When Was the Museum of Western Art Built Why Was the Museum of Western Art Built

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Introduction

This building is born because the French government decides to confiscate Japanese denizen Yard. Matsukata much of impressionist fine art collection amassed during 1916 and 1923, taking it as a "prisoner" during the war. Within the collection were works by El Greco, Rodin sculptures, etc. In 1956, Japan requested the return to France of these works, to which the French government agreed on the condition that information technology is a French architect who developed the projection of the building that would house such works. Another condition to be returned is that this place should be chosen "National Museum of Western Art."

The museum to firm the collection Matsukata was commissioned the Swiss-French Charles-Édouard Jeanneret-Gris (Le Corbusier) in 1955, with the projection completed past iii Japanese apprentices in his studio in Paris: Kunio Maekawa, Junzo Sakakura and Takamasa Yoshizaka. Subsequently was built in 1958 and completed in 1959 by Shimizu Corporation.

The Museum is a historically meaning edifice, completed in March 1959 as a symbol of the resumption of diplomatic relations between Nippon and France after the 2d World State of war. In 1998, the building was listed as "Kokyo Kenchiku 100 Sen" (100 selected public buildings), sponsored past the former Ministry of Construction, which adamant that it was a unique public edifice well established in the local community. The primary building has been designated a Cultural Edifice in 2007.

Location

The site is located in Ueno Park, north of the Imperial Palace in Tokyo, closing the circle of buildings consisting of the National History Museum, the Museum of Fine Arts and the Museum of Science. The address is: 7-7 Ueno-Koen, Taito-Ku, 110 Tokyo, Japan.

Concept

1st Floor

Le Corbusier proposed a museum "square screw". The arrangement of the exhibition spaces spiral is an argument that applies in your projects, from the exterior, the building appears as an opaque container off the ground on 'piles' and with merely two openings that connect the inside with their surroundings and, connected by a sculptural staircase.

In 1929 Le Corbusier designed a model of unlimited growth Museum (Musée à croissance illimitée) for Mundaneum of Geneva. It was a square spiral, on 1 flooring supported by stilts, which would eventually evolve and grow according to the needs of the project.

There are three versions of this type of museum in the world by architect: Kendra in Ahmedabbad (1957), the Museum and Art Gallery in Chandigarh Government (1965) and the National Museum of Western Fine art in Tokyo (1959).

Modulor

Each element of the structure have been practical concepts of Le Corbusier Modulor. Based on the size and proportions of the man trunk, is a way to arrange the spirit architecture, order the infinity of possible dimensions, so as to adapt to the homo class. The Museum of Western Art in Tokyo, the Modulor system tin be seen in everything from the structural to architectural details and decorations.

Spaces

The organization of the building is divided into 2 parts: the main building based on a square design and the new administrative wing is north. Both buildings are organized effectually their own backyards, in the example of the principal edifice is a covered space, while the new fly encloses a garden.

Main Building

Occupying land 1.587m2, congenital 4.399m2 of which correspond to 1.533m2 1.097m2 exhibition galleries and storage, distributed in three floors above footing level, a basement and a basis terrace. The main archway is preceded past a foursquare on which rests a statue of the "Thinker" by Rodin. At one end of the principal facade, on the first floor, a large window leading to a balustrade ledge, leaning on a colonnade that serves triangular ceiling at the entrance. Similar item is also seen in 1 of the sides.

The museum is square, "foursquare spiral", with the principal torso of the galleries on stilts at showtime floor level, accompanied by a pavilion for temporary exhibitions and a building for plays. Le Corbusier imagined a fix in which the museum too contains a "miracle box" with a mysterious and amazing content as opposed to the principal book of the building compact physical, never came to fruition. The design is influenced past the Kendra in Ahmedabbad that Le Corbusier was designed at the same fourth dimension.

Gallery Exhibitions (Spiral Square)

Floors

First flooring

The visitor archway is on the footing floor between piles upwards around the building and giving access to the hall in the opposite side offers a ramp upward, some other recurring architectural elements in the work of the architect, to the galleries exposure surrounding the main infinite: the Board of XIX century. At this level there is access to the conference room, out of the museum'south galleries, the main desk-bound, locker, library, health room, access to the gallery B, toilets, library, museum warehouse, workshops and reserve materials.

The double-elevation principal hall is illuminated from above with a glazed pyramid skylight facing north, intercepted concrete beams cross and a single column. A spatially highlights this central exhibition hall with its ramp and triangular skylight and double pinnacle gallery, too with overhead lighting, which exhibits the drove of the nineteenth century. This highlights its unique exhibition space and towering pillar that rises up to the skylight supported by cantankerous beams.

Second Floor

1 of the favorite resources of Le Corbusier, the ramp leading to the 2d level and a large room, the Matsukata gallery with temporary exhibitions, permanent stands, briefing and motion picture. The exhibition spaces of this plant are developed concentrically around the keen hall.

In three unlike locations within the showroom of this level, in that location are three independent mezzanines that are accessed past narrow stairs, giving access to small exhibitions. These spaces were closed to the public.

In this room there are two balconies that reverberate the nineteenth century hall below. From the kickoff balustrade you lot can look downward and come across the showroom afterward another balcony, discovering the many places offering this edifice. The showroom has two roof heights, which highlight the transition between the open and more tablets. The lower ceiling is fixed to 2.26 one thousand according to Modulor measurements, the other twice the height.

Third Floor

This plant has employees offices, secretarial expanse, toilets, room care, tea training, documentation room, meeting room, recreation room, conference room, projection room, staircase, electric gallery.

Roof Floor

This plant has shed roofs and skylights, a roof ladder, diverse pots. For Le Corbusier the ceilings were an important part of the building. Designed to encompass museum with different shapes and heights, with side windows that allow the passage of natural light to the interior, decorated with flowerpots and plants, simply later was another space non open to the public.

Extension

1979-New Wing

In 1979 a new wing was added to the museum, developed past Maekawa, respecting the original edifice, 4.902m2 distributed on two floors in a higher place basis level and ii underground. With this expansion ane.525m2 earned more for exposure and 576 for storage. This new fly was designed to complement visually and structurally integrated with the main building designed by Le Corbusier. The outer walls open joint used in the binding of PC boards, creating a double structure which provides thermal insulation. Like the main building has been surrounded by big trees that create a greenish courtyard.

1997

Between 1994-1997 a new wing was added for special exhibitions, with two floors above ground level and two underground, while the entire edifice was reinforced with new seismic techniques, while respecting the original building again. The building was built with the purpose of improving the activities of the museum for the XXI century, focusing on special exhibitions, restoration, conservation, arts education and data and documentation.

The new building consists of three main sections and 1,525 m2.

Exhibition Division

Added a facility used exclusively galleries for special exhibitions, in the 2d basement, overlooking a courtyard in front, storage area and auditorium are located nearby. The public access to the galleries from the lobby on the first floor of the Principal Building by stairs or elevators, and returns to the master entrance hall via escalator.

Research Division

The offices of the Division of Research, responsible for the conservation and restoration, educational programs and data services, are located on the westward side of the master building, where they connect with the new wing.

Assistants Division

As the Research Division, the various offices of the Sectionalisation of Administration are on the west side of the building, facing the street.

Construction and Materials

The structure is made from columns of round cross section reinforced concrete arranged in a grid of half dozen.35×half-dozen.35 m, supporting the unabridged building, a concrete box also stops costless plant based on a concrete slab arrangement reticular, seeking what Le Corbusier came practicing for his work. The outside stairs projecting forward from the airplane of the facade.

The columns are lx cm thick on the starting time floor and 55 cm in the second. Originally they were 53 and 43cm respectively, co-ordinate to the dimensions of the Modulor, simply had to be thickened and so they could offer more resistance in case of convulsion. The columns of the first floor is fabricated thicker to withstand greater load could likewise. Were used for formwork pino wood characteristic patterns printed at the surface of the concrete piles made in situ.

Access is through the gate made piles, considering all the container is elevated, creating an area that is used to brandish statues. On the walls of the gallery wall is detached from the main structure, with absolute liberty to the space bachelor. As for the conference, which is a single chemical element, is composed of a large book having a concrete grandstand, like elements are on the outside of physical were made every bit in the case of museum exit (stairs).

The physical was used in the structure, but as well in the blanket of exterior walls fabricated of prefabricated based settle in U-shaped frames supported by the inner wall, and where the physical is mixed with green stones, the woodwork are steel and some wood trim within the edifice.

Waste

The drains rainwater were placed inside the edifice. Le Corbusier devised numerous designs and places to include these drains and then visible within the spaces.

Lighting

Le Corbusier designed the gallery of paintings to exist naturally lit through 4 lighting channels, but these are no longer used, beingness replaced with bogus lighting. Nevertheless it can be seen at the top of i side of the roof, in the nineteenth century hall, a large triangular glazed window, which helps to illuminate the room with natural calorie-free.

The triforium gallery above the roof portion in the exhibit on the second floor, was designed to allow in natural lite from the roof to the exhibits, but now the gallery is lit artificially.

On the floor of the same room lights were installed to illuminate the work from below. While not in employ, y'all can see the drinking glass lids that embrace.

Fine vertical concrete mullions are located in places such as the surface area of ​​housing in the restaurant or in the museum shop. The rhythmic variation is transforming the lighting conditions in these areas.

Isolation Seismic Retrofit

The main building of the National Museum of Western Art was renovated by professional experts who used information obtained from the aftermath of the Dandy Hanshin / Awaji in 1995.

To install seismic isolation devices in the existing building foundations, was due to make a "technical aligning" that made information technology more sturdy structure to earthquakes. The restructuring began in 1996 and ended in 1998, e'er maintaining the integrity of the original design.

Bibliography

• Le Corbusier et son atelier rue de Sèvres 35 : Œuvre complète de 1952-1957. Boesiger Zurich, Willy. Les Editions D´Architecture Zurich. Switzerland,1995.

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Source: https://en.wikiarquitectura.com/building/national-museum-of-western-art/

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