Architect Building date Design date Style Function
Kenzo Tange 1966 1961 Metabolism Press, broadcasting and communication center
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5. Yamanashi Communication Center The Yamanashi Communications Center is a building designed by architect Kenzo Tange. and got completed in 1966. It is known as one of Tage’s exemplary works and is considered to be a prime example of metabolist architecture. Thanks to a design that allowed for further expansion, the center got extended in 1974. In 2013, The building underwent a major renovation in order to make it earthquake proof.
Group 3 1270540 0644861 20180719
W. Slaterus J.B. Heins C. Dekandelaer
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5. Yamanashi Communication Center 5.0 Essay 5.0.01 5.0.02
Kiyonori Kikutake - Artificial ground The design of the Yamanashi Communication Center
5.1 Project Description 5.1.01 5.1.02 5.1.03 5.1.04 5.1.05 5.1.06
Plan groundfloor Plan 3rd floor Elevations Elevations Sections Perspective
5.2 Context 5.2.01 5.2.02
Situation Morphology
5.3 Exterior 5.3.01 5.3.02
Structuring elements Proportions
5.4 Interior 5.4.01 5.4.02 5.4.03 5.4.04 5.4.05 5.4.06
Proportions Spatial division Use of spaces Public - Private Possible layouts Access points
5.5 Structure 5.5.01 5.5.02 5.5.03 5.5.04 5.5.05 5.5.06
Columns 1 Columns 2 Floors 1 Floors 2 Walls 1 Walls 2
5.6 Conclusion 5.6.01 5.6.02 5.6.03 5.6.04
Horizontal expansion Vertical expansion Internal modifications Conclusion
5.7 Bibliography 5.7.01
Yamanashi Communication Center | Content
Bibliography
Content | Yamanashi Communication Center
“Kiyonori Kikutake - Artificial ground” by W. Slaterus, J.B. Heins and C. Dekandelaer
“My conceptions for Tower-Shaped Community, Marine City and the others were all fundamentally about land.” (Kikutake, 2005)1 Metabolism is a Japanese architectural and urbanistic movement created during the beginning of the 60’s aiming to combine ideas about architectural megastructures with flexibility and organic growth.² On the 9th of September 2005, Rem Koolhaas and his team went to Tokyo, Japan, to meet with the Metabolist figurehead, Kiyonori Kikutake. Throughout the entire interview a variation of themes where discussed, from the Post-War American Occupation to Mongolian tents, but the relationship with the land seemed to be a recurring red thread that connected all the subjects together. Whether because of his past or due to the influence of eastern building techniques, Kiyonori Kikutake constantly expresses a desire to detach his projects from the ground. “My architecture was my protest, as a former landlord, against the dismantling of the entire landowning system.” (Kikutake, 2005)3 Kikutake’s view on architecture was heavily influenced by his ancestry. Born in 1928 in Kurume, Kyushu, he graduated from the Wasede University. Two years earlier his submission for the Hiroshima World Peace Memorial Cathedral finished on the third place, allowing him demonstrating his clear talent at an early age. But most importantly, he was a descendent of landlords. Up to the end of the Second World War, Japan’s political and economic system was still under the strong influence of a minority of landlords. When the war ended, the Allied Powers decided to completely reform Japan with the intent to render the country incapable of returning to battle. In such, one of the major changes introduced by the US forces during their occupation of Japan would become known as the Land Reform. To support the political changes in this post-war Japan towards a more democratic country, the Americans felt like the feudalistic system currently in use where a minority possessed most of the farmable lands and then proceeded to rent out their lands to local farmers had to be foregone. In an effort to redistribute the wealth, the Land Reform took away from big landowners and allowed farmers to own the land they worked on.4 Kikutake used his architecture as a reaction against these forced changes within Japanese society. In his opinion, this villainization of the former landowners was undeserved as they did not only play a major role within Japanese economy, but were also the main providers of infrastructure and public services for the farmers that worked under their supervision. Most importantly they were perceived as the patrons of culture and arts. As Kikutake puts it: “Take the landlord away and you undermine the entire social and cultural fabric of the community.”(Kikutake, 2005)5 As Rem Koolkaas puts it: Kikutake, in a form of protest to the taking away of his grand-parents’ lands, undertakes a form of aristocratic exile. Since they cannot own the ground anymore, they are condemned to go into the air.6 This will start his ongoing quest to detach the city fabric from the earth. His Tower-Shaped Communities were a rendition of vertical ground, colonizing the sky. Water too, became a possible support for his new Marine City in 1958, a floating manmade platform that moved with the currents. He “was working with
Yamanashi Communication Center | Essay
land that could be moved”. (Kikutake, 2005)7 Contradicting his previous statements, Kikutake maintains that “there really wasn’t a political dimension” (Kikutake, 2005) to his projects. He states that nowadays, the municipality fills in the role of the former landowners and “has to consider what kind of system it needs to put in place in order to restore what the old landlords used to provide”(Kikutake, 2005). Instead of actively fighting the Land Reform, he simply tried to find a way around it, addressing the issue using design and creativity to express his indignation. It was his belief that, as an architect, he would have to carry forward his ancestors’ benevolence towards their tenants. It is now the architects’ role to design - and therefore, in a way, provide - infrastructure and public spaces while nurturing art and culture. In this way he would continue his ancestor’s task.8 “… the ‘Pao’ is the origin of metabolism.” (Kikutake, 2005)9 To look further into Kiyonori Kikutake’s relation with the land, it is interesting to pay attention to his comments concerning the ‘Pao’, a construction type he considers to be at the origin of Metabolism. This nomadic tent was first introduced in Japan through the arrival of the Mongols. The entire structure can be repeatedly put up and dismantled over and over again, allowing for a continuous cycle of renewal and change. This highlights the importance of assembly. The need for standardized components is, in this case, rather obvious since it allows for an efficient building process while still permitting the swift replacement of defective parts of the structure. To translate that in our modern world, Kikutake would prone the use of prefabricated elements for his architectural designs. But in this case, the characteristic of the Pao that interest us the most isn’t its reusability, but its relationship to the ground. In accordance with the nomadic way of life of the Mongols, the Pao isn’t linked to a specific location. The absence of proper foundations allows for the construction to freely be moved over the surface of the earth, unanchored. Once again Kikutake shows a clear interest in detachment from the land. He says: “It is incorrect to say that the most sure [sic] means to live is to cling to the land” (Kikutake, 2005)10. This is the same idea he spoke about when explaining his desire to move away from the land as a reaction towards the American dismantling of the landowner system. Sky House: artificial ground realised ? And yet, when we look at his Sky House, a project that he himself said to be “giving his ideas a concrete shape” (Kikutake, 2005)11, the attachment to the ground seems inherently present. Although the house is lifted 6,60 m above the ground, the main supporting structure made out of four massive pillars is still deeply embedded into the earth, making a possible relocation unlikely. The fact that these pillars are earthquake-resistant is a further indication that the house was built with one specific location in mind, namely Japan. The Sky House is still very much a prime example of Japanese Metabolism: some capsules got added, some got removed, all in accordance with the evolution of the family life of the inhabitants. The main volume was designed as one big open space divided by sliding wooden panels. Changeability is therefore very well present throughout the building’s history, but it is notable that, through these transformations, as living spaces and bedrooms were added, the house slowly reached the ground it tried so hard to avoid.12
“The design of the Yamanashi Communication Center” by W. Slaterus, J.B. Heins and C. Dekandelaer
Kenzo Tange’s approach towards architecture Kenzo Tange, one of the founding fathers of Metabolism, designed the Yamanashi Communication Centre. With more than 18.000 m² housed over ten stories, this megastructure is one of the most significant examples of Metabolism. It is important to first explain what might have led Kenzo Tange towards the design decisions he made and the overall vision he conceived for the Yamanashi Communication Centre. Tange discerns two distinct periods of time relating to the way architecture is conceived in Japan. From 1920 to 1960, the relationship between function and space is static. Each function must be identified by its space in order for the household to function properly. Tange criticizes this functionalist approach and points out that its limitations “consist in the lack of recognition that the functional units could shift into a higher degree of organization when they are linked by corridors (or streets).” (Tange, 1970) The shift in the architectural approach that occurs after 1960 is fuelled by two major factors: the ever-increasing power of modern society that slowly changes the physical space in which society evolves and the rapid advancements in organization and communication systems and technology. To think of the spatial organization as a network of communication and as a living body with growth and changing form is what Kenzo Tange describes as “Structuralism’. In addition to functioning, a process of “structuring” is needed, in which functional units are coupled together. According to Norbert Wiener (Tange, 1970), an organization is “never connected so tightly that it is impossible to change without destroying specific features, nor so loose that anything can happen without any relation to other things”. Kenzo Tange summarizes his approach towards architecture and urban development in the following terms: “Architecture or urban space has a spatial organization containing various sorts of elements. And the viewpoint of seeing each element in its own identified functions might be called a functional approach”. Mega-structures and inspiration The “mega-structure” of the Tsukiji plan, devellopped by Kenzo Tange in 1961 served as one of his main sources of inspiration during the design of the Yamanashi Communication Center. This project highlighted Tange’s belief that some elements of the urban environment needed to be replaced at a higher frequency than others. He says: “The two tendencies - toward shorter cycles or towards longer cycles - are both necessary to modern life and to humanity itself ” (Tange, 1970). Although this project was not realized, Tange gained confidence in the ‘technical feasibility of the tri-dimensional network’. A second conceptual elaboration of a megastructure was done by Arata Isozaki, working at Kenzo Tange’s office. His ‘City in the Sky’ was a personal and independent elaboration, done in 1962. The design is based on cylindrical cores, the primary structure, connected by mechanical trunks that serve both as bridges as well as functional open spaces. Thus influencing each other, Tange used this concept on a smaller scale for the Yamanashi Communication Centre.
To think of the spatial organization as a network of communication and as a living body with growth and changing form is what Kenzo Tange describes as “Structuralism’. This building is, according to Kenzo Tange, a pure form of structuralism. In this design, the accent is put on how a tri-dimensional space network operates within a single building. (Tange, 1970) The question that rises is: to which extent is there a relation between structuralism and metabolism? And can this building be both? The answer to this latest question is yes. The basic ideas of structuralism, such as the allowance for growth and change and the use of identifiable repetitive elements, are similar to the pillars of metabolism. We can therefore say that the Yamanashi Communication Centre is both. (Ioannidou, Ersi, 2011, p 222-227) Concept and design Kenzo Tange started with the design in 1961. They started to build the megastructure in 1964 and within 3 years the building was completed. The idea behind the Yamanashi Communication Centre is that it can develop as a city, “liberating the ground plane from encumbrances to free movement and human interactions, maximize mobility and communication.” (SOS brutalism, 2017) Therefore, Tange designed a megastructure with vertical columns that are self-supporting and in-between areas that could be freely arranged. The Yamanashi Communication Center houses a variety of facilities, namely a newspaper-, a broadcasting and a printing company. Although these firms are all located within different districts of the building, they remain linked and interact with one another. Also, in order to promote development within the area near the train station, small commerces and shoppings have been placed on the ground floor of the Yamanashi Communication Center. (Tange, 1970, Ross, 1978) The Yamanashi Communication Center is a tangible elaboration of how a communication network could be translated into spatial organization. Function groups are grouped into functional zones according to their needs and sharing common facilities. “It is a monolithic megastructure, that tower over their surrounding contexts, utopian ideals of growth and adaptability within a coherent structural frame.” (Hanly, J. n.d.) The megastructure can is adaptable in such a way that rooms or space can be added towards the sky, and open spaces within the megastructure can be filled. And in such a way it represents metabolism. All the void or empty spaces in between are designed intentionally; The firms were young, so the possibility for potential expansion was taken into account. Since the amount of potential growth for each firm was ofcourse unknown at the time the complex was designed, Tange tried to separate the different firm as least as possible, and instead created similar oriented functions as channels between the firms, which they could all use.
Essay | Yamanashi Communication Center
Figure 1.01 | scale 1:500 | Plan Groundfloor
5.1| Basic Drawings
Yamanashi Communication Center | Basic drawings
Figure 1.02 | scale 1:500 | Plan 3rd floor
5.1| Basic Drawings
Basic drawings | Yamanashi Communication Center
North
South
Figure 1.03 | scale 1:500 | Elevations
5.1| Basic Drawings
Yamanashi Communication Center | Basic drawings
West
East
Figure 1.04 | scale 1:500 | Elevations
5.1| Basic Drawings
Basic drawings | Yamanashi Communication Center
Crosswise Section
Legnthwise Section
Figure 1.05 | scale 1:500 | Sections
5.1| Basic Drawings
Yamanashi Communication Center | Basic drawings
Figure 1.06 | Perspective
5.1| Basic Drawings
Basic drawings | Yamanashi Communication Center
Figure 2.01 | scale 1:2000
Yamanashi Communication Center surrounding buildings water
5.2.01| Situation The Yamanashi Communication Centre is located in Kōfu, Japan. Kofu is located in a large valley surrounded by mountains, close to the mount Fuji. But most notably, the city is located on the Chūō railway, one of the two transportation corridors that link Tokyo with western Japan. While most of the buildings in Kofu are residential and low-rise, the area around the railway station is characterised by the presence of a few larger-scaled constructions with mostly commercial and public purposes, such as the Yamanashi Communication Center. The building is located on the edge of the commercial center, within walking distance of the train station. It occupies an entire bloc and is therefore bordered on all four sides by the road network of the city. The ground floor of the Yamanashi Communication Center
Yamanashi Communication Center | Context
hosts different shops and retail areas which allow the building to interact with the public functions located around it such as a public library, department stores, and a museum.
Figure 2.02 | scale 1:2000
Yamanashi Communication Center surrounding buildings
5.2.02| Morphology When we analyse the different typologies of buildings within the area, we notice that it has an heterogeneous structure which is rather coarse-grained due to the presence of the larger-scaled buildings. From the centre of the city towards the edges we see a transition from a coarse-grained to a fine-grained structure made out of smaller buildings. The overall street pattern is mostly organic, although some smaller parts of the city seemingly form a more orthogonal grid. Therefore the street pattern could be categorised as a semi-geometric network.
Context | Yamanashi Communication Center
Figure 3.01 | scale 1:500
primary structuring element secondary structuring element
5.3.01| Structuring elements The design of the four facades of the Yamanashi Communication Center is marked by two main structuring elements: the columns and the floors. With an impressive width of five meters, thes immense columns are eye-catching elements that give the building its main identity and make it immediately recognisable. The columns have a static, permanent quality to them that is counterbalanced by the walls and windows that seem to be hatched onto the building and therefore detachable and replaceable. While the columns provide the major vertical lines of the facade, the different floor levels break those lines by introducing an element of horizontality.
Yamanashi Communication Center | Exterior
Figure 3.02 | scale 1:500
primary division secondary division tertiary division
5.3.02| Proportions While the columns and the floors bring in the primary and secondary lines in the facades, the different wall elements and windows introduce a much more denser grid. But even despite its high density, this grid is much less present in the facades since the walls and windows only occupy a fraction of the overall facades. The empty spaces break the uniformity and strict lines of the design. It is important to note that the vertical lines, no matter what level in the grid we look, are always more present that the horizontal lines.
Exterior | Yamanashi Communication Center
Figure 4.01 | scale 1:500
primary and only grid
5.4.01| Proportions While de facades are rigorously designed and follow multiple grids, the floorplans are left extremely free. The columns are the only fixed elements and provide a simple grid that is present on all the different levels. Not only are the floor plans free to be designed without following any strict guidelines, it is also notable that the limits of each and every level of the Yamanashi Communication Center differ among each other. Indeed, the drawing above shows the maximum area that a level can cover, but just like some part of the facades were left open, some parts of the floors are left empty as well.
Yamanashi Communication Center | Interior
Figure 4.02 | scale 1:500
5.4.02| Spatial divisions The grid shown in drawing 4.01 is at the base of the spatial divisions of each floors. Although the actual rooms aren’t arranged following a strict pattern or frame, the overall disposition of each space does follow a common logic that is encompassed within the aforementioned grid. This is highlighted by the drawings 4.03, 4.04 and 4.05. The triptical division of the space defines the inner organisation of the different floors as well as the placement of the voids within the Yamanashi Communication Center. Another set of guidelines that are used to define and organise the spaces are the symmetry lines. Although, as shown in drawing 4.06, these are mostly used to organise the access points and circulation routes.
Interior | Yamanashi Communication Center
Figure 4.03 | scale 1:500
5.4.03| Use of spaces The ground floor is divided into three distinct areas. The first one encompasses all the public functions such as retail stores, the main entrance hall and the reception. Moving to the second section of the building, we enter the employees’ quarters where we can find locker rooms, a communal kitchen as well as the cafeteria. Although this central part of the building isn’t open for the public, it still contains common areas where the employees can socialise. This isn’t the case for the last third of the ground floor that is occupied by machine rooms, large printers and garages.
Yamanashi Communication Center | Interior
Figure 4.04 | scale 1:500
5.4.04| Public - Private
open to the public employees’ quarters machine rooms and garages
Interior | Yamanashi Communication Center
Figure 4.05 | scale 1:500
non-structural elements
5.4.05| Possible Layouts The tripartite division of the floorplans is especially visible when we look at the voids within the Yamanashi Communication Center. Whether the architect chose to use all the available space for indoor functions or decided to dedicate a part of the floorplan to exterior spaces, the division between inside and outside always occurs on one of the limits defined by the grid shown in 4.01 and the spatial divisions in 4.02.
Yamanashi Communication Center | Interior
Figure 4.06 | scale 1:500
main entrance employee entrance backdoor
5.4.06| Access points Just like the arrangement of the different spaces and rooms within the Yamanashi Communication Center, the access points follow the tripartite division of the floor plan. The main entrances are situated on the southern part of the building. And although each facade follows the same design principles, the southern one is marked by a recognizable transparent entrance. Not only is this glassed part of the facade the public entrance, it is also oriented towards the station which makes it the main point of access to the building.
It is important to note that the placement of these access points and the circulations that they generate within the building all follow the aforementioned symmetry lines.
On the western and eastern facades we find more discrete employee entrances that coincide with the inner organisation of the spaces. The northern facade is where the backdoor is located.
1. source 2. source
Interior | Yamanashi Communication Center
Figure 5.01 | scale 1:200
5.5.01 | Columns 1 The columns are the main structural elements of the Yamanashi Communication Center. These 16 immense concrete pillars each have a diameter of 5m and due to their weight work as standalone elements, meaning that they don’t need external support in order to remain stable. Each columns is composed out of an alternation of two types of blocks “stacked’ on top of each other. The first one has a height of 2.8m while the 1.2m height block is aligned with the floor. At the corner of this smaller bloc, we can see consoles indicating the places where the floors will be attached to. Although the columns have a primarily load-bearing function, they also host a variety of functions ranging from installations for regulating the building physics
Yamanashi Communication Center | Structure
as well as sanitary and traffic areas. Both the difference in the two blocks, the amount of consoles as well as the variety of infill gives 13 different types of column elements. On a more technical level, the stacking of these elements could be achieved in two different ways. Either the elements are precast with interlocking reinforcing steel, or the constructors made use of an on-site made steel reinforcing frame that they then proceeded to cover by in-situ poured concrete in a repetitive framework of the two main block. The visual effect will then make it look like individual elements stacked on top of each other, even though the columns are in fact one concrete whole.
Figure 5.02 |
5.5.02 | Columns 2
Structure | Yamanashi Communication Center
Figure 5.03 | scale 1:200
5.5.03 | Floors 1 The floors are the elements that connect the columns to each other. The impressive height (1,2m) of these floors is needed in order to cross the span of sometimes 17 m between two columns and although the floors do not contribute to the overall structure and stability of the Yamanashi Communication Center, they do bear the load of the interior and wall elements. As seen in Figure 5.03, the floors are designed in a grid. The primary elements of said grids are beams with a section of 1,2 x 0,6 m. These are placed in pairs between the columns. Between the primary beams are a serie of sub-beams with a 1,2 x 0,3 m section. Within the volume of flooring, we can also find all the elements needed to regulate the buildings’ physics.
Yamanashi Communication Center | Structure
Figure 5.04 |
5.5.04 | Floors 2
Structure | Yamanashi Communication Center
Figure 5.05 | scale 1:200
not used in any facades used in the facades
5.5.05 | Walls 1 The walls are added between the grid of columns and beams. They have no structural use and are only self-supporting. As seen in Figure 5.05, there are five measurements needed in order to fill all the different spaces between the column-beam grid. On both the longitudinal and lateral side, the measurements of these typologies are erected from one horizontal and vertical dominator, which gives, when placed within the grid, a smooth and clear overview of the conformity of the overall façade lay-out. There is a distinction made between four different typologies. Solid walls are mostly situated by the machinery- and broadcasting area. Curtain walls or curtain walls with a railing in front can be found at the
Yamanashi Communication Center | Structure
office areas. And simple railings border the outdoor areas. Not all typology options are used within the design. The ones that haven’t been used are indicated in red in Figure 5.05. The walls are the only parts of the structure which are prefabricated and replaceable. This happened for instance on the first floor, where solid walls used for the machinery room were replaced by curtain walls, as the function of this area changed to office space at a later stage.
Figure 5.06 |
5.5.06 | Walls 2
Structure | Yamanashi Communication Center
Figure 6.01 |
5.6.01 | Horizontal expansion The outer appearance of the Yamanashi Communication Center leads us to believe that an horizontal expansion is possible. By adding a few columns on the sides of the building, we could then connect these with the floors and therefore add a few more square meters to the building. According to the observation, there are places where consoles are designed on the different columns for the potential growth of the building, indicating beams will be added at a later stage. And yet, the way these consoles are positioned raised a few questions. While a regular approach would have us place the beams on top op the consoles allowing the beams to rest on them, the floor of the Yamanashi Communication Center are placed at the same level as the console. In order to connect a beam to a console, one would first
Yamanashi Communication Center | Conclusion
have to break the concrete top, revealing its inner reinforcing frame, then attach the reinforcing frame of the beam to the console and then finish it by pouring a concrete cover. This seems very unlikely within the stream of thought of the Metabolism Movement, since this method isn’t adjustable at all and will be very labor intensive. A second barrier to the horizontal expansion in the surroundings of the buildings. Indeed, one cannot keep adding element sideways without eventually bumping against another building. Therefore, even if the expansion was technically feasible, it would have to stop at the limits of the parcel that the construction occupies.
Figure 6.02 |
5.6.02 | Vertical expansion While horizontal expansion seems unlikely, perhaps we can still try to go upwards. Unfortunately this expansion too is bound to end and some point. Gravity works against us. If the columns get too tall compared to their width, they will start to buckle and eventually collapse under their own weight. Of course, it is possible to over dimension the columns in order to allow for more expansion in the future. But no matter how much larger you make them, they will always end up reaching a point of structural failure.
means that the Yamanashi Broadcasting Center as it is today could be considered not as a finished building, but as a building that was only partially constructed in order to allow for future grow. Should we consider this theoretical building as the finished version of the Yamanashi Broadcasting Center?
This bring up an interesting question. What height did the engineers use for their calculations during the construction of the Yamanashi Communication Center? There must have used a theoretical version of the center, where every column has reached its maximum height to base their measurements on. This
Conclusion | Yamanashi Communication Center
Figure 6.03 |
5.6.03 | Internal modifications If we can neither go up nor sideways, what is left for us to change ? Perhaps the voids within the already existing building could be moved or removed. Except that, as we already discussed in 6.01, hatching additional floors to columns seems extremely complicated. If we dive deeper into the actual construction techniques used to erect the Yamanashi Communication Center, we can realise that it is in fact set up as a giant steel framework which is then covered by concrete poured in-situ, layer by layer. The whole building is a monolithic entity without any flexibility to add layers within the construction later on. Though is does look like the beams are places between the columns, the beams actually consist of an horizontal framework that stretches all the way through the columns; an immense beam leaning on four pillars.
Yamanashi Communication Center | Conclusion
This also means that in order to get a reinforced concrete beam, a formwork for each type of beam has to be made. This formwork is firstly stamped and then individually filled with concrete. This construction technique also negates the possibility to extend in width and in depth. Since the horizontal framework is integrated within four columns instead of only attached to the consoles, no additional framework could be attached at the outer consoles to add a balcony for example. There are no structural precast elements used in this building even though its standardization of measurements would have enhanced this.
Figure 6.04 |
5.6.04 | Conclusion And yet, despite all of the previously mentioned limitations, eight years after its construction the Yamanashi Communication Center has been expanded. In 1974, four floors were added on the northern side of the building. However, one could see this extension as a second monolithic part, erected with the same method as the original building; first a preset framework is attached and intertwined to the upper parts of the existing columns which is then covered by in-situ concrete while using the same formworks to obtain a coherent outer appearance.
within did grow to such an extend one couldn’t foresee at the time of construction. But the fact remains that the Yamanashi Communication Center managed to fulfill its promise of change, although not using the construction method we would have expected from its appearance.
Since the building only stood for 8 years before the extension, there is still some doubt whether the added parts were intentionally left out during the first building phase in order to demonstrate the building’s potential for growth and/or adaptability, or that the firms
Conclusion | Yamanashi Communication Center
Books
Essay Bibliography
1. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011). Project Japan: metabolism talks.. (Vol. 100). Cologne: Taschen.
1. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.133, Cologne: Taschen
2. Ross, M. F. (1978). Beyond metabolism: The new Japanese architecture. NEW YORK: ARCHITECTURAL RECORD BOOKS, MCGRAW-HILL BOOK COMPANY(1978), 200 PP. 357 ILLUS. (General).
2. 新 建築 Kenchiku - architectuur
3. Schmal, P. C., Elser, O., Kurz, P. (2017). SOS Brutalism: A Global Survey. Zürich: Park books. 4. Ioannidou, Ersi (2011) Structuralism and metabolism. In: Valena, Tomas, (ed.) Structuralism reloaded : rule-based design in architecture and urbanism. Stuttgart, Germany : Edition Axel Menges. pp. 222-227. ISBN 9783936681475 5. Tange, KENZO (1978). Studio paperback. Les éditions d’architecture. 6. Tange, K. (1970). Kenzo Tange, 1946-1969; Architecture and Urban Design. Praeger Publishers.
Articles 1. Watanabe, H. (1983). New Japanese architecture. Progressive architecture (U. S. A.), VOL. 64(MAY 1983), P. 135-7. 7 ILLUS.(General). 2. Hanly, J. (n.d.). Compare and Contrast: Structuralism, Metabolism and Brutalism in Two Buildings. retrieved from https://architizer.com/blog/inspiration/stories/compare-and-contrast-structuralism/ 3. Sannichi-yb (n.d.) Kenzo Tange and Yamanashi Cultural Center. Retrieved from: https://www.sannichi-ybs.co.jp/tange-kenzo
Images 1. Godel A. (2013), kofu - yamanashi press building 2. retrieved from : https://www.flickr.com/photos/doctorcasino/15702130551/
Websites 1. http://www.sosbrutalism.org/cms/15889395 conulted the 12/12/2018 at 18:56
Yamanashi Communication Center | References
3. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.133, Cologne: Taschen 4. Schonberger, H. B. (1989). Aftermath of war: Americans and the remaking of Japan, 1945-1952 (No. 1). Kent State University Press. 5. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.133, Cologne: Taschen 6. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.133, Cologne: Taschen 7. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.133, Cologne: Taschen 8. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.135, Cologne: Taschen 9. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.143, Cologne: Taschen 10. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.132, Cologne: Taschen 11. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.138, Cologne: Taschen 12. Koolhaas, R., Obrist, H. U., Ota, K., Westcott, J., & Daniell, T. (2011), Project Japan : Metabolism talks, p.142, Cologne: Taschen