皇居新宮殿における宮内庁試案の意図

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  • DESIGN THEME OF THE DRAFT PLAN BY THE IMPERIAL HOUSEHOLD AGENCY FOR IMPERIAL PALACE 1968
  • コウキョ シン キュウデン ニ オケル クナイチョウ シアン ノ イト

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<p> The Imperial Palace, served as a building for the ceremonies and official affairs of the Emperor and Empress, was completed in 1968 in the Nishinomaru area, and has been used up to the present days (as of August 2019). About the original design, it is known that the draft plan was made by the Imperial Household Agency before assignment of Junzo Yoshimura, author of the final implementation plan. However the draft by IHA itself has yet been clarified. The purpose of this paper is to clarify the IHA draft plan design process, analyze the design content by using official documents of IHA, and show how the Japanese Emperor was represented as the symbol of Japan as a democratic nation it became after WWII, reflected in the ceremony plan and appearance design.</p><p> Regarding the design process, basic design conditions such as site, structure type and the area of required rooms were formulated within the first half of two-year survey period. Within the latter half of the survey period, specific design plans had been prepared on the premise of the design conditions.</p><p> According to the design conditions, the number of ceremony attendants was estimated to be significantly higher than before. In order to deal with increased number of attendants at the ceremony, the area of the rooms for audience was calculated with a consideration of simultaneous use in a style that allows Emperor and Empress to hold the audience by passing through the row of attendants. As for the dining room, a space large enough for the Emperor and all attendants to come together was required in order to treat the attendants equally, it was also considered to provide a movable partition to create a large space. Although for construction it has been decided to use steel-frame reinforced concrete, the intention for the external appearance was to represent Japanese tradition by the idea of a traditional Japanese-style design using separated blocks and sloped roofs.</p><p> The study of the plan was aimed at the coexistence of rationalization of the motion line and expression the authority of seiden―the most formal building. In the floor plan, main rooms were arranged around the courtyard close to each other, while seiden was surrounded by corridors. The passage of Emperor and Empress in big ceremonies was organized through the row of rooms used for audience around the courtyard. On the other hand, for small ceremonies the idea was to shorten daily motion line of Emperor and chamberlains by locating small scale rooms for frequent use around Emperor and chamberlain office.</p><p> With regard to the external appearance, the design was pursued in order to create monumentality without intimidating people. In the final plan, removing the walls of the corridors on the sides of the seiden by leveling up the floor to the second level allowed to create an image of openness for the building appearance. Seiden followed the design of traditional wooden structure, it had an open appearance with independent columns lined in front. For the roofing material, kawara (Traditional Japanese roof tiles) was adopted in consideration of harmony with concrete, but the slope of roof was low in order not to emphasize the roof surface.</p>

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