A City of the Third Space: Fragmentation & Transformation

A CITY OF THE THIRD SPACE: FRAGMENTATION & TRANSFORMATION PROJECT JOURNAL

Table of Content

Prologue

1. THE CITY- OITA 2. THE BACKGROUND ARCHITECTURAL PROJECT

CITY 1. REFLECTION 2. DRAWINGS

EPILOGUE 1. APPENDIX1: CAPRICCO AND FOLLY 2. APPENDIX2: DIARY

BIBILOGRAPHY

Prologue The New City

01.

The New City: Oita

The chosen new city is Oita Prefecture, a city located in Kyushu and the h is constantly hunted by the outflux of younger generation and severe agin of a prosperous city, Oita is the prefect example of the contradiction that i constantly destroyed and rebuilt throughout the history, the city if Oita can itself. Therefore, opportunities of resurfacing, excavating, and reimagining city to explore the possibility of interweaving the past, present and future at

hometown of the architect Isozaki. Being a city that is gradually sinking and ng population yet still implementing every effort to portray a fictitious image is rooted in the culture and society of Japan. Additionally, with the city being n be seen as a reservoir of memories overlaid and interweaved within the land g those memories are presented at the site, creating opportunities for the new t the same time.

02.

The Background Project Oita Prefectual Library

By Arata Isozaki

City A City of the Third Space: Fragmentation & Transformation

01.

Reflection

The city of the third space: beyond the binary The idea of creating a new city within a city is never new. But what does it mean to create a new city, what is its ultimate purpose?

In Isozaki’s view, the creation of the new city is essentially the process of assembling different fragments that are detached from the surrounding contexts and its original meaning to form a new fictive system that operates beyond the limit of time and space and suspends upon the existing order.

The new fictive system is created through juxtaposing and overlaying different layers of time (past, present and future) and contradictions created by the clash of times to dissolve the inherent meaning and the idea of “truth” of the fragments. The fragments are composed by geometries abstracted from the form of the city (the grid and the linesaxis) with all its meanings devoid so that new meaning, “the new memory” can be overwritten on top of the elements.

By creating a new fictive system, the project follows Isozaki's idea of combining it with the narrative of the city of the unfinishedness and ruins to create the new city that is constantly experiencing the flux of generation and destruction. Unlike Piranesi, Isozaki’s idea of ruin is not about erasing the existing, but rather the co-existence of the past, present, and future, the construction, destruction, and reconstruction as the time exists non-linearly here.

Wandering among the ruins, one should not be instilled with the awareness of the phenomenon of obliteration, but rather a sense of the transience of things (narrative).

Moreover, Isozaki also believes that the future city is the ruin of the current city which is created upon the ruins of the past. Hence, it can be argued that the idea of the ruin is the two sides of the contemporary city and what lies in between the ruins of the past and the future is the unpredictable and ever-changing state of the present.

Appropriating from Isozaki’s view on city, the project “a city of the third space: beyond the binary” aims to create a city that is composed by multiple layers of fragments that operates on a fictive system to construct the city as a fictive utopian ruin which lies in-between the binary logic of the semiotics of the past and the future and present the looping and continuity of the memory. To create the new city is to essentially articulate a stance by means of which to critique both the past and the future at the same time.

The contradictions employed in this case are permanence vs. impermanence (artificial vs. natural/actual; presence vs. absence), memory vs. anti-memory (old vs new; internal vs. external, the fictive vs. the true) and assimilation vs. dissimilation (Japaness vs. modernism; order vs. chaos). These contradictions are chosen as they not only represent the dualism of past and future but also echo the existing ambivalences between the site, the history, and the context to provoke the thinking of what lies in-between and transcend such binary oppositions.

The image of the ruins is an approach to resurface the memories that lingers in the city of Oita, where the presence of past and the present has already been blurred with architectures from all time chaotically blended. Then, Oita, the original city, is recognised as the ground for the fictive construct. The memories to be revealed in the new city is a non-directional one, containing the fragments from the past, present to the future, forming a continuous loop.

The idea of the memory here is comprised by two different types: memory and antimemory. Times and memories latent in the city are excavated and layered to reveal themselves concurrently. In this sense, the new city of ruin, the city of the third space becomes a city that filled with fragments of ruins linking the past, the present and the future together. Instead of fulfilling precise function, the fragments are to form a new architectural system, a transformational language, to explore the poetics of architecture in proximity to the framework of linguistics and to break the current architectural thinking.

Written on 12/05/2021

02.

Drawings

Overall Present City Fragments

New City & the Communal Hall of the Present

Experiential Collage

Overall Past City Fragments

New City & The Castle Of the Past

Experiential Collage

Overall Future City Fragments

New City & the Train Station of the Future

Experiential Collage

Models

EPILO

Appen

OGUE

ndix1

EPILO

Appen

OGUE

ndix2

Self-Realisation From the In-Between I THOUGHT everybody cares about me, nobody cares about you. Nobody Cares! And Even If they do, so WHAT?

Contradicting Interpretation I don’t like the phony emotional content that is labelled in, it doesn’t feel like anything, it sounds like nonsense, it’s preposterous

Proposal- a city of the third

The idea of creating a new city within a city is never new. But what does it the creation of the new city is essentially the process of assembling differen meaning to form a new fictive system that operates beyond the limit of time created through juxtaposing and overlaying different layers of time (past, pre the inherent meaning and the idea of “truth” of the fragments. The fragme grid and the lines-axis) with all its meanings devoid so that new meaning, a new fictive system, Isozaki aims to combine it with the narrative of the c experiencing the flux of generation and destruction. Unlike Piranesi, Isozak of the past, present, and future, the construction, destruction, and reconstru should not be instilled with the awareness of the phenomenon of obliteration also believes that the future city is the ruin of the current city which is create is the two sides of the contemporary city and what lies in between the ruins present. Appropriating from Isozaki’s view on city, the project “a city of th multiple layers of fragments that operates on a fictive system to construct th semiotics of the past and the future and present the looping and continuity o means of which to critique both the past and the future at the same time. T (artificial vs. natural/actual; presence vs. absence), memory vs. anti-memory vs. dissimilation (Japaness vs. modernism; order vs. chaos). These contradi but also echo the existing ambivalences between the site, the history, and the binary oppositions. The image of the ruins is an approach to resurface the m present has already been blurred with architectures from all time chaotically fictive construct. The memories to be revealed in the new city is a non-dir forming a continuous loop. The idea of the memory here is comprised by tw the city are excavated and layered to reveal themselves concurrently. In this filled with fragments of ruins linking the past, the present and the future toge architectural system, a transformational language, to explore the poetics of current architectural thinking. To allow easy and eligible interpretation and in this case, is to extract the memory as if it is the highlight of a tourist’s gu (the ruin of the castle), the present (the Compal Hall, Oitashi Oita Central variations will also take form when the new fragments interact with the past “We discovered each other’s existence as a sort of corresponding phenome framework between the two with the only difference being the operating cont unify, but rather opens and disperses, fragments and destabilizes and Isozaki of Eisenman is adopted to help frame the baseline of language of the new city

d space: beyond the binary

t mean to create a new city, what is its ultimate purpose? In Isozaki’s view, nt fragments that are detached from the surrounding contexts and its original e and space and suspends upon the existing order. The new fictive system is esent and future) and contradictions created by the clash of times to dissolve ents are composed by geometries abstracted from the form of the city (the “the new memory” can be overwritten on top of the elements. By creating city of the unfinishedness and ruins to create the new city that is constantly ki’s idea of ruin is not about erasing the existing, but rather the co-existence uction as the time exists non-linearly here. Wandering among the ruins, one n, but rather a sense of the transience of things (narrative). Moreover, Isozaki ed upon the ruins of the past. Hence, it can be argued that the idea of the ruin of the past and the future is the unpredictable and ever-changing state of the he third space: beyond the binary” aims to create a city that is composed by he city as a fictive utopian ruin which lies in-between the binary logic of the of the memory. To create the new city is to essentially articulate a stance by The contradictions employed in this case are permanence vs. impermanence y (old vs new; internal vs. external, the fictive vs. the true) and assimilation ictions are chosen as they not only represent the dualism of past and future e context to provoke the thinking of what lies in-between and transcend such memories that lingers in the city of Oita, where the presence of past and the y blended. Then, Oita, the original city, is recognised as the ground for the rectional one, containing the fragments from the past, present to the future, wo different types: memory and anti-memory. Times and memories latent in s sense, the new city of ruin, the city of the third space becomes a city that ether. Instead of fulfilling precise function, the fragments are to form a new f architecture in proximity to the framework of linguistics and to break the understanding of the memory, common parlance is used as a guide, which, uidebook. Three detailed sections of the new city will be examined, the past l Community Center), and the future (the JR train station) and how subtle t, present and the future. Just as Isozaki wrote in the letter to Peter Eisenman enon” there is a high resemblance between the attempt to create a linguistic text. Moreover, as they also share the view that architecture does not close of i is always aiming to infuse the west and east, the rigorous operation method y with all the elements redefined in the new context of Oita.

CONTRACDITION 1/ THE DEVELOPMENT VS. THE ARTIF

The site, Oita prefecture, is a perfect exemplar of paradox. Being a city that i severely from the outflux of younger generation and the increasing aging popu is gradually vanishing. Ironically, being fully aware that the city is disappearing to be unavoidably dying, is it more sensible to create a new city on the already development and the loss of population to raise people’s awareness rather tha opposition is being used as th

CONTRACDITION 2/ THE OLD VS. THE NEW; TH

The evolvement of the grid planning also present a distinct contradiction. The Tang Dynasty, natural typology of Oita and the castles and zoning of the Sam reasonable human scale with focus on proportion to promote such awareness an Japanese city. However, with the introduction of Western ideologies, a new g failure to propose a proper zoning guidance, the gird now is no longer funct confusion within the city. The old, the new, the large, the small, the natural an between the order and the chaos, the old and the new which weaves the

CONTRIDITION 3/ LA POWER VS. SECULAR, FEATU

The history referred here is more about the traditional Japanese architectural h been developed throughout the time. The two most distinctive contradictions illustrated through two projects, the Katsura Imperial Villa, and the Nijo Ca Japanese architecture as it manifests the idea of functionalism while on the oth is heavily decorated to showcase the power and hierarchy of the figure. The ex extravagant emblem rather than an architecture for people. The internal contra epitome of the contradicting traits that have been rooted deeply in the Japanese c showcase the binary opposition betw

LAYER 1: THE SITE: LOSS; THE NATURAL VS. THE FICAL

is continuously expanding every year, yet at the meantime it is also suffering ulation. Together with the occurrence of flooding and the rise of sea level, Oita g, Oita are still undertaking land reclamation to expand itself. As the city seems y existed that strives to accentuate such contradiction between the uninterrupted an to address these problems by creating something new? Consequently, such he base layer of the new city.

LAYER 2: THE GIRD: HE ORDER VS. THE CHAOS

original grid system was a combination of the ChangAn City Planning of the murai to promote the idea of hierarchy and order. The gird was designed at a nd the mood of a busy neighbourhood which informs the creation of a traditional grid system was brutally appropriated to rearrange the city. Together with the tioning as a coordinating rule/ system but is instead creating more chaos and nd the artificial are all crowded together chaotically. Therefore, a contradiction e present urban fabric is to be used as the second layer of the new city.

AYER 3: THE HISTORY URISM VS. FUNCTIONALISM

history, which presents a strong opposition in the architectural types that have s presented, the power vs. secular, the featurism vs. the functionalism, can be astle. According to Bruno Taut, Katsura Imperial Villa is the birth of modern her hand, the Nijo Castle, the symbol of the government power of the samurai, xcessiveness of the decorations designed within the castle has made it more an adictions within the traditional Japanese architectures can also be argued as an culture and society. Therefore, it is presented parallelly with the top layer which ween the “Japaness” and the Western.

CONTRIDICTION 4/ LAYER 3: THE CONTEXT (THE PRESENT) THE JAPANESS VS. THE MODERNISM, THE INTERNAL VS. THE EXTERNAL (NATURAL VS. ARTIFICAL) The final/ the top layer of the contradiction focusses on the differences between the japan and the western architectural philosophies and how the modern Japan is being perceived. The most distinctive contrasts lie in the view of how architecture interact with the surrounding and how time is illustrated in the architecture. For Japan architecture, there is an emphasis on the idea of openness and the connection to the landscape and nature through engawa. The architecture is often considered and designed beyond the formalism that is prioritised by the modernism architecture, which focus more on the use of envelop to frame the internal space and the building structures. Moreover, the architecture of Japan also carries the idea of impermanence and weathering while the western architectures magnify the idea of permanence and artificial. Down to the level of elements, it is even more apparent. With a focus on the horizontal elements (the ground and the ceiling) and the intention to blur the vertical partitions, the Japanese architecture naturally opens itself to the surrounding with a sense of flatness, transparency, and lightweights. On the contrary, it is the vertical element, the column and the wall that frames the western architecture which is presented with a strong sense of three-dimensionality. Interestingly, these differences often become hard to be spotted once it is viewed from the perspective of the questioners as they often tend to only see what they want to see. Therefore, it is also interesting to consider what perspective to use to view the opposition and how by changing the perspective can the idea of third space being immediately created.

HERE COMES ISOZAKI Isozaki, as one of the pioneers striving to integrate east and west, his position on architecture can be viewed as an attempt to create the third space between the dialectic. His work Oita prefectural library, a typical manifestation of formalism, brutalism, and constructivism, can be viewed as a total contrast to the Japanese architecture which emphasises on transparency, lightweight, and the nature. His fundamental ideas is also contradicting to that of the Japanese architecture.

THE BOTTOM- THE GRID OF THE PAST- THE PRE-MODERN WORLD- SCALE & MIRROR The bottom gird is there to create the idea of podium/ plinth which limits and frames the site and to contrast with the present grid. The plinths are to be designed with different height according to the typology of the site to form the “true” ground condition of the city.

T H E B A S E - T H E M O D E R N G R I D O F T H E P R E S E N TMAINTAIN & REFINE This layer of the city sits on top of (parallelly to?? The idea of the NOLII MAP, The solid and the void to reconfigure the existing buildings maybe) the bottom, to showcase the existing condition and meanwhile also to contrast with the grid of the past.

THE THREE AXIES- THE THREE MAIN ROADS/ INFRASTRUCTURES THAT DIVIDE THE PRESENT GRIDACCENTUATED The human/ artificial interventions of the roads/infrastructures have largely broken the logic of the modern gird as the grid now is no longer the dominant operating system of the city but rather the affiliation of the 3 axes. The appearance of the 3 axes also divides the new city into three parts, offering the possibility of juxtaposing the binary oppositions and the third space together in the same layer.

In the central part of the axis, it is where Isozaki’s idea and projects

THE 1ST LAYER- THE BUILDINGS THE TRUTH VS THE FAKE, THE PLANAR VS THE DECORACTIVE THE 2ND LAYER- THE NEW GIRD- THE ARTIFICAL VS. THE NATURE THE BOUNDARY- THE FRAME STRUCTURE AND THE ELEMENTS, THE INTERNAL VS. THE EXTERNAL, THE HORIZONTAL VS. THE VERTICAL THE CORRESPONDING STRATEGIES THE SITE- AXIS, PARIS, INTESTITION THE GRID- PROPORTION & SCALING THE HISTORY- DIVISION & REUNION THE CONTEXT- SUPERIMPOSIOTN, HINGE DIFFERENT LAYERS OF GIRDS THE BASE GIRD- THE REARRANGEMENT & RECONFIGURATION THE NEW GRID- THE NATURE (THE OLD, TYPOLOGY) THE 2ND NEW GRID- THE ARTIFICAL (THE RUIN, ISOZAKI’S FUTURE)

CHAPTER EXTRACTIONS More so the establishment of a new architectural language which I determined to leave it to chance We discovered each other’s existence as a sort of corresponding phenomenon In the late sixties we happened both to be interested in conceptual art, and we both attempted to read noam Chomsky’s transformational grammar as a method of problematizing architecture. It was about this time that Jameson’s book appeared. It seemed to us to delineate a precise outline for the worldwide syndrome of the middle of this century: the age of linguistics.

Our works- your early series through house x and my formalist approaches that reveal geometric vocabularies- were both attempts to explore the poetics of architecture in proximity to this framework of linguistics.

We were working in two different loci, and it follows that neither of us could be exempted from locational limitations: our architectural discourses could be concretized only in relation to the particular locus, and regardless of whether or not we acknowledge such limitations, the fact remains that we are thus restricted.

It considers grammar to be a system of rules that generate exactly those combinations of words that form grammatical sentences in a given language and involves the use of defined operations (called transformations) to produce new sentences from existing ones. The method is commonly associated with American linguist Noam Chomsky.

For me this took the form of a commitment to the problematic context of Japan as a fictive construct. And for you it was an engagement in the context of America or American modernism.

In America it is still believed that an architectural style can predicate a whole epoch. Even modernisnn itself is regarded as a style, which is in fact a strange paradox; although it was originally a drive par excellence to undermine any stylistic domination. as soon as it moved across the Atlantic Ocean, its attempt to embody an ideological project was erased. and it was reduced to such superficial nodes as fashion. taste, and Zeitgeist. This is clearly exemplified in Modern Architecture. the exhibition that took place at MoMA in 1932. in which various intentions, with their individual manifestos were gathered under the title of International Style, to be abstracted into a common standard. That is to say that what fulfills such a standard comes to be acknowledged as a style.

Why linguistics matters?

CHAPTER EXTRACTIONS Instead of criticizing both the self and the other, the critic from the discourse is omitted and there is a strong obsession with making a standard of manual of styles Once the original constitution of language is viewed retrospectively, its essential ungroundedness is exposed The 1970s version of the theorization of architecture began by taking as a clue the Russian formalists’ conversion of those views into poesis Chomsky’s concept of transformational generative grammar as a simile Recognition of language as logic itself The construction of the non-transcendental world- the analysis of the colloquial, idiomatic use of language The image of the ruins is an approach to resurface the memories that lingers in the city of Oita, where the presence of past and the present has already been blurred with architectures from all time chaotically blended. Then, Oita, the original city, is recognised as the ground for the fictive construct. The memories to be revealed in the new city is a non-directional one, containing the fragments from the past, present to the future, forming a continuous loop. The idea of the memory here is comprised by two different types: memory and anti-memory. Times and memories latent in the city are excavated and layered to reveal themselves concurrently. In this sense, the new city of ruin, the city of the third space becomes a city that filled with fragments of ruins linking the past, the present and the future together. Instead of fulfilling precise function, the fragments are to form a new architectural system, a transformational language, to explore the poetics of architecture in proximity to the framework of linguistics. To allow easy and eligible interpretation and understanding of the memory, common parlance is used as a guide, which, in this case, is to extract the memory as if it is the highlight of a tourist’s guidebook.

I am especially intrigued by the fact that the items of memory that you extract are just like the highlights of a tourist's guidebook.

An easy means to make others understand aspects of memory would be to use the common parlance as a guide. going through a musique-concrèle-like manipulation and applying a synthesizer. problematic context of Japan as a fictive construct.

CHAPTER EXTRACTIONS the poetics of architecture in proximity to this framework of linguistics.

Visualise the memories that buried in cities To excavate and then layer the times latent in those cities The visualization of memory carries infinitely more importance than the layering itself, which, after all, is a technique just like that of transformational grammar For the people who actually live in such cities, nothing is more troublesome than the memory that is buried in them (in terms of their topographies, soils and localities). If you acknowledge it as it is historicism in most vulgar sense will resurface; if you recognize it as a continuity, you are trapped like a blind believer in the genius loci What must be remembered, however, is that the Europeans could devise the idea of making memory relative only after long struggles wages in the powerful gravity field of historical memory. You who are outside this restraining field naturally can take the position of making it relative The memories that you extract from cities are almost arbitrary. Since visible signs are in essence arbitrary anagrams, it is no mystery that the outcome of collage comes to appear as a combination of chance I am especially intrigued by the fact that the items of memory that you extract are just like the highlights of a tourist's guidebook. However, I do not mean that the operation would be more relined if the elements were chosen from something like The Odyssey or The Conquest of Gaul. An easy means to make others understand aspects of memory would be to use the common parlance as a guide. going through a musique-concrèle-like manipulation and applying a synthesizer.

Motivated by diastrophism as seen in plate tectonics theory, and whose detail of expression has been organized according to catastrophe theory, I become concerned, albeit not for myself, that even the operation of memory has become a pattern, an object of instantaneous consumption in this locus called "America." But at the same time it is a proof that you are still sustaining the primal motive drive of modernism - advancement by critique.

Peter Eisenman- extracting the dominant characteris of American modernism Fredric jameson’s prison house of language Division and union, the dialectical relationship of division and union Analogous physical structure. Textual structures and structures from other forms of text which are similar, such as wall with which to create Architecture does not close of unify, but rather opens and disperses, fragments and destabilizes Decide the periphery A roadmap depitcts the most important landmarks and points of recognition like infrastructure and natural elements like waterways forest, plains or mountain slopes, the Detail of which depends on the scale, all to facilitate navigation I

CHAPTER EXTRACTIONS & THOUGHTS dentify the vacant space within the city Object contains both visible and invisible traces Acceptance of the messiness and unpredictability Field- a plane of events with a history, a present and a future, a plane that is moving through time instead of just existing in space Self similar nature of grid From structure to site to text, from the structuralization of the object to the textualization of site Grid to organise and divide The layers are not laid flat onto each other, parts of the layers jump to layers above, or when layer cross, they seem to have some interaction with each other The bottom layer, the original Campo Marzio is almost completely purged of its elements, just a few remain, visible through the top layer, the exception being the mausoleum of Hadrianus, which is bumped up to the top layer and used as the starting point of another layer.

Reproduction, superimposition of the contingent features of its site Anti-memory: the reduction of the former pattern to arrive at its own structure or order Layers have different heights 町 universivial concept in Japan The inaccuracy of the old map Simultaneously reveal the exterior and interior Collison and deformation Actual vs artificial

CHAPTER EXTRACTIONS & THOUGHTS Invent a site, an artificial site Overlay and erasures As forms that neither recall the past, validate the present, nor aspire to the future their scale and proportions are on their own Fragements and destroy the former structure Through superimposition and erasure it reveaos he double nature of memory and antimemory, the fragements becomes the whole as the whole becomes the fragement Time has collapsed into a nondirectional moment in which the here isolated core towers become the sign of this stasis Growing or disappearing The architecture does not predicts this additions and substractions, further erasures of memories in which the new project become the fragement of the history / future Plans and elevations refers to each other Artificial excavation, superimposition and substitiution Anti-memory- a universal geometric pattern without history, place or specificity , this grid tied berlin to the world it is the most neutrao ane artificial system of marking Freeze or emblam time, reverse Anti-memory is different from sentimental or nostalgic memory since it neither demands nor seeks a past (or for that matter a future). But it is not mere forgetting, wither, because it uses the act of forgetting, the reduction of the former pattern, to arrive at its own structure or order The making of the new order, seek or posit progress, predicts. Nothing to do with Memory obscures the reality of the present Anti memory, obscures the reality of the past

CHAPTER EXTRACTIONS & THOUGHTS Where the history ends, the memory begins History is not continuous, it is made up of sotps and starts, of present and absence Emptiness of rationalithy deny the existing context Narriative driven ntalgiaos Contradictions to illustrate the condition of the present: memory vs. anti-memory Layering- superimposed transparencies marks the irreducibility between the coordinates of various time zones resulting from a history given to the building Superimposition reveal analogical relationshsip that were bsecured when some notation, such Return of history, via the discontunity of the site itself: the layering are now historical, ghosts of various pasts, presents and future which may mediated through some larger abset cause which is the history itself Dualism vs binary opposition Destablising narrative Past memory, present presence future immanence The first intention was to expose the particular history of the iste that is , to render visible its specific memories, to acknowledge that it once was special. Was some place Planning for the future and recovering for the past Memory and anti-memory work oppositely but in collusion to produce a suspended object, a frozen fragement of no past and no future, a place of its own time Trauma and conflagration have certainly reduced the city of berline to a mere ruins of its former state, and the remaining walls of its bombed houses are not divided by yet another wall Modern condition has so traumatizrf out sense of history that to forget and to remember may be equally defensive Archaeology of the present Constant flux palimpsest and quarry. Palimpsest holds the trace of the site’s memories.

CHAPTER EXTRACTIONS & THOUGHTS Conversely, the quarry represents immanence, or latent future transformations and to simultaneously accommodate the schizophrenic and the eclectic, which is the epitome of the Japanese culture.

Discontunity fraementation of geometric figures tries to weaken the power implicit in heometric forms Scaling never produce definite forms it determines architectural objects which are only possible occurrences among many, moments in a continuous process of transformaiton Moves beyond the idea of what is true, what is fake, the idea of time, visibility and transparency Similar to that of the opinion of Eisenman—fiction of history, fiction of representation, fiction of reason “timeless, meaningful, ture” Remove fixed and identifiable reality Poetic aspect of the architecture Constantly programming itself to create an in-between space to accommodate the schizophrenic and the eclectic, which is the epitome of the Japanese culture.

PRESEN

NT MAP

PRE-HISTORIC (SCALED)

MEJI GRID

FUTURE GRID

BEYOND FUTURE: UNFINISHEDNESS

PAST GRID OVERLAY

PAST GRID OVERLAY OUTCOME

FUTURE GRID OVERLAY

FUTURE GRID OVERLAY OUTCOME

PAST + PRESENT + FUTURE

PAST + PRESENT + FUTURE OUTCOME

FINAL OU

UTCOME

Bibliog

graphy

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