Professional Documents
Culture Documents
1J!~t70~7A
CONTENTS
PROGRAMMING
.ARTICLES
Public Buildings and Design Competitions
The
Japan
Architect
19
AUTUMN
~TIJ
19953
76
ltsuko Hasegawa
Toyo Ito
114
128
Architecture or Paradise?
34
44
Kengo Kuma
Hilosh: Abe
64
68
72
82
92
100
102
Yoshio Yoshida
106
110
S House in Tateshina
118
Kirosan Observatory
122
Water/Glass
126
129
X-Bridge
Yasuhiro Teramatsu
Yusaku Kamekura
SHINKENCHIKU-SHA CO., LTD.
31-2, Yushima 2-chome
Bunkyo-ku, Tokyo 113, Japan
Established in 1925
TEL: 10313811-7101
FAX: (0313812-8187
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General Manager
Masao Nakamura
1995 Subscription Price
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JA 1995-3 PROGRAMMING
Editor
Cover Oti.;iign
131
135
C-House
138
141
Shirasagi Bridge
144
152
155
158
-Museum Project
160
Housing Studies
Not:uaki Full.JYll
Nobuaki Full.JYll
Nobuaki Furuya
174
176
178
182
184
186
ISO
COELACANTH Architects
210
Quasar
214
216
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1 GREAT STAIRWAY
2 MACHINE ROOM
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4
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PICNIC TERRACE
PICNIC PORCH
RESTAURANT
PRIVATE DINING ROOM
KITCHEN
BAR
Fourth floor.
Second floor.
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ACCESS TO RESTAURANT
MAIN ENTRANCE
BOOKSTORE
ANTEROOM
GALLERY LOBBY
MULTIPURPOSE AUDITORIUM
GALLERY
STORAGE
17
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second floor.
(ji1cing page; The large staircase leading ro the
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RESTAURANT
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GARDEN
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ACOUSTIC & LIGHT CONTROL
ANNEX
STORAGE
MECHANICAL ROOM
18
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So111h elel'ation.
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- - - - OlD TOWN
- - - - ~TS~
SUKJENNJCE
- - - - JAGIEL!.ONIAN U/11\<E.RSITY
- - - - WAWELROYALCASTLE
Location map.
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Cardiff
We entered our first international design competition for the
Cardiff Bay Opera House last year. The competition program for
the home of the Welsh National Opera. a well-respected opera
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Tokyo
Public buildings should be built as a result of inclusive public dia-
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Edinburgh
Recently, I spend considerable time in Edinburgh as a jury member of the Scottish Architecture and Design Centre Competition.
Seventeen of the more than 200 entries were from Japan. An entry
with a high-rise ot'fice building and an all-subterranean scheme
with a tlat glass ground floor were probably Japanese.
Since this is a two-stage design competition, ! suggested that the
first stage selection should include abstract proposals, which
would introduce a new urban environment while respecting the
context of this historical city. I hoped that this is a beneficial
approach for the future of the city. The problem was that many
such potentially good entries ignored the programmatic requirement of the separate development and construction of the Design
Centre and the accompanying office building. and proposed inter-
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which that the n<:wcr cities were overlaid on the historic core. f
belie\e that this kind of' urban strUC[UJ't: COiltains tremendOUS possibilities for creative new mban space. Although this is a big
opportunity to point toward lutme directions ror the city, 1 regret
that the most entries do not imaginntivdy interpret this rich urban
context into contemporary language.
Tokyo
When l use a formula of "Architecture equals Place", I do not
imngine specitk architectural forms. Rather, it means to me a
''future" with many possibilities. The "place'' i~ flexible space
which can respond to any
of circumstance. I treat architecture ns spatial functions created
many people involved instead
of some kind of a social
As I design houses as basically
empty space, I consider the concept of public architecture to be a
primordial open field. It is a
of communication which is
open to all people, flexible space which accommodates a variety
of activities, and a proactive void where people have summer festival dances and create art.
Of course architecture always takes a form and, as result, gives
meaning to space. But it must be also a
space which
consolidates the pre-architectural thoughts of people. It is an everspace of conviviality. It is cherry
rejuvenating. open and
blossom watching surrounded by soft outdoor screens. It is a place
where winds blow. trees chatter. ami come. alive with a ;:udden
intrusion ol' passers-by. expanding its network of communication
beyond its physical limitations and programs. Numerous encounters open up new conHnunications.
Niigata
In the Niigata Civic Cultural Centre. we proposed to enclose three
major halls with large loose, and at the same time technologically
advanced, screens made of soft materials like a fabric curtain. In
the realm of public access and arts, we want to provide programmatically t1cxible space for various and cont1icting activities by
loosely fusing difFerent kinds of spaces under one roof instead of a
mechanical layout of three separate functions.
We expect the facility to be a magnet for people of different
backgrounds. and a place where many hybrid programs and new
arts are created and become self-supporting. I would like to spread
the new arts born here from cross-breeding of West and East, the
traditional and modern, and artists and citizens, all over the world.
I hope that it will become a stronghold of local culture while
adopting different cultures, new technology and environment,
instead of becoming a process plant of information from the larger
cities. Then, this will enrich and inspire the citizens of Niigata.
(tra11s/ated into Enr;lish by Hiroshi A sa no)
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JA 1995-3 PROGRAMMING
33
Mt*~tii!iii))'l
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li,
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LOBBY
EXHIBITION HALL
PLAZA
WORKSHOP
CONFERENCE ROOM
OFFICE
VOID SPACE
FOYER
MULTI-PURPOSE HALL
INFORMATION CENTRE
12
13
14
15
16
17
18
19
20
21
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<otil'!) lliUronGO):Jlt
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BRIDGE
JAPANESE-STYLE ROOM
STUDY ROOM
MUSIC STUDIO
AUD!O.YISUAL STUDIO
AUDIO-VISUAL CORNER
PLAYROOM
MEETING ROOM
PLANETARIUM
TERRACE
JA 1995-3 PROGRAMMING
(facing page) General vieJV from the east. A screen surrounds the building.
(photos on pp.35-43 by Taisnke Ogawa except for the lower
photo on p.37 and p.40.)
3543]'[Ml~ :
"fiS:u) (!~ )il1i ~~:: t: 1;. f'JiLl ~ :l=.i!_V?}'{ o) hfli~:J:7; ,:) 1<rJ-r
i>FJ[.-j- {, b OJ i
(facing page) Exterior view af the east wing from the sowh"
wesr.
(lop) Partial view of the east facade.
JA 1995-3 PROGRAMMING
37
40
JA 1995-3 PROGRAMMING
'1 :/ l/..1:.1
lc~\'el ill
tlw
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FOYER
t. WOAKSHOP
LOBBY
6 J/~PANESESTYLE ROO!v!
7 PLAYROOM
8 PLAZA
JA 1995-3 PROGRAMMING
41
~!);(ffi;!;!.HJJ!i<. ~fli<J~l2-3S-7
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(jaci11g fUt,~eJ Inferior l'ielf (~{ tltc exhibilimr hall in rhe east
wing.
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GHrcE
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MAIN LOBBY
6 FOYER
REHEARSAL ROOM
NOH-THEATER
9 OBSERVATOHY LOBBY
Second floor.
JA i995-3 PROGRAMMING
45
CONCERT HALL
MAiN LOBBY
NOH-THEATER
OBSERVATORY LOBBY
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JA 19953 PROGRAMMING
47
::;. - '/7' b.
Social Ecology
(/acillg page) VieH toward tile workshop seen from the from
of the comervatory. (phow by Taisuke Ogawa)
(pp.50-51) General 'iew at night. The shelters are constructed in differeni size and materi1/s.
48
JA 19953 PROGRAMMING
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3 EXHIBIT .ON Rom.!
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Firs/ floor.
Second floor.
Tlrirdfloor.
Roaf pl1w.
North eleva/ion.
scale: J//,000.
52
JA 19953 PROGRAMMING
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JA 1995-3 PROGRAMMING
57
~!iiiMi@I!J!i
~t~~~n** ~"f14fft'g
Wind-swollen Shelter
The gynma~'tum in the form of a wlnd-~wol!t:n curtain
is located at a vantage point which looks down on the
new university campus, Through the transparent gymnasium, students can sec Kojin Mountain. a city landmark, from the classroom building laid out in paralleL
Yet-to-be-completed tennis court on the west side of the
gymnasium are surrounded by sloping grass seating
areas a.' if a large plant seed is trying to jump out of the
ground. The gymnasium s front facade and the one that
faces the baseball field arc fully glazed for natural lighting and visual transparency. The gallery level contains
support functions such as locker and shower rooms.
Under the gallery and outdoor training area, there are a
martial arts hall and training room, which are connected
to the club house building on the south. One club house
is built on pilotis above the bicycle parking lot and the
other one is built into the slope around the tennis courts.
The gymnasium stands between the two club houses
and. with them, defines edges of a large grassy yard on
the south. The thin light roof assembly is supported by
tree-like columns and brackets. The orderly rows of
these columns are reflected on the glass walls and
appear to be a forest. You can almost imagine hearing
the cheerful voices of students from the woods encased
in the glass box.
(ltsuko Hasegawa)
'i'i~J!il {, hn-c,
1-Ef~
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I ENTRANCE LOBBY
.: EQUI?k:ENT ROm;l
5 MARTIAL ARTS Hf1LL
6 TRA'N!HG ROOM
7 C'c..lJB ROOM
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(top, left) View from rhe southwest. Tile west side of tlte
g_vmnasium will be surrounded by grassy slopes,
(left) View toward the south facade seen from the clubhouse
wing.
(to!') /uterior l'ien of tire entrance lobby.
(above) View of the glass wall.
(facing page, Wp ami above) Interior of the arena.
CFl1i77.tJ)tJ-7/
62
JA 1995-3 PROGRAMMING
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W.ARTIAL AllTS HALL
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3 EXHlBITION HALL 2
4 CONSERVATORY
5 GLASS 1UEE
6 COURTYARD
7 WORKSHOP
8 TERRACE
9 KITCHEN
10 SKY LOUNGE
ll FLOAllriG GARDEN
Thin/ floor.
Fourth floor.
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66
JA 1995-3 PROGRAMMING
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67
Itsuko
Atelier
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"h-717. -'"'1 :t-"'51\']::Z
Opemship
The City of Cardiff lives from the sea. The planned
redevelopment of the city, therefore, is not only a matter of physical environmental improvement but also of a
spritual re~reation of the landscape of the city and the
~ea.
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71
t~IR:~~~~IYJ 'fJ
Floating Landscape
A lightly-woven basket structure and ghl!\o membrane
stretches over a large area of a wharf, as if to provide a
transitional landscape of overwhelming openness from
the city to the sea. Analogous to old European railway
stations and glass con>ervatories, this open interior
space becomes a place where time passes slowly in
omnipresent reflection of water as in grand voyages.
The axially curved '"basket" space is a poetic machine
which reminds you of allegories of exotic foreign lands
and history such as a flying Kew Garden, floating
islands, a Dezima (an historic quarantined island for
foreign trade in Nagasaki during the Edo Period), and
Black Ships (American naval vessels which forced
Japan to open for trade in the mid-19th Century). It will
become a new landmark in the Port of Yokohama.
Arrival, departure, services and parking have
autonomous circulation by themselves but are effective-
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Section:
s~-a/1.!:
112,-!00.
LOBBY
ARRIVAL HALL
3 CRUISE DECK
BAG GAG
ARRIVAL LOBBY
MACHINE ROOM
VlSITOR HAlL
ViSITOR'S DEC(
SHOPS
10 FOYER
11 EVENT HALL
12 DECK
Mezzanine floor.
Fimjloor.
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stalk and contracts slightly between the joints. Thus the columns,
though inorganic, artificial and abstract, suggest trees somehow.
The duality-the fact that the columns are at once both
architectural elements and treelike features-determines the
quality of the space. A continuously built-up urban space and a
natural, wooded environment are at the two poles of this duality.
The interaction of urban and natural images is only made
possible by their abstraction and rarefaction.
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search of information.
Today, the functions served by the virtual body are expanding
at an extraordinary speed, and at times these include the control
of the primitive body. We are controlled by our virtual bodies
more than by our primitive bodies, even in our most basic actions
such as eating, conversing, and engaging in sports. At times we
are no longer able to integrate, and maintain a proper balance
between, these two kinds of bodies. The virtual body is being
extended further and further, and the primitive body cannot keep
pace with it. An extraordinary degree of mind control is coming
to be exercised over the body; that is, the body is becoming
bound, hand and foot.
However, such a split, if we stop to think about it, is not an
unfamiliar phenomenon. It in fact characterizes architectural and
urban spaces. The split is generated by the excessive autonomy
of architectural and urban spaces, that is, by their estrangement
from the natural environment. If connections to the outside
world are cut off, architecture and the city are able to provide any
kind of virtual space. This is the city as Disneyland. By
severing ties to the environment, we can create fantasies and
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JA 1995-3 PROORAMMING
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This complex consists both of the district lire depanmenl, which handks fire-fighting and emergency scr
vices, and the control center for the eight local fire
departments in the Yatsushiro area.
The site lies ncar the town center, and for reasons of
convenience fronts the main road linking the highway
interchange and the port. It is located in a new office
zone within a housing area itself surrounded by fields of
rushes.
The planning of the first floor takes into considera
tion circulation in the case of emergency, and consists
of a garage, drill yard, indoor practice room, training
pool for emergencies at sea, and a parking lot arranged
in order along the main road.
The spaces for administration, living and waiting are
located on the second floor, and each has been planned
wit!~ regard to its relationship to the other rooms and in
particular to the function of the space below it. These
'packaged' spaces have been lifted six meters off the
ground, suspended over the grass-covered field upon
which training drill is held.
This floating plate is pierced by holes, which fonn
the means of communication with the first floor, accommodating the lightweight approach staircase, as well as
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(pp.8687) So!llbeasr exterior l'iew.
Section.
East e/eva1ion.
West
ele~afion.
1 OFFICE
2 PILOTIS
3 GARAGE
4 flEETING ROOM
5 MARSHAL ROOM
6 PARKING
7 EXEAC ISE ROOM
8 SUPPLY ROOM
9 ROOM FOR TAKING A NAP
10 DiN:NG ROOM
1\ ENTRANCE HALL
12 EXHIBITION CORNER
13 RESPONSE COMMAND CEIHER
14 DIRECTOR ROOM
15 STACK ROOM
\6 LOBBY
17 WAITING ROOM
18 STORAGE
19 DA>LL YARD
20 DRILL TOWER
21 VISITOR'S TERRACE
22 POOL
23 LINE-UP SPACE
Second floor.
First basemen/.
First floor; scale: 1/1,000.
88
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routes,
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A'orth elerarion.
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location: Sendai, t+.'iiyagi Prl'!l:cttm.:
prinripal u~c; ivi~Jialh~quc
structu:-al enginc~rs: Sasaki Sl!'uctural
mcthanicnl cngine-:rs: ES Associates
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Roof
21 EDITI.NG
22 ATELIER
23 EXHIBITION
24 SALON
25 WORKSHOP
26 ltlSTALLAT!ml
PERFORMMCCE SPACE
First basement.
Third floor.
Serent/1 floor.
Second floor.
Sixth floor.
Fifth floor.
First floor.
96
JA 1995-3 PROGRAMML"'G
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29 Japanese artists and architects were invited to participate in "Japan Today in 1995", an exhibition bclcl at
the Louisiana Museum of Modern Art, about 30 kilometers north of Copenhagen. We were provided with a
space entitled "The Third Reality".
Our installation is an extension of the concept which
we had explored in our Sendai Mcdi<llheque Competition project. We were given the opportunity to simulate
both the spaces created by the mesh-like tubular voids,
which have been liberated from the solidity of columns,
and the variety of light, sound and wind that flows within them.
The top of each of the seven tubes, which are made
from expanded metal and semi-transparent cloth, contain dimmer-controlled spotlights, speakers and motor
unit to create the effect of light sound and wind. Soft,
rippled patterns are created by the light passing through
the tubes and spilling over the aluminum panels of the
floor. These patterns become synchronized both with
the sounds from the speakers and the trembling of the
tubes caused by the motor units. The walls on both
sides of the space consist of mirrored panels, which are
gradated from a milky white to plain mirror the deeper
one progresses into the space. Finally, one is confronted
by images of Tokyo which are projected onto three
giant screens. We hope that this installation induces a
sense of the physical melting into the virtual.
''Japan Today in 1995" will continue until September.
after which it will tour Scandinavia (Norway, Sweden
and Finland) for two years.
(Toyohiko Kobayashi I Toyo Ito Associates, Architects)
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12
13
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15
16
17
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19
20
21
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ELECTRICAL ROOM
GYMNASIUM
LIBRARY
COMMUNICATION LOBBY
COURTYARD
VOLUNTEER CORNER
KITCHEN
RESTAURANT
DAYROOM
GALLERY
MEETING ROOM
MULTI-PURPOSE ROOM
MAIN ENTRANCE
OFFICE
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WORKSHOP
GROUP ROOM
PLAY ROOM
LOBBY
TERRACE
RECREATION CORNER
MACHINE
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JA 1995-3 PROGRAMMING
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PA
cally the most importam element of the building. Furihermore. we arc invesrigaring th~ surrounding environment, am! making proposals for the activities lObe held
within the site, and interchange with the surrounding
communities.
However, this being a public building. differences
have arisen over the way the problem of building supervision and security is perceived, and we are involved in
what seems a weekly debale over this maller. It seems
misguided that the problem of supervision should be
allowed 10 destroy the concept of openness tow~rds
nalurc and the surrounding environment. However, it is
a fact that by taking on board some of the opinions that
have been expressed during the process of these
debates, the project itself has improved. This is because
the work of making architecture interesting is not the
work of architects alone.
(Mitsuo Yasuda I To yo Ito Associates, Architects)
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Sec/ion; scale:
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12 MAIN ENTRANCE
13 RECEPTION
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15 SUB ENTRANCE
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C LEVEL C
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Plan; scale: I I 2,000.
JA 19953 PROGRAMMING
109
S House in Tateshina
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BATHROOM
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STORAGE
BEDROOM
TATAMI ROOM
TERRACE
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[]
0
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JA 1995-3 PROGRAMMING
113
Although some modern architects have used the concept of function to analyze 11Uman life-styles, believing tl1at it was possible to
control-- that is, govern
through function, it is however,
the sight line rather than the function, which truly controls modern
society ancllife. Michel Foucault was one of the first to clearly
delineate this concept.
Foucalt took up the famous "Panopticon" as proof of his argument. [Discipline and Punish (Surveiller et punir}, trs. Alan
Sheridan, New York: Pantheon 1977]. The Panopticon was a
prison system devised by the English jurist, Jeremy Bentham
( 1748-1832}. As a whole the prison formed a circle with numerous
individual prison cells positioned around the rim. A tower in the
center provided an observation point, making surveillance of each
and every prison cell possible. Although Foucault used this system
as a perfect model for modern managed society, the "Panopticon"
is noteworthy not for its function, but rather for the sight line, by
which the whole space could be controlled. That is to say, the
main issue was not simply the function of the individual prison
cells. My argument would stand for example even if these spaces
were 'offices,' or 'living quarters,' even 'hospital rooms.' The
sight line transcends -surpasses
every conceivable function, and dominates every aspect of the space. However much one
argues for diversity of function, or tries to change a specific function, the structure of a space remains absolutely unchanged
and therein lies the fundamental limitation of modern functionalism.
Jt-9c.ttJttSn-9c.t
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uality and functionality. Through this process of redefinition, function and decor become completely synonymous. That is to say,
while some applied decorations to conceal the wretchedness of
their individual prison cell, still others made use of that type of
decoration which goes under the name of "function." Thus, functionalism
of its own accord
volunteered to act as a substitute for decor, hitherto seen as the ultimate denial of functionalism. The sight line which
the object as an objet in this
way, conceals the existence of the sight line which manages and
controls the whole length and breadth of the space. Further, by
concealing the homogeneity and wretchedness of the Panopticon,
it supports the modern fiction
the modern fabrication - - of
"a space which blossoms with both a diversity of function and
individuality."
The only possible way of exposing, of aismantling this fiction is
to reverse the sight line
reverse the sight line which perceives the object
the building
as an objet, and to look
instead at the dwelling space inside the building. By reversing the
sight line, we can seize the moment and escape the spell of the
object
the o~jet. Now for the first time we become aware of
the existence of the sight line itself. We can then use this new
awareness to break down the said sight line.
I began a series of projects whose aim was just such a sight line
reversal, with the Kii'O.\an Observatory. An observatory is- by
nature a facility for observation
for seeing. Nevertheless, a
great many observatories tend to stand out in their surrounding
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JA 1995-3 PROGRAMMING
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tubcrant form
wished to look clown upon'! Or, to take up an
even more fundamental problem, could it be that the fabrication of
a minute Panopticon in one's own immediate vicinity is in fact an
escape from managed society. WatedGiass arouse out of this
question. The aim of WatedGlass was to architecturalize my criticism of the cliche of a villa. Firstly, it aimed to escape from formalized protuberances, that is to say, to move as far as possible
from architecture as an objeT. Surely the only way any mediation
between the object and the subject - - forcing them to face each
other directly - - becomes possible, is to obstruct the accuracy
of possible surveillance. Water/Glass stemmed from a completely
different viewpoint, that is the viewpoint of nature. The various
mediating forms inherent in the act of observation
of seeing
became the central theme of the structures architectural
design. A number of tilters and frames were inserted into the
intermediate space between nature and the subject itself. Of these,
the most central were the water veranda constructed on the top
level and the stainless steel louvered roof. At one time, Bruno
Taut received a very deep impression from the design of bamboo
verandas and the deep eaves of the Katsura Detached Palace. With
the realization that these particular elements skillfully controlled
the sight line and created a very rich world, he discovered new
architectural possibilities. The group elements such as the water
surfaces, the glass and the louvers in WatedGlass were utilized as
a type of abstract frame or filter. In that way, it was possible to
experiment with breaking into the interior of the act of 'seeing.'
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Seer ion.
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ARCHITECTURE OR PARADISE?
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9-1/. Sleeper
A dwelling Illm Iran is between two i/iff(Tcnl climarcs ond
SJHICl'.'L Tltc winch translates peoph's enrironmcllfal
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JA 1995-3 PROGRAMMING
13
A ENTRANCE
B UV!NGROOM
Smrtl1 ele1'ation.
C KITCHCN
D OINII'JG R00"\11
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F UTILITY
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MASTER BEDROOM
BEDROOM
JA 1995-3 PROGRAMMING
137
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19.1 X 14.17m
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When a weight is pur i11 rile head section of this peculiar
objec1, if loses balance. 711e falling movemc/11 nf tile head is
transmitted to !he feet, wlticlt readj11s1 position in the oppo~
sire direction, regaining !he haloncc of the ll'lwlc.
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JA 19953 PROGRAMMING
Shirasagi Bridge
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JA 19953 PROGRAMMING
141
South efcmtion.
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08: The urban landscape we experience every day is also like that. Various people
with diverse purposes pass by one another
at a different pace. This mediathegue is
designed to incite the visitors to interplay
with one another. They will compose and
organize their own space, time and actions
by themselves. And there, someone who
was until now a complete stranger might
pass by.
09: This architecture is a "Forest of Media" where people, things, time, space, landscapes, information etc, freely interplay
with one another. Once you enter through a
slit in the building, the .unexpected will
wait for you. Even without any particular
purpose, one can spend time as he pleases.
The visitors who stroll in the forest of
media will become themselves the dispatchers who trigger the interaction with
each other.
I0: In an age of media technology when one can easily take out or send out any
information from home, what will be the
meaning of going all the way to the site?
The fact that one encounters information
incidentally, unexpectedly and without
purpose is to bring out contrariwise a new
significant value.
II: The opportunities of encounters and interactions this mediatheque offers, while
continually changing, are becoming entangled. Taking a stroll in this sort of "information market," witll all your senses wideawake, is like window-shopping in an
unknown world.
12: There will actually be various kinds of "places": with a high ceiling, narrow, like
a deep valley, where a bright light streams
in, where the wind blows across, which
gets wet in the rain, where the floor is sloping, where the footsteps echo, where you
can hear distant sounds, cold, dark ... Those
variously characterized spaces will generate their own activities as a stage. They are
not neutral boxes.
'Ulll
13: Visitors as well as artisb can nccupy rile space as riley like. Amlrilcy can take
any position they pkasc. The ,aricd spaces
of the m~diath~que can be modulated by
numerous filters. You can combine filters
of many kinds such as paper screens, lattices, glass, panels performed in complete
darkness cuuing off the exterior light, or a
sound-installation exploiting outdoor
sounds may be installed in a translucent
box with numerous holes in it.
14: Someone, for example, wants to find a place to play a musical instrument. He
will connect a portable terminal to an
"information outlet." He will come to know
al once where and what kind of place is
available. In the year 2000 A.D. when this
mediatheque will open, the wireless terminal will be available. An artist who is planning an exhibition will also search out the
space he/she desires through the d<1ta-base
in the computer. He/she will, of course,
simulate the exhibition plan in the threedimensional virtual reality. It is needless ro
say that he/she will have access to the
mediatheque from his/her atelier.
15: Here you can acquire information as well as dispatch your own information.
Many kinds of performances and presentations, although unrelaled 10 each other, are
occurring simultaneously. In this "Forest of
Media" they will become interactive
because of their accidental adjacency. The
audience (who can here be creators as well)
will edit their own "program" by weaving
those events together.
16: The curator will be able w more actively plan a colluborativc work. Furthermore,
this facility muy po.;sc'S its T.V. channel to
dispatch irs own activities day by day. The
tm!diatheque will then become literally the
cjtlzcn s t:ommunication-mcdia.
17: All the funclion;; here are spatially shuffled. They arc not divided inro levels,
zones or sections. The visitors will be able
to catch a glimpse of the sending-in of an
exhibition. the making process of an installmion. the restoration of a work, a meeting
for the next project, etc ... The actual spatial
organizalion will be chaotic, but by
inputting all !he information aboul space
and activities inlo the computer, total facilily management becomes possible.
fNobuaki Furuya)
JA 19953 PROGRAMMING
145
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JA 1995-3 PROGRAMMING
147
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148
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JA 1995-3 PROGRAMMING
149
Iabove wul facing page. above J Temil floor. The floors cross
each mher as in a maze,
(foci!lg !'age. belawj First floor.
tt~n"J:Ji~U)J:? \.:lLH~IirH:X}it~t
Ftil.'(Ti il't.Ji>:<J.
150
JA 1995-3 PROGRAMMING
z..
JA 1995-3 PROGRAMMING
151
Nobuaki Furuya
:/
7'v-;J;"-If/
After the reunification of the two Gcrmanys. this international competition was hdd to propose urban design
concepts for the Spreebogen area, where the new government building will rise. The site is located on the
nonh side of Tiergarten, a park for citizens to relax in,
near the meandering Spree River. The planning calls for
a total area of 240;000 square meters, to include the
Bundestrat, Bundestag. Federal Chancellery, press center and so forth. Instead of parliamentary oflices to
occupy the site, this idea proposes an interwoven arc hi
tectural fabric made up of the parliamentary facilities
and the public spaces devoted to the citizens' everyday
life. while achieving the interpenetration of man-made
buildings with green space.
(Nobuaki Furuya)
*~H-~~~{7~mm~t~~~~~&'J~~. ~
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152
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JA 1995-3 PROGRAMMING
153
JA 1995-3 PROGRAMMING
Nobuaki Furuya
Ji!JI:,
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Isometric drawing.
JA 1995-3 PROGRAMMING
155
156
JA 19953 PROGRAMMING
Cl:J lln\Vill!t
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JA 1995-3 PROGRAMMING
157
Nobuaki Furuya
Y-Museum Project
i!;-~1;!
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ENTRANCE HALL
THEATER
FOYER
UNPACKING ROOM
STORAGE
MUSEUM SHOP
OFFICE
T:RRACE
RePOSITORY
CURATORS' ROOM
EXHIBITION ROOM
11
Second floor.
JA 1995-3 PROGRAMMING
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Third floor.
158
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JA 1995-3 PROGRAMMING
159
Housing Studies
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160
JA 1995-3 PROGRAMMING
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IA 1995-3 PROGRAMMING
(left and facing page, left below) Model of a middle-riseScurve type. (see pp.l66-167)
(facing page. right below) Cut off view of a mode/the lowrise type with separate gardens.
(above and right) Model of a middle-rise cemral court type.
(see pp./68-/69)
(below) Elevation of a model of the scal/ered high-rise type.
(see pp./72-173)
I!.
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~
Plan variaTions.
164
JA 19953 PROGRAMMING
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166
JA 1995-3 PROGRAMMING
121
(~~!fl\l'i)
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JA 1995-3 PROGRAMMING
167
Plan variations.
168
JA 1995-3 PROGRAMMING
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169
High-rise zig-zag type - - 11-story block with corridors on one side (pilotis + I0-slory residential block)
This type increases the height and makes the volume
narrower so that it is possible for all units to face the
side that gets the most sun. Zig-zagging the block
across the site allows a longer block while still retaining
uninterrupted open space around the whole. A variety
of unit sections are possible according to the handling
of the front-side space that links rooms. This space also
serves as a buffer zone between interior and exterior,
ameliorating the effects of living high off the ground.
Terraces of individual units appear like random holes in
a flat volume, revealing glimpses of the landscape on
the far side of the block and reducing its monolithic
quality.
~ffillffiilllilc ?17'
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structure: II stories
number of housing: 120
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Sectional diagram.
170
JA 1995-3 PROGRAMMING
ld nl
JA 19953 PROGRAMMING
171
1~tll.ri~II-t~r
Scattered higiHise type
10-story core-based
residential blocks (pilotis + 9 stories)
A chain of blocks of highly tmusual proportions. contaiJJing one dwelling unit per noor. are located in the
center of the site, witll a large amount of open space
around tllem. Since the volumes are formed by the
stacking of freely-planned units. all sorts of volumes
result, creating an overall effect that could be very different from communal housing to date. Each unit has
four outside walls. and the small space between blocks
is intended as a visual. physical and psychological
buffer zone for these tower-in-the-park type high-rises.
(Kazuyo Sejima)
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172
JA !995-3 PROGRAMMING
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JA 1995-3 PROGRAMMING
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1 OFFICE
J REST SPMCE
1 PI1CHJt-JKO HALL
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177
MIKAN (Kiwako Kamo, Yosuke Kumakura, Masashi Sogabe, Masayoshi Takeuchi, and Manuel Tardits)
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l SUNKEN GARDEN
2 ENTRANCE HAll
4 OPEN STUDIO
5 INFORMATION WALL
6 CAFE
7 RESTAU RANT
8 PARKING
9 STAFF ROOM
10 CONTROL CENTRE
11 TV STUDIO
12 STORAGE
13 WAITING ROOM
14 MEMORlAL THEATER
15 VISITORS' ROUTE
16 PROJECT ROOM
17 ROOF TERRACE
18 OFFICE
(ob~l:) l}~!l%>:Ji(.
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178
Antenna Tower
Light materials clad this structure, which
runs from 5m below ground to 60m
above ground.
7/f"TY.?-
'Elevator
J'.Vr<-?'-
Project P a v i l i o n - - - - - - - - - - - ,
Multi~purpose space for meeting rooms
and such special uses as broadcasting of
election results. This pavilion is located as
a bridge between the broadcasting rooms
and the regular offices.
7'0:/z?
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Plaza
Since the site faces on a broad street and plaza; the
facade has an important role to perform.
~----Front
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Route
Office P a v i l i o n - - - - - - - - - - - - - - - - - :
This structure houses general manege~
ment offices and facftlties for public use.
The long narrow volume supported on a
stands at the west side of the site.
Alii
Studlo Pavilion
Television
rooms for tech
all of the functions of
centre were grouped
Grouping them all on one I
flexibility and ease of use. One
carrfed up to the ground level,
the upper part of the studios and
ing for broadcasting trucks.
A?:/;j-1-
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Sunken Garden
.
, _. ,. .,. . '
:
This _sunken garden provides light and air to the
underground level.
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(MIKAN)
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An office nreu of roughly 650 m' has been placed on the highest level of the
boo~ tower. VVl\h lots of windows on the outside, the resulting space com
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+33
Fit: o m - - - - - - - - - - - - - - - -
provided with audio-visual equipment is also suited
CO!ltenp!Jfmy art or performance, so it has been treated
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+27
The entrance hnH opens through broad doors from the tree-iined street
Book detection
stand Inside the doorway, where an information booth
and the book
counter .:~re also placed. Ponable phones
available
!low for contact with information system, '.Vhich permits visitors
tn
the
to hear a guide to the building, along with
of art
pieces
of the use of various equipment Terminals for performing computer searches are located nat only at the information desk but in numerous
spots along the media spiraL
+21
The book tower has a basket-type frame structure. All of the intervals In this
frame comprise the stacks. These stacks, which continue along almost the
entire extent of the spiral, include dosed-stack books, videos and CO-ROMs,
as well as open stacks, Open stacks are located close to the floor level of the
where visitors c<:~n easily reach them. Closed stacks are on shelves
the ceiling, enclosed behind glass doors, This way the closed stacks
are also visible, providing an element of the media mix to stimulate visitors'
interest.
+16
+10.4
the top of the spiral is a restaurant which faces out on the row of zelkova
trees planted along the front street. Visitors can eat and relax: here while
down on activity in the street below. Direct access is possible by alethe entrance haiL
+6
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+33
Cafe
--------- .. ,_,. ~
cafe is situated at Round 7, approximately halfway up the spiral. light
~J"i{ 7 JI-0U:Il*f',.1J~.S1"~-!i 7 '7 / l-'71::1;tlrt ;tjt;t;:i:imv -r
and drink service is provided. Here visitors can sit and read or look out
;t-7:.- trh 7 IiJ' ~ IJ. *"""~...;..!~ IJ ;r"\':f~!!ntl)qtlr; .t5~\?
at the trees.
f11tft;.-5.::.tt/?;@'~.
+28
and sofas are located throughout the media
groups can meet inside the "glass follies" or
+25
+22
.. ..
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ThemiJHc Exhibition ATeu ~----------------------------------A space for outdoor exhibits against the backdrop of the zelkova trees.
7-?"~.tt.;t;:f"J\;
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"Ginss Follies--------- .............. -------- 1i77..tJJ7t 1Jglasswal!ed rooms ca!led "glass follies" are located here and there
f:ti7AtJJ7;t
use as meeting spaces. They are provided with outputs for terminals and
z. 6\.:.SI'J. %!11~~~ 1'-:Jii!itit.> 1"(7)1J!.'!i t
for privacy.
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Plaza-------------------building is set back from the streeUine on the east side to gain a space
outdoor activities. A portion of this area is depressed to connect with the
pllotis, creating an event space visible from the street and from
building.
rv1useum
The museum shop is located in a position overlooking the entrance hall.
+0
contain posters and monitors to inform
about events and workshops taking place.
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entrance,
(facing page, below right) Interior around the en/ranee.
(;bJ{J:) ~11!-.
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(:tift::til') .x. :.-- "7 :.--Am QJ*l~.
First floor; scale: 1/800.
Seco11d floor.
1 PARKING
2 MACHINE
3 ELECTRICAL ROOM
4 OFFICE
East elevation.
West elevation.
184
JA t995-3 PROGRAMMING
5 MULTI-PURPOSE ROOM
6 JAPANESE-STYLE ROOM
7 LOBBY
8 PLAY ROOM
9 LIBRARY
10 ENTRANCE
I t TRAINING ROOM
12 LOCKER ROOM
13 PASSAGEWAY
14 RECREATION CORNER
15 WORKSHOP
16 MEETING ROOM
17 SMALL MEETING AOOM
iS KITCHEN
North elevation.
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lii.t:nt".
1
2
3
4
5
6
7
8
8
10
POOL
SPA ZONE
GARDEN
OPEN ROOM
RESTAURANT
MACHiNE
COMMUNICATION HALL
ENTRANCE HALL
GALLERY
LOBBY
11 CHANGING ROOM
12 OPEN-AIR BATH
13 TRAINING ROOM
!4 FAMILY ROOM
15 KITCHEN
16 BATHROOM
17 RELAXATION ROOM
18 RESTL~G ROOM
19 OFFICE
20 L~DUCTION COURSE ROOM
21 RECORDING/EDITING ROOM
22 AUD;O-VISUAL ROOM
23 MEETING ROOM
24 WOHKSHOP
25 ELECTRICAL ROOM
26 FITTNESS COUNSELING
27 LIBRARY
28 REHABILITATION ROOM
2S CIRCLE ROOM
Section.
South elevation.
Second floor.
JA 1995-3 PROGRAMMING
189
COELACANTH Architects
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of the former linear block plan, with the corridor along
the north side widened. and the walls dividing classrooms omitted. As a result, spaces which arc large, but
otherwise undistinguished in character. have become
widespread. Replete with potential problems regarding
noise, sunshine and ventilation. such spaces also expose
a tendency, common in institutional architecture, for
solutions to be sought without radical departure from
established prototypes. In order to get away from this
standardized pallern, we have taken the opportunity
offered by the changes in the educational program. to
consider in specific terms how activities in schools and
teaching-.. learning
The Japanese Ministry of Education has begun a wholesale transformation of its education program manual.
Tl1is is a new school that responds to that transformation.
linear block layout '-' 'X' -plan open school
Recently, 'open layout" schools are increasingly popular, but they are in danger of becoming just another
stereotype, a new 'standard type' of school architecture.
The ideals that sought a high degree of freedom in
learning space have been abandoned and so-called
'open layout' school buildings .are often mere variants
1-2
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Programming a town
In towns, there is a bustling movement of people.
Architecture has begun to turn towards activities as a
clue to defining aims and offering opportunities for the
urban environment. The surrounding housing estate ., ,
which is inextricably linked to the elementary school is
a town development based on our activity studies. The
idea proposed by us during the basic design policy formulation', that would "design a town, not public housing compounds," became a very important guide in
determining the overall design of the housing development area. Our aim was to create a lively residential
area, with a high degree of urbanity and a sense of
urban density, in the planned new Makuhari metropolitan area.
public housing estate ~ town
unidirectional flow of people ~ intersecting flows of
people
houses and a few shops only - a mixture of functions
stability I protected living environmenl/resistance to
change ~ growth/change
no influx or provision for influx of outsiders ~ influx
of outsiders
Specifically, we introduced a grid pattern, with a high
degree of potential for choice of routes, into the design
of the road layout, allowed for mixed land uses and sug-
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=
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192
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'
Creating opportunities
limitation - induction
specified act - free opportunity
The activities of the children are not limited by the
name of a given classroom, but induced by free opportunities triggered by things such as slight changes in
level. furniture, water and trees. Jumping, whirling,
rolling and hiding are pure forms of movement that
adults often overlook. The outdoor blackboard and
stone spheres are both inducements rather than tools.
The children freely climb on them, jump over them, sit
on them and hug them.
(Kazumi Kudo)
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100-year timescale
object - activity
During our study of residential areas, we took note of
the mixed craft workshop-residential districts around
Ueno and Nihombashi in Tokyo, as well as Minami in
Osaka. In these districts, the scale of the urban blocks
and the level of segmentation of the architecture induce
activities. Some say that the part of the project already
completed has a European character, but 5 or even 10
years is too short a time for us to appreciate the true
character of this town. The activities of the people will
gradually create a truly uroan atmosphere. When it has
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redevelopment is planned for more than just revitalization of the film capital. It involves reorganization of the
industrial base here to support the link between Berlin
and Potsdam. The hope is that the film business will
provide the spark needed to bring about this transformation.
This high-tech center represents the main project in
the redevelopment plan. Our design was selected in a
competition among seven designated architects. The
center is intended not only to house the film-making
facilities and specialists in three film studios, but to
serve the function ofBabelsberg's media center. A public zone will include cinema, cafes, seminar and
research facilities. There are also offices for related
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companies. The design seeks to achieve a flexible architectural space that combines livability with urban vitality at the same time that it organizes these separate
zones systematically and provides them with clear articulation. The enormous atrium, filled with light and
greenery and linked to the rooftop garden, integrates
each of the zones into the whole in a flexible manner.
The activities in each zone and the dynamism created
by exchange between zones gives vitality to the space.
Stimulating spatial experiences resonate with the
dynamism of creativity. Here one can encounter the film
capital of the future.
(Toshiya Maeda I Shin Takamatsu Architect & Associates)
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location: Italy
architects: Waro Kishi + Kishi Lab./ Kyoto Institute of
Technology + K. ASSOCIATES I Architects
principal use: office
site area: J IO,OOOm'
building area: 28,091 m'
total floor area: 36,084m'
structure: steel frame and reinforced concrete
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modern themes.
The movement in tile articulation of the materials and
structural systems also creates a positive relation
between interior and exterior spaces. The brick - - as
a non-homogeneous material on which the marks of
craflsmanship remain, and as a material expressed on
the first story
will provide a human scale to the
entire scheme.
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2 OFFICE 9
3 OFFICE C
OFFICE 0
OFFICE E
SHOWROOMS
7 COMMON FACIUTIES
B WAREHOUSE
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Office A
This is the largest building in the complex. On /he norlh
side is an inlerior court garden with a block floating like a
bridge ill the lop of a green area with on east-west slope.
On I he 11pper story one can find terraces and exterior
spaces.
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Office C
(lc')!J Tltis building has ct .\'loping green conn gmdeu and
rcrrucc 011 rll(' norrh srde along cill ewll~est uxi.l. On tlw
so11th side. there i'i a soulbrwrrh sloping green court gar~
den. Tht.' jirst and second ]/oors hme metal iou\'NS rv con~
trul light r~flcctions.
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east-wesJ walkwoy
Ctmmwu Facilities
(left) On tlte first .floor is a restaaru/11, 011 tlte cast side of
which is o public common green area, with a wide roof garden on rJw west side; iVIrile dinin;t, people can enjoy the
expanse of these wide open spaces. On the some story, there
is the EDP section with its own roof garden that serves as a
resting orea.
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(above) Tllis building shares a similar design vocabulary
wiril office D on its norril side
sloping brick wallthm
comras1s with !he steel structural frame, AI the norrh end of
the building is an interior court garden with a senu'~lrans
parem trealmelll offrosted glass and gratings, composing a
space wirh a gentle slope.
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:\rata Jsozaki
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1956 born in lh:traki Pre!'.
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Yosuke KunHJknra:
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1994
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PARADISU." An.:hitct:t;;
Kcngo Kuma
1954
born in Knn<~gawa Prcf.
1979
completed tbc nmstc:r course, Tokyo University
1935-86 visiriag scholar a1 Columbia University
1987
estnblishcd Spati::rl D!!sign Studio
1990
cstablishcd Kcngo Kum,1 & Associates
199~
visi1ing critic :tt Columbia lJniwrsity
Shin T~tkama!su
ltJ-4~
horn in Shim;mc Pref.
19&9
197-i
HihJshi Ahc
1962
!983
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llJ71
19RO
1991
1993
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Nobuaki Furuya
born in 1955
1978
1984
Tokyo Institute
19$~
19j0
1975
Akikn T:1knhashi
1958
born in Shizuoka PrcL
1%0
gnHJUulcd from !he Kyoto University School of Engi11Ccring,
DepartmL!nl Architecture
1980..86 Knuo Shitwhara Laboratory, Tokyo ln~titutc ofTcdwnology
1986-SS worked at KaY.tJO Shinohnra Atclia
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Waro Kishi
1992
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1992
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Veronique Belmont
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Carol Hayes
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