Photos : 雁光舎 野田東徳

日建設計山梨らによる、ポーラスに設計することで空間の一体感と内外の連続感を実現する桐朋学園大学音楽学部調布キャンパス1号館

日建設計の山梨知彦・羽鳥達也・笹山恭代・石原嘉人による、桐朋学園大学音楽学部の調布キャンパス1号館を紹介します。不均質でポーラスなボリューム配置により、閉鎖的になりがちな音楽大学を豊かで開放感のある建築へと昇華させた計画です。




音楽大学の施設は遮音や騒音の問題で、厚い壁を持つ閉鎖的な箱として建てられがちです。また内部には中廊下を挟んでレッスン室が独房のように整然と立ち並ぶ形式をとります。創造的な行為のための場であるキャンパスをこの形式から開放し、多様なレッスン室をフレキシブルに配置することで開放感と一体感を持つ施設を目指したのがこの計画です。





全体は地上2階、地下1階の3層構造です。2階と地下1階のレッスン室は、均等スパンや通り芯といった従来のルールに縛られることなくレッスン室同士の関係性に応じて配置されています。レッスン室同士の隙間は遮音層の役割を果たすとともに、内部空間に自然光と風の流れを導きいれています。



地下1階にはアンサンブル室などの大きな音を発する教室が配されています。2階同様教室間の隙間が遮音性能を高めるとともに、大人数の移動動線に配慮した起伏のある共用部を形成しています。




中間層となる1階は地下1階と2階の異なるグリッドの交点に柱で据えることで、近隣との連続間を持つ開放的なキャンパス空間となっています。





こうして内外に不均質な隙間をもつポーラス(多孔質)なボリュームとすることで一体感を持ちつつも外部と連続する空間を実現しているのが、桐朋学園大学音楽学部調布キャンパス1号館です。

コンピューターを用いた三次元フィードバックループによる執拗な調整が生み出す微細な“変化”や“ぶれ”が、大型建築に集落のような連続感と意外性を埋め込み、豊かな空間と全体としての存在感を実現しています。

Plan : BF

Plan : 1F

Plan : 2F

Section

Diagram 01 : 分厚い壁で区切られた既存の独房のような配置ではなく、部屋を分散させ、明るい廊下とつながるようなスペースを作ることで多様な音の場を創出。

Diagram 02 : 敷地全体に低層でまとめ、地上部をキャンパスとして開放。共用部は明るく開放的な空間に。

Perspective : Top view

Chofu campus of Toho Gakuen School of music by Team Yamanashi in NIKKEN SEKKEI

This is a plan of a college of music in a typical low-rise suburban city.

Up until that point, volume arrangements of large-scale buildings had been often discussed from limited methodologies such as creating a “city in a park” by surrounding them with a buffer zone, “formation of a group” by considering the buildings as a colony, or “The Nolli map” method by inverting negative voids and positive volumes.

Here, a “porous” arrangement was pursued as a system, which creates a sense of continuation from inside to outside, and delicately picks up contexts, while not spoiling the sense of unity that can only be provided by large-scale plans.

Due to the superfluous consciousness of ambient noise and sound insulation, many music college facilities employ a style in which the exterior appears as a closed box and the lesson rooms are lined up along central corridors in a jail-cell-like manner in the interior. It is ironic that the learning places of creative activity resembles what we can see in solitary confinements. It was required for us to overcome this style, as well as to establish the presence as a music college while flexibly arranging the lesson rooms.

The building was planned to have three levels: two levels aboveground, and one underground. On the second floor, the main function, lesson rooms, were freely placed according to the program without any restrictions such as standardized span dimensions and grid lines. By exposing the volume of the lesson rooms to the exterior, the uneven, small courtyard-like spaces in between neighbors were created, and the volume of the building was broken down.

Corridors are placed between the lesson rooms for better sound insulation. This resulted in inserting the exterior into the interior which lure wind and natural light. The louder ensemble room is placed on the underground floor, whose sound insulation is better. Corridors and a sunken garden are created, with the same state of the second floor. The characteristic “porous” volume arrangement, that is large-scaled but possesses a sense of unity while maintaining continuity of the interior and exterior spaces, was born.

As a result, a group of porous walls on uneven grids both exists on the underground floor and the second floor. The in-between first floor, the “campus” is a completely different space, by pillars placed at the intersections of the above and below floors. The campus unfolds under the porous second floor. It makes the college not a closed space detached from its surroundings, and provides a sense of continuity with the neighborhoods.

The porous volume arrangement, which is created by the triple-layered uneven grids, in fact works as a system that flexibly adjusts various issues that are inevitable in a large-scale project and resolves into the diversity of the spaces.

For such adjustments, it is more adequate to use a new method with computers that incorporates three-dimensional feedback loops, rather than using a predetermined harmonic additional line, such as the conventional “grid line”. The subtle “changes” and “misalignments” are created by persistent adjustments using computer. In the porous figure that is designed for positively placing the large-scale building in the random context, these embed a sense of continuity and surprises as if wandering around a village. This resulted in creating rich spaces and the presence as a whole.


posted by Shin Yamashita.