Introduction:

 In the recent academic study of architecture, "spatial composition theory" has achieved a certain result for comprehension of various architectural forms. The theory allows a cross-sectoral analysis beyond building types by extracting an arrangement of abstract volumes without finishes and scale. On the other hand, along with the practice of new materials which are continuously developed, many contemporary architectural works based on "Critical regionalism" are appearing that utilize existential information on conventionalized materials. Under these circumstances, we think that analyzing the complementary relationship between the compositional character related to the spatial forms and the superficial character related to finishes of materials will give practical insight for designing and comprehending contemporary architecture. Therefore, this study aims to clarify the spatial integration design through superimposing the compositional character by rooms and the superficial character by the finishes targeting to contemporary art museums that deploy rooms with various functions sequentially.

 

 Methods:

 Firstly, we extract rooms which are the unit space from museum and analyze its function, arrangement and continuity; then we regard the relationship among rooms obtained as "Rooms Layout" and situate the compositional character of spatial integration. Secondly, we extract finishes on the spatial component faces and analyze its classification, arrangement and continuity; then we regard the relationship among finishes obtained as "Finishes Layout" and situate the superficial character of spatial integration. Subsequently, we elicit types of the space integration design in contemporary art museums by superimposing these compositional and superficial characters of spatial integration. In addition, we compare each type and organize the relationships among the types.

 

 Results:

 The result of superposing and examining compositional and superficial characters of spatial integration in contemporary art museums elicited 11 major types of spatial integration design. Considering the three types that match the integration scope of both "Rooms Layout" and "Finishes Layout" derive the remaining eight types, it is possible to regard that the gap of the integration scope by the composition and the superficies creates the diversity of contemporary art museums. In addition, because there is no case that "no integration" in "Finishes Layout", it is possible to consider that finish is used as a means for integrating spaces potentially in contemporary art museum. In this way, we clarified that the spatial integration in contemporary art museums is characterized by variously combining the relationships such as dependence on the function, whole and part, interior and exterior, at different aspects of compositional and superficial means.

 

 Conclusion:

 Since the study that systematically considering the spatial integration of architecture from the relationship between spatial composition and superficial finish has never been seen, this study is useful as a document to comprehend the design method of the contemporary architecture which has a stronger relationship that space form and material as well as art museum.

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 The purpose of this study is to focus on contemporary museum which have free appreciation route, and to clarify the relationship between the route selection and spatial cognition of the viewers.
 As a result, by analyzing the appreciation route of all subjects first, it was possible to classify the appreciation route for each museum. Next, by analyzing of the characteristics of the spatial composition in each museum, both elements to encourage and to hinder route selection revealed. At the end, by analyzing of words and pictures drawn on the sketch map by using an index called "degree of spatial understanding", the relationship between spatial cognition and words in each museum revealed.

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 This study focuses on continuous thoughts of architectural expression in designing several architectures. These thoughts are one of the important methodology for executing works continuously. There are some theories in which architects and architectural critics referred to the importance of these thoughts. For examples, Shozo Baba, who is one of the authoritative editor in architectural journalism, insists that continuous thoughts of architectural expression is essential for architects to leave a mark on society through the long-term creative activity. From these points, this report aims to illustrate continuous thoughts of architectural expression by contemporary Japanese architects. In order to clarify it, design theories on a series of works by one architect on the same design theme are focused.
 Firstly the contents of each design theory were analyzed, and several descriptions of the design theme common to a series of works were extracted (Fig. 1). The meanings of these descriptions were classified into five categories, which were “theme on form”, “theme on space”, “theme on composition”, “theme on construction-technology”, and “theme on surrounding environment” (Table 1). Then most of the design theories contained “theme on form”, “theme on space”, “theme on composition”, and “theme on construction-technology”. On the other hand few design theories contained in “theme on surrounding environment”.
 Secondly continuous thoughts of architectural expression were analyzed from a viewpoint of two aspects ; one is the relationship among each work’s architectural expression, the other is the way of setting the prototype model of the architectural expression in the process of executing works. The former aspect was classified into three categories, which were “similar”, “different”, and “mixed” (Fig. 2, 3). The later aspect was classified into two categories, which were “deductive way” and “inductive way” (Fig. 4). Then, through analyzing the relationship with both two aspects, following characteristic combinations of both two aspects were found ; firstly “deductive way” and “different”, secondly “inductive way” and “similar”, lastly “inductive way” and “different” (Fig. 5).
 Consequently, the relationship between the meanings of design theme and the contents of above two aspects was considered and analyzed totally (Fig. 6). As a result, in each design theme, there are several tendencies on above two aspects were founded. Firstly in “theme on form”, “different” was found largely, regardless of the way of setting the prototype model. Secondly in “theme on space”, four combinations were found ; “deductive way” and “similar”, “deductive way” and “different”, “inductive way” and “similar”, “inductive way” and “mixed”. Thirdly in “theme on composition”, a characteristic combination was found ; “deductive way” and “different”. Lastly in “theme on construction-technology”, two characteristic combinations were found ; “inductive way” and “similar”, “inductive way” and “different”.

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