美術館における展示部門の建築計劃に關する基礎的硏��� : 美術館の建築計劃に關する硏究 = Basic studies on the planning of exhibition spaces in art museums

다국어 초록 (Multilingual Abstract)

Japan is presently in a state of turmoil, a result of a sudden boom in the construction of art museums all over the country. An explanation to this unforeseen surge in construction activity may be attributed to a reduction in the construction of cultural facilities such as citizens' halls and libraries in favor of museums. A closer look into this activity however, would reveal that several of the buildings have been constructed without any regard of the "content" or the activities that go on inside of the building. Such an overly display of form which we may term "facility productionism" has recently become the subject of criticisms.
Although collections (material for exhibition) are the raison d'etre for the construction of art museums, assertions that activities directly associated with the handling of collections be included as considerations during the actual design process are neglected. In most cases than not, methods of exhibitions conflict with several factors such as conservation, variable user needs, local artists' opinions, etc. In an effort to harmonize these conflict of interests, only the external appearance or the facade of the museum and matters pertaining to management are given priority in art museum design, i.e., design considerations seem to be heading towards a "different" direction other than the original which is the preservation and exhibition of collections.
In the planning of art museums, it is imperative at the moment to understand the setup of management which varies from situation to situation and to express in architectural terms, the various forms of exhibitions and attributes of the collections.
Art museums function as depots where exhibit materials are accumulated or collected, studied, preserved and exhibited. Viewed from a functional context, the characteristics of art museums depend on how collections are managed.
Since the availability of authentic collections are in most cases, limited, the possibility that all museums are able to acquire enough collections for exhibition purposes is close to nil. In practice therefore, there are some museums that exhibit small volumes of collections, year-round without any alterations, some museums that resort to special exhibitions planned on a year-round basis using leased articles, some with enough good quality collections to be able to afford to have several possible types of exhibitions, and those that cater to exhibitions involving works of the citizenry.
It is possible to consider various types of exhibits from an architectural point of view and the method by which the collections are displayed in the planning of art museums. These different possibilities should be properly taken into consideration in the preparation of guidelines for planning.
To be able to do so, it is necessary to comprehend the present state of exhibition activities in order to adequately criticize and provide concrete guidelines for planning. With such a background in mind, the main objective of this dissertation is to review present exhibition activities and pursue an ontology on the spatial constitution of art museum architecture in terms of the proper handling of collections, paying particular attention to the peculiar characteristics of art museums and at the same time bearing in mind their primary function, which is the exhibition itself.
The present thesis is subdivided into seven chapters.
Preface. The Objective of the Study and Methodology.
The structure of the subsequent chapters are explained here. This discussion begins with a background of the study revolving about an account of the historical development of art museums. The objective of the study is then presented followed by an explanation of the method used in studying the museums. Present trends on the subject of museum architecture research are presented in order to show the relevance of this study in relation to previous and current researches.
In order to accomplish this, aspects associated with museum planning are taken up and discussed in conjunction to the structure of the thesis.
Chapter 1. A Comparison of the Characteristics of Exhibition and Preservation Spaces in Different Kinds of Museums.
Museums may be classified into museums of history, museums of nature museums of science and technology. Comx the fundamental activities, facilities the exhibition and conservation spaces were done. museums of art, and history, and ~arative studies on and equipment in of these museums
A survey investigating the relationships that exists among the attributes of the collections, the methods of classification and handling was conducted. An analysis of the methods by which collections were exhibited (exhibition style) as well as the behavioral patterns of the viewers were included. The distinctive characteristics of each of these activities were also presented.
From the above study, it was established that activities in art museums differ significantly as compared to other kinds of museums.
Chapter 2. Combinative Types of Exhibition Systems in Art Museums.
Three distinct types of exhibition systems and their combinations thereof were recognized in museums in the Kanto District. These are permanent exhibition systems, special exhibition systems and citizenry gallery systems. It was observed that permanent exhibition systems are increasingly decreasing because of the increase in activities involving collections for lease. Such activities may be attributed to a rapid proliferation of art museums and the high turnover of exhibitions, a strategy resorted to to alleviate the present status of exhibitions. As for special exhibitions and citizenry galleries, it was observed that these are increasing at a slower pace.
The number of occurences of exhibitions, the total volume of exhibited material and the contents of the exhibitions were examined according to the type of exhibition and the system of management. From the information so obtained, it was established that the types of exhibition systems vary significantly according to whether the museum is a national museum, a municipal museum or a private museum.
Chapter 3. Characteristics of Exhibitions from the Point of View of the Frequency and Magnitude of Turnover.
In this chapter, the status of the exhibition systems of art museums, i.e., the permanent exhibition system, the special exhibition system and the citizenry gallery system, is discussed from the context of the duration of the exhibition, the magnitude of the exhibition, the distributions of various combinations of exhibition types, how these relate to each other, and the reasons why certain types of combinations are adopted.
It was established that the characteristics of the three exhibition systems differed distinctly from each other, and that five combinations of these three systems exists in the Kanto District. It was also recognized that the distinctions among the three exhibition systems were not only due to differences in the fundamental concept of exhibition but also to differences in the attributes of the collections and the conditions of the spaces containing the exhibitions.
The necessity of understanding the different dimensions of the citizenry gallery separately from the permanent and special exhibitions were discussed from the context of organization and function.
Chapter 4. Classifications of Art Museums in Accordance to Types of Exhibitions.
Using the findings in Chapter 3, a new system for classifying museums using the exhibition systems as a basis was adopted. That is to say, the exhibition systems were reviewed in terms of indices such as the frequency of exhibition turnover and the forms of collections used.
The new classification systems lists museums as follows:
1) Those having their own collections and whose exhibits are fixed.
2) Those having their own collections and whose exhibits are made to rotate.
3) Those whose collections are temporary (i.e., collections that are leased).
4) Those that are combinations of 2) and 3).
Data on the annual trends of the types of museums being constructed, the differences in facilities used, volume of exhibited materials, past methods of exhibition, etc. in reference to this new classification system were analyzed. This yielded results that the new classification system was indeed valid.
Chapter 5. Classes and Characteristics of Exhibition Techniques in Exhibition Systems.
The characteristics of exhibition systems and techniques are analyzed in this chapter. As a tool in analyzing the various techniques involved in exhibits, terms derived from both museology and architecture such as the "display of art work", "supplementary communication systems" and "furnishing or equipment systems," were resorted to.
Recognizing the rate of possible combinations of exhibition techniques in art museums, it was established that the figures of exhibition techniques using the new types of museums were significantly different.
Chapter 6. Characteristics of Artwork Genres from the Point of View of (Handling Collections.
Classifying collections according to artwork genres facilitates the planning of facilities in exhibition spaces and recognition of proper methods of preservation of collectians as well as presentation.
For instance, from the point of view of preservati.an, particular attention was given to factors such as the kinds of materials used in the production of the artworks, the manner of handling collections and airconditioning.
On the other hand, from the context of exhibition techniques such as scale for example, attention was given to the shape of the artwork such that those with similar characteristics were grouped together.
For each type of artwork therefore, requirements related to handling, e.g., temperatu.re and humidity factor, illumination factor and those relating to presentation technique, i.e., the "background character of the exhibition area", "constitution of the exhibition room" and "proportion of the exhibition room" vary.
Using this method for classification, five artwork genres have been recognized. The effectiveness of this classification method was verified against the "production arrangement density" and was found to be valid.
Chapter 7. Planning Index in Exhibition Spaces and the Development of Design.
In retrospect, regarding the important subject of the future of the architectural planning of exhibition spaces of art museums, the following proposals are taken into consideration.
1) The relationship of the different aspects of art museum planning and the relevance of this study to the subject of planning theory.
On the basis of the results obtained from the previous chapters, there are those in the opinion that importance be taken in the direction of the convertability of exhibition spaces.
2) Setting up planning guidelines using the exibition systems as the point of departure.
The relevance of being conscious of the exhibition space as a "unit" within the exhibition system, possessing inherent characteristics that are distinct and that planning factors differ from one exhibition system to another are important considerations that must be included in the conceptual process in setting up guidelines for planning. This process of analysis, obtained from an analysis of art museums in the Kanto District was applied to individual museums from the basis of the new system for classifying m~~.seums derived from the study.
An assessment was made on the future state of art museums in light of these planning guidelines.
3) Planning of the exhibition environment vis-a-vis the conflict arising from the need to preserve the collections and effective methods of presentation or "visitor-useful" displays.
The possibility of being able to assess and grade the effectiveness of the level of the method of exhibition or technique was discussed. This is made possible by the use of the three scale index that establishes a one-to�ne relationship between the method of exhibition or "technique" and the attributes of the collections and facilities.
Several suggestions were offered in order to understand the characteristics of "visitor-useful" situations and how to reflect these qualities in exhibition environmental planning.
4) Factors inherent in exhibition environment planning in relation to the attributes of the collections.
The method of obtaining feedback from important problems such as in the planning of exhibition spaces, the preservation of collections, management of exhibitions and method of exhibition were discussed.

목차 (Table of Contents)

• 目次
• 硏究要旨
• 序章 究究の目的と方法
• 1節ㆍ硏究の背景ㆍ目的 = 1
• (1)美術館の活動展開と機能の多樣化 = 1
• (2) 硏究のと目的と方法 = 5
• 2節ㆍ硏究對象 = 10
• 3節ㆍ往硏究の動向と本硏究の位置づけ = 13
• (1)建築學の分野 = 13
• (2)博物館學の公野 = 15
• 4節ㆍ論文の構成 = 20
• 5節ㆍ調査の槪要 = 21
• 第1章 他系列の博物館との比較による美術館の展示ㆍ收藏部門の特徵 = 25
• 1節ㆍ硏究の目的と方法 = 25
• 2節ㆍ調査について = 26
• 3節ㆍ資料の收集と收藏形態の特徵 = 27
• 4節ㆍ展示の運營ㆍ利用特性 = 39
• 5節ㆍ展示ㆍ收藏部門の施設的特性 = 42
• 6節ㆍまとめ = 47
• 第2章 美術館における展示方式の實施形態と展覽會の構成特性 = 49
• 1節ㆍ硏究の目的ㆍ方法 = 49
• 2節ㆍ調査について = 50
• 3節ㆍ對象館の槪況 = 52
• (1) 館の槪況?構成 = 52
• (2)常設展?企畵展ㆍ一般展の實施狀況 = 52
• 4節ㆍ展示方式による展覽會の構咸 = 56
• 5節ㆍまとめ = 59
• 第3章 展示替えの頻度ㆍ規模からみた展示方式の性格 = 64
• 1節ㆍ硏究の目的ㆍ方法 = 64
• 2節ㆍ調査につぃて = 64
• 3節ㆍ展示方式別にみた展示替えの頻度ㆍ規模 = 66
• 4節ㆍ展示形態(展示方式の組合せの型)からみた展示替えの變動 = 65
• 5節ㆍ展示方式の選擇要因 = 70
• 6節ㆍまとめ = 73
• 第4章 展示方式による館の類型化 = 75
• 1節ㆍ硏究の目的ㆍ方法 = 75
• 2節ㆍ類型化の考え方と手順 = 76
• 3節ㆍ館類型の抽出 = 78
• 4節ㆍ館類型にみられる特性 = 80
• (1) 年代別推移 = 80
• (2) 施設の形態ㆍ規模等 = 82
• (3) 展覽會の構成形態 = 82
• 5節ㆍまとめ = 85
• 第5章 展示手法の種類と特性 = 88
• 1節ㆍ硏究の目的ㆍ方法 = 88
• 2節ㆍ展示手法の種類について = 91
• 3節ㆍ展示手法の特性 = 95
• (1) 資料の配列ㆍ構成方式 = 95
• (2) 情報の傳達法 = 96
• (3) 展示裝置の形態 = 100
• 4節ㆍ展示手法の館類型別特性 = 110
• 5節ㆍまとめ = 114
• 第6章 資料の取扱い方からみた作品ジャンルの特性 = 119
• 1節ㆍ硏究の目的ㆍ方法 = 119
• 2節ㆍ調査につぃて = 121
• 3節ㆍ保存ㆍ管理的側面からみた資料特性 = 123
• (1)資料の素材と保存方法ㆍ取扱い上の特性 = 125
• (2)作品の規格と收納形式ㆍ展示出棟時の特性 = 127
• 4節ㆍ資料形狀別展示表現の特性 = 131
• (1) 展示背景 = 132
• (2) 展示室の構造 = 132
• (3) 展示室のスケ-ル = 136
• (4) 設備機能ㆍその他 = 137
• 5節ㆍ資料の保存ㆍ管理と展示演出特性からみたジャンル分類 = 137
• 6節ㆍ展示密度の特性 = 141
• 7節ㆍまとめ = 148
• 第7章 展示部門における計畵的指標と計畵手法への展開 = 148
• 1節ㆍ各項目の關係と計畵論としての位置づけ =148
• 2節ㆍ展示方式からみた計畵指針の立案 = 149
• 3節ㆍ展示手法ㆍ來館利用からみた展示環境の計畵 = 159
• 4節ㆍ資料屬性による展示環場の條件 = 165
• 5節ㆍ今後の課題 = 167
• 參考文獻リスト = 168
• SUMMARY
• 付錄
• 1) 調査票一覽
• 2)對象館の施設ㆍ活動の槪要
• あとがき