New Material Research Laboratory (NMRL)

New Material Research Laboratory (NMRL) by world-renowned contemporary artist Hiroshi Sugimoto and architect Tomoyuki Sakakida.

Design Concept

Hiroshi Sugimoto

A perfect space with spreme light

I wanted to see the MOA Museum of Art’s Japanese cultural treasures

displayed in the best possible space with the best possible lighting.

For me, that meant the same light that Ashikaga Yoshimasa saw in the

Togudo at Jishō

-ji Temple or that Sen no Rikyū, the tea master , saw in his Taian

teahouse. To achieve this kind of premodern lighting in the museum

interior, I insisted on the use of premodern materials: Yakusugi cedar,

black plaster and tatami. The mission I set myself was to showcase the

premodern inside a museum, which is itself a modern invention. After

considerable experimentation, I overcame all the challenges and was able

to include the latest optical technology in a very discreet, behind-the-

scenes manner. I transformed what is oldest inside of me into something

new.

 

The lacquer front door of Kazumi Murose

I have spent a great deal of time thinking about civilization’s origins.

Since the dawn of civilization, humankind has used its hands to craft

the most marvelous treasures. But can we still create masterpieces like

the old days? Sometimes, I doubt it. Will the art of now be awarded

National Treasure status one thousand years hence? When it comes to art,

no one really knows if it advances or decays with time.

 

Still, I saw a glimmer of hope. Lacquering was a technique that embodied

the aesthetic of the Muromachi period. This medieval tradition lives on

in the hands of Living National Treasure Kazumi Murose and I asked him

to make a front door for the museum. His door, while resembling the

paintings of Mark Rothko and the Negoro trays of the Tōdai-ji Temple, is

different from both. It glows with a sheen and color well suited to a

portal that will take people away from the present and back into

premodern times. The door compels visitors to concentrate and to focus.

Hiroshi Sugimoto

Sugimoto was born in 1948 in Tokyo. Graduating from Rikkyo University in 1970 He moved to the United States to study photography at the Art Center College of Design in Los Angeles, then relocated to New York and has lived there since 1974.
Sugimoto’s exquisite photographs, taken with a large-format camera with a clear concept in mind, are highly acclaimed internationally. He has received numerous awards including Hasselblad Foundation International Award in Photography in 2001, Premium Imperiale in 2009, and in the Officier dans l’Ordre des Arts et des Lettres (The Order of Arts and Letters) by French Government in 2013.
In recent years, he has broadened his scope of activities to include writing and designing. In 2008, founded New Material Research Laboratory (NMRL), an architectural design company with architect Tomoyuki Sakaida. NMRL has undertaken many projects, including the interior design of the Izu Photo Museum (2009, Shizuoka) and London Gallery (2009, 2011, Tokyo).

 

Implementing the Design

Tomoyuki Sakakida

 

When I started planning the renovation, I visited the Hakone Museum of

Art, the MOA Museum of Art’s sister museum , to get to know the works

of art on display there and the spaces surrounding them. I tried to

absorb founder Mokichi Okada’s   philosophy of beauty and his words

about “contributing to the elevation of culture and giving pleasure to

people everywhere through beauty.” I decided that the best stance to

take was to show respect for the MOA Museum of Art as it was. As such,

the challenge I faced was to seek out a Japanese aesthetic that could

add a contemporary feel to the older, attractively aged parts of the

museum by using Japanese materials and techniques. The idea of making

exhibition cases that resemble toko (alcoves) in a traditional Japanese

tatami room came from the Hakone Museum of Art.

 

The MOA Museum of Art opened in 1982 and is primarily made of Indian

sandstone and Japanese marble. With the passage of time, the building

has developed a rich texture and settled into its natural environment.

We never wanted to simply replace something old with something new. Our

aim was to get the museum’s new elements and existing elements to

coexist symbiotically, so that the museum could be reborn and retain the

history it has built up. We kept the Indian sandstone of the exterior

walls which extends from the outdoor plaza to the indoor entrance hall,

while adding contemporary elements such as the entrance door and slope,

and the background of the white walls and ceiling, to create highly

visible contrasts of new versus old. To make the view over the sea off

Atami from the main lobby even more attractive, we lowered the height of

the ceiling as you get closer to the windows   so that the plain white

walls and ceiling form a neat frame around the sea. I planned all the

important public areas—the entrance hall, the lobby, the exhibition

galleries—in an integrated way; even the museum shop and café area are

based on the same principles and concept.

 

I configured the art galleries so that the wonderful artworks in the

collection could be shown to even greater advantage. I inserted black

plaster walls in the middle of the gallery spaces and used low-

reflection glass for the exhibition cases. The Tea-leaf Jar with a

Design of Wisteria (a Designated National Treasure) has been placed in a

special black plaster-covered space of its own to make it the focus of

the visit. The addition of low-reflection walls and the dedicated room

for the Tea-leaf Jar breaks up the space, creating a variety of

different settings and giving a sense of sequentiality to the exhibition

space. With their Gyōjasugi cedar frames, low-reflection glass and

tatami floors, the exhibition cases we installed are designed to evoke

traditional toko alcoves. The exhibition cases which incorporate

Yakusugi cedar into their seismic isolation bases are another highlight.

In the other exhibition galleries we created a new exhibition space for

contemporary art, enabling the museum to accommodate a broad range of

content, from traditional Japanese art to contemporary art.

 

The New Material Research Laboratory which Hiroshi Sugimoto and I set up

is based on the idea that traditional methods and materials are actually

the most innovative ones. We believe that traditional Japanese

techniques, building methods and materials should not be treated as a

relic of the past but as a resource to hand down to future generations.

For the MOA Museum of Art renovation, our main materials were Japanese

conifers (Yakusugi, Gyōjasugi, Yoshino Hinoki etc.), low-fired floor

tiles, plaster, mud walls and metal fittings with the patina of age—all

of which play a key role in composing the space. The materials used for

most contemporary building are so focused on rational criteria that one

loses just as much as one gains with them. Japanese conifer woods, and

plaster and tiles which retain the trace of the craftsman’s hand,

possess an actuality which standardized contemporary materials cannot

express. Our method is to combine these old materials with contemporary

touches so that the old and the present-day coexist.

 

Adding something new to an existing structure is always a matter of

trial and error. Our approach is to respect and to learn from the

existing building and only then to design new elements for it. The

ideals of the museum’s founder and the museum itself both served as

valuable signposts for our redesign.

 

Tomoyuki Sakaida

Sakakida was born in 1976 in Shiga Prefecture. In 2001, he completed the master’s program at the Kyoto Institute of Technology’s Graduate School of Science and Technology and joined Nihon Sekkei, Inc. In 2003, he established Sakaida Tomoyuki Design Office, and in 2008, founded an architect firm, New Materials Research Laboratory, with contemporary artist, Hiroshi Sugimoto. As a partner architect of Sugimoto, he has designed many projects, including the Izu Photo Museum (2009, Shizuoka); London Gallery (2009, 2011, Tokyo); Christie’s Tokyo Office (2012, Tokyo); OAK Omotesando, Sahsya Kanetanaka (2013 Tokyo); Glass Tea House (2014 Venice); and Isetan Salone (2015 Tokyo). A first-class registered architect, he is the director of New Material Research Laboratory. He is also currently teaching at the Kyoto University of Art and Design.