丹下健三による慰霊と平和記念のランドスケープデザイン

抄録

 This paper aims to shed light on the characteristics of the landscape design by Kenzo Tange that commemorates the war victims and promote peace. Two specific works were examined: the Great East Asia Co-prosperity Sphere Memorial Project (1942, hereafter called ‘the Project’), and the Memorial Plaza for Students who Perished in the War (finished in 1967, hereafter called ‘the Plaza’). The landscape design of these two works were compared and analyzed with Tange’s Hiroshima Peace Memorial Park (1949, finished in 1955, hereafter called ‘the Park’).

 The architectural competition of the Project was held during the war in 1942 and was understood as a vision only that was not to be realized. The main part of the Project, the holy precinct for the dead, was located at the east foot of Mt. Fuji. The Plaza started and finished in the 1960s and is located on the south end of Awaji Island. It is positioned on the ridge of Ohmiyama that overlooks the Inland Sea. The Park was designed just after the atomic bombing in Hiroshima. While the historical context to commemorate the victims, the surrounding environment, and the existing materials differ greatly, the common spatial composition has to comply with a north-south principle axis and two trapezoid squares that face each other on the axis as pointed out by other researchers. The viewpoints to compare and analyze the landscape design have three aspects: how the common geometry was applied, how the monumentality was expressed, and how the planting was positioned.

 Regarding the common geometry (two trapezoid squares on the north-south principle axis), it was clarified that while all works show the contrast between the northern part to commemorate the victims and the southern part to promote peace or for the place where people gather, the application of the geometry of the Project and the Plaza differs to the Park. In the former, the geometry was applied to emphasize the contrast and the separation of the two trapezoid squares through a different view and spatial experience provided on the bridge or the approach that connects the squares. In the latter, the geometry was applied to create a network and a center in the Park.

 In regard to the expression of the monumentality, it was clarified that Tange planned monumental scenery both on the site scale and the landscape scale. In the scenery on both scales, the vertical or massive existence appear as a focal point. Moreover the scenery on the landscape scale, the vertical or horizontal expression of architecture made a contrast to the constantly changing nature.

 Finally, in spite of the importance of the planting of the scenery in the initial design, Tange’s lack of concern about planting was confirmed through his final design.