Authors: Helena Machín and Jorge Almazán
After The Second World War, Japan has built many public facilities, including art museums. During the bubble-era (1989-1995) , many buildings were demolished and replaced with new ones. Because of the economic and social circumstances of Japan at that time, buildings started to acquire new roles. In few cases, various projects, particularly museums and cultural centers, “were completed mainly for reasons of rapid investment, prestige, their image value, or even political pressure or rivalry” . To nowadays, museum buildings have been characterized for having freer shape due to the program exhibition requirements, and most of them have a larger budget, so architects are encourage testing how far they can push the limits of their abilities in architectural design. In this investigation, art museums are taken as an effective sample of architectonical design processes of the last 65 years. First, through the analysis of the study cases' architectural elements and composition in plan, a classification in terms of boundary conditions and interior layout had been define and groups based on this classification had been created. Second, the connections between these groups had been set up and compared. This study tries not only to identify some of the elements and characteristics of the Contemporary Japanese Architecture, but also to establish the relationships between the formal composition and the interior organization that define it. The goal is to establish a classification of Japanese Contemporary Museum, describing the characteristics of the new types that have emerged over the past years.
Keywords: Japan; museum; composition; typology