-NESS + IALITY JAPAN-NESS + MATERIALITY
MICHAEL CARROLL M.ARCH II SYRACUSE UNIVERSITY ABROAD PROGRAM_JAPAN 2011
JAPAN-N MATERI
It was an honor to create a six-credit course for SU Abroad Japan with Professor Anne Munly of Syracuse University School of Architecture and travel to Japan in May and June of 2011, with eight students of Syracuse Architecture that included: Leslie Baz, Stephanie Billovits, Pedro Dorta, McNisky Jeantus, Matthew Kiwior, Francis McCloskey Lopez, Justin Ostrander and Taskina Tareen. Our 2011 Spring Tour of Japan was even more poignant than the previous tour in 2009, as our Japanese hosts welcomed us in the wake of the 2011 Tohoku Earthquake that had on numerous occassions made us re-consider our trip to Japan. As agreed upon with Syracuse University, our plans to visit Tokyo were curtailed, in favor of cities south of the capital. In the end, the 2011 SU Abroad Japan Tour which took place between May 17th – June 13th, 2011 included, Kyoto, Osaka, Naoshima Island, Taskina Island, Hiroshima, Fukuoka and Nagasaki.
I would like to acknowledge the support of Syracuse Architecture, in particular Dean Mark Robbins and Associate Dean Randall Korman, as well as, the incredible dedication of SU Abroad, in particular Tracy Zappola, Assistant Director of Summer Programs. It was a privledge, to travel for a second time to Japan with Professor Anne Munly and enjoy at the end of each day a Sapporo and a delicious sampling of the regional cuisine (that on more than one occassion included Western food, that only the Japanese, in true form, have truly mastered).
particular, Kiyoshi Sey Takeyama of AMORPHE Takeyama & Associates Architectural Design in Kyoto, Japan, who has been an equisite host since my initial visit to Japan in 2005. Peter Boronski of atelier BORONSKI, also based in Kyoto, gave generously of his time and made an special effort to organize a tour of his project, the T-House. We would also like to thank, Thomas Daniell, who once again, offered his insights on Japanese architectural culture
Michael Carroll, Assistant Professor, SP_ARC (Atlanta) March 2012
NESS + IALITY Materiality in Japanese Architecture, offers a critical survey of both traditional and contemporary architectural, industrial and clothing design continues to offer lessons in realm of materiality. Contemporary design sensibilities continue to embrace notions of impermance and imperfection that are nested within the Japanese concept of wabi-sabi. Centered upon the notion of materiality and its increased importance within the theoretical underpinnings of contemporary architectural design, this course was highly invested in the experiential and phenomenal qualities of projects designed by such architects as Tadao Ando, SANAA, Waro Kishi and Hiroshi Hara. The on-site renowned architects, in order to advance the research work of the class that has resulted in this complilation of student work that documented our travels, observations and insights of Japan in
CONTRIBUTORS:
LESLIE BAZ STEPHANIE BILLOVITS PEDRO DORTA McNISKY JEANTUS MATTHEW KIWIOR FRANCIS McCLOSKEY LOPEZ JUSTIN OSTRANDER TASKINA TAREEN
LESLIE BAZ
Mexico City, Mexico Class of 2015 Syracuse Architecture
COLOR saturated in natural light
Lobby June 10th 2011 12:00 pm Photographs by Lesllie Baz
Nexus ll Housing
Designed by Mark Mack Architects Opened in 1991 Fukuoka
Through multi-palatted rectangular forms, both in concrete, wood panelling, and linoleum tiles, the colorful interior and the outdoor garden expand the space.
Stairway Overcast weather
i. Sotokoshikake, Waiting room
STONE BASES
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Katsura Imperial Villa Kyoto
Photographs by Leslie Baz
ii. Shoin, Main Villa
Sanmon, Main Gate May 19th 2011 2:00 pm
Nanzenji Temple Kyoto
The angled surface of the stone base (above) reciprocates the pagoda form of the sanmon. The stone base and the post and beam structure it supports both represent Imperial power in their largeness. In the Katsura Imperial Villa, stone bases matches the rough bark of the cypress pillars of the Sotokoshikake, giving prominence to organic forms. Flat faced stones coincide with the wooden screens of the Shoin.
REFLECTION AND TRANSLUCENCE
Benesse Art Site
on horizontal and vertical surfaces
Designed by Tadao Ando Opened in 1992 Naoshima Island Photographs by Leslie Baz
Photograph byMIchael Carroll
Photograph by Michael Carroll
From a distance, a grey coloration in materials extends to the beach from the terrace restaurant. Upon closer inspection, a combination of wood and concrete are used. Wood panelling in varying shades of brown distinguishses the two materials, and grey, weather worn wood imitates the wide concrete platform in response to the surrounding sea.
Park June 1st 2011 12:00 pm
The gradation of light prepares the eye to view small inner gardens open to the sky. Tall windows that diffuse light from garden areas are found throughout the museum to produce beams of light. The visitors are lead through the underground art gallery like a boat in search of a lighthouse by the shore.
DIRECT LIGHT SOURCES GALLERIA [akka] Designed by Tadao Ando Opened in 1987 Osaka Photographs by Leslie Baz
The skeleton of the building, its narrow staircase, is exposed, as the concrete walls carve a narrow void space that descends below the street level of this commerical space. Steel railing defines the edge between the ascending spaces and the carved, void space below. The striation from the railing continues on to the steel framed ceiling, the main light source.
STEPHANIE BILLOVITS Midland, Michigan Class of 2014 Syracuse Architecture
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PEDRO DORTA San Juan, Puerto Rico Class of 2014 Syracuse Architecture
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The Nagasaki Peace Memorial Hall was designed by Akira Kuryu and constructed in 2001. The Memorial Hall consists of three basic elements: wood, translucent glass, and concrete. The way in which these materials are used is as follows: concrete is mainly used as a shell. It also makes up most of the interior of the Memorial Hall, however it becomes more aesthetic when it is contrasted against the wood finishes and the glass columns located in the inside. There is also a play between these three elements for at some point they switch roles. This is because some parts of the concrete are clearly marked by the wood that was used to create the shape of it, thus leading it to resembles a much lighter material. Glass, on the other hand, is then used to create these massive glass columns that seem to hold up the entire project thus allowing glass to play as a much sturdier material.
McNISKY JEANTUS Maplewood, New Jersey and Haiti Class of 2014 Syracuse Architecture
The tallest building in Osaka, the Umeda Building was designed HiroThe Sky tallest building in Osaka, theby Umshi One of its main features the edaHara. Sky Building was designed byisHiroshi Hara. One of its main features is the between the two towers that make up the building. atop, that I wasmake graciously between the Once two towers up granted a 360 view of the city. the building. Once atop, I was graciously
9:419:41 PM on PM5.26.2011 on 5.26.2011
granted a 360 view of the city.
Lover s Seat on top of Umeda Sky Building Lover s Seat on top of Umeda Sky Building
tion were the lights of the city
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tion were the lights of the city Umeda Sky Building Source: Bing Maps Umeda Sky Building Source: Bing Maps
Close up of “Fence of Vows” 9:34 PM on 5.26.2011 Close up of “Fence of Vows” 9:34 PM on 5.26.2011
PHENOMENAL CONCRETE Almost halfway on our bike ride to the Teshima Art Museum, I stopped when I saw that the group ahead of me was off their bikes and peering into the distance. Following suit, I was Designed by Ryue Nishizawa in collaboration with Rei Naito, the Teshima Art Museum lay in the distant landscape like a puddle of scooped ice cream. When I later received my admission ticket, I was slightly confused as to where to go. The path of entry was made of the same pristine white concrete as the museum, but it seemed to be leading me away from it. A couple minutes expired and the path curved into a clearing where the calm silence was only broken by the swaying leaves and the seldom clicking of cameras. At the entry, nostalgia set in as I saw the patrons ahead removing their footwear. Recalling the protocol of James Turrell s “Open Field� at the Chichu Art Museum, I could already anticipate what lovely witchcraft awaited me inside.
Teshima Art Museum at 5 kilometers
11:56 am 06/01/11
Path leading up to entrance apx. 150 m
12:27 am 06/01/11
Entrance
12:28 pm 06/01/11
source: metalocus.com
Worker laying down reinforcement prep.
The idea of a sculpted landscape is even carried through the construction process. A sculpture “blanket mold” technique is used to form the shell over a mound of dirt with a smooth sheet of plastic. Differing from a typical blanket mold the initial positive space is removed leav-
source: cg_textures.com
Upon entry I can t help but feel overwhelmed
White concrete 25cm thick (reinforced)
my eyes, I notice that the concrete shell is one continuous surface given presence by light and shadow. The absence of hard lines makes the space looks even bigger. The light let in through the two apertures in the roof look like spotconcrete. Its hard smooth surface carries the the sky all the way across the space.
Water droplet on hydrophobic concrete
corner of my eye. I barely caught it leaking upwards from the ground and watched as the concretes hydrophobic surface contained it from dispersing at the will of gravity. I soon joined the groups of people who watched in silence. The water seemed possessed by confusion, spointo the space.
source: e-architect.com
source: e-architect.co
Naito s water instillation “Matrix” certainly stole
Upon entering the grounds of Katsura, I was hard for me to differentiate it from a lot of the imperial dwelling/garden projects we had visited in Kyoto. The picturesque landscape was undeniably beautiful, but my unfamiliarity with the Japanese concept of landscape, made it easy to assume that the garden was found, then the villa and surrounding teahouses were constructed within it. As the hedges led me across the stepped bridge, I began to key in on how the whole complex was an orchestration of relationships and rituals. From the teahouses to the main house, the path that leads inside the space was very telling of Japanese ideals and use of materials. As approaching the Shokintei of Katsura, I begin to notice how nature didn t limit itself to the garden. Japanese cedar and pine didn t only exist in the garden, but made up the construction of the teahouse; customary to
Source : Bing Maps
THRESHOLD OF MATERIALS
Arial view_Katsura Imperial Villa
Granite Paving
Tamaishi Common coble found in Japanese gardens. Generally 15-30 cm in diameter, these stones are made smooth and round by river water erosion
Base Image: Transition into Shokintei taken at 2:29 on 5/20/11
Weathered Japanese Cypress
It is not until I sit on the ledge of the I could appreciate the surface transition from rough to gradient of textures began at the rough stone paver and ended at the intricately woven tatami.
Japanese Cypress
Tatami Mats
Contatins a core of rice straw which is then covered by woven soft rush straw
MECHANICAL RESPIRATION ALUMINUM ANGLE AND OPERABLE MECHANICAL SYSTEM
Aerial View Source: Bing Maps
MOLDED ACRYLIC PANEL
GRIN GRIN TOYO ITO & ASSOCIATES Taken at 1:09 PM 6-09-11
SECTION OF RIBBON WINDOW
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MATTHEW KIWIOR North Arlington, New Jersey and Poland Class of 2015 Syracuse Architecture
Path to Onrindo The construction of Katsura began in the seventeenth century and continued for several decades. As the design was delegated between several members by different time periods and design the previous one. A promenade through completed, which creates thresholds between teahouses and pavilions stones, or cedar logs as paths, which acts as markers of change. Onrindo Pavilion
1.5 by 3
Delineation of the Pavilion Step to Onrinda Teahouse
Path leading to Onrindo
Three 1.5 by 3 stones
1.5 by 1.5
The ACROS building in Fukuoka integrates itself into the park on its site. It produces the image of a mountain covered in trees and plants; the surfaces that one comes into contact with resemble the strong rock of a real mountain.
Within
In the Oval of Benesse House, Tadao Ando almost raw, materials to help blend the hotel building into the landscape. Ando does so to blur the line between where the Oval begins and where it ends, creating a feeling of greater tranquility for guests, as opposed ot the bustle of everyday life. Ambiguous lines are drawn through the use of different materials, which help identify parts of the building, but do not separate it from it its site.
During my stay in the Oval, I realized
Light as Material
FRANCIS McCLOSKEY LOPEZ San Juan, Puerto Rico Class of 2014 Syracuse Architecture
JUSTIN OSTRANDER Hendersonville, Tennessee Class of 2014 Syracuse Architecture
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TASKINA TAREEN Dacca, Bangladesh Class of 2015 Syracuse Architecture
SHOJI The Screens of Japan An important feature in Japanese architecture, the shoji screen is a sliding outer partition consisting of a light timber lattice covered by delicate white translucent rice paper called Washi. Transcending from traditional temples to even the most westernized apartments, the use of the shoji screen is what differentiates Japanese architecture amongst world architecture. On a bright June day in Kyoto, , the semi-transparent paper softly diffuses light into the interior of the main temple of the Tenryu-Ji complex, creating soft shadows within the sacred space. TENRYU-JI TEMPLE TENRYUJI, SUSUKINOBABACHO, UKYO-KU, KYOTO, JAPAN
Shoji Screens in Main Temple, Tenryu-ji photograph by Taskina Tareen
yu-ji
Translucent Washi Paper
Light Timper Frame
photograph by Taskina Tareen Translucent Japanese Washi paper photograph by Taskina Tareen
The translucency of the delicate washi ensures the soft diffusion of light into a room
photograph by Stephanie Billovitz
The wood lattice determines the amount of light that enters the room through the white washi paper
THE DISCRETE ILLUMINATION OF TADAO ANDO Japanese architect, Tadao Ando’s architecture is characterized by one sublime material – unfinished, flat grey concrete. Using this hard and heavy material, Ando manipulates light, wind and sounds into his buildings, relying on the simple reinforced concrete to control other elements within a building. This holds true in the way in which Ando integrates artificial lighting into his designs. By embedding the lighting fixtures into the concrete in various ways, Ando makes the presences of a light bulb as discrete as possible, disguising the concrete as the emitter of light in his buildings.
Lighting fixture Galleria Akka Building Osaka, Japan photograph by Francis McKlosky
Lighting fixture embedded in staircase Galleria Akka Building Osaka, Japan photograph by Taskina Tareen
Tube Bene Nao phot
Ligh BIGI Osa pho
Tube light fixtures on concrete Benesse Park Hotel Naoshima Island, Japan photograph by Leslie Baz
Lighting on art piece Benesse Park Hotel Naoshima Island, Japan photograph by Leslie Baz
Lighting fixture embedded on concrete wall Chichu Art Museum Naoshima Island, Japan photograph by Justin Ostringer
Lighting fixture embedded in staircase BIGI2Building Osaka, Japan photograph by Taskina Tareen
Lighting in cylindrical casing BIGI2 Building Osaka, Japan photograph by Leslie Baz
” n N o m , effo t do not end t u t to ng t e ge of t me n t e t... ou e e e ng g ven new l fe n e ten e to t ll tu e t e e ent.” Remain in Naoshima: Naoshima Contemporary Art Museum by Yuji and Kumiko Ehara (editors) Akimoto (Author)
DARK CEDAR IN MINAMIDERA MINAMIDERA ART HOUSE PROJECT ARCHITECT: TADAO ANDO ARTIST: JAMES TURRELL BENESSE ART SITE HONMURA JAPAN
Image taken from Remain in Naoshima: Naoshima Contemporary Art Museum by Yuji and Kumiko Ehara (editors) Akimoto (Author)
Dark cedar Planking South wall Minamidera Art House Project
Japanese Dark cedar planking Minamidera Art House Project
Collaboration between Japanese architect Tadao Ando and American artist James Turrell, the Minamidera is the newest structure among the Naoshima art house projects. The dark cedar planks of the project are not only a reference to the temple that once stood before it, but also reflect the darkness that lies inside, insti-
James Turrell 1999 www.benesse-artsite.jp
WEATHERING IN FUKUOKA HOUSING
NEXUS WORLD HOUSING STEVEH HOLL ARCHITECTS 1989-1991 FUKUOKA JAPAN 06.09.2011
As we walked along the sidewalk of the Nexus Housing Development on a rainy day in Fukuoka, the hinged housing blocks designed by Steven Holl architects certainly stood apart in my eyes from its neighbouring buildings. Alongside its clever interlocking design resembling a complex chinese box, the housing block has aged beautifully given the area s weather conditions. From rainwater washing away painted walls and oxidized copper surfaces to summer heat disintegrating concrete, every little crack and discoloration has added to a slow but fine weathering of this domestic space.
Oxidized copper barrier Front entry Nexus Housing by Steven Holl 06.09.2011 11:12 AM
Galvanized zinc Exterior staircase Nexus Housing by Steven Holl 06.10.2011 11:45 AM
Weathered concrete wall Front Facade Nexus Housing by Steven Holl 06.09.2011 11:23 AM
Rain water on fourth floor exterior Nexus Housing by Steven Holl 06.09.2011 12.03 PM
JAPANMATERI CONTRIBUTORS:
LESLIE BAZ STEPHANIE BILLOVITS PEDRO DORTA McNISKY JEANTUS MATTHEW KIWIOR FRANCIS McCLOSKEY LOPEZ JUSTIN OSTRANDER TASKINA TAREEN