다. 이러한 공간은 되풀이 되며 끝임없는 순환공간을 만들어 낸다.
-심플한 시스템을 이용하여 갤러리의 크기와 디멘젼 그리고 갤러리 내부로
유입되는 빛의 양을 달리 함으로써 공간의 위계와 성격을 구분한다.-

좋은 공간감이다. 이미 갤러리는 예술작품과 일체화 되며 건축가의 의도처럼
하나의 커다란 예술공간으로 디자인 되었다.

reviewed by SJ

This is a private museum to exhibit and preserve painting and wines that Mr. Hoki has collected. According to Krzysztof Pomian, the essence of collection is not only just to gather things, but also to reconstruct them, exhibit them and establish new meanings. So, the action Mr. Hoki is performing here through gathering realistic paintings and aiming to establish new meanings can be exactly recognized as “collection”.

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Architects: T.Yamanashi + T.Nakamoto + T.Suzuki + M.Yano, Nikken Sekkei Ltd. 
Location: Midori-ku, City of Chiba, Japan
Completion: August 2010
Client: Hoki Museum Co., Ltd.
Photographs: Noda Gankohsha , Nacasa & Partners

Once Aby Warburg tried to propose “Mnemosyne Atlas” as a method to exhibit collections. He could not complete it but we felt the concept is still effective. So we thought Hoki museum could be a chance to establish architectural Mnemosyne Atlas of Mr. Hoki’s collection.

Main theme of his collection are realistic oil paintings miraculously painted in detail with marvelous technique, so we thought that “gallery” is most suited for these works and should be selected as an archetype of this museum space. Until now, galleries have rarely existed only by itself as architecture and always have been treated as subsidiary space by architects. So, we tried to generate all architectural elements for this facility only from ensemble of galleries this time. This architecture is nothing more than a gallery, but also less than a gallery. Our aim was to establish “Gallery Degree Zero”.

Inside galleries, people can not only access each painting in traditional sequential move, but also take a random-access way because galleries are slightly curved and people can recognize positions of all the paintings at a glance. Galleries that extrude longitudinally along the site, measure up to 100 meters long. The visitors will face to the super-realistic paintings in a seamless gallery without any joints of finish and outstanding existence of lights. At the end of a gallery, they can enjoy natural light and scenery outside. After a short rest, they will move to the next gallery. These are the fundamental system of this museum. All the galleries have same style but proportions, dimensions and amount of natural light are gradually changed. Through these delicate controls, we tried to build up the sequence of spaces, like a bolero, having different densities in the simple system composed only by repetition of galleries.

Outside, we tried to build the presence fit in to the context by stacking galleries. In the western side where the visitors mainly approach to this facility, the galleries are intensively stacked to balance between houses around the site. In the north and southeast side where this facility faces to a forest, the galleries are discretely composed and show the program of this facility clearly. Using characteristic structure effectively, the upper gallery is cantilevered and flies toward the forest 30m long. 60cm high horizontal slit between the galleries works as a route of winds that makes twigs of trees inside courtyard flap.

As just described here, this museum was entirely designed to exhibit the collection at its best condition. At the same time, under the limited condition using only galleries, we tried to reply to Mr. Hoki’s request that the architecture also have to constitute a part of his collection.

from  archdaily