japan 2018
voyage d’orient
hotel
studiereis Japan 2018
Tokyo Sakura Hotel Nippori 3-43-15 Sendagi Bunkyo-ku Tokyo 113-0022 tel. +81 3 5685 1200 info@sakura-hotel-nippori.com http://www.sakura-hotel.co.jp/nippori
hotel
studiereis Japan 2018
kamers begeleiders
studiereis Japan 2018
hotel : buurt
TOKYO (JP) / 1 - 7 april
3 bedroom / 01
4 bedroom / 11
3 bedroom / 02
3 bedroom / 03
3 bedroom / 04
3 bedroom / 05
3 bedroom / 06
3 bedroom / 07
3 bedroom / 08
3 bedroom / 09
3 bedroom / 10
34 personen naam
voornaam
Mouton Mouton Adriaenssens Cras
Marie Lise Lore Miet
1 2 3 4
Demeestere Nuyts Oversteyns Peeters Verlinden
Sophie Lotte Lauren Elisabeth Jolien
1 2 3 4 5
De Reu van der Zande Vander Donckt
Yana Brian Arnaud
1 2 3
cockx
emiel
4 xtr 4
Myumyun Gijsels Willems Febe
Dzhanin Lize Christine Viaene
1 2 3 4
Reybrouck Bette clerckx snyers
Lisa Witters siemen kimberly
1 2 3 4
creemers Deceuninck Mertens Opteynde
felix Mart Joke Anneleen
1 2 3 4
Adams Berx Bienstman Mertens Theunis
Nick AnnaĂŻs Margo Lies Tessa
1 2 3 4 1
Vanderstighlen Van der Beken vandewyngaerde vanhulst
Alicia Thibaut robbe oskar
2 3 4 5
kamer+ wifi verantwoordelijke railpassen
kamer+ wifi verantwoordelijke railpassen
kamer+ wifi verantwoordelijke railpassen kamer+ wifi verantwoordelijke kamer+ wifi verantwoordelijke railpassen
kamer+ wifi verantwoordelijke railpassen
kamer+ wifi verantwoordelijke kamerverantwoordelijke railpassen kamer+ wifi verantwoordelijke railpassen
xtr 1 xtr 2 xtr 3 xtr 5
railpassen kamer+ wifi verantwoordelijke kamerverantwoordelijke
studiereis Japan 2018
SAKURA HOTEL NIPPORI STUDENTS
vluchten (1-7 april) Brussel Nationaal - Tokyo Narita / 1 april LOT vertrek 10h15 tussenstop Warschau 12h15 - 15h10 aankomst 8h40(lokale tijd) vlucht 2h00 + 10h30 check in luchthaven 8h15
studiereis Japan 2018
Tokyo Narita - Brussel Nationaal / 7 april TAP vertrek 10h15 (lokale tijd) tussenstop Warschau 14h25 - 16h30 aankomst 18h40 vlucht 11h10 + 2h10 check in 8h15
vluchten (1-11 april)
alicia, emiel, robbe, oskar, thibaut
Brussel Zuid - Tokyo Narita / 1 april Thalys/KLM vertrek 9h52 (Brussel Zuid / Thalys) overstap Schiphol 11h24 - 14h40 aankomst 8h40(lokale tijd) vlucht 1h32 + 11h00 check in Zuidstation : af te spreken onderling
studiereis Japan 2018
Tokyo Narita - Brussel / 11 april KLM vertrek 10h30(lokale tijd) tussenstop Schiphol 15h10 - 16h55 aankomst 17h40 vlucht 11h40 + 0h45 check in 8h30
praktisch ? voorzien op regen (paraplu) ? handbagage 1 stuk max. 8 kg (55x40x23 cm)
+ 1 extra artikel : 1 handtas of 1 schoudertas of 1 laptoptas (40x35x12 cm) ? max. 1 koffer (max. 23 kg)/ max. 158 cm (b+h+d) ? internationaal paspoort !!! ? PASMO kaart ? Japen Rail Pass ? munteenheid : yen ? tijdszone Tokyo(+ 7 uur tov BelgiĂŤ) ? voorzie aangepast schoeisel om te wandelen
inbegrepen ? vlucht Brussel - Tokyo Narita H/T ? gebruik van metro/tram/bus met PASMO 7000 yen
zelf nog te voorzien ? 5 middagmalen/lunch/picknick en 5 avondmalen
studiereis Japan 2018
(elke dag zijn er ca. 2 ritten extra voorzien voor ‚s avonds. daarna zelf bij te laden) ? onbeperkt gebruik Japan Rail Pass (heel Japan) ? 5 overnachtingen met ontbijt ? toegang 21st Century Museum of Contemporary Art, Kanazawa ? toegang tuin Kenroku-En, Kanazawa ? toegang Samoerai residentie, Kanazawa ? toegang Museum of Western Art, Tokyo ? toegang Sumida Hokusai Museum, Tokyo ? rondleiding Mediabibliotheek, Sendai ? toegang Nezu Museum, Tokyo ? toegang Design Sight 21_21, Tokyo
programma 1-2-3-4-5-6-7 april 2018 de dagen in Japan zijn goed gevuld tussen 8h30 en 18h00. ‚s avonds ben je steeds vrij en heb je de gelegenheid om de atmosfeer van de verschillende wijken ‚s avonds gaan op te snuiven. Tokyo by night is totaal anders dan overdag. Maak zeker eens een stop aan Shibuya crossings en Akihabara. Dat laatste heeft zijn bijnaam ‚electric city’ niet gestolen !
dag 2
8h40 11h00 12h00 13h00 13h30 14h30 15h30 16h00
18h-19h00 19h00
dag 3
8h28 8h55 9h13 10h00 11h23
Brussel - Tokyo / 1 april
samenkomst + check-in luchthaven Zaventem vlucht Brussel-Warschau vlucht Warschau - Tokyo Narita
Tokyo / 2 april
aankomst luchthaven Narita Skyliner naar Nippori Station depot bagage + lunch in de wijk stop Dangozaka House (Kazuyo Sejima) metro Sendagi-Okurayama Okurayama Apartments (SANAA) / bar bezoekbaar metro Okurayama-Shimbashi architectuurwandeling Ginza + Tsukiji vismarkt Nagakin Capsule Tower (indien niet afgebroken!) Kisho Kurakawa Louis Vuiton Store Jun Aoki Maison Hermès Store Renzo Piano Broadcasting Center Kenzo Tange Mikimoto Ginza 2 Toyo Ito ... Vertical Garden House Ruye Nishizawa checkin hotel (indien nodig) vrij Sibuya kruispunt
Tokyo / 3 april
trein Nippori-Shinjuku (JR) trein Shinjuku-Chofu (Keio Line) trein Chofu-Hashimoto (Keio Line) bezoek Tama Art Library Toyo Ito trein Hashimoto-Hachioji (JR)
studiereis Japan 2018
dag 1
08h00 10h15 15h10
18h30
trein Hachioji-Tachikawa (JR) picknick en wandeling door Showa14h Kinen Park bezoek Fuji Kindergarten o.v. Tezuka Architects trein Musashi-Sunagawa - Kami-Shakuji (JR) Shakuji Apartments SANAA trein Nerima-Takanodai - Kotake-Mukaihara Tokyo Apartments (in functie van tijdstip) Sou Fujimoto trein Kotake-Mukaihara - Shinjuku trein Shinjuku - Koenji bezoek Koenji Theater Toyo Ito NA House Sou Fujimoto vrij
dag 4
Kanazawa / 4 april
13h00 14h15 14h50 15h30 16h00 17h00 17h40 18h10
8h27 8h42 11h06
18h00 19h00 21h00 23h26
trein Nippori-Ueno (JR) shinkansen Ueno-Kanazawa aankomst station Kanazawa wandeling via Omicho Market (hapje) kasteel Kanazawa (kersenbloesems !!!) bezoek Museum van de 21ste Eeuw SANAA bezoek Japanse tuin Kenroku-En (ĂŠĂŠn van de 3 mooiste tuinen van Japan !) wandeling samoeraiwijk Nagamachi bezoek Nomura Samurai Residentie aansluitend geishawijk Higashi Nagamachi avondmaal in Kanazawa (vrij) nachtbezoek Kenroku-En (vrij) shinkansen Kanazawa - Ueno vrij
dag 5
Tokyo - Sendai / 5 april
12h30 14h00 15h00 16h30
9h00 9h30
10h30 11h30 12h00 12h45 13h30 15h26 16h52
wandeling naar Ueno park bezoek Museum of Western Art Le Corbusier wandeling Ueno - Ameyoko Market (oppikken hapje) bezoek Akusa Cultural Center Kengo Kuma bezoek Senso-Ji tempel Ahashi Beer Hall Philippe Starck bezoek Sumida Hokusai Museum Kazuyo Sejima shinkansen Ueno - Sendai aankomst station Sendai
studiereis Japan 2018
11h37
19h00 20h00 21h54
dag 6 9h00 9h30
rondleiding mediatheek Sendai Toyo Ito bento box shinkansen Sendai - Ueno aankomst Ueno vrij
Tokyo - Yokohama / 6 april
19h00
metro Sendagi - Meijijingu-Mae architectuurwandeling Omotesando (zie Google architectuurkaart) Prada Store Herzog & de Meuron Miu Miu Store Herzog & de Meuron Dior Store SANAA Gyre Shopping Center MVRDV Todd’s Store Toyo Ito Carina Store Kazuyo Sejima Ragtag Store Kazuyo Sejima Sunny Hills Store Kengo Kuma ... bezoek Nezu Museum Kengo Kuma lunch (vrij) bezoek 21_21 Design Sight Museum Tadao Ando metro Nogizaka - Kamata Moriyama House Ruye Nishizawa metro Kamata - Kannai Yokohama Pier Terminal Foreign Office Architects valavond zicht op Mount Fuji vrij (Chinatown Yokohama of terug naar Tokyo)
dag 7
Tokyo - Brussel / 7 april
11h30 12h30 13h30 15h00 16h00 17h00 18h00
7h15 8h20 10h20 16h30 18h40
skyliner Nippori-Narita Airport checkin vlucht vlucht Tokyo Narita - Warschau vlucht Warschau - Brussel aankomst luchthaven Zaventem
studiereis Japan 2018
17h30
O K Y
studiereis Japan 2018
T O
studiereis Japan 2018
K A N A Z A W A
studiereis Japan 2018
K A N A Z A W A
studiereis Japan 2018
K A N A Z A W A
studiereis Japan 2018
K A N A Z A W A
studiereis Japan 2018
M E T R O T O K Y O
21ST CENTURY MUSEUM OF CONTEMPORARY ART Kanazawa
studiereis Japan 2018
SANAA
21st century museum SANAA Kanazawa The 21st Century Museum, located in Kanazawa, is one of the most important works designed by SANAA (Sejima and Nishikawa Architects and Associates). Using simple geometry and minimalist language, the project explores the permeability of the public space through different levels of transparency, a concept that these Pritzker awarded couple the has been exploiting through different approaches in previous works.
LOCATION
The Museum of the 21st Century (1999-2004) is located in the city of Kanazawa, in Ishikawa Prefecture, located next to the Kenrokuen, one of the most beautiful and famous gardens of Japan. The building, inscribed in a circle of 112.5 meters in diameter, is located on an irregularly shaped park. Some of the artworks have been installed in the park, which is an extension of the museum.
CONCEPT
The museum's program includes meeting spaces, a reading room, library, workshops for children, a restaurant, service and display areas. Therefore, the complex had to be both public and private, including free access areas for the benefit of the local population, as well as other paid areas to allow the maintenance of this facility The challenge of Kazuyo Sejima and Ryue Nishikawa was to create a balance between these two domains, blurring the boundaries between the public and private areas, and for that purpose they proposed a mixed-use layout, organized around four courtyards . The interaction with the public space is such that at times the circulation themselves act as exhibition areas. Formally, the museum level of opacity and meters- and that are joining the external
is a series of boxes of different area, height -which reach between 4 and 12 inserted into a circular glass skin, environment
Only an opaque and eccentric cylinder appears as an anomaly in this rectangular gridiron layout, refering to the transparent encircling membrane of the museum. In contrast, the outer cylinder is a thin, transparent border which is openly connected with the outside. This is a deceptively simple but highly provocative design, that challenges the traditional notion of a museum flow, by offering visitors full freedom on their situatedness, their appropriation of space, defining their own route and their interaction with the building, art and environment. In this context, some of the exhibited works collaborate to stress the phenomenological connection between the viewer, the displayed object and nature, establishing not only a relationship of passive observation but of individual and group interaction with the art. For example, Sky Blue Planet, the open-air sculpture James Turrell , in a similar work displayed in the Tadao Ando's Chichu Art Museum in Naoshima . Framing the sky, the viewer witnesses the ever-changing spectacle of the sky and the environment. Another case is Vertical Green, by Patrick Blanc , a vertical garden with over 100 varieties of plants that acts as a border in one of the courtyards and which is crossed perpendicularly by a glazed circulation. One the most striking is the work of Leandro Erlich, called Swimming Pool. It was unusual to find a pool in the middle of a museum, but as one approaches, it is surprising to see people underwater. Later, upon entering the exhibit areas in the basement, you may step into the pool and see people from across the "water". The effect is very interesting and successful, affording enthusiastic public participation. It is achieved by putting two acrylic plates separated form each other by 30 cm, a space filled with water. Another layer of water about 10 cm thick has also been placed on top the acrylic to achieve a more realistic effect. The museum has a special exhibit area in the basement, accessed by an elevator, a transparent box that is raised by a cylindrical piston, both of which in turn evoke the primary forms used in the design and refer to the concepts of lightness, permeability and simplicity that are found throughout the building.
At night, the museum emphasizes its role as urban landmark and its symbolic visual appropriation by the people of Kanazawa.
MEDIATHEEK Sendai
studiereis Japan 2018
TOYO ITO
Bron: AD Classics: Sendai Mediatheque/ Toyo Ito & Associates, Mega Sveiven, Archdaily, https://www.archdaily.com/118627/ad-classicssendai-mediatheque-toyo-ito
AD Classics: Sendai Mediatheque / Toyo Ito & Associates 01:00 - 9 March, 2011 by Megan Sveiven
Courtesy of RIBA Architects Toyo Ito & Associates Location Sendai-shi, Japan Architect Toyo Ito References
Toyo Ito, Ron Witte, Rob Gregory Project Year 2001 Photographs Archienvironment Text description provided by the architects. With the intentions of designing a transparent cultural media center that is supported by a unique system to allow complete visibility and transparency to the surrounding community, the Sendai Mediatheque by Toyo Ito is revolutionary in it's engineering and aesthetic.
Courtesy of Toyo Ito Six steel-ribbed slabs slabs, each 15-3/4" thick, appear to float from the street, supported by only thirteen vertical steel lattice columns that stretch from ground plane to the roof. This striking visual quality that is one of the most identifiable characteristics of the project is comprable to large trees in a forest, and function as light shafts as well as storage for all of the utilities, networks and systems.
Courtesy of Toyo Ito Each plan is free form, as the structural column lattices are independent of the facade and fluctuate in diameter as they stretch from floor to floor.
Courtesy of Toyo Ito The simplest intentions of focusing on plates (floors), tubes (columns), and skin (facade/exterior walls) allows for a poetic and visually intriguing design, as well as a complex system of activities and informational systems.
The four largest tubes are situated at the corners of the plates, which serve as the principle means of support and bracing. Five of the nine smaller tubes are straight and contain elevators, while the other four are more crooked and carry the ducts and wires.
Upon approaching the Sendai Mediatheque, the public is led into a continuation of the surrounding city into the double height hall of the main entrance through large panes of glass. This open square includes a cafe, retail shop, and community space that is capable of supporting film screenings and other events.
Courtesy of Toyo Ito Another aspect unique to this building is the involvement of many designers, as the interior of each level incorporated another person. Kazuyo Sejima designed the ground floor, placing the administrative offices behind a translucent screen.
Š Archienvironment The Shimin Library found on the second and third levels include a browsing lounge complete with internet access and specially designed furniture by K.T. Architecture.
The gallery space of the fourth and fifth levels contain a flexible exhibition space with moveable walls, and also a more static space with fixed walls and a rest area with seating designed by Karim Rashid. Ross Lovegrove took charge of the sixth level, adding a 180 seat cinema and green and white furniture fitting to the audio-visual multimedia library.
The tree-like nature of the metal columns of the Mediatheque are continuous with the natural surroundings of the area, as the design is found on a street lined with trees. The building changes along with the seasons, it's openness reflective of the summer green and also the streets during winter.
TAMA ART UNIVERSITY LIBRARY Tama
studiereis Japan 2018
TOYO ITO
TAMA ART UNIVERSITY LIBRARY
Locatie: Hachioji City, Tokyo, Japan Architect: Toyo Ito & Associates Cliënt: Tama Art University Programma: Bibliotheek Bouwjaar: 2007
De Tama Art University bibliotheek is gelegen in een buitenwijk van Tokyo. Ze staat op de campus van een kunstschool, achter een kleine tuin met bomen en staat op een lichte helling. Omdat er weinig plekken bestonden waar de studenten en het personeel van de universiteit konden samenkomen, kwam Toyo Ito al snel met het concept om van de bibliotheek een soort ontmoetingsplek te maken. Om zo’n soort plek te maken, wouden de architecten de bibliotheek zo open mogelijk maken, zodat je vrijuit kan rondkijken. Dit werd verwezenlijkt door een structuur van willekeurig geplaatste bogen. Deze zouden de sensatie creëren dat de helling waarop het gebouw staat en de omgeving met bomen doorgetrokken worden tot in het gebouw. De bogen, gemaakt van stalen platen bedekt met beton, staan volgens gebogen lijnen die op verschillende punten kruisen. De overspanningen van de bogen variëren van 1,8 tot 16 meter, maar de breedte is steeds 20 centimeter. De kruisingen van de bogen zorgen ervoor dat er op een subtiele manier toch een soort aparte zones worden gecreëerd in de grote ruimte. Kasten, studeertafels in verscheidene vormen en glazen delen geven deze zones een eigen karakter zonder dat de ruimtelijke continuïteit wordt doorbroken. Op het hellende gelijkvloers nodigt een soort bar en een grote glazen tafel voor de nieuwste uitgaves van magazines de studenten uit om in de bibliotheek te wachten tot de bus arriveert of om gewoon even te ontspannen. Als we naar boven gaan naar de eerste verdieping, vinden we een grote collectie aan kunstboeken op lage boekenplanken die onder de bogen lopen. De bedoeling is dat er een zekere interactie ontstaat met de boeken en andere media terwijl men als het ware door een bos of een grot wandelt.
FUJI KINDERGARTEN Tachikawa
studiereis Japan 2018
TEZUKA ARCHITECTS
ArchDaily
Tezuka Architects' Fuji Kindergarten Wins 2017 Moriyama RAIC International Prize 12:00 - 20 September, 2017 by Patrick Lynch
Tezuka Architects' Fuji Kindergarten Wins 2017 Moriyama RAIC International Prize Save this picture!
© Katsuhisa Kida
The Royal Architectural Institute of Canada (RAIC) has announced Tezuka Architects’ Fuji Kindergarten in Tokyo as the winner of the 2017 Moriyama RAIC International Prize. Established by Canadian architect Raymond Moriyama and the RAIC in 2014, the $100,000 prize is awarded every two years to recognize a single work of architecture from around the globe “that is judged to be transformative within its societal context and promotes the values of social justice, equality, and inclusiveness.”
"I feel now there is someone who understands this project well. I think it's quite a unique prize because it's about contributing to society,” commented Takaharu Tezuka. "It looks like a simple structure. But it's a layering of many ideas combined."
© Katsuhisa Kida Fuji Kindergarten was selected from a four-strong shortlist including BIG’s 8 House in Copenhagen; the Melbourne School of Design by John Wardle Architects and NADAAA; and the Village Architect, Shobac Campus by MacKay-Lyons Sweetapple Architects. The inaugural prize was won by Li Xiaodong for his design of the Liyuan Library, located in a small village outside Beijing. “This is a prize that will continue to acknowledge the important work of transformative architecture worldwide and its designers,” commented Raymond Moriyama. “No matter the scale or size of the building, the Prize provides an opportunity to recognize design qualities which make a positive contribution. Society is evolving, we hope, toward more equality and social justice. Architects can provide leadership by creating inspiring buildings in service to a community.”
Š Katsuhisa Kida
Completed in 2007 in Tokyo, Japan, the Fuji Kindergarten is a single-story, ovalshaped building that encourages children to play and interact by breaking down the physical barriers found in the typical early childhood educational architecture. Large sliding glazed doors lining the interior of the ring are opened up for a majority of the year, allowing children to freely pass between indoor and outdoor areas, encouraging independence and socialization. An accessible roof becomes the main play space for the school, giving students an endless path to run, jump and play. All these design decisions have led to a learning environment that improves learning ability, calmness and focus, even in children with behavioral disorders. “What we want to teach through this building are values of human society that are unchanging, even across eras,” said Tezuka Architects in their submission statement. “We want the children raised here to grow into people who do not exclude anything or anyone. The key to Fuji Kindergarten was to design spaces as very open environments, filled with background noise. When the boundary disappears, the constraints disappear. Children need to be treated as a part of the natural environment.”
© Katsuhisa Kida
© Katsuhisa Kida “What perhaps sets the Fuji Kindergarten apart is the sheer joy that is palpable in this architecture,” said Barry Johns, FRAIC, Jury Chair and a Trustee of the RAIC Foundation. “It is one of those rare buildings—comprised of a geometric plan, a single section, a roof, and a tree—that in their utter simplicity and unfettered logic magically transcend the normal experience of learning. This winning project should give all architects around the world reason for great optimism that humanity benefits enormously from the creation of such a deeply simple and yet sophisticated architecture of unquestionable redeeming value.”
Courtesy of SUTTON New York In addition to the $100,000 grand prize, three $5,000 scholarships were awarded to three architecture students: University of Waterloo student (and ArchDaily intern) Osman Bari; Alykhan Neky of Ryerson University; and Tanya Southcott, McGill University. Winners were selected based on an illustrated 1,000-word essay on the following topic: Please describe the moment—the circumstances, the nature of the event—when you decided to become an architect, or when you knew that your decision to become an architect was the right one. “The student scholarships are equally important to raise the aspirations of up-andcoming architects,” said Moriyama. “I congratulate the three winners and wish them well in their pursuit of architecture as a worthy profession.”
MUSASHINO UNIVERSITY LIBRARY Musashino
studiereis Japan 2018
SOU FUJIMOTO
YOKOHAMA PIER TERMINAL Yokohama
studiereis Japan 2018
FOA
Yokohama Terminal
The triumphant critical reception of the Yokohama International Passenger Terminal was the product of inventive architectural methodology and socially conscious thinking. Designed by Foreign Office Architects (FOA) in 1995, the futuristic terminal represented an emergent typology of transportation infrastructure. Its radical, hyper-technological design explored new frontiers of architectural form and simultaneously provoked a powerful discourse on the social responsibility of large-scale projects to enrich shared urban spaces. The architectural competition for the terminal was famously intense, and winning it required the thenwife-and-husband team of Farshid Moussavi and Alenjandro ZaeraPolo to rethink the established template of terminal design. Located on an important waterfront site in Japan’s second most populous city, the highprofile commission attracted 660 entries from around the world, the country's largest international competition to date. The enormous, 430 meter-long project took eight years and a budget of £150 million to complete, and required FOA to temporarily relocate their studios to Yokohama to supervise construction. The public
opening of the terminal occurred in 2002, serendipitously coinciding with the final game of the World Cup being held only a few miles from the shoreline. The striking appearance of the terminal was made possible only by tremendous advances in computeraided design. It was conceived primarily in section, with an incredibly complex series of surfaces that gently curve and fold into a navigable, inhabitable architectural topography. Atop the observation deck, the material fabric of the floor rises and falls in wave-like oscillations to create pathways and apertures into the vast, enclosed spaces below. These changes in elevation—sometimes subtle, sometimes sharp—were the essence of the novel architectural language invented for the project.
The building is organized in three vertical levels. Atop a firstfloor parking garage, a spacious middle floor contains the terminal’s administrative and operational areas, including ticketing, customs, immigration, resta urants, shopping, and waiting areas. The steel beams that span the ceiling add a weighty feeling to the space that contrasts sharply with the feel of the observation deck, which has the sensation of being made of a light, flexible, and easily malleable plane. Connecting the three levels are a series of gently sloping ramps, which the architects decided were more effective than stairs at maintaining a continuous and multidimensional flow of circulation.
A unique structural system made of folded steel plates and concrete girders supports the building. The strength of the materials minimizes the need for vertical supports and allows for a mostly open floor plan, while the height of the structure allows for a spectacular variety of ceiling conditions in the interior spaces. According to the architects, the structural scheme is especially adept at coping with the lateral forces of seismic movements, a necessary precondition of buildings of its size in Japan.
Throughout the project, a deliberate dynamism pervades the tectonic and material languages of the building. The abundance of non-orthogonal walls, floors, and ceilings creates a controlled sense of vertigo that is accentuated by similarly off-kilter fixtures and details. The effect is magnified by material cues, such as the shifting grains of the wooden planks on the observation deck that indicate the locations of creases, and the minimalist grey metal paneling that is revealingly worn by the structures under it. While the contours of the building occasionally betray an element of randomness, they are in fact generated by a single circulation scheme that dictates spatial organization. The circulation operates as a continuous looped diagram, directly rejecting any notion of linearity and directionality. Visitors are taken through paths that meander vertically and horizontally before arriving at any destination, and their sight lines through space are comparably tortuous and indirect. For all of the chaotic complexity of the materials and formal gestures, the simplicity of this diagram offers a sense of clarity and reveals the process from which the building emerg ed.
The greatest conceptual strength of the project is perhaps its sensitive relationship with the urban waterfront. With the observation deck doubling as a fully accessible public plaza, the terminal seamlessly emerges from the neighboring Yamashita and Akaranega Parks to make one uninterrupted, universally accessible urban parkscape. Its height is calculated to achieve continuity with the shore and to ensure that inland views of the waterfront remain unobstructed. The terminal won several international awards after its completion, including the 2004 Enric Miralles Prize, and brought enormous recognition to FOA, Zaera-Polo, and Moussavi. It also completely challenged the limited role of traditional public infrastructure projects, creating a new precedent of technological innovation and urban integration that many have since tried to match. Short summary: -
Architects : Foreign Office Architects (FOA) Location : Osanbashi Pier Area : 48000.0 sqm Project Year : 2002 Photograph : Satoru Mishima and FOA
Bron : https://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreignoffice-architects-foa
MORIYAMA HOUSE Tokyo
studiereis Japan 2018
RUYE NISHIZAWA
HOUSE IN A PLUM GROVE Tokyo
studiereis Japan 2018
KAZUYO SEJIMA
House in a plum grove Kazuyo Sejima Tokyo Living habits rule over the living space, as the oriental aesthetic requires. Adopting this approach, even when the space is limited, the interior design allows every inhabitant to have his own privacy. That’s the same effect reached by OZU in his film: a fixed framing, events are narrated by the characters’ movement. Kazuyo Sejima finds the perfect solution thanks to a linear project: trapezoidal plan, three luminous floors connected by a (almost) central stair. The structure also helps the space-saving. The perimetral structure is realized with subtle steel panels (only 10cm thick) finished with anti-glare paint and containing a 3cm thick insulation layer. The internal partitions, realized with the same system, are welded to the perimeter. Everything is white.
SHAKUJI APARTMENTS Tokyo
studiereis Japan 2018
SANAA
Shakujii Apartment Pubblicato da ArchIntoJapan il giugno 10, 2013 Architects: Kazuyo Sejima + Ryue Nishizawa / SANAA Location: Tokyo, Japan All-glass walls and open terraces comprise this small group of steel-framed apartments situated within a dense residential neighborhood in Tokyo. Another provocative feature of the development is that the residents must go outside to move between different rooms.
Source: https://www.japlusu.com/news/new-approaches-apartment-livingjapan: https://www.google.it/search?q=shakujii+apartment&sa=N&hl=it&tbm=isch&tbo=u&source= univ&ei=NTa2Ud-dFcPROcjhgegE&ved=0CDIQsAQ&biw=1454&bih=674#imgrc=_
Bron Shakujii Apartment. (2013, 06 10). Opgehaald van ArchIntoJapan: https://archintojapan.wordpress.com/2013/06/10/shakujii-apartment/
ZA KOENJI THEATER Tokyo
studiereis Japan 2018
TOYO ITO
Za-Koenji Public Theatre by Arcspace | 09. Aug 2012
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Za-Koenji, located within a residential district, is a public theatre replacing the old Koenji Hall. Because of the surrounding context and the acoustic requirements within the building, Toyo Ito designed a “closed� space, with both its walls and roof being constructed of steel plate reinforced concrete, providing sufficient stability, yet remaining extremely thin. The roof form was carved out of a cube by 5 elliptic cones and 2 cylinders, resulting in a dynamic shape that expresses movement and lightness. The central axes, angles and coordinate positions of the elliptic cones and cylinders, were defined according to the height restrictions of the site and the height requirements of the internal programs.
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Photo: Iwan Baan
Drawing courtesy Toyo Ito & AssociatesSite Plan
Drawing courtesy Toyo Ito & AssociatesFirst Floor Plan
Drawing courtesy Toyo Ito & AssociatesSecond Floor Plan
Drawing courtesy Toyo Ito & AssociatesBasement Level 2 Plan
Drawing courtesy Toyo Ito & Associates Section
With the halls stacked on top of each other a floating structural system was adopted with every floor slab, and walls and ceilings insulated from the main structural frame. Because of the strict height restrictions only the small main theater Za-Koenji 1, the cafeteria, and the offices are located above ground level. The rest of the programs are placed at basement levels. Za-Koenji 1, the Main Auditorium, is a flexible space, that allows for a range of different stage and seating configurations. The lobby is entered directly from the square in front of the building. Za-Koenji 2, Civic Hall, is located on basement level 2. It is a conventional theater space with fixed raked seating, suitable for drama performances, dance, concerts, conferences or lectures. The Awa Odori Hall, also on basement level 2, was designed for practices of one of the Japanese Bon Festival Dances performed during the Awa Odori Festival. This hall made use of its maximum volume in order to also meet the requirements for musical concerts and performances. The Cafe Henri Fabre can also be used as a venue for drama readings, lectures and children’s activities. Large props and costume production studios, rehearsal rooms, film and music editing rooms are on basement level 3.
NA House, Sou Fujimoto, Tokyo 2012 House NA van Sou Fuijimoto heeft nagenoeg geen wanden en lijkt net een stelling. Door de glasgevels worden de ruimtes toch gedefinieerd, zonder enige privacy te bieden. Het is gelegen in een residentieel district in het centrum van Tokyo. Het wordt ook “the single tree” genoemd??? Alle ruimtes staan in contact met elkaar (zijn niet hermetisch afgesloten). “To hear one's voice from across and above, hopping over to another branch, a discussion taking place across branches by members from separate branches. These are some of the moments of richness encountered through such spatially dense living.” Het huis wordt opgebouwd uit vloerelementen van meubelgrootte, die samen een geheel vormen en zo 1 grote ruimte over heel het huis creëren. Vloeren worden banken of tafels, door de hoogteverschillen. Soms worden het zonneweringen of vormt het een terreinafbakening van een ‘ruimte’. “Providing intimacy for when two individuals chooses to be close to one another, or for a place afar still sharing each other's being. For when accommodating a group of guests, the distribution of people across the entire house will form a platform for a network type communication in space.” De witte structuur zelf heft geen link met de boom, het is eerder de vloerplaten en het figuurlijke waarin je dat concept terug vindt. De oppervlakte van het gebouw bedraagt 592 m2. Dit huis voor een jong koppel, staat in schril contrast met de vrij gesloten gevels die gebruikelijk zijn in deze en vele andere residentiële wijken. De 21 in hoogte variërende vloerplaten, laten de bewoners toe om nomadisch in dit pand te leven. De berging zijn allemaal ingebouwd in de dikke noordgevel. Om toch enige privacy en afscheiding te kunnen creëren, zijn er gordijnen toegevoegd. https://www.dezeen.com/2012/05/08/house-na-by-sou-fujimoto-architects/ https://www.archdaily.com/230533/house-na-sou-fujimoto-architects https://www.designboom.com/architecture/sou-fujimoto-house-na/ https://architizer.com/projects/house-na/
TOKYO APARTMENTS Tokyo
studiereis Japan 2018
SOU FUJIMOTO
Sou Fujimoto’s Tokyo Apartment
t is hard to imagine a more literal image of high density dwelling than this, the Tokyo Apartment–Sou Fujimoto's latest building. A collective housing project requiring a number of dwellings to be packed onto a tight corner site in a low-rise suburban neighborhood of Tokyo, the result has all the innocence and audacity of a child's answer to the problem of urban density: a pile of houses. Childish things normally do not survive long in an adult world, except perhaps in Japan. That such a scheme could not only be thought up, but then also argued for by the architect, accepted by the client, financed by the bank, approved by the council, and finally built and inhabited is testament not only to the force of Fujimoto's imagination, but also the curious liberties afforded by the Japanese city. The project consists of three rental apartments, and a fourth inhabited by the owner and his wife. These small dwellings, consisting of two or three rooms and ranging between 30 and 56sq m, are interwoven through six blocks that look like a child's drawing of a house. These blocks vary in size – some accommodate a single room only, one contains an entire apartment. Stairs climb the exterior, even at points stepping up roof inclines; ladders are even used within the apartments. The building is constructed in timber, but the entire exterior is sealed in a uniform cladding of ribbed Galvalume sheeting, coloured white. It's not unreasonable to suppose that such an unusual building would require a correspondingly exceptional client – perhaps someone of means with aspirations to architectural patronage. Yet what continually surprises about Japan is the openness of people of quite modest means and aspirations to commission ambitious architecture, and the enthusiasm with which they greet the results. Tokyo Apartment owes its existence to adversity rather than to affluence. The owner, Shunzo Ueda, is a former salesman in his fifties whose wife suffered a stroke six years ago. Her care needs meant that he could no longer work, and after their savings ran out his only source of income was what he could make from the small plot of land that he lived on.
Climbing up ladders and squeezing
So he hatched a plan to build a clutch of rental apartments on the plot,
between cross-braces, stepping
interviewing half a dozen architects before settling on Fujimoto. It was
through windows and padding across
Fujimoto's freshness of vision, along with his willingness to take on the
stairs attached to roof decks, I felt
project despite the difficult circumstances of his client, that won the day.
like a cat
The jumble suits its disordered suburban setting The resulting scheme is another instance of Fujimoto's exploration of the potential of repeated simple units to generate a formal richness akin to that of a natural or unplanned urban environment. Similar strategies are to be found in the scattered and stacked white cubes of the 2006 Children's Centre for Psychiatric Rehabilitation and House before House, his contribution to the Sumika concept housing project of 2008. This produces what Fujimoto has called "nebulous landscapes," encouraging a pattern of dwelling that he sees as being primordial, in which spaces are found and appropriated in the manner of animals or birds. With its habits of unshod feet and floor-bound seating, I've always felt there is something vaguely animalistic about the traditional mode of dwelling in Japan. (This might account for the oft-repeated claim that Japanese feel closer to nature than the average Westerner despite living in dense megacities surrounded by machines). 
A similar animal feeling was also present at Tokyo Apartment, as Fujimoto anticipated, but here it got a lot more specific. Climbing up ladders and squeezing between cross-braces, stepping through windows and padding across stairs attached to roof decks, I
felt like a cat. It felt fun, if a tad risky. The niggling concern was that I don't think I fall much like a cat. Fujimoto often speaks about his projects as "gardens" or "forests." In this case, the preferred metaphor is "mountain". While most of his earlier projects have been located on generous rural or provincial sites, the these apartments are squeezed into a cramped urban site of only 83sq m, hemmed in by roads and powerlines. The artful sprinkling of spaces and elements has become a piling-up operation, the blocks now a fragile assemblage permanently appearing to be on the verge of collapse. The spatial generosity that furnished loosely defined public spaces and patches of open ground populated by greenery in the older projects is absent. What breathing room there is is afforded by the small gaps opening up as a result of the rotation of the blocks, and particularly by the spaces that emerge between the pitched roofs and the floors above. These pitched roofs end up playing an important role in this constricted context. The roof planes sponsor steps and little platforms, becoming another surface of dwelling. The wedges of space formed by the roofs bring light in through skylights and leaven the overall mass. In one apartment, one of these wedges is spanned by a glass box encasing a ladder – offering the passer-by the chance to glimpse the occupants engaged in catlike acts of domestic climbing. No false ceiling conceals the pitched roof internally, buoying the interior and bringing a spatial archetype of shelter into the confines of a tight urban apartment.
Small gaps between the blocks let in light One of the appealing things about Fujimoto's work is its apparent effortlessness – the sense that you could drop a bundle of sugar cubes onto a site model and, hey presto, there's the design. In fact this apparent insouciance has always involved a good deal of art and a great deal of testing to carefully tune and coordinate the relationship between elements. Here this can be seen in the variations in the proportions of the individual blocks and their rotation to take advantage of views or light. But there are also places in this building where the interactions are more jarring, involving juxtaposition and even collisions of competing orders. The penetration of lower blocks by columns carrying loads from above sometimes irritates more than energises; the window frames have been placed proud of the exterior wall surfaces because the diagonal struts bracing the walls prevent any alternative. There is a willingness to compromise here that, while bringing textural thickness to the building, also blunts the clarity of abstraction that has been a feature of much of his earlier work. This is partly a response to the constraints of site and budget, but Fujimoto suggests that the jumbled context of suburban Tokyo was also a factor. "We
spent a lot of time considering what level of abstraction or concreteness to bring to this idea of the house as a stacking unit," Fujimoto explains. "We tried various colours, materials, eave depths, and so on. We settled on a scheme that, while still simple, reveals some texture and shading. The decision to use white for all the units was not about being abstract, but was a response to the relation between the scale of Tokyo's visual disordered urban environment, and the scale of the units themselves. The building both has some of the disorder of Tokyo, while also resisting being totally dissolved into that disorder." The conspicuousness of the finished building delights Ueda-san. His neighbours are taking more of an interest in him. He looks forward to welcoming his tenants to live in what he calls his "vertical alleyway". The building, he tells me with a smile, has "changed his life." In this story, as in the building itself, Tokyo's vitality is revealed.
An early model of the concept before the site was scaled down
A maze of ladders and stairs means a catlike experience for residents
NATIONAL MUSEUM OF WESTERN ART Tokyo
studiereis Japan 2018
LE CORBUSIER
National Museum of Western Art Architect Le Corbusier Associate Architect Kunio Maekawa, Junzo Sakakura, Takamasa Yoshizaka. Built in 1958-1959 Remodeled in 1979, 1997 Floors 3 Land Area 1.587 m2 Built-up Area 4.399 m2 Location Tokyo, Japan Introduction This building is born because the French government decides to confiscate Japanese citizen M. Matsukata much of impressionist art collection amassed during 1916 and 1923, taking it as a “prisoner” during the war. Within the collection were works by El Greco, Rodin sculptures, etc. In 1956, Japan requested the return to France of these works, to which the French government agreed on the condition that it is a French architect who developed the project of the building that would house such works. Another condition to be returned is that this place should be called “National Museum of Western Art.” The museum to house the collection Matsukata was commissioned the Swiss-French Charles-Édouard Jeanneret-Gris (Le Corbusier) in 1955, with the project completed by three Japanese apprentices in his studio in Paris: Kunio Maekawa, Junzo Sakakura and Takamasa Yoshizaka. Later was built in 1958 and completed in 1959 by Shimizu Corporation. The Museum is a historically significant building, completed in March 1959 as a symbol of the resumption of diplomatic relations between Japan and France after the Second World War. In 1998, the building was listed as “Kokyo Kenchiku 100 Sen” (100 selected public buildings), sponsored by the former Ministry of Construction, which determined that it was a unique public building well established in the local community. The main building has been designated a Cultural Building in 2007. Location The site is located in Ueno Park, north of the Imperial Palace in Tokyo, closing the circle of buildings consisting of the National History Museum, the Museum of Fine Arts and the Museum of Science. The address is: 7-7 Ueno-Koen, Taito-Ku, 110 Tokyo, Japan. Concept
1st Floor Le Corbusier proposed a museum “square spiral”. The arrangement of the exhibition spaces spiral is an argument that applies in your projects, from the outside, the building appears as an opaque container off the ground on ‘piles’ and with only two openings that connect the inside with their environment and, connected by a sculptural staircase. In 1929 Le Corbusier designed a model of unlimited growth Museum (Musée à croissance illimitée) for Mundaneum of Geneva. It was a square spiral, on one floor supported by stilts, which would eventually evolve and grow according to the needs of the project. There are three versions of this type of museum in the world by architect: Kendra in Ahmedabbad (1957), the Museum and Art Gallery in Chandigarh Government (1965) and the National Museum of Western Art in Tokyo (1959). Modulor Each element of the construction have been applied concepts of Le Corbusier Modulor. Based on the size and proportions of the human body, is a way to adjust the spirit architecture, order the infinity of possible dimensions, so as to adapt to the human form. The Museum of Western Art in Tokyo, the Modulor system can be seen in everything from the structural to architectural details and decorations. Spaces The organization of the building is divided into two parts: the main building based on a square design and the new administrative wing is north. Both buildings are organized around their own backyards, in the case of the main building is a covered space, while the new wing encloses a garden. Main Building Occupying land 1.587m2, built 4.399m2 of which correspond to 1.533m2 1.097m2 exhibition galleries and storage, distributed in three floors above ground level, a basement and a ground terrace. The main entrance is preceded by a square on which rests a statue of the “Thinker” by Rodin. At one end of the main facade, on the first floor, a large window leading
to a balcony ledge, leaning on a pillar that serves triangular ceiling at the entrance. Similar detail is also seen in one of the sides. The museum is square, “square spiral”, with the main body of the galleries on stilts at first floor level, accompanied by a pavilion for temporary exhibitions and a building for plays. Le Corbusier imagined a set in which the museum also contains a “miracle box” with a mysterious and amazing content as opposed to the main volume of the building compact concrete, never came to fruition. The design is influenced by the Kendra in Ahmedabbad that Le Corbusier was designed at the same time. Gallery Exhibitions (Spiral Square)
Floors • First floorMuseo Nac de Artes Occ plantas.jpg The visitor entrance is on the ground floor between piles up around the building and giving access to the hall in the opposite side offers a ramp up, another recurring architectural elements in the work of the architect, to the galleries exposure surrounding the main space: the Board of XIX century. At this level there is access to the conference room, out of the museum’s galleries, the main desk, locker, library, health room, access to the gallery B, toilets, library, museum warehouse, workshops and reserve materials. The double-height main hall is illuminated from above with a glazed pyramid skylight facing north, intercepted concrete beams cross and a single column. A spatially highlights this central exhibition hall with its ramp and triangular skylight and double height gallery, also with overhead lighting, which exhibits the collection of the nineteenth century. This highlights its unique exhibition space and towering pillar that rises up to the skylight supported by cross beams.
• Second Floor One of the favorite resources of Le Corbusier, the ramp leading to the second level and a large room, the Matsukata gallery with temporary exhibitions, permanent stands, conference and film. The exhibition spaces of this plant are developed concentrically around the great hall. In three different locations within the showroom of this level, there are three independent mezzanines that are accessed by narrow stairs, giving access to small exhibitions. These spaces were closed to the public. In this room there are two balconies that reflect the nineteenth century hall below. From the first balcony you can look down and see the showroom after another balcony, discovering the many places offering this building. The showroom has two roof heights, which highlight the transition between the open and more tablets. The lower ceiling is fixed to 2.26 m according to Modulor measurements, the other twice the height. • Third Floor This plant has employees offices, secretarial area, toilets, room care, tea preparation, documentation room, meeting room, recreation room, conference room, project room, staircase, electric gallery. • Roof Floor This plant has shed roofs and skylights, a roof ladder, various pots. For Le Corbusier the ceilings were an important part of the building. Designed to cover museum with different shapes and heights, with side windows that allow the passage of natural light to the interior, decorated with flowerpots and plants, but later was another space not open to the public. Extension
• 1979-New Wing In 1979 a new wing was added to the museum, developed by Maekawa, respecting the original building, 4.902m2 distributed on two floors above ground level and two underground. With this expansion 1.525m2 earned more for exposure and 576 for storage. This new wing was designed to complement visually and structurally integrated with the main building designed by Le Corbusier. The outer walls open joint used in the binding of PC boards, creating a double structure which provides thermal insulation. Like the main building has been surrounded by large trees that create a green courtyard. • 1997
Between 1994-1997 a new wing was added for special exhibitions, with two floors above ground level and two underground, while the entire building was reinforced with new seismic techniques, while respecting the original building again. The building was built with the purpose of improving the activities of the museum for the XXI century, focusing on special exhibitions, restoration, conservation, arts education and information and documentation. The new building consists of three main sections and 1,525 m2. • Exhibition Division Added a facility used exclusively galleries for special exhibitions, in the second basement, overlooking a courtyard in front, storage area and auditorium are located nearby. The public access to the galleries from the lobby on the first floor of the Main Building by stairs or elevators, and returns to the main lobby via escalator. • Research Division The offices of the Division of Research, responsible for the conservation and restoration, educational programs and information services, are located on the west side of the main building, where they connect with the new wing. • Administration Division As the Research Division, the various offices of the Division of Administration are on the west side of the building, facing the street. Structure and Materials The structure is made from columns of circular cross section reinforced concrete arranged in a grid of 6.35×6.35 m, supporting the entire building, a concrete box also stops free plant based on a concrete slab system reticular, seeking what Le Corbusier came practicing for his work. The exterior stairs projecting forward from the plane of the facade. The columns are 60 cm thick on the first floor and 55 cm in the second. Originally they were 53 and 43cm respectively, according to the dimensions of the Modulor, but had to be thickened so they could offer more resistance in case of earthquake. The columns of the first floor is made thicker to withstand greater load could also. Were used for formwork pine wood characteristic patterns printed at the surface of the concrete piles made in situ. Access is through the gate made piles, because all the container is elevated, creating an area that is used to display statues. On the walls of the gallery wall is detached from the main structure, with absolute freedom to the space available. As for the conference, which is a single element, is composed of a large volume having a concrete grandstand, like elements are on the outside of concrete were made as in the case of museum exit (stairs). The concrete was used in the structure, but also in the coating of exterior walls made of prefabricated based settle in U-shaped frames supported by the inner wall, and where the concrete is mixed with green stones, the woodwork are steel and some wood trim inside the building. Waste
The drains rainwater were placed inside the building. Le Corbusier devised numerous designs and places to include these drains so visible within the spaces. Lighting Le Corbusier designed the gallery of paintings to be naturally lit through four lighting channels, but these are no longer used, being replaced with artificial lighting. Nevertheless it can be seen at the top of one side of the roof, in the nineteenth century hall, a large triangular glazed window, which helps to illuminate the room with natural light. The triforium gallery above the roof portion in the showroom on the second floor, was designed to allow in natural light from the roof to the exhibits, but now the gallery is lit artificially. On the floor of the same room lights were installed to illuminate the work from below. While not in use, you can see the glass lids that cover. Fine vertical concrete mullions are located in places such as the area of housing in the restaurant or in the museum shop. The rhythmic variation is transforming the lighting conditions in these areas. Isolation Seismic Retrofit The main building of the National Museum of Western Art was renovated by professional experts who used information obtained from the aftermath of the Great Hanshin / Awaji in 1995. To install seismic isolation devices in the existing building foundations, was due to make a “technical adjustment� that made it more sturdy structure to earthquakes. The restructuring began in 1996 and ended in 1998, always maintaining the integrity of the original design.
ASAHI BEER HALL Tokyo
studiereis Japan 2018
PHILIPPE STARCK
Asahi Beer Hall / Philippe Starck
This unusual and striking building designed by interior designer turned architect Philippe Starck, is one of Tokyo's most notable modern landmarks. It has earned itself several unflattering nicknames among those who disdain its flashy self-important style but it is sure to please devotees of Starck's sleek and elegant style. Completed in 1989, it serves as a symbol of the Asahi Beer company at a location where Asahi has been making beer for over a century. Perched above the Sumidagawa river, the building is a shiny black form with a giant gold flame rising up from its flat roof. The building itself is covered with highly polished black granite. Its windows are small portholes which are almost invisible from a distance. The walls of the building curve gently outward towards the top, creating in effect a giant pedestal for the gold flame on top.
The flame itself, from which the beer hall and restaurant within take their names, rises several stories and looms over the Sumidagawa river as a gilded monument to Asahi beer. It is constructed of metal and weighs over 300 tons. The simulated gold leaf finish makes the flame gleam by day and by night, when it is illuminated. The shape of the flame is easily recognized as a trademark form of the designer. It appears in almost all of his interiors, either as a sconce or a door handle. This, however, is the first instance in which Starck has used the form on such a massive scale. Although it has been interpreted by the people at Asahi as being a symbol of the burning soul of the company, it is such a recognizable element in all of the architect's work that it is hard not to see it as either a designer label or the self-conscious imprint of an egotist.
The building is placed above a staircase made of glass blocks which is illuminated from behind at night. The staircase has all the shameless glamour of a set from a 1950's Hollywood musical. It is virtually impossible to walk by in the evening and not be tempted to walk up the illuminated stairs and enter the building. The main entrance of the beer hall is marked by a curving gold panel which is the only punctuation mark along the otherwise uninterrupted surface of the shiny black facade. Passing behind the gold panel and through the doors one enters a fantasy space the likes of which could only have been created by Philippe Starck. The curving walls covered in gray velvet and inlaid with velvet rope, the twisting columns vaguely resembling human forms and the angular staircase all combine to create an otherworldly atmosphere. The designer's strikingly beautiful but uncomfortable metal-backed chairs are also part of the decor. In a striking example of what can go wrong after a project has been completed, plastic plaques with numbers have been glued to
each custom-designed table in an apparent attempt to ease the jobs of the waiters. These plaques diminish greatly the otherwise surreal atmosphere of the space. The second floor has two dining rooms which can be reserved for private parties. Passing through velvet covered doors and pulled-back curtains one enters windowless banquet rooms furnished with velvetcovered chairs and the designer's trademark blue glass sconces. The overwhelming use of fabric creates an eerie silent atmosphere. The private dining rooms can be visited and should not be missed. The fourth floor of the building is presently host to a discount clothing store which seems uncomfortably out of place amid the splendor of the rest of the building. Its presence is a reminder that the beer hall is in Tokyo's Shitamachi area which has seen better days. This striking and unusual building is a must-see for anyone in the Asakusa area. Its flashy style is clearly in contrast with the anonymous gray buildings which are the norm in Tokyo, which only makes it more of a landmark. It is to the city's credit that such an unusual structure could have been built. The current management, however is already showing a certain amount of disregard for the unusual design of the building. Whether this structure can withstand the test of time and irresponsible management has yet to be seen.
Bron: http://bento.com/arch/abh.html
HOUSE + ATELIER BOW WOW Tokyo
studiereis Japan 2018
ATELIER BOW WOW
House & Atelier / Atelier Bow-Wow
Section and floor plans
Architects: Atelier Bow-Wow / Yoshiharu Tsukamoto, Momoyo kaijima, Shun Takagi Location: Shinjuku, Japan Structural Engineer: Structural Design Office Oak Inc. Contractor: Nichinan Tekkou Corporation Area: 109.0 m2 Project Year: 2005
Text description provided by the architects. As it is hard to run 3 places including the university laboratory, we were looking for a site for our house and atelier and ‘a flag shape site' was up for nomination. A flag shape site is surrounded by buildings and only connected to the road by a narrow strip of land. It is therefore hard to plan or construct on and it is cheaper. It is a chance to utilize our past experience having changed challenging conditions into positive characteristics of houses. Aiming not to separate the house and the atelier portion, we reached the composition with lower 2 floors for the atelier and upper 2 floors for the house connected with a staircase, the landing of which can be a split-level house itself after studying the conditions. The areas of the stair landings vary from 3 to 10 sqm, and the styles of the stairs also vary to give each space a different degree of privacy. To fit the exterior wall inclined by regulations, the interior columns of the 1st and the 3rd floor also incline, and affect the behavior of the people inside. The unexpected forms of spaces inspire our imagination of use. We also dug a well and use the water for radiant cooling and heating. The well water pumped up to the roof streams down on surface of the external wall, cooling the wall by vaporization in the summer. The external wall is covered with granule-faced asphalt to hold the water. It is fun to think of the building as a massive rock sweating, with a dragon like internal water vein, which can be glimpsed between the houses. Vegetable will be planted at the top of the "rock", and a tall tree and a bench will be at the "flagpole" approach. Our occupation of the place to imprint our memory has just begun.
Bron: https://www.archdaily.com/5918/house-atelier-atelier-bow-wow
Bron: http://www.bow-wow.jp/profile/2005/HouseAtelierBowWow/index.html https://www.japan-architects.com/en/atelier-bow-wow-tokyo/project/house-and-atelier-bow-wow
atelier bow wow at Venice architecture biennale 2010
‘house behaviorology’ by atelier bow wow at the Venice architecture biennale 2010 image © designboom for the 12th international architecture biennale in Venice, Italy, atelier bow-wow presents a visual anthology of their dwelling projects in an exhibition entitled, ‘house behaviorology’. since the firm’s inception in 1992, the studio has been interested in the elements and behaviour of the micro/macroclimates in our living environment, of people, and buildings. the accurately detailed models present in Venice focus on illustrating space as a component of living, demonstrate the power of physical models, as well as showcase the diverse design approach of the practice.
Exhibition view image © designboom
1:20 model of ‘nora house’ (2006) image © designboom
momoyo kaijima of atelier bow-wow portrait © designboom
(left) ‘beach house’ (right) ‘double chimney’ images © designboom
model of ‘double chimney’ house by atelier bow-wow (2008) image © designboom
entrance image © designboom ‘double chimney’ info: location: karuizawa, nagano, japan site area: 1, 280.68 m2 building area: 155.12 m2 structure: wood frame
photographs of ‘double chimney’ images courtesy atelier bow-wow
exhibition view image © designboom
model of ‘pony garden’ by atelier bow-wow (2008) image © designboom
images © designboom ‘pony garden’ info: location: sagamihara, kanagawa, japan site area: 468.75 m2 building area: 38.36 m2 total floor area: 71.72 m2 structure: wood frame
photographs of ‘pony garden’ images courtesy atelier bow-wow
(left) 1:20 model of ‘house & atelier bow-wow’ image © designboom (right) interior shots of the house images courtesy atelier bow-wow ‘house & atelier bow wow’ info: location: shinjuku-ku, tokyo site area: 109.03 m2 building area: 59.76 m2 total floor area: 211.27 m2 structure: reinforced concrete and steel frame
‘droog townhouse’ by atlier bow-wow images © designboom
Bron: https://www.designboom.com/architecture/atelier-bow-wow-at-venice-architecture-biennale2010/
ASAKUSA CULTURAL AND TOURIST CENTER Tokyo
studiereis Japan 2018
KENGO KUMA
Asakusa Culture and Tourism Center Kengo Kuma, 2012, Tokyo This visitor centre in Tokyo by Japanese architects Kengo Kuma and Associates looks like a stack of smaller buildings with sloping roofs. Named the Asakusa Culture Tourist Information Center, the building is located near the outer gate to ancient Buddhist temple SensĹ?-ji, which was constructed in the sixth century and is the oldest of its kind in the city. Horizontal slices divide the tower's eight main storeys, creating sloping ceilings in conference rooms and an exhibition space, as well as a tiered floor inside the multipurpose hall.
Wooden louvres shade each of the four glass elevations and are spaced differently depending on the shade and privacy required by the rooms inside. Surfaces inside the building are also timber-clad and balconies are located on two of the upper floors.
In the corner premise of just 326sqm across Kaminari-mon Gate, the building was required to accommodate plural programs such as tourist information center, conference room, multipurpose hall and an exhibition space. The center extends Asakusa’s lively neighborhood vertically and piles up roofs that wrap different activities underneath, creating a “new section” which had not existed in conventional layered architecture. Equipments are stored in the diagonally shaped spaces born between the roof and the floor, and by this treatment we could secure large air volume despite its just average height for high-and medium-rise buildings. Furthermore, the roofs not only divide the structure into 8 one-storied houses but also determine the role of each floor. First and second floor has an atrium and in-door stairs, creating a sequence from which you can feel the slope of the two roofs. On 6th floor, taking advantage of the slanted roof, we were able to set up a terraced floor with which the entire room can function as a theater. As angles of the roofs inclined toward Kaminari-mon and the heights from the ground vary from floor to floor, each floor relates differently to the outside, giving a unique character to each space.
CURTAIN WALL HOUSE TOKYO
studiereis Japan 2018
SHIGERU BAN
Bronnen: https://www.dezeen.com/2012/06/25/asakusa-culture-tourist-information-center-by-kengo-kuma-associates/ https://www.archdaily.com/251370/asakusa-culture-and-tourism-center-kengo-kuma-associates
Curtain Wall House Shigeru Ban, 1995, Tokyo With space in the residential areas of Tokyo at a premium, Shigeru Ban has made a name for himself in counterintuition. The architect has been known to install a unique sense of ephemerality in his work, and this early work in his career provides perhaps the greatest evidence of this skill. Several years prior to winning the Pritzker Prize in architecture, Shigeru Ban’s Curtain Wall House demonstrated a modest yet distinct beginning in the early 1990s.
Curtain Wall House is sited on a small corner lot in the Itabashi-ku neighborhood, and is over three stories. The ground floor is a simple open garage, a set of stairs, and a dramatically large triangular awning. On the second floor, the main floor, lies a simply furnished living room and kitchen, with a very large patio. The second and third floor share the same air space, and they both afford stunning views of the neighborhood, uninterrupted except for a few carefully placed structural columns. The facade of the building is made up of two oversized curtains. Whether opened or closed, the curtains have a commanding presence in the neighborhood; when pushed away, the
stunning clarity of the interior is exposed; when pulled together, the intensity by which they sway with the wind makes the house a spectacle in concealment. Though the lightness of the partition partly takes its inspiration from the traditional shoji screen, it has a much more animated quality in Shigeru Ban’s interpretation.
Responding to a long-standing trend in Japanese design, Shigeru Ban is a strong advocate for the concept of the “un-private� house, meaning a house without the primary function of concealing information about the interior. And because Japanese housing is most commonly about small, sparsely decorated rooms, Curtain Wall House has a patio that is nearly the size of the interior rooms, allowing its owners to keep the function of this space unassigned. Of course, all of the rooms can be partitioned off by sliding glass doors for the warmer months and more secure protection.
Bronnen: https://mykukun.com/curtain-wall-house/ http://emaninagar.com/43-stunning-curtain-wall-house-images-concept/shigeru-ban-curtainwall-house-tokyo-japan-plans-home-design-stunning-images/
MADO BUILDING TOKYO
studiereis Japan 2018
ATELIER BOW WOW
Mado Building
Text description provided by the architects. This is a project for speculative building - the land is bought, value is added through design, tenants are found, and the project is sold off. The site is located in the wedge between a fork in the road on sloping land, so something with character as a landmark was sought by the client. Since the tenant details were not determined, in developing the design we could not help but concentrate on contextual elements. In seeking out common criteria from responses to various separate external factors, such as the difference between levels on the site, the shading envelope, assumed circulation paths and so on, we came to feel the necessity of some internal rhythm. Here we started looked at the windows and balconies of the apartment buildings that surround the site, and in a mirroring relation, arranged openings in a chequered pattern on the three frontages facing roads. For the windows, we took the largest standard dimension for double glass windows as
a baseline, varying the proportions in response to external conditions. As a result, the exterior faรงade came to have in parts an elastic expression, suggesting movement. We placed an entrance in each frontage, and allowed this to be absorbed into the partial deformations of the repetition of windows in the faรงade, yielding parts revealing difference amidst the general pattern. The window can be understood here as an element that is shared in common with the surrounding context, as well as something engendering an internal rhythm; as a device that responds flexibly to external conditions while creating diverse internal settings; as a tool negotiating a multi-layered context. The name "Mado(means window in Japanese) Building" was taken from this.
S hort S umma ry: -
Aa rchite cts : Ate lie r Bow-Wow/ Yos hiha ur Ts ukamoto, Momoyo Ka ijima , S hun Takagi
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Loca tion : S e ta ga ya , Tokyo
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S tructura l Engine e r = MKa ne ba ko S tructura l Engine e rs
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Contra ctor : KATAYAMA Corpora tion
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Are a 192.0 m2
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P roje ct Ye ar : 2006
https://www.a rchda ily.com/5932/ma do-building-ate lie r-bow-wow
MINERAL HOUSE Tokyo
studiereis Japan 2018
YASUHIRO YAMASHITA
Mineral House, Tokyo, Yasuhiro Yamashita
(bron: https://www.yatzer.com/Reflection-of-Mineral-by-Atelier-Tekuto-Tokyo)
Reflection of Mineral by Atelier Tekuto // Tokyo
photo Š Makoto Yoshida
The team at Atelier Tekuto has designed a home from a dissection of a white volume. Located near the center of Tokyo, the complex architectural dwelling, although intricate in its angular play, has a serene and simple nature to it. The house exterior is stretched over a sea of unique planes in white finish. Utilizing elimination as part of the creative process, Atelier Tekuto pondered on the keywords of 'minerals' and 'reflection' to focus the dissection as a positive influence to the project. The dwelling's abstract form capitalizes on the idea that there is not one space alike, therefore strengthening the narrative to the natural minerals.
photo Š Makoto Yoshida
The polyhedron gives the home a new facade from every angle you look at it. This reflection allows for external and internal diversity as one travels through the space. The project is theoretically provoking but do we want our homes to feel diverse and ever changing or do we need that constant reinforcement that allow us to feel comfortable and safe? Although many questions to the vernacular experience come to mind I cannot dwindle the thought and articulation that the space and its three lighting facets - transparent, translucent and opaque - weave and change the internal experience remarkably.
photo Š Makoto Yoshida
Within selected surfaces of the exterior facade, the interior space is exposed through windows and openings that take the shape of the dynamic exterior skin in which they are placed. The form is white in color, allowing us to see the sharp folds and steep angles created to build the extreme dimensions. The house stands out as an energetic, a stark contrast to the surrounding architecture; the form created makes you reflect and wonder how the exterior influences the interior.
photo Š Makoto Yoshida
photo Š Makoto Yoshida
The unnaturally shaped windows create interesting patches of light on the interior walls as the sun filters through. Complementing this angular form is the interior volume itself; unusual angles and shapes begin to form positive and negative dimension for living and dining. The interior palette is light in color, this allows the daylight to bounce around the rooms and bring life to the space. While there are heavy volumes of concrete, it's not overwhelming or too heavy because it is balanced with the fragile, translucent glass opening of the interior environment to the exterior world.
photo Š Makoto Yoshida
The angles forming the interior walls shape the space into new forms and dimensions as they invite you to investigate oddly shaped corners and interesting spatial relationships. There is nothing parallel about this space, every plane dissects and interrupts another. The main stair folds rhythmically from the floor above, acting as a skin just like the exterior one. The serene quality of the exterior is juxtaposed to the aggressive angles in the interior. It reminds me of the phrase 'a diamond in the rough' , a thought provoking and formally interesting project. I wonder how the project would turn out is we could flip the forms from inside out. Now I am intrigued!
photo Š Makoto Yoshida
photo Š Makoto Yoshida
photo Š Makoto Yoshida
Bron: archdaily.com
Bron: momath.org
Bron: archdaily.com
FUKUTAKE HALL Tokyo
studiereis Japan 2018
TADAO ANDO
FUKUTAKE HALL – TADAO ANDO ARTIKEL / WEBSITE http://fukutake.iii.u-tokyo.ac.jp/english/
Fukutake Hall opened on March 26th 2008. The principle source of funding for its construction is a donation by Soichiro Fukutake. The architectural design is by Tadao Ando.
A CROSSROADS BETWEEN ACADEMIC LEARNING AND CREATIVITY The university of the twenty-first century must be bold in its approach to the social issues of the day and position itself at the forefront of the value creation process. Fukutake Hall takes seriously the lessons to be learnt from dialogue with society and provides a new space for the flourishing of creativity. It brings the III’s interdisciplinary research programs into contact with the diverse problems of the information society, thus offering new models for an information society based on cultural diversity. The advanced information technologies built into all parts of the building provide support for learning and creativity through dialogue. On the other side of the 100m “Thinking Wall” lies a veritable crossroads between learning and creativity.
LINKING THE INTERFACULTY INITIATIVE TO THE WORLD One of the most striking things about the Interfaculty Initiative is that it is an interdisciplinary organization. By bringing together fields that were once separate it becomes possible to create something new. In our art projects in Naoshima and Echigo Tsumari, we have likewise experimented with the production of novelty through the conjunction of Japanese landscapes and contemporary art. It is my belief that the ultimate goal of all scholarship should be the maximization of human happiness. Much of the research being conducted nowadays seems to concern itself more with the act of research itself, rather than remaining true to its ultimate purpose. When scholars from diverse backgrounds come together, such as they do at the III, the potential for research aimed at ultimate values would seem to be enhanced. By drawing together people from throughout the university, I hope that Fukutake Hall will become a catalyst for the building of links between the university and the wider world.
CREATION NOT DESTRUCTION The Interfaculty Initiative was established with the intention of creating values for the future by combining the diverse strengths of many individuals. In the past, Japan created new things by destroying what had been there before. This historical perspective needs to be changed so that we begin creating new things while making continued use of what already exists. I have confidence that this is precisely what the Interfaculty Initiative can achieve.
THE WORDS OF TADAO ANDO Even in the context of the university as a whole, this is a major construction project. Besides including a 200-seat theater, the design is also intended to commemorate the 130th anniversary of the university’s founding. The site of the building is also significant in that it forms part of the boundary between the campus and the public street outside. This has determined the overall shape of the structure which is 100 meters long while only being 15 meters wide. With this design, I sought to perpetuate the buffer-zone quality of the location and create a new public space making use of the linear shape of the site. The design of the façade is modeled on the Sanjusangendo Temple in Kyoto, which also has a distinctively long, narrow form. The height of the above-ground portion is restricted so as not to interfere with the scenery provided by the magnificent old camphor trees that line the campus boundary. A concrete wall runs the entire length of the building on the side facing inwards towards the rest of the campus. Rather than isolating Fukutake Hall from the rest of the campus, this “Thinking Wall” is intended to open up a vacant transitional zone between the existing campus and the new building, where students can congregate and engage in lively scholarly interaction.
ARTIKEL / WEBSITE (2) http://www.architecturerevived.com/fukutake-hall-university-of-tokyo-hongo/
Tadao Ando designed the University of Tokyo’s Fukutake Hall at the Hongo Campus, completed in March 2008. The thin linear site acted as a buffer between the dense city and the college campus. Historic Japanese buildings, European Modern, and International Modern surround the site. Ando ingeniously picks the shared qualities of these elements and abstract them to a very minimal design of concrete. Clerestory windows peek over the outer wall and a horizontal line allows pedestrians on the sidewalk to glimpse in. Restaurant seating and stairs are packed into the courtyard behind, with quick availability to the multi-stories.
ARTIKEL / WEBSITE – TADAO ANDO https://www.japantimes.co.jp/life/2017/10/29/style/tadao-ando-every-single-buildingpassion-project/#.Wpl1CmZx-_t
TADAO ANDO: WHEN EVERY SINGLE BUILDING IS A PASSION PROJECT A few simple lines on paper — that’s all it was. But there was something extremely alluring about it that intrigued Tadao Ando. Then barely out of his teens, Ando might not have fully understood what he was looking at: a sketch of the chapel of Notre Dame du Haut at Ronchamp in France, by Le Corbusier, the Swiss architect who more than anybody else shaped the aesthetics of modern architecture in the 20th century. Perhaps it did not feel like a life-changing event at the time, but with hindsight, it was a turning point. It marked the beginning of Ando’s passion for architecture. It changed his life forever. As time went on, Ando became almost obsessed with Le Corbusier. He devoured a secondhand copy of his complete works. He pored over his writings. He read all he could find on the man’s life. Still not satisfied, in 1965, he embarked on a long journey, first traveling by boat, from Yokohama to the Soviet Far East, and thence across the continent on the TransSiberian railway, before finally reaching Paris, where, he hoped, he would meet the master in person. He had no idea where to find him though, so he traipsed from place to place to little avail. Only after returning home several months later did he learn that Le Corbusier had in fact died a few weeks before his arrival in France. This anecdote is revealing of Ando’s personality. It shows a passionate and curious man, a seeker given to deep introspection, but also a fighter doggedly pursuing his goals — Ando was a professional boxer before he turned to architecture. These traits allowed him develop a unique style, full of subdued vitality, and sustained him as he became one of the most successful architects of the past half century. Many of his most important constructions are in Japan and thus easy to visit — for example, Omotesando Hills in Tokyo or Benesse House in Naoshima — but much of Ando’s oeuvre can also now be appreciated in “Tadao Ando: Endeavors,” a beautiful and comprehensive show at the National Art Center, Tokyo (NACT). Ando and his identical twin brother were born in Osaka in 1941. Partly due to the exigencies of war, Ando was sent to live with his maternal grandparents while his brother, a future urban planner and developer, remained at home. This was a significant decision. Ando’s grandmother had a powerful personality and she instilled in him a strong sense of independence. A well-known story is illustrative: In his early teens, Ando had to undergo surgery to remove his tonsils. His grandmother packed his bags, but she sent him off to the hospital alone. The working-class district of Osaka in which Ando grew up was crammed with artisans, builders and carpenters, furniture makers and glassblowers — craftspeople who gave the neighborhood its daily rhythm. They worked with their hands and took enormous pride in what they did, an attitude that left a deep mark on the future architect. “Whether your field is art, business, photography or architecture,” he wrote in an email interview, “it is important to hold passion and pride in your work.”
In his early 20s, Ando began to travel widely, from the Japanese countryside to the Cote d’Ivoire and the shores of the Ganges. These journeys shaped him profoundly, and today he advises students who want to become independent architects to do the same. “Travelling forces you to think on your own,” he once wrote. He also used his time on the road to draw and, despite a complete lack of training, these early sketches, some of which can be seen at the NACT, display an arresting talent. In a recent interview Yayoi Motonashi, the curator of the exhibition, says, “He draws better than an artist.” Talent or not, to an outside observer, even a sympathetic one, the odds of Ando succeeding as an architect might have appeared somewhat remote. In a country that highly values formal training and credentials, Ando had none. Like his model, Le Corbusier, he is entirely selftrained. What is more, by 1969, when Ando established his practice, years of rapid economic growth had turned Japanese cities into a chaotic mess, wrapped into confusing, albeit often ignored, zoning laws and regulations. Then came the oil shock of 1973 and the economic crisis. Funds disappeared, construction halted. Building projects were few and far between. Thus, Ando initially had to sustain himself with small jobs as a furniture or graphic designer. In time, however, commissions started coming in, mostly for private dwellings in the Kansai area — Row House in Sumiyoshi (1976) is a good example. These were very early days, but already, the core elements of his architecture were evident: large slabs of silky concrete, stunning and clever use of natural light, perfect harmony with the building’s natural surroundings. “Everything was already there,” says Motohashi. It did not take long for Ando to get noticed. In 1978, less than a decade after establishing his studio, his work was featured in a traveling exhibition of Japanese architecture. The following year, his first one-man show was held in Budapest. Numerous awards followed in the 1980s, culminating in 1995 with the Pritzker, which is often described as the Nobel Prize of architecture. On the surface, this was remarkable. It certainly seemed fast and Ando himself would say as much. “However, it is not so unusual for the stars to be recognized fairly young,” says Jonathan Reynolds, a professor of art history and a specialist of Japanese architecture at Barnard College and Columbia University. “The exceptional manner in which Ando approached modernist aesthetics and materials, and the way in which he linked these with a perceived Japanese tradition was very appealing to many.” Consciously or not, the architect had tapped a powerful vein. Over the years, Ando’s architecture has remained surprisingly consistent. For instance, there is a clear and direct connection between Fukutake Hall (2005-08), at the University of Tokyo, the Modern Art Museum of Fort Worth (1997-2002) in Texas and Osaka’s Church of the Light (1989). The latter is a particularly successful structure that shows Ando at his best: On a tiny plot of land, working within tight budgetary constraints, he built a spare, almost austere house of worship that nevertheless sits perfectly with its surroundings. The inside is bare. There are no distracting paintings, no overtly expressive sculptures. Only light, pure and solemn. The effect is spellbinding. And utterly unforgettable.
BIJLAGEN Learning theater At the heart of Fukutake Hall is a lecture theater with a seating capacity of 180, where participants in symposia and international distance-learning seminars can engage in the creation of new ideas through mutual understanding.
Learning studio Fukutake Learning Studio is complemented by a workshop space with moving partitions accommodating up to 48 persons (or 3 x 16), where powerful new ideas can be created through hands-on learning activities aided by information technology.
Learning lab
Conference room This room provides a space for entertaining visitors and holding presentations and discussions. It can also be used as a waiting room for speakers before making their appearance in the Fukutake Learning Theater.
UT Cafe
Gakkan commons All students and faculty of the III have access to this community space for diverse activities involving learning, discovery, discussion and transmitting messages. By thus maximizing the interaction between different disciplines, new research topics will be born.
Terrace A wide open-air space extends along the whole eastern side of the building, reaching downwards via flights of steps to the lower basement, providing a venue for interactive art and media exhibits. At night, the wall can even be used as a vast screen.
BUNKA KAIKAN Tokyo
studiereis Japan 2018
KUNIO MAEKAWA
BUNKA KAIKAN Tokyo Bunka Kaikan opened in April 1961, in response to public request for a venue to enjoy opera and ballet in Tokyo, as well as to commemorate the 500th anniversary of the city, by the Tokyo Metropolitan Government.
‘’Miraculous‘’acousHcs Even today, they conHnue to offer fascinaHng opera, ballet and classical music concerts etc... by internaHonal arHsts. "Tokyo Bunka Kaikan" is known the world over for its "miraculous" acousHcs. Music palace The Main Hall seats 2,303 people and is used for opera, ballet, and large orchestras. The Recital Hall seats 649 people and houses chamber music performances and recitals. Tokyo Bunka Kaikan also has rehearsal rooms and various meeHng rooms; furthermore, there is a music library. It was designed by Mr. Kunio Maekawa, who is now deceased. Tokyo Bunka Kaikan is oTen described by the public as a leading modernisHc architecture, a "music palace."
Main Hall Performances by various domesHc and overseas groups such as opera companies, ballet groupes, and orchestras are held here. The hall is 5-stories high, and there are 2303 seats.
Recital Hall Recitals and chamber music concerts are held almost every day by domesHc and overseas musicians. There are 649 seats.
Music Library The library specializes in music, with its focus on classical music. You can read books, listen to CDs, and watch DVDs for free.
Dining & Shopping Please drop by before or aTer a performance, and when you visit the Tokyo Bunka Kaikan.
Rehearsal Room The rehearsal room can be used to pracHce a wide category of performances. It can be used by orchestras, wind orchestras, choruses, and chamber music as well as for operas and ballets.
MeeHng Room The room can be used to hold academic, art, and
cultural conferences. It can also be used for company meeHngs, trainings, and lectures.
Bron: h`p://www.t-bunka.jp/en/
Tokyo Bunka Kaikan is one of the oldest concert halls for classical music in Japan. It opened in April 1961 in response to a desire by the public for a venue to enjoy opera and ballet in Japan. The Tokyo Metropolitan Government constructed it as part of its 500th anniversary celebraHon. Since then, it's been someHmes dubbed the 'Music Palace'. However, I would like to call it a 'Ballet Palace' as well, for many major ballet concerts have been held for decades here at Tokyo Bunka Kaikan. Unfortunately, there are no concert halls in Japan as historical and magniďŹ cent as theaters
like The Palais Garnier, The Teatro alla Scala, The Bolshoi Theatre and The Mariinsky Theatre are. The only ones in which we can see tradiHonal performing arts and be proud of would probably be the Kabuki-za in Ginza or Minami-za in Kyoto. Yet considering the fact that 'Western' culture such as classical music and ballet have been imported to Japan without restricHons only aTer the Second World War, you can understand why we don't have many 'historical' concert halls in Japan. Now that we have new and modern concert halls like the New NaHonal Theatre, Tokyo, this concert hall looks a li`le bit outdated and old. But somehow I like it very much. When you watch or listen to something 'classic', state-ofthe-art, ashy concert halls don't really match the art form that well. I've watched ballet and plays at the New NaHonal Theatre, Tokyo, of course (how could I resist!) and although I liked the comfortable seats or the angled, Hered hall, I sHll prefer Tokyo Bunka Kaikan to watch ballet. Probably because I have fond memories here that I've kept for decades. When you visit one place periodically for many years you get a 'welcome home' feeling when you revisit the
place aTer someHme. The other day I visited Tokyo Bunka Kaikan. It had been 7 or 8 years since I last visited there, probably to see one of The World Ballet FesHvals which have been held every 4 years for a long Hme in Japan. The day I went, the Paris Opera Ballet performed 'Don Quixote'. As I've been a big fan of ballet for 30 plus years, the current dancers of the Paris Opera Ballet belong to the generaHon of my once-favorite dancers' children. Once there was a very beauHful, sensual but noble dancer called Dominique Khalfouni in the Ballet NaHonal de Marseille and I was a fan of her. Now her son, Mathieu Ganio is one of the étoiles (principal dancers) at the Paris Opera Ballet. Time flies. As you can see, Tokyo Bunka Kaikan is not one of the newest, state of the art concert halls. But it has its own benefits. It's comfortably old and spacious, and most of all it's located in one of the best locaHons in Tokyo; inside Ueno Park. In the lobby, there are tables set up to accommodate customers who would like to eat and drink during intermission. I must say drinking wine while standing around a tall table seems to me to be VERY western, such a good
way to enjoy ballet, one of the western cultures imported to Japan! There is also a restaurant and a cafe which open from 11 AM to 7 PM. But they can be quite crowded, so it might be best to make a reservaHon in advance. There are people who dress up to see classical concerts, or in winter everyone wears bulky coats. Don't worry, this hall includes a 'cloak' where they can keep your coat or belongings during the concert for free. Lastly, this hall is located just across the street from Jr Ueno StaHon. You can stroll inside Ueno Park before the concert. As you may know, there are a lot of cultural faciliHes such as the NaHonal Museum of Western Art, the Ueno Royal Museum, Tokyo Metropolitan Art Museum, other museums and even a zoo. There's no chance to get bored inside Ueno Park. Bron: h`ps://en.japantravel.com/tokyo/uenotokyo-bunka-kaikan/11131
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L1 Door
L1 Door
L1 Door
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1st Floor Seating 1,282 2nd Floor Seating 238 3rd Floor Seating 355 4th Floor Seating 268 5th Floor Seating 160 Total 2,303 Wheelchair seating 14
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R2 Door
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R3 Door
R3 Door
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SARUGAKU Tokyo
studiereis Japan 2018
AKISHA HIRATA
Sarugaku / Akihisa Hirata Y ear of B uilding: 2007 L ocation: D aikanyama ,T okyo P rogram: S hopping Area: 538 m2
https://www10.aeccafe.com/blogs/arch-showcase/2014/07/15/sarugaku-in-daikanyama-tokyo-by-akihisa-hirata-yoshihiko-yoshihara/
‘‘sarugaku’ is the name of a shopping and commercial space designed in T okyo by akihis a hirata. the complex is located in the daikanyama area of T okyo and features a number of commercial tenants . T he site is long and s kinny and the architects was legally forced to create multiple s maller volumes on the site ins tead of a single building. the concept behind the des ign is that each s mall complex is repres entative of a mountain in the lands cape. the common s pace in the centre and in between the buildings then becomes a valley. E ach s pace is able to overflow into this valley to create a ‘forest of illusion’ as Hirata explains .’1 ‘L engthwis e windows extend over floors , and they s eems all together s traight from a certain direction. It is also planned that windows penetrate volumes . T hereby each mountain-s haped volume is connected and people can experience mys terious time as if they walk in this fores t.’2
1 2
http://www.hao.nu/ https://www.archdaily.com/8237/sarugaku-akihisa-hirata
P lan/S ection/Axonometry:
https://www10.aeccafe.com/blogs/archshowcase/2014/07/15/sarugaku-in-daikanyama-tokyo-byakihisa-hirata-yoshihiko-yoshihara/
YOYOGI NATIONAL STADIUM Tokyo
studiereis Japan 2018
KENZO TANGE
COACH FLAGSHIP STORE Tokyo
studiereis Japan 2018
OMA
Coach store door OMA
Architects Location Partner-in-charge Project Architect team area Project year Photographs
OMA Tokyo, Japan Shohei Shigematsu Rami Abou Khalil Yolanda do Campo, Benedict Clouette with Jackie Woon Bae, Cass Nakashima, Philip Poon, David Theisz 444.75 sqm 2012 Iwan Baan
Text description provided by the architects. Founded in 1941, Coach began as a leather goods retailer, displaying their products in a single row of librarylike, wooden shelving that categorized their handbags and wallets. The brand’s repertoire has since expanded to include a full range of lifestyle merchandise including outerwear, footwear, jewelry, watches and sunwear, which are now sold in a variety of retail environments from specialty boutique to department store.
Inspired by the clarity of Coach’s original, systematic fi ling retail strategy, OMA designed a modular display unit that is flexible enough to accommodate the specific needs of each product and retail environment. The spatial possibilities of this highly functional system reinforce Coach’s mission to represent ‘logic and magic.’ For the first iteration at a kiosk within Macy’s department store at Herald Square, acrylic display units were assembled into a floor- to-ceiling high, “V” shaped wall. Products appear to float amidst maintained views to the accessories floor beyond. Coach’s ninth Japan flagship is a twostory, corner site on Omotesando, a prominent retail corridor in Tokyo. In comparison to the increasingly decorative elevations that characterize Omotesando, OMA’s design integrates display into the façade, seamlessly communicating the brand’s presence from the inside out. The display units are stacked in a herringbone pattern of vertical and horizontal orientation to facilitate a range of curation scenarios. Dimensioned to accommodate Coach’s standard merchandising elements (ex. mannequins, busts, bags), the unit measures 1800 mm x 520 mm. Frosted glass that provides shelving within the store is further articulated to the façade as louvers. Viewed from the exterior, the double-height storefront presents an uninterrupted survey of Coach’s full collection in a single view, with a dedicated frame for each product. Viewed from the interior, the display unit’s translucency creates an active
backdrop for merchandise, filtering Omotesando’s streetscape into the shopping experience. In addition to the façade, OMA designed a floating tower of illuminated units that encase the store’s central stair, seamlessly connecting the women’s first floor and men’s second level. Consolidating the display on the facade and circulation creates a condition in which the shopper is continuously surrounded by product, while simultaneously liberating floorspace. In the evenings, the circulation tower illuminates the façade as a dynamic, 24-hour window display from within.
YASUYO BUILDING Tokyo
studiereis Japan 2018
YOSHIRO TANIGUCHI
1969 – YASUYO BUILDING – NOBUMICHI AKASHI
This unusual, narrow commercial building resembling a stack of twisted bolts stands right next to the eastern entrance of Shinjuku Station and is famous for Kakiden, a longestablished restaurant which occupies the 6th to the 9th floors and has interiors designed by Yoshiro Taniguchi. Kokin Salons is on the 6th floor, Yasuyo Hall on the 7th, and there are more guestrooms with Western-style tables and chairs on the floor above. The building’s top floor is furnished in the traditional Japanese style: two of the three rooms are 12 and 10 tatami in size, while the third is of more intimate proportions. Part of the kaiseki restaurant on the basement floor is an art gallery. Architect Nobumichi Akashi described his design for this building as anchored solely in the fast pace of Tokyo and in the present moment.
Algemeen verdiepingsplan:
Vierde verdieping:
Vijfde verdieping:
21 SEIKI CHURCH OF CHRIST Tokyo
studiereis Japan 2018
TADAO ANDO
YAYOI KUSAMA MUSEUM Tokyo
studiereis Japan 2018
KUME SEKKEI
Floor-By-Floor Guide To The Yayoi Kusama Museum By Time Out Tokyo December 22,2017
Officially opened on October 1, 2017, the world's first museum dedicated entirely to bewigged contemporary artist Yayoi Kusama hosts two exhibitions annually, focusing on Kusama's entire repertoire, including (as of the current run) those legendary red polka dots, her Infinity Mirror room/installation and of course, pumpkins. The museum is located in Shinjuku ward's Bentencho, close to Waseda University and upscale Kagurazaka, but mainly within close proximity of both her studio and the sanitarium she has chosen to live in since 1977. Yayoi Kusama's fame internationally has skyrocketed this year, thanks to a series of high-profile and widely acclaimed exhibitions that have taken the world by storm. And it all culminates with this: the opening of her namesake museum back in her home country and adopted hometown, set up and run by a foundation created by the artist herself. Here's what you can expect from one of Tokyo's most anticipated new openings this year, as well as from one of the most popular artists in the world today.
Yayoi Kusama Museum from floor to floor The distinctive white building is a modern-day icon, beautiful in its simplicity and minimalism. It was designed by architect firm Kume Sekkei, and makes the most of the relative lack of space: there's only 200sqm of floor space to play with here. To make up for it, they've created a structure of stacked 'cubes', with windows at alternate angles to let natural light seep in and give each floor a sense of airiness. Getting tickets has proved to be akin to juggling underwater, and all tickets for the inaugural exhibition have sold out. Whether you managed to bag some and are curious about what you'll see, or are weeping in a corner because you didn't and now need some armchair browsing, we've got you covered. Swipe on for our definite floor guide to the Yayoi Kusama Museum. Note that photography inside the museum is forbidden except for the 4F installation room and 5F rooftop. For those looking to book tickets for the next exhibition (check the official website for details), read our blog on how to actually get
them in the first place.
When entering, you'll walk through the set of glass doors – head straight to the reception to show them your (e-)ticket and pick up some leaflets. None of the artworks in the museum are numbered or named on the walls; you'll have to stick to the paper for that. The giftshop is right next to the entrance too, with a curated selection of goodies. Be warned that they don't come cheap: when we visited, the least expensive thing on offer was a box of Yayoi Kusama-branded cookies, retailing for a cool ¥1,000, while limitededition handkerchiefs and scarves go for ¥3,000-¥30,000.
Heading up the narrow staircase at the back of the first floor (or the elevator), you'll find yourself in the first exhibition room. As of current, it's decked out with almost un-Kusama-esque black and white canvases, all screenprints of paintings originally made with black markers. The entire series, named 'Love Forever', comprises 50 works, which were made between 2004 and 2007; 27 of them are on display here. Most, if not all of them have facial features motifs – look long enough and you'll find that some leaves are actually mouths, and much more.
For upcoming exhibitions, this floor and the next one will host either paintings or a mix of sculptures and other artworks.
Yayoi Kusama may be famous for her pumpkins and polka dots, but her most recent massive retrospectives have often focused on her My Eternal Soul series, which runs to this day. Started in 2009, her output is staggering: she originally finished one canvas every day or two for years on end. So far, she's managed to rack up a whopping 530 to date, all of them unique. Here you'll find 16 of her most recent works, selected by Kusama herself. The staircase loops around the wall, and the big windows give the entire gallery a much lighter feel than the one below.
The ultimate Insta-artwork, Yayoi Kusama's very first Infinity Mirror Room (full of spotted phalli) was created way back in 1965. Talk about being ahead of the times. They've since blossomed into arguably her most famous artworks, only second to her pumpkin perhaps. Luckily, the pumpkins and mirrors are married in her latest one, specially created for the museum. Going by the mouthful of 'Pumpkins Screaming About Love Beyond Infinity', it's presented inside a raised cube, in a pitch-black room. The pumpkins are lit up in random order, and then go dark again, in a never-ending pattern. Most intriguing, you can walk all around it, and won't be able to
see the person standing on the other side – it's all one-way mirrors here. For future exhibitions, the room will be used for varying installations – we hope it'll house some sort of Infinity Mirror for a while, though.
You've made it to the top! Now all that's left is to gaze out at the Tokyo skyline from this open rooftop space... with a very glittery pumpkin as part of the view. This new 'Starry Pumpkin' is one of Kusama's latest pieces too, and is set to be there for the next exhibition. Back inside, you'll find a reading room with a number of catalogues from Yayoi Kusama exhibitions across the country and the world, as well as biographies, picture books and more in a plethora of languages. After this, all you can do is head back down by elevator and bid goodbye to Kusama-land... but not until you've taken a few selfies.
It wouldn't be the Yayoi Kusama Museum if there weren't polka dots involved somewhere. Luckily for selfie-snappers, the lift and the toilets are all decked out in polka-dotted mirrors, for all your social media cred. Other than that, photography is allowed at the fifth floor's Starry Pumpkin, and inside the Infinity Mirror Room – the lighting may be very low, but you might just be able to snap a
ST MARY’S CATHEDRAL Tokyo
studiereis Japan 2018
KENZO TANGE
NEZU MUSEUM Tokyo
studiereis Japan 2018
KENGO KUMA
NEZU MUSEUM - KENGO KUMA -TOKYO -2009
http://kkaa.co.jp/works/architecture/nezu-museum/
http://housevariety.blogspot.be/2011/04/nezu-museum-by-kengo-kuma-associates.html#.WpgLCejOWUk
BRONNEN PLANNEN:
Apollo, Nov, 2011, Vol.174(592), p.62(6)
Richard, Sophie
An evolving legacy: Tokyo's Nezu Museum, which celebrates its 70th anniversary this year, began as a private collection and home. A recent expansion has sensitively enabled the museum to remain a shrine to the quiet contemplation of Japanese art.(FEATURE: NEZU MUSEUM)
https://search-proquest-com.kuleuven.ezproxy.kuleuven.be/docview/1266216177?OpenUrlRefId=info:xri/sid:primo&accountid=17215
ARTIKEL OVER MUSEUM (ARENBERGBIB)
http://www.nezu-muse.or.jp/en/about/index.html
MUSEUMSITE
https://vimeo.com/209743848
FILMPJE KENGO KUMA AAN HET WOORD
FUJI TV Tokyo
studiereis Japan 2018
KENZO TANGE
Fuji TV Headquarters Description Construction of Fuji Television's new headquarters in the waterfront area of Tokyo's Minato district has been completed, and broadcasting from the new location commenced at the end of March 1997. The new building - designed by Kenzo Tange Associates - adds to the dynamic skyline and is a superb complement to the architecturally innovative buildings of the waterfront area. More than just a building with a unique design, the new headquarters houses a high-profile next-generation broadcasting center with an eye to the future. The building, which in many ways captures the essence of what's best about Japan, has quickly attracted attention and thus a crowd of visitors and is destined to become a Tokyo landmark.
Structure The headquarters has 25 aboveground and 2 underground floors. Just to the left of the media tower is a unique spherical observation platform. The building stands 123.45 meters high and comprises a total floor space of 142,800 square meters. Construction began in May 1993 and was completed in June 1996. An important consideration when designing this kind of building is ensuring adequate space for people to gather and exchange ideas. The headquarters' corridors provide not only convenient walkways but valuable space for casual talk and impromptu discussion. The building's design emphasizes space and openness, which are important concepts to the image that Fuji Television wants to project. Engineers used the "Mast Column"construction method, which features four steel-frame pillars grouped together, symbolic of the consolidation of our group companies, each supporting the other.
Spherical observation platform Now open to the public, the spherical observation platform is certain to become a popular spot from which visitors can view the city. To the west are unobstructed views of such landmarks as Tennouzu-Isle, Tokyo Tower and St. Luke Garden as well as a glorious view of Mt. Fuji at dusk. The water provides a relaxing backdrop, and the night view of Tokyo is spectacular. Raising the observation platform into position was a major task for the crew; besides weighing 1,350 tons, the platform's center of gravity is not at its core. Two or three options were considered, but in the end it was decided that the platform would be constructed on the rooftop garden of the seventh floor, where it was balanced horizontally on and supported by three beams, and then raised by hydraulic jacks. On the day the platform was raised around 1,300 people, including Hisashi Hieda, president of Fuji Television, and Kenzo Tange were in attendance. The observation platform's external surface is salt air damage resistant titanium that features an appealing reflective finish with a crisp color that is pleasant to the eye. Aluminum curtain wall was used for the outside walls of the building to project a transparent image in line with the idea of a broadcasting center open to new ideas and the public.
Acoustic design A great deal of time and energy went into creating the broadcasting studios, which were designed for state-of-the-art functions. One of the challenges faced along the way was that of acoustics. In this new multimedia and multichannel era, high-definition television is becoming the norm, and viewers have become more quality-conscious as well as more astute in recognizing quality sound. For this reason, such facilities as tilted cycloramas, the walls used by studios for backdrops, were introduced to deliver the best sound available. The studios were designed to shut out the noise of trains, cars, escalators, and even radio waves from passing ships. Glass wool insulation was used for the studio floor as well as the walls and ceiling to absorb obtrusive sounds. With a floor space of 1,000 square meters, the class V4 studios at the new headquarters are Japan's largest. Moreover, studios and sound rooms are being adjoined and there are plans for 150 more rooms. People place great emphasis on sound quality, and there are many areas of sound improvement that have yet to be explored.
NATIONAL ART CENTER Tokyo
studiereis Japan 2018
KISHO KUROKAWA
The National Art Center, Tokyo is located in the Roppongi district at the center of Tokyo. Roppongi is a downtown area known for its numerous high-scale restaurants, boutiques, foreign offices in addition to being home to many ‘creators’. The building is made up of seven enormous column-less display rooms, each 2000m², a library, an auditorium, a restaurant, a cafe and a museum shop. The floor area of the National Art Center, Tokyo totals 45,000m², making it Japan’s largest museum. The National Art Center, Tokyo will not be a space for archiving works of art, but is a space for exhibiting public open exhibits and travelling exhibits. The largest exhibit in Japan, the Nitten Exhibition, supported by the Nitten Japan Fine Arts Group, displays a collection of over 12,000 works annually, taking up an area of 10,000m², or more than 5 display ‘blocks.’ The jurying process for these types of exhibitions will begin in the basement, where works will be brought in one by one at the loading area and only the pieces selected will be brought by service elevator to the display blocks. Medium and
National Art Center – Kisho Kurokawa (2006)
small sized public exhibits will most often be held in one ‘block’ and will be judged, separated, held and displayed as they are unloaded from trucks in the basement in a functional rhythm. One display ‘block’ can, moreover, be divided by partitions creating smaller spaces. This being the first super functional facility of its kind, it would be fair to call it a gigantic display machine. Designed to rival the mechanical display space is the atrium facade, an enormous transparent undulation. As the trees surrounding the museum grow, they will enclose the atrium in a forested public space. Also in the atrium space are two inverted cones, the upper portion of both featuring the restaurant and cafe. The atrium connects with the Roppongi downtown as one part of the street, perhaps to be an element of Roppongi’s famous nightlife .
N HOUSE Tokyo
studiereis Japan 2018
SOU FUJIMOTO
21_21 DESIGN SIGHT Tokyo
studiereis Japan 2018
TADAO ANDO
VERTICAL GARDEN HOUSE Tokyo
studiereis Japan 2018
RUYE NISHIZAWA
SUNNY HILLS STORE Tokyo
studiereis Japan 2018
KENGO KUMA
SHIBAURA OFFICE BUILDING Tokyo
studiereis Japan 2018
KAZUYO SEJIMA
OKURAYAMA APPARTMENTS TOKYO
studiereis Japan 2018
SANAA
OKURAYAMA
APARTMENTS
Architecten: SANAA Jaar: 2008 > > > > > >
9 woningen van elk ongeveer 50m2. Binnen en buiten lopen continu over in elkaar. Rechthoekige site waar de leegte werd uitgesneden. Elke woning is op een andere manier opgebouwd. Nog maar twee als woningen in gebruik, de rest als kantoren. “Internally, the curved walls give each unit a unique profile and private views. The irregular shapes work because the apartments aren’t subdivided into smaller rooms, but to make furnishing them easier Sejima gave each room two straight walls. For Naoko Kawachi, a resident of the building, the nonlinearity is a space-planning advantage. “Put ting a table or placing shelves against the curved wall creates angles in the room that are a natural place for having dinner or reading books,” she says, before offering the ultimate endorsement for Sejima’s design. “The curves in the glass make the boundary between the garden and the room ambiguous, so you experience the outside and indoors closely together.“
Gelijkvloers
1ste verdieping
2de verdieping
KAIT WORKSHOP Tokyo
studiereis Japan 2018
JUNYA ISHIGAMI
ALSO SOUP STOCK Tokyo
studiereis Japan 2018
YUKO NAGAYAME
ALSO SOUP STOCK
‘I feel the flow of this building welcomes in both locals, and visitors, working in harmony within this charming neighbourhood.’ – Yuko Nagayama Locatie: Jiyugaoka, Tokyo, Japan Architect: Yuko Nagayama Programma: Soeprestaurant Bouwjaar: 2016
Also soup stock, een specialiteiten soeprestaurant, is gelegen in een buurt vol boetiekjes, groene plekjes, kleine cafés en designwinkels. De architect, Yuko Nagayama, wilde de levendigheid van de straat doortrekken in het hoekpand. De organische circulatie in het restaurant is zichtbaar van op straat door de volledig glazen gevel. De westelijke en zuidelijke gevels zijn beiden opgetrokken in glas en stalen raamkaders. Ze promoten licht en een duidelijke inkijk op de activiteit in het restaurant, de eetplekken en het dakterras. De planten die ondersteboven hangen van het plafond weerspiegelen de groene plekken van de buurt en zorgen voor kleur in het interieur. In het restaurant is er een dubbelhoge wand en een vide, waardoor het terras op de derde verdieping zichtbaar is van de tweede verdieping. Door de hoge plafonds hebben de ruimtes een lichte en verluchte sfeer. Op het gelijkvloers zijn er grote schuifdeuren die openen naar de hoek van de straat waardoor geuren naar buiten ontsnappen. Samen met een reeks bankjes die op de stoep staan zorgt dit voor een optimaal contact met buiten.
DANGOZAKA HOUSE Tokyo
studiereis Japan 2018
KAZUYO SEJIMA
SUMIDA HOKUSAI MUSEUM Tokyo
studiereis Japan 2018
KAZUYO SEJIMA
t Look at Kazuyo Sejima's Sumida Hokusai Museum
- 5 January, 2017 | by AD Editorial Team
s photoset, Vincent Hecht takes his lens into the recently completed Sumida Ho
um, designed by pritzker prize winner Kazuyo Sejima, one half of the accla
national firm SANAA. Located in the Tokyo neighborhood of Sumida, the 4-story, an
ture will house a collection of over 1800 works by world-renowned ukiyo-e wood
er Katsushika Hokusai, who lived in Sumida over 200 years ago.
museum will feature space for a permanent exhibit examining the relationship bet
rtist and the region, as well as temporary exhibition spaces, seminar and lecture r
workshop areas to provide more in-depth studies into the artist’s work.
rp Speed
act ondon fashion designer gained renown working for beloved wagamama brands Guc , but he's sure that his own label is recession-ready, attracting both men and women
c fits and color palettes that endure through the seasons-to the tune of $73 million in ear. [...] he's so confident in repeat customers that he just opened an 8,600-squar hip in Omotesando, the Tokyo district that recently ranked as the capital of Japan's h
mption.
nstoppable Zaha Hadid swoops through a Tokyo flagship for Neil Barrett
yesterday, it seems, Japan was awash in wagamama, young professional women heir parents and flying high on disposable income. The mood has now turned dark d's most sophisticated consumer society, as shoppers prepare for another Lost Decad
heir backs on ostentatious luxury. But the sea change doesn't faze Neil Barrett.
ondon fashion designer gained renown working for beloved wagamama brands Guc , but he's sure that his own label is recession-ready, attracting both men and women c fits and color palettes that endure through the seasons-to the tune of $73 million in
ear. In fact, he's so confident in repeat customers that he just opened an 8,600-squar hip in Omotesando, the Tokyo district that recently ranked as the capital of Japan's h
mption.
Hadid designed the interior of the two-story spec building, which Barrett chose par
oximity to an 11-year-old Comme des Garรงons boutique by Future Systems. "I fin shop interiors age quite quickly. A gallery environment is better suited to longevity
ard retail settings," he says.
tt first learned of Hadid's work while studying fashion at London's Central Saint M
ge of Art and Design. And his idol didn't fail to impress. When he first alighted at d Architects, he caught the firm's longtime senior partner, Patrik Schumacher, wearin tt. By lunchtime, Hadid had decided on a scheme: mounting a "sculpture furn lation of museum caliber. "I design in the same instinctive way," Barrett says. "If I
than five minutes on a design, I know it's wrong."
main event is Hadid's freestanding installation. "Applying Rhino 4.0 to our experim Corian allowed us to explore the complex surfaces," she says. "With Neil Barrett, we nt with a strong willingness to take risks. That's a vital characteristic for extraord cts to become real." Architect Elke Presser adds, "Like Neil, we were playing wit meters of folding, of fixing points." The results unfurl like loose pleats-as shelvin
sories.
nstruct the installation, Hadid bolted a pair of large torqued planes of thermofo Corian to the center of the floor on the ground level, then attached smaller planes s appear to unfurl from the top. Smaller Corian built-ins, a bench tucked under the
tools in the corner of each fitting room, echo the forms dominating the sales floor.
trategy of minimal intervention, with a focus on sculptural pieces, can translate ea ety of other settings. Similar installations will appear in stores in Milan and Lond And starting this year in Seoul, South Korea, a Hadid-designed modular Neil Barrett
op is rolling out to department stores worldwide.
ing things to extremes, like Zaha does, but still having desirability and usability is the rable position in the design field," Barrett says. Take his fall 2009 men's collecti res a coat with an extra lapel, basically an integral scarf, and a jacket with a polo
ed inside.
right Reed Business Information, a division of Reed Elsevier, Inc. Apr 2009
artikel: Interior Design; Boca Raton Vol. 80, Iss 4, (Apr 2009): 186. Author: Sokol D
NA HOUSE Tokyo
studiereis Japan 2018
SOU FUJIMOTO
Quico, Kazunari Sakamoto, Tokyo In the 1960s, architect Kazuo Shinohara made a famous comment in Shinkenchiku magazine: “Residence is art. … Residence should be outside of what is believed as architecture, it should rather be considered as a form of art, like paintings and sculptures.” A bold statement considering that unlike paintings or sculptures, function is usually of the priority of architecture, and that most buildings cannot be moved.
https://www.behance.net/gallery/11157413/Q-U-I-C-O https://www.google.be/search?q=kazunari+sakamoto+quico&rlz=1C1GCEA_enBE762BE762&oq=k&a qs=chrome.0.69i59j69i60j69i57j69i61j69i60j69i59.1145j0j8&sourceid=chrome&ie=UTF-8 https://www.japantimes.co.jp/life/2015/05/30/style/home-japans-postwararchitecture/#.WpmguujOU2w
SMALL HOUSE Tokyo
studiereis Japan 2018
KAZUYO SEJIMA
NEIL BARRET STORE Tokyo Ginza
studiereis Japan 2018
ZAHA HADID
nd floor
ALPHA MATRIX STORE Tokyo Ginza
studiereis Japan 2018
AAE
GHS STORE Tokyo Ginza
studiereis Japan 2018
AAT PLUS
NAGAKIN CAPSULE TOWER Tokyo Ginza
studiereis Japan 2018
KISHO KUROKAWA
Nakagin Capsule Tower / Kisho Kurokawa Year of Building: 1 970-1 972 Location: Ginza, Tokyo Features: S teel, Reinforced concrete S tructure: 1 Basement Floor + 1 1 /1 3 Floors Construction Time 1 module: 3 hours
‘Built in the Ginza area of Tokyo, a total of 1 40 capsules are stacked and rotated at varying angles around a central core, standing 1 4-stories high. The technology developed by Kurokawa allowed each unit to be installed to the concrete core with only 4 hightension bolts, which keeps the units replaceable. Each capsule measures 4 x 2.5 meters, permitting enough room for one person to live comfortably. The interior space of each module can be manipulated by connecting the capsule to other capsules.’1 ‘The module was created with the intention of housing traveling businessmen that worked in central Tokyo during the week. It is a prototype for architecture of sustainability and recyclability, as each module can be plugged in to the central core and replaced or exchanged when necessary.’1 ‘The Nakagin Capsule Tower takes on the challenge of the issue of whether mass production can express a diverse new quality. The Tower also strives to establish a space for the individual as a criticism to the J apan that modernized.’2 ‘Although these units were intended to be replaced, they have not been changed in almost 40 years, so a visible deterioration can be seen. In addition to a not very welcoming fauna lodging in the cracks of the capsules, there are leaks in the water and sewage facilities and pollution from asbestos-containing parts. Not to mention that the area of the capsules is minuscule compared the neighbouring buildings. For all these reasons this building has been scheduled for demolition.’3 Note: In J apan a building has to exist 50 years before it can be preserved.
https://www.archdaily.com/1 1 0745/ad-classics-nakagin-capsule-tower-kisho-kurokawa http://archeyes.com/nakagin-capsule-tower-kisho-kurokawa/ 3 http://architecturalmoleskine.blogspot.be/201 1 /1 0/kurokawa-nakagin-capsule-tower.html 1 2
Interior pictures:
2
2
Plan/S ection/Axonometry:
http://architecturalmoleskine.blogspot.be/2011/10/kurokawa-nakagin-capsule-tower.html
http://architecturalmoleskine.blogspot.be/2011/10/kurokawa-nakagin-capsule-tower.html
https://en.wikiarquitectura.com/building/nagakin-capsule-tower/
YAMAHA GINZA STORE Tokyo Ginza
studiereis Japan 2018
NIKKEN SEKEI
MAISON HERMES STORE Tokyo Ginza
studiereis Japan 2018
RENZO PIANO WORKSHOP
SHISEIDO GINZA BUILDING Tokyo Ginza
studiereis Japan 2018
TAKENAKA CORPORATION
Shiseido Ginza Building
Architect: Takenaka Corporation Locatie: 7-5-5 Ginza, Chuo-ku, Tokyo Eigenaar: Shiseido co., ltd. Shiseido Gina Building is het nieuwe hoofdbureau van het bedrijf Shiseido dat onder andere schoonheidsproducten verkoopt. Het gebouw werd in 2013 geopend op de site van het voormalige hoofdkantoor. Het heeft 10 verdiepingen bovengronds en 2 verdiepingen ondergronds. Het gebouw huisvest voornamelijk Shiseido’s kantoren, maar ook een multifunctionele hal voor commerciële doeleinden. Aan de buitenkant van het hoofdkantoor is de ‘hanatsubaki’, het symbool van Shiseido, met aluminium vormgegeven. Dit transparante patroon bedekt de volledige gevel en staat hierbij symbool voor moderniteit, elegantie en een goede toekomst. Om dit patroon op juiste en economische manier vorm te kunnen geven werden er verschillende analyses uitgevoerd die uiteindelijk leidden tot een gesofisticeerd resultaat. Daarnaast is het hoofdgebouw ook heel klimaatvriendelijk ontworpen. Zo werden er serres op het dak geplaatst en werden er ecologische materialen en inrichting gebruikt. Takenaka Corporation ontwierp een gebouw dat dus op een economische manier de visie op de toekomst van Shiseido weergeeft.
SHIZUOKA PRESS AND BROADCASTING CENTER Tokyo Ginza
studiereis Japan 2018
KENZO TANGE
Shizuoka Press and Broadcasting Center
Architect: Kenzo Tange Locatie: Japan, Tokyo, Chuo, Ginza, 8 丁目 3-7 Oppervlakte: 1500.0 m² Jaartal: 1967
“Architects today tend to depreciate themselves, to regard themselves as no more than just ordinary citizens without the power to reform the future.” - Kenzo Tange Een van de meest iconische projecten van Kenzo Tange is het Shizuoka Press and Broadcasting Center. Tange’s Metabolische ideeën van organisch geïnspireerde structurele groei werden voor het eerst gerealiseerd in dit project. Zijn relatief kleine vorm suggereert misschien anders, maar het Shizuoka Press and Broadcasting Center is zeer betekenisvol in de architectuur en stedenbouwkunde die na de tweede wereldoorlog in Japan ontstond. De kleine, 189m², driehoekige site inspireerde Tange om een verticale structuur te ontwerpen, bestaande uit een hoofdstructuur die verder zou kunnen uitgroeien tot een stedelijke megastructuur. Aan de hoofdstructuur zou men dan verschillende geprefabriceerde capsules kunnen ‘inpluggen’. De hoofdstructuur is een cilinder met diameter van 7.7 meter en een hoogte van 57 meter. Binnenin zijn trappen, 2 liften, een keuken en sanitair gevestigd. De structuur biedt toegang tot de verschillende modulaire kantooreenheden. Deze eenheden zijn stalen boxen van 3.5 meter ingevuld met cantilever glas. In totaal zijn er 13 individuele kantoren die asymmetrisch samengevoegd zijn tot 5 groepen van 2 of 3 modules. In de holtes tussen de clusters zijn balkons gerealiseerd. Hier zouden dan later nog extra eenheden ‘ingeplugd’ kunnen worden, dit idee werd echter niet uitgevoerd. Het oorspronkelijke plan om een megastructuur te creëren werd dus niet gerealiseerd. De utopische idealen van het Metabolisme ontstonden na WO II toen de steden opnieuw begonnen te groeien. Tange, die eerder een mentor van de groep was dan een officieel lid, presenteerde de
concepten van de beweging in het CIAM-congres van 1959. Het manifest van de groep werd gereleaset in 1960 en opende met het volgende statement:
“Metabolism is the name of the group, in which each member proposes further designs of our coming world through his concrete designs and illustrations. We regard human society as a vital process - a continuous development from atom to nebula. The reason why we use such a biological word, metabolism, is that we believe design and technology should be a denotation of human society. We are not going to accept metabolism as a natural process, but try to encourage active metabolic development of our society through our proposals.â€? Hoewel de meeste ideeĂŤn van de groep enkel theoretisch waren, oefenden ze toch een grote invloed uit op grote groep architecten uit de 20e eeuw.
1 Megastructuur, het oorspronkelijke plan van Kenzo Tange
2 Snede en grondplannen
3 Concepttekening
MIKIMOTO GINZA 2 STORE Tokyo Ginza
studiereis Japan 2018
TOYO ITO
Mikimoto Ginza 2 Store Some of the most renowned works by Toyo Ito are his commercial buildings in Tokyo, where he carried out some experimental concepts in design and construction methods. In the areas like Ginza, a large urban density usually restricts the forms or footprint of a building. Here Toyo Ito strives to create something interesting, within the constraints of the site, by creating an architecture of surface rather than structural. Location Ginza, literally means "place of silver" and has been a commercial district of Tokyo from the Edo period in the early 17th century. Today, Ginza is home to numerous boutiques and fashion stores of the world's most exclusive brands and has a remarkable density of buildings designed by famous architects. Here you can find the Maison Hermes by Renzo Piano the Dior store Kumiko Inui and De Beers store, by Jun Mitsui. In the corner of Marnie St. and Namiki St. the famous Mikimoto Pearls company is installed since 1893 , and after 110 years a new building designed by Toyo Ito was constructed on the same site. It is called Mikimoto Ginza, and this slender building, 48 m high and built on an area of 274 m2, was completed in 2005. Concept The building of apparent simplicity comprises a prism perforated by a series of irregular windows, apparently arranged at random. However, since some of these are placed in the corners (where typically would be a column) and as we look closely at the fine finish of the facade, it is evident that a much a more sophisticated construction system was used. The concept is based on a building that is held by its facade, leaving the internal spaces column-free.
The shape of the windows is part of an elaborate geometry of triangles and squares, which resemble a fractal composition, derived from a quasi- crystalline geometry.
Construction system Because of the design, a strong structure was required that would allow to place openings freely, but at the same time that would not easily expand when heated. For this reason, Ito opted for a mixed system of metal plates and concrete. Steel plates of 1.2 cm were prepared and fixed by a web of studs in order to maintain a uniform thickness of 20 cm, and then concrete was poured between them.
The plates were then transported and assembled on site. It took a total of 330 pieces to build the facade.
Finally, they proceeded to weld the plates and paint them. This process was done by hand and required up to 6 different stages of polishing and painting to ensure a smooth finish that the customer required.
When asked about this building and the importance of modern technology, Ito said: "Actually, the sense and meaning of technology in my works is changing. In the past the technology was highly visible. It was presented in a visible way. Now it is different. Technology is now something I hide, you have to look for it, you don’t see it, you can't see it. It is an element to be used and exploited in an indirect way. Before, I used to envision an architecture that nobody could touch, impossible to grasp and hold. Now, again, it is different. Now, I want to do an architecture that you can touch and feel. Now I am working on the physical reality, on the object, on the real. This interests me now."
DEAR GINZA STORE Tokyo Ginza
studiereis Japan 2018
AMANO DESIGN OFFICE
Design Concept The client is a developer company. It purchased a long-sought after lot in Ginza, and planned to build a commercial /office building. The building site is on the Ginza 1-chome Gaslight Street, which is one street behind the Ginza Central Street. It is on the back side of the Mizuho Bank and Pola Ginza buildings on the Central Street. The atmosphere is quite different from the gorgeous Central Street, and the site is on an empty street which is often seen behind the street with large-sized buildings. Attracting as many people as possible into such a street is our task. The client desired the building to be a gorgeous existence. In addition, the designer desired to provide a “slight feeling of strangeness” to the passersby that would attract them to the building. Considering the views from the inside, simply obtaining openness with glass seems futile, since the outside scenery is hopeless. Therefore, a double skin structure is employed, which consists of glass curtain walls and graphically treated aluminum punched metal. The façade becomes a part of the interior decoration and obviates the need for window treatments such as blinds or curtains. By using a double skin, reduction of the air conditioning load and the glass cleaning burden was also intended. The irregular façade design was determined by computing a design to avoid arbitrary forms and to approximate forms in nature. We thought that a well-made incidental form would likely be a less-disagreeable design.
Dear Ginza Store – Amano Design Office (2013)
© amano design office all rights reserved
In the neighborhood of mostly modernist architecture with horizontal and vertical or geometric shapes, the building has a proper feeling of strangeness, attracts special attention, and has an appeal as a commercial building. The abstract flower graphic is used to balance the impression of the façade, i.e., to free it up from becoming too edgy. By computing the design, individual aluminum punched panels are irregular with different angles and shapes, yet all fit into a standard size, resulting in excellent material yield. To avoid being clunky, an extremely lightweight structure is required. Therefore, much caution was taken in its details. The colored LED upper lighting, which is installed inside the double skin, entertains the passersby with different programs depending on the season. Expected tenants included a beauty salon and esthetic salon, and the expectations are materializing.
LOUIS VUITTON STORE Tokyo Ginza
studiereis Japan 2018
JUN AOKI
OPAQUE GINZA STORE Tokyo Ginza
studiereis Japan 2018
SANAA
DIOR STORE Tokyo Omotesando
studiereis Japan 2018
SANAA
DIOR STORE French fashion house Dior's flagship store in Tokyo by Japanese studio SANAA has had its interior overhauled by American architect Peter Marino. Designed by Pritzker Prize laureates SANAA in 2004, the Dior store is located on Tokyo's Omotesando avenue – also home to Herzog & de Meuron's 2003 Prada flagship, Toyo Ito's 2004 Tod's store and MVRDV's 2007 Gyre building among other fashion stores by notable architects. The building is surrounded by transparent glass walls set in front of a translucent wavy acrylic screen, sandwiched between horizontal white bands at unequal heights. At night, the stacked layers of the 30-metre-tall design glow with different intensities. SANAA founders Kazuyo Sejima and Ryue Nishizawa, who are also responsible for the Louvre Lens gallery in France, were only tasked with creating the structural skin so Dior could chose its own interior designers. New York-based Peter Marino – whose luxury fashion client list includes Louis Vuitton, Armani and Chanel – hasn't touched the facades but redesigned the internal spaces as a "modernised" version of Dior's worldwide flagship on Avenue Montaigne in Paris. "The boutique embodies a lofty, contemporary atmosphere, while still maintaining the feminine and glamorous aesthetic that reflects the traditional elegance of the house of Dior," said a statement from the brand. The ground floor, which showcases handbags, jewellery and watches, features a video art wall that plays films of flowers. The ready-to-wear line is found on the open-plan first storey, which features a pale parquet and grey carpet floor. Womenswear and perfumes are located on the second floor, beneath an entirely mirrored ceiling that makes the space appear twice as tall. Shoes are presented on shelves that project from textured walls and reflective plinths dotted around the floor, while a curved upholstered seat offers shoppers a place to sit while trying on the footwear. Fragrances have a dedicated space designed beside the lift, surrounded by floor-to-ceiling glass panels patterned with large floral prints by artist Tim Hailand. Other commissions for the store include a metallic seat by designer Johnny Swing and a centrepiece bench by sculptor Terence Main that encircles a bouquet of flowers. The Omotesando flagship also contains a Dior Homme boutique, which was redesigned last year and showcases the menswear line, accessories and watches.
Bron: https://www.dezeen.com/2014/11/16/sanaa-dior-omotesando-store-peter-marino-interior-refit/
QUICO Tokyo Omotesando
studiereis Japan 2018
KAZUNARI SAKAMOTO
THE MASS Tokyo Omotesando
studiereis Japan 2018
NOBUO ARAKI
The Mass An Unassuming Independent Gallery Space in Harajuku, Tokyo designed by Japanese architect Nobuo Araki
The Mass, Harajuku, Tokyo. Photo: Ben Hosking It’s easy to miss the The Mass‘ unassuming concrete box-like structures, located just behind Harajuku’s bustling Cat Street and Omotesando Street. A private gallery and exhibition space, it is completely unlike the rest. a The minimalist design was created by Tokyo-based architect Nobuo Araki / The Archetype, merging concrete with bold steel doors and detailed key brass with wood features. Each of the gallery’s entry points showcase protruding overhead eaves and entrance steps, a key design feature, providing protection from seasonal weather damage. a With a visual identity created by revered Japanese artist Fumio Tachibana, whose own sculptural artworks can be found positioned in various locations around the exterior it is a subtle touch to the restrained yet creative space. a Sans curator or gallery director, The Mass is private and independent in the way it holds its exhibitions, championing art and culture-based exhibitions, showcasing work from photographer Henry Leutwyler’s Document to Hiroshi Fujiwara’s 71-84 punk archive exhibition on display.
The Mass's brass detailing complements the whole concrete structure. The visual identity was created by artist Fumio Tachibana. Photo: Ben Hosking
Located in the backstreets of Tokyo's Harajuku, the concrete box-like gallery spaces are a hidden gem for independent art and culture-based exhibitions. Photo: Ben Hosking The Mass 5-11-1 Jingumae Shibuya-ku, Tokyo
Architect Nobuo Araki's overarching eaves for protection from sun or rain fall are a key design feature. Photo: Ben Hosking
The Mass is minimalistic with grey and bronze tones, here in the Gallery 2 doors' square handle. Photo: Ben Hosking
The Mass' unassuming concrete exterior and steel doors with bronze detailed features. Photo: Ben Hosking
Inside, the white walls provide a blank canvas for exhibitions at The Mass. Photo: Ben Hosking The gallery's entrance, a dominant cedar wood door with overhead eaves, complementing the concrete structure. Photo: Ben Hosking
The concrete box-like structure. The Mass, Harajuku, tokyo. Fumio Tachibana's sculptural artworks feature around the exterior of the gallery. Photo: Ben Hosking Architectural photographer Ben Hosking captures the Tokyo gallery space, The Mass. Designed by Nobuo Araki (The Archetype) it is an unassumingly pivotal cultural space in the heart of Harajuku in Tokyo.
GYRE SHOPPING CENTER Tokyo Omotesando
studiereis Japan 2018
MVRDV
Small house, SANAA, 2000 In het hart van Tokio op een smal perceel van 60 m2 staat een klein huis, gebouwd in 2000 door SANAA voor een koppel met kind. Het programma omvatte een terras, een grote eetkamer, slaapkamers en een gastenkamer. Het huis moest ook flexibel zijn naar de toekomst toe. De oplossing was om elk verdiep een specifiek programmaonderdeel toe te kennen. De dimensies van elke vloer werden bepaald door de specifieke functie op dat verdiep. De gevel verbindt dan de perimeters van elk verdiep. Sejima (architect bij SANAA) creëerde heel wat relaties met de buitenwereld: een solarium op de hemel gericht boven, toegang tot de tuin beneden, relatie tot de naburige kersenbomen. Door het zwaartepunt van elk verdiep aan te passen aan de buitenomgeving en te spelen met transparante en opake geveldelen krijgt elk verdiep/ruimte een ander karakter. Centraal is er dan een open trap die elk verdiep verbindt en de ruimtes verder onderverdeeld. Gyre Shopping Center, MVRDV, 2007
Dit is een nieuw winkelcentrum, gelegen aan het kruispunt van twee winkelstraten en is ontworpen door het Nederlandse bureau MVDRV. Het gebouw werd gegenereerd door vijf identieke vloeren te roteren rond een verticale as en deze dan bij te trimmen, rekening houdend met de randen van het perceel. Hierdoor ontstaan er vele terrassen en deze zijn verbonden met trappen en liften. Zo zijn er twee ‘verticale terrascirculaties’: één die vertrekt van de ene winkelstraat en één die vertrekt van de andere straat. Deze twee circulatiepaden worden op elk verdiep verbonden doorheen het gebouw; dus je moet door een winkel of restaurant gaan om van de ene circulatie naar de andere te gaan.
RAGTAG STORE Tokyo Omotesando
studiereis Japan 2018
KAZUYO SEJIMA
TODD’S STORE Tokyo Omotesando
studiereis Japan 2018
TOYO ITO
TOD’S STORE – TOYO ITO ARTIKEL / WEBSITE https://en.wikiarquitectura.com/building/tods-omotesando-buiding/
INTRODUCTION In the 90s almost every luxury stores were in search of new ways to promote their products. Billboards, television commercials and magazine ads did not attract the number of target audience and how to display their products was a common theme to all of them. Over time they realized something had known all along, “the product packaging is sometimes as important as the product itself.” And when the product is trying to promote its own brand, then the brand packing should be as attractive as their products. Thus appeared the notion of “luxutecture” exterior architectural design in order to promote a brand. Gucci, Prada, Burberry, and others embarked on a mission to make sure that the outside of their shops look as well as the inside and the products they sell. When Tod maca Omotesando store opened its had already been built several prominent buildings responding to the concept of “luxury building”, but the new building, the architect Toyo Ito, created great expectations for its innovative design.
LOCATION Tod’s building, is located in Yoyogi 01/05/15, Omotesando, the famous tree-lined avenue and the most prestigious shopping street Tokyo in the Aoyama district, Japan.
CONCEPT The building is surrounded by a skin of interlocking concrete supports and glass, mimicking the trees lining the street. The organic effect outside of the building is particularly impressive in the cooler months, when the bare branches of the elms near reflected in the building. The facade design mimics the natural growth patterns of the trees nearby, and as luck would have on the sidewalk near the door has several trees whose branches run counter to most of the super-structure of the building, creating a mirror image of the nature of the architecture created by man. The branching design is based on the Serpentine Gallery in London.
NEW CONCEPT OF SURFACE
Throughout the Omotesando area were built many stores for luxury brands. By choosing concrete as building material Toyo Ito makes a bold proposal, the use of a substantial material and strong, absent in the “glass architecture” of the adjacent buildings. “… This concrete structure, however, is not used just as in conventional architecture to express the volume or the massiveness of the walls. Rather than being simply a pattern or structure in this building acquires a new dimension in relation to the notion of surface. The various studies began with the question: “How can we escape the conventional notion of the structure of a wall?”. The architectural team was looking for a way to avoid openings in a volume transparent opaque. Instead of differentiating transparency opacity, is looking for a new method that defined yet, simultaneously, the join, trying to relate all lines (columns), surfaces (walls), and openings in an innovative. Studies suddenly moved in a different direction after the formulation of the question: “Should not it be possible to create a surface like structure that directly expresses the flow of force, if formed as a structural diagram drawn as a pattern thick lines on a flat surface? ” After going through this process, conceived the idea of using an integrated structure by overlapping silhouettes of trees, in a sense, suddenly. Our address is created with a certain emotion when, after several investigations, we find that through tree form could achieve several conditions in an innovative way that is very different from the conventional geometry. Trees are known for organisms themselves, and therefore, its shape has an inherent structural rationality. The pattern of overlapping tree silhouettes also generates rational force flows. Adapted branched tree diagram, as it moves up the building, becoming thinner and numerous branches, with a higher proportion of openings. Therefore, the building interior spaces unfolds showing slightly different atmospheres in relation to the various intended uses. Rejecting the obvious differences between walls and openings, lines and planes, two and three dimensions, transparency and opacity, this building is characterized by a distinctive type of abstraction. Tree silhouette creates a new image with a constant voltage generated by the symbolic realization of the building and its abstract nature. For this project, intended to create a new building for its architectural express both the living presence of a fashion brand and its strength in the urban landscape endure the test of time… “(Toyo Ito)
SPACES AND MATERIALS
The slender building as the design architect for the firm Tod could showcase their products on the famous Tokyo Omotesando is L-shaped and is used for offices and retail store of the Italian firm. On the top floor, with a garden terrace, reserved a space for meetings and other events. The seven-storey building at the Toyo Ito continues with the exploration of their ideas surface. Inside, hidden opaque glass rear view so buyers are attracted to the front of the store in which play an important role in the animation of the construction. At night and internal lighting are best organic forms of its design.
INTERIOR Light enters the building through the transparent glass that fills the spaces between the concrete supports on the front facade on the north side. The glass is opaque to the south, facing rows of low private homes that provide extra daylight in the building. The building has 270 openings, 200 of which are only 70 combined with glass and aluminum. The concrete supports also serve as space dividers inside the building in which natural materials, stone, wood and leather, reflect the quality of the products displayed.
EXTERIOR The depth of the concrete structure offers a neutral green tone, the color effect is the result of reflection of colored glass. Moreover, since the glass has no frame, creates a sense of bewilderment, as a whole, the visual appearance resembles a pattern drawn on a plane. The rear entrance to the building is shaped like a “house of tales�, contrasting with a door located on the right side, rectangular frameless steel sheet and firmly fixed in the same plane as the concrete wall.
STRUCTURE
The innovative structure created by architect with concrete walls and glass shaped tree branches causes are structural and surround the building six sides, creating a spectacular visual effect and allowing a wide glass entrance. The power architectural nonstructural curtain walls in modern architecture led to the creation of the “free facade”. With new construction technologies for concrete and glass, Ito has created a new freedom in a structural wall. In this respect the architect says: “Omotesando Tod… The building is an ambitious project that incorporates cutting-edge concepts and techniques in contemporary architecture. With this project I strive to transcend architectural modernism that characterized the twentieth century… ” Due to its narrow L-shaped façade was designed branched structure that unifies the volume. This outer surface serves as both a graphic pattern and structural system. It is built with reinforced concrete 30cm thick and embedded therein frameless glasses. The resulting surface supports the floor slabs that extend between 10 to 15 meters without any internal column.
FACADE DESCRIPTION The facade with interlocking concrete supports reinterprets the silhouettes of the elm trees lining the street. The division of plants is reflected in the transparent structure and not by the route of the facade has been designed following the pattern generated by the superposition of nine trees. Following the structural logic of botany, the columns are wider at the base of the building and become more slender as they gain altitude, and also branch out into more structural elements. Is a block with a glass curtain wall, supported by the concrete and steel members. What is striking in its exterior design is that the members are arranged so as to cause the building to challenge your own way. Instead of the rigid mathematical angles and curves to classical architecture by man, the outer tent structure Tod is surrounded by large, smooth curves and bifurcations that emulate organic forms. To avoid glass breakage, for a possible earthquake, the structure is supported on a cushion placed on the foundation, which is common in Japanese buildings. Branched structures are not simply a two-dimensional network abroad, also run by the interior, serving as decoration, a division of sections, and even unusual marking stairs. In some areas the soil is glass sections can not be enabled because the glass used is not strong enough to withstand pedestrian traffic must be closed with metal fences. The unification between the outer and inner form was possible because the architect created both. Usually there is an architect for construction and one for the inside. In this case, one person is responsible for creating the building, and the result justified the risk.
CARINA STORE Tokyo Omotesando
studiereis Japan 2018
KAZUYO SEJIMA
Carina Store, Tokyo, SANAA Carina is a small store next to busy Ayoama-street, designed by Kazuyo Sejima. The shop is wrapped in two façades. The inner façade is made up of a steel structure and large glass windows. The outer façade is made out of white expanded metal, similar to the weaves that were used for the New Museum at the Bowery in New York. The outer façade covers up almost the complete building, except for the entrance door and one window on the second floor. This is a daring approach as it provides an introspective look at first glance. But, as in many recent architecture in Tokyo, the shop comes to life when you take a closer look and even more so when dusk falls over the city. Name: Carina Store│Type: Commercial│Architect: Kazuyo Sejima│Completed: 2009 ( bron: https://architecturetokyo.wordpress.com/2017/07/09/2009-carina-store-kazuyo-sejima/)
designboom.com
designboom.com
designboom.com designboom.com
https://www.flickr.com/photos/128238391@N04/15564719 572
http://cieloazulqueviaja.blogspot.be/2015/07/tokyo-y-alrededores-japon.html
PRADA STORE Tokyo Omotesando
studiereis Japan 2018
HERZOG & DE MEURON
PRADA STORE Prada Aoyama Tokyo, Japan Project 2000-2002, realiza:on 2001-2003 We decided early on to focus on ver:cal volume containing the maximum permiEed gross floor area so that part of the lot acreage can remain undeveloped. This area will form a kind of plaza, comparable to the public spaces of a European city. The shape of the building is substan:ally influenced by the angle of incidence of the local profile. Depending on where the viewer is standing, the body of the building will look more like a crystal or like an archaic type of building with a saddle roof. The ambivalent, always changing and oscilla:ng character of the building's iden:ty is heightened by the sculptural effect of its glazed surface structure. The rhomboid-shaped grid on the façade is clad on all sides with a combina:on of convex, concave or flat panels of glass. These differing geometries generate faceEed reflec:ons, which enable viewers, both inside and outside the building, to
see constantly changing pictures and almost cinematographic perspec:ves of Prada products, the city and themselves. But the grid on the façade is not simply an op:cal illusion; it is ac:vely incorporated in the structural engineering and, in conjunc:on with the ver:cal cores of the building, it supports the ceilings. The horizontal tubing s:ffens the structure and also provides more private areas for the changing rooms and the checkout on the otherwise open, light-flooded floors of the building. The fiRngs with lamps and furniture for the presenta:on of Prada products and for visitors are newly designed especially for this loca:on. The materials are either hyper-ar:ficial, like resin, silicon and fiberglass, or hyper-natural, like leather, moss or porous planks of wood. Such contras:ng materials prevent fixed stylis:c classifica:ons of the site, allowing both tradi:onal and radically contemporary aspects to appear as self-evident and equal components of today's global culture. Herzog & de Meuron, 2003
Bron: hEps://www.herzogdemeuron.com/index/ projects/complete-works/176-200/178-pradaaoyama.html
Almost concurrently with the opening of the New York Epicenter, Prada embarked on its second in Tokyo with the Swiss architects Herzog & de Meuron. The six-story stand-alone building, situated in the Aoyama district, is one of the most dis:nc:ve works of architecture in Tokyo. The green glass façade bulges from a diagonal grid that forms its structural skin. Inside the building houses retail floors, lounges, and event spaces. Prada Aoyama Tokyo is the first building by Herzog & de Meuron in which the structure, space, and façade form a single unit. The ver:cal cores, the horizontal tubes, the floor slabs, and the façade grilles define the space but at the same :me provide the structure and the façade.
This means that every single visible part of the building (except for the glass) operates as structure, space, and façade all at the same :me. The façade is conceived as a porous spa:al structure: one could almost say the building does not even have a façade. Its glazing is only an external shell, comparable to a contact lens res:ng on the pupil of an eye. Like contact lenses the façade’s glazing of the building is merely here to enhance and focus op:cal processes. Bron: hEp://www.prada.com/en/a-futurearchive/epicenters/epicenters-tokyo.html
Prada Aoyama Flagship store by Herzog & de Meuron hEps://mir-s3-cdn-cf.behance.net/ project_modules/disp/ d9cce940003029.5606ca80d0c3d.jpg Like a modern Medici with matching accessories, Miuccia Prada and hereponymous fashion house have becomesynonymous with a shrewdly intrepidapproach to architectural patronage. Since1999, Prada has embarked on a programmeof new store designs and brand expansionthrough a select stellar cabal of the avantgarde(Rem Koolhaas, Kazuyo Sejima, andHerzog & de Meuron). Though the worlds ofarchitecture and fashion have a fer:le andoken colourful reciprocity, this goes beyondthe periodic tasteful fit-out into a moreserious (and big budget) explora:on of theradical that aims to reinvent the simple act ofclothes shopping into a singular experience – consumerism as culture or religion andshops as carefully choreographedenvironments or temples. (Perhaps not sodifferent from the Medicis aker all.)
hEps://mir-s3-cdn-cf.behance.net/ project_modules/disp/ 16d68340003023.5606cc3c2cbe3.jpg The Epicentre The first so-called ‘Epicentre’ storedesigned by Koolhaas was unveiled on NewYork’s Broadway in 2000; three years on,fashionistas and architecture pilgrims have anew reference point on their globalcompasses with the comple:on of thebiggest Prada flagship store to date in Tokyo,designed by Herzog & de Meuron. At a costof £52 million, budget, it seems, is no object,despite falls in company profits (down from£36 million in 2001 to £19 million last year,though the Asian market is s:ll apparentlybuoyant). hEps://mir-s3-cdn-cf.behance.net/ project_modules/disp/ 88c0e740003025.5606cd4e87446.jpg Facili9es and quali9es of Epicenter The Swiss partnership has alsobeen charged with conver:ng a piano factoryfor the house’s New York head office anddesigning a new produc:on centre inTuscany. Such crea:ve interac:onrepresents an intriguing shik in the cultural landscape of architecture. Whereas genera:on ago architects’ imagina:ons were exercised by helicopters and yach:ng wire,now it is high fashion and modern art. hEps://mir-s3-cdn-cf.behance.net/ project_modules/disp/ e80e0d40003033.5606ccab39860.jpg
Public space and interac9on flows aroun Prada Aoyama hEps://mir-s3-cdn-cf.behance.net/ project_modules/disp/ d505e440003045.5606cd53167ea.jpg Façades develop The grid actsas s:ffening element, bracing the structureagainst seismic forces. Inside all is equally seamless. A meandering labyrinth of coolwhite space forms a suitably neutral canvasfor the carefully orchestrated display of designer objects. At intervals, the double height spaces are penetrated by the diagrid structure, bleached white like dinosaur ribs. hEps://mir-s3-cdn-cf.behance.net/ project_modules/disp/ 046d6340003051.5606cd5370231.jpg Cross sec9on hEps://mir-s3-cdn-cf.behance.net/ project_modules/disp/ 6aa4b640003047.5606ccae720f3.jpg Level 0 Changing rooms are enclosed by panels ofelectropic glass that can turn opaque at theflick of a switch. Lights and monitors wiggle provoca:vely on serpen:ne stalks adding awhiff of Barbarella campness, compounded by the puzzling and slightly perverse presence ofan array of white fur rugs. And everywherethere are glimpses of the Tokyo streets cape filtered and framed by the giant net. hEps://mir-s3-cdn-cf.behance.net/
project_modules/disp/ 34674840003049.5606ca84b8b86.jpg Level 1 hEps://mir-s3-cdn-cf.behance.net/ project_modules/disp/ 1df21a39727117.5606c1ea0a04f.jpg Though Prada is undoubtedly technically sophis:cated, you wonder, slightly here:cally, if a mere bou:que merits such aconcentrated applica:on of resources and architectural imagina:on. But this is therareďŹ ed world of fashion, where normalrules have never applied.
Bron: hEp://www.prada.com/en/a-futurearchive/epicenters/epicenters-tokyo.html
MIU MIU STORE Tokyo Omotesando
studiereis Japan 2018
HERZOG & DE MEURON
TESHIMA ART MUSEUM Teshima
studiereis Japan 2018
RUYE NISHIZAWA
TESHIMA ART MUSEUM Architect: Ryue Nishizawa Jaae: 2016 > >
> > >
Doet denken aan een regendruppel bij het moment van landing. De structuur bestaat uit een betonnen schaal die 40 op 60 meter overspant en 25cm dik is, de maximum hoogte is 4,5 meter, er zijn geen kolommen of andere additionele draagstructuren. Er zijn twee ovale openingen die zorgen voor wind, geluid en licht uit de buitenwereld. Objectief: samenkomst natuur en architectuur op een harmonieuze manier, veel verschillende indrukken door natuur gegenereerd in verschillende seizoenen. ‘Almost nothing’
NAOSHIMA PAVILLON Naoshima
studiereis Japan 2018
SOU FUJIMOTO
NAOSHIMA PAVILION - SOU FUJIMOTO - NAOSHIMA
https://www.youtube.com/watch?v=3dh5VEChbFQ
EXTRA (SOU FUJIMOTO TAKES THE BUILD YOUR OWN PAVILION CHALLENGE)
https://www.archdaily.com/879129/sou-fujimotos-polyhedral-pavilion-shapes-the-art-island-of-japan
http://www.architectmagazine.com/project-gallery/naoshima-pavilion_o
KORTE BESCHRIJVENDE ARTIKELS
https://vimeo.com/123658128
FILMPJE VAN DE OPENING MET OOG VOOR OMGEVING EN JAPANS GEDRAG
https://www.archdaily.com/881788/sou-fujimotos-naoshima-pavilion-photographed-by-laurian-ghinitoiu
HEERLIJKE FOTO’S DOOR LAURIAN GHINITOIU
CHURCH OF LIGHT Kobe
studiereis Japan 2018
TADAO ANDO
CHURCH OF THE LIGHT, OSAKA
TADAO ANDO
Over Tadao Ando : -
Pritzker-Price Winnaar ‘Self-taught architect’, een autodidact op vlak van architecture Gekend voor zijn ‘kritisch regionalisme’ Verzoent de Japanse traditie en het modernisme in zijn bouwwerken Materialen in zijn gebouwen : Beton, hout, water, licht, ruimte en natuur
https://www.archdaily.com/101260/ad-classics-church-of-the-light-tadao-ando Text description provided by the architects. In the small town of Ibaraki, 25km outside of Osaka, Japan, stands one of Tadao Ando’s signature architectural works, the Church of the Light. The Church of the Light embraces Ando’s philosophical framework between nature and architecture through the way in which light can define and create new spatial perceptions equally, if not more so, as that of his concrete structures. Completed in 1989, the Church of the Light was a renovation to an existing Christian compound in Ibaraki. The new church was the first phase to a complete redesign of the site – later completed in 1999 – under Ando’s design aesthetic. For Ando, the Church of Light is an architecture of duality – the dual nature of existence – solid/void, light/dark, stark/serene. The coexisting differences leave the church void of any, and all, ornament creating a pure, unadorned space. The intersection of light and solid raises the occupants awareness of the spiritual and secular within themselves. The employment of simplistic materials reinforces the duality of the space; the concrete structure removes any distinction of traditional Christian motifs and aesthetic. Besides an extruded cross from the east facing façade, the church is composed of a concrete shell; the concrete adds to the darkness of the church by creating a more humble, meditative place of worship. As a testament to minimalist architecture, the crosses void in the east facing wall is the only prominent religious symbol present in the church. Formally, Ando’s Church of the Light is minimalist and reductive of religious paraphernalia to a simple cruciform extrusion, which is often criticized as disturbingly empty, void, and undefined. Although it has been stated to be nothing more than six walls and a roof, there is a whole level of design aesthetic implemented by Ando and his contractors that is misread and unrecognized by the occupants. As a modern, minimalist structure the Church of the Light emits an architectural purity that is found in the details. The reinforced concrete volume is void of any and all ornament that is not part of the construction process. The seams and joints of the concrete are built with precision and care by master Japanese carpenters, along with Ando, that have worked to create an immaculately smooth surface and accurately aligned joints. So much so, that the seams of the concrete formwork align perfectly with the crosses extrusion on the east side of the church. The concrete construction is a reinforcement of Ando’s principal focus on simplicity and minimalist aesthetic; however, the way in which the concrete is poured and formed gives the concrete a
luminous quality when exposed to natural light. Ando’s decision to place the cross on the east façade allows for light to pour into the space throughout the early morning and into the day, which has a dematerializing effect on the interior concrete walls transforming the dark volume into an illuminated box. Ando’s approach to light and concrete in the Church of the Light, as well as his other projects, has a surreal effect that perceptually changes material into immaterial, dark into light, light into space.
“In all my works, light is an important controlling factor. I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a city's environment require the wall to be without openings, the interior must be especially full and satisfying.” –Tadao Ando
ANDO, Complete Works 1975-today, Philip Jodidio, Taschen (2014) Er bestaan er twee, namelijk deze in Ibaraki, Osaka (113 m²) en iets grotere versie, de ‘Sunday School’, ook in Abaraki, Osaka (148.8 m²)
VERTICAL GARDEN HOUSE, TOKYO (te presenteren)
RYUE NISHIZAWA
Ryue Nishizawa : is één van de oprichters van het architectenbureau SANAA, dat hij samen leidt met Kazuyo Sejima (Pritzker Price winaar) Elevations : -
0 : woonkamer en keuken 1 : slaapkamer 2 : Slaapkamer en badkamer 3 : dak : gastenkamer en opslagplaats (voor al het tuingerief waarschijnlijk)
Korte Samenvatting : -
gordijnen aan de binnenkant EN aan de buitenkant, dit om ruimtes op te splitsen en om intimiteit te garanderen. Centraal een spiltrap die volledig tot boven loopt, opening tot aan het dak laat zo toe dat de planten tot aan het dak kunnen groeien, richting het licht Heel open plan, vrijwel geen binnenmuren Heel veel licht zen-achtige contemplatie Geen echte gevel : “A Seamless indoors-outdoors experience”
Tekst : https://www.dezeen.com/2013/01/23/garden-and-house-by-ryue-nishizawa/ This Tokyo five-storey townhouse by Japanese architect Ryue Nishizawa is fronted by a stack of gardens.
Located in a dense commercial district, the building provides a combined home and workplace for two writers. The site was just four metres wide, so Nishizawa designed a building that has only glass walls to avoid narrowing the interior spaces even further. "My final decision of structure consisted of a vertical layer of horizontal slabs to create a building without walls," said the architect. Gardens are interspersed with rooms on each of the four floors of the building, creating a screen of plants that mask the facade from the eyes of passing strangers. Glazed walls beyond protect the interior from the elements. "The entirety is a wall-less transparent building designed to provide an environment with maximum sunlight despite the dark site conditions," added the architect. "Every room, whether it is the living room, private room or the bathroom, has a garden of its own so that the residents may go outside to feel the breeze, read a book or cool off in the evening and enjoy an open environment in their daily life." Staircases spiral up through the building, passing through circular openings in the thick concrete floor plates. A similar opening cuts through the roof, allowing taller plants to stretch through to the upper terrace. Bedrooms are located on the first and third floors and are separated from meeting and study areas with glass screens and curtains. Ryue Nishizawa is one half of architectural partnership SANAA, which he runs alongside Kazuyo Sejima. The pair recently completed a new outpost of the MusĂŠe du Louvre in France, while other projects by the studio include the Rolex Learning Centre in Switzerland and the New Museum of Contemporary Art in New York. See more architecture by SANAA.
Tekst : https://www.architectural-review.com/today/tokyo-garden-and-house-by-ryuenishizawa/8643179.article Designed by Ryue Nishizawa of SANAA, this house of floating concrete planes and glass walls contrives an ascetic domesticity tempered only by nature. Tokyo is a city of juxtapositions. From Zen temples to temples of Mammon, falling-down timber shacks next to polished glass towers, and tiny pocket gardens near immaculate formal planting. So this four-storey house by Ryue Nishizawa (one half of SANAA) appears to fit right in by definition.The question is whether this is enough. The structure is articulated as a series of concrete slabs, apparently floating, though on closer inspection there are three differently-shaped concrete columns holding up the structure as well as a -Ino frame revisited 99 years on. The ground floor is a caravan-like arrangement of seating, storage, kitchen and dining. A lightweight metal staircase connects all the floors. The first floor accommodates a tiny bedroom (open above and below) and an L-shaped open balcony with an outdoor meeting room. On the second floor, the stair becomes enclosed, and there is an outdoor space leading to a selfcontained bathroom at the rear of the building. Rising up to the third floor there is a second bedroom, a private terrace to the front and a linear stair, again outside at the rear, leading up to the roof terrace. Here a circular cut-out in the roof slab presents a Modernist architectural motif that is visible from the
street. It is difficult to ignore the prosaic concerns that arise from minimal railings both on the staircase and the roof terrace, but Do they really do things so differently over there? What makes this little building extraordinary is the use of planting, mainly in pots, that not only animates the facade but also penetrates deep into the house. The architect’s drawings of the section are cartoons showing no facades, just a series of horizontal shelves inhabited by trees, plants and the odd chair and table. The result in many ways is
A further layer of domesticity is added through the use of fine gauze curtains that allows for some form of privacy. They are perhaps a nod to Shigeru Ban’s Curtain House, also in Tokyo, completed in here the distinction is far more porous. Indeed the floor finish to some of the exterior spaces is actually earth, and the journey to the bathroom requires you to go outside, perhaps barefoot, taking a few steps before sliding the frosted door to come inside again. Looking from the outside, at street level, or more significantly from the windows of the flanking buildings that have views right into the house, it is difficult to make sense of the building at an urban level. While we are perhaps used to seeing the Japanese house as something that is inward-looking, it a pop-up house, here today and gone tomorrow? What if another owner, less enamoured with gardening, moves in and take completely different proposition? In many ways the contingency of the greenery adds to the fragile nature of the whole construction. The hard concrete is a familiar sight within the fabric of the city, and in parts so are balconies crammed with plants and flowers; but here we have a poetic essay that collides these two worlds into a conceit that is fantastical and yet very domestic. This provocative project also interrogates the notion of domestic space and how we live. Is it having the detached address that is the luxury, or is it the vertically stacked self-contained world that is bespoke, eccentric and very personal? There are issues of privacy with bedrooms open to the stair, questions of s where the use of the outside spaces must be limited. It is disappointing to see that the internal climate control is through standard air-conditioning cassette units mounted to the wall with the requisite chiller on the roof. It would have been wonderful to think that somehow the vegetation had a positive effect appliance; a propagator for plants and people. is house is of the moment. Like the much larger 1111 Lincoln Road project by Herzog & de Meuron in Miami (AR June 2010), this tiny structure plays with the economy of the concrete slab as an organising device, then inha and inside, facade and interior, nature and artifice. It represents the uncertain fate of Modernity, while embracing its legacy. Its graphic presence on the street demands scrutiny, while once inside the city dematerialises into a series of views mediated by nature. The designer finishes and minimal detailing demand a rigorously ascetic lifestyle, at the same time requiring the owner to literally feed and water its organic inhabitants. Although not a model that is
likely to be seen as a prototype, it feels like a call for action, challenging how we want to or should be living in cities. For that it is to be applauded. (I am just not sure I would wish to be its custodian.)
studiereis Japan 2018
studiereis Japan 2018