Composition diagram 1.5” x 3”
To Diagram: The project “ARK NOVA” started as an encouragement for the people who experienced the disastrous tsunami in the Higashi-Nihon region of Japan. The balloon like design was incorporated to allow the structure to be mobile, in order to travel around the different locations within the region that was damaged by the tsunami, and the structure will be used as a concert hall to provide emotional support by presenting music and performances. The diagram expresses the basics and the overall idea of the structure with simple representations of components within the
Arata Isozaki: Concept Sketch, 2011, ARK-NOVA, Pen.
To Measure: The section drawing utilizes different strategies to communicate the size of the structure. First of all, it incorporates metric measurements to present the size through numeric values. This is a universal representation that will be understood by anyone involved in the designing and building process. It also utilizes a human figure within the drawing, which allows a visual comparison of the structure to the people that will inhabit the space and the relationship of the interior component. And finally, it uses a set of grid to relate the height of interior components to the other components or the structure itself.
Arata Isozaki, Section, 2011, ARK-NOVA, Pen
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To Present: The plan drawing presents the interior of the structure that cannot be seen very well through the rough sketch or the section much more clearly. It shows the placement of the stage, the seating areas, and the pillars. This particular plan also shows the entryway for both the visitors and the staffs, and few measurements to reinforce the information. The grids in the background drawn in light red color express the overall composition and, perhaps, the predicted space that the visitors will walk as they enter.
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Arata Isozaki, FOLLY-SOAN 1, 1984, Woodcut
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solutions specific to the political, social, and cultural issues required by the sites and clients. As modernistic style spread around the world; however, Isozaki began to explore a new style that was rather conceptual, which he focused on reinterpreting the Japanese culture related to the Modernism that was developing in Japan. The exploration was inspired by a writer named Jun’ichiro Tanizaki, “who wrote witty and perceptive elegy on the passing of the Japanese tradition”. The idea can be seen in part of the buildings he designed, such as the Fukuoka Mutual Bank, Gunma Prefecture Museum of Modern Art, and Shukosha Building (Fukuoka). During the early 1970’s, Isozaki started to search for a new style to explore. His search leads him toward a tectonic style, which could be seen in semicircle concrete vault found in Kitakyushuu Municipal Central Library and the shell concrete roof on Fujimi Country Club built in 1974. The tectonic style was partly inspired by ‘Haniwa’, which is a primitive Japanese tomb that is made of soil and earth. Isozaki contributed significantly as a critic in the architecture commission and competition and lead many comprehensive ideas to become reality. Some even state that Isozaki made the global interaction of architectural ideas possible to the level where individual voice was being heard.
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a case study by Bin Nakatani
Arata Isozaki
Arata Isozaki was borned on 1931, in Oita Prefecture, Japan. He studied Architecture at Tokyo University graduating in 1954. Experiencing the destruction caused by the American’s atomic bomb, Isozaki once stated that, "I have a strong image that everything I do will always be destroyed or ruined" and had desire to ‘reconstruct’ Japan, although the image of the ruined city brought him back to his statement. Isozaki worked under one of the most significant Architect in the 20th century, Kenzo Tange, who was known with his style of Metabolism, which the idea is present in Isozaki’s earlier works. Metabolism was a movement that combined ideas of mega-structure with organic biological growth. Such earlier works combined Metabolism with his experience in Europe, resulting in projects like the Oita Medical Hall created in 1960. His exploration in design characteristics grew wider and wider, incorporating various style that were applicable to the situation. Later in his work, Isozaki started developing modernistic style in his design. Isozaki’s style is so unique in its wide variation in ideas and the use of space, where none of the previous characterization or categorization truly described his works. Especially, because he did not form a signature style that could be applied throughout his works, and instead, sought
Freehand Hatch
Scribble
Closed, Static Composition
Drafted Hatch
Dash Line
Dynamic Composition
Brick Pattern
Floor Tile Pattern
Closed, Dynamic Composition
Arata Isozaki, Plan, 2011, ARK-NOVA, Pen
To Emote: Arata Isozaki is known to build several models during the designing process. Because this particular structure is unique in its shape and the material that is used, a model emotes better than a drawing. For example, the reflection of the light upon the circular surface and the relationship to the shadowing part resulting from the sunken part describes the opposing quality of light and shadow very well and as the different effect can be observed by revolving the model, which is not possible in a drawing. This characteristic observed from the model might express idea that, perhaps, the music concert will provide strain of hope to the people who experienced such a disaster represented by the darkness.
Kenzou Tango: After graduating from Tokyo University, Isozaki worked under Kenzou Tango, who was known for the metabolistic ideas, which influenced Isozaki’s ealier works.
Kishou Kurokawa: Colleauge and friend who was working under Kenzou Tango during the same time.
Andrea Maffei: Italian Architect whom Isozaki worked together with. Established an Architecture firm together in Italy.
July 23rd, 1931
Arata Isozaki, Mock Model, 2011, ARK-NOVA
1945: US attack with the use of Atomic Bomb. Strong influence on Isozaki’s initial design motives and ideas.
1953: Graduated Tokyo University with a degree in Architecture
1963: Established Arata Isozaki Atelier in Japan
1973-1974: Designed Kitakyushu Municipal Muesum of Art 1975: Published “Kenchiku no Kaitai” (Demolition of Architecture)
1981-1986: Designed Museum of Contemoprary Art, in Los Angeles, United 1986: Won RIBA Gold Medal
1991-1995: Designed Kyoto Concert Hall
This particular piece was created by a method called “Hanga”, which is a wood press print by carving out the image on the wood. The composition is closed and rather static, because the house like structure is placed in the center of the background. However, Isozaki utilizes diagonal hatches that seem to represent rain fall to express movement and motion of the water, which is contrasting to the static figure. Although this piece is not purely a ‘drawing’, as Peter Cook states in his book “The Motive Force of Architecture”, the method of the creation is less important than the image that is created. This apply in this case since, the produced work still utilizes line, composition, and color to communicate through the visual image. Cook also stated in his book that composition is an element that communicates the artist’s intent. The static and closed composition achieved by placing the house in the center of the figure ground evokes a lonely feeling, a sense of isolation that persists. This emotion is reinforced by the hatches that cover the entire composition. Not only that those hatches represent rain, which could be related to the emotion that already exists, it darkens the entire image further increasing the sense of loneliness. The use of color is also concentrated on the cooler colors, which, again, does not evoke a bright feeling, especially with the hatches over them.
Arata Isozaki, with his flexibility and ability to explore different ideas and incorporating them into his design, has become one of the wanted architects today. The designs that are produced from his mind blow others’ mind. Sometimes, it is not the ‘new’ ideas that appeal to the viewer, but his ability to manipulate even the classic or primitively developed ideas into unique style is to be treasured and aimed for. The ARK-NOVA, for instant, displays the utilization of the concept of object and space, which is one of the most basic concepts, in a unique way. The use of balloon like material to the enclosing walls allows the entire structure to be mobile, as it was intended to be, but also maximizes the space within the structure for the usage. When the structure is viewed from the exterior, it appears to be a regular object; however, walking through the entrance separates the exterior to invite the visitors into an illuminating space. Isozaki’s integration of object and space could, perhaps, be described by Diana Balmori’s definition of interface. His exploration in different styles with the use of various media, such as common drawing, wood block press, and use of model, could be understood as the important practice for designers, as Cook and Balmori stated, the act of drawing is critical regardless of the media that is used. The lesson to be learned from Isozaki’s carrier would be, again, his flexibility, or the capability to absorb different ideas and produce a unique design. Finding a style that best fit oneself is important as well, but learning the styles that evolve prior to the currently developing styles is as important. The previous studies and experiments conducted by historical designers will become the fundamental element that could be applied or build up on to develop or absorb the emerging ideas. Maybe a new style could develop by even combining those fundamental concepts that has been around for a long time. Another basic element that Isozaki utilize effectively is the hatching pattern. Hatching is a method used to provide values to drawings. However, Isozaki showed in his drawing that hatches could provide more than just values. The FOLLY SOAN1 uses the hatch in an apparently simple way, and it does add value to the drawing. But it also forms and set the emotion that the drawing expresses. Whether it is interpreted as a shade casting down onto the space or rain falling down, it prevents the drawing from having a bright or happy emotion and gives a gloomy or dark. Lastly, Isozaki’s use of support line, such as the grid lines, displays its importance and effectiveness. The neat use of the lines that he shows helps describe the drawing better, for example, the section drawing of the ARK-NOVA uses the grid line to clearly show the highest point, the change in height in relation to the highest point, the interior object placement related to the center point, and so on.
1997 2006: Exhibition: The Mirage City Published “Japan-ness in ArchiAnother Utopia in Tokyo Opera tecture” with MIT Press City Tower. 2003-2008: Designed Museum of the Central Academy of Fine Arts in Beijin, China
Fundamental elements may combine to form a new idea
Usefulness of Grids
Effect of Hatching
2012: Designed the new Town Library in Maranello, Itally, with Andrea
Current: Designing City Life office tower in Milan, Bologna Centrale Railway Station in Bologna, and the Uffizi Gallery in Florence, Italy