장소의 기억을 되살린다. 태시마 요쿠하우스는 태시마섬의 아름다운 자연환경 수복을 위한 기념비적 공간으로 1975년에 들어선 산업폐기물 처리장으로 인하여 단절된 장소성을 현재에 연결하는 매개체, 박물관 역활을 수행한다. 박물관은 이 지역에 위치한 일본전통가옥을 개조하여 인간 삶의 다양한 단편들을 전시, 퍼포먼스한다. 자연과 사람을 연결하는 공간은 다이나믹한 시퀀스를 연출하며 장소에 대한 기억을 불러 일으킨다.
reviewed by SJ
For a museum on Japan’s Teshima island, Yuko Nagayama employed coloured glass to create dynamic scenes.
Teshima – once a beautiful island rich in natural sources such as fishery and agriculture – suddenly became an illegal dumping spot for industrial waste in 1975. Soichiro Fukutake, president of the Fukutake Foundation, wished to wash away this negative image and give Teshima – like many other islands in the Seto Inland Sea with an aging population – a bright future through contemporary art.
One such intervention is the conversion of a traditional Japanese house into a permanent museum dedicated to the works of renowned artist Tadanori Yokoo. Soichiro Fukutake’s younger sister Mitsuko was in charge of the project, for which Yokoo’s patron appointed young female architect Yuko Nagayama. ‘Yokoo and I are opposites: male and female, old and young,’ says Nagayama of the curious match. ‘He works with two-dimensional paintings while my field is three-dimensional architecture, but we shook hands for this interesting collaboration.’
Nagayama began by contemplating how to realize Yokoo’s world, something she solved with an array of glass screens. Adopting the theme of life and death, which is fundamental to all of Yokoo’s creations, the architect was inspired by the image of life as one that ‘keeps circulating endlessly’.
‘The coloured glass works as a medium that changes the scenery that people see through it,’ explains Nagayama. ‘The red glass controls the information in terms of colour and tone, while the black glass governs the quantity of sunlight.’
The result in a museum in which glass makes static scenes come to
life. ‘Each “scene” becomes a collage in the entire space,’ says
Nagayama. ‘Thanks to the multiplied effects of the constantly changing
sunlight in combination with the glass screens, the museum never shows
visitors the same face.’
from frameweb